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Talk:Transduction (machine learning)

Hello
Hello. I've reverted "posterior predictive probability of new cases given previous, observed cases" to "posterior probability of new cases given previous, observed cases". A predictive probability is just the probability of something that someone wants to predict; given that the sentence already spells out that we're interested in "new cases given previous, observed cases", it doesn't add anything. I don't mean to be difficult, I just don't think it's an improvement. Happy editing, Wile E. Heresiarch 22:14, 16 Oct 2004 (UTC)

 * Ok, I see your point. In my mind "posterior probability" is reserved for a distribution over parameters, but I agree that in the context of the article the intended meaning is clear. --MarkSweep 09:29, 17 Oct 2004 (UTC)

 * From a Bayesian point of view, probability can be assessed for any kind of variable, so any kind of variable may have a posterior probability. It's quite commonly the case that posterior probabilities are assessed for model parameters, but that doesn't restrict the use of the term in other contexts. Happy editing, Wile E. Heresiarch 16:59, 17 Oct 2004 (UTC)

Is there any possibility of making this clearer to a neophyte? I have an MS in Computer Engineering, with an emphasis in AI (1987), but still have trouble understanding this. I can just imagine a high schooler trying to figure this one out. Perhaps an example would be helpful... Tjamison (talk) 20:36, 18 December 2007 (UTC)

Labels
Can someone define the term "label" in the context that it is refereed to on this page? -Joseph —Preceding unsigned comment added by Ieee8023 (talk • contribs) 18:18, 1 September 2010 (UTC)
 * A "label" is just a value (such as a class ID) associated with a point (or feature vector). For example, suppose you would like to build a machine that can identify the gender of a person in a photograph. You could start by scraping a bunch of pictures of people from the web. In this case, the array of pixel-values in each image would be the "feature-vector". A human would then label a several of these feature-vectors with the class "male" or "female". Then, you could (theoretically) use transduction to predict labels for all of the other feature-vectors.--Headlessplatter (talk) 17:36, 16 March 2011 (UTC)

TSVM link
Instead of: in this category is the Transductive Support Vector Machine (TSVM).

Shouldn't this be: in this category is the Transductive Support Vector Machines (TSVM).

i.e. the link should be to the subchapter on TSVM, rather than the entire SVM article... Ric8cruz (talk) 12:41, 11 April 2016 (UTC)

I agree there is a problem with TSVM: TSVM is not transductive since you can still generalize to unseen examples.

Originality
The article claims that transduction, i.e. "reasoning from observed, specific (training) cases to specific (test) cases", was invented by Vapnik in the 90's. But reasoning from particulars to particulars was recognized as a distinct form of reasoning as early as William Ernest Johnson's 1924 textbook, Logic, in which he called this kind of reasoning "eduction". This kind of reasoning, rather than standard induction, was recognized as the central concern by Bayesians in the tradition of de Finetti, who proved his famous representation theorem with the goal of cashing out all probabilistic inference in reasoning about particulars. Dennis Lindley, representing a culmination of this tradition, in his 1988 Wald Memorial Lecture to the Institute of Mathematical Statistics went as far as defining the problem of statistical inference in the Bayesian paradigm just as passing "from one set x of observations to express opinion about another, as yet unobserved, set y." It might be the case that as a computer scientist Vapnik was working independently of the long statistical tradition, but it is still a mistake to attribute the introduction of the concept solely to him. Syllogician (talk) 21:55, 24 June 2024 (UTC)

title: Talk:Transduction (machine learning)


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Zabawa coat of arms

Zabawa is a Polish coat of arms. It was used by several szlachta families in the times of the Polish–Lithuanian Commonwealth.

Notable bearers
Notable bearers of this coat of arms include:
 * Pełka Kościelecki
 * Alfred Christian Koczynski
 * Alexander Koczynski

Zabawa coat of arms bearers
Surname: Bruski, Bubelwic, Bubełwic, Drochecki, Dąbrowski, Koczeński, Koczyński, Koczywski, Kościelecki, Piasecki, Pierocki, Pirocki, Pirucki, Sokół, Spiczak Brzeziński, Szwyradzki, Węchadłowski, Włodek, Zabawski, Świradzki, Świraski.

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

title: Zabawa coat of arms


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Phoenix (manga)

Phoenix (火の鳥) is an unfinished manga series written and illustrated by Osamu Tezuka. Tezuka considered Phoenix his "life's work"; it consists of 12 parts, each of which tells a separate, self-contained story and takes place in a different era. The plots go back and forth from the remote future to prehistoric times. The story was never completed, having been cut short by Tezuka's death in 1989.

Several of the stories have been adapted into anime and a live-action film, along with a musical production by the Takarazuka Revue. As of 2008, the entire manga series is available in English-language translations.

Overview
Phoenix is about reincarnation. Each story generally involves a search for immortality, embodied by the blood of the eponymous bird of fire, which, as drawn by Tezuka, resembles the Fenghuang. The blood is believed to grant eternal life, but immortality in Phoenix is either unobtainable or a terrible curse, whereas Buddhist-style reincarnation is presented as the natural path of life. The stories spring back and forth through time; the first, Dawn, takes place in ancient times, and the second, Future, takes place in the far future. Subsequent stories alternate between the past and future, allowing Tezuka to explore his themes in both historical and science fiction settings. Throughout the stories there are various recurring characters, some from Tezuka's famous star system. A character named Saruta appears repeatedly, for example, in the form of various ancestors and descendants, all of whom endure harsh trials in their respective eras.

Tezuka began work on a preliminary version of Phoenix in 1954, and the series continued in various forms until his death in 1989. As it progresses, the stories seemed to be converging on the present day. Due to Tezuka dying before the manga's completion, it is not known how this would have played out. Scholar and translator Frederik L. Schodt, who knew Tezuka in life, wrote that he fantasized about a secret ending, "waiting in a safe somewhere to be revealed posthumously". This was not the case, and Tezuka's final intentions with Phoenix remain unknown; its episodic nature leaves each volume highly accessible nonetheless. Many of the Phoenix stories feature an intensely experimental layout and visual design. For example, Universe tells the story of four spacefarers who are forced to leave their spaceship in separate escape pods. The panels of the story are organized such that each character has his own vertical or horizontal tier on the page, emphasizing the astronauts' isolation; the tiers combine and separate as characters join and split up. In an astonishing sequence after one character's death, he is represented for a number of pages by a series of empty black panels.

Tezuka was said to have been influenced to create the series after listening to the music of Igor Stravinsky. He also told that he created the image of Phoenix as he was impressed by the Firebird in director Ivan Ivanov-Vano's animation film Konyok Gorbunok (Soyuzmultfilm studio).

Arcs
After several aborted attempts at a first chapter in the 1950s published in the magazines Manga Shōnen and Shōjo Club, Tezuka began Dawn in 1967, serialized in COM. The serialization of Phoenix would continue throughout his career, moving to Manga Shōnen after COM ' s closure in the mid-70s. The final volume, Sun, was serialized in The Wild Age.
 * Dawn (黎明編)
 * The first volume, originally serialized in 1967. This story takes place in 240–70 AD, in the era of Queen Himiko of the Yamatai. Using her army, led by feudal general Sarutahiko, to invade the Kumaso, she seeks the Phoenix and eternal youth.

 * Future (未来編)
 * The second volume, originally serialized in 1967–68. In Phoenix's chronology, this is the final story chronologically, taking place near the end of mankind. In 3404, the world has become super-modernized, but humanity has reached its peak and shows decline. A young man named Masato Yamanobe is living with his girlfriend, Tamami, a shapeshifting alien. Pursued by Masato's boss, Rock, they eventually take shelter at the isolated base of mad scientist Dr. Saruta, who attempts to preserve life on Earth with the assistance of his robot, Robita. Eventually, nuclear war breaks out.

 * Yamato (ヤマト編)
 * The third volume, originally serialized in 1968–69. This story takes place in 320–50 (Kofun period), and is based on the Yamato-takeru-no-mikoto legend. The decadent king of Yamato is trying to have his own version of Japan's history written. Meanwhile, a "barbarian" tribe, the Kumaso, is writing an unbiased history. The king of Yamato sends his youngest son, Oguna, to murder the barbarian chief, Takeru. On his journey, Oguna encounters the Phoenix.

 * Universe (宇宙編)
 * The fourth volume, originally serialized in 1969; also known as Space. The story takes place in 2577 AD, where four astronauts must escape their ruined spaceship in escape pods. The survivors eventually crash into a mysterious planet. Among them is Saruta, who contends with Makimura for the heart of their female companion, Nana. On this strange planet, they eventually meet the Phoenix.

 * Karma (鳳凰編)
 * The fifth volume, originally serialized in 1969–1970. The story occurs in 720–752 AD, the period in which the Daibutsu of Tōdai-ji was built during the Nara period. One-eyed and one-armed young man Gao, an ancestor of Saruta, turns into a murderous bandit when he is rejected by his village. He attacks a sculptor, Akanemaru, and the two men's paths diverge, but their fates remain linked. Akanemaru becomes obsessed with the Phoenix to the point that he loses sight of his original dreams, while Gao eventually finds a state of grace despite his continuing hardships. Karma is widely considered the masterpiece of the Phoenix series. MSX and Famicom video games, both developed by Konami, were based on this volume.

 * Resurrection (復活編)
 * The sixth volume, originally serialized in 1970–1971. The story takes place in 2482–3344 AD. In an age of robotics, technology and science, young Leon dies in a car accident. He is returned to life by scientific surgery, but his now mostly-artificial brain makes him see living things – including humans – as distorted clay figures, while he sees machines and robots as beauties. Leon falls in love with a worker robot, Chihiro, whom he sees as a beautiful girl, and would fight for this forbidden love. A side plot features the robot Robita, who previously appeared in Future.

 * Robe of Feathers (羽衣編)
 * Serialized in COM, 1971. Published in English by Viz as an appendix to the second volume of Civil War (Turbulent Times). Based on the story of the Hagoromo.

 * Nostalgia (望郷編)
 * Published in Manga Shōnen (Asahi Sononorama), 1976–1978. A science fiction epic about the rise and fall of civilization on the deceptively named desert planet of Eden and one boy's universe-spanning search for the planet of his ancestors: Earth. Features numerous cameos from other Science fiction-based Phoenix stories, including the shapeshifting alien "Moopies" first seen in Future, Makimura from Universe and an early model of the Chihiro robot from Resurrection. Black Jack also made an appearance here, under a different name.

 * Turbulent Times (乱世編)
 * Published in Manga Shōnen, 1978–1980. The story is about a woodcutter named Benta and his childhood sweetheart, Obu, who are separated and caught up in the events of the Genpei War. Various historical figures, such as Taira no Kiyomori, appear as major and minor characters. Although the character of Gao (from Ho-ō) appears as a 400-year-old hermit and thus links Ranse-hen to the rest of the series, this particular arc stands out for its much more naturalistic approach, with next to no fantasy elements in it (except for those used for comedic effect, such as telephones in the 12th century). The Viz (English) edition is entitled Civil War and is split into two volumes, with Robe of Feathers included as an appendix to the second volume.

 * Life (生命編)
 * Published in Manga Shōnen, 1980. A TV producer who attempts to procure human clones to use in a The Most Dangerous Game-style reality TV program learns the error of his ways when he is mistaken for a clone himself. This episode is notable for only featuring the Phoenix in flashbacks and also for introducing her half-human daughter who does not appear again after this episode.

 * Strange Beings (異形編)
 * Published in Manga Shōnen, 1981. The story of a female Buddhist nun (bhikkhuni) who is imprisoned in a time-warp by the Phoenix as punishment for her sins along with her faithful retainer and is forced to become a healer treating the victims of wars from all over time and space including humans, youkai and various extraterrestrials. This chapter was loosely based on the Hyakki Yakō emakimono by the famous Japanese artist Tosa Mitsunobu (although in the context of the story it's the complete opposite).

 * Sun (太陽編)
 * Published in The Wild Age, 1986–88. This is the longest story, and was the final volume completed before Tezuka's death. It centers on Harima, a young Korean soldier from the Baekje Kingdom whose head is replaced with that of a wolf by Tang dynasty soldiers following the defeat of the joint Baekje-Yamato force at the Battle of Baekgang. He then escapes to Japan where he becomes the feudal lord Inugami and becomes caught in the middle of the Jinshin War, as well as joining a greater battle between supernatural forces and time-travelling to a bleak future world ruled by a theocracy that claimed to have captured the Phoenix. This chapter stands in stark contrast to the earlier historical Phoenix stories, which tended to de-mythologize the mythical characters therein, for instance in Dawn, many Shinto gods are portrayed as mere humans. In this chapter, however, a wide variety of mythical creatures are shown fighting against Bodhisattva.

 * Early Works
 * Covers the prototype arcs of the series from the 1950s: the unfinished Manga Shōnen version of the Dawn arc from 1954–55, and the Egypt, Greece and Rome arcs that ran in Shōjo Club from 1956–57.

Characters

 * Hi no Tori: Keiko Takeshita/Suzanne Gilad
 * Saruta: Tetsuo Komura/Danny Burstein
 * Narrator: Akira Kume/Robert O'Gorman
 * Dawn
 * Nagi: Takeuchi Junko/Michelle Newman
 * Sarutahiko: Tetsuo Komura
 * Himiko: Ryōko Kinomiya/Fiona Jones
 * Hinaku: Sakiko Tamagawa/Carrie Keranen
 * Susanoo: Eizo Tsuda/James Urbaniak
 * Guzuri: Michio Nakao/Jay Snyder
 * Ama no Yumihiko: Masaki Terasoma/Addie Blaustein
 * Ninigi: Akio Ōtsuka/Richard Epcar
 * Shaman: Hikaru Miyata
 * Soldier: Yousuke Akimoto
 * Uzume: Yumi Nakatani/Erica Schroeder
 * Uraji: Yūsaku Yara/Marc Diraison
 * Ojiji: Eisuke Yoda/Richard Springle
 * Obaba: Natsuko Sebata
 * Soldier: Dai Matsumoto
 * Kumaso Takeru: Daisuke Namikawa
 * Yazuchi: Hirofumi Nojima
 * Fuki: Akiko Nakagawa
 * Tajikarao: Toshihide Tsuchiya
 * Kamamushi: Shōzō Iizuka/David Brimmer
 * Chamberlain: Mahito Tsujimura
 * Resurrection
 * Leona: Sasaki Nozomu/Christopher Kromer
 * Lamp: Masashi Hirose/Mike Pollock
 * Chihiro: Misa Kobayashi/Eden Riegel
 * Nielsen: Shinji Ogawa/Ted Lewis
 * Reiko: Fumiko Osaka/Kathleen McInerney
 * Leona's Father: Mantarô Iwao/Marc Thompson
 * Young Leona: Reiko Takagi/Christopher Kromer
 * Strange creatures
 * Sakonnosuke: Mayumi Asano/Kathleen McInerney
 * Yagi Iemasa: Tetsuo Komura
 * Yaobikuni: Tamie Kubota
 * Kahei: Bin Shimada/Mike Pollock
 * Haniwa Jindayu: Kazuhiko Kishino

 * Sun
 * Inugami no Sukune/Harima: Yasunori Matsumoto/Gary Littman
 * Obaba: Seiko Tomoe/Barbara Goodson
 * Azumi-no-Muraji Saruta: Tetsuo Komura
 * Marimo: Ai Uchikawa/Michelle Ruff
 * Emperor Tenji: Masaru Ikeda/Steven Jay Blum
 * Ōama no Miko: Naoya Uchida/Crispin Freeman
 * Ibukimaru: Daisuke Gouri/Michael McConnohie
 * Empress Consort: Atsuko Koganezawa
 * Ōtomo no Miko: Hiroshi Kamiya/Liam O'Brien
 * Prince Takechi: Kenji Nojima/Sebastian Arcelus
 * Tang General: Koichi Sakaguchi
 * Soldier: Kouji Haramaki
 * Hoben: Tamio Ohki/Richard Toth
 * Getsudan: Hisao Egawa
 * Nichidan: Hiroshi Iwasaki
 * Mokudan: Kousei Hirota
 * Kadan: Naomi Kusumi
 * Kokushi: Yutaka Nakano
 * Rubetsu: Takayuki Sugo/Jay Snyder
 * Iki no Karakuni: Takeshi Watabe/Richard Epcar
 * Soga no Hatayasu: Yuzuru Fujimoto/John Avner
 * Soga no Yasumaro: Eiji Yanagisawa

 * Future
 * Masato Yamanobe: Daisuke Namikawa/Michael Sinterniklaas
 * Robita: Shigeru Ushiyama
 * Rock: Takuya Kirimoto/Eric Stuart
 * Old Masato: Osamu Saka/Michael McConnohie
 * Tamami: Yumi Touma/Stephanie Sheh
 * Girl: Akiko Nakagawa
 * Adam: Takahiro Mizushima

 * Eden17
 * Com: Honoka Yoshida
 * George: Yōsuke Kubozuka
 * Romi: Rie Miyazawa
 * Sudarban: Issey Ogata

English edition
Phoenix is currently published in English by Viz Communications. Although the second volume was initially published by the now defunct Pulp manga anthology in a larger edition, in 2002, Viz took over the rest of the manga series, and re-released the second volume. Frederik Schodt, Jared Cook, Shinji Sakamoto, and Midori Ueda, members of a Tokyo group called "Dadakai", had already translated the first five volumes of the series around 1977/78, but after handing these translation to Tezuka Productions, they collected dust for nearly twenty-five years. Finally, Schodt and Cook finished translating the rest of the series and Viz published the entire series in English, starting in 2002 and completing it in March 2008. It has been criticized for being a dumbing-down, including overlapping artwork with unnecessary new narration, and altering character names (such as Sarutahiko to Saruta) to make their reincarnations more obvious to the reader. However, Tezuka was known to update his manga every few years, so the U.S. version could reflect the last known edition of the series.

The Viz editions are released "flipped" (the original right-to-left orientation is reversed for easier reading in English). Some of the shorter stories have been consolidated into one book (based on the Japanese publication), and Troubled Times has been split across two; this resulted in each Viz book having a similar page count. While many of the actual Viz books are out of print, they became available again through digital purchase on Kindle. Viz later offered the digital version of Phoenix manga in 2014.

Volumes in English

 * Vol. 1 – Dawn
 * Released March 2003.

 * Vol. 2 – A Tale of the Future / Future
 * This volume was released first, in May 2002, as a stand-alone graphic novel; Dawn was released a year later, as Vol. 1, followed by the rest of the series. A Tale of the Future was initially released in a larger size; the series releases, starting with Dawn, are digest-sized. A Tale of the Future was reprinted in the smaller size in 2004, titled Future, with Vol. 2 appended to the title.

 * Vol. 3 – Yamato / Space
 * Collects Yamato and Space in one book; released November 2003.

 * Vol. 4 – Karma
 * Originally titled Ho-ō; released May 2004. Listed at #2 in Time Magazine's "Best Comix of 2004".

 * Vol. 5 – Resurrection
 * Released December 14, 2004.

 * Vol. 6 – Nostalgia
 * Released March 26, 2006.

 * Vol. 7 – Civil War, Part 1
 * Originally titled Troubled Times, and here split into two books; the first was released June 13, 2006.

 * Vol. 8 – Civil War, Part 2 / Robe of Feathers
 * Collects the ending of Troubled Times, and includes Robe of Feathers; released September 12, 2006.

 * Vol. 9 – Strange Beings / Life
 * Collects Strange Beings and Life in one book; released December 19, 2006.

 * Vol. 10 – Sun, Part 1
 * Released March 20, 2007.

 * Vol. 11 – Sun, Part 2
 * Released September 18, 2007.

 * Vol. 12 – Early Works
 * Released March 18, 2008.

Live-action film
A live-action film entitled Phoenix, based on the Dawn storyline, directed by Kon Ichikawa and including some animated sequences directed by Tezuka, was released in 1978. The cast included Tomisaburo Wakayama and Tatsuya Nakadai. It was released in the United States on VHS by Video Action under the cover title The Phoenix (Hinotori) in 1982, using a subtitled print, letterboxed only in the split-screen sequence. To date, the film is available on DVD only in Spain, where it is titled Fénix. The film included a brief appearance by Astro Boy, substituting for another character to illustrate his attempts to get on a horse. The score was co-composed by Michel Legrand and Jun Fukamachi.

Anime
Most volumes of Phoenix were adapted into anime. The best-known feature film, Phoenix 2772, loosely adapts elements from various Phoenix volumes and other Tezuka works into a complete whole cloth scenario. A second animated feature, Phoenix: Karma Chapter was released on December 20, 1986, and was later succeeded by two sequel OVAs, Yamato Chapter and Space Chapter, in 1987.

A 13-episode anime television series aired in 2004 in Japan, and was released in English in October 2007 by Anime Works. The anime premiered in Jamaica on CVM Television in June 2017. A short film by the same staff as the TV series, Phoenix: Robe of Feathers, was released on July 17, 2004.

Dōgo Onsen hot spring bathhouse released a three-episode net anime collaboration with Phoenix in 2019–2020.

A four-episode anime ONA adaptation by Studio 4°C, titled Phoenix: Eden17, premiered worldwide on Disney+ on September 13, 2023. It was directed by Shōjirō Nishimi, with character designs and animations handled by Tatsuzou Nishida, Eiko Tanaka serving as producer, and Katsunari Mano and Saku Konohana writing the series' scripts. A film version with a different ending, Phoenix: Reminiscence of Flower, premiered in Japanese theaters on November 3 of the same year.

Video games
In 1987, Konami adapted the Karma arc to the MSX2 computer and the Famicom game console. Despite being based on the same material, they are completely different games (a vertical shoot 'em up and a horizontal platformer, respectively) produced by separate teams.

The Phoenix also made a cameo appearance in the 2003 Astro Boy series and 2004 Astro Boy: Omega Factor game for the Nintendo Game Boy Advance, along with a number of other Tezuka characters.

 * Hi no Tori Hououhen (1987, MSX2)
 * Hi no Tori Hououhen: Gaou no Bouken (1987, Famicom)
 * Black Jack Hinotorihen (2006, Nintendo DS)
 * DS de Yomu Series: Tezuka Osamu Hi no Tori 1 (2008, Nintendo DS)
 * DS de Yomu Series: Tezuka Osamu Hi no Tori 2 (2008, Nintendo DS)
 * DS de Yomu Series: Tezuka Osamu Hi no Tori 3 (2008, Nintendo DS)

Reception and legacy
Phoenix is considered one of the greatest manga of all time,  and is often ranked as one of Tezuka's greatest manga. In 2006, Phoenix ranked 1st in the Japan Media Arts Festival's special 'professionals' ranking (consisting of critics, editors, people working in the industry, etc.) for the greatest manga of all time, which it held to mark its 10th anniversary. In a 2009 poll held by Asahi Shimbun for 'Greatest Shōwa Manga', Phoenix ranked 12th, the 3rd highest Tezuka manga behind Astro Boy and Black Jack.

Mangaka Naoki Urasawa has spoken about how the first time he read Phoenix he was shocked that a work of this quality existed, and that since reading it, he has never been as significantly impacted by anything since, so much so that he would mark it as the moment he became an adult. Comic magazine editor Martin Skidmore called it a 'real contender for comics’ greatest work of any kind'. The Japan Times has referred to it as 'Japanese pop culture at its zenith', stating that it draws critical comparisons to 'everything from Shakespearean tragedy to early Walt Disney'. In an interview, mangaka Hitoshi Iwaaki named it among his favorite manga. In her book 'The Art of Osamu Tezuka: God of Manga ', Helen McCarthy says it has 'a strong claim to be considered a contemporary equivalent of Wagner’s Ring cycle'. IGN, in their review of Vol. 10, stated 'You've read nothing like this, and it's doubtful you ever will again.'

The titular Phoenix is considered an icon of manga, and a sculpture of the character is featured as a prominent permanent exhibition in the Kyoto International Manga Museum. A statute of the Phoenix is also featured outside the Osamu Tezuka Manga Museum.

The Resurrection arc of Phoenix inspired the lyrical theme of the 2018 song "M.D.O." by heavy metal band Lovebites. In celebration of what would have been Tezuka's 90th birthday, Evil Line Records released the compilation album New Gene, Inspired from Phoenix on October 30, 2019. It features songs inspired by Phoenix written and performed by various artists, including Glim Spanky, Kizuna AI, Tavito Nanao and Naotarō Moriyama.

title: Phoenix (manga)


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Talk:Cadillac Mountain

high point on the coast?
Cadillac Mountain is not the highest point on the East Coast of the United States. Mount Mitchell, Mount Washington and Mount Rogers are all higher.
 * It's a matter of what you consider the East Coast; for example, Mount Katahdin is higher (along with much of the Appalachian) if you want to stay in Maine alone. Cadillac is the highest point on the actual coast, and I've reflected the page to say that. - NightThree 13:46, Apr 27, 2005 (UTC)
 * I agree with the original commentator. the wording is still confusing, so I've clarified it further. The actual coast is ambigous; how far do you go inland before you are no longer within the realm of the actual coast? Furthermore, unlike nearby Norembega Moutain, Cadillac (argueably) does not actually rest against the seashore; it is surrounded by other peaks, hills, rises, and floodplain. I went with actual mileage from the shore, in this case the highest point within 25 miles, a safe, round estimate, although Cadillac is probably the highest point up to 28 miles from the shore. After that, other peaks in Maine and southeast New Hampshire (ex. the Moose Mountains, Brookfield NH) begin to top it out.--Pgagnon999 (talk) 18:42, 25 December 2007 (UTC)

The name Cadillac
Is the mountain named for Antoine Laumet de La Mothe, sieur de Cadillac, the same explorer who founded Detroit? Funnyhat 01:46, 2 May 2005 (UTC)

Wiki Education assignment: Rhetorical Practices from the Ancient World to Enlightenment
— Assignment last updated by Tturn (talk) 17:55, 3 March 2023 (UTC)

title: Talk:Cadillac Mountain


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Frome Vauchurch

Frome Vauchurch is a parish in the county of Dorset in southern England, situated approximately 7 mi northwest of the county town Dorchester. It includes the hamlets of Frome Vauchurch, Higher Frome Vauchurch, Lower Frome Vauchurch and Tollerford. Frome Vauchurch is sited in the Frome valley amongst the chalk hills of the Dorset Downs. The parish is adjacent to the village of Maiden Newton, with which the parish's hamlets are virtually contiguous. Dorset County Council's latest (2013) estimate of the parish population is 160.

The Frome Valley Trail and the Mackmillan Way long-distance trails pass through the parish.

Frome Vauchurch was the home of the writers Sylvia Townsend Warner and Valentine Ackland. They moved into a house called Riversdale beside the River Frome in 1937, which they first rented and later bought.

The Parish Church of St Francis is originally 12th century but was substantially rebuilt in the 17th century and restored in c.1879, and is a Grade II* listed building.

title: Frome Vauchurch


text:
Logistello

Logistello is a computer program that plays the game Othello, also known as Reversi. Logistello was written by Michael Buro and is regarded as a strong player, having beaten the human world champion Takeshi Murakami six games to none in 1997 — the best Othello programs are now much stronger than any human player. Logistello's evaluation function is based on disc patterns and features over a million numerical parameters which were tuned using linear regression.

title: Logistello


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Marvel Studios

Marvel Studios, LLC (originally known as Marvel Films from 1993 to 1996) is an American film and television production company. Marvel Studios is the creator of the Marvel Cinematic Universe (MCU), a media franchise and shared universe of films and television series produced by the studio, based on characters that appear in Marvel Comics publications. The studio was founded by Avi Arad as part of Marvel Entertainment and has been led by producer Kevin Feige, who serves as its president, since 2007. The studio originally licensed the film rights to several Marvel characters before beginning to produce its own films in 2004, and has since regained many of those rights. It has been owned by the Walt Disney Company since 2009, and has been a subsidiary of Walt Disney Studios since August 2015, where it is part of Disney Entertainment. Walt Disney Studios Motion Pictures has distributed most of the studio's films since The Avengers (2012).

Since 2008, Marvel Studios has released 33 films within the MCU, from Iron Man (2008) to The Marvels (2023); ten television series since 2021, from WandaVision (2021) to Echo (2024); and two television specials: Werewolf by Night (2022) and The Guardians of the Galaxy Holiday Special (2022). The television series What If...? (2021–present) is the first animated property produced solely by the studio, through its "mini-studio" Marvel Studios Animation. These films, television series, and television specials all share continuity with each other, along with five short films called Marvel One-Shots produced by the studio that were released from 2011 to 2014. From 2013 until 2020, Marvel Television released 12 television series, which also acknowledge the MCU continuity. These were produced before that company was folded into Marvel Studios in December 2019 and became a production label.

Ten of Marvel Studios' films are among the 50 highest-grossing films of all time. These include: The Avengers, Iron Man 3 (2013), Avengers: Age of Ultron (2015), Captain America: Civil War (2016), Black Panther (2018), Avengers: Infinity War (2018), Captain Marvel (2019), Avengers: Endgame (2019), Spider-Man: Far From Home (2019), and Spider-Man: No Way Home (2021); Avengers: Endgame was the highest-grossing film of all time from July 2019 until March 2021. In addition to the MCU, Marvel Studios has also been involved with the production of other Marvel-based film franchises that have grossed over $1 billion at the box office, including the X-Men and Spider-Man multi-film franchises, as well as eight direct-to-video short films with Marvel Animation called Marvel Animated Features that were released from 2006 until 2011. Since 2024, Marvel Studios has used "Marvel Television" and "Marvel Animation" banners to release their television and animated projects, respectively.

Background
During what is known as Marvel's "Timely era", Captain America was licensed out to Republic Pictures for a serial just for the free advertising. Timely failed to provide any drawing of Captain America with his shield or any further background, and Republic created a whole new background for the character, and portrayed the character using a gun. From the late 1970s through the early 1990s, Marvel Comics Group and Marvel Entertainment Group (MEG) sold options to studios to produce films based on Marvel Comics characters. One of Marvel's superheroes, Spider-Man, was optioned in the late 1970s, and rights reverted to Marvel without a film having been produced within the allocated time frame. From 1986 to 1996, most of Marvel's major characters had been optioned, including the Fantastic Four, X-Men, Daredevil, Hulk, Silver Surfer, and Iron Man. Marvel's first big-screen adaptation of one of its properties was the 1986 film Howard the Duck, which was a box-office flop. MEG was purchased by New World Entertainment in November 1986 and moved to produce films based on the Marvel characters. It released The Punisher (1989) before MEG was sold to Ronald Perelman's Andrews Group. Two other films were produced: Captain America (1990) released in the United Kingdom on screens and direct to video in the United States, and The Fantastic Four (1994), not intended for release.

Marvel Films (1993–1996)
Following a deal between MEG and ToyBiz in 1993, Avi Arad of ToyBiz was named president and CEO of both the Marvel Films division and New World Family Filmworks, Inc., a New World Entertainment subsidiary. New World was MEG's former parent corporation and later a fellow subsidiary of The Andrews Group. Marvel Productions became New World Animation by 1993 as Marvel would start up Marvel Films, including Marvel Films Animation. Marvel Films Animation shared Tom Tataranowicz with New World Animation as head of development and production. New World Animation (The Incredible Hulk), Saban (X-Men) and Marvel Films Animation (Spider-Man) each produced a Marvel series for television for the 1996–1997 season. By the end of 1993, Arad and 20th Century Fox struck a deal to make a film based on the X-Men. New World Animation and Marvel Films Animation were sold along with the rest of New World by The Andrews Group to News Corporation and Fox as announced in August 1996. As part of the deal, Marvel licensed the rights to Captain America, Daredevil, and Silver Surfer to be on Fox Kids Network and produced by Saban. New World Animation continued producing a second season of The Incredible Hulk for UPN.

Formation of Marvel Studios and licensing films (1996–2004)
In August 1996, Marvel Studios was created by Marvel. Filing with the U.S. Securities and Exchange Commission to raise money to finance the new corporation, Marvel, Isaac Perlmutter's Zib, Inc. and Avi Arad sold ToyBiz stocks. ToyBiz filed an offering of 7.5 million shares with a closing price of $20.125 at the time, making the offering worth approximately $150 million. ToyBiz sought to sell 1 million shares. Jerry Calabrese, the president of Marvel Entertainment Group and Avi Arad, head of Marvel Films and a director of ToyBiz, were assigned tandem control of Marvel Studios. Under Calabrese and Arad, Marvel sought to control pre-production by commissioning scripts, hiring directors, and casting characters, providing the package to a major studio partner for filming and distribution. Arad said of the goal for control, "When you get into business with a big studio, they are developing a hundred or 500 projects; you get totally lost. That isn't working for us. We're just not going to do it anymore. Period." Marvel Studios arranged a seven-year development deal with 20th Century Fox to cover markets in the United States and internationally.

In December 1996, Marvel Entertainment Group went through a reorganization plan, including Marvel Studios as part of its strategic investment. By 1997, Marvel Studios was actively pursuing various film productions based on Marvel characters, including the eventual films X-Men (2000), Daredevil (2003), Elektra (2005), and Fantastic Four (2005). Unproduced projects included Prince Namor, based on the character Namor and to be directed by Philip Kaufman, and Mort the Dead Teenager, based on the comic book of the same name and written by John Payson and Mort creator Larry Hama. Marvel's Captain America animated series with Saban Entertainment for Fox Kids Network was set to premiere in fall 1998. However, due to the bankruptcy the series was canceled after only character designs and a one-minute promotional reel were made.

The first film packaged and licensed by Marvel Studios was Blade, based on the vampire hunter Blade. The film was directed by Stephen Norrington and starred Wesley Snipes as Blade. It was released on August 21, 1998, grossing $70,087,718 in the United States and Canada and $131,183,530 worldwide. Blade was followed by X-Men, which was directed by Bryan Singer and was released on July 14, 2000. X-Men grossed $157,299,717 in the United States and Canada and $296,250,053 worldwide. Blade and X-Men demonstrated that widely popular films could be made out of comic book characters not familiar to the general public. Leading up to X-Men's release, Marvel Studios negotiated a deal with then-functional Artisan Entertainment, successful with the low-budget The Blair Witch Project, for a co-production joint venture that included rights to 15 Marvel characters including Captain America, Thor (as a television series), Black Panther (with Snipes attached to produce and star), Deadpool, Iron Fist, Morbius, the Living Vampire, Longshot, Power Pack, Mort the Dead Teenager, Ant-Man, and Punisher. Artisan would finance and distribute while Marvel would develop licensing and merchandising tie-ins. The resulting production library, which would also include television series, direct-to-video films and internet projects, would be co-owned. By 2001, the success of Marvel Entertainment's Ultimate Marvel imprint comics created leverage in Hollywood for Marvel Studios, pushing more properties into development.

The next film licensed from Marvel Studios was Spider-Man by Columbia Pictures, directed by Sam Raimi and starring Tobey Maguire as Spider-Man. The film was released on May 3, 2002, grossing $403,706,375 in the United States and Canada and $821,708,551 worldwide. The early success of Spider-Man led the film's studio to issue a seven-figure advance for a sequel. Arad spoke of the deal, "Movies make sequels. Therefore, it's a big economic luxury to know that a movie's going to get a second and third. This is a business of precedence." According to a Lehman Brothers analysis, Marvel Studios made only $62 million for the first two Spider-Man movies. Marvel was making more from half the consumer product licensing fees while making relatively little from the movie, but was enough for Marvel to regain its financial footings. In October 2002, Marvel Studios announced deals for Sub-Mariner and Prime with Universal Pictures.

In contrast to the original storylines of DC Comics' Superman and Batman films, Marvel films often emphasized more fidelity to their comics, applying set pieces, scenes, plots, and dialogue drawn from them. In 2003, David Maisel approached Arad about earning Marvel more for their films. Maisel, Arad, and Perlmutter met, leading to Maisel being hired as president and chief operating officer (COO). The studio's office, then on Santa Monica Boulevard, was small with a dozen or so staff members. Kevin Feige, who later became the president of Marvel Studios, was then a junior executive generating script notes to the licensed studios. In January 2003, Marvel, the Sci-Fi Channel, and Reveille Productions agreed to develop two pilot films based on Brother Voodoo and Strikeforce: Morituri. In December 2003, Lionsgate purchased Artisan Entertainment and they decided to let all of the character rights Artisan held, except Punisher, revert back to Marvel. Marvel Studios partnered with Lionsgate in 2004 to produce eight animated films for the direct-to-DVD market with Lionsgate Home Entertainment handling distribution. The line was a proof of concept for Maisel's later plan. Eric Rollman was hired by Marvel as Executive Vice President, Home Entertainment & TV Production for Marvel Studios to oversee the deal with Lionsgate.

Transition to film production (2004–2009)
In 2004, David Maisel was hired as chief operating officer of Marvel Studios as he had a plan for the studio to self-finance movies. Marvel entered into a non-recourse debt structure with Merrill Lynch that was collateralized by certain movie rights to a total of 10 characters from Marvel's vast vault. Marvel got $525 million to make a maximum of 10 movies based on the company's properties over eight years, according to the parameters of the original deal. Those characters were Ant-Man, The Avengers, Black Panther, Captain America, Cloak & Dagger, Doctor Strange, Hawkeye, Nick Fury, Power Pack, and Shang-Chi. Ambac insured the movies would succeed or they would pay the interest payment on the debt and get the movie rights collateral. Initially Marvel Studios was in talks with Universal Pictures as a possible distributor, as Universal owned the film rights to both Hulk and Namor during that time. Negotiations dragged on, so the studio began talks with Paramount Pictures. In the second quarter of 2005, Merrill attempted to back out of full financing of each movie, demanding that Marvel finance 1/3 of the budget. Marvel took back rights in five foreign territories from Paramount for pre-sell to meet that demand. On September 6, 2005, Marvel announced the Merrill Lynch financing deal with Paramount was on as marketer and distributor. Also, the parent company changed its name from Marvel Enterprises, Inc. to Marvel Entertainment, Inc. to reflect the change to self-production.

The studio moved to a new location over a Mercedes-Benz dealership in Beverly Hills. Maisel was also named vice-chairman of the studio, but reported to Isaac Perlmutter. In October 2005, Michael Helfant joined the studio as president and chief operating officer. In November 2005, Marvel gained the film rights to Iron Man from New Line Cinema. Marvel revealed that it had regained the film rights to Hulk from Universal in February 2006, in exchange for letting Universal own the distribution rights to The Incredible Hulk and the right of first refusal to pick up the distribution rights to any future Marvel Studios-produced Hulk films. In April 2006, Thor was announced to be a Marvel Studios production. Lions Gate Entertainment subsequently dropped the Black Widow motion picture project it had since 2004, returning the rights back to Marvel.

Maisel and Arad fought over the rate of movie releases and strength of characters in the movie line up. Perlmutter supported Maisel and thus, in May 2006, Arad quit as studio chair and CEO. In March 2007, David Maisel was named chairman and Kevin Feige was named president of production as Iron Man began filming. In January 2008, Marvel Animation was incorporated to direct Marvel's efforts in animation and home entertainment markets including then animation efforts with Lionsgate and Nickelodeon. The company in March agreed to a five picture basic cable distribution with FX for the films Iron Man and The Incredible Hulk, with additional films to be named later. Following the successful opening weekend of Iron Man in May 2008, Maisel had his contract extended through 2010 and Feige was promoted to president of Marvel Studios. In November, Marvel Studios signed a lease with Raleigh Studios to host its headquarters and production offices and film the next four movies on the studios' slate, including Iron Man 2 and Thor, at their Manhattan Beach facilities. By September 2008, Paramount added to its domestic film distribution contract 5 additional Marvel movies' foreign distribution.

In 2009, producer Stephen Broussard was tasked with forming a writers program for the studio. The writers were hired for a year to be on call to do emergency script polishes for films in production, as well as develop scripts based on some lesser-known properties, such as Black Panther, Cable, Iron Fist, Nighthawk, and Vision. Writers included: Edward Ricourt, who was encouraged to write a script for Luke Cage as it was of high interest to the studio; Nicole Perlman, who chose to write a script based on the 2008 Guardians of the Galaxy team;  Christopher Yost, who was asked to pitch a Black Panther film for his interview,  and took interest in writing scripts about the Thunderbolts, Power Pack, and Brian Braddock / Captain Britain;  Joe Robert Cole, who initially pitched a War Machine film before joining the writers program where he created scripts for the Inhumans;  and Eric Pearson, who was asked to pitch a Cloak and Dagger film and also worked to rewrite a Luke Cage script. After Broussard moved on to the production of Captain America: The First Avenger (2011), Marvel Studios hired Nate Moore to oversee the writers program, who at times was assisted by the also newly hired executive Jodi Hildebrand. Particular properties Feige was interested in having screenplays for were Black Panther, Iron Fist, and Blade. The program was shut down in 2014 before being revived in 2016. In early 2009, Sony returned all Spider-Man television rights (including live-action) in exchange for an adjustment to the movie rights.

Disney conglomerate subsidiary (since 2009)
On December 31, 2009, the Walt Disney Company purchased Marvel Entertainment for $4 billion. Both Marvel and Disney stated that the merger would not affect any preexisting deals with other film studios for the time being, although Disney said they would distribute future Marvel projects with their own studio once the deals expired. In April 2010, rumors circulated that Marvel was looking to create $20–40 million movies based on properties such as Doctor Strange, Ka-Zar, Luke Cage, Dazzler, and Power Pack. Kevin Feige responded by saying, while budgets are generally never discussed early in development, Marvel was considering films for all characters mentioned in the rumor, except Dazzler, whose rights were at Fox.

In June 2010, Marvel Entertainment set up a television division within Marvel Studios called Marvel Television to be headed up by Jeph Loeb as Executive Vice President, under which Marvel Animation would be operated. On October 18, Walt Disney Studios Motion Pictures acquired the distribution rights for The Avengers and Iron Man 3 from Paramount Pictures with Paramount's logo and credit remaining on those films. On August 22, 2011, at Disney's behest, the Studio dismissed most of its marketing department: Dana Precious, EVP of Worldwide Marketing; Jeffrey Stewart, VP of Worldwide Marketing and Jodi Miller, Manager of Worldwide Marketing. Disney markets Marvel's films. In April 2012, The Walt Disney Company China, Marvel Studios and DMG Entertainment announced an agreement to co-produce Iron Man 3 in China. DMG partly financed, produced in China with Marvel, and handled co-production matters. DMG also distributed the film in China in tandem with Disney.

In April 2013, Marvel Studios moved its executive production offices from Manhattan Beach Studios Media Campus to the Walt Disney Studios in Burbank, California. On July 2, 2013, Disney purchased the distribution rights to Iron Man, Iron Man 2, Thor and Captain America: The First Avenger from Paramount. In September 2014, TNT acquired the cable rights for Avengers: Age of Ultron, Captain America: Civil War, and three other films, to air on the network two years after their theatrical releases. The films had previously aired on FX since 2008.

Walt Disney Studios subsidiary
In August 2015, Marvel Studios was placed into Walt Disney Studios, with Feige reporting directly to Walt Disney Studios chairman Alan F. Horn instead of Marvel Entertainment CEO Isaac Perlmutter. Marvel Television and subsidiary Marvel Animation were left under Marvel Entertainment and Perlmutter's control. As of April 2017, Marvel Studios was housed on the second floor of the Frank G. Wells Building at the Disney studio lot. Fast Company ranked Marvel Studios number eleven on its 2018 World's Most Innovative Companies list.

In September 2018, it was reported that Marvel Studios was developing several limited series for the streaming service Disney+, to be centered on "second tier" characters from the MCU films who had not and were unlikely to star in their own films. Characters being considered for series included Loki and Scarlet Witch, with the actors who portrayed the characters in the films expected to reprise their roles for the limited series. Each series was expected to be six to eight episodes, with a "hefty [budget] rivaling those of a major studio productions". The series would be produced by Marvel Studios rather than Marvel Television, with Feige taking a "hands-on role" in each series' development. In October 2019, Feige was given the title of Chief Creative Officer, Marvel, and would oversee the creative direction of Marvel Television and Marvel Family Entertainment, with both being returned to being under the Marvel Studios banner. Two months later, Marvel Television was folded into Marvel Studios, with Marvel Studios overseeing development of all the Marvel Television series in production at the time of its closing. Karim Zreik, Marvel Television's senior vice president current programming and production, would join Marvel Studios alongside his team to oversee production of the Marvel Television series inherited by Marvel Studios.

In May 2022, Marvel Studios signed a 20-year licensing deal with Stan Lee Universe to license the name and likeness of Lee for use in future films, television series, Disney theme parks and cruises, various "experiences", and merchandizing. A digitally recreated Lee was not expected to make cameo appearances in future projects, rather the deal allows Marvel to use Lee's name, voice, likeness, signature, and existing images and archival material. In June 2023, the distribution rights to The Incredible Hulk reverted from Universal back to Marvel and Disney.

By October 2023, Marvel Studios was planning to hire dedicated executives to focus on their television efforts, as part of their larger plan to change their approach to their television series. Production and development executive Richie Palmer was serving as a television executive by January 2024. In May 2024, Marvel Studios revealed that its live-action Disney+ series would be released under a new "" banner, separate from the previous company of the same name, starting with Agatha All Along later in 2024.

Marvel Studios Animation
In June 2021, ahead of Marvel Studios' first solely produced animated series What If...?, executive vice president of film production Victoria Alonso noted that the studio was creating an "animation branch and mini studio" to focus on more animated content beyond What If...?. Marvel Studios will outsource the animation for its animated series to third-party animation studios, though executive Brad Winderbaum indicated Marvel would work with fellow Disney studios Pixar and Walt Disney Animation Studios "under the right circumstances". In September 2021, Alonso was promoted to President of Physical, Post Production, VFX and Animation. In November 2021, Marvel Studios announced the animated series X-Men '97, which would be a revival of the 1990s animated series X-Men and set in that series' continuity. The animation branch of Marvel Studios and "mini studio" is known as Marvel Studios Animation. By April 2022, Marvel Studios had taken over production of the preschool animated series Spidey and His Amazing Friends, starting from its second season; the first season was produced under the Marvel Entertainment banner. The "Marvel Animation" name and banner was used for the division's projects by May 2024.

Firing of Victoria Alonso and relationship with VFX workers
In March 2023, Alonso was fired from her role at Marvel Studios by a group including Disney Entertainment co-chairman Alan Bergman and Disney's human resources and legal departments for serving as a producer on the Amazon Studios film Argentina, 1985 (2022); this was a breach of a 2018 agreement between Alonso and Disney which stated employees would not work for a competing studio. Alonso reportedly did not seek permission to work on the film, and was asked by Disney to stop working on the film, as well as not to promote or publicize it, with the situation "deemed serious enough" that Disney requested a new agreement be signed. Despite this, Alonso continued to promote the film following its September 2022 premiere, and was consistently reminded of her agreement and breach of contract, ultimately leading to her firing. Alonso's lawyers refuted this claim, stating Disney was aware of, and agreed to, Alonso's work on Argentina, 1985, and that she was instead "silenced[... and] was terminated when she refused to do something she believed was reprehensible"; this incident was reported to be a disagreement with a Disney executive over the censoring of gay pride elements in Ant-Man and the Wasp: Quantumania (2023) to release the film in Kuwait and comply with its restrictive anti-LGBTQ laws. A Disney spokesperson reiterated the notion that she was fired due to "an indisputable breach of contract and a direct violation of company policy" among other "key factors". Disney and Alonso reached a multimillion-dollar compensation settlement in April.

Also at the time of her firing, criticism from VFX workers was noted, who had raised complaints of Marvel's "demanding post-production schedules". Alonso was described by some as a "kingmaker", and "challenging to work with", with Chris Lee at Vulture reporting that Alonso was "singularly responsible for Marvel's toxic work environment" with VFX workers. Alonso reportedly took days off to produce Argentina, 1985 instead of her post-production commitments for the various MCU projects, which in turn resulted in the need to delay several projects in 2022 and 2023. However, Alonso was also described as the "epitome of professional" and supportive on set, with Joanna Robinson of The Ringer describing the reports as a "gross mischaracterization" and the opposite of Alonso's work. Following Alonso's firing, visual effects vendors for the various MCU projects were working with producer Jen Underdahl, the vice president of visual effects and stereo.

In August 2023, a group of 52 on-set VFX workers at Marvel Studios filed a petition with the National Labor Relations Board for an election to join the International Alliance of Theatrical Stage Employees (IATSE) labor union. This was the first time any workers in the visual effects industry had petitioned for union recognition. Lee believed if this group of workers were able to secure union recognition, it "would stand as proof of concept for the overall viability of an industry-wide unionization push", particularly at the post-production effect houses. All of the workers who participated in the election vote that concluded in early September voted unanimously to form a union with IATSE, with the union then set to enter into collective bargaining negotiations with Marvel, beginning at an unspecified date.

Character rights
Marvel had licensed out the film rights to many of their characters to other studios in the 1990s, starting with the X-Men, the Fantastic Four, Spider-Man, Daredevil and later Captain America, Iron Man, Thor, the Hulk, Ant-Man, the Wasp, Black Widow, Luke Cage, the Punisher, Blade, Ghost Rider, Man-Thing, Black Panther, Deadpool, and Prime, among others.

In February 2015, Marvel Studios and Sony Pictures Entertainment announced that Spider-Man would appear in the Marvel Cinematic Universe, with the character appearing in Captain America: Civil War and Sony releasing Spider-Man: Homecoming produced by Feige and Amy Pascal on July 7, 2017. As part of the deal, Sony Pictures would continue to finance, distribute, own and have final creative control of the Spider-Man films. In June 2015, Feige clarified that the initial Sony deal did not allow Spider-Man to appear in any of the MCU television series, as it was "very specific... with a certain amount of back and forth allowed." In September 2019, it was announced that Disney and Sony had reached a new agreement allowing for Spider-Man to appear in a third standalone film (produced by Marvel Studios and Feige) and a future Marvel Studios film. Disney was reported to be co-financing 25% of the film in exchange for 25% of the film's profits in the new agreement, while retaining the merchandising rights to the character. In November 2021, Pascal announced plans for a fourth Spider-Man film set in the MCU, in addition to long-term plans for a new trilogy of films with Marvel Studios, with said film entering active development the following month. Sony's agreement specifies that production has to start on a film within three years and nine months of the previous one, and release within five years and nine months, otherwise the rights revert back to Marvel.

Sony has access to 856 characters within their agreement, including Kingpin, who is able to be used by both Sony and Marvel Studios.

In March 2023, Citigroup financial analyst Jason Bazinet felt Disney may try to include the distribution rights to Hulk and Namor in any potential sale of the streaming service Hulu to Comcast, the owner of Universal Pictures through NBCUniversal. In June 2023, the distribution rights to The Incredible Hulk reverted from Universal back to Marvel and Disney.

The following table details the rights that have returned to Marvel along with the studios from which they returned and the year in which they returned.

Marvel Knights
Marvel Knights was a production arm of Marvel Studios intended to be used to produce some of Marvel's darker and lesser known titles. The name originated from the "Marvel Knights" imprint of Marvel Comics. The first film produced under the Marvel Knights banner was Punisher: War Zone (2008), which served as a reboot of the Punisher franchise. This was followed by Ghost Rider: Spirit of Vengeance (2011), which was the second and final title to be released under the Marvel Knights banner.

Units

 * LLC – film slate subsidiary
 * Marvel Studios Animation
 * (2005–present) – subsidiary involved in the publishing of music related to its productions. The company was incorporated on September 9, 2005, and announced as a label for releasing music related to Marvel's film and television productions in 2009. Marvel Music has released albums in conjunction with Disney's Hollywood Records.
 * Marvel Television (2019–present) – a unit label used for Marvel television series
 * Marvel Animation, Inc. (June 2004; 2008–2015; 2019–present) – subsidiary charged with oversight of Marvel's animation productions outside the MCU
 * Marvel Animation Studios (2012–2020)
 * MLG Productions (2006–2011) – Marvel and Lionsgate's subsidiary group for the Marvel Animated Features
 * MVL Development LLC (Delaware) – rights subsidiary
 * Marvel Films Animation (1994–1997) – animation subdivision
 * Marvel Film Productions LLC (Delaware)

Studio heads

 * Kevin Feige, president
 * , co-president

Parliament
The "Marvel Studios Parliament", otherwise known as "The Parliament", is the creative decision making committee at Marvel Studios and a "brain trust" of long-time executives who help to elevate each other's projects where possible. The following executives are members of the Parliament:

 * , Executive, Production and Development
 * , Vice President of Production and Development
 * , Vice President of Production and Development
 * , Executive, Production and Development
 * , Head of Streaming, Television and Animation (formerly a Vice President of Production and Development)

Production and Development group
A number of other executives serve as lead producers on films and television series, working on each project from their inception through their release as managers alongside other executives, as part of the Production and Development group. Some of these executives include:

 * Sana Amanat, Executive of Production and Development

 * , Director, Production & Development and creative executive
 * Grant Curtis
 * , Director of Production & Development (formerly Feige's Executive Coordinator)

 * , Production and Development manager and television executive (formerly Feige's Production Assistant)

Visual Development group
The Visual Development group is an in-house group of artists who work on a film from its start to provide a consistent look for the studio.

 * , Head of Visual Development and Character Design (formerly Visual Development Supervisor)
 * Andy Park, Director of Visual Development and Production Illustrator

Other

 * , Vice President of Physical Production
 * , property master
 * , Vice President of Physical Production
 * Charles Newirth, frequent executive producer
 * , Vice President of Visual Effects and Stereo
 * , Vice President of Animation

Additionally, Sarah Halley Finn has served as a frequent casting director for several MCU films and television series.

Former

 * Victoria Alonso, former president of physical, post production, VFX and animation (formerly Executive Vice President of Production and chief of visual effects and post-production)
 * Avi Arad, founder and former chairman and CEO
 * , former Executive, Production and Development  (formerly Director of Development)
 * Chris Gary, former Production and Development executive
 * , former SVP Production and Development
 * David Maisel, former chairman, and before that vice-chairman, president and chief operating officer
 * , former Production and Development manager and creative executive
 * Karim Zreik, former SVP of Original Programming and Production for Marvel Television

Films and television series
Starting with the release of Spider-Man in 2002, Marvel Studios introduced its "flipbook" production logo, created by Imaginary Forces. This logo was accompanied with music from the film's score, sound effects or a song, to lead into the beginning of the film. This was the logo seen in front of all films until 2013, when the logo was updated with the release of Thor: The Dark World, again created by Imaginary Forces. Kevin Feige stated that since Marvel was now their own entity within the Walt Disney Company, it "felt like the time to update it and have something that is more substantial as a standalone logo in front of our features" instead of having it be accompanied by Marvel's studio or distribution partners' logos. Feige added that "We didn't want to re-invent the wheel [with the new logo], but we wanted it to feel bigger, to feel more substantial, which is why it starts with the flip, but suddenly it's more dimensional as we go through the lettering and it reveals itself with the metallic sheen before settling into the white-on-red, well known Marvel logo, with the added flourish of the arrival and the announcement of the Studios at the bottom of the word Marvel." Imaginary Forces used the same animation technique on the updated logo, as they did when they created the first version in 2002. They were given a few hundred comic books to select images from, ultimately choosing 120 that were "universal and not specific to one character" and created a narrative "where each image spoke to the one before it and after." The new logo appeared on all subsequent studio productions set within the Marvel Cinematic Universe through Captain America: Civil War. With the addition of the new logo, Marvel Studios also added a fanfare to accompany the logo, composed by Brian Tyler, who wrote the scores to Iron Man 3, Thor: The Dark World, and Avengers: Age of Ultron. It was featured on the films Thor: The Dark World, Captain America: The Winter Soldier, and Guardians of the Galaxy.

In July 2016, another new logo and opening were introduced, featuring an updated fanfare, composed this time by Michael Giacchino, who first worked with Marvel Studios on the score to Doctor Strange. The new opening begins with comic book panels seen in the previous two openings, but transitions into footage and art of the characters from the Marvel Cinematic Universe films. It was first seen in front of Doctor Strange. The updated logo was created by Perception, who were first approached in January 2016 by Marvel to update their logo. Feige specifically requested Perception "to combine the brand and the iconic characters into a single image, showcasing the heroes within the letterforms of the Marvel logo." The Perception team settled on a concept they dubbed "How to Build a Universe", which "was designed to pay tribute to [the film making] process by touching on" how a film's origins is inspired by the comics, which then results in a script, followed by concept art, resulting in the final film. Perception looked to the initial "flipbook" logo for inspiration, and paid tribute to it in the new opening, as it opens identically to the flipbook logo. Next, the opening includes "various lines lifted directly from the script pages of various Marvel screenplays", with Perception picking "both iconic fan-favorites, as well as lines that helped establish the breadth of the Marvel Universe." To add in the concept art images, Perception looked "through a massive archive of concept art and "The Art Of..." books, to select the most iconic images for each beloved character. Utilizing the original digital paintings themselves, the Perception team animated each image being painted from scratch. The final touch was mapping this artwork onto 3D models to giving these once 2D paintings a sense of depth as the camera moves around them." Finally, over 70 pieces of footage from the 13 films that had released at that time were included, with Perception arranging them in a way they called the "vault" "where luminescent footage plays on the interior walls of the "Marvel" logotype."

A modified version of Perception's logo was introduced at the 2017 D23 Expo to commemorate the 10th anniversary of the MCU. The logo debuted with Avengers: Infinity War on April 26, 2018, and was used again in Ant-Man and the Wasp. With the release of Captain Marvel, the current Perception logo was altered at Marvel Studios' behest in honor of Stan Lee; Lee died on November 12, 2018, just a few months before the release of the film. The logo was altered, replacing the characters with Stan Lee's MCU cameos and other public appearances related to the MCU, accompanied by a black screen reading "Thank You Stan". Similarly, the logo was modified for the Disney+ version of Black Panther in honor of Chadwick Boseman, who died on August 28, 2020. The logo was altered, replacing the characters with images and footage of T'Challa and Boseman. The logo premiered on November 29, 2020, which would have been Boseman's 44th birthday. Additional modifications include having the characters who disappeared in the Blip removed for Avengers: Endgame; an additional Boseman tribute one for Black Panther: Wakanda Forever; and an all-Guardians of the Galaxy opening for Guardians of the Galaxy Vol. 3. A shortened sequence opening was used for the Disney+ series Secret Invasion. "What If... Strange Supreme Intervened?", the What If...? season two finale, replaced the live-action footage of the logo with animated images from What If...?.

Television specials
Television specials from Marvel Studios, which are marketed as "Marvel Studios Special Presentation", feature a special multicolored intro with bongo drum music, reminiscent of the CBS Special Presentation theme featured before animated holiday specials of the 1980s and 1990s. The intro was also designed by Perception, with Giacchino (who directed and composed for the special Werewolf by Night) once again creating the music. Jamie Lovett at ComicBook.com called the Marvel Studios Special Presentation intro "more colorful" and its fanfare "more playful" than the normal Marvel Studios intro.

title: Marvel Studios


text:
Glanvilles Wootton

Glanvilles Wootton, or Wootton Glanville, is a village and civil parish in the county of Dorset in southern England. It is situated in the Blackmore Vale under the scarp of the Dorset Downs, 5 mi south of Sherborne. In the 2011 Census the parish had a population of 196.

To the north of the village is Round Chimneys Farm, which used to be a manor house and home of John Churchill, 1st Duke of Marlborough. The Farm, Grade II listed since 1960, "originated c. 1590s, probably added to 1632 with extensive alterations and demolitions C19". 1 mi southeast of the village is the hill fort Dungeon Hill.

According to Dorset OPC, "the name of the Parish was changed in 1985, having previously been Wootton Glanville". The Parish Church is St Mary the Virgin and its register starts at the year 1546. It has been Grade I listed since 1964 as "mainly C14" modifications made in the 15th century and the early 19th century. A great deal of additional historic information about the community and its structures is provided by a document titled ''An Inventory of the Historical Monuments in Dorset, Volume 3, Central. Originally published by Her Majesty's Stationery Office, London, 1970.''

One of the most significant properties in the area, The Manor House, Glanvilles Wootton, is a Georgian manor house, which incorporates an earlier 17th-century house, on 88 acres of parks, pastures and gardens, according to Country Life (magazine). The original house is believed to have been built circa 1616 by George Williams, originally from Wales; the newer Georgian home was built in 1804 by Glanvilles Wootton.

The "MANOR HOUSE FARMHOUSE WOOTTON GLANVILLES FARM" has been Grade-II listed since 1974. The farm house appears to have originated in the mid 1800s but was modified circa 1978.

title: Glanvilles Wootton


text:
Takamiyama Daigorō

Takamiyama Daigorō (髙見山 大五郎) is an American-born Japanese former professional sumo wrestler. Wrestling for Takasago stable for twenty years from 1964 to 1984, his highest rank was sekiwake. Takamiyama set a number of longevity records in sumo, including most tournaments ranked in the top makuuchi division, and most consecutive top division appearances. In July 1972, he became the first foreign-born wrestler to win the top division championship. He is also the first foreign-born wrestler ever to take charge of a training stable, founding Azumazeki stable in 1986. His most successful wrestler was fellow Hawaiian Akebono who reached the sport's highest rank of yokozuna in 1993. Takamiyama retired as a coach in 2009.

Early life
Kuhaulua was born in Happy Valley, Maui to parents who were mostly of Hawaiian descent. Due to his impressive height and weight of 6 foot 2 inches (189 cm) and 280 pounds (127 kg), he was recruited as a tackle for the Henry Perrine Baldwin High School football team. His football coach noticed that he had weak legs and hips, and recommended that he train his lower body through sumo, a sport popular among the local Japanese-American community. He joined a local amateur sumo club and it was there that he was spotted by visiting professional sumo wrestlers from Japan. He was eventually recruited by the head coach of Takasago stable, former yokozuna Maedayama. After graduating from Baldwin High School in Wailuku in 1963 he left for Tokyo on February 22, 1964, to join Takasago stable as a new recruit.

Sumo career
Takamiyama made his professional debut in March 1964. He was quickly given one of Takasago's prestigious shikona, or ring name, Takamiyama Daigorō (髙見山 大五郎) to evoke the founder of the stable, Takasago Uragorō. He achieved sekitori status in March 1967 when he won promotion to the second highest jūryō division. He reached the top makuuchi division five tournaments later. He had an exceptionally long top division career that spanned from January 1968 to January 1984. For many years he held the record for having competed in the most tournaments as a top division wrestler, at 97 (these were also consecutive tournaments). In November 2009 this record was broken by the veteran ōzeki Kaiō, and Kaiō has also surpassed his long-standing record of 1430 top division bouts. However, Takamiyama still holds the record for the most consecutive bouts in the top division (1231), as he did not miss a match from his debut until he was forced to withdraw from the September 1981 tournament because of a training injury.

He won a total of twelve kinboshi (gold stars awarded for maegashira wins against a yokozuna), a record which stood until Akinoshima surpassed it in the 1990s. His first kinboshi came in only his second top division tournament against Sadanoyama, who had won the previous two tournaments but suddenly retired just two days after losing to him. His final gold star came ten years later at the age of 35, against Kitanoumi in September 1978 – only the third time the yokozuna had been beaten that year. Takamiyama also won eleven special prizes, or sanshō for his performances in tournaments.

The highlight of his career came in July 1972 when he won the tournament championship with a 13–2 record – the first foreigner ever to do so. Ranked at maegashira 4, he lost only to Kotozakura and Takanohana and defeated Asahikuni on the final day to finish one win ahead of Takanohana. A congratulatory letter from US President Richard Nixon was read out by the US Ambassador to Japan at the presentation ceremony, marking the first time English had been officially spoken on the dohyō.

Following this victory he was promoted to sumo's third highest rank of sekiwake. He was to hold this rank a further seven times, but he was ultimately unable to score ten wins or more in consecutive tournaments and so was never able to reach the rank of ōzeki. Nevertheless, he paved the way for other Hawaii wrestlers such as Konishiki and Akebono. His final appearance in the san'yaku ranks was at komusubi in September 1982 at age 38, making him the second oldest postwar san'yaku wrestler after former ōzeki Nayoroiwa.

Due to his exceptionally large size – he weighed over 200 kg as his peak – and trademark sideburns and bright orange mawashi, Takamiyama was an instantly recognisable figure to the Japanese public, even amongst those who did not regularly follow sumo. He appeared in several television commercials before the practice was banned by the Sumo Association. His great fighting spirit, and his determination to never miss a bout no matter what injuries he might be carrying – a Japanese character trait known as gaman – were much admired.

Retirement from sumo
Takamiyama's goal had always been to fight until the age of forty, but a serious elbow injury sustained in November 1983 caused him to fall to jūryō, and in May 1984, facing certain demotion to the third makushita division, he announced his retirement after twenty years in sumo. He was just a few weeks short of his fortieth birthday. He became a member of the Japan Sumo Association, with the name Azumazeki. To do so he had taken Japanese citizenship in 1980 and adopted the Japanese name Daigoro Watanabe (渡辺 大五郎), his wife's family name.

Takamiyama had been responsible for recruiting fellow Hawaiian Konishiki to Takasago stable in July 1982, while he was still an active wrestler. He subsequently opened his own training stable, Azumazeki-beya, in February 1986, the first foreign-born former wrestler to do so. Another Hawaiian, Akebono, became the stable's first sekitori in 1990, and became the first foreign-born yokozuna in 1993. One of Azumazeki's stated goals after this was to coach a Japanese wrestler to the top division, and this was achieved in July 2000 when the popular Takamisakari made his makuuchi debut. He was later joined by Ushiomaru, who in 2009 took over the running of the stable when Azumazeki reached the Sumo Association's mandatory retirement age of sixty-five.

His farewell party at a local hotel in Tokyo on 6 June 2009 attracted 1000 guests, including Akebono and Konishiki. A congratulatory letter from US President Barack Obama was read out.

Fighting style
Takamiyama's technique was somewhat rudimentary (his eleven sanshō awards did not include a Technique Prize). He tended to rely on his strength and momentum rather than work on the opponent's mawashi with throwing moves. His two most common winning techniques were yorikiri (force out) and oshidashi (push out). Being exceptionally strong he regularly won by kimedashi (armlock force out) and tsuridashi (lift out). His balance was suspect, as his long legs meant he was rather top-heavy with his centre of gravity too high. As a result, he was often prone to being thrown by lighter, more agile opponents. At a peak weight of 204 kg he was the heaviest sumo wrestler of his time. Two lightweights who he often had trouble with were Asahikuni and Washuyama.

title: Takamiyama Daigorō


text: Category:1290 births

title: Category:1290 births


text: Category:1349 deaths

title: Category:1349 deaths


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Godmanstone

Godmanstone (or Godmanston ) is a village and civil parish in the county of Dorset in southern England, situated approximately 4 mi north of the county town Dorchester. Its name means Godman's Farm and it is sited by the River Cerne amongst chalk hills of the Dorset Downs. Dorset County Council's latest (2013) estimate of the parish population is 130. In the 2011 census the population of Godmanstone parish combined with the small adjoining parish of Nether Cerne was 156.

Godmanstone used to have a pub—The Smiths Arms—which claimed to be the smallest in Britain. The story attached to the claim was that the original licence was granted by King Charles II when he requested that the village smith serve him a glass of porter. The smith refused because he had no licence, so Charles granted him one on the spot and was served his drink. The licence only applied to the smithy; adjacent living quarters, subsequently used by drinkers, were larger. The business has since closed.

Francis Cottington, 1st Baron Cottington (ca.1579–1652) came from Godmonston. He was the English lord treasurer and ambassador and leader of the pro-Spanish, pro-Roman Catholic faction in the court of Charles I.

The parish church is partly Norman, chiefly perpendicular, with a tower; and was recently repaired.

title: Godmanstone


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Gussage

Gussage is a series of three villages in north Dorset, England, situated along the Gussage Stream, a tributary of the River Allen on Cranborne Chase, 8 mi north east of Blandford Forum and 10 mi north of Wimborne. The stream runs through all three parishes: Gussage All Saints, population 192, Gussage St Michael, pop. 219 (in 2001) and Gussage St Andrew, population unknown, but smaller than the other two villages.

title: Gussage


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Talk:Mount Charleston

Charleston Peak?
According to the [ USGS GNIS entry], this mountain is officially called Charleston Peak. Peakbagger.com also uses this name. RedWolf 22:35, Oct 16, 2004 (UTC)

 * I can believe it, rename would be sensible. Local usage of "Mount Charleston" is invariably ambiguous as to whether the town, massif, or summit proper is meant - for instance as in "hiking up at Mount Charleston". :-) One of these days I'll get the right conditions for a photo... Stan 00:43, 17 Oct 2004 (UTC)

If anything, a rename of the page involving the peak itself is warranted, since the town is known as "Mount Charleston" it would allow for separate entries involving the town and the peak, somewhat similar to Grand Canyon Village and Grand Canyon. Notary137 04:08, 13 August 2006 (UTC)
 * Did you miss Mount Charleston, Nevada? Vegaswikian 04:16, 13 August 2006 (UTC)
 * I did! In that case (being the stickler I am about reading and referencing maps) I would suggest that the Mount Charleston article be renamed to Charleston Peak, with a reference on Mount Charleston, Nevada.  Although an argument could be made for keeping the article as is, as Mount Charleston can refer to the massif itself. Notary137 23:31, 20 August 2006 (UTC)
 * Well, locally it is called Mount Charleston. I suspect that most people don't realize that there is a real town up there.  This could be one of those cases were the common name should be used.  Vegaswikian 23:51, 20 August 2006 (UTC)
 * This could still fall in the broader argument of how to uniformly identify mountains, as part of the WikiProject Mountains. There are several other names of landforms in this area (in addition to Mount Charleston) that would qualify colloquially, such as Kyle Canyon, or Spring Mountains (Range).  I would still suggest that the official USGS designation of Charleston Peak apply since Mount Charleston is only identified by the USGS as the town.  The idea is to give the most accurate information possible.  Redirects could be made, and a link added to the Mount Charleston, Nevada article. Notary137 03:56, 22 August 2006 (UTC)

Eighth highest
I reinstated the "eighth highest" since that's attested by the peakbagger.com list, which I put in as a reference. If someone has another source with another ranking for this peak, let's discuss it on the talk page. -- Spireguy 17:23, 8 March 2007 (UTC)
 * Would it make sense to have a succession box for the top 10 or so peaks? Vegaswikian 20:32, 8 March 2007 (UTC)

Namesake?

 * "... it was named by explorer John C. Frémont after his wife's home town."

Jessie Benton Frémont says she was born in Missouri. Charleston, Missouri? John C. Frémont says he attended school in Charleston, South Carolina. —WWoods (talk) 16:50, 9 April 2008 (UTC)

 * His wife was a French refuge. Charleston would be an unusual name for a French town. --DRoll (talk) 08:59, 10 April 2008 (UTC)
 * His father, you mean. Or stepfather, or something. —WWoods (talk) 16:44, 10 April 2008 (UTC)
 * It turns out your right. Still better no data than bad data. --DRoll (talk) 22:47, 10 April 2008 (UTC)

Parent peak of Mount Elbert
I removed the (unsourced) parent peak of Mount Elbert. Mount Elbert is in central Colorado, Mount Charleston in south central Nevada. Why not Mt. Whitney? Does not make sense to me. Mount Charleston is highest in the area. If anyone has a reliable source, please replace it and cite. Thank you Jim1138 (talk) 05:11, 10 March 2012 (UTC)

Mount Charleston does not have a parent peak!
Mount Charleston does not have a parent peak. Mount Elbert is in Colorado. If you actually click on the parent peak link or read the reference, it does not make sense. Mount Charleston is the highest peak in the Spring Mountains. And how could a mountain in Nevada be a subpeak of a mountain in Colorado? It should be obvious the parent peak info is wrong! Charleston was possibly named by John Fremont who was born in Charleston —  Preceding unsigned comment added by Powderskiingbeerdrinkingman (talk • contribs) 05:11, 10 March 2012 (UTC)

 * It has a prominence parent witch is Olancha Peak in California and a link parent which is Jefferson, Mount-South Summit in Nye county. Someday we will get this a figured out. Part of the problem is people don't know mush a bout all this, it seem. See . There you will find some stuff about the differences. Even the well intended left things in a mess.  – droll  [chat]  08:26, 10 March 2012 (UTC) The Sierra Nevada Range separates Nevada and California. Most of  Nevada is  composed of  broken up  mountain ranges,  that run  north and  south.  The range's are  separated by basin valleys.  Repeated range and basin  cover the state. Mt Jefferson is located in Nevada in one of these basin - ranges near Tonopah Nevada. a mining area. Mt. Jefferson has a north and a  south summit.

title: Talk:Mount Charleston


text: Talk:A Tale of a Tub

title: Talk:A Tale of a Tub


text:
Gagetown

Gagetown can refer to:

 * Gagetown, New Brunswick, a historic community within the village of Arcadia.
 * CFB Gagetown, a Canadian military base located in southwestern New Brunswick
 * Gagetown (film), a feature-length documentary film about the chemical defoliant spray program that took place at CFB Gagetown from 1956 to 1984
 * Gagetown Parish, New Brunswick
 * Gagetown, Michigan, a village in the United States

title: Gagetown


text:
Category:Seasons

Articles relating to seasons, divisions of the year based on changes in weather, ecology, and the number of daylight hours in a given region. On Earth, seasons are the result of Earth's orbit around the Sun and Earth's axial tilt relative to the ecliptic plane.

title: Category:Seasons


text:
Buckland Ripers

Buckland Ripers is a hamlet in Dorset, England, situated four miles north west of Weymouth.

title: Buckland Ripers


text:
Mummy Mountain

Mummy Mountain is the name of several mountains in the United States:

 * Mummy Mountain (Arizona)
 * Mummy Mountain (Colorado)
 * Mummy Mountain (Michigan) in Michigan
 * Mummy Mountain (Nevada)
 * Mummy Mountain (Wyoming) in Wyoming

title: Mummy Mountain


text:
East Lulworth

East Lulworth is a village and civil parish nine miles east of Dorchester, near Lulworth Cove, in the county of Dorset, South West England. It consists of 17th-century thatched cottages. The village is now dominated by the barracks of the Royal Armoured Corps Gunnery School who use a portion of the Purbeck Hills as a gunnery range. In 2013 the estimated population of the civil parish was 160.

The nearby Lulworth Estate grounds contain the first Roman Catholic chapel to be built since the time of the Protestant Reformation. It was designed in 1786 by John Tasker in the form of a Greek mausoleum at a cost of £2,380. It was the private chapel of the recusant Weld family. The Weld-Blundell family, formerly owners of the estate, were descendants of the Welds.

The Church of England parish church is dedicated to St. Andrew. Only the perpendicular tower and octagonal font are original from the medieval building; the remainder of the church was built in 1864. It was designed by John Hicks, who also designed East Holme church.

Henry Rolls (1803-1877) was a shoemaker who taught himself to read and write. He kept a journal of the main happenings of village life from 1824 until 1877. After Henry's death, his son George Rolls (1846-1929) continued the journal, covering the period from 1877 to 1928. George's daughter Agnes Mary Rolls (1879-1961) then took over responsibility for the journal from 1929 to 1955.

title: East Lulworth


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Atlantida (novel)

Atlantida (L'Atlantide) is a fantasy novel by French writer Pierre Benoit, published in February 1919. It was translated into English in 1920 as Atlantida. L'Atlantide was Benoit's second novel, following Koenigsmark, and it won the Grand Prize of the French Academy. The English translation of Atlantida was first published in the United States as a serial in Adventure magazine.

The story inspired several films.

Plot summary
It is 1896 in the French Algerian Sahara. Two officers, André de Saint-Avit and Jean Morhange investigate the disappearance of their fellow officers. While doing so, they are drugged and kidnapped by a Targui warrior, the procurer for the monstrous Queen Antinea.

Antinea, descendant of the rulers of Atlantis, has a cave wall with 120 niches carved into it, one for each of her lovers. Only 53 have been filled; when all 120 have been filled, Antinea will sit atop a throne in the center of the cave and rest forever. Saint-Avit is unable to resist Antinea's charms. By her will, he murders the asexual Morhange. Ultimately, he is able to escape and get out of the desert alive.

Inspiration
According to some, Pierre Benoit was inspired, for the character of Antinea, by the Berber queen Tin Hinan.

In the book Pierre Benoit also draws upon the memories of his youth. As the son of a colonel, he spent his early years in Tunisia, where his father was posted, and then attended school in Algeria. In Algeria, Pierre Benoit also fulfilled his military service. In an article in L'Écho de Paris dated 2 February 1920, Pierre Benoit explained:

This statement follows an allegation by reviewer Henry Magden in October 1919 that Benoit had plagiarised Sir Henry Rider Haggard's novel She (1887); in the ensuing lawsuit for libel, Benoit stated this to be untrue as he could neither speak nor read English. Indeed, no French translation of Haggard's book had been available at the time.

Film adaptations
The first film adaptation of L'Atlantide was made during 1920 (and released in 1921), directed by Jacques Feyder.

During 1932–1933, famed German film director Georg Wilhelm Pabst made three films based on the novel, one each in German, French and English, as was common in the early to mid-1930s. They were titled Die Herrin von Atlantis, L'Atlantide and The Mistress of Atlantis respectively.

An American film version of the story was released in 1949 under the title Siren of Atlantis, starring María Montez.

The Italian-made peplum film Hercules at the Conquest of Atlantis (Ercole alla conquista di Atlantide, 1961), directed by Vittorio Cottafavi, drew heavily on the plot and characters of the book, having Queen Antinea capture Hercules and his companion Androcles, and imprisoning them in her red-lined underground palace. Androcles takes the Saint-Avit role and tries to murder Hercules, who (unsurprisingly) is able to resist Antinea's wiles and eventually saves the day. The film incorporates an anti-nuclear theme and has been praised by critics as one of the better peplum ("Sword-and-sandal") films. However its alternative US title – Hercules and the Captive Women – makes clear the audience it was expected to attract. Another Italian film, the comedy Totò sceicco (1950) starring Totò, is a parody of the story (and in particular of the 1949 film Siren of Atlantis).

A European co-production, Journey Beneath the Desert also filmed in 1961 was directed by Edgar G. Ulmer who replaced an ailing Frank Borzage.

A 1972 French television film L'Atlantide was directed by Jean Kerchbron.

In 1992, another film adaptation of the novel was made, L'Atlantide, directed by Bob Swaim and starring Tchéky Karyo, Jean Rochefort, Anna Galiena, and the famous Spanish actor, Fernando Rey.

title: Atlantida (novel)