title: Military police

text: Provost missions are assumed by local units for the garrisons of the Ground Army on French soil and by special divisions :


title: Military police

text: The Gendarmerie Navale, Gendarmerie de l'Air, Ordnance Gendarmerie and Provost Gendarmerie are placed under the dual supervision of the Gendarmerie and the relevant military branch. However, for judiciary duties, they are under exclusive command of the relevant court.


title: Military police

text: In addition to the Gendarmerie, "Naval Fusiliers (Fusiliers Marins)", "Fusilier commandos of the Air Force (Fusiliers Commandos de l'Air)" and dedicated regimental platoons maintain order for their respective branches.


title: Military police

text: The "Feldjäger" are the military police of the German "Bundeswehr". The term "Feldjäger" ("field hunter") has a long tradition and dates back to the mid-17th century. Their motto is "Suum Cuique" ("To each his own", derived from Cicero, "De Finibus, Bonorum et Malorum", "liber V", 67: ""(...) ut fortitudo in laboribus periculisque cernatur, (...), iustitia in" suo cuique "tribuendo."").


title: Military police

text: The first modern "Feldjäger" unit was activated on 6 October 1955 when the bill creating the "Bundeswehr" was signed. The "Feldjäger" corps serves all component forces of the German Federal Armed Forces ("Bundeswehr") i.e., German Army, German Navy, German Air Force, "Zentraler Sanitätsdienst" (Joint Medical Corps) and "Streitkräftebasis" (Joint Support Service). The Military Police Command has its headquarters in Scharnhorst Kaserne in Hanover and is under the operational command of the Bundeswehr's Territorial Tasks Command of the "Streitkräftebasis".


title: Military police

text: The "Feldjäger" have three regiments of military police stationed around Germany which are subordinate to the Military Police Command.


title: Military police

text: The paramilitary Greek Gendarmerie fulfilled most security and order duties in Greece until World War II. In 1951, Law 1746/51 established the framework of the Hellenic Army's Greek Military Police (, "Ellinikí Stratiotikí Astynomía"). The organization—and particularly its Special Interrogative Department, EAT-ESA—became notorious for its brutality during the 1967–1974 military junta. Law 276/76 renamed it simply to "Military Police" (Στρατονομία). Corresponding organizations exist also for other two branches of the Greek armed forces: for the Hellenic Air Force (Αερονομία, "Aeronomia"), founded in 1945 as the Greek Air Force Police (Ελληνική Αεροπορική Αστυνομία, ΕΑΑ), and for the Hellenic Navy (Ναυτονομία, "Naftonomia", properly Υπηρεσία Ναυτονομίας or Y.ΝΑ.)


title: Military police

text: These three forces work together often but are independent from each other. Most of the personnel are draftee soldiers undergoing their regular military service.


title: Military police

text: As part of the Hungarian Defence Forces the Hungarian Military Police ("Katonai Rendészet") is a military law enforcement organization with duties of protecting selected objects, investigating accidents involving military vehicles, accompanying military delegations and military forces passing through Hungary, traffic control, personal protection of designated military leaders, performing military police duties in international missions, military law enforcement activities in Hungary.


title: Military police

text: The Irish Military Police (colloquially "PA"s, deriving from the official title, "Póilíní Airm") are responsible for the prevention and detection of crime in the Irish Defence Forces. Entry to the PA is restricted to serving members of the Defence Forces. All members of the Corps are NCOs, with Officers being transferred in for temporary assignments. Unlike many Military Police Services, they retain responsibility for controlling access to many, but not all, military posts. In addition, they provide a military detachment to the Oireachtas (Houses of Parliament) and have a large ceremonial role. In the past they had a role in training armed elements of the Garda Síochána but in recent times this has decreased. Historically, they were responsible for detaining political prisoners in military prisons (until the handing over of Military Prisons at Cork, Spike Island, Arbour Hill and the Curragh to the Civil Authorities) and in the past occasionally provided firing squads for executions (the last time being the "Emergency" period of 1939–1946).


title: Military police

text: The "Arma dei Carabinieri" is a gendarmerie force acting as both the military police and one of the four national police forces in Italy. Formed on 13 July 1814, it has been for almost two centuries the senior branch of the Italian Army, until on 5 October 2000 it became a fully independent Service of the Italian military.


title: Military police

text: With a strength of about 120,000, the Arma dei Carabinieri is a very large organization, including its own air and naval services, but most of its personnel is used for civilian police duties.


title: Military police

text: The properly Military Police components of the Arma dei Carabinieri are grouped into the "Divisione Unità Mobili Carabinieri" (Carabinieri Mobile Units Division), organized as follows:


title: Military police

text: From these units are drawn most of the elements that form the Carabinieri MP coys, platoons and detachments assigned to all the major Italian Army, Navy and Air Force units, as well as many of the personnel forming the MSU Regiments (Multinational Specialist Units) and the IPUs (Integrated Police Units) serving abroad in support of European Union, NATO and United Nation missions. The Arma dei Carabinieri have gained a very good reputation for the professionalism and organization of their MP units in support of international missions, so much that during the 2004 G8 Sea Island Conference the Carabinieri have been tasked to organize and run the CoESPU (Center of Excellence for Stability Police Units), to centralize the training of multinational MP units for international missions.


title: Military police

text: The 1st Brigade of the same "Divisione Unità Mobili Carabinieri", organized on 11 Mobile battalions and 1 Cavalry Regiment, does contribute to form the same Military Police components as the 1st Brigade, but is mostly tasked to riot control civilian police duties.


title: Military police

text: During some NATO military mission abroad, the Italian carabinieri contributed to military police operations with the Multinational Specialized Unit.


title: Military police

text: The "Guardia di Finanza" acts as a specialized Military Police force when called upon. Its normal duties include being a force acting in border control, customs duties, and police investigations into financial crimes and illegal drug trafficking.


title: Military police

text: In the Netherlands, the function of military police is performed by the "Koninklijke Marechaussee" ("Royal Constabulary"), a separate branch of the military independent of the Army, Navy and Air Force. Besides performing military duties, the "Marechaussee" is also a gendarmerie force.


title: Military police

text: The word "Marechaussee" seems to derive from the old French name "Marecheaux" given to an ancient court of justice in Paris called the "Tribunal of Constables and Marshals of France". These constables and marshals were to become members of the Gendarmerie, which served as a model for the police forces of both Belgium and the Netherlands. The term "Marechaussee" was also used for the Continental Army's military police during the American Revolution.


title: Military police

text: In Norway, military police are service members of the Norwegian Army, Royal Norwegian Navy or Royal Norwegian Air Force. Since about 2002, all are trained at Sessvollmoen Camp. MPs in the Army are assigned to the Military Police Battalion, located at Bardufoss, Troms county. The first battalion commander and Provost Marshal of 6. division Norwegian Army was Maj M Langvik, the current battalion commander is Lieutenant Colonel Jan Henry Norvalls. The battalion consists of approximately 50 officers and NCOs, and 150 privates and corporals. Norwegian MPs first go through a six-month selection/educational period, before being assigned to the battalion or to regimental duties with other units for the remainder of their twelve-month service. Norwegian MPs do not have authority over civilians, except on or in the vicinity of military installations, vehicles or other property or under martial law. They do have authority over military personnel, including in certain circumstances reservists, anywhere, including when such personnel are off duty.


title: Military police

text: The "Heimevernet" ("Home Guard") also has MPs in its ranks. Usually each District (regiment) has one or two platoons, consisting exclusively of former regular or conscript military police personnel.


title: Military police

text: Norwegian MPs wear a red beret and a red lanyard around the left shoulder extending to the left front pocket. Only personnel currently serving as MPs are allowed to wear this. When on official duty, they also wear the MP armband, which is black with "MP" in red letters. It was previously worn on the right shoulder but is now worn on the left shoulder, following NATO practice. They can also wear white webbing, or a number of items for special duties, like high visibility vests for traffic duty, or as mounted personnel while performing motorcycle escort for the Royal Family or their official guests, etc.


title: Military police

text: Army canine units are also assigned to the MP battalion, but the personnel in such units are not necessarily MPs. Such personnel do not hold military police authority, and do not wear the MP insignia.


title: Military police

text: MPs have no other powers over civilians than ordinary members of the public, except inside, or in the immediate vicinity of military installations. More serious cases, like narcotics, are handed over to civilian police for investigation.


title: Military police

text: The Military Gendarmerie ("Żandarmeria Wojskowa", ŻW) are the MPs for the entire Polish military, established in the 1990s.


title: Military police

text: In Portugal, each branch of the Armed Forces has its own military police force. The Portuguese Navy has the "Polícia Naval" (Naval Police), the Portuguese Army has the "Polícia do Exército" (Army Police), and the Portuguese Air Force has the "Polícia Aérea" (Air Police). The Air Police is an arm of its own inside the Air Force, but the Army Police is only a speciality of the cavalry arm and the Naval Police is a unit of the Marine Corps ("Fuzileiros"). A military criminal investigation police, common for the three branches of Armed Forces, also exists, this being the "Polícia Judiciária Militar" (Military Judiciary Police), that is under the direct dependency of the Minister of National Defense.


title: Military police

text: Portugal, also, has a gendarmerie type force, the "Guarda Nacional Republicana" (GNR, National Republican Guard), that is a special corps of troops that executes both civil public security missions and military missions. In time of peace, GNR is under operational command of the Minister of Internal Affairs, but in time of war it can be put under the command of the Armed Forces. GNR is not tasked with enforcing the law within the Armed Forces.


title: Military police

text: Included in the Portuguese Navy organization also exist two special police forces. The first one is the "Polícia Maritima" (Maritime Police), that serves as a coast guard and maritime law enforcement agency in the scope of the civil role of the Portuguese Navy as the National Maritime Authority. The other one is the "Polícia dos Estabelecimentos da Marinha" (Navy's Establishments Police), a small gendarmerie type agency responsible for guarding the Lisbon Naval Base and some other naval facilities.


title: Military police

text: In Romania, the Romanian Military Police ("Poliția Militară") carries out police duties for the Romanian Armed Forces. It usually handles military security and military crimes and it has national jurisdiction. The Romanian military police is organized in four battalions (two of them are headquartered in Bucharest, one in Iași and one in Târgu Mureș).


title: Military police

text: The Romanian Gendarmerie, although a military force with national jurisdiction, is not tasked with enforcing the law within the armed forces (in contrast to the French Gendarmerie, which acts as both military and national police force).


title: Military police

text: The Russian Military Police (Военная полиция России) are the MPs for the entire Russian military. They carry out police duties for the Russian Armed Forces.


title: Military police

text: In April 2012 Chief Military Prosecutor Sergei Fridinsky said Russia's military police will be instituted in two stages: first, the integration of the relevant Defence Ministry services and second, granting the new agency investigative functions. In early February 2014 Russian President Vladimir Putin signed into law the Law on Military Police, the State Duma adopted on 24 January and approved by the Federation Council on 29 January. During consideration of the bill in the lower house of the parliament, presidential envoy to the State Duma Garry Minkh explained that military police has already been created and running, but its activities are governed by departmental orders. President's initiative is aimed at strengthening the legal framework of the forces. On 27 March 2015, Russian President approved the Official Charter of the military police of the Russian Federation.


title: Military police

text: The Military Police () are considered to be among the best qualified and most combat-prepared organizations within the Serbian military. Their responsibilities include counterterrorist operations, combating organized crime, close protection, securing hostages and search and rescue.


title: Military police

text: Specific training is provided for members of special units of the Military Police. Drills for Military Police units, from squad to battalion, are based on their anticipated tactical employment, including training in putting down civil disorder.


title: Military police

text: The Military Police Directorate of the General Staff of the Serbian Military is responsible for overseeing the units of the Military Police.


title: Military police

text: Each branch of the Spanish Armed Forces (Army, Navy and Air Force) has its own military police ("Policia Militar", "Policia Naval" and "Policia Aerea" respectively). They are only recognized as constabularies with jurisdiction over military installations and military personnel. They have no jurisdiction over civilians (except fragrant crime) off of military installations. They are also in charge of the security of military installations, play a role as bodyguards of generals, admirals and other relevant military personnel, provide security services to military transports and police military personnel abroad.


title: Military police

text: The Civil Guard (in Spanish "Guardia Civil") is the Spanish gendarmerie force. Along with their civilian law enforcement functions, due to their military nature the Civil Guard is also assigned several functions as a Military Police under the Minister of Defence, the most important of which is Criminal Investigations in military facilities and vessels, other MP functions include traffic and customs enforcement in international missions.


title: Military police

text: The Soviet Armed Forces did not have any units technically named 'military police'. Two separate agencies handled military police duties on a day-to-day basis.


title: Military police

text: The "Komendantskaya sluzhba" or "Commandant's Service" of the Soviet Army wore a yellow letter "K" on a red patch on the sleeve to indicate their membership of this service—the "de facto" army police.


title: Military police

text: A second organisation called the Traffic Regulators existed within the Rear Services. Traffic Regulators served to control military highway and motor vehicle traffic. Traffic Regulators also wear a white painted helmet with red stripes to indicate their status and either an armband ar patch with the Cyrillic letter "P" (R).


title: Military police

text: In the Soviet Navy and (later in the present day Russian Navy) the role of Naval provosts was primarily filled by personnel from the Naval Infantry.


title: Military police

text: The Swedish military police are part of the Life Guards, stationed in Stockholm. There are two MP companies, the 14th and the 15th companies. The 14th MP company serve a so-called GSS/T contract (two years of service over a period of eight years, the remaining time the soldiers can have a civilian job or study) and the 15th MP company serve a so-called GSS/K contract (hired continually for eight years). The Life Guards are also the seat of the Swedish military police unit ("MP-enheten") which is responsible for the education of new MPs and is in charge of all MP activities in Sweden. Part of 13th security battalion, which is a counter-intelligence battalion, is also part of the Life Guards and has some soldiers who are trained MPs (mostly corporals and sergeants).


title: Military police

text: In the Swiss Armed Forces, the Military Police is responsible for law enforcement on military property and for all incidents where military personnel or equipment is involved. Unlike, for example, the United States, a military policeman in Switzerland has the same power to arrest any person that has committed an offense he witnessed or if he has reasonable grounds to believe the person has committed a violent offense.


title: Military police

text: Furthermore, the military police provides protection of Swiss representatives abroad and is in part responsible for the guarding of embassies and foreign VIPs in Switzerland, as well as maintaining personal security for members of the Swiss Federal Council. In addition, the Swiss Explosive Ordnance Disposal Center is a branch of the MP for the disposal of unexploded ordnance and also participates in various demining operations around the world.


title: Military police

text: The professional MP units comprise 758 officers and are divided into four Regions, each consisting of two companies and additional groups specialised on criminal investigations and training. The professional MP maintains a standing tactical team, capable of interventions in Switzerland and abroad, headquartered in Bern. In addition, there are four militia MP battalions with a head count of roughly 2000 men. Each MP Battalion has one tactical company who can be called to support either the primary MP tactical team or cantonal police teams if needed.


title: Military police

text: Unlike regular army personnel, professional military policemen wear olive uniforms in order to provide distinct identification. Militia MP wear the regular Swiss Army TAZ 90 camouflage. Moreover, the (both the professional and the militia) MP is equipped uniquely, armed with Glock side arms, H&K MP5 submachine guns, the Mzgw91 pump-action rifle and the SG553 assault rifle (compared to the standard issue SIG P220 pistol and SIG 550 assault rifle). Professional MP units drive patrol cars similar to those of the civilian police, but also use Piranha and Duro APCs.


title: Military police

text: In the United Kingdom the term "Military Police" usually refers to the Royal Military Police. The Royal Military Police is the branch of the Adjutant General's Corps, responsible for policing the British Army (both in the United Kingdom and overseas). The term "Service Police" refers to the three separate police organisations for each of the three branches of the UK's Armed Forces:


title: Military police

text: In addition, each of the three service police has its own Special Investigation Branch (SIB) to undertake investigation of more serious crime and plain-clothes investigations, and use the joint Service Police Crime Bureau operated by the RNP, RMP and RAFP.


title: Military police

text: The Royal Australian Corps of Military Police train their own working dogs for a more Infantry/combat role.


title: Military police

text: All major crimes committed by or against personnel of the Australian Defence Force are investigated by the Australian Defence Force Investigative Service.


title: Military police

text: The Joint Military Police Unit (JMPU) is a tri-service Military Police unit from the Navy, Army, and Air Force.


title: Military police

text: JMPU comprises military police personnel from the RNZN Naval Police, Royal New Zealand Military Police, and the RNZAF Police. Personnel still maintain their own single service identity but operate under a single Provost Marshal and investigate offences against the Armed Forces Discipline Act 1971.


title: Military police

text: JMPU operates outside of the normal Navy, Army and Air Force command structure. The current Provost Marshal is a Group Captain who reports directly to the Vice Chief of the NZDF.


title: Military police

text: For all serious and complex investigations that are outside the scope of regular Military Police personnel a specialised unit known as the Special Investigations Branch (SIB) handles all high-profile investigations. SIB personnel attend courses with the New Zealand Police Criminal Investigation Branch. SIB have a similar role to the Australian Defence Force Investigative Service (ADFIS). SIB are also seconded to the NZ Police CIB.


title: Military police

text: JMPU also provide the close protection function for the NZDF. Only personnel from within the unit are able to attend the Tier 1 course and undergo a rigorous selection process. From time to time NZ Police officers from the Diplomatic Protection Squad and the Armed Offenders Squad have been known to also complete the course.


title: Military police

text: JMPU complete certain NZ Police courses such as Urgent Duty Driving, Disaster Victim Identification, Basic and Intermediate Crash Investigation with the NZ Police Serious Crash Unit, and some personnel have completed the Diplomatic Protection Squad training course.


title: Military police

text: JMPU are responsible for all detainee handling both in peacetime and in an operational environment such as custody and escort of POWs. Military Police are responsible for maintaining discipline at the Services Correction Establishment (SCE) which is located at Burnham Military Camp. SCE is the NZDF Military Prison and consists of guards who are all serving members of JMPU. The guards are responsible for rehabilitation of service personnel who have been sent to the facility as a result of serious offences committed against the Armed Forces Discipline Act 1971.


title: Military police

text: JMPU are identifiable by the blue and white "MP" patch they wear on their uniform and the blue beret as head dress, the wearing of the Blue beret differs from many commonwealth military police units as traditionally a red beret is worn.


title: Military police

text: JMPU wear their respective service dress for each service. During peacetime JMPU wear either a Multicam Camouflage uniform, or blue uniform with a SRBA vest.


title: Military police

text: Air force police or sometimes known as "Air police" refers to certain units that are part of a country's air force that perform law enforcement duties such as force protection and air patrols, dealing primarily with the enforcement of aviation law at air force bases. It also indirectly plays a part in ensuring the air sovereignty of a country. It serves similarly to military and paramilitary police forces around the world and are commonly set up as a branch of a nation's military police or even a separate institution altogether. In some countries, the Air force police are also responsible for conducting Provost duties in the scope of a country's air force, such as implementing crime investigation and enforcing discipline/order towards members of the Air force.


title: Space elevator

text: A space elevator, also referred to as a space bridge, star ladder, and orbital lift, is a proposed type of planet-to-space transportation system, often depicted in science fiction. The main component would be a cable (also called a tether) anchored to the surface and extending into space. The design would permit vehicles to travel up the cable from a planetary surface, such as the Earth's, directly into orbit, without the use of large rockets. An Earth-based space elevator could not feasibly be simply a tall tower supported from below, due to the immense weight - instead it would consist of a cable with one end attached to the surface near the equator and the other end attached to a counterweight in space beyond geostationary orbit (35,786 km altitude). The competing forces of gravity, which is stronger at the lower end, and the upward centrifugal force, which is stronger at the upper end, would result in the cable being held up, under tension, and stationary over a single position on Earth. With the tether deployed, climbers could repeatedly climb up and down the tether by mechanical means, releasing their cargo to and from orbit.


title: Space elevator

text: The concept of a tower reaching geosynchronous orbit was first published in 1895 by Konstantin Tsiolkovsky. His proposal was for a free-standing tower reaching from the surface of Earth to the height of geostationary orbit. Like all buildings, Tsiolkovsky's structure would be under compression, supporting its weight from below. Since 1959, most ideas for space elevators have focused on purely tensile structures, with the weight of the system held up from above by centrifugal forces. In the tensile concepts, a space tether reaches from a large mass (the counterweight) beyond geostationary orbit to the ground. This structure is held in tension between Earth and the counterweight like an upside-down plumb bob. The cable thickness is adjusted based on tension; it has its maximum at a geostationary orbit and the minimum on the ground.


title: Space elevator

text: Available materials are not strong and light enough to make an Earth space elevator practical. Some sources expect that future advances in carbon nanotubes (CNTs) could lead to a practical design. Other sources believe that CNTs will never be strong enough. Possible future alternatives include boron nitride nanotubes, diamond nanothreads and macro-scale single crystal graphene.


title: Space elevator

text: The concept is applicable to other planets and celestial bodies. For locations in the solar system with weaker gravity than Earth's (such as the Moon or Mars), the strength-to-density requirements for tether materials are not as problematic. Currently available materials (such as Kevlar) are strong and light enough that they could be practical as the tether material for elevators there.


title: Space elevator

text: The key concept of the space elevator appeared in 1895 when Russian scientist Konstantin Tsiolkovsky was inspired by the Eiffel Tower in Paris. He considered a similar tower that reached all the way into space and was built from the ground up to the altitude of 35,786 kilometers, the height of geostationary orbit. He noted that the top of such a tower would be circling Earth as in a geostationary orbit. Objects would acquire horizontal velocity due to the Earth's rotation as they rode up the tower, and an object released at the tower's top would have enough horizontal velocity to remain there in geostationary orbit. Tsiolkovsky's conceptual tower was a compression structure, while modern concepts call for a tensile structure (or "tether").


title: Space elevator

text: Building a compression structure from the ground up proved an unrealistic task as there was no material in existence with enough compressive strength to support its own weight under such conditions. In 1959, the Russian engineer Yuri N. Artsutanov suggested a more feasible proposal. Artsutanov suggested using a geostationary satellite as the base from which to deploy the structure downward. By using a counterweight, a cable would be lowered from geostationary orbit to the surface of Earth, while the counterweight was extended from the satellite away from Earth, keeping the cable constantly over the same spot on the surface of the Earth. Artsutanov's idea was introduced to the Russian-speaking public in an interview published in the Sunday supplement of "Komsomolskaya Pravda" in 1960, but was not available in English until much later. He also proposed tapering the cable thickness in order for the stress in the cable to remain constant. This gave a thinner cable at ground level that became thickest at the level of geostationary orbit.


title: Space elevator

text: Both the tower and cable ideas were proposed in David E. H. Jones' quasi-humorous "Ariadne" column in "New Scientist", December 24, 1964.


title: Space elevator

text: In 1966, Isaacs, Vine, Bradner and Bachus, four American engineers, reinvented the concept, naming it a "Sky-Hook", and published their analysis in the journal "Science". They decided to determine what type of material would be required to build a space elevator, assuming it would be a straight cable with no variations in its cross section area, and found that the strength required would be twice that of any then-existing material including graphite, quartz, and diamond.


title: Space elevator

text: In 1975, an American scientist, Jerome Pearson, reinvented the concept, publishing his analysis in the journal "Acta Astronautica". He designed a cross-section-area altitude profile that tapered and would be better suited to building the elevator. The completed cable would be thickest at the geostationary orbit, where the tension was greatest, and would be narrowest at the tips to reduce the amount of weight per unit area of cross section that any point on the cable would have to bear. He suggested using a counterweight that would be slowly extended out to (almost half the distance to the Moon) as the lower sections of the elevator were built. Without a large counterweight, the upper portion of the cable would have to be longer than the lower due to the way gravitational and centrifugal forces change with distance from Earth. His analysis included disturbances such as the gravitation of the Moon, wind and moving payloads up and down the cable. The weight of the material needed to build the elevator would have required thousands of Space Shuttle trips, although part of the material could be transported up the elevator when a minimum strength strand reached the ground or be manufactured in space from asteroidal or lunar ore.


title: Space elevator

text: After the development of carbon nanotubes in the 1990s, engineer David Smitherman of NASA/Marshall's Advanced Projects Office realized that the high strength of these materials might make the concept of a space elevator feasible, and put together a workshop at the Marshall Space Flight Center, inviting many scientists and engineers to discuss concepts and compile plans for an elevator to turn the concept into a reality.


title: Space elevator

text: In 2000, another American scientist, Bradley C. Edwards, suggested creating a long paper-thin ribbon using a carbon nanotube composite material. He chose the wide-thin ribbon-like cross-section shape rather than earlier circular cross-section concepts because that shape would stand a greater chance of surviving impacts by meteoroids. The ribbon cross-section shape also provided large surface area for climbers to climb with simple rollers. Supported by the NASA Institute for Advanced Concepts, Edwards' work was expanded to cover the deployment scenario, climber design, power delivery system, orbital debris avoidance, anchor system, surviving atomic oxygen, avoiding lightning and hurricanes by locating the anchor in the western equatorial Pacific, construction costs, construction schedule, and environmental hazards.


title: Space elevator

text: To speed space elevator development, proponents have organized several competitions, similar to the Ansari X Prize, for relevant technologies. Among them are , which organized annual competitions for climbers, ribbons and power-beaming systems from 2005 to 2009, the Robogames Space Elevator Ribbon Climbing competition, as well as NASA's Centennial Challenges program, which, in March 2005, announced a partnership with the Spaceward Foundation (the operator of Elevator:2010), raising the total value of prizes to US$400,000.


title: Space elevator

text: The first European Space Elevator Challenge (EuSEC) to establish a climber structure took place in August 2011.


title: Space elevator

text: In 2005, "the LiftPort Group of space elevator companies announced that it will be building a carbon nanotube manufacturing plant in Millville, New Jersey, to supply various glass, plastic and metal companies with these strong materials. Although LiftPort hopes to eventually use carbon nanotubes in the construction of a space elevator, this move will allow it to make money in the short term and conduct research and development into new production methods." Their announced goal was a space elevator launch in 2010. On February 13, 2006, the LiftPort Group announced that, earlier the same month, they had tested a mile of "space-elevator tether" made of carbon-fiber composite strings and fiberglass tape measuring wide and 1 mm (approx. 13 sheets of paper) thick, lifted with balloons. In April 2019, Liftport CEO Michael Laine admitted little progress has been made on the company's lofty space elevator ambitions, even after receiving more than $200,000 in seed funding. The carbon nanotube manufacturing facility that Liftport announced in 2005 was never built.


title: Space elevator

text: In 2007, held the 2007 Space Elevator games, which featured US$500,000 awards for each of the two competitions, ($1,000,000 total) as well as an additional $4,000,000 to be awarded over the next five years for space elevator related technologies. No teams won the competition, but a team from MIT entered the first 2-gram (0.07 oz), 100-percent carbon nanotube entry into the competition. Japan held an international conference in November 2008 to draw up a timetable for building the elevator.


title: Space elevator

text: In 2012, the Obayashi Corporation announced that it could build a space elevator by 2050 using carbon nanotube technology. The design's passenger climber would be able to reach the GEO level after an 8-day trip. Further details have been published in 2016.


title: Space elevator

text: In 2013, the International Academy of Astronautics published a technological feasibility assessment which concluded that the critical capability improvement needed was the tether material, which was projected to achieve the necessary specific strength within 20 years. The four-year long study looked into many facets of space elevator development including missions, development schedules, financial investments, revenue flow, and benefits. It was reported that it would be possible to operationally survive smaller impacts and avoid larger impacts, with meteors and space debris, and that the estimated cost of lifting a kilogram of payload to GEO and beyond would be $500.


title: Space elevator

text: In 2014, Google X's Rapid Evaluation R&D team began the design of a Space Elevator, eventually finding that no one had yet manufactured a perfectly formed carbon nanotube strand longer than a meter. They thus decided to put the project in "deep freeze" and also keep tabs on any advances in the carbon nanotube field.


title: Space elevator

text: In 2018, researchers at Japan's Shizuoka University launched STARS-Me, two CubeSats connected by a tether, which a mini-elevator will travel on. The experiment was launched as a test bed for a larger structure.


title: Space elevator

text: In 2019, the International Academy of Astronautics published "Road to the Space Elevator Era", a study report summarizing the assessment of the space elevator as of summer 2018. The essence is that a broad group of space professionals gathered and assessed the status of the space elevator development, each contributing their expertise and coming to similar conclusions: (a) Earth Space Elevators seem feasible, reinforcing the IAA 2013 study conclusion (b) Space Elevator development initiation is nearer than most think. This last conclusion is based on a potential process for manufacturing macro-scale single crystal graphene with higher specific strength than carbon nanotubes.


title: Space elevator

text: In 1979, space elevators were introduced to a broader audience with the simultaneous publication of Arthur C. Clarke's novel, "The Fountains of Paradise", in which engineers construct a space elevator on top of a mountain peak in the fictional island country of "Taprobane" (loosely based on Sri Lanka, albeit moved south to the Equator), and Charles Sheffield's first novel, "The Web Between the Worlds", also featuring the building of a space elevator. Three years later, in Robert A. Heinlein's 1982 novel "Friday", the principal character mentions a disaster at the “Quito Sky Hook” and makes use of the "Nairobi Beanstalk" in the course of her travels. In Kim Stanley Robinson's 1993 novel "Red Mars", colonists build a space elevator on Mars that allows both for more colonists to arrive and also for natural resources mined there to be able to leave for Earth. In Larry Niven's book "Rainbow Mars", Niven describes a space elevator built on Mars. In David Gerrold's 2000 novel, "Jumping Off The Planet", a family excursion up the Ecuador "beanstalk" is actually a child-custody kidnapping. Gerrold's book also examines some of the industrial applications of a mature elevator technology. The concept of a space elevator, called the Beanstalk, is also depicted in John Scalzi's 2005 novel, "Old Man's War." In a biological version, Joan Slonczewski's 2011 novel "The Highest Frontier" depicts a college student ascending a space elevator constructed of self-healing cables of anthrax bacilli. The engineered bacteria can regrow the cables when severed by space debris.


title: Space elevator

text: An Earth space elevator cable rotates along with the rotation of the Earth. Therefore, the cable, and objects attached to it, would experience upward centrifugal force in the direction opposing the downward gravitational force. The higher up the cable the object is located, the less the gravitational pull of the Earth, and the stronger the upward centrifugal force due to the rotation, so that more centrifugal force opposes less gravity. The centrifugal force and the gravity are balanced at geosynchronous equatorial orbit (GEO). Above GEO, the centrifugal force is stronger than gravity, causing objects attached to the cable there to pull "upward" on it.


title: Space elevator

text: The net force for objects attached to the cable is called the "apparent gravitational field". The apparent gravitational field for attached objects is the (downward) gravity minus the (upward) centrifugal force. The apparent gravity experienced by an object on the cable is zero at GEO, downward below GEO, and upward above GEO.


title: Space elevator

text: At some point up the cable, the two terms (downward gravity and upward centrifugal force) are equal and opposite. Objects fixed to the cable at that point put no weight on the cable. This altitude (r) depends on the mass of the planet and its rotation rate. Setting actual gravity equal to centrifugal acceleration gives:


title: Space elevator

text: On the cable "below" geostationary orbit, downward gravity would be greater than the upward centrifugal force, so the apparent gravity would pull objects attached to the cable downward. Any object released from the cable below that level would initially accelerate downward along the cable. Then gradually it would deflect eastward from the cable. On the cable "above" the level of stationary orbit, upward centrifugal force would be greater than downward gravity, so the apparent gravity would pull objects attached to the cable "upward". Any object released from the cable "above" the geosynchronous level would initially accelerate "upward" along the cable. Then gradually it would deflect westward from the cable.


title: Space elevator

text: Historically, the main technical problem has been considered the ability of the cable to hold up, with tension, the weight of itself below any given point. The greatest tension on a space elevator cable is at the point of geostationary orbit, above the Earth's equator. This means that the cable material, combined with its design, must be strong enough to hold up its own weight from the surface up to . A cable which is thicker in cross section area at that height than at the surface could better hold up its own weight over a longer length. How the cross section area tapers from the maximum at to the minimum at the surface is therefore an important design factor for a space elevator cable.


title: Space elevator

text: To maximize the usable excess strength for a given amount of cable material, the cable's cross section area would need to be designed for the most part in such a way that the stress (i.e., the tension per unit of cross sectional area) is constant along the length of the cable. The constant-stress criterion is a starting point in the design of the cable cross section area as it changes with altitude. Other factors considered in more detailed designs include thickening at altitudes where more space junk is present, consideration of the point stresses imposed by climbers, and the use of varied materials. To account for these and other factors, modern detailed designs seek to achieve the largest "safety margin" possible, with as little variation over altitude and time as possible. In simple starting-point designs, that equates to constant-stress.


title: Space elevator

text: For a constant-stress cable with no safety margin, the cross-section-area as a function of distance from Earth's center is given by the following equation:


title: Space elevator

text: Using the above formula we can calculate the ratio between the cross-section at geostationary orbit and the cross-section at Earth's surface, known as taper ratio:


title: Space elevator

text: The taper ratio becomes very large unless the specific strength of the material used approaches 48 (MPa)/(kg/m). Low specific strength materials require very large taper ratios which equates to large (or astronomical) total mass of the cable with associated large or impossible costs.


title: Space elevator

text: There are a variety of space elevator designs proposed for many planetary bodies. Almost every design includes a base station, a cable, climbers, and a counterweight. For an Earth Space Elevator the Earth's rotation creates upward centrifugal force on the counterweight. The counterweight is held down by the cable while the cable is held up and taut by the counterweight. The base station anchors the whole system to the surface of the Earth. Climbers climb up and down the cable with cargo.


title: Space elevator

text: Modern concepts for the base station/anchor are typically mobile stations, large oceangoing vessels or other mobile platforms. Mobile base stations would have the advantage over the earlier stationary concepts (with land-based anchors) by being able to maneuver to avoid high winds, storms, and space debris. Oceanic anchor points are also typically in international waters, simplifying and reducing the cost of negotiating territory use for the base station.


title: Space elevator

text: Stationary land-based platforms would have simpler and less costly logistical access to the base. They also would have the advantage of being able to be at high altitudes, such as on top of mountains. In an alternate concept, the base station could be a tower, forming a space elevator which comprises both a compression tower close to the surface, and a tether structure at higher altitudes. Combining a compression structure with a tension structure would reduce loads from the atmosphere at the Earth end of the tether, and reduce the distance into the Earth's gravity field the cable needs to extend, and thus reduce the critical strength-to-density requirements for the cable material, all other design factors being equal.


title: Space elevator

text: A space elevator cable would need to carry its own weight as well as the additional weight of climbers. The required strength of the cable would vary along its length. This is because at various points it would have to carry the weight of the cable below, or provide a downward force to retain the cable and counterweight above. Maximum tension on a space elevator cable would be at geosynchronous altitude so the cable would have to be thickest there and taper as it approaches Earth. Any potential cable design may be characterized by the taper factor – the ratio between the cable's radius at geosynchronous altitude and at the Earth's surface.


title: Space elevator

text: The cable would need to be made of a material with a high tensile strength/density ratio. For example, the Edwards space elevator design assumes a cable material with a tensile strength of at least 100 gigapascals. Since Edwards consistently assumed the density of his carbon nanotube cable to be 1300 kg/m, that implies a specific strength of 77 megapascal/(kg/m). This value takes into consideration the entire weight of the space elevator. An untapered space elevator cable would need a material capable of sustaining a length of of its own weight "at sea level" to reach a geostationary altitude of without yielding. Therefore, a material with very high strength and lightness is needed.


title: Space elevator

text: For comparison, metals like titanium, steel or aluminium alloys have breaking lengths of only 20–30 km (0.2–0.3 MPa/(kg/m)). Modern fiber materials such as kevlar, fiberglass and carbon/graphite fiber have breaking lengths of 100–400 km (1.0–4.0 MPa/(kg/m)). Nanoengineered materials such as carbon nanotubes and, more recently discovered, graphene ribbons (perfect two-dimensional sheets of carbon) are expected to have breaking lengths of 5000–6000 km (50–60 MPa/(kg/m)), and also are able to conduct electrical power.


title: Space elevator

text: For a space elevator on Earth, with its comparatively high gravity, the cable material would need to be stronger and lighter than currently available materials. For this reason, there has been a focus on the development of new materials that meet the demanding specific strength requirement. For high specific strength, carbon has advantages because it is only the sixth element in the periodic table. Carbon has comparatively few of the protons and neutrons which contribute most of the dead weight of any material. Most of the interatomic bonding forces of any element are contributed by only the outer few electrons. For carbon, the strength and stability of those bonds is high compared to the mass of the atom. The challenge in using carbon nanotubes remains to extend to macroscopic sizes the production of such material that are still perfect on the microscopic scale (as microscopic defects are most responsible for material weakness). As of 2014, carbon nanotube technology allowed growing tubes up to a few tenths of meters.


title: Space elevator

text: In 2014, diamond nanothreads were first synthesized. Since they have strength properties similar to carbon nanotubes, diamond nanothreads were quickly seen as candidate cable material as well.


title: Space elevator

text: A space elevator cannot be an elevator in the typical sense (with moving cables) due to the need for the cable to be significantly wider at the center than at the tips. While various designs employing moving cables have been proposed, most cable designs call for the "elevator" to climb up a stationary cable.


title: Space elevator

text: Climbers cover a wide range of designs. On elevator designs whose cables are planar ribbons, most propose to use pairs of rollers to hold the cable with friction.


title: Space elevator

text: Climbers would need to be paced at optimal timings so as to minimize cable stress and oscillations and to maximize throughput. Lighter climbers could be sent up more often, with several going up at the same time. This would increase throughput somewhat, but would lower the mass of each individual payload.


title: Space elevator

text: The horizontal speed, i.e. due to orbital rotation, of each part of the cable increases with altitude, proportional to distance from the center of the Earth, reaching low orbital speed at a point approximately 66 percent of the height between the surface and geostationary orbit, or a height of about 23,400 km. A payload released at this point would go into a highly eccentric elliptical orbit, staying just barely clear from atmospheric reentry, with the periapsis at the same altitude as LEO and the apoapsis at the release height. With increasing release height the orbit would become less eccentric as both periapsis and apoapsis increase, becoming circular at geostationary level.


title: Space elevator

text: When the payload has reached GEO, the horizontal speed is exactly the speed of a circular orbit at that level, so that if released, it would remain adjacent to that point on the cable. The payload can also continue climbing further up the cable beyond GEO, allowing it to obtain higher speed at jettison. If released from 100,000 km, the payload would have enough speed to reach the asteroid belt.


title: Space elevator

text: As a payload is lifted up a space elevator, it would gain not only altitude, but horizontal speed (angular momentum) as well. The angular momentum is taken from the Earth's rotation. As the climber ascends, it is initially moving slower than each successive part of cable it is moving on to. This is the Coriolis force: the climber "drags" (westward) on the cable, as it climbs, and slightly decreases the Earth's rotation speed. The opposite process would occur for descending payloads: the cable is tilted eastward, thus slightly increasing Earth's rotation speed.


title: Space elevator

text: The overall effect of the centrifugal force acting on the cable would cause it to constantly try to return to the energetically favorable vertical orientation, so after an object has been lifted on the cable, the counterweight would swing back toward the vertical, a bit like a pendulum. Space elevators and their loads would be designed so that the center of mass is always well-enough above the level of geostationary orbit to hold up the whole system. Lift and descent operations would need to be carefully planned so as to keep the pendulum-like motion of the counterweight around the tether point under control.


title: Space elevator

text: Climber speed would be limited by the Coriolis force, available power, and by the need to ensure the climber's accelerating force does not break the cable. Climbers would also need to maintain a minimum average speed in order to move material up and down economically and expeditiously. At the speed of a very fast car or train of it will take about 5 days to climb to geosynchronous orbit.


title: Space elevator

text: Both power and energy are significant issues for climbers – the climbers would need to gain a large amount of potential energy as quickly as possible to clear the cable for the next payload.


title: Space elevator

text: Wireless energy transfer such as laser power beaming is currently considered the most likely method, using megawatt-powered free electron or solid state lasers in combination with adaptive mirrors approximately wide and a photovoltaic array on the climber tuned to the laser frequency for efficiency. For climber designs powered by power beaming, this efficiency is an important design goal. Unused energy would need to be re-radiated away with heat-dissipation systems, which add to weight.


title: Space elevator

text: Yoshio Aoki, a professor of precision machinery engineering at Nihon University and director of the Japan Space Elevator Association, suggested including a second cable and using the conductivity of carbon nanotubes to provide power.


title: Space elevator

text: Extending the cable has the advantage of some simplicity of the task and the fact that a payload that went to the end of the counterweight-cable would acquire considerable velocity relative to the Earth, allowing it to be launched into interplanetary space. Its disadvantage is the need to produce greater amounts of cable material as opposed to using just anything available that has mass.


title: Space elevator

text: An object attached to a space elevator at a radius of approximately 53,100 km would be at escape velocity when released. Transfer orbits to the L1 and L2 Lagrangian points could be attained by release at 50,630 and 51,240 km, respectively, and transfer to lunar orbit from 50,960 km.


title: Space elevator

text: At the end of Pearson's cable, the tangential velocity is 10.93 kilometers per second (6.79 mi/s). That is more than enough to escape Earth's gravitational field and send probes at least as far out as Jupiter. Once at Jupiter, a gravitational assist maneuver could permit solar escape velocity to be reached.


title: Space elevator

text: A Martian tether could be much shorter than one on Earth. Mars' surface gravity is 38 percent of Earth's, while it rotates around its axis in about the same time as Earth. Because of this, Martian stationary orbit is much closer to the surface, and hence the elevator could be much shorter. Current materials are already sufficiently strong to construct such an elevator. Building a Martian elevator would be complicated by the Martian moon Phobos, which is in a low orbit and intersects the Equator regularly (twice every orbital period of 11 h 6 min). Phobos and Deimos may get in the way of a geostationary space elevator, however, they may contribute useful resources to the project. Phobos is projected to contain high amounts of carbon. If carbon nanotubes become feasible for a tether material, there will be an abundance of carbon in Mars local region. This could provide readily available resources for the future colonization on Mars.


title: Space elevator

text: Phobos is Synchronously orbiting Mars, where the same face stays facing the planet at ~6,028 km above the Martian surface. A space elevator could extend down from Phobos to Mars 6,000 km, about 28 kilometers from the surface, and just out of the atmosphere of Mars. A similar space elevator cable could extend out 6,000 km the opposite direction that would counterbalance Phobos. In total the space elevator would extend out over 12,000 km which would be below Areostationary orbit of Mars (17,032 km). A rocket launch would still be needed to get the rocket and cargo to the beginning of the space elevator 28 km above the surface. The surface of Mars is rotating at 0.25 km/s at the equator and the bottom of the space elevator would be rotating around Mars at 0.77 km/s, so only 0.52 km/s of Delta-v would be needed to get to the space elevator. Phobos orbits at 2.15 km/s and the outer most part of the space elevator would rotate around Mars at 3.52 km/s.


title: Space elevator

text: The Earth's Moon is a potential location for a Lunar space elevator, especially as the specific strength required for the tether is low enough to use currently available materials. The Moon does not rotate fast enough for an elevator to be supported by centrifugal force (the proximity of the Earth means there is no effective lunar-stationary orbit), but differential gravity forces means that an elevator could be constructed through Lagrangian points. A near-side elevator would extend through the Earth-Moon L1 point from an anchor point near the center of the visible part of Earth's Moon: the length of such an elevator must exceed the maximum L1 altitude of 59,548 km, and would be considerably longer to reduce the mass of the required apex counterweight.


title: Space elevator

text: A far-side lunar elevator would pass through the L2 Lagrangian point and would need to be longer than on the near-side: again, the tether length depends on the chosen apex anchor mass, but it could also be made of existing engineering materials.


title: Space elevator

text: Rapidly spinning asteroids or moons could use cables to eject materials to convenient points, such as Earth orbits; or conversely, to eject materials to send a portion of the mass of the asteroid or moon to Earth orbit or a Lagrangian point. Freeman Dyson, a physicist and mathematician, has suggested using such smaller systems as power generators at points distant from the Sun where solar power is uneconomical.


title: Space elevator

text: A space elevator using presently available engineering materials could be constructed between mutually tidally locked worlds, such as Pluto and Charon or the components of binary asteroid 90 Antiope, with no terminus disconnect, according to Francis Graham of Kent State University. However, spooled variable lengths of cable must be used due to ellipticity of the orbits.


title: Space elevator

text: The construction of a space elevator would need reduction of some technical risk. Some advances in engineering, manufacturing and physical technology are required. Once a first space elevator is built, the second one and all others would have the use of the previous ones to assist in construction, making their costs considerably lower. Such follow-on space elevators would also benefit from the great reduction in technical risk achieved by the construction of the first space elevator.


title: Space elevator

text: Prior to the work of Edwards in 2000, most concepts for constructing a space elevator had the cable manufactured in space. That was thought to be necessary for such a large and long object and for such a large counterweight. Manufacturing the cable in space would be done in principle by using an asteroid or Near-Earth object for source material. These earlier concepts for construction require a large preexisting space-faring infrastructure to maneuver an asteroid into its needed orbit around Earth. They also required the development of technologies for manufacture in space of large quantities of exacting materials.


title: Space elevator

text: Since 2001, most work has focused on simpler methods of construction requiring much smaller space infrastructures. They conceive the launch of a long cable on a large spool, followed by deployment of it in space. The spool would be initially parked in a geostationary orbit above the planned anchor point. A long cable would be dropped "downward" (toward Earth) and would be balanced by a mass being dropped "upward" (away from Earth) for the whole system to remain on the geosynchronous orbit. Earlier designs imagined the balancing mass to be another cable (with counterweight) extending upward, with the main spool remaining at the original geosynchronous orbit level. Most current designs elevate the spool itself as the main cable is paid out, a simpler process. When the lower end of the cable is long enough to reach the surface of the Earth (at the equator), it would be anchored. Once anchored, the center of mass would be elevated more (by adding mass at the upper end or by paying out more cable). This would add more tension to the whole cable, which could then be used as an elevator cable.


title: Space elevator

text: One plan for construction uses conventional rockets to place a "minimum size" initial seed cable of only 19,800 kg. This first very small ribbon would be adequate to support the first 619 kg climber. The first 207 climbers would carry up and attach more cable to the original, increasing its cross section area and widening the initial ribbon to about 160 mm wide at its widest point. The result would be a 750-ton cable with a lift capacity of 20 tons per climber.


title: Space elevator

text: For early systems, transit times from the surface to the level of geosynchronous orbit would be about five days. On these early systems, the time spent moving through the Van Allen radiation belts would be enough that passengers would need to be protected from radiation by shielding, which would add mass to the climber and decrease payload.


title: Space elevator

text: A space elevator would present a navigational hazard, both to aircraft and spacecraft. Aircraft could be diverted by air-traffic control restrictions. All objects in stable orbits that have perigee below the maximum altitude of the cable that are not synchronous with the cable would impact the cable eventually, unless avoiding action is taken. One potential solution proposed by Edwards is to use a movable anchor (a sea anchor) to allow the tether to "dodge" any space debris large enough to track.


title: Space elevator

text: Impacts by space objects such as meteoroids, micrometeorites and orbiting man-made debris pose another design constraint on the cable. A cable would need to be designed to maneuver out of the way of debris, or absorb impacts of small debris without breaking.


title: Space elevator

text: With a space elevator, materials might be sent into orbit at a fraction of the current cost. As of 2000, conventional rocket designs cost about US$25,000 per kilogram (US$11,000 per pound) for transfer to geostationary orbit. Current space elevator proposals envision payload prices starting as low as $220 per kilogram ($100 per pound), similar to the $5–$300/kg estimates of the Launch loop, but higher than the $310/ton to 500 km orbit quoted to Dr. Jerry Pournelle for an orbital airship system.


title: Space elevator

text: Philip Ragan, co-author of the book "Leaving the Planet by Space Elevator", states that "The first country to deploy a space elevator will have a 95 percent cost advantage and could potentially control all space activities."


title: Space elevator

text: The International Space Elevator Consortium (ISEC) is a US Non-Profit 501(c)(3) Corporation formed to promote the development, construction, and operation of a space elevator as "a revolutionary and efficient way to space for all humanity". It was formed after the Space Elevator Conference in Redmond, Washington in July 2008 and became an affiliate organization with the National Space Society in August 2013. ISEC hosts an annual Space Elevator conference at the Seattle Museum of Flight.


title: Space elevator

text: ISEC coordinates with the two other major societies focusing on space elevators: the Japanese Space Elevator Association and EuroSpaceward. ISEC supports symposia and presentations at the International Academy of Astronautics and the International Astronautical Federation Congress each year.


title: Space elevator

text: The conventional current concept of a "Space Elevator" has evolved from a static compressive structure reaching to the level of GEO, to the modern baseline idea of a static tensile structure anchored to the ground and extending to well above the level of GEO. In the current usage by practitioners (and in this article), a "Space Elevator" means the Tsiolkovsky-Artsutanov-Pearson type as considered by the International Space Elevator Consortium. This conventional type is a static structure fixed to the ground and extending into space high enough that cargo can climb the structure up from the ground to a level where simple release will put the cargo into an orbit.


title: Space elevator

text: Some concepts related to this modern baseline are not usually termed a "Space Elevator", but are similar in some way and are sometimes termed "Space Elevator" by their proponents. For example, Hans Moravec published an article in 1977 called "A Non-Synchronous Orbital Skyhook" describing a concept using a rotating cable. The rotation speed would exactly match the orbital speed in such a way that the tip velocity at the lowest point was zero compared to the object to be "elevated". It would dynamically grapple and then "elevate" high flying objects to orbit or low orbiting objects to higher orbit.


title: Space elevator

text: The original concept envisioned by Tsiolkovsky was a compression structure, a concept similar to an aerial mast. While such structures might reach space (100 km, 62 mi), they are unlikely to reach geostationary orbit. The concept of a Tsiolkovsky tower combined with a classic space elevator cable (reaching above the level of GEO) has been suggested. Other ideas use very tall compressive towers to reduce the demands on launch vehicles. The vehicle is "elevated" up the tower, which may extend as high as above the atmosphere, and is launched from the top. Such a tall tower to access near-space altitudes of has been proposed by various researchers.


title: Space elevator

text: Other concepts for non-rocket spacelaunch related to a space elevator (or parts of a space elevator) include an orbital ring, a pneumatic space tower, a space fountain, a launch loop, a skyhook, a space tether, and a buoyant "SpaceShaft".


title: The Challenge: War of the Worlds 2

text: The Challenge: War of the Worlds 2 is the thirty-fourth season of the MTV reality competition series "The Challenge", and the sequel to the show's 33rd season, "", which aired in the spring of 2019. This season features alumni from "The Real World", "The Challenge", "Are You the One?", "Big Brother", "Celebrity Big Brother UK", "Love Island UK", "Survivor Turkey", "American Ninja Warrior", "Vanderpump Rules", "Geordie Shore", "Ex on the Beach" (U.S. and UK), "Shipwrecked", "Survival of the Fittest", and "BKCHAT LDN" competing for a share at a $1 million prize. The season premiered on August 28, 2019 and concluded its run on December 18 of the same year with a two-hour reunion special.


title: The Challenge: War of the Worlds 2

text: For "War of the Worlds 2" the players are divided into two teams (Team USA and Team UK) with teams initially based on the participants' respective home country. The main elements of the game are as follows.


title: The Challenge: War of the Worlds 2

text: At the end of the game, those who remained competed in their teams in the Final Challenge. A Purge was held during the Final Challenge, leaving only 4 players from each team to compete for the Grand Prize. The winning team equally split the $1,000,000 grand prize ($250,000 for each member).


title: The Challenge: War of the Worlds 2

text: First Stage: Each team begins with a gurney equipped with a relic and twenty pounds of sandbags for each member of the team. Each team must complete a sixteen-mile race while carrying the gurney (with the weight on top), undergoing checkpoints every four miles along the course. Only four members of each team can carry the gurney at once however players may switch out at checkpoints. Once each checkpoint is complete, teams run to their respective boat to be transported to the overnight stage of the final. The first team to finish receives a five-minute headstart for the final leg.


title: The Challenge: War of the Worlds 2

text: "Note: Both teams incurred a ten minute penalty during the first leg; Team UK for CT knocking the Team USA gurney causing carriers to stumble into a bush and Team USA for carrying the weight by hand and switching out carriers between checkpoints."


title: The Challenge: War of the Worlds 2

text: Overnight Stage: After swimming to shore from their team boat, each team is provided with one bed located inside a snake pit. One member from each team may sleep on the bed at a time, while other members of the team must stand on a set of stairs outside of the snake pit.


title: The Challenge: War of the Worlds 2

text: Mid-Final Purge: Each player competed in a mid-final purge the following morning. Each player individually race to complete a puzzle, run down to the beach and swim to their respective team boat. The first four players from each team to reach their team boat (regardless of gender) advance to the final leg while the remaining players are eliminated.


title: The Challenge: War of the Worlds 2

text: Second Stage (Chain Gang): Each team is attached by a chain around their ankles. They must then complete a six-mile run while chained before completing a puzzle (or timing out the designated time limit). Teams must then kayak to a yacht offshore, the first team to have all four members reach the yacht is declared the winning team of "War of the Worlds 2".


title: The Challenge: War of the Worlds 2

text: The two part reunion special aired on December 18, 2019 and was hosted by Justina Valentine and NBA Champion Nick Young. Cast members attended in London, England. The first part received 0.64 million viewers along with a 0.4 18–49 demo rating, while the second part dropped to 0.54 million and a 0.3 demo rating.


title: The Castle of Cagliostro

text: "The Castle of Cagliostro" follows gentleman thief Arsène Lupin III, who successfully robs a casino – only to find the money to be counterfeit. He heads to the tiny country of Cagliostro, the rumoured source of the bills, and attempts to save the runaway Princess Clarisse from the Count Cagliostro's men; the Count plans to marry Clarisse in order to cement his power and recover the fabled ancient treasure of Cagliostro, requiring Clarisse's ancestral ring. Lupin enlists his associates, Jigen and Goemon, and sends his calling card to the Count to get Inspector Zenigata, his longtime nemesis, to the castle. After becoming trapped in the dungeon under the castle, Lupin and Zenigata form a pact to escape and foil the Count's counterfeit operation and save Clarisse from her forced marriage to the Count.


title: The Castle of Cagliostro

text: The original theatrical release in Japan occurred on 15 December 1979. In North America, it was screened at various festivals in the early 1980s, while a heavily edited and shortened version became available in the form of an arcade laserdisc video game, "Cliff Hanger" (1983), combined with footage from the previous Lupin film "Mystery of Mamo" (1978). "Castle of Cagliostro" eventually made its American theatrical debut on 3 April 1991, with the home release following in October 1992. This first theatrical dub was produced by Streamline Pictures and released on home video the following year. A new dubbed version was produced by Manga Entertainment in 2000 and has had several releases.


title: The Castle of Cagliostro

text: Despite initially underperforming at the box office, "The Castle of Cagliostro" has garnered high praise, with critics and historians noting the film's influence on Miyazaki's later works, and has since become the most popular and well-regarded entry in the entire "Lupin III" franchise. However, some have disapproved of its depiction of Lupin as a gallant hero instead of his original persona as a ruthless criminal. The film has served as a major influence on animators and directors worldwide, such as Pixar director John Lasseter and several Disney films, including titles that influenced the Disney Renaissance. The Japanese computer animated film "" (2019) also has a plot structure loosely modelled after "The Castle of Cagliostro".


title: The Castle of Cagliostro

text: Master thief Arsène Lupin III and his colleague, Daisuke Jigen, flee the Monte Carlo Casino with huge quantities of stolen money, but as they celebrate their latest heist, Lupin recognizes the bills as distinctively high-quality counterfeits. Deciding to seek out the source, they head to the Grand Duchy of Cagliostro, the alleged wellspring of the counterfeits.


title: The Castle of Cagliostro

text: Shortly after arriving, the two get passed by a young woman being chased by a group of armed thugs. They rescue the young woman, but in the ensuing mayhem Lupin is knocked unconscious and the woman gets captured, but she leaves him a signet ring. After seeing the ring, Lupin recognizes the woman as Clarisse, the princess of Cagliostro, who will soon be married to Count Cagliostro, the country's regent. The Count's arranged marriage will cement his power and recover the fabled ancient treasure of Cagliostro, for which he needs both his and Clarisse's ancestral rings.


title: The Castle of Cagliostro

text: The next night, a squad of assassins attack Lupin and Jigen at their inn, but they escape. Lupin leaves his calling card on the back of Jodot, the Count's butler and chief assassin, announcing he is going to steal Clarisse. Lupin summons Goemon Ishikawa XIII and tips off his longtime pursuer, Inspector Koichi Zenigata, to his whereabouts to provide a distraction. Lupin disguises himself as Zenigata and makes his way into the castle, while the real Zenigata ends up trapped in the castle's catacombs. After meeting his on-off lover Fujiko Mine posing as Clarisse's lady-in-waiting, Lupin makes his way to Clarisse and returns her ring, vowing to help her to escape. Before he can act, the Count drops Lupin down a trapdoor into the catacombs. Lupin mocks the Count through the ring he gave to Clarisse – a fake containing a transmitter – and the Count sends three assassins to retrieve the real ring.


title: The Castle of Cagliostro

text: Lupin encounters Zenigata, and they form a pact to help each other escape. After overpowering the assassins, they escape into a room full of printing presses, the source of the counterfeits which Cagliostro has used throughout history to form a global shadow empire. Zenigata wants to collect evidence, but Lupin points out they must escape the castle first. They start a fire as a distraction and steal the Count's autogyro, but as they try rescuing Clarisse, Lupin is seriously wounded. Clarisse offers the ring to the Count in exchange for Lupin's life, but after securing the ring, the Count's attempt at betrayal is foiled when Fujiko's actions allow her, Lupin, and Zenigata to flee. As Lupin recovers from his injuries, Zenigata tries convincing his superiors at Interpol to prosecute the Count for counterfeiting, but fearing political repercussions, they halt the investigation and remove him from the case. Lupin intends to stop the wedding and rescue the princess, revealing to his companions that ten years earlier she had saved his life during his unsuccessful first attempt to find the treasure of Cagliostro. Fujiko tips off Lupin on a way to sneak into the castle, and forms a plan with Zenigata to publicly reveal the counterfeiting operation under the cover of pursuing Lupin.


title: The Castle of Cagliostro

text: The wedding with a drugged Clarisse appears to go as planned, until Lupin disrupts the ceremony and, despite the Count's precautions, makes off with Clarisse and the Count's rings. To expose the Count's operations, Zenigata leads Fujiko, posing as a television reporter, to the Count's counterfeiting facility. After the Count corners Lupin and Clarisse on the clock tower's face, Lupin attempts to trade the rings for Clarisse’s life, but the Count betrays him, and Lupin and Clarisse fall into the castle's lake. After using the rings on a secret mechanism built into the tower, the Count is crushed to death by the converging clock arms. Lupin and Clarisse watch as the mechanism drains the lake to reveal exquisite ancient Roman ruins — the true treasure of Cagliostro. Clarisse explains that she doesn’t want Lupin to go, even expressing her readiness to become a thief like him, but Lupin gently rejects her, and he and his friends bid farewell to Clarisse, now the rightful ruler of Cagliostro. With Zenigata pursuing them again (for the crime of "stealing Clarisse's heart") and Fujiko fleeing with the plates from the printing presses, Lupin and the gang take their leave of Cagliostro.


title: The Castle of Cagliostro

text: "Lupin III" began as a Japanese manga series written and illustrated by Monkey Punch. The title character, Arsène Lupin III, was inspired by (and is claimed in the series to be the grandson of) Maurice Leblanc's fictional character Arsène Lupin, a gallant and famous outlaw able to outsmart even Sherlock Holmes. Lupin III is a gentleman thief and announces his intentions to steal valuable objects by sending a calling card to the owners of the desired items. The manga's popularity led to two anime series, titled "Lupin III" and "Lupin III Part II". The first film, "The Mystery of Mamo", was released on 16 December 1978. "Cagliostro" followed the year later following the financial success of that film. This is marked as the first feature-length film to be directed by Miyazaki, who had previously co-directed episodes of the first Lupin anime series with Isao Takahata and the two directors along with Toshio Suzuki would give birth to Studio Ghibli in 1985. He was also a writer and director of two episodes in the second series under the pseudonym "Telecom", both produced a year after "Cagliostro". In works other than "Castle of Cagliostro" and the series episodes directed by Miyazaki and Takahata, Lupin III is portrayed as a scheming and lecherous thief, sometimes supported by his former enemies Jigen and Goemon. Miyazaki's film conflicts with the typical behavior and personality of the characters, a change that has been described as Lupin "growing up".


title: The Castle of Cagliostro

text: "Castle of Cagliostro" marked Miyazaki's debut as a theatrical movie director, but he also was a writer, a designer, and a storyboardist on the movie.


title: The Castle of Cagliostro

text: The production for the film began in May 1979 with the writing of the story and storyboarding for the film. Miyazaki began by drawing a bird's eye view of the setting before creating the story to completion. After the first draft scenario was returned to Miyazaki without change, he began the storyboards. The story was divided into four parts, but after reaching the third part changes had to be made at the storyboard phase in order to not exceed the decided running time. Animation work began in July while the storyboards were only a quarter complete; Miyazaki had to complete them during the animation production. Production wrapped up at the end of November and the film's premiere on 15 December 1979 was a short seven and a half months from the project's undertaking, with only five months of production time.


title: The Castle of Cagliostro

text: The film draws upon many sources of inspiration that were important in the production of the film. McCarthy writes that a research trip was not specifically undertaken for the film, but says Miyazaki's "Heidi, Girl of the Alps" sketchbooks were useful for the scenery. Miyazaki would cite "Italian Mountain Cities and the Tiber Estuary" from Kagoshima Publishing as influencing the production of the film. The film included elements that were seen in other Arsène Lupin works, including "La Justice d'Arsène Lupin" by Boileau-Narcejac, involving the discovery of a tremendous stash of forged franc notes with which World War I–era Germany had planned to destabilize the French economy. Maurice Leblanc's "The Green-eyed Lady" also featured a secret treasure hidden at the bottom of a lake. The design of mechanisms with secret tunnels in the clock tower, and the adventure plotted around beauty is inspired from "Ghost Tower" by Edogawa Ranpo. The castle is visually influenced by that of the original 1952 unfinished release of "The Shepherdess and the Chimney Sweep". Greenberg writes, ""Cagliostro" also borrowed many narrative and visual elements from Grimault's film: the basic plotline of disrupting the wedding of an evil tyrant and a beautiful innocent girl, the tyrant's luxuriously-decorated palace that is also full of traps, and a gang of henchmen serving the tyrant – both oversized goons and ninja-like assassins..." The staff added personal touches to the film, the most iconic being Lupin's car, the Fiat 500, was the car of head animator Yasuo Ōtsuka. Clarisse's car in the chase scene is a Citroen 2CV, which is Miyazaki's first car.


title: The Castle of Cagliostro

text: McCarthy describes the summery color palette of the film as matching the scenery and the characters, but notes the use of dark and light colors are used to emphasize the subplot of the dark and light sides of the Cagliostros. The film's score was composed by series regular Yuji Ohno, and varies between jazz, romance and orchestral music. Notably, it includes a variation of Lupin III's iconic TV theme. The music was performed by You & The Explosion Band, who had previously worked on the second television series. The main vocal song "Fire Treasure" was performed by Bobby (aka Toshie Kihara) and saw release as an LP single. The first release of the soundtrack was "Lupin the 3rd The Castle of Cagliostro Original Soundtrack BGM Collection", an album containing extended versions of select cues from the film. It was originally sold on vinyl and cassette tape in 1983, but later saw release on CD in 1985 with several additional prints runs. In 2003, the entire score was finally released on a newly commissioned album entitled "Lupin the 3rd: The Castle of Cagliostro – Music File" and also contained 13 unused cues.


title: The Castle of Cagliostro

text: "Castle of Cagliostro"s portrayal of the characters was changed to better identify with Miyazaki's concept of a "hero" and to remove a sense of apathy in the story. This resulted in Lupin being a happy-go-lucky and upbeat thief who drives and lives out of a Fiat 500; a sharp contrast to the scheming and lecherous Lupin who drives expensive cars like the Mercedes-Benz SSK because it was "Hitler's favorite". The changes would also impact secondary characters like Jigen and Goemon, changing their serious and cold personalities into friendly and humorous; even the erotic elements involving the femme-fatale Fujiko were dropped.


title: The Castle of Cagliostro

text: Fred Patten, who worked at Streamline Pictures was involved in the English adaptation of the film and was involved in the choice of title for the English release,


title: The Castle of Cagliostro

text: The film had a production budget of or at the time, surpassing "Space Battleship Yamato" (1977) to become the most expensive anime film up until then. Its production budget record was later matched by Miyazaki's "" (1986) and then surpassed by "" (1987).


title: The Castle of Cagliostro

text: In his first feature-length directorial role, Miyazaki deploys numerous examples of his style to great effect. Dani Cavallaro highlights the signature details of Miyazaki's style and form being displayed in this work and how it impacts the portrayal of the story. Cagliostro, the country and setting, is depicted in meticulous detail and unconstrained by limitations of architecture, geography and culture, which can be described as ""akogare no Paris"" (Paris of our dreams), which is a fantastical view of Europe through Eastern eyes. The use of unexpected and unique camera angles and attention to individual movement of the characters are distinctive signatures of Miyazaki's style, including the opening heist scene which provides characterization and spirit to understanding the character of Lupin. The changes made to the portrayal of the cast, depicting a heroic and selfless Lupin, a friendly Jigen, funny Goemon, and un-sexualized Fujiko, were initially not well received by fans. Otaku USA's Surat compared this shift to "a James Bond movie where [James Bond] stayed at Motel 6 and his 'Bond mobile' was a Toyota Camry!"


title: The Castle of Cagliostro

text: The film's Japanese theatrical release was on 15 December 1979. A 4K UHD version by VAP was released on 24 July 2019.


title: The Castle of Cagliostro

text: In 1980, Tokyo Movie Shinsha began screen testing the film in North America and it was notably shown at the World Science Fiction Convention in Boston for a marketing survey. It was later screened at other festivals during the 1980s, including FILMEX 82 in Los Angeles. Despite resounding acclaim from the screenings, many of them were unsuccessful. According to Fred Patten, the primary reason was that, "most people did not bother to come to it since it was "only" an animated-cartoon feature, not a "serious" live-action movie." A heavily edited and shortened version of the film eventually became available in North America in the form of an arcade laserdisc video game, "Cliff Hanger" (1983), which combined the film's footage with that of the previous Lupin film "Mystery of Mamo".


title: The Castle of Cagliostro

text: The American theatrical debut was on 3 April 1991 in New York City by Carl Macek's Streamline Pictures, with the home release following in October 1992. Streamline's dub contains several deviations from the original Japanese script. Due to copyright issues with Maurice LeBlanc's estate, Lupin is referred to as "the Wolf." Inspector Koichi Zenigata is erroneously named "Keibu Zenigata," likely due to a translation error (keibu being the Japanese title for a police inspector). The UK release followed on 10 June 1996 by Manga Video. Optimum Releasing re-released "Cagliostro" in the UK after Manga Entertainment lost its license in the UK. The new DVD features an anamorphic widescreen print with the original Japanese audio track as well as the Streamline dub, both in stereo.


title: The Castle of Cagliostro

text: On 25 April 2000, Manga released the film on home video in the United States with a newly commissioned dub that adhered closer to the original script with the correct names restored. The DVD preserves the film in its original aspect ratio of 1.85:1 widescreen and is non-anamorphic. It additionally features remastered audio and picture, but contains no extras. The same company later released a new special edition DVD of "Cagliostro" on 29 August 2006. The disc is double-sided with the film on side A and the extras on side B. It includes a new digital transfer; Manga's English dub in 2.0 and 5.1 surround plus Japanese, Spanish, and French language tracks in mono; the complete film in storyboard format, accompanied by Japanese audio with English subtitles; an original Japanese trailer; a sketch and still gallery; a 26-minute interview with animation director Yasuo Ōtsuka, and animated menus. The film is presented in 16:9 anamorphic widescreen; however, the opening credits have been heavily re-edited to remove the Japanese credits, instead using selected still-frames of scenes that appear without Japanese writing. The English-translated names are superimposed over these stills. This change was negatively received by fans of the film. Both DVD releases are out-of-print, with Manga no longer owning the U.S. film rights.


title: The Castle of Cagliostro

text: In December 2008, the film was released on Blu-ray in Japan. Its video format is MPEG-4 AVC and its digitally-remastered audio is improved over that of the DVD, but contains no English audio or subtitle options despite being in Region A format. Years later, a new HD digital remaster was produced and "Cagliostro" was given a limited theatrical re-release in Japan on 9 May 2014. The remaster was released both individually and as part of "The Collected Works of Hayao Miyazaki", a box set containing all of Miyazaki's movies. Both these newer releases were released by Studio Ghibli in conjunction with Disney. StudioCanal released a Blu-ray and DVD bundle of the film on 12 November 2012 in the UK. The StudioCanal release is of superior quality with its new high definition transfer, but the credits for the film are absent.


title: The Castle of Cagliostro

text: North American anime distributor Discotek Media announced on 26 March 2014 that they had licensed the film and planned to release it on DVD in 2014, with a Blu-ray release to follow at a then-unspecified future date. The DVD version was eventually delayed to 6 January 2015 and included the Streamline and Animaze/Manga dubs, a "Family Friendly" alternate version of the Animaze/Manga dub with reduced profanity, the original Japanese audio with newly translated English subtitles, an alternate subtitle option based on the subtitles used by TMS in their 1980 screenings of the film, a collection of alternate opening and closing sequences to the film from previous releases, translation notes, two trailers and a fan-made audio commentary by Reed Nelson. The Blu-ray was released on 23 June 2015 and featured the same extras in addition to another alternate subtitle option using a literal translation of the film's screenplay, new interviews with David Hayter and Bob Bergen, an introduction to the film by Hayter, translated past interviews from the French Blu-ray (featuring Yasuo Ōtsuka, Kazuhide Tomonaga and Monkey Punch), an optional storyboard viewing mode, a slideshow gallery of production and promotional art, and a text-based overview of the film's production history. Plans to include an emulated port of "Cliff Hanger" as an extra feature for the Blu-ray were dropped when the original contracts for the game could not be found. "The Castle of Cagliostro" was included in Disney's "The Collected Works of Hayao Miyazaki" Blu-ray set released on 17 November 2015. This release features only the Streamline dub and the Japanese audio with English subtitles; none of the extras from Discotek's releases are included.


title: The Castle of Cagliostro

text: In Japan, the film grossed , equivalent to , in 1979. The MX4D release in 2017 grossed a further () in Japan. The film's overseas screenings in 2007 and 2017 grossed $152,775 in Italy and South Korea, and $142,425 in the United States, adding up to at least grossed in Asia, Italy and the United States.


title: The Castle of Cagliostro

text: In terms of box office admissions, the film sold 900,000 tickets in Japan , 109,072 tickets in France and Italy, 58,000 tickets in the United States, and 1,729 tickets in South Korea, adding up to at least tickets sold worldwide.


title: The Castle of Cagliostro

text: While the film was not initially a box-office success, it gained popularity through numerous re-releases and was even voted as "the best anime in history" by the readers of "Animage" in November 2001. Following a July 1992 release by Streamline Pictures, Janet Maslin said she thought the film "should fare nearly as well [as "Akira"] with animation fans of any age, provided they are unwavering in their devotion to the form and do not think 100 minutes is an awfully long time." According to Maslin, the film is an "interestingly wild hybrid of visual styles and cultural references" whose "animation is weak when it comes to fluid body movements, but outstanding in its attention to detail." According to Marc Savlov of "The Austin Chronicle", ""C of C" refrains from the Technicolor ultra-violence that helped make films like "", "Akira", and "Vampire Hunter D" such audience favorites, and instead focuses on broad, almost slapstick humor and chaos to keep viewers riveted. Sometimes it works, and unfortunately, sometimes it doesn't."


title: The Castle of Cagliostro

text: In Dani Cavallaro's "The Anime Art of Hayao Miyazaki", the film was said to have received the "Award for Best Animated Feature". The actual award was from the 1979 Mainichi Film Concours, where the film received the Ōfuji Noburō Award. No concrete evidence for this claim has even been put forward and the misinformation in the releases serves to cement its decades-long persistence.


title: The Castle of Cagliostro

text: The film was the best selling anime DVD in May 2001, and the third best selling in June. Both of Manga Entertainment's releases of "The Castle of Cagliostro" received "DVD Talk Collector Series" recommendation status, the highest status given by the review website DVDtalk.com. In January 2001, the Japanese magazine "Animage" elected "Castle of Cagliostro" the 9th best anime production of all time. Chris Beveridge of AnimeOnDVD.com gave the film a grade of "A+", although he disliked Manga Entertainment's use of PG-13 level language in the English dub. "The Castle of Cagliostro" placed in 5th place on Japan's Agency for Cultural Affairs's list of best anime. The film was named "The Best Japanese Animated Film of All Time" by Japanese film magazine Kinema Junpo in 2009. In 2020, Screen Rant ranked "The" "Castle of Cagliostro" as the best movie made by Miyazaki. In the same year, CBR.com ranked "The Castle of Cagliostro" as the best Lupin movie.


title: The Castle of Cagliostro

text: "The Castle of Cagliostro" has been watched and appreciated by various people in the film industry, including Steven Spielberg. Several critics have noted similarities between "The Castle of Cagliostro" and the "Indiana Jones" films by Spielberg and George Lucas, particularly the first "Indiana Jones" film "Raiders of the Lost Ark" (1981). These similarities include a rollicking adventure, humorous tone, similar overall action style, treasure hunting plot, a clever protagonist (Lupin and Indiana Jones) thrown into very difficult situations, overcoming obstacles with his wits, the use of gadgets, the help of several competent sidekicks, and a high-speed car chase down winding mountain roads. This has led to rumors, though unconfirmed, that the film may have influenced the "Indiana Jones" series of films due to these similarities. However, both the script and most of the filming for "Raiders of the Lost Ark" was completed by early 1981, years before "The Castle of Cagliostro" first became available in English.


title: The Castle of Cagliostro

text: In 1983, TMS Entertainment and Stern Electronics wanted to capitalize on the success of animated laserdisc video games at the time. They released the arcade game, "Cliff Hanger", which used footage from this film, along with the previous Lupin film "Mystery of Mamo". Even though the films themselves weren't available in North America at the time, the "Cliff Hanger" game was featured in an episode of the 1980s game show "Starcade". The arcade game also made an appearance in "The Goonies" (1985).


title: The Castle of Cagliostro

text: "Cagliostro" deeply influenced Pixar co-founder John Lasseter, along with Miyazaki's later films; in October 2014, Lasseter delivered a keynote address to the Tokyo International Film Festival describing how Miyazaki's influence upon his own life and work began when he first saw a clip from "Cagliostro".


title: The Castle of Cagliostro

text: Walt Disney Animation Studios' 1986 film "The Great Mouse Detective", co-directed by John Musker and Ron Clements, paid homage to "Cagliostro" with the film's climactic Big Ben sequence. The two-minute climax scene used computer-generated imagery (CGI), making it the first Disney film to extensively use computer animation, a fact that Disney used to promote the film during marketing. In turn, "The Great Mouse Detective" paved the way for the Disney Renaissance.


title: The Castle of Cagliostro

text: Another reference to the clock-tower fight is in "The Clock King" episode of "". In the original video animation (OVA) "Here Is Greenwood", students set a play where the scene of Lupin saving Clarisse on the clock tower is re-enacted.


title: The Castle of Cagliostro

text: Gary Trousdale, co-director of Disney's "", said that a scene at the end of "Atlantis", where the waters recede from the sunken city, was directly inspired from the ending in "Cagliostro". One of the sequence directors of "The Simpsons Movie" also mentioned "Cagliostro" as an influence; a brief shot where Bart Simpson rolls down the roof of the family house was inspired by Lupin running down the castle roof during his rescue attempt.


title: The Castle of Cagliostro

text: The 2019 film "" was inspired by "The Castle of Cagliostro". The director Takashi Yamazaki found the tone in "The Castle of Cagliostro" as the best portrayal for the 3D film. Yamazaki was profoundly moved by "The Castle of Cagliostro" ever since he saw the film on TV in the 1980s. The experience entrenched in himself the idea that Japan can make high-quality films. The moment influenced the direction for the current film. Therefore, the movie is constructed around the model of "Cagliostro" with many homages added. The ending's emotional climax is similar to the climax in "Cagliostro".


title: Michelle Borth

text: Michelle Borth is an American actress who has portrayed characters on "The Forgotten" and the HBO series "Tell Me You Love Me". Borth played Catherine Rollins on the CBS crime-drama "Hawaii Five-0".


title: Michelle Borth

text: Borth was born and grew up in New York City. Her mother is of Italian origin, and owns a home improvement business. She has two younger brothers. She aspired to become a gymnast but later discovered acting at a camp. She matriculated at Pace University, receiving a Bachelor of Fine Arts in Theater and Art History in 2001.


title: Michelle Borth

text: Borth's previous credits include the films "Wonderland", "Trespassers", "The Sisterhood", "Silent Warnings", "", and "Komodo vs. Cobra"; and guest appearances on the "Supernatural" episode "What Is and What Should Never Be" and the "" episode "Trade". She also appeared in Burger King's "Lunch Break" advertising campaign. She was also featured in John Mayer's "Bigger Than My Body" video.


title: Michelle Borth

text: In 2008, she wrapped the independent film "TiMER" with Emma Caulfield and Desmond Harrington, and appeared in the Endgame Productions comedy film, "A Good Old Fashioned Orgy" with Leslie Bibb, Lake Bell, and Jason Sudeikis. In 2009, she was a cast member of ABC's "The Forgotten", appearing in 17 episodes, including part of the 2010 season. In 2010, she also guest starred on the TNT TV series "Dark Blue" double-episode season finale.


title: Michelle Borth

text: In 2010 Borth appeared in the 2010 version of "Hawaii Five-0" on CBS where she appeared as on and off Steve McGarrett's girlfriend, Lt. Catherine Rollins, a Navy Lieutenant. On March 26, 2012, CBS announced that Borth would become a cast regular on "Hawaii Five-0" for seasons 3 & 4. On March 27, 2014, it was announced that she would not be returning for the fifth season, with the reason for her departure left unknown. However, she would return in the show's 5th-season finale as a guest star. In July 2015 it was announced that Borth would have a recurring role in the first three episodes of the show’s 6th season. On September 8, 2016 it was announced that Borth would be returning as a guest for the show's 150th episode. On March 19 2018, it was announced that Borth would once again be returning to the series as a guest star for the eighth season's twentieth episode.


title: Michelle Borth

text: Borth starred as Canadian Forces surgeon Major Rebecca Gordon on Global's 2011 Canadian drama television series "Combat Hospital", which was cancelled after its first season. She appears in the 2019 film "Shazam!" playing the adult version of Mary Bromfield.


title: National Basketball League (Australia)

text: The National Basketball League (NBL) is a men's professional basketball league in Australasia, currently composed of 10 teams: 9 in Australia and 1 in New Zealand. It is the premier professional men's basketball league in Australia and New Zealand.