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Quebec comics

Quebec comics (bande dessinée québécoise or BDQ) are French language comics produced primarily in the Canadian province of Quebec, and read both within and outside Canada, particularly in French-speaking Europe.

In contrast to English language comics in Canada, which largely follow the American model, Quebec comics are influenced mainly by the trends in Franco-Belgian comics. There is little crossover between the French and English comics worlds in Canada.

Overview
The majority language of Quebec is French, and Quebec comics refers to those comics published in French—English-language comics are considered part of the English-language part of Canadian comics history. The two traditions have little crossover, with the English tradition following mainly American trends, and the French tradition following mainly European ones, especially the French language Franco-Belgian trends. However, newspaper comic strips have tended to be French translations of syndicated American strips.

In the early 2000s, most comics consumed within Quebec were of European or American origin, with local comics only making up 5% of the total market, which had been true since the early 1970s. However, several comics of Québécois origin have found success overseas, like Michel Rabagliati's Paul series and Maryse Dubuc's Les Nombrils (The Bellybuttons), some of these cartoonists have had success with English translations, as when Montreal-based English publisher Drawn & Quarterly picked up Julie Doucet's Dirty Plotte, which won acclaim and awards in the English-speaking comics world.

History
Native Quebec comics have had a long up-and-down history, alternating between periods of flourishing and periods languishing under the deluge of foreign comics.

19th century
Caricatures have appeared in newspapers in Quebec since at least the 18th century. A political poster using speech balloons from 1792 has been attested. Most were anonymous, but one, titled "La Ménagerie annexionniste", by William Augustus Leggo was another early francophone use of speech balloons. Later, speech balloons became more common in caricatures and advertising, and humorous and satirical publications proliferated.

By the end of the century, one could buy compilations of these cartoons and illustrations—the roots of comic albums in Quebec. Between 1878 and 1884, Henri Julien published two books of political caricatures, L’album drolatique du journal Le Farceur. In 1900, Morissette published Petit chien sauvage et savant, and in 1901 Raoul Barré put out En roulant ma boule. Following this, the number of cartoonists in newspapers in Quebec City and Montreal increased.

What has been called the first comic strip in Quebec appeared in 1866. The woodcut serial strip was called Baptiste Pacôt and has been attributed to the sculptor Jean-Baptiste Côté. A number of other pantomime or captioned strips appeared throughout the rest of the century. In 1902, Raoul Barré drew the captioned eight-panel strip, "Pour un dîner de Noël", which was the first known strip to appear in a daily Quebec newspaper. Barré created a strip called Noah's Ark in 1912 for the New York-based McClure Syndicate, which he brought to La Patrie the next year in French. Soon after he moved into animation and became an innovative pioneer in the field.

Hector Berthelot was a cartoonist and the publisher of Le Canard, where Berthelot started running satirical material signed Père Ladébauche ("Father Debauchery") starting in 1878. Berthelot would bring Ladébauche with him from newspaper to newspaper, and in 1904, Joseph Charlebois's comic strip version of Le Père Ladébauche debuted in La Presse, a popular strip that would last until 1957. Le Canard published the works of a number of other notable cartoonists, such as Henri Julien, and it was there that the oldest known comic strip using a speech balloon appeared, an unsigned strip printed on 22 September 1883.

Early 20th century comic strips
The popular press began to flourish at the turn of the century, and, as photographic reproduction was still in its infancy, the papers hired cartoonists and illustrators to liven up their pages, with the Montreal Star employing up to eight artists. La Patrie had convinced Albéric Bourgeois to give up his job at the Boston Globe and create comic strips for them back in Quebec. 1904 saw, in La Patrie, the publication of his Les Aventures de Timothée (The Adventures of Timothée), said to be the first French-language comic to feature speech balloons consistently. This began what historian Michel Viau calls "The Golden Age of the BDQ".

La Presse, in response to La Patrie's success with Timothée, added a weekly children's section, "La Ruche enfantine", which included comic strips. Charlebois's Père Ladébauche had begun, and after 43 instalments was taken over by Bourgeois, who continued to create other strips as well for La Presse, to which he soon moved and stayed with until his 1955 retirement. Théophile Busnel took over Timothée and continued it until his sudden death in 1908. It was replaced with a translation of American Richard F. Outcault's Buster Brown. Soon, other native strips were being replaced with translations of popular American strips, and by 1909, the "Golden Age" that had started in 1904 had come to an end. Native strips didn't disappear entirely, but those that remained lost the distinct flavour of contemporary life in Quebec, and began to imitate the silent films and vaudeville that were inundating popular culture in the province.

Québécois cartoonists would unsuccessfully propose a number of strips to compete with the American strips that dominated the Sundays and dailies. The native Quebec presence on those pages would become more dominant after 1940, however, with the introduction of the War Exchange Conservation Act, which restricted the import of foreign strips. Comic strips disappeared more-or-less from the dailies during World War I, and didn't really return until Arthur Lemay revived Timothée for a number of years starting in 1920. Weekend supplements grew, some to as many as 40 pages, but were filled with translations of American strips, which were well-distributed by the growing syndicates, as well as some strips from France. Some native strips continued to appear, however, and in 1935 Albert Chartier made his cartooning debut with a strip called Bouboule. In 1943, he created the comical character Onésime, a strip that would have the longest run of any in Quebec, and which replaced The Captain and the Kids when it first appeared. It starred a naïve and clumsy country person and his plump and authoritarian wife.

While the adventure strip flourished in the 1930s, papers in Quebec were unwilling to pay local artists more than what they would pay for a syndicated American strip, which made it hard for local artists to survive, due to the economies of scale that made it cheaper for them to buy the American strips. A few commissioned propaganda works and adaptations of "novels of the homeland" appeared. Rodolphe and Odette Vincent, under the banner of Éditions Vincent, produced some adaptations of adventure novels that they managed to sell to some papers, and were collected into albums by Quebec Éditions de l'A. B. After the end of World War II, however, Éditions Vincent found themselves unable to compete with the flood of American comics that returned after trade restrictions were loosened. The longest-running of the adventure strips was Les Aventures de Robert et Roland by Roberto Wilson, which debuted in 1956 and lasted until 1965.

Paulin Lessard, at the age of sixteen, had his Les Deux Petits Nains published in Le Progrès du Saguenay in 1947 and 1948. This was the first science fiction BDQ, about two brothers who were only a few centimetres tall, but were endowed with enormous strength, and met with people of other minuscule races.

Post-war era
The end of World War II brought with it a loosening in trade restrictions with the US, and American comics came flooding into the province. Whereas in English Canada this had meant the death toll for the local industry, in Quebec local production was paradoxically stimulated by the influx of foreign material. At the height of the "Great Darkness", a time of conservative government policies mixed with close government ties with the Catholic Church, the violence in many American comics at the time led to a belief that they promoted juvenile delinquency, and as it had in English Canada and the US, the belief prompted the authorities and concerned parents to crack down on comics. Gérard Tessier, with the support of Cardinal Paul-Émile Léger, published Face à l'imprimé obscène in 1955, in the vein of Fredric Wertham's Seduction of the Innocent.

Catholic comics reached their highest point at this time. The Centrale de la Jeunesse étudiante catholique ("The Centre for Young Catholic Students") put out the biweekly François beginning in 1943, printing mostly humorous strips. It was joined by Claire in 1957, the girls' version of François, which was almost identical in content. Hérauts began in 1944, at first printing translations of American strips from the religious Timeless Topix. The publication, which had a circulation of 100,000, had a mission to battle the "bad" American comics, and was distributed in schools starting in 1947, which resulted in fewer comics being included in its pages. Hérauts was also the first BDQ to be exported to the European market, although only briefly. By the mid-1950s, Hérauts was publishing local comics by the likes of Gabriel de Beney and Maurice Petitdidier. Almost all the strips from Hérauts, Québécois and American, were reprinted in comics albums during this time, and they also launched a younger version called Le Petit Hérauts in 1958, in which Petitdidier's Fanchon et Jean-Lou was particularly popular.

BDQ of this period flourished only between 1955 and 1960. After this time, the Catholic magazines once again took to reprinting American comics, and the market was flooded with glossy, full-colour Franco-Belgian comics magazines like Tintin, Spirou, Vaillant, Pif, and Pilote. By the mid-1960s, the Catholic publications were gone.

Spring of BDQ
The revolutionary 1960s and the Quiet Revolution in Quebec saw new vigour in BDQ. The so-called printemps de la BD québécoise ("Spring of Quebec comics") is said to have begun in 1968 with the creation of the group Chiendent, who published in La Presse and Dimanche-Magazine. Jacques Hurtubise (Zyx), Réal Godbout, Gilles Thibault ("Tibo"), and Jacques Boivin were particularly notable cartoonists, and publications appeared with names like Ma®de in Québec, L'Hydrocéphale illustré, La Pulpe, B.D., and L'Écran. The comics no longer focused on younger audiences, instead seeking confrontation or experimenting with graphics. The first modern Quebec comic book is said to be Oror 70 (Celle qui en a marre tire) by André Philibert, which dealt with countercultural topics like what were being seen in the underground comix of Robert Crumb and Gilbert Shelton. During the 1970s, BDQ were sometimes called "BDK", bande dessinée kébécoise.

Numerous short-lived, small press titles popped up here and there throughout the province. The artists who made them set out to challenge society, and the comics abounded in taboos, like sex and drugs. Lack of distribution, irregular publishing scales, and a relatively small market led eventually to the demise of these publications. Albums, on the other hand, had become incredibly popular, and large European publishers began to open Quebec divisions to deal with the demand for titles like The Adventures of Tintin, Asterix and Blueberry. Quebec publishers scrambled to get in on the boom, and published a number of albums, many based on TV characters, some aimed at adults.

This period saw an increased interest in Quebec of local comics, and a number of events were first held: the Salon international de la caricature de Montréal added a comic strip section to their annual exhibit in 1971; Festival de la bande dessinée de Montréal ("Festival of Comics of Montreal") was held for four years starting in 1975 at the University of Montreal; and the Musée d'art contemporain de Montréal mounted its first major retrospective of Quebec comics, presented at the Angoulême International Comics Festival in France. Richard Langlois developed a course called "Bande dessinée et figuration narrative" in Sherbrooke that was offered in post-secondary schools throughout the province, which sparked a number of other practical and theoretical courses to be offered in colleges and universities. An issue of the literary journal La Barre du Jour dedicated an entire 260-page issue to Quebec comics, and certain arts and sociological magazines ran articles on the subject, as well as some popular newspapers and periodicals. A fanzine called B.D.K., published by Michel Ouellette and dedicated exclusively to Quebec comics, ran for three years beginning in 1975. Increasingly over this period, comics became increasingly deeply analyzed, and began to be taken seriously and scholarly as an artform.

In 1979, with the help of an $80,000 grant from the ministère des Affaires culturelles du Québec ("Quebec Ministry of Cultural Affairs" ), Jacques Hurtubise, Pierre Huet and Hélène Fleury would establish the long-lived, satirical Croc ("Fang" in French ), which published many leading talents of the era, many of whom were able to launch their careers through the magazine's help. Croc begat another magazine, Titanic, dedicated entirely to comics, and in 1987, Safarir (a pun, which combines "safari" with ça fait rire—"it makes you laugh" ), a Mad-like publication patterned after the French Hara-Kiri, rose in competition with Croc, eventually putting the older magazine out of business. By the mid-1980s, a number of professional comics publishers began to flourish.

Adult and Underground comics of the time began to multiply, with notable titles including Cocktail, ''Tchiize! présente, Tchiize! bis, and the fanzine Iceberg'' appearing in the early 1980s, giving an outlet to young cartoonists like Henriette Valium and Julie Doucet. Fanzines, which had earlier focused on superheroes, now began to feature science fiction instead.

Since the 1990s
In Montreal in the 1980s and 1990s, in parallel to mainstream humour magazines, a healthy underground scene developed, and self-published fanzines proliferated. Julie Doucet, Henriette Valium, Luc Giard, Éric Thériault, Gavin McInnes and Siris were among the names that were discovered in the small press publications.

In the 21st century, some Québécois cartoonists who have seen success in Canada and abroad are Michel Rabagliati and his semi-autobiographical Paul series, Maryse Dubuc and Delaf's Les Nombrils (The Bellybuttons), aimed at teenaged girls, and Guy Delisle with various travelogue comics. All of these series have seen English translations. An increasing number of cartoonists also took to online webcomics.

Around the turn of the century, the government of Quebec mandated La Fondation du 9e art ("The 9th Art Foundation") to promote francophone cartoonists in North America. There have also emerged events such as the Festival de la bande dessinée francophone de Québec in Quebec City and la Zone internationale du neuvième art (ZINA).

Publication, promotion and distribution
Comics publications tend to follow the Franco-Belgian model, with books printed as albums with either soft- or hardcovers. When aimed at children, they are usually in full-colour, while comics aimed at adults are often in black-and-white and have softcovers.

Traditionally, comics publishing in Quebec has centred in Montreal, Quebec City, Sherbrooke and, since the 1990s, in Gatineau. Fanzines are also produced throughout the province. There are a number of French-language comics publishers based in Quebec, such as Éditions Mille-Îles, La Pastèque, Les 400 coups, Mécanique Générale, and Glénat Québec, the Quebec arm of the France-based publisher Glénat. Translations into English of Québécois comics such as Michel Rabagliati's Paul series have been published by the English-language, Montreal-based Drawn & Quarterly, and Conundrum Press, also based in Montreal, has put much of its focus on publishing translations of Quebec comics.

The Prix Bédélys ("Bédélys Prize") has been awarded to French language comics since 2000. It comes with bursaries for the Prix Bédélys Québec for Best Book from Quebec and the Prix Bédélys Fanzine. The Joe Shuster Awards are open to all Canadian comics in any language, not limited to either French or English, and a number of francophone comics and publishers have won the awards.

The government of Quebec mandated La Fondation du 9e art ("The 9th Art Foundation") to promote francophone cartoonists in North America. Events such as the Festival de la bande dessinée francophone de Québec in Quebec City and la Zone internationale du neuvième art (ZINA) celebrate francophone comics in Quebec.

title: Quebec comics


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Taxicab geometry

Taxicab geometry or Manhattan geometry is geometry where the familiar Euclidean distance is ignored, and the distance between two points is instead defined to be the sum of the absolute differences of their respective Cartesian coordinates, a distance function (or metric) called the taxicab distance, Manhattan distance, or city block distance. The name refers to the island of Manhattan, or generically any planned city with a rectangular grid of streets, in which a taxicab can only travel along grid directions. In taxicab geometry, the distance between any two points equals the length of their shortest grid path. This different definition of distance also leads to a different definition of the length of a curve, for which a line segment between any two points has the same length as a grid path between those points rather than its Euclidean length.

The taxicab distance is also sometimes known as rectilinear distance or $12$ distance (see Lp space). This geometry has been used in regression analysis since the 18th century, and is often referred to as LASSO. Its geometric interpretation dates to non-Euclidean geometry of the 19th century and is due to Hermann Minkowski.

In the two-dimensional real coordinate space $$\R^2,$$ the taxicab distance between two points $$(x_1, y_1)$$ and $$(x_2, y_2)$$ is $$\left|x_1 - x_2\right| + \left|y_1 - y_2\right|$$. That is, it is the sum of the absolute values of the differences in both coordinates.

Formal definition
The taxicab distance, $$d_\text{T}$$, between two points $$\mathbf{p} = (p_1, p_2, \dots, p_n) \text{ and } \mathbf{q} = (q_1, q_2, \dots, q_n)$$ in an n-dimensional real coordinate space with fixed Cartesian coordinate system, is the sum of the lengths of the projections of the line segment between the points onto the coordinate axes. More formally,$$d_\text{T}(\mathbf{p}, \mathbf{q}) = \left\|\mathbf{p} - \mathbf{q}\right\|_\text{T} = \sum_{i=1}^n \left|p_i - q_i\right|$$For example, in $$\mathbb{R}^2 $$, the taxicab distance between $$\mathbf{p} = (p_1,p_2)$$ and $$\mathbf{q} = (q_1,q_2)$$ is $$\left| p_1 - q_1 \right| + \left| p_2 - q_2 \right|.$$

History
The L1 metric was used in regression analysis, as a measure of goodness of fit, in 1757 by Roger Joseph Boscovich. The interpretation of it as a distance between points in a geometric space dates to the late 19th century and the development of non-Euclidean geometries. Notably it appeared in 1910 in the works of both Frigyes Riesz and Hermann Minkowski. The formalization of Lp spaces, which include taxicab geometry as a special case, is credited to Riesz. In developing the geometry of numbers, Hermann Minkowski established his Minkowski inequality, stating that these spaces define normed vector spaces.

The name taxicab geometry was introduced by Karl Menger in a 1952 booklet You Will Like Geometry, accompanying a geometry exhibit intended for the general public at the Museum of Science and Industry in Chicago.

Properties
Thought of as an additional structure layered on Euclidean space, taxicab distance depends on the orientation of the coordinate system and is changed by Euclidean rotation of the space, but is unaffected by translation or axis-aligned reflections. Taxicab geometry satisfies all of Hilbert's axioms (a formalization of Euclidean geometry) except that the congruence of angles cannot be defined to precisely match the Euclidean concept, and under plausible definitions of congruent taxicab angles, the side-angle-side axiom is not satisfied as in general triangles with two taxicab-congruent sides and a taxicab-congruent angle between them are not congruent triangles.

Spheres

In any metric space, a sphere is a set of points at a fixed distance, the radius, from a specific center point. Whereas a Euclidean sphere is round and rotationally symmetric, under the taxicab distance, the shape of a sphere is a cross-polytope, the n-dimensional generalization of an regular octahedron, whose points $$\mathbf{p}$$ satisfy the equation:

 * $$d_\text{T}(\mathbf p, \mathbf c) = \sum_{i=1}^n |p_i - c_i| = r,$$

where $$\mathbf{c}$$ is the center and r is the radius. Points $$\mathbf{p}$$ on the unit sphere, a sphere of radius 1 centered at the origin, satisfy the equation $d_\text{T}(\mathbf p, \mathbf 0) = \sum_{i=1}^n |p_i| = 1.$

In two dimensional taxicab geometry, the sphere (called a circle) is a square oriented diagonally to the coordinate axes. The image to the right shows in red the set of all points on a square grid with a fixed distance from the blue center. As the grid is made finer, the red points become more numerous, and in the limit tend to a continuous tilted square. Each side has taxicab length 2r, so the circumference is 8r. Thus, in taxicab geometry, the value of the analog of the circle constant π, the ratio of circumference to diameter, is equal to 4.

A closed ball (or closed disk in the 2-dimensional case) is a filled-in sphere, the set of points at distance less than or equal to the radius from a specific center. For cellular automata on a square grid, a taxicab disk is the von Neumann neighborhood of range r of its center.

A circle of radius r for the Chebyshev distance (L∞ metric) on a plane is also a square with side length 2r parallel to the coordinate axes, so planar Chebyshev distance can be viewed as equivalent by rotation and scaling to planar taxicab distance. However, this equivalence between L1 and L∞ metrics does not generalize to higher dimensions.

Whenever each pair in a collection of these circles has a nonempty intersection, there exists an intersection point for the whole collection; therefore, the Manhattan distance forms an injective metric space.

Arc length
Let $$y = f(x)$$ be a continuously differentiable function. Let $$s$$ be the taxicab arc length of the graph of $$f$$ on some interval $$[a,b]$$. Take a partition of the interval into equal infinitesimal subintervals, and let $$\Delta s_i$$ be the taxicab length of the $$i^{\text{th}}$$ subarc. Then

$$\Delta s_i = \Delta x_i + \Delta y_i = \Delta x_i+ |f(x_i) - f(x_{i-1})|.$$

By the mean value theorem, there exists some point $$x^*_i$$ between $$x_i $$ and $$x_{i-1} $$ such that $$f(x_i) - f(x_{i-1}) = f'(x^*_i)dx_i$$. Then the previous equation can be written

$$\Delta s_i = \Delta x_i + |f'(x^*_i)|\Delta x_i = \Delta x_i(1+|f'(x^*_i)|).$$

Then $$s $$ is given as the sum of every partition of $$s $$ on $$[a,b]$$ as they get arbitrarily small.$$\begin{align} s &= \lim_{n \rightarrow \infty} \sum_{i=1}^{n} \Delta x_i(1+|f'(x^*_i)|) \\ & = \int_{a}^{b} 1+|f'(x)| \,dx \end{align} $$ To test this, take the taxicab circle of radius $$r $$ centered at the origin. Its curve in the first quadrant is given by $$f(x)=-x+r $$ whose length is

$$s = \int_{0}^{r} 1+|-1|dx = 2r $$

Multiplying this value by $$4 $$ to account for the remaining quadrants gives $$8r $$, which agrees with the circumference of a taxicab circle. Now take the Euclidean circle of radius $$r $$ centered at the origin, which is given by $$f(x) = \sqrt{r^2-x^2} $$. Its arc length in the first quadrant is given by

$$\begin{align} s &= \int_{0}^{r} 1+|\frac{-x}{\sqrt{r^2 - x^2}}|dx\\ &= x+\sqrt{r^2-x^2} \bigg|^{r}_{0}\\ &= r-(-r)\\ &= 2r \end{align} $$

Accounting for the remaining quadrants gives $$4 \times 2r = 8r $$ again. Therefore, the circumference of the taxicab circle and the Euclidean circle in the taxicab metric are equal. In fact, for any function $$f$$ that is monotonic and differentiable with a continuous derivative over an interval $$[a,b]$$, the arc length of $$f$$ over $$[a, b]$$ is $$(b-a) + \mid f(b)-f(a) \mid$$.

Triangle congruence

Two triangles are congruent if and only if three corresponding sides are equal in distance and three corresponding angles are equal in measure. There are several theorems that guarantee triangle congruence in Euclidean geometry, namely Angle-Angle-Side (AAS), Angle-Side-Angle (ASA), Side-Angle-Side (SAS), and Side-Side-Side (SSS). In taxicab geometry, however, only SASAS guarantees triangle congruence.

Take, for example, two right isosceles taxicab triangles whose angles measure 45-90-45. The two legs of both triangles have a taxicab length 2, but the hypotenuses are not congruent. This counterexample eliminates AAS, ASA, and SAS. It also eliminates AASS, AAAS, and even ASASA. Having three congruent angles and two sides does not guarantee triangle congruence in taxicab geometry. Therefore, the only triangle congruence theorem in taxicab geometry is SASAS, where all three corresponding sides must be congruent and at least two corresponding angles must be congruent. This result is mainly due to the fact that the length of a line segment depends on its orientation in taxicab geometry.

Compressed sensing
In solving an underdetermined system of linear equations, the regularization term for the parameter vector is expressed in terms of the $$\ell_1$$ norm (taxicab geometry) of the vector. This approach appears in the signal recovery framework called compressed sensing.

Differences of frequency distributions
Taxicab geometry can be used to assess the differences in discrete frequency distributions. For example, in RNA splicing positional distributions of hexamers, which plot the probability of each hexamer appearing at each given nucleotide near a splice site, can be compared with L1-distance. Each position distribution can be represented as a vector where each entry represents the likelihood of the hexamer starting at a certain nucleotide. A large L1-distance between the two vectors indicates a significant difference in the nature of the distributions while a small distance denotes similarly shaped distributions. This is equivalent to measuring the area between the two distribution curves because the area of each segment is the absolute difference between the two curves' likelihoods at that point. When summed together for all segments, it provides the same measure as L1-distance.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Taxicab geometry


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Beiyang

The term Beiyang (pinyin: Běiyáng; Wade-Giles: Peiyang) literally means Northern Ocean. Initially a purely geographic term, it originated toward the end of the Qing dynasty, and it referred to the coastal provinces of Zhili (Traditional Chinese:直隸, Simplified Chinese: 直隶, pinyin: Zhílì, today's Hebei), Shandong and Liaoning that bordered the Yellow Sea (itself a marginal sea of the Pacific Ocean) and surrounded the imperial capital of Beijing (then known as Peking).

The term later acquired a political significance, denoting the imperial heartland. The position of Minister of Beiyang (北洋通商大臣) in the late Qing Dynasty was held by the Viceroy of Zhili, whose main responsibilities were trade relations and occasionally foreign affairs.

title: Beiyang


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title: User talk:207.61.53.188


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Sony Pictures Classics

Sony Pictures Classics Inc. is an American film production and distribution company that is a division of Sony Pictures. It was founded in 1992 by former Orion Classics heads Michael Barker, Tom Bernard and Marcie Bloom. It distributes, produces and acquires specialty films such as documentaries, independent and arthouse films in the United States and internationally. As of 2015, Barker and Bernard are co-presidents of the division, which is a member of the Motion Picture Association (MPA).

History
Sony Pictures Classics (SPC) was formed in 1992 by Michael Barker, Tom Bernard and Marcie Bloom, and set up as an autonomous division of Sony Pictures to produce, acquire and/or distribute independent films from the United States and internationally.

It has released films that have won 37 Academy Awards and received 155 nominations, including Best Picture nominations for The Father, Call Me By Your Name, Whiplash, Amour, Midnight in Paris, An Education, Capote, Howards End, and Crouching Tiger, Hidden Dragon.

SPC has a history of making reasonable investments for small films, and getting a decent return. It has a history of not overspending. Its largest commercial success of the 2010s is Woody Allen's Midnight in Paris (2011), which grossed over $56 million in the U.S., becoming Allen's highest-grossing film ever in the United States.

SPC has been a pioneer in theatrical distribution. In 2001 championed the Chinese-language film Crouching Tiger, Hidden Dragon, which earned the most Oscar nominations ever for a non-English-language film, and win the Oscar for Best Foreign Language Film and a Golden Globe in 2001. The film earned over $213 million worldwide on a $17 million budget, including $128 million in the U.S. as a Sony Pictures Classics release.

In 2006, SPC promoted The Lives of Others to an Oscar and BAFTA, after it was rejected by the Cannes, Berlin, Venice and New York Film Festivals. SPC occasionally agrees to release films for Sony's other film divisions; however, under its structure within Sony, none of the other divisions (including the parent company) can force SPC to release any film it does not want to release.

title: Sony Pictures Classics


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Irish coffee

Irish coffee (caife Gaelach) is a caffeinated alcoholic drink consisting of Irish whiskey, hot coffee and sugar, which has been stirred and topped with cream (sometimes cream liqueur). The coffee is drunk through the cream.

Origin
Different variations of coffee cocktails pre-date the now-classic Irish coffee by at least 100 years.

From the mid-19th century, the Pharisäer and the Fiaker were served in Viennese coffee houses; both were coffee cocktails served in glass, topped with whipped cream. The former was also known in northern Germany and Denmark around that time. Around 1900, the coffee cocktail menu in the Viennese cafés also included Kaisermelange, Maria Theresia, Biedermeier-Kaffee and a handful of other variations on the theme.

In 19th-century France, a mixture of coffee and spirits was called a gloria.

 * "Un trait de son caractère était de payer généreusement quinze francs par mois pour le gloria qu'il prenait au dessert." (Balzac, Le Père Goriot, 1834, I.)
 * "Il aimait le gros cidre, les gigots saignants, les glorias longuement battus." (Flaubert, Madame Bovary, 1857.)

Several places claim to have developed the modern recipe in the 1950s. One version is attributed to a Joe Sheridan, head chef at the restaurant and coffee shop in the Foynes Airbase flying boat terminal (about 15 km from present-day Shannon Airport, County Clare). In 1942 or 1943, he added whiskey to the coffee of some disembarking passengers.

Stanton Delaplane, a travel writer for the San Francisco Chronicle, maintains he brought Irish coffee to the United States after drinking it at Shannon Airport. His version is that he worked with the Buena Vista Cafe in San Francisco to start serving it on November 10, 1952. Sheridan later emigrated to work at the Buena Vista Cafe.

Preparation
Irish whiskey and at least one level teaspoon of sugar are poured over black coffee and stirred in until fully dissolved. Thick cream is carefully poured over the back of a spoon initially held just above the surface of the coffee and gradually raised a little until the entire layer is floated.

Variations
In 1988, the National Standards Authority of Ireland published Irish Standard I.S. 417: Irish Coffee. The standard has been cancelled at least as of 2020.

Although whiskey, coffee and cream are the basic ingredients in all Irish coffee, there are variations in preparation: the choice of coffee and the methods used for brewing it differ significantly. The use of espresso machines or fully automatic coffee brewers is now typical: the coffee is either a caffè americano (espresso diluted with hot water) or some kind of filter coffee, often made using a coffee capsule.

The cream used in some bars to make what is sold as "Irish coffee" is sometimes sprayed from a can. Some bartenders gently shake fresh cream to achieve a smooth layer on top of the coffee.

In Spain, Irish coffee (café irlandés) is sometimes served with a bottom layer of whiskey, a separate coffee layer, and a layer of cream on top; special devices are sold for making it.

Some bars in Southeast Asia serve a cocktail of iced coffee and whiskey, sometimes without cream, under the name "Irish coffee".

Many drinks of hot coffee with a distilled spirit, and cream floated on top—liqueur coffees—are given names derived from Irish coffee, although the names are not standardised. Irish cream coffee (also known as Baileys coffee) can be considered a variant of Irish coffee, but involves the use of Irish cream as a "pre-mixed" substitute for the whisky, cream and sugar. Jamaican coffee would be expected to be made with rum; Highland coffee, also called Gaelic coffee, with Scotch whisky; Russian coffee with vodka; Mexican coffee with tequila, and so on, and so forth.

Irish coffee in film

 * In the 1968 film The Love Bug, Peter Thorndyke and Tennessee Steinmetz meet one night and drink Irish coffee while discussing Herbie and Jim Douglas. Thorndyke then pours some into Herbie's gas tank, causing the car to spin out and stall the next day.

 * In the 1968 film Yours, Mine and Ours, after dinner at Ghirardelli Square, Frank Beardsley and Helen North visit a crowded Irish coffee house, where their first date together begins to go horribly awry. After various mishaps, they ultimately leave after Helen, trying to keep Frank's friend and fellow naval officer Darrell Harrison from revealing that she has eight children, makes a waitress crash into him and pour and entire tray of Irish coffee onto him.

title: Irish coffee


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Rage

Rage may refer to:
 * Rage (emotion), an intense form of anger

Games

 * Rage (collectible card game), a collectible card game
 * Rage (trick-taking card game), a commercial variant of the card game Oh Hell
 * Rage (video game), a 2011 first-person shooter and racing video game
 * Rage 2, a 2019 open world first-person shooter and racing video game and a sequel to the first game
 * Rage Games, a defunct game developer
 * Rockstar Advanced Game Engine, a game engine developed by Rockstar San Diego
 * Rage quitting, when players quit a video game for reasons often related to frustration
 * R.A.G.E., the engine used to make Combat Assault Vehicle

Film and television

 * Rage (1966 film), starring Glenn Ford and directed by Gilberto Gazcón
 * Rage (1972 film), directed by and starring George C. Scott
 * Rage!, 1980 made-for-television film directed by William A. Graham and starring David Soul and James Whitmore
 * Rage, 1993 action film directed by Anthony Maharaj and starring Richard Norton
 * Rage, 1995 action film directed by Joseph Merhi and starring Gary Daniels
 * Rage (1997 film), Yugoslav film
 * The Rage (1997 film), starring Kristen Cloke and Lorenzo Lamas
 * Rage (1999 film), drama written and directed by Newton Aduaka
 * The Rage: Carrie 2, 1999 horror film that was the sequel to Carrie
 * The Rage (2002 film), Romanian film directed by Radu Muntean
 * Rage (2006 film), German film
 * The Rage (2007 film), horror film
 * The Rage (2008 film), Italian drama film
 * Rage (2009 American film), mystery film written starring Jude Law and Judi Dench
 * Rage (2009 Spanish film)
 * Rage (2014 film), thriller film starring Nicolas Cage
 * Rage (2016 film), film by Lee Sang-il
 * "Rage" (Law & Order: Special Victims Unit), an episode of Law & Order: Special Victims Unit
 * Rage (Queer as Folk), fictional superhero comic book in Queer as Folk
 * Rage (TV program), an Australian music video program
 * "Rage," an episode of the cartoon Extreme Ghostbusters
 * Rage, a fictional genetically-engineered virus in the film 28 Days Later

Literature

 * Rage (Kessler novel), a 2011 young adult novel by Jackie Morse Kessler
 * Rage (King novel), a 1977 novel by Stephen King
 * Rage (Smith novel), a 1987 novel by Wilbur Smith
 * Rage (Woodward book), a 2020 non-fiction book by Bob Woodward about Donald Trump presidency
 * Rage, a 2005 mystery novel by Jonathan Kellerman

Music

 * Rage rap, a microgenre of trap music

Albums and songs

 * Rage (Attila album), 2010
 * Rage (T'Pau album), 1988
 * The Rage: Original Motion Picture Soundtrack, 2007 by Midnight Syndicate
 * "Rage", a song by Sander Van Doorn, Firebeatz and Julian Jordan (DJ)
 * "The Rage", a song by Judas Priest from their 1980 album British Steel
 * "The Rage", a song by Kid Cudi from the soundtrack for the 2018 film, Rampage

Bands

 * Rage (English group), an English dance group
 * Rage (German band), a German heavy metal band
 * Rage, a shorthand form of the American rap rock band Rage Against the Machine

People

 * Rage (director), artistic name for American music video director Dale Resteghini
 * Al Green (wrestler), stage name Rage, former American professional wrestler Alfred Dobalo (1955–2013)
 * Kyle Gass of Tenacious D (born 1960), sometimes known as Rage or Rage-Kage
 * The Lady of Rage (born 1968), American rapper
 * Rage, guitarist with Venom, real name John Stuart Dixon

Fictional characters

 * Rage (comics), a fictional character from Marvel Comics
 * Ezekiel Rage, a character from The Real Adventures of Jonny Quest
 * Rage (Transformers), a fictional Transformers character
 * The Rage, one of the main antagonists of the Red Dwarf novel Last Human by Doug Naylor
 * Michael "Rage" Jarman, a supporting character of the Zom-B novel series by Darren Shan

Other uses

 * RAGE (gene), a gene that in humans encodes the enzyme MAPK/MAK/MRK overlapping kinase
 * RAGE (receptor), the biological receptor for advanced glycation endproducts
 * Rage (roller coaster), a beyond-vertical-drop roller coaster at Adventure Island
 * The Rage (Canada's Wonderland), a swinging ship ride at Canada's Wonderland
 * ATI Rage, a series of graphics chipsets by ATI
 * Rage comic, also known as FFFFFUUUU-, an Internet meme

title: Rage


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American Music Awards

The American Music Awards (AMAs) is an annual American music awards show produced by Dick Clark Productions since 1974. From 1973 to 2005, both the winners and the nominations were selected by the members of the music industry, based on commercial performance, such as sales and airplay. Since 2006, winners have been determined by a poll of the public and fans, who can vote through the AMAs website. The event originally aired on American Broadcasting Company, after the network's contract to air the Grammy Awards expired. CBS will air the 2024 edition.

Conception
The AMAs was created by Dick Clark in 1973 to compete with the Grammy Awards after the move of that year's show to Nashville, Tennessee led to CBS (which has broadcast all Grammy Award shows since then) picking up the Grammy telecasts after its first two in 1971 and 1972 were broadcast on ABC. In 2014, American network Telemundo acquired the rights to produce a Spanish-language version of the American Music Awards and launched the Latin American Music Awards in 2015.

From 1973 to 2005, both the winners and the nominations were selected by members of the music industry, based on commercial performance, such as sales and airplay. Since 2006, winners have been determined by a poll of the public and fans, who can vote through the AMAs website, while nominations have remained based on sales, airplay, now including activity on social networks, and video viewing. Before 2010, had nominations based only on sales and airplay and nominated every work, even if old. The Grammys have nominations based on vote of the Academy and only nominate a work from their eligibility period that changes often.

The award statuette is manufactured by New York firm Society Awards.

Hosts and History
The first hosts for the first telecast of the AMAs were Helen Reddy, Roger Miller, and Smokey Robinson. Helen Reddy not only hosted the show but also became the first artist to win an AMA for Favorite Pop/Rock Female artist. For the first decade or so, the AMAs had multiple hosts, each representing a genre of music. For instance, Glen Campbell would host the country portion (Campbell, in fact, has co-hosted the AMAs more times than any other host or co-host), while other artists would co-host to represent their genre. In recent years, however, there has been one single host.

In 1991, Keenen Ivory Wayans became the first Hollywood actor to host the AMAs.

From its inception in 1973 through 2002, the AMAs were held in mid- to late-January, but were moved to November (usually the Sunday before Thanksgiving) beginning in 2003 so it would prevent the ceremony to further compete with other major awards shows (such as the Golden Globe Awards and the Academy Awards) and allows for ABC to have a well-rated awards show during November sweeps.

For the 2008 awards, Jimmy Kimmel hosted for the fourth consecutive year. From 2009–2012, there was no host. Instead, the AMAs followed the Grammys' lead in having various celebrities give introductions. However, rapper Pitbull hosted the 2013 ceremony and 2014 ceremony. Jennifer Lopez hosted the 2015 show. Gigi Hadid and Jay Pharoah hosted the 2016 show. Tracee Ellis Ross hosted the show in 2017 and 2018. Ciara hosted the 2019 show.

Between 2012 and 2014, the American Music Awards used the lock screen wallpaper of Samsung Galaxy smartphones rather than envelopes to reveal winners, as part of a sponsorship by Samsung Electronics. A magnetic screen cover on each phone kept the wallpaper image with the winner's name secret until opened.

In August 2018, Dick Clark Productions announced a two-year sponsorship and content partnership with YouTube Music. However, this partnership seemed to have lasted only for the 2018 ceremony, as there was no mention of the YouTube Music partnership in the 2019 show.

In March 2023, it was announced that the Billboard Music Awards, which are also produced by DCP via co-owned Billboard, had been moved from May to November scheduling that was typically occupied by the American Music Awards, leading to speculation that the AMAs would be discontinued in order to focus on the Billboard Music Awards, or at the very least cancelled for 2023 so it could move to May in its place. It was reported that the broadcast rights for both events (which had been held by NBC and ABC respectively) would also be shopped, ultimately the Billboard Music Awards moved to an online only event in November 2023.

In March 2024, it was announced CBS had picked up the rights to air the American Music Awards for an undisclosed amount of time.

Current award categories

 * Artist of the Year
 * New Artist of the Year
 * Collaboration of the Year
 * Favorite Music Video
 * Favorite Touring Artist
 * Favorite Pop Male Artist
 * Favorite Pop Female Artist
 * Favorite Pop Duo or Group
 * Favorite Pop Album
 * Favorite Pop Song
 * Favorite R&B Male Artist
 * Favorite R&B Female Artist
 * Favorite R&B Album
 * Favorite R&B Song
 * Favorite Country Male Artist
 * Favorite Country Female Artist
 * Favorite Country Duo or Group
 * Favorite Country Album
 * Favorite Country Song
 * Favorite Hip-Hop Artist
 * Favorite Hip-Hop Album
 * Favorite Hip-Hop Song
 * Favorite Latin Artist
 * Favorite Latin Duo or Group
 * Favorite Latin Album
 * Favorite Latin Song
 * Favorite Rock Artist
 * Favorite Rock Song
 * Favorite Rock Album
 * Favorite Inspirational Artist
 * Favorite Gospel Artist
 * Favorite Dance/Electronic Artist
 * Favorite Afrobeats Artist
 * Favorite K-Pop Artist
 * Favorite Soundtrack

Discontinued awards

 * Single of the Year (2013–2015)
 * Fan's Choice Award (2003)
 * Favorite Social Artist (2018–2020)
 * Favorite Trending Song (2021)
 * Favorite Pop/Rock Video (1984–1988)
 * Favorite Pop/Rock Male Video Artist (1985–1987)
 * Favorite Pop/Rock Female Video Artist (1985–1987)
 * Favorite Pop/Rock Band/Duo/Group Video Artist (1985–1987)
 * Favorite Pop/Rock New Artist (1989–Jan 2003)
 * Favorite Soul/R&B Band/Duo/Group (1974–Nov 2003, 2005–2006, 2009)
 * Favorite Soul/R&B Video (1984–1988)
 * Favorite Soul/R&B Male Video Artist (1985–1987)
 * Favorite Soul/R&B Female Video Artist (1985–1987)
 * Favorite Soul/R&B Band/Duo/Group Video Artist (1985–1987)
 * Favorite Soul/R&B New Artist (1989–Jan 2003)
 * Favorite Country Video (1984–1988)
 * Favorite Country Male Video Artist (1985–1987)
 * Favorite Country Female Video Artist (1985–1987)
 * Favorite Country Band/Duo/Group Video Artist (1985–1987)
 * Favorite Country New Artist (1989–Jan 2003)
 * Favorite Rap/Hip-Hop Band/Duo/Group (2003–2008)
 * Favorite Rap/Hip-Hop New Artist (1990–1994)
 * Favorite Disco Male Artist (1979)
 * Favorite Disco Female Artist (1979)
 * Favorite Disco Band/Duo/Group (1979)
 * Favorite Disco Album (1979)
 * Favorite Disco Song (1979)
 * Favorite Heavy Metal/Hard Rock Artist (1989–1997)
 * Favorite Heavy Metal/Hard Rock Album (1989–1992)
 * Favorite Heavy Metal/Hard Rock New Artist (1990–1993)
 * Favorite Dance Artist (1990–1992)
 * Favorite Dance Song (1990–1992)
 * Favorite Dance New Artist (1990–1992)
 * Favorite Adult Contemporary Artist (1992–2020)
 * Favorite Adult Contemporary Album (1992–1994)
 * Favorite Adult Contemporary New Artist (1992–1994)

Most wins
The record for most American Music Awards won is held by Taylor Swift with 40 awards. The record for most American Music Awards won by a male artist belongs to Michael Jackson, who has collected 26 awards. The record for most American Music Awards won by a group belongs to Alabama, who have collected 18 awards.

Most wins in a single ceremony
The record for the most American Music Awards won in a single year is held by Michael Jackson (in 1984) and Whitney Houston (in 1994), each with 8 awards to their credit (including the Award of Merit, with which both artists were honored in the respective years).
 * Michael Jackson 8 (1984)
 * Whitney Houston 8 (1994)

Most wins by category
The following list shows the artists with most wins in each category, adapted from the AMAs official website.
 * Artist of the Year: Taylor Swift (7 wins)
 * Collaboration of the Year: Justin Bieber (3 wins)
 * Song of the Year: Kenny Rogers (5 wins)
 * Favorite Music Video: Taylor Swift (3 wins)
 * Favorite Male Artist – Pop/Rock: Justin Bieber (4 wins)
 * Favorite Female Artist – Pop/Rock: Taylor Swift (6 wins)
 * Favorite Duo or Group – Pop/Rock: BTS (4 wins)
 * Favorite Album – Pop/Rock: Taylor Swift (4 wins)
 * Favorite Male Artist – Country: Garth Brooks (8 wins)
 * Favorite Female Artist – Country: Reba McEntire (10 wins)
 * Favorite Duo or Group – Country: Alabama (13 wins)
 * Favorite Album – Country: Carrie Underwood (6 wins)
 * Favorite Artist – Rap/Hip-Hop: Nicki Minaj (5 wins)
 * Favorite Song – Rap/Hip-Hop: Cardi B (3 wins)
 * Favorite Album – Rap/Hip-Hop: Nicki Minaj (3 wins)
 * Favorite Male Artist – Soul/R&B: Luther Vandross (7 wins)
 * Favorite Female Artist – Soul/R&B: Beyoncé, Rihanna (7 wins each)
 * Favorite Album – Soul/R&B: Michael Jackson (4 wins)
 * Favorite Artist – Alternative Rock: Linkin Park (6 wins)
 * Favorite Artist – Adult Contemporary: Celine Dion (4 wins)
 * Favorite Artist – Latin Music: Enrique Iglesias (7 wins)
 * Favorite Artist – Contemporary Inspirational: Casting Crowns (4 wins)
 * Favorite Artist – Electronic Dance Music: Marshmello (3 wins)

Award of Merit
The American Music Award of Merit has been awarded to thirty two artists, the latest being Sting (2016).

International Artist Award of Excellence
The International Artist Award of Excellence is described as "an award which recognizes artists whose popularity and impact cross national boundaries and is only given when there is a deserving recipient who is worthy of recognition for their accomplishments" and has been awarded to seven artists:
 * Michael Jackson (1993)
 * Rod Stewart (1994)
 * Led Zeppelin (1995)
 * Bee Gees (1997)
 * Aerosmith (2001)
 * Beyoncé (2007)
 * Whitney Houston (2009)

Icon Award
The AMAs' producer Larry Klein stated: "The first-ever Icon Award was created to honor an artist whose body of work has made a profound influence over pop music on a global level."
 * Rihanna (2013)
 * Lionel Richie (2022)

Dick Clark Award for Excellence
At the 2014 award ceremony, the Dick Clark Award for Excellence was given for the first time. It was created to recognize "an artist who achieves a groundbreaking feat or creates a landmark work. It is to be bestowed upon someone whose spirit and excellence capture the visionary passion that Dick Clark himself incorporated into everything he did."
 * Taylor Swift (2014)

Award of Achievement

 * Michael Jackson (1989)
 * Prince (1990)
 * Mariah Carey (2000 and 2008)
 * Katy Perry (2011)

Lifetime Achievement Award

 * Diana Ross (2017)

Artist of the Decade

 * 1990s: Garth Brooks (2000)
 * 2010s: Taylor Swift (2019)

In 2000, the year Brooks won the award, the AMAs held a poll to elect the Artist of the Decade for each previous decade of the Rock & Roll era. According to some sources, the result of this poll is not counted in the total of AMAs won by these artists. The results were Elvis Presley (1950s), The Beatles (1960s), Stevie Wonder (1970s), and Michael Jackson (1980s).

Artist of the Century
Michael Jackson won the Artist of the Century award in the 29th American Music Awards held on January 9, 2002.

title: American Music Awards


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New Line Cinema

New Line Productions, Inc., doing business as New Line Cinema, is an American film and television production studio owned by Warner Bros. Discovery (WBD). Since 2008, it has been operating as a unit of Warner Bros. Pictures.

It was founded in 1967 by Robert Shaye as an independent film distribution company; later becoming a film studio after acquired by Turner Broadcasting System in 1994; Turner later merged with Time Warner Entertainment (later known as WarnerMedia from 2018 to 2022, and Warner Bros. Discovery since 2022) in 1996, and New Line was merged with Warner Bros. Pictures in 2008. The studio has been nicknamed "The House that Freddy Built" due to the success of the Nightmare on Elm Street film series. However, their most successful property was their film adaptation of The Lord of the Rings trilogy by J.R.R. Tolkien with considerable commercial success and numerous Academy Awards.

History
New Line Cinema was established in 1967 by the then 27-year-old Robert Shaye as a film distribution company, supplying foreign and art films for college campuses in the United States. Shaye operated New Line's offices out of his apartment at 14th Street and Second Avenue in New York City. One of the company's early successes was its distribution of the 1936 anti-cannabis propaganda film Reefer Madness, which became a cult hit on American college campuses in the early 1970s. New Line also released many classic foreign-language films, like Stay As You Are, Immoral Tales and Get Out Your Handkerchiefs (which became the first New Line film to win an Oscar). The studio has also released many of the films of John Waters.

In 1976, New Line secured funding to produce its first full-length feature, Stunts (1977), directed by Mark L. Lester. Although not considered a critical success, the film performed well commercially on the international market and on television.

In 1980, Shaye's law school classmate Michael Lynne became outside counsel and adviser to the company and renegotiated its debt.

In 1983, Bryanston Distributing Company, the company that first distributed the original The Texas Chain Saw Massacre, lost the rights to that film, and the rights reverted to the original owners. New Line bought the rights and re-released the film to theatres that same year. It became very successful for the studio.

New Line expanded its film production in the early 1980s, producing or co-producing films including Polyester, directed by John Waters, and Alone in the Dark. Polyester was one of the first films to introduce a novelty cinema experience named Odorama, where members of the audience were provided with a set of "scratch and sniff" cards to be scratched and sniffed at specific times during the film, which provided an additional sensory connection to the viewed image. In 1983, Lynne joined the board. In 1984, Dawn Altyn and Jeff Youngs joined New Line, respectively as sales manager, eastern and southern divisions of New Line Distribution, and national print controller of the studio, to distribute new projects.

A Nightmare on Elm Street
A Nightmare on Elm Street was produced and released by New Line Cinema in 1984. The resulting franchise was New Line Cinema's first commercially successful series, leading the company to be nicknamed "The House that Freddy Built". The film was made on a budget of $1.8 million and grossed over $57 million. A year later, A Nightmare on Elm Street 2: Freddy's Revenge was released, and grossed $3.3 million in its first three days of release and over $30 million at the US box office. In 1986, the company went public, and held 1,613,000 shares of common stock.

With the success of the Elm Street franchise, New Line Cinema made moves to expand their business. This included a revamping of their distribution network, the sale of their films into broadcast syndication and pay-TV (via Embassy Communications and Universal Pay Television, respectively), and the creation of an international distribution arm.

The third film in the series, A Nightmare on Elm Street 3: Dream Warriors, was released in 1987, the studio's first national release, and opened at number one, grossing $8.9 million for the weekend, a record for an independent film at the time, and went on to gross almost $45 million at the US box office. A further six films have been made. The first six grossed $500 million worldwide and the next three $250 million, for a total of $750 million.

Teenage Mutant Ninja Turtles
In 1990, Lynne became president and chief operating officer, with Shaye as chairman and chief executive officer. The same year, New Line released Teenage Mutant Ninja Turtles which became the highest-grossing independent film of all-time with a gross of $135 million in the United States and Canada, until it was surpassed by The Blair Witch Project (1999). It was followed by a sequel, Teenage Mutant Ninja Turtles II: The Secret of the Ooze (1991) which was the second highest-grossing with a gross of $78 million in the United States and Canada. A third, Teenage Mutant Ninja Turtles III followed in 1993.

Expansion
In November 1990, New Line Cinema purchased a 52% stake in the television production company RHI Entertainment (now Halcyon Studios), which would later be sold to Hallmark Cards in 1994.

In early 1991, Fine Line Features was set up as a wholly owned subsidiary headed by Ira Deutchman and released films including Jane Campion's An Angel at My Table and Gus van Sant's My Own Private Idaho. Halfway through the year, Carolco Pictures, entered into a joint venture with New Line Cinema to start Seven Arts, a distribution company which primarily released much of Carolco's low-budget output. In 1997, Shine received the studio's first nomination for the Academy Award for Best Picture and their second film to win an Academy Award with Geoffrey Rush's win for Academy Award for Best Actor.

In May 1991, New Line Cinema purchased the home video and foreign rights to 600 films held by Sultan Entertainment Holdings (a.k.a. Nelson Entertainment). The deal also included an 11-film distribution deal with Castle Rock Entertainment. On November 27, 1991, New Line Cinema purchased Sultan outright.

In 1992, Michael De Luca became executive vice-president and chief executive officer of the production unit.

Acquisition by Turner and Time Warner
On January 28, 1994, New Line Cinema was acquired by the Turner Broadcasting System for $500 million, which later merged with Time Warner Entertainment in 1996. New Line Cinema was kept as its own separate entity, while fellow Turner-owned studios Hanna-Barbera Productions and Castle Rock Entertainment eventually became units of Warner Bros.

During its time as an entity separate from Warner Bros., New Line Cinema continued to operate several divisions, including theatrical distribution, marketing and home video.

The company's fortunes took a downturn in 1996 after losses on The Island of Dr. Moreau and The Long Kiss Goodnight.

The Lord of the Rings
New Line Cinema produced The Lord of the Rings film trilogy which became their most successful films to date, grossing over $2.9 billion worldwide. The films were nominated for 30 Academy Awards, including nominations for the Academy Award for Best Picture for each film, and won 17, with the final picture, The Lord of the Rings: The Return of the King (2003) winning a (joint) record eleven, including Best Picture, as well as being the second highest-grossing film of all time at the time of its release.

Despite the success of The Lord of the Rings films, Town and Country (2001) generated a loss of $100 million and De Luca left as production head to be replaced by Toby Emmerich. In 2001, Shaye and Lynne became co-chairmen and co-CEO.

The studio was also a partner in founding a new distribution company named Picturehouse in 2005. Specializing in independent film, Picturehouse was formed by Bob Berney, who left distributor Newmarket Films, New Line Cinema, who folded their Fine Line division into Picturehouse, and HBO Films, a division of HBO and a subsidiary of Time Warner, who was interested in getting into the theatrical film business.

Merger with Warner Bros.
On February 28, 2008, Time Warner's CEO at the time, Jeffrey Bewkes, announced that New Line Cinema would be shut down as a separately operated studio. Shaye and Lynne said that they would step down with a letter to their employees. They promised, however, along with Time Warner and Jeffery Bewkes, that the company would continue to operate its financing, producing, marketing and distributing operations of its own films, but would do so as a part of Warner Bros. and be a smaller studio, releasing a smaller number of films than in past years. The box office disappointment of The Golden Compass (2007) was largely blamed for the decision, in which New Line Cinema spent $180 million on its development, yet it only grossed $70 million in the United States market. In March, Emmerich became president and chief operating officer, whilst both founders Robert Shaye and Michael Lynne had left the company.

On May 8, 2008, it was announced that Picturehouse would shut down in the fall. Berney later bought the Picturehouse trademarks from Warner Bros. and relaunched the company in 2013.

New Line Cinema moved from its long-time headquarters on Robertson Boulevard in Los Angeles in June 2014 to Warner Bros.' lot Building 76, formerly used by Legendary Entertainment, a former Warner Bros. film co-financier. The last film released by New Line Cinema as a free-standing company was the Will Ferrell film Semi-Pro.

Since 2016, New Line Cinema had been producing its own television series (New Line Television had been folded into Warner Bros. Television in 2008).

As for the company's future, Alan Horn, the Warner Bros. president at the time of the consolidation, stated, "There's no budget number required. They'll be doing about six per year, though the number may go from four to seven; it's not going to be 10." As to content, "New Line will not just be doing genre [...] There's no mandate to make a particular kind of movie."

Highest-grossing films
* Includes theatrical reissue(s).

title: New Line Cinema


text:
Talk:Super-Turing computation

Is there any reason this needs to be distinct from hypercomputation? Populus 22:06, 19 Dec 2003 (UTC)

Yes. Because they are two different things. For example, an analog recursive neural network is super-turing, but it is not a hypercomputer.

They are also two different approaches. Super-turing computation views a computer as a dynamical system. Hypercomputation views the computer as an artificial structure, and deals with it as an abstract mathematical construct rather than a dynamical system. -User:Kevin_baas 2003.12.20

Dynamical systems cannot be modeled as abstract mathematical constructs? Populus 14:17, 20 Dec 2003 (UTC)

No, they cannot. A very small subset of them (infinitesimal) can be represented by a set of differential equations, and a very small subset of these equations are analytic. However, for the most part, they are non-analytic. See also chaos theory.

Furthermore, you miss point entirely: the point is the idea of a dynamical system as opposed to a fixed construct. The computer exists as a flow, not as an entity. It is a subtle philosophical distinction but it is also a very important distinction. In Kantian terms, the computer is not "a prioiri analytic", but rather "a posteri synthetic". It is the product of a stable configuration of nonlinear materials (such as transistors), which dissipate a flow of energy. It can only exist as such. - As an information channel; it can never exist as an "abstract mathematical construct", even as we think of it. As we think of it, it is a flow of electricty and nueral semiotics.

The point is dealing with it as such - as a dynamical system manifested in the feedback loops of nonlinear materials, and to consider this process from an information theoretic perspective. This is in contrast to a "pure mathematics" approach. And this is why super-turing computation and hypercomputation differ. -Kevin Baas 2003.12.22

I'm not quite sure where you are getting all the ding-an-sichness from. I'm aware of a small but significant literature on super-Turing capabilities of various theoretical analog computers (I'm thinking of Bournez and Cosnard or Hava Siegelmann's work), but this is all (a) theoretical work that involves mathematical modeling of dynamical systems, (b) extensions of the perfectly respectible real-computation work of Blum, Shub, and Smale; and (c) not known to be physically realizable at present. If you've got cites for experimental work that shows e.g. exponential speedups for analog or pulse computers solving arbitrarily large instances of well-defined problems, then you've got something to say. But at the moment your claim seems to be that (a) certain kinds of analog computers are inherently more powerful in the real world than digital computers (a position that doesn't appear to be supported by current experimental evidence) and (b) this position does not need to be evaluated by the standard techniques of mathematics and/or science because it is involves nonlinear dynamics, a claim that will be of interest to the many physicists and mathematicians that study nonlinear dynamical systems. It's also a position that is not taken by the people you ought to be citing.

Now, if you'd like to write up an article about super-Turing capabilities of some analog computing models, that would be a useful contribution. But my suggestion would be that you cite sources and be careful about what claims the article makes (ideally, sourcing the claims rather than delivering contentious philosophical arguments ex cathedra), so that you don't trigger everybody's intellectual antibodies. I'd also suggest starting by extending one of the existing articles on analog computers, neural networks, or hypercomputation; we can always split the new stuff out if the parent article grows unwieldy. Populus 13:48, 23 Dec 2003 (UTC)

Real computation: I looked up real computation on wikipedia, but I got redirected to a different article, so I'm sorry, I'm thereby unfamiliar with the work that you are refering to.

Here's a little proof for you: Analog computers are at least as powerfull as digital computers because a digital computer is a special type of analog computer. (is made out of analog parts) To understand this more clearly, one would study nonlinear dynamics.

Here's a disproof of the universe being a giant turing machine: [[strange attractor]s.

You want me to cite my sources?: The Pope. The Pope said it. I saw it on T.V. It must be true, then. He talks to God, so he must be a pretty authoritave source. (The capacities for human reason aside - my church tells me not to use them.)

What has philosophy done for us? When do we use it? Nothing! Never! For today we have our modern tools: the tools of Logic (citation:Aristotle) and Phenomenology (citation: Russerl). We have no use anymore for critical thinking, or evaluating belief! Besides, why should we stand anything on such shaky ground? Let us not look at where we place our feet, for our hands much reach upwards ever higher!

Tell me this, what topic should the synthesis of dynamical systems and information theory be under, if not computation? (Don't answer please, that was rhetorical.) Tell me this as well: how else does one expect to compute? --Kevin Baas 2003.12.24

Kevin, I think you're not making sense. You shouldn't push an edit war on this until (a) you make sense and leave the rhetoric, (b) drop the phony mathematical and philosophical distinctions, and most importantly (c) show this article, as you'd like to see it, is more than a personal point of view. It is simply not the case that WP hosts distinctive personal arguments.

Charles Matthews 17:32, 15 Jan 2004 (UTC)

 * I'm sorry if my mix of satire, sarcasm, interdisciplinary arguments, logical proofs, analysis, sythesis, philosophy, and common sense is too thick for you. Perhaps I'm not making sense to you.  At the same time, upon review, I find nothing illogical, contradictory, invalid, or unsound in what I have said.  Perhaps it is then that I am using a language that is strange to you.

 * Whatever the case, I did not start an edit war. I simply created a page under a established topic, under its established title, and put content on that page that was clear, relevant, and neutral.  Populus then deleted the content and redirected the page to a topic that, although it is in the same general field, is altogether different.  Metaphorically, he redirected a page on "oranges" to a page on "apples".  Yes, they are both fruit, but I do think it proper to distinguish between them.

 * (a) I'm sorry if you don't think rhetoric is appropriate for a talk page. That must be quite a handicap. Fortunately, however, your actions are not in agreement with your beliefs.

 * (b) I'm sorry if you don't understand me. I assure you that I am equally burdened by this.

 * (c) The talk pages and user pages are for distincive personal arguments. The article pages are for sociological dialectics, debates, dialogue.  Knowledge is not a metaphysical absolute.  See Socrates for more phony philosophical distinctions. -- Kevin Baas 22:06, 16 Jan 2004 (UTC)

What's now on the page is science fiction. OK, that takes some science fiction off the hypercomputation page; it has effectively no merits in encyclopedic terms. What you have written above is bluster (leave the Pope out of it, will you - there's a good boy). The article pages are not for those things, sctually.

Charles Matthews 10:33, 17 Jan 2004 (UTC)

Hypercomputation is science fiction. Nonlinear dynamics and information theory is legitimate. -- Kevin Baas 17:23, 17 Jan 2004 (UTC)

The following example of super-Turing computation is given: "Solving problems that can be solved on a Turing machine, in a lower time complexity class than they can be solved in on a Turing machine." But even my desktop PC can solve many problems in a lower time complexity class than a TM, simply because a PC has random access to its memory, as opposed to a TM's sequential access. Surely my PC isn't "super-Turing"? --Chris Pressey 20:49, 3 October 2005 (UTC)
 * Exactly. Initially, I have decided they suppose "reduced volume of computation" as compared to Turing V=T*S; that is, accomplishing with less energy. However, the disambiguation between super-Turing and Hypercomputation obfuscates completely: Super-Turing computation is any form of information processing that a Turing machine cannot do. Brrrr. As to my knowledge, the Turing thesis (his machine) postulates the theoretical limits of computation - the machine can do everything that is possible that is possible in math. Alan does not state how long will the machine be working for the tasks, Turing just tells whether it stops in finite time (the task is decidable) or will run forever (undecidable). The theory of complexity elaborates on that, telling more definitely the order of time it will take to solve a given decidable task on a device with memory-computing power S. The "disambiguating" definition clearly states that the proposed super-Turing comp is not just faster (less computation intensive) than the complexity theory predicts, rather it enables undecidable tasks to complete. While the article on quantum computation states that power (set of decidable tasks) matches with that of Turing, qubits are just fast sometimes. Otherwise, if Turing machine turns out to be unstoppable on some tasks which turn out decidable, his thesis would be wrong (incomplete) or that it is math which badly describes physics. Finally, it is not even understandable where the following sentence is referring to: "There are no restrictions on the class of super-Turing machines beyond this" - beyond what, do they mean that super-Turing is restricted from below by the Turing class? So, the article is too much controversial. Do I miss something?--Javalenok 15:57, 2 January 2006 (UTC)
 * Regarding the power of random computer (Finite State Machine) vs. Turing machine, it is hard for us, illiterate mortals, to understand why the miserable TM can be computationally more powerful. On the other hand, the von Neuman computer can simulate any Turing automata... Turns out, thay are equal. --Javalenok 17:11, 2 January 2006 (UTC)
 * I should clarify my criticism, since my previous comment was more of an exclamation of surprise, intended to be somewhat illustrative, rather than anything of substance. The definition of "super-Turing" used in the article seems to imply (or at least be obfuscated by a hidden assumption to the effect) that Turing machines are physical objects, when in fact they are just models of computation.  There are other models of computation, too, for example the lambda calculus, Random-Access Machines (RAMs), and the "Machine over a Ring" defined by Blum, Cucker, Shub, and Smale in Complexity and Real Computation.  Just like a Turing machine, we can precisely describe any of these models, but we can't physically build one (although we can approximate a RAM by building, say, a desktop PC.)  But the RAM model and other models are, by the definition used in this article, "super-Turing", because they "do things that a Turing machine cannot" (work with irrationals, solve problems in lower time complexity classes, etc.)  As a term used to describe these models, I think "super-Turing" is too vague to be useful, while also being misleading (in implying that there are any "physically realizable" Turing-complete models of computation.)  Honestly, I suspect the phrase "super-Turing" was invented by some group of researchers, possibly in AI or philosophy of mind, who only had a passing knowledge of what a Turing machine is, and no substantial familiarity with any of the work done in the theory of computation.  At least, that's the impression the article currently gives; if there's something more rigorous hiding behind it, the article definately needs to be tuned. --Chris Pressey 23:48, 26 January 2006 (UTC)

 * Let me address the criticism with two points: 1. This article, like the hypercomputation article, is about a theoretical possibility (that ironically, is not neccessarily theoretically possible), not an existing machine. 2. On a theoretical point regarding Godel's incompleteness theorem and turing's essay on computable numbers: your point is that all problems that are decidable can be decided by a turing machine - so perhaps a super-turing computer would not decide undecidable problems?  I'm serious here.  Perhaps noise in an analog computer is not a obstacle to true analog computing, but a manifestation of true analog computing.  When you switch from accuracy to precision, your result may always be "close", but by definition it can never be exact - you just can't get exact readings from analog instruments.  This not being exact is the not deciding completely.  Also the noise part - the not always coming up with the same solution to the same problem - is not deciding.  However, this does not neccessarily mean that such a mechanism would not be useful in ways that turing machines aren't, and it doesn't mean they don't "compute", if by compute one means process information. Kevin Baastalk 18:00, 27 January 2006 (UTC)

On the redirect to hypercomputation
OK. I think this should be a redirect to hypercomputation, clearly the superior page. I see the two topics as being different names for the same thing. But someone has reverted my redirect, so I assume that person disagrees with me. Perhaps they could explain why, or provide references that the two concepts are different? Ben Standeven 08:19, 26 January 2007 (UTC)

 * "I see the two topics as being different names for the same thing." Funny you said that because you recently removed the section of this article that explains the difference between the two.

 * IMHO, hypercomputation is a bunch of mumbo-jumbo that is logically impossible, whereas super-turing computation is a different approach to information processing that may have useful applications.

 * Sorry, but what means "logically impossible"? If something is stringently defined, which both hypercomputation and superTuring are, then it is "possible" given the constraints the definition is built upon. Or... do you consider the whole concept of mathematics and infinitesimal calculus "logically impossible" as well... hypercomputation may theoretically require infinite precision, but... you can get a quite good approximation with analogue models as well, and even if we would put the Planck length as a lower limit for precision we would have a well working feasible model. Do you believe in strange attractors for instance, even they would be "logically impossible" with your reasoning then... And, regarding SuperTuring that is simply the effect that parallel system can solve problems more efficient than sequential systems as you can achieve exponential to super exponential convergence towards solutions. Roland.orre (talk) 21:24, 10 December 2014 (UTC)

 * One approach to super-turing computation is through the paradigm of attractors, such as spike-time attractors in cortical networks. Kevin Baastalk 17:40, 27 January 2007 (UTC)

 * Mmmm. Only relevant passage I found was "The computational capabilities of analog discrete time recurrent NNs were reviewed by Siegelmann (1993) and Orponen (2000). Finite analog RNNs with rational weights employing a saturated linear activation function can simulate arbitrary Turing machines step by step. If the weights are real, these networks may have, in theory, super-Turing computational capabilities (Siegelmann & Sontag, 1995).", which is indeed about hypercomputation. I believe there is a page dedicated to discussing alternative approaches to recursion theory, but I don't recall its name at the moment. In any event, I still think this page should be redirected. Ben Standeven 01:51, 29 January 2007 (UTC)

title: Talk:Super-Turing computation


text:
Template talk:Stub/Archive 1

I propose that we change the text of the Stub message to read as follows:

''This article is a shell—a short article intended to encourage additions. You can help Wikipedia by expanding it.''

There is only one link: the word "expanding" should be linked to s_link, which can then be redirected as we see fit.
 * -Anthropos 22:07, 19 Dec 2003 (UTC)

 * Why? They're called stubs. They've always been that and I don't think there's a need to change this. Also, a shell implies the article structure is already laid out, which is not the case for most stubs. Angela. 05:44, 21 Dec 2003 (UTC)

 * I think we should leave it as stub too. Dori | Talk 18:11, Dec 22, 2003 (UTC)

 * I agree with Dori and Angela on this. Jwrosenzweig 20:13, 18 Mar 2004 (UTC)

Proposal:

 * No, please don't add tables and colors. Having tags on articles is bad enough already without making them stand out so much they become the focus of the page. Angela. 03:20, Mar 5, 2004 (UTC)

Noo!! It's too messy. Keep it discreet. — Sverdrup 18:14, 18 Mar 2004 (UTC)

No, I don't like that at all. Please revert it. -- Djinn112 18:52, Mar 18, 2004 (UTC)

I like it; I think that it's both more attractive and more prominent, which might help stubs expand more quickly. -- Seth Ilys 18:16, 18 Mar 2004 (UTC)

At the very least there should be a poll before this is adopted. Dori | Talk 19:52, Mar 18, 2004 (UTC)

I agree that the boxes and colors are not pleasant to my taste. Every now and then I wish people would be a tiny bit less bold. :-) But I don't know table markup well enough to boldly switch it back -- has it been done now? Jwrosenzweig 20:13, 18 Mar 2004 (UTC)
 * I can't be bold and switch it back. This page is protected. =b Fennec 21:29, 18 Mar 2004 (UTC)

 * The previous version had no tables. (Btw, all: use the NEW table markup!) — Sverdrup 20:30, 18 Mar 2004 (UTC)

I have to say I don't like this change. There are thousands of stubs, we have to accept that we're going to live with them for a long time, so what's the point in making the notice more prominent? There simply aren't enough users to "finish" wikipedia overnight, nor do I think people should be particularly directed to expand stubs rather than create new articles... one of the joys of wikipedia is people can contribute on subjects they're interested in, whenever it's convenient to them. fabiform | talk 20:29, 18 Mar 2004 (UTC)
 * Lolzor, what a thought; finish Wikipedia. Fab definitely has a point; stubs will always be the bottom 25 % of wikipedia, so there is no quick sugar-additive to make away with them. — Sverdrup 20:33, 18 Mar 2004 (UTC)

A poll asking this in advance would have been nice. I don't particularly care for it myself, however. Fennec 21:29, 18 Mar 2004 (UTC)

OK, I reverted back. Very few people seemed to like it. Please use a poll if you want to change it to the new one. Dori | Talk 21:37, Mar 18, 2004 (UTC)

 * They might look better left-aligned (or even right-aligned) rather than centred. It's not so much a problem with this one, but looks decidedly clumsy. Remember: we need to look good on all screen resolutions and font sizes. –Hajor 00:05, 19 Mar 2004 (UTC)

FYI: There is another version at Template:Tolkienstub:

User:Docu

I've removed the protection from this page, so that everyone can participate in the edit war. -- Tim Starling 23:27, Mar 18, 2004 (UTC)

Poll
''This section is a poll. You can help Wikipedia by voting on it. ;-)''

At Dori's suggestion, I think it would be a good idea to hold a poll. There's often a strong and vocal gut reaction against change, which I think we've seen above; given a longer period for discussion and deliberation, we may find that the bulk of the community actually liked the new stub message (or we may not), but I don't think that six comments within a couple hours can be a fair judge of consensus. -- Seth Ilys 23:35, 18 Mar 2004 (UTC)

 * Polls tend to but a damper on discussion, not encourage it. That aside, I don't like the new proposal because it draws attention to a notice which isn't part of the article at all, really, and because I'm easily distracted by bright colours. I don't see what's wrong with the old, simple version to be honest. --Camembert
 * I agree with Camembert -- the idea of a stub notice isn't to advertise its stubbiness (after all, by the time you see the notice, you see the article and know what its shortcomings are). It's primarily to allow us to have a standard way of marking stubs so that (as far as I understand) "What Links Here" or some similar alternative can list all the marked stubs to be more easily found.  It's not intended to be a signpost -- it's visible only so people know the stub has been marked.  I don't see that making a big colorful sign does anything but make the Wikipedia look a little less professional, no offense intended to the people who've designed these boxes (I am positive they have the best intentions). Jwrosenzweig 23:58, 18 Mar 2004 (UTC)
 * I think that the prominent stub notice helps new users understand what Wikipedia is about a little better. If someone comes in and sees an unimpressive little stub, they might not even look closely before going back to the next Google hit. But if they see a prominent stub notice and note that they can be involved, it might help to draw more people into the project. -- Seth Ilys 00:48, 19 Mar 2004 (UTC)
 * I feel a bit mixed about this. I like the way that Timwi's version separates out the message from the main body of the text, but I think it also makes the message too prominent. I would like a version which did both. Maybe the stub message could appear at the bottom of the page with Edit this page etc. and the whole lot could be put into a nicely formatted box to separate it from the article text. Washington Irving | Talk

Please vote for your preference, or add a new option if you're so inclined. Voting lasts one week (ending 23:25, 25 Mar 2004)

'''Please consider disregarding the colours/fonts/margins/etc. as they can always be voted on separately. This is not a "either a blue box or nothing" decision. Please vote on whether you could be persuaded in general to change this to a box of this kind. Thanks.'''

Timwi's version (revised)
''This article is a stub. You can help Wikipedia by expanding it.''

 * 1) Ausir 23:39, 18 Mar 2004 (UTC)
 * 2) * Please notice that I have made changes to the above. What was there before was not actually my version. Timwi 23:49, 18 Mar 2004 (UTC)
 * 3) Timwi 23:49, 18 Mar 2004 (UTC)
 * 4) Seth Ilys 23:35, 18 Mar 2004 (UTC)
 * 5) I have reconsidered it a bit. I like this version best. — Sverdrup 23:46, 18 Mar 2004 (UTC)
 * 6) Vikingstad 00:48, Mar 19, 2004 (UTC)
 * 7) Bkonrad | Talk 02:25, 19 Mar 2004 (UTC)
 * 8) Tuf-Kat
 * 9) Phil | Talk 09:35, Mar 19, 2004 (UTC)
 * 10) *I like it because it should encourage readers to expand stub articles. To all those who don't like it, how about getting out there and making all those stub messages unnecessary!
 * 11) sannse (talk) 18:32, 19 Mar 2004 (UTC)
 * 12) Elf | Talk 02:40, 20 Mar 2004 (UTC) I changed my mind after I came across some articles earlier today that used box/colored background formats for vfd and stub and disambig, I think--was there a temporary change?--and by golly I really liked the way they looked.
 * 13) ♬ bdesham 03:26, Mar 20, 2004 (UTC)
 * 14) chris_73 04:18, 24 Mar 2004 (UTC) The box is a nice highlight.
 * 15) Taku 01:37, Mar 27, 2004 (UTC); This is simply more looking nice.

Old version
''This article is a stub. You can help Wikipedia by expanding it.''

 * 1) Jwrosenzweig 23:45, 18 Mar 2004 (UTC)
 * 2) Camembert 23:46, 18 Mar 2004 (UTC)
 * 3) SimonP 00:10, Mar 19, 2004 (UTC) (I would prefer to remove the link on the word expanding, as Find or fix a stub has nothing to do with improving that particular article).
 * 4) fabiform | talk 00:27, 19 Mar 2004 (UTC)
 * 5) Angela
 * 6) Djinn112 01:42, Mar 19, 2004 (UTC)
 * 7) Dori | Talk 02:12, Mar 19, 2004 (UTC)
 * 8) moink 02:21, 19 Mar 2004 (UTC)
 * 9) RickK | Talk 02:34, 19 Mar 2004 (UTC)
 * 10) Davodd 06:25, Mar 19, 2004 (UTC)
 * 11) Ruhrjung 13:37, 19 Mar 2004 (UTC)
 * 12) Pete/Pcb21 (talk) 14:55, 19 Mar 2004 (UTC). See ===Metadata=== below
 * 13) Michael Snow 17:31, 19 Mar 2004 (UTC) The revised version is even worse than the original. I don't think the extra link adds any value.
 * 14) * Huh? What extra link? — Timwi 03:27, 20 Mar 2004 (UTC)
 * 15) Gentgeen
 * 16) Ludraman | Talk
 * 17) BCorr ¤ Брайен 23:04, Mar 22, 2004 (UTC)
 * 18) Ryan_Cable 12:41, 25 Mar 2004 (UTC)
 * 19) Fennec 15:16, 25 Mar 2004 (UTC)
 * 20) Stewart Adcock 18:32, 27 Mar 2004 (UTC)
 * 21) Arvindn 19:15, 31 Mar 2004 (UTC)

Other messages
So are we going to have a poll for every different message? I feel the same way for all of them, but obviously others might not. Dori | Talk 02:17, Mar 19, 2004 (UTC)

 * I hope polling isn't necessary on every message, but we need to discuss this systematically instead of ad hoc, so that we can have some sort of established practice. I'm much more inclined to favor Timwi's approach for messages that are more short-lived or time-sensitive, like VfD. --Michael Snow 17:31, 19 Mar 2004 (UTC)

Metadata
The purpose of the article page is to have the article. The place for administrative messages is the talk page. By incorporating metadata on the article page, we are moving away from making the pages useful for readers, and making them just useful for editors, which is kind of pointless - what are we making the pages for at all if they are not for readers. The bolding, colouring and boxing of these messages goes even further to make it seem like they are the most important bit of the page, not the article itself. Ideally we would restrict these msgs: to the talk page (with the possible exception of vfd, which is a time critical message), then they cane be as intrusive as people want. Pete/Pcb21 (talk) 14:55, 19 Mar 2004 (UTC)

 * Almost all these messages, including for example neutrality and accuracy disputes, are extremely important to point out to visitors (who don't know about talk pages and don't look at them). Casual visitors, especially young students, tend to be less trained to look out for possible factual inaccuracies or bias. — One message that I agree with you should not even be in the article, is the "this article is protected" message. That one is solely relevant to editors. — Timwi 03:27, 20 Mar 2004 (UTC)

Tolkien stub
I think a good idea to encourage more people to expand stubs, would be to make more field-specific stub messages, for people interested in that field (like I've done with Template:Tolkienstub. The text can even be the same as in the standard message. Ausir 10:57, 27 Mar 2004 (UTC)

This is at once a good and a bad idea. The obvious advantage is that people with an interest in a certain area can quickly locate and attack stubs they might know something about. The disadvantage is that it is no longer indexed on the main stub What-Links-Here-based pages, which are still important. I recommend this instead (for example):

and edit msg:Tolkienstub to read something like:

See list of Tolkien-related stubs.

(By the way, please refrain from linking "here", bad style.) The two msgs should cascade together pretty nicely.

Derrick Coetzee 00:41, 6 Apr 2004 (UTC)

 * The fact that so many stubs exist on a single topic indicates to me that the information on this topic is poorly organized. In the specific case of Tolkein, a random selection of articles I read appeared not really to be stubs... the articles were actually quite complete.. it is just that they are on such specific topics that there wasn't much to write. I would prefer to see in this case, and others as they arise, fewer, but more interesting and readable (because you don't have to click all over the place), articles. Maybe the problem is that the creator of 10 very short articles appears to be more "productive" than the creator of one longer one. Pete/Pcb21 (talk) 10:01, 6 Apr 2004 (UTC)

you may improve Wikipedia
I've again and again been disturbed by the wording "you can help Wikipedia by expanding it".

This may of course be an odd reaction, and I apologize in advance if somebody feel offended, but what about "you may improve Wikipedia by expanding it" instead?

My feeling is that "you can help" sounds approximately as if there exists "a Wikipedia" consisting of The Real Wikipedians, and then others may step in and do some extra work, like the man in the family might be asked to "help in the house" by taking the garbage on his way out to the office... or something. ;-) /Tuomas 19:15, 6 May 2004 (UTC)

 * I like the "help" wording. I think it reflects a community of people who are kindly asking for your precious time. On the other hand, helping an inanimate object (Wikipedia) seems rather odd. How about "you may help improve Wikipedia"?
 * Derrick Coetzee 19:27, 7 May 2004 (UTC)

needs to be protected its a vandalism target and why the heck would anyone need to edit it?--Ryan B. 00:16, 15 May 2004 (UTC)

 * Remember that protection is a last resort. While vandalizing the stub message can affect many pages at once, it also is liable to be noticed and corrected very quickly.
 * As for why anyone would edit it, its form and wording have been changed a number of times already, and may still change, although I admit there's precious little to alter. One real disadvantage of protection though is the added burden to administrators, who would have to keep an eye on the talk page and carry out any proposed changes from then on. We're lazy.
 * Derrick Coetzee 02:52, 15 May 2004 (UTC)

 * Protected pages are considered harmful. If you look at the history of mediawiki:stub and mediawiki:delete, you'll see there have been a number of edits that need not be stopped by protecting the page. It's incredibly easy to revert a bit of vandalism. Compare it with something like Wikipedia or About which are vandalised almost daily. Angela. 03:26, May 15, 2004 (UTC)

Please don't add an hr to the msg. Some pages already have hr's. The hr is not necessary in the first place. --Jiang 08:56, 20 May 2004 (UTC)

title: Template talk:Stub/Archive 1


text:
User talk:Test article

This is a user talk test article made for the purpose of checking out a suspected bug in the Wikipedia software. This is the top of the article "user talk:Test_article."

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title: User talk:Test article


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User:Cougar21

Jeremy Gallop joined on Friday 19/12/2003

Born June 21st 1979

title: User:Cougar21


text:
Anal beads

Anal beads are a sex toy consisting of multiple balls attached in series. Individual balls are continuously inserted through the anus into the rectum and then removed with varying speeds depending on the desired effect. The main use of anal beads are for sexual stimulation.

Design
Anal beads are available in many sizes, with individual beads measuring from 25 mm in diameter to 125 mm in diameter or larger. Most users enjoy beads of approximately 45 mm, but those more adventurous or with experience may try larger sizes. Anal beads are commonly made of silicone, plastic, rubber, latex, glass, or metal, and normally end with a ring or similar handle designed for pulling. The purpose of this ring is to prevent the beads from becoming fully lodged in the rectum and to make the toy easier to remove. The beads may either be joined flexibly, requiring individual insertion or by a semi-rigid thin shaft, allowing anal insertion in a single motion.

The many nerve endings of the sphincter provide arousal both during insertion and removal, while larger beads may create a feeling of pressure in the rectum. Removing anal beads at the point of orgasm heightens sensations, leading to a much stronger orgasm.

Some anal beads are enhanced with vibration technology. Certain models can be remote controlled or act as IoT devices.

Use

Anal beads are commonly incorporated during anal sex, worship of the buttocks, genital or anal masturbation, or any activity involving the buttocks, anus, or the anal area.

As with all anal sexual activity, the anal beads and the rectum should be well-lubricated with a sexual lubricant intended for anal sex. It is important to do this, as the rectum can be easily ripped, torn, or injured. Silicone-based lubricants should not be used with silicone anal beads, as the lubricant will erode the beads. Anal sex toys should be well washed with warm soapy water and left to dry naturally after use. Alternatively, they can be placed inside a condom, which is recommended if they are shared with others.

Care must also be taken to count the beads before and after use to ensure that they are all removed from the anus, as strings have reportedly broken during intense rectal movements.

Safety
If the beads are threaded onto a string, which is a porous material, they cannot be fully disinfected. Anal beads should not be shared between users without using a physical barrier, such as a latex or neoprene condom, to prevent the transfer of feces. Sharing unsterilized anal toys can expose users to various sexually transmitted diseases. Anal beads that have been inserted into an anus should not be inserted into a vagina, as this causes yeast infections and bacterial vaginosis, as well as various sexually transmitted diseases.

South Park
Anal beads serve as the primary weapon for one of the priests in the critically acclaimed 2017 South Park role-playing video game South Park: The Fractured but Whole.

Made of Honor

In the 2008 romantic comedy Made of Honor, starring Patrick Dempsey and Michelle Monaghan, in the scene where Tom (played by Dempsey), the "man" of honor, throws a bridal shower for Hannah (played by Monaghan), Tom unknowingly hires a lady who sells sex toys. Hannah's grandma Pearl (played by Selma Stern) asks, "What are these?" and picks up glow-in-the-dark "thunder beads" (which are anal beads) and wears them as a necklace around her neck during the rest of the scene and even during the wedding.

Carlsen–Niemann cheating controversy
In the 2022 Sinquefield Cup, a prestigious chess tournament, reigning World Champion Magnus Carlsen withdrew from the tournament after implying that the opponent he lost to, Hans Niemann, was cheating. An internet meme, first propagated as a joke in grandmaster Eric Hansen's Twitch chat, suggested that Niemann was cheating using anal beads that vibrated the computer-suggested move via Morse Code. The meme spread throughout the internet, even appearing on late-night talk shows such as The Late Show with Stephen Colbert and The Daily Show with Trevor Noah.

title: Anal beads


text:
User talk:Test article/1

This is a secondary user talk test article made for the purpose of checking out a suspected bug in the Wikipedia software. This is the top of the article "Test_article."

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Additional material here

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still more

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title: User talk:Test article/1


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Talk:The Trials of Life

Page move
IMDB has it as "The Trials of Life"; The old VHS cover has "The Trials of Life" and on this page  hosted by the BBC it says "The Trials of Life". Mintguy
 * I'm happy for a sys admin to move it back, if anyone thinks it realy necessary; and for the page to mention the issue. Andy Mabbett 22:20, 19 Dec 2003 (UTC)
 * You don't have to be an admin to move it back. Try it. Mintguy

Running time
UK DVDs are advertised as running for 10 hours - that's 12x50mins. Andy Mabbett 19:05, 13 July 2005 (UTC)

Then why did you remove my mention that the episodes are 50 minutes long in the opening paragraph? Matt Deres

 * The episodes are more like 30mins each. This is easy to check. PhS (talk) 09:59, 26 January 2009 (UTC)

 * Please refer to the "DVD and Book" section of the article. The full episodes are 50 minutes long. The shorter episodes are abridged versions from a DVD.Cparsons79 (talk) 14:42, 26 January 2009 (UTC)

 * Thanks for the correction! PhS (talk) 21:27, 26 January 2009 (UTC)

Episode summaries
Similar to those provided for Life on Earth and The Living Planet, I shall be gradually adding original episode summaries to this article to replace the current ones that were sourced from elsewhere. Chris 42 20:57, 11 September 2006 (UTC)

R4 DVD release
The information on the DVD release suggests that this series is available as a four DVD set in region 4 - has anyone a reference to back this up? I understood (in NZ at least) that only the 3-disc set was available Quadparty 22:29, 11 September 2006 (UTC)

 * The info on the back of the 4-disc set clearly states "Regions 2 + 4" (PAL UK). This description from Amazon states Region 2 only, but I have a copy of the 2004 DVD release, and it is as stated in the article. Chris 42 22:38, 11 September 2006 (UTC)
 * Try also this link to the BBC's shop, which confirms it. Chris 42 22:43, 11 September 2006 (UTC)

 * The DVD might be dual R2/R4, but has it ever sold in either Australia or New Zealand in that form? Quadparty 11:24, 12 September 2006 (UTC)

 * Ah, now you have me! I don't know, so I think I'd better modify the wording.. Chris 42 11:37, 12 September 2006 (UTC)

title: Talk:The Trials of Life