This article is about the community and urban planning concept. For the Canadian band, see Third Place (Band).

The third place is a term used in the concept of community building to refer to social surroundings separate from the two usual social environments of home and the workplace. In his influential book The Great Good Place, Ray Oldenburg (1989, 1991) argues that third places are important for civil society, democracy, civic engagement, and establishing feelings of a sense of place.

Oldenburg calls one's "first place" the home and those that one lives with. The "second place" is the workplace — where people may actually spend most of their time. Third places, then, are "anchors" of community life and facilitate and foster broader, more creative interaction. All societies already have informal meeting places; what is new in modern times is the intentionality of seeking them out as vital to current societal needs. Oldenburg suggests these hallmarks of a true "third place": free or inexpensive; food and drink, while not essential, are important; highly accessible: proximate for many (walking distance); involve regulars – those who habitually congregate there; welcoming and comfortable; both new friends and old should be found there.

Seán Ó Néill, anglicised Shane O'Neill (c. 1530 – 2 June 1567), nicknamed 'Seán an díomais', was an Irish king of the O'Neill dynasty of Ulster in the mid 16th century. Shane O'Neill's career was marked by his ambition to be The Ó Néill Mór - Sovereign of the dominant Ó Néill Mór family of Tyrone... and thus head overking or Rí ruirech of the entire province. This brought him into conflict with competing branches of the O'Neill family and with the English government in Ireland, who recognised a rival claim. Shane's support was considered worth gaining by the English even during the lifetime of his father Conn O'Neill, 1st Earl of Tyrone (died 1559). But rejecting overtures from Thomas Radclyffe, 3rd Earl of Sussex, the lord deputy from 1556, Shane refused to help the English against the Scottish settlers on the coast of Antrim, allying himself instead with the MacDonnells, the most powerful of these immigrants.

The English, since the late 1530s, had been expanding their control over Ireland, this century long effort is known as the Tudor conquest of Ireland. To incorporate the native Irish Lordships, they granted English titles to Irish Lords - thus making Conn Bacach O'Neill, Shane's father, the first Earl of Tyrone. However, whereas in Gaelic custom, the successor to a chiefship was elected from his kinsmen, the English insisted on succession by the first born son or primogeniture. This created a conflict between Shane, who wanted to be Chief and the Earl's elder but illegitimate son, Matthew or Fear Dorcha O'Neill (the Earl's eldest son Phelim Caoch O'Neill was killed on a raid in 1542).

David Keith Lynch (born January 20, 1946) is an American filmmaker, television director, visual artist, comic book artist, musician and occasional actor. Known for his surrealist films, he has developed his own unique cinematic style, which has been dubbed "Lynchian", and which is characterized by its dream imagery, and meticulous sound design. The surreal, and in many cases violent, elements to his films have earned them the reputation that they "disturb, offend or mystify" their audiences.

Born to a middle class family in Missoula, Montana, Lynch spent his childhood traveling around the United States, before going on to study painting at the Pennsylvania Academy of Fine Arts in Philadelphia, where he first made the transition to producing short films. Deciding to devote himself more fully to this medium, he moved to Los Angeles, where he produced his first motion picture, the surrealist horror Eraserhead (1977). After Eraserhead became a cult classic on the midnight movie circuit, Lynch was employed to direct The Elephant Man (1980), from which he gained mainstream success. Then being employed by the De Laurentiis Entertainment Group, he proceeded to make two films: the science-fiction epic Dune (1984), which proved to be a critical and commercial failure, and then a neo-noir crime film, Blue Velvet (1986), which was highly critically acclaimed.