title: Wonder Egg Priority

text: Shinji Nojima, a well-known writer of live-action drama television, first conceived "Wonder Egg Priority" when he observed that live-action dramas had recently been less popular with the younger audience that he wanted to target with his next story. Nojima was attracted to the medium of anime due to his interest in reaching its engaged fandom that would often express their own interpretations in fan works, and his desire to tell a story that would not be feasible in a live-action production. Feeling that many anime leaned too far towards the fantastical, Nojima desired to find a middle ground between the realism of live-action dramas and the more exaggerated qualities of anime. As Nojima lacked familiarity with the anime industry and did not know who would be best to realize his vision, a producer from Nippon TV connected him with Aniplex, Cloverworks and Shin Wakabayashi, who would come to direct the series. Nojima said he did not consult Wakabayashi and the animation team about the scripts, as he was confident in their ability to realize his scripts as a high quality animation, and placed his complete trust in them to realize the story as they felt best. The difference in the half hour timeslot typical of late night anime as opposed to the one hour timeslots for live-action dramas that Nojima was used to was not a major creative consideration for him, as he was confident in his ability to pace the story effectively and therefore instead focused on the number of episode scripts. However, as the plot grew in complexity, he realized it would not be possible for him to finish all of his envisioned narrative in only twelve episodes, and thus some of the plot was cut from the final scripts as a result.


title: Wonder Egg Priority

text: "Wonder Egg Priority"'s visual style was frequently compared by critics to the works of Naoko Yamada; Wakabayashi had previously worked with Yukiko Horiguchi, who formerly contributed character designs to "K-On!" and "Tamako Market", both directed by Yamada, as she also provided the character designs for "22/7". Kevin Cirugeda of "SakugaBlog" said that though many directors, most recently inspired by Yamada's 2018 film "Liz and the Blue Bird", had tried to emulate her style, Wakabayashi's collaboration with Horiguchi enabled him to replicate that style more accurately than any other director who had previously attempted such. Cirugeda did note, however, that Kyoto Animation's unique production pipeline inevitably made a perfect replication of Yamada's style nearly impossible, but that for "Wonder Egg Priority", Wakabayashi and lead animator Keisuke Kobayashi had settled on a distinct style of "over-articulation" that was perceived as having "raised the volume" to distract from the small imperfections. The series marked many young animators' debuts in certain production roles, as Wakabayashi and his team recruited such new talents as Yuki Yonemori on episode 3, in his first time working as an episode director, and Yuzu Hori and Yuichiro Komuro, performing episode direction and storyboarding duties, respectively, for their first time on episode 4. Episode direction and storyboarding work on most of "Wonder Egg Priority"'s episodes was delegated to a single animator, which Cirugeda believed was ideal as the team "dyed each episode with their own unique flavor," although he noted the possible drawback of overwhelming the inexperienced animation talents recruited to the production.


title: Wonder Egg Priority

text: In planning "Wonder Egg Priority"'s cast of characters, Nojima gave minimal details in the script and outlines to give the animation staff freedom to flesh them out according to their interpretations. Wakabayashi selected Saki Takahashi (who also came to debut in the role of Chief Animation Director on the series), an animator previously known for her work on "Darling in the Franxx" and "Her Blue Sky", to do the character designs, as her initial drafts of the designs were the first to strongly catch his interest. Takahashi enthusiastically joined the project, as doing character designs for an original production had been something to which she had aspired since beginning her career as an animator, and was also intrigued by Nojima's characterizations which she said "highlighted both the darkness in humans as well as their innocence." According to Wakabayashi, the design and characterization of protagonist Ai Ohto was strongly influenced by Miu Takigawa, a character featured in "" (Wakabayashi's previous work). Takahashi's initial designs for Ai were more in line with common media stereotypes of hikikomori individuals, with a moody and dark attitude about her, however Wakabayashi, believing Ai to be a fundamentally curious and cheerful character, asked Takahashi to alter how Ai was drawn in order to further bring out that side of her personality.


title: Wonder Egg Priority

text: There was also a strong attention to detail focused on the clothing worn by the characters, as Wakabayashi felt it was important for their attire to be realistic, as well as deliberately curated in order to express each character's personality and disposition. Rika's outfit was designed to suggest that she was "tired of caring about her looks" as a former idol, while Neiru's was meant to imply that she wore whatever expensive clothing was selected for her by her assistant. Momoe's design was noted by Takahashi as the most challenging to create, due to her androgynous design and the idea that she curated her clothing according to her insecurities about her appearance and gender presentation, coupled with the need for the characters' attire to not be "too fashionable" in the interest of realism. Takahashi noted that she believed Momoe did not have many feminine-coded clothes in her wardrobe, contributing to her choice to wear only a dress when she is asked out on a date in the tenth episode.


title: Wonder Egg Priority

text: The show's "action director," animator Yusuke Kawakami, was previously known for having contributed to the animation of "Black Clover" and "SSSS.Gridman". Wakabayashi had previously invited Kawakami to participate in the production of "The Diary of Our Days", an offer he had to turn down due to scheduling conflicts. Kawakami joined the production primarily because he had grown tired of being in charge of action sequences that he felt were too divorced from narrative, and wished to focus not only on action but also scenes of realistic drama and everyday life that the action scenes would be designed to complement, an opportunity he felt that he would be afforded working with Wakabayashi. In colloboration with Wakabayashi and storyboard artist Keisuke Shinohara, Kawakami conceived the grounded everyday settings for the action sequences with this interest in mind. Wakabayashi tried his best to ensure the production "felt like a democratic environment" and that new ideas and communication from the staff were welcome, which Kawakami and assistant director Yuta Yamazaki agreed led to an improved quality of the final work. According to Cirugeda, Wakabayashi's careful sensitivity towards the needs and limits of his team was a strong contributor to the strength of the work's sustained quality despite tight deadlines amidst an unaccommodating production schedule.


title: Wonder Egg Priority

text: Industry insiders and events connected to the series exemplified deep-rooted issues in the series' production from early on. In one instance, the staff were unable to complete the 8th episode of the series on time, and so a recap episode was instead aired in order to provide more time for the team. The production falling behind and the airing of the recap episode disrupted the overall broadcast schedule, leaving the originally planned twelfth episode initially unreleased, eventually to be reworked into the special episode aired three months later. Said special episode began with a recap segment that took up the first half of the one hour broadcasting timeslot in which it was scheduled, for which it was criticized, as the episode had been advertised as a double length installment. While CloverWorks as a company is considered a "freelancing-heavy studio" (indicating that most of the work on the studio's projects come from freelancers, rather than studio employees), the situation became dire enough for the company to reach out to foreigners online, many of them without Japanese-language literacy or experience working on a television anime, for help with the animation production. Freelance translators Blou and Far were originally contracted for episode 10 of the series, initially helping Croatia-based animator Ani communicate with production assistant Hayato Satō. However, they became more involved in the final episodes, being credited for , , and for their contributions in helping recruit and assist foreign animators, and bridging the language barrier between them and the domestic production team. The special episode reportedly entered into the second key animation process only five days before it was aired, prompting a displeased animator to air their grievances in a post on Bilibili.


title: Wonder Egg Priority

text: Although the instance of an episode not being finished on time was widely known due to the recap episode having substituted it, the series as a whole was plagued with issues in which episodes were normally finished only hours before being aired. Several times, members of the series' production team were sent to the hospital, most notably series producer Shouta Umehara who was reported to have been hospitalized two times in a since-deleted tweet. Kevin Cirugeda of "Sakugablog" attributed the struggles to the production's limited pool of animation staff as well as the systemic shortcomings typical of TV anime production processes which he characterized as "incompatible" with the staff's creative ambitions. Cirugeda suggested that such issues in anime tend to occur due to production committees not caring about the "quality of the product [or its staff] beyond its marketability", which he pointed out Aniplex of being guilty of due to "shamelessly ly[ing]" as the lead company of the "Wonder Egg Priority" production committee, saying "anyone paying attention could notice what they were trying to hide." The troubled nature of the production was acknowledged by multiple English-language critics in discussions and reviews of the show, who attributed several of their criticisms to the production struggles. The production's use of overseas animators led critics Vrai Kaiser and Mercedez Clewis to express concerns that it might pave the way for future anime productions to do the same, which they worried could lead to similar complicity by production committees in the case of other troubled productions. Blou and Far, in being interviewed by "Anime News Network" about their experience on the production, advised readers that production assistants are "quite desperate" for help, often attempting to recruit foreigners with minimal regard for their skill in animation or art, and cautioned prospective animators to think carefully about their qualifications and be wary of the potential challenges and drawbacks of accepting any such offers.


title: Wonder Egg Priority

text: "Wonder Egg Priority" aired on Nippon TV and other channels from January 13 to March 31, 2021. Kanata Aikawa, Tomori Kusunoki, Shuka Saitō, and Hinaki Yano, under the unit name , performed both the opening and ending songs, respectively titled and . makes a special appearance in episode 7 as Rika's mother, Chiaki Kawai. During the last episode broadcast, it was announced that a special episode would be aired on June 30, 2021. The special was scheduled for a 1 hour timeslot, although in reality half of that time was taken up by a recap of the main series, making its effective runtime constitute a normal length episode.


title: Wonder Egg Priority

text: Funimation licensed the series and streamed it on its website in North America and the British Isles, in Europe through Wakanim, and in Australia and New Zealand through AnimeLab. On March 30, 2021, Funimation announced the series would be receiving an English dub, with the first two episodes premiering the next day. Following Sony's acquisition of Crunchyroll, the series was moved to Crunchyroll. GaragePlay licensed the series in Southeast Asia and streamed it on Bilibili. The series received a North American Blu-ray release on April 26th, 2022.


title: Wonder Egg Priority

text: In English-language coverage, "Wonder Egg Priority" received near immediate acclaim upon beginning its airing. Reviews in "Polygon", "Anime News Network", "Anime Feminist", and other outlets, were widely euphoric, strongly praising the high quality animation, soundtrack, music, voice acting, and narrative, as well as the handling of sensitive thematic material such as bullying, sexual assault, and suicide, which was generally seen as effective and captivating. The series was commonly described as one of, if not the best, new anime of 2021. Comparisons were positively drawn to the work of such directors as Naoko Yamada, Satoshi Kon, and Kunihiko Ikuhara, among others. However, the darker story elements received some criticisms, with some reviewers expressing discomfort with the anime's difficult themes, or voicing concerns that the story could fumble the handling of such topics further down the line. Discussing the production of the first few episodes, Kevin Cirugeda of "SakugaBlog" praised the quality of the animation, saying that director Shin Wakabayashi had made the most of his team's limitations in emulating Naoko Yamada's work at Kyoto Animation. Noting the "enchanting" first episode as one of the "best premieres" he had seen in recent memory, Cirugeda said it was unsurprising it had immediately attracted an enthusiastic audience.


title: Wonder Egg Priority

text: In a feature for "Polygon", Kambole Campbell strongly praised "Wonder Egg"'s refreshing take on magical girl genre tropes, positively highlighting the use of magical realism and flower language (a point at which another comparison to Yamada was drawn) as well as the perceived attention to the "systemic root" of the social issues at the center of the narrative. Numerous other critics have drawn similar comparisons to the magical girl genre, citing such anime as "Flip Flappers" and "Puella Magi Madoka Magica". However, series creator Shinji Nojima has rejected this classification; though Nojima acknowledged the similarity, he has referred to it as a fantasy series. Writing for "The AV Club", Juan Barquin (reviewing the series' main 12 episodes) called "Wonder Egg" "spellbinding" and praised it for its perceived interest in catharsis for the abuse victims portrayed within the story, comparing it to rape revenge films.


title: Wonder Egg Priority

text: As "Wonder Egg Priority" continued its weekly airing, the series garnered a more mixed critical response. A dialogue in the fourth episode, wherein the characters of Acca and Ura-Acca explain that the "Wonder Eggs" only contain girls because motivations of suicides supposedly differ between genders, was widely criticized, prompting Wakabayashi to say on Twitter that a dissenting line of dialogue from Neiru had been cut for time. However, Kevin Cirugeda commented in a later "Sakuga Blog" post that Nojima, in an interview, had echoed the same sentiment as Acca and Ura-Acca had done in their dialogue, which he criticized as being incongruous with the perceived themes of the story, and said gave the impression that "not everyone is on the same thematic page". Steve Jones of "Anime News Network" initially called the series a "slam dunk," commending the explorations of idol culture and transgender themes, but described later episodes as "uneven" and having "rough patches". In commenting on the perceived declining quality of the series, Jones attributed it partially to the production difficulties faced by the animation staff. Episode 10, in particular, was praised for its heavy focus on transgender issues through the development of Momoe and introduction of one-off trans male character Kaoru, both by Jones and "But Why Tho?" contributor Mercedez Clewis, who said it prompted a "full-on ugly cry" due to their emotionally relating to the story as a non-binary woman. However, some criticism was directed at the choice to follow up Momoe's story, widely read as expressing validation of her gender identity as a trans woman, with the "traumatic" conclusion of her being forced to eat her animal companion.


title: Wonder Egg Priority

text: The eleventh episode garnered particular criticisms for its late introduction of the character of Frill and the dedication to her backstory, which was seen as disrupting the show's already developing narrative arcs. While Jones enjoyed the episode, he opined it was not "the one "Wonder Egg Priority" needed right now." Jones called the shift in focus from the core cast to Acca and Ura-Acca a "grave miscalculation," and said that while he saw the potential for Frill's character to enrich the story, it only served to complicate the ongoing plot and deflate any potential for a satisfying finale. Clewis felt that episode 11 turned to "grimdark" territory, despite appreciating the narrative depth and sustained production value. Though they called Frill an "interesting" character who "I desperately wish I could hug," Clewis said her late introduction was "strange," and criticized the choice to tell her story from the point of view of Acca and Ura-Acca, in the perceived role of Frill's abusive parents, as "hurtful" and removing nuance from her arc. They also expressed confusion as to if Frill's "popping" tic was meant to carry sexual connotations, describing it as "uncomfortable" and out-of-place considering that the series had not previously appeared interested in sexualizing its female characters.


title: Wonder Egg Priority

text: Reception to the airing of episode 12, the series' final contiguously aired episode, was overall polarized. Jones' review was positive, with praise for the open-ended conclusion to Ai's character arc. While he expressed cautious optimism concerning the announcement of the eventual end to the series in its special episode, he said he "would not have minded this being the final word" and that the show had, at the least, remained "interesting" throughout. Michael Goldstein of "Otaku USA" felt differently, saying that the incomplete nature of the story made it impossible for them to decide whether to give it a recommendation until they had seen the special. While Clewis enjoyed episode 12, they opined the series was becoming "too plotty" and said that they were deeply saddened to hear of the production crunch that the animation staff had endured, concluding their review with trepidatious anticipation for the special episode. Chris Cimi of Otaquest, while praising the show, expressed that despite its quality, they felt that knowing of the production crunch made it difficult to enthusiastically recommend. Reviewing the contiguous 12 episodes, "Siliconera"'s Dani Maddox was mixed, praising the main characters and the series' illustration of their lack of agency as children, but felt that the anime did not give the same weight to the suicide victims seen in the Egg World segments, calling them "fodder" and opining that they were "treated horribly".


title: Wonder Egg Priority

text: Reviews of the special episode were generally negative, with both the story and animation seen as failing to live up to the standard set by the main series. It was often said that it failed to satisfyingly conclude the story and even actively made the series worse, with criticism usually directed at the conclusion to the subplot surrounding Koito and Sawaki. Calling the episode a "disaster," Jones said, "I just can't fathom the amount of tone-deafness it takes to spin an uncomfortably creepy relationship between a teacher and student into a situation where the student shoulders all the blame for her suicide." He described it as the "single worst" way that arc could have ended, and otherwise found little to praise. Despite Jones' criticism, he said the special did not ruin the show for him, and in a "Worst Anime of 2021" list said he still felt "a lot of affection" towards it, and hoped its creators would "move onto better things." Clewis, on the other hand, said the special had negated most of what they felt was special about the anime, disappointing them so deeply that "all of my good faith for the series is burnt out" and they would not want to engage with a sequel. Writing for "Fanbyte", Vrai Kaiser called the special "grossly irresponsible," and felt that it, alongside episode 12's retroactively observed implications that Ai's parallel world counterpart was mistaken about Sawaki, ruined the series overall by casting doubt on the stories of the other suicide victims previously seen in the Egg World. In contrast, writing for CBR, Xianwei Wu said the special episode was "good" despite the perceived impossibility of a satisfying resolution to the overall narrative, and expressed hope for a second season. Reviewing the full series for "The Outerhaven", Josh Piedra responded positively, saying it had been worthwhile and overall "fantastic," with the caveat that the special episode did not satisfyingly wrap up the story. However, Piedra also said that he felt the special did not take away from the quality of the other 12 episodes, and nonetheless recommended the series.


title: Wonder Egg Priority

text: Writing for "Anime Feminist" after the series' completion, Alex Henderson called the series "deeply disingenuous", believing it had undermined its themes of social ills and overcoming trauma by positioning Frill as "the root of all evil". Though they saw Frill as a victim of abuse from Acca and Ura-Acca, they expressed disappointment with the story's apparent siding with the latter's point of view, which they characterized as "a double-punch of victim-blaming." Pointing out the conclusion to the Koito/Sawaki subplot in the special episode, which they similarly perceived as dismissive of the relevant social issues, Henderson expressed that they were disappointed in "Wonder Egg"'s perceived failure to offer any satisfying conclusion to its social critiques, and concluded by saying that "A discussion about the systemic violence against vulnerable young people cannot simply stay a spectacle about monsters and maidens."


title: Wonder Egg Priority

text: In a "Best Anime Dubs" feature for "Anime News Network", AJ of "The Cartoon Cipher" praised "Wonder Egg Priority"'s English dub and its "reserved" performances, which they felt suited the tone of the show well, and in particular complimented Mikaela Krantz's "carefully manipulated" vocal performance as Ai Ohto, while criticizing some minor flaws such as the inconsistent sound quality of the recording and "slight linguistic hitches".


title: 2005 NFL Draft

text: The 2005 NFL draft was the procedure by which National Football League teams selected amateur college football players. It is officially known as the NFL Annual Player Selection Meeting. The draft was held April 23–24, 2005. The league also held a supplemental draft that year, which was held after the regular draft but before the regular season. The draft took place at the Jacob K. Javits Convention Center in New York City, and was televised for the 26th consecutive year on ESPN and ESPN2. It was the first to be held at the Javits Center after Madison Square Garden was utilized for previous drafts since 1995.


title: 2005 NFL Draft

text: The draft is best known for quarterback Aaron Rodgers falling to the 24th selection after being projected as one of the top picks. Although Rodgers believed he would be taken first overall by the San Francisco 49ers, the 49ers selected quarterback Alex Smith, and Rodgers was passed on by teams with other positional needs until he was drafted by the Green Bay Packers.


title: 2005 NFL Draft

text: Compensatory selections were distributed amongst fourteen teams, with the Philadelphia Eagles and the St. Louis Rams garnering the most with four picks each. Three of the first five picks were running backs, an NFL draft first.


title: 2005 NFL Draft

text: As of the 2022 NFL Season, quarterback Aaron Rodgers, and placekicker Robbie Gould are the only remaining active players from the draft.


title: 2005 NFL Draft

text: For each player selected in the supplemental draft, the team forfeited its pick in that round in the draft of the following season.


title: 2005 NFL Draft

text: In the explanations below, (PD) indicates trades completed prior to the start of the draft (i.e. Pre-Draft), while (D) denotes trades that took place during the 2005 draft.


title: Khan Noonien Singh

text: Khan Noonien Singh is a fictional character in the "Star Trek" science fiction franchise, who first appeared as the main antagonist in the "" episode "Space Seed" (1967), and was portrayed by Ricardo Montalbán, who reprised his role in the 1982 film "". In the 2013 film "Star Trek Into Darkness", he is portrayed by Benedict Cumberbatch.


title: Khan Noonien Singh

text: Khan had controlled more than a quarter of the Earth during the Eugenics Wars of the 1990s. After being revived from suspended animation in 2267 by the crew of the Starship "Enterprise", Khan attempts to capture the starship, but is thwarted by James T. Kirk and exiled on Ceti Alpha V to create a new society with his people. In "Star Trek II: The Wrath of Khan", set fifteen years after "Space Seed", Khan escapes his exile and sets out to exact revenge upon Kirk.


title: Khan Noonien Singh

text: In "Star Trek Into Darkness", set in the alternate continuity established in "Star Trek" (2009), Khan is awakened almost a decade before the events of "Space Seed". Khan is given the false identity John Harrison and coerced by Admiral Marcus into building weapons for Section 31 and Starfleet in exchange for the lives of Khan's crew. He ultimately rebels and comes into conflict with the crew of "Enterprise".


title: Khan Noonien Singh

text: Khan makes his introductory appearance as the antagonist in the episode "Space Seed", first broadcast on February 16, 1967. According to the backstory revealed in the episode, Khan is one of a group of genetically engineered superhumans, bred to be free of the usual human mental and physical limitations, who were removed from power after the Eugenics Wars of the 1990s. Khan had been both the most successful conqueror and the most benign ruler of the group, ruling more than a quarter of the Earth's area across Asia to the Middle East from 1992 to 1996 with a firm but generally peaceful hand until he was deposed. While most of the supermen were killed or sentenced to death, Khan and 84 others escaped Earth by way of the sleeper ship SS " Botany Bay". "Botany Bay" is discovered by the crew of the Starship "Enterprise" in 2267, with Khan and 72 of the 84 crew members of "Botany Bay" still alive, cryogenically frozen in suspended animation.


title: Khan Noonien Singh

text: When Khan's sleep chamber malfunctions, he is transported to "Enterprise," where he reawakens and learns he is in the 23rd century. Given spacious quarters while "Botany Bay" is towed to a starbase, Khan fascinates and charms the ship's historian, Marla McGivers (Madlyn Rhue), while using his access to the ship's technical manuals to learn how to take over and operate "Enterprise". McGivers agrees to help Khan revive the other supermen, allowing him to organize an attempted takeover. To coerce the "Enterprise" crew to cooperate with him, Khan places Captain James T. Kirk (William Shatner) in the ship's decompression chamber and threatens to kill Kirk unless the crew submits. McGivers cannot stand by as her Captain dies and frees Kirk, who neutralizes Khan's men by using a neural gas. Khan heads to engineering and sets the ship's engines to self-destruct, whereupon he is incapacitated by Kirk. Captain Kirk conducts a hearing, sentencing Khan and his followers to exile on an uncolonized world, Ceti Alpha V. Khan accepts Kirk's challenge—invoking the fall of Lucifer in Milton's "Paradise Lost"—and McGivers joins Khan rather than face court-martial. Spock (Leonard Nimoy) wonders what the "seed" Kirk has planted will bear in a hundred years.


title: Khan Noonien Singh

text: Khan returns as the antagonist in the 1982 feature film "". Captain Clark Terrell (Paul Winfield) and First Officer Pavel Chekov (Walter Koenig) of USS "Reliant" are searching for an uninhabited world to test the Genesis device, a powerful terraforming tool. They beam down to what they believe is Ceti Alpha VI. Khan and his people capture them, and Khan explains that the barren world is in fact Ceti Alpha V; Ceti Alpha VI exploded six months after he and his people had been marooned. The cataclysm rendered Ceti Alpha V nigh-uninhabitable. Twenty of the survivors, including McGivers, whom Khan had married, were subsequently killed by the only surviving animal life, the Ceti eel. Swearing vengeance on Kirk, now an admiral, for abandoning them to die, Khan infests Terrell and Chekov with young Ceti eels; the creatures enter their brains, rendering them vulnerable to suggestion. Khan then seizes control of "Reliant", intent on capturing the Genesis device.


title: Khan Noonien Singh

text: Khan lures "Enterprise" to the space station "Regula I", and he launches a surprise attack that disables Kirk's ship. Kirk tricks Khan by using a special code to remotely lower "Reliant"s shields, allowing "Enterprise" to inflict significant damage. Khan is forced to withdraw to make repairs. Using the mind-controlled Terrell and Chekov as spies, Khan captures the Genesis device and leaves Kirk marooned on "Regula I". Spock deceives Khan into thinking that "Enterprise" is crippled, surprising Khan when "Enterprise" rescues Kirk and escapes to the nearby Mutara Nebula. Goaded into following Kirk, Khan pilots "Reliant" into the nebula, where shields and sensors are inoperable. Due to Khan's inexperience with three-dimensional space combat, "Enterprise" defeats "Reliant" and Khan is fatally wounded. Refusing to accept defeat, Khan activates the Genesis device, intent on killing his foe along with himself. Khan quotes Ahab's words of vengeance from "Moby-Dick" before dying.


title: Khan Noonien Singh

text: Khan appears in the 2013 film "Star Trek Into Darkness", taking place in the alternate timeline established in "Star Trek" (2009). While the character's backstory remains the same, Khan is revived by Starfleet Admiral Alexander Marcus rather than the crew of "Enterprise". Marcus anticipates a war with the Klingons, and forces Khan to develop warships and weapons for Starfleet under the cover identity of John Harrison, holding Khan's shipmates hostage. These developments include advanced long-range torpedoes and the warship USS "Vengeance".


title: Khan Noonien Singh

text: Khan carries out an attack on a high level Starfleet meeting where Admiral Christopher Pike is killed before fleeing to the Klingon homeworld Qo'noS. Marcus arms the "Enterprise" with 72 advanced torpedoes and sends Kirk and crew to Qo'noS with orders to kill Khan. Kirk goes against his orders and attempts to capture him alive. Upon learning the number of torpedoes on board "Enterprise", Khan surrenders, revealing his identity, the presence of his followers inside the torpedoes, and the reasons for his attacks.


title: Khan Noonien Singh

text: When Marcus arrives aboard "Vengeance" and attacks "Enterprise", Kirk and Khan work together to take control of "Vengeance"s bridge. Once in control of "Vengeance", Khan kills Marcus and demands that Spock return his crew. Spock, having removed Khan's people from the torpedoes, lowers "Enterprise"'s shields and allows Khan to beam the activated weapons' warheads aboard "Vengeance." Before Khan can attack "Enterprise" Spock remotely detonates the torpedoes crippling "Vengeance." Khan crashes "Vengeance" in San Francisco in an attempt to destroy Starfleet Headquarters and escape, but is pursued and captured by Spock and Uhura. Khan is placed back into cryogenic sleep along with his crew.


title: Khan Noonien Singh

text: Khan has been depicted in various novels and comic book publications. As with all non-television and non-film "Star Trek" material, the publications are outside of "Star Trek" canon.


title: Khan Noonien Singh

text: Author Greg Cox penned three "Star Trek" novels featuring Khan, published by licensee Pocket Books. In the two-volume "", Khan is depicted as a North Indian from a family of Sikhs. "Khan" is a title; his adoptive parents are from Chandigarh, Punjab, India and are both eugenic scientists. At the end of the second novel, Khan and his followers are placed aboard the "Botany Bay" by Gary Seven as part of a deal to stop Khan's machinations on Earth. The 2005 follow-up, "", relates what happened to Khan and his fellow exiles between the events of "Space Seed" and "The Wrath of Khan". A different version of Khan's exile on Ceti Alpha V is depicted in IDW Publishing's 2010 comic miniseries "Khan: Ruling in Hell".


title: Khan Noonien Singh

text: From 2013 to 2014, IDW published a five-part series of comic books telling the story of the "Into Darkness" incarnation of Khan. The first issue in the series acknowledges the discrepancy of Khan's physical appearance compared to that of the previous incarnation. In keeping with the prime timeline's backstory, Khan's beginnings, rise to power, and involvement in the Eugenics War are depicted. It is also revealed his birth name was Noonien Singh and that he adopted the title "Khan" out of admiration for Genghis Khan. The series goes on to mention that Khan's anatomy and memories were altered per Marcus's orders, so that Khan would initially believe himself to be the fabricated Harrison.


title: Khan Noonien Singh

text: Writer Carey Wilber pitched "Space Seed" to "Star Trek" producers Roddenberry, Gene Coon, and Robert Justman with an 18-page outline dated August 29, 1966. In the outline, Wilber envisioned the crew of "Botany Bay" as criminals sent on a 1,500-year journey to make room on Earth for others. Khan was represented as a Nordic criminal with a "magnificent" body, Harald Ericsson. The producers suggested changes to the outline in a series of memos; in memos dated September 7 and 9, Coon suggested significant changes to Ericsson. "I want to rather do more with him than you have indicated in the story outline," he wrote. Believing that Ericsson (misspelled as Erickson in the memo) could be a worthy adversary for Kirk, Coon suggested that the character be "in fact very similar to James Kirk, our captain, except that our captain has made an adjustment to this world and this culture [...] In other words, Carey, build us a giant of a man."


title: Khan Noonien Singh

text: The first draft of the script introduced the character as John Ericssen—who is revealed to be a man involved in "The First World Tyranny", named Ragnar Thorwald. The character of Thorwald was more brutal than Khan in the final version, killing guards using a phaser. In the original script, Kirk forgives Ericssen and offers him and his people a chance at a fresh start—something that remained in the final episode—but the character committing murder would have precluded such an ending, as NBC censors would have necessitated the "bad guy" be punished for his actions.


title: Khan Noonien Singh

text: By the final draft, Khan is Indian; a character guesses that Khan is from Northern India and "probably a Sikh". Khan's full name was based on that of Kim Noonien Singh, a pilot Gene Roddenberry served with during the Second World War. Roddenberry lost touch with his friend and had hoped that Singh's similar name might attract his attention and renew his old acquaintance.


title: Khan Noonien Singh

text: In "Space Seed", Khan is presented as having several positive characteristics: he is gracious, smiling, fearless, and generous. He is not threatened by the success of others and encourages their self-esteem. He is also ambitious and desiring a challenge commensurate with his abilities, but this ambition is not tempered by any consideration of the rights of others. Author Paul Cantor asserts that Khan is a mirror image of Kirk, sharing his aggressiveness, ambition, and even his womanizing tendencies, but possessing them in far greater degree. During the episode, several of the characters express their admiration for the man even as they oppose him, with Kirk referring to him as "the best of the tyrants, and the most dangerous." The character's Spanish accent and superhuman appearance strongly differentiate him from most "Star Trek" characters.


title: Khan Noonien Singh

text: After the disappointing response to the first "Star Trek" feature film, 's plot and direction, Paramount executives appointed Harve Bennett, a television producer who had never watched "Star Trek", to be executive producer for the sequel. Bennett watched all the original series episodes and chose Khan from "Space Seed" as a possible villain for the film. Early drafts of the script had Khan as a shadowy tyrant leading a planet in revolt; later drafts added the "Genesis device", which Khan would steal.


title: Khan Noonien Singh

text: Costume designer Robert Fletcher wanted to emphasize the effects of their harsh environment on Khan and his followers. "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from the spaceship whatever they used or wore. Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that had composed the ship," he said. Director Nicholas Meyer told Montalbán to keep Khan's right glove on at all times in order to give viewers a puzzle about which they could form their own opinions and add mystery to the character. Meyer has been repeatedly asked if Montalbán wore a prosthetic chest for his scenes, as his uniform was purposefully designed with an open front. Meyer replied in audio commentary for the film that Montalbán (who was 61 during filming) is "one strong cookie" and that no prosthetics were applied to the actor's sizeable frame.


title: Khan Noonien Singh

text: At no point during "The Wrath of Khan" are Khan and Kirk in the same location; they speak to each other only over communication links such as view screens. This was due in part to the fact that the set of the "Reliant" was a redress of the "Enterprise" bridge, and the two actors' scenes were filmed four months apart. Montalbán recited his lines with a script assistant, instead of to William Shatner.


title: Khan Noonien Singh

text: Montalbán said in promotional interviews for the film he realized early on in his career that a good villain does not see himself as villainous. The villain may do villainous things, but he feels that he is doing them for righteous reasons. Montalbán further stated he always tried to find a flaw in the character, as no one is completely good or completely evil; while Khan had a rather distorted view of reality and therefore performed acts of evil, he still felt that his vengeance was a noble cause because of the death of his wife. Khan quotes the character of Ahab from "Moby-Dick" throughout the film, driving home his lust to make Kirk pay for the wrongs he has inflicted upon him.


title: Khan Noonien Singh

text: Following the box office success of J. J. Abrams' "Star Trek" reboot and the announcement that actors Chris Pine and Zachary Quinto had tentatively agreed to appear in two sequels, Internet rumors began circulating about the plot of the second film. Abrams hinted that because of the alternate timeline created in the first film, reintroducing Khan into "Star Trek" lore remained a possibility. Abrams told MTV, "[Khan and Kirk] exist—and while their history may not be exactly as people are familiar with, I would argue that a person's character is what it is," Abrams said of the notion that his Khan could be just as evil, even if Kirk never stranded him on Ceti Alpha V. "Certain people are destined to cross paths and come together, and Khan is out there... even if he doesn't have the same issues." Writer Damon Lindelof declared that Khan's "intense gravity," particularly regarding the character's delivery of monologues, made him an obligatory character to use, even if its iconic status made the crew afraid of the fan reaction. Lindelof jokingly stated that "it was never really a 'Should we or shouldn't we?' as much as it was 'We really have to do this but if we don't get it right people are going to kill us.'"


title: Khan Noonien Singh

text: As part of the secrecy campaign, Benedict Cumberbatch denied that he was playing Khan during interviews, describing Harrison as simply a terrorist with his own purposes, as well as "someone that's activated and manufactured in a way by Starfleet, and it's a scene that has come back to haunt him." He discussed the character's moral ambiguity saying it fit the adage "one man's terrorist is another man's freedom fighter," adding parallels to the current world order "whether it's U.S. foreign policy or the actions of some terrorists". "Into Darkness" writers Roberto Orci and Alex Kurtzman added that they used the character of Khan not just for his popularity with the fandom—"It's so easy to fall into the trap of doing something because you think people are going to love it. You must come up with what the movie can be on its own and then, if it turns out the villain maybe can be Khan, then you can do it. But you can't start there."—but for fitting the sequel's theme of "how far will we go to exact vengeance and justice on an enemy that scares us."


title: Khan Noonien Singh

text: Some protested Cumberbatch's casting as Khan, believing that a person of Indian descent should have been given the role instead.


title: Khan Noonien Singh

text: Superficially, Khan has been compared to Friedrich Nietzsche's concept of the "Übermensch" (superman or overman). Khan is mentally and physically superior to any normal human. In the "" episode "", Malik, the leader of a group of "supermen" created from the same genetic engineering project as Khan, quotes Nietzsche, telling Archer that "Mankind is something to be surpassed". Professor William J. Devlin and coauthor Shai Biderman examined Khan's character compared to the Übermensch and found that Khan's blind pursuit of revenge is against Nietzsche's ideals of transcendence and self-creation of a meaningful life. Instead, the authors offer Spock's self-sacrifice in "The Wrath of Khan" as a better example of the Übermensch.


title: Khan Noonien Singh

text: Montalbán's performance as Khan was favorably received by critics. Discussing the "Star Trek" motion pictures, the Associated Press noted that "Star Trek" films were measured by how menacing their foe was, and that Khan was among the best in the series; a 2002 review of the "Star Trek" films ranked Khan as the greatest enemy seen in any of the films. Reviewers of "The Wrath of Khan", such as Roger Ebert, rated Khan as one of the strongest aspects of the film. "New Yorker" critic Pauline Kael said Montalbán's performance "was the only validation he has ever had of his power to command the big screen."


title: Khan Noonien Singh

text: Critic Christopher Null notes that "it is nearly gospel now among Trekkies that... "Star Trek II: The Wrath of Khan" is the undisputed best of the series, and will likely never meet its equal," and calls Khan the "greatest role of <nowiki>[Montalbán's]</nowiki> career". Though he felt that the villain of "Star Trek: The Motion Picture", V'Ger, was more cerebral and interesting, author James Iaccino notes that most fans and moviegoers preferred the archetypical good-versus-evil fight that the struggle between Khan and Kirk represents. Villains in subsequent "Star Trek" films have been measured by the standard of Khan, with Paramount promising fans that the villain of "Star Trek Generations" would be equal to the genetic superman. IGN ranked Khan as the best "Star Trek" villain, noting that he set the pattern for revenge-seeking villains in the series; in the decades since the film's release, "even those with a passing interest [in "Trek"] know the name."


title: Khan Noonien Singh

text: Khan is also recognized as a great villain outside of the "Star Trek" series. The Associated Press called the character "one of sci-fi's great villains". In 2002, the Online Film Critics Society's 132 members voted Khan as the 10th-greatest screen villain of all time, the only "Star Trek" character to appear in the listing. In 2006, "Emmy Magazine" voted Khan "TV's Most Out-of-This-World Character", beating out other science fiction characters such as the Doctor and Commander Adama. Editors wrote that "Khan was so cool we would've bought a Chrysler Cordoba if he'd told us to," alluding to an ad campaign Montalbán appeared in for Chrysler. The character also had a cultural impact outside of "Star Trek" fandom; a clip from "The Wrath of Khan" featuring Kirk screaming "Khaaan!" was one popular culture appropriation that became a "popular fad" driving the success of the website YTMND.


title: Khan Noonien Singh

text: In 2004, the "Star Trek" franchise returned to Khan's backstory in a three-episode story arc on "". In "", "Cold Station 12" and "The Augments", a 22nd-century scientist is portrayed as having revived genetically engineered embryos from Khan's time and raised them as "Augments". "Enterprise" producer Manny Coto described these characters as "mini Khan Noonien Singhs".


title: Khan Noonien Singh

text: Benedict Cumberbatch's performance in "Star Trek Into Darkness" drew praise from critics with Peter Travers of "Rolling Stone" magazine calling it a "tour-de-force to be reckoned with" and his character "a villain for the ages". Joe Neumaier of New York's "Daily News" wrote that Cumberbatch delivered "one of the best blockbuster villains in recent memory". Jonathan Romney of "The Independent" specifically noted Cumberbatch's voice saying it was "So sepulchrally resonant that it could have been synthesised from the combined timbres of Ian McKellen, Patrick Stewart and Alan Rickman holding an elocution contest down a well." "The New York Times" praised his screen presence saying "He fuses Byronic charisma with an impatient, imperious intelligence that seems to raise the ambient I.Q. whenever he's on screen."


title: Khan Noonien Singh

text: Christian Blauvelt from website Hollywood.com criticized the casting of Khan in "Star Trek Into Darkness" as being "whitewashed into oblivion". "" actor Garrett Wang tweeting, "The casting of Cumberbatch was a mistake on the part of the producers. I am not being critical of the actor or his talent, just the casting."


title: Matt Prokop

text: Matthew Ray Prokop (born July 29, 1990) is an American former actor. He is best known for his role as Jimmie "The Rocket Man" Zara in "" and Josh Rosen in the Disney Channel's "Geek Charming".


title: Matt Prokop

text: Prokop was born in Victoria, Texas, and moved to Los Angeles at the age of 16 to pursue his acting career.


title: Matt Prokop

text: In 2011, Prokop was represented by Management 360 and APA. His first acting job was a brief appearance on "Hannah Montana" in 2007, followed by a walk-on role on "The Office".


title: Matt Prokop

text: He guest starred on "Medium" (2009) as Kyle "K.C." Covington for one episode. Prokop landed a role in "Furry Vengeance" (2010), playing Brendan Fraser's son, and he played the role of Josh Rosen in the Disney Channel's "Geek Charming" (2011), based on author Robin Palmer's novel.


title: Matt Prokop

text: In 2012, he appeared in an episode of "Modern Family", opposite then girlfriend and series regular Sarah Hyland. His last acting appearance was in the 2013 film "April Apocalypse", with his last three film roles being in films starring Hyland.


title: Matt Prokop

text: Prokop dated his "Geek Charming" co-star Sarah Hyland for several years until August 2014, when she left him and filed a temporary restraining order against him for physically and verbally abusing her throughout their four-year relationship. In October 2014, a permanent restraining order was granted, and Prokop has not worked in the film or television industries since.


title: Ina Garten

text: Ina Rosenberg Garten ( ; born February 2, 1948) is an American author, host of the Food Network program "Barefoot Contessa", and a former staff member of the Office of Management and Budget.


title: Ina Garten

text: Among her dishes are "cœur à la crème", celery root remoulade, pear clafouti, and a simplified version of "beef bourguignon". Her culinary career began with her gourmet food store, Barefoot Contessa; Garten then expanded her activities to many best-selling cookbooks, magazine columns, self-branded convenience products, and a popular Food Network television show.


title: Ina Garten

text: Born Ina Rosenberg to a Jewish family in the Brooklyn borough of New York City, and raised in Stamford, Connecticut,


title: Ina Garten

text: Garten was one of two children born to Charles H. Rosenberg, a surgeon specializing in otolaryngology, and his wife, Florence (née Rich), a dietitian. Encouraged to excel in school, she showed an aptitude for science and has said she uses her scientific mindset while experimenting with recipes. Garten's mother (an intellectual with an interest in opera) discouraged Ina from helping in the kitchen, instead directing her towards schoolwork. Garten described her father as a socializer, and admits she shares more characteristics with him than her mother.


title: Ina Garten

text: At 15, she met her future husband Jeffrey Garten, on a trip to visit her brother at Dartmouth College. After high school, she attended Syracuse University majoring in economics, but postponed her educational pursuits to marry.


title: Ina Garten

text: On December 22, 1968, Jeffrey and Ina were married in Stamford and soon relocated to Fort Bragg, North Carolina. She began to dabble in cooking and entertaining in an effort to occupy her time; Jeffrey served a four-year military tour during the Vietnam War. She also acquired her pilot's certificate.


title: Ina Garten

text: After her husband had completed his military service, the couple journeyed to Paris, France, for a four-month camping vacation; the trip sparked her love for French cuisine. During this trip, she was introduced to open-air markets, produce stands, and fresh cooking ingredients. Upon returning to the U.S., she began to cultivate her culinary abilities by studying the volumes of Julia Child's influential cookbook, "Mastering the Art of French Cooking". During this time, weekly dinner parties turned to tradition, and she refined her home entertaining skills when she and her husband moved to Washington, D.C. in 1972.


title: Ina Garten

text: In Washington, Garten worked in the White House; Jeffrey worked in the State Department, completing his graduate studies. Garten was originally employed as a low-level government aide and climbed the political ladder to the Office of Management and Budget. Eventually she was assigned the position of budget analyst, which entailed writing the nuclear energy budget and policy papers on nuclear centrifuge plants for presidents Gerald Ford and Jimmy Carter.


title: Ina Garten

text: Strained by the pressures of her work, Garten again turned to entertaining while also flipping homes for profit in the Dupont Circle and Kalorama neighborhoods. The profits from these sales gave Garten the means to make her next purchase, the Barefoot Contessa specialty food store.


title: Ina Garten

text: Garten left her government job in 1978 after spotting an ad for a specialty food store called Barefoot Contessa in Westhampton Beach, New York.


title: Ina Garten

text: "My job in Washington was intellectually exciting and stimulating but it wasn't me at all," she explained four years later.


title: Ina Garten

text: After traveling to view it, she made a hasty decision to purchase the store and moved to New York to assume ownership. The store had been named by its original owner in tribute to the 1954 film starring Ava Gardner. Garten kept the name when she took over; it meshed well with her idea of an "elegant but earthy" lifestyle. Ironically, as of 2006 she had not seen the film.


title: Ina Garten

text: Within a year, Garten had moved Barefoot Contessa across Main Street to a larger property, which it quickly outgrew. In 1985, the store relocated again to the newly vacated premises of gourmet shop Dean & DeLuca in the prosperous Long Island village of East Hampton. In contrast to Westhampton's seasonal beach atmosphere, East Hampton houses a year-round community, providing a larger, wealthier customer base. In East Hampton, Garten expanded the store over seven times its original size, from its original to more than . In this new, larger space, the store specialized in delicacies such as lobster Cobb salad, caviar, imported cheeses, and locally grown produce.


title: Ina Garten

text: While doing much of the cooking herself, Garten also employed local chefs and bakers as the business grew, including Anna Pump (who later established the Loaves & Fishes bakery and Bridgehampton Inn). Garten has credited Eli Zabar with the inspiration for her main cooking method, in which "all you have to do is cook to enhance the ingredients." The shop was praised in the press by celebrity clientele such as Steven Spielberg and Lauren Bacall.


title: Ina Garten

text: In 1996, after two decades of operating Barefoot Contessa, Garten again found herself seeking a change; she sold the store to two employees, Amy Forst and Parker Hodges, but retained ownership of the building itself. Unsure of what career step to take after selling the store, she took a six-month sabbatical from the culinary scene and built offices above the shop. There, she studied the stock market and attempted to sketch out plans for potential business ventures. At this time, her website, Barefoot Contessa, became high-profile as she began offering her coffees and a few other items for purchase online.


title: Ina Garten

text: By 2003, Barefoot Contessa had become a landmark gathering place for East Hampton; director Nancy Meyers even chose the store as one of the sets for the Jack Nicholson-Diane Keaton film "Something's Gotta Give". The store was permanently closed in 2004 when the property lease expired and negotiations failed between Garten (still the owner of the building) and the new owners. Allegedly, Garten tactically refused to meet lease negotiations to regain control of the store after Forst and Hodges lost the business to a competitor, Citarella. Garten did not reopen the shop but retained the property for potential new tenants.


title: Ina Garten

text: In 1999, Garten reemerged with her attention turned to publishing. She carried on the Barefoot Contessa name in her 1999 sleeper bestseller, "The Barefoot Contessa Cookbook". The book far exceeded both Garten’s and publisher Clarkson Potter’s expectations, containing the recipes that made her store successful. Garten eventually sold over 100,000 copies in the first year, immediately requiring second and third print runs after the initial pressing of 35,000 cookbooks were claimed. In 2001, she capitalized on her new-found fame and released "Barefoot Contessa Parties!", Parties! also produced praise and high sales; "Barefoot Contessa Family Style" followed in 2002. "The Barefoot Contessa Cookbook" and "Parties!" were nominated for 2000 and 2002 James Beard Awards in the Entertaining & Special Occasion Cookbooks category. "Parties!" was a surprise entry—Garten was perceived as too inexperienced to compete with nominees such as French chef Jacques Pépin and international wine expert Brian St. Pierre.


title: Ina Garten

text: Her cookbooks are modeled on coffee table books to avoid an encyclopedic format. With many color photographs, including a full-page picture facing each recipe, some critics argue that this method sacrifices space that could be used for recipes. Nevertheless, her cookbooks have received positive reviews; in 2005, fellow chef Giada De Laurentiis named Garten one of her favorite authors. , Garten’s cookbooks have sold over six million copies combined. As of October 2018 she had published eleven cookbooks.


title: Ina Garten

text: The Physicians Committee for Responsible Medicine criticized Garten’s 2010 cookbook "Barefoot Contessa: How Easy Is That?" for its use of high-fat, high-calorie, and high-cholesterol meat and dairy ingredients, naming it one of “The Five Worst Cookbooks” of the year from a nutritional standpoint. In response, Eric Felten of "The Wall Street Journal" called the report “an assault on cookbooks that dare to venture beyond lentils.”


title: Ina Garten

text: Garten established herself with her cookbooks and appearances on Martha Stewart’s show, and then moved into the forefront in 2002 with the debut of her Food Network program. After the success of "The Barefoot Contessa Cookbook" and "Barefoot Contessa Parties!", Garten was approached by Food Network with an offer to host her own television cooking show. She rejected this proposal several times, until the London-based production company responsible for "Nigella Bites" was assigned to the deal. She acquiesced to a 13-show season, and "Barefoot Contessa" premiered in 2002 to a positive reception.


title: Ina Garten

text: Her show features her husband and their friends and generally only hosts celebrities who are her friends. "Barefoot Contessa" has approximately one million viewers tuned in per episode and has posted some of Food Network’s highest ratings.


title: Ina Garten

text: When Martha Stewart was incarcerated in 2004 on charges connected with obstruction of justice in a stock trading case, the press singled out Garten as a possible successor.


title: Ina Garten

text: In 2005, the show was nominated for a Daytime Emmy Award in the category of Best Service Show. In 2009, the show and Garten were once again nominated for Daytime Emmy Awards in the categories of Best Culinary Program and Best Culinary Host, and Garten won her first Emmy in the latter category.


title: Ina Garten

text: That same year, Garten announced that she had signed a three-year contract with Food Network to continue her cooking show, and will release two more cookbooks following "Barefoot Contessa at Home". Garten was reportedly awarded the most lucrative contract for a culinary author to date, signing a multimillion-dollar deal for multiple books. She has also been approached several times to develop her own magazine, line of furniture, set of cookware, and chain of boutiques (reminiscent of Stewart’s Omnimedia), but has declined these offers, stating she has no interest in further complicating her life. Between 2004 and 2005, "Barefoot in Paris" sold almost 400,000 copies and rose to number eleven on the New York Times bestseller list.


title: Ina Garten

text: In 2006, Garten launched her own line of packaged cake mixes, marinades, sauces, and preserves, branded as Barefoot Contessa Pantry, with her business partner Frank Newbold and in conjunction with Stonewall Kitchen. These convenience foods are based on her most popular from-scratch recipes, such as coconut cupcakes, maple oatmeal scones, mango chutney, and lemon curd. Pricing of these items is comparatively expensive (for example, the suggested retail price for a single box of brownie mix is ten dollars), and they are only sold through upscale cookware and gourmet shops such as Crate & Barrel, Sur La Table, and Chicago’s Fox & Obel Market Cafe. She plans to expand this brand in the near future if the first line of products is very successful.


title: Ina Garten

text: After critical acclaim and high sales of her first three cookbooks, she went on to write "Barefoot in Paris" and several columns for "O, The Oprah Magazine". She also serves as the entertaining, cooking, and party planning consultant for the magazine. "House Beautiful", a shelter magazine, featured a monthly Garten column entitled “Ask the Barefoot Contessa” until 2011. In this column, she gave cooking, entertaining, and lifestyle tips in response to letters from her readers. She launched a small line of note cards and journals to complement her books, and wrote the forewords for Kathleen King’s "Tate’s Bake Shop Cookbook" and Rori Trovato’s "Dishing With Style". One of her recipes, ‘lemon roast chicken with croutons’, was featured in "The Best American Recipes 2005–2006". Another of Garten’s dishes was selected for "Today’s Kitchen Cookbook", a compilation of the most popular recipes featured on the daily news program "The Today Show". For Thanksgiving 2010, her recipes were featured by Google on their homepage. In June 2012, she started a Facebook blog and three weeks later had over 100,000 followers. In 2019, she partnered with author Sheryl Haft and illustrator Jill Weber on a children’s book, "Goodnight Bubbala," which includes her recipe for potato latkes and was featured on the Today Show.


title: Ina Garten

text: Garten was selected for the inaugural 2021 Forbes 50 Over 50; made up of entrepreneurs, leaders, scientists and creators who are over the age of 50.


title: Ina Garten

text: Her husband Jeffrey Garten was Undersecretary of Commerce for International Trade in the Bill Clinton administration from 1993 to 1995, and Juan Trippe Professor in the Practice of International Trade, Finance, and Business at Yale. He was the dean of the Yale School of Management from 1995 to 2005. He can also frequently be seen on her cooking show, assisting his wife with simple tasks or sampling the dishes she has created. They divide their time among Manhattan, East Hampton, and Paris.


title: Ina Garten

text: Registered in New York as a Democrat, Garten has contributed to the presidential campaign funds of George H. W. Bush, Bill Clinton, John Kerry, and Barack Obama.


title: Ina Garten

text: Garten also sits on the Design Review Board for East Hampton, a panel that grants building permissions and approves architectural and design elements of the village. The board seeks to protect the historical district and further the overall aesthetics of the area.


title: Apollo 8

text: Apollo 8 (December 21–27, 1968) was the first crewed spacecraft to leave low Earth orbit and the first human spaceflight to reach the Moon. The crew orbited the Moon ten times without landing, and then departed safely back to Earth. These three astronauts—Frank Borman, James Lovell, and William Anders—were the first humans to personally witness and photograph the far side of the Moon and an Earthrise.


title: Apollo 8

text: Apollo 8 launched on December 21, 1968, and was the second crewed spaceflight mission flown in the United States Apollo space program after Apollo7, which stayed in Earth orbit. Apollo8 was the third flight and the first crewed launch of the Saturn V rocket, and was the first human spaceflight from the Kennedy Space Center, located adjacent to Cape Kennedy Air Force Station in Florida.


title: Apollo 8

text: Originally planned as the second crewed Apollo Lunar Module and command module test, to be flown in an elliptical medium Earth orbit in early 1969, the mission profile was changed in August 1968 to a more ambitious command-module-only lunar orbital flight to be flown in December, as the lunar module was not yet ready to make its first flight. Astronaut Jim McDivitt's crew, who were training to fly the first lunar module flight in low Earth orbit, became the crew for the Apollo9 mission, and Borman's crew were moved to the Apollo8 mission. This left Borman's crew with two to three months' less training and preparation time than originally planned, and replaced the planned lunar module training with translunar navigation training.


title: Apollo 8

text: Apollo 8 took 68 hours to travel the distance to the Moon. The crew orbited the Moon ten times over the course of twenty hours, during which they made a Christmas Eve television broadcast in which they read the first ten verses from the Book of Genesis. At the time, the broadcast was the most watched TV program ever. Apollo8's successful mission paved the way for Apollo 10 and, with Apollo11 in July 1969, the fulfillment of U.S. president John F. Kennedy's goal of landing a man on the Moon before the end of the decade. The Apollo8 astronauts returned to Earth on December 27, 1968, when their spacecraft splashed down in the northern Pacific Ocean. The crew members were named "Time" magazine's "Men of the Year" for 1968 upon their return.


title: Apollo 8

text: In the late 1950s and early 1960s, the United States was engaged in the Cold War, a geopolitical rivalry with the Soviet Union. On October 4, 1957, the Soviet Union launched Sputnik 1, the first artificial satellite. This unexpected success stoked fears and imaginations around the world. It not only demonstrated that the Soviet Union had the capability to deliver nuclear weapons over intercontinental distances, it challenged American claims of military, economic, and technological superiority. The launch precipitated the Sputnik crisis and triggered the Space Race.


title: Apollo 8

text: President John F. Kennedy believed that not only was it in the national interest of the United States to be superior to other nations, but that the perception of American power was at least as important as the actuality. It was therefore intolerable to him for the Soviet Union to be more advanced in the field of space exploration. He was determined that the United States should compete, and sought a challenge that maximized its chances of winning.


title: Apollo 8

text: The Soviet Union had heavier-lifting carrier rockets, which meant Kennedy needed to choose a goal that was beyond the capacity of the existing generation of rocketry, one where the US and Soviet Union would be starting from a position of equality—something spectacular, even if it could not be justified on military, economic, or scientific grounds. After consulting with his experts and advisors, he chose such a project: to land a man on the Moon and return him to the Earth. This project already had a name: Project Apollo.


title: Apollo 8

text: An early and crucial decision was the adoption of lunar orbit rendezvous, under which a specialized spacecraft would land on the lunar surface. The Apollo spacecraft therefore had three primary components: a command module (CM) with a cabin for the three astronauts, and the only part that would return to Earth; a service module (SM) to provide the command module with propulsion, electrical power, oxygen, and water; and a two-stage lunar module (LM), which comprised a descent stage for landing on the Moon and an ascent stage to return the astronauts to lunar orbit. This configuration could be launched by the Saturn V rocket that was then under development.


title: Apollo 8

text: The initial crew assignment of Frank Borman as Commander, Michael Collins as Command Module Pilot (CMP) and William Anders as Lunar Module Pilot (LMP) for the third crewed Apollo flight was officially announced on November 20, 1967. Collins was replaced by Jim Lovell in July 1968, after suffering a cervical disc herniation that required surgery to repair. This crew was unique among pre-Space Shuttle era missions in that the commander was not the most experienced member of the crew: Lovell had flown twice before, on Gemini VII and Gemini XII. This would also be the first case of a commander of a previous mission (Lovell, Gemini XII) flying as a non-commander. This was also the first mission to reunite crewmates from a previous mission (Lovell and Borman, Gemini VII).


title: Apollo 8

text: The backup crew assignment of Neil Armstrong as Commander, Lovell as CMP, and Buzz Aldrin as LMP for the third crewed Apollo flight was officially announced at the same time as the prime crew. When Lovell was reassigned to the prime crew, Aldrin was moved to CMP, and Fred Haise was brought in as backup LMP. Armstrong would later command Apollo11, with Aldrin as LMP and Collins as CMP. Haise served on the backup crew of Apollo11 as LMP and flew on Apollo13 as LMP.


title: Apollo 8

text: During Projects Mercury and Gemini, each mission had a prime and a backup crew. For Apollo, a third crew of astronauts was added, known as the support crew. The support crew maintained the flight plan, checklists, and mission ground rules, and ensured that the prime and backup crews were apprised of any changes. The support crew developed procedures in the simulators, especially those for emergency situations, so that the prime and backup crews could practice and master them in their simulator training. For Apollo8, the support crew consisted of Ken Mattingly, Vance Brand, and Gerald Carr.


title: Apollo 8

text: The capsule communicator (CAPCOM) was an astronaut at the Mission Control Center in Houston, Texas, who was the only person who communicated directly with the flight crew. For Apollo8, the CAPCOMs were Michael Collins, Gerald Carr, Ken Mattingly, Neil Armstrong, Buzz Aldrin, Vance Brand, and Fred Haise.


title: Apollo 8

text: The mission control teams rotated in three shifts, each led by a flight director. The directors for Apollo8 were Clifford E. Charlesworth (Green team), Glynn Lunney (Black team), and Milton Windler (Maroon team).


title: Apollo 8

text: The triangular shape of the insignia refers to the shape of the Apollo CM. It shows a red figure8 looping around the Earth and Moon to reflect both the mission number and the circumlunar nature of the mission. On the bottom of the8 are the names of the three astronauts. The initial design of the insignia was developed by Jim Lovell, who reportedly sketched it while riding in the back seat of a T-38 flight from California to Houston shortly after learning of Apollo8's re-designation as a lunar-orbital mission.


title: Apollo 8

text: The crew wanted to name their spacecraft, but NASA did not allow it. The crew would have likely chosen "Columbiad", the name of the giant cannon that launches a space vehicle in Jules Verne's 1865 novel "From the Earth to the Moon". The Apollo11 CM was named "Columbia" in part for that reason.


title: Apollo 8

text: On September 20, 1967, NASA adopted a seven-step plan for Apollo missions, with the final step being a Moon landing. Apollo4 and Apollo6 were "A" missions, tests of the SaturnV launch vehicle using an uncrewed Block I production model of the command and service module (CSM) in Earth orbit. Apollo5 was a "B" mission, a test of the LM in Earth orbit. Apollo7, scheduled for October 1968, would be a "C" mission, a crewed Earth-orbit flight of the CSM. Further missions depended on the readiness of the LM. It had been decided as early as May 1967 that there would be at least four additional missions. Apollo8 was planned as the "D" mission, a test of the LM in a low Earth orbit in December 1968 by James McDivitt, David Scott, and Russell Schweickart, while Borman's crew would fly the "E" mission, a more rigorous LM test in an elliptical medium Earth orbit as Apollo9, in early 1969. The "F" Mission would test the CSM and LM in lunar orbit, and the "G" mission would be the finale, the Moon landing.


title: Apollo 8

text: Production of the LM fell behind schedule, and when Apollo8's LM-3 arrived at the Kennedy Space Center (KSC) in June 1968, more than a hundred significant defects were discovered, leading Bob Gilruth, the director of the Manned Spacecraft Center (MSC), and others to conclude that there was no prospect of LM-3 being ready to fly in 1968. Indeed, it was possible that delivery would slip to February or March 1969. Following the original seven-step plan would have meant delaying the "D" and subsequent missions, and endangering the program's goal of a lunar landing before the end of 1969. George Low, the Manager of the Apollo Spacecraft Program Office, proposed a solution in August 1968 to keep the program on track despite the LM delay. Since the next CSM (designated as "CSM-103") would be ready three months before LM-3, a CSM-only mission could be flown in December 1968. Instead of repeating the "C" mission flight of Apollo7, this CSM could be sent all the way to the Moon, with the possibility of entering a lunar orbit and returning to Earth. The new mission would also allow NASA to test lunar landing procedures that would otherwise have had to wait until Apollo10, the scheduled "F" mission. This also meant that the medium Earth orbit "E" mission could be dispensed with. The net result was that only the "D" mission had to be delayed, and the plan for lunar landing in mid-1969 could remain on timeline.


title: Apollo 8

text: On August 9, 1968, Low discussed the idea with Gilruth, Flight Director Chris Kraft, and the Director of Flight Crew Operations, Donald Slayton. They then flew to the Marshall Space Flight Center (MSFC) in Huntsville, Alabama, where they met with KSC Director Kurt Debus, Apollo Program Director Samuel C. Phillips, Rocco Petrone, and Wernher von Braun. Kraft considered the proposal feasible from a flight control standpoint; Debus and Petrone agreed that the next Saturn V, AS-503, could be made ready by December 1; and von Braun was confident the pogo oscillation problems that had afflicted Apollo6 had been fixed. Almost every senior manager at NASA agreed with this new mission, citing confidence in both the hardware and the personnel, along with the potential for a circumlunar flight providing a significant morale boost. The only person who needed some convincing was James E. Webb, the NASA administrator. Backed by the full support of his agency, Webb authorized the mission. Apollo8 was officially changed from a "D" mission to a "C-Prime" lunar-orbit mission.


title: Apollo 8

text: With the change in mission for Apollo 8, Slayton asked McDivitt if he still wanted to fly it. McDivitt turned it down; his crew had spent a great deal of time preparing to test the LM, and that was what he still wanted to do. Slayton then decided to swap the prime and backup crews of the Dand Emissions. This swap also meant a swap of spacecraft, requiring Borman's crew to use CSM-103, while McDivitt's crew would use CSM-104, since CM-104 could not be made ready by December. David Scott was not happy about giving up CM-103, the testing of which he had closely supervised, for CM-104, although the two were almost identical, and Anders was less than enthusiastic about being an LMP on a flight with no LM. Instead, in order that the spacecraft would have the correct weight and balance, Apollo8 would carry LM test article, a boilerplate model of LM-3.


title: Apollo 8

text: Added pressure on the Apollo program to make its 1969 landing goal was provided by the Soviet Union's Zond5 mission, which flew some living creatures, including Russian tortoises, in a cislunar loop around the Moon and returned them to Earth on September 21. There was speculation within NASA and the press that they might be preparing to launch cosmonauts on a similar circumlunar mission before the end of 1968. Compounding these concerns, American reconnaissance satellites observed a mockup N1 being rolled to the pad at Baikonur in November 1967, with more activity in 1968.


title: Apollo 8

text: The Apollo 8 crew, now living in the crew quarters at Kennedy Space Center, received a visit from Charles Lindbergh and his wife, Anne Morrow Lindbergh, the night before the launch. They talked about how, before his 1927 flight, Lindbergh had used a piece of string to measure the distance from New York City to Paris on a globe and from that calculated the fuel needed for the flight. The total he had carried was a tenth of the amount that the Saturn V would burn every second. The next day, the Lindberghs watched the launch of Apollo8 from a nearby dune.


title: Apollo 8

text: The Saturn V rocket used by Apollo8 was designated AS-503, or the "03rd" model of the SaturnV ("5") Rocket to be used in the Apollo-Saturn ("AS") program. When it was erected in the Vehicle Assembly Building on December 20, 1967, it was thought that the rocket would be used for an uncrewed Earth-orbit test flight carrying a boilerplate command and service module. Apollo6 had suffered several major problems during its April 1968 flight, including severe pogo oscillation during its first stage, two second-stage engine failures, and a third stage that failed to reignite in orbit. Without assurances that these problems had been rectified, NASA administrators could not justify risking a crewed mission until additional uncrewed test flights proved the Saturn V was ready.


title: Apollo 8

text: Teams from the MSFC went to work on the problems. Of primary concern was the pogo oscillation, which would not only hamper engine performance, but could exert significant g-forces on a crew. A task force of contractors, NASA agency representatives, and MSFC researchers concluded that the engines vibrated at a frequency similar to the frequency at which the spacecraft itself vibrated, causing a resonance effect that induced oscillations in the rocket. A system that used helium gas to absorb some of these vibrations was installed.


title: Apollo 8

text: Of equal importance was the failure of three engines during flight. Researchers quickly determined that a leaking hydrogen fuel line ruptured when exposed to vacuum, causing a loss of fuel pressure in engine two. When an automatic shutoff attempted to close the liquid hydrogen valve and shut down engine two, it had accidentally shut down engine three's liquid oxygen due to a miswired connection. As a result, engine three failed within one second of engine two's shutdown. Further investigation revealed the same problem for the third-stage engine—a faulty igniter line. The team modified the igniter lines and fuel conduits, hoping to avoid similar problems on future launches.


title: Apollo 8

text: The teams tested their solutions in August 1968 at the MSFC. A Saturn stage IC was equipped with shock-absorbing devices to demonstrate the team's solution to the problem of pogo oscillation, while a Saturn Stage II was retrofitted with modified fuel lines to demonstrate their resistance to leaks and ruptures in vacuum conditions. Once NASA administrators were convinced that the problems had been solved, they gave their approval for a crewed mission using AS-503.


title: Apollo 8

text: The Apollo 8 spacecraft was placed on top of the rocket on September 21, and the rocket made the slow journey to the launch pad atop one of NASA's two massive crawler-transporters on October9. Testing continued all through December until the day before launch, including various levels of readiness testing from December5 through 11. Final testing of modifications to address the problems of pogo oscillation, ruptured fuel lines, and bad igniter lines took place on December 18, three days before the scheduled launch.


title: Apollo 8

text: As the first crewed spacecraft to orbit more than one celestial body, Apollo8's profile had two different sets of orbital parameters, separated by a translunar injection maneuver. Apollo lunar missions would begin with a nominal circular Earth parking orbit. Apollo8 was launched into an initial orbit with an apogee of and a perigee of , with an inclination of 32.51° to the Equator, and an orbital period of 88.19 minutes. Propellant venting increased the apogee by over the 2hours, 44 minutes, and 30 seconds spent in the parking orbit.


title: Apollo 8

text: This was followed by a trans-lunar injection (TLI) burn of the S-IVB third stage for 318 seconds, accelerating the command and service module and LM test article from an orbital velocity of to the injection velocity of which set a record for the highest speed, relative to Earth, that humans had ever traveled. This speed was slightly less than the Earth's escape velocity of , but put Apollo8 into an elongated elliptical Earth orbit, close enough to the Moon to be captured by the Moon's gravity.


title: Apollo 8

text: The standard lunar orbit for Apollo missions was planned as a nominal circular orbit above the Moon's surface. Initial lunar orbit insertion was an ellipse with a perilune of and an apolune of , at an inclination of 12° from the lunar equator. This was then circularized at , with an orbital period of 128.7 minutes. The effect of lunar mass concentrations ("mascons") on the orbit was found to be greater than initially predicted; over the course of the ten lunar orbits lasting twenty hours, the orbital distance was perturbated to .


title: Apollo 8

text: Apollo 8 was launched at 12:51:00 UTC (07:51:00 Eastern Standard Time) on December 21, 1968, using the Saturn V's three stages to achieve Earth orbit. The S-IC first stage landed in the Atlantic Ocean at , and the S-II second stage landed at . The S-IVB third stage injected the craft into Earth orbit and remained attached to perform the TLI burn that would put the spacecraft on a trajectory to the Moon.


title: Apollo 8

text: Once the vehicle reached Earth orbit, both the crew and Houston flight controllers spent the next 2hours and 38 minutes checking that the spacecraft was in proper working order and ready for TLI. The proper operation of the S-IVB third stage of the rocket was crucial, and in the last uncrewed test, it had failed to reignite for this burn. Collins was the first CAPCOM on duty, and at 2hours, 27 minutes and 22 seconds after launch he radioed, "Apollo8. You are Go for TLI." This communication meant that Mission Control had given official permission for Apollo8 to go to the Moon. The S-IVB engine ignited on time and performed the TLI burn perfectly. Over the next five minutes, the spacecraft's speed increased from .


title: Apollo 8

text: After the S-IVB had placed the mission on course for the Moon, the command and service modules (CSM), the remaining Apollo8 spacecraft, separated from it. The crew then rotated the spacecraft to take photographs of the spent stage and then practiced flying in formation with it. As the crew rotated the spacecraft, they had their first views of the Earth as they moved away from it—this marked the first time humans had viewed the whole Earth at once. Borman became worried that the S-IVB was staying too close to the CSM and suggested to Mission Control that the crew perform a separation maneuver. Mission Control first suggested pointing the spacecraft towards Earth and using the small reaction control system (RCS) thrusters on the service module (SM) to add to their velocity away from the Earth, but Borman did not want to lose sight of the S-IVB. After discussion, the crew and Mission Control decided to burn in the Earth direction to increase speed, but at instead. The time needed to prepare and perform the additional burn put the crew an hour behind their onboard tasks.


title: Apollo 8

text: Five hours after launch, Mission Control sent a command to the S-IVB to vent its remaining fuel, changing its trajectory. The S-IVB, with the test article attached, posed no further hazard to Apollo8, passing the orbit of the Moon and going into a solar orbit with an inclination of 23.47° from the Earth's equatorial plane, and an orbital period of 340.80 days. It became a , and will continue to orbit the Sun for many years, if not retrieved.


title: Apollo 8

text: The Apollo 8 crew were the first humans to pass through the Van Allen radiation belts, which extend up to from Earth. Scientists predicted that passing through the belts quickly at the spacecraft's high speed would cause a radiation dosage of no more than a chest X-ray, or 1milligray (mGy; during a year, the average human receives a dose of 2to 3mGy). To record the actual radiation dosages, each crew member wore a Personal Radiation Dosimeter that transmitted data to Earth, as well as three passive film dosimeters that showed the cumulative radiation experienced by the crew. By the end of the mission, the crew members experienced an average radiation dose of 1.6 mGy.


title: Apollo 8

text: Lovell's main job as Command Module Pilot was as navigator. Although Mission Control normally performed all the actual navigation calculations, it was necessary to have a crew member adept at navigation so that the crew could return to Earth in case communication with Mission Control was lost. Lovell navigated by star sightings using a sextant built into the spacecraft, measuring the angle between a star and the Earth's (or the Moon's) horizon. This task was made difficult by a large cloud of debris around the spacecraft, which made it hard to distinguish the stars.


title: Apollo 8

text: By seven hours into the mission, the crew was about 1hour and 40 minutes behind flight plan because of the problems in moving away from the S-IVB and Lovell's obscured star sightings. The crew placed the spacecraft into Passive Thermal Control (PTC), also called "barbecue roll", in which the spacecraft rotated about once per hour around its long axis to ensure even heat distribution across the surface of the spacecraft. In direct sunlight, parts of the spacecraft's outer surface could be heated to over , while the parts in shadow would be . These temperatures could cause the heat shield to crack and propellant lines to burst. Because it was impossible to get a perfect roll, the spacecraft swept out a cone as it rotated. The crew had to make minor adjustments every half hour as the cone pattern got larger and larger.


title: Apollo 8

text: The first mid-course correction came eleven hours into the flight. The crew had been awake for more than 16 hours. Before launch, NASA had decided at least one crew member should be awake at all times to deal with problems that might arise. Borman started the first sleep shift but found sleeping difficult because of the constant radio chatter and mechanical noises. Testing on the ground had shown that the service propulsion system (SPS) engine had a small chance of exploding when burned for long periods unless its combustion chamber was "coated" first by burning the engine for a short period. This first correction burn was only 2.4 seconds and added about velocity prograde (in the direction of travel). This change was less than the planned , because of a bubble of helium in the oxidizer lines, which caused unexpectedly low propellant pressure. The crew had to use the small RCS thrusters to make up the shortfall. Two later planned mid-course corrections were canceled because the Apollo8 trajectory was found to be perfect.


title: Apollo 8

text: About an hour after starting his sleep shift, Borman obtained permission from ground control to take a Seconal sleeping pill. The pill had little effect. Borman eventually fell asleep, and then awoke feeling ill. He vomited twice and had a bout of diarrhea; this left the spacecraft full of small globules of vomit and feces, which the crew cleaned up as well as they could. Borman initially did not want everyone to know about his medical problems, but Lovell and Anders wanted to inform Mission Control. The crew decided to use the Data Storage Equipment (DSE), which could tape voice recordings and telemetry and dump them to Mission Control at high speed. After recording a description of Borman's illness they asked Mission Control to check the recording, stating that they "would like an evaluation of the voice comments".


title: Apollo 8

text: The Apollo 8 crew and Mission Control medical personnel held a conference using an unoccupied second-floor control room (there were two identical control rooms in Houston, on the second and third floors, only one of which was used during a mission). The conference participants concluded that there was little to worry about and that Borman's illness was either a 24-hour flu, as Borman thought, or a reaction to the sleeping pill. Researchers now believe that he was suffering from space adaptation syndrome, which affects about a third of astronauts during their first day in space as their vestibular system adapts to weightlessness. Space adaptation syndrome had not occurred on previous spacecraft (Mercury and Gemini), because those astronauts could not move freely in the small cabins of those spacecraft. The increased cabin space in the Apollo command module afforded astronauts greater freedom of movement, contributing to symptoms of space sickness for Borman and, later, astronaut Rusty Schweickart during Apollo9.


title: Apollo 8

text: The cruise phase was a relatively uneventful part of the flight, except for the crew's checking that the spacecraft was in working order and that they were on course. During this time, NASA scheduled a television broadcast at 31 hours after launch. The Apollo8 crew used a camera that broadcast in black-and-white only, using a Vidicon tube. The camera had two lenses, a very wide-angle (160°) lens, and a telephoto (9°) lens.


title: Apollo 8

text: During this first broadcast, the crew gave a tour of the spacecraft and attempted to show how the Earth appeared from space. However, difficulties aiming the narrow-angle lens without the aid of a monitor to show what it was looking at made showing the Earth impossible. Additionally, without proper filters, the Earth image became saturated by any bright source. In the end, all the crew could show the people watching back on Earth was a bright blob. After broadcasting for 17 minutes, the rotation of the spacecraft took the high-gain antenna out of view of the receiving stations on Earth and they ended the transmission with Lovell wishing his mother a happy birthday.


title: Apollo 8

text: By this time, the crew had completely abandoned the planned sleep shifts. Lovell went to sleep hours into the flight – three-and-a-half hours before he had planned to. A short while later, Anders also went to sleep after taking a sleeping pill. The crew was unable to see the Moon for much of the outward cruise. Two factors made the Moon almost impossible to see from inside the spacecraft: three of the five windows fogging up due to out-gassed oils from the silicone sealant, and the attitude required for passive thermal control. It was not until the crew had gone behind the Moon that they would be able to see it for the first time.


title: Apollo 8

text: Apollo 8 made a second television broadcast at 55 hours into the flight. This time, the crew rigged up filters meant for the still cameras so they could acquire images of the Earth through the telephoto lens. Although difficult to aim, as they had to maneuver the entire spacecraft, the crew was able to broadcast back to Earth the first television pictures of the Earth. The crew spent the transmission describing the Earth, what was visible, and the colors they could see. The transmission lasted 23 minutes.


title: Apollo 8

text: At about 55 hours and 40 minutes into the flight, and 13 hours before entering lunar orbit, the crew of Apollo8 became the first humans to enter the gravitational sphere of influence of another celestial body. In other words, the effect of the Moon's gravitational force on Apollo8 became stronger than that of the Earth. At the time it happened, Apollo8 was from the Moon and had a speed of relative to the Moon. This historic moment was of little interest to the crew, since they were still calculating their trajectory with respect to the launch pad at Kennedy Space Center. They would continue to do so until they performed their last mid-course correction, switching to a reference frame based on ideal orientation for the second engine burn they would make in lunar orbit.


title: Apollo 8

text: The last major event before Lunar Orbit Insertion (LOI) was a second mid-course correction. It was in retrograde (against the direction of travel) and slowed the spacecraft down by , effectively reducing the closest distance at which the spacecraft would pass the Moon. At exactly 61 hours after launch, about from the Moon, the crew burned the RCS for 11 seconds. They would now pass from the lunar surface.


title: Apollo 8

text: At 64 hours into the flight, the crew began to prepare for Lunar Orbit Insertion1 (LOI-1). This maneuver had to be performed perfectly, and due to orbital mechanics had to be on the far side of the Moon, out of contact with the Earth. After Mission Control was polled for a "go/no go" decision, the crew was told at 68 hours that they were Go and "riding the best bird we can find". Lovell replied, "We'll see you on the other side", and for the first time in history, humans travelled behind the Moon and out of radio contact with the Earth.


title: Apollo 8

text: With ten minutes remaining before LOI-1, the crew began one last check of the spacecraft systems and made sure that every switch was in its correct position. At that time, they finally got their first glimpses of the Moon. They had been flying over the unlit side, and it was Lovell who saw the first shafts of sunlight obliquely illuminating the lunar surface. The LOI burn was only two minutes away, so the crew had little time to appreciate the view.


title: Apollo 8

text: The SPS was ignited at 69 hours, 8minutes, and 16 seconds after launch and burned for 4minutes and 7seconds, placing the Apollo8 spacecraft in orbit around the Moon. The crew described the burn as being the longest four minutes of their lives. If the burn had not lasted exactly the correct amount of time, the spacecraft could have ended up in a highly elliptical lunar orbit or even been flung off into space. If it had lasted too long, they could have struck the Moon. After making sure the spacecraft was working, they finally had a chance to look at the Moon, which they would orbit for the next 20 hours.


title: Apollo 8

text: On Earth, Mission Control continued to wait. If the crew had not burned the engine, or the burn had not lasted the planned length of time, the crew would have appeared early from behind the Moon. Exactly at the calculated moment the signal was received from the spacecraft, indicating it was in a orbit around the Moon.


title: Apollo 8

text: After reporting on the status of the spacecraft, Lovell gave the first description of what the lunar surface looked like:


title: Apollo 8

text: Lovell continued to describe the terrain they were passing over. One of the crew's major tasks was reconnaissance of planned future landing sites on the Moon, especially one in Mare Tranquillitatis that was planned as the Apollo11 landing site. The launch time of Apollo8 had been chosen to give the best lighting conditions for examining the site. A film camera had been set up in one of the spacecraft windows to record one frame per second of the Moon below. Bill Anders spent much of the next 20 hours taking as many photographs as possible of targets of interest. By the end of the mission, the crew had taken over eight hundred 70 mm still photographs and of 16 mm movie film.


title: Apollo 8

text: Throughout the hour that the spacecraft was in contact with Earth, Borman kept asking how the data for the SPS looked. He wanted to make sure that the engine was working and could be used to return early to the Earth if necessary. He also asked that they receive a "go/no go" decision before they passed behind the Moon on each orbit.


title: Apollo 8

text: As they reappeared for their second pass in front of the Moon, the crew set up equipment to broadcast a view of the lunar surface. Anders described the craters that they were passing over. At the end of this second orbit, they performed an 11-second LOI-2 burn of the SPS to circularize the orbit to .


title: Apollo 8

text: Throughout the next two orbits, the crew continued to check the spacecraft and to observe and photograph the Moon. During the third pass, Borman read a small prayer for his church. He had been scheduled to participate in a service at St. Christopher's Episcopal Church near Seabrook, Texas, but due to the Apollo8 flight, he was unable to attend. A fellow parishioner and engineer at Mission Control, Rod Rose, suggested that Borman read the prayer, which could be recorded and then replayed during the service.


title: Apollo 8

text: When the spacecraft came out from behind the Moon for its fourth pass across the front, the crew witnessed an "Earthrise" in person for the first time in human history. NASA's Lunar Orbiter 1 had taken the first picture of an Earthrise from the vicinity of the Moon, on August 23, 1966. Anders saw the Earth emerging from behind the lunar horizon and called in excitement to the others, taking a black-and-white photograph as he did so. Anders asked Lovell for color film and then took "Earthrise", a now famous color photo, later picked by "Life" magazine as one of its hundred photos of the century.


title: Apollo 8

text: Due to the synchronous rotation of the Moon about the Earth, Earthrise is not generally visible from the lunar surface. This is because, as seen from any one place on the Moon's surface, Earth remains in approximately the same position in the lunar sky, either above or below the horizon. Earthrise is generally visible only while orbiting the Moon, and at selected surface locations near the Moon's limb, where libration carries the Earth slightly above and below the lunar horizon.


title: Apollo 8

text: Anders continued to take photographs while Lovell assumed control of the spacecraft so that Borman could rest. Despite the difficulty resting in the cramped and noisy spacecraft, Borman was able to sleep for two orbits, awakening periodically to ask questions about their status. Borman awoke fully when he started to hear his fellow crew members make mistakes. They were beginning to not understand questions and had to ask for the answers to be repeated. Borman realized that everyone was extremely tired from not having a good night's sleep in over three days. He ordered Anders and Lovell to get some sleep and that the rest of the flight plan regarding observing the Moon be scrubbed. Anders initially protested, saying that he was fine, but Borman would not be swayed. Anders finally agreed under the condition that Borman would set up the camera to continue to take automatic pictures of the Moon. Borman also remembered that there was a second television broadcast planned, and with so many people expected to be watching, he wanted the crew to be alert. For the next two orbits, Anders and Lovell slept while Borman sat at the helm.