title: Shir Baba

text:
Shir Baba (, also Romanized as Shīr Bābā) is a village in Shesh Pir Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 257, in 67 families.

References

Populated places in Sepidan County


title: Sar Tang, Fars

text:
Sar Tang () is a village in Shesh Pir Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 101, in 20 families.

References

Populated places in Sepidan County


title: Shesh Pir

text:
Shesh Pir (, also Romanized as Shesh Pīr) is a village in Shesh Pir Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 33, in 9 families.

References

Populated places in Sepidan County


title: Entention

text:
Entention is a neologism coined by biological anthropologist Terrence Deacon in his 2011 book Incomplete Nature. The term is deliberately similar to the term intention, which has a long history of use in philosophy of mind, but was designed to have a broader scope. "Ententional" is an adjective that applies to the class of objects and phenomena that refer to or are in some other way "about" something not present. This Wikipedia page is ententional because it refers to and is explicitly about an abstract concept which is not physically present in the page itself. Other paradigm examples of ententional objects are books, DNA strands, and tools. In contrast, rocks, stars, and electromagnetic radiation are not ententional.

Jeremy Sherman writes on ententionality, "Deacon coins the term 'ententional,' to encompass the entire range of phenomena that must be explained, everything from the first evolvable function, to human social processes, everything traditionally called intentional but also everything merely functional, fitting and therefore representing its environment with normative (good or bad fit) consequences."

References

Concepts in philosophical anthropology
Intention


The Georgetown Institute for Consumer Research (GICR) is an academic institute within the McDonough School of Business at Georgetown University that was founded in 2012.

The Georgetown Institute for Consumer Research (GICR) seeks to advance research that builds an understanding of consumers, with a focus on data analytics. GICR has several goals:
•Support faculty research in consumer analytics and insights;
•Develop student expertise in consumer analytics through offerings such as the MBA Certificate in Consumer Analytics and Insights;
•Collaborate with organizations interested in consumer analytics and insights; and
•Convene stakeholders for events related to consumer analytics and insights.

Background

McDonough School of Business, home of the institute, is part of Georgetown University, founded in Washington, D.C. in 1789. The institute shares the university’s mission to produce knowledge and educate leaders to address the most significant challenges and opportunities facing business and society. Other centers and initiatives that the McDonough School of Business supports include, but are not limited to, the Center for Business & Public Policy, Center for Financial Markets and Policy, Real Estate Finance Initiative, Entrepreneurship Initiative, Global Business Initiative, Global Social Enterprise Initiative, Women's Leadership Initiative, and the Institute for the Study of Markets and Ethics.

References

External links
 Official website

Georgetown University programs
Academic organizations based in the United States


title: Deniz Aslan

text:
Deniz Aslan (born 9 February 1989) is a Turkish footballer who last played as a defender for FC Emmen.

External links

1989 births
Dutch people of Turkish descent
Living people
Turkish men's footballers
Elazığspor footballers
Süper Lig players
Footballers from Zaanstad
Men's association football defenders


title: List of World Heritage Sites in North America

text:
Below is a list of the UNESCO World Heritage Sites located in upper North America. Greenland has been included here as part of North America despite its cultural and political associations with Europe. The separate List of World Heritage Sites in Central America covers the continental areas further south. Mexico leads North America hosting 35 sites, and is ranked seventh in the world.

World Heritage Sites

Legend

Endangered and trans-border sites

Additional information
Site: as per officially inscribed name
Location: at city, regional, or provincial level and geocoordinates
Criteria: as defined by the World Heritage Committee
Area: in hectares and acres; if available, the size of the buffer zone noted as well
Year: during which the site was inscribed to the World Heritage List
Description: brief information about the site, including reasons for qualifying as an endangered site, if applicable

List

See also
Lists of World Heritage Sites
List of World Heritage Sites in the United States

Notes

References
General

Notes

External links

UNESCO World Heritage Centre official website
UNESCO World Heritage List official website
VRheritage.org – documentation of World Heritage Sites
Worldheritage-Forum – Information and Weblog on World Heritage Issues

Americas

North America-related lists
World Heritage Sites


title: Jonathan Rosario

text:
Jobwin Jhonatan Rosario Muñoz, nicknamed  Bimbo (born 10 May 1984), is a Dominican Republic international football
midfielder who plays for Moca FC in the Dominican Republic First Division

References

External links

Dominican Republic men's footballers
Dominican Republic men's international footballers
Men's association football midfielders
1984 births
Living people
People from Espaillat Province


title: Jessica Jones (TV series)

text:
Marvel's Jessica Jones is an American television series created by Melissa Rosenberg for the streaming service Netflix, based on the Marvel Comics character Jessica Jones. It is set in the Marvel Cinematic Universe (MCU), acknowledging the continuity of the franchise's films, and was the second Marvel Netflix series leading to the crossover miniseries The Defenders. The series was produced by Marvel Television in association with ABC Studios and Tall Girls Productions, with Rosenberg serving as showrunner. Scott Reynolds was co-showrunner for the third season.

Krysten Ritter stars as Jessica Jones, an ex-superhero turned private investigator who opens her own detective agency, Alias Investigations. Rachael Taylor, Eka Darville, and Carrie-Anne Moss also star, with Mike Colter, Wil Traval, Erin Moriarty, and David Tennant joining them for the first season, J.R. Ramirez, Terry Chen, Leah Gibson, and Janet McTeer joining the cast for the second season, and Benjamin Walker, Sarita Choudhury, Jeremy Bobb, and Tiffany Mack joining for the third season. A version of the series was developed by Rosenberg for ABC in 2010, but the network passed on it. She was reworking it for Netflix by late 2013 as A.K.A. Jessica Jones, with the title later being simplified. Ritter was cast as Jones in December 2014, and the series took specific influence from the character's creators, Brian Michael Bendis and Michael Gaydos. Filming took place in New York City, in areas that still look like old Hell's Kitchen.

The first season was released in its entirety on Netflix on November 20, 2015, followed by the second on March 8, 2018, and the third on June 14, 2019. They were met with positive reviews, and received numerous accolades including a Peabody Award, Hugo Award, and Primetime Creative Arts Emmy Award. Netflix canceled Jessica Jones on February 18, 2019; all of the Marvel Netflix series were removed from Netflix on March 1, 2022, after Disney regained the license for them. They began streaming on Disney+ from March 16.

Plot
Jessica Jones is a superpowered woman who had a brief superhero career until an incident in which the villainous Kilgrave caused her to kill someone. After that incident, she becomes a private investigator. When Kilgrave resurfaces, Jessica must rise up to stop him.

In the second season, Jessica Jones discovers that her mother is still alive due to the experiments done by Karl Malus.

In the third season, Jessica Jones faces off against Gregory Sallinger, an enemy who is determined to prove that she is a fraud, as well as her adoptive sister turned murderous vigilante Trish Walker.

Cast and characters

 Krysten Ritter as Jessica Jones: A former superhero with superhuman strength and limited flight suffering from PTSD who runs her own detective agency, Alias Investigations. Showrunner Melissa Rosenberg had Ritter on the top of her list for playing Jones, even when Rosenberg was developing the series for ABC. Marvel Television head Jeph Loeb noted that the character "has real problems with a number of things that she abuses! And we're not shying away from that." Ritter described the character as "very rough around the edges, and dry and sarcastic and a total asshole sometimes. But I think at her core she's a good person." She put on  of muscle for the role. Elizabeth Cappuccino portrayed a young Jessica.
 Mike Colter as Luke Cage: A man with superhuman strength and unbreakable skin, whom Jones encounters in the course of an investigation. Colter put on  of muscle for the role, and described the character as "a darker, grittier, more tangible character than Iron Man or Thor. He likes to keep things close to his chest, operate on the hush-hush." Colter was pleased and surprised that the audience "got" the character, as Luke "was a man of few words and a lot of subtext," which was refreshing: "we were going for this character in a way that said little but spoke volumes ... I felt people got the subtleties."
 Rachael Taylor as Patricia "Trish" Walker: A former model and child star known as "Patsy", Jones' adoptive sister and best friend who now works as a radio host. Jones' best friend was going to be Carol Danvers when Rosenberg was developing the series at ABC but was changed to Walker due to the changing nature of the MCU and the fact that Danvers would be featured in her own film. Rosenberg ultimately found this to be "much more appropriate ... it was better that [Jessica's] best friend was not someone with powers. It actually ends up being a really great mirror for her." Loeb said, "what's most important is the relationship between [Walker] and Jessica, and how these two women who are [sisters] could be that different, and yet believe in the same kinds of things." At the end of the second season, having become resentful of Jessica's abilities and subsequently killing her mother, Trish acquires powers of enhanced reflexes and agility and becomes a vigilante in the third season, ultimately serving as the season's main antagonist. Catherine Blades portrayed a young Trish.
 Wil Traval as Will Simpson:An NYPD sergeant who is very serious about his job. Traval felt that Simpson sees everything in "black and white" and that "justice can be served easily," an opposite to Jessica, who "deals in a world of gray" that causes the two to have friction between them. Traval described the character as "reinvented" and "reshaped" for the series from the one in the comics, as the comic character was "a little bit too hard to handle. [H]e was just a psychotic crazy guy."
 Erin Moriarty as Hope Shlottman: A student-athlete attending New York University who is a client of Alias Investigations. Moriarty called her character a "polar opposite" to Jessica Jones, describing Hope as "an all-American girl, [innocent and] really earnest." Over the course of the series, the two form a bond, and Jessica becomes protective of Hope due to a shared experience they have with Kilgrave.
 Eka Darville as Malcolm Ducasse: Jones' neighbor who struggles with drug addiction, resulting in his personal journey intertwining with hers. Darville stated Malcolm was a new character for the series, though inspired by "seed characters" from the comics. He also felt playing the character with the drug addiction "was pretty intense and dark" and that Malcolm's relationship with Jessica "is like a flip-flop between victim and savior ... much more [sibling-like] than anything else."
 Carrie-Anne Moss as Jeri Hogarth: An attorney and potentially powerful ally to Jones, who hires Jones for cases. The character's gender was changed from male to female for the series, and the character was made a lesbian. Moss signed on to the series after reading the first two scripts, having been pitched the character by Loeb and Rosenberg. Moss described the character as fierce, strong, and powerful, and "she likes that power." She worked "a few days every episode", which allowed her to grow the character throughout the series, while not knowing what the character would become as she played each moment, which she noted was how real-life is.
 David Tennant as Kilgrave: A man from Jones' past who can control minds. He was born Kevin Thompson and was experimented on as a young child, gaining his powers. Loeb called him "a terrible man who doesn't see himself as terrible" and compared him to Vincent D'Onofrio's Wilson Fisk in Daredevil, saying, "there are going to be times [watching Daredevil] when you're uncomfortable because you're not quite rooting for Matt, you're kind of rooting for Wilson, and it's the same kind of thing you're going to find in Jessica. There's going to be moments where some of the things that she does is pretty questionable. And some of the things that, when you learn about Kilgrave's character and the way that David Tennant plays that character, it's really extraordinary." James Freedson-Jackson portrayed a young Kilgrave.
 J. R. Ramirez as Oscar Arocho: A painter and the new superintendent in Jones' building. He is a single father to a young boy named Vido, and he and Jones engage in a relationship.
 Terry Chen as Pryce Cheng: A rival private investigator to Jones.
 Leah Gibson as Inez Green: A "street-wise" nurse.
 Janet McTeer as Alisa Jones: Jessica's mother, who survived the car accident that killed Jessica's father and brother. She and Jessica were both treated at a private clinic specializing in gene editing, which granted both superhuman abilities. She was declared dead and treated in secret. The extent of her injuries and years of treatment affected her mental stability. The character was first portrayed by Miriam Shor in flashbacks during the first season, before McTeer took over the role as a series regular for the second season.
 Benjamin Walker as Erik Gelden: A man with an enhanced empathic ability to sense the severity of evil in others. He has used his ability to blackmail various people, including Gregory Sallinger. A love interest for Jessica who is also trying to help his sister, Brianna.
 Sarita Choudhury as Kith Lyonne: A concert cellist and Jeri's former flame.
 Jeremy Bobb as Gregory Sallinger: A ruthless, hyperintelligent serial killer who has targeted Jessica Jones to expose her as a "fraud" because he believes "supers" have cheated life with their abilities rather than earned things through hard work.
 Tiffany Mack as Zaya Okonjo: A junior associate at Hogarth & Associates who Jeri comes to rely on. She is dating Malcolm.

Episodes

Season 1 (2015)

Season 2 (2018)

Season 3 (2019)

Production

Development
In December 2010, Melissa Rosenberg was developing AKA Jessica Jones for ABC under her new production banner Tall Girls Productions, along with ABC Studios and Marvel Television. The series, which would be based on the comic book series Alias and centered on the character Jessica Jones, was intended to air in 2011 of the 2011–12 television season, with Marvel Television head Jeph Loeb, Joe Quesada, Alan Fine, and Howard Klein serving as executive producers, and Alias writer Brian Michael Bendis acting as a consultant. At the 2011 San Diego Comic-Con International, Loeb said the series was "about a failed superhero who is rebuilding her life as a private detective in New York City", and would include the characters Carol Danvers and Luke Cage. In November, Rosenberg said the show was now "hoping to get on the schedule for" 2012 of the 2012–13 television season, and added, "I love this character. That is an incredibly damaged, dark, complex female character that kicks ass ... [she is] a former superhero with PTSD, post-traumatic stress disorder." She also stated that, while Cage was a part of the series, the couple's daughter Danielle would appear "way down the road". Rosenberg said later in the month that the series would acknowledge the existence of the Marvel Cinematic Universe, with references to Tony Stark and Stark Industries in the pilot script, but admitted that "as we go along things will alter in terms of what is made available to us, but we're definitely in that universe. We are in no way denying that that universe exists. And as much as I can I'm going to pull everything in from there that I can use". She also confirmed that Danvers would be a principal character in the series.

In May 2012, ABC president Paul Lee said the network had passed on the series. Loeb revealed that ABC had requested the series switch its focus to Danvers as the main character, who has "a great life" living on Fifth Avenue, with Jones become a side character to Danvers' story. Later that year, Rosenberg was shopping the show around to other networks, saying "I don't know if it's an ABC show. It might be a cable show, really. The [Alias] graphic novel is the first one that Marvel did that was meant to serve an adult audience. I toned it down a little bit for network, but it's very, very easy to translate that into cable. Very easy." In October 2013, Deadline reported that Marvel was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix, Amazon, and WGN America expressing interest. A few weeks later, Marvel and Disney announced that Marvel Television and ABC Studios would provide Netflix with live action series centered around Jessica Jones, Daredevil, Iron Fist, and Luke Cage, leading up to a miniseries based on the Defenders. Rosenberg was brought on to write and produce the new incarnation of the series, to be reconfigured from her original project, which she called a "page one do-over" from her original vision. Liz Friedman also serves as an executive producer on the series during the first season. In December 2014, the official title was revealed to be Marvel's A.K.A. Jessica Jones. However, in June 2015, Marvel revealed that the title for the series would be shortened to Marvel's Jessica Jones. On why the title was shortened, Loeb said, "It literally just became one of those things that happens. We had talked about whether that was the best title for it, and that's how it happened." Rosenberg added that the "AKA" would still be seen in the name of each episode.

In January 2016, Netflix ordered a second season of 13 episodes. Raelle Tucker joined the series as an executive producer and writer for the second season, replacing Friedman, who departed the series to work on the pilot for the ABC series Conviction. A third season was ordered on April 12, 2018, a month after the second season was released. That August, Rosenberg signed a deal to move from Netflix to Warner Bros. Television to develop new projects for the latter, after she had been looking to "do something different". Rosenberg remained showrunner of the series through completion of the third season, with Scott Reynolds joining her as co-showrunner.

Writing

Rosenberg talked about the freedom that the series had, saying that it would go "even further in all our storytelling" than what Brian Michael Bendis did in the Alias comic: "That's the beauty of working with Netflix. It's 13 [episodes]. There's no pilot and then getting feedback, reaction and ratings. You're in this bubble. So, what's the story you want to tell? Where do you want to go with [the characters]?" Expanding on this, Rosenberg said that "we start off with [Bendis'] incredible source material and Jessica Jones isn't as well known in the universe obviously as Daredevil and everyone else, so it really allows for a lot of freedom in there. So there are restrictions in terms of the Marvel [Cinematic U]niverse of certain rules of mythology, but within that it's free pass." Rosenberg noted that the final series is very different from the version she developed for ABC because of the different mythology of the MCU.

Rosenberg invited Bendis to the series' writers room early on in the writing process, so the writers could ask Bendis any questions about the character. He walked away from the meeting saying, "they were asking the right questions, and that's a good sign." Bendis also noted that Rosenberg was approaching the character and issues of rape and abuse differently to him, on which he said "I made the right choice for me as a writer then and they're making the right choice for them as writers now. I thought about how much is different and how much has changed, and if it's not brought up in Jessica, when will it be brought up? So I was like, 'Yeah, you should.' I thought that Melissa and the writers were the people to do that and that medium was better-suited to tell that kind of story."

Casting
In August 2014, Sarandos said the series was beginning to look "at casting Jessica." By November, Krysten Ritter, Alexandra Daddario, Teresa Palmer, Jessica De Gouw, and Marin Ireland were being tested for the role of Jessica Jones, with Ritter having been auditioning since October. Additionally, Lance Gross, Mike Colter, and Cleo Anthony were in contention for the role of Luke Cage, which was envisioned as a recurring role in the series before headlining Luke Cage. The next month, Ritter was cast as Jessica Jones. Ritter and Palmer had been the final candidates for the role, with both auditioning opposite Colter to test chemistry. Colter was confirmed as Luke Cage later in December. In January 2015, David Tennant was cast as Kilgrave, and Rachael Taylor was cast as Patricia "Trish" Walker. The latter character was added to the series as a replacement for Danvers, as she was set to feature in her own film. A month later, Carrie-Ann Moss joined the cast, with her role revealed that October to be a female version of male comic book character Jeryn Hogarth. Also in February, Eka Darville, Erin Moriarty, and Wil Traval were cast as Malcolm Ducasse, Hope Shlottman, and Will Simpson, respectively.

Ritter, Taylor, Darville, and Moss return for the second season. They are joined by J.R. Ramirez as Oscar Arocho, Terry Chen as Pryce Cheng, Leah Gibson as Inez Green, and Janet McTeer as Alisa Jones. Traval and Tennant also appear in the second season as guest stars. Ritter, Taylor, Moss, and Darville also return for the third season.

Design

Costumes
Stephanie Maslansky returned as the costume designer for Jessica Jones from Daredevil, and was assisted on the first episode by Jenn Rogien, who crafted Jessica Jones' costume of leather jacket, faded jeans, and boots. Maslansky's fashion choices for each character were influenced by their comic incarnations, and she said, "You really have to study your history of the original characters and see how they dress, how they were originally drawn, how they evolved through the years in these comics. And what you might discover is that, as illustrated, they kind of do wear the same thing all the time." Maslansky also stated that "everyone has a very specific look, and you can vary within that look, but it's not over the top. It has to feel realistic and feel very grounded in this authentic reality we've created in Hell's Kitchen." On Jones' costume, Maslansky said she "considers her clothing to be an armor and a shield and something that helps her maintain a distance from other people and privacy. It keeps her from having to deal with the rest of humanity in a certain sort of way." At least 10 versions of Jones' jacket were made, which started as an Acne Studios leather motorcycle jacket that had any "bells and whistles and any additional superfluous design details" removed, while 20 pairs of jeans were used. Each piece was aged and distressed.

Title sequence

The series' title sequence, created by Imaginary Forces, incorporates the jazz-style theme from composer Sean Callery mixed with artwork by David Mack, the cover artist for the original Alias comic, "taking [the viewer] around seedier, noir-esque corners of Hell's Kitchen, as if through Jessica's eyes."

Arisu Kashiwagi, lead designer at Imaginary Forces for the title sequence, was "inspired by all the changing activity and vignettes within those rows of windows [for New York-style buildings] — the patterns of light, color, narratives, and graphic silhouettes. It is pretty amazing how much you can see and the number of windows out there with wide open shades ... I could understand our innate fascination with the rear window and that discomforting pleasure when catching a small sliver of a private act." She also looked to Edward Hopper's "Night Windows" and Gerhard Richter's paintings for reference. In order to differentiate the sequence from other painting-inspired ones, Kashiwagi chose to take "a more modern, abstract look while also embracing the spirit of David Mack's watercolor paintings from" Alias. On the design concept, she added, "We based the concept off of Jessica's PTSD and alcoholism, her blurry, unreliable point of view, and translated that visually using paint strokes that smear and obfuscate the scenes ... the scenes would appear only in small sections of the frame, either blocked by a foreground element or contained inside of a silhouetted framing device." Michelle Dougherty, creative director on the project, looked to the opening sequence of Alfred Hitchcock's Rear Window to help create the "voyeuristic approach" as well as "using the city as a character" to highlight "the dark places [and] the grit" where Jones investigates.

Filming
Filming for the series takes place in New York City, including areas of Brooklyn and Long Island City that still look like the old Hell's Kitchen, Douglaston, Queens, as well as sound stage work. Manuel Billeter serves as director of photography for the series.

Visual effects
Visual effects for the series were completed by the New York studio Shade VFX, who also worked on Daredevil, with Bryan Goodwin serving as visual effects supervisor.

Music
At the 2015 San Diego Comic-Con International, Sean Callery revealed he was composing the music for the series. Callery did not begin composing the series' main theme until after reading two or three scripts, and did not see the opening graphics until after the second episode, at which point he had "a framework for a theme that [he] hoped would work". At this time, Callery said he started "fooling around" with ideas for the theme, and eventually settled on one that he felt had a "sneaky and fun-ness" quality, adding, Jessica Jones "has dry humor, a real edge to her. But there was something to this character that had a little whisker of playfulness in there, like a cat or something." After creating the theme, Callery began working on the rhythmic quality of it, eventually fully orchestrating his idea into what became the resulting opening theme. Regarding the electric guitar's entrance, Callery pointed out that it got "bigger there because as I looked at the graphics, the lights got a little more strobe-y. So that's when I decided the electric guitar might be a kind of neat add there so that the whole piece will arc a little more." A soundtrack album for the first season was released digitally on June 3, 2016. Jamie Forsyth also contributed to the music of the first season. A soundtrack album for the second season was released digitally on March 16, 2018.

Marvel Cinematic Universe tie-ins
Jessica Jones is the second of the ordered Netflix series, after Daredevil, and was followed by Luke Cage and Marvel's Iron Fist, which led to the miniseries, The Defenders. In November 2013, Disney CEO Bob Iger stated that, if the characters prove popular on Netflix, "It's quite possible that they could become feature films," which Sarandos echoed in July 2015. In August 2014, Vincent D'Onofrio, who played Wilson Fisk in Daredevil, stated that after the "series stuff with Netflix", Marvel has "a bigger plan to branch out". In March 2015, Loeb spoke on the ability for the series to cross over with the MCU films and the ABC television series, saying, "It all exists in the same universe. As it is now, in the same way that our films started out as self-contained and then by the time we got to The Avengers, it became more practical for Captain America to do a little crossover into Thor 2 and for Bruce Banner to appear at the end of Iron Man 3. We have to earn that. The audience needs to understand who all of these characters are and what the world is before you then start co-mingling in terms of where it's going."

On specific crossovers with Daredevil, which had completed its first season by the time Jessica Jones began casting, Loeb said "they're in the same area. In some cases they are in the same neighborhood. One of the things that is important to us is, when you enter the police station, it's the same police station. When you go to the hospital, you start to see the same people. [But] we don't want people suddenly going, 'Wait, is that Matt Murdock that's walking down the street?' Because that's going to feel odd, and in a weird way feel false." On existing in the MCU, specifically in the same world as the other Netflix series, Rosenberg said, "Jessica Jones is a very, very different show than Daredevil. We exist in a cinematic universe, [and] the mythology of the universe is connected, but they look very different, tonally they're very different ... That was my one concern coming in: Am I going to have to fit into Daredevil or what's come before? And the answer is no."

Marketing
Disney Consumer Products created a small line of products to cater to a more adult audience, given the show's edgier tone. Paul Gitter, senior VP of Marvel Licensing for Disney Consumer Products explained that the focus would be more on teens and adults than very young people, with products at outlets like Hot Topic. Additionally, a Marvel Knights merchandise program was created to support the series, which creates new opportunities for individual product lines and collector focused products. Licensing partners wanted to pair up with Marvel, despite this not being a film project, given its previous successes.

Release

Streaming
Jessica Jones was released on the streaming service Netflix, in all territories where it is available, in Ultra HD 4K and high dynamic range (HDR). The first season was enhanced to be available in HDR after its initial release by post-production vendor Deluxe. The episodes for each season were released simultaneously, as opposed to a serialized format, to encourage binge-watching, a format which has been successful for other Netflix original series. Despite being branded as a "Netflix Original", Jessica Jones was licensed to Netflix from Disney.

Jessica Jones was removed from Netflix on March 1, 2022, along with the other Marvel Netflix series, due to Netflix's license for the series ending and Disney regaining the rights. Disney opted not to have Netflix pay a large licensing fee to retain the distribution rights for the series, and instead announced that all the series would be made available on Disney+ on March 16 in the United States, Canada, United Kingdom, Ireland, Australia, and New Zealand, and in Disney+'s other markets by the end of 2022. In the United States, revised parental controls were introduced to the service to allow the more mature content of the series to be added, similarly to the controls that already exist for other regions that have the Star content hub.

Home media

Reception

Audience viewership
Prior to the series' cancellation, Netflix did not reveal subscriber viewership numbers for any of their other original series. However, Karim Zreik, senior vice president of original programming at Marvel Television, provided some viewership demographics for Jessica Jones in August 2017, noting that the series has attracted a large number of female viewers. Also in the month, Netflix released viewing patterns for the Marvel Netflix series. The data, which came from Netflix's "1,300 'taste communities' around the world, where subscribers are grouped based on what they watch", showed that viewers would not watch the series in chronological order by release, rather starting with Jessica Jones, then Daredevil, Luke Cage, and finally Iron Fist. Todd Yellin, Netflix's vice president of product innovation, noted that audiences watch the series "in order of how they're interested in them and how they learn about them." Netflix's data also showed that a viewer watching Jessica Jones would most often then move on to Daredevil, and vice versa, with Yellin figuring that Jessica Jones and Luke Cage would have paired up more, given that Cage was introduced on Jessica Jones. The data also revealed that other "comedies and shows with strong women" such as Friends, Master of None, and Orange Is the New Black led viewers to starting Jessica Jones. In October 2018, Crimson Hexagon, a consumer insights company, released data that examined the "social-media buzz" for the series to try to correlate it with potential viewership. The data showed that when the first season premiered in November 2015, the season had just under 300,000 Twitter and Instagram posts regarding it, and when the second season was released in March 2018, the posts had declined by half, to under 150,000.

Critical response
{{Television critical response
| series            = Jessica Jones
| link1             = Jessica Jones (season 1)#Critical response
| rotten_tomatoes1  = 94% (80 reviews)
| metacritic1       = 81 (32 reviews)

| link2             = Jessica Jones (season 2)#Critical response
| rotten_tomatoes2  = 82% (89 reviews)
| metacritic2       = 70 (19 reviews)

| link3             = Jessica Jones (season 3)#Critical response
| rotten_tomatoes3  = 73% (40 reviews)
| metacritic3       = 65 (7 reviews)
}}

For its first season, the review aggregator website Rotten Tomatoes reported a 94% approval rating with an average rating of 8.2/10, based on 80 reviews. The website's critical consensus reads, "Jessica Jones builds a multifaceted drama around its engaging antihero, delivering what might be Marvel's strongest TV franchise to date." Metacritic, which uses a weighted average, assigned a score of 81 out of 100 based on 32 critics, indicating "universal acclaim".

For season two, Rotten Tomatoes reported an 82% approval rating with an average rating of 7/10, based on 89 reviews. The website's critical consensus reads, "While Jessica Jones is a slower burn with less focus than its inaugural season, its enticing new character arc more fully details the most charismatic Defender." Metacritic assigned the season a score of 70 out of 100 based on 19 critics, indicating "generally favorable reviews".

For season three, Rotten Tomatoes reported an approval rating of 73% with an average rating of 6.4/10, based on 40 reviews. The website's critical consensus states, "Even if it's not the most satisfying finale for an entire era of Marvel television, Jessica Jones' final chapter finishes strong by giving its complicated heroine the space to change – and Krysten Ritter one last chance to work her sarcastic magic." Metacritic gave a weighted average score of 65 out of 100, based on 7 critics, indicating "generally favorable reviews".

Accolades

In December 2015, IGN named Jessica Jones the best Netflix original programming series released to date. Seasons two and three were recognized with The ReFrame Stamp for hiring people of underrepresented gender identities, and of color.

Other media
In November 2015, an update for the mobile fighting game Marvel: Contest of Champions was released, featuring a six-part story quest involving Jessica Jones and Daredevil, along with a level based on Hell's Kitchen. Additionally, Jessica Jones was added to the role-playing game Marvel: Future Fight.

Cancellation and future
The series was canceled on February 18, 2019, ahead of the third-season premiere. Prior to its cancellation, Kevin A. Mayer, chairman of Walt Disney Direct-to-Consumer and International, noted that, while it had not yet been discussed, it was a possibility that Disney+ could revive the other cancelled Marvel Netflix series. Hulu's senior vice president of originals Craig Erwich also said that the streaming service was open to reviving the former Netflix series.

References

External links

2010s American LGBT-related drama television series
2015 American television series debuts
2019 American television series endings
Alcohol abuse in television
American action television series
American detective television series
American thriller television series
Disney and LGBT
English-language Netflix original programming
Fiction about mind control
Hugo Award-winning television series
Lesbian-related television shows
LGBT-related superhero television shows
Neo-noir television series
Peabody Award-winning television programs
Post-traumatic stress disorder in fiction
Psychological thriller television series
Rape in television
Serial drama television series
Superheroine television shows
Television series based on works by Brian Michael Bendis
Television series by ABC Studios
Television shows based on Marvel Comics
Television shows filmed in New York (state)
Television shows set in New York City
Transgender-related television shows


title: Semenzato

text:
Semenzato is a surname and may refer to:
Fabio Semenzato (born Treviso, 6 May 1986), Italian rugby union player who plays as a scrum-half for Benetton
Daniel Semenzato (born 11 January 1987), Italian footballer who plays for Bassano
José Carlos Semenzato (born 23 March 1968), Brazilian businessman and entrepreneur, founder and president of Microlins


title: Germany's Next Topmodel (season 9)

text:
The ninth season of Germany's Next Topmodel aired on ProSieben from February to May 2014 under the catch phrase Show Yourself.

The judging panel consists of Thomas Hayo and Wolfgang Joop.

The international destinations for this cycle were Singapore, Los Angeles, Mumbai, Salt Lake City, Paris, New York City and Malé.

As in the last preceding years, a preselection was done and open castings were not part of the show anymore. The first episode started with 25 finalists, selected from 70 semifinalists.

The winner of the competition was 17-year-old Stefanie Giesinger from Kaiserlautern. Her prizes included a modeling contract with OneEins GmbH Management, a spread and cover in the German Cosmopolitan and an Opel Adams.

Contestants
(ages stated are at start of contest)

Episode summaries

Summaries

Results table

 The contestant quit the competition
 The contestant was immune from elimination
 The contestant was in danger of elimination
 The contestant was eliminated
 The contestant won the competition

Photo shoot guide
 Episode 1 photo shoot: B&W beauty shots in a pool
 Episode 2 photo shoot: Flora and fauna with snakes
 Episode 3 photo shoots: Professional comp cards; floating with balloons overlooking a roller coaster
 Episode 4 video shoot: Filming the opening sequence
 Episode 5 photo shoot: Posing in pairs on the beach with a male model
 Episode 6 photo shoots: Portraying both genders in pairs in B&W; posing with tarantulas in glitter body paint
 Episode 7 photo shoot: Hysterical divas in a restaurant
 Episode 8 photo shoots: Amerindian beauty; cowgirl fashion films
 Episode 9 photo shoot: Crying in 1920s fashion
 Episode 10 photo shoot: Jumping from a trampoline in colored gowns
 Episode 11 photo shoot: Hydrant sexy shoot
 Episode 12 photo shoot: Posing with little children
 Episode 13 photo shoot: Cosmopolitan covers
 Episode 14 photo shoot: Crashed sailing ship from Mars in couture
 Episode 15 photo shoot: Stage rock stars

Controversy
An article on Bild.de revealed the final three as being Ivana Teklic, Stefanie Giesinger, and Jolina Fust.

In February 2023, the Berliner Zeitung published an article about the show with the headline: "Why isn't Germany’s Next Topmodel actually canceled?"

In March 2023 BILD published the following message: "If the contestants get along too well, they will receive instructions from the crew to argue and produce beef." The participating contestants are also too young and inexperienced and cannot assess the extent of the show.

In April 2023, Heidi Klum said about everything that happens at Germany's Next Topmodel: "At the end of the day I'm the boss and I make the rules!"

In June 2023, the German TV broadcaster ZDF released a 70-minute investigative documentary about the machinations of the makers of Germany's Next Topmodel called "Pressure, hatred, manipulation: how sick does Germany's Next Topmodel make you?". For this documentary, around 50 former contestants, judges and members of the show's crew were interviewed, some anonymously. The makers of the documentary admitted that they are familiar with difficult investigations, but they have never experienced it before that so many people were afraid to talk about what happened as these former participants and employees of Germany's Next Topmodel. A crew member of the show who wished to remain anonymous is quoted as saying: "If you film a young woman from morning to night, you'll get every sectional image you want. So you can cut and tell what you want. A lot of things are cut together wildly. The jobs depend on it. It's about ratings." In addition, former contestants report how the show's editors deliberately foment manipulation, lies and discord among the contestants behind the scenes. The contestants are shielded from the outside world so they lose their nerve and argue. So 20 candidates have to sleep together in one room without contact to the outside world. The statements by Heidi Klum, the broadcasting TV station Pro7 and the production company are presented as hypocrisy. Pro7 is said to have earned 87 million euros with the Season 18, and Heidi Klum 10 million euros. The contestants receive no money. Germany's Next Topmodel has driven some contestants into depression and suicidal thoughts.

Post Topmodel careers
 Pauline Cottin has signed with ONEeins.
 Fata Hasonivic has signed with ONEeins.
 Laura Kristen has signed with ONEeins.
 Emma Kahlert has signed with ONEeins.
 Antonia Balzer has signed with ONEeins.
 Simona Hartl has signed with ONEeins. She walked at Genf fashion week.
 Jana Heinisch has signed with Louisa Models.
 Sainabou Sosseh has signed with ONEeins.
 Lisa Gelbrich has signed with ONEeins
 Sarah Weinfurter has signed with ONEeins.
 Samantha Brock has been signed with ONEeins. She has walked at Berlin fashion week.
 Anna Wilken has signed with Munich Models. She walked at Berlin fashion week and Paris fashion week.
 Karlin Obiango has signed with ONEeins. She released a single called "Wunderkind".
 Nancy Nagel has signed with ONEeins
 Betty Taube has signed a modeling contract with ONEeins. She has walked for Guido Maria Kretschmer at Berlin fashion week. She had a TV spot for Chixx. She appeared in the show Topmodel on Tour, and had her own feature called Betty Goes Tokyo in the German tabloid program Taff.
 Nathalie Volk has signed with Modelwerk in Hamburg and has modeled for Swiss lingerie-retailer Vicky Bonheur. She participated in the German version of I'm a Celebrity...Get Me Out of Here!
 Aminata Sanogo has signed with Mega Model in Hamburg. She appeared on the cover of German Stern magazine.
 Ivana Teklic has signed with Pars Management and Women Management. She walked for Dior, Wunderkind, Calvin Klein, Ralph & Russo, Julien Macdonald, Roksanda Ilincic and Roberto Cavalli and other designers at Paris, Milan and London fashion week, became the face of Joffroy make-up and a campaign for Gucci, had a spread in Vogue, Kaltblut, Flanelle, Perk, Factice and Up magazines and modelled for the covers of Quality, Perk and Up magazines, thus making her one of the most successful alumni of Germany's Next Topmodel.
 Jolina Fust was signed with ONEeins. She is now signed with Munich Models and Next Model Management in London. She has walked at Berlin fashion week.
 Stefanie Giesinger has collected all of her prizes as the winner, including the cover of Cosmopolitan, a TV-commercial for Opel, and a modeling contract with ONEeins. She walked for Wunderkind and at Milan and Berlin fashion week and she walked for Dolce & Gabbana for Milan Fashion Week.

References

Germany's Next Topmodel
2014 German television seasons
Television shows filmed in Singapore
Television shows filmed in Los Angeles
Television shows filmed in Utah
Television shows filmed in New York City
Television shows filmed in India
Television shows filmed in France
Television shows filmed in the Maldives


title: The Melomaniac

text:
The Melomaniac () is a 1903 French silent film directed by Georges Méliès.

Plot
A music master leads his band to a field where five telegraph lines are strung on utility poles. Hoisting up a giant treble clef, he turns the set of lines into a giant musical staff. He then uses copies of his own head to spell out the tune for "God Save the King," and his band joins in.

Production and release
Méliès himself plays the lead role of the music master. The superimposition effects in The Mélomaniac, allowing multiple Méliès heads to appear on the staff, were created by a multiple exposure technique requiring the same strip of film to be run through the camera seven times. The rest of the film's special effects were created with substitution splices.

The film was released by Méliès's Star Film Company and is numbered 479–480 in its catalogues. The film was registered for American copyright at the Library of Congress on 30 June 1903.

The French film scholars Jacques Malthête and Laurent Mannoni believe The Mélomaniac to be Méliès's most famous trick film, and a Méliès guide from the Centre national de la cinématographie judges that the film merits that position. Film critic William B. Parrill rates it "innovative and creative".

References

External links

Films directed by Georges Méliès
1903 films
French silent short films
French black-and-white films
1900s French films


title: John W. Arnold

text:
John William Arnold (February 14, 1842 – 1900) was an American politician from New York. Coming with his family to Lockport, Illinois, Arnold worked in his father's store until the outbreak of the Civil War. Arnold served with the 4th Regiment Illinois Volunteer Cavalry and the Chicago Mercantile Independent Battery Light Artillery, eventually being captured and imprisoned at Camp Ford, Texas. After the war he ran his father's store and was elected to two terms in the Illinois Senate. He was later named a United States Marshal.

Biography
John William Arnold was born in White Creek, New York on February 14, 1842, the fourth of seven children to John H. and Lucretia Arnold. Arnold came with his family to Lockport, Illinois when he was fourteen. He graduated from Lockport High School in 1860 and briefly worked as a clerk in his father's store. When the Civil War began the next year, Arnold enlisted in the 4th Regiment Illinois Volunteer Cavalry of the Union Army.

He fought with the unit at Fort Henry, Fort Donelson, Corinth, Shiloh, and Hatcher's Run. He then fell ill with typhoid fever and was discharged on August 1, 1862. He returned after recovery with the Chicago Mercantile Independent Battery Light Artillery, where he fought at Arkansas Post, Port Gibson, Champion Hill, Big Black River Bridge, Vicksburg, and Mansfield. At Mansfield, the brigade was captured and Arnold made prisoner. He was confined at Camp Ford in Texas for fourteen months.

After his release was negotiated at the end of the war, Arnold returned to his father's store in Lockport. He was elected postmaster of Lockport in 1888, serving for a year. In 1890, he was elected to the Illinois Senate as a Democrat. He served two two-year terms. In 1894, President Grover Cleveland appointed Arnold Marshal of the Northern District of Illinois. He served for four years and then returned to the store in Lockport and engaged in some real estate and loan dealings in Chicago.

Arnold married Abbie Matthewson on December 22, 1869. They had three children, although only John W., Jr. survived to adulthood. He was the commander of the F. L. Gooding Post #401 Grand Army of the Republic.

References

1842 births
1900 deaths
Democratic Party Illinois state senators
People from Lockport, Illinois
People from White Creek, New York
United States Marshals
19th-century American politicians
Grand Army of the Republic officials


title: Aliabad, Sepidan

text:
Aliabad (, also Romanized as ‘Alīābād and ‘Alī Ābād; also known as Ahābād) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 237, in 68 families.

References

Populated places in Sepidan County


title: Ardeshiri-ye Bala

text:
Ardeshiri-ye Bala (, also Romanized as Ardeshīrī-ye Bālā; also known as Ardeshīrī-ye ‘Olyā) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 343, in 79 families.

References

Populated places in Sepidan County


title: Ardeshiri-ye Sofla

text:
Ardeshiri-ye Sofla (, also Romanized as Ardeshīrī-ye Soflá; also known as Ardeshīrī-ye Ḩoseynābād and Ardeshīrī-ye Pā’īn) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 141, in 35 families.

References

Populated places in Sepidan County


title: Ardeshiri-ye Vosta

text:
Ardeshiri-ye Vosta (, also Romanized as Ardeshīrī-ye Vosţá; also known as Ardeshīrī-ye Mīānī) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 76, in 18 families.

References

Populated places in Sepidan County


title: Bergaki

text:
Bergaki (, also Romanized as Bergakī and Bargakī; also known as Barkakī) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 73, in 16 families.

References

Populated places in Sepidan County


title: Bazmak-e Olya

text:
Bazmak-e Olya (, also Romanized as Bazmak-e ‘Olyā; also known as Bazmak, Bazmak-e Bālā, Bezmak, and Bīzmak) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 24, in 7 families.

References

Populated places in Sepidan County


title: Bazmak-e Sofla

text:
Bazmak-e Sofla (, also Romanized as Bazmak-e Soflá; also known as Bazmak-e Pā’īn) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 52, in 13 families.

References

Populated places in Sepidan County


title: Patrik Kundrátek

text:
Patrik Kundrátek (born 15 February 1994) is a Czech football player who plays for FC Baník Ostrava.

Patrik Kundrátek has played international football at under-17 level for Czech Republic U17.

External links

1994 births
Living people
Czech men's footballers
Men's association football midfielders
FC Baník Ostrava players
Czech First League players
Czech Republic men's youth international footballers


title: Cheshmeh Baklu

text:
Cheshmeh Baklu (, also Romanized as Cheshmeh Baklū; also known as Cheshmeh Baglū and Cheshmeh Bayglū) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 135, in 34 families.

References

Populated places in Sepidan County


title: Cheshmeh Darreh, Fars

text:
Cheshmeh Darreh (; also known as Cheshmeh Darreh-ye Mīānī and Cheshmeh Darreh-ye Vosţá) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 89, in 23 families.

References

Populated places in Sepidan County


title: Cheshmeh Dozdan

text:
Cheshmeh Dozdan (, also Romanized as Cheshmeh Dozdān and Chashmeh-e Dozdān) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 27, in 6 families.

References

Populated places in Sepidan County


title: Cheshmeh Sefid, Hamaijan

text:
Cheshmeh Sefid (, also Romanized as Cheshmeh Sefīd and Chashmeh Safīd) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 179, in 51 families.

References

Populated places in Sepidan County


title: Cheshmeh Zeytun

text:
Cheshmeh Zeytun (, also Romanized as Cheshmeh Zeytūn) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 85, in 26 families.

References

Populated places in Sepidan County


title: Darreh Susan

text:
Darreh Susan (, also Romanized as Darreh Sūsan) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 48 in 12 families.

References

Populated places in Sepidan County


title: Habibabad, Fars

text:
Habibabad (, also Romanized as Ḩabībābād) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 80, in 20 families.

References

Populated places in Sepidan County


title: Khodadadi, Fars

text:
Khodadadi (, also Romanized as Khodādādī) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 26, in 5 families.

References

Populated places in Sepidan County


title: Hoseynabad-e Ardeshiri

text:
Hoseynabad-e Ardeshiri (, also Romanized as Ḩoseynābād-e Ārdeshīri; also known as Ḩoseynābād) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 110, in 25 families.

References

Populated places in Sepidan County


title: Mirzamohammadi-ye Bala

text:
Mirzamohammadi-ye Bala (, also Romanized as Mīrzāmoḩammadī-ye Bālā; also known as Mīrzāmoḩammadī-ye ‘Olyā) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 45, in 10 families.

References

Populated places in Sepidan County


title: Mirzamohammadi-ye Pain

text:
Mirzamohammadi-ye Pain (, also Romanized as Mīrzāmoḩammadī-ye Pā’īn; also known as Mīrzāmoḩammadī-ye Soflá) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 19, in 6 families.

References

Populated places in Sepidan County


title: Nivar-e Olya

text:
Nivar-e Olya (, also Romanized as Nīvār-e ‘Olyā; also known as Nīvār and Nīvār-e Bālā) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 124, in 32 families.

References

Populated places in Sepidan County


title: Nivar-e Sofla

text:
Nivar-e Sofla (, also Romanized as Nīvār-e Soflá; also known as Nevārdūmen and Nīvār-e Pā’īn Jāvīd) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 17, in 5 families.

References

Populated places in Sepidan County


title: Seminole Canyon

text:
Seminole Canyon, a valley and a stream in Val Verde County, Texas.  Its mouth lies at an elevation of 1119 feet (341).  The head of the canyon is at , west of the Southern Pacific Railroad line.  The Seminole Canyon Creek has its source to the east of the rail line, on a mountainside  at an elevation of 1740 feet.

References

Landforms of Val Verde County, Texas


title: Ardeshiri

text:
Ardeshiri () may refer to:
 Ardeshiri-ye Olya
 Ardeshiri-ye Sofla
 Ardeshiri-ye Vosta


title: 2014 San Antonio Talons season

text:
The  San Antonio Talons season was the 14th season for the franchise, the fifth in the Arena Football League, and the third in San Antonio, Texas. The team was coached by Lee Johnson and played their home games at the Alamodome. Finishing the regular season with a 3–15 record, this was the worst season in franchise history.

Standings

Schedule
The Talons began the season at home against the Los Angeles Kiss on March 15. Their last regular season game was on the road against the New Orleans VooDoo on July 26.

Roster

References

San Antonio Talons
San Antonio Talons
San Antonio Talons seasons


title: Set Yourself Free

text:
Set Yourself Free is a hoax public service announcement directed by Henry Inglis and Aaron McCann, released on 29 January 2014, via the Internet. It has gone viral, and by 5 February 2014, had over 12 million views on YouTube. Its goal is to discourage truancy in schools. The ad was produced by Henry and Aaron, a filmmaking and comedy duo from Perth, Australia, with a history of making viral videos intended to shock, and the ad states that they did so on behalf of the "Learn for Life Foundation of Western Australia".

, the video is sitting at over 20 million views on YouTube.

Campaign plot
In the video, four teenagers skip school, get into a Volkswagen van and drive to the beach, where they enjoy surfing, drinking beer, and generally relaxing and enjoying themselves. However, the ad takes an abrupt turn for the worse when one of the girls steps on a land mine and is immediately blown to bits, and two of the others are dispatched in a similar way. One surviving girl is then shown screaming before zooming out to show that the beach they had driven to that day was, in fact, an explosives testing site, before the screaming stops and a mushroom cloud appears, implying that she was also blown to smithereens. The film ends with the slogan, "This is what happens when you slack off. Stay in school."

Reactions
A reporter for the International Business Times said that the ad "might be the most gruesome [PSA] yet," a remark that was echoed by Lee Moran writing for the New York Daily News and by The Daily Mirror's Rebecca Pocklington. Lance Richardson wrote that "As deterrents for skipping class go, severed body parts and a lingering mushroom cloud are pretty extreme." He went on to question whether the ad was authentic, and noted that the website of the organization on behalf of which it was supposedly produced (i.e. The Learn for Life Foundation of Western Australia) "features stock images of smiling people, and no contacts, explanations, or further details beyond the single video and a link to its directorial team, Henry and Aaron." He concluded that it was "probably a good bet to assume that Inglis and McCann invented the Foundation for the sake of the joke."

References

External links

Public service announcements
Viral videos
2014 films
Australian short films
Australian advertising slogans
Online advertising
Internet memes introduced in 2014
2014 hoaxes
Hoaxes in Australia


title: Bazmak

text:
Bazmak or Bezmak (), also rendered as Bizmak, may refer to:
 Bazmak-e Olya
 Bazmak-e Sofla


title: Modiano Market

text:
Modiano Market or Stoa Modiano (Greek: Στοά Μοδιάνο) is an enclosed market in Thessaloniki, Greece. It was built between 1922 and 1925, after the great fire, on the site of the old Talmud Tora synagogue.

It is in the center of the city and forms the central point of the city's market which encompasses over several blocks. It took its name from the architect Eli Modiano, a member of the well known Italo-Jewish Modiano family of the city, who owned the area and later the market. The architectural office of Modiano was also inside the building.

Inside the stoa there are fish markets, butcher shops, tavernas and bars. It is a place of social meeting and historical significance for the city.

The building was restored and reopened on December 5th, 2022.

Sources
Modiano Market
Η τελευταία σελίδα της στοάς Μοδιάνο

Commercial buildings completed in 1925
Buildings and structures in Thessaloniki
Tourist attractions in Thessaloniki
Eclectic architecture in Greece
Jews and Judaism in Thessaloniki


title: Trauma Quality Improvement Program

text:
The Trauma Quality Improvement Program (TQIP) was initiated in 2008 by the American College of Surgeons Committee on Trauma. Its aim is to provide risk-adjusted data for the purpose of reducing variability in adult trauma outcomes and offering best practice guidelines to improve trauma care. TQIP makes use of national data to allows hospitals to objectively evaluate their trauma centers' performance relative to other hospitals. TQIP's administrative costs are less than those of other programs, making it an accessible tool for assessing performance and enhancing quality of trauma care.

Background
Morbidity and mortality rates are variable across United States trauma centers. Institutional variations can be attributed to differences in both patient population and quality of care at each institution. The Institute of Medicine (IOM) report To Err is Human: Building A Safer Health System emphasized the importance of recognizing variability and inefficiencies in the United States healthcare system. To address these discrepancies, John Fildes, MD, FACS created an ad hoc work group to create and implement an outcomes-based, validated, risk-adjusted trauma quality improvement system. The goal was to utilize existing trauma infrastructures to measure and continually improve the quality of trauma care. This was done by accessing each hospital's registry database using the National Trauma Data Standard (NTDS) from the National Trauma Data Bank (NTDB), resulting in the creation of the Trauma Quality Improvement Program (TQIP) by the American College of Surgeons (ACS).

TQIP was preceded by surgical indicators that included the Optimal Resources for the Care of the Injured reference document, published by the ACS Committee on Trauma in 1979. The document created a framework for the trauma center verification review process with a systems approach to trauma care. The Major Trauma Outcome Study (MTOS) of 19821989 subsequently established the national standards for trauma care. The MTOS database also facilitated the creation of a methodology to estimate an individual trauma patient's survival probability, also known as the Trauma Injury Severity Score (TRISS). Other studies, such as the 2006 National Study of the Costs and Outcomes of Trauma (NSCOT), aimed to identify differences in expenditures and outcomes at various hospitals.

Pilot study

Design
A pilot study was initiated in June 2008 to refine the methodology and assess the feasibility of applying TQIP for quality improvement at different trauma centers. Twenty-three Level I and II trauma centers volunteered and were selected to participate in the study with ACS verification. Most Level I centers are university-based trauma centers with comprehensive services. Level II centers were included to increase geographic and patient diversity, as well as the statistical power of any analyses. Each participating center received a registrar training course that included information about TQIP objectives and infrastructures, critical data collection fields, and NTDS data definitions. Webinars with conference calls and test case data abstraction were used for follow-up training.

Using NTDB data from patients admitted to trauma centers between January 1 and December 1, 2007, three cohorts were created. The first cohort included patients with blunt multisystem or blunt mechanism traumas with an Abbreviated Injury Scale (AIS) score ≥ 3 in two or more regions including the head, face, neck, thorax, abdomen, spine, and extremities. The second cohort was composed of trauma patients with penetrating truncal injuries with an AIS score ≥ 3 in at least one region including the neck, thorax, and abdomen. Patients in the third cohort had a blunt single-system injury with an AIS score ≥ 3 in only one AIS body region, with the remaining regions having a maximum AIS score of 2. The outcomes of interest were death during hospitalization as evidenced by an emergency department (ED) discharge disposition of “death” or hospital discharge disposition of “expired,” as well as the prevalence of inpatient complications.

Results
Data reports were created and distributed to each participating trauma center in June 2009. Results were consistent with the previous year's baseline findings. Cohorts of similar verified trauma centers had differences in risk-adjusted mortality rates with a large amount of variance between low-outlier and high-outlier trauma centers. The aggregate group had a relative risk-mortality of 3.3, while the single-system trauma cohort had a mortality 5.9 times higher for high-outlier facilities.

The TQIP pilot results gave each trauma center feedback regarding their trauma outcomes relative to other hospitals. The results also shed light on appropriate actions to undertake in order to improve quality, such as by illuminating local or regional collaborative efforts that could implemented. Overall, the pilot study demonstrated that TQIP's anonymous measures of relative performance could successfully allow trauma centers to identify shortcomings and facilitate quality improvement using existing resources and systems at local, regional, and national levels.

Methodology
TQIP utilizes a retrospective cohort of trauma patients in designated and ACS-verified Level I and II hospitals in the United States and Canada. There is no minimum sample size requirement for a trauma center to participate in the program. , over 200 participating Level I and II trauma centers that vary in type (public, private teaching university, teaching community, etc.) and region participate in TQIP.

Inclusion criteria
To participate in the program, patients must meet the following inclusion criteria: be an adult greater than sixteen years of age with at least one valid ICD 9 CM diagnosis code, history of blunt or penetrating mechanisms of injury, or have an AIS score ≥ 3. Eligible patients also must have emergency department or hospital dispositions available.

Exclusion criteria
Patients are excluded from the program if they have a pre-existing advance directive to withhold life-sustaining measures or are older than 65 years of age and have an isolated hip fracture.

Patient categorization
The program categorizes patients into different cohorts in order to evaluate different aspects of trauma care. The cohorts are as follows:
 Blunt multisystem injury with an AIS > 3 in a least two regions of the body
 Penetrating truncal injury with an AIS > 3 in the regions of the neck, chest, or abdomen
 Shock patients with a systolic blood pressure < 90 mmHg
 Patients with isolated traumatic brain injury (TBI)
 Elderly patients (over 65 years of age) without isolated hip fractures

Outcomes
This program focuses on mortality, complications, and resource use. Mortality is further subdivided into on arrival, in the emergency department, and in-hospital. Complications are further subdivided into urinary tract infections, deep venous thrombosis, ventilator-associated pneumonia, central line-related bacteremia, renal failure, and surgical site infections.  Resource use is measured via length of stay in the hospital, length of stay in the intensive care unit, and number of days that a patient is on a ventilator.

Data quality
TQIP addresses quality issues by explicitly addressing certain care metrics, including monitoring intracranial pressure in patients with traumatic brain injuries, measuring time to operations, measuring the placement and timing of tracheostomies, measuring the time to hemorrhage control, and documenting the use of venous thromboembolism prophylaxis.

TQIP helps ensure the quality of data by providing training for trauma registrars and data abstractors. TQIP administrators hold monthly activities, such as webinars and quizzes, to educate registrars on the importance of data quality. Administrators assess outlier values, perform internal and external validation, and perform data logic checks.

Statistical analyses
TQIP measures multiple variables in its risk-adjustment models. These variables include factors such as age, race, gender, initial pulse rate in the emergency department, the mechanism of injury, etc. An 18 variable multivariable logistic regression model is used to estimate risk-adjusted mortality for trauma patients. Results provide observed-to-expected ratios and a 90% confidence interval of a trauma center's data compared to other de-identified trauma centers in order to gauge relative variability.

Applications
TQIP is designed to give each hospital an objective measure of its trauma center's performance compared to that of other trauma centers. It is meant as a self-reflective tool to be used in determining how to improve outcomes and decrease costs by understanding the reasons for variability and identifying best practices. Results are not intended to be used for marketing purposes or bestowing competitive advantages. TQIP reports allow hospitals to focus on outcomes and workflows, including care coordination, in-hospital processes, and resource allocation.

Deliverables
TQIP's external benchmarking utilizes NTDB data collection and NTDS with specific enhancements. Deliverables comprise risk adjusted hospital comparisons in the form of one annual benchmark report as well as two separate annual reports related to a topic of interest and the TQIP online analysis tool. Education and training are delivered via the annual meeting, online training, monthly educational experiences for abstractors, and monthly open forum calls for registry staff. Data are submitted quarterly and quality is monitored through a data validation site visit, a TQIP validator, and data quality reporting. Feedback to participating trauma centers about their relative performance encourages the sharing of practices during the annual meeting with emphasis on high performers and web conferences.

The TQIP annual fee is $9,000 and includes the deliverables above. Additional costs include the salary of the registrar and trauma registry software. As the compilation and maintenance of the trauma registry are required for verification, the additional cost to a currently verified trauma center is for participation.

Debate

Data
TQIP's outcome estimates are heavily dependent on data quality and sample size for each participating trauma center. Despite the development of sophisticated statistical models which attempt to mitigate errors in precision, the small sample sizes of highly specific trauma patient populations will inevitably skew results. Similarly, centers reporting data need to be hyper-aware of their reporting for data fields for certain patient populations susceptible to biased or missing data (e.g., high prevalence of low Injury Severity Scores for patients with early death who did not receive complete diagnostic testing or autopsies).

Racial/ethnic minority trauma outcomes
, TQIP has not incorporated measures related to racial disparities in trauma outcomes. However, there is evidence to suggest that differences in trauma outcomes are due to the overall quality of hospitals serving higher proportions of minority patients, rather than being due to discriminatory delivery of care; that is, these hospitals are less likely to provide recommended care to patients. In fact, almost 80% of trauma centers serving primarily minority patients are classified as high mortality trauma centers due to their ratios of observed-to-expected survival rates. Patients from all racial and ethnic backgrounds appear to be 40% more likely to survive when treated at low mortality trauma centers when compared with patients of the same race and ethnicity with the same injuries being treated at high mortality trauma centers. Differences between groups are relatively small compared to overall discrepancies between recommended and observed care. Still, high mortality status is not universal among institutions treating predominantly minority patients, and TQIP has not addressed this inequity.

Exclusions
TQIP excludes from statistical analyses all dead on arrival (DOA) patients and those who expire in the emergency department. This is done out of concern regarding varying patient transit times among trauma centers located in more urban vs. rural environments as well as the severity of injuries more likely to be present at certain trauma centers. However, this practice has the potential to remove a sizable number of patients from a trauma center's mortality index (for example, if a trauma center that is exceptionally skillful at the resuscitation phase of care may receive no credit), thus impeding analysis of a vital component of trauma care. Similarly, there can be great variation in how trauma centers classify DOA patients, leading to differences in treatment (e.g., resuscitation attempts or other invasive procedures). While independent researchers have found that inclusion of ED deaths in statistical analyses yields only small, insignificant changes in TQIP outcomes, doing so eliminates bias that might otherwise be introduced.

Current status
, over 200 Level I or Level II trauma centers are participating in TQIP, which is facilitating the identification of high performers. Enrollment is done on a rolling basis that allows hospitals to join at any time. Additionally, a pediatric TQIP pilot with thirty-eight participating centers is currently underway and external data validation has been implemented.

References

External links
 TQIP website
 American College of Surgeons
 Michigan TQIP

Traumatology


title: Mirzamohammadi

text:
Mirzamohammadi () may refer to:
 Mirzamohammadi-ye Bala
 Mirzamohammadi-ye Pain


title: The Best of The Dubliners

text:
The Best of The Dubliners is a UK 1967 compilation album by The Dubliners. It charted at No. 25 and remained in the top 40 chart in the UK for nearly three months.

Charts

References

1967 compilation albums
The Dubliners compilation albums


title: Cam McCarthy

text:
Cameron McCarthy (born 1 April 1995) is an Australian rules footballer who last played for the Fremantle Football Club in the Australian Football League (AFL). He previously played for the Greater Western Sydney Giants from 2013 to 2016.

Early career
McCarthy came from a cricket background and focused on becoming a footballer after being the last player chosen in the Western Australia under 18 team in 2013, this was due to his talents in both cricket and football. He chose the AFL pathway after some inspiration from a South Fremantle colts coach. He came to prominence with an impressive AFL Under 18 Championships with the highlight being when he kicked the after-the-siren winning goal for Western Australia against Vic Country in round four of the Championships, before suffering a broken leg in the final round against South Australia.

AFL career
He was drafted by the Greater Western Sydney Giants with pick 14 in the 2013 AFL draft. He made his debut in round 23, 2014 against the Western Bulldogs at Etihad Stadium, McCarthy started the game as the substitute, but kicked a long goal from the boundary line with his first kick in AFL football.

On 10 September 2015, news broke that McCarthy was requesting a trade to his home state of Western Australia, the next day, Greater Western Sydney "categorically rejected" his trade request due to him being contracted until the end of the 2017 season. Despite persistent efforts by  during the trade period, he remained at Greater Western Sydney. After the failed bid to move to Fremantle during the home period, McCarthy decided to return to Western Australia due to homesickness and did not play for the entirety of the 2016 AFL season. He was officially traded to Fremantle during the 2016 trade period.

In 2017, McCarthy kicked 25 goals from 19 games. He finished first in Fremantle's leading goal kicking. He was suspended for two weeks in round 15 for careless contact with St Kilda's Sam Gilbert. He was also surprisingly omitted from the round 23 team who took on Essendon. His most noted performance came in Round 4 where he kicked a late goal, with a toe-poke deep in the goal square, with 2 minutes remaining to lead Fremantle to a 2-point victory over Melbourne, in Melbourne. Another impressive performance was a 4-goal haul, with 18 disposals, against Gold Coast in round 20 at Domain Stadium.

In 2019, ahead of the Round 1 clash with North Melbourne, McCarthy was called up to the senior team seemingly as a replacement for new recruit Jesse Hogan, despite not playing in either pre-season match. He was arguably Fremantle's best player in the demolition of North Melbourne in a career-best performance, kicking five goals and collecting 20 disposals.

In August 2020, McCarthy was notified by the Fremantle Football Club that he would not be receiving a contract for the 2021 AFL Season; McCarthy and Fremantle mutually parted ways.

Statistics
 Statistics are correct to the end of the 2020 season

|- style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2014
|style="text-align:center;"|
| 25 || 1 || 1 || 0 || 3 || 2 || 5 || 2 || 2 || 1.0 || 0.0 || 3.0 || 2.0 || 5.0 || 2.0 || 2.0
|-
! scope="row" style="text-align:center" | 2015
|style="text-align:center;"|
| 25 || 20 || 35 || 14 || 132 || 48 || 180 || 73 || 24 || 1.8 || 0.7 || 6.6 || 2.4 || 9.0 || 3.6 || 1.2
|-  style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2016
|style="text-align:center;"|
| 25 || 0 || — || — || — || — || — || — || — || — || — || — || — || — || — || —
|-  style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2017
|style="text-align:center;"|
|23 || 19 || 25 || 19 || 150 || 65 || 215 || 65 || 45 || 1.3 || 1 || 7.9 || 3.4 || 11.3 || 3.4 || 2.4
|-  style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2018
|style="text-align:center;"|
|23 || 17 || 19 || 17 || 107 || 62 || 169 || 65 || 30 || 1.1 || 1 || 6.3 || 3.6 || 9.9 || 3.8 || 1.8
|-  style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2019
|style="text-align:center;"|
|23 || 12 || 19 || 7 || 94 || 42 || 136 || 49 || 15 || 1.6 || 0.6 || 7.8 || 3.5 || 11.3 || 4.1 || 1.3
|-  style="background-color: #EAEAEA"
! scope="row" style="text-align:center" | 2020
|style="text-align:center;"|
|23 || 1 || 0 || 1 || 8 || 3 || 11 || 3 || 1 || 0 || 1 || 8 || 3 || 11 || 3 || 1
|-  style="background-color: #EAEAEA"
|- class="sortbottom"
! colspan=3| Career
! 70
! 99
! 58
! 494
! 222
! 716
! 257
! 117
! ~
! ~
! ~
! ~
! ~
! ~
! ~
|}

References

External links

1995 births
Living people
South Fremantle Football Club players
Australian rules footballers from Western Australia
Greater Western Sydney Giants players
Fremantle Football Club players
Peel Thunder Football Club players


title: Nivar, Iran

text:
Nivar () in Iran may refer to:
 Nivar-e Olya
 Nivar-e Sofla


title: Popcorn (music style)

text:
Popcorn (sometimes Belgian popcorn or oldies popcorn) is a style of music and dancing first established in Belgium in the 1970s and 1980s. The style includes a wide variety of mostly American and British recordings of pop-soul music made between the late 1950s and mid 1960s, often relatively obscure, and characterized by a slow or medium, rather than fast, tempo. The style has been described by musician and writer Bob Stanley as "possibly the last truly underground music scene in Europe."

Overview
According to Stanley, "the purity of Belgian Popcorn is its very impurity. R&B, Broadway numbers, tangos, Phil Spector-esque girl groups and loungey instrumentals, they are all constituent parts of a rare, and still largely undiscovered scene." By the 1990s, the Popcorn dance scene retained a core of aficionados even outside Belgium, having a level of recognition in venues and specialist clubs in Britain, Germany, and the US, with at least 30 compilations of American R&B and pop music in the Belgian Popcorn style being re-issued in Europe.

Examples of highly prized popcorn records include "Sweetheart" by Peggy Lee, "Image" by Hank Levine, "Now I Lay Me Down to Weep" by Simone Dina, "The Tingle" by Jackie Weaver, "Who's Got the Action" by Phil Colbert, "Heartless Lover" by Dick Baker, "La Tanya" by Jay Abbott, "Carmelita" by Jeff Lane, "I'm Crying in the Rain" by Major Lance, "You Beat Me to the Punch" by Mary Wells, "Comin' Home Baby" by Mel Tormé, and "Twine Time" by Alvin Cash.

Origins
The Popcorn music scene first developed from dances held at the Groove discotheque in Ostend, where mid-tempo soul and ska music played by DJ Freddy Cousaert became popular in the late 1960s. Cousaert was later responsible for Marvin Gaye's move to Belgium in the early 1980s.

In September 1969, a café, De Oude Hoeve, opened in a converted farm barn at Vrasene near Antwerp, and began holding dance competitions on Sunday afternoons. Soon up to 3,000 people began attending each week, dancing in a "slow swing" style to soul and funk records.  The café was renamed the Popcorn – after the James Brown hit "The Popcorn"—and DJ Gilbert Govaert began playing more early soul and other records from the 1960s to suit the dance style. According to Stanley: "The beat was slow and slightly rickety, martial drums rolled under melancholy minor chords—the Marvelettes' 'Please Mr Postman' (1961) would have been typical."

Following the Popcorn club's popularity, other clubs sprang up playing music in a similar style.  These included the Festival in Antwerp, the Gatsby in Vliermaal, and the Versailles, beside the beach at Ostend.  As well as Cousaert and Govaert, other leading DJs included Jeff Callebaut, Gerry Franken, and Georges Toniotti.  Radio stations were set up to play the music, and rare music on obscure labels became especially prized.  The scene in Belgium, in many ways, paralleled the Northern soul scene in Britain, but with a slower swing style of music favoured, rather than the fast dance styles characteristic of Northern soul.  In some cases, DJs slowed down records, by pitch control and by playing 45 rpm discs at 33 rpm, to achieve the desired tempo and rhythm.  The range of the music also broadened, to include some British and Italian pop music from the early 1960s, and eventually local bands were formed to emulate the style.

See also
 New beat

References

External links
  Belgian Popcorn: short documentary
  Popcorn Oldies site
  Popcorn City radio station

Musical subcultures
Culture of Belgium
Pop music genres


title: Patal, Fars

text:
Patal (, also Romanized as Pātal) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. In the 2006 census, its population was 26, in the form of 8 families.

References

Populated places in Sepidan County


title: Pol Khoda Afarin

text:
Pol Khoda Afarin (, also Romanized as Pol Khodā Āfarīn) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 24, in 7 families.

References

Populated places in Sepidan County


title: Shah Mohammadi

text:
Shah Mohammadi (, also Romanized as Shāh Moḩammadī) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 89, in 17 families.

References

Populated places in Sepidan County


title: Sahuk

text:
Sahuk (, also Romanized as Sahūk) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 35, in 11 families.

References

Populated places in Sepidan County


title: Sar Qanat, Sornabad

text:
Sar Qanat (, also Romanized as Sar Qanāt) is a village in Sornabad Rural District, Hamaijan District, Sepidan County, Fars Province, Iran. At the 2006 census, its population was 85, in 23 families.

References

Populated places in Sepidan County