title: Canopus

text: Canopus may not be massive enough for its fusion chain to reach iron and trigger a core collapse and subsequent supernova, instead eventually becoming a neon-oxygen white dwarf.


title: Canopus

text: Canopus was known to the ancient Mesopotamians and given the name "NUN-ki" and represented the city of Eridu in the "Three Stars Each" Babylonian star catalogues and later MUL.APIN around 1100 BC. Today, the star Sigma Sagittarii is known by the common name Nunki.


title: Canopus

text: Canopus was not visible to the mainland ancient Greeks and Romans; it was, however, visible to the ancient Egyptians. Hence Aratus did not write of the star as it remained below the horizon, while Eratosthenes and Ptolemy—observing from Alexandria—did, calling it "Kanōbos". An Egyptian priestly poet in the time of Thutmose III mentions the star as "Karbana," "the star which pours his light in a glance of fire, when he disperses the morning dew." Under the Ptolemies, the star was known as "Ptolemaion" (Greek: Πτολεμαῖον) and its acronychal rising marked the date of the Ptolemaia festival, which was held every four years, from 262 to 145 BC.


title: Canopus

text: In Indian Vedic literature, Canopus is associated with the sage Agastya, one of the ancient siddhars and rishis (the others are associated with the stars of the Big Dipper). To Agastya, the star is said to be the 'cleanser of waters', and its rising coincides with the calming of the waters of the Indian Ocean. It is thus considered the son of Pulastya, son of Brahma. Canopus is described by Pliny the Elder and Gaius Julius Solinus as the largest, brightest and only source of starlight for navigators near Tamraparni island (ancient Sri Lanka) during many nights.


title: Canopus

text: Canopus was described as Shou Xing, the Star of Longevity, in the "Shiji" (Records of the Grand Historian) completed in 94 BC by Chinese historian Sima Qian. Drawing on sources from the Warring States period, he noted it to be the southern counterpart of Sirius, and wrote of a sanctuary dedicated to it established by Emperor Qin Shi Huang between 221 and 210 BC. During the Han dynasty, the star was auspicious, its appearance in the southern sky heralding peace and absence war. From the imperial capital Chang'an, the star made a low transit across the southern sky, indicating true south to observers, and was often obscured by clouds. During this time it was also equated with Old Man of the South Pole (in ) Under this name, Canopus appears (albeit misplaced northwards) on the medieval Chinese manuscript the Dunhuang Star Chart, although it cannot be seen from the Chinese capital of Chang'an. The Chinese astronomer Yi Xing had journeyed south to chart Canopus and other far southern stars in 724 AD. Its personification as the Old Man Star was popularised in the Tang Dynasty, where it appeared often in poetry and memorials. Later still, during the Ming Dynasty, the star was established as one of the Three Stars (Fu Lo Shou), appearing frequently in art and literature of the time. This symbolism spread into neighbouring cultures in Asia.


title: Canopus

text: In Japan, Canopus is known as "Mera-boshi" and "Roujin-sei" (the old man star), and in Mongolia, it was personified as the White Old Man. Although the link was known in Tibet, with names such as "Genpo karpo" ("Rgan po dkar po") or "Genkar" ("Rgan dkar") "White Old Man", the symbolism was not popular. Instead, Canopus was more commonly named "Karma Rishi སྐར་མ་རི་ཥི།", derived from Indian mythology. Tibetans celebrated the star's heliacal rising with ritual bathing and associated it with morning dew.


title: Canopus

text: Bright stars were important to the ancient Polynesians for navigation between the many islands and atolls of the Pacific Ocean. Low on the horizon, they acted as stellar compasses to assist mariners in charting courses to particular destinations. Canopus served as the southern wingtip of a "Great Bird" constellation called "Manu", with Sirius as the body and Procyon the northern wingtip, which divided the Polynesian night sky into two hemispheres. The Hawaiian people called Canopus "Ke Alii-o-kona-i-ka-lewa", "The chief of the southern expanse"; it was one of the stars used by Hawaiʻiloa and Ki when they traveled to the Southern Ocean. The Māori people of New Zealand/Aotearoa had several names for Canopus. "Ariki" ("High-born"), was known as a solitary star that appeared in the east, prompting people to weep and chant. They also named it "Atutahi", "Aotahi" or "Atuatahi", "Stand Alone". Its solitary nature indicates it is a "tapu" star, as "tapu" people are often solitary. Its appearance at the beginning of the "Maruaroa" season foretells the coming winter; light rays to the south indicate a cold wet winter, and to the north foretell a mild winter. Food was offered to the star on its appearance. This name has several mythologies attached to it. One story tells of how Atutahi was left outside the basket representing the Milky Way when Tāne wove it. Another related myth about the star says that Atutahi was the first-born child of Rangi, who refused to enter the Milky Way and so turned it sideways and rose before it. The same name is used for other stars and constellations throughout Polynesia. "Kapae-poto", "Short horizon", referred to it rarely setting as seen in New Zealand; "Kauanga" ("Solitary") was the name for Canopus only when it was the last star visible before sunrise. The people of the Society Islands had two names for Canopus, as did the Tuamotu people. The Society Islanders called Canopus "Taurua-e-tupu-tai-nanu", "Festivity-whence-comes-the-flux-of-the-sea", and "Taurua-nui-o-te-hiti-apatoa" "Great-festivity-of-the-border-of-the-south", and the Tuamotu people called the star "Te Tau-rari" and "Marere-te-tavahi", the latter said to be the true name for the former, "He-who-stands-alone".


title: Canopus

text: In the Guanche mythology of the island of Tenerife (Spain), the star Canopus was linked with the goddess Chaxiraxi.


title: Canopus

text: The Tswana people of Botswana knew Canopus as "Naka". Appearing late in winter skies, it heralded increasing winds and a time when trees lose their leaves. Stock owners knew it was time to put their sheep with rams. In southern Africa, the Sotho, Tswana and Venda people called Canopus "Naka" or "Nanga", “the Horn Star”, while the Zulu and Swazi called it "inKhwenkwezi" "Brilliant star". It appears in the predawn sky in the third week of May. According to the Venda, the first person to see Canopus would blow a "phalaphala" horn from the top of a hill, getting a cow for a reward. The Sotho chiefs also awarded a cow, and ordered their medicine men to roll bone dice and read the fortune for the coming year. To the ǀXam-speaking Bushmen of South Africa, Canopus and Sirius signalled the appearance of termites and flying ants. They also believed that stars had the power to cause death and misfortune, and they would pray to Sirius and Canopus in particular to impart good fortune or skill. The ǃKung people of the Kalahari Desert in Botswana held Canopus and Capella to be the horns of "tshxum" (the Pleiades), the appearance of all three marking the end of the dry season and start of the rainy season.


title: Canopus

text: The Navajo observed the star and named it "Maʼii Bizòʼ", the “Coyote Star”. According to legend, Maʼii (Coyote) took part in the naming and placing of the star constellations during


title: Canopus

text: The Kalapalo people of Mato Grosso state in Brazil saw Canopus and Procyon as "Kofongo" "Duck", with Castor and Pollux representing his hands. The asterism's appearance signified the coming of the rainy season and increase in manioc, a food staple fed to guests at feasts.


title: Canopus

text: Canopus is identified as the moiety ancestor "Waa" "Crow" to some Koori people in southeastern Australia. The Boorong people of northwestern Victoria recalled that "War" (Canopus) was the brother of "Warepil" (Sirius), and that he brought fire from the heavens and introduced it to humanity. His wife was "Collowgullouric War" (Eta Carinae). The Pirt-Kopan-noot people of western Victoria tell of "Waa" "Crow" falling in love with a queen, "Gneeanggar" "Wedge-tailed Eagle" (Sirius) and her six attendants (the Pleiades). His advances spurned, he hears that the women are foraging for grubs and so transforms himself into a grub. When the women dig him out, he changes into a giant and carries her off.


title: Canopus

text: The Kulin people know Canopus as "Lo-an-tuka". Objects in the sky are also associated with states of being for some tribes; the Wailwun of northern New South Wales know Canopus as "Wumba" "deaf", alongside Mars as "Gumba" "fat" and Venus as "Ngindigindoer" "you are laughing". Tasmanian aboriginal lore holds that Canopus is "Dromerdene", the brother of "Moinee"; the two fought and fell out of the sky, with "Dromerdene" falling into Louisa Bay in southwest Tasmania.


title: Canopus

text: Two U.S. Navy submarine tenders have been named after Canopus, the first serving from 1922 to 1942 and the second serving from 1965 to 1994.


title: Canopus

text: The Royal Navy built nine Canopus-class ships of the line in the early 19th century, and six s which entered services between 1899 and 1902.


title: Canopus

text: There are at least two mountains named after the star: Mount Canopus in Antarctica; and Mount Canopus or Canopus Hill in Tasmania, the location of the Canopus Hill astronomical observatory.


title: Numerical aperture

text: In optics, the numerical aperture (NA) of an optical system is a dimensionless number that characterizes the range of angles over which the system can accept or emit light. By incorporating index of refraction in its definition, NA has the property that it is constant for a beam as it goes from one material to another, provided there is no refractive power at the interface. The exact definition of the term varies slightly between different areas of optics. Numerical aperture is commonly used in microscopy to describe the acceptance cone of an objective (and hence its light-gathering ability and resolution), and in fiber optics, in which it describes the range of angles within which light that is incident on the fiber will be transmitted along it.


title: Numerical aperture

text: In most areas of optics, and especially in microscopy, the numerical aperture of an optical system such as an objective lens is defined by


title: Numerical aperture

text: where is the index of refraction of the medium in which the lens is working (1.00 for air, 1.33 for pure water, and typically 1.52 for immersion oil; see also list of refractive indices), and is the maximal half-angle of the cone of light that can enter or exit the lens. In general, this is the angle of the real marginal ray in the system. Because the index of refraction is included, the NA of a pencil of rays is an invariant as a pencil of rays passes from one material to another through a flat surface. This is easily shown by rearranging Snell's law to find that is constant across an interface.


title: Numerical aperture

text: In air, the angular aperture of the lens is approximately twice this value (within the paraxial approximation). The NA is generally measured with respect to a particular object or image point and will vary as that point is moved. In microscopy, NA generally refers to object-space NA unless otherwise noted.


title: Numerical aperture

text: In microscopy, NA is important because it indicates the resolving power of a lens. The size of the finest detail that can be resolved (the "resolution") is proportional to , where is the wavelength of the light. A lens with a larger numerical aperture will be able to visualize finer details than a lens with a smaller numerical aperture. Assuming quality (diffraction-limited) optics, lenses with larger numerical apertures collect more light and will generally provide a brighter image, but will provide shallower depth of field.


title: Numerical aperture

text: Increasing the magnification and the numerical aperture of the objective reduces the working distance, i.e. the distance between front lens and specimen.


title: Numerical aperture

text: Numerical aperture is not typically used in photography. Instead, the angular aperture of a lens (or an imaging mirror) is expressed by the f-number, written "N", where "N" is the f-number given by the ratio of the focal length to the diameter of the entrance pupil :


title: Numerical aperture

text: This ratio is related to the image-space numerical aperture when the lens is focused at infinity. Based on the diagram at the right, the image-space numerical aperture of the lens is:


title: Numerical aperture

text: The approximation holds when the numerical aperture is small, but it turns out that for well-corrected optical systems such as camera lenses, a more detailed analysis shows that is almost exactly equal to even at large numerical apertures. As Rudolf Kingslake explains, "It is a common error to suppose that the ratio [] is actually equal to , and not ... The tangent would, of course, be correct if the principal planes were really plane. However, the complete theory of the Abbe sine condition shows that if a lens is corrected for coma and spherical aberration, as all good photographic objectives must be, the second principal plane becomes a portion of a sphere of radius centered about the focal point". In this sense, the traditional thin-lens definition and illustration of f-number is misleading, and defining it in terms of numerical aperture may be more meaningful.


title: Numerical aperture

text: The -number describes the light-gathering ability of the lens in the case where the marginal rays on the object side are parallel to the axis of the lens. This case is commonly encountered in photography, where objects being photographed are often far from the camera. When the object is not distant from the lens, however, the image is no longer formed in the lens's focal plane, and the -number no longer accurately describes the light-gathering ability of the lens or the image-side numerical aperture. In this case, the numerical aperture is related to what is sometimes called the "working -number" or "effective -number".


title: Numerical aperture

text: The working -number is defined by modifying the relation above, taking into account the magnification from object to image:


title: Numerical aperture

text: where is the working -number, is the lens's magnification for an object a particular distance away, is the pupil magnification, and the NA is defined in terms of the angle of the marginal ray as before. The magnification here is typically negative, and the pupil magnification is most often assumed to be 1 — as Allen R. Greenleaf explains, "Illuminance varies inversely as the square of the distance between the exit pupil of the lens and the position of the plate or film. Because the position of the exit pupil usually is unknown to the user of a lens, the rear conjugate focal distance is used instead; the resultant theoretical error so introduced is insignificant with most types of photographic lenses."


title: Numerical aperture

text: In photography, the factor is sometimes written as , where represents the absolute value of the magnification; in either case, the correction factor is 1 or greater. The two equalities in the equation above are each taken by various authors as the definition of working -number, as the cited sources illustrate. They are not necessarily both exact, but are often treated as if they are.


title: Numerical aperture

text: Conversely, the object-side numerical aperture is related to the -number by way of the magnification (tending to zero for a distant object):


title: Numerical aperture

text: In laser physics, numerical aperture is defined slightly differently. Laser beams spread out as they propagate, but slowly. Far away from the narrowest part of the beam, the spread is roughly linear with distance—the laser beam forms a cone of light in the "far field". The relation used to define the NA of the laser beam is the same as that used for an optical system,


title: Numerical aperture

text: but is defined differently. Laser beams typically do not have sharp edges like the cone of light that passes through the aperture of a lens does. Instead, the irradiance falls off gradually away from the center of the beam. It is very common for the beam to have a Gaussian profile. Laser physicists typically choose to make the "divergence" of the beam: the far-field angle between the beam axis and the distance from the axis at which the irradiance drops to times the on-axis irradiance. The NA of a Gaussian laser beam is then related to its minimum spot size ("beam waist") by


title: Numerical aperture

text: where is the vacuum wavelength of the light, and is the diameter of the beam at its narrowest spot, measured between the irradiance points ("Full width at maximum of the intensity"). This means that a laser beam that is focused to a small spot will spread out quickly as it moves away from the focus, while a large-diameter laser beam can stay roughly the same size over a very long distance. See also: Gaussian beam width.


title: Numerical aperture

text: A multi-mode optical fiber will only propagate light that enters the fiber within a certain range of angles, known as the acceptance cone of the fiber. The half-angle of this cone is called the acceptance angle, . For step-index multimode fiber in a given medium, the acceptance angle is determined only by the indices of refraction of the core, the cladding, and the medium:


title: Numerical aperture

text: where is the refractive index of the medium around the fiber, is the refractive index of the fiber core, and is the refractive index of the cladding. While the core will accept light at higher angles, those rays will not totally reflect off the core–cladding interface, and so will not be transmitted to the other end of the fiber. The derivation of this formula is given below.


title: Numerical aperture

text: When a light ray is incident from a medium of refractive index to the core of index at the maximum acceptance angle, Snell's law at the medium–core interface gives


title: Numerical aperture

text: This has the same form as the numerical aperture (NA) in other optical systems, so it has become common to "define" the NA of any type of fiber to be


title: Numerical aperture

text: where is the refractive index along the central axis of the fiber. Note that when this definition is used, the connection between the NA and the acceptance angle of the fiber becomes only an approximation. In particular, manufacturers often quote "NA" for single-mode fiber based on this formula, even though the acceptance angle for single-mode fiber is quite different and cannot be determined from the indices of refraction alone.


title: Numerical aperture

text: The number of bound modes, the mode volume, is related to the normalized frequency and thus to the NA.


title: Numerical aperture

text: In multimode fibers, the term "equilibrium numerical aperture" is sometimes used. This refers to the numerical aperture with respect to the extreme exit angle of a ray emerging from a fiber in which equilibrium mode distribution has been established.


title: Kirk Gibson

text: Kirk Harold Gibson (born May 28, 1957) is an American former professional baseball player and manager. He is currently a color commentator for the Detroit Tigers on Bally Sports Detroit and a special assistant for the Tigers. As a player, Gibson was an outfielder who batted and threw left-handed. He spent most of his career with the Detroit Tigers, and also played for the Los Angeles Dodgers, Kansas City Royals, and Pittsburgh Pirates.


title: Kirk Gibson

text: While with the Dodgers, Gibson was named the National League MVP in . During his career, he hit two dramatic home runs in the World Series, each one coming against an eventual Hall of Fame relief pitcher. With the Tigers in 1984, he clinched the title in Game Five with a three-run homer off Goose Gossage, who had refused to walk him with a base open. With the Dodgers in 1988, Gibson faced closer Dennis Eckersley in the ninth inning of the first game and hit a pinch-hit walk-off home run—often described as one of the most exciting moments in World Series history. He was named to the All-Star team twice, in 1985 and 1988, but declined the invitation both times.


title: Kirk Gibson

text: Following his retirement as a player, he spent five seasons as a television analyst in Detroit and then became a coach for the Tigers in 2003. He became the Diamondbacks' bench coach in 2007 and was promoted to interim manager in 2010 following the mid-season dismissal of A. J. Hinch. On October 4, 2010, the Diamondbacks removed the "interim" label, naming Gibson their manager for the 2011 season. He served as the Diamondbacks' manager until September 26, 2014. Gibson returned to the broadcast booth in 2015 as a part-time commentator for Tigers TV broadcasts, and was named a regular television analyst for the Tigers in 2019.


title: Kirk Gibson

text: Gibson was born in Pontiac, Michigan on May 28, 1957, grew up in Waterford, Michigan (attending Waterford Kettering High School), and attended Michigan State University where he was an All-American wide receiver in football. Gibson's college football career was distinguished by leading the Spartans to a tie for the Big Ten title, setting school and conference receiving records, starring in the Hula Bowl and Senior Bowl, and making several All-America teams. For his accomplishments on the football field, Gibson was elected to the College Football Hall of Fame in January 2017.


title: Kirk Gibson

text: It was at the suggestion of Spartan football coach Darryl Rogers that Gibson played collegiate baseball. Gibson played only one year of college baseball, but managed to hit .390 with 16 homers and 52 RBIs in 48 games. He was drafted by both his hometown Detroit Tigers baseball team (first round) and the St. Louis Cardinals football team (seventh round). He chose baseball.


title: Kirk Gibson

text: Gibson played as the regular right fielder for the Detroit Tigers from 1983 to 1987. He helped the Tigers win the 1984 World Series. He became a free agent after the 1985 season but received no significant offers because of what was later determined to be collusion among the owners of MLB teams. He re-signed with the Tigers and in 1987, helped them to win the American League East by two games over the Blue Jays in an enthralling divisional race. However, Detroit lost the 1987 American League Championship Series to the eventual World Champion Twins.


title: Kirk Gibson

text: Early in his career, Gibson was proclaimed by manager Sparky Anderson to be the next Mickey Mantle. Anderson later apologized and said that probably put too much pressure on a young and inexperienced Gibson. Nevertheless, Gibson was considered a versatile power/speed player in the 1980s who was able to hit home runs as well as steal bases. He finished in the top 10 in home runs 3 times in his career and ranked in the top 10 in stolen bases 4 times. He fell one home run short of becoming the first Tiger in the 30–30 club in 1985.


title: Kirk Gibson

text: Gibson was known for hitting clutch home runs. In the eighth inning of Game 5 of the 1984 World Series between the Tigers and Padres, he faced Goose Gossage, one of the game's premier relievers, with Detroit up 5–4 and runners on second and third with one out. An intentional (or at least semi-intentional) walk seemed to be in order, especially because Gibson had already homered earlier in the game. However, Gossage told San Diego manager Dick Williams he thought he could strike him out. Indeed, Gossage had struck out Gibson in his very first Major League at-bat in 1979 on 3 pitches, and Kirk had only managed one bunt-single against Gossage in 10 previous plate appearances. When asked about Gibson, Gossage later said he had told teammate Tim Lollar in the second inning, "I own him." If the Padres could hold the Tigers and score a couple runs in the ninth, they would force the Series back to San Diego and maybe turn the tide. In the "Sounds of the Game" video, Detroit manager Sparky Anderson was seen yelling at Gibson from the dugout, "He don't want to walk you!", showing four fingers and then making a bat-swinging motion, the universal baseball gesture for "swing away." Gibson got the message and launched Gossage's 1–0 fastball deep into Tiger Stadium's right field upper deck for a three-run homer, icing the game and the Series for the Tigers.


title: Kirk Gibson

text: During his 2008 Hall of Fame induction speech, Gossage turned to Williams and said with a smile, "I should have walked Gibson." In the ESPN interview that aired after the induction ceremony, Williams took responsibility for the situation, as he allowed Gossage to talk him into pitching to Gibson. At the same time, Williams ribbed Gossage that Gibson's home run damaged several seats "in consecutive rows".


title: Kirk Gibson

text: In 1988, an arbitrator ruled that baseball team owners had colluded against the players in an effort to stem free agency. He granted several players, including Gibson, immediate free agency. Gibson signed with the Los Angeles Dodgers.


title: Kirk Gibson

text: Gibson joined the Dodgers in 1988, and immediately brought a winning attitude after a publicized blow-up when pitcher Jesse Orosco put shoe black in his cap during a spring training prank. Gibson openly criticized the team, which had finished fourth in the NL West the previous season, for its unprofessionalism. He became the team's "de facto" leader, and won a controversial NL MVP award after batting .290 with 25 home runs, 76 RBIs, 106 runs, and 31 stolen bases. While he didn't lead the league in any major category, the intensity and leadership he brought to an increasingly successful team likely won him the award over players with more impressive statistics. (MVP runner-up Darryl Strawberry of the New York Mets, for example, led the NL with 39 home runs that season.)


title: Kirk Gibson

text: In the 1988 National League Championship Series against the New York Mets, Gibson made an improbable catch in left field at a rain-soaked Shea Stadium in Game 3. Racing back, he slipped on the wet grass and, while on his way down with his knees on the ground and the rest of his body suspended, reached out and made a full extension catch to save a potential Mookie Wilson double; however, the Dodgers lost the game 8–4. In Game 4, his solo home run in the top of the 12th proved to be the winning hit. In Game 5, he hit a two-out three-run homer in the fifth; the Dodgers ended up winning the game 7–4. Nonetheless, his LCS heroics served as but a prelude to the career-defining moment that awaited him in the subsequent World Series.


title: Kirk Gibson

text: Gibson is perhaps best known for his one and only plate appearance in the 1988 World Series against the Oakland Athletics. Having injured both legs during the NLCS, Gibson was not expected to play at all. In Game 1, however, with the Dodgers trailing by a score of 4–3, Mike Davis on first base, and two out in the ninth inning, manager Tommy Lasorda unexpectedly inserted his hobbled league MVP as a pinch hitter. Gibson, limping back and forth between a pulled left hamstring and a swollen right knee, made his way to the plate to face Oakland's future Hall of Fame closer Dennis Eckersley. Gibson quickly got behind in the count 0–2, but laid off of a pair of outside pitches that were called balls. He then kept the count at 2–2 by fouling off a pitch. On the seventh pitch of his at-bat, a ball, Davis stole second. With an awkward, almost casual swing, Gibson used pure upper-body strength—and according to Gibson, advanced scouting-based knowledge of what the pitcher would likely throw with that count—to smack a 3–2 backdoor slider over the right-field fence. He hobbled around the bases and pumped his right fist as his jubilant teammates stormed the field. The Dodgers won the game, 5–4, and won the World Series, four games to one.


title: Kirk Gibson

text: In 1991, Gibson signed as a free agent with the Kansas City Royals, and then in 1992 he was traded to the Pittsburgh Pirates for Neal Heaton. He retired from baseball temporarily, after being released by the Pirates on May 5, 1992. A month later, Gibson got an offer to return to Detroit—not with the Tigers, but to play football again, with the Arena Football League's Detroit Drive; he declined the offer. The following spring, Sparky Anderson convinced him to return to baseball. He spent the final three years of his career (1993–1995) back with the Tigers, including a renaissance season in 1994 when he hit 23 home runs in 98 games before the strike ended the season.


title: Kirk Gibson

text: In 1,635 games over 17 seasons, Gibson posted a .268 batting average (1,553-for-5,798) with 985 runs, 260 doubles, 54 triples, 255 home runs, 870 RBI, 284 stolen bases, 718 bases on balls, .352 on-base percentage and .463 slugging percentage. Defensively, he recorded a .976 fielding percentage playing at all three outfield positions. In 21


title: Kirk Gibson

text: postseason games, he batted .282 (22-for-78) with 13 runs, two doubles, seven home runs, 21 RBI, nine stolen bases and 12 walks.


title: Kirk Gibson

text: On February 10, 2015, it was announced that Gibson would return as a color commentator for the Detroit Tigers on Fox Sports Detroit, along with former teammate Jack Morris.


title: Kirk Gibson

text: In 2003, he was named the Tigers' bench coach by new Tigers manager and former Tigers teammate Alan Trammell. He served in that position until the midway point of the 2005 season when he was moved from bench coach to hitting coach, swapping positions with Bruce Fields. As of the start of the 2007 Major League Baseball season, Gibson became the new Arizona Diamondbacks bench coach.


title: Kirk Gibson

text: Gibson had worn #23 as a player in both football at Michigan State and baseball throughout his career. However, while coaching for the Tigers, he wore #22 after #23 was retired for Willie Horton. Gibson wore #23 as manager of the Arizona Diamondbacks.


title: Kirk Gibson

text: On July 1, 2010, the Arizona Diamondbacks fired A. J. Hinch as manager and promoted Gibson from his position as bench coach to interim manager. Shortly after the season, Gibson was named permanent manager and given a two-year contract. In his first full year as manager, Gibson led the Diamondbacks to their first N.L. West title since 2007, when most sports writers expected them to be in last place for the third time in a row. He was named NL Manager of the Year on November 16, 2011. On September 26, 2014 the Arizona Diamondbacks fired Gibson, ending his four-year tenure with the team. He finished his Diamondbacks career with a 353–375 regular season and 2–3 post–season record.


title: Kirk Gibson

text: Gibson married JoAnn Sklarski on December 22, 1985, in a double ceremony where Tiger pitcher Dave Rozema married JoAnn's sister Sandy. They were married at Grosse Pointe Memorial Church in Grosse Pointe Farms, Michigan. The Gibsons reside in Grosse Pointe, Michigan, and have four children: Colleen, Cam, Kirk, and Kevin. Gibson's son Cam was drafted by the Detroit Tigers in the 5th round, 160th overall, in the 2015 Major League Baseball draft. His son Kevin is a defenseman for the Fort Wayne Komets in the ECHL.


title: Kirk Gibson

text: Gibson set an aviation record in 1987. He flew a Cessna 206 to a height of 25,200 feet in Lakeland, Florida. The record was certified by the National Aeronautic Association.


title: Kirk Gibson

text: He was nominated for induction into the College Football Hall of Fame multiple times before being elected in 2017.


title: Kirk Gibson

text: Gibson is an avid deer hunter. He and former teammate David Wells, along with former MLB pitcher Jake Peavy, own a 1,300-acre hunting ranch near Millersburg, Michigan, which they named the "Buck Falls Ranch".


title: Oracle bone script

text: Oracle bone script () is an ancient form of Chinese characters that were engraved on oracle bonesanimal bones or turtle plastrons used in pyromantic divination. Oracle bone script was used in the late 2nd millennium BC, and is the earliest known form of Chinese writing. The vast majority of oracle bone inscriptions, of which about 150,000 pieces have been discovered, were found at the Yinxu site located in Xiaotun Village, Anyang, Henan Province. The latest significant discovery is the Huayuanzhuang storage of 1,608 pieces, 579 of which were inscribed, found near Xiaotun in 1993. They record pyromantic divinations of the last nine kings of the Shang dynasty, beginning with Wu Ding, whose accession is dated by different scholars at 1250 BC or 1200 BC. Oracle bone inscriptions of Wu Ding's reign have been radiocarbon dated to 1254–1197 BC±10 years. After the Shang were overthrown by the Zhou dynasty in c. 1046 BC, divining with milfoil became more common, and a much smaller corpus of oracle bone writings date from the Western Zhou. Thus far, no Zhou sites have been found with a cache of inscriptions on the same scale as that at Yinxu, although inscribed oracle bones appear to be more widespread, being found near most major population centers of the time, and new sites have continued to be discovered since 2000.


title: Oracle bone script

text: The late Shang oracle bone writings, along with a few roughly contemporaneous inscriptions in a different style cast in bronzes, constitute the earliest significant corpus of Chinese writing. The script is essential for the study of Chinese etymology, as Shang writing is the oldest known member and ancestor of the Chinese family of scripts, preceding the bronzeware script. It is also the direct ancestor of over a dozen East Asian writing systems developed over the next three millennia, including the Chinese and Japanese logographic and syllabaric scripts still in current use. In terms of content, the inscriptions, which range from under ten characters for incomplete prognostications to over 100 characters in rare cases (a few dozen being typical), deal with a wide range of topics, including war, ritual sacrifice, agriculture, as well as births, illnesses, and deaths in the royal family. Thus, they provide invaluable insight into late Shang dynasty civilization and society.


title: Oracle bone script

text: The common Chinese term for oracle bone script is ("shell and bone script"), which is an abbreviation of ("tortoise-shell and animal-bone script"). This term is a translation of the English phrase "inscriptions upon bone and tortoise shell", which was coined by the American missionary Frank H. Chalfant (1862–1914) in his 1906 book "Early Chinese Writing", and first appeared in Chinese books in the 1930s.


title: Oracle bone script

text: In earlier decades, Chinese authors used a variety of names for the inscriptions and the script, based on the place they were found (Yinxu), their purpose ("bǔ" "to divine") or the method of writing ("qì" "to engrave"), one common term being ("Yinxu divinatory texts").


title: Oracle bone script

text: As the majority of oracle bones bearing writing date from the late Shang dynasty, "oracle bone script" essentially refers to a Shang script.


title: Oracle bone script

text: It is certain that Shang-lineage writing underwent a period of development before the Anyang oracle bone script because of its mature nature. For example, many characters had already undergone extensive simplification and linearization; the processes of semantic extension and phonetic loan had also clearly been at work for some time, at least hundreds of years and perhaps longer. However, no significant quantity of clearly identifiable writing from before or during the early to middle Shang cultural period has been discovered. The few Neolithic symbols found on pottery, jade, or bone at a variety of cultural sites in China are very controversial, and there is no consensus that any of them are directly related to the Shang oracle bone script.


title: Oracle bone script

text: The oracle bone script of the late Shang dynasty appears pictographic, as does its contemporary, the Shang writing on bronzes. The earliest oracle bone script appears even more so than examples from late in the period (thus some evolution did occur over the roughly 200-year period). Comparing the oracle bone script to both Shang and early Western Zhou period writing on bronzes, the oracle bone script is clearly greatly simplified, and rounded forms are often converted to rectilinear ones; this is thought to be due to the difficulty of engraving the hard, bony surfaces, compared with the ease of writing them in the wet clay of the molds the bronzes were cast from. The more detailed and more pictorial style of the bronze graphs is thus thought to be more representative of typical Shang writing (as would have normally occurred on bamboo books) than the oracle bone script forms, and this typical style continued to evolve into the Zhou period writing and then into the seal script of the Qin in the late Zhou period.


title: Oracle bone script

text: It is known that the Shang people also wrote with brush and ink, as brush-written graphs have been found on a small number of pottery, shell and bone, and jade and other stone items, and there is evidence that they also wrote on bamboo (or wooden) books just like those found from the late Zhou to Hàn periods, because the graphs for a writing brush (聿 "yù", depicting a hand holding a writing brush) and bamboo book (冊 "cè", a book of thin vertical slats or slips with horizontal string binding, like a closed Venetian blind turned 90 degrees) are present in the oracle bone script. Since the ease of writing with a brush is even greater than that of writing with a stylus in wet clay, it is assumed that the style and structure of Shang graphs on bamboo were similar to those on bronzes, and also that the majority of writing occurred with a brush on such books. Additional support for this notion includes the reorientation of some graphs, by turning them 90 degrees as if to better fit on tall, narrow slats; this style must have developed on bamboo or wood slat books and then carried over to the oracle bone script. Additionally, the writing of characters in vertical columns, from top to bottom, is for the most part carried over from the bamboo books to oracle bone inscriptions. In some instances lines are written horizontally so as to match the text to divinatory cracks, or columns of text rotate 90 degrees in mid stream, but these are exceptions to the normal pattern of writing, and inscriptions were never read bottom to top. The vertical columns of text in Chinese writing are traditionally ordered from right to left; this pattern is found on bronze inscriptions from the Shang dynasty onward. Oracle bone inscriptions, however, are often arranged so that the columns begin near the centerline of the shell or bone, and move toward the edge, such that the two sides are ordered in mirror-image fashion.


title: Oracle bone script

text: Despite the pictorial nature of the oracle bone script, it was a fully functional and mature writing system by the time of the Shang dynasty, i.e., able to record the Old Chinese language in its entirety and not just isolated kinds of meaning. This level of maturity clearly implies an earlier period of development of at least several hundred years. From their presumed origins as pictographs and signs, by the Shang dynasty, most graphs were already conventionalized in such a simplified fashion that the meanings of many of the pictographs are not immediately apparent. Compare, for instance, the pictographs at the left. Without careful research to compare these to later forms, one would probably not know that these represented 豕 "shĭ" "swine" and 犬 "quǎn" "dog" respectively. As Boltz (1994 & 2003 p. 31–33) notes, most of the oracle bone graphs are not depicted realistically enough for those who do not already know the script to recognize what they stand for; although pictographic "in origin" they are no longer pictographs "in function". Boltz instead calls them "zodiographs" (p. 33), reminding us that functionally they represent "words", and only through the words do they represent concepts, while for similar reasons Qiu labels them "semantographs".


title: Oracle bone script

text: By the late Shang oracle bone script, the graphs had already evolved into a variety of mostly non-pictographic functions, including all the major types of Chinese characters now in use. Phonetic loan graphs, semantic-phonetic compounds, and associative compounds were already common. One structural and functional analysis of the oracle bone characters found that they were 23% pictographs, 2% simple indicatives, 32% associative compounds, 11% phonetic loans, 27% phonetic-semantic compounds, and 6% uncertain.


title: Oracle bone script

text: Although it was a fully functional writing system, the oracle bone script was not fully standardized. By the early Western Zhou period, these traits had vanished, but in both periods, the script was not highly regular or standardized; variant forms of graphs abound, and the size and orientation of graphs is also irregular. A graph when inverted horizontally generally refers to the same word, and additional components are sometimes present without changing the meaning. These irregularities persisted until the standardization of the seal script in the Qin dynasty.


title: Oracle bone script

text: There are over 30,000 distinct characters found from all the bone fragments so far, which may represent around 4,000 individual characters in their various forms. The majority of these still remain undeciphered, although scholars believe they can decipher between 1,500 and 2,000 of these characters. One reason for the difficulty in decipherment is that components of certain oracle bone script characters may differ in later script forms. Such differences may be accounted for by character simplification and/or by later generations misunderstanding the original graph, which had evolved beyond recognition. For instance, the standard character for ‘autumn’ (秋) now appears with 禾 ('plant stalk') as one component and 火 ('fire') as another component, whereas the oracle bone script form of the character depicts an insect-like figure with antennae - either a cricket or a locust - with a variant depicting fire below said figure. In this case, the modern character is a simplification of an archaic variant 𪛁 (or 𥤚) which is closer to the oracle bone script form - albeit with the insect figure being confused with the similar-looking character for 'turtle' (龜) and the addition of the 禾 component. (Another rarer simplification of 𪛁 is 龝, with 龜 instead of 火).


title: Oracle bone script

text: Another reason is that some characters exist "only" in the oracle bone script, dropping out of later usage (usually being replaced in their duties by other, newer characters). One good example is shown in the fragment labeled "Oracle script for Spring". The top left character in this image has no known modern Chinese counterpart. In such cases, context - when available - may be used to determine the possible meaning of the character. In other cases, the character may be assumed to be a phonosemantic compound, and its rough meaning can be inferred based on the semantic component. For instance, an oracle bone character was recently found which consists of 礻 on the left and 升 on the right ([礻升] when converted from oracle bone forms to their modern printed equivalents). This character may reasonably be guessed to a compound with 示 ('altar') as the semantic and 升 (modern reading 'sheng') as the phonetic. Though no modern character consists of these two components, it likely refers to a type of Shang dynasty ritual with a name similar to the pronunciation of 升 in Old Chinese. In the same collection of fragments, the character [阝心] was surmised to be a place name, since the semantic component 阜 means 'mound; hill', and the divination concerned the king traveling for a royal hunt.


title: Oracle bone script

text: The numbers of oracle bones with inscriptions contemporaneous with the end of Shang and the beginning of Zhou is relatively few in number compared with the entire corpus of Shang inscriptions. Until 1977, only a few inscribed shell and bone artifacts were known. Zhou related inscriptions have been unearthed since the 1950s, with find fragments having only one or two characters. In August 1977, a large hoard of several thousand pieces was discovered in an area closely related to the heartland of the ancient Zhou. Of these, only two or three hundred items were inscribed.


title: Oracle bone script

text: Among the major scholars making significant contributions to the study of the oracle bone writings, especially early on, were:


title: Oracle bone script

text: A proposal to include the oracle bone script in Unicode is being prepared. Codepoints U+35400 through U+36BFF in Unicode Plane 3 (the Tertiary Ideographic Plane) have been tentatively allocated.


title: Team Lotus

text: Team Lotus was the motorsport sister company of English sports car manufacturer Lotus Cars. The team ran cars in many motorsport categories including Formula One, Formula Two, Formula Ford, Formula Junior, IndyCar, and sports car racing. More than ten years after its last race, Team Lotus remained one of the most successful racing teams of all time, winning seven Formula One Constructors' titles, six Drivers' Championships, and the Indianapolis 500 in the United States between 1962 and 1978. Under the direction of founder and chief designer Colin Chapman, Lotus was responsible for many innovative and experimental developments in critical motorsport, in both technical and commercial arenas.


title: Team Lotus

text: The Lotus name returned to Formula One in 2010 as Tony Fernandes's Lotus Racing team. In 2011, Team Lotus's iconic black-and-gold livery returned to F1 as the livery of the Lotus Renault GP team, sponsored by Lotus Cars, and in 2012 the team was re-branded completely as Lotus F1 Team.


title: Team Lotus

text: Colin Chapman established Lotus Engineering Ltd in 1952 at Hornsey, UK. Lotus achieved rapid success with the 1953 Mk 6 and the 1954 Mk 8 sports cars. Team Lotus was split off from Lotus Engineering in 1954. A new Formula Two regulation was announced for 1957, and in Britain, several organizers ran races for the new regulations during the course of 1956. Most of the cars entered that year were sports cars, and they included a large number of Lotus 11s, the definitive Coventry Climax-powered sports racer, led by the Team Lotus entries for Chapman, driven by Cliff Allison and Reg Bicknell.


title: Team Lotus

text: The following year, the Lotus 12 appeared. Driving one in 1958, Allison won the F2 class in the International Trophy at Silverstone, beating Stuart Lewis-Evans's Cooper. The remarkable Coventry Climax-powered Type 14, the Lotus Cars production version of which was the original Lotus Elite, won six class victories, plus the "Index of Performance" several times at the 24 Hours of Le Mans race.


title: Team Lotus

text: As the Coventry Climax engines were enlarged in 1952 to 2.2-litres, Chapman decided to enter Grand Prix racing, running a pair of Lotus 12s at Monaco in 1958 for Graham Hill and Cliff Allison. These were replaced later that year by Lotus 16s.


title: Team Lotus

text: In 1959 – by which time the Coventry Climax engines had been stretched to 2.5-litres inline with Formula rules – Chapman continued with front-engined F1 cars, but achieved little, so in 1960 Chapman switched to the milestone mid-engined Lotus 18. By then, the company's success had caused it to expand to such an extent that it had to move to new premises at Cheshunt.


title: Team Lotus

text: The first Formula One victory for Team Lotus came when Innes Ireland won the 1961 United States Grand Prix. A year earlier, Stirling Moss had recorded the first victory for a Lotus car at Monaco in his Lotus 18 entered by the independent Rob Walker Racing Team.


title: Team Lotus

text: There were successes in Formula Two and Formula Junior. The road car business was doing well with the Lotus Seven and the Lotus Elite and this was followed by the Lotus Elan in 1962. More racing success followed with the 26R, the racing version of the Elan, and in 1963 with the Lotus Cortina, which Jack Sears drove to the British Saloon Car Championship title, a feat repeated by Jim Clark in 1964 and Alan Mann in the 1965 European Touring car Championship.


title: Team Lotus

text: In 1963, Clark drove the Lotus 25 to a remarkable seven wins in the season and won the World Championship. The 1964 title was still for the taking by the time of the last race in Mexico but problems with Clark's Lotus and Hill's BRM gave it to Surtees in his Ferrari. However, in 1965, Clark dominated again, six wins in his Lotus 33 gave him the championship.


title: Team Lotus

text: While very innovative, Chapman also came under criticism for the structural fragility of his designs. The number of top drivers seriously injured or killed in Lotus machinery was considerable – notably Stirling Moss, Alan Stacey, Mike Taylor, Jim Clark, Mike Spence, Bobby Marshman, Graham Hill, Jochen Rindt and Ronnie Peterson. In Dave Friedman's book "Indianapolis Memories 1961–1969", Dan Gurney is quoted as saying, "Did I think the Lotus way of doing things was good? No. We had several structural failures in those cars [Indianapolis Lotus 34 and 38]. But at the time, I felt it was the price you paid for getting something significantly better."


title: Team Lotus

text: When the Formula One engine size increased to three litres in 1966, Lotus was caught unprepared partly because of the surprising failure of the Coventry Climax 1.5-Litre FWMW Flat-16 project, which prevented Climax from developing a 3-Litre successor. They started the season fielding the hastily prepared and uncompetitive two-litre Coventry-Climax FWMV V8 engine, only switching to the BRM P75 H16 engine in time for the Italian Grand Prix, with the new engine proving to be overweight and unreliable. A switch to the new Ford Cosworth DFV, designed by former Lotus employee Keith Duckworth, in 1967 returned the team to winning form.


title: Team Lotus

text: Although they failed to win the title in 1967, by the end of the season, the Lotus 49 and the DFV engine were mature enough to make the Lotus team dominant again. However, for 1968 Lotus had lost its exclusive right to use the DFV. The season-opening 1968 South African Grand Prix confirmed Lotus's superiority, with Jim Clark and Graham Hill finishing 1–2. It would be Clark's last win. On 7 April 1968, Clark, one of the most successful and popular drivers of all time, was killed driving a Lotus 48 at Hockenheimring in a non-championship Formula Two event. The season saw the introduction of wings as seen previously on various cars, including the Chaparral sports car. Colin Chapman introduced modest front wings and a spoiler on Hill's Lotus 49B at the 1968 Monaco Grand Prix. Graham Hill won the F1 World Championship in 1968 driving the Lotus 49.


title: Team Lotus

text: Around the same time, Chapman moved Lotus to new premises at Hethel in Norfolk. A new factory was built on the site, the former RAF Hethel bomber base, and the old runways were converted into a testing facility. The offices and design studios were based at nearby Ketteringham Hall, which became the headquarters of both Team Lotus and Lotus Cars. Additional car testing was carried out at Snetterton, a few miles from Hethel.


title: Team Lotus

text: In 1969, the team spent a lot of time experimenting with a gas turbine powered car, and, after four wet races in 1968, with four wheel drive. Both were unsuccessful, especially as every race was dry. They penned a revolutionary new car for 1970 – the wedge-shaped Lotus 72.


title: Team Lotus

text: The new Lotus 72 was a very innovative car, featuring torsion bar suspension, hip-mounted radiators, inboard front brakes and an overhanging rear wing. The 72 originally had suspension problems, and Jochen Rindt took a lucky victory in Monaco in the old 49 when Jack Brabham crashed on the last lap while leading. But when antidive and antisquat were designed out of the suspension, the car quickly showed its superiority, and Rindt dominated the championship until he was killed at Monza when a brake shaft broke. Rindt had only recently begun to wear a shoulder harness, but refused to wear crotch straps because he felt they slowed his exit from the car in the event of fire. When the car hit the barrier head-on, Rindt submarined forward and the lap belt inflicted fatal head and neck injuries.


title: Team Lotus

text: The rest of the 1970 season was nailbiting, as Ferrari closed in on Rindt's undefended lead. A brilliant victory in the US GP by rookie driver Emerson Fittipaldi, who had made his debut in the British GP in a 49, sealed the championship for Rindt, who became the only man in history to win the world championship posthumously.


title: Team Lotus

text: Lotus's 1971 experiments did not bring any serious advance in technology, but allowed Chapman to test several drivers. For 1972, the team focused again on the type 72 chassis, with Imperial Tobacco continuing its sponsorship of the team under its new John Player Special brand. The cars, now often referred to as 'JPS', were fielded in a new black and gold livery – a new brand developed to make the most of the promotional power of motorsport. Lotus took the championship by surprise in 1972 with 25-year-old Brazilian driver Emerson Fittipaldi, who became at the time the youngest world champion, a distinction he held until 2005, when 24-year-old Fernando Alonso took the accolade. Team Lotus also won the F1 World Championship for Manufacturers for a sixth time in 1973. The 72 raced in Formula 1 for five years, proving to be more successful than its supposed replacement, the Lotus 76. It was finally retired at the end of the 1975 season, as the Lotus 77 was prepared for the 1976 season.


title: Team Lotus

text: Chapman was also successful at Indianapolis with the Lotus 29, almost winning the 500 at its first attempt in 1963 with Clark at the wheel. The race marked the beginning of the end for the old front-engined Indianapolis roadsters. Clark was leading when he retired from the 1964 event with suspension failure, but in 1965, he won the biggest prize in US racing driving his Lotus 38 and winning by a lap; it was the first mid-engined car to win the Indianapolis 500.


title: Team Lotus

text: Many of Chapman's successes came from innovation. The Lotus 25 was the first monocoque chassis in F1, the 49 was the first car of note to use the engine as a stressed member, the Lotus 56 Indycar was powered by a gas turbine engine and was fitted with four-wheel drive, the Lotus 63 was the first mid-engined F1 car to race with four-wheel drive, and the 72 broke new ground in aerodynamics. Chapman was also an innovator as a team boss. For the season, the FIA decided to permit sponsorship after the withdrawal of support from automotive-related firms, such as BP, Shell and Firestone. In April, Team Lotus became the first works team (second only to Team Gunston entering a private Brabham car at the 1968 South African Grand Prix) to paint their cars in the livery of their sponsors, with Clark's Lotus 48 Formula Two car appearing at Hockenheim in the red, gold and white colors of Imperial Tobacco's Gold Leaf brand. The first Formula One car in this livery was Graham Hill's Lotus 49B car entered at the 1968 Spanish Grand Prix in Jarama.


title: Team Lotus

text: Team Lotus as a constructor was first to achieve 50 Grand Prix victories. (Ferrari was the second to do so, having won their first Formula One race in 1951, seven years before the first Lotus F1 car.)


title: Team Lotus

text: In the mid-to-late 1970s, Lotus experienced a resurgence with Mario Andretti joining the team. This came about the morning after the 1976 U.S. Grand Prix West at Long Beach, when Andretti's VPJ-Parnelli had proven uncompetitive. Bob Evans did not qualify his Lotus and Gunnar Nilsson, in the other Lotus 77, qualified 8th only to fall out with suspension failure before completing a lap. Chapman and Andretti ran into each other in a hotel coffee shop the morning after the race, and decided to join forces. Andretti's development expertise helped give new life to the then-moribund Lotus 77. Engineers began to investigate aerodynamic ground effects. The Lotus 78, and then the Lotus 79 of 1978 were extraordinarily successful, with Mario Andretti winning the F1 World Championship. Lotus attempted to take ground effects further with the Lotus 80 and Lotus 88. The team developed an all-carbon-fibre car, the Lotus 88, in 1981. The 88 was banned from racing for its 'twin chassis' technology where the driver had separate suspension from the aerodynamic parts of the car. McLaren's MP4/1 beat it as the first all-carbon-fibre car to race. Chapman was beginning work on an active suspension development programme when he died of a heart attack in December 1982 at the age of 54.


title: Team Lotus

text: After Chapman's death, the racing team was continued by his widow, Hazel, and managed by Peter Warr, but a series of F1 designs proved unsuccessful. Midway through 1983 Lotus hired French designer Gérard Ducarouge and, in five weeks, he built the Renault turbo powered 94T. A switch to Goodyear tyres in 1984 enabled Elio de Angelis to finish third in the World Championship, despite the fact that the Italian did not win a race. The team also finished in 3rd place in the Constructors' Championship.


title: Team Lotus

text: When Nigel Mansell departed at the end of the year the team hired Ayrton Senna. The Lotus 97T scored victories with de Angelis at Imola and Senna in Portugal and Belgium. The team, although it had now won three races instead of none, lost 3rd in the Constructors' Championship to Williams (who beat them on countback with 4 wins). Senna scored eight pole positions, with two wins (Spain and Detroit) in 1986 driving the evolutionary Lotus 98T. Lotus regained 3rd in the Constructors' Championship, passing Ferrari. At the end of the year the team lost its long-time backing from John Player & Sons and found new sponsorship with Camel. Senna's skills attracted the attention of the Honda Motor Company and when Lotus agreed to run Satoru Nakajima as its second driver a deal for engines was agreed. The Ducarouge-designed 99T featured active suspension, but Senna was able to win just twice: at Monaco and Detroit, with the team again finishing 3rd in the Constructors' Championship, like the previous year behind British rivals Williams and McLaren, but ahead of Ferrari.


title: Team Lotus

text: The Brazilian moved to McLaren in 1988, and Lotus signed Senna's countryman and then World Champion Nelson Piquet from Williams. Both Piquet and Nakajima failed to make any impressions in terms of fighting for victories. However the team still managed to finish 4th in the Constructors' Championship. Lotus showed in 1988 that it took more than a Honda engine to win races. 1988 was the year in which McLaren (with Senna and Alain Prost) won 15 of the season's 16 races with the same specification Honda engines as Lotus were using. The best results for the team were three 3rd places for Piquet in Brazil, San Marino and Australia. Lotus at times were hard-pressed fighting off the less powerful naturally-aspirated V8 cars during the season, and rarely challenged either McLaren or Ferrari.


title: Team Lotus

text: The Lotus-Honda 100T was not a success and Ducarouge returned to France in mid-1989. Lotus hired Frank Dernie to replace him. With the new engine regulations in 1989, Lotus lost its turbocharged Honda engines and used the normally-aspirated Judd V8 instead. In the middle of the year Warr departed and was replaced as team manager by Rupert Manwaring, while long time Lotus senior executive Tony Rudd was brought in as chairman. The best results for the team in 1989 was 4th places for Piquet in the British, Canadian and Japanese races, and 4th place and fastest lap for Nakajima in Australia. At the end of the season Piquet left for Benetton, and Nakajima moved to Tyrrell.


title: Team Lotus

text: A deal was organized for Lamborghini V12 engines and Derek Warwick and Martin Donnelly were hired to drive for 1990. The Dernie design was not a success with Warwick scoring all the three points for a 6th in the 1990 Canadian Grand Prix and a 5th in the 1990 Hungarian Grand Prix; Donnelly was nearly killed in a violent accident at Jerez. At the end of the year Camel withdrew their sponsorship.


title: Team Lotus

text: Former Team Lotus employees Peter Collins and Peter Wright organized a deal to take over the team from the Chapman family and in December the new Team Lotus was launched with Mika Häkkinen and Julian Bailey being signed for the 1991 season to drive updated Lotus 102Bs with Judd engines. At the 1991 San Marino Grand Prix, the team scored its first double points finish since the 1988 Brazilian Grand Prix, with Häkkinen in fifth and Bailey in sixth. Despite this, Bailey was soon replaced by Johnny Herbert for the balance of the season. For the following year, the team signed a deal to use Ford's HB V8 in their new Lotus 107s, designed by Chris Murphy. The team was now short on money and this affected performance, but the car allowed Häkkinen to score 11 points, including two fourth places at the 1992 French Grand Prix (where he had failed to qualify the previous year) and the 1992 Hungarian Grand Prix, while Herbert scored two points for 6th Places at the 1992 South African Grand Prix and 1992 French Grand Prix. The team finished 5th in the Constructors' Championship. Häkkinen, who finished 8th in the 1992 Drivers' Championship, moved to McLaren as a test driver in 1993. He was replaced by Alessandro Zanardi, who was himself replaced by Pedro Lamy after crashing heavily at the 1993 Belgian Grand Prix, where Herbert scored the last two points for Team Lotus. Over the year, the team scored 12 points despite the tight budget and finished 6th in the 1993 Constructors' Championship. Herbert finished 9th in the Drivers' Championship with three 4th placements: the 1993 Brazilian Grand Prix, where he lost 3rd to Benetton's Michael Schumacher shortly before the end of the race; the 1993 European Grand Prix, where he made only one pit stop for tyres; and the 1993 British Grand Prix, where he was not far behind Riccardo Patrese's 3rd placed Benetton at the end, having benefited from the retirements of Ayrton Senna, Martin Brundle and Damon Hill. Zanardi scored one 6th place at the 1993 Brazilian Grand Prix, the last race with both Lotus cars in the points.


title: Team Lotus

text: Debts were mounting and the team was unable to develop the Lotus 107. For the 1994 season, the team gambled on success with Mugen Honda engines. Herbert and Lamy struggled on with the old car for the first few races. The Portuguese driver was seriously injured in an accident in testing at Silverstone and Zanardi returned. The team's new car, the Lotus 109, was introduced at the 1994 Spanish Grand Prix, five races into the season, but only one car was available until the French Grand Prix two races later. In an effort to survive the team took on pay-driver Philippe Adams at the 1994 Belgian Grand Prix, but by the time of the Italian Grand Prix Zanardi was back in the car. Herbert qualified fourth in the 109, but at the first corner he was punted off by the Jordan of Eddie Irvine. Herbert later commented that he felt he could have won the race. The following day the team applied for an Administration Order to protect itself from creditors. Tom Walkinshaw pounced and bought Johnny Herbert's contract, moving him into Ligier and then Benetton.


title: Team Lotus

text: An Administration Order was made in respect of the Company on 12 September 1994, and it was compulsorily wound up by the Court on 13 February 1995. A sworn statement of affairs showed that the company had an estimated deficiency of £12,050,000. Disqualification Orders were made against Peter Collins, and Peter Wright on 15 October 1998 for nine years, and seven years respectively.


title: Team Lotus

text: Before the end of the 1994 season, the team had been sold to David Hunt, brother of 1976 World Champion James, and Mika Salo was hired to replace Herbert for the last two races of the season. In December, however, work on the design of a new car (the Lotus 112) was halted and the staff laid off. In February 1995 Hunt announced an alliance with Pacific Grand Prix, who like Lotus were also based in Norfolk in the UK, and Team Lotus came to an end. Pacific were initially referred to as Pacific Team Lotus and their car featured a green stripe with the Lotus logo.


title: Team Lotus

text: Pacific left Formula One after the 1995 Australian Grand Prix. The last race for Lotus was the 1994 Australian Grand Prix.


title: Team Lotus

text: Following the 1994 collapse – but before the end of that season – the rights to the name Team Lotus were purchased by David Hunt, brother of former F1 champion James Hunt. In 2009, when the FIA announced an intention to invite entries for a budget-limited championship in 2010, Litespeed acquired the right to submit an entry under the historic name. Lotus Cars, the sister company of the original Team Lotus, distanced itself from the new entry and announced its willingness to take action to protect its name and reputation if necessary. When the 2010 entry list was released on 12 June 2009, the Litespeed Team Lotus entry was not one of those selected. In September 2009, reports emerged of plans for the Malaysian Government to back a Lotus named entry for the 2010 championship to promote the Malaysian car manufacturer Proton, which at that time owned Lotus Cars. On 15 September 2009 the FIA announced that the Malaysian backed team Lotus Racing had been granted admission into the 2010 season. Group Lotus later terminated the licence for future seasons as a result of what it called "flagrant and persistent breaches of the licence by the team". A little over one year later, on 24 September 2010, it was announced that Tony Fernandes (Lotus Racing) had acquired the name rights of Team Lotus from David Hunt, marking the official rebirth of Team Lotus in Formula One. Then on 8 December 2010, Genii Capital and Group Lotus plc announced the creation of "Lotus Renault GP", the successor to the Renault F1 Team that would contest the 2011 FIA Formula One World Championship. The announcement came as part of a 'strategic alliance' between the two companies and at the time meant there would be two teams running as Lotus that season. Although neither had any physical links to the pre-1994 Team Lotus Formula 1 team, only Fernandes's "Team Lotus" had the name, while Lotus-Renault was backed by Group Lotus plc.


title: Team Lotus

text: On 23 December 2010, the Chapman family released a statement in which they unequivocally backed Group Lotus in the dispute over the use of the Lotus name in Formula One, and made it clear that they would prefer that the Team Lotus name did not return to F1.


title: Team Lotus

text: On 27 May 2011, Justice Peter Smith finally made his verdict public in High Court, giving permission to Tony Fernandes to naming his F1 team Team Lotus after purchasing the rights to the name from previous owner David Hunt. Added to that, Group Lotus are entitled to race in F1 using the historic black and gold livery and have the right to use the Lotus marque on cars for road use. In summary, the 2011 Formula One season had two teams running the Lotus name with Group Lotus entitled to use the name "Lotus" on its own while Fernandes's team used "Team Lotus".


title: Team Lotus

text: In 2012, Lotus-Renault GP was given the rights to the Lotus name and was renamed Lotus F1, whereas Fernandes's team was renamed Caterham F1 following his purchase of Caterham Cars. The team was active for 4 seasons, then it returned to the French constructor Renault.


title: Lost Girl

text: Lost Girl is a Canadian supernatural drama television series that premiered on Showcase on September 12, 2010, and ran for five seasons. It follows the life of a bisexual succubus named Bo, played by Anna Silk, as she learns to control her superhuman abilities, help those in need, and discover the truth about her origins. The series was created by Michelle Lovretta and produced by Jay Firestone and Prodigy Pictures Inc., with the participation of the Canadian Television Fund (Canada Media Fund), and in association with Shaw Media.


title: Lost Girl

text: Following good ratings and positive reviews, it was renewed for a second season on November 12, 2010 (two months after its premiere), with the episodes order afterwards increased to 22 episodes; a third season on December 9, 2011; a fourth season on February 28, 2013; and a fifth on February 27, 2014. On August 25, 2014, Showcase announced that the fifth season would be the last, with the original 13-episode order increased to 16 final episodes. The series' finale episode aired on October 25, 2015.


title: Lost Girl

text: In Australia, "Lost Girl" premiered on Sci Fi Australia on July 14, 2011. In the United Kingdom and Ireland, it premiered on Syfy (UK) on September 1, 2011. In the United States, it premiered on Syfy on January 16, 2012.


title: Lost Girl

text: Episodes begin with a cold open, followed by the opening title sequence crediting the top four main actors and series creator. The show title and credits are accompanied by the "Lost Girl Theme" song. Over the top of the sequence and theme song is the voice-over monologue by the protagonist, Bo (Anna Silk), summarizing her story:


title: Lost Girl

text: The "Lost Girl Theme" song was composed by Jody Colero, Marco DiFelice and Benjamin Pinkerton. Total episode running time is 44:00 minutes, including opening title sequence and closing credits roll. Episodes on Syfy in the United States are 90 seconds shorter to allow for more commercial advertisement time. Starting with Season 3, 30 seconds of story that would have otherwise been cut from the episodes for Syfy's advertising blocks were preserved by replacing the original opening title sequence with opening credits superimposed over the first scene of each episode.


title: Lost Girl

text: Bo is a Succubus who grew up in an adopted human family, unaware of her non-human nature and of the Fae world she descended from. She began to feel "different" when she entered puberty and didn't know she was not normal until she accidentally killed her high school boyfriend by draining his life energy during her first sexual encounter. When she told her parents what had happened, they broke the news to Bo that she had been adopted (see "Raging Fae"). Not knowing what she was and what she had done, Bo hated herself and ran away from home, exchanging her previous life for one without family or friends, moving from place to place and assuming a false identity whenever she killed again.


title: Lost Girl

text: In the first episode, Bo saves a young human woman, Kenzi, from a rapist who had surreptitiously drugged her with a "roofie" in her drink. The two quickly become friends and Kenzi decides they should team up to create a Fae/Human detective agency. Confronted by the Fae leaders of the local territory with a demand for her to choose a side – either "Light" or "Dark" – Bo declares herself neutral, deciding instead to side with humans after Kenzi risks her life to find out where Bo had been taken by force and what they were doing to her.


title: Lost Girl

text: Most of the Fae considered Bo an unknown entity that should either be eliminated as a risk to their secret existence or exploited for their benefit. Throughout the season, Bo learns more about the Fae world and herself while she searches for information about her origins. Along the way, Bo also develops romantic relationships with both Dyson, a Light Fae wolf shapeshifter and police detective; and Lauren, a human doctor and scientist in servitude to the Light Fae.


title: Lost Girl

text: Bo faces personal challenges with Dyson after she finds out The Norn took his ability to feel passion for her in exchange for giving her the strength to defeat Aife in the season one finale; and with Lauren when their relationship became complicated after The Morrigan informed Bo in "It's Better to Burn Out Than Fae Away" that Lauren had a girlfriend. At the same time that she is coping with these turmoils, a villainous and evil ancient enemy of the Fae, the Garuda, is awakened and reappears with the intent to destroy the truce between Light and Dark Fae, and reignite the Great War between them. The new Ash, Lachlan, recruits Bo to be his champion in the battle against the Garuda and she agrees on the condition that he regard her as a partner, not as his servant. During this hectic time, Bo develops a no-strings-attached lustful relationship with Ryan Lambert, a Dark Fae Loki playboy that in "Fae-nted Love" became unwittingly thralled by her when, during energy-drawing healing sex, her blood came into contact with deep scratches she made on his back. Bo learns in "Into the Dark" that she is not only Trick's maternal granddaughter, but deduces that she has inherited some of his Blood Sage powers: if her blood comes into contact with someone's open wound, it can enslave and bind the recipient to her will (the same power that her mother, Aife, used to create male slaves). She uses her blood power to unite her team of Light and Dark in the final battle against the Garuda.


title: Lost Girl

text: With Fae society in upheaval, Bo finds herself facing further changes and challenges as former ally Hale becomes the acting Ash – trying to forge a new balance between Light and Dark by appointing a Valkyrie aligned with the Dark Fae, Tamsin, as Dyson's new detective partner. Meantime, Tamsin is a secret agent working for two separate clients: The Morrigan, who wants to build a case against Bo so that she can execute her; and as a mercenary for someone who wants to entrap Bo. Matters become complicated when Kenzi is kidnapped by a crazed Kitsune who assumes her identity and deliberately sows distrust in the relationships between Bo and those closest to her, just as Bo must prepare for and go through an evolutionary Fae rite of passage that forces her to explore her past and future. Danger escalates when a human scientist convinces a despondent Lauren to join him in conducting scientific research in his private laboratory – all the while deceptively concealing his intent to harness Fae genetics for himself with the use of her expertise. The third season culminates with Bo being engulfed by black smoke and disappearing into thin air, presumably whisked away by her mysterious and powerful biological father (who may be "The Wanderer" that recurred throughout the season's story arc).


title: Lost Girl

text: While Kenzi, Hale, and Dyson, are all living their lives, Bo is nowhere to be found. It's later realized that they simply forgot Bo, as someone was forcing them to. Massimo has been giving Kenzi temporary powers to appear Fae. Bo finally awakens to find herself on a train, and later jumps off. A group of Fae called the "Una Mens" are introduced. When she arrives home, it is discovered that while Bo herself did not consciously choose a side, her blood has chosen Dark. Tamsin is found reborn, as a little girl, and grows up with Kenzi as her pseudo-mom. Massimo steals from Bo and Kenzi in an attempt to convince Kenzi to pay him, and Bo figures out that he is not Fae, but human. He also kidnaps Tamsin to acquire her Valkyrie hair, and after being defeated by Bo, chases after the hair into a pit of lava, where at that point he is presumed to be dead. Many of Trick's secrets and past actions are revealed, including a tie to a past life of Tamsin's, and the fact that he used his blood to "erase" someone from existence. Tamsin discovers that by not taking the soul of a man named Rainer to Valhalla, she is part of the reason "The Wanderer" was created. Bo is able to get back on the train, where she finally meets Rainer, and brings him back to the Dal. Hale and Kenzi admit their feelings for each other. Lauren, who has been working with the Dark, somehow turns the Morrigan human. Kenzi's mother is introduced, and Hale attempts to propose. Massimo returns, and protecting Kenzi, Hale is killed. Kenzi tries to get revenge, but is stopped by Vex, who mentions that he is Massimo's guardian. Evony is revealed to be Massimo's mother, and gave him to Vex years ago when he was a boy. Bo learns that not only is her father coming, but that to close the portal, she will need to give her heart. That is revealed to be Kenzi, who sacrifices herself. It ends with Bo visiting Kenzi's grave.


title: Lost Girl

text: On October 16, 2008, Canwest (Canwest Global Communications Corp.) announced that it had commissioned a pilot for "Lost Girl" from Prodigy Pictures. The script was to be written by Michelle Lovretta, who had previously been a writer for the Canadian television series "Mutant X". Principal photography was completed in February 2009.


title: Lost Girl

text: Canwest issued a press release on August 13, 2009, announcing that it had given the green-light for 13 episodes of "Lost Girl" to air on its specialty channel Showcase: "A drama loaded with mystery, romance and intrigue, "Lost Girl" focuses on the gorgeous and charismatic Bo – a Succubus with heart. While Succubi are inhuman women who seduce and feed off their human partner's sexual energy, Bo is not your average Succubus. Raised in secret by humans, Bo tries to survive in the human, modern world without giving in to her instinctive urge to kill. Refusing to embrace her supernatural clan and its strict regimes, Bo uses her feminine wiles – along with some help from her friends – to fight for the underdog. All the while, she is on a very personal mission to unlock the secrets of her origin and find her birth mother...Leading the "Lost Girl" cast is Anna Silk ("Billable Hours", "Being Erica") as Bo. The gang of monster misfits and human helpers includes Kristen Holden-Reid ("The Tudors") as Dyson, an inhuman cop involved in a love/hate relationship with Bo – he absolutely hates how much he loves her. Two-time Gemini Award winner Ksenia Solo ("Renegadepress.com") stars as Kenzie, Bo's street-smart and fiercely loyal human best friend. The cast also includes Rick Howland ("Bon Cop, Bad Cop") as Trick, a friendly saloon keeper with something to hide..."Lost Girl" will also offer a cross platform experience to viewers. Production is currently underway on the development of an interactive website, graphic novel and downloadable video game."


title: Lost Girl

text: On April 6, 2010, Prodigy Pictures reported that principal photography had begun with production scheduled to wrap in June 2010: "Filming will take place at a West Toronto soundstage and on location in the vicinities of Toronto and Hamilton, Ontario until June 25, 2010. The series is set to air on Showcase in the fall..."Lost Girl" follows supernatural seductress Bo (Anna Silk), a Succubus who feeds on the sexual energy of mortals...Bo's succubus nature tangles her in a sexy, romantic love-triangle with Dyson (Kris Holden-Reid), a shape-shifting Fae and homicide detective, and Lauren (Zoie Palmer), a human doctor who has found a way through science to help give Bo the sexual self-control she's been aching for. Navigating this complicated life with Bo is her human confidante and street-smart survivor, Kenzi (Ksenia Solo)...Writers include Michelle Lovretta; Peter Mohan; Jeremy Boxen; Emily Andras; and Pamela Pinch...A companion website for the series is being produced concurrently and will launch with the show to give viewers an unprecedented, interactive experience." The series was aimed for a Fall release date.


title: Lost Girl

text: On June 22, 2010, Keyframe Digital Productions reported that they had been given the contract for visual effects on the first thirteen episodes of "Lost Girl".


title: Lost Girl

text: As part of the promotion of the series, an official site was opened at the beginning of August 2010 at www.lostgirlseries.com. It contained a short trailer for the series and a summary of information on the show and its characters. On August 20, 2010, ""Lost Girl: The Interactive Motion Comic"" was released as a lead-in to the series. On the same date, a press release indicated that "Lost Girl" cast and crew would be making an appearance at Fan Expo Canada in Toronto on August 27–29, 2010, where they would be answering questions about the show and have promotional items available for audience members as well.


title: Lost Girl

text: "Lost Girl" premiered on Showcase on September 12, 2010. The show's debut became "the highest-rated Canadian scripted series premiere of all time on Showcase."


title: Lost Girl

text: The first-season episode "Vexed" (1.08) is the original pilot shown to Showcase to obtain the green-light for the series.


title: Lost Girl

text: Showcase renewed "Lost Girl" for a second season on November 12, 2010, announcing "record-breaking ratings" and the "number one scripted series for Adults 25–54 across all specialty channels" in Canada.


title: Lost Girl

text: Production on thirteen episodes for Season 2 began on May 17, 2011, with filming taking place at a Toronto soundstage and at locations in and around the city until September 22, for a targeted Fall 2011 premiere.


title: Lost Girl

text: On May 18, 2011, Syfy (U.S.) announced that it had acquired 26 episodes (Season 1 and Season 2) of "Lost Girl" from Prodigy Pictures.


title: Lost Girl

text: Showcase announced in a July 7, 2011, press release that the Season 2 premiere would be on September 4, 2011, and that an additional nine episodes had been ordered to make the season a total of 22 episodes. The order for more episodes was made public two weeks before the first appearance of "Lost Girl" cast and producers at San Diego Comic-Con International.


title: Lost Girl

text: Naming "Lost Girl" its "highest rated drama series", Showcase announced the renewal for a third season on December 9, 2011, with production beginning in spring 2012.


title: Lost Girl

text: The United States debut of "Lost Girl" on January 16, 2012, was announced by Syfy on December 12, 2011; with the last episode of Season 1 (1.13) on April 9 followed by Season 2 (2.01) on April 16, 2012.


title: Lost Girl

text: Prodigy Pictures announced the start of principal photography on Season 3 on April 17, 2012, with the season premiere slated for fall 2012.


title: Lost Girl

text: On July 12, 2012, Showcase declared via Twitter that Season 3 would premiere in winter 2013 (i.e. early 2013).


title: Lost Girl

text: Syfy confirmed the January 14, 2013, U.S. premiere of Season 3 in a general press release on November 12, 2012. The following day (November 13), Showcase announced the Canadian premiere date of January 6, 2013.


title: Lost Girl

text: Midway through Season 3, Showcase announced the renewal of "Lost Girl" for a fourth season on February 28, 2013, citing consistent delivery of "stellar ratings" and a "cornerstone series" for the network. Later on the same day, Syfy announced it had renewed "Lost Girl" for a fourth season containing thirteen episodes, and premiering in 2014.


title: Lost Girl

text: On May 31, 2013, Prodigy Pictures and Showcase announced that filming had begun on thirteen episodes for Season 4, with an expected premiere in Fall 2013; followed with a start of production announcement by Syfy on June 4, 2013.


title: Lost Girl

text: Showcase announced its 2013 Fall schedule on July 11, 2013, with Season 4 premiering on November 10, 2013, and its Sunday night broadcast changing from a 9 p.m. to 10 p.m. time slot.


title: Lost Girl

text: As a lead-in to the premiere of Season 4, Showcase announced the streaming of a four-part original "webisodes" series on its "Lost Girl" website, with the first episode released on October 13, 2013.


title: Lost Girl

text: On November 22, 2013, Syfy announced the January 13, 2014, premiere of Season 4, with the show's Monday broadcast schedule changed from 10 p.m. to 8 p.m.


title: Lost Girl

text: Syfy announced on "Twitter" on January 23, 2014, that the series' broadcast was returning to 10 p.m. effective January 27, 2014 (episode "Lovers. Apart.").


title: Lost Girl

text: Showcase and Shaw Media announced the renewal for a fifth season of "Lost Girl" on February 27, 2014. Vanessa Piazza, who joined Prodigy Pictures Inc. in 2009 as a producer, was elevated to the position of executive producer on the show. Michael Grassi, who became a writer and consulting producer for the series in its fourth season, moved into the position of showrunner and executive producer for Season 5.


title: Lost Girl

text: On April 9, 2014, Prodigy Pictures and Showcase announced the start of production on 13 episodes, with filming taking place in and around Toronto, and Season 5 premiering in Fall 2014.


title: Lost Girl

text: On August 25, 2014, Showcase and Anna Silk announced that Season 5 would be the series' last. The original 13-episode season was extended to 16 episodes and divided into Part 1 and Part 2, consisting of eight episodes each. Part 1 of the fifth season premiered on December 7, 2014. Part 2 (episodes 5.09-5.16) was scheduled for Fall 2015. On June 1, 2015, Showcase announced the airing of the final eight episodes starting on September 6.


title: Lost Girl

text: On March 3, 2015, Syfy announced the United States premiere of Season 5 on April 17, 2015, at 10 p.m., with the show's broadcast day changed to Friday. Syfy changed the time slot to Thursday at 10 p.m. starting with episode "Clear Eyes, Fae Hearts". After the broadcast of the mid-season finale episode "End of Faes" on June 4, Syfy announced in a preview of Part 2 that "Lost Girl" would return in 2016.


title: Lost Girl

text: In a pre-linear promotion of anticipated series, Showcase released the first episode of Part 2, "44 Minutes to Save the World", online on August 21, in advance of the broadcast premiere on September 6, 2015. It was made available for viewing on its website and on multi digital platforms.


title: Lost Girl

text: In a 2011 interview for "The Watercooler", Michelle Lovretta described her reaction to being asked to create "Lost Girl":


title: Lost Girl

text: When Prodigy (our studio) asked me to create a show about some kind of bisexual superhero who uses sex as part of her arsenal, my first thought was "hell, yes!"...The challenge was to create a fun, sex-positive world that celebrates provocative cheesecake for everyone, without falling into base stereotypes or misogynistic (or misandristic) exploitation along the way...Bo has lots of sex, with men, women, humans, Fae, threesomes... and she's still our hero, still a good person worthy (and capable) of love, and that's a rare portrayal of female sexuality...It's also rare to have a female lead who is so honestly sexual, without judgment...I think the single element I will remain proudest of is just that we've been able to create and put out into the world a sex positive universe where a person's sexual orientation is unapologetically present and yet neither defines them as a character, nor the show as a whole...I felt it was crucial to also demonstrate that sex and romance aren't the only ways that Bo measures a relationship's worth, to give the show balance...Fans may have noticed that Kenzi clarified her hetero orientation at the end of ep 101...That line was necessary because...I was determined to protect their platonic-yet-epic BFF-ness, so I made sure it was written in as canon. Partly, this was to debunk the gay-panic cliche that bisexual people sexualize everyone, and are incapable of platonic friendship. But there was another, simpler and more personal reason: I think friendship is the fifth element...So, hidden in amongst all the romance and cleavage and threesomes, the "Lost Girl" Bo and Kenzi relationship is my own little love poem to all the BFFs out there who do it right.


title: Lost Girl

text: Series creator Michelle Lovretta teamed with industry veteran Peter Mohan to co-showrun Season 1. Lovretta and Mohan left (on good terms) after the first season to pursue other opportunities, and the Season 2 showrunner role was split between "Lost Girl" writer Jeremy Boxen and another industry veteran, Grant Rosenberg.


title: Lost Girl

text: Emily Andras, who had been involved with the series as a writer and consulting producer since Season 1, became showrunner effective Season 3. In an interview for "The Huffington Post" after the announcement by Syfy that it had renewed the show for a third season, Andras described what direction she would like to see "Lost Girl" go in the future:


title: Lost Girl

text: Into a world where a bisexual protagonist is non-news. I'm so proud of the comedic ambitions of "Lost Girl", that it's dedicated genre [fare] that doesn't take itself too seriously, but I also love exploring the shades of gray; the moral ambiguity of characters who may live forever and their relationships with mortals who will not.


title: Lost Girl

text: In a December 2012 interview with the Writers Guild of Canada, Andras detailed the flow of the "Lost Girl" showrunner title, followed with a second interview in the guild's magazine, "Canadian Screenwriter". In an interview with SpoilerTV, she addressed the fervor of the show's fandom. On March 10, 2013, after the Showcase broadcast of Fae-ge Against The Machine, Emily Andras participated in a special live question and answer session on "Doccubus.com" with fans of the show and of Bo & Lauren. In the Q&A, Andras also discussed the selection of Zoie Palmer for the role of Dr. Lauren Lewis, the theme of death, and the love triangle between "the wolf" and "the doctor". Starting with the premiere episode of Season 4, In Memoriam, Andras held a series of exclusive post-episode weekly interviews with "The Loop" (TV Guide.CA). She discussed the process of writing "Lost Girl" and her involvement with the series in an interview with the popular podcast fan site, "Drinks at The Dal".


title: Lost Girl

text: Michael Grassi, who joined the show as a writer and consulting producer for the fourth season, succeeded Emily Andras as showrunner for Season 5. (Andras moved into the position of executive consulting producer on the series.)


title: Lost Girl

text: Most of the interior settings were filmed at "Revival 629 Studio" located at 629 Eastern Ave, Toronto, Ontario, Canada.


title: Lost Girl

text: The sexuality presented in "Lost Girl" is an important element of the show's narrative. The lead character, Bo, is a bisexual succubus that survives, thrives, and heals by feeding on the chi (life force) of male and female humans, and Fae — either by drawing it out through their mouths, or by absorbing the energy created from sexual contact with them. Casual sex is intrinsic and depictions of sexual encounters have also included threesomes.


title: Lost Girl

text: Throughout the series, Bo has two primary romantic relationships: Dyson, a heterosexual shapeshifter Light Fae that transforms from wolf to human-like form; and Lauren, a lesbian human doctor and medical researcher who is a pledged servant of the leader of the Light clan. The relationships of Bo with Dyson and Bo with Lauren is referred to as the "Love Triangle".


title: Lost Girl

text: As a succubus, however, Bo is unable to prevent the fundamental requirements of her nature from hindering emotional want. In Season 3, Bo asked Lauren to join her in a physically monogamous relationship, but her feeding needs ultimately made it unsustainable.


title: Lost Girl

text: Other main characters in "Lost Girl" are heterosexual (Kenzi, Trick, Hale), while the sexual range of recurring characters varies. For example, the leader of the Dark Fae clan, The Morrigan, was seduced by Bo in Season 2, and Lauren in Season 4; the Dark mesmer, Vex, was shown initially as a BDSM submissive with a dominatrix and the first explicitly sexual disclosure about him was in a bisexual fantasy in Season 5. The Dark valkyrie, Tamsin, seduced Dyson in Season 4; and in Season 5 offered Bo her random one-night stand male after she had sex with him, followed by her commencing a sexual affair with Bo.


title: Lost Girl

text: In the "Lost Girl" universe, sexuality is a natural, judgement-free affirmation of life. The sex-positive series has been praised by critics and fans for its seamless portrayal of amorous desire and groundbreaking representation of bisexuality — and for not labeling sexual orientations shown in episodes as straight, bisexual, lesbian, or gay.


title: Lost Girl

text: In an interview with "GayCalgary Magazine", Rachel Skarsten expressed what distinguished "Lost Girl" in its treatment of romantic relations:


title: Lost Girl

text: One of the things we pride ourselves in with "Lost Girl" is, it's not about this heterosexual couple, this homosexual couple – it's just about the relationship; about two people who love each other, and I think that is one of the things that makes our show really special.


title: Lost Girl

text: A character's sexual identity in "Lost Girl" is precisely what audiences see without needing explanations in the storyline.


title: Lost Girl

text: The series premiered in Australia on July 14, 2011, on Sci Fi, with Season 2 returning on February 23, 2012, and Season 3 on SF (formerly Sci Fi) on January 10, 2013. After SF ceased operations in December 2013, "Lost Girl" was left without a premiere network in Australia. Free-to-air network SBS2 thereafter acquired the rights to Seasons 1-3 of the series. Season 1 aired on October 1, 2013; Season 2 on September 29, 2014. (Season 3 has not aired as of this writing.) In 2015, Stan, a new streaming service, offered Season 4 in its entirety at its launch on January 25, 2015, and later premiered the first half of Season 5 on February 28, 2015, and the second half of Season 5 on September 7, 2015.


title: Lost Girl

text: In the United Kingdom and Ireland, the series premiered on Syfy (UK) on September 1, 2011, and returned for Season 2 on January 12, 2012, followed by Season 3 on April 23, 2013, and Season 4 on January 16, 2014. Due to a drop in ratings, the series was moved from 10 p.m. to 9 p.m. effective February 5, 2014.


title: Lost Girl

text: The series premiered on Syfy in the United States on January 16, 2012, after Syfy purchased the rights to Seasons 1 and 2 from Prodigy Pictures on May 18, 2011. Syfy aired both seasons back-to-back, with Season 1 ending on April 9, 2012 and Season 2 starting on April 16, 2012. Season 3 premiered on January 14, 2013. Season 4 premiered on January 13, 2014, with the time slot changed from its normal 10 p.m. schedule to 8 p.m., but returned to 10 p.m. on January 27, 2014, with "Lovers. Apart.".


title: Lost Girl

text: The finale of Season 2 on April 1, 2012, was preceded by the Showcase special, "Lost Girl Finale Pre-Show". Filmed on the series' "Dal Riata" set, the live audience one-hour program hosted by "Lost Girl" writer Steve Cochrane featured behind-the-scenes footage and interviews with Anna Silk, Kris Holden-Ried, Ksenia Solo, Zoie Palmer, Rick Howland, K.C. Collins, Paul Amos, and executive producer Jay Firestone.


title: Lost Girl

text: "Lost Girl ConFAEdential", a special roundtable discussion about the previous two seasons and characters, aired on Showcase before the premiere of Season 3 on January 6, 2013. Moderated by Jay Firestone, Executive Producer of "Lost Girl", it featured (in order of introduction): Rick Howland ("Trick"), Zoie Palmer ("Dr. Lauren Lewis"), Anna Silk ("Bo"), Kris Holden-Ried ("Dyson"), Ksenia Solo ("Kenzi"), and K.C. Collins ("Hale").


title: Lost Girl

text: The premiere of Season 4 was preceded by "Lost Girl: An Evening at the Clubhouse", a one-hour special featuring cast-on-cast interviews, webisode footage and a sneak peek. During the pre-show, cast reflected on both the past and upcoming seasons, revealed behind-the-scenes stories, and responded to fan questions.


title: Lost Girl

text: A series of four webisodes streamed on the Showcase website were created as a promotional lead-in to the premiere of Season 4 in Canada, with the first installment released on October 13, 2013.


title: Lost Girl

text: On October 12, 2011, Prodigy Pictures and Showcase announced on the show's official Facebook page that episodes of "Lost Girl" had become available for purchase and download from iTunes Canada. Episodes later became available on iTunes U.S., Netflix, and for streaming or purchase from Amazon Prime Video. The series ended its run on Netflix in 2020.


title: Lost Girl

text: In Canada (Region 1), Entertainment One, Ltd. released the DVD of Season 1 on April 24, 2012. On November 13, 2012, Berkshire Axis Media released Season 2 in Canada on DVD and Blu-ray. Effective Season 3, the release of the DVD and Blu-ray in Canada was the same Region 1 discs released in the United States by "Giant Ape Media", a subsidiary company of Funimation.


title: Lost Girl

text: In Australia (Region 4), Sony Pictures Home Entertainment released Season 1 on DVD on November 23, 2011; Season 2 on September 19, 2013; and Season 3 on December 5, 2013.


title: Lost Girl

text: In the United States (Region 1), Giant Ape Media (Funimation SC) released the uncut episodes "not seen on Syfy" on DVD and Blu-ray with Season 1 on October 23, 2012, followed by Season 2 on November 13, 2012. The DVD and Blu-ray of Season 3 was released by Giant Ape Media in Region 1 (Canada and U.S.) on November 19, 2013. The Season 4 DVD and Blu-ray for Region 1 (Canada and U.S.) was released by Giant Ape Media on June 24, 2014.


title: Lost Girl

text: In the United Kingdom and Ireland (Region 2), Sony Pictures Home Entertainment released Season 1 on DVD on February 25, 2013; Season 2 on September 9, 2013; Season 3 on March 3, 2014; and Season 4 on May 19, 2014.


title: Lost Girl

text: As a promotional lead-in to the show's premiere, "Lost Girl: The Interactive Motion Comic", a series of six motion comics, was released on Showcase's official "Lost Girl" website. The first chapter streamed on August 20, 2010. Around the time of the release of Chapter 5, the individual chapters were all made available for downloading as well as viewing on the website. File formats included M4V, MP4 and WMV files. The motion comics provided a story-telling medium that introduced Bo and some characters from the show, and gave additional insight into the supernatural world of "Lost Girl".


title: Lost Girl

text: To promote the show's United States premiere on Syfy in January 2012, a limited edition comic book, "Lost Girl: Prologue", was distributed during the "Lost Girl" panel on July 22, 2011, at San Diego Comic-Con 2011.