document_title: Equinox

question_text: when does the equinox occur in the northern hemisphere

text: Equinox

text: Equinoxes on Earth[edit]

text: General[edit]

text: The equinoxes are the only times when the solar terminator (the "edge" between night and day) is perpendicular to the equator. As a result, the northern and southern hemispheres are equally illuminated. The word comes from Latin aequus, meaning "equal", and nox, meaning "night".

text: In other words, the equinoxes are the only times when the subsolar point is on the equator, meaning that the Sun is exactly overhead at a point on the equatorial line. The subsolar point crosses the equator moving northward at the March equinox and southward at the September equinox.

text: The equinoxes, along with solstices, are directly related to the seasons of the year. In the northern hemisphere, the vernal equinox (March) conventionally marks the beginning of spring in most cultures and is considered the start of the New Year in Hindu calendar and the Persian calendar or Iranian calendars as Nowruz (means new day), while the autumnal equinox (September) marks the beginning of autumn.[4]

text:
Illumination of Earth by the Sun at the March equinox

The Earth in its orbit around the Sun causes the Sun to appear on the celestial sphere moving over the ecliptic (red), which is tilted on the equator (white).

Diagram of the Earth's seasons as seen from the north. Far right: December solstice.

Diagram of the Earth's seasons as seen from the south. Far left: June solstice.

text: Date[edit]

text: When Julius Caesar established the Julian calendar in 45 BC, he set 25 March as the date of the spring equinox. Because the Julian year is longer than the tropical year by about 11.3 minutes on average (or 1 day in 128 years), the calendar "drifted" with respect to the two equinoxes — such that in AD 300 the spring equinox occurred on about 21 March, and by AD 1500 it had drifted backwards to 11 March.

text: This drift induced Pope Gregory XIII to create a modern Gregorian calendar. The Pope wanted to continue to conform with the edicts concerning the date of Easter of the Council of Nicaea of AD 325, which means he wanted to move the vernal equinox to the date on which it fell at that time (21 March is the day allocated to it in the Easter table of the Julian calendar). However, the leap year intervals in his calendar were not smooth (400 is not an exact multiple of 97). This causes the equinox to oscillate by about 53 hours around its mean position. This in turn raised the possibility that it could fall on 22 March, and thus Easter Day might theoretically commence before the equinox. The astronomers chose the appropriate number of days to omit so that the equinox would swing from 19 to 21 March but never fall on the 22nd (although it can in a handful of years fall early in the morning of that day in the Far East).

text: Names[edit]

text:
Vernal equinox and autumnal equinox: these classical names are direct derivatives of Latin (ver = spring and autumnus = autumn). These are the historically universal and still most widely used terms for the equinoxes, but are potentially confusing because in the southern hemisphere the vernal equinox does not occur in spring and the autumnal equinox does not occur in autumn. The equivalent common language English terms spring equinox and autumn (or fall) equinox are even more ambiguous.[5][6][7] It has become increasingly common for people to mistakenly refer to the September equinox in the southern hemisphere as the Vernal equinox.[8][9]
March equinox and September equinox: names referring to the months of the year they occur, with no ambiguity as to which hemisphere is the context. They are still not universal, however, as not all cultures use a solar-based calendar where the equinoxes occur every year in the same month (as they do not in the Islamic calendar and Hebrew calendar, for example).[10] Although the terms have become very common in the 21st century, they were sometimes used at least as long ago as the mid-20th century.[11]
Northward equinox and southward equinox: names referring to the apparent direction of motion of the Sun. The northward equinox occurs in March when the sun crosses the equator from south to north, and the southward equinox occurs in September when the sun crosses the equator from north to south. These terms can be used unambiguously for other planets. They are rarely seen, although were first proposed over 100 years ago.[12]
First Point of Aries and first point of Libra: names referring to the astrological signs the sun is entering. Due to the precession of the equinoxes, however, the constellations where the equinoxes are currently located are Pisces and Virgo, respectively.[13]

text: Length of equinoctial day and night[edit]

text: Day is usually defined as the period when sunlight reaches the ground in the absence of local obstacles.[citation needed] On the day of the equinox, the center of the Sun spends a roughly equal amount of time above and below the horizon at every location on the Earth, so night and day are about the same length. Sunrise and sunset can be defined in several ways, but a widespread definition is the time that the top limb of the sun is level with the horizon.[14] With this definition, the day is longer than the night at the equinoxes:[2]

text:
From the Earth, the Sun appears as a disc rather than a point of light, so when the centre of the Sun is below the horizon, its upper edge is visible. Sunrise, which begins daytime, occurs when the top of the Sun's disk rises above the eastern horizon. At that instant, the disk's centre is still below the horizon.
The Earth's atmosphere refracts sunlight. As a result, an observer sees daylight before the top of the Sun's disk rises above the horizon.

text: In sunrise/sunset tables, the assumed semidiameter (apparent radius) of the Sun is 16 arcminutes and the atmospheric refraction is assumed to be 34 arcminutes. Their combination means that when the upper limb of the Sun is on the visible horizon, its centre is 50 arcminutes below the geometric horizon, which is the intersection with the celestial sphere of a horizontal plane through the eye of the observer.[15]

text: These effects make the day about 14 minutes longer than the night at the equator and longer still towards the poles. The real equality of day and night only happens in places far enough from the equator to have a seasonal difference in day length of at least 7 minutes,[16] actually occurring a few days towards the winter side of each equinox.

text: The times of sunset and sunrise vary with the observer's location (longitude and latitude), so the dates when day and night are equal also depend upon the observer's location.

text: A third correction for the visual observation of a sunrise (or sunset) is the angle between the apparent horizon as seen by an observer and the geometric (or sensible) horizon. This is known as the dip of the horizon and varies from 3 arcminutes for a viewer standing on the sea shore to 160 arcminutes for a mountaineer on Everest.[17] The effect of a larger dip on taller objects (reaching over 2½° of arc on Everest) accounts for the phenomenon of snow on a mountain peak turning gold in the sunlight long before the lower slopes are illuminated.

text: At the equinoxes, the rate of change for the length of daylight and night-time is the greatest. At the poles, the equinox marks the transition from 24 hours of nighttime to 24 hours of daylight (or vice versa).[citation needed]

text: The word equilux is sometimes (but rarely) used to mean a day when the durations of light and darkness are equal.[18][note 1]

text: Geocentric view of the astronomical seasons[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2011) (Learn how and when to remove this template message)

text: In the half-year centered on the June solstice, the Sun rises north of east and sets north of west, which means longer days with shorter nights for the northern hemisphere and shorter days with longer nights for the southern hemisphere. In the half-year centered on the December solstice, the Sun rises south of east and sets south of west and the durations of day and night are reversed.

text: Also on the day of an equinox, the Sun rises everywhere on Earth (except at the poles) at about 06:00 and sets at about 18:00 (local solar time). These times are not exact for several reasons:

text:
The Sun is much larger in diameter than the Earth, so that more than half of the Earth could be in sunlight at any one time (due to unparallel rays creating tangent points beyond an equal-day-night line).
Most places on Earth use a time zone which differs from the local solar time by minutes or even hours. For example, if a location uses a time zone with reference meridian 15° to the east, the Sun will rise around 07:00 on the equinox and set 12 hours later around 19:00.
Day length is also affected by the variable orbital speed of the Earth around the sun. This combined effect is described as the equation of time. Thus even locations which lie on their time zone's reference meridian will not see sunrise and sunset at 6:00 and 18:00. At the March equinox they are 7–8 minutes later, and at the September equinox they are about 7–8 minutes earlier.
Sunrise and sunset are commonly defined for the upper limb of the solar disk, rather than its center. The upper limb is already up for at least a minute before the center appears, and the upper limb likewise sets later than the center of the solar disk. Also, when the Sun is near the horizon, atmospheric refraction shifts its apparent position above its true position by a little more than its own diameter. This makes sunrise more than two minutes earlier and sunset an equal amount later. These two effects combine to make the equinox day 12 h 7 min long and the night only 11 h 53 min. Note, however, that these numbers are only true for the tropics. For moderate latitudes, the discrepancy increases (e.g., 12 minutes in London); and closer to the poles it becomes very much larger (in terms of time). Up to about 100 km from either pole, the Sun is up for a full 24 hours on an equinox day.
Height of the horizon changes the day's length. For an observer atop a mountain the day is longer, while standing in a valley will shorten the day.

text: Day arcs of the Sun[edit]

text: Some of the statements above can be made clearer by picturing the day arc (i.e., the path along which the Sun appears to move across the sky). The pictures show this for every hour on equinox day. In addition, some 'ghost' suns are also indicated below the horizon, up to 18° below it; the Sun in such areas still causes twilight. The depictions presented below can be used for both the northern and the southern hemispheres. The observer is understood to be sitting near the tree on the island depicted in the middle of the ocean; the green arrows give cardinal directions.

text:
In the northern hemisphere, north is to the left, the Sun rises in the east (far arrow), culminates in the south (right arrow), while moving to the right and setting in the west (near arrow).
In the southern hemisphere, south is to the left, the Sun rises in the east (near arrow), culminates in the north (right arrow), while moving to the left and setting in the west (far arrow).

text: The following special cases are depicted:

text:
Day arc at 0° latitude (equator)
The arc passes through the zenith, resulting in almost no shadows at high noon.

Day arc at 20° latitude
The Sun culminates at 70° altitude and its path at sunrise and sunset occurs at a steep 70° angle to the horizon. Twilight still lasts about one hour.

Day arc at 50° latitude
Twilight lasts almost two hours.

Day arc at 70° latitude
The Sun culminates at no more than 20° altitude and its daily path at sunrise and sunset is at a shallow 20° angle to the horizon. Twilight lasts for more than four hours.

Day arc at 90° latitude (pole)
If it were not for atmospheric refraction, the Sun would be on the horizon all the time.

text: Celestial coordinate systems[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2017) (Learn how and when to remove this template message)

text: The March equinox occurs about when the Sun appears to cross the celestial equator northward. In the Northern Hemisphere, the term vernal point is used for the time of this occurrence and for the direction in space where the Sun is seen at that time, which is the origin of some celestial coordinate systems:

text:
in the ecliptic coordinate system, the vernal point is the origin of the ecliptic longitude;
in the equatorial coordinate system, the vernal point is the origin of the right ascension.

text: Strictly speaking, at the equinox, the Sun's ecliptic longitude is zero. Its latitude will not be exactly zero, since Earth is not exactly in the plane of the ecliptic. Its declination will not be exactly zero either. (The ecliptic is defined by the barycenter of Earth and the Moon combined.) The modern definition of equinox is the instants when the Sun's apparent geocentric longitude is 0° (northward equinox) or 180° (southward equinox).[19][20][21] See the adjacent diagram.

text: Because of the precession of the Earth's axis, the position of the vernal point on the celestial sphere changes over time, and the equatorial and the ecliptic coordinate systems change accordingly. Thus when specifying celestial coordinates for an object, one has to specify at what time the vernal point and the celestial equator are taken. That reference time is called the equinox of date.[22]

text: The autumnal equinox is at ecliptic longitude 180° and at right ascension 12h.

text: The upper culmination of the vernal point is considered the start of the sidereal day for the observer. The hour angle of the vernal point is, by definition, the observer's sidereal time.

text: Using the current official IAU constellation boundaries – and taking into account the variable precession speed and the rotation of the celestial equator – the equinoxes shift through the constellations as follows[23] (expressed in astronomical year numbering when the year 0 = 1 BC, −1 = 2 BC, etc.):

text:
The March equinox passed from Taurus into Aries in year −1865, passed into Pisces in year −67, will pass into Aquarius in year 2597, and then into Capricornus in year 4312. In 1489 it came within 10 arcminutes of Cetus without crossing the boundary.
The September equinox passed from Libra into Virgo in year −729, will pass into Leo in year 2439.

text: Cultural aspects[edit]

text: The equinoxes are sometimes regarded as the start of spring and autumn. A number of traditional (harvest) festivals are celebrated on the date of the equinoxes.

text: Effects on satellites[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2012) (Learn how and when to remove this template message)

text: One effect of equinoctial periods is the temporary disruption of communications satellites. For all geostationary satellites, there are a few days around the equinox when the sun goes directly behind the satellite relative to Earth (i.e. within the beam-width of the ground-station antenna) for a short period each day. The Sun's immense power and broad radiation spectrum overload the Earth station's reception circuits with noise and, depending on antenna size and other factors, temporarily disrupt or degrade the circuit. The duration of those effects varies but can range from a few minutes to an hour. (For a given frequency band, a larger antenna has a narrower beam-width and hence experiences shorter duration "Sun outage" windows.)[citation needed]

text: Equinoxes on other planets[edit]

text: Equinoxes occur on any planet with a tilted rotational axis. A dramatic example is Saturn, where the equinox places its ring system edge-on facing the Sun. As a result, they are visible only as a thin line when seen from Earth. When seen from above – a view seen during an equinox for the first time from the Cassini space probe in 2009 – they receive very little sunshine, indeed more planetshine than light from the Sun.[24] This phenomenon occurs once every 14.7 years on average, and can last a few weeks before and after the exact equinox. Saturn's most recent equinox was on 11 August 2009, and its next will take place on 6 May 2025.[25]

text: Mars's most recent equinox was on 5 May 2017 (northern spring), and the next will be on 22 May 2018 (northern autumn).


document_title: Supernatural (season 13)

question_text: when does supernatural season 13 episode 4 come out

root

text: Supernatural (season 13)

text: Cast[edit]

text: Starring[edit]

text:
Jared Padalecki as Sam Winchester
Jensen Ackles as Dean Winchester
Mark Pellegrino as Lucifer
Alexander Calvert as Jack
Misha Collins as Castiel

tag: ul

text: Special guest star[edit]

text:
Loretta Devine as Missouri Moseley
Jim Beaver as Bobby Singer[6]

text: Guest stars[edit]

text:
Samantha Smith as Mary Winchester
Ruth Connell as Rowena[7]
Osric Chau as Kevin Tran
Kim Rhodes as Sheriff Jody Mills
Briana Buckmaster as Sheriff Donna Hanscum
Kathryn Newton as Claire Novak
Katherine Ramdeen as Alex Jones
Clark Backo as Patience Turner
Yadira Guevara-Prip as Kaia Nieves
Christian Keyes as Michael
Keith Szarabajka as Donatello Redfield
Courtney Ford as Kelly Kline
Jeffrey Vincent Parise as Asmodeus
Lisa Berry as Billie
David Haydn-Jones as Arthur Ketch
Danneel Ackles as Sister Jo[8]

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

265
1
"Lost and Found"
Phil Sgriccia
Andrew Dabb
October 12, 2017 (2017-10-12)
T13.20551
2.10[9]

Lucifer's son Jack seems unsure of himself and the world. Dean tries to shoot him and he knocks out both Winchesters with a sonic scream, leaving to search for his father. He ends up at a local police station and seems mostly innocent but is unsure of, and unable to control, his power. Sam and Dean follow; Dean insists on killing him but Sam sees Jack as just a child. While Dean explains what Jack is to a local officer, Jack explains he learned English from his mother and grew up quickly because she told him the world was dangerous; she also said that Castiel was the father who would protect him. Three angels show up wanting to use Jack's almost limitless power for themselves. The Winchesters banish two of them and kill the third; Jack is stabbed in the heart in the process but is unharmed by the blade. Dean agrees to take him to the bunker, but only until they can find a way to kill him. They are on their own with Chuck not answering prayers. They give Castiel and Kelly a hunter's funeral, also saying goodbye to Crowley and Mary whom they assume Lucifer killed. In the alternate world, Lucifer keeps Mary alive because he needs her for something.

266
2
"The Rising Son"
Thomas J. Wright
Eugenie Ross-Leming & Brad Buckner
October 19, 2017 (2017-10-19)
T13.20552
1.90[10]

On the way back to the bunker, the Winchesters and Jack stop at a hotel and are met by Donatello the prophet. Amara ate his soul, but he has been mentally making the moral choice ever since, and he was drawn to Jack's power. Jack reads the Bible to learn more about himself and his family. Realizing he'll need more protection, the Winchesters try to get him warding tattoos, but he reflexively attacks the tattoo artist for hurting him and his body heals the ink away. Dean takes this as proof that Jack will turn evil, while Sam thinks it's because he lacks control. Meanwhile, the final Prince of Hell, Asmodeus, takes charge of Hell until Lucifer returns, disguising himself as Donatello to trick Jack into freeing the Shedim — Hell's darkest creatures — to be a hero. The brothers and the real Donatello appear, and when Asmodeus hurts them, a flicker of Jack's power makes him flee. At the bunker, Dean admits to Jack that he will kill him if he turns bad. In the alternate world, Lucifer protects Mary, intending to trade her for Jack when they get home. They meet an alternate version of Michael, who killed his world's Lucifer. Michael is the stronger of the two, and keeps this Lucifer alive because he needs him for something.

267
3
"Patience"
Robert Singer
Robert Berens
October 26, 2017 (2017-10-26)
T13.20553
1.93[11]

Missouri Mosley (from Season 1's "Home") calls the Winchesters because a wraith with a taste for psychics is about to go after her family. Dean and Jody go to protect her son James and granddaughter Patience, who is unaware she has inherited Missouri's gift. The wraith reappears and kills Missouri, as she knew it would. James reveals he cut his mother out of his life many years ago, as he grew up fearing she would get killed and also because he couldn't forgive her after his wife Tess died after becoming sick despite Missouri saying she would be fine. The wraith attacks Patience at school and later kidnaps her from home intending to feed on her slowly. In a vision, Patience sees the wraith kill her father, Jody and Dean. She warns them and Dean kills the wraith. James and Dean think Patience should live a normal life, but Jody says it is Patience's choice and that her door is open if she needs help. Meanwhile, Sam tries to train Jack because he reminds him of his own days addicted to demon blood. Jack makes no progress, which he takes as a sign he will be evil, since his powers only work negatively. While the brothers argue over him, Jack says Castiel's name; Castiel hears this and wakes up in a void of nothingness.

268
4
"The Big Empty"
John Badham
Meredith Glynn
November 2, 2017 (2017-11-02)
T13.20554
1.82[12]

A man is killed by his dead wife. Taking the case, Sam convinces Dean to let Jack join them; also having convinced Jack to help save Mary if he can master his powers. There are no signs of a ghost or revenant. A woman is then killed by her dead son. Both victims shared a grief therapist Mia, whom the guys question pretending to be three brothers that lost their mother. Sam and Dean get into an argument about Mary; and Sam discovers Mia is a shapeshifter. Mia says she only helps people by pretending to be their loved ones to give closure, and the killer must be her ex boyfriend and fellow shapeshifter, Buddy. While Sam goes to Buddy's address, Buddy actually sneaks into Mia's office and knocks out Dean and Jack. When Mia refuses to kill them, Buddy prepares to shoot Sam when he walks into the room. Jack is able to use his powers to deflect the bullet away from Sam and throw Buddy into the wall, allowing Sam to kill him. Mia in Kelly's form tells Jack that even monsters can do good. At the bunker Dean gives Jack some approval; and wants Sam to keep believing Mary is alive, admitting that he no longer seems to believe in anything anymore. Meanwhile, Castiel is in The Empty, a place predating even God and Amara, where all angels and demons sleep forever after they die. Castiel is the first in eternity to wake up. The entity there takes Castiel's form and taunts him to go back to sleep as the entity hates being awake itself. Castiel refuses, forcing the entity to send him back to Earth.

269
5
"Advanced Thanatology"
John Showalter
Steve Yockey
November 9, 2017 (2017-11-09)
T13.20555
1.71[13]

Two teenagers explore an abandoned asylum and one of them is killed. The survivor, Shawn, is left unable to speak from trauma and taking a medical mask with him. The brothers take the case and Dean insists he will be fine but clearly isn't. Dean is unable to get Shawn to talk. Sam discovers the asylum's doctor used to lobotomize his patients and the next day Shawn disappears. At the asylum Dean burns the masks destroying the doctor but the place is still haunted; Dean kills himself to find out where the patients bodies are. Shawn was possessed to go back there through the mask and the doctor made him kill himself. A Reaper reports that Dean is in The Veil and the new Death comes to see him: Billie. As the first Reaper to die after Dean killed the old Death she took the job, wanting information on how the hole to the other universe ripped open. She sees the Winchesters as important to the universe with work to do; letting the ghosts move on and sending Dean back, stating his choices decide how he dies. Dean admits to Sam he needs a victory, and they are reunited with Castiel.

270
6
"Tombstone"
Nina Lopez-Corrado
Davy Perez
November 16, 2017 (2017-11-16)
T13.20556
1.89[14]

After meeting Castiel, Jack finds a case in Dodge City, Kansas. Dean loves all Western scene material. A local deputy is killed and his Uncle Joe, another officer, swears revenge. Questioning the local undertaker, Athena, Sam realizes they are dealing with a ghoul, whom Dean recognizes as wearing the face of the famous outlaw Dave Mather. Dave robs a bank so Athena can afford to go to school in California, she has no idea what Dave really is. The brothers, Castiel and Jack get into a shootout with Dave; Jack blasts him with power but accidentally kills a bank security guard, while Dave escapes. Castiel cannot heal the guard. As the others take Jack back, Dean and Joe investigate the local graveyard where Dave has captured Athena. Dean distracts him so Joe can shoot his head off. Dean has Joe blame the guard's death on Dave. At the bunker, despite the other three saying it was a mistake, a withdrawn Jack believes he is a monster and will end up hurting the others so he must leave; knocking them back and teleporting away.

271
7
"War of the Worlds"
Richard Speight, Jr.
Eugenie Ross-Leming & Brad Buckner
November 23, 2017 (2017-11-23)
T13.20557
1.24[15]

Castiel informs Sam and Dean that he has a meeting with an angel about Jack but says he needs to go alone. Asmodeus is unable to sense Jack, and is told that the Winchesters no longer have him. In the alternate world, Michael takes most of Lucifer's grace, using his Kevin Tran to create a portal for Lucifer's earth. Instead, Lucifer escapes and the portal closes. Lucifer arrives back in the correct time, but is greatly weakened. Meanwhile the brothers notice witches being killed. Talking to a survivor, they discover the killer is searching for Rowena and looks like Arthur Ketch. Capturing him, he claims to be Arthur's twin brother, Alexander, who turned his back on the British Men of Letters. Sam finds records of Alexander but Dean is skeptical. Castiel meets with the angel Dumah and is told the angels' population is very low and they intend to force Jack to create more angels when they find him. The angels try to capture Castiel, but Lucifer is able to scare them off. He tries to convince Castiel about the urgent threat of the other Michael, saying they need Jack's power, and he decides not to tell the Winchesters. Asmodeus then appears, deciding he is the ruler of hell, capturing them both. Tracking Castiel, the brothers are attacked by demons but are helped by Alexander; who finally admits he is Arthur. He tells them Rowena gave him a spell to cheat death in exchange for allowing her to escape after being captured by the British Men of Letters some years back, but it needs a recharge so he must find her, insinuating she survived. Dean attacks but Arthur escapes. Asmodeus locks up Lucifer and Castiel and tricks the Winchesters into thinking everything is fine; having worked with Arthur all along.

272
8
"The Scorpion and the Frog"
Robert Singer
Meredith Glynn
November 30, 2017 (2017-11-30)
T13.20558
1.73[16]

After stealing a Nephilim tracking spell from a British museum, the Crossroad Demon Barthamus offers to trade it to the Winchesters to find Jack. In exchange, Barthamus requests the Winchesters aid his minions Smash and Grab in stealing a trunk from a man named Luther Shrike. Luther has Barthamus' trunk in a vault that only Dean can open due to his previous time in Hell. The Winchesters reluctantly agree to the deal and perform a raid on Luther's property. During the raid, Luther realizes the truth and kills Grab, a demon, before being captured by the Winchesters. With the help of Smash, who is a girl named Alice who once made a deal with Barthamus and is now forced to work for him, the Winchesters are able to retrieve the trunk. To their shock, the Winchesters learn that Luther is a man who once made a deal with Barthamus to save his son only to be double-crossed. The trunk contains Barthamus' human bones, leverage with which Luther can force Barthamus to leave him alone. Barthamus kills Luther, but the Winchesters reject his deal due to Barthamus' actions. Alice kills Barthamus by burning his bones, but the spell is destroyed with him. Despite this, the Winchesters are content with how things turned out as they managed to free Alice from her deal to live a normal life and stopped Barthamus.

273
9
"The Bad Place"
Phil Sgriccia
Robert Berens
December 7, 2017 (2017-12-07)
T13.20559
1.74[17]

Jack approaches a dreamwalker named Derek Swan in order to look into the alternate reality where Mary Winchester and Lucifer were trapped. Shortly afterwards, the Winchesters learn from Sheriff Jody Mills that Derek is dead and Jack is apparently responsible. The Winchesters track down Jack shortly after he helps dreamwalker Kaia Nieves escape from a drug rehabilitation facility. Jack is revealed to be innocent in Derek's death. He reveals that he has been attempting to rescue Mary from the alternate reality, but he needs a dreamwalker in order to see the world so that he can open a portal. The Winchesters and Jack rescue Kaia from angels looking for Jack to help them repopulate their species and Dean holds Kaia at gunpoint, forcing her to help them rescue Mary. Under attack by angels, Kaia and Jack combine their powers to open a portal, disintegrating the angels at the same time. Due to Kaia's visions of another reality populated by monsters that she calls the Bad Place, the Winchesters end up in the Bad Place instead while Kaia is deposited on the side of the road and Jack finds Mary. At the same time, Patience Turner has visions of the Winchesters and Jody Mills in great danger. Against her father's wishes, Patience leaves to help and warns Jody that something terrible is coming.

274
10
"Wayward Sisters"
Phil Sgriccia
Robert Berens & Andrew Dabb
January 18, 2018 (2018-01-18)
T13.20560
1.85[18]

After completing a werewolf hunt, Claire Novak gets a call from Jody Mills that the Winchesters are missing and returns to Sioux Falls. At the same time, the Winchesters remain trapped in the Bad Place where they are ambushed by a hooded figure that apparently intends to feed them to a giant monster. Working together, Jody, Alex and Claire attempt to locate and rescue the Winchesters. They are joined by Patience Turner who warns of a vision where Claire dies. The group locates dreamwalker Kaia Nieves, but come under attack by monsters from the Bad Place, making them realize that the rift to the Bad Place is still open. With the help of Kaia and Sheriff Donna Hanscum, Jody's family locates the rift. As Claire and Kaia travel to the Bad Place to rescue the Winchesters, Jody, Alex, Patience and Donna work together to kill several attacking monsters. Claire and Kaia succeed in rescuing the Winchesters before the rift closes, but Kaia is killed by the hooded figure, the true unexpected outcome of Patience's vision. In the aftermath, Sam warns Jody that more monsters may have made it through the rift in the time that it was open and Claire mourns Kaia's death. As Claire sits down to eat dinner with her family and swears revenge on Kaia's killer, another rift opens and the hooded figure emerges. The hooded figure is revealed to be an alternate reality version of Kaia.

275
11
"Breakdown"[19]
Amyn Kaderali
Davy Perez
January 25, 2018 (2018-01-25)
T13.20561
TBD

276
12
"Various & Sundry Villains"[20]
Amanda Tapping
Steve Yockey
February 1, 2018 (2018-02-01)
T13.20562
TBD

277
13
"Devil's Bargain"[21]
Eduardo Sánchez
Eugenie Ross-Leming & Brad Buckner
February 8, 2018 (2018-02-08)
T13.20563
TBD

278
14
TBA
P. J. Pesce[22]
Meredith Glynn[22]
2018 (2018)[23]
T13.20564
TBD

tag: table

text: Production[edit]

text: Supernatural was renewed for a thirteenth season by The CW on January 8, 2017.[24] This season is the first season not to feature Mark Sheppard as Crowley since his introduction in season 5, as the actor announced in May 2017 he would not be returning after his character was killed off for the last time.[25] Alexander Calvert, who was introduced as Jack in the season 12 finale, was promoted to series regular for this season.[26]

tag: p

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Lost and Found"
October 12, 2017
0.7/3
2.10[9]
TBD
TBD
TBD
TBD

2
"The Rising Son"
October 19, 2017
0.7/3
1.90[10]
TBD
TBD
TBD
TBD

3
"Patience"
October 26, 2017
0.6/2
1.93[11]
TBD
TBD
TBD
TBD

4
"The Big Empty"
November 2, 2017
0.6/2
1.82[12]
0.5[27]
TBD
1.1
TBD

5
"Advanced Thanatology"
November 9, 2017
0.6/2
1.71[13]
TBD
TBD
TBD
TBD

6
"Tombstone"
November 16, 2017
0.7/3
1.89[14]
TBD
TBD
TBD
TBD

7
"War of the Worlds"
November 23, 2017
0.3/1
1.24[15]
0.5[28]
1.21
0.8
2.45

8
"The Scorpion and the Frog"
November 30, 2017
0.6/2
1.73[16]
TBD
TBD
TBD
TBD

9
"The Bad Place"
December 7, 2017
0.6/2
1.74[17]
TBD
TBD
TBD
TBD


document_title: Dunkirk (2017 film)

question_text: where were the beach scenes filmed in dunkirk

text: Dunkirk (2017 film)

text: Plot[edit]

text: In 1940, during the fall of France, hundreds of thousands of Allied soldiers have retreated to Dunkirk. Tommy, a young British private, is the sole survivor of a German ambush. At the beach, he finds thousands of troops awaiting evacuation and meets Gibson, who is burying a body. After a German dive-bomber attack, they find a wounded man. They rush his stretcher onto a hospital ship, but are denied passage themselves. The ship is sunk by dive-bombers; Tommy saves Alex, another soldier. They leave at night on a destroyer, which is sunk by a torpedo. Gibson saves Tommy and Alex, and they are brought ashore by a rowing boat.

text: The British navy requisitions civilian vessels that can get close to the beach. In Weymouth, Mr. Dawson and his son Peter set out on his boat Moonstone rather than let the navy take it. Impulsively, their teenage friend George joins them. At sea, they rescue a shell-shocked officer from a wrecked ship. When he realises that Dawson is sailing for Dunkirk, the officer demands that they turn back, and tries to wrest control of the boat; in the struggle, George suffers a head injury that renders him blind.

text: Three Spitfires head towards France. After their leader is shot down, pilot Farrier assumes command with a shattered fuel gauge. They save a minesweeper from a German bomber, but the other Spitfire is hit and ditches. Its pilot, Collins, is rescued by the Moonstone.

text: Tommy, Alex and Gibson join a group of Scottish soldiers and hide inside a trawler until the tide rises. Its owner, a Dutch mariner, returns. German troops shoot at the boat for target practice; when the tide rises, water enters through the bullet holes. Alex, hoping to lighten the boat's load, accuses Gibson, who has been silent, of being a spy and demands that he leave. Gibson reveals he is French; he had stolen the identity of the soldier he buried, hoping to evacuate with the British. Alex, Tommy and the Scottish soldiers abandon the fishing boat when it begins to sink. Gibson is entangled in a chain and drowns. Alex and Tommy swim towards a nearby destroyer, but it is sunk by a bomber. The Moonstone manoeuvres to take on troops, including Alex and Tommy. Peter realises that George is dead; when asked by the shell-shocked officer, he lies that George will be fine. Farrier shoots down the bomber, which crashes and ignites the oil slick from the sinking destroyer. Peter reveals to Collins that his elder brother was a Hurricane pilot, killed early in the war.

text: Farrier reaches Dunkirk, his fuel exhausted. Gliding over the beach, he shoots down a dive-bomber to cheers from the troops below. He cranks his landing gear down and lands beyond the Allied perimeter. He sets fire to his plane and is taken prisoner by German soldiers.

text: At the beach, Commander Bolton watches the last British soldiers leave. He confirms that 300,000 have been evacuated, ten times more than estimated. He remains to oversee the evacuation of the French rearguard. Alex and Tommy cross the English Channel and board a train in Weymouth. Dawson is congratulated for having saved so many men. The shell-shocked officer sees George's body being carried away. Peter visits the local newspaper with a photograph of George; a front-page article later commends George as a hero. Alex expects public scorn as the train approaches Woking, but they receive a hero's welcome. Tommy reads out Winston Churchill's address to the nation from a newspaper.

text: Cast[edit]

text:
Fionn Whitehead as Tommy, a British Army private[7]
Whitehead was cast in the lead after a secretive auditioning process lasting several months.[8] His character was named after the slang term for the ordinary British soldier.[9]

Tom Glynn-Carney as Peter, Mr Dawson's son[10][11]
Jack Lowden as Collins, a Royal Air Force Spitfire pilot[12]
Harry Styles as Alex,[13] a private in the Argyll and Sutherland Highlanders[14]
Styles won the role after auditioning against hundreds of candidates,[12] when Nolan was unaware of his renown as a singer.[15]

Aneurin Barnard as "Gibson",[16] a French soldier masquerading as a British Army private[14]
James D'Arcy as Colonel Winnant[17]
Barry Keoghan as George Mills[14][18]
Kenneth Branagh as Commander Bolton,[13] the pier-master during the evacuation[19]
Cillian Murphy as Shivering Soldier[11]
Murphy read and spoke to Nolan about the psychological trauma the soldiers endured, to understand his character's post-traumatic stress disorder.[17]

Mark Rylance as Mr Dawson, a mariner and Peter's father[11]
Nolan chose Rylance for his work in the theatre and performance in Wolf Hall.[18] As research, Rylance piloted his character's boat every day,[12] listened to audio recordings at the Imperial War Museum,[20] and read accounts of men like Mr Dawson.[18] Between takes, he encouraged rehearsal through improvised scenes, which Nolan said "deepened the characterizations".[21]

Tom Hardy as Farrier, a Royal Air Force Spitfire pilot[12]

text: Michael Caine is heard in a spoken cameo role as Fortis Leader, as a nod to his role in the film Battle of Britain (1969).[22][23]

text: According to D'Arcy and Nolan, Winnant and Bolton act as a Greek chorus to give the audience context.[18] To get acclimatised to cold water, Styles and Whitehead underwent training sessions at Point Dume in Malibu, California.[24]

text: Production[edit]

text: Development[edit]

text:
"The empathy for the characters has nothing to do with their story. I did not want to go through the dialogue, tell the story of my characters... The problem is not who they are, who they pretend to be or where they come from. The only question I was interested in was: Will they get out of it? Will they be killed by the next bomb while trying to join the mole? Or will they be crushed by a boat while crossing?"

— Christopher Nolan[25]

tag: div

text: Director Christopher Nolan conceived the film in the mid-1990s,[24] when he and producer Emma Thomas sailed across the English Channel, as did many small boats during the Dunkirk evacuation.[18][26] Nolan considered improvising the entire film instead of writing a script, but Thomas convinced him otherwise.[27] In 2015,[18] Nolan wrote a 76-page screenplay,[18][25][28] about half the length of his usual scripts[29] and his shortest to date,[12][30] with a precise structure that necessitated fictional characters, rather than ones based on actual eyewitnesses.[21]

text: Nolan made the film from three perspectives—land, sea, and air.[31] He structured the story from the point of view of the characters, with the intention that it would be told visually rather than through dialogue and backstory.[32][33] The film was made to encompass the snowball effect that Nolan had only used in the third acts of previous films.[28] He approached research as though it were for a documentary.[22] Nolan was attracted to the project because of its inversion of the "Hollywood formula", as the Battle of Dunkirk was not a victory and did not involve America, but nevertheless demanded a large-scale production to be put on screen.[12]

text: Nolan postponed Dunkirk until he had acquired sufficient experience directing large-scale action films.[21] To convey the perspective of soldiers on the beach, for whom contact with the enemy was "extremely limited and intermittent", he did not show Germans on screen.[34] He omitted scenes with Winston Churchill and the generals in war rooms, as he did not want to get "bogged down in the politics of the situation".[35] He showed key members of the crew eleven films that had inspired him: All Quiet on the Western Front, The Wages of Fear, Alien, Speed, Unstoppable, Greed, Sunrise, Ryan's Daughter, The Battle of Algiers, Chariots of Fire, and Foreign Correspondent – only two of which are war films.[18][36] The historical consultant was author Joshua Levine,[11][12] who also wrote the book adaptation, Dunkirk: The History Behind the Major Motion Picture.[37] Levine accompanied Nolan while interviewing veterans.[26][38][39] During these interviews, Nolan was told a story of soldiers seen walking into the sea in desperation, which he incorporated into the screenplay.[38]

text: The production team and scouting locations were chosen before Nolan and Thomas solicited Warner Bros. Pictures to make the film.[18] Nolan and his production designer Nathan Crowley toured the beach of Dunkirk while location scouting, and decided to film there despite the logistical challenges,[12] discarding Suffolk as an alternative. Crowley set up a makeshift art department in Nolan's garage, and colourised black-and-white photographs to better understand the visual representation. The design aesthetic was made to look as contemporary as possible.[18] Hoyte van Hoytema, who had previously collaborated with Nolan on Interstellar, was chosen as the director of photography.[40] The Hollywood Reporter stated that Nolan made a deal with Warner Bros. to receive a $20 million salary plus 20% of the box office gross;[41] however, Vanity Fair reported that Nolan agreed to receive a low upfront salary in exchange for a large backend percentage.[42]

text: Pre-production began in January 2016.[18] For the uniforms, costume designer Jeffrey Kurland aimed to balance historical accuracy with aesthetics that would favour the film stock. As the original heavy wool fabric had not been produced since 1940, it was made from scratch, tailored for the main cast and over a thousand extras. Uniforms were made in a factory in Pakistan and the boots by a shoemaker in Mexico. The costume department then spent three weeks ageing them at Longcross Studios. Each garment was made to look distinct in regiment and personality: Tommy wears a large greatcoat, while Alex dons the Highlander cut. Kurland found references at the British Museum, RAF Museum and Imperial War Museum, in contemporary magazines, photo archives and books. The mole was rebuilt over four months in accordance with the original blueprints. Sand was brought from Dunkirk to create make-up consistent with the environment. Oil and tar were specially made, and prosthetics were water and fire resistant.[24]

text: Casting[edit]

text: After first-hand accounts of the evacuation revealed how young and inexperienced the soldiers had been,[43] Nolan decided to cast young and unknown actors.[44] He was also adamant that all of the cast be British.[12][nb 2] John Papsidera and Toby Whale were the casting directors for Dunkirk.[18] Tom Hardy, Kenneth Branagh and Mark Rylance were in talks to join the ensemble as supporting characters in late 2015.[46][47] Fionn Whitehead was cast as the lead in March 2016,[48] while Jack Lowden, Aneurin Barnard and Harry Styles were added shortly after.[49][50] Cillian Murphy joined the following month.[51] James D'Arcy, Barry Keoghan and Tom Glynn-Carney were included later that May.[52][53]

text: Filming[edit]

text: Principal photography commenced on 23 May 2016 in Dunkirk, planned to avoid Bastille Day, and to coincide with the dates of the real evacuation.[24][55][nb 3] Production continued for four weeks on Urk, Netherlands,[24][57][58][nb 4] one week in Swanage and Weymouth in Dorset, United Kingdom,[24][60] and for two weeks at the Point Vicente Interpretive Center and Lighthouse in Rancho Palos Verdes, California.[24][61][nb 5]

text: Filming in Dunkirk took place at the location of the real evacuation,[11][63] while the street scenes were shot in nearby Malo-les-Bains because most of the buildings in Dunkirk were destroyed in the war.[64] Shooting times on the beach and mole were determined by tidal patterns. French labour strikes and working time regulations also affected the production schedule.[24] To minimise the need for computer-generated imagery (CGI), cardboard cut-out props of soldiers and military vehicles created the illusion of a large army.[63][65] Real or scale model fighter aircraft, and real warships and private boats, provided realism that could not be achieved from CGI.[66] Scale models were created via 3D printing. The mole set was frequently rebuilt after being damaged by bad weather. Because French authorities had prohibited pyrotechnic charges, to protect marine life, air cannons were used instead.[24] Six thousand extras were needed for the filming in France.[65][67] Early scenes of the film were shot at Weymouth harbour, and the final scenes at Swanage railway station.[24] Universal Pictures' Falls Lake studio in Los Angeles was used for interior and exterior sets of a sinking ship and plane, with the ship interiors filmed in a water tank using stuntmen.[11][24]

text: Crowley and marine coordinator Neil Andrea located nearly sixty ships,[18][66] which Nolan had reconditioned for the shoot.[11][68] These included the retired French Navy destroyer Maillé-Brézé,[69] which was made to look like a 1940 British warship[12] as there were no wartime British destroyers left with working engines.[18] Three retired Royal Netherlands Navy ships were also used: the minesweeper Hr. Ms. Naaldwijk portrayed HMS Britomart (J22), Hr. Ms. Sittard portrayed HMS Havant (H32) and HMS Jaguar (F34), and MLV Castor portrayed HMS Basilisk (H11).[70] An MTB 102 and the 1930s Norwegian steamer Rogaland were also used.[18][71] Over fifty other boats included twenty actual Little Ships of Dunkirk, piloted by their owners.[18] A small 1930s motor yacht called Moonstone served for six weeks of filming; its most demanding scenes, with up to sixty people on a boat designed for fewer than ten, were shot on the Dutch lake IJsselmeer[11][12][66] to avoid the challenge of the Dunkirk tides.[24]

text: Aircraft were equipped with dual cockpits for filming in flight.[72] A Yakovlev Yak-52TW[57][73] was modified to resemble a Supermarine Spitfire,[24][74] and two Supermarine Spitfire Mark IAs, a Spitfire Mark VB, and a Hispano Buchon painted to look like a Messerschmitt Bf 109E, were also used for the combat scenes. Large-scale radio controlled model aircraft, including Heinkel He 111 and Junkers Ju 87 bombers, were filmed crashing into the English Channel.[54][12] The real Spitfires were provided by the Imperial War Museum Duxford,[18] and owner Dan Friedkin piloted the one that was shot landing on the beach in Dunkirk. These takes had to be done within forty-five minutes, before the tide came back in.[24] IMAX cameras were attached to the fighter planes using specially-made snorkel and periscope lenses – in the back and the front[11][12][24] – and large-scale mockups were submerged with cable rigs for a crash scene.[11] A Piper Aerostar enabled filming from the air, also with IMAX cameras front and rear. Dogfights over the Channel were shot by an aerial unit based at Lee-on-Solent Airfield.[24] Hardy and Lowden spent the final stages of the shooting schedule on a cliffside in Palos Verdes, inside purpose-built cockpit gimbals, with limited contact with the rest of the cast and crew.[11][18][24][75] Principal photography ended on 2 September 2016, after sixty-eight days.[24]

text: The film was shot using both IMAX 65 mm and 65 mm large format film stock in Panavision System 65,[46][76] with more IMAX footage than in any of Nolan's previous films[77] – an estimated seventy-five percent.[12] The sparsity of dialogue made it possible for IMAX cameras, which are notoriously noisy, to be used as the primary format.[24] Panavision and IMAX lenses enabled filming at night.[21] For the first time in a feature film, IMAX cameras were used hand-held,[78] which Steven Spielberg and Ron Howard advised as the best way to shoot on vessels.[38]

text: Post-production[edit]

text: Nolan's regular collaborator Lee Smith returned to edit Dunkirk,[21] beginning in September 2016[24] after Smith had assembled shots unsupervised while filming was still in progress.[79] Editing took place in Los Angeles with an audio mixing team of eight people. Nolan said: "You stop seeing the wood for the trees",[12] and singled out the editing of the aerial sequences as a particular challenge,[79] likening this to a chess game.[29] Limited computer-generated imagery was applied to improve some scenes, but none consisted entirely of CGI.[79] Weather continuity presented less of a challenge than was expected, with filming both in Europe and California. Multiple versions and mixes were cut to further refine the dramatic impact.[24]

text: Sound designer Richard King sent two sound mixers to audio record the Spitfires at the Imperial War Museum Duxford using twenty-four microphones. Unable to find an actual dive siren of a Stuka dive bomber, King created his own to try and replicate the sound. For scenes in which ships gave out sounds of people in distress, voices were captured using an ADR "loop group". C-4 and liquid propane were blown up to record sound for the explosions. Also featured were the whistles attributed to German bombs during the Second World War.[24]

text: Double Negative undertook the visual effects work while FotoKem, which assisted as the production's film laboratory, also handled the release prints.[80]

text: Music[edit]

text:
Dunkirk: Original Motion Picture Soundtrack

Soundtrack album by Hans Zimmer

Released
21 July 2017[81]

Genre
Film score

Length
59:46

Label
WaterTower Music[81]

Hans Zimmer chronology

The Boss Baby
(2017)
Dunkirk: Original Motion Picture Soundtrack
(2017)
Blade Runner 2049
(2017)

text: Hans Zimmer began working on the score in 2016.[82] For intensity, the script was written to accommodate the auditory illusion of a Shepard tone, which had previously been explored in Nolan's 2006 film The Prestige. This was coupled with the sound of Nolan's own pocket watch, which he recorded and sent to Zimmer to be synthesised.[79][83] Additional music was provided by Lorne Balfe, Andrew Kawczynski, Steve Mazzaro, and Benjamin Wallfisch.[84][85]

text: "Nimrod" from Edward Elgar's Enigma Variations is part of the theme,[86][87] which was slowed down to six beats per minute with added bass notes to avoid it sounding sentimental. Instrumentation included a double bass and fourteen cellos played in high register. King relayed to Zimmer the sound of a boat engine, which served as a reference for the tempo.[85] Zimmer visited the Dunkirk set for inspiration and chose not to view raw footage of the film whilst composing the score.[24] The music was recorded at AIR Lyndhurst Hall in London with Geoff Foster as mix engineer.[24][88]

text:
Dunkirk: Original Motion Picture Soundtrack

No.
Title
Writer(s)
Length

1.
"The Mole"
Hans Zimmer
5:36

2.
"We Need Our Army Back"
Zimmer
6:28

3.
"Shivering Soldier"
Zimmer
2:52

4.
"Supermarine"
Zimmer
8:03

5.
"The Tide"
Zimmer
3:49

6.
"Regimental Brothers"

Zimmer
Lorne Balfe[85]

5:04

7.
"Impulse"
Zimmer
2:37

8.
"Home"

Zimmer
Benjamin Wallfisch[85]

6:02

9.
"The Oil"
Zimmer
6:11

10.
"Variation 15 (Dunkirk)"

Wallfisch
Sir Edward Elgar[89]

5:52

11.
"End Titles"

Wallfisch
Elgar
Balfe
Zimmer[89]

7:13

Total length:
59:46

text: Release[edit]

text: The world premiere was on 13 July 2017 at Odeon Leicester Square in London.[90][91] The film was theatrically released on 21 July,[92] projected on IMAX, 70 mm and 35 mm film.[93] It is the fourth Nolan film to be released in the third week of July, a period in which Warner Bros. Pictures has previously achieved success.[94] It was Nolan's preference that the film opened in July instead of the northern-hemisphere autumn awards season.[95] The film was initially screened in 125 theatres in 70 mm,[96][97][98] and was the widest release in that format in twenty-five years.[99] Dunkirk received a special IMAX screening at the 2017 Toronto International Film Festival, the second Nolan film to appear at the festival since Following.[100]

text: Marketing[edit]

text: The announcement teaser debuted in cinemas ahead of Suicide Squad[101] and was released online on 4 August 2016.[102] According to data analytics firm ListenFirst Media, it generated the most Twitter engagement of any trailer released that week.[103] The first full-length trailer was released on 14 December 2016,[104] alongside a five-minute[105] cinema-exclusive prologue shown before selected IMAX screenings of Rogue One: A Star Wars Story.[106] Dunkirk was the most discussed film that week according to media measurement firm comScore.[107] The prologue returned for a week before selected IMAX showings of Kong: Skull Island.[108] Footage from the film was well received at CinemaCon 2017.[109] Warner Bros. aired a TV spot to coincide with the 2017 US national basketball playoffs.[110] The official trailer was released on 5 May 2017, after a countdown on the film's website[111][112] and four fifteen-second teasers leading up to it.[113][114][115][116] Dunkirk was again the most discussed film that week according to ComScore.[117] The video game developer Wargaming included in its titles World of Tanks, World of Warships and World of Warplanes missions and rewards related to the film.[118] On 6 July, Warner Bros. released another trailer, which for the third time was the most discussed film of the week.[119] The prologue was shown at selected Wonder Woman IMAX screenings in July.[120][121] It also toured nine cities in three European countries with a mobile cinema.[122]

text: Sue Kroll, president of Warner Bros. Worldwide Marketing and Distribution, said that it was important that Dunkirk be marketed as a summer event movie as opposed to a period war film, to highlight its "magnificent scale and originality". This strategy was maintained throughout the campaign. To convince audiences that the film was best experienced in theatres, the prologue was never made available online. TV spots were distributed sporadically during sports games and notable television series to establish the film's themes. Social media infographics described the scale and importance of the Dunkirk evacuation. Additionally, a Google 360 Experience interactive adventure, an Amazon Alexa programme, and a 360-degree short film, were created. In partnership with fast food restaurant Carl's Jr., the film was branded on four million cups, as well as pop-ups at nearly 3,000 locations.[123] Research saw the film appeal to twenty percent of infrequent moviegoers.[124]

text: Home media[edit]

text: Dunkirk will be released digitally on 12 December 2017, and on 4K Ultra HD, Blu-ray, and DVD on 18 December in the UK and 19 December in the US[125][126]

text: Reception[edit]

text: Box office[edit]

text: As of 2 November 2017[update], Dunkirk has grossed $187.9 million in the United States and Canada, and $336.9 million in other countries for a worldwide total of $524.8 million, against a production budget of $100 million.[6] It is the highest-grossing World War II film of all time, surpassing Saving Private Ryan's $481.8 million.[127][128]

text: In the United States and Canada, industry tracking for the opening weekend ranged from Variety's $30–40 million[129] to Deadline.com's $35 million,[121] while BoxOffice speculated an opening weekend of $55 million,[130] and IndieWire $50 million and $500 million worldwide.[131] Dunkirk made $19.8 million on its first day, including $5.5 million from preview screenings. It went on to finish first at the box office with $50.1 million, marking the third-largest opening for a World War II film (behind Captain America: The First Avenger's $62.1 million and Pearl Harbor's $59.1 million), as well as the fourth largest of Nolan's career.[95] In its second weekend, it grossed $26.6 million (a drop of 44.3%), beating newcomer The Emoji Movie to the top spot.[132] The film grossed $17.1 million in its third weekend, second to newcomer The Dark Tower ($19.2 million),[133] and was again second in its fourth week, behind Annabelle: Creation with $10.9 million.[134]

text: The film opened in France on 19 July 2017, and made $2.2 million on its first day. It was released in seven markets the following day, earning an additional $6.3 million, and on 21 July in forty-six more countries, grossing $12.7 million from over ten thousand theatres, including $3.7 million from the United Kingdom.[135] The international debut totalled $55.4 million, including $4.9 million in France, $12.4 million in the UK and $10.3 million in Korea.[136] The film remained number one in the United Kingdom for five weeks.[137] It opened in China on 1 September[138] in the top spot,[139] grossing $30 million from its weekend debut.[140] Its opening weekend in Japan earned $2.9 million from 444 screens.[141]

text: Critical response[edit]

text: Dunkirk received praise for its screenplay, direction, and cinematography. Some critics called it Nolan's best film to date[142] and one of the greatest war films ever made.[143][144][145] On the review aggregator Rotten Tomatoes, it holds an approval rating of 92% based on 354 reviews, with an average of 8.6/10. The site's critical consensus reads: "Dunkirk serves up emotionally satisfying spectacle, delivered by a writer-director in full command of his craft and brought to life by a gifted ensemble cast that honors the fact-based story."[146] On Metacritic, the film has a weighted average score of 94/100 based on 52 critics, indicating "universal acclaim".[147] According to AlloCiné, it has an average note of 4.1/5, based on 25 critics.[148] Audiences polled by CinemaScore gave an average grade of "A−" on an A+ to F scale.[95]

text: Peter Bradshaw of The Guardian awarded the film five out of five and called it Nolan's best to date, saying that he "surrounds his audience with chaos and horror from the outset, and amazing images and dazzlingly accomplished set pieces on a huge 70mm screen, particularly the pontoon crammed with soldiers extending into the churning sea, exposed to enemy aircraft".[149] Todd McCarthy of The Hollywood Reporter also lauded the film, calling it "an impressionist masterpiece" and writing: "Although the film is deeply moving at unexpected moments, it's not due to any manufactured sentimentality or false heroics."[150] Peter Debruge of Variety praised the plot (although calling Zimmer's score "bombastic"), writing: "Nolan has found a way to harness that technique in service of a kind of heightened reality, one that feels more immersive and immediate than whatever concerns we check at the door."[1] Manohla Dargis of The New York Times described the film as a "tour de force of cinematic craft and technique" and lauded Nolan's elastic approach to narrative.[151] Mick LaSalle of the San Francisco Chronicle called it a "triumph" and "masterpiece", commending Nolan's unique approach to directing a war film and praising the performances.[152] The Economist labelled Dunkirk "a remarkable film" and a new classic.[153] Richard Roeper of the Chicago Sun-Times said it was one of the best war movies of the decade, describing it as "tight, gripping, deeply involving and unforgettable ... triumph in filmmaking".[154] Chris Nashawaty of Entertainment Weekly gave the film an "A", calling it the best of 2017: "By the end of Dunkirk, what stands out the most isn’t its inspirational message or everyday heroism. It’s the small indelible, unshakeable images that accumulate like the details in the corner of a mural."[155] Robbie Collin of The Daily Telegraph gave the film five out of five, lauding it as "a work of heart-hammering intensity and grandeur".[156]

text: Peter Travers of Rolling Stone awarded it his first four-star rating of 2017 as "maybe the greatest war film ever", adding: "There's little doubt that [Nolan] has, without sentimentality or sanctimony, raised that genre to the level of art...with the resonant force of an enduring screen classic." He also called it the first major Oscar contender of the year.[157] Michael Medved awarded it 4/4 and called Hardy's performance "outstanding", and the action "seamless", declaring: "This is not only the best WWII movie since Saving Private Ryan, it is very simply one of the greatest war movies ever made."[158] Matt Zoller Seitz of RogerEbert.com gave it a score of 3.5/4, despite not liking the film, stating that he "loathed parts of it and found other parts repetitious or half-baked. But, maybe paradoxically, I admired it throughout, and have been thinking about it constantly."[159] Jacques Mandelbaum of Le Monde praised the film's realism, but was disappointed that it ignores the part played by French troops.[160] Kevin Maher in The Times gave it two out of five, saying: "[Dunkirk] is 106 clamorous minutes of big-screen bombast that's so concerned with its own spectacle and scale that it neglects to deliver the most crucial element—drama." He suggested that Dunkirk felt like a Call of Duty video game.[161] David Cox of The Guardian felt the film had historical inaccuracies, a paucity of female characters, small scale, a thinly characterised cast and lack of suspense.[162]

text: Historical accuracy[edit]

text: The film received praise for its generally realistic representation of the historical evacuation.[163] It accurately depicts a few Royal Air Force planes dogfighting the Luftwaffe over the sea, limited to one hour of operation by their fuel capacity. In 1940, destroyers and fighter planes were indeed held back from battle, as the Royal Navy and Air Force would have been the sole defenders against invasion. Also praised were accurate depictions of how a small boat attempted to evade aerial attack, and how soldiers returning to England saw a civilian population largely unaware of or unaffected by the war.[164] British officers did initially refuse to evacuate French soldiers, although Churchill later insisted that the French be evacuated alongside the British.[163] The overall realism of the film was acknowledged by surviving Dunkirk veterans, although Branagh said that some thought it "was louder than the battle".[165]

text: However, although some events are based on true history, the characters and the storyline are fictional. Branagh's role is a composite character[166] based partly on the actions of James Campbell Clouston.[167][168] When the beach scenes were shot, the weather was worse than during the real evacuation; Nolan explained that this helped to understand the danger faced by the pleasure boats.[169] In one scene, an officer gives a salute without wearing his military beret, which a veteran pointed out as inaccurate protocol.[170] The German planes had noses painted yellow in the film; this was not actually done until a month after Dunkirk.[166] The involvement of French, African, and Indian soldiers was either limited or left out.[160][163] Modern shots were used for the aerial photographs, whereas in reality the town was substantially in ruins by the time of the evacuation. The design of the leaflets dropped from the air demanding the British surrender was artistic and not one used in 1940.[163]

text: Notes[edit]

text:
Jump up ^ Additional production by Warner Bros. Pictures, RatPac-Dune Entertainment, Canal+, Ciné+, and Studiocanal.[2]
Jump up ^ Barry Keoghan and Cillian Murphy, however, are Irish.[45]
Jump up ^ Dunkirk was approved under the French international tax rebate scheme.[56]
Jump up ^ The film received $1.2 million through the Netherlands' rebate incentive programme.[59]
Jump up ^ In the course of shooting, Dunkirk operated under the working title of "Bodega Bay",[61][62] a place in Northern California suggested by production designer Nathan Crowley.[18]

tag: ol


document_title: Lord of the Flies

question_text: when does lord of the flies take place

question_tokens: when does lord of the flies take place

text: Lord of the Flies

text: Background

text: Published in 1954, Lord of the Flies was Golding's first novel. Although it was not a great success at the time—selling fewer than three thousand copies in the United States during 1955 before going out of print—it soon went on to become a best-seller. It has been adapted to film twice in English, in 1963 by Peter Brook and 1990 by Harry Hook, and once in Filipino (1975).

text: The book takes place in the midst of an unspecified war.[2] Some of the marooned characters are ordinary students, while others arrive as a musical choir under an established leader. With the exception of Sam and Eric and the choirboys, they appear never to have encountered each other before. The book portrays their descent into savagery; left to themselves on a paradisiacal island, far from modern civilisation, the well-educated children regress to a primitive state.

text: Golding wrote his book as a counterpoint to R.M. Ballantyne's youth novel The Coral Island (1858),[3] and included specific references to it, such as the rescuing naval officer's description of the children's initial attempts at civilised cooperation as "a jolly good show, like the Coral Island".[4] Golding's three central characters—Ralph, Piggy and Jack—have been interpreted as caricatures of Ballantyne's Coral Island protagonists.[5]

text: Plot

text: In the midst of a wartime evacuation, a British aeroplane crashes on or near an isolated island in a remote region of the Pacific Ocean. The only survivors are boys in their middle childhood or preadolescence. Two boys—the fair-haired Ralph and an overweight, bespectacled boy nicknamed "Piggy"—find a conch, which Ralph uses as a horn to convene all the survivors to one area. Ralph is optimistic, believing that grown-ups will come to rescue them but Piggy realises the need to organise: ("put first things first and act proper"). Because Ralph appears responsible for bringing all the survivors together, he immediately commands some authority over the other boys and is quickly elected their "chief". He does not receive the votes of the members of a boys' choir, led by the red-headed Jack Merridew, although he allows the choir boys to form a separate clique of hunters. Ralph establishes three primary policies: to have fun, to survive, and to constantly maintain a smoke signal that could alert passing ships to their presence on the island and thus rescue them. The boys establish a form of democracy by declaring that whoever holds the conch shall also be able to speak at their formal gatherings and receive the attentive silence of the larger group.

text: Jack organises his choir into a hunting party responsible for discovering a food source. Ralph, Jack, and a quiet, dreamy boy named Simon soon form a loose triumvirate of leaders with Ralph as the ultimate authority. Upon inspection of the island, the three determine that it has fruit and wild pigs for food. The boys also use Piggy's spectacles to create a fire. Though he is Ralph's only real confidant, Piggy is quickly made into an outcast by his fellow "biguns" (older boys) and becomes an unwilling source of laughs for the other children while being hated by Jack. Simon, in addition to supervising the project of constructing shelters, feels an instinctive need to protect the "littluns" (younger boys).

text: The semblance of order quickly deteriorates as the majority of the boys turn idle; they give little aid in building shelters, spend their time having fun and begin to develop paranoias about the island. The central paranoia refers to a supposed monster they call the "beast", which they all slowly begin to believe exists on the island. Ralph insists that no such beast exists, but Jack, who has started a power struggle with Ralph, gains a level of control over the group by boldly promising to kill the creature. At one point, Jack summons all of his hunters to hunt down a wild pig, drawing away those assigned to maintain the signal fire. A ship travels by the island, but without the boys' smoke signal to alert the ship's crew, the vessel continues without stopping. Ralph angrily confronts Jack about his failure to maintain the signal; in frustration Jack assaults Piggy, breaking his glasses. The boys subsequently enjoy their first feast. Angered by the failure of the boys to attract potential rescuers, Ralph considers relinquishing his position as leader, but is convinced not to do so by Piggy, who both understands Ralph's importance and deeply fears what will become of him should Jack take total control.

text: One night, an aerial battle occurs near the island while the boys sleep, during which a fighter pilot ejects from his plane and dies in the descent. His body drifts down to the island in his parachute; both get tangled in a tree near the top of the mountain. Later on, while Jack continues to scheme against Ralph, the twins Sam and Eric, now assigned to the maintenance of the signal fire, see the corpse of the fighter pilot and his parachute in the dark. Mistaking the corpse for the beast, they run to the cluster of shelters that Ralph and Simon have erected to warn the others. This unexpected meeting again raises tensions between Jack and Ralph. Shortly thereafter, Jack decides to lead a party to the other side of the island, where a mountain of stones, later called Castle Rock, forms a place where he claims the beast resides. Only Ralph and a quiet suspicious boy, Roger, Jack's closest supporter, agree to go; Ralph turns back shortly before the other two boys but eventually all three see the parachutist, whose head rises via the wind. They then flee, now believing the beast is truly real. When they arrive at the shelters, Jack calls an assembly and tries to turn the others against Ralph, asking them to remove Ralph from his position. Receiving no support, Jack storms off alone to form his own tribe. Roger immediately sneaks off to join Jack, and slowly an increasing number of older boys abandon Ralph to join Jack's tribe. Jack's tribe continues to lure recruits from the main group by promising feasts of cooked pig. The members begin to paint their faces and enact bizarre rites, including sacrifices to the beast. One night, Ralph and Piggy decide to go to one of Jack's feasts.

text: Simon, who faints frequently and is likely an epileptic,[6][7] has a secret hideaway where he goes to be alone. One day while he is there, Jack and his followers erect an offering to the beast nearby: a pig's head, mounted on a sharpened stick and soon swarming with scavenging flies. Simon conducts an imaginary dialogue with the head, which he dubs the "Lord of the Flies". The head mocks Simon's notion that the beast is a real entity, "something you could hunt and kill", and reveals the truth: they, the boys, are the beast; it is inside them all. The Lord of the Flies also warns Simon that he is in danger, because he represents the soul of man, and predicts that the others will kill him. Simon climbs the mountain alone and discovers that the "beast" is the dead parachutist. He rushes down to tell the other boys, who are engaged in a ritual dance. The frenzied boys mistake Simon for the beast, attack him, and beat him to death. Both Ralph and Piggy participate in the melee, and they become deeply disturbed by their actions after returning from Castle Rock.

text: Jack and his rebel band decide that the real symbol of power on the island is not the conch, but Piggy's glasses—the only means the boys have of starting a fire. They raid Ralph's camp, confiscate the glasses, and return to their abode on Castle Rock. Ralph, now deserted by most of his supporters, journeys to Castle Rock to confront Jack and secure the glasses. Taking the conch and accompanied only by Piggy, Sam, and Eric, Ralph finds the tribe and demands that they return the valuable object. Confirming their total rejection of Ralph's authority, the tribe capture and bind the twins under Jack's command. Ralph and Jack engage in a fight which neither wins before Piggy tries once more to address the tribe. Any sense of order or safety is permanently eroded when Roger, now sadistic, deliberately drops a boulder from his vantage point above, killing Piggy and shattering the conch. Ralph manages to escape, but Sam and Eric are tortured by Roger until they agree to join Jack's tribe.

text: Ralph secretly confronts Sam and Eric, who warn him that Jack and Roger hate him and that Roger has sharpened a stick at both ends, implying the tribe intends to hunt him like a pig and behead him. The following morning, Jack orders his tribe to begin a hunt for Ralph. Jack's savages set fire to the forest while Ralph desperately weighs his options for survival. Following a long chase, most of the island is consumed in flames. With the hunters closely behind him, Ralph trips and falls. He looks up at a uniformed adult—a British naval officer whose party has landed from a passing cruiser to investigate the fire. Ralph bursts into tears over the death of Piggy and the "end of innocence". Jack and the other children, filthy and unkempt, also revert to their true ages and erupt into sobs. The officer expresses his disappointment at seeing British boys exhibiting such feral, warlike behaviour before turning to stare awkwardly at his own warship.

text: Themes

text: At an allegorical level, the central theme is the conflicting human impulses toward civilisation and social organisation—living by rules, peacefully and in harmony—and toward the will to power. Themes include the tension between groupthink and individuality, between rational and emotional reactions, and between morality and immorality. How these play out, and how different people feel the influences of these form a major subtext of Lord of the Flies.[citation needed] The name "Lord of the Flies" is a literal translation of Beelzebub, from 2 Kings 1:2–3, 6, 16.

text: Reception

text: In February 1960, Floyd C. Gale of Galaxy Science Fiction rated Lord of the Flies five stars out of five, stating that "Golding paints a truly terrifying picture of the decay of a minuscule society ... Well on its way to becoming a modern classic".[8]

text:
Its stances on the already controversial subjects of human nature and individual welfare versus the common good earned it position 68 on the American Library Association's list of the 100 most frequently challenged books of 1900–1999.[9]
It was awarded a place on both lists of Modern Library 100 Best Novels, reaching number 41 on the editor's list, and 25 on the reader's list.
In 2003, the novel was listed at number 70 on the BBC's survey The Big Read.[10]
In 2005, the novel was chosen by TIME magazine as one of the 100 best English-language novels from 1923 to 2005.[11]

text: In other media

text: Film

text: There have been three film adaptations based on the book:

text:
Lord of the Flies (1963), directed by Peter Brook
Alkitrang Dugo (1975), a Filipino film, directed by Lupita A. Concio
Lord of the Flies (1990), directed by Harry Hook

text: A fourth adaptation, to feature an all-female cast, was announced by Warner Bros. in August 2017. Scott McGehee and David Siegel are slated to write and direct.[12][13] The film's concept has been negatively received, with some stating that an all-female cast goes against the novel's themes of masculinity and male power.[citation needed]

text: Stage

text: Nigel Williams adapted the text for the stage. It was debuted by the Royal Shakespeare Company in July 1996. The Pilot Theatre Company has toured it extensively in the United Kingdom and elsewhere.

text: In October 2014 it was announced that the 2011 production[14] of Lord of the Flies would return to conclude the 2015 season at the Regent's Park Open Air Theatre ahead of a major UK tour. The production was to be directed by the Artistic Director Timothy Sheader who won the 2014 Whatsonstage.com Awards Best Play Revival for To Kill A Mockingbird.

text: Radio

text: In June 2013, BBC Radio 4 Extra broadcast a dramatisation by Judith Adams in four 30-minute episodes directed by Sasha Yevtushenko.[15] The cast included Ruth Wilson as "The Narrator", Finn Bennett as "Ralph", Richard Linnel as "Jack", Caspar Hilton-Hilley as "Piggy" and Jack Caine as "Simon".

text:
Fire on the Mountain
Painted Faces
Beast from the Air
Gift for Darkness

text: Influence

text: This section needs expansion. You can help by adding to it. (April 2015)

text: Many writers have borrowed plot elements from Lord of the Flies. By the early 1960s, it was required reading in many schools and colleges.[16]

text: Film

text: Stephen King's fictional town of Castle Rock, inspired by the fictional mountain fort of the same name in Lord of the Flies, in turn inspired the name of Rob Reiner's production company, Castle Rock Entertainment, which produced the film Lord of the Flies (1990).[17]

text: Literature

text: Stephen King got the name Castle Rock from the fictional mountain fort of the same name in Lord of the Flies and used the name to refer to a fictional town that has appeared in a number of his novels.[18] The book itself appears prominently in his novels Hearts in Atlantis (1999), Misery (1987), and Cujo (1981).[19]

text: Stephen King wrote an introduction for a new edition of Lord of the Flies (2011) to mark the centenary of William Golding's birth in 2011.[17]

text: The novel Garden Lakes by Jaime Clarke is an homage to Lord of the Flies.

text: Music

text: The final song on U2's debut album Boy (1980) takes its title, "Shadows and Tall Trees", from Chapter 7 in the book.[20]

text: Iron Maiden wrote a song inspired by the book, included in their 1995 album The X Factor.[21]

text: Blues Traveler wrote a song called "Justify the Thrill", in which a small part of the lyrics are in reference to the book:[22]

text: "The pig's head on a stick does grin. As we teeter on the brink. He's singing you are all my children. My island's bigger than you think."

text: The Radiohead song "The Daily Mail" includes lyrics that make direct reference to the title of the novel.[23]