title: Barton Fink

text: In 1989, film-makers Joel and Ethan Coen began writing the script for a film eventually released as "Miller's Crossing". The many threads of the story became complicated, and after four months they found themselves lost in the process. Although biographers and critics later referred to it as writer's block, the Coen brothers rejected this description. "It's not really the case that we were suffering from writer's block," Joel said in a 1991 interview, "but our working speed had slowed, and we were eager to get a certain distance from "Miller's Crossing"." They went from Los Angeles to New York and began work on a different project.


title: Barton Fink

text: In three weeks, the Coens wrote a script with a title role written specifically for actor John Turturro, with whom they'd been working on "Miller's Crossing". The new film, "Barton Fink", was set in a large, seemingly abandoned hotel. This setting, which they named the "Hotel Earle", was a driving force behind the story and mood of the new project. While filming their 1984 film "Blood Simple" in Austin, Texas, the Coens had seen a hotel which made a significant impression: "We thought, 'Wow, Motel Hell.' You know, being condemned to live in the weirdest hotel in the world."


title: Barton Fink

text: The writing process for "Barton Fink" was smooth, they said, suggesting that the relief of being away from "Miller's Crossing" may have been a catalyst. They also felt satisfied with the overall shape of the story, which helped them move quickly through the composition. "Certain films come entirely in one's head; we just sort of burped out "Barton Fink"." While writing, the Coens created a second leading role with another actor in mind: John Goodman, who had appeared in their 1987 comedy "Raising Arizona". His new character, Charlie, was Barton's next-door neighbor in the cavernous hotel. Even before writing, the Coens knew how the story would end, and wrote Charlie's final speech at the start of the writing process.


title: Barton Fink

text: The script served its diversionary purpose, and the Coens put it aside: ""Barton Fink" sort of washed out our brain and we were able to go back and finish "Miller's Crossing"." Once production of the first film was finished, the Coens began to recruit staff to film "Barton Fink". Turturro looked forward to playing the lead role, and spent a month with the Coens in Los Angeles to coordinate views on the project: "I felt I could bring something more human to Barton. Joel and Ethan allowed me a certain contribution. I tried to go a little further than they expected."


title: Barton Fink

text: As they designed detailed storyboards for "Barton Fink", the Coens began looking for a new cinematographer, since their associate Barry Sonnenfeld – who had filmed their first three films – was occupied with his own directorial debut, "The Addams Family". The Coens had been impressed with the work of English cinematographer Roger Deakins, particularly the interior scenes of the 1988 film "Stormy Monday". After screening other films he had worked on (including "Sid and Nancy" and "Pascali's Island"), they sent a script to Deakins and invited him to join the project. His agent advised against working with the Coens, but Deakins met with them at a café in Notting Hill and they soon began working together on "Barton Fink".


title: Barton Fink

text: Filming began in June 1990 and took eight weeks (a third less time than required by "Miller's Crossing"), and the estimated final budget for the film was US$9 million. The Coens worked well with Deakins, and they easily translated their ideas for each scene onto film. "There was only one moment we surprised him," Joel Coen recalled later. An extended scene called for a tracking shot out of the bedroom and into a sink drain "plug hole" in the adjacent bathroom as a symbol of sexual intercourse. "The shot was a lot of fun and we had a great time working out how to do it," Joel said. "After that, every time we asked Roger to do something difficult, he would raise an eyebrow and say, 'Don't be having me track down any plug-holes now.'"


title: Barton Fink

text: Three weeks of filming were spent in the Hotel Earle, a set created by art director Dennis Gassner. The film's climax required a huge spreading fire in the hotel's hallway, which the Coens originally planned to add digitally in post-production. When they decided to use real flames, however, the crew built a large alternative set in an abandoned aircraft hangar at Long Beach. A series of gas jets were installed behind the hallway, and the wallpaper was perforated for easy penetration. As Goodman ran through the hallway, a man on an overhead catwalk opened each jet, giving the impression of a fire racing ahead of Charlie. Each take required a rebuild of the apparatus, and a second hallway (sans fire) stood ready nearby for filming pick-up shots between takes. The final scene was shot near Zuma Beach, as was the image of a wave crashing against a rock.


title: Barton Fink

text: The Coens edited the film themselves, as is their custom. "We prefer a hands-on approach," Joel explained in 1996, "rather than sitting next to someone and telling them what to cut." Because of rules for membership in film production guilds, they are required to use a pseudonym; "Roderick Jaynes" is credited with editing "Barton Fink". Only a few filmed scenes were removed from the final cut, including a transition scene to show Barton's movement from New York to Hollywood. (In the film, this is shown enigmatically with a wave crashing against a rock.) Several scenes representing work in Hollywood studios were also filmed, but edited out because they were "too conventional".


title: Barton Fink

text: There is a sharp contrast between Fink's living quarters and the polished, pristine environs of Hollywood, especially the home of Jack Lipnick. The spooky, inexplicably empty feel of the Hotel Earle was central to the Coens' conception of the film. "We wanted an art deco stylization", Joel explained in a 1991 interview, "and a place that was falling into ruin after having seen better days". Barton's room is sparsely furnished with two large windows facing another building. The Coens later described the hotel as a "ghost ship floating adrift, where you notice signs of the presence of other passengers, without ever laying eyes on any". In the film, residents' shoes are an indication of this unseen presence; another rare sign of other inhabitants is the sound from adjacent rooms. Joel said: "You can imagine it peopled by failed commercial travelers, with pathetic sex lives, who cry alone in their rooms".


title: Barton Fink

text: Heat and moisture are other important elements of the setting. The wallpaper in Barton's room peels and droops; Charlie experiences the same problem and guesses heat is the cause. The Coens used green and yellow colors liberally in designing the hotel "to suggest an aura of putrefaction".


title: Barton Fink

text: The atmosphere of the hotel was meant to connect with the character of Charlie. As Joel explained: "Our intention, moreover, was that the hotel function as an exteriorization of the character played by John Goodman. The sweat drips off his forehead like the paper peels off the walls. At the end, when Goodman says that he is a prisoner of his own mental state, that this is like some kind of hell, it was necessary for the hotel to have already suggested something infernal." The peeling wallpaper and the paste which seeps through it also mirror Charlie's chronic ear infection and the resultant pus.


title: Barton Fink

text: When Barton first arrives at the Hotel Earle, he is asked by the friendly bellhop Chet (Steve Buscemi) if he is "a trans or a res" – transient or resident. Barton explains that he isn't sure but will be staying "indefinitely". The dichotomy between permanent inhabitants and guests reappears several times, notably in the hotel's motto, "A day or a lifetime", which Barton notices on the room's stationery. This idea returns at the end of the film, when Charlie describes Barton as "a tourist with a typewriter". His ability to leave the Earle (while Charlie remains) is presented by critic Erica Rowell as evidence that Barton's story represents the process of writing itself. Barton, she says, represents an author who is able to leave a story, while characters like Charlie cannot.


title: Barton Fink

text: In contrast, the offices of Capitol Pictures and Lipnick's house are pristine, lavishly decorated, and extremely comfortable. The company's rooms are bathed in sunlight, and Ben Geisler's office faces a lush array of flora. Barton meets Lipnick in one scene beside an enormous, spotless swimming pool. This echoes his position as studio head, as he explains: "...you can't always be honest, not with the sharks swimming around this town ... if I'd been totally honest, I wouldn't be within a mile of this pool – unless I was cleaning it." In his office, Lipnick showcases another trophy of his power: statues of Atlas, the Titan of Greek mythology who declared war on the gods of Mount Olympus and was severely punished.


title: Barton Fink

text: Barton watches dailies from another wrestling film being made by Capitol Pictures; the date on the clapperboard is December 9, two days after the attack on Pearl Harbor. Later, when Barton celebrates the completed script by dancing at a USO show, he is surrounded by soldiers. In Lipnick's next appearance, he wears a colonel's uniform, which is really a costume from his company. Lipnick has not actually entered the military but declares himself ready to fight the "little yellow bastards". Originally, this historical moment just after the United States entered World War II was to have a significant impact on the Hotel Earle. As the Coens explained: "[W]e were thinking of a hotel where the lodgers were old people, the insane, the physically handicapped, because all the others had left for the war. The further the script was developed, the more this theme got left behind, but it had led us, in the beginning, to settle on that period."


title: Barton Fink

text: The picture in Barton's room of a woman at the beach is a central focus for both the character and camera. He examines it frequently while at his desk, and after finding Audrey's corpse in his bed he goes to stand near it. The image is repeated at the end of the film, when he meets an identical-looking woman at an identical-looking beach, who strikes an identical pose. After complimenting her beauty, he asks her: "Are you in pictures?" She blushes and replies: "Don't be silly."


title: Barton Fink

text: The Coens decided early in the writing process to include the picture as a key element in the room. "Our intention," Joel explained later, "was that the room would have very little decoration, that the walls would be bare and that the windows would offer no view of any particular interest. In fact, we wanted the only opening on the exterior world to be this picture. It seemed important to us to create a feeling of isolation."


title: Barton Fink

text: Later in the film, Barton places into the frame a small picture of Charlie, dressed in a fine suit and holding a briefcase. The juxtaposition of his neighbor in the uniform of an insurance salesman and the escapist image of the woman on the beach leads to a confusion of reality and fantasy for Barton. Critic Michael Dunne notes: "[V]iewers can only wonder how 'real' Charlie is. ... In the film's final shot ... viewers must wonder how 'real' [the woman] is. The question leads to others: How real is Fink? Lipnick? Audrey? Mayhew? How real are films anyway?"


title: Barton Fink

text: The picture's significance has been the subject of broad speculation. "The Washington Post" reviewer Desson Howe said that despite its emotional impact, the final scene "feels more like a punchline for punchline's sake, a trumped-up coda". In her book-length analysis of the Coen brothers' films, Rowell suggests that Barton's fixation on the picture is ironic, considering its low culture status and his own pretensions toward high culture (speeches to the contrary notwithstanding). She further notes that the camera focuses on Barton himself as much as the picture while he gazes at it. At one point, the camera moves past Barton to fill the frame with the woman on the beach. This tension between objective and subjective points of view appears again at the end of the film, when Barton finds himself – in a sense – inside the picture.


title: Barton Fink

text: Critic M. Keith Booker calls the final scene an "enigmatic comment on representation and the relationship between art and reality". He suggests that the identical images point to the absurdity of art which reflects life directly. The film transposes the woman directly from art to reality, prompting confusion in the viewer; Booker asserts that such a literal depiction therefore leads inevitably to uncertainty.


title: Barton Fink

text: Many critics noted that "The Law of Non-Contradiction", an episode of the Coen-produced TV series "Fargo" based on their eponymous 1996 film, features a reference to the picture, as the episode's main character Gloria sits at the beach in shot and position similar to the picture's. The episode's themes were also compared to "Barton Fink".


title: Barton Fink

text: The Coens are known for making films that defy simple classification. Although they refer to their first film, "Blood Simple" (1984), as a relatively straightforward example of detective fiction, the Coens wrote their next script, "Raising Arizona" (1987), without trying to fit a particular genre. They decided to write a comedy but intentionally added dark elements to produce what Ethan calls "a pretty savage film". Their third film, "Miller's Crossing" (1990), reversed this order, mixing bits of comedy into a crime film. Yet it also subverts single-genre identity by using conventions from melodrama, love stories, and political satire.


title: Barton Fink

text: This trend of mixing genres continued and intensified with "Barton Fink" (1991); the Coens insist the film "does not belong to any genre". Ethan has described it as "a buddy movie for the '90s". It contains elements of comedy, film noir, and horror, but other film categories are present. Actor Turturro referred to it as a coming of age story, while literature professor and film analyst R. Barton Palmer calls it a "Künstlerroman", highlighting the importance of the main character's evolution as a writer. Critic Donald Lyons describes the film as "a retro-surrealist vision".


title: Barton Fink

text: Because it crosses genres, fragments the characters' experiences, and resists straightforward narrative resolution, "Barton Fink" is often considered an example of postmodernist film. In his book "Postmodern Hollywood", Booker says the film renders the past with an impressionist technique, not a precise accuracy. This technique, he notes, is "typical of postmodern film, which views the past not as the prehistory of the present but as a warehouse of images to be raided for material". In his analysis of the Coens' films, Palmer calls "Barton Fink" a "postmodern pastiche" which closely examines how past eras have represented themselves. He compares it to "The Hours" (2002), a film about Virginia Woolf and two women who read her work. He asserts that both films, far from rejecting the importance of the past, add to our understanding of it. He quotes literary theorist Linda Hutcheon: the kind of postmodernism exhibited in these films "does not deny the "existence" of the past; it does question whether we can ever "know" that past other than through its textualizing remains".


title: Barton Fink

text: Certain elements in "Barton Fink" highlight the veneer of postmodernism: the writer is unable to resolve his modernist focus on high culture with the studio's desire to create formulaic high-profit films; the resulting collision produces a fractured story arc emblematic of postmodernism. The Coens' cinematic style is another example; when Barton and Audrey begin making love, the camera pans away to the bathroom, then moves toward the sink and down its drain. Rowell calls this a "postmodern update" of the notorious sexually suggestive image of a train entering a tunnel, used by director Alfred Hitchcock in his film "North by Northwest" (1959).


title: Barton Fink

text: "Barton Fink" uses several stylistic conventions to accentuate the story's mood and give visual emphasis to particular themes. For example, the opening credits roll over the Hotel Earle's wallpaper, as the camera moves downward. This motion is repeated many times in the film, especially pursuant to Barton's claim that his job is to "plumb the depths" while writing. His first experiences in the Hotel Earle continue this trope; the bellhop Chet emerges from beneath the floor, carrying a shoe (which he has presumably been polishing) suggesting the real activity is underground. Although Barton's floor is presumably six floors above the lobby, the interior of the elevator is shown only while it is descending. These elements – combined with many dramatic pauses, surreal dialogue, and implied threats of violence – create an atmosphere of extreme tension. The Coens explained that "the whole movie was supposed to feel like impending doom or catastrophe. And we definitely wanted it to end with an apocalyptic feeling".


title: Barton Fink

text: The style of "Barton Fink" is also evocative – and representative – of films of the 1930s and 1940s. As critic Michael Dunne points out: "Fink's heavy overcoat, his hat, his dark, drab suits come realistically out of the Thirties, but they come even more out of the films of the Thirties." The style of the Hotel Earle and atmosphere of various scenes also reflect the influence of pre-World War II film-making. Even Charlie's underwear matches that worn by his filmic hero Jack Oakie. At the same time, camera techniques used by the Coens in "Barton Fink" represent a combination of the classic with the original. Careful tracking shots and extreme close-ups distinguish the film as a product of the late 20th century.


title: Barton Fink

text: From the start, the film moves continuously between Barton's subjective view of the world and one which is objective. After the opening credits roll, the camera tilts down to Barton, watching the end of his play. Soon we see the audience from his point of view, cheering wildly for him. As he walks forward, he enters the shot and the viewer is returned to an objective point of view. This blurring of the subjective and objective returns in the final scene.


title: Barton Fink

text: The shifting point of view coincides with the film's subject matter: film-making. The film begins with the end of a play, and the story explores the process of creation. This metanarrative approach is emphasized by the camera's focus in the first scene on Barton (who is mouthing the words spoken by actors offscreen), not on the play he is watching. As Rowell says: "[T]hough we listen to one scene, we watch another. ... The separation of sound and picture shows a crucial dichotomy between two 'views' of artifice: the world created by the protagonist (his play) and the world outside it (what goes into creating a performance)".


title: Barton Fink

text: The film also employs numerous foreshadowing techniques. Signifying the probable contents of the package Charlie leaves with Barton, the word "head" appears 60 times in the original screenplay. In a grim nod to later events, Charlie describes his positive attitude toward his "job" of selling insurance: "Fire, theft and casualty are not things that only happen to other people."


title: Barton Fink

text: Much has been written about the symbolic meanings of "Barton Fink". Rowell proposes that it is "a figurative head swelling of ideas that all lead back to the artist". The proximity of the sex scene to Audrey's murder prompts Lyons to insist: "Sex in "Barton Fink" is death". Others have suggested that the second half of the film is an extended dream sequence.


title: Barton Fink

text: The Coens, however, have denied any intent to create a systematic unity from symbols in the film. "We never, ever go into our films with anything like that in mind", Joel said in a 1998 interview. "There's never anything approaching that kind of specific intellectual breakdown. It's always a bunch of instinctive things that feel right, for whatever reason". The Coens have noted their comfort with unresolved ambiguity. Ethan said in 1991: ""Barton Fink" does end up telling you what's going on to the extent that it's important to know ... What isn't crystal clear isn't intended to become crystal clear, and it's fine to leave it at that." Regarding fantasies and dream sequences, he said:


title: Barton Fink

text: The homoerotic overtones of Barton's relationship with Charlie are not unintentional. Although one detective demands to know if they had "some sick sex thing", their intimacy is presented as anything but deviant, and cloaked in conventions of mainstream sexuality. Charlie's first friendly overture toward his neighbor, for example, comes in the form of a standard pick-up line: "I'd feel better about the damned inconvenience if you'd let me buy you a drink". The wrestling scene between Barton and Charlie is also cited as an example of homoerotic affection. "We consider that a sex scene", Joel Coen said in 2001.


title: Barton Fink

text: Many of the sound effects in "Barton Fink" are laden with meaning. For example, Barton is summoned by a bell while dining in New York City; its sound is light and pleasant. By contrast, the eerie sustained bell of the Hotel Earle rings endlessly through the lobby, until Chet silences it. The nearby rooms of the hotel emit a constant chorus of guttural cries, moans, and assorted unidentifiable noises. These sounds coincide with Barton's confused mental state and punctuate Charlie's claim that "I hear everything that goes on in this dump". The applause in the first scene foreshadows the tension of Barton's move west, mixed as it is with the sound of an ocean wave crashing – an image which is shown onscreen soon thereafter.


title: Barton Fink

text: Another symbolic sound is the hum of a mosquito. Although Fink's producer insists that these parasites don't live in Los Angeles (since "mosquitos breed in swamps; this is a desert"), its distinctive sound is heard clearly as Barton watches a bug circle overhead in his hotel room. Later, he arrives at meetings with mosquito bites on his face. The insect also figures prominently into the revelation of Audrey's death; Barton slaps a mosquito feeding on her corpse and suddenly realizes she has been murdered. The high pitch of the mosquito's hum is echoed in the high strings used for the film's score. During filming, the Coens were contacted by an animal rights group who expressed concern about how mosquitoes would be treated.


title: Barton Fink

text: The score was composed by Carter Burwell, who has worked with the Coens since their first film. Unlike earlier projects, however – the Irish folk tune used for "Miller's Crossing" and an American folk song as the basis for "Raising Arizona" – Burwell wrote the music for "Barton Fink" without a specific inspiration. The score was released in 1996 on a compact disc, combined with the score for the Coens' film "Fargo" (1996).


title: Barton Fink

text: Several songs used in the film are laden with meaning. At one point Mayhew stumbles away from Barton and Audrey, drunk. As he wanders, he hollers the folk song "Old Black Joe" (1853). Composed by Stephen Foster, it tells the tale of an elderly slave preparing to join his friends in "a better land". Mayhew's rendition of the song coincides with his condition as an oppressed employee of Capitol Pictures, and it foreshadows Barton's own situation at the film's end.


title: Barton Fink

text: When he finishes writing his script, Barton celebrates by dancing at a United Service Organizations (USO) show. The song used in this scene is a rendition of "Down South Camp Meeting", a swing tune. Its lyrics (unheard in the film) state: "Git ready (Sing) / Here they come! The choir's all set". These lines echo the title of Barton's play, "Bare Ruined Choirs". As the celebration erupts into a melee, the intensity of the music increases, and the camera zooms into the cavernous hollow of a trumpet. This sequence mirrors the camera's zoom into a sink drain just before Audrey is murdered earlier in the film.


title: Barton Fink

text: Inspiration for the film came from several sources, and it contains allusions to many different people and events. For example, the title of Barton's play, "Bare Ruined Choirs", comes from line four of Sonnet 73 by William Shakespeare. The poem's focus on aging and death connects to the film's exploration of artistic difficulty.


title: Barton Fink

text: Later, at one point in the picnic scene, as Mayhew wanders drunkenly away from Barton and Audrey, he calls out: "Silent upon a peak in Darien!" This is the last line from John Keats's sonnet "On First Looking into Chapman's Homer" (1816). The literary reference not only demonstrates the character's knowledge of classic texts, but the poem's reference to the Pacific Ocean matches Mayhew's announcement that he will "jus' walk on down to the Pacific, and from there I'll ... improvise".


title: Barton Fink

text: Other academic allusions are presented elsewhere, often with extreme subtlety. For example, a brief shot of the title page in a Mayhew novel indicates the publishing house of "Swain and Pappas". This is likely a reference to Marshall Swain and George Pappas, philosophers whose work is concerned with themes explored in the film, including the limitations of knowledge and nature of being. One critic notes that Barton's fixation on the stain across the ceiling of his hotel room matches the protagonist's behavior in Flannery O'Connor's short story "The Enduring Chill".


title: Barton Fink

text: Critics have suggested that the film indirectly references the work of writers Dante Alighieri (through the use of "Divine Comedy" imagery) and Johann Wolfgang von Goethe (through the presence of Faustian bargains). Confounding bureaucratic structures and irrational characters, like those in the novels of Franz Kafka, appear in the film, but the Coens insist the connection was not intended. "I have not read him since college", admitted Joel in 1991, "when I devoured works like "The Metamorphosis". Others have mentioned "The Castle" and 'In the Penal Colony', but I've never read them."


title: Barton Fink

text: The character of Barton Fink is loosely based on Clifford Odets, a playwright from New York who in the 1930s joined the Group Theatre, a gathering of dramatists which included Harold Clurman, Cheryl Crawford, and Lee Strasberg. Their work emphasized social issues and employed Stanislavski's system of acting to recreate human experience as truthfully as possible. Several of Odets' plays were successfully performed on Broadway, including "Awake and Sing!" and "Waiting for Lefty" (both in 1935). When public tastes turned away from politically engaged theatre and toward the familial realism of Eugene O'Neill, Odets had difficulty producing successful work, so he moved to Hollywood and spent 20 years writing film scripts.


title: Barton Fink

text: The Coens wrote with Odets in mind; they imagined Barton Fink as "a serious dramatist, honest, politically engaged, and rather naive". As Ethan said in 1991: "It seemed natural that he comes from Group Theater and the decade of the thirties." Like Odets, Barton believes that the theatre should celebrate the trials and triumphs of everyday people; like Barton, Odets was highly egotistical. In the film, a review of Barton's play "Bare Ruined Choirs" indicates that his characters face a "brute struggle for existence ... in the most squalid corners". This wording is similar to the comment of biographer Gerald Weales that Odets' characters "struggle for life amidst petty conditions". Lines of dialogue from Barton's work are reminiscent of Odets' play "Awake and Sing!". For example, one character declares: "I'm awake now, awake for the first time". Another says: "Take that ruined choir. Make it sing".


title: Barton Fink

text: However, many important differences exist between the two men. Joel Coen said: "Both writers wrote the same kind of plays with proletarian heroes, but their personalities were quite different. Odets was much more of an extrovert; in fact he was quite sociable even in Hollywood, and this is not the case with Barton Fink!" Although he was frustrated by his declining popularity in New York, Odets was successful during his time in Hollywood. Several of his later plays were adapted – by him and others – into films. One of these, "The Big Knife" (1955), matches Barton's life much more than Odets'. In it, an actor becomes overwhelmed by the greed of a film studio which hires him and eventually commits suicide. Another similarity to Odets' work is Audrey's death, which mirrors a scene in "Deadline at Dawn" (1946), a film noir written by Odets. In that film, a character awakens to find that the woman he bedded the night before has been inexplicably murdered.


title: Barton Fink

text: Odets chronicled his difficult transition from Broadway to Hollywood in his diary, published as "The Time Is Ripe: The 1940 Journal of Clifford Odets" (1988). The diary explored Odets' philosophical deliberations about writing and romance. He often invited women into his apartment, and he describes many of his affairs in the diary. These experiences, like the extended speeches about writing, are echoed in "Barton Fink" when Audrey visits and seduces Barton at the Hotel Earle. Turturro was the only member of the production who read Odets' "Journal", however, and the Coen brothers urge audiences to "take account of the difference between the character and the man".


title: Barton Fink

text: The Coen brothers have stated that although the character of Fink is based on Odets, the character's appearance with "stand-up hair and glasses" is based on that of George S. Kaufmann.


title: Barton Fink

text: Some similarities exist between the character of W.P. Mayhew and novelist William Faulkner. Like Mayhew, Faulkner became known as a preeminent writer of Southern literature and later worked in the film business. Like Faulkner, Mayhew is a heavy drinker and speaks contemptuously about Hollywood. Faulkner's name appeared in the Hollywood 1940s history book "City of Nets", which the Coens read while creating "Barton Fink". Ethan explained in 1998: "I read this story in passing that Faulkner was assigned to write a wrestling picture... That was part of what got us going on the whole "Barton Fink" thing." Faulkner worked on a wrestling film called "Flesh" (1932), which starred Wallace Beery, the actor for whom Barton is writing. The focus on wrestling was fortuitous for the Coens, as they participated in the sport in high school.


title: Barton Fink

text: However, the Coens disavow a significant connection between Faulkner and Mayhew, calling the similarities "superficial". "As far as the details of the character are concerned," Ethan said in 1991, "Mayhew is very different from Faulkner, whose experiences in Hollywood were not the same at all." Unlike Mayhew's inability to write due to drink and personal problems, Faulkner continued to pen novels after working in the film business, winning several awards for fiction completed during and after his time in Hollywood.


title: Barton Fink

text: Lerner's Academy Award-nominated character of studio mogul Jack Lipnick is a composite of several Hollywood producers, including Harry Cohn, Louis B. Mayer, and Jack L. Warner – three of the most powerful men in the film industry at the time in which "Barton Fink" is set. Like Mayer, Lipnick is originally from the Belarusian capital city Minsk. When World War II broke out, Warner pressed for a position in the military and ordered his wardrobe department to create a military uniform for him; Lipnick does the same in his final scene. Warner once referred to writers as "schmucks with Underwoods", leading to Barton's use in the film of an Underwood typewriter.


title: Barton Fink

text: At the same time, the Coens stress that the labyrinth of deception and difficulty Barton endures is not based on their own experience. Although Joel has said that artists tend to "meet up with Philistines", he added: ""Barton Fink" is quite far from our own experience. Our professional life in Hollywood has been especially easy, and this is no doubt extraordinary and unfair". Ethan has suggested that Lipnick – like the men on which he is based – is in some ways a product of his time. "I don't know that that kind of character exists anymore. Hollywood is a little more bland and corporate than that now".


title: Barton Fink

text: The Coens have acknowledged several cinematic inspirations for "Barton Fink". Chief among these are three films by Polish-French film-maker Roman Polanski: "Repulsion" (1965), "Cul-de-Sac" (1966), and "The Tenant" (1976). These films employ a mood of psychological uncertainty coupled with eerie environments that compound the mental instability of the characters. Barton's isolation in his room at the Hotel Earle is frequently compared to that of Trelkovsky in his apartment in "The Tenant". Ethan said regarding the genre of "Barton Fink": "[I]t is kind of a Polanski movie. It is closer to that than anything else." By coincidence, Polanski was the head of the jury at the Cannes Film Festival in 1991, where "Barton Fink" premiered. This created an awkward situation. "Obviously", Joel Coen said later, "we have been influenced by his films, but at this time we were very hesitant to speak to him about it because we did not want to give the impression we were sucking up".


title: Barton Fink

text: Other works cited as influences for "Barton Fink" include the film "The Shining" (1980), produced and directed by Stanley Kubrick, and the comedy "Sullivan's Travels" (1941), written and directed by Preston Sturges. Set in an empty hotel, Kubrick's film concerns a writer unable to proceed with his latest work. Although the Coens approve of comparisons to "The Shining", Joel suggests that Kubrick's film "belongs in a more global sense to the horror film genre". "Sullivan's Travels", released the year in which "Barton Fink" is set, follows successful director John Sullivan, who decides to create a film of deep social import – not unlike Barton's desire to create entertainment for "the common man". Sullivan eventually decides that comedic entertainment is a key role for film-makers, similar to Jack Lipnick's assertion at the end of "Barton Fink" that "the audience wants to see action, adventure".


title: Barton Fink

text: Additional allusions to films and film history abound in "Barton Fink". At one point a character discusses "Victor Soderberg"; the name is a reference to Victor Sjöström, a Swedish director who worked in Hollywood under the name Seastrom. Charlie's line about how his troubles "don't amount to a hill of beans" is a probable homage to the film "Casablanca" (1942). Another similarity is that of "Barton Fink" beach scene to the final moment in "La Dolce Vita" (1960), wherein a young woman's final line of dialogue is obliterated by the noise of the ocean. The unsettling emptiness of the Hotel Earle has also been compared to the living spaces in "Key Largo" (1948) and "Sunset Boulevard" (1950).


title: Barton Fink

text: Two of the film's central themes – the culture of entertainment production and the writing process – are intertwined and relate specifically to the self-referential nature of the work (as well as the work within the work). It is a film about a man who writes a film based on a play, and at the centre of Barton's entire opus is Barton himself. The dialogue in his play "Bare Ruined Choirs" (also the first lines of the film, some of which are repeated at the end of the film as lines in Barton's screenplay "The Burlyman") give us a glimpse into Barton's self-descriptive art. The mother in the play is named "Lil", which is later revealed to be the name of Barton's own mother. In the play, "The Kid" (a representation of Barton himself) refers to his home "six flights up" – the same floor where Barton resides at the Hotel Earle. Moreover, the characters' writing processes in "Barton Fink" reflect important differences between the culture of entertainment production in New York's Broadway district and Hollywood.


title: Barton Fink

text: Although Barton speaks frequently about his desire to help create "a new, living theater, of and about and for the common man", he does not recognize that such a theater has already been created: the films. In fact, he disdains this authentically popular form. On the other hand, the world of Broadway theatre in "Barton Fink" is a place of high culture, where the creator believes most fully that his work embodies his own values. Although he pretends to disdain his own success, Barton believes he has achieved a great victory with "Bare Ruined Choirs". He seeks praise; when his agent Garland asks if he has seen the glowing review in the "Herald", Barton says "No", even though his producer had just read it to him. Barton feels close to the theatre, confident that it can help him create work that honors "the common man". The men and women who funded the production – "those people", as Barton calls them – demonstrate that Broadway is just as concerned with profit as Hollywood; but its intimacy and smaller scale allow the author to feel that his work has real value.


title: Barton Fink

text: Barton does not believe Hollywood offers the same opportunity. In the film, Los Angeles is a world of false fronts and phony people. This is evident in an early line of the screenplay (filmed, but not included in the theatrical release); while informing Barton of Capitol Pictures' offer, his agent tells him: "I'm only asking that your decision be informed by a little realism – if I can use that word and Hollywood in the same breath". Later, as Barton tries to explain why he is staying at the Earle, studio head Jack Lipnick finishes his sentence, recognizing that Barton wants a place that is "less Hollywood". The assumption is that Hollywood is fake and the Earle is genuine. Producer Ben Geisler takes Barton to lunch at a restaurant featuring a mural of the "New York Cafe", a sign of Hollywood's effort to replicate the authenticity of the East Coast of the United States. Lipnick's initial overwhelming exuberance is also a façade. Although he begins by telling Barton: "The writer is king here at Capitol Pictures", in the penultimate scene he insists: "If your opinion mattered, then I guess I'd resign and let "you" run the studio. It doesn't, and you won't, and the lunatics are not going to run "this" particular asylum".


title: Barton Fink

text: Deception in "Barton Fink" is emblematic of Hollywood's focus on low culture, its relentless desire to efficiently produce formulaic entertainment for the sole purpose of economic gain. Capitol Pictures assigns Barton to write a wrestling picture with superstar Wallace Beery in the leading role. Although Lipnick declares otherwise, Geisler assures Barton that "it's just a B picture". Audrey tries to help the struggling writer by telling him: "Look, it's really just a formula. You don't have to type your soul into it". This formula is made clear by Lipnick, who asks Barton in their first meeting whether the main character should have a love interest or take care of an orphaned child. Barton shows his iconoclasm by answering: "Both, maybe?" In the end, his inability to conform to the studio's norms destroys Barton.


title: Barton Fink

text: A similar depiction of Hollywood appears in Nathanael West's novel "The Day of the Locust" (1939), which many critics see as an important precursor to "Barton Fink". Set in a run-down apartment complex, the book describes a painter reduced to decorating film sets. It portrays Hollywood as crass and exploitative, devouring talented individuals in its neverending quest for profit. In both West's novel and "Barton Fink", protagonists suffer under the oppressive industrial machine of the film studio.


title: Barton Fink

text: The film contains further self-referential material, as a film about a writer having difficulty writing (written by the Coen brothers while they were having difficulty writing "Miller's Crossing"). Barton is trapped between his own desire to create meaningful art and Capitol Pictures' need to use its standard conventions to earn profits. Audrey's advice about following the formula would have saved Barton, but he does not heed it. However, when he puts the mysterious package (which might have contained her head) on his writing desk, she might have been helping him posthumously, in other ways. The film itself toys with standard screenplay formulae. As with Mayhew's scripts, "Barton Fink" contains a "good wrestler" (Barton, it seems) and a "bad wrestler" (Charlie) who "confront" each other at the end. But in typical Coen fashion, the lines of good and evil are blurred, and the supposed hero in fact reveals himself to be deaf to the pleadings of his "common man" neighbor. By blurring the lines between reality and surreal experience, the film subverts the "simple morality tales" and "road maps" offered to Barton as easy paths for the writer to follow.


title: Barton Fink

text: However, the film-makers point out that "Barton Fink" is not meant to represent the Coens themselves. "Our life in Hollywood has been particularly easy", they once said. "The film isn't a personal comment". Still, universal themes of the creative process are explored throughout the film. During the picnic scene, for example, Mayhew asks Barton: "Ain't writin' peace?" Barton pauses, then says: "No, I've always found that writing comes from a great inner pain." Such exchanges led critic William Rodney Allen to call "Barton Fink" "an autobiography of the life of the Coens' minds, not of literal fact". Allen's comment is itself a reference to the phrase "life of the mind", used repeatedly in the film in wildly differing contexts.


title: Barton Fink

text: Several of the film's elements, including the setting at the start of World War II, have led some critics to highlight parallels to the rise of fascism at the time. For example, the detectives who visit Barton at the Hotel Earle are named "Mastrionatti" and "Deutsch" – Italian and German names, evocative of the regimes of Benito Mussolini and Adolf Hitler. Their contempt for Barton is clear: "Fink. That's a Jewish name, isn't it? ... I didn't think this dump was restricted." Later, just before killing his last victim, Charlie says: "Heil Hitler". Jack Lipnick hails originally from the Belarusian capital city Minsk, which was occupied from summer 1941 by Nazi Germany, following Operation Barbarossa.


title: Barton Fink

text: "[I]t's not forcing the issue to suggest that the Holocaust hovers over "Barton Fink"", writes biographer Ronald Bergan. Others see a more specific message in the film, particularly Barton's obliviousness to Charlie's homicidal tendencies. Critic Roger Ebert wrote in his 1991 review that the Coens intended to create an allegory for the rise of Nazism. "They paint Fink as an ineffectual and impotent left-wing intellectual, who sells out while telling himself he is doing the right thing, who thinks he understands the 'common man' but does not understand that, for many common men, fascism had a seductive appeal". However, he goes on to say: "It would be a mistake to insist too much on this aspect of the movie..."


title: Barton Fink

text: Other critics are more demanding. M. Keith Booker writes: For their part, the Coens deny any intention of presenting an allegorical message. They chose the detectives' names deliberately, but "we just wanted them to be representative of the Axis world powers at the time. It just seemed kind of amusing. It's a tease. All that stuff with Charlie – the "Heil Hitler!" business – sure, it's all there, but it's kind of a tease." In 2001, Joel responded to a question about critics who provide extended comprehensive analysis: "That's how they've been trained to watch movies. In "Barton Fink", we may have encouraged it – like teasing animals at the zoo. The movie is intentionally ambiguous in ways they may not be used to seeing".


title: Barton Fink

text: Although subdued in dialogue and imagery, the theme of slavery appears several times in the film. Mayhew's crooning of the parlor song "Old Black Joe" depicts him as enslaved to the film studio, not unlike the song's narrator who pines for "my friends from the cotton fields away". One brief shot of the door to Mayhew's workspace shows the title of the film he is supposedly writing: "Slave Ship". This is a reference to a 1937 movie written by Mayhew's inspiration, William Faulkner, and starring Wallace Beery, for whom Barton is composing a script in the film.


title: Barton Fink

text: The symbol of the slave ship is furthered by specific set designs, including the round window in Ben Geisler's office which resembles a porthole, as well as the walkway leading to Mayhew's bungalow, which resembles the boarding ramp of a watercraft. Several lines of dialogue make clear by the film's end that Barton has become a slave to the studio: "[T]he contents of your head", Lipnick's assistant tells him, "are the property of Capitol Pictures". After Barton turns in his script, Lipnick delivers an even more brutal punishment: "Anything you write will be the property of Capitol Pictures. And Capitol Pictures will not produce anything you write". This contempt and control is representative of the opinions expressed by many writers in Hollywood at the time. As Arthur Miller said in his review of "Barton Fink": "The only thing about Hollywood that I am sure of is that its mastication of writers can never be too wildly exaggerated".


title: Barton Fink

text: During the first third of the film, Barton speaks constantly of his desire to write work which centers on and appeals to "the common man". In one speech he declares: "The hopes and dreams of the common man are as noble as those of any king. It's the stuff of life – why shouldn't it be the stuff of theater? God damn it, why should that be a hard pill to swallow? Don't call it "new" theater, Charlie; call it "real" theater. Call it "our" theater." Yet, despite his rhetoric, Barton is totally unable (or unwilling) to appreciate the humanity of the "common man" living next door to him. Later in the film, Charlie explains that he has brought various horrors upon him because "you "don't listen"!" In his first conversation with Charlie, Barton constantly interrupts Charlie just as he is saying "I could tell you some stories-", demonstrating that despite his fine words he really is not interested in Charlie's experiences; in another scene, Barton symbolically demonstrates his deafness to the world by stuffing his ears with cotton to block the sound of his ringing telephone.


title: Barton Fink

text: Barton's position as screenwriter is of particular consequence to his relationship with "the common man". By refusing to listen to his neighbor, Barton cannot validate Charlie's existence in his writing – with disastrous results. Not only is Charlie stuck in a job which demeans him, but he cannot (at least in Barton's case) have his story told. More centrally, the film traces the evolution of Barton's understanding of "the common man": At first he is an abstraction to be lauded from a vague distance. Then he becomes a complex individual with fears and desires. Finally he shows himself to be a powerful individual in his own right, capable of extreme forms of destruction and therefore feared and/or respected.


title: Barton Fink

text: The complexity of "the common man" is also explored through the oft-mentioned "life of the mind". While expounding on his duty as a writer, Barton drones: "I gotta tell you, the life of the mind ... There's no road map for that territory ... and exploring it can be painful. The kind of pain most people don't know anything about." Barton assumes that he is privy to thoughtful creative considerations while Charlie is not. This delusion shares the film's climax, as Charlie runs through the hallway of the Earle, shooting the detectives with a shotgun and screaming: ""Look upon me! I'll show you the life of the mind!!"" Charlie's "life of the mind" is no less complex than Barton's; in fact, some critics consider it more so.


title: Barton Fink

text: Charlie's understanding of the world is depicted as omniscient, as when he asks Barton about "the two lovebirds next door", despite the fact that they are several doors away. When Barton asks how he knows about them, Charlie responds: "Seems like I hear everything that goes on in this dump. Pipes or somethin'." His total awareness of the events at the Earle demonstrate the kind of understanding needed to show real empathy, as described by Audrey. This theme returns when Charlie explains in his final scene: "Most guys I just feel sorry for. Yeah. It tears me up inside, to think about what they're going through. How trapped they are. I understand it. I feel for 'em. So I try to help them out."


title: Barton Fink

text: Themes of religious salvation and allusions to the Bible appear only briefly in "Barton Fink", but their presence pervades the story. While Barton is experiencing his most desperate moment of confusion and despair, he opens the drawer of his desk and finds a Gideon Bible. He opens it "randomly" to Daniel 2, and reads from it: "And the king, Nebuchadnezzar, answered and said to the Chaldeans, I recall not my dream; if ye will not make known unto me my dream, and its interpretation, ye shall be cut in pieces, and of your tents shall be made a dunghill." This passage reflects Barton's inability to make sense of his own experiences (wherein Audrey has been "cut in pieces"), as well as the "hopes and dreams" of "the common man". "Nebuchadnezzar" is also the title of a novel that Mayhew gives to Barton as a "little entertainment" to "divert you in your sojourn among the Philistines".


title: Barton Fink

text: Mayhew alludes to "the story of Solomon's mammy", a reference to Bathsheba, who gave birth to Solomon after her lover David had her husband Uriah killed. Although Audrey cuts Mayhew off by praising his book (which Audrey herself may have written), the reference foreshadows the love triangle which evolves among the three characters of "Barton Fink". Rowell points out that Mayhew is murdered (presumably by Charlie) soon after Barton and Audrey have sex. Another Biblical reference comes when Barton flips to the front of the Bible in his desk drawer and sees his own words transposed into the Book of Genesis. This is seen as a representation of his hubris as a self-conceived omnipotent master of creation, or alternatively, as a playful juxtaposition demonstrating Barton's hallucinatory state of mind.


title: Barton Fink

text: The film opened in the United States on eleven screens on August 23, 1991, and earned $268,561 during its opening weekend. During its theatrical release, "Barton Fink" grossed $6,153,939 in the United States. That the film failed to recoup the expenses of production amused film producer Joel Silver, with whom the Coens would later work in "The Hudsucker Proxy" (1994): "I don't think it made $5 million, and it cost $9 million to make. [The Coen brothers have] a reputation for being weird, off-center, inaccessible."


title: Barton Fink

text: "Barton Fink" received positive reviews from critics. On Rotten Tomatoes, the film has an 89% "Certified Fresh" rating, based on 65 reviews, with an average rating of 7.9/10. The site's critical consensus reads: "Twisty and unsettling, the Coen brothers' satirical tale of a 1940s playwright struggling with writer's block is packed with their trademark sense of humor and terrific performances from its cast." On Metacritic, the film has a score of 69 out of 100, based on 19 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: Barton Fink

text: "The Washington Post" critic Rita Kempley described "Barton Fink" as "certainly one of the year's best and most intriguing films". "The New York Times" critic Vincent Canby called it "an unqualified winner" and "a fine dark comedy of flamboyant style and immense though seemingly effortless technique". Critic Jim Emerson called "Barton Fink" "the Coen brothers' most deliciously, provocatively indescribable picture yet".


title: Barton Fink

text: Some critics disliked the enigmatic plot and ambiguous ending. "Chicago Reader" critic Jonathan Rosenbaum warned of the Coens' "adolescent smarminess and comic-book cynicism", and described "Barton Fink" as "a midnight-movie gross-out in Sunday-afternoon art-house clothing". John Simon of "The National Review" described Barton Fink as "asinine and insufferable."


title: Barton Fink

text: In a 1994 interview, Joel dismissed criticism of unclear elements in their films: "People have a problem dealing with the fact that our movies are not straight-ahead. They would prefer that the last half of "Barton Fink" just be about a screenwriter's writing-block problems and how they get resolved in the real world". Talk show host Larry King expressed approval of the movie, despite its uncertain conclusion. He wrote in "USA Today": "The ending is something I'm still thinking about and if they accomplished that, I guess it worked." In a 2016 interview, screenwriter Charlie Kaufman said after being asked which film he would want with him on a deserted island, "A movie I really love is "Barton Fink". I don't know if that's the movie I'd take to a desert island, but I feel like there's so much in there, you could watch it again and again. That's important to me, especially if that was the only movie I'd have with me for the rest of my life."


title: Barton Fink

text: "Barton Fink" was ranked by Greg Cwik of IndieWire as the Coens' fifth best film. It was voted the 11th best film of the 1990s in a poll of "The A.V. Club" contributors, and was described as "one of [the Coens'] most profound, and painful" works.


title: Barton Fink

text: Winning three major awards at the Cannes Film Festival was extremely rare, and some critics felt the jury was too generous to the exclusion of other worthy entries. Worried that the triple victory could set a precedent which would undervalue other films, Cannes decided after the 1991 festival to limit each movie to a maximum of two awards.


title: Barton Fink

text: The film was released in VHS home video format on March 5, 1992, and a DVD edition was made available on May 20, 2003. The DVD contains a gallery of still photos, theatrical trailers, and eight deleted scenes. The film is also available on Blu-ray Disc, in the UK, in a region-free format that will work in any Blu-ray player.


title: Barton Fink

text: The Coen brothers have expressed interest in making a sequel to "Barton Fink" called "Old Fink", which would take place in the 1960s. "It's the summer of love and [Fink is] teaching at Berkeley. He ratted on a lot of his friends to the House Un-American Activities Committee", said Joel Coen. The brothers have stated that they have had talks with John Turturro about reprising his role as Fink, but they were waiting "until he was actually old enough to play the part".


title: Barton Fink

text: Speaking to "The A.V. Club" in June 2011, Turturro suggested the sequel would be set in the 1970s, and Fink would be a hippie with a large Jewfro. He said "you'll have to wait another 10 years for that, at least".


title: Apple Wallet

text: Apple Wallet, or simply Wallet and formerly known as Passbook, is a digital wallet developed by Apple Inc. and included with iOS and watchOS that allows users to store Wallet passes such as coupons, boarding passes, student ID cards, government ID cards, business credentials, resort passes, car keys, home keys, event tickets, public transportation passes, store cards, and – starting with iOS 8.1 – credit cards, debit cards, and prepaid cards for use via Apple Pay. Wallet was introduced as Passbook with iOS 6 on September 19, 2012. It was renamed Wallet with the release of iOS 9 in 2015. Wallet is also the main interface for Apple Card, Apple's credit card released in the U.S. on August 20, 2019.


title: Apple Wallet

text: Apple Passbook was announced at the 2012 Apple Worldwide Developers Conference on June 11, 2012, and released with iOS 6 on September 19, 2012. It was renamed Wallet with the release of iOS 9 on September 16, 2015.


title: Apple Wallet

text: Wallet displays Aztec, PDF417, and QR 2D barcodes and Code 128 1D barcodes beginning with iOS 9. Each digital coupon or ticket is known as a "pass". When the user launches Wallet for the first time, a brief introduction screen appears with a button inviting users to browse apps on the App Store with Wallet integration. Passes can also be distributed online via Safari, sent to the user via email, or scanned using the built-in scanner in Wallet.


title: Apple Wallet

text: Passes are synced between iOS devices using iCloud, and OS X 10.8.2 and later also support opening passes to be sent to users' iOS devices. Although the app is available in iOS 6 or later, it is only available on iPhone and iPod Touch, but not on iPad.


title: Apple Wallet

text: Passes exist in a larger ecosystem, because passes are created as a package. The package is a pass template, that is created with a pass signer, along with relevant data and a private key. Passes can be updated at any time using the PassKit API and an iOS app can interact directly with passes stored in Wallet.


title: Apple Wallet

text: Passes are presented and managed by Wallet. Systems and apps interact with passes via the PassKit API.


title: Apple Wallet

text: In its simplest form, an interaction (or transaction) between a pass and a system is facilitated by a 2D barcode or the modern QR code although it requires the customer to initiate the activity.


title: Apple Wallet

text: In late 2014, the first known implementations utilizing the iBeacon wireless geofencing started to appear in retail locations in the US. The iBeacon solutions allowed the retailer to broadcast an unsolicited lock-screen notice onto smartphones within Bluetooth range.


title: Apple Wallet

text: In 2015, Apple incorporated the ability to present a loyalty card in Wallet to a point-of-sale terminal via NFC. Walgreens enabled this first with their Balance Rewards loyalty program; customers can add their card to Wallet through the Walgreens or Duane Reade mobile apps and tap their phone to the terminal when prompted for their rewards card.


title: Apple Wallet

text: In 2016, Apple released the iPhone 7, along with Apple Pay support with Japan. This included IC e-cards like Suica to also be added digitally onto Apple Wallet. These cards work like a normal IC card, just on the iPhone, and Apple Wallet users can make normal transactions with their IC card using their iPhone, using the FeliCa NFC contactless technology to operate. Apple Wallet users can also reload their IC card just from their device using a debit or credit card added to Apple Wallet. To get a Suica, you could buy one digitally from Apple Wallet, or get a physical one from a JR East station and transfer the card balance to an iPhone. Japan's second main IC card, PASMO, would also be released later in 2020 with support with Apple Wallet.


title: Apple Wallet

text: In 2018, support was added for contactless student IDs for select universities. Such credentials operate in a similar manner to physical RFID cards in that they can be tapped to supported readers. The power reserve feature on select iPhones and Apple Watches allows for continued use of the card even when the battery is depleted as long as Express Mode is enabled.


title: Apple Wallet

text: In 2020, car keys were made available for the Apple Wallet, beginning with supported BMW vehicles. Such keys can be shared with friends and family, and permissions can be set per member, such as how fast they can go and whether or not some vehicle-specific features can be enabled/disabled or not. Such passes can also operate over UWB in addition to NFC.


title: Apple Wallet

text: In 2021, Apple announced the ability to store government-issued ID cards, resort passes, home keys, and business credentials in Wallet. As of May 2022, two U.S. States offer the ability to store a state identification card within the wallet app, those being Maryland and Arizona.


title: Apple Wallet

text: Passes can be distributed anywhere a link can be embedded, such as via email, SMS, RCS, a webpage, an app, NFC tags, or QR codes.


title: Apple Wallet

text: The Apple Wallet app is preinstalled on most iPhone and Apple Watch models worldwide, and developers from any country where Apple Developer resources are available can develop passes for Wallet. This is different from Apple Pay, which resides within Wallet, which currently has limited availability to a much smaller selection of nations.


title: Apple Wallet

text: These programs are conveyed through NFC via Apple Wallet's VAS protocol. Programs that support One Tap are conveyed at the same time as a payment card stored in Apple Wallet. Conversely, Two Tap programs are redeemed in a sequential manner, where a loyalty pass is scanned first, and then the payment can be presented.


title: Apple Wallet

text: These territories permit their residents to save their government-issued identification credentials in Apple Wallet. Unlike the equivalent physical credentials, mobile government IDs in Apple Wallet operate over NFC, so no barcode is scanned when presenting. Added credentials can also be requested by apps to present virtually. Available for iPhone 8 or later, and Apple Watch Series 4 or later.


title: Apple Wallet

text: These home locks & car models can be unlocked via NFC with the iPhone XR, iPhone XS or later, and Apple Watch Series 5 or later. In addition, certain car models that support operation via UWB will require an UWB compatible device, such as the iPhone 11 or later or the Apple Watch Series 6 or later.


title: Andrade El Idolo

text: Manuel Alfonso Andrade Oropeza (born November 3, 1989) is a Mexican professional wrestler who is currently signed to the American promotion All Elite Wrestling (AEW) under the ring name Andrade El Idolo (also stylized Andrade "El Ídolo"). He is also known for his appearances in Mexico for Consejo Mundial de Lucha Libre and in Japan for New Japan Pro-Wrestling as La Sombra (Spanish for "The Shadow"), and for his appearances with the United States-based promotion WWE as Andrade "Cien" Almas (later shortened to simply Andrade).


title: Andrade El Idolo

text: A third-generation professional wrestler, Andrade made his debut a month before his 14th birthday and worked under the name Brillante Jr. in reference to his father, who wrestled as Brillante. He spent eight years wrestling for Consejo Mundial de Lucha Libre (CMLL) under the name La Sombra, where he won the 2007 "Torneo Gran Alternativa" tournament and the 2011 Universal Championship and simultaneously held the Mexican National Trios Championship, NWA World Historic Welterweight Championship and CMLL World Tag Team Championship. He was one of the founding members of the "los Ingobernables" ("the Ungovernables") stable, and won the masks of El Felino, Olímpico and Volador Jr. by defeating them in "Lucha de Apuestas" matches before losing his own mask to Atlantis. Andrade also made appearances for New Japan Pro-Wrestling as part of a working agreement between CMLL and NJPW, winning the IWGP Intercontinental Championship.


title: Andrade El Idolo

text: Andrade joined WWE in 2015. He initially wrestled for its NXT brand under the ring name Andrade "Cien" Almas, winning the NXT Championship. In April 2018, he joined WWE's main roster where his ring name was shorted to simply "Andrade". Andrade held the WWE United States Championship for several months in 2019-2020. He departed WWE in March 2021, debuting in AAA and AEW that summer.


title: Andrade El Idolo

text: Manuel Alfonso Andrade Oropeza was born in Gómez Palacio, Durango, on November 3, 1989. He is the son of Jose Andrade Salas, who wrestles as Brillante. He became part of the third generation of the Andrade family to compete in "lucha libre". His grandfather, José Andrade, wrestled under the name "El Moro", while his uncles wrestle or wrestled under the names Diamante/Moro III (Sergio Andrade), Zafiro/Pentagoncito (real name unrevealed), Kevin (Juan Andrade), Espanto Jr./Pentagón (Jesús Andrade), and Espiritu Magico (Juan Andrade), and one of his cousins works as the current Espanto Jr. (real name unrevealed). Due to the secretive nature of "lucha libre", where the real names of masked wrestlers are often not revealed, it is possible that some more of Andrade's siblings or cousins are also professional wrestlers.


title: Andrade El Idolo

text: With his father, uncles and grandfather being involved in running a local "lucha libre" promotion and school in Durango, Andrade began training for a professional career from an early age, initially by playing around with his father and uncles, but later began to train seriously for a career in the wrestling ring. He made his professional wrestling debut on October 3, 2003, a month before his 14th birthday, but only after his father signed a waiver for the local boxing and wrestling commission to issue him a license. He began working under the ring name Brillante Jr. in honor of his father.


title: Andrade El Idolo

text: Working for his family's wrestling promotion Andrade used the name "Brillante Jr." from 2003 through early 2007. During that period of time, he got involved in a storyline rivalry with his uncle who wrestled as "Zafio", leading to his first ever "Lucha de Apuestas", or bet match. By defeating Zafiro he won his first headline match, forcing Zafiro to have all his hair shaved off after the match per "lucha libre" traditions. He later won another "Lucha de Apuestas" match, forcing the masked wrestler Camorra to unmask in the middle of the ring and reveal his real name. During this time period Andrade also competed as the "enmascarado" (masked) characters "Guerrero Azteca" ("Aztec Warrior") and "Rey Azteca" ("Aztec King") on occasion.


title: Andrade El Idolo

text: In 2007 he signed with Consejo Mundial de Lucha Libre ("World Wrestling Council"; CMLL), and began training under CMLL head trainer El Satánico. He made his CMLL in-ring debut on February 27, working as "Brillante" just like his father had. In June CMLL changed his name, rechristening him La Sombra ("The Shadow"). CMLL previously had other people work under the name "La Sombra" in the 1980s and 1990s; CMLL did not promote the most recent La Sombra as having any relation to the previous incarnations at all, although the relationship was later subtly acknowledged when La Sombra began wrestling in a black and silver version of his father's mask.


title: Andrade El Idolo

text: La Sombra quickly moved up the ranks of CMLL in the months after his debut. The first sign of CMLL putting their faith in La Sombra came when the promoters him teamed up with CMLL's main good guy (known as a "técnico" in Spanish) Místico for their annual "Torneo Gran Alternativa" ("Great Alternative Tournament") where a rookie and a veteran team up. La Sombra and Místico defeated Heavy Metal and Super Nova in the first round, Dr. Wagner Jr. and Mascara Purpura in the semi-final and the team of Último Guerrero and Euforia in the finals to win the 2007 "Tornero Gran Alternativa". The following month, La Sombra teamed up with El Sagrado and Volador Jr. to defeat Mr. Águila, Damián 666, and Halloween, collectively known as "Los Perros del Mal" ("The Bad Dogs"), to win the Mexican National Trios Championship. On November 27, 2007, La Sombra added the NWA World Welterweight Championship to his collection when he defeated Hajime Ohara to win the title; his victory made him the youngest wrestler to hold the championship, winning it at the age of 18. Throughout 2008 La Sombra was busy defending both championships on several occasions. On January 16, 2009, La Sombra became a triple champion as he teamed up with Volador Jr. to defeat Averno and Mephisto, winning the CMLL World Tag Team Championship. La Sombra's time as a triple champion lasted just over two weeks, until February 3, when Sangre Azteca, Black Warrior, and Dragón Rojo Jr., collectively known as Poder Mexica ("Mexican Power") defeated La Sombra, Volador, and Sagrado to win the Mexican National Trios Championship. On May 27, 2009, La Sombra lost the NWA World Welterweight Championship to Mephisto.


title: Andrade El Idolo

text: In early 2010 La Sombra began a storyline feud with El Felino. The feud began on February 2, 2010, during a singles match between El Felino and La Sombra; when tied at one fall each, Puma King, El Felino's son, showed up wearing an El Felino outfit and mask, distracting both the referee and La Sombra long enough for El Felino to land a low blow on La Sombra to win the match. The two met in a "Lighting match" (a one fall, 10 minute time limit match) on the February 19 CMLL Super Viernes show. Once again Puma King tried to help his uncle, but this time the referee disqualified El Felino for the transgression. La Sombra and El Felino continued to feud, both interfering in a match between Volador Jr. and Místico. The storyline led to Místico, Volador Jr., La Sombra and El Felino being booked in a four-way "Lucha de Apuestas" match as the main event of the 2010 "2010 Homenaje a Dos Leyendas" ("Homage to Two Legends") show. La Sombra was the first man pinned at "Dos Leyendas" and El Felino was the second, forcing the two to compete with their masks on the line. La Sombra pinned El Felino, forcing him to unmask and reveal his real name.


title: Andrade El Idolo

text: On May 14, 2010, La Sombra teamed up with Máscara Dorada and La Máscara to defeat the then CMLL World Trios Champions "La Ola Amarilla" ("The Yellow Wave"; Hiroshi Tanahashi, Okumura, and Taichi) in a non-title match to earn a shot at the Championship the following week. One week later the trio defeated "Ola Amarilla" again, ending the Japanese trios title reign after just two weeks. On July 12, 2010, at the "Promociones Gutiérrez" 1st Anniversary Show La Sombra participated in a match where 10 men put their mask on the line in a match that featured five "pareja incredibles" ("Incredible Pairs") teams, with the losing team being forced to wrestle each other with their mask on the line. His partner in the match was Histeria, facing off against the teams of Atlantis and Olímpico, Místico and El Oriental, El Alebrije and Volador Jr., Último Guerrero and Averno. La Sombra and Histeria were the first team to escape the match and retain their masks. While La Sombra had traveled to Japan to participate in the 2010 Best of the Super Juniors (BOSJ) tournament Volador Jr. had begun showing "rudo" signs, but when La Sombra returned the two teamed back up without any signs of problems between the two


title: Andrade El Idolo

text: Sombra and Volador Jr. lost the CMLL World Tag Team Championship to the "Los Invasores" team of Mr. Águila and Héctor Garza on July 23, 2010, again without any signs of dissension between the two. During a later show Volador Jr. finally turned fully "rudo" when he attacked La Sombra and tore La Sombra's mask off, provoking a feud between the two longtime partners. La Sombra entered the 2010 Universal Championship tournament and qualified for the finals when he won "Block A" on the July 30, 2010 Super Viernes show by defeating Mephisto, El Texano Jr., and Último Guerrero. In the finals Jyushin Thunder Liger, with help from Okumura at ringside, defeated La Sombra to claim the tournament trophy. The unresolved issues between La Sombra and Volador Jr., as well as the storyline between La Sombra and Jyushin Thunder Liger, led to all three wrestlers being booked in the main event of the CMLL 77th Anniversary Show, a 14-man steel cage "Lucha de Apuestas", mask vs. mask match. The match came down to Olímpico and La Sombra after the other 12 men had escaped the cage; La Sombra pinned Olímpico to force him to unmask.


title: Andrade El Idolo

text: On March 13, 2011, La Sombra defeated Mephisto to win the NWA World Historic Welterweight Championship. On July 15, "La Generación Dorada" lost the CMLL World Trios Championship to "Los Hijos del Averno" (Averno, Ephesto and Mephisto). On September 2, La Sombra entered CMLL's annual tournament of champions, the Universal Championship tournament. After defeating Mexican National Trios Champions Ángel de Oro and Diamante in his first two matches, La Sombra defeated NWA World Historic Light Heavyweight Champion Rey Bucanero in his block's finals to advance to the tournament finals. On September 16, La Sombra defeated Averno to become the 2011 Universal Champion. On February 13, 2012, La Sombra lost the NWA World Historic Welterweight Championship to Negro Casas, ending his reign at 337 days. On November 28, 2012, La Sombra won the advanced category in CMLL's annual bodybuilding contest. On December 14, La Sombra defeated Tama Tonga to win the 2012 "La Copa Junior" Tournament in the main event of CMLL's 2012 "Sin Piedad" ("No Mercy") show.


title: Andrade El Idolo

text: On February 15, 2013, La Sombra defeated Volador Jr. to win the "2013 Reyes del Aire" tournament. Following their clash over the "Reyes del Aire" trophy Volador Jr. and La Sombra were teamed up for the 2013 "Torneo Nacional de Parejas Increibles" tournament, the same tournament that in 2010 was the impetus for Volador Jr.'s "rudo" turn. The rivals put their issues aside for the tournament, defeating the teams of Guerrero Maya Jr. and Negro Casas, La Máscara and Averno, and Shocker and Mr. Niebla to qualify for the finals of the tournament. On March 15, at the 2013 "Homenaje a Dos Leyendas" show, Volador Jr. and La Sombra defeated Altantis and Último Guerrero to win the "Torneo Nacional de Parejas Increibles". The truce between La Sombra and Volador Jr. that allowed them to win the tag team tournament only lasted until the next time the two rivals were in the same ring. On February 17, 2013, La Sombra teamed up with Marco Corleone and Místico II against Volador Jr., Euforia and Último Guerrero. During the match Volador Jr. attacked both La Sombra and the referee, causing a disqualification before leaving the ring and his confused partners behind. On September 13 at CMLL's 80th Anniversary Show, La Sombra and Volador Jr. defeated Atlantis and Último Guerrero in a "Relevos Suicidas" match and thus advanced to a Mask vs. Mask "Lucha de Apuestas" against each other. In the end, La Sombra was victorious, forcing his rival to unmask.


title: Andrade El Idolo

text: The main event of the 80th Anniversary show was not well received by the fans as they had been expecting a match between Atlantis and Último Guerrero, loudly chanting "fraud" during the main event. After the match the fans rallied behind Volador Jr., giving him the crowd support that made CMLL return him to the "técnico" side. Conversely the fans began to boo and heckle La Sombra, the supposed "técnico", leading to a change in how La Sombra was booked and presented by CMLL. La Sombra formed a partnership with Rush and effectively began working as a "rudo", though the two refused to acknowledge themselves as such, instead referring to themselves as "técnicos diferentes" ("a different kind of good guy"). On June 6, La Sombra defeated Volador Jr. with help from Rush and La Máscara to win the NWA World Historic Welterweight Championship in a match, where La Sombra's Historic Middleweight Championship was also on the line. The trio of Sombra, Rush and La Máscara was eventually named "Los Ingobernables" ("The Ungovernables"). On August 1 at "El Juicio Final", La Sombra lost the NWA World Historic Welterweight Championship back to Volador Jr. Later in August, La Sombra made it to the finals of the 2014 Universal Championship tournament, before losing to Último Guerrero. On May 1, 2015, La Sombra won the 2015 "Reyes del Aire" tournament ("Kings of the Air").


title: Andrade El Idolo

text: On July 21, La Sombra and Rush were involved in an incident in Guadalajara, where they attacked fans who were throwing beers at them during a match. The following day, Jalisco's Boxing and Wrestling Commission suspended the two from wrestling in the state for three months. While the commission only suspended them from wrestling in Jalisco, CMLL decided to pull both La Sombra and Rush from their "Super Viernes" show three days later. CMLL did not offer an official explanation for the change. Over the summer of 2015 "Los Ingobernables" started to wrestle against "tecnico" teams instead of generally facing "rudo" teams as they had been up to that point. By August 2015, "Los Ingobernables" found themselves facing off against Atlantis on multiple occasions, often with La Sombra going out of his way to attack Atlantis, tearing Atlantis' mask apart during matches to show his disdain for the veteran "tecnico". On August 31, La Sombra lost the NWA World Historic Middleweight Championship to Último Guerrero, ending his two and a half year reign. In the main event of the CMLL 82nd Anniversary Show on September 18, 2015, La Sombra, the winner of the main event of the 80th Anniversary, put his mask on the line against the winner of the main event of the 81st Anniversary Show, Atlantis. Atlantis won the "Lucha de Apuestas" match and, as a result, La Sombra was forced to unmask and reveal his real name. In early November, La Sombra and Rush began having issues with each other, which led to a match between the two on November 13, where Rush was victorious. After the match, which turned out to be La Sombra's final with CMLL, the two founding members of "Los Ingobernables" made peace with each other.


title: Andrade El Idolo

text: In 2010 La Sombra was selected to be the CMLL representative for New Japan Pro-Wrestling's (NJPW) Best of the Super Juniors XVII (BOSJ) tournament that took place from May 30 to June 16, 2010, in Japan. The tournament marked the first time that La Sombra toured Japan. On May 30, 2010, La Sombra wrestled his first match in the tournament, defeating Tiger Mask. On the final day of the tournament he defeated the junior heavyweight wrestling innovator, Jyushin Thunder Liger. With just three wins in the tournament and a total of six points, he did not advance to the semi-finals. In November 2010 La Sombra and Máscara Dorada took part in New Japan's five-day-long Super J Tag League. After winning two out of their four matches in the group stage, La Sombra and Dorada finished third in their block, missing the finals of the tournament.


title: Andrade El Idolo

text: La Sombra and Dorada returned to New Japan on January 4, 2011, at Wrestle Kingdom V in Tokyo Dome, where they defeated Jyushin Thunder Liger and Héctor Garza in a tag team match, when Sombra pinned Liger. As a result of his victory he was granted a match for Liger's CMLL World Middleweight Championship in the process. La Sombra received his match for the championship on January 22, 2011, at "Fantastica Mania 2011", but lost to Liger. La Sombra returned to NJPW in August 2011 to take part in the 2011 G1 Climax. La Sombra started the tournament by picking up wins over Wataru Inoue and fellow CMLL worker Strong Man, but then went on to lose his remaining seven matches in the tournament, finishing eighth out of the ten wrestlers in his block. La Sombra returned to Japan in January 2012 to take part in the "Fantastica Mania 2012" events. In the main event of the second night of the tour, La Sombra successfully defended the NWA World Historic Welterweight Championship against Volador Jr. La Sombra returned to New Japan in April 2012 to take part in the 2012 New Japan Cup. After defeating Yoshi-Hashi in his first round match, he was eliminated from the tournament in the second round by Hirooki Goto.


title: Andrade El Idolo

text: In January 2013, La Sombra took part in the three-day "Fantastica Mania 2013" event. During the second night of the tour, La Sombra unsuccessfully challenged Nakamura for the IWGP Intercontinental Championship. During the third and final night, La Sombra defeated Dragón Rojo Jr. to win the NWA World Historic Middleweight Championship. On May 31, 2013, La Sombra defeated Nakamura in a rematch in Mexico City to win the IWGP Intercontinental Champion, becoming the first Mexican to hold that championship. On July 20, he lost the IWGP Intercontinental Championship back to Nakamura during a tour of Japan. From November 23 to December 6, La Sombra took part in the 2013 World Tag League, where he and Tetsuya Naito finished with a record of three wins and three losses, failing to advance to the semifinals. In January 2014, La Sombra took part in the five-day "Fantastica Mania 2014" tour. La Sombra returned to New Japan in November to take part in the 2014 World Tag League, teaming with Tetsuya Naito once more. The team finished in the middle of their block with four wins and three losses. In January 2015, La Sombra returned to Japan to take part in the "Fantastica Mania 2015" tour, during which he feuded with Máscara Dorada, culminating in a singles match between the two on January 19, where La Sombra was victorious.


title: Andrade El Idolo

text: On November 19, 2015, Andrade signed a developmental contract with WWE. He later reported to the WWE Performance Center to begin his WWE career, focusing initially on improving his English language skills with the help of Sarah Stock, a WWE trainer who worked for CMLL for almost a decade. He made his WWE in-ring debut at an NXT house show in Tampa, Florida on January 8, 2016, wrestling under the name "Manny Andrade" and defeating Riddick Moss. He made his NXT TakeOver debut at on April 1, where he defeated Christopher Girard during a dark match.


title: Andrade El Idolo

text: The following month, Andrade was given the new ring name Andrade "Cien" Almas (Spanish for Andrade "100" Almas). At on June 8, Almas defeated Tye Dillinger. At on August 20, Almas was defeated by the debutant Bobby Roode. On October 5 episode of "NXT", after losing to The Revival in the first round of the Dusty Rhodes Tag Team Classic, Almas took out his frustrations by attacking his tag team partner Cedric Alexander, thus turning heel in the process. By defeating No Way Jose on December 14 episode of "NXT", Almas qualified for a fatal four-way match to determine a new number one contender to the NXT Championship but was eliminated by Roderick Strong. At on January 28, 2017, Almas was defeated by Roderick Strong.


title: Andrade El Idolo

text: On the July 19 episode of "NXT", Almas appeared with an unidentified woman and attacked Cezar Bononi before threatening No Way Jose, though Almas ran away when Jose ran back into the ring. After being absent from in-ring competition, Almas returned being accompanied by the woman who turned out to be his new manager Zelina Vega, defeating Jose on the August 9 episode of "NXT" and pacting a match at against Johnny Gargano on August 19,<ref name="NXT09/08/17"></ref> which Almas won. Almas returned on the October 11 episode of "NXT", where he once again defeated Gargano.<ref name="NXT11/10/17"></ref> On the November 1 episode of "NXT", Almas signed a contract where he pacted a match against Drew McIntyre for the NXT Championship, before attacking him later that night.<ref name="NXT 01/11/17"></ref> On November 18 at , Almas defeated McIntyre to become the new NXT Champion.


title: Andrade El Idolo

text: On January 27, 2018, at , Almas successfully defended the title against Johnny Gargano. Almas's match with Gargano at TakeOver: Philadelphia was highly acclaimed, earning five stars from Wrestling Observer Newsletter journalist Dave Meltzer, making it the first match in NXT history to receive a five-star rating. On January 28, at the Royal Rumble, Almas made his first main roster appearance entering as a surprise entrant at number 7 during the Royal Rumble match, in which he eliminated Kofi Kingston before being eliminated by Randy Orton. On February 3 during an NXT house show, Almas teamed with Zelina Vega in her first match as part of the company, in which they were defeated by Johnny Gargano and Candice LeRae. On February 21 episode of "NXT", Almas retained the title against Gargano after interference from Tommaso Ciampa.<ref name="NXT21/02/18"></ref> At on April 7, Almas lost the NXT Championship to Aleister Black, ending his reign at 140 days. On April 18 episode of "NXT", Almas accompanied Zelina Vega during her first televised match against Candice LeRae, in which she was defeated and this turned out to be Almas' and Vega's last appearances on NXT.


title: Andrade El Idolo

text: On April 17, 2018, Almas, alongside Zelina Vega, was drafted to SmackDown brand as part of the Superstar Shake–up. A month later, in his in-ring debut, Almas defeated a local wrestler on the May 15 episode of "SmackDown Live". Shortly after his debut, Almas was placed in his first feud with Sin Cara, who tried to convince him to "reconnect" again only for Almas to attack him. Almas defeated Sin Cara on July 10 episode of "SmackDown Live" and again five days later in a rematch at the Extreme Rules Kickoff Show to end their feud. On July 17 episode of "SmackDown Live", Almas suffered his first loss as part of main roster by then–WWE Champion AJ Styles in a non–title match. Throughout August, Almas and Vega started a feud with Rusev and Lana whom they would defeat in various singles matches. This led to a mixed tag team match between the two teams on the Kickoff Show for SummerSlam on August 19, where Almas and Vega were victorious. Two days later on "SmackDown Live", Almas and Vega lost to Rusev and Lana in a rematch, ending their feud in the process. Throughout the rest of the year, Almas continued to perform in various singles and tag team matches, most of which he would go on to lose.


title: Andrade El Idolo

text: On January 15, 2019, his ring name was shortened to Andrade, and he was announced as an entrant for the Royal Rumble match, where he was one of the final four, before being eliminated by Braun Strowman. A match between Andrade and Rey Mysterio was scheduled for the Fastlane pay-per-view, but it was cancelled in favor of both men competing in a fatal four-way match for the United States Championship, where Samoa Joe retained in a match also involving R-Truth. At WrestleMania 35, Andrade competed in the André the Giant Memorial Battle Royal, but failed to win after he accidentally eliminated himself, when he eliminated Apollo Crews. On April 15, both Andrade and Vega were drafted to Raw brand as part of Superstar Shake-up. However, on April 23, Andrade and Vega were moved back to the "SmackDown" brand. At the Money in the Bank, Andrade competed in the ladder match, which he failed to win. At Super ShowDown, Andrade failed to capture the Intercontinental Championship from Finn Bálor. In August, Andrade competed in the King of the Ring tournament, where he defeated Apollo Crews in the first round, but lost to Chad Gable in the quarterfinals.


title: Andrade El Idolo

text: As part of the 2019 draft, Andrade and Vega were drafted to Raw. On December 26, during a house show at Madison Square Garden, Andrade defeated Rey Mysterio to win the United States Championship for the first time. Andrade successfully retained the title against Mysterio on the January 6, 2020 and January 20 episodes of "Raw". At the Royal Rumble on January 26, Andrade defeated Humberto Carrillo to retain his championship. The next day, Andrade was suspended for 30 days, for violating WWE's Wellness Policy. To write him off television, an angle took place on "Raw", where Carrillo delivered a Hammerlock DDT on Andrade onto cement.


title: Andrade El Idolo

text: With Andrade absent over the next month, Zelina Vega brought up her new associate, Angel Garza, who is Carrillo's cousin, and the two then feuded. Andrade returned at Super ShowDown, competing in the gauntlet match for the Tuwaiq Trophy, but was eliminated by R-Truth. At Elimination Chamber, Andrade retained his title against Carrillo once again. Andrade was scheduled to team with Garza to face The Street Profits (Angelo Dawkins and Montez Ford) for the Raw Tag Team Championship at WrestleMania 36, but Andrade was removed from that match due to an injury and was replaced by Austin Theory. On the April 13 episode of "Raw", Andrade, Garza and Theory attacked Akira Tozawa, creating a new faction. However, this would be short-lived, as Theory was kicked out of the faction on the May 18 episode of "Raw". On the May 25 episode of "Raw", Andrade lost the United States Championship to Apollo Crews, ending his reign at 151 days. He failed to regain the title from Crews at Backlash, after failed interference from Garza.


title: Andrade El Idolo

text: Andrade began a tag team with Garza, including a title match against The Street Profits at SummerSlam and Clash of Champions, where they were unsuccessful. After these failures, Zelina Vega left the group and on the October 12 episode of "Raw", Andrade lost to Garza before allowing him and Vega to be attacked by The Fiend and Alexa Bliss, thus officially splitting up the team. This would wind up being his final WWE match as Andrade disappeared from WWE programming soon after while Vega was released in November. In March 2021, Andrade requested his release from WWE and was initially denied, but WWE eventually granted his release on March 21.


title: Andrade El Idolo

text: On May 2, 2021, Andrade appeared via video package on Lucha Libre AAA Worldwide's Rey de Reyes show, challenging AAA Mega Champion Kenny Omega to a championship match at Triplemanía XXIX. On May 18, the match was officially announced. At the event, Andrade, accompanied by Ric Flair, was defeated by Omega.


title: Andrade El Idolo

text: On April 30, 2022, at Triplemanía XXX: Monterrey, Andrade, who was teamed with Cibernético and Deonna Purrazzo, was defeated by Bandido, Taya, and Pagano in a "trios" match.


title: Andrade El Idolo

text: Andrade made his debut for All Elite Wrestling (AEW) on the June 4, 2021 episode of "Dynamite", under the new ring name "Andrade El Idolo". He allied himself with Vickie Guerrero, who would serve as his manager. At the Road Rager event on July 7, Andrade made his in-ring debut for AEW, defeating Matt Sydal. Later that month, he would end his affiliation with Vickie Guerrero, and introduced her nephew Chavo Guerrero as his new "consultant". In August, Andrade began a feud with Pac, leading to a match on the September 10 episode of "Rampage", which Andrade won; after the match he would attack Chavo, ending their partnership. On the October 6 episode of "Dynamite", Andrade competed in a Casino Ladder Match for an opportunity at the AEW World Championship, but the match was won by Adam Page.


title: Andrade El Idolo

text: Throughout his career, Andrade has portrayed two main characters, La Sombra and Andrade "Cien" Almas, with both of those characters having phases of being heroic and villainous.


title: Andrade El Idolo

text: From 2007 through 2014, Andrade portrayed the masked character "La Sombra" as a heroic, young, high-flying wrestler who used a lot of "lucha libre" moves, especially dives off the top rope and occasionally out of the ring to the floor. At the time, he often used a split-legged corkscrew senton dive off the top rope to finish his matches.


title: Andrade El Idolo

text: When he transitioned from a face to a heel character in 2014, he developed a more individual personality, acting cockier and more laid back in the ring, acting unimpressed with his opponents by adopting a more arrogant "tranquilo" attitude that became synonymous with all the "Los Ingobernables" members. As a heel, he began using the "Sombra Driver" (sometimes referred to as the "Shadow Driver"), a Schoolboy suplex, that illustrated his transition from high-flyer to a more power-based wrestler.


title: Andrade El Idolo

text: Initially, the Andrade "Cien" Almas character was portrayed as a face, although without much depth to the character. His heel turn in 2016 saw a return of the arrogant "tranquilo" character he had used with success while working as "La Sombra", now bolstered by the presence of manager Zelina Vega, who helped him win matches by unfair means. After his heel turn, Andrade often used a running double knee smash against an opponent sitting in the corner of the ring, or sometimes on an opponent leaning against the ring post on the outside of the ring. After his heel turn, he began using a hammerlock DDT (which he named "La Sombra") as a finisher. As of his debut at AEW Road Rager, Andrade would enter the ring wearing a white suit with black stripes and a black skeleton mask, resembling DC Comics supervillain Black Mask.


title: Andrade El Idolo

text: In February 2019, Andrade began dating fellow professional wrestler Charlotte Flair. The couple got engaged on January 1, 2020, and they got married on May 27, 2022, in Mexico.


title: Hiroshi Kamiya

text: He is best known for the voice of Levi Ackerman in "Attack on Titan", Trafalgar Law in "One Piece", Mephisto Pheles in "Blue Exorcist", Izaya Orihara in "Durarara!!", Shinji Matō in the "Fate" franchise, Takashi Natsume in "Natsume Yūjin Chō", Choromatsu in "Mr. Osomatsu", Akashi Seijuro in "Kuroko's Basketball", Yuzuru Otonashi in "Angel Beats!", Yato in "Noragami", Ranpo Edogawa in "Bungo Stray Dogs", Nozomu Itoshiki in "Sayonara, Zetsubou-Sensei", Koyomi Araragi in the "Monogatari" series, Sōma in "Working!!", Juli in "Brothers Conflict", Balder Hringhorni in "Kamigami no Asobi", Tieria Erde in "Mobile Suit Gundam 00", Saiki Kusuo in "The Disastrous Life of Saiki K." and Kinshirō Kusatsu in "Cute High Earth Defense Club LOVE!".


title: Hiroshi Kamiya

text: He won "Best Lead Actor" and "Best Personality" at the 3rd Seiyu Awards, and "Best Supporting Actor" at the 2nd Seiyu Awards. He hosts the radio show "" with Daisuke Ono.


title: Hiroshi Kamiya

text: In July 2016, the tabloid magazine "Flash" revealed Kamiya had been married to manga artist Hikaru Nakamura for an undetermined amount of time. They have a daughter. During the 484th episode of "Dear Girl: Stories", Kamiya only confirmed himself to be the person in the photo with the child, but he has never revealed the marriage allegations.


title: Tsetse fly

text: Tsetse ( , or ) (sometimes spelled tzetze; also known as tik-tik flies), are large, biting flies that inhabit much of tropical Africa. Tsetse flies include all the species in the genus Glossina, which are placed in their own family, Glossinidae. The tsetse are obligate parasites, which live by feeding on the blood of vertebrate animals. Tsetse have been extensively studied, because of their role in transmitting disease. They have a prominent economic impact in sub-Saharan Africa, as the biological vectors of trypanosomes, causing human and animal trypanosomiasis. Tsetse are multivoltine and long-lived, typically producing about four broods per year, with up to 31 broods over their lifespans.


title: Tsetse fly

text: Tsetse can be distinguished from other large flies by two easily-observed features: Primarily, tsetse fold their wings over their abdomens completely when they are resting (so that one wing rests directly on top of the other); Secondly, tsetse also have a long proboscis, extending directly forward, which is attached by a distinct bulb to the bottom of their heads.


title: Tsetse fly

text: Fossilized tsetse have been recovered from Paleogene-aged rocks in the United States and Germany. Twenty-three extant species of tsetse flies are known from the African continent as well as the Arabian Peninsula.


title: Tsetse fly

text: The word "tsetse" means "fly" in Tswana, a Bantu language of southern Africa. Recently, "tsetse" without the fly has become more common in English, particularly in the scientific and development communities.


title: Tsetse fly

text: The word is pronounced "tseh-tseh" in the Sotho languages and is easily rendered in other African languages. During World War II, a British de Havilland antisubmarine aircraft was known as the 'Tsetse' Mosquito.


title: Tsetse fly

text: The biology of tsetse is relatively well understood by entomologists. They have been extensively studied because of their medical, veterinary, and economic importances, because the flies can be raised in a laboratory, and because they are relatively large, facilitating their analysis.


title: Tsetse fly

text: Tsetse flies can be seen as independent individuals in three forms: as third-instar larvae, pupae, and adults.


title: Tsetse fly

text: Tsetse first become separate from their mothers during the third larval instar, during which they have the typical appearance of maggots. However, this life stage is short, lasting at most a few hours, and is almost never observed outside of the laboratory.


title: Tsetse fly

text: Tsetse next develop a hard external case, the puparium, and become pupae - small, hard-shelled oblongs with two distinctively small, dark lobes at the tail (breathing) end. Tsetse pupae are under long. Within the puparial shell, tsetse complete the last two larval instars and the pupal stage.


title: Tsetse fly

text: At the end of the pupal stage, tsetse emerge as adult flies. The adults are relatively large flies, with lengths of , and have a recognizable shape, or bauplan, which makes them easy to distinguish from other flies. Tsetse have large heads, distinctly separated eyes, and unusual antennae. The thorax is quite large, while the abdomen is wider, rather than elongated, and shorter than the wings.


title: Tsetse fly

text: Like all other insects, tsetse flies have an adult body comprising three visibly distinct parts: the head, the thorax and the abdomen.


title: Tsetse fly

text: The head has large eyes, distinctly separated on each side, and a distinct, forward-pointing proboscis attached underneath by a large bulb. The thorax is large, made of three fused segments. Three pairs of legs are attached to the thorax, as are two wings and two halteres. The abdomen is short but wide and changes dramatically in volume during feeding.