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Lost in Translation is a 2003 romantic comedy-drama film[note 1] written and directed by Sofia Coppola. Bill Murray stars as Bob Harris, a fading American movie star who is having a midlife crisis when he travels to Tokyo to promote Suntory whisky. There, he befriends another estranged American named Charlotte, a young woman and recent college graduate played by Scarlett Johansson. Giovanni Ribisi and Anna Faris also feature. The film explores themes of alienation and disconnection against a backdrop of cultural displacement in Japan. Further analysis by critics and scholars has focused on the film's defiance of mainstream narrative conventions and its atypical depiction of romance.

Coppola started writing the film after spending time in Tokyo and becoming fond of the city. She began forming a story about two characters experiencing a "romantic melancholy"[4] in the Park Hyatt Tokyo, where she stayed while promoting her first feature film, the 1999 drama The Virgin Suicides. Coppola envisioned Murray playing the role of Bob Harris from the beginning and tried to recruit him for up to a year, relentlessly sending him telephone messages and letters. While Murray eventually agreed to play the part, he did not sign a contract; Coppola spent a quarter of the film's $4 million budget without knowing if he would actually appear for shooting. When Murray finally arrived, Coppola described feelings of significant relief.

Principal photography began on September 29, 2002, and lasted 27 days. Coppola kept a flexible schedule during filming with a small crew and minimal equipment. The screenplay was short and Coppola often allowed a significant amount of improvisation during filming. The film's director of photography, Lance Acord, used available light as often as possible and many Japanese places of business and public areas were used as locations for shooting. After 10 weeks of editing, Coppola sold distribution rights for the United States and Canada to Focus Features, and the company promoted the film by generating positive word of mouth before its theatrical release.

Lost in Translation premiered on August 29, 2003, at the Telluride Film Festival, and was distributed to American theatres on September 12, 2003, to major critical and commercial success. Critics praised the performances of Murray and Johansson, as well as the writing and direction of Coppola; minor criticism was given to the film's depiction of Japan. At the 76th Academy Awards, Lost in Translation won Coppola the Best Original Screenplay, and the film was also nominated for Best Picture, Best Director (Coppola), and Best Actor (Murray). Other accolades won include three Golden Globe Awards and three British Academy Film Awards.

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he Next Day is the 25th studio album by the English musician David Bowie, released in March 2013. Having retreated from public view after undergoing surgery for a blocked artery in 2004, it was his first studio release in ten years. Co-produced by Bowie and Tony Visconti, the album was recorded in New York City between May 2011 and October 2012. It featured contributions from session musicians, some of whom he had worked with in the past, including Gerry Leonard, Earl Slick, Gail Ann Dorsey, Steve Elson, Sterling Campbell and Zachary Alford. Recording took place in secret; all personnel involved signed non-disclosure agreements.

Primarily an art rock album, The Next Day references Bowie's earlier glam and funk releases. The generally bleak lyrics draw from his reading of English and Russian history and examine themes of tyranny and violence. The cover art is an adapted version of Bowie's 1977 album "Heroes" by designer Jonathan Barnbrook, who placed a white square with the album's title over Bowie's face and crossed out the "Heroes" title. The album was released through ISO Records in association with Columbia Records.

The lead single "Where Are We Now?" and announcement of the album were posted online on 8 January 2013, Bowie's 66th birthday, surprising fans and media who had assumed he had retired from music. Preceded by a viral marketing campaign, The Next Day topped charts worldwide and debuted at number one and two on the UK Albums Chart and US Billboard 200, respectively. It was Bowie's first UK number-one album since 1993 and his highest-charting US album to date. Several singles with accompanying music videos were released throughout 2013. Outtakes and remixes appeared on The Next Day Extra, released in November.

The Next Day was praised by critics as Bowie's best work in decades; it placed on several year-end lists. Many reviewers highlighted the vocal and musical performances, and made positive comparisons to his earlier works, though some felt the album lacked innovation and was overlong. Among the first surprise albums of the 2010s, The Next Day was included in the 2014 revised edition of the book 1001 Albums You Must Hear Before You Die.

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Mars, the fourth planet from the Sun, has appeared as a setting in works of fiction since at least the mid-1600s. Trends in the planet's portrayal have largely been influenced by advances in planetary science. It became the most popular celestial object in fiction in the late 1800s when it became clear that there was no life on the Moon. The predominant genre depicting Mars at the time was utopian fiction. Around the same time, the mistaken belief that there are canals on Mars emerged and made its way into fiction, popularized by Percival Lowell's speculations of an ancient civilization having constructed them. The War of the Worlds, H. G. Wells's novel about an alien invasion of Earth by sinister Martians, was published in 1897 and went on to have a major influence on the science fiction genre.

Life on Mars appeared frequently in fiction throughout the first half of the 1900s. Apart from enlightened as in the utopian works from the turn of the century, or evil as in the works inspired by Wells, intelligent and human-like Martians began to be depicted as decadent, a portrayal that was popularized by Edgar Rice Burroughs in the Barsoom series and adopted by Leigh Brackett among others. More exotic lifeforms appeared in stories like Stanley G. Weinbaum's "A Martian Odyssey".

The theme of colonizing Mars replaced stories about native inhabitants of the planet in the second half of the 1900s following emerging evidence of the planet being inhospitable to life, eventually confirmed by data from Mars exploration probes. A significant minority of works persisted in portraying Mars in a nostalgic way that was by then scientifically outdated, including Ray Bradbury's The Martian Chronicles.

Terraforming Mars to enable human habitation has been another major theme, especially in the final quarter of the century, the most prominent example being Kim Stanley Robinson's Mars trilogy. Stories of the first human mission to Mars appeared throughout the 1990s in response to the Space Exploration Initiative, and near-future exploration and settlement became increasingly common themes following the launches of other Mars exploration probes in the latter half of the decade. In the year 2000, science fiction scholar Gary Westfahl estimated the total number of works of fiction dealing with Mars up to that point to exceed five thousand, and the planet has continued to make frequent appearances across several genres and forms of media since. In contrast, the moons of Mars—Phobos and Deimos—have made only sporadic appearances in fiction.

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Banksia dentata, commonly known as the tropical banksia,[2] is a species of tree in the genus Banksia. It occurs across northern Australia, southern New Guinea and the Aru Islands. Growing as a gnarled tree to 7 m (23 ft) high, it has large green leaves up to 22 cm (8.7 in) long with dentate (toothed) margins. The cylindrical yellow inflorescences (flower spikes), up to 13 cm (5.1 in) high, appear between November and May, attracting various species of honeyeaters, sunbirds, the sugar glider and a variety of insects. Flowers fall off the ageing spikes, which swell and develop follicles containing up to two viable seeds each.

Banksia dentata is one of four Banksia species collected by Sir Joseph Banks in 1770, and one of the four species published in 1782 as part of Carolus Linnaeus the Younger's original description of Banksia. Within the genus, it is classified in the series Salicinae, a group of species from Australia's eastern states. Genetic studies show it is a basal member (early offshoot) within the group. Banksia dentata is found in tropical grassland known as savanna, associated with Pandanus and Melaleuca. It regenerates from bushfire by regrowing from its woody base, known as a lignotuber.

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His Majesty's Theatre is a West End theatre situated in the Haymarket in the City of Westminster, London. The building, designed by Charles J. Phipps, was constructed in 1897 for the actor-manager Herbert Beerbohm Tree, who established the Royal Academy of Dramatic Art (RADA) at the theatre. In the early decades of the 20th century Tree produced spectacular productions of Shakespeare and other classical works, and the theatre hosted premieres by such playwrights as Bernard Shaw, J. M. Synge and, later, Noël Coward and J. B. Priestley. Since the First World War the wide stage has made the theatre suitable for large-scale musical productions, and His Majesty's has accordingly specialised in hosting musicals. It has been home to record-setting musical theatre runs such as the First World War hit Chu Chin Chow and Andrew Lloyd Webber's The Phantom of the Opera, which has run at His Majesty's since 1986, except during the Covid-19 pandemic theatre closures.

The first theatre on the site was established in 1705 by the architect and playwright John Vanbrugh as the Queen's Theatre. Legitimate drama unaccompanied by music was prohibited by law in all but the two London patent theatres, and the theatre quickly became an opera house. Between 1711 and 1739 more than 25 operas by George Frideric Handel premiered here. The theatre burnt down in 1789, and a new theatre was completed in 1791. Some of Joseph Haydn's series of concerts in London took place at the theatre in the 1790s. In the early 19th century the theatre was home to an opera company (which moved to the Theatre Royal, Covent Garden, in 1847) presenting the first London performances of Mozart's La clemenza di Tito, Così fan tutte and Don Giovanni. It also hosted the ballet of Her Majesty's Theatre in the mid-19th century, before returning to opera with the London premieres of such works as Bizet's Carmen and Wagner's Ring cycle. A third building was constructed in 1868.

The theatre's capacity is 1,216 seats, and the building was Grade II* listed by English Heritage in 1970. LW Theatres has owned the building since 2000. The land beneath it is on a long-term lease from the Crown Estate. The name of the theatre changes with the gender of the monarch. Throughout the reign of Queen Victoria it was called Her Majesty's Theatre, reverting to His Majesty's on the accession of Edward VII in 1901. In 1952 the theatre again became Her Majesty's on the accession of Elizabeth II. Following the accession of Charles III in 2022 the name reverted to His Majesty's.

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SS Princess Alice, formerly PS Bute, was a British passenger paddle steamer that sank on 3 September 1878 after a collision with the collier SS Bywell Castle on the River Thames. Between 600 and 700 people died, all from Princess Alice, the greatest loss of life of any British inland waterway shipping accident. No passenger list or headcount was made, so the exact figure of those who died has never been known.

Built in Greenock, Scotland, in 1865, Princess Alice was employed for two years in Scotland before being purchased by the Waterman's Steam Packet Co to carry passengers on the Thames. By 1878 she was owned by the London Steamboat Co and was captained by William R. H. Grinstead; the ship carried passengers on a stopping service from Swan Pier, near London Bridge, downstream to Sheerness, Kent, and back. On her homeward journey, at an hour after sunset on 3 September 1878, she passed Tripcock Point and entered Gallions Reach. She took the wrong sailing line and was hit by Bywell Castle; the point of the collision was the area of the Thames where 75 million imperial gallons (340,000 m3) of London's raw sewage had just been released. Princess Alice broke into three parts and sank quickly; her passengers drowned in the heavily polluted waters.

Grinstead died in the incident, so the subsequent investigations never established which course he thought he was supposed to take. The jury in the coroner's inquest considered both vessels at fault, but more blame was put on Bywell Castle; the inquiry run by the Board of Trade found that Princess Alice had not followed the correct path and her captain was culpable. In the aftermath of the sinking, changes were made to the release and treatment of sewage, and it was transported to, and released into, the sea. The Marine Police Force—the branch of the Metropolitan Police that had responsibility for policing the Thames—were provided with steam launches, after the rowing boats used up to that point had proved insufficient for the rescue. Five years after the collision Bywell Castle sank in the Bay of Biscay with the loss of all forty crew.

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The Rhodesia Information Centre (RIC), also known as the Rhodesian Information Centre,[2] the Rhodesia Information Service,[3] the Flame Lily Centre and the Zimbabwe Information Centre, represented the Rhodesian government in Australia from 1966 to 1980. As Australia did not recognise Rhodesia's independence it operated on an unofficial basis.

Rhodesia's quasi-diplomatic presence in Australia was initially established in Melbourne during 1966 as the Rhodesian Information Service. This organisation closed the next year, and was replaced with the RIC in Sydney. The centre's activities included lobbying politicians, spreading propaganda about white minority rule in Rhodesia and advising Australian businesses on how they could evade the United Nations sanctions that had been imposed on the country. It collaborated with a far-right organisation and a pro-Rhodesia community organisation. These activities, and the centre's presence in Australia, violated United Nations Security Council resolutions, including some that specifically targeted it and the other Rhodesian diplomatic posts. The RIC had little impact, with Australian media coverage of the Rhodesian regime being almost entirely negative and the government's opposition to white minority rule in Rhodesia hardening over time.

While the centre was initially tolerated by the Australian government, its operations became controversial from the early 1970s. The RIC's role in disseminating propaganda was revealed in March 1972, but the government of the day chose to not take any substantive action in response. The Whitlam government that was in power from late 1972 to November 1975 unsuccessfully attempted to force the centre to close on several occasions, with the High Court ruling one of the attempts to have been illegal. In 1977 the Fraser government also attempted to close the RIC, but backed down in the face of a backbench revolt over the issue. The Zimbabwean government shut the centre in May 1980 after the end of white minority rule and later established an official embassy in Australia.

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Robert Earl Kaske (1 June 1921 – 8 August 1989) was an American professor of medieval literature. He spent most of his career at Cornell University in Ithaca, New York, where he was the Avalon Foundation Professor in the Humanities, and where he founded one of the preeminent medieval studies graduate programs in North America. His published output included lengthy interpretations of Beowulf and of poems and passages by Dante and Chaucer, and frequently constituted leading studies. Kaske particularly enjoyed solving cruxes, with articles on problematic passages in works such as Pearl, Piers Plowman, the Divine Comedy, The Husband's Message, The Descent into Hell, and Beowulf.

Born in Cincinnati and a straight-A student in high school, Kaske studied liberal arts at Xavier University and joined a variety of student literary organizations there. He was a four-year member of the Reserve Officers' Training Corps, and was commissioned a second lieutenant before his 1942 graduation; much of the next four years was spent with the Army in the South Pacific during World War II. While there he read a story about a dusk-to-dawn conversation between two professors and, entranced by the prospect of such intellectual discussions, decided on an academic career. Kaske enrolled in the English literature program at the University of North Carolina at Chapel Hill (UNC) on the back of the G.I. Bill, received his master's in 1947, and his PhD in 1950.

From 1950 to 1963 Kaske held posts at Washington University in St. Louis, Pennsylvania State University, UNC, and the University of Illinois at Urbana–Champaign, rising from lecturer to full professor along the way; he termed his departure from UNC as the time he "published himself out of paradise".[3] A visiting professorship at Cornell in 1963 became permanent in 1964, and Kaske remained at the university for the rest of his life.

A popular and "Falstaffian" professor,[4] Kaske, along with the medieval studies program he founded, was credited by colleagues with producing the backbone of the discipline's next scholastic generation. His editorial imprint was visible in the works of many, including former students and those who submitted papers to the journal Traditio, which he edited. Over the course of his career he collected what one former student termed "most of the awards and honors possible for a medieval scholar",[5] including fellowships from the National Endowment for the Humanities and the American Council of Learned Societies, and two Guggenheim Fellowships.

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The Marmaduke–Walker duel was fought between John S. Marmaduke and Lucius M. Walker, two generals in the Confederate States Army, on September 6, 1863, near Little Rock, Arkansas. Tensions had risen between the two officers during the Battle of Helena on July 4, 1863, when Marmaduke accused Walker of not supporting his force, and then retaliated by not informing Walker of a Confederate retreat. Marmaduke was later assigned to serve under Walker during a Union advance against Little Rock. Walker did not support Marmaduke during a retreat after the Battle of Brownsville, and Marmaduke questioned Walker's courage after the Battle of Bayou Meto on August 27. A series of notes passed between the two generals by friends resulted in a duel, during which Walker received a fatal wound. Marmaduke was arrested, but later released; he survived the war and later became Governor of Missouri. Union forces captured Little Rock later in the campaign, after the Battle of Bayou Fourche.

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The UEFA Euro 1976 Final was the final match of Euro 1976, the fifth edition of the European Championship, UEFA's top football competition for national teams. Contested by Czechoslovakia and West Germany, the match was played at Stadion Crvena Zvezda, Belgrade, Yugoslavia, on 20 June 1976. En route to the final, Czechoslovakia finished top of their qualifying group, which included England, Cyprus and Portugal. After beating the Soviet Union 4–2 on aggregate over a two-legged tie in the quarter-finals, they progressed to the final after defeating the Netherlands 3–1 after extra time in the semi-final. West Germany won their qualifying group, which included Greece, Malta and Bulgaria, before beating Spain 3–1 on aggregate in the two-legged quarter-final and tournament hosts Yugoslavia 4–2 after extra time in the single-match semi-final.

The final took place in front of 30,790 supporters and was refereed by Sergio Gonella from Italy. Czechoslovakia took the lead in the eighth minute through Ján Švehlík. Midway through the first half, Hans-Georg Schwarzenbeck fouled Koloman Gögh and Marián Masný took the resulting free kick, which was cleared by Franz Beckenbauer as far as Karol Dobiaš, who struck a half-volley past Sepp Maier, the West Germany goalkeeper, to make it 2–0. Within four minutes, West Germany had halved the deficit as Dieter Müller volleyed Rainer Bonhof's cross into the Czechoslovak goal. In the final minute of regular time, West Germany won a corner, which was headed past Ivo Viktor by Bernd Hölzenbein at the near post, and the game went into extra time.

With no change to the score in the additional period, the first penalty shoot-out in a European Championships final ensued. The first seven kicks were converted, until West Germany's fourth penalty taker, Uli Hoeneß, struck his shot over the bar. With the score 4–3, Antonín Panenka stepped up to take the fifth Czechoslovak penalty. Maier dived while Panenka gently lobbed the ball straight in the middle of the net to win the match 5–3 and secure Czechoslovakia's first European Championship. Panenka's name is now synonymous with that particular style of penalty kick.