title: Bombing of Tokyo (10 March 1945)

text: Tokyo's civil defenses were also lacking. The city's fire department comprised around 8,000 firemen spread between 287 fire stations, but they had little modern firefighting equipment. The firefighting tactics used by the fire department were ineffective against incendiary bombs. Civilians had been organized into more than 140,000 neighborhood firefighting associations with a nominal strength of 2.75 million people, but these were also ill-equipped. The basic equipment issued to the firefighting associations was incapable of extinguishing fires started by M69s. Few air raid shelters had been constructed, though most households dug crude foxholes to shelter in near their homes. Firebreaks had been created across the city in an attempt to stop the spread of fire; over 200,000 houses were destroyed as part of this effort. Rubble was often not cleared from the firebreaks, which provided a source of fuel. The Japanese Government also encouraged children and civilians with non-essential jobs to evacuate Tokyo, and 1.7 million had departed by March 1945. However, many other civilians had moved into Tokyo from impoverished rural areas over the same period.


title: Bombing of Tokyo (10 March 1945)

text: On 8 March, LeMay issued orders for a major firebombing attack on Tokyo the next night. The raid was to target a rectangular area in northeastern Tokyo designated Zone I by the USAAF which measured approximately by . This area was divided by the Sumida River, and included most of Asakusa, Honjo and Fukagawa Wards. These wards formed part of the informally defined Shitamachi district of Tokyo, which was mainly populated by working-class people and artisans. With a population of around 1.1 million, it was one of the most densely populated urban areas in the world. Zone I contained few militarily significant industrial facilities, though there were a large number of small factories which supplied Japan's war industries. The area was highly vulnerable to firebombing, as most buildings were constructed from wood and bamboo and were closely spaced. Due to this vulnerability, it had suffered extensive damage and heavy casualties from fires caused by the 1923 Great Kantō earthquake. The United States' intelligence services were aware of how vulnerable the region remained to fire, with the Office of Strategic Services rating it as containing the most combustible districts in Tokyo.


title: Bombing of Tokyo (10 March 1945)

text: The orders for the raid issued to the B-29 crews stated that the main purpose of the attack was to destroy the many small factories located within the target area, but also noted that it was intended to cause civilian casualties as a means of disrupting production at major industrial facilities. Each of XXI Bomber Command's three wings was allocated a different altitude to bomb from, in bands between and . These altitudes were calculated to be too high for the light Japanese antiaircraft guns to reach, and below the effective range of the heavy antiaircraft guns.


title: Bombing of Tokyo (10 March 1945)

text: LeMay was unable to lead the raid in person as he had been prohibited from placing himself in a situation where he could be captured after being briefed on the development of atomic bombs. Instead, the attack was led by the 314th Bombardment Wing's commanding officer, Brigadier General Thomas S. Power. LeMay considered Power to be the best of the wing commanding officers. The new tactics which were to be used in the operation were not well received by many airmen, who believed that it was safer to bomb from high altitudes and preferred to retain their defensive guns. Leaving behind the unneeded gunners also troubled many of the airmen, as bomber crews typically had a very close relationship.


title: Bombing of Tokyo (10 March 1945)

text: In preparation for the attack, XXI Bomber Command's maintenance staff worked intensively over a 36-hour period to ready as many aircraft as possible. This effort proved successful, and 83 percent of the B-29s were available for action compared to the average serviceability rate of 60 percent. Other ground crew loaded the aircraft with bombs and fuel. A total of 346 B-29s were readied. The 73rd Bombardment Wing contributed 169 B-29s and the 313th Bombardment Wing 121; both units were based on Saipan. At the time of the raid the 314th Bombardment Wing was arriving at Guam in the Marianas, and able to provide only 56 B-29s. The B-29s in the squadrons which were scheduled to arrive over Tokyo first were armed with M47 bombs; these weapons used napalm and were capable of starting fires which required mechanized firefighting equipment to control. The bombers in the other units were loaded with clusters of M69s. The 73rd and 313th Bomb Wings' Superfortresses were each loaded with of bombs. As the 314th Bombardment Wing's B-29s would have to fly a greater distance, they each carried of bombs.


title: Bombing of Tokyo (10 March 1945)

text: The attack force began departing its bases at 5:35 pm local time on 9March. It took two and three quarter hours for all of the 325 B-29s which were dispatched to take off. Turbulence was encountered on the flight to Japan, but the weather over Tokyo was good. There was little cloud cover, and visibility was good for the first bomber crews to arrive over Tokyo; they were able to see clearly for . Conditions on the ground were cold and windy, with the city experiencing gusts of between and blowing from the southeast.


title: Bombing of Tokyo (10 March 1945)

text: The first B-29s over Tokyo were four aircraft tasked with guiding the others in. These Superfortresses arrived over the city shortly before midnight on 9March. They carried extra fuel, additional radios and XXI Bomber Command's best radio operators instead of bombs, and circled Tokyo at an altitude of throughout the raid. This tactic proved unsuccessful, and was later judged to have been unnecessary.


title: Bombing of Tokyo (10 March 1945)

text: The attack on Tokyo commenced at 12:08 am local time on 10 March. Pathfinder bombers simultaneously approached the target area at right angles to each other. These bombers were manned by the 73rd and 313th Bombardment Wings' best crews. Their M47 bombs rapidly started fires in an "X" shape, which was used to direct the attacks for the remainder of the force. Each of XXI Bomber Command's wings and their subordinate groups had been briefed to attack different areas within the "X" shape to ensure that the raid caused widespread damage. As the fires expanded, the American bombers spread out to attack unaffected parts of the target area. Power's B-29 circled Tokyo for 90 minutes, with a team of cartographers who were assigned to him mapping the spread of the fires.


title: Bombing of Tokyo (10 March 1945)

text: The raid lasted for approximately two hours and forty minutes. Visibility over Tokyo decreased over the course of the raid due to the extensive smoke over the city. This led some American aircraft to bomb parts of Tokyo well outside the target area. The heat from the fires also resulted in the final waves of aircraft experiencing heavy turbulence. Some American airmen also needed to use oxygen masks when the odor of burning flesh entered their aircraft. A total of 279 B-29s attacked Tokyo, dropping of bombs. Another 19 Superfortresses which were unable to reach Tokyo struck targets of opportunity or targets of last resort. These aircraft turned back early due to mechanical problems or pilots deciding to abort the main mission because they were afraid of being killed.


title: Bombing of Tokyo (10 March 1945)

text: Tokyo's defenders were expecting an attack, but did not detect the American force until it arrived over the city. The air defense units in the Kanto Plain area had been placed on alert, but the night fighter units were instructed not to sortie any aircraft until an incoming raid was detected. While picket boats spotted the attack force, poor radio reception meant that most of their reports were not received. Due to disorganization in the defense commands, little action was taken on the scattered reports which came in from the boats. At around midnight on 9March a small number of B-29s were detected near Katsuura, but were thought to be conducting reconnaissance flights. Subsequent sightings of B-29s flying at low levels were not taken seriously, and the Japanese radar stations focused on searching for American aircraft operating at their usual high altitudes. The first alarm that a raid was in progress was issued at 12:15 am, just after the B-29s began dropping bombs on Tokyo. The 10th Air Division sortied all of its available night interceptors, and the 1st Anti aircraft Division's searchlight and anti aircraft units went into action.


title: Bombing of Tokyo (10 March 1945)

text: As expected by LeMay, the defense of Tokyo was not effective. Many American units encountered considerable anti aircraft fire, but it was generally aimed at altitudes either above or below the bombers and reduced in intensity over time as gun positions were overwhelmed by fires. Nevertheless, the Japanese gunners shot down 12 B-29s. A further 42 were damaged, of which two had to be written off. The Japanese fighters were ineffective; their pilots received no guidance from radar stations and the efforts of the anti aircraft gunners and fighter units were not coordinated. No B-29s were shot down by fighters, and the American airmen reported only 76 sightings of Japanese fighters and 40 attacks by them over the course of the raid. Several Japanese pilots were killed when their aircraft ran out of fuel and crashed. Five of the downed B-29s managed to ditch in the sea, and their crews were rescued by United States Navy submarines. American casualties were 96 airmen killed or missing, and 6wounded or injured.


title: Bombing of Tokyo (10 March 1945)

text: The surviving B-29s arrived back at their bases in the Mariana Islands between 6:10 and 11:27 am local time on 10 March. Many of the bombers were streaked with ashes from the fires their crews had caused.


title: Bombing of Tokyo (10 March 1945)

text: Widespread fires rapidly developed across northeastern Tokyo. Within 30 minutes of the start of the raid the situation was beyond the fire department's control. An hour into the raid the fire department abandoned its efforts to stop the conflagration. Instead, the firemen focused on guiding people to safety and rescuing those trapped in burning buildings. Over 125 firemen and 500 civil guards who had been assigned to help them were killed, and 96 fire engines destroyed.


title: Bombing of Tokyo (10 March 1945)

text: Driven by the strong wind, the large numbers of small fires started by the American incendiaries rapidly merged into major blazes. These formed firestorms which quickly advanced in a northwesterly direction and destroyed or damaged almost all the buildings in their path. The only buildings which survived the fire were constructed of stone. By an hour after the start of the attack most of eastern Tokyo either had been destroyed or was being affected by fires.


title: Bombing of Tokyo (10 March 1945)

text: Civilians who stayed at their homes or attempted to fight the fire had virtually no chance of survival. Historian Richard B. Frank has written that "the key to survival was to grasp quickly that the situation was hopeless and flee". Soon after the start of the raid news broadcasts began advising civilians to evacuate as quickly as possible, but not all did so immediately. The foxholes which had been dug near most homes offered no protection against the firestorm, and civilians who sheltered in them were burned to death or died from suffocation.


title: Bombing of Tokyo (10 March 1945)

text: Thousands of the evacuating civilians were killed. Families often sought to remain with their local neighborhood associations, but it was easy to become separated in the conditions. Few families managed to stay together throughout the night. Escape frequently proved impossible, as smoke reduced visibility to just a few feet and roads were rapidly cut by the fires. Crowds of civilians often panicked as they rushed towards the perceived safety of canals, with those who fell being crushed to death. The majority of those killed in the raid died while trying to evacuate. In many cases entire families were killed. One of the most deadly incidents occurred when the full bomb load of a B-29 landed in a crowd of civilians crossing the Kototoi Bridge over the Sumida River causing hundreds of people to be burned to death.


title: Bombing of Tokyo (10 March 1945)

text: Few places in the targeted area provided safety. Many of those who attempted to evacuate to the large parks which had been created as refuges against fires following the 1923 Great Kantō earthquake were killed when the conflagration moved across these open spaces. Similarly, thousands of people who gathered in the grounds of the Sensō-ji temple in Asakusa died. Others sheltered in solid buildings, such as schools or theatres, and in canals. These were not proof against the firestorm, with smoke inhalation and heat killing large numbers of people in schools. Many of the people who attempted to shelter in canals were killed by smoke or when the passing firestorm sucked oxygen out of the area. However, these bodies of water provided safety to thousands of others. The fire finally burned itself out during mid-morning on 10 March, and came to a stop when it reached large open areas or the Nakagawa Canal. Thousands of people injured in the raid died over the following days.


title: Bombing of Tokyo (10 March 1945)

text: After the raid, civilians across Tokyo offered assistance to the refugees. Firemen, police officers and soldiers also tried to rescue survivors trapped under collapsed buildings. Many refugees who had previously lived in slums were accommodated in prosperous parts of the city. Some of these refugees resented the differences in living conditions, prompting riots and looting. Refugee centers were also established in parks and other open areas. Over a million people left the city in the following weeks, with more than 90 percent being accommodated in nearby prefectures. Due to the extent of the damage and the exodus from Tokyo, no attempt was made to restore services to large sections of the city.


title: Bombing of Tokyo (10 March 1945)

text: Estimates of the number of people killed in the bombing of Tokyo on 10 March differ. After the raid, 79,466 bodies were recovered and recorded. Many other bodies were not recovered, and the city's director of health estimated that 83,600 people were killed and another 40,918 wounded. The Tokyo fire department put the casualties at 97,000 killed and 125,000 wounded, and the Tokyo Metropolitan Police Department believed that 124,711 people had been killed or wounded. After the war, the United States Strategic Bombing Survey estimated the casualties as 87,793 killed and 40,918 injured. The survey also stated that the majority of the casualties were women, children and elderly people. Frank wrote in 1999 that historians generally believe that there were between 90,000 and 100,000 fatalities, but some argue that the number was much higher. For instance, Edwin P. Hoyt stated in 1987 that 200,000 people had been killed and in 2009 Mark Selden wrote that the number of deaths may have been several times the estimate of 100,000 used by the Japanese and United States Governments. As of 2011, the Tokyo Memorial Hall honored 105,400 people killed in the raid, the number of people whose ashes are interred in the building or were claimed by their family. As many bodies were not recovered, the number of fatalities is higher than this number. The large population movements out of and into Tokyo in the period before the raid, deaths of entire communities and destruction of records mean that it is not possible to know exactly how many died.


title: Bombing of Tokyo (10 March 1945)

text: Most of the bodies which were recovered were buried in mass graves without being identified. Many bodies of people who had died while attempting to shelter in rivers were swept into the sea and never recovered. Attempts to collect bodies ceased 25 days after the raid.


title: Bombing of Tokyo (10 March 1945)

text: The raid also caused widespread destruction. Police records show that 267,171 buildings were destroyed, which represented a quarter of all buildings in Tokyo at the time. This destruction rendered 1,008,005 survivors homeless. Most buildings in the Asakusa, Fukagawa, Honjo, Jōtō and Shitaya wards were destroyed, and seven other districts of the city experienced the loss of around half their buildings. Parts of another 14 wards suffered damage. Overall, of Tokyo was burned out. The number of people killed and area destroyed was the largest of any single air raid of World War II, including the atomic bombings of Hiroshima and Nagasaki, when each raid is considered by itself. The casualties and damage caused by the raid and absenteeism by workers in Tokyo considerably disrupted the Japanese war economy.


title: Bombing of Tokyo (10 March 1945)

text: LeMay and Arnold considered the operation to have been a significant success on the basis of reports made by the airmen involved and the extensive damage shown in photographs taken by reconnaissance aircraft on 10 March. Arnold sent LeMay a congratulatory message which stated that "this mission shows your crews have the guts for anything". The aircrew who conducted the attack were also pleased with its results. A post-strike assessment by XXI Bomber Command attributed the scale of damage to the firebombing being concentrated on a specific area, with the bombers attacking within a short timeframe, and the strong winds present over Tokyo.


title: Bombing of Tokyo (10 March 1945)

text: Few concerns were raised in the United States during the war about the morality of the 10 March attack on Tokyo or the firebombing of other Japanese cities. These tactics were supported by the majority of decision-makers and American civilians. Historian Michael Howard has observed that these attitudes reflected the limited options to end the war which were available at the time. For instance, both Arnold and LeMay regarded the 10 March raid and subsequent firebombing operations as being necessary to save American lives by bringing the war to a rapid conclusion. President Franklin D. Roosevelt probably also held this view. While Secretary of War Henry L. Stimson was aware of LeMay's tactics and troubled by the lack of public reaction in the United States to the firebombing of Tokyo, he permitted these operations to continue until the end of the war.


title: Bombing of Tokyo (10 March 1945)

text: The raid was followed by similar attacks against Nagoya on the night of 11/12 March, Osaka in the early hours of 14 March, Kobe on 17/18 March and Nagoya again on 18/19 March. An unsuccessful night precision raid was also conducted against an aircraft engine factory in Nagoya on 23/24 March. The firebombing attacks ended only because XXI Bomber Command's stocks of incendiaries were exhausted. The attacks on Tokyo, Nagoya, Osaka and Kobe during March burned out over of the cities. The number of people killed in Nagoya, Osaka and Kobe were much lower than those in 10 March attack on Tokyo with fewer than 10,000 fatalities in each operation. The lower casualties were, in part, the result of better preparations by the Japanese authorities which had resulted from a realization that they had greatly under-estimated the threat posed by firebombing.


title: Bombing of Tokyo (10 March 1945)

text: The Japanese government initially attempted to suppress news of the extent of the 10 March raid, but later used it for propaganda purposes. A communique issued by the Imperial Headquarters on 10 March stated that only "various places within the city were set afire". However, rumors of the devastation rapidly spread across the country. In a break from the usual practice of downplaying the damage caused by air attacks, the Japanese Government encouraged the media to emphasize the extensive scale of the destruction in an attempt to motivate anger against the United States. Stories about the attack were on the front page of all Japanese newspapers on 11 March. Reporting focused on the perceived immorality of the attack and the number of B-29s which had been destroyed. Subsequent newspaper reports made little reference to the scale of casualties, and the few photos which were published showed little physical damage. When the Japanese Government's official broadcaster Radio Tokyo reported the attack it was labeled "slaughter bombing". Other radio broadcasts focused on B-29 losses and the claimed desire of Japanese civilians to continue the war. American newspaper reports focused on the physical damage to Tokyo, made little reference to casualties and did not include estimates of the death toll. This resulted from the content of USAAF communiques and reports rather than censorship.


title: Bombing of Tokyo (10 March 1945)

text: The attack considerably damaged the morale of Japanese civilians, with it and the other firebombing raids in March convincing most that the war situation was worse than their government had admitted. The Japanese Government responded with a combination of repression, including heavy penalties for people accused of disloyalty or spreading rumors, and a propaganda campaign focused on restoring confidence in the country's air and civil defense measures. These measures were generally unsuccessful.


title: Bombing of Tokyo (10 March 1945)

text: Few steps were taken to improve Tokyo's defenses after the raid. The majority of the 10th Air Division's senior officers were sacked or reassigned as punishment for the unit's failure on 10 March. Only 20 aircraft were sent to Tokyo to reinforce the 10th Air Division, and these were transferred elsewhere two weeks later when no further attacks were made against the capital. From April, the Japanese reduced their attempts to intercept Allied air raids to preserve aircraft to contest the expected invasion of Japan. The 1st Antiaircraft Division remained active until the end of the war in August 1945. The Japanese military never developed adequate defenses against night air raids, with the night fighter force remaining ineffective and many cities not being protected by antiaircraft guns.


title: Bombing of Tokyo (10 March 1945)

text: Between April and mid-May XXI Bomber Command mainly focused on attacking airfields in southern Japan in support of the invasion of Okinawa. From 11 May until the end of the war the B-29s conducted day precision bombing attacks when weather conditions were favorable, and night firebombing raids against cities at all other times. Further incendiary attacks were conducted against Tokyo, with the final taking place on the night of 25/26 May. By this time, 50.8 percent of the city had been destroyed and more than 4million people left homeless. Further heavy bomber raids against Tokyo were judged to not be worthwhile, and it was removed from XXI Bomber Command's target list. By the end of the war, 75 percent of the sorties conducted by XXI Bomber Command had been part of firebombing operations.


title: Bombing of Tokyo (10 March 1945)

text: Following the war the bodies which had been buried in mass graves were exhumed and cremated. The ashes were interred in a charnel house located in Sumida's Yokoamicho Park which had originally been established to hold the remains of 58,000 victims of the 1923 earthquake. A Buddhist service has been conducted to mark the anniversary of the raid on 10 March each year since 1951. A number of small neighborhood memorials were also established across the affected area in the years after the raid. 10 March was designated Tokyo Peace Day by the Tokyo Metropolitan Assembly in 1990.


title: Bombing of Tokyo (10 March 1945)

text: Few other memorials were erected to commemorate the attack in the decades after the war. Efforts began in the 1970s to construct an official Tokyo Peace Museum to mark the raid, but the Tokyo Metropolitan Assembly canceled the project in 1999. Instead, the Dwelling of Remembrance memorial to civilians killed in the raid was built in Yokoamicho Park. This memorial was dedicated in March 2001. A group of citizens led by the writer Katsumoto Saotome who had been most active in campaigning for the Tokyo Peace Museum established the privately funded Center of the Tokyo Raids and War Damage, which opened in 2002. As of 2015, this center was the main repository of information in Japan about the firebombing raids. A small section of the Edo-Tokyo Museum also covers the air raids on Tokyo. The academic Cary Karacas has stated that a reason for the low-profile official commemoration of the attack in Japan is that the government does not want to acknowledge "that it was Japan who initiated the first-ever air raids on Asia’s cities". Karacas argues that the Japanese Government prefers to focus on the atomic bombing of Hiroshima and Nagasaki as commemoration of these attacks "reinforces the Japanese-as-victim stereotype".


title: Bombing of Tokyo (10 March 1945)

text: In 2007 a group of survivors of the 10 March raid and bereaved families launched a lawsuit seeking compensation and an apology for the Japanese Government's actions regarding the attack. As part of the case, it was argued that the raid had been a war crime and the Japanese Government had acted wrongly by agreeing to elements of the 1951 Treaty of San Francisco which waived the right to seek compensation for such actions from the US Government. The plaintiffs also claimed that the Japanese Government had violated the post-war constitution by compensating the military victims of the raid and their families, but not civilians. The Japanese Government argued that it did not have an obligation to compensate the victims of air raids. In 2009 the Tokyo District Court found in favor of the government. Since that time, a public campaign has advocated for the Japanese Government to pass legislation to provide compensation to civilian survivors of the raid.


title: Bombing of Tokyo (10 March 1945)

text: Many historians have stated that the 10 March raid on Tokyo was a military success for the United States, and marked the start of the most effective period of air raids on Japan. For instance, the USAAF official history judged that the attack fully met LeMay's objectives, and it and the subsequent firebombing raids shortened the war. More recently, Tami Davis Biddle noted in "The Cambridge History of the Second World War" that "the Tokyo raid marked a dramatic turn in the American air campaign in the Far East; following on the heels of many months of frustration, it loosed the full weight of American industrial might on the faltering Japanese". Mark Lardas has written that 10 March operation was only the second genuinely successful raid on Japan (after an attack against an aircraft factory on 19 January), and "LeMay's decision to switch from precision bombardment to area incendiary missions and to conduct the incendiary missions from low altitudes" was the most important factor in the eventual success of the strategic bombing campaign.


title: Bombing of Tokyo (10 March 1945)

text: Historians have also discussed the significance of the raid in the USAAF's transition from an emphasis on precision bombing to area bombing. Conrad C. Crane has observed that "the resort to fire raids marked another stage in the escalation towards total war and represented the culmination of trends begun in the air war against Germany". Kenneth P. Werrell noted that the firebombing of Japanese cities and the atomic bomb attacks "have come to epitomize the strategic bombing campaign against Japan. All else, some say, is a prelude or tangential". Historians such as Biddle, William W. Ralph and Barrett Tillman have argued that the decision to change to firebombing tactics was motivated by Arnold and LeMay's desire to prove that the B-29s were effective, and that a strategic bombing force could be a war-winning military arm. British historian Max Hastings shares this view, and has written that the circumstances in which XXI Bomber Command shifted to area attacks in 1945 mirrored those which led Bomber Command to do the same from 1942.


title: Bombing of Tokyo (10 March 1945)

text: Like the bombing of Dresden, the bombing of Tokyo on 10 March 1945 is used as an example by historians and commentators who criticize the ethics and practices of the Allied strategic bombing campaigns. Concerns initially raised regarding these two raids in the years after World War II have over time evolved into widely-held doubts over the morality and effectiveness of the campaigns. For instance, Selden argues that the attack on Tokyo marked the beginning of an American "approach to warfare that targets entire populations for annihilation". As part of his general critique of Allied area bombing raids on German and Japanese cities, the philosopher A. C. Grayling judged that the 10 March raid was "unnecessary and disproportionate". Some commentators believe that racism motivated the decision to use firebombing tactics, in contrast to the USAAF's greater emphasis on precision bombing in its air campaign against Germany. Werrell has written that while racism may have influenced this, "many other factors were involved, which, I would submit, were more significant". Frank has reached similar conclusions. He also argues that the USAAF would have used firebombing tactics in Europe had German cities been as vulnerable to fire as Japanese cities were and intelligence on the German war economy been as lacking as it was on the Japanese war production facilities. Tillman has written that area bombing was the only viable tactic available to the USAAF at the time given the failure of the precision bombing campaign.


title: Bombing of Tokyo (10 March 1945)

text: After the bombing, Emperor Hirohito toured the destroyed portions on 18 March. Historians' views of the effects of this experience on him differ. F.J. Bradley states that the visit convinced Hirohito that Japan had lost the war. Tillman has written that the raid had no effect on the Emperor, and Frank argues that Hirohito supported continuing the war until mid-1945.


title: Piglet (Winnie-the-Pooh)

text: Piglet is a fictional character from A. A. Milne's "Winnie-the-Pooh" books. Piglet is Winnie‑the‑Pooh's closest friend amongst all the toys and animals featured in the stories. Although he is a "Very Small Animal" of a generally timid disposition, he tries to be brave and on occasion conquers his fears.


title: Piglet (Winnie-the-Pooh)

text: Piglet is introduced in the text from Chapter III of "Winnie-the-Pooh", although he is shown earlier in one of the illustrations for Chapter II. He also appears in Chapters V, VI, VII, VIII, IX, and X, as well as every chapter of "The House at Pooh Corner". Piglet is best friends with Pooh and is also especially close to Christopher Robin and the rest of the main characters.


title: Piglet (Winnie-the-Pooh)

text: Like most of the characters, Piglet was based on one of Christopher Robin Milne's stuffed animals. In the original color versions of Ernest H. Shepard's illustrations in the Winnie‑the‑Pooh books, Piglet has pale pink skin and a green jumper. He is smaller than most animals, being only slightly taller than Roo. His voice is described as "squeaky".


title: Piglet (Winnie-the-Pooh)

text: Piglet's adventures in the first book include hunting Woozles, attempting to capture Heffalumps, giving Eeyore a birthday balloon (popped), impersonating Roo in an attempt to trick Kanga, joining the Expotition to the North Pole, and being trapped by a flood. In the second book, he helps build a house for Eeyore, meets Tigger, finds Small while trapped in a gravel pit, plays Poohsticks, gets lost in the mist, and helps rescue Pooh and Owl after they are trapped in Owl's fallen house. For that last feat, Piglet is the subject of a seven-verse "Respectful Pooh Song" that Pooh composes for him.


title: Piglet (Winnie-the-Pooh)

text: Piglet himself can read and write, at least well enough for short notes. In the illustrations for "The House at Pooh Corner", it appears that Piglet spells his own name "Piglit", although it is rendered as "Piglet" in the actual text even when describing his signature. In one chapter, Piglet is referred to as "Henry Pootel" by Christopher Robin, who claimed to not recognize Piglet after he was thoroughly cleaned by Kanga. Eeyore likes to refer to him as "Little Piglet".


title: Piglet (Winnie-the-Pooh)

text: Piglet's favorite food is acorns (or as the book often spells it, "haycorns"). At one point he plants one just outside his house, in hopes of someday having a handy supply. He lives in a house in a beech tree in the Hundred Acre Wood, next to a sign which says "TRESPASSERS W". An illustration shows that the sign is broken off after the "W." According to Piglet, that is "short for Trespassers Will, which is short for Trespassers William", which was the name of his grandfather (this was a parody of the usual sign "Trespassers will be prosecuted"). Later in "The House at Pooh Corner," Eeyore mistakenly offers Piglet's house as a new home for Owl, after Owl's house had blown down. Piglet nobly agrees to let Owl have the house, at which point Pooh asks Piglet to live with him and Piglet accepts.


title: Piglet (Winnie-the-Pooh)

text: In 1960 HMV recorded a dramatised version with songs (music by Harold Fraser-Simson) of two episodes from "The House at Pooh Corner" (Chapters 2 and 8), with Penny Morrell as Piglet, which was released on a 45rpm EP.


title: Piglet (Winnie-the-Pooh)

text: Piglet was originally omitted by Disney in the first Pooh film, "Winnie the Pooh and the Honey Tree" (1966). According to the film's director, Wolfgang Reitherman, Piglet was replaced by Gopher, which was thought to have a more "folksy, all-American, grass-roots image". Many familiar with the classic Milne books protested Disney's decision to exclude Piglet, and Disney relented. Piglet appeared in the next Pooh film, "Winnie the Pooh and the Blustery Day" (1968).


title: Piglet (Winnie-the-Pooh)

text: Disney's interpretation of Piglet has pink skin and a magenta jumper. His fears and nervousness are played up more, as he runs and hides when unnecessary and often stutters when nervous. He has a lot of hidden courage and often faces danger to help others, even when afraid. Stories about him tend to revolve around these traits as well as his small size.


title: Piglet (Winnie-the-Pooh)

text: In the Disney cartoons, Piglet is very kindhearted, loves beautiful things like flowers, and prefers keeping things neat and tidy. He sometimes has an inferiority complex, although his friends think highly of him. However, he is often left performing tasks better suited to someone bigger and stronger, such as in several episodes of "The New Adventures of Winnie the Pooh" or the 2011 film.


title: Piglet (Winnie-the-Pooh)

text: Piglet can be found at the Walt Disney Parks and Resorts for meet and greets. He appears less frequently than Pooh, Tigger, and Eeyore, but more than Rabbit. Piglet also made a brief cameo in the 1988 movie "Who Framed Roger Rabbit". He was featured as one of the guests in "House of Mouse". Piglet also makes a cameo appearance in the DreamWorks animated film "Bee Movie" along with Pooh; at one point, a man spies Pooh and Piglet eating honey and Barry tells him to "take him out" with a tranquilizer dart.


title: Piglet (Winnie-the-Pooh)

text: John Fiedler provided the voice for Piglet from 1968 until his death on June 25, 2005, except in "Welcome to Pooh Corner" where Phil Baron voiced him. Fiedler's last appearance as Piglet's voice was in "Pooh's Heffalump Halloween Movie". With the exception of Christopher Robin's voice actors Bruce Reitherman and Jon Walmsley, and Roo's voice actor Clint Howard, Fiedler was the last living member of the original Winnie the Pooh voice cast.


title: Piglet (Winnie-the-Pooh)

text: Travis Oates has provided Piglet's voice since Fiedler's death, including in "Kingdom Hearts II" and "Pooh's Heffalump Halloween Movie" in certain scenes that Fiedler was unable to record before his death. His first major performance as Piglet was in "My Friends Tigger & Pooh". He and Jim Cummings were the only actors to return for the 2011 film "Winnie the Pooh". Piglet was voiced by Nick Mohammed for the 2018 live-action film "Christopher Robin".


title: Piglet (Winnie-the-Pooh)

text: In the Soviet Union, a trilogy of short films about Winnie‑the‑Pooh (Russian language: Винни-Пух, or ""Vinni Pukh"") were made by Soyuzmultfilm (directed by Fyodor Khitruk) from 1969 to 1972. In all three films Piglet, renamed Pyatachok (Пятачок, "Pig Snout") and voiced by Iya Savvina, is Pooh's constant companion, even taking Christopher Robin's place in the story concerning Pooh and the honey tree. Unlike the Disney adaptations, animators did not rely on Shepard's illustrations to depict the characters.


title: Piglet (Winnie-the-Pooh)

text: "The Te of Piglet" was written by Benjamin Hoff following the publication of "The Tao of Pooh". Both books feature the original drawing of E. H. Shepard. "The Te of Piglet" details Piglet's exemplification of the Taoist concept of "virtue of the small".


title: Piglet (Winnie-the-Pooh)

text: In 1982, whilst studying at Oxford University as an undergraduate, the columnist and commentator Andrew Sullivan adopted the persona of Piglet in holding office in the University Pooh Sticks Club as cited in the 1987 book "The Oxford Myth".


title: Hrishikesh Mukherjee

text: Hrishikesh Mukherjee (30 September 1922 – 27 August 2006) was an Indian film director, editor and writer. He is regarded as one of the greatest filmmakers of Indian cinema. Popularly known as "Hrishi-da", he directed 42 films during his career spanning over four decades, and is named the pioneer of the 'middle cinema' of India. Renowned for his social films that reflected the changing middle-class ethos, Mukherjee "carved a middle path between the extravagance of mainstream cinema and the stark realism of art cinema".


title: Hrishikesh Mukherjee

text: He is known for a number of films, including "Anari", "Satyakam", "Chupke Chupke", "Anupama", "Anand", "Abhimaan", "Guddi", "Gol Maal", "Majhli Didi", "Chaitali", "Aashirwad", "Bawarchi", "Khubsoorat", "Kissi Se Na Kehna", and "Namak Haraam."


title: Hrishikesh Mukherjee

text: He also remained the chairman of the Central Board of Film Certification (CBFC) and of the National Film Development Corporation (NFDC). The Government of India honoured him with the Dada Saheb Phalke Award in 1999 and the Padma Vibhushan in 2001. He received the NTR National Award in 2001 and he also won eight Filmfare Awards.


title: Hrishikesh Mukherjee

text: Hrishikesh Mukherjee was born in the city of Calcutta in pre-independence India (now Kolkata) to a Bengali brahmin family. He studied science and graduated in chemistry from the University of Calcutta. He taught mathematics and science for some time.


title: Hrishikesh Mukherjee

text: Mukherjee chose to begin working, initially as a cameraman, and then film editor, in B. N. Sircar's New Theatres in Calcutta in the late 1940s, where he learned his skills from Subodh Mitter ('Kenchida'), a well known editor of his times. He then worked with Bimal Roy in Mumbai as film editor and assistant director from 1951, participating in the landmark Roy films "Do Bigha Zamin" and "Devdas".


title: Hrishikesh Mukherjee

text: His debut directorial venture, "Musafir" (1957), was not a success, but he persisted and received acclaim for his second film "Anari" in 1959. The film, crew and cast won five Filmfare Awards, with Mukherjee only losing the Best Director Award to his mentor, Bimal Roy.


title: Hrishikesh Mukherjee

text: In the following years he made numerous films. Some of his most notable films include: "Anuradha" (1960), "Chhaya" (1961), "Asli-Naqli" (1962), "Anupama" (1966), "Aashirwad" (1968), "Satyakam" (1969), "Guddi" (1971), "Anand" (1971), "Bawarchi" (1972), "Abhimaan" (1973), "Namak Haraam" (1973), "Mili" (1975), "Chupke Chupke" (1975), "Alaap" (1977), "Gol Maal" (1979), "Khubsoorat" (1980) and "Bemisal" (1982). He was the first to introduce Dharmendra in comedy roles, through "Chupke Chupke", and gave Amitabh Bachchan his big break with "Anand" in 1970, along with Rajesh Khanna, he also introduced Jaya Bhaduri to Hindi cinema in his film "Guddi". Having worked with his mentor, Bimal Roy as an editor, in films like "Madhumati", he was much sought after as an editor as well.


title: Hrishikesh Mukherjee

text: Mukherjee was honoured with the Dadasaheb Phalke Award by the Government of India, in 1999. Mukherjee was chairman of the Central Board of Film Certification and of the National Film Development Corporation. He was also awarded the Padma Vibhushan, the second highest civilian award for his contribution to Indian cinema by government of India in 2001 . The International Film Festival of India honoured him with a retrospective of his films in November 2005. He holds the distinction of working with almost all the top Indian stars since independence of India in 1947.


title: Hrishikesh Mukherjee

text: His last film was "Jhooth Bole Kauwa Kaate". Since his original hero Amol Palekar had grown old he had to cast Anil Kapoor. He has also directed TV serials like "Talaash".


title: Hrishikesh Mukherjee

text: In later life, Mukherjee suffered from chronic kidney failure and would go to Lilavati Hospital for dialysis. He was admitted to Lilavati Hospital in Mumbai early on Tuesday, 6 June 2006 after he complained of uneasiness. Mukherjee died few weeks later on 27 August 2006.


title: Hrishikesh Mukherjee

text: Mukherjee was married and has three daughters and two sons. His wife died more than three decades before him.


title: Hrishikesh Mukherjee

text: He was an animal lover and had many dogs and sometimes an odd cat at his residence in Bandra, Mumbai. He was staying with only his servants and pets in the last phase of his life. Family members and friends would visit him regularly.


title: Matthias Sammer

text: Matthias Sammer (; born 5 September 1967) is a German football official and former player and coach. He played as a defensive midfielder and later in his career as a sweeper.


title: Matthias Sammer

text: With Borussia Dortmund as a player, Sammer won the Bundesliga and DFL-Supercup in 1995, the Bundesliga, DFL-Supercup, and European Footballer of the Year in 1996, and the UEFA Champions League and Intercontinental Cup in 1997. Germany won the UEFA Euro 1996 with Sammer as a player, where he was named the tournament's best player, and was subsequently awarded the Ballon d'Or later that year. Sammer retired with 74 total caps, 23 for East Germany and 51 for the unified side.


title: Matthias Sammer

text: Sammer started his career at Dynamo Dresden when he joined the club's youth team as a nine-year-old in 1976. He made his debut for the senior team under the management of his father, Klaus Sammer, in the 1985–86 season. Playing as a striker, he scored eight goals in his first season as Dynamo finished fifth in the DDR-Oberliga. After being moved to the left wing the following season by new manager Eduard Geyer, he eventually found his place in central midfield during the 1987–88 season.


title: Matthias Sammer

text: In the 1988–89 season, Sammer was part of the Dynamo Dresden team which won the East German championship. The same season the club also reached the semi-final of the UEFA Cup where they were knocked out by West German club VfB Stuttgart. The following year Dynamo won the league and cup double, defending the DDR-Oberliga title and also winning the 1990 FDGB-Pokal.


title: Matthias Sammer

text: Sammer was formally an employee of the Volkspolizei, as a player of Dynamo Dresden. He enrolled into the Stasi Guards Regiment "Felix E. Dzerzhinsky" as a 19-year-old. Many players of Dynamo Dresden were assigned the Stasi Guards Regiment "Felix E. Dzerzhinsky for their military service. Sammer then served as a non-commissioned officer in the Guards Regiment for three years from 1987. He held the rank of sergeant in the Stasi. The President of SV Dynamo was the head of the Stasi Erich Mielke. Sammer has explained that he would not have been able to continue to play football for Dynamo Dresden if he had refused to serve with the Guards Regiment and that he never saw any weapon or took part in any military exercise. He has described his employment with the Guard Regiment as an alibi to play football to Dynamo Dresden.


title: Matthias Sammer

text: In the summer of 1990, Sammer joined VfB Stuttgart of the Bundesliga. Sammer scored 11 times in his debut season as Stuttgart finished sixth in the Bundesliga. The following year Sammer scored nine goals, helping Stuttgart to become the first champions of the reunified Germany.


title: Matthias Sammer

text: After two seasons at Stuttgart, Sammer joined Italian club Inter Milan for the 1992–93 Serie A season. Though he was a success on the pitch, scoring four times in 11 appearances, including a goal against Juventus in the Derby d'Italia, Sammer failed to adapt to the Italian lifestyle and returned to Germany in January 1993.


title: Matthias Sammer

text: In the winter break of the 1992–93 season, Sammer signed for Borussia Dortmund. He made 17 Bundesliga appearances in the second half of the season, scoring ten times.


title: Matthias Sammer

text: The following season, Sammer was moved from midfield into the libero position by Dortmund coach Ottmar Hitzfeld. This move proved to be successful as Dortmund won back-to-back Bundesliga titles in 1994–95 and 1995–96, followed by the 1996–97 UEFA Champions League, with Sammer lifting the European Cup as captain after beating Juventus 3–1 in the final at Munich's Olympiastadion.


title: Matthias Sammer

text: Soon after winning the Champions League, Sammer's career was cut short by injury. He made only three further Bundesliga appearances for Dortmund before suffering a serious knee injury which he failed to recover from and retired in 1998.


title: Matthias Sammer

text: In addition to the two Bundesliga titles and one Champions League, Sammer also led Dortmund to two DFB-Supercups, in 1995 and 1996. Sammer himself was named Footballer of the Year (Germany) in both 1995 and 1996 and was named European Footballer of the Year in 1996, making him the first defender to win the Ballon d'Or since Franz Beckenbauer in 1976.


title: Matthias Sammer

text: Sammer represented the GDR at every age group. He was part of the East German squads which won the 1986 UEFA European Under-18 Football Championship and finished third at the 1987 FIFA World Youth Championship.


title: Matthias Sammer

text: In November 1986, he made his debut for the full East Germany national football team in a UEFA Euro 1988 qualifier against France at Zentralstadion in Leipzig.


title: Matthias Sammer

text: On 12 September 1990, Sammer captained East Germany in its final match. He scored both goals as the GDR beat Belgium 2–0 in Brussels.


title: Matthias Sammer

text: On 19 December 1990, Sammer debuted for the newly formed unified Germany national football team, which was mostly made up of the West Germany team that had won the 1990 FIFA World Cup. The match was played at his home stadium in Stuttgart and Germany ran out 4–0 winners against Switzerland.


title: Matthias Sammer

text: Sammer was a member of the German squad for UEFA Euro 1992, where the team was beaten in the final by Denmark. He was also selected for the 1994 FIFA World Cup, as Germany was surprisingly knocked out by the underdog Bulgaria at the quarter final stage.


title: Matthias Sammer

text: In UEFA Euro 1996, Sammer played in the libero role he had been converted to at Borussia Dortmund. He scored the opening goal in Germany's second group match against Russia and the winning goal against Croatia in the quarter-final. After Germany defeated the Czech Republic in the final, Sammer was named Player of the Tournament.


title: Matthias Sammer

text: On 7 June 1997, Sammer played his final match for Germany in a 1998 FIFA World Cup qualifier against Ukraine in Kyiv. He did not take part at the 1998 FIFA World Cup due to injury.


title: Matthias Sammer

text: Sammer usually played as a sweeper during the height of his career, and in particular in later years, although he was also capable of playing in several midfield and offensive roles; indeed, he was often deployed further up the pitch earlier in his career, including in a holding role, as an attacking midfielder, as a central midfielder, as a left winger, as a deep-lying playmaker, or even as a striker on occasion, courtesy of his technique, stamina, passing ability, and vision. Although he was not the most physically gifted defender, due to his slender frame, he was regarded as a world class player in his position, in particular due to his intelligence and positional sense, while he was also able to improve his tackling ability as his career progressed. Despite his more defensive playing role, he was also a talented and energetic player, who was known for his eye for goal, athleticism, elegance, finesse, and offensive capabilities, and had a penchant for undertaking individual forward runs with the ball towards the opposing penalty area. Beyond his skills as a footballer, he was also known as an influential player and a commanding presence on the pitch, who stood out for his charismatic leadership qualities, determination, bravery, and composure under pressure. Despite his ability and reputation as one of the greatest sweepers of all time, however, he was also known to be prone to injuries, which ultimately forced him to retire from professional football at the age of 31.


title: Matthias Sammer

text: After retirement, Sammer became head coach of Borussia Dortmund on 1 July 2000. Sammer led Borussia Dortmund to another Bundesliga title in 2002. His team reached the 2001–02 UEFA Cup final the same year but lost 2–3 against Feyenoord. Sammer was sacked at the end of the 2003–04 season after Dortmund finished in sixth place.


title: Matthias Sammer

text: Sammer returned to VfB Stuttgart as head coach for the 2004–05 season. Despite finishing one point off a Champions League qualifying position, Sammer left the club on 3 June 2005.


title: Matthias Sammer

text: On 1 April 2006, he was appointed technical director of German Football Association (DFB), on a five-year contract. The position was new in the DFB at the time and had been initiated by national coach Jürgen Klinsmann, who undertook major structural reforms in the DFB during his short time of two years as a coach, with an impact lasting much longer than his actual term. The position included responsibility for the national youth teams, focusing on young talents between the ages of eleven and eighteen, as well as incorporating the latest developments in sports science into the DFB's training theories. Sammer was also expected to work on a tactical system for all of Germany's national sides in close co-operation with national coach Joachim Löw. He is credited of having led the declining quality of German football from its worst era at the beginning of the 2000s to new success through several talented players developed in the restructured youth system.


title: Matthias Sammer

text: On 2 July 2012, he took over as Sporting Director of Bayern Munich and replaced Christian Nerlinger, who had been released following Bayern's treble losses in Bundesliga, German Cup and Champions League and because of his strained relationship with the club. As Sporting Director, Sammer was a member of the management board responsible for the professional playing staff of the club.


title: Matthias Sammer

text: In his first season, Sammer orchestrated FC Bayern's turnaround to the first treble in club history by claiming the 2012–13 Bundesliga, the 2012–13 UEFA Champions League and the 2012–13 DFB-Pokal in record-setting fashion. His communicative abilities to never get satisfied, always stress some critical details, keep pressure high and not getting into delight even during the most superior periods were especially lauded to have contributed to the historic success. In the next years three consecutive Bundesliga championships and two cup wins followed.


title: Matthias Sammer

text: In spring 2016, he had a "minute circulatory disorder in the brain" and had to take a break from his work. During his recovery, he gained a new perspective on his work and family life and asked FC Bayern to release him from his position as sporting director which they granted. Afterwards Munich continued working without any sporting director for a year before they presented Hasan Salihamidžić as his replacement.


title: Matthias Sammer

text: Following this he effectively retired, initially working as a pundit for Eurosport for a while but ruling out to continue this in the future. In 2018, he started to work part-time as an adviser for Borussia Dortmund, meeting with the club for talks every two weeks, and is regularly seen sitting next to Dortmund's management during matches.


title: Matthias Sammer

text: Sammer is married and has three children, Sarah, Marvin, and Leon. He lives in Munich, Germany. He is the son of Klaus Sammer, a former player and manager of Dynamo Dresden.


title: Karanvir Bohra

text: Manoj Bohra (born 28 August 1982) known by his stage name Karanvir Bohra, is an Indian actor, producer and designer. He starred in the TV shows "Kasautii Zindagii Kay", "Dil Se Di Dua... Saubhagyavati Bhava?", "Shararat", "Naagin 2" and "Qubool Hai" and films "Kismat Konnection", "Mumbai 125 KM", "Love Yoou Soniye" and "Hume Tumse Pyaar Kitna". He participated in the reality shows "Nach Baliye 4", "Jhalak Dikhhla Jaa 6," "" and "Bigg Boss 12".


title: Karanvir Bohra

text: Bohra was born on 28 August 1982 in Jodhpur to a Pushkarana brahmin family. He is the son of filmmaker Mahendra Bohra (born 3 July 1946) and grandson of actor-producer Ramkumar Bohra. Producer Sunil Bohra is his first cousin. He has two sisters, Meenakshi and Shivangi. He attended G D Somani Memorial School, Cuffe Parade. As a child he was not academically inclined and he was not good at sports as well. He did his junior college from Elphinstone College, Mumbai in Science but he left science as he was unsuccessful in his twelfth grade. Later he took admission in Sydenham College, Churchgate and did his Bachelor of Commerce. Bohra received training in the "Kathak" dance style for two years with Pandit Veeru Krishnan.


title: Karanvir Bohra

text: In 2007, Bohra changed his name from Manoj to Karanvir. Earlier Bohra and his wife lived at Lokhandwala in Andheri, Mumbai, and in 2014, he shifted to Goregaon, a locality in the Mumbai Suburban district.


title: Karanvir Bohra

text: Bohra has been involved in cleanliness and meditation activities. In June 2016, Bohra and Sidhu announced that they were expecting their first child. On 19 October 2016, they became parents of twin girls, Raya Bella Bohra and Vienna Bohra.


title: Karanvir Bohra

text: On 28 August 2020, the couple announced that they were expecting their third child. On 16 December 2020, they became parents to a third daughter named Gia Vanessa Snow Bohra.


title: Karanvir Bohra

text: Bohra's first acting role was as a child artist in "Tejaa" (1990). Bohra made his television debut with the role of Kabir in DJ's a Creative Unit's "Just Mohabbat". Later he worked as an assistant to B. P. Singh working on the detective series "C.I.D" and later for "Achanak 37 Saal Baad". He had his first leading role with Ronnie Screwvala's "Shararat", a comedy fantasy show where he played Dhruv. Bohra also played minor parts in "Kyunki Saas Bhi Kabhi Bahu Thi" (2007) "Kkusum" (2008). In 2005, he joined the star cast of the show "Kasautii Zindagii Kay". He played the character of Prem Basu, a spoilt brat. later in mid 2007 he quit the show to pursue his Bollywood career. In 2008, Bohra hosted "Ek Se Badhkar Ek" with Tina Parekh. In the same year Bohra participated in dance reality shows like "Nach Baliye 4" with his wife Teejay Sidhu and in "Kabhi Kabhii Pyaar Kabhi Kabhii Yaar" with his wife Tejay Sidhu and Tina Parekh.


title: Karanvir Bohra

text: In 2008, Bohra did a cameo role in Aziz Mirza's film "Kismat Konnection" playing the character of Dev Kataria, a spoilt brat and businessman. Taran Adarsh of the entertainment portal Bollywood Hungama wrote of his performance, "Bohra acts well". In 2011, Bohra made his comeback to television with "Dil Se Di Dua... Saubhagyavati Bhava?" He played the role of Viraj Dobriyal, a psychotic lover who has mood swings and suffers from obsessive–compulsive disorder for cleanliness. The show ended on 18 January 2013. Alongside doing "Dil Se Di Dua... Saubhagyavati Bhava?", he contested in "Welcome – Baazi Mehmaan Nawazi Ki", a food reality show and in "Jhalak Dikhhla Jaa 6", a dance reality show.


title: Karanvir Bohra

text: In 2013 , Bohra did his debut in regional Punjabi film, "Love Yoou Soniye" with his wife Teejay Sidhu. Bohra and Sidhu themselves produced the film. In 2013, he did Telugu director Hemant Madhukar's "Mumbai 125 KM", alongside Veena Malik and Vedita Pratap Singh. The film grossed domestically. In June 2012, he launched his own line of clothing for men, Pegasus, in association with fashion designer Ammy Billmoria. In March 2014, Bohra with his wife Tejay Sidhu participated in "". In 2014, he replaced Abhay Deol in Balaji Telefilms documentary show "" as the host of the season 4. However, Bohra quit the show in May 2015, as the show was facing a financial crunch and the makers were asking him to reduce his monies.


title: Karanvir Bohra

text: In April 2014, Bohra entered Zee TV's "Qubool Hai" opposite Surbhi Jyoti. He played Aahil Raza Ibrahim, who is snobbish, unpredictable, volatile, rebel biker with a dry sense of humor. In March 2015, he decided to leave the show citing that taking his character further would just be stretching it. Although, later he decided to return to the show. Later Bohra quit the show in July 2015 as the production house of the show planned a 20 years leap. The show "Qubool Hai" ended in January 2016.


title: Karanvir Bohra

text: In October 2016, he joined the cast of "Naagin 2" as Rocky Pratap Singh, opposite Mouni Roy and Adaa Khan. The show received high TRPs and ended in June 2017. He also hosted the reality television show "India's Best Judwaah" on Zee TV the same year.


title: Karanvir Bohra

text: Bohra was a celebrity contestant in the Bigg Boss 12 the Indian version of the reality TV show "Big Brother". He entered the house on 16 September 2018 and got eliminated from 5th place on 30 December.


title: Karanvir Bohra

text: In July 2019, Bohra starred alongside Priya Banerjee and Samir Kochhar in a romantic thriller film "Hume Tumse Pyaar Kitna" produced by his father Mahendra Bohra. Upon its release the film received mixed reviews from critics with praise towards Bohra's performance.


title: Karanvir Bohra

text: In January 2020, Bohra announced that he is set to make his digital debut with Zee5's thriller web series "The Casino". The show was released during the COVID-19 lockdown in India. He played the role of Vikramaditya Marwah aka Vicky who is the heir to his father's multi-billionaire business but falls into the trap of his father's mistress. Bohra also served as one of the co-producers on the show. Upon its release, the show generally received negative reviews from critics and mixed responses from audience. Later the same year he appeared in another Zee5 web series "Bhanwar" alongside his wife Teejay Sidhu and "Hume Tumse Pyaar Kitna" co-star Priya Banerjee. He also made his directorial debut through this show. The show was based on time travel and was much better received than his previous show.


title: Karanvir Bohra

text: In February 2022, he entered the web reality show "Lock Upp" as a contestant. During the show he made some shocking revelations regarding his personal and professional life. He was eliminated from the show on Day 52.


title: Menu

text: In a restaurant, the menu is a list of food and beverages offered to customers and the prices. A menu may be à la carte – which presents a list of options from which customers choose – or table d'hôte, in which case a pre-established sequence of courses is offered. Menus may be printed on paper sheets provided to the diners, put on a large poster or display board inside the establishment, displayed outside the restaurant, or put on a digital screen. Since the late 1990s, some restaurants have put their menus online.


title: Menu

text: Menus are also often a feature of very formal meals other than in restaurants, for example at weddings. In the 19th and 20th centuries printed menus were often used for society dinner-parties in homes; indeed this was their original use in Europe.


title: Menu

text: Menus, as lists of prepared foods, have been discovered dating back to the Song dynasty in China. In the larger cities of the time, merchants found a way to cater to busy customers who had little time or energy to prepare an evening meal. The variation in Chinese cuisine from different regions led caterers to create a list or menu for their patrons.


title: Menu

text: The word "menu", like much of the terminology of cuisine, is French in origin. It ultimately derives from Latin "minutus", something made small; in French, it came to be applied to a detailed list or "résumé" of any kind. The original menus that offered consumers choices were prepared on a small chalkboard, in French a "carte"; so foods chosen from a bill of fare are described as "à la carte", "according to the board."


title: Menu

text: The earliest European menus, several of which survive from 1751 onwards, appear to have been for the relatively intimate and informal "soupers intimes" ("intimate suppers") given by King Louis XV of France at the Château de Choisy for between 31 and 36 guests. Several seem to have been placed on the table, listing four courses, each with several dishes, plus dessert.


title: Menu

text: During the second half of the 18th century, and especially after the French Revolution in 1789, they spread to restaurants. Before then, eating establishments or "tables d'hôte" served dishes chosen by the chef or proprietors. Customers ate what the house was serving that day, as in contemporary banquets or buffets, and meals were served from a common table. The establishment of restaurants and restaurant menus allowed customers to choose from a list of unseen dishes, which were produced to order according to the customer's selection. A "table d'hôte" establishment charged its customers a fixed price; the menu allowed customers to spend as much or as little money as they chose.


title: Menu

text: Menus for private functions, pre-paid meals and the like do not have prices. In normal restaurants, there are two types of menus without prices that were mostly used until the 1970s and 1980s: the "blind menu" and the "women's menu". These menus contained all of the same items as the regular menu, except that the prices were not listed. The "blind menu" was distributed to guests at business meals where the hosts did not want the diners to see the prices, or to any type of dinner where the host felt that having the prices not listed would make the guests feel more comfortable ordering.


title: Menu

text: Until the early 1980s, some high-end restaurants had two menus divided by gender: a regular menu with the prices listed for men and a second menu for women, which did not have the prices listed (it was called the "ladies' menu"), so that the female diner would not know the prices of the items. In 1980, Kathleen Bick took a male business partner out to dinner at L'Orangerie in West Hollywood; after Bick got a women's menu without prices and her guest got the menu with prices, Bick hired lawyer Gloria Allred to file a discrimination lawsuit, on the grounds that the women's menu went against the California Civil Rights Act. Bick stated that getting a women's menu without prices left her feeling "humiliated and incensed". The owners of the restaurant defended the practice, saying it was done as a courtesy, like the way men would stand up when a woman enters the room. Even though the lawsuit was dropped, the restaurant ended its gender-based menu policy. While price-less menus for women generally disappeared after the 1980s, in 2010, Tracey MacLeod reported that Le Gavroche in London (UK) still had a price-less women's menu for women who eat at tables booked by men, with tables booked by women getting a regular menu for the woman.


title: Menu

text: As early as the mid-20th century, some restaurants have relied on “menu specialists” to design and print their menus. Prior to the emergence of digital printing, these niche printing companies printed full-color menus on offset presses. The economics of full-color offset made it impractical to print short press runs. The solution was to print a “menu shell” with everything but the prices. The prices would later be printed on a less costly black-only press. In a typical order, the printer might produce 600 menu shells, then finish and laminate 150 menus with prices. When the restaurant needed to reorder, the printer would add prices and laminate some of the remaining shells.


title: Menu

text: With the advent of digital presses, it became practical in the 1990s to print full-color menus affordably in short press runs, sometimes as few as 25 menus. Because of limits on sheet size, larger laminated menus were impractical for single-location independent restaurants to produce press runs of as few as 300 menus, but some restaurants may want to place far fewer menus into service. Some menu printers continue to use shells. The disadvantage for the restaurant is that it is unable to update anything but prices without creating a new shell.


title: Menu

text: During the economic crisis in the 1970s, many restaurants found it costly to reprint the menu as inflation caused prices to increase. Economists noted this, and it has become part of economic theory, under the term "menu costs". In general, such "menu costs" may be incurred by a range of businesses, not just restaurants; for example, during a period of inflation, any company that prints catalogs or product price lists will have to reprint these items with new price figures.


title: Menu

text: To avoid having to reprint the menus throughout the year as prices changed, some restaurants began to display their menus on chalkboards, with the menu items and prices written in chalk. This way, the restaurant could easily modify the prices without going to the expense of reprinting the paper menus. A similar tactic continued to be used in the 2000s with certain items that are sensitive to changing supply, fuel costs, and so on: the use of the term "market price" or "Please ask the server" instead of stating the price. This allows restaurants to modify the price of lobster, fresh fish and other foods subject to rapid changes in cost.


title: Menu

text: The latest trend in menus is to display them on handheld tablets; customers can browse through these and look at the photographs of the dishes.


title: Menu

text: The main categories within a typical menu in the US are appetizers, "side orders and à la carte", entrées, desserts and beverages. Sides and à la carte may include such items as soups, salads, and dips. There may be special age-restricted sections for "seniors" or for children, presenting smaller portions at lower prices. Any of these sections may be pulled out as a separate menu, such as desserts and/or beverages, or a wine list. A children's menu may also be presented as a placemat with games and puzzles, to help keep children entertained.


title: Menu

text: Menus can provide other useful information to diners. Some menus describe the chef's or proprietor's food philosophy, the chef's résumé (British: CV), or the mission statement of the restaurant. Menus often present a restaurant's policies about ID checks for alcohol, lost items, or gratuities for larger parties. In the United States, county health departments frequently require restaurants to include health warnings about raw or undercooked meat, poultry, eggs, and seafood.


title: Menu

text: As a form of advertising, the prose found on printed menus is famous for the degree of its puffery. Menus frequently emphasize the processes used to prepare foods, call attention to exotic ingredients, and add French or other foreign language expressions to make the dishes appear sophisticated and exotic. "Menu language, with its hyphens, quotation marks, and random outbursts of foreign words, serves less to describe food than to manage your expectations"; restaurants are often "plopping in foreign words (80 percent of them French) like "spring mushroom civet," "pain of rabbit," "orange-jaggery gastrique."


title: Menu

text: Part of the function of menu prose is to impress customers with the notion that the dishes served at the restaurant require such skill, equipment, and exotic ingredients that the diners could not prepare similar foods at home. In some cases, ordinary foods are made to sound more exciting by replacing everyday terms with their French equivalents. For example, instead of stating that a pork chop has a dollop of apple sauce, a high-end restaurant menu might say "Tenderloin of pork "avec compote de Pommes"." Although ""avec compote de Pommes"" translates directly as "with apple sauce", it sounds more exotic—and more worthy of an inflated price tag. Menus may use the culinary terms "concassé" to describe coarsely chopped vegetables, "coulis" to describe a purée of vegetables or fruit, or "au jus", to describe meat served with its own natural gravy of pan drippings.


title: Menu

text: Menus vary in length and detail depending on the type of restaurant. The simplest hand-held menus are printed on a single sheet of paper, though menus with multiple pages or "views" are common. In some cafeteria-style restaurants and chain restaurants, a single-page menu may double as a disposable placemat. To protect a menu from spills and wear, it may be protected by heat-sealed vinyl page protectors, lamination or menu covers. Restaurants consider their positioning in the marketplace (e.g. fine dining, fast food, informal) in deciding which style of menu to use.


title: Menu

text: Some restaurants use a single menu as the sole source of information about the food for customers, but in other cases, the main menu is supplemented by ancillary menus, such as:


title: Menu

text: Some restaurants use only text in their menus. In other cases, restaurants include illustrations and photos, either of the dishes or of an element of the culture which is associated with the restaurant. For instance a Lebanese kebab restaurant might decorate its menu with photos of Lebanese mountains and beaches. Particularly with the ancillary menu types, the menu may be provided in alternative formats, because these menus (other than wine lists) tend to be much shorter than food menus. For example, an appetizer menu or a dessert menu may be displayed on a folded paper table tent, a hard plastic table stand, a flipchart style wooden "table stand", or even, in the case of a pizza restaurant with a limited wine selection, a wine list glued to an empty bottle.


title: Menu

text: Take-out restaurants often leave paper menus in the lobbies and doorsteps of nearby homes as advertisements. The first to do so may have been New York City's Empire Szechuan chain, founded in 1976. The chain and other restaurants' aggressive menu distribution in the Upper West Side of Manhattan caused the "Menu Wars" of the 1990s, including invasions of Empire Szechuan by the "Menu Vigilantes", the revoking of its cafe license, several lawsuits, and physical attacks on menu distributors.


title: Menu

text: Some restaurants – typically fast-food restaurants and cafeteria-style establishments – provide their menu in a large poster or display board format up high on the wall or above the service counter. This way, all of the patrons can see all of the choices, and the restaurant does not have to provide printed menus. This large format menu may also be set up outside (see the next section). The simplest large format menu boards have the menu printed or painted on a large flat board. More expensive large format menu boards include boards that have a metal housing, a translucent surface, and a backlight (which facilitates the reading of the menu in low light) and boards that have removable numbers for the prices. This enables the restaurant to change prices without having to have the board reprinted or repainted.


title: Menu

text: Some restaurants such as cafes and small eateries use a large chalkboard to display the entire menu. The advantage of using a chalkboard is that the menu items and prices can be changed; the downside is that the chalk may be hard to read in lower light or glare, and the restaurant has to have a staff member who has attractive, clear handwriting.


title: Menu

text: A high-tech successor to the chalkboard menu is the 'write-on wipe-off" illuminated sign, using LED technology. The text appears in a vibrant color against a black background.


title: Menu

text: Some restaurants provide a copy of their menu outside the restaurant. Fast-food restaurants that have a drive-through or walk-up window will often put the entire menu on a board, lit-up sign, or poster outside so that patrons can select their meal choices. High-end restaurants may also provide a copy of their menu outside the restaurant, with the pages of the menu placed in a lit-up glass display case; this way, prospective patrons can see if the menu choices are to their liking. Also, some mid-level and high-end restaurants may provide a partial indication of their menu listings–the "specials"–on a chalkboard displayed outside the restaurant. The chalkboard will typically provide a list of seasonal items or dishes that are the specialty of the chef which is only available for a few days.


title: Menu

text: With the invention of LCD and Plasma displays, some menus have moved from a static printed model to one which can change dynamically. By using a flat LCD screen and a computer server, menus can be digitally displayed allowing moving images, animated effects and the ability to edit details and prices.


title: Menu

text: For fast food restaurants, a benefit is the ability to update prices and menu items as frequently as needed, across an entire chain. Digital menu boards also allow restaurant owners to control the day parting of their menus, converting from a breakfast menu in the late morning. Some platforms support the ability allow local operators to control their own pricing while the design aesthetic is controlled by the corporate entity.


title: Menu

text: Various software tools and hardware developments have been created for the specific purpose of managing a digital menu board system. Digital menu screens can also alternate between displaying the full menu and showing video commercials to promote specific dishes or menu items.


title: Menu

text: Websites featuring online restaurant menus have been on the Internet for nearly a decade. In recent years, however, more and more restaurants outside of large metropolitan areas have been able to feature their menus online as a result of this trend.


title: Menu

text: Several restaurant-owned and startup online food ordering websites already included menus on their websites, yet due to the limitations of which restaurants could handle online orders, many restaurants were left invisible to the Internet aside from an address listing. Multiple companies came up with the idea of posting menus online simultaneously, and it is difficult to ascertain who was first. Menus and online food ordering have been available online since at least 1997. Since 1997, hundreds of online restaurant menu web sites have appeared on the Internet. Some sites are city-specific, some list by region, state or province.


title: Menu

text: The idea of digital menu is very new and differs from online menu. An online menu is a website presenting a food menu on an e-commerce platform but it doesn’t have much control in the back-end except receiving the order whereas a digital menu is a fully integrated food menu in back-end and the front-end is presented online as a web application. A digital menu could generate variety of reports and is deeply interconnected in the POS system. It is also integrated with inventory and accounting software . A new technology used in digital menu for foodservice industry is QOMAC. It is based on .net core technology and defines protocols on how a digital menu works in the back-end.


title: Menu

text: Another phenomenon is the so-called "secret menu" where some fast food restaurants are known for having unofficial and unadvertised selections that customers learn by word of mouth, or by looking them up online. Fast food restaurants will often prepare variations on items already available, but to have them all on the menu would create clutter. Chipotle Mexican Grill is well known for having a simple five-item menu, but they also offer quesadillas and single tacos, despite neither being on the menu board.


title: Menu

text: In-N-Out Burger has a very simple menu of burgers, fries, sodas, and shakes, but has a wide variety of "secret" styles of preparations, the most famous being "Animal Style" burgers and fries. This can also occur in high-end restaurants, which may be willing to prepare certain items which are not listed on the menu (e.g., dishes that have long been favorites of regular clientele). Sometimes restaurants may name foods often ordered by regular clientele after them, for either convenience or prestige. At some fast food restaurants 'secret menu' items exist which were once part of the regular menu but are no longer advertised, such as the chili cheese burrito at Taco Bell. These items may still be rung up as a regular menu item, and are assembled from ingredients that are still in use in other menu items.


title: Degrassi: Next Class

text: Degrassi: Next Class is a Canadian teen drama television series and the fifth series in the "Degrassi" franchise created by Linda Schuyler and Kit Hood in 1979. A direct sequel to "," it premiered on Family's new teen programming block "F2N" in Canada on January 4, 2016.and on Netflix internationally on January 25, 2016.


title: Degrassi: Next Class

text: The series follows most of the same characters that had debuted in the final seasons of the previous series, as well as introducing new characters. Originally intended as a new season of "Degrassi: The Next Generation", it was later retooled to be a reboot that would appeal to the emerging Generation Z. Like its predecessor, the series was filmed at the Epitome Pictures studios in Toronto, Ontario.


title: Degrassi: Next Class

text: The fourth season, released to Netflix in July 2017, was the last; in March 2019, show producer and frequent director Stefan Brogren alluded to the show's cancellation in a tweet.


title: Degrassi: Next Class

text: "Degrassi: Next Class" was originally intended to be the fifteenth season of "". In an interview with Vice, Linda Schuyler, one of the co-creators of the "Degrassi" franchise and a co-founder of Epitome Pictures, stated: "We realized that the kids we're talking to today are a new generation from the kids we talked to in 2001 when we came out with "Degrassi: The Next Generation". Then, we were very much talking to millennials. There's a new generation, Generation Z, who weren't even born when we started that show. That was a very sobering fact...We've done a lot of research into Generation Z and decided we need a reboot."


title: Degrassi: Next Class

text: When "Degrassi: The Next Generation" ended its run on TeenNick in the United States, the producers sought out other means to distribute the Next Class series and later made a deal with Netflix.


title: Degrassi: Next Class

text: The series was created and executive produced by Linda Schuyler, Stephen Stohn, Sarah Glinski, and Matt Huether and produced by DHX Studios Toronto (a subsidiary of DHX Media). Epitome Pictures, DHX Media, and Netflix jointly produced the series with funding from the Shaw Rocket Fund, Royal Bank of Canada and the Cogeco Program Development Fund.


title: Degrassi: Next Class

text: Continuing with "Next Class", Sarah Glinski and Matt Huether served as head story editors for the show. Other writers included Courtney Jane Walker, Alejandro Alcoba, Cole Bastedo. Jennifer Kassabian and Ian MacIntyre. Other directors for the series included cast member and producer Stefan Brogren, Eleanor Lindo, Phil Earnshaw, and Rt!.


title: Degrassi: Next Class

text: Each episode of "Degrassi: Next Class" is written following the same formula with three storylines (Plot A, Plot B and Plot C). The problems and issues presented in the episode are not always resolved by the end of the episode, and are carried over throughout the season, creating a mini-arc. With ""Next Class"", some episodes have the plots follow a common theme. This concept originated in "Degrassi Junior High" and "Degrassi High". Episode titles feature a "#" in the front of each episode title and occasionally refer to social media trends of the time.


title: Degrassi: Next Class

text: The opening sequence of "Next Class" adopted a 30-second format, in contrast to the heavily abridged sequence in the later seasons of "The Next Generation." Stephen Stohn explained to "TV Insider" that while they wouldn't be necessarily returning to the "little vignettes of the characters" from earlier seasons, the new opening sequence would be "very reflective of Generation Z and how tuned-in they are to technology." The opening comes after a two-to three-minute cold open but does not follow the characters around the school. Instead, a montage of videos and pictures from the characters social media accounts cycle across the screen. Like the final two seasons of "Degrassi", instead of listing every ensemble actor in the opening, episodes only credit the regular actors appearing in that episode.


title: Degrassi: Next Class

text: The opening sequence features a "more amped up, more electronic" update of "Whatever It Takes", the theme music written for "Degrassi: The Next Generation," this time produced by Rob Wells and Shobha, with the latter on vocals.


title: Degrassi: Next Class

text: "Degrassi: Next Class" was filmed at Epitome Pictures' then-four soundstages and backlot located at the company's production studios in Toronto, the same studio where "Degrassi: The Next Generation" was filmed. The facade of Degrassi Community School was the exterior of Studio C, and used the same colours and glass pattern as Centennial College, which was used to depict the school during "Degrassi High".


title: Degrassi: Next Class

text: The area in front of this facade featured a "hoarding area" where students would gather, a street, and a bus stop across the road. The studio's backlot was used for exterior shots of the characters' houses, which was one unit dressed differently for each house, and The Dot Grill. The building for The Dot was the only one on the backlot large enough to allow filming inside; scenes taking places inside the school and house interiors were filmed on one of four sound stages.


title: Degrassi: Next Class

text: Studio A contained sets for the school's hallways, washrooms, cafeteria and classrooms. The hallways were stenciled with phrases such as "the perfect human being is all human", which were found at the Etobicoke School for the Arts, one of the many schools that set designers used during their original research. The washroom set was used for the girls' and boys' room; urinals were installed and removed as needed." It was also used as the studio's cafeteria where the cast and crew eat.


title: Degrassi: Next Class

text: In addition to being used as the exterior of the school, Studio C held sets for the school's entrance foyer, the gymnasium, the media lab and a hallway with lockers. As the franchise progressed and the budget increased, a stairway and balcony was installed in the foyer in an attempt to get characters off the floor and not all appear in the same geometric plane. For the first few seasons of "The Next Generation", the gym floor was made of real wooden floorboards; due to warping, it was replaced by concrete painted to look like wood.


title: Degrassi: Next Class

text: Studio B contained the sets for the characters' houses. The fourth studio, Studio D, housed all the production offices, dressing rooms, and make-up and hair departments.


title: Degrassi: Next Class

text: For the new series, "Next Class", the interior of the school set saw a major facelift. New doors were added for all classrooms, room numbers were placed on doors, classrooms were remodeled to be more modern which included new "smart-boards" and high-definition television sets (also placed throughout the hallways, cafeteria and gym), and the lockers were repainted for a more "retro" look. Several new sets were also added which include: a new student lounge room, an area called the "conversation pit", a remodeled classroom for Digital arts, and a restaurant called "Lola's Cantina".


title: Degrassi: Next Class

text: In March 2019, Stefan Brogren alluded to the show's cancellation in a tweet. Sara Waisglass, who played Frankie Hollingsworth, recalled to the "Toronto Star" in 2022 that she was disappointed at the cancellation and revealed: "They never told us anything. We had our contracts and the way it worked was they had to tell you by a certain date if we were picked up or not. We just never heard from them again." It was announced on January 14th, 2022 that HBO Max had acquired the rights for Degrassi, but kept Next class on Netflix as it was their property. On November 4th, 2022 after months of silence, it was reported that HBO Max had scrapped their Degrassi project as part of a mass of cancellations following the Warner Bros.-Discovery merger in April.


title: Degrassi: Next Class

text: Like its predecessors, the series follows an ensemble cast of students at Degrassi Community School, most of whom face different challenges once seen as taboo such as discrimination, sex, teen pregnancy, bullying, date rape, drug abuse, mental health, self-image, sexuality, self-injury, suicide, abortion, domestic violence, death, racism and many other issues.


title: Degrassi: Next Class

text: Starting with season 1 of "Next Class", none of the characters who debuted during the changes happening in seasons eight and nine of "The Next Generation" remain. The first and second seasons featured 19 regular roles, with 14 cast members returning from season 14 of "" and 5 new regulars: Amir Bageria (Baaz Nahir), Soma Bhatia (Goldi Nahir), Jamie Bloch (Yael Baron), Chelsea Clark (Esme Song), and Dante Scott (Vijay Maraj). Keeping ties to the early seasons of the previous incarnation and the franchise as a whole, Stefan Brogren's character Archie Simpson remains the Principal of Degrassi Community School. Seasons three and four added two regulars to the cast, as casting calls were made public through Larissa Mair Casting.


title: Degrassi: Next Class

text: On October 21, 2016, it was confirmed that the cast members in a photo executive producer Stephen Stohn posted were the ones leaving the cast at the end of season four. This includes: Eric Osborne (Miles Hollingsworth III), Ricardo Hoyos (Zig Novak), André Dae Kim (Winston Chu), Ehren Kassam (Jonah Haak), Ana Golja (Zoe Rivas), Lyle Lettau (Tristan Milligan), Nikki Gould (Grace Cardinal), Olivia Scriven (Maya Matlin), Richard Walters (Tiny Bell) and Bhatia.


title: Degrassi: Next Class

text: Several recurring cast members from the previous incarnation continued their roles in "Degrassi: Next Class", a majority being the parents and teachers of the students at "Degrassi Community School". David Sutcliffe of "Gilmore Girls" fame appeared in a season one episode as himself. In season two, several original "Degrassi: The Next Generation" cast members made guest appearances for the 500th episode of the Degrassi franchise. These cast members include Adamo Ruggiero as Marco Del Rossi, Miriam McDonald as Emma Nelson, Lauren Collins as Paige Michalchuk, Shane Kippel as Gavin "Spinner" Mason, and Sarah Barrable-Tishauer as Liberty Van Zandt. Jamie Johnston, who portrayed Peter Stone in through ten of "", also made his return for the second season, appearing in several episodes. Other previous cast members that appeared include Raymond Ablack as Sav Bhandari, Charlotte Arnold as Holly J. Sinclair, Jake Epstein as Craig Manning, and Jacob Neayem as Mo Mashkour. In season 3 and 4, Chloe Rose reprised her role for three episodes as Katie Matlin. Epstein also made a return guest appearance in season 4.


title: Degrassi: Next Class

text: In Canada, the series premiered on January 4, 2016, on Family's new teen programing block, F2N. In the United States (and internationally), first-run episodes began streaming internationally on Netflix on January 15, 2016 (excluding Canada, Australia and France). Episodes will be available on Netflix in Canada, Australia and France following the conclusion of the first season. Season two premiered on the Family Channel on July 19, 2016 and on Netflix on July 22, 2016.


title: Degrassi: Next Class

text: In Australia, the series premiered on ABC3 on May 16, 2016. The second season immediately followed the first season on ABC3 in Australia on May 30. On January 6, 2017, Netflix added seasons 1–3 to the Australian catalogue. Season 3 began streaming online on Netflix before its debut on ABC3, starting April 22, 2017.


title: Degrassi: Next Class

text: In South Africa, the series premiered on SABC 1 (South African Broadcasting Corporation), on 6 April 2020, airing 15:00 Monday to Thursday.


title: The Keepers

text: The Keepers is a seven-episode American documentary web series that explores the unsolved murder of nun Catherine Cesnik in 1969. Cesnik taught English and drama at Baltimore's all-girls Archbishop Keough High School, and her former students believe that there was a cover-up by authorities after she suspected that a priest at the high school, A. Joseph Maskell, was guilty of sexually abusing students. The series was directed by Ryan White and released on Netflix in 2017.


title: The Keepers

text: "The Keepers" was met with critical acclaim upon its release. The review aggregator Rotten Tomatoes gives the series an approval rating of 97% based on 30 reviews, with an average rating of 8.47/10. The site's critical consensus reads, ""The Keepers" draws on riveting, real-life terror to expose long-buried secrets—and tells an inspiring, brilliantly assembled story along the way." Pilot Viruet of "Vice" wrote of the series, "It's harrowing and upsetting, and it will haunt you for a long time, which is part of what makes it necessary viewing."


title: The Keepers

text: In "Time" magazine, Daniel D'Addario compared "The Keepers" with another Netflix true-crime series, "Making a Murderer", stating that "The Keepers" does not lead its viewers to a definite conclusion about what happened. "While Sister Cathy Cesnik's death remains a mystery, its aftereffects include both crushing heartbreak and, for the amateur sleuths who seek to crack her case, a sense of making a difference... This isn't just more respectful to the victim than other true-crime stories, with their breathless delight at new clues. It's also more effective." According to Jack Seale in "The Guardian", "Where other true crime hits have followed a linear chronology, "The Keepers" hops between 1969, the 1990s and today, striking a fine balance between narrative structure – a wow moment at the end of every episode – and respect for a subject that doesn’t need or deserve sensationalism."


title: The Keepers

text: The Archdiocese of Baltimore declined when asked by Netflix producers to comment on sexual misconduct allegations within the church. Later, the Archdiocese responded to the series by adding a FAQ page to its website, in which it stated allegations that the archdiocese knew of Maskell's sexual abuse prior to 1992 were false speculation.


title: Jeeves

text: Jeeves (born Reginald Jeeves, nicknamed Reggie) is a fictional character in a series of comedic short stories and novels by English author P. G. Wodehouse. Jeeves is the highly competent valet of a wealthy and idle young Londoner named Bertie Wooster. First appearing in print in 1915, Jeeves continued to feature in Wodehouse's work until his last completed novel "Aunts Aren't Gentlemen" in 1974, a span of 60 years.


title: Jeeves

text: Both the name "Jeeves" and the character of Jeeves have come to be thought of as the quintessential name and nature of a manservant, inspiring many similar characters as well as the name of an Internet search engine, Ask Jeeves, and a financial-technology company. A "Jeeves" is now a generic term as validated by its entry in the "Oxford English Dictionary".


title: Jeeves

text: Jeeves is a valet, not a butler; that is, he is responsible for serving an individual, whereas a butler is responsible for a household and manages other servants. On rare occasions he does fill in for someone else's butler. According to Bertie Wooster, he "can buttle with the best of them".


title: Jeeves

text: A valet called Jevons appears in Wodehouse's 1914 short story "Creatures of Impulse", and may have been an early prototype for Jeeves. Like Jeeves, Jevons is described as the perfect valet. "Creatures of Impulse" appeared in "The Strand Magazine", and was not republished in any collection, though some parts went into the making of "The Crime Wave at Blandings".


title: Jeeves

text: In his 1953 semi-autobiographical book written with Guy Bolton, "Bring on the Girls!", Wodehouse suggested that the Jeeves character was inspired by an actual butler named Eugene Robinson whom Wodehouse employed for research purposes. Wodehouse described Robinson as a "walking "Encyclopaedia Britannica"". However, Robinson worked at Wodehouse's house in Norfolk Street where Wodehouse did not live until 1927, long after Jeeves had been created.


title: Jeeves

text: Wodehouse named his Jeeves after Percy Jeeves (1888–1916), a popular English cricketer for Warwickshire. Wodehouse witnessed Percy Jeeves bowling at Cheltenham Cricket Festival in 1913. Percy Jeeves was killed at the Battle of the Somme in July 1916, less than a year after the first appearance of the Wodehouse character who would make his name a household word.


title: Jeeves

text: In a letter written in 1965, Wodehouse wrote that he had read Harry Leon Wilson's "Ruggles of Red Gap" when it was first published as a magazine serial in 1914 and it influenced the creation of Jeeves. "Ruggles of Red Gap" is a comedic novel about an English valet who is won by an American from an English earl in a poker game. In the letter, Wodehouse wrote, "I felt that an English valet would never have been so docile about being handed over to an American in payment of a poker debt. I thought he had missed the chap's dignity. I think it was then that the idea of Jeeves came into my mind."


title: Jeeves

text: The development of Jeeves and Bertie was influenced by Arthur Conan Doyle's Sherlock Holmes stories, according to Richard Usborne; Sherlock Holmes and Jeeves are "the great brains" while Dr. Watson and Bertie are "the awed companion-narrators, bungling things if they try to solve the problems themselves". Jeeves and Bertie have been described as comic versions of Holmes and Watson. Wodehouse directly compares Jeeves and Bertie to Holmes and Watson in some of the Jeeves stories, such as in "Aunts Aren't Gentlemen".


title: Jeeves

text: Wodehouse disclosed little about Jeeves's early life. According to the character, he was privately educated, and his mother thought him intelligent.


title: Jeeves

text: Jeeves has an uncle, Charlie Silversmith, who is butler at Deverill Hall. Silversmith dandled Jeeves on his knee frequently when Jeeves was very young and, when Jeeves is an adult, they write regularly to each other. Charlie Silversmith's daughter Queenie Silversmith is Jeeves's cousin. Jeeves also mentions his late uncle Cyril in "Right Ho, Jeeves". His niece Mabel is engaged to Bertie Wooster's friend Charles "Biffy" Biffen. His cousin Egbert is a constable and plays a role in the short story "Without the Option".


title: Jeeves

text: Jeeves has three placid aunts, in contrast to Bertie Wooster's aunts. Aunt Emily is interested in psychical research, and another aunt, Mrs. Pigott, owns a cat in Maiden Eggesford; this cat plays a major role in "Aunts Aren't Gentlemen". Jeeves occasionally references an aunt without naming her, including an aunt who read Oliver Wendell Holmes to him when he was young. In "Right Ho, Jeeves", he references his Aunt Annie, though she was widely disliked.


title: Jeeves

text: In his youth, Jeeves worked as a page boy at a girls' school. He apparently served in the military to some extent in World War I. In the play "Come On, Jeeves", Jeeves states that he was a batman.


title: Jeeves

text: Shortly before entering Bertie's service, Jeeves was employed by Lord Frederick Ranelagh, who was swindled in Monte Carlo. Jeeves previously worked for Lord Worplesdon, resigning after nearly a year because of Worplesdon's eccentric choice of evening dress. Jeeves later helps Lord Worplesdon in "Joy in the Morning". Other former employers include Mr Digby Thistleton (later Lord Bridgnorth), who sold hair tonic; Mr Montague-Todd, a financier who is in the second year of a prison term when Jeeves mentions him; and Lord Brancaster, who gave port-soaked seedcake to his pet parrot.


title: Jeeves

text: Jeeves becomes Bertie Wooster's valet. However, his tenure with Bertie Wooster has occasional lapses during the stories; at these times, Jeeves finds work elsewhere. Jeeves works for Lord Chuffnell for a week in "Thank You, Jeeves", after giving notice because of Bertie Wooster's unwillingness to give up the banjolele, and is briefly employed by J. Washburn Stoker in the same novel. In "Stiff Upper Lip, Jeeves", he serves as substitute butler for Bertie's Aunt Dahlia, and later enters Sir Watkyn Bassett's employment for a short time as part of a scheme to help Bertie. Jeeves is Lord Rowcester's butler for the length of "Ring for Jeeves".