document_title: King Kong (1933 film)

question_text: what animals fur was used for king kong

question_tokens: what animals fur was used for king kong

text: King Kong (1933 film)

text: Plot[edit]

text: In New York Harbor, filmmaker Carl Denham, famous for making wildlife films in remote and exotic locations, charters Captain Englehorn's ship, the Venture, for his new project. However, he is unable to secure an actress for a female role he has been reluctant to disclose. Searching in the streets of New York City, he finds Ann Darrow and promises her the adventure of a lifetime. The crew boards the Venture and sets off, during which the ship's first mate Jack Driscoll, falls in love with Ann.

text: Denham reveals to the crew that their destination is in fact Skull Island, an uncharted territory. He alludes to a monstrous creature named Kong, rumored to dwell on the island. The crew arrives and anchor offshore. They encounter a native village, separated from the rest of the island by an ancient stone wall. They witness a group of natives preparing to sacrifice a young woman termed the "bride of Kong". The intruders are spotted and the native chief stops the ceremony. When he sees Ann, he offers to trade six of his tribal women for the "golden woman". They rebuff him and return to the Venture.

text: That night, natives kidnap Ann from the ship and take her to their altar, where she is offered to Kong, an enormous gorilla-like creature. Kong carries Ann into the wilderness as Denham, Driscoll and some volunteers enter the jungle in hopes of rescuing her. They are ambushed by another giant creature, a Stegosaurus, which they manage to defeat. After facing a Brontosaurus and Kong himself, Driscoll and Denham are the only survivors.

text: A Tyrannosaurus attacks Ann and Kong, but he kills it in battle. Meanwhile, Driscoll continues to follow them, while Denham returns to the village for more men. Upon arriving in Kong's lair, Ann is menaced by a snake-like Elasmosaurus, which Kong also kills. While Kong is distracted killing a Pteranodon that tried to fly away with Ann, Driscoll reaches her and they climb down a vine dangling from a cliff ledge. When Kong notices and starts pulling them back up, the two fall unharmed. They run through the jungle and back to the village, where Denham, Englehorn, and the surviving crewmen are waiting. Kong, following, breaks open the gate and relentlessly rampages through the village. Onshore, Denham, now determined to bring Kong back alive, knocks him unconscious with a gas bomb.

text: Shackled in chains, Kong is taken to New York City and presented to a Broadway theatre audience as "Kong, the Eighth Wonder of the World". Ann and Jack are brought on stage to join him, surrounded by a group of press photographers. Kong, believing that the ensuing flash photography is an attack, breaks loose. The audience flees in horror. Ann is whisked away to a hotel room on a high floor, but Kong, scaling the building, soon finds her. His hand smashes through the hotel room window, immobilizing Jack, and abducts Ann again. Kong rampages through the city. He wrecks a crowded elevated train and then climbs the Empire State Building. At its top, he is attacked by four airplanes. Kong destroys one, but finally succumbs to their gunfire. He ensures Ann's safety before falling to his death. Ann and Jack are reunited. Denham arrives and pushes through a crowd surrounding Kong's corpse in the street. When a policeman remarks that the planes got him, Denham tells him, "It was Beauty  killed the Beast".

text: Cast[edit]

text:
Fay Wray as Ann Darrow
Robert Armstrong as Carl Denham
Bruce Cabot as Jack Driscoll
Frank Reicher as Captain Englehorn
Sam Hardy as Charles Weston
Noble Johnson as the Native Chief
Steve Clemente as the Witch King
James Flavin as Briggs, 2nd Mate
Victor Wong as Charlie the Cook (uncredited)
Everett Brown as the Native in Ape Costume (uncredited)

text: Background[edit]

text: Before King Kong entered production, a long tradition of jungle films existed, and, whether drama or documentary, such films (for example Stark Mad) generally adhered to a narrative pattern that followed an explorer or scientist into the jungle to test a theory only to discover some monstrous aberration in the undergrowth. In these films, scientific knowledge could be subverted at any time, and it was this that provided the genre with its vitality, appeal, and endurance.[8]

text: In the early 20th century, few zoos had primate exhibits so there was popular demand to see them on film. At the turn of the 20th century, the Lumière Brothers sent film documentarians to places westerners had never seen, and Georges Méliès utilized trick photography in film fantasies that prefigured that in King Kong. Jungle films were launched in the United States in 1913 with Beasts in the Jungle, and the film's popularity spawned similar pictures such as Tarzan of the Apes,.[8] In 1925, The Lost World made movie history with special effects by Willis O'Brien and a crew that later would work on King Kong.[9] King Kong producer Ernest B. Schoedsack had earlier monkey experience directing Chang: A Drama of the Wilderness in 1927 (also with Merian C. Cooper) and Rango in 1931, both of which prominently featured monkeys in authentic jungle settings. Capitalizing on this trend, Congo Pictures released the hoax documentary Ingagi in 1930, advertising the film as "an authentic incontestable celluloid document showing the sacrifice of a living woman to mammoth gorillas." Ingagi is now widely recognized as a racial exploitation film as it implicitly depicted black women having sex with gorillas, and baby offspring that looked more ape than human.[10] The film was an immediate hit, and by some estimates it was one of the highest-grossing films of the 1930s at over $4 million. Although Cooper never listed Ingagi among his influences for King Kong, it has long been held that RKO green-lit Kong because of the bottom-line example of Ingagi and the formula that "gorillas plus sexy women in peril equals enormous profits".[11]

text: Development[edit]

text: Concept[edit]

text: Merian C. Cooper's fascination with gorillas began with his boyhood reading of Paul Du Chaillu's Explorations and Adventures in Equatorial Africa (1861) and was furthered in 1929 by studying a tribe of baboons in Africa while filming The Four Feathers. After reading W. Douglas Burden's The Dragon Lizards of Komodo, he fashioned a scenario depicting African gorillas battling Komodo dragons intercut with artificial stand-ins for joint shots. He then narrowed the dramatis personae to one ferocious, lizard-battling gorilla (rather than a group) and included a lone woman on expedition to appease those critics who belabored him for neglecting romance in his films. A remote island would be the setting and the gorilla would be dealt a spectacular death in New York City.[12]

text: Cooper took his concept to Paramount Studios in the first years of the Great Depression but executives shied away from a project that sent film crews on costly shoots to Africa and Komodo. In 1931, David O. Selznick brought Cooper to RKO as his executive assistant and promised him he could make his own films. Cooper began immediately developing The Most Dangerous Game, and hired Ernest B. Schoedsack to direct. A huge jungle stage set was built, with Robert Armstrong and Fay Wray as the stars. Once the film was underway, Cooper turned his attention to the studio's big-budget-out-of-control fantasy, Creation, a project with stop motion animator Willis O'Brien about a group of travelers shipwrecked on an island of dinosaurs.[13]

text: When Cooper screened O'Brien's stop-motion Creation footage, he was unimpressed, but realized he could economically make his gorilla picture by scrapping the Komodo dragons and costly location shoots for O'Brien's animated dinosaurs and the studio's existing jungle set. It was at this time Cooper probably cast his gorilla as a giant named Kong, and planned to have him die at the Empire State Building. The RKO board was wary about the project, but gave its approval after Cooper organized a presentation with Wray, Armstrong, and Cabot, and O'Brien's model dinosaurs. In his executive capacity, Cooper ordered the Creation production shelved, and put its crew to work on Kong.[14]

text: Script[edit]

text: Cooper assigned recently hired RKO screenwriter and best-selling British mystery/adventure writer Edgar Wallace the job of writing a screenplay and a novel based on his gorilla fantasy. Cooper understood the commercial appeal of Wallace's name and planned to publicize the film as being "based on the novel by Edgar Wallace". Wallace conferred with Cooper and O'Brien (who contributed, among other things, the "Ann's dress" scene) and began work on January 1, 1932. He completed a rough draft called The Beast on January 5, 1932. Cooper thought the draft needed considerable work but Wallace died on February 10, 1932, just after beginning revisions.[8][15] Despite not using any of the draft in the final production beyond the previously agreed upon plot outline, Cooper gave a screen credit to Wallace as he had promised it as a producer.

text: Cooper called in James Ashmore Creelman (who was working on the script of The Most Dangerous Game at the time) and the two men worked together on several drafts under the title The Eighth Wonder. Some details from Wallace's rough draft were dropped, notably his boatload of escaped convicts. Wallace's Danby Denham character, a big game hunter, became film director Carl Denham. His Shirley became Ann Darrow and her lover-convict John became Jack Driscoll. The 'beauty and the beast' angle was first developed at this time. Kong's escape was switched from Madison Square Garden to Yankee Stadium and (finally) to a Broadway theater. Cute moments involving the gorilla in Wallace's draft were cut because Cooper wanted Kong hard and tough in the belief that his fall would be all the more awesome and tragic.[15]

text: Time constraints forced Creelman to temporarily drop The Eighth Wonder and devote his time to the Game script. RKO staff writer Horace McCoy was called in to work with Cooper, and it was he who introduced the island natives, a giant wall, and the sacrificial maidens into the plot. Leon Gordon also contributed to the screenplay in a minimal capacity; both he and McCoy went uncredited in the completed film.[16] When Creelman returned to the script full-time, he hated McCoy's 'mythic elements', believing the script already had too many over-the-top concepts, but Cooper insisted on keeping them in. RKO head Selznick and his executives wanted Kong introduced earlier in the film (believing the audience would grow bored waiting for his appearance), but Cooper persuaded them that a suspenseful build-up would make Kong's entrance all the more exciting.[17]

text: Cooper felt Creelman's final draft was slow-paced, too full of flowery dialogue, weighted-down with long scenes of exposition,[17] and written on a scale that would have been prohibitively expensive to film.[18] Writer Ruth Rose (Schoedsack's wife) was brought in to for rewrites and, although she had never written a screenplay, undertook the task with a complete understanding of Cooper's style, streamlining the script and tightening the action. Rather than explaining how Kong would be transported to New York, for example, she simply cut from the island to the theater. She incorporated autobiographical elements into the script with Cooper mirrored in the Denham character, her husband Schoedsack in the tough but tender Driscoll character, and herself in struggling actress Ann Darrow. Rose also rewrote the dialogue and created the film's opening sequence, showing Denham meeting Ann on the streets of New York. Cooper was delighted with Rose's script, approving the newly re-titled Kong for production.[19] Cooper and Schoedsack decided to co-direct scenes but their styles were different (Cooper was slow and meticulous, Schoedsack brisk) and they finally agreed to work separately, with Cooper overseeing O'Brien's miniature work and directing the special effects sequences, and Schoedsack directing the dialogue scenes.[20]

text: Casting[edit]

text: Fay Wray Fay Wray - Studio Publicity Photo

text: Robert Armstrong

text: Bruce Cabot

text:
Carmen Nigro AKA "Ken Roady" - Under his professional stage name, he claims to have acted as Kong in some scenes, though this is widely disputed by many film scholars.[27][28]
Frank Reicher - German-born Broadway veteran and silent film director, was cast as Captain Englehorn of the SS Venture.
Victor Wong as the ship's cook Charlie.
James Flavin as Second Mate Briggs, and a host of stuntmen and bit players as the ship's crew.
Noble Johnson and Steve Clemente were members of the Cooper-Schoedsack inner circle and cast as the Native Chief and the Witch Doctor.
Etta McDaniel played a native mother of a child she rescues from Kong's rampage.
Sam Hardy was cast as a theatrical agent.
Sandra Shaw (later Mrs. Gary Cooper) was cast as the New York woman Kong drops to the street from the hotel ledge.[29]
Merian C. Cooper, who was shot down in World War I in an Airco DH.4 and made a prisoner of war by the Germans, and who later flew with the Kosciuszko Squadron, played the airplane pilot and Schoedsack the machine gunner in uncredited roles in the film's final scenes.[30]
James Dime as a member of the ship's crew[31]

text: Production[edit]

text: Models[edit]

text: After the RKO board approved the production of a test reel, Marcel Delgado constructed Kong (or the "Giant Terror Gorilla" as he was then known) per designs and directions from Cooper and O'Brien on a one-inch-equals-one-foot scale to simulate a gorilla 18 feet tall.[citation needed] Four models were built: two jointed 18-inch aluminum, foam rubber, latex, and rabbit fur models (to be rotated during filming), one jointed 24-inch model of the same materials for the New York scenes, and a small model of lead and fur for the climactic plummeting-down-the-Empire-State-Building shot.[citation needed] At least two armatures have survived - one believed to be the original made for the test footage - and are owned by Peter Jackson and Bob Burns.[32] In 2009, one sold for £121,000 ($200,000) at Christie's in London.[33]

text: Kong's torso was streamlined to eliminate the comical appearance of the real world gorilla's prominent belly and buttocks. His lips, eyebrows, and nose were fashioned of rubber, his eyes of glass, and his facial expressions controlled by thin, bendable wires threaded through holes drilled in his aluminum skull. During filming, Kong's rubber skin dried out quickly under studio lights, making it necessary to replace it often and completely rebuild his facial features.[34]

text: A huge bust of Kong's head, neck, and upper chest was made of wood, cloth, rubber, and bearskin by Delgado, E. B. Gibson, and Fred Reefe.[citation needed] Inside the structure, metal levers, hinges, and an air compressor were operated by three men to control the mouth and facial expressions. Its fangs were 10 inches in length and its eyeballs 12 inches in diameter. The bust was moved from set to set on a flatcar. Its scale matched none of the models and, if fully realized, Kong would have stood thirty to forty feet tall.[35]

text: Two versions of Kong's right hand and arm were constructed of steel, sponge rubber, rubber, and bearskin.[citation needed] The first hand was non articulated, mounted on a crane, and operated by grips for the scene in which Kong grabs at Driscoll in the cave. The other hand and arm had articulated fingers, was mounted on a lever to elevate it, and was used in the several scenes in which Kong grasps Ann. A non articulated leg was created of materials similar to the hands, mounted on a crane, and used to stomp on Kong's victims.[36]

text: The dinosaurs were made by Delgado in the same fashion as Kong and based on Charles R. Knight's murals in the American Museum of Natural History in New York City. All the armatures were manufactured in the RKO machine shop. Materials used were cotton, foam rubber, latex sheeting, and liquid latex. Football bladders were placed inside some models to simulate breathing.[citation needed] A scale of one-inch-equals-one-foot was employed and models ranged from 18 inches to 3 feet in length. Several of the models were originally built for Creation and sometimes two or three models were built of individual species. Prolonged exposure to studio lights wreaked havoc with the latex skin so John Cerasoli carved wooden duplicates of each model to be used as stand-ins for test shoots and lineups. He carved wooden models of Ann, Driscoll, and other human characters. Models of the Venture, railway cars, and war planes were built.[38]

text: Special effects[edit]

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text: King Kong is well known for its groundbreaking use of special effects, such as stop-motion animation, matte painting, rear projection and miniatures, all of which were conceived decades before the digital age.[39]

text: The numerous prehistoric creatures inhabiting Skull Island were brought to life through the use of stop-motion animation by Willis O’Brien and his assistant animator, Buzz Gibson.[40] The stop-motion animation scenes were painstaking and difficult to achieve and complete after the special effects crew realized that they could not stop, because it would make the movements of the creatures seem inconsistent and the lighting would not have the same intensity over the many days it took to fully animate a finished sequence. A device called the surface gauge was used in order to keep track of the stop-motion animation performance. The iconic fight between Kong and the Tyrannosaurus took seven weeks to be completed. O’Brien’s protegé, Ray Harryhausen, who would work with him on several films and become one of the most prominent stop-motion animators in Hollywood, stated that O’Brien’s second wife noticed that there was so much of her husband in Kong.

text: The backdrop of Skull Island seen when the Venture crew first arrive was painted on glass by matte painters Henry Hillinck, Mario Larrinaga and Byron C. Crabbé. The scene was then composted with separate bird elements and rear projected behind the ship and the actors. The background of the scenes in the jungle (a miniature set) were also painted on several layers of glass to convey the illusion of deep and dense jungle foliage.[41]

text: The most difficult task for the special effects artists to achieve was to make live-action footage interact with separately filmed stop-motion animation - to make the interaction between the humans and the creatures of the island seem believable. The most simple of these effects were accomplished by exposing part of the frame, then running the same piece of the film through the camera again by exposing the other part of the frame with a different image. The most complex shots, where the live-action actors interacted with the stop-motion animation, were achieved via two different techniques, the Dunning process and the Williams process, in order to produce the effect of a travelling matte.[42] The Dunning process, invented by cinematographer Carroll H. Dunning, employed the use of blue and yellow lighting, filtered and photographed into black-and-white film. Bi packing of the camera was used for these types of effects. With it, the special effects crew could combine two strips of different film at the same time, creating the final composite shot in the camera.[43] It was used in the climactic scene where one of the Curtiss Helldiver planes attacking Kong crashes from the top of the Empire State Building, and in the scene where natives are running through the foreground, while Kong is fighting other natives at the wall.

text: On the other hand, the Williams process, invented by cinematographer Frank D. Williams, did not require a system of colored lights and could be used for wider shots. It was used in the scene where Kong is shaking the sailors off the log, as well as the scene where Kong pushes the gates open. The Williams process did not use bipacking, but rather an optical printer, the first such device that synchronized a projector with a camera, so that several strips of film could be combined into a single composted image. Through the use of the optical printer, the special effects crew could film the foreground, the stop-motion animation, the live-action footage, and the background, and combine all of those elements into one single shot.[44] The optical printer would continue to be used for films until the late 1980s, when they were superseded by digital compositing.

text: Another technique that was used in combining live actors and stop-motion animation was rear-screen projection. The actor would have a translucent screen behind him where a projector would project footage onto the back of the translucent screen.[45] The translucent screen was developed by Sidney Saunders and Fred Jackman, who received a Special Achievement Oscar. It was used in the famous scene where Kong and the Tyrannosaurus fight while Ann watches from the branches of a nearby tree. The stop-motion animation was filmed first. Fay Wray then spent a twenty-two hour period sitting in a fake tree acting out her observation of the battle, which was projected onto the translucent screen while the camera filmed her witnessing the projected stop-motion battle. She was sore for days after the shoot. The same process was also used for the scene where sailors from the Venture kill a Stegosaurus.

text: O’Brien and his special effects crew also devised a way to use rear-projection in miniature sets. A tiny screen was built into the miniature onto which live-action footage would then be projected.[45] A fan pumped cool air to prevent the footage that was projected from melting or catching fire. This miniature rear projection was used in the scene where Kong is trying to grab Driscoll, who is hiding in a cave. The scene where Kong puts Ann in the top of a tree switched from a puppet in Kong's hand to a projected footage of Ann sitting.

text: The scene where Kong fights the snake-like reptile in his lair was likely the most significant special effects achievement of the film, due to the way in which all of the elements in the sequence work together at the same time. The scene was accomplished through the use of a miniature set, stop-motion animation for Kong, background matte paintings, real water, foreground rocks with bubbling mud, smoke and two miniature rear screen projections of Driscoll and Ann.

text: Over the years, some media reports have alleged that in certain scenes Kong was played by an actor wearing a gorilla suit.[46][47] However, film historians have generally agreed that all scenes involving Kong were achieved with animated models.[48][49]

text: Live-action scenes[edit]

text: King Kong was filmed in several stages over an eight-month period. Some actors had so much time between their Kong periods that they were able to fully complete work on other films. Cabot completed Road House and Wray appeared in the horror films Dr. X and Mystery of the Wax Museum. She estimated she worked for ten weeks on Kong over its eight-month production.[citation needed]

text: In May and June 1932, Cooper directed the first live-action Kong scenes on the jungle set built for The Most Dangerous Game. Some of these scenes were incorporated into the test reel later exhibited for the RKO board. The script was still in revision when the jungle scenes were shot and much of the dialogue was improvised. The jungle set was scheduled to be struck after Game was completed, so Cooper filmed all of the other jungle scenes at this time. The last scene shot was that of Driscoll and Ann racing through the jungle to safety following their escape from Kong's lair.[citation needed]

text: In July 1932, the native village was readied while Schoedsack and his crew filmed establishing shots in the harbor of New York City. Curtiss F8C-5/O2C-1 Helldiver war planes taking off and in flight were filmed at a U.S. Naval airfield on Long Island. Views of New York City were filmed from the Empire State Building for backgrounds in the final scenes and architectural plans for the mooring mast were secured from the building's owners for a mock-up to be constructed on the Hollywood sound stage.[50]

text: In August 1932, the island landing party scene and the gas bomb scene were filmed south of Los Angeles on a beach at San Pedro, California. All of the native village scenes were then filmed on the RKO-Pathé lot in Culver City with the native huts recycled from Bird of Paradise (1932). The great wall in the island scenes was a hand-me-down from DeMille's The King of Kings (1927) and dressed up with massive gates, a gong, and primitive carvings. The scene of Ann being led through the gates to the sacrificial altar was filmed at night with hundreds of extras and 350 lights for illumination. A camera was mounted on a crane to follow Ann to the altar. The Culver City Fire Department was on hand due to concerns that the set might go up in flames from the many native torches used in the scene. The wall and gate were destroyed in 1939 for Gone With the Wind's burning of Atlanta sequence. Hundreds of extras were once again used for Kong's rampage through the native village, and filming was completed with individual vignettes of mayhem and native panic.

text: Meanwhile, the scene depicting a New York woman being dropped to her apparent death from a hotel window was filmed on the sound stage using the articulated hand. At the same time, a scene depicting poker players surprised by Kong's face peering through a window was filmed using the 'big head', although the scene was eventually dropped.[51] When filming was completed, a break was scheduled to finish construction of the interior sets and to allow screenwriter Ruth Rose time to finish the script.

text: In September–October 1932, Schoedsack returned to the sound stage after completing the native village shoots in Culver City. The decks and cabins of the Venture were constructed and all the live-action shipboard scenes were then filmed. The New York scenes were filmed, including the scene of Ann being plucked from the streets by Denham, and the diner scene. Following completion of the interior scenes, Schoedsack returned to San Pedro and spent a day on a tramp steamer to film the scene of Driscoll punching Ann, and various atmospheric harbor scenes. The Shrine Auditorium in Los Angeles was rented for one day to film the scenes where Kong is displayed in chains and the backstage theater scenes following his escape.[52] Principal photography wrapped at the end of October 1932 with the filming of the climax wherein Driscoll rescues Ann at the top of the Empire State Building. Schoedsack's work was completed and he headed to Syria to film outdoor scenes for Arabia, a project that was never completed.[53]

text: In December 1932 – January 1933, the actors were called back to film a number of optical effects shots which were mostly rear-screen projections.[citation needed] Technical problems inherent in the process made filming difficult and time-consuming. Wray spent most of a twenty-two hour period sitting in a fake tree to witness the battle between Kong and a Tyrannosaurus. She was sore for days after. Many of the scenes featuring Wray in the articulated hand were filmed at this time.[citation needed] In December, Cooper re shot the scene of the female New Yorker falling to her death. Stunt doubles were filmed for the water scenes depicting Driscoll and Ann escaping from Kong. A portion of the jungle set was reconstructed to film Denham snagging his sleeve on a branch during the pursuit scene. Originally, Denham ducked behind a bush to escape danger, but this was later considered cowardly and the scene was re shot. The final scene was originally staged on the top of the Empire State Building, but Cooper was dissatisfied and re shot the scene with Kong lying dead in the street with the crowd gathered about him.[citation needed]

text: Post-production[edit]

text: Murray Spivack provided the sound effects for the film. Kong's roar was created by mixing the recorded roars of zoo lions and tigers, subsequently played backwards slowly. Spivak himself provided Kong's "love grunts" by grunting into a megaphone and playing it at a slow speed. For the huge ape's footsteps, Spivak stomped across a gravel-filled box with plungers wrapped in foam attached to his own feet, while the sounds of his chest beats were recorded by Spivak hitting his assistant (who had a microphone held to his back) on the chest with a drumstick. Spivak created the hisses and croaks of the dinosaurs with an air compressor for the former and his own vocals for the latter. The vocalizations of the Tyrannosaurus were additionally mixed in with puma screams. Bird squawks were used for the Pteranodon. Spivak also provided the numerous screams of the various sailors. Fay Wray herself provided all of her character's screams in a single recording session.[54][55]

text: For budget reasons, RKO decided not to have an original film score composed, instead instructing composer Max Steiner to simply reuse music from other films. Cooper thought the film deserved an original score and paid Steiner $50,000 to compose it. Steiner completed the score in six weeks and recorded it with a 46-piece orchestra. The studio later reimbursed Cooper.[56] The score was unlike any that came before and marked a significant change in the history of film music. King Kong's score was the first feature-length musical score written for an American "talkie" film, the first major Hollywood film to have a thematic score rather than background music, the first to mark the use of a 46-piece orchestra, and the first to be recorded on three separate tracks (sound effects, dialogue, and music). Steiner used a number of new film scoring techniques, such as drawing upon opera conventions for his use of leitmotifs.[57]

text: Release[edit]

text: King Kong opened at the 6,200-seat Radio City Music Hall in New York City and the 3,700-seat RKO Roxy across the street on Thursday, March 2, 1933. The film was preceded by a stage show called Jungle Rhythms. Crowds lined up around the block on opening day, tickets were priced at $.35 to $.75, and, in its first four days, every one of its ten-shows-a-day were sold out – setting an all-time attendance record for an indoor event. Over the four-day period, the film grossed $89,931.[58][59]

text: The film had its official world premiere on March 23, 1933 at Grauman's Chinese Theater in Hollywood. The 'big head bust' was placed in the theater's forecourt and a seventeen-act show preceded the film with The Dance of the Sacred Ape performed by a troupe of African American dancers the highpoint. Kong cast and crew attended and Wray thought her on-screen screams distracting and excessive. The film opened nationwide on April 10, 1933, and worldwide on Easter Day in London, England.[58][60]

text: It was re-released in 1938, 1942, 1946, 1952 and 1956.[59]

text: Reception[edit]

text: This section needs expansion. You can help by adding to it. (June 2018)

text: On Rotten Tomatoes, the film holds an approval rating of 98% based on 56 reviews, with a weighted average rating of 9/10. The site's critical consensus reads, "King Kong explores the soul of a monster -- making audiences scream and cry throughout the film -- in large part due to Kong's breakthrough special effects."[61] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 90 out of 100, based on 12 critics, indicating "Universal acclaim".[62]

text: Variety thought the film was a powerful adventure.[63] The New York Times gave readers an enthusiastic account of the plot and thought the film a fascinating adventure.[64] John Mosher of The New Yorker called it "ridiculous", but wrote that there were "many scenes in this picture that are certainly diverting".[65] The New York World-Telegram said it was "one of the very best of all the screen thrillers, done with all the cinema's slickest camera tricks".[66] The Chicago Tribune called it "one of the most original, thrilling and mammoth novelties to emerge from a movie studio."[67]

text: On February 3, 2002, Roger Ebert included King Kong in his "Great Movies" list, writing that "In modern times the movie has aged, as critic James Berardinelli observes, and 'advances in technology and acting have dated aspects of the production.' Yes, but in the very artificiality of some of the special effects, there is a creepiness that isn't there in today's slick, flawless, computer-aided images.... Even allowing for its slow start, wooden acting and wall-to-wall screaming, there is something ageless and primeval about "King Kong" that still somehow works."[68]

text: Box office[edit]

text: The film was a box office success making about $2 million in worldwide rentals on its initial release, with an opening weekend estimated at $90,000. Receipts fell by up to 50% in the second week of the film's release because of the national "bank holiday" called in President Franklin D. Roosevelt's first days in office.[69] During the film's first run it made a profit of $650,000.[3]

text: Prior to the 1952 re-release, the film is reported to have worldwide rentals of $2,847,000 including $1,070,000 from the United States and Canada and profits of $1,310,000.[3] After the 1952 re-release, Variety estimated the film had made an additional $1.6 million in the United States and Canada taking its total to $3.9 million in cumulative domestic (United States and Canada) rentals.[70] Profits from the 1952 re-release were estimated by the studio at $2.5 million.[3]

text: Racist allegory[edit]

text: In the 19th and early twentieth century, people of African descent were commonly visually represented as ape-like, a metaphor that fitted racist stereotypes, further bolstered by the emergence of scientific racism.[71] Early blockbuster films frequently mirrored racial tensions. While King Kong is often compared to the story of Beauty and the Beast, many film scholars have argued that the film was a racist cautionary tale about interracial romance, in which the film's "carrier of blackness is not a human being, but an ape".[72][73] Cooper and Schoedsack rejected any allegorical interpretations, insisting in interviews that the film's story contained no hidden meanings.[74]

text: Awards and honors[edit]

text: Kong did not receive any Academy Awards nominations. Selznick wanted to nominate O'Brien and his crew for a special award in visual effects but the Academy declined. Such a category did not exist at the time and would not exist until 1938. Sidney Saunders and Fred Jackman received a special achievement award for the development of the translucent acetate/cellulose rear screen – the only Kong-related award.[75]

text: The film has since received some significant honors. In 1975, Kong was named one of the 50 best American films by the American Film Institute, and, in 1991, the film was deemed "culturally, historically and aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.[76] In 1998, the AFI ranked the film #43 on its list of the 100 greatest movies of all time.[77]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies – #43
AFI's 100 Years...100 Thrills – #12
AFI's 100 Years...100 Passions – #24
AFI's 100 Years...100 Movie Quotes:
"Oh, no, it wasn't the airplanes. It was Beauty killed the Beast." – #84
AFI's 100 Years of Film Scores – #13
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #41
AFI's 10 Top 10 – #4 Fantasy film

text: Re-releases, censorship and restorations[edit]

text: King Kong was re-released in 1938, 1942, 1946, 1952 and 1956; each time to great box office success.[78] Stricter decency rules had been put into effect in Hollywood since its 1933 premiere and each time it was censored further, with several scenes being either trimmed or excised altogether.

text: These scenes were as follows:[79]

text:
A Brontosaurus mauling crewmen in the water, chasing one up a tree and killing him;
Kong undressing Ann Darrow and sniffing his fingers;
Kong biting and stepping on natives when he attacks the village;
Kong biting a reporter in New York;
Kong mistaking a sleeping woman for Ann and dropping her to her death, after realizing his mistake.
An additional scene portraying fiendish spider like creatures devouring the crew members shaken off the log by Kong into the floor of the canyon below was deemed too gruesome by RKO even by pre-Code standards, and thus the scene was studio self-censored prior to original release. Though searched for, the footage is now considered "lost forever" with only a few artist sketches depicting the man eating spiders surviving.[citation needed]

text: After the 1956 re-release, the film was sold to television (first being broadcast March 5, 1956).[80]

text: RKO had failed to preserve copies of film's negative or release prints with the excised footage, and the cut scenes were considered lost for years. In 1969, a 16mm print, including the censored footage, was found in Philadelphia. The cut scenes were added to the film, restoring it to its original theatrical running time of 100 minutes. This version was re-released to art houses by Janus Films in 1970.[79]

text: Over the next two decades, Universal Studios carried out further photochemical restoration on King Kong. This was based on a 1942 release print, with missing censor cuts taken from a 1937 print, which "contained heavy vertical scratches from projection."[81] An original release print located in the UK in the 1980s was found to contain the cut scenes in better quality.

text: After a 6-year worldwide search for the best surviving materials, a further, fully digital, restoration utilizing 4K resolution scanning was completed by Warner Bros. in 2005.[82] This restoration also had a 4-minute overture added, bringing the overall running time to 104 minutes. King Kong was also, somewhat controversially, colorized in the late 1980s for television.[83]

text: Home media[edit]

text: In 1984, King Kong was one of the first films to be released on LaserDisc by the Criterion Collection, and was the very first movie to have an audio commentary track included. Criterion's audio commentary was by film historian Ron Haver; in 1985 Image Entertainment released another LaserDisc, this time with a commentary by film historian and soundtrack producer Paul Mandell. Neither of these commentaries has since resurfaced on any other format.

text: King Kong had numerous VHS and LaserDisc releases of varying quality prior to receiving an official studio release on DVD. Those included a Turner 60th anniversary edition in 1993 featuring a front cover which had the sound effect of Kong roaring when his chest was pressed. It also included the colorized version of the film and a 25-minute documentary, It Was Beauty Killed the Beast (1992). The documentary is also available on two different UK King Kong DVDs, while the colorized version is available on DVD in the UK and Italy.[84] Warner Home Video re-released the black and white version on VHS with the 25-minute documentary included under the Warner Bros. Classics label in 1999.

text: In 2005 Warner Bros released their digital restoration of King Kong in a US 2-disc Special Edition DVD, coinciding with the theatrical release of Peter Jackson's remake. It had numerous extra features, including a new, third audio commentary by visual effects artists Ray Harryhausen and Ken Ralston, with archival excerpts from actress Fay Wray and producer/director Merian C. Cooper. Warners issued identical DVDs in 2006 in Australia and New Zealand, followed by a US digibook-packaged Blu-ray in 2010.[85] In 2014 the Blu-ray was repackaged with three unrelated films in a 4 Film Favorites: Colossal Monster Collection.

text: At present, Universal holds worldwide rights to Kong's home video releases outside of the US, Australia and New Zealand. All Universal's releases only contain their earlier, 100 minute, pre-2005 restoration.[82] However, in the UK, Warner Home Video released the film digitally and on Blu-Ray & DVD in early 2017. The Blu-Ray contained the same contents as the  US release, but unfortunately for the DVD, that was based on the first Disc of the 2-Disc DVD release.

text: Adaptations[edit]

text: The 1933 King Kong film and character inspired imitations and installments. Son of Kong, a direct sequel to the 1933 film was released nine months after the first film's release. In the early 1960s, RKO had licensed the King Kong character to Japanese studio Toho and produced two King Kong films, King Kong vs. Godzilla (a crossover with the Godzilla series) and King Kong Escapes, both directed by Ishirō Honda.

text: In 1976, Italian producer Dino De Laurentiis released his version of King Kong, a modern remake of the 1933 film, which was followed by a sequel in 1986 titled King Kong Lives. In 2005, Universal Pictures released another remake of King Kong, directed by Peter Jackson. Legendary Pictures and Warner Bros. released a Kong reboot film titled Kong: Skull Island in 2017 which was directed by Jordan Vogt-Roberts and is the second installment of a shared universe called the MonsterVerse, which started with Legendary's reboot of  Godzilla.


document_title: Theseus

question_text: who was the supposed divine father of theseus

root

text: Theseus

text: Birth and early years[edit]

text: Aegeus, one of the primordial kings of Athens, was childless. Desiring an heir, he asked the oracle at Delphi for advice. Her cryptic words were "Do not loosen the bulging mouth of the wineskin until you have reached the height of Athens, lest you die of grief." Aegeus did not understand the prophecy and was disappointed. He asked the advice of his host Pittheus, king of Troezen. Pittheus understood the prophecy, got Aegeus drunk, and gave Aegeus his daughter Aethra.[4]

tag: p

text: But following the instructions of Athena in a dream, Aethra left the sleeping Aegeus and waded across to the island of Sphairia that lay close to Troezen's shore. There she poured a libation to Sphairos (Pelops' charioteer) and Poseidon, and was possessed by the sea god in the night. The mix gave Theseus a combination of divine as well as mortal characteristics in his nature; such double paternity, with one immortal and one mortal, was a familiar feature of other Greek heroes.[5] After Aethra became pregnant, Aegeus decided to return to Athens. Before leaving, however, he buried his sandals and sword under a huge rock[6] and told Aethra that when their son grew up, he should move the rock, if he were heroic enough, and take the tokens for himself as evidence of his royal parentage. In Athens, Aegeus was joined by Medea, who had left Corinth after slaughtering the children she had borne, and had taken Aegeus as her new consort. Priestess and consort together represented the old order in Athens.

text: Thus Theseus was raised in his mother's land. When Theseus grew up and became a brave young man, he moved the rock and recovered his father's tokens. His mother then told him the truth about his father's identity and that he must take the sword and sandals back to king Aegeus to claim his birthright. To journey to Athens, Theseus could choose to go by sea (which was the safe way) or by land, following a dangerous path around the Saronic Gulf, where he would encounter a string of six entrances to the Underworld,[7] each guarded by a chthonic enemy. Young, brave, and ambitious, Theseus decided to go alone by the land route and defeated a great many bandits along the way.

text: The Six Labours[edit]

text:
At the first site, which was Epidaurus, sacred to Apollo and the healer Asclepius, Theseus turned the tables on the chthonic bandit, Periphetes, the Club Bearer, who beat his opponents into the Earth, and took from him the stout staff that often identifies Theseus in vase-paintings.
At the Isthmian entrance to the Underworld was a robber named Sinis, often called "Pityokamptes" (Greek: Πιτυοκάμπτης, "he who bends Pinetrees"). He would capture travellers, tie them between two pine trees that were bent down to the ground, and then let the trees go, tearing his victims apart. Theseus killed him by his own method. He then became intimate with Sinis's daughter, Perigune, fathering the child Melanippus.

tag: ul

text:
In another deed north of the Isthmus, at a place called Crommyon, he killed an enormous pig, the Crommyonian Sow, bred by an old crone named Phaea. Some versions name the sow herself as Phaea. The Bibliotheca described the Crommyonian Sow as an offspring of Typhon and Echidna.
Near Megara, an elderly robber named Sciron forced travellers along the narrow cliff-face pathway to wash his feet. While they knelt, he kicked them off the cliff behind them, where they were eaten by a sea monster (or, in some versions, a giant turtle). Theseus pushed him off the cliff.

text:
Another of these enemies was Cercyon, king at the holy site of Eleusis, who challenged passers-by to a wrestling match and, when he had beaten them, killed them. Theseus beat Cercyon at wrestling and then killed him instead.
The last bandit was Procrustes the Stretcher, who had two beds, one of which he offered to passers-by in the plain of Eleusis. He then made them fit into it, either by stretching them or by cutting off their feet. Since he had two beds of different lengths, no one would fit. Theseus turned the tables on Procrustes, cutting off his legs and decapitating him with his own axe.

text: Medea and the Marathonian Bull, Androgeus and the Pallantides[edit]

text: When Theseus arrived at Athens, he did not reveal his true identity immediately. Aegeus gave him hospitality but was suspicious of the young, powerful stranger's intentions. Aegeus's wife Medea recognised Theseus immediately as Aegeus' son and worried that Theseus would be chosen as heir to Aegeus' kingdom instead of her son Medus. She tried to arrange to have Theseus killed by asking him to capture the Marathonian Bull, an emblem of Cretan power.

text: On the way to Marathon, Theseus took shelter from a storm in the hut of an ancient woman named Hecale. She swore to make a sacrifice to Zeus if Theseus were successful in capturing the bull. Theseus did capture the bull, but when he returned to Hecale's hut, she was dead. In her honour Theseus gave her name to one of the demes of Attica, making its inhabitants in a sense her adopted children.

text: When Theseus returned victorious to Athens, where he sacrificed the Bull, Medea tried to poison him. At the last second, Aegeus recognised the sandals and the sword, and knocked the poisoned wine cup from Theseus's hand. Thus father and son were reunited, and Medea, it was said, fled to Asia.

text: When Theseus appeared in the town, his reputation had preceded him, having travelled along the notorious coastal road from Troezen and slain some of the most feared bandits there. It was not long before the Pallantides' hopes of succeeding the apparently childless Aegeus would be lost if they did not get rid of Theseus (the Pallantides were the sons of Pallas and nephews of King Aegeus, who were then living at the royal court in the sanctuary of Delphic Apollo[8]). So they set a trap for him. One band of them would march on the town from one side while another lay in wait near a place called Gargettus in ambush. The plan was that after Theseus, Aegeus, and the palace guards had been forced out the front, the other half would surprise them from behind. However, Theseus was not fooled. Informed of the plan by a herald named Leos, he crept out of the city at midnight and surprised the Pallantides. "Theseus then fell suddenly upon the party lying in ambush, and slew them all. Thereupon the party with Pallas dispersed," Plutarch reported.[9]

text: The myth of Theseus and the Minotaur[edit]

text: Pasiphaë, wife of King Minos of Crete, had several children. The eldest of these, Androgeos, set sail for Athens to take part in the Panathenaic Games, which were held there every four years. Being strong and skilful, he did very well, winning some events outright. He soon became a crowd favourite, much to the resentment of the Pallantides who assassinated him, incurring the wrath of Minos.

text: When King Minos had heard of what befell his son, he ordered the Cretan fleet to set sail for Athens. Minos asked Aegeus for his son's assassins, and if they were to be handed to him, the town would be spared. However, not knowing who the assassins were, King Aegeus surrendered the whole town to Minos' mercy. His retribution was that, at the end of every Great Year, which occurred after every seven cycles on the solar calendar, the seven most courageous youths and the seven most beautiful maidens were to board a boat and be sent as tribute to Crete, never to be seen again.

text: In another version, King Minos had waged war with the Athenians and was successful. He then demanded that, at nine-year intervals, seven Athenian boys and seven Athenian girls were to be sent to Crete to be devoured by the Minotaur, a half-man, half-bull monster that lived in the Labyrinth created by Daedalus.

text: On the third occasion, Theseus volunteered to slay the monster to stop this horror. He took the place of one of the youths and set off with a black sail, promising to his father, Aegeus, that if successful he would return with a white sail.[10] Like the others, Theseus was stripped of his weapons when they sailed. On his arrival in Crete, Ariadne, King Minos' daughter, fell in love with Theseus and, on the advice of Daedalus, gave him a ball of thread (a clew), so he could find his way out of the Labyrinth.[11] That night, Ariadne escorted Theseus to the Labyrinth, and Theseus promised that if he returned from the Labyrinth he would take Ariadne with him. As soon as Theseus entered the Labyrinth, he tied one end of the ball of string to the door post and brandished his sword which he had kept hidden from the guards inside his tunic. Theseus followed Daedalus' instructions given to Ariadne; go forwards, always down and never left or right. Theseus came to the heart of the Labyrinth and also upon the sleeping Minotaur. The beast awoke and a tremendous fight then occurred. Theseus overpowered the Minotaur with his strength and stabbed the beast in the throat with his sword (according to one scholium on Pindar's Fifth Nemean Ode, Theseus strangled it).[12]

text: After decapitating the beast, Theseus used the string to escape the Labyrinth and managed to escape with all of the young Athenians and Ariadne as well as her younger sister Phaedra. Then he and the rest of the crew fell asleep on the beach. Athena woke Theseus and told him to leave early that morning. Athena told Theseus to leave Ariadne and Phaedra on the beach. Stricken with distress, Theseus forgot to put up the white sails instead of the black ones, so the king committed suicide, in some versions throwing himself off a cliff and into the sea, thus causing this body of water to be named the Aegean. Dionysus later saw Ariadne crying out for Theseus and took pity on her and married her.

text: Ship of Theseus[edit]

text: According to Plutarch's Life of Theseus, the ship Theseus used on his return from Crete to Athens was kept in the Athenian harbour as a memorial for several centuries.

text: The ship wherein Theseus and the youth of Athens returned had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus,[13] for they took away the old planks as they decayed, putting in new and stronger timber in their place...[14]

text: The ship had to be maintained in a seaworthy state, for, in return for Theseus's successful mission, the Athenians had pledged to honour Apollo every year henceforth. Thus, the Athenians sent a religious mission to the island of Delos (one of Apollo's most sacred sanctuaries) on the Athenian state galley – the ship itself – to pay their fealty to the god. To preserve the purity of the occasion, no executions were permitted between the time when the religious ceremony began to when the ship returned from Delos, which took several weeks.[15]

text: To preserve the ship, any wood that wore out or rotted was replaced; it was, thus, unclear to philosophers how much of the original ship actually remained, giving rise to the philosophical question whether it should be considered "the same" ship or not. Such philosophical questions about the nature of identity are sometimes referred to as the Ship of Theseus Paradox.

text: Regardless of these issues, Athenians preserved the ship. Their belief was that Theseus had been an actual, historic figure and the ship gave them a tangible connection to their divine providence.

text: Theseus and Pirithous[edit]

text: Theseus's best friend was Pirithous, prince of the Lapiths. Pirithous had heard stories of Theseus's courage and strength in battle but wanted proof so he rustled Theseus's herd of cattle and drove it from Marathon and Theseus set out in pursuit. Pirithous took up his arms and the pair met to do battle but were so impressed with each other they took an oath of friendship and joined the hunt for the Calydonian Boar.

text: In Iliad I, Nestor numbers Pirithous and Theseus "of heroic fame" among an earlier generation of heroes of his youth, "the strongest men that Earth has bred, the strongest men against the strongest enemies, a savage mountain-dwelling tribe whom they utterly destroyed." No trace of such an oral tradition, which Homer's listeners would have recognised in Nestor's allusion, survived in literary epic. Later, Pirithous was preparing to marry Hippodamia. The centaurs were guests at the wedding feast, but got drunk and tried to abduct the women, including Hippodamia. The Lapiths won the ensuing battle.

text: In Ovid's Metamorphoses Theseus fights against and kills Eurytus, the "fiercest of all the fierce centaurs"[16] at the wedding of Pirithous and Hippodamia.

text: The abduction of Persephone and encounter with Hades[edit]

text: Theseus, a great abductor of women, and his bosom companion, Pirithous, since they were sons of Zeus and Poseidon, pledged themselves to marry daughters of Zeus.[17] Theseus, in an old tradition,[18] chose Helen, and together they kidnapped her, intending to keep her until she was old enough to marry. Pirithous chose Persephone. They left Helen with Theseus's mother, Aethra at Aphidna, whence she was rescued by the Dioscuri.

text: On Pirithous' behalf they travelled to the underworld, domain of Persephone and her husband Hades. As they wandered through the outskirts of Tartarus, Theseus sat down to rest on a rock. As he did so he felt his limbs change and grow stiff. He tried to rise but could not. He was fixed to the rock. As he turned to cry out to his friend, he saw that Pirithous too was crying out. Around him gathered the terrible band of Furies with snakes in their hair, torches and long whips in their hands. Before these monsters the hero's courage failed and he was led away to eternal punishment.

text: For many months in half darkness, Theseus sat immovably fixed to the rock, mourning for both his friend and for himself. In the end he was rescued by Heracles who had come to the underworld for his 12th task. There he persuaded Persephone to forgive him for the part he had taken in the rash venture of Pirithous. So Theseus was restored to the upper air but Pirithous never left the kingdom of the dead, for when he tried to free Pirithous, the underworld shook. When Theseus returned to Athens, he found that the Dioscuri had taken Helen and Aethra to Sparta.

text: Phaedra and Hippolytus[edit]

text: Phaedra, Theseus's second wife and the daughter of King Minos, bore Theseus two sons, Demophon and Acamas. While these two were still in their infancy, Phaedra fell in love with Hippolytus, Theseus's son by the Amazon queen Hippolyta. According to some versions of the story, Hippolytus had scorned Aphrodite to become a follower of Artemis, so Aphrodite made Phaedra fall in love with him as punishment. He rejected her out of chastity.

text: Alternatively, in Euripides' version, Hippolytus, Phaedra's nurse told Hippolytus of her mistress's love and he swore he would not reveal the nurse as his source of information. To ensure that she would die with dignity, Phaedra wrote to Theseus on a tablet claiming that Hippolytus had raped her before hanging herself. Theseus believed her and used one of the three wishes he had received from Poseidon against his son. The curse caused Hippolytus' horses to be frightened by a sea monster, usually a bull, and drag their rider to his death. Artemis would later tell Theseus the truth, promising to avenge her loyal follower on another follower of Aphrodite.

text: In a version by Seneca, the Roman playwright, entitled Phaedra, after Phaedra told Theseus that Hippolytus had raped her, Theseus killed his son himself, and Phaedra committed suicide out of guilt, for she had not intended for Hippolytus to die.

text: In yet another version, Phaedra simply told Theseus Hippolytus had raped her and did not kill herself. Dionysus sent a wild bull which terrified Hippolytus's horses.

text: A cult grew up around Hippolytus, associated with the cult of Aphrodite. Girls who were about to be married offered locks of their hair to him. The cult believed that Asclepius had resurrected Hippolytus and that he lived in a sacred forest near Aricia in Latium.

text: Other stories and his death[edit]

text: According to some sources, Theseus also was one of the Argonauts, although Apollonius of Rhodes states in the Argonautica that Theseus was still in the underworld at this time. Both statements are inconsistent with Medea being Aegeus' wife by the time Theseus first came to Athens. With Phaedra, Theseus fathered Acamas, who was one of those who hid in the Trojan Horse during the Trojan War. Theseus welcomed the wandering Oedipus and helped Adrastus to bury the Seven Against Thebes.

text: Lycomedes of the island of Skyros threw Theseus off a cliff after he had lost popularity in Athens. In 475 BC, in response to an oracle, Cimon of Athens, having conquered Skyros for the Athenians, identified as the remains of Theseus "a coffin of a great corpse with a bronze spear-head by its side and a sword." (Plutarch, Life of Cimon, quoted Burkert 1985, p. 206). The remains found by Cimon were reburied in Athens. The early modern name Theseion (Temple of Theseus) was mistakenly applied to the Temple of Hephaestus which was thought to be the actual site of the hero's tomb.

text: Adaptations of the myth[edit]

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tag: table

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text: Literature[edit]

text:
Greek mythology

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text:
Sophocles' tragedy Oedipus at Colonus features Theseus as a major character.
Euripides' tragedy Hippolytus and Seneca's Phaedra revolve around the death of Theseus' son.
In Geoffrey Chaucer's epic chivalric romance "The Knight's Tale," one of the Canterbury Tales, Theseus is duke of Athens, husband of Ypolita, and protector of Emelye, Ypolita's sister, for whom the two knights of Thebes, Arcite and Palamon, do battle.
Racine's Phèdre (1677) features Theseus as well as Hippolytus and the title character Phaedra.
Theseus is a prominent character as the Duke of Athens in William Shakespeare's plays, A Midsummer Night's Dream and The Two Noble Kinsmen. Hippolyta also appears in both plays.
F. L. Lucas's epic poem Ariadne (1932) is an epic reworking of the Labyrinth myth: Aegle, one of the sacrificial maidens who accompany Theseus to Crete, is Theseus's sweetheart, the Minotaur is Minos himself in a bull-mask, and Ariadne, learning on Naxos of Theseus's earlier love for Aegle, decides to leave him for the Ideal [Dionysus].[19]
André Gide's 1946 Thésée is a fictional autobiography where the mythical hero of Athens, now elderly, narrates his life story from his carefree youth to his killing of the Minotaur.
Mary Renault's The King Must Die (1958) is a dramatic retelling of the Theseus legend from his childhood in Troizen until the return from Crete to Athens. While fictional, it is generally faithful to the spirit and flavor of the best-known variations of the original story. The sequel is The Bull from the Sea (1962), about the hero's later career.
Evangeline Walton's 1983 historical fiction novel The Sword is Forged chronicles the story of Theseus and Antiope.[20]
Stephen Dobyns, wrote the poem Theseus within the Labyrinth (1986) which provides a retelling of the myth of Ariadne, Theseus and the Minotaur, in particular the feelings of Ariadne.
In issue No. 12 of Fright Night comics, entitled Bull-Whipped, Theseus and the Minotaur are resurrected by the comic's Aunt Claudia Hinnault, who is the reincarnation of Ariadne.
Kir Bulychov's 1993 book An Attempt on Theseus' Life (Покушение на Тезея) is about a plot to assassinate a man during a virtual reality tour in which he lives through Theseus' life.
Troy Denning's 1996 novel Pages of Pain features an amnesic Theseus fighting to recover his past while interacting with some of the more colourful beings of the Planescape universe.
Steven Pressfield's 2002 novel Last of the Amazons attempts to situate Theseus's meeting and subsequent marriage to Antiope, as well as the ensuing war, in a historically plausible setting.
Jorge Luis Borges presents an interesting variation of the myth in a short story, "La Casa de Asterión" ("The House of Asterion").
British comedian Tony Robinson wrote a version of the Theseus story entitled Theseus: Super Hero.
Author Suzanne Collins was inspired by Theseus to write The Hunger Games trilogy, which was published from 2008 to 2010.[21]

text: Opera, film and television[edit]

text:
Thésée (1675) is an early French opera by Jean-Baptiste Lully to a libretto by Philippe Quinault, based on Ovid.
Teseo (1713) is an opera seria by George Frideric Handel to a libretto by Nicola Francesco Haym, based on Quinault.
The opera Hippolyte et Aricie (1733) by Jean-Philippe Rameau, based on Racine, features Theseus as a character.
Theseus is played by Bob Mathias in the 1960 film Minotaur, the Wild Beast of Crete, and by Tom Hardy in the 2006 film Minotaur.
The first episode of the 2001 children's television series MythQuest, entitled "Minotaur," features a story in which the modern day teen-aged protagonist finds himself unexpectedly thrust into Theseus' role and must follow through with the events of the existing myth, including slaying the Minotaur with the help of Ariadne and Daedalus.[22][better source needed] The storyline was also adapted into a novelisation.[23]
In the 2003 miniseries Helen of Troy, Theseus, played by Stellan Skarsgård, kidnaps Helen with Pirithous and waits for her to reach marriageable age; however, he is slain by Pollux and she is returned to Sparta.
In the film Immortals (2011), directed by Tarsem Singh, Theseus, played by Henry Cavill, leads a war against King Hyperion of Heraklion, played by Mickey Rourke.
The Indian film Ship of Theseus (2012) directed by Anand Gandhi, is an exploration of the philosophical idea underlying the myth.
In the Canadian television series, Continuum (2012–2015), the leader of an anti-corporate human rights/terrorist group is called Theseus.
In 2013, the BBC series Atlantis was released. In the first episode of season one, The Earth Bull, Jason enters the labyrinth. He is helped by Ariadne to slay him, as the myth of the Minotaur. Jason is based on the characters of Theseus, Perseus and the myth of Jason And The Argonauts. In Season 2 Part 1, Medea is introduced. Pasiphaё seeks to take back Atlantis after Ariadne is made Queen. The plot seems to be leading to Jason and The Argonauts.
In Canadian/British television series Olympus (2015), the main character 'Hero' is loosely based on the myths of Theseus. The show follows Hero's quest to unlock the 'Lexicon', the door to Olympus, and to stop the apocalypse as foreseen by the Oracle of Gaia.

text: Notes[edit]

text:
Jump up ^ Carl A.P. Ruck & Danny Staples. (1994). The World of Classical Myth, ch. ix, "Theseus: Making the New Athens", pp 203–222. Durham, NC: Carolina Academic Press.
Jump up ^ "May I therefore succeed in purifying Fable, making her submit to reason and take on the semblance of History. But where she obstinately disdains to make herself credible, and refuses to admit any element of probability, I shall pray for kindly readers, and such as receive with indulgence the tales of antiquity." (Plutarch, Life of Theseus). Plutarch's avowed purpose is to construct a life that parallels the Life of Romulus that embodies the founding myth of Rome.
Jump up ^ Edmund P. Cueva. (Fall 1996). "Plutarch's Ariadne in Chariton's Chaereas and Callirhoe". American Journal of Philology, 117 (3) pp. 473–484.
Jump up ^ Morford, Mark P. O., Robert J. Lenardon, and Michael Sham. Classical Mythology. 10th ed. Oxford: Oxford UP, 2014.
Jump up ^ The theory, expounded as natural history by Aristotle, was accepted through the nineteenth century and only proven wrong in modern genetics: see Telegony. Sometimes in myth the result could be twins, one born divine of a divine father, the other human of a human sire: see Dioscuri. Of a supposed Parnassos, founder of Delphi, Pausanias observes, "Like the other heroes, as they are called, he had two fathers; one they say was the god Poseidon, the human father being Cleopompus." (Description of Greece x.6.1).
Jump up ^ Rock "which had a hollow in it just large enough to receive these objects," Plutarch says.
Jump up ^ Compared to Hercules and his Labours, "Theseus is occupied only with the sacred Entrances that are local to the lands of Athens" (Ruck and Staples 1994:204).
Jump up ^ "...where now is the enclosure in the Delphinium, for that is where the house of Aegeus stood, and the Hermes to the east of the sanctuary is called the Hermes at Aegeus's gate." (Plutarch, 12)
Jump up ^ Plutarch, 13.
Jump up ^ Plutarch quotes Simonides to the effect that the alternate sail given by Aegeus was not white, but "a scarlet sail dyed with the tender flower of luxuriant holm oak." (Plutarch, 17.5).
Jump up ^ Ariadne is sometimes represented in vase-paintings with the thread wound on her spindle.
Jump up ^ Noted by Kerenyi 1959:232 note 532.
Jump up ^ Demetrius Phalereus was a distinguished orator and statesman, who governed Athens for a decade before being exiled, in 307 BC.
Jump up ^ Plutarch. "Theseus". The Internet Classics Archive. Retrieved 17 January 2013.
Jump up ^ Cooper, John M., ed. (1997). Plato: Complete Works. Associate editor, D. S. Hutchinson. Indianapolis/Cambridge: Hackett. p. 37. ISBN 0-87220-349-2.
Jump up ^ Ovid, Metamorphoses, XII:217–153
Jump up ^ Scholia on Iliad iii.144 and a fragment (#227) of Pindar, according to Kerenyi 1951:237, note 588.
Jump up ^ Reported at Athenaeus, Deipnosophistae 13.4 (557a); cf. Kerenyi 1959:234 and note.
Jump up ^ F. L. Lucas (2014). Ariadne. Cambridge University Press. ISBN 9781107677524.
Jump up ^ "The Sword is Forged by Evangeline Walton". Kirkus Reviews. 1983. Retrieved 16 March 2016.
Jump up ^ Zeitchik, Steven (24 March 2012). "Which dystopian property does The Hunger Games most resemble?". Los Angeles Times via Boston Herald. Boston Herald and Herald Media. Retrieved 24 March 2012.
Jump up ^ TV Tropes – Recap: Myth Quest E 1 "The Minotaur"
Jump up ^ The Minotaur (MythQuest #1) goodreads.com

tag: ol

text: Sources[edit]

text: Primary sources

text:
Pseudo-Apollodorus, Bibliotheca
Ovid, Metamorphoses
Plutarch, Theseus

text: Secondary sources

text:
Burkert, Walter, Greek Religion (1985)
Stephen Dobyns, Theseus within the Labyrinth (1986) https://www.jstor.org/stable/20600617
Kerényi, Karl, The Heroes of the Greeks (1959)
Price, Anne, The Quest for Theseus (London, 1970) examines the Theseus-Minotaur-Ariadne myth and its historical basis, and later treatments and adaptations of it in Western culture.
Ruck, Carl A.P. and Danny Staples, The World of Classical Myth: ch. IX "Theseus: making the new Athens" (1994), pp. 203–222.
Sideris, Athanasios, Theseus in Thrace. The silver lining on the clouds of the Athenian-Thracian relations in the 5th century BC (Sofia, 2015) presents new iconographical sources and examines the role of Theseus in the state ideology of Athens and in its gift-diplomacy with Thrace.
Walker, Henry J., Theseus and Athens, Oxford University Press (US 1995). The most thorough scholarly examination of Theseus's archaic origins and classical myth and cult, and his place in classical literature.


document_title: List of British finalists at Grand Slam tennis tournaments

question_text: who was the last british female to win wimbledon

text: Key[edit]

text:
Heavy type means champion
Light type means losing finalist

text: Men's singles[edit]

text:
Name
Wimbledon[1]
French[2][3]
USA[4]
Australian[5]

Spencer Gore
1877 1878

William Marshall
1877

Frank Hadow
1878

John Hartley
1879 1880 1881

Vere St. Leger Goold
1879

Herbert Lawford
1880 1884 1885 1886 1887 1888

William Renshaw
1881 1882 1883 1884 1885 1886 1889 1890

Ernest Renshaw
1882 1883 1887 1888 1889

Willoughby Hamilton
1890

H. Briggs

1891

Wilfred Baddeley
1891 1892 1893 1894 1895 1896

Joshua Pim
1891 1892 1893 1894

Wilberforce Eaves
1895

1897

Harold Mahony
1896 1897

Reginald Doherty
1897 1898 1899 1900 1901

1902

Francky Wardan

1897

Laurence Doherty
1898 1902 1903 1904 1905 1906

1903

Arthur Gore
1899 1901 1902 1907 1908 1909 1910 1912

Sydney Smith
1900

Frank Riseley
1903 1904 1906

Herbert Barrett
1908 1911

Josiah Ritchie
1909

James Cecil Parke

1912

Alfred Beamish

1912

Gordon Lowe

1915

Algernon Kingscote

1919

Randolph Lycett
1922

Colin Gregory

1929

Bunny Austin
1932 1938
1937

Fred Perry
1934 1935 1936
1935 1936
1933 1934 1936
1934 1935

John Lloyd

1977

Greg Rusedski

1997

Andy Murray
2012 2013 2016
2016
2008 2012
2010 2011 2013 2015 2016

text: Women's singles[edit]

text:
Name
Wimbledon[6][7]
French[2][8][9]
USA[4]
Australian[10]

Maud Watson
1884 1885 1886

Lillian Watson
1884

Blanche Bingley
1885 1886 1887 1888 1889 1891 1892 1893 1894 1897 1899 1900 1901

Lottie Dod
1887 1888 1891 1892 1893

Lena Rice
1889 1890

May Jacks
1890

Mabel Cahill

1891 1892

Edith Austin
1894

Charlotte Cooper
1895 1896 1897 1898 1899 1900 1901 1902 1904 1908 1912

Helen Jackson
1895

Alice Simpson-Pickering
1896

Louisa Martin
1898

Muriel Robb
1902

Dorothea Chambers
1903 1904 1905 1906 1907 1910 1911 1913 1914 1919 1920

Ethel Thomson Larcombe
1903 1912 1914

Agnes Morton
1908 1909

Dora Boothby
1909 1910 1911

Winifred McNair
1913

Germaine Golding[11]

1922 1923

Kathleen McKane Godfree
1923 1924 1926
1925
1925

Joan Fry
1925

Eileen Bennett Whittingstall

1928
1931

Phoebe Holcroft Watson

1929

Betty Nuthall

1931
1927 1930

Margaret Scriven

1933 1934

Dorothy Round Little
1933 1934 1937

1935

Kay Stammers
1939

Patricia Ward Hales

1955

Angela Buxton
1956

Angela Mortimer
1958 1961
1955 1956

1958

Shirley Brasher

1957 1958

Christine Truman
1961
1959
1959

Ann Haydon-Jones
1967 1969
1961 1963 1966 1968 1969
1961 1967

Sue Barker

1976

Virginia Wade
1977

1968
1972


document_title: Stir-fried ice cream

question_text: what do they make rolled ice cream on

question_tokens: what do they make rolled ice cream on

text: Stir-fried ice cream

text:
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text: Stir-fried ice cream "I-Tim-Pad" "ไอติมผัด" in Thai, ice pan ice cream, rolled ice cream or ice cream rolls is a hand made ice cream dessert made with milk poured on an iced grill, mixed with fruit or different ingredients on the ice-pan.

text: Stir-fried ice cream existed in Thailand by 2009, as a way of just mixing ingredients together with fruits and different types of candies. There were a few vendors at the time, and it was not popular yet. Around 2011–2012, the ice cream became more popular in Thailand and began to spread to neighboring countries such as Malaysia, and Cambodia in 2012. It spread worldwide in 2015 from internet viral videos.[1][2].

text: Background[edit]

text: Stir-fried ice cream, or "ice pan" ice cream, is a dessert made on a steel plate chilled to below freezing. A choice of soy or dairy milk is poured onto the cold plate and mixed with fruit, green tea, coffee or other ingredients. The mixture is chopped and stirred while crystallizing, until creamy.[3] Cold Stone Creamery, an ice cream parlor chain in the US, sells a similar product which involves combining ice cream with various toppings on a frozen granite stone. It is now common through-out the world.

text: Ingredients and recipe[edit]

text: Stir-fried ice cream is made with a milk base combined with various fresh ingredients and different toppings served with the ice cream. The main ingredients are the liquid base flavour which is commonly milk, or soy milk. Fresh fruit or other choices such as chocolate, green tea, or red beans are blended with the milk, while sometimes extract powder or syrups are used to create the flavour.[4] To make stir-fried ice cream, the mixture is first poured into a −18 to −35 degree C metal pan. The ice cream masher uses two metal spatulas to mix and stir the mixture, which freezes and solidifies. The masher will add and grind different toppings like nuts, chocolate chips, and fruits to increase the texture of the ice cream. By continuously mixing and stirring in the cold pan, a scoop of stir-fried ice cream is created. The stir-fried process has to be quick and instant with only 5–10 seconds used to create the texture of ice cream. The ice cream can be piled for scooping or smoothed flat for scraping into curls and served in paper cups in Thailand.


document_title: List of European countries by area

question_text: what is the largest country in europe by area

text: List of European countries by area

text: Below is a list of all countries in Europe, in order of geographical area. Europe's total geographical area is 10,288,305 km².[citation needed]

text: * — Note: some countries are transcontinental, meaning, they are only partially located in Europe. Those are ranked according to the size of their parts within Europe only.

text: The list includes only sovereign states. Therefore for example the United Kingdom is included in place of the four individual home nations.

text:
Rank
Country
Area (km²)
Notes

1
 Russia*
3,972,400
17,098,242 including Russian Asia

2
 Ukraine
603,628
-

3
 France
551,394
643,801 when the overseas departments are included

4
 Spain
498,468
505,992 when the Canary Islands, Ceuta and Melilla are included

5
 Sweden
449,964

6
 Norway
385,178
This includes Svalbard and Jan Mayen[1]

7
 Germany
357,168

8
 Finland
338,145

9
 Poland
312,685

10
 Italy
301,318

11
 United Kingdom
244,820
Excluding the British Overseas Territories

12
 Romania
238,392

13
 Belarus
207,600

14
 Kazakhstan*
180,000 (est.)
2,724,902 including Asian part

15
 Greece
131,940

16
 Bulgaria
110,994

17
 Iceland
102,775

18
 Hungary
93,030

19
 Portugal
91,568

20
 Austria
83,858

21
 Czech Republic
78,866

22
 Serbia
77,453
88,361 if Kosovo is included

23
 Ireland
70,273

24
 Lithuania
65,300

25
 Latvia
64,589

26
 Croatia
56,594

27
 Bosnia and Herzegovina
51,129

28
 Slovakia
49,036

29
 Estonia
45,339

30
 Denmark
44,493
This includes Faroe Islands; 2,210,579 including Greenland

31
 Switzerland
41,290

32
 Netherlands
41,198
Excluding Caribbean Netherlands, Aruba, Curacao and Sint Maarten.

33
 Moldova
33,846

34
 Belgium
30,510

35
 Albania
28,748

36
 Macedonia
25,713

37
 Turkey*
23,507
783,562 including Asian part

38
 Slovenia
20,273

39
 Montenegro
13,812

40
 Kosovo
10,908
Partially recognized state

41
 Azerbaijan*
6,960
86,600 including Asian part

42
 Luxembourg
2,586

43
 Georgia*
2,428
69,700 including Asian part

44
 Andorra
468

45
 Malta
316

46
 Liechtenstein
160

47
 San Marino
61

48
 Monaco
1.95

49
 Vatican City
0.44

Total
10,141,183
±5,000

text:
Purple = Russia,
Green = countries with European area bigger than 10,000 km²,
Red = countries with European area smaller than 10,000 km²

text: Definition[edit]

text: Europe and Asia are contiguous with each other and thus the exact boundary between them is not clearly defined, and often follows historical, political, and cultural definitions rather than geographical. This list uses the modern geographical definition thus excluding Armenia, Georgia and Cyprus, which are sometimes also considered part of Europe, the two Caucasus nations for political and cultural reasons, and Cyprus because all larger islands in the Mediterranean have historically been considered European, regardless of their proximity to the European mainland.

text:
Clickable map of Europe, showing one of the most commonly used continental boundaries[2]
Key: blue: states which straddle the border between Europe and Asia; green: countries not geographically in Europe, but closely associated with the continent


document_title: SEAL Team (TV series)

question_text: when does seal team episode 14 come out

question_tokens: when does seal team episode 14 come out

text: SEAL Team (TV series)

text: Overview[edit]

text: The series follows Bravo Team, a sub-unit of the United States Naval Special Warfare Development Group,[7][8][9] the most elite unit of Navy SEALs, as they plan and undertake dangerous missions worldwide with little notice, and the burden on them and their families.

text: Cast and characters[edit]

text: Main[edit]

text:
David Boreanaz as Master Chief Special Warfare OperatorA Jason Hayes, leader of a Navy SEAL team (Bravo Team) dealing with the recent loss of one of their own.[10] In the series pilot, Jason is referred to as a Senior Chief, but in "Collapse", he calls himself an "E-9" Master Chief.
Max Thieriot as Special Warfare Operator Clay Spenser, a second-generation Navy SEAL in training for Tier One status who is questioned as to his readiness for combat.[10] He becomes a member of Bravo Team at the end of "The Exchange"
Jessica Paré as Officer Amanda "Mandy" Ellis,[10] Bravo Team's CIA liaison.
Neil Brown Jr. as Senior Chief Special Warfare Operator Raymond "Ray" Perry, Jason's most trusted friend and the longest tenured member of the team.[10]
A. J. Buckley as Special Warfare Operator Sonny Quinn, a loyal but sometimes volatile SEAL who is at his best in firefights and prefers them over a leadership position.[10]
Toni Trucks as Logistics Specialist First Class Lisa Davis[10]

text: A(Enlisted SEALs have Special Warfare Operator specific ratings. See US Navy SEAL ratings.)

text: Recurring[edit]

text:
Judd Lormand as Lieutenant Commander Eric Blackburn, the Bravo Team commanding officer.
Tyler Grey as Special Warfare Operator Trent, a member of Bravo Team.
Justin Melnick as Special Warfare Operator Brock, a member of Bravo Team and handler of the team's dog, Cerberus.
Alona Tal as Stella, Clay's grad student girlfriend.
Michaela McManus as Alana Hayes, Jason's estranged wife.
Kerri Medders as Emma Hayes, Jason and Alana's daughter.
Parisa Fakhri as Naima Perry, Ray's kurdish wife.
Steve Howey as Danny Cooper, a former member of SEAL Team 4 and Sonny's ex-teammate, medically retired after a bomb-related injury.
Michael Irby as Master Chief Special Warfare Operator Adam Siever, the Green Team SEAL trainer.
Sharif Atkins as Senior Chief Special Warfare Operator Beau Fuller, the leader of Charlie Team. He and Jason came up the ranks together and have a longtime rivalry.
C. Thomas Howell as former Senior Chief Special Warfare Operator Ash Spenser, a writer, retired Navy SEAL, and father of Clay Spenser.
Daniel Briggs as Special Warfare Operator Derek, a member of Alpha Team.
Darren Pettie as Paul Mulwray, a reporter in Afghanistan and son of the Secretary of Defense.
Dawn Olivieri as Amy Nelson, a private security specialist working on the Afghanistan base.
David DeSantos as Tim Belding, Mandy's CIA boss in Afghanistan.
Marsha Thomason as Sergeant Vanessa Ryan.
Atif Hashwi as Azim
Alexa Mansour as Dorri

text: Episodes[edit]

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

1
"Tip of the Spear"
Christopher Chulack
Benjamin Cavell
September 27, 2017 (2017-09-27)
ST101
9.88[11]

Senior chief petty officer Jason Hayes is the leader of a Navy SEAL team who is coping with the recent loss of a member of his team. The team is tasked with capturing a high level ISIS leader.

2
"Other Lives"
Christopher Chulack
Benjamin Cavell
October 4, 2017 (2017-10-04)
ST102
8.39[12]

On a mission to destroy chemical weapons, Jason and the team find innocent civilians in need of rescue just as enemy forces close in on them; the team debates whether to tell Ray that his wife has gone into labor.

3
"Boarding Party"
Christopher Chulack
Spencer Hudnut
October 11, 2017 (2017-10-11)
ST103
8.02[13]

The team must rescue researchers being held hostage on a ship in the South China Sea; Clay's low ranking jeopardizes his future as a SEAL; Jason investigates a woman connected to his dead teammate's phone.

4
"Ghosts of Christmas Future"
Larry Teng
Benjamin Cavell & Daniele Nathanson
October 18, 2017 (2017-10-18)
ST104
7.11[14]

Jason and the SEAL Team refuse to abort their mission to capture a dangerous war criminal after it goes sideways. Also, Clay's controversial father, Ash Spenser (C. Thomas Howell), comes to town on his book tour. The mystery about the woman has a new revelation.

5
"Collapse"
Ian Toynton
Becky Mode
October 25, 2017 (2017-10-25)
ST105
6.92[15]

Jason and the SEAL team must navigate the contentious evacuation on an embassy in South Sudan when the country becomes increasingly unstable. Meanwhile, Clay and Stella take their relationship to the next level.

6
"The Spinning Wheel"
Melanie Mayron
Joseph Sawyer & Julian Silver & Reiss Clausen-Wolf & Beth Schacter
November 8, 2017 (2017-11-08)
ST106
6.22[16]

The team must work with Jason’s longtime rival to plan a raid, under the watchful eye of top military brass. Meanwhile, Clay delivers solemn news to a teammate’s next of kin.

7
"Borderlines"
Félix Alcalá
Corinne Marrinan
November 15, 2017 (2017-11-15)
ST107
7.24[17]

Jason and the SEAL Team must rescue an undercover CIA operative after she is captured by radical terrorists to be used as a bargaining chip. Also, Clay undergoes the final harrowing exercise for his candidacy into Tier One.

8
"The Exchange"
John Dahl
Sabrina Almeida & Spencer Hudnut
November 22, 2017 (2017-11-22)
ST108
6.94[18]

Jason and the SEAL Team have mixed feelings when they are tasked with bringing home an American soldier who was captured after deserting, in exchange for detainees in Gitmo.

9
"Rolling Dark"
Michael Watkins
Daniele Nathanson & Brian Horiuchi
December 6, 2017 (2017-12-06)
ST109
6.90[19]

Jason and the SEAL team must rescue a Russian scientist and his wife and bring them across the Afghanistan border to safety as Chinese troops and Russian Special Forces close in, intent on stopping them. Also, Clay endures his first day with Jason's unit.

10
"Pattern of Life"
Christopher Chulack
Corinne Marrinan
January 3, 2018 (2018-01-03)
ST110
5.86[20]

Tensions are high when Jason and the SEAL Team enter a Yemeni house to locate a cell phone linked to a terrorist network, and interrogate the family while the daughter lays in critical condition after being accidentally shot.

11
"Containment"
Andy Wolk
Beth Schacter
January 10, 2018 (2018-01-10)
ST111
6.17[21]

Jason and the SEAL team are sent to intercept the sale of nuclear waste intended for the manufacture of a dirty bomb, but the mission goes sideways when instead they find that the "waste" is actually nuclear weapons with unstable warheads and they must make the treacherous journey back to base. Also, Ray is sidelined with a shoulder injury, and Jason and Alana are shocked by their kids' reactions when the topic of their reunion is brought up.

12
"The Upside Down"
J. Michael Muro
Spencer Hudnut & John Bellucci
January 17, 2018 (2018-01-17)
ST112
6.67[22]

While on a mission to retrieve a downed USAF drone in the middle of the last Daesh-controlled zone in Iraq, the Team disobey orders so they can save Clay, who is trapped beneath a room full of armed terrorists. Also, Clay and Stella struggle with his imminent deployment, Jason and Alana keep footing around a reconciliation and Lisa navigates her brand-new relationship with Danny.

13
"Getaway Day"
Christopher Chulack
Benjamin Cavell & Ed Redlich & John Bellucci
January 31, 2018 (2018-01-31)
ST113
6.65[23]

After Team Echo is killed in an ambush, Team Bravo's deployment is moved forward and they must depart in 18 hours. Alana decides she and Jason should divorce, since she can't share him with the team anymore, while Clay and Stella decide to forget his rushed marriage proposal and continue like before. Upon deployment in Jalalabad, they struggle to find a lead to avenge their fellow SEALs.

14
"Call Out"
Christopher Chulack
Beth Schacter
February 28, 2018 (2018-02-28)
ST114
4.97[24]

Bravo Team goes into a mission in a hostile neighborhood of Jalalabad to capture Tariq's lover Assim, and narrowly escape an ambush. Afterwards, they are sent to capture the builder of the bomb that killed Team Echo but are forced to shoot him. Mandy finds out Tariq was blackmailed into betraying Echo for his relationship with Assim, who gives them a lead about a man in a red Mercedes, that a journalist on base identifies as a Afghan Police Province Commander. Meanwhile, Jason struggles with Alana's decision to ask for divorce.

15
"No Man's Land"
Ian Toynton
John Bellucci & Corinne Marrinan
March 7, 2018 (2018-03-07)
ST115
6.07[25]

After discovering Team Echo was killed because they burned an heroin farm, Team Bravo pays a visit to the farm and find more than 10 million dollars hidden underground. According to the farmer, some men take money out of it regularly. They capture a 15 years-old boy, who claims he just heard about the money, and wanted some for his family. They follow him, and discover he's really a girl, Dorri, that works as messenger for the Taliban to be able to care of her younger brother. She helps them set up a trap, but their objective is killed as a traitor. Mandy identifies the men as Al-Quaeda mercenaries, and wonder who's the farm owner. Dorri offers to keep helping them in exchange for tickets to the USA. Meanwhile, Jason meets Amy, a private security specialist working on the base.

16
"Never Get Out of the Boat"
J. Michael Muro
Spencer Hudnut & Mark Semos
March 21, 2018 (2018-03-21)
ST116
6.36[26]

Team Bravo captures a chemist that tells them the farm owner is Ghani, one of the biggest drug traffickers in the world. They send Dorri alongside Clay and Ray for a visual confirmation of Ghani's bodyguard, and follow him to Ghani, but the CIA puts the brakes on the mission because Ghani is a snitch for the DEA. Mandy uses reporter Mulwray's contacts to get the mission back on track in exchange for an interview with Jason. They get their objective though Sonny is wounded during the mission. During the celebration, Mandy reveals that Ghani sold the farm after the burning, which makes Jason seek out Amy for comfort.

17
"In Name Only"
John Dahl
Brian Horiuchi & Sabrina Almeida
March 28, 2018 (2018-03-28)
ST117
6.48[27]

18
"Credible Threat"[28]
Ruben Garcia
Valerie Armstrong & Josef Sawyer
April 11, 2018 (2018-04-11)
ST118
TBD

19
"Takedown"[29]
Holly Dale
Julian Silver & Reiss Clauson-Wolf & Beth Schacter
April 25, 2018 (2018-04-25)
ST119
TBD

text: Reception[edit]

text: Ratings[edit]

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

1
"Tip of the Spear"
September 27, 2017
1.5/6
9.88[11]
1.0
4.37
2.5
14.25[30]

2
"Other Lives"
October 4, 2017
1.2/5
8.39[12]
0.8
3.53
2.0
11.92[31]

3
"Boarding Party"
October 11, 2017
1.2/5
8.02[13]
0.8
3.36
2.0
11.38[32]

4
"Ghosts of Christmas Future"
October 18, 2017
1.1/4
7.11[14]
0.7
3.50
1.8
10.62[33]

5
"Collapse"
October 25, 2017
1.0/4
6.92[15]
0.7
3.23
1.7
10.15[34]

6
"The Spinning Wheel"
November 8, 2017
0.9/3
6.22[16]
0.7
3.24
1.6
9.46[35]

7
"Borderlines"
November 15, 2017
1.1/4
7.24[17]
0.8
3.32
1.9
10.56[36]

8
"The Exchange"
November 22, 2017
1.1/4
6.94[18]
0.7
3.25
1.8
10.20[37]

9
"Rolling Dark"
December 6, 2017
1.1/4
6.90[19]
0.7
3.05
1.8
9.95[38]

10
"Pattern of Life"
January 3, 2018
0.9/3
5.86[20]
N/A
N/A
N/A
N/A

11
"Containment"
January 10, 2018
0.9/3
6.17[21]
0.9
3.91
1.8
10.08[39]

12
"The Upside Down"
January 17, 2018
1.1/4
6.67[22]
0.8
3.58
1.9
10.25[40]

13
"Getaway Day"
January 31, 2018
1.0/4
6.65[23]
0.8
3.41
1.8
10.06[41]

14
"Call Out"
February 28, 2018
0.8/3
4.97[24]
0.9
4.19
1.7
9.16[42]

15
"No Man's Land"
March 7, 2018
0.9/3
6.07[25]
0.8
3.68
1.7
9.77[43]

16
"Never Get Out of the Boat"
March 21, 2018
1.0/4
6.36[26]
0.8
3.67
1.8
10.03[44]

17
"In Name Only"
March 28, 2018
0.9/4
6.48[27]
TBD
TBD
TBD
TBD

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported an approval rating of 68% based on 19 reviews, with an average rating of 5.88/10. The site's critical consensus reads, "SEAL Team's solidly written first season offers compelling characters and hints at broader potential, even if it's somewhat undermined by an overall sense of predictability."[45] Metacritic, which uses a weighted average, assigned a score of 57 out of 100 based on 16 critics, indicating "mixed or average reviews".[46]