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Cinderella (1950 film)

Cinderella is a 1950 American animated musical fantasy film produced by Walt Disney Productions and released by RKO Radio Pictures. Based on Charles Perrault's 1697 fairy tale, it features supervision by Ben Sharpsteen. The film was directed by Wilfred Jackson, Hamilton Luske, and Clyde Geronimi. The film features the voices of Ilene Woods, Eleanor Audley, Verna Felton, Rhoda Williams, James MacDonald, and Luis van Rooten.

During the early 1940s, Walt Disney Productions had suffered financially after losing connections to the European film markets due to the outbreak of World War II. Because of this, the studio endured commercial failures such as Pinocchio, Fantasia (both 1940) and Bambi (1942), all of which would later become more successful with several re-releases in theaters and on home video. By 1947, the studio was over $4 million in debt and was on the verge of bankruptcy. Walt Disney and his animators returned to feature film production in 1948 after producing a string of package films with the idea of adapting Charles Perrault's Cendrillon into an animated film.

Cinderella was released to theatres on February 15, 1950. It received critical acclaim and was a box office success, making it Disney's biggest hit since Snow White and the Seven Dwarfs (1937) and helping reverse the studio's fortunes. It also received three Academy Award nominations, including Best Scoring of a Musical Picture, Best Sound Recording, and Best Original Song for "Bibbidi-Bobbidi-Boo".

The film was followed by two direct-to-video sequels, Cinderella II: Dreams Come True (2002) and Cinderella III: A Twist in Time (2007), and a live-action remake in 2015. In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Plot
When Cinderella is a young girl, her widowed father marries Lady Tremaine, a widow with two daughters of her own, but dies shortly after. Jealous of her stepdaughter's beauty and determined to forward her own daughters' interests, Lady Tremaine orders Cinderella to become a scullion in her own château, overburdening her with chores. Cinderella's stepsisters, Anastasia and Drizella, also take advantage of her meekness, mocking her and adding to her workload. Despite this, Cinderella remains kind of heart, obediently doing her chores whilst taking care of the mice and birds that live in the château, making friends of them, mainly of two mice named Jaq and Gus. She also protects them from being eaten by her stepmother's cat Lucifer, who makes her duties even harder in retaliation.

One day, the local King becomes impatient for his son, the Prince, to provide him with grandchildren. Despite the objections of the Grand Duke, the King invites all the eligible maidens in the kingdom to a royal ball, so that the Prince will choose one as his wife. Wanting to attend, Cinderella finds a dress of her late birth mother's to fix up. Fearing she will upstage them at the ball, Lady Tremaine and the stepsisters deliberately keep her busy with no time to spare. Jaq, Gus, and the other animals decide to fix up the dress for Cinderella, using beads and a sash discarded by the stepsisters. However, when Cinderella attempts to go to the ball with her family, the stepsisters recognize their belongings and angrily tear the dress apart, before leaving Cinderella behind.

A distraught Cinderella runs out to the garden in tears, where she is met by her fairy godmother, who has come to help. She transforms a pumpkin into a carriage; Jaq, Gus, and two other mice into horses; Cinderella's old horse Major into a coachman; and her bloodhound Bruno into a footman. The fairy godmother also bestows Cinderella a shimmering ball gown and glass slippers, but warns her that all the magic will end on the stroke of midnight.

Cinderella arrives at the ball, and is not recognized by the stepsisters, although Lady Tremaine believes something is familiar about her. The Prince is instantly smitten, so the King orders the Grand Duke to make sure the romance goes without a hitch. The Duke prevents anyone from interfering as Cinderella and the Prince dance a waltz and wander out to the palace grounds, falling deeper in love. However, when Cinderella hears the clock tolling midnight, she runs away before she and the Prince can exchange names. Despite the efforts of the Grand Duke, Cinderella flees the palace, losing one of her slippers on the staircase. The palace guards pursue, but when the magic ends on the stroke of 12, Cinderella and the animals revert to their former appearances and hide in the woods. Cinderella discovers the other glass slipper is still on her foot, and takes it home with her.

The Prince promises he will marry none but the girl who fits the glass slipper. The King orders the Grand Duke to try the shoe on every girl in the kingdom until he finds a match. When the news reaches the chateau, Cinderella is shocked to realize it was the Prince she met. Hearing Cinderella humming the waltz from the ball, Lady Tremaine realizes the truth and locks Cinderella in her attic bedroom. While the stepsisters unsuccessfully try on the slipper, Jaq and Gus steal the key back from Lady Tremaine. As they take the key to Cinderella, Lucifer attempts to stop them, but the birds summon Bruno who scares Lucifer out of the house.

A freed Cinderella hurries to meet the Grand Duke. In a last effort to prevent Cinderella from overshadowing her daughters, Lady Tremaine causes a page to trip and break the glass slipper. Cinderella reveals she has the other slipper, which the Grand Duke places on her foot, much to Lady Tremaine's shock. Cinderella and the Prince are married, and share a kiss as they set off in a carriage for their honeymoon.

Voice cast

 * Ilene Woods as Cinderella, a well-meaning and hard-working young woman who is reduced to being a servant by her stepmother and stepsisters.
 * Eleanor Audley as Lady Tremaine, Cinderella's cruel and conniving stepmother who envies her stepdaughter's charm and beauty.
 * Verna Felton as the Fairy Godmother, an endearing but slightly addled matron who enables Cinderella to attend the ball.
 * Rhoda Williams and Lucille Bliss as Drizella and Anastasia Tremaine, Lady Tremaine's spoiled and awkward daughters and Cinderella's stepsisters.
 * James MacDonald as Jaq and Gus, Cinderella's loyal and helpful mice friends.
 * MacDonald also voiced Bruno, Cinderella's pet dog.
 * Luis van Rooten as The King, the Prince's loud and short-tempered father who wants his son to get married and have children.
 * Van Rooten also voiced the Grand Duke, the King's fussy majordomo and confidant.
 * William Edward Phipps (uncredited) as Prince Charming, the King's son, who falls in love with Cinderella.
 * Mike Douglas provided the uncredited singing voice for Prince Charming.
 * Marion Darlington (uncredited) as Cinderella's bird friends.
 * June Foray (uncredited) as Lucifer, Lady Tremaine's mean-spirited cat who attempts to hunt down Jaq and Gus.

Betty Lou Gerson was the uncredited narrator in the prologue. Lucille Williams, Thurl Ravenscroft, Clint McCauley, June Sullivan and Helen Seibert provided uncredited voices for Perla and the other mice. John Woodbury provided uncredited additional voices.

Story development
Walt Disney first adapted Charles Perrault's 1697 fairy tale "Cinderella" as part of his cartoon shorts series for the Laugh-O-Gram Studio in 1922. He was interested in producing a second version in December 1933 as a Silly Symphony short; Burt Gillett was attached as the director while Frank Churchill was assigned as the composer. A story outline included "white mice and birds" as Cinderella's playmates. To expand the story, storyboard artists suggested visual gags, some of which ended up in the final film. However, by early 1938, the story proved to be too complicated to be condensed into a short so it was suggested as a potential animated feature film, starting with a fourteen-page outline written by Al Perkins. Two years later, a second treatment was written by Dana Cofy and Bianca Majolie, in which Cinderella's stepmother was named Florimel de la Pochel; her stepsisters as Wanda and Javotte; her pet mouse Dusty and pet turtle Clarissa; the stepsisters' cat Bon Bob; the Prince's aide Spink, and the stepsisters' dancing instructor Monsieur Carnewal. This version stuck closely to the original fairy tale until Cinderella arrives home late from the second ball. Her stepfamily then imprisons Cinderella in a dungeon cellar. When Spink and his troops arrive at the la Pochel residence, Dusty takes the slipper and leads them to free Cinderella.

By September 1943, Disney had assigned Dick Huemer and Joe Grant to begin work on Cinderella as story supervisors and given a preliminary budget of $1 million. However, by 1945, their preliminary story work was halted. During the writing stages of Song of the South (1946), Dalton S. Reymond and Maurice Rapf quarreled, and Rapf was reassigned to work on Cinderella. In his version, Cinderella was written to be a less passive character than Snow White, and more rebellious against her stepfamily. Rapf explained, "My thinking was you can't have somebody who comes in and changes everything for you. You can't be delivered on a platter. You've got to earn it. So in my version, the Fairy Godmother said, 'It's okay till midnight but from then on it's up to you.' I made her earn it, and what she had to do to achieve it was to rebel against her stepmother and stepsisters, to stop being a slave in her own home. So I had a scene where they're ordering her around and she throws the stuff back at them. She revolts, so they lock her up in the attic. I don't think anyone took (my idea) very seriously."

In spring 1946, Disney held three story meetings, and subsequently received treatment from Ted Sears, Homer Brightman, and Harry Reeves dated March 24, 1947. In the treatment, the Prince was introduced earlier in the story reminiscent of Snow White and the Seven Dwarfs (1937), and there was a hint of the cat-and-mouse conflict. By May 1947, the first rough phase of storyboarding was in the process, and an inventory report that same month suggested a different approach with the story "largely through the animals in the barnyard and their observations of Cinderella's day-to-day activities".

Following the theatrical release of Fun and Fancy Free (1947), Walt Disney Productions' bank debt declined from $4.2 million to $3 million. Around this time, Disney acknowledged the need for sound economic policies but emphasized to the loaners that slashing production would be suicidal. To restore the studio to full financial health, he expressed his desire to return to producing full-length animated films. By then, three animated projects—Cinderella, Alice in Wonderland (1951), and Peter Pan (1953)—were in development. Disney felt the characters in Alice in Wonderland and Peter Pan were too cold, while Cinderella contained elements similar to Snow White, and greenlit the project. Selecting his top-tier animation talent, Ben Sharpsteen was assigned as supervising producer while Hamilton Luske, Wilfred Jackson, and Clyde Geronimi became the sequence directors. Nevertheless, production on Alice resumed so that both animation crews would effectively compete against each other to see which film would finish first.

By early 1948, Cinderella had progressed further than Alice in Wonderland, and was fast-tracked to become the first full-length animated film since Bambi (1942). During a story meeting on January 15, 1948, the cat-and-mouse sequences began to grow into an important element in the film so much that Disney placed veteran story artist Bill Peet in charge of the cat-and-mouse segments.

By the late 1940s, Disney's involvement during production had shrunken noticeably. As he was occupied with trains and the filming of Treasure Island (1950), the directors were left to exercise their own judgment more on details. Although Disney no longer held daily story meetings, the three directors still communicated with him by mailing him memoranda, scripts, Photostats of storyboards, and acetates of soundtrack recordings while he was in England for two and a half months during the summer of 1949. When Disney did not respond, work resumed and then had to be undone when he did. In one instance, when Disney returned to the studio on August 29, he reviewed Luske's animation sequences and ordered numerous minor changes, as well as a significant reworking of the film's climax. Production was finished by October 13, 1949.

Casting
Around 380 applicants auditioned for the role of Cinderella, until Ilene Woods was cast in March 1948. Mack David and Jerry Livingston had asked Woods to sing on several demo recordings of the songs. They had previously known her from her eponymous radio show, which was broadcast on ABC. The show featured fifteen minutes of music, in which David and Livingston had their music presented. Two days later, Woods received a telephone call from Disney, with whom she immediately scheduled an interview. Woods recalled in an interview with the Los Angeles Times, "We met and talked for a while, and he said, 'How would you like to be Cinderella?'," to which she agreed.

For the role of Lucifer, a studio representative asked June Foray if she could provide the voice of a cat. "Well, I could do anything," recalled Foray, "So he hired me as Lucifer the cat in Cinderella".

Live-action reference
Starting in spring 1948, actors were filmed on large soundstages mouthing to a playback of the dialogue soundtrack. Disney had previously used live-action reference on Snow White and the Seven Dwarfs (1937), Pinocchio (1940), and Fantasia (1940), but as part of an effort to keep the production cost down, the footage was used to check the plot, timing, and movement of the characters before animating it. The footage was then edited frame-by-frame onto large Photostat sheets to duplicate, in which the animators found too restrictive as they were not allowed to imagine anything that the live actors did not present since that kind of experimentation might necessitate changes and cost more money. Additionally, the animators were instructed to draw from a certain directorial perspective to avoid difficult shots and angles. Frank Thomas explained, "Anytime you'd think of another way of staging the scene, they'd say: 'We can't get the camera up there'! Well, you could get the animation camera up there! So you had to go with what worked well in live-action."

Walt Disney hired actress Helene Stanley to perform the live-action reference for Cinderella, allowing artists to draw animated frames based on the movements of the actress. She later did the same kind of work for the characters of Princess Aurora in Sleeping Beauty (1959) and Anita Radcliffe in One Hundred and One Dalmatians (1961). Animators modeled Prince Charming on actor Jeffrey Stone, who also provided some additional voices for the film. Claire Du Brey served as the live-action reference for the Fairy Godmother, although the design for the character was based on Mary Alice O'Connor (the wife of layout artist Ken O'Connor).

Character animation
By 1950, the animation board, which had been established as early as 1940 to help with the management of the animation department, had settled down to nine supervising animators, including Frank Thomas, Ollie Johnston, Les Clark, Wolfgang Reitherman, Eric Larson, Ward Kimball, Milt Kahl, John Lounsbery, and Marc Davis. Although they were still in their thirties, they were jokingly referred by Disney as the "Nine Old Men" after President Franklin D. Roosevelt's denigration of the Supreme Court. Eric Larson and Marc Davis were both tasked with designing and animating Cinderella. Larson was the first to animate the character whom he envisioned as a "sixteen-year-old with braids and a pug nose". However, Disney grew displeased with this approach and assigned Davis as the second supervising animator, whose designs suggested a "more the exotic dame" with a long swan-like neck. To minimize the differences and set the final design, Disney assigned animator Ken O'Brien who, as Larson said, made "his gals and Marc's gals look like the same gal." Due to the extensive use of the live-action reference for the film, Helene Stanley's physical features also influenced the character's final appearance.

Frank Thomas was assigned as the supervising animator of Lady Tremaine, which he was "astounded" with, since he had previously mainly specialized in more "charming" characters, like Pinocchio or Bambi.

Milt Kahl was the directing animator of the Fairy Godmother, the King, and the Grand Duke. Originally, Disney intended for the Fairy Godmother to be a tall, regal character as he viewed fairies as tall, motherly figures (as seen in the Blue Fairy in Pinocchio (1940)), but Kahl disagreed with this characterization. Following the casting of Verna Felton, Kahl managed to convince Disney of his undignified concept of the Fairy Godmother.

Unlike the human characters, the animal characters were animated without live-action reference. During production, none of Kimball's designs for Lucifer had pleased Disney. After visiting Kimball's steam train at his home, Disney saw his calico cat and remarked, "Hey—there's your model for Lucifer". Reitherman animated the sequence in which Jaq and Gus laboriously drag the key up the flight of stairs to Cinderella.

Music
In 1946, story artist and part-time lyricist Larry Morey joined studio music director Charles Walcott to compose the songs. Cinderella would sing three songs: "Sing a Little, Dream a Little" while overloaded with work, "The Mouse Song" as she dressed the mice, and "The Dress My Mother Wore" as she fantasizes about her mother's old wedding dress. To recycle an unused fantasy sequence from Snow White, the song, "Dancing on a Cloud" was used as Cinderella and the Prince waltz during the ball. After the ball, she would sing "I Lost My Heart at the Ball" and the Prince would sing "The Face That I See in the Night." However, none of their songs were used.

Two years later, Disney turned to Tin Pan Alley songwriters Mack David, Jerry Livingston, and Al Hoffman to compose the songs. They were the first professional composers to be hired outside the production company. The trio had previously written the song "Chi-Baba, Chi-Baba" that Disney heard on the radio and decided would work well with the Fairy Godmother sequence. They finished the songs in March 1949. In total six songs were performed in the film: "Cinderella", "A Dream Is a Wish Your Heart Makes", "Oh, Sing Sweet Nightingale", "The Work Song", "Bibbidi-Bobbidi-Boo", and "So This Is Love".

Oliver Wallace and Paul Smith composed the score, but only after the animation was ready for inking, which was incidentally similar to scoring a live-action film. This was a drastic change from the earlier Disney animated features in which the music and action were carefully synchronized in a process known as Mickey Mousing.

The film also marked the launching of the Walt Disney Music Company. The soundtrack was also a first in using multi-tracks for vocals – with the song "Oh, Sing Sweet Nightingale", Ilene Woods recorded a second and third vocal track to enable her to sing harmony with herself.

On February 4, 1950, Billboard announced that RCA Records and Disney would release a children's album in conjunction with the theatrical release. The RCA Victor album release sold about 750,000 copies during its first release, and hit number-one on the Billboard pop charts.

On September 12, 1995, a special edition of the soundtrack entitled Walt Disney Records Presents The Music of Cinderella was released to coincide with the film's re-release on home video. The album opened with cover versions of the songs from the film including Linda Ronstadt singing "A Dream is a Wish Your Heart Makes" in English and Spanish, Take 6 singing "The Work Song", James Ingram singing "So This Is Love", David Benoit and David Sanborn performing a jazz medley from the film, and Bobby McFerrin's take on "Bibbidi-Bobbidi-Boo".

The soundtrack for Cinderella was released by Walt Disney Records on CD and audio cassette on February 4, 1997, and included a bonus demo. On October 4, 2005, Disney released a special edition of the soundtrack album of Cinderella, for the Platinum Edition DVD release, which includes several demo songs cut from the final film, a new song, and a cover version of "A Dream is a Wish Your Heart Makes". The soundtrack was released again on October 2, 2012, and consisted of several lost chords and new recordings of them. A Walmart exclusive limited edition "Music Box Set" consisting of the soundtrack without the lost chords or bonus demos, the Song and Story: Cinderella CD and a bonus DVD of Tangled Ever After was released on the same day.

In conjunction with the film's 65th anniversary, the soundtrack for Cinderella was re-released in 2015 as part of the Legacy Collection.

Songs
Original songs performed in the film include:

Release
The film was originally released in theaters on February 15, 1950, in Boston, Massachusetts. It also screened at the inaugural edition of the Berlin International Film Festival in June 1951, where it won the Golden Bear for Best Music Film. Cinderella was re-released in 1957, 1965, 1973, 1981 and 1987. Cinderella also played a limited engagement in select Cinemark Theatres from February 16–18, 2013. To celebrate Disney's 100th anniversary, the film was re-released in cinemas across the UK from August 25 to 31, 2023, and Latin American theaters from October 12 to 18, 2023, alongside Toy Story (1995).

2023 4K restoration
A 4K remastered version of the film premiered at the 73rd Berlin International Film Festival on February 19, 2023, to celebrate the 100th anniversary of the Walt Disney Company. The restoration was described as a "multi-year effort" involving Disney's Restoration and Preservation team and key members of Walt Disney Animation Studios, including Eric Goldberg, Michael Giaimo, Dorothy McKim, and Bob Bagley. It involved obtaining the original 35mm Technicolor negative from the Library of Congress and re-scanning it in 4K resolution, with dirt digitally removed frame by frame to bring the film back "to its original grandeur, authentic to the artistic ambitions of the Studio's creative team, and which looks and sounds better than ever." The 4K version began streaming on Disney+ on August 25.

Critical reaction
The film became a critical success garnering the best reception for a Disney animated film since Dumbo. In a personal letter to Walt Disney, director Michael Curtiz hailed the film as the "masterpiece of all pictures you have done." Producer Hal Wallis declared, "If this is not your best, it is very close to the top." A review in Chicago Tribune remarked: "The film not only is handsome, with imaginative art and glowing colors to bedeck the old fairy tale, but it also is told gently, without the lurid villains which sometimes give little tots nightmares. It is enhanced by the sudden, piquant touches of humor and the music which appeal to old and young." Time magazine wrote that "Cinderella is beguiling proof that Walt Disney knows his way around fairyland. Harking back to the style of Snow White and the Seven Dwarfs (1937), a small army of Disney craftsmen have given the centuries-old Cinderella story a dewy radiance of comic verve that should make children feel like elves and adults feel like children."

However, the characterization of Cinderella received a mixed reception. Bosley Crowther of The New York Times wrote, "The beautiful Cinderella has a voluptuous face and form—not to mention an eager disposition—to compare with Al Capp's Daisy Mae." However, criticizing her role and personality, Crowther opined, "As a consequence, the situation in which they are mutually involved have the constraint and immobility of panel-expressed episodes. When Mr. Disney tries to make them behave like human beings, they're banal." Similarly, Variety claimed the film found "more success in projecting the lower animals than in its central character, Cinderella, who is on the colorless, doll-faced side, as is the Prince Charming."

Contemporary reviews have remained positive. Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars during its 1987 re-release. Jonathan Rosenbaum of the Chicago Reader wrote the film "shows Disney at the tail end of his best period, when his backgrounds were still luminous with depth and detail and his incidental characters still had range and bite." The review aggregator website Rotten Tomatoes reported the film received an approval rating of 98% based on 40 reviews with an average score of 8/10. The website's critical consensus reads, "The rich colors, sweet songs, adorable mice and endearing (if suffering) heroine make Cinderella a nostalgically lovely charmer."

Box office
The film was Disney's greatest box office success since Snow White and the Seven Dwarfs, earning nearly $4.28 million in distributor rentals (the distributor's share of the box office gross) from the United States and Canada. It was the fifth highest-grossing film released in North America in 1950. It was the fifth most popular movie at the British box office in 1951. The film is France's sixteenth biggest film of all time in terms of admissions with 13.2 million tickets sold.

The success of Cinderella allowed Disney to carry on producing films throughout the 1950s by which the profits from the film's release, with the additional profits from record sales, music publishing, publications, and other merchandise gave Disney the cash flow to finance a slate of productions (animated and live-action), establish his own distribution company, enter television production, and begin building Disneyland during the decade, as well as developing the Florida Project, later known as Walt Disney World.

Cinderella has had a lifetime domestic gross of $93 million,  and a lifetime worldwide gross of $182 million across its original release and several reissues. Adjusted for inflation, and incorporating subsequent releases, the film has had a lifetime gross of $565 million.

Accolades
In June 2008, the American Film Institute revealed its "10 Top 10"— the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Cinderella was acknowledged as the 9th greatest film in the animation genre.

American Film Institute recognition:
 * AFI's 10 Top 10 – #9 Animated film

Home media
Cinderella was released on VHS and LaserDisc on October 4, 1988, as part of the Walt Disney Classics collection. The release had a promotion with a free lithograph reproduction for those who pre-ordered the video before its release date. Disney had initially shipped 4.3 million VHS copies to retailers, but due to strong consumer demand, more than seven million copies were shipped. At the time of its initial home video release, it was the best-selling VHS title until it was overtaken by E.T. the Extra-Terrestrial (1982). The VHS release was placed into moratorium (i.e., into the Disney Vault) on April 30, 1989, with 7.2 million copies sold and having grossed US$108 million in sales revenue.

On October 4, 1995, a digitally remastered edition of film was released on VHS and LaserDisc as part of the "Walt Disney Masterpiece Collection", and later in the UK on November 24, 1997. Both editions were accompanied by "The Making of Cinderella" featurette. A Deluxe LaserDisc included the featurette, an illustrated, hardcover book retelling the story with pencil tests and conceptual art from the film, and a reprint of the film's artwork. Disney shipped more than 15 million VHS copies, of which 8 million were sold in the first month.

On October 4, 2005, Disney released the film on DVD with a digitally remastered transfer. This release was the sixth installment of the Walt Disney Platinum Editions series. According to Home Media Magazine, Disney sold 3.2 million copies in its first week, which earned over $64 million in sales. The Platinum Edition was also released on VHS, but the only special feature was the "A Dream Is a Wish Your Heart Makes" music video by the Disney Channel Circle of Stars. The Platinum Edition DVD, along with the sequels to the film, went into the Disney Vault on January 31, 2008. In the United Kingdom and Ireland, a "Royal Edition" of Cinderella was released on DVD on April 4, 2011, to commemorate the UK Royal Wedding of Prince William and Catherine Middleton. This release had a unique limited edition number on every slipcase and an exclusive art card.

On October 2, 2012, a 3-disc Blu-ray/DVD/Digital Copy Combo Diamond Edition was released. The Diamond Edition release also included a 2-disc Blu-ray/DVD combo and a 6-disc "Jewelry Box Set" that included the first film alongside both its sequels. A 1-disc DVD edition was released on November 20, 2012. The Diamond Edition release went back into the Disney Vault on January 31, 2017.

Cinderella was re-released on HD digital download on June 18, 2019, with a physical media re-release on Blu-ray on June 25, 2019, as part of the Walt Disney Signature Collection commemorating the film's 70th anniversary.

On March 18, 2023, Cinderella was re-released on 4K Ultra HD as a Disney Movie Club exclusive, with a SteelBook packaging release on August 1 as well as a standard release on October 17 as part of the Disney100 promotion. It utilized the 4K remastered print from the 2023 Berlin International Film Festival screening, marking it as the first animated film made during the studio's "golden era" to receive this treatment. The 4K version, dubbed as the "Ultimate Restoration," began streaming on Disney+ on August 25.

Sequels and other media

 * A direct-to-video sequel Cinderella II: Dreams Come True was released in 2002.
 * A second direct-to-video sequel Cinderella III: A Twist in Time was released in 2007.
 * Several characters from the film have appeared as guests in the television series House of Mouse, as well in its direct-to-video films Mickey's Magical Christmas and Mickey's House of Villains.
 * Cinderella and the Fairy Godmother appear in the video game Kingdom Hearts. A world based on the film, known as Castle of Dreams, as well several characters, appear in the games Kingdom Hearts Birth by Sleep and Kingdom Hearts χ. The Fairy Godmother returns in the Kingdom Hearts III DLC Re Mind and in Kingdom Hearts: Melody of Memory.
 * A scaled-down stage musical version of the film known as Disney's Cinderella KIDS is frequently performed by schools and children's theaters.
 * A live-action adaptation of the film produced by Walt Disney Pictures, directed by Kenneth Branagh, was released in 2015; starring Lily James, Richard Madden, Cate Blanchett, and Helena Bonham Carter.
 * The Fairy Godmother (played by Melanie Paxson) appears in all the films of the Descendants live-action film series, with Lady Tremaine (played by Linda Ko) appearing in Descendants 3, and Cinderella (played by Brandy Norwood) and Prince Charming (played by Paolo Montalban) appearing in Descendants: The Rise of Red. In the last installment, Morgan Dudley, Tristan Padi and Grace Narducci play the teenage version of Cinderella, Prince Charming and the Fairy Godmother, respectively.
 * Some characters of the film appear as payable characters in the video game Disney Magic Kingdoms.
 * Cinderella, Jaq and Gus have guest appearances in the 2018 film Ralph Breaks the Internet.
 * The film was featured in the 2021 biographical drama film King Richard.
 * Like other Walt Disney Animation Studios characters, the characters from Cinderella have cameo appearances in the short film Once Upon a Studio (2023).

Cultural impact and legacy

Smithsonian magazine discussed how Cinderella endures and resonates, saying: "Dozens of other filmmakers have borrowed elements of the tale, starting as early as 1899 with a French version directed by the pioneering filmmaker Georges Méliès." Time magazine also discussed the film's popularity saying: "References to Cinderella proliferated in popular culture and were widely used to sell consumer goods. Shell Petroleum used an image of a fashionably dressed Cinderella exiting her pumpkin coach in an advertisement of the 1940s, Revlon lipstick boasted a new lipstick in a "Cinderella pumpkin" shade of orange, and Coty packaged perfume in a faux glass slipper." In 2023, Ben Mankiewicz, host of Turner Classic Movies, told Parade magazine, "Disney was on the ropes. Cinderella saved Disney." He also said, "It has everything you want in a princess story, and it's done in this authentic, beautiful way."

Cinderella is referred by many as one of the most recognizable tales in history. Parade magazine listed the film among the greatest animated films of all time. In 2008, American Film Institute ranked Cinderella as the ninth best animated film of all time, writing: "one of the most recognizable fairytale stories ever, Cinderella has stood the test of time." Reader's Digest also listed the film as one of the most popular fairy tales of all time.

Copyright Status
Under current US copyright law, Disney's version of Cinderella (the film and the characters that appeared in the 1950 film) is due to enter the US public domain in 2045. However, later films including her may persist under copyright until the works they were introduced in enter the public domain themselves.

title: Cinderella (1950 film)


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Christie Hefner

Christie Ann Hefner (born November 8, 1952) is an American businesswoman. She was chairman and CEO of Playboy Enterprises from 1988 to 2009, and is the daughter of Playboy magazine founder Hugh Hefner.

Early life
Hefner was born in Chicago, Illinois. She is the daughter of Mildred (Williams) and Hugh Hefner. Her parents had separated by the time she was five. When her mother remarried, she moved to Wilmette, Illinois. There she graduated from New Trier High School. She attended the National Music Camp at Interlochen, Michigan, during the summers from 1964 to 1969.

She graduated summa cum laude from Brandeis University with a bachelor's degree in English and American literature in 1974. She was elected to Phi Beta Kappa in her junior year.

Career
After college, she freelanced for the Boston Phoenix for a year, writing movie reviews. Thereafter, she moved back to Chicago and started working at Playboy.

In 1982, she became president of Playboy Enterprises, and was made chairman of the board and CEO in 1988. She was the longest-serving female CEO of a publicly traded company. She extended its magazine franchise overseas, to 25 localized foreign editions and also developed the company's profitable pay television business — the first time a magazine successfully leveraged its brand into a television network. The company also acquired adult-oriented businesses such as Spice Network and ClubJenna.

Continuing the company's electronic expansion, in 1994, Hefner led the company onto the Internet with the launch of Playboy.com, the first national magazine to launch a web site, and built an international, profitable, multi-revenue stream business, including premium content, e-commerce, advertising and gaming, both online and mobile. She also built a highly profitable direct marketing, catalog and e-commerce business in film and music through both acquisition and organic growth. And, she greatly expanded the leveraging of the Playboy brand via licensing. In her last year as CEO, Playboy generated close to $1 billion in global retail sales, 80% of the sales to women. When she left, over 40% of her executives were women. For three years, she was named to Fortune list of "Most Powerful Women".

In 2008, she released a memo to employees about her efforts to streamline the company's operations, including eliminating its DVD division and laying off staff.

On December 8, 2008, she announced her plans to step down as CEO of Playboy. Hefner said that the election of Barack Obama as U.S. president had inspired her to give more time to charitable work, and that the decision to step down was her own. "Just as this country is embracing change in the form of new leadership, I have decided that now is the time to make changes in my own life as well", she said. She stepped down from her position at Playboy on January 30, 2009.

In May 2011, Hefner was named executive chairman of Canyon Ranch Enterprises, a resort company that operates six premier spa destinations and an online website providing health and wellness advice.

As of 2015, Hefner was chairman of the board of Hatchbeauty Brands. Hefner also serves on the advisory boards of the R.D. Offutt company and Edge Beauty.

Jeffrey Epstein allegations
Christie Hefner is reportedly in the "little black book" belonging to late disgraced pedophile and sex trafficker Jeffrey Epstein, where she is listed in the book as one of Epstein's contacts. The book is currently on auction and is expected to fetch up to $200,000 or more.

Philanthropy
Hefner created the Hugh M. Hefner First Amendment Award in honor of her father, and has helped to raise $30 million to build the CORE Center in Chicago, the first outpatient facility in the Midwest for people with AIDS.

Personal life
Hefner married former Illinois state senator William A. Marovitz, a real estate developer and attorney, in 1995. They divorced in 2013 and have no children. Marovitz was sued by the U.S. Securities and Exchange Commission for allegedly using inside information to trade illegally in shares of Playboy. In 2011, he settled out of court for $168,352.

She lives in Chicago and has one brother, David, a computer systems analyst. She also has two half-brothers, Cooper and Marston, from her father's marriage to Kimberley Conrad.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Christie Hefner


text:
User talk:Redhat~enwiki

I fixed the spelling mistake. Sorry about that. Best Wishes! Since you are new, i have some tips:

 * Peruse Welcome, newcomers and associated pages
 * Sign talk page entries with ~, which is automatically converted to a name and date
 * Ask questions on Village pump
 * Have fun.

-- Greenmountainboy 02:26, 13 Dec 2003 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Redhat. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Redhat~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:21, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 18:01, 22 April 2015 (UTC)

title: User talk:Redhat~enwiki


text:
Mario's Time Machine

Mario's Time Machine is an educational video game originally released for MS-DOS and then for the Nintendo Entertainment System and Super NES consoles. The Software Toolworks both developed and published the MS-DOS and Super NES versions in 1993, while the NES version was developed by Radical Entertainment and published by The Software Toolworks in 1994. The Microsoft Windows version was re-released as Mario's Time Machine Deluxe in 1996.

Mario's Time Machine is one of several educational Mario video games that were released during the early 1990s; the game focuses on teaching human history. While the gameplay and engine vary between the three different versions, the story is roughly the same: the player assumes the role of Mario, who uses a time machine to return various artifacts, which had been stolen by Bowser, to their correct points in time.

Mario's Time Machine received mixed to negative reviews. Its use as an educational title has been mixed, and the game has been compared to another educational history game, Where in Time Is Carmen Sandiego?.

Gameplay
Mario's Time Machine is set in the year 1993. Bowser, who has built a time machine called the "Timulator", travels back in time and steals essential artifacts from various points in human history to place on display in a museum inside his castle. Because these actions will eventually change history permanently, the player character Mario takes control of the Timulator to return the artifacts to their proper areas in time. In the NES version, Bowser also kidnaps Yoshi, who is freed upon completing the game. The gameplay focuses on teaching the player the historical significance of each artifact (and of the associated historical person); to progress through the game, the player must correctly answer questions relating to the learned information. Mario's Time Machine uses a side-scrolling perspective, with a game engine that varies across all three versions. The player controls Mario using a point-and-click interface in the MS-DOS version, while the console versions use a platforming-based control scheme adapted from Super Mario World, in which Mario can move left or right and jump. Like Mario Is Missing!, the console versions use a password system to order to resume play from a particular game state.

The player begins Mario's Time Machine in Bowser's museum. The museum is the main hub, where the player obtains the artifacts and directly accesses all the game's levels (which consist of locations on Earth in different time periods) using the Timulator. In the Super NES and MS-DOS versions, for each artifact, the player is given the year and place it originated from. For example, the player learns that the "Apple" artifact originated from 1687 Cambridge. The player can then time travel using this information; time traveling itself is a minigame in which Mario surfs through a wide ocean, collecting mushrooms. Collecting enough mushrooms will transport Mario to the time period and location programmed into the Timulator. The player is given a short document describing the life and notability of the historical person associated (e.g. Isaac Newton), but the document itself has some of its terms missing. The player thus is required to converse with the non-player characters depicting the local denizens of the time period in order to learn various facts and be able to fill in the blanks. The player chooses the words from a list of pre-determined words; if the player incorrectly fills a blank more than twice, he is sent back to 1993 and is required to try again. When the player fills all the blanks correctly, he can then successfully return the artifact to its original owner. In the game's ending cutscene, Mario manages to confront Bowser, who then steals back the Timulator to make his escape. At this point there are three possible outcomes based on the player's overall performance: in the worst outcome, in which the player fails to return the artifacts quickly enough, Bowser successfully escapes to an area known as Paradise; in the other two outcomes, the Timulator experiences mechanical overload, sending and trapping Bowser in the Jurassic era.

The NES version of Mario's Time Machine has a heavier emphasis on platforming than the other two versions. Despite the presence of enemies, Mario cannot lose lives or even take damage, so obtaining a game over is impossible. To obtain an artifact in Bowser's museum, the player plays a Mario Bros.-inspired minigame in which he fights Koopa Troopas. The player can then use the Timulator and travel to one of the fourteen selectable time periods. Unlike the other versions, the player is not explicitly told which time period the artifact originated from. The player is instead encouraged to explore the time periods and obtain hints, either from local denizens or from message blocks. Once the player figures out the artifact that belongs in that time period, he can then place the artifact in its original spot. After all the artifacts have been returned, the player is tasked to answer three random multiple choice questions pertaining to the historical periods visited. Answering the questions correctly will lead the player to the final boss fight with Bowser. The player wins the game upon Bowser's defeat.

Development
To capitalize on educational games, which gained popularity at the time, Nintendo partnered with The Software Toolworks to develop educational Mario games. Nintendo licensed the characters, but neither the company nor Mario creator Shigeru Miyamoto were not involved in the game’s development. The MS-DOS and Super NES versions were developed by The Software Toolworks and published by Mindscape, while the NES version was developed by Radical Entertainment and published by Mindscape. Mario's Time Machine was originally released for computers in 1993, with a deluxe re-release titled Mario's Time Machine Deluxe in 1996. It was later released for the Super NES in December 1993, and for the NES on June 23, 1994.

Reception
Since its release, Mario's Time Machine has received mixed reviews. GamePro praised the game's dialogues with historical figures, commenting that "the scenarios make flesh-and-blood human beings out of people who are usually just static pictures in textbooks". They criticized the Timulator controls as too confusing, especially for the game's targeted age group, but nonetheless summarized the game as both enjoyable and educational. Nintendo Power gave it a 2.65 out of five, while Electronic Gaming Monthly gave it a 6.75 out of 10.

GameSpy's Brian Altano and Brian Miggels named its ending as one of the worst ever, criticizing it for showing Bowser crying. Fellow GameSpy editor Mike Drucker called it "half-assed". GamesRadar commented that those who like this game may like Night at the Museum: Battle of the Smithsonian, which they gave a negative review to. They later suggested that it was an unpopular game, commenting that "five, maybe six people played the NES version of Mario's Time Machine". ABC Good Game called it "awful", and was "way too complicated for any school-aged youngster to understand". Nintendo of Canada included a sealed copy of the NES version as part of a charity auction along with several other sealed NES games. In the book Video Games: A Guide for Savvy Parents, author David Sheff found the educational elements good, but criticized the gameplay.

Authors David Wesley and Gloria Barczak associated Mario's Time Machine with the recent "flood of ill-conceived Mario spin-offs", arguing that these games nearly destroyed the Mario license. The Independent's Janet Swift discussed Mario's Time Machine in her article on the latest generation of educational titles in 1994. She compared it to Mario Is Missing! in its execution, which she found "special", praising it for its educational value for children. Allgame's Brett Alan Weiss called the action scenes "dreadfully dull" and the presentation "merely average". He added that while he does not dislike educational games, they must be both entertaining and enlightening. IGN's Levi Buchanan included it in their assessment of the "other Mario games", implying that the premise was boring and criticizing the game for lacking any real platform gameplay. He commented that it had "honorable intentions", but that it was "decidedly shallow". He also criticized the act of putting Mario in realistic time periods, commenting that he "occupies the imagination, a place with Star Festivals and giant piranha plants".

title: Mario's Time Machine


text:
User talk:Finlay McWalter/Gently handling newbie autobiographies

Here's some examples of what I said to newbies writing autobiographies.
 * User talk:GregorBrand
 * User talk:Rosspeterson
 * User talk:JamesGArtis
 * User talk:Epheterson

Useful links are Auto-biography (and the talk page of this), Criteria for inclusion of biographies and Criteria for inclusion of biographies/cases (or maybe just Talk:Daniel C. Boyer).

--Angela. 02:30, 13 Dec 2003 (UTC)


text:
Operation Avalanche

Operation Avalanche was the codename for the Allied landings near the port of Salerno, executed on 9 September 1943, part of the Allied invasion of Italy during World War II. The Italians withdrew from the war the day before the invasion, but the Allies landed in an area defended by German troops. Planned under the name Top Hat, it was supported by the deception plan Operation Boardman.

The landings were carried out by the U.S. Fifth Army, under Lieutenant General Mark W. Clark. It comprised the U.S. VI Corps, the British X Corps, and the U.S. 82nd Airborne Division, a total of about nine divisions. Its primary objectives were to seize the port of Naples to ensure resupply, and to cut across to the east coast, trapping the Axis troops further south.

In order to draw troops away from the landing ground, Operation Baytown was mounted. This was a landing by the British Eighth Army, under General Sir Bernard Montgomery, in Calabria in the 'toe' of Italy, on 3 September. Simultaneous sea landings were made by the British 1st Airborne Division at the port of Taranto (Operation Slapstick). The Salerno landings were carried out without previous naval or aerial bombardment in order to achieve surprise. Surprise was not achieved.

The Germans had established artillery and machine-gun posts and scattered tanks through the landing zones which made progress difficult, but the beach areas were captured. Around 07:00 a concerted counterattack was made by the 16th Panzer Division. It caused heavy casualties but was beaten off. Both the British and the Americans made slow progress, and still had a 10 mi gap between them at the end of day one. They linked up by the end of day two and occupied 35 – of coastline to a depth of 6 - 7 mi.

Over 12–14 September the Germans organized a concerted counterattack by six divisions of motorized troops, hoping to throw the Salerno beachhead into the sea before it could link with the British Eighth Army. Heavy casualties were inflicted, as the Allied troops were too thinly spread to be able to resist concentrated attacks. The outermost troops were therefore withdrawn in order to reduce the perimeter. The new perimeter was held with the assistance of naval and aerial support, although the German attacks reached almost to the beaches in places.

Background
Following the defeat of the Italian Forces and Afrika Korps in North Africa, there was disagreement between the Allies as to what the next step should be. Winston Churchill, the British Prime Minister, in particular wanted to invade Italy, which he called the "underbelly of Europe" (commonly misquoted as "soft underbelly"). Popular support in Italy for the war was declining, and he believed an invasion would remove Italy, and thus the influence of the Italian Navy (Regia Marina) in the Mediterranean Sea, opening it to Allied traffic. This would make it much easier to supply Allied forces in the Middle East and Far East, and increase British and American supplies to the Soviet Union. In addition, it would tie down German forces, keeping them away from the planned Allied invasion of Normandy – codenamed Operation Overlord.

However, General George C. Marshall, the Chief of Staff of the United States Army, and much of the American staff wanted to undertake no operations that might delay the Normandy invasion. When it became clear that Operation Overlord could not be undertaken in 1943, it was agreed forces in North Africa should be used to invade Sicily, with no commitment made to any follow-up operations.

Joint Allied Forces Headquarters (AFHQ) were operationally responsible for all Allied land forces in the Mediterranean theatre and it was they who planned and commanded the invasion of Sicily and the Italian mainland.

The Allied invasion of Sicily in July 1943, codenamed Operation Husky, was highly successful, although many of the Axis forces there were allowed to avoid capture and escape to the mainland. More importantly a coup deposed Benito Mussolini as head of the Italian government, which then began approaching the Allies to make peace. It was believed a quick invasion of Italy might hasten an Italian surrender and produce quick military victories over the German troops that would now be trapped fighting in a hostile country. However, Italian (and more so German) resistance proved relatively strong, and fighting in Italy continued even after the fall of Berlin. In addition, the invasion left the Allies in a position of supplying food and supplies to conquered territory, a burden that would otherwise have fallen on Germany. As well, Italy occupied by a hostile German army would have created additional problems for the German Commander-in-Chief Albrecht von Kesselring.

The plan
The main landings were scheduled one week later, 9 September. The main force would land around Salerno on the western coast in Operation Avalanche. It would consist of the U.S. Fifth Army under Lieutenant General Mark W. Clark, comprising the U.S. VI Corps under Major General Ernest J. Dawley, the X British Corps under Lieutenant-General Richard McCreery, and the U.S. 82nd Airborne Division in reserve, a total of about nine divisions. Its primary objectives were to seize the port of Naples to ensure resupply, and to cut across to the east coast, trapping Axis troops further south. The inclusion of the 82nd Airborne Division as a reserve force was possible only with the cancellation of Operation Giant II. The 1st British Airborne Division would be landed by sea near Taranto, on the "heel" of Italy in Operation Slapstick, as a diversion for Salerno. Their task was to capture the port and several nearby airfields and link with the Eighth Army before pressing north to join the Fifth Army near Foggia.

The plan was deeply flawed. The Fifth Army would be landing on a very broad 35-mile front, using only three assault divisions, and the two corps were widely separated both in distance and by a river. Furthermore, the terrain was highly favorable to the defender. A U.S. Army Ranger force under Colonel William Orlando Darby consisting of three Ranger battalions and two British Commando units was tasked with holding the mountain passes leading to Naples, but no plan existed for linking the Ranger force with X Corps' follow-up units. Finally, Clark ordered that no naval preparatory bombardment take place, concerned that surprise would be lost and reinforcements summoned if a bombardment was made.

Approximately eight German divisions were positioned to cover possible landing sites, including the Hermann Goering Division, 26th and 16th Panzer, the 15th and 29th Panzergrenadier, and the 1st and 2nd Fallschirmjäger.

Allied
Allied Landing Forces
 * Embarked in Task Force 80: Western Naval Task Force
 * Vice Admiral H. Kent Hewitt, USN
 * [[Image:United States Army North CSIB.svg|22px]] US Fifth Army (Lieutenant General Mark Wayne Clark, USA)
 * [[Image:X Corps.png|14px]] British X Corps (Lt. Gen. Richard L. McCreery, BA)
 * [[Image:US VI Corps SSI.png|14px]] US VI Corps (Maj. Gen. Ernest J. Dawley, USA)

Northern Landing Area (South of Salerno)
 * Embarked in Task Force 85: Northern Landing Force
 * Commodore G.N. Oliver, RN
 * [[Image:X Corps.png|20px]] British X Corps (Lieutenant General Richard McCreery, BA)
 * 46th Infantry Division (Maj.-Gen. John Hawkesworth)
 * 56th (London) Infantry Division (Maj.-Gen. Douglas Graham)
 * 7th Armoured Division (Maj.-Gen. George Erskine)
 * 3 US Ranger Battalions (Lt. Col. William O. Darby, USA)
 * 2 Commando Forces (Brig. Robert Laycock)

Southern Landing Area (Paestum)
 * Embarked in Task Force 81: Southern Landing Force
 * Rear Admiral John L. Hall Jr., USN
 * [[Image:US VI Corps SSI.png|20px]] US VI Corps (Major General Ernest J. Dawley, USA)
 * 36th Infantry Division (Maj. Gen. Fred L. Walker, USA)
 * 45th Infantry Division (Maj. Gen. Troy H. Middleton, USA)

Axis
Army Group C

Generalfeldmarschall Albert Kesselring

 * Tenth Army
 * General Heinrich von Vietinghoff

 * XIV Panzer Corps
 * General der Panzertruppen Hermann Balck
 * Deployed along coast from north to south of Naples:
 * 15th Panzergrenadier Division (Generalleutnant Eberhard Rodt)
 * Panzer Division Hermann Göring (Generalmajor Wilhelm Schmalz)
 * 16th Panzer Division (Generalleutnant Rudolf Sieckenius)

 * LXXVI Panzer Corps
 * General der Panzertruppen Traugott Herr
 * Deployed in Calabria and Apulia:
 * 26th Panzer Division (Generalleutnant Smilo Freiherr von Lüttwitz)
 * 3rd Panzergrenadier Division (Generalleutnant Fritz-Hubert Gräser)
 * 29th Panzergrenadier Division (Generalleutnant Walter Fries)

Landings

At Salerno the decision had been taken to assault without previous naval or aerial bombardment, in order to secure surprise. Tactical surprise was not achieved, as the naval commanders had predicted. As the first wave approached the shore at Paestum a loudspeaker from the landing area proclaimed in English, "Come on in and give up. We have you covered." The troops attacked nonetheless.

The Germans had established artillery and machine-gun posts and scattered tanks through the landing zones which made progress difficult, but the beach areas were successfully taken. Around 07:00 a concerted counterattack was made by the 16th Panzer division. It caused heavy casualties, but was beaten off with naval gunfire support. Both the British and the Americans made slow progress, and still had a 10-mile gap between them at the end of day one. They linked up by the end of day two and occupied 35–45 miles of coast line to a depth of six or seven miles.

General Montgomery had predicted Baytown would be a waste of effort because it assumed the Germans would give battle in Calabria; if they failed to do so, the diversion would not work. He was proved correct. After Baytown, the Eighth Army marched 300 mi north to the Salerno area against no opposition other than engineer obstacles.

During September 12–14 the Germans organized a concerted counterattack with six divisions of motorised troops, hoping to throw the Salerno beachhead into the sea before it could link with the British 8th Army. Heavy casualties were inflicted, as the Allied troops were too thinly spread to be able to resist concentrated attacks. The outermost troops were therefore withdrawn in order to reduce the perimeter. The new perimeter was held with the assistance of 4,000 paratroopers from the 82nd and 509th PIB who air dropped near the hot spots, from strong naval gunfire support, and from well-served Fifth Army artillery. The German attacks reached almost to the beaches but ultimately failed. The heavy gunfire of Allied battleships practically immobilised counterattacking German units with their sheer firepower, forcing the Germans to halt their counteroffensive and regroup.

General Clark was awarded the Distinguished Service Cross, the second-highest US award for valor in combat, for his front-line leadership during this crisis. He was frequently seen in the most forward positions encouraging the troops. However, in the estimate of historian Carlo D'Este, Clark's poor planning of the operation caused the crisis in the first place.

The Salerno battle was also the site of a mutiny by about 600 men of the British 10th Corps, who on September 16 refused assignment to new units as replacements. They had previously understood that they would be returning to their own units from which they had been separated during the fighting in the North African Campaign, mainly because they had been wounded. Eventually the Corps commander, McCreery, persuaded most of the men to follow their orders. The NCOs who led the mutiny were sentenced to death, but were eventually allowed to rejoin units and the sentence was not carried out.

German strategy changes

The German 10th Army had come very close to overwhelming the Salerno beachhead. The Allies had been fortunate that at this time Adolf Hitler had sided with the view of his Army Group commander in Northern Italy, Field Marshall Erwin Rommel, and decided that defending Italy south of Rome was not a strategic priority. As a result, the Army Group Commander in southern Italy, Field Marshall Albert Kesselring had been forbidden to call upon reserves from the northern Army Group. The subsequent success of the German 10th Army's defensive campaign in inflicting very heavy casualties on both U.S. 5th and British 8th Armies and Kesselring's strategic arguments that the Allies should be kept as far away from Germany as possible led Hitler to change his mind in October at which point he withdrew Rommel to oversee the build-up of defenses in northern France and gave Kesselring command of the whole of Italy with a remit to keep Rome in German hands for the longest time possible.

Casualties
General Clark in his book Calculated Risk reports that the X Corps suffered 531 killed in action, 1,915 wounded and 1,561 missing, while the VI Corps had 225 killed, 853 wounded and 589 missing. Clark also stated that most of the missing from both corps subsequently returned to the front lines. After a week long battle, the combined Allied losses were heavy, with 2,349 killed, 7,366 wounded and 4,100 missing.

German losses numbered 840 killed, 2,002 wounded and 603 missing. Most of these losses were inflicted by Allied naval support fire and field guns.

Further Allied advances
With the Salerno beachhead secure, the 5th Army could begin to attack northwest towards Naples. The 8th Army had been making quick progress from the "toe" in the face of German engineer delaying actions and linked with the 1st Airborne Division on the Adriatic coast. It united the left of its front with the 5th Army's right on 16 September, and advancing up the Adriatic coast captured the airfields near Foggia on 27 September. Foggia was a major Allied objective because the large airfield complex there would give the Allied air forces the ability to strike new targets in France, Germany and the Balkans. The 5th Army captured Naples on 1 October, and reached the line of the Volturno River on October 6. This provided a natural barrier, securing Naples, the Campanian Plain and the vital airfields on it from counterattack. Meanwhile, on the Adriatic coast, the British 8th Army had advanced to a line from Campobasso to Larino and Termoli on the Biferno river.

Thus, by early October, the whole of southern Italy was in Allied hands, and the Allied armies now stood facing the Volturno Line, the first of a series of prepared defensive lines running across Italy from which the Germans chose to fight delaying actions, giving ground slowly and buying time to complete their preparation of the Winter Line, their strongest defensive line south of Rome. The next stage of the Italian Campaign became for the Allied armies a grinding and attritional slog against skillful, determined and well prepared defenses in terrain and weather conditions which favoured defense and hampered the Allied advantages in mechanised equipment and air superiority. It took until mid-January 1944 to fight through the Volturno, Barbara and Bernhardt lines to reach the Gustav Line, the backbone of the Winter Line defenses, setting the scene for the four Battles of Monte Cassino which took place between January and May 1944.

Print

 * – Total pages: 192
 * – Total pages: 96
 * – Total pages: 192
 * – Total pages: 96
 * – Total pages: 96

Filmography

 * A Walk in the Sun (1945 film), directed by Lewis Milestone, US

title: Operation Avalanche


text:
Flag of California

The Bear Flag is the official flag of the U.S. state of California. The precursor of the flag was first flown during the 1846 Bear Flag Revolt and was also known as the Bear Flag. A predecessor, called the Lone Star Flag, was used in an 1836 independence movement; the red star element from that flag appears in the Bear Flag of today.

Law and protocol
The 1911 statute stated: "The bear flag is hereby selected and adopted as the state flag of California. ... The said bear flag shall consist of a flag of a length equal to one and one-half the width thereof; the upper five-sixths of the width thereof to be a white field, and the lower sixth of the width thereof to be a red stripe; there shall appear in the white field in the upper left-hand corner a single red star, and at the bottom of the white field the words 'California Republic,' and in the center of the white field a California grizzly bear upon a grass plat, in the position of walking toward the left of the said field; said bear shall be dark brown in color and in length, equal to one-third of the length of said flag."

In 1953, the design and specifications for the state flag were standardized in a bill signed by Governor Earl Warren and illustrated by Donald Graeme Kelley of Marin County, California. The Californian state flag is often called the "Bear Flag" and in fact, the present statute adopting the flag, California Government Code § 420, states: "The Bear Flag is the State Flag of California."

Pursuant to Section 439 of the California Government Code, the regulations and protocols for the proper display of the flag of California is controlled by the California Adjutant General: "The Adjutant General shall, by regulation, prescribe rules regarding the times, places, and the manner in which the State Flag may be displayed. He shall, periodically, compile the laws and regulations regarding the State Flag. Copies of the compilation shall be printed and made available to the public at cost by the Department of General Services."

When the flag is displayed vertically, it is rotated 90 degrees clockwise such that the bear and star face upward and red stripe is on the left.

The flag is also used as the state ensign.

Design
The first official version of the Bear Flag was adopted by the California State Legislature and signed into law by Governor Hiram Johnson in 1911 as the official state flag.

The contemporary state flag is white with a wide red strip along the bottom. There is a red star in the upper left corner and a grizzly bear facing left (toward the hoist) in the center, walking on a patch of green grass. The size of the bear is ⅔ the size of the hoist width and has a ratio of 2 by 1. The grass plot has a ratio of 11 to 1. The five-point star is taken from the California Lone Star Flag of 1836. The hoist of the flag is two-thirds the fly.

The bear on one 1911 version of the flag is claimed to have been modeled on the last California grizzly bear in captivity. The bear, named "Monarch", was captured in 1889 by newspaper reporter Allan Kelly, at the behest of William Randolph Hearst. The bear was subsequently moved to Woodwards Gardens in San Francisco, and then to the zoo at Golden Gate Park. After the bear's death in 1911, it was mounted and preserved at the Academy of Sciences at Golden Gate Park.

While the bear flag was adopted in 1911, until 1953 the image of the bear varied depending on the flag manufacturer. In 1953 the bear image was standardized based on an 1855 watercolor by Charles Christian Nahl. The 1953 law includes an official black and white rendering of the bear as well as the plot of grass and brown tufts. This drawing and other specifications that define the flag's colors and dimensions are identified as "54-J-03".

The Californian flag is one of two U.S. state flags to depict a bear, along with Missouri.

In 2001, the North American Vexillological Association surveyed its members on the designs of the 72 U.S. state, U.S. territorial, and Canadian provincial flags and ranked the flag of California 13th - 8th out of 50 U.S. states, and the best flag that contains words, specifically the state's name.

Colors
The 1953 legislation defined the exact shades of the California flag with a total of five colors (including the white field) relative to the 9th edition of the Standard Color Card of America (now called the Standard Color Reference of America). It is one of only four US state flags not to include the color blue, along with Alabama, Maryland, and New Mexico.

 * Seal is used for the dark shading of the bear, the 12 darker tufts in the plot of grass, the border of the plot and the lettering "CALIFORNIA REPUBLIC".
 * Maple Sugar is the base color for the bear.
 * Old Glory Red is used for the star, the bear's tongue and the red stripe at the bottom of the flag.
 * Irish Green is used for the grass plot.
 * The bear's claws are also accented with white. The left front and rear paws have four white claws while the right rear claw displays three. The front right paw does not contain highlighting.

Lone Star of California
In 1836, a coup led by Juan Alvarado declared Alta California's independence from Mexico. Declaring himself governor, Alvarado recruited U.S. frontiersmen, led by Isaac Graham, to support him. The rebels easily captured the capital Monterey, but were unable to convince southern leaders such as Juan Bandini and Carlos Antonio Carrillo to join the rebellion. Faced with a civil war, Alvarado and the other Californios negotiated a compromise with the central government wherein California's leaders accepted its status as a "department" under the "Siete Leyes" Mexican constitution of 1836, in return for more local control. Alvarado was appointed governor the next year.

The Lone Star Flag of California, associated with Alvarado's rebellion, contained a single red star on a white background. One last original flag is archived at the Autry National Center.

Original Bear Flag
The original grizzly bear flag was created by Peter Storm. A version of this bear flag, designed by William L. Todd, was raised in Sonoma, California, in June 1846 on a date between the 14th and the 17th, by the men who became known as the "Bear Flaggers", including William B. Ide. The exact creation date is at least somewhat unclear. However, U.S. Naval Lieutenant John Missroon reported the flag's existence as of June 17, 1846.

William L. Todd was a cousin of Mary Todd Lincoln. According to the book Flags Over California, published by the California Military Department, the star on the flag recalled the 1836 California Lone Star Flag. Todd, in an 1878 letter to the Los Angeles Express, states that the star was drawn using blackberry juice and in recognition of the California Lone Star Flag. The bear was designed to be a symbol of strength and unyielding resistance.

According to the Sonoma State Historic Park, the construction of the flag was described as such:

"At a company meeting it was determined that we should raise a flag and that it should be a bear en passant [a heraldry term signifying that the bear is walking toward the viewer's left], with one star. One of the ladies at the garrison gave us a piece of brown domestic, and Mrs. Captain John Sears gave us some strips of red flannel about 4 inches wide. The domestic was new, but the flannel was said to have been part of a petticoat worn by Mrs. Sears across the mountains...I took a pen, and with ink drew the outline of the bear and star upon the white cloth. Linseed oil and Venetian red were found in the garrison, and I painted the bear and star...Underneath the bear and star were printed with a pen the words 'California Republic' in Roman letters. In painting the words I first lined out the letters with a pen, leaving out the letter 'i' and putting 'c' where 'i' should have been, and afterwards the 'i' over the 'c'. It was made with ink, and we had nothing to remove the marks."

The original Bear Flag and the republic it symbolized had a brief career, from about June 14 until July 9. On July 7, 1846, Commodore John Drake Sloat of the United States Navy's Pacific Squadron first raised the 28-star American flag at Monterey, the capital of Alta California, and claimed the territory for the United States.

Two days later, on July 9, 1846, Navy Lieutenant Joseph Warren Revere arrived in Sonoma and hauled down the Bear Flag, running up in its place the Stars and Stripes. The Bear Flag was given to young John E. Montgomery (son of Commander John B. Montgomery of USS Portsmouth (1843)), who would later write in a letter to his mother "Cuffy came down growling"—"Cuffy" being his nickname for the bear on the flag.

The Bear Flag given to young Montgomery returned with USS Portsmouth to the east coast of the U.S. in 1848, but in 1855 was returned to California. The flag was given to California's two senators, John B. Weller and William M. Gwin. This flag was donated to the Society of California Pioneers on September 8, 1855, and was preserved at the Society's Pioneer Halls in San Francisco until it was destroyed on April 18, 1906, in the fires that followed the great San Francisco earthquake. Today, a replica hangs on display in the Sonoma Barracks, or El Presidio de Sonoma. There is also a statue in the plaza at Sonoma, California, commemorating the raising of the flag, the Bear Flag Monument.

The Civil War period
During the secession crisis and the early part of the American Civil War in 1861, California was divided between supporters of the union and supporters of southern secession. In the months leading up to the war some opposed to the government in Los Angeles County and San Bernardino County showed support for secession by flying variants of the Bear Flag instead of the Stars and Stripes.

During the war, Union soldiers protected the West against secessionists who ran up Confederate flags in many places, including above the California statehouse in Sacramento, then disappearing before they could be caught. On July 4, 1861, during U.S. Independence Day celebrations in Sacramento, Democrat and veteran Maj. J. P. Gillis celebrated the independence of the United States from Great Britain and the secession of the Confederacy by unfurling a flag based on the first Confederate flag, the Stars and Bars, but containing seventeen stars rather than the Confederate banner's seven, and marching down the street to the cheers of pro-slavery individuals. This was the only known Confederate flag captured in California during the Civil War. Unionist Jack Biderman denounced Gillis, tore the flag from his hands, and taunted secessionists to try to take the flag back. No one tried. Because Gillis' flag was seized by Jack Biderman, it is referred to either as the "Biderman Flag" or the "Gillis Flag."

Flag of the governor

The flag of the governor of California consists of the seal of California centered on a field of azure. Like many other U.S. governors' flags, there are four five-point stars at the corners of the field.

In popular culture
The flag of California serves as a basis for the flag of the fictional New California Republic in the popular post-apocalyptic Fallout franchise.

title: Flag of California


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Mario & Luigi: Superstar Saga

Mario & Luigi: Superstar Saga is a 2003 role-playing video game developed by AlphaDream and published by Nintendo for the Game Boy Advance. It was re-released for the Wii U's Virtual Console in 2014, Nintendo Switch Online Service in 2023, and remade for the Nintendo 3DS as Mario & Luigi: Superstar Saga + Bowser's Minions in 2017. In the game, Mario and Luigi travel to the Beanbean Kingdom in order to combat Cackletta and Fawful, who stole Princess Peach's voice for the purpose of harnessing the power of a special artifact called the Beanstar.

This game is the third role-playing game in the Mario franchise after Super Mario RPG and Paper Mario. Unlike those titles however, Superstar Saga features a lighthearted whimsical script and a greater emphasis on comedy. The player controls Mario and Luigi simultaneously as they traverse the overworld, fight enemies, gain experience points, and find new items and gear. The battle system differs from traditional games of the genre, with more emphasis on timing and elaborate attacks called Action Commands. Created by Shigeru Miyamoto, Tetsuo Mizuno, and Satoru Iwata, the game was announced at E3 2003, later releasing the same year.

Superstar Saga was critically acclaimed, with reviewers praising the game's writing, tone and its battle system, but criticized its gameplay for lacking innovation in the genre and the top-down perspective received mixed reactions. Critics listed the game among the best games on the Game Boy Advance, and was labeled as Player's Choice. A Nintendo 3DS remake was released in 2017 and features updated graphics and music, amiibo functionality, and other quality-of-life improvements. It also features a new exclusive side story titled Minion Quest: The Search for Bowser. The original game was released as part of the Nintendo Switch Online + Expansion Pack in February 2023.

Gameplay

The gameplay of Mario & Luigi differs from most other role-playing games due to its focus on controlling Mario and Luigi simultaneously. During overworld sections, the directional pad controls one of the brothers' movement with the other one following closely. The leading brother can be switched between Mario and Luigi with the Start button. The brothers' other actions are controlled individually with the A (front character) and B (rear character) buttons respectively. The game begins with them being able to jump independently, and they gain access to hammers and a variety of other techniques as the game progresses. For example, Luigi's hammer can be used to squash Mario into a smaller size, allowing the latter to access small gaps, while placing Mario on Luigi's shoulders allows them to act like a propeller and hover across large gaps. Various enemies roam the overworld, and coming into contact with these enemies initiates a battle. Landing a hit on an enemy while on the overworld allows the player to deal pre-emptive damage or begin the fight with them stunned. The opposite is also possible.

Battles in Superstar Saga are turn-based. Mario and Luigi are controlled with the A and B buttons respectively, regardless of their placement in the overworld. They can attack normally by jumping on enemies (available from the start), by hitting them with their hammers or by using their hand powers (after these abilities are unlocked at successive points in the game's story). Jump attacks allow the brothers to hit enemies from above, but will cause them to take damage if attempting to jump on spiked or flame-covered creatures. Hammer attacks can harm enemies on the ground, but will always miss against winged or floating ones. Finally, each brother has an elemental hand attack (fire for Mario and thunder for Luigi), with several enemies being either vulnerable or resistant to either element.

Similar to previous Mario role-playing titles, such as Super Mario RPG and the Paper Mario series, players can time button presses to make their attacks more effective, such as earning an extra jump attack or increasing the hammer's power. Introduced in this series is the way in which Mario and Luigi can defend themselves during an enemy's attack. When an enemy attacks, the brothers can either jump or use their hammer which, when successfully timed, allows them to dodge their attacks and even deal counter damage (for example: if they jump on top of a charging Goomba).

Throughout the game, players can unlock Bros. Attacks, which use Bros. Points (BP) which requires players to cooperate between Mario and Luigi's actions to perform powerful combination attacks. Mario and Luigi have their own HP, and one of them will faint when their HP is reduced to zero, with the other brother carrying him when dodging, countering or fleeing from the battle, but Bros. Attacks are unusable until the unconscious brother is revived or some negative status effects are removed. Players can also use items such as mushrooms for healing, peppers for boosting stats and 1UP mushrooms for reviving fallen Bros.

Defeating enemies earns experience points which help the Bros. level up and increase their stats, with players given the option to further increase the stats of one attribute every time they level up. Players can further improve their stats by equipping new gear to the Bros. or making them wear badges that give them special attributes.

Like other Mario titles for the Game Boy Advance, Superstar Saga features the enhanced remake of the Mario Bros. arcade game, which was used in the four Super Mario Advance titles. The game also supports rumble functionality when used with the GameCube's Game Boy Player accessory.

Plot
Mario & Luigi: Superstar Saga is largely set in the Beanbean Kingdom, a country neighboring the Mario series' usual setting of the Mushroom Kingdom, mainly populated by Beanish people and Hoohooligans, with many locations named after onamotapoeia representing laughter. The player characters are brothers Mario and Luigi, who travel to the Beanbean Kingdom to return the voice of Peach, the princess of the Mushroom Kingdom, after it is stolen by the Beanish witch Cackletta and her henchman Fawful. Among other characters are Queen Bean and Prince Peasley of the Beanbean Kingdom, who assist Mario and Luigi; and the thief Popple, who crosses paths with them throughout the game.

Cackletta and Fawful, disguised as ambassadors of the Beanbean Kingdom, visit Princess Peach's castle in the Mushroom Kingdom and steal her voice, replacing it with explosives that drop from her speech balloon when she talks. Mario and Luigi are summoned to the castle, and briefly confront Bowser, who had intended to kidnap Peach, but decides against it due to her explosive speech. The three team up to retrieve Peach's voice, and fly to the Beanbean Kingdom on Bowser's new airship, the Koopa Cruiser. Mid-flight, Fawful attacks them, and Bowser becomes separated from Mario and Luigi after a crash landing on the Mushroom Kingdom side of the Beanbean Kingdom border and being launched from a cannon. After crossing the border and traveling through the Beanbean Kingdom by foot, Mario and Luigi meet Prince Peasley and save him from a spell cast by Cackletta.

The brothers are invited to the Beanbean Kingdom castle, where Cackletta – disguised as the royal advisor Lady Lima – tricks them into helping her steal the Beanstar, a mystical item that when awoken by a noble and beautiful voice will grant any wish. Upon freeing Queen Bean from being transformed into a savage beast by Cackletta, the brothers track Cackletta to Woohoo Hooniversity and find her exposing the Beanstar to the stolen voice, causing it to go berserk. Mario and Luigi battle Cackletta, fatally injuring her; Fawful uses his vacuum-equipped helmet to save her soul. Mario and Luigi locate the Beanstar again, which Popple is trying to steal together with an amnesiac Bowser as his sidekick; when it again is exposed to Peach's voice, it shoots into the sky and explodes, scattering across the kingdom. Peach arrives by airport in the Beanbean Kingdom, and Mario and Luigi learn that Birdo had been used as a political decoy during Cackletta's visit; the Beanstar became enraged after hearing Birdo's voice.

Fawful finds Bowser after he regains his memory, albeit weakened from the Beanstar's explosion, and places Cackletta's soul inside him; she takes control of the body, and takes the name Bowletta. She kidnaps Peach, and demands the Beanstar as ransom; Mario and Luigi collect the pieces, and meet with her in the frozen palace Joke's End to make the exchange. Bowletta refuses to return Peach, so Luigi disguises himself as Peach to be taken in her stead, and reclaims the Beanstar, returning it with Mario to Queen Bean after a final confrontation with Popple, who is later arrested and forced to do community service in Little Fungitown, a community of Mushroom Kingdom immigrants. Bowletta uses Bowser's flying castle to attack the Beanbean Kingdom. Mario and Luigi navigate their way through the castle, expel Fawful, and battle Bowletta. After she vacuums them inside her stomach, they battle Cackletta's soul and exorcise her from Bowser's body, reducing her to nothing and returning Bowser to normal. Peasley blows up the flying castle while the brothers escape. Mario, Luigi, and Peach receive Bowser as a parting gift before taking an airplane home to the Mushroom Kingdom, dropping Bowser off at his new castle mid-flight.

Development and marketing
Superstar Saga, developed by AlphaDream and directed by Super Mario RPG: Legend of the Seven Stars co-director Yoshihiko Maekawa, is said to take its inspiration from the Nintendo 64 game Paper Mario; the two games have similar graphics and gameplay. The producers of the game were Shigeru Miyamoto, the creator of the Mario franchise, Tetsuo Mizuno, and Satoru Iwata, the president of Nintendo. The voice acting for Mario and Luigi in the game is provided by Charles Martinet, well known for providing the characters' voice in Nintendo's Mario franchise. The game's music was composed by Yoko Shimomura, who also previously composed the soundtrack for Super Mario RPG.

Superstar Saga was revealed at E3 2003 under the name Mario and Luigi, where a playable demo of the game was available; the demo was later dumped and leaked online in October 2023, two decades later. In August and September 2003, a playable demonstration was also available at the European Computer Trade Show, the Games Convention, and Nintendo Gamers' Summit. To link in with the game's comedic themes, Nintendo organized an official competition between October and November 2003 in which contestants would try to submit the best knock-knock joke to win a Game Boy Advance SP and a copy of the game. Nintendo employed comedian Kathy Griffin to choose the winner.

Reception
Superstar Saga received "universal acclaim", according to the review aggregator Metacritic. The game's comical dialog and themes in particular were lauded by critics. Eurogamer's Tom Bramwell commented that "each line of dialogue and identifiable cameo is handled with a loving sense of humour." Despite this, RPGamer's Andrew Long labelled the plot as repetitive, and the game's characters as "a tad shallow". While also appreciating references to the heritage of the Mario series, critics praised the game for avoiding clichés common in previous games of the Mario series.

The gameplay attained a mixed reception. Critics enjoyed the game's battle system, which deviated from role-playing game tradition. IGN's Craig Harris commented that "unlike most Japanese RPGs Mario & Luigi's turn-based battle involves the player at all times". Despite this novel approach to combat situations, some reviewers thought that the overall gameplay lacked innovation. GameSpy in particular criticized the game for an apparent lack of originality, commenting that "in terms of gameplay, there isn't much there that we haven't seen in the NES and SNES Mario and Zelda titles." Furthermore, some reviewers were disappointed by a perceived lack of difficulty in the gameplay as a result of targeting a younger audience. Edge and other gaming publications have criticized the controls for being occasionally confusing when considering the usage of jumping, hammers, and other combinations between the two characters.

A common concern among reviewers is the overhead perspective, which critics have bemoaned for preventing them from judging pathway routes and an object's location in relation to its background. Besides this, the actual visuals were generally well received, as well as the setting and animations. The audio was commended for combining both originality and nostalgia, even though it looped frequently.

GameSpot named Superstar Saga the best Game Boy Advance game of November 2003. During the AIAS' 7th Annual Interactive Achievement Awards, Superstar Saga was nominated for Handheld Game of the Year. In 2006, Superstar Saga was rated the 37th best game made on a Nintendo System in Nintendo Power's Top 200 Games list. In the same year, the game became part of the Player's Choice label. In 2007, the game was named the twelfth best Game Boy Advance game of all time in IGN's feature reflecting on the Game Boy Advance's long lifespan. In the United States alone, Superstar Saga sold 1,000,000 copies and earned $30,000,000 by August 2006. During the period between January 2000 and August 2006, it was the 14th highest-selling game launched for the Game Boy Advance, Nintendo DS or PlayStation Portable in that country. As of 2007, Superstar Saga has sold over 441,000 units in Japan and 1,460,000 in the United States.

Remake
A remake of Superstar Saga for Nintendo 3DS, Mario & Luigi: Superstar Saga + Bowser's Minions, was announced at E3 2017. The remake features updated graphics, maintaining the use of sprites, but with additional lighting effects akin to Dream Team and Paper Jam, as well as a remastered soundtrack and various quality-of-life improvements that were introduced in later entries of the series, such as the ability to save the game at any time, and to fast-forward cutscenes, among others. The game also features Amiibo functionality, tied to the existing Boo and new Goomba and Koopa Troopa figures. The game was released in October 2017.

Plot
The plot of the remake remains the same as the original game, but also features an additional storyline, Minion Quest: The Search for Bowser, which follows Captain Goomba and features a real-time strategy battle system.

Minion Quest: The Search for Bowser
In the Koopa Cruiser, Bowser's airship traveling to the Beanbean Kingdom, two Goombas, Captain Goomba and Private Goomp, trapped inside barrels become allies in order to give the Goombas their deserved reputation by ceasing slavery by the Koopalings. However, Bowser's airship is crashed by Fawful. Captain Goomba awakens on Hoohoo Mountain and decides to rescue Bowser after witnessing him being shot from a cannon. Captain Goomba gathers an army and starts his search.

Upon learning that some of the minions – including Private Goomp – were brainwashed by Fawful trying to rescue Bowser and that his mission is in direct competition with the Koopalings, Captain Goomba confronts Fawful, only to fall off the mountain. Realizing Fawful is too powerful, Captain Goomba allies once more with Private Goomp and forms a new army; the army travels across all the kingdom to recruit others to their cause. Meanwhile, the Koopalings get brainwashed by Fawful. Saving Larry, the latter joins them on the condition of finding the six other Koopalings.

With Larry and Wendy on their side, the Minion's Army arrives back at Hoohoo Mountain, witnessing an amnesiac Bowser being recruited by Popple as his "Rookie". The Minions pursue Popple – saving Morton in the process – and find he has lost Bowser, who has become possessed by Cackletta, now going by Bowletta. The army finds Roy and Bowser's airship. Upon repairing it, they learn from Fawful that Bowletta is in Bowser's Castle. The Minions fly there and recruit the remaining Koopalings, gaining the respect the Goombas always wanted.

Bowser's army fully complete, the Minions confront Fawful and his "Mecha" army; Bowser's army emerges victorious, Fawful fleeing to join Bowletta. However, both are defeated by the Mario Bros. Bowser's Castle explodes, and Bowser, back to normal, returns to his domain with the army. Bowser promotes Captain Goomba but then remembers he caused his amnesia and starts to pursue him in anger.

title: Mario & Luigi: Superstar Saga


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Talk:Thomas Jefferson High School

Do high school articles deserve their own articles?
(im talking about Thomas Jefferson High School for Science and Technology) Greenmountainboy 02:40, 13 Dec 2003 (UTC)

Seems that many high schools do have their own articles, and I feel that at least private schools and magnet schools with a national reputation should be included. Ryanaxp 03:59, Mar 17, 2004 (UTC)

TJ has a unique culture, (and, for that matter, so do all high schools, although most are probably not as distinct as TJ's). As a magnet school, it has many unique features, and is considered by some to be the #1 school in the US. If not being repetitive is an issue, then certainly, this article should focus on what sets TJ apart from other high schools, and link the rest the the high school page, and other generic pages.

title: Talk:Thomas Jefferson High School