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Road to Bali

Road to Bali is a 1952 American comedy film directed by Hal Walker and starring Bing Crosby, Bob Hope, and Dorothy Lamour. Released by Paramount Pictures on November 19, 1952, the film is the sixth of the seven Road to … movies. It was the only entry in the series filmed in Technicolor and was the first to feature surprise cameo appearances from other well-known stars of the day.

Plot
George and Harold, American song-and-dance men performing in Melbourne, Australia, leave in a hurry to avoid various marriage proposals. They end up in Darwin, where they take jobs as deep sea divers for a prince. They are taken by boat to an idyllic island on the way to Bali, Indonesia. They vie for the favors of exotic (and half-Scottish) Princess Lala, a cousin of the Prince. A hazardous dive produces a chest of priceless jewels, which the Prince plans to claim as his own.

After escaping from the Prince and his henchmen, the three are shipwrecked and washed up on another island. Lala is now in love with both of the boys and can't decide which to choose. However, once the natives find them, she learns that in their society, a woman may take multiple husbands, and declares she will marry them both. While the boys are prepared for the ceremony, both thinking the other man lost, plans are changed. She's being unwillingly wed to the already much-married King, while the boys end up married to each other.

Displeased with the arrangement, a volcano god initiates a massive eruption. After fleeing, the three end up on yet another beach where Lala chooses George over Harold. An undaunted Harold conjures up Jane Russell from a basket by playing a flute. Alas, she, too, rejects Harold, which means George walks off with both Lala and Jane. A lonesome Harold is left on the beach, demanding that the film shouldn't finish and asking the audience to stick around to see what's going to happen next.

Cast

 * Bing Crosby as George Cochran
 * Bob Hope as Harold Gridley
 * Dorothy Lamour as Princess Lala McTavish
 * Murvyn Vye as Prince Ken Arok
 * Peter Coe as Gung
 * Ralph Moody as Bhoma Da
 * Leon Askin as King Ramayana
 * Carolyn Jones as Eunice
 * Michael Ansara as Guard
 * Harry Cording as Verna's father
 * Steve Calvert as Gorilla
 * Devi Dja as Dancer (uncredited)

Cameo appearances
Among the celebrities who made token "gag" appearances in this film are bandleader Bob Crosby (Bing's brother), Humphrey Bogart, by way of a clip from The African Queen, Jerry Lewis, Dean Martin, and Jane Russell, as her character from the film Son of Paleface (1952). The cameo by Martin and Lewis was part of a 'comedy trade' whereby they made an appearance in this movie while Hope and Crosby appeared in Martin and Lewis's Scared Stiff the following year. Martin and Lewis also made films for Paramount at the time.

Development
Road to Bali was the first Road to... picture since Road to Rio (1947), and was known during production as The Road to Hollywood. It was the sixth film in the series, the next to last, as well as the final Road film in which Dorothy Lamour's role would be the female lead. (Nine years later, The Road to Hong Kong instead featured Joan Collins, with a cameo by Lamour.) Filming started on April 21, 1952, and continued until July of the same year.

Road to Bali was a co-production of Bing Crosby Enterprises, Hope Enterprises and Paramount.

Filming
The giant squid that threatens Bob Hope in an underwater scene was previously seen attacking Ray Milland in the Paramount production Reap the Wild Wind (1942), directed by Cecil B. DeMille. The erupting volcano climax was taken directly from the Paramount production Aloma of the South Seas (1941), also starring Lamour.

Writing
In keeping with the film's initial setting of Melbourne, Australia, many of the jokes contain references to Argyle socks, Australian opera singer Dame Nellie Melba, Tasmanian-born Errol Flynn, and a dance routine featuring Scottish bagpipes.

As with the other Road movies, Bob Hope breaks the "fourth wall" several times to make side comments to the audience. For example, as the music for a song sung by Bing Crosby begins, Hope looks to the camera and says, "He's gonna sing, folks. Now's the time to go out and get the popcorn."

Crosby breaks the fourth wall after Hope "notices" the audience is paying attention when he's about to tell Crosby how he escaped from the giant squid. Hope and Crosby walk away from the camera and Hope tells his story in exaggerated pantomime (out of earshot). Crosby then walks back toward the audience and shrugs at the camera.

Sets
Hope Enterprises owned one-third of the film and Bob Hope wrote about this in his book This Is on Me. "There are other pleasant things about owning part of a picture. In the Road to Bali there was a beach scene for which tons of beautiful white sand had been trucked in from Pebble Beach. I had just put in a one-hole golf course at my house on Moorpark Street in North Hollywood. I had four sand traps standing empty, with nothing in them in which my friends could leave their hoof prints. When I saw that sand a light switched on in my head. “We own two-thirds of this sand, don’t we?” I asked. “Sure,” Bing said. “Why?” “Well,” I replied, “I’d like some of it for my course at home.” When he said, “Why not?” I called the prop man and said, “Take ten truck-loads of this sand out to my house when we’re done with it.” “No dice,” he said. “This is Paramount’s sand.” Bing and I had another talk with the boys in the front office. As a result, part of the Road to Bali is in my back yard.

Reception
Paramount hired the Bijou Theatre in New York City on November 14, 1952, to preview the film to exhibitors and critics. Hope was not happy that Paramount only spent $150,000 promoting the film compared to the $300-$400,000 he expected. The film opened in the United States on December 25, 1952, and opened in fourth position at the box-office. The New York premiere of the film took place at the Astor Theatre on January 29, 1953.

Bosley Crowther of The New York Times was very enthusiastic in his review of January 30, 1953: "'it is apparent that this veteran and camera-scarred team is the neatest, smoothest combo of comics now working the fun side of the screen. Apart, they may be very funny or clever or quaint or what you will, according to where you are sitting and what sort of picture they’re in. But together, and in a 'Road' picture, with the consequent freedom of style and reckless impulse that goes with it, they are pretty nigh nonpareil. At least, that's the word of this reviewer who spent a small part of yesterday falling out of a seat at the Astor while desperately clutching his sides. The reason? Quite simply, Road to Bali is a whoopingly hilarious film, full of pure crazy situations and deliciously discourteous gags, all played with evident relish and split-second timing by the team.'"

Variety was more cautious, having seen a preview, and their comments may have resulted in the removal of a couple of scenes: "'Bing Crosby, Bob Hope and Dorothy Lamour are back again in another of Paramount’s highway sagas, this time in Technicolor, with nonsensical amusement its only destination. That end is reached eventually, but the road isn’t a smooth highway and the entertainment occasionally falters. Overall, however, it serves its intended purpose satisfactorily and the grossing prospects are okay...Hal Walker’s direction is geared to the free-wheeling spirit that dominates the script and does well by it, as do the three stars and the featured cast.'"An extended choreographed version of "The Road to Bali" song which was cut from the final print has surfaced in recent years, and Paramount chief Adolph Zukor revealed in his autobiography that an expensive water ballet sequence was cut from the film too.

Soundtrack
The music for all songs was written by Jimmy Van Heusen and Johnny Burke. Van Heusen's birth name was Edward Chester Babcock. For the final Road picture, The Road to Hong Kong, Hope's character was called Chester Babcock.

When Decca Records was recording the songs from the movie, they did not use Dorothy Lamour. Peggy Lee recorded the Lamour vocals.

 * "Chicago Style" by Bing Crosby and Bob Hope
 * "Moonflowers" by Dorothy Lamour
 * "Hoots Mon" by Bing Crosby and Bob Hope
 * "To See You Is to Love You" by Bing Crosby
 * "The Merry-Go-Run-Around" by Bob Hope, Dorothy Lamour and Bing Crosby
 * "The Road To Bali" by Bing Crosby and Bob Hope (recorded commercially, but only used in the opening credits as sung by a chorus).

Bing Crosby, Bob Hope and Peggy Lee recorded all of the songs for Decca Records and these were issued on a 10" LP. Crosby's songs were also included in the Bing's Hollywood series.

Legacy
Road to Bali was parodied in 1953 in the animated short Alley to Bali, with Woody Woodpecker and Buzz Buzzard in the Hope and Crosby roles. The cartoon was released by Universal Studios, which currently owns the first four Road to... films.

Copyright status
The film was copyrighted under registration LP2200 1 January 1953. That registration entry also shows "in notice: 1952", meaning that is the year in the copyright notice on the film. The copyright was renewed under RE105899 dated 1 September 1981. However, according to copyright law, when the "in notice" year is earlier than the calendar year of the official registration, the copyright term begins in the earlier year (1952 in this case). Therefore, for films registered for copyright in 1950 and later, the window for a valid renewal was the 28th calendar year of the original copyright term. For Road to Bali, the 28th year was 1980, which means the film had already fallen into the public domain when the copyright was renewed in 1981.

Home media
Columbia Pictures Television (in joint venture with LBS Communications through what was then Colex Enterprises) once had the television rights to this film in the 1980s, along with other Bob Hope movies from the 1940s and 1950s. This is evident in a home video release from the mid-1990s, where a CPT logo can be seen at the beginning and end of the film.

Because the film is in the public domain, there have been at least a dozen DVD releases from a variety of companies over the years. However, Fremantle now holds ancillary rights to this film (as the successor in interest to LBS Communications), and official video releases have been issued under license from Fremantle, with DVD and HD-DVD releases coming from BCI Eclipse. A Blu-Ray was released on July 5, 2017, by Kino International.

title: Road to Bali


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Szczecin Scientific Society

Szczecin Scientific Society (Polish: Szczecińskie Towarzystwo Naukowe, STN, Latin: Societas Scientarum Scecinensis) is a general scientific society in Szczecin, Poland, associating researchers of all scientific branches.

It was founded in 1956 with its headquarters in Szczecin as the main scientific society in the Western Pomerania region. Its main scope of activity is research on all aspects of (West) Pomeranian cities and regions, it organizes scientific conferences and popular lectures, publishes books and periodicals.

Main publications:
 * Prace Wydziałów STN
 * Naukowy Informator Pomorza Zachodniego (since 1971)

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

title: Szczecin Scientific Society


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Number Six (Battlestar Galactica)

Number Six is a family of fictional characters from the reimagined science fiction television series Battlestar Galactica. The character is portrayed by Canadian actress and model Tricia Helfer. Of the twelve known Cylon models, she is the sixth of the "Significant Seven". Like the others of the "Significant Seven", there are several versions of her, including Caprica-Six, Shelly Godfrey, Gina Inviere, Natalie Faust, Lida, and Sonja. She is the only model that does not use one particular human alias for all copies.

The character was named after Number Six, Patrick McGoohan's character from the show The Prisoner.

Appearance and personality traits
Throughout the show, Six is portrayed as a seductive, statuesque Cylon infiltrator. She was the first example shown of a new generation of Cylons capable of adapting to human form and emotions. Little else is known of her earlier years. She can, like other Cylons, retain memories which can be downloaded into another body if the original body is killed. Like her counterparts, her body was designed to mimic the human body at the cellular level, making her almost undetectable to testing procedures, and there are many copies of her in existence. Sixes and Eights are the Humanoid Cylon models shown most frequently. Sixes tend to have individualistic traits and are considerably susceptible to the full array of human emotions. Although extremely effective and adaptive, Sixes always show a certain disdain for their given chores and dislike being treated as expendable. Most versions of Six have platinum-blonde hair, including Caprica-Six, Shelly Godfrey and Sonja. Others such as Gina Inviere, Natalie Faust and Lida have honey-blonde hair, and one Six with black hair has been observed.

It was stated by Caprica showrunner Kevin Murphy that had the prequel series Caprica continued, it would be revealed that the Sixes' default personality was modeled after that of Zoe Graystone.

Music
Since her debut in the mini-series, a leitmotif has been used in scenes featuring Tricia Helfer as Six. This simple 8-note motif was composed by Richard Gibbs. The 18/8 figure, with a 120 BPM tempo, is divided into 2 groups of 4 notes: 1st group played on the downbeats, 2nd group played on the upbeats. Each group is separated by 2 consecutive eight-notes rests on the 8th and 9th ones, resulting in a syncopated line but still keeping a feeling of even 4 notes played at an even interval: the 2nd group of 4 played on the upbeats is also followed by 2 eight-notes rests to end the 18/8 bar. It is almost always performed on a gamelan, and can be compared to an E5 note tuned at A 440 Hz. It also plays over the introduction to each episode of the series. On the published series soundtrack, the melody is listed as The Sense of Six. 22/28/akb5.jpg - Visionneuse Zupimages

Versions
Copies of Number Six appear regularly, mostly within Cylon society. Several notable versions have had more prominent roles:

Caprica Six
At the beginning of the miniseries, a Six copy is involved in an intense affair with Dr. Gaius Baltar. Pretending to be an employee of a computer corporation, Six seduces Baltar while helping him with his work on the Colonial Defense System. After infiltrating the mainframe, Six reveals her true nature to Baltar. Just a few hours before the intended Cylon attack, she informs him that the Cylons will use the computer access code that he has given her to infiltrate the highest levels of Colonial defence systems; thereby disabling the Colonial military, and attacking the Twelve Colonies. That same day, the Cylons launch their multi-targeted attack and destroy most of humanity. Six uses her body to shield Baltar from a nuclear blast during the attack, saving his life and sacrificing hers.

In the episode "Downloaded", this Six copy is downloaded into a new body. Nicknamed "Caprica Six" by fellow Cylons, she is viewed as a hero within the Cylon civilization for her complete success in her mission to compromise the colonies' defences. She is surprised to discover she has 'emotions' and expresses a degree of regret at her actions, as evinced by her constant visions of Baltar. This "Head Baltar" acts as a critical counsellor and manipulator to her in the same way Head Six does for the real Baltar. Caprica Six is enlisted to motivate the resurrected Galactica copy of Sharon "Boomer" Valerii to move out of her apartment and reintegrate into Cylon society. However, in defiance of their superiors, both Caprica Six and Sharon opt instead to aid Sam Anders, to the extent that Caprica Six murders a Three to save him. Allowed by the Caprica Cavil, Caprica Six and Sharon then begin preaching peace with the humans as the way of God. This leads them to take over Cylon culture and to resume the hunt for humanity, leading them to the colony of New Caprica, which they take over in a bloodless coup facilitated by Baltar, who surrenders to Caprica Six as soon as the Cylons arrive.

After the Cylon occupation of New Caprica, Caprica Six alienates the other Cylons with her desire for peaceful coexistence with humans. Her reunion with the real Baltar, however, shatters her illusions about her former pawn, as Baltar impotently allows the Cylons to bully him into enacting their oppressive tyranny upon New Caprica. The other Cylons insist Baltar must sign an execution order for 200 insurgents in response to two suicide bombings by the human resistance movement. Baltar initially refuses and Caprica Six alone objects strongly to her fellow Cylons' desire for mortal retribution. These objections resulted in her being shot in the head by fellow Cylon, Aaron Doral. Her death and an immediate threat to shoot Baltar force him to sign the order. Caprica Six is reborn and helps Baltar escape onto a Cylon Basestar when New Caprica is ultimately abandoned by its population.

Caprica Six becomes involved in a ménage à trois with Baltar and Biers after settling on the Basestar and explicitly states she loves both of them. She was also instrumental in rescuing an inexplicably sick Hera from the Basestar. She assists in Athena's download and witnesses the obvious bond between Athena and Hera. Caprica subsequently disables and then kills Boomer who threatens to throttle Hera despite Athena's anguished pleas. She leads Athena and her child to a captured Raptor and returns with them to Galactica, where she is promptly imprisoned. In this situation, she is frequently used as a source of information about and means of understanding the Cylon's motivations.

Colonel Saul Tigh begins to make more frequent stops to her cell, questioning her about what it is like to exist as a Cylon. He confronts her about being responsible for the deaths of billions and whether she feels any remorse or if she can just 'flip a switch' and shut out the pain. Caprica Six questions Tigh's reasons for the line of questioning, unaware Tigh is one of the then-unrevealed 'Final Five' Cylons. When she goads him about needing to feel pain, he turns to leave but she assaults him and bludgeons him. To her surprise, he cries and begs for more pain, but in response, she abruptly aborts her assault, shakes her head and replies he does not need any more pain. She then kisses him passionately.

Dr. Cottle later reveals Caprica Six is pregnant. It is revealed Tigh is the father of the baby. After it is revealed, Tigh is one of the Final Five, Caprica Six's relationship with Tigh changes. The significance of her pregnancy increases as the child will not be a human-Cylon hybrid but will be a pure Cylon offspring. Caprica Six begins to live with Tigh in his quarters on Galactica and the two now share a very intimate and caring relationship. However, when Ellen Tigh returns, she, Tigh, and Caprica Six fight about whom Tigh really loves, and Caprica Six loses the baby.

She joins the rescue mission for Hera and is finally proud of Baltar, something she had always wanted, and feels was the one thing missing between the two of them. They both see Head Six and Head Baltar and are shocked the other sees them. The two defend Galactica against Cylon boarders and take Hera when they find her wandering alone. Caprica Six holds a gun on Cavil during the standoff over Hera and hands him the phone when the deal is made. Later, on Earth, she and Baltar are visited one last time by Head Six and Head Baltar, who explain their destiny was to protect Hera and while God's plan is never over, their lives will be much less eventful. Caprica Six and Baltar then go off to start new lives as farmers together.

Ronald D. Moore has stated that Baltar never bothered to learn her name. In the season finale, there's a flashback scene on Caprica in which Gaius tells her "he has forgotten her name." The non-canon novelization of the miniseries by Jeffrey A. Carver suggests Caprica Six went by the name Natasi.

Head/Inner/Messenger Six
A distinct copy derived from Caprica Six residing in Baltar's head since the destruction of the colonies, "Head Six" appears as a figment of his imagination, invisible to everyone else. She suggests this phenomenon might be caused by either a computer chip implant or insanity over his guilt. When Baltar undergoes an MRI-like "brain scan", it reveals no sign of a computer chip or any other foreign object in his brain. While this briefly leads Baltar to think he has truly gone insane, he concludes this is impossible, given Six's knowledge of events unknown to him (for example, the prediction of the birth of the Human/Cylon Hybrid to Sharon Agathon while a prisoner aboard Galactica). Confronted with this in Part II of "Home", Six declares that she is neither a computer chip nor a hallucination produced by mental instability. When Baltar then asks just who or what she is, she simply replies she is "an angel of God sent here to protect you, to guide you and to love you." She repeats this claim in the episode "Torn".

This Six often appears suddenly, without warning. She often advises and gives instructions to Baltar. While she usually appears to him as part of the real world, occasionally he interacts with her in an imagined but persistent dream-like setting within his mind.

While Six can physically interact with Baltar in his imagination, it is for most of the series unclear if she is able to physically affect him in the real world — this is finally resolved in the episode "Escape Velocity", where Head Six is shown lifting Baltar from the floor to a standing position after he endured repeated blows from a Galactica marine.

This manifestation of Six in particular is extremely religious. In contrast to the colonists, and like the other Cylons, she believes in a singular god, whom she identifies as Love. She constantly attempts to convince Baltar to believe in the Cylon god, and to accept his part in God's plan or will.

Her motivations are unclear. While some of her advice appears to benefit humanity, for example, pointing out a Cylon device to Baltar on Galactica and helping him build a Cylon detector, it more often serves only Baltar's needs, and she expresses enjoyment over what she considers the inevitable extinction of the human race, constantly saying humanity is naturally violent and would have destroyed itself without the Cylons' intervention.

Head Six appears to be somehow related to Caprica Six, which is the Six model who seduced Baltar on the planet Caprica and encouraged him to give her access to the Colonial Defense mainframe. This belief is supported by the fact that Caprica Six has her own Head Baltar, implying some sort of transcendental connection between those two specific characters. Nonetheless, once the audience is re-introduced to Caprica Six, it becomes clear that something more unusual is going on since Caprica Six and Baltar bear little resemblance in personality to their internal counterparts.

Head Six is seen less frequently following the departure from New Caprica. In her brief appearances in the first part of season 4, Baltar begins to refer to her as an angel.

In the final episode of the series, it is made clear that, like the Starbuck Avatar, Head Six is indeed an agent of a higher power as she claims, not a chip or a delusion inside Baltar's head. She and Head Baltar are the last-seen characters in the final moment of the episode, which takes place 150,000 years after the rest of the series. Their role as angel-like beings was to guide Baltar and Caprica Six in protecting Hera, and once that task is done, they leave them alone. She and Head Baltar speculate on whether the cycle will continue (recalling the theme of "all of this has happened before and all of this will happen again"); Head Six reveals that her excitement over humanity's potential extinction was a ruse and states her belief that the cycle has finally been broken.

Although the name is not used by characters in the context of the story, Executive Producer Ronald D. Moore revealed in his official SciFi BSG podcasts "Head Six" is the designation given to the character in scripts and production documents. In discussions of the final episode, Moore also calls this version Inner Six who, along with Inner Baltar, are "... messenger(s) of a higher power", reinforcing the variations "Head Six", "Inner Six" and "Messenger Six" (or Head/Inner/Messenger Baltar) used by fans to describe these characters.

During the Season 2 episode "Home", Gaius Baltar refers to Head Six as "Sara" when in the holding cell designed for Sharon Valerii earlier in the season. Whether this was an unauthorized ad-lib by the actor or perhaps it was what he calls her is unclear as she is never referred to by name again

Shelly Godfrey
In the episode "Six Degrees of Separation", a Number Six in the fleet using the name "Shelly Godfrey" appears. Godfrey attempts to frame Baltar for betraying the human race with supposed photographic evidence. In addition, she attempts to seduce Commander Adama. She disappears abruptly after her "photographic evidence" is proven to be fake. This leads the people of the fleet to conclude she was a Cylon agent trying to discredit Dr Baltar because of his Cylon detector research. Baltar's popularity increases as a result. Felix Gaeta notes that once the photo was resolved, identifying it as a fake was almost too easy, "like she wanted to be found out." As her appearance coincided with the temporary disappearance of Head Six, it is often wondered (and indeed voiced by Baltar himself) whether she was a physical manifestation of Head Six posing in a dual identity.

The episode does cause the audience (and Baltar) to think Shelly Godfrey is related to Head Six, however this is demonstrated to be a deliberate red herring in subsequent episodes of Battlestar Galactica. The telemovie Battlestar Galactica: The Plan reveals that Godfrey is indeed an actual Six. After the photo was discovered to be fake, the John Cavil (a Number One model) onboard Galactica who was coordinating Cylon efforts made her enter an airlock and be killed so she could download and give Galactica's coordinates to the Cylon fleet. Another Six donned a wig and clothing identical to Godfrey's in order to confuse the guards and allow Godfrey to get away from them. In the hallway, Cavil intimates that Godfrey has failed to produce convincing fake evidence because she is attracted to Baltar, and her statement that Baltar is "a brilliant man" who helped them so much on Caprica supports this, despite her protestation that Cavil should have seen her with him because "I was brutal with him. I pushed him." Later, on Cavil's bed, the other Six also notes her sister's complete destruction of the Sixes' cover and her utter failure to discredit Baltar and "his dreamy hair".

Gina Inviere
In the episode "Pegasus" and the telemovie Battlestar Galactica: Razor, it is revealed a copy of Six had hidden aboard the Pegasus, posing as a civilian network administrator and using the name Gina Inviere (supposedly Old Gemenese for "resurrection"; in reality, înviere is Romanian for "resurrection". ) This Number Six gains the confidence of Rear Admiral Helena Cain, with whom she has a romantic relationship, and then-Lieutenant Kendra Shaw, who gives Gina the administrator codes for the Pegasus mainframe. Gina uses Shaw's password in order to disable the Pegasus during a Cylon attack, enabling the ship to be boarded by centurions. Shaw sees another Six with the centurions thereby exposing Gina as a Cylon. Gina manages to get her hands on a gun, but hesitates to shoot Cain, indicating that Gina's relationship with Cain was not an act. Gina's hesitation enables Shaw to knock her unconscious before Gina can make a decision. Cain orders her former lover's imprisonment, condemning her as a thing, and allows Gina to be subjected to torture and gang rape by members of the Pegasus' crew. By the time of the events of "Pegasus", Gina appears to be catatonic from the severe trauma of her abuse.

In "Pegasus", Baltar treats Gina's injuries and transfers his love of Caprica Six to her, causing Gina to finally start responding. In the two-part episode "Resurrection Ship," Gina comes out of her catatonic state completely and is so traumatized from her ordeal that she wishes to truly die. To this end, Gina supplies Baltar with vital intelligence on the Cylon Resurrection Ship so that the fleet can destroy it. Once the Resurrection Ship has been destroyed, Gina kills her guard and begs Baltar to kill her. Instead, Baltar releases Gina to seek justice for her torment. Gina corners her former lover, Admiral Cain, in her quarters and kills her in revenge before escaping from the Pegasus. She then joins a group of Cylon sympathizers, who want humanity to make peace with the Cylons. The extensive sexual abuse she has suffered renders Gina psychologically unable to be intimate with Baltar until shortly before her death.

In the finale of the second season, Gina detonates a nuclear weapon she had received from Dr Baltar, killing herself, signalling the location of the human settlement to the Cylons, and destroying the Cloud 9 and several other ships in the human fleet. While the destruction of the Resurrection Ship in Resurrection Ship Part 2 initially indicates Gina's death to be final, The Plan reveals that there was another Resurrection Ship in range shortly before Gina's death as stated by the fleet's copy of John Cavil. However, Gina does not appear to have been downloaded with the Cylons only finding New Caprica by way of detecting the signature of her nuclear detonation a year later. Presumably, this second Resurrection Ship was out of range as the Cylons had chosen to stop chasing the fleet at the time due to the efforts of Boomer and Caprica Six.

Gina has honey-blonde hair, actress Tricia Helfer's natural hair colour, instead of the platinum-blonde of most Sixes. Like Shelly Godfrey, she sometimes wears glasses.

Series creator Ron Moore says in the DVD commentary for "Pegasus", the name "Gina" is directly meant as a jab against critics of the reimagined series who use the derogatory term "GINO" (Galactica In Name Only) to describe it.

Gina appears briefly in one of Boomer's flashbacks in The Plan. Gina helped prep Boomer for her upcoming transition to a sleeper agent and provided IT support for her cover identity.

Natalie Faust
An assertive and authoritative version of Number Six named Natalie appears in the episode "Six of One". Following a vote to lobotomize Cylon raiders in which a single copy of Number Eight (Boomer) gave the swing vote in favour of lobotomy by siding against the rest of her model, Natalie, along with the remaining Number Sixes, Eights and Twos, leads a coup against the other models. They decide to give sentience to the Cylon Centurions, making them self-aware and capable of feeling for the first time. The other models, led by Cavil, are dumbstruck by this decision and attempt to destroy Natalie and her followers permanently in the episode titled "The Ties That Bind", luring them into an ambush by pretending to acquiesce to their demands that they stop lobotomizing the Raiders, unbox the entire Number Three model, and use the knowledge gained by the Three known as D'Anna at the Temple of Five to identify and join with the lost "Final Five" humanoid Cylon models. The Resurrection Ship is jumped out of range during this ambush so that the deaths suffered by the rebels are permanent.

A Number Two from their damaged Baseship, Leoben Conoy, takes a Heavy Raider and manages to make contact with Lieutenant Kara "Starbuck" Thrace and her crew on the Demetrius, a sewage processing vessel repurposed for long-range exploration in the episode "The Road Less Traveled". Conoy offers an alliance between the rebel Cylons and the Colonials. In the episode "Faith", Conoy, Thrace and some of the Demetrius crew take a Colonial Raptor to the rebel Basestar and make repairs, allowing the Baseship – the Demetrius following behind – to jump to the Colonial fleet in the episode "Guess What's Coming to Dinner", in which Natalie makes a deal with Rear Admiral Adama on the Galactica to reveal the location of the main Cylon Resurrection Hub and help the Colonials destroy it, ending resurrection for the enemy Cylons, as long as she can bring the "Final Five" with her off the Galactica after Earth is located. And so, a tenuous alliance is formed. Natalie is on her way to speak to Adama again when she encounters the human-Cylon hybrid infant Hera Agathon in the corridor and bends down to talk to her. Natalie is then confronted and shot by Hera's mother Sharon "Athena" Agathon, the Number Eight who left the Cylons, married Karl "Helo" Agathon and joined Galactica's crew, because of a dream Athena had in which a Number Six took her daughter. Somehow the rebel Basestar's hybrid detects her shooting and panics, causing the ship to jump away. Near the beginning of the episode "Sine Qua Non", Natalie is taken to the Galactica infirmary for treatment where she dies of her injuries. As Natalie dies, she projects a forest scene, a favourite projection of Number Six model. Doctor Cottle also holds Natalie's hand as she dies in an act of kindness for the mortally wounded woman. With no Resurrection Ship in range, her death is permanent.

Her surname is not used onscreen, and her first name is only used once, by a Number Eight in the episode "The Hub", who notes that the Hybrid of their Baseship has reacted to Natalie being killed or injured on Galactica. Nor is her backstory elaborated on. Michael Angeli's original version of the script for the episode "Six of One" has John Cavil refer to Natalie Faust by her full name and mention that she infiltrated Gemenon posing as a political reform advocate. During the Cylon attack, she was responsible for relaying the coordinates of all the Gemenese leaders.

Sonja
A copy named Sonja who has been elected to represent the Cylons in the Quorum. Sonja has taken over Natalie's place as the leader of the rebel faction of Cylons. Sonja's appearance is that of a typical Six. In her first act as the cyclon leader, she requests that Roslin and Adama hand over Boomer in order to try her for treason against the Cylons. She is later seen at a meeting of the new Quorum of Ships' Captains, representing the rebel Basestar, as they discuss the impending transfer of Admiral William Adama's command from the ageing Galactica to the Basestar. Before the operation to rescue Hera, Sonja and Ellen Tigh are seen discussing the whereabouts of The Colony the place they knew Boomer was going to take Hera to. Sonja revealed that Number One, John Cavil had moved The Colony from its original location 5 months prior shortly before the Cylon civil war took place. And in the series finale, she is seen along with a two and an eight discussing their plan with Adama on how to populate the new Earth saying that they'll stay alongside the humans in their new home until their own deaths come.

"Tough Six"
A brunette Six with blonde streaks appears in Battlestar Galactica: The Plan. She had been a prostitute on the Colonies, and eventually drunkenly mocks John Cavil's schemes while sharing a bed with him, following the not-quite-fatal shooting of Commander Adama by Cylon sleeper agent Boomer and the suicide of their fellow infiltrator Simon O'Neill, a Number Four. She points out that most of the Cylons' failings, including those mentioned above, along with Number Two Leoben Conoy's interaction with Lieutenant Kara "Starbuck" Thrace and Shelly Godfrey's failure to ruin Gaius Baltar, have been due to love, and leaves the room telling Cavil that "you can't declare war on love". She typically wears chains-and-leather clothing and has been seen to chew bubblegum during a Cylon meeting in Cavil's chapel, sitting next to Godfrey, who has platinum hair and wears glasses and a sensible blouse and skirt. Cavil notes that the Sixes have done a good job of distinguishing themselves and praises Godfrey for it, in contrast to the Number Five/Aaron Doral copy who has individuated himself from the copy abandoned on Ragnar only by wearing a teal suit instead of a burgundy one, in the same cut.

This Six, not given a name onscreen but referred to as "Tough Six" in the shooting script, was instrumental in the mysterious disappearance of Ms Shelly Godfrey from Galactica, using a wig and a change of clothes to imitate Godfrey's appearance and confuse the marines who were tailing her, making them think that Godfrey had gotten further ahead of them when the real Godfrey was pulled into another corridor by John Cavil. Godfrey and Cavil then slipped away and Cavil airlocked Godfrey, while the marines were chasing Tough Six, who evaded them. The ultimate fate of Tough Six is unknown, whether she was captured and executed or remained in the fleet until New Caprica, as she is not seen in The Plan following her exit from Cavil's bedroom and did not appear in regular episodes.

Other versions
Number Sixes have been shown in a variety of roles, including repairing the Galactica ("Deadlock" and "Someone to Watch Over Me"), hospital administration ("The Farm"), serving as Heavy Raider pilots, and as rebel Cylon leaders (Natalie and Sonja). Other versions include:

 * A copy in a red tunic, who arrives aboard the Armistice Station and seduces the Colonial representative (otherwise known as Boxey's father) shortly before the station is destroyed. Similar copies are part of the group that board Ragnar Anchorage to rescue and debrief Aaron Doral.
 * A copy, wearing a white overcoat, who captures and kisses Helo before being shot by Sharon Agathon. Another white coat-wearing Six observes their escape, and another (possibly one of these two) later leads Centurion troops in pursuit of them. In "Razor", a copy in a white coat is the one seen and shot by Kendra Shaw during a Cylon boarding raid on the Pegasus. In "The Plan", another white coat wearing copy appears to be overseeing the Centurions pinning down the Colonial forces during the events of "Lay Down Your Burdens." This copy communicates the Cylon-Colonial truce to the Caprica copy of John Cavil who agrees to let the human fleet know despite his model voting against it.
 * A copy of Six in a black suit, who acts as "overseer" to the breeding experiment concerning Helo and Sharon Agathon. This copy or a similar one is killed by Starbuck in the Delphi Museum while retrieving the Arrow of Apollo. The copy of number Eight that would eventually become known as Sharon Agathon warned that she would soon download into a new body and lead the Cylons to their position. A copy of this type is also killed by Starbuck while escaping the Cylon farm
 * Copies, clad in gold tunics, who act as "nurses" or "midwives", helping Caprica Six and Boomer through their respective resurrections.
 * Two copies that take part in a meeting aboard Colonial One on New Caprica, and agree with the proposal to execute over 200 human detainees. They vote on behalf of the majority of the Number Six model (Caprica Six dissents).
 * A raven-haired copy, dying from a disease aboard a basestar, whom Baltar strangles after she hysterically accuses him of deliberately leading them to the disease-carrying beacon (perhaps in an effort to get him to kill her).
 * Copies from the infected basestar that are brought aboard Galactica. Along with the other captured infected Cylons, they are suffocated by Helo before the Galactica enters Cylon resurrection range to prevent the Colonials from committing genocide.
 * A copy from "Faith" aboard the damaged Basestar. She recognizes crew-member Jean Barolay as a resistance fighter from New Caprica who gagged her, threw her into a septic tank and watched her drown, an event that has left her emotionally traumatized. After Barolay tells her she'd be happy to do it again, the copy attacks and kills her. Shortly afterwards she is shot and killed by another Six copy, Natalie who does it to give the Colonials "justice" since there is no Resurrection Ship in range.
 * A copy named Lida, with long brown hair, who comforts Gaius Baltar in Blood on the Scales.
 * Multiple Sixes are seen as pilots of Cylon Heavy Raiders working alongside Galactica pilots in Faith and Someone to Watch Over Me. They use "Six" as their de facto surname.
 * The "Cylon Prototype" voiced by Helfer in the last episode of Blood and Chrome.

Casting
Tricia Helfer was cast after a strong audition, despite some initial concerns over her lack of acting experience. Director Michael Rymer explains: "It wasn't just the way she looked; she just has this vibe about her. Nobody gets how hard that role is, to bring the depth, the vulnerability and the mystery to essentially a robot chick."

Among the other actresses who auditioned for the role were Melinda Clarke and Leah Cairns, who went on to play Racetrack.

Reception
James Maddox of Game Rant wrote, "Tricia Helfer's seductive Number Six came to define the humanoid Cylon in pop culture and is in many ways the most iconic element of the franchise as a whole."

In 2006, Tricia Helfer was awarded the Leo Award for "Best Lead Performance by a Female in a Dramatic Series" for her role as Number Six in the episode "Pegasus".

title: Number Six (Battlestar Galactica)


text:
USS Harder

Two ships of the United States Navy have borne the name USS Harder, named in honor of the harder, a fish of the mullet family found off South Africa.

 * USS Harder (SS-257), was a Gato-class submarine submarine, commissioned in 1942 and sunk in 1944. The vessel's wreck was found in 2024.
 * USS Harder (SS-568), was a Tang-class submarine submarine, commissioned in 1952 and struck in 1974

title: USS Harder


text:
Act (drama)

An act is a major division of a theatre work, including a play, film, opera, ballet, or musical theatre, consisting of one or more scenes. The term can either refer to a conscious division placed within a work by a playwright (usually itself made up of multiple scenes) or a unit of analysis for dividing a dramatic work into sequences. The word act can also be used for major sections of other entertainment, such as variety shows, television programs, music hall performances, cabaret, and literature.

Acts and scenes
An act is a part of a play defined by elements such as rising action, climax, and resolution. A scene normally represents actions happening in one place at one time and is marked off from the next scene by a curtain, a blackout, or a brief emptying of the stage.

The elements that create the plot of a play and divide it into acts include the exposition, which sets up the rest of the story by giving basic information. Another element is the inciting incident, which starts all the action that will follow. Going along with the inciting incident, the major dramatic question is formed, which holds the rest of the play. The majority of the play is made up of complications, which change the action. These complications lead to the crisis, which is the final plot point. At this point, the major dramatic question is usually answered. Finally, the play culminates with a resolution, or the dénouement, where everything comes together and the situation has been resolved. These elements of the plot are the main things used to divide a play into acts and sometimes scenes. In some scenarios, the play may not end with a resolved situation; it may leave the audience on a peak and have a sequel to it, otherwise known as a cliffhanger.

Though there is no limit to the number of acts in a dramatic work, some may have been derived from different interpretations of Aristotle's Poetics, in which he stresses the primacy of plot over character and "an orderly arrangement of parts", and others may have been derived from Freytag's Pyramid.

History
Roman theatre was the first to divide plays into a number of acts separated by intervals. Acts may be further divided into scenes. In classical theater, each regrouping between the entrances and exits of actors is a scene, while later use describes a change of setting.

Modern plays often have only one level of structure, which can be referred to as either scenes or acts at the whim of the writer, and some writers dispense with firm divisions entirely. Successive scenes are normally separated from each other in either time or place, but the division between acts has more to do with the overall dramatic structure of the piece. The end of an act often coincides with one or more characters making an important decision or having an important decision to make, a decision that has a profound impact on the story being told.

Contemporary theatre, in line with screenwriting and novel forms, tends towards a three-act structure. Many operettas and most musicals are divided into just two acts, so, in practice, the intermission is seen as dividing them, and the word act comes to be used for the two-halves of a show whether or not the script divides it into acts.

One-act plays
A one-act play is a short drama that consists of only one act; the phrase is not used to describe a full-length play that does not utilize act-divisions. Unlike other plays which usually are published one play per book, one-act plays are often published in anthologies or collections.

Three-act plays
In a three-act play, each act usually has a different mood. In the most commonly used structure, the first act has a lot of introductory elements (that is, who, what, when, where, why, and how); the second act is usually the darkest, with the antagonists having a greater compass; and the third act has a resolution (dénouement), often with the protagonists prevailing.
 * Act one: The conflict of the story is discovered. The exposition, the introduction of the protagonist and other characters that the protagonist meets, take place, as well as the dramatic premise and inciting incident (the incident that sets the events of the story in motion) occurs approximately halfway through the first act.
 * Act two: The main character encounters an obstacle that prevents the character from achieving his or her dramatic need. This is known as the complication. The main character reaches his or her lowest point, seems farthest from fulfilling the dramatic need or objective, and seems to have no way to succeed.
 * Act three: The climax occurs as well as the resolution (dénouement), a brief period of calm at the end of a play where a state of equilibrium returns.

Five-act plays
Until the 18th century, most plays were divided into five acts. The work of William Shakespeare, for example, generally adheres to a five-act structure. This format is known as the five-act play, and was famously analyzed by Gustav Freytag in Die Technik des Dramas (Dramatic techniques). The five acts played specific functions in the overall structure of the play similar to that of Freytag's pyramid.

 * Act One: Exposition and inciting incident
 * Act Two: First major turning point and progressive complications
 * Act Three: Rising action and climax
 * Act Four: Falling action
 * Act Five: Resolution (For tragedies, a catastrophe is added before it.)

A similar five-part structure is also used in traditional Japanese Noh drama, particularly by Zeami Motokiyo. Zeami, in his work Sandō (The Three Paths), originally described a five-part (five dan) Noh play as the ideal form. It begins slowly and auspiciously in the first part (jo), building up the drama and tension in the second, third, and fourth parts (ha), with the greatest climax in the third dan, and rapidly concluding with a return to peace and auspiciousness in the fifth dan (kyū).

Other media
As part of a television program, each individual act can be separated by commercials.

In film, a number of scenes grouped together create a story. The three-act structure is commonly referred to in film adaptations of theatrical plays.

title: Act (drama)


text:
Rural Municipality of Aberdeen No. 373

The Rural Municipality of Aberdeen No. 373 (2021 population: 1,461) is a Rural Municipality (RM) in the Canadian province of Saskatchewan within Census Division No. 15 and SARM Division No. 5. It is located on the South Saskatchewan River.

History
The RM of Aberdeen No. 373 incorporated as a Rural Municipality on December 13, 1909.

There is one historical building located within the Rural Municipality, the St. Paul's Bergheim Evangelical Lutheran Church constructed in 1919 by early immigrants from Germany. The church is located on a 12-hectare parcel of land on Bergheim Road. The church is still in use.
 * Heritage properties

Communities and localities
The following Urban Municipalities are surrounded by the RM.

 * Towns
 * Aberdeen

The following unincorporated communities are within the RM.

 * Localities
 * Clarkboro
 * Edenburg
 * Laniwci
 * Strawberry Hills
 * Strawberry Ridge
 * Cherry Hills
 * Valley View Heights
 * Mission Ridge
 * Bergheim Estates
 * The Meadows
 * Prairie Rose Estates

Demographics
In the 2021 Census of Population conducted by Statistics Canada, the RM of Aberdeen No. 373 had a population of $1,461$ living in $487$ of its $528$ total private dwellings, a change of NaN% from its 2016 population of $1,379$. With a land area of 671.82 km2, it had a population density of in 2021.

In the 2016 Census of Population, the RM of Aberdeen No. 373 recorded a population of living in  of its  total private dwellings, a NaN% change from its 2011 population of. With a land area of 673.42 km2, it had a population density of in 2016.

Economy
Major employers in the RM include Agrium Canada, AGT Foods pulse crop facility, Parrish & Heimbecker Ltd., and the Hold-on Industries manufacturing facility. The area's economy is dominated by agriculture.

Government
The RM of Aberdeen No. 373 is governed by an elected Municipal Council and an appointed Administrator that meets on the second Thursday of every month. The Reeve of the RM is Martin Bettker while its Administrator is Bridgette Shwytky. The RM's Office is located in the town of Aberdeen.

Transportation

 * Rail
 * CNR—Winnipeg-Edmonton Main Line—serves Vonda, Aberdeen, Clarkboro, Warman.

As the RM is responsible for snow removal, upkeep and repair in conjunction with the provincial highway department, these are the main Saskatchewan highways served by Aberdeen No. 373.
 * Roads
 * Highway 27—serves Vonda to Aberdeen
 * Highway 41—serves Alvena to Saskatoon
 * Highway 784—Highway 4 to Highway 41 near Aberdeen
 * Highway 785—Highway 12 to Highway 41 near Aberdeen

title: Rural Municipality of Aberdeen No. 373