document_title: Scar (The Lion King)

question_text: who does mufasa's voice in lion king

question_tokens: who does mufasa 's voice in lion king

text: Scar (The Lion King)

text: Development[edit]

text: Conception and influences[edit]

text: The Lion King was first conceived in 1988.[1] The film was eventually pitched to Disney executives, one of whom was among the first to observe similarities between author Thomas M. Disch's treatment and William Shakespeare's play Hamlet.[2][3] Although first citing these similarities as initially unintentional,[4] director Rob Minkoff always felt it was essential "to anchor [the film] with something familiar".[5] As directors, Minkoff and Roger Allers aspired to create "an animal picture based in a more natural setting,"[6] describing the film as "More true-life adventure than mythical epic."[7] Although not the first Disney film to have been inspired by Shakespeare's work,[8] The Lion King remains the studio's most prominent example[9] due to close parallels between its characters and Hamlet,[10] while both stories revolve around main characters who struggle to come to terms with the reality that they must confront their treacherous uncles and avenge their fathers' deaths.[11] Scar is based on King Claudius.[12] According to Slate, while Claudius is mostly "a second-rate schemer ... consumed by anxiety and guilt," Scar very much "delight[s] in his monstrosity;"[13] both characters are motivated by jealousy.[14] Meanwhile, The Week observed that although both characters ultimately die, Claudius is killed by protagonist Hamlet while Scar dies "at the hand of his former hyena minions, and not Simba himself."[4] Additionally, the character shares similarities with Iago from Shakespeare's play Othello; both antagonists are skilled in exploiting their victims' fears.[15]

text: The original plot of The Lion King revolved around a rivalry between lions and baboons.[16] A baboon himself, Scar was their leader.[17] After this plot was abandoned, Scar was re-written into a rogue lion lacking any blood relation to both Mufasa and Simba.[18][19] The writers eventually decided that making Scar and Mufasa brothers would make the film more interesting.[20] An abandoned character, at one point Scar owned a pet python as a sidekick.[16] Because the film was originally intended to be much more adult-oriented, Scar was to have become infatuated with Simba's childhood friend and eventual love interest Nala, wanting the young lioness to rule alongside him as his queen[21] and consequentially banishing the character[16] when she refuses.[22] This concept was to have been further explored during a reprise of Scar's song "Be Prepared",[23] but both the idea and the song were ultimately completely removed from the film because they were deemed too "creepy".[21] To further emphasize the character's villainy and tyranny, the writers loosely based Scar on German politician Adolf Hitler.[24] According to The Jerusalem Post, Scar's song "Be Prepared" "features goose-stepping hyenas in a formation reminiscent of a Nuremberg rally."[25] This idea was first suggested by story artist Jorgen Klubien.[25]

text: According to the directors, "[a] patronizing quality" was vital to Scar's role in the film.[26] Minkoff told the Los Angeles Times, "When Scar puts the guilt trip on Simba, that's an intense idea ... probably something that is not typical of the other Disney pictures, in terms of what the villain does."[26] Additionally, Scar serves as a departure from previous Disney villains because they "came off at least as buffoonish as they were sinister".[26] Because Scar is the film's main antagonist,[27] supervising animator Andreas Deja believed that "villains work really well when they're subtle", explaining, "to see them think and scheme and plot is much more interesting than showing them beating somebody up."[26] By blaming Mufasa's death on an innocent Simba, Scar ultimately triggers "a cycle of guilt, flight, denial and redemption, as the hero goes into self-imposed exile before finally reconciling with his father's memory, returning to face his wicked uncle and generally coming of age."[28] The character's first line in The Lion King essentially summarizes the entire film, providing foreshadowing. It reads, "Life's not fair is it? You see I-well, I ... shall never be King. And you ... shall never see light of another day," subtly revealing the plot as well as "the reason why [Scar] decides to murder his own brother."[14]

text: Voice[edit]

text: Tim Curry and Malcolm McDowell were originally considered for the role of Scar.[29] However, Curry left the role due to Home Alone 2: Lost in New York and the role was ultimately won by Jeremy Irons[24] because of his classical theater training; the directors had deliberately wanted Scar "to come across as a Shakespearean character."[29] Successfully recruiting Irons for the film was considered an unprecedented achievement for the studio because, at the time, it was rare for a dramatic actor of Irons's caliber to agree to voice an animated character,[30] especially immediately after winning an Academy Award.[26] In fact, the Oscar-winning actor[31] nearly declined because, in fear of jeopardizing his successful career, he was "[h]esitant to jump from a dramatic role to an animated feature."[32] Prior to The Lion King, Irons was famous for starring as several villains and antagonists in live-action films "geared towards adults."[33] Although he had starred in a children's film before, the actor admitted that it did not mirror the success of The Lion King,[33] a film that has since gained notoriety for its cast of well known, award-winning Hollywood actors,[34] which animation historian Jerry Beck referred to in his book The Animated Movie Guide as "the most impressive list of actors ever to grace an animated film."[35]

text: As directors, Minkoff and Allers "work[ed] very closely with the actors to create their performance."[36] Describing Irons as "a gentleman and a brilliant actor," Allers revealed that the actor was constantly offering "extra interpretations of lines which were fantastic."[5] Producer Don Hahn recalled that Irons "really wanted to play with the words and the pacing," specifically referring to a scene in which Scar, voiced by Jeremy Irons, coaxes Simba onto a rock and tricks the young cub to stay there and await his father's arrival alone, dubbing it "a father and son ... thing." According to Hahn, "The comedy in [Irons's] inflection comes from Scar sounding so disdainful he can barely summon the will to finish the sentence."[26] Irons's physical appearance and mannerisms served as inspiration for Scar's supervising animator Andreas Deja, namely his flicking his paw in disgust.[26] Critics have cited physical similarities between Irons and Scar.[37]

text: In a reference to the role that earned Irons an Academy Award, Claus von Bülow in Reversal of Fortune (1990), the writers gave Scar one of von Bülow's lines, "You have no idea," which is uttered by Irons in a similar tone.[38][39] According to author Rachel Stein of New Perspectives on Environmental Justice: Gender, Sexuality, and Activism, Irons relies "on his history of playing sexually perverse, socially dangerous male characters to animate his depiction of Scar."[40] On the contrary, Irons revealed to Connect Savannah that the similarities between the voices of Scar and von Bülow were largely unintentional, explaining, "Whatever voice came was arrived at by looking at the initial sketches, and from the freedom the directors gave me to try anything." Irons concluded, "The fact that he may occasionally remind you of Claus, comes from the fact that they both share the same voice box."[41]

text: While recording Scar's song "Be Prepared," Irons encountered challenges with his voice. The actor reportedly "blew out his voice" upon belting the line "you won't get a sniff without me," rendering him incapable of completing the musical number.[42] Consequently, Disney was forced to recruit American voice actor Jim Cummings, who had also been providing the voice of The Lion King's laughing hyena Ed at the time,[43] to impersonate Jeremy Irons and record the entire of the song.[44] Jim Cummings told The Huffington Post that "[s]tunt singing" is actually something the actor continues to do regularly, having done the same for American actor Russell Means, voice of Chief Powhatan in Disney's Pocahontas (1995).[45] Critics observed that Irons "fakes his way ... through 'Be Prepared' in the grand tradition of talk-singing," drawing similarities between him and American actor James Cagney and English actor Rex Harrison.[46] Deja revealed that, during a recording session, Irons's stomach was grumbling. Deja joked, "The growling sound could be heard in his recording, so we had to record that part of his dialog all over again."[47] As a result of Irons's prominent British accent, critics have compared both the actor and Scar to Shere Khan, the villain of Disney's The Jungle Book (1967), voiced by English actor George Sanders.[26]

text: Chiwetel Ejiofor was officially chosen on November 1, 2017 for the role of Scar for the CGI live action remake, The Lion King (2019) directed by Jon Favreau, as he had impressed him after watching his antagonistic performance as Baron Mordo in the Marvel film Doctor Strange (2016).[48]

text: Design and characterization[edit]

text: The studio originally dismissed The Lion King as a risk because, at the time, it was believed that the greatest films starred people.[49] Concerned about the novelty of the film, Disney CEO Jeffrey Katzenberg decided to divide the studio into two separate animated films, The Lion King and Pocahontas, the latter of which was dubbed "the home run" because it was expected to be the more successful of the two projects.[50] Naturally, Disney's more seasoned and experienced animators gravitated towards Pocahontas, while the studio's newer animators were relegated to working on The Lion King, dubbing themselves the "B-team".[51] However, Allers received Katzenberg's decision positively as an opportunity for "newer animators ... to step up to leadership roles",[51] among them Andreas Deja, who became Scar's supervising animator.[51] Well known for animating several Disney villains,[52] Deja summarized the experience as "more fun than drawing heroes" because "You have so much more to work with in terms of expressions and acting and drawing-wise than you would have with a nice princess or a prince ... where you have to be ever so careful with the draftsmanship".[53]

text:
"[A]t Disney ... the people responsible for each movie see that you are good at animating a specific type of character, they will keep giving similar characters to you. Also, I animated a couple of those villains because I asked to. I told the studio that I could do something good with these characters, since they really spoke to me. I showed that I had a passion for it, which I believe to be very important. Villains are very interesting characters, they have the most 'juice' in them, and they invite you to explore them. So, if something fascinates you, then you should probably explore it."

— Supervising animator Andreas Deja on animating Disney villains.[47]

text: Before becoming involved with The Lion King, Deja had already developed a reputation for animating Disney villains.[47][52] Prior to animating Scar, Deja had just recently served as the supervising animator of Gaston and Jafar, the villains in Disney's Beauty and the Beast (1991) and Aladdin (1992), respectively.[26] Initially, Deja had been considering the idea of animating a hero as opposed to a villain for a change,[47] contemplating taking on the task of animating Simba instead.[54] However, Deja soon relented upon learning that Scar would be voiced by Irons, feeling that it would be "fun" to animate a character voiced by such a prestigious actor.[54] Meanwhile, Minkoff and Allers had already had Deja in mind for animating Scar long before the animator approached the directors about the position.[54] The level anthropomorphism used in The Lion King exceeded that of any Disney animated film by which it was preceded.[55] Because Scar is an animal as opposed to a human,[56] Deja and the animators experienced certain challenges and limitations when it came to instilling movement in the character,[56] and thus experimented with manipulating Scar's facial expressions, specifically the way in which he tilts his head condescendingly, raises his eyebrows and lifts his chin.[26] The animals were each drawn with certain human-like attributes and characteristics in order to help convey emotions and tell the story.[55] Meanwhile, the studio recruited live lions for the animators to study while drawing.[57] As the film's villain, Scar is the only lion drawn with claws.[16]

text: Owen Gleiberman of Entertainment Weekly described Scar as "a figure of both pity and evil, and of treacherous comedy" with "Irons ... filling this devious coward with elegantly witty self-loathing."[58] As an animator, Deja believes that "If you have a great voice to work with, your work is half done."[59] Enjoying the way in which Irons "has a way with words and phrasing,"[59] Deja deliberately based much of Scar's appearance on the actor himself, specifically the shape of his mouth and facial expressions.[47] Several of the actor's physical attributes were incorporated into Scar's design, with Irons admitting to recognizing his own baggy eyes in his character.[26] Additionally, Deja studied Irons's performances in the films Reversal of Fortune (1990) and Damage (1992) for inspiration,[26][60] while refusing to watch Disney's The Jungle Book while working on The Lion King in order to avoid being influenced by the film's villain Shere Khan, a tiger.[61]

text: Music[edit]

text: Scar sings the musical number "Be Prepared," written by songwriters Elton John and Tim Rice, while contemplating Mufasa's death plot and bringing the hyenas along. Described as the film's "darkest" song, a "pompous,"[62] "fascistic paean to usurpers,"[63] the musical sequence depicts the lion "as a big-cat fascist."[64] According to Business Insider, in addition to loosely basing the character on Adolf Hitler to further emphasize Scar's tyranny, the filmmakers very much directly based his song "Be Prepared," which references Nazism by having Scar's army of hyenas goose step while addressing them from a high ledge – similar to the way in which Hitler would have from a balcony –[24] on the Nazi propaganda film Triumph of the Will (1935),[65] a film that documents Nazi Germany during 1934.[66]

text: According to Entertainment Weekly, the concept originated from a sketch by story artist Jorgen Klubien, in which Scar was depicted as Hitler. Although hesitant that then-Disney Animation chief Jeffrey Katzenberg would approve, the filmmakers ultimately decided to pursue it, describing the sequence as a "Triumph of the Will-style mock-Nuremberg rally."[63] The St. Louis Post-Dispatch reviewed, "those goose-stepping hyenas seem a little much in hindsight,"[67] while Film School Rejects coined it a "hellish gathering."[68]

text: Appearances[edit]

text: Film[edit]

text: Scar debuted in The Lion King (1994). The jealous younger brother of Mufasa, Scar was next-in-line to take the throne until his nephew Simba, Mufasa's son, was born, replacing him. Determined to regain his birthright, Scar devises a plan to kill both Simba and Mufasa. Cleverly trapping Simba in a vast gorge, Scar signals his hyena minions, Shenzi, Banzai and Ed, to trigger a wildebeest stampede. Although Mufasa saves Simba, the king is weakened, and unable to climb out of the gorge to safety. When Mufasa begs Scar for help, Scar instead throws his brother to his death below. Convincing Simba that he is to blame for Mufasa's death, Scar advises the prince to run away and never return, then orders the hyenas to pursue and kill him. With his brother murdered and his nephew presumed dead, Scar returns to Pride Rock and tells the pride that both father and son died in the stampede before becoming king and allowing the hyenas into the Pride Lands.

text: Years go by as Scar squanders the kingdom's resources and allows his army of hyenas to wreak havoc upon the Pride Lands, which turn barren. Meanwhile, an alive and adult Simba is visited by Mufasa's ghost, who encourages him to return to the Pride Lands and take his rightful place as king. Aided by his friends Nala, Timon and Pumbaa, Simba arrives at Pride Rock and witnesses Scar striking his mother Sarabi and confronts Scar, who demands that Simba admit to the pride that he killed Mufasa. As he prepares to throw Simba off Pride Rock and have him meet a similar fate to that of his father, Scar whispers that he was the one who killed Mufasa. Enraged, Simba tackles Scar and forces his uncle to admit the truth to the pride, initiating a ferocious battle between the pride, Timon, Pumbaa, Zazu, Rafiki and Scar's hyenas. Scar tries to escape, but is cornered by Simba on the top of Pride Rock; Scar begs for mercy and even attempts to blame his crimes on the hyenas, unaware that they are listening nearby. Simba ignores Scar and gives him one last chance to run away and never return. When Simba's back is turned, Scar attacks him and they fight. Simba overpowers Scar and throws him over the cliff ledge to the base of Pride Rock. Scar survives the fall, but is attacked and killed by the vengeful hyenas.

text: Broadway musical[edit]

text: The success of The Lion King spawned a Broadway musical based on the film, directed by Julie Taymor with a book written by The Lion King co-director Roger Allers and screenwriter Irene Mecchi. American actor John Vickery originated the role of Scar. In one scene in the musical, Scar, during the song "The Madness of King Scar", tries to seduce a young adult Nala and make her his queen and mother of his children. Nala however, rejects Scar's advances and leaves Pride Rock.

text: The Lion King II: Simba's Pride[edit]

text: Having been killed during the end of The Lion King, Scar's appearance and presence in its sequel The Lion King II: Simba's Pride (1998) is limited. Story-wise, however, his role remains vital. Upon Scar's demise, a rivaling pride of lions known as the Outsiders decide to remain loyal to him. The pride is led by Scar's most faithful follower, Zira. Since Scar had no children of his own, Zira's son Kovu is chosen to serve as Scar's heir. Simba banishes the Outsiders to the Outlands, and forbids his daughter Kiara from going there. She goes there anyway, however, and meets and befriends Kovu. Meanwhile, Zira trains Kovu to murder Simba, but when he becomes an adult, he has a change of heart as he begins to develop feelings for Kiara.

text: Scar makes a brief cameo appearance in the film in Simba's nightmare. In the nightmare, an adult Simba runs down the cliff where his father died, attempting to rescue him. Scar intervenes, however, and then turns into Kovu and throws Simba off the cliff. Scar makes another cameo appearance in a pool of water, as a reflection, after Kovu is exiled from Pride Rock.

text: Miscellaneous[edit]

text: Scar makes a brief cameo in Disney's animated feature film Hercules (1997) in the form of a limp lion skin coat worn by Hercules,[69] parodying the Nemean lion.[70] This is also likely a reference to Zazu's remark (in the first film) that Scar would "make a very handsome throw rug". Scar's supervising animator Andreas Deja also served as the supervising animator of Hercules.[71] The character appears in the 1994 video game The Lion King.[72] According to AllGame, Scar appears towards the end of video game as Simba finally "must defeat his Uncle Scar" and "stop Scar and reclaim what is rightfully his."[73] Scar plays a similar role in the video game The Lion King: Simba's Mighty Adventure (2000);[74] Simba's climactic "battle with Scar concludes the first six levels of the game."[75] According to IGN, the video game features the voices of the film's cast, including Jeremy Irons as Scar.[74] Voiced by James Horan, Scar appears as a non-player character in Disney's Extreme Skate Adventure (2003)[76] and Kingdom Hearts II as a villain who ultimately transforms into a Heartless as a result of the character's own "hatred and jealousy."[77]

text: Scar also makes a brief non-speaking cameo appearance in an episode of Timon & Pumbaa, despite that he is deceased at that time.

text: The Lion Guard[edit]

text: Scar is portrayed through paintings throughout season 1 of The Lion Guard television series, which explains some of his backstory. When Scar was younger—as per tradition to all second born children of the current reigning "Lion King"—he led the Lion Guard who protected The Pride Lands and defended "The Circle of Life" from all enemies before his great-nephew Kion led the Guard. Like Kion, Scar was also gifted with The Roar of the Elders, which causes the lions of the Pride Lands' past to roar with the user. However, the power went to Scar's head and he vainly believed that with this power, he should be the king instead of Mufasa, but when his fellow Lion Guard members refused to aid him in his plan to dethrone Mufasa, Scar furiously destroyed them with the Roar. As a result, Scar lost the Roar forever, as it is only meant to be used for good, not evil.

text: Scar appears as a fiery spirit in a volcano in season 2 (voiced by David Oyelowo[78]) starting in the one-hour long special The Rise of Scar, when Kion unknowingly summons him after using the Roar of the Elders in anger when Janja the hyena provokes him. After being summoned, Scar conspires with Janja the other animals in the Outlands to take over the Pride Lands and defeat the new Lion Guard and Simba, who were initially unaware that Scar had returned.

text: Later in the season, the Lion Guard finds out that Scar has returned while they are in the Outlands getting volcanic ash needed to cure Simba from a scorpion sting. Upon returning to the Pride Lands, Kion acknowledges to his team that they have a tough fight ahead, but remains confident that they will be able to defeat Scar.

text: Reception[edit]

text: Critical response[edit]

text: Scar has garnered widespread acclaim from film critics, some of whom praised him as a better character than Simba.[79] Author Peter M. Nichols wrote in his book New York Times Essential Library: Children's Movies: A Critic's Guide to the Best Films Available on Video and DVD that Scar "is the most interesting character in the film," describing Simba and Mufasa "bores in comparison."[80] Janet Maslin of The New York Times called Scar a "delectably wicked" villain. Maslin went on to praise Irons's voice acting, writing that the actor "slithers through the story in grandiose high style, with a green-eyed malevolence that is one of film's chief delights."[81] Leah Rozen of People described Scar as "a flawless realization of Irons's special talent."[82] Gene Siskel of the Chicago Tribune lauded Scar as the film's "best character," jokingly describing him as "Irons' Claus von Bulow with fur."[83] Similarly, ComingSoon.net's Joshua Starnes hailed Scar as "the best part of the film." Praising both Scar and Irons's acting, Starnes continued, "He switches so quickly and easily from campy to deadly its like a showcase for how to do an over-the-top villain right."[84] Concluding that "Villains are often the most memorable characters in a Disney animated film," Roger Ebert described Scar "one of the great ones."[38] James Berardinelli of ReelViews reviewed, "Gone is the buffoonery that has marked the recent trio of Ursula, Gaston, and Jafar," writing, "Scar is a sinister figure, given to acid remarks and cunning villainy." Berardinelli concluded, "The cold-hearted manner in which he causes Mufasa's death lets us know that this is not a lion to be trifled with."[85]

text: "Simba is also influenced by his delectably wicked uncle, Scar (Jeremy Irons). Scar arranges Mufasa's disturbing on-screen death in a manner that both banishes Simba to the wilderness and raises questions about whether this film really warranted a G rating ... For the grown-ups, there is Mr. Irons, who has been as devilishly well-captured by Disney's graphic artists (Scar's supervising animator: Andreas Deja) as Robin Williams was in Aladdin. Bored, wicked and royally sarcastic, Mr. Irons's Scar slithers through the story in grandiose high style, with a green-eyed malevolence that is one of film's chief delights. 'Oh, and just between us, you might want to work on that little roar of yours, hmm?' he purrs to Simba, while purporting to be a mentor to his young nephew. Scar, who also gives a reprise of Mr. Irons's best-known line from Reversal of Fortune, may not be much of a father figure, but he's certainly great fun."

text: A film that features the voices of several well-known A-list actors, namely Irons as Scar, Matthew Broderick as Simba, James Earl Jones as Mufasa and Whoopi Goldberg as Shenzi,[86] The Lion King has since gone on to be acclaimed as "one of the most impressive arrays of voice talents ever utilized in an animated film."[87] Critics have repeatedly singled out Irons's performance, praising it extensively: Cindy White of IGN called Irons's performance "deliciously smarmy,"[88] while Andy Patrizio of IGN wrote that Irons voices Scar "in perfect Shakespearean villain mode."[89] Rolling Stone's Peter Travers hailed Irons for "deliver[ing] a triumphantly witty vocal performance that ranks with Robin Williams' in Aladdin."[90] Peter Stack of the San Francisco Chronicle commended Disney for "nail[ing] the voice talents," specifically Irons.[91] The Philadelphia Daily News' Bill Wedo described Irons's voice as "silken,"[92] while Graham Young of the Birmingham Mail hailed the actor's performance as "magnificent."[93] Radio Times' Tom Hutchinson wrote, "Jeremy Irons [is] a vocal standout as the evil uncle Scar."[94] Annette Basile of Filmink echoed Hutchinson's statement, writing that Scar is "voiced with relish by stand-out Jeremy Irons."[95] The Guardian's Philip French opined, "Jeremy Irons is excellent as the suavely villainous lion Scar."[96] David Sterritt of The Christian Science Monitor exalted Irons's acting, describing him as "positively brilliant."[97] Also hailing the film's cast as "incredible," Desson Howe of The Washington Post highlighted Irons as a "standout."[98] Praising the film for successfully combining "grand-opera melodrama and low-comedy hi-jinks," the Orlando Sentinel's Jay Boyar concluded that "One reason they work so well together is that even most of the serious sections contain an undercurrent of humor, provided ... by the deliciously droll voice-performance of Jeremy Irons as Scar."[99] Mathew DeKinder of the St. Louis Post-Dispatch felt that Irons successfully "handle[s] all of the dramatic heavy lifting."[67]

text: Even film critics who generally disliked the film tended to enjoy Scar's characterization and Irons's performance. Terrence Rafferty of The New Yorker wrote, "Among the celebrity voices on the soundtrack, two performances stand out," namely, "Jeremy Irons, as the villainous lion Scar" who "does an elegant, funny George Sanders impersonation."[100] (Sanders himself had voiced Shere Khan for Disney in their 1967 version of The Jungle Book). Stephen Hunter of The Baltimore Sun described Irons's voice as "plummy-rich with rancid irony."[12] Television Without Pity's Ethan Alter admitted to enjoying Scar, praising the character as "a fantastic villain and easily the most fully realized of the film's characters, thanks both to Jeremy Irons's marvelously wicked vocal performance and some clever character flourishes on behalf of the animators."[101] David Denby of New York, who otherwise criticized the film, felt that "Irons ... sounds like he's having a better time than he's ever had in movies before."[102] In a rare lukewarm review, Anthony Quinn of The Independent felt that Irons's performance was too campy: "more Liberace than George Sanders."[103]

text: Accolades and legacy[edit]

text: According to IGN, Scar, Simba and Mufasa have since become "household names thanks to the [film's] enormous popularity ... but back in 1994 who could have predicted that these characters would enter the lexicon of Disney's most popular creations?"[104] Scar is considered to be among Disney's greatest villains.[27][105] Desmond Ryan of The Philadelphia Inquirer reviewed Scar as "the most vivid villain in Disney features in generations."[106] On a broader scale, Scar is often revered as one of the greatest animated villains of all-time.[107] Entertainment Weekly included the character in the article "10 Over-the-top Animated Movie Villains", explaining, "you could only expect over-the-top when you pair such a grasping, conniving character with Jeremy Irons' seductive voice."[108] Likewise, Digital Spy's Alex Fletcher wrote of Scar in his article "Who is Disney's greatest ever villain?" that "The scene in which he lets Mufasa ... fall into a stampede of wildebeests left lasting emotional trauma on an entire generation."[109]

text:
“
Scar walks the fine line between gravitas and camp, and most of the credit has to go to Jeremy Irons's superb sarcastic drawl. His main complaint is simply that life isn't fair, and that his status as Mufasa's younger brother makes him ineligible to rule over Pride Rock. Anyone with siblings, royal or not, can relate on some level. And although it's honestly a little cringe-worthy to watch Scar mince his way through 'Be Prepared,' he proves himself an adept orator, inspiring legions of goose-stepping hyenas to throw off the shackles of the oppressive lions.
”

— Tor.com's Sarah Tolf on Scar's legacy.[110]

text: The Huffington Post ranked Scar first in its "Definitive Ranking Of 25 Classic Disney Villains" countdown.[111] Similarly, BuzzFeed also ranked Scar first in the website's "Definitive Ranking Of The Top 20 Disney Villains" list, with author Javi Moreno accusing the character of removing "the innocence of an entire generation."[112] Scar also topped About.com's "Top 10 Disney Villains" countdown; author David Nusair concluded, "There are few figures within Disney's body of work that are as deliciously reprehensible and vile as Scar ... heightened by Jeremy Irons' gloriously smug voice work."[113] Nusair also included Irons among the "Top 5 Celebrity Voice Performances in Animated Films", acknowledging the fact that although the actor "has played a lot of villains over the course of his career ... none have had the lasting impact as Scar from The Lion King."[114] The Orlando Sentinel ranked Scar the sixth "greatest Disney villain of all time".[115] Similarly, Babble.com also placed the character at number six.[116] Included in the website's "12 most famous Disney villains from worst to best" countdown, Yahoo! Movies ranked Scar second best,[117] while Moviefone ranked the character sixth.[118] E! ranked Scar fifth, with author John Boone writing that the character "plotted one of the most painful deaths in Disney history, so you know he'll never be forgotten."[119] Animation World Network ranked Scar the sixth best animated villain.[52]

text: CNN considers Scar one of "Disney's scariest characters."[120][full citation needed] While ranking the character fifth, The Stanford Daily wrote, "From his habit of sadistically toying with his prey to his dumb hyena coven to the way he leads the kingdom of Pride Rock into a period of starvation and sorrow, he's a backstabbing dictator of an uncle."[121] Richard Crouse of Metro cited Scar's "Long live the King" as the character's "Most evil line."[122] Additionally, "Be Prepared" is often revered as one of the greatest Disney villain songs.[123][full citation needed][124] Official Disney Blogs wrote that the song, with its "hyena backup singers, and the best bone-rattling percussion of all the villains' songs," Scar proves himself "an expert crooner of villainous plots."[125] Aside from Disney and animation, Scar is often revered as one of the greatest movie villains of all-time.[126] Digital Spy featured the character who, according to author Simon Reynolds, "underlined the sheer blackness of his heart by ruthlessly killing Simba's father,"[127] among the "25 greatest movie villains".[128] Similarly, in 2012, Entertainment Weekly ranked the character the twenty-fifth "Most Vile Movie Villain" ever,[129] while Total Film ranked Scar sixty-seventh in 2014.[130]

text: To-date, Deja remains best known for animating several of Disney's most famous villains, admitting to preferring animating villains over heroes.[26] However, after The Lion King, Deja finally decided to take a break from animating villains in order to avoid repeating himself,[26][131] subsequently refusing to animate villain Judge Claude Frollo in The Hunchback of Notre Dame (1996) in favor of working on Hercules from Hercules (1997),[54] along with Mickey Mouse in the animated short Runaway Brain (1995).[132] Comparing Scar to other villains that he has played, Irons said that he "measures very highly," having "charm," "Machiavellian qualities" and being "iconic in some of the things he says."[33]

text: Criticism and controversy[edit]

text: Scar became the first Disney villain to successfully explicitly kill someone.[133] Like Disney's Bambi before it, The Lion King – dubbed the studio's "darkest" film at the time of its release –[65] was unprecedented in terms of its serious themes, namely guilt, murder, treachery, revenge and death, specifically the on-screen assassination of one of the film's heroes.[134] According to IGN, "The film's story concepts of morality and mortality ... was new for Disney,"[135] with The Washington Post predicting that "the death of the heroic Mufasa will be the most widely debated aspect of The Lion King, with people taking sides as to whether such things are good or bad for kids just as they did over the killing of Bambi's mother."[65] Similarly, Variety opined, "a generation that remembers the death of Bambi's mother as traumatizing should bear that experience in mind when deciding who goes to The Lion King."[136] Film critics and parents alike expressed concern that Scar's violent ways would frighten and disturb younger viewers.[137] Referring to Scar's murdering of Mufasa, The New York Times questioned "whether this film really warranted a G rating."[81] Critics also cautioned Scar's death; Movieline warned audiences that the film "shows a fairy tale's dark sense of justice," for example when "Scar was eaten by his hyena allies after betraying them."[138] ReelViews' James Berardinelli commented:

text: "Death, something not really touched on in the last three animated Disney tales, is very much at the forefront of The Lion King. In a scene that could disturb younger viewers, Mufasa's demise is shown. It is a chilling moment that is reminiscent of a certain incident in Bambi. The film also contains a fair share of violence, including a rather graphic battle between two lions. Parents should carefully consider before automatically taking a child of, say, under seven years of age, to this movie."

text: The Los Angeles Times warned that "The on-screen death of Mufasa and a violent battle at the finale may disturb small children,"[139] echoed by The Philadelphia Inquirer.[106] However, film critics also felt that Disney's treatment of Scar was at times too light-hearted and comedic, with the Deseret News complaining, "a climactic battle between Simba and his evil Uncle Scar ... is [a] very bad choice near the end, as Simba and Scar battle in slow-motion, a serious moment that seems unintentionally comic."[140] According to The Seattle Times, "Some critics have complained that the movie is too funny and good-natured to accommodate the rather grim story it's telling."[62] Considered "an odd mix of deadly seriousness and slapstick humor ... Simba fights Scar to the death" while "intercut with ... Poomba [sic] ... doing a parody of Travis Bickel."[141]

text: Although universally acclaimed, Scar has sparked considerable controversy regarding the character's appearance and personality, specifically his darker-colored fur and alleged sexuality. The general public, however, appears to have remained largely oblivious to such concerns according to David Parkinson, author of The Rough Guide to Film Musicals.[142] The Washington Post felt that "Scar clearly is meant to represent an evil African American because 'while Simba's mane is gloriously red, Scar's is, of course, black."[143] Meanwhile, Scar's mannerisms and voice which, according to Nightmare on Main Street: Angels, Sadomasochism, and the Culture of Gothic's author Mark Edmundson, resemble "a cultivated, word-weary, gay man,"[144] has been deemed homophobic by some commentators because, according to The Independent, "the arch-villain's gestures are effeminate"[145] while, in addition to the film being "full of stereotypes,"[146] the character "speaks in supposed gay cliches."[147] Susan Mackey-Kallis, author of The Hero and the Perennial Journey Home in American Film, observed that Scar is "more effeminate [and] less brawny ... than" both Mufasa and Simba.[148] Additionally, "Even though [Scar] would be expected to mate with one of the lioness, he is never seen intimated by any."[133] While Disney executives ignored these accusations, Slant Magazine defended the studio, explaining that Scar's black mane is simply an example of "the animators' elementary attempts to color-code evil for the film's target audience."[149] Similarly, author Edward Schiappa wrote in his book Beyond Representational Correctness: Rethinking Criticism of Popular Media that Scar's voice was simply meant "to convey the sort of upper-class snobbishness evinced by George Sanders's performance as Shere Khan in The Jungle Book."[150] More recently, the possibility of an incestuous relationship involving Simba, his mate Nala, Scar and Mufasa has surfaced. According to Johnson Cheu, author of Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability, the fact that Scar, Mufasa and Simba appear to be the only male lions present in The Lion King suggests the possibility that either Scar or Mufasa is Nala's father, which would in turn make Nala either Simba's half-sister or cousin.[151] However, The Lion Guard identifies Nala's father as a red-maned unnamed lion who-in his youth-resembled his grandson (and Scar's great-nephew) Kion.


document_title: 2017 Las Vegas shooting

question_text: when did the las vegas shooting take place

root

text: 2017 Las Vegas shooting

text: Background

text: Location

text: The Las Vegas Strip is a stretch of Las Vegas Boulevard immediately south of the city of Las Vegas in Clark County, Nevada. The Strip is known for its concentration of casinos and resort hotels, including the 43-story Mandalay Bay southwest of its intersection with Mandalay Bay Road, in the unincorporated town of Paradise.[2]

tag: p

text: Las Vegas Village, a 15-acre (6.1-hectare) lot used for outdoor performances, is located diagonally across the intersection to the northeast.[2][3] From 2014 onward, the venue hosted the annual Route 91 Harvest country music festival. The 2017 festival ran from September 29 to October 1, with over 22,000 attendees on the final day.[3][4][a]

text: Perpetrator

text: Stephen Paddock was a 64-year-old former auditor and real estate businessman who had been living 80 miles (130 km) northeast of Las Vegas in a retirement community in Mesquite, Nevada.[5] Paddock was twice divorced, had a long-term girlfriend, and had no known children.[6] He was a son of Benjamin Paddock, a bank robber who was on the FBI's most-wanted list between 1969 and 1977.[6] Paddock's only recorded interactions with law enforcement were traffic citations.[7]

text: Paddock was a high-stakes gambler who placed bets at a high enough level to earn valuable comps—free benefits such as rooms and meals.[8] He was a familiar figure to casino hosts in Las Vegas, but was not well known among other high-stakes gamblers because he mostly played video poker.[8] He reportedly kept to himself and was a heavy drinker.[9] Paddock had lost a significant amount of his wealth over the previous two years,[10] but had paid off all gambling debts before the shooting.[11]

text: Paddock may have considered attacking other events. He had researched large-scale venues in cities such as Boston since at least May 2017,[11] and had reserved a room overlooking the August 2017 Lollapalooza festival in Chicago, but did not use it.[12] According to his girlfriend, she and Paddock were at the Mandalay Bay during an earlier stay a month before the attack when he repeatedly cased out Las Vegas Village from different windows in their room.[13] From September 17, Paddock stayed at The Ogden in Downtown Las Vegas, which overlooked the open-air Life Is Beautiful festival that ran from September 22 to September 24.[13][4] His internet search terms from mid-September included "swat weapons", "ballistics chart 308", "SWAT Las Vegas", and "do police use explosives".[13]

text: Shooting

text: Preparation

text: Paddock arrived at the Mandalay Bay on September 25, 2017. He was booked into Room 32-135, a complimentary room on the 32nd floor.[4][8] Four days later, he also checked into the directly-connected Room 32-134. Both suites overlooked the site of the concert at Las Vegas Village.[4][14][b] Between September 25 and October 1—the day of the shooting—he stockpiled an arsenal of weapons, associated equipment and ammunition that included fourteen AR-15 rifles (twelve of which had bump stocks and 100-round magazines), eight AR-10 rifles, a bolt-action rifle, and a revolver. Often with the help of hotel bellhops, he brought five suitcases to his room on September 25, seven on the 26th, two on the 28th, six on the 30th, and two on October 1.[15][13][4] Cell phone records also show that he also made multiple visits to his home in Mesquite. On September 30, he placed "Do not disturb" signs on the doors of both rooms.[15] Paddock spent much of his time at the Mandalay Bay before the shooting gambling, often at night. He interacted with Mandalay Bay employees more than ten times during his stay, including twice on the day of the shooting; an MGM Resorts International spokesperson said they were all "normal in nature".[16]

text: Attack

text: The mass shooting occurred between 10:05 and 10:15 p.m. PDT on October 1, 2017, which was the third and final night of the festival. When the shooting began, country music singer Jason Aldean was giving the closing performance.[17]

text: Shortly before 10:00 p.m., hotel security guard Jesus Campos was sent to the 32nd floor to investigate an open-door alert. He attempted to open a door that provided immediate access to the floor, but found that it would not open. After Campos entered the floor, he discovered an L-shaped bracket screwed into the door and door frame, which was responsible for barring the door from opening. After reporting the discovery to his dispatch center, he heard the sound of rapid drilling coming from Room 32-135 and went to investigate the matter. At approximately 10:05, he was hit in the right thigh by one of about 200 bullets that Paddock fired through the door of his suite. After Campos was hit, he took cover in the alcove between Rooms 32-122 and 32-124 and immediately informed the hotel by radio and cellphone that he had been shot, though he believed he had been shot with a BB or pellet gun. At the same time, maintenance worker Stephen Schuck was on the same floor to fix the door that Campos had reported as being barricaded. Campos, who was already injured, encountered Schuck and told him to take cover. Schuck contacted hotel dispatchers over his radio, informed them of the ongoing shooting, and told them to call the police.[4][18][19][20][21] Neither Las Vegas Metropolitan Police Department nor MGM Resorts International, the Mandalay Bay's owner, have confirmed when information about the initial shooting was relayed to the police.[22][23][24][25]

text:
1

2

3

1

Mandalay Bay hotel

2

Main stage of Route 91 Harvest festival

3

Jet fuel tanks at McCarran International Airport

tag: table

text: After Paddock used a hammer to break two of the windows in both of his suites,[4] he began shooting through them at 10:05 p.m.[26] He ultimately fired more than 1,100 rifle rounds[27] approximately 490 yards (450 m) into the festival audience.[28][29][30][c] He initially started out with a few single gunshots before firing in prolonged bursts.[4] Many people in the crowd initially mistook the gunfire for fireworks.[31] During the shooting, a security fence hindered concertgoers from fleeing the 15-acre concrete lot.[32] The gunfire continued, with some momentary pauses, over the span of ten minutes and ended by 10:15 p.m.[33][34]

text: In addition to shooting at the concertgoers, Paddock fired eight bullets at a large jet fuel tank at McCarran International Airport 2,000 feet (600 m) away.[4] Two of those bullets struck the exterior of the tank, with one bullet penetrating the tank. The fuel did not explode because jet fuel is comprised mostly of kerosene, which is unlikely to ignite when struck by a bullet.[35]

text: During the shooting, police officers were initially confused whether the shots were coming from the Mandalay Bay, the nearby Luxor hotel, or the festival grounds.[32] There were also multiple false reports of additional shooters at other hotels on the Strip.[36] Officers eventually spotted multiple flashes of gunfire in the middle of the northern side of Mandalay Bay and responded to the hotel. At 10:12 p.m., two officers on the 31st floor reported the sounds of gunfire on the floor above them.[32] When officers arrived on the 32nd floor at 10:17 p.m. and encountered Campos a minute later, he directed them to Paddock's room and helped others evacuate. Campos was then directed to seek medical attention for himself.[19][21]

text: Between 10:26 and 10:30 p.m., eight additional officers arrived at the 32nd floor; some of those officers manually breached through the door Paddock had screwed shut with the bracket. The gunfire had ceased, and the police moved systematically down the hallway, searching and clearing each room, using a master key that was provided by Campos. At 10:55 p.m., the officers finished evacuating guests. At 11:20 p.m., police breached Room 32-135 with explosives.[4][32][34][37] Paddock was found dead on the floor from a self-inflicted gunshot wound to the head.[38][39] Police then breached Room 32-134; while entering the hotel suite, an officer accidentally fired a three-round burst from his weapon, but the bullets did not hit anyone.[4][40] At 11:27 p.m., officers announced over the police radio that a suspect was down.[34][41]

text: Immediate response

text: Much of Las Vegas Boulevard was closed while police SWAT teams combed the venue and neighboring businesses. McCarran International Airport, adjacent to the shooting site, was shut down for several hours.[42] Approximately 300 people entered the airport property as they fled to safety from the shooting.[31] This prompted officials to shut down all four runways. More than 25 flights were rerouted to ensure that no aircraft would be hit by gunfire,[36] while other flights were canceled before airfield operations resumed at 12:40 a.m. on October 2.[43] At approximately 2:45 p.m. PDT on October 2, a state of emergency was declared in Clark County.[44][45]

text: Early on October 2, Sheriff Lombardo identified the suspect as Stephen Paddock.[46]

text: Casualties

text: Fifty-eight people were shot to death at the music festival; Paddock's suicide was the only death at the Mandalay Bay Hotel.[47][48][49] The fatalities included 36 women and 22 men.[47] The oldest was 67, the youngest 20.[50] Six were from Nevada, 35 from California, 13 from other states, and four from Canada.[51] The Clark County Coroner's Office determined that all 58 victims died as a result of gunshot wounds.[52] Thirty one of the victims were pronounced dead at the scene, while the rest were pronounced dead at hospitals.[11]

text: An additional 851 people were injured, 422 of them with gunshot wounds.[24][53] In the aftermath, many victims were transported to area hospitals, which included University Medical Center of Southern Nevada, Sunrise Hospital & Medical Center, and at least one of the six hospitals of Valley Health System.[54][55][56] Sunrise Hospital treated the largest portion of the wounded: 199 patients,[57] 150 of whom arrived within a timespan of about 40 minutes.[58] For reasons that are unclear, most patients were transported to Sunrise, a Level II trauma center. University Medical Center, a nearby Level I trauma center, treated 104 patients.[59] Six victims sought medical treatment in Southern California; UC Irvine Medical Center treated four and Loma Linda University Medical Center treated two.[60]

text: The incident is the deadliest mass shooting committed by an individual in the United States, exceeding the death toll of the 2016 Orlando nightclub shooting, where 49 people were shot and killed.[47][61][62]

text: Aftermath

text: On the morning after the shooting, lines to donate blood in Las Vegas stretched for blocks. Wait times were as much as six hours or more.[63] Millions of dollars have also been raised to help victims and their families.[64]

text: Nevada Governor Brian Sandoval called the shooting "a tragic and heinous act of violence that has shaken the Nevada family".[65] Jason Aldean, who was singing when the shooting started, posted his condolences on Instagram and noted all of those working with him at the show had survived the attack.[66]

text: At a press conference, President Donald Trump described Paddock as "a very very sick individual", and "a demented man, [with] a lot of problems". He added, "the police department has done such an incredible job, and we'll be talking about gun laws as time goes by".[67][68] A White House official talking points memo, distributed to Trump allies, opposed tightening gun control since "new laws won't stop a mad man", but "will curtail the freedoms of law abiding citizens".[69] On October 2, Trump issued a proclamation to honor the victims and their families.[70][71] On October 4, Trump visited the shooting victims and first responders.[72]

text: A unity prayer walk and ceremony was held in Las Vegas on October 7 in honor of the dead. Speakers at the ceremony included Vice President Mike Pence and Las Vegas Mayor Carolyn Goodman.[73] On the evening of October 15, thousands participated in a commemorative 3 mile walk between Circus Circus and Mandalay Bay.[74]

text: The annual Rock 'n' Roll Las Vegas Marathon took place on November 12 and was the largest event to be held in the city since the shooting. The event received a massive amount of security, which included 350 officers, counter-sniper surveillance posts, and a number of barriers composed of dump trucks, buses, and other large vehicles.[75]

text: The future of the Las Vegas Village site remains undetermined.[76]

text: Hoaxes

text: In the hours and days after the shooting, false information and fake news about the shooter's identity and motive went viral on social media:

text:
A 4chan /pol/ thread, which misidentified the shooter and described him as a registered Democrat, briefly featured in the "Top Stories" section of a Google search for the man's name. The misinformation was circulated by a number of websites including The Gateway Pundit.[77][78]
The fake news website YourNewsWire spread false information about a second gunman who was shooting from the fourth floor of the hotel.[79]
Two of Facebook's top trending pages were items from Sputnik, a Russian government news agency. These included one story that falsely claimed the FBI had linked the shooter to a terrorist group. The stories were later removed from Sputnik with an apology.[80][81]
Stories linking the shooter to Antifa have also been discredited.[82]
The terrorist group Islamic State of Iraq and the Levant (ISIS) claimed that Paddock was their "soldier" and that he had answered Abu Bakr al-Baghdadi's call to attack coalition countries.[83] ISIS provided no evidence for its claim, and had previously released multiple false claims of responsibility for incidents with which they had no connection.[84][85] On October 9, 2017, the FBI declared that Paddock's attack was not linked to international terrorism.[86]

tag: ul

text: Google and Facebook were criticized for displaying such false news stories in some of their search results.[80][87][88] The two technology companies were said to have failed in their responsibility of keeping false stories from reaching the public.[89] Facebook later said its algorithms were designed to detect and remove false stories, but failed to work adequately in this instance.[87]

text: In the aftermath of the shooting, some media outlets reported that YouTube search results for information about the shooting returned links to conspiracy videos. YouTube stated that it had tweaked its search algorithm to promote news sources which it considered more authoritative.[90][91]

text: Survivors of the shooting have been accused of being paid actors, with some having received death threats on social media.[92]

text: Gun control discussion

text: The shooting prompted support in the U.S. Congress for assault weapons legislation that would ban bump fire stocks. The National Rifle Association (NRA) came out in favor of administrative bump fire stock regulations.[47] Many Congressional Democrats and some Republicans expressed their support of a prohibition of bump fire stocks.[93] Senator Dianne Feinstein introduced a Senate bill that gained 39 Democratic co-sponsors. Two bipartisan bills have been introduced in the House of Representatives. As of November, no Congressional action has been taken. House leaders said the issue of bump fire stock regulation should be decided by the Bureau of Alcohol, Tobacco, and Firearms, which originally approved gun-stocks.[94] On November 6, Massachusetts became the first state to ban the sale, possession, or use of the devices.[95]

text: Nine days after the shooting, eighteen Democratic U.S. Senators introduced a bill, the Keep Americans Safe Act, which, if signed into law, would ban gun magazines that hold more than ten rounds of ammunition.[96]

text: Stock prices of firearms manufacturers rose the day after the shooting, as has happened after similar incidents. Investors expect gun sales will increase over concerns that such an event could lead to more stringent gun-control legislation and a rush of customers wishing to defend themselves against future attacks.[97][98]

text: Investigation

text: According to authorities with the Clark County Commissioner, the name "1 October" was declared the official title for investigations into the mass shooting.[99]

text: Early reports

text: Investigators found hidden surveillance cameras that were placed inside and outside the hotel room, presumably so Paddock could monitor the arrival of others.[100] The cameras were not in record mode.[101] Police said a handwritten note found in the room indicated Paddock had been calculating the distance, wind, and trajectory from his 32nd floor hotel suite to the concertgoers he was targeting on the festival lot.[102][103]

text: At a press conference on October 4, Clark County Sheriff Joe Lombardo stated there was evidence—which he declined to discuss—that Paddock intended to escape the scene, and that he may have had assistance from an accomplice.[104] Investigators searched Paddock's room and found a "bulletproof vest" and breathing apparatus, which were survival gear that Paddock never used.[105]

text: There have been several changes in the official account and timeline of Paddock's shooting of hotel security guard Campos. Police officials described these adjustments as "minute changes" that are common in complex investigations.[19]

text: In their first statement about the incident, police officials inaccurately reported that Campos arrived on the scene after Paddock began firing into the crowd. In a second statement, police officials reported, again inaccurately, that Campos was shot six minutes before Paddock began firing into the crowd. That report had been based on a 9:59 p.m. notation in a hotel security log, which in a third statement was determined to have been the time when Campos encountered the barricaded door.[18][20]

text: Sheriff Lombardo dismissed allegations that the changing timeline was the result of some kind of conspiracy between the police department, the FBI, and MGM Resorts International saying, "Nobody is attempting to hide anything in reference to this investigation. The dynamics and the size of this investigation requires us to go through voluminous amounts of information in order to draw an accurate picture."[18]

text: Preliminary investigation

text: Although the investigation remains ongoing, the Las Vegas Metropolitan Police Department released a preliminary report on the event on January 18, 2018.[4]

text: Police speculate that Paddock acted alone and have not determined his motive. No links have been identified to any hate groups, terrorist groups or ideologies, and he did not record a reason for his actions. [106]

text: On February 2, 2018, Douglas Haig, an Arizonan ammunition dealer, was charged in a Nevada federal court with "conspiracy to manufacture and sell armor-piercing ammunition without a license" after his fingerprints were discovered on unfired armor-piercing ammunition inside Paddock's suite.[107]

text: Weaponry

text: Twenty-four firearms, a large quantity of ammunition, and numerous high-capacity magazines capable of holding up to 100 rounds apiece were found in the suite.[1][108][109] Fourteen of the firearms were .223-caliber AR-15-type semi-automatic rifles: three manufactured by Colt, two by Daniel Defense, two by FN Herstal, two by LWRC International, two by POF-USA, one with a .223 Wylde chamber by Christensen Arms, one made-to-order by LMT, and one by Noveske. The others were eight .308-caliber AR-10-type rifles, one .308-caliber Ruger American bolt-action rifle, and one .38-caliber Smith & Wesson Model 342 revolver.[1][110][111][112] The AR-15 rifles were fitted with vertical forward grips and bump fire stocks,[1][110] the latter of which allowed for recoil to actuate their triggers at a rate of 90 rounds in 10 seconds.[113] The AR-10 rifles were equipped with various telescopic sights and mounted on bipods.[1][114][115] The Bureau of Alcohol, Tobacco, Firearms and Explosives determined that the firearms found in his hotel room, along with more guns found in his homes, had been legally purchased in Nevada, California, Texas, and Utah.[116] In the month preceding the shooting, he had attempted to purchase tracer ammunition, but the gun dealer he approached did not have the item in stock.[117] He bought tracer ammunition from a private seller at a Phoenix, Arizona gun show.[118]

text: During subsequent investigations, ammonium nitrate (often used in improvised explosive devices) was found in the trunk of his Hyundai Tucson SUV, along with 1,600 rounds of ammunition and 50 pounds (23 kg) of Tannerite, a binary explosive used to make explosive targets for gun ranges.[119][120] Undersheriff Kevin McMahill said that while Paddock had "nefarious intent" with the material, he did not appear to have assembled an explosive device.[117][121]


document_title: Australopithecus

question_text: where have most fossils of australopithecus been found

text: Australopithecus

text: Evolution

text: Gracile australopiths shared several traits with modern apes and humans, and were widespread throughout Eastern and Northern Africa around 3.5 million years ago. The earliest evidence of fundamentally bipedal hominids can be observed at the site of Laetoli in Tanzania. This site contains hominid footprints that are remarkably similar to those of modern humans and have been dated to as old as 3.6 million years.[8] The footprints have generally been classified as australopith is the only form of prehuman known to have existed in that region at that time.

text: Australopithecus anamensis, A. afarensis, and A. africanus are among the most famous of the extinct hominins. A. africanus was once considered to be ancestral to the genus Homo (in particular Homo erectus). However, fossils assigned to the genus Homo have been found that are older than A. africanus[citation needed]. Thus, the genus Homo either split off from the genus Australopithecus at an earlier date (the latest common ancestor being either A. afarensis or an even earlier form, possibly Kenyanthropus), or both developed from a yet possibly unknown common ancestor independently.

text: According to the Chimpanzee Genome Project, the human (Ardipithecus, Australopithecus and Homo) and chimpanzee (Pan troglodytes and Pan paniscus) lineages diverged from a common ancestor about five to six million years ago, assuming a constant rate of evolution. It is theoretically more likely for evolution to happen more slowly, as opposed to more quickly, from the date suggested by a gene clock (the result of which is given as a youngest common ancestor, i.e., the latest possible date of divergence.) However, hominins discovered more recently are somewhat older than the presumed rate of evolution would suggest.[9]

text: Sahelanthropus tchadensis, commonly called "Toumai", is about seven million years old and Orrorin tugenensis lived at least six million years ago. Since little is known of them, they remain controversial among scientists since the molecular clock in humans has determined that humans and chimpanzees had a genetic split at least a million years later. One theory suggests that the human and chimpanzee lineages diverged somewhat at first, then some populations interbred around one million years after diverging.[9]

text: Morphology

text: The brains of most species of Australopithecus were roughly 35% of the size of a modern human brain. Most species of Australopithecus were diminutive and gracile, usually standing 1.2 to 1.4 m (3 ft 11 in to 4 ft 7 in) tall. In several variations is a considerable degree of sexual dimorphism, males being larger than females.[10]

text: According to one scholar, A. Zihlman, Australopithecus body proportions closely resemble those of bonobos (Pan paniscus),[11] leading evolutionary biologists such as  Jeremy Griffith to suggest that bonobos may be phenotypically similar to Australopithecus.[12] Furthermore, thermoregulatory models suggest that Australopithecus species were fully hair covered, more like chimpanzees and bonobos, and unlike humans.[13]

text: Modern humans do not appear to display the same degree of sexual dimorphism as Australopithecus did. In modern populations, males are on average a mere 15% larger than females, while in Australopithecus, males could be up to 50% larger than females. New research suggests, however, that australopithecines exhibited a lesser degree of sexual dimorphism than these figures suggest, but the issue is not settled.[10]

text: Species variations

text: Opinions differ as to whether the species A. aethiopicus, A. boisei, and A. robustus should be included within the genus Australopithecus, and no current consensus exists as to whether they should be placed in a distinct genus, Paranthropus, which is suggested to have developed from the ancestral Australopithecus line.[citation needed] Until the last half-decade, the majority of the scientific community included all the species shown in the box at the top of this article in a single genus. The postulated genus Paranthropus was morphologically distinct from Australopithecus, and its specialized morphology implies that its behaviour may have been quite different from that of its ancestors, although it has been suggested that the distinctive features of A. aethiopicus, A. boisei, and A. robustus may have evolved independently.

text: Evolutionary role

text: The fossil record seems to indicate that Australopithecus is the common ancestor of the distinct group of hominids now called Paranthropus (the "robust australopiths"), and most likely the genus Homo, which includes modern humans. Although the intelligence of these early hominids was likely no more sophisticated than in modern apes, the bipedal stature is the key element that distinguishes the group from previous primates, which were quadrupeds. The morphology of Australopithecus upset what scientists previously believed — namely, that strongly increased brain size had preceded bipedalism.

text: If A. afarensis was the definite hominid that left the footprints at Laetoli, that strengthens the notion that A. afarensis had a small brain, but was a biped. Fossil evidence such as this makes it clear that bipedalism far predated large brains. However, it remains a matter of controversy as to how bipedalism first emerged (several concepts are still being studied). The advantages of bipedalism were that it left the hands free to grasp objects (e.g., carry food and young), and allowed the eyes to look over tall grasses for possible food sources or predators. However, many anthropologists argue that these advantages were not large enough to cause the emergence of bipedalism.

text: A recent study of primate evolution and morphology noted that all apes, both modern and fossil, show skeletal adaptations to erect posture of the trunk, and that fossils such as Orrorin tugenensis indicate bipedalism around six million years ago, around the time of the split between humans and chimpanzees indicated by genetic studies. This suggested that erect, straight-legged walking originated as an adaptation to tree-dwelling. Studies of modern orangutans in Sumatra have shown that these apes use four legs when walking on large, stable branches, and swing underneath slightly smaller branches, but are bipedal and keep their legs very straight when walking on multiple flexible branches under 4 cm diameter, while also using their arms for balance and additional support. This enables them to get nearer to the edge of the tree canopy to get fruit or cross to another tree.[14]

text: The ancestors of gorillas and chimpanzees are suggested to have become more specialised in climbing vertical tree trunks, using a bent hip and bent knee posture that matches the knuckle-walking posture they use for ground travel. This was due to climate changes around 11 to 12 million years ago that affected forests in East and Central Africa, so periods occurred when openings prevented travel through the tree canopy, and at these times, ancestral hominids could have adapted the erect walking behaviour for ground travel. Humans are closely related to these apes, and share features including wrist bones apparently strengthened for knuckle-walking.[15]

text: However, the view that human ancestors were knuckle-walkers is now questioned since the anatomy and biomechanics of knuckle-walking in chimpanzees and gorillas are different, suggesting that this ability evolved independently after the last common ancestor with the human lineage.[16] Further comparative analysis with other primates suggests that these wrist-bone adaptations support a palm-based tree walking.[16]

text: Radical changes in morphology took place before gracile australopiths evolved; the pelvis structure and feet are very similar to modern humans.[17] The teeth have small canines, but australopiths generally evolved a larger postcanine dentition with thicker enamel.[18]

text: Most species of Australopithecus were not any more adept at tool use than modern nonhuman primates, yet modern African apes, chimpanzees, and most recently gorillas, have been known to use simple tools (i.e. cracking open nuts with stones and using long sticks to dig for termites in mounds), and chimpanzees have been observed using spears (not thrown) for hunting.[citation needed]

text: For a long time, no known stone tools were associated with A. afarensis, and paleoanthropologists commonly thought that stone artifacts only dated back to about 2.5 million years ago.[19] However, a 2010 study  suggests the hominin species ate meat by carving animal carcasses with stone implements. This finding pushes back the earliest known use of stone tools among hominins to about 3.4 million years ago.[20]

text: Some have argued that A. garhi used stone tools due to a loose association of this species and butchered animal remains.

text: Dentition

text: Australopithecines have thirty two teeth, like modern humans, but with an intermediate formation; between the great apes and humans. Their molars were parallel, like those of great apes, and they had a slight pre-canine diastema. But, their canines were smaller, like modern humans, and with the teeth less interlocked than in previous hominins. In fact, in some australopithecines the canines are shaped more like incisors.[21]

text: The molars of Australopithicus fit together in much the same way human's do, with low crowns and four low, rounded cusps used for crushing. They have cutting edges on the crests.[21]

text: Robust australopithecines (like A. boisei and A. robustus) had larger cheek, or buccal, teeth than the smaller – or gracile – species (like A. afarensis and A. africanus). It is possible that they had more tough, fibrous plant material in their diets while the smaller species of Australopithecus had more meat. But it is also possibly due to their generally larger build requiring more food. Their larger molars do support a slightly different diet, including some hard food.[21]

text: Australopithecines also had thick enamel, like those in genus Homo, while other great apes have markedly thinner enamel. One explanation for the thicker enamel is that these hominins were living more on the ground than in the trees and were foraging for tubers, nuts, and cereal grains. They would also have been eating a lot of gritty dirt with the food, which would wear at enamel, so thicker enamel would be advantageous. Or, it could simply indicate a change in diet. Robust australopithecines wore their molar surfaces down flat, unlike the more gracile species, who kept their crests, which certainly seems to suggest a different diet. The gracile Australopithecus had larger incisors, which indicates tearing and more meat in the diet, likely scavenged. The wear patterns on the tooth surfaces support a largely herbivorous diet.[21]

text: When we examine the buccal microwear patterns on the teeth of A. afarensis and A. anamensis, we see that A. afarensis did not consume a lot of grasses or seeds, but rather ate fruits and leaves, but A. anamensis did eat grasses and seeds in addition to fruits and leaves.[22]

text: Diet

text: In a 1979 preliminary microwear study of Australopithecus fossil teeth, anthropologist Alan Walker theorized that robust australopiths were largely frugivorous.[23] Australopithecus species mainly ate fruit, vegetables, small lizards, and tubers. Much research has focused on a comparison between the South African species A. africanus and Paranthropus robustus. Early analyses of dental microwear in these two species showed, compared to P. robustus, A. africanus had fewer microwear features and more scratches as opposed to pits on its molar wear facets.[24]

text: These observations have been interpreted as evidence that P. robustus may have fed on hard and brittle foods, such as some nuts and seeds.[24] More recently, new analyses based on three-dimensional renderings of wear facets have confirmed earlier work, but have also suggested that P. robustus ate hard foods primarily as a fallback resource, while A. africanus ate more mechanically tough foods.[25]

text: In 1992, trace-element studies of the strontium/calcium ratios in robust australopith fossils suggested the possibility of animal consumption, as they did in 1994 using stable carbon isotopic analysis.[26]

text: In 2005, fossils of animal bones with butchery marks dating 2.6 million years old were found at the site of Gona, Ethiopia. Fossil evidence indicates meat consumption by at least three species of hominins occurring around 2.6-2.5 Mya: A. africanus, A. garhi, and P. aethiopicus.[27]

text: In 2010, fossils of butchered animal bones dated 3.4 million years old were found in Ethiopia, close to regions where australopith fossils were found.[28]

text: History of study

text: The type specimen for genus Australopithecus was discovered in 1924, in a lime quarry by workers at Taung, South Africa. The specimen was studied by the Australian anatomist Raymond Dart, who was then working at the University of the Witwatersrand in Johannesburg. The fossil skull was from a three-year-old bipedal primate that he named Australopithecus africanus. The first report was published in Nature in February 1925. Dart realised that the fossil contained a number of humanoid features, and so, he came to the conclusion that this was an early ancestor of humans.[29] Later, Scottish paleontologist Robert Broom and Dart set about to search for more early hominin specimens, and at several sites they found more A. africanus remains, as well as fossils of a species Broom named Paranthropus (which would now be recognised as P. robustus). Initially, anthropologists were largely hostile to the idea that these discoveries were anything but apes, though this changed during the late 1940s.[29]

text: The first australopithecine discovered in eastern Africa was a skull belonging to an A. boisei that was excavated in 1959 in the Olduvai Gorge in Tanzania by Mary Leakey. Since then, the Leakey family have continued to excavate the gorge, uncovering further evidence for australopithecines, as well as for Homo habilis and Homo erectus.[30] The scientific community took 20 years to widely accept Australopithecus as a member of the family tree.

text: Then, in 1997, an almost complete Australopithecus skeleton with skull was found in the Sterkfontein caves of Gauteng, South Africa. It is now called "Little Foot" and it is probably around three million years old. It was named Australopithecus prometheus[31][32] which has since been placed within A. africanus. Other fossil remains found in the same cave in 2008 were named Australopithecus sediba, which lived 1.9 million years ago. A. africanus probably evolved into A. sediba, which some scientists think may have evolved into H. erectus,[33] though this is heavily disputed.

text: Phylogeny

text: A taxonomy of the Australopithecus within the great apes is assessed as follows, with Paranthropus and Homo emerging among the Australopthecus. Australopithecus with conventional definitions is assessed to be highly paraphyletic, i.e. it is not a natural group.[34].  The exact phylogeny within Australopithecus is still highly controversial. Approximate radiation dates of daughter clades is shown in Millions of years ago (Mya). Sahelanthropus, Orrorin, and Ardipithecus, possibly sisters to Australopithecus, are not shown here.

text:
Hominoidea (20.4 Mya)

Hylobatidae (gibbons)

Hominidae (15.7)

Ponginae (orangutans)

Homininae  (8.8)

Gorillini (gorillas)

Hominini  (6.3)

Panina (chimpanzees)

Australopithecus

Australopithecus anamensis (†)

Australopithecus afarensis (†)

Australopithecus garhi (†)

Australopithecus africanus (†)

Paranthropus (†2)

Homo

text: Cladistics, paraphyly, extinction, genus status, naming and human exceptionalism

text: When originally defined, Homo and Australopithecus were disjunct taxa. However, Homo is now widely regarded as having emerged in Australopithecus, so with conventional definitions Australopithicus is paraphyletic.[35][36][34] Paraphyletic groupings are problematic, as one can not talk precisely about their phylogenic relationships, their characteristic traits and literal extinction.[37][34] Paraphyletic, Stem group, chronospecies  or 'grade' groupings have also been used to emphasize perceived (sometimes religious) human exceptionalism. This can be taken quite literally: humans have never been placed in a paraphyletic group.[38][39] Paleoanthropologists constantly violate the rules of taxonomy.[40] Paraphyletic groups are often a relic from previous erroneous assessments about phylogenic relationships, or from before the rise of cladistics. In modern systematic classification of life, cladistics is used to assemble the tree of life.[41][34][42] In cladistics, all descendents of the last common ancestor of a group are taken to be part of the group, i.e. Homo is part of Australopithecus.

text: Conventionally, however, Homo and Australopithecus both are at the genus level, giving rise to a new discussion of where the genus level should be. Previously, it was proposed to join Pan with Homo in a genus Homo or Pan, with the argument that the diversity and age corresponds roughly to other genera. This proposal was met with resistance, again due to apparent human exceptionalist feelings: This would have resulted in humans being called 'Pan sapiens' or Chimpanzees being called 'Homo troglodytes'.[39][43][44] In this case, likewise, despite resistance new genera are being proposed or could be proposed for the Australopithecus members; (almost) nobody is proposing to be renamed 'Australopithecus sapiens'.[45][46][47][48][49][50] ^  There are further discussions about whether Homo should be split up into different genera.[40]

text: Notable specimens

text:
Australopithecus bahrelghazali, mandibular fragment, discovered 1995 in Sahara, Chad
AL 129-1, an A. afarensis knee joint, discovered 1973 in Hadar, Ethiopia
Karabo, a juvenile male A. sediba, discovered in South Africa
Laetoli footprints, preserved hominin footprints in Tanzania
Lucy, a 40%-complete skeleton of a female A. afarensis, discovered 1974 in Hadar, Ethiopia
Selam, remains of a three-year-old A. afarensis female, discovered in Dikika, Ethiopia
STS 5 (Mrs. Ples), the most complete skull of an A. africanus ever found in South Africa
STS 14, remains of an A. africanus, discovered 1947 in Sterkfontein, South Africa
STS 71, skull of an A. africanus, discovered 1947 in Sterkfontein, South Africa
Taung Child, skull of a young A. africanus, discovered 1924 in Taung, South Africa

text: Gallery

text:
The spot where the first Australopithecus boisei was discovered in Tanzania.

Original skull of Mrs. Ples, a female A. africanus

Taung Child by Cicero Moraes, Arc-Team, Antrocom NPO, Museum of the University of Padua.

Cast of the skeleton of Lucy, an A. afarensis

Skull of the Taung child


document_title: USS Enterprise (NCC-1701)

question_text: what does uss stand for in star trek

question_tokens: what does uss stand for in star trek

text: USS Enterprise (NCC-1701)

text: Origin and design[edit]

text: Original Configuration[edit]

text: Star Trek art director Matt Jefferies was the primary designer of the original Starship Enterprise. Jefferies' experience with aviation led to his Enterprise designs being imbued with what he called "aircraft logic".[10] The final interior plans of the Enterprise were designed by Franz Joseph in 1974, with approval from both Gene Roddenberry and Paramount Pictures, six years after Star Trek had been cancelled. The plans heavily referenced both episodes of Star Trek and Matt Jefferies' design.[11] [12]

text: The ship's "NCC-1701" registry number stemmed from "NC" being one of the international aircraft registration codes assigned to the United States; the second "C" was added as Soviet aircraft used "CCCC" and Matt Jeffries combined the two as he believed a venture into space would be a joint operation by the United States and Russia.[13] According to The Making of Star Trek, "NCC" is the Starfleet abbreviation for "Naval Construction Contract", comparable to what the U.S. Navy would call a hull number.[14] The "1701" was chosen to avoid any possible ambiguity; according to Jefferies, the numbers 3, 6, 8, and 9 are "too easily confused".[15] Other sources cite it as a reference to the house across the street from where Roddenberry grew up,[16] while another account gives it as the street address of Linwood Dunn.[17] Jefferies' own sketches provide the explanation that it was his 17th cruiser design with the first serial number of that series: 1701.[18] The Making of Star Trek explains that "USS" should mean "United Space Ship" and that "Enterprise is a member of the Starship Class".[14] The ship's class was officially changed to Constitution Class with the release of Franz Joseph's Star Fleet Technical Manual in 1975, even though all previous references identify it as Starship Class.[1]

text: The first miniature built for the pilot episode "The Cage" (1965) was unlit and approximately 33 inches (0.8 m) long, commonly referred to as "the three foot model". This model was constructed almost entirely of wood and was made by Richard C. Datin in his shop. It was eventually modified during the course of the series to match the changes made to the larger model before and after shooting of the second pilot, and appears on-set in "Requiem for Methuselah" (1969) after some damage sustained in storage had been partially repaired. The second miniature built for the original pilot measures 11 feet 2 inches (3.4 m) long and was built by a small crew of model makers (Volmer Jensen, Mel Keys and Vernon Sion) supervised by Richard C. Datin, working out of Jensen's model shop in Burbank, California (although the larger base components were subcontracted to a shop with a large lathe). It was initially filmed by both Howard A. Anderson and Linwood G. Dunn at Dunn's Film Effects of Hollywood facility, who also re-filmed later more-elaborate models of the ship, generating a variety of stock footage that was used in later episodes.[citation needed]

text: Initially, the models were static and had no electronics. For the second pilot, "Where No Man Has Gone Before" (1966), various details of the 11-foot model were altered, and the starboard window ports and running lights were internally illuminated. When the series was picked up and went into production, the model was altered yet again. These alterations included the addition of translucent domes and blinking lights at the forward ends of the engine nacelles, smaller domes at the stern end of the engine nacelles, a shorter bridge dome, and a smaller deflector/sensor dish. Save for re-used footage from the two pilot episodes, this was the appearance of the ship throughout the series, except for some detail added to nacelles for shots used in "The Trouble with Tribbles".

text: Two small (3") models were also made for the episode "Catspaw", one embedded in a block of lucite, bringing the total number of models used to represent Enterprise during the original series to four.

text: While the three-foot model was lost during construction of a new model (the refurbished version seen in the first movie), the 11 feet (3.4 m) model has undergone a historic restoration,[19] having previously been displayed in the Gift Shop downstairs at the Smithsonian Institution's National Air and Space Museum in Washington, D.C.,[20] and was unveiled in its new display position in the lobby of the Milestones of Flight Hall at NASM's 40th anniversary celebration on July 1, 2016, which also roughly coincides with Star Trek's 50th anniversary.

text: Greg Jein created a model of the original Enterprise for the Star Trek: Deep Space Nine episode "Trials and Tribble-ations" (1996). Jein's model was built to be exactly half the size of the larger of the two original models, and later appeared in the 1998 Star Trek wall calendar. In addition, a CGI model of the ship makes a brief cameo appearance at the end of the final episode of Star Trek: Enterprise, "These Are the Voyages..." (2005), and another CGI version was created for remastered episodes of the original Star Trek, based on the model in the Smithsonian.[citation needed]

text: Refit Configuration[edit]

text:
USS Enterprise

The refitted Enterprise at the battle of the Mutara Nebula

First appearance
Star Trek The Motion Picture (1979)

Affiliation
United Federation of Planets
Starfleet

Launched
2270

General characteristics

Class
Enterprise[21][22]

Registry
NCC-1701

Maximum speed
Warp 12[23]

Auxiliary craft
5 x Mark VIII Long Range Shuttlecraft with warp drive sled [24]

Armaments
2 x electromagnetic launch Photon Torpedo tube
6 x twin phaser bank
6 x single phaser [25]

Defenses
Multiple Force Field Deflector Grids[26]

Propulsion
1 x dual Impulse power unit with impulse deflection crystal[27]
2 x Space Warp Propulsion Units[28]

Power
linear intermix matter/anti-matter reaction chamber

Length
304.8 meters (1000 ft)[29]

text: The refitted Enterprise that appears in the first three Star Trek films was initially designed by Matt Jefferies, based on an early design he'd made of a hypothetical Enterprise refit for the original Star Trek,[30][31] and reworked for the scrapped Star Trek: Phase II TV series.[32] While Andrew Probert and Richard Taylor often take credit for the design,[33][34] the changes they actually made compared to Jefferies' original designs largely amount to minor detail alterations.[35][36]

text: Michael Minor, Gene Roddenberry, Joe Jennings, Douglas Trumbull, Harold Michaelson, and Jim Dow contributed in part to the final look of Enterprise, while Jim Dow was in charge of building the model and created all the molds and structural processes.[37][38] Paul Olsen[39] painted the distinct "Aztec" paint scheme to provide an additional level of detail for the film screen, and to suggest the notion of interlocking panels providing tensile strength to the hull.[40] The 8-foot (2.4 m) model was re-used as the USS Enterprise-A in the fourth, fifth, and sixth Star Trek films. Foundation Imaging created a CGI model of the ship for the "Director's Edition" release of Star Trek: The Motion Picture to add footage envisioned but never shot by director Robert Wise.

text: 2009 reboot[edit]

text:
USS Enterprise

The re-conceptualized, "alternate universe" Enterprise in the 2009 Star Trek film

First appearance
Star Trek (2009)

Affiliation
United Federation of Planets
Starfleet

Launched
2258

General characteristics

Class
Constitution

Registry
NCC-1701

Maximum speed
Warp 8[41]

Auxiliary craft
Shuttlecraft

Armaments
Photon torpedoes
Phasers

Defenses
Deflector shields

Propulsion
Impulse engines
Warp drive

Power
Matter/antimatter

text: Enterprise was redesigned for the 2009 Star Trek film. Director J. J. Abrams wanted Enterprise to have a "hot rod" look while retaining the traditional shape, but otherwise afforded Industrial Light & Magic (ILM) "tremendous" leeway in creating the ship. Perhaps the most notable change was in the large engine nacelles, seen attached to the main body. The change applied a sleeker finish and shape to the otherwise simple nacelles of the previous ship.[42] Concept artist Ryan Church's initial designs were modeled and refined by set designer Joseph Hiura. This design was then given to ILM for further refinement and developed into photo-realistic models by Alex Jaeger's team.[43] ILM's Roger Guyett recalled the original Enterprise being "very static", and added moving components to the film's model.[42] ILM retained subtle geometric forms and patterns to allude to the original Enterprise.[42] The computer model's digital paint recreates the appearance of "interference paint", which contains small particles of mica to alter the apparent color, used on the first three films' model.[42] Original design of Enterprise was notably bigger than the original Enterprise and was projected to be 367 meters length and between 170 and 180 meters wide but finally in the films it was upscaled to be at least 700 meters length and 330–350 meters wide.

text: Depiction[edit]

text: Built between 2243 and 2245 in the Prime Star Trek timeline, Starfleet commissioned Enterprise in 2245.[44] In Star Trek, the ship's dedication plaque lists it as "Starship Class"; later Expanded Universe and episode dialogue in "Relics", a Next Generation episode, establish the vessel as a Constitution-class starship. But according to Stephen Whitfield's The Making of Star Trek, "Enterprise-class starships have been in existence for about forty years" at the time of the original series. The ship's components were built at the Starfleet Division of the San Francisco Navy Yards and assembled in orbit.[14]

text: Star Trek: The Animated Series states that Robert April is Enterprise's first commanding officer. After April, Captain Christopher Pike (Jeffrey Hunter) commands Enterprise for about a decade, and Pike is the commanding officer in the (originally un-aired) pilot "The Cage". Throughout the first Star Trek television series, Captain James T. Kirk commands the ship on a five-year mission of exploration. Before the events of Star Trek: The Motion Picture (1979), Enterprise undergoes an 18-month refit overseen by its new commanding officer, Willard Decker (Stephen Collins). In early scenes of the film, Decker describes the refit to Admiral Kirk as "an almost totally new Enterprise". Star Trek novels and the semi-official fan-produced internet series Star Trek: New Voyages (and the abortive planned TV series Star Trek: Phase II) depict a second five-year exploratory mission under Kirk's command between the events of the first and second films.

text: Spock (Leonard Nimoy) commands Enterprise, serving as a training ship, at the beginning of Star Trek II: The Wrath of Khan (1982), but Kirk assumes command when the ship investigates problems with Project Genesis. USS Reliant, hijacked by Khan Noonien Singh (Ricardo Montalbán), inflicts substantial damage to Enterprise; Spock sacrifices his life to save the ship. Shortly after returning to spacedock at the beginning of Star Trek III: The Search for Spock (1984), Enterprise is marked for decommissioning. Kirk leads his officers in stealing the ship in an attempt to restore Spock's life. In the process, they are attacked by Klingons inflicting mortal damage on the ship; to even the odds and gain a tactical advantage, Kirk is forced to destroy Enterprise by activating its self-destruct system.

text: Star Trek IV: The Voyage Home (1986) opens with Kirk and his officers agreeing to return to Earth to face judgment for their actions in the previous film. En route (in the Klingon vessel they had commandeered), they travel back in time to stop a probe threatening to destroy Earth. Upon the success of their mission and return to the 23rd century, the charges against the crew are dismissed. Admiral Kirk is "punished" with a demotion in rank to captain and is given command of Enterprise's successor, USS Enterprise, NCC-1701-A.

text: In the 2009 film Star Trek, Enterprise makes its first appearance in an altered timeline while it is still under construction in a planetside yard in Riverside, Iowa in 2255. Captain Christopher Pike (Bruce Greenwood) commands Enterprise on its maiden voyage in 2258 to respond to a distress call from Vulcan although command later shifts to Commander Spock (Zachary Quinto) and, by film's conclusion, Kirk (Chris Pine) is promoted to captain and receives command of the Federation's flagship as his first assignment out of the academy. This version of the ship, like the movies it appeared in, was controversial for being a radical departure from the original.[citation needed] The re-imagined Enterprise appears in both 2013's Star Trek Into Darkness and 2016's Star Trek Beyond, where it is destroyed.

text: A ship with matching hull number (NCC 1701) is depicted in the 2015 Star Trek fanfilm Prelude to Axanar. In this film its portrayed to have been built in shipyard's orbiting the planet Axanar during the Klingon Federation war.

text: Scientific and Cultural impact[edit]

text: The Starship Enterprise, and by extension, Star Trek as a franchise, has had considerable scientific and cultural impact.[45]

text: Science[edit]

text: The Enterprise's command bridge design was considered for use by the United States Navy due to the efficiency of its style and layout, and has been emulated in functional Bridge designs. [46] More precisely, the layout of task stations caused the Navy to rethink the division of labor for managing rapidly changing information: the helmsman focuses on immediate steering requirements, navigator plans helmsman's next actions, the captain plans strategy while looking over the shoulders of both. Without visual distraction, the captain is told from behind about engine status, weapons status, and fleet communications.[47] The design has also been emulated for Combat Information Centers and Ship's Mission Centers.[48][49]

text: NASA created a webpage dedicated to Star Trek's technology.[50]

text: The ship's hull design was tested at hypersonic velocity by using the University of Queensland's Super-Orbital Expansion Tube using Holographic interferometry, and found that at Mach 5 speed, the bow shocks pass comfortably outside the other sections of the vehicle without experiencing "shock-shock" interactions (where one shock wave hits another directly in front of the body of the aircraft, which can be catastrophic for structural integrity).[51]

text: At least one website has been created that proposes a functional spacecraft with a layout similar to the Enterprise could be constructed and used as a fully functioning interplanetary craft, and could - according to the author - be built with current technology in as little as twenty years from the time of his writing.[52]

text: Culture[edit]

text: In 1968, a write-in campaign caused the owners of Star Trek, the first television series to depict the Starship Enterprise, to reverse their decision to cancel the show after its second season.[53]

text: In 1976, another write-in campaign led to the first space shuttle being named Enterprise rather than Constitution.[54]

text: In 1974, the Smithsonian accepted the donation of the primary model of the Starship Enterprise used in filming the original series, for display at its National Air and Space Museum – the first and only artifact at the nation's most visited museum that depicts a fictional craft.[55]

text: The original Enterprise appears on a commemorative stamp released by the United States Postal Service. [56]

text: The Canadian town of Vulcan, Alberta, created a 31-foot model starship inspired by Star Trek's Enterprise.[57]

text: The operations aboard Enterprise have been used as an analogy for practices in human resources management.[58]

text: In 2009, Virgin Galactic named its first commercial spaceship VSS Enterprise in honor of the Star Trek vessel.[59]

text: Minutiae[edit]

text: The Enterprise was originally going to be named Yorktown (as seen in series creator Gene Roddenberry's first outline drafts of the series).[37]