title: Cult of Chucky

text: In group therapy, Nica meets Malcolm, a man with multiple-identity disorder; Angela, a woman who believes she is dead; Claire, a woman who burned her house down; and Madeleine, a patient who smothered her infant son. Foley introduces a therapy technique involving a Good Guy doll. Most of the patients are unsettled except for Madeleine, who treats it as her baby. Nica is visited by Tiffany Valentine, the legal guardian of her niece Alice, and is devastated to learn that Alice has died. Tiffany leaves Nica a Good Guy doll, which she claims was a gift from Alice. That night, Chucky awakens and discovers Nica has slit her wrists. The next morning, Nica finds that her wrists have been stitched up and that Angela has been killed. After realizing "Valentine" was the last name of Chucky's girlfriend, Nica realizes Chucky is real. Fearing Madeleine is in danger, Nica has Malcolm warn her. Madeleine throws both the doll and Malcolm into an empty grave, but they are rescued by orderlies. Malcolm begins to refer to himself as "Charles" and act in a manner similar to Chucky, making Nica suspect he has been possessed. Chucky then kills Claire by decapitating her.


title: Cult of Chucky

text: Andy learns about the murders and realizes Chucky has somehow managed to transfer his soul into multiple bodies at once. In a private session with Foley, Nica agrees to be hypnotized in order to access any repressed memories about the murders. Foley, who has been sexually abusing Nica, is hit from behind by Chucky. Foley believes Nica is the one who assaulted him but is willing to keep quiet in order to blackmail her for more sexual favors. Madeleine smothers her Good Guy doll with a pillow, forcing her to confront the repercussions of her real child's death. Orderlies bury the doll in order to placate Madeleine. Andy commits himself into the institution by assaulting a security guard. Carlos, a nurse, delivers a package to Foley—another Good Guy doll with short, shaved hair. Madeleine is visited by her own doll and allows it to kill her.


title: Cult of Chucky

text: Foley attempts to assault Nica again but is knocked out by one of the Chucky dolls. Two dolls are now alive due to Madeline's doll splitting its soul inside of Foley's doll. One of the dolls awakens the short-haired doll. The Chuckys reveal that the original Chucky found a voodoo spell on the internet which allowed him to separate his soul into multiple host bodies, creating a "cult." Alice was one host, but she was killed. The dolls then kill Carlos. Tiffany returns and kills a security guard outside. Foley's Chucky doll transfers his soul into Nica, giving her body the ability to walk again. She stomps on Foley's head, using high-heeled shoes that Foley had given Nica earlier, killing him. She stumbles upon Malcolm, who has killed fellow Nurse Ashley, before confessing that he knows he's not really Chucky; he merely created "Charles" as an alternative personality. He is suddenly ambushed and killed by Madeleine's Chucky. The short-haired Chucky attacks Andy, but Andy restrains him and reaches into the doll's chest, pulling out a hidden gun and revealing that he sent him to the institution. He shoots the doll and stomps its head, killing him. Nica appears and taunts him. Andy tries to shoot at her, only to discover that he has no ammunition left. Nica locks Andy inside his cell.


title: Cult of Chucky

text: Madeleine's Chucky feigns lifelessness and Nica, possessed by Foley's Chucky, escapes. She reunites with Tiffany outside before driving off together with a Tiffany doll, also alive and sharing a portion of Tiffany's soul. In a post-credits scene, Andy's former foster sister, Kyle, enters Andy's house, having been sent to continue torturing the original Chucky's severed head.


title: Cult of Chucky

text: In December 2013, following the release of "Curse of Chucky", Don Mancini confirmed that he was planning on developing a seventh installment in the "Chucky" franchise. By February 2015, Mancini was in the process of writing the script for the film. A year later, Mancini, Jennifer Tilly and Fiona Dourif confirmed that shooting would soon begin for the film. The production office for the film was opened in Winnipeg, Manitoba, Canada in December 2016. Subsequently in January 5, the premise, cast, production schedule and distribution details for "Cult of Chucky" were revealed, with shooting set to commence four days later. Tony Gardner returned as one of Chucky's puppeteers.


title: Cult of Chucky

text: In an October 2013 interview, Mancini revealed that since "Child's Play 3", he had always wanted to introduce the concept of "Multiple Chuckys" but was unable to do so due to budget constraints. He eventually used the concept in "Cult of Chucky", 26 years later. A reference to Glen/Glenda (a character from "Seed of Chucky") was cut out of the film, although it was something that Mancini "definitely wanted to keep".


title: Cult of Chucky

text: Several actors from the previous films, Brad Dourif as Chucky, Fiona Dourif as Nica Pierce, Alex Vincent as Andy Barclay, Jennifer Tilly as Tiffany and Summer H. Howell as Alice returned in the seventh film. Each of them was featured in previous films, with Brad Dourif in all of them, Vincent in "Child's Play" (1988) and "Child's Play 2", Tilly in "Bride of Chucky" (1998) and "Seed of Chucky", and Fiona Dourif and Howell in "Curse of Chucky" (2013). "Cult of Chucky" marks Vincent's first principal role in the franchise since he was a child actor, in "Child's Play 2", twenty-seven years prior. Although Andy appeared in "Child's Play 3", he was played by a different actor, Justin Whalin, due to the events taking place eight years after the second film, which came out less than a year earlier. Alex Vincent also appeared as Andy during a post-credits scene in "Curse of Chucky".


title: Cult of Chucky

text: Principal photography for "Cult of Chucky" began in Winnipeg on January 9, 2017, with the cinematographer from "Curse of Chucky", Michael Marshall, returning in the same capacity. Tony Gardner returned to create and perform the Chucky character as he had done previously for "Seed of Chucky" and "Curse of Chucky". Filming ended on February 18 the same year.


title: Cult of Chucky

text: "Cult of Chucky" was released on Blu-ray, DVD, and Netflix (in the USA) on October 3, 2017. It domestically grossed over $2.2 million during the first two weeks.


title: Cult of Chucky

text: Unlike the Blu-ray and DVD versions of the film, the Netflix version was not unrated. The rated version is about a minute shorter than the unrated cut, and does not have a post-credits scene.


title: Cult of Chucky

text: Shortly before its release, the full film of "Cult of Chucky" was leaked on to YouTube, which led Don Mancini to tweet: "To the geniuses who leaked #cultofchucky & tweeted about it Congrats, not only are u terrible people, now Universal lawyers know who u r".


title: Cult of Chucky

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 80% based on 25 reviews, and an average rating of 6.1/10. On Metacritic, the film has an average score of 69 out of 100, indicating "generally favorable reviews".


title: Cult of Chucky

text: An early review posted on "Bloody Disgusting" was very favorable of the film. Benedict Seal stated: "Seventh films have no right to be this good or break this much new ground. "Cult of Chucky" takes this wild story in a whole host of new directions that franchise fans are sure to get a kick out of. There are so many batshit delights, especially as things escalate towards the finale, but to spoil them would be to ruin Mancini and co.'s grand carnival. Without a doubt, "Child's Play" is a horror franchise worth treasuring." Stephen Dalton of "The Hollywood Reporter" also had mostly positive things to say about the film, writing, "the bratty quips and cheerfully nasty murders come thick and fast, with drillings and decapitations, high heels and compressed air canisters all part of their repertoire. Mancini's low-key shooting style also shifts up a gear with slow-motion split-screen action and deranged psycho-lesbian clinches, like Brian De Palma on an indie-movie budget. A lean 91 minutes long, "Cult of Chucky" is part self-spoofing slasher, part lowbrow bloodbath and all guilty pleasure." Scott Mendelson of "Forbes" said, ""Cult of Chucky" is either the Final Chapter or a New Beginning. Either way, this most tenacious of horror franchises can walk on with its head held high." William Bibbiani, writing for "IGN", gave the film 7.4 out of 10, and specified, "Too many horror sequels feel like cheap and soulless cash-ins. "Cult of Chucky" has big ideas, strong performances and some moments that rank among the best in the series. The other classic slasher franchises may be failing, but lately, Chucky is making entertaining horror sequels look like child's play."


title: Cult of Chucky

text: In February 2018, a "Child's Play" television series was announced to be in the works, with involvement from Mancini and producer David Kirschner, and is a continuation of the film's story arc. Mancini also stated that as well as the series, feature films will still continue. The series, titled "Chucky", premiered in October 2021; features the return of several cast members, including Brad Dourif, Fiona Dourif, Alex Vincent, Christine Elise, and Jennifer Tilly.


title: Academic Ranking of World Universities

text: The Academic Ranking of World Universities (ARWU), also known as the Shanghai Ranking, is one of the annual publications of world university rankings. The league table was originally compiled and issued by Shanghai Jiao Tong University in 2003, making it the first global university ranking with multifarious indicators.


title: Academic Ranking of World Universities

text: Since 2009, ARWU has been published and copyrighted annually by Shanghai Ranking Consultancy, an organization focusing on higher education that is not legally subordinated to any universities or government agencies. In 2011, a board of international advisory consisting of scholars and policy researchers was established to provide suggestions. The publication currently includes global league tables for institutions as a whole and for a selection of individual subjects, alongside independent regional "Greater China Ranking" and "Macedonian HEIs Ranking".


title: Academic Ranking of World Universities

text: ARWU is regarded as one of the three most influential and widely observed university rankings, alongside "QS World University Rankings" and "Times Higher Education World University Rankings". It has received positive feedback for its objectivity and methodology, but draws wide criticism as it fails to adjust for the size of the institution, and thus larger institutions tend to rank above smaller ones.


title: Academic Ranking of World Universities

text: EU Research Headlines reported the ARWU's work on 31 December 2003: "The universities were carefully evaluated using several indicators of research performance." A survey on higher education published by "The Economist" in 2005 commented ARWU as "the most widely used annual ranking of the world's research universities." In 2010, "The Chronicle of Higher Education" called ARWU "the best-known and most influential global ranking of universities" and Philip G. Altbach named ARWU's 'consistency, clarity of purpose, and transparency' as significant strengths. University of Oxford Chancellor Chris Patten has said "the methodology looks fairly solid ... it looks like a pretty good stab at a fair comparison." While ARWU has originated in China, the ranking have been praised for being unbiased towards Asian institutions, especially Chinese institutions.


title: Academic Ranking of World Universities

text: The ranking has been criticised for "relying too much on award factors" thus undermining the importance of quality of instruction and humanities. A 2007 paper published in the journal "Scientometrics" found that the results from the Shanghai rankings could not be reproduced from raw data using the method described by Liu and Cheng. A 2013 paper in the same journal finally showed how the Shanghai ranking results could be reproduced. In a report from April 2009, J-C. Billaut, D. Bouyssou and Ph. Vincke analyse how the ARWU works, using their insights as specialists of Multiple Criteria Decision Making (MCDM). Their main conclusions are that the criteria used are not relevant; that the aggregation methodology has a number of major problems; and that insufficient attention has been paid to fundamental choices of criteria.


title: Academic Ranking of World Universities

text: The ARWU researchers themselves, N.C. Liu and Y. Cheng, think that the quality of universities cannot be precisely measured by mere numbers and any ranking must be controversial. They suggest that university and college rankings should be used with caution and their methodologies must be understood clearly before reporting or using the results. ARWU has been criticised by the European Commission as well as some EU member states for "favour[ing] Anglo-Saxon higher education institutions". For instance, ARWU is repeatedly criticised in France, where it triggers an annual controversy, focusing on its ill-adapted character to the French academic system and the unreasonable weight given to research often performed decades ago. It is also criticised in France for its use as a motivation for merging universities into larger ones.


title: Academic Ranking of World Universities

text: Indeed, a further criticism has been that the metrics used are not independent of university size, e.g. number of publications or award winners will mechanically add as universities are grouped, independently of research (or teaching) quality; thus a merger between two equally-ranked institutions will significantly increase the merged institutions’ score and give it a higher ranking, without any change in quality.


title: Academic Ranking of World Universities

text: There are two categories in ARWU's disciplinary rankings: broad subject fields and specific subjects. The methodology is similar to that adopted in the overall table, including award factors, paper citation, and the number of highly cited scholars.


title: Academic Ranking of World Universities

text: Considering the development of specific areas, two independent regional league tables with different methodologies were launched – Ranking of Top Universities in Greater China and Best Chinese Universities Ranking.


title: Aramaic alphabet

text: The ancient Aramaic alphabet was adapted by Arameans from the Phoenician alphabet and became a distinct script by the 8th century BC. It was used to write the Aramaic languages spoken by ancient Aramean pre-Christian tribes throughout the Fertile Crescent. It was also adopted by other peoples as their own alphabet when empires and their subjects underwent linguistic Aramaization during a language shift for governing purposes —a precursor to Arabization centuries later— including among Assyrians who permanently replaced their Akkadian language and its cuneiform script with Aramaic and its script, and among Jews (but not Samaritans), who adopted the Aramaic language as their vernacular and started using the Aramaic alphabet even for writing Hebrew, displacing the former Paleo-Hebrew alphabet. (The modern Hebrew alphabet derives from the Aramaic alphabet, in contrast to the modern Samaritan alphabet, which derives from Paleo-Hebrew). The letters in the Aramaic alphabet all represent consonants, some of which are also used as "matres lectionis" to indicate long vowels.


title: Aramaic alphabet

text: The Aramaic alphabet is historically significant since virtually all modern Middle Eastern writing systems can be traced back to it. That is primarily due to the widespread usage of the Aramaic language after it was adopted as both a "lingua franca" and the official language of the Neo-Assyrian and Neo-Babylonian Empires, and their successor, the Achaemenid Empire.


title: Aramaic alphabet

text: Among the descendant scripts in modern use, the Jewish Hebrew alphabet bears the closest relation to the Imperial Aramaic script of the 5th century BC, with an identical letter inventory and, for the most part, nearly identical letter shapes. By contrast the Samaritan Hebrew script is directly descended from Proto-Hebrew/Phoenician script, which was in turn the ancestor of the Aramaic alphabet. The Aramaic alphabet was also an ancestor to the Nabataean alphabet, which in turn had the Arabic alphabet as a descendant.


title: Aramaic alphabet

text: Writing systems (like the Aramaic) that indicate consonants but do not indicate most vowels other than by means of "matres lectionis" or added diacritical signs, have been called abjads by Peter T. Daniels to distinguish them from alphabets such as the Greek alphabet that represent vowels more systematically. The term was coined to avoid the notion that a writing system that represents sounds must be either a syllabary or an alphabet, which would imply that a system like Aramaic must be either a syllabary (as argued by Ignace Gelb) or an incomplete or deficient alphabet (as most other writers had said before Daniels). Rather, Daniels put forward, this is a different type of writing system, intermediate between syllabaries and 'full' alphabets.


title: Aramaic alphabet

text: The earliest inscriptions in the Aramaic language use the Phoenician alphabet. Over time, the alphabet developed into the form shown below. Aramaic gradually became the "lingua franca" throughout the Middle East, with the script at first complementing and then displacing Assyrian cuneiform, as the predominant writing system.


title: Aramaic alphabet

text: Around 500 BC, following the Achaemenid conquest of Mesopotamia under Darius I, Old Aramaic was adopted by the Persians as the "vehicle for written communication between the different regions of the vast Persian empire with its different peoples and languages. The use of a single official language, which modern scholarship has dubbed as Official Aramaic, Imperial Aramaic or Achaemenid Aramaic, can be assumed to have greatly contributed to the astonishing success of the Achaemenid Persians in holding their far-flung empire together for as long as they did."


title: Aramaic alphabet

text: Imperial Aramaic was highly standardised; its orthography was based more on historical roots than any spoken dialect and was influenced by Old Persian. The Aramaic glyph forms of the period are often divided into two main styles, the "lapidary" form, usually inscribed on hard surfaces like stone monuments, and a cursive form whose lapidary form tended to be more conservative by remaining more visually similar to Phoenician and early Aramaic. Both were in use through the Achaemenid Persian period, but the cursive form steadily gained ground over the lapidary, which had largely disappeared by the 3rd century BC.


title: Aramaic alphabet

text: For centuries after the fall of the Achaemenid Empire in 331 BC, Imperial Aramaic, or something near enough to it to be recognisable, would remain an influence on the various native Iranian languages. The Aramaic script would survive as the essential characteristics of the Iranian Pahlavi writing system.


title: Aramaic alphabet

text: 30 Aramaic documents from Bactria have been recently discovered, an analysis of which was published in November 2006. The texts, which were rendered on leather, reflect the use of Aramaic in the 4th century BC in the Persian Achaemenid administration of Bactria and Sogdiana.


title: Aramaic alphabet

text: The widespread usage of Achaemenid Aramaic in the Middle East led to the gradual adoption of the Aramaic alphabet for writing Hebrew. Formerly, Hebrew had been written using an alphabet closer in form to that of Phoenician, the Paleo-Hebrew alphabet.


title: Aramaic alphabet

text: Since the evolution of the Aramaic alphabet out of the Phoenician one was a gradual process, the division of the world's alphabets into the ones derived from the Phoenician one directly and the ones derived from Phoenician via Aramaic is somewhat artificial. In general, the alphabets of the Mediterranean region (Anatolia, Greece, Italy) are classified as Phoenician-derived, adapted from around the 8th century BC, and those of the East (the Levant, Persia, Central Asia and India) are considered Aramaic-derived, adapted from around the 6th century BC from the Imperial Aramaic script of the Achaemenid Empire.


title: Aramaic alphabet

text: After the fall of the Achaemenid Empire, the unity of the Imperial Aramaic script was lost, diversifying into a number of descendant cursives.


title: Aramaic alphabet

text: The Hebrew and Nabataean alphabets, as they stood by the Roman era, were little changed in style from the Imperial Aramaic alphabet. Ibn Khaldun (1332–1406) alleges that not only the old Nabataean writing was influenced by the "Syrian script" (i.e. Aramaic), but also the old Chaldean script.


title: Aramaic alphabet

text: A cursive Hebrew variant developed from the early centuries AD, but it remained restricted to the status of a variant used alongside the noncursive. By contrast, the cursive developed out of the Nabataean alphabet in the same period soon became the standard for writing Arabic, evolving into the Arabic alphabet as it stood by the time of the early spread of Islam.


title: Aramaic alphabet

text: The development of cursive versions of Aramaic also led to the creation of the Syriac, Palmyrene and Mandaic alphabets, which formed the basis of the historical scripts of Central Asia, such as the Sogdian and Mongolian alphabets.


title: Aramaic alphabet

text: The Old Turkic script is generally considered to have its ultimate origins in Aramaic, in particular via the Pahlavi or Sogdian alphabets, as suggested by V. Thomsen, or possibly via Kharosthi ("cf"., Issyk inscription).


title: Aramaic alphabet

text: Brahmi script was also possibly derived or inspired by Aramaic. Brahmic family of scripts includes Devanagari.


title: Aramaic alphabet

text: Today, Biblical Aramaic, Jewish Neo-Aramaic dialects and the Aramaic language of the Talmud are written in the modern-Hebrew alphabet (distinguished from the Old Hebrew script). In classical Jewish literature, the name given to the modern-Hebrew script was "Ashurit" (the ancient Assyrian script), a script now known widely as the Aramaic script. It is believed that during the period of Assyrian dominion that Aramaic script and language received official status. Syriac and Christian Neo-Aramaic dialects are today written in the Syriac alphabet, which script has superseded the more ancient Assyrian script and now bears its name. Mandaic is written in the Mandaic alphabet. The near-identical nature of the Aramaic and the classical Hebrew alphabets caused Aramaic text to be typeset mostly in the standard Hebrew script in scholarly literature.


title: Aramaic alphabet

text: In Maaloula, one of few surviving communities in which a Western Aramaic dialect is still spoken, an Aramaic institute was established in 2007 by Damascus University that teaches courses to keep the language alive. The institute's activities were suspended in 2010 amidst fears that the square Aramaic alphabet used in the program too closely resembled the square script of the Hebrew alphabet and all the signs with the square Aramaic script were taken down. The program stated that they would instead use the more distinct Syriac alphabet, although use of the Aramaic alphabet has continued to some degree. Al Jazeera Arabic also broadcast a program about Western Neo-Aramaic and the villages in which it is spoken with the square script still in use.


title: Aramaic alphabet

text: In Aramaic writing, "waw" and "yodh" serve a double function. Originally, they represented only the consonants "w" and "y", but they were later adopted to indicate the long vowels "ū" and "ī" respectively as well (often also "ō" and "ē" respectively). In the latter role, they are known as " or "mothers of reading".


title: Aramaic alphabet

text: Ālap, likewise, has some of the characteristics of a " because in initial positions, it indicates a glottal stop (followed by a vowel), but otherwise, it often also stands for the long vowels "ā" or "ē". Among Jews, the influence of Hebrew often led to the use of Hē instead, at the end of a word.


title: Aramaic alphabet

text: The practice of using certain letters to hold vowel values spread to Aramaic-derived writing systems, such as in Arabic and Hebrew, which still follow the practice.


title: Aramaic alphabet

text: The Imperial Aramaic alphabet was added to the Unicode Standard in October 2009, with the release of version 5.2.


title: Aramaic alphabet

text: The Syriac Aramaic alphabet was added to the Unicode Standard in September 1999, with the release of version 3.0.


title: Aramaic alphabet

text: The Syriac Abbreviation (a type of overline) can be represented with a special control character called the Syriac Abbreviation Mark (U+070F). The Unicode block for Syriac Aramaic is U+0700–U+074F:


title: Where Eagles Dare

text: Where Eagles Dare is a 1968 war film directed by Brian G. Hutton and starring Richard Burton, Clint Eastwood and Mary Ure. It follows a joint British-American Special Operations Executive team of paratroopers raiding a castle (shot on location in Austria and Bavaria). It was filmed in Panavision using the Metrocolor process, and was distributed by Metro-Goldwyn-Mayer. Alistair MacLean wrote the screenplay, his first, at the same time that he wrote the novel of the same name. Both became commercial successes.


title: Where Eagles Dare

text: The film involved some of the top filmmakers of the day and is considered a classic. Hollywood stuntman Yakima Canutt was the second unit director and shot most of the action scenes; British stuntman Alf Joint doubled for Burton in many sequences, including the fight on top of the cable car; award-winning conductor and composer Ron Goodwin wrote the film score; and future Oscar-nominee Arthur Ibbetson worked on the cinematography.


title: Where Eagles Dare

text: In the winter of 1943–44, U.S. Army Brigadier General George Carnaby, a chief planner for the Western Front, is captured by the Germans and taken for interrogation to "Schloß Adler", a mountaintop fortress accessible only by cable car. A team of seven Allied Special Operations Executive commandos, led by British Major John Smith of the Grenadier Guards and U.S. Army Ranger Lieutenant Morris Schaffer, is briefed by Colonel Turner and Vice Admiral Rolland of MI6. Disguised as "Wehrmacht" mountain troops, they are to parachute into the German Alps, enter the castle, and rescue Carnaby before the Germans can interrogate him. After their transport plane drops them off, Smith secretly meets with agent Mary Ellison, with whom he is in a relationship, and his contact Heidi Schmidt. Heidi has arranged for Mary, posing as her cousin Maria, to work temporarily at the castle so the commandos can gain access.


title: Where Eagles Dare

text: Although two of the team are mysteriously killed, Smith continues the operation, keeping Schaffer as a close ally and secretly updating Rolland and Turner by radio. He reveals to Mary and Schaffer that Carnaby is actually an American corporal named Cartwright Jones, an ex-actor and lookalike of Carnaby trained to impersonate him. The Germans, tipped off to the operation, eventually surround the commandos in a "gasthaus" and force them to surrender. The officers, Smith and Schaffer, are separated from the rest of the team, Thomas, Berkeley, and Christiansen. Smith and Schaffer kill their captors, blow up a supply depot, and prepare an escape route. They reach the castle by riding on the roof of a cable car and climb inside using a rope lowered by Mary.


title: Where Eagles Dare

text: German General der Gebirgstruppe Rosemeyer and SS-Standartenführer Kramer are interrogating Carnaby when the three operatives, who claim to be double agents working for the Germans, arrive. Shortly thereafter, Smith and Schaffer intrude, weapons drawn, but Smith forces Schaffer to drop his weapon. He identifies himself as SS-Sturmbannführer Johann Schmidt of the SD, the SS intelligence branch and shows Kramer the name of Germany's top agent in Britain. Kramer affirms it and calls a high-ranking officer on Kesselring's staff who confirms that Smith is indeed Schmidt. To ensure the three agents are who they say they are, Schmidt proposes that they write down the names of their fellow agents in Britain, to be compared to the list he has in his pocket. After the three finish their lists, Schmidt reveals that he was bluffing; he is in fact a double agent for the Allies and that obtaining the list of agents was the mission's true objective.


title: Where Eagles Dare

text: Mary is visited by SS-Sturmbannführer von Hapen, a highly decorated Waffen-SS officer who is convalescing whilst on secondment to the SD and the Gestapo in Southern Bavaria. He is attracted to her but becomes suspicious of flaws in her cover story, and stumbles upon Carnaby's interrogation just as Smith finishes his explanation. Smith keeps him occupied before Mary arrives. Schaffer seizes the distraction to kill von Hapen and the other German officers with his silenced pistol. The group then make their escape with Jones and the German agents. Schaffer sets a series of explosives to create diversions around the castle while Smith leads the group to the radio room, where he informs Rolland of their success and asks for a transport plane home. During the escape, Thomas is sacrificed as a decoy, and Berkeley and Christiansen both attempt to escape before Smith kills them. The team reunites with Heidi on the ground, boarding a red post bus they had prepared earlier. They battle their way onto a nearby airfield and take off in their transport plane, where Turner welcomes them.


title: Where Eagles Dare

text: As Turner debriefs Smith about the mission, Smith reveals that Kramer named Turner as Germany's top agent in Britain. Rolland lured Turner and the others into participating in the fake mission so that MI6 could expose them; Smith's trusted partner Mary and the American Schaffer, who had no connection to MI6, had been assigned to the mission to ensure its success. Turner aims a Sten gun at Smith, who reveals that Rolland had the gun's firing pin removed earlier. He permits Turner to jump out of the plane to his death to avoid being tried for treason and executed. An exhausted Schaffer half-jokingly asks Smith to keep his next mission "an all-British operation".


title: Where Eagles Dare

text: Burton later said, "I decided to do the picture because Elizabeth's two sons said they were fed up with me making films they weren't allowed to see, or in which I get killed. They wanted me to kill a few people instead."


title: Where Eagles Dare

text: Burton approached producer Elliott Kastner "and asked him if he had some super-hero stuff for me where I don't get killed in the end."


title: Where Eagles Dare

text: The producer consulted MacLean and requested an adventure film filled with mystery, suspense, and action. Most of MacLean's novels had been made into films or were being filmed. Kastner persuaded MacLean to write a new story; six weeks later, he delivered the script, at that time entitled "Castle of Eagles". Kastner hated the title, and chose "Where Eagles Dare" instead. The title is from Act I, Scene III in William Shakespeare's "Richard III": "The world is grown so bad, that wrens make prey where eagles dare not perch". Like virtually all of MacLean's works, "Where Eagles Dare" features his trademark "secret traitor", who must be unmasked by the end.


title: Where Eagles Dare

text: Kastner and co-producer Jerry Gershwin announced in July 1966 that they had purchased five MacLean scripts, starting with "Where Eagles Dare" and "When Eight Bells Toll". Brian Hutton had just made "Sol Madrid" for the producers and was signed to direct.


title: Where Eagles Dare

text: Eastwood and Burton reportedly dubbed the film 'Where Doubles Dare' due to the amount of screen time in which stand-ins doubled for the cast during action sequences. Filming began on 2 January 1968 in Austria and concluded in July 1968. Eastwood received a salary of $800,000 while Burton received $1,200,000. This is one of the first sound films to have used front projection effect. This technology enabled filming of the scenes where the actors are on top of the cable car.


title: Where Eagles Dare

text: Eastwood initially thought the script written by MacLean was "terrible" and was "all exposition and complications." According to Derren Nesbitt, Eastwood requested that he be given less dialogue. Most of Schaffer's lines were given to Burton, whilst Eastwood handled most of the action scenes. Director Hutton played to his actors' strengths, allowing for Burton's theatrical background to help the character of Smith and Eastwood's quiet demeanour to establish Schaffer. Eastwood took the part on the advice of his agent, who felt it would be interesting to see his client appear with someone with seniority. Eastwood and Burton got along well on set.


title: Where Eagles Dare

text: Derren Nesbitt was keen to be as authentic as possible with his character Von Hapen. Whilst on location, he requested to meet a former member of the Gestapo to better understand how to play the character and to get the military regalia correct. He was injured on set whilst filming the scene in which Schaffer kills Von Hapen. The blood squib attached to Nesbitt exploded with such force that he was temporarily blinded, though he made a quick recovery.


title: Where Eagles Dare

text: The filming was delayed due to the adverse weather in Austria. Shooting took place in winter and early spring of 1968, and the crew had to contend with blizzards, sub-zero temperatures and potential avalanches. Further delays were incurred when Richard Burton, well known for his drinking binges, disappeared for several days, with his friends Peter O'Toole, Trevor Howard and Richard Harris. As part of his deal with Metro-Goldwyn-Mayer, Clint Eastwood took delivery of a Norton P11 motorcycle, which he 'tested' at Brands Hatch racetrack, accompanied by Ingrid Pitt, something that he had been forbidden from doing by Kastner for insurance purposes in case of injury or worse.


title: Where Eagles Dare

text: Stuntman Alf Joint, who had played Capungo–the man who 007 electrocuted in the bathtub in "Goldfinger"–doubled and was stand-in for Richard Burton, and performed the famous cable car jump sequence, during which he lost three teeth. Joint stated that at one point during production, Burton was so drunk that he knocked himself out while filming and Joint had to quickly fill in for him. Derren Nesbitt observed that Burton was drinking as many as four bottles of vodka per day.


title: Where Eagles Dare

text: At one point during filming, Burton was threatened at gunpoint by an overzealous fan, but fortunately danger was averted.


title: Where Eagles Dare

text: The Junkers Ju 52 used to fly Smith and Schaffer's team into Austria and then make their escape at the end of the film was a Swiss Air Force Ju 52/3m, registration A-702. It was destroyed in an accident on 4 August 2018, killing all 20 people on board.


title: Where Eagles Dare

text: "Where Eagles Dare" received a Royal premiere at the Empire, Leicester Square cinema on 22 January 1969 with Princess Alexandra in attendance. Of the stars of the film, only Clint Eastwood was not present as he was filming "Two Mules for Sister Sara" in Mexico.


title: Where Eagles Dare

text: The film was a huge success, earning $6,560,000 at the North American box office during its first year of release. It was the seventh-most popular film at the UK box office in 1969, and 13th in the US.


title: Where Eagles Dare

text: Vincent Canby of the "New York Times" gave a positive review, praising the action scenes and cinematography. Likewise, "Variety" praised the film, describing it as 'thrilling'. The film was particularly lucrative for Richard Burton, who earned a considerable sum in royalties through television repeats and video sales. "Where Eagles Dare" had its first showing on British television on 26 December 1979 on BBC1.


title: Where Eagles Dare

text: "Mad Magazine" published a satire of the film in its October 1969 issue under the title "Where Vultures Fare." In 2009 "Cinema Retro" released a special issue dedicated to "Where Eagles Dare" which detailed the production and filming of the film.


title: Where Eagles Dare

text: Years after its debut, "Where Eagles Dare" enjoys a reputation as a classic and is considered by many as one of the best war films of all time. Others noted that the formidable Nazis manage to kill no one, although they do manage to graze Smith's hand with a bullet, while the heroes have a seemingly endless supply of ammunition and hot-dog-package explosives, despite only parachuting in with three cargo canisters.


title: Where Eagles Dare

text: The score was composed by Ron Goodwin. A soundtrack was released on Compact Disc in 2005 by "Film Score Monthly", of the Silver Age Classics series, in association with Turner Entertainment. It was a two-disc release, the first CD being the film music, the second the film music for "Operation Crossbow" and source music for "Where Eagles Dare". The release has been limited to 3,000 pressings.


title: Where Eagles Dare

text: The principal difference is that the 1966 novel by Alistair MacLean is less violent. One scene during the escape from the castle where Smith saves a German guard from burning to death presaged the non-lethal thriller vein that MacLean would explore in his later career. In the novel the characters are more clearly defined and slightly more humorous than their depictions in the film, which is fast-paced and has sombre performances from Burton and Eastwood at its centre. Three characters are differently named in the novel: Ted Berkeley is called Edward Carraciola, Jock MacPherson is called Torrance-Smythe, and Major von Hapen is instead Captain von Brauchitsch. The love stories between Schaffer and Heidi and between Smith and Mary were also cut. Indeed, in the novel Smith asks London to arrange for a priest to meet them at the airport.


title: Where Eagles Dare

text: In the book the group is flown into Germany on board an RAF Avro Lancaster, whereas in the film they are transported in a "Luftwaffe" Junkers Ju 52. While in the film Kramer, Rosemeyer, and Von Hapen are shot dead by Schaffer and Smith, in the novel they are just given high doses of nembutal. In the book Thomas, Carraciola, and Christiansen attempt to escape in the cable car with Smith on the roof. Carraciola is crushed by the steel suspension arm of the cable car while struggling with Smith on the roof; Thomas and Christiansen fall to their deaths after Smith blows the cable car up with plastic explosive. In the film Christiansen is killed and Berkeley (Carraciola in the novel) incapacitated by Smith on the cable car (he dies apparently when the cable car explodes), and Thomas is shot and killed by a German soldier while climbing down a rope.


title: Where Eagles Dare

text: The British heavy metal band Iron Maiden recorded a song called "Where Eagles Dare" on their 1983 album "Piece of Mind". The live performance features Bruce Dickinson in snow camouflage and Richard Burton's "Broadsword calling Danny Boy" message as an intro.


title: Where Eagles Dare

text: The 2000 video game "" features a hidden extra mission "Where Beagles Dare", whose joke premise has the protagonist, an operative of the Allied forces, infiltrate a German castle inhabited by anthropomorphic, armed, dancing Nazi dogs.


title: Cruzeiro Esporte Clube

text: Cruzeiro Esporte Clube (), known simply as Cruzeiro, is a Brazilian sports club based in Belo Horizonte, Minas Gerais. Although they compete in a number of different sports, Cruzeiro is mostly known for its association football team. It plays in the Campeonato Brasileiro Série B, the second tier of the Brazilian football league system, as well as in the Campeonato Mineiro, the state of Minas Gerais's premier state league.


title: Cruzeiro Esporte Clube

text: The club was founded on 2 January 1921, by sportsmen from the Italian colony of Belo Horizonte as "Palestra Itália". As a result of the Second World War, the Brazilian federal government banned the use of any symbols referring to the Axis powers in 1942. The club board members rebaptized the club with the name of a leading national symbol: the Cruzeiro do Sul's constellation. Cruzeiro play their home games at the Mineirão stadium, which currently holds up to 62,547 spectators. Cruzeiro's regular kit colors are blue shirts and white shorts with white socks.


title: Cruzeiro Esporte Clube

text: Cruzeiro is one of Brazil's most successful clubs. It won the Campeonato Brasileiro Série A for the first time in 1966, after defeating Santos' "Os Santásticos" in the final series. Cruzeiro has won the Brasileirão again in 2003, 2013 and 2014, obtaining the best campaign in the present format of the competition. Cruzeiro has also won record six Copa do Brasil titles and the Campeonato Mineiro 39 times. Cruzeiro won the defunct state competitions Taça Minas Gerais five times, the Copa dos Campeões Mineiros twice, Copa Sul Minas twice, the Torneio Início 10 times and the Supercampeonato Mineiro once. "A Raposa" also obtained many international laurels such as two Copa Libertadores, two Supercopa Libertadores, one Recopa Sudamericana, one Copa de Oro and one Copa Master de Supercopa. Cruzeiro is one of the two Brazilian clubs to complete the Domestic Treble, a feat accomplished in 2003 after winning the Campeonato Mineiro, the 2003 Copa do Brasil and the 2003 Brasileirão.


title: Cruzeiro Esporte Clube

text: Cruzeiro hold a long-standing rivalry against Atlético Mineiro. It has contributed many key and famous players towards Brazil's FIFA World Cup squads such as Piazza, Tostão, Nelinho, Ronaldo, Luisão, Alex, Maicon, Cris, Jairzinho, Rivaldo and Edílson among so many others.


title: Cruzeiro Esporte Clube

text: Cruzeiro's history is traced back to the Italian community living in Belo Horizonte, a city where already some Italian immigrants lived and their desire to set up a football club. Similar to the Italians of São Paulo (who founded Palestra Itália, now known as Palmeiras) the people of Belo Horizonte wanted the Italian colonies in Minas Gerais to have its own club as well.


title: Cruzeiro Esporte Clube

text: In the sporting goods and footwear Augustine Ranieri's factory, located on the street of Caetés, it was decided the foundation of the club should tackle the three major capital: Atlético Mineiro, America-MG and Yale. Was born at that moment, the "Società Sportiva Palestra Italia", established on 2 January 1921.


title: Cruzeiro Esporte Clube

text: The meeting was attended by 95 founders present the shield and uniform that made reference to the Italian colors, and whose SSPI description would be recorded in the center shell. Another decision was that only members of the Italian colony could wear the shirt. Aurelio Noce was elected the first President.


title: Cruzeiro Esporte Clube

text: The Palestra Italia emerged as the representative of the Italian colony. And is characterized as a team of Italian descent, Palestra also stood out by having elements of the Belo Horizonte working class, unlike Atlético and América, who had their consisting squad of college students coming from influential and wealthy families of the city.


title: Cruzeiro Esporte Clube

text: The idea of the club being created took a big step when Yale, a sports team from the city, went through an administrative crisis. When some players left Yale over a dispute (Yale, which itself had connections to the Italian community), some went on to found the all Italian, Sociedade Esportiva Palestra Itália of Belo Horizonte. Until 1925 the club would only allow Italian men to participate, despite other teams in the nation accepting people of all skin colors and ethnicities.


title: Cruzeiro Esporte Clube

text: Palestra debuted in the Prado Mineiro Stadium with a 2–0 win in a friendly on 3 April 1921, against a combination from Nova Lima. The Nova Lima team united players from two teams from the city: Villa Nova, and Palmeiras, another team form Nova Lima. However, the first official match of Palestra was in a 3–0 win over future archrivals Clube Atlético Mineiro.


title: Cruzeiro Esporte Clube

text: In January 1942, Brazil entered World War II and a decree of the federal government forbade the use of terms from enemy nations in entities, institutions, establishments, etc. With this, the Italian name was removed and the club could no longer call themselves Palestra Italia. The name was changed to Sociedade Esportiva Palestra Mineiro.


title: Cruzeiro Esporte Clube

text: Around six months later, the president Ennes Cyro Poni called a general assembly for 7 October and suggested the name Ypiranga. Between 3 and 7 October, the local media published the new name thinking it would be approved. In assembly, the counselors and associates kept professional system and approved changing club's name and colors. Yale and Ypiranga were suggested, but Cruzeiro Esporte Clube was chosen to honor the biggest symbol of Brazil, the constellation of Crux. The idea was from Oswaldo Pinto Coelho. However, the club kept playing as "Palestra Mineiro" until 1943, when the local Federation approved the new statutes. The approved colors were blue and white, chosen as a compromise to appease the Italian factions within the club management, as it was both representative of the Brazilian flag and the Italian football national team (blue is the color of House of Savoy, who ruled Italy from 1861 to 1946).


title: Cruzeiro Esporte Clube

text: With the inauguration of the Mineirão in 1965, Cruzeiro entered one of the most successful periods in its history, in which the club won five Campeonato Mineiro titles in a row, and went on to win its first national title, the 1966 Taça Brasil (the highest honor in Brazilian football at that time) beating Santos of Pelé in the final. Cruzeiro won the first leg 6–2 at the Mineirão, and the second leg 3–2 in São Paulo. In the 1974 Campeonato Brasileiro Série A Cruzeiro were runner-up for the first time, after losing to Vasco in the finals. Later in 1975, Cruzeiro were runner-up in the Campeonato Brasileiro again, this time losing to Internacional. In 1976, Cruzeiro won its first Copa Libertadores de América, over River Plate of Argentina. Cruzeiro went on to be runners-up of the same competition in 1977, being defeated in the finals by Boca Juniors, also of Argentina. After winning the 1976 Copa Libertadores, they participated in the 1976 Intercontinental Cup, now renamed the FIFA Club World Championship, for the first time and tied Bayern Munich 0–0 at the Mineirão, but lost 2–0 to Bayern in the Olympiastadion.


title: Cruzeiro Esporte Clube

text: After tasting success in the 1960s and 1970s, Cruzeiro entered a dark period in the 1980s. With the exception of a couple of Campeonato Mineiro wins, the club won no other championships in the 1980s, and had its worst performances in the Campeonato Brasileiro, 33rd in 1984 and 29th in 1985. The 1980s was the only decade Cruzeiro did not participate once in the Copa Libertadores since the tournament's creation in 1960. The club were invited to Europe in 1988 by Scottish side Celtic to play a friendly as part of the Glasgow club's centenary celebrations.


title: Cruzeiro Esporte Clube

text: In the 1990s a new era began, and a 15-year sequence of at least one title per year was initiated. This included six of the club's seven international championships and a Campeonato Brasileiro (2003). In December 2010 the CBF (the governing body of Brazilian football) also recognized Cruzeiro as Brazilian champion of 1966, for having beaten Santos of Pelé: 6–2 in Belo Horizonte and 2–3 in São Paulo. The club's biggest exploit in the 21st century happened when it won the Campeonato Brasileiro Série A. With 100 points earned during the season, and just over 100 goals scored in 46 matches, it was one of the most successful campaigns ever by a club in a Brazilian championship. In 2003, besides winning the Campeonato Brasileiro Série A, Cruzeiro also won the Copa do Brasil and the Campeonato Mineiro, to become the only Brazilian team to win the triple crown.


title: Cruzeiro Esporte Clube

text: From 2003 to 2012 Cruzeiro have only won one major tournament (four times): the Campeonato Mineiro (2004, 2006, 2008, 2009). However, the club finished in the top five of the Campeonato Brasileiro in 2007, 2008, 2009 and 2010, guaranteeing a spot in the Copa Libertadores for four consecutive years (2008, 2009, 2010 and 2011). In 2010, after a great campaign in the Campeonato Brasileiro Serie A, Cruzeiro took the second place and qualified for the Copa Libertadores da America for 2011. Cruzeiro's biggest success in recent years was reaching the finals of the 2009 Copa Libertadores, but they lost to Estudiantes de La Plata 2–1. After a disastrous 2011 season, escaping relegation only in the last round after a triumphant 6–1 against arch-rival Atlético, Gilvan Tavares became president for the 2012-2013-2014 triennium. 2012 was slightly better than 2011, but still Cruzeiro won no titles. In 2013 Cruzeiro lost Campeonato Mineiro again, despite displaying a good game against smaller clubs. Copa do Brasil started promising but Cruzeiro was knocked out by future champion Flamengo in the quarterfinals. After the elimination Cruzeiro went all in to Campeonato Brasileiro and was crowned champion for the third time, this time four rounds before the championship ended, playing an offensive and intense game that led many, including press and runners-up, to attribute the title many rounds before the mathematical confirmation. Cruzeiro's 2014 season was even more successful. It started with Cruzeiro winning the Campeonato Mineiro without losing a single match in the whole competition. In the Copa Libertadores da America, Cruzeiro was knocked out, in the quarter finals, by future champion San Lorenzo de Almagro, being the last remaining Brazilian team in the competition. This loss did not prevent Cruzeiro to lead the Campeonato Brasileiro for almost the whole competition, being crowned champion for the fourth time and becoming the second team not from Rio de Janeiro nor Sao Paulo to win the Campeonato Brasileiro twice in a row. Cruzeiro also got to the final of the Copa do Brasil, but lost both matches to rival Atlético Mineiro.


title: Cruzeiro Esporte Clube

text: When Cruzeiro was still known as Palestra Italia, the home shirt colour was green. The first home kit was an improvised dark green shirt, with white shorts and green stockings. Cruzeiro used this kit in their first professional game on 3 April 1921, in the Prado Mineiro Stadium, with a 2–0 win over the Villa Nova/Palmeiras combined team, of Nova Lima. In 1928 the shirt became a lighter tone of green, with a white neck design and red cuffs. The shorts continued to be white, but the green stockings now had red and white details, similar to that of the Italian flag. This particular uniform was used up until 1940. The light green color of the shirt would later give the team the nickname "periquito", Portuguese for parakeet. In 1940 there was a big change to the shirt. The shirt began to feature horizontal stripes, with the club crest in the center. This was the shirt used to win the 1940 Campeonato da Cidade – now known as the Campeonto Mineiro – after the club had been unable to win the tournament for ten years. The club also began to be called "tricolor" instead of "periquito".


title: Cruzeiro Esporte Clube

text: In 1942 Cruzeiro played one game under the name Ypiranga, and for this game a blue shirt with a central horizontal stripe was used. In 1943 Cruzeiro played its first game under its current name. The shirt used then was an all blue shirt with a large white v-neck (scapular) design. The shorts and stockings were white. In 1950, due to bad stadium lighting, Cruzeiro began to use an all-white shirt during night games. The shirt, which featured blue details and blue shorts and white stockings, was used for nine years. In 1956, Cruzeiro used, for a short while, a new shirt that was made up of white and blue horizontal stripes. The uniform was not used in many games. There was a change to the shirt in 1959; the shirt became all blue, a design that would influence later shirts. In the 1959 shirt, instead of using its normal crest Cruzeiro simply used the five stars, in the crest, loose on the shirt. The shirt made its debut in the Estádio dos Tecelões, in a friendly match against Renascença, on 19 September.


title: Cruzeiro Esporte Clube

text: In 1984 Cruzeiro had the first ever company logo on its shirt; it was the shirt manufacturer's logo, which was Topper. In the same year Cruzeiro had its first shirt sponsor, Medradao. Medradao was only used on the away shirts


title: Cruzeiro Esporte Clube

text: The first Palestra Itália crest was a rhombus whose top half was red and bottom half was green (both colors of the Italian flag). In the center of the crest was a white circle with the letters P and I inside it. The following year, 1922, the club's crest maintained its rhombus shape, but was now completely white, with the letter P, S and I, inscribed within it in green. In 1923, the crest lost its rhombus shape and instead just had the green letters S, P and I. From 1928 to 1939 the crest was identical to the first crest in 1921. Just one year later the crest became a little different: the top half was green and the bottom half was red, similar to the crests from 1921 and 1929–1939, but instead of green letters in its center, it now had the letters S, P and I in yellow.


title: Cruzeiro Esporte Clube

text: The crest introduced in 1940 would be the last for Palestra, because the club would soon become Cruzeiro. Cruzeiro's first crest was introduced in 1950 and was very simple: a blue circle, with a white border, inside of which were five white stars, positioned to look like the Southern Cross. This first crest was used for over nine years, until 1959. In 1959 the crest changed, now with a white border around the crest with the words ""-CRUZEIRO ESPORTE CLUBE-BELO HORIZONTE"" in blue. This version of the crest was used until 1996, making it the longest-used crest by Cruzeiro. In the same year, Cruzeiro removed BELO HORIZONTE from the crest; this format was used until 2005. In 2006 to honor its successful 2003 season, a crown was added on top of the crest, to symbolize the triple crown.


title: Cruzeiro Esporte Clube

text: Cruzeiro has not always used its official crest on its shirt. In 1959, instead of using its crest, the club opted to simply put the five stars from the Southern Cross on its shirt. This was done until 2000, when the actual crest was again used. In 2002 and in part of 2003 the loose stars were used. Part way through 2003 a new shirt that contained the actual crest was introduced, but instead of just using the regular crest the shirt featured two Copa Libertadores trophies on top of the crest. In 2004 a similar design was used, but now featured a crown, symbolic of the Triple Crown on top of the two trophies. Since 2007 the club has used the "loose stars" design on home shirts. None of these designs actually became the official club crest.


title: Cruzeiro Esporte Clube

text: The club's anthem, "Hino ao Campeão", was written by Jadir Ambrósio in 1966, in homage to the team of his heart. He never meant for it to become the official anthem, but when fans started hearing it they liked it enough to adapt it as the new anthem.


title: Cruzeiro Esporte Clube

text: Cartoonist Fernando Pieruccetti, more popularly known as "Mangabeira", created the club's mascot, a "raposa" (Portuguese for fox) in the 1940s, as he did for other football clubs from Minas Gerais state league. Mangabeira took inspiration from the club's ex-president, Mario Grosso. "He was a director who let no one trick him. He was sly, agile, intelligent and skillful like a fox." In the 2000s, Cruzeiro has made the "Raposão" (Big Fox) its biggest mascot, appearing at all home games and cheering with the crowd while wearing the club's colors.


title: Cruzeiro Esporte Clube

text: In 2010, Raposão won Rede Globo's Competição de Mascotes (Mascot Competition), held in their Sunday sports show Esporte Espetacular. The program united 20 mascots from the biggest Brazilian teams and had them competing in series of challenges. Raposão won all of the events and was crowned as Brazil's Best Mascot.


title: Cruzeiro Esporte Clube

text: In 2012, Cruzeiro introduced a "junior mascot", named "Raposinho" (Little Fox), a smaller version of "Raposão".


title: Cruzeiro Esporte Clube

text: Roberto Perfumo, with 138 matches, was the non-Brazilian with the most appearances for the club, this was recently changed however as Ariel Cabral was awarded this record with 200 appearances for the club.


title: Cruzeiro Esporte Clube

text: The player with the most appearances for Cruzeiro is Fábio with a stunning record of 800 appearances, having been with the team since 2005, beating former midfielder Zé Carlos, with 619 appearances, between 1965 and 1977. In third place on that list is 1971's Bola de Ouro Winner, "The Prince" Dirceu Lopes, while the fourth place belongs to former Brazilian international and 1970 FIFA World Cup champion Wilson Piazza. The fifth overall player, and second goalkeeper with the most appearances for Cruzeiro is the notorious Raul Plassman, who played a total of 557 games with the team. The non-Brazilian with the most appearances for the club is the Argentine Roberto Perfumo who made 138 appearances for the club between 1971 and 1974.


title: Cruzeiro Esporte Clube

text: Brazilian hall-of-famer and 1970 FIFA World Cup winner Tostão has scored the most goals for Cruzeiro, 249 between 1963 and 1972, having appeared on 378 matches for Cruzeiro (12th overall). He beats Dirceu Lopes by 25 goals on that list, which also has old-timer Niginho (207 goals) closing the top 3, being the only ones with over 200 goals for Cruzeiro. Ninão holds the record for goals scored in a single match: 10 in Cruzeiro's 14–0 win over Alves Nogueira during Campeonato da Cidade on 17 June 1928. Nelinho holds the record for most goals scored from penalties: 38; and the record for goals scored from fouls: 42. Walter Montillo's 39 goals make him the non-Brazilian with the most goals for Cruzeiro, a record that would belong to Bolivia national football team vice-captain and striker Marcelo Moreno with 48 goals or Spanish 1930's striker Fernando Carazo, with 44 goals, had they not become Brazilian nationals.


title: Cruzeiro Esporte Clube

text: Cruzeiro's first stadium was the Estádio do Prado Mineiro, which belonged to the "Federação Mineira de Futebol" (FMF). The club's first game at the stadium was 2–0 win over a Villa Nova/Palmeiras combine team from Nova Lima on 3 April 1921. Cruzeiro would use the stadium until 1923 when the club built its own stadium, Estádio do Barro Preto. On 23 July 1923, Cruzeiro debuted at the stadium in a 2–2 tie with Flamengo. In 1945, the stadium went through renovations and would become at that time the largest stadium in the state with a capacity of 15,000 and later on would become known as Estádio Juscelino Kubitscheck (or Estádio JK). Cruzeiro would use the stadium until 1965, when the Mineirão was opened. In 1983, the stadium was torn down and one of the club's social clubs ("Sede Campestre") was built there.


title: Cruzeiro Esporte Clube

text: Since 1965, Cruzeiro play their home games at Estádio Governador Magalhães Pinto, often referred to as just Mineirão in Belo Horizonte, MG. Cruzeiro shares the stadium with rivals Atlético Mineiro. The stadium does not belong to Cruzeiro, rather it belongs to the state of Minas Gerais (through a land grant from the Universidade Federal de Minas Gerais) and is administrated by Minas Arena, a private company, on lease from the state since 2013. The stadium, which was built in 1963, had an original capacity of about 130,000, but over the years that capacity has been reduced, and currently it seats 64,800. Named after former Minas Gerais governor José de Magalhães Pinto, it took over 4,000 workers to build the stadium. The period after the stadium's inauguration is often called "Era Mineirão" ("Mineirão Era"), which saw Cruzeiro gain national and international prominence. Cruzeiro also holds the attendance record at the stadium, when 132,834 spectators watched Cruzeiro beat Villa Nova in the 1997 Campeonato Mineiro final.


title: Cruzeiro Esporte Clube

text: Cruzeiro have had plans to build a new stadium, especially under president Alvimar de Oliveira Costa's tenure. However, the state of Minas asked Cruzeiro to stay at the stadium, and after president Zezé Perrella came to the presidency in 2009, plans for a new stadium virtually disappeared.


title: Cruzeiro Esporte Clube

text: The Mineirão was selected as a host stadium for the 2014 FIFA World Cup, with renovations beginning on 25 June 2010, and projected to be completed by December 2012. After the stadiums closing, Cruzeiro began playing home games at the Arena do Jacaré and Ipatingão stadiums, both outside the city of Belo Horizonte. Independência stadium is also being renovated and Cruzeiro will start playing homes games there in 2011 until the Mineirão is ready in 2012.


title: Cruzeiro Esporte Clube

text: The club has private ownership of other facilities though, including two training facilities (Toca da Raposa I, which serves the youth division and Toca da Raposa II for the senior squad), an administrative headquarters and two social club facilities. Cruzeiro has often been praised for having one of the leading infrastructure systems in Brazil.


title: Cruzeiro Esporte Clube

text: Cruzeiro used to be a nonprofit organization, where the real owner are "sócios" (literally, "partners") or members (who pay an annual fee), in return, sócios receive benefits from the club, such as access to club's properties and tickets, as well as a right to vote for the next club officials. This bylaw lasted from the club's foundation in 1921 until late 2021, when Wagner Pires de Sá's run as club president led to the club to declare bankruptcy.


title: Cruzeiro Esporte Clube

text: Wagner Pires de Sá's run as club president was filled with corruption. This led Cruzeiro to stop paying its players, leading to the club's first relegation in 2019. Over the next two years, Cruzeiro played the second division while still under the sócios program. This changed in December 2021, when the former footballer Ronaldo Fenômeno, who started his professional career in Cruzeiro, announced he would be the owner of Cruzeiro, making Cruzeiro the first Brazilian club with an owner.


title: Bhojpuri language

text: Bhojpuri (; ) is an Indo-Aryan language native to the Bhojpur-Purvanchal region of India and the Terai region of Nepal. It is chiefly spoken in western Bihar, eastern Uttar Pradesh and northwestern Jharkhand. It is an eastern Indo Aryan language and is spoken by about 5% of India's population.


title: Bhojpuri language

text: It is also a recognized minority language in Fiji, Guyana, Mauritius, South Africa, Suriname and Trinidad and Tobago. Fiji Hindi, an official language of Fiji, is a variant of Awadhi and Bhojpuri spoken by the Indo-Fijians. Caribbean Hindustani, another variant of Bhojpuri is spoken by the Indo-Caribbean people. It has experienced lexical influence from Caribbean English in Trinidad and Tobago and in Guyana. In Suriname, languages that have lexically influenced it include Sranan Tongo Creole, Surinamese Dutch and English. Another dialect is spoken in Mauritius; its use is declining.


title: Bhojpuri language

text: The word "Bhojpuri" is derived from Bhojpur. After the conquest of Chero and Ujjainiya Rajputs in 12th century, who were the descendants of Raja Bhoj from Ujjain, Malwa, Madhya Pradesh captured Shahabad and named their capital Bhojpur (City of Raja Bhoj). The seat of their government was Bhojpur village which was near Dumraon in Buxar. Two villages named Chhotka Bhojpur and Barka Bhojpur still exist in Buxar, where the ruins of their Navratna Fortress still can be seen. Slowly the word "Bhojpur" became the synonyms of the Shahabad or Arrah region (Today's Bhojpur district, Buxar, Kaimur and Rohtas) and the adjective "Bhojpuri" or "Bhojpuriya" extended to mean the language or people of Bhojpur and even beyond it. Apart from "Bhojpuri" in the Eastern UP and Western Bihar, there were other names also for the language and people, at different places, the Bhojpuriya in Mughal armies were used to called "Buxariya." In Bengal, they called "Paschhimas" (Westerners) and Bhojpuri people also called them "Deshwali" or "Khoṭṭa," in upper provinces like Oudh they called "Purabiya." Besides these, "Banarasi", "Chhaprahiya", and "Bangarahi" has also used for the language and People. Rahul Sankrityayan has suggested two names for it i.e. "Mallika" or "Malli" (due to ancient tribe of Malla) and "Kashiki" (due to ancient Kashi). The Girmityas who were taken to British colonies called it "Hindustani" and it became "Fiji Hindustani" in Fiji and "Caribbean Hindustani" in Caribbean.


title: Bhojpuri language

text: Bhojpuri is a descendant of Magadhi Prakrit which started taking in shape during the reign of the Vardhana dynasty. Bāṇabhaṭṭa, in his Harshacharita has mentioned two poets named "Isānchandra" and "Benibhārata" who used to write in local language instead of Prakrit and Sanskrit. The earliest form of Bhojpuri can be traced in the Siddha Sahitya and Charyapada as early as 8th century A.D.". "Between 11th to 14th century A.D. the Folklores like Lorikayan, "Sorathi Birjabhar" etc. came in to existence. In 15th to 18th century, Kabir and other saints created many Bhajans in Bhojpuri"."


title: Bhojpuri language

text: Between 1838 and 1917, many Bhojpuriyas were taken to British colonies like Fiji, Mauritius, Guyana, Trinidad and Tobago and South Africa, as well as the Dutch colony of Suriname. Music genres based in Bhojpuri folk music like Chutney music, Baithak Gana, Geet Gawanai and Lok Geet took birth in those countries.


title: Bhojpuri language

text: In 19th century, notable works like Devakshara Charita, Badmash Darpan were published. Bhikhari Thakur, in 20th century contributed significantly to Bhojpuri literature and theatre with his notable plays like Bidesiya, Beti Bechwa, Gabarghichor and novels like "Bindia" and "Phulsunghi" were published. In 1962, the first Bhojpuri film, "Ganga Maiyya Tohe Piyari Chadhaibo" was released and became the founding stone of the Bhojpuri film industry.


title: Bhojpuri language

text: The Bhojpuri-speaking region covers the area of 73,000 square kilometres approximately in India and Nepal and borders the Awadhi-speaking region to the west, the Nepali-speaking region to the north, the Magahi and Bajjika-speaking regions to the east and the Magahi and Bagheli-speaking regions to the south. In Nepal, Bhojpuri is a major language. There are a number of Bhojpuri-speaking Muslims in Bangladesh, referred to as Stranded Pakistanis, who migrated there during the Partition of India.


title: Bhojpuri language

text: Bhojpuri is an Indo-European language and belongs to the Eastern Indo-Aryan group of the Indo-Aryan languages. The Magahi and Maithili languages of Eastern Indo-Aryan group are closest living relatives of Bhojpuri. Odia, Bengali and Assamese are also closely related. Bhojpuri along with Magahi and Maithili, are grouped together as the Bihari languages. Together with the other branches of Eastern Indo-Aryan, the Bihari languages are considered to be direct descendants of the Magadhi Prakrit.


title: Bhojpuri language

text: Bhojpuri is classified as an Eastern Indo-Aryan Language because it has similar inflexion system to the other languages of the same family such as Bengali, Maithili and Odia. For example, the pronunciation of the vowel "a" is broad in Eastern Indo-Aryan languages, and sounds like "o" in Bengali, on moving westwards it becomes less broad but still can be differentiated from the sharp cut "a" in Middle Indo-Aryan. In Bhojpuri, the clear cut "a" and the drawled "a," which sounds like "aw" in the word "awl" are present and the contrast between the two gives a different tone to the language. This drawled "a" is represented by Avagraha (ऽ), for instance, the word "dekh'la", you see, is written as देेखऽलऽ. Other property of Eastern Indo Aryan languages is that the adjectives doesn't change with the noun. For instance "moṭā" feminine form "moṭī" in Hindi but in Bhojpuri only "moṭ" is used as in Bengali. The past and future tense in Bhojpuri is formed in same way as other Eastern Indo-Aryan Languages, by adding a suffix stating from -l"a" and "-ba" respectively to the verb. Form example, "I shall See", in Bengali is "dekh-bo" and in Bhojpuri is "dekh-ab".


title: Bhojpuri language

text: Some scholars has also divided the East Indo Aryan or "Magadhan" languages in to three sub-groups viz. Western, Central and Eastern. Bengali, Assamese, Odia belongs to Eastern Magadhan, Maithili and Magahi to Central and Bhojpuri to western. Bhojpuri is classified as Western Magadhan because it has some properties which are peculiar to itself and are not present in other Magadhan Languages. Some striking differences are:


title: Bhojpuri language

text: Bhojpuri has several dialects: Southern Standard Bhojpuri, Northern Standard Bhojpuri, Western Standard Bhojpuri, and Nagpuria Bhojpuri.


title: Bhojpuri language

text: Southern Standard Bhojpuri is prevalent in the Shahabad district (Buxar, Bhojpur, Rohtas, and Kaimur districts) and the Saran region (Saran, Siwan and Gopalganj districts) in Bihar, the eastern Azamgarh (Ballia and Mau(Eastern Part) districts) and Varanasi (eastern part of Ghazipur district) regions in Uttar Pradesh, and in the Palamu division (Palamu and Garhwa districts) in Jharkhand. The dialect is also known as "Kharwari". It can be further divided into Shahabadi, Chhaprahiya and Pachhimahi.


title: Bhojpuri language

text: Northern Bhojpuri is common in the western Tirhut division (east and west Champaran districts) in Bihar, and Gorakhpur division (Deoria, Kushinagar, Gorakhpur, and Maharajganj districts) and Basti division (Basti, Sidharthanagar, and Sant Kabir Nagar districts) in Uttar Pradesh. It is also spoken in Nepal.


title: Bhojpuri language

text: Western Bhojpuri is prevalent in the areas of Varanasi (Varanasi, Chandauli, Jaunpur, and the western part of Ghazipur district), Azamgarh (Azamgarh district,western part of Mau district) and Mirzapur, Sonbhadra, Sant Ravidas Nagar, and Bhadohi districts) in Uttar Pradesh. Banarasi is a local name for Bhojpuri, named after Banaras. Other names for Western Bhojpuri include "Purbi" and "Benarsi".


title: Bhojpuri language

text: Nagpuria Bhojpuri is the southernmost popular dialect, found in the Chota Nagpur Plateau of Jharkhand, particularly parts of Palamu, South Chotanagpur and Kolhan divisions. It is sometimes referred to as "Sadari".


title: Bhojpuri language

text: A more specific classification recognises the dialects of Bhojpuri as Bhojpuri Tharu, Domra, Madhesi, Musahari, Northern Standard Bhojpuri (Basti, Gorakhpuri, Sarawaria), Southern Standard Bhojpuri (Kharwari), Western Standard Bhojpuri (Benarsi, Purbi) and Nagpuriya Bhojpuri.


title: Bhojpuri language

text: Among the seven languages which are sociolinguistically often counted as Hindi dialects (Haryanvi, Braj, Awadhi, Bhojpuri, Bundeli, Bagheli, and Kannauji), Bhojpuri has the most allophonic variations in vowels.


title: Bhojpuri language

text: Bhojpuri has 6 vowel phonemes and 10 vocoids. The higher vowels are relatively tense, and the lower vowels are relatively lax. The language has 31 consonant phonemes and 34 contoids (6 bilabial, 4 apico-dental, 5 apico-alveolar, 7 retroflex, 6 alveo-palatal, 5 dorso-velar, and 1 glottal).


title: Bhojpuri language

text: Linguist Robert L. Trammell published the phonology of Northern Standard Bhojpuri in 1971. According to him, the syllable system is peak type: every syllable has the vowel phoneme as the highest point of sonority. Codas may consist of one, two, or three consonants. Vowels occur as simple peaks or as peak nuclei in diphthongs. The intonation system involves 4 pitch levels and 3 terminal contours.


title: Bhojpuri language

text: According to George Abraham Grierson, the grammar of Bhojpuri is simpler than other languages of the same family. Nouns in Bhojpuri have three forms: short, long and redundant. The adjectives of nouns do not change with genders. Plurals are made by adding either the suffix "-na" or "ni" with the nouns or adding the multitudes such as "sabh" (all) or "lōg" (people).


title: Bhojpuri language

text: Except few instances the Verb forms of Bhojpuri depend only on the subject and the object has no effect on it. Unlike other Eastern Indo-Aryan languages, Bhojpuri has a different verb form for the present tense, which corresponds to the Future forms of Nepali. It is formed by adding the suffix "-lā" to the present subjunctive. Therefore, for the verb "to see" the Bhojpuri verb is "dekhe" and the present form is "dhekhelā", which is peculiar to itself and is not found in other languages of the same family like Magahi (dekhaït haï), Maithili (dekhaït achi) and Bengali (dekhechī). The Verbs forms of second person singular (dekh'be; you will see) is considered vulgar in Bhojpuri, plural form (dekhab') is used in general. When it is desired to show respect the first person singular form (dekhab; I will see) is used instead of second person plural (dekhab'). To show plural number the suffix "-sa'" or "-ja" is also used with the 2nd and third person forms, thus "dekhe-la'-sa"' is "they see". The present perfect form is made by adding "ha'" to the past form. Thus, "ham dekh'li" (I saw) is the past from and its present perfect form is "ham dekh'li ha'" (I have seen). Past perfect in regular verbs are made by adding the suffix "-al" to the verb (dekh - dekhal), but in some cases it has irregular forms like "kar (kail)", "mar" "(mual)" etc.


title: Bhojpuri language

text: Numerals of Bhojpuri take the classifier "gō" and "ṭhō", which emphasizes the countability and totality both. To show inclusiveness and exclusiveness, Bhojpuri used the suffixes "-o" and "-e" as in "ham āmo khāïb" (I will eat mangoes too) verses "ham āme khāïb" (I will eat only mangoes). These suffixes can be added to any lexical category such as numerals, adjectives etc.


title: Bhojpuri language

text: The auxiliaries in Bhojpuri are formed on five bases viz. "ha", "ho", "hokh", "bāṭ", "rah". These also act as the Copula. The "bāṭ" form provides for the tenses and the "hokh" or "ho" form provides for the modes, where as "rah" is the past of other three.


title: Bhojpuri language

text: Bhojpuri was historically written in Kaithi script, but since 1894 Devanagari has served as the primary script. Kaithi has variants as the locality changes, the three classified varianta are Tirhuti, Magahi and Bhojpuri variants. The Bhojpuri variant is used for writing Bhojpuri. Kaithi is now rarely used for Bhojpuri.


title: Bhojpuri language

text: Kaithi script was used for administrative purposes in the Mughal era for writing Bhojpuri, Awadhi, Maithili, Magahi, and Hindustani from at least the 16th century up to the first decade of the 20th century. Government gazetteers report that Kaithi was used in a few districts of Bihar throughout the 1960s. Bhojpuri residents of India who moved to British colonies in Africa, the Indian Ocean, and the Caribbean in the 19th and early 20th centuries used both Kaithi and Devanagari scripts.


title: Bhojpuri language

text: By 1894 both Kaithi and Devanagari became common scripts to write official texts in Bihar. At present almost all Bhojpuri texts are written in Devanagari, even in islands outside of India where Bhojpuri is spoken. In Mauritius, Kaithi script was historically considered informal, and Devanagari was sometimes spelled as "Devanagri". In modern Mauritius, the major script is Devanagari.


title: Bhojpuri language

text: Bhojpuri syntax and vocabulary reflects a three-tier system of politeness. Any verb can be conjugated through these tiers. The verb "to come" in Bhojpuri is "aana" and the verb "to speak" is "bolna". The imperatives "come!" and "speak!" can be conjugated in five ways, each marking subtle variation in politeness and propriety. These permutations exclude a host of auxiliary verbs and expressions, which can be added to verbs to add another degree of subtle variation. For extremely polite or formal situations, the pronoun is generally omitted.


title: Bhojpuri language

text: Similarly, adjectives are marked for politeness and formality. The adjective "your" has several forms with different tones of politeness: "tum" (casual and intimate), "tōhār" (polite and intimate), "t'hār" (formal yet intimate), "rā'ur" (polite and formal) and "āpke" (extremely formal). Although there are many tiers of politeness, Bhojpuri speakers mainly use the form "tum" to address a younger individual and "aap" for an individual who is older, or holds a higher position in workplace situations.


title: Bhojpuri language

text: Greater official recognition of Bhojpuri, such as by inclusion in the Eighth Schedule to the Constitution of India, has been demanded. In 2018, Bhojpuri was given second-language status in Jharkhand state of India.


title: Bhojpuri language

text: Bhojpuri is taught in matriculation and at the higher secondary level in the Bihar School Education Board and the Board of High School and Intermediate Education Uttar Pradesh. It is also taught in various universities in India, such as Veer Kunwar Singh University, Banaras Hindu University, Nalanda Open University, and Dr. Shakuntala Misra National Rehabilitation University.


title: Bhojpuri language

text: Lorikayan, the story of Veer Lorik contains Bhojpuri folklore from Eastern Uttar Pradesh. Bhikhari Thakur's Bidesiya is a play, written as a book. "Phool Daliya" is a well-known book by Prasiddh Narayan Singh. It comprises poems of "veer ras" (A style of writing) on the theme of "azaadi" ("Freedom") about his experiences in the Quit India movement and India's struggle with poverty after the country gained independence.


title: Bhojpuri language

text: Many Bhojpuri magazines and papers are published in Bihar, Jharkhand, and Uttar Pradesh. Several Bhojpuri newspapers are available locally in North India. "Parichhan" is a contemporary literary-cultural Maithili-Bhojpuri magazine, published by a Maithili-Bhojpuri academy and the government of Delhi, and edited by Parichay Das. "The Sunday Indian, Bhojpuri" is a regular national news magazine in Bhojpuri. "Aakhar" is a monthly online Bhojpuri literature magazine. Other media in Bhojpuri include "Lok Lucknow", and the channels Mahuaa TV and Hamar TV. Bhojpuri Wikipedia was launched in 2003. On the 22nd of May 2022, Google Translate added Bhojpuri as one of their languages.


title: Peter Horton

text: Peter Horton (born August 20, 1953) is an American actor and director. He played Professor Gary Shepherd on the television series "Thirtysomething" from 1987 until 1991.


title: Peter Horton

text: Horton was born in Bellevue, Washington, to a father who worked in the shipping business. He attended Redwood High School in Marin County, California, and Principia College in Illinois. He later attended University of California, Santa Barbara, where he received a Bachelor of Arts degree in music composition.


title: Peter Horton

text: During his run on "Thirtysomething", "People" magazine named him one of the "50 Most Beautiful People". Horton acted in television shows including "St. Elsewhere", "The White Shadow", "Dallas", "Eight Is Enough", "In Treatment" and "The Geena Davis Show", played the lead in the short-lived series "Brimstone", and played Crane McFadden in the one season series (1982–1983) "Seven Brides for Seven Brothers". He played Jacob in the 1982 feature film "Split Image", Father Mahoney in the 1986 feature film "Where the River Runs Black" Roy Fox in the 1996 film "Two Days In The Valley" and played Burt in the 1984 Stephen King movie "Children of the Corn". He had a minor role in Cameron Crowe's Seattle romantic comedy, "Singles". He played Harry Landers in the "Hospital" skit from "Amazon Women on the Moon" opposite wife Michelle Pfeiffer, whom he had previously directed in the ABC Afterschool Special "One Too Many" in 1985. Horton also appeared in the 1997 TV movie version of the Jon Krakauer book "", playing Scott Fischer, the leader of the disastrous 1996 climb on Mount Everest. He was also in the movie "Sideout" (1990) as Zach Barnes, a down and out ex-volleyball champ. As a director he has worked on several television series including "The Shield", "Thirtysomething", "The Wonder Years", "Once and Again", and directed the pilot for "Grey's Anatomy" as well as pilots for "Class of '96", "Birdland", "Dirty Sexy Money", "The Philanthropist" and "Reconstruction". He directed the 1990 film for television "Extreme Close-up" as well as the 1995 feature film "The Cure". As a producer he produced "Reconstruction" (which he co-created), "Lone Star", "The Philanthropist", "The Body Politic" (which he also co-created), "Grey's Anatomy", "Six Degrees" and "Murder Live" (for which he wrote the story).


title: Peter Horton

text: He appeared in "Who Killed the Electric Car?" and is on the board of directors of the Environmental Alliance.


title: Peter Horton

text: As of 2010 Horton is an executive producer and director of "Grey's Anatomy" on ABC, and produced and directed NBC's "The Philanthropist". In 2015, he signed a deal with Universal TV. His production company is Pico Creek Productions. Horton co-created the 2015 series "American Odyssey".


title: Peter Horton

text: In the late 1970s, Horton dated actress Valerie Harper. Horton has been married twice. His first marriage was to Michelle Pfeiffer, whom he met in Milton Katselas's acting class. The couple married in 1981. Of their relationship, Pfeiffer reflected, "I broke one of my own Ten Commandments never to date an actor, especially one you study with. Then I married one!" The couple divorced in 1988. The divorce was amicable, with Horton saying both his and Pfeiffer's devotion to their careers affected the marriage.


title: Peter Horton

text: He has been married to Nicole Deputron since 1995 and the couple have two children, Lily (b. 1999) and Ruby (b. 2002).


title: Una Stubbs

text: Una Stubbs (1 May 1937 – 12 August 2021) was an English actress, television personality and dancer who appeared on British television and in the theatre, and occasionally in films. She became known after appearing in the film "Summer Holiday" (1963) and later played Rita Rawlins in the BBC sitcoms "Till Death Us Do Part" (1965–1975) and "In Sickness and in Health" (1985–1992). Her other television roles include Aunt Sally in "Worzel Gummidge" (1979–1981) and Miss Bat in "The Worst Witch" (1998–2001). She also appeared as Sherlock Holmes's landlady Mrs. Hudson in the BAFTA-winning television series "Sherlock" (2010–2017).


title: Una Stubbs

text: As a 16-year-old, in 1953, she danced in a Folies Bergère-style musical revue, "Pardon My French", at the Prince of Wales Theatre, alongside Frankie Howerd and the pianist Winifred Atwell. She first appeared on television as one of the Dougie Squires Dancers on the British television music show "Cool for Cats" in 1956. She also appeared as a dancer at the London Palladium. and worked in cabaret, clubs and revues in London, and was one of Lionel Blair's dance ensemble.


title: Una Stubbs

text: During 1958–59, Stubbs was the "cover girl" of Dairy Box chocolates, produced by Rowntree's. She referred to herself as the "Rowntrees Chocolate Girl", when describing a visit she made to the Rowntree's factory in York (where, unknown to her, her grandfather had worked).


title: Una Stubbs

text: In 1963, she joined the cast of new charades-based gameshow "Don't Say a Word" (ITV), a forerunner of "Give Us a Clue". Her first screen role was in the Cliff Richard film, "Summer Holiday" (1963). She also appeared in Richard's next film, "Wonderful Life" (1964). Soon afterwards, she made her breakthrough in television comedy, playing Rita, the married daughter of Alf Garnett in the BBC sitcom "Till Death Us Do Part" (1966–1975). In 1968, as a direct spin off from the sitcom, she appeared, alongside Warren Mitchell, in a series of television adverts for Findus frozen products.


title: Una Stubbs

text: She also appeared in the short-lived sitcom "Till Death..." (1981), again playing Rita. She played Rita a third time in a few episodes of the BBC sitcom "In Sickness and in Health" (1985–1992). During 1970–71, Stubbs teamed again with Cliff Richard to appear each week on his BBC1 TV Series, "It's Cliff Richard!". When she did not take part in the next series as it was broadcast shortly after she had a baby, her TV "mother", Dandy Nichols from "Till Death Us Do Part", took her place.


title: Una Stubbs

text: Stubbs featured in the "Fawlty Towers" episode "The Anniversary" in 1979. From 1979 to 1981, she played Aunt Sally in the ITV children's series "Worzel Gummidge" opposite Jon Pertwee and Barbara Windsor, and was for several years a team captain in the weekly game show "Give Us a Clue" in the 1980s, reuniting her with Lionel Blair, the other team captain.


title: Una Stubbs

text: She appeared in the shows "Midsomer Murders", "Heartbeat", "Casualty", "Keeping Up Appearances", "Born and Bred" and "The Worst Witch". In recent years, Stubbs also appeared in Victoria Wood's "We'd Quite Like to Apologise", "The Catherine Tate Show", "Agatha Christie's Marple", "EastEnders", "Benidorm" and, from 2010, "Sherlock" as Mrs. Hudson. She appeared in an episode of "Call the Midwife" in 2015.


title: Una Stubbs

text: Stubbs was on the West End stage in Noël Coward's "Star Quality" with Penelope Keith in 2001 and Friedrich Schiller's "Don Carlos" with Derek Jacobi in 2005. Her other theatre credits included "La Cage Aux Folles" at the Menier Chocolate Factory, "Pygmalion" at the Theatre Royal, Bath and Old Vic and "The Family Reunion" at the Donmar Warehouse. She was in the original cast of "The Curious Incident of the Dog in the Night-Time" at the National Theatre in 2012.


title: Una Stubbs

text: Stubbs was born in 1937 in Welwyn Garden City, Hertfordshire, the daughter of Angela K. Rawlinson and Clarence Reginald Stubbs. She grew up in Hinckley, Leicestershire, and was sent to La Roche dancing school in Slough by her mother. She was married to the actor Peter Gilmore from 1958 to 1969: they adopted a son, Jason. After their divorce in 1969, she married actor Nicky Henson. They divorced in 1975 but remained good friends. She and Henson had two children: composer Christian Henson (born 25 December 1971), and musician-composer Joe Henson (born 18 September 1973).


title: Una Stubbs

text: For many years, Stubbs sketched vignettes of characters around London, and held exhibitions of these near her Mayfair home. On several occasions, paintings by Stubbs were exhibited at the Royal Academy's Summer Exhibition, most recently in 2020.


title: Una Stubbs

text: Stubbs had known her "Sherlock" co-star Benedict Cumberbatch since he was four years old, as she had worked with his mother, Wanda Ventham. Stubbs was the subject of an episode of the BBC series "Who Do You Think You Are?", broadcast on 24 July 2013. It discussed several of her ancestors, including her great-grandfather Sir Ebenezer Howard, who was the founder of the garden city movement, and was the driving force in the design and creation of the first garden cities, Letchworth Garden City and Welwyn Garden City, situated in Hertfordshire.


title: Una Stubbs

text: After several months of ill health, Stubbs died at her home in Edinburgh on 12 August 2021, at the age of 84.


title: Irish mythology

text: Irish mythology is the body of myths native to the island of Ireland. It was originally passed down orally in the prehistoric era, being part of ancient Celtic religion. Many myths were later written down in the early medieval era by Christian scribes, who modified and Christianized them to some extent. This body of myths is the largest and best preserved of all the branches of Celtic mythology. The tales and themes continued to be developed over time, and the oral tradition continued in Irish folklore alongside the written tradition, but the main themes and characters remained largely consistent.


title: Irish mythology

text: The myths are conventionally grouped into 'cycles'. The Mythological Cycle consists of tales and poems about the god-like Túatha Dé Danann, who are based on Ireland's pagan deities, and other mythical races like the Fomorians. Important works in the cycle are the "Lebor Gabála Érenn" ("Book of Invasions"), a legendary history of Ireland, the "Cath Maige Tuired" ("Battle of Moytura"), and the "Aided Chlainne Lir" ("Children of Lir"). The Ulster Cycle consists of heroic legends relating to the Ulaid, the most important of which is the epic "Táin Bó Cúailnge" ("Cattle Raid of Cooley"). The Fianna Cycle focuses on the exploits of the mythical hero Finn and his warrior band the Fianna, including the lengthy "Acallam na Senórach" ("Tales of the Elders"). The Kings' Cycle comprises legends about historical and semi-historical kings of Ireland (such as "Buile Shuibhne", "The Madness of King Sweeny"), and tales about the origins of dynasties and peoples.


title: Irish mythology

text: There are also mythical texts that do not fit into any of the cycles; these include the "echtrai" tales of journeys to the Otherworld (such as "The Voyage of Bran"), and the "Dindsenchas" ("lore of places"). Some written material has not survived, and many more myths were probably never written down.


title: Irish mythology

text: The main supernatural beings in Irish mythology are the Túatha Dé Danann ("the folk of the goddess Danu"), also known by the earlier name Túath Dé ("god folk" or "tribe of the gods"). Early medieval Irish writers also called them the "fir dé" (god-men) and "cenéla dé" (god-kindreds), possibly to avoid calling them simply 'gods'. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda ("the great god"); The Morrígan ("the great queen" or "phantom queen"); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale "De Gabáil in t-Sída" says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds.


title: Irish mythology

text: They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the "sídhe": prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a "féth fíada" ('magic mist'). They are said to have travelled from the north of the world, but then were forced to live underground in the "sídhe" after the coming of the Irish.


title: Irish mythology

text: In some tales, such as "Baile in Scáil", kings receive affirmation of their legitimacy from one of the Túath Dé, or a king's right to rule is affirmed by an encounter with an otherworldly woman (see sovereignty goddess). The Túath Dé can also bring doom to unrightful kings.


title: Irish mythology

text: The medieval writers who wrote about the Túath Dé were Christians. Sometimes they explained the Túath Dé as fallen angels; neutral angels who sided neither with God nor Lucifer and were punished by being forced to dwell on the Earth; or ancient humans who had become highly skilled in magic. However, several writers acknowledged that at least some of them had been gods.


title: Irish mythology

text: There is strong evidence that many of the Túath Dé represent the gods of Irish paganism. The name itself means "tribe of gods", and the ninth-century "Scél Tuain meic Cairill" (Tale of Tuan mac Cairill) speaks of the "Túath Dé ocus Andé", "tribe of gods and un-gods". Goibniu, Credne and Luchta are called the "trí dé dáno", "three gods of craft". In "Sanas Cormaic" (Cormac's Glossary), Anu is called "mother of the Irish gods", Nét a "god of war", and Brigid a "goddess of poets". Writing in the seventh century, Tírechán explained the "sídh" folk as "earthly gods" (Latin "dei terreni"), while "Fiacc's Hymn" says the Irish adored the "sídh" before the coming of Saint Patrick. Several of the Tuath Dé are cognate with ancient Celtic deities: Lugh with Lugus, Brigid with Brigantia, Nuada with Nodons, and Ogma with Ogmios.


title: Irish mythology

text: Nevertheless, John Carey notes that it is not wholly accurate to describe all of them as gods in the medieval literature itself. He argues that the literary Túath Dé are "sui generis", and suggests "immortals" might be a more neutral term.


title: Irish mythology

text: Many of the Túath Dé are not defined by singular qualities, but are more of the nature of well-rounded humans, who have areas of special interests or skills like the druidic arts they learned before traveling to Ireland. In this way, they do not correspond directly to other pantheons such as those of the Greeks or Romans.


title: Irish mythology

text: Irish goddesses or Otherworldly women are usually connected to the land, the waters, and sovereignty, and are often seen as the oldest ancestors of the people in the region or nation. They are maternal figures caring for the earth itself as well as their descendants, but also fierce defenders, teachers and warriors. The goddess Brigid is linked with poetry, healing, and smithing. Another is the Cailleach, said to have lived many lives that begin and end with her in stone formation. She is still celebrated at Ballycrovane Ogham Stone with offerings and the retelling of her life's stories. The tales of the Cailleach connect her to both land and sea. Several Otherworldly women are associated with sacred sites where seasonal festivals are held. They include Macha of Eamhain Mhacha, Carman, and Tailtiu, among others.


title: Irish mythology

text: Warrior goddesses are often depicted as a triad and connected with sovereignty and sacred animals. They guard the battlefield and those who do battle, and according to the stories in the "Táin Bó Cúailnge", some of them may instigate and direct war themselves. The main goddesses of battle are The Morrígan, Macha, and Badb. Other warrior women are seen in the role of training warriors in the Fianna bands, such as Liath Luachra, one of the women who trained the hero Fionn mac Cumhaill. Zoomorphism is an important feature. Badb Catha, for instance, is "the Raven of Battle", and in the "Táin Bó Cúailnge", The Morrígan shapeshifts into an eel, a wolf, and a cow.


title: Irish mythology

text: Irish gods are divided into four main groups. Group one encompasses the older gods of Gaul and Britain. The second group is the main focus of much of the mythology and surrounds the native Irish gods with their homes in burial mounds. The third group are the gods that dwell in the sea and the fourth group includes stories of the Otherworld. The gods that appear most often are the Dagda and Lugh. Some scholars have argued that the stories of these gods align with Greek stories and gods.


title: Irish mythology

text: The Fomorians or Fomori () are a supernatural race, who are often portrayed as hostile and monstrous beings. Originally, they were said to come from under the sea or the earth. Later, they were portrayed as sea raiders, which was probably influenced by the Viking raids on Ireland around that time. Later still they were portrayed as giants. They are enemies of Ireland's first settlers and opponents of the Tuatha Dé Danann, although some members of the two races have offspring. The Fomorians were viewed as the alter-egos to the Túath Dé The Túath Dé defeat the Fomorians in the "Battle of Mag Tuired". This has been likened to other Indo-European myths of a war between gods, such as the Æsir and Vanir in Norse mythology and the Olympians and Titans in Greek mythology.


title: Irish mythology

text: Heroes in Irish mythology can be found in two distinct groups. There is the lawful hero who exists within the boundaries of the community, protecting their people from outsiders. Within the kin-group or "túath", heroes are human and gods are not.


title: Irish mythology

text: The Fianna warrior bands are seen as outsiders, connected with the wilderness, youth, and liminal states. Their leader was called Finn mac Cumaill, the first stories of him are told in fourth century. They are considered aristocrats and outsiders who protect the community from other outsiders; though they may winter with a settled community, they spend the summers living wild, training adolescents and providing a space for war-damaged veterans. The time of vagrancy for these youths is designated as a transition in life post puberty but pre-manhood. Manhood being identified as owning or inheriting property. They live under the authority of their own leaders, or may be somewhat anarchic, and may follow other deities or spirits than the settled communities.


title: Irish mythology

text: The church refused to recognize this group as an institution and referred to them as "sons of death".


title: Irish mythology

text: The Oilliphéist is a sea serpent-like monster in Irish mythology and folklore. These monsters were believed to inhabit many lakes and rivers in Ireland and there are many legends of saints and heroes fighting them.


title: Irish mythology

text: The three main manuscript sources for Irish mythology are the late 11th/early 12th century "Lebor na hUidre" (Book of the Dun Cow), which is in the library of the Royal Irish Academy, and is the oldest surviving manuscript written entirely in the Irish language; the early 12th-century "Book of Leinster", which is in the Library of Trinity College Dublin; and Bodleian Library, MS Rawlinson B 502 ("Rawl."), which is in the Bodleian Library at the University of Oxford. Despite the dates of these sources, most of the material they contain predates their composition.