document_title: Radian

question_text: what is the conversion factor for degrees to radians

root

text: Radian

text: Definition

text: Radian describes the plane angle subtended by a circular arc as the length of the arc divided by the radius of the arc. One radian is the angle subtended at the center of a circle by an arc that is equal in length to the radius of the circle. More generally, the magnitude in radians of such a subtended angle is equal to the ratio of the arc length to the radius of the circle; that is, θ = s / r, where θ is the subtended angle in radians, s is arc length, and r is radius. Conversely, the length of the enclosed arc is equal to the radius multiplied by the magnitude of the angle in radians; that is, s = rθ.

tag: p

text: As the ratio of two lengths, the radian is a "pure number" that needs no unit symbol, and in mathematical writing the symbol "rad" is almost always omitted. When quantifying an angle in the absence of any symbol, radians are assumed, and when degrees are meant the symbol ° is used.

text: It follows that the magnitude in radians of one complete revolution (360 degrees) is the length of the entire circumference divided by the radius, or 2πr / r, or 2π. Thus 2π radians is equal to 360 degrees, meaning that one radian is equal to 180/π degrees.

text:
The relation

2
π

 rad

=

360

∘

{\displaystyle 2\pi {\text{ rad}}=360^{\circ }}

 can be derived using the formula for arc length. Taking the formula for arc length, or

ℓ

a
r
c

=
2
π
r

(

θ

360

∘

)

{\displaystyle \ell _{arc}=2\pi r\left({\frac {\theta }{360^{\circ }}}\right)}

. Assuming a unit circle; the radius is therefore one. Knowing that the definition of radian is the measure of an angle that subtends an arc of a length equal to the radius of the circle, we know that

1
=
2
π

(

1

 rad

360

∘

)

{\displaystyle 1=2\pi \left({\frac {1{\text{ rad}}}{360^{\circ }}}\right)}

. This can be further simplified to

1
=

2
π

 rad

360

∘

{\displaystyle 1={\frac {2\pi {\text{ rad}}}{360^{\circ }}}}

. Multiplying both sides by

360

∘

{\displaystyle 360^{\circ }}

 gives

360

∘

=
2
π

 rad

{\displaystyle 360^{\circ }=2\pi {\text{ rad}}}

.

text: History

text: The concept of radian measure, as opposed to the degree of an angle, is normally credited to Roger Cotes in 1714.[4][5] He described the radian in everything but name, and he recognized its naturalness as a unit of angular measure. The idea of measuring angles by the length of the arc was already in use by other mathematicians. For example, al-Kashi (c. 1400) used so-called diameter parts as units where one diameter part was 1/60 radian and they also used sexagesimal subunits of the diameter part.[6]

text: The term radian first appeared in print on 5 June 1873, in examination questions set by James Thomson (brother of Lord Kelvin) at Queen's College, Belfast. He had used the term as early as 1871, while in 1869, Thomas Muir, then of the University of St Andrews, vacillated between the terms rad, radial, and radian. In 1874, after a consultation with James Thomson, Muir adopted radian.[7][8][9]

text: Conversions

text:
Conversion of common angles

Turns
Radians
Degrees
Gradians (Gons)

0
0
0°
0g

1/24
π/12
15°
16 2/3g

1/12
π/6
30°
33 1/3g

1/10
π/5
36°
40g

1/8
π/4
45°
50g

1/2π
1
c. 57.3°
c. 63.7g

1/6
π/3
60°
66 2/3g

1/5
2π/5
72°
80g

1/4
π/2
90°
100g

1/3
2π/3
120°
133 1/3g

2/5
4π/5
144°
160g

1/2
π
180°
200g

3/4
3π/2
270°
300g

1
2π
360°
400g

tag: table

text: Conversion between radians and degrees

text: As stated, one radian is equal to 180/π degrees. Thus, to convert from radians to degrees, multiply by 180/π.

text: For example:

text: Conversely, to convert from degrees to radians, multiply by π/180.

text: For example:

text:
23

∘

=
23
⋅

π

180

∘

≈
0.4014

 rad

{\displaystyle 23^{\circ }=23\cdot {\frac {\pi }{180^{\circ }}}\approx 0.4014{\text{ rad}}}

text: Radians can be converted to turns (complete revolutions) by dividing the number of radians by 2π.

text: Radian to degree conversion derivation

text:
The length of circumference of a circle is given by

2
π
r

{\displaystyle 2\pi r}

, where

r

{\displaystyle r}

 is the radius of the circle.

text: So the following equivalent relation is true:

text:
360

∘

⟺

2
π
r

{\displaystyle 360^{\circ }\iff 2\pi r}

 [Since a

360

∘

{\displaystyle 360^{\circ }}

 sweep is needed to draw a full circle]

text: By the definition of radian, a full circle represents:

text: Combining both the above relations:

text: Conversion between radians and gradians

text:
2
π

{\displaystyle 2\pi }

 radians equals one turn, which is by definition 400 gradians (400 gons or 400g). So, to convert from radians to gradians multiply by

200

/

π

{\displaystyle 200/\pi }

, and to convert from gradians to radians multiply by

π

/

200

{\displaystyle \pi /200}

. For example,

text: Advantages of measuring in radians

text: In calculus and most other branches of mathematics beyond practical geometry, angles are universally measured in radians. This is because radians have a mathematical "naturalness" that leads to a more elegant formulation of a number of important results.

text: Most notably, results in analysis involving trigonometric functions are simple and elegant when the functions' arguments are expressed in radians. For example, the use of radians leads to the simple limit formula

text: which is the basis of many other identities in mathematics, including

text:
Because of these and other properties, the trigonometric functions appear in solutions to mathematical problems that are not obviously related to the functions' geometrical meanings (for example, the solutions to the differential equation

d

2

y

d

x

2

=
−
y

{\displaystyle {\frac {d^{2}y}{dx^{2}}}=-y}

, the evaluation of the integral

∫

d
x

1
+

x

2

{\displaystyle \int {\frac {dx}{1+x^{2}}}}

, and so on). In all such cases it is found that the arguments to the functions are most naturally written in the form that corresponds, in geometrical contexts, to the radian measurement of angles.

text: The trigonometric functions also have simple and elegant series expansions when radians are used; for example, the following Taylor series for sin x :

text: If x were expressed in degrees then the series would contain messy factors involving powers of π/180: if x is the number of degrees, the number of radians is y = πx / 180, so

text: Mathematically important relationships between the sine and cosine functions and the exponential function (see, for example, Euler's formula) are, again, elegant when the functions' arguments are in radians and messy otherwise.

text: Dimensional analysis

text: Although the radian is a unit of measure, it is a dimensionless quantity. This can be seen from the definition given earlier: the angle subtended at the centre of a circle, measured in radians, is equal to the ratio of the length of the enclosed arc to the length of the circle's radius. Since the units of measurement cancel, this ratio is dimensionless.

text: Although polar and spherical coordinates use radians to describe coordinates in two and three dimensions, the unit is derived from the radius coordinate, so the angle measure is still dimensionless.[10]

text: Use in physics

text: The radian is widely used in physics when angular measurements are required. For example, angular velocity is typically measured in radians per second (rad/s). One revolution per second is equal to 2π radians per second.

text: Similarly, angular acceleration is often measured in radians per second per second (rad/s2).

text: For the purpose of dimensional analysis, the units of angular velocity and angular acceleration are s−1 and s−2 respectively.

text: Likewise, the phase difference of two waves can also be measured in radians. For example, if the phase difference of two waves is (k⋅2π) radians, where k is an integer, they are considered in phase, whilst if the phase difference of two waves is (k⋅2π + π), where k is an integer, they are considered in antiphase.

text: SI multiples

text: Metric prefixes have limited use with radians, and none in mathematics. A milliradian (mrad) is a thousandth of a radian and a microradian (μrad) is a millionth of a radian, i.e. 103 mrad = 106 μrad = 1 rad.

text: There are 2π × 1000 milliradians (≈ 6283.185 mrad) in a circle. So a trigonometric milliradian is just under 1/6283 of a circle. This “real” trigonometric unit of angular measurement of a circle is in use by telescopic sight manufacturers using (stadiametric) rangefinding in reticles. The divergence of laser beams is also usually measured in milliradians.

text: An approximation of the trigonometric milliradian (0.001 rad) is used by NATO and other military organizations in gunnery and targeting. Each angular mil represents 1/6400 of a circle and is 15/8% or 1.875% smaller than the trigonometric milliradian. For the small angles typically found in targeting work, the convenience of using the number 6400 in calculation outweighs the small mathematical errors it introduces. In the past, other gunnery systems have used different approximations to 1/2000π; for example Sweden used the 1/6300 streck and the USSR used 1/6000. Being based on the milliradian, the NATO mil subtends roughly 1 m at a range of 1000 m (at such small angles, the curvature is negligible).

text: Smaller units like microradians (μrad) and nanoradians (nrad) are used in astronomy, and can also be used to measure the beam quality of lasers with ultra-low divergence. More common is arc second, which is π/648,000 rad (around 4.8481 microradians). Similarly, the prefixes smaller than milli- are potentially useful in measuring extremely small angles.


document_title: Bless the Broken Road

question_text: god bless the broken road rascal flatts year

text: Bless the Broken Road

text: History[edit]

text: Singer-songwriter Marcus Hummon co-wrote the song with Jeff Hanna (of Nitty Gritty Dirt Band) and Bobby Boyd. Nitty Gritty Dirt Band recorded it for the 1994 album Acoustic. One year later, Hummon covered the song for his debut album All in Good Time for Columbia Records.[1] His rendition includes backing vocals from Hanna and Matraca Berg.[2] Michael McCall of New Country magazine thought that Hummon's rendition was the best track on the album.[3]

text: Sons of the Desert recorded its own version of the song, for a planned second album on Epic Records that would have been released in 1998. This album was not released, due to a dispute between the band and its label.[4]

text: Since then, many artists have recorded the song including Melodie Crittenden, Geoff Moore, Selah, Jamie Slocum, Carrie Underwood, Buddy Greene, and Rascal Flatts.

text: Melodie Crittenden version[edit]

text:
"Broken Road"Single by Melodie Crittendenfrom the album Melodie CrittendenReleased
January 1998Format
CD SingleGenre
CountryLength
3:52Label
Asylum #9945Songwriter(s)
Marcus HummonBobby BoydJeff HannaProducer(s)
Byron GallimoreStephony Smith[5]Melodie Crittenden singles chronology

"Broken Road" (1998)

"I Should've Known" (1998)

text: Also in 1998, Melodie Crittenden recorded the song under the title "Broken Road," and included it on her self-titled debut album for Asylum Records. Released as the first of two singles from it, this version was a number 42 single on the Billboard Hot Country Singles & Tracks (now Hot Country Songs) charts.[6]

text: This version was featured on an episode of Dawson's Creek.

text: Critical reception[edit]

text: Billboard gave Crittenden's version a positive review in the January 17, 1998, issue, calling it "sheer poetry with a moving message."[5]

text: Chart positions[edit]

text:
Chart (1998)

Peakposition

Canada Country Tracks (RPM)[7]

48

US Hot Country Songs (Billboard)[8]

42

text: Rascal Flatts version[edit]

text:
"Bless the Broken Road"
Single by Rascal Flattsfrom the album Feels Like TodayReleased
November 1, 2004Format
CD single, music downloadGenre
Country, Christian countryLength
3:46 (Album Version)3:38 (Single Version)Label
Lyric StreetSongwriter(s)
Marcus HummonBobby BoydJeff HannaProducer(s)
Mark BrightMarty WilliamsRascal Flatts singles chronology

"Feels Like Today" (2004)

"Bless the Broken Road" (2004)

"Fast Cars and Freedom" (2005)

text: The highest-charting rendition is by the country music group Rascal Flatts, who cut the song for the Feels Like Today album. Released in November 2004, this version spent five weeks at number one on the Hot Country Singles & Tracks charts. It also won a Grammy Award for Best Country Song[9] and earned a platinum certification from the Recording Industry Association of America. The song topped the 2 million mark in paid downloads on September 18, 2010. It's Rascal Flatts' third song to reach that mark, following "Life Is a Highway" and "What Hurts the Most".[10] As of October 2018, the song has sold 3,669,000 copies in the US.[11]

text: On May 25, 2005, during a live performance on American Idol by Carrie Underwood and Rascal Flatts,[12] an additional version was recorded. While not in wide release, and never included on an album, the version received enough radio airplay to enter the country music charts at number 50.[9]

text: In 2009,  an acoustic version recorded by Rascal Flatts was included in the soundtrack of Hannah Montana: The Movie.

text: On May 19, 2012, "Bless the Broken Road" debuted at number 76 and went to number 41 next week on the UK Singles chart (The Official Charts Company), the band's first and only appearance on the chart.

text: Song information[edit]

text: Rascal Flatts' version of the song is set in the key of C major, with a vocal range from C4 (Middle C) to A5.[13]

text: Charts[edit]

text:
Chart (2004–05)

Peakposition

UK Singles (The Official Charts Company)[14]

41

Ireland (IRMA)[15]

35

Sweden (Sverigetopplistan)[16]

58

US Hot Country Songs (Billboard)[17]

1

US Billboard Hot 100[18]

29

US Billboard Pop 100

40

US Adult Contemporary (Billboard)[19]

20

Chart (2005)

Peakposition

US Hot Country Songs (Billboard)[20] Carrie Underwood and Rascal Flatts version

50

text: Year-end charts[edit]

text:
Chart (2005)

Position

US Country Songs (Billboard)[21]

3

text: Certifications and sales[edit]

text:
Region

Certification
Certified units/Sales

United States (RIAA)[22]

Platinum

3,669,000[11]

*sales figures based on certification alone^shipments figures based on certification alone

text: Selah version[edit]

text:
"Bless the Broken Road"Single by Selah with Melodie Crittendenfrom the album Bless the Broken Road: The Duets AlbumReleased
2006Format
CD SingleGenre
Contemporary Christian musicLength
4:10Label
CurbSongwriter(s)
Marcus HummonBobby BoydJeff HannaProducer(s)
Allan Hall, Jason Kyle, Todd D. SmithSelah singles chronology

"Bless the Broken Road" (2006)

"Hosanna" (2009)

text: Selah, a contemporary Christian music band, covered the song in 2006 on the album Bless the Broken Road: The Duets Album featuring a duet vocal from Crittenden.[23] Also released as a single, Selah's version peaked at number five on the Hot Christian Songs charts.

text: Charts[edit]

text:
Chart (2006)

Peakposition

U.S. Billboard Hot Christian Songs[24]

5

text: Accolades[edit]

text: In 2007, this version of the song was nominated for a Dove Award for Song of the Year at the 38th GMA Dove Awards.[25]

text: Film version[edit]

text: A feature film based on the song, titled God Bless the Broken Road, began filming in 2015, and was announced in 2016.[26]

text: While originally announced for a 2016 release, the film eventually settled for a September 7, 2018 release date.[27]


document_title: Aurora (Disney)

question_text: which disney princess did not get married at the end of the movie

text: Aurora (Disney)

text: Development[edit]

text: Conception and writing[edit]

text: Filmmaker Walt Disney had long been struggling to adapt the fairy tale "Sleeping Beauty" into a full-length animated film for several years, intending to base the project on both Charles Perrault and the Brothers Grimm's versions of the story.[5] Disney was considering abandoning work on the film altogether until singer Mary Costa was discovered, the casting of whom as the film's heroine finally allowed the project to graduate from development to production.[6] At the time Aurora was conceived, there had only been two prior Disney princesses: Snow White and Cinderella, the heroines of Disney's Snow White and the Seven Dwarfs (1937) and Cinderella (1950), respectively.[6] Disney wanted his third princess to be as different from Snow White as possible,[7] but several strong similarities remain between the two characters and their respective stories.[8] Gary Susman of Moviefone observed that both films feature "an evil witch jealous of a young and beautiful princess, the princess hiding out in a woodland cottage with a group of comic-relief caretakers ... and the witch putting the princess into a deathlike sleep, from which only true love's kiss can awaken her."[9]

text: In the original fairy tale, the princess actually sleeps for 100 years before she is finally awakened by the prince's kiss; this detail was adjusted for the film in favor of having Prince Phillip introduced earlier, and thus Aurora is awakened much sooner.[8] The writers also omitted several darker elements featured in earliest iterations of the "Sleeping Beauty" story, such as the princess being raped and impregnated with twins by the prince while she is still asleep.[10] In the Grimm version, the princess is destined to prick her finger at the age of 15, while Disney decided to age the character by one year.[11] Aurora's names are borrowed from both Tchaikovsky's ballet and the Grimm fairy tale. While Tchaikovsky referred to his princess as "Aurora", the Brothers Grimm had named her "Little Briar Rose";[12] this ultimately inspired Disney to use both names in the film,[13] the latter of which serves as the character's alias while she is hiding from Maleficent.[9] Aurora was the last princess in whose conception Walt Disney himself was directly involved prior to his death.[14][15]

text: Voice[edit]

text: Aurora is voiced by American singer Mary Costa,[16] who was 22 years-old when she was cast as the character in 1952.[17] Costa had grown up a fan of Disney films, the first of which she saw was Snow White and the Seven Dwarfs.[6] As a child, Costa adored the film so much that she would imitate Snow White by parading around her house wearing a bath towel as a makeshift cape.[18] Costa described herself garnering the role of Aurora as simply "being in the right place at the right time."[19] The filmmakers had long struggled to cast Aurora, having been searching for the right voice for the character for three years. Disney himself had been considering to shelving the project unless a suitable voice actress was found,[20] insisting that the same performer provide both the character's speaking and singing voices.[17] Costa was attending a dinner party for the entertainment industry, to which she had been invited by a friend who was hoping to introduce her to some influential people,[17] where she performed the popular standard "When I Fall in Love".[21] The performance was heard by film composer Walter Schumann who, impressed by her vocals, approached Costa about possibly voicing Aurora and inviting her to audition the following morning.[21] Despite doubting that she would be cast, Costa agreed to audition mostly because she wanted to meet Walt Disney.[18] Upon arriving at the studio the next day, composer George Bruns welcomed Costa by asking her to perform a bird call,[6][18] which she did successfully.[21] However, being from Knoxville, Tennessee, Costa's strong southern accent nearly prevented her from being cast until she proved that she could sustain a fake British accent for the entire film.[13][21] The filmmakers likened the situation to English actress Vivien Leigh successfully feigning a southern accent for her role as Scarlet O'Hara in the film Gone With the Wind (1939).[18] Within hours of her audition,[19] Walt Disney himself contacted Costa via telephone to offer her the job,[22] which she immediately accepted.[21] Aurora became Costa's first major film role.[23]

text: Costa communicated with Walt Disney at least twice a week for nine months,[17][20] but almost exclusively via telephone because the producer feared that her personality or physical appearance would influence his vision of Aurora if they were to meet in person too soon.[6] They first met when Costa was recording "Once Upon a Dream", Walt's favorite song in the film.[6] When Costa asked Walt why he decided to cast her as Aurora out of all the actresses who auditioned, the producer explained that it was because her singing voice sounded "like an extension of speech."[6] Walt advised Costa to "paint with [her] voice",[21] as well as refuse to let anyone demonstrate her lines for her.[18] Walt also instructed Costa to avoid catching a cold, eat a warm meal two hours prior to her recording sessions, exercise her vocal chords, and get nine hours of sleep every night.[16] Walt and Costa developed a special father-daughter relationship.[17] Aurora's supervising animator Marc Davis would often observe and sketch Costa while she worked in order to incorporate her mannerisms into the character.[6] Costa worked closely with actresses Verna Felton, Barbara Jo Allen and Barbara Luddy, the voices of Flora, Fauna and Merryweather, respectively,[21] with whom she became good friends,[6] while declaring the utmost respect for actress Eleanor Audley, voice of Maleficent.[18][21] She also recorded with actor Bill Shirley, voice of Prince Phillip, admitting to having had a crush on him.[6] Costa cites the scene in which Aurora and Phillip meet as her favorite.[21] Schumann, the composer responsible for discovering Costa, eventually departed the project due to creative differences with Disney,[24] and ultimately died before the film was completed.[17]

text: Costa's singing voice is a combination of classical and pop singing.[20] Aurora's songs were recorded within the first year of production.[17] Costa would practice her songs live with the orchestra before recording them.[17] After working on the film for three years,[17] Costa finally finished recording in 1955,[20] long before the film was completed; it would take the animators another several years to complete the footage to accompany Costa's vocals and dialogue.[9] Costa would often return to the studio to re-record lines as the story changed and evolved,[20] which she described as a "painstaking" process.[17] However, with only 18 spoken lines, Aurora speaks less than any other main character in a full-length Disney animated feature – aside from Dumbo, who is completely silent –[25] and has absolutely no dialogue once she is awakened from her deep sleep.[9] The character's lack of dialogue is attributed to the fact that she remains asleep for the majority of the film.[26] Ultimately, Costa's performance in Sleeping Beauty – and Walt Disney himself – inspired her to pursue a full-time career as a professional opera singer,[6] advising her "Mary, just remember the three Ds…Dedication, Determination, and Discipline, and you'll achieve your Dreams!".[23] Costa's salary was $250 per week.[27]

text: Personality and design[edit]

text: Aurora's blurb on the Disney Princess website once cited the character as "gentle and loving".[28] Walt Disney introduced Aurora to Costa as "a very layered character", describing her as "different. She's calm, yet she's playful. She has a sense of humor, and she has an imagination."[18] Despite popular opinion that Aurora is a very passive character, Costa believes that the princess is actually "very strong", citing her urge to defy her guardians as an example of her strength, while referring to the character as "a beautiful personification of femininity."[6] Raised exclusively by three women in a very sheltered environment, Aurora had never been exposed to a man prior to meeting Phillip.[17] Costa believes that, because of this, Aurora is "innately romantic" as opposed to simply lonely, explaining, there "was a certain part of her that maybe she didn’t realize that was just so romantic and maybe expecting something that she didn’t even know what", and credits the fact that she was raised by three older women as opposed to her parents with making her "a little bit older, and yet, she ... had this young outreaching spirit."[17] A very loving character, Aurora enjoyed her lonely life as much as she did because she had never experienced anything else.[17] Additionally, the character's close companionship with woodland creatures is used to demonstrate that she is a loving individual.[29]

text: Walt Disney challenged his animators to make the film's characters appear "as real as possible".[30] Animator Marc Davis was the supervising animator for Aurora, responsible for animating the character's most important scenes.[31] By the time he started working on Sleeping Beauty, Davis' prior work experience had already established him as "one of Walt Disney’s go-to animators for pretty girls,"[32] having previously animated Snow White and Cinderella,[33] as well as Alice from Alice in Wonderland (1951) and Tinker Bell from Peter Pan (1953).[34] Although heroines are among the most difficult characters to animate, Davis' knowledge of the human body and anatomy "brought these iconic female characters to life and made them believable", according to The Walt Disney Family Museum.[35] While other Sleeping Beauty animators struggled to adapt to artistic director Eyvind Earle's unprecedented preference for detailed backgrounds, Davis himself rather embraced this new style.[32] Collaborating with character designer Tom Oreb on Aurora, Davis "crafted a leading lady of elegance."[32] With a dignified, angular shape that complimented Earle’s vertical and horizontal backgrounds, the princess was "more refined" than preceding Disney heroines, and thus required much more attention to detail than any animated character before her.[32] Quality control animator Iwao Takamoto described working on Aurora as "a laborious job ... because the drawings were so refined", and ultimately limited in-betweeners such as himself to completing only seven drawings per day.[32] With an artistry "characterized by a sense of style", Davis incorporated Art Nouveau and Art Deco into Aurora's long, golden curls.[32][33] The character was also drawn with violet eyes, Disney's first princess to have eyes that are this color.[36][37] Notably, Davis animated Aurora throughout the entire film as opposed to eventually being replaced by another animator which, according to Costa, would have altered the appearance of the character for the worse.[6] Aurora's refined features compliment those of her nemesis Maleficent, who is similarly as refined and "alluring" but in a more "manipulative manner."[32] Both characters were animated by Davis.[32][38]

text: Walt Disney strongly encouraged Costa to work closely with Davis while he animated Aurora so that she could learn as much as possible about her character and familiarize herself with "all aspects of her."[18] Drawing Aurora to resemble her voice actress,[39] Davis incorporated Costa's habit of gesturing with her hands while speaking and singing into the character's design, and defended the singer's performance when it was incorrectly referred to a voice-over by a fan, explaining that Costa's voice was "the ocean of sound upon which we animated."[39] Davis and Costa eventually became close friends.[17] Actress and dancer Helene Stanley served as the live-action model for Aurora, providing visual reference for the animators.[9] The performer was recruited due to the high degree of realism required to animate Aurora.[31] Stanley's costume was designed by costume designer Alice Estes at the behest of Davis, then a student of the animator at Chouinard Art Institute.[40] To compliment the "tapestry pattern" of the film's backgrounds, Estes agreed to design the dress to "move like [the tapestry] was animated."[41] Estes and Davis eventually got married.[32] Meanwhile, British actress Audrey Hepburn served as Oreb's inspiration for Aurora's body type,[42][self-published source][43] from whom they borrowed the princess' "elegant, slender features".[7] The studio disagreed about whether Aurora's gown should be pink or blue, a conflict that was written into the film in the form of an argument between Flora and Merryweather.[14] Aurora has a total of only 18 minutes of screen time.[25]

text: Characterization and themes[edit]

text: Aurora is a member of a trifecta known as the "Golden Era" of Disney heroines.[44] Alongside her two predecessors Snow White and Cinderella, Aurora is one of the three original Disney princesses.[45] Kit Steinkellner of HelloGiggles wrote that Aurora continued the "trend of passive heroines who wait around for magic to change their lives," a recurring theme shared by Disney princesses who were introduced both during and prior to the 1950s.[46] Sonia Saraiya of Nerve dubbed Aurora "the apex" of "women who made no choices for themselves".[47] Writing for MTV, Lauren Vino felt that the character "followed the basic princess tenants [sic] of loving animals and sleeping in makeup",[48] while About.com's David Nusair wrote that Aurora followed the "pattern of kind yet helpless princesses", similar to Snow White and Cinderella.[44] Mary Grace Garis of Bustle observed that the original trio "seek[s] out marriage as both their endgame and salvation", elaborating, "It's literally their own means of escape, and their only final objective."[45] However, Aurora's dreams and fantasies are different in the sense that they are drawn from loneliness and isolation; the character essentially longs "for human connections beyond her three fairy surrogate mothers."[10] The Walt Disney Family Museum volunteer Lucas O. Seastrom agreed that Aurora is more "self-confident" and "more of repose than the usual naiveté of Disney heroines."[32] Observing that Aurora's actions are influenced by the decisions and opinions of those around her, while most of the film's action involves Prince Phillip, Steinkellner joked that the character is so passive that she remains asleep during the film's climax.[46] Dubbing her "a girl of reaction," nerdology.org's Lisa Kaye Cunningham felt that Aurora's "little screen time makes [her] difficult to classify as a feminist, but her single active decision shows great promise in the evolution of feminist Disney princesses," despite the fact that her agency is constantly undermined by other characters.[49] Cunningham concluded, "By making one active decision to try and follow her dreams, this princess made a big step forward as a stronger feminist than Snow White, though Aurora remains bogged down with passive reactivity."[49] Author Melissa G. Wilson observed in her book Mashups for Teens: From Sleeping Beauty to Beyonce that Aurora's reaction upon learning that she is a princess differs from what one would expect from a young woman.[50]

text: By default, Aurora is usually considered to be the film's main character.[51] Leigh Butler of Tor.com argues that the role of "protagonist" rightfully belongs to the three good fairies because they "make all the critical decisions in the film, the ones which drive the action", while Aurora acts as little more than a pawn.[52] Butler expounded that Aurora "never grows as a character during the course of the film; she has no agency at all, in fact. She doesn’t act; she is acted upon. So she is definitely not the hero of the story."[52] Helping Writers Become Authors' K. M. Weiland agreed, writing, "Sleeping Beauty has no arc. Prince Phillip has no arc. And, even more importantly, neither of them are present from start to finish in the story. Without the fairies to hold this thing together, the plot would have lacked any kind of impetus or cohesion."[51] Upon initial viewing of Sleeping Beauty, a writer for Anibundel originally dismissed Aurora as "the ultimate Disney princess in the most negative and passive sense of the stereotype ... playing no part whatsoever in her own outcome." However, in retrospect, the author's opinion eventually evolved upon subsequent viewings: "Although Aurora has little to do with her own conclusion, it’s not a mark of her being a non-person. Instead it reflects how sometimes bad things just happen which we have no control over, a difficult but important lesson."[10] Anibundel does agree that although Aurora is Sleeping Beauty's title character, she can hardly be considered the film's protagonist, instead believing instead that the film actually lacks one completely.[10] Meanwhile, the author dubbed Aurora the film's most sympathetic character because she has "thoughts, feelings, aspirations, and emotions," elaborating, "While most characters ... are overly focused on the plot and reacting to events, Briar Rose is unaware of the other events so we get to see a more authentic everyday side of her."[10] In his book Multiculturalism and the Mouse: Race and Sex in Disney Entertainment, author Douglas Brode wrote that the fairies' raising of Aurora mirrors "precisely that sort of women's commune numerous feminists experimented with throughout the seventies."[11]

text: Writing for Durham College's The Water Buffalo, Michelle Munro observed that the first five Disney Princesses share physical and personality traits, namely their white skin, naivety, kindness and compassion, "show[ing] viewers what Disney believed a princess should look and act like" at that time.[53] Munro concluded that Aurora specifically can appear both spoiled and childish in demeanor at times.[53] Bailey Cavender of The Silver Petticoat Review believes that the character's appearance and style is reminiscent of the Gibson Girl, a popular character created and designed by graphic artist Charles Dana Gibson, who embodied the idea that "physical beauty was a measure of fitness, character, and Americanness".[38] According to Cavender, Aurora's beauty was considered to be "ideal" for women at the time her film was released, embodying the "classic standards of beauty."[38] In his book Debating Disney: Pedagogical Perspectives on Commercial Cinema, Douglas Brode agreed that Aurora is "a model of modern (1950s) female glamour", comparing her long blonde hair to that of actress Brigitte Bardot while likening her gown to the work of fashion designer Christian Dior.[3] According to The Dissolve's Noel Murray, Aurora's story is a metaphor about a "young woman being cautioned to avoid penetration."[54] Similarly, Carrie R. Wheadon, writing for Common Sense Media, interpreted Aurora's arousal by a handsome prince as being symbolic of a young woman's "transition to adulthood and sexual awakening."[55] According to Multiculturalism and the Mouse: Race and Sex in Disney Entertainment author Douglas Brode, Aurora is "torn between childlike loyalties and adult instincts",[11] while The Disney Middle Ages: A Fairy-Tale and Fantasy Past author Tison Pugh believes that Aurora's first encounter with Prince Phillip "tips her from fantasy into reality, from childhood into womanhood."[56]

text: Appearances[edit]

text: Film and television[edit]

text: Aurora debuted in Sleeping Beauty (1959) as the newborn only daughter of King Stefan and Queen Leah. Angered by not receiving an invitation to her christening, the princess is cursed by an evil fairy named Maleficent, who dooms her to die when she pricks her finger on the spindle of a spinning wheel on her 16th birthday. However, one of three good fairies named Merryweather alters the curse so that Aurora will instead sleep until she is awakened by a kiss from her true love. Merryweather and the two other fairies, Flora and Fauna, take extra precautions by raising the princess in a secluded cottage under the alias Briar Rose to protect her from Maleficent until her birthday arrives. Several years later, a 16-year-old Aurora meets a handsome man in the forest. Unaware that he is actually a prince named Phillip, to whom she has been betrothed since infancy, the two fall in love and agree to meet again. However, the fairies finally reveal Aurora's true identity to her and thus forbid her from seeing him because they plan on returning the heartbroken princess to her parents. While alone at their castle, Aurora is hypnotized by Maleficent, who causes her to prick her finger and fulfill Merryweather's prophecy. She was then placed in the highest tower to sleep peacefully until the spell was broken. Meanwhile, Maleficent has captured Phillip, who the fairies release upon realizing that he is in fact the same man Aurora met in the forest earlier that day. Helping him defeat Maleficent, Aurora is successfully awakened by Phillip's kiss, and finally reunited with her parents.

text: In Disney Princess Enchanted Tales: Follow Your Dreams (2007), Aurora, voiced by actress Erin Torpey,[57] stars in the segment "Keys to the Kingdom", in which her parents leave her responsible for running the kingdom in their two-day absence. Refusing assistance from the fairies, they give her her own wand instead should she need help. At first reluctant to use it because she is determined to accomplish everything on her own, Aurora eventually succumbs when her duties prove overwhelming. However, her inexperience with magic leads to several consequences, which she is then forced to solve without magic.

text: In Maleficent (2014), a live-action re-imagining of the animated film in which Sleeping Beauty is retold from the perspective of the villain, Aurora is portrayed by actress Elle Fanning,[58] while actress Janet McTeer voices an elderly version of the character in the role of film's narrator.[59] The princess is raised by Maleficent after first being cursed by the fairy in an act of revenge against her father King Stefan, only for a strong mother-daughter bond to develop between the characters; Aurora affectionately refers to Maleficent as her fairy godmother. When her curse is finally fulfilled, Aurora is awakened by Maleficent's remorseful kiss to her forehead as opposed to a prince's. Aurora defends Maleficent from her father, and eventually returns her wings to her when she is crowned queen of both the human kingdom and the fairy kingdom known as the Moors.

text: A live-action version of Aurora appears as a recurring character in the fantasy television series Once Upon a Time, portrayed by actress Sarah Bolger.[60] She made a guest appearance in a Sofia the First episode, Holiday in Enchancia called on by the mystical amulet of Avalor to assist young Princess Sofia in finding her missing stepfather, King Roland II. She assured Sofia that she could rely on her animal friends' to help just she had long ago.

text: Aurora, alongside other Disney Princesses, is set to cameo in the film Ralph Breaks the Internet, as was announced at the 2017 D23 Expo.[61]

text: Miscellaneous[edit]

text: Aurora appears as a non-player character in the Kingdom Hearts video game series, depicted as one of the seven Princesses of Heart.[62] In the prequel Kingdom Hearts Birth by Sleep (2010), the character goes through the same events as the original film. Aurora appears in Kinect Disneyland Adventures (2011),[63] asking players to collect items various items, including songs performed by birds.[64]

text: Performers dressed as Aurora make "fairly regular" appearances throughout several popular locations at the Walt Disney Parks and Resorts, specifically Walt Disney World's Epcot France Pavilion,[65] Cinderella's Royal Table, Disney Dreams Come True Parade, and Princess Fairytale Hall in the Magic Kingdom,[66][67] Fantasyland's Princess Meet 'n' Greet at Disneyland California, Fantasyland's Princess Pavilion and Auberge de Cendrillon at Disneyland Paris, Fantasyland and World Bazaar at Tokyo Disneyland, and the Wishing Well at Hong Kong Disneyland.[68]

text: Trademark[edit]

text: The Walt Disney Company currently has a trademark with the US Patent and Trademark Office, filed March 13, 2007, for the name "Princess Aurora" that covers production and distribution of motion picture films; production of television programs; production of sound and video recordings.[69] This has caused some controversy because "Princess Aurora" is the name of the lead character in The Sleeping Beauty Ballet, from where Disney acquired the name and some of the music for its animated film, and which is performed live on stage and sometimes television and often sold later as a recorded performance on video.[70] The trademark was granted on January 17, 2012.[69]

text: Reception and legacy[edit]

text: Initial critical response towards Aurora was generally unfavorable,[50][71] with film critics complaining about Aurora's passivity and overall similarity to Snow White.[2] During the 1950s, Disney received "harsh criticism" for depicting both Cinderella and Aurora as "naïve and malleable" characters, and failing to acknowledge the ways in which women's roles in society had evolved since Snow White's debut in 1937.[71] Critics agree that Aurora represents "the classic damsel in distress" by being depicted as a beautiful young woman who is rescued by a stranger.[50] Bosley Crowther of The New York Times felt that the character was too similar to Snow White, writing, "The princess looks so much like Snow White they could be a couple of Miss Rheingolds separated by three or four years."[72] Time Out dismissed Aurora as a "delicate" and "vapid" character.[73] Bustle's Mary Grace Garis wrote that the character "suffers from having very little definable personality and ... serious Damsel-in-Distress syndrome".[45] Sonia Saraiya of Jezebel echoed this sentiment, criticizing Aurora for lacking "interesting qualities"; Saraiya also ranked Aurora Disney's least feminist princess.[74] Similarly, Bustle also ranked Aurora the least feminist Disney Princess, with author Chelsea Mize expounding, "Aurora literally sleeps for like three quarters of the movie ... Aurora just straight-up has no agency, and really isn't doing much in the way of feminine progress."[75] Dismissing the character as "barely more than a cipher", Leigh Butler of Tor.com panned Aurora as "a Barbie doll knockoff who does nothing the whole film but sing wistfully about Finding Her Man, before becoming the ultimate passive Damsel in Distress". However, Butler went on to defend the character somewhat, writing, "Aurora’s cipher-ness in Sleeping Beauty would be infuriating if she were the only female character in it, but the presence of the Fairies and Maleficent allow her to be what she is without it being a subconscious statement on what all women are."[52] Similarly, Refinery29 ranked Aurora the fourth most feminist Disney Princess because "Her aunts have essentially raised her in a place where women run the game."[76]

text:
“

Sleeping Beauty herself is barely more than a cipher. Princess Aurora has virtually no character at all in the film other than to be an ideal—and, I might add, an ideal only achieved with the magical fairytale equivalent of surgical enhancement ... Aurora in the film is not a person, per se; she is the prize that the other characters fight over. She is an object, really, and that is not feminist at all.

”

— Tor.com's Leigh Butler on Aurora's lack of character and feminism.

text: Aurora was Disney's last princess created before Walt Disney's death in 1966.[14] When Sleeping Beauty was first released in 1959, the film performed poorly at the box office while failing to impress critics.[54] According to TheRichest, Aurora was partially responsible for Disney’s only overall loss that decade,[1] thus the studio decided to avoid adapting fairy tales into feature-length animated films for several years; Aurora would remain Disney's last princess until The Little Mermaid's Ariel debuted in 1989, 30 years later.[54] Mic's Melissa Hugel believes that the negative reception instigated by Aurora's passive role as a woman in Sleeping Beauty also contributed to this hiatus,[71] earning the character a reputation as one of Disney's worst princesses.[10][49][77][78][79][80] Meanwhile, David Nusair of About.com attributes the film's failure with "the familiarity of its storyline, as the film boasts many of the elements contained within both of its predecessors – including the revelation that Princess Aurora can only be awakened from her deep slumber by a kiss from her one true love" similar to Snow White.[44] Hollywood.com ranked Sleeping Beauty Disney's worst princess film because its main character remains asleep for the majority of it.[81] However, Aurora has since established herself as a popular character nonetheless due to her singing voice and beauty.[1] At one point, the name "Aurora" became a popular baby name, with parents often naming their daughters after the character.[20] However, despite being featured prominently in Disney merchandise, "Aurora has become an oft-forgotten princess", and her popularity pales in comparison to those of Cinderella and Snow White.[15] While creating the Disney Princess franchise, Disney Consumer Products decided that Aurora should be marketed wearing the pink version of her dress in order to further distinguish her from Cinderella, who also wears blue.[82] BuzzFeed readers voted Aurora their sixth favorite Disney Princess, who garnered 7% of the 9,554 votes.[83] Time reported that Aurora was the seventh best-selling Disney Princess on eBay in 2014, having sold $215,856 in merchandise that year.[84] However, Seventeen argues that  Aurora is one of Disney's most famous princess[es]".[23]

text: Media publications often tend to place Aurora towards the end of their Disney Princess rankings. Seventeen ranked Aurora last on their "Definitive Ranking Of Disney Princesses" list.[85] Similarly, BuzzFeed also ranked Aurora last.[86] Moviepilot placed Aurora last on the website's "All of the Disney Princess Ranked from Worst to Best" ranking, with author Kristin Lai dismissing the character as "a snooze."[87] Meanwhile, MTV ranked Aurora 12th on the website's "Ultimate Ranking Of The Best Disney Princesses Of All Time".[48] Similarly, E! also ranked Aurora 12th, with author John Boone elaborating, "She's not a bad princess, per se. She might actually be the prettiest of all the princesses ... But she's asleep half the movie! Pretty...but so, so boring."[88] Zimbio ranked Aurora the second worst Disney Princess,[77] while BuzzFeed ranked the character one of Disney's least intelligent princesses, with author Leonora Epstein dismissing Aurora as the "equivalent to the child who puts his finger in a socket when expressly told not to."[89] However, the character has garnered recognition for her beauty and fashion, with Stylist extolling Aurora's "blow dry" as "the ultimate hairstyle when it comes to being a princess" while ranking it among Disney's "Best beauty looks",[90] and Bustle dubbing her "the hottest Disney Princess".[45] Entertainment Weekly ranked Aurora's hair the second best of all the Disney Princesses, with author Annie Barrett describing it as "aspirational".[91] Oh My Disney ranked the pink and blue versions of Aurora's dress 15th and 16th on their countdown of every Disney Princess outfit, voicing their preference for the character in blue.[92] Marie Claire ranked Aurora's outfits among "The 20 Greatest Movie Dresses of All Time", writing, "Of all the Disney princesses, Sleeping Beauty's Aurora had a fashionable edge" potentially worthy of being imitated by singers Katy Perry and Nicki Minaj.[93] Aurora was ranked first on Moviepilot's "Which Outfit is Fairest of Them All? 13 Disney Divas Ranked" list. Author Mikayla Sloan enthused that "The lines of Aurora's dress are flawless and her shoulders are set off beautifully" while "Her hair is effortlessly wavy and her accessories accentuate her features perfectly."[94] According to Bustle, the character is the third most stylish Disney Princess,[95] while E! believes that Aurora owns the sixth greatest Disney Princess wardrobe, voicing their preference for the character in pink.[96] BuzzFeed ranked Aurora's ballgown 11th on their "Definitive Ranking Of 72 Disney Princess Outfits".[97] According to Seventeen, the character underwent the fifth greatest Disney Princess makeover.[98] On Cosmopolitan's list of "the 14 Hottest Disney Princesses", Aurora was ranked 12th, with author Frank Kobola dismissing the character as "a snoozefest" and comparing her to "that girl in college who was always taking naps".[99]

text: Costa has garnered widespread acclaim for her performance as Aurora. BuzzFeed ranked Aurora ninth on the website's ranking of Disney Princess singing voices, with author Kelcie Willis awarding it "Extra props for bringing operatic vocals to Disney."[100] Variety complimented Costa's "rich and expressive" performance, praising the singer for providing Aurora with both "substance and strength".[101] John Clark of SFGate credited Costa's vocals with "manag[ing] to make an enchanting impression in just a few onscreen minutes without being pushy or saccharine."[39] Meanwhile, Artistdirect's Rick Florino wrote that the singer "brought a pure and honest vibrancy to the film."[18] Additionally, Sleeping Beauty served as Costa's first singing job, prior to which she had had little professional singing experience.[102] The role has since had a profound impact on Costa's career, allowing her to successfully transition from animated to operatic roles.[6][17] Costa credits Walt Disney and Sleeping Beauty with instilling a work ethic in her, which she maintained throughout her entire career.[6] Costa has achieved great success as an opera singer;[22] The New York Times hailed her as "one of the most beautiful women to grace the operatic stage",[102] while Paul MacInnes of The Guardian referred to her as "One of America's finest sopranos".[103] First Lady Jacqueline Kennedy personally requested that Costa perform at the memorial service of her late husband, United States President John F. Kennedy.[103] Despite her success elsewhere, Costa continues to hold voicing Aurora in high regard as her greatest accomplishment because the role "keeps [her] close to young people."[102] Costa was officially recognized as a Disney Legend in 1999,[102] and continues to make promotional appearances for Disney.[104] In 1997, Costa hosted a theatrical screening of Sleeping Beauty in her hometown of Knoxville, Tennessee to commemorate the film's home video release.[105] In 1989, Costa sued Disney for royalties owed since the film's 1986 home video release, claiming that her contract with the studio prevented them from producing "phonograph recordings or transcriptions for sale to the public" without her permission, although Disney claimed that the video tapes are simply versions of the film.[106] The case was settled out-of-court in favor of Costa for an undisclosed sum,[107] provided she relinquish all future rights.[27] Costa continued responding to all fan letters for nearly 60 years after the film's original release, until she found that she had become too elderly to continue responding at the age of 86 in 2016; she continues to meet fans and sign autographs at conventions.[24]

text: Elle Fanning's performance as Aurora in Maleficent was generally well-received. J.C. Maçek III of PopMatters said Fanning was an "inspired choice" for the character.[108] Her acting was also praised by Michael Philips of the Chicago Tribune.[109] Sheri Linden of The Hollywood Reporter said that Fanning brought a "diamond-in-the-rough aspect to Aurora’s loveliness", and added that "she’s no conventional Disney Princess but a child of nature with a strong sense of justice and an innate toughness."[110] Fanning's performance earned her a nomination for Best Performance by a Younger Actor at the 41st Saturn Awards as well as nominations for the "Choice Movie Actress: Action" at the 2014 Teen Choice Awards and "Favorite Movie Actress" at the 2015 Kids' Choice Awards.[111][112][113]


document_title: Bedlam Series

question_text: what is the record between ou and osu

question_tokens: what is the record between ou and osu

text: Bedlam Series

text: History[edit]

text: The Bedlam Series is, like most other intrastate rivalries, a rivalry that goes beyond one or two sports. Both schools also have rivalries with other schools, though most of those rivalries are limited to one or two sports at the most. The rivalry is all the more intense since their games often decide the conference championship.

text: While the football and basketball games stand today as the marquee events in the Bedlam Series, the term "Bedlam" actually began with the rivalry between the schools' prestigious wrestling programs,[1] more particularly the raucous crowds that attended the matches held at Oklahoma State's Gallagher-Iba Arena.[2]

text: When the Bedlam Series gained Ford and the Bank of Oklahoma as corporate sponsors, the series became much more formalized. A points system was adopted in order to award a winner of the all athletic competitions combined between the two schools. A crystal bell trophy is awarded to individual Bedlam game winners (such as football), in addition to a trophy for the overall series champion for that year. The "Bedlam Bell" is modeled after the bell clapper in Old Central, the oldest building on Oklahoma State's campus. For a time, the actual bell clapper was a traveling trophy for the two schools, until the popularity of this tradition waned.

text: Football[edit]

text:
Football series

Oklahoma Sooners

Oklahoma State Cowboys

First meeting
November 6, 1904
Oklahoma 75, Oklahoma A&M 0

Latest meeting
November 4, 2017
Oklahoma 62, Oklahoma State 52

Next meeting
November 10, 2018

Statistics

Meetings total
112

All-time series
Oklahoma leads, 87–18–7

Largest victory
Oklahoma, 75–0 (1904)

Longest win streak
Oklahoma, 19 (1946–1964)

Current win streak
Oklahoma, 3 (2015–present)

text: The first Bedlam football game was held at Island Park, now known as Mineral Wells Park, in Guthrie, Oklahoma. It was a cold, and very windy day with the temperatures well below the freezing mark. At one moment in the game when the Oklahoma A&M Aggies were punting, the wind carried the ball backwards behind the kicker. If the Oklahoma A&M squad recovered the ball it would be a touchback and if the University of Oklahoma squad recovered it, it would be a touchdown. The ball rolled down a hill into the half-frozen creek. Since a touchdown was at stake, members of both teams dove into the icy waters to recover the ball. A member of the OU team came out with the ball and downed it for a touchdown. OU won the game, 75–0.[3] Though this was not the source of the name "Bedlam",[1][2] the scene was clearly an apt beginning for the Bedlam Series in football.

text: Author Steve Budin, whose father was a New York bookie, has recently publicized the claim that the 1954 Bedlam Game was fixed by mobsters in his book Bets, Drugs, and Rock & Roll (ISBN 1-60239-099-1).[4] Allegedly, the mobsters threatened and paid off a cook to slip laxatives into a soup eaten by many OU Sooner starting players, causing them to fall violently ill in the days leading up to the game. OU was victorious in the end, but their 14–0 win did not cover the 20-point spread they had in their favor. However, many people involved in the 1954 contest do not recall any incident like the one purported by Budin to have occurred.[5]

text: Oklahoma currently leads the series 87–18–7, making it the most lopsided, continuous in-state rivalry in the nation as of 2017. [6][needs update] The series has historically been very lopsided in the Sooners' favor; Oklahoma State has defeated OU twice in a row just three times since World War II, and has never done it three times in a row. Although the series has been interrupted twice since its inception, it has been uninterrupted since 1910, tying it with North Carolina St./Wake Forest for the third-longest continuous rivalry in FBS Division 1 college football, after only Minnesota/Wisconsin (uninterrupted since 1907), and Clemson/South Carolina (uninterrupted since 1909). It is also the longest uninterrupted rivalry between two public universities, in the same state, that have a game named "University of _ vs. _ State University."

text: Game results[edit]

text:
Oklahoma victories
Oklahoma State victories
Tie games

text:
No.
Date
Location
Winner
Score
Attendance

1
000000001904-11-06-0000November 6, 1904
Guthrie
Oklahoma
75–0

2
000000001906-10-19-0000October 19, 1906
Stillwater
Oklahoma
23–0

3
000000001907-11-09-0000November 9, 1907
Norman
Oklahoma
67–0

4
000000001908-10-03-0000October 3, 1908
Stillwater
Oklahoma
18–0

5
000000001910-10-21-0000October 21, 1910
Norman
Oklahoma
12–0

6
000000001911-10-20-0000October 20, 1911
Stillwater
Oklahoma
22–0

7
000000001912-11-16-0000November 16, 1912
Norman
Oklahoma
16–0

8
000000001913-11-21-0000November 21, 1913
Stillwater
Oklahoma
7–0

9
000000001914-11-06-0000November 6, 1914
Norman
Oklahoma
28–6

10
000000001915-11-25-0000November 25, 1915
Oklahoma City
Oklahoma
26–7
5,000

11
000000001916-11-30-0000November 30, 1916
Oklahoma City
Oklahoma
41–7

12
000000001917-11-29-0000November 29, 1917
Oklahoma City
Oklahoma A&M
9–0

13
000000001918-11-28-0000November 28, 1918
Oklahoma City
Oklahoma
27–0

14
000000001919-11-27-0000November 27, 1919
Oklahoma City
Oklahoma
33–6

15
000000001920-11-13-0000November 13, 1920
Stillwater
Oklahoma
36–0

16
000000001921-10-15-0000October 15, 1921
Norman
Oklahoma
6–0

17
000000001922-11-25-0000November 25, 1922
Stillwater
Tie
3–3

18
000000001923-10-27-0000October 27, 1923
Norman
Oklahoma
12–0

19
000000001924-11-01-0000November 1, 1924
Stillwater
Oklahoma A&M
6–0

20
000000001925-11-26-0000November 26, 1925
Norman
Oklahoma
35–0

21
000000001926-11-25-0000November 25, 1926
Stillwater
Tie
14–14

22
000000001927-11-19-0000November 19, 1927
Norman
Oklahoma A&M
13–7

23
000000001928-11-24-0000November 24, 1928
Stillwater
Oklahoma
46–0

24
000000001929-11-23-0000November 23, 1929
Norman
Tie
0–0

25
000000001930-11-22-0000November 22, 1930
Stillwater
Oklahoma A&M
7–0

26
000000001931-11-26-0000November 26, 1931
Norman
Tie
0–0

27
000000001932-10-29-0000October 29, 1932
Stillwater
Oklahoma A&M
7–0

28
000000001933-11-23-0000November 23, 1933
Norman
Oklahoma A&M
13–0

29
000000001934-11-22-0000November 22, 1934
Stillwater
Tie
0–0

30
000000001935-11-28-0000November 28, 1935
Norman
Oklahoma
25–0
10,000

31
000000001936-11-26-0000November 26, 1936
Stillwater
Oklahoma
35–13

32
000000001937-11-25-0000November 25, 1937
Norman
Oklahoma
16–0

33
000000001938-11-24-0000November 24, 1938
Stillwater
#6 Oklahoma
19–0

34
000000001939-10-28-0000October 28, 1939
Norman
#6 Oklahoma
41–0

35
000000001940-10-05-0000October 5, 1940
Norman
Oklahoma
29–27

36
000000001941-10-04-0000October 4, 1941
Norman
Oklahoma
19–0
25,453

37
000000001942-09-26-0000September 26, 1942
Stillwater
Tie
0–0

38
000000001943-10-02-0000October 2, 1943
Oklahoma City
Oklahoma
22–13

39
000000001944-11-25-0000November 25, 1944
Oklahoma City
Oklahoma A&M
28–6

40
000000001945-11-24-0000November 24, 1945
Norman
#6 Oklahoma A&M
47–0
33,000

41
000000001946-11-30-0000November 30, 1946
Stillwater
#17 Oklahoma
73–12
18,500

42
000000001947-11-29-0000November 29, 1947
Norman
#20 Oklahoma
21–13
33,945

43
000000001948-11-27-0000November 27, 1948
Stillwater
#6 Oklahoma
19–15
30,000

44
000000001949-11-26-0000November 26, 1949
Norman
#3 Oklahoma
41–0
47,937

45
000000001950-12-02-0000December 2, 1950
Stillwater
#1 Oklahoma
41–14
28,530

46
000000001951-12-01-0000December 1, 1951
Norman
#10 Oklahoma
41–6
33,103

47
000000001952-11-29-0000November 29, 1952
Stillwater
#4 Oklahoma
54–7
21,408

48
000000001953-11-28-0000November 28, 1953
Norman
#4 Oklahoma
42–7
50,524

49
000000001954-11-27-0000November 27, 1954
Stillwater
#3 Oklahoma
14–0
38,000

50
000000001955-11-26-0000November 26, 1955
Norman
#1 Oklahoma
53–0
40,182

51
000000001956-12-01-0000December 1, 1956
Stillwater
#1 Oklahoma
53–0
36,500

52
000000001957-11-30-0000November 30, 1957
Norman
#5 Oklahoma
53–6
52,366

53
000000001958-11-29-0000November 29, 1958
Stillwater
#3 Oklahoma
7–0
37,014

54
000000001959-11-28-0000November 28, 1959
Norman
#17 Oklahoma
17–7
59,136

55
000000001960-11-26-0000November 26, 1960
Stillwater
Oklahoma
17–6
32,381

56
000000001961-12-02-0000December 2, 1961
Norman
Oklahoma
21–13
52,598

57
000000001962-12-01-0000December 1, 1962
Stillwater
#8 Oklahoma
37–6
35,757

No.
Date
Location
Winner
Score
Attendance

58
000000001963-11-30-0000November 30, 1963
Norman
#10 Oklahoma
34–10
50,678

59
000000001964-11-28-0000November 28, 1964
Stillwater
Oklahoma
21–16
36,987

60
000000001965-12-04-0000December 4, 1965
Norman
Oklahoma State
17–16
54,876

61
000000001966-12-03-0000December 3, 1966
Stillwater
Oklahoma State
15–14
36,581

62
000000001967-12-02-0000December 2, 1967
Norman
#3 Oklahoma
38–14
62,038

63
000000001968-11-30-0000November 30, 1968
Stillwater
#11 Oklahoma
41–7
38,515

64
000000001969-11-29-0000November 29, 1969
Stillwater
Oklahoma
28–27
41,315

65
000000001970-11-28-0000November 28, 1970
Norman
Oklahoma
66–6
60,300

66
000000001971-12-04-0000December 4, 1971
Stillwater
#3 Oklahoma
58–14
36,571

67
000000001972-12-02-0000December 2, 1972
Norman
#3 Oklahoma
38–15
62,363

68
000000001973-12-01-0000December 1, 1973
Stillwater
#2 Oklahoma
45–18
50,964

69
000000001974-11-30-0000November 30, 1974
Norman
#1 Oklahoma
44–13
62,619

70
000000001975-11-01-0000November 1, 1975
Stillwater
#2 Oklahoma
27–7
49,358

71
000000001976-10-23-0000October 23, 1976
Norman
Oklahoma State
31–24
72,041

72
000000001977-11-05-0000November 5, 1977
Stillwater
#3 Oklahoma
61–28
50,088

73
000000001978-11-18-0000November 18, 1978
Norman
#4 Oklahoma
62–7
72,339

74
000000001979-11-03-0000November 3, 1979
Stillwater
#7 Oklahoma
38–7
51,453

75
000000001980-11-29-0000November 29, 1980
Norman
#6 Oklahoma
63–14
75,681

76
000000001981-11-28-0000November 28, 1981
Stillwater
Oklahoma
27–3
51,100

77
000000001982-10-23-0000October 23, 1982
Norman
#20 Oklahoma
27–9
76,406

78
000000001983-10-15-0000October 15, 1983
Stillwater
#15 Oklahoma
21–20
50,440

79
000000001984-11-24-0000November 24, 1984
Norman
#2 Oklahoma
24–14
76,198

80
000000001985-11-30-0000November 30, 1985
Stillwater
#3 Oklahoma
13–0
44,000

81
000000001986-10-18-0000October 18, 1986
Norman
#5 Oklahoma
19–0
76,022

82
000000001987-11-07-0000November 7, 1987
Norman
#1 Oklahoma
29–10
75,004

83
000000001988-11-05-0000November 5, 1988
Stillwater
#8 Oklahoma
31–28
50,440

84
000000001989-10-07-0000October 7, 1989
Norman
#16 Oklahoma
37–15
74,610

85
000000001990-10-06-0000October 6, 1990
Stillwater
#7 Oklahoma
31–17
49,800

86
000000001991-11-16-0000November 16, 1991
Norman
#18 Oklahoma
21–6
68,778

87
000000001992-11-14-0000November 14, 1992
Stillwater
Tie
15–15
50,440

88
000000001993-11-13-0000November 13, 1993
Norman
#17 Oklahoma
31–0
65,275

89
000000001994-11-13-0000November 13, 1994
Stillwater
Oklahoma
33–14
50,116

90
000000001995-11-11-0000November 11, 1995
Norman
Oklahoma State
12–0
75,004

91
000000001996-11-08-0000November 8, 1996
Stillwater
Oklahoma
27–17
51,416

92
000000001997-11-08-0000November 8, 1997
Norman
#25 Oklahoma State
30–7
72,422

93
000000001998-10-24-0000October 24, 1998
Stillwater
Oklahoma State
41–26
50,614

94
000000001999-11-27-0000November 27, 1999
Norman
Oklahoma
44–7
75,374

95
000000002000-11-25-0000November 25, 2000
Stillwater
#1 Oklahoma
12–7
48,500

96
000000002001-11-24-0000November 24, 2001
Norman
Oklahoma State
16–13
75,537

97
000000002002-11-30-0000November 30, 2002
Stillwater
Oklahoma State
38–28
48,500

98
000000002003-11-01-0000November 1, 2003
Norman
#1 Oklahoma
52–9
84,027

99
000000002004-10-30-0000October 30, 2004
Stillwater
#2 Oklahoma
38–35
48,837

100
000000002005-11-26-0000November 26, 2005
Norman
Oklahoma
42–14
84,875

101
000000002006-11-25-0000November 25, 2006
Stillwater
#13 Oklahoma
27–21
42,819

102
000000002007-11-24-0000November 24, 2007
Norman
#10 Oklahoma
49–17
85,238

103
000000002008-11-29-0000November 29, 2008
Stillwater
#3 Oklahoma
61–41
49,031

104
000000002009-11-28-0000November 28, 2009
Norman
Oklahoma
27–0
85,606

105
000000002010-11-27-0000November 27, 2010
Stillwater
#14 Oklahoma
47–41
51,164

106
000000002011-12-03-0000December 3, 2011
Stillwater
#3 Oklahoma State
44–10
58,141

107
000000002012-11-24-0000November 24, 2012
Norman
#13 Oklahoma
51–48OT
85,824

108
000000002013-12-07-0000December 7, 2013
Stillwater
#17 Oklahoma
33–24
58,520

109
000000002014-12-06-0000December 6, 2014
Norman
Oklahoma State
38–35OT
85,312

110
000000002015-11-28-0000November 28, 2015
Stillwater
#3 Oklahoma
58–23
58,231

111
000000002016-12-03-0000December 3, 2016
Norman
#5 Oklahoma
38–20
87,527

112
000000002017-11-04-0000November 4, 2017
Stillwater
#5 Oklahoma
62–52
56,790

Series: Oklahoma leads 87–18–7

text: Men's basketball[edit]

text: Oklahoma owns the all-time series record in men's basketball, 135–95. The Sooners swept the 2013–14, 2014–15 and 2015–16 regular season Bedlam series for the fourth and fifth time in the last 10 seasons. OSU's last series sweep came in 2017. OU is 17–6 in the last 23 Bedlam games and is now 25–18 vs. the Cowboys since the formation of the Big 12 (135–95 all-time).[7]

text: Wrestling[edit]

text: Oklahoma State holds a large advantage in the schools' wrestling rivalry, the original "Bedlam Series".[1][2] The Cowboy wrestling program currently holds a 134–27–10 record against the Sooners, which is all the more remarkable considering that both schools have long been national powers in wrestling. Oklahoma has won seven team national championships in its history, while Oklahoma State's wrestling program has a record thirty-four team national titles.[8]


document_title: NFL career scoring leaders

question_text: most points by a kicker in nfl history

question_tokens: most points by a kicker in nfl history

text: NFL career scoring leaders

text: The top 25 scorers in National Football League history are listed below. All players listed are placekickers and all statistics include regular season scoring only.

text: Active players are listed in bold (age in parentheses).

text: Statistics are accurate as of Week 13 of the 2017 season.[1]

text:
Rank
Player
Career
Points

1
Morten Andersen
1982–2007
2,544

2
Adam Vinatieri (44)
1996–present
2,461

3
Gary Anderson
1982–2004
2,434

4
Jason Hanson
1992–2012
2,150

5
John Carney
1988–2010
2,062

6
Matt Stover
1991–2009
2,004

7
George Blanda
1949–1975
2,002

8
Jason Elam
1993–2009
1,983

9
John Kasay
1991–2011
1,970

10
Sebastian Janikowski (39)
2000–present
1,799

11
Phil Dawson (42)
1999–present
1,771

12
Norm Johnson
1982–1999
1,736

13
David Akers
1998–2013
1,721

14
Nick Lowery
1978–1996
1,711

15
Jan Stenerud
1967–1985
1,699

16
Ryan Longwell
1997–2011
1,687

17
Lou Groza
1946–1967
1,608

18
Eddie Murray
1980–2000
1,594

19
Matt Bryant (42)
2000–present
1,587

20
Al Del Greco
1984–2000
1,584

21
Stephen Gostkowski (33)
2006–present
1,579

22
Olindo Mare
1997–2012
1,555

23
Steve Christie
1990–2004
1,476

24
Pat Leahy
1974–1991
1,470

25
Jay Feely
2001–2014
1,451

text: Non-kickers[edit]

text: The top five scoring non-kickers in NFL history are listed here with their overall scoring rank. Note that only one non-kicker is in the top 50 scorers of all-time (although George Blanda played as both a quarterback and a kicker, 1,966 of his 2,002 points were scored as a kicker).

text:
Rank
Player
Position
Career
Points

37
Jerry Rice
Wide receiver
1985–2004
1,256

53
Emmitt Smith
Running back
1990–2004
1,052

61
LaDainian Tomlinson
Running back
2001–2011
972

66
Randy Moss
Wide receiver
1998–2012
950

68
Terrell Owens
Wide receiver
1996–2010
942


document_title: Planet of the Apes (2001 film)

question_text: who played thade in planet of the apes

question_tokens: who played thade in planet of the apes

text: Planet of the Apes (2001 film)

text: Plot[edit]

text: In 2029, aboard the United States Air Force space station Oberon, Leo Davidson works closely with primates who are trained for space missions. His favorite simian co-worker is a chimpanzee named Pericles. With a deadly electromagnetic storm approaching the station, a small space pod piloted by Pericles is used to probe the storm. Pericles's pod heads into the storm and disappears. Against his commanding officer's orders, Leo takes a second pod and goes in pursuit of Pericles. Entering the storm, Leo loses contact with the Oberon and crashes on a planet called Ashlar in the year 5021. He discovers that the world is ruled by humanoid apes who speak English, use domesticated horses for transportation, and treat human beings as slaves.

text: Leo comes across a female chimpanzee named Ari, who protests the awful treatment humans receive. Ari decides to buy Leo and a female slave named Daena to have them work as servants in the house of her father, Senator Sandar. Leo escapes his cage and frees other humans. Limbo, a slave trader in captured humans, sees them but is taken prisoner to ensure his silence. General Thade and Colonel Attar march ape warriors in pursuit of the humans. Leo discovers Calima, the forbidden, but holy temple of "Semos", the first ape who is the apes' god.

text: Calima turns out to be the remains of the Oberon which has crashed on the planet's surface and looks ancient (the name Calima coming from the sign "CAution LIve aniMAls", the relevant letters being the only ones not covered in dust). According to the computer logs, the station has been there for thousands of years. Leo deduces that when he entered the vortex he was pushed forward in time, while the Oberon, searching after him, was not, crashing on the planet long before he did.

text: The Oberon's log reveals that the apes on board, led by Semos, organized a mutiny and took control of the vessel after it crashed. The human and ape survivors of the struggle left the ship and their descendants are the people Leo has encountered since landing. The apes arrive and attack the humans who have gathered to see Leo, although he is able to even the odds when he uses the Oberon's last fragments of fuel to fire a final blast at the first wave of apes. The battle is halted as a familiar vehicle descends from the sky and is identified immediately by Leo. The pod is piloted by Pericles, the chimp astronaut. Pericles was pushed forward in time as Leo was, and had just now found his way to the planet. When Pericles lands and the pod opens, the apes interpret his arrival as the return of Semos, the first ape, who is their god. They bow, and hostilities between humans and apes suddenly cease.

text: Pericles runs into the wreck of the Oberon and Leo runs after him, followed by General Thade. Thade and Leo fight. Pericles tries to help Leo, but Thade throws him hard against a wall. Thade takes Leo's gun from him and tries to fire the weapon at Leo. Leo sees that Thade is within the pilot's deck and closes the automatic door, trapping Thade inside. Thade fires the weapon repeatedly at the door but the ricochets create sparks that cause Thade to huddle afraid under a control panel. Leo decides to escape the Planet of the Apes and return to Earth. He gives Pericles to Ari, who promises to look after him. He says goodbye and kisses Ari and Daena. Leo climbs aboard Pericles's undamaged pod and travels back in time through the same electromagnetic storm. Leo crashes in Washington, D.C. on Earth. He looks up at what appears to be the Lincoln Memorial, only to find that it is now a monument to General Thade. A swarm of police officers, firefighters, and news reporters descend on Leo, all of whom are apes.

text: Cast[edit]

text:
Mark Wahlberg as Captain Leo Davidson
A United States Air Force astronaut who accidentally opens a portal to another world inhabited by talking human-like apes and is captured by them. Leo leads a rebellion of the planet's humans. Wahlberg had backed out of a commitment to Ocean's Eleven to take this role in Planet of the Apes. (Matt Damon was eventually cast in the Ocean's Eleven role.)[3] Whereas other actors contending for the Leo Davidson role wanted to see the script before signing a contract,[4] Wahlberg signed on after a five-minute meeting with Burton.[5] To avoid evoking associations with his previous work as an underwear model, Wahlberg did not wear a loincloth, even though Heston had worn one in the original film.[6]
Tim Roth as General Thade
A sinister chimpanzee military commander who wants control over the ape civilization. Thade also intends to marry Ari, but she dismisses him. Roth turned down the role of Severus Snape in Harry Potter and the Philosopher's Stone because of his commitment to Planet of the Apes. Alan Rickman was eventually cast as Snape.[7] Roth rewrote some scenes to give his character a more frightening presence.[8]
Helena Bonham Carter as Ari
A female chimpanzee who protests the way humans are treated. She helps Leo lead the rebellion, and also develops a romantic attraction to him.
Michael Clarke Duncan as Colonel Attar
A gorilla military officer and Thade's closest associate and second-in-command. Djimon Hounsou had turned down the role because of scheduling conflicts with The Four Feathers.[9]
Estella Warren as Daena
A female slave who, like Ari, develops a romantic attraction to Leo.
Kris Kristofferson as Karubi
Daena's father. Karubi is killed by Thade while trying to escape. Kristofferson had immediately agreed to be cast. "The director Tim Burton is a hero of mine. I have eight kids and we've seen all of his films from Pee-wee's Big Adventure to Sleepy Hollow many times."[6]
Cary-Hiroyuki Tagawa as General Krull
A gorilla and former military leader whose career had been destroyed by Thade. Krull became a servant of Senator Sandar and assisted the humans in their rebellion.
Paul Giamatti as Limbo
A comical orangutan who works in the trade business of human slaves. Limbo is caught in the conflict between humans and apes and tries his best to simply survive. Giamatti drew inspiration from W. C. Fields for his performance. While his prosthetic makeup was being applied, Giamatti watched episodes of Ultraman and various Japanese Godzilla films.[10]
Jonah (uncredited) as Pericles
A chimp student trained by Leo at the US Air Force space station training other chimps and orangutans to fly space pods. He is launched on a mission that involves traveling through an electromagnetic storm. He appears in only a few scenes, interacting mainly with Leo and in the ending scene with Ari.

tag: ul

text: Small roles include David Warner (Senator Sandar), Lisa Marie (Nova), Erick Avari (Tival), Luke Eberl (Birn), Evan Parke (Gunnar), Glenn Shadix (Senator Nado), Freda Foh Shen (Bon), Chris Ellis (Lt. Gen. Karl Vasich) and Anne Ramsay (Lt. Col. Grace Alexander).

text: There are also cameo appearances by Charlton Heston (uncredited) as Zaius, Thade's father, and Linda Harrison (the woman in the cart). Both participated in two original films in the series, Planet of the Apes (1968) and Beneath the Planet of the Apes (1970) as George Taylor and Nova, respectively.

text: Development[edit]

text: Late 1980s[edit]

text: 20th Century Fox president Craig Baumgarten was impressed with Adam Rifkin's filmmaking with Never on Tuesday. In 1988, Rifkin was brought in the studio to pitch ideas for films. Rifkin, being a fan of the 1968 Planet of the Apes felt it was best to continue the film series. "Having independent film experience, I promised I could write and direct a huge-looking film for a reasonable price and budget, like Aliens."[11] Fox commissioned Rifkin to write what amounted to a sequel, "but not a sequel to the fifth film, an alternate sequel to the first film".[11] He took influences from Spartacus, with the storyline being "the ape empire had reached its Roman era. A descendant of Charlton Heston's character named Duke would eventually lead a human slave revolt against the oppressive Roman-esque apes, led by General Izan. A real sword and sandal spectacular, monkey style. Gladiator did the same movie without the ape costumes."[11]

text: Titled Return to the Planet of the Apes, the project was put on fast track and almost entered pre-production. Rick Baker was hired to design the prosthetic makeup with Danny Elfman composing the film score. Tom Cruise and Charlie Sheen were in contention for the lead role. "I can't accurately describe in words the utter euphoria I felt knowing that I, Adam Rifkin, was going to be resurrecting the Planet of the Apes. It all seemed too good to be true. I soon found out it was."[11] Days before the film was to commence pre-production, new studio executives arrived at Fox, which caused creative differences between Rifkin and the studio.[11] Rifkin was commissioned to rewrite the script through various drafts. The project was abandoned until Peter Jackson and Fran Walsh pitched their own idea, with the apes going through a Renaissance. In the story, the ape government becomes concerned over the new art works, the humans are revolting and the liberal apes shelter a half-human, half-ape from the gorillas. Roddy McDowall was enthusiastic about their proposal and agreed to play the Leonardo da Vinci-type character they had written for him. However, the executive Jackson spoke to was not a fan of the series and seemingly unaware of McDowall's involvement in the series, and Jackson turned his attention back to Heavenly Creatures.[12]

text: Oliver Stone[edit]

text: By 1993, Fox hired Don Murphy and Jane Hamsher as producers. Sam Raimi and Oliver Stone were being considered as possible directors,[11][13] though Stone signed on as executive producer/co-writer with a $1 million salary.[14] On the storyline, Stone explained in December 1993, "It has the discovery of cryogenically frozen Vedic Apes who hold the secret numeric codes to the Bible that foretold the end of civilizations. It deals with past versus the future. My concept is that there's a code inscribed in the Bible that predicts all historical events. The apes were there at the beginning and figured it all out."[15]

text: Stone brought Terry Hayes to write the screenplay entitled Return of the Apes.[14] Set in the near future, a plague is making humans extinct. Geneticist Will Robinson discovers the plague is a genetic time bomb embedded in the Stone Age. He time travels with a pregnant colleague named Billie Rae Diamond to a time when Palaeolithic humans were at war for the future of the planet with highly evolved apes. The apes' supreme commander is a gorilla named Drak. Robinson and Billie Rae discover a young human girl named Aiv (pronounced Eve) to be the next step in evolution. It is revealed that it was the apes that created the virus to destroy the human race. They protect her from the virus, thus ensuring the survival of the human race 102,000 years later. Billie Rae gives birth to a baby boy named Adam.[14]

text: Fox president Peter Chernin called Return of the Apes "one of the best scripts I ever read".[14] Chernin was hoping Hayes' script would create a franchise that included sequels, spin-off television shows and merchandise.[16] In March 1994, Arnold Schwarzenegger signed on as Will Robinson with the condition he had approval of director. Chuck Russell was considered as a possible director before Phillip Noyce was hired in January 1995, while pre-production was nearing commencement with a $100 million budget.[13] Stone first approached Rick Baker, who worked on Rifkin's failed remake, to design the prosthetic makeup, but eventually hired Stan Winston.[16][17]

text: Fox became frustrated by the distance between their approach and Hayes' interpretation of Stone's ideas, as producer Don Murphy put it, "Terry wrote a Terminator and Fox wanted The Flintstones".[14] Fox studio executive Dylan Sellers felt the script could be improved by comedy. "What if Robinson finds himself in Ape land and the Apes are trying to play baseball? But they're missing one element, like the pitcher or something." Sellers continued. "Robinson knows what they're missing and he shows them, and they all start playing."[14] Sellers refused to give up his baseball scene, and when Hayes turned in the next script, sans baseball, Sellers fired him. Dissatisfied with Sellers' decision to fire Hayes, Noyce left Return of the Apes in February 1995 to work on The Saint.[13][14]

text: Columbus and Cameron[edit]

text: Stone pursued other films of his own, Chernin was replaced by Thomas Rothman, and a drunken Sellers crashed his car, killing a much-loved colleague and earning jail time, while producers Murphy and Hamsher were paid off. "After they got rid of us, they brought on Chris Columbus", Murphy stated. "Then I heard they did tests of apes skiing, which didn't make much sense."[18] Stan Winston was still working on the makeup designs. Columbus brought Sam Hamm, his co-writer on an unproduced Fantastic Four script, to write the screenplay. "We tried to do a story that was simultaneously a homage to the elements we liked from the five films, and would also incorporate a lot of material [from Pierre Boulle's novel] that had been jettisoned from the earlier production," Hamm continued. "The first half of the script bore little resemblance to the book, but a lot of the stuff in the second half comes directly from it, or directly inspired by it."[18]

text: Hamm's script had an ape astronaut from another planet crash-landing in New York Harbor, launching a virus that will make human beings extinct. Dr. Susan Landis, who works for the Centers for Disease Control and Prevention, and Alexander Troy, an Area 51 scientist, use the ape's spacecraft to return to the virus' planet of origin, hoping to find an antidote. They find an urban environment where apes armed with heavy weapons hunt humans. The main villain was Lord Zaius; in contrast to Dr. Zaius, Lord Zaius was very cruel to the humans. Landis and Troy discover the antidote and return to Earth, only to find in their 74-year absence that apes have taken over the planet. "The Statue of Liberty's once proud porcelain features have been crudely chiseled into the grotesque likeness of a great grinning ape".[18]

text: Schwarzenegger remained attached, but Fox had mixed emotions with Hamm's script.[18] When Columbus dropped out in late 1995 to work on Jingle All the Way, Fox offered the director's position to Roland Emmerich in January 1996.[13] James Cameron was in talks during the filming of Titanic as writer and producer. Cameron's version would have drawn elements from the original film and its sequel Beneath the Planet of the Apes. After the financial and critical success of Titanic, Cameron dropped out.[18] After learning about his previous involvement, Chernin and Rothman met with Peter Jackson to learn about his original Renaissance idea. Jackson turned down directing the film with Schwarzenegger and Cameron as his producer, recognizing they would probably conflict over the direction.[12] Schwarzenegger left to work on Eraser.[13] Michael Bay then turned down the director's position.[18] Jackson again turned down the project while facing the possible cancellation of The Lord of the Rings in 1998, because he was unenthusiastic following Roddy McDowall's death.[12] In mid-1999, the Hughes brothers were interested in directing but were committed to From Hell.[18]

text: Pre-production[edit]

text: In 1999, William Broyles, Jr. turned down the chance to write the script, but decided to sign on "when I found out I could have an extensive amount of creative control". Fox projected the release date for July 2001, while Broyles sent the studio an outline and a chronicle of the fictional planet "Aschlar". Entitled The Visitor and billed as "episode one in the Chronicles of Aschlar",[18] Broyles' script caught the attention of director Tim Burton, who was hired in February 2000.[19] "I wasn't interested in doing a remake or a sequel of the original Planet of the Apes film," Burton said later. "But I was intrigued by the idea of revisiting that world. Like a lot of people, I was affected by the original film. I wanted to do a 're-imagining'."[20] Richard D. Zanuck signed on as producer in March.[21] "This is a very emotional film for me. I greenlighted the original Apes when I was the head of Fox in 1967."[22]

text: Under Burton's direction, Broyles wrote another draft, but his script was projected at a $200 million budget. Fox wanted to cut it to $100 million.[20][23] In August 2000, two months before principal photography, Fox brought Lawrence Konner and Mark Rosenthal for rewrites.[24] Broyles "had a lot of respect with the work they [Konner and Rosenthal] did. And to think that given what I'd done and given what Tim wanted, they navigated the right course."[20] One of the considered endings had Leo Davidson crash-landing at Yankee Stadium, witnessing apes playing baseball. Various alternatives were considered before the filmmakers decided on the final one.[25] The production of Planet of the Apes was a difficult experience for Burton. This was largely contributed by Fox's adamant release date (July 2001), which meant that everything from pre-production to editing and visual effects work was rushed.[20]

text: Konner and Rosenthal were rewriting the script even as sets were being constructed.[25] Ari, Helena Bonham Carter's character, was originally a princess. She was changed to "a Senator's daughter with a liberal mentality".[26] One of the drafts had General Thade, Tim Roth's character, as an albino gorilla, but Burton felt chimpanzees were more frightening.[27] Limbo, Paul Giamatti's character "was supposed to turn into a good guy. There was supposed to be this touching personal growth thing at the end," Giamatti reflected. "But Tim [Burton] and I both thought that was kind of lame so we decided to just leave him as a jerk into the end."[10]

text: Filming[edit]

text: Burton wanted to begin filming in October 2000,[28] but it was pushed back to November 6, 2000 and ended in April 2001.[23][29] Filming for Planet of the Apes began at Lake Powell, where parts of the original film were shot. Due to a local drought, production crews had to pump in extra water.[27] The film was mostly shot at Sony Pictures Studios in Culver City, California, while other filming locations included lava plains in Hawaii and Trona Pinnacles at Ridgecrest. To preserve secrecy, the shooting script did not include the ending.[24][30] Stan Winston was the original makeup designer but left because of creative differences. Fox considered using computer-generated imagery to create the apes, but Burton insisted on using prosthetic makeup designed by Rick Baker.[23] Baker was previously involved with Adam Rifkin's unproduced remake. Burton commented, "I have a relationship with both of them [Winston and Baker], so that decision was hard," he says. "Stan worked on Edward Scissorhands and Baker did Martin Landau's makeup [as Béla Lugosi in Ed Wood]".[31]

text: On his hiring, Baker explained, "I did the Dino De Laurentiis version of King Kong in 1976 and was always disappointed because I wasn't able to do it as realistically as I wanted. I thought Apes would be a good way to make up for that." In addition to King Kong, Baker previously worked with designing ape makeup on Greystoke: The Legend of Tarzan, Lord of the Apes, Gorillas in the Mist: The Story of Dian Fossey, and the 1998 remake of Mighty Joe Young.[32] The makeup took 4.5 hours to apply and 1.5 hours to remove. Burton explained, "it's like going to the dentist at two in the morning and having people poke at you for hours. Then you wear an ape costume until nine at night."[23][25] Burton was adamant that the apes should be substantially "more animal-like; flying through trees, climb walls, swing out of windows, and go ape shit when angry."[25] For a month and a half before shooting started, the actors who portrayed apes attended "ape school". Industrial Light & Magic, Rhythm and Hues Studios and Animal Logic were commissioned for the visual effects sequences. Rick Heinrichs served as the production designer and Colleen Atwood did costume design.[33]

text: To compose the film score, Burton hired regular collaborator Danny Elfman, who had previously been set as composer when Adam Rifkin was to do his remake in 1989.[11] Elfman noted that his work on Planet of the Apes contained more percussion instruments than usual.[34]

text: During filming, Roth held a grudge against Heston due to his work with the National Rifle Association: "It was very difficult for me. On one level, there's the man and he's my dad. But on the other level, the whole NRA thing is what it is now. I'm so against it, very vocally so. But it was inappropriate for the workplace. If I'm going to talk to him, I'll talk to him outside the workplace. So it was just two guys in makeup doing a scene."[35] Roth later claimed he would not have appeared in the film had he known he would be sharing a scene with Heston.[36]

text: Reception[edit]

text: Box office[edit]

text: To help market Planet of the Apes, Fox commissioned an Internet marketing campaign that also involved geocaching.[37] Hasbro released a toy line, while Dark Horse Comics published a comic book adaptation.[29] The original release date for the film was July 4, 2001.[38] Planet of the Apes was released on July 27, 2001 in 3,500 theaters across North America, earning $68,532,960 in its opening weekend.[2] This was the second-highest opening weekend of 2001, behind Harry Potter and the Philosopher's Stone.[39] The film went on to gross $180,011,740 in North America and $182,200,000 elsewhere, for a worldwide total of $362,211,740.[2] Planet of the Apes was the tenth-highest-grossing film in North America,[39] and ninth-highest worldwide, of 2001.[40]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes Planet of the Apes has an approval rating of 45% based on 156 reviews, with an average rating of 5.4/10. The site's critical consensus reads, "This remake of Planet of the Apes can't compare to the original in some critics' minds, but the striking visuals and B-movie charms may win you over."[41] On Metacritic the film has an average score of 50 out of 100, based on 34 critics, indicating "mixed or average reviews".[42] Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.[43]

text: Roger Ebert of the Chicago Sun-Times gave the film 2½ stars; he praised the twist ending, but felt the film lacked a balanced story structure. "The movie is great-looking. Rick Baker's makeup is convincing even in the extreme closeups, and his apes sparkle with personality and presence. The sets and locations give us a proper sense of alien awe," Ebert commented. "Tim Burton made a film that's respectful to the original, and respectable in itself, but that's not enough. Ten years from now, it will be the 1968 version that people are still renting."[44] Peter Travers of Rolling Stone gave a negative review. "Call it a letdown, worsened by the forces of shoddy screenwriting. To quote Heston in both films, 'Damn them, damn them all'."[45]

text: Kenneth Turan of the Los Angeles Times believed "the actors in the nonhuman roles are mostly too buried by makeup to make strong impressions. Unfortunately, none of the good work counts as much as you'd think it would," Turan said. "Planet of the Apes shows that taking material too seriously can be as much of a handicap as not taking it seriously at all."[46] Elvis Mitchell of The New York Times gave a more favorable review, feeling the script was balanced and the film served its purpose as "pure entertainment".[47] Susan Wloszczyna of USA Today enjoyed Planet of the Apes, feeling most of the credit should go to prosthetic makeup designer Rick Baker.[48]

text: Much criticism was leveled against the ambiguous ending. Tim Roth, who portrayed General Thade, said "I cannot explain that ending. I have seen it twice and I don't understand anything."[20] Helena Bonham Carter, who played Ari, said, "I thought it made sense, kind of. I don't understand why everyone went, 'Huh?' It's all a time warp thing. He's gone back and he realizes Thade's beat him there."[20] Although the ending was ambiguous, it was closer to the ending of the actual Pierre Boulle book than was the ending of the 1968 Charlton Heston movie version. In the first of two twist endings of the Pierre Boulle book, the astronaut escapes back to planet Earth, only to be greeted by a gorilla in a jeep on the landing strip. Burton claimed the ending was not supposed to make any sense, but it was more of a cliffhanger to be explained in a possible sequel. "It was a reasonable cliffhanger that could be used in case Fox or another filmmaker wanted to do another movie," he explained.[27]

text: The film was nominated for two BAFTA Awards, one for Best Make-up held by Rick Baker, the other for Best Costume Design. Roth (Supporting Actor), Bonham Carter (Supporting Actress), Colleen Atwood (Costume), and Rick Baker (Make-up) received nominations at the Saturn Awards.[49] Atwood and Baker were nominated at the 55th British Academy Film Awards,[50] while music composer Danny Elfman was nominated for his work at the 43rd Grammy Awards.[51] Planet of the Apes won Worst Remake at the 22nd Golden Raspberry Awards, while Heston (Worst Supporting Actor) and Estella Warren (Worst Supporting Actress) also won awards.[52]

text: Legacy[edit]

text: Fox stated that if Planet of the Apes was a financial success, then a sequel would be commissioned.[31] Although the film was indeed a financial success, Fox decided not to proceed with a sequel. When asked whether he would be interested in working on a follow-up, director Tim Burton replied, "I'd rather jump out a window."[20] Mark Wahlberg and Helena Bonham Carter would have returned if Burton had decided to make another Apes film.[5][53] Paul Giamatti had been interested in reprising his role. "I think it'd be great to have apes driving cars, smoking cigars," Giamatti said. "Wearing glasses, sitting in a board room, stuff like that."[10] Planet of the Apes was the last film Burton worked on with his former fiancée Lisa Marie. After their relationship broke up, Burton started a relationship with Bonham Carter, who portrayed Ari. Planet of the Apes was also Burton's first collaboration with producer Richard D. Zanuck.[25][54]

text: Fox returned to the franchise in 2011 with Rise of the Planet of the Apes, a reboot of the series that proved to be a hit and led to its own sequels.[55][56][57]

text: Video game[edit]

text: In 1998, after 20th Century Fox had greenlit James Cameron's version of the film remake, the company's video game division, Fox Interactive, started planning a video game tie-in. The film project went on hold when Cameron pulled out, but Fox Interactive remained confident a remake would progress eventually and continued with the game.[58] Fox contracted French company Visiware as developer; with the film on hold, the creators developed their own story inspired by Boulle's novel and the original films. The game is an action-adventure in which the player controls astronaut Ulysses after he crashes on the Planet of the Apes.[59] The game was developed for PC and PlayStation.[60]

text: The game experienced serious delays due to setbacks with the film project and Fox Interactive's decision to co-publish with a third party. Despite its long development, the game missed the debut of Burton's film.[60] Fox Interactive and co-publisher Ubisoft finally released the PC version on September 20, 2001;[61] the PlayStation version followed on August 22, 2002.[62] The game received mostly negative reviews.[63][64]

text: Additionally, Ubisoft and developer Torus Games produced a substantially different Planet of the Apes game for Game Boy Advance and Game Boy Color. It is a side-scroller following the first two films; the player controls astronaut Ben on the Planet of the Apes.[59][65] The Game Boy versions received average reviews.[66]