So you have seen Apocalypse man on the Discovery channel - the survival expert who tells you how to weather the latest disaster, or does he? We think not!
Apocalypse man tells you how to live in your suburban hell- hole and how to live in the country. He is assuming that you are all alone really. He makes no allowances at all for human nature, or the stresses of such a situation.
Think about this type of scenario (which Apocalypse Man totally ignores). A nuclear war starts. You know your neighbours well and you know they have a nuclear shelter beneath their garage that was built in the 80's. The shelter will take four people at a push. They have a family of three and so do you. They are anti-gun and have no weapons whereas you have several pistols and a rifle. Would you try to get to their shelter first?
Or how about this type of scenario - also ignored by apocalypse man. Food has dried up and the population reduction phase (polite way of saying people are starving to death) has started. Outside your ranch/home/cave a large group of young people has gathered. They know you have food, and you know they have weapons. What are you going to do about this?
The sad fact is that humans are - when you get down to the wire - simply humans. You simply have to look at \'bad\' periods in history where large groups of people are left without food suddenly to see what will happen. Anarchy, violence and cannibalism until the food supply and the population fit each other is what inevitably occurs.
Make no mistake, most countries in the world now are not peasant economies. This makes the the situation by far worse. In a peasant economy most people have the knowledge to find and use natural water without killing themselves. they have the knowledge to grow, hunt, slaughter and prepare meat and fish. How many of us have skinned and gutted an animal?
In the Middle ages huge tracts of Central Europe were depopulated by famine due to crop failure. The thing is that the people there could retreat to areas where crops had not failed. Even then in highly cultured Belgium where there was no crop failure people were eating Rats, Insects and babies. Why? Because they were not a peasant economy - when they needed to step up their own agriculture to feed themselves instead of importing they simply could not do it fast enough.
So whatever you do you need to take a pinch of reality with your Apocalypse Man! Avoid other people - the further away from civilisation you can get the better you will be. Learn to hunt and butcher as well as grow and forage. Spend two weeks this year camping and living off the land. Oh and arm your self! Bows and Arrows or crossbows are a better bet long term than guns, you can make the ammo!
If you're a dedicated fan of the BBC soap opera "EastEnders" and are as excited about the royal baby birth like the rest of the world, then you should tune in to the July 23 episode. According to BBC, a special scene was shot to honor the birth of a new h more
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The latest fall-pilot casting news, from our friends at the Hollywood Reporter and Variety: Dancing with the Stars alum and Price Is Right-host wannabe Mario Lopez has joined the cast of the CW's Eight Days a Week, a comedy about four twentysomethings who toil for NYC movers and shakers. (Lopez is one of said bosses.) On board as three of the ragged-run assistants are singer-actress Christina Milian, Johnny Lewis (The O.C.) and Robert Ri'chard (One on One, as Lopez's lackey). Kyla Pratt (One on One) has landed the lead in the CW's Hell on Earth, about a spoiled rich girl who, after dying, is returned to the living but as an ordinary gal from the wrong side of the tracks. I know it's just like the Jason Biggs pilot. Tembi Locke (Windfall) is Lisa Tucker's ma, while Jon Rowland, Rod Rowland (Veronica Mars), Scarlett Chorvat and Diego Serrano are Born in the USA on Simon Fuller's Fox sudser fancied as EastEnders-in-Philadelphia. Grounded for Life creators...
Premise: A long-running British serial charting the ups and downs of London's East End working class who reside in the fictitious neighborhood of Albert Square. `EastEnders,' which became an instant favorite on the BBC with its debut on Feb. 19, 1985, launched in the U.S. with Tracey Ullman on hand to clue American audiences in on the show's 23 regular characters, as well as to help translate some of the Cockney slang.
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Can she kick it? Yes she can! Alice puts the boot in, flooring Michael.Feel Michael's pain when you check out our latest photo spoiler...
Things are about to get really scary in The Square. Fangs very much for demonstrating, Patrick! Who says you're long in the tooth?See what's spooking the residents in our latest photo spoiler...
Halloween, and it's not just The Queen Vic's dodgy cocktails!Don't have nightmares when you check out our latest photo spoiler...
The stars of EastEnders take time out from filming to chat with us and answer your questions.Watch our interviews with the cast
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It is one of the UK's highest-rated programmes, often appearing near or at the top of the week's BARB ratings. Within eight months of its launch, it reached the number-one spot in the ratings, and has consistently remained among the top-rated TV programmes in Britain. As of July 2013, the average audience share for an episode is around 30 percent. Created by producer Julia Smith and script editor Tony Holland, EastEnders has remained a significant programme in terms of the BBC's success and audience share, and also in the history of British television drama, tackling many controversial and taboo issues previously unseen on mainstream television in the UK. EastEnders currently attracts on average between five and seven million viewers per episode, and most recently is constantly beaten in the ratings by ITV rivals Emmerdale and Coronation Street.
An Albert Square exists in the East End of London in Ratcliff, and a further such square exists just beyond the East End in Stratford, but the show's producers based the square's design on Fassett Square in Dalston. There is also a market close to Fassett Square at Ridley Road. The postcode for the area, E8, was one of the working titles for the series. The name Walford is both a street in Dalston where Tony Holland lived and a blend of Walthamstow and Stratford—the areas of Greater London where the creators were born. Other parts of the Square and set interiors are based on other locations. The bridge is based upon one near the BBC Television Centre, the Queen Vic on the old pub at the end of Scrubs Lane/Harrow Road NW10, and the interior to the Fowlers' is based on a house in Manor Road, Colchester, close to where the supervising art director lived. The fictional local newspaper, the Walford Gazette, in which local news events such as the arrests or murders of characters appear, mirrors the area's own Hackney Gazette.
The Watts and Mitchell families have been central to many notable EastEnders storylines, the show having been dominated by the Watts in the 1980s, with the 1990s focusing on the Mitchells. The early 2000s saw a shift in attention towards the newly introduced female Slater clan, before a renewal of emphasis upon the restored Watts family beginning in 2003. Since 2006, EastEnders has largely been dominated by the Mitchell and Branning families, and there has also been a focus on the Moon family since 2010. The Beales are the show's longest running family, having been in EastEnders since it began in 1985. Key people involved in the production of EastEnders have stressed how important the idea of strong families is to the programme. Peggy Mitchell, in particular, is notorious for her ceaseless repetition of such statements as "You're a Mitchell!" and "It's all about family!". Pauline Fowler is also known for her insistence on family and mentioning her brother and husband in order to instil loyalty from family members. Her mother Lou Beale is renowned for her family meetings and traditional approach to family. More recently, Derek Branning regularly expresses the importance of a strong family unit. As the eldest sibling, he is constantly asserting his position as head of his family and reminding everyone to pull together in times of trouble. Additionally, Derek commonly refers to himself, Max Branning and Jack Branning as "the Branning brothers."
As is traditional in British soaps, female characters in general are central to the programme. These characters include strong, brassy, long-suffering women who exhibit diva-like behaviour and stoically battle through an array of tragedy and misfortune. Such characters include Angie Watts, Kathy Beale, Sharon Rickman, Pat Butcher, Denise Fox and Tanya Cross. Conversely there are female characters who handle tragedy less well, depicted as eternal victims and endless sufferers, who include Sue Osman, Little Mo Mitchell, Laura Beale, Lisa Fowler and Ronnie Mitchell. The 'tart with a heart' is another recurring character, often popular with viewers. Often their promiscuity masks a hidden vulnerability and a desire to be loved. Such characters have included Pat Butcher (though in her latter years, this changed), Tiffany Mitchell, Kat Moon, Stacey Branning, Dawn Swann and Roxy Mitchell .
A gender balance in the show is maintained via the inclusion of various 'macho' male personalities such as Phil Mitchell, Grant Mitchell, Jack Branning and Max Branning, 'bad boys' such as Den Watts, Joey Branning and Michael Moon, and 'heartthrobs' such as Simon Wicks, Jamie Mitchell and Dennis Rickman. Another recurring male character type is the smartly dressed businessman, often involved in gang culture and crime and seen as a local authority figure. Examples include Derek Branning, Steve Owen, Jack Dalton, Andy Hunter and Johnny Allen. Following criticism aimed at the show's over-emphasis on 'gangsters' in 2005, such characters have been significantly reduced. Another recurring male character seen in EastEnders is the 'loser' or 'soft touch', males often comically under the thumb of their female counterparts, which have included Arthur Fowler, Ricky Butcher, Lofty Holloway and Billy Mitchell. Other recurring character types that have appeared throughout the serial are "cheeky-chappies" Pete Beale, Alfie Moon and Garry Hobbs, "lost girls" such as Mary Smith, Donna Ludlow and Mandy Salter, delinquents such as Mandy Salter, Stacey Branning, Jay Mitchell and Lola Pearce, "villains" such as Nick Cotton, Trevor Morgan, May Wright and Yusef Khan, "bitches" such as Cindy Beale, Janine Butcher and Lucy Beale and cockney "wide boys" or "wheeler dealers" such as Frank Butcher, Alfie Moon, Kevin Wicks, Darren Miller and Fatboy.
Over the years EastEnders has typically featured a number of elderly residents, who are used to show vulnerability, nostalgia, stalwart-like attributes and are sometimes used for comedic purposes. The original elderly residents included Lou Beale, Ethel Skinner and Dot Cotton. Over the years they have been joined by the likes of Mo Butcher, Jules Tavernier, Marge Green, Nellie Ellis, Jim Branning, Patrick Trueman, Cora Cross and Rose Cotton. Focus on elderly characters has decreased since the show's inception. The programme has more recently included a higher number of teenagers and successful young adults in a bid to capture the younger television audience. This has spurred criticism, most notably from the actress Anna Wing, who played Lou Beale in the show. She commented "I don't want to be disloyal, but I think you need a few mature people in a soap because they give it backbone and body... if all the main people are young it gets a bit thin and inexperienced. It gets too lightweight."
EastEnders has always featured a culturally diverse cast which has included black, Asian, Turkish and Polish characters. "The expansion of minority representation signals a move away from the traditional soap opera format, providing more opportunities for audience identification with the characters and hence a wider appeal". Despite this, the programme has been criticised by the Commission for Racial Equality, who argued in 2002 that EastEnders was not giving a realistic representation of the East End's "ethnic make-up". They suggested that the average proportion of visible minority faces on EastEnders was substantially lower than the actual ethnic minority population in East London boroughs, and it therefore reflected the East End in the 1960s, not the East End of the 2000s. Furthermore it was suggested that an element of "tokenism" and stereotyping surrounded many of these minority characters. The programme has since attempted to address these issues. A sari shop was opened and various characters of differing ethnicities were introduced throughout 2006 and 2007, including the Fox family, the Masoods, and various background artists. This was part of producer Diederick Santer's plan to "diversify", to make EastEnders "feel more 21st century". On 24 February 2009 for the first time in the soaps history, an entire episode was screened consisting entirely of Black actors. EastEnders has had varying success with ethnic minority characters. Possibly the least successful were the Indian Ferreira family, who were not well received by critics or viewers and were dismissed as unrealistic by the Asian community in the UK.
EastEnders has a high cast turnover and characters are regularly changed in order to facilitate storylines or refresh the format. The show has also become known for the return of characters after they have left the show. Sharon Rickman returned in August 2012 for her seventh stint on the show, and Den Watts returned 14 years after he was believed to have died. Speaking extras, including Tracey the barmaid (who has been in the show since the first episode in 1985), have made appearances throughout the show's duration, without being the focus of any major storylines. The character of Nick Cotton gained a reputation for making constant exits and returns since the programme's first episode.
Despite the high cast turnover, several cast members have remained with the show for an extended period of time. Over the years, their characters gain in popularity and some even become television icons, such as Sharon Watts who was deemed as "prolific" by The Guardian. Over EastEnders 28-year history, Sharon is one of two original characters in the soap. She shares this role with Ian Beale who is the only character to have appeared continuously in the soap from the first episode without officially leaving, and is currently the longest serving character in EastEnders.
The majority of EastEnders episodes are filmed at Elstree Studios in Borehamwood, Hertfordshire. When the number of episodes was increased to four per week, more studio space was needed, so Top of the Pops was moved from its studio at Elstree to BBC Television Centre in April 2001. Episodes are produced in "quartets" of four episodes, each of which starts filming on a Tuesday and takes nine days to record. Each day, between 25 and 30 scenes are recorded. During the filming week, actors can film for as many as eight to 12 episodes. Exterior scenes are filmed on a specially constructed film lot, and interior scenes take place in four studios. The episodes are usually filmed about six to eight weeks in advance of broadcast. During the winter period, filming can take place up to 12 weeks in advance, due to less daylight for outdoor filming sessions. This time difference has been known to cause problems when filming outdoor scenes. On 8 February 2007, heavy snow fell on the set and filming had to be cancelled as the scenes due to be filmed on the day were to be transmitted in April. EastEnders is normally filmed using four cameras. When a quartet is completed, it is edited by the director, videotape editor and script supervisor. The producer then reviews the edits and decides if anything needs to be re-edited, which the director will do. A week later, sound is added to the episodes and they are technically reviewed, and are ready for transmission if they are deemed of acceptable quality.
EastEnders is often filmed on location, away from the studios at Elstree. Sometimes an entire quartet is filmed on location, which has a practical function and are the result of EastEnders making a "double bank", when an extra week's worth of episodes are recorded at the same time as the regular schedule, enabling the production of the programme to stop for a two-week break at Christmas. These episodes often air in late June or early July and again in late October or early November. The first time this happened was in December 1985 when Pauline (Wendy Richard) and Arthur Fowler (Bill Treacher) travelled to the Southend-on-Sea to find their son Mark, who had run away from home. In 1986, EastEnders filmed overseas for the first time, in Venice, and this was also the first time it was not filmed on videotape, as a union rule at the time prevented producers taking a video crew abroad and a film crew had to be used instead.
If scenes during a normal week are to be filmed on location, this is done during the normal recording week. Off-set locations that have been used for filming include Clacton (1989), Devon (September 1990), Hertfordshire (used for scenes set in Gretna Green in July 1991), Portsmouth (November 1991), Milan (1997), Ireland (1997), Amsterdam (December 1999), Brighton (2001) and Portugal (2003). In 2003, filming took place at Loch Fyne Hotel and Leisure Club in Inveraray, The Arkinglass Estate in Cairndow and Grims Dyke Hotel, Harrow Weald, North London, for a week of episodes set in Scotland. The 9 April 2007 episode featured scenes filmed at St Giles Church and The Blacksmiths Arms public house in Wormshill, the Ringlestone Inn, two miles away and Court Lodge Farm in Stansted, Kent. Other locations have included the court house, a disused office block, Evershed House, and St Peter's Church, all in St Albans, an abandoned mental facility in Worthing, Carnaby Street in London, and a wedding dress shop in Muswell Hill, North London. A week of episodes in 2011 saw filming take place on a beach in Thorpe Bay and a pier in Southend-on-Sea—during which a stuntman was injured when a gust of wind threw him off balanace and he fell onto rocks— with other scenes filmed on the Essex coast. In 2012, filming took place in Keynsham, Somerset. In January 2013, on-location filming at Grahame Park in Colindale, North London, was interrupted by at least seven youths who threw a firework at the set and threatened to cut members of the crew. In October 2013, scenes were filmed on a road near London Southend Airport in Essex.
EastEnders has featured two live broadcasts. For its 25th anniversary in February 2010, a live episode of was broadcast in which Stacey Slater (Lacey Turner) was revealed as Archie Mitchell's (Larry Lamb) killer. Turner was told only 30 minutes before the live episode and to maintain suspense, she whispers this revelation to former lover and current father-in-law, Max Branning, in the very final moments of the live show. Many other cast members only found out at the same time as the public, when the episode was broadcast. On 23 July 2012, a segment of that evening's episode was screened live as Billy Mitchell (Perry Fenwick) carried the Olympic Flame around Walford in preparation for the 2012 Summer Olympics.
EastEnders programme makers took the decision that the show was to be about "everyday life" in the inner city "today" and regarded it as a "slice of life". Creator/producer Julia Smith declared that "We don't make life, we reflect it". She also said, "We decided to go for a realistic, fairly outspoken type of drama which could encompass stories about homosexuality, rape, unemployment, racial prejudice, etc., in a believable context. Above all, we wanted realism". In the 1980s, EastEnders featured "gritty" storylines involving drugs and crime, representing the issues faced by working-class Britain. Storylines included the cot death of 14-month-old Hassan Osman, Nick Cotton's homophobia, racism and murder of Reg Cox, Arthur Fowler's unemployment reflecting the recession of the 1980s, the rape of Kathy Beale in 1988 by James Willmott-Brown and Michelle Fowler's teenage pregnancy. The show also dealt with prostitution, mixed-race relationships, shoplifting, sexism, divorce, domestic violence and mugging.
Aside from this, soap opera staples of youthful romance, jealousy, domestic rivalry, gossip and extramarital affairs are regularly featured, with high-profile storylines occurring several times a year. Whodunnits also feature regularly, including the "Who Shot Phil?" storyline in 2001 that attracted over 19 million viewers and was one of the biggest successes in British soap television. Another whodunnit is the murder of Archie Mitchell (Larry Lamb) who was killed on Christmas Day 2009 after making several enemies. The killer was revealed to be Stacey Branning in a special live episode of the show to mark its 25th anniversary; an episode which drew a peak of 16 million viewers.
EastEnders output then increased to three times a week on Mondays, Tuesday and Thursdays from 11 April 1994 until 2 August 2001. From 10 August 2001, EastEnders then added its fourth episode (shown on Fridays). This caused some controversy as it clashed with Coronation Street, which at the time was moved to 8pm to make way for an hour long episode of rural soap Emmerdale at 7pm The move immediately provoked an angry response from ITV insiders, who argued that the BBC's last-minute move—only revealed at 3.30pm on the day—broke an unwritten scheduling rule that the two flagship soaps would not be put directly against each other. In this first head-to-head battle, EastEnders claimed victory over its rival.
EastEnders is broadcast around the world in many English-speaking countries. It is shown on BBC Entertainment (formerly BBC Prime) in Europe, and in Africa, where it is approximately six episodes behind the UK. It was also shown on BBC Prime in Asia, but when the channel was replaced by BBC Entertainment, it ceased showing the series. In Canada, EastEnders was shown on BBC Canada until 2010, at which point it was picked up by VisionTV. In Ireland, EastEnders was shown on TV3 from September 1998 until March 2001, when it moved over to RTÉ One, after RTÉ lost the rights to air rival soap Coronation Street to TV3. The series is simulcast with BBC One, which is widely available in the Republic, but carries advertising since its 1998 debut on Irish TV. EastEnders is also shown on the British Forces Broadcasting Service's main TV channel, BFBS1, to members of HM Forces stationed around the world.
The series was broadcast in the United States until BBC America ceased broadcasts of the serial in 2003, amidst fan protests. In June 2004, the Dish Network picked up EastEnders, broadcasting episodes starting at the point where BBC America had ceased broadcasting them, offering the serial as a pay-per-view item. Episodes air two months behind the UK schedule. Episodes from prior years are still shown on various PBS stations in the US. The series was screened in Australia by ABC TV from 1987 until 1991. Currently the series is seen in Australia only on pay-TV channel UK.TV, where it is about 6 weeks behind the UK. In New Zealand, it was shown by TVNZ on TV One for several years, and then on Prime each weekday afternoon. It is currently shown by UK.TV Mondays to Thursdays at 8.00pm. Episodes are currently about 6 weeks behind the UK
Episodes of EastEnders are repeated on BBC Three and are available on-demand through BBC iPlayer for seven days after their original screening. An omnibus edition also airs on BBC Two.
EastEnders was regularly repeated at 10pm on BBC Choice since its launch in 1998, a practice continued by BBC Three for many years until mid-2012 with the repeat moving to 10.30pm. From December 2010 - April 2011 the show was repeated on BBC HD in a Simulcast with BBC Three. The omnibus edition is a compilation of the week's episodes in a continuous sequence. It originally aired on BBC One, on Sunday afternoons until 1 April 2012. It was moved to a late Friday night, early Saturday morning slot on BBC One commencing 6 April 2012. The omnibus returned to a weekend lunch-time slot on BBC 2 in January 2013.
On 21 September 2004, Louise Berridge, the then executive producer, quit following criticism of the show. The following day the show received its lowest ever ratings at that time (6.2 million) when ITV scheduled an hour long episode of Emmerdale against it. Emmerdale was watched by 8.1 million people. The poor ratings motivated the press into reporting viewers were bored with implausible and ill thought out storylines. Kathleen Hutchison, who had been the executive producer of hospital drama Holby City, was announced as the new executive producer. Within a few weeks, she announced a major shake-up of the cast with the highly criticised Ferreira family, first seen in June 2003, written out at the beginning of 2005. Hutchison went on to axe other characters including Andy Hunter, Kate Mitchell, Juley Smith and Derek Harkinson.
In January 2005, after just four months, Kathleen Hutchison left EastEnders. John Yorke, who led EastEnders through what Mal Young (the then head of BBC drama) said was one of its most successful periods in 2001, returned to the BBC as the head of drama, meaning his responsibilities included the running of EastEnders. He also brought back long serving script writer Tony Jordan. It is reported that the cast and crew did not get on well with Hutchison as she had them working up to midnight and beyond. She is also said to have rejected several planned storylines and demanded re-writes. This was one of the reasons storylines such as the Real Walford football team were suddenly ignored. But through her short reign she led EastEnders to some of its most healthy viewing figures in months. Yorke immediately stepped into her position until a few weeks later when Kate Harwood was announced as the new executive producer.
EastEnders received its second lowest ratings on 17 May 2007, when 4.0 million viewers tuned in to see Ian Beale and Phil Mitchell's car crash, part of the show's most expensive stunt. This was also the lowest ever audience share, with just 19.6%. This was attributed to a conflicting one hour special episode of Emmerdale on ITV1 which revealed the perpetrator in the long-running Tom King murder mystery storyline. Emmerdale's audience peaked at 9.1 million. Ratings for the 10pm EastEnders repeat on BBC Three reached an all-time high of 1.4 million. However, on Christmas Day 2007, EastEnders gained one of its highest ratings for years and the highest ratings for any TV programme in 2007, when 13.9 million viewers saw Bradley Branning find out his wife Stacey had been cheating with his father, Max. The earlier first half had achieved 11.8 million viewers. The second half of the double bill was the most watched programme on Christmas Day 2007 in the UK, while the first half was third most watched, surpassed only by the Doctor Who Christmas special. When official figures came out a few weeks later, it was confirmed 14.38 million viewers had watched the Christmas Day episode of EastEnders, and that it had the highest UK TV audience for a TV show during 2007.
EastEnders is the most complained about programme on the BBC. It has received both praise and criticism for most of its storylines, which have dealt with difficult themes, such as violence, rape, murder and child abuse.
In 1997 several episodes were shot and set in Ireland, resulting in criticisms for portraying the Irish in a negatively stereotypical way. Ted Barrington, the Irish Ambassador to London at the time, described the portrayal of Ireland as an "unrepresentative caricature", stating he was worried by the negative stereotypes and the images of drunkenness, backwardness and isolation. Jana Bennett, the BBC's then director of production, later apologised for the episodes, stating on BBC1's news bulletin: "It is clear that a significant number of viewers have been upset by the recent episodes of EastEnders, and we are very sorry, because the production team and programme makers did not mean to cause any offence." A year later BBC chairman Christopher Bland admitted that as result of the Irish-set EastEnders episodes, the station failed in its pledge to represent all groups accurately and avoid reinforcing prejudice.
The long-running storyline of Mark Fowler's HIV was so successful in raising awareness that in 1999, a survey by the National Aids Trust found teenagers got most of their information about HIV from the soap, though one campaigner noted that in some ways the storyline was not reflective of what was happening at the time as the condition was more common among the gay community. Still, heterosexual Mark struggled with various issues connected to his HIV status, including public fears of contamination, a marriage breakdown connected to his inability to have children and the side effects of combination therapies. In 2002, when the makers of the series decided to write Mark out of the series as his disease became untreatable, he left Walford in 2003 to travel the world, and his death was announced a year later.
Originally there was a storyline written that the whole Ferreira family killed their pushy father Dan, but after actor Dalip Tahil could not get a visa for working in the UK the storyline was scrapped and instead Ronny Ferreira got stabbed and survived. This storyline was criticised by many as it seemed rushed and no reason was given for Dan's disappearance.
Several cast members have criticised the show. In 2003, Shaun Williamson, who was in the final months of his role of Barry Evans, said that the programme had become much grittier over the past ten to fifteen years, and found it "frightening" that parents let their young children watch. In July 2006, former cast member Tracy-Ann Oberman suggested that the scriptwriters had been "on crack" when they penned the storyline about Den's murder and described her 18 months on the show as being "four years of acting experience". Wendy Richard, who played Pauline Fowler for 21 years, has also claimed that she quit the show because of the producers' decision to remarry her character to Joe Macer (played by Ray Brooks), as she felt this was out of character for Pauline.
The birth of Billy and Honey Mitchell's baby, Janet, diagnosed with Down's syndrome, was criticised by the Royal College of Midwives for being inaccurate and unrealistic. They claim that Honey should not have been refused an epidural and should not have been told about her daughter's condition without her husband being present. They also claim that the baby appeared rigid when in fact she should have been floppy, and that nobody opened the baby's blanket to check. The BBC say a great deal of research was undertaken such as talking to families with children who have Down's syndrome, and liaising with a senior midwife as well as the Down's Syndrome Association. The BBC say Honey was not refused an epidural but had actually locked herself away in the bathroom. They were also unable to cast a baby with Down's syndrome for the first few episodes, which is why the baby appeared rigid. The Down's Syndrome Association say that the way in which Billy and Honey found out about their baby's condition and their subsequent support is not a best practice model, but is still a realistic situation. Conversely, learning disability charity Mencap praised the soap, saying the storyline will help to raise awareness.
In 2010, EastEnders came under criticism from the police for the way that they were portrayed during the "Who Killed Archie?" storyline. During the storyline, DCI Jill Marsden and DC Wayne Hughes talk to locals about the case and Hughes accepts a bribe. The police claimed that such scenes were "damaging" to their reputation and added that the character DC Deanne Cunningham was "irritatingly inaccurate". In response to the criticism, EastEnders apologised for offending real-life detectives and confirmed that they use a police consultant for such storylines. In July 2010, complaints were received following the storyline of Christian minister Lucas Johnson committing a number of murders that he believed was his duty to God, claiming that the storyline was offensive to Christians.
Some storylines have provoked high levels of viewer complaints. In August 2006, a scene involving Carly Wicks (Kellie Shirley) and Jake Moon (Joel Beckett) having sex on the floor of Scarlet nightclub, and another scene involving Owen Turner violently attacking Denise Fox, prompted 129 and 128 complaints, respectively. Carly and Jake's sex scenes were later removed from the Sunday omnibus edition. The showdown of Rob, Dawn and May's storyline where May stated to Dawn she could give her an elective caesarean (Dawn being handcuffed to the bed) prompted 200 complaints. The 2007 domestic abuse storyline involving Ben Mitchell and Stella Crawford attracted sixty complaints from viewers, who found scenes where Ben was attacked by bullies as Stella looked on "upsetting". In March 2008, scenes showing Tanya Branning (Jo Joyner) and boyfriend, Sean Slater (Rob Kazinsky), burying Tanya's husband Max (Jake Wood) alive, attracted many complaints. The UK communications regulator Ofcom later found that the episodes depicting the storyline were in breach of the 2005 Broadcasting Code. They contravened the rules regarding protection of children by appropriate scheduling, appropriate depiction of violence before the 9 p.m. watershed and appropriate depiction of potentially offensive content. In September 2008, EastEnders began a grooming and paedophilia storyline involving characters Tony King (Chris Coghill), Whitney Dean (Shona McGarty), Bianca Jackson (Patsy Palmer), Lauren Branning (Madeline Duggan) and Peter Beale (Thomas Law). The storyline attracted over 200 complaints . In April 2009, many viewers complained about the death of Danielle Jones (Lauren Crace), moments after revealing herself to be Ronnie Mitchell's (Samantha Womack) long lost daughter.
In December 2010, Ronnie swapped her newborn baby, who died in cot, with Kat Moon's living baby. Around 3,400 complaints were received, with viewers branding the storyline "insensitive", "irresponsible" and "desperate". Roz Laws from the Sunday Mercury called the plot "shocking and ridiculous" and asked "are we really supposed to believe that Kat won't recognise that the baby looks different?" The Foundation for the Study of Infant Deaths (FSID) praised the storyline, and its director Joyce Epstein explained, "We are very grateful to EastEnders for their accurate depiction of the devastating effect that the sudden death of an infant can have on a family. We hope that this story will help raise the public's awareness of cot death, which claims 300 babies' lives each year." By 7 January, that storyline had generated the most complaints in show history: the BBC received about 8,500 complaints, and media regulator Ofcom received 374. Despite the controversy however, EastEnders pulled in rating highs of 9–10 million throughout the duration of the storyline. A two-minute fight scene in the pub shown in August 2012 received just one complaint to Ofcom from a viewer who felt it was too violent; Ofcom said they would investigate.
In October 2012, a storyline involving Lola Pearce, forced to hand over her baby Lexi, was criticised by the charity The Who Cares? Trust, who called the storyline an "unhelpful portrayal" and said it had already received calls from members of the public who were "distressed about the EastEnders scene where a social worker snatches a baby from its mother's arms". The scenes were also condemned by the British Association of Social Workers (BASW), calling the BBC "too lazy and arrogant" to correctly portray the child protection process, and saying that the baby was taken "without sufficient grounds to do so". Bridget Robb, acting chief of the BASW, said the storyline provoked "real anger among a profession well used to a less than accurate public and media perception of their jobs".
Since its premiere in 1985, EastEnders has had a large impact on British popular culture. It has frequently been referred to in many different media, including songs and television programmes.
Many books have been written about EastEnders. Notably, from 1985 to 1988, author and television writer Hugh Miller wrote seventeen novels, detailing the lives of many of the show's original characters before 1985, when events on screen took place.
Show creators Julia Smith and Tony Holland also wrote a book about the show in 1987, entitled EastEnders: The Inside Story (ISBN 978-0-563-20601-9), telling the story of how the show made it to screen. Two special anniversary books have been written about the show; EastEnders: The First 10 Years: A Celebration (ISBN 978-0-563-37057-4) by Colin Brake in 1995 and EastEnders: 20 Years in Albert Square (ISBN 978-0-563-52165-5) by Rupert Smith in 2005.
Millar, Paul (10 April 2012). "'EastEnders Omnibus' moves permanently to Friday nights". Digital Spy. Retrieved 10 April 2012.
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"Coronation Street and EastEnders battle it out for coveted CRE Race In the Media Award". cre.gov.uk. Archived from the original on 12 April 2006. Retrieved 27 March 2007.
Kilkelly, Daniel (8 June 2011). "'EastEnders' stuntman injured in pier fall". Digital Spy (London: Hachette Filipacchi UK). Retrieved 8 June 2011.
"EastEnders meets Southend". The Enquirer. 10 October 2013. Retrieved 10 October 2013.
"EastEnders loses out to Emmerdale". BBC News. 22 July 2004. Retrieved 16 July 2006.
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... How many TV Shows can you name? ... How many Movies can you name? ... Clare Perkins Ava Hartman ... Khali Best Dexter Hartman ... Rudolph Walker Patrick Trueman ... Iron Man ... About ... Apocalypse (comics) ... Apocalypse ... Apocalypse as depicted in X-Force/Cable: Messiah War #1 (May 2009). Art by Dave Wilkins. ... Human Mutant ... Ozymandias ... Molecular manipulation, Immortality ... Superhuman physical ability ... Energy manipulation
Apocalypse is a fictional character who is an ancient mutant that appears in comic books published by Marvel Comics. The character first appeared in X-Factor #5 (May 1986), created by writer Louise Simonson and designed by artist Walter Simonson. The character is not to be confused with the Marvel Comics villain Harbinger of Apocalypse.
Originally, Bob Layton - writer of the first five issues of X-Factor - had intended to use the Daredevil villain Owl as the Alliance of Evil's mysterious master (mentioned in X-Factor #4, May 1986). The final page of X-Factor #5 initially featured Owl, however after Layton was removed from the book and replaced with Louise Simonson, the final page was changed to feature a character named Apocalypse instead, as Simonson and editor Bob Harras wanted a new villain for the book, commenting, "As soon as I saw the sketch by Walter and heard Louise's take on him. I knew we had the character I wanted. Jackson redrew the page, patching in the shadowy Apocalypse where the Owl had been. But the genesis was clearly Walt and Weezie's." Walter Simonson, however, downplays his role in the character's creation, saying that Guice was responsible for creating the design, and that he, Simonson, merely modified it: "I did not co-create Apocalypse. However, I wish I had. Louise Simonson and Jackson Guice created him. He appeared in a few panels at the end of one of Jackson’s last X-FACTORs, so I am the first artist to use him extensively in stories. And I kind of juiced up his physique a bit." Jackson Guice, artist on the early issues, explained, "I'm not sure how much of Bob's original plan Louise was informed of when she came on board-not a conversation I would have been involved with, I'm afraid. Louise is a terrific writer, however, so I assume she wanted to implement her own ideas wherever she could. I do vaguely recall her telling me the broad strokes for Apocalypse extremely early on in our discussions. She always intended for him to be a true heavyweight contender as a villain—all of which bore out." Bob Harras claimed that the character arose because of storytelling needs: "All I had communicated to Louise was my desire that an A-level, first class character be introduced. I wanted a Magneto-level villain who would up the stakes and give the X-Factor team reason to exist."
Guice remembers playing a role in the visual concept of Apocalypse: "I knew from my conversation with Louise, she intended him to be some sort of ongoing evil über-menace, a real brutal monster of a guy capable of holding his own against the combined team, but I think the specific look was left open to interpretation to me. The best I can remember now is putting his look together pretty much right on the pencil page—just adding bits of costuming business which hinted toward his true appearance when we'd eventually see him in full reveal. I don't believe there was even a character sketch done for him at that point—I planned on making sense of it all later on, but by then I was gone and others had that concern."
Bob Harras said on the character of Apocalypse: "He looked fantastic. Also, the name is dynamic. It tells you right off this character means trouble. And he came with a clear-cut agenda: 'survival of the fittest.' He didn't care if you were a mutant—if you were weak, you would be destroyed. He was merciless, but his philosophy was easy to grasp and it fit in with the harder edge of evolution which is part and parcel of the mutant story. Isn't that what humans fear about mutants? That they are the next step? Now, we had given mutants something new to fear: a character who would judge them on their genetic worthiness. To his own mind he wasn't evil (despite his leadership of the Alliance of Evil, which I think we dropped pretty soon after Apocalypse's introduction); he believed he was doing the right thing. He was ensuring evolution. To me, he was the perfect next step in the mutant story."
Although the character first appeared in X-Factor, the unnamed benefactor of the Living Monolith in Marvel Graphic Novel #17 (1985), has been identified as Apocalypse in disguise.
During his run on Cable, Robert Weinberg planned a rather complex series of circumstances that would have revealed that Apocalypse was in fact the third Summers brother all along, but Weinberg left the book before he could go along with his plan.
Apocalypse was the principal adversary in the mid-1980s X-Men spin-off series X-Factor (1986–1991), until being apparently killed at the climax of issue #68 (July 1991). The character returns in X-Men #14 (vol. 2, November 1992), part of the X-Cutioner's Song crossover; though, the character is again, apparently killed off at the end of this crossover, in X-Force #18 (vol. 1, January 1993).
Apocalypse's real name, En Sabah Nur, as well as his birthplace (Egypt), and the alien origin of his technology, was revealed in a flashback in X-Force #37 (vol. 1, August 1994). The origin story of Apocalypse relates that he is the first mutant, born 5,000 years ago. In 1995, the popular storyline known as the Age of Apocalypse was published, featuring an alternate timeline in which Apocalypse has conquered much of the world, which temporarily replaced the main Marvel universe.
During the Onslaught crossover, Apocalypse is resurrected in Uncanny X-Men #335 (vol. 1, August 1996). The origin story of Apocalypse is detailed the following year, in the character's own four-issue miniseries, titled Rise of Apocalypse, written by Terry Kavanagh and penciled by Adam Pollina. The same year, Apocalypse plays a part in the origin of Exodus in Black Knight: Exodus, and Mister Sinister in The Further Adventures of Cyclops and Phoenix.
In January 2000, the mysterious storyline of The Twelve finally unfolded, in which Apocalypse plays a major part. The story arc is followed by a series of sub-chapters, Ages of Apocalypse, and a four-issue limited miniseries, The Search for Cyclops. Apocalypse returned in Cable & Deadpool #26 & 27 and appeared in the X-Men: Apocalypse vs. Dracula miniseries. Resurrected, he appeared in X-Men #183-187, in a story arc called "Blood of Apocalypse". The story ended nebulously, as Apocalypse jumped into a tear in the fabric of time and space in order to escape the X-Men and was implied to have died due to the unstable nature of the portal.
Besides the main existing version of the character, alternate universe versions of the character exist: most notably is the "Age of Apocalypse" version, which conquered North America and was opposed by Magneto and his X-Men. A variant of this version (with Horsemen who were different from the main Age of Apocalypse version) appears in Avengers #3 (vol.4). Furthermore, future versions exist (one possessing the body of an old woman) in The Adventures of Cyclops and Phoenix and "Messiah War".
Apocalypse returns as a villain in the comic series Uncanny Avengers. He first appears in a flashback, battling Thor in the year AD 1013.
Apocalypse is a mutant born 5000 years ago in Akkaba, and was abandoned as an infant due to his unnatural appearance (gray skin and blue lips). He was rescued by Baal of the Sandstormers who saw the child's potential power and decided to raise him as his own, naming him En Sabah Nur. Throughout his life, Baal taught Nur survival of the fittest, the philosophy that the tribe lives and dies by. At the same time, the time-traveller Kang the Conqueror had arrived in Egypt and became the Pharaoh Rama-Tut, intending to recruit the young Apocalypse. Rama-Tut learned that Nur had been raised by Baal and sent General Ozymandias with his army to destroy the Sandstormers and find Nur. Nur and Baal avoided the battle, having found refuge in a sacred cave before it collapsed. Both were severely injured, and Baal eventually died. Nur survived and vowed to take revenge on Rama-Tut. He traveled to Tut's city where he posed as a slave and drew the attention of Ozymandias's sister, Nephri, who became attracted to the mysterious slave. However Nephri rejected Nur upon seeing his inhuman appearance, and turned to her brother for protection in her panic. Heartbroken by this final rejection, En Sabah Nur's prodigious mutant abilities fully emerged in his enraged state, and he renamed himself Apocalypse. Rama-Tut fled the former slave's rampage, while Nur used his advanced technology to enslave and transform his former tormentor, Ozymandias, into a blind seer made of living stone to forever chronicle Apocalypse's future destinies. Fifty years later, Nur revisited Nephri, now an elderly Egyptian Queen on her deathbed, and mocked the loss of her beauty and vitality, in contrast to his own unchanged appearance, despite the passage of time. During this time Nur joined forces with the original Moon Knight and Imhotep to form the first incarnation of S.H.I.E.L.D. and successfully fended off a Brood invasion.
As the millennia pass, Apocalypse travels around the world to determine if his time of testing has come. He appears throughout history, encouraging civilizations to worship him as a god from several ancient mythologies and testing their strength by manipulating them into fighting wars of conquest, and claiming to have brought "growth, judgment, and destruction." Apocalypse begins to beget progeny, who faithfully followed him as the Clan Akkaba. At some point, Apocalypse discovers advanced alien technology, which he uses to transform and enhance himself. Apocalypse now enters states of suspended animation, while he waits for mutants to become more common, leaving Clan Akkaba and Ozymandias to act in his stead while he sleeps. Apocalypse has some history of having fought the race of godlike immortals known as Eternals, primarily the members Ikaris and Sersi, having been referred to as their "Ancient Nemesis".
In the year 1013 A.D., Apocalypse seeks to destroy Thor, an enemy who will cause him trouble in the future according to information given by his former master, the time-traveling Rama-Tut (also known as Kang the Conqueror). Apocalypse fights the Norse god into retreat in Scandinavia, only to suffer a devastating injury during their next encounter in the skies of London, as Thor attacks with his axe "Jarnbjorn" that has been enchanted to break Apocalypse's armor. Apocalypse retreats as Rama-Tut escapes with Jarnbjorn in hand. Odin identifies Apocalypse as "evolutionary caretaker of the Celestials", who granted Apocalypse his armor.
In the 12th century, Apocalypse would encounter the Eternal Sersi again, when he came across the crusader Bennet du Paris and awakened his latent mutant powers, transforming him into Exodus.
In Victorian London, 1859, Apocalypse encounters Nathaniel Essex, a British scientist, and through him, learns the scientific term for beings like himself – mutant. Coercing Essex and members of the Hellfire Club into working for him, Apocalypse plots the first steps in his quest for global conflict on an unprecedented scale. He uses his advanced technology to transform Nathaniel into Mister Sinister, and commands him to create a plague to ravage and transmute the population of the world. At the same time, the mutant heroes Cyclops and Jean Grey (as Phoenix) had been sent back through time to stop Apocalypse. Close to slaying the British Royal Family, Apocalypse is suddenly greatly weakened, and Cyclops and Phoenix manage to defeat him. It is revealed that Sinister had betrayed Apocalypse, seeing his vision of the future as madness, and had instead created a plague that attacked only Apocalypse, forcing the ancient mutant into his hibernation sanctuary. In 1897, Apocalypse is awakened by his followers, in order to deal with Dracula, who is turning members of Clan Akkaba into vampires to battle Apocalypse, as revenge for his earlier defeat centuries ago as Vlad Tepes (Vlad the Impaler). Apocalypse, with some assistance from Abraham Van Helsing, kills Dracula. The continuation of the Akkaba line is secured by Ozymandias through a disabled, but powerful, teleporter named Frederick Slade, who conceived with a woman.
Apocalypse with Warren Worthington III a.k.a. Angel as the Horseman Death in X-Factor #24 (January 1988). Pencils by Walter Simonson.
Apocalypse spends many years hidden, but awakes from his slumber due to the arrival of the mysterious time-traveling mutant Cable (ironically, Cable had come to the present to prevent the ancient mutant's awakening). Awakened almost a century earlier than he had planned, Apocalypse decides to examine the world and determine its conditions for testing. He grants superhuman powers to the terrorist known as Moses Magnum, who does his bidding by testing the strong and winnowing the weak, battling the X-Men and the Avengers. Apocalypse first crosses paths with the original X-Men team (then organized as the mutant hunting group, X-Factor) when he briefly employs the Alliance of Evil, and orders them to capture the mutant Michael Nowlan. Apocalypse plans to use Nowlan's power-boosting mutation to provide mutantkind with unlimited power. This plan was foiled by the interference of the X-Factor team.
Apocalypse later recruits mutants to serve as his Four Horsemen. Among them is Angel, whom Apocalypse saves from an exploding plane, granting him artificial wings (after he had lost his own natural wings when they were damaged and had to be amputated) in exchange for his servitude. The X-Factor member is reborn as Death, and is made the leader of the Four Horsemen. Apocalypse summons the X-Factor team to his cloaked ship, which floats invisibly above the city. Apocalypse was interested in this group of mutants and had studied them, monitored their activities, and researched their origins and motives after learning of Professor Xavier and the X-Men. Apocalypse explains his scheme to unleash his Horsemen and destroy New York, and offers X-Factor a place at his side. In the end, the Horsemen are defeated by X-Factor, thanks to the help of both the reformed Angel after Iceman fakes his death to bring Angel to his senses, as well as Power Pack. Apocalypse leaves his Celestial Ship for them and in return, takes the willing Morlock Caliban. Afterwards, Apocalypse secretly takes some control over the ship, and it starts to fight X-Factor, but they regain control. Apocalypse escapes with Caliban to one of his bases at Mount Everest.
During The Evolutionary War, Apocalypse confronts the High Evolutionary, who had embarked on a quest to rid the world of a lesser species that he felt were preventing evolution from moving forward. Believing that the Evolutionary was disrupting the natural order of things, Apocalypse commenced battle with Wyndham. In the end, because of the High Evolutionary's actions, it helped the species evolve and grow stronger which ironically helped Apocalypse's plan of weeding out the weak and forcing the strong to rise. Following the genetic manipulation of Caliban, Apocalypse is confronted by the Norse god Loki, who wants him to join his "Acts of Vengeance", but Apocalypse refuses and the two briefly fight.
Apocalypse infecting Nathan with a techno-organic virus, as depicted in Cable vol. 2, #64 (Feb, 1999). Pencils by José Ladrönn.
Apocalypse learns of Sinister's intention to create an adversary powerful enough to destroy him: Nathan Christopher Charles Summers, the son of Scott Summers and Madelyne Pryor. Apocalypse, viewing him as a threat and realizing that Nathan's energy is the very energy that awoke him all those months earlier, sends his newly formed group, the Riders of the Storm, to abduct the Summers child. Apocalypse at this time had conquered the city of Attilan, home of the Inhumans, and enslaved part of its population. X-Factor, alongside the Inhuman Royal Family, attacks Apocalypse's lunar stronghold. Although Apocalypse is severely defeated, the young Nathan is infected with a techno-organic virus, and is sent to the future with a woman named Askani to be cured.
In the future, Apocalypse has conquered the world and ruled until the 39th century. By this time, Apocalypse's body had grown feeble; he becomes aware of the young Nathan's presence in this time, but only succeeds in kidnapping a clone of the child which the Askani created. Apocalypse plans to transfer his consciousness and power into the clone's stronger body, but perishes in combat with the (real) teenage Nathan. Nathan grows up to become the warrior Cable (while his clone grows up to become the mutant terrorist known as Stryfe) and travels back to the past to prevent Apocalypse's future domination of the planet.
In the present, Apocalypse is prematurely awoken from his regeneration chamber by his Riders (now calling themselves, The Dark Riders), who inform their master that his Horsemen have kidnapped Cyclops and Jean Grey, supposedly under his instructions (in actuality, Mister Sinister, who was posing as Apocalypse). When attempting to rejuvenate himself again, Apocalypse is nearly killed by Stryfe who had arrived in the past to take revenge on Apocalypse. At the end of this conflict Apocalypse is presumed deceased due to his two recent attempts at regeneration having been interrupted. After a brief battle on the Moon with his former servants, the Dark Riders (who had joined Stryfe), Apocalypse is left for dead by Archangel.
The Dark Rider's new leader, Genesis - the adopted son of Cable, who had traveled to the present to ensure Apocalypse's rise and exact revenge on his father - plans to resurrect Apocalypse by sacrificing the lives of the people in villages neighboring Akkaba. During this time, Wolverine is held captive by Genesis, who attempts to restore Wolverine's lost adamantium skeleton and turn him into a Horseman as a gift for Apocalypse. However, Wolverine breaks free and mutates into a feral state, and then kills Genesis along with nearly all of the Dark Riders (Apocalypse himself would later repeat Genesis' scheme of reinforcing Wolverine's skeleton with adamantium again and brainwashing him into servitude, succeeding where Genesis had failed). During the fight, Cannonball opens the sarcophagus containing Apocalypse's body, but finds it empty, and wonders if Genesis was either lying about Apocalypse, or was delusional, or maybe Apocalypse had gotten up and left by himself. However, Apocalypse was seen alive before this.
After a long healing slumber, Apocalypse, fully restored, awakens with Ozymandias at his side and quickly learns of the present danger: Onslaught. He observes the conflict between the psionic entity and Earth's heroes with Uatu the Watcher, who suggests to Apocalypse a course of action; an alliance with the one who hated him the most, Cable. Apocalypse surmises that Onslaught would be most vulnerable through the astral plane, and that he needs Cable for actual physical transportation to this realm. Once on the astral plane, Apocalypse would remove the captive Franklin Richards, greatly weakening Onslaught. The plan succeeds, but is interrupted by the Invisible Woman, who had invisibly accompanied the pair, having suspected Apocalypse's motive in wanting to actually kill her son. However, the reprieve in battle gave Onslaught the time to escape, prolonging the conflict.
Following the events of the Onslaught saga, the gamma-spawned powerhouse, the Hulk and his human alter ego, Banner, are split into two separate entities; Hulk now draws upon energy derived from Franklin Richards' pocket universe; Apocalypse recruits the Hulk to become his Horseman, War, with intentions of using the Hulk's nexus-energy to overcome the Celestials. To test this newest recruit, Apocalypse set War against the New World Order, a shadow cabinet organization that intends to conquer the world. The New World Order in turn set the Juggernaut and the Absorbing Man against War, but both are easily defeated. However, Hulk comes to his senses after injuring his friend, Rick Jones. Despite this apparent setback, the incident was still a victory for Apocalypse as it was a successful testing of newly understood Celestial technology. Apocalypse activates the self-destruct mechanism on the sword of War, which the New World Order had obtained, destroying their headquarters.
The Hellfire Club later awakens Apocalypse's long-hidden Harbinger from its deep sleep; originally a normal man, whom Apocalypse in the 19th century once left to incubate for 100 years. Apocalypse releases his Horseman (Caliban) and his scribe Ozymandias from his possession, to fend for themselves, if they were to survive the coming events. Cable with the Avengers battles the Harbinger, but are unable to stop it. Apocalypse then appears, activating a bomb inside the Harbinger which would destroy all of New York, but Cable manages to prevent this disaster.
When Magneto is disrupting Earth's magnetic field, Apocalypse sends a Skrull impersonating the mutant Astra (having dealt with the original Astra) to stop the Master of Magnetism.
Intending to start an all-out war between the humans and the subterranean-dwelling Deviants as part of his plan to test the strong, Apocalypse sets off nuclear warheads at Lemuria, causing the Deviants to further mutate (which also restores Ikaris' father Virako to life). Apocalypse launches an attack at San Francisco, using a mentally controlled Deviant, Karkas, now a gigantic monster, that the Eternals are forced to battle. Apocalypse is confronted by his centuries-old foe, Ikaris, who now is a Prime Eternal. Although, Apocalypse defeats Ikaris, the Eternal still succeeds in destroying his ship and thwarting his plan.
Apocalypse merges with Cyclops in X-Men vol. 2, #97 (February 2000). Art by Alan Davis and Mark Farmer.
Supposedly lost diaries of the mutant seer Destiny surfaced, telling of twelve beings that could defeat Apocalypse once and for all. Various mutants, all listed in the prophecy, are abducted by Apocalypse's Horsemen including a faction of the Skrulls. The Twelve legend was in fact a ruse, orchestrated by Apocalypse himself; once the Twelve are assembled, Apocalypse intended to use them to transform himself into a godlike entity beyond the Celestials. It is revealed at the end of this story arc, that Apocalypse's physical form has been burned out due to the vast amount of energies he has under his control, forcing him to wear a bio-armor (like his future counterpart), and now plans to use Nate Grey as a host body for him to move his energy and consciousness into. The X-Men confront Apocalypse as he is close to merging with Nate, but are unable to stop him. Cyclops pushes Nate Grey out of the way, merging with Apocalypse instead. While the merge is successful, Apocalypse's aim for unlimited power is not, and he attempts to complete the transformation by warping reality into various scenarios (see Ages of Apocalypse). Apocalypse hoped to lull the Twelve into empowering him with their energy, but eventually, the mutants realize their true predicament and Apocalypse teleports away.
An amnesiac and powerless Cyclops regains control of the merged form, but Apocalypse begins to re-emerge. Jean and Cable are alerted to his location in Egypt, where Jean in the end manages to free Cyclops by telepathically tearing out Apocalypse's essence from her husband's body, rendering Apocalypse in an incorporeal astral form, which Cable apparently destroys using his Psimitar.
In the aftermath of the 2005 "Decimation" storyline, in which most of the mutants lost their powers, Apocalypse was revealed to be alive and well. The techno-organic virus, with which he long ago infected Cable, was revealed to be the means by which Apocalypse's spirit reconstituted itself. With only a drop of his blood into a vat of organs and blood, the virus would rewrite the genetic code of the material within to form a body for Apocalypse. Apocalypse awakes from a slumber in a tomb in Akkaba, recalling:
Apocalypse finds himself in a world with its mutant population reduced to a fraction of what it had been, only a few hundred remaining out of the millions who populated earth prior to his demise at Cable's hands. Reappearing inside a Sphinx-shaped ship, Apocalypse confronts the X-Men with his newly assembled cadre of Horsemen on the front lawn of the X-Mansion. The Horseman Famine uses his powers to cause an intense feeling of hunger and weakness in the mutants and humans on the institute grounds. Apocalypse offers the mutants an elixir; his own blood, provided they join his side. Bent on becoming the new messiah for mutant-kind, Apocalypse approaches the world leaders at the United Nations in New York and issues an ultimatum: humanity would destroy ninety percent of its own population, putting man and mutant on level ground in anticipation of the final conflict when the worthy alone would survive - or Apocalypse would unleash his meta-plague on the world and obliterate all humanity.
In the end, Apocalypse's horsemen are lost, Ozymandias betrays him, and he is forced to retreat by combined assault of the X-Men and the Avengers. Ultimately, it is discovered that the Celestials lent their technology to Apocalypse, requiring as payment greater sufferings later. He attempts to embrace death as an escape from his lifelong pact, only to find himself instantly resurrected and hearing a voice: "We cannot let you die. Not yet. It is time Apocalypse… it is time".
In a future timeline seen in the 2009 storyline "Messiah War", a greatly weakened Apocalypse is attacked by Stryfe and Bishop, but he apparently survives the attack. Afterward, Apocalypse contacts Archangel in the future and begs him to kill him. Archangel refuses and instead hands over some of his techno organic wing blades to him, telling Apocalypse he no longer holds any control over him. Coming into contact with the blades rejuvenate Apocalypse. and he offers to join forces with Archangel to kill Stryfe, who is on the verge of killing X-Force, Cable, Bishop, and Hope Summers. Archangel takes Apocalypse to a Celestial ship, where Apocalypse is then fully restored and wants to avenge what Stryfe did to him. Just as Stryfe is on the verge of taking Hope for himself, Apocalypse and Archangel confront and defeat Stryfe. Apocalypse releases Hope into Cable's care, but says that he will return for her eventually. Apocalypse then takes Stryfe as his new host, effectively killing him.
In the 2010 "Heroic Age" storyline, versions of Apocalypse and his Horsemen from a possible future appear in the Avengers Tower after Kang breaks time itself. After a fight with the Avengers, he and his Horsemen disappear.
Apocalypse's followers, the Clan Akkaba, manage to bring about Apocalypse's return, albeit in the form of a child they will indoctrinate. Upon learning of Apocalypse's return, X-Force seeks to kill him, but when they discover he is a child, Psylocke decides to protect him, believing they can rehabilitate him and train him as a force for good. However, Fantomex fatally shoots the child, much to the shock of the rest of the team.
During the 2012 storyline "Dark Angel Saga", it is revealed that Apocalypse had fathered a son with Autumn Rolfson, and she kept this a secret from Apocalypse out of fear of what he would do to him. At the end of the storyline, it is revealed that Fantomex creates a clone Apocalypse which he helps raise to the age of a teenager in an artificial world, where the clone knows Fantomex as the kindly "Uncle Cluster" who taught him to use his abilities for good. The boy, code-named Genesis, helps X-force fight Archangel and when the battle is over, Fantomex enrolls him in the Jean Grey School for Higher Learning.
In Wolverine & the X-Men #4 (March 2012), Evan Sabahnur a.k.a. Genesis is admitted as a student to the Jean Grey School of Higher Learning, where his classmates notice his resemblance to Apocalypse. Evan is worried when a visiting Deathlok, who reveals to the students their likely futures, shows reluctance to do so with Evan. When Evan presses him, Deathlok informs him that this is what Evan is at the school to discover. Deathlok then tells Wolverine that Evan has great potential, and may be a great savior, or a conqueror. During a later issue of "Wolverine and the X-Men", he is seen building a friendship with the reborn Warren Worthington (known simply as Angel).
After being called Kid Apocalypse by Kid Omega, Evan start to read about Apocalypse on the Internet and is saddened that he looks like the villain. When Husk discovers this he tells her that everyone thinks the two look like each other, but admits that there is a resemblance between them. However, Evan denies any possibility for him to become like Apocalypse. After saving Angel and discovering that he possesses the ability to see the essence of those he looks upon, Evan asks him to tell him what he sees when he looks at him. Angel tells Evan he sees only goodness inside him, which makes Evan happy, so he thanks Angel for being a good friend. However, the truth was that Angel lied and the only thing he could see was the dark image of Apocalypse.
In the last story arc of Uncanny X-Force vol. 1, a new Brotherhood of Evil Mutants, led by Wolverine's son Daken, kidnaps Evan during a field trip to Genosha's remains. Hoping to sway the boy into becoming Apocalypse, the Brotherhood reveals to him that he is a clone, and tells him of X-Force's assassination of the child En Sabah Nur from which he was copied and the falsehood of his life under the tutelage of Fantomex. After the Brotherhood reveals that they have killed Fantomex and further tortures Evan, Daken tells Evan that he has a choice: either immediately ascend as Apocalypse and kill the Brotherhood as revenge for the death of "Uncle Cluster", or let the rest of X-Force die at the Brotherhood's hands to avenge the death of the original boy En Sabah Nur and the lies Evan was told (as well as prevent X-Force from possibly killing Evan the way they killed Apocalypse and Archangel).
Daken offers Evan a suit of Apocalypse's Celestial armor to do with what he will, secretly planning to control the new Apocalypse through the psychic abilities of the Shadow King. After Deadpool failed attempt to rescues Evan, the boy dons the Celestial armor to prevent Wolverine's death at Daken's hands and nearly kills Brotherhood members Sabretooth and Mystique. Enraged by the lies he has been told and filled with new-found power from Apocalypse's armor, Evan prepares to attack Wolverine himself, but Wolverine convinces him of the ultimate futility of revenge. Evan is later visited by Deadpool at the Jean Grey School for Higher Learning. Deadpool tells Evan he is not Apocalypse and that Deadpool will always be there for him when he needs him.
Apocalypse is an ancient mutant born with a variety of superhuman abilities who further augmented himself after merging with Celestial technology. The character has total control over the molecules of his body, enabling him to alter his form as it suits him, such as allowing his body to become extremely malleable and flexible or change its size, enhance his physical abilities, transform his limbs into weapons or wings and jets, regenerate from fatal injuries, adapt his body to apparently any disease or hostile environment and give himself virtually any physical superhuman power. The character is also able to project and absorb energy, and has displayed telepathy and telekinesis. Apocalypse is as well capable of technopathy, able to directly interface with the various technologies he has at his disposal. Apocalypse is also immortal, and immune to aging, not needing sustenance of any kind and can survive fatal injuries. Whether this ability is a part of his mutant powers, or developed as a result of his merging with celestial technology is unclear.
Aside from his superhuman powers, Apocalypse is extraordinarily intelligent, a scientific genius with knowledge in various areas of science and technology including physics, engineering, genetics and biology, that is far more advanced than conventional science. Apocalypse has knowledge of Celestial technology that he uses for his own applications, such as altering mutants or humans. Apocalypse is also a skilled demagogue and a master strategist.
Apocalypse's blood can heal other mutants, but is fatal for humans. Apocalypse's blood can also restore his de-powered mutant descendants as is seen when a large dose of Apocalypse's blood regenerates the lost body part of Chamber and gave him a look similar to Apocalypse.
Apocalypse, as depicted in the pages of X-Men Alpha (February 1995), during the Age of Apocalypse. Art by Roger Cruz.
In the Age of Apocalypse universe, Apocalypse awakens ten years before Cable would arrive, witnessing the accidental death of Charles Xavier, attacks humanity, and conquers much of the world.
The Ultimate Marvel imprint title features an alternate version of Apocalypse who is an entity worshiped by Sinister. After completing a series of tasks, Sinister is transformed into Apocalypse who intends to conquer the world. The heroes are unable to defeat him until the Phoenix Force appears and destroys him. Although his abilities are never directly stated in total, he is shown to be capable of negating other mutant powers, adapting mutant powers into his own by exposure to them, and "evolving" as he is fought. Following a heavy assault by the X-Men, Fantastic Four, and SHIELD forces, he emerges from an explosion in a red and silver version of his traditional blue cybernetic battle armor. He is also capable of adapting to and overcoming Professor Xavier's psychic assault despite his training during his time in the future with Cable. Cable makes the most concrete implication that evolving is the major element of his powers when he remarks that Xavier must kill Apocalypse quickly before he adapts to his attacks and becomes immune to the telepathy. Apocalypse is finally dispelled by Phoenix while leaving an alive Mr. Sinister. His actual nature is unknown; he proclaims himself to be the first mutant (like in the mainstream series), and Phoenix readings portray him as an ancient being, but this is later contradicted by Nick Fury's revelation in Ultimatum that explains mutants are a recent creation of the humans. He later appears again as part of Sinister's psychosis.
In Uncanny X-Force, the character is reborn as a child being raised by a secret society. The first four issues are referred to as the Apocalypse Solution. It concludes with a very different approach than other X-Men comics. In the issues that follow Apocalypse is still the team's main focus even though he isn't present and they are off fighting other enemies. A clone of Apocalypse is kept inside 'The World', a device under the protection of Fantomex that has a different flow of time. Here Fantomex incubates the clone, raising him in a virtual reality world in the hopes that raising him as a good person will in turn cause him to be good when he is released. Also with Apocalypse absent the "Death Seed" planted in Angel (through Apocalypse's transformation and experiments) is growing stronger and taking over, forcing Warren to become Archangel (former horseman of Apocalypse). It is said that he is the Heir to Apocalypse and that the Uncanny X-Men must travel to the Age of Apocalypse dimension to find a "Life Seed" (left by the Celestials) to reverse Warren's ascension.
In X-Men, Apocalypse (voiced by John Colicos and James Blendick) appears in several episodes. In addition to his battles with the X-Men in the present, he leads a war of conquest against the Earth in the year 3999, with Cable leading the armies opposing him. In several episodes, mutants from various points in the future including Cable, Bishop, and Shard, travel to the present to oppose several of Apocalypse's plans. He is the main antagonist in the fourth season. Most notably, Apocalypse captures the world's telepaths and brings them to the "Axis of Time". His prisoners included Professor X, Psylocke, Rachel Summers, Emma Frost, and Mesmero. After they are freed, they use their telepathic powers to bring Apocalypse outside the Axis of Time. Outside the protection of the Axis and the Lazarus chamber gone, Apocalypse will cease to exist.
Apocalypse appears again at the ending of the episode “Sanctuary”. He is shown alongside Deathbird as the rescuers of Fabian Cortez from the fate of a vengeful Magneto. Apocalypse grants him the ability to alter the mutations of other mutants. Apocalypse then appears in the final-season episode “The Fifth Horseman,” who Cortez turned into his servant and worshiper. Cortez assembles a cult worshiping Apocalypse as well as the Hounds, a foursome of altered mutants, in an attempt to find a new body for Apocalypse (who was defeated and sealed in the Astral Plane in “Beyond Good and Evil”). Cortez captures Jubilee and turns Beast into a feral monster but is stopped by Caliban (who was one of the Hounds). After being defeated, Cortez begs Apocalypse to be forgiven for his failure. However, Apocalypse is not angry, stating that Cortez has succeeded in providing him with a new vessel. When Cortez asks what he means, Apocalypse takes possession of Cortez's body. The process is successful as Apocalypse once again walks the Earth and Cortez is now banished to the Astral Plane.
In X-Men: Evolution, Apocalypse (voiced by David Kaye) controls a mutant named Mesmero. He uses him to unlock the doors that keep Apocalypse sealed away from the world. At the end of Season 3, the X-Men and Acolytes are unsuccessful in preventing Mesmero from opening the final door. Apocalypse (noted to be in his human form, not cybernetic) arises after absorbing the powers stolen by a mind-controlled Rogue. Moments after Apocalypse arises, the X-Men and Acolytes arrive too late and attempt to battle Apocalypse, but are all incapacitated by him. In the beginning of Season 4, Apocalypse uses an Eyes of Ages to transport atop of the pyramid in the Yucatán Peninsula, Mexico. He creates a purple-like dome to cover this pyramid. In the first episode of Season 4, it is revealed by a depowered Mesmero that Apocalypse plans to turn all humans in mutants and most humans will not survive this action. Magneto later confronts and battles Apocalypse, in which Magneto is easily killed by him.
In the episode "Ascension Part 1", he uses the base from "Eye of Ages" to become "cybernetic". Moments later, Professor X (also accompanied by Storm) appears before Apocalypse in attempt to reason with him. However they are later killed by Apocalypse. Soon after, three Sentinels are sent to battle Apocalypse as well as divert his attention while other Sentinels attack the remaining three pyramids. At first, it is shown that the Sentinels are giving Apocalypse a difficult time but are later destroyed. Upon learning of the other Sentinels' assault, he revives Magneto, Storm, Mystique, and Professor X as his four horsemen with enhanced powers. In "Ascension Part 2", Apocalypse is stopped by Rogue (who absorbed Leech's powers of nullification). After locking Apocalypse in the chamber of the Eyes of Ages, Wolverine damages the console and sends Apocalypse in what Wolverine believes "cracks of time". However, Rogue states that she does not believe they will be that lucky.
In Wolverine and the X-Men, Apocalypse appears as the master of Mister Sinister, whose gives order to him take DNA from Jean Grey and Cyclops. After the futuristic Sentinel-dominated world crisis is averted, Apocalypse is shown "Foresight (Part 3)", whereas he now rules the world. Also shown beside him are Sinister and the "Age of Apocalypse" version of Cyclops. This storyline would have been explored in Season 2 if the series had not been cancelled. It is noted that Apocalypse appears with no speaking lines.
Apocalypse appears as a boss character in Spider-Man/X-Men: Arcade's Revenge (1992); X-Men (1993); X-Men: Mutant Apocalypse (1994); X-Men 2: Game Master's Legacy (1994); X-Men 2: Clone Wars (1995); X-Men vs. Street Fighter (1996); Marvel Super Heroes vs. Street Fighter (1997); X-Men: The Ravages of Apocalypse (1997); X-Men: Reign of Apocalypse (2001); X2: Wolverine's Revenge (2003); X-Men Legends (2004) and X-Men Legends II: Rise of Apocalypse (2005), voiced by Richard McGonagle.
... 2.1 Rise of Apocalypse ... Rise of Apocalypse ... En Sabah Nur as featured on the cover of Rise of Apocalypse #1. Pencils by Adam Pollina. ... Main article: Apocalypse: The Twelve ... Frank Tieri in an interview about "X-Men: Apocalypse vs Dracula". ... In the Mutant X universe, Apocalypse is an ally of the X-Men. ... Bibliography of Apocalypse ... Apocalypse is number 24, IGN. ... Rise of Apocalypse #1-4 ... New Eternals: Apocalypse Now! ... X-Men: Apocalypse vs. Dracula #1-4 ... New Eternals #1: Apocalypse Now, February 2000
Singh, Arune (February 16, 2006). "Big A, The Vampire Slayer: Tieri talks "Apocalypse vs Dracula"". Comic Book Resources.
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