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![]() ![]() Bones' Emily Deschanel Reveals Finale Scene That Nearly Made Her 'Bawl,' Reacts to David Boreanaz' New Gig. By Michael Ausiello / March 28 2017, 7:00 PM PST. ![]() It's our 8th Year!!! The 8th Annual Active Orthopedic Move Your Bones for Schools and Fitness has brought back the 10k to our 5k and kids races! The kids races start at 7:45 am and the 5K and 10k start at 8:30 am at Donnelly Park. We have great shirts, awesome DJ and music and amazing prizes and raffles and this year we are doing CHIP TIMING!!! Run in costume if you choose! Prizes for 5K and 10k overall male and female. 5K and 10k prizes for the top 3 in each age group. Last year we gave over $4,000 back to the Turlock schools and other local schools! Event details and schedule 10/28/17 Packet Pickup (at Oak Barrel on Golden State and Marshall) on October 28th from 9 am -1 pm 10/29/17- Registration opens at 7:00 am 400 meter starts at 7:45am 1 mile starts at 8:00 am 5k and 10k start at 8:30 (runners only for the 10k please) course closes at 10 am. Turns out the decision to end was not exactly a mutual one. During the series’ final Television Critics Association press tour panel on Wednesday, series creator Hart Hanson revealed that the network made the final call to conclude the show after 12 years. “It wasn’t our decision,” Hanson shared. “We were told it was our last year. It wasn’t that we called the network and said, ‘We’d like to finish it.’ [But] I’m not sure anyone was terribly upset or terribly shocked that it would be our last year.” Added leading lady Emily Deschanel: “We had a really good run. It would be ungracious of us to be fighting against them cancelling us” after 12 seasons. VIDEOS The final season will consist of just 12 episodes, but they are so “packed with moments and bringing characters back” that “we could have done 22 episodes,” star David Boreanaz said. “It’s 12 episodes that feels like a full order. We really jammed in a lot,” including an answer to the 447 mystery and a series finale that will differ from Hanson’s original vision. “I had another ending to the show in mind,” Hanson admitted. “I love what they’ve done. I give them my full support.” RELATED As for a possible revival down the line — executive producer that he “would not rule [a reunion] out — the show’s two main stars were hesitant to commit. ![]() “Everything is possible in life, but I tend to like to go forward,” Boreanaz replied. “In general, I don’t like reunions, and I don’t like to go backwards. It’s hard for me to answer that question.” For her part, Deschanel said she would “like some time” to pass before playing Brennan again, noting that it would be weird to come back to the character so soon after the emotional wrap-up. ![]() A big area of thunderstorms has been festering in the far western Caribbean this week. The complex is drifting north and will pass over Cuba on its way toward South Florida on Saturday. It could become a tropical storm in the meantime, in which case it would be named Philippe. The last year we reached the “P” storm was 2012. The window of opportunity for this cluster of storms to get its act together is narrow — it can’t be too close to land like it is now, and it has to beat the approaching cold front and associated strong vertical wind shear. But it’s possible, given the extremely warm water ahead of it and the favorable atmospheric environment for the next 48 hours. The it a 60 percent probability of becoming at least a tropical depression by Sunday morning. ORLANDO, Fla. - A tropical disturbance near Cuba will bring rain to Central Florida over the weekend and into next week. The weather system, which is moving north, has a 40 percent of developing into at least a tropical depression, officials said Thursday morning. 'Some development is possible when a system over the NW Caribbean moves near Florida or the NW Bahamas on Fri or Sat,' the National Weather Service tweeted. Rain chances in the Orlando area will increase to 60 percent over the weekend. 'Flooding is the main concern,' News 6 meteorologist Troy Bridges said. [WEATHER:|| ] [DOWNLOAD:| SHARE: ] Orlando has received 42.07 inches of rain since Jan. 1, putting the city at a yearly deficit of 0.06 inches. Here are the details on what could become this weekend. — Troy Bridges (@TroyNews6) Watching a low form over Cuba. It has a 40% chance of development over the next 5 days! It WILL bring rain soon! — Troy Bridges (@TroyNews6) Meanwhile, Florida's state-created property insurer says Hurricane Irma will cause over $1 billion in insured losses to the company. ![]() Citizens Property Insurance Corporation presented initial estimates about storm damage to the company's board of governors on Wednesday. Officials said Citizens had ample resources to pay up to 70,000 claims and roughly $1.23 billion in insured losses expected after Irma swept across the state this month. The company said the losses would be paid from its surplus, with $193 million expected to be reimbursed from the Florida Hurricane Catastrophe Fund. ![]() Citizens would still have a $6.4 billion surplus available for future storms. In a statement, the company said most claims filed so far have come from Miami-Dade, Monroe and Broward counties. Watch News 6 and stay with ClickOrlando.com for updates. Copyright 2017 by WKMG ClickOrlando - All rights reserved. Aug 22, 2017. Locally drenching showers and gusty thunderstorms will spread northwestward across the Bahamas into Tuesday night. Static 92L Animation Noon Tues. This animation shows showers and thunderstorms associated with a tropical disturbance dubbed 92L approaching Florida on Tuesday, Aug. April 5, 2017 • By Meteorologist Jeff Huffman • Updated: 2 years ago. A strong spring storm will send a cold front quickly through all of Florida by midday Thursday. The system was approaching the western side of the panhandle Wednesday afternoon, and a “Particularly Dangerous Situation” Tornado Watch was issued. ![]() Gustavo Rondon Cordova's debut feature is reportedly the first film from Venezuela to ever be part of the Cannes Critics' Week competition. A father and his 12-year-old kid from the outskirts of Caracas have to run after the son knifes down a peer from a potentially vengeful family in the slums in La familia, a lean and mean debut from Venezuelan writer-director Gustavo Rondon Cordova that clocks in at a fleet 82 minutes. Over the course of just a couple of days, Cordova follows the child protagonist as he’s introduced to the life of his single father, who is trying to hold down several jobs and doing a little illegal hustle on the side just so he can put food on the table for his kid. Though neither is really the talkative type, Cordova and his leads manage to convey a wealth of information between the lines as the wayward son gets his first real peek at some of the responsibilities that come with adult life. Often quick on its feet and energetic rather than melodramatic or inward-looking, this is a promising debut that not only suggests Cordova is a name to watch but that also, after Venezuela’s Golden Lion win for Lorenzo Vigas’ From Afar, the country could be breeding a filmmaking generation that finds inspiration in the tough everyday lives of the masses. In the opening moments of La familia, Pedro (intense newcomer Reggie Reyes), is but one of a group of loud 12-year-olds that are into roughhousing, calling each other names, talking about drugs and sex as if they were experts — and maybe some of them are — and wielding weapons, or at least toy versions of the same made out of wood and then covered in black paint. Cordova doesn’t comment on the behavior of the kids or their environment but his strictly observational approach speaks volumes nonetheless. These are children from rough neighborhoods, whose circumstances are forcing them to grow up fast and who try to copy what they see as adult behavior in the hope of being taken as seriously as they are. Being kids, however, there’s a certain naiveté to their worldview and a level of petulance and stubbornness in how they try to negotiate and engage with adults that betrays that they do not yet fully understand the complexity of the world of grown-ups and how it operates. Normally, children slowly grow into a better, more mature understanding of the world as they grow from adolescence into adulthood. But this is not the case for Pedro, who stabs a boy after a brawl about a mobile phone that will probably leave the child dead or at least severely injured. Pedro’s father, Andres (Giovanni Garcia), in his mid-thirties, understands the gravity of the situation and realizes that the family and friends of the boy, from a shantytown, will almost certainly want to vindicate the boy’s injuries or death, so he tells Pedro to quickly pack a few things and they immediately leave for downtown, where Andres works renovating a bourgeois home during the day. ![]() In scene after scene, Cordova and cinematographer Luis Armando Arteaga, shooting in loose, hand-held smears, simply observe the characters’ behavior and faces. Pedro initially tells his dad he lets people walk all over him, but he then doesn’t really notice how his old man negotiates a pay raise when his tasks and the deadline are redefined. But over the course of the days spent together, they get to know each other better as they are now forced to spend all their time together, with Pedro accompanying his father in the evening to another job as a waiter at a fancy party. Like in the new home they are renovating, there’s no direct evidence that Pedro has never moved in these circles or been in these areas of the city but there are smaller details that help suggest he’s a fish out of water, both fascinated by his new surroundings and with an ever-increasing desire to go home to what he knows. The director, who also wrote the screenplay, keeps everything resolutely in the present, which gives La familia its sense of urgency, but which also means there’s practically no backstory for the characters. As a single father, Andres has probably left Pedro to his own devices a lot while he was out earning money or looking for jobs, and there’s a sense Pedro often stayed at a friend’s house in the ‘hood. Though the film’s relatively light on plot, this seemingly innocent scrap of information will play a key role later on, with Cordova orchestrating Pedro’s final fall from innocence with a narrative simplicity that belies its emotional impact on the viewer. This kind of film wouldn’t stand a chance if the actors weren’t believable but Garcia (who starred in El Amparo, which Cordova edited) and non-professional Reyes are both understated but utterly authentic. Reyes displays the kind of cockiness and attitude that mask an inner vulnerability that a hard life has taught him to hide, while Garcia is a kind-hearted but also very realistic man who knows that life in Caracas isn’t easy for someone like him and his son. Their growing complicity and comprehension is beautiful to behold, with a silent moment after an unexpected dip in a swimming pool especially impressive. Cordova’s film is filled with small snippets like that, in which the oft-pedestrian dialogue takes a backseat to the reality of the moment. Production companies: La Pandilla, Cine Cercano, Factor RH, Avila Films, DHF Cast: Giovanny Garcia, Reggie Reyes Writer-Director: Gustavo Rondon Cordova Producers: Natalia Machado Fuenmayor, Marianela Illas, Ruben Sierra Salles, Rodolfo Cova, Gustavo Rondon Cordova Director of photography: Luis Armando Arteaga Production designer: Matias Tikas Editors: Andrea Chignoli, Cristina Carrasco, Gustavo Rondon Cordova Music: Alejandro Zavala Sales: Celluloid Dreams In Spanish No rating, 82 minutes. Gustavo Rondón Córdova. 82mins The unspoken tension between a father and son fuels La Familia, an unconventional chase picture in which the characters are fleeing retribution but also, in a larger sense, a culture in which violence is indiscriminate and rampant. Making his feature debut, writer-director Gustavo Rondón Córdova emphasizes an understated, realistic style and lets the silences speak volumes — an apt metaphor for how a lack of connection can bring down families and communities in equal measure. A portrait of a society in which poverty and lack of law enforcement have reduced vulnerable communities to brutal proving grounds This Critics’ Week offering should receive supportive word of mouth out of Cannes, leading to further festival appearances. No stars (and a lack of a sexy marketing hook) may curtail commercial prospects, but La Familia certainly suggests a young filmmaker worth following. Non-professional Reggie Reyes plays Pedro, a scrappy 12-year-old living in Caracas. Raised in an environment that prizes exaggerated macho swagger, Pedro gets involved in an altercation with a boy waving a gun and demanding his cell phone. In the ensuing skirmish, Pedro stabs the kid in the neck, provoking his distant single father Andrés (Giovanni García) to take his son and go into hiding, fearful that there will be retaliation from the victim’s family or gang affiliates. Born in Caracas himself, Córdova clearly feels a kinship to his subject matter, showing the Venezuelan city as a grim place where crime is a fact of life and boys are left to become men on their own. After an extensive casting search, the filmmaker tapped Reyes, a Caracas native, and the unpolished adolescent complements García, a working actor. Pedro is all surly, twitchy yin to Andrés’ pensive, regretful yang. La Familia doesn’t shed much light on Andrés and Pedro’s relationship prior to their journey, letting discomfort dominate their interactions. We deduce that the boy dislikes his father for myriad reasons — his absence in Pedro’s life, his unwillingness to mimic his son’s macho demeanour — while the inarticulate Andrés can’t quite make Pedro understand that glamorizing a violent lifestyle will lead to ruin. Andrés takes Pedro along on his different menial service jobs, deducing that his son’s pursuers won’t think to look for him there. As a result, La Familia doesn’t sport anything resembling traditional chase scenes — we never actually see who’s hunting the pair — but that only adds an existential tension to every seemingly mundane scene. While the characters work as servants at fancy parties or help remodel a rich client’s house, there is always the possibility that gun violence could erupt from the phantom pursuers. The violence is never stylized, Córdova showing its subtle, corrosive force in these people’s lives. Whether it’s Pedro and his friends playing assaultive video games or aggressively taunting each other’s manhood while hanging out on the street, the film crafts a portrait of a society in which poverty and lack of law enforcement have reduced vulnerable communities to brutal proving grounds for young men. ![]() At his young age, Pedro has decided that acting tough is the only way to survive, which contributes to Andrés’ sadness. Maybe this father could have taught his son better — if only he’d been able to be around, not stuck hustling meagre jobs to eke out a living. Jul 13, 2017 - 3 min - Uploaded by La FamiliaVideoclip oficial cu La Familia interpretand single-ul 'Portret de Politician' in. Home page of Little Joe Y La Familia, a latin group from Temple, TX. Official home of 5 Time Grammy Award winning Little Joe Y La Familia. The La Feria de la Familia 2017 will take place in Telemundo Tampa invites you to the thirteenth celebration of #LaFeriadelaFamilia presented by Fuccillo Kia. Come and enjoy a day full of fun, live music, information and delicious Latin food. Córdova's film brings little that's new to its stylistic school of observational realism - but hits the Caracas sidewalks hard and purposefully enough to compensate. September 25, 2017| Full Review Guy Lodge Variety. Intense, visually dynamic, and perfectly acted. [Full review in Spanish]. August 9, 2017| Full. Eddie has finally got her hands on a copy of Thomas Harris’ (despite the best efforts of the illuminati to prevent her from reading it), Lee is drawn into some international family intrigue by, and philosophical shit hits the fan when they discuss moral ambiguity in character motivations (sounds highbrow, don’t it?) All this, and possibly more in episode four! Let us know what you’re reading right now in the comments below or let us know via! Did you know you can get early access to our episodes? Join the Crime Time Team! Would you like a free audiobook? You can get a free audible.com trial with. If you like what you hear, send us some stars on! This week Lee talks by Tess Gerritsen, who Eddie could swear she’s met before, doesn’t leave Eddie in discontent (that’s a Shakespeare ref right there, who says we aren’t highbrow), and they share Crime Time’s current to read list! Let us know what you’re reading right now in the comments below or let us know via! From now on lucky Patreon Supporters will be gaining early access to our episodes! Join the Crime Time Team! Would you like a free audiobook? You can get a free audible.com trial with. If you like what you hear, send us some stars on! THE AD CAMPAIGN. De Blasio Ad Focuses on Low Crime and Trump OCT. A little over 4 percent. Yet at the same time, crime has increased in some of the first neighborhoods to get the program, including in parts of the northern Bronx and Washington Heights. The new policing program. Crime Time podcast on demand - Crime Time with Vito Colucci, P.I. The show features anything crime related. Crime Time with Vito Colucci, P.I. The show features anything crime related. Current high profile cases or trials are discussed in detail from experts. On-Demand Episodes. Crime Time with Vito Colucci:. Crime Time with Vito Colucci:. By Crime Time; in Business; 11:15:00 PM; 00:55. Feb 13, 2017. 2 posts published by Crime Time Podcast during February 2017. Credit Pablo Amargo Ho, ho, ho! Let Jolly Santa hand out his boring, politically correct presents to all the good boys and girls. Here comes Bad Santa with a sack of the year’s best crime and mystery thrillers, full of psychos and sickos for the naughty kids. ![]() ![]() First to crawl out of the bag is Jo Nesbo’s monstrous villain in THE THIRST (Knopf, $26.95), a serial killer who stalks his victims on Tinder, rips out their throats with dentures made of metal spikes and drinks their blood. The good citizens of “melancholic, reserved, efficient” Oslo are paralyzed with fear and loathing, but the murderer’s bizarre M.O. Alerts Harry Hole, Nesbo’s gloomy Norwegian detective, that this repulsive killer is having fun with Harry, tempting him to come out and play. The crooked New York cops in Don Winslow’s excellent police procedural, THE FORCE (Morrow/HarperCollins, $27.99), have minds in the gutter and share a vocabulary as ripe as rotten fruit. But just because they’re no-good crooks doesn’t mean these roughnecks can’t police their turf. They pull off the biggest heroin bust in memory, put down an all-out gang war and handle quotidian misdeeds like regular gentlemen. Their methods are extremely thoughtful and inventive; they just aren’t entirely lawful. Of all the places where you really do not want to meet a couple of nut cases with rifles, a zoo full of “wild things in boxes” ranks high. Gin Phillips taps that primal fear in FIERCE KINGDOM (Viking, $25), a heart-thumping thriller about a mother who finds herself and her 4-year-old son running for their lives among cages of unhappy wildlife after two crack marksmen start hunting down zoo visitors like animals. Phillips’s resourceful heroine gives new meaning to the term “tiger mom.”. Meet the great guys who work at Oasis Limo Services in THE DRIVER (Dutton, $26). The plot of Hart Hanson’s first novel is ragged, but his furiously funny storytelling voice is full of moral indignation on behalf of unstable war vets like Ripple, the dispatcher who lost both legs in Afghanistan and now draws violent cartoons all the livelong day, and Tinkertoy, a mechanical genius with a scary case of post-traumatic stress paranoia. Even Skellig, the levelheaded owner of the cab service, hears the voices of men he’s killed in battle (“troubletroubletroublebadtrouble”) while he’s driving. With racial barriers slowly dropping in the 1950s, token black cops are badly needed on the Atlanta police force. But as Thomas Mullen lets it be known in LIGHTNING MEN (37Ink/Atria, $26), Lucius Boggs and Tommy Smith are also valuable assets in neighborhoods where white residents are literally up in arms over the black families buying homes on their blocks. As the son of a Baptist minister, Boggs is a member of the black aristocracy, a beneficiary of “preacher money and a preacher house, even a preacher car.” Black vs. White doesn’t begin to cover the complexity of these diverse relationships. Ever since Harry Bosch was forced into retirement from the Los Angeles Police Department, Michael Connelly’s tough-as-old-boots hero has been taking on cold cases for the San Fernando force, working from a makeshift office in the old drunk tank of the county jail. (“Sometimes I think I can still smell the puke.”) In TWO KINDS OF TRUTH (Little, Brown, $29), Bosch goes undercover as an elderly oxycodone abuser to take down a gang of international racketeers who are moving prescription drugs in and out of the country by enslaving aged addicts desperate to feed their habits. That’s pretty ugly — and a new one on us. Jack Reacher (“Bigfoot,” to those awed by his 6-foot-5-inch, 250-pound bulk) is right where we want him in Lee Child’s new novel, THE MIDNIGHT LINE (Delacorte, $28.99): on an endless ribbon of highway, hitching rides and serving as “human amphetamine” for tired truckers. A chance visit to “the sad side of a small town” leads Reacher on a quest to track down a criminal enterprise preying on wounded veterans, a scam that saddens our hero and makes him very, very angry. To the East Texas natives in Attica Locke’s BLUEBIRD, BLUEBIRD (Mulholland/Little, Brown, $26), Highway 59 is both a lifeline and an escape route. Everyone headed in or out of town makes a pit stop at Geneva Sweet’s Sweets, including Darren Mathews, a righteous Texas Ranger working his way through every hamlet from Laredo to Texarkana, looking for the murderer of the black man and the white woman whose bodies were fished out of the muddy waters of the Attoyac Bayou. The plot has legs, and Locke’s blues-infused idiom lends a strain of melancholy to her lyrical style. The great port of London churns with activity in Anne Perry’s rich, if blood-splattered, Victorian mystery, AN ECHO OF MURDER (Ballantine, $28), which finds Commander William Monk of the Thames River Police hunting down the assassins of Hungarian immigrants who fled oppression only to be greeted with bitter hostility in their new home. “It’s fear of ideas,” Monk’s wife, Hester, says. “Everyone you don’t understand because their language is different, their food, but above all their religion.” EARTHLY REMAINS (Atlantic Monthly, $25), Donna Leon’s latest Venetian mystery featuring Commissario Guido Brunetti, is one of her best — and one of her saddest — dealing with the relentless polluting of the great lagoon. “We’ve poisoned it all,” mourns Davide Casati, an aged boatman who treats Brunetti to languorous tours of the floating islands on the graceful, gondola-like rowing boat he built with his own hands. ![]() Creating a national justice database wasn’t our idea. In fact, it was a major city police chief who actually suggested that such a database be created to help law enforcement professionals, officers, supporters, changemakers, and others better understand how to best serve and protect. From that idea, offered more as a question of possibility than a declaration of intention, our organization expanded its services and began developing the National Justice Database. Powerful National Database The Justice Database is the nation’s first database tracking national statistics on police behavior, including stops and use of force, and will standardize data collection across many of the country’s police departments. Led by four principal investigators—Amanda Geller, Jack Glaser, Phillip Atiba Goff, Steven Raphael—more than 40 national police departments and law enforcement agencies have signed on to participate so far. These law enforcement agencies include more than half of all major cities, and service more than 25% of the nation’s population. In short, it’s powerful data! SEPTEMBER 11, 2017. The National Black Women's Justice Institute is pleased to partner with Boston City Council Member Ayanna Pressley to advance efforts toward equitable school discipline policy. Watch Councilor Pressley discuss the effort in the video below and join us this evening for a hearing on girls of color and. The Justice Database is the nation's first database tracking national statistics on police behavior, including stops and use of force, and will standardize data collection across many of the country's police departments. Led by four principal investigators—Amanda Geller, Jack Glaser, Phillip Atiba Goff, Steven Raphael—more. November 30, 2017. As Congress Weighs Trump Administration's Request to Expand Immigration Detention Funding, Barriers to Legal Counsel at Remote Cibola County. Report: 'What kind of miracle.' - The Systematic Violation of Immigrants' Right to Counsel at the Cibola County Correctional Center. The database is funded by a grant from the as well as grants from a number of private organizations. Combining Many Academic Disciplines Focusing on what causes racial disparities in policing and how one can measure these disparities, the Justice Database uses tools taken from sociology, demography, public policy, criminology, psychology, and behavioral economics. This project capitalizes on existing research collaborations between the Center for Policing Equity and law enforcement departments across the United States to produce a mixed-methods approach to understanding what produces racial inequality in complex systems (i.e., policing). Former Salt Lake City Policy Chief Chris Burbank serves as CPE’s Director of Law Enforcement Engagement for the National Justice Database, which was established in response to calls from law enforcement executives around the country. ![]() In celebration of the 225th anniversary of the ratification of the Bill of Rights, the National Archives is hosting a series of conversations across the country to explore the continuing and often complicated issues of rights of our modern era. Building on the National Archives’ extensive holdings and hosted in a partner institution, this series of conversations will delve into a range of contemporary issues, encompassing human rights and civil rights and addressing the tension between individual rights and collective responsibilities. Contents • • • • • • • • • • • • • • • • • • Name and heritage [ ] The development code of this vehicle is 086A and its main production names 86 (pronounced 'eight-six' or Hachi-Roku (ハチロク) in Japanese) or GT86, reference historic and and, in the form of: • the 1967 (Japan's seminal whose design cues adorn the 86 and which was also powered by a 2.0-litre engine); and • the 1983 to 1987 range (renowned for its handling and abilities). Also referenced to its first, the, given that both this car and the 86 share a layout, as widely used by project partner and 86 manufacturer, Subaru. Pre-launch concept cars [ ] Initial layout and design elements for the 86 were presented by Toyota using its 'FT' (Future Toyota) nomenclature. The first was the, which was presented at the in 2007. It had a front engine, rear-wheel drive layout and and was powered by a with assistance. In 2008, Toyota bought 16.5% of, which includes the Subaru automotive brand. ![]() Toyota, led by project leader Tetsuya Tada, then offered Subaru to become involved in its new sport coupé project, by co-developing the new D-4S, however, this was rejected since the design conflicted with Subaru's reputation for high performance (AWD) cars. This outcome resulted in the project coming to a six-month halt before Toyota invited journalists and Subaru engineers to test a developmental prototype. Following this test, Subaru agreed to become further involved in development. Toyota FT-86 Concept (2009) The new collaboration thus produced a new concept car, the FT-86, which was revealed at the in October 2009. Smaller than the FT-HS, the design of the FT-86 was further refined by Toyota's while the hybrid V6 powerplant was replaced by the new D-4S boxer. ![]() Subaru provided the chassis and gearbox, adapting those of their. The concept was painted in Shoujyouhi Red, which was reported as being based on the backside of a. At the, Toyota then launched its line of aftermarket accessories, along with the concept car. It featured G Sports carbon fibre panels, a vented, rear wing, 19 in (48 cm) wheels, race seats, and an interior rollcage. The D-4S engine also added a. In 2011, Toyota and Subaru unveiled five near-production concept cars to show their progress with the project. The first, known as the FT-86 II Concept, was unveiled at the in March 2011. ED 2 refined the design of the initial FT-86, by developing new front and rear fascias, and marginally increasing the dimensions of the concept. At the same show, Subaru also unveiled a transparent silhouette of the car that showed off the new D-4S boxer engine and displayed the 'Boxer Sports Car Architecture'. Scion followed next in April 2011 at the with the FR-S Sports Coupé Concept, co-developed with aftermarket tuner Five Axis. Another semi-transparent Subaru concept, known as the BRZ Prologue, was shown at the that September, followed in November at the by the BRZ Concept STi, the first full mock-up of Subaru's version of the 86 with input from (STI). The GT86 stand at the 2012 Geneva Motorshow, with one of the vehicles that inspired its styling, the 2000GT The first production Toyota 86 debuted at the 2011. All variants are built at 's Gunma Main Plant, with the first cars assembled on 2 February before sales began in March and deliveries in April. 7,000 orders were placed for the Toyota 86 in the first month of production, while Subaru took in 3,500 orders. In the United States, Scion were allocated 10,000 units of the 2013 (MY13) production, while Subaru was limited to only 6,000 units. Engineering [ ] The 86's engine, known by the Toyota code and Subaru code, is a naturally aspirated four-cylinder engine that uses Subaru's horizontally opposed boxer engine design, with the addition of Toyota's D-4S injection system, which uses both direct and port. Given its placement, the 86 can be considered having a drivetrain layout. The engine runs on 98 RON (premium unleaded) fuel and features a 12.5:1 compression ratio and a bore and stroke of 86 mm (3.4 in) that results in 200 horsepower (149 kW; 203 PS) at 7,000 rpm and 151 lbft (205 Nm) of torque at 6,000 rpm. As part of the 86's low-weight design, the car utilizes an hood, a solid roof, and a trunk as opposed to a. The boxer engine sits as far back and as low as possible in the engine bay for a weight distribution of 53% in front and 47% in the rear. The low-sitting engine provides a lower center of gravity, allowing the engine to sit lower than the and just 0.6 inches higher than the. The 86, BRZ and FR-S are offered with two 6-speed transmissions, an in-house developed Toyota TL70 manual gearbox (based on AI's AZ6 ) and an Aisin-Warner automatic transmission, which is modified from that used on the. The latter uses a traditional wet torque converter design, but its software has been engineered to mimic the response of a dual-clutch gearbox. The automatic transmission uses three different modes: Sport, Snow, and Normal. A torque sensing is standard on most models. The vehicles are offered with 16' steel and alloy wheels shod with dB Decibel E70 tyres in 205/55 size or 17' alloy wheels shod with Primacy HP tyres in 215/45 size, depending on sales market. The limited editions (TRD) GT86 models are instead offered with 18' forged aluminium wheels, which are shod with either Advan Sport tyres Pilot Sport 3 tyres in 225/40 size, also depending on market. All non-TRD cars feature ventilated front disc brakes and solid rear disc brakes on base models or, on higher models, also ventilated rear disc brakes with two piston-opposed calipers in the front and single caliper design in the rear. The TRD editions instead have an upgraded braking system comprising upsized TRD two-piece rotors and TRD six-pot 355mm front and four-pot 345mm rear calipers (compared to the GTS' 294mm and 290mm calipers and GT's 277mmm and 286mm, respectively). Suspension design comprises front struts and at the rear. In 2016, for the 2017 model year, the 86 was upgraded to 153 kW (205 hp) and 212 Nm (156 lbft). The final drive ratio was also updated from 4.1 to 4.3. Design [ ] The 86 was designed around a front-mounted, rear-wheel drive configuration, inspired by the. The flat architecture of the boxer engine allows it to be mounted low, dropping the center of gravity down, resulting in sporty handling characteristics. The exterior design of the 86 delivers a slippery drag coefficient of =0.27 and was inspired by the 's low-to-the-ground profile and long, sleek hood. Its design cues translate onto the 86 in such areas as: upward trailing edge of the doors; the upward finish to the side-window line; the front and rear haunches; the circular taillights set in silver (singular instead of double as on the 2000GT). The '86' boxer and drifting side badge on Toyota and Scion models According to the 86's designers, 'The goal was to create an authentic rear-wheel drive sports car with compelling style, exceptionally balanced performance and handling, flexible utility and surprising MPG.' When asked about the version of the car, the lead engineer Mr. Tada said 'There is definitely going to be a more TRD oriented variant down the line. ![]() However any of the parts that would be standard on the TRD model will fit on your current Toyota 86 so there is no need to wait.' The 86 'boxer' side badge appears on all Toyota and Scion versions of the car, but not the Subaru BRZ. Aside from badging, the main differences between the 86/GT86 and the BRZ are the front grilles and bumper bars. The rest, including the 17 inch alloy wheels, are shared. The optional upgraded interior of a North American Subaru BRZ, equipped with leather and Alcantara seats, push-button start, and automatic climate control The interior features a seating configuration, which utilizes low mounted front seats. The rear seats fold down enabling increased storage space for larger items. Three interior variations exist, the FR-S and base 86 models have cloth seats with all black interior trim that features a black patterned dash trim, while the shift boot features red stitching. The BRZ has two available interiors, one identical to the FR-S but with silver dash trim, a red stitched parking brake boot, black gauge faces (instead of the white tachometer of the 86 GTS models) and a touch-screen navigation head unit; the second option upgrades to leather and Alcantara heated seats, automatic HVAC controls, and a push-button start. The top-of-the-range 86 models are fitted like the BRZ except as noted above, and the Japanese interior can be had in black/red leather and Alcantara or full black leather and Alcantara (Australia being offered only the latter). We drive the 2017 Toyota 86, formerly the Scion FR-S, and find that the rear-wheel-drive sports car is a blast to drive but is also still underpowered. Apr 24, 2017. Toyota's 86 wasn't a glitch in the matrix, it punched a hole in the fabric of space and time. Okay, it wasn't quite that big, but for Toyota, out of almost nowhere, to produce a new sports car that wasn't a front-driver with a cool body but not much substance was. Well, amazing. Since the GFC, we'd only seen a. The Toyota 86 is a series of 2+2 seater sports cars which was jointly developed by Toyota and Subaru and solely manufactured by Subaru. It features a boxer engine, front engine, rear wheel drive drivetrain, 2+2 seating and a fastback coupé body style. Subaru retails their version of the car as the Subaru BRZ. As a Toyota it. ![]() Performance [ ] • Top speed: 145 mph (233 km/h) (as tested) • Acceleration: • 0–62 mph (0–100 km/h): 7.6s (manufacturer's claim) • 0–60 mph (0–97 km/h): 6.0-6.2s (estimated) • Standing 1/4 Mile: 14.7-14.9s (estimated). Versions [ ] Toyota 86, GT86 and FT86 [ ] The Toyota 86 is available in Japan from Toyota's and Corolla Store line of dealerships; the 1980s Corolla Levin and Sprinter Trueno were sold at the same networks. Four trim levels are offered, with the RC model being the base aimed at people wishing to modify or race their vehicles. This model is available with only a 6-speed manual transmission and comes with unpainted bumpers and mirrors, 16 inch steel wheels, simpler interior trim components, analogue speedometer and no stereo or air conditioning. Outside Japan, the RC model is only available in New Zealand. The G model adds all the interior components missing from the RC, plus a fully painted exterior and 16 inch alloy wheels and the availability of an automatic transmission. The GT86 model adds headlights with, fog lamps, automatic climate control, keyless start with engine start button, 17 inch alloy wheels, chrome exhaust tips, white tachometer face with analogue and digital speedometer, silver accents on the centre dash and steering wheel, aluminium pedals. The top-of-the-range GT Limited adds leather and seating and a rear. In Europe, GT86 models are generally the same as the Japanese 86 GT with a red/black leather/Alcantara interior with red stitching. In the United Kingdom, the Japanese G model is sold as the GT86 Primo and the car has also been available as a limited edition Toyota Racing Development 'TRD GT86', which features: 18 inch forged aluminium wheels with Advan Sport tyres; full bodykit with front and side skirts, rear and new diffuser; quad-exhaust system; TRD-branded detailing on the filler cap, radiator cap and gear knob. In New Zealand, the TRD 86 is sold with the above features except for Pilot Sport 3 tyres instead plus upgraded TRD braking system. Options not available to all markets include a Bose sound system upgrade. Toyota 86 GT (Australia) In Australia, the GT is the equivalent of the Japanese G model but with only an all black interior trim and standard radio head unit, whereas the top-of-the-range GTS model is the equivalent of the Japanese GT Limited except for an all black leather/Alcantara and red-stitch interior trim only and touchscreen multimedia head unit. Upon Australian launch in June 2012, all models for Australia featured a full-size spare wheel, the GTS lacked a rear, and a or LSD was standard on all models except automatic GT's. The full-size spare wheel was phased out after the first shipments to Australia, replaced with a repair kit. This model also benefitted from a remapping of its Electronic Control Unit () to address initial reports of rough idling and stalling. The range of models and main options had the following retail prices: GT manual A$29,990; GT automatic A$32,490; GTS manual A$35,490; GTS automatic A$37,990; metallic paint A$425 for all models; 'Aero pack' bodykit A$3,000 for GTS only. As of the August 2013 production update (which carried the formal year designation MY14), the automatic GT also gained LSD as standard (but with a price increase of A$300; manual price unchanged in Australia) and the GTS gained the same rear fitted to the Japanese GTS Limited and the Subaru BRZ (with a price increase of A$500 for both the manual and automatic model in Australia). Other distinguishing features on the MY14 models include the removal of the lettered 'TOYOTA' badge from the rear bonnet of the GTS and optional availability of rear parking sonar sensors on GT and GTS. In July 2014, an updated version of the Australian Toyota 86 range was launched with year designation MY15. The key highlights include: revised suspension settings; 'shark-fin' roof antenna; GTS instrument cluster on GT; carbon-fibre look dash insert and reverse-view camera on GTS; new white and silver exterior paints. The price of the GT remained unchanged while the GTS was the subject of a price increase of A$500 and A$800 for the manual and automatic version, respectively. In late 2014, as part of its MY15 range, Toyota offered in the UK two new models: the GT86 Aero, featuring a full bodykit and 18 inch OZ Ultraleggera alloy wheels in anthracite grey finish; and the GT86 'Giallo' (meaning yellow in Italian), limited to only 86 units. Similar to the latter, Toyota also offered in Italy a total of 50 'Limited Edition' models. Externally, the key distinguishing feature of these limited editions is the new Sunrise Yellow metallic paint and black side stripes (bonnet, roof and bonnet stripes are available in the UK at no extra cost and standard in Italy). The interior is distinguished by a limited edition badge and heated quilt leather seats with yellow 86 logo. The retail price of the Limited Edition in Italy is 28,500, which translates to 1,700 more than the standard base model. At the same time in Japan, Toyota released the 14R-60 model limited to 100 units, inspired by the GT86 TRD Griffon Project of 2013. Its engine power remains the same as the standard models despite featuring various drivetrain changes such as twin central exhausts, a TRD mechanical LSD, a short-shifter, and revised gearing for the six-speed manual transmission. Other changes include extra body reinforcement, a variable-height coil-over spring suspension setup and more rigid suspension bushings. A TRD bodykit with carbonfibre components is complemented by 18 inch magnesium wheels and, overall, 14R-60 model results lighter than the base model. Inside there are race-style bucket seats with four-point belts, an Alcantara-clad steering wheel, carbonfibre dashboard trim and yellow piping and highlights. Price-wise, this Japan-only model is listed for ¥6,300,000, which is significantly higher than the ¥2,100,000 for the base RC model or ¥3,100,000 for the top-of-the-range GT Limited. In 2015, the 86xstyle Cb was officially launched after its presentations at the 2013 and 2014 Tokyo Auto Salon. It is characterised by a drastically different front end design with revised lights and bumper bar but standard bonnet. Available in 6-speed manual or automatic transmission, it has revised interior trimmings including a red Cb logo embroidered leather steering wheel, white (instead of red) backlit instruments and a dark woodgrain-style panel across the dashboard. The most peculiar features are the replacement of the front side gills with a set of LED-illuminated fins and optional contrasting colour for the car’s upper body section. Another option is different alloy wheels than those fitted as standard on the GT86. On sale from April, this Japan-only model is listed for ¥4,180,000, which is a ¥1,280,000 premium over the regular 86 GT on which this variant is based. To celebrate Australia's 86 2016 Pro-Am racing series, the following November Toyota launched 450 'Blackline' units (250 of which with manual transmission). Based on the standard GTS model, this limited edition carries a A$2,000 premium because of its cosmetic upgrade with TRD parts and special livery. In Indonesia, the 86 was launched in 2012. The facelifted version was launched in August 2016. Toyota Indonesia sells the 86 in the TRD package with only an automatic transmission and the non-TRD package with both manual and automatic transmission. Peculiarly, in Jamaica and Nicaragua, the 86 is marketed and sold using one of its pre-launch concept car badges, the 'FT-86'. Subaru BRZ [ ]. Subaru BRZ Limited (North America) The BRZ's name comes from three elements: Boxer engine, Rear-wheel drive, and Z standing for the zenith. The Subaru BRZ differs from the 86's design in the front fascia, with a different grille and headlight assembly, as well as a different front fender vent. The BRZ's grill is hexagonal in shape, compared to the Toyota's trapezoid. The BRZ features a wraparound of LED parking lights in the headlight assembly, while daytime running lights are integrated into the bumper. The suspension setup of the Subaru is different from the Toyota. Like the Japanese Toyota 86, Subaru offers an RA base model lacking most interior comforts and utilizing 16 inch steel wheels, with the only difference from the 86 RC being that the BRZ RA's bumpers are painted the same color as the body. Two main trim levels are offered: R trim, known as Premium in North America, and S trim, known as Limited in North America. European and Australian BRZs offer a Toyota stereo unit, while Japanese and North American vehicles use a Subaru unit. Australian BRZs were originally available for sale only online. In 2013, Subaru unveiled a BRZ tS model for the Japanese market, tuned by STI. The tS model features an improved suspension setup, 18 inch silver, STI bodykit and front spoiler, a larger, and brakes, along with interior changes to include a new steering wheel, front seat, gauges, and Alcantara accents. A further tS GT Package includes seats, black BBS wheels, and an adjustable rear wing. The tS is limited to 500 units in total, with a maximum of 250 of them being the GT package. In 2015, a similar release of 300 units was sold again only in Japan. In 2014, as part of running changes consistent with those of the MY15 Toyota 86 GTS, the Subaru BRZ also featured a new key fob and two new colours, including ‘WR Blue Pearl’ metallic finish. In addition, Subaru also launched special editions both for the United States and Australia markets. For the former, one thousand BRZ Series. Blue editions were marketed at additional cost, half painted in Blue Pearl and the other half in Crystal Pearl White. This model featured STI body kit parts, 17-inch STI black alloy wheels and red brake calipers. For Australia, Subaru launched a similar variant known as the Special Edition, also at additional cost. It featured stripes across the bonnet, boot and roof; 17-inch STI black alloy wheels; STI boot spoiler plus front, side and rear-side under spoilers; a rear diffuser and a push-button starter switch. It was available in every existing BRZ paint hue. In 2015, Subaru released the limited edition Hyper Blue range across its WRX, WRX STI and BRZ models. In Australia, the BRZ was limited to 50 units with manual transmission only. This limited edition is characterised by the said blue paint and a host of other cosmetic upgrades. Scion FR-S [ ]. Scion FR-S (North America) The Scion FR-S is exclusive to the United States and Canada. Its name is derived from a description of the platform: Front-engine, Rear-wheel drive, Sport. Unlike all other 86 variants, the FR-S originally had no trim levels and are all offered with Scion's BeSpoke stereo system. As part of the 10th anniversary of the Scion marque, 2,500 units of '10 Series' FR-S models were released by Scion for model year 2014. They were painted in Silver Ignition and fitted with extra equipment, including HID headlights, automatic climate control, push button start, illuminated exterior badges plus shifter knob. In January 2014, Scion released 2000 units of the FR-S 'Monogram Series' editions adding extra features at special prices. In this case, this FR-S closely matched the equipment offered on the BRZ (or Toyota's GTS-variant) with the following: heated leather and Alcantara seats; heated side mirrors; high-intensity discharge headlamps; dual-zone climate control; BeSpoke audio and navigation. It cost US$27,400 and US$28,500 respectively, for the manual or automatic transmission model. It was said that this limited edition represented a US$1,900 saving over separately priced options. Presented at the April 2014 and mirroring the European 'Giallo' and 'Limited Edition' yellow-painted special editions, Scion released 1500 units of the 'Release Series 1.0' in similar Yuzu Yellow paint. Its starting price is US$31,000 and it features TRD bodykit and quad-tip exhaust system, along with TRD lowered suspension, TRD steering wheel and shift knob and the highest specification (dual A/C, HID headlamps with LED daytime running lamps, push-button start-stop) plus a numbered commemorative plaque near the gearshift lever. Due to the discontinuation of the Scion marque, in August 2016 the FR-S was re-branded as the Toyota 86 for the 2017 model year. Marketing [ ] As part of the Subaru BRZ market launch, a 2-part movie documenting the vehicle's development was produced. In Canada, a TV commercial titled Scorched was produced by OMD, with creative from DDB. The execution was handled by DDB PR with Juxta Productions working on the interior. The commercial was shot at and McCaul St. In Australia, Subaru BRZ was the first new car ever to be sold on that market exclusively online, with orders opening on 16 July 2012. It was also marketed with free servicing for 3 years or 60,000 km. According to Subaru this sale concept was a success, after the entire 2012 Australian allocation of 201 cars was sold in under 3 hours. The first buyer was able to secure their car in less than 20 minutes from the site going live. This sale process was implemented as a consequence of the demand for the Toyota 86 far outstripping supply (resulting in long delivery times) and a low BRZ supplies for Australia. As of 1 January 2014, the vehicle became available both online and at dealerships, with free servicing no longer included in the purchase. Scion made a similar decision in the United States, creating the 'First 86' program to allow 86 buyers to take delivery of their cars before the general public sales. On 12 January 2012 users had eight hours and six minutes to submit their requests to a program website. Winners were required to take their confirmation number and $500 to a dealer within 96 hours to claim their cars. Scion produced a commercial called Close Call featuring Ken Gushi avoiding a collision with a deer while driving Scion FR-S in Mt. Diablo State Park in Northern California. A British Toyota GT86 commercial titled The Real Deal was banned for encouraging motorists to drive irresponsibly. The Toyota 4U-GSE/Subaru FA20 engine, marketed as the D-4S Boxer, was named one of in 2013 In Europe, the GT86 was awarded the following titles in 2012: • Car of the Year by magazine (and ) who also crowned it Coupé of the Year and winner of the Top Gear Speed Week (against competition including the McLaren MP4-12C, Porsche 911 Carrera S, and Lotus Exige S); • Best Driver's Car by; • Performance Car. In Australia, the 86 was awarded the following titles in 2012: • Car of the Year award by magazine,, and Drive (shared with Subaru BRZ); • Best Performance Car under A$60,000 and People's Choice again by Drive; • People's Choice Best Performance Car under A$100,000 by Carsales (shared with Subaru BRZ). Other awards received include: • 2012 Car of the Year in New Zealand (Toyota 86 and GT86); • 2012 Best Affordable Sports Car by (Scion FR-S); • 2012 Top Safety Pick in the US (Scion FR-S and Subaru BRZ); • 2013 Top Ten Best Cars by the American (Scion FR-S and Subaru BRZ); • 2012-2013 Japan Car of the Year 'Special Award' (Toyota 86 and Subaru BRZ). The Subaru BRZ was also crowned: • Fun-est Car of the Year by (against the Toyota 86, BMW M135i, Porsche 911 Carrera, Audi RS5, Ford Focus ST, and Renault Megane RS265); • 2012 Sports Car of the Year by France's Echappement; • 2013 Best Sports Car by Canada's Auto123. In addition, the Toyota-Subaru D-4S boxer engine was named one of in 2013. Motorsport [ ]. Gazoo Racing's Toyota 86 competing in the Super Taikyu Endurance Series In 2011, with the unveiling of the Super BRZ Concept STi, Subaru also unveiled their latest entry in the series' GT300-category. Would develop the BRZ GT300 to replace their for the 2012 season. The BRZ GT300 does not utilize the production car's FA20 engine, instead opting for the Legacy's. The Toyota 86 MC also competes in the GT300. Unlike the BRZ GT300, the 86 MC is based on Super GT's Mother Chassis. As with all Mother Chassis-based cars, the 86 MC utilizes a standard -produced chassis and GT Association-branded V8 engine; little is shared with the production car apart from its name and exterior styling. In, VivaC team Tsuchiya's 86 MC won the GT300 drivers' and teams' championships, with and at the wheel. Toyota, in partnership with Gazoo Racing, announced plans to develop the 86 for motorsport use in multiple disciplines. Toyota and Gazoo will support in the Super Taikyu Endurance Series and All-Japan Rally Championship. Gazoo Racing entered 86s in the, winning their SP3 class in 2012. Privateers Toyota Swiss Racing also claimed the V3 category in the same year. In the United Kingdom, GPRM is developing a turbocharged version of the 86 for classification in the 's for use in Europe. The engine developments are being carried out by Nicholson McLaren Engines. In the United States, utilized a GPP Scion Racing FR-S built by for the US championship. The FR-S features a turbocharged boxer engine from a produced more than 450 kW (600 bhp). Drove a Scion FR-S powered by a stroked producing more than 520 kW (700 bhp) for Retaks Backpacks and Maxxis Tires in the 2013 US Formula Drift championship. Also in 2013, the FR-S replaced the for the at the. In all cases, the competition FR-S were standard production units modified for racing safety and reliability. By contrast, the 86 entered by to compete at the 2013 only used the production unit's silhouette. 86 Racing / BRZ RA Racing In October 2012, and Gazoo Racing announced a production racing model for the Toyota 86. The 86 Racing adds and modifications, as well as a 4-point racing harness and. The stock 86 wheels are replaced by simple steel rims, while the exterior colour was only available in white. Subaru followed in early 2013 with the BRZ RA Racing, featuring similar modifications. Both cars are only available in the Japanese market, and are eligible for a racing series run by Gazoo Racing. Unlike the Toyota, the BRZ is available in any of the production car's colours. Australian 86 Pro-Am series In February 2015, Toyota Australia announced a Pro-Am series with races exclusively during that country's events from 2016. Its inceptor was long-time Toyota racing driver,. The race cars are based on manual production models with key specifications (such as engine management, extractors and exhaust, suspension, brakes, oil cooler, wheels and tyres) controlled to ensure their suitability and reliability while keeping costs as low as possible. One Lap of America Since 2015 Toyota has competed in the Tire Rack One Lap of America, campaigning a modified Scion FR-S, prepared by engineers from the Production Engineering Division in Erlanger, Kentucky. [ ] Post-launch concept cars [ ] Scion FR-S Tuner Challenge (2012) There are 3 versions of 2013 Scion FR-S built with $15,000 build budget, created as part of the eighth annual Scion Tuner Challenge. The FR-S Tuner Challenge vehicles are the: Carbon Stealth FR-S' by John Toca of Chicago, Illinois; FR-S GT by Daniel Song of Orange County, California; Minty FReSh by Chris Basselgia of Lebanon, Pennsylvania. The vehicles were unveiled in 2012 show. The 2012 challenge was won by the Minty FReSh. Subaru BRZ Premium Sport Package concept (2013) At the January 2013, Subaru unveiled a BRZ Premium Sport Package concept featuring various STI parts as well as 19 inch wheels and a roof. Toyota 86 concepts - Tokyo Auto Salon (2013) 86×style Cb is a version of Toyota 86 built by Gazoo Racing features a completely remodeled front designed to appeal to female drivers. Toyota GT86 Modellista is a version of Toyota 86 with new side skirts, rear bumper and diffuser, a special lip spoiler, 18 inch matte chrome “Wing Dancer II” wheels with 225/40 Toyo tires, a two-tone black and red interior, instrument cluster and interior panels are in a red metal finish. TOM'S N086V is a version of Toyota 86 with a rated at 298 kW (400 hp). TRD Griffon Concept (2013) TRD Griffon Concept is a version of GT86 designed specifically for track driving, created. The Toyota FT-86 Open Concept, a version of the 86 The FT-86 Open concept was a convertible concept vehicle based on Toyota 86. It included electrically operated multi-layered fabric roof with glass, high-contrast white and navy blue interior and exterior designed by Toyota Boshoku Milan Design (TBMD) to capture the spirit and atmosphere of Milan, white body colour, yellow-gold stitching in the floor mats and seats. It was first shown at the in March 2013, followed by the 2013 (with Flash Red body colour and electrically operated soft top) However, Subaru brand chief Yasuyuki Yoshinaga has said that a convertible 86 would need a complete redesign to meet safety standards and that it is unlikely to happen. Subaru Cross Sport design concept (2013) Also seen at the, this vehicle was presented as a combination of ‘sport’ and ‘utility’ adopting a heavily BRZ inspired body shape. Its compact body measured an overall length of 4,300 mm (169.3 in) and was described as what Subaru perceives to be the next trend in urban SUVs. Australia: Toyota. Retrieved 2012-12-22. • ^ (Press release). 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A Important: Frontal crash test ratings should be compared only among vehicles of similar weight. This rating applies to vehicles other than the specific model and body style tested. The Scion FR-S and Subaru BRZ were introduced in the 2013 model year. Beginning with 2014 models built after December 2013, energy absorbing foam was added to left knee bolster and a structural change adjacent to the left part of the firewall was made to improve occupant protection in small overlap frontal crashes. (Information about when a specific vehicle was manufactured is on the certification label typically affixed to the car on the driver door or adjacent B-pillar.) The tested FR-S was built after these changes had been made on the assembly line. The Scion FR-S was renamed the Toyota 86 beginning with the 2017 model year as Toyota discontinued the Scion nameplate. Structure The driver space was not maintained well, with maximum intrusion of the lower interior of 31 cm at the lower hinge pillar. Upper interior intrusion measured as much as 16-18 cm at the instrument panel and hinge pillar. The door sill was pushed in laterally 20 cm toward the driver. Injury measures Measures from the dummy indicate that injuries to the left lower leg would be possible in a crash of this severity. The risk of significant injuries to other body regions is low. Restraints and dummy kinematics The dummy’s head contacted the frontal airbag but slid off the left side, leaving the head vulnerable to contact with forward side structure. The side curtain airbag deployed but does not have sufficient forward coverage to protect the head from contact with forward side structure and outside objects, Tested vehicle specifications Tested vehicle 2014 Scion FR-S 2-door Weight 2,803 lbs. Side airbags front and rear head curtain airbags and front seat-mounted torso airbags Wheelbase 101 in. Length 167 in. Engine 2.0 L 4-cylinder EPA ratings 25 mpg city / 34 mpg highway. G Important: Frontal crash test ratings should be compared only among vehicles of similar weight. This rating applies to vehicles other than the specific model and body style tested. The Scion FR-S and Subaru BRZ were introduced in the 2013 model year. The Scion FR-S was renamed the Toyota 86 beginning with the 2017 model year as Toyota discontinued the Scion nameplate. Injury measures Measures taken from the dummy indicate a low risk of any significant injuries in a crash of this severity. Restraints and dummy kinematics Dummy movement was well controlled. The driver side curtain airbag deployed during the crash. After the dummy moved forward into the frontal airbag, its head contacted the side curtain airbag. Tested vehicle specifications Tested vehicle 2013 Scion FR-S 2-door Weight 2,792 lbs. Side airbags front and rear head curtain airbags and front seat-mounted torso airbags Wheelbase 101 in. Length 167 in. Engine 2.0 L 4-cylinder EPA ratings 25 mpg city / 34 mpg highway. G Side crash test ratings can be compared across vehicle categories. This rating applies to vehicles other than the specific model and body style tested. The Scion FR-S and Subaru BRZ were introduced in the 2013 model year. The Scion FR-S was renamed the Toyota 86 beginning with the 2017 model year as Toyota discontinued the Scion nameplate. Injury measures Driver — Measures taken from the dummy indicate that rib fractures would be possible in a crash of this severity. The risk of significant injuries to other body regions is low. Passenger — Measures taken from the dummy indicate a low risk of any significant injuries in a crash of this severity. Head protection Driver — The dummy's head was protected from being hit by any hard structures, including the intruding barrier, by a side curtain airbag that deployed from the roof and a side airbag that deployed from the seat. Passenger — The dummy's head was protected from being hit by any hard structures, including the intruding barrier, by a side curtain airbag that deployed from the roof. Tested vehicle specifications Tested vehicle 2013 Scion FR-S 2-door Weight 2,795 lbs. Side airbags standard front and rear head curtain airbags and standard front seat-mounted torso airbags Wheelbase 101 in. Length 167 in. Engine 2.0 L 4-cylinder EPA ratings 25 mpg city / 34 mpg highway. Test ID CES1207 B-pillar to longitudinal centerline of driver's seat (cm) Negative numbers indicate the amount by which the crush stopped short of the seat centerline. In the test, the strength of the roof is determined by pushing a metal plate against one side of it at a slow but constant speed. The force applied relative to the vehicle's weight is known as the strength-to-weight ratio. This graph shows how the ratio varied as the test of this vehicle progressed. The peak strength-to-weight ratio recorded at any time before the roof is crushed 5 inches is the key measurement of roof strength. A good rating requires a strength-to-weight ratio of at least 4. In other words, the roof must withstand a force of at least 4 times the vehicle's weight before the plate crushes the roof by 5 inches. For an acceptable rating, the minimum required strength-to-weight ratio is 3.25. For a marginal rating, it is 2.5. Anything lower than that is poor. ![]() [ Editor’s Note: The following review contains spoilers for “” Season 4, Episode 1, “M.U.B.A.R.”] Like watching two sea-doos slowly arcing through the ocean on an unlikely, yet inevitable collision course, “The Last Man on Earth” Season 4 premiere offered a few tantalizing possibilities, but ultimately felt stuck on a predictable path. There were plenty of callbacks from seasons past: The episode began by answering the Season 3 cliffhanger, in which Pamela (recurring guest star Kristen Wiig) saved Phil “Tandy” Miller (Will Forte) and the group’s lives by shooting Pat (Mark Boone Junior) before he could take out any of the other survivors. Though the visor-splattering burst of blood may have made it look like Pat was, he recovered long enough to put a bullet in Rear Admiral Roy Billups, Pamela’s former lover played by another one-and-done mega guest star,. Read More: Seasons past have seen the likes of Will Ferrell and Jon Hamm get axed in season openers, so Black joins an impressive list of quickly killed “Last Man” characters. Oct 24, 2017. The Last Man on Earth - Episode 4.08 - Not Appropriate For Miners - Promo, 3 Sneak Peeks, Promotional Photos & Press Release. Posted by Nirat Anop at December 02, 2017 7 Comments Last Man on Earth. The Last Man on Earth. 286429 likes 2285 talking about this. THE LAST MAN ON EARTH is a comedy about the life and adventures of Phil Miller, an. Will Forte and 'The Last Man on Earth' returned for Season 4 with a cameo, a quick death, and more in Episode 1 — spoilers. Action Pamela joins the group as they set sail for Mexico to avoid the nuclear fallout in the United States, but the problem is none of them knows how to navigate a yacht. Yet his death wasn’t quite as funny as those in years past. Blame the high bar set by January Jones shooting her former “Mad Men” co-star (in a fantastic meta joke), or Pat’s inexplicable survival after taking a bullet to the head, but either way, it felt a bit tired and a bit forced. The rest of the episode played out in a similar, predictable pattern. A button-pressing mistake led to the boat drifting out to sea and the group getting lost. Watching Melissa (Jones) and Gail (Mary Steenburgen) try to work together in secret served as a welcome, unusual pairing, but everyone still ends up in the same place. Pamela kidnaps Tandy (Forte). The rest of the survivors drift off to sea. At episode’s end, they’re on the verge of meeting yet another “last man” (or woman). Seeing the leaves part came as no surprise, and it wasn’t because it was set up. “The Last Man on Earth” has long thrived by running contradictory to its title. Each new cast member has brought depth and excitement to the series, from Carol saving Phil’s life from the edge of suicide to Mike (Jason Sudeikis) bringing nuanced familial conflict to the survivors’ dynamic. So there’s little doubt whoever’s out there on the island will mix things up for the better. But the premiere, on its own, did little shaking itself. Read More: Perhaps the best little shimmy came from the ever-enthusiastic Wiig. ![]() ![]() A treat since her breakout standalone episode last season, Wiig’s Pamela is a jolt of life even when she’s trying to kill everyone. Well, everyone but Tandy. Pamela marks the first character in “The Last Man on Earth” to be smitten with Tandy’s bad jokes, his oddball behavior, and his tasteless acts. (Though it’s worth noting even she was disgusted when Tandy decapitated Pat, which perhaps could’ve tipped off the writers that the value of the joke and the act’s disconcerting logic were off-kilter.) Pamela likes Tandy so much, in fact, she kidnaps him, and even though that, too, was an obvious turn of events, the promise of a Forte v. Wiig back-and-forth is more than enough to get on board next week. Pamela, as evidenced by her series of relationships with strange, bearded men, is unpredictable and self-serving. Tandy, as evidenced by every single thing he’s done leading up to this point, is inventive and loyal. How they reach an accord (or don’t) should set the boat back on course. That’s the kind of inevitable collision worth waiting for. Grade: B- “The Last Man on Earth” Season 4 airs new episodes Sundays at 9:30 p.m. How do the NYFCC, NBR and Gotham awards impact the Oscar race? Plus: Screen Talk’s co-hosts debate their top 10 lists. Guadagnino on casting Timothée Chalamet and Armie Hammer: “I felt that if I loved them and wanted them, they were going to want and love one another.” As the new showrunner for “Bull,” Caron focused on bringing more irreverence — and backstory — to Michael Weatherly’s character by spending Thursday mornings with Dr. “I always lean toward brokenness,” said Rees. “I’m interested in the cracks: If you understand the cracks, then you can maybe better understand the thing.”. ![]() • New Zealand • United States Language English Budget $94 million Box office $1.120 billion The Lord of the Rings: The Return of the King is a 2003 New Zealand-American produced, written and directed by based on the and of 's. It is the third and final installment in, following (2001) and (2002), preceding (2012–14). Released on 17 December 2003, The Lord of the Rings: The Return of the King received widespread acclaim and became one of the most critically and commercially successful films of all time. It was the second film to gross $1 billion worldwide ($1.12 billion), becoming the highest-grossing film released by, as well as the biggest financial success for in general at the time. The film was the and, by the end of its theatrical run, the second highest-grossing film in history. As of November 2017, it is the sixteenth of all time. At the, it won all 11 for which it was nominated, therefore holding the record for highest Oscar sweep. The wins included the awards for, the first and only time a fantasy film has done so; it was also the second sequel to win a Best Picture Oscar (following ) and. The film jointly holds the record for the largest number of Academy Awards won with (1959) and (1997). The film has been re-released twice, in 2011 and 2017. Contents • • • • • • • • • • • • • • • • • • • • Plot [ ] Many years ago, two, and, are playfully fishing when Déagol discovers the beneath the river. The two quickly begin to fight over the ring, and Smeagol kills his friend. Retreating into the, Smeagol gradually becomes an animalistic creature called, forgetting his old identity and becoming obsessed with the ring. Leads,,, and King to where they reunite with and. With defeated, Gandalf retrieves Saruman's. Pippin later steals a glance into the seeing-stone, and suffers a mental attack from Sauron himself. Gandalf deduces that Sauron will attack 's capital. He rides there to warn them, taking Pippin with him because Sauron believes Pippin is the ring bearer. Meanwhile, and are led by to where they witness the leading an army to drive Denethor's younger son from Gondor's final defences along the river. The hobbits begin climbing a precarious stair carved in the cliff face that will take them into Mordor via a 'secret way'. But having overheard Gollum's plot to regain the Ring, Sam keeps a suspicious eye on him. The Lord of the Rings: The Return of the King. Friday November, 24 2017 at 03:30 PM Monday January, 1 2018 at 04:00 PM Sunday January, 21 2018 at 09:00 AM Sunday January, 21 2018 at 12:00 PM. Films in BOLD will Air on TCM *| VIEW TCMDb ENTRY. The skies are thick with myths, archetypes and long-spanned. Sauron's army strikes and overwhelms the city of, forcing Faramir and his garrison to retreat back to Minas Tirith. While helping Théoden gather his forces, Aragorn is approached by who informs him is dying. Following a vision of her, she refused to leave Middle Earth. Elrond gives Aragorn the sword, 's sword Narsil reforged, so he can reclaim his birthright while gaining reinforcements from the. Joined by Legolas and Gimli, Aragorn travels to the, recruiting the Army of the Dead. ![]() Faramir is gravely wounded after a futile effort to retake Osgiliath, and believing his son to be dead, Denethor falls into madness. Gandalf is left to command the city defences against the Orc army led. But as Gothmog's forces eventually force their way into the city, Denethor attempts to kill himself and Faramir on a. Pippin alerts Gandalf and they save Faramir, but Denethor leaps to his death from the top of Minas Tirith just before Théoden and his nephew,, arrive with the Rohirrim. Initially, the Rohirrim have the advantage at the, but are eventually overwhelmed by the -riding while the Witch-king mortally wounds Théoden. Though Théoden's niece, having posed as a male soldier, battles and slays the Witch-King with Merry's help, Théoden dies of his wounds. Aragorn arrives with the Army of the Dead, they overcome the Orcs and win the battle. Aragorn and the other captains of Men decide to lead all who can march upon the Black Gate as a distraction, so Frodo and Sam can get to. Gollum disposes of the last of the pair's food, blaming Sam. Frodo leaves Sam behind before they arrive at the, and is then tricked into venturing into the lair of the giant spider. Frodo narrowly escapes but is confronted by Gollum. Frodo tells Gollum that he must destroy the Ring for both of their sakes. ![]() Enraged, Gollum falls down a chasm after trying to take the Ring. Frodo continues on but is soon discovered by Shelob, who paralyses and binds Frodo. However, Sam arrives and drives Shelob away. Believing Frodo to be dead, Sam hides as orcs appear and learns from them that his friend is still alive, before the goblins take Frodo's body with them. Sam follows the Orcs into the Tower of Cirith Ungol, determined to rescue Frodo. Once there, he finds that competing bands of Uruks and Morgul Orcs had rioted and killed one another over the possession of Frodo's Mithril coat, thus providing an opportunity for Sam to escape the tower with Frodo who had awoken shortly before. Aragorn's army and empties Mordor, allowing the exhausted Hobbits to stagger to the volcano, but they are attacked by Gollum just as they reach Mount Doom. Frodo finally succumbs to the Ring's power and claims it as his own, refusing to destroy it. Gollum attacks Frodo and bites his finger off to reclaim the Ring, but Frodo fights back and knocks Gollum, who is holding the Ring, into the volcano. Both Frodo and Sam then escape the volcano. The Ring and Sauron are both destroyed, causing a chain-reaction that consumes the mountain, topples, and kills most of the fleeing Orcs as the ground crumbles beneath them. Gandalf flies in with to rescue the Hobbits, who awaken later in Rivendell and are reunited with the surviving Fellowship members. Aragorn is crowned King of Gondor and takes Arwen as his queen. The Hobbits then return to the where Sam marries. Frodo, unable to cope with the traumas of his journey, departs Middle Earth for the with his uncle, Gandalf, and the Elves. He leaves Sam the which details their adventures. Though saddened by Frodo's departure, Sam is gladdened by the warm welcome he receives from his new family upon returning home. Further information: Like the preceding films in the trilogy, The Return of the King has an, and some of the cast and their respective characters include: • as: a young who continues his quest to destroy the. • as: Frodo's loyal hobbit gardener and companion. • as: a (one of the Istari) who travels to aid the Men of, acting as a general at the Siege of Gondor. • as: a ranger with claims to the throne of Gondor. • as: Elrond's daughter and Aragorn's true love. • as: the Dark Lord of and the Ring's true master, who is waging war across Middle-Earth once more. • as: the Elven-Queen of and Arwen's maternal grandmother, who is aware the time of the is at an end. • as: a warrior and companion to Aragorn along with Legolas. Rhys-Davies also voices: the leader. • as: the King of who, after triumphing at, is preparing his troops for the. • as: a hobbit who came along with his cousin Frodo and is now caught in the wars. • as: another cousin of Frodo's who becomes an esquire of Rohan. • as: an elven prince of Mirkwood and skilled archer who aids Aragorn in his quest to reclaim the throne. • as: the Elven-King of and father of Arwen. • as: Théoden's niece, who wishes to prove herself in battle and starts to fall in love with Aragorn. • as: a prince of the and Captain of the defending, who seeks his father's love in vain. • as: Éowyn's brother, who serves as Chief Marshal of the Riders of Rohan and heir to his uncle's throne. • as: the Steward of Gondor and father of Faramir and Boromir, whose grief over Boromir's death and despair over Mordor's superior numbers drive him into madness during the Siege of Gondor. • as: a wretched and treacherous hobbit-like creature who kept the Ring for centuries and now guides Frodo and Sam into Mordor. • as: Frodo's elderly uncle, who has rapidly aged after giving away the Ring. • as: the Elven-King of. • as: the lord of the, who leads 's assault on. Makoare also plays: an Orc commander, who is voiced. • as: Sméagol's cousin. The following appear only in the Extended Edition • as: an Istari wizard, formerly the head of the Istari Order and its, who is now trapped by Treebeard until he is killed by his own servant,. • as: Saruman's, treacherous servant, who is shot by Legolas after stabbing his own master. • as: Sauron's ambassador at the. • as: Faramir's older brother, who appears in a flashback to when Pippin explains to Denethor that he died to save him and Merry; and very briefly in the Extended Edition as an illusion to Denethor, smiling and walking proudly towards him before vanishing. There are also from,,, and on the Corsair ship, although all of them but Jackson appear only in the Extended Edition. Jackson also has another unofficial cameo, as Sam's hand stepping into view when he confronts Shelob. 's daughter played Sam and Rosie's older daughter Elanor in the last scene of the film; in the same scene, 's daughter plays their younger daughter. Jackson's children also cameo as Gondorian extras, while played a Gondorian soldier guarding the Beacon Pippin lights, and is later seen wounded. Cameos as a Ranger in, while in the Extended Edition appears as a celebrating soldier at Edoras. Additionally, four of the designers of are featured as Rohirrim at the Pelennor. At the end of the film, during the closing credits, each cast member gets a sketched portrait morphed with the real photograph beside their name, which were sketched by, an idea suggested. Comparison with the source material [ ] As with all of Peter Jackson's movie adaptions of The Lord of the Rings, many events, timelines, and geographic distances are compressed or simplified. Most major events from the books are included, though some are omitted, others altered, and a few additional events and details are invented. The film version of The Return of the King contains major scenes that occurred in the middle portion of the novel The Two Towers but were not included in the film version, such as the attack by Shelob and the palantír subplot, owing to Jackson's realigning events of the film to fit the timeline as described in the book's Appendices, rather than the main prose. However, it is notable that the plot of the second half of is either completely omitted (chapter 'The Road to Isengard') or only shown in one scene (chapter 'The Voice of Saruman'). 's murder by (seen only in the Extended Edition) is moved into the Isengard visit because of the cutting of the. In the film, Saruman drops the palantír when he is fatally attacked, whereas in the book Gríma throws it at the Fellowship, unaware of its value. In the film, all journeys of the companions from to are compressed and simplified, as the entire company travels from Isengard to and arrives there simultaneously to recuperate after the. Pippin's looking into the palantír happens in Edoras, and he and Gandalf leave for Minas Tirith from there, but in the book this takes place at with the appearance of a on a winged steed, and they stay at Edoras only one night. In contrast to the film, Aragorn and Théoden march from Dol Baran to to take a night's rest. It is in the where Aragorn looks into the Palantír (as opposed to the film's Extended Edition, in which he does so much later in Minas Tirith after the ) and decides to take the. In the film, Aragorn and Theóden depart not before their encampment at, but in the book, Aragorn and the Dúnedain (which are absent in the film) ride from Helm's Deep over the fields to Edoras and then to Dunharrow and the, whereas in the book, Théoden takes slower mountain paths and arrives in Dunharrow after Aragorn and his companions have already left. Théoden is seen to set out directly from Dunharrow to Minas Tirith, omitting his brief return to Edoras from Dunharrow to muster all remaining forces there, as told in the book. The sequence of the Paths of the Dead adds a conversation between Aragorn and the King of the Dead (in the book the Dead don't speak at all) and a scene where the companions must flee an avalanche of skulls, but leaves out the encounter with Baldor's skeleton. In contrast to the book, the viewer doesn't get told what happened in between Aragorn and the. The film version (Extended Edition) doesn't correspond with the map of Gondor, as the company sees a near river with Corsair ships immediately after leaving the Haunted Mountain. In the book, the River lies several hundred miles farther east, requiring a much longer journey with the Army of the Dead following behind, bringing terror to the towns they pass along the way. The basis of and 's subplot arguing about Arwen's fate is derived from the Appendices, but it is largely extended in the film, as is Arwen and Elrond's relevance to the story., the, was a more tragic character in the book. In the film, overwhelming grief over the death of has driven him to despair, and he has given up any hope of defeating Sauron before Gandalf arrives in Minas Tirith. Thus, the muster of Gondor is absent from the film, and major captains and generals (including of the Tower Guard and the Knights of ) are not present. In the book, he has already ordered the lighting of the beacons before Gandalf's arrival, while he refuses to light them in the film, and the sequence where Pippin secretly lights them himself was invented for the movie. The film only hints at Denethor's use of the palantír which drives him mad, information revealed in the Pyre scene, which includes Shadowfax and is more violent than the book. Aware of the very long distance between and the front of the out-thrust battlement, Jackson has Denethor jump off the Citadel in addition to burning himself on the Pyre, one of the earliest changes. The which encircles the isn't shown in the film, and the fields themselves are empty grassland in the films, instead of being rich farmland dotted with small villages in the book. The is also altered: though Faramir goes on a suicide mission, the conflict is a simplification of the siege of. With generals such as and absent, Gandalf commands the defence of Minas Tirith owing to Denethor's despair. While Denethor gives command to Gandalf in the book, in this film Gandalf forcibly takes control after Denethor tells his men to flee rather than fight. The Orcs and Trolls also never get into the city in the book. The Witch-king enters and stands off against Gandalf before the Rohirrim arrive, but in the film Orcs invade the city after breaks the Gate. The confrontation takes place while Gandalf journeys to save Faramir, during which Gandalf has his staff broken in the film (but not in the book). A subplot in which the Rohirrim are aided by the primitive during their journey to the besieged Gondor is excised from the film. The brought by a messenger from Gondor to ask for aid is absent. Éowyn's presence on the battlefield is unknown to the reader until she takes off her helmet, but in the film the audience is aware, as it would have been difficult to have playing a man. When hope seems lost, Gandalf comforts Pippin with a description of the Undying Lands, which is a descriptive passage in the book's final chapter. The film depicts the fighting in the Battle, whereas in the book they are released from service prior to this, after helping Aragorn defeat the at the port city of in; Aragorn's reinforcements are merely more Gondorians, and the, Aragorn's people (the ). An unstoppable and invulnerable force, the Dead wipe out Sauron's forces. The film also cuts out several supporting characters, such as, a friend of Aragorn's, who helps lead the Dúnedain,, a member of the Citadel Guard of Gondor, whom Pippin befriends, and, the twin sons of Elrond who deliver Aragorn's banner and accompany him to the Pelennor Fields. Elladan and Elrohir are replaced by Elrond in the film, instead delivering in Dunharrow, and then returning to Rivendell. In the books Aragorn isn't doubtful about his destiny, but had already decided to claim the throne of Gondor from the beginning of the Quest; thus, it was he who had the shards of Narsil forged to Andúril in Rivendell, carrying it from there on the whole journey. The film also altered the circumstances of Théoden's death; his death speech, in which he names Éomer the new king in the book, is trimmed and delivered to Éowyn instead of Merry, with an earlier scene in the Extended Edition even implying that Éowyn is next in line for the throne. Théoden's rallying speech ('To death!' ) before the initial charge in the film are spoken by Éomer in the book when he believes that both Théoden and Éowyn have been killed in combat with the Witch King. The Extended Edition presents shortened scenes from the book's chapters in the: The Warden, the talk of, the comical conversation with the herb-master, the woman and her saying about a King's healing hands and the subsequent realizing of Aragorn's true identity are left out altogether. In the film Aragorn leads the entire remaining force of Rohan and Gondor's men to the Black Gate without incident. In the book tactics are discussed, forces divide and fight smaller skirmishes in and before the army (only a fraction of the full remaining strength of the nations of men) reach the Morannon. The romance that develops between Éowyn and Faramir during their recoveries in the Houses of Healing is also largely cut, presumably to keep the focus on; the subplot is only briefly referenced in the Extended Edition with a scene where the two hold hands. Sam and Frodo's major rift in their friendship, due to Gollum's machinations, never takes place in the book, but was added by the writers in believing that it added drama and more complexity to the character of Frodo. Frodo enters Shelob's lair alone in the film, whereas in the book he and Sam entered together. This was done to make the scene more horrific with Frodo being alone, and Sam's rescue at the last minute more dramatic. Frodo's ordeal in and subsequent rescue by Sam are also changed; in, Frodo is stripped, beaten, and cruelly interrogated by the Orcs, while in the film, he is tied up but only briefly threatened by an Orc moments before Sam's arrival. The reunion of Frodo and Sam in the film is also shorter and less emotional than in the book; rather than comforting the physically injured and severely traumatized Frodo as in the book, Sam, after killing the Orc that was threatening Frodo but had not struck him, briefly accepts his apology for having doubted him and returns the Ring to him before suggesting that they find some Orc clothing for Frodo to wear. In the film, Sam also does not experience 'delusions of grandeur' about what he could do if he took the Ring for himself, like he does in the book. Sam instead overcomes a very brief moment of temptation which, instead of stemming from thoughts of how he could use the Ring for himself, seems to come from his concern for Frodo and wish to reduce the Ring's harm to his friend by sharing the burden. Also, in the film viewers do not know that Sam has the Ring until he gives it back to Frodo, whereas in the book the reader knows that Sam has the Ring. When Sam and Frodo are diverted into the Orc march in and are about to collapse, in the film's Extended Edition they start a fake combat between each other and thus provoke some chaos during which they manage to escape, instead of slipping off during a congestion caused by several armies trying to get through the narrow Isenmouthe, as told in the novel. Gollum's fall into the lava of Mount Doom was also rewritten for the film, as the writers felt Tolkien's original idea (Gollum simply slips and falls off) was anti-climactic. Originally, an even greater deviation was planned: Frodo would heroically push Gollum over the ledge to destroy him and the Ring, but the production team eventually realised that it looked more like Frodo murdering Gollum. As a result, they had Frodo and Gollum struggle for possession of the Ring and both slip over the edge by accident. In addition to the absent footage from the film are the other major attacks by Sauron on various regions of Middle-earth, referenced only briefly in the main text of The Return of the King, and expanded upon in the Appendices; the invasion of Rohan by the Orcs of, the attacks on Lothlórien and the of by the forces of, and the attack on Dale and the by a force of. These events are hinted at in a comment by Legolas (also in the book) that the other peoples of Middle Earth will are unlikely to ride to war in Gondor because war has already arrived in their own lands. There are several changes in the Battle of the Black Gate: Merry is not present there in the book, Pippin does not kill a troll as he does in the novel (instead, Aragorn does), the eagles fight and defeat some of the mounted Nazgûl (while Frodo putting on the One Ring distracted the Nazgûl, who raced away to Mount Doom in the book before a confrontation could occur), and Aragorn kills the in the extended edition of the film but not in the book. There was an even larger change planned: Sauron himself would come out in physical form to battle Aragorn, who would only be saved by the destruction of the Ring. Jackson eventually realised it ignored the point of Aragorn's true bravery in distracting Sauron's army against overwhelming odds, and a computer generated Troll was placed over footage of Sauron in the finished film. In the book, after the destruction of the Ring the spirit of Sauron rises like a black cloud from the ruin of Barad-dûr before being blown away by the wind, but in the film the Eye of Sauron erupts in flame and then explodes as Barad-dûr collapses. As in all of Jackson's Middle-earth adaptions, the eagles do not speak. During the Battle for Minas Tirith, the is shown to bear one white blossom, thus blooming by itself at Aragorn's coronation. Thereby the film ignores the book's story where Gandalf and Aragorn find a seedling of the white tree up in the mountains and plant in the courtyard in place of the still-dead tree. Although the film runs for another approximately 20 minutes after the climactic Downfall of Barad-dûr, many following events from the book are omitted or significantly altered in the film. Aragorn's coronation takes place in form of a great ceremony in the Citadel of Minas Tirith, opposed to the book, where Aragorn is crowned in his tent on the Pelennor Fields before entering the City. Omitted entirely are the camp at the, Aragorn's business in Minas Tirith, Aragorn and Arwen's wedding, and being present at the ceremonies and their subsequent travelling along the company, Théoden's funeral at Edoras, the complete journey back to the with stops at Rivendell and Bree, and the, which was always seen by the screenwriters as anti-climactic. Since Saruman is killed long before, after the battle at Helm's Deep in the film, he is unable to exact revenge on Frodo and the hobbits by ruining the Shire as depicted in the books. In the film, the Shire is virtually unchanged when they return, and their friends and neighbors seem unaware of the climactic events that have taken place outside of their borders. Thus, the esteem earned by Merry and Pippen at the and the work to restore the Shire using Galadriel's gift don't appear in the film. At the end of the book, Frodo and Sam leave the Shire alone, meet Galadriel, Elrond and Bilbo along the way at the, and meet Gandalf at the, with Merry and Pippin arriving just in time to say their farewells and accompany Sam back to. In the film, however, all of the Hobbits travel with Gandalf to the Havens to find Bilbo and the Elves waiting there, including Celeborn, who remains in Middle-Earth in the book. When Sam returns to the Shire, he isn't shown to live in (where he dwells with in the book), but in a different Hobbit-hole of his own. Production [ ] The Lord of the Rings film trilogy is unusual in that it was, up until the release of Jackson's prequel trilogy, the only series whose separate instalments were written and shot simultaneously (excluding ). Jackson found The Return of the King the easiest of the films to make, because it contained the climax of the story, unlike the other two films. The Return of the King was originally the second of two planned films under from January 1997 to August 1998, and more or less in its finished structure as the first film was to end with The Two Towers' Battle of Helm's Deep. Filming took place under multiple units across New Zealand, between 11 October 1999 and 22 December 2000, with pick up shoots for six weeks in 2003 before the film's release. The city of Minas Tirith was built from parts of the set of Helm's Deep, while the wide shots were from miniatures. As envisioned by Jackson was primarily designed by Alan Lee and John Howe, former Tolkien illustrators, and created by, who handled all the trilogy's weapons, armour, miniatures, prosthetics and creatures, as well as the Art Department which built the sets. Richard Taylor headed Weta, while and organised the planning and building respectively. The city of Minas Tirith, glimpsed briefly in both the previous two films, is seen fully in this film, and with it the Gondorian civilisation. The enormous soundstage was built at Dry Creek Quarry, outside, from the set. That set's gate became Minas Tirith's second, while the Hornburg exterior became that of the Extended Edition's scene where Gandalf confronts the Witch-king. New structures included the 8m tall Gate, with broken and unbroken versions, with a working opening and closing mechanism, with its engravings inspired by the. There were also four levels of streets with heraldic motifs for every house, as inspired. There was also the Citadel, the exterior of which was in the Stone Street Studios backlot, using. It contains the withered, built from polystyrene by Brian Massey and the Greens Department with real branches, influenced by ancient and gnarled Lebanese olive trees. The interior was within a three-story former factory in Wellington, and colour wise is influenced by, with a throne for Denethor carved from stone and polystyrene statues of past. The Gondorian armour is designed to represent an evolution from the of the first film's prologue, with a simplified sea bird motif. 16th-century Italian and German armour served as inspiration, while civilians wear silver and blacks as designed by Ngila Dickson, continuing an ancient/medieval look. Minas Morgul, the Staircase and Tower of Cirith Ungol as well as Shelob's Lair were designed by Howe, with the Morgul road using forced perspective into a bluescreened miniature. Howe's design of Minas Morgul was inspired from the experience of having a pulled out: in the same way, the Orcs have put their twisted designs on to a former Gondorian city. Cirith Ungol was based on Tolkien's design, but when Richard Taylor felt it as 'boring', it was redesigned with more tipping angles. The interior set, like Minas Tirith, was built as a few multiple levels that numerous camera takes would suggest a larger structure. The third film introduces the enormous spider. Shelob was designed in 1999, with the body based on a and the head with numerous growths selected by Peter Jackson's children from one of many sculpts. Jackson himself took great joy in planning the sequence, being an himself. Shelob's Lair was inspired by sandstone and sculpted from the existing Caverns of Isengard set. The Return of the King also brings into focus the Dead Men of Dunharrow and the evil Haradrim from the south of Middle-earth, men who ride the mûmakil. The Dead Men have a Celtic influence, as well as lines and symmetry to reflect their morbid state, while their underground city is influenced. The Haradrim were highly influenced by African culture, until Philippa Boyens expressed concern over the possibility of offensiveness, so the finished characters instead bear influence from, in terms of weaving armour from bamboo, and the Aztecs, in use of jewellery. Also built was a single dead mûmak. Other minor cultures include the Corsairs, with an exotic, swarthy look, and the Grey Havens, Elven structures adapted to stone, with influence from paintings. Principal photography [ ] The Return of the King was shot during 2000, though Astin's coverage from Gollum's attempt to separate Frodo and Sam was filmed on 24 November 1999, when floods in interrupted the focus on The Fellowship of the Ring. Some of the earliest scenes shot for the film were in fact the last., home of the Hobbits, was shot in January 2000 with early scenes from The Fellowship of the Ring, with the exterior shot at a farm, while interior scenes shot at Stone Street Studios in, shared with the Grey Havens sequence. Due to the high emotions of filming the scene, the cast were in despair when they were required to shoot it three times, due to a continuity flaw in 's costume, and then negatives producing out-of-focus reels. Also shared with the previous films was the Rivendell interior in May. The Battle of the Black Gate was filmed in April at the, a former minefield. New Zealand soldiers were hired as extras while guides were on the lookout for unexploded mines. Also a cause for concern were Monaghan and Boyd's scale doubles during a charge sequence. In the meantime, Wood, Astin and Serkis filmed at for the Mount Doom exteriors. In particular, they spent two hours shooting Sam lifting Frodo on to his back with cross. Scenes shot in June were the Paths of the Dead across various locations, including. In July the crew shot some Shelob scenes, and in August and September time was spent on the scenes in Isengard. Monaghan and Boyd tried numerous takes of their entrance, stressing the word 'weed' as they smoked. Christopher Lee spent his part of his scene mostly alone, though McKellen and Hill arrived on the first day for a few lines to help. Edoras exteriors were shot in October. The Ride of the Rohirrim, where leads the charge into the Orc army, was filmed in with 150 extras on horseback. The Battle of the Pelennor Fields has more extensive use of, in contrast to the more extensive use of live action in the in the second film. Also filmed were the attempts by Faramir to recapture, as were scenes in the city itself. At this point production was very hectic, with Jackson moving around ten units per day, and production finally wrapped on the Minas Tirith sets, as well as second units shooting parts of the siege. Just as the Hobbit actors' first scene was hiding from a Ringwraith under a tree, their last scene was the reaction shot of the inhabitants of Minas Tirith bowing to them. Pick-ups [ ] The 2003 pick-ups were filmed in the studio car park, with many parts of sets and blue-screens used to finish off scenes, which the design team had to work 24 hours to get the right sets ready for a particular day. The shoot continued for two months, and became an emotional time of farewells for the cast and crew. The film has the most extensive list of re-shoots given for the trilogy. Jackson took his time to re-shoot Aragorn's coronation, rushed into a single day under second unit director Geoff Murphy on 21 December 2000. Jackson also re-shot scenes in and around Mount Doom, and Théoden's death, right after Bernard Hill was meant to wrap. There was also the new character of Gothmog. This was a major new design addition for the film, as Jackson felt the Mordor Orcs were 'pathetic' compared to the of the second film after watching assembly cuts, and thus created grotesque new 'über Orcs' as antagonists for the audience to focus on. Also redesigned the Witch-king and all of his scenes were re-shot, because of confusion from non-readers over whether or not Sauron was on the battlefield. With the positive response to Bloom, Legolas was given a fight with a mûmak, and also appeared in a cameo during Legolas and Gimli's drinking game at Edoras. The final scenes shot were Aragorn escaping the Skull avalanche, and Frodo finishing his book. The cast also received various props associated with their characters, although burned his final Gimli prosthetic. The stunt team goodbye. Pick-ups ended on 27 June 2003. Scenes shot afterwards included various live-action shots of Riders for the Battle of the Pelennor Fields and a reaction shot of Serkis as Gollum finally realises Frodo intends to destroy the Ring, shot in Jackson's house. For the Extended DVD, in March 2004 Jackson created a few shots of skulls rolling over for the avalanche scene; this was the final piece of footage ever shot for the trilogy, and Jackson noted that it must be the first time a director had shot scenes for a film after it had already won the Oscar. Editing [ ] began in November 2002, with the completion of the 4½ hour assembly cut of the film that had been completing over 2001 and 2002, from 4-hour dailies. For example, Théoden leading the charge went from 150 minutes of takes to a finished 90 seconds. Jackson reunited with longtime collaborator to edit the final film. Like The Two Towers, they would have to deal with multiple storylines, and Jackson paid attention to each storyline at a time before deciding where to intercut. Most importantly they spent three weeks working on the last 45 minutes of the film, for appropriate intercutting and leaving out scenes such as the Mouth of Sauron, and the fates of characters like Legolas, Gimli, Éowyn and Faramir. The film inherited scenes originally planned to go into the second film, including the reforging of, Gollum's backstory, and Saruman's exit. But the Saruman scene posed a structural problem: killing off the second film's villain when the plot has Sauron as the main villain. Despite pick-ups and dubs, the scene was cut, causing controversy with fans and Saruman actor Christopher Lee, as well as a petition to restore the scene. Lee nonetheless contributed to the DVDs and was at the premiere, although he said he would never understand the reason for the cut and his relationship with Jackson was chilly. They would, however, later reconcile upon Lee's casting in Jackson's Hobbit films. Jackson only had a lock on 5 out of 10 reels, and had to churn out 3 reels in 3 weeks to help finish the film. It was finally completed on 12 November 2003. Jackson never had a chance to view the film in full due to the hectic schedule, and only saw the film from beginning to end on 1 December at the premiere; according to, his response was 'yup, it's good, pretty good'. Visual effects [ ]. Main article: The Return of the King contains 1,488 visual effect shots, nearly three times the number from the first film and almost twice that of the second. Visual effects work began with and Mark Lewis compositing various photographs of New Zealand landscape to create the digital arena of the in November 2002. Gary Horsfield also created a digital version of the Barad-dûr during his Christmas break at home by himself, for the film's climax. In the meantime, Jackson and used computers to plan the enormous battle up until February 2003, when the shots were shown to Weta Digital. To their astonishment, 60 planned shots had gone up to 250, and 50,000 characters were now 200,000. Nevertheless, they pressed on, soon delivering 100 shots a week, 20 a day, and as the deadline neared within the last two months, often working until 2 am. For the battle, they recorded 450 motions for the digital horses (though deaths were animated), and also had to deal with late additions in the film, such as Trolls bursting through Minas Tirith's gates as well as the creatures that pull Grond to the gate, and redoing a shot of two mûmakil Éomer takes down that had originally taken six months in two days. On a similar note of digital creatures, Shelob's head sculpture was scanned by a Canadian company for 10 times more detail than Weta had previously been able to capture. Like the previous films, there are also extensive morphs between digital doubles for the actors. This time, there was Sam falling off Shelob, where the morph takes place as Astin hits the ground. Legolas attacking a mûmak required numerous transitions to and fro, and Gollum's shots of him having recovered the One Ring and falling into the Crack of Doom were fully animated. The King of the Dead is played by an actor in prosthetics, and his head occasionally morphs to a more skull-like digital version, depending on the character's mood. The Mouth of Sauron also had his mouth enlarged 200% for unsettling effect. The Return of the King also has practical effects. In the Pyre of Denethor sequence, as the Steward of Gondor throws Pippin out of the Tomb, threw a named Fon onto a prostrate, who immediately pushed his head into camera to complete the illusion. A few burning torches were also reflected off a plate of glass and into the camera for when Gandalf's horse kicks Denethor onto the pyre. Because of Jackson's requirement for complete representation of his fantasy world, numerous miniatures were built, such as 1:72 scale miniature of Minas Tirith, which rises 7m high and is 6.5m in. 1:14 scale sections of the city were also required, and the Extended Edition scene of the collapsing City of the Dead has 80,000 small skulls, amounting in total to a single cubic meter. The miniatures team concluded in November with the Black Gate, after 1000 days of shooting, and the final digital effects shot done was the Ring's destruction, on 25 November. Sound effects [ ] The Sound department spent the early part of the year searching for the right sounds. A was Shelob's shriek, which in turn gave inspiration for Weta's animators, while the mûmakil is the beginning and end of a lion roar. Human screams and a donkey screech were mixed into Sauron's fall and broken glass was used for the collapsing sounds. For missile trading during Minas Tirith's siege, construction workers dropped actual 2 ton stone blocks previously lifted by a construction crane. Mixing began at a new studio on 15 August, although unfinished building work caused some annoyances. The mixers finished on 15 November, after three months of non-stop work. Written by Fran Walsh, Howard Shore, and Annie Lennox, this selected song won the for at the. It also won a for. Problems playing this file? The music was composed by, who previously composed the first two parts of the trilogy. Shore watched the assembly cut of the film, and had to write seven minutes of music per day to keep up with the schedule. The score sees the full introduction of the Gondor theme, originally heard during Boromir's speeches at the in The Fellowship of the Ring and at Osgiliath in The Two Towers ' Extended Edition. Shore also used the Gondor theme with the new ascending coda (which is unique to this film) in his score for the trailer of the film. The score features the,, London Oratory School Schola and featured vocal soloists. The score is the most expansive of the three: scoring effectivelly the entire movie length, not including additional music written for the trailer and various alternate versions released to the public. It also uses the biggest forces in the series: sections of the score call for two sets of timpani, eight trumpets (and possibly a similar increase in the size of the horn, trombone and tuba section, as well), 85 singers in the mixed choir with additional players for all-male and all-female sections, over fifty in the boy choir and many instrumentalist 'bands' playing celtic and eastern instruments such as tin whistle or pan flute, on stage or off of it. One piece of music required an instrument invented and crafted especially for the film: a fiddle with four pairs of strings instead of single strings. Actors Billy Boyd, Viggo Mortensen and Liv Tyler also contributed to the film's music. Boyd sings on screen as Faramir charges towards Osgiliath, Mortensen sings on screen as he is crowned King, and in the Extended Edition Tyler sings as Aragorn heals Éowyn., Ben Del Maestro, and also contribute to the soundtrack as featured soloists. Fleming sings as Arwen has a vision of her son and when Gollum recovers the One Ring. Del Maestro sings when Gandalf lights his staff to save fleeing Gondorian soldiers from Osgiliath as the Nazgûl attack and as the eagles arrive at the Black Gates. Galway plays the flute and whistle as Frodo and Sam climb Mount Doom and as they return to the shire. Sissel sings 'Asea Aranion', which was originally meant the score the Houses of Healing scene. The end title song, ', was composed by Shore with lyrics by Fran Walsh. (formerly of ) performed it and also received songwriting credit. The song was partially inspired by the premature death from cancer of a young New Zealand filmmaker named who had befriended Peter Jackson. Release [ ] After two years of attention and acclaim since the release of, audience and critical anticipation for the final instalment was extremely high. The world premiere was held in 's, on 1 December 2003, and was attended by the director and many of the stars. It was estimated that over 100,000 people lined the streets, more than a quarter of the city's population. Home media [ ] The theatrical edition of the film was released on VHS and DVD in May 25, 2004. The DVD was a 2-disc set with extras on the second disc. The theatrical DVD sets for the two previous films were released eight months after the films were released, but Return of the King's set was completed in five because it did not have to market a sequel (the previous films had to wait for footage of their sequels to become available for a ten-minute preview). However, it contained a seven-minute trailer of the entire trilogy. The Return of the King followed the precedent set by its predecessors by releasing an Extended Edition (251 minutes) with new editing and added special effects and music, along with four commentaries and six hours of supplementary material, plus 10 minutes of fan-club credits. However, this set took longer to produce than the others because the cast and crew, no longer based in New Zealand for the trilogy, were spread all over the world working on other projects. The set was finally released in December 14, 2004 in the UK and US. The final ten minutes comprises a listing of the charter members of the official fan club who had paid for three-year charter membership. A collectors' box set was also released, which included the Extended Set plus a sculpture of Minas Tirith and a bonus 50-minute music documentary DVD, Howard Shore: Creating The Lord of the Rings Symphony: A Composer's Journey Through Middle-earth. The DVD has a soundtrack. The DVD also features two humorous, one where Dominic Monaghan plays a German interviewer with Elijah Wood via satellite and another where and attempt to convince Jackson to make a sequel, originally shown at the 2004 MTV Movie Awards. Both can be accessed via a Ring icon on the last page of both Disc 1 and 2's scene indexes. In August 2006, a Limited Edition of The Return of the King was released. This Limited Edition contains two discs; the first is a containing both the Theatrical and Extended editions of the film. The second disc is a bonus disc that contains a new behind-the-scenes documentary. The theatrical Blu-ray release was released in the United States in April 2010. The individual Blu-ray disc of The Return of the King was released in September 2010 with the same special features as the complete trilogy release, except there was no digital copy. The Extended Edition was released in the United States in June 2011. It has a runtime of 263 minutes. Reception [ ] Box office [ ] The film earned $377,845,905 in the United States and Canada and $742,083,616 in other countries for a worldwide total of $1,119,929,521. Worldwide, it is the when not adjusted for inflation, the, and the highest-grossing instalment in. It was the second film in history to earn over $1 billion, making it the second highest-grossing film at the time. Estimates that the film had sold over 61 million tickets in the US in its initial theatrical run. In the US and Canada, it is the 27th highest-grossing film, the highest-grossing 2003 film, and the highest-grossing installment in The Lord of the Rings trilogy. The film set an opening Wednesday record with $34.5 million. This record was first surpassed by and ranks as the seventh largest Wednesday opening. The film opened a day earlier for a midnight showing and accounted for about $8 million. This was nearly twice the first-day total of — which earned $18.2 million on its opening day in 2001 — as well as a significant increase over — which earned $26.1 million on its debut in 2002. Part of the grosses came from the Trilogy Tuesday event, in which the Extended Editions of the two previous films were played on 16 December before the first midnight screening. It went on to make an opening weekend of $72.6 million ($124.1 million with weekday previews). Its Friday-Sunday opening weekend was a record-high for December (first surpassed by ). The film also set single-day records for Christmas Day and New Year's Day (both first surpassed by ). Outside the US and Canada, it is the 17th highest-grossing film, the highest-grossing 2003 film and the highest-grossing film of the series. On its first day (Wednesday, 17 December 2003), the film earned $23.5 million from 19 countries and it set an opening-weekend record outside the US and Canada with $125.9 million during the 5-day weekend as a whole. It set opening-day records in 13 of them, including the United Kingdom, Germany, Austria, Belgium, the Netherlands, Spain, Greece, Switzerland, Scandinavia (as well as separately in Sweden, Finland, Norway, and Denmark), Mexico, Chile, and Puerto Rico. It set opening-weekend records in the United Kingdom ($26.5 million in five days), Germany, Spain, Sweden, Denmark, and Switzerland. In New Zealand, where filming took place, the film set opening day, opening weekend, single-day, Friday gross, Saturday gross, and Sunday gross records with $1.7 million in four days. The substantial increase in initial box office totals caused optimistic studio executives to forecast that The Return of the King would surpass The Two Towers in total earnings. If this proved to be true, then this would be the first blockbuster movie trilogy for each successive film to earn more at the box office than its predecessor, when all three films were blockbuster successes. The Return of the King has helped The Lord of the Rings franchise to become the highest-grossing motion picture trilogy worldwide of all time with $2,917,506,956, beating other notable ones such as the, and surviving from being out-grossed by subsequent trilogies like and, despite ticket price inflation. These figures do not include income from DVD sales, TV rights, etc. It has been estimated that the gross income from non-box office sales and merchandise has been at least equal to the box office for all three films. If this is so, the total gross income for the trilogy would be in the region of $6 billion following an investment of $300 million ($426 million including marketing costs). Critical response [ ] The Return of the King holds a 95% 'Fresh' rating on the aggregate review site, based on 262 reviews, with an average score of 8.7/10. The site's main consensus reads 'Visually breathtaking and emotionally powerful, The Lord of the Rings: The Return of the King is a moving and satisfying conclusion to a great trilogy'. The film holds a score of 94 out of 100 on, based on 41 reviews, indicating 'universal acclaim'. Of the gave three and a half stars out of four saying, 'Return of the King' is such a crowning achievement, such a visionary use of all the tools of special effects, such a pure spectacle, that it can be enjoyed even by those who have not seen the first two films.' Of named it the best film of the year. The main criticism of The Lord of the Rings: The Return of the King was its running time, particularly the epilogue; even rave reviews for the film commented on its length. Of said in his review for the film (which he gave an 'A'): 'If it didn't take forty-five minutes to end, it'd be my best picture of the year. As it is, it's just one of the great achievements in film history.' There was also criticism regarding the Army of the Dead's appearance, rapidly ending the Battle of the Pelennor Fields. In February 2004, a few months following release, the film was voted as No. 8 on 's 100 Greatest Movies of All Time, compiled from readers' top 10 lists. This forced the magazine to abandon its policy of only allowing films being older than 12 months to be eligible. In 2007, named The Return of the King the third best film of the past decade ( Total Film 's publication time), behind and. In polls conducted during the opening weekend, cinema audiences gave the film an average grade of 'A+' on an A+ to F scale. Accolades [ ] Academy Awards 1. From the original on 5 July 2015. Retrieved 4 July 2015. From the original on 27 November 2016. Retrieved 27 November 2016. From the original on 2 April 2014. Retrieved 6 December 2012. From the original on 15 September 2011. Retrieved 6 December 2012. From the original on 15 January 2014. Retrieved 6 December 2012. From the original on 1 February 2009. Retrieved 3 February 2009. Archived from on 11 June 2012. The San Francisco Chronicle. 30 December 2001. From the original on 6 November 2012. Rotten Tomatoes. From the original on 29 March 2010. Retrieved 24 March 2010. • Deke Parsons (31 October 2014).. The New York Times. Associated Press. 29 December 2003. Archived from on 15 June 2013. Retrieved 7 September 2008. • ^ Cameras in Middle-earth: Filming the Return of the King (DVD). New Line Cinema. • Dowling, Stephen (17 December 2003).. BBC News online. From the original on 10 May 2007. Retrieved 20 October 2006. From the original on 14 December 2007. Retrieved 18 June 2007. • Ian McKellen (2004). Cast Commentary (DVD). New Line Cinema. • ^ Finding the Story: Forging the Final Chapter (Special Extended Edition documentary) (DVD). New Line Cinema. Peter Jackson: A Film-maker's Journey. London: Harpercollins. • ^ Peter Jackson, Fran Walsh and Philippa Boyens (2004). Director/Writers' Special Extended Edition commentary (DVD). New Line Cinema. • Lee, Alana.. From the original on 4 March 2007. Retrieved 20 October 2006. • Watkin, Tim (12 August 2001).. New Zealand Herald. Retrieved 20 October 2006. Peter Jackson online transcript from Ain't It Cool News. Retrieved 24 October 2006. • ^ Designing and Building Middle-earth (Special Extended Edition documentary) (DVD). New Line Cinema. • ^ Weta Workshop (Special Extended Edition documentary) (DVD). New Line Cinema. • Ngila Dickson (2004). Costume Design (Special Extended Edition documentary) (DVD). New Line Cinema. • ^ Big-atures (Special Extended Edition documentary) (DVD). New Line Cinema. The Lord of the Rings: The Art of the Return of the King. • Cameras in Middle-earth: Filming the Fellowship of the Ring (DVD). New Line Cinema. • ^ 'Tehanu' (11 October 2000).. The One Ring.net. From the original on 12 September 2006. Retrieved 22 October 2006. • Samantha Sofka (15 March 2015).. 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New Line Cinema. • ^ Weta Digital (Special Extended Edition documentary) (DVD). New Line Cinema. • The Soundscapes of Middle-earth (DVD). New Line Cinema. • The 'fondest recollections' of the principal fiddler,, were from 'an eight strong trumpet session.' • • • Doug Adams,, pp. • Mercer, Phil (1 December 2003).. From the original on 15 January 2009. Retrieved 24 March 2010. • Gary Susman (9 June 2004).. Entertainment Weekly. From the original on 16 June 2007. Retrieved 17 February 2007. From the original on 25 February 2010. Retrieved 18 February 2010. • Calogne, Juan (23 June 2010).. From the original on 26 June 2010. Retrieved 28 November 2010. From the original on 30 May 2011. Retrieved 31 May 2011. From the original on 24 November 2012. Retrieved 26 November 2012. From the original on 19 July 2012. From the original on 24 August 2009. From the original on 20 July 2014. Box Office Mojo. From the original on 4 March 2016. Retrieved May 31, 2016. 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Monday January, 1 2018 at 04:00 PM Sunday January, 21 2018 at 09:00 AM Sunday January, 21 2018 at 12:00 PM Films in BOLD will Air on TCM *| The skies are thick with myths, archetypes and long-spanned story arcs coming home to roost in Peter Jackson's The Lord of the Rings: The Return of the King (2003). It isn't just a matter of concluding his epic, triumphant three-part film of J.R.R. Tolkien's landmark trilogy. Nor is it just about upping the ante with ever more massive battle sequences until good finally or at least provisionally --overcomes evil. It's a matter of resolution, of lives finally allowed to embark on paths heroically earned. And something more. When the Dark Towers of the evil wizard Sauron have finally crumbled, and the corrupting Ring has been cast into the fires of Mount Doom, out of reach for the foreseeable future, the beginning of the rule of Man over Middle-earth is overshadowed by the departure of Gandalf, Frodo and the Elves. A certain melancholy pervades that ending, making it a not altogether happy one. It has to do with the removal from an ancient world of an even more ancient magic. It's in keeping with the conservatism of that lifelong classicist and professor of Middle English, Tolkien, with his love of myth, especially of the ancient Nordic kind. His belief in myth's power to connect us to eternal truths and spirituality is what gives Lord of the Rings its weight and heft, even more than his ability to root his high-flying fantasy in the humanity of salt-of-the-earth types as well as heroic icons, and the particulars of human behavior, including idealism. The surprise is that in an age even more given to modernism than the one Tolkien decried, Jackson has been able to connect with the same deep sources that Tolkien has, taking the book apart and reconstituting it according to the laws of film, some of which Jackson wrote along the way, and some of which he certainly expanded. Anyone can tell you to see the nearly eleven hours of Lord of the Rings on as big a screen as you can. Size and scale matter here. But breadth and depth matter even more. These qualities have been underrated amid the waves of praise for Jackson's ability to overcome the daunting logistical difficulties of making the film with hordes of live bodies and even more pixels of computer enhancements superimposed upon the spectacularly primal and craggy landscapes of Jackson's native New Zealand an under-credited star of the film. Not since fellow New Zealander Vincent Ward's Vigil (1984) have those otherworldly mountains and gorges and deserts been so arrestingly deployed, to say nothing of being overlaid with gothic, medieval and renaissance visuals that suggest a collision between Breughel, Bosch and Leonardo. However, they remain far below the 2013 peaks. Furthermore, they are not expected to change much over the medium term since deeper trends continue to be at play, including China's rebalancing of its growth model from investment to lesscommodity-intensive consumption (Figure 1.1). • While external financial conditions. In a way, we create our own dimension, except for souls, they remain the same, and people don't age. A child will always be a child, and a grandfather will always remain a grandfather, yet everything around them can be altered and seen in the current form or according to our wish. I know.for you, it is difficult to understand. ![]() As the nation's most popular annual Bible commentary for more than 2 decades, the Standard Lesson Commentary provides 52 weeks of study in a single volume and combines thorough Bible study with relevant examples and questions. The NIV SLC Paperback Edition is perfect as the primary resource for an adult Sunday school class and personal study or as a supplemental resource for any curriculum that follows the ISSL/Uniform Series. Nearly 2 dozen ministers, teachers, and Christian education specialists provide the Bible commentary, lesson plans, discussion questions, and other features that make the Standard Lesson Commentary the most popular annual Bible commentary available. The Standard Lesson Commentary is based on the popular Uniform Series, also called the International Sunday School Lessons. This series, developed by scholars from several church fellowships, provides an orderly study of the Bible in a 6-year period. Books.google.me - Growth momentum in sub-Saharan Africa remains fragile, marking a break from the rapid expansion witnessed since the turn of the millennium. 2016 was a difficult year for many countries, with regional growth dipping to 1.4 percent—the lowest level of growth in more than two decades. Most oil exporters. Regional Economic Outlook, April 2017, Sub-Saharan Africa. ![]() Growth momentum in sub-Saharan Africa remains fragile, marking a break from the rapid expansion witnessed since the turn of the millennium. 2016 was a difficult year for many countries, with regional growth dipping to 1.4 percent—the lowest level of growth in more than two decades. Most oil exporters were in recession, and conditions in other resource-intensive countries remained difficult. Other nonresource-intensive countries however, continued to grow robustly. A modest recovery in growth of about 2.6 percent is expected in 2017, but this falls short of past trends and is too low to put sub-Saharan Africa back on a path of rising living standards. While sub-Saharan Africa remains a region with tremendous growth potential, the deterioration in the overall outlook partly reflects insufficient policy adjustment. In that context, and to reap this potential, strong and sound domestic policy measures are needed to restart the growth engine. ![]() ![]() |
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