text:
Law of demand
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A demand curve, shown in red and shifting to the right, demonstrating the inverse relationship between price and quantity demanded (the curve slopes downwards from left to right; higher prices reduce the quantity demanded).
In microeconomics, the law of demand states that, "conditional on all else being equal, as the price of a good increases (↑), quantity demanded decreases (↓); conversely, as the price of a good decreases (↓), quantity demanded increases (↑)".[1] In other words, the law of demand describes an inverse relationship between price and quantity demanded of a good.Alternatively,other things being constant,quantity demanded of a commodity is inversely related to the price of the commodity.For example,a consumer may demand 2kg of apples at Rs 70 per kg;he may,however,demand 1kg if the price rises to Rs 80 per kg. This has been the general human behaviour on relationship between the price of the commodity and the quantity demanded. The factors held constant refer to other determinants of demand, such as the prices of other goods and the consumer's income.[2] There are, however, some possible exceptions to the law of demand, such as Giffen goods and Veblen goods.
Contents
[hide]
1 Mathematical expression
2 Terminology
3 Economic history and theory
4 Exceptions to the law of demand
4.1 Giffen goods
4.2 Expectation of change in the price of commodity
4.3 Basic or necessary goods
5 See also
6 References
Mathematical expression[edit]
Mathematically, the inverse relationship described by the law of demand may be expressed as:
Q x = f ( P x ; Y ) , ∂ f / ∂ P x < 0 , {\displaystyle Q_{x}=f(P_{x};{\mathbf {Y}}),\quad \partial f/\partial P_{x}<0,}
where Q x {\displaystyle Q_{x}} is the quantity demanded of good x {\displaystyle x} , P x {\displaystyle P_{x}} is the price of the good, f {\displaystyle f} is the demand function, ∂ f / ∂ P x {\displaystyle \partial f/\partial P_{x}} is the partial derivative of the demand function with respect to P x {\displaystyle P_{x}} , and Y {\displaystyle {\mathbf {Y}}} is the list of other parameters held constant.[1]
The above equation, when plotted with quantity demanded ( Q x {\displaystyle Q_{x}} ) on the x {\displaystyle x} -axis and price ( P x {\displaystyle P_{x}} ) on the y {\displaystyle y} -axis, gives the demand curve, which is also known as the demand schedule. The downward sloping nature of a typical demand curve illustrates the inverse relationship between quantity demanded and price. Therefore, a downward sloping demand curve embeds the law of demand.
Terminology[edit]
Further information: Demand
An increase in demand is depicted by a rightward shift in the demand curve, from DD0 to DD1. At first, a consumer is willing to consume Q0 units of goods at the price P0, shown by Point A. After their demand for the good increases, for the same quantity demanded Q0, they are now willing to pay at price P1, shown by Point B. For the original price P0, they are now willing consume Q1 units, shown by Point C.
Note that "demand" and "quantity demanded" are used to mean different things in economic jargon. On the one hand, "demand" refers to the entire demand curve, which is the relationship between quantity demanded and price. Changes in demand are due to changes in other determinants ( Y {\displaystyle {\mathbf {Y}}} ), such as the income of consumers. Therefore, "change in demand" is used to mean that the relationship between quantity demanded and price has changed. Alfred Marshall worded this as:
When then we say that a person's demand for anything increases, we mean that he will buy more of it than he would before at the same price, and that he will buy as much of it as before at a higher price.[3]
Changes in demand is depicted graphically by a shift in the demand curve.[1] On the other hand, "quantity demanded" refers to the quantity of goods consumers want for a given price, conditional on the other determinants. "Changes in quantity demanded" is depicted graphically by a movement along the demand curve.
Economic history and theory[edit]
The law of demand was documented as early as 1892 by economist Alfred Marshall.[3] Due to the law's general agreement with observation, economists have come to accept the validity of the law under most situations. Furthermore, researchers found that the success of the law of demand extends to animals such as rats, under laboratory settings.[4][5]
Exceptions to the law of demand[edit]
Generally the amount demanded of a good increases with a decrease in price of the good and vice versa. In some cases, however, this may not be true. There are certain goods which do not follow this law. These include [Veblen goods] and Giffen goods. Further exception and details are given in the sections below.
Giffen goods[edit]
Initially proposed by Sir Robert Giffen, economists disagree on the existence of Giffen goods in the market. A Giffen good describes an inferior good that as the price increases, demand for the product increases. As an example, during the Irish Potato Famine of the 19th century, potatoes were considered a Giffen good. Potatoes were the largest staple in the Irish diet, so as the price rose it had a large impact on income. People responded by cutting out on luxury goods such as meat and vegetables, and instead bought more potatoes. Therefore, as the price of potatoes increased, so did the quantity demanded.[6]
Expectation of change in the price of commodity[edit]
If an increase in the price of a commodity causes households to expect the price of a commodity to increase further, they may start purchasing a greater amount of the commodity even at the presently increased price. Similarly, if the household expects the price of the commodity to decrease, it may postpone its purchases. Thus, some argue that the law of demand is violated in such cases. In this case, the demand curve does not slope down from left to right; instead it presents a backward slope from the top right to down left. This curve is known as an exceptional demand curve.prestigious goods also fail law of demand.
Basic or necessary goods[edit]
The goods which people need no matter how high the price is are basic or necessary goods. Medicines covered by insurance are a good example. An increase or decrease in the price of such a good does not affect its quantity demanded. These goods have a perfectly inelastic relationship, in that any change in price does not change the quantity demanded.
See also[edit]
Business and economics portal
Revealed preference
Aggregation problem
Representative agent
Methodological individualism
Demand (economics)
Second law of demand (price elasticity over time)
Third Law of Demand Alchian–Allen effect
Supply and Demand
Law of supply
References[edit]
^ Jump up to: a b c Nicholson, Walter; Snyder, Christopher (2012). Microeconomic Theory: Basic Principles and Extensions (11 ed.). Mason, OH: South-Western. pp. 27,154. ISBN 978-111-1-52553-8.
Jump up ^ http://www.investopedia.com/terms/l/lawofdemand.asp; Investopedia, Retrieved 9 September 2013
^ Jump up to: a b Marshall Abhishek, Alfred (1892). Elements of economics of industry. London: Macmillan. pp. 77,79.
Jump up ^ Thaler, Richard. "Toward a positive theory of consumer choice". Journal of Economic Behavior & Organization. 1 (1): 39–60. doi:10.1016/0167-2681(80)90051-7.
Jump up ^ Kagel, John H.; Battalio, Raymond C.; Rachlin, Howard; Green, Leonard; Basmann, Robert L.; Klemm, W. R. (1975-03-01). "Experimental Studies of Consumer Demand Behavior Using Laboratory Animals*". Economic Inquiry. 13 (1): 22–38. doi:10.1111/j.1465-7295.1975.tb01101.x. ISSN 1465-7295.
Jump up ^ Mankiw, Gregory (2007). Principles of Economics. South-Western Cengage Learning. p. 470. ISBN 978-0-324-22472-6.
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The Rime of the Ancient Mariner
From Wikipedia, the free encyclopedia
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For the 1975 film, see Rime of the Ancient Mariner (film). For the 1925 silent film, see The Ancient Mariner (film).
The mariner up on the mast in a storm. One of the wood-engraved illustrations by Gustave Doré of the poem.
The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of Lyrical Ballads. Modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in Lyrical Ballads, it was a signal shift to modern poetry and the beginning of British Romantic literature.
The Rime of the Ancient Mariner (1800 edition)
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The Rime of the Ancient Mariner relates the experiences of a sailor who has returned from a long sea voyage. The mariner stops a man who is on the way to a wedding ceremony and begins to narrate a story. The wedding-guest's reaction turns from bemusement to impatience to fear to fascination as the mariner's story progresses, as can be seen in the language style: Coleridge uses narrative techniques such as personification and repetition to create a sense of danger, the supernatural, or serenity, depending on the mood in different parts of the poem.
Contents
[hide]
1 Synopsis
2 Inspiration for the poem
3 Coleridge's comments
4 Wordsworth's comments
5 Early criticisms
6 Interpretations
7 In popular culture
8 Notes
9 References
10 External links
Synopsis[edit]
The mariner's tale begins with his ship departing on its journey. Despite initial good fortune, the ship is driven south by a storm and eventually reaches Antarctic waters. An albatross appears and leads them out of the ice jam where they are stuck, but even as the albatross is praised by the ship's crew, the mariner shoots the bird:
With my cross-bow,
I shot the albatross.
The crew is angry with the mariner, believing the albatross brought the south wind that led them out of the Antarctic. However, the sailors change their minds when the weather becomes warmer and the mist disappears:
'Twas right, said they, such birds to slay,
That bring the fog and mist.
They soon find that they made a grave mistake in supporting this crime, as it arouses the wrath of spirits who then pursue the ship "from the land of mist and snow"; the south wind that had initially led them from the land of ice now sends the ship into uncharted waters near the equator, where it is becalmed.
Day after day, day after day,
We stuck, nor breath nor motion;
As idle as a painted ship
Upon a painted ocean.

Water, water, every where,
And all the boards did shrink;
Water, water, every where,
Nor any drop to drink.

The very deep did rot – Oh Christ!
That ever this should be.
Yea, slimy things did crawl with legs,
Upon the slimy sea.
Engraving by Gustave Doré for an 1876 edition of the poem. "The Albatross," depicts 17 sailors on the deck of a wooden ship facing an albatross. Icicles hang from the rigging.
The sailors change their minds again and blame the mariner for the torment of their thirst. In anger, the crew forces the mariner to wear the dead albatross about his neck, perhaps to illustrate the burden he must suffer from killing it, or perhaps as a sign of regret:
Ah! Well a-day! What evil looks
Had I from old and young!
Instead of the cross, the albatross
About my neck was hung.
Eventually, the ship encounters a ghostly hulk. On board are Death (a skeleton) and the "Night-mare Life-in-Death", a deathly-pale woman, who are playing dice for the souls of the crew. With a roll of the dice, Death wins the lives of the crew members and Life-in-Death the life of the mariner, a prize she considers more valuable. Her name is a clue to the mariner's fate: he will endure a fate worse than death as punishment for his killing of the albatross.
One by one, all of the crew members die, but the mariner lives on, seeing for seven days and nights the curse in the eyes of the crew's corpses, whose last expressions remain upon their faces. Eventually, this stage of the mariner's curse is lifted after he appreciates the sea creatures swimming in the water. Despite his cursing them as "slimy things" earlier in the poem, he suddenly sees their true beauty and blesses them ("a spring of love gush'd from my heart, and I bless'd them unaware"); suddenly, as he manages to pray, the albatross falls from his neck and his guilt is partially expiated. The bodies of the crew, possessed by good spirits, rise again and help steer the ship. In a trance, the mariner hears two spirits discussing his voyage and penance, and learns that the ship is being powered preternaturally:
The air is cut away before,
And closes from behind.
Finally the mariner comes in sight of his homeland, but is initially uncertain as to whether or not he is hallucinating.
Oh! Dream of joy! Is this indeed
The light-house top I see?
Is this the hill? Is this the kirk?
Is this mine own countree?

We drifted o'er the harbour-bar,
And I with sobs did pray—
O let me be awake, my God!
Or let me sleep alway.
The rotten remains of the ship sink in a whirlpool, leaving only the mariner behind. A hermit on the mainland had seen the approaching ship and had come to meet it with a pilot and his boy, in a boat. When they pull him from the water, they think he is dead, but when he opens his mouth, the pilot has a fit. The hermit prays, and the mariner picks up the oars to row. The pilot's boy goes crazy and laughs, thinking the mariner is the devil, and cries, "The Devil knows how to row". As penance for shooting the albatross, the mariner, driven by guilt, is forced to wander the earth, telling his story over and over, and teaching a lesson to those he meets:
He prayeth best, who loveth best
All things both great and small;
For the dear God who loveth us,
He made and loveth all.
After relaying the story, the mariner leaves, and the wedding guest returns home, and wakes the next morning "a sadder and a wiser man".
The poem received mixed reviews from critics, and Coleridge was once told by the publisher that most of the book's sales were to sailors who thought it was a naval songbook. Coleridge made several modifications to the poem over the years. In the second edition of Lyrical Ballads, published in 1800, he replaced many of the archaic words.
Inspiration for the poem[edit]
Commemorative statue at Watchet, Somerset: the albatross hangs on a rope looped around the ancient mariner's neck.
"Ah ! well a-day ! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung."
The poem may have been inspired by James Cook's second voyage of exploration (1772–1775) of the South Seas and the Pacific Ocean; Coleridge's tutor, William Wales, was the astronomer on Cook's flagship and had a strong relationship with Cook. On this second voyage Cook crossed three times into the Antarctic Circle to determine whether the fabled great southern continent existed.[1] Critics have also suggested that the poem may have been inspired by the voyage of Thomas James into the Arctic.[2]
According to William Wordsworth, the poem was inspired while Coleridge, Wordsworth, and Wordsworth's sister Dorothy were on a walking tour through the Quantock Hills in Somerset.[3] The discussion had turned to a book that Wordsworth was reading, A Voyage Round The World by Way of the Great South Sea (1726) by Captain George Shelvocke. In the book, a melancholy sailor, Simon Hatley, shoots a black albatross:
We all observed, that we had not the sight of one fish of any kind, since we were come to the Southward of the streights of le Mair, nor one sea-bird, except a disconsolate black Albatross, who accompanied us for several days ... till Hattley, (my second Captain) observing, in one of his melancholy fits, that this bird was always hovering near us, imagin'd, from his colour, that it might be some ill omen ... He, after some fruitless attempts, at length, shot the Albatross, not doubting we should have a fair wind after it.
As they discussed Shelvocke's book, Wordsworth proffers the following developmental critique to Coleridge, which importantly contains a reference to tutelary spirits: "Suppose you represent him as having killed one of these birds on entering the south sea, and the tutelary spirits of these regions take upon them to avenge the crime."[3] By the time the trio finished their walk, the poem had taken shape.
Bernard Martin argues in The Ancient Mariner and the Authentic Narrative that Coleridge was also influenced by the life of Anglican clergyman John Newton, who had a near-death experience aboard a slave ship.[citation needed]
The poem may also have been inspired by the legends of the Wandering Jew, who was forced to wander the earth until Judgement Day for taunting Jesus on the day of the Crucifixion, and of the Flying Dutchman.[4][5]
It is claimed that the harbour at Watchet in Somerset was the primary inspiration for the poem, although some time before, John Cruikshank, a local acquaintance of Coleridge’s, had related a dream about a skeleton ship manned by spectral sailors.[6] In September 2003, a commemorative statue, by Alan B Herriot of Penicuik, Scotland, was unveiled at Watchet harbour.[7]
Coleridge's comments[edit]
"The Albatross about my Neck was Hung," etching by William Strang. Poem illustration published 1896.
In Biographia Literaria, Coleridge wrote:
The thought suggested itself (to which of us I do not recollect) that a series of poems might be composed of two sorts. In the one, incidents and agents were to be, in part at least, supernatural, and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second class, subjects were to be chosen from ordinary life...In this idea originated the plan of the 'Lyrical Ballads'; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least Romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. ... With this view I wrote the 'Ancient Mariner'.[8]
In Table Talk, Coleridge wrote:
Mrs Barbauld once told me that she admired The Ancient Mariner very much, but that there were two faults in it -- it was improbable, and had no moral. As for the probability, I owned that that might admit some question; but as to the want of a moral, I told her that in my own judgement the poem had too much; and that the only, or chief fault, if I might say so, was the obtrusion of the moral sentiment so openly on the reader as a principle or cause of action in a work of such pure imagination. It ought to have had no more moral than the Arabian Nights' tale of the merchant's sitting down to eat dates by the side of a well, and throwing the shells aside, and lo! a genie starts up, and says he must kill the aforesaid merchant, because one of the date shells had, it seems, put out the eye of the genie's son.[9]
Wordsworth's comments[edit]
Wordsworth wrote to Joseph Cottle in 1799:
From what I can gather it seems that the Ancient Mariner has upon the whole been an injury to the volume, I mean that the old words and the strangeness of it have deterred readers from going on. If the volume should come to a second Edition I would put in its place some little things which would be more likely to suit the common taste.
However, when Lyrical Ballads was reprinted, Wordsworth included it despite Coleridge's objections, writing:
The Poem of my Friend has indeed great defects; first, that the principal person has no distinct character, either in his profession of Mariner, or as a human being who having been long under the control of supernatural impressions might be supposed himself to partake of something supernatural; secondly, that he does not act, but is continually acted upon; thirdly, that the events having no necessary connection do not produce each other; and lastly, that the imagery is somewhat too laboriously accumulated. Yet the Poem contains many delicate touches of passion, and indeed the passion is every where true to nature, a great number of the stanzas present beautiful images, and are expressed with unusual felicity of language; and the versification, though the metre is itself unfit for long poems, is harmonious and artfully varied, exhibiting the utmost powers of that metre, and every variety of which it is capable. It therefore appeared to me that these several merits (the first of which, namely that of the passion, is of the highest kind) gave to the Poem a value which is not often possessed by better Poems.
Early criticisms[edit]
Illustration by Gustave Doré, 1878
Upon its release, the poem was criticized for being obscure and difficult to read. The use of archaic spelling of words was seen as not in keeping with Wordsworth's claims of using common language. Criticism was renewed again in 1815–16, when Coleridge added marginal notes to the poem that were also written in an archaic style. These notes or glosses, placed next to the text of the poem, ostensibly interpret the verses much like marginal notes found in the Bible. There were many opinions on why Coleridge inserted the gloss.[10] Charles Lamb, who had deeply admired the original for its attention to "Human Feeling", claimed that the gloss distanced the audience from the narrative, weakening the poem's effects. The entire poem was first published in the collection of Lyrical Ballads. Another version of the poem was published in the 1817 collection entitled Sibylline Leaves[11] (see 1817 in poetry).
Interpretations[edit]
On a surface level the poem explores a violation of nature and the resulting psychological effects on the mariner and on all those who hear him. According to Jerome McGann the poem is like a salvation story. The poem's structure is multi-layered text based on Coleridge's interest in Higher Criticism. "Like the Iliad or Paradise Lost or any great historical product, the Rime is a work of transhistorical rather than so-called universal significance. This verbal distinction is important because it calls attention to a real one. Like The Divine Comedy or any other poem, the Rime is not valued or used always or everywhere or by everyone in the same way or for the same reasons."[12]
George Whalley, in his 1946–47 essay, "The Mariner and the Albatross", suggests that the Ancient Mariner is an autobiographical portrait of Coleridge himself, comparing the mariner's loneliness with Coleridge's own feelings of loneliness expressed in his letters and journals.[13]
In popular culture[edit]
Main article: The Rime of the Ancient Mariner in popular culture
In addition to being referred to in several other notable works, due to the popularity of the poem the phrase "albatross around one's neck" has become an English language idiom referring to "a heavy burden of guilt that becomes an obstacle to success".[14]
The phrase "Water, water, every where, | Nor any drop to drink" has appeared widely in popular culture, but usually given in a more natural modern phrasing as "Water, water, everywhere | But not a drop to drink"; some such appearances have, in turn, played on the frequency with which these lines are misquoted.[15]
Notes[edit]
Jump up ^ Andrew C. F. David, ‘Cook, James (1728–1779)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2008:'On 26 January 1774 he crossed into the Antarctic Circle for the third time (having done so a second time the previous month) and four days later, at 71°10' S, 106°54' W, achieved his farthest south.'
Jump up ^ Cooke, Alan (2000). "Thomas James". Dictionary of Canadian Biography Online. Retrieved 5 March 2007.
^ Jump up to: a b Keach, William (ed.): "The Complete Poems / Samuel Taylor Coleridge", pages 498–99. Penguin, 1997.
Jump up ^ Fulmer, O. Bryan (October 1969). "The Ancient Mariner and the Wandering Jew". Studies in Philology. 66 (5): 797–815. JSTOR 4173656. (pay site)
Jump up ^ John Clute and John Grant, eds. (1999). The encyclopedia of fantasy. Macmillan. p. 210. ISBN 978-0-312-19869-5. CS1 maint: Uses editors parameter (link) Excerpt available at Google Books.
Jump up ^ "Samuel Taylor Coleridge". poetryfoundation.org. 11 December 2016. Retrieved 12 December 2016.
Jump up ^ "Coleridge and Watchet – Watchet Museum". watchetmuseum.co.uk. Retrieved 12 December 2016.
Jump up ^ Coleridge, Samuel Taylor. "Chapter XIV". Biographia Literaria. Retrieved 12 May 2013.
Jump up ^ TableTalks, p. 106 http://www.english.uga.edu/~nhilton/232/stc/comp4f.htm
Jump up ^ Duncan Wu, A Companion to Romanticism, Blackwell Publishing, 1998, p 137. ISBN 0-631-21877-7
Jump up ^ "GradeSaver: The Rime of the Ancient Mariner-Study Guide – About The Rime of the Ancient Mariner".
Jump up ^ McGann, Jerome J. The Beauty of Inflections: Clarendon Press, 1985.
Jump up ^ Whalley, George (July 1947). "The Mariner and the Albatross". The University of Toronto Quarterly. 16: 381–398. doi:10.3138/utq.16.4.381. Reprinted in Kathleen Coburn, eds. (1967). Coleridge: A Collection of Critical Essays. Prentice-Hall. CS1 maint: Uses editors parameter (link)
Jump up ^ "albatross around one's neck". Houghton Mifflin. 1997.
Jump up ^ "Ten literary quotes we all get wrong". The Telegraph. Retrieved 26 July 2016.
References[edit]
Gardner, Martin, The Annotated Ancient Mariner, New York: Clarkson Potter, 1965; Reprinted by Prometheus Books, 19??, ISBN 1-59102-125-1
John Livingston Lowes, The Road to Xanadu – A Study in the Ways of the Imagination, Houghton Mifflin, 1927
Scott, Grant F. "'The Many Men so Beautiful': Gustave Doré's Illustrations to 'The Rime of the Ancient Mariner,'" Romanticism 16.1 (2010): 1–24.
External links[edit]
Wikisource has original text related to this article:
The Rime of the Ancient Mariner
Wikiquote has quotations related to: The Rime of the Ancient Mariner
Wikimedia Commons has media related to The Rime of the Ancient Mariner.
Illustrations from The Rime of the Ancient Mariner, Gustave Doré illustrations from the University at Buffalo Libraries’ Rare & Special Books collection
The Rime of the Ancient Mariner, text from Project Gutenberg
The Rime of the Ancient Mariner, audiobook (Jane Aker) from Project Gutenberg
The Rime of the Ancient Mariner: Critical Analysis and Summary
The Rime of the Ancient Mariner public domain audiobook at LibriVox
Abstracts of literary criticism of The Rime of the Ancient Mariner
[hide]
v
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Samuel Taylor Coleridge
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Bloodline (TV series)
From Wikipedia, the free encyclopedia
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Bloodline
Season 1 poster
Genre
Thriller
Drama
Created by
Todd A. Kessler
Glenn Kessler
Daniel Zelman
Starring
Kyle Chandler
Ben Mendelsohn
Linda Cardellini
Norbert Leo Butz
Jacinda Barrett
Jamie McShane
Enrique Murciano
Sam Shepard
Sissy Spacek
Katie Finneran
John Leguizamo
Andrea Riseborough
Chloë Sevigny
Opening theme
"The Water Lets You In" by Book of Fears
Country of origin
United States
Original language(s)
English
No. of seasons
3
No. of episodes
33 (list of episodes)
Production
Executive producer(s)
Todd A. Kessler
Glenn Kessler
Daniel Zelman
Chris Mundy
Michael Morris
David Manson
Mark A. Baker
Location(s)
Florida Keys
Running time
48–68 minutes
Production company(s)
KZK Productions
Sony Pictures Television
Distributor
Netflix
Release
Original network
Netflix
Picture format
1080p (16:9 HDTV)
4K
Original release
March 20, 2015 (2015-03-20) – May 26, 2017 (2017-05-26)
External links
Website
Bloodline is an American Netflix original thriller–drama web television series[1][2] created by Todd A. Kessler, Glenn Kessler, and Daniel Zelman, and produced by Sony Pictures Television.[3] The series premiered on February 9, 2015, in the Berlinale Special Galas section of the 65th Berlin International Film Festival,[1] and the 13-episode first season premiered in its entirety, on Netflix, on March 20, 2015.[3] On March 31, 2015, Bloodline was renewed for a 10-episode second season that debuted on May 27, 2016.[4][5] On July 13, 2016, Netflix renewed Bloodline for a 10-episode third season,[6] later confirmed to be the final season.[7] The third and final season was released on May 26, 2017.[8]
The first season received positive reviews from many critics, with most critics praising its performances (particularly for Ben Mendelsohn and Kyle Chandler) and cinematography. However, the second season received a mixed response from critics, and the third season received negative reviews.
Contents
[hide]
1 Plot
1.1 Season 1 (2015)
1.2 Season 2 (2016)
1.3 Season 3 (2017)
2 Cast
2.1 Main cast
2.2 Recurring cast
3 Production
3.1 Conception
3.2 Casting
3.3 Filming
3.4 Production cost
4 Reception
4.1 Critical
4.1.1 Season 1
4.1.2 Season 2
4.1.3 Season 3
4.2 Accolades
4.3 Commercial
5 DVD and Blu-ray releases
6 References
7 External links
Plot[edit]
See also: List of Bloodline episodes
Season
Episodes
Originally released
1 13 March 20, 2015 (2015-03-20)
2 10 May 27, 2016 (2016-05-27)
3 10 May 26, 2017 (2017-05-26)
Season 1 (2015)[edit]
The series begins with narration by John Rayburn:
Sometimes you know something's coming. You can feel it. In the air. In your gut. And you don't sleep at night. The voice in your head is telling you that something is going to go terribly wrong and there's nothing you can do to stop it. That's how I felt when my brother came home.
Danny Rayburn returns home to Islamorada, Florida for the 45th anniversary of his parents' Robert and Sally Rayburn's seaside hotel, The Rayburn House – a pier will be dedicated in their honor to mark the occasion. Danny is the black sheep of the family, with a poor reputation among them, including his three younger siblings: John, Kevin, and Meg. John is a detective with the local sheriff's office, Kevin owns a local marina, and Meg is an attorney with a local law firm. Danny wants to make his return permanent as he wishes to stay to help his parents at their inn. Robert is reluctant to let Danny stay, but leaves it up to the three siblings to decide Danny's fate.
The siblings decide against Danny staying as they conclude that he will only break their mother's heart in the end. John breaks the news to Danny, but lies to him by telling him it was their father who wanted him gone, rather than the siblings. Ultimately Danny does not leave, although he gets a ride to the bus stop from John. Danny's confrontation with his father inadvertently causes Robert to have mini-strokes, eventually resulting in his death.
The Rayburns' past is full of dark secrets that are revealed throughout the season. Danny's dysfunctional relationship with his family primarily stems from the untimely death of his younger sister, Sarah, when he was a teenager. Danny took Sarah out on a boat. Her seahorse necklace fell into the water, and when she attempted to retrieve it, she drowned. Robert lost control and beat Danny over her death. Sally covered up this abuse by having John, Kevin, and Meg lie to the police about their brother's injuries.
Robert's death opens the door for Danny to have a permanent job at the inn. Danny appears to be changing his ways with hard work and dedication, which puts him in Sally's good graces. However, Danny's problem past is shown via his connection with childhood friend and troublemaker Eric O'Bannon. The two begin siphoning gasoline from local docks for drug and human trafficker, Wayne Lowry. As they gain Lowry's trust, they are given larger jobs to complete. Danny eventually uses his job at The Rayburn House as a front to smuggle cocaine for Lowry.
John and the sheriff's department collaborate with the DEA in an investigation into the deaths of unknown women and drug trafficking in Monroe County by Lowry and his men. The investigation leads John to Danny and his recent activities. While secretly investigating Danny, John finds Danny's smuggled cocaine in a shed on The Rayburn House property. During a meeting among John, Kevin, and Meg, the three siblings conclude that the only way to fix the situation and not put the family's business at risk with the Feds is to move the drugs to Danny's home in Miami. Unbeknownst to Danny, they move the drugs, replacing them with empty suitcases. The loss of the drugs puts Danny in a bad situation with Lowry, who believes that Danny has stolen the cocaine from him. Lowry sends a hitman to assassinate Danny, but Danny kills the hitman.
Under pressure, Danny begins to act erratically. Danny tries to get to John by taking his daughter Janie out on a boat and giving her a seahorse necklace, similar to the one that belonged to their deceased sister, Sarah. John and his wife Dianna take this as a threat against the family, so John sends his wife and children away for a few days. The seahorse necklace causes John to reach his breaking point. During a confrontation, John drowns Danny in the ocean. Distraught from murdering his brother, John turns to Kevin and Meg for help. The three decide to cover up the murder by moving Danny's body. John eventually sets a boat on fire to create an explosion that would frame Danny's death. Unsatisfied with what she is told, Sally turns to family friend and retired detective Lenny Potts to privately investigate the matter. In the aftermath of Danny's death, Meg moves to New York City to take a job with a large firm; Kevin reunites with his estranged wife, Belle, who is now pregnant with their child; and John reunites with his family. The season ends with the arrival of Danny's son, Nolan, at John's home to find out what happened to his father.
Season 2 (2016)[edit]
Danny's death continues to haunt the Rayburn family. Wayne Lowry confronts John, claiming to have a tape of John's history that could be used as blackmail against him. John's deputy Marco Diaz continues to question people in relation to Danny's death, including Eric O'Bannon. Meg returns from New York, John runs for Sheriff, and Kevin continues to struggle with his business. Nolan and his mother arrive at the Rayburn house and meet Sally to discuss Danny. Through Nolan and Eve, the Rayburns learn more about Danny's past, including his asking Robert to borrow some money for his restaurant. Robert made him choose between that or his continuing to send money to Eve for Nolan's support. Ozzy, an old friend of Danny's from Miami, has gotten involved with Eve and works with her to appeal Meg's cancellation after her father's death of the payments to Eve for child support of Nolan. John tries to get the tape off Lowry by telling him to turn himself in so that the DEA can arrest his contacts and his family will be protected. Lowry ends up about to do it but backs down due to Kevin giving back some of the drugs Danny had. Lowry is killed by the father of one of the victims killed when he blew up a boat containing people they were trafficking. While John runs for Sheriff, Marco gets closer to find Danny's killer. Marco, who used to have a relationship with Meg, grows to resent the Rayburn family for lying and telling contradictory stories. Eric O'Bannon tells Marco he has proof that John killed Danny. Kevin goes to see Marco to tell him that John killed Danny; Marco responds that John, Meg, and Kevin are all going to prison. Kevin murders Marco.
Season 3 (2017)[edit]
Following Diaz's murder, Kevin seeks Roy Gilbert's help to cover up the murder. Gilbert engineers a plan that frames O'Bannon for the murder, but Kevin nearly loses his life in the process. The impending trial creates further rifts within the Rayburn clan; Meg vanishes, Kevin becomes further ensnared in Gilbert's shady machinations, and John is increasingly consumed by guilt for Danny's death.
Cast[edit]
Main cast[edit]
Kyle Chandler as John Rayburn, the second son; a detective and local deputy with the Monroe County sheriff's office[3][9]
Ben Mendelsohn as Danny Rayburn, the oldest son and black sheep of the family[3] (main, seasons 1–2; guest, season 3)
Linda Cardellini as Meg Rayburn, the daughter and youngest sibling; an attorney and the family peacekeeper[3][10]
Norbert Leo Butz as Kevin Rayburn, the hot-headed youngest son; he refurbishes boats at Indian Key Channel Marina[3]
Jacinda Barrett as Diana Rayburn, John's wife; she runs a plant nursery[3]
Jamie McShane as Eric O'Bannon, Danny's friend and Chelsea's brother; a parolee[3]
Enrique Murciano as Marco Diaz, Meg's former long-term romantic partner; a detective with the Monroe County sheriff's office and John's partner[11]
Sam Shepard as Robert Rayburn, the patriarch[3] (main, season 1; guest, season 2)
Sissy Spacek as Sally Rayburn, the matriarch[3]
Katie Finneran as Belle Rayburn, Kevin's estranged wife[11] (recurring, season 1; main, seasons 2–3)
John Leguizamo as Ozzy Delvecchio, a man from Danny's past (seasons 2–3)[12]
Andrea Riseborough as Evangeline (Eve) Radosevich, the mother of Nolan Rayburn who has unfinished business with the Rayburn family (season 2)[13]
Chloë Sevigny as Chelsea O'Bannon, Eric's younger sister; a nurse[14] (recurring, seasons 1–2; main, season 3)
Recurring cast[edit]
Steven Pasquale as Alec Moros, Meg's legal client and lover[14]
Mia Kirshner as Sarah Rayburn, Sally and Robert's deceased elder daughter. Angela Winiewicz portrays young Sarah in flashbacks.
Brandon Larracuente as Ben Rayburn, John and Diana's son[11][15][16]
Taylor Rouviere as Janie Rayburn, John and Diana's daughter
Glenn Morshower as Wayne Lowry, a local bait shop owner who deals and distributes illegal drugs
Gino Vento as Rafi Quintana, smuggler and Wayne Lowry's employee
Eliezer Castro as Carlos Mejia, a former employee of the Rayburns' who hires Meg as a lawyer
Bill Kelly as Clay Grunwald, a DEA agent
Jeremy Palko as Nicholas Widmark, Kevin Rayburn's neighbor
Randy Gonzalez as Manny, employee at the Rayburn House
Frank Hoyt Taylor as Lenny Potts, an old Navy friend of Robert's and a retired Monroe County detective
Owen Teague as Nolan Rayburn, Danny's son, whom only Robert knew about. Teague portrays the young Danny Rayburn in flashbacks.
Beau Bridges as Roy Gilbert, a political supporter and ally of John Rayburn for county sheriff, and a drug trafficker.
David Zayas as Sheriff Aguirre, the incumbent sheriff running against John; also his and Marco's superior.
Production[edit]
Conception[edit]
Bloodline was announced in October 2014 as part of a partnership between Netflix and Sony Pictures Television, representing Netflix's first major deal with a major film studio for a television series.[17] The series was created and executive produced by Todd A. Kessler, Glenn Kessler, and Daniel Zelman, who previously created the FX series Damages. According to its official synopsis released by Netflix, Bloodline "centers on a close-knit family of four adult siblings whose secrets and scars are revealed when their black sheep brother returns home."[18]
The writing trio settled on the theme of family as they tried to determine what their next project would look like. According to Zelman,
Over the years we've found ourselves talking a lot about family and how family dynamics have changed — or not changed — as we've gotten older." Glenn Kessler added, "As we've hit our 40s, our understanding of our family dynamics has begun to change. And because we all come from families with three sons, we recognize the roles we play. It's something we'd been talking about. So the thought was, why not try to mine some of that in our creative life?
They settled on a family-thriller genre, set in the Florida Keys. They explored the ghost of the past in family role formation. The pitch was attractive to a number of outlets before Netflix landed the drama as a 13-hour season to launch all at once — a structural advantage very important to the show's creators.[19]
Casting[edit]
The creators were intrigued by the idea of casting Kyle Chandler, whose on-screen persona in Friday Night Lights was warm and inviting, to play the ostensibly noble but deeply flawed John Rayburn. They met with Chandler in Austin, Texas, and pitched the part.
"They said, 'This is like an experiment. We're not quite sure if this is going to work the way we're doing it, but we want to try to create this family dynamic we're aware of and create this family around it'", he recalled. "And their hesitancy of whether it would work or not... made me, thinking back on it, realize they were into it 110% because they were trying to create something new. I didn't know what would happen with it or where it could go... But I was like, I'm in."[20]
Ben Mendelsohn was the only actor whom the producers met with for the role of Danny Rayburn; they found his combination of intellect and acting ability perfectly suited to the part. Glenn Kessler was grateful for Netflix's hands-off approach to the decision, explaining, "They very much supported us finding the best actor that we thought could play the role." In addition, as much of the show's dramatic tension comes from the relationship between John and Danny, a certain chemistry between the two actors was vital. According to Chandler, "[Mendelsohn]'s so easy to work with. And yet, he's tricky — when you're working with him, [psychologically] there's so much going on."[19]
Linda Cardellini and Norbert Leo Butz secured their parts as siblings Meg and Kevin Rayburn, respectively, through meetings with the creators. According to Kessler, Sissy Spacek and Sam Shepard were described prior to casting as the "dream" actors they'd want to play the Rayburn parents. A Damages fan, Spacek signed on after the cast started coming together, explaining, "There's so much good work coming out of television. I wanted to be a part of it."[19]
The second season features the additions of John Leguizamo and Andrea Riseborough as series regulars, both playing characters from Danny's past.[12][13] Ben Mendelsohn returns as a series regular for the second season, despite his character's having been killed off in season one. Glenn Kessler said,
The DNA of the show is such that the past is always with us", and, "We're going to learn more about Danny's effect on the family and more about his past, and also what his effects are in the present day." He added that Mendelsohn's return "was always part of the plan. When we first hired him, it was for more than the first season.[21]
The third season features Chloë Sevigny as a series regular; she'd previously recurred in seasons one and two.
Filming[edit]
Todd A. Kessler described why they shot the show on location in the Florida Keys:
We looked at several places and realized there is no place quite like the Keys and the color of the water and being outside and it really feeling like paradise and then having this kind of underbelly of what's going on underneath it.[22]
The creators acknowledged Crime and Punishment as a major narrative influence for what they described as a 13-hour movie. As Todd Kessler explained,
in that story the murder takes place at about page 60 and there's another 400 pages of the book to go. The tagline that we use for promotion — "We're not bad people, but we did a bad thing" — is very much the fabric of the series. The first season just gets us to the starting line.[23]
The show favors a mix of classic noir and hyper-realism in its look. Cinematographer Jaime Reynoso said, "he never saw [Bloodline] as a TV show", finding the all-at-once Netflix model useful in filming the series as if it were a shorter film. He explained, "The concept the writers had was they wanted it hyper-realistic, almost documentary style." He found first takes were often the best, with actors not rehearsing in order to maintain spontaneity.[24] Bloodline editor Naomi Geraghty also stressed the importance of realism to the show: "Nobody is ever saying what they're saying, so part of how you build on that is by staying with those moments and you save sharp or jarring cuts for flashbacks."[25]
Production cost[edit]
In September 2016, Vulture.com reported that the cost per episode for the show was approximately US$7 million to US $8.5 million per hour, with a total cost for the 33 episodes between US$231–US$289 million. Despite receiving tax credits for shooting in Florida, shooting in the Florida Keys was costly. The high production cost is cited as one of the reasons for cancellation, despite positive reviews and award nominations.[26] Executive producer Todd A. Kessler said: "We decided to set the show there...because it's crucial to what the show is, not because of the tax incentive, but it does affect things financially for us and the show will be challenged because of that. It makes things more difficult".[27]
Reception[edit]
Critical[edit]
Season 1[edit]
Critics received the first three episodes of Bloodline for initial review, and reception was positive—the season received a score of 75 out of 100 based on 31 reviews on Metacritic.[28] Rotten Tomatoes gave the season an approval rating of 81%, with an average rating of 6.97/10 based on 47 reviews, and a critical consensus of: "While Bloodline's tricky timeline detracts from the potency of the story and its characters, the show remains an addictive, tightly drawn brainteaser framed on a believable canvas."[29]
Several critics gave especially positive reviews. Ken Tucker of Yahoo! TV called it a "twisty mood piece ... well worth your time".[30] Dorothy Rabinowitz, writing for The Wall Street Journal, said the series possesses a "magnetic pull".[31] David Rooney of The Hollywood Reporter raved, "Chalk up another forceful punch [for Netflix] with Bloodline, a riveting, superbly cast slow-burn family drama set between the oceanfront paradise and the murky mangrove swamps of the Florida Keys."[32] Other strong reviews came from The A.V. Club,[33] the Los Angeles Times,[34] the New York Times,[35] the Philadelphia Inquirer,[36] Variety,[37] Entertainment Weekly,[38] and the San Francisco Chronicle.[39] Cinema Blend, Decider, Badass Digest, and Forbes have hailed Bloodline as the best Netflix original to date.[40][41][42][43]
Debate ensued among some critics who felt the three episodes Netflix provided for review were insufficient. As Hank Stuever wrote in his review for The Washington Post, "I've enjoyed Bloodline so far, but it's impossible to say if it's consistently this good, because Netflix would share only three episodes (out of 13) with critics."[44] For HitFix, Alan Sepinwall (who awarded the three episodes a B-) echoed the sentiment, saying, "We'll see if they play those [time-shifting] games to this extent with Bloodline — Todd Kessler has suggested to at least one reporter that the flash-forwards won't be a series-long (or even season-long) device — but for now, the new show seems more style over substance."[45] He later revised his opinion on the matter, writing that Bloodline ultimately "played fair" with its narrative. He summed up his thoughts on the season: "In the end, Mendelsohn was so great that I'm glad I made it to the end, but this one feels better-suited to the anthology miniseries model than as an ongoing."[46]
Other mixed reviews came from James Poniewozik of TIME,[47] Robert Bianco of USA Today[48] and Margaret Lyons of Vulture.[49] However, Sean Fitz-Gerald, who reviewed the season as a whole for Vulture, wrote in sum: "Bloodline was a gripping, slow burn of a journey, so stressful, engaging, and uncomfortable ... KZK did a fantastic job crafting something real enough to find introspective truth in."[50]
The Playlist named Bloodline the normative successor to Breaking Bad because of its complex and tragic anti-hero narrative. Critic Nikola Grozdavonic said: "As TV shows continue to soar during this golden age of television, the bar keeps rising higher and higher ... Right now [Bloodline is] the greatest example of how profoundly effective the 13-episode format can be in modern storytelling. Of course, shows have to be technically sound in order to represent their story in the greatest possible light, and the team behind Bloodline does an outstanding job in every technical department. Breathtaking cinematography, an immersive soundtrack, and a coyly observant camera all enhancing the viewing experience by a noticeable degree. The picturesque location of the Florida Keys, divided between gorgeous coral reefs and dark mangroves, is captured with an eye for the sensual and the symbolic. And yet, all of this would turn to dust if the story didn't reach as deep as it does, and the writing and performances weren't as spectacular as they are.[51] IndieWire asserted that Bloodline's mix of noir and family drama allows it to successfully confront complex familial dynamics. According to author David Canfield, "The opening minutes of Bloodline rather perfectly ascertain a new trend happening in dramatic television right now: the family noir ... The conceit of these new series is to realize what's common to family-centric fiction within a construct that is both unsettling and pessimistic ... Bloodline identifies the origins of familial roles, each shaped by a cataclysmic event in the Rayburn siblings' childhood. The time-shifting is intrinsic to the show's ideas, exploring the formation of identity through flashbacks and, via glimpses of the future, affirming their inflexibility."[52]
Critics' reactions were more divided to Bloodline in its entirety, with end-of-season reviews from publications, such Vox.com,[53] IGN,[54] and Uncle Barky,[55] ending up very favorable. While reviews from HitFix,[46] and Vulture[50] were more mixed.
The first season was named among the best of 2015 by Rolling Stone,[56] The Star-Ledger,[57] Vanity Fair,[58] The Guardian,[59] IGN,[60] The A.V. Club,[61] The Week,[62] Maxim[63] and The Hollywood Reporter.[64] However, IndieWire named the show one of the most disappointing TV shows of 2015.[65]
Season 2[edit]
Season 2 of Bloodline received mixed reviews from critics, with many reviewers criticizing the pacing, but praising the performances and cinematography.[66] On Metacritic, the season has a score of 60 out of 100, based on 9 critics, indicating "mixed or average reviews".[67] On Rotten Tomatoes, it has a 53% approval rating, based on 19 reviews, with a rating average of 6.14/10. The website's critical consensus reads, "Despite impressive performances and attractive cinematography, Bloodline's second season fails to recapture its predecessor's dramatic intrigue."[68]
Season 3[edit]
The third and final season received negative reviews from critics. On Rotten Tomatoes, the season holds an approval rating of 43% and an average score of 5.8/10 based on 14 reviews.[69]
Accolades[edit]
Year
Award
Category
Recipients
Result
Ref.
2015 Critics' Choice Television Awards Best Supporting Actor in a Drama Series Ben Mendelsohn Nominated [70]
Gold Derby Awards Drama Supporting Actor Ben Mendelsohn Nominated [71]
Primetime Emmy Awards Outstanding Lead Actor in a Drama Series Kyle Chandler Nominated [72]
Outstanding Supporting Actor in a Drama Series Ben Mendelsohn Nominated
Writers Guild of America Awards Television: New Series Bloodline Nominated [73]
EWwy Awards Outstanding Supporting Actress in a Drama Series Sissy Spacek Nominated [74]
2016 Artios Awards Achievement in Casting – Television Series Drama Debra Zane, Lori Wyman, Shayna Markowitz Nominated [75]
Satellite Awards Best Television Series – Drama Bloodline Nominated [76]
Best Actor – Television Series Drama Kyle Chandler Nominated
Best Actor – Miniseries or Television Film Ben Mendelsohn Nominated
Golden Globe Awards Best Supporting Actor – Series, Miniseries or Television Film Ben Mendelsohn Nominated [77]
OFTA Awards Best Supporting Actor in a Drama Series Ben Mendelsohn Nominated
Primetime Emmy Awards Outstanding Lead Actor in a Drama Series Kyle Chandler Nominated [78]
Outstanding Supporting Actor in a Drama Series Ben Mendelsohn Won
IGN Awards Best TV Actor Ben Mendelsohn Won [79]
2017 Artios Awards Achievement in Casting – Television Series Drama Debra Zane, Lori Wyman, Shayna Markowitz, Marie-Thérèse Verbruggen, Erin Fragetta Won [80]
Art Directors Guild Awards One-Hour Contemporary Single-Camera Television Series Tim Galvin Nominated [81]
Satellite Awards Best Supporting Actor – Series, Miniseries or Television Film Ben Mendelsohn Won [82]
Primetime Emmy Awards Outstanding Guest Actor in a Drama Series Ben Mendelsohn Nominated [83]
Commercial[edit]
The official trailer was released in mid-February, containing the Lissie cover of Metallica's song "Nothing Else Matters". After the trailer's release, Bloodline ranked eighth among all cable/streaming programs in Digital Audience Ratings and was the top trending program, despite being a month out of its premiere. According to Variety, "The first full trailer release for [Netflix's] upcoming drama "Bloodline" ... already has nearly 1 million more views in just a week's time, landing the show on the Cable/Streaming and Trending leaderboards this week."[84]
DVD and Blu-ray releases[edit]
Bloodline has been released on DVD in Australia; season 1 on May 5, 2016,[85] and season 2 on May 31, 2017.[86] The first season has also been released on DVD and Blu-ray in Europe in March 2016.[87] The series has yet to be released on DVD or Blu-ray in North America.[88]
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Bloodline_(TV_series)&oldid=845491444"
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2015 American television series debuts
2017 American television series endings
2010s American drama television series
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