title: Internet Relay Chat

text: Client software exists for various operating systems or software packages, as well as web-based or inside games. Many different clients are available for the various operating systems, including Windows, Unix and Linux, macOS and mobile operating systems (such as iOS and Android). On Windows, mIRC is one of the most popular clients.


title: Internet Relay Chat

text: Some programs which are extensible through plug-ins also serve as platforms for IRC clients. For instance, a client called ERC, written entirely in Emacs Lisp, is included in v.22.3 of Emacs. Therefore, any platform that can run Emacs can run ERC.


title: Internet Relay Chat

text: A number of web browsers have built-in IRC clients, such as Opera (version 12.18 and earlier) and the ChatZilla add-on for Mozilla Firefox (for Firefox 56 and earlier; included as a built-in component of SeaMonkey). Web-based clients, such as Mibbit and open source KiwiIRC, can run in most browsers.


title: Internet Relay Chat

text: Games such as "War§ow", "Unreal Tournament" (up to Unreal Tournament 2004), "Uplink", "Spring Engine"-based games, 0 A.D. and "ZDaemon" have included IRC.


title: Internet Relay Chat

text: A typical use of bots in IRC is to provide IRC services or specific functionality within a channel such as to host a chat-based game or provide notifications of external events. However, some IRC bots are used to launch malicious attacks such as denial of service, spamming, or exploitation.


title: Internet Relay Chat

text: A program that runs as a daemon on a server and functions as a persistent proxy is known as a BNC or bouncer. The purpose is to maintain a connection to an IRC server, acting as a relay between the server and client, or simply to act as a proxy. Should the client lose network connectivity, the BNC may stay connected and archive all traffic for later delivery, allowing the user to resume their IRC session without disrupting their connection to the server.


title: Internet Relay Chat

text: Furthermore, as a way of obtaining a bouncer-like effect, an IRC client (typically text-based, for example Irssi) may be run on an always-on server to which the user connects via ssh. This also allows devices that only have ssh functionality, but no actual IRC client installed themselves, to connect to the IRC, and it allows sharing of IRC sessions.


title: Internet Relay Chat

text: To keep the IRC client from quitting when the ssh connection closes, the client can be run inside a terminal multiplexer such as GNU Screen or tmux, thus staying connected to the IRC network(s) constantly and able to log conversation in channels that the user is interested in, or to maintain a channel's presence on the network. Modelled after this setup, in 2004 an IRC client following the client–server, called Smuxi, was launched.


title: Internet Relay Chat

text: There are numerous search engines available to aid the user in finding what they are looking for on IRC. Generally the search engine consists of two parts, a "back-end" (or "spider/crawler") and a front-end "search engine".


title: Internet Relay Chat

text: The back-end (spider/webcrawler) is the work horse of the search engine. It is responsible for crawling IRC servers to index the information being sent across them. The information that is indexed usually consists solely of channel text (text that is publicly displayed in public channels). The storage method is usually some sort of relational database, like MySQL or Oracle.


title: Internet Relay Chat

text: The front-end "search engine" is the user interface to the database. It supplies users with a way to search the database of indexed information to retrieve the data they are looking for. These front-end search engines can also be coded in numerous programming languages.


title: Internet Relay Chat

text: Most search engines have their own spider that is a single application responsible for crawling IRC and indexing data itself; however, others are "user based" indexers. The latter rely on users to install their "add-on" to their IRC client; the add-on is what sends the database the channel information of whatever channels the user happens to be on.


title: Internet Relay Chat

text: Many users have implemented their own ad hoc search engines using the logging features built into many IRC clients. These search engines are usually implemented as bots and dedicated to a particular channel or group of associated channels.


title: Internet Relay Chat

text: IRC still lacks a single globally accepted standard convention for how to transmit characters outside the 7-bit ASCII repertoire.


title: Internet Relay Chat

text: IRC servers normally transfer messages from a client to another client just as byte sequences, without any interpretation or recoding of characters. The IRC protocol (unlike e.g. MIME or HTTP) lacks mechanisms for announcing and negotiating character encoding options. This has put the responsibility for choosing the appropriate character codec on the client. In practice, IRC channels have largely used the same character encodings that were also used by operating systems (in particular Unix derivatives) in the respective language communities:


title: Internet Relay Chat

text: Today, the UTF-8 encoding of Unicode/ISO 10646 would be the most likely contender for a single future standard character encoding for all IRC communication, if such standard ever relaxed the 510-byte message size restriction. UTF-8 is ASCII compatible and covers the superset of all other commonly used coded character set standards.


title: Internet Relay Chat

text: Much like conventional P2P file sharing, users can create file servers that allow them to share files with each other by using customised IRC bots or scripts for their IRC client. Often users will group together to distribute warez via a network of IRC bots.


title: Internet Relay Chat

text: Technically, IRC provides no file transfer mechanisms itself; file sharing is implemented by IRC "clients", typically using the Direct Client-to-Client (DCC) protocol, in which file transfers are negotiated through the exchange of private messages between clients. The vast majority of IRC clients feature support for DCC file transfers, hence the view that file sharing is an integral feature of IRC. The commonplace usage of this protocol, however, sometimes also causes DCC spam. DCC commands have also been used to exploit vulnerable clients into performing an action such as disconnecting from the server or exiting the client.


title: Teenage Mutant Ninja Turtles (1987 TV series)

text: Teenage Mutant Ninja Turtles (initially known as Teenage Mutant Hero Turtles in some European countries) is an American animated television series produced by Fred Wolf Films, and based on the comic book characters created by Kevin Eastman and Peter Laird.


text: The pilot was shown during the week of December 14, 1987 in syndication as a five-part miniseries, and the show began its full-time run on October 1, 1988. The series ran until November 2, 1996, when it aired its final episode.


text: Set in New York City, the series follows the adventures of the Teenage Mutant Ninja Turtles and their allies as they battle the Shredder, Krang, and numerous other villains and criminals. The property was changed considerably from the darker-toned comics, to make it more suitable for children and the family.


text: The show was the first television appearance of the Teenage Mutant Ninja Turtles, and helped launch the characters into mainstream popularity, becoming one of the most popular animated series in television history. Action figures, breakfast cereals, plush toys, and other merchandise featuring the characters appeared on the market during the late-1980s and early-1990s, and became top-sellers worldwide. By 1990, the series was being shown daily on more than 125 television stations.


text: Characters from the show have been included in crossovers with later entries of the franchise, including the 2009 film "Turtles Forever" and cameos in the 2012 TV series.


text: The origins story in the 1987 television series deviates significantly from the original Mirage Studios comics. In this version, Splinter was formerly human, an honorable ninja master named Hamato Yoshi who studied art history as a hobby. He was banished from the Foot Clan (a Japanese dynasty of ninjas founded by one of his distant ancestors) after one of his students, the power-hungry and seditious Oroku Saki (who resented Yoshi's leadership within the clan and aspired to usurp him), set him up for an offense against a visiting master sensei. Disgraced, Yoshi was forced to leave his native Japan and relocate to New York City, where he began living in the sewers with the rats as his only friends. Saki was given command of the Foot Clan, which he corrupted and transformed into a criminal organization.


text: Sometime later, Yoshi adopted four turtles after they were accidentally dropped into the sewers by an unnamed boy. He returned from his explorations around New York City one day to find the turtles covered with a strange glowing ooze. This substance caused the turtles, who were most recently exposed to Yoshi, to become humanoid, while Yoshi, who was most recently exposed to sewer rats, became a humanoid rat, and was given the name "Splinter" by the turtles. Yoshi raises the four turtles as his sons and trains them in the art of ninjitsu. He names them Donatello, Leonardo, Michaelangelo, and Raphael, after his favorite Italian renaissance artists.


text: Oroku Saki eventually leaves Japan and tracks Yoshi to New York City, where he intends to destroy him once and for all. It is also around this time that he begins working with Krang, a disembodied alien brain from Dimension X who ruled his native realm with an iron fist until he was stripped of his body and banished to Earth. Saki takes on a new pseudonym, "The Shredder", donning a suit covered with razor spikes, and complemented by a long purple cape, a metal samurai helmet, and a metal mask over his mouth. Since leaving Japan, his ambitions have grown from usurping leadership of the Foot Clan to world domination. To this end, Krang provides the Shredder with a vast array of powerful technology from Dimension X, including the Technodrome, and funds most of his schemes throughout the series.


text: It becomes clear early on in the series that the mutagen which transformed the Turtles and Splinter into their new forms was dumped into the sewers by Shredder in an effort to murder Yoshi, as he had mistakenly believed it to be a deadly poison rather than a transformative agent. After several years of training under Splinter, the Turtles set out to find whoever is responsible for their transformation, and upon learning that Shredder was behind it, they vow to put an end to his ongoing criminal career and restore Splinter back to his human form. Along the way, they rescue and befriend Channel 6 news reporter April O'Neil, who becomes one of their strongest allies. The Turtles, who had rarely left the sewers prior to meeting April, also began to take on the role of semi-vigilante crime fighters. Despite this, they frequently have to deal with citizens misunderstanding them, largely due to the efforts of Channel 6 newsmen Burne Thompson and Vernon Fenwick, who both distrust the Turtles and frequently and wrongfully blame them for the trouble that Shredder and Krang cause. As a result, they mainly have to rely on April (either via Turtle-com, or Channel 6 news reports) to inform them of crimes in the city, and to counteract Burne and Vernon's smear and bad-tempered campaigns against them with her own news coverage of the Turtles, portraying them as a force for good. Reluctant to expose themselves to the outside world, the Turtles initially wear disguises whenever they leave the sewers, although this is slowly relaxed as the series progresses and they gain the trust of the broader populace, whom they have saved from Shredder and other villains on many occasions.


text: Shredder, Krang, Bebop & Rocksteady, Baxter Stockman, and their legions of Foot soldiers repeatedly try to destroy the Turtles and take over the world. Much of their quest for world domination hinges on repowering Krang's mobile fortress, the Technodrome, and bringing it to the Earth's surface, as it was either buried deep under New York City (season 1), stuck in Dimension X (seasons 2 and 4), embedded in the Earth's core (season 3), stranded in the Arctic (season 5), or at the bottom of the Arctic Ocean (seasons 6 and 7). However, their plans always fail, often landing the villains in humorous predicaments. Some episodes feature other minor villains, such as the Rat King, Leatherhead, Slash, General Traag and Granitor, and many others, or involve the TMNT getting themselves and the city out of a mess that they had inadvertently caused.


text: In the last three seasons, the show went through dramatic changes. The humor was toned down significantly, the animation became darker, the color of the sky in each episode was changed to a continuous, ominous dark-red sky (commonplace with newer action-oriented children's programming at the time), the theme song was changed, the introduction sequence added in clips from the first live-action film, and the show took on a darker, more action-oriented atmosphere. The Turtles' demeanor evolved into a more serious and determined one than in prior seasons, and they devoted most of their time to tracking down villains. The series' main antagonists—Shredder, Krang, Bebop, and Rocksteady—who had previously been depicted as dangerous but comically inept villains, were now portrayed as a more menacing, unified threat. Additionally, Krang was revealed to have seized power in Dimension X through numerous betrayals and widespread destruction, resulting in old enemies seeking vengeance. Many recurring characters and villains were written out of the show by this point, with more focus placed on the main cast. The season was also noted for the destruction of the Channel 6 building, which led to April working freelance.


text: At the end of the seventh season, the Turtles sent the Technodrome through a portal into Dimension X, but without Shredder, Krang, Bebop, and Rocksteady. As a result, the villains were stranded on Earth without any weapons or power, and were forced to work out of an old science building until they can find a way back into Dimension X and retrieve the Technodrome. The Turtles, taking advantage of the situation, relentlessly pursue their arch enemies in an effort to put an end to their schemes once and for all. Eventually, Shredder and Krang, along with Bebop and Rocksteady, build a new portal into Dimension X and reclaim the Technodrome, although the Turtles manage to track them down with the help of Gargon, a mutated resident of Dimension X who was being held prisoner by Shredder and Krang. At the end of season 8, the TMNT finally banish Shredder, Krang, Bebop, and Rocksteady to Dimension X by destroying the Technodrome's engines and trans-dimensional portal, preventing them from returning to Earth.


text: From season 9 onwards, Lord Dregg, an evil alien warlord from Dimension X, appeared as the new lead villain. He begins a propaganda campaign against the Turtles, turning the general population against them and in favor of him and his forces. Although Dregg is outed as a villain at the end of season 9, the Turtles are never able to regain the trust of the broader population, due to an earlier smear campaign by Burne and Vernon that wrongfully blamed the Turtles for the destruction of the Channel 6 building. Additionally, the Turtles began to suffer from mutations that temporarily transformed them into monstrous hulks with diminished intelligence, a problem that would not be completely resolved until season 10. The TMNT also gain a new ally in the form of Carter, a brash African American male who initially sought out Master Splinter for training in ninjitsu, but is eventually exposed to mutagen and contracts an incurable mutation disease.


text: In the final season of the series, Dregg's sycophantic henchman Mung encounters Shredder and Krang, who are still stranded in Dimension X. They told him that they had battled the Turtles for years, but even though Shredder claimed to have destroyed them, Mung knew that he was lying. Soon afterward, Mung returns to Dregg's ship and informs him of their encounter, and Dregg decides to bring both Shredder and Krang back from Dimension X to help him fight the Turtles. However, the pair immediately rebel against Dregg and leave, continuing on where they left off before they were banished at the end of season 8. Back on Earth, Shredder and Krang kidnap April O'Neil and do battle with the Turtles once more, although they are all soon transported back to Dregg's lair. The Turtles initially have the upper hand in the fight, but Shredder and Krang are able to subdue them after reluctantly agreeing to work with Dregg. As he prepares to drain the Turtles of their life energies, Shredder and Krang betray Lord Dregg and force him onto one of the operating tables, intending to drain both him and the Turtles of their power. Dregg, however, manages to escape and uses his microbots to capture Shredder and Krang. Although he successfully drains the Turtles and Krang of their life energies, Shredder breaks free before Dregg is able to take anything from him. Shredder spends the next two episodes finding a way to heal Krang and dispose of Dregg so that they may take control of his armies and conquer the Earth, but in the ensuing confrontation they are permanently transported back to Dimension X. Carter also bids farewell to the Turtles as he travels to the future to look for a cure for his mutation. In the final episode of the series, Michaelangelo and Donatello travel to Dimension X to retrieve Krang's mechanical body from the (now abandoned and completely destroyed) Technodrome, which is sitting on a hill standing upright (whereas at the end of season 8, an alien plant had dragged it down into a deep pit), suggesting that Shredder and Krang initially tried to repair the Technodrome before declaring it a lost cause. Shredder, Krang, Bebop, and Rocksteady are nowhere to be seen. The Turtles eventually find Krang's suit and use it in a final confrontation with Dregg, which ends with the Turtles banishing Dregg to Dimension X. Splinter congratulates the Turtles on their victory and, now that all of their enemies have been vanquished, states that he has nothing more to teach them, calling them his equals.


text: In 2009, the Turtles, Shredder, Krang, and various other characters from the 1987 series returned for the 25th anniversary crossover movie "Turtles Forever", in which they meet up with their counterparts from the 2003 TV series. Due to financial restrictions, none of the original voice actors were able to reprise their roles, and replacement actors were used instead.


text: In April 2013, Ciro Nieli, the executive producer of the 2012 "Turtles" series, confirmed in an interview that the 1987 Turtles would cameo in a one-hour special in season 2. Cam Clarke, Townsend Coleman, Barry Gordon and Rob Paulsen (who voiced Donatello in the 2012 series) reprise their roles as Leonardo, Michaelangelo, Donatello, and Raphael, respectively, in the closing of the episode "Wormquake!". The 1987 turtles also had a crossover with the 2012 turtles in the season 4 episode, "Trans-Dimensional Turtles". In addition with the lead cast members reprising their roles from the episode, Pat Fraley also reprised his role as Krang who is depicted as a relative of Kraang Subprime that was banished to Earth in the 1980s reality for being incompetent. The 1987 turtles also returned during season five of the 2012 series for a three part special, "Wanted: Bebop and Rocksteady", along with the original Shredder, Foot soldiers, Krang, Technodrome and Bebop and Rocksteady.


text: By 1986, the "Teenage Mutant Ninja Turtles" comic series by Kevin Eastman and Peter Laird had experienced two years of success. At that time, New York-based licensing agent Mark Freedman – who had previously handled Hanna-Barbera's library of characters and was establishing his own licensing company – was contacted by a connection in the toy industry and introduced to the property. Though initially in disbelief at the title, he found it growing onto him and decided to approach California toy manufacturer Playmates Toys to pitch a toy line based on the property. The uncertain company requested that a television deal be acquired first, and after the initial five-episode series debuted, they released their first series of Ninja Turtles action figures in the summer of 1988. The two media would correspond in marketing and popularity for many years to come.


text: David Wise and Patti Howeth wrote the screenplay for the first 5-part miniseries. When the series continued in the second season, comic artist Jack Mendelsohn joined the show as the executive story editor. Wise went on to write over seventy episodes of the series, and was executive story editor for four later seasons as well. Wise left the series partway through the ninth season, and Jeffrey Scott took over as the story editor and chief writer for the rest of the show's run.


text: The animation work for the early episodes of the series were handled by Japanese anime studio Toei Animation. The budget for the first five episodes of the series was almost $2 million.


text: Casting for the show took place in Los Angeles. During recording of the voice acting, all the main cast recorded together. According to Renae Jacobs, voice-actress of the reporter April O'Neil, working together "was great for camaraderie and relationships. We played off each other...there was a lot of ad libbing".


text: Also according to Jacobs, the actors frequently undermined the efforts of the show's creators to make the show grittier and more serious, instead embracing silliness and jokes for both children and adults.


text: Through most of the series, the episodes featured a recurring background music which reflected the mood of the situation, as well as ID music for settings such as the Technodrome, the New York City sewers, Channel 6, etc.. The soundtrack was composed by Dennis Challen Brown (credited as "D.C. Brown" and later as "Dennis C. Brown") and Chuck Lorre. Lorre recorded the theme song (and performed the spoken parts) and became a successful television producer. The performer of the song was James Mandell (aka Miles Doppler). To date the soundtrack has never been released for retail.


text: The show was in Saturday morning syndication from October 1, 1988, to September 9, 1989, and became an instant hit. The show was expanded to five days a week and aired weekday afternoons in syndication in most markets from September 25, 1989, to March 29, 1991, with reruns airing until September 17, 1993. Starting on September 8, 1990 (with a different opening sequence), the show began its secondary run on CBS's Saturday morning lineup, beginning as a 60-minute block from 1990 to 1993, initially airing a couple of Saturday exclusive episodes back to back. There would also be a brief "Turtle Tips" segment in between the two episodes which served as public service announcements about the environment or other issues. There were at least 20 "Turtle Tips" segments that were produced and aired. Beginning in 1994, the show began airing as a 30-minute block until the series ended.


text: Reruns of the series were broadcast weekly on Teletoon Retro in Canada until the channel was shutdown on September 1, 2015. Although the last episode broadcast on CBS on November 2, 1996, reruns of Seasons 8, 9 and 10 continued to air until August 30, 1997. The series previously reran in North America in Quebec on Super Écran, who rebroadcast the entire series from 2006 to 2008. Episodes from Seasons 1-7 were rerun on the USA Network's "USA Cartoon Express" from September 13, 1993, to September 15, 1996 (which was the last time to date any episode from prior to Seasons 8-10 aired on television in the United States). Fred Wolf Films, owners of the rights to the show, have licensed the series to Lionsgate Home Entertainment, who have been responsible for the DVD and retail streaming releases.


text: In the Republic of Ireland, the series ended its original run on August 9, 1998, but the show was regularly rerun on RTÉ Two until 2008. In Yugoslavia the series was broadcast on RTS from 1991 - 1994 and on RTV Pink from 1998 - 2002. In Denmark, the show is aired every weekday at 6.00 am on TV 2.


text: In Australia, the show's original run on the Seven Network ended in 1996. From 2013 to 2020, reruns aired on 10 Peach.


text: In the UK, the series premiered on Children's BBC in January 1990, initially airing on Wednesday afternoons before moving to Tuesday afternoons. Airings continued throughout most of the 90s, ending in 1997. The programme resurfaced from 2002 to 2004 on the CBBC Channel and CBBC Two. The program also gained airings on 90s Saturday morning kids show Going Live!.


text: In the United Kingdom, the series was originally released under the name "Teenage Mutant Hero Turtles" ("TMHT"). This was due to the controversy surrounding ninjas and related weapons such as nunchaku at the time. The intro sequence was heavily edited because of this, replacing the word "ninja" with "hero" or "fighting", using a digitally faded logo instead of the animated blob, and removing any scenes in which Michaelangelo wields his nunchaku, replacing them with clips from the show. Scenes of Michaelangelo using his nunchaku were likewise edited out of the episodes themselves, which led the American show runners to drop the weapons from the series entirely in the fourth season in order to make the show more appropriate for the international airings. The weapons were replaced with a grappling hook called the "Turtle Line" that served as Mikey's signature weapon for the rest of the show's run. The word 'ninja' was also edited out of any speech within the show, often leading to some awkward sounding dialogue.


text: The TMHT version was aired in other European countries, including the Republic of Ireland (except series 1, which had the original title), The Netherlands, Belgium, Germany, Austria, Poland, Hungary, Sweden, Norway, Denmark, and Finland, in local dubs (the Finnish version was in English with subtitles, while Polish was in English with a voice-over translation). In Denmark, the English censored version was aired on the national broadcaster TV2. It had subtitles as well, however, only seasons 2 and 3 were aired in this fashion. Season 1 was aired as one spliced feature, instead of the original five-part miniseries. The movie was titled "The Epic Begins", and included heavy edits from each of the five episodes, and was also released to VHS in the US in 1988.


text: After the 2 seasons had aired on Danish TV, the show was cancelled; however, it later returned with local dubs of episodes from season 5, and Denmark was also one of the first countries to get to see the episodes in which the turtles travel to Europe. These were also aired with subtitles.


text: The original series aired in early 2011 during the early morning hours on TV2 in Denmark. All 193 episodes have been re-dubbed, and this time they aired in their original US unedited form.


text: In Russia on the TV channel 2x2 a dubbed version in Russian was shown on September 25, 1993. On June 9, 1997, the show was discontinued. From April 1, 2013, a re-run with an old dubbed version began on the TV channel 2x2. Since February 11, 2021, there is a new dubbed version on TV channel 2x2.


text: In Sweden, TV 3 Sweden, which aired from London, aired seasons 1-3 between 1990 and 1993, while TV1000 aired seasons 4–6 with subtitles and the "Vacation in Europe" episodes dubbed. The series was dubbed into Swedish by Mediadubb. Sun Studio also dubbed some chosen seasons 1-3 episodes into Swedish, for home video releases in 1991, later rereleased to DVD. In Sweden, the home video releases kept the original title, "Teenage Mutant Ninja Turtles".


text: In Spain, the name of the cartoon was translated to "Las Tortugas Ninja" (with the word "ninja" in the title), but at first the TMHT version was still used for dubbing, although the word "ninja" was kept in several instances of the dub, and the original TMNT version was also alternatively aired afterwards. Other European countries (including Bulgaria, France, Italy, Yugoslavia and Turkey) dubbed the original TMNT version. In Yugoslavia, the series was re-dubbed into Serbian with Prizor sincronization for TV Pink as "Teenage Mutant Hero Turtles" (1998).


text: In the Republic of Ireland, the series was initially known as "Teenage Mutant Ninja Turtles" just like the US version and the intro sequence was unedited when it debuted on RTÉ Two as part of the Irish TV strand The Den with the airing of the second season in September 1990. After the first two episodes were broadcast, the name was changed to the Hero Turtles version and the intro was edited, except for season one. Scenes with Mikey's nunchucks and the word ‘ninja’ were always edited out in the actual episodes, though. Episodes were also cut a bit midway through at the point where there would be a commercial break, perhaps because there were no ad breaks during shows on The Den. The show was very popular in Ireland and aired a lot on weekday afternoons on RTÉ in the mid 90s with season 1 being placed between 3 and 4. The European Vacation eps first aired in Ireland in December 1990. In 2007–2008, episodes were aired in their original US unedited form.


text: When shown on the BBC, phrases such as "Let's kick some shell!" and "Bummer!" were removed from the episodes (the latter may relate to a British slang term for anal sex). The series "" was also referred to as Hero Turtles, possibly using the term "hero" to separate the television series from the live action movies. The 2003 television series, however, remained intact when shown in the UK and the Republic of Ireland. This led the UK and the Republic of Ireland to have a disambiguation between the two animated series, using "Hero Turtles" to separate the 1987 television series from the other incarnations of the franchise. In 2009, a DVD of the first two seasons was released under the Ninja Turtles branding, thus bringing this version of the franchise into line with the later versions.


text: Despite being a PAL region, the series always aired under the US “Ninja” title in Australia. The first season of the show premiered as a two-part (90 minutes each) prime-time miniseries on the Seven Network in February 1990 before shifting to a 3:30 p.m. timeslot for Season 2. Later, after ratings fell, it was moved to a morning timeslot in January 1994 as part of Agro's Cartoon Connection until its end in 1996. The show was mostly uncensored, airing under its original name with occasional edits, including the editing of Season 1.


text: In New Zealand the series screened on TV3 from early 1990 onwards, just weeks after TV3 began broadcasting. Season 2 and Season 3 were first screened weekdays initially at 5:30pm and later moved to an earlier timeslot, season 2 and 3 were repeated several times over in 1990. Season 1 aired as lost episodes which screened on Saturday evenings at 6:00 p.m. between September and October 1990. Season 4 was picked up in 1991 with TV3 first screening the episodes that aired in the US on CBS followed by the syndicated episodes. From 1992 to 1996 TV3 screened the later seasons on Saturday mornings, the "Vacation in Europe" episodes were screened in 1993.


text: The series has seen numerous releases on VHS in Region 1 by Family Home Entertainment, beginning in 1988 and continuing through 1996. Several tapes were released as part of marketing promotions with corporations such as Burger King and TV Teddy.


text: Six LaserDisc collections of selected episodes were released in North America in 1989. Releases continued through at least 1996.


text: Starting in April 2004, DVD releases began in region 1. The series has since seen numerous releases as part of DVD compilations.


text: Lionsgate Home Entertainment (through FHE Kids Entertainment and Family Home Entertainment) has released the entire series to DVD in Region 1. Initially it was released in volumes, with each volume containing 9–13 episodes in its original production order, with the exception of the first volume, which included bonus episodes from the last season. After six volumes, it was announced that the series would now be released in season sets, starting with season 4. However, the episodes "Once Upon a Time Machine" and the 1991 prime-time special "Planet of the Turtleoids" were omitted from the Season 5 set, but are included in the Season 10 set as bonus episodes. The DVDs do not include the Turtle Tips PSAs.


text: On November 13, 2012, Lionsgate Family Entertainment released "Teenage Mutant Ninja Turtles - The Complete Classic Series" on DVD in Region 1. The 23-disc set features all 193 episodes of the series as well as bonus features. It also contains special collectors edition packaging.


text: The first volume of the 25th Anniversary Edition, containing all episodes from the first two seasons in a PAL format as well as some bonus material from season 10, was released for Region 2 DVDs by Lionsgate Home Entertainment in the UK and the Republic of Ireland on May 25, 2009. 4 DVDs containing 3 episodes each based around Leonardo, Donatello, Raphael and Michaelango were released on May 19, 2014. DVDs of the series were also released by German distributor KSM GmbH between May 2007 and February 2012.


text: The show was released in Australia by Lionsgate Home Entertainment between 2009 and 2016. All episodes from the 1987 series were released in sixteen volumes. The discs are in Region 4, but unusually, they are in NTSC picture format, instead of PAL. The first six DVDs are more or less duplicated from the Region 1 discs released in America, however unlike the American release, Season 4 was broken down into several separate volumes (7 to 9).


text: Lionsgate Home Entertainment has also released each of the seasons in digital format which are sold separately on several digital platforms such as Amazon and iTunes in Standard Definition only. While "Once Upon a Time Machine" is included with Season 5, "Planet of the Turtleoids" is included with Season 6.


text: IGN named "TMNT" as the 55th best show in the Top 100 Best Animated TV Shows. While the story diverged heavily from the original conception of the Teenage Mutant Ninja Turtles with the universe of the original Mirage comics, the 1987 television series is largely the most notable and popular incarnation and drove the franchise to the phenomenal status it would achieve in popular culture. Co-creator, Peter Laird, has publicly shared his distaste with the show on numerous occasions but has also acknowledged that it was extremely successful with and beloved by its audience and, while he would have preferred a different approach to the material, it might not have been as popular as what was produced. Retroactively, the cross-over film "Turtles Forever" established a common multiverse continuity between all Teenage Mutant Ninja Turtles variations.


text: At the time, the series was criticized by various groups for its violent content and commercialism. The extensive line of toys and other licensed products also attracted criticism. The Australian Council for Children's Films and Television accused the show of being a 30-minute toy commercial.


The Chronicles of Narnia: Prince Caspian is a 2008 high fantasy film directed by Andrew Adamson, who co-wrote the screenplay with Christopher Markus and Stephen McFeely, based on the 1951 novel "Prince Caspian", the second published and fourth chronological novel in the children's book series "The Chronicles of Narnia" by C. S. Lewis. The sequel to "" (2005), it is the second installment in "The Chronicles of Narnia" film series.


title: The Chronicles of Narnia: Prince Caspian

text: William Moseley, Anna Popplewell, Skandar Keynes, Georgie Henley, Liam Neeson, and Tilda Swinton reprise their roles from the previous film, while new cast includes Ben Barnes, Sergio Castellitto, Peter Dinklage, Eddie Izzard, Warwick Davis, Ken Stott, and Vincent Grass. In the film, the four Pevensie siblings return to Narnia to aid Prince Caspian in his struggle for the throne against his corrupt uncle, King Miraz.


text: Work on the script for fhe film began before "The Lion, the Witch and the Wardrobe" was released, so filming could begin before the actors grew too old for their parts. Director Andrew Adamson wanted to make the film more spectacular than the first, and created an action sequence not in the novel. The Narnians were designed to look wilder as they have been hiding from persecution, stressing the darker tone of the sequel. The filmmakers also took a Spanish influence for the antagonistic race of the Telmarines. Filming began in February 2007 in New Zealand, but unlike the previous film, the majority of shooting took place in Central Europe, because of the larger sets available in those countries. To keep costs down, Adamson chose to base post-production in the United Kingdom, because of recent tax credits there.


text: "The Chronicles of Narnia: Prince Caspian" premiered on May 7, 2008, at the Ziegfeld Theatre in New York City, before it was theatrically released on May 16 in the United States and on June 26 in the United Kingdom, by Walt Disney Studios Motion Pictures. The film received generally positive reviews from critics. Many praised the performances and visual effects; however, the film's darker tone and mature themes drew polarizing opinions. It was a moderate success at the box office, grossing $55 million during its opening weekend. By the end of its theatrical run, it had grossed over $419.6 million worldwide, becoming the tenth-highest-grossing film of 2008.


text: "Prince Caspian" was the last "The Chronicles of Narnia" film to be co-produced by Walt Disney Pictures, as 20th Century Fox became the distributor for the next film, "" (2010), due to budgetary disputes between Disney and Walden Media, but as a result of Disney eventually purchasing 21st Century Fox in 2019, Disney now owns the rights to all the films in the series.


text: In Narnia, almost 1,300 years after the Pevensie siblings left, Caspian, a Telmarine prince, is awoken by his mentor Doctor Cornelius, who informs him that his aunt has just given birth to a son and that his life is now in grave danger. Cornelius gives him Queen Susan's ancient magical horn and instructs him to use it if he is in dire need of help. Knowing that his Uncle Miraz would kill him in order to be king, Caspian flees. Chased by several Telmarine soldiers, Caspian falls off his horse and encounters two Narnian dwarfs and a talking badger in the woods. One of the dwarfs, Trumpkin, is captured by the soldiers after sacrificing himself to save Caspian, while the other dwarf, Nikabrik, and the badger, Trufflehunter, save Caspian. Not knowing that they are trying to save him, Caspian blows the magical horn, trying to summon help.


text: In England, the four Pevensie children wait at the Strand tube station for their train which will take them to boarding school. One year has passed in their world after they left Narnia. Just as the train pulls into the station, the station tears apart transporting them back to Narnia. There, they discover their castle, Cair Paravel, was attacked and ruined in their absence. The Pevensies save a bound and gagged Trumpkin, who is about to be drowned, and they set off together. Lucy sees Aslan trying to show them a safe path, but finds her siblings unable to see him, she later manages to contact him in a dream, but only Edmund believes her.


text: Meanwhile, Nikabrik and Trufflehunter lead Caspian to the Dancing Lawn, where all the old Narnians have assembled. Caspian convinces them to help him win his throne. Caspian and his troops encounter the Pevensies and Trumpkin, and they journey together to Aslan's How, a huge underground hall built over the Stone Table. Lucy wants to wait for Aslan, but Peter decides they have waited long enough and suggests attacking Miraz's castle. The Narnians succeed in infiltrating the castle, but Caspian, learning that Miraz is responsible for his father's death, goes to confront his uncle. He is wounded by a crossbolt, Miraz escapes, and Peter calls for a retreat when the gate is sabotaged. Half of the Narnians manage to escape, but the rest are trapped behind the closed gate and brutally slaughtered by crossbowmen.


text: Nikabrik tells Caspian that there is a way he can claim his throne and guarantee Miraz's death. When Caspian agrees, a hag uses black sorcery to summon the White Witch. From inside a wall of ice, the Witch tries to convince Caspian to give her a drop of his blood in order to resurrect her. Peter, Edmund, Trumpkin and Lucy arrive and dispatch Nikabrik while Edmund shatters the wall of ice before the Witch can be freed.


text: Miraz and his army arrive at Aslan's How. Peter challenges Miraz to a one-on-one duel, in order to buy Lucy time to find Aslan. Peter is able to wound Miraz, and gives his sword to Caspian to finish him off. Caspian, who cannot bring himself to do it, spares Miraz's life but says that he intends to give Narnia back to its people. Lord Sopespian, one of Miraz's generals, suddenly stabs and kills Miraz with an arrow and blames the Narnians, igniting a massive battle between the Narnians and the Telmarines. Lucy, meanwhile, has found Aslan in the woods; he awakens the trees and the whole forest suddenly attacks the Telmarines. Lord Sopespian orders the retreat, only to be confronted by Lucy and Aslan. Aslan summons a river god, which wipes out the majority of the Telmarine army, including Sopespian; all of the surviving Telmarine soldiers surrender and hand over their weapons.


text: Caspian becomes the King of Narnia and, with Aslan's help, brings peace between the Narnian and Telmarine kingdoms. Before the Pevensies depart, Peter and Susan reveal that Aslan has told them they will never re-enter Narnia again since they have learned all they can from Narnia, but Lucy and Edmund might still come back. Susan kisses Caspian, knowing she will never see him again, before the Pevensies return to England, leaving Caspian as King of Narnia.


text: Before the release of "", the screenplay for the sequel "Prince Caspian" had already been written. Director Andrew Adamson said the decision was made to follow the publication order of the novels because "if we don't make it now we'll never be able to, because the [actors will] be too old". "Prince Caspian", the second published novel in the series, is the fourth chronologically. "The Horse and His Boy" takes place during a time only hinted at in "The Lion, the Witch and the Wardrobe". The writers briefly considered combining "Caspian" with "The Voyage of the Dawn Treader", which the BBC did for their television adaptation.


text: Screenwriters Christopher Markus & Stephen McFeely wanted to explore how the Pevensies felt after returning from Narnia, going from being kings and queens back to an awkward year as school children. They noted, "<nowiki>[</nowiki>C. S. Lewis<nowiki>]</nowiki> doesn't much consider what it would be like for a King of Narnia to return to being a 1940s schoolchild." They also decided to introduce the Pevensies back into Narnia nearer the start, in order to weave the two separate stories of the Pevensies and Caspian, in contrast to the book's structure. A sense of guilt on the Pevensies' part was added, seeing the destruction of Narnia in their absence, as was hubris for Peter to enhance the theme of belief: his arrogance means he is unable to see Aslan.


text: Adamson also desired to make the film larger in scale; "I've gained confidence having gone through the first. This time, I was able to go larger [in] scale, with more extras and bigger battle scenes." Inspired by a passage in the novel where Reepicheep says he would like to attack the castle, a new battle scene in which Peter and Caspian make an attempted raid on Miraz's castle was created. Adamson felt the imagery of mythological Greek creatures storming a castle was highly original. Markus and McFeely used the sequence to illustrate Peter and Caspian's conflict and Edmund's maturity, in an effort to tighten the script by using action as drama. Adamson preferred subtlety to the drama scenes, asking his young male actors not to perform angrily. Adamson copied Alfred Hitchcock by "tell[ing] people at the end of the scene, 'Now just give me something where you're not thinking about anything.' By using it in context, the audience will read an emotion into it."


text: Andrew Adamson described the film as being darker, as it takes place "another 1300 years later, [and] Narnia has been oppressed by Telmarines for a large period of that time, so it's a dirtier, grittier, darker place than the last world was". He added, "This one is more of a boy's movie. It's a harsher world. The villains are human, and that lends a more realistic attitude." Creatures were designed by veteran horror and monster concept artist Jordu Schell and supervised by Howard Berger, who said that "Prince Caspian" would be more medieval than "The Lion, the Witch and the Wardrobe". Alongside Adamson, Berger's children critiqued his designs, aiding the process: his son thought the werewolf's ears were silly, so they were made smaller.


text: For the Narnians, Berger envisioned them as more wild in appearance, as they have been forced into the forests. He also decided to increase the portrayal of various ages, sizes and races. The black dwarfs are distinguished from the red dwarfs as they have more leather and jewellery, and a darker colour scheme in their costumes. Each race of creatures also had their fighting styles made more distinguishable. The minotaurs have maces, and the centaurs use swords. The satyrs were redesigned, as their creation on the first film had been rushed. Four thousand and six hundred make-up jobs were performed, which Berger believes is a record.


text: The filmmakers interpreted the Telmarines, including Caspian, as being Spanish because of their pirate origins, which producer Mark Johnson noted made Caspian "a contrast to the lily-white [Pevensies]". Production designer Roger Ford originally wanted the Telmarines to be French, as they had a confrontational history with the English, who are represented by the Pevensies. This was scrapped as the crew were unable to shoot at Pierrefonds Castle, for Miraz's lair, so they went for the Spanish feel. Weta Workshop created masked helmets for their army, and faceplates for the live horses on set. The stunt soldiers wield two hundred polearms in two different styles, two hundred rapiers of varying design, over a hundred falchions, two hundred and fifty shields and fifty-five crossbows. Caspian's own sword is a variation of the Royal Guard's weapons. Costume designer Isis Mussenden looked to the paintings of El Greco to inspire the Telmarines' costumes. She wanted to use colours that looked "acidic and hot and cool at the same time", unlike the red and gold seen in the Narnian soldiers. Their masked helmets are based on conquistadors and samurai. She visited the armour archives of the Metropolitan Museum of Art for inspiration. An eagle emblem was incorporated into the characters' lairs to make them feel fascist.


text: Eight months were spent scouting locations, including Ireland, China and Argentina, before New Zealand, Prague, Slovenia and Poland were chosen. Whereas the previous film was predominantly shot in New Zealand with a few months of filming in Central Europe, Adamson decided New Zealand lacked enough sound stages to accommodate the larger scale of the film. The decision to film most of the picture in Europe also allowed the ability to shoot during summer in both continents, although the weather turned out to be so erratic during filming that Adamson joked he had been lied to.


text: Filming began on February 12, 2007, in Auckland. The scene where the Pevensies return to the ruined Cair Paravel was shot at Cathedral Cove. The filmmakers chose the location because it had a tunnel-like arch, which echoed the train tunnel the children go into before being summoned back into Narnia. Henderson Valley Studios was used for the Pevensies' ancient treasure room and the Underground station.


text: On April 1, 2007, the crew began filming at Barrandov Studios in Prague. There, sets such as Miraz's castle, Aslan's How and the underground hiding places of the Narnians were created. The castle was built to scale because Adamson felt he overused digital sets on the last film. The castle was built in the open air during winter, where the temperature would drop to . Miraz's courtyard is the largest set in production designer Roger Ford's career, including the previous "Narnia" film. Aslan's How was modified into the hideout after filming for those scenes was finished. To create Trufflehunter's den, Ford's crew put a camera inside a badger's den to study what it should look like. The den's roof had to be raised by three inches because Ben Barnes was too tall.


text: In June 2007, they shot the bridge battle near Bovec in the Soča Valley, Slovenia. The location was chosen for its resemblance to New Zealand. A large bridge was built, which was modelled on the one Julius Caesar built to cross the Rhine. Whereas Caesar supposedly built his bridge in ten days, the filmmakers had around forty. The schedule was short though, but the authorities would only allow them this build time to not completely disrupt normal summer activities on the lake. The filmmakers made a trench to change the river's course, so they could deepen the drained sides of the riverbed so it looked like one could drown in it. The crew also cut down 100 trees for shots of the Telmarines building the bridge; the trees were moved to another side of the river for decoration. The bridge stood for two months before being dismantled. As part of the clean-up, the cut-down trees and parts of the bridge were sent to a recycling plant, while other portions of the bridge were sent to the studio for close-ups shot against bluescreen.


text: Part of the battle was shot at Ústí nad Labem in the Czech Republic. Only the entrance to Aslan's How was built on location. Adamson wanted Peter and Miraz's duel to feel unique and not like a controlled, overly choreographed fencing match: Moseley and Castellitto began training for the scene in November 2006. The stunt coordinator Allan Poppleton doubled for Castellitto in some shots because they are similar in size. For claustrophobic shots, cameras were built into their shields. The main camera was placed on a 360-degree track surrounding the ruin it takes place on. The filmmakers dug a large hole in the ground for the scene where the Narnians cause the pillars supporting the growth near Aslan's How to collapse on the Telmarines. The earth was then restored following completion of the scene. They also had to restore the grass after filming numerous cavalry charges. 18,000 fern plants were imported to the Czech Republic to create a forest. A scene shot in Poland, which involved building a cliff face, also had to leave no trace behind. Filming finished by September 8, 2007.


text: "Prince Caspian" has over 1,500 special effects shots, more than "The Lion, the Witch and the Wardrobe"<nowiki>'</nowiki>s 800 effects shots, yet the film had less time to complete them. The scale of special effects led Andrew Adamson to base production in the UK, to take advantage of new tax credits. Therefore, it legally qualifies as a British film. This also meant the director only had to walk five minutes from the editing room to supervise the effects. British visual effects companies the Moving Picture Company and Framestore CFC were hired to create the visual effects alongside Weta Digital. Framestore worked on Aslan, Trufflehunter and the door in the air; Scanline did the River-god; Weta created the werewolf, the wild bear and Miraz's castle; MPC and Escape Studios did the main battle, the tunnel scene, the castle assault, the council scenes and all the other creatures.


text: Alex Funke, who worked on "The Lord of the Rings", directed the film's miniatures unit. These include 1/24th- and 1/100th-scale miniatures of Miraz's castle. A scale model was built of the Narnians' cave hideouts during the climactic battle, which the actor playing the giant Wimbleweather was filmed against. One of the improvements made over the previous film was to make the centaurs walk during dialogue scenes, so Cornell John as Glenstorm wore Power Risers (mechanical stilts with springs), to mimic a horse's canter and height. The animatronic Minotaur heads were also improved to properly lip sync, although this was not as successful as hoped and had to be revamped digitally.


text: In the climactic battle, 150 extras stood in for the Narnians, while 300 extras were used for the Telmarines. These were digitally duplicated until there were 1,000 Narnians and 5,000 Telmarines onscreen. The animators found it easier to create entirely digital centaurs and fauns, rather than mix digital legs with real actors. The dryads were entirely computer-generated, whereas in the first film digital petals had been composited over actors. However, Adamson had chosen to make the centaurs not wear armour, meaning the animators had to make the human–horse join behave more cohesively. Combining digital characters with actors, such as when Lucy hugs Aslan, had become easier since the first film, as lighting had improved. To achieve Lucy hugging Aslan, Framestore even replaced Georgie Henley's arm with a digital version. For the gryphons, a motion control rig was created for the actors to ride on. The rig could simulate subtle movements such as wing beats for realism. Adamson cited the river-god as the character he was most proud of. "It was a really masterful effect: to control water like that is incredibly difficult", he said. "The [visual effects company] told us they'd been waiting to do a shot like that for ten years."


text: The film features catapults resembling windmills, that can fire rapidly, and a ballista that can fire three projectiles at a time. The practical versions of these were metal with fibreglass painted and aged to resemble wood on top. Weta created props of the missiles thrown by the Telmarine equipment. The practical version of the catapult had its upper half painted blue, to composite a digital version programmed for rapid firing movement.


text: "The Lion, the Witch and the Wardrobe" composer Harry Gregson-Williams began composing the sequel in December 2007. Recording began at Abbey Road Studios the following month, and finished by April 2008. The Crouch End Festival Chorus, Regina Spektor's song, "The Call", Oren Lavie's song, "Dance 'Round The Memory Tree" and Switchfoot's song, "This Is Home", are featured on the soundtrack. Imogen Heap, who sang "Can't Take It In" for the first film, wrote a new song which Gregson-Williams considered too dark.


text: Gregson-Williams' score is darker to follow suit with the film. Gregson-Williams wanted Caspian's theme to convey a vulnerability, which would sound more vibrant as he became more heroic. It originally used a 3/4 time signature, but the opening scene required a 4/4 and thus it was changed. To represent Miraz's cunning, the heroic theme from the first film was inverted. For Reepicheep, a muted trumpet was used to present his militaristic and organised character. Gregson-Williams considered arranging his theme for a small pennywhistle, but found that it sounded too cute and broke the tension of the night raid.


text: During pre-production, Disney announced a December 14, 2007 release date, but pushed it back to May 16, 2008, because Disney opted to not release it in competition with "", another Walden Media production. Disney also felt the "Harry Potter" films comfortably changed their release dates from (Northern Hemisphere) winters to summers, and "Narnia" could likewise do the same because the film was darker and more like an action film. The world premiere was held at the Ziegfeld Theatre in New York City on May 7, 2008. The British premiere was held at the O2 Arena on June 19, the first time the dome has hosted a film screening. Around 10,000 people attended the event, the proceeds of which went to Great Ormond Street Hospital.


text: The film opened in 3,929 theaters in the United States and Canada on May 16, 2008. The Motion Picture Association of America gave the film a PG. To earn this rating, which the filmmakers were contractually bound by Disney to do, Adamson altered a shot of a fallen helmet to make clear that it did not contain a severed head. Adamson made numerous edits to the film beforehand after showing the film to a young audience, explaining "When you sit down and you're watching it, and you see the kids' faces while making the film, you're just making an attempt, you're making it exciting, you're doing all of these things because you're essentially making the film for yourself. When you start showing it to an audience, that then influences how you feel about the film."


text: Adding to the film's $225 million budget (almost $100 million of which were spent on the effects), Disney also spent $175 million on promoting the film. Play Along Toys created a playset of Miraz's castle, a series of 3¾-inch and 7-inch action figures, and roleplaying costumes. Weta Workshop's Collectibles unit also created statues, busts and helmets based on their props for the film, and there was also a Monopoly edition based on the film. In the UK, Damaris Trust was commissioned to produce resources relating to the film for churches and schools, which are available from the official UK Narnia website. In June 2008, the "Journey into Narnia: Prince Caspian Attraction" opened at Disney's Hollywood Studios, featuring a recreation of the Stone Table, behind-the-scenes footage, concept art, storyboards, props and costumes from the film. The tone of the film's marketing focused on the film's action, and unlike "The Lion, the Witch and the Wardrobe" Disney and Walden did not screen the film for pastors or give Bible-based study guides in North America.


text: "Prince Caspian" was released on DVD and Blu-ray Disc in the UK on November 17, 2008, and on December 2, 2008, in North America. It was the top-selling DVD of its release week in the U.S. taking in $54.7 million. The film was released in Australia on November 27, 2008. There were one-disc and three-disc DVD editions (two-disc only in the UK), and two-disc and three-disc Blu-ray Disc editions (two-disc only in the UK). The first two discs contain an audio commentary by Adamson, blooper reel, deleted scenes and documentaries, while the third disc contains a digital copy of the film. For the Blu-ray Disc, Circle-Vision 360° was used to allow viewers to watch the night raid from different angles. An additional disc of special features was only made available in Japan and Zavvi stores in the UK, while a separate version containing a disc of electronic press kit material was exclusive to Sanity stores in Australia. By the end of 2008, the film earned almost $71 million in DVD sales.


text: The review aggregator website Rotten Tomatoes reported that 67% of critics gave the film positive reviews, based on 192 reviews. The site's critical consensus reads, ""The Chronicles of Narnia: Prince Caspian" is an entertaining family adventure worthy of the standard set by its predecessor." Metacritic reported the film had an average score of 62 out of 100, based on 34 critics, indicating "generally favorable reviews". Audience members polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


text: Film critic Leonard Maltin gave the film 3 out of 4 stars (as he did with "The Lion, The Witch, and The Wardrobe"), calling the performances "strong", the storytelling "solid", and the scenery "breathtaking", though he also said, "it's a dark tale, and the climactic battle scenes go on at length."


text: Two film industry trade journals gave the film positive reviews. Todd McCarthy of "Variety" felt Adamson's direction had a "surer sense of cinematic values" and praised the improved special effects, the "timeless" locations and production design. On the performances, he felt "the four kids overall have more character and are therefore more interesting to watch than they were before, and Italian actor Castellitto registers strongly with evil that's implacable but not overplayed." Michael Rechtshaffen of "The Hollywood Reporter" noted the film was darker than its predecessor, with "the loss of innocence theme ... significantly deepened". He highlighted Peter Dinklage's performance, which "outmaneuver[ed] the title character as Narnia's most colorful new inhabitant".


text: A number of critics took issue with what they interpreted as the film's underlying messages. "San Francisco Chronicle" critic Mick Lasalle wrote in his parental advisory that "basically, this is a movie about kids who go into another world and dimension and spend the whole time killing people." MSNBC reviewer Alonso Duralde noted that "all the heroes have British accents while the Telmarines are all decidedly Mediterranean in appearance and inflection". An "Anglican Journal" review described the movie as reasonably faithful to the adventure elements of the book, much lighter on the religious faith aspects, which they found integral to the novel, and deficient on character and emotion.


text: The Visual Effects Society nominated it for Best Visual Effects and Best Compositing. It was nominated for Best Fantasy Film, Best Costumes, Best Make-up, and Best Special Effects at the Saturn Awards. Keynes and Henley received nominations at the Young Artist Awards.


text: In 2010, Mark Johnson, a producer from all of the "Narnia" movies, admitted that "We made some mistakes with "Prince Caspian" and I don't want to make them again." He also said "Caspian" lacked some of the "wonder and magic of Narnia," was "a little bit too rough" for families, and too much of a "boys' action movie."


text: When released on May 16 in the United States and Canada, the film grossed $55 million from 8,400 screens at 3,929 theaters in its opening weekend, ranking #1 at the box office, taking that spot from Marvel’s "Iron Man" which premiered on May 2. Disney said it was happy with the film's performance, although the opening fell short of industry expectations of $80 million and was also behind 's opening gross of $65.6 million. By June 1 it grossed $115 million, while the first film had grossed $153 million in the same amount of time. Disney CEO Robert Iger attributed the film's underperformance to being released between two of the year's biggest hits, "Iron Man" and "Indiana Jones and the Kingdom of the Crystal Skull".


text: On May 16, the film also opened at number one in twelve other countries, grossing $22.1 million, and bringing the worldwide opening total to about $77 million. The film opened in Russia with $6.7 million, the biggest opening of the year; it earned $6.3 million (15% more than the first) in Mexico; $4 million in South Korea, making it in the third-most-successful Disney film there; $2 million from India, which was triple the gross of the first; and it earned $1.1 million in Malaysia, making it the country's third-most-popular Disney film after the "Pirates of the Caribbean" sequels. The film also opened with $1 million in Argentina on June 13, which was Disney's third-biggest opening in the country and the biggest of 2008 at that time. "Prince Caspian" made $141.6 million in the United States and Canada while the worldwide total stands at $419.7 million. The movie was the tenth-highest-grossing film of 2008 worldwide, and was Disney's second-highest-grossing film of 2008 after "WALL-E".


title: RoboCop (2014 film)

text: RoboCop is a 2014 American science fiction action film directed by José Padilha and written by Joshua Zetumer, Edward Neumeier, and Michael Miner. It is a remake of the 1987 film of the same name and the fourth installment in the "RoboCop" film series. The film stars Joel Kinnaman as the title character, with Gary Oldman, Michael Keaton, Samuel L. Jackson, Abbie Cornish and Jackie Earle Haley in supporting roles. Set in 2028, the film sees a detective become critically injured and turned into a cyborg police officer whose programming blurs the line between man and machine.


title: RoboCop (2014 film)

text: Screen Gems first announced a remake in 2005, but it was halted one year later. Darren Aronofsky and David Self were originally assigned to direct and write the film, respectively, for a tentative 2010 release. The film was delayed numerous times, and Padilha signed on in 2011. In March 2012, Metro-Goldwyn-Mayer Pictures announced an August 2013 release, but that was then changed to February 2014. The principal characters were cast from March to July 2012. Principal photography began in September 2012 in Toronto and Vancouver in Canada, with additional locations in Hamilton, in Canada, and Detroit in the United States.


title: RoboCop (2014 film)

text: "RoboCop" was released in the United States on February 12, 2014, by Sony Pictures Releasing. The film received mixed reviews from critics, with praise for some of the cast's performances, action, updates, style, and political/media satire, but criticism for its lack of violence, social satire, and humor compared to the original film, and grossed $242.6 million against its $100–130 million budget.


title: RoboCop (2014 film)

text: In 2028, multinational conglomerate OmniCorp revolutionizes warfare by introducing robotic peacekeepers capable of maintaining law and order. Led by CEO Raymond Sellars, the company moves to market its technology to domestic law enforcement. However, the passage of the Dreyfus Act, forbidding deployment of militarized drones in the United States, prevents this. Aware that most Americans oppose the use of military systems in their communities, Sellars asks Dr. Dennett Norton and his research team to come up with an alternative. The result is a proposal for a cyborg police officer. However, Norton informs Sellars that only someone stable enough to handle being a cyborg can be turned into one, and some candidates are rejected.


title: RoboCop (2014 film)

text: A Detroit police detective, Alex Murphy, is chosen after he is critically injured in a car bomb explosion arranged by crime boss Antoine Vallon as revenge for Murphy's investigation into his activities. Norton persuades Murphy's wife, Clara, to sign off on the procedure. Upon waking up and realizing the extent of his transformation, a frustrated Murphy escapes, but Norton shuts him down and brings him back to the lab. As Norton reveals to Murphy that the only remnants of his human body are most of his head (excluding parts of the brain), respiratory organs, heart, and right hand, a disgusted Murphy asks for euthanasia. Norton reminds Murphy about his wife's and son's patience, convincing him to live. During combat training with trainer Rick Mattox, Murphy proves unable to compete with the standard OmniCorp drones efficiently. Norton alters Murphy's programming to make him more efficient by letting drone programming take over his actions, making Murphy think they are his. This re-programming increases Murphy's efficiency dramatically, but leaves him less empathetic, due to his human nature being bypassed. That night, Murphy goes to his house to meet Clara and his son David to make sure they are okay, comforting David.


title: RoboCop (2014 film)

text: Shortly before he is publicly unveiled, the entire police database is uploaded to RoboCop's system, including the Alex Murphy crime scene, leading Murphy to have an emotional breakdown, forcing Norton to suppress his emotions. During the ceremony, RoboCop identifies and apprehends a criminal in the crowd. He goes on to reduce crime in Detroit dramatically, simultaneously increasing public support for repealing the Dreyfus Act. Aware that Clara has begun to ask questions, Sellars orders Norton to keep her away from her husband.


title: RoboCop (2014 film)

text: Clara nevertheless manages to confront RoboCop, telling him of their son David's nightmares, social withdrawal, and unresponsive behavior. The experience drives Murphy to override his programming and access the previously sealed files on his attempted murder. From them, he learns his son had PTSD after witnessing the explosion. Murphy pursues Vallon's gang to exact revenge. He takes heavy damage from their armor-piercing weapons but manages to kill Vallon and his men. Murphy returns to the station and joins with his old partner, Jack Lewis. They confront the two corrupt police officers who betrayed him to Vallon, shooting one and tasing the other. Learning that the Chief of Police was also involved, Murphy moves to arrest her but is remotely shut down by Mattox.


title: RoboCop (2014 film)

text: With the help of pro-OmniCorp talk show host Pat Novak, Sellars uses the incident to get the Dreyfus Act repealed. Clara goes to the press and fiercely demands to see her husband. Fearful of being exposed, Sellars orders Mattox to destroy RoboCop while being repaired and tricks Clara into thinking that Murphy died. Norton reaches him first and reveals the truth. RoboCop narrowly escapes from the building just as it undergoes a lockdown.


title: RoboCop (2014 film)

text: Murphy returns and storms the building, fighting his way through the ED-209 drones sent to stop him, while Lewis and his fellow police arrive to hold off the rest of OmniCorp's forces. Mattox subdues Murphy, preparing to finish him off, but is killed by Lewis. Murphy then makes his way to the roof where Sellars is waiting for a helicopter with Clara and David as hostages. Murphy's programming initially prevents him from arresting Sellars. However, he overcomes his programming long enough to kill Sellars when Sellars overconfidently taunts him.


title: RoboCop (2014 film)

text: OmniCorp's parent company, OCP, shuts down the project. The President vetoes the repeal of the Dreyfus Act based on Norton's testimony, much to Novak's anger. Murphy's body is rebuilt in Norton's laboratory, and he waits for Clara and David, who are coming to visit him.


title: RoboCop (2014 film)

text: Screen Gems first announced that it was working on a new "RoboCop" film in late 2005; no further details were given. In November 2006, Bloody Disgusting reported that the "RoboCop" remake had been halted. In March 2008, "RoboCop" was mentioned in an Metro-Goldwyn-Mayer Pictures press release regarding franchises it would be developing in the future. An MGM poster displayed at the Licensing International Expo of June 2008 read, ""RoboCop" coming 2010." The studio met with Darren Aronofsky to discuss the possibility of him directing the new film. At the 2008 San Diego Comic-Con International, Aronofsky was confirmed to direct the 2010 "RoboCop" film, with David Self writing the script. On May 2009, the release date was postponed to 2011. At the 2009 San Diego Comic-Con, MGM representatives explained the pushed back was due to scheduling conflicts with the director. MGM representatives would neither confirm nor deny if Aronofsky was still connected with the project.


title: RoboCop (2014 film)

text: On January 5, 2010, it was reported that the "RoboCop" film was indeed on hold and Darren Aronofsky was still attached to direct. When MGM executives, particularly chairperson Mary Parent, saw the immense success of the James Cameron film "Avatar", they wanted the new "RoboCop" to be a 3D film. Due to the financial state of MGM at the time, with creative disagreements between the studio and Aronofsky, the film remained on hold. On March 2, 2011, it was announced that Brazilian director José Padilha was attached to direct, instead of Aronofsky, mainly because of his commercial success with "Elite Squad" and "". On March 11, 2011, Sean O'Neal of "The A.V. Club" stated that up-and-coming screenwriter Joshua Zetumer would write the script. Although Zetumer had been involved with a number of canceled or otherwise stagnant projects, he had also worked on the screenplay for "Quantum of Solace". Comparing the new work to the 1987 film, Padilha said in 2011, "The environment nowadays is different than the environment in the 80's and the way to explore the concept is different." It was announced in October 2013 that the film would get an IMAX release in February 2014. Sony Pictures Releasing distributed the film in United States, Canada, and worldwide with the exclusion of United Kingdom, France, Germany, Switzerland and Austria, where StudioCanal handled distribution.


title: RoboCop (2014 film)

text: On April 12, 2011, rumors stated that MGM was looking at A-list stars such as Tom Cruise, Johnny Depp, and Keanu Reeves to star in the lead role of Alex Murphy/RoboCop in the upcoming remake. On June 16, 2011, pictures of promotional art were released, as well as a sales sheet from the Licensing International Expo 2011 in Las Vegas, NV, promoting a future release of "RoboCop" which would re-invent the franchise. The promotional material had sparse details of the film but clearly stated that MGM was targeting a 2013 release and José Padilha of "Elite Squad" and "Bus 174" fame was confirmed as director of the film. Michael Fassbender, Matthias Schoenaerts, and Russell Crowe were considered to play the title role. On March 3, 2012, it was confirmed that actor Joel Kinnaman would be playing the lead role, and on March 9, 2012, the film was given a release date of August 9, 2013. Hugh Laurie was set to play the role of the CEO of OmniCorp on June 13, 2012 but he later declined. Clive Owen was in the running to replace him until Michael Keaton was cast in the role in August 2012. Edward Norton, Sean Penn, Gael García Bernal, and Rebecca Hall were initially considered for the roles of Dr. Dennett Norton, Novak, Jack Lewis, and Clara Murphy, respectively. The roles ended up being cast with Gary Oldman, Samuel L. Jackson, Michael K. Williams, and Abbie Cornish. Jackie Earle Haley officially signed on in July 2012 to play a "military man named Mattox responsible for training Kinnaman's RoboCop". Jay Baruchel was confirmed to have signed onto the film on July 25, 2012, as Pope, a marketing exec for OmniCorp. Douglas Urbanski, cast as Mayor Durant, is typically a non-actor who is also the decades-long manager and producing partner of Gary Oldman. Rob Bottin's original costume for the title character was re-imagined. Initial reactions were unfavorable and some compared it with Christian Bale's Batman suit in Christopher Nolan's "The Dark Knight" films. News reports discussed a "rather derivative" design which "looks more like kevlar body armor than Detroit steel". "The Guardian" described the new RoboCop as "a crime-fighting machine who is not so much cyborg as skinny bloke in matte-black body armour." and said "The new Robosuit has a scaly, insectoid look to it, with a blacked-out visor rather than the original's steel extended helmet."


title: RoboCop (2014 film)

text: Before starting filming, Brazilian director Fernando Meirelles revealed that Padilha called him to admit he was having "the worst experience of his life" and "for every ten ideas he has, nine are cut". Padilha, according to Meirelles, said, "It's hell here. The film will be good, but I have never suffered so much and I don't want to do it again". However, Padilha talked enthusiastically about the project at the 2013 San Diego Comic-Con International and in his introduction to the second trailer. Production began in September 2012.


title: RoboCop (2014 film)

text: Filming took place in Toronto, other parts of Ontario, and Vancouver. Shooting locations within the city included the University of Toronto where a scene was filmed that appeared to be RoboCop being unveiled to the city of Detroit. Filming in Hamilton began on Monday, September 24, 2012, for five nights. Streets were closed for each of those days from 6pm to 7am. A spokesperson for MGM confirmed that the film was partially shot in Detroit.


title: RoboCop (2014 film)

text: An OmniCorp website was set up in early 2012. A film-specific "RoboCop" site was launched nearer the release date. A rough trailer and some film footage featuring Samuel L. Jackson's and Michael Keaton's characters was shown at the 2013 San Diego Comic-Con International. According to director Padilha, the first theatrical trailer was supposed to debut with "Elysium", but it was instead released online on September 5, 2013, and was attached to showings of "Riddick". Two further trailers were also released, one of which was uploaded to Yahoo! Movies with an introduction from Padilha, in which he said, "I'm thrilled to have had the chance to direct this movie ... I'm a fan of the original movie because it was ahead of its time both aesthetically and thematically. Back in '87, it was talking already about automated violence — both in war and law enforcement. And now, we actually have that happening in our lives and it's going to be more and more present. So we already have the drones. Now we're going to have automated robots doing law enforcement and replacing soldiers in the battlefield. So we had a chance to make this movie and talk about this." Two main posters were released in late 2013, with one showing CTBA complex in Madrid. TV spots were uploaded to Sony Pictures and StudioCanal UK's YouTube channels from January 2014. A video game for Android and iOS was released as a tie-in to the film. Jada Toys released a range of action figures, including a radio control RoboCop on his Police Cruiser and roleplay merchandise including the new RoboCop helmet and chestplate. Two detailed figures from the film were released in April 2014 from Play Arts Kai. The company threezero is also creating two RoboCop figures and a camo-coloured ED-209. were published weekly starting from the week of theatrical release in the US. They were collected in a trade paperback edition under the title "RoboCop: The Human Element" to coincide with the home media releases.


title: RoboCop (2014 film)

text: "RoboCop" was released on DVD and Blu-ray on June 3, 2014, in the United States by 20th Century Fox Home Entertainment. Best Buy had an exclusive Metalpak edition, while the Target edition came with an exclusive digital download of the previously unreleased comic "Gauntlet". In the UK, an exclusive Amazon steelbook was made available on June 9.


title: RoboCop (2014 film)

text: To coincide with the home media releases, Detroit celebrated with "RoboCop Day" on June 3, 2014, during which RoboCop was photographed with fans throughout the city, and threw the first pitch at the Detroit Tigers game.


title: RoboCop (2014 film)

text: "Robocop" opened in 3,372 theaters in The United States and grossed $21,681,430, with an average of $6,430 per theater and ranking #3 at the box office. The film ultimately earned $58,607,007 domestically and $184,081,958 internationally for a total of $242,688,965, on a $100–130 million budget.


title: RoboCop (2014 film)

text: "RoboCop" received mixed reviews. On review aggregation website Rotten Tomatoes, the film has an approval rating of based on reviews and an average rating of . The site's critical consensus reads, "While it's far better than it could have been, José Padilha's "RoboCop" remake fails to offer a significant improvement over the original." On Metacritic, which assigns a weighted average based on selected critic reviews, the film has a score of 52 out of 100 based on 41 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a "B+" grade, on an A+ to F scale.


title: RoboCop (2014 film)

text: "RoboCop" received several comparisons to the 1987 film; the consensus was that it fell short. Guy Lodge of "Variety" said that "It's a less playful enterprise than the original, but meets the era's darker demands for action reboots with machine-tooled efficiency and a hint of soul." Leslie Felperin from "The Hollywood Reporter" wrote that the remake "has a better cast, more meticulous script and, naturally, flashier effects, but it lacks the original's wit and subversive slipperiness." Andrew Osmond from "SFX" says, "It's not a classic like Paul Verhoeven's 1987 original, but it is an excellent, intelligent SF drama", believing it is "one of the boldest Hollywood reboots we've seen yet."


title: RoboCop (2014 film)

text: Chris Hewitt from "Empire" wrote, "there's a sense that Padilha, or perhaps his corporate overlords, don't really get what made the original so special." Nigel Andrews from "Financial Times" called it "a leaden, needless remake". Peter Bradshaw of "The Guardian" wrote it was "a dumbed-down shoot-em-up frontloaded with elaborate but perfunctory new 'satirical' material in which the movie loses interest with breathtaking speed". His fellow "Guardian" film critic Mark Kermode rated it 3 out of 5 stars, writing that "against the odds, this emerges as far less depressing fare than one might have expected, retaining the key elements of political satire and philosophical musings that powered Verhoeven's original" and "at least it appears to have been made by someone who understands what made the original great."


title: RoboCop (2014 film)

text: Nancy Allen, who played Anne Lewis in the original trilogy, did not like the remake, as she pointed to a lack of ideas from major movie studios as part of the reason for the seemingly endless glut of remakes, and stated that she did not think one should "remake iconic films." Allen went on to praise the original's script and crew, however.


title: RoboCop (2014 film)

text: On September 11, 2015, Den of Geek reported that Sony was working on a sequel, though plans subsequently changed.


title: RoboCop (2014 film)

text: In July 2018, it was announced the series would again be rebooted with a film directed by Neill Blomkamp, titled "RoboCop Returns", which will serve as a direct sequel to Verhoeven's original film and ignore the events of previous sequels and the 2014 reboot.


title: RoboCop (2014 film)

text: On August 15, 2019, Blomkamp announced that he was no longer directing the film as he is focusing on directing a horror movie instead. On November 20, 2019, Abe Forsythe was set to direct.


title: Sea

text: The sea, connected as the world ocean or simply the ocean, is the body of salty water that covers approximately 71% of the Earth's surface. The word sea is also used to denote second-order sections of the sea, such as the Mediterranean Sea, as well as certain large, entirely landlocked, saltwater lakes, such as the Caspian Sea. The sea moderates Earth's climate and has important roles in the water, carbon, and nitrogen cycles. Humans harnessing and studying the sea have been recorded since ancient times, and evidenced well into prehistory, while its modern scientific study is called oceanography. The most abundant solid dissolved in seawater is sodium chloride. The water also contains salts of magnesium, calcium, potassium, and mercury, amongst many other elements, some in minute concentrations. Salinity varies widely, being lower near the surface and the mouths of large rivers and higher in the depths of the ocean; however, the relative proportions of dissolved salts vary little across the oceans.


title: Sea

text: Winds blowing over the surface of the sea produce waves, which break when they enter the shallow water near land. Winds also create surface currents through friction, setting up slow but stable circulations of water throughout the oceans. The directions of the circulation are governed by several factors including the shapes of the continents and Earth's rotation (through the Coriolis effect). Deep-sea currents, known as the global conveyor belt, carry cold water from near the poles to every ocean. Tides, the generally twice-daily rise and fall of sea levels, are caused by Earth's rotation and the gravitational effects of the Moon and, to a lesser extent, of the Sun. Tides may have a very high range in bays or estuaries. Submarine earthquakes arising from tectonic plate movements under the oceans can lead to destructive tsunamis, as can volcanoes, huge landslides, or the impact of large meteorites.


title: Sea

text: A wide variety of organisms, including bacteria, protists, algae, plants, fungi, and animals, lives in the sea, which offers a wide range of marine habitats and ecosystems, ranging vertically from the sunlit surface and shoreline to the great depths and pressures of the cold, dark abyssal zone, and in latitude from the cold waters under polar ice caps to the warm waters of coral reefs in tropical regions. Many of the major groups of organisms evolved in the sea and life may have started there.


title: Sea

text: The sea provides substantial supplies of food for humans, mainly fish, but also shellfish, mammals and seaweed, whether caught by fishermen or farmed underwater. Other human uses of the sea include trade, travel, mineral extraction, power generation, warfare, and leisure activities such as swimming, sailing, and scuba diving. Many of these activities create marine pollution. The sea has been an integral element for humans throughout history and culture.


title: Sea

text: The sea is the interconnected system of all the Earth's oceanic waters, including the Atlantic, Pacific, Indian, Southern and Arctic Oceans. However, the word "sea" can also be used for many specific, much smaller bodies of seawater, such as the North Sea or the Red Sea. There is no sharp distinction between seas and oceans, though generally seas are smaller, and are often partly (as marginal seas or particularly as the Mediterranean sea) or wholly (as inland seas) enclosed by land. However, an exception to this is the Sargasso Sea which has no coastline and lies within a circular current, the North Atlantic Gyre. Seas are generally larger than lakes and contain salt water, but the Sea of Galilee is a freshwater lake. The United Nations Convention on the Law of the Sea states that all of the ocean is "sea".


title: Sea

text: Earth is the only known planet with seas of liquid water on its surface, although Mars possesses ice caps and similar planets in other solar systems may have oceans. Earth's of sea contain about 97.2 percent of its known water and cover approximately 71 percent of its surface. Another 2.15% of Earth's water is frozen, found in the sea ice covering the Arctic Ocean, the ice cap covering Antarctica and its adjacent seas, and various glaciers and surface deposits around the world. The remainder (about 0.65% of the whole) form underground reservoirs or various stages of the water cycle, containing the freshwater encountered and used by most terrestrial life: vapor in the air, the clouds it slowly forms, the rain falling from them, and the lakes and rivers spontaneously formed as its waters flow again and again to the sea.


title: Sea

text: The scientific study of water and Earth's water cycle is hydrology; hydrodynamics studies the physics of water in motion. The more recent study of the sea in particular is oceanography. This began as the study of the shape of the ocean's currents but has since expanded into a large and multidisciplinary field: it examines the properties of seawater; studies waves, tides, and currents; charts coastlines and maps the seabeds; and studies marine life. The subfield dealing with the sea's motion, its forces, and the forces acting upon it is known as physical oceanography. Marine biology (biological oceanography) studies the plants, animals, and other organisms inhabiting marine ecosystems. Both are informed by chemical oceanography, which studies the behavior of elements and molecules within the oceans: particularly, at the moment, the ocean's role in the carbon cycle and carbon dioxide's role in the increasing acidification of seawater. Marine and maritime geography charts the shape and shaping of the sea, while marine geology (geological oceanography) has provided evidence of continental drift and the composition and structure of the Earth, clarified the process of sedimentation, and assisted the study of volcanism and earthquakes.


title: Sea

text: A characteristic of seawater is that it is salty. Salinity is usually measured in parts per thousand (‰ or per mil), and the open ocean has about solids per litre, a salinity of 35 ‰. The Mediterranean Sea is slightly higher at 38 ‰, while the salinity of the northern Red Sea can reach 41‰. In contrast, some landlocked hypersaline lakes have a much higher salinity, for example the Dead Sea has dissolved solids per litre (300 ‰).


title: Sea

text: While the constituents of table salt (sodium and chloride) make up about 85 percent of the solids in solution, there are also other metal ions such as magnesium and calcium, and negative ions including sulphate, carbonate, and bromide. Despite variations in the levels of salinity in different seas, the relative composition of the dissolved salts is stable throughout the world's oceans. Seawater is too saline for humans to drink safely, as the kidneys cannot excrete urine as salty as seawater.


title: Sea

text: Although the amount of salt in the ocean remains relatively constant within the scale of millions of years, various factors affect the salinity of a body of water. Evaporation and by-product of ice formation (known as "brine rejection") increase salinity, whereas precipitation, sea ice melt, and runoff from land reduce it. The Baltic Sea, for example, has many rivers flowing into it, and thus the sea could be considered as brackish. Meanwhile, the Red Sea is very salty due to its high evaporation rate.


title: Sea

text: Sea temperature depends on the amount of solar radiation falling on its surface. In the tropics, with the sun nearly overhead, the temperature of the surface layers can rise to over while near the poles the temperature in equilibrium with the sea ice is about . There is a continuous circulation of water in the oceans. Warm surface currents cool as they move away from the tropics, and the water becomes denser and sinks. The cold water moves back towards the equator as a deep sea current, driven by changes in the temperature and density of the water, before eventually welling up again towards the surface. Deep seawater has a temperature between and in all parts of the globe.


title: Sea

text: Seawater with a typical salinity of 35 ‰ has a freezing point of about −1.8 °C (28.8 °F). When its temperature becomes low enough, ice crystals form on the surface. These break into small pieces and coalesce into flat discs that form a thick suspension known as frazil. In calm conditions this freezes into a thin flat sheet known as nilas, which thickens as new ice forms on its underside. In more turbulent seas, frazil crystals join into flat discs known as pancakes. These slide under each other and coalesce to form floes. In the process of freezing, salt water and air are trapped between the ice crystals. Nilas may have a salinity of 12–15 ‰, but by the time the sea ice is one year old, this falls to 4–6 ‰.


title: Sea

text: The amount of oxygen found in seawater depends primarily on the plants growing in it. These are mainly algae, including phytoplankton, with some vascular plants such as seagrasses. In daylight the photosynthetic activity of these plants produces oxygen, which dissolves in the seawater and is used by marine animals. At night, photosynthesis stops, and the amount of dissolved oxygen declines. In the deep sea, where insufficient light penetrates for plants to grow, there is very little dissolved oxygen. In its absence, organic material is broken down by anaerobic bacteria producing hydrogen sulphide.


title: Sea

text: Climate change is likely to reduce levels of oxygen in surface waters, since the solubility of oxygen in water falls at higher temperatures. Ocean deoxygenation is projected to increase hypoxia by 10%, and triple suboxic waters (oxygen concentrations 98% less than the mean surface concentrations), for each 1 °C of upper ocean warming.


title: Sea

text: The amount of light that penetrates the sea depends on the angle of the sun, the weather conditions and the turbidity of the water. Much light gets reflected at the surface, and red light gets absorbed in the top few metres. Yellow and green light reach greater depths, and blue and violet light may penetrate as deep as . There is insufficient light for photosynthesis and plant growth beyond a depth of about .


title: Sea

text: Over most of geologic time, the sea level has been higher than it is today. The main factor affecting sea level over time is the result of changes in the oceanic crust, with a downward trend expected to continue in the very long term. At the last glacial maximum, some 20,000 years ago, the sea level was about lower than in present times (2012).


title: Sea

text: For at least the last 100 years, sea level has been rising at an average rate of about per year. Most of this rise can be attributed to an increase in the temperature of the sea due to climate change, and the resulting slight thermal expansion of the upper of water. Additional contributions, as much as one quarter of the total, come from water sources on land, such as melting snow and glaciers and extraction of groundwater for irrigation and other agricultural and human needs.


title: Sea

text: Wind blowing over the surface of a body of water forms waves that are perpendicular to the direction of the wind. The friction between air and water caused by a gentle breeze on a pond causes ripples to form. A strong blow over the ocean causes larger waves as the moving air pushes against the raised ridges of water. The waves reach their maximum height when the rate at which they are travelling nearly matches the speed of the wind. In open water, when the wind blows continuously as happens in the Southern Hemisphere in the Roaring Forties, long, organised masses of water called swell roll across the ocean. If the wind dies down, the wave formation is reduced, but already-formed waves continue to travel in their original direction until they meet land. The size of the waves depends on the fetch, the distance that the wind has blown over the water and the strength and duration of that wind. When waves meet others coming from different directions, interference between the two can produce broken, irregular seas. Constructive interference can cause individual (unexpected) rogue waves much higher than normal. Most waves are less than high and it is not unusual for strong storms to double or triple that height; offshore construction such as wind farms and oil platforms use metocean statistics from measurements in computing the wave forces (due to for instance the hundred-year wave) they are designed against. Rogue waves, however, have been documented at heights above .


title: Sea

text: The top of a wave is known as the crest, the lowest point between waves is the trough and the distance between the crests is the wavelength. The wave is pushed across the surface of the sea by the wind, but this represents a transfer of energy and not a horizontal movement of water. As waves approach land and move into shallow water, they change their behavior. If approaching at an angle, waves may bend (refraction) or wrap rocks and headlands (diffraction). When the wave reaches a point where its deepest oscillations of the water contact the seabed, they begin to slow down. This pulls the crests closer together and increases the waves' height, which is called wave shoaling. When the ratio of the wave's height to the water depth increases above a certain limit, it "breaks", toppling over in a mass of foaming water. This rushes in a sheet up the beach before retreating into the sea under the influence of gravity.


title: Sea

text: A tsunami is an unusual form of wave caused by an infrequent powerful event such as an underwater earthquake or landslide, a meteorite impact, a volcanic eruption or a collapse of land into the sea. These events can temporarily lift or lower the surface of the sea in the affected area, usually by a few feet. The potential energy of the displaced seawater is turned into kinetic energy, creating a shallow wave, a tsunami, radiating outwards at a velocity proportional to the square root of the depth of the water and which therefore travels much faster in the open ocean than on a continental shelf. In the deep open sea, tsunamis have wavelengths of around , travel at speeds of over 600 miles per hour (970 km/hr) and usually have a height of less than three feet, so they often pass unnoticed at this stage. In contrast, ocean surface waves caused by winds have wavelengths of a few hundred feet, travel at up to and are up to high.


title: Sea

text: As a tsunami moves into shallower water its speed decreases, its wavelength shortens and its amplitude increases enormously, behaving in the same way as a wind-generated wave in shallow water, but on a vastly greater scale. Either the trough or the crest of a tsunami can arrive at the coast first. In the former case, the sea draws back and leaves subtidal areas close to the shore exposed which provides a useful warning for people on land. When the crest arrives, it does not usually break but rushes inland, flooding all in its path. Much of the destruction may be caused by the flood water draining back into the sea after the tsunami has struck, dragging debris and people with it. Often several tsunami are caused by a single geological event and arrive at intervals of between eight minutes and two hours. The first wave to arrive on shore may not be the biggest or most destructive.