title: Hanfu

text: After the fall of the Qing dynasty, Yuan Shikai revived the "Sacrifice at the Temple of Heaven" ceremony; he also proclaimed himself as Emperor Hongxian and the beginning of a new dynasty; the robe and hat which specially designed for him to wear on the day of this ceremony was based on the ceremonial dress worn by the Han and Ming dynasty emperors on sacrificial ceremonies. However, Yuan Shikai did not adhere to the Han dynasty and Ming dynasty fashion completely and these gowns showed differences in design, i.e. the use of roundels. A manual, called the "Jisi guanfutu" (祭祀冠服圖; "The Illustrated Manual of Dress for Ritual Sacrifices"), was specially prepared and produced in 1914 AD by the "Zhengshitang lizhiguan" (政事堂禮制館; "Bureau of Rites of the Executive Affairs department"); this manual provided a detailed description of the attire worn by Yuan Shikai and the participants of the ceremony on this 1914 public, ceremonial event. Yuan Shikai's ceremonial gown was "jiaoling youren" (i.e. fastened over the right side), made of black satin which was bordered with gold brocade and was decorated with twelve roundels which depicted the full twelve Imperial symbols ("shier zhang"; 十二章). Officials gowns were also designed for officials who had to participate in the ceremony; the officials gown were made of black satin and the edges were made with blue brocade. Laws regarding the official dress were also decreed: (1) First-rank officials had to wear nine roundels with nine symbols on their gowns; (2) second-rank officials had to wear seven roundels with seven symbols; (3) Third-rank officials had to wear five roundels with five symbols; (4) fourth-rank officials had to wear three roundels with three symbols; and (5) fifth-rank officials and below had to wear a robe without any borders and without any roundels. Those imperial emblems which were used in the roundels originated from the twelve emblems which were documented in the Shangshu. This ceremonial gown was worn over a purple satin apron skirt which would be edged with either blue or gold brocade; a belt of matching colour was also worn around the waist. They also wore flat hats, and some of them had string of pearls which hung over their faces just like the hats which were worn by the Han Chinese emperors of the earlier dynasties. Yuan Shikai's deliberate way of dressing up to pay respect to Heaven was not only made in accordance to the old imperial traditions, but it can also be considered as a public declaration to the Chinese people and to the world that the old Chinese customs were still relevant in modern society. When Yuan Shikai died in 1916, he was buried in imperial gown which was decorated with nine golden dragons. However, since his reign was short-lived, the attempts at restoring ancient Chinese ceremonial and official gowns failed and gradually disappeared.


title: Hanfu

text: In 1919, women aoqun evolved; the ao became slimmer and longer until it reached below the narrow; the sleeves became narrower to the wrists, and the side slits were shortened; the collars became very high with some corners turning down sometimes and other collars reaching up to the ears. The edges of the ao became narrow contrasting to the wide bands of embroidery which was popular in the past. The ao was worn with a one-piece ankle length skirt.


title: Hanfu

text: In the early 1920s, the ao became more fitted and was shortened reaching only the top of the hip with a rounded hem, the sleeves were also shortened to three quarter of its length. The skirt became plainer, cut with a simple flared style, and wide waistband was replaced by narrow band in which a cord or elastic was threaded. The qipao, also known as cheongsam, was eventually created in the middle of 1920s.


title: Hanfu

text: In 1927, changshan and magua was established as the formal, official wear for men, and they were worn for important ceremonies, such as weddings, temple and ancestral halls worship. Women's formal wear was either a black ao and blue skirt with the same style as the earlier outfit or the cheongsam.


title: Hanfu

text: In the mid-1930s as men started to adopt more Western clothing. Under the Japanese occupation, more men started to wear even more Western suits and ties, and the men traditional clothing was worn on informal occasions.


title: Hanfu

text: During the Cultural Revolution, traditional Chinese clothing, as a broad term, was considered as being part of one of the "four olds" and the Mao suit was popularized for both genders. Skirts also disappeared as they were considered being both impractical for manual work and ideologically inappropriate during this time period. In 1974, Jiang Qing, the fourth wife of Mao Zedong, wanted to make an attire, known as the "Jiang Qing dress," as the national dress for the Chinese women. The "Jiang Qing dress", which she personally designed, consisted of pleated skirts instead of trousers, the sleeves were nearly elbow-length, there was a central opening, and the neckline was V-shaped and was delineated by a wide, white band; the skirt was based on the pleated skirts (i.e. the "one hundred pleats" skirt) worn by the court ladies worn in Tang dynasty paintings. The earliest form of "Jiang Qing dress" is documented and appear in the 1974 Asian Games photos. Jiang Qing tried to popularize the dress in diverse ways through public and foreign avenues; however, her dress failed to win popularity and was disliked. Since the late 1970s, skirts and dresses reappeared and western-style clothing became popular in daily lives.


title: Hanfu

text: Since the 20th century, hanfu and hanfu-style clothing has been used frequently as ancient costumes in Chinese and foreign television series, films and other forms of entertainment media, and was widely popularized since the late 1980s dramas. They are very often depicted in historical drama and wuxia movies. However, some television drama costumes are inaccurate and do not conform to historical facts. One example of historically inaccurate hanfu-style costume is the costume worn by Disney's Mulan, where the wide sleeves of the hanfu were reduced to narrow sleeves reflecting modern fashion and to reflect the character of Disney's Mulan.


title: Hanfu

text: Many elements and costumes styles worn in Chinese opera are derived from the Ming dynasty clothing and may be blended with the clothing style from the Tang to Qing dynasty. The opera costumes worn in Kunqu opera is primarily based on the clothing worn in Ming dynasty. And, most of the style of costumes depicted in Cantonese opera are also derived from the clothing of the Ming dynasty, with a few exception being derived from the Qing dynasty clothing. Costumes of Cantonese opera uses the Ming-style clothing for opera which are set in all dynasties, except for the ones set in the Qing dynasty; those costumes follow the Qing-style.


title: Hanfu

text: Modern Taoist monks and Taoism practitioners continue to style their long hair into a touji (頭髻; a topknot hairstyle) and wear traditional clothing. Some modern taoist abbess and priests also wear cross-collared "jiaoling youren" robes and hats.


title: Hanfu

text: The Hanfu Movement is an ongoing social movement which aims at popularizing hanfu and integrating traditional Chinese elements into the design of modern clothing, as a way to promote traditional Chinese culture.


title: Hanfu

text: On 22 November 2003, a man named Wang Letian wore a DIY shenyi in public; his hanfu story was published in Lianhe Zaobao newspaper and attracted the public attention. This is commonly perceived as the beginning of the modern Hanfu Movement.


title: Hanfu

text: Today, China faces an increasing need to establish a sense of national identity, and the Hanfu Movement is part of the movement to restore old customs and traditions, and to promote Chinese culture. In a larger scale, the Hanfu Movement is part of the Chinese Dream, or "the Great Rejuvenation of the Chinese Nation".


title: Hanfu

text: Entering the 21st century, hanfu has become a fashion trend and lucrative business sector. In 2018, it was estimated that the hanfu market consisted of 2 million potential consumers. The estimated revenue sales for 2019 was 1.4 billion yuan (US$199.3 million). According to the iiMedia 2018 survey, women make up 88.2% of the Hanfu enthusiasts and 75.8% of the Hanfu stores on Taobao and Tmall platforms only sell hanfu for women.


title: Hanfu

text: In 2019, it was estimated that there were 1,188 online hanfu stores on Tmall and Taobao which shows an increase of 45.77% over the previous year. The hanfu stores "Chong Hui Han Tang" ranked third on Tmall in 2019 after the hanfu store "Hanshang Hualian" and "Shisanyu". In the 2019 edition of the "Xitang Hanfu Culture Week", it was estimated that it attracted 40,000 Hanfu enthusiast participants.


title: Hanfu

text: A study done by "Forward Industry Research Institute" (a Chinese research institute) shows that by 2020, the number of hanfu enthusiasts in China has reached 5.163 million, creating a market size equivalent to 6.36 billion yuan (US$980 million), a proportional increase of over 40% compared to the previous year. Meanwhile, it is projected that by the end of 2021, the total number of hanfu enthusiasts across China will exceed 7 million, and that the market size of hanfu will exceed 9 billion yuan (US$1.39 billion).


title: Hanfu

text: The 21st century hanfu is still referred as hanfu within the Hanfu cultural community for ease of expression. On March 8, 2021, the magazine Vogue published an article on "modern hanfu" defining it as a "type of dress from any era when Han Chinese ruled" and reported that the styles based on the Tang, Song, Ming periods were the most popular.


title: Hanfu

text: Most "modern hanfu" are based on sculptures, paintings, art objects, historical records, and historical clothing. Ming dynasty Han Chinese robes given by the Ming Emperors to the Chinese noble Dukes Yansheng descended from Confucius are still preserved in the Confucius Mansion after over five centuries. Robes from the Qing emperors are also preserved there. The Jurchens in the Jin dynasty and Mongols in the Yuan dynasty continued to patronize and support the Confucian Duke Yansheng. Around the year 2007 or 2008, a group of young people from Minghang district, Shanghai, started a project to restore Chinese clothing from ancient dynasties based on rigorous research, spending their days reading ancient documents and looking at paintings to find detailed information about the styles, materials, colours and patterns used in ancient times; this group is called the "Ancient Chinese Clothing Restoration Team".


title: Hanfu

text: It is also worth noting that an important feature of the modern hanfu (regardless of the three categories it belongs to) is its jiaoling youren characteristic. In fact, this design bear special cultural moral and ethical values. It is said the left collar covering the right represents the perfection of human culture on human nature and the overcoming of bodily forces by the spiritual power of ethical ritual teaching; the expansive cutting and board sleeve represents a moral, concordant relation between nature and human creative power; the use of the girdle to fasten the garment over the body represents the constraints of Han culture to limit human's desire that would incur amoral deed. As a result, jiaoling youren has become an inseparable part of modern hanfu design.


title: Hanfu

text: The "modern" "hanfu" can combine both the characteristics of the ancient hanfu (e.g. it follows the traditional two-dimensions cut instead of three-dimension cut) and the aesthetics standards and technologies of modern society in terms of style, clothing colour, clothing construction, and materials. The "modern hanfu" is also not restricted by the use of colours and decoration design regulations; e.g. the "modern hanfu" allows the use of dragons and the colour yellow which had been forbidden in the ancient dynasties. Some people even mix-match various hanfu clothing from different dynasties.


title: Hanfu

text: The "modern hanfu" also changes to a style that can be worn daily, and these styles combined with western clothing or even clothing from other cultures. For example, the recent emergence of Christmas-theme "hanfu" trend (which occurred especially for Christmas season) on social media and online shops combines "hanfu" with Christmas elements and Christmas colour hues. Another trend is the incorporation of (western-style) lace elements to the hanfu; however, those designs are not considered as "authentic hanfu" but are considered being clothing with Han elements (or "hanyuansu"). Some "modern hanfu" design is influenced by the kawaii culture and is a targeted choice for young women who seek a cute appearance; some of these kawaii-style "modern hanfu" also uses knee-length skirt.


title: Hanfu

text: While the majority of modern hanfu are developed based on historical styles of hanfu of which the existences are confirmed through archaeological research, some forms of modern hanfu like the qixiong ruqun is controversial due to the rarity of unearthed historical clothing. The modern qixiong ruqun which is found on the market comes into two forms: (1) one-piece style, and (2) two-piece style with a slit under the waist. The former is well accepted as being an authentic shape as such form of skirt was unearthed in archeological findings, thus proving the correctness of the one-piece style qixiong ruqun. Whereas, the latter is controversial as it is a style which (so far) can only be found in ancient paintings, such as the Tang dynasty "A palace concert" painting. Another style of controversial "modern hanfu" is the "xiao quju" (小曲裾), which is shorter version of the "qujupao".


title: Hanfu

text: The "Wei and Jin dynasty style" (魏晋风; "weijinfeng") hanfu is another controversial form of hanfu that is believed to have been created in modern times, during the early stage of the 21st century Hanfu movement. Its design was potentially influenced by Chinese movies and TV dramas emerged in the 20th century. The "Wei and Jin dynasty style" hanfu is different from the ancient hanfu worn in the Wei and Jin dynasties.


title: Hanfu

text: The style of historical Han clothing can be summarized as containing garment elements that are arranged in distinctive and sometimes specific ways. A complete set of garment is assembled from several pieces of clothing into an attire:


title: Hanfu

text: There is differences between traditional garment of Han ethnic and other ethnic groups in China, most notably the Manchu-influenced clothes, "qipao", which is popularly considered to be the de facto traditional Han Chinese garb. A general comparison of the two styles can be seen as the following provides:


title: Hanfu

text: There were many etiquettes which rule people's daily lives, and this included the use and etiquettes of shoes and socks wearing. The rules of Zhou stipulated that shoes had to be removed before entering a house; shoes and socks had to be removed at banquets, and ministers who had to meet with the emperor had to remove both their shoes and socks. Being barefoot was considered a taboo on ceremonial worship occasions.


title: Hanfu

text: On top of the garments, hats (for men) or hairpieces (for women) may be worn. One can often tell the profession or social rank of someone by what they wear on their heads. The typical types of male headwear are called "jin" (巾) for soft caps, "mao" (帽) for stiff hats and "guan" for formal headdress. Officials and academics have a separate set of hats, typically the "putou", the "wushamao", the "si-fang pingding jin" (四方平定巾; or simply, "fangjin": 方巾) and the "Zhuangzi jin" (莊子巾). A typical hairpiece for women is the hairpin called "ji" (笄) that appeared since Neolithic time, and there are more elaborate hairpieces.


title: Hanfu

text: In addition, managing hair was also a crucial part of ancient Han people's daily life. Commonly, males and females would stop cutting their hair once they reached adulthood. This was marked by the Chinese coming of age ceremony Guan Li, usually performed between ages 15 to 20. They allowed their hair to grow long naturally until death, including facial hair. This was due to Confucius' teaching ""Shenti fa fu, shou zhu fumu, bu gan huishang, xiaozhi shi ye" (身體髮膚，受諸父母，不敢毀傷，孝之始也)" – which can be roughly translated as 'My body, hair and skin are bestowed by my father and mother, I dare not damage any of them, as this is the least I can do to honor and respect my parents'. In fact, cutting one's hair off in ancient China was considered a legal punishment called 'Kun (髡)', designed to humiliate criminals, as well as applying a character as a facial tattoo to notify one's criminality, the punishment is referred to as 'Qing (黥)', since regular people wouldn't have tattoos on their skin attributed to the same philosophy.


title: Hanfu

text: Children were exempt from the above commandment; they could cut their hair short, make different kinds of knots or braids, or simply just let them hang without any care, especially because such a decision was usually made by the parents rather than the children themselves; therefore, parental respect was not violated. However, once they entered adulthood, every male was obliged to tie his long hair into a bun called "ji" (髻) either on or behind his head and always cover the bun up with different kinds of headdresses (except Buddhist monks, who would always keep their heads completely shaved to show that they're "cut off from the earthly bonds of the mortal world"; and Taoist monks, who would usually just use hair sticks called zan to hold the buns in place without concealing them). Thus the 'disheveled hair', a common but erring depiction of ancient Chinese male figures seen in most modern Chinese period dramas or movies with hair (excluding facial hair) hanging down from both sides and/or in the back are historically inaccurate. Females on the other hand, had more choices in terms of decorating their hair as adults. They could still arrange their hair into as various kinds of hairstyles as they pleased. There were different fashions for women in various dynastic periods.


title: Hanfu

text: Such strict "no-cutting" hair tradition was implemented all throughout Han Chinese history since Confucius' time up until the end of Ming dynasty (1644 CE), when the Qing Prince Dorgon forced the male Han people to adopt the hairstyle of Manchu men, which was shave their foreheads bald and gather the rest of the hair into the queue to show that they submitted to Qing authority, the so-called "Queue Order" (薙髮令). Han children and females were spared from this order, also Taoist monks were allowed to keep their hair and Buddhist monks were allowed to keep all their hair shaven. Han defectors to the Qing like Li Chengdong and Liu Liangzuo and their Han troops carried out the queue order to force it on the general population. Han Chinese soldiers in 1645 under Han General Hong Chengchou forced the queue on the people of Jiangnan while Han people were initially paid silver to wear the queue in Fuzhou when it was first implemented.


title: Hanfu

text: Hanfu also consists of many forms of miscellaneous accessories, such as jewelries, waist ornaments, ribbons, shawls, scarves, and hand-held accessories.


title: Benidorm (British TV series)

text: Benidorm is a British sitcom written and created by Derren Litten and produced by Tiger Aspect for ITV that aired for ten series from 1 February 2007 until 2 May 2018. The series features an ensemble cast of holiday makers and staff at the Solana all-inclusive hotel in Benidorm, Spain over the course of a week each year.


title: Benidorm (British TV series)

text: On 5 July 2018, series creator and writer Derren Litten confirmed that series 10 would be the last after the series was axed by ITV. "Benidorm Live", a stage adaption written by Litten, was announced with 250 shows scheduled in theatres across the United Kingdom and Ireland.


title: Benidorm (British TV series)

text: The series follows holidaymakers who spend a week at the Solana Resort Benidorm, Spain. It is usually the same people who go at the same time of year, usually by coincidence. As people say, those who come to Benidorm "can never stay away" or "never come back". Some higher-class people who come to the Solana are not satisfied with its facilities or the holidaymakers who go there, though others enjoy themselves, mostly due to the fact that it is all-inclusive.


title: Benidorm (British TV series)

text: In 2006, Derren Litten pitched a new comedy that he had devised for ITV, focusing on an all-inclusive holiday resort, which was later confirmed to be titled "Benidorm", and began airing on 1 February 2007. After the first series concluded on 8 March 2007, ITV renewed it for a second series, which commenced in April 2008, with all the main characters returning for the eight-episode series. As a result of the second series' finale being left on a cliff hanger, a special was broadcast on 31 May 2009, to expand the events that occurred in the final episode of series 2, before a third series began on 2 October that same year, in a new 45-minute episode format.


title: Benidorm (British TV series)

text: With the programme's success uprising, a fourth series was commissioned; it was later decided that the fourth series would air in 2011, with a Christmas special airing in December 2010. After cast member Geoffrey Hutchings' sudden death in July 2010 from a suspected viral infection, the Christmas special was forced to be heavily rewritten, though did broadcast on 26 December 2010. Hutchings' character was then killed off-screen at the conclusion of this episode, which was viewed by 7.41 million. Despite speculation of a possible cancellation, "Benidorm" did return for its planned fourth series, which began 25 February 2011, in which has been considered as the best series of the show. Litten then planned to conclude the show at the end of the fourth series, though high demands from viewers resulted in him rapidly reversing his decision.


title: Benidorm (British TV series)

text: After the fifth series, broadcast between 24 February and 6 April 2012, concluded, the programme took a year-long hiatus from television, with the sixth series beginning on 2 January 2014. From then onwards, the programme would continue to see the average viewership decrease slowly across the next few series. Series 7 was broadcast from 2 January to 13 February 2015, series 8 from 11 January to 22 February 2016, series 9 from 1 March to 3 May 2017, and series 10 from 28 February to 2 May 2018.


title: Benidorm (British TV series)

text: Series 1 introduced the main characters: the Garvey family, which included parents Mick (Steve Pemberton) and Janice (Siobhan Finneran), teenage daughter Chantelle (Hannah Hobley) and eight-year-old son Michael (Oliver Stokes); Janice's mother Madge (Sheila Reid); Jacqueline (Janine Duvitski) and Donald Stewart (Kenny Ireland); Kate (Abigail Cruttenden) and Martin Weedon (Nicholas Burns); Geoff Maltby (Johnny Vegas), who calls himself "The Oracle", and his mother Noreen (Elsie Kelly); Gavin Ramsbottom (Hugh Sachs) and Troy Ganatra (Paul Bazely) and the Solana staff: barman Mateo Castellanos (Jake Canuso) and manageress Janey Yorke (Crissy Rock). Niky Wardley appeared in a recurring role, portraying the role of Kelly, Mateo's lover, whilst Ella Kenion made a guest appearance in the third episode as an unnamed con artist. All regular cast members returned for the second series, with Geoffrey Hutchings joining the cast as Mel Harvey, the new multi-millionaire boyfriend of Madge, and Chantelle's baby son "Coolio". Furthermore, Wardley reprised her role as Kelly, with Wendy Richard making a guest appearance in one episode as her mother, a wheelchair-riding love rival for Madge; other guest stars included Margi Clarke as Dorothy, Gavin's estranged mother and Elliott Jordan portrayed Jack, a British bar-owner with whom Janice found temptation.


title: Benidorm (British TV series)

text: In the third series, all cast members once again returned, though Abigail Cruttenden only returned for the final two episodes, with Sheridan Smith portraying the role of Brandy, as a brief replacement for her character, as a new love interest for Martin. Guest cast members in these series included Keith Barron, playing an English deputy Mayor; Tim Healy, playing Geoff's transvestite blind date Les (Lesley) Conroy; Robin Askwith playing Gary, a conman and a thief who was revealed as Brandy's lover; Una Stubbs made an appearance in the final episode as Martin's mother, Diana; Stuart McGugan played Donald's practical-joking friend Wink McAndrew, who electrocuted himself to death on-stage at Neptune's; whilst Lorraine Bruce appeared as one of Madge's estranged daughters. Healy would go on to make a further guest appearance in the 2010 Christmas special, before becoming a cast regular in the fourth series. Other guest stars in the Christmas special included Louie Spence, portraying the role of Marvin; Brian Murphy played the role of Noreen's love interest Clive Mitchell; whereas Su Pollard, Asa Eliott and Roy Wood appeared as themselves.


title: Benidorm (British TV series)

text: A number of new characters were introduced for series 4, including Liam Conroy (Adam Gillen), the son of Les, the latter now also a cast regular; Sam Wood (Shelley Longworth) and her good friend Natalie Jones (Kathryn Drysdale); Kenneth Du Beke (Tony Maudsley), a hairdresser at Gavin and Troy's hair salon in Derbyshire, taking Troy's place on holiday with Gavin; and Pauline Maltby (Selina Griffiths), the daughter of Noreen on holiday with her in the place of Geoff. The Garvey family (now only including Pemberton, Finneran, Reid and Stokes), Donald and Jacqueline (Ireland and Duvitski), Mateo (Canuso), Janey (Rock) returned from series 3. There was also a variety of guest appearances, including Neil Fitzmaurice as "Lucky Kev", Cilla Black as herself, Denise Welch as "Scary Mary", Melvyn Hayes as "Mr Pink" and Ian Reddington as Johnny Neptune. Michael Fenton Stevens was also introduced, making the first of his many guest appearances, as Sir Henry, the head of the British consulate. Johnny Vegas, Hannah Hobley, Abigail Cruttenden and Nicholas Burns did not return; Paul Bazely did not return until the final episode, due to his filming commitments after joining the cast of "".


title: Benidorm (British TV series)

text: Prior to the fifth series airing, Crissy Rock decided to leave in order to appear in the eleventh series of "I'm a Celebrity...Get Me Out of Here!", though did make a one-off return. As a result, Sherrie Hewson joined the cast, playing the role of Joyce Temple-Savage, the new manageress of the Solana. Bazely, Drysdale and Griffiths were the only cast members of the fourth series to not return; Michelle Butterly was then cast in the role of Trudy, a character who accompanies Sam on holiday, thus acting as a replacement for Drysdale. All the remaining cast members returned. Alba Ortega had a brief role in the series, portraying the role of Carmen, the new colleague of Kenneth, who now owns a hair salon within the Solana. Asa Eliott, Elliott Jordan and Michael Fenton Stevens reprised their roles as himself, Jack and Sir Henry, respectively. This was the only series to feature Butterly, the last time Noreen featured until series 7 and Sam featured until series 9, and the last series to feature Sachs.


title: Benidorm (British TV series)

text: In series 6, a new family was added to the show at this point. The Dykes, a lively family from Watford, consist of father Clive (Perry Benson), his wife Tonya (Hannah Waddingham), their son Tiger (Danny Walters) and their daughter Bianca (Bel Powley). The Garveys, Donald and Jacqueline, Mateo, Lesley, Liam, Kenneth and Joyce all returned, whilst Nicholas Burns reprised his role as Martin Weedon after a five-year absence, alongside his friends on a stag holiday. There are guest appearances in this series, as Matthew Kelly plays Cyril Babcock (who also appeared in series 5), Elliott Jordan returns as Jack, Rustie Lee plays Queenie, Asa Elliott and The Krankies appear as themselves, legendary Hollywood star Joan Collins stars as Crystal Hennessy-Vass, the CEO of the Solana Hotel Group, Janet Street Porter makes a cameo appearance as a news reporter, and Holly Earl plays local girl Elena.


title: Benidorm (British TV series)

text: Benson, Canuso, Duvitski, Gillen, Healy, Hewson, Maudsley and Walters all returned as regulars for series 7; Finneran, Pemberton, Reid and Stokes also returned, but only appeared in the first two episodes which were written specifically to end their time on the show, whereas Waddingham and Powley did not return. Following Kenny Ireland's death, his character Donald Stewart did not appear, though Duvitski did return, with Alan David replacing Donald as reluctant swinger Glynn Flint; to script in Donald's absence, Glynn's wife Rhiannon (played by Ruth Madoc) was holidaying in France with Donald. Leslie Jordan guest starred as Buck A. Roo for two episodes, playing an attorney who revealed the Garveys had inherited $30,000,000 before whisking them off to Las Vegas. Johnny Vegas and Elsie Kelly returned during the series, whereas Denise Black guest starred as Gloria, Liam's mother. Collins also made a guest appearance, as did Crissy Rock. For series 8, Benson, Eaton and David did not return, whereas all others did, with Ireland's character being killed off-screen. In series 8, Julie Graham, Steve Edge, Bobby Knutt, Josh Bolt and Honor Kneafsey joined the cast as new family, the Dawsons. Jessica Ellerby and Nathan Bryon joined the cast as Amber Platt and Joey Ellis, respectively. Paul Bazely and Selina Griffiths returned, both having not appeared since series 4, whereas Sheila Reid re-appeared for a singular episode. Several previous guest stars returned, including Louis Emerick, Paul Chan, John Challis, Milanka Brooks and Joan Collins, while Kevin Bishop, Shane Richie and Leo Sayer appeared as new guests.


title: Benidorm (British TV series)

text: During filming of series 9, Healy fell ill whilst filming, resulting in him being written out for the second half of the series. All of the series 8 cast returned for the ninth series. Shelley Longworth reprised her role as Sam Wood for the ninth series, having not appeared since series 5. The following year, Laila Zaidi and Julian Moore-Cook joined the cast for series 10, whereas Vegas, Bazely, Walters and Kneafsey did not return, with Walters going on to join the cast of "EastEnders". In September 2017, actor Bobby Knutt died; however, filming had already finished; the first episode was dedicated to him.


title: Benidorm (British TV series)

text: "The Solana" is the hotel featured in the show, where most of the characters stay. The pool scenes are filmed at the Sol Pelicanos Ocas Hotel in Benidorm, and the room scenes are filmed in the Acuariam II Apartments (which overlook the pool). The reception area and the salon is filmed in a studio set in a building opposite Benidorm Palace, known as "The Pink House".


title: Benidorm (British TV series)

text: "Neptune's" is an all-inclusive bar/restaurant featured in the show, and owned by The Solana. Most of the characters are seen here in the evening, where seemingly there is karaoke and live entertainment every night. Occasional guest appearances take place from singer Asa Elliott, and previously Shaun Foster Conley. Neptune's is filmed in Morgan's Tavern, near to Sol Pelicanos Ocas, where the pool scenes are filmed. Scenes showing cast members leaving Neptune's were filmed using a false facade on the bar area of Sol Pelicanos Ocas, forming a continuum with other outdoor scenes.


title: Benidorm (British TV series)

text: In July 2018, it was confirmed that "Benidorm" would not be returning for an eleventh series, just weeks after the tenth series had concluded. Ratings had steadily declined throughout the last few series, with the events of series 10 acting as a conclusion to the characters' journeys. Litten went on to create a new sitcom for BBC One, entitled "Scarborough", which featured a variety of former "Benidorm" cast members.


title: Benidorm (British TV series)

text: Television network FOX has commissioned an American adaptation of the sitcom, named "The Big Package". The adaptation will be set in a Mexican holiday resort, with the plot revolving around a Bostonian family, similar to the Garvey family, who go on holiday to escape their financial issues. The title of the adaptation derives from the three-star resort it is set at, which offers a "big package deal". Writers Chris Alberghini and Mike Chessler will be adapting Derren Litten's scripts for the show. As of October 2016 the show was slated for a 2017 debut, but by the autumn of 2021 it had yet to air.


title: Benidorm (British TV series)

text: In 2017, dates were announced for a major theatre tour of the sitcom's stage adaptation. The tour began in Newcastle-upon-Tyne, England at the Theatre Royal on 7 September 2018 Two hundred and thirty-five shows were scheduled to take place in various locations throughout the United Kingdom and Ireland.


title: Tahir Raj Bhasin

text: Tahir Raj Bhasin (born 21 April 1987) is an Indian actor who appears in Hindi films. Born in Delhi, he holds a master's degree in media from the University of Melbourne. Bhasin made his screen debut with "Kismat Love Paisa Dilli" (2012) and made brief appearances in "Kai Po Che!" (2013) and "One by Two" (2014).


title: Tahir Raj Bhasin

text: He made his official film debut with "Mardaani" (2014), which fetched him a Filmfare Award for Best Supporting Actor nomination and the Screen Award for Best Actor in a Negative Role. He also played the antagonist in "Force 2". His next film "Chhichhore" (2019) became a blockbuster hit. He then played Sunil Gavaskar in "83" (2021).


title: Tahir Raj Bhasin

text: Bhasin was born in New Delhi; his father worked in the Indian Air Force and he is the elder of two siblings. His mother worked for Confederation of Indian Industry and Aptech Computers. His younger brother is a pilot with Cathay Pacific. His father and grandfather both served as fighter pilots in the Indian Air Force. During his school days, he participated in many extra-curricular activities. He played basketball during school and did a lot of dance and theatre during college.


title: Tahir Raj Bhasin

text: At the age of 13, Bhasin started acting and began his fundamental acting training at the age of 15 at the Barry John Acting School. He studied political science at Hindu College, University of Delhi and did a workshop with Aamir Raza Hussain, who is a theater personality in Delhi. It was when he participated in the IIT Bombay's Mood Indigo festival that he decided to become an actor. He holds a master's degree in media from the University of Melbourne, Australia with special papers in screen media and the history and philosophy of film. At the age of 18, he worked at a national news production company where he hosted a campus talk show for a news channel. Bhasin moved to Mumbai at the age of 23 to pursue acting and concentrate on modeling. He joined the Institute of Advanced Acting and Behavioural Studies for a year, where he learnt about body language and behavioral analytics. In 2013, he took part in the summer intensive acting and voice training program conducted by Naseeruddin Shah.


title: Tahir Raj Bhasin

text: Tahir committed to acting professionally in 2012, when he featured in four short films for the Film and Television Institute of India and appeared in Indian television advertisements for companies like Samsung and Canon camera. That year, he was seen in a cameo appearance in the comedy thriller film "Kismat Love Paisa Dilli," directed by Sanjay Khanduri. After starring in a seven-second role in Abhishek Kapoor's "Kai Po Che!" (2013), playing the role of senior Ali—the cricketer in the film—Tahir appeared in the romantic comedy "One by Two" (2014), directed by Devika Bhagat.


title: Tahir Raj Bhasin

text: In 2014, Tahir made his Bollywood film debut—in a lead role—in Pradeep Sarkar's crime thriller "Mardaani" alongside Rani Mukerji, in which he played the role of Karan Rastogi, a Delhi-based human trafficking kingpin. His character in the film, inspired from the American TV series, "Breaking Bad," was critically acclaimed and critics praised the representation of a "new, young, chilling face of crime" in Indian cinema. Mohar Basu of Koimoi called Bhasin a "revelation", and Taran Adarsh of Bollywood Hungama mentioned that Bhasin made sure he leaves an "ineradicable impression" even if "pitted against a powerhouse performer" like Mukerji. With the role, Bhasin topped "The Times hotlist'14" in the Best actor in a negative role category, and was nominated for Best Supporting Actor at the annual Filmfare Awards ceremony.


title: Tahir Raj Bhasin

text: In 2016, Tahir starred in the action spy thriller "Force 2" as the antagonist opposite John Abraham and Sonakshi Sinha. His acclaimed portrayal won him a Star screen nomination for best supporting actor.


title: Tahir Raj Bhasin

text: For his work in Mardaani and Force 2, Tahir ranked in the Forbes magazine 30 under 30 list for 2017. The same year, he was ranked in "The Times of India" list of top 50 most desirable men.


title: Tahir Raj Bhasin

text: Tahir walked the red carpet at the 2018 Cannes Film Festival as part of the cast for Nandita Das’s "Manto", in which he portrays the 1940s Bollywood star Shyam.


title: Tahir Raj Bhasin

text: In 2019, he portrayed one of the lead roles in "Dangal" director Nitesh Tiwari's feature film "Chhichhore". The film became a blockbuster hit, grossing over 200 crores at the Indian box office and was awarded the prestigious National Award for best film.


title: Tahir Raj Bhasin

text: In 2021 Tahir starred In Kabir Khan’s "83", a film about India’s first cricket World Cup victory in 1983. He has essayed the part of the legendary test cricketer Sunil Gavaskar.


title: Tahir Raj Bhasin

text: In 2022 Tahir had three back-to-back releases: "Ranjish Hi Sahi", "Yeh Kaali Kaali Ankhein" and "Looop Lapeta," where he transitioned to playing the romantic lead.


title: Tahir Raj Bhasin

text: The Netflix series "Yeh Kaali Kaali Ankhein" became a blockbuster hit and shot to number 1 on Netflix India. "The Times of India" said in its critique, "Tahir Raj Bhasin (who recently played Sunil Gavaskar in Kabir Khan's ‘83’) is delightful as a trapped Vikrant who is unable to escape. When he discovers that everything in his life is falling apart, including his true love, he makes the audience empathise and sympathise with his character's claustrophobic condition. Tahir's character arc is impressive, and he pulls it off like a pro."


title: Tahir Raj Bhasin

text: KoiMoi stated in its review, “Tahir Raj Bhasin is literally everywhere. In theatres with 83, on Voot with Ranjish Hi Sahi, on Netflix with Yeh Kaali Kaali Ankhein and Looop Lapeta trailer. And he deserves to be there. The actor has the capability to handle an entire show on his back. As a character that see a 180-degree transformation, there are a lot of expectations from him, and he doesn’t disappoint. Watch out for the scenes he is helpless in, the man knows his craft and how!"


title: Tahir Raj Bhasin

text: Miss Malini wrote, “Tahir is a revelation. He carries the nuances of Vikrant so effortlessly well and his journey from a small-town boy to a man-on-a-mission is a treat to watch."


title: Tahir Raj Bhasin

text: He starred in the Netflix film "Looop Lapeta" opposite Taapsee Pannu, which soared to number 1 on Netflix India's charts and was ranked in the top non-English films worldwide. Tahir's performance as Satya opened to resounding critical acclaim. KoiMoi stated “This is a 2-balls-2-sixes situation for Tahir Raj Bhasin after proving his unerring mettle of acting skills in Yeh Kaali Kaali Aankhein. He underplays Satya big time without crossing the lines to be a caricature." A CNBC TV18 critique said, “Tahir Raj Bhasin is on a dream run right now. Already basking in adulation for his performances in web shows Ranjish Hi Sahi and Yeh Kaali Kaali Aankhein, he’s wild and nimble in Looop Lapeta as Satya." The film is the Indian adaptation of the hit German classic "Run Lola Run."


title: Tahir Raj Bhasin

text: In an interview, Bhasin admitted that he had relationships during school and college days but after being committed to acting, he does not have time for relationships. Bhasin walked for the ninth edition of the fashion show "Ramp For Champs" and lent his support to the charity organisation Smile Foundation. The profits made from the event was used to educate girls.


title: Stepper motor

text: A stepper motor, also known as step motor or stepping motor, is a brushless DC electric motor that divides a full rotation into a number of equal steps. The motor's position can be commanded to move and hold at one of these steps without any position sensor for feedback (an open-loop controller), as long as the motor is correctly sized to the application in respect to torque and speed.


title: Stepper motor

text: Switched reluctance motors are very large stepping motors with a reduced pole count, and generally are closed-loop commutated.


title: Stepper motor

text: Brushed DC motors rotate continuously when DC voltage is applied to their terminals. The stepper motor is known for its property of converting a train of input pulses (typically square waves) into a precisely defined increment in the shaft’s rotational position. Each pulse rotates the shaft through a fixed angle.


title: Stepper motor

text: Stepper motors effectively have multiple "toothed" electromagnets arranged as a stator around a central rotor, a gear-shaped piece of iron. The electromagnets are energized by an external driver circuit or a micro controller. To make the motor shaft turn, first, one electromagnet is given power, which magnetically attracts the gear's teeth. When the gear's teeth are aligned to the first electromagnet, they are slightly offset from the next electromagnet. This means that when the next electromagnet is turned on and the first is turned off, the gear rotates slightly to align with the next one. From there the process is repeated. Each of the partial rotations is called a "step", with an integer number of steps making a full rotation. In that way, the motor can be turned by a precise angle.


title: Stepper motor

text: The circular arrangement of electromagnets is divided into groups, each group called a phase, and there is an equal number of electromagnets per group. The number of groups is chosen by the designer of the stepper motor. The electromagnets of each group are interleaved with the electromagnets of other groups to form a uniform pattern of arrangement. For example, if the stepper motor has two groups identified as A or B, and ten electromagnets in total, then the grouping pattern would be ABABABABAB.


title: Stepper motor

text: Electromagnets within the same group are all energized together. Because of this, stepper motors with more phases typically have more wires (or leads) to control the motor.


title: Stepper motor

text: Permanent magnet motors use a permanent magnet (PM) in the rotor and operate on the attraction or repulsion between the rotor PM and the stator electromagnets.


title: Stepper motor

text: Pulses move the rotor in discrete steps, CW or CCW. If left powered at a final step a strong detent remains at that shaft location. This detent has a predictable spring rate and specified torque limit; slippage occurs if the limit is exceeded. If current is removed a lesser detent still remains, therefore holding shaft position against spring or other torque influences. Stepping can then be resumed while reliably being synchronized with control electronics.


title: Stepper motor

text: Variable reluctance (VR) motors have a plain iron rotor and operate based on the principle that minimum reluctance occurs with minimum gap, hence the rotor points are attracted toward the stator magnet poles. Whereas hybrid synchronous are a combination of the permanent magnet and variable reluctance types, to maximize power in a small size.


title: Stepper motor

text: There are two basic winding arrangements for the electromagnetic coils in a two phase stepper motor: bipolar and unipolar.


title: Stepper motor

text: A unipolar stepper motor has one winding with center tap per phase. Each section of windings is switched on for each direction of magnetic field. Since in this arrangement a magnetic pole can be reversed without switching the polarity of the common wire, the commutation circuit can be simply a single switching transistor for each half winding. Typically, given a phase, the center tap of each winding is made common: three leads per phase and six leads for a typical two phase motor. Often, these two phase commons are internally joined, so the motor has only five leads.


title: Stepper motor

text: A microcontroller or stepper motor controller can be used to activate the drive transistors in the right order, and this ease of operation makes unipolar motors popular with hobbyists; they are probably the cheapest way to get precise angular movements.


title: Stepper motor

text: For the experimenter, the windings can be identified by touching the terminal wires together in PM motors. If the terminals of a coil are connected, the shaft becomes harder to turn. One way to distinguish the center tap (common wire) from a coil-end wire is by measuring the resistance. Resistance between common wire and coil-end wire is always half of the resistance between coil-end wires. This is because there is twice the length of coil between the ends and only half from center (common wire) to the end. A quick way to determine if the stepper motor is working is to short circuit every two pairs and try turning the shaft. Whenever a higher-than-normal resistance is felt, it indicates that the circuit to the particular winding is closed and that the phase is working.


title: Stepper motor

text: Bipolar motors have a pair of single winding connections per phase. The current in a winding needs to be reversed in order to reverse a magnetic pole, so the driving circuit must be more complicated, typically with an H-bridge arrangement (however there are several off-the-shelf driver chips available to make this a simple affair). There are two leads per phase, none is common.


title: Stepper motor

text: A typical driving pattern for a two coil bipolar stepper motor would be: A+ B+ A− B−. I.e. drive coil A with positive current, then remove current from coil A; then drive coil B with positive current, then remove current from coil B; then drive coil A with negative current (flipping polarity by switching the wires e.g. with an H bridge), then remove current from coil A; then drive coil B with negative current (again flipping polarity same as coil A); the cycle is complete and begins anew.


title: Stepper motor

text: Dithering the stepper signal at a higher frequency than the motor can respond to will reduce this "static friction" effect.


title: Stepper motor

text: Because windings are better utilized, they are more powerful than a unipolar motor of the same weight. This is due to the physical space occupied by the windings. A unipolar motor has twice the amount of wire in the same space, but only half used at any point in time, hence is 50% efficient (or approximately 70% of the torque output available). Though a bipolar stepper motor is more complicated to drive, the abundance of driver chips means this is much less difficult to achieve.


title: Stepper motor

text: An 8-lead stepper is like a unipolar stepper, but the leads are not joined to common internally to the motor. This kind of motor can be wired in several configurations:


title: Stepper motor

text: Multi-phase stepper motors with many phases tend to have much lower levels of vibration. While they are more expensive, they do have a higher power density and with the appropriate drive electronics are often better suited to the application.


title: Stepper motor

text: Stepper motor performance is strongly dependent on the driver circuit. Torque curves may be extended to greater speeds if the stator poles can be reversed more quickly, the limiting factor being a combination of the winding inductance. To overcome the inductance and switch the windings quickly, one must increase the drive voltage. This leads further to the necessity of limiting the current that these high voltages may otherwise induce.


title: Stepper motor

text: An additional limitation, often comparable to the effects of inductance, is the back-EMF of the motor. As the motor's rotor turns, a sinusoidal voltage is generated proportional to the speed (step rate). This AC voltage is subtracted from the voltage waveform available to induce a change in the current.


title: Stepper motor

text: L/R driver circuits are also referred to as constant voltage drives because a constant positive or negative voltage is applied to each winding to set the step positions. However, it is winding current, not voltage that applies torque to the stepper motor shaft. The current I in each winding is related to the applied voltage V by the winding inductance L and the winding resistance R. The resistance R determines the maximum current according to Ohm's law I=V/R. The inductance L determines the maximum rate of change of the current in the winding according to the formula for an inductor dI/dt = V/L. The resulting current for a voltage pulse is a quickly increasing current as a function of inductance. This reaches the V/R value and holds for the remainder of the pulse. Thus when controlled by a constant voltage drive, the maximum speed of a stepper motor is limited by its inductance since at some speed, the voltage U will be changing faster than the current I can keep up. In simple terms the rate of change of current is L / R (e.g. a 10 mH inductance with 2 ohms resistance will take 5 ms to reach approx 2/3 of maximum torque or around 24 ms to reach 99% of max torque). To obtain high torque at high speeds requires a large drive voltage with a low resistance and low inductance.


title: Stepper motor

text: With an L/R drive it is possible to control a low voltage resistive motor with a higher voltage drive simply by adding an external resistor in series with each winding. This will waste power in the resistors, and generate heat. It is therefore considered a low performing option, albeit simple and cheap.


title: Stepper motor

text: Modern voltage-mode drivers overcome some of these limitations by approximating a sinusoidal voltage waveform to the motor phases. The amplitude of the voltage waveform is set up to increase with step rate. If properly tuned, this compensates the effects of inductance and back-EMF, allowing decent performance relative to current-mode drivers, but at the expense of design effort (tuning procedures) that are simpler for current-mode drivers.


title: Stepper motor

text: Chopper drive circuits are referred to as controlled current drives because they generate a controlled current in each winding rather than applying a constant voltage. Chopper drive circuits are most often used with two-winding bipolar motors, the two windings being driven independently to provide a specific motor torque CW or CCW. On each winding, a "supply" voltage is applied to the winding as a square wave voltage; example 8 kHz. The winding inductance smooths the current which reaches a level according to the square wave duty cycle. Most often bipolar supply (+ and - ) voltages are supplied to the controller relative to the winding return. So 50% duty cycle results in zero current. 0% results in full V/R current in one direction. 100% results in full current in the opposite direction. This current level is monitored by the controller by measuring the voltage across a small sense resistor in series with the winding. This requires additional electronics to sense winding currents, and control the switching, but it allows stepper motors to be driven with higher torque at higher speeds than L/R drives. It also allows the controller to output predetermined current levels rather than fixed. Integrated electronics for this purpose are widely available.


title: Stepper motor

text: A stepper motor is a polyphase AC synchronous motor (see Theory below), and it is ideally driven by sinusoidal current. A full-step waveform is a gross approximation of a sinusoid, and is the reason why the motor exhibits so much vibration. Various drive techniques have been developed to better approximate a sinusoidal drive waveform: these are half stepping and microstepping.


title: Stepper motor

text: In this drive method only a single phase is activated at a time. It has the same number of steps as the full-step drive, but the motor will have significantly less torque than rated. It is rarely used. The animated figure shown above is a wave drive motor. In the animation, rotor has 25 teeth and it takes 4 steps to rotate by one tooth position. So there will be = 100 steps per full rotation and each step will be = .


title: Stepper motor

text: This is the usual method for full-step driving the motor. Two phases are always on so the motor will provide its maximum rated torque. As soon as one phase is turned off, another one is turned on. Wave drive and single phase full step are both one and the same, with same number of steps but difference in torque.


title: Stepper motor

text: When half-stepping, the drive alternates between two phases on and a single phase on. This increases the angular resolution. The motor also has less torque (approx 70%) at the full-step position (where only a single phase is on). This may be mitigated by increasing the current in the active winding to compensate. The advantage of half stepping is that the drive electronics need not change to support it. In animated figure shown above, if we change it to half-stepping, then it will take 8 steps to rotate by 1 tooth position. So there will be 25×8 = 200 steps per full rotation and each step will be 360/200 = 1.8°. Its angle per step is half of the full step.


title: Stepper motor

text: What is commonly referred to as microstepping is often "sine–cosine microstepping" in which the winding current approximates a sinusoidal AC waveform. The common way to achieve sine-cosine current is with chopper-drive circuits. Sine–cosine microstepping is the most common form, but other waveforms can be used. Regardless of the waveform used, as the microsteps become smaller, motor operation becomes more smooth, thereby greatly reducing resonance in any parts the motor may be connected to, as well as the motor itself. Resolution will be limited by the mechanical stiction, backlash, and other sources of error between the motor and the end device. Gear reducers may be used to increase resolution of positioning.


title: Stepper motor

text: Step size reduction is an important step motor feature and a fundamental reason for their use in positioning.


title: Stepper motor

text: Example: many modern hybrid step motors are rated such that the travel of every full step (example 1.8 degrees per full step or 200 full steps per revolution) will be within 3% or 5% of the travel of every other full step, as long as the motor is operated within its specified operating ranges. Several manufacturers show that their motors can easily maintain the 3% or 5% equality of step travel size as step size is reduced from full stepping down to 1/10 stepping. Then, as the microstepping divisor number grows, step size repeatability degrades. At large step size reductions it is possible to issue many microstep commands before any motion occurs at all and then the motion can be a "jump" to a new position. Some stepper controller ICs use increased current to minimise such missed steps, especially when the peak current pulses in one phase would otherwise be very brief.


title: Stepper motor

text: A step motor can be viewed as a synchronous AC motor with the number of poles (on both rotor and stator) increased, taking care that they have no common denominator. Additionally, soft magnetic material with many teeth on the rotor and stator cheaply multiplies the number of poles (reluctance motor). Modern steppers are of hybrid design, having both permanent magnets and soft iron cores.


title: Stepper motor

text: To achieve full rated torque, the coils in a stepper motor must reach their full rated current during each step. Winding inductance and counter-EMF generated by a moving rotor tend to resist changes in drive current, so that as the motor speeds up, less and less time is spent at full current—thus reducing motor torque. As speeds further increase, the current will not reach the rated value, and eventually the motor will cease to produce torque.


title: Stepper motor

text: This is the measure of the torque produced by a stepper motor when it is operated without an acceleration state. At low speeds the stepper motor can synchronize itself with an applied step frequency, and this pull-in torque must overcome friction and inertia. It is important to make sure that the load on the motor is frictional rather than inertial as the friction reduces any unwanted oscillations.


title: Stepper motor

text: The pull-in curve defines an area called the start/stop region. Into this region, the motor can be started/stopped instantaneously with a load applied and without loss of synchronism.


title: Stepper motor

text: The stepper motor pull-out torque is measured by accelerating the motor to the desired speed and then increasing the torque loading until the motor stalls or misses steps. This measurement is taken across a wide range of speeds and the results are used to generate the stepper motor's dynamic performance curve. As noted below this curve is affected by drive voltage, drive current and current switching techniques. A designer may include a safety factor between the rated torque and the estimated full load torque required for the application.


title: Stepper motor

text: Synchronous electric motors using permanent magnets have a resonant position holding torque (called detent torque or cogging, and sometimes included in the specifications) when not driven electrically. Soft iron reluctance cores do not exhibit this behavior.


title: Stepper motor

text: When the motor moves a single step it overshoots the final resting point and oscillates round this point as it comes to rest. This undesirable ringing is experienced as motor rotor vibration and is more pronounced in unloaded motors. An unloaded or under loaded motor may, and often will, stall if the vibration experienced is enough to cause loss of synchronisation.


title: Stepper motor

text: Stepper motors have a natural frequency of operation. When the excitation frequency matches this resonance the ringing is more pronounced, steps may be missed, and stalling is more likely. Motor resonance frequency can be calculated from the formula:


title: Stepper motor

text: The magnitude of the undesirable ringing is dependent on the back EMF resulting from rotor velocity. The resultant current promotes damping, so the drive circuit characteristics are important. The rotor ringing can be described in terms of damping factor.


title: Stepper motor

text: Stepper motors' nameplates typically give only the winding current and occasionally the voltage and winding resistance. The rated voltage will produce the rated winding current at DC: but this is mostly a meaningless rating, as all modern drivers are current limiting and the drive voltages greatly exceed the motor rated voltage.


title: Stepper motor

text: Datasheets from the manufacturer often indicate Inductance. Back-EMF is equally relevant, but seldom listed (it is straightforward to measure with an oscilloscope). These figures can be helpful for more in-depth electronics design, when deviating from standard supply voltages, adapting third party driver electronics, or gaining insight when choosing between motor models with otherwise similar size, voltage, and torque specifications.


title: Stepper motor

text: A stepper's low-speed torque will vary directly with current. How quickly the torque falls off at faster speeds depends on the winding inductance and the drive circuitry it is attached to, especially the driving voltage.


title: Stepper motor

text: Steppers should be sized according to published torque curve, which is specified by the manufacturer at particular drive voltages or using their own drive circuitry. Dips in the torque curve suggest possible resonances, whose impact on the application should be understood by designers.


title: Stepper motor

text: The US National Electrical Manufacturers Association (NEMA) standardises various dimensions, marking and other aspects of stepper motors, in NEMA standard (NEMA ICS 16-2001). NEMA stepper motors are labeled by faceplate size, NEMA 17 being a stepper motor with a faceplate and dimensions given in inches. The standard also lists motors with faceplate dimensions given in metric units. These motors are typically referred with NEMA DD, where DD is the diameter of the faceplate in inches multiplied by 10 (e.g., NEMA 17 has a diameter of 1.7 inches). There are further specifiers to describe stepper motors, and such details may be found in the ICS 16-2001 standard.


title: Stepper motor

text: Computer controlled stepper motors are a type of motion-control positioning system. They are typically digitally controlled as part of an open loop system for use in holding or positioning applications.


title: Stepper motor

text: In the field of lasers and optics they are frequently used in precision positioning equipment such as linear actuators, linear stages, rotation stages, goniometers, and mirror mounts. Other uses are in packaging machinery, and positioning of valve pilot stages for fluid control systems.


title: Stepper motor

text: Commercially, stepper motors are used in floppy disk drives, flatbed scanners, computer printers, plotters, slot machines, image scanners, compact disc drives, intelligent lighting, camera lenses, CNC machines, and 3D printers.


title: Stepper motor

text: A stepper motor system consists of three basic elements, often combined with some type of user interface (host computer, PLC or dumb terminal):


title: Naginata

text: The naginata (, ) is a pole weapon and one of several varieties of traditionally made Japanese blades ("nihontō"). "Naginata" were originally used by the samurai class of feudal Japan, as well as by ashigaru (foot soldiers) and sōhei (warrior monks). The naginata is the iconic weapon of the onna-musha, a type of female warrior belonging to the Japanese nobility.


title: Naginata

text: Naginata for fighting men and warrior monks were ō-naginata (大薙刀). The kind used by women was called ko-naginata (小薙刀).


title: Naginata

text: A "naginata" consists of a wooden or metal pole with a curved single-edged blade on the end; it is similar to the Chinese guan dao or the European glaive. Similar to the katana, naginata often have a round handguard ("tsuba") between the blade and shaft, when mounted in a koshirae (furniture). The 30 cm to 60 cm (11.8 inches to 23.6 inches) "naginata" blade is forged in the same manner as traditional Japanese swords. The blade has a long tang which is inserted in the .


title: Naginata

text: The blade is removable and is secured by means of a wooden peg called (目釘) that passes through a hole in both the tang and the shaft.


title: Naginata

text: The shaft ranges from 120 cm to 240 cm (47.2 inches to 94.5 inches) in length and is oval shaped. The area of the shaft where the tang sits is the . The tachiuchi/tachiuke would be reinforced with metal rings , and/or metal sleeves and wrapped with cord . The end of the shaft has a heavy metal end cap . When not in use the blade would be covered with a .


title: Naginata

text: It is assumed that the "naginata" was developed from an earlier weapon type of the later 1st millennium AD, the "hoko yari". Another assumption is that the "naginata" was developed by lengthening the hilt of the "tachi" at the end of the Heian period, and it is not certain which theory is correct.


title: Naginata

text: It is generally believed that "naginata" first appeared in the Heian period (794–1185). The term "naginata" first appeared in historical documents in the Heian period. The earliest clear references to "naginata" date from 1146. In "Honchō Seiki" compiled from 1150 to 1159 in the late Heian period, it is recorded that Minamoto no Tsunemitsu mentioned that his weapon was a "naginata".


title: Naginata

text: In the early Heian period, battles were mainly fought using "yumi" (longbow) on horseback, but in the late Heian period, battles on foot began to increase and "naginata" also came to be used on the battlefield. The "naginata" was appreciated because it was a weapon that could maintain an optimum distance from the enemy in close combat. During the Genpei War (1180–1185), in which the Taira clan was pitted against the Minamoto clan, the "naginata" rose to a position of particularly high esteem, being regarded as an extremely effective weapon by warriors. "The Tale of the Heike", which records the Genpei War, there are descriptions such as "ō naginata" (lit. big "naginata") and "ko naginata" (lit. little "naginata"), which show that "naginata" of various lengths were used. The "naginata" proved excellent at dismounting cavalry and disabling riders. The widespread adoption of the "naginata" as a battlefield weapon forced the introduction of greaves as a part of Japanese armor. Ōyamazumi Shrine houses two "naginata" that are said to have been dedicated by Tomoe Gozen and Benkei at the end of the Heian period and they are designated as Important Cultural Property.


title: Naginata

text: However, according to Karl Friday, there were various notations for "naginata" in the Heian period and the earliest physical evidence for "naginata" was in the middle of the Kamakura period, so there is a theory that says when they first appeared is unclear. Earlier 10th through 12th century sources refer to "long swords" that while a common medieval term or orthography for "naginata", could also simply be referring to conventional swords; one source describes a "naginata" being drawn with the verb "nuku" (抜く), commonly associated with swords, rather than "hazusu" (外す), the verb otherwise used in medieval texts for unsheathing "naginata". Some 11th and 12th century mentions of "hoko" may actually have been referring to "naginata". The commonly assumed association of the "naginata" and the "sōhei" is also unclear. Artwork from the late-13th and 14th centuries depict the "sōhei" with "naginata" but do not appear to place any special significance to it: the weapons appear as just one of a number of others carried by the monks, and are used by "samurai" and commoners as well. Depictions of "naginata"-armed "sōhei" in earlier periods were created centuries after the fact, and are likely using the "naginata" as a symbol to distinguish the "sōhei" from other warriors, rather than giving an accurate portrayal of the events.


title: Naginata

text: From the Onin War in 15th century in the Muromachi period, large-scale group battles started in which mobilized (foot troops) fought on foot and in close quarters, and (spear), (longbow) and (Japanese matchlock) became the main weapons. This made and obsolete on the battlefield, and they were often replaced with and short, lightweight .


title: Naginata

text: In the peaceful Edo Period, weapons' value as battlefield weapons became diminished and their value for martial arts and self-defense rose. The "naginata" was accepted as a status symbol and self-defense weapon for women of nobility, resulting in the image that "the Naginata is the main weapon used by women".


title: Naginata

text: In the Meiji era, it gained popularity along sword martial arts. From the Taisho era to the post-War era, the "naginata" became popular as a martial art for women, mainly due to the influence of government policies.


title: Naginata

text: Although associated with considerably smaller numbers of practitioners, a number of "koryu bujutsu" systems (traditional martial arts) which include older and more combative forms of "naginatajutsu" remain existent, including Suio Ryu, Araki Ryu, Tendo Ryu, Jikishinkage ryu, Higo Koryu, Tenshin Shoden Katori Shinto Ryu, Toda-ha Buko Ryu and Yoshin ryu, some of which have authorized representatives outside Japan.


title: Naginata

text: The "naginata" used in "atarashii naginata" (新しいなぎなた), the "shiai-yo", has an oak shaft and a bamboo "blade" ("habu"). It is used for practice, forms competitions, and sparring. It is between 210 cm and 225 cm in length and must weigh over 650 grams. The "blade" is replaceable. They are often broken or damaged during sparring and can be quickly replaced, being attached to the shaft with tape.


title: Naginata

text: The naginata used by "koryū" practitioners has an oak shaft and blade, carved from a single piece of wood, and may incorporate a disc-shaped guard ("tsuba"). It is called a "kihon-yo".


title: Naginata

text: "Naginata" can be used to batter, stab, or hook an opponent, but due to their relatively balanced center of mass, are often spun and turned to proscribe a large radius of reach. The curved blade provides a long cutting surface without increasing the overall length of the weapon.


title: Naginata

text: Historically, the "naginata" was often used by foot soldiers to create space on the battlefield. They have several situational advantages over a sword. Their reach is longer, allowing the wielder to keep out of the reach of opponents. The weight of the weapon gave power to strikes and cuts, even though the weight of the weapon is usually thought of as a disadvantage. The weight at the end of the shaft ("ishizuki"), and the shaft itself ("ebu") can be used offensively and defensively.


title: Naginata

text: The martial art of wielding the "naginata" is known as "naginatajutsu". Most "naginata" practice today is in a modernised form, a "gendai budō" called "atarashii Naginata" ("new Naginata"), which is organized into regional, national, and international federations, who hold competitions and award ranks. Use of the "naginata" is also taught within the "Bujinkan" and in some "koryū" schools such as Suio Ryu and Tendō-ryū.


title: Naginata

text: "Naginata" practitioners wear an "uwagi", "obi", and "hakama", similar to that worn by "kendo" practitioners, although the "uwagi" is generally white. For sparring, armor known as "bōgu" is worn. "Bōgu" for "naginatajutsu" adds shin guards ("sune-ate"; 脛当) and the gloves ("kōte"; 小手) have a singulated index finger, unlike the mitten-style gloves used for "kendo".


title: Flash Gordon

text: Flash Gordon is the protagonist of a space adventure comic strip created and originally drawn by Alex Raymond. First published January 7, 1934, the strip was inspired by, and created to compete with, the already established "Buck Rogers" adventure strip.


title: Flash Gordon

text: The "Buck Rogers" comic strip had been commercially very successful, spawning novelizations and children's toys, and King Features Syndicate decided to create its own science fiction comic strip to compete with it. At first, King Features tried to purchase the rights to the "John Carter of Mars" stories by Edgar Rice Burroughs. However, the syndicate was unable to reach an agreement with Burroughs. King Features then turned to Alex Raymond, one of their staff artists, to create the story.


title: Flash Gordon

text: One source for Flash Gordon was the Philip Wylie novel "When Worlds Collide" (1933). The themes of an approaching planet threatening the Earth, and an athletic hero, his girlfriend, and a scientist traveling to the new planet by rocket, were adapted by Raymond for the initial storyline. Raymond's first samples were dismissed for not containing enough action sequences. Raymond reworked the story and sent it back to the syndicate, which accepted it. Raymond was partnered with ghostwriter Don Moore, an experienced editor and writer. Raymond's first "Flash Gordon" story appeared in January 1934, alongside "Jungle Jim". The "Flash Gordon" strip was well received by newspaper readers, becoming one of the most popular American comic strips of the 1930s.


title: Flash Gordon

text: As with "Buck Rogers", the success of "Flash Gordon" resulted in numerous licensed products being sold, including pop-up books, coloring books, and toy spaceships and rayguns.


title: Flash Gordon

text: The "Flash Gordon" comic strip ran as a daily from 1934 to 1992, with the Sunday strip continuing until 2003. Reprints are still being syndicated by King Features Syndicate.


title: Flash Gordon

text: The comic strip follows the adventures of Flash Gordon, a handsome polo player and Yale University graduate, and his companions Dale Arden and Dr. Hans Zarkov. The story begins with Earth threatened by a collision with the planet Mongo. Dr. Zarkov invents a rocket ship to fly into space in an attempt to stop the disaster. Half mad, he kidnaps Flash and Dale. Landing on the planet, and halting the collision, they come into conflict with Ming the Merciless, Mongo's evil ruler.


title: Flash Gordon

text: For many years, the three companions have adventures on Mongo, traveling to the forest kingdom of Arboria, ruled by Prince Barin; the ice kingdom of Frigia, ruled by Queen Fria; the jungle kingdom of Tropica, ruled by Queen Desira; the undersea kingdom of the Shark Men, ruled by King Kala; and the flying city of the Hawkmen, ruled by Prince Vultan. They are joined in several early adventures by Prince Thun of the Lion Men. Eventually, Ming is overthrown, and Mongo is ruled by a council of leaders led by Barin.


title: Flash Gordon

text: Flash and friends visit Earth for a series of adventures before returning to Mongo and crashing in the kingdom of Tropica, later reuniting with Barin and others. Flash and his friends then travel to other worlds before returning once again to Mongo, where Prince Barin, married to Ming's daughter Princess Aura, has established a peaceful rule (except for frequent revolts led by Ming or by one of his many descendants).


title: Flash Gordon

text: In the 1950s, Flash became an astronaut who travelled to other planets besides Mongo. The long story of the Skorpi War takes Flash to other star systems, using starships that are faster than light.


title: Flash Gordon

text: In addition to Ming and his allies, Flash and his friends also fought several other villains, including Azura, the Witch Queen; Brukka, chieftain of the giants of Frigia; the fascistic Red Sword organisation on Earth; and Brazor, the tyrannical usurper of Tropica. After Raymond's tenure, later writers created new enemies for Flash to combat. Austin Briggs created Kang the Cruel, Ming's callous son. Prince Polon, who had the power to shrink or enlarge living creatures, the unscrupulous Queen Rubia, and Pyron the Comet Master were among the antagonists introduced during Mac Raboy's run. The Skorpi, a race of alien shape shifters who desired to conquer the galaxy, were recurring villains in both the Mac Raboy and Dan Barry stories. The Skorpi space-fighter ace Baron Dak-Tula became a periodic nemesis of Flash in the late 1970s stories.


title: Flash Gordon

text: King Features sold the "Flash Gordon" strip to newspapers across the world, and by the late 1930s, the strip was published in 130 newspapers, translated into eight foreign languages, and was read by 50 million people. In the 1930s and 1940s, several newspapers in Britain carried "Flash Gordon", including the Scottish "Sunday Mail". In France, his adventures were published in the magazine "Robinson", under the name "Guy l'Éclair". Dale Arden was named Camille in the French translation. In Australia, the character and strip were retitled "Speed Gordon" to avoid a negative connotation of the word "Flash". (At the time, the predominant meaning of "flashy" was "showy", connoting dishonesty.)


title: Flash Gordon

text: However, events in the 1930s affected the strip's distribution. Newspapers in Nazi Germany were forbidden to carry the "Flash Gordon" strip, while in Fascist Italy it was restricted to two newspapers. In 1938, the Spanish magazine "Aventurero", the only publication in the country to carry "Flash Gordon", ceased publication because of the Spanish Civil War. The outbreak of World War II resulted in "Flash Gordon" being discontinued in many countries. In Belgium, artist Edgar Pierre Jacobs was therefore asked to bring the current "Flash Gordon" story to a satisfactory conclusion, which he did.


title: Flash Gordon

text: After the war's end, the strip enjoyed a resurgence in international popularity. "Flash Gordon" reappeared in Italy, Spain and West Germany, and it was also syndicated to new markets like Portugal and the Irish Republic. From the 1950s onward, countries like Spain, Italy and Denmark also reprinted "Flash Gordon" newspaper strips in comic book or paperback novel form. In India, "Flash Gordon" comics were published by Indrajal Comics.


title: Flash Gordon

text: The popularity of Raymond's "Flash Gordon" Sunday strip meant a daily strip was also introduced. This strip was drawn by Austin Briggs and ran from 1941 to 1944. After Raymond left "Flash Gordon" in 1944 to join the US Marines, the daily strip was cancelled and Briggs took over the Sunday strip. Although Raymond wanted to return to drawing "Flash Gordon" after the war's end, King Features did not want to remove Briggs from his position. To conciliate Raymond, King Features allowed him to create a new strip, "Rip Kirby". After Briggs left the Sunday strip in 1948, he was succeeded by former comic book artist Mac Raboy, who drew the strip until his death in 1967. In 1951, King Features created a new daily "Flash Gordon" strip. This strip was drawn by Dan Barry. Barry was assisted during his tenure by Harvey Kurtzman and Harry Harrison, who both wrote scripts for the strip. Barry also had several artists who aided him with "Flash Gordon's" illustrations, including Frank Frazetta, Al Williamson, Bob Fujitani, Jack Davis, Sy Barry, Fred Kida and Emil Gershwin. When Barry left the strip in 1990, various artists and writers worked on "Flash Gordon". The daily strip was ended in 1993. The final artist to work on the "Flash Gordon" Sunday strip was Jim Keefe. Keefe was occasionally assisted on the strip by other artists, including Williamson, John Romita Sr. and Joe Kubert. King Features ended the "Flash Gordon" newspaper strip in 2003, although re-runs of Keefe's strip still appear in a few US newspapers.


title: Flash Gordon

text: "Flash Gordon" is regarded as one of the best illustrated and most influential of American adventure comic strips. Historian of science fiction art Jane Frank asserted that because of his work on "Flash Gordon", "Raymond is one of the most famous science fiction artists of all time, although he never contributed an illustration to any science fiction magazine or book". Comic book artist Jerry Robinson has said "What made "Flash Gordon" a classic strip was Raymond's artistry and the rich imagination he brought to his conceptions of the future" and described the final years of Raymond's tenure on the strip as being characterized by "sleek, brilliantly polished brush work." The science fiction historian John Clute has stated that "The comics version of "Flash Gordon" was graceful, imaginative and soaring" and included it on a list of the most important American science fiction comics. In an article about Raymond for "The Comics Journal", R.C. Harvey declared that Raymond's "Flash Gordon" displayed "a technical virtuosity matched on the comics pages only by Harold Foster in "Prince Valiant"". "The Encyclopedia of Science Fiction" stated that "Flash Gordon"s "elaborately shaded style and exotic storyline" made it one of the most influential comics, and that its art emphasized a "romantic baroque".


title: Flash Gordon

text: "Flash Gordon" (along with "Buck Rogers") was a big influence on later science fiction comic strips, such as the American "Don Dixon and the Hidden Empire" (1935 to 1941) by Carl Pfeufer and Bob Moore. In Italy, Guido Fantoni drew Flash Gordon in 1938, after the prohibition by the fascist regime. In Belgium, Edgar P. Jacobs was commissioned to produce a science fiction comic strip in the style of "Flash Gordon". Jacobs' new strip, "Le Rayon U" ("The U-Ray") began serial publication in "Bravo" in 1943. This version had text boxes which described the action and the dialogue, in the style of many Belgian comics of the time, similar to Hal Foster's version of "Tarzan" and "Prince Valiant". In 1974, Jacobs reformatted "Le Rayon U" in order to include speech bubbles. This version was published in "Tintin" magazine and in book form by Dargaud-Le Lombard. The British comic "The Trigan Empire", by Mike Butterworth and Don Lawrence, also drew on "Flash Gordon" for its artistic style. In Thailand Flash Gordon was a big influence for classic thai comics character Chaochaiphomthong (เจ้าชายผมทอง) (mean prince golden hair) a sword and magic hero created by Jullasak Amornvej in 1958 .


title: Flash Gordon

text: "Flash Gordon" was also an influence on early superhero comics characters. Jerry Siegel and Joe Shuster based Superman's uniform of tights and a cape on costumes worn by Flash Gordon. Bob Kane's drawing of Batman on the cover of "Detective Comics" No. 27 (the first appearance of the character) was based on a 1937 Alex Raymond drawing of Flash Gordon. Dennis Neville modeled the comics hero Hawkman's costume on the "Hawkmen" characters in Raymond's "Flash Gordon" comic strip. In "", Iron Man mockingly refers to Star-Lord as Flash Gordon due to their similar appearance and both being space heroes.


title: Flash Gordon

text: Most of the Flash Gordon film and television adaptations retell the early adventures on the planet Mongo.


title: Flash Gordon

text: Flash Gordon was featured in three serial films starring Buster Crabbe: "Flash Gordon" (1936), "Flash Gordon's Trip to Mars" (1938), and "Flash Gordon Conquers the Universe" (1940). The 1936 "Flash Gordon" serial was condensed into a feature-length film titled "Flash Gordon" or "Rocket Ship" or "Space Soldiers" or "Flash Gordon: Spaceship to the Unknown"; the 1938 serial into a feature-length film entitled "Flash Gordon: The Deadly Ray from Mars;" and the 1940 serial into a feature-length film entitled "The Purple Death from Outer Space".


title: Flash Gordon

text: The first Flash Gordon serial remains copyrighted, but the compilation made of the second serial, and the third serial itself are in the public domain.


title: Flash Gordon

text: In the 1970s, several noted directors attempted to make a film of the story. Federico Fellini optioned the "Flash Gordon" rights from Dino De Laurentiis, but never made the film. George Lucas also attempted to make a "Flash Gordon" film in the 1970s, but was unable to acquire the rights from De Laurentiis, so he decided to create "Star Wars" instead. De Laurentiis then hired Nicolas Roeg to make a "Flash Gordon" film, but was unhappy with Roeg's ideas, and Roeg left the project. De Laurentiis also discussed hiring Sergio Leone to helm the "Flash Gordon" film; Leone declined because he believed the script was not faithful to the original Raymond comic strips. Finally, De Laurentiis hired Mike Hodges to direct the "Flash Gordon" film.


title: Flash Gordon

text: Hodges' 1980 "Flash Gordon" film stars former "Playgirl"-centerfold Sam J. Jones in the title role. Its plot is based loosely on the first few years of the comic strip, revising Flash's backstory by making him the quarterback of the New York Jets instead of a polo player. Raymond's drawings feature heavily in the opening credits, as does the signature theme-song "Flash" by rock band Queen, who composed and performed the entire musical score.


title: Flash Gordon

text: Riding the coat-tails of "Star Wars", "Superman", and "", "Flash Gordon" was not a critical success on release. Melody Anderson co-starred with Jones as Dale Arden, alongside Chaim Topol as Dr. Hans Zarkov, Max von Sydow as Ming, Timothy Dalton as Prince Barin, Brian Blessed as Prince Vultan, Peter Wyngarde as Klytus and Ornella Muti as Princess Aura. Produced by Dino De Laurentiis, with ornate production designs and costumes by Danilo Donati, the bright colors and retro effects were inspired directly by the comic strip and 1930s serials.


title: Flash Gordon

text: Brian Blessed's performance as the Hawkman leader Prince Vultan lodged the veteran stage and screen actor into the collective consciousness for the utterance of a single line – "GORDON'S ALIVE?!" – which, more than 30 years later, remained the most repeated, reused, and recycled quotation from both the film and Blessed's career.


title: Flash Gordon

text: The film's cult status led it to feature heavily in the comedy films "Ted" (2012) and "Ted 2" (2015) causing a resurgence in interest in the film.


title: Flash Gordon

text: In 1967, a low-budget Turkish adaptation of the comic was made, called "Flash Gordon's Battle in Space" ("Baytekin – Fezada Çarpisanlar" in Turkish). Hasan Demirtag played Flash Gordan.


title: Flash Gordon

text: Robb Pratt, director of the popular fan film "Superman Classic", made "Flash Gordon Classic", released in May 2015. The traditionally animated short features the characters Flash Gordon, girlfriend Dale Arden, sidekick Dr. Hans Zarkov, antagonist Ming the Merciless, and Princess Aura.


title: Flash Gordon

text: In 2010, Breck Eisner expressed interest to direct a 3D film version of Flash Gordon. Since April 2014, 20th Century Fox was developing the "Flash Gordon" reboot with J. D. Payne and Patrick McKay writing the film's script. Matthew Vaughn was in talks to direct the film. Mark Protosevich was hired to rewrite the film's script. Julius Avery was later signed to write and direct film, with Vaughn as producer alongside John Davis. An animated film was under development at Disney/Fox with Taika Waititi writing and directing. In August 2019, the animated film was believed to be canceled, but in July 2021, producers John Davis and John Fox revealed that Waititi was still working on the film, albeit it would now be live action instead of animation.


title: Flash Gordon

text: Steve Holland starred in a 1954–55 live-action television series which ran for 39 episodes. The first 26 episodes had the distinction of being filmed in West Berlin, Germany less than a decade after the end of World War II. This is notable, given that some episodes show the real-life destruction still evident in Germany several years after the war. The final 13 episodes were filmed in Marseille, France.


title: Flash Gordon

text: In this series, Flash, Dale (Irene Champlin) and Dr. Zarkov (Joseph Nash) worked for the Galactic Bureau of Investigation in the year 3203. The actual timeline was established in one episode, "Deadline at Noon", in which Flash, Dale and Dr. Zarkov went back in time to Berlin in the year 1953. The GBI agents traveled in the Skyflash and Skyflash II spaceships.


title: Flash Gordon

text: The series was syndicated, appearing on stations affiliated with the long-defunct DuMont Network, and many other independent stations in the United States. It was recut into a movie in 1957.


title: Flash Gordon

text: In 1979, Filmation produced an animated series, often referred to as "The New Adventures of Flash Gordon", though it is actually titled "Flash Gordon". The expanded title was used to distinguish it from previous versions. The project was originally designed as a television film but NBC decided to change it into an animated series.


title: Flash Gordon

text: Filmation produced this successful animated television movie, written by "" writer Samuel A. Peeples, before they began their Saturday morning series, but the television movie did not actually air until 1982. It was critically well-received, and is considered one of the best film versions of Flash Gordon, though it would never be re-broadcast following its premiere.


title: Flash Gordon

text: This movie has yet to be commercially released in the United States, although some sources indicate that off-air bootlegs are prevalent. The only known commercial releases were by VAP Video in Japan (catalog #67019-128), in 1983, in both laserdisc and NTSC VHS videotape formats; and in Bulgaria, where it was released on VHS "Van Chris" and "Drakar". The movie also aired numerous times on "Diema" Channel in the late 1990s. In the Japanese release, it is presented uncut with the original English voice track, with Japanese subtitles added for its intended audience. At the movie's ending is a trailer for the De Laurentiis live-action movie, as well as trailers for other titles from the VAP Video library at the time. The covers for both versions feature comic-strip panels, using stills taken from the movie.


title: Flash Gordon

text: In the 1986 cartoon "Defenders of the Earth", Flash teamed up with fellow King Features heroes The Phantom and Mandrake the Magician in 65 episodes. This series took extreme liberties with all the characters, revealing that Flash and Dale Arden had conceived a son, Rick Gordon, who is in his mid-teens when the series begins. Dale has her mind torn from her body by Ming in the first episode and is preserved in a crystal, which Rick is able to recover and give to his father. Dale is reborn on Earth as Dynak-X, the strategic super-computer based in the Defenders' Headquarters.


title: Flash Gordon

text: In 1996, Hearst Entertainment premiered an animated "Flash Gordon" television series. In this version, Alex "Flash" Gordon and Dale Arden are hoverboarding teenagers, who become trapped on Mongo after stopping Ming's attempt to invade Earth.


title: Flash Gordon

text: A live-action series, comprising 22 one-hour episodes, was produced in Canada in early 2007. Under an agreement with King Features Syndicate, the series was produced by Reunion Pictures of Vancouver with Robert Halmi Sr. and Robert Halmi Jr. of RHI Entertainment serving as Executive Producers.


title: Flash Gordon

text: The traditional primary supporting characters of Ming, Dale Arden, and Dr. Hans Zarkov were drastically altered. Eric Johnson, best known for his earlier work on the WB's "Smallville", played the title character of Steven "Flash" Gordon. Gina Holden (who has appeared in "Fantastic Four" (2005) and "" (2007)) played Dale Arden, Jody Racicot ("Night at the Museum" (2006)) played Dr. Hans Zarkov, and John Ralston portrayed the arch-villain, Ming.


title: Flash Gordon

text: Advertisements featured a cover version of Queen's "Flash's Theme" (from the 1980 film) performed by the band Louis XIV. The song was not present in any episode of the show.


title: Flash Gordon

text: Starting April 22, 1935, the strip was adapted into "The Amazing Interplanetary Adventures of Flash Gordon", a 26-episode weekly radio serial. The series followed the strip very closely, amounting to a week-by-week adaptation of the Sunday strip for most of its run.


title: Flash Gordon

text: Flash Gordon was played by Gale Gordon, later famous for his television roles in "Our Miss Brooks", "Dennis the Menace", "The Lucy Show" and "Here's Lucy" (the latter two with Lucille Ball). The cast also included Maurice Franklin as Dr. Zarkov and Bruno Wick as Ming the Merciless.


title: Flash Gordon

text: The radio series broke with the strip continuity in the last two episodes, when Flash, Dale and Zarkov returned to Earth. They make a crash landing in Malaysia, where they meet Jungle Jim, the star of another of Alex Raymond's comic strips.


title: Flash Gordon

text: The series ended on October 26, 1935 with Flash and Dale's marriage. The next week, "The Adventures of Jungle Jim" picked up in that Saturday timeslot.


title: Flash Gordon

text: Two days later, on October 28, "The Further Interplanetary Adventures of Flash Gordon" debuted as a daily show, running four days a week. This series strayed further from Raymond's strip, involving Flash, Dale and Zarkov in an adventure in Atlantis. The series aired 60 episodes, ending on February 6, 1936.


title: Flash Gordon

text: Twenty-six years after he had played Flash Gordon in the last of the three Universal film serials (1940), Buster Crabbe again played Flash for two newly recorded audio-dramas released as the 1966 LP, The Official Adventures Of Flash Gordon (MGM/Leo The Lion Records CH-1028).


title: Flash Gordon

text: In 1989, Lee Ahlin and Gary Gordon wrote a musical for children, "Flash Gordon", based on the comic. The musical premiered in 1989 in Oak Hall Performing Arts Theater in Gainesville, Florida. "Flash Gordon" starred Brian LeDuc as Flash, Kim Ehrich as Dale Arden, John Pelkey as Ming, and Julie Hamric as Princess Aura.


title: Flash Gordon

text: Over the years, several publishers have produced "Flash Gordon" comics, either reprints or original stories:


title: Flash Gordon

text: Several issues of the King Comics series were drawn by Al Williamson, who won the 1966 National Cartoonists Society Award for Best Comic Book for his work on the series. Williamson later said: "I was paying homage to Alex [Raymond], you know. I tried to treat his creation with respect and dignity and tried to do it to the best of my ability. I find that other artists who have done Flash Gordon just don't seem to get the feeling of the strip, you know. Flash is a noble guy and it's kind of nice to have that kind of a hero". King also released a comic version as a part of their Comics Reading Library in the 1970s.


title: Flash Gordon

text: Williamson provided artwork for a Western Publishing adaptation of Dino De Laurentiis' "Flash Gordon" film, written by Bruce Jones. It was released by Western Publishing in both hardcover and softcover formats to coincide with the film's release, and was also serialized in three issues of Whitman's Flash Gordon comic book, #31-33, March–May 1981.


title: Flash Gordon

text: In 1988, Dan Jurgens wrote a modernized version of the comic strip as a nine-issue DC Comics miniseries. It features Flash as a washed up basketball player who finds new purpose in life on Mongo, Dale as an adventurous reporter who is just as capable as Flash, and a gray-skinned Ming who is less of an Asian stereotype. The series ran for the planned nine issues and was left with an open-ended conclusion. Though Mongo is not a threat to Earth in this series, Ming had every intention of conquering Earth once he coerced Dr. Zarkov into designing the needed ships.


title: Flash Gordon

text: In 1995, Marvel Comics published a new two-issue series, written by Mark Schultz with art by Al Williamson, in the style of the "Flash" comics Williamson had produced for King and others.


title: Flash Gordon

text: A new comic book series was released by Ardden Entertainment in August 2008, though with inconsistent release dates for subsequent issues. The series was written by Brendan Deneen and Paul Green and debuted in 2008, with the first arc entitled "The Mercy Wars". The initial story arc concluded in mid-2009. These were followed by further storylines. Ardden also published a Flash Gordon anthology entitled "The Secret History of Mongo". Ardden's second Flash Gordon arc is titled "Invasion of the Red Sword" (2010). Two other arcs were completed.


title: Flash Gordon

text: A reprint of all of Al Williamson's "Flash Gordon" comic books in black and white was printed by Flesk in 2009.


title: Flash Gordon

text: In 2010, Dark Horse Comics began an archive reprint series in hardback, starting with the original comics published by Dell. The second volume covers the comics published by King Comics, the third covers the comics published by Charlton Comics, the fourth covers the comics published by Gold Key, and the fifth covers the comics published by Whitman.


title: Flash Gordon

text: In 2011, Dynamite Entertainment began a new series called "Flash Gordon: Zeitgeist". The series is written by Eric Trautmann ("Vampirella", "Red Sonja"), from a story and designs by Alex Ross ("Kingdom Come", "Marvels", "Project: Superpowers") and illustrated by Daniel Lindro. The company also produced a spin-off miniseries, "Merciless: The Rise of Ming", in 2012, with story and art by Scott Beatty and Ron Adrian. Following a crossover miniseries called "King's Watch" (where, much like "Defenders of the Earth", Flash Gordon teamed up with Mandrake and the Phantom; albeit, set in the 21st century), Dynamite launched a new Flash Gordon ongoing series in 2014, with story and art by Jeff Parker and Evan "Doc" Shaner. In 2015, Dynamite followed this run with another "Flash Gordon" miniseries as part of their "King: Dynamite" series. This series was written by Ben Acker and Ben Blacker and illustrated by Lee Ferguson.


title: Flash Gordon

text: In 1936, one issue of "Flash Gordon Strange Adventure Magazine" was published by Harold Hersey, featuring a novel about Flash Gordon, entitled "The Master of Mars". It was written by little-known author James Edison Northford. The saddle-stitched novel was based (more or less) on the comic strip story lines, and included color illustrations reminiscent of Alex Raymond's artwork. On the back pages a second installment, "The Sun Men of Saturn", was promised, but it never saw print. Even though the series did not gain in popularity, the lone issue of "Flash Gordon Strange Adventure Magazine" has become a much sought-after item for pulp magazine collectors.


title: Flash Gordon

text: The "Flash Gordon" strip was adapted for the "Big Little Books" series by the Whitman Publishing Company in 1934; the books follow the strip stories very closely and were designed with a captioned illustration opposite each page of text. The series ran for 14 installments from 1934 until 1948. The books were:


title: Flash Gordon

text: The first novel based on the strip, "Flash Gordon in the Caverns of Mongo", was published in 1936 by Grosset & Dunlap. The credited author was Alex Raymond, but Doug Murray claims the novel "was almost certainly ghost-written". Like the pulp magazine of the same year, it failed to launch a series.


title: Flash Gordon

text: In 1973, Avon Books launched a six-book series of adult-oriented Flash Gordon novels: "The Lion Men of Mongo", "The Plague of Sound", "The Space Circus", "The Time Trap of Ming XIII", "The Witch Queen of Mongo" and "The War of the Cybernauts". Although the books were credited to Alex Raymond, the first three were written by SF writer Ron Goulart (under the house name "Con Steffanson") and the other three novels were by Bruce Cassiday (the first under the "Steffanson" name, and the latter two under the pseudonym "Carson Bingham").


title: Flash Gordon

text: A novelization of the 1980 film was written by Arthur Byron Cover, and published in the United States by Jove Publications and in the United Kingdom by New English Library.