text:
Join, or Die
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For the television series, see Join or Die with Craig Ferguson.
Join, or Die by Benjamin Franklin was recycled to encourage the former colonies to unite against British rule
JOIN, or DIE. is a political cartoon, attributed to Benjamin Franklin and first published in his Pennsylvania Gazette on May 9, 1754.[1] The original publication by the Gazette is the earliest known pictorial representation of colonial union produced by a British colonist in America.[2] It is a woodcut showing a snake cut into eighths, with each segment labeled with the initials of one of the American colonies or regions. New England was represented as one segment, rather than the four colonies it was at that time. Delaware was not listed separately as it was part of Pennsylvania. Georgia, however, was omitted completely. Thus, it has eight segments of a snake rather than the traditional 13 colonies.[3] The two northernmost British American colonies at the time, Nova Scotia and Newfoundland, were not represented, nor were any British Caribbean possessions. The cartoon appeared along with Franklin's editorial about the "disunited state" of the colonies, and helped make his point about the importance of colonial unity. It became a symbol of colonial freedom during the American Revolutionary War.
Contents
[hide]
1 Role during the Seven Years' War
2 Role prior to and during the American Revolution
3 Legacy of the cartoon
4 See also
5 References
6 Further reading
Role during the Seven Years' War[edit]
Further information: Great Britain in the Seven Years War
Also known as the French and Indian War, the seven years were a war (and choice) for the colonies against Britain, France, and their native allies. They wanted to fight for the land west of the Appalachian Mountains. At that time, the colonists were divided on whether to fight the French and their Native-American allies for control of the land west of the Appalachian Mountains. It became a symbol for the need of organized action against an outside threat posed by the French and Native-Americans in the mid 18th century. Writer Philip Davidson states that Franklin was a propagandist influential in seeing the potential in political cartoons.[4] Franklin had proposed the Albany Plan and his cartoon suggested that such a union was necessary to avoid destruction. As Franklin wrote:
The Confidence of the French in this Undertaking seems well-grounded on the present disunited State of the British Colonies, and the extreme Difficulty of bringing so many different Governments and Assemblies to agree in any speedy and effectual Measures for our common defense and Security; while our Enemies have the very great Advantage of being under one. Direction, with one Council, and one Purse....[5]
Role prior to and during the American Revolution[edit]
Massachusetts Spy, July 7, 1774
Franklin's political cartoon took on a different meaning during the lead up to the American Revolution, especially around 1765-1766, during the Stamp Act Congress. British colonists in America protesting British rule used the cartoon in the Constitutional Courant to help persuade the colonists. However, the Patriots, who associated the image with eternity, vigilance, and prudence, were not the only ones who saw a new interpretation of the cartoon. The Loyalists saw the cartoon with more biblical traditions, such as those of guile, deceit, and treachery. Franklin himself opposed the use of his cartoon at this time, but instead advocated a moderate political policy; in 1766, he published a new cartoon MAGNA Britannia: her Colonies REDUCED,[6] where he warned against the danger of Britain losing her American colonies by means of the image of a female figure (Britannia) with her limbs cut off. Because of Franklin's initial cartoon, however, the Courant was thought of in England as one of the most radical publications.[4]
The difference between the use of Join or Die in 1754 and 1765 is that Franklin had designed it to unite the colonies for 'management of Indian relations' and defense against France, but in 1765 American colonists used it to urge colonial unity against the British. Also during this time the phrase "join, or die" changed to "unite, or die," in some states such as New York and Pennsylvania.
Soon after the publication of the cartoon during the Stamp Act Congress, variations were printed in New York, Massachusetts, and a couple of months later it had spread to Virginia and South Carolina. In some states, such as New York and Pennsylvania, the cartoon continued to be published week after week for over a year.[4] On July 7, 1774 Paul Revere altered the cartoon to fit the masthead of the Massachusetts Spy.[7]
Legacy of the cartoon[edit]
The cartoon has been reprinted and redrawn widely throughout American history. Variants of the cartoon have different texts, e.g. "Unite or Dead", and differently labeled segments, depending on the political bodies being appealed to. During the American Revolutionary War, the image became a potent symbol of Colonial unity and resistance to what was seen as British oppression. It returned to service, suitably redrawn, for both sides of the American Civil War.[8]
The Latin translation of Join, or Die (Jungite aut Perite) is used as the official motto of the Philadelphia Union soccer team. A snake is also featured in their logo as an allusion to this cartoon.[9]
A flag featuring this cartoon was prominently displayed in the opening credits of the TV miniseries John Adams and was the title for the first part of the miniseries.
The Late Late Show former host Craig Ferguson has this cartoon tattooed on the inside of his right forearm reaching his wrist, to commemorate becoming an American Citizen.[10][11] Ferguson also named his comedy-talk show on the History Channel, Join or Die with Craig Ferguson, after the cartoon. The show began airing in February 2016.[12]
An image of the Join, or Die snake was delivered as a threat to a victim in the NCIS episode "Dead Air". It was used as a symbol for a Military At Home terrorist group.[13]
"Join Or Die" is the name given to the special edition of the video game Assassin's Creed III, it being set during the American Revolutionary War.
The cartoon is on a T-shirt worn by Justin Walker (Dave Annable) in episode 4 of season 4 ("From France with Love", 2009) of the American television series Brothers & Sisters.
In the TNT show Falling Skies, when Pope and his gang of outlaws are cornered at gunpoint by Tom Mason, Pope asks Mason for options, to which Mason replies "Join, or Die!". Part of Mason's backstory included him being a Boston University history professor who taught the American Revolution as part of his curriculum.
On the Fox show Sleepy Hollow in the episode "Magnum Opus" in Season 2 Episode 10, the original Join or Die cartoon is shown and described as being drawn by Benjamin Franklin to secretly indicate an actual river. Looking at actual map, the place where the mouth of the snake is located is where the main characters find an enchanted sword.
A Poster with the Join or Die cartoon on it appears inside the "Red Rocket Station" and in the cellar of the "Gorsky Cabin" in Fallout 4.
Kinda Funny cofounder Colin Moriarty has the "JOIN, or DIE." text tattoed on his left forearm.
The Philadelphia 76ers NBA team integrated the snake into its Liberty Bell logo to create a special edition 2018 playoffs logo, though it changed the related tagline slightly to “Unite or Die.”
See also[edit]
United States portal
Pennsylvania portal
Philadelphia portal
Live Free or Die
Gadsden Flag
References[edit]
Jump up ^ "Join, or Die". Pennsylvania Gazette. Philadelphia. May 9, 1754. p. 2. Retrieved January 19, 2014 – via Newspapers.com.
Jump up ^ Margolin, Victor. "Rebellion, Reform, and Revolution: American Graphic Design for Social Change". Design Issues Vol. 5, No. 1, 1988
Jump up ^ "Join or Die Snake Historical Flag". Flags Unlimited. Archived from the original on July 26, 2011. Retrieved May 13, 2011.
^ Jump up to: a b c Olson, Lester C. Benjamin Franklin's George Washington Vision of American Community. University of South Carolina Press, Columbia, 2004
Jump up ^ "The Writings of Benjamin Franklin: Philadelphia, 1726 - 1757". historycarper.com. Archived from the original on May 12, 2006. Retrieved May 1, 2006.
Jump up ^ "Political cartoon: MAGNA Britannia : her Colonies REDUC'D". Library Company of Philadelphia. Retrieved April 29, 2007.
Jump up ^ "A More Perfect Union: Symbolizing the National Union of States". Library of Congress. Retrieved November 3, 2010.
Jump up ^ "'Join, or Die' - the Political Cartoon by Benjamin Franklin". BBC. 2003. Retrieved December 13, 2006.
Jump up ^ "Philadelphia Major League Soccer Team Reveals Identity to the World". Major League Soccer. May 11, 2009. Retrieved November 3, 2010. [permanent dead link]
Jump up ^ "22 September 2009". The View. September 22, 2009. ABC. Retrieved November 3, 2010.
Jump up ^ "The Rallying Cry of the Robot Skeleton Army". Plixi. February 11, 2010. Archived from the original on July 13, 2012. Retrieved November 3, 2010.
Jump up ^ "History Channel Shows".
Jump up ^ "NCIS Recap: Dead Air". CBS. Retrieved November 3, 2010.
Further reading[edit]
Copeland, David. "'Join, or die': America's press during the French and Indian War." Journalism History (1998) 24#3 pp: 112-23 online
Olson, Lester C. "Benjamin Franklin's pictorial representations of the British colonies in America: A study in rhetorical iconology." Quarterly Journal of Speech 73.1 (1987): 18-42.
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Earned run average
From Wikipedia, the free encyclopedia
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E R A = 9 × E a r n e d R u n s A l l o w e d I n n i n g s P i t c h e d {\displaystyle \mathrm {ERA} =9\times {\frac {\mathrm {Earned~Runs~Allowed} }{\mathrm {Innings~Pitched} }}}
The lowest career ERA is 1.82, set by Chicago White Sox pitcher Ed Walsh.
In baseball statistics, earned run average (ERA) is the mean of earned runs given up by a pitcher per nine innings pitched (i.e. the traditional length of a game). It is determined by dividing the number of earned runs allowed by the number of innings pitched and multiplying by nine. Runs resulting from defensive errors (including pitchers' defensive errors) are recorded as unearned runs and omitted from ERA calculations.
Contents
[hide]
1 Origins
2 ERA in different decades and baseball eras
2.1 Infinite and undefined
3 Other external factors
3.1 Starters and relievers
3.2 DH rule
3.3 Location
4 Sabermetric treatment of ERA
5 All-time career leaders
5.1 Career leaders in the live-ball era (post-1920)
6 See also
7 References
Origins[edit]
Henry Chadwick is credited with devising the statistic, which caught on as a measure of pitching effectiveness after relief pitching came into vogue in the 1900s. Prior to 1900 – and, in fact, for many years afterward – pitchers were routinely expected to pitch a complete game, and their win-loss record was considered sufficient in determining their effectiveness.
After pitchers like James Otis Crandall and Charley Hall made names for themselves as relief specialists, gauging a pitcher's effectiveness became more difficult using the traditional method of tabulating wins and losses. Some criterion was needed to capture the apportionment of earned-run responsibility for a pitcher in games that saw contributions from other pitchers for the same team. Since pitchers have primary responsibility for putting opposing batters out, they must assume responsibility when a batter they do not retire at the plate moves to base, and eventually reaches home, scoring a run. A pitcher is assessed an earned run for each run scored by a batter (or that batter's pinch-runner) who reaches base while batting against that pitcher. The National League first tabulated official earned run average statistics in 1912 (the outcome was called "Heydler's statistic" for a while, after then-NL secretary John Heydler), and the American League later accepted this standard and began compiling ERA statistics.
Recently written baseball encyclopedias display ERAs for earlier years, but these were computed retroactively. Negro League pitchers are often rated by RA, or total runs allowed, since the statistics available for Negro League games did not always distinguish between earned and unearned runs.
ERA in different decades and baseball eras[edit]
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As with batting average, the definition of a "good" ERA varies from year to year. During the dead-ball era of the 1900s and 1910s, an ERA below 2.00 (two earned runs allowed per nine innings) was considered good. In the late 1920s and through the 1930s, when conditions of the game changed in a way that strongly favored hitters, a good ERA was below 4.00; only the highest caliber pitchers, for example Dazzy Vance or Lefty Grove, would consistently post an ERA under 3.00 during these years. In the 1960s, sub-2.00 ERAs returned, as other influences such as ballparks with different dimensions were introduced. Today, an ERA under 4.00 is again considered good.
The all-time single-season record for the lowest ERA, according to www.mlb.com, the official website of Major League Baseball, is held by Dutch Leonard, who in 1914 had an earned run average of 0.96, pitching 224.2 innings with a win-loss record of 19-5. The all-time record for the lowest single season earned run average by a pitcher pitching 300 or more innings is 1.12, set by Bob Gibson in 1968. The record for the lowest career earned run average is 1.82, held by Ed Walsh, who played from 1904 through 1917.
Some researchers dissent from the official Major League Baseball record and claim that the pitcher with the all-time lowest earned run average is Tim Keefe, who had an earned run average of 0.86 in 1880 while appearing in 12 of his team's 83 games and pitching 105 innings (with a win-loss record of 6-6). But a purported record based on so few innings pitched is highly misleading. Over the years, more than a dozen part-time pitchers have pitched 105 or more innings and had an earned run average lower than 0.86. Major League Baseball recognizes many records from the 19th century — including Will White's 1879 record of 680 innings pitched, Charles Radbourne's 1884 record of 59 wins, and Pud Galvin's 1883 record for 75 games started, but does not recognize Keefe as the pitcher having the all-time lowest single season earned run average.
Infinite and undefined[edit]
Some sources may list players with infinite ERAs. This can happen if a pitcher allows one or more earned runs without retiring a batter (usually in a single appearance). Additionally, an undefined ERA occasionally occurs at the beginning of a baseball season. It is sometimes incorrectly displayed as zero or as the lowest ranking ERA, even though it is more akin to the highest.
Other external factors[edit]
Starters and relievers[edit]
At times it can be misleading to judge relief pitchers solely on ERA, because they are charged only for runs scored by batters who reached base while batting against them. Thus, if a relief pitcher enters the game with his team leading by 1 run, with 2 outs and the bases loaded, and then gives up a single which scores 2 runs, he is not charged with those runs. If he retires the next batter (and pitches no more innings), his ERA for that game will be 0.00 despite having surrendered the lead. (He is likely recorded with a blown save.) Starting pitchers operate under the same rules but are not called upon to start pitching with runners already on base. In addition, relief pitchers know beforehand that they will only be pitching for a relatively short while, allowing them to exert themselves more for each pitch, unlike starters who typically need to conserve their energy over the course of a game in case they are asked to pitch 7 or more innings. The reliever's freedom to use their maximum energy for a few innings, or even for just a few batters, helps relievers keep their ERAs down.
ERA, taken by itself, can also be misleading when trying to objectively judge starting pitchers, though not to the extent seen with relief pitchers.
DH rule[edit]
The advent of the designated hitter rule in the American League in 1973 made the pitching environment significantly different. Since then, pitchers spending all or most of their careers in the AL have been at a disadvantage in maintaining low ERAs, compared to National League pitchers who can often get an easy out when pitching to the opposition's pitcher, who is usually not a very good batter. Since 1997, when teams began playing teams from the other league during the regular season, the DH rule is in effect only when such interleague games are played in an American League park.
This difference between the leagues (the DH) also affects relievers, but not to the same degree. This is because National League relievers actually pitch to pitchers less often than NL starters do for a number of reasons, chiefly because relievers are usually active in later innings when pinch hitters tend to be used in the pitcher's batting spot.
Location[edit]
ERA is also affected somewhat by the ballpark in which a pitcher's team plays half its games, as well as the tendency of hometown official scorers to assign errors instead of base hits in plays that could be either.
As an extreme example, pitchers for the Colorado Rockies have historically faced many problems, all damaging to their ERAs. The combination of high altitude (5,280 ft or 1,610 m) and a semi-arid climate in Denver causes fly balls to travel up to 10% farther than at sea level. Denver's altitude and low humidity also reduce the ability of pitchers to throw effective breaking balls, due to both reduced air resistance and difficulty in gripping very dry baseballs. These conditions have been countered to some extent since 2002 by the team's use of humidors to store baseballs before games. These difficult circumstances for Rockies pitchers may not adversely affect their win-loss records, since opposing pitchers must deal with the same problems. Indeed, hometown hurlers have some advantage in any given game since they are physically acclimated to the altitude and often develop techniques to mitigate the challenges of this ballpark. Still, conditions there tend to inflate Rockies' ERAs relative to the rest of the league.
Sabermetric treatment of ERA[edit]
In modern baseball, sabermetrics uses several defense independent pitching statistics including a Defense-Independent ERA in an attempt to measure a pitcher's ability regardless of factors outside his control. Further, because of the dependence of ERA on factors over which a pitcher has little control, forecasting future ERAs on the basis of the past ERAs of a given pitcher is not very reliable and can be improved if analysts rely on other performance indicators such as strike out rates and walk rates. For example, this is the premise of Nate Silver's forecasts of ERAs using his PECOTA system.[1] Silver also developed a "quick" earned run average (QuikERA or QERA) to calculate an ERA from peripheral statistics including strikeouts, walks, and groundball percentage. Unlike peripheral ERA or PERA, it does not take into account park effects.[2] Another statistic derived from ERA is Adjusted ERA, also called ERA+, which adjusts a pitcher's ERA to a scale where 100 is average for the league and takes into account the various dimensions and other factors of each ballpark.
All-time career leaders[edit]
Rank
ERA
Player
Team(s)
Year(s)
1
1.82 Ed Walsh Chicago (AL), Boston (NL) 1904–17
2
1.89 Addie Joss Cleveland (AL) 1902–10
3
1.89 Jim Devlin Chicago (NA), Louisville (NL) 1875–77
4
2.02 Jack Pfiester Pittsburgh (NL), Chicago (NL) 1903–04, 1906–11
5
2.03 Smoky Joe Wood Boston (AL), Cleveland (AL) 1908–15, 1917–22
Career leaders in the live-ball era (post-1920)[edit]
Because of rules changes post-1920, most notably the abolition of the spitball and frequent replacement of soiled or scuffed baseballs, the increased importance of the home run (largely due to Babe Ruth), and the American League's adoption of the designated hitter rule, ERAs have been noticeably higher than in the early decades of the sport.
This is a list of the lowest ERAs among pitchers that played their entire careers after 1920 (minimum 1,000 innings pitched). Note that three of the top six (Clayton Kershaw, Whitey Ford and Sandy Koufax) were primarily starting pitchers. Hoyt Wilhelm was a reliever for most of his career, while the other two are closers.
Rank
ERA
Player
Team(s)
Year(s)
1
2.21 Mariano Rivera New York (AL) 1995–2013
2
2.36 Clayton Kershaw Los Angeles (NL) 2008–
3
2.52 Hoyt Wilhelm New York (NL), St. Louis, Cleveland, Baltimore, Chicago (AL), Los Angeles (AL), Atlanta, Chicago (NL), Los Angeles (NL) 1952–72
4
2.75 Whitey Ford New York (AL) 1950–67
5
2.76 Dan Quisenberry Kansas City, St. Louis, San Francisco 1979–90
6
2.76 Sandy Koufax Brooklyn/Los Angeles 1955–66
See also[edit]
Baseball portal
Adjusted ERA+ (Park-adjusted ERA)
Catcher's ERA
Component ERA
Defense-Independent ERA
Earned run
FIP
PERA
QERA
Run average
References[edit]
Jump up ^ Schwarz, Alan (August 22, 2004). "Numbers Suggest Mets Are Gambling on Zambrano". The New York Times. Retrieved July 19, 2011.
Jump up ^ Silver, Nate (September 27, 2006). "Lies,Damned Lies: Playoff Hurlers". Baseball Prospectus. Prospectus Entertainment Ventures. Retrieved July 19, 2011.
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WarGames
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the 1983 film. For the 2001 film, see War Game (film). For other uses, see War Game (disambiguation).
WarGames
Theatrical release poster
Directed by
John Badham
Produced by
Leonard Goldberg
Rich Hashimoto
Harold K. Schneider
Bruce McNall
Written by
Lawrence Lasker
Walter F. Parkes
Starring
Matthew Broderick
Dabney Coleman
John Wood
Ally Sheedy
Music by
Arthur B. Rubinstein
Cinematography
William A. Fraker
Edited by
Tom Rolf
Production
company
United Artists
Sherwood Productions
Distributed by
MGM/UA Entertainment Company
Release date
May 7, 1983 (1983-05-07) (Cannes)
June 3, 1983 (1983-06-03) (US)
Running time
114 minutes
Country
United States
Language
English
Budget
$12 million
Box office
$79.6 million
WarGames is a 1983 American Cold War science fiction film written by Lawrence Lasker and Walter F. Parkes and directed by John Badham. The film stars Matthew Broderick, Dabney Coleman, John Wood, and Ally Sheedy. The film follows David Lightman (Broderick), a young hacker who unwittingly accesses WOPR (War Operation Plan Response), a United States military supercomputer originally programmed to predict possible outcomes of nuclear war. Lightman gets WOPR to run a nuclear war simulation, believing it to be a computer game. The computer, now tied into the nuclear weapons control system and unable to tell the difference between simulation and reality, attempts to start World War III.
The film was a box office success, costing $12 million and grossing $79 million after five months in the United States and Canada. The film was nominated for three Academy Awards. A sequel, WarGames: The Dead Code, was released direct to DVD in 2008.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
4 Release
5 Reception
5.1 Critical response
5.2 Accolades
5.3 Influence
6 Video games
7 Soundtrack
8 Sequel
9 Interactive series
10 See also
11 References
12 External links
Plot[edit]
During a surprise drill of a nuclear attack, many United States Air Force Strategic Missile Wing controllers prove unwilling to turn the key required to launch a missile strike. Such refusals convince John McKittrick and other systems engineers at NORAD that missile launch control centers must be automated, without human intervention. Control is given to a NORAD supercomputer, WOPR (War Operation Plan Response), programmed to continuously run war simulations and learn over time.
David Lightman, a bright but unmotivated Seattle high school student and hacker, uses his computer to break into the school district's computer system and change his grades. He does the same for his friend and classmate Jennifer Mack. Later, while war dialing numbers in Sunnyvale, California to find a computer game company, he connects with a system that does not identify itself. Asking for games, he finds a list that starts with chess, checkers, backgammon, and poker, as well as titles like "Theaterwide Biotoxic and Chemical Warfare" and "Global Thermonuclear War," but cannot proceed further. Two hacker friends explain the concept of a backdoor password and suggest tracking down the Falken referenced in "Falken's Maze," the first game listed. David discovers that Stephen Falken was an early artificial intelligence researcher, and guesses correctly that his dead son's name, Joshua, is the password.
David does not know that the Sunnyvale phone number connects to WOPR at the Cheyenne Mountain Complex. He starts a game of Global Thermonuclear War, playing as the Soviet Union. The computer starts a simulation that briefly convinces the military personnel at NORAD that actual Soviet nuclear missiles are inbound. While they defuse the situation, WOPR nonetheless continues the simulation to trigger the scenario and win the game, as it does not understand the difference between reality and simulation. It continuously feeds false data such as Soviet bomber incursions and submarine deployments to NORAD, pushing them into raising the DEFCON level and toward a retaliation that will start World War III.
David learns the true nature of his actions from a news broadcast, and FBI agents arrest him and take him to NORAD. He realizes that WOPR is behind the NORAD alerts, but because he fails to convince McKittrick, he faces espionage charges. David escapes NORAD by joining a tourist group and, with Jennifer's help, travels to the Oregon island where Falken lives. David and Jennifer find that Falken has become despondent and believes that nuclear war is inevitable, that it is as futile as a game of tic-tac-toe between two experienced players. The teenagers convince Falken that he should return to NORAD to stop WOPR.
The computer stages a massive Soviet first strike with hundreds of missiles, submarines, and bombers. Believing the attack to be genuine, NORAD prepares to retaliate. Falken, David, and Jennifer convince military officials to cancel the second strike and ride out the attack. WOPR tries to launch the missiles itself, however, using a brute-force attack to obtain the launch code. Without humans in the control centers as a safeguard, the computer will trigger a mass launch. All attempts to log in and order Joshua to cancel the countdown fail, and all weapons will launch if the computer is disabled.
Falken and David direct the computer to play tic-tac-toe against itself. This results in a long string of draws, forcing the computer to learn the concept of futility and no-win scenarios. WOPR obtains the missile code, but before launching, it cycles through all the nuclear war scenarios it has devised, finding they, too, all result in stalemates. Having discovered the concept of mutual assured destruction ("WINNER: NONE"), the computer tells Falken that it has concluded that nuclear war is "a strange game" in which "the only winning move is not to play." WOPR relinquishes control of NORAD and the missiles and offers to play "a nice game of chess."
Cast[edit]
Matthew Broderick as David Lightman
Dabney Coleman as Dr. John McKittrick
John Wood as Dr. Stephen Falken and the voice of Joshua/WOPR
Ally Sheedy as Jennifer Mack
Barry Corbin as General Jack Beringer
Juanin Clay as Pat Healy
Dennis Lipscomb as Watson
Joe Dorsey as Col. Joe Conley
Michael Ensign as Beringer's assistant
William Bogert as Mr. Lightman
John Spencer as Capt. Jerry Lawson
Michael Madsen as Lt. Steve Phelps
Alan Blumenfeld as Mr. Liggett
Maury Chaykin as Jim Sting
Eddie Deezen as Malvin
Art LaFleur as Guard (Sgt. Ginzberg)
Stack Pierce as Airman
Stephen Lee as Sgt. Schneider
Jesse D. Goins as Sergeant (as Jesse Goins)
James Ackerman as Joshua Falken
Production[edit]
Development[edit]
Development on WarGames began in 1979, when writers Walter F. Parkes and Lawrence Lasker developed an idea for a script called The Genius, about "a dying scientist and the only person in the world who understands him — a rebellious kid who's too smart for his own good." Lasker was inspired by a television special presented by Peter Ustinov on several geniuses including Stephen Hawking. Lasker said, "I found the predicament Hawking was in fascinating — that he might one day figure out the unified field theory and not be able to tell anyone, because of his progressive ALS. So there was this idea that he'd need a successor. And who would that be? Maybe this kid, a juvenile delinquent whose problem was that nobody realized he was too smart for his environment." The concept of computers and hacking as part of the film was not yet present.[1]
The Genius began its transformation into WarGames when Parkes and Lasker met Peter Schwartz from the Stanford Research Institute. "There was a new subculture of extremely bright kids developing into what would become known as hackers," said Schwartz. Schwartz made the connection between youth, computers, gaming, and the military.[1] Parkes and Lasker also met with computer-security expert Willis Ware of RAND Corporation, who assured them that even a secure military computer might have remote access so users could work from home on weekends, encouraging the screenwriters to continue with the project.[2]
Parkes and Lasker came up with several different military-themed plotlines prior to the final story. One version of the script had an early version of WOPR named "Uncle Ollie", or OLI (Omnipresent Laser Interceptor), a space-based defensive laser run by an intelligent program, but this idea was discarded because it was too speculative.[1] Director John Badham coined the name "WOPR", feeling that the name of NORAD's SIOP (Single Integrated Operational Plan) was "boring, and told you nothing".[3] The name "WOPR" played off the Whopper hamburger, and a general sense of something going "whop".[3]
The WOPR computer as seen in the film was a prop created in Culver City, California, by members of the International Alliance of Theatrical Stage Employees Local 44.[4] It was designed by production designer (credited as visual consultant) Geoffrey Kirkland based on some pictures he had of early tabulating machines, and metal furniture, consoles, and cabinets used particularly in the U.S. military in the 1940s and 50s. They were adapted in drawings and concepts by art director Angelo P. Graham. WOPR was operated by a crewmember sitting inside the computer, entering commands into an Apple II at the director's instruction.[4] The prop was broken up for scrap after production was completed. A replica was built for a 2006 AT&T commercial.[5]
David Lightman was modeled on David Scott Lewis, a hacking enthusiast Parkes and Lasker met.[1][6] Falken was inspired by and named after Stephen Hawking, with the appearance of John Lennon, who was interested in the role, but was murdered in New York while the script was in development. General Beringer was based on General James V. Hartinger (USAF) the then-commander-in-chief of NORAD, who Parkes and Lasker met while visiting the base, and who, like Beringer, favored keeping humans in the decision loop.[1]
Filming[edit]
Martin Brest was originally hired as director but was fired after 12 days of shooting because of a disagreement with the producers,[7] and replaced with John Badham. Several of the scenes shot by Brest remain in the final film. Badham said that Brest had "taken a somewhat dark approach to the story and the way it was shot. It was like [Broderick and Sheedy] were doing some Nazi undercover thing. So it was my job to make it seem like they were having fun, and that it was exciting." According to Badham, Broderick and Sheedy were "stiff as boards" when they came onto the sound stage, having both Brest's dark vision and the idea that they would soon be fired. Badham did 12 to 14 takes of the first shot to loosen the actors up. At one point, Badham decided to have a race with the two actors around the sound stage with the one who came last having to sing a song to the crew. Badham lost and sang "The Happy Wanderer", the silliest song he could think of.[8]
Tom Mankiewicz says he wrote some additional scenes during shooting that were used.[9]
Release[edit]
WarGames did well at the North American box office, earning $79,567,667, the fifth-highest of 1983.[1][10] The film was screened out of competition at the 1983 Cannes Film Festival.[11]
Reception[edit]
Critical response[edit]
The film received critical acclaim. Film critic Roger Ebert gave the film four out of four stars, calling it "an amazingly entertaining thriller" and "one of the best films so far this year", with a "wonderful" ending.[12] Softline praised the film as being "completely original"; unlike other computer-related films like Tron that "could (and do) exist in substantially the same form with some other plot", WarGames "could not exist if the microcomputer did not exist ... It takes the micro and telecommunications as a given—part of the middle-class American landscape". The magazine praised the film as "Very funny, excruciatingly suspenseful, and endlessly inventive, this movie is right on the mark; authentic even when highly improbable".[13] Computer Gaming World stated that "Wargames is plausible enough to intrigue and terrifying enough to excite ... [it] makes one think, as well as feel, all the way", raised several moral questions about technology and society, and recommended the film to "Computer hobbyists of all kinds".[14] Leonard Maltin gave it a mixed review calling it "Fail Safe for the Pac-Man Generation" and "Entertaining to a point". He concluded, "Incidentally, it's easy to see why this was so popular with kids : most of the adults in the film are boobs."[15] Currently, film review aggregator Rotten Tomatoes reports that 93% of sampled critics give the film positive reviews and that it receives a rating average of 7.6 out of 10.[16]
Accolades[edit]
WarGames was nominated for three Academy Awards — Best Cinematography (William A. Fraker), Sound (Michael J. Kohut, Carlos Delarios, Aaron Rochin, Willie D. Burton), and Writing, Screenplay Written Directly for the Screen (Lawrence Lasker, Walter F. Parkes).[1][17] The company that provided the large screens used to display the tactical situations seen in the NORAD set employed a new design that was super-bright enabling the displays to be filmed live. (The set was more visually impressive than the actual NORAD facilities at the time.)[1] The animations seen on the NORAD displays, produced by Colin Cantwell, were created using Hewlett Packard HP 9845C computers driving monochrome HP 1345A vector displays, which were still-filmed through successive color-filters. Each frame took approximately one minute to produce, and 50,000 feet of negatives were produced over seven months. The animations were projected "live" onto the screens from behind using 16mm film, so they were visible to the actors and no post-production work was needed.[18] For this, the company was awarded an Academy Scientific and Technical Award.
Influence[edit]
Bulletin board system (BBS) operators reported an unusual rise in activity in 1984, which at least one sysop attributed to WarGames introducing viewers to modems.[19] The scenes showing Lightman's computer dialing every number in Sunnyvale led to the term "war dialing" (earlier known as "demon dialing"), a technique of using a modem to scan a list of telephone numbers to search for unknown computers, and indirectly to the newer term "wardriving".[20]
President Reagan, a family friend of Lasker, watched the film and discussed the plot with members of Congress,[1] his advisers, and the Joint Chiefs of Staff; Reagan's interest in the film is credited with leading to the enactment 18 months later of NSDD-145, the first Presidential Directive on computer security.[2]
Video games[edit]
A video game, WarGames was released for the ColecoVision in 1983 and ported to the Atari 8-bit family and Commodore 64 in 1984. It played similarly to the NORAD side of the "Global Thermonuclear War" game, where the United States had to be defended from a Soviet strike by placing bases and weapons at strategic points. WarGames: Defcon 1, a real-time strategy game that was only loosely related to the film was released for the PlayStation and PC in 1998. A tile-matching video game, WarGames: WOPR, was released for iOS and Android devices in 2012.[21][22]
A game inspired by the film, called Computer War from Thorn EMI, in which the player must track and shoot down ICBMs, as well as crack a computer code, was released for the Atari 8-bit family, Texas Instruments TI-99/4A and Commodore VIC-20. The film also inspired the Introversion game DEFCON (2006).[23]
Soundtrack[edit]
The film's music was composed and conducted by Arthur B. Rubinstein. A soundtrack album including songs and dialogue excerpts was released by Polydor Records. Intrada Records issued an expanded release in 2008 with the complete score, with expanded horn sections and without the film dialogue.
WarGames (Original Motion Picture Soundtrack)[24] (The Beepers ("Video Fever" and "History Lesson"): Brian Banks, Anthony Marinelli, Cynthia Morrow and Arthur B. Rubinstein)
Released: 1983
Format: Vinyl/LP/Album/Cassette
Label: United Artists / Polydor Records – 422-815 005-1 Y-1
Writer: Arthur B. Rubinstein
Producer: Ron Eyre, George Craig
Tracks: Crosby, Stills & Nash rendition of "WarGames" released on Allies (1983)
[show]Side one
No.
Title
Writer(s)
Length
1. "WarGames" Arthur B. Rubinstein 2:53
2. "David And Joshua Dialogue"
3. "Video Fever" (Vocals – Yvonne Elliman) Beepers, The 2:49
4. "Norad Dialogue"
5. "David And Joshua Dialogue"
6. "The Game Begins" Arthur B. Rubinstein 5:45
7. "It Could Be War" Arthur B. Rubinstein 1:59
8. "David And Joshua Dialogue"
9. "David's Concern" Arthur B. Rubinstein 2:17
10. "Norad Dialogue"
11. "Norad" Arthur B. Rubinstein 3:13
[show]Side two
No.
Title
Writer(s)
Length
1. "David And Joshua Dialogue"
2. "Edge Of The World" (Vocals – Yvonne Elliman) Arthur B. Rubinstein 2:30
3. "Norad Dialogue"
4. "Confidence Is High" Arthur B. Rubinstein 4:43
5. "Norad Dialogue"
6. "History Lesson" (Vocals – Yvonne Elliman) Beepers, The 2:03
7. "Norad Dialogue"
8. "Launch Detected" Arthur B. Rubinstein 1:51
9. "Norad Dialogue"
10. "Winner None" Arthur B. Rubinstein 3:39
11. "Norad Dialogue"
12. "Joshua Dialogue"
13. "Edge Of The World [End Title]" Arthur B. Rubinstein 3:27
The folk rock supergroup Crosby, Stills & Nash were tapped at one point to write a title song for the film, but at the last minute it was scrapped from the project.[citation needed] The band released the song anyway, with a video made of footage from the movie airing on MTV. It was available on their now out-of-print album Allies.
WARGAMES[25] (Special Collection release limited to 2500 copies. Expanded brass including extra trumpets, trombones, and baritone horns.[26])
Released: 1983 (2008)[25]
Format: LP/2 disk CD
Label: Intrada Special Collection Volume ISC 65
Writer: Arthur B. Rubinstein
Bonus tracks: "Two" Bonus Track Time = 3:39 -- Total Score Time = 65:49 -- Total Time: 69:18
[show]Track listing
No.
Title
Length
1. "WarGames" 3:38
2. "Video Fever" 2:22
3. "Principal's Office" 1:49
4. "A New Grade" 2:07
5. "The Game Begins" 2:44
6. "History Lesson" 1:44
7. "Home Movie" 1:26
8. "A Game of Chess?" 3:03
9. "Nuclear Alert" 2:58
10. "Walk Thru NORAD" 2:15
11. "David Captured" 3:53
12. "David Searches" 1:33
13. "The Sneak" 2:20
14. "NORAD" 0:57
15. "It Could Be War" 0:41
16. "Confidence is High" 1:08
17. "Off to See Faulken" 1:07
18. "WOPR" 2:13
19. "Maneuvers" 1:36
20. "Faulken's House" 1:54
21. "Time's Up" 0:17
22. "'I Can't Swim'" 1:29
23. "David's Concern" 2:21
24. "Helicopter Pursuit & Launch Detected" 2:46
25. "Closing the Mountain" 1:51
26. "Who's First?" 2:06
27. "Joshua!" 2:37
28. "It Might Be Real" 0:58
29. "Tic Tac Toe" 1:32
30. "Winner None" 1:45
31. "End Credits" 3:21
32. "Edge of the World [Choral Version]" 2:03
33. "Winner None [Original version]" (Bonus track) 1:46
34. "Edge of the World [Vocal by Yvonne Elliman]" (Bonus track) 1:51
Sequel[edit]
In November 2006, pre-production began on a sequel, titled WarGames: The Dead Code. It was directed by Stuart Gillard, and starred Matt Lanter as a hacker named Will Farmer facing off with a government supercomputer called RIPLEY.[27] MGM released the sequel directly to DVD on July 29, 2008 along with the 25th Anniversary Edition DVD of WarGames. To promote the sequel, the film returned to selected theaters as a one-night-only twenty-fifth anniversary event on July 24, 2008.[28]
Interactive series[edit]
Main article: WarGames (interactive media)
An interactive media reboot of WarGames was announced by MGM in 2015, with Interlude serving as its co-production company. The project was described as an "audience-driven story experience", with anticipated launch in 2016.[29] In March 2016, Sam Barlow announced he has joined Interlude and would be serving as a creative lead in the series, based on his work from his video game, Her Story, which required the player to piece together a mystery based on a series of video clips.[30] After Interlude rebranded itself as Eko in December 2016, and by December 2017, slated the release of their WarGames series for early 2018.[31][32]
See also[edit]
Film in the United States portal
1980s portal
Cold War portal
1983 Soviet nuclear false alarm incident
References[edit]
^ Jump up to: a b c d e f g h i Brown, Scott (July 21, 2008). "WarGames: A Look Back at the Film That Turned Geeks and Phreaks Into Stars". Wired. Archived from the original on December 22, 2010. Retrieved May 1, 2009.
^ Jump up to: a b Kaplan, Fred (2016-02-21). "Cybersecurity's Debt to a Hollywood Hack". The New York Times. pp. AR24. Retrieved 28 February 2016.
^ Jump up to: a b Metro-Goldwyn-Mayer "WarGames 25th Anniversary Edition DVD"
^ Jump up to: a b Mike Fink (March 5, 2006). "What happened to the WOPR?". The Wargames IMSAI. Retrieved March 27, 2009.
Jump up ^ "New Page 1". imsai.net.
Jump up ^ Takahashi, Dean (August 12, 2008). "A Q&A that is 25 years late: David Scott Lewis, the mystery hacker who inspired the film "War Games"". VentureBeat. Archived from the original on December 22, 2010. Retrieved May 1, 2009.
Jump up ^ Erickson, Hal. "Martin Brest: Biography". Allmovie. Retrieved March 15, 2009.
Jump up ^ Simon, Alex (August 2, 2008). "John Badham: The Hollywood Interview". The Hollywood Interview. Archived from the original on December 22, 2010. Retrieved May 1, 2009.
Jump up ^ Mankiewicz, Tom (2012). My Life as a Mankiewicz: An Insider's Journey Through Hollywood. with Robert Crane. University Press of Kentucky. pp. 253–254.
Jump up ^ "WarGames (1983)". Box Office Mojo. Internet Movie Database. Retrieved December 22, 2010.
Jump up ^ "Festival de Cannes: WarGames". festival-cannes.com. Retrieved June 22, 2009.
Jump up ^ Ebert, Roger (June 3, 1983). "WarGames review". Chicago Sun-Times. Archived from the original on December 22, 2010. Retrieved December 22, 2010.
Jump up ^ "Games at War". Softline. Jul–Aug 1983. pp. 31–32. Retrieved July 28, 2014.
Jump up ^ Wilson, Dr. Johnny L. (Jul–Aug 1983). "Movie Micro Review / "WarGames"". Computer Gaming World. p. 43. Retrieved July 6, 2014.
Jump up ^ "23. WarGames (1983)". Leonard Maltin's Worst Ratings. Retrieved January 9, 2016.
Jump up ^ "WarGames (1983)". Rotten Tomatoes. Flixster. Retrieved December 22, 2010.
Jump up ^ "The 56th Academy Awards (1984) Nominees and Winners". oscars.org. Retrieved October 9, 2011.
Jump up ^ "Screen Art: War Games". hp9845.net.
Jump up ^ Yakal, Kathy (November 1984). "Bulletin Board Fever". Compute!'s Gazette. p. 16. Retrieved July 6, 2014.
Jump up ^ Patrick S. Ryan (Summer 2004). "War, Peace, or Stalemate: Wargames, Wardialing, Wardriving, and the Emerging Market for Hacker Ethics". Social Science Research Network. SSRN 585867  . Missing or empty |url= (help); |access-date= requires |url= (help)
Jump up ^ "WarGames: WOPR for iOS".
Jump up ^ "WarGames: WOPR for Android".
Jump up ^ Delay, Chris. "Detonating Introversion's Defcon". Game Developer Magazine. Archived from the original on December 22, 2010. Retrieved June 2, 2009.
Jump up ^ Rubinstein, Arthur B. (1983). WarGames (Original Motion Picture Soundtrack) (Album notes). Artist. Los Angeles and New York: United Artists / Polydor Records. p. 2. 422-815 005-1 Y-1.
^ Jump up to: a b Editorial Review (2008). "WarGames". FilmTracks. Archived from the original on May 29, 2015. Retrieved May 29, 2015. Overall, WarGames is among Rubenstein's most respected career works, and given its highly disparate components, it's likely best that you preview the music in the context of the highly entertaining movie before exploring the Intrada album blindly.
Jump up ^ "WarGames". Intrada Records. Retrieved May 29, 2015.
Jump up ^ "WarGames 2 Casting". Stax. IGN. Archived from the original on December 22, 2010. Retrieved November 9, 2006.
Jump up ^ "WarGames 25th Anniversary". NCM Fathom. July 24, 2008. Archived from the original on December 22, 2010. Retrieved December 22, 2010.
Jump up ^ Spangler, Todd (October 13, 2015). "MGM Rebooting 'WarGames' as Interactive Video Experience (Exclusive)".
Jump up ^ Martens, Todd. "'Her Story' creator to tackle interactive reboot of 'WarGames'". latimes.com.
Jump up ^ Spangler, Todd (December 6, 2017). "'WarGames' Interactive Series From Sam Barlow Sets Early 2018 Release Date".
Jump up ^ "WarGames gets rebooted as an interactive hacking TV show".
External links[edit]
Wikiquote has quotations related to: WarGames
Official website
WarGames at the American Film Institute Catalog
WarGames on IMDb
WarGames at the TCM Movie Database
WarGames at AllMovie
WarGames at Box Office Mojo
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text:
Bitten (TV series)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Bitten
Genre
Drama
Fantasy
Horror
Created by
Daegan Fryklind
Based on
Women of the Otherworld
by Kelley Armstrong
Starring
Laura Vandervoort
Greyston Holt
Greg Bryk
Paul Greene (2014)
Steve Lund
Michael Xavier (2014-2015)
Genelle Williams
Tommie-Amber Pirie (2015-2016)
Composer(s)
Todor Kobakov
Country of origin
Canada
Original language(s)
English
No. of seasons
3
No. of episodes
33 (list of episodes)
Production
Executive producer(s)
Daegan Fryklind
Grant Rosenberg
Patrick Banister
John Barbisan
John Morayniss
Margaret O'Brien
Tecca Crosby
J.B. Sugar
Wil Zmak
Producer(s)
Margaret O'Brien
J.B. Sugar
Norman Denver
Cinematography
Stephen Reizes
Boris Mojsovski
Craig Wright
Running time
43–45 minutes
Production company(s)
Hoodwink Entertainment
No Equal Entertainment
Entertainment One Television
Bell Media
Distributor
Entertainment One
Release
Original network
Space , Syfy
Picture format
480i (NTSC)
1080i HDTV
Audio format
Stereophonic
Original release
January 11, 2014 (2014-01-11) – April 15, 2016 (2016-04-15)
External links
Website
Bitten is a Canadian television series based on the Women of the Otherworld series of books by author Kelley Armstrong. The name was inspired by the first book in the series. The show was produced as an original series for Space, with most filming in Toronto and Cambridge, Ontario. Its third and final season finished in April 2016.[1][2]
Contents
[hide]
1 Series overview
2 Cast and characters
2.1 Main
2.2 Recurring
2.3 Guests
3 Production
3.1 Music
3.1.1 Score
4 Broadcast
5 Home media
6 Reception
6.1 Critical
6.2 Ratings
6.3 Awards and nominations
7 InnerSpace: After Bite
8 References
9 External links
Series overview[edit]
Main article: List of Bitten episodes
The first season the story centres on Elena Michaels (portrayed by Laura Vandervoort), a female werewolf who is torn between a normal life with her human boyfriend Philip in Toronto and her "family" obligations as a werewolf in upstate New York. Among her "pack" is her ex-fiancé Clayton, who is responsible for her becoming a werewolf.[3]
The second season Left Hand Path is the narrative as the story features on the aftermath of the battle as well as meeting the witches Paige and Ruth, who are looking to save their lost coven member, Savannah, from an evil warlock Aleister.
Season
Episodes
Originally aired
First aired
Last aired
1 13 January 11, 2014 (2014-01-11) April 5, 2014 (2014-04-05)
2 10 February 7, 2015 (2015-02-07) April 11, 2015 (2015-04-11)
3 10 February 12, 2016 (2016-02-12) April 15, 2016 (2016-04-15)
Cast and characters[edit]
Main[edit]
Laura Vandervoort as Elena Michaels
Greyston Holt as Clayton Danvers
Greg Bryk as Jeremy Danvers
Paul Greene as Philip McAdams (season 1)
Steve Lund as Nick Sorrentino
Michael Xavier as Logan Jonsen (seasons 1–2)
Genelle Williams as Rachel Sutton (recurring seasons 1–2; main season 3)
Tommie-Amber Pirie as Paige Winterbourne (recurring season 2; main season 3)
Recurring[edit]
Paulino Nunes as Antonio Sorrentino (season 1)
Joel Keller as Peter Myers (season 1)
Benjamin Ayres as Jorge Sorrentino (seasons 1, 3)
Elias Toufexis as Joey Stillwell
Michael Luckett as Daniel Santos (season 1)
James McGowan as Malcolm Danvers (seasons 1–2)
Noah Danby as Zachary Cain
Pascal Langdale as Karl Marsten
Curtis Carravaggio as Thomas LeBlanc (season 1)
Patrick Garrow as Victor Olson (season 1)
Marc Bendavid as Scott Brandon (season 1)
Ryan Kelly as Nate Parker (seasons 1–2)
Dan Petronijevic as Samuel Boggs (season 1)
Fiona Highet as Sheriff Karen Morgan (seasons 1, 3)
Rogan Christopher as Deputy Paul O'Neil (season 1)
Natalie Brown as Diane McAdams (seasons 1–2)
Sherry Miller as Olivia McAdams (season 1)
Eve Harlow as Amber (season 1)
Natalie Lisinska as Sylvie (season 1)
Ace Hicks as Becky McAdams (season 1)
Evan Buliung as Michael Braxton (season 1)
Noah Cappe as Travis (season 1)
Chris Ratz as Jack (season 1)
Tammy Isbell as Ruth Winterbourne (season 2)
Sean Rogerson as Aleister (season 2)
Kiara Glasco as Savannah Levine (season 2)
Debra McCabe as Clara Sullivan (season 2)
Angela Besharah as Bridget (season 2)
Carly Street as Dr. Sondra Bauer (season 2)
Daniel Kash as Roman Navikev (seasons 2–3)
Brock Johnson as Richard Hart (season 2)
Mishka Thebaud as Eduardo Escobado (seasons 2–3)
Salvatore Antonio as Roderigo Sanchez (season 2)
John Ralston as Sasha Antonov (season 3)
Sofia Banzhaf as Katia Antonov (season 3)
Alex Ozerov as Alexei Antonov (season 3)
Rafael Petardi as Konstantin Sarantin (season 3)
Oliver Becker as The Albino (season 3)
Ian Lake as Anson Haight (season 3)
Ian Matthews as Bucky Durst (season 3)
Guests[edit]
Mackenzie Gray as Jimmy Koenig (season 1)
Shauna MacDonald as Lily Bevelaqua (season 2)
Production[edit]
On May 22, 2014, the series was renewed for a second season of 10 episodes, with production beginning in Summer.[4] On May 22, 2015, Space confirmed the series to be renewed for a third season with filming set to begin summer/fall 2015.[5] It was confirmed in December 2015 that the third season of Bitten would be the show's final season.[6]
Music[edit]
Todor Kobakov was hired to compose the score for the series.
Score[edit]
Bitten – Score Soundtrack Vol. 1
Film score by Todor Kobakov
Released
March 18, 2014 (2014-03-18)
Length
46:52
Label
Entertainment One
Bitten – Score Soundtrack Vol. 1 was released on March 18, 2014.[7]
showBitten – Score Soundtrack Vol. 1
No.
Title
Length
1. "Opening Theme" 0:35
2. "Sexy Wolf" 3:08
3. "The Pack Gathers" 1:15
4. "Time for a Run" 0:40
5. "Clay and Elena" 0:57
6. "Clay Wins" 0:42
7. "First Blood" 1:21
8. "Naughty Dream" 1:33
9. "Wolf Chaos" 1:46
10. "Antonio at Work" 0:52
11. "Clay and Elena Run" 2:23
12. "Elena Gets Bitten" 2:51
13. "First Transformation" 4:41
14. "Santos Pleads His Case" 0:48
15. "Positive" 0:40
16. "Eyes in a Box" 1:44
17. "Bad Time for a Sheriff" 1:14
18. "Sheriff in the Den" 0:34
19. "The Battle" 1:47
20. "Clay and Elena Aftermath" 0:50
21. "Clean Up" 0:51
22. "A Baby and a Killer" 1:17
23. "It's Joey" 1:03
24. "Joey, Clay and Elena" 1:42
25. "Meet Clay" 1:05
26. "Tension at the Gallery" 1:16
27. "Everything Is on Edge" 1:41
28. "Trust Logan" 1:46
29. "This Is a Nightmare" 1:40
30. "We Have to Get Clay" 1:08
31. "One More Thing to Fix" 1:46
32. "Recap" 1:16
Broadcast[edit]
The series was acquired by Syfy for airing in the United States,[8] and premiered in January 2014.[9] It premiered in Australia on August 8, 2015 on FOX8.[10] SyfyUK commenced broadcast on 19 May 2016.
Home media[edit]
Title
Set details
Blu-ray and DVD release dates
Special features
Region A/1[11]
Bitten — The Complete First Season
Discs: 4
Episodes: 13
August 12, 2014 (2014-08-12)
Behind-the-Scenes Featurette
Deleted Scenes
Split Screen Stunt Choreography
Audio Commentary with Laura Vandervort and Producers
Bitten — The Complete Second Season
Discs: 3
Episodes: 10
July 7, 2015 (2015-07-07)
Behind-the-Scenes Featurette
Deleted and Extended Scenes
Stunt Choreography
Gag Reel
Gentling Video
Bitten New York Comic Con Panel
Innerspace: After Bite
Bitten — The Final Season
Discs: 3
Episodes: 10
July 19, 2016 (2016-07-19)
Bitten: The Complete Series
Discs: 10
Episodes: 33
October 11, 2016 (2016-10-11)
Reception[edit]
Critical[edit]
Bitten has received mixed reviews. Metacritic gave the first season a score of 59 out of 100 (based on 8 reviews).[12]
Ratings[edit]
In ratings, Bitten averaged 348,000 viewers in its timeslot, making it Space's highest-rated original series of all time.[13]
Awards and nominations[edit]
Year
Award
Category
Nominee
Result
Refs
2014 Directors Guild of Canada Awards Production Design - Television Series Rob Gray Nominated [14]
Leo Awards Best Screenwriting Dramatic Series Daegan Fryklind Nominated [15]
Best Guest Performance by a Male in a Dramatic Series Mackenzie Gray Won [15]
Best Lead Performance by a Male in a Dramatic Series Greyston Holt Nominated [15]
2015 Golden Maple Awards Best Actor in a TV Series Broadcasted in the U.S. Greyston Holt Nominated [16]
2016 Golden Maple Awards Best Actress in a TV series broadcast in the U.S. Laura Vandervoort Nominated [17]
Prix Aurora Awards Best Visual Presentation Bitten Nominated [18]
InnerSpace: After Bite[edit]
A live after-show titled InnerSpace: After Bite premiered on Space on February 7, 2015, following the season two premiere. After Bite features hosts Morgan Hoffman and Teddy Wilson, discussing the latest episode with actors and producers of Bitten.
References[edit]
Jump up ^ Kondolojoy, Amanda (June 29, 2015). "'Bitten' Renewed for Third Season on Syfy". TV by the Numbers. Retrieved June 30, 2015.
Jump up ^ DarkUFO (December 9, 2015). "Bitten - Season 3 will be the last". SpoilerTV.
Jump up ^ Genzlinger, Neil (January 12, 2014). "If the Fur Doesn't Drive You Crazy, the Virus Will – 'Bitten' and 'Helix,' Both on Syfy". The New York Times. Retrieved March 18, 2014.
Jump up ^ Paradox (May 22, 2014). "Bitten – Renewed for 2nd Season by Space". spoilertv.com. Retrieved April 13, 2015.
Jump up ^ "Bitten Will Be Back For Season 3". Space Channel. May 22, 2015. Retrieved May 22, 2015.
Jump up ^ "The Last Bite Is the Deepest: Third and Final Season of Original Canadian Thriller "Bitten" Premieres February 12 on Space" (Press release). Bell Media. December 9, 2015. Retrieved February 24, 2016.
Jump up ^ "Bitten Score Soundtrack". Amazon.com. Retrieved April 8, 2015.
Jump up ^ "Syfy Acquires New Original Werewolf Drama Series "Bitten" from Entertainment One" (Press release). Syfy. September 17, 2013. Retrieved February 24, 2016 – via The Futon Critic.
Jump up ^ "Syfy's New Lineup of Sexy Supernatural Dramas Heats Up Mondays Beginning January 13 from 8-11PM" (Press release). Syfy. January 3, 2014. Retrieved February 24, 2016 – via The Futon Critic.
Jump up ^ Purcell, Charles (July 30, 2015). "New this week (Aug 3): Rogue, Jonathan Strange, Bitten, 7 Days In Hell and live sport". The Green Room. Archived from the original on July 30, 2015. Retrieved July 30, 2015.
Jump up ^ Canadian home media:
"Bitten: Season 1 [Blu-ray]". Amazon.ca. Retrieved February 24, 2015.
"Bitten: Season 1". Amazon.ca. Retrieved February 24, 2015.
"Bitten – Season 2". Amazon.ca. Retrieved June 3, 2015.
Jump up ^ "Bitten : Season 1". Metacritic. Retrieved February 13, 2014.
Jump up ^ "BITTEN Sinks its Teeth into Viewers as Sexy Thriller Becomes Space's #1 Original Series, Ever" (Press release). April 3, 2014. Retrieved August 24, 2014.
Jump up ^ "2014 nominees" (PDF). dgc.ca. Retrieved 12 November 2016.
^ Jump up to: a b c "2014 nominees" (PDF). leoawards.com. Retrieved 12 November 2016.
Jump up ^ Levine, Sydney. "Golden Maple Awards'15 Winners Include Brandon Jay McLaren and Amanda Crew | IndieWire". www.indiewire.com. Retrieved 12 November 2016.
Jump up ^ "Golden Maple Awards Nominees Unveiled". The Hollywood Reporter. Retrieved 12 November 2016.
Jump up ^ Publications, Locus. "Locus Online News » 2016 Aurora Awards Winners". www.locusmag.com. Retrieved 18 May 2017.
External links[edit]
Television in Canada portal
Official website
Bitten on IMDb
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Upcoming
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Bitten_(TV_series)&oldid=845384758"
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2010s Canadian drama television series
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