Richard III (play)

Richard III is a play by William Shakespeare. It was probably written c. 1592–1594. It is labelled a history in the First Folio, and is usually considered one, but it is sometimes called a tragedy, as in the quarto edition. "Richard III" concludes Shakespeare's first tetralogy (also containing "Henry VI, Part 1", and "Henry VI, Part 2", and "Henry VI, Part 3") and depicts the Machiavellian rise to power and subsequent short reign of King Richard III of England.
It is the second longest play in the Shakespearean canon, and is the longest of the First Folio, whose version of "Hamlet", otherwise the longest, is shorter than its quarto counterpart. The play is often abridged for brevity, and peripheral characters removed. In such cases, extra lines are often invented or added from elsewhere to establish the nature of the characters' relationships. A further reason for abridgment is that Shakespeare assumed his audiences' familiarity with his "Henry VI" plays, frequently referring to these plays.
Characters.
"House of York"
"House of Lancaster"
"Woodville family"
"Richard III's group"
"Earl of Richmond's group"
"Clergy"
"Other characters"
"Other"
Synopsis.
The play begins with Richard (Gloucester) describing the re-accession to the throne of his brother, King Edward IV of England, eldest son of the late Richard, Duke of York (implying the year is 1471):
Richard is an ugly hunchback, "rudely stamp'd", "deformed, unfinish'd", cannot "strut before a wanton ambling nymph", and says he is "determined to prove a villain / And hate the idle pleasures of these days." Through a prophecy, that "G of Edward's heirs the murderer shall be", he has contrived to have his brother Clarence conducted to the Tower of London (the king interpreted the prophecy as George of Clarence). Speaking to Clarence en route, Richard blames the queen and says that he will himself try to help Clarence. Richard continues plotting:
Lady Anne attends the corpse of Henry VI with Trestle and Berkeley going from St Paul's Cathedral. She bids them set down the "honourable load" then laments. Richard appears, and Lady Anne says that "Henry's wounds [...] bleed afresh". He confesses the murder, and she spits at him. He offers himself to her sword, but she drops it. He offers to kill himself at her order, but she accepts his ring. Richard exults at having won her over so and tells the audience that he will discard her once she has served his purpose.
The atmosphere at court is poisonous. The established nobles are at odds with the upwardly mobile relatives of Queen Elizabeth, a hostility fueled by Richard's machinations. Queen Margaret, Henry VI's widow, returns, though banished, and she warns the squabbling nobles about Richard, cursing extensively. The nobles, all Yorkists, unite against this last Lancastrian and ignore the warnings.
Richard orders two murderers to kill Clarence in the tower. Clarence relates a distressing dream to his keeper before going to sleep. The murderers arrive with a warrant, and the keeper relinquishes his office. While the murderers are pondering what to do, Clarence wakes. He recognises their purpose and pleads with them. Presuming that Edward has offered them payment, he tells them to go to Gloucester, who will reward them better for having kept him alive. One of the murderers explains that Gloucester hates him and sent them. Pleading again, he is eventually interrupted by "Look behind you, my lord" and stabbing (1478).
The compacted nobles pledge absent enmities before Edward, and Elizabeth asks Edward to receive Clarence into favour. Richard rebukes her, saying: "Who knows not that the gentle duke is dead?". Edward, who has confessed himself near death, is much upset by this news and led off. Richard blames those attending Edward. Edward IV soon dies (1483), leaving Richard as Protector. Lord Rivers, Lord Grey, and Sir Thomas Vaughan, have been imprisoned. The uncrowned Edward V and his brother are coaxed (by Richard) into an extended stay at the Tower of London.
Assisted by his cousin Buckingham, Richard mounts a campaign to present himself as the true heir to the throne, pretending to be a modest and devout man with no pretensions to greatness. Lord Hastings, who objects to Richard's accession, is arrested and executed on a trumped-up charge of treason. Richard and Buckingham spread the rumour that Edward's two sons are illegitimate and therefore have no rightful claim to the throne, and they are assisted by Catesby, Ratcliffe, and Lovell. The other lords are cajoled into accepting Richard as king despite the continued survival of his nephews (the Princes in the Tower).
Richard asks Buckingham to secure the death of the princes, but Buckingham hesitates. Richard then recruits Sir James Tyrrell who kills both children. When Richard denies Buckingham a promised land grant, Buckingham turns against Richard and defects to the side of Henry, Earl of Richmond, who is currently in exile. Richard has his eye on Elizabeth of York, Edward IV's next remaining heir, and poisons Lady Anne so he can be free to woo the princess. The Duchess of York and Queen Elizabeth mourn the princes' deaths. Queen Margaret meets them. As predicted, Queen Elizabeth asks Queen Margaret for help in cursing. Later, the Duchess applies this lesson and curses her only surviving son before leaving. Richard asks Queen Elizabeth to help him win her daughter's hand in marriage. She is not taken in by his eloquence, and stalls him by saying that she will let him know her daughter's answer in due course.
The increasingly paranoid Richard loses what popularity he had. He faces rebellions, led first by Buckingham and subsequently by the invading Richmond. Buckingham is captured and executed. Both sides arrive for a final battle at Bosworth Field. Prior to the battle, Richard is sleeping and visited by the ghosts of his victims, each telling him to "Despair and die". They likewise attend and wish victory on Richmond. Richard wakes, screaming "Jesus", then realises that he is all alone and cannot even pity himself.
At the Battle of Bosworth Field (1485), Lord Stanley (who is also Richmond's stepfather) and his followers desert Richard, whereupon Richard calls for the execution of George Stanley, hostage and Lord Stanley's son. But this does not happen, as the battle is in full swing, and Richard is at a disadvantage. Richard is unhorsed on the field, and cries out, "A horse, a horse, my kingdom for a horse". Richmond kills Richard, and claims the throne as Henry VII.
Date and text.
"Richard III" is believed to be one of Shakespeare's earlier plays, preceded only by the three parts of "Henry VI" and perhaps "Titus Andronicus" and a handful of comedies. It is believed to have been written c. 1592–1594. Although "Richard III" was entered into the Register of the Stationers' Company on 20 October 1597 by the bookseller Andrew Wise, who published the first Quarto (Q1) later that year (with printing done by Valentine Simmes), Christopher Marlowe's "Edward II", which cannot have been written much later than 1592 (Marlowe died in 1593), is thought to have been influenced by it. A second Quarto (Q2) followed in 1598, printed by Thomas Creede for Andrew Wise, containing an attribution to Shakespeare on its title page. Q3 appeared in 1602, Q4 in 1605, Q5 in 1612, and Q6 in 1622, the frequency attesting to its popularity. The First Folio version followed in 1623.
The Folio is longer than the Quarto and contains some fifty additional passages amounting to more than two hundred lines. However, the Quarto contains some twenty-seven passages amounting to about thirty-seven lines that are absent from the Folio. The two texts also contain hundreds of other differences, including the transposition of words within speeches, the movement of words from one speech to another, the replacement of words with near-synonyms, and many changes in grammar and spelling.
At one time, it was thought that the Quarto represented a separate revision of the play by Shakespeare. However, since the Quarto contains many changes that can only be regarded as mistakes, it is now widely believed that the Quarto was produced by memorial reconstruction. It is thought likely that the Quarto was collectively produced by a company of actors remembering their lines. It is unknown why the actors did this, but it may have been to replace a missing prompt book. The Folio is regarded as having much higher authority than the Quarto, but because the Folio edition was collated by the printers against a Quarto (probably Q3), some errors from the Quarto found their way into the Folio. Some parts of the Folio (the beginning of Act III and much of Act V) are clearly copied, with little change, direct from the Quarto. The Folio also has its own corruptions and omissions, and corrections have to be supplied, where possible, from the Quarto.
Themes.
Comedic elements.
Unlike his previous tragedy "Titus Andronicus", the play avoids graphic demonstrations of physical violence; only Richard and Clarence are shown being stabbed on-stage, while the rest (the two princes, Hastings, Brackenbury, Grey, Vaughan, Rivers, Anne, Buckingham, and King Edward) all meet their ends off-stage. Despite the villainous nature of the title character and the grim storyline, Shakespeare infuses the action with comic material, as he does with most of his tragedies. Much of the humour rises from the dichotomy between how Richard's character is known and how Richard tries to appear.
Richard himself also provides some dry remarks in evaluating the situation, as when he plans to marry Queen Elizabeth's daughter: "Murder her brothers, then marry her; Uncertain way of gain ..." Other examples of humour in this play include Clarence's reluctant murderers, and the Duke of Buckingham's report on his attempt to persuade the Londoners to accept Richard ("I bid them that did love their country's good cry, God save Richard, England's royal king!" Richard: "And did they so?" Buckingham: "No, so God help me, they spake not a word ...")
Puns, a Shakespearean staple, are especially well represented in the scene where Richard tries to persuade Queen Elizabeth to woo her daughter on his behalf.
Free will and fatalism.
One of the central themes of "Richard III" is the idea of fate, especially as it is seen through the tension between free will and fatalism in Richard's actions and speech, as well as the reactions to him by other characters. There is no doubt that Shakespeare drew heavily on Sir Thomas More's account of Richard III as a criminal and tyrant as inspiration for his own rendering. This influence, especially as it relates to the role of divine punishment in Richard's rule of England, reaches its height in the voice of Margaret. Janis Lull suggests that "Margaret gives voice to the belief, encouraged by the growing Calvinism of the Elizabethan era, that individual historical events are determined by God, who often punishes evil with (apparent) evil".
Thus it seems possible that Shakespeare, in conforming to the growing "Tudor Myth" of the day, as well as taking into account new theologies of divine action and human will becoming popular in the wake of the Protestant Reformation, sought to paint Richard as the final curse of God on England in punishment for the deposition of Richard II in 1399. Irving Ribner argued that "the evil path of Richard is a cleansing operation which roots evil out of society and restores the world at last to the God-ordained goodness embodied in the new rule of Henry VII".
Scholar Victor Kiernan writes that this interpretation is a perfect fit with the English social perspective of Shakespeare's day: "An extension is in progress of a privileged class's assurance of preferential treatment in the next world as in this, to a favoured nation's conviction of having God on its side, of Englishmen being ... the new Chosen People". As Elizabethan England was slowly colonising the world, the populace embraced the view of its own Divine Right and Appointment to do so, much as Richard does in Shakespeare's play.
However, historical fatalism is merely one side of the argument of fate versus free will. It is also possible that Shakespeare intended to portray Richard as "a personification of the Machiavellian view of history as power politics". In this view, Richard is acting entirely out of his own free will in brutally taking hold of the English throne. Kiernan also presents this side of the coin, noting that Richard "boasts to us of his finesse in dissembling and deception with bits of Scripture to cloak his 'naked villainy' (I.iii.334–348) ... Machiavelli, as Shakespeare may want us to realise, is not a safe guide to practical politics".
Kiernan suggests that Richard is merely acting as if God is determining his every step in a sort of Machiavellian manipulation of religion as an attempt to circumvent the moral conscience of those around him. Therefore, historical determinism is merely an illusion perpetrated by Richard's assertion of his own free will. The Machiavellian reading of the play finds evidence in Richard's interactions with the audience, as when he mentions that he is "determinèd to prove a villain" (I.i.30). However, though it seems Richard views himself as completely in control, Lull suggests that Shakespeare is using Richard to state "the tragic conception of the play in a joke. His primary meaning is that he controls his own destiny. His pun also has a second, contradictory meaning—that his villainy is predestined—and the strong providentialism of the play ultimately endorses this meaning".
Literary critic Paul Haeffner writes that Shakespeare had a great understanding of language and the potential of every word he used. One word that Shakespeare gave potential to was "joy". This is employed in Act I, Scene III, where it is used to show "deliberate emotional effect". Another word that Haeffner points out is "kind", which he suggests is used with two different definitions.
The first definition is used to express a "gentle and loving" man, which Clarence uses to describe his brother Richard to the murderers that were sent to kill him. This definition is not true, as Richard uses a gentle façade to seize the throne. The second definition concerns "the person's true nature ... Richard will indeed use Hastings kindly—that is, just as he is in the habit of using people—brutally".
Haeffner also writes about how speech is written. He compares the speeches of Richmond and Richard to their soldiers. He describes Richmond's speech as "dignified" and formal, while Richard's speech is explained as "slangy and impetuous". Richard's casualness in speech is also noted by another writer. However, Lull does not make the comparison between Richmond and Richard as Haeffner does, but between Richard and the women in his life. However, it is important to the women share the formal language that Richmond uses. She makes the argument that the difference in speech "reinforces the thematic division between the women's identification with the social group and Richard's individualism". Haeffner agrees that Richard is "an individualist, hating dignity and formality".
Janis Lull also takes special notice of the mourning women. She suggests that they are associated with "figures of repetition as anaphora—beginning each clause in a sequence with the same word—and epistrophe—repeating the same word at the end of each clause". One example of the epistrophe can be found in Margaret's speech in Act I, Scene III. Haeffner refers to these as few of many "devices and tricks of style" that occur in the play, showcasing Shakespeare's ability to bring out the potential of every word.
Richard as anti-hero.
Throughout the play, Richard's character constantly changes and shifts and, in doing so, alters the dramatic structure of the story.
Richard immediately establishes a connection with the audience with his opening monologue. In the soliloquy he admits his amorality to the audience but at the same time treats them as if they were co-conspirators in his plotting; one may well be enamored of his rhetoric while being appalled by his actions. Richard shows off his wit in Act I, as seen in the interchanges with Lady Anne (Act I, Scene II) and his brother Clarence (Act I, Scene I). In his dialogues in Act I, Richard knowingly refers to thoughts he has only previously shared with the audience to keep the audience attuned to him and his objectives. In 1.1, Richard tells the audience in a soliloquy how he plans to claw his way to the throne—killing his brother Clarence as a necessary step to get there. However, Richard pretends to be Clarence's friend, falsely reassuring him by saying, "I will deliver you, or else lie for you" (1.1.115); which the audience knows—and Richard tells the audience after Clarence's exit—is the exact opposite of what he plans to do. Scholar Michael E. Mooney describes Richard as occupying a "figural position"; he is able to move in and out of it by talking with the audience on one level, and interacting with other characters on another.
Each scene in Act I is book-ended by Richard directly addressing the audience. This action on Richard's part not only keeps him in control of the dramatic action of the play, but also of how the audience sees him: in a somewhat positive light, or as the protagonist. Richard actually embodies the dramatic character of "Vice" from medieval morality plays—with which Shakespeare was very familiar from his time—with his "impish-to-fiendish humour". Like Vice, Richard is able to render what is ugly and evil—his thoughts and aims, his view of other characters—into what is charming and amusing for the audience.
In the earlier acts of the play, too, the role of the antagonist is filled by that of the old Lancastrian queen, Margaret, who is reviled by the Yorkists and whom Richard manipulates and condemns in Act I, Scene III.
However, after Act I, the number and quality of Richard's asides to the audience decrease significantly, as well as multiple scenes are interspersed that do not include Richard at all, but average Citizens (Act II, Scene III), or the Duchess of York and Clarence's children (Act II, Scene II), who are as moral as Richard is evil. Without Richard guiding the audience through the dramatic action, the audience is left to evaluate for itself what is going on. In Act IV, Scene IV, after the murder of the two young princes and the ruthless murder of Lady Anne, the women of the play—Queen Elizabeth, the Duchess of York, and even Margaret—gather to mourn their state and to curse Richard; and it is difficult as the audience not to sympathise with them. When Richard enters to bargain with Queen Elizabeth for her daughter's hand—a scene whose form echoes the same rhythmically quick dialogue as the Lady Anne scene in Act I—he has lost his vivacity and playfulness for communication; it is obvious he is not the same man.
By the end of Act IV everyone else in the play, including Richard's own mother, the Duchess, has turned against him. He does not interact with the audience nearly as much, and the inspiring quality of his speech has declined into merely giving and requiring information. As Richard gets closer to seizing the crown, he encloses himself within the world of the play; no longer embodying his facile movement in and out of the dramatic action, he is now stuck firmly within it. It is from Act IV that Richard really begins his rapid decline into truly being the antagonist. Shakespeare scholar Stephen Greenblatt notes how Richard even refers to himself as "the formal Vice, Iniquity" (3.1.82), which informs the audience that he knows what his function is; but also like Vice in the morality plays, the fates will turn and get Richard in the end, which Elizabethan audiences would have recognised.
In addition, the character of Richmond enters into the play in Act V to overthrow Richard and save the state from his tyranny, effectively being the instantaneous new protagonist. Richmond is a clear contrast to Richard's evil character, which makes the audience see him as such.
Performance.
The earliest certain performance occurred on 1633, when Charles I and Queen Henrietta Maria watched it on the Queen's birthday.
Colley Cibber produced the most successful of the Restoration adaptations of Shakespeare with his version of "Richard III", at Drury Lane starting in 1700. Cibber himself played the role till 1739, and his version was on stage for the next century and a half. It contained the lines "Off with his head; so much for Buckingham" – possibly the most famous Shakespearean line that Shakespeare did not write – and "Richard's himself again!". The original Shakespearean version returned in a production at Sadler's Wells Theatre in 1845.
In 2011 film actor Kevin Spacey starred in an Old Vic production which subsequently toured the United States, directed by stage and film director Sam Mendes. Spacey had played the role of Richard's henchman, the Duke of Buckingham, in the Pacino film.
Adaptations and cultural references.
Film.
Basil Rathbone played Richard III in the 1939 Universal horror film "Tower of London", which was directed by Rowland V. Lee. The film was later remade by Roger Corman in 1962 with Vincent Price in the lead role. While both films are influenced by the characterisation and structure of Shakespeare’s play, neither includes any dialogue from it.
The most famous player of the part in recent times was Laurence Olivier in his 1955 film version. Olivier's film incorporates a few scenes and speeches from Shakespeare's "Henry VI, Part 3" and Cibber's rewrite of Shakespeare's play, but cuts entirely the characters of Queen Margaret and the Duchess of York, and Richard's soliloquy after seeing the ghosts of his victims. Olivier has Richard seduce Lady Anne while mourning over the corpse of her husband rather than her father-in-law as in the play. Olivier's rendition has been parodied by many comedians, including Peter Cook and Peter Sellers. Sellers, who had aspirations to do the role straight, appeared in a 1965 TV special on The Beatles' music by reciting "A Hard Day's Night" in the style of Olivier's Richard III. The first episode of the BBC television comedy "" in part parodies the Olivier film, visually (as in the crown motif), Peter Cook's performance as a benevolent Richard, and by mangling Shakespearean text ("Now is the summer of our sweet content made o'ercast winter by these Tudor clouds ...")
Richard Loncraine's 1995 film, starring Ian McKellen, is set in a fictional fascist England in the 1930s, and based on an earlier highly successful stage production. Only about half the text of the play is used. The first part of his "Now is the winter of our discontent..." soliloquy is a public speech, while the second part is a private monologue. The famous final line of Richard's "A horse, my kingdom for a horse" is spoken when his jeep becomes trapped after backing up into a large pile of rubble.
In 1996, Al Pacino made his directoral debut and played the title role in "Looking for Richard", analysing the plot of the play and playing out several scenes from it, as well as conducting a broader examination of Shakespeare's continuing role and relevance in popular culture. Also in 1996, a pristine print of "Richard III" (1912), starring Frederick Warde in the title role, was discovered by a private collector and donated to the American Film Institute. The 55-minute film is considered to be the earliest surviving American feature film.
In 2002 the story of Richard III was re-told in a movie about gang culture called "King Rikki" (also known as "The Street King").
In 2017, Italian director Roberta Torre realized a musical drama film, inspired on Shakespeare's play, named "Bloody Richard".
Television.
The BBC Television Shakespeare version, first broadcast in 1983, starred Ron Cook as Richard.
BBC Two aired a new adaptation of "Richard III" in 2016 as part of "The Hollow Crown" series, with Benedict Cumberbatch playing the king. Executive producer Pippa Harris commented, "By filming the "Henry VI" plays as well as "Richard III", we will allow viewers to fully appreciate how such a monstrous tyrant could find his way to power, bringing even more weight and depth to this iconic character."
References in popular culture.
Lincoln's assassination.
Abraham Lincoln was renowned for his love of Shakespeare, and of "Richard III" in particular. This fed Confederate propaganda, especially in Virginia, where residents of Richmond saw Lincoln as a Richard-like tyrant and identified their capital city with the Earl of Richmond, the hero of Shakespeare's play. Some interpreted Richard's Act IV speech as an omen favorable to the South:
The connection between Lincoln and the play was indelibly printed on history when on 14 April 1865, within a fortnight of the president's visit to the defeated city, he was assassinated by John Wilkes Booth, a Shakespearean actor known for playing both Richard and Richmond. Booth's notorious, final words from the stage were "Sic semper tyrannis".
"Winter of our discontent" quote.
The 2010 film, "The King's Speech", features a scene where the king's speech therapist Lionel Logue, as played by Geoffrey Rush, auditions for the role by reciting the lines, "Now is the winter of our discontent / Made glorious summer by this sun [or son] of York". Shakespeare critic Keith Jones believes that the film in general sets up its main character as a kind of antithesis to Richard III. The same antithesis was noted by conservative commentator Noah Millman.
In the "Red Dwarf" episode "Marooned", Rimmer objects to Lister's burning of the "Complete Works of Shakespeare" in an attempt to maintain enough heat to keep him alive. When challenged, Rimmer claims he can quote from it and embarks upon the soliloquy: "Now! ... That's all I can remember. You know! That famous speech from "Richard III" – 'now, something something something something'."
John Steinbeck used the opening line for the title of his novel "The Winter of Our Discontent".
The phrase "Winter of Discontent" is an expression, popularised by the British media, referring to the winter of 1978–79 in the United Kingdom, during which there were widespread strikes by local authority trade unions demanding larger pay rises for their members.
"My kingdom for a horse" quote.
In the 1949 Looney Tunes cartoon "A Ham in a Role", the dog actor says the Catesby and Richard III's lines, "Rescue, fair lord, or else the day is lost! A horse, A horse, My kingdom for a horse!" before being kicked out of the window by a Goofy Gophers-hauled horse.
In the 1993 Mel Brooks film "", the character Robin of Locksley, played by Cary Elwes, says "A horse, my kingdom for a horse!" as he arrives in England in the opening scene.
Other.
The film "Being John Malkovich" has many Shakespeare allusions, including a scene in which Malkovich is shown rehearsing "Richard III" lines "Was ever woman in this humour woo'd? / Was ever woman in this humour won?" where Richard is boasting about using power, lies, and crime to seduce Lady Anne. As Visual Cultures professor Lynn Turner notes, this scene anticipates a parallel scene in which Craig uses deceit to seduce Maxine through Malkovich. Mariangela Tempera has noted that the subservience of Lady Anne in the scene contrasts with the self-assertiveness of the actress playing Lady Anne as she seduces Malkovich offstage.
Adam Sandler's 2011 film "Jack and Jill" features Al Pacino reprising his role of Richard III, although the movie scenes are modified as Pacino interacts with the audience in a heavily comedic way. Multiple reviewers who panned the film regarded Pacino as the best element of the film.
In " V for Vendetta" when V confronts Father Lilliman, he quotes the line "And thus I clothe my naked villany in old odd ends stol'n forth of holy writ, and seem a saint when most I play the devil."
In "Freaked", an arrogant movie star who has been transformed into a "hideous mutant freak" makes use of his deformity by performing the opening soliloquy, condensed by a local professor in subtitles for the "culturally illiterate" to the more succinct "I'm ugly. I never get laid." One reviewer mentioned this as the best example of how the film seamlessly moves between highbrow and lowbrow culture.
In "The Goodbye Girl", an ambitious actor played by Richard Dreyfuss is forced by his off-Broadway producer to play Richard III as a caricature of a homosexual. Elliot Garfield (Dreyfuss) describes his performance as "putrid".
In the 1975 film "L'important c'est d'aimer", directed by Andrzej Żuławski, a production of "Richard III" in French is a "mise en abyme" for the drama enveloping the characters in the film.
The manga "Requiem of the Rose King" by Aya Kanno, which began in 2013, is a loose adaptation of the first Shakespearean historical tetralogy. It depicts Richard III as intersex instead of hunchbacked.
Historical inaccuracy.
Shakespeare, and the Tudor chroniclers who influenced him, had an interest in portraying the defeat of the Plantagenet House of York by the House of Tudor as good conquering evil. Loyalty to the new regime required that the last Plantagenet king, Richard III, be depicted as a villain. The historical inaccuracies in the play can be attributed partly to Shakespeare's sources, such as "Holinshed's Chronicles", and partly to artistic licence. Some of these inaccuracies are listed below in the order in which they either appear or are referred to in the play.
Richard was not personally responsible for the death of his wife's first husband, Edward of Westminster (the son of Henry VI), nor that of her father, the Earl of Warwick (and in "Henry VI, Part 3" Richard is not portrayed as being responsible for Warwick's death). Edward of Westminster and Warwick were killed in the battles of Tewkesbury and Barnet, respectively. Richard, then eighteen, took part in both battles, but no contemporary records indicate him as being involved directly in either death. Shakespeare's sources do not identify Richard as being involved in the death of Henry VI, who was probably murdered on the orders of Edward IV. Richard and his wife, Anne Neville, had known each other for a long time before they married, having spent much of their childhood in the same household. Henry VI's widow, Queen Margaret, would not have been seen at court in the period covered by this play; she became Edward IV's prisoner and returned to France in 1475. Richard's elder brother, Clarence (George, Duke of Clarence), was executed by Edward IV for treason in 1478, when Richard was in the North of England, where he continued to live until Edward IV died five years later.
Richard returned from the North to fulfil Edward IV's wish that he rule as Lord Protector. It was the Plantagenet tradition that a future king (in this case Edward V, the elder of the "princes in the tower"), would stay in the royal apartments of the Tower of London while awaiting his coronation. No one knows why the "princes in the tower" disappeared or what happened to them. Richard took the throne by an Act of Parliament, on the basis of testimony claiming that Edward IV's marriage to Queen Elizabeth (Elizabeth Woodville) had been bigamous. Contemporary rumours that Richard had murdered his own wife appear baseless; she is thought to have died of tuberculosis. There is no surviving evidence to suggest that he planned to marry his niece, Elizabeth of York, although rumours about this plan did circulate. However, at the time he was also negotiating a marriage for Elizabeth with a Portuguese prince, Manuel, Duke of Beja (later Manuel I of Portugal).
At the Battle of Bosworth there was no single combat between Richard and Richmond (Henry Tudor), although it has been suggested that Richard had hoped for one. Richard spotted Richmond in his rearguard surrounded by French pikemen and led a cavalry charge against him. Richard was steered away from Richmond by Sir Rhys ap Thomas. The Stanleys (Thomas, Lord Stanley and his younger brother, Sir William Stanley) only entered the fray in support of Richmond when they saw that Richard was vulnerable; when he saw the Stanleys, Richard cried "Treason". Richard fell from his horse after it lost its footing in a marshy area; he was offered a new horse but declined. Now on foot, Richard was hacked to death.
The only contemporary reference to Richard having any deformities was the observation that his right shoulder was slightly higher than his left, which is now known to have been caused by his scoliosis of the spine. After the discovery of Richard's remains in 2012 it became clear that, although he might have been slightly hunched, the degree and direction of the curvature was not as serious as that of a spinal kyphosis (or "hunchback"), and there were no other apparent deformities.


Jan Boeckhorst

Jan Boeckhorst or Johann Bockhorst (c. 1604 – 21 April 1668), was a German-born Flemish Baroque painter and draughtsman. He was a versatile artist who produced history paintings, genre scenes and portraits in a style influenced by the trio of leading Baroque painters in Antwerp Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. Boeckhorst also worked as a designer of cartoons for tapestries.
Life.
Jan Boeckhorst was born in Münster, Westphalia as the second oldest of twelve children. His family belonged to Münster’s highly respected citizens (Honoratioren) and his father Heinrich was for a while the mayor of Münster. Jan Boeckhorst became a canon in the Jesuit order at age 17. He only started his artistic study when he was about twenty-two years of age.
In the mid 1620s Boeckhorst moved to Antwerp apparently to study with Peter Paul Rubens. There is no firm evidence that Boeckhorst actually studied under Rubens, only a statement by Rubens’ nephew Philip to that effect. However, a close relationship between the artists during the 1630s is documented. Boeckhorst likely also briefly trained with Jordaens during Rubens' stay in London in the late 1620s. In Antwerp, Boeckhorst was known as "Lange Jan" (Tall John) because of his tall stature.
From 1626 to 1635 Boeckhorst worked on a commission paid for by the devout merchant Lodewijk De Roomer to complete 26 works for a chapel in the Falcon monastery in central Antwerp (or for St. Joseph’s chapel in the Antwerp convent of St. Augustine). These works on which he collaborated with Jan Wildens are now lost. Between 1627 and 1632 he likely worked closely with Anthony van Dyck who was during that period back in Antwerp after a long stay abroad. The two artists collaborated on individual works of art while Boeckhorst also produced copies after van Dyck.
Jan Boeckhorst became a master in the Antwerp Guild of Saint Luke in 1633–1634. He was a regular collaborator with Rubens in the mid 1630s. He first worked on the decorations for the 1635 Joyous Entry (the so-called 'Pompa Introitus') into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand. Rubens was in overall charge of this project. For the Pompa Introitus Broeckhorst contributed architectural elements on the 'Arch of Isabella' and the figures of 'Securitas' and 'Salus publica' in collaboration with Gerard Seghers and Jan Borchgraef.
Boeckhorst traveled to Italy in 1635. He returned to Antwerp and in the period 1636–1638 he collaborated with Rubens’ workshop on a large commission to make mythological decorations for the hunting pavilion Torre de la Parada of the Spanish king Philip IV near Madrid. For this project Jan Boeckhorst painted decorations after oil sketches by Rubens.
In 1639 Boeckhorst traveled to Italy again where he resided in Rome. In Rome he likely joined the circle of Dutch and Flemish artists in Rome known as the Bentvueghels. It was the custom among the Bentvueghels to adopt a nickname. Boeckhorst's nickname was possibly "Doctor Faustus".
The date of his return to Antwerp is not known with certainty and estimates vary from 1639 to 1649. It is known that he completed a few unfinished works of Rubens' after Rubens' death in 1640. After his return to Antwerp he received multiple commissions from religious institutions in Flanders including for the Saint James Church in Bruges and the Saint Michael's Church and Saint James Church in Ghent.
Jan Boeckhorst died on 21 April 1668 in Antwerp where he was buried in the Saint James Church. His large collection was sold after his death in a sale which lasted six days and raised the considerable sum of 6,026 guilders. His collection included a complete set of early drawings of Rubens.
Work.
General.
Boeckhorst was a versatile painter who produced history paintings on religious and mythological subjects, allegorical works, genre scenes and portraits. Boeckhorst also worked as a designer of cartoons for tapestries. He is known to have designed eight tapestries on the myths of Apollo. The Musée Mont-de-Piété in Bergues preserves 8 preliminary drawings for this Apollo series of tapestries.
Boeckhorst also provided designs for the Antwerp publishers. In the early 1650s he provided several designs for the Breviarium Romanum and 9 for the Missale Romanum, all engraved by Cornelis Galle the Younger and published by the Plantin Press in Antwerp.
There only exist three signed and dated paintings (dated between 1646 and c. 1660) and five that are dated only from 1659-1666. The first signed painting, a "Madonna and Child with Saint John" is dated 1646, about 20 years after his arrival in Antwerp. Because of the few number of signed paintings it has been difficult to attribute works to Boeckhorst with certainty and some attributions are contested among art historians.
Collaborations.
As was common practice among Antwerp painters, Boeckhorst often collaborated as a figure painter on compositions with landscape painters Jan Wildens and Jan Brueghel the Younger and still life painter Frans Snyders. An example is the "" (Rubenshuis, Antwerp) on which he collaborated with Frans Snyders. This genre scene, which also acts as an allegory of the four elements, is of a monumentally large scale at 217.5 cm in height and 272.5 cm in width. The work shows the influence of Jordaens' genre paintings.
Boeckhorst may have collaborated on devotional garland paintings. Garland paintings are a special type of still life developed in Antwerp by Jan Brueghel the Elder in collaboration with the Italian cardinal Federico Borromeo at the beginning of the 17th century. The genre was initially connected to the visual imagery of the Counter-Reformation movement and typically involved a collaboration between a figure painter and a still life painter. No collaborations with Boeckhorst on garland paintings have been attributed with certainty.
Boeckhorst is believed to have made changes to works by Rubens. He did so with a tronie painted by Rubens around 1613 called ' (Städel, Frankfurt am Main). The second Rubens tronie of c. 1616/17, which Boeckhorst transformed around 1640/41 into a bust-length format was the ' (Christie’s, London, 2 July 2013, lot 30). He possibly also enlarged Rubens’ "Rise of the Blessed" at the request of Jan Wildens in order to form a pendant with the "Fall of the Damned" then in Wildens’ own collection. After the late 1630s Boeckhorst's collaborations appear to have ceased.
Portraits.
Boeckhorst's portraits are influenced by Anthony van Dyck and Cornelis de Vos, the two leading portrait painters in the first half of the 17th century. He occasionally painted lively group portraits. Some of his large group portraits, such as the "Portrait of a Family" (Alte Pinakothek, Munich), are in the style of Cornelis de Vos but with more liveliness and spontaneity.
Central in his group portraits is the emphasis on the virtue of strong family bonds, the so-called 'Concordia familiae'. Boeckhorst was skilled in depicting his models in a spontaneous and lively manner. His portraits are of an informal character. He also used backdrop draperies, which in imitation of Jordaens, were represented very vividly.
Later works.
His later works from the 1650s and 1660s include numerous altarpieces for churches throughout Flanders and designs of cartoons for tapestries. The expressiveness of van Dyck's figures and use of colors, such as in "Ulysses discovers Achilles dressed up as a girl" (Alte Pinakothek, Munich), is also noticeable in works from this period.


The Victorians

The Victorians is a 2009 British documentary series which focuses on Victorian art and culture. The four-part series is written and presented by Jeremy Paxman and debuted on BBC One at 9:00pm on Sunday 15 February 2009.
Media.
A book written by Paxman was published to accompany the series titled "The Victorians: Britain Through the Paintings of the Age". In his introduction, Paxman acknowledged that the Irish writer Neil Hegarty had played a significant role in editing the book and bringing it to completion. Paxman was praised by academics and figures in the publishing industry for acknowledging Hegarty's substantial contribution. In the book, Paxman wrote that all television is a collaborative exercise, "so it is rather silly for this book - which accompanies a television series - to appear with only one name on the cover."
A region 2 DVD two disc set "The Victorians" was released 15 June 2009.


Mir-Mahna

Mir-Mahna (sometimes spelled "Mir Mahna") is a computer game based on the life of Mir Mahna, an Amir of Kharg, Iran who successfully fought against Dutch colonial forces in Iran during the 1740s reign of Nader Shah. Introduced in August 2010 at Gamescom 2010, "Mir-Mahna" officially was released in Tehran, Iran in February 2011 and it was supported by Iran Computer and Video Games Foundation. "Mir-Mahna" is the first Iranian game about the life of a contemporary Iranian hero and the second game after "" to focus on Iranian heroes. The game story line was based on a series of books entitled, "On the Red Marine Roads" by Nader Ebrahimi, an Iranian writer, screenwriter, photographer, director and actor. By using traditional Iranian music with modern computer motion capture, the game designers sought to introduce Iranian culture and civilization worldwide. This was part of a larger effort by the Iranian government to use computer games to help convey its culture.


Leopold Bode

Christian Leopold Bode (born 11 March 1831 in Offenbach am Main, died 26 July 1906 in Frankfurt am Main) was a German historical painter and graphic artist.
Life.
Bode was the eldest son of the landscape painter Georg Wilhelm Bode (1801–1881) and his wife Anna Maria. He was the eldest of three sons. From 1848 he studied at the Städel Art Institute in Frankfurt under Professors James Becker and Johann David Passavant. In 1851 he followed Edward von Steinle.
In 1851 he married Catharina Elisabeth Geiger (1826–1856). After the death of his first wife, he graduated in 1859 and married her sister Mary Margaret, with whom he had three children. For many years he occupied at the Stadel Art Institute a studio, but he also had a studio in the Isenburg Castle in Offenbach. From the castle, he made numerous exterior and interior views.
On his 70th birthday in 1901 Grand Duke Ernst Ludwig of Hesse gave him the title of Professor.
Bode was buried in the Old Cemetery in Offenbach. In 2011 the lost diary of Bode was found and donated to the Offenbach city archive. This institution also acquired a bundle with 45 graphical representations of landscape, and history of the artist's motives.
Work.
Initially Bode still was influenced by the religiously based Nazarene style to finally romantic histories. His first important painting was in 1855, "Visit of Mary to Elizabeth," a depiction of the "Visitation" religious motif. In 1897 he created an altarpiece for the new Evangelical St. Paul's Church in Strasbourg. From 1861 to 1864 he was assistant at the Wallraf-Richartz Museum in Cologne. Then he was breaking up in 1866 to paint the choir of niches in the Church of St. Mary in Aachen.


Judith St. George

Judith Saint George (February 26, 1931 – June 10, 2015) was an American author, most famous for writing "So You Want to Be President?" Author and illustrator David Small was awarded the 2001 Caldecott Medal for his illustrations in the book. She has written more than 40 books, most being historical fiction. Ms. St. George was born in Westfield, NJ and is a graduate of Smith College. She was a resident of Connecticut at the time of her death on June 10, 2015.
Critical Response.
"Mystery at St. Martin's" (1979) was a Dorothy Canfield Fisher Children's Book Award Nominee (1981).
"The Brooklyn Bridge: They Said it Couldn't Be Built" (1982, 1993) was a National Book Award Finalist for Children's Books, Nonfiction (1983).
"Betsy Ross: Patriot of Philadelphia" (1997) received the Fraunces Tavern Museum Book Award for Juvenile Literature (1998).
"So You Want to Be President?" (2000) received the following accolades:


Secret City (TV series)

Secret City is an Australian political thriller television series based on the best-selling novels "The Marmalade Files", "The Mandarin Code", and "The Shadow Game" by Chris Uhlmann and Steve Lewis. It premiered on Foxtel's Showcase on 5 June 2016 and on Netflix internationally on 26 June 2018. The series is produced by Matchbox Pictures and Foxtel.
A sequel to the series called Secret City: Under the Eagle was green-lit in February 2018. It aired on 4 March 2019 in Australia and launched worldwide on Netflix on 6 March 2019. It is unknown if there will be a season 3.
The sequel storyline is a departure from the books written by Uhlmann and Lewis, who joined the series as story consultants.
Synopsis.
Secret City
Beneath the placid facade of Canberra, amidst rising tension between China and the United States, Canberra press gallery journalist Harriet Dunkley (Anna Torv) forces her way closer to the truth, uncovering a secret city of interlocked conspiracies which will threaten her career and her life and endanger the freedom of every Australian.
Secret City: Under the Eagle
The story picks up with Harriet unwittingly ensnared in a military and political cover-up with Catriona Bailey's (Jacki Weaver) fingerprints all over it. Harriet's search for the truth leads her back into Canberra's corridors of power, this time working for a maverick Independent MP. What she unearths is a military program so secret even the Prime Minister knows nothing of its existence.
Episodes.
Secret City: Under the Eagle (2019).
All episodes were released on stream platform Foxtel on 4 March 2019.


Jean-Baptiste Corneille

Jean-Baptiste Corneille (2 December 1649 – 12 April 1695) was a French painter, etcher, and engraver.
Biography.
Corneille was born in Paris between 1646 and 1649. He was the youngest son of Michel Corneille the Elder of Orléans, and brother of the younger Michel. He is known as "the younger Corneille". His devoted father was his teacher and painstakingly prepared the youth for his future successes as an historical painter. In 1664 he won the second prize and in 1668 the first prize of the academy. He then went to study in Rome and, on his return in 1675 was received into the Royal Academy, painting for his reception-picture the "Punishment of Busiris by Hercules", now one of the notable canvases in the Louvre. He painted in some of the Paris churches and in 1679 finished his "Deliverance of St. Peter from Prison" for the Cathedral of Notre-Dame. With Jacques Vouet he was employed on the decorations of the Tuileries. In 1692 he was appointed professor in the academy. He died in Paris on 12 April 1695.
Work.
His style, like his brother's, was that of the school of the Desiderosi, but Jean was somewhat inferior to the younger Michel in composition and drawing. Many of the paintings of this excellent artist were engraved by contemporaries, a few by the great Mariette, and Jean himself engraved and etched plates after his own designs and finished pictures, and after the Carracci. His work with acid and the burin was spirited and exhibited his thorough mastery of technic. He commenced and finished his plates after the manner of Agostino Carracci. His most important plates were: "Bust of Michelangelo", "St. Bernard", "Mercury in the Air", and "St. John in the Wilderness" (after Annibale Carracci).
References.
 "That entry was written by Leigh Hunt."


First Among Equals (TV series)

First Among Equals is a ten-part serial based on Jeffrey Archer's 1984 novel "First Among Equals", produced by Granada Television for the ITV network and first shown in 1986.
As in the novel, the series follows the careers and personal lives of four fictional British politicians (Simon Kerslake, MP for Coventry Central and later Pucklebridge; Charles Seymour, MP for Sussex Downs; Raymond Gould, MP for Leeds North; and Andrew Fraser, MP for Edinburgh Carlton) from 1964 to 1991, with each vying to become Prime Minister. Several situations in the novel are drawn from Archer's own early political career in the British House of Commons. While the novel depicts the fictional characters interacting with actual political figures from the UK and elsewhere (including Winston Churchill, Alec Douglas-Home, Harold Wilson, Edward Heath, Margaret Thatcher, Douglas Hurd, Colonel Gaddafi, Gary Hart and Queen Elizabeth II), this adaptation uses different names for the real-life politicians.
The title of both the novel and the serial is a literal translation of the Latin term "primus inter pares," a term used to refer to either the most senior member of a group of equals (peers) or to refer to someone who claims to be just one member of a group of equals when in reality he or she completely dominates said group. This phrase is used to describe the official constitutional status of the British Prime Minister within his Cabinet.
The series starred:
The serial used different names for real-life politicians:
Sequences set in the fictional Northumbrian constituency of Redfern were actually filmed much closer to Granada studios in Lancashire at Entwistle railway station, and at the Barlow Institute, Edgworth.
Granada constructed a full-scale replica set of the House of Commons chamber for the production, which for many years formed a central part of their Granada Studios Tour attraction, where visitors could see mock debates being performed on the set by actors. The set was also often used by other television productions wanting to set scenes in the Commons chamber, and in 2002 was purchased by the scriptwriter Paul Abbott so that it could be used in his BBC drama serial "State of Play". Abbott, himself a former Granada Television staff writer, bought it personally as the set would otherwise have been destroyed and he feared it would take too long to get the necessary money from the BBC. He currently keeps it in storage in Oxford.


Eye of the Moon

Eye of the Moon is a children's historical novel set in ancient Egypt, written by Dianne Hofmeyr and published in 2007. In the story, Isikara, daughter of the embalmer at the temple of Sobek, runs away with Tuthmosis, the son of King Amenhotep III. The main characters run from Wosret, the highest of high priests, who wants them dead.
Plot.
Isikara and her brother Katep lived in the temple of Sobek in Thebes with their father, Henuka. One day, Katep was bitten by a crocodile, reducing his arm to a mutilated stump. Frustrated that he was useless in the temple, he left Egypt.
Later, the royal barge of Queen Tiy visited the temple. However, high priest Wosret was sitting on the throne instead of the queen. Apparently, she and her eldest son Tuthmosis died, and Wosret came to request their mummification at the temple.
Isikara eavesdropped on the conversation between her father and Wosret. She discovered that Wosret poisoned Tuthmosis so that his younger brother could rule, and that the assassination attempt was unsuccessful. Henuka refused to stab Tuthmosis's heart with a needle to ensure his death. Isikara accidentally knocked over one of Queen Tiy's canopic jars, causing Wosret to discover her eavesdropping.
With discreet assistance from her father, Isikara escaped with Tuthmosis through a secret passageway. The two used a senet board to navigate the tunnel, which led them through Tuthmosis's father's burial chamber and to the tomb's exit. Tuthmosis sought the help of a Nubian girl named Ta Miu, who provided them with supplies. Isakara and Tuthmosis disguised themselves as peasants, repeatedly avoiding detection by Wosret while escaping to the desert.
While in the desert, they were captured by Medjay nomads, who brought them to their camp at an oasis. There, Isikara and Tuthmosis met a rebellious girl named Anoukhet, who had a plan for them to escape together with an old camel tender. The escape did not go as planned, resulting in Isikara attacking and accidentally killing the nomads' leader, Naqada, before escaping. The group arrived at Syene, where the camel tender departed from the others. Anoukhet secured the remaining trio a delivery job, and they journeyed south.
As the three approached Nubia, Tuthmosis planned to ally with the Kushites by promising peace from Egypt if they helped him regain his throne. They encountered the Kushite army and saw Katep, who had been promoted to phalanx leader for saving the former commander from drowning. The army accepted the girls due to Anoukhet's archery skills, and Isikara became a fletcher.
One day, the Egyptian army approached. When the Kushite soldiers went to battle, Isikara followed but failed to catch up. She was captured by Egyptian soldiers and used as a human shield by one of their charioteers. Anoukhet saved her from being struck by her own arrows by shooting her captor. However, the two were captured again while trying to escape the fray. The Egyptian army cut off Anoukhet's bow fingers. Isikara protested, resulting in her fingers being cut off as well.
While the Egyptian army celebrated, believing the Kushites had surrendered, Tuthmosis appeared and told the Egyptians his story. The Egyptian commander was unsympathetic and called the prince a traitor for hiding among the Kushites. In response, Katep shot at the commander's feet. Tuthmosis revealed that each of the Egyptian soldiers has an arrow aimed at him. The commander was shot in the heart, and the Kushites were victorious soon after.
Anoukhet was furious Tuthmosis did not attempt to regain his territory. Tuthmosis replied that he did not want his country to be ruled by fear or bloodshed. He planned to return to Thebes soon.
Reception.
Critical reception has been mostly positive. "Eye of the Moon" received reviews from the School Library Journal, Library Media Connection, and Children's Literature. School Library Journal commented that "the landscape...is described in rich sensory terms". Library Media Connection described the book as "packed with information" and "sure to appeal". Children's Literature commented that "the complex names and customs may be too overwhelming for less proficient readers".


America Unearthed

America Unearthed was an American television series, the first original series to air on the A&E Networks channel H2. The show premiered on December 21, 2012, and was produced by Committee Films of Minneapolis, Minnesota. The program was hosted by Minnesota-based forensic geologist Scott Wolter, who investigates mysteries and artifacts believed to reveal an alternative history of the North American continent before the United States.
The show was cancelled following the sale of H2. This was confirmed by Scott Wolter on Twitter, confirming that History had no interest in bringing it to the main network.
On February 12, 2019 at a TCA presentation, it was announced that Travel Channel had revived the series with a 10-episode order and Wolter returning. On April 30, 2019, it was announced that the revived series would premiere on May 28, 2019. The Travel Channel canceled the program after just one season.
Predecessor.
In September 2009, History Channel aired the two-hour special "Holy Grail in America", produced by Committee Films, which follows Scott Wolter as he explores the idea that the Kensington Runestone is evidence that the Knights Templar sailed to America about one hundred years before Columbus's voyage.
Reviewer Paul Mavis characterized "Holy Grail in America" as enjoyable pseudoscientific entertainment in the tradition of the 1970s television series "In Search of…". Mavis noted that, "tellingly, the doc never presents any other geologists who have alternative theories about Wolter's findings" but concluded, "who cares if it's true or not? It's fun."
Reception.
"America Unearthed" began airing on the H2 network in December 2012 The first episode, "American Maya Secrets", aired on the supposed end of the Mayan calendar and deals with a possible Mayan village in Georgia. The program was a success for the network, becoming "the #1 series of all time on H2" and was subsequently approved for a second season with production starting in early 2013. The series had an average of 765,000 viewers in early 2013 and surpassed one million viewers in January 2013.


The Gambling Man

The Gambling Man is a British three-part television serial, or long TV movie, first broadcast in 1995, starring Robson Green, directed by Norman Stone, based on a novel by Catherine Cookson.
Outline.
Rory Connor (Robson Green) is a rent-collector on Tyneside with a passion for playing poker for high stakes, while Janie Waggett (Stephanie Putson) is the woman who loves him, standing by him through many troubles. Charlotte Kean (Sylvestra Le Touzel) is Connor's employer, and she too finds him attractive. He gets into bad company in the dark world of gambling, and is so sure that poker is his way to riches that he makes a terrible decision.
The plot may be partly autobiographical, as Catherine Cookson’s own father was a bigamist and a gambler.
Production.
Producer Ray Marshall bought the film rights to several of the period works of Catherine Cookson, beginning in 1989 with "The Fifteen Streets", which had been turned into a successful stage play. These productions, sponsored by Tyne Tees Television, were very popular and drew between ten and fourteen million viewers each.


Hearts and the Highway

Hearts and the Highway is a 1915 silent film historical drama directed by Wilfrid North and produced by the Vitagraph Company of America. It is based on a novel of the same title by Cyrus Townsend Brady.
The film is now lost with no archival holdings.


Fugitives, Smugglers, and Thieves

Fugitives, Smugglers, and Thieves: Piracy and Personhood in American Literature is the debut book by Mexican academic Sharada Balachandran Orihuela. It was published by University of North Carolina Press in 2018. It explores piracy and illegal trade in American literature as a form of self-representation by colonial subjects facing abjection due to exclusionary citizenship and property laws.
Content.
Balachandran Orihuela explores piracy and illegal trade in American literature. The exclusionary concepts of citizenship resulting in the social, political, and economic isolation of pirates impacts their "racial, national, and gendered identities." She uses the "Two Treatises of Government" and "Commentaries on the Laws of England" as the bases of property ownership. In her book, property is part of a "matrix of rights and claims for citizenship." Balachandran Orihuela posits that certain minorities, slaves, and other colonial subjects disenfranchised by citizenship and property laws turned to piracy and illegal trade as a form of self-representation to combat abjection. Balachandran Orihuela investigated pirates, black slaves in the Antebellum South, Mexicans on the Mexico–United States border before the Mexican–American War, and Confederate blockade runners of the American Civil War.
Reception.
The book received positive literary reviews in "Early American Literature" and the "Journal of American Studies".
Author.
Sharada Balachandran Orihuela, an Indian Mexican, was born in Mexico to Rosamaria Orihuela and Gopalan Balachandran. Her father, an Indian academic, had studied at University of Wisconsin–Madison. She is the granddaughter of civil servant P. V. Gopalan. Balachandran Orihuela started formal education in New Delhi and moved frequently between India, Mexico, and the United States. After moving to Oakland, California for college in 2001, Balachandran Orihuela's aunt, biomedical scientist Shyamala Gopalan, helped her cope with race relations in the aftermath of the September 11 attacks and later influenced her intellectual trajectory. She is the cousin of lawyer Maya Harris and U.S. Vice President Kamala Harris. Balachandran Orihuela completed a bachelor of arts in English at Mills College. In 2012, she earned a Ph.D. in English at University of California, Davis. Balachandran Orihuela joined the faculty at University of Maryland, College Park in September 2012. , she is an associate professor of English and comparative literature.


Arthur William Devis

Arthur William Devis (10 August 1762 – 11 February 1822) was an English painter of history paintings and portraits. He painted portraits and historical subjects, sixty-five of which he exhibited (1779–1821) at the Royal Academy. Among his more famous works are a depiction of the "Death of Nelson" and a posthumous portrait of Nelson.
Life.
Devis was born in London, the nineteenth child of the artist Arthur Devis and his wife Elizabeth Faulkner. Devis was the younger brother of the painter Thomas Anthony Devis (1757–1810) and of the schoolmistress and grammarian Ellin Devis (1746–1820), teacher, among others, of author of Maria Edgeworth and Frances Burney (later novelist Madame d'Arblay).
He followed his elder brother Thomas Anthony in becoming a pupil at the Royal Academy Schools in 1774 and like his brother exhibited at the Free Society of Artists, of which in 1768 their father had become president, and at the Royal Academy. Early on he came to the notice of Sir Joshua Reynolds.
He was appointed draughtsman on the British East India Company's packet "Antelope" in a voyage in 1783, under Captain Henry Wilson. In her he was injured in an encounter with Papuans near the Schouten Islands and was then wrecked on the Pelew Islands before proceeding to Canton and thence to Bengal. During his voyages, the artist received arrow wounds, one of which inflicted permanent injury on his lower jaw. During his time in Bengal, he painted a portrait of Sir William Jones, at the time a judge in Fort William. The painting now hangs at the British Library.
He was back in London by 1795 and is recorded on 21 July 1797 as living at 27 George Street, Hanover Square, where he was insured by the Sun Assurance Office.
He is noted for his involvement in the creation of the posthumous cult of Horatio Nelson. As she returned from Trafalgar, Devis went out to meet HMS Victory and was present on board the ship during the autopsy of Nelson's body conducted by Dr Beatty, the ship's surgeon. With the help of sketches he took at that time, he painted a heroic "Death of Nelson", which proved a sensation.
Devis also painted Dr Beatty, and was commissioned by him to produce a half-length painting of Nelson as vice-admiral, which he lent to Emma Hamilton (who later lost it in an accident whilst travelling). Either the original or a copy of this portrait was exhibited at the Royal Academy two years after the Battle and many copies were made of it. Lord Howe owned one, and another ended up in the collection of the National Maritime Museum. It also appeared as an engraving in Beatty's published account of Nelson's death.
Other work includes a portrait of King George III on horseback, and a range of portraits of admirals and generals, along with historical subjects, such as the Babington Plot and the signing of the Magna Carta. Better known is perhaps his "Master Simpson" (1780), a portrait of a small boy, James Alexander Simpson, carrying a dog which has often been copied, imitated and exploited commercially. Despite some success in life, Devis seems often to have had financial difficulties, including imprisonment for debt.
By the will of his brother Thomas Anthony Devis, who died in London in 1810, he inherited all Anthony's printed books and prints.
Devis himself died in London, at Caroline Street, Bedford Square, of apoplexy in 1822 and was buried in St Giles' churchyard.


Hotel Babylon (novel)


Alexander von Kotzebue

Alexander Friedrich Wilhelm Franz von Kotzebue (, tr. ; 9 June 1815 – 24 August 1889) was a German Romantic painter of historical scenes and battle scenes.
Life.
Alexander von Kotzebue was the son of the playwright August von Kotzebue. He was born in Königsberg. On August's death in 1819, Alexander was educated in the Cadet Corps in St Petersburg, leaving it in 1834 as a Gardeleutnant. However, four years later, in 1838, he moved to an artistic career and began his artistic training at the St Petersburg Academy under Alexander Sauerweid. He spent six years at the St Petersburg Academy and at the end of them, in 1844, exhibited his first painting, "The Storming of Warsaw", in St Petersburg.
He then went to continue his studies in Paris in 1846 and to Belgium, the Netherlands, Italy and Germany in 1848, before finally settling in Munich. There he became imperial professor of Russian and an honorary member of the Academy of Fine Arts Munich.
He painted several large-scale works for the Russian tsar of Russian battles in the Seven Years' War and the campaigns of Alexander Suvorov. The most important of these are considered to be the "Storming of Schlüsselburg", "Battle of Poltawa", "Storming of Narva", "Crossing of the Devil's Bridge" and "Founding of St Petersburg" (Maximilianeum, Munich). Kotzebue died in Munich and is buried there in the Alter Südfriedhof.


April Morning

April Morning is a 1961 novel by Howard Fast, about Adam Cooper's coming of age during the Battle of Lexington. One critic notes that in the beginning of the novel he is "dressed down by his father, Moses, misunderstood by his mother, Sarah, and plagued by his brother, Levi." In the backdrop are the peaceful people of Lexington, forced "to go into a way of war that they abhorred."
While the novel was not originally written as a young adult story, it has increasingly been assigned in middle school English and social studies classes, due to the age of the protagonist and Fast's meticulous efforts to recreate the texture of daily life in colonial America and the political currents on the eve of the American Revolution.
In 1988, a film version was made for television starring Chad Lowe as Adam and Tommy Lee Jones as Moses.
Plot.
The novel begins in the afternoon of April 18, 1775, when Adam's father, Moses, sends him out to draw water from the well for his mother, Sarah. After completing this task, he heads upstairs to talk with Granny. During it, they engage in a debate on religion. Afterwards, they head downstairs for dinner. Then they pray and the meal, consisting of bread pudding and donkers, begins. In the middle of it, Moses confronts Adam about a "spell" to be said while drawing water. As a result, the confrontation starts an argument, which is interrupted by Cousin Simmons arriving. He, chosen to draft a letter on the rights of man, comes to Moses with his draft seeking criticism. Another debate arises over his description of rights as "god-given." Moses asserts that rights come from the people backing them, not God.
After dinner is over and Adam finishes some evening chores, he heads over to the Simmons' house to meet with Ruth, his love interest, and go on a walk. Before he is able to see her, however, Aunt Simmons makes conversation with him and feeds him pie. Then Ruth comes downstairs, and she and Adam leave on a walk. During it, they talk about various things, including their futures and what they want to be in the world. After a kiss he walks her home and then he himself heads home. Upon arrival, he spots his brother, Levi, cleaning his gun. He does not like this but Sarah insists that he let him do it. Then he heads upstairs and goes to bed. Before falling asleep he overhears his parents talking about the committee meeting. Finally he falls asleep.
Suddenly, Adam is awakened by Levi, who draws attention to a speedy rider that stops in the center of town. Now all the Coopers are awake and curious. People gather around the rider on the green, who informs them that the British are coming and may be marching through their town. He then rides off. Because of this news, arguments stir in the crowd on whether to muster the militia. The people of Lexington agree to muster it. Adam signs up and is then tasked to take Ruth home. After doing so, he comes home to overhear his parents designating him a man. As he walks in Moses chastises him. He then has him load his gun and go to the muster.
After Adam and all the other men arrive at the green, the militia muster falls into order and the women and children are sent inside. They stand there for a few hours until the redcoats march into town. The British fix bayonets, then fire upon the militia. Moses falls and Adam runs away. He hides in a smokehouse until Levi comes in. Levi tells him to leave town because the British are searching. He leaves, jumps over a wall, and meets Solomon Chandler. He feeds and comforts Adam on the events he just witnessed. Then they walk until they meet Cousin Dover, Cousin Simmons, and the Reverend. They continue to walk until they arrive at the militia encampment. There the militia plans several ambushes and Adam shares his story of the massacre on the Lexington green. Then the militia sends a horseman to scout ahead while the others lie in wait by the road. He returns, then the British come. The militia releases a few volleys before retreating over the hill. The militia, not pursued by the British, stop to rest and plan the next ambush.
During the next ambush Adam falls asleep under some brush. He is awakened by Cousin Simmons and the Reverend searching for his body and talking about him. He calls to them, to their relief, and they send him home. He returns home and is greeted by Levi, who walks him into the house. It is occupied by mourners, Ruth, Granny, and Sarah. The latter sends him to get Moses a coffin and take it to the church. After a brief conversation with the coffin-maker he returns home. He eats dinner, then Sarah sends him to light candles by Moses' coffin. Ruth accompanies him and they talk for a while, until he walks her home. Then he himself goes home and to bed.
Themes.
Several major themes arise in the novel. Although the most common theme picked up on is coming of age, several others have been noted. These others are non-violence, the rights of man, and the truth.
The first theme, coming of age, deals with Adam's becoming a man during the Battle of Lexington. After Moses is killed on the green, Adam is thrust into manhood. Vomiting and sobbing after the battle, he then returns home to be treated as the man of the house, against his wishes.
The theme of nonviolence is based on Moses' belief in solving problems through arguments, rather than warfare. This theme is also supported by Adam's later saying "I don't hate anyone enough to kill him." The rights of man appears several times through Moses' speeches. Also, the colonists are drafting a statement on the rights of man to send to Boston.
For the truth theme, several conflicts have been noted in the first chapter, such as Moses' talking against superstition yet birching Adam seven times.
Background.
York has said that Fast's view on the revolution (that aligns with his political beliefs) is exhibited in the novel. He says "[Fast] believed the essence of the revolution was with the faceless and nameless people who fought it." Also, "The New York Times" says that "[Fast] proposes that Solomon Chandler organized the Battle of Lexington.
Reception.
The novel received many positive reviews. Hunter praised Fast for writing it for "demonstrat[ing] a more mature vision." Desrosiers agreed, saying that "April Morning" "[is] a well written work which knits together the events of the 19th of April 1775." Macdonald also praised Fast for "A virtually perfect relationship between literary character and research."
Adaptations.
The novel was adapted for TV in the "Hallmark Hall of Fame" in 1988 by James Lee Barrett. It was directed by Delbert Mann. It stars Chad Lowe as Adam and Tommy Lee Jones as Moses. Although it is set at the very beginning of the American Revolution it is more about Adam's journey to manhood and his relationship with his parents.
Publication information.
"April Morning", by Howard Fast. Originally published 1961. Mass Market Paperback: Bantam, 1983.


Filinta

Filinta is a Turkish detective fiction television series created for TRT1 by Yusuf Esenkal and Serdar Öğretici. Filmed in Seka Park Film studio, it is the largest television series set in Turkey. It was located in İzmit (Turkey). It premiered on TRT1 in Turkey on December 23, 2014. It aired until 2016.
 it was one of the most expensive television series in Turkey.
According to "The Hollywood Reporter", a source described Filinta as "like a crude Ottoman "Downton Abbey".
President of Turkey Recep Tayyip Erdoğan and his wife Emine are known to have visited the production set, congratulating the entire production team.
See also.
Other productions by :


Embassy (TV series)

Embassy is an Australian television serial originally broadcast by ABC Television from 1990 to 1992. Three series were produced with a total of 39 episodes. The program is set in the Australian embassy of a fictional South-East Asian country called Ragaan, located half-way up the Malay Peninsula, somewhere between Thailand and Malaysia. It features stories about Australian ambassadors and their staff.
Creation and production.
"Embassy" was created by Grundy Television director Ian Bradley, producer of "Prisoner", who first proposed the idea for a diplomatic series during the Iran hostage crisis in 1979.
It was produced by ABC Television with assistance from the Department of Foreign Affairs and Trade. The Minister for Foreign Affairs, Gareth Evans, was offered a cameo role. The script and story consultant was Garry Woodward, a former ambassador to Burma and China.
According to Woodward, the name Ragaan was 'a bastardisation' of Pagaan, the ancient capital of Burma. Producer Alan Hardy said the fictitious setting for the military dictatorship was 'based on about 20 countries'. 'It's an accurate representation of the lives of diplomats and how they have to deal with situations.'
The serial was filmed partly in Fiji. Suva was selected by producers as an ideal tropical shooting location for Port Victoria, the imaginary, run-down former British colonial capital of Ragaan.
Reception.
"Embassy" earned modest domestic viewing figures in Australia. It has been criticised as an example of Orientalism, and more specifically as 'an exercise in stereotyping as a confirmation of an Anglo-Australian cultural hegemony in which non-Anglo nationalities are reduced to a homogeneous, imaginary "other"'.
The star of the third series, New Zealand actress Catherine Wilkin, defended the program-makers' approach: 'Even though you obviously get the Western viewpoint of things in this mythical Muslim country, every effort is made to bring the other point of view across as well.'
Although "Embassy" was not broadcast in Malaysia, its production was one of a series of events in the late 1980s and early 1990s, chiefly involving Australian concerns over human rights and the environment, that in June 1990 led to a temporary freezing of relations between Kuala Lumpur and Canberra.
The show caused a diplomatic row between the two Commonwealth allies due to an assumption in Kuala Lumpur that the show's setting was a thinly-disguised depiction of Malaysia, and that ABC Television, which produced the show, was, as a state broadcaster, government-controlled. The Malaysian Prime Minister, Mahathir Mohamad, demanded that "Embassy" be taken off the air, complaining that it was an insult to his country and its official religion, Islam. Malaysia also banned an issue of the "Asian Wall Street Journal" covering the controversy.
In 1991 the second series of "Embassy" opened with the hanging of two drug traffickers, including scenes reminiscent of the hanging of two Australians in Kuala Lumpur in 1986, which the Australian Prime Minister, Bob Hawke, had famously condemned as 'barbaric'. In retaliation for the screening, TV3 in Malaysia showed a four-part news series about racism in Australia. RTM also broadcast a discussion forum with journalists about anti-Asian media bias in Australia.
The diplomatic downgrading damaged Australian investments and risked traditionally strong military ties with Malaysia. The Australian Foreign Minister, Gareth Evans, expressed his government's regret for the offence "Embassy" had caused, but played down the spat as one of the 'bumps and grinds that occur in regional relations'.
When "Embassy" was cancelled at the end of its third series, the ABC blamed declining ratings and denied its decision to end the controversial program had been influenced by outside pressures. Nevertheless, suspicions were voiced by Australian media and academia that diplomatic tensions had been a contributing factor in the cancellation.


Voices of Terror

Voices of Terror: Manifestos, Writings and Manuals of Al Qaeda, Hamas, and Other Terrorists from Around the World and Throughout the Ages is a book edited by scholar and historian Walter Laqueur .
The book is a comprehensive anthology of 82 primary source documents examining the morality, psychology, and ethics of ideological violence. Each document is presented with a brief introduction and short explanatory text. This book is designed as a reference for the more serious students of history and the use of terror.
The book documents the emotions, principles, and rhetoric used by those who espouse violence whether for tyranny, revolution, guerrilla warfare, and terrorism. Primary source documents are presented from infamous figures such as Clausewitz, Lenin, Karl Marx, Emma Goldman, Mao Zedong, Che Guevara, and Menachem Begin, as well as English Puritan Edward Sexby and Greek satirist Lucian of Samosata.
The book includes 26 documents of contemporary Islamic terrorist leaders and groups such as Osama bin Laden, al-Qaeda, Hamas and the PLO.


Bimba Devi Alias Yashodhara

Bimba Devi alias Yashodhara () is a 2018 Sri Lankan Sinhala language epic, biographical drama film written and directed by professor Sunil Ariyaratne. This historical biographical film depicts the life of princess Yashodhara, the wife of Prince Siddhartha. It is the 1304th Sri Lankan film in the Sinhalese cinema.
The film stars Indian actress Pallavi Subhash (who is making her Sinhala language debut in the film) and Indian actor Arpit Choudhary in the lead roles. Other supporting crew includes Sri Lankan actors Dineth De Silva, Sangeetha Thedani, Ajith Weerasinghe, Udari Perera, and Kamal Deshapriya. This is directed by Sri Lankan film director Sunil Ariyaratne.
The filming of the movie took place at Ranmihithenna Telecinema Park, Sri Lanka. The film was released on 26 April 2018, simultaneously with upcoming Vesak festival. The film screened 74 theaters worldwide and passed 100 days successfully. Screening of the film ended on 9 August.
Production.
Development.
Following the commercial success of director Sunil Ariyaratne's film Paththini (2016) starring Pooja Umashankar, Sunil Ariyarathne announced his next production.
The film will be the first Sri Lankan film to be screened in Singapore. The film will be released in Carnival Cinema Theatre, Singapore on 2 June 2018.


Vazha-Pshavela (biographical novel)

Vazha-Pshavela ("ვაჟა–ფშაველა") is a 2011 Georgian Biographical novel by author Miho Mosulishvili.
Anniversaries with which UNESCO is associated in 2010-2011.
The General Conference, by its 35C/Resolution 72, approved the following list of anniversaries with which UNESCO is associated in 2010-2011 (listed in the French alphabetical order of Member States):
150th anniversary of the birth of Vaja-Pshavela.
150th anniversary of the birth of Vaja-Pshavela, writer (1861-1915):
Vaja-Pshavela (the pseudonym of Luka Razikashvili, 1861-1915) was a Georgian thinker, poet and writer. Vaja-Pshavela's poetry represents the summit of nineteenth-century Georgian realism.
He was born in the small Pshavian village of Chargali. He graduated from teachers' seminary and studied law at Saint Petersburg University. Vaja-Pshavela wrote most of his verses, poems and stories in the vicinity of his native village. His works are mainly devoted to human relationships towards the material world. The national epic works of Georgian poetry in the nineteenth century and the revival of poetic epos are also connected with his name. Heroism, tragedy and humanity define the epic creativity of Vaja-Pshavela. His poems and narrative stories are widely translated into a number of languages.
Outline.
This biographical novel will we know what to look like Vaja-Pshavela: from ancient Greek mythology characters Laocoön, the divine poet Homer and the genius Italian composer Giuseppe Verdi.
We see that it easily can be compared to the same level in creativity: Ovid, Goethe, Shakespeare, Robert Burns; but we see also how the original is Vaja-Pshavela and how many greatest are its meaning in today's world, whether is involved in the confrontation of East-West.
The book "Vaja-Pshavela (And Phelypaea coccinea looks in chasm)"' show new version of life Vaja-Pshavela and unique style of his thinking.
The discovery may be regarded as the author's observation that the five epic poems of Vaja-Pshavela ("Aluda Ketelauri" (1888), "Bakhtrioni" (1892), "Host and Guest" (1893), "The avenger of the blood" (1897), "Snake eater" (1901)) is based on the principle Golden ratio, thus this poems resembles the works of Ancient and Renaissance authors.
Miho Mosulishvili asserts, that Vaja-Pshavela rising from the depth of creativity of Georgian mythology, which makes it original event on background of the world's literature and will significantly increase the magnitude of Georgian literature.
Characters.
And others.


Captain Alatriste

Captain Alatriste () is a series of novels by Spanish author Arturo Pérez-Reverte. It deals with the adventures of the title character, a Spanish soldier and man of fortune living in the 17th century.
Series.
As of December 2006, the book sleeve of "Corsarios de Levante" suggested that the novels "El puente de los asesinos", "La venganza de Alquézar" and "Misión en París" were planned. , only "El puente de los asesinos" has been published.
Adaptations.
A movie based on the series, titled "Alatriste", was released on September 1, 2006, directed by Agustín Díaz Yanes and starring Viggo Mortensen.
Pérez-Reverte was inspired to begin the series due to a lack of treatment in his teenage daughter Carlota's school textbook of the historical Spanish Golden Age. He commissioned Carlota to gather documentation for him (hence, she is billed as co-author of the first novel) and developed the stories.
Pérez-Reverte is influenced by the works of many novelists, in particular 19th-century writers like Alexandre Dumas and his D'Artagnan Romances. He also applies the dark tone of his experiences as a war reporter.
The period settings allow him to insert references to authors (such as Lope de Vega and Miguel de Cervantes) and artists (including Diego Velázquez) who were widely read and appreciated at the time, one of the most important periods in Spanish history. He reflects on Spain and the Spaniards as a united people who, in spite of being at war with all the major European powers, are capable of showing bravery and honour.
In 2014, Telecinco produced the TV series "Alatriste", directed by Enrique Urbizu and starring Aitor Luna.


Wild West Guns

Wild West Guns is an action-adventure shooting video game developed by Gameloft Bucharest and published by Gameloft. It was released in 2011 for button-operated/keypad-based mobile phones, in August 2008 in Japan for the Wii and on February 5, 2009 worldwide for iOS devices via the Apple App Store.
Gameplay.
Mobile.
"Wild West Guns" is a side-scrolling top-down open-world action-adventure video game. The game world may be traversed on foot or by horse. Missions involve fistfights, shooting, tailing or chasing, horse-riding, and/or setting off explosives. The player can buy weapons at shops and kill non-player characters (NPCs), and it is possible to call Jack Barnes's acquired horse to give a ride. If the player commits a crime within the line of sight of a Sheriff, they will gain a wanted level that will cause Sheriffs to turn hostile towards them. They may either hide or pay money at churches in order to decrease the wanted level.
Wii.
An American Old West-themed light gun shooter, the game sees the player shooting at targets ranging from vultures, balloons and flying sombreros to armed robbers, angry gold diggers and renegade soldiers across a number of environments such as saloons, cemeteries and a speeding steam locomotive. The game features 6 levels across two difficulties, with 3 challenges in each.
The game also supports the Wii Zapper peripheral on the Wii, but does not feature aim calibration.
Reception.
The Wii version of "Wild West Guns" received "mixed" reviews according to the review aggregation website Metacritic.
"Official Nintendo Magazine" praised the variety in settings and the interactive environments, and the simple point and shoot gameplay, though they felt genre experts might find it too easy. "Nintendo Life" felt the game was "addictive and attractive" and "very well executed", and highlighted the depth in gameplay that requires players to carefully choose their shots to score the most points. However, they felt the relatively small range of objectives, settings and enemies was "somewhat disappointing", and that the omission of scoreboards affected replay value.
In contrast, "Eurogamer" was less impressed with the Wii version, calling it "a rather limited and repetitive experience". "1UP.com" believed said console version was "a little pricey" at 1000 Wii Points. IGN also had issues with the price and the shallow nature of the same console version, but otherwise felt it was "fun", praising the tight controls and polished presentation.


Paris Green (Boardwalk Empire)

"Paris Green" is the 11th episode of the first season of the HBO television series "Boardwalk Empire", which premiered November 28, 2010. The episode was written by supervising producer Howard Korder and directed by Allen Coulter.
Plot.
Van Alden continues to question Sebso's lies about Winslow's death, prompting Sebso to call Nucky asking for leads to regain his trust. Nucky tells him about an illegal still in the woods on the outskirts of Atlantic City, and suggests Sebso tell Van Alden about it. As they look for the still, the two agents come upon a black church's river baptism, prompting Van Alden to shed tears. Sebso, who is Jewish, puts in for a transfer to Detroit and confronts a still-suspicious Van Alden about his hostility and anti-Semitism. Exasperated in spite of his actual guilt, Sebso demands to know how he might earn his trust before leaving. In response, Van Alden brings him to the river and bullies the smaller man into being baptized. Driven into a religious frenzy by Sebso's confusion and refusal to "repent," Van Alden dunks him underwater repeatedly and ends up drowning him. Van Alden declares to the crowd that divine justice has been done, leaving his intentions ambiguous.
Gillian asks Jimmy to visit the dying Commodore, his biological father, which he does reluctantly. Jimmy notes that Gillian was thirteen years old when he was born and the Commodore over 50, making him the result of a rape. The Commodore tries to mollify Jimmy, even telling him that "the wrong man is running this town," implying that Jimmy should supplant Nucky, whom Gillian reveals was the one who brought her to the Commodore decades previously. Jimmy decides to stay with his father as he passes away. The decision proves crucial, as Jimmy is first to find out when the doctor detects significant amounts of arsenic (Paris Green) in the Commodore's hair sample. The Commodore begins to recover, and Jimmy confronts Gillian with an empty canister of arsenic that he found in the trash. He reassures her of his support, whatever her intentions, but she remains silent.
Rothstein is called to Chicago to defend against charges of his involvement in the Black Sox Scandal. The surviving D'Alessio brothers have gone into hiding outside of Atlantic City. Richard finds one of them staying with family members. The mild-mannered Richard somewhat ruthlessly suggests killing the family as a means of getting the brothers to "stick their heads up," a tactic hearkening back to his past as a sniper in World War I; Jimmy is undecided. Meanwhile, Angela prepares to leave town with Tommy and Mary, leaving a note for Jimmy. She goes to the photography shop only to find it empty, unaware that Robert became aware of Mary's plan and absconded with her. Distraught and helpless, Angela rushes home, only to find that Jimmy has already read the note. With their son in the room, neither mentions the note, and Jimmy seems determined to carry on as before.
Nucky continues to deal with the pressures of winning both the election and the gang war with the D'Alessio brothers. Meanwhile, the boyfriend of Margaret's "kept" neighbor Annabelle loses all his money in the original Ponzi scheme. When he flees with Annabelle's life savings, she offers to resume her old relationship with Nucky. Margaret catches them talking in his office and later argues with him, criticizing Nucky for involving her in his business, then insisting she ignore its unsavory realities. Nucky argues that Margaret's own choices have brought them together, none of which reflect well on her own character. Margaret also levels her suspicions about Nucky's part in the death of Hans, which Nucky indirectly confirms by retorting that neither of them has or should have any regret about what happened to him.
Eli is furious that, by confirming Margaret's suspicions, Nucky has endangered them both. Eli insults Margaret, calling her a liability created by Nucky's selfishness and criticizing his hypocritical aversion to violence. After a heated argument, Nucky drops Eli from the Republican ticket in favor of Halloran, who has been angling for the nomination. Nucky arrives at Margaret's place only to find that she has left, her whereabouts unknown. The last scene shows Nucky visiting a palm reader on the Boardwalk, while his butler looks on.
Reception.
Critical reception.
IGN praised the episode, calling it "outstanding" and went on to say, "With his safety nets gone and his finger tightening around a trigger gunning for Rothstein, Nucky is a man alone, surrounded by a war that can go any way but good. The future is uncertain, tension hangs and fans of the series are in the best position possible going in to what's sure to be a game-changing finale."
"The A.V. Club " gave the episode an A-.
Ratings.
"Paris Green" slid two tenths of a point in to a 1.1 adults 18–49 rating, but had a nearly identical average viewership vs. last week. The episode had a total of 3.004 million viewers.


Johann Ender

Johann Nepomuk Ender (3 November 1793 Vienna – 16 March 1854 Vienna) was an Austrian portrait painter and engraver.
Biography.
He spent several years studying at the Academy of Fine Arts, Vienna, where he had his debut with his canvas depicting the death of Marcus Aurelius. which won an award. Although he developed his own style, his works show the obvious influence of his contemporary, Jean-Baptiste Isabey.
In 1818, Count István Széchenyi invited Ender to accompany him on a trip to Greece and Italy. Ender accepted, and brought back a large number of sketches that he turned into oil paintings. During the trip, he also made contacts which later enabled him to stay at the Accademia di San Luca in Rome.
After returning, in 1826, he settled in Vienna and worked as a freelance artist. From 1829 to 1850, he was a teacher at the Academy. He created numerous copper engravings and religious art, but earned most of his living by painting portraits. One of his most highly considered works is a Crucifixion scene, commissioned for the at St. Stephen's Cathedral. He worked on it from 1850 to 1852.
His twin brother, Thomas, and son Eduard were also painters. In 1922, a street in Vienna's Meidling district was named for them.
Works.
Among his works are:


SpellCaster (video game)

SpellCaster is a Sega Master System video game that stars a character named Kane. This game was known in Japan as and in South America as Warrior Quest. It had a sequel, "Mystic Defender".
Plot.
The game starts when Kane is summoned by Daikak, the great leader of the Summit Temple, to stop a war between factions of warlords. The player explores temples and defeats enemies like ghosts, ninja and feral beasts. There are also villages to explore and people to talk to as the player assembles clues on who desecrated his home town's temple and killed its guardians. The quest takes the player across medieval Japan and to the Underworld.
Reception.
"S: The Sega Magazine" gave the game a positive review, giving it a 91% score.


BC (video game)

B.C. was an action-adventure video game in development by Intrepid Computer Entertainment, a satellite of Lionhead Studios, which was to be published by Microsoft Game Studios for the Xbox. It was cancelled in 2004 for unknown reasons but Peter Molyneux revealed in an interview with IGN that the cancellation could have been due to the fact the fable was in further development than B.C. "B.C." was going to take place during a prehistoric time period on a single continent which contained five levels. The player controls a tribe who has to evolve and migrate to become the best species in the game. Tribe members can be of different classes and each can level up different ways to evolve. The main enemies in the game are an ape-like creature called the "simians"; however, the world is also inhabited with many types of dinosaurs as well as other creatures, including the dodo. In 2015, game preservation group PtoPOnline revealed gameplay footage of B.C. from throughout the game's development.
Features.
Early images at E3 showed extreme clarity and self shading but early reviews called the artificial intelligence the most impressive game aspect. According to GameSpot.com's information on BC, the game would have had a foodchain, like , in which each part would have been subject to being eaten by something higher on the foodchain. In addition, the dinosaurs and other creatures would have been intelligent, interacting with each other, thus acting independently of the player. It would have been possible to affect the game world as a whole, leading some people to comment on the driving of certain species to extinction. Other activities would have included capturing and training certain animals to use against tribal enemies.
As part of the exaggeration, in addition to anachronisms in the dinosaur age, BC would have featured dinosaurs as being larger than they really were. In one preview, Peter Molyneux was quoted as saying that the Rex seen in screenshots was a child, a third the size of its parent. The game was also planned to be very bloody. GameSpot quoted Molyneux as saying that the dinosaurs will spill "swimming pools full of blood" when killed.
Gameplay.
"B.C." is an action-adventure game where the user controls a tribe during the early evolution era. The main goal in "B.C." is to raise the tribe to become a threat and over-power the other species. In order to accomplish this, the user must populate six levels with different people from the tribe. Two types of tribe members are hunters and a chemist. Once a level is populated enough, the user takes five of their best tribe members to the next level to try to populate that area. After populating three levels, the user comes in contact with apes that are on the same evolutionary stage as the tribe members. These apes, called "Simians", do not like the tribe and attempt to kill them.
Prehistoric Creatures Featured.
According to a source, about twenty creatures were planned for the game. The creatures that were confirmed for the game were:
Marketing.
The first trailer was released on 2 February 2004.
Music.
According to an FAQ with IGN.com, each of "B.C."s levels had its own music which would relate with the level's atmosphere.
Cancellation.
Even while the game was still in production, Molyneux said that he was unsure when he could release it due to "the ambitious nature of the gameplay and the high standards the people developing it are pushing for." According to one article, as of May 2002, "[the demo build] was roughly 50 percent complete". Its cancellation was announced in late 2004 with Molyneux saying, "The decision to suspend work on any games project is always a very difficult one, particularly when it is a title with the potential of BC."