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

Question: In the King's Speech, who played the person who was the King of England in 1950?

The following are given passages.
Context 1: Passage 1:
Taylor King
Taylor Steven King (born May 30, 1988) is an American former professional basketball player   King played for the Duke Blue Devils, Villanova University Wildcats, and Concordia of the NAIA  where he played the forward position  King attended Mater Dei High School of Santa Ana, where he enjoyed a successful high school basketball career, posting the third highest career point total in California high school history with 3,216 points 

High school career
King established several school records while at Mater Dei: total career points (3,216), points in a single season (987 in 2007), career 3-pointers made (370), career rebounds (1,456) and rebounds in a single season (444 in 2006)  He participated in the ABCD Camp, a camp for the best high school players in the United States, in each of his 4 high school seasons (2003 to 2006) 

College career
King played for Duke his freshman year   He transferred to Villanova University following the spring 2008 semester   Per NCAA regulations, King did not compete in the 2008–09 season, but returned for the 2009–10 season, with three more years of collegiate eligibility 
During the summer of 2010, Taylor King left the Villanova men's basketball team for what a team spokesman said were "personal reasons " On August 11, 2010, it was announced that King had transferred to USC  However, shortly after, it was announced he would not be attending USC but actually the NAIA school Concordia 

Professional career
On October 21, 2011, it was announced that King had made the final 12-man roster for the National Basketball League of Canada's London Lightning   However, on January 17, the Lightning released him, leaving room for him to be signed by the Quebec Kebs on February 2 On September 17, 2014, King signed a one-year contract with Cheshire Phoenix of the British Basketball League, coached by John Coffino  
King made an instant impact, leading the league in scoring with an average of 20 1ppg in 33 games, which included a 36-point game against the Sheffield Sharks  King was also fifth in the league in rebounding, with an average of 9 5rpg 
After the 2017–18 season, King retired from basketball 
Passage 2:
The King's Speech
The King's Speech is a 2010 historical drama film directed by Tom Hooper and written by David Seidler  Colin Firth plays the future King George VI who, to cope with a stammer, sees Lionel Logue, an Australian speech and language therapist played by Geoffrey Rush  The men become friends as they work together, and after his brother abdicates the throne, the new king relies on Logue to help him make his first wartime radio broadcast upon Britain's declaration of war on Germany in 1939 
Seidler read about George VI's life after learning to manage a stuttering condition he developed during his own youth  He started writing about the relationship between the therapist and his royal patient as early as the 1980s, but at the request of the King's widow, Queen Elizabeth The Queen Mother, postponed work until her death in 2002  He later rewrote his screenplay for the stage to focus on the essential relationship between the two protagonists  Nine weeks before filming began, the filmmakers learned of the existence of notes written by Logue that were being used by his grandson Mark and Peter Conradi as the basis of a book, and were granted permission to incorporate material from the notes and book into the script 
Principal photography took place in London and around Britain from November 2009 to January 2010  Hard light was used to give the story a greater resonance and wider-than-normal lenses were employed to recreate the Duke of York's feelings of constriction  A third technique Hooper employed was the off-centre framing of characters 
The King's Speech was a major box office and critical success  It was widely praised by film critics for its visual style, art direction, screenplay, directing, score, and acting  Other commentators discussed the film's representation of historical detail, especially the reversal of Winston Churchill's opposition to abdication  The film received many awards and nominations, particularly for Colin Firth's performance, which resulted in his first Academy Award for Best Actor  At the 83rd Academy Awards, The King's Speech received 12 Oscar nominations, more than any other film in that year, and subsequently won four, including Best Picture  Censors initially gave it adult ratings due to profanity, though these were later revised downwards after criticism by the makers and distributors in the UK and some instances of swearing were muted in the US  On a budget of £8 million, it earned over £250 million internationally 

Plot
At the official closing of the British Empire Exhibition at Wembley Stadium, Prince Albert, Duke of York, the second son of King George V, addresses the crowd with a strong stammer  His search for treatment has been discouraging, but his wife, Elizabeth, persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist  "Bertie", as he is called by his family, believes the first session is not going well, but Lionel, who insists that all his patients address him as such, has his potential client recite Hamlet's "To be, or not to be" soliloquy while hearing classical music played on a pair of headphones  Bertie is frustrated at the experiment but Lionel gives him the acetate recording that he has made of the reading as a souvenir 
After Bertie's father, King George V, broadcasts his 1934 Royal Christmas Message, he explains to Bertie that the wireless will play a significant part in the role of the royal family, allowing them to enter the homes of the people, and that Bertie's brother's neglect of his responsibilities make training in it necessary  The attempt at reading the message himself is a failure, but that night Bertie plays the recording Lionel gave him and is astonished at the lack of stutter there  He therefore returns for daily treatments to overcome the physical and psychological roots of his speaking difficulty 
George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII  A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson  Edward, as the supreme governor of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive 
At an unscheduled session, Bertie expresses his frustration that, while his speech has improved when speaking to most people, he still stammers when talking to David, at the same time revealing the extent of Edward VIII's folly with Simpson  When Lionel insists that Bertie himself could make a good king, Bertie accuses Lionel of speaking treason and quits Lionel in anger  Bertie must now face the Accession Council without any assistance 
Bertie and Lionel only come together again after King Edward decides to abdicate in order to marry  Bertie, urged ahead by Prime Minister Stanley Baldwin, ascends the throne as King George VI and visits Lionel's home with his wife before their coronation, much to the surprise of Mrs  Logue when she comes upon Queen Elizabeth having tea at her dining room table  This is the first time that she learns who her husband's patient has been 
Bertie and Lionel's relationship is questioned by the King's advisors during the preparations for his coronation in Westminster Abbey  The archbishop of Canterbury, Cosmo Gordon Lang, brings to light that George never asked for advice from his advisors about his treatment and that Lionel has never had formal training   Lionel explains to an outraged Bertie that at the time he started with speech defects there were no formal qualifications and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience  Bertie remains unconvinced until provoked to protest at Lionel's disrespect for King Edward's Chair and the Stone of Scone  Only at this pivotal moment, after realising he has just expressed himself without impairment, is Bertie able to rehearse with Lionel and complete the ceremony 
As the new king, Bertie is in a crisis when he must broadcast to Britain and the Empire following the declaration of war on Nazi Germany in 1939  Lionel is summoned to Buckingham Palace to prepare the king for his speech  Knowing the challenge that lies before him, Lang, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support  The King and Logue are then left in the broadcasting room  He delivers his speech with Logue conducting him, but by the end he is speaking freely  Preparing to leave the room for the congratulations of those present, Logue mentions to the King that he still has difficulty enunciating w and the King jokes back, "I had to throw in a few so they'd know it was me "
As the Royal Family step onto the palace balcony and are applauded by the crowd, a title card explains that Logue, who received the Royal Victorian Order for service to the Crown, was always present at King George VI's speeches during the war and that they remained friends until the King's death from lung cancer in 1952 

Cast
Colin Firth as King George VI
Geoffrey Rush as Lionel Logue
Helena Bonham Carter as Queen Elizabeth
Guy Pearce as King Edward VIII
Timothy Spall as Winston Churchill
Derek Jacobi as Cosmo Gordon Lang
Jennifer Ehle as Myrtle Logue
Michael Gambon as King George V
Freya Wilson as Princess Elizabeth
Ramona Marquez as Princess Margaret
Patrick Ryecart as Lord Wigram
Simon Chandler as Lord Dawson of Penn
Claire Bloom as Queen Mary
Orlando Wells as Prince George, Duke of Kent
Tim Downie as Prince Henry, Duke of Gloucester
Eve Best as Wallis Simpson
Anthony Andrews as Stanley Baldwin
Andrew Havill as Robert Wood

Production
Development
As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust  King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity " When Seidler became an adult, he resolved to write about King George VI  During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue  Eventually Seidler contacted Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission  She asked him not to do so in her lifetime, and Seidler halted the project 

The Queen Mother died in 2002  Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer  His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition  Thus prepared, Seidler imagined the sessions  He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique"  She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue  After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script  Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen  Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother  She called her son and said, "I've found your next project" Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne  Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further  Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger " Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending     If you hear the real speech, he's clearly coping with his stammer  But it's not a perfect performance  He's managing it "

The production team learned – some nine weeks prior to the start of filming – of a diary containing Logue's original notes on his treatment of the Duke, which was in the process of being turned into a non-fiction book by Logue's grandson Mark and journalist Peter Conradi, titled The King's Speech: How One Man Saved the British Monarchy  Striking an agreement with the authors, they then went back and re-worked the script to reflect what was in the notes and the book  Some lines, such as at the climax, when Logue smiles and says, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes  Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision in the opening scene to dress the Duke in an overcoat rather than regal finery Seidler thought Paul Bettany would be a good choice to play King George VI, while Hooper preferred Hugh Grant, though both actors declined the offer  Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role The UK Film Council awarded the production £1 million in June 2009  Filming began in December 2009, and lasted 39 days  Most was shot in the three weeks before Christmas because Rush would be performing in a play in January  The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend 

Location and design
The film depicted both regal opulence and scruffy, depression-era London  On 25 November 2009 the crew took over the Pullens buildings in Southwark and gave it the appearance of a street from 1930s London  Large advertisements for (among other things) Bovril and fascism were added to walls, and grit and grime to streets and buildings  To reproduce London smog of the time – thick enough that cars might need guidance from someone walking ahead – so much artificial smoke was used that fire alarms were triggered On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey  The production had asked for permission to film in the Abbey but were denied due to the demands of tourism  Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location  Its size allowed them to build sets showing not just the coronation, but the preparations before it Lancaster House, an opulent government-owned period house in London, was rented (at £20,000 per day) for interior scenes of Buckingham Palace  The 1936 Accession Council at St  James's Palace, where George VI swore an oath, was filmed in the Livery Hall of Drapers' Hall  The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture The crew investigated Logue's former consultation rooms, but they were too small to film in  Instead, they found a high, vaulted room not far away in 33 Portland Place  Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room  In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived in", unlike other period houses in London  The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama 

The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC  Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925  The crew had access to the stadium only at 10 pm, after a football game  They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes  Live actors were interspersed to give the impression of a crowd  Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects Other locations include Cumberland Lodge, Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room  The final cut of the film was completed on 31 August 2010 

Dialogue
In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film  His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film In addition, Firth watched archive footage of the King speaking  In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer  I think a less courageous director than Tom [Hooper] – and indeed a less courageous actor than Colin [Firth] – might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did " In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when it's quite infectious  You find yourself doing it and if I start thinking about it the worse it gets  If nothing else it's an insight into what it feels like "

Music
The film's original music is composed by Alexandre Desplat, which consisted of a sparse arrangement of strings and piano  The London Symphony Orchestra, conducted by Terry Davies, limited orchestral score by only adding oboe and harp in one cut, to convey the character of the king, while also using single note to represent the stickiness of the King's speech  Old microphones extracted from the EMI archives, specially made for the royal family, had been used to record the score, to create a dated sound The use of the 2nd movement (Allegretto) of Beethoven's 7th Symphony, played during the broadcast of the 1939 radio speech from the film's climax, was played as a temp track added by editor Tariq Anwar  Desplat did not want to change the track and defended Anwar's suggestion, as the theme has a universal quality  Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event  The score album also featured Wolfgang Amadeus Mozart's Marriage of Figaro overture  The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award  The score also won a Grammy at the 54th Grammy Awards 

Visual style
Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction  He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort  For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician  In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used  Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context" Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas  Hooper used wide shots to capture the actors' body language, particularly that of Geoffrey Rush, who trained at L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body"  Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes  The approach carried over to Firth as well  In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?" Martin Filler praised the "low-wattage" cinematography of Danny Cohen's, as making everything look like it has been "steeped in strong tea" At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview  Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18 inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances," he said Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance  To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton 

Historical accuracy
Several events in the film did not happen, or were exaggerated  The visual blog Information is Beautiful deduced that, while taking creative licence into account, the film was 74 4% accurate when compared to real-life events, summarising: "Some nips and tucks of the historical record, but mostly an accurate retelling of a unique friendship" 

Relationship with Lionel Logue
The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment  The Duke of York actually began working with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years as suggested by the film  When he was dispatched to Australia to open their new Parliament House in Canberra in 1927, the Duke gave numerous speeches during the journey and performed well despite Logue not accompanying him on the trip  He wrote to Logue from the Caribbean, "You remember my fear of 'The King'  I give it every evening at dinner on board  This does not worry me any more " Of his speech opening Parliament it was observed that he spoke "resonantly and without stuttering" Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'"  Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect 

Politics
Christopher Hitchens and Isaac Chotiner have criticised the film for failing to indict the appeasement of the era or to portray Edward VIII's sympathetic attitude to Nazi Germany   The Guardian also corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top"  Stanley's grandson, Earl Baldwin, was particularly unhappy with this film due to its factual distortions and portrayal of his grandfather as a dithering fool who misunderstood Hitler's intentions Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary  The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare are "Hitchens and Chotiner also challenged the film's portrayal of Winston Churchill's role in the abdication crisis  It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as supportive of the Duke of York and not opposed to the abdication  Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy  In a smart, well-made film "would the true story not have been fractionally more interesting for the audience?", he wondered 

Realism
Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting  Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German  Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of view – Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace " However, Roberts praises the film overall as a sympathetic portrayal of the King's "quiet, unassuming heroism [   ] The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie's occasional factual bêtises should not detract from that "

Release
Cinema release
The film had its world première on 6 September 2010 at the Telluride Film Festival in the United States  It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award  The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash"  Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile" The film was distributed by Transmission Films in Australia and by Momentum Pictures in the United Kingdom  The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America  The film was released in France on 2 February 2011 by Wild Bunch under the title Le discours d'un roi 

Ratings controversy
The film was initially given a 15 certificate by the British Board of Film Classification, due to a minute-long scene where Logue encourages the King to swear, which he could do without stuttering  At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have "12A" ratings, despite their graphic torture scenes  Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult  Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult  In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers "In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience  Hooper refused to cut the film, though he considered covering the swear words with bleeps  Helena Bonham Carter also defended the film, saying, "[The film] is not violent  It's full of humanity and wit  [It's] for people not with just a speech impairment, but who have got confidence [doubts] " After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context  "The scene serves a purpose", Firth states  An alternative version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one  The PG-13 version of this film is not available on DVD and Blu-ray 

Reception
Box office
In Great Britain and Ireland, the film was the highest earning film on its opening weekend  It took in £3,510,000 from 395 cinemas  The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned £1 5 million less  The King's Speech continued a "stunning three weeks" atop the UK Box office, and earned over £3 million for four consecutive weekends, the first film to do so since Toy Story 3 (2010)  After five weeks on UK release, it was hailed as the most successful independent British film ever In the United States The King's Speech opened with $355,450 (£220,000) in four cinemas  It holds the record for the highest per-cinema gross of 2010  It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011  It eventually made $138 million in North America overall In Australia The King's Speech made more than A$6,281,686 (£4 million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia  The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular  "It's our No 1 for all the period, all throughout the country      I think this is more successful than Slumdog Millionaire and a more uplifting film  It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas "Of the film's net profit, estimated to amount to $30–40 million (£20–25 million) from the cinema release alone, roughly 20% was to be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who were to receive their bonuses before the other stakeholders  The remaining profit was to be split equally between the producers and the equity investors  The UK Film Council invested £1 million of public funds from the United Kingdom lottery into the film  In March 2011 Variety estimated that the return could be between fifteen and twenty times that  The Council's merger into the British Film Institute means that the profits were to be returned to that body 

Critical response
The King's Speech has received widespread critical acclaim, with Firth's performance receiving universal praise  Bonham Carter and Rush were also widely praised with both going on to win BAFTAs and receiving Academy Award nominations  Review aggregator Rotten Tomatoes gives the film a score of 94% based on reviews from 297 critics; the film's average rating was calculated as 8 60/10  The website's critical consensus reads: "Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama " Metacritic gave the film a weighted score of 88/100, based on 41 critical reviews, which indicates "universal acclaim"  CinemaScore reported that audiences gave the film a rare "A+" grade  Empire gave the film five stars out of five, commenting, "You'll be lost for words " Lisa Kennedy of The Denver Post gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king – and the rest of us", she said  Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one " Peter Bradshaw of The Guardian gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie     is a massively confident crowd-pleaser "Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions  "With their volume turned up, the appealing, impeccably professional Mr  Firth and Mr  Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote  The Daily Telegraph called Guy Pearce's performance as Edward VIII "formidable     with glamour, charisma and utter self-absorption"  Empire said he played the role well as "a flash harry flinty enough to shed a nation for a wife " The New York Times thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes"  Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent  Richard Corliss of Time magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010 

Allociné, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews  Le Monde, which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter  It said that, though the film swept British appeasement under the carpet, it was still enjoyable Slovenian Marxist philosopher and cultural critic Slavoj Žižek has incorporated the film into his critique of ideology by describing it as "reactionary," interpreting the king's stutter as evidence that he "displays a minimum of common sense, experiencing the stupidity of seriously accepting that one is king by divine will" and claiming that "the task of the Australian voice-coach is to render him stupid enough to accept his being a king as his natural property " Žižek thus interprets the king's stutter as a case of what is referred to in Lacanian psychoanalysis as "symbolic castration "Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010  The Sun newspaper reported she had watched the film in a private screening at Sandringham House  A palace source described her reaction as being "touched by a moving portrayal of her father"  Seidler called the reports "the highest honour" the film could receive 

Depiction of stuttering
The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis " It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate " The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release Disfluency advocate Jonah Lehrer called the film "an inspiring tale" and praised its portrayal of the troubles suffered by Firth's character 
 However, Lehrer and other advocates criticized the film's depiction of stuttering as a result of emotional repression and childhood trauma  The treatment performed by Rush's character also drew criticism  Lehrer did admit it was a necessary artistic license: "[the film] would have been a rather tedious piece of entertainment if the climactic scene involved Logue telling the monarch that his primary motor cortex was to blame "Science journalist Jeremy Hsu wrote that the film "mainly succeeds by tackling the social stigma that surrounds stuttering " However, similar to Lehrer, he disapproved that it perpetuated myths about the condition, namely its relationship with childhood trauma and overly strict parenting Columnist Jane Ahlin praised the film as it "brings out of the shadows a common problem figuring into the lives of children and adults from every culture around the world " At the same time, she stated, "heartwarming though the movie The King's Speech is, as someone who married a stutterer and is the mother of a stutterer, I'm not sure it does anything to put myths about stuttering to rest " She criticized the depiction of family and social dynamics as causes of the condition, as well as the portrayal of stutterering as connected to emotional or psychological problems 

Awards and nominations
At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler)  The film had received 12 Oscar nominations, more than any other film in that year  Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scène: Art Direction and Costumes At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat  The film had been nominated for 14 BAFTAs, more than any other film  At the 68th Golden Globe Awards, Firth won for Best Actor   The film won no other Golden Globes, despite earning seven nominations, more than any other film At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening  Hooper won the Directors Guild of America Awards 2010 for Best Director  The film won the Darryl F  Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010 The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival, Best British Independent Film at the 2010 British Independent Film Awards, and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science) 

See also
Bertie & Elizabeth (2002), a television film which also addresses the stammering of the king (played by James Wilby)  It was a co-production of PBS (Masterpiece Theatre) and Carlton Television 
Passage 3:
Gunhilde
Gunhilde (or Gunnhild) (died 13 November 1002) is said to have been the sister of Sweyn Forkbeard, King of Denmark, and the daughter of Harald Bluetooth  She was married to Pallig, a Dane who served the King of England, Æthelred the Unready, as ealdorman of Devonshire She is supposed to have been a hostage in England when she was killed in the St  Brice's Day massacre, ordered by Æthelred  Pallig is reported alternatively to have been killed in the massacre or to have provoked the massacre by deserting Æthelred's service Historians are divided about the strength of the evidence that she was Sweyn Forkbeard's sister  Ryan Lavelle is sceptical of the reliability of the later medieval sources, such as the Chronicle of John of Wallingford, which mention her  However, Frank Stenton described the claim as a "well recorded tradition", and considered that a desire to avenge her death was probably a principal motive for Sweyn's invasion of England in 1003, leading to the eventual conquest of England by his son Cnut 
Passage 4:
George VI
George VI (Albert Frederick Arthur George; 14 December 1895 – 6 February 1952) was King of the United Kingdom and the Dominions of the British Commonwealth from 11 December 1936 until his death on 6 February 1952  He was also the last Emperor of India from 1936 until the British Raj was dissolved in August 1947, and the first Head of the Commonwealth following the London Declaration of 1949 
The future George VI was born in the reign of his great-grandmother Victoria; he was named Albert at birth after his great-grandfather Albert, Prince Consort, and was known as "Bertie" to his family and close friends  His father ascended the throne as George V in 1910  As the second son of the king, Albert was not expected to inherit the throne  He spent his early life in the shadow of his elder brother, Prince Edward, the heir apparent  Albert attended naval college as a teenager and served in the Royal Navy and Royal Air Force during the First World War  In 1920, he was made Duke of York  He married Lady Elizabeth Bowes-Lyon in 1923, and they had two daughters, Elizabeth and Margaret  In the mid-1920s, he engaged speech therapist Lionel Logue to treat his stutter, which he learned to manage to some degree  His elder brother ascended the throne as Edward VIII after their father died in 1936, but Edward abdicated later that year to marry the twice-divorced American socialite Wallis Simpson  As heir presumptive to Edward VIII, Albert thereby became the third monarch of the House of Windsor, taking the regnal name George VI 
In September 1939, the British Empire and most Commonwealth countries—but not Ireland—declared war on Nazi Germany  War with the Kingdom of Italy and the Empire of Japan followed in 1940 and 1941, respectively  George VI was seen as sharing the hardships of the common people and his popularity soared  Buckingham Palace was bombed during the Blitz while the King and Queen were there, and his younger brother the Duke of Kent was killed on active service  George became known as a symbol of British determination to win the war  Britain and its allies were victorious in 1945, but the British Empire declined  Ireland had largely broken away, followed by the independence of India and Pakistan in 1947  George relinquished the title of Emperor of India in June 1948 and instead adopted the new title of Head of the Commonwealth  He was beset by smoking-related health problems in the later years of his reign and died at Sandringham House, aged 56, of a coronary thrombosis in 1952  He was succeeded by his elder daughter, Elizabeth II 

Early life
Albert was born at York Cottage, on the Sandringham Estate in Norfolk, during the reign of his great-grandmother Queen Victoria  His father was Prince George, Duke of York (later King George V), the second and only surviving son of the Prince and Princess of Wales (later King Edward VII and Queen Alexandra)  His mother, the Duchess of York (later Queen Mary), was the eldest child and only daughter of Francis, Duke of Teck, and Princess Mary Adelaide, Duchess of Teck  His birthday, 14 December 1895, was the 34th anniversary of the death of his great-grandfather Albert, Prince Consort  Uncertain of how the Prince Consort's widow, Queen Victoria, would take the news of the birth, the Prince of Wales wrote to the Duke of York that the Queen had been "rather distressed"  Two days later, he wrote again: "I really think it would gratify her if you yourself proposed the name Albert to her "The Queen was mollified by the proposal to name the new baby Albert, and wrote to the Duchess of York: "I am all impatience to see the new one, born on such a sad day but rather more dear to me, especially as he will be called by that dear name which is a byword for all that is great and good " Consequently, he was baptised "Albert Frederick Arthur George" at St Mary Magdalene Church, Sandringham on 17 February 1896  Formally he was His Highness Prince Albert of York; within the royal family he was known informally as "Bertie"  The Duchess of Teck did not like the first name her grandson had been given, and she wrote prophetically that she hoped the last name "may supplant the less favoured one"  Albert was fourth in line to the throne at birth, after his grandfather, father and elder brother, Edward 
Albert was ill often and was described as "easily frightened and somewhat prone to tears"  His parents were generally removed from their children's day-to-day upbringing, as was the norm in aristocratic families of that era  He had a stutter that lasted for many years  Although naturally left-handed, he was forced to write with his right hand, as was common practice at the time  He had chronic stomach problems as well as knock knees, for which he was forced to wear painful corrective splints Queen Victoria died on 22 January 1901, and the Prince of Wales succeeded her as King Edward VII  Prince Albert moved up to third in line to the throne, after his father and elder brother 

Military career and education
Beginning in 1909, Albert attended the Royal Naval College, Osborne, as a naval cadet  In 1911 he came bottom of the class in the final examination, but despite this he progressed to the Royal Naval College, Dartmouth  When his grandfather Edward VII died in 1910, his father became King George V  Prince Edward became Prince of Wales, with Albert second in line to the throne Albert spent the first six months of 1913 on the training ship HMS Cumberland in the West Indies and on the east coast of Canada  He was rated as a midshipman aboard HMS Collingwood on 15 September 1913  He spent three months in the Mediterranean, but never overcame his seasickness  Three weeks after the outbreak of World War I he was medically evacuated from the ship to Aberdeen, where his appendix was removed by Sir John Marnoch  He was mentioned in dispatches for his actions as a turret officer aboard Collingwood in the Battle of Jutland (31 May – 1 June 1916), the great naval battle of the war  He did not see further combat, largely because of ill health caused by a duodenal ulcer, for which he had an operation in November 1917 In February 1918 Albert was appointed Officer in Charge of Boys at the Royal Naval Air Service's training establishment at Cranwell  With the establishment of the Royal Air Force Albert transferred from the Royal Navy to the Royal Air Force  He served as Officer Commanding Number 4 Squadron of the Boys' Wing at Cranwell until August 1918, before reporting for duty on the staff of the RAF's Cadet Brigade at St Leonards-on-Sea and then at Shorncliffe  He completed a fortnight's training and took command of a squadron on the Cadet Wing  He was the first member of the British royal family to be certified as a fully qualified pilot Albert wanted to serve on the Continent while the war was still in progress and welcomed a posting to General Trenchard's staff in France  On 23 October, he flew across the Channel to Autigny  For the closing weeks of the war, he served on the staff of the RAF's Independent Air Force at its headquarters in Nancy, France  Following the disbanding of the Independent Air Force in November 1918, he remained on the Continent for two months as an RAF staff officer until posted back to Britain  He accompanied King Albert I of Belgium on his triumphal re-entry into Brussels on 22 November  Prince Albert qualified as an RAF pilot on 31 July 1919 and was promoted to squadron leader the following day In October 1919, Albert went up to Trinity College, Cambridge, where he studied history, economics and civics for a year, with the historian R  V  Laurence as his "official mentor"  On 4 June 1920 his father created him Duke of York, Earl of Inverness and Baron Killarney  He began to take on more royal duties  He represented his father and toured coal mines, factories, and railyards  Through such visits he acquired the nickname of the "Industrial Prince"  His stutter, and his embarrassment over it, together with a tendency to shyness, caused him to appear less confident in public than his older brother, Edward  However, he was physically active and enjoyed playing tennis  He played at Wimbledon in the Men's Doubles with Louis Greig in 1926, losing in the first round  He developed an interest in working conditions, and was president of the Industrial Welfare Society  His series of annual summer camps for boys between 1921 and 1939 brought together boys from different social backgrounds 

Marriage
In a time when royalty were expected to marry fellow royalty, it was unusual that Albert had a great deal of freedom in choosing a prospective wife  An infatuation with the already-married Australian socialite Lady Loughborough came to an end in April 1920 when the King, with the promise of the dukedom of York, persuaded Albert to stop seeing her  That year, he met for the first time since childhood Lady Elizabeth Bowes-Lyon, the youngest daughter of the Earl and Countess of Strathmore  He became determined to marry her  Elizabeth rejected his proposal twice, in 1921 and 1922, reportedly because she was reluctant to make the sacrifices necessary to become a member of the royal family  In the words of Lady Strathmore, Albert would be "made or marred" by his choice of wife  After a protracted courtship, Elizabeth agreed to marry him Albert and Elizabeth were married on 26 April 1923 in Westminster Abbey  Albert's marriage to someone not of royal birth was considered a modernising gesture  The newly formed British Broadcasting Company wished to record and broadcast the event on radio, but the Abbey Chapter vetoed the idea (although the Dean, Herbert Edward Ryle, was in favour) 

From December 1924 to April 1925, the Duke and Duchess toured Kenya, Uganda, and the Sudan, travelling via the Suez Canal and Aden  During the trip, they both went big-game hunting Because of his stutter, Albert dreaded public speaking  After his closing speech at the British Empire Exhibition at Wembley on 31 October 1925, one which was an ordeal for both him and his listeners, he began to see Lionel Logue, an Australian-born speech therapist  The Duke and Logue practised breathing exercises, and the Duchess rehearsed with him patiently  Subsequently, he was able to speak with less hesitation  With his delivery improved, Albert opened the new Parliament House in Canberra, Australia, during a tour of the empire with the Duchess in 1927  Their journey by sea to Australia, New Zealand and Fiji took them via Jamaica, where Albert played doubles tennis partnered with a black man, Bertrand Clark, which was unusual at the time and taken locally as a display of equality between races The Duke and Duchess had two children: Elizabeth (called "Lilibet" by the family, and the future Elizabeth II) who was born in 1926, and Margaret who was born in 1930  The close family lived at White Lodge, Richmond Park, and then at 145 Piccadilly, rather than one of the royal palaces  In 1931, the Canadian prime minister, R  B  Bennett, considered Albert for Governor General of Canada—a proposal that King George V rejected on the advice of the Secretary of State for Dominion Affairs, J  H  Thomas 

Reign
Reluctant king
King George V had severe reservations about Prince Edward, saying "After I am dead, the boy will ruin himself in twelve months" and "I pray God that my eldest son will never marry and that nothing will come between Bertie and Lilibet and the throne " On 20 January 1936, George V died and Edward ascended the throne as King Edward VIII  In the Vigil of the Princes, Prince Albert and his three brothers (the new king, Prince Henry, Duke of Gloucester, and Prince George, Duke of Kent) took a shift standing guard over their father's body as it lay in state, in a closed casket, in Westminster Hall 
As Edward was unmarried and had no children, Albert was the heir presumptive to the throne  Less than a year later, on 11 December 1936, Edward abdicated in order to marry Wallis Simpson, who was divorced from her first husband and divorcing her second  Edward had been advised by British prime minister Stanley Baldwin that he could not remain king and marry a divorced woman with two living ex-husbands  He abdicated and Albert, though he had been reluctant to accept the throne, became king  The day before the abdication, Albert went to London to see his mother, Queen Mary  He wrote in his diary, "When I told her what had happened, I broke down and sobbed like a child "On the day of Edward's abdication, the Oireachtas, the parliament of the Irish Free State, removed all direct mention of the monarch from the Irish constitution  The next day, it passed the External Relations Act, which gave the monarch limited authority (strictly on the advice of the government) to appoint diplomatic representatives for Ireland and to be involved in the making of foreign treaties  The two acts made the Irish Free State a republic in essence without removing its links to the Commonwealth Across Britain, gossip spread that Albert was physically and psychologically incapable of being king  No evidence has been found to support the contemporaneous rumour that the government considered bypassing him, his children and his brother Prince Henry, in favour of their younger brother Prince George, Duke of Kent  This seems to have been suggested on the grounds that Prince George was at that time the only brother with a son 

Early reign
Albert assumed the regnal name "George VI" to emphasise continuity with his father and restore confidence in the monarchy  The beginning of George VI's reign was taken up by questions surrounding his predecessor and brother, whose titles, style and position were uncertain  He had been introduced as "His Royal Highness Prince Edward" for the abdication broadcast, but George VI felt that by abdicating and renouncing the succession, Edward had lost the right to bear royal titles, including "Royal Highness"  In settling the issue, George's first act as king was to confer upon his brother the title "Duke of Windsor" with the style "Royal Highness", but the letters patent creating the dukedom prevented any wife or children from bearing royal styles  George VI was forced to buy from Edward the royal residences of Balmoral Castle and Sandringham House, as these were private properties and did not pass to him automatically  Three days after his accession, on his 41st birthday, he invested his wife, the new queen consort, with the Order of the Garter 

George VI's coronation at Westminster Abbey took place on 12 May 1937, the date previously intended for Edward's coronation  In a break with tradition, his mother Queen Mary attended the ceremony in a show of support for her son  There was no Durbar held in Delhi for George VI, as had occurred for his father, as the cost would have been a burden to the Government of India  Rising Indian nationalism made the welcome that the royal party would have received likely to be muted at best, and a prolonged absence from Britain would have been undesirable in the tense period before the Second World War  Two overseas tours were undertaken, to France and to North America, both of which promised greater strategic advantages in the event of war The growing likelihood of war in Europe dominated the early reign of George VI  The King was constitutionally bound to support British prime minister Neville Chamberlain's appeasement of Hitler  When the King and Queen greeted Chamberlain on his return from negotiating the Munich Agreement in 1938, they invited him to appear on the balcony of Buckingham Palace with them  This public association of the monarchy with a politician was exceptional, as balcony appearances were traditionally restricted to the royal family  While broadly popular among the general public, Chamberlain's policy towards Hitler was the subject of some opposition in the House of Commons, which led historian John Grigg to describe George's behaviour in associating himself so prominently with a politician as "the most unconstitutional act by a British sovereign in the present century" 

In May and June 1939, the King and Queen toured Canada and the United States; it was the first visit of a reigning British monarch to North America, although George had been to Canada prior to his accession  From Ottawa, George and Elizabeth were accompanied by Canadian prime minister Mackenzie King, to present themselves in North America as King and Queen of Canada  Both Mackenzie King and the Canadian governor general, Lord Tweedsmuir, hoped that George's presence in Canada would demonstrate the principles of the Statute of Westminster 1931, which gave full sovereignty to the British Dominions  On 19 May, George personally accepted and approved the Letter of Credence of the new U S  ambassador to Canada, Daniel Calhoun Roper; gave royal assent to nine parliamentary bills; and ratified two   international treaties with the Great Seal of Canada  The official royal tour historian, Gustave Lanctot, wrote "the Statute of Westminster had assumed full reality" and George gave a speech emphasising "the free and equal association of the nations of the Commonwealth" The trip was intended to soften the strong isolationist tendencies among the North American public with regard to the developing tensions in Europe  Although the aim of the tour was mainly political, to shore up Atlantic support for the United Kingdom in any future war, the King and Queen were enthusiastically received by the public  The fear that George would be compared unfavourably to his predecessor was dispelled  They visited the 1939 New York World's Fair and stayed with President Franklin D  Roosevelt at the White House and at his private estate at Hyde Park, New York  A strong bond of friendship was forged between Roosevelt and the royal couple during the tour, which had major significance in the relations between the United States and the United Kingdom through the ensuing war years 

Second World War
Following the German invasion of Poland in September 1939, the United Kingdom and the self-governing Dominions other than Ireland declared war on Nazi Germany  The King and Queen resolved to stay in London, despite German bombing raids  They officially stayed in Buckingham Palace throughout the war, although they usually spent nights at Windsor Castle  The first night of the Blitz on London, on 7 September 1940, killed about one thousand civilians, mostly in the East End  On 13 September, the couple narrowly avoided death when two German bombs exploded in a courtyard at Buckingham Palace while they were there  In defiance, Elizabeth declared: "I am glad we have been bombed  It makes me feel we can look the East End in the face " The royal family were portrayed as sharing the same dangers and deprivations as the rest of the country  They were subject to British rationing restrictions, and U S  First Lady Eleanor Roosevelt remarked on the rationed food served and the limited bathwater that was permitted during a stay at the unheated and boarded-up Palace  In August 1942, the King's brother, the Duke of Kent, was killed on active service 

In 1940, Winston Churchill replaced Neville Chamberlain as prime minister, though personally George would have preferred to appoint Lord Halifax  After the King's initial dismay over Churchill's appointment of Lord Beaverbrook to the Cabinet, he and Churchill developed "the closest personal relationship in modern British history between a monarch and a Prime Minister"  Every Tuesday for four and a half years from September 1940, the two men met privately for lunch to discuss the war in secret and with frankness  George related much of what the two discussed in his diary, which is the only extant first-hand account of these conversations Throughout the war, George and Elizabeth provided morale-boosting visits throughout the United Kingdom, visiting bomb sites, munitions factories, and troops  George visited military forces abroad in France in December 1939, North Africa and Malta in June 1943, Normandy in June 1944, southern Italy in July 1944, and the Low Countries in October 1944  Their high public profile and apparently indefatigable determination secured their place as symbols of national resistance  At a social function in 1944, the Chief of the Imperial General Staff, Field Marshal Alan Brooke, revealed that every time he met Field Marshal Bernard Montgomery, he thought Montgomery was after his job  George replied: "You should worry, when I meet him, I always think he's after mine!"In 1945, crowds shouted "We want the King!" in front of Buckingham Palace during the Victory in Europe Day celebrations  In an echo of Chamberlain's appearance, the King invited Churchill to appear with the royal family on the balcony to public acclaim  In January 1946, George addressed the United Nations at its first assembly, which was held in London, and reaffirmed "our faith in the equal rights of men and women and of nations great and small" 

Empire to Commonwealth
George VI's reign saw the acceleration of the dissolution of the British Empire  The Statute of Westminster 1931 had already acknowledged the evolution of the Dominions into separate sovereign states  The process of transformation from an empire to a voluntary association of independent states, known as the Commonwealth, gathered pace after the Second World War  During the ministry of Clement Attlee, British India became the two independent Dominions of India and Pakistan in August 1947  George relinquished the title of Emperor of India, and became King of India and King of Pakistan instead  In late April 1949, the Commonwealth leaders issued the London Declaration, which laid the foundation of the modern Commonwealth and recognised George as Head of the Commonwealth  In January 1950, he ceased to be King of India when it became a republic  He remained King of Pakistan until his death  Other countries left the Commonwealth, such as Burma in January 1948, Palestine (divided between Israel and the Arab states) in May 1948 and the Republic of Ireland in 1949 In 1947, George and his family toured southern Africa  The prime minister of the Union of South Africa, Jan Smuts, was facing an election and hoped to make political capital out of the visit  George was appalled, however, when instructed by the South African government to shake hands only with whites, and referred to his South African bodyguards as "the Gestapo"  Despite the tour, Smuts lost the election the following year, and the new government instituted a strict policy of racial segregation 

Illness and death
The stress of the war had taken its toll on George's health, made worse by his heavy smoking, and subsequent development of lung cancer among other ailments, including arteriosclerosis and Buerger's disease  A planned tour of Australia and New Zealand was postponed after George developed an arterial blockage in his right leg, which threatened the loss of the leg and was treated with a right lumbar sympathectomy in March 1949  His elder daughter and heir presumptive, Elizabeth, took on more royal duties as her father's health deteriorated  The delayed tour was re-organised, with Princess Elizabeth and her husband, Philip, Duke of Edinburgh, taking the place of the King and Queen 
George was well enough to open the Festival of Britain in May 1951, but on 4 June it was announced that he would need immediate and complete rest for the next four weeks, despite the arrival of Haakon VII of Norway the following afternoon for an official visit  On 23 September 1951, he underwent a surgical operation where his entire left lung was removed by Clement Price Thomas after a malignant tumour was found  In October 1951, Elizabeth and Philip went on a month-long tour of Canada; the trip had been delayed for a week due to George's illness  At the State Opening of Parliament in November, the Lord Chancellor, Lord Simonds, read the King's speech from the throne  The King's Christmas broadcast of 1951 was recorded in sections, and then edited together On 31 January 1952, despite advice from those close to him, George went to London Airport to see Elizabeth and Philip off on their tour to Australia via Kenya  It was his last public appearance  Six days later, at 07:30 GMT on the morning of 6 February, he was found dead in bed at Sandringham House in Norfolk  He had died in the night from a coronary thrombosis at the age of 56  His daughter flew back to Britain from Kenya as Queen Elizabeth II From 9 February George's coffin rested in St Mary Magdalene Church, Sandringham, before lying in state at Westminster Hall from 11 February  His funeral took place at St George's Chapel, Windsor Castle, on the 15th  He was interred initially in the Royal Vault until he was transferred to the King George VI Memorial Chapel inside St George's on 26 March 1969  In 2002, fifty years after his death, the remains of his widow, Queen Elizabeth The Queen Mother, and the ashes of his younger daughter, Princess Margaret, who both died that year, were interred in the chapel alongside him  In 2022, the remains of Queen Elizabeth II and her husband, Prince Philip, were also interred in the chapel 

Legacy
In the words of Labour Member of Parliament (MP) George Hardie, the abdication crisis of 1936 did "more for republicanism than fifty years of propaganda"  George VI wrote to his brother Edward that in the aftermath of the abdication he had reluctantly assumed "a rocking throne" and tried "to make it steady again"  He became king at a point when public faith in the monarchy was at a low ebb  During his reign, his people endured the hardships of war, and imperial power was eroded  However, as a dutiful family man and by showing personal courage, he succeeded in restoring the popularity of the monarchy The George Cross and the George Medal were founded at the King's suggestion during the Second World War to recognise acts of exceptional civilian bravery  He bestowed the George Cross on the entire "island fortress of Malta" in 1943  He was posthumously awarded the Order of Liberation by the French government in 1960, one of only two people (the other being Churchill in 1958) to be awarded the medal after 1946 Colin Firth won an Academy Award for Best Actor for his performance as George VI in the 2010 film The King's Speech 

Titles, honours and arms
As Duke of York, Albert bore the royal arms of the United Kingdom differenced with a label of three points argent, the centre point bearing an anchor azure—a difference earlier awarded to his father, George V, when he was Duke of York, and then later awarded to his grandson Prince Andrew, Duke of York  As king, he bore the royal arms undifferenced 

Issue
Ancestry
Notes
Passage 5:
Raymond Márquez
Raymond Márquez (born 1930), a k a  "Spanish Raymond", is an American criminal  He was the "king" of the illegal numbers racket in Harlem from the 1950s until his retirement in 2001 

Early years
Márquez's parents moved from Puerto Rico to New York City in the late 1920s and settled in the Harlem section of Manhattan  He was born and raised in Harlem; there he also received his primary and secondary education  His father was able to establish a grocery store; however, the family economic situation was not a good one and when Márquez graduated from Textile High School in 1947, at the age of 17, his parents were unable to send him to college 

Harlem numbers racket and legal battles
In 1947, Márquez looked upon people who were prosperous, well dressed and involved in numbers activities as his role models  He began his career in the Harlem numbers racket as a pickup boy  As a pick up boy, he would go around Harlem, gathering the betting slips from the runners  The runners are those who solicited the wagers from the betting customers  Márquez would then turn in the slips to a regional controller and eventually the listed slips would end up at the headquarters of the gambling organization, known as a bank  Márquez branched out for himself within a year and gained a reputation for paying winning customers promptly Márquez had few legal scrapes during his early years  By 1958, law enforcement authorities publicly identified him as an underworld kingpin  and that is when an investigator from the New York Police Department (NYPD), nicknamed him "Spanish Raymond", a moniker which has stood since then  Also in 1958, Márquez was accused in a killing related to his gambling activities  A grand jury failed to indict him for the murder  Márquez acknowledged bribing the police in the 1950s and 1960s to prevent raids on his illicit network  Márquez also was believed to have paid a percentage of his profits to Mafia boss Anthony "Fat Tony" Salerno  Márquez denied that he did business with the Mafia, and said that while he was friends with Salerno he was not a business partner 

First conviction
In 1969, Márquez was arrested by the FBI on Federal gambling and extortion charges  He was convicted and sentenced to concurrent terms of three and five years imprisonment  He served a total of five years from 1970 to 1975  In 1975  he was released and continued in his former activities  This was during the post Knapp Commission era in which the NYPD was the focus of a scandal arising from pervasive corruption and the crackdown on the numbers racket was sidelined due to a moratorium on numbers gambling resulting from concerns that systemic corruption of the NYPD would continue to flourish  Protection payoffs to the police were no longer necessary Two years after his release from prison, in 1977, Márquez was briefly kidnapped, and was freed after payment of $8,100 in jewelry as ransom by his wife  He was found in the trunk of his car in Flushing, Queens  Márquez was identified in The New York Times as allegedly running a $25 million a year numbers racket Márquez received attention in the late 1970s, when a New York State Supreme Court justice, Andrew Tyler, was convicted of perjury for allegedly lying about a meeting with Márquez in 1975  The conviction was overturned in 1978 

Controversial investments
In April 1994, he was arrested on state gambling charges  Prosecutors claimed that he had amassed a small fortune by illegal means and that therefore said fortune should be confiscated  The indictment led to a legal battle over attempts by city authorities to seize $6 5 million from him in unpaid taxes from wealth that they say was generated by illegal activities from 1990 to 1993  The prosecutors contended that Márquez and his organization handled about $30 million a year in wagers that were made at 41 parlors and that his organization faxed the reported earnings to his wife's yacht  His wife, Alice, also pleaded guilty to a gambling charge Márquez claimed that his wife had accumulated a fortune, including three motels, a 63-foot yacht and a home in Great Neck, New York, through legitimate investments  It was later shown that the home, the yacht and motels had all been acquired prior to 1990 In 1995, Márquez was indicted on 221 counts of running a criminal enterprise  The charges were reduced to two counts, a "C" felony for attempted enterprise corruption and "E" felony for promoting gambling 

Dramatic arrests
On January 13, 1995, 500 NYPD police officers raided 69 locations, including nearly a dozen money banks, which were allegedly under the Márquez family's control  Police arrested 75 employees on felony gambling charges, confiscated over $100,000 in cash, and seized over a dozen keys to safety deposit boxes According to a law enforcement official, the operation was managed by his two nephews, Peter and Robert Márquez Jr , grossed between $25 and $30 million per year, and was headquartered in a row of four contiguous buildings on St  Nicholas Avenue and 113th Street which were connected by a series of doors, tunnels and trapdoors  Robert and Peter Márquez were arrested, along with their sister, Christine, and father Fernando 

An ill-advised plea bargain
In April 1996, Márquez pleaded guilty after making an agreement with the District Attorney's office to forfeit $1 million and to serve a 90-day jail sentence with four years and nine months of probation However, it was discovered by the Appeals Bureau at the D A 's office that a split sentence with a "C" felony was reserved only for those with a narcotics conviction, thus making the deal invalid  Márquez's lawyer sought to withdraw the guilty plea, which was denied by the court  Márquez was sentenced to five years' probation and a $1 million fine In 1998, Márquez and three associates were indicted on 52 counts and charged with running a criminal organization, in the culmination of a year-long NYPD investigation  The prosecution built a case on circumstantial evidence consisting of recordings of Márquez's cell-phone conversations and numerous surveillance videos and photographs of him driving by reputed gambling parlors  Márquez, who was represented by his son, claimed that he was doing research on his autobiography and that was the reason that he showed up on the surveillance tapes  He and three co-defendants were all acquitted after a three-month trial 

Lawsuit against New York City
In 2001, Márquez sued the City of New York for $15 million, claiming that he contracted bladder cancer caused by the secondhand cigarette smoke he inhaled at Rikers Island and the Tombs while confined there for 29 months in the 1990s  Márquez admitted he smoked for three decades before quitting in the 1970s  His son and lawyer, David Márquez, maintained that he had not inhaled deeply when he smoked, that the ventilation system at Rikers Island was inadequate, and that by the time he went to Rikers he hadn't smoked in 23 years  In 2008, a jury rejected the claim after a trial in New York State Supreme Court 

Retirement
Márquez announced his retirement in 2001, saying that he was fed up of being targeted by the office of Manhattan's District Attorney Robert M  Morgenthau  In an interview with the New York Daily News, Márquez described the numbers game as "a source of entertainment to the people" and professed his innocence to the various criminal charges that had been leveled against him over the years  Prosecutors responded that Márquez's "saint act doesn't ring true" and that numbers rackets enforce their control through violence Márquez runs and manages hotels in Commack, Long Island, and Fort Lauderdale, Florida  In 2011, Márquez was targeted by New York City authorities for owing $1 6 million in unincorporated business taxes, making him one of the city's top scofflaws  His son said Márquez would never pay it, saying that Márquez was judgement-proof 

See also
List of Puerto Ricans

Further reading
Gangsters of Harlem by Ron Chepesiuk; Publisher: Barricade Books; ISBN 1-56980-318-8; ISBN 978-1-56980-318-9
Context 2: Passage 1:
Cardinal (Catholic Church)
A cardinal (Latin: Sanctae Romanae Ecclesiae cardinalis, lit  'cardinal of the Holy Roman Church') is a senior member of the clergy of the Catholic Church  Cardinals are created by the pope and typically hold the title for life  Collectively, they constitute the College of Cardinals 
The most solemn responsibility of the cardinals is to elect a new pope in a conclave, almost always from among themselves (with a few historical exceptions), when the Holy See is vacant  During the period between a pope's death or resignation and the election of his successor, the day-to-day governance of the Holy See is in the hands of the College of Cardinals  The right to participate in a conclave is limited to cardinals who have not reached the age of 80 years by the day the vacancy occurs  In addition, cardinals collectively participate in papal consistories (which generally take place annually), in which matters of importance to the Church are considered and new cardinals may be created  Cardinals of working age are also appointed to roles overseeing dicasteries of the Roman Curia, the central administration of the Catholic Church 
Cardinals are drawn from a variety of backgrounds, being appointed as cardinals in addition to their existing roles within the Church  Most cardinals are bishops and archbishops leading dioceses and archdioceses around the world – often the most prominent diocese or archdiocese in their country  Others are titular bishops who are current or former officials within the Roman Curia (generally the heads of dicasteries and other bodies linked to the Curia)  A very small number are priests recognised by the pope for their service to the Church; as canon law requires them to be generally consecrated as bishops before they are made cardinals, but some are granted a papal dispensation  There are no strict criteria for elevation to the College of Cardinals  Since 1917, a potential cardinal must already be at least a priest, but laymen have been cardinals in the past  The selection is entirely up to the pope and tradition is his only guide 
As of 2 June 2023, there are 222 serving cardinals, of whom 121 are eligible to vote in a conclave to elect a new pope 

History
There is general disagreement about the origin of the term, but a chief consensus that "cardinalis" is etymologically from the Latin word cardo (meaning "pivot" or "hinge") was first used in late antiquity to designate a bishop or priest who was incorporated into a church for which he had not originally been ordained  In Rome the first persons to be called cardinals were the deacons of the seven regions of the city at the beginning of the 6th century, when the word began to mean "principal", "eminent", or "superior"  The name was also given to the senior priest in each of the "title" churches (the parish churches) of Rome and to the bishops of the seven sees surrounding the city  By the 8th century the Roman cardinals constituted a privileged class among the Roman clergy  They took part in the administration of the church of Rome and in the papal liturgy  By decree of a synod of 769, only a cardinal was eligible to become Bishop of Rome  Cardinals were granted the privilege of wearing the red hat by Pope Innocent IV in 1244 In cities other than Rome, the name cardinal began to be applied to certain church men as a mark of honour  The earliest example of this occurs in a letter sent by Pope Zacharias in 747 to Pippin III (the Short), ruler of the Franks, in which Zacharias applied the title to the priests of Paris to distinguish them from country clergy  This meaning of the word spread rapidly, and from the 9th century various episcopal cities had a special class among the clergy known as cardinals  The use of the title was reserved for the cardinals of Rome in 1567 by Pius V 
In 1059 (five years after the East-West Schism), the right of electing the pope was reserved to the principal clergy of Rome and the bishops of the seven suburbicarian sees  In the 12th century the practice of appointing ecclesiastics from outside Rome as cardinals began, with each of them assigned a church in Rome as his titular church or linked with one of the suburbicarian dioceses, while still being incardinated in a diocese other than that of Rome The term cardinal at one time applied to any priest permanently assigned or incardinated to a church, or specifically to the senior priest of an important church, based on the Latin cardo (hinge), meaning "pivotal" as in "principal" or "chief"  The term was applied in this sense as early as the 9th century to the priests of the tituli (parishes) of the diocese of Rome In the year 1563, the Ecumenical Council of Trent, headed by Pope Pius IV, wrote about the importance of selecting good cardinals: "nothing is more necessary to the Church of God than that the holy Roman pontiff apply that solicitude which by the duty of his office he owes the universal Church in a very special way by associating with himself as cardinals the most select persons only, and appoint to each church most eminently upright and competent shepherds; and this the more so, because our Lord Jesus Christ will require at his hands the blood of the sheep of Christ that perish through the evil government of shepherds who are negligent and forgetful of their office "The earlier influence of temporal rulers, notably the Kings of France, reasserted itself through the influence of cardinals of certain nationalities or politically significant movements  Traditions even developed entitling certain monarchs, including those of Austria, Spain, and France, to nominate one of their trusted clerical subjects to be created cardinal, a so-called "crown-cardinal" In early modern times, cardinals often had important roles in secular affairs  In some cases, they took on powerful positions in government  In Henry VIII's England, his chief minister was for some time Cardinal Wolsey  Cardinal Richelieu's power was so great that he was for many years effectively the ruler of France  Richelieu's successor was also a cardinal, Jules Mazarin  Guillaume Dubois and André-Hercule de Fleury complete the list of the four great cardinals to have ruled France  In Portugal, due to a succession crisis, one cardinal, Henry of Portugal, was crowned king, the only example of a cardinal-king 
While the incumbents of some sees are regularly made cardinals, and some countries are entitled to at least one cardinal by concordate (usually earning either its primate or the metropolitan of the capital city the cardinal's hat), almost no see carries an actual right to the cardinalate, not even if its bishop is a Patriarch: the notable exception is the Patriarch of Lisbon who, by Pope Clement XII's 1737 bull Inter praecipuas apostolici ministerii, is accorded the right to be elevated to the rank of cardinal in the consistory following his appointment 

Papal elections
In 1059, Pope Nicholas II gave cardinals the right to elect the Bishop of Rome in the papal bull In nomine Domini  For a time this power was assigned exclusively to the cardinal bishops, but in 1179 the Third Lateran Council restored the right to the whole body of cardinals 

Numbers
In 1586, Pope Sixtus V limited the number of cardinals to 70: six cardinal bishops, 50 cardinal priests, and 14 cardinal deacons  Pope John XXIII exceeded that limit citing the need to staff Church offices  In November 1970 in Ingravescentem aetatem, Pope Paul VI established that electors would be under the age of eighty years  When it took effect on 1 January 1971, it deprived 25 cardinals of the right to participate in a conclave  In October 1975 in Romano Pontifici eligendo, he set the maximum number of electors at 120, while establishing no limit on the overall size of the college Popes can set aside church laws and they have regularly brought the number of cardinals under the age of 80 to more than 120, twice reaching as high as 135 with Pope John Paul II's consistories of February 2001 and October 2003  No more than 120 electors have ever participated in a conclave, but most canon lawyers believe that if their number exceeded 120 they would all participate Pope Paul VI also increased the number of cardinal bishops by assigning that rank, in 1965, to patriarchs of the Eastern Catholic Churches when named cardinals  In 2018, Pope Francis expanded the cardinal bishops of Roman title, because this had not been done despite recent decades' expansion in the two lower orders of cardinals, besides having all six such cardinals being over the age limit for a conclave 

Titular churches
Each cardinal is assigned a titular church upon his creation, which is always a church in the city of Rome  Through the process of opting (optazione), a cardinal can raise through the ranks from cardinal deacon to priest, and from cardinal priest to that of cardinal bishop - in which case he obtains one of the suburbicarian sees located around the city of Rome  The only exception is for patriarchs of the Eastern Catholic Churches  Nevertheless, cardinals possess no power of governance nor are they to intervene in any way in matters which pertain to the administration of goods, discipline, or the service of their titular churches  They are allowed to celebrate Mass and hear confessions and lead visits and pilgrimages to their titular churches, in coordination with the staff of the church  They often support their churches monetarily, and many cardinals do keep in contact with the pastoral staffs of their titular churches  The term cardinal is from the Latin word "cardo" meaning a hinge  Here it means a "door", an example of synecdoche, a figure of speech whereby the part refers to the whole  The "door" is the address of the titular church from which the cardinal derives his membership of the Roman clergy, who elect the pope 
The Dean of the College of Cardinals in addition to such a titular church also receives the titular bishopric of Ostia, the primary suburbicarian see  Cardinals governing a particular church retain that church 

Title and reference style
In 1630, Pope Urban VIII decreed their title to be Eminence (previously, it had been "illustrissimo" and "reverendissimo") and decreed that their secular rank would equate to Prince, making them secondary only to the pope and crowned monarchs In accordance with tradition, they sign by placing the title "Cardinal" (abbreviated Card ) after their personal name and before their surname as, for instance, "John Card(inal) Doe" or, in Latin, "Ioannes Card(inalis) Doe"  Some writers, such as James-Charles Noonan, hold that, in the case of cardinals, the form used for signatures should be used also when referring to them in English  However, official sources, such as the Catholic News Service, say that the correct form for referring to a cardinal in English is normally as "Cardinal [First name] [Surname]"  This is the rule given also in stylebooks not associated with the church  This style is also generally followed on the websites of the Holy See and episcopal conferences  Oriental patriarchs who are created cardinals customarily use "Sanctae Ecclesiae Cardinalis" as their full title, probably because they do not belong to the Roman clergy The [First name] Cardinal [Surname] order is used in the Latin proclamation of the election of a new pope by the cardinal protodeacon, if the new pope is a cardinal, as it has been since 1378 
The term Prince of the Church has historically been applied to cardinals of the Catholic church, and sometimes more broadly to senior members of the church hierarchy  It has been rejected by Pope Francis, who stated to a group of newly created cardinals "He (Jesus) does not call you to become 'princes' of the Church, to 'sit on his right or on his left ' He calls you to serve like Him and with Him " The term is still applied, both seriously and as a criticism of their perceived attitudes of some cardinals [1][2]

Orders and their chief offices
Cardinal bishops
Cardinal bishops (cardinals of the episcopal order; Latin: cardinales episcopi) are the senior order of cardinals  Though in modern times the vast majority of cardinals are also bishops or archbishops, few are "cardinal bishops"  For most of the second millennium there were six cardinal bishops, each presiding over one of the seven suburbicarian sees around Rome: Ostia, Albano, Porto and Santa Rufina, Palestrina, Sabina and Mentana, Frascati, and Velletri  Velletri was united with Ostia from 1150 until 1914, when Pope Pius X separated them again, but decreed that whichever cardinal bishop became Dean of the College of Cardinals would keep the suburbicarian see he already held, adding to it that of Ostia, with the result that there continued to be only six cardinal bishops  Since 1962, the cardinal bishops have only a titular relationship with the suburbicarian sees, each of which is governed by a separate ordinary Until 1961, membership in the order of cardinal bishops was achieved through precedence in the College of Cardinals  When a suburbicarian see fell vacant, the most senior cardinal by precedence could exercise his option to claim the see and be promoted to the order of cardinal bishops  Pope John XXIII abolished that privilege on 10 March 1961 and made the right to promote someone to the order of cardinal bishops the sole prerogative of the pope In 1965, Pope Paul VI decreed in his motu proprio Ad purpuratorum Patrum Collegium that patriarchs of the Eastern Catholic Churches who were named cardinals (i e  "cardinal patriarchs") would also be cardinal bishops, ranking after the six Roman rite cardinal bishops of the suburbicarian sees  (Latin Church patriarchs who become cardinals are cardinal priests, not cardinal bishops: for example Angelo Scola was made Patriarch of Venice in 2002 and cardinal priest of Santi XII Apostoli in 2003 ) Those of cardinal patriarch rank continue to hold their patriarchal see and are not assigned any Roman title (suburbicarian see or title or deaconry) 
At the June 2018 consistory, Pope Francis increased the number of Latin Church cardinal bishops to match the expansion in cardinal priests and cardinal deacons in recent decades  He elevated four cardinals to this rank granting their titular churches and deaconries suburbicarian rank pro hac vice (temporarily) and making them equivalent to suburbicarian see titles  At the time of the announcement, all six cardinal bishops of suburbicarian see titles, as well as two of the three cardinal patriarchs, were non-electors because of having reached age 80  Pope Francis created another cardinal bishop in the same way on 1 May 2020, bringing the number of Latin Church cardinal bishops to eleven 
The Dean of the College of Cardinals, the highest ranking cardinal, was formerly the longest serving cardinal bishop, but since 1965 is elected by the Latin Church cardinal bishops from among their number, subject to papal approval  Likewise the Vice-Dean, formerly the second longest serving, is also elected  Seniority of the remaining Latin Church cardinal bishops is still by date of appointment to the rank  For a period ending in the mid-20th century, long-serving cardinal priests were entitled to fill vacancies that arose among the cardinal bishops, just as cardinal deacons of ten years' standing are still entitled to become cardinal priests 

Cardinal priests
Cardinal priests (Latin: cardinales presbyteri) are the most numerous of the three orders of cardinals in the Catholic Church, ranking above the cardinal deacons and below the cardinal bishops  Those who are named cardinal priests today are generally also bishops of important dioceses throughout the world, though some hold Curial positions 
In modern times, the name "cardinal priest" is interpreted as meaning a cardinal who is of the order of priests  Originally, however, this referred to certain key priests of important churches of the Diocese of Rome, who were recognized as the cardinal priests, the important priests chosen by the pope to advise him in his duties as Bishop of Rome (the Latin cardo means "hinge")  Certain clerics in many dioceses at the time, not just that of Rome, were said to be the key personnel—the term gradually became exclusive to Rome to indicate those entrusted with electing the Bishop of Rome, the pope 

While the cardinalate has long been expanded beyond the Roman pastoral clergy and Roman Curia, every cardinal priest has a titular church in Rome, though they may be bishops or archbishops elsewhere, just as cardinal bishops were given one of the suburbicarian dioceses around Rome  Pope Paul VI abolished all administrative rights cardinals had with regard to their titular churches, though the cardinal's name and coat of arms are still posted in the church, and they are expected to celebrate Mass and preach there if convenient when they are in Rome 
While the number of cardinals was small from the times of the Roman Empire to the Renaissance, and frequently smaller than the number of recognized churches entitled to a cardinal priest, in the 16th century the college expanded markedly  In 1587, Pope Sixtus V sought to arrest this growth by fixing the maximum size of the college at 70, including 50 cardinal priests, about twice the historical number  This limit was respected until 1958, and the list of titular churches modified only on rare occasions, generally when a building fell into disrepair  When Pope John XXIII abolished the limit, he began to add new churches to the list, which Popes Paul VI and John Paul II continued to do  Today there are close to 150 titular churches, out of over 300 churches in Rome 
The cardinal who is the longest-serving member of the order of cardinal priests is titled cardinal protopriest  He had certain ceremonial duties in the conclave that have effectively ceased because he would generally have already reached age 80, at which cardinals are barred from the conclave  The current cardinal protopriest is Michael Michai Kitbunchu of Thailand 

Cardinal deacons
The cardinal deacons (Latin: cardinales diaconi) are the lowest-ranking cardinals  Cardinals elevated to the diaconal order are either officials of the Roman Curia or priests elevated after their 80th birthday  Bishops with diocesan responsibilities, however, are created cardinal priests 
Cardinal deacons derive originally from the seven deacons in the Papal Household who supervised the Church's works in the seven districts of Rome during the early Middle Ages, when church administration was effectively the government of Rome and provided all social services  They came to be called "cardinal deacons" by the late eighth century, and they were granted active rights in papal elections and made eligible for the election as pope by the decree of 769 Cardinals elevated to the diaconal order are mainly officials of the Roman Curia holding various posts in the church administration  Their number and influence has varied through the years  While historically predominantly Italian the group has become much more internationally diverse in later years  While in 1939 about half were Italian by 1994 the number was reduced to one third  Their influence in the election of the pope has been considered important  They are better informed and connected than the dislocated cardinals but their level of unity has been varied  Under the 1587 decree of Pope Sixtus V, which fixed the maximum size of the College of Cardinals, there were 14 cardinal deacons  Later the number increased  As late as 1939 almost half of the cardinals were members of the curia  Pius XII reduced this percentage to 24 percent  John XXIII brought it back up to 37 percent but Paul VI brought it down to 27 percent where John Paul II maintained this ratio As of 2005, there were over 50 churches recognized as cardinalatial deaconries, though there were only 30 cardinals of the order of deacons  Cardinal deacons have long enjoyed the right to "opt for the order of cardinal priests" (optazione) after they have been cardinal deacons for 10 years  They may on such elevation take a vacant "title" (a church allotted to a cardinal priest as the church in Rome with which he is associated) or their diaconal church may be temporarily elevated to a cardinal priest's "title" for that occasion  When elevated to cardinal priests, they take their precedence according to the day they were first made cardinal deacons (thus ranking above cardinal priests who were elevated to the college after them, regardless of order) 
When not celebrating Mass but still serving a liturgical function, such as the semiannual Urbi et Orbi papal blessing, some Papal Masses and some events at Ecumenical Councils, cardinal deacons can be recognized by the dalmatics they would don with the simple white mitre (so called mitra simplex) 

Cardinal protodeacon
The cardinal protodeacon is the senior cardinal deacon in order of appointment to the College of Cardinals  If he is a cardinal elector and participates in a conclave, he announces a new pope's election and name from the central balcony of St  Peter's Basilica in Vatican City  The protodeacon also bestows the pallium on the new pope and crowns him with the papal tiara, although the crowning has not been celebrated since Pope John Paul I opted for a simpler papal inauguration ceremony in 1978  The current cardinal protodeacon is Renato Raffaele Martino 

Cardinal protodeacons since 1887
Giuseppe Pecci, S J  (20 December 1887 – 8 February 1890)
John Henry Newman, C O  (8 February 1890 – 11 August 1890)
Joseph Hergenröther (11 August 1890 – 3 October 1890)
Tommaso Maria Zigliara,, O P  (3 October 1890 – 1 June 1891)
Isidoro Verga (1 June 1891 – 22 June 1896)
Luigi Macchi (22 June 1896 – 29 March 1907)
Andreas Steinhuber, S J  (29 March 1907 – 15 October 1907)
Francesco Segna (15 October 1907 – 4 January 1911)
Francesco Salesio Della Volpe (4 January 1911 – 5 November 1916†); announced election of Pope Benedict XV (1914)
Gaetano Bisleti (5 November 1916 – 17 December 1928*); announced election of Pope Pius XI (1922)
Camillo Laurenti (17 December 1928 – 16 December 1935*)
Camillo Caccia-Dominioni (16 December 1935 – 12 November 1946†); announced election of Pope Pius XII (1939)
Nicola Canali (12 November 1946 – 3 August 1961†); announced election of Pope John XXIII (1958)
Alfredo Ottaviani (3 August 1961 – 26 June 1967*); announced election of Pope Paul VI (1963)
Arcadio Larraona Saralegui, CMF (26 June 1967 – 28 April 1969*)
William Theodore Heard (28 April 1969 – 18 May 1970*)
Antonio Bacci (18 May 1970 – 20 January 1971†)
Michael Browne, OP (20 January 1971 – 31 March 1971†)
Federico Callori di Vignale (31 March 1971 – 8 August 1971†)
Charles Journet (8 August 1971 – 5 March 1973*)
Pericle Felici (5 March 1973 – 30 June 1979*); announced elections of Pope John Paul I (1978) and Pope John Paul II (1978)
Sergio Pignedoli (30 June 1979 – 15 June 1980†)
Umberto Mozzoni (15 June 1980 – 2 February 1983*)
Opilio Rossi (2 February 1983 – 22 June 1987*)
Giuseppe Caprio (22 June 1987 – 26 November 1990*)
Aurelio Sabattani (26 November 1990 – 5 April 1993*)
Duraisamy Simon Lourdusamy (5 April 1993 – 29 January 1996*)
Eduardo Martínez Somalo (29 January 1996 – 9 January 1999*)
Pio Laghi (9 January 1999 – 26 February 2002*)
Luigi Poggi (26 February 2002 – 24 February 2005*)
Jorge Medina (24 February 2005 – 23 February 2007*); announced election of Pope Benedict XVI (2005)
Darío Castrillón Hoyos (23 February 2007 – 1 March 2008*)
Agostino Cacciavillan (1 March 2008 – 21 February 2011*)
Jean-Louis Tauran (21 February 2011 – 12 June 2014*); announced election of Pope Francis (2013)
Renato Raffaele Martino (12 June 2014 –)* Ceased to be protodeacon upon being raised to the order of cardinal-priest† Was protodeacon at time of death

Special types of cardinals
Camerlengo
The Cardinal Camerlengo of the Holy Roman Church, assisted by the Vice-Camerlengo and the other prelates of the office known as the Apostolic Camera, has functions that in essence are limited to a period of sede vacante of the papacy  He is to collate information about the financial situation of all administrations dependent on the Holy See and present the results to the College of Cardinals, as they gather for the papal conclave 

Cardinals who are not bishops
Until 1918, any cleric, even one only in minor orders, could be created a cardinal (see "lay cardinals", below), but enrolled only in the order of cardinal deacons  For example, in the 16th century, Reginald Pole was a cardinal for 18 years before he was ordained a priest  The 1917 Code of Canon Law mandated that all cardinals, even cardinal deacons, had to be priests, and, in 1962, Pope John XXIII set the norm that all cardinals be consecrated as bishops, even if they are only priests at the time of appointment  As a consequence of these two changes, canon 351 of the 1983 Code of Canon Law requires that a cardinal be at least in the order of priesthood at his appointment, and that those who are not already bishops must receive episcopal consecration  Several cardinals near to or over the age of 80 or when appointed have obtained dispensation from the rule of having to be a bishop  These were all appointed cardinal-deacons, but Roberto Tucci and Albert Vanhoye lived long enough to exercise the right of option and be promoted to the rank of cardinal-priest 
A cardinal who is not a bishop is entitled to wear and use the episcopal vestments and other pontificalia (episcopal regalia: mitre, crozier, zucchetto, pectoral cross, and ring)  He has both actual and honorary precedence over patriarchs, archbishops, and bishops who are not cardinals  However, he cannot perform the sacrament of ordination or other rites reserved solely to bishops  The prominent priests who since 1962 were not ordained bishops on their elevation to the cardinalate were over the age of 80 or near to it, and so no cardinal who was not a bishop has participated in recent papal conclaves 

"Lay cardinals"
At various times, there have been cardinals who had only received first tonsure and minor orders but not yet been ordained as deacons or priests  Though clerics, they were inaccurately called "lay cardinals"  Teodolfo Mertel was among the last of the lay cardinals  When he died in 1899 he was the last surviving cardinal who was not at least ordained a priest  With the revision of the Code of Canon Law promulgated in 1917 by Pope Benedict XV, only those who are already priests or bishops may be appointed cardinals  Since the time of Pope John XXIII a priest who is appointed a cardinal must be consecrated a bishop, unless he obtains a dispensation 

Cardinals in pectore or secret cardinals
In addition to the named cardinals, the pope may name secret cardinals or cardinals in pectore (Latin for in the breast)  During the Western Schism, many cardinals were created by the contending popes  Beginning with the reign of Pope Martin V, cardinals were created without publishing their names until later, a practice termed creati et reservati in pectore  A cardinal named in pectore is known only to the pope  In the modern era, popes have named cardinals in pectore to protect them or their congregations from political reprisals  If conditions change, the pope makes the appointment public  The cardinal in question then ranks in precedence with those made cardinals at the time of his in pectore appointment  If a pope dies before revealing the identity of an in pectore cardinal, the person's status as cardinal expires  The last pope known to have named a cardinal in pectore is Pope John Paul II, who named four, including one whose identity was never revealed 

Vesture and privileges
Pontifical vestments
		
			
			
		
		
			
			
		
		
			
			
		
When in choir dress, a Latin Church cardinal wears scarlet garments—the blood-like red symbolizes a cardinal's willingness to die for his faith  Excluding the rochet — which is always white—the scarlet garments include the cassock, mozzetta, and biretta (over the usual scarlet zucchetto)  The biretta of a cardinal is distinctive not merely for its scarlet color, but also for the fact that it does not have a pompon or tassel on the top as do the birettas of other prelates  Until the 1460s, it was customary for cardinals to wear a violet or blue cape unless granted the privilege of wearing red when acting on papal business  His normal-wear cassock is black but has scarlet piping and a scarlet fascia (sash)  Occasionally, a cardinal wears a scarlet ferraiolo which is a cape worn over the shoulders, tied at the neck in a bow by narrow strips of cloth in the front, without any 'trim' or piping on it  It is because of the scarlet color of cardinals' vesture that the bird of the same name has become known as such 
Eastern Catholic cardinals continue to wear the normal dress appropriate to their liturgical tradition, though some may line their cassocks with scarlet and wear scarlet fascias, or in some cases, wear Eastern-style cassocks entirely of scarlet In previous times, at the consistory at which the pope named a new cardinal, he would bestow upon him a distinctive wide-brimmed hat called a galero  This custom was discontinued in 1969 and the investiture now takes place with the scarlet biretta  In ecclesiastical heraldry, however, the scarlet galero is still displayed on the cardinal's coat of arms  Cardinals had the right to display the galero in their cathedral, and when a cardinal died, it would be suspended from the ceiling above his tomb  Some cardinals will still have a galero made, even though it is not officially part of their apparel To symbolize their bond with the papacy, the pope gives each newly appointed cardinal a gold ring, which is traditionally kissed by Catholics when greeting a cardinal (as with a bishop's episcopal ring)  Before the new uniformity imposed by John Paul II, each cardinal was given a ring, the central piece of which was a gem, usually a sapphire, with the pope's stemma engraved on the inside  There is now no gemstone, and the pope chooses the image on the outside: under Pope Benedict XVI it was a modern depiction of the crucifixion of Jesus, with Mary and John to each side  The ring includes the pope's coat of arms on the inside Cardinals have in canon law a "privilege of forum" (i e , exemption from being judged by ecclesiastical tribunals of ordinary rank): only the pope is competent to judge them in matters subject to ecclesiastical jurisdiction (cases that refer to matters that are spiritual or linked with the spiritual, or with regard to infringement of ecclesiastical laws and whatever contains an element of sin, where culpability must be determined and the appropriate
ecclesiastical penalty imposed)  The pope either decides the case himself or delegates the decision to a tribunal, usually one of the tribunals or congregations of the Roman Curia  Without such delegation, no ecclesiastical court, even the Roman Rota, is competent to judge a canon law case against a cardinal Additionally, canon law gives cardinals the faculty of hearing confessions validly and licitly everywhere, whereas other priests and bishops must be granted this faculty and might be restricted in its use by the local bishop 

See also
Cardinal-Infante (disambiguation)
Cardinal-nephew
Cardinal protector
Hierarchy of the Catholic Church
List of current cardinals
List of the creations of the cardinals

Notes
Passage 2:
Edward Alacampe
Edward Alacampe (1581 – 6 February 1646), an English Jesuit, became a member of the English College, Rome in 1605  Three years later he entered the Society of Jesus; in 1614, he was at the new college in Liège  Afterwards, he held the office of procurator at Rome, and died in the house of probation at Ghent 

See also
Passage 3:
Claudia Cardinale
Claude Joséphine Rose "Claudia" Cardinale (French: [klod ʒozefin ʁoz kaʁdinal]; born 15 April 1938) is an Italian actress 
Born and raised in La Goulette, a neighbourhood of Tunis, Cardinale won the "Most Beautiful Italian Girl in Tunisia" competition in 1957, the prize being a trip to Italy, which quickly led to film contracts, due above all to the involvement of Franco Cristaldi, who acted as her mentor for a number of years and later married her  After making her debut in a minor role with the Egyptian star Omar Sharif in Goha (1958), Cardinale became one of the best-known actresses in Italy with roles in films such as Rocco and His Brothers (1960), Girl with a Suitcase (1961), Cartouche (1962), The Leopard (1963),  and Fellini's 8½ (1963) From 1963, Cardinale appeared in The Pink Panther opposite David Niven  She went on to appear in the Hollywood films Blindfold (1965), Lost Command (1966), The Professionals (1966), Don't Make Waves (1967) with Tony Curtis, The Hell with Heroes (1968), and the Sergio Leone Western Once Upon a Time in the West (1968), a joint US-Italian production, in which she was praised for her role as a former prostitute opposite Jason Robards, Charles Bronson, and Henry Fonda 
Jaded with the Hollywood film industry and not wanting to become a cliché, Cardinale returned to Italian and French cinema, and garnered the David di Donatello for Best Actress award for her roles in Il giorno della civetta (1968) and as a prostitute alongside Alberto Sordi in A Girl in Australia (1971)  In 1974, Cardinale met director Pasquale Squitieri, who would become her partner, and she frequently featured in his films, including I guappi (1974), Corleone (1978) and Claretta (1984), the last of which won her the Nastro d'Argento Award for Best Actress  In 1982, she starred in Werner Herzog's Fitzcarraldo as the love interest of Klaus Kinski, who raises the funds to buy a steamship in Peru  In 2010, Cardinale received the Best Actress Award at the 47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student in Signora Enrica 
Outspoken on women's rights causes over the years, Cardinale has been a UNESCO goodwill ambassador for the Defence of Women's Rights since March 2000  In February 2011, the Los Angeles Times Magazine named Cardinale among the 50 most beautiful women in film history 

Early life
Claudia Cardinale was born Claude Joséphine Rose Cardinale in La Goulette, a neighbourhood of Tunis, Tunisia, on 15 April 1938  Her mother, Yolande Greco like her was born in Tunisia to Sicilian emigrants from Trapani  Her maternal grandparents had a small shipbuilding firm in Trapani, but later settled in La Goulette, where a large Italian community existed  Her father, Francesco Cardinale, was a railway worker, born in Gela, Sicily   Her native languages were French, Tunisian Arabic, and the Sicilian language of her parents  She did not learn to speak Italian until she had already begun to be cast for Italian films Cardinale was educated at the Saint-Joseph-de-l'Apparition school of Carthage, which she attended along with her younger sister Blanche  She then studied at the Paul Cambon School, where she graduated with the intention of becoming a teacher  As a teenager, she was described as "silent, weird, and wild", and like other girls of her generation, was fascinated by Brigitte Bardot, who came to prominence in the 1956 film And God Created Woman, directed by Roger Vadim 

Career
1950s
Cardinale's first film work was participating, along with classmates, in a short film by French director René Vautier, Anneaux d'or, successfully presented at the Berlin Film Festival  The film made her a minor local celebrity, and led to her being spotted by Jacques Baratier, who offered her a minor role in Goha  She accepted it reluctantly after Baratier explained he wanted a Tunisian actress rather than an Italian to star in the main role opposite the Egyptian actor Omar Sharif  The appearance nonetheless marked her feature-film debut  The turning point came in 1957 during the Italian Cinema Week in Tunis, when she won a competition for the "Most Beautiful Italian Girl in Tunisia", with a trip to the Venice Film Festival as first prize  After being spotted by several film producers at the event, she was invited to study at the Experimental Cinematography Centre in Rome under Tina Lattanzi  She attended briefly as, despite her extremely photogenic looks, she had trouble with her acting assignments (partly owing to her difficulties with the Italian language)  She left at the end of her first term and decided to return home, earning herself a cover story in the popular weekly Epoca triggered by her unexpected decision to turn her back on a career as a film star Back in Tunis, however, Cardinale discovered unexpectedly that she was pregnant, the result of what she later described as a "terrible" relationship with a Frenchman, some 10 years her senior, which began when she was only 17 and lasted for about a year  On this discovery, he wanted her to have an abortion, but she decided to keep the child  She solved her problems by signing a seven-year exclusive contract with Franco Cristaldi's production company Vides  Cristaldi largely managed her early career, and she was married to him from 1966 until 1975 Under the new contract, in 1958, Cardinale was given a minor role with Italian actors Vittorio Gassman, Totò, Marcello Mastroianni, and Renato Salvatori in Mario Monicelli's internationally successful criminal comedy Big Deal on Madonna Street (I soliti ignoti)  She portrayed Carmelita, a Sicilian girl virtually imprisoned in her home by her overpowering brother  The comedy was a huge success, making Cardinale instantly recognisable  Some newspapers were already referring to her as "la fidanzata d'Italia" (Italy's sweetheart)  Later that year, she had a leading role opposite Yvonne Monlaur in Claudio Gora's romantic comedy Three Strangers in Rome 
Although she worked well into her seventh month, Cardinale's pregnancy was kept a tight secret  Tormented by thoughts of suicide, she fell into a state of depression  When she thought she could no longer hide her condition, she asked Cristaldi to terminate her contract  Understanding her predicament, he sent her to London for the birth, far away from the press  He simply explained that she had gone to England to learn English for a film  Cristaldi told Cardinale not to reveal her condition as she would be betraying the public and it would put an end to her career  So as to maintain the secret, he drew up a detailed American-style contract covering every little detail of her life, depriving her of any possibility of acting on her own behalf  Cardinale explained: "I was no longer master of my own body or thoughts  Even talking with a friend about anything that could make me look different from my public image was risky, as if it had been publicized, I would have been in trouble  Everything was in the hands of Vides"  For seven years, Cardinale kept her secret, not only from the public but also from her own son, Patrick, who grew up in the family with her parents and sister more or less as a brother until the day Enzo Biagi, a journalist, discovered the truth  After Cardinale decided to tell him everything, he published her story in  Oggi and L'Europeo In 1959, she appeared opposite Salvatori in the mafia film Vento del sud, and played the wife of Maurizio Arena in Luigi Zampa's Il magistrato  Cardinale also starred opposite Pietro Germi in his crime film The Facts of Murder, an important assignment for her in mastering the craft of acting while learning to feel at ease in front of the camera
Context 3: Passage 1:
Homeward Bound: The Incredible Journey
Homeward Bound: The Incredible Journey  is a 1993 American adventure comedy film and a remake of the 1963 film The Incredible Journey, which was based on the 1961 novel of the same name by Sheila Burnford  Directed by Duwayne Dunham, it was released on February 3, 1993  It grossed $57 million worldwide and was followed in 1996 by the sequel Homeward Bound II: Lost in San Francisco  This film is dedicated to producer Franklin R  Levy, who died during production of the film 

Plot
Chance, a selfish and free-spirited American Bulldog and the narrator of the film, explains that he is the pet of Jamie Burnford, but expresses no interest in his owner or being part of a family  He shares his home with Shadow, a wise old Golden Retriever owned by Jamie's brother Peter, and Sassy, a pampered Himalayan cat owned by Peter and Jamie's sister Hope  That morning, the children's mother, Laura Burnford, marries Bob Seaver, and Chance causes trouble by devouring the wedding cake in front of all the guests 
Shortly after the wedding, the family has to temporarily move to San Francisco because Bob must relocate there for his job  They leave the pets at a ranch belonging to Kate, Laura's college friend  Shadow and Sassy miss their owners immediately, but Chance sees it as an opportunity to relax and be free  Later in the week, Kate goes on a cattle drive, leaving the animals to be looked after by her neighbor Frank  However, half of her message to him is lost, leading him to believe that she has taken them along, leaving the animals alone  Unsure about the disappearance of their host, the animals fear they have been abandoned  Shadow, refusing to believe that his boy would leave him, decides to make his way home  Not wanting to be left alone on the ranch, Chance and Sassy decide to accompany Shadow on his journey 
They head into the rocky, mountainous wilderness of the Sierra Nevada with Shadow leading  After a night spent in fear of the woodland noises, the group stops to catch breakfast at a river  However, two black bear cubs interrupt Chance and a large brown bear causes the group to retreat  At another river, Sassy refuses to swim across to follow the dogs and instead tries to cross via a wooden path further downstream; halfway across, the wood breaks and she falls into the river  Shadow tries to save her, but she goes over a waterfall to her apparent death  Guilt-ridden, Shadow and Chance go on without her  Unknown to them, Sassy survives and is later found on the riverbank by an old man named Quentin, who nurses her back to health 
Over the next two days, Shadow and Chance try unsuccessfully to catch food and encounter a mountain lion, which chases them to the edge of a cliff  Shadow gets an idea to use rocks positioned like a seesaw as a way to outsmart the mountain lion  While Shadow acts as bait, Chance pounces onto the end of the rock and sends the mountain lion over the cliff and into a river  Sassy hears the dogs barking in celebration and follows the sound to rejoin them 
The animals continue on their way, but Chance begins pestering a porcupine, ending up with a load of quills in his muzzle  The animals then encounter a little girl named Molly, who is lost in the woods  Loyalty instinct takes over and they stand guard over her during the night  In the morning, Shadow finds a rescue party and leads them back to the girl  They recognize the animals from a missing pets flyer and take them to the local animal shelter, but Chance mistakes it for an animal pound and the trio panic  As the medical staff remove the quills from Chance's muzzle, Sassy sneaks in and frees Shadow  Together, they retrieve Chance and escape the shelter, unaware that their owners are on their way to get them 
Finally reaching their hometown, the animals cross through a train yard, where Shadow falls into a muddy pit and injures his leg  Despondent, he tells Chance and Sassy to go on without him, and when Chance argues passionately, tells the younger dog he's learned all he needs; "Now all you have to learn is how to say goodbye " Heartbroken, Chance insists he won't let him give up  Near dusk, Chance and Sassy finally make it home and are happily reunited with their owners  Shadow initially fails to appear, but eventually he limps into view and happily comes running home at the sight of Peter  Chance narrates how it was Shadow's belief that brought them home and how the years seemed to lift off of him, making him a puppy again as he reunited with his boy  The film ends with Chance musing about how he truly feels "home" with his family, before happily running into the house at the smell of food 

Cast
Reception
The film received positive reception  The film holds an 87% aggregate critic approval rating at Rotten Tomatoes based on 30 reviews, with the consensus stating "Disney's remake of The Incredible Journey successfully replicates, and in some ways improves upon, the simple charms of the original, with its cross-country animal odyssey sure to delight kids " According to movie critic Roger Ebert, the movie is "frankly designed for kids, and yet it has a certain craftsmanship and an undeniable charm, and if you find yourself watching it with a child you may end up liking it almost as much " Audiences polled by CinemaScore gave the film a rare grade of "A+" on an A+ to F scale The film grossed $41,833,324 in the United States and Canada and $15 5 million internationally for a worldwide total of $57 4 million 
Passage 2:
McGruff the Crime Dog
McGruff the Crime Dog is an anthropomorphic animated bloodhound created by Dancer Fitzgerald Sample advertising executive Jack Keil (who also voiced the character) through the Ad Council and later the National Crime Prevention Council to increase crime awareness and personal safety in the United States  McGruff costumes are used by police outreach efforts, often with children  McGruff was created in 1979 and debuted in 1980 with a series of public service announcements educating citizens on personal security measures, such as locking doors and putting lights on timers, in order to reduce crime  His name was selected as part of a nationwide contest in July 1980 
McGruff proved to be a successful campaign with over $100 million in free air time donated in the first year reaching over 50% of adults  McGruff campaigns continued over the years to cover topics such as child abduction, robbery, anti-drug messages, and anti-bullying campaigns  From 1982 to 2012, a number of municipalities participated in the McGruff house program which offered temporary haven to children fearing immediate harm  McGruff has continued to be well-recognized, with nine out of ten people recognizing him in a 2021 survey  This is thanks partly to recent campaigns against cyber-bullying, stopping online fakes, and elder-crime 

History
Crime as a public concern
The decades prior to McGruff's creation saw an increase in U S  public concern over crime  In the 1960s, a number of riots broke out across the U S  and numerous public figures were assassinated, including President Kennedy, Martin Luther King Jr , and Malcolm X  Accepting the Republican nomination for president, Barry Goldwater positioned crime as one of the biggest issues facing the nation  While Goldwater lost to Lyndon Johnson, the issue of crime did not stop there  In July 1965, President Johnson formed the President's Commission on Law Enforcement and Administration of Justice to "probe     fully and deeply into the problems of crime in our nation "After two years and $2 5 million, the Commission delivered its report, The Challenge of Crime in a Free Society, in February 1967 which influenced the Crime Control and Safe Streets Act of 1968  The act gave $300 million to local police forces for more personnel and equipment  With the election of Richard Nixon in 1968, the attempts to control rising crime rates shifted from a social approach—the "War on Poverty"—to a tough on crime approach—the "War on Crime"  Despite Nixon's attempts (until his resignation in 1973), crime continued to rise from 363 5 crimes per 100,000 people in 1970 to 549 5 in 1979  The Carter administration took the focus away from crime and onto nuclear arms control and human rights  During Carter's presidency, crime continued to be a concern with the "kill for thrill murders" of 1979, when two men killed four people over eight days in Western Pennsylvania 

Creation
The Ad Council was first approached by the Department of Justice in 1977 to create a public campaign to engage the public in reducing crime  The FBI director recommended a campaign playing on fears to convince citizens to take personal safety steps, but the Ad Council rejected their proposal believing it would largely be ignored by an already frightened public  However, the Ad Council was still interested in a crime prevention campaign  Leo Perlis, a member of the Ad Council's Public Policy Committee, heard the proposal and liked the idea  He met with FBI Director Clarence M  Kelley, the head of the National Council on Crime and Delinquency, and a board member of the National Sheriffs' Association to form a coalition to direct the ad campaign The Ad Council gave the creative responsibilities to Dancer Fitzgerald Sample who they had previously worked with on the Keep America Beautiful campaign  On February 8, 1979, the Ad Council's board of directors held a meeting where they and public officials met to listen to data Dancer Fitzgerald Sample had compiled  Dancer Fitzgerald Sample had conducted focus groups in a number of cities to determine public perceptions on crime  The focus groups found that the public believed police should be the ones to prevent crime, but that they were unwilling to pay more in taxes to support more officers  They recommended a campaign which would "emphasize that individual actions can reduce crime" and "offer easily accessible opportunities for people to participate "The task was given to Jack Keil, executive vice president and creative director of Dancer Fitzgerald Sample  Keil, thinking of Smokey Bear, came up with the idea of an animal mascot  After coming up with the slogan—"Take a bite out of crime"—he settled upon the idea of a dog  His first version was "a Snoopy look-alike wearing a Keystone Cop hat " His creative team however did not believe the dog would be taken seriously  In response, he gave the team a day to come up with a new version Five teams of two—a copywriter and an art director—produced proposals  They rejected proposals included a bulldog version of J  Edgar Hoover, a golden retriever, an "aggressive-looking deputy dog", and a "mongrel who became a wonder dog"  The proposal Keil selected, which would go on to become McGruff, was a talking dog in a trench coat produced by Sherry Nemmers and Ray Krivascy who "was tired   he had seen the world, and he had epitomized all the detectives we had seen from Raymond Chandler to Dashiell Hammett and even Columbo "While lauded by Keil, the U S  Department of Justice was less enthused by the idea of a talking dog as the spokesman for crime prevention  By 1979, the Law Enforcement Assistance Administration (LEAA), created by President Johnson, was being criticized for its wastefulness prompting President Carter to shut down the program  The public safety outreach, part of the LEAA, was one of the few programs saved by Robert Diegelman who was tasked with dismantling the LEAA  Diegelman saw value in the public outreach effort and so sent monthly reports to his superiors in order to assuage their concerns  Despite this, Attorney General Benjamin Civiletti criticised the effort saying: "Why has the LEAA gotten into a campaign that is spending good money on a talking dog?" Civiletti ordered the campaign be shut down, but the advertisements had already been distributed to the media and were set to run In November 1979, the dog was introduced at a press Conference in New York City with his slogan "Take a bite out of crime " Eight months later, in July 1980, a nationwide contest to name the dog was concluded  "McGruff the Crime Dog" was selected as the winner with "Shurlocked Homes" as the runner-up  The winning name was submitted by Officer John Isbell of the New Orleans Police Department 

Initial impact
McGruff was the first Ad Council campaign to be independently evaluated  Garrett O'Keefe of the University of Denver was given a grant of $900,000 by the Justice Department's National Institute of Justice in order to evaluate the campaign  O'Keefe found that "media response to the campaign was excellent  More than $100 million of [ad] time and space had been donated by mid-1981, making McGruff one of the most popular Ad Council campaigns " As a result of the advertisements, over 1 million free booklets had been distributed, and another 250,000 were purchased from the Government Printing Office  The Army printed 300,000 booklets for their own programs as well 
By the end of 1981, over 50% of Americans had seen at least one McGruff advertisement with one third reporting they had seen the advertisements more than ten times  The dominant medium of exposure was television advertisements, comprising 78% of views, followed by posters and billboards at 14%, and newspapers at 8%  While the demographics of exposure were notably diverse, there were some trends in who saw the ads more often than others  The ads were found to reach demographics prone to crime—men, youth, people with less stable residences, and those living in lower-working-class neighborhoods—slightly more often than those populations less prone to crime  Of those who had seen the advertisements, 88% were able to articulate what they were "trying to get across" with 28% pointing out the advertisements' goals of getting citizens to participate in crime prevention programs and reporting crime to the police 
O'Keefe also asked some questions related to public perception of McGruff  He found that only 3% disliked McGruff, most calling him "too cutesy", while 57% liked him for being "attention-getting, clever, different, or appealing to all ages " 36% of respondents were neutral to McGruff  8% said that they were annoyed by the commercials while 59% said that they were "pleased" by them In order to assess the impact of the McGruff advertisements, O'Keefe surveyed adults in 1979 and in 1981, a year before and a year after the premiere of the first McGruff advertisement  Of the forty personal security measures that McGruff advertisements recommended, only seven were explicitly mentioned in TV advertisements: locking doors, leaving outdoor lights on, putting indoor lights on timers, asking neighbors to watch your house, watching the neighborhood, reporting suspicious activity, and forming community groups to prevent crime  Of those seven, six saw a significant increase in usage by the public after seeing McGruff advertisements  The only activity not to see an increase was locking doors, despite the first McGruff spot specifically advocating this  O'Keefe hypothesizes that this is due to a plateau effect, as 75% of respondents in 1979 already reported locking their doors; the only personal security measure not mentioned in a television advertisement to see a significant increase was getting a dog 

Campaigns
McGruff debuted in 1980 with television, newspaper, billboard, and radio advertisements  The Ad Council and the National Crime Prevention Council still use McGruff in national campaigns to raise awareness about crime and crime prevention strategies  About 1500 law enforcement agencies use McGruff costumes as part of their outreach efforts in communities  McGruff advertisements feature a "fulfillment strategy", a means of contact for more information  Early advertisements contained PO boxes that could be written to for more information, but now contain phone numbers and websites McGruff was well received in the 1980s, and current campaigns are similarly recognizable  In a survey done by Harris Interactive for the National Crime Prevention Council, McGruff was known by 9 in 10 adults, teens, and children once being prompted; about 3 in 4 adults, 8 in 10 teens, and 8 in 10 children recognized McGruff without being prompted  Respondents were asked how likely they were to take McGruff's advice  Children were found to be very receptive, with 8 in 10 responding they were likely to take his advice  7 in 10 teens and 6 in 10 adults gave similar responses 

Initial campaign
The first McGruff campaign featured three television and radio advertisements as well as billboards and posters  The campaign focused on raising awareness of the ability for citizens to help prevent crime through personal security steps, community awareness, and reporting crimes in progress 
The first television advertisement, "Stop a Crime", debuted in February 1980  The full 60-second advertisement features McGruff (voiced by Jack Keil) entering an unlocked house and telling the viewer, "All crime needs is a chance  Don't give it a chance" before giving tips on preventive measures  These measures included locking doors, turning on exterior lights, securing windows, asking neighbors to watch the house during long absences, and putting lights on timers The advertisement was followed by two more which focused on community crime prevention tactics: "The Gilstraps" and "Mimi Marth"  In "The Gilstraps", McGruff is backgrounded by men loading furniture into a moving truck  McGruff points out that these are actually thieves stealing from the home of the titular Gilstraps  The camera cuts to the Gilstraps' neighbors who, knowing the Gilstraps are out of town, call the police In order to show the effectiveness of community watch, McGruff creator Sherry Nemmers selected actual Hartford resident Mimi Marth for the advertisement which now bears her name  "Mimi Marth" shows Marth and another watch member, Albert Bell, responding to crimes in progress by reporting them to police on their radios  McGruff tells the viewer that "There's 126 of them, regular people like you and me, working against crime "In addition to advertising and media campaigns, a costume was created for in-person appearances  Approximately 1,500 state and local law enforcement agencies use officers wearing a McGruff costume to educate children and others about crime prevention 

Addressing kidnapping, drugs, gun violence, and online fakes
The National Crime Prevention Council hired their first president and CEO, Jack Calhoun  Calhoun wanted to address the roots of crime saying, "At some point, I have to step out from my locked house and barred windows " Current plans are to introduce McGruff to a new generation and to have the Crime Dog become a watchdog to combat new criminal and 21st Century online crime  "A greater investment in community interventions will help take a bite out of violent crime," said Paul DelPonte, current head of the National Crime Prevention Council  "Strategies that increase public engagement in public safety are proven crime stoppers " DelPonte also has urged public health officials to use McGruff and crime prevention in health prevention programs 

NCPC and McGruff are currently working with the U S  Patent and Trademark Office to combat the sale of fake products online  The campaign, "You're Smart  Buy Smart ", premiered the first television ads  featuring McGruff in 3D animation in August 2022  The ads, filmed on the lot of Jim Henson Studios in Hollywood, are also in Spanish  Among the largest campaigns in the Crime Dog's lengthy career, it includes a partnership with NASCAR and featured a new car with driver Joey Gase In December 2021, the animated television show Family Guy featured McGruff and the National Crime Prevention Council on preventing kidnapping  The re-emergence of McGruff generated an outpouring of fan support In April 2022, the National Crime Prevention Council announced a partnership with McGruff the Crime Dog in creating Fentanyl Prevention Awareness Day scheduled for August 21, 2022  In October of the same year, the organization launched livesproject org, a digital remembrance quilt to honor victims and to raise awareness of the problem 

McGruff Houses and trucks
The McGruff House program was a program that designated temporary safe havens for children in emergency situations  The program was first created in Utah in 1982 in response to the abduction and murder of five children by Arthur Gary Bishop  Owners of houses and apartments, after clearing a background check, would display a sign in their window with the image of McGruff  Children would be educated at school and community events to go to these houses when they felt threatened or in need of help The program operated under the motto "we'll call for help" and emphasized its use as a temporary haven  Volunteers were trained to call the appropriate authorities in emergency situations and would provide emotional support to children in danger  The program made clear that volunteers were for emergency situations, and even in such situations, volunteers would not act as escorts or provide first aid "except in extreme emergency situations and then only if qualified "The first McGruff truck was established in Utah in 1986  A utility company asked that its trucks be designated as "rolling McGruff Houses" and were approved  The program was extended to other companies and municipalities, and in 2006 there were over 170 participants  In February 2012, the McGruff House program was ended after nearly 30 years  The program was ended because, with the advent and growing prominence of cell phones, the need for McGruff Houses declined combined with tightening budgets In 2018, the Martin Agency brought back McGruff as part of GEICO Insurance's 'count on GEICO' campaign  The TV spot has an animated McGruff attempting to share his investigation evidence with several human colleagues  They respond by not taking him seriously and treating him like an actual dog with 'baby talk', leading to McGruff's throwing his paperwork in the air and storming out of the scene 

In popular culture
Major League Baseball player Fred McGriff was given the name "Crime Dog" in reference to McGruff 
"The Springfield Connection", a sixth-season episode of The Simpsons, features a hand puppet named "McGriff the Crime Dog" briefly used by Marge 

The Dexter's Laboratory episode "G I R L  Squad" features a parody of McGruff named McBark the Crime Hound, depicted as a disinterested man wearing a dog mascot suit



ground_truth: Colin Firth

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

Question: What city is the star of 'Three Strangers in Rome' from?

The following are given passages.
Context 2:  Cardinale considered it to have been her first real test as an actress  She then played the role of Maria in Ralph Thomas's British film Upstairs and Downstairs, which starred Michael Craig and Anne Heywood  In her early roles, she was usually dubbed, as producers considered her voice too hoarse 

1960s
In 1960, Cardinale starred opposite Marcello Mastroianni in Mauro Bolognini's Golden Leopard-winning drama film Il bell'Antonio  The film marked the start of a fruitful partnership  Cardinale stated that her films with Bolognini were among the most joyful of her career, considering him to be "a great director, a man of rare professional capability, great taste and culture  Beyond that, for me personally, a sensitive and sincere friend "
In Bolognini's films, thanks to her aesthetic femininity,  Cardinale took roles of manipulative women who lead men to perdition  During the filming of Il bell'Antonio, her co-star Marcello Mastroianni fell in love with her, but she rejected him, as she did not take his love seriously, considering him to be one of those actors who cannot help but fall in love with their co-stars  Mastroianni insisted that his feelings were genuine, even after many years  The genuine empathy between the two actors proved to be ideal for reproducing the tension between the characters in the film  Cardinale next portrayed Pauline Bonaparte in Abel Gance's French film Napoleone ad Austerlitz, and after appearing opposite Gassman and Salvatori in the sequel to Big Deal on Madonna Street, Audace colpo dei soliti ignoti, she portrayed Ginetta, the fiancée of Spiros Focás, alongside Salvatori and Alain Delon in Luchino Visconti's critically acclaimed Rocco and His Brothers  However, her leading performance in Francesco Maselli's Silver Spoon Set gained her most attention during this period  Francesco Freda felt the film paved her way "to great success", noting the "sweetness of her smile" which struck a chord with the public 
In 1961, Cardinale portrayed a sultry nightclub singer and young mother in Valerio Zurlini's Girl with a Suitcase  As a result of her own experience of early motherhood, Cardinale naturally conveyed the concerns of a teenaged mother, identifying fully with the character of Aida  Such was her psychological involvement that she needed several months to overcome her apprehensions and prepare for the part  Zurlini chose her for such a difficult role against everyone's advice, as she was not yet considered a "real" actress, nor was she (yet) one of the most celebrated Italian beauties  However, he was very close and supportive of Cardinale during the production, and a true friendship developed between the two, based on a deep mutual understanding  Cardinale remarked: "Zurlini was one of those who really love women: he had an almost feminine sensitivity  He could understand me at a glance  He taught me everything, without ever making demands on me      He was really very fond of me " Cardinale was warmly praised by the critics for her performance in Girl with a Suitcase, Dennis Schwartz considering her to have been at her "charming best"  Later in 1961, Cardinale starred as a prostitute opposite Jean-Paul Belmondo in Bolognini's La Viaccia  Both Girl with a Suitcase and La Viaccia were presented at the 1961 Cannes Film Festival  At the time, Cardinale was not considered comparable to the two divas of Italian cinema, Sophia Loren and Gina Lollobrigida, but several newspapers and magazines including Paris Match began to consider her to be a credible young rival to Brigitte Bardot  Cardinale's 1961 appearances also included Henri Verneuil's French comedy Les Lions sont lâchés, and Auguste in which she had a cameo role 
The following year, Cardinale starred opposite Jean-Paul Belmondo as Vénus in the 18th-century set adventure Cartouche, which made her a major star in France  She also played Angiolina, the romantic interest of Anthony Franciosa in Bolognini's Senilità, a character which film writer Jacek Klinowski describes as "a spirited and strikingly beautiful twenty-year-old"  In 1962, Cardinale was interviewed by the writer Alberto Moravia, who focused exclusively on her sexuality and body image in films, treating her as an object  Cardinale remarked to him: "I used my body as a mask, as a representation of myself"  The interview was published in Esquire under the title "The Next Goddess of Love"  Cardinale was amused to discover that the interview had inspired the writer to publish La dea dell'amore ("Goddess of Love") the following year, in which one of the characters, with her fine physical appearance and natural curves, closely resembled Cardinale  Just a few years later, she played a similar character in a film based on another novel by Moravia, Time of Indifference The finest and most prolific year of her career was 1963, when she appeared in a number of leading productions  She starred alongside Burt Lancaster in Visconti's The Leopard (1963) (Il Gattopardo), portraying a village girl who married a progressive young aristocrat (Alain Delon), and played a film actress cast by a director (Marcello Mastroianni) in Federico Fellini's 8½  Both films were critically acclaimed and are often cited by critics and scholars as among the greatest films ever made  She participated in the two films during exactly the same period, frequently moving from one to the other and experiencing the strictly planned approach of Visconti which contrasted strongly with Fellini's much more relaxed style and his almost total reliance on improvisation  Cardinale remembered Visconti's set as having an almost religious atmosphere, everything focused on the film, far removed the outside world  Visconti needed silence for his work while Fellini preferred noise and confusion Prior to this period, Cardinale's own voice had not been used in her Italian films, as it was considered too hoarse, and owing to her French accent, insufficiently Italian  Not until 8½ was she allowed to use her own voice  Cardinale explained: "When I arrived for my first movie, I couldn't speak a word  I thought I was on the moon  I couldn't understand what they were talking about  And I was speaking in French; in fact I was dubbed  And Federico Fellini was the first one who used my voice  I think I had a very strange voice " With her portrayal of Angelica in The Leopard and her brief appearance as herself in 8½, Cardinale achieved the definitive status of a top-ranking star The same year, Cardinale starred as Mara in La ragazza di Bube or Bebo's Girl, in which she also used her own voice  For her performance in the film, she received her first Nastro d'Argento for Best Actress in 1965  Cardinale acted in her first American film (although it was produced in Italy) when she played Princess Dala, a wealthy aristocratic woman who is the love and jewellery interest of David Niven in the Cortina d'Ampezzo-set The Pink Panther  Cardinale's voice in the film was dubbed by Gale Garnett, who went uncredited  Niven raved about working with the actress, telling her, "After spaghetti, you're Italy's happiest invention "
In 1964, Cardinale starred alongside Rod Steiger and Shelley Winters in Francesco Maselli's Italian-made Time of Indifference  Thereafter, she spent three years in the United States, where she starred in several Hollywood films  She told of how she benefited from the arrangement, explaining it was an American initiative at a time when they invited all the successful European actresses to perform in their pictures, hoping to create a monopoly  Many suffered from the experience, but she was able to hold her own: "I took care of my own interests, blankly refusing to sign an exclusive contract with Universal Studios  I only signed for individual films  In the end, everything worked out fine for me She first starred in the Henry Hathaway's Hollywood picture Circus World (1964) opposite John Wayne and Rita Hayworth, playing the daughter of Hayworth, who performs with her as a mother-daughter circus act  By the end of the decade, she had returned to making films primarily in Italy, accepting a pay cut, turning her back on Hollywood stardom  Cardinale has further said, "I don't like the star system  I'm a normal person  I like to live in Europe  I mean, I've been going to Hollywood many, many times, but I didn't want to sign a contract " Film writer David Simpson notes that as a result, "Cardinale never achieved the same level of fame as Loren and Gina Lollobrigida", although she appeared in a higher number of decent films In 1964, she also played the lead role in The Magnificent Cuckold, based on the Belgian play Le Cocu magnifique  She was at the height of her sensuality at the time, but later the film only brought back unpleasant memories for her as she experienced little empathy with the director Antonio Pietrangeli, while the male star Ugo Tognazzi tried to seduce her  In 1965, Cardinale appeared in Visconti's Vaghe stelle dell'Orsa, known as Sandra (Of a Thousand Delights) in the US and Of These Thousand Pleasures in the UK, playing a Holocaust survivor who may have had an incestuous relationship with her brother  Later that year, she starred opposite Rock Hudson in Universal Pictures's Blindfold, the last film to be directed by Philip Dunne  Filming began on 22 February 1965 on location in Ocala, Florida  Diane Bond doubled for Cardinale in the film  Cardinale became good friends with Hudson, who proved to be very protective of her, knowing her discomfort outside of Italy  While in Hollywood, Cardinale also became friends with Barbra Streisand, Elliott Gould, and Steve McQueen, but she never managed to feel at home there By 1966, Cardinale was being cited as the most popular film star in Italy, even more than Mastroianni and Loren  Life stated that "the Cardinale appeal is a blend of solid simplicity and radiant sensuality  It moves men all over the world to imagine her both as an exciting mistress and wife " However, following her success in Hollywood, she began to express concerns about the direction of her career  In a July 1966 interview with Life, she confessed her fear of being overglamourized and exploited, like Sophia Loren, and although she had several further US films lined up, stated: "If I have to give up the money, I give it up  I do not want to become a cliché "
In 1966, a photograph of Cardinale was featured in the original gatefold artwork to Bob Dylan's album Blonde on Blonde (1966), but it was used without her permission and removed from later pressings  That year, she starred in Mark Robson's war picture Lost Command for Columbia Pictures opposite Anthony Quinn, Alain Delon, and George Segal  Quinn expressed his love of working with Cardinale, stating that although he adored Cardinale and Loren equally, "I relate easier to Claudia, Sophia creates an impression of something larger than life, something unobtainable  But Claudia – she's not easy, still she's within reach"  She also played a Mexican marquessa in Richard Brooks' Western The Professionals, uniting her on screen once again with Burt Lancaster in what she  considered to be her best American film  The following year, she appeared in Una rosa per tutti (A Rose for Everyone) and in Alexander Mackendrick's sex farce Don't Make Waves opposite Tony Curtis  Although occasional funny moments were noted, Don't Make Waves was generally panned by the critics and the lack of chemistry with co-star Curtis was highlighted  Leonard Maltin, though, described the film as "a gem" At the beginning of 1967, Cristaldi joined her in the United States  While the two were staying in Atlanta, he surprised her by taking her to their wedding ceremony which he had arranged without her knowledge  She went ahead with the ceremony but was concerned about sacrificing the rights she had to her child Patrick  She also realised she was increasingly unable to make decisions about her own life  The marriage was never made official in Italy In 1968, Cardinale featured opposite Franco Nero in The Day of the Owl, in a David di Donatello for Best Actress-winning performance  She reunited with Rock Hudson in the Italian-made criminal comedy A Fine Pair under director Francesco Maselli  She also appeared alongside Rod Taylor in The Hell with Heroes and starred in one of her best-known roles as former prostitute Jill McBain in Sergio Leone's epic Western Once Upon a Time in the West  Such was the power of her performance as the whore that Leone's biographer Robert C  Cumbow described her as "permanently engraved in cinematic history" and noted how suited to the role she was: "Her sex-goddess appearance combines with her more mystical iconographic associations to ease the progress of Jill from tart to town builder, from harlot to earth mother, from sinner to symbol of America—the apotheosis of the harlot with a heart of gold " In 1969, Cardinale starred opposite Nino Manfredi in Luigi Magni's Nell'anno del Signore, based on the actual story of the capital execution of two carbonari in papal Rome  This was followed by a role as a telephone operator in Certo certissimo     anzi probabile, and as a nurse opposite Sean Connery and Peter Finch in Mikhail Kalatozov's The Red Tent, based on the story of the mission to rescue Umberto Nobile and the other survivors of the crash of the Airship Italia 

1970s
In 1970, Cardinale starred opposite Peter McEnery and Eli Wallach in Jerzy Skolimowski's comedy film The Adventures of Gerard, based on The Exploits of Brigadier Gerard by Arthur Conan Doyle  In 1971, she formed a duo with Brigitte Bardot in the French Western-comedy The Legend of Frenchie King, and appeared as a prostitute opposite Alberto Sordi in Luigi Zampa's comedy A Girl in Australia  The film, shot on location in February and March 1971, earned Cardinale a Best Actress award at the David di Donatello Awards the following year  In 1972, Cardinale appeared in Marco Ferreri's L'udienza, which was screened at the 22nd Berlin International Film Festival  She also featured in La Scoumoune with Jean-Paul Belmondo and Michel Constantin  After a role as a Russian aristocrat opposite Oliver Reed in One Russian Summer (1973), set in prerevolutionary Russia, Cardinale starred opposite Franco Nero in I guappi (1974), a historical drama film with "poliziotteschi" and "noir" elements  Cardinale and the director Pasquale Squitieri met for the first time on set, and he soon became her husband 
In 1975, Cardinale played the daughter of a political exile (Adolfo Celi) in Mauro Bolognini's Libera, My Love, a character who becomes "increasingly incensed by the fascist government of Italy and makes a number of bold and very personal gestures against it"  Later that year she appeared in the comedies The Immortal Bachelor with Vittorio Gassman and Blonde in Black Leather with Monica Vitti  Vitti's biographer noted how Cardinale and Vitti stood out as the female duo in a predominantly masculine cast In 1976, Cardinale appeared in the sex comedy Il comune senso del pudore, which was directed and written by Alberto Sordi, who also co-starred  The following year, she had a biblical role as the adulteress in the Jesus of Nazareth miniseries, which featured Robert Powell as Jesus, Anne Bancroft as Mary Magdalene, and Ernest Borgnine as Cornelius the Centurion  Cardinale starred in her husband's Il prefetto di ferro, which tells the story of Cesare Mori (Giuliano Gemma), an Italian prefect that before and during the Fascist period was best known as "the Iron Prefect"  The film shared the 1978 David di Donatello for Best Film award  with In nome del Papa Re  In 1978, Cardinale appeared in Damiano Damiani's political thriller, Goodbye & Amen – L'uomo della CIA, and again featured alongside Gemma in her husband's gangster picture, Corleone, set in 1950s Sicily 
After a role in another Squitieri film in 1978, L'arma, Cardinale portrayed Eleana, a Greek "gutsy brothel madame" and the girlfriend of Telly Savalas in George P  Cosmatos's adventure war film, Escape to Athena (1979)  The film, shot on location in Rhodes, was poorly received; it holds a 32% "rotten" rating on Rotten Tomatoes as of July 2015 

1980s
After a role in Si salvi chi vuole (1980), and a smaller part in Peter Zinner's The Salamander opposite Franco Nero, Anthony Quinn, and Christopher Lee, Cardinale played the love interest of Marcello Mastroianni in Liliana Cavani's war picture The Skin, a film which also reunited her with Burt Lancaster  The Skin was entered into the 1981 Cannes Film Festival  In 1982, Cardinale appeared in Werner Herzog's Fitzcarraldo, playing a successful brothel owner who funds Klaus Kinski's purchase of an old steamship in South America  The film, inspired by the story of Peruvian rubber baron Carlos Fermín Fitzcarrald, was shot on location in Brazil and Peru  The film was critically acclaimed, with Vincent Canby of The New York Times calling it "a fine, quirky, fascinating movie" and a "stunning spectacle", comparing the dynamic between Kinski and Cardinale to Katharine Hepburn and Humphrey Bogart in John Huston's The African Queen  He pointed out that although Cardinale's screen time in the film was not substantial, she set its comic tone; he praised the way she managed to turn Kinski, renowned for his volatile temperament and portrayals of megalomaniacs and criminals, into a "genuinely charming screen presence", adding a new dimension to his acting career  Later that year, Cardinale played opposite Pierre Mondy in the sex farce Le Cadeau, a role which biographers Lancia and Minelli say was played with a "mature charm and expressiveness" In 1983, Cardinale had a role in the Waris Hussein miniseries Princess Daisy, and featured alongside  Lino Ventura and Bernard Giraudeau in the French-Canadian film Le Ruffian  In 1984, she played the love interest of Marcello Mastroianni in a Marco Bellocchio production of Henry IV, based on the Luigi Pirandello play of the same name  It was entered into the 1984 Cannes Film Festival  Squitieri's Claretta (1984), featuring Cardinale and Gemma, was entered into the competition at the 41st Venice International Film Festival  Cardinale's performance as Claretta Petacci garnered her the Nastro d'Argento for Best Actress  In 1985, Cardinale starred opposite Ben Gazzara and Lina Sastri in Alberto Bevilacqua's La donna delle meraviglie   It entered the competition at the 1985 Venice International Film Festival In 1986, Cardinale was involved in the making of two films for television  In Comencini's La storia (from Elsa Morante's novel), Cardinale portrayed a widow raising a son during World War II  In her husband's Naso di Cane, a miniseries, Enrico Lancia and Roberto Poppi praised her for her "light comic touch"  In 1987, Cardinale starred opposite Peter Coyote, Greta Scacchi, and Jamie Lee Curtis in Diane Kurys's film A Man in Love (Un homme amoureux), Kurys's first English-language feature  It was entered into the 1987 Cannes Film Festival  Cardinale's performance as Scacchi's cancer-stricken mother was praised by critics, with Desson Howe of The Washington Post highlighting the "warm and radiant" elements that she brought to the role, and Hal Hinson, also of The Post, comparing Scacchi to having "the same kind of sensuality that Cardinale brought to her earlier roles"  After a role in the comedy, Blu elettrico (1988), Cardinale portrayed Yolande de Polastron, a favourite of Marie Antoinette's, in the two-part film La Révolution française in 1989  Made to celebrate the bicentennial anniversary of the French Revolution, the 360-minute Robert Enrico and Richard T  Heffron film was an international production, boasting a cast which included Klaus Maria Brandauer, Jane Seymour and Peter Ustinov 

1990s
In 1990, Cardinale starred opposite Bruno Cremer in Squitieri's Atto di dolore, and appeared in the Morocco-set Soviet-Italian production, La battaglia dei tre tamburi di fuoco 
In 1991, Cardinale featured alongside Richard Berry and Omar Sharif in Henri Verneuil's Mayrig (meaning "mother"), a film about the struggles of an Armenian family that emigrates to Marseilles from Turkey after the Armenian genocide of 1915  Such was the success of the film that Verneuil made a sequel the following year, 588, rue Paradis, also featuring the cast  Cardinale was praised by critics for her role as the mother; the Armenian General Benevolent Union of America noted the "flawless performance of these intrepid actors, especially of Claudia Cardinale"  In 1993, Cardinale won the Leone d'oro alla carriera award at the Venice Film Festival, in which she was honoured along with Roman Polanski, Robert De Niro, and Steven Spielberg  Cardinale agreed to reunite with Blake Edwards, Herbert Lom, and Burt Kwouk to celebrate the 30th anniversary of The Pink Panther by making Son of the Pink Panther  It was Edward's last film, but was a critical and commercial failure, with critics despairing at the "painfully unfunny script" and the performance of Roberto Benigni as Clouseau, which earned him the Razzie Award for Worst New Star  As of July 2015, it has a rating of just 6% on Rotten Tomatoes based on 34 reviews 
In 1994, Cardinale had a role in Charlotte Dubreuil's Elles ne pensent qu'à ça   , and the following year appeared in the French TV serial 10-07: L'affaire Zeus In 1997, Cardinale featured in the British-Italian television drama miniseries Nostromo, directed by Alastair Reid and produced by Fernando Ghia of Pixit Productions, a co-production with Radiotelevisione Italiana, Televisión Española, and WGBH Boston  It is described as "an adaptation of Joseph Conrad's epic story Nostromo of political upheaval, greed, and romance in turn-of-the-20th-century South America " Cardinale and the cast were nominated for an ALMA Award for Outstanding Latino/a Cast in a Made-for-Television Movie or Mini-Series  Later in 1997, Cardinale appeared in the films Sous les pieds des femmes and her husband's Stupor Mundi, in which she portrayed Constance of Aragon  In 1998, Cardinale portrayed the mother of Lola Naymark in the French picture Riches, belles, etc , a wealthy baroness who leaves her hotel to her daughter to care for during her absence  The following year, Cardinale played the peasant mother of two children who are members of Carmine Crocco's (Enrico Lo Verso's) army during the Garibaldi era, in Cristaldi's historical film Li chiamarono    briganti!  Poorly received, the film was boycotted, and the producers have since refused to assign the broadcasting rights 

2000s
In 2000, Cardinale embarked on her stage career, starring in Maurizio Scaparro's stage production of La Venexiana, adapted by René de Ceccatty, at the Théâtre du Rond-Point in Paris 
She also appeared in her husband's television film, Élisabeth - Ils sont tous nos enfants  Two years later, Cardinale went on a theatrical tour of Italy, performing in Luigi Pirandello's Come tu mi vuoi, which Squitieri directed  She appeared as what Roger Ebert described as a "faded countess" opposite Jeremy Irons in Claude Lelouch's thriller film And Now    Ladies and Gentlemen, portraying a character who spends her time in Fez, Morocco, with handsome gigolos  The film was screened out of competition at the 2002 Cannes Film Festival  And Now    Ladies and Gentlemen received mixed reviews; A  O  Scott of The New York Times dismissed it as "sublimely silly", but praised the "impeccable CinemaScope compositions" and the "lush, suave score" by Michel Legrand In 2005, Cardinale appeared in a Philippe Adrien stage production of Tennessee Williams's Sweet Bird of Youth, and in the 2006/2007 season also featured in another Williams play, The Glass Menagerie, directed by Andrea Liberovici, in which she played the character of Amanda  In 2007, Cardinale appeared in the Aline Issermann comedy film Cherche fiancé tous frais payés, opposite Alexandra Lamy and Bruno Salomone, in a role which Patrick Besson described as "atrocious"  After a role in the TV movie Hold-up à l'italienne (2008), the following year Cardinale starred in the critically acclaimed The String, playing a Tunisian mother who has a tempestuous relationship with her French-educated gay son  Michael D  Klemm of cinemaqueer com reflected on how the film broke many of the taboos with interracial sexuality and homosexuality  He praised Cardinale's "terrific" acting and portrayal of the "overbearing" mother, likening one scene, where she "brings home a nice girl for Malik (Antonin Stahly) to meet", to Harold and Maude (1971) 

2010s
In 2010, Cardinale received the Golden Orange Best Actress Award at the 47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student in Signora Enrica  The Turkish-Italian co-production was shot in locations in Istanbul and Rimini In 2012, Cardinale featured opposite Jeanne Moreau and Michael Lonsdale in the final feature film to be directed by Portuguese director Manoel de Oliveira, Gebo and the Shadow  Critically acclaimed, it has a rare 100% rating on Rotten Tomatoes, and was shown at the 69th Venice International Film Festival  The Hollywood Reporter described it as the "ensemble of superb older performers who comprise the remainder of the dramatis personae"  Another excellent film in which Cardinale acted, released in 2012, was The Artist and the Model  In it, she starred along with Jean Rochefort  In 2013, Cardinale starred alongside supporting actresses Patricia Black and Chloé Cunha in Nadia Szold's Joy de V , and had a role in Ernst Gossner's war drama The Silent Mountain, a love story set in the Dolomite Mountains at the outbreak of World War I between Italy and Austria-Hungary in 1915  Gossner described her as "a terrific spirit on the set", and noted that Cardinale told the production team "legendary stories" about Marcello Mastroianni  In 2014, Cardinale portrayed a "sympathetic Italian chaperone" viscountess in the British period drama film Effie Gray, which was written by Emma Thompson (whom Cardinale shares birthday with) and featured Dakota Fanning in the lead role  While promoting Effie Gray, in an interview Cardinale said: "I still continue to work, it's 142 movies now  Usually when you are old you don't work any more, but I still work, which is good     I've been very lucky because I've had many fantastic directors with me, Fellini, Visconti, Blake Edwards, lots and lots   " On 11 October 2018 she received the Tabernas de Cine award in the Almería Western Film Festival 

2020s
In 2020, Cardinale headlined the Swiss miniseries Bulle  Later that year, she had a role in the Netflix film Rogue City  In its debut weekend, it was the second most-streamed film on the site 

Personal life
Claudia Cardinale met the Italian film producer Franco Cristaldi in 1958  According to Cardinale, the couple had a marriage party but did not marry, and they became increasingly detached  Cristaldi later married Zeudi Araya and had no further relationship with Cardinale Cardinale lived with Pasquale Squitieri, an Italian film director, for 42 years, from 1975 until Squitieri died on 18 February 2017, aged 78 Cardinale has two children: Patrick, who was born when she was 19 and later adopted by Cristaldi, and Claudia, whom she had with Squitieri 
Cardinale is fluent in Arabic, French, Italian, English, and Spanish  Her niece Francesca is also an actress Cardinale is a political liberal who has supported feminist causes over the years  Although she lives in Paris, Cardinale is fiercely outspoken about being identified as an Italian  She has been a UNESCO goodwill ambassador for the Defence of Women's Rights since March 2000, and was a goodwill ambassador for the UNESCO World Water Day for 2006 Cardinale published an autobiography with Anne Mori, Io Claudia, Tu Claudia, in 1995  She has been a regular attendee of the Academy Awards  Her awards have included an honorary Golden Lion at the 1993 Venice Film Festival, and an Honorary Golden Bear at the 2002 Berlin Film Festival  The Los Angeles Times Magazine, in a February 2011 online feature, named Cardinale among the 50 most beautiful women in film history  Cardinale said of her acting, "I never felt scandal and confession were necessary to be an actress  I've never revealed myself or even my body in films  Mystery is very important " In a 2014 interview, she revealed her secret of success: "If you want to practise this craft, you have to have inner strength  Otherwise, you'll lose your idea of who you are  Every film I make entails becoming a different woman  And in front of a camera, no less! But when I'm finished, I'm me again "

See also
Passage 4:
Three Strangers in Rome
Tre straniere a Roma, also known as Three Strangers in Rome, is a 1958 Italian romantic comedy film directed by Claudio Gora starring Claudia Cardinale  The film was one of the first movies with Cardinale in a leading role 

Cast
Yvonne Monlaur: Nanda
Claudia Cardinale: Marisa
Françoise Danell: Elsa
Luciano Marin: Sandro Nencioni
Roy Ciccolini: Sergio
Leonardo Botta: Franco
Tamara Lees: Sandro's girlfriend
Renato Chiantoni: Pasquale
Nando Bruno: Vincenzo's father
Guglielmo Inglese: Michele
Alberto Talegalli: Uncle Gaetano
Gina Mascetti: Owner of the Pensione Aurora
Dolores Palumbo: Sergio's mother
Andrea Scotti: Osvaldo
Marino Barreto Junior: Himself
Marco Tulli

External links
Tre straniere a Roma at IMDb
Passage 5:
Frank Kubatzki
Frank Kubatzki (May 12, 1877 – ?) was an American blacksmith from Milwaukee who served three terms as a Democratic member of the Wisconsin State Assembly representing the 8th Milwaukee County District (8th Ward of the City of Milwaukee) 

Background
Kubatzki was born in the part of Poland within the German Empire on May 12, 1877, and came to America with his parents at the age of two, the family locating in Milwaukee  He was educated in a parochial school and night school, and became a blacksmith by trade  He served in the Army's First Wisconsin Volunteers from the outbreak of the Spanish–American War until he was mustered out in October 1898  Returning home, he returned to his trade until he lost the use of two limbs due to a disease contracted while in the service, and had to dispose of his business  He would eventually be awarded a monthly pension of $72 in 1926, apparently as a result of lobbying by Congressman John C  Schafer 

Legislative service
He was elected to the assembly in 1914 and was re-elected in 1916 and 1918, receiving 1,147 votes at the 1918 general election to 756 for Socialist Frank Cieszynski  He was defeated for re-election in 1920 by Socialist Walter Polakowski  In 1922 he attempted to re-gain his old seat, but came in third, losing to Polakowski's younger brother John Polakowski, who received 2,191 votes to 1,471 for Republican Louis Polewczwnski and 856 for Kubatzki 
Context 3: 
In "Christmas Crime", a twentieth-season episode of Family Guy, Brian states he was briefly McGruff's sidekick "Sergeant Bark"; a cutaway gag has him appearing in an edited remastered version of the 1984 "Don't Talk to Strangers" PSA 
McGruff makes a cameo appearance in the 2022 film Chip 'n Dale Rescue Rangers 
The album Never Breathe What You Can't See by Jello Biafra and Melvins features a song named after McGruff the Crime Dog which is critical of the United States Homeland Security 
In the Rooster Teeth original series, Death Battle, McGruff would face off against fellow PSA mascot Smokey Bear  He ultimately ended up losing the match 

See also
National Night Out
Smokey Bear
Passage 3:
List of Back to the Future characters
The Back to the Future film trilogy and subsequent animated series feature characters created by Robert Zemeckis and Bob Gale 
The lead character of the series is Marty McFly  During the course of the trilogy, he travels through time using a DeLorean time machine invented by his friend Emmett Brown  He also encounters the central antagonist, Biff Tannen, in several different time periods and visits his ancestors and descendants 

Main characters
Marty McFly
Martin Seamus "Marty" McFly (portrayed by Michael J  Fox in the films and voiced by him in Lego Dimensions, voiced by David Kaufman in the animated series) is the son of George McFly and Lorraine Baines McFly  Marty travels between the past and the future, encountering his ancestors and descendants  Marty and his friend Doc Brown help restore the space-time continuum while encountering Biff Tannen (or members of the Tannen clan) at various points in time 

Emmett "Doc" Brown
Doctor Emmett Lathrop "Doc" Brown (portrayed by Christopher Lloyd and voiced by him in Lego Dimensions, voiced by Dan Castellaneta in the animated series) is the inventor of the DeLorean time machine  At various points in time, Doc helps Marty restore the space-time continuum and reverse the changes that were caused by time travel 
In 2008, the character was selected by film magazine Empire as one of The 100 Greatest Movie Characters of All Time, ranking at No  20 

George McFly
George Douglas McFly (portrayed by Crispin Glover in Back to the Future, Jeffrey Weissman in Back to the Future Part II and Back to the Future Part III, voiced by Michael X  Sommers in Back to the Future: The Game) is married to Lorraine Baines McFly and is the father of Marty, Linda and Dave  Although he is one of the main characters in the first movie, George only makes cameos in Back to the Future Part II and Back to the Future Part III 
In the first film, George is portrayed as weak and the main target of Biff Tannen's bullying  The novelization of the film expounds on George's history of weakness, describing two incidents in which he is unable to stand up for himself  In 1955, in contrast with Marty, George did not have any friends for support and was targeted not only by Biff and his gang but also other kids in school  He has a penchant for science fiction, and writes some of his own but never allows himself to share them with anyone due to his fear of rejection  In 1955, with Marty's help, he gets the courage to stand up to Biff, knocking him unconscious  As a result, he and Lorraine fall in love and George becomes popular in school for defeating Biff in a fight  In the new future, they are both married with George working as a college professor and being a successful writer who orders Biff around  In the dystopian timeline in Part II, George was murdered by Biff in 1973 
George's character was greatly reduced in the sequels, and the role was recast  Weissman wore prosthetics to resemble Glover and imitated Glover's rendering of McFly, and his scenes were spliced with shots of Glover from Back to the Future  The result was so convincing that many people were fooled by it  However, Glover did not appreciate this and sued  The lawsuit resulted in the adoption of stricter rules by the Screen Actors Guild to prevent this situation from occurring again 

Lorraine Baines-McFly
Lorraine Baines-McFly (portrayed by Lea Thompson, voiced by Aimee Miles in Back to the Future: The Game) is married to George McFly and the mother of Marty, Linda and Dave  She is the oldest daughter of Sam (George DiCenzo) and Stella (Frances Lee McCain) Baines, and sister of Milton (Jason Hervey), Sally (Maia Brewton), Toby, and Joey 
In Back to the Future, Lorraine is initially portrayed in 1985 as middle-aged and unhappy  After Marty changes the timeline, she is shown to be fit and happily married to George in 1985  In Part II, Lorraine is still happily married to George in 2015 but they are constantly disappointed in Marty for giving in to peer pressures that make his life difficult  In the alternate 1985 timeline, she is widowed and married to Biff Tannen 

Clara Clayton
Clara Clayton (portrayed by Mary Steenburgen in both Back to the Future Part III and the animated series) is married to Doc Brown and is the mother of Jules and Verne Brown 
Clara moved to Hill Valley and originally died in an accident when her wagon plummeted into Shonash Ravine, which was renamed Clayton Ravine in her memory  This later changed after Doc rescued her, with Mayor Herburt naming it Eastwood Ravine in honor of Marty's alias Clint Eastwood, remembered as a town hero who saved Clara, defeated Buford Tannen, and allegedly died trying to stop two bandits who hijacked a locomotive  The animated series reveals that Clara, along with the rest of the family, moves to the early 1990s and lives in a farmhouse outside of Hill Valley  She then became a teacher at Hill Valley Elementary School 

Jennifer Parker
Jennifer Jane Parker (portrayed by Claudia Wells in the first film and voiced by her in Back to the Future: The Game, Elisabeth Shue in the second and third film, voiced by Cathy Cavadini in the animated series) is dating Marty McFly  In 2015 as seen in Back to the Future Part II, they are married 
In 1985, Jennifer attends Hill Valley High School, along with her boyfriend Marty  In the animated series, Jennifer is enrolled to Hill Valley College with Marty after graduating high school and working part-time as a tutor  She lives with her family on a ranch, the deed to which was owned by Biff Tannen, after one of his ancestors forced Jennifer's great-great-grandfather to sign it over by holding Jennifer's great-great-grandmother hostage  In the episode "A Friend in Deed", Marty travels back in time to 1875 and sabotages the deal with help from Jules and Verne In the future witnessed in Back to the Future Part II, Jennifer and Marty had two children, Marlene and Marty Jr  (both played by Michael J  Fox) 
Melora Hardin was initially cast in the role, to appear alongside Eric Stoltz' Marty McFly  After Stoltz was fired from the production and Michael J  Fox was brought in, Claudia Wells was cast to portray the character, as Hardin was deemed too tall to appear next to the much shorter Fox  However, Wells was not available to film the sequels for personal reasons, and the role was recast to Elisabeth Shue although Wells reprised her role as Jennifer in Back to the Future: The Game as a punk rock version of her character  Consequently, the opening scene of Back to the Future Part II was re-shot with Shue taking Wells' place, rather than using the ending of Back to the Future 

Biff Tannen
Biff Howard Tannen (portrayed by Thomas F  Wilson) is the main antagonist of the first two films, and a local bully who harassed George McFly and managed to alter history in the second film  He comes from a long line of bullies in Hill Valley, most of whom harassed members of the McFly family, including Buford "Mad Dog" Tannen (also portrayed by Wilson, in Part III), who is one of Hill Valley's outlaws during the 1880s 

McFly family
Dave McFly
David "Dave" McFly (portrayed by Marc McClure) is the eldest child of George and Lorraine McFly  In 1985, before Marty went to 1955, Dave works at Burger King, but in the post-time travel 1985, he wears a suit as a nondescript white-collar worker for an accounting firm  In a deleted scene from Part II, the alternate 1985 timeline shows that Dave is an alcoholic and a gambling addict following George's death and Lorraine's second marriage to Biff Tannen 

Linda McFly
Linda McFly (portrayed by Wendie Jo Sperber) is the middle child and only daughter of George and Lorraine McFly  In 1985 before Marty went to 1955, Linda is having boy trouble and it is unknown if she is in college or has a job  In 1985 after Marty went to 1955, Linda works in a boutique and has gained the attention of many boys 

Seamus and Maggie McFly
Seamus and Maggie McFly (portrayed by Michael J  Fox and Lea Thompson) are Irish immigrants and the paternal great-great-grandparents of Marty McFly  In Part III, Marty is befriended by Seamus and Maggie  While Maggie does not trust the "strange young man", Seamus has a familiar feeling about him and believes that helping him is the right thing to do  They have a son named William (Marty's great-grandfather)  Much like his descendants, Seamus is harassed by a member of the Tannen family, Buford Tannen  He also had a brother, Martin, who was fatally stabbed prior to the film's events 
Maggie McFly is played by Lea Thompson, who also plays Marty's mother Lorraine, even though Maggie is not an ancestor of Lorraine; in a DVD commentary track for Part III, Bob Gale states that the creative team considered it important to include Thompson in the film, and he imagines that McFly men are simply "genetically predisposed" to be attracted to women who look like her 

William McFly
William "Willie" McFly (voiced by Michael J  Fox in Back to the Future: The Game) is the son of Seamus and Maggie McFly as well as Marty's great-grandfather  Baby Willie was played by Lindsay Clark  She left acting shortly after this role 

Arthur McFly and Sylvia Miskin
Arthur "Artie" McFly and Sylvia Miskin (stage name "Trixie Trotter") are Marty's paternal grandparents and George's parents introduced in Back to the Future: The Game and voiced by Michael X  Sommers and Melissa Hutchison respectively 

Marty Jr  and Marlene McFly
Marty Jr  and Marlene McFly (both portrayed by Michael J  Fox) are Marty McFly and Jennifer Parker's future son and daughter in 2015 in Part II 
Originally, 17-year-old Marty Jr  was to be arrested and sentenced to fifteen years in prison for joining a robbery initiated by Griff and his gang  Marlene attempted to help Marty Jr  break out of jail but failed and was sentenced to twenty years in a woman's prison  Doc and Marty prevented the event from ever happening 

Baines family
Sam Baines
Sam Baines was the husband of Stella Baines and the father of six children, including Lorraine, Milton, Toby, Joey, Sally, and Ellen Baines  He is the father-in-law of George McFly and the maternal grandfather of Marty, David, and Linda McFly 

Stella Baines
Stella Baines (portrayed by Frances Lee McCain) was the wife of Sam Baines and the mother of six children, including Lorraine, Milton, Toby, Joey, Sally, and Ellen Baines  She is the mother-in-law of George McFly and the maternal grandmother of Marty, David, and Linda McFly 

Milton Baines
Milton Samuel Baines (portrayed by Jason Hervey) is the second child of Sam and Stella Baines, the brother of Lorraine, Sally, Toby, Joey, and Ellen Baines, the brother-in-law of George McFly, and the uncle of David, Linda, and Marty McFly  He was 12 years old in 1955  In 1955, Milton liked to wear a coonskin cap, a fad inspired by the Davy Crockett film and television show, which Stella took off his head twice while Marty was eating dinner with the family, putting it back on both times 

Sally Baines
Sally Flora Baines (portrayed by Maia Brewton) was the third child of Sam and Stella Baines, the sister of Lorraine, Milton, Toby, Joey, and Ellen Baines, the sister-in-law of George McFly, and the aunt of David, Linda, and Marty McFly  Born in 1949, she was present when Marty McFly in 1955 had dinner with her family, but did not speak 

Toby Baines
Toby Baines was the fourth child of Sam and Stella Baines, the brother of Lorraine, Milton, Sally, Joey, and Ellen Baines, the brother-in-law of George McFly, and the uncle of David, Linda, and Marty McFly  He was born in 1951  On November 5, 1955, he sat at the dinner table with his family and Marty McFly, whom his father had hit with the car earlier that day  He remained silent while the guest was present 

Joey Baines
Joey Baines was born on August 28, 1954, to Sam and Stella Baines, and was the fifth child in the Baines family  In the early 1970s, Joey was Marty McFly's favorite uncle  Joey would allow Marty to do dangerous things, but would always be there to make sure he was all right  He spent many years in Folsom Prison  On October 25, 1985, he failed to earn his release on parole for at least the second time 
By the 21st century, USA Today ran an article on Joey Baines in their October 22, 2015 issue, titled Parole denied again, which mentioned that this was Joey's twelfth consecutive parole hearing to end in denial  He was serving a twenty-year term at Folsom for racketeering and had spent two-thirds of his life behind bars 

Ellen Baines
Ellen Baines was the sixth child of Sam and Stella Baines, the sister of Lorraine, Milton, Sally Toby, and Joey Baines, the sister-in-law of George McFly, and the aunt of David, Linda, and Marty McFly  Born in 1956 (a few months after Marty's trip to 1955), she moved to Chicago at some point prior to 1986 

Brown family
Jules and Verne Brown
Jules Eratosthenes Brown and Verne Newton Brown (portrayed by Todd Cameron Brown and Dannel Evans in Back to the Future Part III, voiced by Josh Keaton and Troy Davidson in the animated series) are the two children of Doc Brown and his wife, Clara, who named them after their favorite author Jules Verne 
The characters had minor, non-speaking roles in Back to the Future Part III but were further developed in the animated series  Jules, an introvert, mostly imitates his father's interests and mannerisms while Verne appears to be more outgoing and extroverted  Several plot points of the animated series revolve around either Jules or Verne altering history and the steps necessary to correct the damage 
In the Back to the Future game when asked about his family, Doc reveals that his sons are now teenagers and their parents are discussing what time period they should attend college at 

Copernicus
Copernicus is Doc's dog from 1955  Like his other dogs, Copernicus was used in many of Doc's experiments  When Copernicus died, he was eventually replaced by Einstein 

Einstein
Einstein (portrayed by Tiger and stuntman Dick Butler in the first film and Freddie in the other two, voiced by Danny Mann in the animated series) is Doc Brown's pet Catalan sheepdog  He later becomes one of the main characters in the animated series as the Brown family's dog 
In the first film, Doc successfully tests his time machine by placing Einstein in it and sending him one minute into the future  In the animated series, Einstein becomes anthropomorphic and smarter, helping Doc with his inventions for traveling to the past and the future 

Tannen family
Irving "Kid" Tannen
Kid Tannen (voiced by Owen Thomas) is Biff's father who only appears in the Back to the Future: The Game  Kid is a gangster who runs a local speakeasy in the 1930s Hill Valley  He, like the rest of the Tannen family, bullies the McFly family forcing Marty's grandfather Arthur to do his accounting  Kid is brought down with the help of Marty, a young version of Doc, and Arthur McFly  He later marries Edna Strickland and reforms from his criminal ways with her help 

Buford "Mad Dog" Tannen
Buford Tannen (portrayed by Thomas F  Wilson in Back to the Future Part III, Liam O'Brien in Lego Dimensions) is the main antagonist of the third film  He is the great-grandfather of Biff Tannen and the local town outlaw in 1885 Hill Valley  He was nicknamed "Mad Dog" by a newspaper reporter, due to his violent temper and propensity for drooling, a nickname Tannen greatly despises  Buford is cruel, homicidal, rude, and emotionally unstable  He displays a need for control and is brought down to childlike tantrums when he is humiliated or makes mistakes, whether it be something that happens to him or something he says or does  He is often accompanied by his gang (played by Christopher Wynne, Sean Sullivan and Mike Watson), and developed a feud with Marshal James Strickland and his deputies  Like his descendant Biff, he has a dislike for manure 

Griff Tannen
Griff Tannen (portrayed by Thomas F  Wilson in both Back to the Future Part II and in the animated series) is a grandson of Biff  He is part of a gang that also consists of Rafe "Data" Unger, Leslie "Spike" O'Malley and Chester "Whitey" Noguera  Unlike his grandfather and great-great-great-grandfather whose gangs only consisted of Caucasian males, his accomplices are one Caucasian male (Data), one Caucasian female (Spike), and one Asian-American male (Whitey) 
In the animated series, Griff makes a brief cameo appearance in the episode "Solar Sailors" where his grandson, Ziff (also voiced by Wilson), is detained after he attempts to sabotage Marta McFly's space cruiser due to his hatred towards her family 
Griff's last name is never mentioned in the movie, which means he could either be the son of Biff's son Biff Jr, or the son of Biff's daughter, Tiffaney, but in the animated series, Ziff says that both he and Griff are Tannens 

Biff Tannen Jr 
In the animated series, Biff Jr  (voiced by Benji Gregory) is the son of Biff Tannen  Like his father and paternal relatives, he likes to bully and steal from children around him including Jules and Verne Brown with whom he developed a feud  In addition, Biff Jr  delights in vandalizing other people's properties  Biff Jr  lives with his father with whom he has an abusive relationship 

Strickland family
Gerald Strickland
Gerald Strickland (portrayed by James Tolkan) is the strict principal of Hill Valley High School  He is a descendant of Chief Marshal James Strickland of Hill Valley 1885  He frequently makes a great noisy show of sternly reprimanding his students for faults such as "slacking" or liquor consumption, although he himself is revealed to sneak a drink of alcohol at his desk at school 
There is a reference from Verne Brown that there is another Strickland who works at Hill Valley Elementary School as its vice principal 

James Strickland
James Strickland (portrayed by James Tolkan in Back to the Future Part III) is the chief marshal of Hill Valley in 1885 and an ancestor of Mr  Strickland  He also has an unnamed son (portrayed by Kaleb Henley) 
In a deleted scene not included in the final cut, and in the movie's novelization, Strickland is killed by Buford Tannen  In the theatrical release Strickland simply remains absent for the latter half 
In the Back to the Future game, Edna Strickland in 1986 notes that James was shot and killed by Buford  Marty remarks that's a detail he doesn't remember, possibly a reference to the differences between the film and the movie novelization 

Edna Strickland
Edna Strickland (voiced by Rebcca Sweitzer) is introduced in Back to the Future: The Game where she is the sister of Gerald Strickland  She is somewhat nicer than her brother, but still set in her ways towards upholding strong morals and abolishing crime and laziness  After Marty alters her original timeline, Edna married Kid Tannen and became the stepmother of Biff Tannen 

Other characters
Marvin Berry
Marvin Berry (portrayed by Harry Waters Jr ) is an African-American jazz musician and electric guitar player whose band was hired in Back to the Future Part I to perform at the "Enchantment Under The Sea" dance  He is also the cousin of then-rising musician Chuck Berry  After injuring his hand while helping Marty McFly out of a car's trunk, Marty takes his place as guitarist in the evening's most important dance  When Marty subsequently performs Johnny B  Goode to the audience's excitement, Marvin immediately calls Chuck to introduce him to the new music style, thereby humorously implying that Chuck stole the song to further his musical career  This creates a time paradox, since Marty was playing a song made famous by Chuck Berry, before Berry wrote it, so the song either has no actual creator or Berry was essentially stealing a song from his alternate timeline self  Another theory was that Chuck was going to write it anyway, but after hearing it maybe wrote it faster 

Otis "Old Man" Peabody
Otis Peabody (portrayed by Will Hare) is the patriarch of a 1950s farmer family in Back to the Future Part I  For some obscure reason, he decided to plant pines on his land; while his plan ultimately came to no fruition, the area was decades later converted into a shopping mall named "Twin Pines Mall" as a testimony to his efforts  The town sees Peabody odd including Doc Brown, who himself has a similar reputation  When Marty McFly makes his involuntary time trip back to 1955, he ends up crashing into Peabody's shed with the DeLorean and then flattening one of his two growing pine saplings while escaping  The farmer's family believes that the time-traveling car and its driver in an NBC suit are extraterrestrial  As results, according to a headline of the newspaper Hill Valley Telegraph with Peabody being photographed in a straitjacket, he is committed to a county asylum after claiming "'space zombie' wrecked his barn," and after Marty returns to 1985, the mall is found having been (re)named "Lone Pine Mall" 

Douglas J  Needles
Douglas J  Needles (portrayed by Flea in Back to the Future Part II and Back to the Future Part III) is the rival of Marty McFly in Hill Valley High School  Like his school's alumnus, Biff Tannen, Needles also has his own gang and develops a rivalry with Marty (although he doesn't outright bully him like Biff did to George and has no relation to the Tannens)  He often goads Marty into doing reckless things, leveraging on Marty's fear of being labeled as a "chicken" 

Goldie Wilson
Goldie Wilson (played by Donald Fullilove in the first film) is a young man working at Lou's Cafe in 1955 who goes on to become the first black Mayor of Hill Valley in the 1980s  By 1985, he creates a controversy when he plans to replace the damaged clock from the Hill Valley Courthouse's clock tower, which continues in 2015 after he left the office  A campaign poster shows the name Goldie in quotation marks, suggesting Goldie is a nickname, presumably in reference to his gold tooth 
He would also have a grandson, Goldie Wilson III (also played by Fullilove) who works as a car salesman in Back to the Future: Part II 

Match, Skinhead and 3-D
"Match" O'Malley (portrayed by Billy Zane), Joey "Skinhead" Unger (portrayed by Jeffrey Jay Cohen), and "3-D" Noguera (portrayed by Casey Siemaszko) are the three high school boys who make up Biff Tannen's gang in 1955  Their nicknames are only given in the films' novels, screenplays, and credits  Only one of their real names is mentioned in the movies – Biff refers to Skinhead as Joey in one of the 1955 scenes in Back to the Future Part II, while outside of the "Enchantment Under the Sea" dance 
In the alternate 1985, the three work in Biff's casino as his bodyguards  Each get their nickname from a distinctive character trait  Match often has a match sticking out of his mouth; Skinhead has very short, close-cropped hair; 3-D is always wearing a pair of anaglyphic 3-D glasses (a reference to the 3-D movies that were popular in the 1950s) 

Spike, Data and Whitey
Leslie "Spike" O'Malley (portrayed by Darlene Vogel), Rafe "Data" Unger (portrayed by Ricky Dean Logan) and Chester "Whitey" Noguera (portrayed by Jason Scott Lee) they are high school kids who make up Griff Tannen's gang in 2015  Each one of them is also the grandchild of Biff Tannen's original gang  Spike is Match's granddaughter, Data is Skinhead's grandson, and Whitey is 3-D's grandson 
Passage 4:
Back to the Future Part II
Back to the Future Part II is a 1989 American science fiction film directed by Robert Zemeckis from a screenplay by Bob Gale; both wrote the story  It is the sequel to the 1985 film Back to the Future and the second installment in the Back to the Future franchise  The film stars Michael J



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

Question: Who played the girlfriend of Chance's voice actor in Homeward Bound in Back to the Future?

The following are given passages.
Context 3:  Fox, Christopher Lloyd, Lea Thompson, and Thomas F  Wilson with Elisabeth Shue (replacing Claudia Wells), and Jeffrey Weissman (replacing Crispin Glover) in supporting roles  It follows Marty McFly (Fox) and his friend Dr  Emmett "Doc" Brown (Lloyd) as they travel from 1985 to 2015 to prevent Marty's son from sabotaging the McFly family's future  When their arch-nemesis Biff Tannen (Wilson) steals Doc's DeLorean time machine and uses it to alter history for his benefit, the duo must return to 1955 to restore the timeline 
The film was produced on a $40 million budget and was filmed back to back with its sequel Part III  Filming began in February 1989, after two years were spent building the sets and writing the scripts  Back to the Future Part II was also a ground-breaking project for visual effects studio Industrial Light & Magic (ILM)  In addition to digital compositing, ILM used the VistaGlide motion control camera system, which allowed an actor to portray multiple characters simultaneously on-screen without sacrificing camera movement 
Back to the Future Part II was released by Universal Pictures on November 22, 1989  Though the film received mostly positive reviews from critics, it was deemed inferior to its predecessor  The film grossed over $332 million worldwide in its initial run, making it the third-highest-grossing film of 1989 

Plot
On October 26, 1985, Dr  Emmett "Doc" Brown arrives unexpectedly in the DeLorean time machine  He persuades Marty McFly and his girlfriend, Jennifer Parker, to travel to the future with him and help their future children, with Biff Tannen witnessing their departure  They arrive on October 21, 2015, where Doc incapacitates Jennifer electronically leaving her asleep in an alley, explaining that she should not have too much knowledge of future events  He has Marty pose as his son and lookalike Marty Jr  to refuse an offer to participate in a robbery with Biff's grandson Griff, thus saving Marty Jr  from prison 
Marty switches places with Marty Jr  and refuses Griff's offer, but Griff goads Marty into a fight, and a subsequent hoverboard chase ensues  Griff and his gang are arrested, saving Marty's future children  Before rejoining Doc, Marty purchases an almanac containing the results of major sporting events from 1950 to 2000  Doc discovers it and warns Marty about profiting from time travel  Before Doc can adequately dispose of it, they are interrupted by the police, who have found Jennifer incapacitated and are taking her to her 2015 home  They pursue, as does the elderly Biff, who has overheard their conversation and retrieved the discarded almanac 
Jennifer wakes up in her 2015 home and hides from the McFly family  She overhears that her future self's life with Marty is not what she expected, due to his involvement in an automobile accident  She witnesses Marty being goaded by his co-worker, Douglas Needles, into a shady business deal, resulting in Marty's firing  Jennifer tries to escape the house but faints after encountering her 2015 self  While Marty and Doc attend to her, Biff steals the time machine to give the almanac to his younger self, then returns to 2015  Marty, Doc, and an unconscious Jennifer return to 1985, unaware of Biff's actions  They leave Jennifer on her front porch 
The 1985 they return to has changed dramatically, with Biff now one of the country's wealthiest and most corrupt men  He has turned Hill Valley into a chaotic dystopia, secretly killed Marty's father, George, in 1973, and forced Marty's mother, Lorraine, to marry him  Doc has been committed to a mental hospital  Doc deduces that old Biff took the time machine to give his younger self the almanac, and Marty learns from the alternate 1985 Biff that he received it on November 12, 1955  Biff tries to kill Marty, but Marty flees and travels to 1955 with Doc 
Marty secretly follows the 1955 Biff and watches him receive the almanac from his 2015 self  Marty then follows him to the high school dance, carefully avoiding interrupting the events from his previous visit  After several fruitless attempts, Marty finally gets the almanac, leaving Biff to crash into a manure truck 
Marty burns the almanac, nullifying the changes to the timeline that it had caused, as Doc hovers above in the time machine  Before Marty can join him, the DeLorean is struck by lightning and disappears  A Western Union courier arrives immediately after and delivers a letter to Marty; it is from Doc, who tells him that the lightning strike transported him 70 years in the past to 1885  Marty races back into town to find the 1955 Doc, who had just helped Marty to return to 1985  Shocked by Marty's sudden reappearance, Doc faints 

Cast
Development
Director Robert Zemeckis said that initially, a sequel was not planned for the first film, but its huge box office success led to the conception of a second installment  He later agreed to do a sequel, but only if Michael J  Fox and Christopher Lloyd returned as well  With Fox and Lloyd confirmed, Zemeckis met with screenwriting partner Bob Gale to create a story for the sequel  Zemeckis and Gale would later regret that they ended the first one with Jennifer in the car with Marty and Doc Brown, because it required them to come up with a story that would fit her in, rather than a whole new adventure Gale wrote most of the first draft by himself as Zemeckis was busy making Who Framed Roger Rabbit  At first, the film's third act was to take place in 1967 where Lorraine was a flower child protesting the war and George was a college professor at Berkeley, but Zemeckis later stated that the time paradoxes of it provided a good opportunity to go back to 1955 and see the first film's events in a different light  While most of the original cast agreed to return, a major stumbling block arose when negotiating Crispin Glover's fee for reprising the role of George McFly  When it became clear that he would not return, the role was rewritten so that George is dead when the action takes place in the alternative version of 1985 The greatest challenge was the creation of the futuristic vision of Marty's hometown in 2015  Production designer Rick Carter wanted to create a very detailed image with a different tone from the film Blade Runner, wishing to get past the smoke and chrome  Carter and his crew spent months plotting, planning, and preparing Hill Valley's transformation into a city of the future  Visual effects art director John Bell said that they had no script to work with, only the indications that the setting would be 30 years into the future featuring "something called hoverboards" When writing the script for Part II, Gale wanted to push the first film's ideas further for humorous effect  Zemeckis said he was somewhat concerned about portraying the future because of the risk of making wildly inaccurate predictions  According to Gale, they tried to make the future a nice place, "where what's wrong is due to who lives in the future as opposed to the technology" in contrast to the pessimistic, Orwellian future seen in most science fiction  To keep production costs low and take advantage of an extended break Fox had from Family Ties (which was ending its run when filming began), it was shot back-to-back with sequel Part III 

Production
Two years were needed to finish building the sets and writing the scripts before shooting could begin  During filming the creation of the appearance of the aged characters was a well-guarded secret, involving state-of-the-art make-up techniques  Fox described the process as very time-consuming, saying that "it took over four hours, although it could be worse"  Principal photography began on February 20, 1989  For a three-week period near the end of the filming, the crew split and, while most remained dedicated to shooting Part III, a few, including Gale, focused on finishing its predecessor  Zemeckis himself slept only a few hours per day, supervising both films, having to fly between Burbank, where it was being finished and other locations in California for Part III The film was considered one of the most ground-breaking projects for Industrial Light & Magic  It was one of the effects house's first forays into digital compositing, as well as the VistaGlide motion control camera system, which enabled them to shoot one of its most complex sequences, in which Fox played three separate characters (Marty Sr , Marty Jr , and Marlene), all of whom interacted with each other  Although such scenes were not new, the VistaGlide allowed, for the first time, a completely dynamic scene in which camera movement could finally be incorporated  The technique was also used in scenes where Fox, Thomas F  Wilson, Christopher Lloyd, and Elisabeth Shue's characters encounter and interact with their counterparts  It also includes a brief moment of computer-generated imagery in a holographic shark used to promote a fictional Jaws 19, which wound up unaltered from the first test done by ILM's digital department because effects supervisor Ken Ralston "liked the fact that it was all messed up "Animation supervisor Wes Takahashi, who then was the head of ILM's animation department, worked heavily on the film's time travel sequences, as he had done in the original film and in Part III  As Part II neared release, sufficient footage of Part III had been shot to allow a trailer to be assembled  It was added to the conclusion of Part II before the closing credits, as a reassurance to moviegoers that there was more to follow 

Replacement of Crispin Glover and lawsuit
Crispin Glover was asked to reprise the role of George McFly  He expressed interest, but could not come to an agreement with the producers regarding his salary  He stated in a 1992 interview on The Howard Stern Show that the producers' highest offer was $125,000, less than half of what the other returning cast members were offered  Gale has since asserted that Glover's demands were excessive for an actor of his professional stature at that time  In an interview on the Opie and Anthony show in 2013, Glover stated that his primary reason for not doing Part II was a philosophical disagreement on the film's message; Glover felt the story rewarded the characters with financial gain, such as Marty's truck, rather than love Rather than write George out of the film, Zemeckis used previously filmed footage of Glover from the first film as well as new footage of actor Jeffrey Weissman, who wore prosthetics including a false chin, nose, and cheekbones to resemble Glover  Various techniques were used to obfuscate the Weissman footage, such as placing him in the background rather than the foreground, having him wear sunglasses, and hanging him upside down  Unhappy with this, Glover filed a lawsuit against the producers of the film on the grounds that they neither owned his likeness nor had permission to use it  As a result of the suit, there are now clauses in the Screen Actors Guild collective bargaining agreements stating that producers and actors are not allowed to use such methods to reproduce the likeness of other actors  Glover's legal action, while resolved outside of the courts, has been considered as a key case in personality rights for actors with increasing use of improved special effects and digital techniques, in which actors may have agreed to appear in one part of a production but have their likenesses be used in another without their agreement 

Replacement of Claudia Wells
Claudia Wells, who had played Marty's girlfriend Jennifer Parker in the first film, planned to reprise her role, but turned it down due to family reasons–reportedly to care for her mother, who was ill with cancer at the time of filming the second film  The producers cast Elisabeth Shue instead, which involved re-shooting the closing scenes of the first film for the beginning of Part II  The re-shot sequence is a near shot-for-shot match with the original, with only minor differences Wells returned to acting with a starring role in the 2008 independent film Still Waters Burn  She is one of the few cast members not to make an appearance within the bonus material on the Back to the Future Trilogy DVD set released in 2002  However, she is interviewed for the Tales from the Future documentaries in the trilogy's 25th anniversary issue on Blu-ray Disc in 2010  In 2011, she finally had the opportunity to reprise her role from the first film, 26 years after her last appearance in the series, by providing the voice of Jennifer for Back to the Future: The Game by Telltale Games 

Hoverboard hoax
Zemeckis said on the film's behind-the-scenes featurette that the hoverboards (flying skateboards) used in it were real, yet not released to the public, due to parental complaints regarding safety  Footage of "real hoverboards" was also featured in the extras of a DVD release of the trilogy  A number of people thought Zemeckis was telling the truth and requested them at toy stores  In an interview, Wilson said one of the most frequent questions he was asked was if they are real 

Depiction of the future
Though the filmmakers did research contemporary predictions by scientists on what might occur by 2015, Zemeckis has said that the film was not meant to be a serious attempt at predicting the future  In 2010, he commented: "For me, filming the future scenes of the movie were the least enjoyable of making the whole trilogy, because I don't really like films that try and predict the future  The only ones I've actually enjoyed were the ones done by Stanley Kubrick, and not even he predicted the PC when he made A Clockwork Orange  So, rather than trying to make a scientifically sound prediction that we were probably going to get wrong anyway, we figured, let's just make it funny"  Similarly, Gale said: "We knew we weren't going to have flying cars by the year 2015, but God we had to have those in our movie" However, the film did correctly predict a number of technological and sociological changes that occurred by 2015, including: the rise of ubiquitous cameras; use of unmanned flying drones for newsgathering; widescreen flat-panel television sets mounted on walls with multiple channel viewing; smart home technology; video chat systems; hands-free video games; talking animated billboards; wearable technology; tablet computers with fingerprint scanners and head-mounted displays  Payment on personal portable devices is also depicted  Although payment by thumbprint is not widely used, fingerprint scanning is in use as security at places such as airports and schools, and electronic payment with fingerprint scanning as a security feature is deployed for Apple Pay Other aspects of the depiction of the future had not come to pass by 2015, but efforts were made to replicate the technology advances 

The film shows Marty putting on Nike "Air Mag" tennis shoes with automatic shoelaces  Nike released a version of their Hyperdunk Supreme shoes, which appear similar to Marty's, in July 2008  Fans dubbed them the Air McFly  In April 2009, they filed the patent for self-lacing shoes, and their design bears a resemblance to those worn by Marty in the film  In 2010, a fan named Blake Bevin created shoes that tie themselves  Though Nike had made a very limited quantity of Air Mags in the same style as the movie, they stated in September 2011 that their consumer-line MAG line of shoes would not feature the self-lacing feature shown in it  Tinker Hatfield, one of the shoe's designers, indicated in 2014 that they would introduce shoes with power-lacing technology the following year, 2015  In March 2016, Nike unveiled the HyperAdapt 1 0 shoe, a consumer-market model of the Air Mag which features the same self-lacing technology used for the commemorative Air Mags; these were put on sale in limited quantities in late 2016 The producers created a futuristic flying car to depict a typical taxi cab in the future world of 2015  This taxi was based on the Citroën DS The concept of the hoverboard—a skateboard that can float off the ground—has been explored by various groups since the release of the film  Attempts similar to hoverboats, which blast air at the ground, have been demonstrated, with a 2021 record distance of 275 meters (902 ft)  A different type is the MagBoard, developed by researchers at the Paris Diderot University  It uses a large superconductor plate on the bottom cooled with liquid nitrogen as to achieve the Meissner effect and allow it to float over a special track; it was shown capable of carrying the weight of a human in its practical demonstration  However, the requirement to run the superconductor at higher, more ambient temperatures prevents this from becoming practical  In March 2014, a company named HUVr Tech purportedly demonstrated a working hoverboard along with several celebrities including Lloyd, though this shortly was revealed as a hoax created by the website Funny or Die  Self-balancing 'hoverboards' became popular in 2015 even though they do not hover above the ground In the 2015 scene, the film imagines the Chicago Cubs winning the 2015 World Series against the fictional Miami-based Gators, referring to the Cubs' longstanding failure to win a championship  In the actual 2015 season, the Cubs qualified for the postseason, their first postseason appearance since 2008, but lost the National League Championship Series (not the World Series) to the New York Mets on October 21, which coincidentally was the same day as "Back to the Future Day", the day Marty McFly arrived in 2015 in the film  Despite losing, one year later the Cubs did win the 2016 World Series against the Cleveland Indians; in congratulations to the Cubs, the official Twitter feed for the Back to the Future franchise jokingly tweeted out that Marty & Doc's time-traveling caused "a rift in the space-time continuum" that led to the 1994 strike (and subsequent cancellation of the 1994 World Series), thus delaying the accurate prediction by a year  In the real 2015 World Series, the Kansas City Royals defeated the Mets to win their first World Series championship since 1985, the year which Marty and Doc time traveled in the film  As for the fictional Miami team, when the film was made, Florida did not have a Major League Baseball team, but has since gained two: the Florida Marlins (now the Miami Marlins) in 1993 and Tampa Bay Devil Rays (now the Tampa Bay Rays) in 1998  While both teams have each made two appearances in the World Series (the Marlins winning in 1997 and 2003, and the Rays losing in 2008 and 2020), neither qualified for the postseason in 2015 

Release and reception
Box office
The film was released to theaters in North America on Wednesday, November 22, 1989, the day before Thanksgiving  It grossed a total of $27 8 million over Friday to Sunday, and $43 million across the five-day holiday opening, breaking the previous Thanksgiving record set by Rocky IV in 1985  On the following weekend, it had a drop of 56 percent, earning $12 1 million, but remained at number 1  Its total gross was $118 5 million in the United States and $213 million overseas, for a total of $332 million worldwide, ranking as 1989's sixth-most successful film domestically and the third-most worldwide—behind Indiana Jones and the Last Crusade and Batman  However this was still short of the first film's gross  Part III, which Universal released only six months later, experienced a similar drop  In Japan, it had a record opening, grossing $7 5 million in six days from 153 screens 

Critical response
On Rotten Tomatoes, the film holds an approval rating of 63% based on 63 reviews, with an average rating of 6 2/10  The website's critics consensus reads: "Back to the Future II is far more uneven than its predecessor, but its madcap highs outweigh the occasionally cluttered machinations of an overstuffed plot"  On Metacritic, the film has a weighted average score of 57 out of 100, based on 17 critics, indicating "mixed or average reviews"  Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale Roger Ebert of the Chicago Sun-Times gave the film three out of four stars  Ebert criticized it for lacking the "genuine power of the original" but praised it for its slapstick humor and the hoverboard in its chase sequence  Janet Maslin of The New York Times wrote that the film is "ready for bigger and better things" and later said that it "manages to be giddily and merrily mind-boggling, rather than confusing"  Tom Tunney of Empire magazine wrote that the film was well-directed, "high-energy escapism", and called it "solidly entertaining", though noting it as being inferior to the other two films in the franchise Jonathan Rosenbaum of the Chicago Reader gave the film a negative review, criticizing Zemeckis and Gale for turning the characters into "strident geeks" and for making the frenetic action formulaic  He believed that it contained "rampant misogyny", because the character of Jennifer Parker "is knocked unconscious early on so she won't interfere with the little-boy games"  He cited, as well, Michael J  Fox dressing in drag  Variety said, "[Director Robert] Zemeckis' fascination with having characters interact at different ages of their lives hurts it visually, and strains credibility past the breaking point, by forcing him to rely on some very cheesy makeup designs" In 2018, Bob Gale, who co-wrote the movie with Robert Zemeckis, said the movie received a mixed reception because of the dark aspect of the story: "They [the audiences] were absolutely surprised by it  The whole 1985 stuff    we went places the audience was not ready to go  That is some of my favorite stuff in the whole trilogy" 

Accolades
The film won the Saturn Award for Best Special Effects (for Ken Ralston, the special effects supervisor), the BAFTA Award for Best Special Visual Effects (Ken Ralston, Michael Lantieri, John Bell and Steve Gawley), an Internet-voted 2003 AOL Movies DVD Premiere Award for the trilogy DVDs, a Golden Screen Award, a Young Artist Award, and the Blimp Awards for Favorite Movie Actor (Michael J  Fox), and Favorite Movie Actress (Lea Thompson) at the 1990 Kids' Choice Awards  It was nominated in 1990 for an Academy Award for Best Visual Effects (John Bell, Steve Gawley, Michael Lantieri and Ken Ralston), but lost to The Abyss 

Home media
The film was released on VHS and LaserDisc on May 22, 1990, three days before the theatrical release of Part III  It was due to be the first release under the MCA/Universal Home Video banner  Universal reissued it on VHS, LaserDisc, and compact disc in 1991, 1995, and 1998  On December 17, 2002, Universal released it on DVD in a boxed trilogy set, although widescreen framing problems led to a product recall  The trilogy was released on Blu-ray Disc in October 2010 
Universal re-released the trilogy alongside new features on DVD and Blu-ray on October 20, 2015, coinciding with Back to the Future Day the following day  The new set included a featurette called "Doc Brown Saves the World", where Lloyd, reprising his role as Doc Brown, explains the reasons for the differences between the future of 2015 as depicted in Back to the Future Part II and in real life  A new remaster as part of Back to the Future: The Ultimate Trilogy on Blu-ray and Ultra HD Blu-ray was released on October 20, 2020 In May 2020, the trilogy was released for streaming on Netflix  A small minor edit was noticed to Part II during the scene featuring the fictional soft porn magazine called Oh La La!  Gale stated that neither he nor Zemeckis were aware of this change, and believed it originated from a foreign print of the film  Shortly afterwards, Universal provided Netflix with the unedited, theatrical version of the film, replacing the censored cut on the streaming platform 

Music
The soundtrack was released by MCA Records on November 22, 1989  AllMusic rated it four-and-a-half stars out of five  Unlike the previous soundtrack, it contains only a musical score by composer Alan Silvestri  None of the vocal songs featured throughout the film are included  On October 12, 2015, Intrada Records released the complete score of Back to the Future Part II in a 2-disc set including early scoring sessions and alternative takes 

See also
List of 1989 box office number-one films in the United States
List of films featuring drones

Notes
Passage 5:
William Ragsdale
William Ragsdale (born January 19, 1961) is an American actor known for playing teenaged vampire slayer Charley Brewster in the horror vampire film Fright Night (1985) and Herman Brooks in the television series Herman's Head (1991–94) 

Early life and education
Ragsdale was born January 19, 1961, in El Dorado, Arkansas, and attended Hendrix College, where he appeared in plays alongside Natalie Canerday 

Career
He garnered attention as the young hero of Fright Night and Fright Night Part 2 and onstage in Neil Simon's plays Brighton Beach Memoirs and Biloxi Blues, two of the three parts of Simon's trilogy, which ends with Broadway Bound  Ragsdale featured in the romance comedy movie Mannequin Two: On the Move (1991) Ragsdale has had a sporadic career with regard to prime-time television  He featured for three years on Herman's Head  He had a brief recurring role in the television series Judging Amy  He played a television producer for Grosse Pointe, which lasted one season 
He was cast in the pilot for Charmed, but refused the series to feature in the short-lived situation comedy Brother's Keeper  He appeared on Ellen as the boyfriend of Ellen Morgan (played by Ellen DeGeneres) before her character revealed her homosexuality  He has had guest roles on television, including a four-episode stint on Less than Perfect, as well as small feature movie roles 
He played the role of Gary Hawkins in 12 episodes of the television series Justified from March 2010 through March 2012, during the series' first three seasons   In 2014, he played Chris Smith in the remake of the movie Left Behind In 2017, he appeared in the role of Reverend Todd in the Off-Broadway production of Man from Nebraska at the Second Stage Theatre 

Filmography
Film
Television



ground_truth: Claudia Wells