text:
Sharpe (TV series)

Sharpe is a British television drama series starring Sean Bean as Richard Sharpe, a fictional British soldier in the Napoleonic Wars, with Irish actor Daragh O'Malley playing his second in command, Patrick Harper. Sharpe and Harper are the heroes of the Sharpe series of novels by Bernard Cornwell; most, though not all, of the episodes are based on the books. Produced by Celtic Films and Picture Palace Films for the ITV network, the series was filmed mainly in Crimea, with recordings of other episodes in Turkey, England, Portugal and Spain. The two final episodes were filmed in Jaipur, India.

The series originally ran from 1993 to 1997. It consisted of fourteen episodes, each with a running time of around 100 minutes. In 2006, ITV premiered Sharpe's Challenge, a two-part adventure loosely based on his time in India, with Sean Bean continuing his role as Sharpe. Filming of Sharpe's Peril, also set in India, was produced by Celtic Film/Picture Palace in 2008. The first part was broadcast on ITV and UTV on 2 November 2008, with the second part shown a week later. Sharpe's Challenge and Sharpe's Peril were broadcast in the US in 2010 as part of PBS's Masterpiece Classic season.

The complete series is available on VHS (excluding Sharpe's Challenge and Sharpe's Peril), DVD, Blu-ray and iTunes. The Blu-ray and iTunes releases have been remastered in HD widescreen from the original filmstrips, with the former format available in a special collector's edition box set.

Plot summary
At the beginning of the series, Richard Sharpe is a sergeant in the 95th Rifles serving in Portugal during the Peninsular War in 1809. When he single-handedly saves the life of General Sir Arthur Wellesley from a group of French cavalrymen, Wellesley gives Sharpe a battlefield commission, appointing him a lieutenant. Sharpe is placed in charge of a detachment of elite "chosen men" of the 95th Rifles. Patrick Harper eventually becomes his best friend and is promoted to sergeant and later sergeant major.

Wellesley and his various spymasters, first Major Michael Hogan, followed by Major Nairn, Major Mungo Monroe and Major General Ross, find Sharpe to be an extremely capable and cunning officer and give him progressively more important tasks. Despite their backing, he has to fight against the strong prejudice of aristocrats (who often owe their army positions to money and social connections rather than to military skill) against an uncouth commoner raised from the ranks. He makes a number of dangerous enemies, such as French Major Pierre Ducos and Colonel Sir Henry Simmerson, and encounters one from his prior service in India, Sergeant Obadiah Hakeswill. Sharpe's successes gain him steady promotion, and by the end of the Napoleonic Wars, at the Battle of Waterloo, he is promoted to Lieutenant-Colonel by joining the Prince William of Orange’s staff, at Wellington’s request.

Along the way, Sharpe has a number of romances. He marries the Spanish guerrilla leader Teresa Moreno, with whom he has a daughter. Teresa is killed by Hakeswill. Sharpe then marries Jane Gibbons, who deserts him, squanders his money, and takes a lover. He finally settles down with Lucille Castineau, a Frenchwoman who passes away some time after Napoleon's final defeat. (However, according to The Starbuck Chronicles, another series of Cornwell books, she outlives Sharpe.)

Casting
Initially, Paul McGann was cast in the title role; however, two weeks into filming of the first episode in Ukraine, McGann injured his knee playing football and was forced to withdraw. When production started again a month later, Sean Bean was given the role because he was the only suitable replacement available at short notice.

The first actor cast was Daragh O'Malley as Harper. The character of Rifleman Harris, played by Jason Salkey, did not exist in the books and was created for the television series. The producers wanted a "clever one" and took inspiration from a real soldier who was illiterate but had dictated his own recollections of the war, which were published.

Some actors have played multiple roles in the series. Peter-Hugo Daly portrayed first Sergeant Rodd in Sharpe's Gold and then Bickerstaff, another unruly sergeant who dislikes Sharpe. Julian Fellowes played Major Warren Dunnett in Sharpe's Rifles and also the Prince Regent in Sharpe's Regiment. Tony Haygarth was "Marshal" Pot-au-Feu in Sharpe's Enemy and Sir Willoughby Parfitt in Sharpe's Justice.

List of episodes
The episodes are listed by first airing date.

Chosen Men

 * Sean Bean as Sergeant, later Lieutenant-Colonel, Richard Sharpe (1993–1997, 2006, 2008)
 * Daragh O'Malley as Rifleman, later Sergeant and then Sergeant Major, Patrick Harper (1993–1997, 2006, 2008)
 * John Tams as Rifleman, later Sergeant, Daniel Hagman (1993–1997) – killed in battle in Sharpe's Waterloo.
 * Jason Salkey as Rifleman, later Sergeant, Harris (1993–1997) – killed in battle in Sharpe's Waterloo; not at Waterloo in the novel and presumably survives.
 * Lyndon Davies as Rifleman Ben Perkins (1993–1995) – stabbed by O'Rourke in Sharpe's Battle and dies in Harper's arms; survives in the novels.
 * Michael Mears as Rifleman Francis Cooper (1993–1995) – disappears after Sharpe's Gold due to a disagreement with the production team; returns to narrate Sharpe the Legend; killed in the novel Sharpe's Rifles but resurrected for several of the later-written books.
 * Paul Trussell as Rifleman Isaiah Tongue (1993) – disappears after Sharpe's Eagle and never returns; he may be dead or left the army to go back to England; killed in the novel Sharpe's Gold.

Supporting characters
• David Troughton as Sir Arthur Wellesley (1993)

• Hugh Fraser as Sir Arthur Wellesley, Lord Wellington (1994–1997, 2006)

• Malcolm Jamieson as Colonel Pierre de L'Eclin (1993)

• Brian Cox as Major Michael Hogan (1993)

• Kerry Shale as James Rothschild (1993)

• Simón Andreu as Major Blas Vivar (1993)

• Tim Bentinck as Captain John Murray (1993)

• Daniel Craig as Lieutenant John Berry (1993)

• Neil Dickson as Lord Uxbridge (1997)

• David Ashton as Major Lennox (1993)

• Neil Dudgeon as Lieutenant Christian Gibbons (1993)

• James Purefoy as Captain Jack Spears (1995)

• Gavan O'Herlihy as Captain Thomas Leroy (1993)

• Martin Jacobs as Colonel William Lawford (1993)

• Benedict Taylor as William Lawford (1996)

• Assumpta Serna as Comandante Teresa Moreno (1993–1994)

• Mark Strong as Colonel Brand (1996)

• Michael Cochrane as Colonel/General Sir Henry Simmerson (1993, 1995, 1996, 2006, 2008)

• Christopher Villiers as Colonel Horace Bampfylde (1996)

• Philip Whitchurch as Captain William Frederickson (1994, 1996, 1997)

• Michael Byrne as Major Nairn (1994)

• Pete Postlethwaite as Sergeant Obadiah Hakeswill (1994)

• Tony Haygarth as  Pot Au Feu; Sir Willoughby Parfitt (1994, 1997)

• Féodor Atkine as Major Pierre Ducos (1994, 1996, 1997)

• Elizabeth Hurley as Lady Isabella Farthingdale (1994)

• Diana Perez as Ramona (Gonzalez) Harper (1994–1996, 2006)

• Alice Krige as La Marquesa de Casares el Grande y Melida Sadaba (1994)

• Emily Mortimer as Lass (1995)

• Hugh Ross as Major Mungo Munro (1995)

• Julian Fellowes as Major Warren Dunnet; The Prince Regent (1993, 1996)

• Olivier Pierre as General Jean-Baptiste Calvet (1996)

• John Benfield as General Jean-Baptiste Calvet (1997)

• James Laurenson as Major General Hector Ross (1996–1997)

• Caroline Langrishe as Lady Anne Camoynes (1996, 1997)

• Abigail Cruttenden as Jane (Gibbons) Sharpe (1996–1997)

• Alexander Armstrong as Lord John Rossendale (1996)

• Alexis Denisof as Lord John Rossendale (1997)

• Cécile Paoli as Lucille Castineau, Madame la Vicomtessa de Seleglise (1997)

• Paul Bettany as Prince William of Orange (1997)

• Toby Stephens as William Dodd (2006)

• Jason Durr as Lord Keily (1995)

• Marc Warren as Captain Rymer (1994)

Production team

 * Directed by: Tom Clegg
 * Produced by: Malcolm Craddock, Muir Sutherland
 * Writing credits:
 * Novels: Bernard Cornwell
 * Screenplays: Eoghan Harris (8), Charles Wood (3), Russell Lewis (3), Nigel Kneale (1), Colin MacDonald (1), Patrick Harbinson (1)

Reception
Cornwell dedicated the 12th book Sharpe's Battle, to Sean Bean and said "When I write Sharpe these days, I hear Sean's voice."

title: Sharpe (TV series)


text:
Talk:A. J. Jacobs

Untitled
from VfD:

Vanity, childish nonsense. — Bill 11:19, 7 Oct 2004 (UTC)
 * Delete. Not encyclopedian. Might be a newbie test page also. jni 11:45, 7 Oct 2004 (UTC)
 * That page really should be a disambiguation page for the various companies and organisations named Jacobs (a Google search throws up loads of independent results). Of course until someone decides to write those articles this should be deleted. —Rory ☺ 11:58, Oct 7, 2004 (UTC)
 * Keep. Not really nonesense.  I moved it to A.J. Jacobs which is where it belongs.  Someone can go back and make Jacobs a disam page if they like.   — Frecklefoot | Talk 19:00, Oct 7, 2004 (UTC)
 * Very very weak keep, but it was actually incorrect. Jacobs is an Esquire Magazine writer who has been an NPR guest commentator.  His primary gig is as a staff journalist.  His book has been somewhat popular, but is it enough? Geogre 13:30, 9 Oct 2004 (UTC)

end moved discussion

Excised material
I excised the following, as it violated WP:ASR and was just generally unencyclopedic: JianLi 04:48, 4 August 2006 (UTC)
 * When Jacobs began outsourcing his life for an Esquire piece, he asked his Indian assistant, "Honey K. Balani", to write a biography of himself on Wikipedia. A bizarre article soon appeared on Jacobs calling him "The King who thinks he Knows it ALL!", "a not so unheard international figure" and a "writer and editor of phenomenal grey-matter" ... "a living form of encyclopedia at large."

 * Then why leave the part about the esquire wiki piece?BabuBhatt 23:08, 4 August 2006 (UTC)

Strange article
Well, maybe the subject is just about notable (at a push), but is there anything encyclopedic about statements such as: "He enjoys shaving, talking about almost stoning someone and appearing on various new programs."?  Timothy Titus Talk To TT  22:16, 21 October 2007 (UTC)

A. J. Jacobs is a fascinating and very funny writer of important books. Do not delete. Persuade him to write a book about Wikipedia. Das Baz, aka Erudil 17:06, 24 December 2007 (UTC) Let's send him some letters saying: Dear Mr. Jacobs, please spend a year writing articles for the Wikipedia, and then write a book about it. Thank you. Das Baz, aka Erudil 17:08, 27 December 2007 (UTC)

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"Honey K Balani" listed at Redirects for discussion
A discussion is taking place to address the redirect Honey K Balani. The discussion will occur at Redirects for discussion/Log/2021 January 25 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. 𝟙𝟤𝟯𝟺𝐪𝑤𝒆𝓇𝟷𝟮𝟥𝟜𝓺𝔴𝕖𝖗𝟰 (𝗍𝗮𝘭𝙠) 22:08, 25 January 2021 (UTC)

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

title: Talk:A. J. Jacobs


text:
Swarm robotics

Swarm robotics is an approach to the coordination of multiple robots as a system which consist of large numbers of mostly simple physical robots. In a robot swarm, the collective behavior of the robots results from local interactions between the robots and between the robots and the environment in which they act. It is supposed that a desired collective behavior emerges from the interactions between the robots and interactions of robots with the environment. This idea emerged on the field of artificial swarm intelligence, as well as the studies of insects, ants and other fields in nature, where swarm behaviour occurs.

Definition
The research of swarm robotics is to study the physical body and the controlling behaviours of robots. It is inspired but not limited by the emergent behaviour observed in social insects, called swarm intelligence. Relatively simple individual rules can produce a large set of complex swarm behaviours. A key component is the communication between the members of the group that build a system of constant feedback. The swarm behaviour involves constant change of individuals in cooperation with others, as well as the behaviour of the whole group.

Unlike distributed robotic systems in general, swarm robotics emphasizes a large number of robots, and promotes scalability, for instance by using only local communication. That local communication for example can be achieved by wireless transmission systems, like radio frequency or infrared.

Goals and applications
Miniaturization and cost are key factors in swarm robotics. These are the constraints in building large groups of robots; therefore the simplicity of the individual team member is emphasized. This motivates a swarm-intelligent approach to achieve meaningful behavior at swarm-level, instead of the individual level. Much research has been directed at this goal of simplicity at the individual robot level. Being able to use actual hardware in research of Swarm Robotics rather than simulations allows researchers to encounter and resolve many more issues and broaden the scope of Swarm Research. Thus, development of simple robots for Swarm intelligence research is a very important aspect of the field. The goals include keeping the cost of individual robots low to allow scalability, making each robot less demanding of resources and more energy efficient.

Compared with individual robots, a swarm can commonly decompose its given missions to their subtasks; a swarm is more robust to partial failure and is more flexible with regard to different missions.

One such swarm system is the LIBOT Robotic System that involves a low cost robot built for outdoor swarm robotics. The robots are also made with provisions for indoor use via Wi-Fi, since the GPS sensors provide poor communication inside buildings. Another such attempt is the micro robot (Colias), built in the Computer Intelligence Lab at the University of Lincoln, UK. This micro robot is built on a 4 cm circular chassis and is low-cost and open platform for use in a variety of Swarm Robotics applications.

Applications
Potential applications for swarm robotics are many. They include tasks that demand miniaturization (nanorobotics, microbotics), like distributed sensing tasks in micromachinery or the human body. One of the most promising uses of swarm robotics is in search and rescue missions. Swarms of robots of different sizes could be sent to places that rescue-workers cannot reach safely, to explore the unknown environment and solve complex mazes via onboard sensors. On the other hand, swarm robotics can be suited to tasks that demand cheap designs, for instance mining or agricultural shepherding tasks.

More controversially, swarms of military robots can form an autonomous army. U.S. Naval forces have tested a swarm of autonomous boats that can steer and take offensive actions by themselves. The boats are unmanned and can be fitted with any kind of kit to deter and destroy enemy vessels.

During the Syrian Civil War, Russian forces in the region reported attacks on their main air force base in the country by swarms of fixed-wing drones loaded with explosives.

Most efforts have focused on relatively small groups of machines. However, a swarm consisting of 1,024 individual robots was demonstrated by Harvard in 2014, the largest to date.

Another large set of applications may be solved using swarms of micro air vehicles, which are also broadly investigated nowadays. In comparison with the pioneering studies of swarms of flying robots using precise motion capture systems in laboratory conditions, current systems such as Shooting Star can control teams of hundreds of micro aerial vehicles in outdoor environment using GNSS systems (such as GPS) or even stabilize them using onboard localization systems where GPS is unavailable. Swarms of micro aerial vehicles have been already tested in tasks of autonomous surveillance, plume tracking, and reconnaissance in a compact phalanx. Numerous works on cooperative swarms of unmanned ground and aerial vehicles have been conducted with target applications of cooperative environment monitoring, simultaneous localization and mapping, convoy protection, and moving target localization and tracking.

Additionally, progress has been made in the application of autonomous swarms in the field of manufacturing, known as swarm 3D printing. This is particularly useful for the production of large structures and components, where traditional 3D printing is not able to be utilized due to hardware size constraints. Miniaturization and mass mobilization allows the manufacturing system to achieve scale invariance, not limited in effective build volume. While in its early stage of development, swarm 3D printing is currently being commercialized by startup companies. Using the Rapid Induction Printing metal additive manufacturing process, Rosotics was the first company to demonstrate swarm 3D printing using a metallic payload, and the only to achieve metallic 3D printing from an airborne platform.

Drone swarming
Drone swarms are used in target search, drone displays, and delivery. A drone display commonly uses multiple, lighted drones at night for an artistic display or advertising. A drone swarm in delivery can carry multiple packages to a single destination at a time and overcome single drone's payload and battery limitations. A drone swarm may undertake different flight formations to reduce overall energy consumption due to drag forces.

Drone swarming can also come with additional control issues connected to human factors and the swarm operator. Examples of this include high cognitive demand and complexity when interacting with multiple drones due to changing attention between different individual drones. Communication between operator and swarm is also a central aspect.

Acoustic swarms
In 2023, University of Washington and Microsoft researchers demonstrated acoustic swarms of tiny robots that create shape-changing smart speakers. These can be used for manipulating acoustic scenes to focus on or mute sounds from a specific region in a room. Here, tiny robots cooperate with each other using sound signals, without any cameras, to navigate cooperatively with centimeter-level accuracy. These swarm devices spread out across a surface to create a distributed and reconfigurable wireless microphone array. They also navigate back to the charging station where they can be automatically recharged.

title: Swarm robotics


text:
Wikipedia:Articles for deletion/Non-positive

Non-positive was proposed for deletion. This page is an archive of the discussion about the proposed deletion. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was REDIRECT

It's not the disambig page it claims to be; at best a Wiktionary candidate, but not useful. — Bill 11:25, 7 Oct 2004 (UTC)
 * Redirect to Negative and non-negative numbers, like Non-negative does. jni 11:38, 7 Oct 2004 (UTC)
 * Redirect. Concur with jni. --Improv 19:16, 7 Oct 2004 (UTC)
 * Redirect seems inevitable, so i set it up, I'll leave this discussion for now just in case — siro  χ  o  23:38, Oct 7, 2004 (UTC)

This page is now preserved as an archive of the debate and, like other '/delete' pages is no longer 'live'. Subsequent comments on the issue, the deletion or on the decision-making process should be placed on the relevant 'live' pages. Please do not edit this page.


text:
Jan Tarnowski

Jan Amor Tarnowski (Latin: Joannes Tarnovius; 1488 – 16 May 1561 ) was a Polish nobleman, knight, military commander, military theoretician, and statesman of the Crown of the Kingdom of Poland. He was Grand Crown Hetman from 1527, and was the founder of the city of Tarnopol, where he built the Ternopil Castle and the Ternopil Pond. The first Count of the Holy Roman Empire in the Tarnowski family (1547).

History
Tarnowski was born in 1488, the son of Jan Amor Junior Tarnowski, castellan of Kraków, and his second wife Barbara of Rożnów, granddaughter of the knight Zawisza the Black. He was a scion of an important family clan started in the mid-14th century by Spycimir Leliwita, castellan of Kraków. Tarnowski had five half-siblings from his father's first marriage: Jan Amor the Elder, Jan Aleksander (d. 1497), Katarzyna, Zofia and Elżbieta. He had also five half-sisters from his mother's first marriage. He spent his earliest years in Rożnowo and Stare Sioło. He was originally intended to become a priest; but after his father's death in 1500, his mentor Maciej Drzewiecki convinced Barbara of Rożnowo to abandon this plan. In 1501, Tarnowski was sent to the king's court; but on 17 June 1501, king John I Albert died and he returned to Rożnowo, to his mother's domain.

In 1508, Tarnowski fought against Muscovy in the battle of Orsza; in 1509, against Moldavia in the battle of Chocim, and upon the Dniester as a commander of his own chorągiew (banner/company). In 1512, he was involved in the battle of Łopuszna, in which the Tatars were defeated by the Polish forces.

He made a pilgrimage to the Holy Land, and in 1518 became a knight of the Order of the Holy Sepulchre in Jerusalem. He travelled extensively across Europe, and was knighted by king Manuel I of Portugal for his services against the Moors in Africa.

Tarnowski was the owner of Tarnów, Wiewiórka, Rożnów, Przeworsk, and Stare Sioło. In 1522, he became castellan of Wojnicz; in 1527, voivode of the Ruthenian Voivodeship; in 1535, voivode of the Kraków Voivodeship. In 1536, he became castellan of Kraków and starost of Sandomierz, Stryj, Żydaczów, Dolina, Sandecz, Chmielnów, Lubaczów and Horodło.

In 1521, he participated in the Ottoman-Habsburg wars. He was among the first Hetmans of the Polish Army after its great reforms. He led the Polish Army to many victories, among them the battles of Obertyn against the Moldavians in 1531, and seizing Starodub from the Muscovites and executing its defenders in 1535 during the Muscovite wars.

In 1545, the Archbishop of Gniezno, Piotr Gamrat, granted hetman Tarnowski a papal brief with indulgences and privileges granted by Pope Paul III in 1535, and in 1547 he was awarded by Emperor Charles V with a diploma of the counts of the Holy Roman Empire - this title was to apply to the hetman and his descendants.

Tarnowski developed, among other things, horse artillery, field hospitals financed by the government, headquarters services, and field sappers. Throughout his entire service as a hetman, he preached a doctrine of flexibility.

Poet Jan Kochanowski wrote a poem O śmierci Jana Tarnowskiego (On the death of Jan Tarnowski). He is also one of the characters depicted in Jan Matejko's painting Prussian Homage.

Family
In about 1511, Tarnowski married Barbara Tęczyńska, daughter of Mikołaj Tęczyński, voivode of the Ruthenian Voivodeship. She was the niece of his mother's first husband. After her death, Tarnowski married Zofia Szydłowiecka in 1530. He had four children, among them Zofia Tarnowska and Jan Krzysztof Tarnowski.

Important works

 * Terminatio ex itinerario, fragmenty ogł. K. Hartleb "Itinerarium J. Tarnowskiego z pobytu w Ziemi Św. z r. 1518", Kwartalnik Historyczny 1930; rękopis: Biblioteka Czartoryskich, Teki Naruszewicza nr 33, r. 1518, (dziennik podróży do Ziemi Świętej w roku 1517; cz. 1 po łacinie, cz. 2 po polsku)
 * Pouczenie hetmana podskarbiemu koronnemu dane, powst. 1528, ogł. S. Kutrzeba "Polskie ustawy i artykuły wojskowe od XV do XVIII wieku", Kraków 1939, PAU Archiwum Komisji Historii Wojskowej nr 3, s. 38-39
 * 4 speeches from 1537, in Stanisław Orzechowski Annales, Dobromil 1611 and later editions
 * 2 speeches (pt. Głos... miany... na sejmie piotrkowskim 1548 roku; Mowa... na sejmie lubelskim 1554 miana), in A. Małecki "Wybór mów staropolskich", Kraków 1860, Biblioteka Polska, series V, book 6-8, s. 33-34
 * Consilium rationis bellicae, Tarnów 1558, printshop of Łazarz Andrysowic; in M. Malinowski Stanisława Łaskiego, wojewody sieradzkiego, prace naukowe i dyplomatyczne, Wilno 1864, s. 173–249; also in A. Piliński, Poznań 1879; pt. "Zasady sztuki wojskowej", Lwów 1882, Biblioteka Mrówki nr 147,
 * Artykuły wojenne, in I. Polkowski "Sprawy wojenne króla Stefana Batorego. Dyjaryjusze, relacyje, listy i akta z lat 1576-1586", Kraków 1887, Acta Historica Res Gestas Poloniae Illustrantia, t. 11, s. 240 nn.; there: Oprawianie zamków albo miast, before 1561; reprint S. Kutrzeba "Polskie ustawy i artykuły wojskowe od XV do XVIII wieku", Kraków 1939, PAU Archiwum Komisji Historii Wojskowej nr 3, s. 313–319;
 * De bello cum iuratissimis Christianae fidei hostibus Turcis gerendo disputatio sapientissima, Würzburg 1595, printshop of G. Fleichsamnn, (edition by J. G. Schedius with explanation); next printing: Selectissimarum orationum et consultationum de bello Turcico variorum et diversorum auctorum libri XIV, Frankfurt 1598–1599; also in 2, volume 4, part 2, Leipzig (1595), s. 1-17; Conring De bello contra Turcas gerendo, 1664,
 * O obronie koronnej i o sprawie i powinności urzędników wojennych, Kraków 1579, Łazarz printshop (published with Ustawy prawa ziemskiego polskiego... uatributed to Jan  Palczowski ); reprint: M. Malinowski Stanisława Łaskiego, wojewody sieradzkiego, prace naukowe i dyplomatyczne, Wilno 1864, s. 173–249;  K. J. Turowski edition, Kraków 1858, Biblioteka Polska, motebook 133–134,
 * Kronika polska, work lost

title: Jan Tarnowski


text:
Speed 2: Cruise Control

Speed 2: Cruise Control is a 1997 American action thriller film produced and directed by Jan de Bont, and written by Randall McCormick and Jeff Nathanson. The sequel to Speed (1994), it tells the story of Annie Porter (Sandra Bullock, reprising her role from the original) and Alex Shaw (Jason Patric), a couple who go on vacation to the Caribbean aboard a luxury cruise ship, which is hijacked by a villain named John Geiger (Willem Dafoe). While trapped aboard the ship, Annie and Alex work with the ship's first officer to try to stop it after they discover it is programmed to crash into an oil tanker.

De Bont had the idea for the film after having a recurring nightmare about a cruise ship crashing into an island. Speed star Keanu Reeves was initially supposed to reprise his role as Jack Traven for the sequel, but decided not to commit and was replaced by Patric before filming. The writers had to rework the script to accommodate the addition of a new character. Production took place aboard Seabourn Legend, the ship on which the film is set. The final scene, in which the ship crashes into the island of Saint Martin, cost almost a quarter of the budget, and set records as the largest and most expensive stunt ever filmed. Many interior scenes aboard the ship were shot on soundstages in the Greater Los Angeles Area. The soundtrack featured mostly reggae music. Mark Mancina returned to compose the film score, released as an album 13 years after the film's release.

Released by 20th Century Fox on June 13, 1997, the film received largely negative reviews from critics, who criticized the acting, story, characters, absence of Reeves, and its setting on a slow-moving cruise ship, citing it as less thrilling than that of Speed on a fast-moving bus. Eminent critic Roger Ebert defended the film, calling it a "truly rousing ocean liner adventure story". The film was also a box-office bomb, earning $164 million worldwide against a production budget as high as $160 million. It was nominated for eight Golden Raspberry Awards, winning the Worst Remake or Sequel category.

Plot
Los Angeles Police Department (LAPD) cop Alex Shaw is on a motorcycle chasing a vehicle with stolen goods. After he eventually catches the driver of the vehicle, his girlfriend Annie Porter encounters him during her driving test. She discovers that Alex is on the SWAT team and concludes that he mistakenly told her that he was on beach patrol. As an apology, Alex surprises her with a Caribbean cruise on Seabourn Legend.

Aboard the ship, deranged passenger John Geiger, a former employee of the cruise company, hacks into the ship's computer system, and the following evening, he sabotages the ship's communication systems and kills Captain Pollard by throwing him overboard. After remotely blowing up two of the ship's engines with additional explosives, Geiger calls the bridge to notify the first officer, Juliano, of Pollard's death and order him to evacuate the ship before proceeding to steal jewelry from the ship's vault. As passengers evacuate, Drew, a young girl who is deaf, becomes trapped in an elevator, and a group of people also become trapped behind locked fire doors in a hallway filling with smoke. As Annie and Alex attempt to board the last lifeboat, Geiger programs the ship to continue sailing. When the winch lowering the lifeboat jams, Alex jumps back onboard to rescue the passengers from falling overboard, while Annie and Juliano utilize the ship's gangplank to get them back on deck.

Realizing that Geiger has hijacked the ship, Alex, armed with skeet guns, accompanies Juliano to the cabin, but Geiger remotely detonates explosives inside the room. Annie and Dante, the ship's photographer, notice the people trapped behind the fire doors, and she utilizes a chainsaw to slice the door open and facilitate their escape on the other side of the hallway. Meanwhile, Alex orders the navigator, Merced, to flood the ship's decks and decelerate it by opening the ballast doors. As the ship floods, Alex notices Drew on a monitor after she climbs out of the elevator, and enters the ballast room to rescue her. Noticing Geiger fleeing from the vault, Alex ambushes him at gunpoint, but Geiger escapes by shutting the fire door in front of him. Using the ship's intercom, Geiger explains that he designed the ship's autopilot system, and is pursuing his revenge plot against the cruise line after being dismissed when he contracted copper poisoning. He again escapes from Alex by attaching a grenade to a door.

As the crew notices that Geiger has programmed the ship to crash into an oil tanker off the coast of Saint Martin, which will heavily damage both ships, Alex decides to prevent the crash by diving underneath the ship and jamming the propeller with a steel cable. Geiger soon realizes that Alex is attempting to interfere with his scheme, so he jams the cable winch while Alex is underwater, causing it to break off the ship and free the cable. He then abducts Annie and absconds with her on a lifeboat from the ship's stern.

To avert a collision, Alex and Dante venture into the ship's bilge pump room and maneuver the bow thrusters, thus steering it away from the oil tanker. The ship screeches down the side of the tanker, but somehow manages to withstand the damage, and heads straight into a marina before crashing into and thoroughly damaging a Saint Martin town and eventually grinding to a sudden halt. Alex leaps off and hijacks a speed boat to pursue Annie, whom Geiger has forcibly dragged onto a seaplane; he employs a harpoon gun to tether himself to the plane from the boat and reels himself in through the water. Eventually, he climbs onto the plane and retrieves Annie, and both escape on one of the plane's floats, which delicately lands on the ocean surface. Geiger attempts to escape over the oil tanker but loses control of the plane, which becomes impaled on the tanker's foremast; in the ensuing explosion, both vehicles are destroyed and Geiger perishes. The members of the tanker crew, however, have fortunately launched their lifeboat just prior to the destruction. As the couple return to shore in the speed boat, Alex gives Annie an engagement ring, proposing marriage, and she happily accepts.

Main cast

 * Sandra Bullock as Annie Porter
 * Jason Patric as Officer Alex Shaw
 * Willem Dafoe as John Geiger

Seabourn Legend crew

 * Temuera Morrison as Juliano
 * Brian McCardie as Merced
 * Jeremy Hotz as Ashton
 * Bo Svenson as Captain Pollard
 * Royale Watkins as Dante
 * Tamia Hill as Sheri Silver
 * Kimmy Robertson as Liza

Cruise passengers

 * Christine Firkins as Drew
 * Lois Chiles as Celeste
 * Francis Guinan as Rupert
 * Michael G. Hagerty as Harvey
 * Colleen Camp as Debbie

Additional cast

 * Joe Morton (uncredited cameo) as Lieutenant Herb 'Mac' McMahon
 * Tim Conway as Mr. Kenter
 * Glenn Plummer as Maurice
 * Patrika Darbo as Ruby Fisher

Background
Speed was released in June 1994, starring Keanu Reeves and Sandra Bullock. The film's plot features the story of a runaway bus armed with a bomb that will explode if its speed drops below 50 mph. It was a critical and commercial success, and was the 8th-highest-grossing-film worldwide in 1994.

Due to positive word of mouth, studio 20th Century Fox began discussing plans for a Speed sequel a month prior to its release, and officially announced a sequel would be produced following the film's box office success after its first week in theaters. Although he felt the film was a "one-time story" with no sequel potential, Speed director Jan de Bont was contractually obligated to direct a sequel, and would be paid a reported $5–6 million salary. Reeves and Bullock had no contractual obligation to star in the sequel; however, by late 1994, Fox executive Tom Sherak had begun negotiations with the actors and hoped to produce a follow-up film with their two characters as a married couple.

Writing
Hundreds of ideas for a sequel were submitted to De Bont, all of which he turned down in favor of his own idea, based on a recurring nightmare he experienced about a cruise ship crashing into an island. Randall McCormick was hired to write the sequel in 1994 and received a story writing credit along with De Bont. The screenplay was credited to McCormick and Jeff Nathanson, who began writing the film with its ending based on De Bont's nightmare.

Director John McTiernan of the Die Hard series claimed in 2001 that "the studio used most of the material we'd developed" for a potential Die Hard sequel and turned it into Speed 2, including "the ocean liner going on the beach." The third film in the series, Die Hard with a Vengeance (1995), was originally based on a spec script from 1990 titled Troubleshooter, whose premise involved fighting terrorists aboard a cruise ship. This concept for a sequel was later abandoned by the filmmakers due to its similarities to the film Under Siege (1992).

Speed writer Graham Yost and producer Mark Gordon claimed that neither of them were asked to participate in the sequel, although both of their names are listed in the film credits; Yost was given a writing credit for the film's characters and Gordon was credited as executive producer. Yost stated in a 2010 interview that he had two ideas for a sequel: one premise involved a Vietnam War-era military ship set to explode if its ammunition comes in contact with water, and a second premise featured an aircraft navigating the Andes Mountains that is forced to fly at a low altitude.

Casting
Bullock initially declined to star in the sequel, but later agreed in order to secure financial backing for the drama film Hope Floats (1998); she was paid a reported $11–$13 million to reprise her role as Annie. Reeves was offered $12 million to reprise his role as Jack Traven, but turned it down because he did not like the script, was financially secure from the success of Speed, and felt he was not "ready to mentally and physically" star in another action film after having completed Chain Reaction (1996). He passed on Speed 2 in order to star in the film The Devil's Advocate (1997), which was filmed at the same time, then subsequently toured with his band, Dogstar. Reeves said that Fox was "furious" with his decision and released "propaganda" against him, falsely claiming that he turned down the role to tour with his band. De Bont said that the character in the sequel was not specific to Reeves and could be played by any young actor, as long as he had chemistry with Bullock.

Many actors were considered to replace Reeves including: Simon Baker Denny, Jon Bon Jovi, Patrick Muldoon, Johnathon Schaech, Christian Slater, and Billy Zane. Bullock initially suggested Matthew McConaughey, who passed on the role, prompting her to suggest Jason Patric, with whom she had wanted to work since seeing his performance in After Dark, My Sweet (1990). De Bont was skeptical of featuring a relatively unknown actor such as Patric, but was reminded by the studio that Bullock and Reeves were also relatively unknown prior to Speed, and chose Patric based on his role in Sleepers (1996). Patric was paid a reported $4.5–$8 million for his role in Speed 2 and used his salary to finance a 1998 drama, Your Friends & Neighbors. After accepting the role, Patric stated that he never saw Speed or had any intentions of seeing it; Reeves said he was looking forward to seeing Patric star in the sequel. After Reeves declined to appear in Speed 2, the screenplay was rewritten to remove his character from the story, which De Bont wanted to deal with early in the film. His absence is explained in the first scene, where Annie talks about how her relationship with Jack did not work out, and mentions her current relationship with Alex (Patric), before his character is introduced in the film.

Gary Oldman turned down the role of the villain, Geiger, to star as another villain in Air Force One (1997). Willem Dafoe was cast as Geiger after he wanted to star in a "big movie" and once again play a villain. De Bont cast New Zealand actor Temuera Morrison as Juliano based on his role in Once Were Warriors (1994). Although he did not like the script, Brian McCardie accepted the role as Merced as his agents assured him it would be good for his career.

Comedian Royale Watkins was hired by De Bont for the part of Dante after discovering Watkins performing at a comedy club. Glenn Plummer was cast as a character named Maurice whose boat is hijacked by Alex, reprising his role from Speed as a Jaguar owner whose car is hijacked by Jack. To add comic relief, De Bont cast comedian Tim Conway as Annie's driving instructor, and hoped it would be a comeback role for him. Singer Tamia was cast as Sheri, an entertainer on the ship, because De Bont wanted a singer who could also act. She did not plan on doing any film acting that early in her career, as she had yet to release her debut album, but said the part was "too perfect for [her] to resist." Joe Morton reprised his role from Speed as SWAT lieutenant Herb "Mac" McMahon in an uncredited cameo appearance in the beginning of the film.

Filming
Speed 2 was produced by De Bont's production company, Blue Tulip, and was one of the film's three co-producers along with Steve Perry and Michael Peyser. The director began working on pre-production prior to the release of his previous film, Twister (1996). For the cruise ship on which the film would be set, De Bont visited ships from various cruise lines and chose Seabourn Legend for its luxurious amenities and sleek design. While Speed was produced for $30 million, the sequel was green-lit at "just under $100 million" due to the larger production and higher cast salaries. He started location scouting in the Caribbean in May 1996, and chose Saint Martin as the primary filming location because he felt it was least likely to be subjected to a hurricane. Prior to production, details about the film were kept secret, and De Bont refused to confirm rumors about the film taking place on a ship, although he did state that the sequel would be "funnier", while Speed 2 star Jason Patric said the sequel is a "very complex movie" and would have "bigger sequences." It was later reported that the film had gone over-budget and costs had ballooned to as much as $160 million. De Bont acknowledged that they had gone over budget but that the cost would be close to $100 million.

Principal photography took place from September 23, 1996, to late February 1997. Film crews moved to West Palm Beach and Miami, Florida in July 1996 anticipating shooting in each location for several weeks later that year. However, due to scheduling issues with Patric, production did not take place in West Palm Beach and there were "just a few days" filming in Miami. The Miami production took place in a gymnasium and boat hangar at the Dinner Key marina complex, rented by Fox. After spending over $55,000 on repairs to the facilities, Fox refused to pay the $35,000 in rental fees to the City of Miami. The city sued for the rent since Fox did not seek approval for the repairs, and a compromise was reached when the city credited some repair costs, resulting in Fox paying around $26,000 rent.

Seabourn Legend was rented for six weeks at a reported cost of $38,000 per day; the ship served as the film's primary setting and provided accommodation for the cast and crew. The evacuation sequence was among the first scenes filmed on the ship, and was shot in Key West, Florida over a two-week period. Approximately 30 hoses and the ship's fire sprinkler system were used to simulate heavy rainfall in the scene. Severe weather conditions from Hurricane Lili delayed production activity on the ship for several days, and caused seasickness among the cast and crew for the remainder of the production at sea. To make the ship appear faster, all exterior shots were filmed from a moving vehicle. Scenes on the bridge were filmed in a mockup dubbed the "bridge ship", a large-scale reconstruction of the bow and bridge built atop the hull of a cargo ship. Additional ship interiors were filmed at Sony Pictures Studios and Warren Entertainment in Los Angeles County, California. Full-scale replicas of the ship's atrium, cabins, and engine rooms were constructed on sound stages where production took place for over a month. The scene where Alex rescues Drew while the ship is being flooded was filmed by camera operators wearing wet suits inside a sound stage tank, which was constructed with plywood and a hydraulic lift to give the effect that the water level was rising.

For the climactic scene when the ship crashes into an island, De Bont wanted to create and destroy an actual town. He opted against miniature scale models or computer-generated imagery (CGI) to provide a sense of realism for the actors and the audience. A $5 million, 35-building set was constructed in Marigot, Saint Martin based on the town's local architecture, which temporarily housed production offices. Despite De Bont's reason for choosing Saint Martin for filming, a hurricane struck the town and destroyed the set during construction. It had to be rebuilt with hurricane-proof buildings. Exteriors of the bow mockup on the bridge ship were used in the first part of the scene when the Seabourn Legend is crashing into sailboats in the harbor; the bridge ship was used in place of the actual Seabourn Legend, as the latter could not navigate the harbor's shallow waters. The captain of the bridge ship had great difficulty hitting the sailboats during filming, despite cameras placed on the boats for the captain to view. A second mockup was constructed for the latter part of the scene, which featured a 150 ft long replica of the Seabourn Legend bow. This mockup, referred to as the "rail ship", weighed 300 ST, and sat atop a set of wheels along a 1000 ft track built 60 ft underwater.

Filming the final scene with the rail ship was initially delayed because it could not be hoisted onto the track because of large waves caused by the hurricane. The scene was filmed using 14 cameras, with the rail ship traveling 50 ft at a time into the set, with debris from the destruction cleared between each take. The mockup was powered by four diesel engines and pulled by a large chain at a speed of 18 mph. The scene's three planned collisions were aided by explosives and hydraulics to ensure the set's structures collapsed precisely. Concrete was also removed from the buildings and replaced with sand-coated balsa wood so the buildings would "crumble" more effectively after being hit by the rail ship. In the scene's final shot, it had to stop successfully within a 6 in area on the first take. The five-minute scene cost $25 million to produce, roughly one quarter of the film's entire budget, and set records as both the largest and the most expensive stunt ever filmed.

The underwater scene where Alex swims underneath the ship was filmed in the Tongue of the Ocean off the coast of New Providence in the Bahamas. The location was chosen due to its water clarity, however, after viewing dailies of the scene, De Bont felt the water was too clear, so it was reshot with divers above the camera dusting the area in front of the lens with sediment to alter the clarity of the footage. The scene was filmed underneath a propeller-less barge that was designed to resemble the Seabourn Legend. To provide a sense of velocity in the scene, the barge was towed by tugboats at one and a half knots. The production crew did not have a winch system available for the underwater shoot as depicted in the scene, so a pulley system was created by feeding Patric a rope that was attached to the axle of a car that drove along the barge.

Instead of using stunt doubles, De Bont persuaded Bullock, Patric, and Dafoe to perform their own stunts, so the scenes would appear more realistic; the lead actors were required to engage in physical exercise sessions before and during filming. Stunt coordinator Dick Ziker was very impressed with Patric's stuntwork, and said that he "is so physical he probably could be one of the top stunt men in the world." His stunts included being dragged by a seaplane through the water, jumping onto collapsing buildings, and scuba diving while pulled by a moving ship. He was also required to tread water for multiple hours at a time. During a motorcycle stunt on a Ducati 916 on the second day of filming, Patric flew off the bike 30 ft into the air and landed on a small bush; Bullock said the incident was so serious that Patric "should be dead." After surviving a traumatic surfing incident as a teenager, Bullock had to overcome her fear of water to perform necessary stuntwork in the film. During production at sea, Bullock was smacked into the ship on multiple occasions, and was saved by Patric from dangerous situation by the ship's rudder in one scene. Bullock and Patric also had a scene filmed in an underwater tank where they had to kiss underwater with Bullock's hands tied together. Navy SEALs with scuba gear were present inside the tank during shooting, as the actors had to hold their breath during the scene. According to Bullock, she performed all of her own stuntwork "except for a quarter of one stunt"; her stunt double worked for only three days during production. Of all the stunt-related incidents during production, De Bont said the most frightening was when a stunt woman was hit in the face by a boat cable and required reconstructive surgery. Following the production at sea, De Bont said that filming on water "was 100 percent more difficult than [he] imagined."

Score
Composer Mark Mancina wrote the film score for Speed 2 having previously composed the scores for Speed and Twister. He started composing the music in March 1997 and it was recorded at the end of April. He began by creating themes and melodies, then worked them into the film where he felt they would fit. The score includes a reworking of the 20th Century Fox fanfare, in which the final chord is sustained and "slithers down" into the opening theme, while the studio logo fades into a traveling shot of the ocean on screen. Fox was initially hesitant to feature an altered version of their fanfare, but allowed the alteration after being convinced by De Bont and hearing it performed by an orchestra.

Specific action cues were scored on the piano down to each second of film. Noting how the film was set in the Caribbean and had a different, slower pace than Speed, Mancina gave the score a "Jamaican/Latin feel" by incorporating reggae music between action sequences. The reggae music was written to give the feel of being on vacation and serve as a love theme for the characters. Some themes from Speed were included in the score between sections of the newly written material. He wrote new themes for Annie and Alex because he felt the original themes written for Reeves' character would not work well with Patric. After viewing the scene where Geiger attaches leeches to his body to cleanse his blood, Mancina felt the scene was "so gross" that he wrote a "slimy theme" for the character, which is distinctively different from the rest of the music. He mixed the score at the same time the film was being edited, which meant the music had to be constantly re-edited into the film. During the scoring of Speed 2, Mancina said in an interview that keeping up with the editing of the film was the "hardest thing [he had] ever done."

Over 100 minutes of score are present in Speed 2, more than Mancina wrote for Speed and Twister combined. After the score was written, he created a demo of the entire score on a synthesizer to play for De Bont. While the score for Speed only used strings, French horns, and percussion, Speed 2 used a wider variety of instruments including trombones, large woodwinds, bass clarinets, and contrabassoons. The score was recorded by a 96-person orchestra, including Mancina, who performed on a classical guitar on several cues. The reggae music featured a band with steel drums, in addition to Cuban drums and Latin percussion. De Bont wanted 16 steel drum players, but due to a lack of available players, Mancina used eight drums which were double-tracked.

Mancina's score was not initially released on CD to avoid competition with sales of the soundtrack album. De Bont made a deal with Virgin Records that it could not be released until at least six months after the release of the soundtrack. The score was not officially released until June 2010, when it was sold by La-La Land Records as a 3000-unit limited edition album. The album features 70 minutes of music across 14 tracks and, according to La-La Land, it also features a "notable amount of music" that was not used in the film, due to the constant re-edits prior to its release date. Daniel Schweiger of Film Music Magazine said that Mancina's score was "arguably a better one than Speed", praising the album's "thrilling themes", "epic orchestrations", and "Jamaican-style grooves." Filmtracks.com gave the release four out of five stars, saying the album was "perhaps [La-La Land's] finest offering of a previously unreleased score", although it also stated that "some of the action and suspense material in the latter half of the score becomes a bit generic."

Soundtrack

To complement the film's Caribbean setting, the soundtrack consists of mostly reggae music. De Bont wanted musicians to appear in the film as entertainers on the cruise ship. A cameo appearance for reggae band UB40 was written into the script after the filmmakers heard a demo of their song "Tell Me Is It True", and wanted them to perform it in the film. Brazilian reggae musician Carlinhos Brown was also chosen to be featured as a performer on the ship because De Bont wanted music that was "lively" and felt that Brown's music was "full of energy." Tamia worked with De Bont and producer Quincy Jones to choose a song for her character to perform in the film, and selected "Make Tonight Beautiful", which was written by Diane Warren.

In addition to UB40 and Brown, the soundtrack features reggae music from: Jimmy Cliff, Common Sense, Maxi Priest, Shaggy, Rayvon, and Betty Wright. Mark Mancina wrote a techno track for the soundtrack based on his film score, titled "Speed TK Re-mix", performed by Japanese musician Tetsuya "TK" Komuro. Other songs recorded specifically for the soundtrack include Priest's cover of "The Tide Is High" and Cliff's re-recording of his 1972 song "You Can Get It If You Really Want". The Speed 2: Cruise Control soundtrack album was released by Virgin Records on May 20, 1997, about one month before the film's release. The album features 12 songs, all of which are featured in the film; five of them were released as singles.

Critical response
Speed 2: Cruise Control did not receive the same positive feedback as its predecessor. On Rotten Tomatoes, the film has an approval rating of 4% based on reviews from 75 critics, with an average rating of 3.4/10. The website's consensus reads: "Speed 2 falls far short of its predecessor, thanks to laughable dialogue, thin characterization, unsurprisingly familiar plot devices, and action sequences that fail to generate any excitement." On Metacritic, the film has a weighted average score of 23 out of 100, based on 22 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade "B−" on scale of A to F.

Time magazine stated that Patric's character was "fundamentally uninteresting", but blamed De Bont and the screenwriters for "not providing their actors with stuff to act." Many critics stated that a major issue with the film was the lack of thrills due to the setting on the slow-moving ship. Entertainment Weekly heavily criticized the lack of story and said the film is "as slow-moving as a garbage scow." According to the Los Angeles Times, even children who saw the film felt it was strange that it took place on a ship "not capable of going more than a few knots per hour [sic]", and claimed that Speed was "much more logical." Kenneth Turan of the Los Angeles Times stated, "Even the film's big-ticket closing stunts are more impressive for their size than for any excitement they generate."

It is also considered to be one of the worst film sequels of all time, and many publications have placed Speed 2 on their lists of the worst film sequels. Complex ranked the film first on a list of The 50 Worst Sequels of All Time, calling it "one of the worst 'event' movies ever conceived", while praising Reeves' choice not to return for the sequel, and referring to Patric as "wooden and woefully miscast." In 2010, New York film critic David Edelstein featured an article on Speed 2 that described it as the "Worst Sequel of All", mainly due to the film's explanation for the absence of Reeves' character. In addition to being ranked among the worst sequels, Empire ranked the film at number 24 on its list of The 50 Worst Movies Ever.

Bullock later regretted starring in the film, and stated that the script was to blame for the film's negative reception. She admitted to having been skeptical about its success during production and "knew it was going to be a big flop" once she saw the final product. Patric also admitted "it wasn't a good movie" and said that its lack of success was due to de Bont's direction, while praising Bullock and the rest of the film's crew. Mark Gordon and Graham Yost stated they felt "bitter and happy" after initially not being asked to be involved in Speed 2, then seeing that the film was unsuccessful.

The film did receive some positive feedback. Roger Ebert of the Chicago Sun Times and Gene Siskel of the Chicago Tribune both gave Speed 2 three out of four stars, two of the film's three positive reviews included on Rotten Tomatoes. On their film review TV series Siskel & Ebert, they collectively gave Speed 2 a positive rating of "Two Thumbs Up", calling it a "truly rousing ocean liner adventure story", although Ebert criticized Bullock's more limited role in the sequel while Patric "stole all the action sequences." Since his original review, Ebert claimed that he enjoyed Speed 2 more than Bullock,  and wrote an article in 2013 that his favorable review of the film "inspired more disbelief" than any other he had written and was frequently cited as an example of him being a poor film critic. At the Conference on World Affairs in 1999, Ebert spoke about the difficulty of making films such as Speed 2 and defended his review by offering a "Speed 3" contest for anyone to create a five-minute short film that takes place on something that cannot stop moving.

Speed 2 was listed on About.com's Top 9 Cruise Ship or Ocean Liner Movies, and said it had "good shots of the ship and a spectacular ending", but also described the plot as "lame." The Atlanta Journal-Constitution, Los Angeles Daily News, and The Sacramento Bee each gave favorable reviews, while stating that the film was not as good as Speed. Empire Andrew Collins gave the film 3 out of 5 stars, while commenting "...top-billed Sandra Bullock, formerly an accidental heroine, is insultingly sidelined here to boyfriend's little helper and hostage-in-waiting. Patric is the film's actual seaborne legend, and a watchable one, but the pair's gooey relationship sorely lacks Speed's thrown-together dynamic."

Box office
Speed 2: Cruise Control premiered at the Cineplex Odeon in Century City, Los Angeles on June 9, 1997, and was released into theaters on June 13. The release date was rescheduled twice—originally set for July 2 and pushed up to June 6 to avoid competition with Men in Black and Titanic (which was then scheduled for July), then moved back one week to avoid competition with Con Air.

During its opening weekend, Speed 2 was shown on 2,615 screens and grossed $16.2 million. It ranked at number one in the box office, grossing just $500,000 more than Con Air in second place. Box office sales for Speed 2 dropped 54% the following weekend, grossing only $7.8 million and ranking at number five behind Batman & Robin, My Best Friend's Wedding, Con Air and The Lost World: Jurassic Park.

The film grossed $48 million in the United States, and had a total gross of $164.5 million worldwide. Moviefone and Time have both ranked the film among the biggest box office bombs of all time, with estimated losses for the studio ranging from $40–70 million.

Awards
The film received eight Razzie Award nominations out of 12 possible categories at the 18th Golden Raspberry Awards, and had the second-highest number that year following Batman & Robin (1997), which had 11 nominations. Speed 2 won the award for "Worst Remake or Sequel", but lost the award for "Worst Picture" to The Postman (1997). At the Stinkers Bad Movie Awards, the film was nominated for three awards. It won Worst Sequel but lost both Worst Director and Worst Screenplay for a Film Grossing Over $100M to Batman & Robin.

Home media
Speed 2: Cruise Control was released on VHS and LaserDisc on December 2, 1997. The film would be released for the first time on DVD on November 3, 1998. It was once again released on DVD on July 30, 2002, along with its predecessor. This THX certified DVD release features animated menus that resemble Geiger's computer. Bonus features include a half-hour HBO special called "The Making of Speed 2: Cruise Control" and three trailers. These are a single trailer for Speed and two others for its sequel. On May 6, 2014, Speed 2: Cruise Control was released on Blu-ray as part of the Speed Collector Pack.

Cancelled video game
A game was being developed as an original IP titled Muzzle Velocity by developer Bits Studios featuring a story in which player character Jack, a member of the LAPD SWAT team during a mission in Los Angeles, is battling crime wave gone out of control out of control that the LAPD cannot stop it on its own. After the studio partnered with Fox Interactive development of the game shifted to an alternate IP under the Speed series titled after and based on the film itself Speed 2: Cruise Control. The game would have been primarily set on a boat, though a bus level was also conceived as a nod to the original film. This game was then planned to release in January 1999 for Nintendo 64 and PC. However the movie was both a critical and commercial failure after its release and both companies decided to switch the project once more to the Die Hard franchise thus becoming Die Hard 64. After work for the previous title could not be finished sometime in 2000 it was moved to the GameCube and would later become Die Hard: Vendetta.

Legacy
Speed 2: Cruise Control has been referenced and parodied in pop culture. A 1998 episode of the Irish sitcom Father Ted titled "Speed 3" involves a bomb planted on a milk float that will explode if the float travels under 4 mph. While the plot is a parody of Speed, writers Graham Linehan and Arthur Mathews got the idea for the episode after asking themselves if it was possible to come up with a "worse idea for a sequel than Speed 2." The Simpsons episode "Bye Bye Nerdie" (2001) features a scene on a racing school bus where character Milhouse Van Houten says "It's like Speed 2, only with a bus instead of a boat!" The Family Guy episode "Blind Ambition" (2005) includes a parody of the film's finale where a cruise ship crashes into a pier and through a city before stopping in the middle of an airport.

Potential sequel
In September 2013, Keanu Reeves stated that he believed that an opportunity for his return in a sequel had passed. By September of the following year however, the actor stated that he would be open to reprising his lead role in a sequel. In May 2019, Reeves once again expressed his interest in a potential third movie. By November 2020, Jan de Bont stated that a third film may be developed, while acknowledging that he would want the original cast to return. In December 2021, Reeves expressed his desire to work again with Bullock in the future, and said "never say never" while acknowledging that the realization of a third installment may become a reality. By March 2022, Bullock expressed interest in reprising her role while joking about how much older they both are at this point in time. Later that month she stated that though she was taking a hiatus from acting, she would like to make a third Speed film alongside Reeves. During the interview, she and Daniel Radcliffe brainstormed comedic ideas for the potential project.

In March 2023, Reeves stated that he would reprise his role under the condition that the story justifies the movie with a great script. By April, Graham Yost expressed interest in returning to serve as screenwriter.

title: Speed 2: Cruise Control


text:
Asyndeton

Asyndeton (, ; from the ἀσύνδετον, "unconnected", sometimes called asyndetism) is a literary scheme in which one or several conjunctions are deliberately omitted from a series of related clauses. Examples include veni, vidi, vici and its English translation "I came, I saw, I conquered". Its use can have the effect of speeding up the rhythm of a passage and making a single idea more memorable. Asyndeton may be contrasted with syndeton (syndetic coordination) and polysyndeton, which describe the use of one or multiple coordinating conjunctions, respectively.

More generally, in grammar, an asyndetic coordination is a type of coordination in which no coordinating conjunction is present between the conjuncts.

Quickly, resolutely, he strode into the bank.

No coordinator is present here, but the conjoins are still coordinated. Asyndetic coordination is the omission of conjunctions between words or phrases that would typically be connected by conjunctions such as "and" or "or." In this sentence, there are no coordinating conjunctions that are omitted. "Quickly" and "resolutely" are simply two adverbs modifying the verb "strode," but they are not being coordinated with each other. Therefore, there is no asyndetic coordination in this sentence.

Omission of conjunction "and"
Aristotle wrote in his Rhetoric that this device was more effective in spoken oratory than in written prose:

 * "Thus strings of unconnected words, and constant repetitions of words and phrases, are very properly condemned in written speeches: but not in spoken speeches — speakers use them freely, for they have a dramatic effect. In this repetition there must be variety of tone, paving the way, as it were, to dramatic effect; e.g., 'This is the villain among you who deceived you, who cheated you, who meant to betray you completely'". Aristotle, Rhetoric, Book III, Chapter 12 (trans. W. Rhys Roberts).

Aristotle also believed that asyndeton can be used effectively in endings of works, and he himself employs the device in the final passage of the Rhetoric:
 * "For the conclusion, the disconnected style of language is appropriate, and will mark the difference between the oration and the peroration. 'I have done. You have heard me. The facts are before you. I ask for your judgement'". Aristotle, Rhetoric, Book III, Chapter 19 (trans. W. Rhys Roberts).

Several notable examples can be found in American political speeches:
 * "...and that government of the people, by the people, for the people shall not perish from the earth". Abraham Lincoln, Gettysburg Address
 * "...that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe to assure the survival and the success of liberty." John F. Kennedy Inaugural Address, 20 January 1961.

Another frequently used example is Winston Churchill's address, "We shall fight on the beaches":

 * "We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender. . ."

Omission of conjunction "or"
An asyndeton of "or" before a polysyndeton of "and":

 * "A parson or what looked like one was laboring over the crest of the hill and coming toward them with one hand raised in blessing, greeting, fending flies. He was dressed in a dusty frockcoat and carried a walking stick and he wore a pair of octagonal glasses on the one pane of which the late sun shone while a watery eye peered from the naked wire aperture of the other." (Cormac McCarthy, Outer Dark, 1968)

title: Asyndeton


text:
Polysyndeton

Polysyndeton (from Ancient Greek πολύ poly, meaning "many", and συνδετόν syndeton, meaning "bound together with". ) is the deliberate insertion of conjunctions into a sentence for the purpose of "slow[ing] up the rhythm of the prose" so as to produce "an impressively solemn note."

In grammar, a polysyndetic coordination is a coordination in which all conjuncts are linked by coordinating conjunctions (usually and, but, or, nor in English).

Examples
A passage from the Book of Genesis (1:24–25) exemplifies the stately effect of polysyndeton:

"And God said, "Let the earth bring forth the living creature after his kind, cattle, and creeping thing, and beast of the earth after his kind." And it was so. And God made the beast of the earth after his kind and cattle after their kind, and everything that creeps upon the earth to its kind. And God saw that it was good."

Author Ernest Hemingway employs the conjunction "and" to convey "a flow and continuity of experience" in a passage from his short story "After the Storm":

""I said, 'Who killed him?' and he said 'I don't know who killed him, but he's dead all right,' and it was dark and there was water standing in the street and no lights or windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Key and she was right only she was full of water.""

The poet John Keats used conjunctions in a verse from "Endymion": "And soon it lightly dipped, and rose, and sank,

And dipped again..."

In the King James Bible
Polysyndeton is used extensively in the King James Version of the Bible, where and is used as a literal translation of the Hebrew waw-consecutive and the Ancient Greek particle δέ. For example:

 * "And every living substance was destroyed which was upon the face of the ground, both man, and cattle, and the creeping things, and the fowl of the heaven; and they were destroyed from the earth: and Noah only remained alive, and they that were with him in the ark." (Genesis 7:22–24)
 * "Or if a soul touch any unclean thing, whether it be a carcass of an unclean beast, or a carcass of unclean cattle, or the carcass of unclean creeping things, and if it be hidden from him; he also shall be unclean, and guilty." (Leviticus 5:2)
 * "And Joshua, and all of Israel with him, took Achan the son of Zerah, and the silver, and the garment, and the wedge of gold, and his sons, and his daughters, and his oxen, and his asses, and his sheep, and his tent, and all that he had." (Joshua 7.24)

In Shakespeare
Shakespeare used polysyndeton:
 * "When thou dost ask me blessing I'll kneel down and ask of thee forgiveness. So we'll live and pray, and sing, and tell old tales, and laugh at gilded butterflies, and hear poor rogues talk of court news, and we'll talk with them too" (King Lear 5.3.11–5)
 * "Why, this is not a boon! 'Tis as I should entreat you to wear your gloves, or feed on nourishing dishes, or keep you warm, or sue you to do a peculiar profit to your person" (Othello 3.3.85–9)
 * "If there be cords, or knives, or poison, or fire, or suffocating streams, I'll not endure it" (Othello 3.3.443–5)
 * "Though his face be better than any man's, yet his leg excels all men's, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare" (Romeo and Juliet 2.5.42–5)
 * "Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous-where is your mother?" (Romeo and Juliet 2.5.59–61)

Modern usage

 * "There were frowzy fields, and cow-houses, and dunghills, and dustheaps, and ditches, and gardens, and summer-houses, and carpet-beating grounds, at the very door of the Railway. Little tumuli of oyster shells in the oyster season, and of lobster shells in the lobster season, and of broken crockery and faded cabbage leaves in all seasons, encroached upon its high places." (Charles Dickens, Dombey and Son, 1848)
 * "Papa O. never knocked. He kicked the door in happily and shouted cheerfully, 'What you say, all peoples? How's t'ings, ever-body?' Papa O. pulled people out of bed and rattled pans and laughed at nothing and argued with unseen bartenders until somebody gave him sausage and eggs and coffee and bread and hung the accordion safely away." (Nelson Algren, "How the Devil Came Down Division Street", 1944, in The Neon Wilderness, 1947)
 * "Let the whitefolks have their money and power and segregation and sarcasm and big houses and schools and lawns like carpets, and books, and mostly—mostly—let them have their whiteness." (Maya Angelou, I Know Why the Caged Bird Sings, 1969)
 * "Nor was it there because the person had been killed, or maimed or caught or burned or jailed or whipped or evicted or stomped or raped or cheated, since that could hardly qualify as news in a newspaper." (Toni Morrison, Beloved, 1987)

title: Polysyndeton


text:
Northrop C-19 Alpha

The Northrop C-19 Alpha was a series of three aircraft purchased from Northrop by the US Army Air Corps in 1931. They were slightly modified versions of the civil Northrop Alpha Type 2.

Design and development
The YC-19 aircraft were Northrop Alpha 4s supplied for evaluation to the USAAC. No production orders were given. The major difference between the C-19s and the Alphas was that the civilian version carried a pilot and six passengers while the Army version carried a pilot and four passengers.

Operational history
One aircraft, the last of the three purchased, crashed between Richmond and Petersburg, Virginia on Sunday, March 19, 1933, killing its pilot and two passengers. The other aircraft were used for several more years until being sent to training schools as subjects for maintenance and repair classes.

Variants

 * YC-19: one aircraft, previously an Alpha 4, serial number 31-516
 * Y1C-19: two aircraft, serial numbers 31–517 to 31-518, Pratt & Whitney R-1340-11 engine

Operators

 * 🇺🇸: US Army Air Corps

title: Northrop C-19 Alpha