title: Morgan Jones (The Walking Dead)

text: It's the most nightmarish of scenarios – hunted by the shell of a loved one – the zombies aren't generic; this one is personal." Jackson also stated that Rick is "shell-shocked by the world he wakes up to and Morgan serves as his shepherd into reality". Leonard Pierce of "The A.V. Club" described Morgan as "beautifully played by the always welcome Lennie James" and adding that he "adds a moment of poignancy, as he finds himself actually apologizing for having not killed his now-reanimated wife". Pierce describes the scene in which Morgan "tries to gather the—strength? resolve? compassion?—to destroy what used to be his wife" as a "wrenching" scene. Kris King of "Starpulse" noted that Morgan "has a powerful scene involving the fate of his wife and his grizzly attempt to come to terms with his loss". Writing for "The Atlantic", Scott Meslow describes what he considers "the episode's most devastating scene", in which "Morgan aims at [his wife's] head through a rifle from a window, almost pulling the trigger several times before collapsing in tears. Morgan's fate is a dark reflection of Rick's worst fears; with his wife and son missing, and with no way to contact them, Rick never knows if he'll turn a corner and find a grotesque perversion of the wife and son he loves."


title: Morgan Jones (The Walking Dead)

text: It was confirmed on November 19, 2012, that Morgan would be returning in Season 3. In an interview with "Inside TV", Robert Kirkman defines the title of the episode "Clear", and how it relates to Morgan: "It means a lot of things. To a certain extent it's the ravings of a lunatic but it's also about him trying to clear out his life and clear out any entanglements around him. He's living by himself so he's trying to have a clear head. It's basically about him getting rid of his wife and getting rid of his son and the only way for him to survive is to clear the area around him." Kirkman also felt that Lennie James was "really playing a completely different character and doing completely different things in this episode and is just as amazing doing it. So it was a lot of fun having him back and also having him do things that were so different from what he had done before." In his recap of the episode for the "Los Angeles Times", Emily VanDerWerff called Lennie James a "brilliant actor", and felt that "his role is significant enough that he essentially becomes the main supporting player in the piece". Eric Kain of "Forbes" called the performance of Lennie James "absolutely riveting", noting that Morgan "is a changed man, and not for the better"; Kain called Morgan's refusal of Rick's offer to return to the prison with him "a glorious scene". Zack Handlen of "The A.V. Club" describes Morgan's situation: "Morgan's crime is that he couldn't let go of the past; he couldn't shoot his dead wife, and so his dead wife eventually killed his son. So now he has nothing to live for, but he doesn't have the strength of will left to take his own life. Which leaves him trapped. He can't join up with Rick's group, no matter how much Rick wants him to, because that would mean connecting with people again, becoming vulnerable, risking himself and having to suffer when his new friends die. And he can't commit suicide, because that would require a different kind of courage. So he's stuck building his traps, covering the walls with his writing, sending messages to strangers he'll never see."


title: Morgan Jones (The Walking Dead)

text: On November 26, 2017, it was announced on "Talking Dead" that Lennie James would be exiting "The Walking Dead" and transitioning the role of Morgan to "Fear the Walking Dead".


title: Morgan Jones (The Walking Dead)

text: Noel Murray of "Rolling Stone" ranked Morgan Jones 4th in a list of 30 best "Walking Dead" characters, saying, "Over the past few seasons, the survivors have had less use for such a gentle, philosophical soul, but the show still badly needs Morgan – both to prove that it’s possible to stay alive without sacrificing every principle "and" that it pays to speak softly and carry a big staff."


title: Jemma Redgrave

text: Jemima Rebecca Redgrave (born 14 January 1965), known as Jemma Redgrave, is a fourth-generation British actress of the Redgrave family. She played the title character in four series of "Bramwell", and has a recurring role in "Doctor Who" as Kate Stewart, Head of Scientific Research at UNIT. As well as a career in television, she has appeared in many onstage productions and on film, including her portrayal of Evie Wilcox in the BAFTA-award-winning Merchant Ivory adaptation of "Howards End".


title: Jemma Redgrave

text: Born in London, she is the daughter of actor Corin Redgrave and his first wife, Deirdre Hamilton-Hill, a former fashion model. They divorced when Jemma was nine. She has a brother, Luke Redgrave, who is a camera operator, and two half-brothers, Arden and Harvey Redgrave. Her mother died in 1997 and her father died in 2010.


title: Jemma Redgrave

text: She is the granddaughter of Sir Michael Redgrave and Rachel Kempson, niece of actresses Vanessa Redgrave and Lynn Redgrave, and cousin of Joely Richardson, Carlo Nero and Natasha Richardson. Her step-mother is the actress Kika Markham.


title: Jemma Redgrave

text: As a child, she attended the Godolphin and Latymer school in Hammersmith. She then enrolled at the London Academy of Music and Dramatic Art at the age of 18.


title: Jemma Redgrave

text: After graduation, Redgrave landed a succession of high-profile stage acting roles: in the 1988 stage production of Strindberg's "Easter"; in "Lady Windermere's Fan" in Belfast, Northern Ireland; as Emily in Thornton Wilder's "Our Town"; as Irina in a 1990 revival of Anton Chekhov's "The Three Sisters" in London's West End with her aunts Vanessa Redgrave and Lynn Redgrave; in 1993 with Colin Firth in Alexander Griboyedov's "Chatsky" at the Almeida Theatre, London; and in "A Midsummer Night's Dream" in 2001 at the Albery Theatre (now the Noël Coward Theatre), London, playing Titania alongside Dawn French as Bottom.


title: Jemma Redgrave

text: In 2010, she appeared in New York's Public Theater in "" which featured seven hours of on-stage acting. Redgrave appeared in four of the twelve plays. In 2012, Redgrave appeared alongside Ben Chaplin in Roger Michell's production of "Farewell to the Theatre" at the Hampstead Theatre, followed by starring roles in "Donkeys' Years" (2014) and "An Ideal Husband" (2016).


title: Jemma Redgrave

text: In 2018, Redgrave appeared in another Roger Michell production, appearing again alongside Ben Chaplin, this time in Joe Penhall's ""Mood Music"" at The Old Vic.


title: Jemma Redgrave

text: She has appeared in many roles on British television, including leading actor roles as the eponymous Dr. Eleanor Bramwell in four series of ITV's "Bramwell" and as D.S. Eve Granger in "Cold Blood", alongside John Hannah and Matthew Kelly. Redgrave also appeared as Eleanor in Roger Michell's "The Buddha of Suburbia": a four-part adaptation of the ground-breaking novel of the same name by Hanif Kureishi and with a soundtrack written and performed specifically for the production by David Bowie.


title: Jemma Redgrave

text: Other prominent roles have included Francesca Rochester in "Judge John Deed" and Dee Stanton in "Like Father, Like Son". In 2007, she portrayed Lady Bertram in "Mansfield Park" and Sophie Wall in "Waking the Dead", followed by a 2009 appearance in the series, "Unforgiven", written by Sally Wainwright. In 2013, she also appeared as Doctor Zoe Evans in the BBC One drama series "Frankie".


title: Jemma Redgrave

text: From 2016 to 2018, Redgrave played former RAMC surgeon, Major Berenice Wolfe, in the popular BBC medical drama "Holby City". In 2019, she joined the cast of ITV's "Grantchester" as Amelia, the mother of the show's lead character, Rev. Will Davenport.


title: Jemma Redgrave

text: In 2012, Redgrave was cast in the long-running science-fiction programme "Doctor Who" as Kate Stewart, the daughter of The Brigadier, a recurring character from the series' classic run. First appearing in "The Power of Three" (2012) with Matt Smith's Eleventh Doctor, Kate is the head of Scientific Research and "de facto" leader of fictional military organisation UNIT, a role previously occupied by her father before his retirement. Redgrave reprises the role in the fiftieth anniversary special "The Day of the Doctor" (2013), which was simulcast on television and in cinemas across the world in 94 countries, earning a Guinness World Record for the world's largest ever simulcast of a TV drama.


title: Jemma Redgrave

text: Redgrave later portrayed Kate alongside Peter Capaldi’s Twelfth Doctor in the Series 8 finale "Death in Heaven" (2014) and the 2015 episodes "The Magician's Apprentice", "The Zygon Invasion" and "The Zygon Inversion". She also began headlining the audio drama spin-off "UNIT: The New Series" for Big Finish Productions alongside Ingrid Oliver as Osgood, whom Redgrave appeared on-screen with in "Doctor Who". Redgrave also played Kate in a promo video for "Doctor Who: Time Fracture", an immersive experience that began running in London in April 2021 before returning to the main programme in the Series 13 episodes "Survivors of the Flux" and "The Vanquishers", as well as the upcoming special "Power of the Doctor", due to air in late 2022.


title: Jemma Redgrave

text: Redgrave married Tim Owen, a barrister at Matrix Chambers, in 1992. They had a son, Gabriel, in 1994. The couple separated from 1997 to October 1998. They reconciled, however, and had another son, Alfie, in 2000. They divorced in 2020.


title: John Le Mesurier

text: John Le Mesurier (, born John Elton Le Mesurier Halliley; 5 April 191215 November 1983) was an English actor. He is perhaps best remembered for his comedic role as Sergeant Arthur Wilson in the BBC television situation comedy "Dad's Army" (1968–1977). A self-confessed "jobbing actor", Le Mesurier appeared in more than 120 films across a range of genres, normally in smaller supporting parts.


title: John Le Mesurier

text: Le Mesurier became interested in the stage as a young adult and enrolled at the Fay Compton Studio of Dramatic Art in 1933. From there he took a position in repertory theatre and made his stage debut in September 1934 at the Palladium Theatre in Edinburgh in the J. B. Priestley play "Dangerous Corner". He later accepted an offer to work with Alec Guinness in a John Gielgud production of "Hamlet".


title: John Le Mesurier

text: He first appeared on television in 1938 as Seigneur de Miolans in the BBC broadcast of "The Marvellous History of St Bernard". During the Second World War Le Mesurier was posted to British India, as a captain with the Royal Tank Regiment. Following the war, he returned to acting and made his film debut in 1948, starring in the second feature comedy short "Death in the Hand", opposite Esme Percy and Ernest Jay.


title: John Le Mesurier

text: Le Mesurier had a prolific film career, appearing mostly in comedies, usually in roles portraying figures of authority such as army officers, policemen and judges. As well as "Hancock's Half Hour", Le Mesurier appeared in Tony Hancock's two principal films, "The Rebel" and "The Punch and Judy Man". In 1971, Le Mesurier received his only award: a British Academy of Film and Television Arts "Best Television Actor" award for his lead performance in Dennis Potter's television play "Traitor"; it was one of his few lead roles.


title: John Le Mesurier

text: He took a relaxed approach to acting and felt that his parts were those of "a decent chap all at sea in a chaotic world not of his own making." Le Mesurier was married three times, most notably to the actress Hattie Jacques. A heavy drinker of alcohol for most of his life, Le Mesurier died in 1983, aged 71, from a stomach haemorrhage, brought about as a complication of cirrhosis of the liver. After his death, critics reflected that, for an actor who normally took minor roles, the viewing public were "enormously fond of him".


title: John Le Mesurier

text: Le Mesurier was born John Elton Le Mesurier Halliley, in Bedford on 5 April 1912. His parents were Charles Elton Halliley, a solicitor, and Amy Michelle ( Le Mesurier), whose family were from Alderney in the Channel Islands; both families were affluent, with histories of government service or work in the legal profession. While John was an infant the family settled in Bury St Edmunds, in West Suffolk. He was sent to school, first to Grenham House in Kent, and later to Sherborne School in Dorset, where one of his fellow-pupils was the mathematician Alan Turing.


title: John Le Mesurier

text: Le Mesurier disliked both schools intensely, citing insensitive teaching methods and an inability to accept individualism. He later wrote: "I resented Sherborne for its closed mind, its collective capacity for rejecting anything that did not conform to the image of manhood as portrayed in the ripping yarns of a scouting manual".


title: John Le Mesurier

text: From an early age Le Mesurier had been interested in acting and performing; as a child he had frequently been taken to the West End of London to watch Ralph Lynn and Tom Walls perform in the series of farces at the Aldwych Theatre. In his childhood in Bury St Edmunds, the family lived less than 300 yards from the Theatre Royal, and his autobiography records meeting actors from that theatre as his earliest childhood memory. These experiences fuelled an early desire to make a career on the stage. After leaving school he was initially persuaded to follow his father's line of work, as an articled clerk at Greene & Greene, a firm of solicitors in Bury St Edmunds; in his spare time he took part in local amateur dramatics. In 1933 he decided to leave the legal profession, and in September he enrolled at the Fay Compton Studio of Dramatic Art; a fellow-student was the actor Alec Guinness, with whom he became close friends.


title: John Le Mesurier

text: In July 1934, the studio staged their annual public revue in which both Le Mesurier and Guinness took part; among the judges for the event were John Gielgud, Leslie Henson, Alfred Hitchcock and Ivor Novello. Le Mesurier received a Certificate of Fellowship, while Guinness won the Fay Compton prize. After the revue, rather than remain at the studio for further tuition, Le Mesurier took an opportunity to join the Edinburgh-based Millicent Ward Repertory Players at a salary of £3.10s (£3.50) a week.


title: John Le Mesurier

text: The Millicent Ward repertory company typically staged evening performances of three-act plays; the works changed each week, and rehearsals were held during the daytime for the following week's production. Under his birth name John Halliley, Le Mesurier made his stage debut in September 1934 at the Palladium Theatre, Edinburgh in the J. B. Priestley play "Dangerous Corner", along with three other newcomers to the company. The reviewer for "The Scotsman" thought that Le Mesurier was well cast in the role. Appearances in "While Parents Sleep" and "Cavalcade" were followed by a break, as problems arose with the lease of the theatre. Le Mesurier then accepted an offer to appear with Alec Guinness in a John Gielgud production of "Hamlet", which began in Streatham in the spring of 1935 and later toured the English provinces. Le Mesurier understudied Anthony Quayle's role of Guildenstern, and otherwise appeared in the play as an extra.


title: John Le Mesurier

text: In July 1935, Le Mesurier was hired by the Oldham repertory company, based at the Coliseum Theatre; his first appearance with them was in a version of the Wilson Collison play, "Up in Mabel's Room"; he was sacked after one week for missing a performance after oversleeping. In September 1935, he moved to the Sheffield Repertory Theatre to appear in "Mary, Mary, Quite Contrary", and also played Malvolio in Shakespeare's "Twelfth Night". Le Mesurier later commented on the slow progress of his career: "had I known it was going to take so long, I might well have given the whole thing up". In 1937 he joined the Croydon Repertory Theatre, where he appeared in nine productions in 1936 and 1937. During this period Le Mesurier changed his professional name from John Halliley to John Le Mesurier; his biographer Graham McCann observes that "he never bothered, at least in public, to explain the reason for his decision". Le Mesurier used his new name for the first time in the September 1937 production of "Love on the Dole".


title: John Le Mesurier

text: Le Mesurier first appeared on television in 1938, thus becoming one of the medium's pioneering actors. His initial appearance was in a production of "The Marvellous History of St Bernard" in which he appeared as Seigneur de Miolans in a play adapted from a 15th-century manuscript by Henri Ghéon. Alongside the television appearance, he continued to appear on stage in Edinburgh and Glasgow with the Howard and Wyndham Players, at least until late 1938 when he returned to London and re-joined Croydon Repertory Theatre.


title: John Le Mesurier

text: His second spell with the troupe ended a few months later when, from May to October 1939 he appeared in "Gaslight", first in London and subsequently on tour. The reviewer in "The Manchester Guardian" considered that Le Mesurier gave "a faultless performance", and that "the character is not overemphasised. One may praise it best by saying that Mr. Le Mesurier gives one a really uncomfortable feeling in the stomach".


title: John Le Mesurier

text: From November to December 1939, Le Mesurier toured Britain in a production of "Goodness, How Sad", during which time he met the director's daughter, June Melville, whom he married in April 1940. After spending January and February 1940 in "French Without Tears" at the Grand Theatre in Blackpool, he returned to London where he was employed by the Brixton Theatre, appearing in a series of productions. In his time in repertory, Le Mesurier took on a variety of roles across several genres; his biographer Graham McCann observed that his range included "comedies and tragedies, thrillers and fantasies, tense courtroom dramas and frenzied farces, Shakespeare and Ibsen, Sheridan and Wilde, Molière and Shaw, Congreve and Coward. The range was remarkable".


title: John Le Mesurier

text: In September 1940 Le Mesurier's rented home was hit by a German bomb, destroying all his possessions, including his call-up papers. In the same bombing raid, the theatre in Brixton in which he was working was also hit. A few days later he reported for basic training with the Royal Armoured Corps; in June 1941 he was commissioned into the Royal Tank Regiment. He served in Britain until 1943 when he was posted to British India where he spent the rest of the war. Le Mesurier later claimed that he had had "a comfortable war, with captaincy thrust upon me, before I was demobbed in 1946".


title: John Le Mesurier

text: On his return to Britain, Le Mesurier returned to acting; he initially struggled for work, finding only a few minor roles. In February 1948 he made his film debut in the second feature comedy short "Death in the Hand", which starred Esme Percy and Ernest Jay. He followed this with equally small roles in the 1949 film "Old Mother Riley's New Venture"—where his name was misspelt on the credits as "Le Meseurier"—and the 1950 crime film "Dark Interval". During the same period he also frequently appeared on stage in Birmingham.


title: John Le Mesurier

text: Le Mesurier undertook several roles on television in 1951, including that of Doctor Forrest in "The Railway Children", the blackmailer Eduardo Lucas in "Sherlock Holmes: The Second Stain", and Joseph in the nativity play "A Time to be Born". The same year Tony Hancock joined Le Mesurier's second wife, Hattie Jacques (the couple had married in 1949 following his divorce from June Melville earlier that year) in the radio series "Educating Archie". Le Mesurier and Hancock became friends; they would often go for drinking sessions around Soho, where they ended up in jazz clubs. After Hancock left "Educating Archie" in 1952 after one season, the friendship continued, and Jacques joined the cast of "Hancock's Half Hour" during the fourth radio series in 1956.


title: John Le Mesurier

text: In 1952, as well as appearing in the films "Blind Man's Bluff" and "Mother Riley Meets the Vampire", Le Mesurier also appeared as the doctor in "Angry Dust" at the New Torch Theatre, London. Parnell Bradbury, writing in "The Times", thought Le Mesurier had played the role extraordinarily well; Harold Hobson, writing in "The Sunday Times", thought that "the trouble with Mr. John Le Mesurier's Dr. Weston is that he approaches the man too snarlingly ... [it is] a notion of genius that would be unacceptable anywhere outside Victorian melodrama". In 1953, he had a role as a bureaucrat in the short film "The Pleasure Garden", which won the "Prix du Film de Fantaisie Poétique" at the Cannes Film Festival in 1954. After a long run of small roles in second features, his 1955 portrayal of the registrar in Roy Boulting's comedy "Josephine and Men", "jerked him out of the rut", according to Philip Oakes.


title: John Le Mesurier

text: Following his appearance in "Josephine and Men", John and Roy Boulting cast Le Mesurier as a psychiatrist in their 1956 Second World War film, "Private's Progress". The cast featured many leading British actors of the time, including Ian Carmichael and Richard Attenborough. Dilys Powell, reviewing for "The Sunday Times", thought that the cast was "embellished" by Le Mesurier's presence, among others. Later in 1956 Le Mesurier again appeared alongside Attenborough, with small roles in Jay Lewis's "The Baby and the Battleship" and Roy Boulting's "Brothers in Law", the latter of which also featured Carmichael and Terry-Thomas. He was also active in television, in a variety of roles in episodes of "Douglas Fairbanks Presents", a series of short dramas.


title: John Le Mesurier

text: Le Mesurier's friendship with Tony Hancock provided a further source of work when Hancock asked him to be one of the regular supporting actors in "Hancock's Half Hour", when it moved from radio to television. Le Mesurier subsequently appeared in seven episodes of the show between 1957 and 1960, and then in an episode of a follow-up series entitled "Hancock". In 1958 he appeared in ten films, among them Roy Boulting's comedy "Happy Is the Bride", about which Dilys Powell wrote in "The Sunday Times": "[M]y vote for the most entertaining contributions ... goes to the two fathers, John Le Mesurier and Cecil Parker". In 1959, the busiest year of his career, Le Mesurier took part in 13 films, including "I'm All Right Jack", which was the most successful of Le Mesurier's credited films that year; he also had an uncredited role as a doctor in "Ben-Hur".


title: John Le Mesurier

text: Le Mesurier appeared in nine films in 1960, as well as nine television programmes, including episodes of "Hancock's Half Hour", "Saber of London" and "Danger Man". His work the following year included a part in Peter Sellers's directorial debut "Mr. Topaze", a film which failed both critically and commercially. He provided the voice of Mr. Justice Byrne in a recording of excerpts from the transcript of "R v Penguin Books Ltd."—the court case concerning the publication of D. H. Lawrence's "Lady Chatterley's Lover"—which also featured Michael Hordern and Maurice Denham. J.W. Lambert, reviewing for "The Sunday Times", wrote that Le Mesurier gave "precisely the air of confident incredulity which the learned gentleman exhibited in court". Later that year he played Hancock's office manager in the first of Tony Hancock's two principal film vehicles, "The Rebel".


title: John Le Mesurier

text: In 1962 he appeared in Wendy Toye's comedy film "We Joined the Navy" before reuniting with Peter Sellers in "Only Two Can Play", Sidney Gilliat's film of the novel "That Uncertain Feeling" by Kingsley Amis; Powell noted with pleasure "the armour of his gravity pierced by polite bewilderment". She compared Le Mesurier with the well-known American straight-face comedian, John McGiver. After appearing in another Sellers film in 1962—"Waltz of the Toreadors"—Le Mesurier joined him in the 1963 comedy "The Wrong Arm of the Law". Powell again reviewed the pair's film, commenting that "I thought I knew by now every shade in the acting of John Le Mesurier (not that I could ever get tired of any of them); but there seems a new shade here". The same year, he appeared in a third Sellers film, "The Pink Panther", as a defence lawyer, and in the second and last of Tony Hancock's starring vehicles, "The Punch and Judy Man". Le Mesurier played Sandman in the latter film; Powell wrote that the role "allowed a gentler and subtler character than usual". He also appeared in a series of advertisements for Homepride flour in 1964, providing the voice-over for the animated character Fred the Flourgrader; he continued as the voice until 1983.


title: John Le Mesurier

text: In a change from his usual comedic roles, Le Mesurier portrayed the Reverend Jonathan Ives in Jacques Tourneur's 1965 science fiction film, "City Under the Sea", before returning to comedy in "Where the Spies Are", a comedy-adventure film directed by Val Guest, which starred David Niven. In 1966 Le Mesurier also played the role of Colonel Maynard in the ITV sitcom "George and the Dragon", with Sid James and Peggy Mount. The programme ran to four series between 1966 and 1968, totalling 26 episodes. He also took a role in four episodes of a "Coronation Street" spin-off series, "Pardon the Expression", in which he starred opposite Arthur Lowe.


title: John Le Mesurier

text: In 1968 Le Mesurier was offered a role in a new BBC situation comedy playing an upper-middle-class Sergeant Arthur Wilson in "Dad's Army"; he was the second choice after Robert Dorning. Le Mesurier was unsure about taking the part as he was finishing the final series of "George and the Dragon" and did not want another long-term television role. He was persuaded both by an increase in his fee—to £262 10s (£262.50) per episode—and by the casting of his old friend Clive Dunn as Corporal Jones. Le Mesurier was initially unsure of how to portray his character, and was advised by series writer Jimmy Perry to make the part his own. Le Mesurier decided to base the character on himself, later writing that "I thought, why not just be myself, use an extension of my own personality and behave rather as I had done in the army? So I always left a button or two undone, and had the sleeve of my battle dress slightly turned up. I spoke softly, issued commands as if they were invitations (the sort not likely to be accepted) and generally assumed a benign air of helplessness". Perry later observed that "we wanted Wilson to be the voice of sanity; he has become John".


title: John Le Mesurier

text: Nicholas de Jongh, in a tribute written after Le Mesurier's death, suggested that it was in the role of Wilson that Le Mesurier became a star. His interaction with Arthur Lowe's character Captain George Mainwaring was described by "The Times" as "a memorable part of one of television's most popular shows". Tise Vahimagi, writing for the British Film Institute's Screenonline, agreed, and commented that "it was the hesitant exchanges of one-upmanship between Le Mesurier's Wilson, a figure of delicate gentility, and Arthur Lowe's pompous, middle class platoon leader Captain Mainwaring, that added to its finest moments". Le Mesurier enjoyed making the series, particularly the fortnight the cast would spend in Thetford each year filming the outside scenes. The programme lasted for nine series over nine years, and covered eighty episodes, ending in 1977.


title: John Le Mesurier

text: During the filming of the series in 1969, Le Mesurier was flown to Venice over a series of weekends to appear in the film "Midas Run", an Alf Kjellin-directed crime film that also starred Richard Crenna, Anne Heywood and Fred Astaire. Le Mesurier became friends with Astaire during the filming and they often dined together in a local cafe while watching horse-racing on television. In 1971 Norman Cohen directed a feature film of "Dad's Army"; Le Mesurier also appeared as Wilson in a stage adaptation, which toured the UK in 1975–76. Following the success of "Dad's Army", Le Mesurier recorded the single "A Nightingale Sang in Berkeley Square" with "Hometown" on the reverse side (the latter with Arthur Lowe). This, and an album, "Dad's Army", featuring the whole cast, was released on the Warner label in 1975.


title: John Le Mesurier

text: In between his performances in "Dad's Army", Le Mesurier acted in films, including the role of the prison governor opposite Noël Coward in the 1969 Peter Collinson-directed "The Italian Job". The cinema historian Amy Sargeant likened Le Mesurier's role to the "mild demeanour" of his Sergeant Wilson character. In 1970, Le Mesurier appeared in Ralph Thomas's "Doctor in Trouble" as the purser; he also made an appearance in Vincente Minnelli's "On a Clear Day You Can See Forever", a romantic fantasy musical.


title: John Le Mesurier

text: In 1971 Le Mesurier played the lead role in Dennis Potter's television play "Traitor", in which he portrayed a "boozy British aristocrat who became a spy for the Soviets"; his performance won him a British Academy of Film and Television Arts "Best Television Actor" award. Writing for the British Film Institute, Sergio Angelini considered "Le Mesurier is utterly compelling throughout in an atypical role". Chris Dunkley, writing in "The Times", described the performance as "a superbly persuasive portrait, made vividly real by one of the best performances Mr Mesurier has ever given". The reviewer for "The Sunday Times" agreed, saying that Le Mesurier, "after a lifetime supporting other actors with the strength of a pit-prop, gets the main part; he looks, sounds and feels exactly right". Reviewing for "The Guardian", Nancy Banks-Smith called the role "his Hamlet", and said that it was worth waiting for. Although delighted to have won the award, Le Mesurier commented that the aftermath proved "something of an anticlimax. No exciting offers of work came in".


title: John Le Mesurier

text: Le Mesurier made a cameo appearance in Val Guest's 1972 sex comedy "Au Pair Girls", and starred alongside Warren Mitchell and Dandy Nichols in Bob Kellett's "The Alf Garnett Saga". In 1974 he played a police inspector in a similar Val Guest comedy, "Confessions of a Window Cleaner", alongside Robin Askwith and Antony Booth. The following year he also narrated "Bod", an animated children's programme from the BBC; there were thirteen episodes in total.


title: John Le Mesurier

text: In 1977 Le Mesurier portrayed Jacob Marley in a BBC television adaptation of "A Christmas Carol", which starred Michael Hordern as Ebenezer Scrooge; Sergio Angelini, writing for the British Film Institute about Le Mesurier's portrayal, considered that "although never frightening, he does exert a strong sense of melancholy, his every move and inflection seemingly tinged with regret and remorse". In 1979 he portrayed Sir Gawain in Walt Disney's "Unidentified Flying Oddball", directed by Russ Mayberry, and co-starring Dennis Dugan, Jim Dale and Kenneth More. The film, an adaptation of Mark Twain's novel "A Connecticut Yankee in King Arthur's Court", was hailed by "Time Out" as "an intelligent film with a cohesive plot and an amusing script" and cited it as "one of the better Disney attempts to hop on the sci-fi bandwagon". The reviewers praised the cast, particularly Kenneth More's Arthur and Le Mesurier's Gawain, which they said were "rather touchingly portrayed as friends who have grown old together".


title: John Le Mesurier

text: Le Mesurier played The Wise Old Bird in the 1980 BBC Radio 4 series "The Hitchhiker's Guide to the Galaxy" and appeared on the same station as Bilbo Baggins in the 1981 radio version of "The Lord of the Rings". In the spring of 1980 he took the role of David Bliss alongside Constance Cummings—as Judith Bliss—in a production of Noël Coward's 1920s play "Hay Fever". Writing for "The Observer", Robert Cushman thought that Le Mesurier played the role with "deeply grizzled torpor", while Michael Billington, reviewing for "The Guardian", saw him as a "grey, gentle wisp of a man, full of half-completed gestures and seraphic smiles".


title: John Le Mesurier

text: He took on the role of Father Mowbray in Granada Television's 1981 adaptation of "Brideshead Revisited". He guest-starred in episodes of the British comedy television series "The Goodies", and in an early episode of "Hi-de-Hi!". His final film appearance was also Peter Sellers's final cinema role, "The Fiendish Plot of Dr. Fu Manchu", which was completed just months before Sellers's death in July 1980.


title: John Le Mesurier

text: In 1982 Le Mesurier reprised the role of Arthur Wilson for "It Sticks Out Half a Mile", a radio sequel to "Dad's Army", in which Wilson had become the bank manager of the Frambourne-on-Sea branch, while Arthur Lowe's character, Captain George Mainwaring, was trying to apply for a loan to renovate the local pier. The death of Lowe in April 1982 meant that only a pilot episode was recorded, and the project was suspended. It was revived later that year with Lowe's role replaced by two other "Dad's Army" cast members: Pike, played by Ian Lavender, and Hodges, played by Bill Pertwee. A pilot and twelve episodes were subsequently recorded, and broadcast in 1984. Le Mesurier also teamed up with another ex-"Dad's Army" colleague, Clive Dunn, to record a novelty single, "There Ain't Much Change from a Pound These Days"/"After All These Years", which had been written by Le Mesurier's stepson, David Malin. The single was released on KA Records in 1982.


title: John Le Mesurier

text: He appeared opposite Anthony Hopkins in a four-part television series, "A Married Man", in March 1983, before undertaking the narration on the short film "The Passionate Pilgrim", an Eric Morecambe vehicle, which was Morecambe's last film before his death.


title: John Le Mesurier

text: In 1939, Le Mesurier accepted a role in the Robert Morley play "Goodness, How Sad!", directed by June Melville—whose father Frederick owned several theatres, including the Lyceum, Prince's and Brixton. Melville and Le Mesurier soon began a romance, and were married in April 1940. Le Mesurier was conscripted into the army in September 1940; after his demobilisation in 1946, he discovered that his wife had become an alcoholic: "She became careless about appointments and haphazard professionally". As a result, the couple separated and were divorced in 1949.


title: John Le Mesurier

text: In June 1947, Le Mesurier went with fellow actor Geoffrey Hibbert to the Players' Theatre in London, where among the performers was Hattie Jacques. Le Mesurier and Jacques began to see each other regularly; Le Mesurier was still married, albeit estranged from his wife. In 1949, when his divorce came through, Jacques proposed to Le Mesurier, asking him, "Don't you think it's about time we got married?". The couple married in November 1949 and had two sons, Robin and Kim.


title: John Le Mesurier

text: Jacques began an affair in 1962 with her driver, John Schofield, who gave her the attention and support that Le Mesurier did not. When Jacques decided to move Schofield into the family home, Le Mesurier moved into a separate room and tried to repair the marriage. He later commented about this period: "I could have walked out, but, whatever my feelings, I loved Hattie and the children and I was certain—I had to be certain—that we could repair the damage". The affair caused a downturn in his health; he collapsed on holiday in Tangier in 1963 and was hospitalised in Gibraltar. He returned to London to find the situation between his wife and her lover was unchanged, which caused a relapse.


title: John Le Mesurier

text: During the final stages of the breakdown of his marriage, Le Mesurier met Joan Malin at the Establishment club in Soho in 1963. The following year he moved out of his marital house, and that day proposed to Joan, who accepted his offer. Le Mesurier allowed Jacques to bring a divorce suit on grounds of his own infidelity, to ensure that the press blamed him for the break-up, thus avoiding any negative publicity for Jacques. Le Mesurier and Malin married in March 1966. A few months after they were married, Joan began a relationship with Tony Hancock, and left Le Mesurier to move in with the comedian. Hancock was a self-confessed alcoholic by this time, and was verbally and physically abusive to Joan during their relationship.


title: John Le Mesurier

text: After a year together, with Hancock's violence towards her worsening, Joan attempted suicide; she subsequently realised that she could no longer live with Hancock and returned to her husband. Despite this, Le Mesurier remained friends with Hancock, calling him "a comic of true genius, capable of great warmth and generosity, but a tormented and unhappy man". Without Le Mesurier's knowledge, Joan resumed her affair with Hancock and, when the comic moved to Australia in 1968, she planned to follow him if he was able to overcome his alcoholism. She abandoned these plans and remained with Le Mesurier after Hancock committed suicide on 25 June 1968.


title: John Le Mesurier

text: Le Mesurier was a heavy drinker, but was never noticeably drunk. In 1977 he collapsed in Australia and flew home, where he was diagnosed with cirrhosis of the liver and ordered to stop drinking. Until then he had not considered himself an alcoholic; he accepted that "it was the cumulative effect over the years that had done the damage". It was a year and a half before he drank alcohol again, when he avoided spirits and drank only beer.


title: John Le Mesurier

text: Jacques claimed that his calculated vagueness was the result of his dependence on cannabis, although according to Le Mesurier the drug was not to his taste; he smoked it only during his period of abstinence from alcohol. Le Mesurier's favoured pastime was visiting the jazz clubs around Soho, such as Ronnie Scott's, and he observed that "listening to artists like Bill Evans, Oscar Peterson or Alan Clare always made life seem that little bit brighter".


title: John Le Mesurier

text: Towards the end of his life Le Mesurier wrote his autobiography, "A Jobbing Actor"; the book was published in 1984, after his death. Le Mesurier's health visibly declined from July 1983 when he was hospitalised for a short time after suffering a haemorrhage. When the condition recurred later in the year he was taken to Ramsgate Hospital; after saying to his wife, "It's all been rather lovely", he slipped into a coma and died on 15 November 1983, aged 71. His remains were cremated, and the ashes buried at the Church of St. George the Martyr, Church Hill, Ramsgate. His epitaph reads: "John Le Mesurier. Much loved actor. Resting." His self-penned death notice in "The Times" of 16 November 1983 stated that he had "conked out" and that he "sadly misses family and friends".


title: John Le Mesurier

text: After Le Mesurier's death fellow comedian Eric Sykes commented: "I never heard a bad word said against him. He was one of the great drolls of our time". Le Mesurier's fellow "Dad's Army" actor Bill Pertwee mourned the loss of his friend, saying, "It's a shattering loss. He was a great professional, very quiet but with a lovely sense of humour". Director Peter Cotes, writing in "The Guardian", called him one of Britain's "most accomplished screen character actors", while "The Times" obituarist observed that he "could lend distinction to the smallest part".


title: John Le Mesurier

text: "The Guardian" reflected on Le Mesurier's popularity, observing that "No wonder so many whose lives were very different from his own came to be so enormously fond of him". A memorial service was held on 16 February 1984 at the "Actors' Church", St Paul's, Covent Garden, at which Bill Pertwee gave the eulogy.


title: John Le Mesurier

text: Le Mesurier took a relaxed approach to acting, saying, "You know the way you get jobbing gardeners? Well, I'm a jobbing actor ... as long as they pay me I couldn't care less if my name is billed above or below the title". Le Mesurier played a wide range of parts, and became known as "an indispensable figure in the gallery of second-rank players which were the glory of the British film industry in its more prolific days". He felt his characterisations owed "a lot to my customary expression of bewildered innocence" and tried to stress for many of his roles that his parts were those of "a decent chap all at sea in a chaotic world not of his own making".


title: John Le Mesurier

text: Philip French of "The Observer" considered that when playing a representative of bureaucracy, Le Mesurier "registered something ... complex. A feeling of exasperation, disturbance, anxiety [that] constantly lurked behind that handsome bloodhound face". The impression he gave in these roles became an "inimitable brand of bewildered persistence under fire which Le Mesurier made his own". "The Times" noted of him that although he was best known for his comedic roles, he, "could be equally effective in straight parts", as evidenced by his BAFTA-award-winning role in "Traitor". Director Peter Cotes agreed, adding, "he had depths unrealised through the mechanical pieces in which he generally appeared"; while Philip Oakes considered that, "single-handed, he has made more films watchable, even absorbing, than anyone else around".


title: John Le Mesurier

text: Le Mesurier's second and third marriages have been the subject of two BBC Four biographical films, the 2008 "Hancock and Joan" on Joan Le Mesurier's affair with Tony Hancock—with Le Mesurier played by Alex Jennings—and the 2011 "Hattie" on Jacques's affair with John Schofield—with Le Mesurier played by Robert Bathurst. In "We're Doomed! The Dad's Army Story", a 2015 comedy drama about the making of "Dad's Army", Le Mesurier was portrayed by Julian Sands. Le Mesurier was portrayed by Anton Lesser in the BBC Radio 4 drama "Dear Arthur, Love John" on 7 May 2012.


title: Fantasy (Mariah Carey song)

text: "Fantasy" is a song by the American singer-songwriter Mariah Carey. It was released on August 23, 1995, by Columbia Records as the lead single from her fifth album, "Daydream" (1995). The track was written and produced by Carey and Dave Hall. It samples Tom Tom Club's 1981 song "Genius of Love". The lyrics describe a woman who is in love with a man, and how every time she sees him she starts fantasizing about an impossible relationship with him. The remix for the song features rap verses from Ol' Dirty Bastard, something Carey arranged to assist in her crossover into the hip-hop market and credited for introducing R&B and hip hop collaboration into mainstream pop culture, and for popularizing rap as a featuring act.


title: Fantasy (Mariah Carey song)

text: "Fantasy" received critical acclaim, with reviewers praising its production, lyrics, Carey's vocal performance and musical progression. The song became a global success, topping the charts in Australia, Canada, New Zealand, and the United States, and reaching the top-ten in thirteen countries. In the US, "Fantasy" became the first song by a female artist, and second overall to debut atop the "Billboard" Hot 100, topping the chart for eight consecutive weeks. Additionally, it became Carey's ninth number one on the chart.


title: Fantasy (Mariah Carey song)

text: Carey sang "Fantasy" live on several television and award show appearances around the world. She performed the song at the 23rd American Music Awards, held on January 29, 1996. Additionally, it was performed live on British music chart program Top of the Pops and on French television. "Fantasy" was part of the set-lists on several of Carey's succeeding tours, making its debut during the album's accompanying set of concerts, the Daydream World Tour and is featured on her compilation albums, "#1's" (1998), "Greatest Hits" (2001), "The Remixes" (2003), "Playlist: The Very Best of Mariah Carey" (2010) and "#1 to Infinity" (2015).


title: Fantasy (Mariah Carey song)

text: The cover of the single was shot by top fashion photographer Steven Meisel. Its parent album "Daydream" uses a cropped version of the single cover. Carey directed the music video for "Fantasy", making it her directorial debut. She created the video's concept and chose the filming location. After being disappointed with the final result in many of her previous videos, Carey decided to single-handedly direct the video. The video showed her rollerblading through Playland Amusement Park in Rye, New York, singing and enjoying herself. The video concludes with Carey dancing atop the sunroof of a car, with many others present and enjoying the music and celebration.


title: Fantasy (Mariah Carey song)

text: With "Daydream", Carey began incorporating urban R&B and hip hop into her music, something very noticeable in "Fantasy". After Carey began writing songs for her new album "Daydream", she decided to include the hook from the Tom Tom Club song "Genius of Love" into an up-tempo song. Afterwards, Carey and Hall began incorporating the sample into the lyrics and melody she had already produced. Carey described how the idea to sample the song became a reality:


title: Fantasy (Mariah Carey song)

text: I was listening to the radio and heard 'Genius of Love', and I hadn't heard it in a long time. It reminded me of growing up and listening to the radio and that feeling the song gave me seemed to go with the melody and basic idea I had for "Fantasy". I initially told Dave about the idea, and we did it. We called up the Tom Tom Club and they were really into it.


title: Fantasy (Mariah Carey song)

text: Carey recalled how the writers of the song were really intrigued by the idea of Carey sampling the song, and immediately signed over the rights. After Carey presented Hall with the sample, the chorus and beat, he developed a familiar groove that he felt would "highlight Carey's voice." After they completed the song, Carey's husband and CEO of Columbia, Tommy Mottola listened to "Fantasy" and agreed to include it on the album. The cover of the single was shot by top fashion photographer Steven Meisel. A cropped version of the photograph was used as the album cover as well. Hall described his experience with writing the song with Carey:


title: Fantasy (Mariah Carey song)

text: [It] was a fun song to do. Mariah brought me 'Genius of Love' and I laid some strings on it and put it into a groove I felt really fit and highlighted her voice. And that song didn't take us but a minute to do, because she really busted that out within two days. We did a rough copy and let Tommy Mottola hear it and he loved it, so all we had to do was bring it back in and mix it.


title: Fantasy (Mariah Carey song)

text: "Fantasy" is an up-tempo song with contemporary R&B and dance-pop genres within its composition, which blends elements of funk music, hip hop, and bubblegum pop. "Fantasy" moves at a tempo of 102 beats per minute. The remix, which features rap verses from O.D.B., also incorporates hip-hop into the bridge. The song uses heavy bass and percussion, as well as a sample from "Genius of Love" by Tom Tom Club. The song is set in the signature common time, and is written in the key of G major. It features a basic chord progression of G-Em. Carey's vocal range in the song spans from the note of D to the high note of F; the piano and guitar pieces range from D to E as well. The song contains choral lyrics written by Carey, who also developed the song's melody and original beat. Instrumentation and production was performed by Dave Hall, while co-arranging and producing the track as well. The members of the Tom Tom Club, Tina Weymouth, Chris Frantz, Steven Stanley and Adrian Belew are all credited as writers due to the inclusion of the music sample they wrote.


title: Fantasy (Mariah Carey song)

text: Upon its release, "Fantasy" garnered acclaim from contemporary music critics. Bill Lamb from About.com was very positive on the song, calling it "truly inspiring" and a "career high water mark" for Carey. Stephen Thomas Erlewine from AllMusic also praised the song, saying "Carey continues to perfect her craft and that she has earned her status as an R&B/pop diva." Stephen Holden from "The New York Times" gave the song praise, writing "with 'Fantasy', Ms. Carey glides confidently into the territory where gospel-flavored pop-soul meets light hip-hop and recorded some of the most gorgeously spun choral music to be found on a contemporary album." Additionally, he claimed "Fantasy" held some of the album's best moments, writing "she continues to make pop music as deliciously enticing as the best moments of "Fantasy". "Slant Magazine" ranked the song at number sixty on their "Best Singles of the '90s" list, writing it is "escapism perfected, [a] summer bubblegum gem with a sweet, flawless vocal line driven by a diva in her prime."


title: Fantasy (Mariah Carey song)

text: "Fantasy" was a huge success globally. The song became Carey's ninth number one single on the US "Billboard" Hot 100 chart. It became the first single by a female artist to open atop the chart, and only the second single to do so after "You Are Not Alone" by Michael Jackson. It debuted at number one due to strong airplay and sales of 229,000 copies, the highest since Whitney Houston's "I Will Always Love You in January 1993. It spent eight weeks at the top of the chart, from the charts dated September 30 to November 18, 1995, Carey's longest stay at the time alongside "Dreamlover" (1993). It replaced "Gangsta's Paradise" by Coolio, and was replaced by Whitney Houston's "Exhale (Shoop Shoop)", which also debuted atop the Hot 100. "Fantasy" spent 23 weeks in the top 40 and was successful on other "Billboard" formats, including the R&B and dance charts. The song debuted at number 11 on the Mainstream R&B/Hip-Hop chart, setting a record at the time for the charts highest debut which would eventually be surpassed by Drake's "Nice for What" in 2018. Its strong sales led it to be certified quintuple-platinum by the Recording Industry Association of America (RIAA), Carey's first single to do so. "Fantasy" was the second best-selling single of 1995 in the US, with sales of 1,500,000. It was ranked seventh on the Hot 100 year-end charts for 1995 and 49th on the 1996 year-end charts. "Fantasy" ranked at number 15 on the Hot 100 decade-end chart for the 1990s.


title: Fantasy (Mariah Carey song)

text: In Australia, the song topped the chart and was certified triple-platinum by the Australian Recording Industry Association (ARIA). In Canada, the song debuted on the "RPM" Singles Chart at number 95 on the "RPM" issue dated October 2, 1995, and reached the top of the chart on November 20, 1995. It was present on the chart for a total of 20 weeks, and ranked 18 on the "RPM" Year-end chart for 1995. "Fantasy" also reached the top 10 in most countries across Europe, and the top 20 on the Oricon chart in Japan. It peaked within the top-five in Belgium (Wallonia), Finland, France and the United Kingdom; and in the top 10 in Belgium (Flanders), The Netherlands, Ireland, Norway and Switzerland. "Fantasy" was certified silver in France and platinum in the United Kingdom, by the Syndicat National de l'Édition Phonographique (SNEP) and British Phonographic Industry (BPI), respectively. According to the Official Charts Company, the song has sold 400,000 copies in the United Kingdom. The song also topped the charts in New Zealand, where it was certified platinum by the Recording Industry Association of New Zealand (RIANZ).


title: Fantasy (Mariah Carey song)

text: Carey worked with producer Puff Daddy to create the official remix, the Bad Boy remix of "Fantasy". While Columbia allowed Carey more leniency with the music she recorded, they became hesitant when she featured O.D.B. in the remix for "Fantasy". They feared the sudden change was completely left field for her music, and worried it would jeopardize the album's success. Finally, the Bad Boy remix used guest raps from O.D.B. and background vocals by Puff Daddy. Some of the song's R&B elements were removed for the remix, while the bassline and "Genius of Love" sample were emphasized and the bridge from the original version was used as the chorus. There is a version omitting Ol' Dirty Bastard's verses. The "Bad Boy Fantasy Remix", combines the chorus from the original version and the chorus of the Bad Boy Remix together, removing Ol' Dirty Bastard's vocals from his 2nd verse.


title: Fantasy (Mariah Carey song)

text: Carey re-recorded vocals for club remixes of the song by David Morales, titled "Daydream Interlude (Fantasy Sweet Dub Mix)." The Bad Boy remix garnered positive reviews from music critics. Ken Tucker from "Entertainment Weekly" praised the song, claiming its one of the few tracks where Carey "defines herself." Additionally, he complimented the song, writing "At her best, as she is on this clipped, spunky track, Carey is a disco diva for the '90s, a worthy successor to trailblazing women like Donna Summer and Vicki Sue Robinson, R&B singers with an affinity for the endless groove. Disco? No wonder most rock critics can't get behind her. Party on, Mariah." Carey has stated that the Bad Boy remix contributed to over half of the sales of "Fantasy".


title: Fantasy (Mariah Carey song)

text: On September 24, 2021, American rapper Latto released "Big Energy", which interpolates "Genius of Love", as "Fantasy" did. On March 28, 2022, Latto released the "Big Energy" remix, which features Mariah Carey herself, along with DJ Khaled, which interpolates "Fantasy".


title: Fantasy (Mariah Carey song)

text: The single's music video was the first that Carey directed entirely on her own. Carey had been open about the fact that she had not been happy with some of her previous music videos. She therefore decided to single-handedly direct the video, so the outcome would be to her exact choosing. Carey said her inspiration for the video was to give off a "free and open feeling," trying to portray the freedom she had finally achieved in being allowed to direct her first video. The video for "Fantasy" debuted on September 7, 1995, at the 1995 MTV Video Music Awards. The video begins with Carey rollerblading in front of the boardwalk entrance at Playland amusement park, located in Rye, New York, and riding the Dragon Coaster, the park's signature wooden coaster. The video continues with various snippets of Carey until the end of the second verse. Afterwards, the video switches to a night time scene that involves people dancing in the parking lot and on top cars.


title: Fantasy (Mariah Carey song)

text: I'd done a lot of videos and wasn't always a hundred percent thrilled. For the most part, I was never thrilled with the results, so I figured I would give directing a shot. It was a pretty simple concept. Most of the scenes were featured at the amusement park, at a late-night outdoor celebration. I was really happy to be able to include O.D.B. in the remix video.


title: Fantasy (Mariah Carey song)

text: Following in their actions, Carey joins in the festivities and hops atop a car and begins singing and dancing to the strong bass and R&B beat playing from the stereos. The video also contains a scene involving a lovable young girl who tries to emulate Carey and whose character reappears in the video for Carey's single "Shake It Off" (2005). The video shoot took place in mid-August 1995. In the official video for the song's remix, O.D.B. makes a few cameo appearances with a clown, as well as on the Boardwalk during additional scenes with Carey.


title: Fantasy (Mariah Carey song)

text: On August 21, 2020, the music video of both versions was re-released in a remastered form, in HD quality. Exactly a year later it was uploaded in 4K resolution.


title: Fantasy (Mariah Carey song)

text: "Fantasy" was performed at the 23rd Annual American Music Awards, where Carey won two of the top awards. For the performance, Carey wore a long black trench coat and matching boots, pants and blouse, and was backed by three background vocalists. Additionally, Carey sang "Fantasy" on the British music chart program "Top of the Pops", during a promotional stop in the United Kingdom on September 12, 1995. During its taping, she wore a blue blouse and black jumper. Two days later, Carey appeared on French television where she performed the song alongside several male and female dancers. Carey donned a mid-waist baring white blouse and black leather pants and matching heeled boots. Trey Lorenz and two female back up vocalists were also featured on stage during the show's taping. Aside from live television appearances, the song was performed on several legs of Carey's tours.


title: Fantasy (Mariah Carey song)

text: "Fantasy" was performed at every show on her Daydream World Tour (1996) set to the album version. The performance was tuned similarly to Carey's recital at the American Music Awards, featuring a similar outfit, dance routines and set up. The remix version was performed on her Butterfly World Tour (1998), Rainbow World Tour (2000), (2003–2004), The Adventures of Mimi Tour (2006), The Elusive Chanteuse Show (2014) and Caution World Tour (2019), each of which featured a varying synopsis. In 1998, it became the first time Carey performed the remix version in concert, placing a large projection screen on to the stage, and featuring snippets and cuts of Ol' Dirty Bastard throughout the video. Additionally, Carey was dressed in blue jeans and a white blouse, and danced several chair routines with several male dancers. During the Charmbracelet Tour and Rainbow Tour, the shows segment was similar to her previous tour. The song was featured on the select set-list on three of Carey's live taped shows, "," "The Adventures of Mimi", and "Around the World".


title: Fantasy (Mariah Carey song)

text: "Fantasy" exemplified how a music sample could be transformed "into a fully realized pop masterpiece". Due to the success and influence of the song, Carey is credited for introducing R&B and hip hop collaboration into mainstream pop culture, and for popularizing rap as a featuring act through her post-1995 songs. Sasha Frere-Jones, editor of "The New Yorker" commented in referencing to the song's remix,


title: Fantasy (Mariah Carey song)

text: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé, to combine melodies with rapped verses. And young white pop stars—including Britney Spears, 'N Sync, and Christina Aguilera—have spent much of the past ten years making pop music that is unmistakably R&B". Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male MCs of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" [ref. to "The Emancipation of Mimi", her tenth studio album released almost a decade after "Fantasy"] suggests that it still belongs to Carey."


title: Fantasy (Mariah Carey song)

text: John Norris of MTV News has stated that the remix was "responsible for, I would argue, an entire wave of music that we've seen since and that is the R&B-hip-hop collaboration. You could argue that the 'Fantasy' remix was the single most important recording that she's ever made." Norris echoed the sentiments of TLC's Lisa Lopes, who told MTV that it's because of Mariah that we have "Hip-Pop." Judnick Mayard, writer of TheFader, wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement is Mariah Carey." Mayard also expressed that "To this day ODB and Mariah may still be the best and most random hip hop collaboration of all time", citing that due to the record "Fantasy", "R&B and Hip Hop were the best of step siblings."


title: Fantasy (Mariah Carey song)

text: The song has been featured in multiple films and television shows. In the 1998 film "Rush Hour", the character Soo Yong sings the song while it plays on the car radio, shortly before her kidnapping. In 2011, the experimental metal band Iwrestledabearonce used the song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices". Indie artist Grimes has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes. In 2019, Carey released a video of her doing a dance to the 'Bad Boy Fantasy' mix on TikTok, thus leading the dance to become another famous TikTok dance challenge, preceding the Obsessed Challenge earlier in the year. A remixed version of the song, with additional vocals from Jodie Comer, features prominently as part of the score and the plot for the 2021 film "Free Guy"; in the film, Jodie Comer's character Molotov Girl catches the attention of Ryan Reynolds's character Guy as she is singing the song, thus catalyzing the rest of the story. Reynolds, who produced and starred in the film, stated that, "I am a huge Mariah Carey fan [...] It really was one of those weird things that happened naturally. I write to music anyway, and I initially put a song in the script by The Outfield called "Your Love". It’s an old '80s tune. It's great, but it just didn’t have that epic scale I was looking for. And then "Fantasy" just came on my playlist and everything clicked in". "Fantasy" was also included on the 2021 edition of "Rolling Stone" magazine's list of "The 500 Greatest Songs of All Time" at number 419.


title: Fantasy (Mariah Carey song)

text: Upon release, "Fantasy" also won many prestigious awards throughout the music industry in 1995 and 1996. At the Blockbuster Entertainment Awards, the song won the award for "Favorite Single." Additionally, the song was awarded the "Pop Award" honor at the 1996 annual American Society of Composers, Authors and Publishers (ASCAP). Carey won the "Dance Record of the Year" award at the "National Dance Music Awards" in 1996. "Fantasy" won two awards at the 1996 "Winter Music Conference National Dance Music Awards," for "Favorite Single" and "Dance Record of the Year." The song won a Broadcast Music Incorporated (BMI) "Pop Song of the Year" award in 1997, as well as the "Favorite Single" award at the annual "Archer Awards." The song also was nominated for Best Female Pop Vocal Performance at the 38th Grammy Awards.


title: Zurich Airport

text: Zürich Airport () is the largest international airport of Switzerland and the principal hub of Swiss International Air Lines. It serves Zürich, Switzerland's largest city, and, with its surface transport links, much of the rest of the country. The airport is located north of central Zürich, in the municipalities of Kloten, Rümlang, Oberglatt, Winkel, and Opfikon, all of which are within the canton of Zürich.


title: Zurich Airport

text: In the Zürich area, mixed civil and military air traffic developed from 1909 onwards at Dübendorf airfield, northeast of the city. From 1919, the airport was home to Swissair's predecessor Ad Astra Aero, and from 1932 also to Swissair. The first international flight from Switzerland landed on July 21, 1921. In the early years of aviation, the Dübendorf Air Base, located some to the Zurich Airport, also served as the city's commercial airfield. The need for a dedicated commercial facility led to the search for a location at which to build a replacement airport.


title: Zurich Airport

text: In 1939, civil air traffic had to be suspended at the outbreak of the Second World War for military strategic reasons. Although Swissair was allowed to resume scheduled air traffic in September 1940, this remained on a modest scale during the war.


title: Zurich Airport

text: In March 1943, the government of the canton of Zürich commissioned a study to identify possible locations for the construction of a major airport. In its report, a consortium of engineers and architects led by "Locher & Cie" company advised against the previously discussed expansion options at Dübendorf airport and instead recommended a separate civil airport in the partially forested moorland area of the armory situated between Kloten and Oberglatt. In August 1943, the Federal Military Department declared its agreement to abandon the armory as a matter of principal "in the higher national interest".


title: Zurich Airport

text: Locher & Cie submitted "Project I" to the Government on 31 December 1943. Four runways were planned and together with the buildings the required area was 472 hectares. Without the purchase of land, the project would have cost 87 million CHF. The government found the costs too high and ordered a revision. The "Project II" of 29 April 1944 still provided for an area of 290 hectares and costs of 65 million CHF, but the government council demanded a further reduction. For "Project III" of 31 July 1944, 54.4 million and 215 hectares were required. The project nevertheless met the requirements of an intercontinental airport. The Government formally approved it and submitted it to the Federal Government, strongly emphasizing that the Zurich project was "far superior" to the also planned (and ultimately abandoned) Swiss Central Airport Utzenstorf near Bern.


title: Zurich Airport

text: In December 1944, the responsible Federal Councillor, Enrico Celio, explicitly spoke out in favour of Zürich-Kloten, in a letter to his counterparts, as did the governments of the cantons of Eastern and Central Switzerland and Ticino a month later. The National Council and Council of States followed this view and on 22 June 1945 approved the "Federal Decree on the Expansion of Civil Airports". Basel, Bern and Geneva were to receive smaller continental airports and be supported with a 30 percent share of the costs. The Zurich project was granted the status of an intercontinental airport and the highest possible subsidy rate of 35 percent.


title: Zurich Airport

text: Switzerland's federal parliament decided in 1945 that Zürich was to be the site of a major airport, and sold of the "Kloten-Bülach Artillery Garrison" () to the canton of Zürich, giving the canton control of the new airfield. Construction of the airport began the following year.


title: Zurich Airport

text: Initial plans for the airport, as laid out in the Federal government's scheme of 1945, were centered on facilities capable of handling international airline traffic. Aircraft of up to 80 tons were envisaged. The primary runway was to be designed for use in all weathers and at night, with a -wide hard surface running to in length. Additional areas were to be provided on the shoulders for lateral protection in case of runway excursions. Additional domestic runways, between in length, were also to be built.


title: Zurich Airport

text: On 25 February 1946, the Cantonal Council approved a building loan of 36.8 million. The cantonal referendum of 5 May 1946 resulted in a clear approval with 105,705 votes in favour, 29,372 against.


title: Zurich Airport

text: "Project IV" never came to fruition, as it was further developed by adapting it to the ICAO standards which were changing rapidly at the time. Instead of four runways, the new "Project V" of 20 May 1946 provided only three. Project VI" of 9 October 1946 increased the dimensions of all three runways. Finally, the slightly modified "Project VII" of 20 December 1947 was realised.


title: Zurich Airport

text: Within three years, the design on the drawing board had completely changed from a purely grass airfield with a four-runway system without taxiways to a three-runway system with paved taxiways. The staggered design meant that it was possible to react to changes without having to impose a complete halt to construction.


title: Zurich Airport

text: Construction works finally began on 5 May 1946 with the diversion of the Altbach stream. The 1900 m long West Runway 10/28 was the first runway which was opened on 14 June 1948, and on which the first Swissair Douglas DC-4 took off for London. On behalf of the canton as airport owner, Cantonal Councillor Jakob Kägi gave a speech to mark the inauguration of the new runway and the start of provisional flight operations. Shortly after, on 17 November 1948, the 2600 m long blind runway 16/34 (runway with instrument landing system) was opened for operation, which was attended by the seven members of the cantonal government. In the presence of invited guests from politics and the media as well as representatives of the construction companies and airlines, the new airport was inaugurated, which meant that the relocation of the entire civil flight operations from Dübendorf to Kloten had already been completed and full operation could begin at the new Zurich Airport.


title: Zurich Airport

text: The 1535 m long Bisen runway 02/20, which belonged to the three-runway system of 1948, was of little importance. Due to the applicable crosswind regulations at that time, the runway was designed to face the Bise in order to guarantee the airport's all-weather capability. However, the ICAO increased the crosswind tolerances for aircraft in subsequent revisions to such an extent that the runway was decommissioned after just over ten years.


title: Zurich Airport

text: The character of a provisional solution was supported - despite full operation - by the lack of buildings, especially the "Flughof", which had been planned since 1946. Instead, a growing shanty town stood to the east of the reserved building site. On 27 October 1948, the canton outsourced the development, construction and operation of the buildings to the newly founded "Flughafen-Immobilien-Gesellschaft" (FIG), a mixed-economy public limited company in which the public sector held half of the shares (canton of Zürich 22.5%, city of Zürich 18%, "Zürcher Kantonalbank" 5%, city of Winterthur 3.6% and municipality of Kloten 0.9%).


title: Zurich Airport

text: The FIG took over projects that had been started and was thus able to hand over the completed "shipyard I" to Swissair for use as early as late autumn 1948, followed by offices for Swissair's technical departments, which were finally able to leave Dübendorf by the end of April 1949. Further workshops, the striking arched hangar and the "Heating Centre I" for the heat supply were completed by the end of 1949.


title: Zurich Airport

text: Based on "Project V", the terminal building had already been designed as a convex building at the airport head in mid-1946. In the following four years, a total of 24 feasible airport project designs were submitted, before the FIG commissioned the construction of the airport according to plans by Alfred and Heinrich Oeschger in November 1950. At the beginning of 1951, the piling work for the terminal building began, the construction work took about two years. With the opening on 9 April 1953, the shanty town could be abandoned. The new building consisted of a central passenger wing, flanked by a restaurant and an office wing. In addition there was a spectator terrace of 200m length.


title: Zurich Airport

text: As had been expected the construction costs had been significantly exceeded. Several metres of raised bog were removed and backfilled with material from the Holberg; the concrete area had also increased from the originally planned 420,000 m to a good 611,000 m. In addition, the former weapons range area had to be searched for unexploded bombs, of which a total of 157 were found. The costs for "Project IV", estimated at CHF 59.5 million in 1946, had risen to CHF 106 million by the time the civil engineering works under "Project VII" were completed in July 1949. Both chambers of the Federal Assembly concluded the political review with the "Federal Decree on the Payment of Additional Federal Contributions to the Construction of Zürich-Kloten Airport" of 29 September 1949. The Federation contributed CHF 27.1 million and doubled its contribution to the air traffic control facilities. For its part, the Cantonal Council granted a supplementary credit on 13 February 1950. This was accepted by the voters on 7 May 1950 with 73,551 votes to 59,088 (yes share of 55.45%).


title: Zurich Airport

text: The new terminal opened in 1953 with a large air show that ran three days. In 1947, the airport handled 133,638 passengers on 12,766 airline flights; in 1952, 372,832 passengers on 24,728 airline flights.


title: Zurich Airport

text: Locher & Cie was commissioned in 1954 to design various project options for the second construction phase. In March 1956, the canton submitted an extended project to the Federal Council. In addition to mandatory runway extensions for the incipient "jet age", the project also provided for the extension of the public facilities, which were already overused and dominated by various provisional arrangements; two finger docks were to defuse the situation. On 12 October 1956, the Federal Council recommended that parliament approve the bill. On 19 December 1956, the Council of States approved the federal contribution of CHF 54.8 million (at a total cost of 181.8 million), the National Council followed suit on 7 March 1957. The contribution of the canton of Zürich of CHF 74.3 million was still outstanding, the rest was to be raised by FIG and Swissair. The concrete expansion project included the extension of the blind runway to 4000 m and the western runway to 3150 m, as well as the extension of the buildings. Opponents described the "super airport Kloten" as a "luxury" and criticised that the canton had "lost every measure". Another issue that planners had completely neglected until then was the aircraft noise. With a high turnout of 72.3%, the expansion project failed in the cantonal referendum of 23 June 1957 with 97,603 votes to 83,196 (no vote of 54.0%).


title: Zurich Airport

text: Just four days later, the Zürich's catonal government commissioned a redimensioned expansion project. The blind runway was to be only 3700 m long, the western runway 2500 m; the construction of the finger docks was abandoned. Thus the canton's share of the project to be approved was only CHF 49.1 million. The government gave far more attention to the aircraft noise. On 6 July 1958, voters approved the project by 107,050 votes to 56,872 (yes share 65.3%), with a 65.6% share. Due to time pressure - the landing of the first jet aircraft was planned for the following year - construction work began without waiting for approval of the federal funding. In December 1958 and March 1959 respectively, the National Council and the Council of States granted subsidies of 55.6 million. In 1959, BOAC started regular flight connections to Zürich with the revised "Comet IV", while the airport was still a construction site.


title: Zurich Airport

text: The first buildings were completed in 1960, and the terminal building, which had been considered an attractive design, lost its symmetrical appearance. To the east, towards the former shanty town, office wing A1, office wing B and the air traffic control building were added with a connecting structure. The "Fracht West" building, which had been extended at short notice during construction to provide additional office space, was located somewhat off the main building. In the hangar area in the southwest, Heating Station II was put into operation and the Hangar II, which was designed for jet aircraft, was handed over to Swissair, shortly after the arrival of the Sud Aviation "Caravelle III" and the Douglas DC-8-32 in May 1960. Finally, in the summer of 1961, Swissair's in-flight catering service was given a new building between the head of the airport and the hangar area.


title: Zurich Airport

text: The canton of Zürich acquired a further 135 hectares of land for the expansion of the civil engineering works, which lasted until the beginning of 1961 in parallel with the construction of the buildings. The apron areas were enlarged, particularly at the airport head and in the hangar area; the pier was also extended from 16 to 28 aircraft parking spaces, and buses were purchased to provide access to them. The west runway 10/28 was extended by 600 metres to the west, towards Rümlang, and opened on 1 January 1961 with its new operating length of 2500 metres. Blind runway 16/34 was extended 400 metres to the south in the direction of Opfikon and 700 metres to the north in the direction of Oberglatt. At its new operating length of 3700 m, it was released on 15 March 1961. By the time work was completed, the paved area at the airport covered 1,013,000 m.


title: Zurich Airport

text: Although virtually all the buildings of the second phase had been completed by the end of 1961, the extension of the terminal building was still at the design stage. After the passenger terminal with two finger docks had failed in the cantonal referendum, the FIG had worked out a new project until 1958. This envisaged a two-storey transverse hall on the landside of the airport, on the two main floors of which arriving and departing passengers were functionally separated. For cost reasons, the federal government demanded a considerable redimensioning, which led to an open dispute about the preferred design. When the conflict, described by the media as a "war of experts", threatened to escalate, President Willy Spühler invited representatives of the Federation and the cantons to a conference on 9 December 1963.


title: Zurich Airport

text: During the conference, FIG's airport planners and the canton of Zürich prevailed against the federal government. The canton only had to make concessions for the commercial parts of the project, such as the restaurant wing. The dispatch of the Federal Council, submitted on 1 March 1965, requested a federal contribution of 23.1 million to the total costs of 129.4 million. Of this, 2.1 million was earmarked for the connection of the airport to the national road network and for the preparation of a connection to the planned (but never built) Zürich underground railway. The National Council and Council of States adopted the bill in October 1965, allowing construction work to begin the following year. The motorway loop was in operation from 1968. Finally, with the opening of the last new hall wing on 1 April 1971, the extension of the terminal building was completed.


title: Zurich Airport

text: The first signs of noise mitigation for the airport were in 1972, when a night-time curfew was enacted, as well as in 1974 when new approach routes were introduced. Runway 14/32 was opened in 1976, and 16/34 began renovation.


title: Zurich Airport

text: On 18 February 1969, four armed members of the Popular Front for the Liberation of Palestine (PFLP) attacked El Al flight 432, firing Kalashnikov assault rifles at the Boeing 720B whilst it prepared for takeoff. The Shin Bet employee Mordechai Rachamim fired back with his pistol and killed the terrorist Abdel Mohsen Hassan. The three remaining assassins were each sentenced to twelve years in prison. The aircraft's co-pilot subsequently died of his injuries.


title: Zurich Airport

text: The attack marked the beginning of a discussion about airport security that had never been raised until then in Switzerland. On 21 February 1970 a parcel bomb exploded in Swissair's Convair CV-990 on flight SR330 (Zurich-Tel Aviv). In the crash near Würenlingen all 47 people on board were killed. Investigations revealed that a PFLP terrorist group had carried out the bomb attack. The actual target, however, had been an El Al flight from Munich to Tel Aviv, whose mail had been sent with Swissair to Zürich due to long delays. In 1970 the PFLP obtained the release of the three terrorists convicted in Switzerland and other comrades-in-arms imprisoned abroad through coordinated hijackings. Flights affected were SR 100 (Zurich-New York), TWA flight TW741, Pan Am flight PA93 and BOAC flight BA775.


title: Zurich Airport

text: In January 1969, the Zürich's Cantonal Council approved a loan for preparatory work for the third stage of expansion. The project that was subsequently drawn up clearly exceeded the previous dimensions. The plans included the extension of the existing runways, a 3300 m long runway, additional taxiways, the enlargement of the pier to 47 stands, a new terminal with finger dock, two multi-storey car parks, additional technical buildings, an airport railway station and a new hangar. In addition, there were various extensions and conversions of existing buildings. The costs were estimated at CHF 777.6 million (not including the air traffic control building and railway station). Since this project was hardly different from the "super airport" rejected in 1957, criticism was immediately voiced again by the "Protection Association of the Population around Zurich Airport" (SBFZ) and the community of Höri, which was located directly in the approach corridor. The SBFZ even demanded the resumption of the central airport concept that was dropped in 1945 - instead of Utzenstorf this time in the "Grosse Moos", with two runways jutting into Lake Neuchâtel.


title: Zurich Airport

text: The supporters of the Zurich airport expansion argued primarily with the economic benefit. In order to take the wind out of the sails of aircraft noise criticism, the government and cantonal council are drafting an aircraft noise law (including a ban on night flights), which should be submitted to a referendum at the same time as the expansion bill. After the Cantonal Council had approved both bills in July 1970, the referendum was held on 27 September 1970. The proposal for expansion was approved by 103,867 votes to 64,192 (61.8% yes), the Aircraft Noise Act by 134,501 votes to 32,590 (80.5% yes). The following year, the Federal Assembly approved a federal contribution of 240.3 million. Construction work on the third stage also began in 1971. In 1973, Hangar III, Cargo Hall East, Car Park F and the General Aviation Centre were completed. In 1974 the "Werkhof" (work yard), an office building and multistorey car park E were added, in 1975 the apron, multi-storey car park B and Terminal B with finger dock, and in 1976 the Airport Plaza shopping and service centre located in multi-storey car park B.


title: Zurich Airport

text: Additional costs were incurred due to numerous adjustments to the construction project. The additional credit of 25.8 million was accepted by Zurich voters on 7 December 1975 with 178,723 to 87,303 votes (67.2% yes). The canton supplemented this credit with ordinary and extraordinary budget credits from the building department. In March 1976 the Federal Assembly approved an additional federal contribution of 39.7 million.


title: Zurich Airport

text: As the centrepiece of the third stage, runway 14/32 was opened on 1 April 1976, increasing capacity by a third. In the early days, the new runway served exclusively for landing traffic. The rail link, which had been approved by parliament in 1975 in a separate federal decree, was still outstanding. As this was a project of the Swiss Federal Railways (SBB), the cost allocation differed greatly. Of the total costs of 285 million, the SBB contributed 60%, the Federation 33% and the canton of Zürich 7%. The project comprised the Zürich Flughafen railway station under Terminal B (on which construction had been underway since 1971) and a new line between Bassersdorf and Glattbrugg. After nine years of construction, the ceremonial opening of the airport line took place on 29 May 1980.


title: Zurich Airport

text: In the second half of the 1970s, the volume of traffic continued to rise sharply, so the canton of Zürich, the FIG and Swissair worked out a project for the fourth construction phase. On 28 September 1980, with 142,240 to 104,775 votes (57.6%), Zürich voters accepted a loan of CHF 48 million for civil engineering works, which were part of the forthcoming construction work.


title: Zurich Airport

text: Also in 1980, the Federal Office of Civil Aviation published a new airport concept, which replaced that of 1945. The focus was now on qualitative expansion, taking into account spatial planning and environmental protection considerations.


title: Zurich Airport

text: Based on this concept, the Federal Assembly approved the "Building Programme 1981-1985". This programme provided for investments of CHF 393.3 million in Zürich-Kloten, but the subsidy contribution of 10.3% was significantly lower than for the Geneva and Basel-Mulhouse airports. This was justified by the catch-up demand of the two other major Swiss airports.


title: Zurich Airport

text: The central element of the fourth stage was the finger dock in Terminal A with 13 docking positions. Also planned were a new control tower, a baggage sorting system, an additional multi-storey car park, waiting rooms and an operations centre for aircraft crews. Later, Zürich's cantonal government also decided to renew the damaged western runway, which had to be closed for two and a half months in the summer of 1985 for this purpose. Fingerdock A was put into operation on 1 November 1985, the new 41 m high control tower on 29 April 1986.


title: Zurich Airport

text: There were also plans to expand the airport's cargo facilities. However, a corresponding loan of CHF 57 million was narrowly rejected in the referendum of 6 September 1987 by 106,722 to 98,663 votes (52.0% against).


title: Zurich Airport

text: The project, which was subsequently revised and approved by Zürich's Cantonal Council in 1989, focused on more efficient use of the existing facilities, thereby enabling the handling of an additional 100,000 tonnes of freight annually.


title: Zurich Airport

text: The cantonal popular initiative "for moderate air traffic" submitted in January 1991 intended to limit the airport to its then status, i.e. neither to allow more aircraft movements nor to expand the infrastructure. In the vote of 26 September 1993, however, it did not stand a chance and was clearly rejected by 235,531 votes to 112,476 (67.6%).


title: Zurich Airport

text: Nine months later, Zürich's cantonal government submitted a proposal for a loan of CHF 873 million to the cantonal council. The fifth construction phase, known as "Airport 2000" and costing a total of CHF 2.4 billion, was intended to replace outdated systems and further expand existing facilities. At the heart of the project was the construction of a third terminal, Dock E "Midfield", located between the three runways. The Skymetro aerial tramway, a road tunnel and underground baggage conveyors were necessary for its development. Also part of the fifth stage was the construction of the new passenger hub "Airside Center". The Cantonal Council approved the project at the end of February 1995.


title: Zurich Airport

text: It cleared the last hurdle in the referendum of 25 June 1995, when it was approved by 224,668 votes to 105,859 (68.0% Yes).


title: Zurich Airport

text: The next major event for the airport was in 1999, when the Parliament of the canton of Zürich approved privatization of Zurich Airport. The following year, Flughafen Zürich AG, trading under the brand "Unique", became the new airport operator. The company dropped the brand "Unique" in favour of "Zurich Airport" and "Flughafen Zürich" in 2010.


title: Zurich Airport

text: On 2 October 2001, a major cash-flow crisis at Swissair, exacerbated by the global downturn in air travel caused by the September 11 attacks, caused the airline to ground all its flights. Although a government rescue plan permitted some flights to restart a few days later, and the airline's assets were subsequently sold to become Swiss International Air Lines, the airport lost a large volume of traffic. After Lufthansa took control of Swiss International Air Lines in 2005, traffic began to grow again.


title: Zurich Airport

text: On 18 October 2001, Germany and Switzerland signed a treaty regarding the limitation of flights over Germany. Under the terms of this treaty, any incoming aircraft after 22:00 had to approach Zürich from the east to land on runway 28, which, unlike the airport's other runways, was not equipped with an instrument landing system. A month later, at 22:06 on 24 November, an inbound Crossair Avro RJ100 using this approach in conditions of poor visibility crashed into a range of hills near Bassersdorf and exploded, killing 24 of the 33 people on board. The flight had originally been scheduled to land on runway 14 before 22:00, but it was subject to delay and was therefore diverted to runway 28.


title: Zurich Airport

text: Zurich Airport completed a major expansion project in 2003, in which it built a new parking garage, a new midfield terminal, and an automated underground people mover to link the midfield terminal to the main terminal. In November 2008 a complete renovation and rebuild of the old terminal B structure was announced. The new terminal B opened in November 2011, and provides segregated access to and from aircraft for Schengen and non-Schengen passengers. Zurich Airport handled 25.5 million passengers in 2014, up 2.5 percent from 2013.


title: Zurich Airport

text: Etihad Regional ceased on 18 February 2015 to fly two-thirds of its scheduled routes without further notice, amongst them all its services from Zürich except the domestic service to Geneva. Etihad Regional blamed the failure of its expansion on the behavior of competitors, especially Swiss International Air Lines, as well as the Swiss aviation authorities.


title: Zurich Airport

text: Following the demolition of some office buildings the construction of the new baggage sorting facilities between the Operations Center and Terminal 1 began in spring 2018 with a total investment of CHF 500 million.


title: Zurich Airport

text: As of 2020, the marketing of all advertising space at the airport was transferred from Clear Channel to APG.


title: Zurich Airport

text: The main Terminal 1 will be completely rebuilt - including the tower of the Skyguide Air Traffic Control. Construction is scheduled to begin in 2021, with completion expected in 2030. In addition to the old building fabric, the expected growth in passenger numbers is the main reason for the pending construction work. "The forecasts suggest that the number of passengers arriving, departing or transferring at Zurich Airport each year today will grow from 29 million today to 50 million by 2030," says the airport operator's personnel booklet.


title: Zurich Airport

text: The airport is owned by Flughafen Zürich AG, a company quoted on the SIX Swiss Exchange. Major shareholders include the canton of Zürich, with 33.33% plus one of the shares, and the city of Zürich, with 5% of the shares. No other shareholder has a holding exceeding 3%. Flughafen Zürich AG used the brand name "Unique" from 2000 until 2010.


title: Zurich Airport

text: The airport has three airside piers, which are known as terminals "A, B", and "E" (also signposted as "Gates A, B/D", and "E"). These are linked to a central air-side building called "Airside Center", built in 2003. Alongside the "Airside Center", the ground-side terminal complex named "Airport Center" comprises several buildings, and includes airline check-in areas, a shopping mall, a railway station, car parks, and a bus and tram terminal. All departing passengers access the same departure level of the "Airside Center", which includes duty-free shopping and various bars and restaurants, via airport security. They are then segregated between passengers for Schengen and non-Schengen destinations on the way to the gate lounges, with the latter first passing through emigration controls. Arriving Schengen and non-Schengen passengers are handled in separate areas of the "Airside Center" and reach it by different routes, with non-Schengen passengers first passing through immigration controls. The three airside terminals are:


title: Zurich Airport

text: Terminal A contains gates prefixed A. It opened in 1971, and it is used exclusively by flights to and from destinations inside the Schengen Area, including domestic flights within Switzerland. Since its expansion in 1982–1985, it takes the form of a finger pier, directly connected at one end to the "Airside Centre".


title: Zurich Airport

text: Terminal A was scheduled to be torn down and replaced by an entirely new facility from 2021. However in the wake of the COVID-19 pandemic the start of the project has been postponed for at least three years.


title: Zurich Airport

text: Terminal B contains gates prefixed B and D. It opened in 1975 and reopened in November 2011 after an extensive three-year reconstruction. Like terminal A, it takes the form of a finger pier directly connected at one end to the "Airside Centre". Since reconstruction, it can accommodate both Schengen and non-Schengen flights at the same gates. Each gate has two numbers, one prefixed B and the other D, but with different passenger routes to and from the gates to separate the flows of Schengen and non-Schengen passengers.


title: Zurich Airport

text: Terminal E contains gates prefixed E, and is also known as the midfield terminal or Dock E. It is a stand-alone satellite terminal located on the opposite side of runway 10/28 from the "Airside Center", and is situated between runways 16/34 and 14/32. It is entirely used by non-Schengen international flights and became operational and was opened on September 1, 2003. It is connected to the "Airside Center" by the Skymetro, an automated underground people mover.


title: Zurich Airport

text: Zurich Airport has three runways: 16/34 of in length, 14/32 of in length, and 10/28 of in length. For most of the day and in most conditions, runway 14 is used for landings and runways 16 and 28 are used for takeoffs, although different patterns are used early morning and in the evenings.


title: Zurich Airport

text: Zürich Flughafen railway station is located underneath the "Airport Centre". The station has frequent Zürich S-Bahn services, plus direct InterRegio, InterCity, and Eurocity services, to many places including Basel, Bern, Biel/Bienne, Brig, Geneva, Konstanz, Lausanne, Lucerne, Munich, Romanshorn, St. Gallen, and Winterthur. There are some 13 trains per hour to Zürich HB (Hauptbahnhof), Zürich's main city centre station, with a journey time of between 9 and 13 minutes. By changing trains there, most other places in Switzerland can be reached in a few hours.


title: Zurich Airport

text: In front of the "Airport Centre" is the airport stop of the Stadtbahn Glattal, a light rail system that interworks with the Zürich tram system, together with a regional bus station. Both the bus station and light rail stop provide service to destinations throughout the Glattal region that surrounds the airport, with the light rail stop being served by tram routes 10 and 12. Tram route 10 also provides a link to Zürich Hauptbahnhof, albeit with a rather longer journey time than that of the railway.


title: Zurich Airport

text: The airport is served by the A51 motorway and other main roads, which link to the airport's own road network. Drop-off areas are available by the "Airport Centre" whilst a total of over 14000 spaces are available in six car parks for short and long term parking. A car hire centre is located in the terminal complex. The airport is served by a fleet of dedicated airport taxis, which operate from taxi ranks in front of the arrival areas. Alternative chauffeur driven airport limousines can be arranged.


title: Zurich Airport

text: The airport can legally be reached by bicycle on a regional highway (Flughafenstrasse and Birchstrasse) that branches off national highway 4 (Schaffhausen - Bülach - Zürich - Luzern) just east of the airport and reaches Northwestern Zürich.


title: Zurich Airport

text: The Circle, a complex intended to include a medical center, a conference center, shops, restaurants, offices, and hotels, is under construction opposite the "Airport Centre". In February 2009, Flughafen Zürich AG (FZAG) launched a three-stage architectural competition for "The Circle at Zurich Airport" development. Around 180,000 square meters of usable space for services were to be built close to the terminals on a 37,000 square meter site. Two hotels and the congress area will occupy around 45,000 square meters, which will be operated by the Hyatt Corporation. At the end of October 2011, FZAG submitted the building application to the town of Kloten, which granted the building permit on 6 March 2012. The groundbreaking ceremony for the superstructure, scheduled for the end of 2013, was postponed until the beginning of 2015. The Circle" is expected to create around 5,000 new jobs, with an investment volume of around CHF 1 billion. The foundation stone was laid on 24 March 2017 and the opening is expected to take place in the first half of 2020; however, even then not all six parts of the building will be ready. In the meantime, it has been announced that the opening will take place in September 2020.


title: Zurich Airport

text: Several companies have their headquarters on or about the airport. These include Swiss International Air Lines, Swiss World Cargo, Swiss AviationTraining, Edelweiss Air, gategroup, Helvetic Airways, Swissôtel, and Rega. Other companies that were formerly based on the airport include Swissair and Crossair.


title: Zurich Airport

text: The airport fire brigade is responsible for fire-fighting at Zurich Airport and is on standby around the clock. In the event of an emergency, the brigade must be able to reach any location on the airport grounds, an area of 880 hectares, in no more than three minutes in accordance with international standards. Their vehicles have extremely powerful engines and large-capacity tanks.


title: Zurich Airport

text: The fire service also includes an operations control centre. This not only coordinates the airport's rescue services, but also alerts the fire brigades in the northern part of the canton. A total of 77 fire brigades are deployed from the Operations Control Centre, including 2 professional and 13 base fire brigades. Likewise, the rescue service Schutz und Rettung Zürich Nord, the rescue service Spital Bülach, the rescue service Winterthur and since April 1, 2008, the rescue service of the canton of Schaffhausen are also dispatched. Other tasks of the Operations Control Centre include alerting a large animal rescue service, a personal emergency call and location system and the coordination of the emergency medical service for several municipalities. In addition, 3800 fire alarm criteria are accumulated in the operations control centre. Every year, the operations control centre receives about 150,000 telephone calls.


title: Zurich Airport

text: Until 31 December 2007, the airport fire brigade was officially called the "Berufsfeuerwehr Flughafen Zürich" (Professional Fire Brigade), and it was constituted as the company fire brigade of Flughafen Zürich AG. On 1 January 2008, the airport fire brigade, together with the rescue service and the operations control centre, was for organizational reasons transferred to the "Schutz und Rettung" (Protection and Rescue) department of the city of Zürich.