document_title: X-Men Origins: Wolverine

question_text: who does wolverine fight at the end of origins

text: X-Men Origins: Wolverine

text: Plot

text: In 1845, James Howlett, a boy living in Canada, witnesses his father being killed by groundskeeper Thomas Logan. The anxiety activates the boy's mutation: bone claws protrude from his knuckles and he impales Thomas, who reveals that he is James' birth father before dying. James flees along with Thomas' other son Victor Creed, who is thus James' half-brother and has a healing factor mutation like James. They spend the next century as soldiers, fighting in the American Civil War, both World Wars and the Vietnam War. In Vietnam, the increasingly violent Victor attempts to rape a Vietnamese woman and kills a senior officer who tries to stop him. James happens upon the fight and defends Victor, resulting in the pair being sentenced to execution by firing squad, which they survive due to their mutant healing abilities. Major William Stryker approaches them in military custody and offers them membership in Team X, a group of mutants including Agent Zero, Wade Wilson, John Wraith, Fred Dukes and Chris Bradley. They join the team for a few years, with James now using the alias Logan, but Victor and the group's lack of empathy for human life causes Logan to leave.

text: Six years later, Logan is working as a logger in Canada, where he lives with his girlfriend Kayla Silverfox. Stryker and Zero approach Logan at work. Stryker reports that Wade and Bradley have been killed and he thinks someone is targeting the team's members. Logan refuses to rejoin Stryker but after finding Kayla's bloodied body in the woods, he realizes that Victor is responsible. He finds him at a local bar, but Logan loses the subsequent fight. Afterward, Stryker explains that Victor has gone rogue and offers Logan a way to become strong enough to get his revenge. Logan undergoes a painful operation to reinforce his skeleton with adamantium, a virtually indestructible metal. Once the procedure is complete, Stryker attempts to betray Logan by ordering that his memory be erased so he can be used as Stryker's personal weapon, but Logan overhears this and escapes to a nearby farm, where an elderly couple take him in. Zero kills them the following morning and tries to kill Logan, but Logan takes down Zero's helicopter and swears to kill both Stryker and Victor.

text: Logan locates John and Fred at a boxing club. Fred explains that Victor is still working for Stryker, hunting down mutants for Stryker to experiment on at his new laboratory, located at a place called "The Island". Fred mentions Remy "Gambit" LeBeau, the only one who escaped from the island and therefore knows its location. John and Logan find LeBeau in New Orleans, then both fight Victor, who kills John and extracts his DNA. Agreeing to help release mutants that Stryker has captured, Gambit takes Logan to Stryker's facility on Three Mile Island. Logan learns that Kayla is alive, having been forced by Stryker into surveilling him in exchange for her sister's safety. However, Stryker refuses to release her sister and denies Victor the adamantium bonding promised for his service, claiming that test results revealed Victor would not survive the operation. Stryker activates Wade, now known as Weapon XI, a "mutant killer" with the powers of multiple mutants.

text: While Logan and Victor join forces to fight off Weapon XI, Kayla is mortally wounded leading the captive mutants to Professor Charles Xavier and safety. After Logan kills Weapon XI, Stryker arrives and shoots Logan in the head with adamantium bullets, rendering Logan unconscious. Before Stryker can shoot Kayla, she grabs him and uses her mutant power to persuade him to turn around and walk away until his feet bleed. Logan regains consciousness but has lost his memory. He notices his dog tags read "Logan" on one side and "Wolverine" on the other. He pauses upon noticing Kayla's body, but does not recognize her and leaves the island.

text: In a mid-credits scene, Stryker is detained for questioning by some MPs in connection with the death of his superior, General Munson, whom Stryker had murdered to protect his experiment. There were two alternate post-credits scenes that were shown at different screenings. One post-credit scene reveals a surprise twist on the fate of Weapon XI / Deadpool where he is revealed to have survived his decapitation. The other post-credit scene shows Logan in Japan where he tells a barmaid he is "drinking to remember."

text: Cast

text: Hugh Jackman as Logan / Wolverine:

text: Troye Sivan as young Logan:

text: Liev Schreiber as Victor Creed:

text:
Michael James Olsen as young Victor
Danny Huston as William Stryker:

text: Lynn Collins as Kayla Silverfox:

text: Taylor Kitsch as Remy LeBeau / Gambit:

text: Ryan Reynolds as Wade Wilson:

text: Scott Adkins as Weapon XI:

text: Will.i.am as John Wraith:

text: Kevin Durand as Fred Dukes / Blob:

text: Dominic Monaghan as Chris Bradley:

text: Daniel Henney as Agent Zero:

text: Additionally, Tim Pocock portrays a young Scott Summers. Max Cullen and Julia Blake portrayed Travis and Heather Hudson, an elderly couple who take care of Wolverine after his adamantium bonding. The Hudsons are heavily adapted from the comics' James MacDonald and Heather Hudson.

text: Tahyna Tozzi portrays Emma, a mutant with the power to turn her skin into diamond, who in the film is Silverfox's sister.[32] The film depiction of Emma was originally intended to be Emma Frost. However it was noted that she does not exhibit the character's traditional telepathic abilities. It is later revealed by Bryan Singer that this character is actually not Emma Frost, but instead a mutant with similar abilities.[33]

text: Wolverine's parents also appeared in the film; Aaron Jeffery portrayed Thomas Logan while Alice Parkinson portrayed Elizabeth Howlett. Peter O'Brien appeared as John Howlett, James' alleged father.

text: The film includes numerous cameo appearances of younger versions of characters from the previous films, including Jason Stryker (William Stryker's lobotomized telepathic son whom he keeps in cryogenic suspension).[34] There was a cameo for a young Storm, which can be seen in the trailer, but it was removed from the released film.[35]

text: A digitally rejuvenated Patrick Stewart also makes an uncredited cameo as a younger Charles Xavier who appeared to not yet lose the use of his legs.[36] However, with timeline and story inconsistencies within the film series, Singer developed an idea to tie all the films together and fix the continuity. In X-Men: First Class, Xavier loses the use of his legs at a much younger age than he appears in Origins. As an explanation, Xavier can be seen walking in X-Men: Days of Future Past (which chronologically takes place prior to the events of this film), by creating the illusion that he is standing in various scenes, when in reality the character is only present by telepathic projection.[37][38]

text: Asher Keddie played Dr. Carol Frost.[39] Poker player Daniel Negreanu has a cameo. Phil Hellmuth wanted to join him but was unable because he committed to an event in Toronto.[40] X-Men co-creator Stan Lee said he would cameo, but Lee ended up not appearing in the film as he could not attend filming in Australia.[41][42]

text: Production

text: Development

text: David Benioff, a comic book fan, pursued the project for almost three years before he was hired to write the script in October 2004.[43][44] In preparing to write the script, he reread Barry Windsor-Smith's "Weapon X" story, as well as Chris Claremont and Frank Miller's 1982 limited series on the character (his favorite storyline).[43][45] Also serving as inspiration was the 2001 limited series Origin, which reveals Wolverine's life before Weapon X.[46] Jackman collaborated on the script, which he wanted to be more of a character piece compared with the previous X-Men films.[47] Skip Woods, who had written Hitman for Fox, was later hired to revise and rewrite Benioff's script.[48] Benioff had aimed for a "darker and a bit more brutal" story, writing it with an R rating in mind, although he acknowledged the film's final tone would rest with the producers and director.[43]

text: Deadpool had been developed for his own film by Reynolds and David S. Goyer at New Line Cinema in 2003, but the project fell apart as they focused on Blade: Trinity and an aborted spin-off.[19] Benioff wrote the character into the script in a manner Jackman described as fun, but would also deviate from some of his traits. Similarly, Gambit was a character who the filmmakers had tried to put in the previous X-Men films. Jackman liked Gambit because he is a "loose cannon" like Wolverine, stating their relationship echoes that of Wolverine and Pyro in the original trilogy.[6] David Ayer contributed to the script.[49] Benioff finished his draft in October 2006 and Jackman stated there would be a year before shooting,[50] as he was scheduled to start filming Australia during 2007.[51] Before the 2007–2008 Writers Guild of America strike began, James Vanderbilt and Scott Silver were hired for a last-minute rewrite.[52]

text: Gavin Hood was announced as director of the project in July 2007 for a 2008 release.[53] Previously, X-Men and X2 director Bryan Singer and X-Men: The Last Stand director Brett Ratner were interested in returning to the franchise,[54][55] while Alexandre Aja and Len Wiseman also wanted the job.[56][57] Zack Snyder, who was approached for The Last Stand, turned down this film because he was directing Watchmen.[58] Jackman saw parallels between Logan and the main character in Hood's previous film Tsotsi.[12] Hood explained that while he was not a comic book fan, he "realized that the character of Wolverine, I think his great appeal lies in the fact that he's someone who in some ways, is filled with a great deal of self-loathing by his own nature and he's constantly at war with his own nature".[59] The director described the film's themes as focusing on Wolverine's inner struggle between his animalistic savagery and noble human qualities. Hood enjoyed the previous films, but set out to give the spin-off a different feel.[60] Hood also suggested to make the implied blood relation of Wolverine and Sabretooth into them explicitly being half brothers, as it would help "build up the emotional power of the film".[61] In October, Fox announced a May 1, 2009, release date and the X-Men Origins prefix.[14]

text: Filming

text: Preliminary shooting took place at the Fox Studios Australia in Sydney, during late 2007.[62] Principal photography began on January 2008 in New Zealand.[63] One of the filming locations that was selected was Dunedin.[64] Controversy arose as the Queenstown Lakes District Council disputed the Department of Labour's decision to allow Fox to store explosives in the local ice skating rink. Fox moved some of the explosives to another area.[65] The explosives were used for a shot of the exploding Hudson Farm, a scene which required thirteen cameras.[66] Jackman and Palermo's Woz Productions reached an agreement with the council to allow recycling specialists on set to advise the production on being environmentally friendly.[67] According to Hood, the screenplay was still incomplete as filming begun, with the production in Australia receiving regularly new script pages from Los Angeles, at times in the night before shooting.[68]

text: Filming continued at Fox (where most of the shooting was done) and New Orleans, Louisiana.[14] Cockatoo Island was used for Stryker's facility; the enormous buildings there saved money on digitally expanding a set.[12] Production of the film was predicted to generate A$60 million for Sydney's economy.[69] Principal photography ended by May 23. The second unit continued filming in New Zealand until March 23 and were scheduled to continue filming for two weeks following the first unit's wrap.[70] This included a flashback to Logan during the Normandy Landings, which was shot at Blacksmiths, New South Wales.[71]

text: Hood and Fox were in dispute on the film's direction. One of the disputes involved the depiction of Wolverine as an Army veteran with post-traumatic stress disorder, with the executives arguing that audiences would not be interested in such heavy themes.[72] The studio had two replacements lined up before Richard Donner, husband of producer Lauren Shuler Donner, flew to Australia to ease on-set tensions.[73] Hood remarked, "Out of healthy and sometimes very rigorous debate, things get better. [...] I hope the film's better because of the debates. If nobody were talking about us, we'd be in trouble!"[12] Hood added he and Thomas Rothman were both "forceful" personalities in creative meetings but they had never had a "stand-up" argument.[74] In January 2009, after delays due to weather and scheduling conflicts, such as Hugh Jackman's publicity commitments for Australia, production moved to Vancouver, mostly at Kitsilano Secondary School and in University of British Columbia.[75][76] Work there included finishing scenes with Ryan Reynolds, who had been working on two other films during principal photography.[77]

text: Gavin Hood announced that multiple "secret endings" exist for the film and that the endings will differ from print to print of the film.[78] One version shows Wolverine drinking in a Japanese bar. The bartender asks if he is drinking to forget, to which Logan replies that he is drinking to remember.[79] The other ending shows Weapon XI on the rubble of the destroyed tower, trying to touch his severed head.[80]

text: Effects

text: More than 1,000 shots of Wolverine have visual effects in them, which required three effects supervisors and seventeen different companies to work on the film.[81] The most prominent was Hydraulx, who had also worked in the X-Men trilogy and was responsible for the battle in Three Mile Island and Gambit's powers. Many elements were totally generated through computer-generated imagery, such as the adamantium injection machine, the scene with Gambit's plane and Wolverine tearing through a door with his newly enhanced claws.[81] CG bone claws were also created for some scenes because the props did not look good in close-ups.[82] Extensive usage of matte paintings was also made, with Matte World Digital creating five different mattes for the final scene of the film—a pullback depicting the destroyed Three Mile Island—and Gavin Hood handing company Hatch Productions pictures of favelas as reference for the Africa scenes.[81][82]

text: Music

text:
X-Men Origins: Wolverine
Film score by Harry Gregson-WilliamsReleased
April 28, 2009 (2009-04-28)[83]Genre
Film scoreLength
45:32Label
Varèse Sarabande, catalog #066967Harry Gregson-Williams chronology

The Chronicles of Narnia: Prince Caspian (2008)The Chronicles of Narnia: Prince Caspian2008

X-Men Origins: Wolverine (2009)

The Taking of Pelham 123 (2009)The Taking of Pelham 1232009

X-Men soundtrack chronology

X-Men: The Last Stand  (2006) X-Men: The Last Stand2006

X-Men Origins: Wolverine (2009) X-Men Origins: Wolverine2009

X-Men: First Class  (2011) X-Men: First Class2011

text: Composed by Harry Gregson-Williams, the score for X-Men Origins: Wolverine was mixed by Malcolm Luker, engineered by Costa Kotselas, and featured Martin Tillman on the electric cello.[84]

text: In a 2008 interview with Christopher Coleman of Tracksounds.com, Gregson-Williams said that Hood attracted him to the project, adding: "I happened to meet him at the Golden Globes dinner about three years ago. That night we were both nominees, but both losers. He had been nominated for Tsotsi and during the dinner I had spoken to him and he seemed like a really smart and creative guy...and into music. So I was really delighted when I got a call to meet him and discuss the possibilities for Wolverine."[85]

text: In late March 2009, Jon Burlingame of Variety was at the Newman Scoring Stage at 20th century-Fox to listen and report on the recording of the score.[86] Gregson-Williams conducted "a 78-piece orchestra and a 40-voice choir (20 male, 20 female)" to achieve the sound.[86] At the time of his visit, Burlingame noted that the choir was singing "stanzas from an ancient Norse poem in Old Icelandic" to underscore what would be first track, "Logan Through Time."[86] Director Gavin Hood commented on Gregson-Williams' style, saying: "Harry's challenge is to give us operatic scale, but also keep it intimate and human. Harry's music has a kind of muscular confidence and strength that is very useful for the action, but he also has tremendous soul."[86] Hood also called the recording performance "frigging brilliant!"[86]

text: Release

text: Leaked workprint

text: On March 31, 2009, a full-length DVD-quality workprint of the film without a timecode or watermark, with some unfinished effects shots, a different typeface for titles and casting, and alternate sound effects was leaked online.[87][88][89] The studio said it would be able to determine the source of the leak using forensic marks in the workprint. The FBI and MPAA began investigating the illegal posting.[88] Fox estimated the workprint was downloaded roughly 4.5 million times by the time Wolverine was released in theaters.[90] As of 2014, Fox estimates that a minimum of 15 million people downloaded it.[91]

text: The print contained a reference to Rising Sun Pictures, an Australian visual effects company working on the film.[87] The company denied that they ever had a full copy of the film.[92] Executive producer Thomas Rothman noted the leaked version lacked the ten minutes added during pick-ups in January 2009.[89][92] However, the theatrical version of the film has no extra scenes that were not included in the leaked workprint.[93] Both versions run exactly 107 minutes, but director Gavin Hood said "another ending exists that features the film's villain."[89] The leak was traced down to a Bronx man named Gilberto Sanchez, who had bought an unlicensed DVD copy from a Korean man and later uploaded it under the name "SkillyGilly".[94][95]

text: Roger Friedman, a gossip reporter for Fox News—a channel also owned by Fox's parent company News Corporation—was fired for writing a review of the film using the leaked copy he downloaded from the Internet.[96] He described how easy it was to find and download the film even if the original source of the leak was no longer available on the web. The article he wrote for his column on the Fox News website was immediately removed.[97]

text: Marketing

text: Among the companies which provided tie-in merchandising were 7-Eleven,[98] Papa John's Pizza,[99][100] and Schick.[101] Hugh Jackman also posed as Wolverine for the Got Milk? campaign.[102] In February 2009, Hasbro released a film-related toyline, featuring action figures and a glove with retractable claws.[103] In April, Marvel debuted a new comic series, Wolverine: Weapon X, which writer Jason Aaron said that while not directly influenced by the film, was written considering people who would get interested in Wolverine comics after watching the film.[104]

text: In December 2009, Hot Toys released the 12 inch highly detailed figure of Wolverine based on the movie with Hugh Jackman's likeness.

text: Video game

text: Raven Software developed a video game based on the film with the same name, which Activision Blizzard published.[105] Marc Guggenheim wrote the script,[106] while Hugh Jackman, Liev Schreiber,[107] and will.i.am voiced their characters from the film.[108] The storyline goes beyond the one from the film, including other villains from the comics such as the Sentinels and the Wendigo,[109] as well as the appearance of Mystique, who was in the other three X-Men films.[110]

text: Theatrical run

text: X-Men Origins: Wolverine was released on April 29, 2009, in the UK, Denmark, South Africa, and Australia; April 30, 2009 in the Philippines and in the Dominican Republic; and May 1, 2009 in the United States and Canada. A contest was held on the official website to determine the location of the world premiere on April 27. In the end, the Harkins at the Tempe Marketplace in Tempe, Arizona won the premiere.[111]  The release in Mexico was delayed until the end of May due to an outbreak of H1N1 flu in the country.[112] On April 22, nine days before the release of the film, it was reported that X-Men Origins: Wolverine was outselling Iron Man "3-to-1 at the same point in the sales cycle (nine days prior to the film's release)."[113]

text: During its first day of wide release, Wolverine took in an estimated $35 million,[114] with almost $5 million of that from midnight showings.[115] The earnings placed the film as the 16th highest-grossing opening day ever (22nd with ticket-price inflation).[114] It went on to be number one film at the box office with a total of $85 million.[116][117] Among summer kick-offs, it ranked fifth behind Spider-Man, X2, Spider-Man 3, and Iron Man and it was in the top ten of comic book adaptations.[117] The opening was lower than the last film in the franchise, X-Men: The Last Stand, as well as X2, but higher than X-Men, the first film in the series.[117]

text: The worldwide opening was over $158.1 million, but Fox stated that some markets underperformed, mostly due to the leaked workprint in countries with illegal downloading problems.[90] However, in an article for the "piracy issue" of Screen International magazine, film critic John Hazelton was doubtful of this explanation, writing that the film's initial performance was "uncertain" as the outbreak of swine flu in territories with the worst copyright infringement problems means that other territories did not compare at all.[118]

text: While it has received mixed reviews from critics, the film has been a financial success at the box office. According to Box Office Mojo Wolverine has grossed approximately $179,883,157 in the United States and Canada. It took in another $193,179,707 in other territories, giving it a worldwide total of $373,062,864.[3]

text: Home media

text: On September 15, 2009, 20th Century Fox Home Entertainment released X-Men Origins: Wolverine on DVD and Blu-ray disc. The two-disc Blu-ray includes commentary by Hood, another commentary by producers Lauren Shuler Donner and Ralph Winter, the featurette "The Roots of Wolverine: A Conversation with X-Men creators Stan Lee and Len Wein", the featurette "Wolverine Unleashed: The Complete Origins", 10 character chronicles, two more featurettes, a trivia track, deleted scenes with commentary from Hood, two alternate sequences, a Fox Movie Channel premiere featurette and imdb BD Live technology. Disc two of the set includes a digital copy.[119] In addition, a Wal-Mart exclusive 3-disc set, which includes a standard DVD copy of the film was also released.[120] The two-DVD special edition includes the two commentaries, the featurette with Stan Lee and Len Wein, an origins featurette, deleted and alternate scenes, and an anti-smoking PSA on disc one; disc two has a digital copy of the film. The single-disc DVD release has the origins featurette and anti-smoking PSA.[119]

text: Wolverine was the highest selling and most rented DVD release of the week, selling over three million copies,[121] 850,000 of them on Blu-ray.[122] Through its first six weeks the DVD has sold 3.79 million copies, generating $64.27 million in sales.[123]

text: Reception

text: On review aggregator website Rotten Tomatoes the film has an approval rating of 38% based on 252 reviews, with an average rating of 5.1/10. The site's critical consensus reads, "Though Hugh Jackman gives his all, he can't help X-Men Origins: Wolverine overcome a cliche-ridden script and familiar narrative."[124] On Metacritic the film has a score of 40 out of 100, based on 39 critics, indicating "mixed or average reviews".[125] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[126]

text: Richard Corliss of TIME commented on the film's standing among other Marvel films, saying that it is "an O.K., not great, Marvel movie that tells the early story of the prime X-Man, and attempts to make it climax in a perfect coupling with the start of the known trilogy." He also said that "superhero mythologies can be so complicated, only a lonely comic-book-reading kid could make sense of it all."[127] James Mullinger of GQ also commented on the structure of the story in saying that the "film clumsily tries to explain the origins of James [Howlett], AKA Wolverine, which had wisely only ever been briefly referred to in the original X-Men saga. In doing so, it creates a fairly bland plot which is full of holes."[128] Lou Lumenick of the New York Post was generally more favorable towards Origins, stating "Fortunately, Jackman is well-matched with Schreiber, who can sneer with the best of them and wears fangs well. The two have three spectacular battles together before squaring off against a formidable enemy atop a nuclear reactor."[129] Peter Rainer of The Christian Science Monitor also praised Jackman's performance, saying that "Hugh Jackman demonstrates that you can segue effortlessly from a tuxedoed song-and-dance man at the Oscars to a feral gent with adamantium claws and berserker rage."[130] Claudia Puig of USA Today considered the movie "well-acted, with spectacular action and witty one-liners".[131]

text: Roger Ebert gave the film two stars out of four and asked about the title character, "Why should I care about this guy? He feels no pain and nothing can kill him, so therefore he's essentially a story device for action sequences."[132] James Berardinelli gave Wolverine two and a half stars out of four, calling the action scenes competently executed but not memorable, and considering that when dealing with Wolverine's past "there's little creativity evident in the way those blanks are filled in", and that the revelations made Wolverine "less compelling".[133] Comparatively, Bill Gibron of AMC's Filmcritic.com website gave the film a positive "4.0 out of 5 stars," saying that although Hugh Jackman is "capable of carrying even the most mediocre effort, he singlehandedly makes X-Men Origins: Wolverine an excellent start to the summer 2009 season." He predicted "there will be purists who balk at how Hood and his screenwriters mangle and manipulate the mythology;" and further said that "any ending which leaves several characters unexplained and unaccounted for can't really seal the full entertainment deal."[134]

text: Regarding Wolverine within the context of the X-Men film series, Tom Charity of CNN commented: "Serviceable but inescapably redundant, this Wolverine movie does just enough to keep the X-Men franchise on life support, but the filmmakers will have to come up with some evolutionary changes soon if it's going to escape X-tinction."[135] Similarly, A. O. Scott of The New York Times expressed that "X-Men Origins: Wolverine will most likely manage to cash in on the popularity of the earlier episodes, but it is the latest evidence that the superhero movie is suffering from serious imaginative fatigue."[136] On a more negative note, Philip French of The Observer said that the film's "dull, bone-crushing, special-effects stuff" is "of interest only to hardcore fans who've probably read it all in Marvel comics."[137]

text: Sukhdev Sandhu of The Daily Telegraph stated that "Wolverine is an artificial stimulus package of the most unsatisfying kind. Aggressively advertised and hyped to the hills, it will no doubt attract full houses at first; after that though, when word-of-mouth buzz-kill goes into overdrive, there's bound to be widespread deflation and a palpable feeling of being conned."[138] Similarly, Orlando Parfitt of IGN (UK) praised the performances of the actors and the action scenes, but stated that the film felt underdeveloped: "There's an enjoyable time to be had with Wolverine, but it's also somewhat unsatisfying."[139] Furthermore, Scott Mendelson of The Huffington Post gave the film a grade of "D", noting that "Wolverine was the lead character of [the X-Men] films, and we've already learned everything we need to know from the films in said franchise," adding that "the extra information given here actually serves to make the character of Logan/Wolverine less interesting."[140] Steven Rea also felt that the film injured the character by proving that "how the hero acquired his special powers turns out to be a whole lot less interesting than what he does with them", while also being "a mash-up of meaningless combat sequences (meaningless because Logan/Wolverine is just about unstoppable), sub-par visual effects, template backstory, and some goofy Liev Schreiber-as-a-villain thespianizing".[141]

text: Hugh Jackman later confessed being unhappy with the final result of X-Men Origins: Wolverine. The actor wanted primarily a film that would deepen the Wolverine character, but "somehow the first Wolverine movie ended up looking like the fourth X-Men — just with different characters." He tried to avert the same results while doing the next solo film for the character, 2013's The Wolverine.[142]

text: Two cases exist of adolescents injecting themselves with elemental mercury after having seen X-Men Origins: Wolverine and incorrectly believing this would convert their bones to metal similar to Wolverine.[143][144]

text: Sequels

text: Wolverine was set to be the first of a series of X-Men Origins prequels, with the other being focused on Magneto.[145] However, X-Men Origins: Magneto entered development hell and was eventually canceled. X-Men: First Class, released in 2011, was another prequel to the series. Set in 1962, the film features a young Professor X and Magneto and the foundation of the X-Men.[146][147] In 2013, a second Wolverine film was released titled The Wolverine, set years after the events of X-Men: The Last Stand, but mostly serving as a  stand-alone sequel.[148] The follow-up to First Class, 2014's X-Men: Days of Future Past, was confirmed to erase the events of X-Men Origins: Wolverine through retroactive continuity.[149] A third Wolverine film titled Logan was released on March 3, 2017. It is Hugh Jackman's last time portraying the character.[150] The 2016 spin-off film Deadpool and its 2018 sequel Deadpool 2 feature Ryan Reynolds reprising his role as the title character. Several jokes are aimed at the expense of the version of Deadpool in X-Men Origins: Wolverine due to the negative reaction of the character's portrayal.[151] A Deadpool 2 mid-credits scene depicts that film's version of Wilson traveling backwards in time to the events of X-Men Origins: Wolverine to kill the widely criticized Weapon XI interpretation of Deadpool.[152]


document_title: Temperance "Bones" Brennan

question_text: what episode did booth and bones get together

root

text: Temperance "Bones" Brennan

text: Character history[edit]

text: Temperance "Bones" Brennan is a forensic anthropologist who works in the Medico-Legal lab at the Jeffersonian Institute in Washington, D.C. She received her Ph.D. from Northwestern University, as stated in "The Girl in the Fridge". She has three doctorates, as referred to by Dr. Jack Hodgins in the episode "The Parts of the Sum in the Whole", in anthropology, forensic anthropology and kinesiology; it is implied that most of her work at the lab was related to either long-dead bodies or victims of genocide.[5][6]

tag: p

text: Her occasional contract work for the FBI shifted the focus of her work.[6]  She was paired with FBI Special Agent Seeley Booth, and helped to solve two difficult cases;[5][6] since then, they have worked together almost exclusively on modern-day murder cases.

text: Brennan works with a group of other well-qualified colleagues, including the entomologist Jack Hodgins, her boss and forensic pathologist Camille Saroyan, forensic artist Angela Montenegro, and a host of eager graduate students. Booth refers to her crew of colleagues as "squints", because they come to crime scenes and squint at evidence.  He is also responsible for her nickname, "Bones", which she initially detested.[5]

text: In the first-season finale (which aired on May 17, 2006), Brennan stated that she was born in 1976,[7] which would have made her either 29 or 30 (approximately the same age as Deschanel, who was born on October 11, 1976). In the fifth-season episode "The Death of the Queen Bee" (which aired nearly four years later, on April 15, 2010), it is implied that her then-current age was 33 years (based on Brennan's identification of a former high school classmate as the victim and statement that the classmate was 33).

text: First mentioned in season 1, Brennan has a love of dolphins, which she shared with her late mother: in the season one finale, "The Woman in Limbo", Brennan examines a custom-made belt with a dolphin on the buckle, which had belonged to her mother, and which she mentions having once borrowed without asking first.  Brennan's love of dolphins is highlighted again in season 2 episodes "The Titan on the Tracks", "The Killer in the Concrete" and "Stargazer in a Puddle", when she mentions the constellation Delphinus, (the Dolphin), her and her mother's favorite. In season 6, "The Doctor in the Photo", she is shown to wear a dolphin ring.

text: In "Mummy in the Maze", Brennan exhibited ophidiophobia when confronted with snakes, but later only shows a moment of fright when confronted with another snake in "The Mastodon in the Room". She takes note of this, voicing her observation that she only seems to lose her head around snakes when Booth is also "there to be jumped upon", and also she mentions that she once had a pet snake during high school. It should also be noted that, in "The Man in the Morgue," Brennan handled a snake without any trace of fear, even while Booth is in the room.

text: In season one, in "A Man on Death Row", Dr. Brennan expresses her stance on the death penalty; "I believe in the death penalty. There are certain people who shouldn't be in this world. The people who hacked hundreds of innocent children to death in Rwanda; beheaded them at their desks at school! The people who did that, they should be executed."  In "The Woman at the Airport", Dr. Brennan is shown to have a strong dislike for plastic surgeons, believing them to be no more than "glorified butchers with medical degrees", and this dislike is voiced again in season 4, in "Cinderella in the Cardboard".  In "The Woman in the Car", Dr. Brennan reveals that her third doctorate is in kinesiology, a field that would allow her and Angela to unravel how one of the bodies that had been found had been killed.

text: In season two, she expressed the desire to get a pet pig, whom she would have named "Jasper".  Brennan's expertise in kinesiology would again prove its worth in "The Truth in the Lye" (she could tell that one of the murder suspects was pregnant just from having observed her gait), in "The Girl with the Curl" (she could tell if one of the young beauty pageant contestants was suffering from scoliosis just by watching them perform on stage), and in "The Woman in the Sand" (while undercover with Booth, she was able to tell Booth exactly how to beat his opponent from just having watched his moves).  In "Judas on a Pole", she and her brother are identified as having the same blood type, blood type O.  In "Glowing Bones in the Old Stone House", she is shown to be a good cook: Booth's comment on her mac and cheese is that he'd "like to be alone with it".

text: In the season 3 episode, "Mummy in the Maze", it is revealed that Brennan's favorite superhero is Wonder Woman, and that she always goes as Wonder Woman to the Jeffersonian's Halloween party.  In "The Baby in the Bough", it is revealed that Brennan is a registered foster parent, at her brother's request, to take in his stepdaughters in case anything should happen to him and his girlfriend.  In the season 3 episode, "Intern in the Incinerator", Booth reveals that Brennan's favorite flower is a Daffodil, her second favorite flower is a Daisy, and her favorite planet is Jupiter.

text: In season 5, in "The Death of the Queen Bee", when asked if she'd had a pet rat, Brennan discloses that she, in fact, had a pet mouse, snake and some spiders.  During her time at Burtonsville high school, her only friend was the school custodian, Ray Buxley, with whom she would enjoy long, in-depth conversations on life and death, and who would also provide her with dead animals to dissect (Brennan having set out to become a forensic anthropologist,) and who would later be one of her books' biggest fans (she having named the killer in her first book, Bred in the Bone, after him).  According to the Burtonsville high school on-line yearbook entry on Brennan, in her senior year, she was a member of the Chemistry club and Math club, her interests were chemistry and mathematics, and she was a National Merit Scholar and an Academic All Star.

text: In the season 6 episode, "The Blackout in the Blizzard", Brennan mentions her pet iguana for the first time.  This same episode show that one of the number of scientific publications that Brennan reads is Medicinal Physics Quarterly, with one article on electrostatics and triboluminescence proving useful during the lab's power outage.  Further concerning her pet iguana in "The Truth in the Myth", as a part of his rehab from alcohol abuse, Vincent Nigel-Murry made apologies for, among other things, having borrowed her iguana one night, wearing him as a hat for a party. She comments that he must have taken good care of her iguana as she has observed nothing wrong with him and further expresses some surprise that Vincent Nigel-Murry was able to get her iguana to stay perched atop his head, to which he replies that he was good with ribbons.

text: In season 8, "The Tiger in the Tale", Booth mentions to Sweets that Dr. Brennan once took Peyote with Native Americans.

text: In season 11, "The Senator in the Street Sweeper", Dr. Brennan is mentioned to be a member of the Green Party of the United States along with Dr. Hodgins.

text: Family and early life[edit]

text: Although Brennan seemed to have a relatively normal childhood, her parents disappeared when she was 15 years old.[8]  Her older brother Russ, himself still an adolescent, was unable to care for her and she was put in the foster care system. By the time she started college she had been to twelve different schools and has specifically said that she hated the lack of consistency.[9]

text: There has been contradictory evidence about her time in the system; in one episode, Brennan stated that her grandfather got her out of the foster system,[10] but in a later episode, she indicates that she never knew her grandparents (possibly the two references are to two separate sets of grandparents, paternal and maternal).[11]  However, taking into consideration the fact that Brennan's parents had assumed new identities when she was 3-years-old, the grandfather who had taken her in from her time in the foster system may not have been her biological grandfather.

text: Her time in foster care was quite traumatic and abusive; Brennan indicated that she was once locked in the trunk of a car for two days because she broke a plate,[12] and in the episode "The Finger in the Nest", she reveals to Booth that she walked into her elderly neighbor's house to find the woman dead. In the same episode, she also mentions to Booth that her parents were very concerned about her afterwards, because she started faking her own death.  In Season 2, she mentions that during her time in the foster care system, she kept a list of foster homes she had been kicked out of on the bottom of her shoe.

text: In the first season she hands Booth the file on her parents' disappearance and he agrees to look into it as a personal favor.[13] It is later revealed in Season 2 that her parents, who were bank robbers specializing in safety deposit boxes, changed the family's identity after they stole some damaging FBI documents regarding the murder of an FBI agent and the false imprisonment of civil rights activist Marvin Beckett. Brennan's birth name was Joy Keenan.[7] Her mother (real name Ruth Keenan, known under the assumed identity of Christine Brennan) had hoped to someday return to her children and family, but made a tape for Brennan to watch on her 16th birthday in case that never happened.  Brennan later discovered that Ruth/Christine was murdered in 1993, two years after she and her husband went on the run.

text: Her father Max Keenan re-entered Brennan's life when she and her brother were being threatened by an old acquaintance, who turned out to be Booth's boss, Deputy Director Kirby.[14] Max evades capture after killing Kirby, and takes Russ into hiding to protect him.[14]  Later, Max allows Booth to arrest him in order to improve his relationship with his daughter.[11]  At trial, Max is acquitted of murdering Director Kirby (due in large part to a defense Booth indirectly came up with, positing an alternate theory of the crime in which Temperance was the killer instead, creating reasonable doubt), and he begins to rebuild his life.[15]

text: He temporarily works at the Jeffersonian as a guide for children visiting the place and demonstrates his brilliant talent as a former science teacher. However, Brennan is concerned about a convicted felon having access to a lab that investigates crimes.[16]  Max also introduces Brennan to her cousin Margaret Whitesell,[17] portrayed by Deschanel's real-life sister Zooey Deschanel.

text: Brennan is best friends with her coworker, Angela, saying in the 6th-season premiere she loves Angela "like a sister" and is going to be an aunt to Hodgins' and Angela's newborn child. It is revealed at the end of the season six finale "The Change in the Game" that Brennan is pregnant and the father is Booth.

text: In Season 7, episode 2 "The Hot Dog in the Competition", Brennan and Booth found out they were having a baby girl. Their daughter, Christine Angela Booth (named for Brennan's mother and her best friend), was born in a stable during the episode "The Prisoner in the Pipe".  In the Season 7 finale, "The Past in the Present", key evidence in the death of her friend, Ethan Sawyer, is linked to Brennan. Max convinces her to go on the run along with Christine, saying that if she is arrested, even if she is found innocent, she may never see her daughter again.

text: In Season 8 premiere, it is revealed that while on the run, Brennan was communicating with Angela, via flowers, and eventually used this as a way to communicate with Booth. Despite being on the run, Brennan risks her safety and decides to meet directly with Booth in a hotel room after months of being a single mother. Eventually, they arrest Christopher Pelant, who was the real murderer of Ethan Sawyer, and Brennan is allowed to return to her family. Although Pelant blackmails Booth to prevent him from accepting Brennan's proposal by threatening to kill five innocent people if Booth accepted, also warning Booth not to give a reason for his refusal, this threat is removed when the team manage to kill Pelant, and Booth and Brennan marry in the Season 9 episode 'The Woman in White'.

text: In the Season 10 episode, "The Eye in the Sky", Brennan learns that she is pregnant with her and Booth's second child.

text: Characterization[edit]

text: Throughout the course of the series, Brennan is portrayed as a straightforward, brilliant anthropologist, who lacks social skills. Her social ineptitude is especially apparent when it comes to sarcasm, metaphors which she often interprets literally, and pop culture jokes and is often the source of comedy in the show.[5] An example of this is when she mistakes Colin Farrell for Will Ferrell.[10] In earlier seasons, she was characterized as straightforward and unable to detect social cues – she states that Booth once told her that she "stinks at non-verbal communication"[18] – and was well-known within the FBI for being extremely difficult to work with. She began to acknowledge her lack of sensitivity after Booth bluntly told her outright that she was "bad with people" in "A Boy in a Tree". Her lack of "political savvy" and social skills was also a reason why she was passed over for Dr. Camille Saroyan as head of the Jeffersonian in Season 2. Other characters have described her as "no fun"[19] and "a rigid traditionalist".[9]

text: She had a difficult adolescence, and it is implied, often by Sweets, that her withdrawn social tendencies are a defense mechanism. She also sometimes struggles in identifying and explaining her emotions, and takes comfort in the rationality of her anthropological discipline. Although it has been stated that Brennan was based on a person with Asperger syndrome, this has never been confirmed in the plot of the series.[20]  The creator of the series has stated that the character was never labeled as having the syndrome in order to increase the appeal of the show on network television.[21]  This influence on her character also helps to explain her extreme rationality in early seasons, as well as some of her social difficulties. Brennan is a self-proclaimed atheist and often points out what she believes to be the irrationality of religious and spiritual beliefs.  This has led to more than one argument with Booth, who is a devout Roman Catholic; he becomes particularly irate when she compares less common religions, such as voodoo, to Christianity.[22] During the Sleepy Hollow crossover episode "Dead Men Tell No Tales", Sleepy Hollow protagonist Ichabod Crane notes that Brennan is so sceptical that she would dismiss the demon Moloch — the primary antagonist in the first two seasons of Sleepy Hollow — as nothing more than a tall man with a skin condition, although this does leave him reassured that she will not realise the nature of the secret tomb they have uncovered underneath the White House.

text: Brennan is a bestselling author, who has been on the New York Times Best Seller List for 18 weeks.[23]  She is trained in three types of martial arts,[22][24] has hunting licenses in four states,[22] and has a legally registered gun[5] as well as a diving certificate.[25]  She promised to consider becoming a vegetarian after seeing how pigs were slaughtered (which was also the way her mother had been killed).[7] However, in "The Tough Man in the Tender Chicken" (season 5, episode 6) Angela cites health reasons for Brennan's vegetarian diet.  Brennan is also a trained amateur highwire performer,[26] and speaks at least seven other languages, including Spanish,[27] French,[5] Latin,[28] Chinese,[29] Pashto[30] Japanese,[31] Norwegian (although she says only "skull" and avers that, as a forensic anthropologist, this is a word she knows "in just about every language"),[12] Farsi, and German.[32]  She has also admitted to knowing a bit of Russian.[26] She often says she does not "put much stock in psychology" and makes a point of noting that Dr. Sweets is not a real scientist as he "bases his life on the vagary of psychology and emotions".

text: Brennan's personality undergoes significant changes throughout the course of the series. Her thinking becomes less rigid in later seasons, something which is observed by Dr. Gordon Wyatt, who notes that she is now able to distinguish the difference between accuracy and truth.[33] In season 4, Booth takes her along to his interrogations and helps her learn how to set aside her scientific perspective and relate with the victim's family and suspects on a more interpersonal level. She is also able to put aside her rationality to support her friends in sometimes irrational pursuits, such as Angela's quest to raise money to save a pig from slaughter,[34] and to comfort Booth, even using science or quoting directly from the Bible to rationalize his religious beliefs. Her sensitivity and empathy towards others are also much improved, seen quite strongly when she comforts his grandfather,[35] and when she attends a funeral so that the victim's single mother won't be alone.[17] She also displays more "typical" human emotions when in extreme stress. One example of this is her fear of snakes in "The Mummy in the Maze," when a girl is in the process of being scared to death in a room, the floor teeming with snakes. This goes against her empirical nature, as, when Booth tells her that the snakes aren't venomous, she states that she is aware, but still refuses to step in the room, causing Booth to carry her on his back.

text: Brennan begins to feel both dissatisfaction and discomfort with her work toward the end of the fifth season.[36]  She also sees some futility in her work, stating that no matter how many killers they catch, there will always be more.[37]  To help her gain new perspective, she later decides to head up an anthropological expedition to Indonesia for a year to identify some ancient proto-human remains, after mulling it over during the episode.[37] However, 7 months later, she and everyone else return to D.C. in order to save Cam's job, and they all decide to stay.

text: As season 6 progresses, Brennan must confront her feelings for Booth, whom she rejected in the 100th episode from the previous season. Having returned from 7 months of introspection, she has come to terms with her romantic affection towards him, even admitting that she regretted not having given them a chance together, midway through the season. However, Booth returns from Afghanistan with a new love interest, war correspondent Hannah Burley, whom Brennan befriends. When Hannah rejects Booth's marriage proposal, Brennan must help him through the emotional fallout.

text: In the second to last episode of season 6 Booth and Brennan had sex, consummating their relationship, and it is revealed in the last few moments of the season finale that as a result, Brennan has become pregnant, with Booth the father. Throughout the episode ("The Change in the Game") Brennan has been seen asking Angela questions and making comments that make her seem excited and apprehensive; when she sees that Booth is happy with the news, she also seems overjoyed. This reflects her earlier desire to become a mother, circa season 4, as well as her desire that Booth be the father of the baby.

text: In the Season 8 episode "The Shot in the Dark", Brennan is shot while working in the lab late at night.  While undergoing emergency surgery, she experiences a vision of meeting with her deceased mother, Christine Brennan.  Initially dismissing this as a hallucination, Brennan experiences several more visions throughout the episode. During these discussions, it's revealed that Brennan's hyper rationalization originates from the very last piece of advice her mother gave to her (before going on the run) which was to use her brain instead of her heart.  While that advice enabled Brennan to survive all these years, the vision of her mother explains, it's now time for Brennan to do more than just survive.

text: Since entering a relationship with and marrying Booth and then having children, the character has undergone development personally and is shown to be a caring wife and protective mother. She would often put aside her own atheistic views and uses her hyper-rationality to justify Booth's religious beliefs, as shown in season 8 where she references the Bible in order to persuade Booth to forgive his mother[38] and in the season finale where she agrees to a church wedding, rationalizing that she could appreciate the "beauty" of the ceremony and its significance to Booth.[39]

text: Relationships[edit]

text: Brennan has had a number of relatively short relationships, including an ill-fated date with a man who turned out to be a murderer[40] and the re-kindling of a romance with her former thesis supervisor.  She has stated that although she does not always feel the need for a committed emotional relationship, she has engaged in casual relationships to "satisfy biological urges".[41]  In one episode, she was spending time with two men, one for his intelligence and the other for his sexual skills.[42] In Season 5, episode "The Plain in the Prodigy", she tells Booth she lost her virginity at the age of 22 and when asked why she waited so long, she said it was because the decision was "important to her". FBI psychologist Lance Sweets postulates in a number of episodes that Brennan's apprehension over having relationships is largely due in part to the abandonment and abuse she experienced as a teenager after her parents disappeared. It is said that she "hides" herself behind a front of hyper-rationalism and she always keeps people at arms' length, except for those closest to her (namely FBI partner Seeley Booth and best friend Angela Montenegro). After much character growth, Temperance Brennan is now married to her principal love interest of the series Seeley Booth, and they have a daughter (Season 7) and a son together.

text: Seeley Booth[edit]

text: FBI Special Agent Seeley Booth is Brennan's husband and partner, and the principal liaison between the Jeffersonian and law enforcement agencies. Prior to their marriage, he is also Brennan's principal love interest throughout the series. Although his working style initially clashed with Brennan's,[5] they have since become full-fledged partners.  Their compatibility has become one of the central points of the show, with many new characters mistaking them for a couple and co-workers, especially Angela, constantly speculating that they were "more than partners".[22] Booth and Brennan have repeatedly risked their safety to save each other, including when Booth took a bullet meant for Brennan.[23]  After Booth rescues Brennan from the corrupt Agent Kenton, Booth lifts her off the hook she was hung on by putting her tied hands around his neck even though he himself was severely injured.[43] In "Two Bodies in the Lab", in season 1, and in "The Rocker in the Rinse Cycle", in season 5, Brennan and Booth's mutual love for Foreigner's Hot Blooded is mentioned; Booth even refers to it as 'their song' in "The Rocker in the Rinse Cycle". Brennan once commented to Dr. Gordon Wyatt (Stephen Fry) that she "[couldn't] think of anything [she] wouldn't do to help Booth."[44] Brennan's novels are also dedicated to him and the character Special Agent Andy Lister is based on him even though she still denies it.

text: Initially Brennan was mostly dismissive of Booth due to their opposing worldviews and work styles – which is a source of friction and banter between them. Although she refused to admit it at first, Brennan enjoyed working with him from the beginning, even after their falling out when Booth got her drunk and "fired" her, and, in Season 1, she cajoled him into launching an investigation after finding three bone fragments on a golf course so he could work with the Jeffersonian team on the case despite the fact that the FBI technically had no jurisdiction.[13] She often unknowingly offends him on a number of occasions during the first few seasons with her tactlessness, only realizing after being gently admonished by Angela or another member of the team.[45][46][47] She comes to admire his ability to connect with people and read behavioral cues when interrogating suspects after coming to terms with her own lack of social skills. After finding out about his abusive childhood and haunted past in the Army, she also begins to respect him as a person. Booth, who is particularly taciturn in revealing emotions or speaking about his past, begins to open up to and confide in her. Since entering a relationship with (and eventually marrying) Booth, she is shown to be extremely supportive of him,[48][49][50] even at the expense of her friendship with Angela.[19] Additionally, she put aside her own misgivings several times for Booth's benefit; for example, she agrees to have Christine christened into the Catholic church and referenced the Bible when trying to talk Booth into forgiving his mother.

text: Brennan acquired the nickname "Bones" from Booth. She initially disliked it but comes to regard it with affection. Booth and his son Parker are the only characters in the show she permits to use it and the former rarely addresses her by her first name or "Tempe".

text: In Season 2 Brennan shot and killed a person for the first time while working on a string of murders connected to serial killer Howard Epps. She was forced to pull the trigger after Epps' accomplice attacked and injured Booth with a pipe. At the end of the episode she confides in Booth of her conflicted feelings and finds comfort in the fact that Booth understood how she felt.[51]

text: The relationship between Brennan and Booth has often become strained when either partner has a significant other. For example, Booth was quite irritable when Brennan dated Agent Sully,[52] and their relationship was also strained when Booth's brother Jared was showing an interest in Brennan. Brennan constantly needled Booth while he was dating Tessa.

text: When Brennan decided that she wanted to have a baby, she asked Booth if he would be the sperm donor. He agrees to Brennan's request at first, but subsequently struggles with the thought of not being involved in the life of his prospective child. Eventually he tells Brennan he cannot let her have his child if he is not allowed to be a father to it. Soon thereafter, it is discovered that he has a (benign) brain tumour.[53] He has to undergo surgery, and though the surgery is successful, a poor reaction to anesthesia left him in a coma for several days. While in his coma, Brennan reads to him from her new novel, and he has an elaborate dream in which Brennan is his wife and that she is pregnant, and that the staff at the Jeffersonian play the characters in the novel. When he awakens, he initially suffers from amnesia, not recognizing Brennan.[54][55]

text: Although for the majority of the series Booth and Brennan denied that their relationship was anything more than friendly professionalism, they admitted to Dr. Sweets that they kissed and nearly spent the night together after their very first case together. After this discussion, Booth attempted to convince Brennan to give a relationship a try. However, she declined, telling him that she, unlike him, is not a gambler, and isn't able to take that kind of a chance.[6] They have subsequently attempted to date other people,[56] although the fact that Booth once comments that he regards Brennan as his "standard" for other women suggests that he, at least, has not completely moved on. Brennan does admit to her best friend Angela Montenegro that as time has gone on, she is unsure if she wants to keep doing consulting work for the FBI, citing that she is tired of murderers and victims, and is constantly worried that something will happen to Booth and she will be unable to save him. In the climax of Season Five, Brennan and Booth part ways for a year – he goes to Afghanistan while she leaves for the Maluku Islands in Indonesia – but they promise to meet, one year from that day, at the Lincoln Memorial.[37]

text: In the beginning of season six (7 months later), they reunite in the stated place. Booth came back from Afghanistan, along with everyone else from various places, to help save Cam's job. They all decided to stay. Booth has a serious new girlfriend, Hannah, and despite the hints of her colleagues at Brennan's unconscious jealousy of their relationship, she vehemently denies feeling uncomfortable with the new situation. Through subsequent episodes her jealousy and resentfulness began becoming more apparent as Hannah and Booth started becoming more serious. In the episode "The Doctor in the Photo", Brennan realizes she is in love with Booth and confronts him, but she is let down when Booth says that he loves Hannah and she is not a "consolation prize", prompting Brennan to conclude that she has missed her chance, later reflecting that she should move on. In episode 10 of the sixth season "The Body in the Bag", Booth tells his girlfriend about the incident, stating that it (his love for Temperance) was all in the past and whatever he felt, he does not feel it anymore, except for Hannah. However it was clear in the following episode that he still has feelings for Brennan.

text: Despite her apparent resolve to move on, Brennan later showed sorrow when her father noted that he always thought she and Booth would end up together. During a subsequent case involving a polygamist who would spend the night with his first wife on the night he was scheduled to sleep alone, Booth commented that, while you can love several people, there is only ever one person you love the most, prompting Brennan to ask what happens when you push that person away, something Booth answered saying that it never truly leaves, adding further weight to the implication that he still has feelings for Brennan. Following Hannah's departure, the two have begun to reconnect, to the point that, during a case that saw the two trapped in an elevator during a blackout for several hours, Booth and Brennan admitted that they are each interested in a relationship, but require more time to sort out their own feelings before they make such a commitment.

text: In episode 22 of season 6, "The Hole in the Heart", which saw the death of Vincent Nigel-Murray (Brennan's favorite intern) at the hands of renegade sniper Jacob Broadsky, Booth has Brennan stay at his apartment for her safety.  Later that night, Brennan, still overcome with shock and grief over Vincent's death, goes into Booth's bedroom and they talk about the events of that day, and then allows Booth to hold her in bed. It is implied in the following day that they had sex.  In the last scene of the season 6 finale, "The Change in the Game", after the birth of Angela and Hodgins' son, Brennan tells Booth that she is pregnant and that he is the father.

text: At the start of Season 7, a very pregnant Brennan and Booth are a couple but are going back and forth between apartments. Booth suggests that they should have their own place, whereas Brennan wants Booth to move into her apartment. It causes a minor rift between them, but is resolved when Booth admits why he wants to move into a new house and Brennan having some time to think over it says it's a good idea because she'd need him practically, emotionally and sexually. In episode 6, "The Crack in the Code," they decide to buy a two-story house in the suburbs—which they jokingly called "The Mighty Hut"—that Booth found at a police auction and renovate it, (according to a mailed check sent to Brennan in "The Heiress in the Hill", in season 9, the "Mighty Hut"'s address is "1297 Janus Street, Washington DC, 20002").  In episode 7, "The Prisoner in the Pipe", Brennan goes into labor inside a prison just as she discovers who killed in an inmate there and Booth rushes her out with the intention to take her to the nearest hospital, but they both know she won't make it in time. This leads them to driving to an inn close to the prison. At first, they are rejected and are told to leave, but after some desperate pleading from an agonized Brennan, the two of them are led to a stall where she gives birth to their daughter, Christine Angela Booth (named after Temperance's mother, Christine Brennan, and Temperance's best friend Angela Montenegro). Some time after the delivery, Temperance and Seeley both go back to their home where they celebrate with their friends from the Jeffersonian, who brought dinners that would last a few nights as well as a few baby supplies. In "The Past in the Present", Brennan becomes the prime suspect in the murder of her schizophrenic friend, Ethan Sawyer, after supposedly threatening to kill Christine. Max advises Brennan to get off the grid and go into hiding, but she and Booth do not follow up at this suggestion. However, at the end of the episode, after Christine is christened in a Catholic church, it is revealed Brennan decided to take her father's advice and flee with her daughter until her name is cleared. Just before Brennan flees town with Christine, she tells Booth she loves him and not just because of their daughter. After she is cleared of Sawyer's murder, Brennan, Booth and Christine resume their family life.

text: At the end of Season 8, Brennan finally decides to marry Booth. However, their plans are ruined when a vengeful Christopher Pelant blackmails Booth, threatening to kill five random people if Booth marries Brennan. Booth calls off the wedding, but does not explain the real reason to Brennan.  Brennan is devastated but pretends to be fine with this.[57][58] In the season 9 premiere, Brennan fears that since Booth turned down her proposal, she fears that the love from their life is fading. After talking with bartender Aldo Clemens, a former priest and Army chaplain Booth confessed to, she realizes that it was uncharacteristic for Booth to suddenly cancel the wedding as he believed in marriage and that he likely had a legitimate reason to do so. Despite her colleagues' anger at Booth, she decides to stay with him, telling him that she understands that he has his reasons and has faith that he will resolve the issue. In the episode 4, "The Sense in the Sacrifice", after Booth singlehandedly tracks Pelant down through an abandoned building and kills him with a single gunshot, he reveals to her that Pelant had blackmailed him. Pelant had threatened to kill five innocent people if Booth continued with the wedding or went to the police or FBI. At the end of the episode he proposes and she happily accepts; unknown to them, Caroline, Angela and Hodgins witnessed it via the security cameras. In "The Woman in White", Booth and Brennan marry at a small garden ceremony outside the Jeffersonian.

text: Their infant son Hank Jr. (named after Booth's grandfather) was born off-screen sometime after season 10 and before the beginning of season 11.

text: Tim "Sully" Sullivan[edit]

text:
Brennan had a brief relationship with FBI Agent Tim Sullivan (Eddie McClintock), also known as Sully, whom she met while on a case when Booth was in therapy due to his grief-induced rage over his self-perceived role in the death of serial killer Howard Epps. Sully asked Dr. Brennan out on a date after their case was completed, and they began a relationship.[52]
Their relationship ended, however, when Sully decided to sail a boat down to the Caribbean, and Brennan declined to leave the Jeffersonian to go with him despite Angela trying to persuade her to follow him;[29] psychiatrist Doctor Gordon Wyatt (Stephen Fry) speculated that this was due to Brennan being unable to live a life without purpose.
Despite Dr. Wyatt's original perception as to why she stayed, there exist strong indications, especially through Angela's observations of the situation, that the real reason she stayed was because of Booth. Sully returns in Season 12.


document_title: Song of the South

question_text: when does song of the south take place

question_tokens: when does song of the south take place

text: Song of the South

text: Synopsis[edit]

text: Setting[edit]

text: The film is set on a plantation in the southern United States, specifically in the state of Georgia, some distance from Atlanta. Although sometimes misinterpreted as taking place before the U.S. Civil War while slavery was still legal in the region, the film takes place during the Reconstruction Era after slavery was abolished.[5][6][7][8] Harris' original Uncle Remus stories were all set after the American Civil War and the abolition of slavery. Harris himself, born in 1848, was a racial reconciliation activist writer and journalist of the Reconstruction Era. The film makes several indirect references to the Reconstruction Era: clothing is in the newer late-Victorian style; Uncle Remus is free to leave the plantation at will; black field hands are sharecroppers, etc.[9]

text: Plot[edit]

text: Seven-year-old Johnny (Bobby Driscoll) is excited about what he believes to be a vacation at his grandmother's Georgia plantation with his parents, John Sr. (Erik Rolf) and Sally (Ruth Warrick). When they arrive at the plantation, he discovers that his parents will be living apart for a while, and he is to live at the plantation with his mother and grandmother (Lucile Watson) while his father returns to Atlanta to continue his controversial editorship in the city's newspaper. Johnny, distraught because of his father's departure, secretly sets off that night for Atlanta with only a bindle.

text: As Johnny sneaks away from the plantation, he is attracted by the voice of Uncle Remus (James Baskett) telling tales of a character named Br'er Rabbit. By this time, word had gotten out that Johnny was missing, and some plantation residents are looking for him. Johnny evades being discovered, but Uncle Remus catches up with him. They befriend each other and Uncle Remus offers him some food for his journey, taking him back to his cabin. Back at the cabin, Uncle Remus tells Johnny the traditional African-American folktale, "Br'er Rabbit Earns a Dollar a Minute". In the story, Br'er Rabbit (Johnny Lee) attempts to run away from home only to change his mind after an encounter with Br'er Fox and Br'er Bear (James Baskett and Nick Stewart). Johnny takes the advice and changes his mind about leaving the plantation, letting Uncle Remus take him back to his mother.

text: Johnny makes friends with Toby (Glenn Leedy), a young black boy who lives on the plantation, and Ginny Favers (Luana Patten), a poor white girl. Ginny gives Johnny a puppy after her two older brothers, Joe (Gene Holland) and Jake (George Nokes), threaten to drown it. Johnny's mother refuses to let him take care of the puppy, so he takes the dog to Uncle Remus. Uncle Remus takes the dog in and delights Johnny and his friends with the fable of Br'er Rabbit and the Tar-Baby, stressing that people shouldn't get involved with something they have no business with in the first place. Johnny heeds the advice of how Br'er Rabbit used reverse psychology on Br'er Fox and begs the Favers Brothers not to tell their mother (Mary Field) about the dog. The reverse psychology works, and the boys go to speak with their mother. After being spanked, they realize that Johnny had fooled them. In an act of revenge, they tell Sally about the dog. She becomes upset that Johnny and Uncle Remus kept the dog despite her order (which was unknown to Uncle Remus). She instructs Uncle Remus not to tell any more stories to her son.

text: Johnny's birthday arrives and Johnny picks up Ginny to take her to his party. On the way there, Joe and Jake push Ginny into a mud puddle. With her dress ruined, Ginny is unable to go to the party and runs off crying. Johnny begins fighting with the boys, but their fight is broken up by Uncle Remus. Johnny runs off to comfort Ginny. He explains that he does not want to go either, especially since his father will not be there. Uncle Remus discovers both dejected children and cheers them up by telling the story of Br'er Rabbit and his "Laughing Place". When the three return to the plantation, Sally becomes angry at Johnny for missing his own birthday party, and tells Uncle Remus not to spend any more time with him. Saddened by the misunderstanding of his good intentions, Uncle Remus packs his bags and leaves for Atlanta. Johnny rushes to intercept him, but is attacked by a bull and seriously injured after taking a shortcut through a pasture. While Johnny hovers between life and death, his father returns. Johnny calls for Uncle Remus, who is then escorted in by his grandmother. Uncle Remus begins telling a tale of Br'er Rabbit and the Laughing Place, and the boy miraculously survives.

text: Johnny, Ginny, and Toby are next seen skipping along and singing while Johnny's returned puppy runs alongside them. Uncle Remus is also in the vicinity and he is shocked when Br'er Rabbit and several of the other characters from his stories appear in front of them and interact with the children. Uncle Remus rushes to join the group, and they all skip away singing.

text: Cast[edit]

text:
James Baskett as Uncle Remus
Bobby Driscoll as Johnny
Luana Patten as Ginny Favers
Glenn Leedy as Toby
Ruth Warrick as Sally
Lucile Watson as Grandmother
Hattie McDaniel as Aunt Tempy
Erik Rolf as John
Olivier Urbain as Mr. Favers (uncredited)
Mary Field as Mrs. Favers
Anita Brown as Maid
George Nokes as Jake Favers
Gene Holland as Joe Favers

tag: ul

text: Voices[edit]

text:
Johnny Lee as Br'er Rabbit
James Baskett as Br'er Fox
Nick Stewart as Br'er Bear
Roy Glenn as Br'er Frog (uncredited)
Clarence Nash as Bluebird (uncredited)
Helen Crozier as Mother Possum (uncredited)

text: Production[edit]

text: Background[edit]

text: Walt Disney had long wanted to produce a film based on the Uncle Remus storybook, but it was not until the mid-1940s that he had found a way to give the stories an adequate film equivalent in scope and fidelity. "I always felt that Uncle Remus should be played by a living person", Disney commented, "as should also the young boy to whom Harris' old Negro philosopher relates his vivid stories of the Briar Patch. Several tests in previous pictures, especially in The Three Caballeros, were encouraging in the way living action and animation could be dovetailed. Finally, months ago, we 'took our foot in hand,' in the words of Uncle Remus, and jumped into our most venturesome but also more pleasurable undertaking."[10]

text: Disney first began to negotiate with Harris' family for the rights in 1939, and by late summer of that year he already had one of his storyboard artists summarize the more promising tales and draw up four boards' worth of story sketches.[4] In November 1940, Disney visited the Harris' home in Atlanta. He told Variety that he wanted to "get an authentic feeling of Uncle Remus country so we can do as faithful a job as possible to these stories."[4] Roy Oliver Disney had misgivings about the project, doubting that it was "big enough in caliber and natural draft" to warrant a budget over $1 million and more than twenty-five minutes of animation, but in June 1944, Disney hired Southern-born writer Dalton Reymond to write the screenplay, and he met frequently with King Vidor, whom he was trying to interest in directing the live-action sequences.[4]

text: Dalton Reymond wrote a treatment for the film.[5] Because Reymond was not a professional screenwriter, Maurice Rapf, who had been writing live-action features at the time, was asked by Walt Disney Productions to work with Reymond and co-writer Callum Webb to turn the treatment into a shootable screenplay.[5] According to Neal Gabler, one of the reasons Disney had hired Rapf to work with Reymond was to temper what Disney feared would be Reymond's "white Southern slant".

text: Rapf was a minority, a Jew, and an outspoken left-winger, and he himself feared that the film would inevitably be Uncle Tomish. "That's exactly why I want you to work on it," Walt told him, "because I know that you don't think I should make the movie. You're against Uncle Tomism, and you're a radical."[4]

text: Rapf initially hesitated, but when he found out that most of the film would be live-action and that he could make extensive changes, he accepted the offer.[5] Rapf worked on Uncle Remus for about seven weeks. When he got into a personal dispute with Reymond, Rapf was taken off the project.[5] According to Rapf, Walt Disney "ended every conference by saying 'Well, I think we've really licked it now.' Then he'd call you the next morning and say, 'I've got a new idea.' And he'd have one. Sometimes the ideas were good, sometimes they were terrible, but you could never really satisfy him."[4] Morton Grant was assigned to the project.[5] Disney sent out the script for comment both within the studio and outside the studio.[4]

text: Casting[edit]

text: Song of the South was the first live-action dramatic film made by Disney.[11] James Baskett was cast as Uncle Remus after responding to an ad for providing the voice of a talking butterfly. "I thought that, maybe, they'd try me out to furnish the voice for one of Uncle Remus' animals," Baskett is quoted as saying. Upon review of his voice, Disney wanted to meet Baskett personally, and had him tested for the role of Uncle Remus. Not only did Baskett get the part of the butterfly's voice, but also the voice of Br'er Fox and the live-action role of Uncle Remus as well.[12] Additionally, Baskett filled in as the voice of Br'er Rabbit for Johnny Lee in the "Laughing Place" scene after Lee was called away to do promotion for the picture.[11] Disney liked Baskett, and told his sister Ruth that Baskett was "the best actor, I believe, to be discovered in years". Even after the film's release, Disney maintained contact with Baskett.[4] Disney also campaigned for Baskett to be given an Academy Award for his performance, saying that he had worked "almost wholly without direction" and had devised the characterization of Remus himself. Thanks to Disney's efforts, Baskett won an honorary Oscar in 1948.[4][5] After Baskett's death, his widow wrote Disney and told him that he had been a "friend indeed and [we] certainly have been in need".[4]

text: Also cast in the production were child actors Bobby Driscoll, Luana Patten, and Glenn Leedy (his only screen appearance). Driscoll was the first actor to be under a personal contract with the Disney studio.[13] Patten had been a professional model since age 3, and caught the attention of Disney when she appeared on the cover of Woman's Home Companion magazine.[14] Leedy was discovered on the playground of the Booker T. Washington school in Phoenix, Arizona, by a talent scout from the Disney studio.[15] Ruth Warrick and Erik Rolf, cast as Johnny's mother and father, had actually been married during filming, but divorced in 1946.[16][17] Hattie McDaniel also appeared in the role of Aunt Tempy.

text: Filming[edit]

text: Production started under the title Uncle Remus.[4][5] The budget was originally $1,350,000.[18] The animated segments of the film were directed by Wilfred Jackson, while the live-action segments were directed by Harve Foster.[4] Filming began in December 1944 in Phoenix, where the studio had constructed a plantation and cotton fields for outdoor scenes, and Disney left for the location to oversee what he called "atmospheric shots".[4] Back in Hollywood, the live action scenes were filmed at the Samuel Goldwyn Studio.

text: On the final day of shooting, Jackson discovered that the scene in which Uncle Remus sings the film's signature song, "Zip-a-Dee-Doo-Dah", had not been properly blocked. According to Jackson, "We all sat there in a circle with the dollars running out, and nobody came up with anything. Then Walt suggested that they shoot Baskett in close-up, cover the lights with cardboard save for a sliver of blue sky behind his head, and then remove the cardboard from the lights when he began singing so that he would seem to be entering a bright new world of animation. Like Walt's idea for Bambi on ice, it made for one of the most memorable scenes in the film."[4]

text: Animation[edit]

text: There are three animated segments in the film (in all, they last a total of 25 minutes). The last few minutes of the film also contain combine animation with live-action. The three sequences were later shown as stand-alone cartoon features on television.

text:
Br'er Rabbit Runs Away: (~8 minutes) Based on "Br'er Rabbit Earns a Dollar a Minute". Includes the song "Zip-a-Dee-Doo-Dah",
Br'er Rabbit and the Tar Baby: (~12 minutes) Based on "Tar-Baby". The segment is interrupted with a short live-action scene about two-thirds through.It features the song "How Do You Do?"
Br'er Rabbit's Laughing Place: (~5 minutes) Based on "The Laughing Place". The song "Everybody's Got a Laughing Place" is featured.

text: Music[edit]

text: Nine songs are heard in the film, with four reprises. Nearly all of the vocal performances are by the largely African-American cast, and the renowned all-black Hall Johnson Choir sing four pieces: two versions of a blues number ("Let the Rain Pour Down"), one chain-reaction-style folk song[19] ("That's What Uncle Remus Said") and one spiritual ("All I Want").

text: The songs are, in film order, as follows:

text:
"Song of the South": Written by Sam Coslow and Arthur Johnston; performed by the Disney Studio Choir
"Uncle Remus Said": Written by Eliot Daniel, Hy Heath, and Johnny Lange; performed by the Hall Johnson Choir
"Zip-a-Dee-Doo-Dah": Written by Allie Wrubel and Ray Gilbert; performed by James Baskett
"Zip-a-Dee-Doo-Dah": (reprise) Performed by Bobby Driscoll
"Who Wants to Live Like That?": Written by Ken Darby and Foster Carling; performed by James Baskett
"Let the Rain Pour Down": (uptempo) Written by Ken Darby and Foster Carling; performed by the Hall Johnson Choir
"How Do You Do?": Written by Robert MacGimsey; performed by Johnny Lee and James Baskett
"How Do You Do?": (reprise) Performed by Bobby Driscoll and Glenn Leedy
"Sooner or Later": Written by Charles Wolcott and Ray Gilbert; performed by Hattie McDaniel
"Everybody's Got a Laughing Place": Written by Allie Wrubel and Ray Gilbert; performed by James Baskett and Nick Stewart
"Let the Rain Pour Down": (downtempo) Written by Ken Darby and Foster Carling; performed by the Hall Johnson Choir
"All I Want": Traditional, new arrangement and lyrics by Ken Darby; performed by the Hall Johnson Choir
"Zip-a-Dee-Doo-Dah": (reprise) Performed by Bobby Driscoll, Luana Patten, Glenn Leedy, Johnny Lee, and James Baskett
"Song of the South": (reprise) Performed by the Disney Studio Choir

text: "Let the Rain Pour Down" is set to the melody of "Midnight Special", a traditional blues song popularized by Lead Belly (Huddie William Ledbetter). The song title "Look at the Sun" appeared in some early press books, though it is not actually in the film.[citation needed] The song "Zip-a-Dee-Doo-Dah" was influenced by the chorus of the pre-Civil War folk song "Zip Coon", that is considered racist as it plays on an African American stereotype.[20][21]

text: Release[edit]

text: The film premiered on November 12, 1946, at the Fox Theater in Atlanta.[4] Walt Disney made introductory remarks, introduced the cast, then quietly left for his room at the Georgian Terrace Hotel across the street; he had previously stated that unexpected audience reactions upset him and he was better off not seeing the film with an audience. James Baskett was unable to attend the film's premiere because he would not have been allowed to participate in any of the festivities, as Atlanta was then a racially segregated city.[22] The film grossed $3.3 million at the box office.[4][23]

text: As had been done earlier with Snow White and the Seven Dwarfs, Disney produced a Sunday comic strip titled Uncle Remus & His Tales of Br'er Rabbit to give the film pre-release publicity. The strip was launched by King Features on October 14, 1945, more than a year before the film was released. Unlike the Snow White comic strip, which only adapted the film, Uncle Remus ran for decades, telling one story after another about the characters, some based on the legends and others new, until it ended on December 31, 1972.[24] Apart from the newspaper strips, Disney Br'er Rabbit comics were also produced for comic books; the first such stories appeared in late 1946. Produced both by Western Publishing and European publishers such as Egmont, they continue to appear.[25]

text: In 1946, a Giant Golden Book entitled Walt Disney's Uncle Remus Stories was published by Simon & Schuster. It featured 23 illustrated stories of Br'er Rabbit's escapades, all told in a Southern dialect based on the original Joel Chandler Harris stories.

text: Song of the South was re-released in theaters several times after its original premiere, each time through Buena Vista Pictures: in 1956 for the 10th anniversary; in 1972 for the 50th anniversary of Walt Disney Productions; in 1973 as the second half of a double bill with The Aristocats; in 1980 for the 100th anniversary of Harris' classic stories; and in 1986 for the film's own 40th anniversary and in promotion of the upcoming Splash Mountain attraction at Disneyland.[citation needed] The film has been broadcast on European television, including the BBC as recently as 2006.[26]

text: Home media[edit]

text: The Walt Disney Company has yet to release a complete version of the film in the United States on home video given the film's controversial reputation.[27][28] Over the years, Disney has made a variety of statements about whether and when the film would be re-released.[29][30][31][32] In March 2010, Disney CEO Robert Iger stated that there were no plans to release the movie on DVD, calling the film "antiquated" and "fairly offensive".[33] On November 15, 2010, Disney creative director Dave Bossert stated in an interview, "I can say there's been a lot of internal discussion about Song of the South. And at some point we're going to do something about it. I don't know when, but we will. We know we want people to see Song of the South because we realize it's a big piece of company history, and we want to do it the right way."[34] Film critic Roger Ebert, who normally disdained any attempt to keep films from any audience, supported the non-release position, claiming that most Disney films become a part of the consciousness of American children, who take films more literally than do adults. However, he favored allowing film students to have access to the film.[35][36]

text: Despite not having a home video release in the United States, audio from the film—both the musical soundtrack and dialogue—were made widely available to the public from the time of the film's debut up through the late 1970s. In particular, many book-and-record sets were released, alternately featuring the animated portions of the film or summaries of the film as a whole.[37] The Walt Disney Company has also allowed key portions of the film to be issued on many VHS and DVD compilations in the U.S., as well as on the long-running Walt Disney anthology television series. Most recently, "Zip-a-Dee-Doo-Dah" and some of the animated portions of the film were issued on the Alice in Wonderland 2-DVD Special Edition set. These segments are part of a 1950 Walt Disney TV special included on the DVD which promoted the then-forthcoming Alice in Wonderland film.

text: The full-length film has been released in various European, Latin American, and Asian countries. In the UK, it was released on PAL VHS tape in 1982 and again in 1991. In Japan it appeared on NTSC VHS, Beta, and LaserDisc in 1985 then again on LaserDisc in 1990 with subtitles during songs (additionally, under Japanese copyright law, the film is now in the public domain).[38] A NTSC LaserDisc was released in Hong Kong for the Chinese rental market by Intercontinental Video Ltd, which has been the exclusive distributor of Walt Disney Studios since 1988. This release appears to have been created from a PAL videotape, and has a 4% faster running time because of its PAL source.[39][40] While most foreign releases of the film are literal translations of the English title, the German title, Onkel Remus' Wunderland, translates to "Uncle Remus' Wonderland", the Italian title, Racconti Dello Zio Tom, translates to "The Stories of Uncle Tom",[41] and the Norwegian title Onkel Remus forteller translates to "Storyteller Uncle Remus."[42]

text: In July 2017 after being inaugurated as a Disney Legend, Whoopi Goldberg expressed a desire for Song of the South to be re-released publicly to American audiences.[43]

text: Reception[edit]

text: Although the film was a financial success, netting the studio a profit of $226,000 ($2,833,970 in 2017 dollars) [44] some critics were less enthusiastic about the film, not so much the animated portions as the live-action portions. Bosley Crowther for one wrote in The New York Times, "More and more, Walt Disney's craftsmen have been loading their feature films with so-called 'live action' in place of their animated whimsies of the past, and by just those proportions has the magic of these Disney films decreased", citing the ratio of live action to animation at two to one, concluding that is "approximately the ratio of its mediocrity to its charm".[4] However, the film also received positive notice. Time magazine called the film "topnotch Disney".[5] In 2003, the Online Film Critics Society ranked the film as the 67th greatest animated film of all time.[45] On Rotten Tomatoes, the film has a 60% rating, based on 10 reviews, with an average rating of 5.8/10.[46]

text: Accolades[edit]

text: The score by Daniele Amfitheatrof, Paul J. Smith, and Charles Wolcott was nominated in the "Scoring of a Musical Picture" category, and "Zip-a-Dee-Doo-Dah", written by Allie Wrubel and Ray Gilbert, won the award for Best Song at the 20th Academy Awards on March 20, 1948.[47] A special Academy Award was given to Baskett "for his able and heart-warming characterization of Uncle Remus, friend and story teller to the children of the world in Walt Disney's Song of the South". Bobby Driscoll and Luana Patten in their portrayals of the children characters Johnny and Ginny were also discussed for Academy Juvenile Awards, but in 1947 it was decided not to present such awards at all.[48]

text: The film is recognized by American Film Institute in these lists:

text:
2004: AFI's 100 Years...100 Songs:

"Zip-a-Dee-Doo-Dah" – #47[49]

2006: AFI's Greatest Movie Musicals – Nominated[50]

text: Controversies[edit]

text: The film has received significant controversy for its handling of race.[51] Cultural historian Jason Sperb describes the film as "one of Hollywood's most resiliently offensive racist texts".[52] Sperb, Neal Gabler, and other critics have noted the film's release as being in the wake of the Double V campaign, a propaganda campaign in the United States during World War II to promote victory over racism in the United States and its armed forces, and victory over fascism abroad.[53] Early in the film's production, there was concern that the material would encounter controversy. Disney publicist Vern Caldwell wrote to producer Perce Pearce that "the negro situation is a dangerous one. Between the negro haters and the negro lovers there are many chances to run afoul of situations that could run the gamut all the way from the nasty to the controversial."[4]

text: The Disney Company has stated that, like Harris' book, the film takes place after the American Civil War and that all the African American characters in the movie are no longer slaves.[9] The Hays Office had asked Disney to "be certain that the frontispiece of the book mentioned establishes the date in the 1870s"; however, the final film carried no such statement.[5]

text: When the film was first released, Walter Francis White, the executive secretary of the National Association for the Advancement of Colored People (NAACP), telegraphed major newspapers around the country with the following statement, erroneously claiming that the film depicted an antebellum setting:

text: The National Association for the Advancement of Colored People recognizes in "Song of the South" remarkable artistic merit in the music and in the combination of living actors and the cartoon technique. It regrets, however, that in an effort neither to offend audiences in the north or south, the production helps to perpetuate a dangerously glorified picture of slavery. Making use of the beautiful Uncle Remus folklore, "Song of the South" unfortunately gives the impression of an idyllic master-slave relationship which is a distortion of the facts.[5]

text: White however had not yet seen the film; his statement was based on memos he received from two NAACP staff members – Norma Jensen and Hope Spingarn – who attended a press screening on November 20, 1946. Jensen had written that the film was "so artistically beautiful that it is difficult to be provoked over the clichés" but that it contained "all the clichés in the book", mentioning that she felt scenes like blacks singing traditional black songs were offensive as a stereotype. Spingarn listed several things she found objectionable from the film, including the use of African-American English.[5] Jim Hill Media stated that both Jensen and Spingarn were confused by the film's Reconstruction setting, writing that "It was something that also confused other reviewers who from the tone of the film and the type of similar recent Hollywood movies [Gone with the Wind; Jezebel] assumed it must also be set during the time of slavery." Based on the Jensen and Spingarn memos, White released the "official position" of the NAACP in a telegram that was widely quoted in newspapers.[54] The New York Times' Bosley Crowther made a similar assumption, writing that the movie was a "travesty on the antebellum South."[55]

text: Time magazine, although it praised the film, cautioned that it was "bound to land its maker in hot water", because the character of Uncle Remus was "bound to enrage all educated Negroes and a number of damyankees".[56] Adam Clayton Powell, Jr., a congressman from Harlem, branded the film an "insult to American minorities [and] everything that America as a whole stands for."[57] The National Negro Congress set up picket lines in theaters in the big cities where the film played, with its protesters holding signs that read "Song of the South is an insult to the Negro people" and, lampooning "Jingle Bells", chanted: "Disney tells, Disney tells/lies about the South."[57] On April 2, 1947, a group of protesters marched around Paramount Theatre (Oakland, California) with picket signs reading, "We want films on Democracy not Slavery" and "Don't prejudice children's minds with films like this".[58] Jewish newspaper B'nai B'rith Messenger of Los Angeles considered the film to be "tall[ying] with the reputation that Disney is making for himself as an arch-reactionary".

text: Some black press had mixed reactions on what they thought of Song of the South. While Richard B. Dier in The Afro-American was "thoroughly disgusted" by the film for being "as vicious a piece of propaganda for white supremacy as Hollywood ever produced," Herman Hill in The Pittsburgh Courier felt that Song of the South would "prove of inestimable goodwill in the furthering of interracial relations", and considered criticisms of the film to be "unadulterated hogwash symptomatic of the unfortunate racial neurosis that seems to be gripping so many of our humorless brethren these days."[59]

text: Despite the film's ban from public release in 1986, Song of the South has made its way around in the form of bootleg copies found around numerous internet message boards. The film has grown an online following that has kept the film's presence alive, despite the general audience's views on the film, according to Jason Sperb.[60]

text: Legacy[edit]

text: As early as October 1945, a newspaper strip named Walt Disney Presents "Uncle Remus" and His Tales of Br'er Rabbit appeared in the United States, and this production continued until 1972. There have also been episodes for the series produced for the Disney comic books worldwide, in the U.S., Denmark and the Netherlands, from the 1940s up to the present day, 2012.[61] Br'er Bear and Br'er Fox also appeared frequently in Disney's Big Bad Wolf stories, although here, Br'er Bear was usually cast as an honest farmer and family man, instead of the bad guy in his original appearances.

text: Br'er Rabbit, Br'er Fox and Br'er Bear appeared as guests in Disney's House of Mouse. They also appeared in Mickey's Magical Christmas: Snowed in at the House of Mouse. Br'er Bear and the Tar-Baby also appear in the film Who Framed Roger Rabbit. Br'er Bear can be seen near the end while the Toons are celebrating finding the will. The Tar-Baby can briefly be seen during the scene driving into Toon Town.

text: Br'er Rabbit, Br'er Fox and Br'er Bear also appeared in the 2011 video game Kinect Disneyland Adventures for the Xbox 360. The game is a virtual recreation of Disneyland and it features a mini game based on the Splash Mountain attraction. Br'er Rabbit helps guide the player character through that game, while Br'er Fox and Br'er Bear serve as antagonists. The three Br'ers also appear as meet-and-greet characters in the game, outside Splash Mountain in Critter Country. In the game, Jess Harnell reprises his role from the attraction as Br'er Rabbit and also takes on the role of Br'er Fox, while Br'er Bear is voiced by James Avery, who previously voiced Br'er Bear and Br'er Frog in the Walt Disney World version of Splash Mountain. This is the Br'ers' first major appearance in Disney media since The Lion King 1½ in 2004 and their first appearance as computer-generated characters.