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Magnitude (astronomy)
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For other uses, see Magnitude (disambiguation).
Top: Light sources of different magnitudes. A very bright satellite flare can be seen in the night sky.
Bottom: The Hubble Ultra-Deep Field detected objects as faint as 30th magnitude (left). Comet Borrelly, the colors show its brightness over the range of three orders of magnitude (right).
In astronomy, magnitude is a logarithmic measure of the brightness of an object in a defined passband, often in the visible or infrared spectrum, but sometimes across all wavelengths. An imprecise but systematic determination of the magnitude of objects was introduced in ancient times by Hipparchus.
Astronomers use two different definitions of magnitude: apparent magnitude and absolute magnitude. The apparent magnitude (m) is the brightness of an object as it appears in the night sky from Earth. Apparent magnitude depends on an object's intrinsic luminosity and its distance. The absolute magnitude (M) describes the intrinsic luminosity emitted by an object and is defined to be equal to the apparent magnitude that the object would have if it were placed at a certain distance from Earth, 10 parsecs for stars. A more complex definition of absolute magnitude is used for planets and small Solar System bodies, based on its brightness at one astronomical unit from the observer and the Sun.
The brighter an object appears, the lower the value of its magnitude, with the brightest objects reaching negative values. The Sun has an apparent magnitude of −27, the Moon −13 at full phase, the brightest planet Venus up to −5, and Sirius, the brightest visible star in the night sky, −1.5. Apparent magnitudes can also be assigned to artificial objects in Earth orbit. The brightest satellite flares are ranked at −9, and the International Space Station (ISS) appears at a magnitude of −6.
The scale is logarithmic and defined such that each step of one magnitude changes the brightness by a factor of the fifth root of 100, or approximately 2.512. For example, a magnitude 1 star is exactly a hundred times brighter than a magnitude 6 star, as the difference of five magnitude steps corresponds to 2.5125, or 100.
Contents
[hide]
1 History
1.1 Modern definition
2 Scale
3 Apparent and absolute magnitude
3.1 Apparent magnitude
3.2 Absolute magnitude
3.3 Examples
3.4 Other scales
4 Problems
5 See also
6 Notes
7 References
8 External links
History[edit]
The magnitude system dates back roughly 2000 years to the Greek astronomer Hipparchus (or the Alexandrian astronomer Ptolemy—references vary) who classified stars by their apparent brightness, which they saw as size (magnitude means "bigness, size"[1]). To the unaided eye, a more prominent star such as Sirius or Arcturus appears larger than a less prominent star such as Mizar, which in turn appears larger than a truly faint star such as Alcor. In 1736, the mathematician John Keill described the ancient naked-eye magnitude system in this way:
The fixed Stars appear to be of different Bignesses, not because they really are so, but because they are not all equally distant from us.[note 1] Those that are nearest will excel in Lustre and Bigness; the more remote Stars will give a fainter Light, and appear smaller to the Eye. Hence arise the Distribution of Stars, according to their Order and Dignity, into Classes; the first Class containing those which are nearest to us, are called Stars of the first Magnitude; those that are next to them, are Stars of the second Magnitude ... and so forth, 'till we come to the Stars of the sixth Magnitude, which comprehend the smallest Stars that can be discerned with the bare Eye. For all the other Stars, which are only seen by the Help of a Telescope, and which are called Telescopical, are not reckoned among these six Orders. Altho' the Distinction of Stars into six Degrees of Magnitude is commonly received by Astronomers; yet we are not to judge, that every particular Star is exactly to be ranked according to a certain Bigness, which is one of the Six; but rather in reality there are almost as many Orders of Stars, as there are Stars, few of them being exactly of the same Bigness and Lustre. And even among those Stars which are reckoned of the brightest Class, there appears a Variety of Magnitude; for Sirius or Arcturus are each of them brighter than Aldebaran or the Bull's Eye, or even than the Star in Spica; and yet all these Stars are reckoned among the Stars of the first Order: And there are some Stars of such an intermedial Order, that the Astronomers have differed in classing of them; some putting the same Stars in one Class, others in another. For Example: The little Dog was by Tycho placed among the Stars of the second Magnitude, which Ptolemy reckoned among the Stars of the first Class: And therefore it is not truly either of the first or second Order, but ought to be ranked in a Place between both.[2]
Note that the brighter the star, the smaller the magnitude: Bright "first magnitude" stars are "1st-class" stars, while stars barely visible to the naked eye are "sixth magnitude" or "6th-class". The system was a simple delineation of stellar brightness into six distinct groups but made no allowance for the variations in brightness within a group.
Tycho Brahe attempted to directly measure the "bigness" of the stars in terms of angular size, which in theory meant that a star's magnitude could be determined by more than just the subjective judgment described in the above quote. He concluded that first magnitude stars measured 2 arc minutes (2′) in apparent diameter (1⁄30 of a degree, or 1⁄15 the diameter of the full moon), with second through sixth magnitude stars measuring 1 1⁄2′, 1 1⁄12′, 3⁄4′, 1⁄2′, and 1⁄3′, respectively.[3] The development of the telescope showed that these large sizes were illusory—stars appeared much smaller through the telescope. However, early telescopes produced a spurious disk-like image of a star that was larger for brighter stars and smaller for fainter ones. Astronomers from Galileo to Jaques Cassini mistook these spurious disks for the physical bodies of stars, and thus into the eighteenth century continued to think of magnitude in terms of the physical size of a star.[4] Johannes Hevelius produced a very precise table of star sizes measured telescopically, but now the measured diameters ranged from just over six seconds of arc for first magnitude down to just under 2 seconds for sixth magnitude.[4][5] By the time of William Herschel astronomers recognized that the telescopic disks of stars were spurious and a function of the telescope as well as the brightness of the stars, but still spoke in terms of a star's size more than its brightness.[4] Even well into the nineteenth century the magnitude system continued to be described in terms of six classes determined by apparent size, in which
There is no other rule for classing the stars but the estimation of the observer; and hence it is that some astronomers reckon those stars of the first magnitude which others esteem to be of the second.[6]
However, by the mid-nineteenth century astronomers had measured the distances to stars via stellar parallax, and so understood that stars are so far away as to essentially appear as point sources of light. Following advances in understanding the diffraction of light and astronomical seeing, astronomers fully understood both that the apparent sizes of stars were spurious and how those sizes depended on the intensity of light coming from a star (this is the star's apparent brightness, which can be measured in units such as watts/cm2) so that brighter stars appeared larger.
Modern definition[edit]
Early photometric measurements (made, for example, by using a light to project an artificial “star” into a telescope’s field of view and adjusting it to match real stars in brightness) demonstrated that first magnitude stars are about 100 times brighter than sixth magnitude stars.
Thus in 1856 Norman Pogson of Oxford proposed that a logarithmic scale of 5√100 ≈ 2.512 be adopted between magnitudes, so five magnitude steps corresponded precisely to a factor of 100 in brightness.[7][8] Every interval of one magnitude equates to a variation in brightness of 5√100 or roughly 2.512 times. Consequently, a first magnitude star is about 2.5 times brighter than a second magnitude star, 2.52 brighter than a third magnitude star, 2.53 brighter than a fourth magnitude star, and so on.
This is the modern magnitude system, which measures the brightness, not the apparent size, of stars. Using this logarithmic scale, it is possible for a star to be brighter than “first class”, so Arcturus or Vega are magnitude 0, and Sirius is magnitude −1.46.
Scale[edit]
As mentioned above, the scale appears to work 'in reverse', with objects with a negative magnitude being brighter than those with a positive magnitude. The 'larger' the negative value, the brighter.
Objects appearing farther to the left on this line are brighter, while objects appearing farther to the right are dimmer. Thus zero appears in the middle, with the brightest objects on the far left, and the dimmest objects on the far right.
Apparent and absolute magnitude[edit]
Two of the main types of magnitudes distinguished by astronomers are:
Apparent magnitude, the brightness of an object as it appears in the night sky.
Absolute magnitude, which measures the luminosity of an object (or reflected light for non-luminous objects like asteroids); it is the object's apparent magnitude as seen from a specific distance, conventionally 10 parsecs (32.6 light years).
The difference between these concepts can be seen by comparing two stars. Betelgeuse (apparent magnitude 0.5, absolute magnitude −5.8) appears slightly dimmer in the sky than Alpha Centauri (apparent magnitude 0.0, absolute magnitude 4.4) even though it emits thousands of times more light, because Betelgeuse is much farther away.
Apparent magnitude[edit]
Main article: Apparent magnitude
Under the modern logarithmic magnitude scale, two objects, one of which is used as a reference or baseline, whose intensities (brightnesses) measured from Earth in units of power per unit area (such as watts per square metre, W m−2) are I1 and Iref, will have magnitudes m1 and mref related by
m 1 − m r e f = − 2.5 log 10  ( I 1 I r e f ) . {\displaystyle m_{1}-m_{\rm {ref}}=-2.5\log _{10}\left({\frac {I_{1}}{I_{\rm {ref}}}}\right).}
Using this formula, the magnitude scale can be extended beyond the ancient magnitude 1–6 range, and it becomes a precise measure of brightness rather than simply a classification system. Astronomers can now measure differences as small as one-hundredth of a magnitude. Stars that have magnitudes between 1.5 and 2.5 are called second-magnitude; there are some 20 stars brighter than 1.5, which are first-magnitude stars (see the list of brightest stars). For example, Sirius is magnitude −1.46, Arcturus is −0.04, Aldebaran is 0.85, Spica is 1.04, and Procyon (the little Dog) is 0.34. Under the ancient magnitude system, all of these stars might have been classified as "stars of the first magnitude".
Magnitudes can also be calculated for objects far brighter than stars (such as the Sun and Moon), and for objects too faint for the human eye to see (such as Pluto).
Absolute magnitude[edit]
Main article: Absolute magnitude
Often, only apparent magnitude is mentioned since it can be measured directly. Absolute magnitude can be calculated from apparent magnitude and distance from:
m − M = 5 ( log 10  d − 1 ) . {\displaystyle m-M=5\left(\log _{10}d-1\right).}
This is known as the distance modulus, where d is the distance to the star measured in parsecs, m is the apparent magnitude, and M is the absolute magnitude.
If the line of sight between the object and observer is affected by extinction due to absorption of light by interstellar dust particles, then the object's apparent magnitude will be correspondingly fainter. For A magnitudes of extinction, the relationship between apparent and absolute magnitudes becomes
m − M = 5 ( log 10  d − 1 ) + A . {\displaystyle m-M=5\left(\log _{10}d-1\right)+A.}
Stellar absolute magnitudes are usually designated with a capital M with a subscript to indicate the passband. For example, MV is the magnitude at 10 parsecs in the V passband. A bolometric magnitude (Mbol) is an absolute magnitude adjusted to take account of radiation across all wavelengths; it is typically smaller (i.e. brighter) than an absolute magnitude in a particular passband, especially for very hot or very cool objects. Bolometric magnitudes are formally defined based on stellar luminosity in watts, and are normalised to be approximately equal to MV for yellow stars.
Absolute magnitudes for solar system objects are frequently quoted based on a distance of 1 AU. These are referred to with a capital H symbol. Since these objects are lit primarily by reflected light from the sun, an H magnitude is defined as the apparent magnitude of the object at 1 AU from the sun and 1 AU from the observer.[9]
Examples[edit]
The following is a table giving apparent magnitudes for celestial objects and artificial satellites ranging from the Sun to the faintest object visible with the Hubble Space Telescope (HST):
Apparent
magnitude
Brightness
relative to
magnitude 0
Example
Apparent
magnitude
Brightness
relative to
magnitude 0
Example
Apparent
magnitude
Brightness
relative to
magnitude 0
Example
−27 7010630999999999999♠6.31×1010 Sun −7 631 SN 1006 supernova 13 6994631000000000000♠6.31×10−6 3C 273 quasar
limit of 4.5–6 in (11–15 cm) telescopes
−26 7010250999999999999♠2.51×1010 −6 251 ISS (max.) 14 6994250999999999999♠2.51×10−6 Pluto (max.)
limit of 8–10 in (20–25 cm) telescopes
−25 7010100000000000000♠1×1010 −5 100 Venus (max.) 15 6994100000000000000♠1×10−6
−24 7009398000000000000♠3.98×109 −4 39.8 Faintest objects visible during the day with the naked eye when the sun is high[10] 16 6993398000000000000♠3.98×10−7 Charon (max.)
−23 7009158000000000000♠1.58×109 −3 15.8 Jupiter (max.), Mars (max.) 17 6993158000000000000♠1.58×10−7
−22 7008631000000000000♠6.31×108 −2 6.31 Mercury (max.) 18 6992631000000000000♠6.31×10−8
−21 7008250999999999999♠2.51×108 −1 2.51 Sirius 19 6992251000000000000♠2.51×10−8
−20 7008100000000000000♠1×108 0 1 Vega, Saturn (max.) 20 6992100000000000000♠1×10−8
−19 7007398000000000000♠3.98×107 1 0.398 Antares 21 6991397999999999999♠3.98×10−9 Callirrhoe (satellite of Jupiter)
−18 7007158000000000000♠1.58×107 2 0.158 Polaris 22 6991158000000000000♠1.58×10−9
−17 7006631000000000000♠6.31×106 3 0.0631 Cor Caroli 23 6990631000000000000♠6.31×10−10
−16 7006251000000000000♠2.51×106 4 0.0251 Acubens 24 6990251000000000000♠2.51×10−10
−15 7006100000000000000♠1×106 5 0.01 Vesta (max.), Uranus (max.) 25 6990100000000000000♠1×10−10 Fenrir (satellite of Saturn)
−14 7005398000000000000♠3.98×105 6 6997398000000000000♠3.98×10−3 typical limit of naked eye[note 2] 26 6989398000000000000♠3.98×10−11
−13 7005158000000000000♠1.58×105 full moon 7 6997158000000000000♠1.58×10−3 Ceres (max.) 27 6989158000000000000♠1.58×10−11 visible light limit of 8m telescopes
−12 7004630999999999999♠6.31×104 8 6996631000000000000♠6.31×10−4 Neptune (max.) 28 6988631000000000000♠6.31×10−12
−11 7004250999999999999♠2.51×104 9 6996250999999999999♠2.51×10−4 29 6988250999999999999♠2.51×10−12
−10 7004100000000000000♠1×104 10 6996100000000000000♠1×10−4 typical limit of 7×50 binoculars 30 6988100000000000000♠1×10−12
−9 7003398000000000000♠3.98×103 Iridium flare (max.) 11 6995398000000000000♠3.98×10−5 Proxima Centauri 31 6987398000000000000♠3.98×10−13
−8 7003158000000000000♠1.58×103 12 6995158000000000000♠1.58×10−5 32 6987158000000000000♠1.58×10−13 visible light limit of HST
Other scales[edit]
Under the Vega system for measuring the brightness of astronomical brightness, the star Vega is defined to have an apparent magnitude of zero as measured through all filters, although this is only an approximation e.g. its actual brightness has been measured to be 0.03 in the V (visual) band. The brightest star, Sirius, has a Vega magnitude of −1.46. or −1.5. However, Vega has been found to vary in brightness, and other standards are in common use.[11] One such system is the AB magnitude system, in which the reference is a source with a constant flux density per unit frequency. Another is the STMAG system, in which the reference source is instead defined to have constant flux density per unit wavelength.
Problems[edit]
The human eye is easily fooled, and Hipparchus's scale has had problems. For example, the human eye is more sensitive to yellow and red light than to blue, and photographic film more to blue than to yellow/red, giving different values of visual magnitude and photographic magnitude. Apparent magnitude can also be affected by factors such as dust in the atmosphere or light cloud cover absorbing some of the light.
Furthermore, many people find it counter-intuitive that a high magnitude star is dimmer than a low magnitude star.
See also[edit]
Astronomy portal
AB magnitude
Color-color diagram
List of brightest stars
Photometric-standard star
UBV photometric system
Notes[edit]
Jump up ^ Today astronomers know that the brightness of stars is a function of both their distance and their own luminosity.
Jump up ^ Under very dark skies, such as are found in remote rural areas
References[edit]
Jump up ^ Heifetz, M.; Tirion, W. (2004). A Walk Through the Heavens: A Guide to Stars and Constellations and Their Legends. Cambridge: Cambridge University Press. p. 6.
Jump up ^ Keill, J. (1739). An introduction to the true astronomy (3rd ed.). London. pp. 47–48.
Jump up ^ Thoren, V. E. (1990). The Lord of Uraniborg. Cambridge: Cambridge University Press. p. 306.
^ Jump up to: a b c Graney, C. M.; Grayson, T. P. (2011). "On the Telescopic Disks of Stars: A Review and Analysis of Stellar Observations from the Early 17th through the Middle 19th Centuries". Annals of Science. 68 (3): 351–373. doi:10.1080/00033790.2010.507472.
Jump up ^ Graney, C. M. (2009). "17th Century Photometric Data in the Form of Telescopic Measurements of the Apparent Diameters of Stars by Johannes Hevelius". Baltic Astronomy. 18 (3–4): 253–263. arXiv:1001.1168  . Bibcode:2009BaltA..18..253G.
Jump up ^ Ewing, A.; Gemmere, J. (1812). Practical Astronomy. Burlington, NJ: Allison. p. 41.
Jump up ^ Hoskin, M. (1999). The Cambridge Concise History of Astronomy. Cambridge: Cambridge University Press. p. 258.
Jump up ^ Tassoul, J. L.; Tassoul, M. (2004). A Concise History of Solar and Stellar Physics. Princeton, NJ: Princeton University Press. p. 47.
Jump up ^ "Glossary". JPL. Archived from the original on 2017-11-25. Retrieved 2017-11-23.
Jump up ^ "Seeing stars and planets in the daylight". sky.velp.info. Archived from the original on 7 March 2016. Retrieved 8 May 2018.
Jump up ^ Milone, E. F. (2011). Astronomical Photometry: Past, Present and Future. New York: Springer. pp. 182–184. ISBN 978-1-4419-8049-6.
External links[edit]
Rothstein, Dave (18 September 2003). "What is apparent magnitude?". Cornell University. Retrieved 23 December 2011.
"Magnitude (astronomy)". MSN Encarta. Archived from the original on 1 November 2009. Retrieved 23 December 2011.
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Blood type distribution by country
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Contents
[hide]
1 ABO and distribution by country
2 Maps of allele ABO among native populations
3 References
4 See also
ABO and distribution by country[edit]
This section's factual accuracy is disputed. Relevant discussion may be found on Talk:Blood type distribution by country. Please help to ensure that disputed statements are reliably sourced. (April 2012) (Learn how and when to remove this template message)
ABO and Rh blood type distribution by country (population averages)
Country
Population[1]
O+
A+
B+
AB+
O−
A−
B−
AB−
Argentina
44,270,440 45.4% 34.26% 8.59% 2.64% 8.4% 0.44% 0.21% 0.06%
Armenia[2]
2,931,568 29.0% 46.3% 12.0% 5.6% 2.0% 3.7% 1.0% 0.4%
Australia[3]
24,642,693 40.0% 31.0% 8.0% 2.0% 9.0% 7.0% 2.0% 1.0%
Austria[4]
8,592,470 30.0% 33.0% 12.0% 6.0% 7.0% 8.0% 3.0% 1.0%
Bahrain
1,418,695 48.48% 19.35% 22.61% 3.67% 3.27% 1.33% 1.04% 0.25%
Bangladesh
164,833,667 31.18% 21.44% 34.58% 8.85% 1.39% 0.96% 0.96% 0.64%
Belgium[5]
11,444,053 38.0% 34.0% 8.6% 4.1% 7.0% 6.0% 1.5% 0.8%
Bolivia
11,053,376 51.53% 29.45% 10.11% 1.15% 4.39% 2.73% 0.54% 0.1%
Bosnia and Herzegovina
3,792,730 31.0% 36.0% 12.0% 6.0% 5.0% 7.0% 2.0% 1.0%
Brazil[6]
211,248,418 36.0% 34.0% 8.0% 2.5% 9.0% 8.0% 2.0% 0.5%
Bulgaria
7,045,097 28.0% 37.0% 13.0% 7.0% 5.0% 7.0% 2.0% 1.0%
Cambodia
16,077,172 46.7% 27.2% 18.5% 4.9% 1.3% 0.8% 0.5% 0.1%
Cameroon
24,515,533 42.8% 38.8% 12.0% 3.3% 1.4% 1.2% 0.4% 0.1%
Canada[7]
36,627,140 39.0% 36.0% 7.6% 2.5% 7.0% 6.0% 1.4% 0.5%
Chile
18,314,060 85.5% 8.7% 3.35% 1.0% 1.2% 0.1% 0.05% 0.1%
China
1,388,251,023 47.7% 27.8% 18.9% 5.0% 0.28% 0.19% 0.1% 0.03%
Colombia
49,069,267 61.3% 26.11% 2.28% 1.47% 5.13% 2.7% 0.7% 0.31%
Côte d'Ivoire
23,869,656 46.5% 22.5% 22.5% 4.3% 2.0% 1.0% 1.0% 0.2%
Croatia
4,207,355 29.0% 36.0% 15.0% 5.0% 5.0% 6.0% 3.0% 1.0%
Cuba
11,486,750 45.8% 33.5% 10.2% 2.9% 3.6% 2.8% 1.0% 0.2%
Cyprus[8]
1,189,395 35.22% 40.35% 11.11% 4.72% 3.85% 3.48% 0.87% 0.40%
Czech Republic[9]
10,555,152 27.0% 36.0% 15.0% 7.0% 5.0% 6.0% 3.0% 1.0%
Denmark[10]
5,711,902 35.0% 37.0% 8.0% 4.0% 6.0% 7.0% 2.0% 1.0%
Dominican Republic
10,766,932 46.2% 26.4% 16.9% 3.1% 3.7% 2.1% 1.4% 0.2%
Ecuador
16,665,756 75.0% 14.0% 7.1% 0.5% 2.38% 0.7% 0.3% 0.02%
Egypt
95,220,838 52.0% 24.0% 12.4% 3.8% 5.0% 2.0% 0.6% 0.2%
El Salvador[11]
6,171,483 62.0% 23.0% 11.0% 1.0% 1.0% 1.0% 0.7% 0.3%
Estonia[12]
1,305,745 29.5% 30.8% 20.7% 6.3% 4.3% 4.5% 3.0% 0.9%
Ethiopia
104,352,727 39.0% 28.0% 21.0% 5.0% 3.0% 2.0% 1.0% 1.0%
Finland[13]
5,541,328 27.0% 38.0% 15.0% 7.0% 4.0% 6.0% 2.0% 1.0%
France[14]
64,939,560 36.0% 37.0% 9.0% 3.0% 6.0% 7.0% 1.0% 1.0%
Germany
80,635,980 35.0% 37.0% 9.0% 4.0% 6.0% 6.0% 2.0% 1.0%
Greece
10,892,849 37.4% 32.9% 11.0% 3.7% 7.0% 5.0% 2.0% 1.0%
Guinea
13,291,741 46.88% 21.64% 22.86% 4.52% 2.0% 0.9% 1.0% 0.2%
Honduras
9,348,898 57.5% 27.0% 7.8% 2.5% 2.7% 1.7% 0.6% 0.2%
Hong Kong
7,402,115 41.5% 26.13% 25.34% 6.35% 0.32% 0.17% 0.14% 0.05%
Hungary
9,787,801 27.0% 33.0% 16.0% 8.0% 5.0% 7.0% 3.0% 1.0%
Iceland[15]
334,311 47.6% 26.4% 9.3% 1.6% 8.4% 4.6% 1.7% 0.4%
India[16]
1,342,561,902 27.85% 20.8% 38.14% 8.93% 1.43% 0.57% 1.79% 0.49%
Indonesia
263,519,317 36.82% 25.87% 28.85% 7.96% 0.18% 0.13% 0.15% 0.04%
Iran
80,982,137 33.5% 27.0% 22.2% 7.0% 4.0% 3.0% 2.5% 0.8%
Iraq
38,657,787 32.1% 25.0% 25.6% 7.4% 3.6% 2.7% 2.7% 0.9%
Ireland[17]
4,749,263 47.0% 26.0% 9.0% 2.0% 8.0% 5.0% 2.0% 1.0%
Israel[18]
8,323,659 32.0% 34.0% 17.0% 7.0% 3.0% 4.0% 2.0% 1.0%
Italy
59,797,969 39.0% 36.0% 7.5% 2.5% 7.0% 6.0% 1.5% 0.5%
Jamaica[19]
2,813,316 47.0% 23.0% 20.0% 3.0% 3.5% 2.0% 1.0% 0.5%
Japan[20]
126,044,340 29.9% 39.8% 19.9% 9.9% 0.15% 0.2% 0.1% 0.05%
Kenya
48,470,780 45.6% 25.2% 21.28% 4.2% 1.8% 1.0% 0.9% 0.02%
Latvia
1,944,122 30.6% 31.0% 17.0% 6.0% 5.4% 6.0% 3.0% 1.0%
Lebanon
6,039,438 38.4% 32.3% 9.5% 3.2% 7.7% 6.5% 1.7% 0.7%
Libya
6,408,990 42.64% 28.86% 11.19% 4.5% 6.26% 4.24% 1.64% 0.67%
Lithuania
2,827,573 36.0% 33.0% 11.0% 4.0% 7.0% 6.0% 2.0% 1.0%
Luxemburg[21]
587,297 35.0% 37.0% 9.0% 4.0% 6.0% 6.0% 2.0% 1.0%
Macao
606,413 41.5% 26.1% 25.4% 6.3% 0.33% 0.17% 0.15% 0.05%
Macedonia
2,083,690 30.0% 34.0% 15.0% 6.0% 5.0% 6.0% 3.0% 1.0%
Malaysia
31,165,480 34.32% 30.35% 27.37% 7.46% 0.17% 0.15% 0.14% 0.04%
Mauritania
4,266,765 46.3% 26.68% 17.47% 3.85% 2.8% 1.6% 1.1% 0.2%
Mauritius
1,267,303 38.3% 26.0% 25.0% 6.7% 1.7% 1.0% 1.0% 0.3%
Mexico
130,227,836 55.79% 29.9% 8.0% 1.63% 2.7% 1.5% 0.4% 0.08%
Mongolia
3,052,044 55.4% 27.7% 10.9% 4.96% 0.6% 0.3% 0.1% 0.04%
Myanmar
53,507,932 35.7% 23.8% 32.7% 6.95% 0.3% 0.2% 0.3% 0.05%
Nepal
29,188,100 35.2% 28.3% 27.1% 8.6% 0.3% 0.2% 0.2% 0.1%
Netherlands[22]
17,033,012 39.5% 35.0% 6.7% 2.5% 7.5% 7.0% 1.3% 0.5%
New Zealand[23]
4,604,996 38.0% 32.0% 9.0% 3.0% 9.0% 6.0% 2.0% 1.0%
Nigeria
191,851,411 51.3% 22.4% 20.7% 2.6% 1.6% 0.7% 0.6% 0.1%
Norway[24]
5,330,986 33.0% 41.5% 6.8% 3.4% 6.0% 7.5% 1.2% 0.6%
North Korea
25,432,033 27.15% 31.08% 30.15% 11.32% 0.08% 0.1% 0.1% 0.03%
Pakistan
180,440,005 24.63% 20.6% 34.40% 9.52% 4.17% 2.66% 3.57% 0.45%
Papua New Guinea
7,952,511 48.0% 37.2% 9.6% 2.8% 1.0% 0.8% 0.4% 0.2%
Peru
32,167,717 70.0% 18.4% 7.8% 1.6% 1.4% 0.5% 0.28% 0.02%
Philippines[25]
103,801,747 36.9% 28.9% 26.9% 6.97% 0.1% 0.1% 0.1% 0.03%
Poland[26]
38,563,480 31.0% 32.0% 15.0% 7.0% 6.0% 6.0% 2.0% 1.0%
Portugal[27]
10,264,672 36.3% 40.0% 6.6% 2.9% 6.0% 6.6% 1.1% 0.5%
Republic of Moldova[28]
4,043,722 28.5% 31.8% 17.6% 7.0% 5.0% 6.0% 3.0% 1.1%
Romania
19,237,087 28.0% 37.0% 14.0% 7.0% 5.0% 6.0% 2.0% 1.0%
Russia
143,374,801 28.0% 30.0% 20.0% 7.0% 4.9% 5.8% 3.2% 1.1%
Saudi Arabia[29]
32,744,532 47.8% 23.9% 17.0% 4.0% 4.0% 2.0% 1.0% 0.3%
Serbia
8,776,827 31.92% 35.28% 12.6% 4.2% 6.08% 6.72% 2.4% 0.8%
Singapore
5,784,819 43.6% 23.9% 24.4% 6.0% 0.9% 0.7% 0.4% 0.1%
Slovakia[30]
5,432,265 27.2% 35.7% 15.3% 6.8% 4.8% 6.3% 2.7% 1.2%
Slovenia
2,071,258 31.0% 33.0% 12.0% 6.0% 7.0% 7.0% 3.0% 1.0%
South Africa[31]
55,437,815 39.0% 32.0% 12.0% 3.0% 6.0% 5.0% 2.0% 1.0%
South Korea
50,748,307 27.9% 33.87% 26.92% 10.98% 0.1% 0.13% 0.08% 0.02%
Spain[32]
46,070,163 36.0% 34.0% 8.0% 2.5% 9.0% 8.0% 2.0% 0.5%
Sudan
40,827,975 48.0% 27.7% 15.2% 2.8% 3.5% 1.8% 0.8% 0.2%
Sweden[33]
9,920,843 32.0% 37.0% 10.0% 5.0% 6.0% 7.0% 2.0% 1.0%
Switzerland[34]
8,454,321 35.0% 40.0% 7.0% 3.0% 6.0% 7.0% 1.0% 1.0%
Syria
18,920,698 43.0% 30.0% 14.0% 3.7% 5.0% 3.0% 1.0% 0.3%
Taiwan
23,234,936 43.9% 25.9% 23.9% 6.0% 0.17% 0.1% 0.01% 0.02%
Thailand
68,298,027 40.8% 16.9% 36.8% 4.97% 0.2% 0.1% 0.2% 0.03%
Turkey[35]
80,420,065 29.8% 37.8% 14.2% 7.2% 3.9% 4.7% 1.6% 0.8%
Uganda
43,276,492 43.7% 39.0% 10.7% 3.9% 1.3% 1.0% 0.3% 0.1%
Ukraine
44,404,078 32.0% 34.0% 15.0% 5.0% 5.0% 6.0% 2.0% 1.0%
United Arab Emirates
3,398,017 44.1% 21.9% 20.9% 4.3% 4.3% 2.1% 2.0% 0.4%
United Kingdom[36]
65,512,375 37.0% 35.0% 8.0% 3.0% 7.0% 7.0% 2.0% 1.0%
United States[37]
326,481,533 37.4% 35.7% 8.5% 3.4% 6.6% 6.3% 1.5% 0.6%
Venezuela[38]
32,011,082 58.5% 28.3% 5.3% 1.8% 3.5% 1.7% 0.7% 0.2%
Vietnam
95,414,640 41.7% 21.9% 30.8% 4.98% 0.3% 0.1% 0.2% 0.02%
Zimbabwe
16,642,880 63.3% 18.5% 14.6% 0.99% 1.7% 0.5% 0.4% 0.01%
World
6,635,281,257 38.67% 27.42% 22.02% 5.88% 2.55% 1.99% 1.11% 0.36%
50.0% and above 40.0–49.9% 30.0–39.9% 20.0–29.9% 10.0–19.9% 5.0–9.9%
[show]Ethnic distribution of ABO (without Rh) blood types[39]
(This table has more entries than the table above but does not distinguish between Rh types.)
People group
O (%)
A (%)
B (%)
AB (%)
Aboriginal people 61 39 0 0
Abyssinians 43 27 25 5
Ainu (Japan) 17 32 32 18
Albanians 38 43 13 6
Grand Andamanese 9 60 23 9
Arabs 34 31 29 6
Armenians 31 50 13 6
Asian Americans 40 28 27 5
Austrians 36 44 13 6
Bantus 46 30 19 5
Basques 51 44 4 1
Belgians 47 42 8 3
Bororo (Brazil) 100 0 0 0
Brazilians 47 41 9 3
Bulgarians 32 44 15 8
Burmese 36 24 33 7
Buryats (Siberia) 33 21 38 8
Bushmen 56 34 9 2
Chinese-Canton 46 23 25 6
Chinese-Peking 29 27 32 13
Chuvash 30 29 33 7
Croats 42 34 17 7
Czechs 30 44 18 9
Danes 41 44 11 4
Dutch 45 43 9 3
Egyptians 33 36 24 8
English 47 42 9 3
Inuit (Alaska) 38 44 13 5
Inuit (Greenland) 54 36 23 8
Estonians 34 36 23 8
Fijians 44 34 17 6
Finns 34 41 18 7
French 43 47 7 3
Georgians 46 37 12 4
Germans 41 43 11 5
Greeks 40 42 14 5
Romani people (Hungary) 29 27 35 10
Hawaiians 37 61 2 1
Hindus (Bombay) 29 25 35 11
Hungarians 36 43 16 5
Icelanders 56 32 10 3
Indians (India) 29 21 40 9
Native Americans 79 16 4 1
Irish 52 35 10 3
Italians (Milan) 46 41 11 3
Japanese 30 38 22 10
Jews (Germany) 42 41 12 5
Jews (Poland) 33 41 18 8
Kalmuks 26 23 41 11
Kikuyu (Kenya) 60 19 20 1
Koreans 28 32 31 10
Sami people 29 63 4 4
Latvians 32 37 24 7
Lithuanians 40 34 20 6
Malays 62 18 20 0
Māori 46 54 1 0
Mayans 98 1 1 1
Moros 64 16 20 0
Navajo Indians 73 27 0 0
Nicobarese 74 9 15 1
Norwegians 39 50 8 4
Papuans (New Guinea) 41 27 23 9
Persians 38 33 22 7
Peruvian Indians 100 0 0 0
Filipinos 45 22 27 6
Poles 33 39 20 9
Portuguese 35 53 8 4
Romanians 33 43 16 8
Russians 33 36 23 8
Sardinians 50 26 19 5
Scots 51 34 12 3
Serbians 38 42 16 5
Shompen Nicobarese 100 0 0 0
Slovaks 42 37 16 5
South Africans 45 40 11 4
Spanish 38 47 10 5
Sudanese 62 16 21 0
Swedish 38 47 10 5
Swiss 40 50 7 3
Tatars 28 30 29 13
Thais 37 22 33 8
Turks 43 34 18 6
Ukrainians 37 40 18 6
Black Americans 49 27 20 4
White Americans 45 40 11 4
Vietnamese 42 22 30 5
Mean 43.91 34.80 16.55 5.14
Standard deviation 16.87 13.80 9.97 3.41
Blood group B has its highest frequency in South Asia where it ranks first as the largest share of the earth's population. In Southeast Asia the share of the population is high, especially in Thailand and Indonesia, then in East Asia, Northern Asia and neighboring Central Asia, and its incidence diminishes both towards the east and the west, falling to single digit percentages in Netherlands, Norway, Portugal and Switzerland.[40][41] It is believed to have been entirely absent from Native American and Australian Aboriginal populations prior to the arrival of Europeans in those areas.[41][42]
Blood group A is associated with high frequencies in Europe, especially in Scandinavia and Central Europe, although its highest frequencies occur in some Australian Aboriginal populations and the Blackfoot Indians of Montana, the US.[43][44]
Maps of allele ABO among native populations[edit]
Map of allele A
among native populations
Map of allele B
among native populations
Map of allele O
among native populations
References[edit]
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Jump up ^ - BLUTSPENDE https://www.blutspende.ch/fr/don_de_sang/sanguin_groupe/groupe_sanguin - BLUTSPENDE Check |url= value (help). Missing or empty |title= (help)
Jump up ^ "Turkey Blood Group Site". Kangrubu.com. Archived from the original on 29 May 2010. Retrieved 2010-11-19.
Jump up ^ "Blood Group Basics". Blood.co.uk. Retrieved 2017-07-30.
Jump up ^ "Blood Types in the U.S". Archived from the original on 2011-07-19. Retrieved 2011-07-19. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "preguntas-frecuentes" (in Spanish). Retrieved 2014-09-23.
Jump up ^ "Racial and ethnic distribution of ABO blood types". Bloodbook.com. Retrieved 2010-08-01.
Jump up ^ Blood Transfusion Division, United States Army Medical Research Laboratory (1971). Selected contributions to the literature of blood groups and immunology. 1971 v. 4. United States Army Medical Research Laboratory, Fort Knox, Kentucky. ... In northern India, in Southern and Central China and in the neighboring Central Asiatic areas, we find the highest known frequencies of B. If we leave this center, the frequency of the B gene decreases almost everywhere ...
^ Jump up to: a b Encyclopædia Britannica (2002). The New Encyclopædia Britannica. Encyclopædia Britannica, Inc. ISBN 0-85229-787-4. ... The maximum frequency of the B gene occurs in Central Asia and northern India. The B gene was probably absent from Native Americans and Australian Aboriginal people before racial admixture occurred with the coming of the white man ...
Jump up ^ Carol R. Ember, Melvin Ember (1973). Anthropology. Appleton-Century-Crofts. ... Blood type B is completely absent in most North and South American Indians ...
Jump up ^ Dean 2005, 2.1.4: Blood Type A: Central and Eastern Europe Type A is common in Central and Eastern Europe. In countries such as Austria, Denmark, Norway, and Switzerland, about 45–50% of the population have this blood type, whereas about 40% of Poles and Ukrainians do so. The highest frequencies are found in small, unrelated populations. For example, about 80% of the Blackfoot Indians of Montana have blood type A ...
Jump up ^ Technical Monograph No. 2: The ABO Blood Group System and ABO Subgroups (PDF). Biotec. March 2005. Archived from the original (PDF) on 6 February 2007. ... The frequency of blood group A is quite high (25–55%) in Europe, especially in Scandinavia and parts of central Europe. High group A frequency is also found in the Aboriginal people of South Australia (up to 45%) and in certain American Indian tribes where the frequency reaches 35% ...
See also[edit]
Blood type
ABO blood group system
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text:
The End of the F***ing World
From Wikipedia, the free encyclopedia
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The End of the F***ing World
Genre
Dark comedy
Comedy-drama
Based on
The End of the Fucking World
by Charles S. Forsman
Written by
Charlie Covell
Directed by
Jonathan Entwistle
Lucy Tcherniak
Starring
Alex Lawther
Jessica Barden
Gemma Whelan
Wunmi Mosaku
Steve Oram
Christine Bottomley
Navin Chowdhry
Barry Ward
Composer(s)
Graham Coxon
Country of origin
United Kingdom
Original language(s)
English
No. of series
1
No. of episodes
8 (list of episodes)
Production
Executive producer(s)
Ed Macdonald
Murray Ferguson
Andy Baker
Petra Fried
Dominic Buchanan
Jonathan Entwistle
Producer(s)
Kate Ogborn
Cinematography
Justin Brown
Ben Fordesman
Running time
19–22 minutes
Production company(s)
Clerkenwell Films
Dominic Buchanan Productions
Release
Original network
Channel 4 (pilot)
All 4
Picture format
1080i (16:9 HDTV)
4K (Ultra HD)
Audio format
Stereo
5.1
Original release
24 October 2017 (2017-10-24) – present (present)
External links
Website
The End of the F***ing World is a British dark comedy-drama television programme, based on a graphic novel of the same name by Charles Forsman. The eight-part programme premiered its first episode on Channel 4 in the United Kingdom on 24 October 2017, after which all eight episodes were released on All 4. It was a co-production with Netflix, who released it internationally on 5 January 2018. The programme follows James (Alex Lawther), a 17-year-old who believes himself to be a psychopath, and Alyssa (Jessica Barden), a rebellious classmate who sees in James a chance to escape from her tumultuous home life.
The show is based on Forsman's mini-comics The End of the Fucking World, which were collected into a book in 2013. Series creator Jonathan Entwistle contacted him about making a film, and a short was made in 2014. Instead, an eight-part serial was commissioned, with filming beginning in April 2017. It was written by Charlie Covell, and episodes were directed by Entwistle and Lucy Tcherniak. In August 2018, Channel 4 renewed the programme for a second series.
The programme has been met with critical acclaim, and has been praised for its writing, execution and subject matter, as well as for Lawther and Barden's performances. It was nominated for the 2018 British Academy Television Award for Best Drama Series.[1]
Contents
1 Premise
2 Cast and characters
2.1 Main
2.2 Guest
3 Episodes
4 Production
4.1 Development
4.2 Filming
4.3 Continuation
5 Release
6 Reception
6.1 Critical response
6.2 Accolades
7 References
8 External links
Premise[edit]
James is a 17-year-old who believes he is a psychopath. He kills animals as a hobby, but grows bored of the practice. He decides he wants to try killing a human. He settles on Alyssa, a mouthy, rebellious 17-year-old classmate with issues of her own. She proposes they run away together, hoping for an adventure away from her turbulent home-life, and James agrees with the intention of finding an opportunity to kill her. They embark on a road trip across England, and begin to develop a relationship after a series of mishaps.
Cast and characters[edit]
Main[edit]
Alex Lawther as James, a 17-year-old who believes he is a psychopath; the disturbed love interest of Alyssa.[2] Jack Veal portrays a young James.
Jessica Barden as Alyssa, a rebellious teenage girl. Initially James' intended victim but later his love interest.[2] Holly Beechey portrays a young Alyssa.
Gemma Whelan as DC Eunice Noon, Darego's police partner.
Wunmi Mosaku as DC Teri Darego, Noon's stern police partner.
Steve Oram as Phil, James' caring father.
Christine Bottomley as Gwen, Alyssa's mother.
Navin Chowdhry as Tony, Alyssa's abusive stepfather.
Barry Ward as Leslie Foley, Alyssa's estranged drug-dealing father.
Guest[edit]
Kierston Wareing as Debbie, Leslie's ex-girlfriend with whom he has a child.
Geoff Bell as Martin, a family man and creep who gives Alyssa and James a ride.
Alex Sawyer as Topher, a young man Alyssa meets and attempts to engage in sexual activity with.
Jonathan Aris as Dr. Clive Koch, an author, professor, serial killer and James' first human victim.
Eileen Davies as Flora, Clive's mother.
Earl Cave as Frodo, a miserable petrol station employee.
Felicity Montagu as the manager of the petrol station.
Alex Beckett as Jonno, one of Leslie's buyers.
Leon Annor as Emil, an imposing store security guard whom Alyssa is caught by.
Matt King as DC Eddie Onslow.
Kelly Harrison as James' dead mother.
Zerina Imsirovic as Alyssa's baby sister.
Episodes[edit]
No.
Episode
Directed by
Written by
Original release date
1
Episode 1 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)[a]
James is a 17-year-old who believes he is a psychopath, having once intentionally burned his hand in a deep fryer in order to feel something, and has been killing animals since he was 8 years old. At school, he encounters Alyssa, a rebellious new schoolmate and decides that he will kill her next. He gets closer to her by feigning romantic interest and the two start dating. When Alyssa asks James to perform cunnilingus on her the next day, he begins preparing his knife and working out how he will kill her. However she arrives late as she was stuck at a party at her house where her stepfather tells her how it will be better if she just left. After this incident, she reaches James's home later than planned, and blurts out her desire to leave town with or without him and asks if he is in, wanting him to say yes. Resolving that he could kill her later, he accepts and steals his father Phil's car and punches him in the face, something he has always wanted to do.
2
Episode 2 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
With their newfound freedom, Alyssa and James go play laser tag but end up having to dine and dash at a restaurant after realising they have spent all their money. After crashing their car, they hitchhike in the van of Martin, a middle-aged man who Alyssa does not take kindly to. While in the toilets of the restaurant they have stopped at for food, Martin follows James and asks about his burnt hand, before smelling it and putting it on his crotch; James is submissive, despite being disgusted by it. Alyssa sees this and blackmails Martin into giving her his wallet. After booking a hotel room, Alyssa goes to the bathroom and cries, while James waits with his knife by the door, hesitantly. He does not try to kill her. Alyssa calls home and her stepfather Tony answers. He denies her request to speak to her mother, Gwen, implying his dominance over her mother. Alyssa asks James whether he wants her or just goes along with her; he replies that he wants her. She decides to go see her biological father, Leslie, who she has not seen since she was 8 years old and James agrees to join her.
3
Episode 3 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
After leaving the hotel, Alyssa argues against buying train tickets to her father's house, internally fearing that he will not recognise or welcome her. The duo break into the spacious and empty house of author Clive Koch. Later that day, Alyssa attempts to give James a blowjob but leaves, angrily, when a picture of Koch puts him off. During her walk, Alyssa meets Topher and brings him to the house, vindictively announcing to James that she will have sex with Topher. Distraught, he looks around the house and finds Polaroids and a camcorder with footage of victims, revealing Koch to be a serial rapist. Meanwhile, Alyssa becomes disinterested in Topher and stops before intercourse. Topher leaves angrily. While Alyssa is asleep, James tries to kill her, but he cannot because he knows he is falling in love with her. Koch returns home and suspecting a break-in, arms himself; James hides under the bed. When Koch questions Alyssa upon finding her in bed, she lies and says she is alone. Koch becomes malevolent, attempting to rape her. James stabs him in the neck with a knife, killing Koch, and saving Alyssa.
4
Episode 4 Jonathan Entwistle Charlie Covell 24 October 2017 (2017-10-24)
After unsuccessfully trying to move Koch's body out of the bedroom, James and Alyssa meticulously clean the house to remove evidence of their stay. James shows Alyssa the Polaroids and footage proving that Koch might have hurt her, and they resolve to leave the evidence by his body. James hides the knife in the pool drain. When she questions him about the knife, he does not answer. Koch's mother, Flora, arrives at the house and discovers his body; she destroys the Polaroids but not the footage. The police, led by detective constables Eunice Noon and Teri Darego, investigate and later question Topher where he reveals Alyssa's and James's identity and presence at the house. They decide to put out a request for sightings or crimes "involving two teenagers" while putting Alyssa and James on the Missing Persons list. Despite James's attempts, Alyssa becomes distrustful of him and deserts him. He begins to realise the increasing influence of his emotions. Paying a group of teenagers to beat him up, he also realises his growing interest in her. James decides to report a murder to police, coming to the realization that he is not in fact a psychopath.
5
Episode 5 Jonathan Entwistle & Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
At the police station, James changes his mind about reporting Koch's murder and instead describes his mother's suicide as the "murder" he was referring to. In a flashback, his mother, Vanessa, killed herself in front of him eleven years before by driving her car into a pond. Thinking of Alyssa, James leaves the police station and returns to the cafe. Meanwhile, Phil is questioned by Noon and Darego about James, as well as informed about his car. He also confirms the inclusion of Alyssa. They also question Tony, who is rather nonchalant and self-absorbed, before moving to Gwen about Alyssa. Concurrently, Alyssa is caught by Emil, a security officer, while attempting to shoplift clean underwear, but is eventually let go. She returns to the cafe to find James waiting. Although without money, both reconcile and decide to go to Leslie. Meanwhile, investigators find James's knife at Koch's house.
6
Episode 6 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James hotwires a car and the duo begin making their way to Alyssa's father's house. They stop at a petrol station after running low on fuel. When Jocelyn, the petrol station manager, begins suspecting that they stole the car and have no money, James fakes carrying a gun to lock her in the toilet with the help of Jocelyn's co-worker, Frodo. However, when he wants to join, they wait until he is distracted to dash. Noon and Donaghue question Flora again about Clive, this time with years-old accusations of sexual assault against him. She rejects the allegations as lies and insists that the two leave. On their way to Leslie's, Alyssa calls Gwen and tells her that she will never return home. At the police station, Flora gives Noon the camcorder, having a change of heart. When Noon raises the possibility that the killing was in self-defence, Darego says that this would result in a count of manslaughter instead. After finding Leslie has moved out of his previous home, James and Alyssa eventually make it to his coastside mobile home.
7
Episode 7 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James gives Alyssa and Leslie space while they reconcile with each other. Leslie is revealed to be a drug dealer, as well as a non-conforming individual himself. Meanwhile, Tony, Gwen and Phil are emotionally shaken after being shown CCTV footage of the petrol station robbery. Both Darego and Noon plan for the police to stakeout Leslie's former residence, assuming that both have not arrived. On the drive to Leslie's former residence, it becomes clear that Darego's law-abiding morality and stubbornness are clashing against Noon's open-minded and sympathetic morals. As Alyssa and Leslie reconnect at a nearby bar, James begins feeling distant to Alyssa. At Leslie's former residence, Debbie denies seeing the duo or knowing Leslie's whereabouts to Noon and Darego. She goes to the bar to demand support for their illegitimate son, Milton. When questioned by Alyssa, Leslie takes off in his truck, running over a dog in the process. Although he has killed many animals before, James is unable to euthanise it with a rock; Alyssa does it instead. Bitter, Debbie reveals to Noon Leslie's location, later, and she drives there without Darego. Leslie sees a news report about Alyssa and James on the television.
8
Episode 8 Lucy Tcherniak Charlie Covell 24 October 2017 (2017-10-24)
James and Alyssa bury the dog at the beach, then passionately and sincerely make out. At dawn, ruminating about their current situation, they decide to take the boat owned by Leslie and leave the country. When they ask Leslie for the boat keys, he reveals to them his knowledge of their crime then secretly calls 999 and tries to induce their confession. James deduces this and confesses while taking the blame upon himself. Noon, listening in, arrives at the scene and tries to convince both to be willingly arrested for manslaughter while Leslie tries to convince Alyssa to let James be arrested instead. Alyssa asks Noon if she were to go with her idea, would James and her still be together. When Noon tells that that would be unlikely, Alyssa knocks her out with Leslie's shotgun, takes his boat keys and runs to the boat with James, only to find that the tide had gone out. With the police armed response unit closing in, James knocks Alyssa down with the gun in an attempt to take all the blame and runs across the beach. In a voiceover, James claims that he has realized what people mean to each other. A gunshot is heard as the episode then fades to black.
Jump up ^ The first episode had a special premiere on Channel 4 alongside its release on All 4 with the rest of the programme.[3]
Production[edit]
Development[edit]
The series was based on the work of the same name by Charles Forsman. Originally self-published as a series of mini-comics, the series was published as a graphic novel by Fantagraphics Books in 2013. It was republished in hardback in 2017, in anticipation of the television series.[4]
While Forsman was publishing the mini-comics, Jonathan Entwistle contacted him about adapting it to a visual format – the original idea was to make an American film, and later a web series was considered. A film was pitched to Film4, and Entwistle was given funding for a short.[5] Made in 2014,[6] it featured some cast and crew who continued their roles for the television series. Entwistle directed and Dominic Buchanan was producer;[7] Jessica Barden played Alyssa. However, instead of Alex Lawther, James was played by Craig Roberts.[8]
Though the short was well-received, no production companies wanted to invest in the idea as a full-length film.[5] Entwistle and Buchanan decided to make a television series with Clerkenwell Films, following which Channel 4 and then Netflix became involved. Forsman had no official role in the show's production, wanting to continue working on his comics, though Entwistle would regularly consult him and keep him updated.[9] In August 2018, Channel 4's director of programmes Ian Katz expressed frustration that many people think the programme is a Netflix original, saying that "it's absolutely a Channel 4 show".[10]
The programme's plot differs from that of Forsman's comics. In print, the two kill a satanist serial killer, whose wife was a police officer; instead the television series features police officers Eunice Noon and Teri Darego, and does not show the serial killer to be a satanist.[11] Another major difference is the ending of the graphic novel: the satanist police officer chases after James, and the two begin to attack each other, while police try to break up the fight. There is then a gunshot. In the final scene, Alyssa's mother talks about her daughter being safe from James, while Alyssa is seen carving the name "JAMES" into her arm. Some critics interpreted this to mean that James was dead,[11] but Forsman sees the ending as ambiguous.[9]
Filming[edit]
The first series began filming in April 2017 and concluded a few weeks before the show's release in October 2017. Though filmed in England, the programme has an American tone to it; Entwistle was inspired by Twin Peaks and Fargo. Episodes were filmed largely in suburban areas and across Surrey, with locations such as Woking, Bracknell and Longcross Studios.[5] Another filming location was Leysdown-on-Sea on the Isle of Sheppey.[12] Entwistle uses mostly close-up shots, particularly in early episodes where most frames feature only one character. He uses this for deadpan humour, by moving from face to face to get shots of characters' reactions.[5]
The series is set in the present day, but Entwistle aimed to make it feel like it could have been set "any time from 1988 to 2006". Additionally, diners have a 1970s-style design, and the soundtrack features songs from the 1950s, 60s and 70s, along with original music from Graham Coxon, the founding member of Blur. Entwistle describes Coxon's scores as "guitar-based suburban noir", and notes that more of his music is used in later episodes for the police officers.[5]
Continuation[edit]
The first series covered the entirety of the storyline in Forsman's original comics.[13] On 25 January 2018, Jonathan Entwistle spoke of the potential for a second series. He confirmed that "We're exploring and we're seeing what we can do to expand the world and see where we get to." Entwistle then went on to say that Netflix was enthusiastic about a second series of the show if one could be conceived.[14] Writer Charlie Covell said "I think there are a number of stories we could tell" and that she would "love to write more".[15] Actor Alex Lawther stated in an interview that he would be "very excited" for a second series, as it would give Covell "a chance to explore something from her imagination".[13]
A second series was announced on 21 August 2018 on the official Channel 4 Twitter account.[16]
Release[edit]
The eight-part programme premiered its first episode on Channel 4 in the United Kingdom on 24 October 2017, after which all eight episodes were released on All 4.[3] The End of the F***ing World was a co-production with Netflix[3] who exclusively released it internationally on 5 January 2018.[17] On that weekend, sales of the graphic novel rose considerably, with Fantagraphics Books selling out of the current print run according to Forsman.[9]
Reception[edit]
Critical response[edit]
The End of the F***ing World currently holds an approval rating of 98% on review aggregator website Rotten Tomatoes based on 44 reviews, with an average rating of 8.21/10. The site's consensus states, "Misanthropy and humor blend perfectly in this romantically nihilistic show that proves that falling in love can feel like The End of the F***ing World."[18] Metacritic, which uses a weighted average, assigned a score of 81 out of 100, based on 12 critics, indicating "universal acclaim".[19][20]
Reviewer Daniel Fienberg of The Hollywood Reporter lauded the programme's writing, characters, and soundtrack, as well as praising the performances of Alex Lawther and Jessica Barden, calling it a "pitch-black, eight-episode comedy gem of a UK import".[21] Kelly Lawler of USA Today called it "batty fun", also praising Lawther and Barden's performances while praising the programme's surreal concept and execution.[22]
Accolades[edit]
Year
Award
Category
Result
Ref.
2018 British Academy Television Awards Best Drama Series Nominated [23]
Primetime Emmy Awards Outstanding Cinematography for a Single-Camera Series (Half-Hour) Nominated [24]
References[edit]
Jump up ^ "Bafta TV Awards 2018". BAFTA. Retrieved 15 May 2018.
^ Jump up to: a b "E4 and Netflix cast Black Mirror's Alex Lawther in dark teen thriller The End of the F***ing World". Digital Spy. 24 September 2016. Retrieved 24 September 2016.
^ Jump up to: a b c "The End of the F***ing World press pack". Channel 4. 11 October 2017. Retrieved 15 January 2018.
Jump up ^ "The End of The F***ing World – Reprinted!". Fantagraphics Books. Retrieved 13 February 2018.
^ Jump up to: a b c d e Steven, Rachael (6 November 2017). "Making The End of the F***ing World". Creative Review. Retrieved 13 February 2018.
Jump up ^ "It's the End Of The F***ing World for E4". Chortle. 24 April 2017. Retrieved 13 February 2018.
Jump up ^ Lockett, Dee (12 January 2018). "The End of the F***ing World Star Jessica Barden on Paying Homage to the Pulp Fiction Dance". Vulture. Retrieved 13 February 2018.
Jump up ^ McCreesh, Louise (8 January 2018). "Did you know that The End of the F***ing World on Netflix is based on a short film?". Digital Spy. Retrieved 13 February 2018.
^ Jump up to: a b c Riesman, Abraham (23 January 2018). "The End of the F***ing World's Charles Forsman on His Indie Comic Turning Into a Netflix Hit". Vulture. Retrieved 13 February 2018.
Jump up ^ White, Peter (2018-08-31). "British Broadcasters Plot Low-Budget Drama Drive As Battle With Global SVODs Rumbles On". Deadline. Retrieved 2018-08-31.
^ Jump up to: a b Sandwell, Ian (9 January 2018). "The End of the F***ing World had a darker alternate ending in the original comic". Digital Spy. Retrieved 13 February 2018.
Jump up ^ Kent Film Office. "Kent Film Office The End of the F***ing World Article".
^ Jump up to: a b Houghton, Rianne (11 January 2018). "The End of the F***ing World season 2 IS possible, says star Alex Lawther". Digital Spy. Retrieved 14 February 2018.
Jump up ^ Foutch, Haleigh (20 January 2018). "'The End of the F***ing World' Creator on Season 2 Conversations and Expanding the Story". Collider. Retrieved 13 February 2018.
Jump up ^ Miller, Julie (26 January 2018). "The End of the F***king World's Alyssa May Be the Best Teen Heroine of 2018". Vanity Fair. Retrieved 14 February 2018.
Jump up ^ Mitchell, Robert (21 August 2018). "'The End of the F***ing World' Renewed for Second Season". Variety. Retrieved 21 August 2018.
Jump up ^ Joest, Mick (2 January 2018). "The End Of The F***ing World Trailer: First Look At Netflix's New Dark Comedy". CinemaBlend. Retrieved 15 January 2018.
Jump up ^ "The End of the F**ing World: Series 1". Rotten Tomatoes. Retrieved 21 August 2018.
Jump up ^ "The End of the F***ing World", Metacritic, retrieved 6 January 2018
Jump up ^ Lynch, John (9 January 2018). "Critics are in love with a new Netflix show that its CEO calls the 'most engaging addictive original' in a long time". Business Insider. Retrieved 21 August 2018.
Jump up ^ Fienberg, Daniel (5 January 2018). "'The End of the F***ing World' review". The Hollywood Reporter. Retrieved 5 January 2018.
Jump up ^ Lawler, Kelly (4 January 2018). "Review: Why Netflix's 'The End of the ... World' is batty fun". USA Today. Retrieved 5 January 2018.
Jump up ^ "Television | Drama Series in 2018". BAFTA.org. Retrieved 21 August 2018.
Jump up ^ "The End Of The F***Ing World". Emmys.com. Retrieved 21 August 2018.
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