title: Gone with the Wind (film)

text: In 1942, Selznick liquidated his company for tax reasons, and sold his share in "Gone with the Wind" to his business partner, John Whitney, for $500,000. In turn, Whitney sold it on to MGM for $2.8 million, so that the studio owned the film outright. MGM immediately re-released the film in the spring of 1942, and again in 1947 and 1954. The 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.


title: Gone with the Wind (film)

text: A 1961 release of the film commemorated the centennial anniversary of the start of the Civil War, and it also included a gala "premiere" at the Loew's Grand Theater. It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland; Clark Gable had died the previous year. For its 1967 re-release, the film was blown up to 70mm, and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames. There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration. It was released theatrically one more time in the United States, in 1998 by Time Warner owned New Line Cinema.


title: Gone with the Wind (film)

text: In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary. In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary.


title: Gone with the Wind (film)

text: The film received its U.S. television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month. Other cable channels also broadcast the film during June. It made its network television debut in November of that year; NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings. It became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers, still the record for the highest-rated film to ever air on television.


title: Gone with the Wind (film)

text: In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years. Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to "Gone with the Wind", which were still held by CBS. A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to "The Wizard of Oz" were extended. The film was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994).


title: Gone with the Wind (film)

text: The film debuted on videocassette in March 1985, where it placed second in the sales charts, and has since been released on DVD and Blu-ray Disc formats.


title: Gone with the Wind (film)

text: Upon its release, consumer magazines and newspapers generally gave "Gone with the Wind" excellent reviews; however, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing. Frank S. Nugent for "The New York Times" best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told". Franz Hoellering of "The Nation" was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency."


title: Gone with the Wind (film)

text: While the film was praised for its fidelity to the novel, this aspect was also singled out as the main factor in contributing to the lengthy running time. John C. Flinn wrote for "Variety" that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed. "The Manchester Guardian" felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time and found the second half, which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles", mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way". "The Guardian" believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then "Gone With the Wind" might have been a really great film". Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the film lay, commenting that "the characters alone do not suffice". Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.


title: Gone with the Wind (film)

text: Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett. Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable". Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays" and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene. Flinn also found Leigh suited to the role physically and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta and when Scarlett kills a Yankee deserter. Leigh won in the Best Actress category for her performance at the 1939 New York Film Critics Circle Awards. Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined", a view which Nugent concurred with, although Hoellering felt that Gable didn't quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust. Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie; Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization". Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh, with Flinn placing it third after Leigh's and Gable's performances.


title: Gone with the Wind (film)

text: At the 12th Academy Awards, "Gone with the Wind" set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations. It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Art Direction, and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture).


title: Gone with the Wind (film)

text: The film's record of eight competitive wins stood until "Gigi" (1958) won nine, and its overall record of ten was broken by "Ben-Hur" (1959) which won eleven. "Gone with the Wind" also held the record for most nominations until "All About Eve" (1950) secured fourteen. It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted. The running time for "Gone with the Wind" is just under 221 minutes, while "Lawrence of Arabia" (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, "Gone with the Wind" lasts for 234 minutes (although some sources put its full length at 238 minutes) while "Lawrence of Arabia" comes in slightly shorter at 232 minutes with its additional components.


title: Gone with the Wind (film)

text: Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland, who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove; she and her escort were made to sit at a separate table at the back of the room. Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner and Selznick personally received the Irving G. Thalberg Memorial Award for his career achievements.


title: Gone with the Wind (film)

text: The film has been criticized by black commentators since its release for its depiction of black people and "whitewashing" of the issue of slavery but, initially, newspapers controlled by white Americans did not report on these criticisms. Carlton Moss, a black dramatist, observed in an open letter that whereas "The Birth of a Nation" was a "frontal attack on American history and the Negro people", "Gone with the Wind" was a "rear attack on the same". He went on to characterize it as a "nostalgic plea for sympathy for a still-living cause of Southern reaction". Moss further called out the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett". Similarly, Melvin B. Tolson, a poet and educator, wrote ""Birth of a Nation" was such a barefaced lie that a moron could see through it. "Gone with the Wind" is such a subtle lie that it will be swallowed as truth by millions of whites and blacks alike."


title: Gone with the Wind (film)

text: Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom. McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of black people, since he was light-skinned and only one-eighth black.


title: Gone with the Wind (film)

text: Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities. Malcolm X later recalled that "when Butterfly McQueen went into her act, I felt like crawling under the rug". Even so, some sections of the black community recognized McDaniel's achievements to be representative of progression: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, and others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors. In its editorial congratulation to McDaniel on winning her Academy Award, "" used the film as a reminder of the "limit" put on black aspiration by old prejudices.


title: Gone with the Wind (film)

text: Upon its release, "Gone with the Wind" broke attendance records everywhere. At the Capitol Theatre in New York alone, it averaged eleven thousand admissions per day in late December, and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time. It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years. By the time MGM withdrew it from circulation, at the end of 1943, its worldwide distribution had returned a gross rental (the studio's share of the box office gross) of $32 million, making it the most profitable film ever made up to that point. It eventually opened in Japan in September 1952 and became the highest-grossing foreign film there.


title: Gone with the Wind (film)

text: Even though it earned its investors roughly twice as much as the previous record-holder, "The Birth of a Nation", the box-office performances of the two films were likely much closer. The bulk of the earnings from "Gone with the Wind" came from its roadshow and first-run engagements, where the distributor received 70 percent and 50 percent of the box-office gross respectively, rather than its general release, which at the time typically saw the distributor's share set at 30–35 percent of the gross. In the case of "The Birth of a Nation", its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors. Carl E. Milliken, secretary of the Motion Picture Producers and Distributors Association, estimated that "The Birth of a Nation" had been seen by fifty million people by 1930.


title: Gone with the Wind (film)

text: When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year. Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as "Ben-Hur", but it was finally overtaken by "The Sound of Music" in 1966.


title: Gone with the Wind (film)

text: The 1967 reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry. It generated a box-office gross of $68 million, making it MGM's most lucrative film after "Doctor Zhivago" from the latter half of the decade. MGM earned a rental of $41 million from the release, with the U.S. and Canadian share amounting to over $30 million, placing it second only to "The Graduate" for that year. Including its $6.7 million rental from the 1961 reissue, it was the fourth highest-earner of the decade in the North American market, with only "The Sound of Music", "The Graduate" and "Doctor Zhivago" making more for their distributors. A further re-release in 1971 allowed it to briefly recapture the record from "The Sound of Music", bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to "The Godfather".


title: Gone with the Wind (film)

text: Across all releases, it is estimated that "Gone with the Wind" has sold over 200 million tickets in the United States and Canada, generating more theater admissions in that territory than any other film. The film was phenomenally successful in Western Europe too, generating approximately 35 million tickets in the United Kingdom and over 16 million in France, respectively becoming the biggest and sixth-biggest ticket-sellers in those markets. The film's appeal has endured overseas, sustaining a popularity similar to its domestic longevity; in 1975 it played to capacity audiences every night during the first three weeks of its run at London's Plaza 2 Theatre, and in Japan it generated over half a million admissions at twenty theaters during a five-week engagement. In total, "Gone with the Wind" has grossed over $390 million globally at the box office; in 2007 Turner Entertainment estimated the gross to be equivalent to approximately $3.3 billion when adjusted for inflation to current prices; "Guinness World Records" arrived at a figure of $3.44 billion in 2014 making it the most successful film in cinema history.


title: Gone with the Wind (film)

text: The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in 2008, and again in 2014. The market research firm surveyed over two thousand U.S. adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched the composition of the adult population.


title: Gone with the Wind (film)

text: In revisiting the film in the 1970s, Arthur Schlesinger believed that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of "Gone with the Wind" time has not treated it kindly. Richard Schickel argued that one measure of a film's quality is to ask what the viewer can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue are simply not present. Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly. Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility. Schickel also believes the film fails as popular art, in that it has limited rewatch value—a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs". Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible.


title: Gone with the Wind (film)

text: Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced". Judith Crist observes that, kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence". Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspire to its epic theme, but—finding agreement with the film's contemporary criticisms—the personal lives take over in the second half, and it ends up losing its theme in unconvincing sentimentality. Kauffmann also finds interesting parallels with "The Godfather", which had just replaced "Gone with the Wind" as the highest-grosser at the time: both were produced from "ultra-American" best-selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism.


title: Gone with the Wind (film)

text: The critical perception of the film has shifted in the intervening years, which resulted in it being ranked 235th in "Sight & Sound"s prestigious decennial critics poll in 2012, and in 2015 sixty-two international film critics polled by the BBC voted it the 97th best American film.


title: Gone with the Wind (film)

text: The film has featured in several high-profile industry polls. In 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership; the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998, with it slipping down to sixth place in the tenth anniversary edition in 2007. Film directors ranked it 322nd in the 2012 edition of the decennial "Sight & Sound" poll, and in 2016 it was selected as the ninth best "directorial achievement" in a Directors Guild of America members poll. In 2014, it placed fifteenth in an extensive poll undertaken by "The Hollywood Reporter", which balloted every studio, agency, publicity firm and production house in the Hollywood region.


title: Gone with the Wind (film)

text: "Gone with the Wind" was one of the twenty-five inaugural films selected for preservation in the National Film Registry by the United States Library of Congress in 1989 for being "culturally, historically, or aesthetically significant".


title: Gone with the Wind (film)

text: "Gone with the Wind" has been criticized as having perpetuated Civil War myths and black stereotypes. David Reynolds wrote that "The white women are elegant, their menfolk are noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened "Gone with the Wind" to "The Birth of a Nation" and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values, and the issue of slavery is largely ignored. The film has been described as a "regression" that promotes both the myth of the black rapist and the honorable and defensive role of the Ku Klux Klan during Reconstruction, and as a "social propaganda" film offering a "white supremacist" view of the past.


title: Gone with the Wind (film)

text: From 1972 to 1996, the Atlanta Historical Society held a number of "Gone with the Wind" exhibits, among them a 1994 exhibit which was titled "Disputed Territories: "Gone with the Wind" and Southern Myths". One of the questions which was explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed that slave experiences were diverse and as a result, it concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality.


title: Gone with the Wind (film)

text: W. Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, "Gone with the Wind" reflects contemporary interpretations of it that were common in the early 20th century. One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman: a politician can be heard offering forty acres and a mule to the emancipated slaves in exchange for their votes. The inference is taken to mean that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials. While perpetuating some Lost Cause myths, the film makes concessions with regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler, and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by simply referring to it as a "political meeting".


title: Gone with the Wind (film)

text: Thomas Cripps reasons that in some respects, the film undercuts racial stereotypes; in particular, the film created greater engagement between Hollywood and black audiences, with dozens of films making small gestures in recognition of the emerging trend. Only a few weeks after its initial run, a story editor at Warner wrote a memorandum to Walter Wanger about "Mississippi Belle", a script that contained the worst excesses of plantation films, suggesting that "Gone with the Wind" had made the film "unproducible". More than any film since "The Birth of a Nation", it unleashed a variety of social forces that foreshadowed an alliance of white liberals and black people who encouraged the expectation that black people would one day achieve equality. According to Cripps, the film eventually became a template for measuring social change.


title: Gone with the Wind (film)

text: In the 21st century, criticism of the film's depictions of race and slavery led to its availability being curtailed. In 2017, "Gone with the Wind" was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee, after a 34-year run of annual showings. On June 9, 2020, the film was removed from HBO Max amid the George Floyd protests as well as in response to an op-ed written by screenwriter John Ridley that was published in that day's edition of the "Los Angeles Times", which called for the streaming service to temporarily remove the film from its content library. He wrote that "it continues to give cover to those who falsely claim that clinging to the iconography of the plantation era is a matter of 'heritage, not hate'." A spokesperson for HBO Max said that the film was "a product of its time" and as a result, it depicted "ethnic and racial prejudices" that "were wrong then and are wrong today". It was also announced that the film would return to the streaming service at a later date, although it would incorporate "a discussion of its historical context and a denouncement of those very depictions, but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed. If we are to create a more just, equitable and inclusive future, we must first acknowledge and understand our history."


title: Gone with the Wind (film)

text: The film's removal sparked a debate about political correctness going too far, with film critics and historians criticising HBO as engaging in censorship. Following its withdrawal, the film reached the top of Amazon's best-sellers sales chart for TV and films, and fifth place on Apple's iTunes Store film chart. HBO Max returned the film to its service later that month, with a new introduction by Jacqueline Stewart. Stewart described the film, in an op-ed for CNN, as "a prime text for examining expressions of white supremacy in popular culture", and said that "it is precisely because of the ongoing, painful patterns of racial injustice and disregard for Black lives that "Gone with the Wind" should stay in circulation and remain available for viewing, analysis and discussion." She described the controversy as "an opportunity to think about what classic films can teach us."


title: Gone with the Wind (film)

text: At a political rally in February 2020, President Donald Trump criticized the 92nd Academy Awards ceremony, stating that "Gone with the Wind" and "Sunset Boulevard" (1950) were more deserving of the award for Best Picture than that year's winner, the South Korean film "Parasite". His comments elicited commentary from critics and a backlash from pundits across the political spectrum on social media.


title: Gone with the Wind (film)

text: One of the most notorious and widely condemned scenes in "Gone with the Wind" depicts what is now legally defined as "marital rape". The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told 'no' by the struggling Scarlett; Rhett ignores her resistance, scolds her and carries her up the stairs to the bedroom, where the audience is left in no doubt that she will "get what's coming to her". The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction; Rhett apologizes for his behavior, blaming it on his drinking. The scene has been accused of combining romance and rape by making them indistinguishable from each other, and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife.


title: Gone with the Wind (film)

text: Film critic Molly Haskell has argued that, nevertheless, for women who are uncritical of the scene, it is by and large consistent with what they have in mind if they fantasize about being raped. Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.


title: Gone with the Wind (film)

text: "Gone with the Wind" and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as "Second Fiddle"—a 1939 film spoofing the "search for Scarlett"—to current television shows, such as "The Simpsons". "The Scarlett O'Hara War" (a 1980 television dramatization of the casting of Scarlett), "Moonlight and Magnolias" (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script), and "Went with the Wind!" (a sketch on "The Carol Burnett Show" that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture. It was also the subject of a 1988 documentary, "", detailing the film's difficult production history. In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film. In 2003, Leigh and Gable (as Scarlett and Rhett) were ranked number 95 on VH1's list of the "200 Greatest Pop Culture Icons of All Time".


title: Gone with the Wind (film)

text: Following the publication of her novel, Margaret Mitchell was inundated with requests for a sequel but she claimed not to have a notion of what happened to Scarlett and Rhett, and as a result, she had "left them to their ultimate fate". Until her death in 1949, Mitchell continued to resist pressure to write a sequel from Selznick and MGM. In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel that would be jointly produced by MGM and Universal Studios on a budget of $12 million. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release. Edwards submitted a 775-page manuscript which was titled "Tara, The Continuation of Gone with the Wind", set between 1872 and 1882 and focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.


title: Gone with the Wind (film)

text: The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries. "Scarlett" was based on the novel by Alexandra Ripley, itself a sequel to Mitchell's book. British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after she again becomes pregnant by Rhett.


title: Alexis Bledel

text: Kimberly Alexis Bledel ( ; born September 16, 1981) is an American actress and model. She is known for her role as Rory Gilmore on the television series "Gilmore Girls" (2000–2007), and Emily Malek in "The Handmaid's Tale" (2017–2021). Bledel also had a recurring role in "Mad Men" in 2012 and reprised her role as Rory Gilmore in the Netflix reunion miniseries "" (2016).


title: Alexis Bledel

text: Bledel made her feature film debut as Winnie Foster in the Disney live action adaptation of "Tuck Everlasting" (2002), and went on to appear in "Sin City" (2005), "Post Grad" (2009), and as Lena Kaligaris in "The Sisterhood of the Traveling Pants" film series.


title: Alexis Bledel

text: Bledel has received various awards and nominations for her work. For her role in "Gilmore Girls", she received nominations for Satellite, Teen Choice and Young Artist Awards. For her role in "The Handmaid's Tale" she has received four Primetime Emmy Award nominations, winning Outstanding Guest Actress in a Drama Series. She has also received three Screen Actors Guild Award nominations for Outstanding Ensemble Cast in a Drama Series.


title: Alexis Bledel

text: Bledel was born on September 16, 1981 in Houston, Texas, to Nanette (née Dozier), who worked as a gift processor and flight attendant, and Martín Bledel. She has a younger brother, Eric. Her father is Argentinian. Her mother, Nanette, was born in Phoenix, Arizona, and her family moved back to Mexico, at the age of eight. Her paternal grandfather, Enrique Einar Bledel Huus, was born in Buenos Aires, Argentina, and was of Danish and German descent; Enrique was Vice President of Coca-Cola Latin America and the Coca-Cola Inter-American Corporation. Bledel's paternal grandmother, Jean (née Campbell), was originally from New York and had Scottish, Irish and English ancestry. Of her parents' upbringing in Latin America, Bledel has stated: "It's the only culture my mom knows from life, and my father as well, and they made the decision to raise their children within the context they had been raised in." Bledel grew up in a Spanish-speaking household, and did not learn English until she began school; she identifies herself as Latina.


title: Alexis Bledel

text: Bledel attended Baptist and Lutheran schools, and graduated from the Catholic St. Agnes Academy in Houston in 1999. Her mother encouraged her to try community theater to overcome her shyness. As a child, Bledel appeared in local productions of "Our Town" and "The Wizard of Oz". She was scouted at a local shopping mall and given work as a fashion model.


title: Alexis Bledel

text: Bledel made her television debut in 2000 opposite Lauren Graham in The WB comedy-drama "Gilmore Girls", which ran for seven seasons from October 5, 2000, to May 15, 2007. She played Rory Gilmore, the daughter of Lorelai Gilmore (Graham), a single mother. Initially, Rory was a high school student at an exclusive private academy, living with her mother in a small town in Connecticut, but later moved on to college at Yale University, where she, among other things, worked as the editor of the "Yale Daily News".


title: Alexis Bledel

text: Bledel made her feature film debut opposite Jonathan Jackson in the fantasy romantic drama "Tuck Everlasting" (2002), based on Natalie Babbitt's novel of the same name (1975). Before her work in that film, Bledel was an uncredited extra in the 1998 comedy-drama "Rushmore". In 2005, she co-starred in the drama "The Sisterhood of the Traveling Pants", opposite Amber Tamblyn, America Ferrera, and Blake Lively, and based on Ann Brashares' novel of the same name. She played Lena Kaligaris, an aspiring artist on a journey with her three best friends, linked over the summer by a pair of "magical" jeans.


title: Alexis Bledel

text: In 2005, Bledel co-starred in the anthology neo-noir crime thriller "Sin City" where she played Becky, a prostitute. "She's a very professional prostitute. She carries a gun and she kicks ass," said Bledel of her character. In 2006, Bledel co-starred opposite Jay Baruchel in the romantic comedy "I'm Reed Fish" as the fiancée of Baruchel's title character. After the end of "Gilmore Girls", she reprised her role of Lena Kaligaris in "The Sisterhood of the Traveling Pants 2", released in August 2008. The following year, Bledel starred in the comedy "Post Grad", which was released on August 21, 2009.


title: Alexis Bledel

text: Bledel co-starred opposite Scott Porter and Bryan Greenberg in the romantic comedy "The Good Guy", which premiered at Tribeca Film Festival April 26, 2009. The film centered around Porter's character Tommy, a Wall Street investment broker whose life falls apart when he helps out Greenberg's character Daniel, a new broker. Bledel played Beth, Tommy's girlfriend. In April 2009, Bledel guest-starred in the NBC medical drama "ER" in the two-hour series finale titled "And in the End..." as Dr. Julia Wise, a new intern to the hospital. In May 2009, Bledel signed a contract with the modeling division of IMG.


title: Alexis Bledel

text: Bledel co-starred opposite James McAvoy and Robin Wright in the historical drama "The Conspirator" directed by Robert Redford. She played the girlfriend of McAvoy's character Frederick Aiken, the lawyer who defended Mary Surratt, the first woman to be hanged by the federal government of the United States, played by Wright. The film premiered at the Toronto International Film Festival and was released in the United States on April 15, 2011.


title: Alexis Bledel

text: Also in 2010, Bledel starred as the title role in the Canadian drama "The Kate Logan Affair". The film was presented at Montreal's Festival du Nouveau Cinéma 2010.


title: Alexis Bledel

text: Bledel performed in the theatre production "Regrets" by the Manhattan Theatre Club, staged at the New York City Center.


title: Alexis Bledel

text: It was confirmed in early-March 2013 that Bledel would co-star opposite Jason Ritter in the Fox pilot "Friends & Family", an adaptation of the British sitcom "Gavin & Stacey" as Stacey with Ritter as Gavin. The pilot was picked up for a series and was retitled "Us & Them". However, Fox eventually decided not to air the series, which eventually aired in the fall of 2018 on Sony Crackle. 2015 saw Bledel starring with Katherine Heigl as the fiancée to Heigl's character in the film "Jenny's Wedding".


title: Alexis Bledel

text: On January 29, 2016, Netflix announced a revival of "Gilmore Girls" with a series of four 90-minute films set around the four seasons, and Bledel's participation was confirmed. In 2017, she appeared as Ofglen, later known as Emily Malek in "The Handmaid's Tale" for Hulu; subsequently, her role was expanded to a regular role for the second season. Her critically acclaimed performance earned Bledel her first Emmy Award nomination and win in the 2017 Creative Arts ceremony in the category of Outstanding Guest Actress in a Drama Series. She departed after the fourth season.


title: Alexis Bledel

text: Bledel has appeared on the cover of numerous fashion magazines, including "Teen Vogue", "Glamour", "CosmoGirl", "Vanity Fair", "Lucky", "Elle Girl", "Parade", "Nylon", and "Seventeen". In 2000, she appeared in print advertisements for Bonne Bell lip balm and Naturistics lip gloss.


title: Alexis Bledel

text: She has been included in magazine lists of the world's most beautiful women. In 2002, she was named one of "Teen People" "25 Hottest Stars under 25". Bledel was ranked at number 87 on "Maxim" magazine's "Hot 100 of 2005" list. Bledel was named one of "Us Weekly" "25 Most Stylish New Yorkers" in 2010.


title: Alexis Bledel

text: Bledel and fellow former "Gilmore Girls" co-star Milo Ventimiglia were in a relationship from December 2002 to June 2006.


title: Alexis Bledel

text: In 2012, Bledel began dating Vincent Kartheiser, whose character, Pete Campbell, shared scenes with her character Beth Dawes, during her guest-starring run on "Mad Men". The couple announced their engagement in March 2013 and married in California in June 2014. In May 2016, it was revealed that Bledel had given birth to their first child, a son, in the fall of 2015. On August 10, 2022, Kartheiser filed for divorce from Bledel; the divorce was finalized on August 26.


title: The Addams Family

text: The Addams Family is a fictional family created by American cartoonist Charles Addams. They originally appeared in a series of 150 unrelated single-panel cartoons, about half of which were originally published in "The New Yorker" over a 50-year period from their inception in 1938. They have since been adapted to other media, such as television, film, video games, comic books, a musical, and merchandise.


title: The Addams Family

text: The Addamses are a satirical inversion of the ideal postwar American middle-class nuclear family: an odd old money clan who delight in the macabre and are seemingly unaware or unconcerned that other people find them bizarre or frightening. The family members were unnamed until the 1964 television series. The Addams Family consists of Gomez and Morticia Addams, their children Wednesday and Pugsley, close family members Uncle Fester and Grandmama, their butler Lurch, and Pugsley's pet octopus, Aristotle. The dimly seen Thing (later a disembodied hand) was introduced in 1954, and Gomez's Cousin Itt and Morticia's pet lion Kitty Kat in 1964. Pubert Addams, Wednesday and Pugsley's infant brother, was introduced in the 1993 film "Addams Family Values".


title: The Addams Family

text: In 1964, a live-action television series premiered on ABC and ran for two seasons. It subsequently inspired a telefilm titled "Halloween with the New Addams Family" and cameos from the cast in other shows. An unrelated animated series aired in 1973. The franchise was revived in the 1990s with a feature film series consisting of "The Addams Family" (1991) and "Addams Family Values" (1993). The films inspired a second animated series (1992–1993) which is set in the same fictional universe. The series was rebooted with a 1998 direct-to-video film and a spin-off live-action television series (1998–1999). In 2010, a live musical adaptation featuring Nathan Lane and Bebe Neuwirth opened on Broadway and was nominated for two Tony Awards and eight Drama Desk Awards. The series again rebooted in 2019 with the animated film "The Addams Family", which led to a sequel in 2021. In 2022, Netflix debuted the original series "Wednesday".


title: The Addams Family

text: The franchise has become a staple of popular culture. It has spawned a video game series, , and soundtracks which are based around its Grammy-nominated theme song. They have had a profound influence on American comics, cinema and television, and are seen as an inspiration for the goth subculture and its fashion.


title: The Addams Family

text: Charles Addams began as a cartoonist in "The New Yorker" with a sketch of a window washer that ran on February 6, 1932. The first Addams Family cartoon was published in 1938, in a one-panel gag format. Charles Addams became a regular contributor to "The New Yorker", and drew approximately 1,300 cartoons between then and his death in 1988. 58 of these would feature the Addams Family, almost all of which were published in the 1940s and 1950s.


title: The Addams Family

text: In 1946, Addams met science fiction writer Ray Bradbury after drawing an illustration for Bradbury's short story "Homecoming" in "Mademoiselle" magazine, the first in a series of tales chronicling a family of Illinois monsters, the Elliotts. Bradbury and Addams became friends and planned to collaborate on a book of the Elliott Family's complete history, with Bradbury writing and Addams providing the illustrations, but it never materialized. Bradbury's Elliott Family stories were anthologized in "From the Dust Returned" (2001), with a connecting narrative, an explanation of his work with Addams, and Addams's 1946 "Mademoiselle" illustration used for the book's cover jacket. Although Addams's own characters were well established by the time of their initial encounter, in a 2001 interview, Bradbury states that Addams "went his way and created the Addams Family and I went my own way and created my family in this book."


title: The Addams Family

text: Outside of "The New Yorker", Addams also published several collections, the most notable being "Dear Dead Days: A Family Album" in 1959. The editor of "The New Yorker", William Shawn prevented any further Addams family cartoons from being printed after the 1964 launch of the television franchise.


title: The Addams Family

text: A 1964 television adaptation brought the series to a much wider audience and was well received. Producer Nat Perrin took a "less evil" approach to the characters and stories than Addams had in the cartoons, emphasizing lighter, more comedic elements. Stephen Cox later referred to the series as "more zany than spooky". The popular series, broadcast on the ABC network, ran only two seasons.


title: The Addams Family

text: The franchise remained in the popular consciousness even after the series concluded, with the "Lurch" dance move remaining popular through the 1960s for example. The television series was often re-run through television syndication for years afterward, in some areas continuing to broadcast as late as 1991. It was followed by a 1972 crossover appearance in Scooby-Doo and a 1973 animated series. The animated incarnation featured a new cast except for Felix Silla, who returned as Cousin Itt. A one-shot special, "Halloween with the New Addams Family", reunited most of the original cast from the 1964 series.


title: The Addams Family

text: The franchise was largely inactive throughout the 1980s. The 1987 retirement of William Shawn allowed a brief return of the cartoons to "The New Yorker", though Charles Addams himself died only a year later.


title: The Addams Family

text: Two live-action films were directed by Barry Sonnenfeld and released in the early 1990s, featuring a new cast. While the 1991 film received mixed reviews from critics, it performed reasonably well at the box office. A second film in 1993, "Addams Family Values", had the inverse reception. It was highly regarded by critics but, unexpectedly, performed poorly at the box office, and earned less than half the revenue of its predecessor. This, and the sudden death of Gomez actor Raul Julia in 1994, prevented Sonnenfeld from producing further films. Both received nominations for Academy Awards, BAFTA Awards, and Hugo Awards. For her role as Morticia, Anjelica Huston was twice nominated for the Golden Globe Award for Best Actress, and Raul Julia (as Gomez), Christina Ricci (as Wednesday), Christopher Lloyd (as Fester), and Joan Cusack (as Fester's wife, Debbie Jellinsky, in the sequel) received multiple Saturn Award and American Comedy Award nominations for their portrayals. Following the wave of interest in the franchise, a 1992 animated television series notably saw John Astin reprise his role as Gomez, almost thirty years after his first appearance in the role in 1964. It was nominated for four Daytime Emmy Awards, including one for Astin.


title: The Addams Family

text: A direct-to-video film, "The Addams Family Reunion", was produced by Saban Entertainment in 1998 and featured a returning Carel Struycken as Lurch, though was otherwise unrelated to the Sonnenfeld films and was very poorly received. The film was intended as the pilot to a Canadian-produced live-action television series, "The New Addams Family", which in the event was made with a mostly different cast and aired until the following year. Astin, then in his late 60s, returned as Grandpapa Addams in the TV series, rather than Gomez, who was played by Glenn Taranto.


title: The Addams Family

text: A Tim Burton stop-motion film was announced in 2010 but never developed. Instead, a Metro-Goldwyn-Mayer animated film was announced in 2013. Unlike the Burton version, this would use 3D computer animation. The film was eventually released in 2019, to a moderate box-office reception. A sequel, released in 2021 amid the COVID-19 pandemic, was far less successful. The first film received mixed audience reception, while the second film received negative audience reception with the two films scoring 45% and 28% on review aggregation website Rotten Tomatoes, respectively.


title: The Addams Family

text: The family appears to be a branch of an extensive Addams clan with relatives all over the world. In the original television series they are said to be related to "those one-D Adamses", a fact the family are deeply ashamed of. According to the film version, the family credo is, (pseudo-Latin: "We gladly feast on those who would subdue us"). Charles Addams was first inspired by his hometown of Westfield, New Jersey, an area full of ornate Victorian mansions and archaic graveyards. In the original comics series they live in a gothic house on Cemetery Ridge. According to the television series, the residence is a gloomy mansion adjacent to a cemetery and a swamp located in an unspecified American town. In the musical (first shown in Chicago in 2009), the house is located in Central Park. In the 2019 film, the Addamses live in an abandoned asylum located in the outskirts of the state of New Jersey which is haunted by a disembodied resident who demands the property to remain undisturbed.


title: The Addams Family

text: Although most of the humor derives from the fact that they share macabre interests, such as putting each other and themselves in the way of bodily harm (none of which seems to have an effect), the Addamses are not evil. They are a close-knit extended family. Morticia is an exemplary mother, and she and Gomez remain passionate towards each other; as established in the television series, she calls him "bubbeleh", to which he responds by kissing her arms, behavior which Morticia can also provoke by speaking a few words in French (their meanings are not important; any words in French will do). The parents are supportive of their children (except in the 2019 film when Wednesday arrives home wearing a pink dress). The family is friendly and hospitable to visitors; in some cases, it is willing to donate large sums of money to causes (television series and films), despite the visitors' horror at the Addamses' peculiar lifestyle. The characters were unnamed until the advent of the 1964 television adaptation, except for Wednesday and Morticia who were first named for a 1962 licensed doll collection.


title: The Addams Family

text: In 1964, the ABC TV network created "The Addams Family" television series based on Addams's cartoon characters. The series was shot in black-and-white and aired for two seasons in 64 half-hour episodes (September 18, 1964 – September 2, 1966). During the original television run of "The Addams Family" television series, "The New Yorker" editor William Shawn refused to publish any "Addams Family" cartoons. However, he continued to publish other Charles Addams cartoons. Shawn regarded his magazine as targeting a more refined readership and he did not want it to be associated with characters who could be seen on television by the more general public. After Shawn's 1987 retirement, the characters were welcomed back to "The New Yorker".


title: The Addams Family

text: The Addams Family's first animated appearance was on the third episode of Hanna-Barbera's "The New Scooby-Doo Movies", "Scooby-Doo Meets the Addams Family" (a.k.a. "Wednesday is Missing"), which first aired on CBS Saturday morning, on September 23, 1972. Four members of the original cast (John Astin, Carolyn Jones, Jackie Coogan, and Ted Cassidy) returned for the special, which involved the Addamses in a mystery with the Scooby-Doo gang. The Addams Family characters were drawn to the specifications of the original Charles Addams cartoons. After the episode aired, fans wanted more animated adventures featuring the Addamses, and Hanna-Barbera obliged.


title: The Addams Family

text: In late 1972, ABC produced a pilot for a live-action musical variety show which was titled "The Addams Family Fun-House". The cast included Jack Riley and Liz Torres as Gomez and Morticia (the pair also co-wrote the special), Stubby Kaye as Uncle Fester, Pat McCormick as Lurch and Butch Patrick (who had played Eddie Munster on "The Munsters") as Pugsley. Felix Silla reprised his role as Cousin Itt, connecting it to the original TV series. The pilot aired in 1973, but it was not picked up for a series.


title: The Addams Family

text: The first animated series ran on Saturday mornings from 1973 to 1975 on NBC. In a departure from the original series, this series took the Addamses on the road in a Victorian-style RV. This series also marked the point where the relationships between the characters were changed so that Fester was now Gomez's brother, and Grandmama was now Morticia's mother (though the old relationships between the characters would be revisited in the 1977 television movie, in order to retain its continuity with the original sitcom). Although Coogan and Cassidy reprised their roles, Astin and Jones did not; their parts were recast with Hanna-Barbera voice talents Lennie Weinrib as Gomez and Janet Waldo as Morticia, while a ten-year-old Jodie Foster provided the voice of Pugsley. Again, the characters were drawn to the specifications of the original Charles Addams cartoons. One season was produced, and the second season consisted of reruns. The show's theme music was completely different and it had no lyrics and no finger snaps, although it retained a bit of the four-note score from the live-action show.


title: The Addams Family

text: From 1974 to 1975, Gold Key Comics produced a comic book series in connection with the show, but it only lasted three issues. Each issue was adapted from a TV episode, starting with "In Search of the Boola-Boola" (October 1974).


title: The Addams Family

text: A television reunion movie, "Halloween with the New Addams Family", aired on NBC on Sunday, October 30, 1977. It features most of the original cast, except Blossom Rock, who had played Grandmama. She was still alive but was very ill at the time; Jane Rose replaced her. Veteran character actors Parley Baer and Vito Scotti, who both had recurring roles on the original series, also appeared in the movie. The movie has a slightly different version of the theme song; the finger snaps are used but not the lyrics.


title: The Addams Family

text: Gomez and Morticia have had two more children, Wednesday Jr. and Pugsley Jr., who strongly resemble their older siblings. Gomez's brother, Pancho, is staying with the family while Gomez attends a lodge meeting in Tombstone, Arizona. Gomez is jealous of his brother, who once courted Morticia. Halloween is nigh, and Pancho tells the children the legend of the Great Pumpkin-like character of Cousin Shy, who distributes gifts and carves pumpkins for good children on Halloween night. Wednesday (now called "Wednesday, Sr.") is home from music academy, where she is studying the piccolo (breaking glass with it). Pugsley (now "Pugsley, Sr.") is home from Nairobi medical school, where he is training to be a witch doctor. The family's home has been bugged by a gang of crooks which intends to steal the family's fortune. Lafferty, the boss, sends a gang member named Mikey into the house to investigate. Mikey panics and flees after treading on the tail of Kitty Kat the lion. The crooks employ a fake Gomez and Morticia to help them carry out their plans, along with two strong-arm goons, Hercules and Atlas. Gomez returns home to celebrate the Halloween party and trim the scarecrow. Lafferty poses as Quincy Addams (from Boston) to gain entrance to the house during the party. He has his men tie up Gomez and Morticia, and his doubles take their places, confusing Pancho, who is still in love with Morticia, and Ophelia, who is still in love with Gomez. Gomez and Morticia escape (thanks to the "Old Piccolo Game"), and rejoin the party, only to have Lafferty use various methods to try to get rid of them. Lurch scares off the thugs and terrifies Lafferty's other assistant. Fester, trying to be nice, puts Lafferty on the rack. Lafferty tries to escape through the secret passage and steps on Kitty Kat's tail. When the police arrive, the crooks gladly surrender. The Addamses are then free to celebrate Halloween happily, ending the night by singing together in welcome for Cousin Shy.


title: The Addams Family

text: The remake series ran on Saturday mornings from 1992 to 1993 on ABC after producers realized the success of the 1991 "Addams Family" movie. This series returned to the familiar format of the original series, with the Addams Family facing their sitcom situations at home. John Astin returned to the role of Gomez, and celebrities Rip Taylor and Carol Channing took over the roles of Fester and Grandmama, respectively. Veteran voice actors Jim Cummings, Debi Derryberry, Jeannie Elias and Pat Fraley did the voices of Lurch, Wednesday, Pugsley and Cousin Itt, respectively. New artistic models of the characters were used for this series, though still having a passing resemblance to the original cartoons. Two seasons were produced, with the third year containing reruns. Oddly in this series, Wednesday maintained her macabre, brooding attitude from the Addams Family movies. Still, her facial expressions and body language conveyed the happy-go-lucky, fun attitude of her portrayal in the original television show. The original Vic Mizzy theme song, although slightly different, was used for the opening.


title: The Addams Family

text: "The New Addams Family" was filmed in Vancouver, British Columbia, Canada, and ran for 65 episodes (one more than the original TV series) during the 1998–1999 season on the then-newly launched Fox Family Channel. Many storylines from the original series were reworked for this new series, incorporating more modern elements and jokes. John Astin returned to the franchise in some episodes of this series, albeit as "Grandpapa" Addams (Gomez's grandfather, a character introduced in "Addams Family Reunion"). The cast included Glenn Taranto as Gomez Addams, Ellie Harvie as Morticia, Michael Roberds as Fester, Brody Smith as Pugsley, Nicole Fugere (the only cast member from "Addams Family Reunion" to return) as Wednesday, John DeSantis as Lurch, Betty Phillips as Grandmama and Steven Fox as Thing.


title: The Addams Family

text: In 2021, Netflix announced a live-action TV series adaptation based on the character of Wednesday Addams, starring Jenna Ortega as the title character. Produced by MGM Television, with Alfred Gough and Miles Millar as showrunners and Tim Burton as series director in his first televised directorial effort. Wednesday, a student at Nevermore Academy, solves mysteries using her psychic ability. These include murders and a 25-year-old mystery involving her family. Luis Guzmán stars as Gomez, and Catherine Zeta-Jones stars as Morticia.


title: The Addams Family

text: Hunter Doohan, Georgie Farmer, Moosa Mostafa, Emma Myers, Naomi J. Ogawa, Joy Sunday, Percy Hynes White, Thora Birch, Riki Lindhome, Jamie McShane and Gwendoline Christie were added to the cast as series regulars. In March 2022, Christina Ricci, who portrayed Wednesday in "The Addams Family" (1991) and "Addams Family Values" (1993), had joined the cast as a series regular.


title: The Addams Family

text: In the 1990s, Orion Pictures (which by then had inherited the rights to the series) developed a film version, "The Addams Family" (released on November 22, 1991). Because of the studio's financial troubles at the time, Orion sold the US rights to the film to Paramount Pictures. On October 1, 2019, Paramount Pictures released double feature of "Addams Family" and "Addams Family Values" on Blu-ray in the United States.


title: The Addams Family

text: Upon the last film's success, a sequel followed: "Addams Family Values" (released on November 19, 1993, with worldwide distribution by Paramount). Loosened content restrictions allowed the films to use far more grotesque humor that strove to keep the Addams cartoons' original spirit (in fact, several gags were lifted straight from the single-panel cartoons). The two films used the same cast, except for Grandmama, played by Judith Malina and Carol Kane in the first and second films, respectively. A script for a third film was prepared in 1994, but was abandoned after the sudden death of actor Raul Julia that year.


title: The Addams Family

text: Another film, "Addams Family Reunion", was released direct-to-video on September 22, 1998, this time by Warner Bros. through its video division. It has no relation to the Paramount movies, being in fact a full-length pilot for a second live-action television version, "The New Addams Family", produced and shot in Canada. The third movie's Gomez, played by Tim Curry, follows the style of Raul Julia, while the new sitcom's Gomez, played by Glenn Taranto, is played in the style of John Astin, who had played the character in the 1960s. The only actors in this Warner Bros./Saban Entertainment production to have played in the previous Paramount films were Carel Struycken as Lurch and Christopher Hart as Thing.


title: The Addams Family

text: In 2010, it was announced that Illumination Entertainment, in partnership with Universal Pictures, had acquired the underlying rights to the Addams Family drawings. The film was planned to be a stop-motion animated film based on Charles Addams's original drawings. Tim Burton was set to co-write and co-produce the film, with a possibility to direct. In July 2013 however, it was reported that the film was cancelled.


title: The Addams Family

text: On October 31, 2013, it was announced in "Variety" that Metro-Goldwyn-Mayer will be reviving The Addams Family as an animated film with Pamela Pettler to write the screenplay and Andrew Mittman and Kevin Miserocchi to executive produce the film and they were in final negotiations with BermanBraun's Gail Berman and Lloyd Braun to produce it. By October 2017, Conrad Vernon had been hired to direct the film, which he will also produce along with Berman and Alex Schwartz, based on a screenplay written by Pettler, with revisions by Matt Lieberman. The film was released on October 11, 2019. On October 8, 2020, MGM announced that a sequel is in the works with an announcement trailer. The original cast set to return. Bill Hader and Javon "Wanna" Walton have also been cast to voice. Bill Hader played a new character named Dr. Cyrus Strange, while Javon replaced Finn Wolfhard as the voice of Pugsley Addams. Directors Greg Tiernan and Conrad Vernon returned as directors. The film was released on October 1, 2021.


title: The Addams Family

text: A pinball game by Midway (under the Bally label) was released in 1992 shortly after the movie. It is the best-selling pinball game of all time.


title: The Addams Family

text: This first novelisation of the television series, written by Jack Sharkey, was released near the end of the show's second season. The book details the family's arrival in their new home and explains how it got its bizarre décor. The arrival and origins of Thing are explained. Each chapter reads as a self-contained story, like episodes of the television show. The novel concludes with the Addams family discovering that their lives will be the basis for a new television series. It was published in paperback by Pyramid Books in 1965.


title: The Addams Family

text: "The Addams Family Strikes Back" by W.F. Miksch tells how Gomez plans to rehabilitate the image of Benedict Arnold by running for the local school board. The tone and characterizations in this book resemble the TV characters much more closely than in the first novel. Cousin Itt appears as a minor character in this story, but as a tiny, three-legged creature rather than the hairy, derby-hatted character seen on television and in the movies. The novel was published in paperback form by Pyramid Books in 1965.


title: The Addams Family

text: "The Addams Family: An Evilution" is a book about the "evilution" of The Addams Family characters, with more than 200 published and previously unpublished cartoons, and includes text by Charles Addams and H. Kevin Miserocchi, Director of the Tee and Charles Addams Foundation. Pomegranate Press published the book in 2010.


title: The Addams Family

text: In 1994, the actors cast as the Addamses in the first two films (sans the recently deceased Raul Julia) were in several Japanese television spots for the Honda Odyssey. The Addamses are seen speaking Japanese—most prominently Gomez (for whom a voice actor was used to impersonate Julia while footage from "Addams Family Values" was seen) and Morticia.


title: The Addams Family

text: In 2007 and 2008, the Addams Family appeared as M&M's in an advertising campaign for M&M's Dark Chocolate.


title: The Addams Family

text: A theme song for the 1964 TV series as well as a soundtrack album the next year were released, both composed by Vic Mizzy and the latter containing all of his compositions for the series entitled "Original Music From The Addams Family".


title: The Addams Family

text: In May 2007, it was announced that a musical inspired by The Addams Family drawings by Charles Addams was being developed for the Broadway stage. Broadway veterans Marshall Brickman and Rick Elice wrote the book, and Andrew Lippa wrote the score. Julian Crouch and Phelim McDermott (Improbable theatre founders) directed and designed the production, with choreography by Sergio Trujillo. A workshop and private industry presentation was held August 4–8, 2008. Featured in the cast were Bebe Neuwirth as Morticia, Krysta Rodriguez as Wednesday, and Nathan Lane as Gomez. In addition, Kevin Chamberlin played Uncle Fester and Zachary James played Lurch.


title: The Addams Family

text: The musical opened in previews at the Lunt-Fontanne Theatre on Broadway on March 8, 2010, with an official opening on April 8, after an out-of-town tryout in Chicago at the Ford Center for the Performing Arts from November 13, 2009, to January 10, 2010. The cast includes Lane as Gomez, Neuwirth as Morticia, Terrence Mann as Mal Beineke, Carolee Carmello as Alice Beineke, Chamberlin as Uncle Fester, Jackie Hoffman as Grandma, Zachary James as Lurch, Krysta Rodriguez as Wednesday, and Wesley Taylor as Wednesday's love interest, Lucas Beineke. The Broadway production ran for 22 months, closing on December 31, 2011, after 35 previews and 722 performances.


title: The Addams Family

text: On September 5, 2016, it was announced that the musical would premiere in the UK, on a major UK and Ireland tour produced by James Yeoburn and Stuart Matthew Price for United Theatrical. The production was directed by Matthew White and it opened at Edinburgh Festival Theatre on April 20, 2017, starring Samantha Womack, Les Dennis and Carrie Hope Fletcher.


title: The Addams Family

text: The family has had a profound influence on American comics, cinema and television, and it has also been seen as an inspiration for the goth subculture and its fashion. According to "The Telegraph", the Addamses "are one of the most iconic families in American history, up there with the Kennedys". Similarly, "Time" has compared "the relevance and the cultural reach" of the family with those of the Kennedys and the Roosevelts, "so much a part of the American landscape that it's difficult to discuss the country's history without mentioning them". For "TV Guide", which listed the characters in the top ten of The 60 Greatest TV Families of All Time, the Addamses "provid[ed] the design for cartoonish clans to come, like the Flintstones and the Simpsons". Owing to their popularity, the first feature-length adaptation has been identified as a "cult film", while "Addams Family Values" was listed as one of The 50 Best family films by "The Guardian" and nominated for the American Film Institute's 100 Years...100 Laughs at the turn of the century. Ricci's portrayal of Wednesday in the film series was ranked one of The 100 Greatest Movie Characters by "Empire", and in 2011 AOL named Morticia one of The 100 Most Memorable Female TV Characters.


title: Mikoyan MiG-29

text: The Mikoyan MiG-29 (; NATO reporting name: Fulcrum) is a twin-engine fighter aircraft designed in the Soviet Union. Developed by the Mikoyan design bureau as an air superiority fighter during the 1970s, the MiG-29, along with the larger Sukhoi Su-27, was developed to counter new U.S. fighters such as the McDonnell Douglas F-15 Eagle and the General Dynamics F-16 Fighting Falcon. The MiG-29 entered service with the Soviet Air Forces in 1983.


title: Mikoyan MiG-29

text: While originally oriented towards combat against any enemy aircraft, many MiG-29s have been furnished as multirole fighters capable of performing a number of different operations, and are commonly outfitted to use a range of air-to-surface armaments and precision munitions. The MiG-29 has been manufactured in several major variants, including the multirole Mikoyan MiG-29M and the navalised Mikoyan MiG-29K; the most advanced member of the family to date is the Mikoyan MiG-35. Later models frequently feature improved engines, glass cockpits with HOTAS-compatible flight controls, modern radar and infrared search and track (IRST) sensors, and considerably increased fuel capacity; some aircraft have also been equipped for aerial refueling.


title: Mikoyan MiG-29

text: Following the dissolution of the Soviet Union, the militaries of a number of former Soviet republics have continued to operate the MiG-29, the largest of which is the Russian Air Force. The Russian Air Force wanted to upgrade its existing fleet to the modernised MiG-29SMT configuration, but financial difficulties have limited deliveries. The MiG-29 has also been a popular export aircraft; more than 30 nations either operate or have operated the aircraft to date. the MiG-29 was still in production by Mikoyan, a subsidiary of United Aircraft Corporation (UAC) since 2006.


title: Mikoyan MiG-29

text: In the mid–1960s, the United States Air Force (USAF) encountered difficulties over the skies of Vietnam. Supersonic fighter bombers that had been optimized for low altitude bombing, like the F-105 Thunderchief, were found to be vulnerable to older MiG-17s and more advanced MiGs which were much more maneuverable. In order to regain the limited air superiority enjoyed over Korea, the US refocused on air combat using the F-4 Phantom multi-role fighter, while the Soviet Union developed the MiG-23 in response. Towards the end of the 1960s, the USAF started the "F-X" program to produce a fighter dedicated to air superiority, which led to the McDonnell Douglas F-15 Eagle being ordered for production in late 1969.


title: Mikoyan MiG-29

text: At the height of the Cold War, a Soviet response was necessary to avoid the possibility of a new American fighter gaining a serious technological advantage over existing Soviet fighters. Thus the development of a new air superiority fighter became a priority. In 1969, the Soviet General Staff issued a requirement for a "Perspektivnyy Frontovoy Istrebitel" ("PFI", roughly "Advanced Frontline Fighter"). Specifications were extremely ambitious, calling for long range, good short-field performance (including the ability to use austere runways), excellent agility, Mach 2+ speed, and heavy armament. The Russian aerodynamics institute TsAGI worked in collaboration with the Sukhoi design bureau on the aircraft's aerodynamics.


title: Mikoyan MiG-29

text: By 1971, however, Soviet studies determined the need for different types of fighters. The PFI program was supplemented with the "Perspektivnyy Lyogkiy Frontovoy Istrebitel" ("LPFI", or "Advanced Lightweight Tactical Fighter") program; the Soviet fighter force was planned to be approximately 33% PFI and 67% LPFI. PFI and LPFI paralleled the USAF's decision that created the "Lightweight Fighter" program and the General Dynamics F-16 Fighting Falcon and Northrop YF-17. The PFI fighter was assigned to Sukhoi, resulting in the Sukhoi Su-27, while the lightweight fighter went to Mikoyan. Detailed design work on the resultant Mikoyan "Product 9", designated "MiG-29A", began in 1974, with the first flight taking place on 6 October 1977. The pre-production aircraft was first spotted by United States reconnaissance satellites in November of that year; it was dubbed "Ram-L" because it was observed at the Zhukovsky flight test center near the town of Ramenskoye.


title: Mikoyan MiG-29

text: The workload split between TPFI and LPFI became more apparent as the MiG-29 filtered into front line service with the Soviet Air Forces (Russian: "Voenno-Vozdushnye Sily" [VVS]) in the mid-1980s. While the heavy, long range Su-27 was tasked with the more exotic and dangerous role of deep air-to-air sweeps of NATO high-value assets, the smaller MiG-29 directly replaced the MiG-23 in the frontal aviation role.


title: Mikoyan MiG-29

text: In the West, the new fighter was given the NATO reporting name "Fulcrum-A" because the pre-production MiG-29A, which should have logically received this designation, remained unknown in the West at that time. The Soviet Union did not assign official names to most of its aircraft, although nicknames were common. Unusually, some Soviet pilots found the MiG-29's NATO reporting name, "Fulcrum", to be a flattering description of the aircraft's intended purpose, and it is sometimes unofficially used in Russian service.


title: Mikoyan MiG-29

text: The MiG-29B was widely exported in downgraded versions, known as "MiG-29B 9-12A" and "MiG-29B 9-12B" for Warsaw Pact and non-Warsaw Pact nations respectively, with less capable avionics and no capability for delivering nuclear weapons.


title: Mikoyan MiG-29

text: In the 1980s, Mikoyan developed the improved MiG-29S to use longer range R-27E air-to-air missiles. It added a dorsal 'hump' to the upper fuselage to house a jamming system and some additional fuel capacity. The weapons load was increased to with airframe strengthening. These features were included in new-built fighters and upgrades to older MiG-29s.


title: Mikoyan MiG-29

text: Refined versions of the MiG-29 with improved avionics were fielded by the Soviet Union, but Mikoyan's multirole variants, including a carrier-based version designated MiG-29K, were never produced in large numbers. Development of the MiG-29K carrier version was suspended for over a decade before being resumed; the type went into service with the Indian Navy's INS "Vikramaditya", and Russian Navy's "Admiral Kuznetsov" class aircraft carrier. Mikoyan also developed improved versions of the MiG-29, named MiG-29M and MiG-29SMT.


title: Mikoyan MiG-29

text: There have been several upgrade programmes conducted for the MiG-29. Common upgrades include the adoption of standard-compatible avionics, service life extensions to 4,000 flight hours, safety enhancements, greater combat capabilities and reliability. In 2005, the Russian Aircraft Corporation "MiG" established a unified family of 4++ generation multirole fighters: the aircraft carrier–based MiG-29K, front-line MiG-29M and MiG-35 fighters.


title: Mikoyan MiG-29

text: On 11 December 2013, Russian deputy prime minister Dmitry Rogozin revealed that Russia was planning to build a new fighter to replace the MiG-29. The Sukhoi Su-27 and its derivatives were to be replaced by the Sukhoi Su-57, but a different design was needed to replace the lighter MiGs. A previous attempt to develop a MiG-29 replacement, the MiG 1.44 demonstrator, failed in the 1990s. The concept came up again in 2001 with interest from India, but they later opted for a variant of the Su-57. Air Force commanders have hinted at the possibility of a single-engine airframe that uses the Su-57's engine, radar, and weapons primarily for Russian service. This has since been revealed in the form of the Sukhoi Su-75 Checkmate.


title: Mikoyan MiG-29

text: Sharing its origins in the original PFI requirements issued by TsAGI, the MiG-29 has broad aerodynamic similarities to the Sukhoi Su-27, but with some notable differences. The MiG-29 has a mid-mounted swept wing with blended leading-edge root extensions (LERXs) swept at around 40°; there are swept tailplanes and two vertical fins, mounted on booms outboard of the engines. Automatic slats are mounted on the leading edges of the wings; they are four-segment on early models and five-segment on some later variants. On the trailing edge, there are maneuvering flaps and wingtip ailerons.


title: Mikoyan MiG-29

text: The MiG-29 has hydraulic controls and a SAU-451 three-axis autopilot but, unlike the Su-27, no fly-by-wire control system. Nonetheless, it is very agile, with excellent instantaneous and sustained turn performance, high-alpha capability, and a general resistance to spins. The airframe consists primarily of aluminum with some composite materials, and is stressed for up to 9 g (88 m/s²) maneuvers. The controls have "soft" limiters to prevent the pilot from exceeding g and alpha limits, but the limiters can be disabled manually.


title: Mikoyan MiG-29

text: The MiG-29 has two widely spaced Klimov RD-33 turbofan engines, each rated at dry and in afterburner. The space between the engines generates lift, thereby reducing effective wing loading, hence improving maneuverability. The engines are fed through intake ramps fitted under the leading-edge extensions (LERXs), which have variable ramps to allow high-Mach speeds. Due to their relatively short combustor, the engines produce noticeably heavier smoke than their contemporaries. As an adaptation to rough-field operations, the main air inlet can be closed completely and the auxiliary air inlet on the upper fuselage can be used for takeoff, landing and low-altitude flying, preventing ingestion of ground debris. Thereby the engines receive air through louvers on the LERXs which open automatically when intakes are closed. However the latest variant of the family, the MiG-35, eliminated these dorsal louvers, and adopted the mesh screens design in the main intakes, similar to those fitted to the Su-27.


title: Mikoyan MiG-29

text: The MiG-29 has a ferry range of without external fuel tanks, and with external tanks. The internal fuel capacity of the original MiG-29B is distributed between six internal fuel tanks, four in the fuselage and one in each wing. For longer flights, this can be supplemented by a centreline drop tank and, on later production batches, two underwing drop tanks. In addition, newer models have been fitted with port-side inflight refueling probes, allowing much longer flight times by using a probe-and-drogue system.


title: Mikoyan MiG-29

text: The cockpit features a conventional centre stick and left hand throttle controls. The pilot sits in a Zvezda K-36DM ejection seat.


title: Mikoyan MiG-29

text: The cockpit has conventional dials, with a head-up display (HUD) and a Shchel-3UM helmet mounted display, but no HOTAS ("hands-on-throttle-and-stick") capability. Emphasis seems to have been placed on making the cockpit similar to the earlier MiG-23 and other Soviet aircraft for ease of conversion, rather than on ergonomics. Nonetheless, the MiG-29 does have substantially better visibility than most previous Soviet jet fighters, thanks to a high-mounted bubble canopy. Upgraded models introduce "glass cockpits" with modern liquid-crystal (LCD) multi-function displays (MFDs) and true HOTAS.


title: Mikoyan MiG-29

text: The baseline MiG-29B has a Phazotron RLPK-29 radar fire control system which includes the N019 "Sapfir 29" look-down/shoot-down coherent pulse-Doppler radar and the Ts100.02-02 digital computer.


title: Mikoyan MiG-29

text: The N019 radar was not a new design, but rather a development of the Sapfir-23ML architecture used on the MiG-23ML. During the initial design specification period in the mid-1970s, Phazotron NIIR was tasked with producing a modern radar for the MiG-29. To speed development, Phazotron based its new design on work undertaken by NPO Istok on the experimental ""Soyuz"" radar program. Accordingly, the N019 was originally intended to have a flat planar array antenna and full digital signal processing, for a detection and tracking range of at least against a fighter-sized target. Prototype testing revealed this could not be attained in the required timeframe and still fit within the MiG-29's nose. Rather than design a new radar, Phazotron reverted to a version of the Sapfir-23ML's twisted-polarization cassegrain antenna and traditional analog signal processors, coupled with a new NII Argon-designed Ts100 digital computer to save time and cost. This produced a working radar system, but inherited the weak points of the earlier design, plaguing the MiG-29's ability to detect and track airborne targets at ranges available with the R-27 and R-77 missiles.


title: Mikoyan MiG-29

text: The N019 was further compromised by Phazotron designer Adolf Tolkachev’s betrayal of the radar to the CIA, for which he was executed in 1986. In response to all of these problems, the Soviets hastily developed a modified N019M "Topaz" radar for the upgraded "MiG-29S" aircraft. However, "VVS" was reportedly still not satisfied with the performance of the system and demanded another upgrade. The latest upgraded aircraft offered the N010 "Zhuk-M", which has a planar array antenna rather than a dish, improving range, and a much superior processing ability, with multiple-target engagement capability and compatibility with the Vympel R-77 (or RVV-AE).


title: Mikoyan MiG-29

text: Armament for the MiG-29 includes a single GSh-30-1 cannon in the port wing root. This originally had a 150-round magazine, which was reduced to 100 rounds in later variants, which only allows a few seconds of firing before running out of ammo. Original production MiG-29B aircraft cannot fire the cannon when carrying a centerline fuel tank as it blocks the shell ejection port. This was corrected in the MiG-29S and later versions.


title: Mikoyan MiG-29

text: Three pylons are provided under each wing (four in some variants), for a total of six (or eight). The inboard pylons can carry either a fuel tank, one "Vympel" R-27 (AA-10 "Alamo") medium-range air-to-air missile, or unguided bombs or rockets. Some Soviet aircraft could carry a single nuclear bomb on the port inboard station. The outer pylons usually carry R-73 (AA-11 "Archer") dogfight air to air missiles, although some users still retain the older R-60 (AA-8 "Aphid"). A single tank can be fitted to the centerline, between the engines.


title: Mikoyan MiG-29

text: The US has supplied AGM-88 HARM missiles to Ukraine. It appears that they are fired from MiG-29s. It was only disclosed after Russian forces showed footage of a tail fin from one of these missiles. U.S. Under Secretary of Defense for Policy Colin Kahl has said this: "I would just point to two things. One, you know, a lot was made about the MiG-29 issue several months ago, not very much has been noticed about the sheer amount of spare parts and other things that we've done to help them actually put more of their own MiG-29s in the air and keep those that are in the air flying for a longer period of time. And then also, in recent PDA [Presidential Drawdown Authority] packages we've included a number of anti-radiation missiles that can be fired off of Ukrainian aircraft. They can have effects on on Russian radars and other things." Soviet era aircraft don't have the computer architecture to accept NATO standard weapons. The interface would be difficult however with a "crude modification", such as an e-table, it would be possible.


title: Mikoyan MiG-29

text: While the MiG-29's true capabilities could only be estimated from the time it first appeared In 1977 until the mid-1980s, a combination of persistent intelligence and increasing access afforded by the Soviet foreign sales effort allowed a true appreciation of its capabilities. Early MiG-29s were very agile aircraft, capable of rivaling the performance of contemporary F-18 and F-16 aircraft. However, their relatively low fuel capacity relegated them to short-range air defense missions. Lacking HOTAS and an inter-aircraft data link, and requiring a very intensive "heads-down" approach to operating cockpit controls, the early MiG-29 denied pilots the kind of situational awareness routinely enjoyed by pilots operating comparable US aircraft. Analysts and Western pilots who flew examples of the MiG-29 thought this likely prevented even very good pilots from harnessing the plane's full combat capability. Later MiG-29s were upgraded to improve their capabilities.


title: Mikoyan MiG-29

text: The Soviet Union exported MiG-29s to several countries. Because 4th-generation fighter jets require the pilots to have extensive training, air-defense infrastructure, and constant maintenance and upgrades, MiG-29s have had mixed operational history with different air forces.


title: Mikoyan MiG-29

text: The MiG-29 was first publicly seen in the West when the Soviet Union displayed the aircraft in Finland on 2 July 1986. Two MiG-29s were also displayed at the Farnborough Airshow in Britain in September 1988. The following year, the aircraft conducted flying displays at the 1989 Paris Air Show where it was involved in a non-fatal crash during the first weekend of the show. The Paris Air Show display was only the second display of Soviet fighters at an international air show since the 1930s. Western observers were impressed by its apparent capability and exceptional agility. Following the disintegration of the Soviet Union, most of the MiG-29s entered service with the newly formed Russian Air Force.


title: Mikoyan MiG-29

text: In July 1993, two MiG-29s of the Russian Air Force collided in mid-air and crashed away from the public at the Royal International Air Tattoo. No one on the ground sustained any serious injuries, and the two pilots ejected and landed safely.


title: Mikoyan MiG-29

text: The Russian Air Force grounded all its MiG-29s following a crash in Siberia on 17 October 2008. Following a second crash with a MiG-29 in east Siberia in December 2008, Russian officials admitted that most MiG-29 fighters in the Russian Air Force were incapable of performing combat duties due to poor maintenance. The age of the aircraft was also an important factor as about 70% of the MiGs were considered to be too old to take to the skies. The Russian MiG-29s have not received updates since the collapse of the Soviet Union. On 4 February 2009, the Russian Air Force resumed flights with the MiG-29. However, in March 2009, 91 MiG-29s of the Russian Air Force required repair after inspections due to corrosion; approximately 100 MiGs were cleared to continue flying at the time. The Russian Air Force started an update of its early MiG-29s to the more current MiG-29SMT standard, but financial difficulties prevented delivery of more than three MiG-29 SMT upgrade to the Russian Air Force. Instead, the 35 MiG-29SMT/UBTs rejected by Algeria were bought by the Russian Air Force. Russia placed an order for 16 new-build MiG-29SMTs on 15 April 2014, with delivery expected by 2017.


title: Mikoyan MiG-29

text: On 4 June 2015, a MiG-29 crashed during training in Astrakhan. A month later, another MiG-29 crashed near the village of Kushchevskaya in the Krasnodar region with the pilot safely ejecting. A series of accidents in the Russian Air Force that happened in 2015 were caused mostly by overall increase of flights and trainings.


title: Mikoyan MiG-29

text: On 20 April 2008, Georgian officials claimed a Russian MiG-29 shot down a Georgian Hermes 450 unmanned aerial vehicle and provided video footage from the ill-fated drone showing an apparent MiG-29 launching an air-to-air missile at it. Russia denies that the aircraft was theirs and says they did not have any pilots in the air that day. Abkhazia's administration claimed its own forces shot down the drone with an L-39 aircraft "because it was violating Abkhaz airspace and breaching ceasefire agreements." UN investigation concluded that the video was authentic and that the drone was shot down by a Russian MiG-29 or Su-27 using a R-73 heat seeking missile.


title: Mikoyan MiG-29

text: On 16 July 2014, a Ukrainian Su-25 was shot down, with Ukrainian officials stating that a Russian MiG-29 shot it down using a R-27T missile. Russia denied these allegations.


title: Mikoyan MiG-29

text: During the first half of September 2017, the Russian Air Force deployed some MiG-29SMT multirole combat aircraft to Khmeimim Airbase, near Latakia, in western Syria, becoming the first time the modernized version of the baseline Fulcrum jet was deployed to take part in the Syrian Air War. The MiG-29SMT were involved in bombing missions and secondary strategic bombers escort duties.


title: Mikoyan MiG-29

text: Two Russian MiG-29s operated by Wagner Group crashed near Sirte, Libya on 28 June 2020 and on 7 September 2020.


title: Mikoyan MiG-29

text: In April 2014, during the military intervention in Crimea, 45 Ukrainian Air Force MiG-29s and 4 L-39 combat trainers were reportedly captured by Russian forces at Belbek air base. Most of the planes appeared to be in inoperable condition. In May, Russian troops dismantled them and shipped them back to Ukraine. On 4 August 2014, the Ukrainian government stated that a number of them had been put back into service to fight in the war in the east of the country.


title: Mikoyan MiG-29

text: During the initial days of the War in Donbas in April 2014, the Ukrainian Air Force deployed some jet fighters over the Donetsk region to perform combat air patrols and show of force flights. Probably due to the limited number of jet fighters available, a MiG-29 belonging to the Ukrainian Falcons display team was spotted armed with a full air-to-air load and performing a low altitude fly by.


title: Mikoyan MiG-29

text: In the evening of 7 August 2014, a Ukrainian Air Force MiG-29MU1, bort number 02 Blue, was shot down by an antiaircraft missile fired by pro-Russian rebels near the town of Yenakievo, and exploded in midair. The pilot ejected safely.


title: Mikoyan MiG-29

text: On 17 August 2014, another Ukrainian Air Force MiG-29, bort number 53 White, tasked with air to ground duties against separatists' positions was shot down by pro-Russian rebels in the Luhansk region. The Ukrainian government confirmed the downing. The pilot ejected safely and was recovered by friendly forces.


title: Mikoyan MiG-29

text: As of 2018, the Lviv State Aircraft Repair Plant began domestically upgrading the MiG-29 to have multirole capability, known as the MiG-29MU2. Development was expected to be completed by 2019 and enter production in 2020. The first upgraded MiG-29 was delivered to the Ukrainian Air Force in July 2020. In August 2020, Ukraine began negotiations with Elbit Systems to help modernize the MiG-29 fleet.


title: Mikoyan MiG-29

text: On 29 May 2020, Ukrainian MiG-29s took part in the Bomber Task Force in Europe with American B-1B bombers for the first time in the Black Sea region. In September 2020, B-52 bombers from the 5th Bomb Wing conducted vital integration training with Ukrainian MiG-29s and Su-27s inside Ukraine's airspace.


title: Mikoyan MiG-29

text: During the 2022 Russian invasion of Ukraine, Su-27s and MiG-29s were used as air superiority fighters, with ten MiG-29s reported lost on the ground and in the air.


title: Mikoyan MiG-29

text: In August 2022, a senior U.S. defense official disclosed that the Ukrainians have successfully integrated the AGM-88 HARM missile onto their "MiG aircraft" with video evidence of AGM-88 missiles fired by upgraded Ukrainian MiG-29s released by the Ukrainian Air Force few days later. For a weapon that relies on digital display to fire, the question of how it has been integrated into the MiG-29’s analogue displays remains unanswered. The footage shows a commercial GPS having been installed along with a tablet of some kind.


title: Mikoyan MiG-29

text: On 13 October 2022, a Ukrainian MiG-29 crashed during a combat mission. Its pilot is claimed to have destroyed a Shahed-136 drone with his cannon, and it is believed the debris from the drone collided with the aircraft and forced the pilot to eject. Ukrainian sources claim that the pilot shot down five drones and two cruise missiles shortly before the crash. The downed MiG-29 was wearing a livery similar to that of the Ukrainian Falcons display team. According to the Ukrainian State Bureau of Investigation: "the jet collided with debris from a destroyed drone, which caused massive damage to it to the point where it crashed near a village in northeast Vinnytsia. The pilot managed to eject and is currently receiving treatment in the hospital."


title: Mikoyan MiG-29

text: India was the first international customer of the MiG-29. The Indian Air Force (IAF) placed an order for more than 66 MiG-29s in 1980 while the aircraft was still in its initial development phase. Since its induction into the IAF in 1985, the aircraft has undergone a series of modifications with the addition of new avionics, sub-systems, turbofan engines and radars.


title: Mikoyan MiG-29

text: Indian MiG-29s were used extensively during the 1999 Kargil War in Kashmir by the Indian Air Force to provide fighter escort for Mirage 2000s attacking targets with laser-guided bombs.


title: Mikoyan MiG-29

text: The MiG-29's good operational record prompted India to sign a deal with Russia in 2005 and 2006 to upgrade all of its MiG-29s for US$888 million. Under the deal, the Indian MiGs were modified to be capable of deploying the R-77/RVV-AE (AA-12 'Adder') air-to-air missile. The missiles had been successfully tested in October 1998 and were integrated into the IAF's MiG-29s. The IAF has also awarded the MiG Corporation another US$900 million contract to upgrade all of its 69 operational MiG-29s. These upgrades will include a new avionics kit, with the N019 radar being replaced by a Phazotron "Zhuk-M" radar. The aircraft is also being equipped to enhance beyond-visual-range combat ability and for air-to-air refuelling to increase endurance. In 2007, Russia also gave India's Hindustan Aeronautics Limited (HAL) a licence to manufacture 120 RD-33 series 3 turbofan engines for the upgrade. The upgrade will also include a new weapon control system, improved cockpit ergonomics, air-to-air missiles, high-accuracy air-to-ground missiles and guided bombs. The first six MiG-29s will be upgraded in Russia while the remaining 63 MiGs will be upgraded at the HAL facility in India. India also awarded a multi-million-dollar contract to Israel Aircraft Industries to provide avionics and subsystems for the upgrade.


title: Mikoyan MiG-29

text: In March 2009, the Indian Air Force expressed concern after 90 MiG-29s were grounded in Russia. After carrying out an extensive inspection, the IAF cleared all MiG-29s in its fleet as safe in March 2009. In a disclosure in Parliament, Defence Minister A. K. Antony said the MiG-29 is structurally flawed in that it has a tendency to develop cracks due to corrosion in the tail fin. Russia has shared this finding with India, which emerged after the crash of a Russian Air Force MiG-29 in December 2008. "A repair scheme and preventive measures are in place and IAF has not encountered major problems concerning the issue", Antony said. Despite concerns of Russia's grounding, India sent the first six of its 78 MiG-29s to Russia for upgrades in 2008. The upgrade program will fit the MiGs with a phased array radar (PESA) and in-flight re-fuelling capability.


title: Mikoyan MiG-29

text: In January 2010, India and Russia signed a US$1.2 billion deal under which the Indian Navy would acquire 29 additional MiG-29Ks, bringing the total number of MiG-29Ks on order to 45. The MiG-29K entered service with the Indian Navy on 19 February 2010.


title: Mikoyan MiG-29

text: The upgrades to Indian MiG-29s will be to the MiG-29UPG standard. This version is similar to the SMT variant but differs by having a foreign-made avionics suite. The upgrade to latest MiG-29UPG standard is in process, which will include latest avionics, Zhuk-ME Radar, engine, weapon control systems, DRDO/DARE developed D-29 electronic warfare system greatly enhancing multi-role capabilities and survivability. The first three aircraft were delivered in December 2012, over two years behind schedule.


title: Mikoyan MiG-29

text: An IAF MiG-29 crashed near Jalandhar in Punjab on 8 May 2020 with its pilot ejected safely after the aircraft failed to respond. A court of inquiry has been ordered in the incident.


title: Mikoyan MiG-29

text: In 2020, India ordered 21 MiG-29s at an affordable price. These aircraft will be manufactured from airframes built in late 1980s but never assembled. Mikoyan will upgrade these aircraft before delivery to Indian Air Force. In the process, India becomes the last export customer of the original airframe of MiG-29. Russia has sent a commercial proposal for 21 MiG-29 aircraft to be refurbished for the Indian Air Force.


title: Mikoyan MiG-29

text: Yugoslavia was the first European country outside the Soviet Union to operate the MiG-29. The country received 14 MiG-29Bs and two MiG-29UBs from the USSR in 1987 and 1988. The MiG-29s were put into service with the 127th Fighter Aviation Squadron, based at Batajnica Air Base, north of Belgrade, Serbia.


title: Mikoyan MiG-29

text: Yugoslav MiG-29s saw little combat during the breakup of Yugoslavia, and were used primarily for ground attacks. Several Antonov An-2 aircraft used by Croatia were destroyed on the ground at Čepin airfield near Osijek, Croatia in 1991 by a Yugoslav MiG-29, with no MiG-29 losses. At least two MiG-29s carried out an air strike on Banski Dvori, the official residence of the Croatian Government, on 7 October 1991.


title: Mikoyan MiG-29

text: The MiG-29s continued their service in the subsequent Federal Republic of Yugoslavia. Because of the United Nations arms embargo against the country, the condition of the MiG-29s worsened as aircraft were not maintained according to rules and general overhaul scheduled for 1996 and 1997 was not conducted.


title: Mikoyan MiG-29

text: Six MiG-29s were shot down during the NATO intervention in the Kosovo War, three by USAF F-15s, one by a USAF F-16, and one by a Royal Netherlands Air Force F-16. However, one aircraft, according to its pilot, was hit by friendly fire from the ground. Another four were destroyed on the ground. One Argentine source claims that a MiG-29 shot down an F-16 on 26 March 1999, but this kill is disputed, as the F-16C in question was said to have crashed in the US that same day.


title: Mikoyan MiG-29

text: The Air Force of Serbia and Montenegro continued flying its remaining five MiG-29s at a very low rate after the war with one of them crashing on 7 July 2009. In spring 2004, news appeared that MiG-29 operations had ceased, because the aircraft could not be maintained, but later the five remaining airframes were sent to Russia for overhaul. The small Serbian MiG-29 fleet along with other jets were grounded for four months during Summer 2014 due to a battery procurement issue. The Serbian Air Force operates 14 MiG-29s as of 2020 with two more to be added in 2021.


title: Mikoyan MiG-29

text: In November 2016, Russia had agreed to donate six of its MiG-29s free of charge, if Serbia would pay the repair costs of $50 million for them. At the end of January 2017, Serbian defense minister Zoran Đorđević said that Belarus also agreed to donate eight of its MiG-29s to Serbia on a no-pay basis. In early October 2017, Russia completed the delivery of all the six MiG-29s. The aircraft were transferred to Serbia on board an Antonov An-124 transport aircraft. On 25 February 2019, Belarus formally handed four MiG-29s to the Serbian military during a ceremony held at the 558th Aircraft Repair Plant in Baranavichy. This increased the Serbian Air Force's fleet to 14 MiG-29s. Serbia plans to spend about €180–230 million on modernization of its entire MiG-29 fleet.