title: Sathya Sai Baba

text: In April 1976, Hossur Narasimhaiah, a physicist, rationalist and then vice-chancellor of Bangalore University, founded and chaired a committee "to rationally and scientifically investigate miracles and other verifiable superstitions". Narasimhaiah wrote Sai Baba three widely publicised letters challenging him to perform his miracles under controlled conditions. The letters were ignored. Sathya Sai Baba said that he ignored Narasimhaiah's challenge because he felt that a scientific approach to spiritual issues was improper, adding that "Science must confine its inquiry only to things belonging to the human senses, while spiritualism transcends the senses. If you want to understand the nature of spiritual power you can do so only through the path of spirituality and not science. What science has been able to unravel is merely a fraction of the cosmic phenomena..." Narasimhaiah's committee was dissolved in August 1977. Narasimhaiah held the fact that Sai Baba ignored his letters to be an indication that his miracles were fraudulent. As a result of this episode, a public debate raged for several months in Indian newspapers.


title: Sathya Sai Baba

text: Indian rationalist Basava Premanand, who began campaigning against Sathya Sai Baba in 1976, unsuccessfully attempted to sue him in 1986 for violations of the Gold Control Act, citing Sai Baba's purported materialisations of gold objects. When the case was dismissed, Premanand unsuccessfully appealed on the grounds that claimed spiritual power is not a defence recognised in law.


title: Sathya Sai Baba

text: A 1995 TV documentary "Guru Busters", produced by filmmaker Robert Eagle for the UK's Channel 4, accused Sai Baba of faking his materialisations. The clip from the film was mentioned in the "Deccan Chronicle", on 23 November 1992, in a front-page headline "DD Tape Unveils Baba Magic".


title: Sathya Sai Baba

text: Claims of Sai Baba resurrecting American devotee Walter Cowan in 1971 have been discussed by British journalist Mick Brown in his book "The Spiritual Tourist" from 1998, and subsequently by Erlendur Haraldsson, who interviewed doctors attending Cowan at the hospital; these physicians reported that Cowan had been dangerously ill but had not died.


title: Sathya Sai Baba

text: Brown also related his experiences with the alleged manifestations of vibhuti from Sai Baba's pictures in houses in London, which he felt were not fraudulent or the result of trickery. Brown wrote with regards to Sai Baba's claims of omniscience, that "sceptics have produced documentation clearly showing discrepancies between Baba's reading of historical events and biblical prophecies, and the established accounts."


title: Sathya Sai Baba

text: In January 2002, a documentary produced by Denmark's national television and radio broadcast company, Danmarks Radio (DR), called "Seduced By Sai Baba", analysed videos of public manifestations of Sai Baba and suggested that they could be explained as sleight of hand. The documentary also presented interviews with Alaya Rahm, former devotee of Sathya Sai Baba, where he alleged abuse by Sathya Sai Baba. As a result, in 2002 the parliament of the United Kingdom discussed the danger to male children of British families intending to visit the ashram of Sathya Sai Baba in case of individual audiences with the guru.


title: Sathya Sai Baba

text: In 2004, the BBC produced a documentary titled "The Secret Swami" as part of its series "The World Uncovered". One central theme of the BBC documentary was again Alaya Rahm's sexual abuse allegations against Sathya Sai Baba. This documentary interviewed him together with Mark Roche, who had spent 25 years of his life since 1969 in the movement and alleged abuse by Sai Baba. The show also featured allegations from Sai Baba critic Basava Premanand. Premanand stated in the documentary that, in his opinion, Sai Baba faked his materialisations.


title: Sathya Sai Baba

text: Sathya Sai Baba rejected any allegations of misconduct. In a speech he held in December 2000, he compared himself to Jesus Christ and his detractors to Judas Iscariot, claiming that they were motivated by jealousy. His followers have also defended him publicly. These include Bill Aitken, and Anil Kumar, former principal of the Sathya Sai Educational Institute.


title: Sathya Sai Baba

text: In an open letter in December 2001, Prime Minister Atal Bihari Vajpayee, Chief Justices P. N. Bhagwati and Ranganath Misra, and Members of Parliament and Najma Heptulla said that they were "deeply pained and anguished by the wild, reckless and concocted allegations" against Sathya Sai Baba, and called him "an embodiment of love and selfless service to humanity".


title: Pholcidae

text: The Pholcidae are a family of araneomorph spiders. The family contains over 1,800 individual species of pholcids, including those commonly known as cellar spider, daddy long-legs spider, carpenter spider, daddy long-legger, vibrating spider, gyrating spider, long daddy, and skull spider. The family, first described by Carl Ludwig Koch in 1850, is divided into 94 genera.


title: Pholcidae

text: The common name "daddy long-legs" is used for several species, especially "Pholcus phalangioides", but is also the common name for several other arthropod groups, including harvestmen and crane flies.


title: Pholcidae

text: Pholcids are thin and delicate arachnids. The body, resembling the shape of a peanut, is approximately 2–10 mm (0.08–0.39 inch) in length, and the legs may be up to 50 mm (1.97 inches) long. "Pholcus" and "Smeringopus" have cylindrical abdomens and eyes arranged in two lateral groups of three and two smaller median contiguous eyes. Arrangements of eight and six eyes both occur in this family. "Spermophora" has a small globose abdomen and its eyes are arranged in two groups of three without median eyes. Pholcids are gray to brown, sometimes clear, with banding or chevron markings.


title: Pholcidae

text: These spiders have legs roughly 4 times as large as their bodies, making them look quite a lot like harvestmen (Opiliones). But they can be easily differentiated by the two segments this family have, harvestmen having fused segments. They can be further be distinguished by their irregular structure, and usually brown, tan or grey coloration.


title: Pholcidae

text: Pholcids are found in every continent in the world except Antarctica. Pholcids hang inverted in their messy and irregular-shaped webs. These webs are constructed in dark and damp recesses such as in caves, under rocks and loose bark, and in abandoned mammal burrows. In areas of human habitation pholcids construct webs in undisturbed areas in buildings such as high corners, attics and cellars, hence the common name "cellar spider".


title: Pholcidae

text: The web of pholcids has no adhesive properties and instead relies on its irregular structure to trap prey. When pholcid spiders detect prey within their webs the spiders quickly envelop prey with silk-like material before inflicting a fatal bite. The prey may be eaten immediately or stored for later. When finished feeding they will clean the web by unhooking the remains of the prey and letting the carcass drop from the web. They are passive against humans.


title: Pholcidae

text: Some species of Pholcidae exhibit a threat response when disturbed by a touch to the web or entangled large prey. The arachnid responds by vibrating rapidly in a gyrating motion in its web, which may sometimes fall into a circular rhythm. It may oscillate in tune with the elasticity of the web causing an oscillation larger than the motion of the spider's legs. While other species of spider exhibit this behaviour, such behavior by the Pholcidae species has led to these spiders sometimes being called "vibrating spiders". There are several proposed reasons for this threat response. The movement may make it difficult for a predator to locate or strike the spider, or may be a signal to an assumed rival to leave. Vibrating may also increase the chances of capturing insects that have just brushed their web and are still hovering nearby, or further entangle prey that may have otherwise been able to free itself. If the spider continues to be disturbed it will retreat into a corner or drop from its web and escape.


title: Pholcidae

text: Although they do eat insects, certain species of these spiders invade webs of other spiders to eat the host, the eggs, or the prey. In some cases the spider vibrates the web of other spiders, mimicking the struggle of trapped prey to lure the host closer. Pholcids prey on "Tegenaria" funnel weaver spiders, and are known to attack and eat redback spiders, huntsman spiders and house spiders.


title: Pholcidae

text: Pholcids may be beneficial to humans living in regions with dense hobo spider populations as predation on "Tegenaria" may keep populations in check. They have also been observed to feed on the spider "Steatoda nobilis" in countries like Ireland and England.


title: Pholcidae

text: "Pholcus phalangioides" often uses an alternating tetrapod gait (first right leg, then second left leg, then third right leg, etc.), which is commonly found in many spider species. However, frequent variations from this pattern have been documented during observations of the spiders' movements.


title: Pholcidae

text: There is an urban legend that daddy long-legs spiders have the most potent venom of any spider but that their fangs are either too small or too weak to puncture human skin; the same legend is also repeated of the harvestman and crane fly, also known as "daddy long-legs" in some regions. Indeed, pholcid spiders do have a short fang structure (called uncate due to its "hooked" shape). Brown recluse spiders also have uncate fang structure, but are able to deliver medically significant bites.


title: Pholcidae

text: Possible explanations include: pholcid venom is not toxic to humans; pholcid uncate are smaller than those of brown recluse; or there is a musculature difference between the two arachnids, with recluses, being hunting spiders, possessing stronger muscles for fang penetration. According to Rick Vetter of the University of California, Riverside, the daddy long-legs spider has never harmed a human, and there is no evidence that they are dangerous to humans.


title: Pholcidae

text: The legend may result from the fact that the daddy long-legs spider preys upon deadly venomous spiders, such as the redback, a member of the black widow genus "Latrodectus". To the extent that such arachnological information was known to the general public, it was perhaps thought that if the daddy long-legs spider could kill a spider capable of delivering fatal bites to humans, then it must be more venomous, and the uncate fangs were regarded as prohibiting it from killing people. In reality, it is able to cast lengths of silk onto its prey, incapacitating them from a safe distance.


title: Pholcidae

text: During 2004, the Discovery Channel television show "MythBusters" tested the daddy long-legs venom myth in episode 13, "Buried in Concrete". Hosts Jamie Hyneman and Adam Savage first established that the spider's venom was not as toxic as other venoms, after being told about an experiment whereby mice were injected with venom from both a daddy long-legs and a black widow, with the black widow venom producing a much stronger reaction. After measuring the spider's fangs at approximately 0.25 mm, Adam Savage inserted his hand into a container with several daddy-long-legs, and reported that he felt a bite which produced a mild, short-lived burning sensation. The bite did in fact penetrate his skin, but did not cause any notable harm. Additionally, recent research has shown that pholcid venom is relatively weak in its effects on insects.


title: The King: Eternal Monarch

text: The King: Eternal Monarch () is a 2020 romantic-fantasy South Korean television series starring Lee Min-ho, Kim Go-eun, Woo Do-hwan, Kim Kyung-nam, Jung Eun-chae, and Lee Jung-jin. Written by Kim Eun-sook and produced by Hwa&Dam Pictures and its parent company Studio Dragon, the series premiered on SBS TV and Netflix for the global audience on April 17, 2020.


title: The King: Eternal Monarch

text: Set in two parallel worlds, the series follows Emperor Lee Gon of Kingdom of Corea, who discovers access to an alternate reality after crossing a mythical door opened by his half-uncle, Lee Lim, where the Republic of Korea exists in the Kingdom's stead and sets out to put an end to Lee Lim's atrocities and retrieve the other half of Manpasikjeok used as a portal between two worlds.


title: The King: Eternal Monarch

text: Hailing as one of the most-anticipated series in the first half of 2020 due to its ensemble cast, screenwriter, extensive publicity and production budget, the series set a record for SBS's highest 2020 Friday-Saturday drama premiere ratings. It also maintained the No.1 spot on the weekly Wavve drama chart for eight consecutive weeks, and was listed as the most popular Korean drama series on Netflix in India, Malaysia, Philippines and Singapore and one of the top two in the U.S. The series received mixed reviews and lower-than-expected domestic TV viewership ratings on later episodes, with news media attributing it to competition from streaming platforms and criticism of its screenplay, production and various controversies.


title: The King: Eternal Monarch

text: Lee Gon, a modern-day Emperor of the Kingdom of Corea, attempts to cross the barrier into an alternate reality where the Republic of Korea exists in the Kingdom's stead. He comes across detective Jung Tae-eul, whom he recognizes from an identity card he obtained during the turning point of his childhood: his father's assassination. Lee Gon's half-uncle, Lee Lim, who assassinated the previous king, Lee Ho (Lee Gon's father), is in hiding and assembling armies whilst traversing back and forth between the two parallel worlds.


title: The King: Eternal Monarch

text: Lee Lim Is the Illegitimate half-brother of King Lee Ho and half-uncle of Lee Gon. He wishes to obtain the Manpasikjeok, a mythical flute which he believes would allow him to attain a life of eternity. He assassinates the King Lee Ho and takes hold of the flute before young Lee Gon breaks the flute into two halves with the Four Tiger Sword. With one half of the flute, he escapes to the parallel universe and kills his counterpart in the alternate reality. He aims to retrieve the second half of the flute, which is now in Lee Gon's possession, to utilise it to its full potential after releasing it allows him to access multiple realities and travel through time.


title: The King: Eternal Monarch

text: On May 7, 2019, Hwa&Dam Pictures officially announced the production of the series. Along with the series' announcement, it was also confirmed that Kim Eun-sook and will write and direct the series respectively. Later, it was reported that Jung Ji-hyun will also participate in the direction of the series. On May 8, 2020, while the series was airing, it was revealed that Yoo Je-won will join the production as a director.


title: The King: Eternal Monarch

text: The total production cost of the series was reported to be over 30 billion Won (US$25 million), which the production company was able to recoup from the broadcast deal with SBS and the overseas licensing agreement with Netflix before the premiere of the first episode.


title: The King: Eternal Monarch

text: On May 7, 2019, Hwa&Dam Pictures confirmed that Lee Min-ho would star as the male lead, reuniting with writer Kim Eun-sook, with whom he had collaborated previously on SBS hit series, "The Heirs" (2013). On the 20th, it was announced that Kim Go-eun would play the role of the female lead, also reuniting the actress with Kim, with whom she had collaborated previously on tvN hit series, "" (2016). On June 3, Woo Do-hwan confirmed on taking dual roles as Jo Eun-sup and Jo Yeong. On June 10, Son Seok-gu and Jung Eun-chae were offered roles in the series, with Son deciding not to appear in the series and Jung confirming her role. A week later, Kim Kyung-nam confirmed his role.


title: The King: Eternal Monarch

text: This series also serves as a reunion for Lee Min-ho and Kim Young-ok, who had a similar on-screen relationship in the KBS hit series, "Boys Over Flowers" (2009).


title: The King: Eternal Monarch

text: The first script reading took place on September 17, 2019, while the Principal photography began on October 23, 2019, and ended on May 28, 2020, after seven months. Lee Min-ho and Kim Go-eun filmed their first scene together at the Gwanghwamun Square, Seoul. The temple scenes, showing Lee Jung-jin painting, were shot at Saseongam Temple located in Mt. Osan, Gurye. The Busan train station which is shown in Kingdom of Corea is not the real Busan Station, instead it was filmed at Yeosu Exposition after the production team changed the labeling of the building.


title: The King: Eternal Monarch

text: The rowing competition scene was filmed at Misari Regatta, a boat racing track and park in Hanam City, Gyeonggi Province, about 20 km east of Seoul, which had been constructed for the 1986 Asian Games and the 1988 Summer Olympics. The scene where Lee Min-ho chases after the 'white rabbit' barefoot was filmed at Busan Exhibition and Convention Center (BEXCO). Horse-riding scenes were filmed at Mungwang Reservoir, Goesan and Dadaepo Beach, Busan. Scenes were also shot at Sono Felice Vivaldi Park Equestrian Club.


title: The King: Eternal Monarch

text: One of the major filming locations of the series is the bamboo forest, where the door to either of the two worlds is located. The related scenes were shot at Ahopsan Bamboo forest, Busan. Some scenes were filmed at Taepyeong Salt Farm in Jeungdo Island in Sinan. An autumn-themed park scene was filmed at Jungri Sports Park, Daegu. Scenes were also filmed at Woljeonggyo Bridge located in the city of Gyeongju, one of the most popular touristic cities of the country for its cultural heritage. A scene where Lee Min-ho attends a funeral in episode 4 was filmed at Our Lady of Lourdes Cathedral, Daegu, a Catholic Cathedral in Gyesan in the city of Daegu which was built in 1902. Some scenes of the series were shot in Munsan Cathedral Complex in Jinju. Scenes were also filmed at Busan National Gugak Center and Chungmu Traditional Market.


title: The King: Eternal Monarch

text: The original soundtrack features popular artists such as Hwasa, Davichi, and Gummy, along with songwriter Gaemi, who produced music for 7 of the singles and penned lyrics for 4 out of the 13 singles featured in the series. The complete soundtrack album was released on June 12, 2020, on the same day as the airing of last episode.


title: The King: Eternal Monarch

text: Part 1 of the original soundtrack was released on April 18, 2020 with the single "I Just Want To Stay With You" by Zion.T, followed by the single "Orbit" by Mamamoo's Hwasa (Part 2), which was released the following day. At the end of the second week of airing, the singles, "Gravity" by (Part 3) and "Maze" by Yongzoo (Part 4), were released at 6 pm KST, 4 hours prior to the episode's broadcast. The following week saw the release of "I Fall In Love" by Ha Sung-woon (Part 5) and "Please Don't Cry" by the duet Davichi (Part 6).


title: The King: Eternal Monarch

text: Initially, Part 12 and 13 were supposed to be released on May 29 and 30, but were pushed back because of the postponement of episode 14 from May 29 to May 30.


title: The King: Eternal Monarch

text: The series has maintained the No.1 spot on the weekly Wavve drama chart for eight consecutive weeks since its first airing, it also has ranked in the top 10 programs most talked about according to the results of a survey on internet reactions to TV programs in the first half of 2020 conducted by the government agency Korea Communications Commission measuring online posts, online comments, number of views on related video and news articles. Netflix 2020 year-end viewing lists revealed that "The King: Eternal Monarch" was the most popular Korean drama series in India, Malaysia, Philippines and Singapore and one of the top two in the U.S.


title: The King: Eternal Monarch

text: On August 6, Studio Dragon announced their financial performance over the second quarter with a record-breaking 135 million dollars in total sales, a 25.9% increase over the same period of time last year, accrediting the boost to license sales of works such as "Crash Landing on You", "The King: Eternal Monarch", and "It's Okay to Not Be Okay", and according to Hancinema, "'The King: Eternal Monarch' likely deserves most of the credit, as it is the only one of these dramas to have aired entirely during the second quarter." Business Korea also reported, "Studio Dragon's TV series sales climbed 9.3% year-over-year on average amid the growing popularity of K-dramas, particularly The King: Eternal Monarch."


title: The King: Eternal Monarch

text: The BBQ Chicken brand advertised on the series reported the sale of 550,000 sets of its fried chicken in a month due to its appearance on the series.


title: The King: Eternal Monarch

text: "The King: Eternal Monarch" received mixed reviews. The series was highly anticipated by fans before its premiere, as it served to be Lee Min-ho first comeback projected following his release from mandatory military service, and being written by screenwriter Kim Eun-sook.


title: The King: Eternal Monarch

text: Arab News praised the series commenting, "In a world of mainstream K-dramas filled with cliches and reoccurring themes, "The King: Eternal Monarch" stands unique and absolutely mind-blowing," while Sebastian Roché tweeted, praising the series. The Philippine "Cosmopolitan" reviewed it saying, "The drama was smart and ambitious. It's commendable that screenwriter Kim Eun-suk aspired to attract a wider audience by choosing to veer away from tried and tested drama tropes." Woo Do-hwan’s performance as double characters was praised throughout the show's run.


title: The King: Eternal Monarch

text: Oppositely, The Korean Herald wrote that the series failed to present adequate explanation of the parallel universe to the audience who complained of the similarity of the two different worlds, with cultural critic Ha Jae-geun describing, "The story unfolds at a relatively slow pace and the parallel world is too complex to understand. It's hard to find some clever, creative conversations and catchy soundtracks in 'The King'." William Schwartz from Hancinema commented on the directing saying, "The lack of coherent direction has also dampened enthusiasm for the drama,” and expressed that, “Viewers have taken issue with the inconsistent intuitive intelligence shown by the main character ... particularly the unapologetic extent to which characters from the fantasy universe play on uncomfortable gender tropes," while Cinemaescapist stating, "Others may find themselves disappointed as the ensemble cast swim in a sea of cliche." The series was also criticized for the excessive use of product placement, with one episode featuring 7 product placement ads, which was seen as undermining the series's content and artistry.


title: The King: Eternal Monarch

text: Following its premiere, an online controversy erupted as Korean viewers noticed that the architecture of the fictional world of the Corean Empire resembled that of Japanese temples, in particular, the Japanese temple complex Tōdai-ji and the temple of Kōfuku-ji. As the series was aired during a time when Korean-Japanese relations were uneasy, the production team issued an apology and stated that the buildings in question would be corrected. As the series progressed into its sixth episode, another controversy occurred as the episode depicted a naval war between Japan and the Corean empire, where the viewers noticed that the Japanese warships had the design of present Korean warships. The producer admitted that the production team used open source and stock images as reference material for the Japanese fleet as they were restricted from filming overseas due to COVID-19 and that they should have consulted experts to review the material.


title: The King: Eternal Monarch

text: Another controversy also surfaced in the sixth episode about the image of the dragon in the royal robe and the crown of the King. According to the viewers, Emperor Lee Gon's golden crown was similar to crowns used in the Silla Dynasty and his royal robe with the image of the dragon was mainly used in the Joseon Dynasty, and though the series states that it is not set in any particular dynasty in Korea and is a fantasy, they considered this mistake as a massive mix-up.


title: The King: Eternal Monarch

text: On May 14, the Korea Communications Standards Commission issued an advisory warning against the series for scenes that challenged gender equality after viewers complained that those scenes promote fixed gender stereotypes. The scenes in question featured the female prime minister saying, “Bras without wires can't support the chest,” as well as the scene portraying a boat race where a female spectator said, “Men need to wear less and move around lots.”


title: The King: Eternal Monarch

text: On the same day, the Korea Communications Standards Commission also issued a warning to the production when the advertising review subcommittee took issue with the indirect advertising seen in episodes 8, 9, and 12 stating that it violated article 47 of the broadcasting regulations.


title: The King: Eternal Monarch

text: At the time of airing, the series had the second highest premiere ratings on SBS's Friday-Saturday drama time slot, proceeded by "Nokdu Flower", and the highest in 2020 when it premiered with a TV viewership rating of 11.4%, which went up to its highest recorded rating of 11.6% on the second episode. The rating hit it lowest at 5.2% on the 11th episode, hovered around the 6-8% viewership ratings on later episodes, and ending with a viewership rating of 8.1%. The series saw smaller domestic popularity compared to previous works by writer Kim Eun-sook. According to International Business Times, the development of the plot, the editing and the forced scenes were the reasons the series failed to increase its ratings, while The Korea Times in an interview with an anonymous drama production company official said that the low ratings can largely be attributed to rise of streaming platforms.


title: Shelly Miscavige

text: Michele Diane Miscavige (née Barnett; born January 18, 1961) is a member of the Church of Scientology, married to Scientology leader David Miscavige. She was last seen in public in August 2007.


title: Shelly Miscavige

text: Since her withdrawal from public appearances, she has been the subject of speculation and inquiries regarding her whereabouts and wellbeing. In 2012, attorneys who said they represented her responded by saying she was merely living a private life devoted to the Church of Scientology. In August 2013, actress Leah Remini, a former Scientologist and vocal critic of the organization, filed a missing person report regarding Miscavige with the Los Angeles Police Department (LAPD). Within a few days of receiving the report, the LAPD stated that they located Miscavige, and further stated that she was not actually missing, so the case was closed. A further communication by an attorney representing the Church of Scientology in 2018 indicated that she continues to be a dedicated Sea Org member and is continuing to live a private life.


title: Shelly Miscavige

text: Miscavige is a member of the Sea Org, the organization responsible for the international management of the Church of Scientology and its affiliated entities. From the age of 12, she was a member of the Commodore's Messenger Organization (CMO), the internal Sea Org group responsible for personally servicing Scientology founder L. Ron Hubbard aboard his flagship, MV "Apollo", in the 1970s. She was described as "quiet, petite and younger than most of the other Messengers at the time ... and a bit overshadowed by the older girls". Jim Dincalci, one of her shipmates, says that she was "a sweet, innocent thing thrown into chaos". At the age of 21, in December 1982, she married a fellow CMO member, 22-year-old David Miscavige. She came to view Miscavige as the reincarnation of Simón Bolívar and herself as his mistress Manuela Sáenz.


title: Shelly Miscavige

text: She subsequently joined her husband's group as the official assistant to her husband, the chairman of the board (COB) of Scientology's Religious Technology Center. According to author Lawrence Wright, she was closely involved in Scientology's liaison with its highest profile member, Tom Cruise. When Cruise began a three-year relationship with Penélope Cruz, Miscavige supervised Cruz's auditing and helped her through Scientology's Purification Rundown program.


title: Shelly Miscavige

text: After the end of the Cruise–Cruz relationship, Miscavige was reported to have led a Scientology program to find a new girlfriend for Tom Cruise. Around a hundred young Scientologist actresses were interviewed, though they were not told why. An actress named Nazanin Boniadi was introduced to Cruise and dated him for a few months before he broke off the relationship in January 2005. The search resumed, with more actresses invited to audition for what they thought was a role in a forthcoming "" film, and eventually concluded with Katie Holmes meeting and marrying Cruise. His attorney denies that any Scientology executive set him up with girlfriends. Miscavige subsequently oversaw a project to use Scientology members and contractors to renovate Cruise's nine-bedroom mansion in Beverly Hills.


title: Shelly Miscavige

text: In 2006, Miscavige's husband, Scientology leader David Miscavige, left the organization's international base. Upon her husband's return, Miscavige was said to have "visibly changed" her mood and to have "looked cowed". Mike Rinder, then Scientology's chief spokesman, says that she asked him if her husband was still wearing his wedding ring. Shortly afterwards, in June 2006, she no longer made any appearances in public. Miscavige has not appeared in public since August 2007.


title: Shelly Miscavige

text: Missing person reports have been filed with the Los Angeles Police Department concerning Miscavige. At least two such reports have been filed; one is reported by Lawrence Wright, though he does not state who submitted it, while another was filed in August 2013 by actress Leah Remini. Detective Gus Villanueva, in response to the missing person report, said: "The LAPD has classified the report as unfounded, indicating that Shelly is not missing." In August 2013, the Los Angeles Police Department confirmed they located and spoke with Miscavige following a missing-persons report filed by Remini. Remini, who used to be a member of the Church of Scientology, questioned her absence at the wedding of Tom Cruise and Katie Holmes. Remini further questioned Shelly Miscavige's whereabouts in her show produced for the A&E network, "" in December 2018, five years after detectives closed her missing persons case, saying that they had met with her in person. The Church of Scientology responded to the announcement of the episode in a letter: "Remini is a foaming anti-Scientologist. Mrs. Miscavige has personally and repeatedly told law enforcement that Remini's acts are abusive. Remini is unhinged and Remini and her cohorts should be prosecuted for knowingly filing a false missing person's report."


title: Shelly Miscavige

text: The Church of Scientology has not commented on Miscavige's location. In July 2012, responding to press accounts of speculation on Miscavige's whereabouts, two UK newspapers were informed by lawyers who said they represented Miscavige and "that she is not missing and devotes her time to the work of the Church of Scientology." In December 2018, a lawyer representing the Church of Scientology told "The Daily Beast" that Miscavige is a dedicated Sea Org member who "lives a private life" and that the lawyer's partner had personally met with her.


title: Shelly Miscavige

text: Some former members of Sea Org have said that they believe Miscavige is being held against her will at the compound of the Scientologist's Church of Spiritual Technology corporation near the mountain town of Running Springs in San Bernardino County, California.


title: Shelly Miscavige

text: Miscavige's mother, Mary Florence "Flo" Fike Barnett, was a long-time Scientologist. Flo resigned from Scientology, taking with her copies of the "confidential upper-level materials". Flo later joined David Mayo's Advanced Ability Center, an independent Scientology organization. On September 8, 1985, she was found dead at age 52 from a shot to the head from a Ruger 10/22 rifle. The body also had three rifle shot wounds to the chest (one surface wound, one through a breast implant, and one that passed through the left lung and fractured a rib), and there were superficial slash marks on her wrists that were identified in the autopsy report as possibly having been a few days old. Despite the multiple gunshot wounds and the unwieldy nature of the weapon, her death was ruled a suicide. According to one former member of the Sea Org, David Miscavige said of Flo's death: "That bitch got what she deserved."


title: Shelly Miscavige

text: The Fox police sitcom television series "Brooklyn Nine-Nine" makes reference to Miscavige's alleged disappearance in its fifth-season episode "NutriBoom". The episode satirizes Scientology as a multi-level marketing company that produces amino acids and amino acid reducers, allegedly to improve their clients' health. "Brooklyn Nine-Nine"'s parody of Miscavige, Debbie Stovelman, is found to be alive and well, having faked her own disappearance to allow her to run Nutriboom and escape the consequences of illegal activities.


title: Shelly Miscavige

text: In the "Unbreakable Kimmy Schmidt" episode "Sliding Van Doors", the character Gretchen, who rose up in the ranks of a parody of Scientology named Cosmetology, repeatedly asserts that her husband Shelly is “definitely alive.”


title: Shelly Miscavige

text: In John Oliver's "Last Week Tonight", he included “Where’s Shelly” (in Spanish) in the opening montage of the show for an entire season. In the final episode of season 5, he did a piece that wrapped up his year long secret “advertising campaign” for scientology and demanded that they pay him $650,000-$700,000 for it. In his October 2021 segment on Taiwan, he joked about Miscavige's wife before asking, "Where's Shelly?"


title: NTSC

text: The first American standard for analog television broadcast was developed by National Television System Committee (NTSC) in 1941. In 1961, it was assigned the designation System M.


title: NTSC

text: In 1953, a second NTSC standard was adopted, which allowed for color television broadcast compatible with the existing stock of black-and-white receivers. It is one of three major color formats for analog television, the others being PAL and SECAM. NTSC color is usually associated with the System M. The only other broadcast television system to use NTSC color was the System J.


title: NTSC

text: Since the introduction of digital sources (ex: DVD) the term "NTSC" might be used to refer to digital formats with number of active lines between 480 and 487 having 30 or 29.97 frames per second rate. This borrowed term should not be confused with the analog color system itself.


title: NTSC

text: The NTSC standard was used in most of the Americas (except Argentina, Brazil, Paraguay, and Uruguay), Myanmar, South Korea, Taiwan, Philippines, Japan, and some Pacific Islands nations and territories (see map).


title: NTSC

text: Most countries using the NTSC standard, as well as those using other analog television standards, have switched to, or are in process of switching to, newer digital television standards, with there being at least four different standards in use around the world. North America, parts of Central America, and South Korea are adopting or have adopted the ATSC standards, while other countries, such as Japan, are adopting or have adopted other standards instead of ATSC. After nearly 70 years, the majority of over-the-air NTSC transmissions in the United States ceased on January 1, 2010, and by August 31, 2011, in Canada and most other NTSC markets. The majority of NTSC transmissions ended in Japan on July 24, 2011, with the Japanese prefectures of Iwate, Miyagi, and Fukushima ending the next year. After a pilot program in 2013, most full-power analog stations in Mexico left the air on ten dates in 2015, with some 500 low-power and repeater stations allowed to remain in analog until the end of 2016. Digital broadcasting allows higher-resolution television, but digital standard definition television continues to use the frame rate and number of lines of resolution established by the analog NTSC standard.


title: NTSC

text: The National Television System Committee was established in 1940 by the United States Federal Communications Commission (FCC) to resolve the conflicts between companies over the introduction of a nationwide analog television system in the United States. In March 1941, the committee issued a technical standard for black-and-white television that built upon a 1936 recommendation made by the Radio Manufacturers Association (RMA). Technical advancements of the vestigial side band technique allowed for the opportunity to increase the image resolution. The NTSC selected 525 scan lines as a compromise between RCA's 441-scan line standard (already being used by RCA's NBC TV network) and Philco's and DuMont's desire to increase the number of scan lines to between 605 and 800. The standard recommended a frame rate of 30 frames (images) per second, consisting of two interlaced fields per frame at 262.5 lines per field and 60 fields per second. Other standards in the final recommendation were an aspect ratio of 4:3, and frequency modulation (FM) for the sound signal (which was quite new at the time).


title: NTSC

text: In January 1950, the committee was reconstituted to standardize color television. The FCC had briefly approved a 405-line field-sequential color television standard in October 1950, which was developed by CBS. The CBS system was incompatible with existing black-and-white receivers. It used a rotating color wheel, reduced the number of scan lines from 525 to 405, and increased the field rate from 60 to 144, but had an effective frame rate of only 24 frames per second. Legal action by rival RCA kept commercial use of the system off the air until June 1951, and regular broadcasts only lasted a few months before manufacture of all color television sets was banned by the Office of Defense Mobilization in October, ostensibly due to the Korean War. CBS rescinded its system in March 1953, and the FCC replaced it on December 17, 1953, with the NTSC color standard, which was cooperatively developed by several companies, including RCA and Philco.


title: NTSC

text: In December 1953, the FCC unanimously approved what is now called the "NTSC" color television standard (later defined as RS-170a). The compatible color standard retained full backward compatibility with then-existing black-and-white television sets. Color information was added to the black-and-white image by introducing a color subcarrier of precisely 315/88 MHz (usually described as 3.579545 MHz±10 Hz or about 3.58 MHz). The precise frequency was chosen so that horizontal line-rate modulation components of the chrominance signal fall exactly in between the horizontal line-rate modulation components of the luminance signal, thereby enabling the chrominance signal to be filtered out of the luminance signal with minor degradation of the luminance signal. (Also, minimize the visibility on existing sets that do not filter it out.) Due to limitations of frequency divider circuits at the time the color standard was promulgated, the color subcarrier frequency was constructed as composite frequency assembled from small integers, in this case 5×7×9/(8×11) MHz. The horizontal line rate was reduced to approximately 15,734 lines per second (3.579545×2/455 MHz = 9/572 MHz) from 15,750 lines per second, and the frame rate was reduced to 30/1.001 ≈ 29.970 frames per second (the horizontal line rate divided by 525 lines/frame) from 30 frames per second. These changes amounted to 0.1 percent and were readily tolerated by then-existing television receivers.


title: NTSC

text: The first publicly announced network television broadcast of a program using the NTSC "compatible color" system was an episode of NBC's "Kukla, Fran and Ollie" on August 30, 1953, although it was viewable in color only at the network's headquarters. The first nationwide viewing of NTSC color came on the following January 1 with the coast-to-coast broadcast of the Tournament of Roses Parade, viewable on prototype color receivers at special presentations across the country. The first color NTSC television camera was the RCA TK-40, used for experimental broadcasts in 1953; an improved version, the TK-40A, introduced in March 1954, was the first commercially available color television camera. Later that year, the improved TK-41 became the standard camera used throughout much of the 1960s.


title: NTSC

text: With the advent of digital television, analog broadcasts were largely phased out. Most US NTSC broadcasters were required by the FCC to shut down their analog transmitters by February 17th 2009, however this was later moved to June 12th 2009. Low-power stations, Class A stations and translators were required to shut down by 2015, although an FCC extension allowed some of those stations operating on Channel 6 to operate until July 13, 2021. The remaining Canadian analog TV transmitters, in markets not subject to the mandatory transition in 2011, were scheduled to be shut down by January 14, 2022, under a schedule published by Innovation, Science and Economic Development Canada in 2017; however the scheduled transition dates have already passed for several stations listed that continue to broadcast in analog (e.g. CFJC-TV Kamloops, which has not yet transitioned to digital, is listed as having been required to transition by November 20, 2020).


title: NTSC

text: NTSC color encoding is used with the System M television signal, which consists of  (approximately 29.97) interlaced frames of video per second. Each frame is composed of two fields, each consisting of 262.5 scan lines, for a total of 525 scan lines. Initially 486 scan lines make up the visible raster, although this was later standardized to 480. The remainder (the vertical blanking interval) allow for vertical synchronization and retrace. This blanking interval was originally designed to simply blank the electron beam of the receiver's CRT to allow for the simple analog circuits and slow vertical retrace of early TV receivers. However, some of these lines may now contain other data such as closed captioning and vertical interval timecode (VITC). In the complete raster (disregarding half lines due to interlacing) the even-numbered scan lines (every other line that would be even if counted in the video signal, e.g. {2, 4, 6, ..., 524}) are drawn in the first field, and the odd-numbered (every other line that would be odd if counted in the video signal, e.g. {1, 3, 5, ..., 525}) are drawn in the second field, to yield a flicker-free image at the field refresh frequency of  Hz (approximately 59.94 Hz). For comparison, 625 lines (576 visible) systems, usually used with PAL-B/G and SECAM color, and so have a higher vertical resolution, but a lower temporal resolution of 25 frames or 50 fields per second.


title: NTSC

text: The NTSC field refresh frequency in the black-and-white system originally exactly matched the nominal 60 Hz frequency of alternating current power used in the United States. Matching the field refresh rate to the power source avoided intermodulation (also called "beating"), which produces rolling bars on the screen. Synchronization of the refresh rate to the power incidentally helped kinescope cameras record early live television broadcasts, as it was very simple to synchronize a film camera to capture one frame of video on each film frame by using the alternating current frequency to set the speed of the synchronous AC motor-drive camera. This, as mentioned, is how the NTSC field refresh frequency worked in the original black-and-white system; when "color" was added to the system, however, the refresh frequency was shifted slightly downward by 0.1%, to approximately 59.94 Hz, to eliminate stationary dot patterns in the difference frequency between the sound and color carriers (as explained below in §Color encoding). By the time the frame rate changed to accommodate color, it was nearly as easy to trigger the camera shutter from the video signal itself.


title: NTSC

text: The actual figure of 525 lines was chosen as a consequence of the limitations of the vacuum-tube-based technologies of the day. In early TV systems, a master voltage-controlled oscillator was run at twice the horizontal line frequency, and this frequency was divided down by the number of lines used (in this case 525) to give the field frequency (60 Hz in this case). This frequency was then compared with the 60 Hz power-line frequency and any discrepancy corrected by adjusting the frequency of the master oscillator. For interlaced scanning, an odd number of lines per frame was required in order to make the vertical retrace distance identical for the odd and even fields, which meant the master oscillator frequency had to be divided down by an odd number. At the time, the only practical method of frequency division was the use of a chain of vacuum tube multivibrators, the overall division ratio being the mathematical product of the division ratios of the chain. Since all the factors of an odd number also have to be odd numbers, it follows that all the dividers in the chain also had to divide by odd numbers, and these had to be relatively small due to the problems of thermal drift with vacuum tube devices. The closest practical sequence to 500 that meets these criteria was . (For the same reason, 625-line PAL-B/G and SECAM uses , the old British 405-line system used , the French 819-line system used etc.)


title: NTSC

text: The original 1953 color NTSC specification, still part of the United States Code of Federal Regulations, defined the colorimetric values of the system as follows:


title: NTSC

text: Early color television receivers, such as the RCA CT-100, were faithful to this specification (which was based on prevailing motion picture standards), having a larger gamut than most of today's monitors. Their low-efficiency phosphors (notably in the Red) were weak and long-persistent, leaving trails after moving objects. Starting in the late 1950s, picture tube phosphors would sacrifice saturation for increased brightness; this deviation from the standard at both the receiver and broadcaster was the source of considerable color variation.


title: NTSC

text: To ensure more uniform color reproduction, receivers started to incorporate color correction circuits that converted the received signal—encoded for the colorimetric values listed above—into signals encoded for the phosphors actually used within the monitor. Since such color correction can not be performed accurately on the nonlinear gamma corrected signals transmitted, the adjustment can only be approximated, introducing both hue and luminance errors for highly saturated colors.


title: NTSC

text: Similarly at the broadcaster stage, in 1968–69 the Conrac Corp., working with RCA, defined a set of controlled phosphors for use in broadcast color picture video monitors. This specification survives today as the SMPTE "C" phosphor specification:


title: NTSC

text: As with home receivers, it was further recommended that studio monitors incorporate similar color correction circuits so that broadcasters would transmit pictures encoded for the original 1953 colorimetric values, in accordance with FCC standards.


title: NTSC

text: In 1987, the Society of Motion Picture and Television Engineers (SMPTE) Committee on Television Technology, Working Group on Studio Monitor Colorimetry, adopted the SMPTE C (Conrac) phosphors for general use in Recommended Practice 145, prompting many manufacturers to modify their camera designs to directly encode for SMPTE "C" colorimetry without color correction, as approved in SMPTE standard 170M, "Composite Analog Video Signal – NTSC for Studio Applications" (1994). As a consequence, the ATSC digital television standard states that for 480i signals, SMPTE "C" colorimetry should be assumed unless colorimetric data is included in the transport stream.


title: NTSC

text: Japanese NTSC never changed primaries and whitepoint to SMPTE "C", continuing to use the 1953 NTSC primaries and whitepoint. Both the PAL and SECAM systems used the original 1953 NTSC colorimetry as well until 1970; unlike NTSC, however, the European Broadcasting Union (EBU) rejected color correction in receivers and studio monitors that year and instead explicitly called for all equipment to directly encode signals for the "EBU" colorimetric values, further improving the color fidelity of those systems.


title: NTSC

text: For backward compatibility with black-and-white television, NTSC uses a luminance-chrominance encoding system invented in 1938 by Georges Valensi. The "three" color picture signals are divided into Luminance (derived mathematically from the three separate color signals (Red, Green and Blue)) which takes the place of the original monochrome signal and Chrominance which carries "only" the color information. This process is applied to "each" color source by its own Colorplexer, thereby allowing a compatible color source to be managed as if it were an ordinary monochrome source. This allows black-and-white receivers to display NTSC color signals by simply ignoring the chrominance signal. Some black-and-white TVs sold in the U.S. after the introduction of color broadcasting in 1953 were designed to filter chroma out, but the early B&W sets did not do this and chrominance could be seen as a 'dot pattern' in highly colored areas of the picture.


title: NTSC

text: In NTSC, chrominance is encoded using two color signals known as I (in-phase) and Q (in quadrature) in a process called QAM. The two signals each amplitude modulate 3.58 MHz carriers which are 90 degrees out of phase with each other and the result added together but with the carriers themselves being suppressed. The result can be viewed as a single sine wave with varying phase relative to a reference carrier and with varying amplitude. The varying phase represents the instantaneous "color hue" captured by a TV camera, and the amplitude represents the instantaneous "color saturation". This 3.58 MHz subcarrier is then added to the Luminance to form the 'composite color signal' which modulates the video signal carrier just as in monochrome transmission.


title: NTSC

text: For a color TV to recover hue information from the color subcarrier, it must have a zero phase reference to replace the previously suppressed carrier. The NTSC signal includes a short sample of this reference signal, known as the colorburst, located on the 'back porch' of each horizontal synchronization pulse. The color burst consists of a minimum of eight cycles of the unmodulated (fixed phase and amplitude) color subcarrier. The TV receiver has a "local oscillator", which is synchronized with these color bursts. Combining this reference phase signal derived from the color burst with the chrominance signal's amplitude and phase allows the recovery of the 'I' and 'Q' signals which when combined with the Luminance information allows the reconstruction of a color image on the screen. Color TV has been said to really be color"ed" TV because of the total separation of the brightness part of the picture from the color portion. In CRT televisions, the NTSC signal is turned into three color signals called Red, Green and Blue, each controlling that color electron gun. TV sets with digital circuitry use sampling techniques to process the signals but the result is the same. For both analog and digital sets processing an analog NTSC signal, the original three color signals (Red, Green and Blue) are transmitted using three discrete signals (Luminance, I and Q) and then recovered as three separate colors and combined as a color image.


title: NTSC

text: When a transmitter broadcasts an NTSC signal, it amplitude-modulates a radio-frequency carrier with the NTSC signal just described, while it frequency-modulates a carrier 4.5 MHz higher with the audio signal. If non-linear distortion happens to the broadcast signal, the 3.579545 MHz color carrier may beat with the sound carrier to produce a dot pattern on the screen. To make the resulting pattern less noticeable, designers adjusted the original 15,750 Hz scanline rate down by a factor of 1.001 (0.1%) to match the audio carrier frequency divided by the factor 286, resulting in a field rate of approximately 59.94 Hz. This adjustment ensures that the difference between the sound carrier and the color subcarrier (the most problematic intermodulation product of the two carriers) is an odd multiple of half the line rate, which is the necessary condition for the dots on successive lines to be opposite in phase, making them least noticeable.


title: NTSC

text: The 59.94 rate is derived from the following calculations. Designers chose to make the chrominance subcarrier frequency an "n" + 0.5 multiple of the line frequency to minimize interference between the luminance signal and the chrominance signal. (Another way this is often stated is that the color subcarrier frequency is an odd multiple of half the line frequency.) They then chose to make the audio subcarrier frequency an integer multiple of the line frequency to minimize visible (intermodulation) interference between the audio signal and the chrominance signal. The original black-and-white standard, with its 15,750 Hz line frequency and 4.5 MHz audio subcarrier, does not meet these requirements, so designers had either to raise the audio subcarrier frequency or lower the line frequency. Raising the audio subcarrier frequency would prevent existing (black and white) receivers from properly tuning in the audio signal. Lowering the line frequency is comparatively innocuous, because the horizontal and vertical synchronization information in the NTSC signal allows a receiver to tolerate a substantial amount of variation in the line frequency. So the engineers chose the line frequency to be changed for the color standard. In the black-and-white standard, the ratio of audio subcarrier frequency to line frequency is   285.71. In the color standard, this becomes rounded to the integer 286, which means the color standard's line rate is  ≈ 15,734 Hz. Maintaining the same number of scan lines per field (and frame), the lower line rate must yield a lower field rate. Dividing lines per second by 262.5 lines per field gives approximately 59.94 fields per second.


title: NTSC

text: An NTSC television channel as transmitted occupies a total bandwidth of 6 MHz. The actual video signal, which is amplitude-modulated, is transmitted between 500 kHz and 5.45 MHz above the lower bound of the channel. The video carrier is 1.25 MHz above the lower bound of the channel. Like most AM signals, the video carrier generates two sidebands, one above the carrier and one below. The sidebands are each 4.2 MHz wide. The entire upper sideband is transmitted, but only 1.25 MHz of the lower sideband, known as a vestigial sideband, is transmitted. The color subcarrier, as noted above, is 3.579545 MHz above the video carrier, and is quadrature-amplitude-modulated with a suppressed carrier. The audio signal is frequency-modulated, like the audio signals broadcast by FM radio stations in the 88–108 MHz band, but with a 25 kHz maximum frequency deviation, as opposed to 75 kHz as is used on the FM band, making analog television audio signals sound quieter than FM radio signals as received on a wideband receiver. The main audio carrier is 4.5 MHz above the video carrier, making it 250 kHz below the top of the channel. Sometimes a channel may contain an MTS signal, which offers more than one audio signal by adding one or two subcarriers on the audio signal, each synchronized to a multiple of the line frequency. This is normally the case when stereo audio and/or second audio program signals are used. The same extensions are used in ATSC, where the ATSC digital carrier is broadcast at 0.31 MHz above the lower bound of the channel.


title: NTSC

text: "Setup" is a 54 mV (7.5 IRE) voltage offset between the "black" and "blanking" levels. It is unique to NTSC. CVBS stands for Color, Video, Blanking, and Sync.


title: NTSC

text: There is a large difference in frame rate between film, which runs at 24.0 frames per second, and the NTSC standard, which runs at approximately 29.97 (10 MHz×63/88/455/525) frames per second.


title: NTSC

text: In regions that use 25-fps television and video standards, this difference can be overcome by speed-up.


title: NTSC

text: For 30-fps standards, a process called "3:2 pulldown" is used. One film frame is transmitted for three video fields (lasting  video frames), and the next frame is transmitted for two video fields (lasting 1 video frame). Two film frames are thus transmitted in five video fields, for an average of  video fields per film frame. The average frame rate is thus 60 ÷ 2.5 = 24 frames per second, so the average film speed is nominally exactly what it should be. (In reality, over the course of an hour of real time, 215,827.2 video fields are displayed, representing 86,330.88 frames of film, while in an hour of true 24-fps film projection, exactly 86,400 frames are shown: thus, 29.97-fps NTSC transmission of 24-fps film runs at 99.92% of the film's normal speed.) Still-framing on playback can display a video frame with fields from two different film frames, so any difference between the frames will appear as a rapid back-and-forth flicker. There can also be noticeable jitter/"stutter" during slow camera pans (telecine judder).


title: NTSC

text: To show 25-fps material (such as European television series and some European movies) on NTSC equipment, every fifth frame is duplicated and then the resulting stream is interlaced.


title: NTSC

text: Film shot for NTSC television at 24 frames per second has traditionally been accelerated by 1/24 (to about 104.17% of normal speed) for transmission in regions that use 25-fps television standards. This increase in picture speed has traditionally been accompanied by a similar increase in the pitch and tempo of the audio. More recently, frame-blending has been used to convert 24 FPS video to 25 FPS without altering its speed.


title: NTSC

text: Film shot for television in regions that use 25-fps television standards can be handled in either of two ways:


title: NTSC

text: Because both film speeds have been used in 25-fps regions, viewers can face confusion about the true speed of video and audio, and the pitch of voices, sound effects, and musical performances, in television films from those regions. For example, they may wonder whether the Jeremy Brett series of Sherlock Holmes television films, made in the 1980s and early 1990s, was shot at 24 fps and then transmitted at an artificially fast speed in 25-fps regions, or whether it was shot at 25 fps natively and then slowed to 24 fps for NTSC exhibition.


title: NTSC

text: These discrepancies exist not only in television broadcasts over the air and through cable, but also in the home-video market, on both tape and disc, including laser disc and DVD.


title: NTSC

text: In digital television and video, which are replacing their analog predecessors, single standards that can accommodate a wider range of frame rates still show the limits of analog regional standards. The initial version of the ATSC standard, for example, allowed frame rates of 23.976, 24, 29.97, 30, 59.94, 60, 119.88 and 120 frames per second, but not 25 and 50. Modern ATSC allows 25 and 50 FPS.


title: NTSC

text: Because satellite power is severely limited, analog video transmission through satellites differs from terrestrial TV transmission. AM is a linear modulation method, so a given demodulated signal-to-noise ratio (SNR) requires an equally high received RF SNR. The SNR of studio quality video is over 50 dB, so AM would require prohibitively high powers and/or large antennas.


title: NTSC

text: Wideband FM is used instead to trade RF bandwidth for reduced power. Increasing the channel bandwidth from 6 to 36 MHz allows a RF SNR of only 10 dB or less. The wider noise bandwidth reduces this 40 dB power saving by 36 MHz / 6 MHz = 8 dB for a substantial net reduction of 32 dB.


title: NTSC

text: Sound is on an FM subcarrier as in terrestrial transmission, but frequencies above 4.5 MHz are used to reduce aural/visual interference. 6.8, 5.8 and 6.2 MHz are commonly used. Stereo can be multiplex, discrete, or matrix and unrelated audio and data signals may be placed on additional subcarriers.


title: NTSC

text: A triangular 60 Hz energy dispersal waveform is added to the composite baseband signal (video plus audio and data subcarriers) before modulation. This limits the satellite downlink power spectral density in case the video signal is lost. Otherwise the satellite might transmit all of its power on a single frequency, interfering with terrestrial microwave links in the same frequency band.


title: NTSC

text: In half transponder mode, the frequency deviation of the composite baseband signal is reduced to 18 MHz to allow another signal in the other half of the 36 MHz transponder. This reduces the FM benefit somewhat, and the recovered SNRs are further reduced because the combined signal power must be "backed off" to avoid intermodulation distortion in the satellite transponder. A single FM signal is constant amplitude, so it can saturate a transponder without distortion.


title: NTSC

text: An NTSC "frame" consists of an "even" field followed by an "odd" field. As far as the reception of an analog signal is concerned, this is purely a matter of convention and, it makes no difference. It is rather like the broken lines running down the middle of a road, it does not matter whether it is a line/space pair or a space/line pair; the effect to a driver is exactly the same.


title: NTSC

text: The introduction of digital television formats has changed things somewhat. Most digital TV formats store and transmit fields in pairs as a single digital frame. Digital formats that match NTSC field rate, including the popular DVD format, record video with the "even field first" in the digital frame, while the formats that match field rate of the 625 line system often record video with "odd frame first". This means that when reproducing many non-NTSC based digital formats it is necessary to reverse the field order, otherwise an unacceptable shuddering "comb" effect occurs on moving objects as they are shown ahead in one field and then jump back in the next.


title: NTSC

text: This has also become a hazard where non NTSC progressive video is transcoded to interlaced and vice versa. Systems that recover progressive frames or transcode video should ensure that the "Field Order" is obeyed, otherwise the recovered frame will consist of a field from one frame and a field from an adjacent frame, resulting in "comb" interlacing artifacts. This can often be observed in PC based video playing utilities if an inappropriate choice of de-interlacing algorithm is made.


title: NTSC

text: During the decades of high-power NTSC broadcasts in the United States, switching between the views from two cameras was accomplished according to two Field dominance standards, the choice between the two being made by geography, East versus West. In one region, the switch was made between the odd field that finished one frame and the even field that began the next frame; in the other, the switch was made after an even field and before an odd field. Thus, for example, a home VHS recording made of a local television newscast in the East, when paused, would only ever show the view from one camera (unless a dissolve or other multicamera shot were intended), whereas VHS playback of a situation comedy taped and edited in Los Angeles and then transmitted nationwide could be paused at the moment of a switch between cameras with half the lines depicting the outgoing shot and the other half depicting the incoming shot.


title: NTSC

text: Unlike PAL and SECAM, with its many varied underlying broadcast television systems in use throughout the world, NTSC color encoding is almost invariably used with broadcast system M, giving NTSC-M.


title: NTSC

text: NTSC-N/NTSC50 is an unofficial system combining 625-line video with 3.58 MHz NTSC color. PAL software running on an NTSC Atari ST displays using this system as it cannot display PAL color. Television sets and monitors with a V-Hold knob can display this system after adjusting the vertical hold.


title: NTSC

text: Only Japan's variant "NTSC-J" is slightly different: in Japan, black level and blanking level of the signal are identical (at 0 IRE), as they are in PAL, while in American NTSC, black level is slightly higher (7.5 IRE) than blanking level. Since the difference is quite small, a slight turn of the brightness knob is all that is required to correctly show the "other" variant of NTSC on any set as it is supposed to be; most watchers might not even notice the difference in the first place. The channel encoding on NTSC-J differs slightly from NTSC-M. In particular, the Japanese VHF band runs from channels 1–12 (located on frequencies directly above the 76–90 MHz Japanese FM radio band) while the North American VHF TV band uses channels 2–13 (54–72 MHz, 76–88 MHz and 174–216 MHz) with 88–108 MHz allocated to FM radio broadcasting. Japan's UHF TV channels are therefore numbered from 13 up and not 14 up, but otherwise uses the same UHF broadcasting frequencies as those in North America.


title: NTSC

text: NTSC 4.43 is a pseudo-system that transmits a NTSC color subcarrier of 4.43 MHz instead of 3.58 MHz The resulting output is only viewable by TVs that support the resulting pseudo-system (such as most PAL TVs). Using a native NTSC TV to decode the signal yields no color, while using an incompatible PAL TV to decode the system yields erratic colors (observed to be lacking red and flickering randomly). The format was used by the USAF TV based in Germany during the Cold War. It was also found as an optional output on some LaserDisc players and some game consoles sold in markets where the PAL system is used.


title: NTSC

text: The NTSC 4.43 system, while not a broadcast format, appears most often as a playback function of PAL cassette format VCRs, beginning with the Sony 3/4" U-Matic format and then following onto Betamax and VHS format machines, commonly advertised as "NTSC playback on PAL TV". As Hollywood has the claim of providing the most cassette software (movies and television series) for VCRs for the world's viewers, and as not "all" cassette releases were made available in PAL formats, a means of playing NTSC format cassettes was highly desired.


title: NTSC

text: Multi-standard video monitors were already in use in Europe to accommodate broadcast sources in PAL, SECAM, and NTSC video formats. The heterodyne color-under process of U-Matic, Betamax & VHS lent itself to minor modification of VCR players to accommodate NTSC format cassettes. The color-under format of VHS uses a 629 kHz subcarrier while U-Matic & Betamax use a 688 kHz subcarrier to carry an "amplitude modulated" chroma signal for both NTSC and PAL formats. Since the VCR was ready to play the color portion of the NTSC recording using PAL color mode, the PAL scanner and capstan speeds had to be adjusted from PAL's 50 Hz field rate to NTSC's 59.94 Hz field rate, and faster linear tape speed.


title: NTSC

text: The changes to the PAL VCR are minor thanks to the existing VCR recording formats. The output of the VCR when playing an NTSC cassette in NTSC 4.43 mode is 525 lines/29.97 frames per second with PAL compatible heterodyned color. The multi-standard receiver is already set to support the NTSC H & V frequencies; it just needs to do so while receiving PAL color.


title: NTSC

text: The existence of those multi-standard receivers was probably part of the drive for region coding of DVDs. As the color signals are component on disc for all display formats, almost no changes would be required for PAL DVD players to play NTSC (525/29.97) discs as long as the display was frame-rate compatible.


title: NTSC

text: In January 1960 (7 years prior to adoption of the modified SECAM version) the experimental TV studio in Moscow started broadcasting using the OSKM system. OSKM was the version of NTSC adapted to European D/K 625/50 standard. The OSKM abbreviation means "Simultaneous system with quadrature modulation" (In Russian: Одновременная Система с Квадратурной Модуляцией). It used the color coding scheme that was later used in PAL (U and V instead of I and Q).


title: NTSC

text: The color subcarrier frequency was 4.4296875 MHz and the bandwidth of U and V signals was near 1.5 MHz. Only circa 4000 TV sets of 4 models (Raduga, Temp-22, Izumrud-201 and Izumrud-203) were produced for studying the real quality of TV reception. These TV's were not commercially available, despite being included in the goods catalog for trade network of the USSR.


title: NTSC

text: The broadcasting with this system lasted about 3 years and was ceased well before SECAM transmissions started in the USSR. None of the current multi-standard TV receivers can support this TV system.


title: NTSC

text: Film content commonly shot at 24 frames/s can be converted to 30 frames/s through the telecine process to duplicate frames as needed.


title: NTSC

text: Mathematically for NTSC this is relatively simple as it is only needed to duplicate every fourth frame. Various techniques are employed. NTSC with an actual frame rate of   (approximately 23.976) frames/s is often defined as NTSC-film. A process known as pullup, also known as pulldown, generates the duplicated frames upon playback. This method is common for H.262/MPEG-2 Part 2 digital video so the original content is preserved and played back on equipment that can display it or can be converted for equipment that cannot.


title: NTSC

text: Sometimes "NTSC-U", "NTSC-US", or "NTSC-U/C" is used to describe the video gaming region of North America (the U/C refers to US + Canada), as regional lockout usually restricts games from being playable outside the region.


title: NTSC

text: For NTSC, and to a lesser extent, PAL, reception problems can degrade the color accuracy of the picture where ghosting can dynamically change the phase of the color burst with picture content, thus altering the color balance of the signal. The only receiver compensation is in the professional TV receiver ghost cancelling circuits used by cable companies. The vacuum-tube electronics used in televisions through the 1960s led to various technical problems. Among other things, the color burst phase would often drift. In addition, the TV studios did not always transmit properly, leading to hue changes when channels were changed, which is why NTSC televisions were equipped with a tint control. PAL and SECAM televisions had less of a need for one. SECAM in particular was very robust, but PAL, while excellent in maintaining skin tones which viewers are particularly sensitive to, nevertheless would distort other colors in the face of phase errors. With phase errors, only "Deluxe PAL" receivers would get rid of "Hanover bars" distortion. Hue controls are still found on NTSC TVs, but color drifting generally ceased to be a problem for more modern circuitry by the 1970s. When compared to PAL, in particular, NTSC color accuracy and consistency were sometimes considered inferior, leading to video professionals and television engineers jokingly referring to NTSC as "Never The Same Color", "Never Twice the Same Color", or "No True Skin Colors", while for the more expensive PAL system it was necessary to "Pay for Additional Luxury".


title: NTSC

text: PAL has also been referred to as "Peace At Last", "Perfection At Last" or "Pictures Always Lovely" in the color war. This mostly applied to vacuum tube-based TVs, however, and later-model solid state sets using Vertical Interval Reference signals have less of a difference in quality between NTSC and PAL. This color phase, "tint", or "hue" control allows for anyone skilled in the art to easily calibrate a monitor with SMPTE color bars, even with a set that has drifted in its color representation, allowing the proper colors to be displayed. Older PAL television sets did not come with a user accessible "hue" control (it was set at the factory), which contributed to its reputation for reproducible colors.


title: NTSC

text: The use of NTSC coded color in S-Video systems, as well as the use of closed-circuit composite NTSC, both eliminate the phase distortions because there is no reception ghosting in a closed-circuit system to smear the color burst. For VHS videotape on the horizontal axis and frame rate of the three color systems when used with this scheme, the use of S-Video gives the higher resolution picture quality on monitors and TVs without a high-quality motion-compensated comb filtering section. (The NTSC resolution on the vertical axis is lower than the European standards, 525 lines against 625.) However, it uses too much bandwidth for over-the-air transmission. The Atari 800 and Commodore 64 home computers generated S-video, but only when used with specially designed monitors as no TV at the time supported the separate chroma and luma on standard RCA jacks. In 1987, a standardized four-pin mini-DIN socket was introduced for S-video input with the introduction of S-VHS players, which were the first device produced to use the four-pin plugs. However, S-VHS never became very popular. Video game consoles in the 1990s began offering S-video output as well.


title: NTSC

text: The mismatch between NTSC's 30 frames per second and film's 24 frames is overcome by a process that capitalizes on the "field" rate of the interlaced NTSC signal, thus avoiding the film playback speedup used for 576i systems at 25 frames per second (which causes the accompanying audio to increase in pitch slightly, sometimes rectified with the use of a pitch shifter) at the price of some jerkiness in the video. See Frame rate conversion above.


title: NTSC

text: The standard NTSC video image contains some lines (lines 1–21 of each field) that are not visible (this is known as the Vertical Blanking Interval, or VBI); all are beyond the edge of the viewable image, but only lines 1–9 are used for the vertical-sync and equalizing pulses. The remaining lines were deliberately blanked in the original NTSC specification to provide time for the electron beam in CRT screens to return to the top of the display.


title: NTSC

text: VIR (or Vertical interval reference), widely adopted in the 1980s, attempts to correct some of the color problems with NTSC video by adding studio-inserted reference data for luminance and chrominance levels on line 19. Suitably equipped television sets could then employ these data in order to adjust the display to a closer match of the original studio image. The actual VIR signal contains three sections, the first having 70 percent luminance and the same chrominance as the color burst signal, and the other two having 50 percent and 7.5 percent luminance respectively.


title: NTSC

text: The remaining vertical blanking interval lines are typically used for datacasting or ancillary data such as video editing timestamps (vertical interval timecodes or SMPTE timecodes on lines 12–14), test data on lines 17–18, a network source code on line 20 and closed captioning, XDS, and V-chip data on line 21. Early teletext applications also used vertical blanking interval lines 14–18 and 20, but teletext over NTSC was never widely adopted by viewers.


title: NTSC

text: Many stations transmit TV Guide On Screen (TVGOS) data for an electronic program guide on VBI lines. The primary station in a market will broadcast 4 lines of data, and backup stations will broadcast 1 line. In most markets the PBS station is the primary host. TVGOS data can occupy any line from 10–25, but in practice its limited to 11–18, 20 and line 22. Line 22 is only used for 2 broadcast, DirecTV and CFPL-TV.


title: NTSC

text: TiVo data is also transmitted on some commercials and program advertisements so that customers can autorecord the program being advertised, and is also used in weekly half-hour paid programs on Ion Television and the Discovery Channel which highlight TiVo promotions and advertisers.


title: NTSC

text: Below countries and territories currently use or once used the NTSC system. Many of these have switched or are currently switching from NTSC to digital television standards such as ATSC (United States, Canada, Mexico, Suriname, Jamaica, South Korea), ISDB (Japan, Philippines and part of South America), DVB-T (Taiwan, Panama, Colombia, Myanmar, and Trinidad and Tobago) or DTMB (Cuba).


title: Adam Savage

text: Adam Whitney Savage (born July 15, 1967) is an American special effects designer and fabricator, actor, educator, and television personality and producer, best known as the former co-host (with Jamie Hyneman) of the Discovery Channel television series "MythBusters" and "Unchained Reaction". His model work has appeared in major films, including "" and "The Matrix Reloaded". He is the host of the TV program "Savage Builds", which premiered on the Science Channel on June 14, 2019. He is most active on the platform Adam Savage's Tested which includes a website and a YouTube channel.


title: Adam Savage

text: Savage was born in New York City and was raised in North Tarrytown, New York, which was renamed Sleepy Hollow in 1996. He graduated from Sleepy Hollow High School in 1985. His maternal grandfather Cushman Haagensen was a surgeon who pioneered breast cancer surgery. His father Whitney Lee Savage (1928–1998) was a painter, filmmaker, and animator known for his work on "Sesame Street", and he has work in the permanent collection of the Clay Center in Charleston, West Virginia. Whitney Lee was also known for directing the 1969 underground short film "Mickey Mouse in Vietnam". His mother Karen was a psychotherapist. Savage was the second youngest of six children, with the four older children coming from his parents' previous marriages. He has two older brothers, two older sisters, and one younger sister. His sister Kate Savage is also an artist.


title: Adam Savage

text: Savage began acting as a child and had five years of acting school. His early credits include voicing animated characters that his father produced for "Sesame Street", Mr. Whipple's stock boy Jimmy in a Charmin commercial, and a drowning young man saved by a lifeguard in the 1985 Billy Joel music video "You're Only Human (Second Wind)".


title: Adam Savage

text: Savage abandoned acting by the time he was 19. "I had passed on that in favor of doing stuff with my hands", he said. He describes "MythBusters" as "the perfect marriage of two things, performance and special effects." As a teenager in Sleepy Hollow, Savage routinely visited the local bike shop to have flat tires fixed. The shop showed him how to do the repairs himself. From this experience, Savage said, "I realized you could take a bike apart and put it back together and it wasn't that hard… I've been building and putting bicycles together since then."


title: Adam Savage

text: Savage broke his neck on his eighteenth birthday in a swimming accident, an injury he survived without suffering long-term consequences.


title: Adam Savage

text: Savage has worked as an animator, graphic designer, carpenter, projectionist, film developer, television presenter, set designer, toy designer, and gallery owner. He worked as a model maker on the films "Galaxy Quest", "Bicentennial Man", "", "The Mummy", "The Matrix Reloaded", and "Space Cowboys", among others. Savage played the role of a helpful engineer in the 2001 film "Ever Since the World Ended "and the role of an army surplus store owner who sells a man a rocket engine for his pickup truck in 2006 in "The Darwin Awards, "which also featured "MythBusters" co-star Jamie Hyneman." "He made a cameo appearance with Hyneman on "" on the May 1, 2008, episode "The Theory of Everything." In the "making of" material for "The Matrix Revolutions", he appears in his role as a special effects artist and discusses some of the miniature effects used and the difficulties involved. He previously taught advanced model making in the department of industrial design at the Academy of Art University in San Francisco.""


title: Adam Savage

text: Savage has become a regular presenter at magician James Randi's annual skeptics conference, The Amaz!ng Meeting, since first appearing in January 2006. Savage credits his introduction to the skeptical community to Michael Shermer, who interviewed him for "Skeptic Magazine". He also appeared in the United Kingdom, giving a talk at the first Amaz!ng Meeting London from October 3 to 4, 2009, hosted at the Mermaid Conference Centre, Blackfriars. Savage was a featured performer at the three w00tstock v1.x shows in 2009 and appeared in four w00tstock v2.x shows in 2010. He also appeared as a guest on "Diggnation" 220th show. Savage has also been a regular guest speaker at the annual Maker Faire since 2008, speaking on different topics such as his obsession with the dodo bird and problem-solving, and also taking questions from the audience members about "MythBusters", among other topics. Savage hosted an episode of the Discovery Channel series "Curiosity", in which he speculated as to whether or not it is possible for humans to live forever. During the program various topics such as limb regeneration, organ printers, and even age reversal are discussed. In 2011, Savage appeared as "Dan" in a short film directed by Frank Ippolito titled "Night of the Little Dead". On November 25, 2011, he received an honorary doctorate from the University of Twente (Enschede, Netherlands) for popularizing science and technology.


title: Adam Savage

text: Savage and Hyneman were judges on the game show "Unchained Reaction" which premiered in March 2012. Savage is an occasional guest host for lecture events at the San Francisco-based non-profit City Arts & Lectures, and delivered a keynote address at South by Southwest conference on March 10, 2014. On March 24, 2012 Savage appeared as a featured speaker at the first Reason Rally in Washington D.C.<ref name="5//1/2012"></ref> On May 18, 2012, Savage was the commencement speaker at Sarah Lawrence College. Savage is a co-host on the weekly podcast "Still Untitled: The Adam Savage Project". The project launched on June 5, 2012, and is in the format of a conversation between Savage, tested.com editors-in-chief Will Smith and Norman Chan, and Simone Giertz about topics from science and movies to DIY and work ethic. Episodes typically last 3045 minutes. Savage is a co-owner, editor and contributor at tested.com.


title: Adam Savage

text: In 2017, Savage toured with Michael Stevens on the Brain Candy LIVE! tour. In April 2017, Savage played the role of a mission specialist in episode "Caliban's War" of the series "The Expanse". In June 2017, Savage was named "Humanist of the Year" by the American Humanist Association at their annual conference. October 2017, Savage played a cameo as a merchant selling blood bags in the "Blade Runner 2049" short film prequel, "". In April 2018, Discovery Channel announced that Savage will host and produce a new series called "MythBusters Jr.", a series focused on a group of young scientists tasked with completing various experiments of challenges through the use of STEAM skills. In July 2018, Savage in a collaboration with Weta Workshop created and acted in the shortfilm "A Farewell To Arms". In the same year, he won the Heinz Oberhummer Award for Science Communication. On February 20, 2020, Savage was appointed the Creative Director of SiliCon (formally Silicon Valley Comic Con), succeeding Steve Wozniak.


title: Adam Savage

text: Savage's role with his co-hosts is to disprove or confirm myths through testing and experiments done at different scales. His demeanor on "MythBusters" is animated and energetic, providing a foil to Jamie Hyneman's more reserved straight-man persona. Savage and Hyneman were the sole hosts of the show for the first season of "MythBusters". They introduced members of Hyneman's staff in the second season who began to appear regularly; Kari Byron, Tory Belleci, and welder Scottie Chapman appeared in the second season. In the third season, Chapman was replaced by Grant Imahara, a robot builder and model maker. Filmed in San Francisco and edited in Artarmon, New South Wales, Australia, MythBusters aired 282 total episodes before its cancellation at the end of its 2016 season in March. On November 15, 2017, sister network Science Channel revived the series with the new hosts Jon Lung and Brian Louden, who were selected via the competition spin-off "".


title: Adam Savage

text: In 2019, Savage hosted the spin-off series "Mythbusters Jr.", featuring a team of teenagers skilled in STEAM topics.


title: Adam Savage

text: Savage married Julia Ward on September 11, 2004. He has twin sons from a previous relationship. He wears hearing aids in both ears due to congenital otosclerosis.


title: Adam Savage

text: In the late 1980s, Savage lived at Eighth Avenue and Carroll Street in Park Slope, Brooklyn. He later moved in with his parents for less than a year, working for a graphic design firm in Manhattan. A close friend who was living on Broderick Street in San Francisco asked him to become his roommate, and Savage moved to San Francisco in August 1990. He continues to live in San Francisco.


title: Adam Savage

text: Savage has publicly stated that he is an atheist. In a YouTube video dated 14 December 2020, Savage stated that he had married 20 to 25 couples over the course of 25 years, and implied that he was an ordained minister with the Universal Life Church, a group whose only belief is "Do that which is right".


title: Adam Savage

text: Savage has a lifelong interest in costume making and cosplay: "I remember my mom getting me a Jaws costume when "Jaws" came out… and wearing a Batman costume. Back then, everyone dressed up as hobos." He strives for authenticity with his costumes. While in high school, he and his father made a suit of armor out of aluminum roof flashing that had seven hundred rivets. "I wore it to school and passed out from heat exhaustion in math class. I woke up in the nurse's office and the first thing I said was 'Where's my armor?'"


title: Adam Savage

text: In June 2020, Savage's younger sister, Miranda Pacchiana, filed a lawsuit against him, alleging that Savage repeatedly raped her when they were both children. Savage responded, "While I hope that my sister gets the help she needs to find peace, this needs to end. For many years, she has relentlessly and falsely attacked me and other members of my family to anyone who will listen [...] I will fight this groundless and offensive lawsuit and work to put this to rest once and for all." The siblings' mother came to Adam's defense, stating, "It makes me very sad to say this, but my daughter suffers from severe mental health challenges, and it's devastating that she's putting Adam and our entire family through this. Adam is a good man, and I support him completely." The lawsuit was settled through mediation on May 24, 2021, and dismissed on May 25, 2021. Details of the settlement were not made public. Pacchiana removed her original blog post about Savage, which had precipitated the lawsuit.


title: Bose–Einstein condensate

text: In condensed matter physics, a Bose–Einstein condensate (BEC) is a state of matter that is typically formed when a gas of bosons at very low densities is cooled to temperatures very close to absolute zero (−273.15 °C or −459.67 °F). Under such conditions, a large fraction of bosons occupy the lowest quantum state, at which point microscopic quantum mechanical phenomena, particularly wavefunction interference, become apparent macroscopically. A BEC is formed by cooling a gas of extremely low density (about 100,000 times less dense than normal air) to ultra-low temperatures.


title: Bose–Einstein condensate

text: This state was first predicted, generally, in 1924–1925 by Albert Einstein following and crediting a pioneering paper by Satyendra Nath Bose on the new field now known as quantum statistics. In 1995, the Bose-Einstein condensate was created by Eric Cornell and Carl Wieman of the University of Colorado at Boulder using rubidium atoms; later that year, Wolfgang Ketterle of MIT produced a BEC using sodium atoms. In 2001 Cornell, Wieman and Ketterle shared the Nobel Prize in Physics "for the achievement of Bose-Einstein condensation in dilute gases of alkali atoms, and for early fundamental studies of the properties of the condensates."


title: Bose–Einstein condensate

text: Bose first sent a paper to Einstein on the quantum statistics of light quanta (now called photons), in which he derived Planck's quantum radiation law without any reference to classical physics. Einstein was impressed, translated the paper himself from English to German and submitted it for Bose to the "Zeitschrift für Physik", which published it in 1924. (The Einstein manuscript, once believed to be lost, was found in a library at Leiden University in 2005.) Einstein then extended Bose's ideas to matter in two other papers. The result of their efforts is the concept of a Bose gas, governed by Bose–Einstein statistics, which describes the statistical distribution of identical particles with integer spin, now called bosons. Bosons, particles that include the photon as well as atoms such as helium-4 (), are allowed to share a quantum state. Einstein proposed that cooling bosonic atoms to a very low temperature would cause them to fall (or "condense") into the lowest accessible quantum state, resulting in a new form of matter.


title: Bose–Einstein condensate

text: The quest to produce a Bose–Einstein condensate in the laboratory was stimulated by a paper published in 1976 by two Program Directors at the National Science Foundation (William Stwalley and Lewis Nosanow). This led to the immediate pursuit of the idea by four independent research groups; these were led by Isaac Silvera (University of Amsterdam), Walter Hardy (University of British Columbia), Thomas Greytak (Massachusetts Institute of Technology) and David Lee (Cornell University).


title: Bose–Einstein condensate

text: On 5 June 1995, the first gaseous condensate was produced by Eric Cornell and Carl Wieman at the University of Colorado at Boulder NIST–JILA lab, in a gas of rubidium atoms cooled to 170 nanokelvins (nK). Shortly thereafter, Wolfgang Ketterle at MIT produced a Bose–Einstein Condensate in a gas of sodium atoms. For their achievements Cornell, Wieman, and Ketterle received the 2001 Nobel Prize in Physics. These early studies founded the field of ultracold atoms, and hundreds of research groups around the world now routinely produce BECs of dilute atomic vapors in their labs.


title: Bose–Einstein condensate

text: Since 1995, many other atomic species have been condensed, and BECs have also been realized using molecules, quasi-particles, and photons.


title: Bose–Einstein condensate

text: This transition to BEC occurs below a critical temperature, which for a uniform three-dimensional gas consisting of non-interacting particles with no apparent internal degrees of freedom is given by:


title: Bose–Einstein condensate

text: This formula is derived from finding the gas degeneracy in the Bose gas using [Bose–Einstein statistics].


title: Bose–Einstein condensate

text: where formula_3 is the per particle volume, formula_4 the thermal wavelength, formula_5 the fugacity and


title: Bose–Einstein condensate

text: It is noticeable that formula_7 is a monotonically growing function of formula_5 in formula_9, which are the only values for which the series converge.


title: Bose–Einstein condensate

text: Recognizing that the second term on the right-hand side contains the expression for the average occupation number of the fundamental state formula_10, the equation of state can be rewritten as


title: Bose–Einstein condensate

text: Because the left term on the second equation must always be positive, formula_12 and because formula_13, a stronger condition is


title: Bose–Einstein condensate

text: which defines a transition between a gas phase and a condensed phase. On the critical region it is possible to define a critical temperature and thermal wavelength:


title: Bose–Einstein condensate

text: recovering the value indicated on the previous section. The critical values are such that if formula_17 or formula_18 we are in the presence of a Bose–Einstein condensate.


title: Bose–Einstein condensate

text: Understanding what happens with the fraction of particles on the fundamental level is crucial. As so, write the equation of state for formula_19, obtaining


title: Bose–Einstein condensate

text: So, if formula_22 the fraction formula_23 and if formula_24 the fraction formula_25. At temperatures near to absolute 0, particles tend to condensate in the fundamental state, which is the state with momentum formula_26.


title: Bose–Einstein condensate

text: Consider a collection of "N" non-interacting particles, which can each be in one of two quantum states, formula_27 and formula_28. If the two states are equal in energy, each different configuration is equally likely.


title: Bose–Einstein condensate

text: If we can tell which particle is which, there are formula_29 different configurations, since each particle can be in formula_27 or formula_28 independently. In almost all of the configurations, about half the particles are in formula_27 and the other half in formula_28. The balance is a statistical effect: the number of configurations is largest when the particles are divided equally.


title: Bose–Einstein condensate

text: If the particles are indistinguishable, however, there are only "N"+1 different configurations. If there are "K" particles in state formula_28, there are particles in state formula_27. Whether any particular particle is in state formula_27 or in state formula_28 cannot be determined, so each value of "K" determines a unique quantum state for the whole system.


title: Bose–Einstein condensate

text: Suppose now that the energy of state formula_28 is slightly greater than the energy of state formula_27 by an amount "E". At temperature "T", a particle will have a lesser probability to be in state formula_28 by formula_41. In the distinguishable case, the particle distribution will be biased slightly towards state formula_27. But in the indistinguishable case, since there is no statistical pressure toward equal numbers, the most-likely outcome is that most of the particles will collapse into state formula_27.


title: Bose–Einstein condensate

text: In the distinguishable case, for large "N", the fraction in state formula_27 can be computed. It is the same as flipping a coin with probability proportional to "p" = exp(−"E"/"T") to land tails.


title: Bose–Einstein condensate

text: In the indistinguishable case, each value of "K" is a single state, which has its own separate Boltzmann probability. So the probability distribution is exponential:


title: Bose–Einstein condensate

text: For large "N", the normalization constant "C" is . The expected total number of particles not in the lowest energy state, in the limit that formula_46, is equal to


title: Bose–Einstein condensate

text: It does not grow when "N" is large; it just approaches a constant. This will be a negligible fraction of the total number of particles. So a collection of enough Bose particles in thermal equilibrium will mostly be in the ground state, with only a few in any excited state, no matter how small the energy difference.


title: Bose–Einstein condensate

text: Consider now a gas of particles, which can be in different momentum states labeled formula_48. If the number of particles is less than the number of thermally accessible states, for high temperatures and low densities, the particles will all be in different states. In this limit, the gas is classical. As the density increases or the temperature decreases, the number of accessible states per particle becomes smaller, and at some point, more particles will be forced into a single state than the maximum allowed for that state by statistical weighting. From this point on, any extra particle added will go into the ground state.


title: Bose–Einstein condensate

text: To calculate the transition temperature at any density, integrate, over all momentum states, the expression for maximum number of excited particles, :


title: Bose–Einstein condensate

text: When the integral (also known as Bose–Einstein integral) is evaluated with factors of formula_51 and ℏ restored by dimensional analysis, it gives the critical temperature formula of the preceding section. Therefore, this integral defines the critical temperature and particle number corresponding to the conditions of negligible chemical potential formula_52. In Bose–Einstein statistics distribution, formula_52 is actually still nonzero for BECs; however, formula_52 is less than the ground state energy. Except when specifically talking about the ground state, formula_52 can be approximated for most energy or momentum states as formula_56.


title: Bose–Einstein condensate

text: Nikolay Bogoliubov considered perturbations on the limit of dilute gas, finding a finite pressure at zero temperature and positive chemical potential. This leads to corrections for the ground state. The Bogoliubov state has pressure ("T" = 0): formula_57.


title: Bose–Einstein condensate

text: The original interacting system can be converted to a system of non-interacting particles with a dispersion law.


title: Bose–Einstein condensate

text: In some simplest cases, the state of condensed particles can be described with a nonlinear Schrödinger equation, also known as Gross–Pitaevskii or Ginzburg–Landau equation. The validity of this approach is actually limited to the case of ultracold temperatures, which fits well for the most alkali atoms experiments.


title: Bose–Einstein condensate

text: This approach originates from the assumption that the state of the BEC can be described by the unique wavefunction of the condensate formula_58. For a system of this nature, formula_59 is interpreted as the particle density, so the total number of atoms is formula_60