title: Deja Vu (Olivia Rodrigo song)

text: Rodrigo's performance of "Deja Vu" for MTV Push was published online on May 1, 2021. She reprised the song during her Tiny Desk Concert in a department of motor vehicles in December 2021. Rodrigo sang it in a pink dress for "Billboard" Women in Music on March 2, 2022. She was accompanied by a four-piece, all-female band in all-white outfits during the pre-filmed performance. "Billboard"s Andrew Unterberger remarked that Rodrigo displayed typically vulnerable intimacy and bluntness and offered an alternately pleasant and grimy rendition. She included "Deja Vu" in the set list for her 2022 Sour concert tour. Rodrigo performed the song at the Glastonbury Festival 2022. She introduced it by saying "I just wanted to ask you guys a question, does anyone here ever get deja vu?", which "The Guardian"s Laura Snapes thought highlighted the cacophony between her more impromptu and planned moments during the show. Rodrigo reprised "Deja Vu" as a duet, with Billy Joel on piano, during one of the latter's Billy Joel in Concert shows, followed by "Uptown Girl".


title: TV Guide

text: TV Guide is an American digital media company that provides television program listings information as well as entertainment and television-related news.


title: TV Guide

text: The prototype of what would become "TV Guide Magazine" was developed by Lee Wagner (1910–1993), who was the circulation director of MacFadden Publications in New York City in the 1930s – and later, by the time of the predecessor publication's creation, for Cowles Media Company – distributing magazines focusing on movie celebrities.


title: TV Guide

text: In 1948, Wagner printed New York City area listings magazine "The TeleVision Guide", which was first released on local newsstands on June 14 of that year. Silent film star Gloria Swanson, who then starred of the short-lived variety series "The Gloria Swanson Hour", appeared on the cover of the first issue. Wagner later began publishing regional editions of "The TeleVision Guide" for New England and the Baltimore–Washington area. Five years later, he sold the editions to Walter Annenberg, who folded it into his publishing and broadcasting company Triangle Publications, but remained as a consultant for the magazine until 1963.


title: TV Guide

text: The national "TV Guide"s first issue was released on April 3, 1953, accumulating a total circulation of 1,560,000 copies that were sold in the ten U.S. cities where it was distributed. The inaugural cover featured a photograph of Lucille Ball's newborn son Desi Arnaz Jr., with a downscaled inset photo of Ball placed in the top corner under the issue's headline: "Lucy's $50,000,000 baby". The magazine was published in digest size, which remained its printed format for 52 years. From its first issue until the July 2–8, 1954, issue, listings within each edition of "TV Guide" began on Friday and ended on Thursday; the July 9–16, 1954, issue began on a Friday and ended on the following Friday. Then, beginning with the July 17–23, 1954, issue, the listings in each week's issue changed to start on Saturday and end on Friday, which remained the listings format for all local editions until April 2004. The formation of "TV Guide" as a national publication resulted from Triangle Publications' purchase of numerous regional television listing publications such as "TV Forecast" (which was circulated in the Chicago area and, upon its first publication on May 9, 1948, was the first continuously published television listings magazine), "TV Digest" (which was distributed in Philadelphia and Pittsburgh, and was originally distributed under the title, the "Local Televiser", when it was first released on November 7, 1948), and the New York-based "Television Guide" (which had its title abbreviated to "TV Guide" on March 18, 1950). Each of the cities that had their own local TV listings magazine folded into "TV Guide" were among the initial cities where the magazine conducted its national launch.


title: TV Guide

text: The launch as a national magazine with local listings in April 1953 became an almost instant success. However, the circulation decreased over subsequent weeks, even as the magazine's distribution expanded to five additional cities (Pittsburgh, Rochester, Detroit, Cleveland and San Francisco) throughout the summer of 1953. By mid-August of that year, sales of the magazine had dropped 200,000 copies below that of the first issue. "TV Guide"s fortunes began to turn around with the September 4–10, 1953, issue – the magazine's first "Fall Preview" issue – when circulation hit 1,746,327 copies; circulation levels increased steadily over time, to the point where "TV Guide" eventually became the most read and circulated magazine in the United States by the 1960s. The initial cost of each issue was 15¢ per copy (equivalent to $ in . The price per issue has gradually risen over the years, selling for $4.99 per copy as of ). In addition to subscriptions, "TV Guide" was sold at the checkout counters of grocery stores nationwide. Until the 1980s, the feature pieces included in each issue were promoted in a television commercial. Under Triangle, "TV Guide" continued to grow not only in circulation, but also in recognition as the authority on television programming with articles – the majority of which typically appear in the color section – from both staff and contributing writers.


title: TV Guide

text: Over the decades, the shape of the "TV Guide" logo has changed to reflect the modernization of the television screen, eventually adopting a widescreen appearance in September 2003, and then to its current flatscreen appearance in September 2016 (different versions of the logo – the only cosmetic difference being the utilization of different typefaces – are currently used respectively for the magazine and the separately owned, CBS-managed digital properties). At first, the logo had various colored backgrounds (usually black, white, blue or green) until the familiar red background became the standard in the 1960s with occasional customizations being utilized for special editions.


title: TV Guide

text: The magazine was first based in a small office in downtown Philadelphia, before moving to more spacious national headquarters in Radnor, Pennsylvania, in the late 1950s. The new facility had a large lighted "TV Guide" logo at the building's entrance. It housed management, editors, production personnel and subscription processors as well as a vast computer system holding data on every television show and movie available for listing in the popular weekly publication. Printing of the national color section of "TV Guide" – which incorporates television-related stories, and select feature columns such as program reviews – took place at Triangle's Gravure Division plant – which was known for performing some of the highest quality printing in the industry, with almost always perfect registration – located adjacent to the company's landmark Inquirer Building on North Broad Street in Philadelphia. The color section was then sent to regional printers to be wrapped around the local listing sections.


title: TV Guide

text: In addition to "TV Guide" and its flagship newspaper "The Philadelphia Inquirer", Triangle Publications also owned the "Philadelphia Daily News"; ten radio and six television stations (WFIL AM-FM-TV in Philadelphia, WNHC AM-FM-TV in New Haven, Connecticut, KFRE AM-FM-TV in Fresno, California, WNBF AM-FM-TV in Binghamton, New York, WFBG AM-FM-TV in Altoona, Pennsylvania and WLYH-TV in Lancaster–Lebanon, Pennsylvania), as well as "The Daily Racing Form"; "The Morning Telegraph"; "Seventeen"; and various cable television interests. (It was under Triangle's ownership of WFIL-TV that "American Bandstand" came to popularity, which, in turn, led to host Dick Clark ascending to become a major television personality.) Triangle Publications sold its Philadelphia newspapers to Knight Newspapers in 1969, its radio and television stations during the early 1970s to Capital Cities Communications (the television stations that are now known as KFSN-TV and WPVI-TV were subsequently acquired by ABC through its 1986 merger with Capital Cities) and various other interests, retaining only "TV Guide", "Seventeen" and "The Daily Racing Form".


title: TV Guide

text: For the magazine's first 52 years of publication, listings information was displayed in a "log" format, a mainly text-based list of programs organized by both start time and channel, which was the sole method – eventually, primary once prime time grids were incorporated, and later secondary for the final two years of its inclusion of local listings – of displaying program information in "TV Guide" until the switch to national listings in 2005. This allowed for the display of full titles for each program as well as the inclusion of synopses for movies and most programs. Most listing entries in the log included program genres (and for national news programs, anchors) after the program's title, while its running time (which was mentioned only if a program lasted a minimum of one hour – later 35 minutes – in length) was listed (in hours and minutes) in the synopses.


title: TV Guide

text: Channel numbers were set in a tiny round icon (known as a "bullet") at the beginning of the listing. This bullet was soon modified to be the shape of a TV screen, similar to the shape of the "TV Guide" logo. In most editions, stations serving a particular edition's immediate local coverage area were denoted with a white numeral for its channel number set inside a black TV-shaped bullet. Stations serving neighboring communities outside the immediate area, but which could also be viewed in the primary local area, were denoted with a black numeral inside a white TV-shaped bullet outlined in black (for example, in the San Francisco edition, stations based in San Francisco or Oakland had their channel numbers listed as white-on-black TV-shaped bullets, while stations serving neighboring Sacramento or Salinas/Monterey (but could still be viewed in parts of San Francisco or Oakland, including their suburbs, as fringe reception) had their channel numbers listed as black-on-white icons). A particular listing could begin with as many as three or more channel bullets depending upon the number of stations in the immediate and surrounding areas broadcasting the same program at that particular time (usually different affiliates of the same network, based in the primary city as well as in neighboring areas). See the subsection "Listings section," in the "Editions" section below, for a detailed explanation.


title: TV Guide

text: Originally, the majority of programs listed in the log each issue featured brief synopses, except for local and national newscasts, and programs airing on certain stations in various timeslots. As other broadcast television stations and cable channels were added, due to set space requirements for the local listings section, detailed synopses were gradually restricted to series and specials – usually those airing in evening "prime time" timeslots – as well as movies airing on broadcast television, while shorter synopses were used for programs seen on broadcast stations outside of the edition's home market and select cable channels; and only the title along with basic supplementary information (such as genre and/or program length) for most other broadcast and cable programs. In addition, black-and-white ads for programs scheduled to air on broadcast stations – and later, cable channels – during prime time (with local airtimes, and for broadcast stations, information for network-affiliated stations featured in the edition which were scheduled to air the advertised show) were included within the listings. Ads for major network programs were generally produced by the networks themselves (and often, the networks would run a full-page or even a double-truck ad for an entire night of programming, or for a major movie or special, or for the season premiere of a Saturday morning cartoon lineup); ads for locally produced programs, including local newscasts, were produced by individual stations (network affiliates as well as independent stations). Such locally provided ads almost always used the distinctive logos used by particular stations (for example, the "Circle 7" logo used for many years primarily by stations either owned by, or affiliated with, ABC). (Black-and-white ads for general products, services and special offers, similar to those seen in other national magazines, were also placed in the listings section.)


title: TV Guide

text: A regular feature of the listings section was "Close-Up", usually a half-page segment, which provided expanded reviews of select programs airing each day (various editions of "Close-Up" were eventually used for different types of programs, from premieres of new series to shows airing on cable). Over time, other regular and recurring features (most of them television-related) were included alongside the listings including "Insider" (a television news and interview section in the lead pages of the color section); "Cheers and Jeers" (a critique page about various aspects of television programming); "Hits and Misses" (featuring brief reviews of select programs in the coming week, rated on a score from 0 to 10); "Guidelines" (a half-page daily section featuring highlights of five or six programs of interest); horoscopes; recaps of the previous week's storylines on network daytime soap operas; a page reviewing new home video (and later, DVD) releases; dedicated pages that respectively listed select sporting events, children's programs and "four-star" movies being broadcast during that week; and crossword puzzles. Although its issues usually focus on different television-related stories week to week, "TV Guide" also incorporates recurring issues that appear a few times each year, most notably the "Fall Preview" (an issue featured since the magazine's inaugural year in 1953, which features reviews of new series premiering during the fall television season), "Returning Favorites" (first published in 1996, featuring previews of series renewed from the previous television season returning for the upcoming fall schedule), "Winter Preview" (first published in 1994 and later known as the "(year) TV Preview" from 2006 to 2009, featuring previews of midseason series) and "The Best Children's Shows on TV" (first published in 1989 and later renamed the "Parents' Guide to Children's Television" in 1990, and finally as the "Parent's Guide to Kids' TV" in 1993, featuring stories and reviews on family-oriented programs).


title: TV Guide

text: Icons used for other means than identifying listed stations were first added to the magazine around 1956, using the words "SPECIAL" and "COLOR", each set in capital letters inside a rectangular bar, to denote television specials and programs broadcast in color, respectively. "TV Guide" modified all icons incorporated into the local listings section in May 1969, changing the font for the TV-shaped bullets identifying local stations from Futura to the standard Helvetica and using similarly TV-shaped bullets marked with the abbreviation "C" to denote color programs (replacing the bar/text icons that had been previously used). As color programming became more ubiquitous, in August 1972, the magazine opted to identify programs originating in black and white (marked under the abbreviation "BW") within the listings section. In September 1981, listings began to identify programs presented with closed or open captions or with on-screen sign language interpretation.


title: TV Guide

text: Being an era when program episodes tended to be faithfully recurring from week to week, TV Guide listings would make note of alterations from the routine or a change in status: "[Gunsmoke is pre-empted]"; "(last episode of the series)", "Debut: ", "Special". Until the 1970s, double-feature or triple-feature movie presentations by a station would be listed at the starting time of the first feature: "MOVIE--Double Feature", then list the movies with numeric bullets in front of each title and synopsis; subsequent to 1970, the magazine listed each movie in its own time entry.


title: TV Guide

text: A day's listings continued well past midnight until the last station signed off following prime time programs of the calendar day before, possibly as late as 4:00 a.m. The next day's listings could begin as early as 5:00 a.m., or earlier.


title: TV Guide

text: The advent of cable television would become hard on "TV Guide". Cable channels began to be listed in the magazine in 1980 or 1981, depending on the edition; the channels listed also differed with the corresponding edition. Regional and national superstations available on cable systems in the designated market of many editions were the only cable channels listed initially as well as, in certain markets, over-the-air subscription services transmitted over local independent stations (such as ONTV); local subscription television services were often listed as "STV Programming" or "Subscription Television" for the channel carrying the service, with the service listed separately or, in some editions, not at all. Cable-originated channels – such as HBO, CNN (both of which the magazine originally promoted mainly in full-page advertisements), the CBN Cable Network (now Freeform), the Alpha Repertory Television Service (ARTS, later succeeded by A&E through its 1984 merger with The Entertainment Channel) and Nickelodeon – were added gradually between the winter of late 1981 and the first half of 1982, depending on the edition.


title: TV Guide

text: To save page space, "TV Guide" incorporated a grid (a rowed display of listings for programs scheduled to air during the evening hours each night, primarily organized by channel) into the listings between 1979 and 1981, which was slotted at a random page within each day's afternoon listings. The grid originated as a single-page feature that provided a summary of programs airing during prime time (from 7:00 to 10:00 p.m. or 8:00 to 11:00 p.m. depending on the start of prime time within a given time zone) on the stations mentioned in the corresponding edition; by 1983, it was expanded to a two-page section – which began to take up roughly three-quarters of the two adjoining pages on which it was placed – that included programs airing during the early access and late fringe periods (from 5:00 to 11:00 p.m. or 6:00 p.m. to 12:00 a.m. local time), with the beginning and end of the magazine-defined prime time daypart (between 7:30 and 11:00 p.m. or between 6:30 and 10:00 p.m. local time on Monday through Saturdays, and between 7:00 and 11:00 p.m. or between 6:00 and 10:00 p.m. local time on Sundays) delineated by a thicker border. Channels listed in the grid were organized by broadcast stations, basic cable channels, and premium channels.


title: TV Guide

text: In 1983, depending on the edition, a new feature was added, the "Pay-TV Movie Guide" (renamed the "Premium Channels Movie Guide" in 1997), initially preceded the listings before being moved to the pages immediately following the Friday listings in January 1989, resulting in the national section – which had been cordoned into two sections, both preceding and following the local section – being consolidated into the first half of the pages comprising each issue. Preceding this addition, some editions carried The "Movie Guide", which also preceded the listings, provided summaries of films scheduled to air over the next one to two weeks on the cable channels included in both the log "and" grid listings (excluding those featured exclusively in the grids) as well as a first-page summary of the films scheduled to premiere that week (arranged by channel and sub-categorized by title). As the years went on, more cable channels were added into the listings of each edition. To help offset this, the May 11–17, 1985, issue introduced a smaller Helvetica font for the log, along with some other cosmetic changes; in particular, a show's length began to be listed after the show's title instead of at the end of its synopsis. That issue also saw advertising for local stations featured in the corresponding edition be restricted to certain special events, with most program promotions being restricted to those for national broadcast and cable networks.


title: TV Guide

text: On August 7, 1988, Triangle Publications was sold to the News America Corporation arm of News Corporation for $3 billion, one of the largest media acquisitions of the time and the most expensive publication transaction at the time. The November 3–9, 1990, issue saw the addition of VCR Plus+ codes in some of the magazine's regional editions, for users with devices incorporating the technology – which was developed by eventual "TV Guide" parent Gemstar International Group Ltd. – to input into their VCRs to automatically record television programs. (Two-digit PlusCodes corresponding to the channel airing the program that a user wished to record were listed after each channel in the channel directory page; one- to eight-digit codes for individual programs were listed in the log listings section following the title of each program.) The PlusCodes expanded to all local editions beginning with the September 14–20, 1991, issue. The September 12–18, 1992, issue saw the addition of bullet icons identifying colorized versions of older feature films.


title: TV Guide

text: On March 7, 1996, "TV Guide" launched the iGuide, originally developed by the News Corporation-MCI joint venture Delphi Internet Service Corp. as a web portal, which featured more comprehensive television listings data than those offered by the magazine (with information running two weeks in advance of the present date), as well as news content, "TV Guide" editorial content and a search feature called CineBooks, which allowed users to access detailed information on about 30,000 film titles. Later that year, content from the print publication was added to iGuide as well as content from News Corporation's other media properties. On January 13, 1997, shortly before MCI bowed out of the venture, iGuide was relaunched as the TV Guide Entertainment Network (TVGEN), which was renamed TV Guide Online in 2002. The refocused site covered television, music, movies and sports (with content concerning the latter sourced from Fox Sports), along with wire news and features from Reuters, "Daily Variety" and "The New York Post", free e-mail updates for registered users, and a chat room that was developed to accommodate 5,000 users simultaneously.


title: TV Guide

text: Additional changes to the listings took place with the September 14–20, 1996 edition of the print publication. Starting with that issue, program titles switched from being displayed in all-uppercase to being shown in a mixed case, Franklin Gothic typeface, film titles – which had previously been displayed within the film description – began appearing before a film's synopsis in an italicized format (replacing the generic "MOVIE" header that had been used to identify films since the magazine's inception), and children's programs that were compliant with the Children's Television Act of 1990 began to be designated by a circular "E/I" icon. In addition, infomercials (which had been designated under the boilerplate title "COMMERCIAL PROGRAM[S]" until 1994, and "INFORMERCIAL[S]" thereafter) ceased being listed in the magazine during time periods in which stations aired them. (Time-brokered programs continued to be listed in the magazine, but were primarily restricted to religious programming.) Replacing the text identifiers that had been included within the film synopses, theatrically released films also began to be identified by a black-and-white boxed "M" symbol, accompanied depending on the film by its star rating (a formula, on a scale of one [for "poor"] to four [for "excellent"], based on a consensus of reviews from leading film critics, the quality of the film's cast and director, and the film's box office revenue and award wins). Movie icons also were appropriated to identify direct-to-video (marked as "M→V") or made-for-TV (marked as "M→T") releases, which were not assigned star ratings. Beginning with the January 25–31, 1997, issue, the log listings began incorporating content ratings for programs assigned through the newly implemented TV Parental Guidelines system (the system's content ratings were subsequently added upon their introduction in October 1998).


title: TV Guide

text: News Corporation sold "TV Guide" to the United Video Satellite Group, parent company of Prevue Networks, on June 11, 1998, for $800 million and 60 million shares of stock worth an additional $1.2 billion (this followed an earlier merger attempt between the two companies in 1996 that eventually fell apart). Following the sale, reports suggested that "TV Guide" would remove program listings from the magazine, shifting them entirely to its new sister cable network Prevue Channel, which would be rebranded as a result of United Video's purchase of "TV Guide Magazine"; News Corporation executives later stated that listings information would remain part of the magazine. That year, United Video acquired TVSM Inc. (publishers of competing listings guides "Total TV" and "The Cable Guide") in a $75 million all-cash acquisition; as a result, "TV Guide" merged with "Total TV", and began printing a version of the magazine in the latter magazine's full-size format (while retaining the original digest size version) effective with the July 11, 1998, issue.


title: TV Guide

text: Because most cable systems published their own listing magazine reflecting their channel lineup, and now had a separate guide channel or an electronic program guide that can be activated by remote and provide the same information in a more detailed manner – with additional competition coming in the late 1990s from websites that also specialize in providing detailed television program information (such as TVGuide.com, then jointly operated with "TV Guide Magazine", and Zap2It), a printed listing of programming in a separate magazine became less valuable. The sheer amount and diversity of cable television programming made it hard for "TV Guide" to provide listings of the extensive array of programming that came directly over the cable system. "TV Guide" also could not match the ability of the cable box to store personalized listings. Nevertheless, beginning with the September 12–18, 1998, issue, the magazine added several new channels to many of its editions, including those that had previously been mentioned only in a foreword on the channel lineup page as well as those that were available mainly on digital cable and satellite; although most of these newly added channels were placed within the prime time grids, only a few (such as Animal Planet and MSNBC) were also incorporated into the log listings.


title: TV Guide

text: Features in the magazine were also revamped with the additions of "The Robins Report" (a review column by writer J. Max Robins), "Family Page" (featuring reviews of family-oriented programs) and picks of select classic films airing that week, as well as the removal of the "Guidelines" feature in the listings section in favor of the new highlight page "Don't Miss" (listing choice programs selected by the magazine's staff for the coming week) in the national color section. Listings for movies within the log also began identifying made-for-TV and direct-to-video films, as well as quality ratings on a scale of one to four stars (signifying movies that have received "poor" to "excellent" reviews).


title: TV Guide

text: In 1999, the magazine began hosting the "TV Guide Awards", an awards show (which was telecast on Fox) honoring television programs and actors, with the winners being chosen by "TV Guide" subscribers through a nominee ballot inserted in the magazine. The telecast was discontinued after the 2001 event. The July 17–23, 1999, edition saw the evening grids scaled down to the designated prime time hours, 8:00 to 11:00 p.m. (or 7:00 to 10:00 p.m.) Monday through Saturdays and 7:00 to 11:00 p.m. (or 6:00 to 10:00 p.m.) on Sundays, to complement the descriptive log listings for those time periods; this also allowed the grids to be contained to a single page in certain editions that provided listings for more than 20 cable channels.


title: TV Guide

text: On October 5, 1999, Gemstar International Group Ltd., the maker of the VCR Plus+ device and schedule system (whose channel and program codes for VCRs using the system for timed recordings were incorporated into the magazine's listings in 1988), and which incidentally was partially owned by News Corporation, purchased United Video Satellite Group. The two companies were previously involved in a legal battle over the intellectual property rights for their respective interactive program guide systems, VCR Plus+ and TV Guide On Screen, that began in 1994. That month, "TV Guide" debuted a 16-page insert into editions in 22 markets with large Hispanic populations titled "TV Guide en Español", which provided programming information from national Spanish language networks (such as Univision and Telemundo) as well as special sections with reviews of the week's notable programs. The magazine discontinued the insert in March 2000 due to difficulties resulting from confusion by advertisers over its marketing as "the first weekly Spanish-language magazine", despite its structure as an insert within the main "TV Guide" publication.


title: TV Guide

text: To commemorate the 50th anniversary of "TV Guide" as a national magazine, in 2002, the magazine published six special issues:


title: TV Guide

text: By 2003, the number of cable channels that were only listed in the grids expanded, with the addition of channels such as BBC America, Soapnet and the National Geographic Channel (some editions also featured a limited number of broadcast stations – either in-market, out-of-market or both – exclusively in the grids). Conversely, sister cable network TV Guide Channel (whose listings were added to the magazine after the Gemstar purchase) was relegated from the log listings to the grids in most editions. From its inception until 2003, "TV Guide" had offered listings for the entire week, 24 hours a day. Numerous changes to the local listings took place beginning with the June 21, 2003 issue – in just a few select markets, when the 5:00 a.m. to 5:00 p.m. Monday through Friday listings were condensed down to four grids: these ran from 5:00 to 8:00 a.m., 8:00 to 11:00 a.m., 11:00 a.m. to 2:00 p.m., and 2:00 to 5:00 p.m. If programming differed from one weekday to the next, the generic descriptor "Various Programs" was listed. The weekday grid maintained day-to-day listings for certain cable channels (primarily movie channels as well as a limited number of basic cable channels such as Lifetime, The History Channel and USA Network), which were organized separately from the other channels. These changes became permanent in all "TV Guide" editions beginning with the September 13, 2003, "Fall Preview" issue.


title: TV Guide

text: Other changes were made to the magazine beginning with the June 21 issue in select markets and the 2003 "Fall Preview" issue elsewhere. A half-page daily prime time highlights section featuring the evening's notable shows, movies and sports events – similar to the former "Guidelines" feature – was re-added to the listings section; a full-page "Weekday Highlights" page was also added featuring guest and topical information for the week's daytime talk and morning shows as well as picks for movies airing during the day on broadcast and cable channels. In addition, while log listings continued in use for prime time listings, program synopses were added to the grids and log, as well as a ""NEW"" indicator for first-run episodes, replacing the "(Repeat)" indicator in the log's synopses. The "Premium Channels Movie Guide" was also restructured as "The Big Movie Guide", with film listings being expanded to include those airing on all broadcast networks and cable channels featured in each edition (as well as some that were not listed in a particular local edition), as well as movies that were available on pay-per-view (page references to the films included in this section were also incorporated into the prime time grids and log listings). Beginning in January 2004, the midnight to 5:00 a.m. listings (as well as the Saturday and Sunday 5:00 to 8:00 a.m. listings) ceased to include any broadcast stations outside of the edition's home market, leaving only program information for stations within the home market and for cable channels.


title: TV Guide

text: The magazine's format was changed beginning with the April 11, 2004, issue to start the week's listings in each issue on Sunday (the day in which television listings magazines supplemented in newspapers traditionally began each week's listings information), rather than Saturday. In July 2004, the overnight listings were removed entirely, replaced by a grid that ran from 11:00 p.m. to 2:00 a.m. that included only the broadcast stations in each edition's home market and a handful of cable channels. It also listed a small selection of late-night movies airing on certain channels. The time period of the listings in the daytime grids also shifted from starting at 5:00 a.m. and ending at 5:00 p.m. to running from 7:00 a.m. to 7:00 p.m. By this point, the log listings were restricted to programs airing from 7:00 to 11:00 p.m. In early 2005, more channels were added to the prime time and late-night grids.


title: TV Guide

text: On July 26, 2005, Gemstar-TV Guide announced that "TV Guide" would abandon its longtime digest size format and begin printing as a larger full-size national magazine that would offer more stories and fewer program listings. All 140 local editions were eliminated, being replaced by two editions covering the time zones within the contiguous United States: one for the Eastern and Central time zones, and one for the Pacific and Mountain time zones (which had existed separately from the local editions prior to the change, although their distribution was primarily limited to hotels). The change in format was attributed to the increase in the internet, cable television channels (like TV Guide Network), electronic program guides and digital video recorders as the sources of choice for viewers' program listings. The new version of "TV Guide" went on sale on October 17, 2005, and featured "" host Ty Pennington on the cover. The listings format, now consisting entirely of grids, also changed to start the listings in each week's issue on Monday rather than Sunday. As a result of the elimination of the local editions, broadcast stations were replaced by broadcast network schedules with the description "Local Programming" being used to denote time periods in which syndicated, locally produced or paid programs would air instead of network shows.


title: TV Guide

text: In September 2006, "TV Guide" launched a redesigned website, with expanded original editorial and user-generated content not included in the print magazine. On December 22, 2006, "TV Guide" introduced the magazine's first ever two-week edition. The edition, which featured Rachael Ray on the cover, was issued for the period from December 25, 2006 to January 7, 2007. In early 2008, the Monday through Friday daytime and daily late night grids were eliminated from the listings section, and the television highlights section was compressed into a six-page review of the week, rather than the previous two pages for each night. By 2007, "TV Guide"s circulation had decreased to less than three million copies from a peak of almost 20 million in 1970.


title: TV Guide

text: With the $2.8 billion acquisition of Gemstar-TV Guide by Macrovision on May 2, 2008, that company, which purchased the former mostly to take advantage of their lucrative and profitable VCR Plus and electronic program guide patents, stated it wanted to sell both the magazine and TV Guide Network, along with the company's horse racing channel TVG Network to other parties.


title: TV Guide

text: On May 18, 2005, "TV Guide Talk", a weekly podcast that was available to download for free, was launched. The podcast was headlined by "TV Guide" reporter/personality Michael Ausiello, and was co-hosted by his colleagues at the magazine, Matt Webb Mitovich, Angel Cohn, Daniel Manu and Maitland McDonagh. Each episode featured commentary from TV Guide staff on the week's entertainment news stories, television programs, and film releases, as well as occasional interviews with actors, producers, and executives. On April 4, 2008 (following Ausiello's move to "Entertainment Weekly"), it was announced that the podcast would be ending, and the final episode (Episode No. 139) was released on April 10, 2008.


title: TV Guide

text: "TV Guide Talk" podcasts were released every Friday afternoon and averaged an hour in length. They featured the participants discussing and commenting on the past week in television and the entertainment industry in general. The beginning of each podcast was devoted to in-depth discussion on the week's biggest new story in the entertainment industry, whether it be a television program or something outside the scope of television show or movie (such as the Academy Awards or the Emmys). The middle part was devoted to discussion and commentary on individual shows. The podcast emphasized programs that tend to have a large online following even if that following is not necessarily reflected in the programs' Nielsen rating. Examples include "American Idol", "Heroes", "Lost", "Survivor", "Gilmore Girls", "Veronica Mars", and "Project Runway" (the latter three being examples a low-rated shows which nevertheless have sizable online followings). Each podcast also ended with a weekly review of that weekend's new theatrical releases.


title: TV Guide

text: On October 13, 2008, Macrovision sold the money-losing magazine (which was reportedly posting revenue losses of $20 million per year by that point) to Beverly Hills-based equity fund OpenGate Capital for $1, and a $9.5 million loan at 3% interest. As part of the sale, however, Macrovision retained ownership of the companion website – which was then sold to equity firm One Equity Partners for $300 million – which severed all editorial connections between the magazine and website, including the end of critic Matt Roush's presence on TVGuide.com. The editorial content of the magazine was launched on a new site, TVGuideMagazine.com, which did not feature "TV Guide"s listings in any form. TVGuideMagazine.com was later shut down on June 1, 2010; "TV Guide Magazine" and TVGuide.com then entered into a deal to restore content from the magazine to the latter website, which Lionsgate Entertainment had bought along with the TV Guide Network in January 2009.


title: TV Guide

text: In March 2013, CBS Corporation acquired One Equity Partners' stake of their TV Guide assets. The CBS acquisition was finalized later that month for $100 million. On May 31, 2013, CBS bought Lionsgate's share of TV Guide Digital, which includes the website and mobile apps. On January 31, 2014, OpenGate Capital and CBS Interactive announced a deal to cross-promote "TV Guide Magazine" with TVGuide.com and CBS Interactive's other internet properties (including TV.com, Metacritic and CNET).


title: TV Guide

text: In June 1998, the "TV Guide" brand and magazine were acquired by United Video Satellite Group, the parent company of the Prevue Channel – a channel first launched in 1981 as the Electronic Program Guide network, that was carried by cable and some satellite television providers and was originally formatted to feature a scrolling program guide, short segments featuring previews of upcoming programs, and promos and short-form film trailers for programs airing on various channels. Its new owners promptly rebranded Prevue as the TV Guide Channel on February 1, 1999. With the rebranding, some of the hourly segments featured on the channel at that point were renamed after features in the magazine, including "TV Guide Close-Up", "TV Guide Sportsview" (which was formatted more similarly to the listings section's sports guide than the color column of that name) and "TV Guide Insider". After Gemstar's acquisition of "TV Guide", the channel began to shift toward airing full-length programs featuring celebrity gossip and movie-focused talk shows alongside the program listings. The channel was rebranded as the TV Guide Network in 2007.


title: TV Guide

text: Following the respective sales of TV Guide's magazine and cable channel by Macrovision to OpenGate Capital and Lionsgate, the magazine and TV Guide Network became operationally separate, although the two properties still collaborated on content for TVGuide.com. After CBS Corporation bought stakes in TV Guide's properties in March 2013, TV Guide Network was rebranded under the abbreviated name TVGN that April to de-emphasize its ties to "TV Guide Magazine", as part of a transition into a general entertainment format while the channel gradually decommissioned its scrolling listings grid. The network was relaunched as Pop on January 14, 2015, with its programming focus shifting towards shows about pop culture and its fandom.


title: TV Guide

text: TV Insider is a website promoted internally as an online "guide to...TV" published by "TV Guide"s parent holding company TVGM Holdings, LLC, which launched in January 2015. The website features reviews and interviews from critics and columnists (such as Matt Roush) who write for the print magazine.


title: TV Guide

text: TV Weekly is a weekly magazine that offers television listings for viewers in the local markets, featuring the local channels and regional cable networks alongside the major network and cable outlets. The settings are similar to "TV Guide's" national listings.


title: TV Guide

text: TV Guide Crosswords was a spin-off publication, first published in the late 1980s, based on the crossword puzzle feature in the penultimate page of each issue. The puzzles featured in "TV Guide" and the standalone magazine featured answers related to television programs, films, actors, entertainment history and other entertainment-related trivia. In addition to the regular magazine, "TV Guide Crosswords" also published special editions as well as books.


title: TV Guide

text: TV Guide's Parents' Guide to Children's Entertainment was a quarterly spin-off publication which was first released on newsstands on May 27, 1993. The magazine featured reviews on television shows, home videos, music, books and toys marketed to children ages 2 to 12, as well as behind-the-scenes features centering on children's television shows and films. To limit confusion among readers, the "Parents' Guide" issues were printed as a standard-size magazine instead of the digest scale then applied by the parent "TV Guide Magazine". The magazine ceased publication following the Spring 1996 issue, with some content covered by the spin-off magazine continuing to be featured in "TV Guide"s annual "Parents' Guide to Kids TV" issue.


title: TV Guide

text: "ReMIND Magazine" is a monthly publication dedicated to popular culture nostalgia, specifically in relation to the 1950s–1990s. "ReMIND", like "TV Guide Magazine", is published by NTVB Media, and its issues contain themed features, puzzles, and trivia quizzes.


title: TV Guide

text: TV Guide Interactive is the former name of an interactive electronic program guide software system incorporated into digital set-top boxes provided by cable providers. The program listings grid rendered by the software was similar to the late-2000s look of the listings of TV Guide Network/TVGN. Macrovision/Rovi later renamed the product as i-Guide after the spin-off of the TV Guide publications.


title: TV Guide

text: A separate IPG system, "TV Guide On Screen", was a brand name for Guide Plus+, a build of software featured in products such as televisions, DVD and digital video recorders, and other digital television devices providing on-screen program listings. First marketed in the mid-1990s, it was originally owned by Gemstar-TV Guide International before being acquired by the Rovi Corporation on December 7, 2007, in a $2.8 billion cash and stock deal. From November 2012 to April 2013, Rovi gradually discontinued broadcast transmission of the Guide Plus+ service.


title: TV Guide

text: National television listings magazines using the "TV Guide" name (verbatim or translated into the magazine's language of origin) are also published in other countries, but none of these are believed to be affiliated with the North American publication:


title: Stiletto

text: A stiletto () is a knife or dagger with a long slender blade and needle-like point, primarily intended as a stabbing weapon.


title: Stiletto

text: The stiletto blade's narrow cross-section and acuminated (tapering gradually to a sharp point) tip reduce friction upon entry, allowing the blade to penetrate deeply. Some consider the stiletto a form of dagger, but most stilettos are specialized thrusting weapons not designed for cutting or slashing, even with edged examples.


title: Stiletto

text: Over time, the term "stiletto" has been used as a general descriptive term for a variety of knife blades exhibiting a narrow blade with minimal cutting surfaces and a needle-like point, such as the U.S. V-42 stiletto, while in American English usage, the name "stiletto" can also refer to a switchblade knife with a stiletto- or bayonet-type blade design. The term in (Anglicised) plural "stilettos", is also used as slang for footwear (boots or shoes) exhibiting thin, high “stiletto” heels.


title: Stiletto

text: First developed in Italy, the stiletto dates from the late 15th century, and is thought to be a development of the rondel dagger or misericordia, a needle-pointed weapon with a narrow blade designed primarily for thrusting, though possessing cutting edges. Early stilettos normally used a one-piece cast-metal handle which was shaped and turned on a lathe. The stiletto blade was usually hammer-forged into a dense rod with a narrow, triangular cross-section, without any sharpened edges. However, other examples of the period have emerged bearing round, square, or diamond cross-sections.


title: Stiletto

text: The Italian word "stiletto" comes from the Latin "stilus", the thin pointed Roman writing instrument used to engrave wax or clay tablets in ancient times. The stiletto began to gain fame during the late Middle Ages, when it was the secondary weapon of knights. Originally designed as a purely offensive weapon, the stiletto was used to finish off a fallen or severely wounded heavily armored opponent. The needle-like blade could, if used with sufficient force, penetrate most mail or find its way through gaps in a knight's plate armor, and was narrow enough to pass through the eye slits of the helmeted knight. A severely wounded opponent who was not expected to survive would be given a "mercy strike" (French "coup de grâce"), hence the name "miséricorde". Later, the Gunner's Stiletto became a tool for clearing cannon-fuse touch holes; used in the manner of an automotive oil dipstick, they were often inscribed with marks indicating levels of powder charges for ranging distance.


title: Stiletto

text: The stiletto was later adopted throughout Italy as the favored offensive thrusting knife ("arma manesca") of the medieval assassin,<ref name="Robertson"/ so much so that it was invariably prohibited as a treacherous weapon ("arma insidiosa") by the authorities of the day. The stiletto was preferred by assassins as it was silent, easily concealed inside a sleeve or jacket, and featured a blade capable of easily penetrating the heavy leather and fabric clothing of the day, while inflicting mortal wounds that tended to bleed less than those made by other types of knives.


title: Stiletto

text: In Italy, the stiletto began to be employed along with the dagger as a fighting weapon; a 1536 dueling treatise authored by Achille Marozzo, "Opera Nova", contains sections on dagger and stiletto fighting. By the time of the Renaissance, the term stiletto had come to describe a range of slender thrusting knives closely resembling the French poignard, many with conventional dagger-profile blades and sharpened edges, but always retaining the slim profile and needle-like point. To lighten the weapon, many stilettos were equipped with blades carrying fullers over a portion of their length.


title: Stiletto

text: The stiletto remained a popular weapon of criminals or political assassins from the 16th through the end of the 19th century, particularly in France, Corsica, and Italy. While still used as a weapon of surprise and assassination, the use of stiletto in preference to the dagger in close combat confrontations between adversaries became widespread throughout Italy, Sardinia, and Corsica. The continued popularity of the stiletto in the Kingdom of Sicily resulted in the development of the "scherma di stiletto siciliano" (Sicilian school of stiletto fighting). A person skilled in the use of a stiletto would thrust the knife deep into the victim, then twist the blade sharply in various directions before retracting it, causing the sharp point to inflict severe internal damage not readily apparent when examining the entrance wound.


title: Stiletto

text: The stiletto followed the first wave of Italian diaspora to the city of New Orleans, Louisiana during the mid-19th century, where the knife became a popular weapon of gamblers, gang members, and assorted assassins. The stiletto was involved in so many stabbings and murders in New Orleans that the city passed an ordinance in 1879 outlawing the sale or exhibition for sale of any stiletto within the city limits. Italian immigrants to America frequently purchased or made such knives for self-defense, and the stiletto was used by anarchists as well as by members of various Black Hand organizations to assassinate Italian-Americans and others who either opposed the "Black Hand" or ignored its demands for blackmail. The "Black Hand" even established schools for training its members in the use of the stiletto.


title: Stiletto

text: The emergence of fierce hand-to-hand combat in the trenches of World War I created a new need for stabbing weapons, resulting in the reappearance of the dagger and the stiletto. Many versions of these stabbing knives exist, some individually made by soldiers, while others were government-procured and authorized. On the Allied side, the French Lebel M1886 épée (needle sword) bayonet was frequently cut down and converted into a stiletto or thrusting knife ("Poignard-Baïonnette Lebel"). The French Nail were locally fabricated and converted bayonets, knives and stabbing weapons for use in the First World War. The Mark I trench knife is an American trench knife designed by officers of the American Expeditionary Force (AEF) for use in the First World War. The M1917 bayonet was designed to be used with the US M1917 Enfield .30 caliber rifle, as well as with the seven different U.S. trench shotguns. The German "Nahkampfmesser" (translated: "close combat knife") was the standard issue German combat knife during the First World War, which remained in service in modified form through the end of the Second World War.


title: Stiletto

text: These weapons were used to eliminate sentries in trench raids as well as for personal defense. As a class, these daggers, knives, and stilettos were given the title trench knife.


title: Stiletto

text: World War II saw a resurgence of the stiletto in the form of combat knives for commando raiding forces and other troops who needed a weapon for silent killing. In late 1940, the famed British hand-to-hand combat instructors William E. Fairbairn and Eric A. Sykes designed the Fairbairn–Sykes fighting knife, a double-edged dagger with a long narrow point designed to optimize the blade for thrusting, though it was also capable of slashing strokes if the cutting edges were sharpened.


title: Stiletto

text: Other variations of the F-S knife soon emerged, including the United States Marine Raider Stiletto, which was based upon the Fairbairn–Sykes knife, and the U.S. V-42 stiletto, designed from the outset to emphasize thrusting over cutting.


title: Stiletto

text: During the 1950s, large numbers of folding switchblade or automatic opening knives with locking blades were imported from Italy to the United States. Most of these switchblades were side-opening designs, though some employed a telescoping blade. These Italian switchblades were commonly and popularly referred to as stilettos, since most incorporated a long, slender blade tapering to a needle-like point, together with a slim-profile handle and vestigial cross-guard. The majority of these Italian stiletto switchblade knives used a now-iconic bayonet or dagger-style blade with a single sabre-grind edge (often unsharpened) and a false edge of varying length. All of these knives lock the blade in the fully open position, and this lock, combined with the stiletto blade profile, enabled the knife to be used as an effective thrusting or stabbing weapon (unlike most U.S. switchblade designs of the day). Though most switchblade stilettos used a single-edge dagger-type blade, many variations exist, including kris and flat ground blades.


title: Stiletto

text: As with the medieval stiletto, the stiletto switchblade was designed primarily as an offensive weapon, optimized for thrusting rather than cutting. The Italian style switchblade's peculiar properties combined a switchblade's easy concealment with the ability to make a surprise offensive thrust and a deep wound capable of reaching vital organs. In use, the knife would normally be concealed from view in the palm with the blade in the closed position. When the target is within range, the blade is quickly opened as part of a continuing underhand thrust into the target's torso.


title: Stiletto

text: The stiletto switchblade is produced to this day in Italy and many other countries, and now includes many derivative folding knife designs that incorporate the same basic 'stiletto' or bayonet-style blade profile, including spring-assist, non-locking, and lock blade variants.


title: Alliance Air (India)

text: Alliance Air (formerly Air India Regional) is a wholly-owned subsidiary of AIAHL (AI Assets Holding Ltd.) which is a Special Purpose Vehicle (SPV ) formed by Government of India after the disinvestment of Air India Limited. It was founded in April 1996 as a wholly-owned subsidiary of Indian Airlines (later merged with Air India in 2011 and remained a subsidiary till 2022) and mainly operates domestic routes as part of the government's Regional Connectivity Scheme.


title: Alliance Air (India)

text: Alliance Air was founded in April 1996 as a wholly-owned subsidiary of Indian Airlines (merged with Air India in 2011). The parent company wished to make better use of its Boeing 737 fleet, so it wet-leased 12 of these aircraft to Alliance Air. The subsidiary operated its first flight on 15 April 1996. Alliance Air served as a low-cost feeder airline for Indian Airlines, providing connections to the latter's hubs from various smaller cities across the country. In 2002 the airline was offering flights to 44 destinations in India utilizing a fleet of 11 Boeing 737-200s. On 1 April 1997, Vayudoot Airlines, a joint venture of Air India and Indian Airlines Merged with Alliance Air to serve the regional air routes of Northeast India and several other parts of India.


title: Alliance Air (India)

text: Alliance Air began operating its first scheduled international flight from Chennai to Jaffna on 11 November 2019. Alliance Air announced that it had recorded an operating profit for the first time in its history during the 2019-20 fiscal year. The airline made an operating profit of , but still ended the period with a net loss of . The airline stated that it had adopted the new IND AS 116 accounting standard, and would have actually recorded a net profit of under the previous standard.


title: Alliance Air (India)

text: Alliance Air's parent company, Air India Limited, was sold to Tata Sons on 8 October 2021. Alliance Air was not a part of the deal, and was instead transferred to Air India Asset Holdings Ltd (AIAHL), a state-owned special purpose vehicle that holds Air India's remaining assets and liabilities. "The Economic Times" reported that the government also intended to sell Alliance Air and use the proceeds to pay down AIAHL's debt. Alliance Air was valued at around .


title: Alliance Air (India)

text: Alliance Air signed an agreement with Hindustan Aeronautics Limited (HAL) to lease two 17-seater Dornier 228 aircraft in September 2021. The first aircraft was delivered to Alliance Air on 7 April 2022. The Dornier 228 had previously only been used by the Indian Armed Forces but was modified by HAL for commercial operations. Alliance Air deployed the aircraft on a new route connecting Dibrugarh, Assam and Pasighat, Arunachal Pradesh on 12 April 2022, becoming the first airline to use an Indian-made aircraft in civil aviation operations and the first commercial airline in the country to operate the Dornier 228 aircraft.


title: Alliance Air (India)

text: Since 15 April 2022, Alliance Air came under the control of Government of India, after Tata Sons announcing it not to be a subsidiary of Air India anymore, as the group acquired the ownership of the Air India in January 2022. Subsequently, Alliance Air started functioning independently and selling its tickets under Alliance Air banner.


title: Alliance Air (India)

text: Alliance Air operates to 75 destinations in India as of November 2022. It operates regional services in India through its hubs in Bengaluru, Delhi, Hyderabad, Kolkata and Mumbai. The airline started its first international flight from Chennai to Jaffna on 11 November 2019 but temporarily had to halt operations from Chennai due to the COVID-19 pandemic.


title: Enchantress (Marvel Comics)

text: Enchantress is the common primary alias of two fictional characters appearing in American comic books published by Marvel Comics. The first of these is a powerful sorceress with the real name of Amora, one of Thor's greatest enemies. The second Enchantress is the young Sylvie Lushton, who was given great mystic powers by Loki when he created her as a tool for chaos. She models herself after the original Enchantress, Amora.


title: Enchantress (Marvel Comics)

text: In the Marvel Cinematic Universe / Disney+ series "Loki", Sophia Di Martino portrays Sylvie, a variant of Loki inspired by both the Sylvie Lushton incarnation of the Enchantress as well as Lady Loki.


title: Enchantress (Marvel Comics)

text: Amora's first appearance in the Marvel Universe took place in "Journey into Mystery" #103 (April 1964), where she tried and failed to seduce Thor away from Jane Foster.


title: Enchantress (Marvel Comics)

text: The second Enchantress, Sylvie, first appeared in "Dark Reign: Young Avengers" #1 (July 2009), where she was confronted by the Young Avengers.


title: Enchantress (Marvel Comics)

text: The Enchantress' parentage is unknown, though it is known she was born in Asgard and has a sister by the name of Lorelei. Amora began learning magic as an apprentice of Karnilla, Queen of the Norns, but was eventually banished. She continued learning magic on her own, notably by seducing others well versed in magic and learning their secrets. In time, Amora became one of the more powerful magic-wielders in Asgard, with her magical arsenal focused on (but not limited to) charming and mind-controlling people. Her by-then well-renowned beauty did not hinder in this.


title: Enchantress (Marvel Comics)

text: In her first appearance, she is sent by Odin to eliminate Thor's human love interest, whom Odin sees as a distraction. She also hopes to have the thunder god for herself. She is assisted by a powerful minion — Skurge, the Executioner. The Executioner loved the Enchantress, and she strings him along with her feminine wiles, using him as her muscle. She aids Loki by attempting to seduce Thor in his Don Blake identity and by sending the Executioner to kill Jane Foster. Although the Executioner traps Foster in another dimension, Thor is able to bring her back by giving Skurge his hammer. When the Enchantress begins to turn Skurge into a tree (for returning Foster) Skurge releases Thor from the pact in exchange for his help. Amora then tries to change Thor's hammer into a hissing serpent, but it is immune to her magic. Thor then transports the two back to Asgard.


title: Enchantress (Marvel Comics)

text: The Enchantress and the Executioner are exiled to Earth by Odin. They become members of Baron Heinrich Zemo's original Masters of Evil, the opposite number to the Avengers, a superhero team that Thor had joined. The Enchantress hypnotizes Thor into attacking the other Avengers with her own spells and a special brew, making him believe they are enemies of humanity, but Iron Man wakes Thor from his trance by reflecting sunlight into his eyes. Thor sends the Masters to another dimension through a space warp, but two issues later, the Enchantress uses a spell to send them back to Earth. She recruits Wonder Man into the Masters of Evil after paying his bail. She also meets Immortus, who helps Zemo attack the Avengers. When this attempt fails, she turns back time to prevent it from happening, though the Masters retain their memories of this event. When Immortus begins to contact the Masters, the Enchantress prevents this from happening. She then joins in the Masters of Evil's final assault against the Avengers and breaks the Black Knight and Melter out of jail. She manages to escape in the end with the Executioner when the other two are transported to another dimension where their weapons rebound due to different scientific laws. As a member of the Masters of Evil, the Enchantress (and Executioner) repeatedly face the Avengers. She is especially affronted by the attempts of the Scarlet Witch, a mortal, to subvert her divine spells, though she is occasionally genuinely challenged by the Scarlet Witch's mutant gifts.


title: Enchantress (Marvel Comics)

text: The Enchantress is also notable in that she has given other superhumans their powers. For example, she used the deceased Zemo's equipment to make a henchman of his, Erik Josten, into the original Power Man, who aids her in battling the Avengers. Her illusions and traps turn the city against the Avengers, forcing them to disband and making Power Man seem like a hero. Captain America, in disguise, corrects this by obtaining a taped confession from the Enchantress and Power Man. Power Man is able to defeat him, but the Enchantress is knocked out by gas from Hawkeye's arrow. Realizing the tape is on its way to the police, the Enchantress used her spells to teleport away. The Enchantress is then recruited by the Mandarin, along with the Executioner, Swordsman, Power Man, and Living Laser for his plan for world domination. With the Executioner, she attacked the Asian sub-continent with an army of trolls, but they were defeated by Hercules and the Scarlet Witch.


title: Enchantress (Marvel Comics)

text: Amora poses as the Valkyrie and forms the Lady Liberators, which battle the male Avengers. She dupes Arkon into fighting the Avengers. Amora also uses her magics to make Samantha Parrington and later Barbara Norris into the Valkyrie. With the Executioner, she battles the Defenders and the Thing.


title: Enchantress (Marvel Comics)

text: With the Executioner, Amora attempts to conquer Asgard with a troll army. She also served as Loki's lieutenant in his brief rule of Asgard.


title: Enchantress (Marvel Comics)

text: During the "Secret Wars," she is placed on the villains's side, but she spurns the idea of fighting a gladiatorial game for the amusement of a higher being. She instead proposes to Thor that the two of them simply join forces, leave both heroes and villains behind, and go back home to Asgard.


title: Enchantress (Marvel Comics)

text: On the appearance of Amora's sister Lorelei, it is established that the two sisters have something of a strained relationship, rooted in rivalry. More than a little friction is seen between the pair, not the least due to competition over which one of them would manage to seduce Thor.


title: Enchantress (Marvel Comics)

text: The Enchantress joined the Asgardian gods and heroes in final battle against the world-ender Surtur. She establishes that she is motivated by enlightened self-interest: Surtur seeks to end the world, in which case Amora would perish.


title: Enchantress (Marvel Comics)

text: Soon after the Surtur War, Thor leads a number of Asgardian heroes to Hel, the realm of the death goddess Hela. The Executioner asks Thor to let him join the expedition for reasons he does not immediately reveal. In truth, he had seen the Enchantress dallying with Heimdall, and, heartbroken, Skurge wishes to lose himself in a noble cause — such as rescuing lost souls from Hela. Thor's forces accomplish their mission but need one man to guard their retreat from Hel by holding the bridge Gjallerbru. The Executioner, knowing there was no more Amora for him, chooses to be that man, giving his life so the others might flee. When Amora hears the news, to everyone's surprise, she is truly grief-stricken.


title: Enchantress (Marvel Comics)

text: After Skurge's death, Amora continues her regular hi-jinks, occasionally helping Asgard, occasionally opposing it. She aids Asgard against the evil Egyptian God Seth's legions.


title: Enchantress (Marvel Comics)

text: Lorelei later perishes as Amora refused to give her life for her sister's. The deceased Skurge (in Valhalla) rejects the Enchantress, and Amora goes on to empower the Earthman Brute Benhurst into a short-lived new Executioner to serve as her minion in Skurge's stead. Amora becomes vexed with the Avenger Wonder Man and assists Thor and the Warriors Three in their quest to return Odin to the throne of Asgard. During this time, an attraction between Amora and Asgard's guardian Heimdall is explored. Amora even battles the powerful entity Nightmare on behalf of both of them as Heimdall was unable to protect himself at the time. She ultimately rejects Heimdall when she realizes that he wishes to be married and she does not.


title: Enchantress (Marvel Comics)

text: In "Acts of Vengeance," Amora and Skurge join forces and attack Doctor Strange, only to be bested by Clea when she flies to his aid.


title: Enchantress (Marvel Comics)

text: Later, Thor has been spurned by his father Odin, exiled to Earth and disempowered. In this vulnerable state, Thor ends up forming a willing liaison with Amora, with the two of them living out of a loft in New York City as lovers. This status quo would remain until Thor goes missing during Heroes Reborn and is presumed dead.


title: Enchantress (Marvel Comics)

text: During Ragnarök, Amora is present with the other Asgardian deities and dwarves when Eitri and his brothers are sealed into a tomb they had carved due to the Mjolnir mold destroying them, albeit accidentally. When Surtur's forging of new Mjolnirs creates chaos, Thor attempts to fly to the skies to discern the source, but is at once struck down by a blast from a Mjolnir duplicate of Loki's; Amora is slain by the same blast, one of the first victims of Loki during this event. Neither her magic nor her inherent durability is capable of shielding her. Heimdall falls soon afterward; Amora is not seen again except, seemingly, in one of the realms of death, unable to use her magic to assist her once-lover.


title: Enchantress (Marvel Comics)

text: After Ragnarök, when Thor, Asgard and the other Asgardians return, Thor is manipulated by Loki into inadvertently awakening some of Thor's enemies, among them Amora, though when she was last seen, she is the victim, falling by Loki's hands and mourned by Thor and the other Asgardians. She does not return to Asgard but instead goes to attack the world tree, Yggdrasil in order to resurrect Skurge and release him from Valhalla. Amora is ultimately thwarted after Thor, Loki, and Balder convince her that she is dishonoring his memory with her actions.


title: Enchantress (Marvel Comics)

text: She has returned after Thor's resurrection, with Donald Blake - bitter about his separation from Thor and his non-existent past - offering the Enchantress his soul if she can make him a god again. The resulting god is a twisted abomination, with Thor defeating the Enchantress and her new god before banishing them from Asgard, leaving Blake - reduced to a living head after his body was consumed to create the god - connected to a series of dream-weaving creatures to make him dream that he is living a full life.


title: Enchantress (Marvel Comics)

text: After this Amora was defeated by Thor and banished to the forest in Norway. She was trapped in an Odinforce barrier and stripped of her powers. Lady Deathstrike and Typhoid Mary were on a quest to find Arkea, an intelligent gestalt microorganism capable of controlling machines and people. They found Amora and offered to help her regain her powers. In exchange they founded a new sisterhood to battle the X-Men, who were hunting Arkea and Lady Deathstrike. Arkea hacked the Odinforce spell and restored Amora's full powers. In exchange for this, Amora restored the physical form of the immortal mutant witch, Selene, and helped Arkea resurrect Madelyne Pryor. Before the Sisterhood could add more members, the X-Men attacked and killed Arkea. Amora was ambushed by the X-Man M, who defeated her in a surprise attack. However, Madelyne Pryor swore to continue the Sisterhood, which presently has Madelyne, Selene, Lady Deathstrike, Amora, and Typhoid Mary as members.


title: Enchantress (Marvel Comics)

text: During the "AXIS" storyline, Enchantress appears as a member of Magneto's unnamed supervillain group during the fight against Red Skull's Red Onslaught form. After the heroes and villains present at the battle experience a moral inversion due to the Scarlet Witch and Doctor Doom's attempt to bring out the Xavier in Onslaught backfiring, Magneto recruits Enchantress as one of his new 'Avengers' to stop the now-villainous Avengers and X-Men.


title: Enchantress (Marvel Comics)

text: Following the "Secret Wars" storyline, she has become a member of Malekith the Accursed's Dark Council. Through a spell, she takes control of the queen of the Light Elves, allowing her marriage to Malekith to happen and the conquest of their realm.


title: Enchantress (Marvel Comics)

text: During the "War of the Realms" storyline, Enchantress accompanies Malekith the Accursed in his invasion on Midgard. She and Kurse fight Ghost Rider and She-Hulk until Jane Foster slams Skidbladnir into Enchantress. In Uruguay, the Enchantress raises the dead, but Ghost Rider, Doctor Strange, and Balder ward her off.


title: Enchantress (Marvel Comics)

text: A member of the Young Masters surfaces having modeled herself on Amora the Enchantress and takes on her teammate Melter as her lover. The new Enchantress is revealed to be an adolescent who had been given powers by Loki so that he could use her in his schemes. However, she truly believes that she is an Asgardian that had been exiled from Asgard and sent to live in New York where she joined the Young Masters. She admits to the first team of Young Avengers that she is Sylvie Lushton from Broxton, Oklahoma, who suddenly gained magic powers. Sylvie seems to have powers and abilities similar to those of the original Enchantress, despite looking far younger, and speaking with a noticeable lisp. Sylvie has a strong desire to become a Young Avenger and even used her magic to change her teammates' minds so that they would want her on the team as well.


title: Enchantress (Marvel Comics)

text: After a series of try-outs, Sylvie is initially accepted as a new addition to the Young Avengers. However, as a plan to end Sylvie's future with the Young Avengers, her teammates Big Zero and Egghead download the results of an analysis they had run on her into the Vision's cybernetic mind. The analysis verifies that Sylvie is an unwitting trap for the Young Avengers' magical defense systems created by Loki and Wiccan immediately has her banned from the Young Avengers' hideout. A distraught and confused Sylvie then asks her teammates to avenge her, eventually resulting in a confrontation between the two teams and Norman Osborn's team of Dark Avengers. During the conflict, Wiccan reveals to her that she was given magical powers by Loki. However, he states that the team still wants her, but that her hasty banning was only to quickly remove her from the premises so that he could alter the magical defenses to compensate for Loki's traps. Convinced by Wiccan that being an Avenger is about who one chooses to be despite one's origins, she, Coat of Arms, and Wiccan manage to magically remove the Sentry from the battlefield and turn the tide of the fight against the Young Masters and the Dark Avengers. Melter requests a quick escape so that they can have more time to decide what they will choose to do as either superheroes or supervillains, and Sylvie complies, teleporting the Young Masters away.


title: Enchantress (Marvel Comics)

text: Enchantress eventually returns, this time in the employ of Jeremy Briggs. She attempts to assist Jeremy in his goal of stripping Earth's superhumans of their powers, but abandons him after being injured by White Tiger. She later battles the Fearless Defenders as a hired enforcer of Caroline le Fey, but is defeated.


title: Enchantress (Marvel Comics)

text: In the "Avengers Undercover" series, Enchantress was with the Young Masters when they are seen as members of the Shadow Council's Masters of Evil where the Young Masters make their headquarters in Constrictor's Snakepit.


title: Enchantress (Marvel Comics)

text: In the "All-New, All-Different Marvel," Enchantress joins up with Hood's incarnation of the Illuminati. It is later revealed that the current Enchantress of the new Illuminati is actually Sylvie with the original "Enchantress" being an assumed name. She is eventually confronted by the original Enchantress, who banishes her to a hostile realm.


title: Enchantress (Marvel Comics)

text: The Enchantress is a member of the race of superhumans known as Asgardians, and as such possesses superhuman strength, speed, stamina, and durability but prefers to avoid physical conflicts. She possesses an innate capacity to manipulate ambient magical energy, honed through practice for a variety of effects, including projecting magical power bolts, interdimensional teleportation of multiple Asgardians and non-Asgardians, protective energy shields, illusion casting, levitation, conjuration, transmutation (even of Asgardians), telekinesis, time-disruption, mind switching, and mind control. She has used her sorcery to enhance her natural beauty and allure, and to enchant her lips so that by kissing virtually any man she can make him her slave for about a week, unless she renews the treatment. She can also use her magic to heal any of her injuries rapidly, and possesses limited mystical senses. She can also absorb an opponent's life force to temporarily increase her own powers. A prolonged absence from Asgard tends to diminish her powers although they never fade completely. The Enchantress has been described as one of the most powerful sorceresses in Asgard, second only to Karnilla, although their every direct confrontation has ended in a stalemate until interrupted. However, Amora's sister Lorelei was later also enhanced beyond her own abilities. The Enchantress has a gifted intellect, and possesses extensive knowledge of Asgardian mystic and amatory arts. On occasion, the Enchantress employs various mystical artifacts, potions, and power objects, such as the crystalline gem in which she entrapped Brunnhilde the Valkyrie's soul, and the potion she used to increase her hypnotic power over Thor in "The Avengers" #7. It has been shown that Enchantress is unable to access her spells when her hands are bound and her mouth is gagged.


title: Enchantress (Marvel Comics)

text: Initially unbeknownst to her, Enchantress II's powers are given to her by Loki. Wiccan states that she may not fully understand how powerful she truly is. Her powers and abilities appear similar to those of the original Enchantress. She is able to teleport many people instantly, maintain a secret fortress with her magic, and transform objects and people into whatever she desires, such as turning several henchmen into frogs. She also demonstrated power enough to stop both the Young Avengers and Young Masters during their battle and separate them.


title: Enchantress (Marvel Comics)

text: Unlike many of Marvel's Asgardians, Amora is not actually based on a goddess from Norse mythology. In the limited series "Thor: Ages of Thunder" the Enchantress is said to have been referred to by many names throughout history including; Freyja, Gefn and Iduna, and is linked to many of the myths associated with these goddesses (e.g. as keeper of the golden apples). However, these stories were set during previous cycles of Ragnarok and characters based on some of these goddesses (Freya and Idunn) exist separately in the current Marvel Universe.


title: Enchantress (Marvel Comics)

text: Drew Atchison of "Screen Rant" referred to the Enchantress as one of the "best Thor villains from the comics," writing, "Magic is used a lot in comics. Many use it for good but some like Amora the Enchantress, use it for far more villainous and vile reasons. A powerful Asgardian witch, Amora has cast powerful spells over Thor, Asgard, and other characters, making herself an iconic foe that the thunderer always seems to face at some point." Sara Century of "Syfy" called the Enchantress a "feminist dreambae," saying, "Amora the Enchantress first showed up way back in "Journey Into Mystery #103" (1964), and she’s been punking most of the Marvel Universe ever since. Amora arrived on the scene to assist Loki in taking Thor down, and their inevitable failure kicked off a long and storied career for her as a bae with a dark side. As one of mainstream comics' few female characters fully in control of her own sexual agency, and one of the Thor series' most sympathetic villains, Amora hasn’t always been written perfectly, but she’s definitely always been an object of our affections. Being bae is quite literally her superpower." Jesse Schedeen and Joshua Yehl of "IGN" said, "Thor is happy to battle Frost Giants, Fire Demons, and dragons all day long -- if it can be smashed with a hammer, it's right up his alley. That's why The Enchantress is one of his greatest villains; her schemes can't be overcome simply by swinging at it with Mjolnir. A skilled trickster and sorceress, the Enchantress won’t rest until she possesses everything she desires. And it just so happens that she desires the god of thunder."


title: Enchantress (Marvel Comics)

text: Adjanni Ramos of "CBR.com" wrote, "Amora the Enchantress working alongside Loki in a plot against Thor is as classic as the Sinister Six fighting Spider-Man. Ever since early Thor comics, Amora and Loki have worked together because of a common goal to defeat the God of Thunder; although, in Amora's case, it's usually to make him fall for her. Some iterations of the duo have even depicted Amora as having feelings for Loki, but the two have always served as classic Thor-Villains Duo." Noah Bell of "Collider" stated, "The Enchantress, known as Amora, is a skilled sorceress and master manipulator. One of Thor's most iconic villains, a live-action depiction of the character seems long overdue at this point. With her focus on manipulation and mind games, Amora could be an interesting change of pace for villains in the "Thor" franchise. While Thor has gotten out of most situations with his strength, an encounter with the Enchantress could show more of the Asgardian's brains in action." Marc Buxton of "Den of Geek" asserted, "Amora was a founding member of the Masters of Evil and it is about time Marvel focus their energies on a worthy female adversary for their heroes. It can be argued that she is the greatest villainess in the Marvel Universe and it is time the world came under Amora’s spell."


title: Enchantress (Marvel Comics)

text: An alternate version of Amora the Enchantress appears in the Heroes Reborn universe. She approaches the Scarlet Witch with the revelation that she was her daughter. This was a ruse as she wanted to use Wanda in Loki's plans to defeat the Avengers.


title: Enchantress (Marvel Comics)

text: An Earth-2149 Amora the Enchantress becomes a zombie in "Marvel Zombies vs. The Army of Darkness" as part of Marvel Zombies miniseries. She is imprisoned in the castle of Dr. Doom so that she does not contaminate the people. She masks her true decayed appearance with magic and portrays herself as a non-zombie to attract the attention of Ash so that she can be freed. Upon her release, she infects Dazzler—who was trying to show Ash what was going on—by biting off her finger. Doctor Doom, understanding Dazzler and Enchantress were beyond hope, kills them both.


title: Enchantress (Marvel Comics)

text: In the pages of "Old Man Logan" that took place on Earth-21923, a flashback by the elderly Logan showed that Enchantress was among the villains who came together to take over the world. When in Manhattan, Enchantress fought She-Hulk, Daredevil, and Moon Knight. After Punisher killed Electro, Enchantress casts a spell that caused the sounds to be amplified enough for Daredevil's senses to go into overload for his head to explode. Enchantress is among the villains that attack Danielle Cage's group in Osborn City where they were killed by the insects summoned by Dwight Barrett's Ant-Man helmet.


title: Enchantress (Marvel Comics)

text: In an alternate future where Thor conquers Earth seemingly for its own good, Amora the Enchantress marries Thor and they produce a child named Magni. This Enchantress and the entire future are neutralized when Thor realizes he has been acting without honor and travels back in time to warn his past self.


title: Enchantress (Marvel Comics)

text: In the Ultimate Marvel universe, Amora appeared in "New Ultimates" #2 aiding Loki and a team of Asgardians who attempted to take down the New Ultimates. She seemingly has the power of persuasion to make people do whatever she wants. She convinces Valkyrie, Carol Danvers, and Zarda to betray the Ultimates. They win the fight against them, but later the remaining Ultimates return to fight them again. They manage to free them from Amora's spell by having Hawkeye shoot an arrow at Amora, almost killing her and breaking her concentration on the spell. Amora was angry at Loki for putting her in that position and decided to leave. Before she left, she warned him that now that Valkyrie died during the fight, Thor would have his revenge on him.


title: Ross Brawn

text: Ross James Brawn (born 23 November 1954) is a British Formula One managing director, motor sports and technical director.


title: Ross Brawn

text: He is a former motorsport engineer and Formula One team principal, and has worked for a number of Formula One teams. Serving as the technical director of the championship-winning Benetton and Ferrari teams, he earned fame as the "mastermind" behind Michael Schumacher's seven world championship titles. He took a sabbatical in 2007 and returned to F1 for the 2008 season as team principal of Honda. He acquired the Honda team in early 2009 to form the Brawn GP team, which won the Formula One Constructors' and Drivers' Championships in that year. Mercedes bought into the team in November 2009, making Brawn team principal and co-owner with Nick Fry.


title: Ross Brawn

text: In 2011 Brawn and Fry sold the remaining shares to Mercedes Benz, with Brawn remaining as team principal. In November 2013, it was announced that Brawn would step down, and leadership would be handed over to Paddy Lowe and Toto Wolff. Following speculation linking him with other teams, Brawn announced his retirement from Formula One in February 2014.


title: Ross Brawn

text: Teams with Brawn in an essential role have won 8 constructors' championships and 8 drivers' championships in total.


title: Ross Brawn

text: Brawn was born in Ashton-under-Lyne, Lancashire, England. He became interested in engineering during his early years, often visiting Belle Vue Stadium to watch various forms of motor racing. He moved south aged 11 as his father took a job near Reading, Berkshire and he subsequently attended Reading School in the town.


title: Ross Brawn

text: In 1971 he was taken on as a mechanical craft apprentice by the United Kingdom Atomic Energy Authority at its Atomic Energy Research Establishment in Harwell, Oxfordshire, where he qualified as an instrument mechanic. He went on to start an HNC in Mechanical Engineering, still funded by Harwell. Living in Reading he found an advertisement for Frank Williams Grand Prix, which were based in Reading at that time; he was interviewed by Patrick Head. Williams were looking for a milling machinist which was one of the skills he learnt at Harwell.


title: Ross Brawn

text: Brawn lives in Stoke Row, near Henley-on-Thames. In his spare time he enjoys gardening, fishing and listening to music. In 2006 Brawn received an honorary degree of Doctor of Engineering (DEng) from Brunel University for his services to motorsport.


title: Ross Brawn

text: On 18 November 2011, Brawn received a second honorary doctorate from Heriot-Watt University. He is married to Jean.


title: Ross Brawn

text: His career in motorsport began in 1976 when he joined March Engineering in the town of Bicester as a milling machine operator. Soon afterwards he joined their Formula 3 racing team as a mechanic. Brawn was hired by Sir Frank Williams in 1978 as a machinist for the newly formed Williams team. He quickly moved up through the ranks, working in the R&D department with Frank Dernie and as an aerodynamicist in the team's wind tunnel.


title: Ross Brawn

text: Brawn joined the Haas Lola team in 1985 and was part of Neil Oatley's design team at FORCE that produced both the Lola THL1 and THL2 cars used by the team. However, with the 4 cylinder Hart engine in the THL1 and the new Ford V6 turbo powering the THL2, results were scarce against teams like McLaren and Williams with their TAG-Porsche and Honda turbo engines. This was despite the cars generally being regarded by most in the F1 paddock as being the best handling cars on the grid, as well as having World Champion Alan Jones and former factory Ferrari and Renault driver Patrick Tambay as the drivers. When the team left F1 at the end of the season, Brawn moved to Arrows. There he designed the Megatron powered Arrows A10 and its update, the A10B for the and seasons respectively and the Ford V8 powered Arrows A11 used in .


title: Ross Brawn

text: Later in 1989 Brawn moved to the Jaguar Sportscar racing division, and was lead designer on the Jaguar XJR-14 which won the 1991 World Sportscar Championship.


title: Ross Brawn

text: Later in 1991 Brawn returned to F1 as technical director of the Benetton team, helping it win consecutive World Drivers' Championships in 1994 and 1995 with Michael Schumacher, and to take the World Constructors' Championship in 1995. Brawn was credited by much of the specialist press with being an important part of these championships, particularly in terms of devising race strategy.


title: Ross Brawn

text: Brawn followed Schumacher to the Ferrari F1 team in late , at the end of Schumacher's first year with the team. Again he was renowned for his race strategies as the team began to challenge for the championship from 1997, despite the superiority of the Williams cars that year and the McLarens from 1998 onwards. After these "rebuilding" years, as Ferrari technical director he helped them regain glory when the team won the Constructors' Championship in , the first of six consecutive titles. The Brawn-guided Scuderia also powered Schumacher to five consecutive drivers' titles, from to . Brawn's contributions to this unprecedented string of titles has led many to label him as a vital member of the Ferrari "dream team" along with Schumacher, team principal Jean Todt and chief designer Rory Byrne. In Ferrari never quite found form, and had to relinquish the title to Renault, and Schumacher passed the crown to Fernando Alonso. In Ferrari had a poor start to the season, but clearly had the fastest car by the end of that season.


title: Ross Brawn

text: On 26 October 2006 Ferrari announced that Brawn was to leave the team. It was believed that he would take a one-year sabbatical, to allow other members of the Ferrari technical departments to advance within the team.


title: Ross Brawn

text: Towards the end of 2007 it was reported that Brawn was to join the big-spending Red Bull outfit as part of a package intended to attract double world champion Fernando Alonso, but it was announced on 12 November 2007 that Brawn was to become the new team principal of Honda F1. He started working with the British-based team on 26 November 2007.


title: Ross Brawn

text: With the withdrawal of Honda from Formula One announced in late 2008 Brawn was effectively out of the sport unless a buyer could quickly be found. This was unfortunate for Brawn as he believed that the team had a "race-winning car" for 2009.


title: Ross Brawn

text: On 5 March 2009 a 100% buy-out of Honda F1 was completed, with Brawn taking a controlling 54% stake. They announced entry to the 2009 F1 World Championship under the new name Brawn GP. Minority shareholders were CEO Nick Fry (31%), former Honda finance chief Nigel Kerr (8%), former Honda head of Human Resources John Marsden (3%), former Honda legal counsel Caroline McGrory (3%) and former Honda director Gordon Blair (1%).


title: Ross Brawn

text: Many aspects of Honda F1 were retained under the new ownership, including the experienced driver line-up of Rubens Barrichello and Jenson Button. Brawn GP chose to source their engines for the 2009 season from Mercedes-Benz. In the first Grand Prix of 2009 in Australia, Button qualified in pole position with Barrichello in 2nd place, they went on to finish in those positions. Of the 19 Grand Prix races of the 2009 season, Button won 6 and Barrichello won 2, while the team finished in both 1st and 2nd places in 4 races and in podium positions in 11 races.


title: Ross Brawn

text: The Brawn team was given a financial boost on the eve of the Australian GP when Virgin boss Sir Richard Branson announced he was going to become a team sponsor. The team then got a second sponsor on board, the Swiss brokers MIG Investments. Brawn GP won the 2009 Formula One World Constructors' Championship and one of its drivers, Jenson Button, won the World Drivers' Championship at the Brazilian Grand Prix.


title: Ross Brawn

text: Brawn was appointed Officer of the Order of the British Empire (OBE) in the 2010 New Year Honours for services to motorsport.


title: Ross Brawn

text: Brawn GP was bought out by Mercedes-Benz in November 2009. Brawn, as majority shareholder, stood to do very well financially from the deal and remained as team principal. He and Nick Fry kept a 24.9% share in the new team, which was then sold to Mercedes in early 2011. In December 2009 seven-time world champion Michael Schumacher confirmed that the main reason he decided to come out of retirement and drive for Mercedes GP was because of Brawn. It was at Benetton and at Ferrari where Brawn masterminded Schumacher's seven world titles.


title: Ross Brawn

text: The start of the 2010 season was rather slow, and in the first three races, Schumacher managed only 6th in Bahrain, 10th in Australia, and retired in Malaysia because of a lost wheel nut, whilst Schumacher's teammate and fellow-countryman Nico Rosberg had a bit more success with the car, finishing 5th in Bahrain and in Australia and scoring the first podium for Mercedes Grand Prix with a 3rd place in Malaysia.


title: Ross Brawn

text: The team won their first race on 15 April 2012, when Nico Rosberg won the Chinese Grand Prix. The team continued its good run from China with Schumacher qualifying fastest at Monaco, and Rosberg finishing on the podium. However, towards the end of the season, the team had some lacklustre results. In the 2012 Japanese Grand Prix Schumacher announced his retirement from Formula 1, and Mercedes announced that the 2008 world champion and McLaren driver, Lewis Hamilton, was to join their line-up, pairing with Rosberg for the 2013 F1 season.


title: Ross Brawn

text: 2013 started much as 2012 had ended for Mercedes, as the pre-season indicated that the car was unreliable, with Rosberg suffering from damage to his exhaust on the first day of testing in Jerez, and Hamilton suffering a brake failure on the second day. However, as testing continued Mercedes showed signs of pace, particularly in the final Barcelona test. At the first race in Melbourne both Rosberg and Hamilton qualified well inside the top 10, with Hamilton finishing 5th place whilst Rosberg suffered more problems with his car, eventually retiring. In the second race of the season, Mercedes finished 3rd (Hamilton) and 4th (Rosberg), amid a controversial Malaysian Grand Prix. Brawn spoke to both drivers over team radio asking them to hold position for fear of high degrading Pirelli tyres and a lack of fuel on board both cars. The third race at China established Mercedes' pace as title contenders when Hamilton took Mercedes' second pole position in two years at China whilst Rosberg qualified 4th. Hamilton went on to finish in 3rd place but Rosberg again had to retire with an anti-rollbar failure.


title: Ross Brawn

text: Rosberg took pole at the next three Grands Prix and brought Mercedes their first win of the season in Monaco, however the victory was overshadowed by controversy after Mercedes used a current (2013) car when undertaking a tyre test at the invitation of Pirelli shortly before the Grand Prix. The team were reprimanded by the FIA and banned from a subsequent young drivers' test but did not lose any championship points. The car continued to perform much better in qualifying than in the race for the rest of the season. Hamilton took four more pole positions and Mercedes won two more races, in Britain (Rosberg) and Hungary (Hamilton). Following multiple tyre failures at the British Grand Prix, Pirelli reverted to the 2012 components after the summer break, which saw Sebastian Vettel and Red Bull win all the remaining races and the championships. Mercedes finished second in the constructors' championship, while Hamilton and Rosberg finished 4th and 5th in the drivers' standings.


title: Ross Brawn

text: On 29 October, the BBC reported that Brawn would leave Mercedes at the end of the 2013 season, following disagreement about his role in the team and on 28 November it was reported that he would leave the team at the end of the year.


title: Ross Brawn

text: On 1 February 2014, Brawn announced his retirement from Formula One, ending speculation of a possible position at the Woking-based McLaren team.


title: Ross Brawn

text: The FIA announced in October 2014 that Brawn would be a member of a 10-strong panel to investigate Jules Bianchi's crash at the 2014 Japanese Grand Prix and that the panel would report to the World Motor Sport Council in December.


title: Ross Brawn

text: In an interview with "The Daily Telegraph" in October 2016 Brawn indicated that he was ready to return to Formula 1, though in a strategic rather than a team role. His book on strategy in Formula 1, "Total Competition", was released a week later.


title: Ross Brawn

text: On 23 January 2017 it was announced that Ross Brawn was appointed to the newly created role of managing director, Motor Sports and technical director for the Formula One Group. Following the 2022 season, rumors emerged he may return to Ferrari as team principal, however on 28 November 2022 he confirmed he is retiring from F1.


title: Ross Brawn

text: In 2010 Brawn, a member of the RNLI, set up the "Brawn Lifeboat Challenge" to fund a new lifeboat for the River Thames in London. The venture raised £360,000 in 8 months and the new E-class lifeboat "Brawn Challenge" was launched in September 2012. In 2014 he became a patron of Hope for Tomorrow, a charity which provides NHS trusts with mobile cancer care units so that they can provide cancer treatment in local communities.


title: Ross Brawn

text: Brawn escaped a driving ban after he admitted speeding at over on a dual carriageway. He was speeding in his Mercedes-Benz E320 Saloon on the 70 mph (112 km/h) limited A30 at Sourton near Okehampton, Devon on 30 May 2009.


title: Prince Henry the Navigator

text: "Dom" Henrique of Portugal, Duke of Viseu (4 March 1394 – 13 November 1460), better known as Prince Henry the Navigator (), was a central figure in the early days of the Portuguese Empire and in the 15th-century European maritime discoveries and maritime expansion. Through his administrative direction, he is regarded as the main initiator of what would be known as the Age of Discovery. Henry was the fourth child of the Portuguese King John I, who founded the House of Aviz.


title: Prince Henry the Navigator

text: After procuring the new caravel ship, Henry was responsible for the early development of Portuguese exploration and maritime trade with other continents through the systematic exploration of Western Africa, the islands of the Atlantic Ocean, and the search for new routes. He encouraged his father to conquer Ceuta (1415), the Muslim port on the North African coast across the Straits of Gibraltar from the Iberian Peninsula. He learned of the opportunities offered by the Saharan trade routes that terminated there, and became fascinated with Africa in general; he was most intrigued by the Christian legend of Prester John and the expansion of Portuguese trade. He is regarded as the patron of Portuguese exploration.


title: Prince Henry the Navigator

text: Henry was the third surviving son of King John I and his wife Philippa, sister of King Henry IV of England. He was baptized in Porto, and may have been born there, probably when the royal couple was living in the city's old mint, now called Casa do Infante (Prince's House), or in the region nearby. Another possibility is that he was born at the Monastery of Leça do Balio, in Leça da Palmeira, during the same period of the royal couple's residence in the city of Porto.