who was the boy in the never ending story

Bastian Balthazar Bux is a shy and bookish boy around 12 years old who is neglected by his father, who is still mourning the sudden death of his wife (she died of an unspecified illness). He is a dreamer, who is shunned by other children due to his immense imagination. During a visit to an antique bookstore, he steals a curious-looking book titled The Neverending Story, and upon reading it he finds himself literally drawn into the story.

List of The Neverending Story characters

This article lists character information from the book The Neverending Story and the film adaptations of the same name.

Halfway through the book, Bastian becomes a character in The Neverending Story, in a world called Fantastica ("Fantasia" in the films, which is closer to the German original "PhantÃ¡sien"). He is bestowed the magical amulet AURYN, which allows his wishes to be granted. As the story progresses, Bastian slowly loses his memories of the real world as his wishes carry him throughout Fantastica and change him into a completely different person. Deluded by the witch Xayide, Bastian moves to the Ivory Tower and tries to have himself proclaimed Emperor. The ceremony is interrupted by Atreyu, who is nearly killed by Bastian.

Eventually, Bastian realizes that he is beginning to lose himself, and starts a desperate last-ditch quest for his one true desire. In the end he forgets even his name, but with the help of Falkor and Atreyu, who promise to finish the stories he started, he manages to return to the human world with the capability of loving, which was his deepest (and thereto unknown) desire, and bringing to his father the Water of Life, curing him of his melancholy. Bastian and Coreander exchange tales of their adventures in Fantastica, and Coreander reveals that a person can return to Fantastica as many times as they can think of new names for the benevolent Childlike Empress, and predicts Bastian will show others the way to Fantastica.

He has been portrayed by five different actors:

Atreyu (German: AtrÃ©ju) is the protagonist of the mysterious book that Bastian reads. To the readership, Atreyu is a metafictional character, existing fictionally and within the reality of the book itself. He is described as having green skin and blue hair.

He is a young warrior from the Grassy Plains (in German, "The Grassy Sea"). His parents were killed by a Purple Buffalo soon after he was born, and his entire village raised him; wherefore his name means "son of all" in his native language. He is summoned by the Childlike Empress to save the land of Fantasia by finding a cure for her illness, and given AURYN, an amulet that makes whoever wears it the Childlike Empress' herald. During the quest to find a cure, he meets Falkor the luckdragon, who becomes his steed after the death of his horse 'Artax'. Bastian, reading Atreyu's story in the real world, experiences everything Atreyu does; this proves Fantasia's solution and the Empress' cure, in bringing Bastian to Fantastica to give the Empress a new name.

Atreyu features largely in the second half of the novel, as Bastian travels Fantasia far and wide as its savior. They quickly become friends, but as Bastian continues to use AURYN, he becomes arrogant and gradually loses his memory. When Bastian has lost even his name, Atreyu and Falkor offer favorable testimony to the powers in AURYN, who allow Bastian's return to the human world. With their friendship restored, Atreyu promises to finish the stories Bastian has begun in Fantastica.

In the 1984 film version, the character of Atreyu is played by Noah Hathaway. His skin is not olive green as described in the book; though it was attempted to do this through makeup, it never made it to the final production.[1] As such, his people were called the 'Plains People' instead of Greenskins.

The character also makes a return appearance in The NeverEnding Story II: The Next Chapter, played by Kenny Morrison. In the 1995 animated show, Atreyu and his people are, as in the original novel, green-skinned; but this version of Atreyu has a younger sister named Saiya, and his outward appearance has been patterned after Noah Hathaway from the first movie.

In the 2001 Hallmark Channel mini-series, Tales from the Neverending Story, he is portrayed by Tyler Hynes and the character's people are called the Woodland People. He is shown to have a romantic relationship with a young aviatrix called "Fly Girl", and to be something of a village innocent.

Carl Conrad Coreander (Karl Konrad Koreander in German) is a cantankerous bookseller, and the name of his bookstore makes for the first words in the novel, the heading of the prologue being "skooB dlO srednaeroC darnoC lraC", the store name when viewed through the window from the inside outwards. Bastian finds the Neverending Story in his store. While Coreander is distracted by a telephone call, Bastian steals it and takes it to school with him.

In the end, the novel makes it clear that Mr. Coreander is one of the few humans who has been to Fantastica and returned. He and Bastian come to a better understanding and share telling the stories of their adventures to one another. Both he and Bastian share the oddity of triple letter initials, an insight into their mutual connection to Fantastica.

Coreander is portrayed by Thomas Hill in the first film, and was the only actor who reprised his role in the second film; however, in the third film, he is played by Freddie Jones. In the television series, Tales from the Neverending Story, he functions in a double role as a wizard in Fantasia wherein he is called "the Curiosity".

The Childlike Empress (Die Kindliche Kaiserin in German) is the mysterious and benevolent monarch of Fantastica, who resides in the capital called Ivory Tower in the heart of the realm. Although she is nominally the ruler of Fantastica, she rarely interacts with the outside world. Should she die, Fantastica and all Fantasticans would cease to exist.

The amulet known as the 'AURYN' is her emblem, and those who wear it are her representatives. As explained by Morla the Aged One, her lifetime is not measured in years or in time ("she is much older than the oldest inhabitants of Fantastica, or rather, she is ageless"), but by names, which only the imagination of a human child can give her. When she begins to need a new name, she begins to fade away, causing the Nothing to appear in Fantastica. She sends Atreyu on the Great Quest, which brings Bastian Balthazar Bux to Fantastica, and Bastian gives her the name of 'Moon Child' (Mondenkind in German), which restores Fantastica and begins the second half of the novel.

Her description is that of an indescribably beautiful young girl, appearing no older than ten, yet much older than the oldest Fantasticans. Her hair is snow-white, as is her gown, and her eyes are the color of gold, earning her the title "Golden-Eyed Commander of Wishes" (Goldäugige Gebieterin der Wünsche in German).

The role was portrayed by Tami Stronach in Wolfgang Petersen's 1984 adaptation, by Alexandra Johnes in The NeverEnding Story II: The Next Chapter (1990) and by Julie Cox (apparently as an adolescent) in The NeverEnding Story III (1994). In the films, her hair is dark, rather than white, and in the first film, she is dressed like a bride.

In the 2001 television series Tales from the Neverending Story, the Empress, again depicted with dark hair, was played by Audrey Gardiner.

The Empress was also featured in an animated Neverending Story television series (episodes of which were edited into a film), in which she had golden hair and wore a green gown. Her voice was provided by Lisa Yamanaka.

Engywook (Engywuck in German) and his wife Urgl, called in German the "Zweisiedler" (neologism from "Einsiedler" hermit; roughly "doublitarian") are a quarrelsome pair of gnomes who live close to the Southern Oracle. Engywook is a research scientist who has studied the Southern Oracle and her three gates for most of his life, but has never entered any. His wife Urgl often gets in his way while brewing potions in a large cauldron, for healing wounded people. Engywook can observe the Riddle Gate, also known as the Sphinxes, from his telescope on a hilltop overlooking the first gate. In the book, Urgl removes poison from Atreyu and Engywook instructs him about the three gates that lead to the Southern Oracle. This scene is portrayed in the 1984 film, Engywook played by Sydney Bromley, and Urgl played by Patricia Hayes.

In the third film of the series, Engywook, played by Tony Robinson, and Urgl, played by Moya Brady, have moved to a forest and still argue continuously. The house is stepped on by Bastian during his return trip to Fantasia, although it is then completely destroyed by the Nasties. The two go with Bastian, Falkor, and Bark Troll to find the Empress for help, but are stranded on Earth and arrive in Alaska, where they mail themselves to the others and return home, their house rebuilt.

Falkor (Fuchur in German) is a companion of Atreyu and Bastian. He is the only luckdragon to appear, although five others are mentioned in passing. He helps Atreyu find a cure for the Empress after escaping the web of Ygramul the Many.

The original name "Fuchur" is derived from Japanese "Fukuryuu" (福竜 or 福龍, "lucky dragon").[citation needed] It was changed in the English translation because the pronunciation of the original name is similar to that of the agentive form of an English expletive. Personality wise, Falkor is optimistic, friendly, dignified, helpful and wise, trying to help Bastian remember to "never give up and good luck will find you."

Falkor has an elongated body with rudimentary paws and pink scales and hairs that appear white in dull light. His head is described less precisely, though his eyes are given the colour of rubies. In the illustrations of the German novel, he appears much like an oriental dragon or his appearance is of a dog (Goldendoodle); whereas a cover for the book by Dan Craig illustrated Falkor as lion-like; and in the 1984 film adaptation of the novel, as well as its sequels, Falkor has canine features upon a white furred body and is pleased by affectionate scratchings behind his ear. Luckdragons possess neither an immense physical strength, nor great magical talents, though they can exhale fire, which is blue, as when Falkor fights Ygramul. Their only distinctive ability that sets them apart is incredible luck in everything they do, as shown when Falkor locates and rescues his companion after being lost in a violent, blinding storm. When in flight, a luckdragon is in constant motion. Luckdragons never stop drawing air and heat through their scales, which makes eating unnecessary and makes submersion in water deadly to them. Luckdragons are capable of sleeping while flying, and prefer to occupy as much open space as possible.

In the first film, Falkor is voiced by Alan Oppenheimer. In the second film, Falkor is voiced by an uncredited Donald Arthur. In the third film, Falkor is performed by Gord Robertson and voiced by William Hootkins. Bavaria Film Studios retains a "side view Falkor" which tourists can climb and ride. The prop is the last remaining version of Falkor from the original film, and was used for blue-screen side angle shots.

Gmork is one of the main villains of the story. He is the servant of the power behind the Nothing. His appearance in the book is that of a large, wolf-like creature with night-black fur and capable of human speech; but the film gives him blue-black fur and luminous green cat-like eyes, as well as more fangs than an ordinary wolf would have. In Latin Spanish dubbing, Gmork is alternatively (and erroneously) known as "La Nada", "The Nothing".

Gmork's primary mission in the Neverending Story is to kill the young warrior Atreyu. He, and other dual-natured creatures like him, are able to travel between worlds, changing into a Fantastican or a human depending upon the world, in appearance only. Atreyu finally meets Gmork in Spook City, where he is chained, and Atreyu employs the name 'Nobody' to hide his identity in shame of his failure to complete his quest. Gmork confesses that he has been hunting a boy sent on a quest by the Childlike Empress to find her a new name, but lost him early on. He then met the Princess of Darkness, Gaya, who upon hearing of his mission to help the Nothing, chained Gmork with an unbreakable chain (reminiscent of Fenrir in Nordic mythology) and leapt into the Nothing, leaving him to starve. Gmork explains to Atreyu the nature of the Nothing, and that a Fantastican who enters it, must become a 'lie' in the human world. Eventually, Gmork reveals the name of the boy he is pursuing, and Atreyu reveals his identity, which causes Gmork to laugh until he finally succumbs to starvation. As Atreyu approaches the dead wolf, the carcass grabs Atreyu in its jaws, which, ironically, prevents Atreyu from succumbing to the overpowering urge exerted by the Nothing to throw himself into it. He is freed from Gmork's grip by Falkor, who escapes with him to the Ivory Tower.

In the film, Gmork almost manages to kill Atreyu in the Swamps of Sadness, but Atreyu is saved by Falkor. Their meeting in Spook City occurs in the film as well, where Gmork attacks Atreyu, impaling himself on an improvised stone knife held by the young warrior.

Grograman, known as The Many Colored Death (Graógramán, der Bunte Tod in German), is the guardian of Goab, the Desert of Colors, which exists in a symbiosis with Perilin the Night Forest. He appears in the form of a huge lion, who changes colors to suit the color of sand under his feet, and changes all life around him into sand. Grograman turns into an obsidian statue at night to allow the growth of Perilin.

Grograman is the first creature Bastian meets upon his arrival in Fantastica (if the Childlike Empress is to be excluded); Bastian is protected from the effect of Grograman's death aura by AURYN, and is thus the first living being ever to make friends with him. Grograman is the first one who teaches Bastian something of the nature of Fantastica, and he gives Bastian his magic (and seemingly intelligent) sword, Sikanda. One night, Bastian is called away; he promises to return, but is ultimately unable to keep his promise (the story states, however, that one day someone would fulfill the promise in Bastian's name).

In the animated series, Grograman burns down Perilin to protect Fantastica from being overrun by its roots and branches. He is later captured by Xayide and freed by Bastian.

Morla, known as The Ancient One (Die Uralte Morla in German), is a giant tortoise who, because of their size, is mistaken for a mountain. They live in the Swamps of Sadness, which might be either the cause or the result of their melancholy mindset: as the oldest living Fantastican (after the Childlike Empress and the Old Man of Wandering Mountain, who are both ageless) they have grown indifferent to the fate of Fantastica and their own survival. Reluctantly, they inform Atreyu that the Empress needs a new name and they point Atreyu to the Southern Oracle. Morla speaks in the 'royal we' or nosism.

In the film they have allergies to youth (Atreyu) and sneeze violently in its presence. Here, they know nothing about the illness of the Empress, but they send Atreyu directly to the Southern Oracle.

The Old Man of Wandering Mountain (Der Alte vom Wandernden Berge in German) is an elderly chronicler whose chronicle contains all events in Fantastica. He lives alone in an egg-shaped home on top of the Wandering Mountain, which can be found only by chance or fate.

The Old Man appears in the story when the Childlike Empress is forced to use drastic measures to make Bastian fulfill his part in the story. As she approaches his mountain, the Old Man tries to dissuade her from entering, to the point of insulting her. On her request, the Old Man reads from his chronicle (starting with Bastian entering the book shop). As he reads, all events happen again and as they happen again he writes them down again, beginning a vicious circle of eternal repetition which finally drives Bastian into calling out the Empress' new name.

The Old Man does not ultimately appear in the first film, and his appearance in the third film differs drastically from the book. He possesses the Great Book, which can seemingly write the future on its own accord. He dwells in a hidden crystal cave where he can see outside events using a "magic mirror". He is visited by the Childlike Empress and her guard Big Head, who remain with him until the end of the Nastie crisis. In this film, he grovels before the Empress and sees it as an honor that the monarch would visit him.

The beginning of the novel as well as the film introduces a travelling party consisting of messengers: Gluckuk (Ückück in German), a tiny man (Winzling) riding a racing snail (in the film he is ultimately called Teeny Weeny and portrayed by Deep Roy), a Nighthob (Nachtalb) named Whooshwoozool (Wúschwusul) who rides on a bat, Pyornkrachzark (Pjörnrachzarck), a Rockbiter riding a stone vehicle, and Blubb, a will-o'-the-wisp. All four are sent by their respective people to the Ivory Tower to ask the Childlike Empress for help against the Nothing's destructive forces. In the film Blubb is ultimately not featured, and his actions are also given to the Rockbiter.

Among the messengers, Pyornkrachzark, more commonly known as "Rock Biter" (in German Felsenbeisser) is the most famous. He is a large creature made completely of stone. The Rockbiter species are named due to their diet of rocks and earth-based materials. The Rockbiter seen in the film particularly has a liking for limestone.

In the novel, the Rockbiter only appears early in the novel; whereas in the film he ultimately reappears, encountered by Atreyu. He has lost faith in himself after failing to save his travelling companions from the Nothing, and advises Atreyu to flee.

In the second and third films, Rock Biter's wife appears in the third film and his son appears in the second and third. Rock Biter Junior is the same size as a human, and is rather gluttonous and playful. He is sent to Earth during a wish overload caused by Bastian, Falkor, Bark Troll, Engywook, and Urgl; whereupon he is saved from falling to his death by Falkor and they are reunited with Bastian. Rock Biter and his wife nearly split due to the absence of their son and the further effects of the Nasties, who are in possession of the book and AURYN; but the family are reunited at the end of the film. Rock Biter also sings a rather corrupt version of Born To Be Wild by Steppenwolf.

The Southern Oracle, also named Uyulala (UyulÃ¡la in German), is a mysterious and all-knowing oracle guarded by three magical gates. She is depicted as a disembodied, continuous female voice who speaks in - and can only understand - rhymed speech and otherwise sings ceaselessly to maintain her existence.

The ancient, giant turtle Morla tells Atreyu that Uyulala is the only one who knows who can give the Childlike Empress a new name and prevent her from dying; and with the help of Ygramul's poison, Atreyu transports himself near the oracle instantly. There he learns from the gnome Engywook, that to speak with Uyulala he must pass through the three gates:

Once past, Atreyu learns the reason why the Childlike Empress is ill, and what he must find in order to restore her health. Uyulala is then quiet and the Southern Oracle with its three gates is silently destroyed by the Nothing. Passing through the first two gates causes Atreyu to first lose all fear (the Great Riddle Gate), and then all memory of himself (the Magic Mirror Gate). This allows him to open the No-Key Gate, whereat Bastian's voice keeps the now empty-minded Atreyu from wandering.

The film version of the Southern Oracle shares the generalities; but the first gate judges whether the person attempting to pass through it "feels his own worth"; if the person is doubtful of its ability to pass through safely, the two Sphinxes incinerate the visitor. The second gate is a mirror much like the book's description, located in a snowy wilderness; and there is ultimately no third gate (which, as the third gate would have stood for the precise contrary of "felling one's own worth", somewhat turns the message to the contrary). The Oracle itself is ultimately two blue glowing Sphinxes exactly like the yellow sphinxes at the first gate, and also speaks in prose. As with the book, the Oracle crumbles and dies after revealing the cure for the Childlike Empress' condition.

In Tales from the Neverending Story, a hero must pass through the Riddle Gate, which tests his confidence in himself. He must then answer a riddle and pass through a mirror that displays the necessary thing he needs. In the case of Atreyu, he lands in a library owned by the wizard nicknamed "the Curiosity", who teaches him to read. Thereafter he passes through a glass door on which the name Uyulala is inscribed, to find the Oracle much as she is described in the book.

In The Neverending Story cartoon series, the Southern Oracle is depicted as two sphinxes facing each other and are voiced by Ellen Ray Hennessy.

Xayide (Xayíde in German) is one of the main villains of the story. She is an evil sorceress who appears later in the book after Bastian enters the world of Fantastica. Xayide lives in a castle shaped like a hand, called “Horok, the Seeing Hand”, because its multitude of windows appear like human eyes. Xayide's most striking physical feature are her heterochromatic red and green eyes. She has the ability to control anything empty, and thus she employs as guards empty suits of plate armour.

She presents to Bastian a warm and worshipping exterior, in hope to herself replace the Childlike Empress as ruler of Fantastica. Realizing she cannot defeat Bastian by force, she persuades him to invade the Ivory Tower. After losing Bastian, she is crushed to death by her iron minions who resist her waning magic. The book's chapters follow an alphabetical order pattern of the first word; thus her name serves well for the difficult "X" word in Chapter 24, where she meets her demise.

Xayide is portrayed by actress and model Clarissa Burt in The NeverEnding Story II: The Next Chapter, which is loosely based upon the second half of the novel. In the adaption, she is the personified avatar of an entity similar to the Nothing, called 'the Emptiness', which is born of the dying imagination of the collective human species. In both media she gives Bastian the belt Ghemmal, which turns its wearer invisible and was intended to spy on Atreyu. She meets her end in the film when Bastian uses his last wish to give her a sense of compassion, whereupon she destroys herself to amend the damage done by her.

In the miniseries Tales from the Neverending Story, Xayide is portrayed as the Childlike Empress' sister and the ruler of a 'Dark City'.

Ygramul, or The Many (Ygramul, die Viele in German), is a creature that lives in the land of Dead Mountains.

Ygramul is portrayed as a shapeshifter, who often takes form of a large spider and builds webs to catch its prey. The creature is actually composed of many little hornet-like insects who share a single hive mind. Ygramul's poison is deadly and kills within one hour, but grants the victim the ability to teleport to any location within the land of Fantastica before succumbing to its effects.

In the book, this poison is the means by which Atreyu travels to the home of Engywook and Urgl, near the Southern Oracle. At this point in the story Falkor the luckdragon is introduced; he is caught in Ygramul's web, and also uses the power of Ygramul's poison to follow Atreyu. The lingering effects of the poison are nursed out of the two by Urgl, while Engywook, a scholar of the Southern Oracle, instructs Atreyu on the challenges he is to encounter within the Oracle's demesne.

In The Neverending Story cartoon series, Ygramul is shown in her spider form. In "To Save Falkor," Bastian encountered Ygramul in the Dead Mountains while looking for a cure for Falkor's illness.

The following are a list of creatures featured in the different media appearances of "The Neverending Story":

The following creatures appear in the first film in the Childlike Empress' throne room and are unnamed[2]:


who wrote the speech in the great dictator

The Great Dictator is a 1940 American political satire comedy-drama film written, directed, produced, scored by and starring British comedian Charlie Chaplin, following the tradition of many of his other films. Having been the only Hollywood film-maker to continue to make silent films well into the period of sound films, this was Chaplin's first true sound film.

The Great Dictator

Chaplin's film advanced a stirring, controversial[4] condemnation of Adolf Hitler, Benito Mussolini, fascism, antisemitism and the Nazis. At the time of its first release, the United States was still formally at peace with Nazi Germany. Chaplin plays both leading roles: a ruthless fascist dictator and a persecuted Jewish barber.

The Great Dictator was popular with audiences, becoming Chaplin's most commercially successful film.[5] Modern critics have also praised it as a historically significant film and an important work of satire. The Great Dictator was nominated for five Academy Awards – Outstanding Production, Best Actor, Best Writing (Original Screenplay), Best Supporting Actor for Jack Oakie, and Best Music (Original Score).

In his 1964 autobiography, Chaplin stated that he would not have made the film if he had known about the true extent of the horrors of the Nazi concentration camps at the time.[6]

The action starts in 1918, with the defeat of the Tomainian[7] army. A Jewish barber saves the life of a wounded pilot, Schultz (Reginald Gardiner), but loses his own memory through concussion.

Twenty years later, still suffering from amnesia and not having aged a single day, the barber escapes from his care-home to return to the ghetto. The ghetto is now governed by Schultz, who has been promoted in the Tomainian regime under the ruthless dictator Adenoid Hynkel, who looks like an identical twin of the barber (both played by Chaplin).

The barber falls in love with a neighbor, Hannah (Paulette Goddard), and together they try to resist persecution by storm troopers. The storm troopers capture the barber and are about to hang him, but Schultz remembers that the barber had saved his life during the war, and restrains them.

Hynkel tries to finance his military forces by borrowing money from a Jewish banker called Hermann Epstein, but the banker obviously refuses to lend him the money. Furious, Hynkel orders a purge of the Jews. Schultz protests this inhumane policy, and is removed from office and sent to a concentration camp. He escapes and hides in the ghetto with the barber. Schultz tries to persuade the Jewish family to mount an assassination attempt against Hynkel, but they decline to participate in his plan. Storm troopers search the ghetto, arresting Schultz and the barber. They are sent to a concentration camp. Hannah and her family flee to freedom in the neighboring country of Osterlich. Hynkel has a dispute with the dictator of the nation of Bacteria, a man named Napaloni (a spoof of Mussolini played by Jack Oakie), over which country should invade Osterlich. After signing a treaty with Napaloni, Hynkel invades Osterlich. The Jewish family is trapped by the invading force.

Escaping from the camp in stolen uniforms, Schultz and the barber, dressed as Hynkel, arrive at the Osterlich frontier, where a huge victory-parade is waiting to be addressed by Hynkel. The real Hynkel is mistaken for the barber while out duck-shooting in civilian clothes, is knocked out and is taken to a concentration camp. Schultz tells the barber to go up to the platform and impersonate Hynkel, as the only way to save their lives once they reach Osterlich's capital. The barber has never given a public speech in his life, but he has no other choice.

The terrified barber mounts the steps, but is inspired to seize the initiative. Announcing that he (apparently Hynkel) has had a change of heart, he makes an impassioned plea for brotherhood and goodwill.

You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.

Then – in the name of democracy – let us use that power – let us all unite. Let us fight for a new world – a decent world that will give men a chance to work – that will give youth a future and old age a security. By the promise of these things, brutes have risen to power. But they lie! They do not fulfill that promise. They never will!

Finally, he addresses a message of hope to Hannah, in case she can hear him.

Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow â€” into the light of hope, into the future, the glorious future that belongs to you, to me, and to all of us.[8]

Hannah hears the barber's voice on the radio. She turns her face, radiant with joy and hope, toward the sunlight, and says to her fellows, "Listen."

Also featuring Chester Conklin, Esther Michelson, Florence Wright, Eddie Gribbon, Robert O. Davis, Eddie Dunn, Nita Pike and Peter Lynn.

According to Jürgen Trimborn's biography of Nazi propaganda film-maker Leni Riefenstahl, both Chaplin and French film-maker René Clair viewed Riefenstahl's Triumph of the Will together at a showing at the New York Museum of Modern Art. Film maker Luis Buñuel reports that Clair was horrified by the power of the film, crying out that this should never be shown or the West was lost. Chaplin, on the other hand, laughed uproariously at the film. He used it to inspire many elements of The Great Dictator, and by repeatedly viewing this film, Chaplin could closely mimic Hitler's mannerisms.

Trimborn suggests that Chaplin decided to proceed with making The Great Dictator after viewing Riefenstahl's film.[10] Hynkel's rally speech near the beginning of the film, delivered in German-sounding gibberish, is a caricature of Hitler's oratory style, which Chaplin also studied carefully in newsreels.[11]

The film was directed by Chaplin (with his half-brother Wheeler Dryden as assistant director), and written and produced by Chaplin. The film was shot largely at the Charlie Chaplin Studios and other locations around Los Angeles. The elaborate World War I scenes were filmed in Laurel Canyon. Chaplin and Meredith Willson composed the music. Filming began in September 1939 (coincidentally soon after Germany invaded Poland, triggering World War II) and finished six months later.

Chaplin wanted to address the escalating violence and repression of Jews by the Nazis throughout the late 1930s, the magnitude of which was conveyed to him personally by his European Jewish friends and fellow artists. The Third Reich's repressive nature and militarist tendencies were well-known at the time. Ernst Lubitsch's 1942 To Be or Not To Be dealt with similar themes, and also used a mistaken-identity Hitler figure. But Chaplin later said that he would not have made the film had he known of the true extent of the Nazis' crimes.[5] After the horror of the Holocaust became known, filmmakers struggled for nearly 20 years to find the right angle and tone to satirize the era.[12]

In the period when Hitler and his Nazi Party rose to prominence, Chaplin was becoming internationally popular. He was mobbed by fans on a 1931 trip to Berlin, which annoyed the Nazis. Resenting his style of comedy, they published a book titled The Jews Are Looking at You (1934), describing the comedian as "a disgusting Jewish acrobat" (although Chaplin was not Jewish). Ivor Montagu, a close friend of Chaplin, relates that he sent the comedian a copy of the book and always believed that Chaplin decided to retaliate with making Dictator.[13]

In the 1930s cartoonists and comedians often built on Hitler and Chaplin having similar mustaches. Chaplin also capitalized on this resemblance in order to give his Little Tramp character a "reprieve".[14]

In his memoir My Father, Charlie Chaplin, Chaplin's son Charlie Jr. described his father as being haunted by the similarities in background between him and Hitler; they were born four days apart in April 1889, and both had risen to their present heights from poverty. He wrote:

Their destinies were poles apart. One was to make millions weep, while the other was to set the whole world laughing. Dad could never think of Hitler without a shudder, half of horror, half of fascination. "Just think", he would say uneasily, "he's the madman, Iâ€™m the comic. But it could have been the other way around."[15]

Chaplin prepared the story throughout 1938 and 1939, and began filming in September 1939, one week after the beginning of World War II. He finished filming almost six months later. The 2002 TV documentary on the making of the film, The Tramp and the Dictator,[16] presented newly discovered footage of the film production (shot by Chaplin's elder half-brother Sydney) which showed Chaplin's initial attempts at the film's ending, filmed before the fall of France.[5]

According to The Tramp and the Dictator, Chaplin arranged to send the film to Hitler, and an eyewitness confirmed he saw it.[5] Hitler's architect and friend Albert Speer denied that the leader had ever seen it.[17] Hitler's response to the film is not recorded, but another account tells that he viewed the film twice.[18]

Some of the signs in the shop windows of the ghetto in the film are written in Esperanto, a language which Hitler condemned as a Jewish plot to internationalize and destroy German culture, perhaps because its founder was a Polish Jew.[19]

The film was Chaplin's first true talking picture and helped shake off criticism of Luddism following his previous release, the mostly dialogue-free Modern Times (1936), after the silent era had all but ended in the late 1920s. The Great Dictator does feature several scenes without dialogue more in keeping with Chaplin's earlier films.

The score was written and directed by Meredith Willson, later known as composer and librettist of the 1957 musical comedy The Music Man:

I've seen [Chaplin] take a sound track and cut it all up and paste it back together and come up with some of the dangdest effects you ever heard—effects a composer would never think of. Don't kid yourself about that one. He would have been great at anything — music, law, ballet dancing, or painting — house, sign, or portrait. I got the screen credit for The Great Dictator music score, but the best parts of it were all Chaplin's ideas, like using the Lohengrin "Prelude" in the famous balloon-dance scene.[20]

According to Willson, the scene in which Chaplin shaves a customer to Brahms' Hungarian Dance No. 5 had been filmed before he arrived, using a phonograph record for timing. Willson's task was to re-record it with the full studio orchestra, fitting the music to the action. They had planned to do it painstakingly, recording eight measures or less at a time, after running through the whole scene to get the overall idea. Chaplin decided to record the run-through in case anything was usable. Willson later wrote, "by dumb luck we had managed to catch every movement, and that was the first and only 'take' made of the scene, the one used in the finished picture".[20]

James L. Neibaur has noted that among the many parallels that Chaplin noted between his own life and Hitler's was an affinity for Wagner's music.[21] Chaplin's appreciation for Wagner has been noted in studies of the director's use of film music.[22] Many commentators have noted Chaplin's use of Wagner's Lohengrin prelude when Hynckel dances with the globe-balloon.[21][23][24] Chaplin repeated use of the Lohengrin prelude near the conclusion, when the exiled Hannah listens to the Jewish barber's speech celebrating democracy and freedom.[25] The music is interrupted during the dictator's dance but it is heard to complete and climax in the barber's pro-democracy speech.

Commenting on this, Lutz Peter Koepnick writes in 2002,

How can Wagner at once help emphasize a progressivist vision of human individualism and a fascist preview of absolute domination? How can the master's music simultaneously signify a desire for lost emotional integrity and for authoritative grandeur?

Chaplin's dual use of Lohengrin points towards unsettling conjunctions of Nazi culture and Hollywood entertainment. Like Adorno, Chaplin understands Wagner as a signifier of both: the birth of fascism out of the spirit of the total work of art, and the origin of mass culture out of the spirit of the most arduous aesthetic program of the 19th century. Unlike Adorno [who identifies American mass culture and fascist spectacle], Chaplin wants his audience to make crucial distinctions between competing Wagnerianisms...Both...rely on the driving force of utopian desires, on...the promise of self-transcendence and authentic collectivity, but they channel these mythic longings in fundamentally different directions. Although [Chaplin] exposes the puzzling modernity of Nazi politics, Chaplin is unwilling to write off either Wagner or industrial culture. [Chaplin suggests] Hollywood needs Wagner as never before in order to at once condemn the use of fantasy in fascism and warrant the utopian possibilities in industrial culture.[26]

Chaplin's film was released nine months after Hollywood's first parody of Hitler, the short subject You Nazty Spy! by the Three Stooges, which premiered in January 1940.[27] Chaplin had been planning his feature-length work for years. Hitler had been previously allegorically pilloried in the German film by Fritz Lang, The Testament of Dr. Mabuse.

The film was well received in the United States at the time of its release, and was popular with the American public. The film was also popular in the United Kingdom, drawing 9 million to the cinemas,[28] despite Chaplin's fears that wartime audiences would dislike a comedy about a dictator. It was the second-most popular movie in the US in 1941.[29]

The film was banned in several Latin American countries, where there were active movements of Nazi sympathizers.[30]

During the film's production, the British government had announced that it would prohibit its exhibition in the United Kingdom, in keeping with its appeasement policy concerning Nazi Germany.[31] But by the time the film was released, the UK was at war with Germany and the film was welcomed in part for its obvious propaganda value. In 1941, London's Prince of Wales Theatre screened its UK premiere. The film had been banned in many parts of Europe, and the theatre's owner, Alfred Esdaile, was apparently fined for showing it.[4]

When the film was released in France in 1945, it became the most popular film of the year, with admissions of 8,280,553.[32]

Chaplin biographer Jeffrey Vance concludes his lengthy examination of the film, in his book Chaplin: Genius of the Cinema, by asserting the film's importance among the great film satires. Vance writes, "Chaplin's The Great Dictator survives as a masterful integration of comedy, politics and satire. It stands as Chaplin's most self-consciously political work and the cinema's first important satire."[33]

There is no critical consensus on the relationship between Chaplin's earlier Tramp character and the film's Jewish barber, but the trend is to view the barber as a variation on the theme. French film director François Truffaut later noted that early in the production, Chaplin said he would not play The Tramp in a sound film, and he considers the barber an entirely different character.[34] Turner Classic Movies says that years later, Chaplin acknowledged a connection between The Tramp and the barber. Specifically, "There is some debate as to whether the unnamed Jewish barber is intended as the Tramp's final incarnation. Although his memoirs frequently refer to the barber as the Little Tramp, Chaplin said in 1937 that he would not play the Little Tramp in his sound pictures."[35] In My Life, Chaplin would write, "Of course! As Hitler I could harangue the crowds all I wished. And as the tramp, I could remain silent." In his review of the film years after its release, Roger Ebert says, "Chaplin was technically not playing the Tramp." He also writes, "He [Chaplin] put the Little Tramp and $1.5 million of his own money on the line to ridicule Hitler."[36]

Critics who view the barber as different include Stephen Weissman, whose book Chaplin: A Life speaks of Chaplin "abandoning traditional pantomime technique and his little tramp character".[37] DVD reviewer Mark Bourne asserts Chaplin's stated position: "Granted, the barber bears more than a passing resemblance to the Tramp, even affecting the familiar bowler hat and cane. But Chaplin was clear that the barber is not the Tramp and The Great Dictator is not a Tramp movie."[38] The Scarecrow Movie Guide also views the barber as different.[39]

Annette Insdorf, in her book Indelible Shadows: Film and the Holocaust (2003), writes that "There was something curiously appropriate about the little tramp impersonating the dictator, for by 1939 Hitler and Chaplin were perhaps the two most famous men in the world. The tyrant and the tramp reverse roles in The Great Dictator, permitting the eternal outsider to address the masses".[40] In The 50 Greatest Jewish Movies (1998), Kathryn Bernheimer writes, "What he chose to say in The Great Dictator, however, was just what one might expect from the Little Tramp. Film scholars have often noted that the Little Tramp resembles a Jewish stock figure, the ostracized outcast, an outsider."[41]

Several reviewers of the late 20th century describe the Little Tramp as developing into the Jewish barber. In Boom and Bust: American Cinema in the 1940s, Thomas Schatz writes of "Chaplin's Little Tramp transposed into a meek Jewish barber",[42] while, in Hollywood in Crisis: Cinema and American Society, 1929-1939, Colin Shindler writes, "The universal Little Tramp is transmuted into a specifically Jewish barber whose country is about to be absorbed into the totalitarian empire of Adenoid Hynkel."[43] Finally, in A Distant Technology: Science Fiction Film and the Machine Age, J. P. Telotte writes that "The little tramp figure is here reincarnated as the Jewish barber".[44]

A two-page discussion of the relationship between the barber and The Tramp appears in Eric L. Flom's book Chaplin in the Sound Era: An Analysis of the Seven Talkies. He concludes:

Perhaps the distinction between the two characters would be more clear if Chaplin hadn't relied on some element of confusion to attract audiences to the picture. With The Great Dictator's twist of mistaken identity, the similarity between the Barber and the Tramp allowed Chaplin break  [sic] with his old persona in the sense of characterization, but to capitalize on him in a visual sense. The similar nature of the Tramp and Barber characterizations may have been an effort by Chaplin to maintain his popularity with filmgoers, many of whom by 1940 had never seen a silent picture during the silent era. Chaplin may have created a new character from the old, but he nonetheless counted on the Charlie person to bring audiences into the theaters for his first foray into sound, and his boldest political statement to date.[45]

The film was nominated for five Academy Awards:

Chaplin's half-brother Sydney directed and starred in a 1921 film called King, Queen, Joker in which, like Chaplin, he played the dual role of a barber and ruler of a country which is about to be overthrown. More than twenty years later, in 1947, Charles Chaplin was sued over alleged plagiarism with The Great Dictator. Yet, apparently, neither the suing party nor Chaplin himself brought up his own brother's King, Queen, Joker of the silent era.[46] The case, Bercovici v. Chaplin, was settled, with Chaplin paying Konrad Bercovici $95,000.[47] Bercovici claimed that he had created ideas such as Chaplin playing a dictator and a dance with a globe, and that Chaplin had discussed his five-page outline for a screenplay with him for several hours.[31] But Chaplin insisted in his autobiography that he had been the sole writer of the movie's script. He agreed to a settlement, because of his "unpopularity in the States at that moment and being under such court pressure, [he] was terrified, not knowing what to expect next."[48]

The Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, in Beverly Hills, California, has a copy of The Great Dictator script. The library permits viewers of the script to read it and take notes, but prohibits photocopying of it.[49]

In 1997, The Great Dictator was selected by the Library of Congress for preservation in the United States National Film Registry as being "culturally, historically or aesthetically significant".[50]

In 2000, the American Film Institute ranked the film No. 37 in its "100 Years... 100 Laughs" list.[51]

The film holds a 92% "Fresh" rating on the review aggregator website Rotten Tomatoes, based on 37 reviews, three of which are negative.[52]

The film is recognized by American Film Institute in these lists:

A digitally restored version of the film was released on DVD and Blu-ray by the Criterion Collection in May 2011. The extras feature color production footage shot by Chaplin's half-brother Sydney, deleted barbershop sequence from Chaplin's 1919 film Sunnyside, barbershop sequence from Sydney Chaplin's 1921 film King, Queen, Joker, a visual essay by Chaplin biographer Jeffrey Vance titled "The Clown Turns Prophet", and The Tramp and the Dictator (2001), Kevin Brownlow and Michael Kloft's documentary exploring the lives of Chaplin and Hitler, including interviews with author Ray Bradbury, director Sidney Lumet, screenwriter Budd Schulberg, and others. It has a booklet featuring an essay by film critic Michael Wood, Chaplin's 1940 New York Times defense of his movie, a reprint from critic Jean Narboni on the film's final speech, and Al Hirschfeld's original press book illustrations.[55]


is there a second place prize in survivor

The Sole Survivor receives a cash prize of $1,000,000 prior to taxes and sometimes also receives a car provided by the show's sponsor. Every player receives a prize for participating on Survivor depending on how long he or she lasts in the game. In most seasons, the runner-up receives $100,000, and third place wins $85,000. All other players receive money on a sliding scale, though specific amounts have rarely been made public. Sonja Christopher, the first player voted off of Survivor: Borneo, received $2,500.[16] In Survivor: Fiji, the first season with tied runners-up, the two runners-up received US$100,000 each, and Yau-Man Chan received US$60,000 for his fourth-place finish.[17] All players also receive an additional $10,000 for their appearance on the reunion show.[18]

Survivor (franchise)

Survivor is a reality competition television franchise produced in many countries throughout the world.

The show features a group of contestants who are marooned in an isolated location, where they must provide food, water, fire, and shelter for themselves. The contestants compete in challenges for rewards and immunity from elimination. The contestants are progressively eliminated from the game as they are voted out by their fellow contestants until only one remains and is awarded the grand prize and is named the "Sole Survivor."

The format for Survivor was created in 1992 by the British television producer Charlie Parsons for a United Kingdom TV production company called Planet 24, but the Swedish version, which debuted in 1997, was the first Survivor series to actually make it to television. There are currently 35 American seasons.

Survivor, through its seasons and various international versions, has maintained the basic premise of the game despite several new rules and gameplay twists introduced in later seasons. In the game, the contestants, known as castaways, are split into tribes and assigned separate camps at the filming's location, typically a tropical setting. As a tribe, the castaways must survive the elements, construct shelter, build fire, look for water, and scrounge for food and other necessities for the entire length of the game, which is generally 39 days in the American version, but has ranged from 20 days (as in the French special seasons) to 134 days (as in some seasons of the Turkish edition). In the first half of the game, the tribes face off in challenges, some for rewards of food, shelter, or luxury items, while others are for immunity, preventing the winning tribe from having to go to the next Tribal Council. At Tribal Council, the tribes discuss the events of the last few days with the host asking questions, and then vote out one of their own players, eliminating them from the game.

In the second half of the game, the tribes are merged into a single tribe, and challenges are played at an individual level for individual rewards and immunity. At subsequent Tribal Councils, those eliminated start to form the jury, who sit in on all subsequent Tribal Councils but otherwise do not participate. When only two or three castaways remain, those castaways attend the Final Tribal Council, where the jury is given the opportunity to ask them questions. After this, the jury members then vote to decide which of the remaining castaways should be declared the Sole Survivor and be awarded the grand prize.

Episodes typically cover the events that occurred over two to three days since the start of the game or previous Tribal Council, including Challenges and events that occur at the tribes' camps. Each episode typically ends with the Tribal Council and subsequent elimination of the voted-out player.

The following description of the show is based primarily on the U.S. version of Survivor, though the general format applies to all international versions.

Players for each season are selected through applicants and casting calls, down-selecting to between 16 and 20 players and additional alternates. U.S. version host Jeff Probst noted that while 16 castaways assists in splitting the tribes with respect to age and sex, they have used 18 or 20 to provide them "wiggle room" in case of player injury or if one should want to quit the game.[1] These players undergo physical and psychological evaluation to make sure they are physically and mentally fit for the survival endurance and will not likely quit during the filming period, replacing those that are questionable with the alternates. In one case, Fiji, on the day before filming was to start after they had dismissed their alternates, one of the castaways opted out of the competition, forcing production to start with 19 players and adapting the activities of the first few days to accommodate the odd number of players.[2]

Tribes may be predetermined by production before filming starts. Often this is done to equalize the sexes and age ranges within both tribes. Other seasons have had the tribes separated by age, gender, or race. In other cases, the tribes may be created by the castaways through schoolyard picks. Most often, only two tribes are featured, but some seasons have begun with three or four tribes. Once assigned a tribe, each castaway is given a buff in their tribe color to aid the viewers in identifying tribal allocation. Tribes are then subsequently given names, often inspired by the local region and culture, and directions to their camps.

At their camps, tribes are expected to build a shelter against the elements from the local trees and other resources. Tribes are typically given minimal resources, such as a machete, water canteens, cooking pots, and staples of rice and grains, though this will vary from season to season. Sometimes, tribes will be provided with a water well near the camp, but require the water to be boiled to make it potable, necessitating the need for the tribe to build a fire. The tribes are encouraged to forage off the land for food, including fruits, wild animals, and fish.

In some seasons, tribe swaps will occur where one or more players will shift from one tribe to another. These new tribal designations are often determined by random draw or schoolyard pick. When these occur, those players that shift tribes are given new buffs for their new tribe and return to that tribe's camp, with any personal possessions from their former camp moved with them. In seasons with more than two tribes, tribe swaps will often reduce the number of tribes to two. In Survivor: Cambodia, a tribe swap increased the number of tribes from two to three; a second tribe swap later in the season reduced the number of tribes back to two.

Tribes that have lost too many members may be absorbed by the other remaining tribes, as seen with the Ulong tribe in Survivor: Palau and the Matsing tribe of Survivor: Philippines; in the former case, the lone remaining Ulong member joined the opposing Koror tribe and the tribes were treated as if they were merged, whereas in the later case the two remaining Matsing members were randomly assigned to the two remaining tribes. Alternatively, in Survivor: All-Stars, the tribe that placed third in a designated challenge was disbanded, with the members reallocated to the other two tribes by schoolyard pick.

At a point in/or around the middle of the game, the remaining tribes are merged into one. All of the players then live in a single camp, and are given new buffs and instructed to select a new tribe name and paint a tribe flag. The merge is often signified with a feast. Though the merge often occurs when approximately 10 to 12 players remain, the tribes have been merged with as many as 13 players (as in Survivor: Cambodia) and as few as eight (as in Survivor: Thailand). Merge colors are different, but black has been used by far the most at 12 times, followed by green six times, red, yellow, orange, and blue three times each, purple twice and magenta once.

During both pre- and post-merge parts of the game, the castaways compete in a series of challenges. Tribes are alerted to these upcoming challenges by a message, often in rhyme, delivered to camp by the production team at a basket or box on a nearby tree; this message has come to be called "treemail", playing off the word "e-mail". The message typically hints at what the challenge might be. The message may also provide props to demonstrate this, practice equipment for the players, or a sampling of the reward. Challenges can last from a few minutes to a couple of hours. The longest Survivor challenge was 11 hours and 55 minutes in the final immunity challenge in Survivor: Palau.

Prior to the merge, tribes compete against each other in challenges. These most often are multi-segment obstacle courses that include both physical and mental elements with the tribe that finishes first declared the winner; commonly, these start with tribe members collecting puzzles pieces that are then used to solve a puzzle by other tribe members. Other challenges may be based on winning a number of rounds of head-to-head competitions. Challenges are normally held with equal numbers of all tribes participating and in some cases equal splits of gender. Tribes with more players will be asked to sit out as many players as needed to balance the numbers, with the stipulation that those players cannot sit out in back-to-back reward and immunity challenges.[3] When one tribe has more than twice the other tribe members, then players in the larger tribe cannot participate in back-to-back challenges. Tribes are given time to strategically decide who should sit out and who will perform the various duties on a challenge.

After the merge, challenges are generally performed on an individual basis. These include similar obstacle courses as for team challenges, but will often also include endurance challenges, having players maintain the balance under precarious situations for as long as possible, with the last player remaining winning the challenge. In some cases, during post-merge challenges, the individuals will be split into separate teams, with only the winning team eligible for reward or immunity.

Challenges can be played for rewards, immunity, or both. Rewards include food, survival equipment like flint, tarps, or fishing gear, luxury items, and short getaways from camp. Before the merge, the entire winning tribe will enjoy these rewards. Post-merge, only one player may win the reward but will be given the opportunity to select one or more other players to bring along with them on it. Individual challenge rewards may also include an advantage that can be used at the subsequent immunity challenge, such as advancing directly into the final round of the challenge without having to participate in the first round.

Immunity challenges provide the winning tribe or team with immunity from Tribal Council. Immunity is usually represented in a form of an idol prior to the merge, and a necklace afterwards. Prior to the merge, tribes with immunity do not attend Tribal Council, allowing them to stay intact. In seasons featuring more than two tribes, immunity will be available for all but the last place finishers, forcing this one tribe to Tribal Council. With individual immunity, those castaways still attend Tribal Council with the rest of the merged tribe, but, unless they assign immunity to someone else, are ineligible to be voted for. Winning immunity is only good for one Tribal Council; at the next immunity challenge, the tribe or castaway will be asked to give up the idol or necklace, making immunity "up for grabs". There have been a few cases in which individual immunity challenges have taken place prior to the merge whereupon usually, one castaway in each tribe will be given immunity, after which both tribes will attend Tribal Council, one after the other. This is used to quickly dwindle the number of remaining castaways.

Though a wide variety of challenges have been used across the Survivor's broadcast, several challenges are frequently reused:

Tribal Council is a specially built stage located near the tribe camps; tribes sit across a fire pit from the host, while the jury members, if present, sit off to the side. A small voting alcove adjoins the structure. Events at Tribal Council are presented as the finale of each episode.

The first time any player attends Tribal Council, its members are each given a torch and told to light it from the fire pit, with the statement that "fire represents your life in this game". After the tribe is seated, the host will call in the jury (if in the Jury phase), reminding them they are there to watch but not speak. The host will then proceed to ask the tribe questions regarding camp life and events he witnessed at the challenges over the last few days. During this process, internal strife within the tribe may be brought to light, and castaways in precarious situations may reveal information or bargain with others to keep themselves in the game. Though only a few minutes of these proceedings are shown to the viewing audience, some Tribal Councils have gone on for hours.

Subsequently, the host will ask the tribe member with the immunity necklace if they want to keep it or transfer it to someone else; whoever wears it after this possible exchange cannot be voted for. The host then asks each castaway to make their vote in the alcove. The castaway is given an opportunity to speak to a camera in a message directed to the person they are voting off and to the viewers before placing the vote in an urn. When all votes are made, the host collects the urn, tallies the votes and starts reading the votes one by one. When enough votes have been read to eliminate one player, all remaining votes are kept secret (although in almost all cases, it is assumed that any leftover votes are to the eliminated player), and that player is asked to bring the host their torch, who then snuffs it out. The player is then told "the tribe has spoken" (or in rare cases, a variation thereof) and is instructed to leave the Tribal Council area. The remainder of the tribe is then allowed to return to camp with their torches, though in some seasons, if they have not earned or made fire yet, they have been required to douse their torches before leaving; in All-Stars seasons, any tribe that have not earned or made fire yet have been asked to leave their torches at Tribal Council. The host ends every Tribal Council with "Grab your torches, head back to camp. Good Night."

The eliminated player is given the opportunity to speak to a camera about their feelings of being eliminated before they are secluded with other eliminated castaways until the end of filming. Those players that will become jury members are sequestered until the end of the final Tribal Council and are generally not allowed to discuss their voting or issues with the remaining contestants, other jury members, or the final players, in order to prevent any possible cooperation or collusion from subgroups within the jury.

Ties may occur. Normally, a second vote is held, with only the tied players eligible to be voted for. If this second vote does not break the stalemate, a tiebreaker is used, the nature of which has changed throughout the seasons. In Survivor: The Australian Outback and Survivor: Africa, ties were resolved by eliminating the player with the higher number of previous votes cast against them. If the players had the same number of previous votes cast against them, as seen in Africa, the tie was resolved by a sudden-death challenge (in this case a trivia quiz about nature), with the loser eliminated. In subsequent seasons, the non-tied voters are given several minutes to deliberate and must come to a unanimous agreement about which tied castaway to eliminate. If they are successful, their chosen castaway is eliminated; if not, all non-immune deliberators draw concealed rocks from a bag and the castaway who draws the odd-colored rock is eliminated. This is done to punish the deliberators for not resolving the tie, and to encourage castaways to change their votes to avoid a tie. The rock draw tiebreaker has occurred three times: in Survivor: Marquesas, Survivor: Blood vs. Water and in Survivor: Millennials vs. Gen X. In the case of Survivor: Marquesas, the rock draw occurred with four players remaining, and the tied castaways were both involved in the deliberation and eligible for the rock draw; host Jeff Probst later revealed that this was a mistake and that this tiebreaker should only be used when six or more players are involved.[4] Following Survivor: Marquesas, all tiebreakers with four players remaining have been resolved by a fire making duel, in which the first tied castaway to build a small fire high enough to burn through a rope remained in the game. The fire making tiebreaker was also used in Survivor: Palau at a Tribal Council where the losing tribe had only two members remaining.

The Final Tribal Council occurs when there are only two—or, in later seasons, three—players left in the game. The change to three finalists was made so that the endgame would present more of a challenge to the castaway who wins the final immunity challenge: while that person has clinched their spot at the Final Tribal Council, they are not able to decide alone which of the other remaining castaways they will compete against for the jury's votes.[5]

At the Final Tribal Council, each remaining castaway is given time to make a statement to the jury. Then each jury member, in turn, addresses them, asking each a question or commenting on their behaviour in the game in an effort to sway the other jury members; the castaways are free to respond to these as they see fit. The remaining castaways may be given time for a concluding speech. After this, the host has each jury member, in turn, go to vote in the alcove, this time for the person that they feel should be named the Sole Survivor. As with regular elimination votes, the jurors are given an opportunity to speak to the camera to explain their vote. The host then collects the urn, and in most seasons, leaves the votes unread until a live finale months later, at the conclusion of the season's broadcast, where the Sole Survivor is announced.

Though no tied final vote has occurred in the American version, it has been a theoretical possibility in several seasons. At the finale of Survivor: Micronesia, the only season to date with two finalists and an even-numbered jury (with eight jurors), host Jeff Probst reportedly had a white envelope that was involved in the tiebreaker, but the exact nature of this tiebreaker has not been made known.[6] This contingency plan was also in place for three-way ties involving three finalists and nine jurors. In the case of a tie between two of three finalists, Probst has revealed that the first ballot would be read on-location, and the jurors would re-vote between the two remaining finalists; the resolving ballot would then be held until the live finale, and the reveal would proceed as normal.[7] However, at the reunion of Survivor: Game Changers, Probst revealed that in the event of a two-way tie in the Final Three, the person who finishes third will cast the deciding vote.[8]

In the French series, ties between two finalists are resolved by crowning them co-winners, as seen in their third and seventh seasons.

Some players have been eliminated from the game by other means than being voted out. Castaways who suffer severe injuries or exhaustion are evaluated by the medical team which is always on call. The medical team may provide treatment and give the player the option to continue in the game, warning them of the health risks involved. However, if the medical doctor determines that the player is at risk of permanent injury or death and needs to be removed from the game for their own health, they will be removed and taken to a nearby hospital. In Survivor: Cambodia, the producers were notified that one of the remaining castaways' children had been hospitalized, and the castaway was pulled from the game to return home and be with their family. Survivor: Kaoh Rong has had the most evacuations to date, with three.

Occasionally, castaways who are not in need of medical treatment have decided to quit the game, without waiting to be voted out, due to physical or emotional exhaustionâ€”either by making an announcement at a Tribal Council, in which case they are let out of the game without any vote, or by being recovered from camp after making their intentions clear to producers and being interviewed by the host. When a player leaves the game without being voted off, the other tribes are notified of the departed player's removal, and the next Tribal Council may be cancelled. After the players merge into one tribe, any who have been removed from the game by medical evacuation are still eligible to participate as jury members once the medical examiners deem them healthy enough to do so. Those that have quit the game voluntarily may also still be eligible for the jury and, if their reasons for leaving are considered sufficient, they may also still be allowed to make a farewell speech to the camera.

Hidden immunity idols are pocket-sized ornaments—typically necklaces—made to fit the theme of the season, that are hidden around the tribes' camps or other locations that the castaways have access to. When played at Tribal Council, the hidden immunity idol makes the castaway who plays it immune from elimination at that Tribal Council. Idols are typically usable until the Tribal Council with five players remaining, and do not need to be declared to other castaways when found. The idol, once found by a player, cannot be stolen from them, but other castaways can look through their possessions to see if they have it. Idols can, however, be transferred to other players at any point, or be played on another player at Tribal Council. Once an idol "leaves the game", either by being played or by the holder leaving the game with their idol, a replacement idol may be hidden.

First seen in Survivor: Guatemala, several seasons have used different iterations of the idol:

The third type of idol is seen as a "happy medium" relative to the two previous versions,[9] and forces both the voters and the idol holder to make a more complicated strategic decision: the voters may have to vote without knowing whether the person they are voting for has a hidden immunity idol or without knowing whether that person will choose to play it, and the person with the idol must decide whether to play it without knowing whether enough votes have been cast to vote them out of the game. This type of idol may be "wasted" if a player uses it and does not receive the highest number of votes, and other times idol holders may choose not to use the idol, intending to save it to use at a later time, but will be eliminated with their idol unplayed. Though this third idol continues to be used, two seasons have used the two latter forms of idols concurrently: in Cagayan, clues were given to the third type of idol, but an idol with the second power was hidden with no clues; this idol could not be transferred.[10] In Kaôh Rōng, all hidden idols were of the third type, but two idols could be combined into a single idol of the second type, referred to as a "super idol".[11]

Strategically, castaways have used the idol as a bargaining chip to align other players with them and swing pending votes in a specific direction; as a result, some players have been inspired to create fake hidden immunity idols, either leaving them the spot that the original idol was found, or carrying them around as a bluff to attempt to alter people's voting strategies in advance of Tribal Council. If a fake idol is played at Tribal Council, the host notes that it is not the real idol and throws it in the fire. In the U.S. version of the show, the producers have encouraged players to make fake idols by providing decorative materials—such as beads, string, and paint—through props within the game.[12] In Cambodia, all idols were deliberately made to look different from each other to further encourage castaways to make fake idols.[13]

To help castaways find the idol, a series of clues are given to them in succession in a number of different ways. A clue may be given to the winner of a reward challenge, hidden among the reward prizes, announced by the host to all remaining castaways, or provided to a castaway who has been sent to Exile Island or temporarily sent to live with the other tribe. Castaways are under no obligation to share the idol clues with other players. Clues continue to be provided even after a player has secretly found the idol. Each successive clue includes all the previous clues given for that location. Only once a new idol is hidden are new clues provided to the players. In later seasons, players have been very aware that hidden idols may be in play from the start of the game and some have started to look for them near apparent landmarks before any clues have been provided. One castaway, Russell Hantz, was able to find two idols during Survivor: Samoa without the aid of clues. In light of this so-called "Russell factor," producers subsequently began hiding the idols in more difficult-to-find locations,[14] and, in a subsequent season, clues contained visual rebuses rather than text.[15]

Exile Island is a remote location away from the tribal camps, where one or two castaways are sent to live in isolation from the rest of their tribe. Exile Island was first introduced in Survivor: Palau when a single contestant was made to stay alone on a beach for a day as a result of being the first to drop out of an Immunity Challenge. This twist would not be used regularly until Survivor: Panama; it was also used in Cook Islands, Fiji, Micronesia, Gabon, Tocantins, and San Juan del Sur. The first contestant to send him/herself to Exile Island was Yau-Man Chan.

A selected player is exiled to a location (typically a small island) apart from the main tribe camps. Typically, the castaway is exiled after the reward challenge, leaving the challenge location for Exile Island, and usually returns immediately before the following immunity challenge. The exiled castaway is chosen as a result of the reward challenge: in the tribal phase, a member of the losing tribe is exiled (usually exiled by the winning tribe), while in the individual phase, the reward challenge winner holds the sole right to choose. Unless stated otherwise, players who win the right to decide who goes to Exile Island may also choose to go themselves. In Micronesia, Tocantins, and San Juan del Sur, one person from each tribe was sent to Exile Island. In several seasons with Exile Island, there are tribe swaps with an uneven number of castaways remaining, as in Panama, Fiji, Gabon; the leftover contestant will be treated as "tribeless" and exiled immediately after formation. In this case, the contestant is immune until following the next Tribal Council, joining the tribe that loses the next immunity challenge.

Once selected, the exiled contestant is immediately sent there. They are given minimal survival tools, typically a water canteen, a machete, a pot, and a limited amount of shelter. The two main disadvantages of being on Exile Island are the lack of food and water, which can weaken a player and make them less effective in challenges, and the isolation from other contestants, which can cause a player to become out of the loop and weaken their position in their tribe. Contestants are often sent to Exile Island for one or both of these strategic reasons.

In certain seasons, exiled castaways receive a consolation prize: in all seasons with Exile Island, the exiled castaway receives a clue to the hidden immunity idol, which may or may not be located on the island. On Survivor: Gabon, the exiled castaway was given the option to give up their idol clue for "instant comfort," and in Survivor: Tocantins, the exiled castaway had the right to change tribes. Occasionally, the exiled castaway is instructed to return after the next Tribal Council, earning them automatic immunity.

Two seasons of the U.S. version have used different variations on the Exile twists. In China, tribes who win reward challenges earned the right to "kidnap" a member of the losing tribe, and that person would have to stay with them until the next immunity challenge. The kidnapped person would be given a clue to the hidden immunity idol which he or she must give to one member of the winning tribe. In Samoa, a reverse version of the kidnapping rule was used, called "spy expedition" (also known as "observing"). The winning tribe would have to send one of their own to accompany the other tribe until the immunity challenge. Both of these twists were retired after the merge. In Kaôh Rōng, the three tribes were shuffled into two tribes with 13 players remaining; the leftover castaway Julia Solowski was exiled to the now-defunct third camp and joined the tribe that lost the next immunity challenge the day after their Tribal Council. In "Game Changers", the tribes switched with 15 players where Debbie was exiled for not being put on a tribe. Unlike other visits to Exile Island, Debbie was sent to a luxury yacht.

Redemption Island is a twist used in Survivor: Redemption Island, Survivor: South Pacific and Survivor: Blood vs. Water, in which voted out contestants remain in the game, exiled from the other castaways, competing in challenges for a chance to return to the game. It was first used in several international editions, including the Swedish version, the Israeli version as "The Island of the Dead", Philippine version's second season as "Isla Purgatoryo" (Purgatory Island), the Serbian version's second season as "Ghost Island" and the Romanian version's first season as "Exile Island".

After being voted out, contestants are exiled to Redemption Island, where they will fend for themselves like the castaways in the game proper until the next person is voted out. The day following Tribal Council, there is a duel in which the winner remains on the island and the losers are eliminated for good; upon elimination, the duel losers must remove their buff and throw it into a small fire pit. There are two places where the winner of the duel returns to the game: at the merge, where Redemption Island is cleared and reset; and when there are four players remaining in the main game, at which point Redemption Island is retired.

Double elimination cycles, or any other disruption of the game's pattern, leads to three or four duelists instead of two. In Survivor: Redemption Island only the loser of the duel was eliminated, resulting in four players competing in the final duel due to two double elimination cycles, with two Tribal Councils and no duels in between. For Survivor: South Pacific, the rules were changed so only the winner remained in the game while all others were eliminated. In Survivor: Blood vs. Water, there were three competitors at every duel, with only one player eliminated at each duel except for ones in which a sole winner returned to the main game.

Redemption Island in Blood vs. Water featured additional alterations to fit with the game's primary twist of featuring pairs of loved ones. Prior to any duel, the castaways with loved ones on Redemption Island are given the choice to replace their loved one on Redemption Island, with their loved one returning to the main game and taking their place in the tribe. In addition, the first-place winner of the duel must give a clue to a hidden immunity idol to any castaway in the main game.

Other seasons have featured alternate twists in which voted out players can return to the game. In 2003, Survivor: Pearl Islands featured the Outcast twist, in which the six eliminated castaways competed as the Outcast tribe against the two remaining tribes; as the Outcast tribe won the challenge, they earned the right to vote two of their own back into the game, while the other two tribes had to vote players out; following this, the tribes merged. In the seventh season of the Israeli version, voted out players remained in the game as "zombies", challenging their former tribemates to stay in the game and vote in their stead at Tribal Council; similar to Redemption Island, zombies returned to the game at the merge and near the end of the game.

Most seasons between The Australian Outback and Fiji have featured a late-season reward challenge where the winner receives a car. This reward was infamous for what was later dubbed the "car curse,"[19] referring to the fact that no player who ever won the car went on to win the game during his or her original season.

Other additional prizes are given out post-game, usually at the live reunion that immediately follows the coronation of the winner.

Aside from the U.S. version, other franchises introduced variations and twists for the game. Most of these twists and variations are used in other franchises as well:

Expeditie Robinson Belgium/Netherlands

Koh-Lanta (France)

Robinson Ekspeditionen Denmark

Robinsonid (Estonia), Robinsoni (Latvia), Robinzonai (Lithuania)

Expedition Robinson Sweden

Twists with unknown origins

The Survivor format has been adapted for numerous international versions of the show, some named after the original Expedition Robinson.

Season 1, 2000: Sebastián Martino
Season 2, 2001: María Victoria Fernández

Season 3, 2016: Kristie Bennett
Season 4, 2017: Jericho Malabonga
Season 5, 2018: Upcoming season

Season 1, 2000: Zane Mukane
Season 2, 2001: Māris Šveiduks
Season 3, 2002: Rimas Valeikis

Season 1, 2000: Karin Lindenhovius
Season 2, 2001: Richard Mackowiak
Season 3, 2002: Derek Blok
Season 4, 2003: Jutta Borms
Season 5, 2004: Frank de Meulder

Ernst-Paul Hasselbach (1–5)
Désiré Naessens (1)
Roos Van Acker (2–5)

Season 6, 2005: Marnix Allegaert
Season 7, 2006: Olga Urashova

Ernst-Paul Hasselbach (6–7)
Lotte Verlackt (6–7)
Evi Hanssen (7)

Season 8, 2007: Vinncent Arrendell
Season 9, 2008: Yin Oei Sian
Season 10, 2009: Marcel Vandezande
Season 11, 2010: Regina Romeijn
Season 12, 2011: Tanja Dexters
Season 13, 2012: Fatima Moreira de Melo

Ernst-Paul Hasselbach (8–9)
Evi Hanssen ( 8–13)
Eddy Zoey (10–12)
Dennis Weening (13)

Season 1, 2000: Elaine de Melo
Season 2, 2001: Léo Rassi
Season 3, 2001: Rodrigo Trigueiro
Season 4, 2009: Luciana de Araújo

Season 1, 2006: Neli Ivanova
Season 2, 2007: Georgi Kostadinov
Season 3, 2008: Nikolay Martinov
Season 4, 2009:[20] Georgi Kehaiov
Season 5, 2014: Vanja Džaferović

Kamen
Vodenicharov (1)
Vladimir Karamazov (2â€“5)
Evtim Miloshev (4)

Season 1, 2001: Rolando Patarroyo
Season 2, 2002: Cristóbal Echevarría

Season 1, 2004: María Cecilia Sánchez
Season 2, 2005: Leonel Álvarez
Season 3, 2006: Lucas Jaramillo
Season 4, 2007: José Javier Ramírez

Guillermo Prieto (1â€“4)
Katerine Porto (1)

Season 1, 2017: Marek Orlík
Season 2, 2018: Current season

Season 1, 1998: Regina Pedersen
Season 2, 1999: Dan Marstrand
Season 3, 2000: Sonny Pedersen
Season 4, 2001: Malene Hasselblad
Season 5, 2002: Henrik Ørum
Season 6, 2003: Frank Quistgard
Season 7, 2004: Mette Frandsen
Season 8, 2005: Mogens Brandstrup
Season 9, 2006: Diego Tur
Season 10, 2007: Rikke Gøransson
Season 11, 2008: Daniela Hansen
Season 12, 2009: Villy Eenberg
Season 13, 2010: Søren Engelbret
Season 14, 2011: Hugo Kleister
Season 15, 2013: Jeppe Bruun Hansen
Season 16, 2014: Stina Von Edelstein
Season 17, 2015: Kenneth Mikkelsen
Season 18, 2016: Henrik Oltmann Andersen
Season 19, 2017: Marlene Berardino
Season 20, 2018: Upcoming season

Current
Jakob Kjeldbjerg (7–present)
Former
Thomas Mygind (1–6)

Season 1, 2004: Marjaana Valkeinen
Season 2, 2005: Mira Jantunen

Jarmo MÃ¤kinen (1)
Arttu Harkki (2)

Season 1, 2001: Gilles Nicolet
Season 2, 2002: Amel Fatnassi
Season 3, 2003: Isabelle Seguin and Delphine Bano
Season 4, 2004: Philippe Bordier
Season 5, 2005: Clémence Castel
Season 6, 2006: François-David Cardonnel
Season 7, 2007: Jade Handi and Kevin Cuoco
Season 8, 2008: Christelle Gauzet
Season 9, 2009: Christina Chevry
Season 10, 2010: Philippe Duron
Season 11, 2011: Gérard Urdampilleta
Season 12, 2012: Ugo Lartiche
Season 13, 2013: Cancelled
Season 14, 2015: Marc Rambaud
Season 15, 2016: Wendy Gervois
Season 16, 2016: Benoît Assadi
Season 17, 2017: Frédéric Blancher
Season 18, 2017: André Deleplace

Current
Denis Brogniart (2â€“present)
Former
Hubert Auriol (1)

Season 1, 2009: Romuald Lafite
Season 2, 2010: Grégoire Delachaux
Season 3, 2012: Bertrand Bolle
Season 4, 2014: Laurent Maistret
Season 5, 2018: Upcoming season

Season 1, 2003: Evaggelia Dermetzoglou
Season 2, 2004: Konstantinos Christodoulopoulos

Season 5, 2017: Giorgos Angelopoulos
Season 6, 2018: Current season

Current
Sakis Tanimanidis (5-)
Giorgos Lianos (6-)
Doretta Papadimitriou (Survivor Panorama, 6â€“)5

Former
Eleonora Meleti (Survivor Panorama, 5)

Season 1, 2003: Tünde Molnár
Season 2, 2004: Dávid Hankó
Season 3, 2017: Iliász Shweirif
Season 4, 2018: Upcoming Season

Current
Istenes Bence (3-present)
Former
András Stohl (1–2)

Season 1, 2007-08: Na'ama Kaesari
Season 2, 2008-09: Erik Alper
Season 3, 2009: Shay Arel
Season 4, 2010: Natan Bashevkin
Season 5, 2011: Irit Rahamim Basis

Season 7, 2015-16: Liron "Tiltil" Orfali
Season 8, 2017: Inbar Pinievsky Basson

Pietro Suber
Benedetta Corbi (Studio)

Season 1, 2003: Walter Nudo
Season 2, 2004: Sergio Múñiz
Season 3, 2005: Lori Del Santo
Season 4, 2006: Luca Calvani
Season 5, 2007: Manuela Villa
Season 6, 2008: Vladimir Luxuria
Season 7, 2010: Daniele Battaglia
Season 8, 2011: Giorgia Palmas
Season 9, 2012: Antonella Elia

Simona Ventura (Studio, 1–8)
Marco Mazzocchi (1)
Massimo Caputi (2–3)
Paolo Brosio (4)
Francesco Facchinetti (5)
Filippo Magnini (6)
Rossano Rubicondi (7)
Daniele Battaglia (8)
Nicola Savino (Studio, 9)
Vladimir Luxuria (9)

Season 10, 2015: Donatella
Season 11, 2016: Giacobbe Fragomeni
Season 12, 2017: Raz Degan
Season 13, 2018: Current season

Current
Alessia Marcuzzi (Studio, 10–present)
Stefano De Martino (13–present)
Former
Alberto 'Alvin' Bonato (10–11)
Stefano Bettarini (12)

Season 1, 2002: Eri Minoshima
Season 2, 2002: Asami Kawamura
Season 3, 2003: Yasuhito Ebisawa
Season 4, 2003: Kōshin Gunji

Neptune
Munehiro Tokita

Season 1, 2012: María Reneé
Season 2, 2013: Cecilia Ponce
Season 3, 2014: Francisco Covarrubias
Season 4, 2015: Jorge Lyle
Season 5, 2016: Jorge Luis Vázquez
Season 6, 2017: Luis Arellanes
Season 7, 2018: Upcoming season

Season 14, 2013: Edith Bosch
Season 15, 2014: Kay Nambiar
Season 16, 2015: Amara Onwuka
Season 17, 2016: Bertie Steur
Season 18, 2017: Carlos Platier Luna
Season 19, 2018: Upcoming season

Current
Dennis Weening
Nicolette Kluijver (15â€“present)
Former
Evi Hanssen (14)

Season 1, 2017: Avi Duckor-Jones
Season 2, 2018: Upcoming season

Season 1, 1999: Christer Falch
Season 2, 2000: Therese Andersen
Season 3, 2001: Mia Martinsen
Season 4, 2002: Ann Karene Molvig
Season 5, 2003: Emil Orderud
Season 6, 2004: Jan Stian Gundersen
Season 7, 2007: Ann-Kristin Otnes
Season 8, 2008: Tom Andre Tveitan
Season 9, 2009: Lina Iversen
Season 10, 2010: Alita Dagmar Kristensen
Season 11, 2011: Lillan Ramøy
Season 12, 2012: Elisabeth Nielsen
Season 13, 2013: Bjørn Tore Bekkeli
Season 14, 2015: Maiken Sæther Olsen

Current
Christer Falch (2â€“present)
Former
Nils Ole Oftebro (1)

Season 1, 2008: John Carlo "JC" Tiuseco
Season 2, 2009: Amanda Coolley Van Cooll

Season 3, 2010: Akihiro Sato
Season 4, 2011-12: Albert "Betong" Sumaya Jr.

Season 1, 2001: Sergey Odintsov
Season 2, 2002-03: Veronika Norkina
Season 3, 2003: Vladimir Presnyakov, Jr
Season 4, 2003-04: Yana Volkova
Season 5, 2004: Aleksey Matveyev
Season 6, 2005: Alexander "Conan" Alexeev
Season 7, 2008-09: Vladimir Lysenko

Sergei Bodrov, Jr. (1)
Dmitry Pevtsov (2)
Nikolai Fomenko (3)
Aleksandr
Domagarov (4)
Vladimir Menshov (5)
Kseniya Sobchak (7)

Season 1, 2008-09: Nemanja Pavlov
Season 2, 2009-10: Aleksandar KrajiÅ¡nik

Season 3, 2010-11: Andrej Maričić
Season 4, 2012: Vladimir "Vlada" Vuksanović4

Season 1, 2006: Vanessa Marawa
Season 2, 2007: Lorette Mostert
Season 3, 2010: Perle "GiGi" van Schalkwyk
Season 4, 2011: Hykie Berg
Season 5, 2014: Graham Jenneker
Season 6, 2018: Upcoming season

Current
Nico Panagio (3–present)
Former
Mark Bayly (1–2)

Season 1, 2000: Xavier Monjonell
Season 2, 2001: Alfredo "Freddy" Cortina

Juan Manuel López (1–2)
Paco Lobaton (2)

Season 3, 2003: Daniela Cardone
Season 4, 2003: Felipe López
Season 5, 2004: Jose Antonio Canales Rivera
Season 6, 2005: Víctor Janeiro

Paula Vázquez (3–6)
Alonso Caparrós (3)
Nuria Roca (4–6)

Season 7, 2006: Carmen Russo
Season 8, 2007: Nilo Manrique
Season 9, 2008: Miriam Sánchez
Season 10, 2009: Maite Zúñiga
Season 11, 2010: María José Fernández
Season 12, 2011: Rosa Benito
Season 13, 2014: Abraham García
Season 14, 2015: Christopher Mateo
Season 15, 2016: Jorge Díaz
Season 16, 2017: José Luis Losa
Season 17, 2018: Upcoming season

Current
Jorge Javier Vázquez (12–present)
Lara Álvarez (14–present)
Former
Jesús Vázquez (7–11)
José Mª Íñigo (7)
Mario Picazo (8–10)
Eva González (11)
Raquel Sánchez (12–14)

Season 1, 1997: Martin Melin
Season 2, 1998: Alexandra Zazzi
Season 3, 1999: Jerker Dalman
Season 4, 2000: Mattias Dalerstedt
Season 5, 2001-02: Jan Emanuel Johansson
Season 6, 2002: Antoni Matacz
Season 7, 2003-04: Emma Andersson

Harald Treutiger (1–2)
Anders Lundin (3–7)

Season 8, 2004: Jerry Forsberg
Season 9, 2005: Karolina Conrad

Season 10, 2009: Ellenor Pierre
Season 11, 2009-10: Hans Brettschneider
Season 12, 2010: Erik Svedberg
Season 13, 2011: Mats Kemi
Season 14, 2012: Mariana "Mirre" Hammarling
Season 16, 2018: Upcoming season

Current
Anders Öfvergård (16-present)
Former
Linda Isacsson (10)
Paolo Roberto (11–14)

Season 1, 1999: Andreas Widmer
Season 2, 2000: Stefanie Ledermann
Season 3, 2001: Not aired

Hanzade Ofluoğlu (4)

Season 3, 2007: Taner Özdeş
Season 4, 2010: Merve Oflaz

Season 5, 2011: Derya Büyükuncu
Season 6, 2012: Nihat Altınkaya

Season 7, 2013: Hilmi Cem İntepe
Season 8, 2014: Turabi Çamkıran

Season 10, 2016: Çağan Atakan Arslan
Season 11, 2017: Ogeday Girişken

Season 1, 2011: Andrey Kovalski
Season 2, 2012: Alexei Diveyeff-Tserkovny

Season 1, 2001: Charlotte Hobrough
Season 2, 2002: Jonny Gibb

Mark Austin (1)
John Leslie (1)
Mark Nicholas (2)

Season 1, 2000: Richard Hatch
Season 2, 2001: Tina Wesson
Season 3, 2001-02: Ethan Zohn
Season 4, 2002: Vecepia Towery
Season 5, 2002: Brian Heidik
Season 6, 2003: Jenna Morasca
Season 7, 2003: Sandra Diaz-Twine
Season 8, 2004: Amber Brkich
Season 9, 2004: Chris Daugherty
Season 10, 2005: Tom Westman
Season 11, 2005: Danni Boatwright
Season 12, 2006: Aras Baskauskas
Season 13, 2006: Yul Kwon
Season 14, 2007: Earl Cole
Season 15, 2007: Todd Herzog
Season 16, 2008: Parvati Shallow
Season 17, 2008: Robert "Bob" Crowley
Season 18, 2009: James "J.T." Thomas Jr.
Season 19, 2009: Natalie White
Season 20, 2010: Sandra Diaz-Twine
Season 21, 2010: Jud "Fabio" Birza
Season 22, 2011: Rob Mariano
Season 23, 2011: Sophie Clarke
Season 24, 2012: Kim Spradlin
Season 25, 2012: Denise Stapley
Season 26, 2013: John Cochran
Season 27, 2013: Tyson Apostol
Season 28, 2014: Tony Vlachos
Season 29, 2014: Natalie Anderson
Season 30, 2015: Mike Holloway
Season 31, 2015: Jeremy Collins
Season 32, 2016: Michele Fitzgerald
Season 33, 2016: Adam Klein
Season 34, 2017: Sarah Lacina
Season 35, 2017: Ben Driebergen
Season 36, 2018: Current season

Season 1, 2001: Gabriel PÃ©rez
Season 2, 2002: Graciela Boza

One of the more novel merchandising items has been the interactive Survivor: The Ride thrill ride at California's Great America in Santa Clara, California. The ride includes a rotating platform on which riders are divided into one of four "tribes." As the ride moves along an undulating track, riders can be sprayed by water guns hidden in oversized tribal masks while drums and other familiar Survivor musical accents play in the background. Other theming includes Survivor memorabilia throughout the queue line and other merchandise for sale in nearby gift shops.[22] The ride has since been rethemed as Tiki Twirl.

During the first Survivor seasons many online games based on forums were created. More specific Survivor online games appeared later.

In late 2013, a former contestant of the American version of the show, Erik Reichenbach, launched a Kickstarter campaign for a Survivor-styled online mobile app called "Islands of Chaos". The app pits players from all over the world in a battle of challenges and strategy to be the last one standing. If the campaign is successful, the plan is to release the game free of charge on a range of platforms including on Apple and Android devices.[23]

Beginning on July 8, 2007, a parody of Survivor called Total Drama Island appeared on the television network Cartoon Network. This animated show included 22 summer campers who signed up to stay at a five-star resort, which actually turned out to be a cruddy summer camp on an island somewhere in Muskoka, Ontario. The host, Chris McLean, is modeled after Survivor host Jeff Probst. The campers are taken to the island on boats to meet their fellow competitors, being heartbroken at the sight of their wasted summer. The campers were separated into two teams: The "Screaming Gophers" and the "Killer Bass". Every three days there would be a challenge for the campers to face, from jumping off a 1,000-foot (300Â m) high cliff into a lake to survival skills. The losing team of each challenge would go to the Bonfire Ceremony the night of the challenge, and vote someone off the team, like Survivor. Each team member still in the game would receive a marshmallow, leaving one team member without one. The member who does not receive a marshmallow (the symbol of life on the island) would have to walk the Dock of Shame and board the Boat of Losers to leave the island, and "Never ever ever ever ever" return (which turned out to be a lie in the episode "No Pain, No Game"). After 12 members of the island were voted off, the teams were merged. Two competitors were brought back into the game for another chance at the grand prize, C$100,000. When only three members are left, there is a sudden-death challenge. The person who does not accept a dare is immediately taken off the island. For the final challenge, the 20 campers voted off the island are brought back to root for one of the two survivors. The winner receives a check for the C$100,000 and the final marshmallow. The show then ends with Chris thrown off the Dock of Shame. The show aired in 188 countries and also appeared on the channels of Cartoon Network and Jetix. The show became a critical and commercial success and it spun off into a series.


when was the last time the lightning were in the stanley cup

The Lightning have qualified for the Stanley Cup playoffs ten times in twenty-six completed seasons and won the 2004 Stanley Cup. The Tampa Bay Lightning have won over 800 regular season games, the 25th-highest victory total among NHL teams.[2] They have also lost over 800 games during the regular season, the tenth-lowest loss total in the NHL.[2] The Lightning have over 1,900 points in their 26 seasons, the seventh-lowest point total in the league.[2]

List of Tampa Bay Lightning seasons

The Tampa Bay Lightning are a professional ice hockey team based in Tampa, Florida. They are members of the Atlantic Division in the Eastern Conference of the National Hockey League (NHL).[1] The Lightning were founded in 1992 as an expansion team in the Norris Division of the Campbell Conference. The next year, the Lightning were placed in the NHL's new Eastern Conference as members of the Atlantic Division. The Lightning were moved to the Southeast Division as part of the NHL's 1998 expansion to three divisions per conference. In 2013, as part of another realignment and return to a two division format, the Lightning became part of a reconstituted Atlantic Division. The Lightning played in Expo Hall for their inaugural season, and moved to Tropicana Field for the 1993–94 season. They moved to their current home in 1996, the Ice Palace, which has since been renamed Amalie Arena.

Tampa Bay made their first playoffs in the 1995–96 season. The team's best year was the 2017–18 season, in which they finished 54–23–5. The team's worst year was the 1997–98 season, in which they finished 17–55–10. Tampa Bay moved to the Southeast Division in 1998, and won the division for the first time in the 2002–03 season. The Lightning won the Eastern Conference and their only Stanley Cup in the following season.[3] As part of the 2013–14 NHL season realignment, the Lightning were relocated into the Atlantic Division after the league reduced from six divisions to four.[4] Eleven years after their first cup win, the Lightning again won the Eastern Conference title and qualified for the 2015 Stanley Cup Finals.[5]