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Tennis scoring system
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The Mens Final score for the 2005 singles taken place in San Jose at the SAP Open. The winner was Andy Roddick and the finalist was Cyril Saulnier
The tennis scoring system is a way to keep track of tennis matches and tournaments. Tennis competitions are organized by tournaments that offer matches for doubles and singles. The great majority are organized as a single-elimination tournament, with competitors being eliminated after one loss, and the overall winner being the last competitor without a loss. Optimally, such tournaments have a number of competitors equal to a power of two in order to fully fill out a single-elimination bracket. In many professional and top-level amateur events, the brackets are seeded according to a recognized ranking system, in order to keep the best players in the field from facing each other until as late in the tournament as possible; additionally, if byes are necessary because of a less-than-full bracket, those byes in the first round are usually given to the highest-seeded competitors.
A tennis match is composed of points, games, and sets. A set consists of a number of games (a minimum of six), which in turn each consist of points. A set is won by the first side to win 6 games, with a margin of at least 2 games over the other side (e.g. 6–3 or 7–5). There is usually a tie-break if the set is tied at six games per player. A match is won when a player or a doubles team wins the majority of prescribed sets. Matches employ either a best-of-three or best-of-five set format. The best-of-five set format is typically only played in the men's singles or doubles matches at Grand Slam and Davis Cup matches.
Contents
1 Game score
1.1 Description
1.2 History
1.3 Alternative ("no-ad") game scoring
2 Set score
2.1 Description
2.2 Comparison
2.3 Scoring a tiebreak game
2.3.1 History of the tiebreak
2.4 Alternative set scoring format
3 Match score
3.1 Description
3.2 Total points won
3.3 Total games won
4 Announcing the score
4.1 Variations and slang
5 Scorecards
6 Notes
7 References
Game score[edit]
Description[edit]
A game consists of a sequence of points played with the same player serving, and is won by the first side to have won at least four points with a margin of two points or more over their opponent. Normally the server's score is always called first and the opponent's score second. Score calling in tennis is unusual in that each point has a corresponding call that is different from its point value.
Number of points won
Corresponding call[1]
0 "love"
1 "15"
2 "30"
3 "40"
4 Game
For instance if the server has won three points so far in the game, and the non-server has won one, the score is "40-15".
When both sides have won the same number of points then: when each side has won one, or two, points, the score is described as "15-all" and "30-all" (or "15-up" and "30-up"), respectively. However, if each player has won three points, the score is called as "deuce", not "40–all". From that point on in the game, whenever the score is tied, it is described as "deuce", regardless of how many points have been played.
In standard play, scoring beyond a "deuce" score, in which both players have scored three points each, requires that one player must get two points ahead in order to win the game. This type of tennis scoring is known as "advantage scoring" (or "ads"). The side which wins the next point after deuce is said to have the advantage. If they lose the next point, the score is again deuce, since the score is tied. If the side with the advantage wins the next point, that side has won the game, since they have a lead of two points. When the server is the player with the advantage, the score may be called as "advantage in". When the server's opponent has the advantage, the score may be called as "advantage out". These phrases are sometimes shortened to "ad in" or "van in" (or "my ad") and "ad out" (or "your ad"). Alternatively, the players' names are used: in professional tournaments the umpire announces the score in this format (e.g. "advantage Nadal" or "advantage Williams").
In the USTA rule book (but not the ITF rules) there is the comment: ‘"Zero," "one," "two," and "three," may be substituted for "Love," "15," "30," and "40." This is particularly appropriate for matches with an inexperienced player or in which one player does not understand English.’[2]
For tie-breaks the calls are simply the number of points won by each player.
Tie break point score examples
Corresponding call
1–0 "One, zero"
4–3 "Four, three"
4–4, 5–5, 6–6, etc. "Four-all", "five-all", "six-all", etc.
4–7, 10–8, etc. "set"
The current point score is announced orally before each point by the judge, or by the server if there is no judge. When stating the score, the server's score is stated first. If the server (or the judge) announces the score as "30–love", for example, it means that the server has won two points and the receiver none.
History[edit]
The origins of the 15, 30, and 40 scores are believed to be medieval French. The earliest reference is in a ballad by Charles D'Orleans in 1435 which refers to quarante cinque ("forty-five"), which gave rise to modern 40. In 1522 there is a sentence in Latin "we are winning 30, we are winning 45". The first recorded theories about the origin of 15 were published in 1555 and 1579. However, the origins of this convention remain obscure.[3]
An illustration of the original 'clock face' method of scoring a Tennis match, from which potentially how the modern system evolved.
It is possible that clock faces were used on court, with a quarter move of the hand to indicate a score of 15, 30, and 45. When the hand moved to 60, the game was over. However, in order to ensure that the game could not be won by a one-point difference in players' scores, the idea of "deuce" was introduced. To make the score stay within the "60" ticks on the clock face, the 45 was changed to 40. Therefore, if both players have 40, the first player to score receives ten and that moves the clock to 50. If the player scores a second time before the opponent is able to score, they are awarded another ten and the clock moves to 60. The 60 signifies the end of the game. However, if a player fails to score twice in a row, then the clock would move back to 40 to establish another "deuce".[4][5]
Although this suggestion might sound attractive, the medieval period ran until the end of the 15th century (i.e. until 1500), at which time clocks recorded only the hours (1 to 12). It wasn't until 1690 that clocks regularly had minute hands when the pendulum system was invented and such a valuable piece of delicate equipment would not have been on an early tennis court where it could easily have been damaged. So the concept of tennis scores originating from the clock face, could not have come from medieval times.[6]
Another theory is that the scoring nomenclature came from the French game jeu de paume (a precursor to tennis which initially used the hand instead of a racket). Jeu de paume was very popular before the French revolution, with more than 1,000 courts in Paris alone. The traditional court was 90 ft (pied du roi) in total with 45 ft on each side. When the server scored, he or she moved forward 15 ft. If the server scored again, he or she would move another 15 ft. If the server scored a third time, he or she could only move 10 ft closer.[7]
The origin of the use of "love" for zero is also disputed. The most likely explanation is that it derives from the French expression for "the egg" (l'œuf) because an egg looks like the number zero.[8][9] This is similar to the origin of the term "duck" in cricket, supposedly from "duck's egg", referring to a batsman who has been called out without completing a run. One possibility comes from the Dutch expression iets voor lof doen, which means to do something for praise, implying no monetary stakes.[10] Another theory on the origins of the use of "love" comes from the acceptance that, at the start of any match, when scores are at zero, players still have "love for each other".[11]
Alternative ("no-ad") game scoring[edit]
A popular alternative to advantage scoring is "no-advantage" (or "no-ad") scoring, created by James Van Alen in order to shorten match playing time.[12] No-advantage scoring is a scoring method in which the first player to reach four points wins the game. No-ad scoring eliminates the requirement that a player must win by two points. Therefore, if the game is tied at deuce, the next player to win a point wins the game. This method of scoring is used in most World TeamTennis matches.[13][14] When this style of play is implemented, at deuce, the receiver then chooses from which side of the court he or she desires to return the serve. However, in no-ad mixed doubles play gender always serves to the same gender at game point and during the final point of tiebreaks.[15]
Set score[edit]
Description[edit]
In tennis, a set consists of a sequence of games played with alternating service and return roles. There are two types of set formats that require different types of scoring.[16]
An advantage set is played until a player or team wins 6 games and that player or team has a 2-game lead over their opponent(s). The set continues, without tiebreak(er), until a player or team wins the set by 2 games. Advantage sets are no longer played under the rules of the United States Tennis Association;[17] however, they are still used in the final sets in men's and women's draws in singles of the Australian Open, French Open, Wimbledon and Fed Cup. Mixed doubles at the Grand Slams except for Wimbledon are a best-of-three format with the final set being played as a "Super Tie Break" (sometimes referred to as a "best of two" format) except at Wimbledon, which still plays a best-of-three match with the final set played as an advantage set and the first two played as tie-break sets.
A tie-break set is played with the same rules as the advantage set, except when the score is tied at 6–6, a tie-break game (or tiebreaker) is played. Typically, the tie-break game continues until one player wins seven points by a margin of two or more points. However, many tie-break games are played with different tiebreak point requirements, such as 8 or 10 points. Often, a 7-point tie-breaker is played when the set score is tied at 6-6 to determine who wins the set.[18]
The score of games within a set is counted in the ordinary manner, except when a player or team has a score of no games it is read as "love". The score is written using digits separated by a dash. This score is announced by the judge or server at the start of each game.
Example set scores
Corresponding verbal set score
0–0 "love – love"
7–5 "set"
3–6 "set"
In doubles, service alternates between the teams. One player serves for an entire service game, with that player's partner serving for the entirety of the team's next service game. Players of the receiving team receive the serve on alternating points, with each player of the receiving team declaring which side of the court (deuce or ad side) they will receive serve on for the duration of the set.
Comparison[edit]
Advantage sets have a tendency to go significantly longer than tie-break sets. The 2010 Wimbledon first-round match between John Isner and Nicolas Mahut, which is the longest professional tennis match in history, notably ended with Isner winning the fifth set, 70–68. The match lasted in total 11 hours and five minutes with the fifth set alone lasting eight hours, 11 minutes.
Nevertheless, even tie-break sets can last a long time. For instance, once players reach 6–6 set score and also reach 6–6 tiebreaker score, play must continue until one player has a 2-point advantage, which can take a considerable time. Sets decided by tiebreakers, however, are typically significantly shorter than extended advantage sets.
The set is won by the first player (or team) to have won at least six games and at least two games more than his or her opponent. Traditionally, sets would be played until both these criteria had been met, with no maximum number of games. To shorten matches, James Van Alen created a tie-breaker system, which was widely introduced in the early 1970s. If the score reaches 6–5 (or 5-6), one further game is played. If the leading player wins this game, the set is won 7–5 (or 5-7). If the trailing player wins the game, the score is tied at 6–6 and a special tiebreaker game is played. The winner of the tiebreak wins the set by a score of 7–6 (or 6-7).
The tiebreak is sometimes not employed for the final set of a match and an advantage set is used instead. Therefore, the deciding set must be played until one player or team has won two more games than the opponent. This is true in three of the four major tennis championships, all except the US Open where a tiebreak is played even in the deciding set (fifth set for the men, third set for the women) at 6–6. A tiebreak is not played in the deciding set in the other three majors – the Australian Open, the French Open, and Wimbledon. (When the tiebreak was first introduced at Wimbledon in 1971, it was invoked at 8–8 rather than 6–6.) The US Open holds "Super Saturday" where the two men's semi-finals are played along with the women's final on the second Saturday of the event; therefore a tie-break is more prudent where player rest and scheduling is more important.
Scoring a tiebreak game[edit]
At a score of 6–6, a set is often determined by one more game called a "twelve point tiebreaker". Only one more game is played to determine the winner of the set; the score of the set is always 7–6 (or 6–7). Points are counted using ordinary numbering. The set is decided by the player who wins at least seven points in the tiebreak but also has two points more than his or her opponent. For example, if the score is 6 points to 5 points and the player with 6 points wins the next point, he or she wins the tiebreak and the set. If the player with 5 points wins the point, the tiebreak continues and cannot be won on the next point, since no player will be two points better. In the scoring of the set, sometimes the tiebreak points are included as well as the game count, for example 7–6(7–5). Another way of listing the score of the tiebreak is to list only the loser's points. For example, if the set score is listed as 7–6(8), the tiebreak score was 10–8 (since 8 is the loser's points, and the winner must win by two points). Similarly, 7–6(3) means the tiebreak score was 7–3.
The player who would normally be serving after 6–6 is the one to serve first in the tiebreak, and the tiebreak is considered a service game for this player. The server begins his or her service from the deuce court and serves one point. After the first point, the serve changes to the first server's opponent. Each player then serves two consecutive points for the remainder of the tiebreak. The first of each two-point sequence starts from the server's advantage court and the second starts from the deuce court. In this way, the sum of the scores is even when the server serves from the deuce court. After every six points, the players switch ends of the court; note that the side-changes during the tiebreak will occur in the middle of a server's two-point sequence. At the end of the tiebreak, the players switch ends of the court again, since the set score is always odd (13 games).
An alternative tie-break system called the "Coman Tie-Break" is sometimes used by the United States Tennis Association. Scoring is the same, but end changes take place after the first point and then after every four points. This approach allows the servers of doubles teams to continue serving from the same end of the court as during the body of the set. It also reduces the advantage the elements (e.g. wind and sun) could give playing the first six points of a seven-point tiebreak on one side of the court.
History of the tiebreak[edit]
The tiebreaker – more recently shortened to just "tiebreak", though both terms are still used interchangeably – was invented by James Van Alen and unveiled in 1965 as an experiment at the pro tournament he sponsored at Newport Casino, Rhode Island,[19] after an earlier, unsuccessful attempt to speed up the game by the use of his so-called "Van Alen Streamlined Scoring System" ("VASSS"). For two years before the Open Era, in 1955 and 1956, the United States Pro Championship in Cleveland, Ohio, was played by VASSS rules. The scoring was the same as that in table tennis, with sets played to 21 points and players alternating five services, with no second service. The rules were created partially to limit the effectiveness of the powerful service of the reigning professional champion, Pancho Gonzales. Even with the new rules, however, Gonzales beat Pancho Segura in the finals of both tournaments. Even though the 1955 match went to 5 sets, with Gonzales barely holding on to win the last one 21–19, it is reported to have taken 47 minutes to complete.[20] The fans attending the matches preferred the traditional rules, however, and in 1957 the tournament reverted to the old method of scoring.
Van Alen called his innovation a "tiebreaker", and he actually proposed two different kinds or versions of it: best-five-of-nine-points tiebreaker and best-seven-of-12-points tiebreaker.[19] The first lasts a maximum of 9 points, and awards victory in the set to whichever player or team first reaches 5 points – even if the other player or team already has 4; the margin of victory can be a single point. Because this "9-point" tiebreaker must end after a maximum of 9 points, even if neither player or team has a 2-point (or greater) margin, Van Alen also called it a "sudden-death tiebreaker" (If and when the score reached four points all, both players faced simultaneous set point and/or match point.). This type of tiebreaker had its Grand Slam debut at 1970 US Open and was employed there until 1974. Apart from being used for 5 years at US Open it was also used 1 year at Wimbledon and for a while on the Virginia Slims circuit and in American Colleges.
The other type of tiebreaker Van Alen introduced is the "12-point" tiebreaker that is most familiar and widely used today. Because it ends as soon as either player or team reaches 7 points – provided that that player or team leads the other at that point by at least two points – it can actually be over in as few as 7 points. However, because the winning player or team must win by a margin of at least two points, a "12-point" tiebreaker may go beyond 12 points – sometimes well beyond. That is why Van Alen derisively likened it to a "lingering death", in contrast to the 9-point (or fewer) "sudden-death tiebreaker" that he recommended and preferred.
The impetus to use some kind of a tie-breaking procedure gained force after a monumental 1969 struggle at Wimbledon between Pancho Gonzales and Charlie Pasarell. This was a 5-set match that lasted five hours and 12 minutes and took 2 days to complete. In the fifth set the 41-year-old Gonzales won all seven match points that Pasarell had against him, twice coming back from 0–40 deficits. The final score was 22–24, 1–6, 16–14, 6–3, 11–9 for Gonzales.
The tiebreaker gave tennis a definite "finish line".
In what follows, the "final set" means the fifth set for best-of-five matches, and the third set for best-of-three matches.
In 1971, the nine-point tiebreaker was introduced at Wimbledon (the first scoring change at Wimbledon in 94 years).[19]
In 1972, Wimbledon put into effect a 12-point tiebreaker when the score in a set reached 8–8 in games unless the set was one in which one of the players could achieve a match victory by winning it.[19]
In 1979, Wimbledon changed their rules so that a (12-point) tiebreak would be played once any set except the final set reached 6–6 in games.
In 1989, the Davis Cup adopted the tie-break in all sets except for the final set, and then extended it to the final set starting in 2016.
In 2001, the Australian Open replaced the deciding third set of mixed doubles with an eighteen-point "match tiebreak" (first to ten points and win by two points wins the match).[21] Despite some criticism of the change by fans and former pros,[22] the US Open and the French Open have since gone on to join the Australian Open in using the same format for mixed doubles. Wimbledon continues to play a traditional best of three match, requiring an advantage set for the third set.
Tie-break sets are now nearly universal in all levels of play, for all sets in a match; however, the tie-break is not a compulsory element in any set, and the actual formatting of sets and tie-breaks depends on the tournament director in tournaments, and, in private matches, on the players' agreement before play begins. Tie-breaks are not used in the final set in the Australian Open for singles, the French Open for singles, Wimbledon, or the Fed Cup, nor were they used for final sets in Davis Cup play or the Olympics before 2016. The US Open now uses a tiebreak in the final set, both in singles and in doubles, and is the only major tournament to use a tiebreak in the final set for singles. However, the Australian Open and French Open do now use a final set tiebreak in both men's and women's doubles.
Alternative set scoring format[edit]
While traditional sets continue until a player wins at least six games by a margin of at least two games there are some alternative set scoring formats in use. A common alternative set format is the eight or nine game pro set. Instead of playing until one player reaches six games with a margin of two games, one plays until one player wins eight or nine games with a margin of two games. A tie-break is then played at eight or nine games all. While the format is not used in modern professional matches or recognized by the ITF rules, it was supposedly used in early professional tours. It is commonly utilized in various amateur leagues and high school tennis as a shorter alternative to a best of three match, but longer than a traditional tie-break set. In addition, eight game pro sets were used during doubles for all Division I college dual matches, until the 2014-2015 season.[23]
Another alternative set format are so called "short sets" where the first to four games to win by two games. In this format a tie-break is played at four games all. The ITF experimented with this format in low level Davis Cup matches, but the experiment was not continued. Nevertheless, this alternative remains as an acceptable alternative in the ITF rules of Tennis.[24]
Another alternative set format is seen in World Team Tennis where the winner of a set is the first to win five games and a nine-point tie-break is played at 4–4.
Match score[edit]
Description[edit]
Most singles matches consist of an odd number of sets, the match winner being the player who wins more than half of the sets. The match ends as soon as this winning condition is met. Men's singles and doubles matches may consist of up to five sets (the winner being the first to take the majority of total allocated sets) while women's singles matches are usually best of three sets. Women's doubles matches (as well as mixed doubles) are usually best of three sets, with a Super TieBreak to ten points played if the score reaches a set all.
While the alternation of service between games continues throughout the match without regard to sets, the ends are changed after each odd game within a set (including the last game). If, for example, the second set of a match ends with the score at 6–3, 1–6, the ends are changed as the last game played was the 7th (odd) game of the set and in spite of it being the 16th (even) game of the match. Notably, in situations where a set ends with an odd game, back to back games see change of ends—i.e., ends are changed before and after the first game of the following set. A tiebreaker game is treated as a single game for the purposes of this alternation. Since tiebreakers always result in a score of 7–6, there is always a court change after the tiebreaker.
The score of a complete match may be given simply by sets won, or with the scores of each set given separately. In either case, the match winner's score is stated first. In the former, shorter form, a match might be listed as 3–1 (i.e. three sets to one). In the latter form, this same match might be further described as "7–5, 6–7(4–7), 6–4, 7–6(8–6)". (As noted above, an alternate form of writing the tiebreak score lists only the loser's score—e.g., "7–6(6)" for the fourth set in the example.) This match was won three sets to one, with the match loser winning the second set on a tiebreaker. The numbers in parentheses, normally included in printed scorelines but omitted when spoken, indicate the duration of the tiebreaker following a given set. Here, the match winner lost the second-set tiebreaker 7–4 and won the fourth-set tiebreaker 8–6.
Total points won[edit]
Because tennis is scored set by set and game by game, a player may lose a match despite winning the majority of points and/or games played.
Consider a player who wins six games in each of two sets, all by a score of game–30. The winner has scored 4×12 = 48 points and the loser 2×12 = 24. Suppose also that the loser wins four games in each set, all by a score of game-love. The loser has scored 4×8 = 32 points and the winner zero in those games. The final score is a win by 6–4, 6–4; total points 48–56.
An example of this in actual practice was the record-breaking Isner-Mahut match in the Wimbledon first round, 22–24 June 2010. American John Isner beat Nicolas Mahut of France 6–4, 3–6, 6–7(7–9), 7–6(7–3), 70–68 – Mahut winning a total of 502 points to Isner's 478.[25]
Total games won[edit]
Likewise, a player may lose a match despite winning the majority of games played (or win a match despite losing the majority of games). Roger Federer won the 2009 Wimbledon final over Andy Roddick (5–7, 7–6(8–6), 7–6(7–5), 3–6, 16–14) despite Roddick's winning more games (39, versus Federer's 38).
Announcing the score[edit]
When playing a match, it is usually best to report each score out loud with one's opponent to avoid conflicts. During a game, the server has the responsibility to announce the game score before serving. This is done by announcing the server's score first. If, for example, the server loses the first three points of his or her service game, he or she would say "love–40". This is to be done every time. After a set is complete, the server, before serving for the first game of the next set, announces the set scores so far completed in the match, stating his or her own scores first. If the server has won the first two sets and is beginning the third, he or she would say, "two–love, new set." If the server had lost the first two sets, he or she would say, "love–two, new set." Finally, after the completion of the match, either player, when asked the score, announces his or her own scores first.
As an example, consider a match between Victoria Azarenka and Ana Ivanovic. Azarenka wins the first set 6–4, Ivanovic wins the next set 7–6(7–4), and Azarenka wins the final set 6–0.
At the end of each set, the umpire would announce the winner of each set:
Game, first set, Azarenka.
Game, second set, Ivanovic.
At the completion of the match, the result would be announced as:
Game, set, match, (Victoria) Azarenka, two sets to one, six–four, six–seven, six–love.
The result would be written as:
Victoria Azarenka defeated Ana Ivanovic 6–4, 6–7(4–7), 6–0
The score is always written and announced in respect to the winner of the match. The score of the tiebreak is not included in announcing the final result; it is simply said "seven–six" or "six–seven" regardless of the score in the tiebreak.
If a match ends prematurely due to one player retiring or being disqualified (defaulting), the partial score at that point is announced as the final score, with the remaining player as the nominal winner. For instance, the result in the final of the 2012 Aegon Championships is written:
Marin Čilić defeated David Nalbandian 6–7(3–7), 4–3 (default)
Variations and slang[edit]
During informal play of tennis, especially at tennis clubs in the U.S. (also in other English speaking countries), score announcements are frequently shortened with the use of abbreviations. For example, a score 15 is replaced with "five", or in some cases "fif". Similarly, the scores of 30 and 40 may sometimes be spoken as "three" or "four" respectively. A score of 15-all may sometimes be announced as "fives." To further confuse score announcements, a score of 30-all (30–30) may often be called "deuce", and the following point referred to as "ad in" or "ad out" (or "my ad" or "your ad"), depending on which player (or team) won the point. The logic for this is that a 30-all score is effectively the same as deuce (40–40).[26]
Scorecards[edit]
Sample scorecard, from Isner–Mahut at Wimbledon 2010
For formal scorekeeping, the official scoring the match (e.g. the chair umpire) fills out a scorecard, either on paper or electronically. The scorecard allows the official to record details for each point, as well as rule violations and other match information. Standard markings for each point are:[27]
⁄ – point won
A – point won via ace
D – point won via double-fault
C – point won via code violation
T – point won via time violation
An additional dot is marked in a score box to indicate a missed first serve fault.
Notes[edit]
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Jump up ^ [1] Archived 6 April 2012 at the Wayback Machine., ITF "Rules of Tennis 2010", Appendix IV – Alternative Procedures and Scoring Methods
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^ Jump up to: a b c d Fein, Paul (29 March 2018). "Tennis Confidential: Today's Greatest Players, Matches, and Controversies". Potomac Books, Inc. Archived from the original on 30 March 2018. Retrieved 29 March 2018 – via Google Books.
Jump up ^ USTA Midwest, "Archived copy". Archived from the original on 27 April 2006. Retrieved 22 May 2006.
Jump up ^ CNNSI.com, "Reactions: Mixed doubles, Responses overwhelmingly against new format" http://sportsillustrated.cnn.com/your_turn/news/2001/01/16/reactions_mixeddoubles/ Archived 28 August 2008 at the Wayback Machine. Last visited: 5 July 2010.
Jump up ^ "What They're Saying about Tiebreakers Replacing Third Sets..." http://www.tennisconfidential.com/articles6.htm Archived 27 August 2009 at the Wayback Machine. Last visited: 5 July 2010.
Jump up ^ Improving your game | Scoring http://www.usta.com/Improve-Your-Game/Rules/Rules-and-Line-Calls/Scoring/ Archived 3 February 2014 at the Wayback Machine.
Jump up ^ Rules of Tennis 2010 "Archived copy" (PDF). Archived from the original (PDF) on 31 March 2010. Retrieved 21 April 2010.
Jump up ^ "Wimbledon Championships Website". Wimbledon.org. 21 September 1998. Archived from the original on 27 June 2010. Retrieved 28 June 2014.
Jump up ^ "Why do club players say "five" not "fifteen" when scoring? - Talk Tennis". Tt.tennis-warehouse.com. Archived from the original on 3 March 2014. Retrieved 28 June 2014.
Jump up ^ "USTA Chair Umpire Handbook" (PDF). usta.com. Archived (PDF) from the original on 6 September 2012. Retrieved 29 March 2018.
References[edit]
Faulkner, Trish & Lemelman, Vivian, The Complete Idiot's Guide to Tennis. New York: Macmillan Publishing, 1999.
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Mamma Mia! Here We Go Again
From Wikipedia, the free encyclopedia
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Mamma Mia! Here We Go Again
Theatrical release poster
Directed by
Ol Parker
Produced by
Judy Craymer
Gary Goetzman
Screenplay by
Ol Parker
Story by
Catherine Johnson
Richard Curtis
Ol Parker
Based on
Mamma Mia!
by Catherine Johnson
Starring
Amanda Seyfried
Lily James
Christine Baranski
Julie Walters
Pierce Brosnan
Colin Firth
Stellan Skarsgård
Dominic Cooper
Andy García
Cher
Meryl Streep
Music by
Anne Dudley
Cinematography
Robert Yeoman
Edited by
Peter Lambert
Production
company
Playtone[1]
Littlestar Productions[1]
Legendary Pictures[2]
Perfect World Pictures
Distributed by
Universal Pictures
Release date
July 16, 2018 (2018-07-16) (Hammersmith Apollo)
July 20, 2018 (2018-07-20) (United Kingdom & United States)
Running time
114 minutes[3]
Country
United Kingdom
United States
Language
English
Budget
$75 million[4]
Box office
$392.8 million[4]
Mamma Mia! Here We Go Again is a 2018 jukebox musical romantic comedy film written and directed by Ol Parker, from a story by Parker, Catherine Johnson, and Richard Curtis. It is a follow-up to the 2008 film Mamma Mia!, which in turn is based on the musical of the same name using the music of ABBA. The film features an ensemble cast, including Lily James, Amanda Seyfried, Christine Baranski, Julie Walters, Pierce Brosnan, Andy García, Dominic Cooper, Colin Firth, Stellan Skarsgård, Jessica Keenan Wynn, Alexa Davies, Jeremy Irvine, Josh Dylan, Hugh Skinner, Cher, and Meryl Streep. Both a prequel and a sequel, the plot is set after the events of the first film, and also features flashbacks to 1979, telling the story of Donna Sheridan's arrival on the island of Kalokairi and her first meetings with her daughter Sophie's three possible fathers.
Due to the financial success of the first film, Universal Pictures had long been interested in a sequel. The film was officially announced in May 2017, with Parker hired to write and direct. In June 2017, many of the original cast confirmed their involvement, with James being cast in the role of Young Donna that July. Filming took place from August to December 2017 in Croatia, and at Shepperton Studios in Surrey, England. A British and American joint venture, the film was co-produced by Playtone, Littlestar Productions and Legendary Entertainment.
Mamma Mia! Here We Go Again premiered at the Hammersmith Apollo in London on July 16, 2018 and was released in the United Kingdom and the United States on July 20, 2018, ten years to the week of its predecessor's release, in both standard and IMAX formats.[5] The film has been a box office success, grossing over $392 million worldwide and received generally positive reviews, with critics praising the performances and musical numbers.[6][7]
Contents
1 Plot
2 Cast
3 Musical numbers
4 Production
4.1 Development
4.2 Casting
4.3 Filming
5 Release
5.1 Marketing
6 Home media
7 Reception
7.1 Box office
7.2 Critical response
8 Accolades
9 References
10 External links
Plot[edit]
Sophie Sheridan is preparing for the grand reopening of her mother Donna's hotel, following Donna's death a year earlier. She is upset because two of her fathers, Harry and Bill, are unable to make it to the reopening and she is having trouble in her relationship with Sky, who is in New York, over her memorializing her mother’s life.
In 1979, a young Donna graduated from Oxford's New College with Rosie and Tanya, and prepares to travel the world. In Paris, she meets and parties with Harry. They spend the night together, but Donna leaves soon after. She later misses her boat to Kalokairi but is offered a ride by Bill, and along the way, they are able to help a stranded fisherman, Alexio, make it in time to stop the love of his life from marrying another. Unbeknownst to Donna, Harry has followed her to Greece; but he arrived too late, and sadly watches the boat sailing off in the distance.
In the present, Tanya and Rosie arrive to support Sophie with the reopening and it’s revealed that Rosie and Bill have split up. Sophie then visits Sam, who is still grieving over the death of Donna. Back in the past, Donna arrives on the island and while exploring the farmhouse, a sudden storm causes her to discover a spooked horse in the basement. She goes in search of help only to find a young Sam riding his motorcycle and he helps her to save the horse. Back in the present, a storm has caused serious disruption to Sophie’s plans for the grand reopening and prevented media coverage of the event.
Back in the past, Donna and Sam are enjoying a whirlwind romance, that ends when Donna discovers a picture of Sam’s fiancée in his drawer. A devastated Donna demands that Sam leave the island. In the present, Sam tells Sophie about her value to her mother. Meanwhile, Harry leaves his business deal in Tokyo to support Sophie, and separately Bill gets the same idea. Bill and Harry meet at the docks but are told there are no boats. However, Alexio gives Bill, Harry and the newly arrived Sky boat passage.
In the past, a depressed Donna is heartbroken over Sam but is able to channel her anger into singing with Tanya and Rosie. She meets Bill again and they go out on his boat; while they are gone, Sam returns, having recently ended his engagement for Donna, but is saddened to hear that she is with another man and leaves the island again. Donna discovers she is pregnant but has no idea which one of her three recent lovers is the father. Sofia, the mother of the owner of the bar where Donna and the Dynamos performed, overhears Donna’s wish to stay on the island and offers to let Donna live at her farmhouse and Donna happily accepts. It is there that she eventually gives birth to Sophie.
Back in the present, the guests have arrived at the party and Sophie is reunited with her other two fathers and Sky. Sophie reveals to Sky she is pregnant and has never felt closer to her mother, having now understood what her mother went through. Bill and Rosie reunite over their grief for Donna. Sophie’s estranged grandmother and Donna’s mother, Ruby, arrives despite Sophie having decided not to invite her. She reveals that Sky tracked her down in New York and she wants to build a real relationship with Sophie. Sophie then performs a song with Tanya and Rosie in honor of her mother, with her grandmother tearfully telling her afterward how proud she is of her. It is then revealed that the manager of the hotel, Fernando, is Ruby’s ex-lover from 1959 in Mexico, and the two are joyously reunited.
Nine months later, Sophie has given birth to a baby boy named Donny. Everyone has gathered for his christening where Tanya flirts with Fernando’s brother. The ceremony takes place with Donna’s spirit watching over her daughter with pride. At the end, all the characters, including Donna and the younger cast, sing "Super Trouper" at a huge party at Hotel Bella Donna.
Cast[edit]
Amanda Seyfried as Sophie Sheridan, Donna’s 25-year-old daughter, and Ruby's granddaughter.
Meryl Streep as Donna Sheridan-Carmichael, Sophie’s late mother, Ruby's daughter, and Sam's wife.
Lily James as Young Donna, founder of Donna and the Dynamos.
Christine Baranski as Tanya Chesham-Leigh, one of Donna’s best friends and former bandmates in Donna and the Dynamos; a rich three-time divorcee.
Jessica Keenan Wynn as Young Tanya.
Julie Walters as Rosie Mulligan, one of Donna’s best friends and former bandmates in Donna and the Dynamos; a fun-loving author in a relationship with Bill.
Alexa Davies as Young Rosie.
Pierce Brosnan as Sam Carmichael, an architect, Sophie's possible father, and Donna's widower.
Jeremy Irvine as Young Sam.
Colin Firth as Harry Bright, Sophie's possible father, a British businessman.
Hugh Skinner as Young Harry.
Stellan Skarsgård as Bill Anderson, Sophie's possible father, a Swedish sailor and travel writer, Sofia's great-nephew, Lazaros’s cousin, and also as Kurt Anderson, Bill's obese brother.
Josh Dylan as Young Bill.
Dominic Cooper as Sky, Sophie’s husband.
Cher as Ruby Sheridan, Donna’s mother, Sophie’s grandmother, and Sam's mother-in-law.
Andy García as Fernando Cienfuegos, the Mexican manager of the Hotel Bella Donna and an old lover of Ruby’s from 1959.
Omid Djalili as a Greek customs officer.
Celia Imrie as the Vice-Chancellor of the university at which Donna, Tanya and Rosie studied.
Maria Vacratsis as Sofia, a local who owns the shack that Donna stays in, which eventually becomes Donna's home, and Bill's great aunt.
Panos Mouzourakis as Lazaros, Sofia's son and Bill’s cousin who owns the bar at which both his band and Donna and the Dynamos perform.
Gerard Monaco as Alexio, a local Greek fisherman.
Anna Antoniades as Apollonia, Alexio's lover and later wife.
Cameo appearances
Björn Ulvaeus as a university professor.
Benny Andersson as the pianist in the Parisian restaurant during "Waterloo".
Jonathan Goldsmith as Rafael Cienfuegos, Fernando Cienfuegos's widower brother.
Musical numbers[edit]
Main article: Mamma Mia! Here We Go Again: The Movie Soundtrack
A soundtrack album was released on July 13, 2018 by Capitol and Polydor Records in the United States and internationally, respectively.[8][9] The album was produced by Benny Andersson, who also served as the album's executive producer alongside Björn Ulvaeus and Judy Craymer. Each song is featured within the film, with the exception of "I Wonder (Departure)" and "The Day Before You Came".
"Thank You for the Music" – Sophie✗
"When I Kissed the Teacher" – Young Donna and the Dynamos, Vice-Chancellor
"I Wonder (Departure)" – Young Donna and the Dynamos†
"One of Us" – Sophie and Sky
"Waterloo" – Young Harry and Young Donna
"SOS" – Sam✗
"Why Did It Have to Be Me?" – Young Bill, Young Donna and Young Harry
"I Have a Dream" – Young Donna
"Kisses of Fire" – Lazaros
"Andante, Andante" – Young Donna
"The Name of the Game" – Young Donna
"Knowing Me, Knowing You" – Young Donna and Young Sam
"Mamma Mia" – Young Donna and the Dynamos
"Angel Eyes" – Rosie, Tanya, and Sophie
"Dancing Queen" – Sophie, Rosie, Tanya, Sam, Bill, and Harry
"I've Been Waiting for You" – Sophie, Rosie, and Tanya
"Fernando" – Ruby, Fernando
"My Love, My Life" – Young Donna, Donna, Sophie
"Super Trouper" – Ruby, Donna, Rosie, Tanya, Sophie, Sky, Sam, Bill, Harry, Fernando, Young Donna, Young Rosie, Young Tanya, Young Bill, Young Sam, and Young Harry
"The Day Before You Came" – Donna†
† Songs featured on the soundtrack album but omitted from the film.
✗ Songs featured in the film but omitted from the soundtrack album.
Production[edit]
Development[edit]
Due to Mamma Mia!'s financial success, Hollywood studio chief David Linde, co-chairman of Universal Pictures, told the Daily Mail that it would take a while, but there could be a sequel. He stated that he would be delighted if Judy Craymer, Catherine Johnson, Phyllida Lloyd, Benny Andersson and Björn Ulvaeus agreed to the project, noting that there are still many ABBA songs to make use of.[10]
Mamma Mia! Here We Go Again was announced on May 19, 2017, with a release date of July 20, 2018.[11] It was written and directed by Ol Parker.[12] On September 27, 2017, Benny Andersson confirmed 3 ABBA songs that would be featured in the film: "When I Kissed the Teacher," "I Wonder (Departure)," and "Angeleyes."[13] "I Wonder (Departure)" was cut from the film, but is included on the soundtrack album.
Casting[edit]
On June 1, 2017, it was announced that Seyfried would return as Sophie.[14] Later that month, Dominic Cooper confirmed that he would return for the sequel, along with Streep, Firth and Brosnan as Sky, Donna, Harry, and Sam, respectively.[15] In July 2017, Baranski was also confirmed to return as Tanya.[16] On July 12, 2017, Lily James was cast to play the role of young Donna.[17] On August 3, 2017, Jeremy Irvine and Alexa Davies were also cast in the film, with Irvine playing Brosnan's character Sam in a past era, and Hugh Skinner to play Young Harry, Davies as a young Rosie, played by Julie Walters.[18] On August 16, 2017, it was announced that Jessica Keenan Wynn had been cast as a young Tanya, who is played by Baranski.[19] Julie Walters and Stellan Skarsgård also reprised their roles as Rosie and Bill, respectively.[20] On October 16, 2017, it was announced that singer and actress Cher had joined the cast, in her first on-screen film role since 2010,[21] and her first film with Streep since Silkwood. The part was written specifically for Cher, and she got to choose Andy Garcia as her romantic partner.[22]
Filming[edit]
Principal photography on the film began on August 12, 2017 in Croatia, including the island of Vis.[23][24][25][26][23] In October 2017, the cast gathered at Shepperton Studios in Surrey, England, to film song and dance numbers with Cher.[21] Filming wrapped on December 2, 2017.[27]
Release[edit]
Mamma Mia! Here We Go Again was released on July 20, 2018 by Universal Pictures, in the UK, US and other selected countries in both standard and IMAX formats.[28][5] The film premiered on July 16, 2018 at the Hammersmith Apollo in London.[29]
Marketing[edit]
The first trailer for the film was released on December 21, 2017, in front of Pitch Perfect 3, another Universal Pictures film. Cher performed "Fernando" at the Las Vegas CinemaCon on April 25, 2018, after footage of the film was shown.[citation needed] Universal sponsored YouTube stars the Merrell Twins to perform a cover version of the song "Mamma Mia" to promote the film.[30]
Home media[edit]
Mamma Mia! Here We Go Again was released via digital copy on October 9, 2018 and released on DVD, Blu-ray, and 4K UHD Combo Pack on October 23, 2018.[31]
Reception[edit]
Box office[edit]
As of October 11, 2018[update], Mamma Mia! Here We Go Again has grossed $120.6 million in the United States and Canada, and $272.2 million in other territories, for a total worldwide gross of $392.8 million, against a production budget of $75 million.[4]
In June 2018, three weeks prior to its release, official industry tracking had the film debuting to $27–33 million,[32] which increased to as much as $36 million by the week of its release.[33] It made $14.3 million on its first day, including $3.4 million from Thursday night previews. It went on to debut to $35 million, finishing second, behind fellow newcomer The Equalizer 2 ($36 million), and besting the opening of the first film ($27.8 million) by over 24%.[30][34] It fell 57% to $15.1 million in its second weekend, finishing second behind newcomer Mission: Impossible – Fallout.[35][36] In its third weekend the film grossed $9 million, dropping to fourth place, and $5.8 million in its fourth weekend, finishing seventh.[37][38]
In the United Kingdom, the film grossed $12.7 million in its opening weekend, topping the box office and achieving the fourth biggest opening for a film in 2018.[39] In its second weekend of international release, the film made $26.6 million (for a running total of $98.6 million). Its largest new markets were France ($1.7 million), Poland ($1.3 million), Switzerland ($223,000) and Croatia ($151,000), while its best holdovers were Australia ($9.5 million), the UK ($8.6 million) and Germany ($8.2 million).[40]
Critical response[edit]
Lily James' performance as Young Donna was praised by critics as a "breakout" role.[41]
On review aggregation website Rotten Tomatoes, the film holds an approval rating of 80% based on 216 reviews, and a weighted average of 6.3/10. The website's critical consensus reads, "Mamma Mia! Here We Go Again doubles down on just about everything fans loved about the original—and my my, how can fans resist it?"[42] On Metacritic the film has a weighted average score of 60 out of 100 based on 46 critics, indicating "mixed or average reviews".[43] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score as its predecessor, while PostTrak reported filmgoers gave it an 83% overall positive score.[30]
Peter Bradshaw of The Guardian termed the sequel as "weirdly irresistible" and gave it three out of five stars. He described his reaction to the first film as "a combination of hives and bubonic plague," but concedes that this time, the relentlessness and greater self-aware comedy made him smile. He concludes: "More enjoyable than I thought. But please. Enough now."[44] Mark Kermode of The Observer gave the film five stars and commented, "This slick sequel delivers sharp one-liners, joyously contrived plot twists and an emotional punch that left our critic reeling."[45]
Peter Travers of Rolling Stone awarded the film two and a half stars out of five, noting the absence of Streep for the majority of the film hindered his enjoyment, and saying, "her absence is deeply felt since the three-time Oscar winner sang and danced her heart out as Donna Sheridan".[46] Lindsay Bahr of Associated Press awarded the film three out of four stars, calling it "wholly ridiculous", but complimenting its self-awareness. She also praised James' performance and singing talent.[47] Richard Roeper of the Chicago Sun-Times gave the sequel a mixed review, awarding it two stars out of four, criticizing the reprises of "Dancing Queen" and "Super Trouper" as uninspired, and feeling that some of the musical numbers dragged the pacing. He considered the younger counterparts to the main characters "energetic" and "likeable."[48] Stephanie Zacharek of Time gave the film a mixed review, writing "Mamma Mia! Here We Go Again is atrocious. And wonderful. It's all the reasons you should never go to the movies. And all the reasons you should race to get a ticket."[49]
Accolades[edit]
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.
People's Choice Awards
November 11, 2018 The Comedy Movie of 2018 Mamma Mia! Here We Go Again Pending [50]
Female Movie Star Lily James Pending
Comedy Movie Star Amanda Seyfried Pending
References[edit]
^ Jump up to: a b Gleiberman, Owen (July 17, 2018). "Film Review: 'Mamma Mia! Here We Go Again'". Variety. Penske Business Media. Retrieved August 16, 2018.
Jump up ^ "Mamma Mia! Here We Go Again". Legendary Entertainment. Retrieved August 19, 2018.
Jump up ^ "Mamma Mia! Here We Go Again". AMC Theatres. Retrieved June 20, 2018.
^ Jump up to: a b c "Mamma Mia! Here We Go Again". Box Office Mojo. Retrieved October 24, 2018.
^ Jump up to: a b D'Alessandro, Anthony (July 26, 2018). "Imax Kicks Off Biggest Global Campaign Ever In 77 Countries: "Films To The Fullest"". Deadline Hollywood. Retrieved August 10, 2018.
Jump up ^ Clopton, Ellis (July 17, 2018). "'Mamma Mia! Here We Go Again' Reviews: What the Critics Are Saying". Variety. Penske Business Media. Retrieved July 17, 2018.
Jump up ^ Giles, Jeff (July 19, 2018). "Mamma Mia! Here We Go Again Is Certified Fresh". Rotten Tomatoes. Fandango Media. Retrieved July 25, 2018.
Jump up ^ LATF Staff (July 13, 2018). "New Music Friday: Tinashe, DJ Snake, Mamma Mia Soundtrack..." LATF USA. Retrieved August 23, 2018.
Jump up ^ "Mamma Mia! Here We Go Again Official Soundtrack Is Out Today". Umusic. July 13, 2018. Retrieved July 16, 2018.
Jump up ^ Bamigboye, Baz (October 17, 2008). "Baz Bamigboye on a possible Mamma Mia sequel, Kate Winslet, Leonardo DiCaprio and much more". The Daily Mail. Associated Newspapers. Retrieved July 12, 2017.
Jump up ^ Alexander, Bryan (May 19, 2017). "'Mamma Mia' sequel 'Here We Go Again' coming next summer". USA Today. Gannett Company. Retrieved July 12, 2017.
Jump up ^ Busch, Anita (May 19, 2017). "'Mamma Mia: Here We Go Again!' On Universal Pictures' 2018 Schedule". Deadline Hollywood. Penske Business Media. Retrieved July 12, 2017.
Jump up ^ Read-Dominguez, Jennifer (September 27, 2017). "Mamma Mia 2 Here We Go Again! songs officially revealed by Benny from ABBA". Digital Spy. Hearst Magazines UK. Retrieved December 4, 2017.
Jump up ^ Fleming, Mike Jr. (June 1, 2017). "Amanda Seyfried Set For 'Mamma Mia!' Reprise". Deadline Hollywood. Penske Business Media. Retrieved July 12, 2017.
Jump up ^ Seemayer, Zach (June 22, 2017). "EXCLUSIVE: Dominic Cooper Dishes on Returning for 'Mamma Mia 2': It's 'a Phone Call I've Been Waiting For'". Entertainment Tonight. CBS Studios. Retrieved July 12, 2017.
Jump up ^ N'Duka, Amanda (July 12, 2017). "Christine Baranski Returning For Universal's 'Mamma Mia!' Sequel". Deadline Hollywood. Penske Business Media. Retrieved July 12, 2017.
Jump up ^ Ford, Rebecca (July 12, 2017). "'Mamma Mia' Sequel Adds Lily James (Exclusive)". The Hollywood Reporter. Prometheus Global Media. Retrieved July 13, 2017.
Jump up ^ Ramos, Dino-Ray; N'Duka, Amanda (August 3, 2017). "'Mamma Mia!' Sequel Adds Jeremy Irvine & 'Harlots' Actress Alexa Davies". Deadline Hollywood. Penske Business Media. Retrieved August 9, 2017.
Jump up ^ McNary, Dave (August 16, 2017). "'Mamma Mia: Here We Go Again!' Casts Broadway Star Jessica Keenan Wynn". Variety. Penske Business Media. Retrieved August 22, 2017.
Jump up ^ Perry, Spencer (August 22, 2017). "Here We Go Again: Mamma Mia! Sequel Begins Production". ComingSoon.net. Mandatory. Retrieved August 22, 2017.
^ Jump up to: a b Bamigboye, Baz (October 16, 2017). "Here she goes again: Cher prepares to return to the big screen with appearance in Mamma Mia 2". The Daily Mail. Associated Newspapers. Retrieved October 16, 2017.
Jump up ^ McHenry, Jackson (July 18, 2018). "Why Mamma Mia! Here We Go Again Cast Cher As Meryl Streep's Mother". Vulture. New York Media. Retrieved August 14, 2018.
^ Jump up to: a b Demark, Nikolina (August 15, 2017). "Will the Filming of 'Mamma Mia' Affect the Island of Vis?". Total Croatia News. Retrieved August 16, 2017.
Jump up ^ McCreesh, Louise (August 12, 2017). "Lily James shares snap of young Dynamos in Mamma Mia 2". Digital Spy. Hearst Magazines UK. Retrieved August 16, 2017.
Jump up ^ Harrison, Ellie (August 14, 2017). "Lily James shares photo from the set of Mamma Mia! sequel". Radio Times. Immediate Media Company. Retrieved August 16, 2017.
Jump up ^ Sommers, Kat (August 14, 2017). "First Look: The Dynamos Reunite as 'Mamma Mia 2' Starts Filming". BBC America. BBC. Retrieved August 16, 2017.
Jump up ^ McCreesh, Louise (December 4, 2017). "Mamma Mia 2: Here We Go Again! has officially finished filming". Digital Spy. Hearst Magazines UK. Retrieved December 4, 2017.
Jump up ^ Associated Press (May 19, 2017). "'Mamma Mia!' Film Sequel Gets July 2018 Release Date". U.S. News & World Report. Retrieved August 16, 2017.
Jump up ^ Harding, Laura (July 16, 2018). "Meryl Streep and Cher to be dancing queens of Mamma Mia 2 premiere". Irish Independent. Independent News & Media. Retrieved July 16, 2018.
^ Jump up to: a b c D'Alessandro, Anthony (July 22, 2018). "Shocker: 'Mamma Mia 2' Meets B.O. Waterloo As 'Equalizer 2' Is The No. 1 Winner That Takes It All With $35M+". Deadline Hollywood. Penske Business Media. Retrieved July 22, 2018.
Jump up ^ "October 23 Blu-ray, Digital and DVD Releases". Comingsoon.net. October 23, 2018. Retrieved October 24, 2018.
Jump up ^ McNary, Dave (June 28, 2018). "'Equalizer,' 'Mamma Mia' Sequels Head Toward $30 Million Domestic Openings". Variety. Penske Business Media. Retrieved June 30, 2018.
Jump up ^ D'Alessandro, Anthony (July 18, 2018). "'Mamma Mia! Here We Go Again' To Hit The High Note At Weekend Box Office With $30M+". Deadline Hollywood. Penske Business Media. Retrieved July 18, 2018.
Jump up ^ Associated Press (July 23, 2018). "Box Office Top 20: 'Equalizer 2' beats 'Mamma Mia' by a hair". The Washington Post. Retrieved July 23, 2018.
Jump up ^ D'Alessandro, Anthony (July 29, 2018). "'Mission' Accomplished: 'Fallout' $61M+ Opening Reps Record For Tom Cruise Franchise – Sunday". Deadline Hollywood. Penske Business Media. Retrieved July 29, 2018.
Jump up ^ "Box Office Top 20: New 'Mission: Impossible' hits No. 1". ABC News. Associated Press. July 30, 2018. Retrieved August 3, 2018.
Jump up ^ D'Alessandro, Anthony (August 5, 2018). "'Mission' Notches Best 2nd Weekend For Franchise With $35M; 'Christopher Robin' No Eeyore With $25M – Sunday Box Office". Deadline Hollywood. Penske Business Media. Retrieved August 8, 2018.
Jump up ^ D'Alessandro, Anthony (August 12, 2018). "'August Audiences Get Hooked On 'Meg' Shelling Out $44.5M". Deadline Hollywood. Penske Business Media. Retrieved August 12, 2018.
Jump up ^ Gant, Charles (July 24, 2018). "Mamma Mia! Here We Go Again stays on song as box office recovery continues". The Guardian. Guardian News and Media. Retrieved July 28, 2018.
Jump up ^ Tartaglione, Nancy (July 29, 2018). "'Mission: Impossible – Fallout' Ignites Record $92M Overseas/$153.5M Global Bow – International Box Office". Deadline Hollywood. Penske Business Media. Retrieved July 30, 2018.
Jump up ^ Erbland, Kate (July 17, 2018). "'Mamma Mia! Here We Go Again' Review: Lily James Is a Breakout, but This Energetic Sequel Misses Meryl Streep". IndieWire. Penske Business Media. Retrieved July 17, 2018.
Jump up ^ "Mamma Mia! Here We Go Again (2018)". Rotten Tomatoes. Fandango Media. Retrieved September 6, 2018.
Jump up ^ "Mamma Mia! Here We Go Again Reviews". Metacritic. CBS Interactive. Retrieved August 4, 2018.
Jump up ^ Bradshaw, Peter (July 17, 2018). "Mamma Mia! Here We Go Again review – feta fever dream sequel is weirdly irresistible". The Guardian. Guardian News and Media. Retrieved July 21, 2018.
Jump up ^ Kermode, Mark (July 22, 2018). "Mamma Mia! Here We Go Again review – full of hits and emotion". The Observer. Guardian News and Media. Retrieved July 22, 2018.
Jump up ^ Travers, Peter (July 19, 2018). "'Mamma Mia! Here We Go Again' Review: ABBA-Fab Sequel Suffers From Streepless Throats". Rolling Stone. Retrieved July 23, 2018.
Jump up ^ Bahr, Lindsay (July 17, 2018). "Review: Bask in the effervescent insanity of 'Mamma Mia 2'". Associated Press. Retrieved July 23, 2018.
Jump up ^ Roeper, Richard (July 17, 2018). "'Mamma Mia! Here We Go Again' a campy sequel sure to please fans, my my". Chicago Sun-Times. Retrieved July 23, 2018.
Jump up ^ Zacharek, Stephanie (July 30, 2018). "Mamma Mia: Here We Go Again Is Both Atrocious and Amazing". Time. Retrieved August 23, 2018.
Jump up ^ USA TODAY Life staff (2018-09-24). "People's Choice Awards 2018: The nominees". USA Today. Retrieved 2018-09-25.
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Warm front
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Illustration of a warm front. The warm air behind the front is slowly overtaking the cold air ahead of the front, which is moving more slowly in the same direction. The warmer air, due to lower density, climbs over the colder air as it moves. As a result of its increased altitude, it cools off and its moisture condenses, forming clouds and possibly precipitation.
A warm front is a density discontinuity located at the leading edge of a homogeneous warm air mass, and is typically located on the equator-facing edge of an isotherm gradient. Warm fronts lie within broader troughs of low pressure than cold fronts, and move more slowly than the cold fronts which usually follow because cold air is denser and less easy to remove from the Earth's surface.[1] This also forces temperature differences across warm fronts to be broader in scale. Clouds ahead of the warm front are mostly stratiform, and rainfall gradually increases as the front approaches. Fog can also occur preceding a warm frontal passage. Clearing and warming is usually rapid after frontal passage. If the warm air mass is unstable, thunderstorms may be embedded among the stratiform clouds ahead of the front, and after frontal passage thundershowers may continue. On weather maps, the surface location of a warm front is marked with a red line of semicircles pointing in the direction of travel.[1]
Contents
[hide]
1 Development
2 Characteristics
3 Warm sector
4 Depiction
5 See also
6 References
7 External links
Development[edit]
Different air masses that affect North America, as well as other continents, tend to be separated by frontal boundaries.
Air masses are large bodies of air with similar properties of temperature and humidity that form over source regions. The warm air mass behind a warm front is not only warmer, but often (but not always) also higher in humidity than the colder air preceding it. Because of a warm air mass’s higher temperature and thus lesser density, mixing between the two air masses is unlikely. Being light, the warm air mass is unable to displace the cooler air mass and instead is forced upward along the upper boundary of the colder air in a process known as overrunning. The boundary between the two air masses has a gradual slope of 1:200 and lifting is slow but persistent.
As the air mass rises into regions of lower pressure, it expands and cools. As it cools, any water vapor that is present will condense and form extensive cloud cover. The first clouds that indicate an approaching warm front tend to be mostly high cirrus at first, changing to cirrostratus as the front approaches. However, if cirrocumulus also appears, there is greater airmass instability approaching ahead of the front. When these high clouds progressively invade the sky and the barometric pressure begins to fall, precipitation associated with the disturbance is likely about 6 to 8 hours away.[2] A thickening and lowering of these high clouds into middle-étage altostratus or altocumulus is a good sign the warm front or low has moved closer and precipitation may begin within less than six hours. Once the clouds have thickened to 2,500 metres (8,200 ft) from the earth’s surface, precipitation can begin to fall from heavy nimbostratus. If unstable altocumulus castellanus accompanies or takes the place of the main altostratus layer, cumulus congestus or cumulonimbus producing showers or thunderstorms may follow. Low stratus and stratocumulus commonly form underneath the main precipitating clouds.
A warm front is also defined as the transition zone where a warmer air mass is replacing a cooler air mass. Warm fronts generally move from southwest to northeast. If the warmer air originates over the ocean, it is not only warmer but also more moist than the air ahead of it.
Characteristics[edit]
If the air mass is relatively stable, rainfall will increase until the front reaches the location, at which time the clouds can extend all the way to the earth’s surface as fog. Once the front passes, the location experiences some warming and clearing. If the air mass is unstable, thunderstorms may precede and follow the front and temperature changes will be larger.[3]
In the northern hemisphere, a warm front causes a shift of wind blowing from southeast to southwest, and in the southern hemisphere a shift from winds blowing from northeast to northwest. Common characteristics associated with warm fronts include:
Weather phenomenon
Prior to the passing of the front
While the front is passing
After the passing of the front
Temperature Cool Warming suddenly Warmer, then leveling off
Atmospheric pressure Decreasing steadily Leveling off Slight rise followed by a decrease
Winds
South to southeast (backing) (northern hemisphere)
North to northeast (veering) (southern hemisphere)
Variable
South to southwest (veering) (northern hemisphere)
North to northwest (backing) (southern hemisphere)
Precipitation Usually none, but in summer or warm temperatures, cumulus congestus may continue to exist under cirrostratus and altostratus creating light to moderate showers. Persistent rain, usually moderate with some lighter periods and some heavier bursts. Light drizzle, gradually ceasing.
Clouds Cirrus, cirrostratus, altostratus, nimbostratus, then stratus (pilots use the acronym CCANS). Other clouds can also often be seen, including cirrocumulus amongst the approaching cirrus, altocumulus with or instead of altostratus (particularly if the front is weak), and occasionally cumulonimbus along with or instead of nimbostratus in summer. Additionally, stratocumulus often appears underneath the main altostratus deck and stratus fractus typically forms in precipitation falling from the thick nimbostratus layer. Often in warm temperatures, rain bearing cumulus congestus clouds can appear under the cirrostratus, and more rarely altocumulus castellanus clouds if convection is sufficient. In cold humid conditions, low airmass stratus or fog may obscure the main frontal clouds. Nimbostratus, sometimes cumulonimbus Clearing with scattered stratus and stratocumulus. If the warm front is part of a depression, there is often a sheet of altostratus (often broken in places to altocumulus) above this which thickens when the cold front approaches.
Visibility Poor Poor, but improving Sunny
Dew point Steady rise Steady Rise, then steady
Warm sector[edit]
The warm sector is the area of warmer air behind a warm front, usually between the warm and cold fronts in a depression. Temperatures are often warmer than they are before the warm front or after the cold front. Cloud types can be mixed, but usually consist of stratocumulus, which can range to being broken to covering the entire sky depending on distance from the centre of low pressure. Temperature rises and the dew point remains steady. Wind direction and speed remains steady.
Depiction[edit]
A surface weather analysis for the United States on October 21, 2006. Note the warm front in the northwest Gulf of Mexico.
On weather maps, the surface location of a warm front is marked with a red line of half circles pointing in the direction of the front. On colored weather maps, warm fronts are illustrated with a solid red line.
See also[edit]
Cold front
Pseudo-warm front
Weather front
Occluded front
References[edit]
^ Jump up to: a b David Roth (2006-12-14). "Unified Surface Analysis Manual" (PDF). Hydrometeorological Prediction Center. Retrieved 2010-12-17.
Jump up ^ "Mackerel sky". Weather Online. Retrieved 21 November 2013.
Jump up ^ Chris C. Park (2001). The environment: principles and applications. Psychology Press. p. 309. ISBN 978-0-415-21771-2. Retrieved 2010-12-17.
External links[edit]
Warm Front: transition zone from cold air to warm air
Warm Fronts
A film clip AIR MASSES AND FRONTS - THE WARM FRONT (1962) is available at the Internet Archive
Retrieved from "https://en.wikipedia.org/w/index.php?title=Warm_front&oldid=828466938"
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Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values: جبهة دافئة – Arabic

values: Топъл фронт – Bulgarian

values:
interlanguage-link interwiki-bg
display: none;

values:
interlanguage-link interwiki-ca
display: none;

values:
interlanguage-link interwiki-cs
display: none;

values:
https://da.wikipedia.org/wiki/Varmfront
Varmfront – Danish
da
da
interlanguage-link-target

values:
interlanguage-link interwiki-da
display: none;

values:
https://de.wikipedia.org/wiki/Warmfront
Warmfront – German
de
de
interlanguage-link-target

values:
https://et.wikipedia.org/wiki/Soe_front
Soe front – Estonian
et
et
interlanguage-link-target

values:
interlanguage-link interwiki-et
display: none;

values:
interlanguage-link interwiki-gl
display: none;

values:
interlanguage-link interwiki-hr
display: none;

values:
interlanguage-link interwiki-lv
display: none;

values:
https://no.wikipedia.org/wiki/Varmfront
Varmfront – Norwegian
no
no
interlanguage-link-target

values:
https://nn.wikipedia.org/wiki/Varmfront
Varmfront – Norwegian Nynorsk
nn
nn
interlanguage-link-target

values:
interlanguage-link interwiki-nn
display: none;

values: Тёплый фронт – Russian

values:
interlanguage-link interwiki-simple
display: none;

values: Топли фронт – Serbian

values:
interlanguage-link interwiki-sr
display: none;

values:
https://sv.wikipedia.org/wiki/Varmfront
Varmfront – Swedish
sv
sv
interlanguage-link-target

values: Теплий фронт – Ukrainian

values:
interlanguage-link interwiki-zh-yue
display: none;

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Warm_front rootpage-Warm_front skin-vector action-view