title: Eskimo

text: Hodgetts and Wells suggested using more specific terms when possible (e.g., Dorset and Groswater) and agreed with Frieson in using the "Inuit tradition" to replace "Neo-Eskimo", although they noted replacement for "Palaeoeskimo" was still an open question and discussed "Paleo-Inuit", "Arctic Small Tool Tradition", and "pre-Inuit", as well as Inuktitut loanwords like "Tuniit" and "Sivullirmiut", as possibilities.


title: Eskimo

text: In 2020, Katelyn Braymer-Hayes and colleagues argued in the "Journal of Anthropological Archaeology" that there is a "clear need" to replace the terms "Neo-Eskimo" and "Paleo-Eskimo", citing the ICC resolution, but finding a consensus within the Alaskan context particularly is difficult, since Alaska Natives do not use the word "Inuit" to describe themselves nor is the term legally applicable only to Iñupiat and Yupik in Alaska, and as such, terms used in Canada like "Paleo Inuit" and "Ancestral Inuit" would not be acceptable.


title: Eskimo

text: American linguist Lenore Grenoble has also explicitly deferred to the ICC resolution and used "Inuit–Yupik" instead of "Eskimo" with regards to the language branch.


title: Eskimo

text: Genetic evidence suggests that the Americas were populated from northeastern Asia in multiple waves. While the great majority of indigenous American peoples can be traced to a single early migration of Paleo-Indians, the Na-Dené, Inuit and Indigenous Alaskan populations exhibit admixture from distinct populations that migrated into America at a later date and are closely linked to the peoples of far northeastern Asia (e.g. Chukchi), and only more remotely to the majority indigenous American type. For modern Eskimo–Aleut speakers, this later ancestral component makes up almost half of their genomes. The ancient Paleo-Eskimo population was genetically distinct from the modern circumpolar populations, but eventually derives from the same far northeastern Asian cluster. It is understood that some or all of these ancient people migrated across the Chukchi Sea to North America during the pre-neolithic era, somewhere around 5,000 to 10,000 years ago. It is believed that ancestors of the Aleut people inhabited the Aleutian Chain 10,000 years ago.


title: Eskimo

text: The earliest positively identified Paleo-Eskimo cultures (Early Paleo-Eskimo) date to 5,000 years ago. Several earlier indigenous peoples existed in the northern circumpolar regions of eastern Siberia, Alaska, and Canada (although probably not in Greenland). The Paleo-Eskimo peoples appear to have developed in Alaska from people related to the Arctic small tool tradition in eastern Asia, whose ancestors had probably migrated to Alaska at least 3,000 to 5,000 years earlier.


title: Eskimo

text: The Yupik languages and cultures in Alaska evolved in place, beginning with the original pre-Dorset Indigenous culture developed in Alaska. At least 4,000 years ago, the Unangan culture of the Aleut became distinct. It is not generally considered an Eskimo culture. However, there is some possibility of an Aleutian origin of the Dorset people, who in turn are a likely ancestor of today's Inuit and Yupik.


title: Eskimo

text: Approximately 1,500 to 2,000 years ago, apparently in northwestern Alaska, two other distinct variations appeared. Inuit language became distinct and, over a period of several centuries, its speakers migrated across northern Alaska, through Canada, and into Greenland. The distinct culture of the Thule people (drawing strongly from the Birnirk culture) developed in northwestern Alaska. It very quickly spread over the entire area occupied by Eskimo peoples, though it was not necessarily adopted by all of them.


title: Eskimo

text: The Eskimo–Aleut family of languages includes two cognate branches: the Aleut (Unangan) branch and the Eskimo branch.


title: Eskimo

text: The number of cases varies, with Aleut languages having a greatly reduced case system compared to those of the Eskimo subfamily. Eskimo–Aleut languages possess voiceless plosives at the bilabial, coronal, velar and uvular positions in all languages except Aleut, which has lost the bilabial stops but retained the nasal. In the Eskimo subfamily a voiceless alveolar lateral fricative is also present.


title: Eskimo

text: The Eskimo sub-family consists of the Inuit language and Yupik language sub-groups. The Sirenikski language, which is virtually extinct, is sometimes regarded as a third branch of the Eskimo language family. Other sources regard it as a group belonging to the Yupik branch.


title: Eskimo

text: Inuit languages comprise a dialect continuum, or dialect chain, that stretches from Unalakleet and Norton Sound in Alaska, across northern Alaska and Canada, and east to Greenland. Changes from western (Iñupiaq) to eastern dialects are marked by the dropping of vestigial Yupik-related features, increasing consonant assimilation (e.g., "kumlu", meaning "thumb", changes to "kuvlu", changes to "kublu", changes to "kulluk", changes to "kulluq",) and increased consonant lengthening, and lexical change. Thus, speakers of two adjacent Inuit dialects would usually be able to understand one another, but speakers from dialects distant from each other on the dialect continuum would have difficulty understanding one another. Seward Peninsula dialects in western Alaska, where much of the Iñupiat culture has been in place for perhaps less than 500 years, are greatly affected by phonological influence from the Yupik languages. Eastern Greenlandic, at the opposite end of the Inuit range, has had significant word replacement due to a unique form of ritual name avoidance.


title: Eskimo

text: Ethnographically, Inuit of Greenland belong to three groups: the Kalaallit of west Greenland, who speak Kalaallisut; the Tunumiit of Tunu (east Greenland), who speak Tunumiit oraasiat ("East Greenlandic"), and the Inughuit of north Greenland, who speak Inuktun.


title: Eskimo

text: The four Yupik languages, by contrast, including Alutiiq (Sugpiaq), Central Alaskan Yup'ik, Naukan (Naukanski), and Siberian Yupik, are distinct languages with phonological, morphological, and lexical differences. They demonstrate limited mutual intelligibility. Additionally, both Alutiiq and Central Yup'ik have considerable dialect diversity. The northernmost Yupik languages – Siberian Yupik and Naukan Yupik – are linguistically only slightly closer to Inuit than is Alutiiq, which is the southernmost of the Yupik languages. Although the grammatical structures of Yupik and Inuit languages are similar, they have pronounced differences phonologically. Differences of vocabulary between Inuit and any one of the Yupik languages are greater than between any two Yupik languages. Even the dialectal differences within Alutiiq and Central Alaskan Yup'ik sometimes are relatively great for locations that are relatively close geographically.


title: Eskimo

text: Despite the relatively small population of Naukan speakers, documentation of the language dates back to 1732. While Naukan is only spoken in Siberia, the language acts as an intermediate between two Alaskan languages: Siberian Yupik Eskimo and Central Yup'ik Eskimo.


title: Eskimo

text: The Sirenikski language is sometimes regarded as a third branch of the Eskimo language family, but other sources regard it as a group belonging to the Yupik branch.


title: Eskimo

text: American linguist Lenore Grenoble has explicitly deferred to this resolution and used "Inuit–Yupik" instead of "Eskimo" with regards to the language branch.


title: Eskimo

text: There has been a long-running linguistic debate about whether or not the speakers of the Eskimo-Aleut language group have an unusually large number of words for snow. The general modern consensus is that, in multiple Eskimo languages, there are, or have been in simultaneous usage, indeed fifty plus words for snow.


title: Eskimo

text: The Inuit inhabit the Arctic and northern Bering Sea coasts of Alaska in the United States, and Arctic coasts of the Northwest Territories, Nunavut, Quebec, and Labrador in Canada, and Greenland (associated with Denmark). Until fairly recent times, there has been a remarkable homogeneity in the culture throughout this area, which traditionally relied on fish, marine mammals, and land animals for food, heat, light, clothing, and tools. Their food sources primarily relied on seals, whales, whale blubber, walrus, and fish, all of which they hunted using harpoons on the ice. Clothing consisted of robes made of wolfskin and reindeer skin to acclimate to the low temperatures. They maintain a unique Inuit culture.


title: Eskimo

text: Canadian Inuit live primarily in Inuit Nunangat (lit. "lands, waters and ices of the [Inuit] people"), their traditional homeland although some people live in southern parts of Canada. Inuit Nunangat ranges from the Yukon–Alaska border in the west across the Arctic to northern Labrador.


title: Eskimo

text: The Inuvialuit live in the Inuvialuit Settlement Region, the northern part of Yukon and the Northwest Territories, which stretches to the Amundsen Gulf and the Nunavut border and includes the western Canadian Arctic Islands. The land was demarked in 1984 by the Inuvialuit Final Agreement.


title: Eskimo

text: The majority of Inuit live in Nunavut (a territory of Canada), Nunavik (the northern part of Quebec) and in Nunatsiavut (the Inuit settlement region in Labrador).


title: Eskimo

text: The Iñupiat are the Inuit of Alaska's Northwest Arctic and North Slope boroughs and the Bering Straits region, including the Seward Peninsula. Utqiaġvik, the northernmost city in the United States, is above the Arctic Circle and in the Iñupiat region. Their language is known as Iñupiaq. Their current communities include 34 villages across "Iñupiat Nunaŋat" (Iñupiaq lands) including seven Alaskan villages in the North Slope Borough, affiliated with the Arctic Slope Regional Corporation; eleven villages in Northwest Arctic Borough; and sixteen villages affiliated with the Bering Straits Regional Corporation.


title: Eskimo

text: The Yupik are indigenous or aboriginal peoples who live along the coast of western Alaska, especially on the Yukon-Kuskokwim delta and along the Kuskokwim River (Central Alaskan Yup'ik); in southern Alaska (the Alutiiq); and along the eastern coast of Chukotka in the Russian Far East and St. Lawrence Island in western Alaska (the Siberian Yupik). The Yupik economy has traditionally been strongly dominated by the harvest of marine mammals, especially seals, walrus, and whales.


title: Eskimo

text: The Alutiiq language is relatively close to that spoken by the Yupik in the Bethel, Alaska area. But, it is considered a distinct language with two major dialects: the Koniag dialect, spoken on the Alaska Peninsula and on Kodiak Island, and the Chugach dialect, spoken on the southern Kenai Peninsula and in Prince William Sound. Residents of Nanwalek, located on southern part of the Kenai Peninsula near Seldovia, speak what they call Sugpiaq. They are able to understand those who speak Yupik in Bethel. With a population of approximately 3,000, and the number of speakers in the hundreds, Alutiiq communities are working to revitalize their language.


title: Eskimo

text: "Yup'ik", with an apostrophe, denotes the speakers of the Central Alaskan Yup'ik language, who live in western Alaska and southwestern Alaska from southern Norton Sound to the north side of Bristol Bay, on the Yukon–Kuskokwim Delta, and on Nelson Island. The use of the apostrophe in the name "Yup'ik" is a written convention to denote the long pronunciation of the "p" sound; but it is spoken the same in other Yupik languages. Of all the Alaska Native languages, Central Alaskan Yup'ik has the most speakers, with about 10,000 of a total Yup'ik population of 21,000 still speaking the language. The five dialects of Central Alaskan Yup'ik include General Central Yup'ik, and the Egegik, Norton Sound, Hooper Bay-Chevak, and Nunivak dialects. In the latter two dialects, both the language and the people are called "Cup'ik".


title: Eskimo

text: Siberian Yupik reside along the Bering Sea coast of the Chukchi Peninsula in Siberia in the Russian Far East and in the villages of Gambell and Savoonga on St. Lawrence Island in Alaska. The Central Siberian Yupik spoken on the Chukchi Peninsula and on St. Lawrence Island is nearly identical. About 1,050 of a total Alaska population of 1,100 Siberian Yupik people in Alaska speak the language. It is the first language of the home for most St. Lawrence Island children. In Siberia, about 300 of a total of 900 Siberian Yupik people still learn and study the language, though it is no longer learned as a first language by children.


title: Eskimo

text: About 70 of 400 Naukan people still speak Naukanski. The Naukan originate on the Chukot Peninsula in Chukotka Autonomous Okrug in Siberia. Despite the relatively small population of Naukan speakers, documentation of the language dates back to 1732. While Naukan is only spoken in Siberia, the language acts as an intermediate between two Alaskan languages: Siberian Yupik Eskimo and Central Yup'ik Eskimo.


title: Eskimo

text: Some speakers of Siberian Yupik languages used to speak an Eskimo variant in the past, before they underwent a language shift. These former speakers of Sirenik Eskimo language inhabited the settlements of Sireniki, Imtuk, and some small villages stretching to the west from Sireniki along south-eastern coasts of Chukchi Peninsula. They lived in neighborhoods with Siberian Yupik and Chukchi peoples.


title: Eskimo

text: As early as in 1895, Imtuk was a settlement with a mixed population of Sirenik Eskimos and Ungazigmit (the latter belonging to Siberian Yupik). Sirenik Eskimo culture has been influenced by that of Chukchi, and the language shows Chukchi language influences. Folktale motifs also show the influence of Chuckchi culture.


title: Eskimo

text: The above peculiarities of this (already extinct) Eskimo language amounted to mutual unintelligibility even with its nearest language relatives: in the past, Sirenik Eskimos had to use the unrelated Chukchi language as a lingua franca for communicating with Siberian Yupik.


title: Eskimo

text: Many words are formed from entirely different roots from in Siberian Yupik, but even the grammar has several peculiarities distinct not only among Eskimo languages, but even compared to Aleut. For example, dual number is not known in Sirenik Eskimo, while most Eskimo–Aleut languages have dual, including its neighboring Siberian Yupikax relatives.


title: Eskimo

text: Little is known about the origin of this diversity. The peculiarities of this language may be the result of a supposed long isolation from other Eskimo groups, and being in contact only with speakers of unrelated languages for many centuries. The influence of the Chukchi language is clear.


title: Eskimo

text: Because of all these factors, the classification of Sireniki Eskimo language is not settled yet: Sireniki language is sometimes regarded as a third branch of Eskimo (at least, its possibility is mentioned). Sometimes it is regarded rather as a group belonging to the Yupik branch.


title: Isco

text: Francisco Román Alarcón Suárez (; born 21 April 1992), commonly known as Isco (), is a Spanish professional footballer who plays as an attacking midfielder. He last played for La Liga club Sevilla.


title: Isco

text: He began his career at Valencia, playing mainly in its reserve team, before joining Málaga in 2011. His performances at Málaga earned him the Golden Boy award in 2012, and a €30 million move to Real Madrid in June 2013, with whom he has won 20 major trophies including five UEFA Champions League titles, three La Liga titles, one Copa del Rey and four FIFA Club World Cup titles.


title: Isco

text: Isco represented Spain at various youth levels, including at the 2012 Olympics, and made his senior international debut in 2013, later taking part at the 2018 FIFA World Cup.


title: Isco

text: Isco was born in Benalmádena, Málaga, Andalusia. As a child he played for Atlético Benamiel, where his teammates included Charlie I'Anson. A product of Valencia's youth system, he spent the 2009–10 season with the club's reserve team in Segunda División B, netting once in 26 games and suffering relegation.


title: Isco

text: While still registered with the reserves, Isco made his debut with the first team on 11 November 2010, against Logroñés in the 2010–11 Copa del Rey, scoring two goals in a 4–1 home win (Paco Alcácer made his senior debut in the same fixture). He played his first La Liga match three days later, featuring for 20 minutes in a 2–0 home win against Getafe after coming on as a substitute for Aritz Aduriz; he thereafter made three further league appearances and two in the UEFA Champions League, all from the bench, and helped the B-team return to the third level by scoring 15 goals in their campaign.


title: Isco

text: In mid-July 2011, Isco signed a five-year contract with Málaga after the club activated his buy-out clause of €6 million. He scored his first goal for his new team on 21 November 2011, starting in a 3–1 away win against Racing de Santander; he netted again the following week in a 2–1 win against Villareal, and finished his first season with 32 games and five goals as the side qualified for the UEFA Champions League for the first time in its history.


title: Isco

text: On 18 September 2012, in Málaga's first game in the Champions League group stage, Isco netted twice in a 3–0 home win over Zenit, also being chosen as Man of the Match. On 22 December he scored the first goal in an eventual 3–2 win against Real Madrid at La Rosaleda, leading the locals to their first victory over that opponent in 29 years; in December he won the Golden Boy award, beating Stephan El Shaarawy and Thibaut Courtois.


title: Isco

text: On 28 January 2013, Isco ended speculation regarding his future by signing a new contract with Málaga – his new buyout clause was set at €35 million. He scored his eleventh goal of the campaign on 13 March, netting the opener in a 2–0 home win against Porto, good enough for last-eight qualification after the 0–1 first leg loss at the Estádio do Dragão.


title: Isco

text: On 17 June 2013, Isco confirmed that he had received offers from Real Madrid and former Málaga manager Manuel Pellegrini's Manchester City, but stated he would only make a final decision on his future after the UEFA European Under-21 Championship final. On 26 June, Real Madrid president Florentino Pérez confirmed that a deal had been reached with the player and that he would be presented by the club next week, once he passed his medical; the following day he signed a five-year contract, with Real Madrid paying €30 million for his services, thus becoming the first signing of newly appointed manager Carlo Ancelotti.


title: Isco

text: On 18 August 2013 Isco made his official debut for the "Merengues", recording an assist and scoring the winning goal in a 2–1 home win over Real Betis, the latter coming through an 85th-minute header. He continued with his form by netting two goals against Athletic Bilbao on 1 September (3–1, also at the Santiago Bernabéu).


title: Isco

text: In spite of continuing to score regularly when featured, Isco received limited opportunities in the first team due to the 4–3–3 formation not being suited for his style, but Ancelotti stated that it was "a temporary problem". He scored 11 goals in 53 official games in his first season, including 61 minutes in the Champions League final, a 4–1 win over Atlético Madrid in Lisbon.


title: Isco

text: Isco started the first game of the 2014–15 season against Real Sociedad, and scored the first in a 4–1 win against Almería on 12 December 2014. He was a regular starter in the club's FIFA Club World Cup winning campaign, scoring the last in a 4–0 semi-final routing of Cruz Azul. His performances over the season earned him many plaudits, and he was compared to Zinedine Zidane by the French legend himself.


title: Isco

text: Prior to the start of the 2015–16 season, Isco switched his shirt number from 23 to 22, which he had previously worn at Málaga. On 21 November 2015, as Real lost 0–4 at home to Barcelona in "El Clásico", he was sent off in the 84th minute for a foul on Neymar. He scored twice on 2 December, as the team won 3–1 at Cádiz in the first leg of the last 32 of the domestic cup. Isco was a part-time starter when the team won the 2015–16 UEFA Champions League defeating Atlético Madrid 5–3 on penalties in the final played at the San Siro in Milan, Italy.


title: Isco

text: He appeared 30 times during the 2016–17 season, as Real Madrid won the La Liga title; he also started in the 2016–17 UEFA Champions League final against Juventus in Cardiff, which Madrid won 4–1.


title: Isco

text: On 8 August 2017, Isco scored a goal in the 2017 UEFA Super Cup, contributing to Real Madrid's 2–1 victory against Manchester United. His performance earned him the man of the match award. In September 2017, he signed a new deal with Real Madrid until June 2022. During the 2017–18 UEFA Champions League, he made eleven appearances, when Madrid won their third consecutive and 13th overall Champions League title as they beat Liverpool 3–1 in Kyiv. He made 23 appearances during the league season, as Real Madrid won the 2019–20 La Liga. In the 2021–22 season he was not an important player under Carlo Ancelotti as Real Madrid triumphed in 2021–22 La Liga and the 2021–22 UEFA Champions League. On 30 May 2022, Isco confirmed on social media that he was leaving the club after nine years.


title: Isco

text: On 7 August 2022, Sevilla announced that the club reached an agreement in principle for the signing of Isco, with the player agreeing to a two-year contract.


title: Isco

text: Isco appeared with Spain's U17 in 2009 FIFA World Cup, scoring three times in the process as the nation finished third. In 2011 he represented his country – together with Málaga teammate Recio – in the U-20 World Cup held in Colombia, netting one goal in an eventual quarter-final exit.


title: Isco

text: On 28 February 2012 Isco was called to the Spain under-23s team for a friendly against Egypt, but did not leave the bench. On 15 May he was picked for the first time to the senior team for friendlies with Serbia and South Korea, but took no part in either match. In July, he went with the under-23 team to the Olympics in London, starting all of Spain's matches as they were eliminated without scoring a goal.


title: Isco

text: On 6 February 2013 Isco made his debut with the main squad, playing the last 30 minutes in a 3–1 win over Uruguay in Doha, Qatar. Also that year he appeared at the UEFA European Under-21 Championship in Israel, he scored in the final and finished the competition with the "Bronze Boot" (3 Goals) and made the team of the tournament as a key player for the eventual winners.


title: Isco

text: Isco scored his first international goal for Spain in a UEFA Euro 2016 qualifying match against Belarus in Huelva on 15 November 2014, opening a 3–0 win.


title: Isco

text: Isco scored his first hat-trick for Spain on 27 March 2018, netting three goals against Argentina in a 6–1 friendly win.


title: Isco

text: In May 2018, he was named in Spain's final squad for the 2018 FIFA World Cup. He scored his first and only goal in the last group stage match against Morocco, in an eventual 2–2 draw. His goal helped the team to qualify to the second round as group winners.


title: Isco

text: Isco began his career as an attacking midfielder or as a second striker: at Málaga, under Manuel Pellegrini, he often played in an attacking role in the team's 4–2–3–1 formation. Following his move to Real Madrid, manager Carlo Ancelotti also played him in a deep-lying playmaker role requiring more sacrifice and defensive duties than his natural position. He has also been deployed as a winger on occasion.


title: Isco

text: A quick, skillful and creative player, with excellent technique and ball control, Isco is known for his natural ability to pick out an inch-perfect pass, dribble effortlessly through two or three challenges or drift a shot into the top corner of the goal. His one-step-ahead reading of the game, his anticipation of space and the general directing of his side's performances are his most common traits.


title: Isco

text: In 2013, Isco was credited by "Marca" journalist Pablo Polo as being "the most promising young player in Spanish football", comparing his strength, skill, and low centre of gravity to Sergio Agüero, and his vision and passing abilities to Zinedine Zidane. Former Real Madrid captain Iker Casillas predicted in 2015 that Isco would become Spain's most important player.


title: The White Queen (TV series)

text: The White Queen is a British historical drama television drama serial developed for BBC One. It is based on Philippa Gregory's historical novel series "The Cousins' War" ("The White Queen", "The Red Queen", and "The Kingmaker's Daughter"). The first episode premiered on BBC One on 16 June 2013 in the United Kingdom. It was first broadcast in the United States on Starz on 9 August 2013.


title: The White Queen (TV series)

text: The drama is set against the backdrop of the Wars of the Roses and presents the story of the women involved in the long conflict for the throne of England. It starts in 1464; the nation has been at war for nine years fighting over who is the rightful king as two sides of the same family, the House of York and the House of Lancaster, contest the throne. The story follows three women, Elizabeth Woodville, Margaret Beaufort and Anne Neville, who manipulate events behind the scenes of history to gain power. Elizabeth Woodville is the protagonist in the novel "The White Queen", and Margaret Beaufort and Anne Neville are the focus of the novels "The Red Queen" and "The Kingmaker's Daughter"; the three characters appear in the three novels that make up the television drama.


title: The White Queen (TV series)

text: The final episode of "The White Queen" aired on 18 August 2013 and the drama was released on DVD and Blu-ray Disc the following day. Two days later, it was confirmed that "The White Queen" would not be returning for a second series. In a statement to "Broadcast", the BBC stated that the show was always planned as a one-series serial miniseries. In October 2013, "The Telegraph" reported that Starz planned to develop a sequel called "The White Princess", based on Gregory's 2013 novel of the same name. Gregory confirmed that the project was underway in August 2015. On 7 February 2016, Gregory announced on Facebook that the sequel was officially confirmed to be in production, with the scripts being written. On 15 March 2018, Starz announced that it would create a continuation of "The White Queen" and "The White Princess" to be titled "The Spanish Princess", which would be based on Gregory's novels "The Constant Princess" and "The King's Curse" and centre on Catherine of Aragon.


title: The White Queen (TV series)

text: "The White Queen" was nominated for three Golden Globe Awards, four Primetime Emmy Awards and a People's Choice Award.


title: The White Queen (TV series)

text: The large majority of the cast is British, but since the drama was shot in Belgium, several local actors are featured: Veerle Baetens, Jurgen Delnaet, Joren Seldeslachts, Elsa Houben, Ben Forceville and Ben Van den Heuvel all appear in the serial. Rebecca Ferguson who portrays Elizabeth Woodville, the White Queen, is from Sweden (her mother is originally from England).


title: The White Queen (TV series)

text: The budget was £25 million and took 120 days to shoot, consisting of 250 sets including: dungeons, palaces, castles, 12 state banquets and at least two coronations.


title: The White Queen (TV series)

text: A companion two-part documentary series, "The Real White Queen and Her Rivals", presented by Philippa Gregory, was made to accompany the series. It was broadcast on BBC Two on 17 and 24 July 2013.


title: The White Queen (TV series)

text: "The White Queen" was filmed on location in Belgium, where several landmarks in Bruges and Ghent represent locations in London and elsewhere:


title: The White Queen (TV series)

text: A number of anachronisms and historical inaccuracies received attention, especially in the costumes and locations used. Pat Stacey of the Irish "Evening Herald", said that "the historical howlers are piling up like bodies on a battlefield, week after week", comparing it to the "flaws" spotted by "nitpickers" in "Downton Abbey" and "Foyle's War".


title: The White Queen (TV series)

text: Bernadette McNulty, of "The Daily Telegraph", commented that in the final episode, the Battle of Bosworth Field appears to take place in a forest rather than a field. Mary McNamara, of the "Los Angeles Times", states that in order to fit thirty years of history into ten episodes, "years collapse into minutes, intricate policy is condensed into cardboard personalities, and the characters are swiftly categorized as good or evil".


title: The White Queen (TV series)

text: Others questioned the depiction of the major characters. Amy Licence, Cecily's biographer, states that Cecily Neville, Duchess of York, is portrayed in the first episode as "straight from the pages of a novel rather than the actual proud aristocrat who asserted her own right to rule". Historian Michael Hicks commented, "They've fiddled with the chronology" but added, "I can see why they decided to restrict the cast of characters, and play up the rivalry between Elizabeth and the Earl of Warwick", and also said "As with Philippa Gregory's source novels, they've done their research".


title: The White Queen (TV series)

text: What [BBC One and Starz] wanted was not a historical series based on the documents from the War of the Roses. They wanted "my" take on it, so that's what they got.


title: The White Queen (TV series)

text: ...the truth can be pretty boring. You have to up the stakes and make something up or twist it to make it a little bit more exciting


title: The White Queen (TV series)

text: In the UK the critical reception was described as “mixed at best” and 'mostly scathing'. Sam Wollaston of "The Guardian" praised the characters, suggesting Janet McTeer (Jacquetta) stole the show. He also praised the romantic elements, commenting "Mmmm, steamy". Gerard O'Donovan of "The Daily Telegraph" praised the casting of the supporting characters and the exciting "lust and vengeance" fuelling the drama, but objected to the prettified portrayal of 15th century England. "The Independent"'s Tom Sutcliffe found it "less historically plausible than "Game of Thrones"", but concluded that "I’m sure it will give innocent pleasure to many". Barbara Ellen in "The Observer", compared the show to "a strange Timotei advert, featuring fornication, shouting, horses, armour", whilst commenting that the sex scenes, toned down in the British version, "were so vanilla, I ended up fancying an ice cream".


title: The White Queen (TV series)

text: Reviewing the final episode for "The Daily Telegraph", Bernadette McNulty stated that the series, "fell between two stools—not serious enough for the scholars nor glitzy enough for the "Game of Thrones" fans". The ratings were however good. The first episode received 6 million viewers, stabilising at around the 4–4.5 million mark from the second episode, although occasionally it dipped below this on first broadcast figures.


title: The White Queen (TV series)

text: "The White Queen" received generally positive reviews after airing on the Starz network on 10 August 2013. Joanne Ostrow of "The Denver Post" described the drama as "Sexy, empowering and violent". Linda Stasi of the "New York Post" agreed that the programme was a hit, saying ""The White Queen" [is] a royal winner". It was again unfavourably compared to HBO's high budget and fast-paced "Game of Thrones". In comparison to "Game of Thrones" Neil Genzlinger speculated that "even if dragons were allowed, they’d mostly be lounging around and, between bouts of relatively tame dragon sex, talking about eating people rather than actually eating them". The performances of Janet McTeer and James Frain were praised by several American reviewers. Amanda Hale, despite receiving praise for her performance by British reviewers, was unfavourably reviewed by US critic Matthew Gilbert. He said "There were moments when I rolled my eyes—Amanda Hale, as the mother of young Henry Tudor, looks as if she is going to explode with ill intent. Really, her performance could be transposed into a Mel Brooks spoof". Louise Mellor of Den of Geek added "Why does Lady Margaret Beaufort constantly look like she is sucking on a Murray Mint?" "TV Guide" writer Matt Roush praised Hale's performance as "intense", and favoured the drama, labelling it as "fun", and on a one to ten scale, ranking it at seven.


title: The White Queen (TV series)

text: "The White Queen" was nominated three times at the 71st Golden Globe Awards, with acting nominations for Ferguson and McTeer and an overall nomination for the miniseries in the Best Miniseries or Television Film category.


title: The White Queen (TV series)

text: "The White Queen" was nominated for several awards including three Golden Globe Awards, four Primetime Emmy Awards and a People's Choice Award for Favorite TV Movie/Miniseries.


title: The White Queen (TV series)

text: Despite initial plans for a follow-up series, on 20 August 2013 the BBC announced they were not commissioning one, possibly due to the lukewarm reception the series received. However, in October 2013,"The Telegraph" reported that Starz was planning to develop a sequel miniseries called "The White Princess", based on Gregory's 2013 novel of the same name.


title: The White Queen (TV series)

text: Starz CEO Chris Albrecht announced in January 2014 that the network was working with "White Queen" screenwriter Emma Frost on the project. Starz would produce the "White Princess" miniseries without involvement from the BBC. Gregory confirmed that the project was underway in August 2015. On 7 February 2016, Gregory announced on Facebook that the sequel was officially confirmed to be in production, with the scripts being written. Production on the eight-episode miniseries began in June 2016. It aired weekly on Starz from 6 April to 4 June 2017.


title: The White Queen (TV series)

text: On 15 March 2018, Starz announced that it would create a continuation of "The White Queen" and "The White Princess" to be titled "The Spanish Princess", which would be based on Gregory's novels "The Constant Princess" and "The King's Curse" and centre on Catherine of Aragon. It premiered on 5 May 2019.


title: Ender's Game

text: Ender's Game is a 1985 military science fiction novel by American author Orson Scott Card. Set at an unspecified date in Earth's future, the novel presents an imperiled humankind after two conflicts with an insectoid alien species they dub "the buggers". In preparation for an anticipated third invasion, Earth's international military force recruits young children, including the novel's protagonist, Andrew "Ender" Wiggin, to be trained as elite officers. The children learn military strategy and leadership by playing increasingly difficult war games, including some in zero gravity, where Ender's tactical genius is revealed.


title: Ender's Game

text: The book originated as a short story of the same name, published in the August 1977 issue of "Analog Science Fiction and Fact". The novel was published on January 15, 1985. Later, by elaborating on characters and plotlines depicted in the novel, Card wrote additional books in the "Ender's Game" series. Card released an updated version of "Ender's Game" in 1991, changing some political facts to account for the then-recent dissolution of the Soviet Union and the end of the Cold War. The novel has been translated into 34 languages.


title: Ender's Game

text: Reception of the book has been mostly positive. It has become suggested reading for many military organizations, including the United States Marine Corps. "Ender's Game" was recognized as "best novel" by the 1985 Nebula Award and the 1986 Hugo Award in the genres of science fiction and fantasy. Its four sequels—"Speaker for the Dead" (1986), "Xenocide" (1991), "Children of the Mind" (1996)"," and "Ender in Exile" (2008)"—"follow Ender's subsequent travels to many different worlds in the galaxy. In addition, the later novella "A War of Gifts" (2007) and novel "Ender's Shadow" (1999), plus other novels in the "Shadow" saga, take place during the same time period as the original.


title: Ender's Game

text: A film adaptation of the same name, written for the screen and directed by Gavin Hood, and starring Asa Butterfield as Ender, was released in October 2013. Card co-produced the film. The novel has also been adapted into two comic book series.


title: Ender's Game

text: Humanity has mastered interplanetary spaceflight and they encounter an insect-like alien race called the Formics, and war breaks out. The humans achieve a narrow victory, but fearing future threats of a Formic invasion, create the International Fleet (I.F.) and train gifted children to become commanders at their orbiting Battle School.


title: Ender's Game

text: Andrew "Ender" Wiggin is born a "Third": a rare exception to Earth's two-child policy, allowed by the government due to the promise shown by his two older siblings. The eldest, Peter, is a highly intelligent sociopath who sadistically bullies Ender. His sister, Valentine, is more sympathetic towards him. The I.F. remove Ender's monitoring device when he is six years old, seemingly ending his chances of Battle School. He is bullied by a fellow student, Stilson, but Ender turns violent and attacks him. Unknown to Ender, Stilson later dies from his wounds. I.F. Colonel Hyrum Graff visits Ender after hearing about the fight. Ender attests that by showing superiority now, he has prevented future struggle. Graff offers him a place in the Battle School.


title: Ender's Game

text: Once at Battle School, Graff and the other leaders covertly work to keep Ender isolated from the other cadets. Ender finds solace in playing a simulated adventure game that involves killing a giant. The cadets participate in competitive war simulations in zero gravity, where Ender quickly masters the game with novel tactics. To further wear Ender down, he is promoted to command a new army composed of raw recruits, then pitted against multiple armies at once, but Ender's success continues. Ender's jealous ex-commander, Bonzo Madrid, draws him into a fight outside the simulation, and once again seeking to preemptively stop future conflicts Ender uses excessive force, and like Stilson before him Bonzo dies from his injuries.


title: Ender's Game

text: Meanwhile on Earth, Peter Wiggin uses a global communication system to post political essays under the pseudonym "Locke", hoping to establish himself as a respected orator and then as a powerful politician. Valentine, despite not trusting Peter, agrees to publish alongside him as "Demosthenes". Their essays are soon taken seriously by the government. Though Graff is told their true identities, he recommends that it be kept a secret, because their writings are politically useful.


title: Ender's Game

text: Ender, now ten years old, is promoted to Command School. After some preliminary battles in the simulator, he is introduced to Mazer Rackham, a hero from the Formic war who saw key patterns in the Formic behavior. Ender participates in space combat simulations created and controlled by Mazer. As the skirmishes become harder, he is joined by some of his friends from the Battle School as sub-commanders. Despite this, Ender becomes depressed by the battles, his isolation, and by the way Mazer treats him.


title: Ender's Game

text: For his final test, under observation by I.F.'s commanders, Ender finds his fleet far outnumbered by Formic ships surrounding their homeworld. Hoping to earn himself expulsion from the school for his ruthlessness, he sacrifices his entire fleet to fire a Molecular Disruption Device at the planet. The Device destroys the planet and the surrounding Formic fleet. He is shocked to hear the I.F. commanders cheering in celebration. Mazer informs Ender that the "simulations" he has been fighting were real battles, directing human spacecraft against Formic fleets via an ansible, and that Ender has won the war. Despite Graff congratulating him, Ender becomes more depressed, realizing that he has committed genocide and become just like his brother.


title: Ender's Game

text: Ender spends several weeks isolated before recovering. He learns that war has broken out on Earth. Ender and Valentine join a group of space colonists.


title: Ender's Game

text: On their new planet, Ender becomes the colony's governor. He discovers a structure that matches the simulation of the giant game from Battle School, and inside finds the dormant egg of a Formic queen. The queen telepathically communicates to Ender that before the first Formic war, they had assumed humans were a non-sentient race, for want of collective consciousness, but realized their mistake too late. Instead, she had reached out to Ender to draw him here and requests that he take the egg to a new planet for the Formics to colonize.


title: Ender's Game

text: Ender takes the egg and, with information from the queen, writes "The Hive Queen" under the alias "Speaker for the Dead". Peter, now the leader of Earth and age 77 with a failing heart, recognizes Ender as the author of "The Hive Queen". He asks Ender to write a book about him, which Ender titles "The Hegemon". The combined works create a new type of funeral, in which the Speaker for the Dead tells the whole and unapologetic story of the deceased, adopted by many on Earth and its colonies. Ender and Valentine leave the colony and travel to many other worlds, looking for a safe place to establish the unborn Hive Queen.


title: Ender's Game

text: The original "Ender's Game" is a short story that provides a small snapshot of Ender's experiences in Battle School and Command School; the full-length novel encompasses more of Ender's life before, during, and after the war, and also contains some chapters describing the political exploits of his older siblings back on Earth. In a commentary track for the 20th anniversary audiobook edition of the novel, as well as in the 1991 Author's Definitive Edition, Card stated that "Ender's Game" was written specifically to establish the character of Ender for his role of the Speaker in "Speaker for the Dead", the outline for which he had written before novelizing "Ender's Game". In his 1991 introduction to the novel, Card discussed the influence of Isaac Asimov's Foundation series on the novelette and novel. Historian Bruce Catton's work on the American Civil War also influenced Card.


title: Ender's Game

text: "Ender's Game" was the first science-fiction novel published entirely online, when it appeared on Delphi a year before print publication.


title: Ender's Game

text: "Ender's Game" won the Nebula Award for best novel in 1985, and the Hugo Award for best novel in 1986, considered the two most prestigious awards in science fiction. "Ender's Game" was also nominated for a Locus Award in 1986. In 1999, it placed No. 59 on the reader's list of Modern Library 100 Best Novels. It was also honored with a spot on American Library Association's "100 Best Books for Teens". In 2008, the novel, along with "Ender's Shadow", won the Margaret A. Edwards Award, which honors an author and specific works by that author for lifetime contribution to young adult literature. "Ender's Game" was included in Damien Broderick's book "Science Fiction: The 101 Best Novels 1985–2010". It ranked number nine on Locus's top SF novels published before 1990.


title: Ender's Game

text: "The New York Times" writer Gerald Jonas asserts that the novel's plot summary resembles a "grade Z, made-for-television, science-fiction rip-off movie", but says that Card develops the elements well despite this "unpromising material". Jonas further praises the development of the character Ender Wiggin: "Alternately likable and insufferable, he is a convincing little Napoleon in short pants."


title: Ender's Game

text: The novel has received criticism for its realistic portrayal of violence and its justification. Elaine Radford's review, "Ender and Hitler: Sympathy for the Superman", posits that Ender Wiggin is an intentional reference by Card to Adolf Hitler and criticizes the violence in the novel, particularly at the hands of the protagonist. Card responded to Radford's criticisms in "Fantasy Review", the same publication. Radford's criticisms are echoed in John Kessel's essay "Creating the Innocent Killer: Ender's Game, Intention, and Morality", wherein Kessel states: "Ender gets to strike out at his enemies and still remain morally clean. "Nothing" is his fault." Noah Berlatsky makes similar claims in his analysis of the relationship between colonization and science fiction, where he describes "Ender's Game" as in part a justification of "Western expansion and genocide".


title: Ender's Game

text: The U.S. Marine Corps Professional Reading List makes the novel recommended reading at several lower ranks, and again at Officer Candidate/Midshipman.


title: Ender's Game

text: The book was placed on the reading list by Captain John F. Schmitt, author of FMFM-1 (Fleet Marine Force Manual, on maneuver doctrine) for "provid[ing] useful allegories to explain why militaries do what they do in a particularly effective shorthand way".


title: Ender's Game

text: In introducing the novel for use in leadership training, Marine Corps University's Lejeune program opines that it offers "lessons in training methodology, leadership, and ethics as well. . . . "Ender's Game" has been a stalwart item on the Marine Corps Reading List since its inception". It is also used as an early fictional example of game-based learning.


title: Ender's Game

text: The weeks ending June 9, August 11, September 1, September 8, October 27, November 3, November 10, and November 24, 2013, the novel was No. 1 on "The New York Times"' Best Sellers List of Paperback Mass-Market Fiction.


title: Ender's Game

text: In 1991, Card made several minor changes to reflect the political climates of the time, including the decline of the Soviet Union. In the afterword of "Ender in Exile" (2008), Card stated that many of the details in chapter 15 of "Ender's Game" were modified for use in the subsequent novels and short stories. In order to more closely match the other material, Card has rewritten chapter 15 and plans to offer a revised edition of the book.


title: Ender's Game

text: After several years of speculation on the possibility, Summit Entertainment financed and coordinated the development of a film in 2011, serving as its distributor. Gavin Hood directed the film, which lasts 1 hour and 54 minutes. Filming began in New Orleans, Louisiana, on February 27, 2012, and was released on November 1, 2013 (USA). A movie preview trailer was released in May 2013 and a second trailer was released later that year.


title: Ender's Game

text: Card has called "Ender's Game" "unfilmable", "because everything takes place in Ender's head", and refused to sign a film deal unless he could ensure that the film was "true to the story". Of the film that he eventually agreed to, Card said it was "the best that good people could do with a story they really cared about and believed in", and while warning fans not to expect a completely faithful adaptation, called the film "damn good".


title: Ender's Game

text: The movie starred Asa Butterfield as Ender Wiggin and Harrison Ford as Colonel Hyrum Graff. It grossed $125 million worldwide, and received mixed reviews from critics.


title: Ender's Game

text: In 2008 it was announced an Ender's Game video game was in the works. It was to be known as "Ender's Game: Battle Room" and was a planned digitally distributed video game for all viable downloadable platforms. It was under development by Chair Entertainment, which also developed the Xbox Live Arcade games "Undertow" and "Shadow Complex". Chair had sold the licensing of "Empire" to Card, which became a bestselling novel. Little was revealed about the game, save its setting in the Ender universe and that it would have focused on the Battle Room.


title: Ender's Game

text: In December 2010, it was announced that the video game development had stopped and the project put on indefinite hold.


title: Ender's Game

text: Orson Scott Card and Amaze Entertainment also came to an agreement regarding a video game adaption of the novel but nothing ever materialized.


title: Ender's Game

text: Marvel Comics and Orson Scott Card announced on April 19, 2008, that they would be publishing a limited series adaptation of "Ender's Game" as the first in a comic series that would adapt all of Card's "Ender's Game" novels. Card was quoted as saying that it is the first step in moving the story to a visual medium. The first five-issue series, titled "", was written by Christopher Yost, while the second five-issue series, "", was written by Mike Carey.


title: Ender's Game

text: "Ender's Game Alive: The Full Cast Audioplay", is an audio drama written by Orson Scott Card, based on the "Ender's Game" novel. At over seven hours in length, this retelling of "Ender's Game" hints at storylines from "Teacher's Pest", "The Polish Boy", "The Gold Bug", "Ender's Shadow", "Shadow of the Hegemon", "Shadow of the Giant", "Shadows in Flight", "Earth Unaware", and "Speaker for the Dead", and gives new insight into the beginnings of Ender's philotic connection with the Hive Queen.


title: Ender's Game

text: "Ender's Game Alive" is directed by Gabrielle de Cuir, produced by Stefan Rudnicki at Skyboat Media, published by Audible.com, and performed by a cast of over 30 voice actors playing over 100 roles.


title: Ender's Game

text: Audible also commissioned a German-language adaptation of the same script. Titled "Ender's Game - Das ungekürzte Hörspiel" ("The unabridged audio drama"), this adaptation was produced by "Lauscherlounge", directed by Balthasar von Weymarn and performed by a cast of 100 different voice actors including children.


title: Diana Dors

text: Dors came to public notice as a blonde bombshell, much in the style of Americans Marilyn Monroe, Jayne Mansfield and Mamie Van Doren. Dors was promoted by her first husband, Dennis Hamilton, mostly in sex film-comedies and risqué modelling. After it was revealed that Hamilton had been defrauding her, she continued to play up to her established image, and she made tabloid headlines with the parties reportedly held at her house. Later, she showed talent as a performer on TV, in recordings, and in cabaret, and gained new public popularity as a regular chat-show guest. She also gave well-regarded film performances at different points in her career.


title: Diana Dors

text: According to David Thomson, "Dors represented that period between the end of the war and the coming of Lady Chatterley in paperback, a time when sexuality was naughty, repressed and fit to burst."


title: Diana Dors

text: Diana Mary Fluck was born in Swindon, Wiltshire, on 23 October 1931 at the Haven Nursing Home, Kent Road, Swindon, Wiltshire. Her mother Winifred Maud Mary (Payne) was married to Albert Edward Sidney Fluck, a railway clerk. Mary had been having an affair with another man, and when she announced she was pregnant with Diana, she admitted she had no idea if the other man or her husband was the father.


title: Diana Dors

text: Diana was educated at a small private school, Selwood House, in Bath Road, Swindon, from which she was eventually expelled. Diana would repeatedly talk and otherwise misbehave during French lessons, being given by an elderly Czech Jewish refugee, who admonished her "Pay attention. After the war, you will be able to go on holiday to France and speak with the locals." She replied " Who wants to go to silly old France anyway?". At which point he threw a stick of chalk at her. She caught the chalk and threw it back at him, hitting him, for which she was expelled.


title: Diana Dors

text: During the war, Diana dated for a while a boy called Desmond Morris from the Boys High School also on Bath Road Swindon. Morris, who was from one of the town's wealthier, more prominent families, used to take her aboard his rowboat on the lake in his family's garden. The garden and lake now comprise 'Queen's Park' in Swindon. In the late 1960s, Morris (a zoologist) became famous as the author of The Naked Ape and presenter of a TV series made of the book.


title: Diana Dors

text: She enjoyed the cinema; her heroines from the age of eight onwards were Hollywood actresses Veronica Lake, Lana Turner and Jean Harlow.


title: Diana Dors

text: Towards the end of the war, Dors entered a beauty contest to find a pin-up girl for "Soldier Magazine"; she came in third place. This led to work as a model in art classes and she began to appear in such local theatre productions as "A Weekend in Paris" and" Death Takes a Holiday."


title: Diana Dors

text: Having excelled in her elocution studies, after lying about her age, at 14 she was offered a place to study at London Academy of Music and Dramatic Art (LAMDA), becoming the college's youngest student, starting in January 1946.


title: Diana Dors

text: She lodged at the Earls Court YWCA, and supplemented her £2 per week allowance, most of which was spent on her lodgings, by posing for the London Camera Club for one guinea (£1, 1s in "old money", £1.05 in "new") an hour. Signed to the Gordon Harbord Agency in her first term, she won a bronze medal, awarded by Peter Ustinov, and in her second won a silver with honours. She supplemented her earnings by posing as a model.


title: Diana Dors

text: Just prior to LAMDA, Dors had unsuccessfully auditioned for the part of Kanchi in "Black Narcissus" that was played by Jean Simmons. She acted in public theatre pieces for LAMDA productions, one of which was seen by casting director Eric L’Epine Smith. He suggested Dors for what became the actor's screen debut in the noir film "The Shop at Sly Corner" (1947). Dors was cast in a walk-on role that developed into a speaking part. Her pay rate was £8 per day for three days.


title: Diana Dors

text: During the signing of contracts, in agreement with her father, she changed her contractual surname to Dors, the maiden name of her maternal grandmother; this was at the suggestion of her mother Mary. Dors later commented on her name:


title: Diana Dors

text: Returning to LAMDA, two weeks later she was asked by her agent to audition for "Holiday Camp" (1947) by dancing a jitterbug with young actor John Blythe. Gainsborough Studios gave her the part at a pay rate of £10 per day for four days.


title: Diana Dors

text: Dors' third film was "Dancing with Crime" (1947), shot at Twickenham Studios opposite Richard Attenborough during the coldest winter for nearly 50 years, for which she was paid £10 per day for 15 days.


title: Diana Dors

text: Following her return to LAMDA, she graduated in spring 1947 by winning the London Films Cup, awarded to LAMDA by Sir Alexander Korda for the "girl most likely to succeed in films." Greta Gynt presented the award to her at a ceremony. Dors timed her return to Swindon to visit her parents, with the local release of "The Shop at Sly Corner."


title: Diana Dors

text: At the age of 15, Dors signed a contract with the J. Arthur Rank Organisation, and joined J. Arthur Rank's "Charm School" for young actors, subsequently appearing in many of their films. The Charm School had been established by producer Sydney Box who Rank appointed head of production at Gainsborough Studios, one of the companies under the Rank umbrella. (Other students of the school who went on to become famous included Petula Clark, Claire Bloom and Christopher Lee.) Dors disliked the Charm School but received more publicity than other students at the time in part because of her willingness to be photographed in glamour shots and attending premieres. An August 1947 article said her nickname was "The Body".


title: Diana Dors

text: Her first film under contract to Rank was "Streets Paved with Water" where she was the fourth lead; filming started in July 1947 but was cancelled after a month. She had a small role as a maid in Gainsborough's "The Calendar" (1948), and a good part in "Good-Time Girl" (1948), as a troubled teen being warned at the beginning and end of the film. She then played the role of Charlotte in Rank's adaptation of "Oliver Twist" (1948), directed by David Lean.


title: Diana Dors

text: Dors had a bigger part in a B film, "Penny and the Pownall Case" (1948), a 50-minute movie for Highbury Productions. This was her first significant role, the second female lead after Peggy Evans. Bob Monkhouse wrote in his memoirs that when he saw the film in the cinema he thought it was "really bad" but was impressed by Dors. "It was her energy that at first attracted me", he wrote. "Her acting was raw but promising and her vitality made me remember her afterwards as if her part of the screen had been in colour."


title: Diana Dors

text: In August 1948 Rank announced Dors would be one of its young players that they would be building up into stars. (The others included David Tomlinson, Susan Shaw, Patricia Plunkett, Sally Ann Howes and Derek Bond.) In September she was in "A Boy, a Girl and a Bike" (1949) by which stage her fee was £30 a week; she says that the movie took six months to shoot.


title: Diana Dors

text: After a bit in "My Sister and I" (1948), Dors was given a showy comic support part in "Here Come the Huggetts" (1948), a series that followed "Holiday Camp", playing the lazy niece of the Huggetts who causes trouble when she goes to stay with the family. Dors was so well received that she returned for the second movie in the series, "Vote for Huggett" (1949). Both were produced by Betty E. Box who recalled "Diana was all woman", despite only being a teenager. "She thought like a woman, acted like a woman, and looked like a woman." She was also in "It's Not Cricket" (1949).


title: Diana Dors

text: David Shipman later argued that when Dors "was young she was very funny: she did a neat parody of the man-mad teenager, the nubile cousin who ogles the best man at the wedding breakfast, the office junior ready for a bit of slap and tickle behind the filing cupboard. She was the best thing about most of her early films."


title: Diana Dors

text: Rank promoted Dors to leading roles in 1949's "Diamond City", the story of a boom town in South Africa in 1870. Jean Kent was originally cast as a saloon owner in love with hero David Farrar, who loves a missionary played by Honor Blackman; Kent turned down the role and Dors took over. Filming took place in late 1948 and early 1949 when Dors was only seventeen years old. She was paid £30 a week. She says the part of "Diana" in "The Blue Lamp" was written for her but she lost it to Peggy Evans when the director decided he wanted "a waif type"; she also tested for the female lead in "The Cure for Love" but lost out to Dora Bryan.


title: Diana Dors

text: While waiting for "Diamond City" to come out, Rank sent Dors to appear with Barbara Murray in "The Cat and the Canary" at the Connaught Theatre, Worthing. She then appeared on stage in "The Good Young Man" with Digby Wolfe and in September 1949 with Marcel Le Bon in a touring production of "Lisette", a three-act play by Douglas Sargeant"."


title: Diana Dors

text: In November 1949 Dors was contracted out to Ealing Studios who put her in "Dance Hall" (1950), as one of the four female leads, along with Natasha Perry, Petula Clark and Jane Hylton. Dors later called it "a ghastly film – quite one of the nastiest I ever made" although she received good personal reviews.


title: Diana Dors

text: In February 1950 she went into the play "Man of the World" with Lionel Jeffries and Roger Livesey, directed by Kenneth Tynan, which opened at the Shakespeare Memorial Theatre. It only had a short run but she received strong personal notices and was awarded "Theatre World" magazine's Actress of the Year Award.


title: Diana Dors

text: However "Diamond City" flopped at the box office and with Rank now £18 million (equivalent to £ in ) in debt, Rank closed their "Charm School" and made Dors redundant in September 1950. David Shipman argued that "though the Rank Organization knew how to put Dors through its Charm School paces they had no idea how to handle such an individual talent."


title: Diana Dors

text: Dors landed the female lead supporting Ronald Shiner in "Worm's Eye View" (1951), a comedy which was one of the most popular movies of 1951 in Britain; her fee was £250. She had a leading role in a TV movie for the BBC, "Face to Face" (1951) then appeared in two plays – "Miranda" at Stratford, and "Born Yesterday" at Henley. She auditioned for the lead in "Lady Godiva Rides Again" and was turned down because it was felt she did not appeal to men and women, but she was given a support role. She later said her fee of £750 helped restore her financial situation.


title: Diana Dors

text: With her boyfriend in jail and having just undergone her first abortion, Dors met Dennis Hamilton Gittins in May 1951 while filming "Lady Godiva Rides Again" for Rank, a film which has uncredited appearances by Joan Collins, and a four-months pregnant Ruth Ellis. (Dors described herself as "the only sex symbol Britain has produced since Lady Godiva".) The couple married five weeks later at Caxton Hall on Monday, 3 July 1951.


title: Diana Dors

text: Later that month Dors starred in a British film noir "The Last Page" (1952), directed by Terence Fisher for Hammer Films in association with producer Robert L. Lippert; her fee was £450 for four weeks work. Lippert reportedly offered Dors a one-picture deal on condition she divorced Hamilton but Dors refused.


title: Diana Dors

text: Dors often played characters suffering from unrequited love, and by the mid-1950s, she was known as "the English Marilyn Monroe". Hamilton also made sure that she had the lifestyle attachments of a sex symbol, agreeing to a lease-deal with Rolls-Royce such that a headline could be created in the tabloids that, at the age of 20, she was the youngest registered keeper of a Rolls-Royce in the UK.


title: Diana Dors

text: Hamilton went to great lengths to advance Dors' career and his income or influence from it. After her death, friends and biographers said that Hamilton would lend Dors as a sexual favour to hiring producers and leading actors, much as in the "casting couch" practices of Hollywood.


title: Diana Dors

text: Dors worked with Terry-Thomas on the TV series "How Do You View?" for £250. The "Sunday Times" called her a "charming addition to his crazy household."


title: Diana Dors

text: In December 1951 a newspaper reported that " likeliest British names for glamour in 1952 are probably Britain's Glynis Johns and plumpish Diana Dors. Both are going to Hollywood." She gained a second offer from Burt Lancaster for a lead role in his "His Majesty O'Keefe" (1954), but this time Hamilton turned down the part on her behalf before she even knew of the offer. The result was that her early career was restricted to mainly British films.


title: Diana Dors

text: In April 1952 Dors appeared in a stage revue with Wally Chrisham, "Rendezvous" which eventually made it to London."Variety" said in May she made the "only noteworthy contribution" to the play which ultimately only had a short run. However until Hamilton's guidance she received enormous publicity. Dors later said these reviews, in addition to Hamilton's publicity, helped turn her career around. Dors later said Hamilton "promoted me strictly as a sex symbol, never as an actress. But it served its purpose and at the time it was fun."


title: Diana Dors

text: Laurence Olivier reportedly offered her a role in "The Beggar's Opera" but Dors says the start date kept changing. Instead she accepted an offer to appear in a show in Blackpool, "Life with Lyons" at a fee of £100 a week for three months. . The Times newspaper reported on Tuesday 28 July 1953 (page 2) that Diana (under her married name Diana Mary Gittins) received an absolute discharge after being convicted of the theft of several bottles of spirits from a friends flat in Blackpool


title: Diana Dors

text: Dors' film career started to improve when she was cast in a support role in "My Wife's Lodger" (1952), directed by Maurice Elvey. Elvey cast her in a small role in another low budget comedy called "The Great Game" (1953) made by Adelphi Films.


title: Diana Dors

text: In December 1952 Dors appeared on stage in "It Remains to be Seen" which only ran seven performances. The "Observer" said Dors "bangs at it with goodwill." The "Daily Telegraph" said she "carries blondeness to its ultimate pitch, works very hard and is likeable as a good-hearted little trollop."


title: Diana Dors

text: In March 1953 Dors did a cabaret act in Glasgow. "Variety" said she showed "little ability to be a personality act." She began touring a variety act and would perform variations of this act throughout her career.


title: Diana Dors

text: Adelphi were impressed by Dors, announcing in February 1953 that they had bought the screen rights to the popular play "Is Your Honeymoon Really Necessary?" (1953) as a vehicle for Dors; it was directed by Elvey in April. Her fee was £1,000 for four weeks work. She was paid that for another comedy, "It's a Grand Life" (1953) with Frank Randle.


title: Diana Dors

text: Dors had a support part for Hammer in "The Saint's Return" (1954). In September 1953 the producer of that movie, Julian Lesser, announced he had an option for Dors' services on two more movies.


title: Diana Dors

text: Dors career stepped up another level when cast in a supporting role in a prison drama, "The Weak and the Wicked" (1954), directed by J. Lee Thompson alongside Glynis Johns. She made the movie in August 1953, only a few weeks after having been convicted in real life of stealing alcohol from a friend's house. By this stage she was earning a reported £12,000 a year. When the film came out it was a big hit in Britain and earned Dors some excellent reviews.


title: Diana Dors

text: She played "Aladdin" as a Christmas pantomime in 1953 and did "The Lovely Place" for "Rheingold Theatre" on TV. In April 1954 she said "I'm picking and choosing my parts now. That doesn't mean I'm waiting for the perfect part, but I'm sick to death of being the sexy siren."


title: Diana Dors

text: In 1954, Hamilton had the idea of exploiting the newly printed technology of 3D. He engaged photographer Horace Roye to take a number of nude and semi-nude photographs of Dors which Hamilton subsequently had published in two forms; the semi-nude pictures were issued as a set called "Diana Dors 3D: the ultimate British Sex Symbol", which was sold together with a pair of 3D glasses; the full-nude test shot photographs became part of Roye's booklet "London Models" (1954). Police pressed charges, alleging the books were obscene but a court ruled that they were not.


title: Diana Dors

text: Adelphi called her back for "Miss Tulip Stays the Night" (1955) for a fee of £1,500. She then played one of the leads in "A Kid for Two Farthings" (1955), directed by Carol Reed in mid 1954 for Alex Korda, paid £1,700; the film was one of the most popular movies of 1955 in Britain. Dors was offered the female lead in Thompson's "As Long as They're Happy" (1955) with Jack Buchanan but was unable to accept; she agreed to do a guest role instead at £200 a day.


title: Diana Dors

text: In October 1954 questions were asked in Parliament about why she was allowed to claim her mink coat as a tax deduction.


title: Diana Dors

text: In December 1954 she reportedly turned down a seven-year contract with Rank worth £100,000 (equivalent to £ in ) because she could make more freelance. She did sign a three-picture deal with Rank worth £15,000 (equivalent to £ in ). The first of this was "Value for Money" (1955) for director Ken Annakin starring with John Gregson, filmed in early 1955, and "An Alligator Named Daisy" (1955), directed by Thompson, also for Rank, starring Donald Sinden.


title: Diana Dors

text: The success of her movies, particularly "Kid for Two Farthings", led to British exhibitors voting her the ninth-most popular British star at the box office in 1955 – the sole female star in the top ten. She ranked after Dirk Bogarde, John Mills, Norman Wisdom, Alastair Sim, Kenneth More, Jack Hawkins, Richard Todd and Michael Redgrave, and in front of Alec Guinness. In November 1955 the press criticised her for wearing revealing necklines when meeting royalty.


title: Diana Dors

text: Dors made a fourth film with Thompson, "Yield to the Night" (1956), filmed in late 1955. It was a crime drama with Dors playing a role similar to Ruth Ellis. She received some of the best reviews of her career. She was acclaimed at the 1956 Cannes Film Festival.


title: Diana Dors

text: She turned down the female lead in Rank's "The Big Money". On being offered that role and turning it down, she said:If that's the best you can offer, then I'm rather surprised […] They still think I'm only good for the dumb blonde parts I played five years ago, I thought everyone in the business knew I'd come some way since then.


title: Diana Dors

text: She later said:After I did "Yield to the Night" it [all the publicity] went a bit sour. It should have been toned down to give me the chance to become a serious actress.


title: Diana Dors

text: Dors' performance attracted interest in Hollywood. In February 1956 she guest starred on a TV special Bob Hope made in England.


title: Diana Dors

text: In May 1956 Dors signed a contract with RKO to support George Gobel in "I Married a Woman". She left Southampton on board the for New York City and then to Hollywood. She said: I'm hoping to enjoy myself, keep my sense of fun and do a good job. It took me 10 years [of] hard work in poor[ly received] pictures, in revue, in straight plays, and touring to become a star, and I don't intend to let Hollywood push me about, crop my hair, change my style or personality.


title: Diana Dors

text: In July 1956 Dors – through her company, Treasure Pictures – signed a contract with RKO Pictures to make three more movies, the first of which was to be "The Unholy Wife" (1957) with Rod Steiger, which started filming in September. Her fee was a reported $75,000 (), with the other films to go up $25,000. Dors reportedly had an affair with Rod Steiger during the filming of "The Unholy Wife". In October 1956, Hamilton started an affair with Raymond “Mr. Teasy-Weasy” Bessone’s estranged wife in London. In November, Dors announced she and Hamilton were separating. Dors later said "They tried getting me in the gas chamber again in Hollywood...but [the film] wasn’t good. They edited it badly."


title: Diana Dors

text: William Dozier of RKO announced Dors would star in "Blondes Prefer Gentlemen" with Eddie Fisher, but the film was never made. In August 1956 she announced she had signed a one-picture deal to appear in a Bob Hope movie. This never happened – neither did a project Robert Aldrich announced he wanted to make with Dors and Paul Douglas at UA, "Potluck for Pomeroy".


title: Diana Dors

text: Due to meet Hollywood columnists Hedda Hopper and Louella Parsons, interviews were arranged to be held at the Hollywood home of her friend, the celebrity hairdresser Mr. Teasy-Weasy, who owned a Spanish-style villa off Sunset Boulevard, formerly owned by Marlene Dietrich. To coincide with the publication of the articles, Hamilton and Raymond arranged a Hollywood launch party at Raymond's house in August 1956, with a guest list that included Doris Day, Eddie Fisher, Zsa Zsa Gabor, Liberace, Lana Turner, Ginger Rogers, and John Wayne. After 30 minutes, while lining up next to Raymond's pool with her US agent Louis Shurr and her dress designer Howard Shoup, all four, including Dors and Hamilton, were pushed into the pool after the party crowd and photographers surged forward. Hamilton emerged from the pool and hit the first photographer before he could be restrained. The headlines in the "National Enquirer" read: "Miss Dors Go Home—And Take Mr. Dors With You". Because of the resulting negative publicity, the couple failed to buy Lana Turner's house, settling into a rental property in Coldwater Canyon.


title: Diana Dors

text: She was meant to make three films produced by Anna Neagle, the first with Frankie Vaughan called "The Cast Iron Shore"; however, Dors pulled out in September.


title: Diana Dors

text: In October Dors appeared again on the Bob Hope Show. "The New York Times" said she "displayed considerable stage presence. The gal can handle her lines." Hedda Hopper reported around this time that Dors had replaced her agent "and her popularity is slipping even before her first film is shown." Hopper also said Dors' fee for British films was now $40,000, up from $20,000. In November, Dors, returning to London, announcing she and Hamilton had separated, with the latter blaming Steiger.


title: Diana Dors

text: In England she made "The Long Haul" (1957) for Columbia with Victor Mature, which started filming in February 1957. While making "The Long Haul", Dors started a relationship with co-star Victor Mature's stuntman, Tommy Yeardye. Details about the affair were reportedly leaked to the press by Yeardye.


title: Diana Dors

text: Gerd Oswald wanted her for "The Blonde". In October 1957 Hedda Hopper reported that Dors intended to make the last two films under her RKO contract but Hopper thought "she was just whistling Dixie."


title: Diana Dors

text: She went to Italy to play an American in the French-Italian "The Love Specialist" (1957) with Vittorio Gassman. Dors stayed in crime for "Tread Softly Stranger" (1958), made for Gordon Parry with George Baker co-starring. She later said her three 1957 films made her £27,000.


title: Diana Dors

text: She and Gassman were to reunite in "Strange Holiday" but it was not made. She was a prostitute in "Passport to Shame" (1958). In August 1958 she reported she had been robbed of £11,000. She made a series of advertisements believed to have earned her £25,000.


title: Diana Dors

text: Dors' RKO films flopped and RKO elected not to make the other two films. In December 1958 RKO terminated its contract with Dors alleging she "has become an object of disgrace, obloquy, ill will and ridicule." Dors sued the studio for $1,250,000 in damages. (In July 1960 she settled for $200,000.)


title: Diana Dors

text: Joseph Kaufman announced he wanted to make a film starring her called "Stopover" but it was never made. In May 1959 she said she wanted to retire from acting and focus on her other interests, including a shampoo factory. She had a cameo on "Scent of Mystery" shot in Spain.


title: Diana Dors

text: Following her final separation from Hamilton in 1958, Dors discovered that her company Diana Dors Ltd was in serious debt. Hamilton had steered the company toward the dual purpose of publicising his wife and helping himself, overpaying tax bills and establishing financial stability.


title: Diana Dors

text: Having been forced by Hamilton to sign over all of her assets on their separation, and in need of money to pay her divorce lawyers and their accountants, she agreed to the suggestion of agent Joseph Collins to undertake a theatre-based cabaret tour titled "The Diana Dors Show".


title: Diana Dors

text: Yeardye suggested that they hire the comedian Dickie Dawson, later known as Richard Dawson. Dawson subsequently scripted the show and wrote most of the material. Dors started a relationship with Dawson and ended the relationship with Yeardye, who subsequently emptied her cash box at Harrods of £18,000 and sold his story to the media. This brought negative publicity to the show, but audience numbers remained high, which allowed Dors extra time to explain her affairs to a subsequent Inland Revenue investigation of her cash holdings. In 1959, Hamilton died, and Dors married Dawson in New York while making an appearance on "The Steve Allen Show". "The Diana Dors Show" was commissioned for two studio-based series on television at ITV.


title: Diana Dors

text: In 1959 "Variety" said Sabrina was "to Diana Dors in Britain what Jayne Mansfield is to Marilyn Monroe."


title: Diana Dors

text: In 1960 it was announced Dors and Dawson would make a film of the stage show "Grab Me a Gondola" but it never eventuated.


title: Diana Dors

text: "Filmink" magazine said "no decent British film roles seemed forthcoming" around this time. "The Rank Organisation, who could have used Dors around this time, did not seem interested. Neither did Hammer Films, who were experiencing global success with their horror movies. Perhaps most frustratingly for Dors, J. Lee Thompson, who had given her the two best opportunities, made a series of films featuring parts that Dors could have played, but which, for whatever reason, were taken by other actors."


title: Diana Dors

text: After the birth of her first child in February 1960, and wishing to stay in the United States with Dawson, Dors undertook a cabaret contract to headline at the Dunes hotel and casino in Las Vegas. In September 1960 she did a cabaret act at Ciro's which "Variety" said was "pleasant enough".


title: Diana Dors

text: She appeared in some American films: "On the Double" (1961), a Danny Kaye comedy, and "The Big Bankroll" (1962), a crime film also known as "King of the Roaring 20's: The Story of Arnold Rothstein". She also sold her memoirs to News of the World for $140,000. She later claimed she turned down a role in "Saturday Night and Sunday Morning". She was meant to be in "The Ladies' Man" with Jerry Lewis but was fired at the last minute.


title: Diana Dors

text: During the summer of 1961, Dors shot "The Sorcerer's Apprentice", based on Robert Bloch's story, for "Alfred Hitchcock Presents". The episode was so gruesome that it was suppressed for decades.


title: Diana Dors

text: Dors returned to Britain. In 1961 she narrowly escaped death at a Guy Fawkes Night party in Wraysbury where fireworks were accidentally ignited indoors. The house was destroyed, three people died in the fire and another one had a fatal heart attack, and Dors was slightly injured while escaping through a window.


title: Diana Dors

text: She appeared in "Mrs. Gibbons' Boys" (1962), "West 11" (1963), "The Counterfeit Constable" (1964), and "The Sandwich Man" (1966).


title: Diana Dors

text: In the early 1960s she was living in Los Angeles. While there she guest starred on episodes of "Burke's Law" and "The Eleventh Hour", and starred in a 1963 episode of "The Alfred Hitchcock Hour" titled "Run for Doom", co-starring John Gavin as well as an episode of "Straightaway" and "Armchair Theatre" in Britain.


title: Diana Dors

text: She toured Australia in 1963. While there she said 1956 was "my biggest year, and you never can tell whether you will do it again. That is what makes show business so fascinating —you never can tell."


title: Diana Dors

text: Dors divorced Dawson in 1966 and returned to the UK in order to find work, leaving behind her two sons. She resumed cabaret work with her pianist and musical director Denny Termer, and subsequently was served with a writ of bankruptcy. As her popularity had fallen, this time she was touring working men's clubs, and smaller venues.


title: Diana Dors

text: In June 1968 she reported that she owed £53,000, of which £48,000 was to the Inland Revenue, and had assets of a little over £200. She declared bankruptcy in October 1968.


title: Diana Dors

text: Dors' film career was now strictly supporting roles: "Danger Route" (1967); "Berserk!" (1967), with Joan Crawford; "Hammerhead" (1968); "Baby Love" (1968); "Deep End" (1970); and "There's a Girl in My Soup" (1970). She returned to the West End in 1970 for the first time in 17 years in a play called "Three Months Gone".


title: Diana Dors

text: Dors played the title role in the sitcom, "Queenie's Castle" (1970–72), which ran for three series. Less popular was the follow-up, "All Our Saturdays" (1973). During this period she appeared in a TV adaptation of "A Taste of Honey" (1971) and episodes of "Z Cars", "Dixon of Dock Green", "Just William", "The Sweeney", "Hammer House of Horror", and "Shoestring".


title: Diana Dors

text: Dors' film work included "Hannie Caulder" (1971); "The Pied Piper" (1972); "The Amazing Mr. Blunden" (1972); "Swedish Wildcats" (1972); "Nothing but the Night" (1972); "Theatre of Blood" (1973); "Steptoe and Son Ride Again" (1973); "From Beyond the Grave" (1973); and "Craze" (1974).


title: Diana Dors

text: In the mid-1970s, she became in high demand for sex comedies: "The Amorous Milkman" (1975), "Bedtime with Rosie" (1975), "What the Swedish Butler Saw" (1975), "Three for All" (1976), "Adventures of a Taxi Driver" (1976), "Keep It Up Downstairs" (1976), "Adventures of a Private Eye" (1977) and "Confessions from the David Galaxy Affair" (1979).


title: Diana Dors

text: In 1977 she won a court battle to prevent Wolf Rilla from writing a biography based on interviews she had done with Rilla.


title: Diana Dors

text: Still making headlines in the "News of the World" and other print media in the late 1970s thanks to her adult parties, in her later years, Dors' status began to revive.


title: Diana Dors

text: In 1979 while touring Australia she said "I used to think it was a lot of hooey that life begins at 40. But I know what I can put up with; I've mellowed. I'm a homey person, although I don't expect people to believe it."


title: Diana Dors

text: Although her film work consisted mainly of sex comedies, her popularity climbed thanks to her television work, where her wit, intelligence, and catchy one-liners developed as a cabaret performer won over viewers. She became a regular on "Jokers Wild", "Blankety Blank" and "Celebrity Squares", and was a regular guest on BBC Radio 2's "The Law Game". She also had a recurring role in "The Two Ronnies" in 1980. A popular chat-show guest, an entire show – "Russell Harty: At Home with Dors" – came from the pool room of her home, Orchard Manor. Younger musical artists engaged her persona, brought about after the 1981 Adam and the Ants music video "Prince Charming", where she played the fairy godmother opposite Adam Ant, who played a male Cinderella figure.


title: Diana Dors

text: Dors' other final appearances were in a BBC tv adaptation of "Dr. Jekyll and Mr. Hyde" (1980), "Timon of Athens" (1981), "Dick Turpin" (1981), and "Cannon and Ball" (1981).


title: Diana Dors

text: Having turned her life story into a cash flow through interviews and leaked tabloid stories, like many celebrities in their later careers, she turned to the autobiography to generate retirement cash. In 1960 she wrote and published "Swingin' Dors" and between 1978 and 1984, she published four autobiographical books under her own name: "For Adults Only", "Behind Closed Dors", "Dors by Diana", and "A. to Z. of Men".


title: Diana Dors

text: Diana Dors was the subject of "This Is Your Life" on two occasions, in April 1957 when she was surprised by Eamonn Andrews at the BBC Television Theatre, and in October 1982, when Andrews surprised her at London's Royalty Theatre.


title: Diana Dors

text: Having gone through her first round of cancer treatment, by the early 1980s Dors' hour-glass figure had become plumper, and she addressed the issue through co-writing a diet book, and creating a diet and exercise videocassette.


title: Diana Dors

text: This resulted in her working for TV-am, ITV's breakfast station, in the summer of 1983, in a regular slot focusing on diet and nutrition, which later developed into an agony aunt segment. As the cancer treatment took its toll again, however, her appearances became less frequent. She sued the show for withholding her fan mail.


title: Diana Dors

text: Her last public appearance was in cabaret at Harpoon Louie's, Earl's Court, West London, on 15 April 1984, where she looked considerably frail, but stood throughout her whole set. Her final (posthumous) film appearance was in "Steaming" (1985).


title: Diana Dors

text: The earliest recordings of Dors were two sides of a 78-rpm single released on HMV Records in 1953. The tracks were "I Feel So Mmmm" and "A Kiss and a Cuddle (and a Few Kind Words From You)". HMV also released sheet music featuring sultry photos of Dors on the cover. She also sang "The Hokey Pokey Polka" on the 1954 soundtrack for the film "As Long As They're Happy".


title: Diana Dors

text: Dors recorded only one complete album, the swing-themed "Swingin' Dors", in 1960. The LP was originally released on red vinyl and with a gatefold sleeve. The accompanying orchestra was conducted by Wally Stott.


title: Diana Dors

text: She also sang as a special guest for the Italian TV show "Un, due, tre" ("One, two, three", starring Ugo Tognazzi and Raimondo Vianello) on 31 May 1959, at the Teatro della Fiera in Milan, with orchestra conducted by Mario Bertolazzi and recorded singles on various record labels from the 1960s through the early 1980s, including a single for the Nomis label, "Where Did They Go?" / "It's You Again" (the latter being a duet with her son, Gary Dawson), while she was being treated for cancer. While promoting the single on TV, Dors claimed "Where Did They Go?" had been especially written for her, but in fact, the track had been recorded originally by Peggy Lee in 1971 and in 1972 by Sandie Shaw.


title: Diana Dors

text: In 1949, while filming "Diamond City", she had a relationship with businessman Michael Caborn-Waterfield, who later founded the Ann Summers chain, which he named after a former girlfriend. During the short relationship, Dors became pregnant, but Caborn-Waterfield paid for a back-street abortion, which took place on a kitchen table in Battersea. The relationship continued for a time, before Dors met Dennis Hamilton Gittins on the set of "Lady Godiva Rides Again", with whom she had a second abortion in 1951.


title: Diana Dors

text: It is said that Dors became a close friend of Ruth Ellis, the last woman to be hanged in Britain, after Ellis had a bit part in "Lady Godiva Rides Again". However, Dors never mentioned having known Ellis, either in interviews or in her memoirs. Through her husband Hamilton, Dors was close friends with the notorious Kray twins and their mother Violet.


title: Diana Dors

text: During her relationship with Hamilton, and until a few months before her death, Dors regularly held adult parties at her home. There, a number of celebrities, amply supplied with alcohol and drugs, mixed with young starlets against a background of both softcore and hardcore porn films. Dors gave all her guests full access to the entire house; her son Jason Lake later alleged in various media interviews and publications that she had equipped it with 8 mm movie cameras. The young starlets were made aware of the arrangements and were allowed to attend for free in return for making sure that their celebrity partners performed in bed at the right camera angles. Dors later enjoyed watching the films, keeping an archive of the best performances.


title: Diana Dors

text: Dors became an early subject of the "celebrity exposé" tabloids, appearing regularly in the "News of the World". In large part, she brought this notoriety upon herself. In desperate need of cash after her separation from Hamilton in 1958, she gave an interview in which she described their lives and the adult group parties in full, frank detail. The interview was serialised in the tabloid for 12 weeks, followed by an extended six-week series of sensational stories, creating negative publicity. Subsequently, the Archbishop of Canterbury Geoffrey Fisher denounced Dors as a "wayward hussy".


title: Diana Dors

text: However, other mainstream news media, on television and film, were unwilling to repeat the stories until well after Dors' death. This was in part because of her popularity, and also partly because of who was attending the parties. Her former lover and party guest Bob Monkhouse later commented in an interview after Dors' death, "The awkward part about an orgy, is that afterwards you're not too sure who to thank."


title: Diana Dors

text: Towards the end of her life, Dors had meningitis and twice underwent surgery to remove cancerous tumours. She collapsed at her home near Windsor with acute stomach pains and died on 4 May 1984, aged 52, at the BMI Princess Margaret Hospital in Windsor from a recurrence of ovarian cancer, first diagnosed two years before.


title: Diana Dors

text: She had converted to Catholicism in early 1973; hence, her funeral service was held at the Sacred Heart Church in Sunningdale on 11 May 1984, conducted by Father Theodore Fontanari. She was buried in Sunningdale Catholic Cemetery.


title: Diana Dors

text: After her death, Alan Lake burned all of Dors' remaining clothes and fell into a depression. On 10 October 1984, Lake did a telephone interview with "Daily Express" journalist Jean Rook and then walked into their son's bedroom and took his own life by firing a shotgun into his mouth. He was 43. This was five months after her death from cancer, and 16 years to the day since they had first met. Alan had no alcohol or illegal drugs in his system at the time of his death.


title: Diana Dors

text: Her home for the previous 20 years, Orchard Manor, was sold by the solicitors. The house's contents were bulk-sold by Sotheby's, which sold her jewellery collection in an auction. After solicitors' bills, outstanding tax payments, death duties, and other distributions, the combined estates of Dors and Lake left little for the upkeep of their son Jason (aged 14), who was subsequently made a ward of court to his half-brother Gary Dawson in Los Angeles.


title: Diana Dors

text: On 14 September 2019, Jason Dors-Lake, the son of Diana Dors and Alan Lake, was reported to have died three days after his 50th birthday at his flat in Notting Hill Gate, London from the combined effects of alcohol and tramadol intoxication.


title: Diana Dors

text: A larger than life bronze statue of Dors by the artist John Clinch was erected outside the cinema at Shaw Ridge in West Swindon in 1991. It depicts an exaggerated version of her wearing an evening gown.


title: Diana Dors

text: Swindon Heritage unveiled a blue plaque to Dors in 2017 on the boundary of numbers 61 and 62 Kent Road in the Old Town area of Swindon. At the time, the two properties were the Haven Nursing Home where she was born. The plaque was unveiled by her son Jason Dors-Lake and her granddaughter Ruby Lake. Dors' 1959 pink Cadillac, which was a gift to her from Shepperton Studios, was parked outside during the unveiling.


title: Diana Dors

text: The collection of Swindon Museum and Art Gallery includes a bronze bust of Dors by the artist Enid Mitchell. It was originally unveiled at the Wyvern Theatre in the town in 1988, where it was displayed in the foyer until 2013, when it was moved to Swindon Central Library. It remained on display there until it was re-housed in the Museum and Art Gallery in 2015.


title: Diana Dors

text: Dors was portrayed by Keeley Hawes (younger) and Amanda Redman (older) in the TV biographical film "The Blonde Bombshell" (1999).


title: Diana Dors

text: On the cover of the 1967 album "Sgt. Pepper's Lonely Hearts Club Band" by the Beatles, Dors' wax figure appears in the collage of celebrities, on the right below the tree.


title: Diana Dors

text: The Kinks paid homage to her when they included the Ray Davies-penned tribute tune "Good Day" on their album "Word of Mouth".


title: Diana Dors

text: As well as appearing as Adam Ant's fairy godmother in his music video "Prince Charming", Dors was also included in the Adam and the Ants song "Scorpios" with lyrics ‘Black's the colour watch the claws, With nails as sharp as Diana Dors’.


title: Diana Dors

text: Dors claimed to have hidden away more than £2 million in banks across Europe. In 1982, she gave her son Mark Dawson a sheet of paper on which, she told him, was a code that would reveal the whereabouts of the money. His stepfather Alan Lake supposedly knew the key that would crack the code, but he died by suicide soon after her death and Dawson was left with an apparently unsolvable puzzle.


title: Diana Dors

text: He sought out computer forensic specialists Inforenz, who recognised the encryption as the Vigenère cipher. Inforenz then used their own cryptanalysis software to suggest a 10-letter decryption key, DMARYFLUCK (short for Diana Mary Fluck, Dors's real name). With the aid of a bank statement found among Alan Lake's papers, Inforenz was then able to decode the existing material to reveal a list of surnames and towns only – suggesting that there must be a second page that would reveal first names and bank details, to complete the message. As this has never come to light, no money has ever been traced. In 2003, UK Channel 4 made a television programme about the mystery.


title: Rhododendron

text: Rhododendron (; from Ancient Greek "rhódon" "rose" and "déndron" "tree") is a very large genus of about 1,024 species of woody plants in the heath family (Ericaceae). They can be either evergreen or deciduous. Most species are native to eastern Asia and the Himalayan region, but smaller numbers occur elsewhere in Asia, and in North America, Europe and Australia. It is the national flower of Nepal, the state flower of Washington and West Virginia in the United States, the state flower of Nagaland in India, the provincial flower of Jiangxi in China and the state tree of Sikkim and Uttarakhand in India. Most species have brightly colored flowers which bloom from late winter through to early summer.


title: Rhododendron

text: Azaleas make up two subgenera of "Rhododendron". They are distinguished from "true" rhododendrons by having only five anthers per flower.


title: Rhododendron

text: "Rhododendron" is a genus of shrubs and small to (rarely) large trees, the smallest species growing to tall, and the largest, "R. protistum" var. "giganteum", reported to tall. The leaves are spirally arranged; leaf size can range from to over , exceptionally in "R. sinogrande". They may be either evergreen or deciduous. In some species, the undersides of the leaves are covered with scales (lepidote) or hairs (indumentum). Some of the best known species are noted for their many clusters of large flowers. There are alpine species with small flowers and small leaves, and tropical species such as section "Vireya" that often grow as epiphytes. Species in this genus may be part of the heath complex in oak-heath forests in eastern North America.


title: Rhododendron

text: They have frequently been divided based on the presence or absence of scales on the abaxial (lower) leaf surface (lepidote or elepidote). These scales, unique to subgenus "Rhododendron", are modified hairs consisting of a polygonal scale attached by a stalk.


title: Rhododendron

text: "Rhododendron" are characterised by having inflorescences with scarious (dry) perulae, a chromosome number of x=13, fruit that has a septicidal capsule, an ovary that is superior (or nearly so), stamens that have no appendages, and agglutinate (clumped) pollen.


title: Rhododendron

text: "Rhododendron" is the largest genus in the family Ericaceae, with over 1000 species, (though estimates vary from 850 to 1200) and is morphologically diverse. Consequently, the taxonomy has been historically complex.


title: Rhododendron

text: Although Rhododendrons had been known since the description of "Rhododendron hirsutum" by Charles de l'Écluse (Clusius) in the sixteenth century, and were known to classical writers (Magor 1990), and referred to as "Chamaerhododendron" (low-growing rose tree), the genus was first formally described by Linnaeus in his Species Plantarum in 1753. He listed five species under "Rhododendron" ("Rhododendron ferrugineum" (type species), "R. dauricum", "R. hirsutum", "R. chamaecistus" (now "Rhodothamnus chamaecistus" (L.) Rchb.) and "R. maximum"). At that time he considered the then known six species of "Azalea" that he had described earlier in 1735 in his Systema Naturae as a separate genus.


title: Rhododendron

text: Linnaeus' six species of "Azalea" were "Azalea indica", "A. pontica", "A. lutea", "A. viscosa", "A. lapponica" and "A. procumbens" (now "Kalmia procumbens"), which he distinguished from "Rhododendron" by having five stamens, as opposed to ten. As new species of what are now considered "Rhododendron" were discovered, they were assigned to separate genera if they seemed to differ significantly from the type species. For instance "Rhodora" (Linnaeus 1763) for "Rhododendron canadense", "Vireya" (Blume 1826) and "Hymenanthes" (Blume 1826) for "Rhododendron metternichii", now R. degronianum. Meanwhile, other botanists such as Salisbury (1796) and Tate (1831) began to question the distinction between "Azalea" and "Rhododendron", and finally in 1836, "Azalea" was incorporated into "Rhododendron" and the genus divided into eight sections. Of these "Tsutsutsi" ("Tsutsusi"), "Pentanthera", "Pogonanthum", "Ponticum" and "Rhodora" are still used, the other sections being "Lepipherum", "Booram", and "Chamaecistus". This structure largely survived till recently (2004), following which the development of molecular phylogeny led to major re-examinations of traditional morphological classifications, although other authors such as Candolle, who described six sections, used slightly different numeration.


title: Rhododendron

text: Soon, as more species became available in the nineteenth century so did a better understanding of the characteristics necessary for the major divisions. Chief amongst these were Maximovicz's "Rhododendreae Asiae Orientali" and Planchon. Maximovicz used flower bud position and its relationship with leaf buds to create eight "Sections". Bentham and Hooker used a similar scheme, but called the divisions "Series". It was not until 1893 that Koehne appreciated the significance of scaling and hence the separation of lepidote and elepidote species. The large number of species that were available by the early twentieth century prompted a new approach when Balfour introduced the concept of grouping species into series. "The Species of Rhododendron" referred to this series concept as the Balfourian system. That system continued up to modern times in Davidian's four volume "The Rhododendron Species".