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wiki20220301en020_104427 | Ian Rankin | Opera Gesualdo, with Craig Armstrong (2008) Short stories "Summer Rites" (1984) (published in Cencrastus, No. 18 - actually a section of Rankin's first novel) "An Afternoon" (1984) (published in New Writing Scotland No. 2) (slightly revised version published in OxCrimes, 2014) "Voyeurism" (1985) (published in New Writing Scotland No. 3) "Colony" (1986) (published in New Writing Scotland No. 4) "Scarab" (1986) (published in Scottish Short Stories 1986) "Territory" (1987) (published in Scottish Short Stories 1987) "Remembrance" (1988) (published in Cencrastus, Spring) "Playback" (1990) (Rebus; published in Winter's Crime 22; reprinted in A Good Hanging & Other Stories, 1992) "Talk Show" (1991) (Rebus; published in Winter's Crimes 23) "The Dean Curse" (1992) (Rebus; published in A Good Hanging & Other Stories) "Being Frank" (1992) (Rebus; published in A Good Hanging & Other Stories) "Concrete Evidence" (1992) (Rebus; published in A Good Hanging & Other Stories) | Ian Rankin. Opera Gesualdo, with Craig Armstrong (2008) Short stories "Summer Rites" (1984) (published in Cencrastus, No. 18 - actually a section of Rankin's first novel) "An Afternoon" (1984) (published in New Writing Scotland No. 2) (slightly revised version published in OxCrimes, 2014) "Voyeurism" (1985) (published in New Writing Scotland No. 3) "Colony" (1986) (published in New Writing Scotland No. 4) "Scarab" (1986) (published in Scottish Short Stories 1986) "Territory" (1987) (published in Scottish Short Stories 1987) "Remembrance" (1988) (published in Cencrastus, Spring) "Playback" (1990) (Rebus; published in Winter's Crime 22; reprinted in A Good Hanging & Other Stories, 1992) "Talk Show" (1991) (Rebus; published in Winter's Crimes 23) "The Dean Curse" (1992) (Rebus; published in A Good Hanging & Other Stories) "Being Frank" (1992) (Rebus; published in A Good Hanging & Other Stories) "Concrete Evidence" (1992) (Rebus; published in A Good Hanging & Other Stories) | 524306 |
wiki20220301en020_104428 | Ian Rankin | "Being Frank" (1992) (Rebus; published in A Good Hanging & Other Stories) "Concrete Evidence" (1992) (Rebus; published in A Good Hanging & Other Stories) "Seeing Things" (1992) (Rebus; published in A Good Hanging & Other Stories) "A Good Hanging" (1992) (Rebus; published in A Good Hanging & Other Stories) "Tit for Tat" (1992) (Rebus; published in A Good Hanging & Other Stories) "Not Provan" (1992) (Rebus; published in A Good Hanging & Other Stories) "Sunday" (1992) (Rebus; published in A Good Hanging & Other Stories) "Auld Lang Syne" (1992) (Rebus; published in A Good Hanging & Other Stories) "The Gentlemen's Club" (1992) (Rebus; published in A Good Hanging & Other Stories) "Monstrous Trumpet" (1992) (Rebus; published in A Good Hanging & Other Stories) "In the Frame" (1992) (Rebus; published in Winter's Crimes 24) "Trip Trap" (1992) (Rebus; published in 1st Culprit) "Marked for Death" (1992) (published in Constable New Crimes 1) | Ian Rankin. "Being Frank" (1992) (Rebus; published in A Good Hanging & Other Stories) "Concrete Evidence" (1992) (Rebus; published in A Good Hanging & Other Stories) "Seeing Things" (1992) (Rebus; published in A Good Hanging & Other Stories) "A Good Hanging" (1992) (Rebus; published in A Good Hanging & Other Stories) "Tit for Tat" (1992) (Rebus; published in A Good Hanging & Other Stories) "Not Provan" (1992) (Rebus; published in A Good Hanging & Other Stories) "Sunday" (1992) (Rebus; published in A Good Hanging & Other Stories) "Auld Lang Syne" (1992) (Rebus; published in A Good Hanging & Other Stories) "The Gentlemen's Club" (1992) (Rebus; published in A Good Hanging & Other Stories) "Monstrous Trumpet" (1992) (Rebus; published in A Good Hanging & Other Stories) "In the Frame" (1992) (Rebus; published in Winter's Crimes 24) "Trip Trap" (1992) (Rebus; published in 1st Culprit) "Marked for Death" (1992) (published in Constable New Crimes 1) | 524306 |
wiki20220301en020_104429 | Ian Rankin | "In the Frame" (1992) (Rebus; published in Winter's Crimes 24) "Trip Trap" (1992) (Rebus; published in 1st Culprit) "Marked for Death" (1992) (published in Constable New Crimes 1) "Well Shot" (1993) (Rebus; published in 2nd Culprit; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "Video, Nasty" (1993) (published in Constable New Crimes 2) "Castle Dangerous" (1993) (Rebus; published in Ellery Queen's Mystery Magazine, EQMM, October) "Someone Got to Eddie" (1994) (published in 3rd Culprit) "Facing the Music" (1994) (Rebus; published in Midwinter Mysteries 4) "A Deep Hole" (1994) (published in London Noir) "The Serpent's Back" (1995) (published in Midwinter Mysteries 5) "Adventures in Babysitting" (1995) (published in No Alibi and in Master's Choice Two) "Principles of Accounts" (1995) (published in EQMM, August) "Window of Opportunity" (1995) (Rebus, published in EQMM, December) "Natural Selection" (1996) (published in Fresh Blood) | Ian Rankin. "In the Frame" (1992) (Rebus; published in Winter's Crimes 24) "Trip Trap" (1992) (Rebus; published in 1st Culprit) "Marked for Death" (1992) (published in Constable New Crimes 1) "Well Shot" (1993) (Rebus; published in 2nd Culprit; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "Video, Nasty" (1993) (published in Constable New Crimes 2) "Castle Dangerous" (1993) (Rebus; published in Ellery Queen's Mystery Magazine, EQMM, October) "Someone Got to Eddie" (1994) (published in 3rd Culprit) "Facing the Music" (1994) (Rebus; published in Midwinter Mysteries 4) "A Deep Hole" (1994) (published in London Noir) "The Serpent's Back" (1995) (published in Midwinter Mysteries 5) "Adventures in Babysitting" (1995) (published in No Alibi and in Master's Choice Two) "Principles of Accounts" (1995) (published in EQMM, August) "Window of Opportunity" (1995) (Rebus, published in EQMM, December) "Natural Selection" (1996) (published in Fresh Blood) | 524306 |
wiki20220301en020_104430 | Ian Rankin | "Principles of Accounts" (1995) (published in EQMM, August) "Window of Opportunity" (1995) (Rebus, published in EQMM, December) "Natural Selection" (1996) (published in Fresh Blood) "Herbert in Motion" (1996) (published in Perfectly Criminal) "The Wider Scheme" (1996) (published in EQMM, August) "My Shopping Day" (1997) (Rebus; published in Herbert in Motion & Other Stories [limited edition chapbook of 200 copies]; not included in the UK edition of The Beat Goes On: The Complete Rebus Stories, but included in the U.S. edition) "No. 79" (1997) (published in Herbert in Motion & Other Stories) "Glimmer" (1998) (published in Blue Lightning) "Unknown Pleasures" (1998) (published in Mean Time) "Detective Novels: The Pact Between Authors and Readers" (1998) (article; published in The Writer, December) "Death is Not the End" (1998) (novella later expanded into Dead Souls) "The Missing" (1999) (published in Crime Wave, March) | Ian Rankin. "Principles of Accounts" (1995) (published in EQMM, August) "Window of Opportunity" (1995) (Rebus, published in EQMM, December) "Natural Selection" (1996) (published in Fresh Blood) "Herbert in Motion" (1996) (published in Perfectly Criminal) "The Wider Scheme" (1996) (published in EQMM, August) "My Shopping Day" (1997) (Rebus; published in Herbert in Motion & Other Stories [limited edition chapbook of 200 copies]; not included in the UK edition of The Beat Goes On: The Complete Rebus Stories, but included in the U.S. edition) "No. 79" (1997) (published in Herbert in Motion & Other Stories) "Glimmer" (1998) (published in Blue Lightning) "Unknown Pleasures" (1998) (published in Mean Time) "Detective Novels: The Pact Between Authors and Readers" (1998) (article; published in The Writer, December) "Death is Not the End" (1998) (novella later expanded into Dead Souls) "The Missing" (1999) (published in Crime Wave, March) | 524306 |
wiki20220301en020_104431 | Ian Rankin | "Death is Not the End" (1998) (novella later expanded into Dead Souls) "The Missing" (1999) (published in Crime Wave, March) "Get Shortie" (1999) (Rebus; published in Crime Wave 2, Deepest Red, June; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "The Acid Test" (1999) (Rebus; published in EQMM, August; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "The Hanged Man" (1999) (published in Something Wicked (UK) and EQMM, September/October) "The Only True Comedian" (2000) (published in EQMM, February) "Unlucky in Love, Unlucky at Cards" (2000) (published in EQMM, March) "The Confession" (2000) (published in EQMM, June) "The Slab Boys" (2000) (published in Scenes of Crime) "No Sanity Clause" (2000) (Rebus; originally titled "Father Christmas's Revenge, published in The Daily Telegraph, December) "Tell Me Who to Kill" (2003) (Rebus; published in Mysterious Pleasures) | Ian Rankin. "Death is Not the End" (1998) (novella later expanded into Dead Souls) "The Missing" (1999) (published in Crime Wave, March) "Get Shortie" (1999) (Rebus; published in Crime Wave 2, Deepest Red, June; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "The Acid Test" (1999) (Rebus; published in EQMM, August; not included in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "The Hanged Man" (1999) (published in Something Wicked (UK) and EQMM, September/October) "The Only True Comedian" (2000) (published in EQMM, February) "Unlucky in Love, Unlucky at Cards" (2000) (published in EQMM, March) "The Confession" (2000) (published in EQMM, June) "The Slab Boys" (2000) (published in Scenes of Crime) "No Sanity Clause" (2000) (Rebus; originally titled "Father Christmas's Revenge, published in The Daily Telegraph, December) "Tell Me Who to Kill" (2003) (Rebus; published in Mysterious Pleasures) | 524306 |
wiki20220301en020_104432 | Ian Rankin | "No Sanity Clause" (2000) (Rebus; originally titled "Father Christmas's Revenge, published in The Daily Telegraph, December) "Tell Me Who to Kill" (2003) (Rebus; published in Mysterious Pleasures) "Saint Nicked" (2003/2004) (published in The Radio Times, 21 December 2003 & 4 January 2004) "Soft Spot" (2005) (published in Dangerous Women) "Showtime" (2005) (published in One City) "Not Just another Saturday" (August 2005) (written for SNIP, a charity organisation; people in attendance of the event were provided with a "typescript" of the story) "Atonement" (2005) (written for the anthology Complete Short Stories, which combined the contents of A Good Hanging & Other Stories and Beggar's Banquet, but was far from "Complete") "Sinner: justified" (2006) (published in Superhumanatural) "Graduation Day" (2006) (published in Murder in the Rough) "Fieldwork" (2009) (published in Ox-Tales) "Penalty Clause" (2010) (Rebus; published in Mail on Sunday, December) | Ian Rankin. "No Sanity Clause" (2000) (Rebus; originally titled "Father Christmas's Revenge, published in The Daily Telegraph, December) "Tell Me Who to Kill" (2003) (Rebus; published in Mysterious Pleasures) "Saint Nicked" (2003/2004) (published in The Radio Times, 21 December 2003 & 4 January 2004) "Soft Spot" (2005) (published in Dangerous Women) "Showtime" (2005) (published in One City) "Not Just another Saturday" (August 2005) (written for SNIP, a charity organisation; people in attendance of the event were provided with a "typescript" of the story) "Atonement" (2005) (written for the anthology Complete Short Stories, which combined the contents of A Good Hanging & Other Stories and Beggar's Banquet, but was far from "Complete") "Sinner: justified" (2006) (published in Superhumanatural) "Graduation Day" (2006) (published in Murder in the Rough) "Fieldwork" (2009) (published in Ox-Tales) "Penalty Clause" (2010) (Rebus; published in Mail on Sunday, December) | 524306 |
wiki20220301en020_104433 | Ian Rankin | "Graduation Day" (2006) (published in Murder in the Rough) "Fieldwork" (2009) (published in Ox-Tales) "Penalty Clause" (2010) (Rebus; published in Mail on Sunday, December) "The Very Last Drop" (2013) (Rebus; written to read aloud at an Edinburgh charity event to help the work of Royal Blind; published in the US and UK editions of The Beat Goes On: The Complete Rebus Stories) "Dead and Buried" (2013) (Rebus; published with Saints of the Shadow Bible) "In the Nick of Time" (2014) (Rebus; published in Face Off) "The Passenger" (2014) (Rebus; published in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "A Three-Pint Problem" (2014) (Rebus; published in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "Cinders" (2015) (Rebus; published in the US edition of The Beat Goes On: The Complete Rebus Stories) | Ian Rankin. "Graduation Day" (2006) (published in Murder in the Rough) "Fieldwork" (2009) (published in Ox-Tales) "Penalty Clause" (2010) (Rebus; published in Mail on Sunday, December) "The Very Last Drop" (2013) (Rebus; written to read aloud at an Edinburgh charity event to help the work of Royal Blind; published in the US and UK editions of The Beat Goes On: The Complete Rebus Stories) "Dead and Buried" (2013) (Rebus; published with Saints of the Shadow Bible) "In the Nick of Time" (2014) (Rebus; published in Face Off) "The Passenger" (2014) (Rebus; published in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "A Three-Pint Problem" (2014) (Rebus; published in the UK and US editions of The Beat Goes On: The Complete Rebus Stories) "Cinders" (2015) (Rebus; published in the US edition of The Beat Goes On: The Complete Rebus Stories) | 524306 |
wiki20220301en020_104434 | Ian Rankin | "Cinders" (2015) (Rebus; published in the US edition of The Beat Goes On: The Complete Rebus Stories) "The Travelling Companion" (2015) (novella, published by the Mysterious Bookshop, NYC; signed, lettered limited cloth edition of 26 copies and 100 numbered copies; softcover edition of 1,000 copies; published in the UK in 2016 by Head of Zeus Ltd, London) "Meet & Greet" (2015) (published in The Strand XLVI) "The Kill Fee" (2015) (published in The New Statesman December 18, 2015—January 8, 2016) "Cafferty's Day" (2016) (Rebus; published with Rather be the Devil) "Charades" (2017) (Rebus; published in Country Life December 13/20) | Ian Rankin. "Cinders" (2015) (Rebus; published in the US edition of The Beat Goes On: The Complete Rebus Stories) "The Travelling Companion" (2015) (novella, published by the Mysterious Bookshop, NYC; signed, lettered limited cloth edition of 26 copies and 100 numbered copies; softcover edition of 1,000 copies; published in the UK in 2016 by Head of Zeus Ltd, London) "Meet & Greet" (2015) (published in The Strand XLVI) "The Kill Fee" (2015) (published in The New Statesman December 18, 2015—January 8, 2016) "Cafferty's Day" (2016) (Rebus; published with Rather be the Devil) "Charades" (2017) (Rebus; published in Country Life December 13/20) | 524306 |
wiki20220301en020_104435 | Ian Rankin | Other "Oxford Bar" (2007) (Essay published in the anthology How I Write: The Secret Lives of Authors) "John Rebus" (2007) (Mysterious Profile #8, a chapbook published by The Mysterious Bookshop in NYC in a signed limited hardcover edition of 100 copies and 1,000 softcover copies; reprinted in the UK edition of The Beat Goes On: The Complete Rebus Stories as "Rankin on Rebus") Ian Rankin interviews Arthur Conan Doyle (2013), published in Dead Interviews William McIlvanney's final novel, The Dark Remains, based on a manuscript McIlvanney left when he died in 2015, was completed by Ian Rankin and released in September 2021. | Ian Rankin. Other "Oxford Bar" (2007) (Essay published in the anthology How I Write: The Secret Lives of Authors) "John Rebus" (2007) (Mysterious Profile #8, a chapbook published by The Mysterious Bookshop in NYC in a signed limited hardcover edition of 100 copies and 1,000 softcover copies; reprinted in the UK edition of The Beat Goes On: The Complete Rebus Stories as "Rankin on Rebus") Ian Rankin interviews Arthur Conan Doyle (2013), published in Dead Interviews William McIlvanney's final novel, The Dark Remains, based on a manuscript McIlvanney left when he died in 2015, was completed by Ian Rankin and released in September 2021. | 524306 |
wiki20220301en020_104436 | Ian Rankin | Criticism Alegre, Sara Martin,"Aging in F(r)iendship: 'Big Ger' Cafferty and John Rebus," in Clues: A Journal of Detection 29.2 (2011): 73–82. Horsley, Lee, The Noir Thriller (Houndmills & New York: Palgrave, 2001). Lanchester, John, "Rebusworld", in London Review of Books 22.9 (27 April 2000), pp. 18–20. Lennard, John, "Ian Rankin", in Jay Parini, ed., British Writers Supplement X (New York & London: Charles Scribner's Sons, 2004), pp. 243–60 MacDonald, Erin E., "Ghosts and Skeletons: Metaphors of Guilty History in Ian Rankin's Rebus Series", in Clues: A Journal of Detection 30.2 (2012): 67–75. MacDonald, Erin E., Ian Rankin: A Companion to the Mystery Fiction (Jefferson, NC: McFarland, 2020). Mandel, Ernest, Delightful Murder: A Social History of the Crime Story (Leichhardt, NSW, & London: Pluto Press, 1984). Marshall, Rodney, Blurred Boundaries: Rankin's Rebus (Amazon, 2012) Nicol, Christopher, "Ian Rankin's 'Black & Blue'", Scotnote No.24 (Glasgow: ASLS Publications, 2008) | Ian Rankin. Criticism Alegre, Sara Martin,"Aging in F(r)iendship: 'Big Ger' Cafferty and John Rebus," in Clues: A Journal of Detection 29.2 (2011): 73–82. Horsley, Lee, The Noir Thriller (Houndmills & New York: Palgrave, 2001). Lanchester, John, "Rebusworld", in London Review of Books 22.9 (27 April 2000), pp. 18–20. Lennard, John, "Ian Rankin", in Jay Parini, ed., British Writers Supplement X (New York & London: Charles Scribner's Sons, 2004), pp. 243–60 MacDonald, Erin E., "Ghosts and Skeletons: Metaphors of Guilty History in Ian Rankin's Rebus Series", in Clues: A Journal of Detection 30.2 (2012): 67–75. MacDonald, Erin E., Ian Rankin: A Companion to the Mystery Fiction (Jefferson, NC: McFarland, 2020). Mandel, Ernest, Delightful Murder: A Social History of the Crime Story (Leichhardt, NSW, & London: Pluto Press, 1984). Marshall, Rodney, Blurred Boundaries: Rankin's Rebus (Amazon, 2012) Nicol, Christopher, "Ian Rankin's 'Black & Blue'", Scotnote No.24 (Glasgow: ASLS Publications, 2008) | 524306 |
wiki20220301en020_104437 | Ian Rankin | Marshall, Rodney, Blurred Boundaries: Rankin's Rebus (Amazon, 2012) Nicol, Christopher, "Ian Rankin's 'Black & Blue'", Scotnote No.24 (Glasgow: ASLS Publications, 2008) Ogle, Tina, "Crime on Screen", in The Observer (London), 16 April 2000, Screen p. 8. Plain, Gill, Ian Rankin’s Black and Blue (London & New York: Continuum, 2002) Plain, Gillian, "Ian Rankin: A Bibliography", in Crime Time 28 (2002), pp. 16–20. Robinson, David, "Mystery Man: In Search of the real Ian Rankin", in The Scotsman 10 March 2001, S2Weekend, pp. 1–4. Rowland, Susan, "Gothic Crimes: A Literature of Terror and Horror", in From Agatha Christie to Ruth Rendell (Houndmills & New York: Palgrave, 2001), pp. 110–34. | Ian Rankin. Marshall, Rodney, Blurred Boundaries: Rankin's Rebus (Amazon, 2012) Nicol, Christopher, "Ian Rankin's 'Black & Blue'", Scotnote No.24 (Glasgow: ASLS Publications, 2008) Ogle, Tina, "Crime on Screen", in The Observer (London), 16 April 2000, Screen p. 8. Plain, Gill, Ian Rankin’s Black and Blue (London & New York: Continuum, 2002) Plain, Gillian, "Ian Rankin: A Bibliography", in Crime Time 28 (2002), pp. 16–20. Robinson, David, "Mystery Man: In Search of the real Ian Rankin", in The Scotsman 10 March 2001, S2Weekend, pp. 1–4. Rowland, Susan, "Gothic Crimes: A Literature of Terror and Horror", in From Agatha Christie to Ruth Rendell (Houndmills & New York: Palgrave, 2001), pp. 110–34. | 524306 |
wiki20220301en020_104438 | Ian Rankin | References External links Ian Rankin Guardian Books profile, with links to further articles. Ian Rankin at Edinburgh Central Library, Oct 2010 (video interview in several parts) CNN interview with Ian Rankin 2011 radio interview at The Bat Segundo Show (1 hour) Two BooksfromScotland.com interviews with Ian Rankin Radio Interview on RadioNZ's Nine to Noon Show 26 February 2013 | Ian Rankin. References External links Ian Rankin Guardian Books profile, with links to further articles. Ian Rankin at Edinburgh Central Library, Oct 2010 (video interview in several parts) CNN interview with Ian Rankin 2011 radio interview at The Bat Segundo Show (1 hour) Two BooksfromScotland.com interviews with Ian Rankin Radio Interview on RadioNZ's Nine to Noon Show 26 February 2013 | 524306 |
wiki20220301en020_104439 | Ian Rankin | 1960 births Living people People from Cardenden People associated with Edinburgh Scottish comics writers Scottish crime fiction writers Scottish mystery writers Scottish novelists Edgar Award winners Cartier Diamond Dagger winners Members of the Detection Club Alumni of the University of Edinburgh Academics of the University of Edinburgh Officers of the Order of the British Empire Deputy Lieutenants of Edinburgh People educated at Beath High School 20th-century Scottish novelists Scottish male novelists 21st-century Scottish novelists Fellows of the Royal Society of Literature 20th-century British male writers 21st-century British male writers Tartan Noir writers | Ian Rankin. 1960 births Living people People from Cardenden People associated with Edinburgh Scottish comics writers Scottish crime fiction writers Scottish mystery writers Scottish novelists Edgar Award winners Cartier Diamond Dagger winners Members of the Detection Club Alumni of the University of Edinburgh Academics of the University of Edinburgh Officers of the Order of the British Empire Deputy Lieutenants of Edinburgh People educated at Beath High School 20th-century Scottish novelists Scottish male novelists 21st-century Scottish novelists Fellows of the Royal Society of Literature 20th-century British male writers 21st-century British male writers Tartan Noir writers | 524306 |
wiki20220301en020_104440 | Fingal (disambiguation) | Fingal may refer to: Places Fingal, a county in Ireland, formerly the northern part of the historical county of Dublin Fingal, North Dakota, U.S. town Fingal, Tasmania, Australian town Fingal, Victoria, Australian town Fingal Head, New South Wales, Australian town Fingal, Ontario, community in Canada near a Royal Canadian Air Force station Arts Fingal (music group), Irish traditional music group Fingal (hero), the eponymous hero of a poem in the Ossian cycle by James Macpherson Sport Fingal county hurling team Sporting Fingal F.C., association football club in the Football League of Ireland Other Fingal mac Gofraid, late 11th century King of the Isles SS Fingal, Norwegian merchant ship sunk off Australia in World War II See also Fingal's Cave, sea-cave on Staffa in the Inner Hebrides of Scotland Fingal Bay, New South Wales, near Port Stephens in Australia Finghall, village in North Yorkshire, England Irish place names in other countries. | Fingal (disambiguation). Fingal may refer to: Places Fingal, a county in Ireland, formerly the northern part of the historical county of Dublin Fingal, North Dakota, U.S. town Fingal, Tasmania, Australian town Fingal, Victoria, Australian town Fingal Head, New South Wales, Australian town Fingal, Ontario, community in Canada near a Royal Canadian Air Force station Arts Fingal (music group), Irish traditional music group Fingal (hero), the eponymous hero of a poem in the Ossian cycle by James Macpherson Sport Fingal county hurling team Sporting Fingal F.C., association football club in the Football League of Ireland Other Fingal mac Gofraid, late 11th century King of the Isles SS Fingal, Norwegian merchant ship sunk off Australia in World War II See also Fingal's Cave, sea-cave on Staffa in the Inner Hebrides of Scotland Fingal Bay, New South Wales, near Port Stephens in Australia Finghall, village in North Yorkshire, England Irish place names in other countries. | 524308 |
wiki20220301en020_104441 | Moonlighter (video game) | Moonlighter is an action RPG indie game developed by Spanish indie studio Digital Sun and released for Microsoft Windows, macOS, Linux, PlayStation 4, and Xbox One on May 29, 2018. A Nintendo Switch version was released on November 5, 2018. A Stadia version was released on July 1, 2021. Gameplay Moonlighter has the player manage their shop during the day and go exploring at night. Shop keeping involves managing goods and receiving money, which the player can invest to upgrade the town and add services like a potion-maker and a blacksmith. These town upgrades allow the player to craft weapons, armor, and health potions, hire a part-time worker to sell things during the day, as well as upgrade the characters' equipment. At night, the player can explore dungeons and confront hordes of enemies, which drop loot upon defeat; loot can also be found in chests once the player clears a room. The game is divided by 4 different dungeons, the Golem, Jungle, Desert, and Tech dungeons. Reception | Moonlighter (video game). Moonlighter is an action RPG indie game developed by Spanish indie studio Digital Sun and released for Microsoft Windows, macOS, Linux, PlayStation 4, and Xbox One on May 29, 2018. A Nintendo Switch version was released on November 5, 2018. A Stadia version was released on July 1, 2021. Gameplay Moonlighter has the player manage their shop during the day and go exploring at night. Shop keeping involves managing goods and receiving money, which the player can invest to upgrade the town and add services like a potion-maker and a blacksmith. These town upgrades allow the player to craft weapons, armor, and health potions, hire a part-time worker to sell things during the day, as well as upgrade the characters' equipment. At night, the player can explore dungeons and confront hordes of enemies, which drop loot upon defeat; loot can also be found in chests once the player clears a room. The game is divided by 4 different dungeons, the Golem, Jungle, Desert, and Tech dungeons. Reception | 524309 |
wiki20220301en020_104442 | Moonlighter (video game) | Reception Moonlighter received "generally favorable" reviews according to review aggregator Metacritic. It was nominated for "Fan Favorite Indie Game" and "Fan Favorite Role Playing Game" at the Gamers' Choice Awards, and for "Most Fulfilling Community-Funded Game" at the SXSW Gaming Awards. References External links 2018 video games Action role-playing video games Indie video games IOS games Linux games macOS games Nintendo Switch games PlayStation 4 games Single-player video games Video games developed in Spain Windows games Xbox Cloud Gaming games Xbox One games | Moonlighter (video game). Reception Moonlighter received "generally favorable" reviews according to review aggregator Metacritic. It was nominated for "Fan Favorite Indie Game" and "Fan Favorite Role Playing Game" at the Gamers' Choice Awards, and for "Most Fulfilling Community-Funded Game" at the SXSW Gaming Awards. References External links 2018 video games Action role-playing video games Indie video games IOS games Linux games macOS games Nintendo Switch games PlayStation 4 games Single-player video games Video games developed in Spain Windows games Xbox Cloud Gaming games Xbox One games | 524309 |
wiki20220301en020_104443 | Moonlighting (TV series) | Moonlighting is an American comedy-drama television series that aired on ABC from March 3, 1985, to May 14, 1989. The network aired a total of 67 episodes. Starring Cybill Shepherd and Bruce Willis as private detectives, and Allyce Beasley as their quirky receptionist, the show was a mixture of drama, comedy, mystery, and romance, and was considered to be one of the first successful and influential examples of comedy-drama, or "dramedy", emerging as a distinct television genre. | Moonlighting (TV series). Moonlighting is an American comedy-drama television series that aired on ABC from March 3, 1985, to May 14, 1989. The network aired a total of 67 episodes. Starring Cybill Shepherd and Bruce Willis as private detectives, and Allyce Beasley as their quirky receptionist, the show was a mixture of drama, comedy, mystery, and romance, and was considered to be one of the first successful and influential examples of comedy-drama, or "dramedy", emerging as a distinct television genre. | 524311 |
wiki20220301en020_104444 | Moonlighting (TV series) | The show's theme song was co-written and performed by jazz singer Al Jarreau and became a hit. The show is also credited with making Willis a star and relaunching Shepherd's career after a string of lackluster projects. In 1997, the episode "The Dream Sequence Always Rings Twice" was ranked #34 on (the 1997) TV Guide's 100 Greatest Episodes of All Time. In 2007, the series was listed as one of Time magazine's "100 Best TV Shows of All-Time". The relationship between the characters David and Maddie was included in TV Guides list of the best TV couples of all time. | Moonlighting (TV series). The show's theme song was co-written and performed by jazz singer Al Jarreau and became a hit. The show is also credited with making Willis a star and relaunching Shepherd's career after a string of lackluster projects. In 1997, the episode "The Dream Sequence Always Rings Twice" was ranked #34 on (the 1997) TV Guide's 100 Greatest Episodes of All Time. In 2007, the series was listed as one of Time magazine's "100 Best TV Shows of All-Time". The relationship between the characters David and Maddie was included in TV Guides list of the best TV couples of all time. | 524311 |
wiki20220301en020_104445 | Moonlighting (TV series) | Plot The series revolved around cases investigated by the Blue Moon Detective Agency and its two partners, Madelyn "Maddie" Hayes (Shepherd) and David Addison Jr. (Willis). The show, with a mix of mystery, sharp dialogue, and sexual tension between its leads, introduced Willis to the world and brought Shepherd back into the spotlight after a nearly decade-long absence. The characters were introduced in a two-hour pilot episode. | Moonlighting (TV series). Plot The series revolved around cases investigated by the Blue Moon Detective Agency and its two partners, Madelyn "Maddie" Hayes (Shepherd) and David Addison Jr. (Willis). The show, with a mix of mystery, sharp dialogue, and sexual tension between its leads, introduced Willis to the world and brought Shepherd back into the spotlight after a nearly decade-long absence. The characters were introduced in a two-hour pilot episode. | 524311 |
wiki20220301en020_104446 | Moonlighting (TV series) | The show's storyline begins with the reversal of fortune of Maddie Hayes, a former model who finds herself bankrupt after her accountant embezzles all her liquid assets. She is left saddled with several failing businesses formerly maintained as tax writeoffs, one of which is the City of Angels Detective Agency, helmed by the carefree David Addison. Between the pilot and the first one-hour episode, David persuades Maddie to keep the business and run it as a partnership. The agency is renamed Blue Moon Investigations because Maddie was most famous for being the spokesmodel for the Blue Moon Shampoo Company. In many episodes, she was recognized as "the Blue Moon shampoo girl," if not by name. In his audio commentary for the Season 3 DVD, creator Glenn Gordon Caron says that the inspiration for the series was a production of The Taming of the Shrew he saw in Central Park starring Meryl Streep and Raúl Julia. The show parodied the play in the Season 3 episode Atomic Shakespeare. Cast | Moonlighting (TV series). The show's storyline begins with the reversal of fortune of Maddie Hayes, a former model who finds herself bankrupt after her accountant embezzles all her liquid assets. She is left saddled with several failing businesses formerly maintained as tax writeoffs, one of which is the City of Angels Detective Agency, helmed by the carefree David Addison. Between the pilot and the first one-hour episode, David persuades Maddie to keep the business and run it as a partnership. The agency is renamed Blue Moon Investigations because Maddie was most famous for being the spokesmodel for the Blue Moon Shampoo Company. In many episodes, she was recognized as "the Blue Moon shampoo girl," if not by name. In his audio commentary for the Season 3 DVD, creator Glenn Gordon Caron says that the inspiration for the series was a production of The Taming of the Shrew he saw in Central Park starring Meryl Streep and Raúl Julia. The show parodied the play in the Season 3 episode Atomic Shakespeare. Cast | 524311 |
wiki20220301en020_104447 | Moonlighting (TV series) | Main cast | Moonlighting (TV series). Main cast | 524311 |
wiki20220301en020_104448 | Moonlighting (TV series) | Cybill Shepherd as Maddie (Madelyn) Hayes, a chic, smart former high-fashion model. Left bankrupt when her accountant embezzles her money, she is forced to make a living by running the detective agency she owns as a tax writeoff. Using her celebrity as a former model, she brings in clients and tries to bring some order to a business previously run without any discipline. By the time he had written 50 pages for the pilot to the show, Caron says he realized he was writing the part for Shepherd. After reading the script, she immediately realized this was a part she wanted to do and, during her first meeting with Caron and producer Jay Daniel, remarked that it was reminiscent of a “Hawksian” comedy. The two had no idea what she was talking about, so she suggested they screen Twentieth Century, Bringing Up Baby, and His Girl Friday, three of her favorites, to see how the overlapping dialogue was handled. A week before shooting of the pilot began, Caron, Shepherd, and Willis watched | Moonlighting (TV series). Cybill Shepherd as Maddie (Madelyn) Hayes, a chic, smart former high-fashion model. Left bankrupt when her accountant embezzles her money, she is forced to make a living by running the detective agency she owns as a tax writeoff. Using her celebrity as a former model, she brings in clients and tries to bring some order to a business previously run without any discipline. By the time he had written 50 pages for the pilot to the show, Caron says he realized he was writing the part for Shepherd. After reading the script, she immediately realized this was a part she wanted to do and, during her first meeting with Caron and producer Jay Daniel, remarked that it was reminiscent of a “Hawksian” comedy. The two had no idea what she was talking about, so she suggested they screen Twentieth Century, Bringing Up Baby, and His Girl Friday, three of her favorites, to see how the overlapping dialogue was handled. A week before shooting of the pilot began, Caron, Shepherd, and Willis watched | 524311 |
wiki20220301en020_104449 | Moonlighting (TV series) | Century, Bringing Up Baby, and His Girl Friday, three of her favorites, to see how the overlapping dialogue was handled. A week before shooting of the pilot began, Caron, Shepherd, and Willis watched Bringing Up Baby and His Girl Friday. | Moonlighting (TV series). Century, Bringing Up Baby, and His Girl Friday, three of her favorites, to see how the overlapping dialogue was handled. A week before shooting of the pilot began, Caron, Shepherd, and Willis watched Bringing Up Baby and His Girl Friday. | 524311 |
wiki20220301en020_104450 | Moonlighting (TV series) | Bruce Willis as David Addison, a wise-cracking detective running the City of Angels Detective Agency. Faced with the prospect of being put out of business, he convinces Maddie that they lost money only because they were supposed to and talks her into rebranding the agency and going into business with him as her partner. Caron had to fight with ABC to put Willis in the lead role, having already signed Shepherd for the pilot and series. Caron claims he tested Willis about a third of the way through over 2,000 actors, knew "this was the guy" immediately, and had to fight through twice as many more acting tests and readings while arguing with ABC executives before receiving conditional authorization to cast Willis in the pilot. According to Caron, ABC did not feel that viewers would find any sexual tension between Shepherd and Willis believable. | Moonlighting (TV series). Bruce Willis as David Addison, a wise-cracking detective running the City of Angels Detective Agency. Faced with the prospect of being put out of business, he convinces Maddie that they lost money only because they were supposed to and talks her into rebranding the agency and going into business with him as her partner. Caron had to fight with ABC to put Willis in the lead role, having already signed Shepherd for the pilot and series. Caron claims he tested Willis about a third of the way through over 2,000 actors, knew "this was the guy" immediately, and had to fight through twice as many more acting tests and readings while arguing with ABC executives before receiving conditional authorization to cast Willis in the pilot. According to Caron, ABC did not feel that viewers would find any sexual tension between Shepherd and Willis believable. | 524311 |
wiki20220301en020_104451 | Moonlighting (TV series) | Allyce Beasley as Agnes DiPesto, the agency's extremely loyal and quirky receptionist who always answers the phone in rhyme. In season two, it is revealed that she lives at 6338 Hope Street. As problems arose with getting Willis and Shepherd on screen due to personal issues, the writers started to focus on the relationship between Agnes and fellow Blue Moon employee Herbert Viola. In the series finale, Agnes berates Maddie and David for not being able to figure out their relationship as the entire set is dismantled and says, “if there’s a God in heaven, he’ll spin Herbert and me off in our own series.” | Moonlighting (TV series). Allyce Beasley as Agnes DiPesto, the agency's extremely loyal and quirky receptionist who always answers the phone in rhyme. In season two, it is revealed that she lives at 6338 Hope Street. As problems arose with getting Willis and Shepherd on screen due to personal issues, the writers started to focus on the relationship between Agnes and fellow Blue Moon employee Herbert Viola. In the series finale, Agnes berates Maddie and David for not being able to figure out their relationship as the entire set is dismantled and says, “if there’s a God in heaven, he’ll spin Herbert and me off in our own series.” | 524311 |
wiki20220301en020_104452 | Moonlighting (TV series) | Curtis Armstrong as Herbert Viola, who started at Blue Moon as an employee from a temp agency. The producers brought Armstrong in based on his work in Revenge of the Nerds and Better Off Dead, hoping to expand the role of DiPesto by giving her a love interest, thereby taking some of the pressure off Willis and Shepherd. As Herbert begins to shine in his duties, he gets promoted to junior detective. Debuting in season three, he appeared in 36 of the series' 67 episodes. Jack Blessing as MacGillicudy, a Blue Moon employee who became a foil for Viola and a rival for DiPesto's affections. Debuting in season three, he appeared in 17 of the series’ 67 episodes. | Moonlighting (TV series). Curtis Armstrong as Herbert Viola, who started at Blue Moon as an employee from a temp agency. The producers brought Armstrong in based on his work in Revenge of the Nerds and Better Off Dead, hoping to expand the role of DiPesto by giving her a love interest, thereby taking some of the pressure off Willis and Shepherd. As Herbert begins to shine in his duties, he gets promoted to junior detective. Debuting in season three, he appeared in 36 of the series' 67 episodes. Jack Blessing as MacGillicudy, a Blue Moon employee who became a foil for Viola and a rival for DiPesto's affections. Debuting in season three, he appeared in 17 of the series’ 67 episodes. | 524311 |
wiki20220301en020_104453 | Moonlighting (TV series) | Guest cast In addition to the primary cast, several notable actors appeared either as guest stars or made cameos on the series. | Moonlighting (TV series). Guest cast In addition to the primary cast, several notable actors appeared either as guest stars or made cameos on the series. | 524311 |
wiki20220301en020_104454 | Moonlighting (TV series) | Recurring roles: Charles Rocket as Richard Addison, David's brother. Eva Marie Saint and Robert Webber as Virginia and Alexander Hayes, Maddie's parents. Mark Harmon appeared near the end of Season 3 as Sam Crawford, Maddie's romantic interest and rival with David. Dennis Dugan as Walter Bishop, who dates then marries Maddie Brooke Adams appeared in Season 4 as Terri Knowles, a single mother for whom David volunteered as a Lamaze partner in preparation for the birth of Maddie's child. Virginia Madsen appeared in Season 5 as Annie Charnock, Maddie's cousin and a short-term romantic interest for David. One-time roles: Liz Sheridan as Selma in the pilot episode. Mary Hart as herself in the pilot episode. Tim Robbins as a hitman in the Season 1 episode "Gunfight at the So-So Corral". C. Thomas Howell as a waiter (uncredited) in the Season 2 episode "The Lady in the Iron Mask". and as a postal worker (uncredited) in the Season 3 episode "Yours, Very Deadly". | Moonlighting (TV series). Recurring roles: Charles Rocket as Richard Addison, David's brother. Eva Marie Saint and Robert Webber as Virginia and Alexander Hayes, Maddie's parents. Mark Harmon appeared near the end of Season 3 as Sam Crawford, Maddie's romantic interest and rival with David. Dennis Dugan as Walter Bishop, who dates then marries Maddie Brooke Adams appeared in Season 4 as Terri Knowles, a single mother for whom David volunteered as a Lamaze partner in preparation for the birth of Maddie's child. Virginia Madsen appeared in Season 5 as Annie Charnock, Maddie's cousin and a short-term romantic interest for David. One-time roles: Liz Sheridan as Selma in the pilot episode. Mary Hart as herself in the pilot episode. Tim Robbins as a hitman in the Season 1 episode "Gunfight at the So-So Corral". C. Thomas Howell as a waiter (uncredited) in the Season 2 episode "The Lady in the Iron Mask". and as a postal worker (uncredited) in the Season 3 episode "Yours, Very Deadly". | 524311 |
wiki20220301en020_104455 | Moonlighting (TV series) | C. Thomas Howell as a waiter (uncredited) in the Season 2 episode "The Lady in the Iron Mask". and as a postal worker (uncredited) in the Season 3 episode "Yours, Very Deadly". Orson Welles as himself delivering the cold open in the Season 2 episode "The Dream Sequence Always Rings Twice". It was Welles's last appearance before his death. Barbara Bain as Emily Grayson in the Season 2 episode "My Fair David". Dana Delany as Jillian Armstrong in the Season 2 episode "Knowing Her". David Patrick Kelly as McBride in the Season 2 episode "Somewhere Under the Rainbow". Dan Lauria as the Lieutenant in the Season 2 episode "Portrait of Maddie". Mark Linn-Baker as Phil West in the Season 2 episode "Atlas Belched". Richard Belzer as Leonard in the Season 2 episode "Twas the Episode Before Christmas". Whoopi Goldberg as Camille Brand in the Season 2 episode "Camille". Judd Nelson as a Police Officer in the Season 2 episode "Camille". | Moonlighting (TV series). C. Thomas Howell as a waiter (uncredited) in the Season 2 episode "The Lady in the Iron Mask". and as a postal worker (uncredited) in the Season 3 episode "Yours, Very Deadly". Orson Welles as himself delivering the cold open in the Season 2 episode "The Dream Sequence Always Rings Twice". It was Welles's last appearance before his death. Barbara Bain as Emily Grayson in the Season 2 episode "My Fair David". Dana Delany as Jillian Armstrong in the Season 2 episode "Knowing Her". David Patrick Kelly as McBride in the Season 2 episode "Somewhere Under the Rainbow". Dan Lauria as the Lieutenant in the Season 2 episode "Portrait of Maddie". Mark Linn-Baker as Phil West in the Season 2 episode "Atlas Belched". Richard Belzer as Leonard in the Season 2 episode "Twas the Episode Before Christmas". Whoopi Goldberg as Camille Brand in the Season 2 episode "Camille". Judd Nelson as a Police Officer in the Season 2 episode "Camille". | 524311 |
wiki20220301en020_104456 | Moonlighting (TV series) | Whoopi Goldberg as Camille Brand in the Season 2 episode "Camille". Judd Nelson as a Police Officer in the Season 2 episode "Camille". Billy Barty as himself in the Season 2 episode "Camille". Paul Sorvino as David Addison Sr. in the Season 3 episode "The Son Also Rises". The Temptations as themselves in the Season 3 episode "Symphony in Knocked Flat". Don King as himself in the Season 3 episode "Symphony in Knocked Flat". Brad Dourif as Father McDonovan in the Season 3 episode "All Creatures Great and… Not So Great". Rick Ducommun as one of David's friends in the Season 3 episode "Big Man On Mulberry Street". Sandahl Bergman appeared in a "dream" dance sequence in the Season 3 episode "Big Man On Mulberry Street". Colm Meaney as one of Katharina's suitors in the Season 3 episode "Atomic Shakespeare". Sterling Holloway as the Narrator in the Season 3 episode "Atomic Shakespeare". Lionel Stander as Max in the Season 3 episode "It's a Wonderful Job". | Moonlighting (TV series). Whoopi Goldberg as Camille Brand in the Season 2 episode "Camille". Judd Nelson as a Police Officer in the Season 2 episode "Camille". Billy Barty as himself in the Season 2 episode "Camille". Paul Sorvino as David Addison Sr. in the Season 3 episode "The Son Also Rises". The Temptations as themselves in the Season 3 episode "Symphony in Knocked Flat". Don King as himself in the Season 3 episode "Symphony in Knocked Flat". Brad Dourif as Father McDonovan in the Season 3 episode "All Creatures Great and… Not So Great". Rick Ducommun as one of David's friends in the Season 3 episode "Big Man On Mulberry Street". Sandahl Bergman appeared in a "dream" dance sequence in the Season 3 episode "Big Man On Mulberry Street". Colm Meaney as one of Katharina's suitors in the Season 3 episode "Atomic Shakespeare". Sterling Holloway as the Narrator in the Season 3 episode "Atomic Shakespeare". Lionel Stander as Max in the Season 3 episode "It's a Wonderful Job". | 524311 |
wiki20220301en020_104457 | Moonlighting (TV series) | Sterling Holloway as the Narrator in the Season 3 episode "Atomic Shakespeare". Lionel Stander as Max in the Season 3 episode "It's a Wonderful Job". Cheryl Tiegs as herself in the Season 3 episode "It's a Wonderful Job". Pierce Brosnan as Remington Steele in the Season 3 episode "The Straight Poop". Peter Bogdanovich as himself in the Season 3 episode "The Straight Poop". Rona Barrett as herself in the Season 3 episode "The Straight Poop". Donna Dixon as Joan Tenowitz in the Season 3 episode "Blonde on Blonde". Sam McMurray as Moe Hyman in the Season 3 episode "Blonde on Blonde". Robert Wuhl as the Nut in Holding Cell in the Season 3 episode "Blonde on Blonde". Jeff Jarvis as himself in the Season 3 episode "Sam & Dave". Randall 'Tex' Cobb as "Big Guy in Gas Station" in the Season 3 episode "Sam & Dave". Gary Cole as Alan McClafferty in the Season 3 episode "Maddie's Turn to Cry". William Hickey as Mr. Kendall in the Season 3 episode "To Heiress Human". | Moonlighting (TV series). Sterling Holloway as the Narrator in the Season 3 episode "Atomic Shakespeare". Lionel Stander as Max in the Season 3 episode "It's a Wonderful Job". Cheryl Tiegs as herself in the Season 3 episode "It's a Wonderful Job". Pierce Brosnan as Remington Steele in the Season 3 episode "The Straight Poop". Peter Bogdanovich as himself in the Season 3 episode "The Straight Poop". Rona Barrett as herself in the Season 3 episode "The Straight Poop". Donna Dixon as Joan Tenowitz in the Season 3 episode "Blonde on Blonde". Sam McMurray as Moe Hyman in the Season 3 episode "Blonde on Blonde". Robert Wuhl as the Nut in Holding Cell in the Season 3 episode "Blonde on Blonde". Jeff Jarvis as himself in the Season 3 episode "Sam & Dave". Randall 'Tex' Cobb as "Big Guy in Gas Station" in the Season 3 episode "Sam & Dave". Gary Cole as Alan McClafferty in the Season 3 episode "Maddie's Turn to Cry". William Hickey as Mr. Kendall in the Season 3 episode "To Heiress Human". | 524311 |
wiki20220301en020_104458 | Moonlighting (TV series) | Gary Cole as Alan McClafferty in the Season 3 episode "Maddie's Turn to Cry". William Hickey as Mr. Kendall in the Season 3 episode "To Heiress Human". Dr. Joyce Brothers as herself in the Season 4 episode "A Trip to the Moon". Ray Charles as himself in the Season 4 episode "A Trip to the Moon". John Goodman as Donald Chase in the Season 4 episode "Come Back Little Shiksa". Amanda Plummer as Jacqueline "Jackie" Wilbourne in the Season 4 episode "Take a Left at the Altar". Terry O'Quinn as Bryant "Brian" Wilbourne in the Season 4 episode "Take a Left at the Altar". Imogene Coca as Clara DiPesto in the Season 4 episode "Los Dos DiPestos". Michelle Johnson as Mrs. Hunziger in the Season 5 episode "Plastic Fantastic Lovers". Jennifer Tilly as Nurse Saundra in the Season 5 episode "Plastic Fantastic Lovers". Colleen Dewhurst as Betty Russell in the Season 5 episode "Take My Wife, For Example". Rita Wilson as Carla in the Season 5 episode "Those Lips, Those Lies". | Moonlighting (TV series). Gary Cole as Alan McClafferty in the Season 3 episode "Maddie's Turn to Cry". William Hickey as Mr. Kendall in the Season 3 episode "To Heiress Human". Dr. Joyce Brothers as herself in the Season 4 episode "A Trip to the Moon". Ray Charles as himself in the Season 4 episode "A Trip to the Moon". John Goodman as Donald Chase in the Season 4 episode "Come Back Little Shiksa". Amanda Plummer as Jacqueline "Jackie" Wilbourne in the Season 4 episode "Take a Left at the Altar". Terry O'Quinn as Bryant "Brian" Wilbourne in the Season 4 episode "Take a Left at the Altar". Imogene Coca as Clara DiPesto in the Season 4 episode "Los Dos DiPestos". Michelle Johnson as Mrs. Hunziger in the Season 5 episode "Plastic Fantastic Lovers". Jennifer Tilly as Nurse Saundra in the Season 5 episode "Plastic Fantastic Lovers". Colleen Dewhurst as Betty Russell in the Season 5 episode "Take My Wife, For Example". Rita Wilson as Carla in the Season 5 episode "Those Lips, Those Lies". | 524311 |
wiki20220301en020_104459 | Moonlighting (TV series) | Colleen Dewhurst as Betty Russell in the Season 5 episode "Take My Wife, For Example". Rita Wilson as Carla in the Season 5 episode "Those Lips, Those Lies". Demi Moore, Bruce Willis's wife at the time, as the woman in the elevator in the Season 5 episode "When Girls Collide". Timothy Leary as minister Wynn Deaupayne in the Season 5 episode "Lunar Eclipse". Robert Ellenstein as Heinz in the Pilot episode Bill Erwin as Duncan Kennedy in the season 5 episode: "Perfetc" | Moonlighting (TV series). Colleen Dewhurst as Betty Russell in the Season 5 episode "Take My Wife, For Example". Rita Wilson as Carla in the Season 5 episode "Those Lips, Those Lies". Demi Moore, Bruce Willis's wife at the time, as the woman in the elevator in the Season 5 episode "When Girls Collide". Timothy Leary as minister Wynn Deaupayne in the Season 5 episode "Lunar Eclipse". Robert Ellenstein as Heinz in the Pilot episode Bill Erwin as Duncan Kennedy in the season 5 episode: "Perfetc" | 524311 |
wiki20220301en020_104460 | Moonlighting (TV series) | Episodes Format innovations The series was created by Glenn Gordon Caron, one of the producers of the similar Remington Steele, when he was approached by ABC executive Lewis H. Erlicht. Erlicht liked the work Caron had done on Taxi and Remington Steele and wanted a detective show featuring a major star in a leading role who would appeal to an upscale audience. Caron wanted to do a romance, to which Erlicht replied “I don’t care what it is, as long as it’s a detective show.” | Moonlighting (TV series). Episodes Format innovations The series was created by Glenn Gordon Caron, one of the producers of the similar Remington Steele, when he was approached by ABC executive Lewis H. Erlicht. Erlicht liked the work Caron had done on Taxi and Remington Steele and wanted a detective show featuring a major star in a leading role who would appeal to an upscale audience. Caron wanted to do a romance, to which Erlicht replied “I don’t care what it is, as long as it’s a detective show.” | 524311 |
wiki20220301en020_104461 | Moonlighting (TV series) | The tone of the series was left up to the production staff, resulting in Moonlighting becoming one of the first successful TV "dramedies"— dramatic-comedy, a style of television and movies in which there is an equal or nearly equal balance of humor and serious content. The show made use of fast-paced, overlapping dialogue between the two leads, harking back to classic screwball comedy films such as those of director Howard Hawks. These innovative qualities resulted in its being nominated, for the first time in the 50-year history of the Directors Guild of America, for both Best Drama and Best Comedy in the same year (both in 1985 and 1986). Breaking the fourth wall | Moonlighting (TV series). The tone of the series was left up to the production staff, resulting in Moonlighting becoming one of the first successful TV "dramedies"— dramatic-comedy, a style of television and movies in which there is an equal or nearly equal balance of humor and serious content. The show made use of fast-paced, overlapping dialogue between the two leads, harking back to classic screwball comedy films such as those of director Howard Hawks. These innovative qualities resulted in its being nominated, for the first time in the 50-year history of the Directors Guild of America, for both Best Drama and Best Comedy in the same year (both in 1985 and 1986). Breaking the fourth wall | 524311 |
wiki20220301en020_104462 | Moonlighting (TV series) | Breaking the fourth wall Moonlighting frequently broke the fourth wall, with many episodes including dialogue that made direct references to the scriptwriters, the audience, the network, or the series itself. (For example, when a woman is trying to commit suicide by jumping into a bathtub with a television playing The Three Stooges, Addison says, "The Stooges? Are you nuts? The network'll never let you do that, lady!") Cold opens sometimes featured Shepherd and Willis (in character as Maddie Hayes and David Addison), other actors, viewers, or TV critics directly addressing the audience about the show's production itself. These cold opens were originally borne out of desperation as a way to fill air time, since the dialogue on the show was spoken so quickly and the producers needed something to fill the entire hour. In some episodes, the production crew and sets become involved in the plot. | Moonlighting (TV series). Breaking the fourth wall Moonlighting frequently broke the fourth wall, with many episodes including dialogue that made direct references to the scriptwriters, the audience, the network, or the series itself. (For example, when a woman is trying to commit suicide by jumping into a bathtub with a television playing The Three Stooges, Addison says, "The Stooges? Are you nuts? The network'll never let you do that, lady!") Cold opens sometimes featured Shepherd and Willis (in character as Maddie Hayes and David Addison), other actors, viewers, or TV critics directly addressing the audience about the show's production itself. These cold opens were originally borne out of desperation as a way to fill air time, since the dialogue on the show was spoken so quickly and the producers needed something to fill the entire hour. In some episodes, the production crew and sets become involved in the plot. | 524311 |
wiki20220301en020_104463 | Moonlighting (TV series) | Fantasy The series also embraced fantasy; in season two, the show aired "The Dream Sequence Always Rings Twice," an episode that features two lengthy and elaborately produced black-and-white dream sequences. David and Maddie are told about a murder that occurred in the 1940s by the inheritor of the then-famous nightclub where the murder took place. Maddie and David feud over whether the man or woman who was executed for the crime was the real murderer. The two dream sequences present each detective's version of how the murder took place. They were filmed on black-and-white film stock so that they would look like true period films. (On the commentary on the DVD, it is said that they used black-and-white film instead of color so that the network would not later use the color film.) | Moonlighting (TV series). Fantasy The series also embraced fantasy; in season two, the show aired "The Dream Sequence Always Rings Twice," an episode that features two lengthy and elaborately produced black-and-white dream sequences. David and Maddie are told about a murder that occurred in the 1940s by the inheritor of the then-famous nightclub where the murder took place. Maddie and David feud over whether the man or woman who was executed for the crime was the real murderer. The two dream sequences present each detective's version of how the murder took place. They were filmed on black-and-white film stock so that they would look like true period films. (On the commentary on the DVD, it is said that they used black-and-white film instead of color so that the network would not later use the color film.) | 524311 |
wiki20220301en020_104464 | Moonlighting (TV series) | Fearing fan reaction to a popular show being shown in black and white, ABC demanded a disclaimer be made at the beginning of the episode to inform viewers of the "black-and-white" gimmick for the episode. The show's producers hired Orson Welles to deliver the introduction, which aired a few days after the actor's death. "Atomic Shakespeare" features the cast performing a variation of The Taming of the Shrew, with David in the role of Petruchio, Maddie as Katharina, Agnes as Bianca, and Herbert as Lucentio. The episode features Shakespearean costumes and mixed the plot with humorous anachronisms and variations on Moonlightings own running gags. The characters perform the dialogue in iambic pentameter, and the episode is wrapped by segments featuring a boy imagining the episode's proceedings because his mother forced him to do his Shakespeare homework instead of watching Moonlighting. | Moonlighting (TV series). Fearing fan reaction to a popular show being shown in black and white, ABC demanded a disclaimer be made at the beginning of the episode to inform viewers of the "black-and-white" gimmick for the episode. The show's producers hired Orson Welles to deliver the introduction, which aired a few days after the actor's death. "Atomic Shakespeare" features the cast performing a variation of The Taming of the Shrew, with David in the role of Petruchio, Maddie as Katharina, Agnes as Bianca, and Herbert as Lucentio. The episode features Shakespearean costumes and mixed the plot with humorous anachronisms and variations on Moonlightings own running gags. The characters perform the dialogue in iambic pentameter, and the episode is wrapped by segments featuring a boy imagining the episode's proceedings because his mother forced him to do his Shakespeare homework instead of watching Moonlighting. | 524311 |
wiki20220301en020_104465 | Moonlighting (TV series) | Other In addition, the show mocked its connection to the Remington Steele series by having Pierce Brosnan hop networks and make a cameo appearance as Steele in one episode. The show also acknowledged Hart to Hart as an influence: in the episode "It's a Wonderful Job," based on the film It's a Wonderful Life, Maddie's guardian angel showed her an alternate reality in which Jonathan and Jennifer Hart from the earlier series had taken over Blue Moon's lease. Although Robert Wagner and Stefanie Powers did not appear in the episode, Lionel Stander reprised his role as the Harts' assistant Max. | Moonlighting (TV series). Other In addition, the show mocked its connection to the Remington Steele series by having Pierce Brosnan hop networks and make a cameo appearance as Steele in one episode. The show also acknowledged Hart to Hart as an influence: in the episode "It's a Wonderful Job," based on the film It's a Wonderful Life, Maddie's guardian angel showed her an alternate reality in which Jonathan and Jennifer Hart from the earlier series had taken over Blue Moon's lease. Although Robert Wagner and Stefanie Powers did not appear in the episode, Lionel Stander reprised his role as the Harts' assistant Max. | 524311 |
wiki20220301en020_104466 | Moonlighting (TV series) | Both Shepherd and Willis sang musical numbers over the course of the show. In "The Dream Sequence Always Rings Twice," Shepherd performed both "Blue Moon" in Maddie's dream sequence and "I Told Ya I Love Ya, Now Get Out" in David's, while in "Atomic Shakespeare," Willis sings The Young Rascals' "Good Lovin'". Willis also frequently broke into shorter snippets of Motown songs. "Good Lovin'," "Blue Moon", and "I Told Ya I Love Ya..." appeared on the Moonlighting Soundtrack. The episode "Big Man on Mulberry Street" centers around a production dance number set to the Billy Joel song of the same name. The sequence was directed by musical director Stanley Donen. | Moonlighting (TV series). Both Shepherd and Willis sang musical numbers over the course of the show. In "The Dream Sequence Always Rings Twice," Shepherd performed both "Blue Moon" in Maddie's dream sequence and "I Told Ya I Love Ya, Now Get Out" in David's, while in "Atomic Shakespeare," Willis sings The Young Rascals' "Good Lovin'". Willis also frequently broke into shorter snippets of Motown songs. "Good Lovin'," "Blue Moon", and "I Told Ya I Love Ya..." appeared on the Moonlighting Soundtrack. The episode "Big Man on Mulberry Street" centers around a production dance number set to the Billy Joel song of the same name. The sequence was directed by musical director Stanley Donen. | 524311 |
wiki20220301en020_104467 | Moonlighting (TV series) | Production | Moonlighting (TV series). Production | 524311 |
wiki20220301en020_104468 | Moonlighting (TV series) | Moonlighting was unusual at the time for being one of only three shows, due to FCC regulations limiting the practice, to be owned and produced in-house by a broadcast network (NBC’s Punky Brewster and CBS’s Twilight Zone revival being the others). This allowed the network greater flexibility in budgeting the show since the “back-end potential” for profits was so much greater with not having to pay a licensing fee to the film studio or independent production company. As a result, ABC gave Caron a lot of control over production. Caron, however, was a perfectionist and viewed Moonlighting as the filming of a one-hour movie every week, using techniques usually reserved for big budget films. To capture the cinematic feel of the films of the 1940s, for example, he would prohibit the use of a zoom lens, opting instead to use more time-consuming moving master cameras that move back and forth on a track and require constant resetting of the lights. Diffusion disks were used to soften Cybill | Moonlighting (TV series). Moonlighting was unusual at the time for being one of only three shows, due to FCC regulations limiting the practice, to be owned and produced in-house by a broadcast network (NBC’s Punky Brewster and CBS’s Twilight Zone revival being the others). This allowed the network greater flexibility in budgeting the show since the “back-end potential” for profits was so much greater with not having to pay a licensing fee to the film studio or independent production company. As a result, ABC gave Caron a lot of control over production. Caron, however, was a perfectionist and viewed Moonlighting as the filming of a one-hour movie every week, using techniques usually reserved for big budget films. To capture the cinematic feel of the films of the 1940s, for example, he would prohibit the use of a zoom lens, opting instead to use more time-consuming moving master cameras that move back and forth on a track and require constant resetting of the lights. Diffusion disks were used to soften Cybill | 524311 |
wiki20220301en020_104469 | Moonlighting (TV series) | zoom lens, opting instead to use more time-consuming moving master cameras that move back and forth on a track and require constant resetting of the lights. Diffusion disks were used to soften Cybill Shepherd's features, and a special lens needed to be employed so that in a two shot, Maddie would be diffused and David would not. | Moonlighting (TV series). zoom lens, opting instead to use more time-consuming moving master cameras that move back and forth on a track and require constant resetting of the lights. Diffusion disks were used to soften Cybill Shepherd's features, and a special lens needed to be employed so that in a two shot, Maddie would be diffused and David would not. | 524311 |
wiki20220301en020_104470 | Moonlighting (TV series) | Much of the credit for this look and feel can be attributed to the hiring of Gerald Finnerman as the director of photography. Finnerman, a second-generation cinematographer, was brought up in the old school of cinematography by working with his father, Perry Finnerman, and later as a camera operator for Harry Stradling on such films as My Fair Lady and The Picture of Dorian Gray. Finnerman would then go on to be the director of photography for the TV series Star Trek and was responsible for creating much of the mood in that show by employing black-and-white lighting techniques for color film. This background meshed perfectly with what Caron was trying to portray in the series and earned him an Emmy nomination for the black-and-white episode “The Dream Sequence Always Rings Twice”. Hired for the show after the pilot was shot, Finnerman would become involved in virtually every aspect of the show including the scripts, lighting, set design, and even directing some of the later episodes. | Moonlighting (TV series). Much of the credit for this look and feel can be attributed to the hiring of Gerald Finnerman as the director of photography. Finnerman, a second-generation cinematographer, was brought up in the old school of cinematography by working with his father, Perry Finnerman, and later as a camera operator for Harry Stradling on such films as My Fair Lady and The Picture of Dorian Gray. Finnerman would then go on to be the director of photography for the TV series Star Trek and was responsible for creating much of the mood in that show by employing black-and-white lighting techniques for color film. This background meshed perfectly with what Caron was trying to portray in the series and earned him an Emmy nomination for the black-and-white episode “The Dream Sequence Always Rings Twice”. Hired for the show after the pilot was shot, Finnerman would become involved in virtually every aspect of the show including the scripts, lighting, set design, and even directing some of the later episodes. | 524311 |
wiki20220301en020_104471 | Moonlighting (TV series) | Typical scripts for an average one-hour television show run 60 pages, but those for Moonlighting were nearly twice as long due to the fast talking overlapping dialogue of the main characters. While the average television show would take seven days to shoot, Moonlighting would take from 12 to 14 days to complete with episodes and dialogue frequently being written by Caron the same day they were shot. This attention to detail contributed to Moonlighting as being one of the most expensive television shows being produced at the time. Where most episodes would cost around $900,000 to produce, Moonlighting was running nearly double that. The season 2 episode "The Dream Sequence Always Rings Twice" could have been filmed much more cheaply by being shot in color and then decolorized, but Caron insisted on the authentic look of black-and-white film which took 16 days to shoot, bringing the cost of the episode to the then-unheard-of sum of two million dollars. Caron often defended his filming | Moonlighting (TV series). Typical scripts for an average one-hour television show run 60 pages, but those for Moonlighting were nearly twice as long due to the fast talking overlapping dialogue of the main characters. While the average television show would take seven days to shoot, Moonlighting would take from 12 to 14 days to complete with episodes and dialogue frequently being written by Caron the same day they were shot. This attention to detail contributed to Moonlighting as being one of the most expensive television shows being produced at the time. Where most episodes would cost around $900,000 to produce, Moonlighting was running nearly double that. The season 2 episode "The Dream Sequence Always Rings Twice" could have been filmed much more cheaply by being shot in color and then decolorized, but Caron insisted on the authentic look of black-and-white film which took 16 days to shoot, bringing the cost of the episode to the then-unheard-of sum of two million dollars. Caron often defended his filming | 524311 |
wiki20220301en020_104472 | Moonlighting (TV series) | on the authentic look of black-and-white film which took 16 days to shoot, bringing the cost of the episode to the then-unheard-of sum of two million dollars. Caron often defended his filming practices in the name of giving the audience what they wanted and producing a quality product. He used the following analogy to illustrate the point, "The thinking in television which makes no damn sense to me, is that a half hour of television costs X, and an hour of television costs Y, no matter what that television is, it strikes me as an insane hypothesis. The parallel is, you're hungry, whether you go to McDonald's or whether you go to '21,' it should cost the same; they both fill your stomach. It's nonsense." | Moonlighting (TV series). on the authentic look of black-and-white film which took 16 days to shoot, bringing the cost of the episode to the then-unheard-of sum of two million dollars. Caron often defended his filming practices in the name of giving the audience what they wanted and producing a quality product. He used the following analogy to illustrate the point, "The thinking in television which makes no damn sense to me, is that a half hour of television costs X, and an hour of television costs Y, no matter what that television is, it strikes me as an insane hypothesis. The parallel is, you're hungry, whether you go to McDonald's or whether you go to '21,' it should cost the same; they both fill your stomach. It's nonsense." | 524311 |
wiki20220301en020_104473 | Moonlighting (TV series) | All of this attention to detail resulted in production delays and the show became notorious for airing reruns when new episodes had not been completed in time for broadcast. The first two seasons of Moonlighting focused almost entirely on the two main characters, having them appear in almost every scene. According to Cybill Shepherd, "I left home at 5 A.M. each day. Moonlighting scripts were close to a hundred pages, half again as long as the average one-hour television series. Almost from the moment the cameras started rolling we were behind schedule, sometimes completing as few as sixteen episodes per season, and never achieving the standard twenty-two." Glenn Gordon Caron partly blamed Cybill Shepherd for production problems: | Moonlighting (TV series). All of this attention to detail resulted in production delays and the show became notorious for airing reruns when new episodes had not been completed in time for broadcast. The first two seasons of Moonlighting focused almost entirely on the two main characters, having them appear in almost every scene. According to Cybill Shepherd, "I left home at 5 A.M. each day. Moonlighting scripts were close to a hundred pages, half again as long as the average one-hour television series. Almost from the moment the cameras started rolling we were behind schedule, sometimes completing as few as sixteen episodes per season, and never achieving the standard twenty-two." Glenn Gordon Caron partly blamed Cybill Shepherd for production problems: | 524311 |
wiki20220301en020_104474 | Moonlighting (TV series) | Glenn Gordon Caron partly blamed Cybill Shepherd for production problems: "I don't mean to paint her as the sole bearer of responsibility for the discord. But if I said to you, 'You're going to have a great new job – it's a life-defining job – but you're going to work 14–15 hours a day, and by the way, you'll never know what hours those are – sometimes you'll start at noon and work until 3 a.m., other times you won't know when or where it will be [until the last minute].' It can be very difficult, it requires an amazing amount of stamina. It's easier to do if you're still reaching for the stars, it's a lot tougher if you're already a star, if you've already reached the top of the mountain." | Moonlighting (TV series). Glenn Gordon Caron partly blamed Cybill Shepherd for production problems: "I don't mean to paint her as the sole bearer of responsibility for the discord. But if I said to you, 'You're going to have a great new job – it's a life-defining job – but you're going to work 14–15 hours a day, and by the way, you'll never know what hours those are – sometimes you'll start at noon and work until 3 a.m., other times you won't know when or where it will be [until the last minute].' It can be very difficult, it requires an amazing amount of stamina. It's easier to do if you're still reaching for the stars, it's a lot tougher if you're already a star, if you've already reached the top of the mountain." | 524311 |
wiki20220301en020_104475 | Moonlighting (TV series) | Producer Jay Daniel talked about the difficulties between the costars in the later seasons: "Well, I was the guy that more often than not would be the one that would go into the lions den when they were having disagreements. I'd sort of be the referee, try to resolve it so that we could get back to work. So there was that side of it. Everybody knows there was friction between the two of them on the stage. In the beginning, Bruce was just a guy’s guy. Let's just say he evolved. Over the years, he went from being the crew's best friend and just being grateful for the work and all of that to realizing that he was going to be a movie star and wanting to move on. Part of that was because of his strained relationship with Cybill. That sometimes made the set a very unpleasant place to be. Cybill – I got along with her very well at times, other times I’d have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six | Moonlighting (TV series). Producer Jay Daniel talked about the difficulties between the costars in the later seasons: "Well, I was the guy that more often than not would be the one that would go into the lions den when they were having disagreements. I'd sort of be the referee, try to resolve it so that we could get back to work. So there was that side of it. Everybody knows there was friction between the two of them on the stage. In the beginning, Bruce was just a guy’s guy. Let's just say he evolved. Over the years, he went from being the crew's best friend and just being grateful for the work and all of that to realizing that he was going to be a movie star and wanting to move on. Part of that was because of his strained relationship with Cybill. That sometimes made the set a very unpleasant place to be. Cybill – I got along with her very well at times, other times I’d have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six | 524311 |
wiki20220301en020_104476 | Moonlighting (TV series) | – I got along with her very well at times, other times I’d have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six thirty in the morning with pages of dialogue she hadn’t seen before, she'd work very long hours, and then be back in the makeup chair at six thirty the next morning." | Moonlighting (TV series). – I got along with her very well at times, other times I’d have to be the one who said you have to come out of the trailer and go to work. In fairness to her, she was in the makeup chair at six thirty in the morning with pages of dialogue she hadn’t seen before, she'd work very long hours, and then be back in the makeup chair at six thirty the next morning." | 524311 |
wiki20220301en020_104477 | Moonlighting (TV series) | The delays became so great that even ABC mocked the lateness with an ad campaign showing network executives waiting impatiently for the arrival of new episodes at ABC's corporate headquarters. One episode featured television critic Jeff Jarvis in an introduction, sarcastically reminding viewers what was going on with the show's plot since it had been so long since the last new episode. The season three clipshow episode "The Straight Poop" also made fun of the episode delays by having Hollywood columnist Rona Barrett drop by the Blue Moon Detective Agency to figure out why David and Maddie couldn't get along, as the premise to set up the clips from earlier episodes. In the end, Rona convinced them to apologize to one another, and promised the viewers that there would be an all-new episode the following week. | Moonlighting (TV series). The delays became so great that even ABC mocked the lateness with an ad campaign showing network executives waiting impatiently for the arrival of new episodes at ABC's corporate headquarters. One episode featured television critic Jeff Jarvis in an introduction, sarcastically reminding viewers what was going on with the show's plot since it had been so long since the last new episode. The season three clipshow episode "The Straight Poop" also made fun of the episode delays by having Hollywood columnist Rona Barrett drop by the Blue Moon Detective Agency to figure out why David and Maddie couldn't get along, as the premise to set up the clips from earlier episodes. In the end, Rona convinced them to apologize to one another, and promised the viewers that there would be an all-new episode the following week. | 524311 |
wiki20220301en020_104478 | Moonlighting (TV series) | Shepherd's real-life pregnancy and a skiing accident in which Willis broke his clavicle further contributed to production delays. To counter these problems, with the fourth season, the writers began to focus more of the show's attention on supporting cast members Agnes and Herbert, writing several episodes focusing on the two so that the show would be able to have episodes ready for airing. Ratings and decline Moonlighting was a hit with TV audiences as well as with critics and industry insiders, with 16 Emmy nominations for the second season which saw Moonlighting tie for 20th place in the Nielsen ratings. In season three, the show peaked at 9th, then dropped off slightly to tie for 12th in the 4th season. By the end of the final season, the show was 49th in the ratings. | Moonlighting (TV series). Shepherd's real-life pregnancy and a skiing accident in which Willis broke his clavicle further contributed to production delays. To counter these problems, with the fourth season, the writers began to focus more of the show's attention on supporting cast members Agnes and Herbert, writing several episodes focusing on the two so that the show would be able to have episodes ready for airing. Ratings and decline Moonlighting was a hit with TV audiences as well as with critics and industry insiders, with 16 Emmy nominations for the second season which saw Moonlighting tie for 20th place in the Nielsen ratings. In season three, the show peaked at 9th, then dropped off slightly to tie for 12th in the 4th season. By the end of the final season, the show was 49th in the ratings. | 524311 |
wiki20220301en020_104479 | Moonlighting (TV series) | The show's ratings decline is popularly attributed to Episode #14 of Season 3, "I Am Curious… Maddie", which infamously had Maddie and David consummate their relationship after two and a half years of romantic tension. In commentaries on the third season DVD set, Caron disputed that the event led to the show's decline, but that a number of other factors led to the series' decline and eventual cancellation. In the fourth season, Willis and Shepherd had scant screen time together. Jay Daniel explained that: Bruce Willis was filming Die Hard during this period. When the film became a blockbuster, a film career beckoned and his desire to continue in a weekly series waned. In a series that depended on the chemistry between the two main stars, not having them together for the bulk of the fourth season hurt the ratings. | Moonlighting (TV series). The show's ratings decline is popularly attributed to Episode #14 of Season 3, "I Am Curious… Maddie", which infamously had Maddie and David consummate their relationship after two and a half years of romantic tension. In commentaries on the third season DVD set, Caron disputed that the event led to the show's decline, but that a number of other factors led to the series' decline and eventual cancellation. In the fourth season, Willis and Shepherd had scant screen time together. Jay Daniel explained that: Bruce Willis was filming Die Hard during this period. When the film became a blockbuster, a film career beckoned and his desire to continue in a weekly series waned. In a series that depended on the chemistry between the two main stars, not having them together for the bulk of the fourth season hurt the ratings. | 524311 |
wiki20220301en020_104480 | Moonlighting (TV series) | The series lost Glenn Gordon Caron as executive producer and head writer when he left the show over difficulties with the production: Shepherd recalled Caron left the show stating that it was either him or her, and he did not think the network would choose him. When Maddie returned to Los Angeles near the end of the fourth season, the writers tried to recreate the tension between Maddie and David by having Maddie spontaneously marry a man named Walter Bishop (Dennis Dugan) within a few hours of meeting him on the train back to Los Angeles. When Shepherd read the script, she strongly voiced her objection that her character would not do such a thing, but was overruled. The move failed to rekindle the sparks between the main characters or capture the interest of the audience, which led to an even further ratings decline. | Moonlighting (TV series). The series lost Glenn Gordon Caron as executive producer and head writer when he left the show over difficulties with the production: Shepherd recalled Caron left the show stating that it was either him or her, and he did not think the network would choose him. When Maddie returned to Los Angeles near the end of the fourth season, the writers tried to recreate the tension between Maddie and David by having Maddie spontaneously marry a man named Walter Bishop (Dennis Dugan) within a few hours of meeting him on the train back to Los Angeles. When Shepherd read the script, she strongly voiced her objection that her character would not do such a thing, but was overruled. The move failed to rekindle the sparks between the main characters or capture the interest of the audience, which led to an even further ratings decline. | 524311 |
wiki20220301en020_104481 | Moonlighting (TV series) | Cancellation Neither of the principal stars was fully committed to the final season of the show. Bruce Willis, fresh from his Die Hard success, wanted to make more films. Cybill Shepherd, having just given birth to twins, had grown tired of the long, grueling production days and was ready for the series to end. In the 1988–1989 TV season, the show's ratings declined precipitously. The March to August 1988 Writers Guild of America strike cancelled plans for the 1987–1988 Moonlighting season finale to be filmed and aired on TV in 3-D in a deal with Coca-Cola, and delayed the broadcast of the first new episode until December 6, 1988. The series went on hiatus during the February sweeps, and returned on Sunday evenings in the spring of 1989. Six more episodes aired before the series was cancelled in May of that year. | Moonlighting (TV series). Cancellation Neither of the principal stars was fully committed to the final season of the show. Bruce Willis, fresh from his Die Hard success, wanted to make more films. Cybill Shepherd, having just given birth to twins, had grown tired of the long, grueling production days and was ready for the series to end. In the 1988–1989 TV season, the show's ratings declined precipitously. The March to August 1988 Writers Guild of America strike cancelled plans for the 1987–1988 Moonlighting season finale to be filmed and aired on TV in 3-D in a deal with Coca-Cola, and delayed the broadcast of the first new episode until December 6, 1988. The series went on hiatus during the February sweeps, and returned on Sunday evenings in the spring of 1989. Six more episodes aired before the series was cancelled in May of that year. | 524311 |
wiki20220301en020_104482 | Moonlighting (TV series) | In keeping with the show's tradition of "breaking the fourth wall", the last episode (fittingly titled "Lunar Eclipse") featured Maddie and David returning from Agnes and Herbert's wedding to find the Blue Moon sets being taken away, and an ABC network executive waiting to tell them that the show has been cancelled. The characters then race through the studio lot in search of a television producer named Cy, as the world of Moonlighting is slowly dismantled. | Moonlighting (TV series). In keeping with the show's tradition of "breaking the fourth wall", the last episode (fittingly titled "Lunar Eclipse") featured Maddie and David returning from Agnes and Herbert's wedding to find the Blue Moon sets being taken away, and an ABC network executive waiting to tell them that the show has been cancelled. The characters then race through the studio lot in search of a television producer named Cy, as the world of Moonlighting is slowly dismantled. | 524311 |
wiki20220301en020_104483 | Moonlighting (TV series) | When they find Cy, he is screening a print of "In 'n Outlaws", the episode of Moonlighting that had aired two weeks earlier. Once informed of the problem, Cy lectures David and Maddie on the perils of losing their audience and the fragility of romance. Cy was played by Dennis Dugan, the same actor who had played Walter Bishop in Maddie's marriage storyline — however, Dugan was also the director of the episode, so his acting credit was listed as "Walter Bishop". David and Maddie then admit defeat that the show is ending but not before Maddie tells David 'I can't imagine not seeing you again tomorrow' and then we are treated to a clip montage of previous Moonlighting episodes and then it ends with a message stating that "Blue Moon Investigations ceased operations on May 14, 1989. The Anselmo Case was never solved… and remains a mystery to this day." | Moonlighting (TV series). When they find Cy, he is screening a print of "In 'n Outlaws", the episode of Moonlighting that had aired two weeks earlier. Once informed of the problem, Cy lectures David and Maddie on the perils of losing their audience and the fragility of romance. Cy was played by Dennis Dugan, the same actor who had played Walter Bishop in Maddie's marriage storyline — however, Dugan was also the director of the episode, so his acting credit was listed as "Walter Bishop". David and Maddie then admit defeat that the show is ending but not before Maddie tells David 'I can't imagine not seeing you again tomorrow' and then we are treated to a clip montage of previous Moonlighting episodes and then it ends with a message stating that "Blue Moon Investigations ceased operations on May 14, 1989. The Anselmo Case was never solved… and remains a mystery to this day." | 524311 |
wiki20220301en020_104484 | Moonlighting (TV series) | Syndication As the show had not produced enough episodes to gain a syndication contract, following its original run it was not widely seen until its DVD release, although it occasionally appeared on cable channels targeting women (including Lifetime and Bravo in the US, and W in Canada) in the 1990s and 2000s. Bravo airings often featured new claymation promos with Maddie and David using original audio clips from the series. The "Atomic Shakespeare" episode aired on Nick at Nite in 2005 as part of the network's 20th anniversary celebration. The 1985 ABC Tuesday night line-up was honored with reruns of Who's the Boss?, Growing Pains, and Moonlighting, although "Atomic Shakespeare" was from the '86-'87 season. | Moonlighting (TV series). Syndication As the show had not produced enough episodes to gain a syndication contract, following its original run it was not widely seen until its DVD release, although it occasionally appeared on cable channels targeting women (including Lifetime and Bravo in the US, and W in Canada) in the 1990s and 2000s. Bravo airings often featured new claymation promos with Maddie and David using original audio clips from the series. The "Atomic Shakespeare" episode aired on Nick at Nite in 2005 as part of the network's 20th anniversary celebration. The 1985 ABC Tuesday night line-up was honored with reruns of Who's the Boss?, Growing Pains, and Moonlighting, although "Atomic Shakespeare" was from the '86-'87 season. | 524311 |
wiki20220301en020_104485 | Moonlighting (TV series) | BBC Two initially carried the show in the UK from 1986 to 1989, and it ran on Sky 1 circa 1991. It has been shown on CBS Drama since November 2009. Between 2005 and 2008, the show was frequently shown on the now defunct channel ABC1. In Asia, Moonlighting began airing Seasons 1 and 2 on Rewind Network's HITS channel in December 2013. Awards and nominations Moonlighting was nominated for a wide range of awards, including nominations for 40 Emmy Awards of which it won 6. It was also nominated for 10 Golden Globe Awards of which it won 3. Home media Anchor Bay Entertainment released the original pilot episode on DVD in region 1. Lions Gate Entertainment later released the entire series of Moonlighting, including the pilot episode, on DVD in Region 1. Each release contains bonus features including commentaries and featurettes. As of 2013, these releases have been discontinued and are out of print. | Moonlighting (TV series). BBC Two initially carried the show in the UK from 1986 to 1989, and it ran on Sky 1 circa 1991. It has been shown on CBS Drama since November 2009. Between 2005 and 2008, the show was frequently shown on the now defunct channel ABC1. In Asia, Moonlighting began airing Seasons 1 and 2 on Rewind Network's HITS channel in December 2013. Awards and nominations Moonlighting was nominated for a wide range of awards, including nominations for 40 Emmy Awards of which it won 6. It was also nominated for 10 Golden Globe Awards of which it won 3. Home media Anchor Bay Entertainment released the original pilot episode on DVD in region 1. Lions Gate Entertainment later released the entire series of Moonlighting, including the pilot episode, on DVD in Region 1. Each release contains bonus features including commentaries and featurettes. As of 2013, these releases have been discontinued and are out of print. | 524311 |
wiki20220301en020_104486 | Moonlighting (TV series) | In Regions 2 & 4, Sony Pictures Home Entertainment has released all 5 seasons on DVD, although the Region 4 sets are now out of print. A complete series box set was also released in Region 2 on September 14, 2009. | Moonlighting (TV series). In Regions 2 & 4, Sony Pictures Home Entertainment has released all 5 seasons on DVD, although the Region 4 sets are now out of print. A complete series box set was also released in Region 2 on September 14, 2009. | 524311 |
wiki20220301en020_104487 | Moonlighting (TV series) | Parodies | Moonlighting (TV series). Parodies | 524311 |
wiki20220301en020_104488 | Moonlighting (TV series) | Riptide, a once-popular detective series whose ratings had declined to the point of cancellation after airing against Moonlighting in the 1985–1986 television season, aired an episode (the show's penultimate) in 1986, in which that show's detectives acted as mentors to "Rosalind Grant" (Annette McCarthy) and "Cary Russell" (H. Richard Greene), the bickering stars of a television detective show pilot. Although their names were an allusion to Cary Grant and Rosalind Russell, the characters were written as parodies of Shepherd and Willis, even adopting some of their real mannerisms and clothing styles, and their dialogue contained many nods, both obvious and subtle, to Moonlighting's writing style. The episode was explicitly promoted by NBC (Riptide's network) as a Moonlighting parody, and was publicized as such widely enough that Riptide's producers felt obliged to clarify that they liked Moonlighting and intended the episode as an homage. The episode was even titled "If You Can't Beat | Moonlighting (TV series). Riptide, a once-popular detective series whose ratings had declined to the point of cancellation after airing against Moonlighting in the 1985–1986 television season, aired an episode (the show's penultimate) in 1986, in which that show's detectives acted as mentors to "Rosalind Grant" (Annette McCarthy) and "Cary Russell" (H. Richard Greene), the bickering stars of a television detective show pilot. Although their names were an allusion to Cary Grant and Rosalind Russell, the characters were written as parodies of Shepherd and Willis, even adopting some of their real mannerisms and clothing styles, and their dialogue contained many nods, both obvious and subtle, to Moonlighting's writing style. The episode was explicitly promoted by NBC (Riptide's network) as a Moonlighting parody, and was publicized as such widely enough that Riptide's producers felt obliged to clarify that they liked Moonlighting and intended the episode as an homage. The episode was even titled "If You Can't Beat | 524311 |
wiki20220301en020_104489 | Moonlighting (TV series) | publicized as such widely enough that Riptide's producers felt obliged to clarify that they liked Moonlighting and intended the episode as an homage. The episode was even titled "If You Can't Beat 'Em, Join 'Em". | Moonlighting (TV series). publicized as such widely enough that Riptide's producers felt obliged to clarify that they liked Moonlighting and intended the episode as an homage. The episode was even titled "If You Can't Beat 'Em, Join 'Em". | 524311 |
wiki20220301en020_104490 | Moonlighting (TV series) | Alvin and the Chipmunks parodied Moonlighting in the Season 6 episode "Dreamlighting". In it, Brittany has a dream and becomes "Bratty Hayes" and Alvin becomes "David Alvinson", detective team. The plot revolves around Alvin trying to stop Brittany from marrying an evil villain – played by Simon. The series even spawned a porn parody entitled "Moonlusting" in 1987, directed by Henri Pachard and starring Taija Rae as Hattie Mays and Jerry Butler as David Madison, together running the New Poon Detective Agency. The dynamic of the main characters mirrored that of Shepherd and Willis, even down to breaking the fourth wall and addressing viewers directly. See also List of Moonlighting episodes Moonlighting soundtrack ReferencesNotesFurther reading' External links Moonlighting in the Encyclopedia of Television | Moonlighting (TV series). Alvin and the Chipmunks parodied Moonlighting in the Season 6 episode "Dreamlighting". In it, Brittany has a dream and becomes "Bratty Hayes" and Alvin becomes "David Alvinson", detective team. The plot revolves around Alvin trying to stop Brittany from marrying an evil villain – played by Simon. The series even spawned a porn parody entitled "Moonlusting" in 1987, directed by Henri Pachard and starring Taija Rae as Hattie Mays and Jerry Butler as David Madison, together running the New Poon Detective Agency. The dynamic of the main characters mirrored that of Shepherd and Willis, even down to breaking the fourth wall and addressing viewers directly. See also List of Moonlighting episodes Moonlighting soundtrack ReferencesNotesFurther reading' External links Moonlighting in the Encyclopedia of Television | 524311 |
wiki20220301en020_104491 | Moonlighting (TV series) | See also List of Moonlighting episodes Moonlighting soundtrack ReferencesNotesFurther reading' External links Moonlighting in the Encyclopedia of Television 1980s American comedy-drama television series 1980s American crime drama television series 1980s American romantic comedy television series 1980s American workplace comedy television series 1980s American workplace drama television series 1985 American television series debuts 1989 American television series endings American Broadcasting Company original programming American detective television series English-language television shows Metafictional television series Television series by Disney–ABC Domestic Television Television series about couples Television shows set in Los Angeles | Moonlighting (TV series). See also List of Moonlighting episodes Moonlighting soundtrack ReferencesNotesFurther reading' External links Moonlighting in the Encyclopedia of Television 1980s American comedy-drama television series 1980s American crime drama television series 1980s American romantic comedy television series 1980s American workplace comedy television series 1980s American workplace drama television series 1985 American television series debuts 1989 American television series endings American Broadcasting Company original programming American detective television series English-language television shows Metafictional television series Television series by Disney–ABC Domestic Television Television series about couples Television shows set in Los Angeles | 524311 |
wiki20220301en020_104492 | Israeli literature | Israeli literature is literature written in the State of Israel by Israelis. Most works classed as Israeli literature are written in the Hebrew language, although some Israeli authors write in Yiddish, English, Arabic and Russian. History | Israeli literature. Israeli literature is literature written in the State of Israel by Israelis. Most works classed as Israeli literature are written in the Hebrew language, although some Israeli authors write in Yiddish, English, Arabic and Russian. History | 524317 |
wiki20220301en020_104493 | Israeli literature | Hebrew writers | Israeli literature. Hebrew writers | 524317 |
wiki20220301en020_104494 | Israeli literature | The foundations of modern Israel writing were laid by a group of literary pioneers from the Second Aliyah including Shmuel Yosef Agnon, the only Nobel Prize winner for literature in Hebrew and the only one for Israeli literature, Moshe Smilansky, Yosef Haim Brenner, David Shimoni, and Jacob Fichman. Until World War I, Hebrew literature was centered in Eastern Europe. After the war and the Russian Revolution many Hebrew writers found their way to Palestine, so that at the time Palestinian writing was essentially a continuation of the European tradition. In 1921, 70 writers met in Tel Aviv and founded the Hebrew Writers' Association. About this time the first literary periodicals made their appearance—Ha-Adamah, edited by Brenner, and Ma'abarot, edited by Fichman. The 1920 and 1930s witnessed the emergence of Palestine as the dominant center of Hebrew literary activity. Many of the pioneers of Hebrew literature were Zionists, and eventually made their way to Palestine. The great figures | Israeli literature. The foundations of modern Israel writing were laid by a group of literary pioneers from the Second Aliyah including Shmuel Yosef Agnon, the only Nobel Prize winner for literature in Hebrew and the only one for Israeli literature, Moshe Smilansky, Yosef Haim Brenner, David Shimoni, and Jacob Fichman. Until World War I, Hebrew literature was centered in Eastern Europe. After the war and the Russian Revolution many Hebrew writers found their way to Palestine, so that at the time Palestinian writing was essentially a continuation of the European tradition. In 1921, 70 writers met in Tel Aviv and founded the Hebrew Writers' Association. About this time the first literary periodicals made their appearance—Ha-Adamah, edited by Brenner, and Ma'abarot, edited by Fichman. The 1920 and 1930s witnessed the emergence of Palestine as the dominant center of Hebrew literary activity. Many of the pioneers of Hebrew literature were Zionists, and eventually made their way to Palestine. The great figures | 524317 |
wiki20220301en020_104495 | Israeli literature | the emergence of Palestine as the dominant center of Hebrew literary activity. Many of the pioneers of Hebrew literature were Zionists, and eventually made their way to Palestine. The great figures of the early part of the century—Bialik, Ahad Ha-Am, Tchernichovsky—all spent their last years in Tel Aviv, and although this was not the period of their greatest creativity, they exerted a great influence on younger Hebrew writers. | Israeli literature. the emergence of Palestine as the dominant center of Hebrew literary activity. Many of the pioneers of Hebrew literature were Zionists, and eventually made their way to Palestine. The great figures of the early part of the century—Bialik, Ahad Ha-Am, Tchernichovsky—all spent their last years in Tel Aviv, and although this was not the period of their greatest creativity, they exerted a great influence on younger Hebrew writers. | 524317 |
wiki20220301en020_104496 | Israeli literature | Among the earliest modern Hebrew writers was a small minority of writers who were born in Palestine. This cadre includes Yitzhaq Shami and Yehuda Burla , Sepharadi Jews whose families migrated to Palestine in the 19th and 18th centuries, respectively. The writing of this group stands out for its authentic depiction of the Arab and Jewish population of Palestine, told from the vantage point of those who grew up in its midst. The most important writers of the first generation, S.Y. Agnon and Haim Hazaz, were deeply rooted in their European background, and served as links between the classical writers of the early decades of the Hebrew revival and the Hebrew writers in Palestine during the following generations. | Israeli literature. Among the earliest modern Hebrew writers was a small minority of writers who were born in Palestine. This cadre includes Yitzhaq Shami and Yehuda Burla , Sepharadi Jews whose families migrated to Palestine in the 19th and 18th centuries, respectively. The writing of this group stands out for its authentic depiction of the Arab and Jewish population of Palestine, told from the vantage point of those who grew up in its midst. The most important writers of the first generation, S.Y. Agnon and Haim Hazaz, were deeply rooted in their European background, and served as links between the classical writers of the early decades of the Hebrew revival and the Hebrew writers in Palestine during the following generations. | 524317 |
wiki20220301en020_104497 | Israeli literature | For the next generation of writers, the center of focus was Palestine, even when they were writing about other parts of the world. Their framework was the period of aliyah and, very often, life in the kibbutz. Among the outstanding names are Uri Zvi Greenberg and Avraham Shlonsky, who found in Palestine the antidote to the rootlessness of the Diaspora. The third generation of writers emerged around the time of the 1948 Arab–Israeli War. Its key figures (S. Yizhar, Moshe Shamir, Hanoch Bartov, Haim Gouri, Benjamin Tammuz, Aharon Megged) were all sabras or had been brought to the country at an early age. Strong influences now came in from other countries, especially Western. A group called the "Canaanites" even sought to deny the connection between Israelis and Jews elsewhere. But after 1948, a feeling of emptiness and of searching for new values was leading to experiments in exploring the Jewish past. | Israeli literature. For the next generation of writers, the center of focus was Palestine, even when they were writing about other parts of the world. Their framework was the period of aliyah and, very often, life in the kibbutz. Among the outstanding names are Uri Zvi Greenberg and Avraham Shlonsky, who found in Palestine the antidote to the rootlessness of the Diaspora. The third generation of writers emerged around the time of the 1948 Arab–Israeli War. Its key figures (S. Yizhar, Moshe Shamir, Hanoch Bartov, Haim Gouri, Benjamin Tammuz, Aharon Megged) were all sabras or had been brought to the country at an early age. Strong influences now came in from other countries, especially Western. A group called the "Canaanites" even sought to deny the connection between Israelis and Jews elsewhere. But after 1948, a feeling of emptiness and of searching for new values was leading to experiments in exploring the Jewish past. | 524317 |
wiki20220301en020_104498 | Israeli literature | The subsequent generation of the 1960s (A. B. Yehoshua, Amos Oz, Natan Yonatan, Yoram Kaniuk, Yaakov Shabtai) has endeavoured to place Israeli culture within a world context and stresses not so much the unique aspects of Jewish life and Israel as the universal. This school of writers often identifies itself with the protest literature of other countries. The following generation, writers who were born in the 1960s and 1970s and made their debut in the 1980s and 1990s, examined the basic questions of Jewish-Israeli existence by exposing the collective tensions in individual characters and fates. Notable writers from this era include Etgar Keret and Sayed Kashua. | Israeli literature. The subsequent generation of the 1960s (A. B. Yehoshua, Amos Oz, Natan Yonatan, Yoram Kaniuk, Yaakov Shabtai) has endeavoured to place Israeli culture within a world context and stresses not so much the unique aspects of Jewish life and Israel as the universal. This school of writers often identifies itself with the protest literature of other countries. The following generation, writers who were born in the 1960s and 1970s and made their debut in the 1980s and 1990s, examined the basic questions of Jewish-Israeli existence by exposing the collective tensions in individual characters and fates. Notable writers from this era include Etgar Keret and Sayed Kashua. | 524317 |
wiki20220301en020_104499 | Israeli literature | Yiddish writers Apart from Hebrew writers, there is considerable creative productivity in Israel in other languages, notably in Yiddish. Before World War II, Warsaw, Moscow, and New York were the main centers of Yiddish activity. In Palestine there was still a certain hostility to the Yiddish language, which was felt as a challenge to the Hebrew revival. However, with World War II the whole picture changed. The European centers were liquidated by Hitler and Stalin, and the New York center declined. Immigration brought many of the leading Yiddish writers to Israel. Here the internal attitude relaxed and became friendly, in view of the Holocaust in Europe, on the one hand, and the secure position attained by Hebrew, on the other. | Israeli literature. Yiddish writers Apart from Hebrew writers, there is considerable creative productivity in Israel in other languages, notably in Yiddish. Before World War II, Warsaw, Moscow, and New York were the main centers of Yiddish activity. In Palestine there was still a certain hostility to the Yiddish language, which was felt as a challenge to the Hebrew revival. However, with World War II the whole picture changed. The European centers were liquidated by Hitler and Stalin, and the New York center declined. Immigration brought many of the leading Yiddish writers to Israel. Here the internal attitude relaxed and became friendly, in view of the Holocaust in Europe, on the one hand, and the secure position attained by Hebrew, on the other. | 524317 |
wiki20220301en020_104500 | Israeli literature | Yiddish writing in Israel can be marked by generations, similar to those in Hebrew literature. The first consisted of writers such as David Pinski and Sholem Asch, who passed their last years in Israel. The second generation, led by Abraham Sutzkever, started its career in Eastern Europe but continued in Israel. The third generation was centered on "Young Israel", a modernist group of poets and prose writers, most of whom are kibbutz members, whose work has been influenced by the avant-garde schools of English and French writing. Yiddish writing in Israel is concentrated on the European Holocaust (the leading writer on this is Ka-Tzetnik), and life among new immigrants. Yiddish authors in Israel are organized in a Yiddish authors' association. | Israeli literature. Yiddish writing in Israel can be marked by generations, similar to those in Hebrew literature. The first consisted of writers such as David Pinski and Sholem Asch, who passed their last years in Israel. The second generation, led by Abraham Sutzkever, started its career in Eastern Europe but continued in Israel. The third generation was centered on "Young Israel", a modernist group of poets and prose writers, most of whom are kibbutz members, whose work has been influenced by the avant-garde schools of English and French writing. Yiddish writing in Israel is concentrated on the European Holocaust (the leading writer on this is Ka-Tzetnik), and life among new immigrants. Yiddish authors in Israel are organized in a Yiddish authors' association. | 524317 |
wiki20220301en020_104501 | Israeli literature | Arabic writers The presence of Arabic-language literature in Israeli society can be initially attributed to Emile Habibi, an Israeli-Palestinian writer and a communist politician. In 1992, he was awarded the Israel Prize for Arabic literature. A fervent communist, Habibi helped created the Israeli Communist Party and established Al-Ittihad, a communist daily Arabic language newspaper published in Haifa. Habibi's works, while often a critique of Israeli society, are nevertheless part of Israeli culture. | Israeli literature. Arabic writers The presence of Arabic-language literature in Israeli society can be initially attributed to Emile Habibi, an Israeli-Palestinian writer and a communist politician. In 1992, he was awarded the Israel Prize for Arabic literature. A fervent communist, Habibi helped created the Israeli Communist Party and established Al-Ittihad, a communist daily Arabic language newspaper published in Haifa. Habibi's works, while often a critique of Israeli society, are nevertheless part of Israeli culture. | 524317 |
wiki20220301en020_104502 | Israeli literature | Publication of books in Israel By law, the Jewish National and University Library of the Hebrew University of Jerusalem receives two copies of each book published in Israel. In 2004 it reported that it received 6,436 new books. Most of them were published in Hebrew, and 89% those books published in Hebrew were original to the Hebrew language. Almost 8% of the 2004 crop were children's books and another 4% were textbooks. According to the type of publisher, the books were 55% commercial, 14% self-published, 10% governmental, 7% educational, and 14% published by other types of organizations. The orthodox and ultra-orthodox sector was responsible for 21% of the total titles. 2017 figures show that 17% of books were Torah-related, 16% were literature and 14% children's books. See also Hebrew Book Week List of Hebrew-language authors List of Hebrew-language poets List of Hebrew-language playwrights Jewish American literature References | Israeli literature. Publication of books in Israel By law, the Jewish National and University Library of the Hebrew University of Jerusalem receives two copies of each book published in Israel. In 2004 it reported that it received 6,436 new books. Most of them were published in Hebrew, and 89% those books published in Hebrew were original to the Hebrew language. Almost 8% of the 2004 crop were children's books and another 4% were textbooks. According to the type of publisher, the books were 55% commercial, 14% self-published, 10% governmental, 7% educational, and 14% published by other types of organizations. The orthodox and ultra-orthodox sector was responsible for 21% of the total titles. 2017 figures show that 17% of books were Torah-related, 16% were literature and 14% children's books. See also Hebrew Book Week List of Hebrew-language authors List of Hebrew-language poets List of Hebrew-language playwrights Jewish American literature References | 524317 |
wiki20220301en020_104503 | Israeli literature | See also Hebrew Book Week List of Hebrew-language authors List of Hebrew-language poets List of Hebrew-language playwrights Jewish American literature References External links Overview of Hebrew literature The State of the Arts: Israeli Literature, CULTURE- Literature", 2003 Weill, Asher. Culture in Israel- On the Cusp of the Millennium, 2000 Hebrew language Hebrew-language literature | Israeli literature. See also Hebrew Book Week List of Hebrew-language authors List of Hebrew-language poets List of Hebrew-language playwrights Jewish American literature References External links Overview of Hebrew literature The State of the Arts: Israeli Literature, CULTURE- Literature", 2003 Weill, Asher. Culture in Israel- On the Cusp of the Millennium, 2000 Hebrew language Hebrew-language literature | 524317 |
wiki20220301en020_104504 | Shake (software) | Shake is a discontinued image compositing package used in the post-production industry developed by Nothing Real for Windows and later acquired by Apple Inc. Shake was widely used in visual effects and digital compositing for film, video and commercials. Shake exposed its node graph architecture graphically. It enabled complex image processing sequences to be designed through the connection of effects "nodes" in a graphical workflow interface. This type of compositing interface allowed great flexibility, including the ability to modify the parameters of an earlier image processing step "in context" (while viewing the final composite). Many other compositing packages, such as Blender, Blackmagic Fusion, Nuke and Cineon, also used a similar node-based approach. Shake was available for Mac OS X and Linux. Support for Microsoft Windows and IRIX was discontinued in previous versions. | Shake (software). Shake is a discontinued image compositing package used in the post-production industry developed by Nothing Real for Windows and later acquired by Apple Inc. Shake was widely used in visual effects and digital compositing for film, video and commercials. Shake exposed its node graph architecture graphically. It enabled complex image processing sequences to be designed through the connection of effects "nodes" in a graphical workflow interface. This type of compositing interface allowed great flexibility, including the ability to modify the parameters of an earlier image processing step "in context" (while viewing the final composite). Many other compositing packages, such as Blender, Blackmagic Fusion, Nuke and Cineon, also used a similar node-based approach. Shake was available for Mac OS X and Linux. Support for Microsoft Windows and IRIX was discontinued in previous versions. | 524319 |
wiki20220301en020_104505 | Shake (software) | Shake was available for Mac OS X and Linux. Support for Microsoft Windows and IRIX was discontinued in previous versions. On July 30, 2009, Apple discontinued Shake. No direct product replacement was announced by Apple, but some features are now available in Final Cut Studio and Motion, such as the SmoothCam filter. History In 1996, Arnaud Hervas and Allen Edwards founded Nothing Real, and released Shake 1.0 as a command-line tool for image processing to high-end visual effects facilities in early 1997. Emmanuel Mogenet joined the R&D as a senior developer in the summer of 1997 as Shake 2.0 was being rewritten with a full user interface. In the fall of 1997, Dan Candela (R&D), Louis Cetorelli (head of support) and Peter Warner (designer/expert user) were added to the team. After initially working as a consultant in early 1998, Ron Brinkmann also joined in early 1998 as product manager. This core group were all among the original Sony Imageworks employees. | Shake (software). Shake was available for Mac OS X and Linux. Support for Microsoft Windows and IRIX was discontinued in previous versions. On July 30, 2009, Apple discontinued Shake. No direct product replacement was announced by Apple, but some features are now available in Final Cut Studio and Motion, such as the SmoothCam filter. History In 1996, Arnaud Hervas and Allen Edwards founded Nothing Real, and released Shake 1.0 as a command-line tool for image processing to high-end visual effects facilities in early 1997. Emmanuel Mogenet joined the R&D as a senior developer in the summer of 1997 as Shake 2.0 was being rewritten with a full user interface. In the fall of 1997, Dan Candela (R&D), Louis Cetorelli (head of support) and Peter Warner (designer/expert user) were added to the team. After initially working as a consultant in early 1998, Ron Brinkmann also joined in early 1998 as product manager. This core group were all among the original Sony Imageworks employees. | 524319 |
wiki20220301en020_104506 | Shake (software) | Shake 2.0 was first shown at the 1998 NAB conference as an alpha demo with a minimal set of nodes, a node view and the player. A more complete beta version of Shake was shown at the 1998 SIGGRAPH conference. Version 2 was released in early 1999 for Windows NT and IRIX, costing $9900 US per license, or $3900 for a render-only license. Over the next few years, Shake rapidly became the standard compositing software in the visual effects industry for feature films. | Shake (software). Shake 2.0 was first shown at the 1998 NAB conference as an alpha demo with a minimal set of nodes, a node view and the player. A more complete beta version of Shake was shown at the 1998 SIGGRAPH conference. Version 2 was released in early 1999 for Windows NT and IRIX, costing $9900 US per license, or $3900 for a render-only license. Over the next few years, Shake rapidly became the standard compositing software in the visual effects industry for feature films. | 524319 |
wiki20220301en020_104507 | Shake (software) | In 2002, Apple Computer acquired Nothing Real. A few months later, version 2.5 was released, introducing Mac OS X compatibility. To strengthen the Mac's position in production studios, the Mac version held a price of , and users of the non-Mac operating systems were given the offer of doubling the number of licenses at no extra cost by migrating to Mac OS X. In 2003, version 3 of Shake was announced, which introduced the Qmaster software, discontinued support for Microsoft Windows, and allowed unlimited network render clients at no additional cost. A year later, the release of Shake 3.5 at the National Association of Broadcasters show saw the price drop to $2999 for Mac OS X and $4999 for Linux and IRIX. | Shake (software). In 2002, Apple Computer acquired Nothing Real. A few months later, version 2.5 was released, introducing Mac OS X compatibility. To strengthen the Mac's position in production studios, the Mac version held a price of , and users of the non-Mac operating systems were given the offer of doubling the number of licenses at no extra cost by migrating to Mac OS X. In 2003, version 3 of Shake was announced, which introduced the Qmaster software, discontinued support for Microsoft Windows, and allowed unlimited network render clients at no additional cost. A year later, the release of Shake 3.5 at the National Association of Broadcasters show saw the price drop to $2999 for Mac OS X and $4999 for Linux and IRIX. | 524319 |
wiki20220301en020_104508 | Shake (software) | In April 2005 Apple announced Shake 4 at a pre-NAB event. New features included 3D multi-plane compositing, 32-bit Keylight and Primatte keying, optical flow image processing (time-remapping and image stabilization), Final Cut Pro 5 integration and extensions to their open, extensible scripting language and SDK. Shake 4 had no IRIX version. At the NAB event in April 2006, Apple announced that Shake 4.1 would be a Universal Binary version and would ship in May that year. It was actually released on June 20, 2006 and was rebranded as a companion for Final Cut Studio; as such, its price was dropped from $2999 to $499 for Mac OS X but remained the same for Linux. At the same time, Apple announced that they would end support for Shake. Rumor web sites claimed that Apple was working on a next-generation compositing application codenamed Phenomenon. Existing maintenance program subscribers had the option to license the Shake source code for . | Shake (software). In April 2005 Apple announced Shake 4 at a pre-NAB event. New features included 3D multi-plane compositing, 32-bit Keylight and Primatte keying, optical flow image processing (time-remapping and image stabilization), Final Cut Pro 5 integration and extensions to their open, extensible scripting language and SDK. Shake 4 had no IRIX version. At the NAB event in April 2006, Apple announced that Shake 4.1 would be a Universal Binary version and would ship in May that year. It was actually released on June 20, 2006 and was rebranded as a companion for Final Cut Studio; as such, its price was dropped from $2999 to $499 for Mac OS X but remained the same for Linux. At the same time, Apple announced that they would end support for Shake. Rumor web sites claimed that Apple was working on a next-generation compositing application codenamed Phenomenon. Existing maintenance program subscribers had the option to license the Shake source code for . | 524319 |
wiki20220301en020_104509 | Shake (software) | On July 30, 2009, Apple removed Shake from its online store and website. Shake had been officially been declared end of life status 3 years prior but continued being sold in the Apple Store for $499 until that time. The Shake website now redirects to Apple's Final Cut Pro X website. Uses Shake was used in such films as Peter Jackson's The Lord of the Rings and King Kong, as well as Harry Potter films and Cloverfield. It was used by The Embassy to create a television advertisement for Citroën with a dancing car. Shake was used by Broadway Video for restoring the release of Saturday Night Live: The Complete First Season DVD box set. It was in use by CBS Digital for creating new visual effects for Star Trek Remastered. | Shake (software). On July 30, 2009, Apple removed Shake from its online store and website. Shake had been officially been declared end of life status 3 years prior but continued being sold in the Apple Store for $499 until that time. The Shake website now redirects to Apple's Final Cut Pro X website. Uses Shake was used in such films as Peter Jackson's The Lord of the Rings and King Kong, as well as Harry Potter films and Cloverfield. It was used by The Embassy to create a television advertisement for Citroën with a dancing car. Shake was used by Broadway Video for restoring the release of Saturday Night Live: The Complete First Season DVD box set. It was in use by CBS Digital for creating new visual effects for Star Trek Remastered. | 524319 |
wiki20220301en020_104510 | Shake (software) | Other major productions using Shake include the 2005 adaptation of War of the Worlds, Star Wars: Episode III – Revenge of the Sith, Fantastic Four, Mission: Impossible III, Poseidon, The Incredibles, Hulk, Doctor Who, The Dark Knight and Pirates of the Caribbean: Dead Man's Chest, and for the restoration of South Pacific. Shake was used for video post-production, but in this field Autodesk's Flint, Flame, and Inferno systems were usually used in conjunction with Shake for a fast turnaround of projects. Shake's historical strength had been the ability to work better with very high resolution formats such as 2K, 4K, and IMAX used in the motion picture industry. References External links Ron Brinkmann's Original design sketches for Shake, circa 1998 Apple Inc. software IRIX software MacOS graphics-related software Compositing software Linux audio video-related software Proprietary commercial software for Linux 1997 software | Shake (software). Other major productions using Shake include the 2005 adaptation of War of the Worlds, Star Wars: Episode III – Revenge of the Sith, Fantastic Four, Mission: Impossible III, Poseidon, The Incredibles, Hulk, Doctor Who, The Dark Knight and Pirates of the Caribbean: Dead Man's Chest, and for the restoration of South Pacific. Shake was used for video post-production, but in this field Autodesk's Flint, Flame, and Inferno systems were usually used in conjunction with Shake for a fast turnaround of projects. Shake's historical strength had been the ability to work better with very high resolution formats such as 2K, 4K, and IMAX used in the motion picture industry. References External links Ron Brinkmann's Original design sketches for Shake, circa 1998 Apple Inc. software IRIX software MacOS graphics-related software Compositing software Linux audio video-related software Proprietary commercial software for Linux 1997 software | 524319 |
wiki20220301en020_104511 | South Dublin | South Dublin () is a county in Ireland, within the province of Leinster and the Eastern and Midland Region. It is one of three successor counties to County Dublin, which was disestablished for administrative purposes in 1994. South Dublin County Council is the local authority for the county. The county contains both dense suburbs of Dublin and stretches of unpopulated mountain. In 2016 it had a population of 278,767, making it the third most populous county in the state. Geography and population South Dublin has an area of , making it the second-largest of the four local government areas in Dublin. It is bounded by Dublin City ( to the northeast), the River Liffey (separating it from Fingal to the north), Dún Laoghaire–Rathdown (to the east), County Kildare (to the west) and its hills adjoin the mountains of County Wicklow to the south. | South Dublin. South Dublin () is a county in Ireland, within the province of Leinster and the Eastern and Midland Region. It is one of three successor counties to County Dublin, which was disestablished for administrative purposes in 1994. South Dublin County Council is the local authority for the county. The county contains both dense suburbs of Dublin and stretches of unpopulated mountain. In 2016 it had a population of 278,767, making it the third most populous county in the state. Geography and population South Dublin has an area of , making it the second-largest of the four local government areas in Dublin. It is bounded by Dublin City ( to the northeast), the River Liffey (separating it from Fingal to the north), Dún Laoghaire–Rathdown (to the east), County Kildare (to the west) and its hills adjoin the mountains of County Wicklow to the south. | 524320 |
wiki20220301en020_104512 | South Dublin | The county town is Tallaght. Other important centres of population are Lucan and Clondalkin. Much of the county is heavily urbanised but small rural settlements exist in the southern and western parts. South Dublin had a population of 278,749 according to the 2016 census. | South Dublin. The county town is Tallaght. Other important centres of population are Lucan and Clondalkin. Much of the county is heavily urbanised but small rural settlements exist in the southern and western parts. South Dublin had a population of 278,749 according to the 2016 census. | 524320 |
wiki20220301en020_104513 | South Dublin | Towns and villages Several urban areas in South Dublin County are also traditionally suburbs of Dublin city. For the purposes of planning and management, the County Council designates the status of towns, villages and suburbs in three tiers — town, district centre and local centre. In the current development plan, the towns and district centres are listed as: Tallaght, the county seat and the location of The Square Shopping Centre which was opened in October 1990 Clondalkin ("to be facilitated and developed as a Town Centre ... including northward development") Lucan (with notes on the Liffey Valley Centre, and the developing Adamstown area — a future "district centre" — and a stated aim to avoid Lucan merging with Leixlip) and with a proposal to develop a Town Centre around the Liffey Valley Centre at Quarryvale while the more local centres are noted in three groups: | South Dublin. Towns and villages Several urban areas in South Dublin County are also traditionally suburbs of Dublin city. For the purposes of planning and management, the County Council designates the status of towns, villages and suburbs in three tiers — town, district centre and local centre. In the current development plan, the towns and district centres are listed as: Tallaght, the county seat and the location of The Square Shopping Centre which was opened in October 1990 Clondalkin ("to be facilitated and developed as a Town Centre ... including northward development") Lucan (with notes on the Liffey Valley Centre, and the developing Adamstown area — a future "district centre" — and a stated aim to avoid Lucan merging with Leixlip) and with a proposal to develop a Town Centre around the Liffey Valley Centre at Quarryvale while the more local centres are noted in three groups: | 524320 |
wiki20220301en020_104514 | South Dublin | and with a proposal to develop a Town Centre around the Liffey Valley Centre at Quarryvale while the more local centres are noted in three groups: city suburbs including at least Rathfarnham, Ballyroan, Palmerstown, Terenure, Templeogue, Knocklyon, Firhouse, Ballycullen and Greenhills villages such as Rathcoole, Newcastle(-Lyons), and Saggart new neighbourhoods, some within bigger, older areas — including such as Kilnamanagh, Ballyowen, Finnstown, and, in development, Adamstown (mentioned in the county plan as an extension of Lucan). | South Dublin. and with a proposal to develop a Town Centre around the Liffey Valley Centre at Quarryvale while the more local centres are noted in three groups: city suburbs including at least Rathfarnham, Ballyroan, Palmerstown, Terenure, Templeogue, Knocklyon, Firhouse, Ballycullen and Greenhills villages such as Rathcoole, Newcastle(-Lyons), and Saggart new neighbourhoods, some within bigger, older areas — including such as Kilnamanagh, Ballyowen, Finnstown, and, in development, Adamstown (mentioned in the county plan as an extension of Lucan). | 524320 |
wiki20220301en020_104515 | South Dublin | Residential areas Adamstown Ballyboden Ballyroan Belgard Clondalkin Edmondstown Firhouse Greenhills Jobstown Kingswood Kilnamanagh Knocklyon Lucan Newcastle Palmerstown Rathcoole Rathfarnham Rockbrook Ronanstown Saggart Tallaght Templeogue Walkinstown Terminology In Ireland, the usage of the word county nearly always comes before rather than after the county name; thus "County Clare" in Ireland as opposed to "Clare County" in Michigan, USA. In the case of those counties created after 1994, they often drop the word county entirely, or use it after the name; thus for example internet search engines show many more uses (on Irish sites) of "South Dublin" than of either "County South Dublin" or "South Dublin County". The 2003 placenames order lists South Dublin without any modification. | South Dublin. Residential areas Adamstown Ballyboden Ballyroan Belgard Clondalkin Edmondstown Firhouse Greenhills Jobstown Kingswood Kilnamanagh Knocklyon Lucan Newcastle Palmerstown Rathcoole Rathfarnham Rockbrook Ronanstown Saggart Tallaght Templeogue Walkinstown Terminology In Ireland, the usage of the word county nearly always comes before rather than after the county name; thus "County Clare" in Ireland as opposed to "Clare County" in Michigan, USA. In the case of those counties created after 1994, they often drop the word county entirely, or use it after the name; thus for example internet search engines show many more uses (on Irish sites) of "South Dublin" than of either "County South Dublin" or "South Dublin County". The 2003 placenames order lists South Dublin without any modification. | 524320 |
wiki20220301en020_104516 | South Dublin | History In 1985, County Dublin was divided into three electoral counties: Dublin–Fingal, Dublin–Belgard, and Dún Laoghaire–Rathdown. At the 1991 local election, the area of Dublin–Belgard was renamed as South Dublin. The name Belgard did have a historical association with the area, being the designation of one of the border fortresses of the Pale that existed in that area. It was altered due to a view that the name Belgard might create associations with areas of modern development in Tallaght that now also uses that name. On 1 January 1994, under the provisions of the Local Government (Dublin) Act 1993, County Dublin ceased to exist, and was succeeded by the counties of Fingal, Dún Laoghaire–Rathdown and South Dublin in the areas of the electoral counties. The boundaries of South Dublin were finalised in 1993, to accommodate the M50 motorway. Various organs of state use alternative subdivisions of Dublin for administrative reasons, for example, the Dublin postal codes. | South Dublin. History In 1985, County Dublin was divided into three electoral counties: Dublin–Fingal, Dublin–Belgard, and Dún Laoghaire–Rathdown. At the 1991 local election, the area of Dublin–Belgard was renamed as South Dublin. The name Belgard did have a historical association with the area, being the designation of one of the border fortresses of the Pale that existed in that area. It was altered due to a view that the name Belgard might create associations with areas of modern development in Tallaght that now also uses that name. On 1 January 1994, under the provisions of the Local Government (Dublin) Act 1993, County Dublin ceased to exist, and was succeeded by the counties of Fingal, Dún Laoghaire–Rathdown and South Dublin in the areas of the electoral counties. The boundaries of South Dublin were finalised in 1993, to accommodate the M50 motorway. Various organs of state use alternative subdivisions of Dublin for administrative reasons, for example, the Dublin postal codes. | 524320 |
wiki20220301en020_104517 | South Dublin | Various organs of state use alternative subdivisions of Dublin for administrative reasons, for example, the Dublin postal codes. Local government and politics South Dublin County Council is the local authority for the county. It was established at the same time that the county was established. It is one of four councils in County Dublin. The county is divided into seven local electoral areas: Clondalkin (7 councillors), Firhouse–Bohernabreena (5 councillors), Lucan (5 councillors), Rathfarnham–Templeogue (7 councillors), Tallaght Central (6 councillors), and Tallaght South (5 councillors). The Dáil constituencies of Dublin Mid-West (4 seats) and Dublin South-West (5 seats) are wholly within South Dublin, and the constituency of Dublin South-Central is partially within South Dublin. In 2015, South Dublin became part of the Eastern and Midland Region. South Dublin County Council sends three members to the Eastern and Midland Regional Assembly. Demographics | South Dublin. Various organs of state use alternative subdivisions of Dublin for administrative reasons, for example, the Dublin postal codes. Local government and politics South Dublin County Council is the local authority for the county. It was established at the same time that the county was established. It is one of four councils in County Dublin. The county is divided into seven local electoral areas: Clondalkin (7 councillors), Firhouse–Bohernabreena (5 councillors), Lucan (5 councillors), Rathfarnham–Templeogue (7 councillors), Tallaght Central (6 councillors), and Tallaght South (5 councillors). The Dáil constituencies of Dublin Mid-West (4 seats) and Dublin South-West (5 seats) are wholly within South Dublin, and the constituency of Dublin South-Central is partially within South Dublin. In 2015, South Dublin became part of the Eastern and Midland Region. South Dublin County Council sends three members to the Eastern and Midland Regional Assembly. Demographics | 524320 |
wiki20220301en020_104518 | South Dublin | In 2015, South Dublin became part of the Eastern and Midland Region. South Dublin County Council sends three members to the Eastern and Midland Regional Assembly. Demographics Symbols The heraldic crest for South Dublin has the inscription "This We Hold In Trust" in both English and Irish, while incorporating elements relating to the history, geography and present day infrastructure of the area. Sport The League of Ireland club Shamrock Rovers plays at Tallaght Stadium. The stadium hosted the 2009 FAI Cup Final and the Setanta Sports Cup final in 2010 & 2011. The National Basketball Arena in Tallaght is the home venue for both the Ireland national basketball team and Ireland women's national basketball team. The arena also hosts various National Cup & League matches. Twinning South Dublin is twinned with the London Borough of Brent, United Kingdom. References External links Lucan St. Patrick's Day Parade | South Dublin. In 2015, South Dublin became part of the Eastern and Midland Region. South Dublin County Council sends three members to the Eastern and Midland Regional Assembly. Demographics Symbols The heraldic crest for South Dublin has the inscription "This We Hold In Trust" in both English and Irish, while incorporating elements relating to the history, geography and present day infrastructure of the area. Sport The League of Ireland club Shamrock Rovers plays at Tallaght Stadium. The stadium hosted the 2009 FAI Cup Final and the Setanta Sports Cup final in 2010 & 2011. The National Basketball Arena in Tallaght is the home venue for both the Ireland national basketball team and Ireland women's national basketball team. The arena also hosts various National Cup & League matches. Twinning South Dublin is twinned with the London Borough of Brent, United Kingdom. References External links Lucan St. Patrick's Day Parade | 524320 |
wiki20220301en020_104519 | South Dublin | Twinning South Dublin is twinned with the London Borough of Brent, United Kingdom. References External links Lucan St. Patrick's Day Parade South Dublin (county) Counties of the Republic of Ireland County Dublin Local administrative units of the Republic of Ireland | South Dublin. Twinning South Dublin is twinned with the London Borough of Brent, United Kingdom. References External links Lucan St. Patrick's Day Parade South Dublin (county) Counties of the Republic of Ireland County Dublin Local administrative units of the Republic of Ireland | 524320 |
wiki20220301en020_104520 | Ivan Reitman | Ivan Reitman (October 27, 1946February 12, 2022) was a Czechoslovak-born Canadian film and television director, producer and screenwriter. He was best known for his comedy work, especially in the 1980s and 1990s. He was the owner of The Montecito Picture Company, founded in 1998. Films he directed include Meatballs (1979), Stripes (1981), Ghostbusters (1984), Ghostbusters II (1989), Twins (1988), Kindergarten Cop (1990), Dave (1993), and Junior (1994). Reitman also served as producer for such films as Animal House (1978), Beethoven (1992), Space Jam (1996), and Private Parts (1997). | Ivan Reitman. Ivan Reitman (October 27, 1946February 12, 2022) was a Czechoslovak-born Canadian film and television director, producer and screenwriter. He was best known for his comedy work, especially in the 1980s and 1990s. He was the owner of The Montecito Picture Company, founded in 1998. Films he directed include Meatballs (1979), Stripes (1981), Ghostbusters (1984), Ghostbusters II (1989), Twins (1988), Kindergarten Cop (1990), Dave (1993), and Junior (1994). Reitman also served as producer for such films as Animal House (1978), Beethoven (1992), Space Jam (1996), and Private Parts (1997). | 524323 |
wiki20220301en020_104521 | Ivan Reitman | Early life Ivan Reitman was born in the predominantly ethnic Hungarian town of Komárno (known as Komárom in Hungarian), Czechoslovakia, on October 27, 1946, the son of Klara (Raab) and Ladislav "Leslie" Reitman. Both of Reitman's parents were Jewish; his mother survived the Auschwitz concentration camp and his father was an underground resistance fighter. His family arrived in Canada as refugees when Reitman was four years old. Reitman attended Oakwood Collegiate in Toronto and was a member of the Twintone Four singing group. He attended McMaster University, receiving a Bachelor of Music in 1969. At McMaster he produced and directed many short films. Career Reitman's first producing job was with the then-new station CITY-TV in Toronto. CITY was also the home of the first announcing job of his later friend and collaborator Dan Aykroyd. However, Reitman's tenure at CITY was short and he was fired during his first year by station owner Moses Znaimer. | Ivan Reitman. Early life Ivan Reitman was born in the predominantly ethnic Hungarian town of Komárno (known as Komárom in Hungarian), Czechoslovakia, on October 27, 1946, the son of Klara (Raab) and Ladislav "Leslie" Reitman. Both of Reitman's parents were Jewish; his mother survived the Auschwitz concentration camp and his father was an underground resistance fighter. His family arrived in Canada as refugees when Reitman was four years old. Reitman attended Oakwood Collegiate in Toronto and was a member of the Twintone Four singing group. He attended McMaster University, receiving a Bachelor of Music in 1969. At McMaster he produced and directed many short films. Career Reitman's first producing job was with the then-new station CITY-TV in Toronto. CITY was also the home of the first announcing job of his later friend and collaborator Dan Aykroyd. However, Reitman's tenure at CITY was short and he was fired during his first year by station owner Moses Znaimer. | 524323 |
wiki20220301en020_104522 | Ivan Reitman | In Toronto, he produced the stage production Spellbound (1973) which evolved into Broadway production The Magic Show. Reitman's first commercial film ventures were as producer of two films for director David Cronenberg, Shivers (1975) and Rabid (1977). His big break came when he produced National Lampoon's Animal House in 1978 and directed Meatballs in 1979. From there, he directed and produced a number of comedies including Stripes (1981), Ghostbusters (1984), Legal Eagles (1986), Twins (1988), Ghostbusters II (1989), Kindergarten Cop (1990), Dave (1993), Junior (1994), Six Days, Seven Nights (1998), Evolution (2001), My Super Ex-Girlfriend (2006), and No Strings Attached (2011). | Ivan Reitman. In Toronto, he produced the stage production Spellbound (1973) which evolved into Broadway production The Magic Show. Reitman's first commercial film ventures were as producer of two films for director David Cronenberg, Shivers (1975) and Rabid (1977). His big break came when he produced National Lampoon's Animal House in 1978 and directed Meatballs in 1979. From there, he directed and produced a number of comedies including Stripes (1981), Ghostbusters (1984), Legal Eagles (1986), Twins (1988), Ghostbusters II (1989), Kindergarten Cop (1990), Dave (1993), Junior (1994), Six Days, Seven Nights (1998), Evolution (2001), My Super Ex-Girlfriend (2006), and No Strings Attached (2011). | 524323 |
wiki20220301en020_104523 | Ivan Reitman | In the early 1990s, Reitman began to direct fewer films, but increased his role as a producer and executive producer through his company, Northern Lights Entertainment. He helped to produce the animated film Heavy Metal (1981), as well as the live-action films Spacehunter: Adventures in the Forbidden Zone (1983), Beethoven (1992), Beethoven's 2nd (1993), Space Jam (1996), Howard Stern's film Private Parts (1997), Road Trip (2000), Old School (2003), EuroTrip (2004) and Trailer Park Boys: The Movie (2006). In 2000 Reitman founded The Montecito Picture Company, a film production company located just south of Santa Barbara. In 2007, Reitman was inducted into Canada's Walk of Fame. | Ivan Reitman. In the early 1990s, Reitman began to direct fewer films, but increased his role as a producer and executive producer through his company, Northern Lights Entertainment. He helped to produce the animated film Heavy Metal (1981), as well as the live-action films Spacehunter: Adventures in the Forbidden Zone (1983), Beethoven (1992), Beethoven's 2nd (1993), Space Jam (1996), Howard Stern's film Private Parts (1997), Road Trip (2000), Old School (2003), EuroTrip (2004) and Trailer Park Boys: The Movie (2006). In 2000 Reitman founded The Montecito Picture Company, a film production company located just south of Santa Barbara. In 2007, Reitman was inducted into Canada's Walk of Fame. | 524323 |
wiki20220301en020_104524 | Ivan Reitman | In 2000 Reitman founded The Montecito Picture Company, a film production company located just south of Santa Barbara. In 2007, Reitman was inducted into Canada's Walk of Fame. He next produced the comedy I Love You, Man (2009), starring Paul Rudd and Jason Segel. Also in 2009, he produced the Academy Award-nominated film, Up in the Air, directed by his son Jason Reitman. Later, Reitman had planned to direct the erotic thriller Chloe (2009), but he couldn't attract the cast he wanted; so Reitman decided to only serve as a producer and asked Atom Egoyan to direct the film. Chloe has since enjoyed commercial success and became Egoyan's biggest moneymaker ever. In his final decade, Reitman also co-produced the biographical film Hitchcock, released on November 23, 2012, directed the 2014 sports drama Draft Day, starring Kevin Costner, and served as executive producer on 2021's Space Jam: A New Legacy as he had done for the first film. | Ivan Reitman. In 2000 Reitman founded The Montecito Picture Company, a film production company located just south of Santa Barbara. In 2007, Reitman was inducted into Canada's Walk of Fame. He next produced the comedy I Love You, Man (2009), starring Paul Rudd and Jason Segel. Also in 2009, he produced the Academy Award-nominated film, Up in the Air, directed by his son Jason Reitman. Later, Reitman had planned to direct the erotic thriller Chloe (2009), but he couldn't attract the cast he wanted; so Reitman decided to only serve as a producer and asked Atom Egoyan to direct the film. Chloe has since enjoyed commercial success and became Egoyan's biggest moneymaker ever. In his final decade, Reitman also co-produced the biographical film Hitchcock, released on November 23, 2012, directed the 2014 sports drama Draft Day, starring Kevin Costner, and served as executive producer on 2021's Space Jam: A New Legacy as he had done for the first film. | 524323 |
wiki20220301en020_104525 | Ivan Reitman | In mid-January 2019, news of a new Ghostbusters film, Ghostbusters: Afterlife, came through with Ivan's son Jason Reitman taking over as co-writer and director. Ivan remained producer, and stood in for Ramis as Egon Spengler using digital makeup. The film was released on November 19, 2021, marking his final film before his death. Unmade projects In the early 1980s, Tom Mankiewicz wrote a script for a film entitled The Batman, with Reitman attached to direct. He planned to cast Meatballs star Bill Murray as Batman, David Niven as Alfred Pennyworth, William Holden as Commissioner James Gordon, and singer David Bowie as Joker. Following the deaths of Holden and Niven and rewrites of the script, Reitman left the project and was replaced by Gremlins director Joe Dante, but the film was never made. | Ivan Reitman. In mid-January 2019, news of a new Ghostbusters film, Ghostbusters: Afterlife, came through with Ivan's son Jason Reitman taking over as co-writer and director. Ivan remained producer, and stood in for Ramis as Egon Spengler using digital makeup. The film was released on November 19, 2021, marking his final film before his death. Unmade projects In the early 1980s, Tom Mankiewicz wrote a script for a film entitled The Batman, with Reitman attached to direct. He planned to cast Meatballs star Bill Murray as Batman, David Niven as Alfred Pennyworth, William Holden as Commissioner James Gordon, and singer David Bowie as Joker. Following the deaths of Holden and Niven and rewrites of the script, Reitman left the project and was replaced by Gremlins director Joe Dante, but the film was never made. | 524323 |
wiki20220301en020_104526 | Ivan Reitman | In April 1996, it was reported that Reitman was attached to produce, and possibly direct, a Wonder Woman film. However, three years later, he passed the project on to writer Jon Cohen and left for unknown reasons. In 2000, Reitman along with Wolfgang Petersen, Rob Reiner, M. Night Shyamalan, Alan Parker, Tim Robbins, Terry Gilliam, Brad Silberling and Peter Weir were considered to direct Harry Potter and the Philosopher's Stone but the directing job was given to Chris Columbus instead. In March 2007, New York magazine, citing no sources, stated that Sony Pictures Entertainment wanted to replace Reitman on Ghostbusters III with a younger director, but that Reitman's original contract precluded this. In early 2010, it appeared as if Reitman would direct the film, but in September 2014, after Harold Ramis' death, Paul Feig was officially set to direct a new film, which was released in 2016 as a reboot of the franchise. | Ivan Reitman. In April 1996, it was reported that Reitman was attached to produce, and possibly direct, a Wonder Woman film. However, three years later, he passed the project on to writer Jon Cohen and left for unknown reasons. In 2000, Reitman along with Wolfgang Petersen, Rob Reiner, M. Night Shyamalan, Alan Parker, Tim Robbins, Terry Gilliam, Brad Silberling and Peter Weir were considered to direct Harry Potter and the Philosopher's Stone but the directing job was given to Chris Columbus instead. In March 2007, New York magazine, citing no sources, stated that Sony Pictures Entertainment wanted to replace Reitman on Ghostbusters III with a younger director, but that Reitman's original contract precluded this. In early 2010, it appeared as if Reitman would direct the film, but in September 2014, after Harold Ramis' death, Paul Feig was officially set to direct a new film, which was released in 2016 as a reboot of the franchise. | 524323 |
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