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Blond
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"Blonde" redirects here. For other uses, see Blond (disambiguation) and Blonde (disambiguation).
"Platinum blond" redirects here. It is not to be confused with Platinum Blonde.
A girl with light blonde hair
Blond (male), blonde (female), or fair hair, is a hair color characterized by low levels of the dark pigment eumelanin. The resultant visible hue depends on various factors, but always has some sort of yellowish color. The color can be from the very pale blond (caused by a patchy, scarce distribution of pigment) to reddish "strawberry" blond or golden-brownish ("sandy") blond colors (the latter with more eumelanin). On the Fischer–Saller scale, blond color ranges from A (light blond) to O (dark blond).
Contents
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1 Etymology, spelling, and grammar
1.1 Origins and meanings
1.2 Usage
2 Varieties
3 Evolution of blond hair
4 Relation to age
5 Geographic distribution
5.1 Europe
5.2 Africa
5.3 Oceania
5.4 Asia
6 Folklore, mythology, and cultural attitudes
6.1 Southern Europe
6.1.1 Classical and Hellenistic Greek depictions
6.1.2 Ancient Roman depictions
6.1.3 Color reconstructions based on trace pigment analysis
6.2 Northern Europe
7 Contemporary popular culture
7.1 Blondes in literature
8 See also
9 References
10 External links
Etymology, spelling, and grammar
Detail of a portrait of Crown Prince of Poland Sigismund Casimir Vasa (c. 1644), with characteristic blond hair which darkened with time as confirmed by his later effigies.
Origins and meanings
The word "blond" is first documented in English in 1481[1] and derives from Old French blund, blont, meaning "a colour midway between golden and light chestnut".[2] It gradually eclipsed the native term "fair", of same meaning, from Old English fæġer, causing "fair" later to become a general term for "light complexioned". This earlier use of "fair" survives in the proper name Fairfax, from Old English fæġer-feahs meaning "blond hair".
The French (and thus also the derived English) word "blond" has two possible origins. Some linguists[citation needed] say it comes from Medieval Latin blundus, meaning "yellow", from Old Frankish blund which would relate it to Old English blonden-feax meaning "grey-haired", from blondan/blandan meaning "to mix" (Cf. blend). Also, Old English beblonden meant "dyed", as ancient Germanic warriors were noted for dyeing their hair. However, linguists who favor a Latin origin for the word say that Medieval Latin blundus was a vulgar pronunciation of Latin flavus, also meaning "yellow". Most authorities, especially French, attest the Frankish origin. The word was reintroduced into English in the 17th century from French, and was for some time considered French; in French, "blonde" is a feminine adjective; it describes a woman with blonde hair.[3]
Usage
Emperor Pedro II of Brazil with blond hair, c. 1846
"Blond", with its continued gender-varied usage, is one of few adjectives in written English to retain separate masculine and feminine grammatical genders. Each of the two forms, however, is pronounced identically. American Heritage's Book of English Usage propounds that, insofar as "a blonde" can be used to describe a woman but not a man who is merely said to possess blond(e) hair, the term is an example of a "sexist stereotype [whereby] women are primarily defined by their physical characteristics."[4] The Oxford English Dictionary (OED) records that the phrase "big blond beast" was used in the 20th century to refer specifically to men "of the Nordic type" (that is to say, blond-haired).[5] The OED also records that blond as an adjective is especially used with reference to women, in which case it is likely to be spelt "blonde", citing three Victorian usages of the term. The masculine version is used in the plural, in "blonds of the European race",[5] in a citation from 1833 Penny cyclopedia, which distinguishes genuine blondness as a Caucasian feature distinct from albinism.[6]
By the early 1990s, "blonde moment" or being a "dumb blonde" had come into common parlance to mean "an instance of a person, esp. a woman... being foolish or scatter-brained."[7] Another hair color word of French origin, brunet(te) (from the same Germanic root that gave "brown"), functions in the same way in orthodox English. The OED gives "brunet" as meaning "dark-complexioned" or a "dark-complexioned person", citing a comparative usage of brunet and blond to Thomas Henry Huxley in saying, "The present contrast of blonds and brunets existed among them."[8] "Brunette" can be used, however, like "blonde", to describe a mixed-gender populace. The OED quotes Grant Allen, "The nation which resulted... being sometimes blonde, sometimes brunette."[9]
"Blond" and "blonde" are also occasionally used to refer to objects that have a color reminiscent of fair hair. For example, the OED records its use in 19th-century poetic diction to describe flowers, "a variety of clay ironstone of the coal measures", "the colour of raw silk",[5] a breed of ray, lager beer, and pale wood.[10]
Varieties
Various subcategories of blond hair have been defined to describe the different shades and sources of the hair color more accurately. Common examples include the following:
Blondes of different shades at WTMD's First Thursday series in Canton, Baltimore, Maryland, United States, in June 2014
A woman with long blonde hair
ash-blond:[11] ashen or grayish blond.
bleached blond, bottle blond, or peroxide blond:[12] terms used to refer to artificially colored blond hair.
blond/flaxen:[13][14] when distinguished from other varieties, "blond" by itself refers to a light but not whitish blond, with no traces of red, gold, or brown; this color is often described as "flaxen".
dirty blond[15] or dishwater blond:[16] dark blond with flecks of golden blond and brown.
golden blond: a darker to rich, golden-yellow blond (found mostly in Northeastern Europe, i.e., Russia, Estonia[citation needed]).
honey blond: dark iridescent blond.
platinum blond[17] or towheaded:[18][19] whitish-blond; almost all platinum blonds are children, although it is found on people in Northern Europe. "Platinum blond" is often used to describe bleached hair, while "towheaded" generally refers to natural hair color.[citation needed]
sandy blond:[20][21] grayish-hazel or cream-colored blond.
strawberry blond[22] or Venetian blond: reddish blond[23][24][25][26][27]
yellow: yellow-blond ("yellow" can also be used to refer to hair which has been dyed yellow).[citation needed]
Evolution of blond hair
A young man with light blond hair
Natural lighter hair colors occur most often in Europe and less frequently in other areas.[28] In Northern European populations, the occurrence of blond hair is very frequent.[clarification needed] The hair color gene MC1R has at least seven variants in Europe, giving the continent a wide range of hair and eye shades. Based on recent genetic research carried out at three Japanese universities, the date of the genetic mutation that resulted in blond hair in Europe has been isolated to about 11,000 years ago during the last ice age.[29]
A typical explanation found in the scientific literature for the evolution of light hair is related to the requirement for vitamin D synthesis and northern Europe's seasonal less solar radiation.[30] Lighter skin is due to a low concentration in pigmentation, thus allowing more sunlight to trigger the production of vitamin D. In this way, high frequencies of light hair in northern latitudes are a result of the light skin adaptation to lower levels of solar radiation, which reduces the prevalence of rickets caused by vitamin D deficiency. The darker pigmentation at higher latitudes in certain ethnic groups such as the Inuit is explained by a greater proportion of seafood in their diet and by the climate which they live in, because in the polar climate there is more ice or snow on the ground, and this reflects the solar radiation on to the skin, making this environment lack the conditions for the person to have blond, brown or red hair, light skin and blue, grey or green eyes.
An alternative hypothesis was presented by Canadian anthropologist Peter Frost, who claims blond hair evolved very quickly in a specific area at the end of the last ice age by means of sexual selection.[31] According to Frost, the appearance of blond hair and blue eyes in some northern European women made them stand out from their rivals, and more sexually appealing to men, at a time of fierce competition for scarce males.[31][32]
Recent archaeological and genetic study published in 2014 found that seven "Scandinavian hunter-gatherers" found in the 7,700-year-old Motala archaeological site in southern Sweden had both light skin gene variants, SLC24A5 and SLC45A2, and that they had a third gene, HERC2/OCA2, which causes blue eyes and also contributes to lighter skin and blond hair.[33] Genetic research published in 2014 and 2015 also indicates that Yamnaya Proto-Indo-Europeans who migrated to Europe in the Bronze Age were overwhelmingly dark-eyed (brown), dark-haired and had a skin colour that was moderately light, though somewhat darker than that of the average modern European.[34] Light pigmentation traits had already existed in pre-Indo-European Europeans (both farmers and hunter-gatherers), and long-standing philological attempts to correlate them with the arrival of Indo-Europeans from the steppes were misguided.[35]
It is now hypothesized by researchers that blond hair evolved more than once. Published in May 2012 in Science, a study of people from the Solomon Islands in Melanesia found that an amino acid change in TYRP1 produced blonde hair.[36][37]
Relation to age
Toddler with golden blonde hair
Blond hair is most common in light-skinned infants and children,[38] so much so that the term "baby blond" is often used for very light colored hair. Babies may be born with blond hair even among groups where adults rarely have blond hair, although such natural hair usually falls out quickly. Blond hair tends to turn darker with age, and many children's blond hair turns light, medium, dark brown or black before or during their adult years.[38]
As blond hair tends to turn brunette with age, natural blond hair is rare in adulthood, with claims of the world's population ranging from 2% naturally blond[39][self-published source] to 16 percent.[40]
Geographic distribution
Europe
A map published by Carleton S. Coon, attributed to Elmer Rising (1939)[41]
Blond hair is most common in Scandinavia and the Baltic Sea countries, where true blondism is believed to have originated. The pigmentation of both hair and eyes is lightest around the Baltic Sea, and darkness increases regularly and almost concentrically around this region,[42] with countries such as the United Kingdom, the Republic of Ireland, Sweden, Norway, Denmark, the Netherlands, Germany, Finland, Estonia, Latvia, Lithuania, Poland, Belarus, Ukraine, and Russia generally having larger proportions of blond people than countries further south in Europe.
In France, according to a source published 1939, blondism is more common in Normandy, and less common in the Pyrenees and the Mediterranean seacoast; 26% of French population has blond or light brown hair.[43] A 2007 study of French females showed that by then roughly 20% were blonde, although half of these blondes were fully fake. Roughly ten percent of French females are natural blondes, of which 60% bleach their hair to a lighter nuance of blonde.[44]
In Portugal, an average 11% of the population shows traces of blondism, peaking at 14.3–15.1% blondes in Povoa de Varzim in northern Portugal.[45][46] In northern Spain, 17% of the population shows traces of blondism, but in southern Spain just 2% of the people are blond.[47] In Italy, a study of Italian men conducted by Ridolfo Livi between 1859 and 1863 on the records of the National Conscription Service showed that 8.2% of Italian men exhibited blond hair. Blondism frequency varies among regions from 12.6% in Veneto, to 1.7% in Sardinia.[48] In a more detailed study from the 20th century geneticist Renato Biasutti,[49] the regional contrasts of blondism frequency are better shown, with a greater occurrence in the northern regions where the figure could be over 20%, and a lesser occurrence in the south such as Sardinia where the frequency was less than 2.4%. With the exception of Benevento and the surrounding area where various shades of blond hair were present in 10%–14.9% of the population, other southern regions averaged between 2.5% and 7.4%.[50]
Africa
Blondism is a common sight among Berbers of North Africa, especially in the Rif and Kabyle region. Blondism frequency varies among Berbers from 1% among Jerban Berbers and 4% among Mozabite Berbers and Shawia Berbers, to 11% among Kabyle Berbers.[51] In South Africa where there is a significant population of whites, mainly from Dutch and English ancestry, blondes may account for 3-4% of the South African population.
A number of blonde naturally mummified bodies of common people (i.e. not proper mummies) dating to Roman times have been found in the Fag el-Gamous cemetery in Egypt. "Of those whose hair was preserved 54% were blondes or redheads, and the percentage grows to 87% when light-brown hair color is added."[52] Excavations have been ongoing since the 1980s. Burials seem to be clustered by hair-colour.[53]
Oceania
Blond girl from Vanuatu
Aboriginal Australians, especially in the west-central parts of the continent, have a high frequency of natural blond-to-brown hair,[54] with as many as 90–100% of children having blond hair in some areas.[55] The trait among Indigenous Australians is primarily associated with children. In maturity the hair usually turns a darker brown color, but sometimes remains blond.[55] Blondness is also found in some other parts of the South Pacific, such as the Solomon Islands,[36][37] Vanuatu, and Fiji, again with higher incidences in children. Blond hair in Melanesians is caused by an amino acid change in the gene TYRP1.[36] This mutation is at a frequency of 26% in the Solomon Islands and is absent outside of Oceania.[36]
Asia
Blonde hair can be found in any region of Asia, including West Asia, East Asia, Central Asia, and South Asia. In these parts of Asia blond hair is generally seen among children and usually turns into a shade of dark brown in adulthood. Environmental factors, for example sun exposure and nutrition status, often contribute to changes in hair color in Asia.[56]
Genetic research published in 2014, 2015 and 2016 found that Yamnaya Proto-Indo-Europeans, who migrated to Europe in the early Bronze Age were overwhelmingly dark-eyed (brown) and dark-haired, and had a skin colour that was moderately light, though somewhat darker than that of the average modern European.[34] While light pigmentation traits had already existed in pre-Indo-European Europeans (both farmers and hunter-gatherers), long-standing philological attempts to correlate them with the arrival of Indo-Europeans from the steppes were misguided.[35]
Uyghur girl in Turpan, Xinjiang, China
According to genetic studies, Yamnaya Proto-Indo-European migration to Europe led to Corded Ware culture, where Yamnaya Proto-Indo-Europeans mixed with "Scandinavian hunter-gatherer" women who carried genetic alleles HERC2/OCA2, which causes combination of blue eyes and blond hair.[57][58][33] Proto-Indo-Iranians who split from Corded Ware culture formed the Andronovo culture and are believed to have spread genetic alleles HERC2/OCA2 that cause blonde hair to parts of West Asia, Central Asia and South Asia.[58]
Genetic analysis in 2014 also found that people of the Afanasevo culture which flourished in the Altai Mountains were genetically identical to Yamnaya Proto-Indo-Europeans and that they did not carry genetic alleles for blonde hair or light eyes.[59][57][58] The Afanasevo culture was later replaced by a second wave of Indo-European invaders from the Andronovo culture, who were a product of Corded Ware admixture that took place in Europe, and carried genetic alleles that cause blond hair and light eyes.[59][57][58]
In 2009 and 2014, genomic study of Tarim mummies discovered in the Tarim Basin in present-day Xinjiang, China, showed that they were also a product of a Corded Ware admixture and were genetically closer to the Andronovo culture (which split from Corded Ware culture)[58] than to the Yamnaya culture or Afanasevo culture.[60][59]
Today, higher frequencies of light hair in Asia are more prevalent among Pamiris, Kalash, Nuristani and Uyghur children than in adult populations of these ethnic groups.[61]
An estimate of 75% of Russia is geographically considered North Asia; however, the Asian portion of Russia contributes to only an estimate of 20% of Russia's total population.[62] North Asia's population has an estimate of 1-19% with light hair.[63][64] From the times of the Russian Tsardom of the 17th century through the Soviet Union rule in the 20th century, many ethnic Russians, Ukrainians, Belarusians, Lithuanians, Latvians, Estonians, Poles, and Germans were settled in or exiled en masse to Siberia and Central Asia. Blond hair is often seen in these groups, whereas the indigenous peoples are more likely to be dark haired.[65][66][67] For instance, their descendants currently contribute to an estimated 25% of Kazakhstan's total population.[68]
Folklore, mythology, and cultural attitudes
Southern Europe
Left image: Reconstructed Blond Kouros's Head of the Acropolis, c. 480 BC.
Right image: Ganymede, the hero of Troy, rolling a hoop, Attic vase c. 500 BC.
On the left: Statue of Antinous (Delphi), depiting Antinous, polychrome Parian marble, made during the reign of Hadrian (r. 117-138 AD)
On the right: detail of athletic women in the "bikini girls" mosaic of the Villa Romana del Casale, Roman Sicily, 4th century AD
The Greek gods are cited as varying in their appearances. While Poseidon was described as having a blue-black beard and Zeus blue-black eyebrows, Pindar described Athena as fair-haired[citation needed]. The sculptor Pheidias may have depicted Athena's hair using gold in his famous statue of Athena Parthenos, which was displayed inside the Parthenon.[69] Hera, Apollo and Aphrodite were occasionally also described as blondes. In the work of Homer, Menelaus the king of the Spartans is, together with some other Achaean leaders, portrayed as blond.[70] Although dark hair colours were predominant in the works of Homer, there is only one case of a dark hero, and that is when the blond Odysseus is transformed by Athena and his beard becomes blue-black. Other blond characters in Homer are Peleus, Achilles, Meleager, Agamede, and Rhadamanthys.[70] According to Francis Owens,[71] Roman literary records describe a large number of well-known Roman historical personalities as blond. In addition, 250 individuals are recorded to have had the name Flavius, meaning yellow, and there are various people named Rufus and Rutilius, meaning red haired and reddish-haired, respectively.
The traces of hair color on Greek korai likely reflect the colors the artists saw in natural hair. The hair has a wide range of shades of blond, red, and brown. The minority of statues with blond hair range from strawberry blond up to platinum blond.[72] Sappho of Lesbos (630-570 BC) wrote that purple colored wraps as headdress were good enough, except if the hair was blonde: "...for the girl who has hair that is yellower than a torch (it is better to decorate it) with wreaths of flowers in bloom."[73]
According to Victoria Sherrow, those Romans who were fair-haired preferred to dye their hair dark in the early period of Ancient Rome; at one point in time blond hair was even associated with prostitutes.[74] The preference changed to bleaching the hair blond when Greek culture, which practiced bleaching, reached Rome, and was reinforced when the legions that conquered Gaul returned with blond slaves.[74] Sherrow also states that Roman women tried to lighten their hair, but the substances often caused hair loss, so they resorted to wigs made from the captives’ hair.[75]
Juvenal wrote in a satirical poem that Messalina, Roman empress of noble birth, would hide her black hair with a blonde wig for her nightly visits to the brothel: sed nigrum flavo crinem abscondente galero intravit calidum veteri centone lupanar.[76] In his Commentary on the Aeneid of Virgil, Maurus Servius Honoratus noted that the respectable matron was only black haired, never blonde.[77] In the same passage, he mentioned that Cato the Elder wrote that some matrons would sprinkle golden dust on their hair to make it reddish-color. Emperor Lucius Verus (r. 161 – 169 AD) was said to sprinkle gold-dust on his already "golden" blond hair to make it even blonder and brighter.[78] Commodus (r. 177-192), son of Marcus Aurelius (a co-emperor with Lucius Verus), likewise had naturally curly blond hair.[79]
Roman frescoes from the Villa di Arianna, Stabiae, Italy, 1st century AD
On the left: a domestic scene of a seated young man
On the right: another domestic scene showing a woman looking in a mirror as she dresses (or undresses) her hair
From an ethnic point of view, Roman authors associated blond and red hair with the Gauls and the Germans: e.g., Virgil describes the hair of the Gauls as "golden" (aurea caesaries),[80] Tacitus wrote that "the Germans have fierce blue eyes, red-blond hair (rutilae comae), huge (tall) frames";[81] in accordance with Ammianus, almost all the Gauls were "of tall stature, fair and ruddy".[82] Celtic and Germanic peoples of the provinces, among the free subjects called peregrini, served in Rome's armies as auxilia, such as the cavalry contingents in the army of Julius Caesar.[83] Some became Roman citizens as far back as the 1st century BC, following a policy of Romanization of Gaul and Lesser Germania.[84] For instance, Gaius Julius Civilis, a prince of the Batavii, was a Roman citizen either by birth or naturalization (as indicated by his name).[85] Before the Constitutio Antoniniana, which granted citizenship to all free men of the empire in 212 AD, entire auxiliary cohorts were occasionally granted citizenship for their performance in battle.[86] Sometimes entire Celtic and Germanic tribes were granted citizenship, such as when emperor Otho granted citizenship to all of the Lingones in 69 AD.[87] By the 1st century BC, the Roman Republic had expanded its control into parts of western Germany, and by 85 AD the provinces of Germania Inferior and Germania Superior were formally established there.[88] Yet as late as the 4th century AD, Ausonius, a poet and tutor from Burdigala, wrote a poem about an Alemanni slave girl named Bissula, who he had recently freed after she'd been taken as a prisoner of war in the campaigns of Valentinian I, noting that her adopted Latin language marked her as a woman of Latium yet her blond-haired, blue-eyed appearance ultimately signified her true origins from the Rhine.[89]
Further south, the Iberian peninsula was originally inhabited by Celtiberians outside of Roman control. The gradual Roman conquest of Iberia was completed by the early 1st century AD.[90] The Romans established provinces such as Hispania Terraconensis that were inhabited largely by Gallaeci, whose red and blond-haired descendants (which also include those of Visigothic origins) have continued to inhabit northern areas of Spain such as Galicia and Portugal into the modern era.[90] During the medieval period Spanish ladies preferred to dye their hair black, yet by the time of the Renaissance in the 16th century the fashion (imported from Italy) was to dye their hair blond or red.[91]
Classical and Hellenistic Greek depictions
The male figure of the Etruscan sarcophagus known as the Sarcophagus of the Spouses (Louvre, Paris), 520-510 BC
The goddess Hera (according to the description on the cup); tondo of an Attic white-ground kylix from Vulci, c. 470 BC
Terracotta vase in the shape of Dionysus' head, c. 410 BC; on display in the Ancient Agora Museum in Athens, housed in the Stoa of Attalus
Pottery vessel of Aphrodite in a shell; from Attica, Classical Greece, discovered at Phanagoria, Taman Peninsula (Bosporan Kingdom, southern Russia), early 4th century BC, Hermitage Museum, Saint Petersburg
Remnants of a statue of Dionysos, Roman copy of a 4th-century BC Greek original, Palatine Museum, Rome
An ancient Greek pottery (terracotta) figurine from Taras (modern Taranto), Magna Graecia, Altes Museum
A red-figure pottery (terracotta) "kerch" style lekythos depicting a nymph and satyr playing a game of knucklebones, with two Eros figures (standing between Aphrodite) offering laurel wreaths of victory too the nymph and to a youth, c. 350 BC
A mosaic of the Kasta Tomb in Amphipolis depicting the abduction of Persephone by Pluto, 4th century BC
A youth pours a libation to a dead man sitting in a naiskos; from an Apulian red-figure volute-krater pelike, 340–320 BC
Stag Hunt Mosaic, possibly depicting Alexander the Great, Pella, Greece, 4th century BC.
Alexander the Great (left), wearing a kausia and fighting an Asiatic lion with his friend Craterus (detail); late 4th-century BC mosaic from Pella[92]
Female acrobat shooting an arrow with a bow in her feet; Gnathia style pelike; 4th century BC
A lekythos bottle in the Gnathia style depicting the winged goddess of victory, Nike, armed and dancing
Gnathia ware, southern Italy (Magna Graecia), Apulian vase painting, 310-260 BC, Kinský Palace (Prague)
Apulian red-figure Oinochoe with Lid by the Ganymed Painter (Oinochoe) and Armidale Painter (Lid): head in a calyx between tendrils. About 340-310 BC. Antikensammlung Kiel.
Detail of a krater with volutes in terracotta; Greek art from Southern Italy, c. 330-320 BC.
Two women bringing offerings to the dead woman sitting in a naiskos. Apulian red-figure loutrophoros, 340–320 BC.
A Gnathia-style ceramic vessel from ancient Magna Graecia (Apulia, Italy), depicting a blond winged youth with a Phrygian cap, with lion head spouts, by the "Toledo" painter, c. 300 BC
Woman's head on an alabastron in gnathia style; Apulian vase painting, Magna Graecia, Antikensammlung Kiel
Sitting woman holding a crown. Terracotta, Apulian vase painting, late 4th century BC. Museum Santa Maria della Scala, Siena.
Ancient Roman depictions
Roman fresco from Pompeii showing a Maenad in silk dress, 1st century AD
Ancient Roman fresco (detail) featuring Perseus and the head of Medusa, Stabiae, Italy, 1st century AD.
Fresco depicting a seated woman, from the Villa Arianna at Stabiae, 1st century AD
Fresco of a man holding a papyrus roll, Pompeii, Italy, 1st century AD
Heracles and Omphale, Pompeian Fourth Style (45–79 AD)
Roman fresco of a blond maiden reading a text, Pompeian Fourth Style (60-79 AD), Pompeii
Mosaic of Aphrodite from Pompeii
Achilles and Agamemnon, from a fresco of Pompeii, 1st century AD
Dye worker's shop of Veranius Hypsaeus, fresco from Pompeii, 1st century AD
A maenad holding a cupid, Pompeii, 1st century AD
The so-called "Venus in a bikini", from the House of Julia Felix, Pompeii, Italy actually depicts the Roman goddess Aphrodite as she is about to untie her sandal, with a small Eros squatting beneath her left arm
Ancient Roman bust of Antinous, made during the reign of Hadrian (117–138 AD), National Archaeological Museum in Athens.
Remnants of a Roman bust of a youth with a blond beard, perhaps depicting Roman emperor Commodus (r. 177–192), National Archaeological Museum, Athens
Polychrome marble statue depicting the goddess Tyche holding the infant Plutus in her arms, 2nd century AD, Istanbul Archaeological Museum
Ancient Roman statue of Isis, in the Collection of Greek and Roman Antiquities in the Kunsthistorisches Museum, Vienna; first half of the 2nd century AD, found in Naples, Italy; made out of black and white marble.
Marble table support adorned by a group including Dionysos, Pan and a Satyr; Dionysos holds a rhyton in the shape of a panther; traces of red and yellow colour are preserved on the hair of the figures and the branches; from an Asia Minor workshop, AD 170–180, National Archaeological Museum, Athens, Greece
Bust of Tiberius Julius Sauromates II (d. 210 AD), ruler of the Bosporan Kingdom in Roman Crimea, one of Rome's client states
Asclepius (center) arrives in Kos and is greeted by Hippocrates (left) and a citizen (right), mosaic, 2nd–3rd century AD
Ludovisi Gaul 2nd-century AD Roman copy of a 3rd-century BC Hellenistic original from Pergamon, Palazzo Altemps
A blond man in a Roman fresco from Klagenfurt, Austria, Landesmuseum für Kärnten
A mosaic from Tusculum depicting Athena, 3rd century AD
Roman mosaic depicting a feminine personification, from the Boathouse of Psyche in Daphne (suburb of Antioch), beginning of 3rd century AD, Louvre Museum
A boy holding a platter of fruits and what may be a bucket of crabs, in a kitchen with fish and squid, on the June panel from a mosaic depicting the months (3rd century)[93]
A mosaic of young boys hunting from the Villa Romana del Casale, Roman Sicily, 4th century AD
A mosaic depicting a game hunt, from the Villa Romana del Casale, Roman Sicily, 4th century AD
A Roman fresco depicting the goddess Diana hunting, 4th century AD, from the Via Livenza hypogeum in Rome
Mosaic depicting Odysseus, from La Olmeda, Spain, late 4th–5th centuries AD
Mosaic of a princess of Skyros (detail from a larger scene of the Iliad showing Achilles and Odysseus) from the villa of La Olmeda, Spain, late 4th–5th centuries AD
Achilles being adored by princesses of Skyros, a scene from the Iliad where Odysseus (Ulysses) discovers him dressed as a woman and hiding among the princesses at the royal court of Skyros. A late Roman mosaic from La Olmeda, Spain, 4th–5th centuries AD
Color reconstructions based on trace pigment analysis
Color reconstruction of statue of a young girl from the Parthenon in Athens, 520 BC. Based on analysis of trace pigments.
East Frieze detail (6th-5th century BC) representing the battle of Troy, Achilles against Memnon; color reproduction of the Treasury of Siphnos - Delphi, Archaeological Museum of Delphi
Reconstructed polychromy of a vase-shaped tombstone from Athens, c. 330 BC, Ny Carlsberg Glyptotek, Copenhagen
The Greek goddess Artemis. Color reconstruction of a 1st-century AD statue found in Pompeii. Reconstructed using analysis of trace pigments. It was an imitation of Greek statues of the 6th century BC.
The Treu Head, 2nd century AD. Color reconstruction of marble head of likely a goddess. The head was found at the Esquiline Hill, Rome, and preserves numerous colour traces.
Northern Europe
Loki cuts the hair of the goddess Sif in an illustration (1920) by Willy Pogany
In Norse mythology, the goddess Sif has famously blonde hair, which some scholars have identified as representing golden wheat.[94] In the Poetic Edda poem Rígsþula, the blond man Jarl is considered to be the ancestor of the dominant warrior class.
In Northern European folklore, supernatural beings value blonde hair in humans. Blonde babies are more likely to be stolen and replaced with changelings, and young blonde women are more likely to be lured away to the land of the beings.[95] Elves and fairies were often portrayed with blond hair in illustrations in children's book of fairy tales. This continues the theme that blond hair is associated with beauty and goodness.
Contemporary popular culture
Actress Marilyn Monroe. A natural brunette, she dyed her hair blonde early in her career.
In contemporary popular culture, it is often stereotyped that men find blonde women more attractive than women with other hair colors.[74] For example, Anita Loos popularized this idea in her 1925 novel Gentlemen Prefer Blondes.[74] Some women have reported they feel other people expect them to be more fun-loving after having lightened their hair.[74]
Originating in Europe, the "blonde stereotype" is also associated with being less serious or less intelligent.[74] This can be seen in blonde jokes.[74] In Brazil, this extends to blonde women being looked down, as reflected in sexist jokes, as also sexually licentious.[96] It is believed the originator of the "dumb blonde" was an 18th-century blonde French prostitute named Rosalie Duthé whose reputation of being beautiful but dumb inspired a play about her called Les Curiosites de la Foire (Paris 1775).[74] Blonde actresses have contributed to this perception; some of them include Marilyn Monroe, Judy Holliday, Jayne Mansfield, and Goldie Hawn during her time at Laugh-In.[74]
Alfred Hitchcock preferred to cast blonde women for major roles in his films as he believed that the audience would suspect them the least, comparing them to "virgin snow that shows up the bloody footprints", hence the term "Hitchcock blonde".[97] This stereotype has become so ingrained it has spawned counter-narratives, such as in the 2001 film Legally Blonde in which Reese Witherspoon succeeds at Harvard despite biases against her beauty and blonde hair,[74] and terms developed such as cookie cutter blond (CCB),[dubious – discuss] implying standardized blond looks and standard perceived social and intelligence characteristics of a blond. Many actors and actresses in Latin America and Hispanic United States have blond hair, blue eyes, and pale skin.[98][99][100][101][102][103][104][105][106]
In colloquial Quebec French, "ma blonde" means "my girlfriend", regardless of the color of the specific woman's hair. Such is for example the reference in the name of the still-current 17th-century chanson "Auprès de ma blonde".[citation needed]
Blondes in literature
Portrait of a Woman by Bartolomeo Veneto, traditionally assumed to be Lucrezia Borgia.
American novelist and screenwriter Raymond Chandler offers an appraisal of the blonde as social criticism in his novel The Long Goodbye (1953):
There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia's poison vial.
There is the soft and willing and alcoholic blonde who doesn't care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can't lay a finger on her because in the first place you don't want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.[107]
The Saturday Evening Post (1910). Fitzgerald was a frequent contributor in the 1920s.
American novelist and short story writer F. Scott Fitzgerald, and chronicler of the Jazz Age, describes a blonde salesclerk working in Minneapolis, Minnesota in his short story "At Your Age" (1929):
Then looking up, he saw the blonde girl.
She was a rare blonde, even in the Promised Land of Scandinavians, where pretty blondes were not rare. There was a warm color in her cheeks, lips and pink little hands that folded the powders into papers; her hair, in long braids twisted about her head, was shining and alive. She seemed to Tom suddenly the cleanest person he knew of, and he caught his breath as he stepped forward and looked into her gray eyes.
"A can of talcum."
"What kind?"
"Any kind...that's fine."
She looked back at him apparently without self-consciousness, [and] his heart raced with it wildly."[108][109]
See also
Science
Disappearing blonde gene
Human hair color
Auburn hair
Black hair
Brown hair
Red hair
Society
Blonde vs. brunette rivalry
Blonde stereotype
Ganguro
Go Blonde Festival
References
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The regional distribution of hair color in France follows closely that of stature. Although the position of the French in regard to hair pigmentation is intermediate between blond and black, the diagonal line from Mont St. Michel to Orleans, Lyons, and the Italian border divides the country into a northeastern quadrant, in which the hair is somewhat lighter than medium, and a southwestern, in which it is somewhat darker. High ratios of black and very dark brown hair are found not in the typically Alpine country, but along the slope of the Pyrenees, in Catalan-speaking country, and on the Mediterranean seacoast. Blond hair is commonest along the Channel, in regions settled by Saxons and Normans, in Burgundy and the country bordering Switzerland, and down the course of the Rhône. In northern France it seems to follow upstream the rivers which empty into the Channel. The hair color of the departments occupied by Flemish speakers, and of others directly across the Channel from England in Normandy, seems to be nearly as light as that in the southern English counties; the coastal cantons of Brittany are lighter than the inland ones, and approximate a Cornish condition. In the same way, the northeastern French departments are probably as light-haired as some of the provinces of southern Germany. |access-date= requires |url= (help)
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External links
Look up blond in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Blond hair.
Wikimedia Commons has media related to Blond hair in art.
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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
Christine Baranski
Pierce Brosnan
Dominic Cooper
Colin Firth
Andy García
Lily James
Amanda Seyfried
Stellan Skarsgård
Julie Walters
Cher
Meryl Streep
Music by
Anne Dudley
Cinematography
Robert Yeoman
Edited by
Peter Lambert
Production
company
Playtone
Littlestar Productions
Legendary Entertainment
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[1]
Country
United Kingdom
United States
Language
English
Budget
$75 million[2]
Box office
$280.8 million[2]
Mamma Mia! Here We Go Again (also known as Mamma Mia! 2 or Mamma Mia! 2: Here We Go Again) is a 2018 jukebox musical romantic comedy film directed and written 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, Hugh Skinner, Josh Dylan, 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.[3] The film has grossed over $280 million worldwide and received generally positive reviews, with critics praising the performances and musical numbers, though the necessity of the film and underuse of some of the original cast (particularly Streep) received some criticism.[4][5]
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 Reception
6.1 Box office
6.2 Critical response
7 References
8 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 is getting ready to travel the world. While in Paris, she meets and parties with Harry. 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, Bill meets the fisherman Alexio and thereby secures boat passage for himself, Harry as well as the newly arrived Sky.
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 deciding 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 and 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. 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.
Meryl Streep as Donna Sheridan, Sophie’s late mother, and wife to Sam.
Lily James as Young Donna, founder of Donna and the Dynamos.
Dominic Cooper as Sky, Sophie’s partner.
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; an unmarried fun-loving author.
Alexa Davies as Young Rosie
Pierce Brosnan as Sam Carmichael, an Irish-American architect, and widower of Donna.
Jeremy Irvine as Young Sam
Colin Firth as Harry Bright, a British businessman.
Hugh Skinner as Young Harry
Stellan Skarsgård as Bill Anderson, a Swedish sailor and travel writer, Sofia's great-nephew and as Kurt Anderson, Bill's obese brother.
Josh Dylan as Young Bill
Cher as Ruby Sheridan, Donna’s mother, and Sophie’s grandmother.
Andy García as Fernando Cienfuegos, the manager of the Hotel Bella Donna, an old Mexican lover of Ruby’s and implied to be Donna's father. According to Garcia. “There’s also the interesting anecdote that it’s possible that I may have been the father to Meryl and Lily.” [6]
Omid Djalili as a Greek customs officer
Celia Imrie as Vice-Chancellor
Maria Vacratsis as Sofia, and a local who owns the bar and shack which eventually becomes Donna's home and Bill's great aunt.
Panos Mouzourakis as Lazaros, Sofia's son whose band plays at the bar.
Gerard Monaco as Alexio
Anna Antoniades as Apollonia
Cameo appearances
Björn Ulvaeus as an Oxford professor
Benny Andersson as "Waterloo" piano player
Jonathan Goldsmith as Rafael Cienfuegos, Fernando's brother
Musical numbers[edit]
Main article: Mamma Mia! Here We Go Again (soundtrack)
A soundtrack album was released on July 13, 2018 by Capitol and Polydor Records in the United States and internationally, respectively.[7][8] 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".
"When I Kissed the Teacher" – Young Donna and the Dynamos, Vice-Chancellor
"I Wonder (Departure)" – Young Donna and the Dynamos†
"One of Us" – Sophie, Sky
"Waterloo" – Young Harry, Young Donna
"Why Did It Have to Be Me?" – Young Bill, Young Donna, 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, Young Sam
"Mamma Mia" – Young Donna and the Dynamos
"Angel Eyes" – Rosie, Tanya, Sophie
"Dancing Queen" – Sophie, Rosie, Tanya, Sam, Bill, Harry
"I've Been Waiting for You" – Sophie, Rosie, 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, Young Harry
"The Day Before You Came" – Donna†
† Songs featured on the soundtrack album but omitted from the film.
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.[9]
Mamma Mia! Here We Go Again was announced on May 19, 2017, with a release date of July 20, 2018.[10] It was written and directed by Ol Parker.[11] 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."[12] “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.[13] 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.[14] In July 2017, Baranski was also confirmed to return as Tanya.[15] On July 12, 2017, Lily James was cast to play the role of young Donna.[16] 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.[17] On August 16, 2017, it was announced that Jessica Keenan Wynn had been cast as a young Tanya, who is played by Baranski.[18] Julie Walters and Stellan Skarsgård also reprised their roles as Rosie and Bill, respectively.[19] 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,[20] and her first film with Streep since Silkwood.
Filming[edit]
Principal photography on the film began on August 12, 2017 in Croatia, including the island of Vis.[21][22][23][24][21] In October 2017, the cast gathered at Shepperton Studios in Surrey, England, to film song and dance numbers with Cher.[20] Filming wrapped on December 2, 2017.[25]
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.[26][3] The film premiered on July 16, 2018 at the Hammersmith Apollo in London.[27]
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.[28]
Reception[edit]
Box office[edit]
As of August 12, 2018[update], Mamma Mia! Here We Go Again has grossed $103.8 million in the United States and Canada, and $177 million in other territories, for a total worldwide gross of $280.8 million, against a production budget of $75 million.[2]
In June 2018, three weeks prior to its release, official industry tracking had the film debuting to $27–33 million,[29] which increased to as much as $36 million by the week of its release.[30] 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%.[28][31] It fell 57% to $15.1 million in its second weekend, finishing second behind newcomer Mission: Impossible – Fallout.[32][33] In its third weekend the film grossed $9 million, dropping to fourth place, and $5.8 million in its fourth weekend, finishing seventh.[34][35]
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.[36] 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).[37]
Critical response[edit]
Lily James' performance as Young Donna was praised by many critics as a 'breakout' role.[38]
On review aggregation website Rotten Tomatoes, the film holds an approval rating of 80% based on 194 reviews, with 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?"[39] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 60 out of 100, based on 46 critics, indicating "mixed or average reviews".[40] 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.[28]
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."[41] 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."[42] Joy Watson from Exclaim! thoroughly enjoyed the movie, saying, "With multitalented writer and director Ol Parker at the helm, and perhaps more importantly, Richard Curtis (king of the British rom-com) behind the scenes to balance out the cheesiness, Here We Go Again builds giddy energy and tension throughout until Cher arrives in a helicopter to blow the whole thing sky high with an ode to "Fernando." Pure bliss."[43]
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".[44] 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.[45] 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."[46] 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."[47]
References[edit]
External links[edit]
Official website
Mamma Mia! Here We Go Again on IMDb
Mamma Mia! Here We Go Again at AllMovie
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Mamma Mia! Here We Go Again (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 August 12, 2018.
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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.
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Jump up ^ "New Music Friday: Tinashe, DJ Snake, Mamma Mia Soundtrack..." latfusa.com. 13 July 2018.
Jump up ^ "Mamma Mia! Here We Go Again Official Soundtrack Is Out Today". Umusic.ca. 13 July 2018. Retrieved 16 July 2018.
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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 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 ^ 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. 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 ^ "'Mamma Mia! Here We Go Again' Review: Lily James Is a Breakout, but This Energetic Sequel Misses Meryl Streep". IndieWire. IndieWire. Retrieved July 17, 2018.
Jump up ^ "Mamma Mia! Here We Go Again (2018)". Rotten Tomatoes. Fandango Media. Retrieved August 9, 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 ^ Watson, Joy (July 23, 2018). "'Mamma Mia! Here We Go Again' Review: Carefree White Girl Vibes Win". Exclaim!. Retrieved July 23, 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 ^ Stephanie Zacharek (July 30, 2018). "Mamma Mia: Here We Go Again Is Both Atrocious and Amazing". TIME magazine. p. 52.
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