title: Ian Thorpe

text: Thorpe arrived for the 2003 World Championships in Barcelona for his first major international competition since Menzies' appointment under heavy media scrutiny following his non-improvement at the Australian Championships. On the first night of competition Thorpe defeated Hackett in the 400 m freestyle in a time 2.5 s outside his world record, making him the first to win three world titles in the same event. After his relatively slow 400 m, he was again under pressure in the 200 m freestyle after van den Hoogenband led at the 100 m mark ahead of world record pace. Thorpe managed to respond and retain his world title, and gained some relief after his sprint training yielded his first medal in the 100 m freestyle at a global competition; he finished third in 48.77 s. In all three freestyle events however, he had swum slower than his times under Frost. He ended his individual campaign on a promising note with his experiment with the 200 m individual medley, setting a new personal best of 1 min 59.66 s to claim silver. Thorpe again anchored the 4 × 200 m freestyle team to retain the world title along with Hackett, Nicholas Sprenger and Craig Stevens, with a reduced margin over the Americans, who finished less than two seconds in arrears. Michael Klim's injuries left the relay teams weakened, with Thorpe anchoring the 4 × 100 m freestyle team to fourth, At the end of a difficult year in the water, his standing had fallen in the eyes of "Swimming World", who rated him fourth in the world. He was again named as Australian Swimmer of the Year, jointly with Hackett.


title: Ian Thorpe

text: After his feats at the 2003 World Championships, Speedo had generated significant media publicity by offering Michael Phelps US$1 million if he could match Spitz's seven golds. Thorpe was adamant that this was impossible, and scrapped his seventh event, the 200 m individual medley from his Olympic program. In late March 2004 at the Australian Championships in Sydney, Thorpe overbalanced whilst on the blocks in the heats of the 400 m freestyle and fell into the water, resulting in his disqualification and ending the defence of his Olympic 400 m title. This resulted in a large debate among the swimming and public community as to whether Thorpe should be given an exception to Australia's policy of selecting the first and second place getters, with Prime Minister of Australia John Howard describing the situation as a "tragedy". Despite the intense media spotlight, Thorpe managed to win the 100 m and 200 m freestyle events to ensure his selection for Athens. Craig Stevens, who had claimed the second qualifying position in the 400 m event, subsequently faced immense public pressure to relinquish his position to Thorpe, and later did so in a television interview for which he was paid. This generated ethical debate as to whether Stevens' decision had been bought, and criticism against Thorpe.


title: Ian Thorpe

text: The pressure in the lead-up was further compounded by the media attention surrounding Phelps, who had decided that the 200 m freestyle would be one of the events in his quest for eight gold medals. This prompted many media outlets to label the race between Thorpe, van den Hoogenband, Phelps and Hackett as "The Race of the Century". With the press spotlight growing, Thorpe tried to avoid media attention, resulting in a few terse media events. Thorpe's increasing focus on the 100 m event, coupled with the media pressure, resulted in speculation that he was vulnerable to Hackett in the 400 m event. Thorpe made a slow start in the final, reaching the 100 m mark one second outside world record pace. In a topsy-turvy performance at irregular pace, there were multiple changes of lead before Thorpe established a body-length lead by 350 m. He was closed down by Hackett, holding on by only 0.26 s in a time three seconds outside his own world record.


title: Ian Thorpe

text: With Klim recently returning from a two-year injury layoff, and Callus ill, Thorpe could only anchor Australia to sixth in the 4 × 100 m freestyle relay. The 200 m began with van den Hoogenband again attacking immediately, reaching the 100 m mark more than a second under the world record split, with Thorpe half a body length behind. Thorpe gradually reduced the lead before passing van den Hoogenband in the last 50 m to win "The Race of the Century" by half a body length, in a new Olympic record of 1 min 44.71 s. Having achieved what had eluded him four years earlier, Thorpe reacted emotionally, immediately tearing off his cap, punching the air and screaming. The next day saw six years of Australian victory in the 4 × 200 m freestyle relay ended when Hackett, Klim and Sprenger had put Thorpe into the final leg 1.48 s behind Keller. Thorpe gradually reduced the margin but was unable to pass Keller in the last lap, the United States touching 0.13 s earlier. Thorpe found himself on the other side of a close result when he qualified last for the 100 m freestyle by 0.01 s. He capitalised in the final by coming from sixth at the 50 m mark to win bronze medal in a personal best of 48.56 s, making him the only person to medal in the 100–200–400 combination in Olympic history. After the Athens Olympics, Thorpe took a break from competitive swimming, skipping the 2005 World Aquatics Championships.


title: Ian Thorpe

text: Thorpe returned to competition at the New South Wales Championships in December 2005. He raced in the 200 m and stated his intention to retire after the 2008 Summer Olympics in Beijing. Thorpe announced that due to a desire to concentrate on the 100 m freestyle, he had dropped his pet event, the 400 m. He was unmoved by national coach Alan Thompson, who implored him to continue swimming the event. In February, Thorpe qualified for the 2006 Commonwealth Games by winning the 100 m and 200 m freestyle in times of 49.24 s and 1 min 46.42 s respectively. He expressed disappointment with his performances; he speculated that he may have misjudged his new training schedule and anticipated further improvement.


title: Ian Thorpe

text: Soon after, Thorpe announced his withdrawal from the Commonwealth Games due to a bout of bronchitis, which had stopped him from training. Thorpe's illness was later diagnosed as a strain of glandular fever, and after a further delay caused by a broken hand, he moved to the United States in July to work with Dave Salo. Further disruption followed when the Australian switched coaches, citing excessive and ongoing media attention. Thorpe's stay was constantly surrounded by rumours that he was suffering from ill discipline; this fuelled speculation that his international career was on the decline.


title: Ian Thorpe

text: Upon his return to Australia, Thorpe withdrew from the selection trials for the 2007 World Championships and announced his retirement on 21 November 2006. Thorpe said that he had been contemplating retirement for some time, but was afraid of the future because swimming had given him a "safety blanket". Thorpe stated that he retired despite reaching higher levels of fitness, noting "As I got fit, physically fit, my mind also got fit". He said a clear mind allowed him to reach his decision. He was close to tears when thanking the Australian public, but declared that his retirement was a "joyous" occasion of celebration.


title: Ian Thorpe

text: In 2007, the French sports newspaper "L'Équipe" claimed that Thorpe "showed 'abnormal levels' of two banned substances in a doping test" in 2006 prior to his retirement. Thorpe denied the charges. The Australian Sports Anti-Doping Authority (ASADA) confirmed that they had investigated Thorpe in the past, for abnormal levels of testosterone and luteinising hormone (LH), but had dismissed the result. FINA dropped its investigation and closed the case. Thorpe has never been found to have used banned substances, and has denied allegations against him while also speaking out against drug use. He has called for the introduction of blood testing, promised to surrender a frozen sample for retrospective testing and repeatedly criticised FINA for drug-testing procedures that he regards as inadequate.


title: Ian Thorpe

text: In February 2011, Thorpe announced that he would come out of retirement and attempt to qualify for the 2012 Olympics in London. Thorpe's major focus was the 100 m and 200 m freestyle at 2012's trials, stating he could offer the most value to the Australian team in the relays. He would not swim the 400 m, claiming he would not have enough time to build up endurance for that event.


title: Ian Thorpe

text: Thorpe swam the 100 m butterfly and 100 m medley in Singapore (4–5 November) and Beijing (8–9 November) before also taking on the 100 m freestyle in the Tokyo (12–13 November) round of the 2011 FINA Swimming World Cup.


title: Ian Thorpe

text: Thorpe's comeback attempt in the 200 m freestyle came to an abrupt end on Day Two of Australia's Olympic Trials in Adelaide, on 16 March 2012. No longer allowed to wear the full-body racing suit (covering from neck to ankles and wrists) with which he set all of his world records – but are now banned by FINA rule changes – he competed wearing just the "jammer" (hip to thigh) racing shorts. He swam very well in the morning heats, cruising to 1:49.18, a time which placed him equal fifth fastest. However, in the semi-finals that evening he faded over the last 100 meters, finishing in 12th place at 1:49.91. Speaking to reporters immediately afterwards, Thorpe said, "The last 100 was a struggle, I'm not sure why. This was slower than what I swam this morning, probably the inexperience of racing in the last 18 months held me up. The fairytale has turned into a nightmare." In the 100 m freestyle on day 3 (17 March), Thorpe won his heat (the 9th of 12) but failed to break 50 seconds and did not advance to the semi-finals with the top 16 sprinters. Thus, his bid to qualify for the London Olympics officially ended.


title: Ian Thorpe

text: It was subsequently announced that Thorpe was targeting qualification for the 2013 World Championships in Barcelona and later the 2014 Commonwealth Games in Glasgow, but was forced to abandon his plans due to a shoulder injury.


title: Ian Thorpe

text: Thorpe's success has been attributed to his work ethic, mental strength, powerful kick, ability to accelerate and a physiology suited to swimming. This led former Australian head coach Don Talbot to label him as "the greatest swimmer the world has seen". Although "Swimming World" labelled Thorpe's technique as "extraordinary" and "superior", Talbot disagreed, stating his belief that Thorpe relied on his kick too heavily at the expense of his arms. He also cited Thorpe's ability to manage his workload and his day-to-day recovery between races during a meet as a deficiency. Thorpe was known for using his trademark six-beat kick to power away from his rivals in the closing stages of races, the effectiveness of which was attributed to his unusually large size 17 feet.


title: Ian Thorpe

text: Following his retirement, head coach of the US men's swimming team Bob Bowman—who also mentors Michael Phelps—called Thorpe "the greatest middle-distance swimmer of all time and...the greatest relay swimmer I have seen". Bowman further cited Thorpe's ability to raise the profile and popularity of swimming, noting that Phelps' public image was modelled on that of the Australian. Australian Olympic Committee President John Coates stated that "In 50 years from now Australians will still marvel at the feats of Ian Thorpe". Dawn Fraser, the first of only two swimmers to win the same Olympic event three times, said that Thorpe was the "greatest [freestyle] swimmer in the world", and lamented that he would not be attempting a hat-trick of 400 m titles.


title: Ian Thorpe

text: Aside from his swimming achievements, Thorpe has received numerous honours and accolades during his life, including:


title: Ian Thorpe

text: Thorpe presented a two-part television documentary called "Bullied" on ABC Television, using hidden-camera footage to give a victim's-eye-view of bullying. It aired 14 March 2017. In 2021, Thorpe competed in Celebrity MasterChef Australia (series 2) and was fourth to be eliminated. During the series, the judges referred to Thorpe having written two cookbooks, "Cook For Your Life", published in 2011 and "Eat Well Now", released in 2016.


title: Ian Thorpe

text: In a July 2014 televised interview with British talk show host Michael Parkinson, Thorpe came out as gay, after years of denying his homosexuality publicly. He stated "I'm comfortable saying I'm a gay man. And I don't want people to feel the same way I did. You can grow up, you can be comfortable and you can be gay." He added "I am telling the world that I am gay… and I hope this makes it easier for others now, and even if you've held it in for years, it feels easier to get it out." In 2016 he began dating model Ryan Channing. In December 2017, he said he did not plan to marry his boyfriend "any time soon". He would like to become a father.


title: Ian Thorpe

text: In September 2020, the International Olympic Committee published a question and answer format interview with Thorpe, which touched on his sexual orientation and some of the challenges he faced due to his homosexuality in competitive swimming.


title: Ian Thorpe

text: In the lead up to the Australian Marriage Law Postal Survey, Thorpe campaigned for a 'yes' vote, encouraging people to enroll to vote at the City2Surf. He later appeared in a campaign advertisement with his partner saying that Thorpe could update his electoral details faster than his partner could swim 100 metres.


title: Ian Thorpe

text: Thorpe is known for his interests in fashion, and serves as an ambassador for Armani, and has his own line of designer jewellery and underwear. During his career, Thorpe was one of the most prominent and popular sportspeople in Australia. Despite competing in a sport in which the vast majority of international athletes' earnings are below the poverty line, marketing surveys consistently ranked Thorpe as the most sought-after Australian athlete for sponsorship deals, surpassing footballers who compete on a weekly basis in much larger stadia. Aside from his swimsuit sponsor Adidas, Thorpe was sponsored by Australian corporate giants such as Qantas, Telstra, and the Seven Network.


title: Ian Thorpe

text: Thorpe's interests in fashion and culture led him to make frequent visits to New York City—which he describes as a second home—often for engagements with Armani and particularly because of the city's status as a global fashion capital. He was present at the World Trade Center on the morning of 11 September 2001, having stopped there on his jog, before returning to his hotel after forgetting his camera. It was during this trip that he appeared on "The Tonight Show with Jay Leno", which was notable because of the relative lack of interest in competitive swimming in America. Thorpe later became a spokesperson for the unsuccessful New York bid for the 2012 Summer Olympics, even promising to continue his career until the games if New York won the hosting rights. Thorpe's interests have also seen him involved in television. In 2002, he played the lead role in the reality television show "Undercover Angels", which imitated the "Charlie's Angels" series. In the program, Thorpe directed three young women who performed good deeds for people in need. Although it averaged more than a million viewers per episode, it was widely panned by critics. Thorpe has also appeared as an extra in the American sitcom "Friends".


title: Ian Thorpe

text: Thorpe is widely popular in Asia, particularly Japan. In 2000, TV Asahi identified him as the swimmer likely to be the most successful at the 2001 World Championships in Fukuoka, so they selected him as the event's marketing figurehead. In the lead-up, Thorpe visited Japan to promote Asahi in a series of television events, and upon returning for the competition, he was mobbed at the airport by youthful crowds 25 m deep; hundreds camped outside the Australian team's hotel. He was also praised by older sections of Japanese society as a role model for youth, due to what they interpreted as his humility and work ethic. It was estimated that more than 80% of the Japanese public watched his races on television. In 2002, in the wake of a tourism slump after 11 September terrorist attacks, Thorpe agreed to be an ambassador for the Australian Tourism Commission in Japan. The high-profile campaign included a meeting with the Japanese Prime Minister Junichiro Koizumi. The marketing drive resulted in an upturn in Japanese tourism to Australia, which was credited to Thorpe. In 2005, Yakult released a 'Thorpedo' energy drink—which featured a picture of the swimmer on the bottle—in Japan. This was part of an equity deal with the So Natural food group, in which Thorpe was given a 5% stake in the company—at the time worth A$1.1 m—in return for the use of his name and image on their products. The 15-year deal covers East and Southeast Asia and Thorpe's share in the venture could increase to 50% depending on its success.


title: Ian Thorpe

text: More recently, Thorpe has also emerged as a philanthropist, starting the charity "Ian Thorpe's Fountain for Youth" in 2000. The organisation raises funds for research into childhood illnesses and sponsors a school in Beijing for orphaned children with disabilities. In addition, it works with The Fred Hollows Foundation to improve health standards and living conditions in Australian aboriginal communities. Citing a wish to "...work directly with our Aboriginal partners and not compete for the meagre funding available from public and corporate donations" the organisation was liquidated in 2014.


title: Ian Thorpe

text: In 2014, it was confirmed that Thorpe had been admitted to a rehabilitation clinic after neighbours found him dazed near his parents' Panania home. Thorpe was taken to Bankstown Hospital by police before being admitted to a rehabilitation clinic. In his 2012 autobiography "This is Me", Thorpe stated he had considered suicide and had drunk 'huge quantities' of alcohol to deal with 'crippling depression'.


title: Paranoia Agent

text: Tsukiko Sagi, a shy character designer who created the immensely popular pink dog Maromi, finds herself under pressure to repeat her success. As she walks home one night, she is attacked by an elementary school boy on inline skates. Two police detectives, Keiichi Ikari and Mitsuhiro Maniwa, are assigned to the case. They suspect that Tsukiko is lying about the attack, until they receive word of a second victim.


title: Paranoia Agent

text: Soon the attacker, dubbed Lil' Slugger ("Shōnen Batto" in Japanese, meaning "Bat Boy"), is blamed for a series of street assaults in Tokyo. None of the victims can recall the boy's face and only three distinct details are left in their memories: golden inline skates, a baseball cap, and the weapon: a bent golden baseball bat. Ikari and Maniwa set out to track down the perpetrator and put an end to his crimes.


title: Paranoia Agent

text: Many of the characters in "Paranoia Agent" are often referred to with animal names, especially in each "Prophetic Vision" (a segment at the end of each episode that previews the next) and the episode "The Holy Warrior," in which some characters are depicted as animal-like creatures. In many cases, their Japanese names translate directly to the type of animal which they are referred to as: "sagi" means heron, "kawazu" is an archaic term for frog, "ushi" means cow, "tai" means sea bream or red snapper, "chō" means butterfly (chō-cho can also mean butterfly, possibly alluding to her split personality), and "hiru" means leech. "Kamome" means seagull.


title: Paranoia Agent

text: During the makings of his previous three films ("Perfect Blue", "Millennium Actress", and "Tokyo Godfathers"), "Paranoia Agent" creator Satoshi Kon was left with an abundance of unused ideas for stories and arrangements that he felt were good but did not fit into any of his projects. Not wanting to waste the material, he decided to recycle it into a dynamic TV series in which his experimental ideas could be used.


title: Paranoia Agent

text: In the case of a film to be shown at theatres, I'm working for two years and a half, always in the same mood and with the same method. I wanted to do something that allows me to be more flexible, to realize instantly what flashes across my mind. I was also aiming at a sort of entertaining variation, so I decided to go for a TV series.


title: Paranoia Agent

text: The series aired on Japan's Wowow from February 3 to May 18, 2004. Geneon licensed the anime in North America and released the series on four DVDs from October 26, 2004, and May 10, 2005. A UMD version of Volume 1 was made available on October 10, 2005. Madman Entertainment released the series in Australia.


title: Paranoia Agent

text: An English dub began airing in the U.S. on Cartoon Network's Adult Swim on May 29, 2005, followed by an encore airing that began on June 6, 2006. In Canada, it began a run on digital channel G4TechTV's Anime Current programming block on July 27, 2007. The anime is distributed by MVM Films in the UK. On February 3, 2020, Funimation announced that it had licensed the series for its streaming platform. On April 15, 2020, Adult Swim announced that the English dubbed version of the series would be rebroadcast for the first time in over a decade on its Toonami programming block. The Blu-ray collection of the series was released in the U.S. on October 13, 2020, in SteelBook packaging as a Best Buy exclusive, and received a general Blu-ray release on December 15, 2020.


title: Paranoia Agent

text: The music in "Paranoia Agent" was composed by Japanese electronica pioneer Susumu Hirasawa. The opening theme and the ending theme are performed by Hirasawa.


title: Paranoia Agent

text: In December 2009, Japanese cult-film director Takashi Shimizu announced plans for a film adaption of the anime. However, plans eventually fell through and ultimately no film was ever made.


title: Paranoia Agent

text: Review aggregator website Rotten Tomatoes gives the series the rare approval rating of 100% based on 13 critic reviews, with an average rating of 7.7/10. The site's critical consensus reads, "Anime auteur Satoshi Kon brings his feverish vision to the serialized form in "Paranoia Agent", a disturbing meditation on individual and societal anxiety." "Paranoia Agent" was one of the Jury Recommended Works in the Animation Division at the 8th Japan Media Arts Festival in 2004.


title: Paranoia Agent

text: Charles Solomon from NPR says, ""Paranoia Agent" may frustrate viewers who expect a straightforward narrative, but it's a disturbing, highly original work from a talented filmmaker." John Powers, also from NPR, remarks, "It's one of the best and strangest programs I have ever seen... Kon does something daring. He reveals the fierce sadness and pain hidden by the modern embrace of things that are cute." A review in "Empire" awarded "Paranoia Agent" 3 out of 5 stars, saying, "for those who like their animation 'out there', Satoshi Kon's "Paranoia Agent" delivers by the oddball bucketload". Jean-Luc Bouchard from BuzzFeed praised "Paranoia Agent" as a depiction of depression, writing, "The entire series totals a mere 13 episodes, but it drew me in immediately, and introduced me to a dark cast of characters whose troubled minds changed not just their own perceptions, but each other's realities as well."


title: Paranoia Agent

text: James Beckett of "Anime News Network" gave the anime an A, and describes the series as "What is the most important thing to remember about "Paranoia Agent" is that it is a mystery story where the answers to the mysteries are not as important as the questions they raise. A haunting and deeply felt fable of human experiences told with Satoshi Kon's signature flair, eerie and funny in equal measure, visuals that will stick with you for years to come". A review for "IGN" gave the first three episodes of "Paranoia Agent" a score of 7/10, comparing it to the works of David Lynch, but criticizing the animation as "downright primitive in places". John Maher from "Paste" listed "Paranoia Agent" as the 14th best anime series of all time, comparing it to Kon's other works "Paprika" and "Perfect Blue", adding, "it's every bit the sublime exercise in psychological thriller as either".


title: Simon MacCorkindale

text: Simon Charles Pendered MacCorkindale (12 February 1952 – 14 October 2010) was a British actor, film director, writer and producer. He spent much of his childhood moving around owing to his father's career as an officer with the Royal Air Force. Poor eyesight prevented him from following a similar career in the RAF, so he instead planned to become a theatre director. Training at the Theatre of Arts in London, he started work as an actor, making his West End debut in 1974. He went on to appear in numerous roles in television, including the series "I, Claudius" and "Jesus of Nazareth", before starring as Simon Doyle in the film "Death on the Nile" (1978). This proved to be a breakthrough role and allowed him to move to the United States. He appeared in a variety of films and TV series including "Quatermass" (1979), "The Riddle of the Sands" (1979), "The Sword and the Sorcerer" (1982) and "Jaws 3-D" (1983).


title: Simon MacCorkindale

text: In 1983, MacCorkindale starred in the short-lived series "Manimal" as the lead character, Dr. Jonathan Chase, before taking up the longer-running role of lawyer Greg Reardon in "Falcon Crest". Throughout the late 1980s and 1990s he directed and produced many stage, TV and film productions through his company Amy International Artists, such as the film "Stealing Heaven" (1988). Moving to Canada, he starred as Peter Sinclair in the series "Counterstrike" for three years. He returned to the United Kingdom in 2002 and joined the cast of the BBC medical drama "Casualty", appearing in the role of Harry Harper for six years until 2008.


title: Simon MacCorkindale

text: MacCorkindale was born on 12 February 1952 in Ely, Cambridgeshire, England, to Scottish parents Gilliver Mary (née Pendered) and Peter Bernard MacCorkindale OBE, who died in September 2007. Simon had a brother, Duncan.


title: Simon MacCorkindale

text: Their father was an RAF Group Captain station commander. MacCorkindale spent some of his childhood in Edinburgh, where his father was stationed for a period, although Peter MacCorkindale's changing postings necessitated 17 moves to places across Europe. He attended Haileybury and Imperial Service College from 1965 to 1970, where he was Head Boy and a member of the Air Training Corps. Originally intending to enlist in the RAF, he abandoned this plan at the age of 13 when his eyesight began to deteriorate. MacCorkindale considered joining the diplomatic corps to become an ambassador, but instead opted to become a stage director after developing an interest in theatre.


title: Simon MacCorkindale

text: MacCorkindale had been a fan of theatre since writing a play at the age of eight, joking that it was "unproduceable" because "it required an enormous cast and a considerable amount of rum drinking." Making his acting debut at the same age, he went on to appear on stage and work behind the scenes of numerous school and theatre group productions throughout his childhood.


title: Simon MacCorkindale

text: Persuading his parents that he would find a "sensible job" if a career as a director was not sustaining him financially by the age of 25, MacCorkindale decided not to study at university and instead attended the Studio 68 drama school at the Theatre of Arts in London. MacCorkindale opted to continue acting after graduating from the Theatre of Arts; he decided to amass more experience in the role to have better confidence as a director.


title: Simon MacCorkindale

text: MacCorkindale started his acting career in theatre, touring the United Kingdom with a repertory theatre group. His first professional stage performance was in a 1973 run of "A Bequest to the Nation" at the Belgrade Theatre in Coventry. He made his West End theatre debut in a production of "Pygmalion" in 1974, appearing alongside Alec McCowen and Diana Rigg in the role of "Sarcastic Bystander". In 1973, the series "Hawkeye, The Pathfinder" had given MacCorkindale his first TV credit. He went on to appear in a number of other TV series, including "Within These Walls", "Sutherland's Law", "I, Claudius" (as Lucius Caesar) and "Jesus of Nazareth".


title: Simon MacCorkindale

text: MacCorkindale's film debut came in 1974 with "Juggernaut". He was cast as Simon Doyle in the 1978 film adaptation of Agatha Christie's "Death on the Nile" at the age of 25. The role boosted MacCorkindale public profile and he considered it to be his career break. He won the London Evening Standard Film Award for Most Promising Newcomer for this part. MacCorkindale went on to star as sailor and spy Arthur Davies in "The Riddle of the Sands" (1979), the film adaptation of the celebrated Erskine Childers' novel.


title: Simon MacCorkindale

text: MacCorkindale played astronomer Joe Kapp in Nigel Kneale's TV serial "Quatermass" (1979), starring alongside John Mills. He had previously starred in an episode of Kneale's series "Beasts" and enjoyed appearing in the role of Kapp, finding it a change from the typecast romantic roles that he had become accustomed to playing, while noting that it was "challenging" conveying the character's strong Jewish faith. Kneale later expressed disappointment with MacCorkindale's performance, commenting, "We had him in "Beasts" playing an idiot and he was very good at that".


title: Simon MacCorkindale

text: Following the success of "Death on the Nile", MacCorkindale moved to the United States in 1980. Although warned that it would limit his chance of finding work, MacCorkindale refused to adopt an American accent when auditioning, believing that his British diction would help fill a "niche". However, for two years he failed at the audition stage for all major parts on account of his nationality. The American Broadcasting Company (ABC) told MacCorkindale that he was not an "eight o'clock actor", which he took to mean that "at that time of night they didn't want viewers watching someone who sounded intellectual or who had an accent that was alien to their ears and, therefore, hard work when it came to listening." During this time he appeared in single-episode roles in series such as "Dynasty", "Fantasy Island", "Hart to Hart", "Matt Houston" and "The Dukes of Hazzard", as well as playing David Clement, an aristocrat, in the mini-series "Manions of America".


title: Simon MacCorkindale

text: He was eventually cast in the adventure series "Manimal" for NBC in 1983, in which he played the lead character Professor Jonathan Chase, an Englishman who assists police in the fight against crime with his ability to transform into animals. The role impressed MacCorkindale, who considered Chase to be a "very cerebral individual". He also "found himself in the first wave of British stars to make it big in America," along with Joan Collins in "Dynasty", which led to a further influx of British actors finding work in the United States. Filming on "Manimal" would often run for as long as 14 to 16 hours per day, and MacCorkindale would sometimes be required to work at weekends to be made up with the prosthetics necessary for "Manimal"s transformation sequences. The low ratings that resulted in the cancellation of "Manimal" after one season and eight episodes was in part due to NBC broadcasting the series at the same time as "Dallas" on CBS, "Manimal" losing out to the more popular "soap". Budget cuts also contributed to the series' cancellation as it was the network's most expensive series. "Manimal" has since acquired a global cult following.


title: Simon MacCorkindale

text: In 1984, he was cast as Angela Channing's (Jane Wyman) lawyer Greg Reardon in the soap opera "Falcon Crest", without requiring an audition. MacCorkindale asked for the character, originally an American named Brad, to be rewritten as English, and also directed one episode. He rejected a contract extension after appearing in 59 episodes and left the series in 1986 because he "felt that the work I was doing was fun and lucrative but not as stretching as I felt I wanted or needed. I also was finding fault with much of the work, not only "Falcon Crest", but everything. I was actually ready to quit acting and try producing so I could put myself on the line."


title: Simon MacCorkindale

text: MacCorkindale appeared in the films "Caboblanco" (1980) and "The Sword and the Sorcerer" (1982, as Prince Mikah), and starred as Philip FitzRoyce in the third part of the "Jaws" film series, "Jaws 3-D" (1983). In the mid-1980s, MacCorkindale was considered for the role of James Bond as a possible successor to actors Sean Connery and Roger Moore, but was not cast. "Jaws 3-D" proved to be his last major film role.


title: Simon MacCorkindale

text: In the 1990s, MacCorkindale returned to acting after a hiatus in which he had focused on production work. He appeared in a number of projects in Canada, which he felt "could be at the crossroads of international production." From 1990 to 1993, MacCorkindale played former Scotland Yard inspector Peter Sinclair in the Toronto-filmed USA Network series "Counterstrike", alongside Christopher Plummer. He was offered the part by producer Robert Lantos, who wanted to work with MacCorkindale while for his part the actor wished to return to acting after three years running Amy International. With production complete on several episodes, feeling that the show was "too plot-driven rather than character-driven", MacCorkindale thereafter became a writer for the series. He was appointed an executive production consultant that ensured that he "could make quicker [on-set] judgments on behalf of the production."


title: Simon MacCorkindale

text: Following "Counterstrike", MacCorkindale appeared in the final episode of the TV drama "E.N.G.", whereafter his "media tycoon" character was planned to be the star of a spin-off alongside actress Sara Botsford, but the project was abandoned. He starred in numerous TV films throughout the 1990s, including a part as the villain in "The Girl Next Door". MacCorkindale was glad to "gradually [switch] to villains" as "that's more fun than [playing] the straitlaced hero." MacCorkindale also reprised the role of Dr Chase from "Manimal" in an episode of "Night Man" in 1998, which incorporated computer-generated imagery for the transformations as opposed to prosthetic makeup, and also directed an episode of the series. Other appearances included the TV series "", "La Femme Nikita" and the 2000 TV film "The Dinosaur Hunter".


title: Simon MacCorkindale

text: Having rejected an offer to play Captain Jonathan Archer in the American science-fiction TV series "", MacCorkindale returned to the UK in 2002 and joined the cast of the BBC One medical drama "Casualty", in the role of clinical lead consultant Harry Harper. Following his casting, he said in an interview with the "Daily Record" that he was a long-time fan of the series, commenting that it was "great to be joining an established show with a great bunch of people." In contrast, Neil Bonner of the "Liverpool Daily Post" quoted him as stating that he had never seen an episode of the show in its then-16-year history. MacCorkindale was surprised to be offered the role of Harper given the many years that he had spent working in North America, but having settled in Exmoor found Bristol to be an accessible production base. MacCorkindale was "never too comfortable as a young actor" and "always felt that [his] best time in the business would be around [the age of 50]." MacCorkindale commented that he "loved [his] time on "Casualty"," and spent time researching all the medical terminology that his character used to ensure that he understood it. He also appeared as Harper in the "Casualty" spin-off series "Holby City" and "Casualty@Holby City". Many reviewers were disparaging of MacCorkindale's performances in "Casualty": Rupert Smith of "The Guardian" deemed MacCorkindale "fantastically wooden", while fellow "Guardian" journalists Sarah Dempster and Jim Shelley commented on MacCorkindale's "loud" delivery of his lines. Shelley described the character of Harper as a "human Foghorn Leghorn", while according to Dempster, "Casualty" was "above all [...] about Simon MacCorkindale, shouting. Then panting, alarmingly, as he peers through some blinds. And then shouting again."


title: Simon MacCorkindale

text: In January 2007, MacCorkindale was given a five-month sabbatical from "Casualty" because a plotline required that his character be temporarily removed from the series. He took the opportunity to tour the United Kingdom in a revival of the Agatha Christie murder mystery play "The Unexpected Guest". He then returned to "Casualty", but having re-discovered his taste for theatre, left the series permanently in 2008 to appear as Andrew Wyke in a UK tour of Anthony Shaffer's "Sleuth". By the time that MacCorkindale quit "Casualty", he had appeared in 229 episodes of the series.


title: Simon MacCorkindale

text: In August 2008, he replaced Simon Burke as Captain Georg Ludwig von Trapp in the London Palladium production of "The Sound of Music", remaining with the show until its closure in February 2009. After small parts in the films "13 Hrs" and "A Closed Book", he returned to TV as Sir David Bryant in the 2010 series of "New Tricks", in what proved to be his final TV appearance.


title: Simon MacCorkindale

text: MacCorkindale produced, directed and wrote a number of film, television and theatre productions throughout his career. In the 1980s, he directed three performances of the play "Sleuth", starring Douglas Fairbanks Jr., Howard Keel and James Whitmore, and a Los Angeles production of "The Merchant of Venice", and starred in the one-man show "The Importance of Being Oscar" at the Globe Playhouse in 1981.


title: Simon MacCorkindale

text: After his departure from "Falcon Crest", MacCorkindale returned to the United Kingdom in 1986 to form a production company. The following year, he established Amy International Artists, based at Shepperton Studios, with his wife Susan George, and also Apollo Films International. He subsequently directed, wrote and produced a number of projects for Amy International, including the film "Stealing Heaven" (1988) (concerning the medieval French philosopher Abelard and his passion for Heloise), and the film "Djavolji Raj" (1989) ("That Summer of White Roses"), which stars George and features romantic theme music composed by MacCorkindale. MacCorkindale and George purchased the rights to each project because they wished to "make the pictures that we just totally and literally believe in", regardless of their commercial success.


title: Simon MacCorkindale

text: Working in partnership with Chris Bryant, MacCorkindale wrote and directed the television film "The House That Mary Bought" (1995), and with Paul Stephens co-produced the film "Such a Long Journey" (1998), for which he was nominated for the Genie Award for Best Motion Picture. MacCorkindale then wrote the screenplay for a biographical film of the missing peer Lord Lucan, which he also planned to produce and act in, although financial problems resulted in the cancellation of the project in 1996. He served as co-executive producer for the 2000 syndicated TV series "Queen of Swords", and as co-producer for the 2002 series "Adventure Inc.". MacCorkindale also co-produced the third season of "Relic Hunter" in 2002.


title: Simon MacCorkindale

text: MacCorkindale was married twice. His first wife was actress Fiona Fullerton; the couple married in 1976 and divorced in 1982. Following his divorce from Fullerton, MacCorkindale began a relationship with actress Susan George, whom he had first met in 1977; they married secretly in Fiji on 5 October 1984 and later held a second ceremony with family and friends in Berkshire, England. They had no children. With George, MacCorkindale lived on and managed an Arabian stud farm based in Exmoor.


title: Simon MacCorkindale

text: MacCorkindale was diagnosed with bowel cancer in 2006, and underwent an operation to remove a section of his bowel during a two-week break from filming "Casualty". Although the tumour was excised and the cancer went into remission following the surgery, one year later doctors discovered it had metastasised to his lungs. He continued to act during his treatment, returning to film his final series of "Casualty" in late 2007; he did not disclose his illness to his colleagues, and found it surreal when scripts required his character to inform patients that they had cancer or another incurable disease. He spent much of his fortune on private cancer treatment in the United States, with limited success. In November 2009, he publicly revealed that the disease was terminal, and he died on 14 October 2010 at a clinic in London.


title: Eurocopter AS350 Écureuil

text: The Eurocopter AS350 Écureuil (or Squirrel), now Airbus Helicopters H125, is a single-engine light utility helicopter originally designed and manufactured in France by Aérospatiale and Eurocopter (now Airbus Helicopters). In North America, the AS350 is marketed as the AStar. The AS355 Ecureuil 2 is a twin-engine variant, marketed in North America as the TwinStar. The Eurocopter EC130 is a derivative of the AS350 airframe and is considered by the manufacturer to be part of the Écureuil single-engine family.


title: Eurocopter AS350 Écureuil

text: In the early 1970s, Aérospatiale initiated a development programme to produce a replacement for the aging Aérospatiale Alouette II. While the Aérospatiale Gazelle, which had been developed in the 1960s and 1970s, had been met with numerous orders by military customers, commercial sales of the type had been less than anticipated, thus the need for a civil-oriented development was identified.


title: Eurocopter AS350 Écureuil

text: The development of the new rotorcraft, which was headed by Chief Engineer René Mouille, was focused on the production of an economic and cost-effective aerial vehicle, thus both Aérospatiale's Production and Procurement departments were heavily involved in the design process. One such measure was the use of a rolled sheet structure, a manufacturing technique adapted from the automotive industry; another innovation was the newly developed "Starflex" main rotor. It was also decided that both civil and military variants of the emergent helicopter would be developed to conform with established military requirements.


title: Eurocopter AS350 Écureuil

text: On 27 June 1974, the first prototype, an AS350C powered by a Lycoming LTS101 turboshaft engine, conducted its maiden flight at Marignane, France; the second prototype, powered by a Turbomeca Arriel 1A, following on 14 February 1975. The Arriel-powered version, the AS350B, intended for sale throughout the world except for North America, was certified in France on 27 October 1977, while the Lycoming powered AS350C (or AStar) was certified by the US Federal Aviation Administration on 21 December 1977. In March 1978, deliveries to customers began for the AS350B, deliveries of the AS350C began in April 1978.


title: Eurocopter AS350 Écureuil

text: Over time, the AS350 Écureuil/AStar has received further development; while the aircraft's design remains broadly similar, aspects such as the rotor system, powerplants, and avionics have been progressively improved. On 6 February 1987, a prototype AS350 B2 flew with a fenestron tail-rotor in the place of its conventional counterpart. On 1 March 1997, the first AS350 B3, equipped with an Arriel 2B engine, performed its first flight.


title: Eurocopter AS350 Écureuil

text: Conversion programs and addons for AS350s have been produced and are offered by third-party 'aftermarket' aerospace firms in addition to those available directly from the type's prime manufacturer. Variants of the Arriel-powered AS350B, AS350 BA, AS350 B1, AS350 B2, and AS350 B3, were progressively introduced; the later B3 differing from preceding models by the increasing use of digital systems, such as the Garmin-built G500H avionics suite and FADEC engine control system.


title: Eurocopter AS350 Écureuil

text: Prior to 2013, the type had been manufactured principally at Eurocopter's Marignane facility, near Marseille, France; Eurocopter opted to, as part of a move to disperse its helicopter production activities, begin AS350 production and final assembly activities at its factory in Columbus, Mississippi for deliveries to U.S. commercial helicopter market. The Astar has been Eurocopter's biggest-selling product in the US commercial market, at one point selling roughly one AS350 every business day. In March 2015, the first Columbus-assembled AS350 B3e received its FAA certification. In December 2015, Airbus Helicopters reported their intention to double the rate of AS350 production at Columbus in 2016 over the previous year, and that the facility is capable of producing up to 65 AS350s per year.


title: Eurocopter AS350 Écureuil

text: The AS350 is a single engine helicopter, powered either by a Lycoming LTS101 or Turbomeca Arriel powerplant (for twin-engined variants, see Eurocopter AS355), that drives a three-blade main rotor, which is furnished with a "Starflex" rotor head. The type is known for its high-altitude performance and has seen use by operators in such environments. Both the main and tail rotors make use of composite material and are designed to minimize corrosion and maintenance requirements.


title: Eurocopter AS350 Écureuil

text: The AS350 was also developed to comply with the noise requirements in place in locations such as national parks; the in-cabin noise levels are such that passengers may also readily converse during flight. The aircraft can also be quickly started up and shut down, which is often useful during emergency medical services roles. It is equipped with hydraulically-assisted flight controls; these controls remain operational, albeit operated with greater physical effort, in the event of a hydraulic failure.


title: Eurocopter AS350 Écureuil

text: Much of the AS350's avionics are provided by Garmin, such as the GI 106A course-deviation indicator, GNS 430 VHF/VOR/localizer/glideslope indicator/Global Positioning System receiver, GTX 327 Mode A and C transponder, and GMA 340H intercom. The Vehicle and Engine Multifunction Display (VEMD) and the First Limit Indicator (FLI) both serve to increase the aircraft's safety during flight, reducing the number of gauges that need to be monitored by the pilot and thereby reducing their workload. For increased smoothness in flight, which positively affects passenger comfort as well as safety, stability augmentation systems can be installed. Later-production aircraft feature new avionics and systems such as the integration of an Automatic Flight Control System (AFCS) and autopilot, a glass cockpit featuring three liquid-crystal displays (LCDs) and digital avionics, such as the synthetic-vision terrain mapping system and Airbus's "Multibloc" center console upon which radios may be mounted.


title: Eurocopter AS350 Écureuil

text: The AS350 has proven popular in a range of roles; multiple cabin configurations can be used, between four and six passengers in a typical seating configuration, and large sliding doors can be fitted to either side of the cabin. In some operators' fleets, the furnishings of the cabin has been designed to enable the internal space and/or equipment fit-out to be rapidly reconfigured to enable aircraft to be switched between roles.


title: Eurocopter AS350 Écureuil

text: Public service operators, such as those in law enforcement, often have forward looking infrared (FLIR) cameras and other mission systems installed on their aircraft. Other optional equipment on offer to operates had included real-time data links, rescue hoists, underslung cargo hooks, electrical external mirrors, search lights, tactical consoles, night vision goggle-compatibility, moving-map system, internal cabin tie-downs, second battery kit, sand filters, wire strike protection system, 4-channel radio, tail rotor arch, cabin floor windows, and removable seats.


title: Eurocopter AS350 Écureuil

text: Modern aircraft have refinements beyond those featuring on older models; these changes include dual-channel FADEC-equipped engines, increasing use of digital avionics in the cockpit, decreased maintenance costs, a re-designed cabin, and a comfortable "Stylence" interior (optional). Older aircraft often undergo refurbishment programs to install aftermarket features, or for the addition of functionality common to newer production aircraft, such as retrofitting of the glass cockpit.


title: Eurocopter AS350 Écureuil

text: On 14 May 2005, an AS350 B3 piloted by Eurocopter test pilot Didier Delsalle touched down on the top of Mount Everest, at , a record that has been confirmed by the Fédération Aéronautique Internationale. On 29 April 2010, a stripped-down AS350 B3 rescued three Spanish alpinists, one at a time, from the slopes of Annapurna I, Nepal at an altitude of ; this set a new record for the highest such rescue. The record was increased to , during the rescue of Sudarshan Gautam between Camps III & IV in Everest's Yellow Band on the morning of 20 May 2013. On 2 June 2014, an AS350 B3e broke a national record in Mexico by successfully landing on the peak of Pico de Orizaba, at , the nation's tallest mountain.


title: Eurocopter AS350 Écureuil

text: The AS350 AStar has been successful in the US market, having become the most popular helicopter platform in use with American governmental agencies, law enforcement being a typical use of the type, by 2015. By 1999, the AS350 had become the prime helicopter being used by the United States Customs Service for light enforcement operations; by 2007, the agency had become the single largest operator of the type in the world. By 2012, out of the 3,300 AS350s in operation across the world, 783 of them were in service with American-based operators.


title: Eurocopter AS350 Écureuil

text: In the Russian market since 2006, the AS350 and other helicopters built by the manufacturer have been sold and supported by wholly owned subsidiary "Eurocopter Vostok"; UTair Aviation soon emerged as the largest Russian operator of the AS350 B3e with a fleet of at least 20 of the type.


title: Eurocopter AS350 Écureuil

text: In December 2014, EASA validation was issued for Airbus Helicopters China to conduct training and support activity at their facility in Shenzhen, China; various components of the AS350 (such as the main and tail gearboxes) are now maintained locally. On 9 September 2015, China's first helicopter leasing company, CM International Financial Leasing Corp Ltd (CMIFL), placed an order for 100 Ecureuil-series helicopters, these are to be a mix of H125 and H130 helicopters.


title: Eurocopter AS350 Écureuil

text: Brazil has been an extensive operator of the AS350; by 2011 more than 300 helicopters were operating in the country, including from the flight deck of the Brazilian aircraft carrier São Paulo. Since 1984, the Brazilian Navy has used AS350s to support the Brazilian Antarctic Program. Helibras, a wholly owned subsidiary of Eurocopter, operates in the country; of the 600 helicopters it had domestically manufactured for the Brazilian market by 2012, 70% were AS350s. In January 2011, Helibras signed a contract with the Brazilian Army to substantially upgrade and refurbish their existing fleet of 36 AS350 Ecureuils.


title: Eurocopter AS350 Écureuil

text: In the United Kingdom, the Defence Helicopter Flying School operated 26 AS350, designated "Squirrel HT1", for the training of pilots of Britain's armed forces; the type was introduced from 1997 onwards as a replacement for the Aérospatiale Gazelle. In September 2014, the UK's Ministry of Defence issued a request for proposals to replace the Squirrel HT1; Airbus Helicopters has already announced its intention to offer a mixed fleet of Eurocopter EC130s and Eurocopter EC135s in response. Since May 1984, the Royal Australian Navy's Fleet Air Arm has operated a fleet of AS350s, these were upgraded to the AS350 BA standard in 1995; the Royal Australian Air Force had previously operated the AS350 for training purposes, and briefly for search and rescue missions, but these were later transferred to the Australian Army.


title: Eurocopter AS350 Écureuil

text: Between June 2007 and December 2007, the Danish Air Force operated a deployment of four AS350 helicopters at Basra International Airport, Iraq, to perform liaison and reconnaissance missions in support of coalition forces during the Iraq War. In June 2015, the Argentine Defense Ministry ordered 12 H125s to replace their 1970s era Aérospatiale SA 315B Lamas for para-public support missions, such as search and rescue operations, inside Argentina. By June 2020, 3,663 H125 were operational, the largest number of any type.


title: Eurocopter AS350 Écureuil

text: The AS350 is in service around the world operated by private individuals, airline and charter operators, emergency medical teams, governments and law enforcement agencies.


title: Winnie-the-Pooh (book)

text: Winnie-the-Pooh is a 1926 children's book by English author A. A. Milne and English illustrator E. H. Shepard. The book is set in the fictional Hundred Acre Wood, with a collection of short stories following the adventures of an anthropomorphic teddy bear, Winnie-the-Pooh, and his friends Christopher Robin, Piglet, Eeyore, Owl, Rabbit, Kanga, and Roo. It is the first of two story collections by Milne about Winnie-the-Pooh, the second being "The House at Pooh Corner" (1928). Milne and Shepard collaborated previously for English humour magazine "Punch", and in 1924 created "When We Were Very Young", a poetry collection. Among the characters in the poetry book was a teddy bear Shepard modelled after his son's toy. Following this, Shepard encouraged Milne to write about his son Christopher Robin Milne's toys, and so they became the inspiration for the characters in "Winnie-the-Pooh".


title: Winnie-the-Pooh (book)

text: The book was published on October 14, 1926, and was both well-received by critics and a commercial success, selling 150,000 copies before the end of the year. Critical analysis of the book has held that it represents a rural Arcadia, separated from real-world issues or problems, and is without purposeful subtext. More recently, criticism has been levelled at the lack of positive female characters (i.e. that the only female character, Kanga, is depicted as a bad mother).


title: Winnie-the-Pooh (book)

text: "Winnie-the-Pooh" has been translated into over fifty languages; a 1958 Latin translation, "Winnie ille Pu", was the first foreign-language book to be featured on the "New York Times" Best Seller List, and the only book in Latin ever to have been featured. The stories and characters in the book have been adapted in other media, most notably into a franchise by The Walt Disney Company, beginning with "Winnie the Pooh and the Honey Tree", released on February 4, 1966 as a double feature with "The Ugly Dachshund". On January 1, 2022, the original "Winnie-the-Pooh" book entered the public domain in the United States, but remains protected under copyright in other countries, including the UK.


title: Winnie-the-Pooh (book)

text: Before writing "Winnie-the-Pooh", A. A. Milne was already a successful writer. He wrote for English humour magazine "Punch", had published a mystery novel, "The Red House Mystery" (1922), and was a playwright. Milne began writing poetry for children after being asked by fellow "Punch" contributor, Rose Fyleman. Milne compiled his first verses for publishing, and though his publishers were initially hesitant to publish children's poetry, the poetry collection "When We Were Very Young" (1924) was a success. The illustrations were done by artist and fellow "Punch" staff E. H. Shepard.


title: Winnie-the-Pooh (book)

text: Among the characters in "When We Were Very Young" was a teddy bear that Shepard modelled after one belonging to his son. With the book's success, Shepard encouraged Milne to write stories about Milne's young son, Christopher Robin Milne, and his stuffed toys. Among Christopher's toys was a teddy bear he called "Winnie-the-Pooh". Christopher got the name "Winnie" from a bear at the London Zoo, Winnipeg. "Pooh" was the name of a swan in "When We Were Very Young". Milne used Christopher and his toys as inspiration for a series of short stories, which were compiled and published as "Winnie-the-Pooh". The model for Pooh remained the bear belonging to Shepard's son.


title: Winnie-the-Pooh (book)

text: "Winnie-the-Pooh" was published on 14 October 1926 by Methuen & Co. in England and E. P. Dutton in the United States. As a work first published in 1926, the book entered the public domain in the United States on 1 January 2022. British copyright of the text expires on 1 January 2027 (70 calendar years after Milne's death) while British copyright of the illustrations expires on 1 January 2047 (70 calendar years after Shepard's death).


title: Winnie-the-Pooh (book)

text: Some of the stories in "Winnie-the-Pooh" were adapted by Milne from previous published writings in "Punch", "St. Nicholas Magazine", "Vanity Fair" and other periodicals. The first chapter, for instance, was adapted from "The Wrong Sort of Bees", a story published in the "London Evening News" in its issue for Christmas Eve 1925. Classics scholar Ross Kilpatrick contended in 1998 that Milne adapted the first chapter from "Teddy Bear's Bee Tree", published in 1912 in "Babes in the Woods" by Charles G. D. Roberts.


title: Winnie-the-Pooh (book)

text: The stories in the book can be read independently. The plots do not carry over between stories (with the exception of Stories 9 and 10).


title: Winnie-the-Pooh (book)

text: The book was a critical and commercial success; Dutton sold 150,000 copies before the end of the year. First editions of "Winnie-the-Pooh" were published in low numbers. Methuen & Co. published 100 copies in large size, signed and numbered. E. P. Dutton issued 500 copies of which only 100 were signed by Milne. The book is Milne's best-selling work; the author and literary critic John Rowe Townsend described "Winnie-the-Pooh" and its sequel "The House at Pooh Corner" as "the spectacular British success of the 1920s" and praised its light, readable prose.


title: Winnie-the-Pooh (book)

text: Contemporary reviews of the book were generally positive. A review in "The Elementary English Review" reviewed the book positively, describing it as containing "delightful nonsense" and "unbelievably funny" illustrations. In 2003, "Winnie the Pooh" was listed at number 7 on the BBC's survey The Big Read, a survey of the British public to determine their favourite books. In 2012 it was ranked number 26 on a list of the top 100 children's novels published by "School Library Journal".


title: Winnie-the-Pooh (book)

text: Townsend describes Milne's Pooh works as being "as totally without hidden significance as anything written." In 1963 Frederick Crews published "The Pooh Perplex", a satire of literary criticism that contains essays by fake authors on "Winnie-the-Pooh". The book is introduced as trying to make sense of "one of the greatest books ever written" on the meaning of which "nobody can quite agree". Crews' book had a chilling effect on any substantive analysis of the book, particularly for the ten years following its publication.


title: Winnie-the-Pooh (book)

text: Although "Winnie-the-Pooh" was published shortly after the end of the First World War, it takes place in a isolated world free from major issues, which scholar Paula T. Connolly describes as "largely Edenic" and later as an Arcadia standing in stark contrast to the world in which the book was created. She goes on to describe the book as nostalgic for a "rural and innocent world". The book was published towards the end of an era when writing fantasy works for children was very popular, sometimes referred to as the Golden Age of Children's Literature.


title: Winnie-the-Pooh (book)

text: In Alison Lurie's 1990 essay on "Winnie-the-Pooh", she argues that its popularity, despite its simplicity, comes from its "universal appeal" to people who find themselves at a "social disadvantage," and gives kids as one obvious example of this. The power and wise status that Christopher Robin receives, she claims, also appeals to children. Lurie draws a parallel from the setting of an environment that feels small and is devoid of aggression, with most of the activities involving exploring, to Milne's childhood, which he spent at a small suburban same-sex school. In addition, the rural backdrop without cars and roads is similar to his life as a child in Essex and Kent, before the start of the 20th century. She argues that the characters have widespread appeal because they draw from Milne's own life, and contain common feelings and personalities found in childhood, such as gloominess (Eeyore) and shyness (Piglet).


title: Winnie-the-Pooh (book)

text: In Carol Stranger's feminist analysis of the book, she criticises this idea, arguing that, since every character other than Kanga is male, Lurie must believe that the "male experience is universal." The main critique, however, that Stranger levels is that Kanga, the only female character and the mother of Roo, is consistently made out as negative and a bad mother, citing a passage in which Kanga mistakes Piglet for Roo and threatens to put soap in his mouth if he resists taking a cold bath. This, she claims, forces female readers either to identify themselves with Kanga, and "call up the dependency, the pain, vulnerability and disappointment" many babies feel towards their caregivers, or to identify with the male characters, and see Kanga as cruel. She also notes that Christopher Robin's mother is mentioned only in the dedication.


title: Winnie-the-Pooh (book)

text: The work has been translated into 72 languages, including Afrikaans, Czech, Finnish and Yiddish. The Latin translation by the Hungarian Lénárd Sándor (Alexander Lenard), "Winnie ille Pu", was first published in 1958, and, in 1960, became the first foreign-language book to be featured on the "New York Times" Best Seller List, and the only book in Latin ever to have been featured therein. It was also translated into Esperanto in 1972, by Ivy Kellerman Reed and Ralph A. Lewin, "Winnie-La-Pu". The work was featured in the iBooks app for Apple's iOS as the "starter" book for the app.


title: Winnie-the-Pooh (book)

text: "Winnie-the-Pooh" also received two Polish translations, which vastly differed in their interpretation of the work. Irena Tuwim published the first translation of the work in 1938, titled "". This version prioritized adopting Polish language and culture over a direct translation, which was well received by readers. The second translation, titled "Fredzia Phi-Phi", was published by Monika Adamczyk-Garbowska in 1986. Adamczyk-Garbowska's version was more faithful to the original text, but was widely criticized by Polish readers and scholars, including Robert Stiller and Stanisław Lem. Lem harshly described Tuwim's easy-to-read translation as being "castrated" by Adamczyk-Garbowska. The titular character's new Polish name, "Fredzia Phi-Phi", also drew criticism from readers who assumed Adamczyk-Garbowska had changed Pooh's gender by using a female name. Many of the new character names were also seen as being overly complicated compared to Tuwim's version. Adamczyk-Garbowska defended her translation, stating that she simply wanted to convey Milne's linguistic subtleties that were not present in the first translation.


title: Winnie-the-Pooh (book)

text: In 2018, five works of original art from the book sold for £917,500, including a map of the Hundred Acre Wood that sold for £430,000 and set a record for the most expensive book illustration.


title: Winnie-the-Pooh (book)

text: Milne and Shepard went on to collaborate on two more books: "Now We Are Six" (1927) and "The House at Pooh Corner" (1928). "Now We Are Six" is a poetry volume like "When We Were Very Young", and includes some poetry about Winnie-the-Pooh. "The House at Pooh Corner" is a second volume of stories about Pooh, and introduces the character Tigger. Milne never wrote another "Pooh" book, and died in 1956. Penguin Books has called "When We Were Very Young", "Winnie-the-Pooh", "Now We Are Six", and "The House At Pooh Corner" "the basis of the entire "Pooh" canon."


title: Winnie-the-Pooh (book)

text: The first authorized "Pooh" book after Milne's death was "Return to the Hundred Acre Wood" in 2009, by David Benedictus. It was written with the full backing of Milne's estate, which took the trustees ten years to agree to. In the story, a new character, Lottie the Otter, is introduced. The illustrations are by Mark Burgess. The next authorized sequel, "", was published in 2016 by Egmont. It was written by Paul Bright, Jeanne Willis, Kate Saunders and Brian Sibley with illustrations again by Mark Burgess. The four authors each wrote a short story about one of the seasons: Winter, Spring, Summer, and Fall.


title: Winnie-the-Pooh (book)

text: Following The Walt Disney Company's licensing of certain rights to Pooh from Stephen Slesinger and the A. A. Milne Estate in the 1960s, the Milne storylines were used by Disney in its cartoon featurette "Winnie the Pooh and the Honey Tree". The "look" of Pooh was adapted by Disney from Stephen Slesinger's distinctive American Pooh with his famous red shirt that had been created and used in commerce by Slesinger since the 1930s.


title: Winnie-the-Pooh (book)

text: Parts of the book were adapted to three Russian-language short animated films directed by Fyodor Khitruk: "Winnie-the-Pooh" (based on chapter 1), "Winnie-the-Pooh Pays a Visit" (based on chapter 2), and "Winnie-the-Pooh and a Busy Day" (based on chapters 4 and 6)"."


title: Winnie-the-Pooh (book)

text: "Winnie-the-Pooh"s entrance into the public domain in the United States on January 1, 2022 was noted by several news publications, generally in the context of a greater Public Domain Day article. The book entered the public domain in Canada in 2007. The UK copyright will expire at the end of 2026, the 70th year since Milne's death.


title: Oldsmobile Cutlass

text: The Oldsmobile Cutlass was a series of automobiles produced by General Motors' Oldsmobile division between 1961 and 1999. At its introduction, the Cutlass was Oldsmobile's entry-level model; it began as a unibody compact car, but saw its greatest success as a body-on-frame intermediate. The Cutlass was named after the type of sword, which was common during the Age of Sail.


title: Oldsmobile Cutlass

text: Introduced as the top trim level in Oldsmobile's compact F-85 Series, the Cutlass evolved into a distinct series of its own, spawning numerous variants, including the 4-4-2 muscle car in 1964, premium Cutlass Supreme in 1966, and outright performance Hurst/Olds in 1968, as well as the Vista Cruiser station wagon.


title: Oldsmobile Cutlass

text: By the 1980s, Oldsmobile was using the Cutlass as a sub-marque, with numerous vehicle lines bearing the name simultaneously. These included the Cutlass Calais compact, the midsize Cutlass Ciera, the Cutlass Cruiser station wagon, and top-of-the-line midsize Cutlass Supreme.


title: Oldsmobile Cutlass

text: Oldsmobile first used the Cutlass name on an experimental sports coupe designed in 1954. It rode a wheelbase, and featured a dramatic boat-tailed fastback roofline and stock V8. Its platform was similar to the compact F-85 introduced seven years later.


title: Oldsmobile Cutlass

text: For model years 1939 and 1940, Oldsmobile introduced the Oldsmobile Series 60 and Oldsmobile Series 70 which shared the GM A platform and GM B platform with Chevrolet and Pontiac models. The Series 60 was discontinued in 1948, while the Series 70 was cancelled in 1950. The division then offered multiple models using the Oldsmobile Series 80 and Oldsmobile Series 90 platforms during the 1950s. When the division decided to revisit offering a smaller platform again, they didn't return to the traditional naming convention of reintroducing the Series 70 and instead offered the new compact as the F-85 Series, inspired by the North American F-86 Sabre fighter jet, and beginning a new tradition of using fighter jet names for their products as the Jet Age began, and using nameplates as series designations, and was a revival of a naming convention the company offered from 1928–1938 called the F-Series. Oldsmobile management decided to continue to take advantage of the "rocket" marketing strategy started with the Rocket V8 engine. The United States Air Force did previously produce a research fighter jet called the McDonnell XF-85 Goblin but it wasn't placed into production. During World War II, many GM factories temporarily suspended automobile production and manufactured fighter aircraft, bombers and aircraft engines for the war effort, and emphasizing their contribution was reflected in the division's decision to name their products after fighter aircraft. Starting in 1929, GM did own Allison Engine Company which manufactured aircraft engines for the United States Military until 1992 when the Allison Division was sold.


title: Oldsmobile Cutlass

text: General Motors began developing its first compact cars in 1956, beginning with initial planning on what would become the Chevrolet Corvair in 1960 on the GM Z platform. The following year a second series of somewhat longer cars was planned for Buick, Oldsmobile, and Pontiac; what would be termed "senior compacts" on the "Y" platform. They would share the same body shell and lightweight engine. Oldsmobile designer Irvin Rybicki began work on the Olds model in 1957. It finally went on sale in 1960 as a 1961 model.


title: Oldsmobile Cutlass

text: The Oldsmobile F-85 shared the new "Y-body" platform with the Buick Special and Pontiac Tempest, using a 112-inch (2845 mm) wheelbase and still-novel unibody construction. It was Oldsmobile's smallest, budget priced model—some two feet (60 cm) shorter and $451 less than the next-smallest Olds ($ in dollars ), the full-sized Dynamic 88. The F-85 had double wishbone front suspension and a four-link live axle in the rear, suspended with coil springs all around; the drum brakes had a diameter of . Unlike its platform mates, the first-generation F-85 was only ever offered with a V8 engine. Standard engine was the new "Rockette" all-aluminum V8, Oldsmobile's version of the Buick aluminum V8 which later became famous as the Rover V8. With a two-barrel carburetor and an 8.75:1 compression ratio, it was rated at 4,800 rpm and at 3,200 rpm. Specifications for the base engine remained the same throughout the 1961–1963 production run.


title: Oldsmobile Cutlass

text: The first-year F-85 was offered in two body styles, a four-door sedan or a four-door station wagon with either two or three seats, and in a choice of two trim levels, base or De Luxe. Transmission options were initially a 3-speed manual (with synchromesh on the top two gears) and the newly introduced 3-speed Roto Hydramatic. Overall length was , and curb weight was around . A few months after the model introduction, Oldsmobile added a "power pack option", which included a four-barrel carbureted, high-compression (10.25:1), dual exhaust version of the 215 cu in aluminum V8, and a shorter 3.36:1 final drive ratio with either manual and automatic transmissions. This premium fuel-only engine was rated at at 4,800 rpm and at 3,200 rpm. Initial sales were somewhat disappointing, but were soon picked up by the May 1961 introduction of a pair of pillared two-door coupes, each with a different roofline and market placement: the F-85 Club Coupe, which became the lowest-priced Oldsmobile model, and the sporty F-85 Cutlass. The Cutlass came equipped with the 185 hp "power pack" drivetrain, and featured De Luxe-type exterior trim with , a more upscale interior with standard bucket seats, upholstered in two-tone vertically pleated vinyl, and an optional center console. 80,347 F-85s were built in total for the 1961 model year.


title: Oldsmobile Cutlass

text: "Car Life" magazine tested an F-85 with the standard engine and automatic transmission, and recorded a 0–60 (0–96 km/h) time of 14.5 seconds, with a top speed just over . They praised its construction, but found its steering too slow and its suspension too soft for enthusiastic driving.


title: Oldsmobile Cutlass

text: For 1962 styling changes were minor, and included a new grille, different chrome ornamentation on the bodysides and new interior trim. The existing F-85 models returned, and a convertible was added to the line-up in September, available in both standard and Cutlass versions. An all-synchromesh four-speed manual became optional. Overall F-85 sales rose to 97,382, with the Cutlass displacing the four-door De Luxe sedan as the top-selling model.


title: Oldsmobile Cutlass

text: The Oldsmobile Jetfire, was a Cutlass pillarless hardtop with a turbocharged version of the 215 V8, which Oldsmobile referred to as the "Turbo-Rocket". This made the 1962 Jetfire the first ever turbocharged production car. Equipped with a Garrett AiResearch turbocharger and carburetor, the Turbo-Rocket engine was rated at at 4,600 rpm and at 3,200 rpm.


title: Oldsmobile Cutlass

text: The Jetfire came with bucket seats and console, unique trim—two chrome fins on the hood and full-length contrast stripes on the bodysides—and a pressure/vacuum gauge mounted in the console (where it was almost hidden). Although much faster than a standard F-85, the Jetfire was criticized for having the same soft suspension as its less-powerful brothers, for its lack of a tachometer and other instruments, and for the poor shift quality of both the automatic transmission and the optional four-speed. "Car and Driver" tested an automatic Jetfire and obtained a 0–60 time of 9.2 seconds, with a top speed of 110 mph (176 km/h). The Jetfire's high cost (nearly $300 over a standard Cutlass hardtop) and reliability problems with its turbocharged engines limited sales to 3,765.


title: Oldsmobile Cutlass

text: Ultimately the Jetfire engine was far ahead of its time. With forced induction and an already high compression ratio the Jetfire was capable of producing more torque than a naturally aspirated engine that was twice its size, significantly improving the engine's efficiency and usability in real-life driving conditions, turbo lag not being an issue at motorway speeds. But since turbo and supercharging the engine essentially means forcing the compression in the combustion chamber even higher, the Jetfire was prone to 'spark-knock' and without modern engine management systems the only way to mitigate this was to use a 50/50 mixture of methanol and distilled water.


title: Oldsmobile Cutlass

text: The F-85 was restyled for the 1963 model year, to a crisper, more squared off design than the one of the 1961–62 models. While the wheelbase was unchanged at 112 inches, the new sheetmetal added to the F-85's rear overhang, increasing overall length to . The Jetfire and its turbocharged V8 returned, for what would be its final year. Three-row seating was dropped on station wagons. On automatic transmission models only, the compression ratio of the "Cutlass" engine was raised to 10.75:1, pushing output to at 4800 rpm and at 3200 rpm. A Delcotron alternator became standard on all models, as well as on the rest of the Oldsmobile car line. Overall sales climbed again to 121,639, of which 53,492 were Cutlasses.


title: Oldsmobile Cutlass

text: When the decision was made to upgrade the F-85, Jetfire and Cutlass to the all-new GM A platform, the GM Y platform was repurposed for the Chevrolet Corvette in 1976.


title: Oldsmobile Cutlass

text: Disappointing sales of the compact F-85, along with the introduction of Ford Motor Company's intermediate Fairlane in 1962, prompted GM to enlarge the senior compacts for the 1964 model year.


title: Oldsmobile Cutlass

text: The new intermediate F-85 now rode a conventional body-on-frame chassis with a perimeter frame which it shared with the newly-introduced "A-body" Chevrolet Chevelle, and upgraded Buick Special and Pontiac Tempest. Wheelbase grew to , overall length to , and weight by more than . Both the aluminum V8 and the Roto Hydramatic were discontinued in favor of a new cast-iron small-block V8 of displacement and an optional two-speed Jetaway automatic transmission with variable-pitch stator. Buick's V6 was the standard engine. It was the first time that Oldsmobile used a six cylinder engine since the Oldsmobile Seventy Six was discontinued in 1950 while it was sourced from a different GM Division.


title: Oldsmobile Cutlass

text: The body styles of the previous model returned, and a new Vista Cruiser, a stretched-wheelbase () version of the standard station wagon featuring a raised rear roof with tinted skylights and a fold-down, forward-facing third seat, debuted on February 4, 1964. The 4-4-2 model, derived from the BO-9 police package, was also introduced in March 1964 (costing $285.14 in 1964), as an answer to the new intermediate muscle car market created by the Pontiac GTO that same year.


title: Oldsmobile Cutlass

text: For 1965 a modest facelift increased overall length to while the front end received a "dumbbell-style" grille similar to full-sized Olds models. A bigger 400 cu in (6.6 L) engine was included with the 4-4-2 option, based on the newly introduced 425 cu in (6.9 L) engine from the full-sized Oldsmobiles while the Buick 225 V6 and Olds 330 Jetfire Rocket V8 were carried over from the previous year, with increased power ratings for the V8 options. Sales increased again to 187,097. The year 1965 was the first for Oldsmobile's "Rocket" logo that would last, with minor variations, until the 1990s.


title: Oldsmobile Cutlass

text: The 1966 models were slightly restyled again, with body lines similar to the full-sized 88, and semi-fastback rooflines with extended sail panels and tunneled rear windows on Sport (pillared) and Holiday (hardtop) coupes. The Buick V6 was replaced on base models by an Oldsmobile-badged "Action-Line 6" version of Chevrolet's "Turbo-Thrift" straight-6 engine, while the Jetfire Rocket V8 continued with power ratings of . New that year was the Cutlass Supreme four-door hardtop sedan also dubbed the Holiday Sedan by Oldsmobile, the first such body style for Olds' intermediate line.


title: Oldsmobile Cutlass

text: Changes for 1967 included the availability of optional disc brakes and the three-speed Turbo-Hydramatic to supplement the two-speed Jetaway. A new option was the Turnpike Cruiser package on Cutlass Supreme coupes and convertibles, which used a two-barrel carburetor and mild camshaft with the 400 cu in (6.6 L) engine and a (numerically) low axle ratio for efficient and relatively economical freeway cruising. The Turnpike Cruiser used the heavy-duty suspension of the 4-4-2, and was available only with a Turbo-Hydramatic. The term "Turnpike Cruiser" was a naming conflict due to the 1957–1958 Mercury Turnpike Cruiser.


title: Oldsmobile Cutlass

text: The F-85/Cutlass underwent a major body restyle in 1968, as did all other GM A-body cars. Oldsmobile's was penned by the styling studio headed by Stan Wilen. Two-door and four-door models now rode different wheelbases: for two-doors and for four-doors. Ostensibly, this change was to allow more individual styling, although several engineers were quoted off the record as saying the wheelbase had created problems with uncomfortable "freeway hop" owing to its resonance frequency. Overall length shrunk about , but curb weight rose approximately to for the hardtop coupe. Two-door F-85 and Cutlass models adopted a semi-fastback roofline, which was a revival of a streamlining on all GM products from 1942 until 1950 as demonstrated on the Oldsmobile Rocket 88 Club Coupe.


title: Oldsmobile Cutlass

text: Base model remained the F-85, with mid-level Cutlass S, and upscale Cutlass Supreme, as well as the 4-4-2, which became a distinct model instead of an option package. A limited-production model was the Hurst/Olds, a special 4-4-2 marketed by Oldsmobile and Hurst Performance. The H/O combined the 4-4-2 suspension package with a Rocket V8, not ordinarily offered in Cutlasses because of a GM policy limiting intermediates to engines of or less. Cutlass and Vista Cruiser station wagons were likewise redesigned; the F-85 wagon was discontinued.


title: Oldsmobile Cutlass

text: Engine options were similar to the previous year, although the Cutlass's V8 option was expanded to , still with both two- and four-barrel carburetion. The variable-pitch stator feature of both optional two-speed Jetaway and three-speed Turbo Hydra-matic automatic transmissions was discontinued.


title: Oldsmobile Cutlass

text: The 1969 F-85/Cutlass models received only minor trim changes from their '68 counterparts such as a now-Olds trademark split grille with vertical bars and vertical taillights. Per federal safety regulations, headrests were now standard equipment and the ignition switch moved from the instrument panel to the steering column to lock the steering wheel when not in use, in common with all other 1969-model GM cars, one year before the locking steering columns were federally mandated.


title: Oldsmobile Cutlass

text: Engine offerings were unchanged from 1968, but a new three-speed Turbo Hydra-matic 350 transmission was added to the option list and available with all versions of the Rocket V8, including the standard two-barrel version, four-barrel "Ultra High Compression" option and the W-31 option, conservatively rated at . The two-speed Jetaway automatic was still available with the Chevy-built "Action-Line" six or the two-barrel V8. The Turnpike Cruiser two-barrel Rocket V8 was dropped and the four-barrel 400 engine from the 4-4-2 was available only in the Vista Cruiser wagons.


title: Oldsmobile Cutlass

text: The 1970 F-85 and Cutlass was available in seven body styles, three of which were coupes: a pillared fastback Sports Coupe (in F-85, Cutlass S or 4-4-2 trims), an hardtop fastback Holiday Coupe (Cutlass S and 4-4-2 only), and finally a more formal notchback Holiday Coupe, only offered in Cutlass Supreme trim. This practice was similar to that followed at the time by Ford and Mercury for theirintermediates, which were offered in both notchback and fastback coupes starting in 1968. Also available were a four-door hardtop Holiday Sedan, a four-door Town Sedan, a convertible, a flat-top station wagon called the Custom Cruiser, as well as the fancier Vista-Cruiser station wagon. Counting all trim level and body style permutations, Oldsmobile's 1970 lineup included 15 different intermediate models.


title: Oldsmobile Cutlass

text: With GM tossing out the 400 cubic-inch limit for intermediates and the 4-4-2 now coming standard with the larger 455 cubic-inch Rocket V8 from the big Oldsmobiles and previously used in the 1968–69 Hurst/Olds, Olds discontinued the 400 engine entirely and also offered the 455 as an option in the Cutlass S models and the Vista Cruiser wagons. There was an SX option that became available in 1970 and was available only on the Cutlass Supreme hardtop and convertible. The SX cars all had the 455 engine and TH-400 automatic transmission.


title: Oldsmobile Cutlass

text: The same assortment of three- and four-speed manual transmissions were carried over from previous years with Hurst shifters used on floor-mounted three-speeds and all four-speeds. The two-speed Jetaway automatic transmission was discontinued entirely with the three-speed Turbo Hydra-matic now the sole offering for shiftless driving. Cutlass S coupes with the optional Strato bucket seats and Turbo Hydra-matic could be equipped with the Hurst Dual-Gate shifter (also known as the "His and Her-Shifter") in conjunction with the extra-cost center console. The Hurst Dual-Gate made it possible to either put the transmission in Drive, and let the transmission decide when to shift. Or it could be placed in a manual mode, much like today's computer-controlled automatics.


title: Oldsmobile Cutlass

text: A 1970-only offering was the Oldsmobile Rallye 350, a value-priced high-performance model using the 350 engine. It was intended for younger buyers that wanted the performance and looks of a supercar, but might have trouble with the rising insurance premiums associated with 455-engined cars like the 4-4-2. In essence the Rallye 350 was an appearance package (coded "W45") tied to mandatory options, and could be ordered on the Cutlass S Holiday or Sports Coupe as well as on the F-85 Sports Coupe. All Rallye 350s were painted in Sebring Yellow with matching urethane-coated bumpers front and rear. The package also included special black and orange decals, blacked out grille and yellow-painted 7" wide Super Stock II rally wheels without trim rings, wearing G70×14" bias-belted Wide Oval blackwall tires. The engine was the "L74" air-inducted high-compression 350 cu.in. Rocket V8 engine, fitted with a Quadrajet carburetor and producing . Required options were the associated "Force-Air" fiberglass vented hood, dual exhaust with 4-4-2-style megaphone outlets, 3.23:1 axle ratio, heavy-duty "Rallye-Sport Suspension" with front and rear stabilizers, sports mirrors and sports steering wheel.


title: Oldsmobile Cutlass

text: The 1971 model shared much of the same exterior sheetmetal as the 1970, but with a new hood, grille, and headlight assemblies, as well as new bumpers and taillights. Four new exterior body colors were offered, Viking Blue, Lime Green, Bittersweet, and Saturn Gold.


title: Oldsmobile Cutlass

text: The famous "Rocket" V8 continued in several different sizes and power options, with both the large 455 and 'small-block' 350 available with either 2- or 4-barrel carburetors. This was the last year for the 250 cubic-inch six-cylinder engine, as it had not been a popular offering in Olds intermediates. All engines were now fitted with hardened valve seats, preparing for the upcoming mandate for unleaded gasoline that took effect with the introduction of catalytic converters on 1975 models. The 1971 Olds engines also featured lowered compression ratios and designed to run on regular leaded, low-lead or unleaded gasoline with a research octane rating of 91 or higher (equivalent to 87 octane by today's octane measurements).


title: Oldsmobile Cutlass

text: For 1972, there were minor style changes to the Cutlass, and the 4-4-2 reverted to being a Cutlass trim line (W-29 option) instead of the distinct model it was in 1971.


title: Oldsmobile Cutlass

text: The primary changes to the 1972 Cutlass were the front grilles and the tail lights. The straight six engine was dropped but would return to the lineup in 1975.


title: Oldsmobile Cutlass

text: The Hurst/Olds used the Cutlass Supreme notchback hardtop and convertible bodies. A 1972 Hurst/Olds paced the Indianapolis 500, and Olds built about 630 replicas, some 25% of them convertibles.


title: Oldsmobile Cutlass

text: The entry-level F-85 series was reduced to solely a four-door sedan, then discontinued mid-year due to low sales. This ended the use of the F-85 nameplate, although it would later resurface on an entry-level version of the compact Omega.


title: Oldsmobile Cutlass

text: The Cutlass line was redesigned for 1973 using GM's new "Colonnade" A-body platform. The model lineup consisted of the base Cutlass, Cutlass "S", Cutlass Supreme, Cutlass Salon, Vista Cruiser station wagon, and the 4-4-2 appearance package on the Cutlass "S" colonnade coupe. While rooflines were shared with other GM divisions, the Cutlass bodies had two Oldsmobile-specific convex creases—one starting behind the front wheel and running rearward into the door and curving upward at its trailing end, and the other curving down just ahead of the rear wheel and continued by the crease line of the quarter panel behind the rear wheel. The Cutlass "S" and 4-4-2 offered optional "Strato" bucket seats with high seatbacks and built-in head restraints; these seats could be swiveled 90 degrees to permit easier entry and exit for the driver and front passenger.


title: Oldsmobile Cutlass

text: The new Salon package was offered first as a 4-door Colonnade sedan, which was joined in 1974 by a 2-door hardtop coupe. It was an upscale "European" style luxury/sports package, similar in concept to the Pontiac Grand Am, and was the first Oldsmobile with the international-flags emblem. The Salon included items such as upgraded suspension, radial tires, reclining bucket seats and a hand-operated headlamp dimmer switch built into the turn signal switch.


title: Oldsmobile Cutlass

text: All Cutlass models came standard with front disc brakes The standard engine was a 350 Rocket V8 (K VIN engine code), a 350 Rocket V8 with dual exhaust (M code), a 455 Rocket V8 (U code, or L75), and a 455 V8, with a hotter cam and W30-style heads. This engine was called the L77 (V code), and was used primarily in four-speed cars and automatics without air conditioning in the Hurst/Olds. Transmissions included a standard column-shift three-speed manual, optional four-speed Muncie M20 manual with Hurst shifter, and three-speed Turbo-Hydramatic automatic. Upgraded gauges were optional.


title: Oldsmobile Cutlass

text: Changes for 1974 included new taillight lenses and radiator grilles, and a new front fascia with bumper-mounted turn signals used only on the base model. There were newly-mandated rear bumpers, with a new hydraulic energy absorpotion system. Both the 350 and 455 Rocket V8s were carried over unchanged from 1973 aside from revisions required to meet 1974 emissions regulations. The Turbo Hydramatic transmission became standard equipment on all Cutlass models.


title: Oldsmobile Cutlass

text: For 1975, Oldsmobile added two smaller engines to attract economy-minded buyers in the aftermath of the 1973–74 energy crisis. These were the Chevrolet-built inline six (previously offered from 1966–71) and a new 260 V8 based on the Olds 350 Rocket V8, which continued as an option. Also continuing was the 455 Rocket V8, rated at . All engines had catalytic converters and required unleaded gasoline in the United States; Canadian buyers could opt to delete the converter. The three-speed manual transmission returned as standard equipment in conjunction with the six-cylinder engine on all Cutlass models except Salons and station wagons. However, only 0.2% of Cutlasses were built with a manual transmission as most buyers wanted the 350 V8 and Turbo Hydramatic as in previous years.


title: Oldsmobile Cutlass

text: The 1975 grilles were somewhat more angular and separated into eight pieces on each side. The front turn signals were now incorporated into the grille. At the rear, new two-piece taillights were divided vertically. The S and Supreme both had a chrome strip atop the hood, while the Supreme also had the Oldsmobile logo mounted atop the grille. A fuel economy gauge was optional.


title: Oldsmobile Cutlass

text: The Cutlass line overtook the full-size Delta 88 as the best-selling Oldsmobile line in 1975, with the Cutlass Supreme coupe accounting for the majority of those sales, surpassing the Chevrolet Chevelle and Ford Torino to become the best-selling intermediate-sized car in America. The Cutlass was also the second-best selling car line in the U.S. in 1975, with only the full-sized Chevrolet Impala/Caprice ahead of it.


title: Oldsmobile Cutlass

text: The Cutlass became America's best selling car this year and would hold this title for most years into the 1980s. A restyled front end with waterfall-type split grilles and new rectangular headlights was introduced that would become an Olds Cutlass trademark in coming years, lasting into the late 1980s. Coupe bodies were reshaped for a smoother, less contoured look than the 1973–75 design, a design change shared with Buick's A-body coupes. Cutlass sedans and wagons kept their bulges through the end of model year 1977. Taillights were revised and the license plate/fuel filler was moved above the bumper. The base Cutlass line was dropped, with the Cutlass S nameplate now applied to the entry-level coupe and sedan this year – both of which featured an aerodynamic slanted front nose in contrast to the upright front ends of other Cutlass models including the Cutlass Supreme coupe, sedan and wagon, Vista Cruiser wagon, Cutlass Salon coupe and sedan, and the new Cutlass Supreme Brougham coupe. The 4-4-2 option was still offered on Cutlass S coupes as an appearance/handling package.


title: Oldsmobile Cutlass

text: Engine offerings were carried over from 1975 including the Chevy-built 250 cubic-inch inline six and Olds-built Rocket V8s of 260, 350 or 455 cubic inches. A three-speed manual transmission was standard with the six-cylinder engine but Turbo Hydra-matic was optional with this engine and the 260, and required with the 350 and 455 V8s. A new option this year was the T-50 Borg-Warner five-speed manual transmission, which was available only with the 260 V8.


title: Oldsmobile Cutlass

text: New grilles highlighted all 1977 Cutlass models with Cutlass S sedans and coupes reverting to an upright grille/front end while the more aerodynamic slanted front end was only offered with the 4-4-2 option. "Oldsmobile" nameplates in a new sans-serif typeface replaced the former script ones.


title: Oldsmobile Cutlass

text: Inside was a slightly revised instrument panel with the clock relocated to the right side of the dash above the glovebox. This also marked the introduction of Oldsmobile's new mechanical digital clock. The Chevrolet inline six was replaced by Buick's 231 V6 (standard on all models except Salon and Vista Cruiser), while the 260 and 350 Rocket V8s were carried over. The big-block 455 Rocket V8 was discontinued and replaced by a new small-block 403 cubic inch Rocket V8. Transmissions included a three-speed manual (standard and only available with the V6 engine), five-speed manual (coupes with 260 V8 only) or three-speed Turbo Hydra-matic – optional on V6 models, included with the 260 V8 in sedans and 350 and 403 V8s on all models, and standard on station wagons. A sedan was added to the Supreme Brougham line, while the Salon lost its sedan version. The Vista Cruiser line nameplate was dropped and became the Cutlass Supreme Cruiser.


title: Oldsmobile Cutlass

text: The 1978 Cutlass was downsized to the new version of GM's A-body with a shorter, wheelbase. This Cutlass was lighter than earlier versions at around , and it could be ordered with any of several engines built by GM's different divisions; a Buick 231 V6, Oldsmobile 260 V8, Pontiac 301 V8 or Chevrolet 305 V8s with either two- or four-barrel carburetors. This generation could still be ordered with the T-50 Borg-Warner five-speed manual transmission for several model years.


title: Oldsmobile Cutlass

text: The '78 Cutlass lineup included the fastback design "aeroback" Salon and Salon Brougham fastback coupes and sedans, and the formal roof Supreme, Supreme Brougham and Calais coupes. The fastbacks were twins to the Buick Century of the same sales years. The Salons quickly proved to be far less popular than the notchback Supreme and Calais coupes. There were also "two-seat" (6 passengers in two rows) Cutlass Cruiser and Cutlass Cruiser Brougham station wagons; both being smaller, more conventional replacements of the three-seat (8 passenger) Vista Cruiser.


title: Oldsmobile Cutlass

text: Broughams featured softer, quieter rides, and fancier trim and upholstery. A factory T-top was optional on notchback coupes only. The 4-4-2 appearance and handling package, available on Salon coupes, featured large lower body stripes and 4-4-2 decals outside but not always shown with decals, unique 4-4-2 seats and badges inside, and a taut performance suspension featuring quicker-ratio steering, heavier springs, stiffer shocks, a stiffer front stabilizer bar, a rear stabilizer bar, and bigger tires. The Cutlass Calais used essentially the same suspension as the 4-4-2, but it also came standard with several other performance and touring options, including full instrumentation, an aluminum spoked sport steering wheel, reclining front bucket seats and a center console with floor shifter.


title: Oldsmobile Cutlass

text: Cosmetically, the 1978 line continued through 1979 with only slight changes front and rear. A bewildering array of grilles were used on the different equipment levels for 1978 and 1979, including two sets each of slotted (Salon), waterfall (Supreme and Brougham), and eggcrate (Calais) style designs.


title: Oldsmobile Cutlass

text: The same model lineup continued, with a revision of both the front grille and taillight lenses. A diesel version of the Oldsmobile 260 (based on the Olds 350 diesel) was optional; diesel Cutlasses had the "Oldsmobile Diesel" badges on the decklids, where gasoline-powered Cutlasses had the "Rocket" logo.


title: Oldsmobile Cutlass

text: Only 2499 Cutlass Calais coupes were equipped with the Hurst/Olds W-30 package, featuring unique aluminum wheels trimmed with gold paint, an exclusive console-mounted Hurst Dual Gate floor shifter, special gold over black or white two-tone paint and an otherwise unavailable Oldsmobile 350 V8 with a four-barrel carb and dual outlet exhausts. It is estimated that only 537 cars with the H/O package had T-Tops.


title: Oldsmobile Cutlass

text: Cutlass Supreme and Calais coupes received new header panels incorporating four headlights, mimicking the 1977 model. The four-door Salon was dropped due to poor sales. Taking its place was a conventional notchback sedan known simply as "Cutlass," with base, LS, and Brougham trim levels available. Sister division Buick did the same with their Buick Century sedan (the 1978 to 1980 Centuries shared the bodyshell with the Cutlass Salon). The 4-4-2 package was moved to the Cutlass Calais, and while it lacked the Dual Gate shifter, it was essentially a carryover of the 1979 Hurst/Olds, even having the Oldsmobile 350 V8 886 80 442's were produced for 1980. The 260 diesel engine was dropped, as it was considerably slower yet no more economic than the 5.7-litre diesel.


title: Oldsmobile Cutlass

text: The fastback Salon coupe was dropped, and the Supreme and Calais got a restyle that included a more aerodynamic nose and smoother body lines. Sedans got quad headlamps and a new grille. The 4-4-2 was dropped. Most of this range continued to be marketed as the Cutlass Supreme until 1986, although the Cutlass Cruiser was replaced for 1984.


title: Oldsmobile Cutlass

text: In 1982, Oldsmobile began using the Cutlass nameplate as a sub-marque, with numerous distinct vehicle lines bearing the name simultaneously.