document_title: Ironclad warship

question_text: what was the name of the union ironclad ship

question_tokens: what was the name of the union ironclad ship

text: Ironclad warship

text: The ironclad[edit]

text: The ironclad became technically feasible and tactically necessary because of developments in shipbuilding in the first half of the 19th century. According to naval historian J. Richard Hill: "The (ironclad) had three chief characteristics: a metal-skinned hull, steam propulsion and a main armament of guns capable of firing explosive shells. It is only when all three characteristics are present that a fighting ship can properly be called an ironclad."[4] Each of these developments was introduced separately in the decade before the first ironclads.

text: Steam propulsion[edit]

text: In the 18th and early 19th centuries fleets had relied on two types of major warship, the ship of the line and the frigate. The first major change to these types was the introduction of steam power for propulsion. While paddle steamer warships had been used from the 1830s onwards, steam propulsion only became suitable for major warships after the adoption of the screw propeller in the 1840s.[5]

text: Steam-powered screw frigates were built in the mid-1840s, and at the end of the decade the French Navy introduced steam power to its line of battle. The desire for change came from the ambition of Napoleon III to gain greater influence in Europe, which required a challenge to the British at sea.[6][7] The first purpose-built steam battleship was the 90-gun Napoléon in 1850.[5] Napoléon was armed as a conventional ship-of-the-line, but her steam engines could give her a speed of 12 knots (22 km/h), regardless of the wind conditions: a potentially decisive advantage in a naval engagement.

text: The introduction of the steam ship-of-the-line led to a building competition between France and Britain. Eight sister ships to Napoléon were built in France over a period of ten years, but the United Kingdom soon managed to take the lead in production. Altogether, France built ten new wooden steam battleships and converted 28 from older ships of the line, while the United Kingdom built 18 and converted 41.[5]

text: Explosive shells[edit]

text: The era of the wooden steam ship-of-the-line was brief, because of new, more powerful naval guns. In the 1820s and 1830s, warships began to mount increasingly heavy guns, replacing 18- and 24-pounder guns with 32-pounders on sailing ships-of-the-line and introducing 68-pounders on steamers. Then, the first shell guns firing explosive shells were introduced following their development by the French Général Henri-Joseph Paixhans, and by the 1840s were part of the standard armament for naval powers including the French Navy, Royal Navy, Imperial Russian Navy and United States Navy. It is often held that the power of explosive shells to smash wooden hulls, as demonstrated by the Russian destruction of an Ottoman squadron at the Battle of Sinop, spelled the end of the wooden-hulled warship.[8] The more practical threat to wooden ships was from conventional cannon firing red-hot shot, which could lodge in the hull of a wooden ship and cause a fire or ammunition explosion.  Some navies even experimented with hollow shot filled with molten metal for extra incendiary power.[9]

text: Iron armor[edit]

text: The use of iron instead of wood as the primary material of ships' hulls began in the 1830s; the first "warship" with an iron hull was the gunboat Nemesis, built by Jonathan Laird of Birkenhead for the East India Company in 1839.  There followed, also from Laird, the first full-blown warships with metal hulls, the 1842 steam frigates Guadelupe and Montezuma for the Mexican navy.[10][11]  But a thin iron skin, while not being susceptible to fire or lethal splintering like wood, was not the same thing as providing iron armor calculated to stop enemy gunfire.

text: In 1843, the United States Navy launched its first iron warship, USS Michigan, on the Great Lakes. This pioneering iron-hulled, steam-powered ship served for 70 years in the relatively peaceful region.

text: Following the demonstration of the power of explosive shells against wooden ships at the Battle of Sinop, and fearing that his own ships would be vulnerable to the Paixhans guns of Russian fortifications in the Crimean War, Emperor Napoleon III ordered the development of light-draft floating batteries, equipped with heavy guns and protected by heavy armor.[12] Experiments made during the first half of 1854 proved highly satisfactory, and on 17 July 1854, the French communicated to the British Government that a solution had been found to make gun-proof vessels and that plans would be communicated.[13] After tests in September 1854, the British Admiralty agreed to build five armored floating batteries on the French plans,[13]  establishing the important Thames and Millwall Iron Works within the docks.

text: The French floating batteries were deployed in 1855 as a supplement to the wooden steam battle fleet in the Crimean War. The role of the battery was to assist unarmored mortar and gunboats bombarding shore fortifications. The French used three of their ironclad batteries (Lave, Tonnante and Dévastation) in 1855 against the defenses at the Battle of Kinburn on the Black Sea, where they were effective against Russian shore defences. They would later be used again during the Italian war in the Adriatic in 1859.[14] The British floating batteries Glatton and Meteor arrived too late to participate to the action at Kinburn.[15]  The British planned to use theirs in the Baltic Sea against the well-fortified naval base at Kronstadt.[16]

text: The batteries have a claim to the title of the first ironclad warships[4] but they were capable of only 4 knots (7 km/h) under their own power: they operated under their own power at the Battle of Kinburn,[17] but had to be towed for long range transit.[18] They were also arguably marginal to the work of the navy.  The brief success of the floating ironclad batteries convinced France to begin work on armored warships for their battlefleet.[16]

text: Early ironclad ships and battles[edit]

text: By the end of the 1850s it was clear that France was unable to match British building of steam warships, and to regain the strategic initiative a dramatic change was required. The result was the first ocean-going ironclad, Gloire, begun in 1857 and launched in 1859.[19]

text: Gloire's wooden hull was modelled on that of a steam ship of the line, reduced to one deck, sheathed in iron plates 4.5 inches (110 mm) thick. She was propelled by a steam engine, driving a single screw propeller for a speed of 13 knots (24 km/h). She was armed with thirty-six 6.4-inch (160 mm) rifled guns. France proceeded to construct 16 ironclad warships, including two more sister ships to Gloire, and the only two-decked broadside ironclads ever built, Magenta and Solférino.[20]

text: The Royal Navy had not been keen to sacrifice its advantage in steam ships of the line, but was determined that the first British ironclad would outmatch the French ships in every respect, particularly speed. A fast ship would have the advantage of being able to choose a range of engagement which could make her invulnerable to enemy fire. The British specification was more a large, powerful frigate than a ship-of-the-line. The requirement for speed meant a very long vessel, which had to be built from iron. The result was the construction of two Warrior-class ironclads; HMS Warrior and HMS Black Prince. The ships had a successful design, though there were necessarily compromises between 'sea-keeping', strategic range and armor protection; their weapons were more effective than that of Gloire, and with the largest set of steam engines yet fitted to a ship they could steam at 14.3 knots (26.5 km/h).[16] Yet the Gloire and her sisters had full iron-armor protection along the waterline and the battery itself.  Warrior and Black Prince (but also the smaller Defence and Resistance) were obliged to concentrate their armor in a central "citadel" or "armoured box", leaving many main deck guns and the fore and aft sections of the vessel unprotected.  The use of iron in the construction of Warrior also came with some drawbacks; iron hulls required more regular and intensive repairs than wooden hulls, and iron was more susceptible to fouling by marine life.

text: By 1862, navies across Europe had adopted ironclads. Britain and France each had sixteen either completed or under construction, though the British vessels were larger. Austria, Italy, Russia, and Spain were also building ironclads.[21] However, the first battles using the new ironclad ships involved neither Britain nor France, and involved ships markedly different from the broadside-firing, masted designs of Gloire and Warrior. The use of ironclads by both sides in the American Civil War, and the clash of the Italian and Austrian fleets at the Battle of Lissa, had an important influence on the development of ironclad design.

text: First battles between ironclads: the U.S. Civil War[edit]

text: The first use of ironclads in action came in the U.S. Civil War. The U.S. Navy at the time the war broke out had no ironclads, its most powerful ships being six unarmored steam-powered frigates.[22] Since the bulk of the Navy remained loyal to the Union, the Confederacy sought to gain advantage in the naval conflict by acquiring modern armored ships. In May 1861, the Confederate Congress appropriated $2 million for the purchase of ironclads from overseas, and in July and August 1861 the Confederacy started work on construction and converting wooden ships.[23]

text: On 12 October 1861, the CSS Manassas became the first ironclad to enter combat, when she fought Union warships on the Mississippi during the Battle of the Head of Passes. She had been converted from a commercial vessel in New Orleans for river and coastal fighting. In February 1862, the larger CSS Virginia joined the Confederate Navy, having been rebuilt at Norfolk. Constructed on the hull of USS Merrimack, Virginia originally was a conventional warship made of wood, but she was converted into an iron-covered casemate ironclad gunship, when she entered the Confederate navy. By this time, the Union had completed seven ironclad gunboats of the City class, and was about to complete the USS Monitor, an innovative design proposed by the Swedish inventor John Ericsson. The Union was also building a large armored frigate, the USS New Ironsides, and the smaller USS Galena.[24]

text: The first battle between ironclads happened on 9 March 1862, as the armored Monitor was deployed to protect the Union's wooden fleet from the ironclad ram Virginia and other Confederate warships.[25] In this engagement, the second day of the Battle of Hampton Roads, the two ironclads repeatedly tried to ram one another while shells bounced off their armor.  The battle attracted attention worldwide, making it clear that the wooden warship was now out of date, with the ironclads destroying them easily.[26]

text: The Civil War saw more ironclads built by both sides, and they played an increasing role in the naval war alongside the unarmored warships, commerce raiders and blockade runners. The Union built a large fleet of fifty monitors modeled on their namesake.  The Confederacy built ships designed as smaller versions of Virginia, many of which saw action,[27] but their attempts to buy ironclads overseas were frustrated as European nations confiscated ships being built for the Confederacy — especially in Russia, the only country to openly support the Union through the war. Only CSS Stonewall was completed, and she arrived in American waters just in time for the end of the war.[28]

text: Through the remainder of the war, ironclads saw action in the Union's attacks on Confederate ports.  Seven Union monitors, including USS Montauk, as well as two other ironclads, the ironclad frigate New Ironsides and a light-draft USS Keokuk, participated in the failed attack on Charleston; one was sunk. Two small ironclads, CSS Palmetto State and CSS Chicora participated in the defence of the harbor. For the later attack at Mobile Bay, the Union assembled four monitors as well as 11 wooden ships, facing the CSS Tennessee, the Confederacy's most powerful ironclad and the gunboats CSS Morgan, CSS Gaines, CSS Selma.[29]

text: On the western front, the Union built a formidable force of river ironclads, beginning with several converted riverboats and then contracting engineer James Eads of St. Louis, Missouri to build the City-class ironclads. These excellent ships were built with twin engines and a central paddle wheel, all protected by an armored casement. They had a shallow draft, allowing them to journey up smaller tributaries, and were very well suited for river operations. Eads also produced monitors for use on the rivers, the first two of which differed from the ocean-going monitors in that they contained a paddle wheel (the USS Neosho and USS Osage).

text: The Union ironclads played an important role in the Mississippi and tributaries by providing tremendous fire upon Confederate forts, installations and vessels with relative impunity to enemy fire.  They were not as heavily armored as the ocean-going monitors of the Union, but they were adequate for their intended use.  More Western Flotilla Union ironclads were sunk by torpedoes (mines) than by enemy fire, and the most damaging fire for the Union ironclads was from shore installations, not Confederate vessels.[30]

text: Lissa: First fleet battle[edit]

text: The first fleet battle, and the first ocean battle, involving ironclad warships was the Battle of Lissa in 1866. Waged between the Austrian and Italian navies, the battle pitted combined fleets of wooden frigates and corvettes and ironclad warships on both sides in the largest naval battle between the battles of Navarino and Tsushima.[31]

text: The Italian fleet consisted of 12 ironclads and a similar number of wooden warships, escorting transports which carried troops intending to land on the Adriatic island of Lissa.  Among the Italian ironclads were seven broadside ironclad frigates, four smaller ironclads, and the newly built Affondatore — a double-turretted ram. Opposing them, the Austrian navy had seven ironclad frigates.[31]

text: The Austrians believed their ships to have less effective guns than their enemy, so decided to engage the Italians at close range and ram them. The Austrian fleet formed into an arrowhead formation with the ironclads in the first line, charging at the Italian ironclad squadron. In the melée which followed both sides were frustrated by the lack of damage inflicted by guns, and by the difficulty of ramming—nonetheless, the effective ramming attack being made by the Austrian flagship against the Italian attracted great attention in following years.[31]

text: The superior Italian fleet lost its two ironclads, Re d'Italia and Palestro, while the Austrian unarmored screw two-decker SMS Kaiser remarkably survived close actions with four Italian ironclads. The battle ensured the popularity of the ram as a weapon in European ironclads for many years, and the victory won by Austria established it as the predominant naval power in the Adriatic.[31]

text: The battles of the American Civil War and at Lissa were very influential on the designs and tactics of the ironclad fleets that followed. In particular, it taught a generation of naval officers the lesson that ramming was the best way to sink enemy ironclads.

text: Armament and tactics[edit]

text: The adoption of iron armor meant that the traditional naval armament of dozens of light cannon became useless, since their shot would bounce off an armored hull.  To penetrate armor, increasingly heavy guns were mounted on ships; nevertheless, the view that ramming was the only way to sink an ironclad became widespread. The increasing size and weight of guns also meant a movement away from the ships mounting many guns broadside, in the manner of a ship-of-the-line, towards a handful of guns in turrets for all-round fire.

text: Ram craze[edit]

text: From the 1860s to the 1880s many naval designers believed that the development of the ironclad meant that the ram was again the most important weapon in naval warfare. With steam power freeing ships from the wind, and armor making them invulnerable to shellfire, the ram seemed to offer the opportunity to strike a decisive blow.

text: The scant damage inflicted by the guns of Monitor and Virginia at Battle of Hampton Roads and the spectacular but lucky success of the Austrian flagship SMS Erzherzog Ferdinand Max sinking the Italian Re d'Italia at Lissa gave strength to the ramming craze.[32]  From the early 1870s to early 1880s most British naval officers thought that guns were about to be replaced as the main naval armament by the ram.  Those who noted the tiny number of ships that had actually been sunk by ramming struggled to be heard.[33]

text: The revival of ramming had a significant effect on naval tactics. Since the 17th century the predominant tactic of naval warfare had been the line of battle, where a fleet formed a long line to give it the best fire from its broadside guns. This tactic was totally unsuited to ramming, and the ram threw fleet tactics into disarray. The question of how an ironclad fleet should deploy in battle to make best use of the ram was never tested in battle, and if it had been, combat might have shown that rams could only be used against ships which were already stopped dead in the water.[34]

text: The ram finally fell out of favour in the 1880s, as the same effect could be achieved with a torpedo, with less vulnerability to quick-firing guns.[35]

text: Development of naval guns[edit]

text: The armament of ironclads tended to become concentrated in a small number of powerful guns capable of penetrating the armor of enemy ships at range; calibre and weight of guns increased markedly to achieve greater penetration. Throughout the ironclad era navies also grappled with the complexities of rifled versus smoothbore guns and breech-loading versus muzzle-loading.

text: HMS Warrior carried a mixture of 110-pounder 7 inch (180 mm) breech-loading rifles and more traditional 68-pounder smoothbore guns. Warrior highlighted the challenges of picking the right armament; the breech-loaders she carried, designed by Sir William Armstrong, were intended to be the next generation of heavy armament for the Royal Navy, but were shortly withdrawn from service.[36]

text: Breech-loading guns seemed to offer important advantages. A breech-loader could be reloaded without moving the gun, a lengthy process particularly if the gun then needed to be re-aimed. The Warrior's Armstrong guns also had the virtue of being lighter than an equivalent smoothbore and, because of their rifling, more accurate.[36] Nonetheless, the design was rejected because of problems which plagued breech-loaders for decades.

text: The weakness of the breech-loader was the obvious problem of sealing the breech. All guns are powered by the explosive conversion of a solid propellant into gas. This explosion propels the shot or shell out of the front of the gun, but also imposes great stresses on the gun-barrel. If the breech—which experiences some of the greatest forces in the gun—is not entirely secure, then there is a risk that either gas will discharge through the breech or that the breech will break. This in turn reduces the muzzle velocity of the weapon and can also endanger the gun crew. Warrior's Armstrong guns suffered from both problems; the shells were unable to penetrate the 4.5 in (118 mm) armor of Gloire, while sometimes the screw which closed the breech flew backwards out of the gun on firing. Similar problems were experienced with the breech-loading guns which became standard in the French and German navies.[37]

text: These problems influenced the British to equip ships with muzzle-loading weapons of increasing power until the 1880s. After a brief introduction of 100-pounder or 9.5-inch (240 mm) smoothbore Somerset Gun, which weighed 6.5 tons (6.6 t), the Admiralty introduced 7-inch (178 mm) rifled guns, weighing 7 tons. These were followed by a series of increasingly mammoth weapons—guns weighing 12, 25, 25, 38 and finally 81 tons, with calibre increasing from 8-inch (203 mm) to 16-inch (406 mm).

text: The decision to retain muzzle-loaders until the 1880s has been criticised by historians. However, at least until the late 1870s, the British muzzle-loaders had superior performance in terms of both range and rate of fire than the French and Prussian breech-loaders, which suffered from the same problems as had the first Armstrong guns.[38]

text: From 1875 onwards, the balance between breech- and muzzle-loading changed. Captain de Bange invented a method of reliably sealing a breech, adopted by the French in 1873. Just as compellingly, the growing size of naval guns made muzzle-loading much more complicated. With guns of such size there was no prospect of hauling in the gun for re-loading, or even re-loading by hand, and complicated hydraulic systems were required for re-loading the gun outside the turret without exposing the crew to enemy fire. In 1882, the 81-ton, 16-inch (406 mm) guns of HMS Inflexible fired only once every 11 minutes while bombarding Alexandria during the Urabi Revolt.[39] The 100-ton, 450 mm (17.72 inch) guns of Caio Duilio could each fire a round every 15 minutes.[40]

text: In the Royal Navy, the switch to breech-loaders was finally made in 1879; as well as the significant advantages in terms of performance, opinion was swayed by an explosion on board HMS Thunderer caused by a gun being double-loaded, a problem which could only happen with a muzzle-loading gun.[41]

text: The calibre and weight of guns could only increase so far. The larger the gun, the slower it would be to load, the greater the stresses on the ship's hull, and the less the stability of the ship. The size of the gun peaked in the 1880s, with some of the heaviest calibres of gun ever used at sea. HMS Benbow carried two 16.25-inch (413 mm) breech-loading guns, each weighing 110 tons—no British battleship would ever carry guns as large. The Italian 450 mm (17.72 inch) guns would be larger than any gun fitted to a battleship until the 18.1-inch (460 mm) armament of the Japanese Yamato class of World War II.[42]  One consideration which became more acute was that even from the original Armstrong models, following the Crimean War, range and hitting power far exceeded simple accuracy, especially at sea where the slightest roll or pitch of the vessel as 'floating weapons-platform' could negate the advantage of rifling.  American ordnance experts accordingly preferred smoothbore monsters whose round shot could at least 'skip' along the surface of the water.  Actual effective combat ranges, they had learned during the Civil War, were comparable to those in the Age of Sail—though a vessel could now be smashed to pieces in only a few rounds.  Smoke and the general chaos of battle only added to the problem. As a result, many naval engagements in the 'Age of the Ironclad' were still fought at ranges within easy eyesight of their targets, and well below the maximum reach of their ships' guns.

text: Another method of increasing firepower was to vary the projectile fired or the nature of the propellant. Early ironclads used black powder, which expanded rapidly after combustion; this meant cannons had relatively short barrels, to prevent the barrel itself slowing the shell. The sharpness of the black powder explosion also meant that guns were subjected to extreme stress. One important step was to press the powder into pellets, allowing a slower, more controlled explosion and a longer barrel. A further step forward was the introduction of chemically different brown powder which combusted more slowly again. It also put less stress on the insides of the barrel, allowing guns to last longer and to be manufactured to tighter tolerances.[43]

text: The development of smokeless powder, based on nitroglycerine or nitrocellulose, by the French inventor Paul Vielle in 1884 was a further step allowing smaller charges of propellant with longer barrels. The guns of the pre-Dreadnought battleships of the 1890s tended to be smaller in calibre compared to the ships of the 1880s, most often 12 in (305 mm), but progressively grew in length of barrel, making use of improved propellants to gain greater muzzle velocity.[43]

text: The nature of the projectiles also changed during the ironclad period. Initially, the best armor-piercing projectile was a solid cast-iron shot. Later, shot of chilled iron, a harder iron alloy, gave better armor-piercing qualities. Eventually the armor-piercing shell was developed.[43]

text: Positioning of armament[edit]

text: Broadside ironclads[edit]

text: The first British, French and Russian ironclads, in a logical development of warship design from the long preceding era of wooden ships of the line, carried their weapons in a single line along their sides and so were called "broadside ironclads."[44][45] Both Gloire and HMS Warrior were examples of this type. Because their armor was so heavy, they could only carry a single row of guns along the main deck on each side rather than a row on each deck.[19]

text: A significant number of broadside ironclads was built in the 1860s, principally in Britain and France, but in smaller numbers by other powers including Italy, Austria, Russia and the United States.[45] The advantages of mounting guns on both broadsides was that the ship could engage more than one adversary at a time, and the rigging did not impede the field of fire.[46]

text: Broadside armament also had disadvantages, which became more serious as ironclad technology developed. Heavier guns to penetrate ever-thicker armor meant that fewer guns could be carried. Furthermore, the adoption of ramming as an important tactic meant the need for ahead and all-round fire.[47] These problems led to broadside designs being superseded by designs that gave greater all-round fire, which included central-battery, turret, and barbette designs.[46]

text: Turrets, batteries and barbettes[edit]

text: There were two main design alternatives to the broadside. In one design, the guns were placed in an armored casemate amidships: this arrangement was called the 'box-battery' or 'centre-battery'. In the other, the guns could be placed on a rotating platform to give them a broad field of fire; when fully armored, this arrangement was called a turret and when partially armored or unarmored, a barbette.

text: The centre-battery was the simpler and, during the 1860s and 1870s, the more popular method. Concentrating guns amidships meant the ship could be shorter and handier than a broadside type. The first full-scale centre-battery ship was HMS Bellerophon of 1865; the French laid down centre-battery ironclads in 1865 which were not completed until 1870. Centre-battery ships often, but not always, had a recessed freeboard enabling some of their guns to fire directly ahead.[48]

text: The turret was first used in naval combat on the USS Monitor in 1862, with a type of turret designed by the Swedish engineer John Ericsson. A competing turret design was proposed by the British inventor Cowper Coles with a prototype of this installed on HMS Trusty in 1861 for testing and evaluation purposes. Ericsson's turret turned on a central spindle, and Coles's turned on a ring of bearings.[43] Turrets offered the maximum arc of fire from the guns, but there were significant problems with their use in the 1860s.  The fire arc of a turret would be considerably limited by masts and rigging, so they were unsuited to use on the earlier ocean-going ironclads.  The second problem was that turrets were extremely heavy.  Ericsson was able to offer the heaviest possible turret (guns and armor protection) by deliberately designing a ship with very low freeboard.  The weight thus saved from having a high broadside above the waterline was diverted to actual guns and armor.  Low freeboard, however, also meant a smaller hull and therefore a smaller capacity for coal storage—and therefore range of the vessel.  In many respects, the turreted, low-freeboard Monitor and the broadside sailer HMS Warrior represented two opposite extremes in what an 'Ironclad' was all about.  The most dramatic attempt to compromise these two extremes, or 'squaring this circle', was designed by Captain Cowper Phipps Coles: HMS Captain, a dangerously low freeboard turret ship which nevertheless carried a full rig of sail, and which subsequently capsized not long after her launch in 1870. Her half-sister HMS Monarch was restricted to firing from her turrets only on the port and starboard beams. The third Royal Navy ship to combine turrets and masts was HMS Inflexible of 1876, which carried two turrets on either side of the centre-line, allowing both to fire fore, aft and broadside.[49]

text: A lighter alternative to the turret, particularly popular with the French navy, was the barbette. These were fixed armored towers which held a gun on a turntable. The crew was sheltered from direct fire, but vulnerable to plunging fire, for instance from shore emplacements. The barbette was lighter than the turret, needing less machinery and no roof armor—though nevertheless some barbettes were stripped of their armor plate to reduce the top-weight of their ships. The barbette became widely adopted in the 1880s, and with the addition of an armored 'gun-house', transformed into the turrets of the pre-Dreadnought battleships.[43]

text: Torpedoes[edit]

text: The ironclad age saw the development of explosive torpedoes as naval weapons, which helped complicate the design and tactics of ironclad fleets. The first torpedoes were static mines, used extensively in the American Civil War. That conflict also saw the development of the spar torpedo, an explosive charge pushed against the hull of a warship by a small boat. For the first time, a large warship faced a serious threat from a smaller one—and given the relative inefficiency of shellfire against ironclads, the threat from the spar torpedo was taken seriously. The U.S. Navy converted four of its monitors to become turretless armored spar-torpedo vessels while under construction in 1864–5, but these vessels never saw action.[50] Another proposal, the towed or 'Harvey' torpedo, involved an explosive on a line or outrigger; either to deter a ship from ramming or to make a torpedo attack by a boat less suicidal.

text: A more practical and influential weapon was the self-propelled or Whitehead torpedo.  Invented in 1868 and deployed in the 1870s, the Whitehead torpedo formed part of the armament of ironclads of the 1880s like HMS Inflexible and the Italian Caio Duilio and Enrico Dandolo. The ironclad's vulnerability to the torpedo was a key part of the critique of armored warships made by the Jeune Ecole school of naval thought; it appeared that any ship armored enough to prevent destruction by gunfire would be slow enough to be easily caught by torpedo. In practice, however, the Jeune Ecole was only briefly influential and the torpedo formed part of the confusing mixture of weapons possessed by ironclads.[51]

text: Armor and construction[edit]

text: The first ironclads were built on wooden or iron hulls, and protected by wrought iron armor backed by thick wooden planking.  Ironclads were still being built with wooden hulls into the 1870s.

text: Hulls: iron, wood and steel[edit]

text: Using iron construction for warships offered advantages for the engineering of the hull. However, unarmored iron had many military disadvantages, and offered technical problems which kept wooden hulls in use for many years, particularly for long-range cruising warships.

text: Iron ships had first been proposed for military use in the 1820s. In the 1830s and 1840s, France, Britain and the United States had all experimented with iron-hulled but unarmored gunboats and frigates. However, the iron-hulled frigate was abandoned by the end of the 1840s, because iron hulls were more vulnerable to solid shot; iron was more brittle than wood, and iron frames more likely to fall out of shape than wood.[52]

text: The unsuitability of unarmored iron for warship hulls meant that iron was only adopted as a building material for battleships when protected by armor. However, iron gave the naval architect many advantages. Iron allowed larger ships and more flexible design, for instance the use of watertight bulkheads on the lower decks. Warrior, built of iron, was longer and faster than the wooden-hulled Gloire.  Iron could be produced to order and used immediately, in contrast to the need to give wood a long period of seasoning. And, given the large quantities of wood required to build a steam warship and the falling cost of iron, iron hulls were increasingly cost-effective. The main reason for the French use of wooden hulls for the ironclad fleet built in the 1860s was that the French iron industry could not supply enough, and the main reason why Britain built its handful of wooden-hulled ironclads was to make best use of hulls already started and wood already bought.[53]

text: Wooden hulls continued to be used for long-range and smaller ironclads, because iron nevertheless had a significant disadvantage.  Iron hulls suffered quick fouling by marine life, slowing the ships down—manageable for a European battlefleet close to dry docks, but a difficulty for long-range ships. The only solution was to sheath the iron hull first in wood and then in copper, a laborious and expensive process which made wooden construction remain attractive.[54] Iron and wood were to some extent interchangeable: the Japanese Kongō and Hiei ordered in 1875 were sister-ships, but one was built of iron and the other of composite construction.[55]

text: After 1872, steel started to be introduced as a material for construction. Compared to iron, steel allows for greater structural strength for a lower weight. The French Navy led the way with the use of steel in its fleet, starting with the Redoutable, laid down in 1873 and launched in 1876.[56] Redoutable nonetheless had wrought iron armor plate, and part of her exterior hull was iron rather than steel.

text: Even though Britain led the world in steel production, the Royal Navy was slow to adopt steel warships. The Bessemer process for steel manufacture produced too many imperfections for large-scale use on ships. French manufacturers used the Siemens-Martin process to produce adequate steel, but British technology lagged behind.[57] The first all-steel warships built by the Royal Navy were the dispatch vessels Iris and Mercury, laid down in 1875 and 1876.

text: Armor and protection schemes[edit]

text: Iron-built ships used wood as part of their protection scheme.  HMS Warrior was protected by 4.5 in (114 mm) of wrought iron backed by 15 in (381 mm) of teak, the strongest shipbuilding wood. The wood played two roles, preventing spalling and also preventing the shock of a hit damaging the structure of the ship. Later, wood and iron were combined in 'sandwich' armor, for instance in HMS Inflexible.[58]

text: Steel was also an obvious material for armor. It was tested in the 1860s, but the steel of the time was too brittle and disintegrated when struck by shells.  Steel became practical to use when a way was found to fuse steel onto wrought iron plates, giving a form of compound armor.  This compound armor was used by the British in ships built from the late 1870s, first for turret armor (starting with HMS Inflexible) and then for all armor (starting with HMS Colossus of 1882).[59]  The French and German navies adopted the innovation almost immediately, with licenses being given for the use of the 'Wilson System' of producing fused armor.[60]

text: The first ironclads to have all-steel armor were the Italian Caio Duilio and Enrico Dandolo. Though the ships were laid down in 1873 their armor was not purchased from France until 1877. The French navy decided in 1880 to adopt compound armor for its fleet, but found it limited in supply, so from 1884 the French navy was using steel armor.[60] Britain stuck to compound armor until 1889.

text: The ultimate ironclad armor was case hardened nickel-steel. In 1890, the U.S. Navy tested steel armor hardened by the Harvey process and found it superior to compound armor.  For several years 'Harvey steel' was the state of the art, produced in the U.S., France, Germany, Britain, Austria and Italy. In 1894, the German firm Krupp developed gas cementing, which further hardened steel armor. The German Kaiser Friedrich III, laid down in 1895, was the first ship to benefit from the new 'Krupp armor' and the new armor was quickly adopted; the Royal Navy using it from HMS Canopus, laid down in 1896. By 1901 almost all new battleships used Krupp armor, though the U.S. continued to use Harvey armor alongside until the end of the decade.

text: The equivalent strengths of the different armor plates was as follows: 15 in (381 mm) of wrought iron was equivalent to 12 in (305 mm) of either plain steel or compound iron and steel armor, and to 7.75 in (197 mm) of Harvey armor or 5.75 in (146 mm) of Krupp armor.[61]

text: Ironclad construction also prefigured the later debate in battleship design between tapering and 'all-or-nothing' armor design. Warrior was only semi-armored, and could have been disabled by hits on the bow and stern.[62] As the thickness of armor grew to protect ships from the increasingly heavy guns, the area of the ship which could be fully protected diminished.  Inflexible's armor protection was largely limited to the central citadel amidships, protecting boilers and engines, turrets and magazines, and little else. An ingenious arrangement of cork-filled compartments and watertight bulkheads was intended to keep her stable and afloat in the event of heavy damage to her un-armored sections.[63]

text: Propulsion: steam and sail[edit]

text: The first ocean-going ironclads carried masts and sails like their wooden predecessors, and these features were only gradually abandoned. Early steam engines were inefficient; the wooden steam fleet of the Royal Navy could only carry "5 to 9 days coal",[64] and the situation was similar with the early ironclads. Warrior also illustrates two design features which aided hybrid propulsion; she had retractable screws to reduce drag while under sail (though in practice the steam engine was run at a low throttle), and a telescopic funnel which could be folded down to the deck level.[65]

text: Ships designed for coastal warfare, like the floating batteries of the Crimea, or USS Monitor and her sisters, dispensed with masts from the beginning. The British HMS Devastation, started in 1869, was the first large, ocean-going ironclad to dispense with masts. Her principal role was for combat in the English Channel and other European waters; while her coal supplies gave her enough range to cross the Atlantic, she would have had little endurance on the other side of the ocean. The Devastation and the similar ships commissioned by the British and Russian navies in the 1870s were the exception rather than the rule. Most ironclads of the 1870s retained masts, and only the Italian navy, which during that decade was focused on short-range operations in the Adriatic,[66] built consistently mastless ironclads.[67]

text: During the 1860s, steam engines improved with the adoption of double-expansion steam engines, which used 30–40% less coal than earlier models. The Royal Navy decided to switch to the double-expansion engine in 1871, and by 1875 they were widespread.  However, this development alone was not enough to herald the end of the mast.  Whether this was due to a conservative desire to retain sails, or was a rational response to the operational and strategic situation, is a matter of debate. A steam-only fleet would require a network of coaling stations worldwide, which would need to be fortified at great expense to stop them falling into enemy hands. Just as significantly, because of unsolved problems with the technology of the boilers which provided steam for the engines, the performance of double-expansion engines was rarely as good in practice as it was in theory.[68]

text: During the 1870s the distinction grew between 'first-class ironclads' or 'battleships' on the one hand, and 'cruising ironclads' designed for long-range work on the other. The demands on first-class ironclads for very heavy armor and armament meant increasing displacement, which reduced speed under sail; and the fashion for turrets and barbettes made a sailing rig increasingly inconvenient. HMS Inflexible, launched in 1876 but not commissioned until 1881, was the last British battleship to carry masts, and these were widely seen as a mistake. The start of the 1880s saw the end of sailing rig on ironclad battleships.[64]

text: Sails persisted on 'cruising ironclads' for much longer. During the 1860s, the French navy had produced the Alma and La Galissonnière classes as small, long-range ironclads as overseas cruisers[69] and the British had responded with ships like HMS Swiftsure of 1870. The Russian ship General-Admiral, laid down in 1870 and completed in 1875, was a model of a fast, long-range ironclad which was likely to be able to outrun and outfight ships like Swiftsure. Even the later HMS Shannon, often described as the first British armored cruiser, would have been too slow to outrun General-Admiral. While Shannon was the last British ship with a retractable propellor, later armored cruisers of the 1870s retained sailing rig, sacrificing speed under steam in consequence. It took until 1881 for the Royal Navy to lay down a long-range armored warship capable of catching enemy commerce raiders, HMS Warspite, which was completed in 1888.[70] While sailing rigs were obsolescent for all purposes by the end of the 1880s, rigged ships were in service until the early years of the 20th century.

text: The final evolution of ironclad propulsion was the adoption of the triple-expansion steam engine, a further refinement which was first adopted in HMS Sans Pareil, laid down in 1885 and commissioned in 1891. Many ships also used a forced draught to get additional power from their engines, and this system was widely used until the introduction of the steam turbine in the mid-1900s (decade).[71]

text: Fleets[edit]

text: While ironclads spread rapidly in navies worldwide, there were few pitched naval battles involving ironclads. Most European nations settled differences on land, and the Royal Navy struggled to maintain a deterrent parity with at least France, while providing suitable protection to Britain's commerce and colonial outposts worldwide.  Ironclads remained, for the British Royal Navy, a matter of defending the British Isles first and projecting power abroad second.  Those naval engagements of the latter half of the 19th century which involved ironclads normally involved colonial actions or clashes between second-rate naval powers.  But these encounters were often enough to convince British policy-makers of the increasing hazards of strictly naval foreign intervention, from Hampton Roads in the American Civil War to the hardening combined defences of naval arsenals such as Kronstadt and Cherbourg.

text: There were many types of ironclads:[72]

text:
Seagoing ships intended to "stand in the line of battle"; the precursors of the battleship.[73]
Coastal service and riverine vessels, including 'floating batteries' and 'monitors'
Vessels intended for commerce raiding or protection of commerce, called "armored cruisers"

text: Navies[edit]

text: The United Kingdom possessed the largest navy in the world for the whole of the ironclad period. The Royal Navy was the second to adopt ironclad warships, and it applied them worldwide in their whole range of roles. In the age of sail, the British strategy for war depended on the Royal Navy mounting a blockade of the ports of the enemy. Because of the limited endurance of steamships, this was no longer possible, so the British at times considered the risk-laden plan of engaging an enemy fleet in harbor as soon as war broke out. To this end, the Royal Navy developed a series of 'coast-defence battleships', starting with the Devastation class. These 'breastwork monitors' were markedly different from the other high-seas ironclads of the period and were an important precursor of the modern battleship.[74] As long-range monitors they could reach Bermuda unescorted, for example. However, they were still armed with only four heavy guns and were as vulnerable to mines and obstructions (and enemy monitors) as the original monitors of the Union Navy proved to be during the Civil War. The British prepared for an overwhelming mortar bombardment of Kronstadt by the close of the Crimean War, but never considered running the smoke-ridden, shallow-water gauntlet straight to St. Petersburg with ironclads. Likewise, monitors proved acutely unable to 'overwhelm' enemy fortifications single-handed during the American conflict, though their low-profile and heavy armor protection made them ideal for running gauntlets. Mines and obstructions, however, negated these advantages—a problem the British Admiralty frequently acknowledged but never countered throughout the period. The British never laid down enough Devastation-class 'battleships' to instantly overwhelm Cherbourg, Kronstadt or even New York City with gunfire. Although throughout the 1860s and 1870s the Royal Navy was still in many respects superior to its potential rivals, by the early 1880s widespread concern about the threat from France and Germany culminated in the Naval Defence Act, which promulgated the idea of a 'two-power standard', that Britain should possess as many ships as the next two navies combined. This standard provoked aggressive shipbuilding in the 1880s and 1890s.[75]

text: British ships did not participate in any major wars in the ironclad period. The Royal Navy's ironclads only saw action as part of colonial battles or one-sided engagements like the bombardment of Alexandria in 1882. Defending British interests against Ahmed 'Urabi's Egyptian revolt, a British fleet opened fire on the fortifications around the port of Alexandria. A mixture of centre-battery and turret ships bombarded Egyptian positions for most of a day, forcing the Egyptians to retreat; return fire from Egyptian guns was heavy at first, but inflicted little damage, killing only five British sailors.[76] Few Egyptian guns were actually dismounted, on the other hand, and the fortifications themselves were typically left intact. Had the Egyptians actually utilised the heavy mortars that were at their disposal, they might have quickly turned the tide, for the attacking British ironclads found it easy (for accuracy's sake) to simply anchor whilst firing—perfect targets for high-angle fire upon their thinly armored topdecks.

text: The French navy built the first ironclad to try to gain a strategic advantage over the British, but were consistently out-built by the British. Despite taking the lead with a number of innovations like breech-loading weapons and steel construction, the French navy could never match the size of the Royal Navy. In the 1870s, the construction of ironclads ceased for a while in France as the Jeune Ecole school of naval thought took prominence, suggesting that torpedo boats and unarmored cruisers would be the future of warships. Like the British, the French navy saw little action with its ironclads; the French blockade of Germany in the Franco-Prussian War was ineffective, as the war was settled entirely on land.[77]

text: Russia built a number of ironclads, generally copies of British or French designs. Nonetheless, there were real innovations from Russia; the first true type of ironclad armored cruiser, General-Admiral of the 1870s, and a set of remarkably badly designed circular battleships referred to as 'popovkas' (for Admiral Popov, who conceived the design). The Russian Navy pioneered the wide-scale use of torpedo boats during the Russo-Turkish War of 1877–1878, mainly out of necessity because of the superior numbers and quality of ironclads used by the Turkish navy.[78] Russia expanded her navy in the 1880s and 1890s with modern armored cruisers and battleships, but the ships were manned by inexperienced crews and politically appointed leadership, which enhanced their defeat in the Battle of Tsushima on 27 May 1905.[79]

text: The US Navy ended the Civil War with about fifty monitor-type coastal ironclads; by the 1870s most of these were laid up in reserve, leaving the USA virtually without an ironclad fleet. Another five large monitors were ordered in the 1870s. The limitations of the monitor type effectively prevented the USA from projecting power overseas, and until the 1890s the USA would have come off badly in a conflict with even Spain or the Latin American powers. The 1890s saw the beginning of what became the Great White Fleet, and it was the modern pre-Dreadnoughts and armored cruisers built in the 1890s which defeated the Spanish fleet in the Spanish–American War of 1898. This started a new era of naval warfare.[80]

text: Ironclads were widely used in South America. Both sides used ironclads in the Chincha Islands War between Spain and the combined forces of Peru and Chile in the early 1860s. The powerful Spanish Numancia participated in the Battle of Callao but was unable to inflict significant damage to the Callao defences. Besides, Peru was able to deploy two locally built ironclads based on American Civil War designs,[81] Loa (a wooden ship converted into a casemate ironclad) and Victoria (a small monitor armed with a single 68-pdr gun), as well as two British-built ironclads: Independencia, a centre-battery ship, and the turret ship Huáscar. Numancia was the first ironclad to circumnavigate the world, arriving in Cádiz on 20 September 1867, and earning the motto: "Enloricata navis que primo terram circuivit" ["First ironclad ship to sail around the world"]). In the War of the Pacific in 1879, both Peru and Chile had ironclad warships, including some of those used a few years previously against Spain. While Independencia ran aground early on, the Peruvian ironclad Huáscar made a great impact against Chilean shipping, delaying Chilean ground invasion by six months. She was eventually caught by two more modern Chilean centre-battery ironclads, Blanco Encalada and Almirante Cochrane at the Battle of Angamos Point.[82]

text: Ironclads were also used from the inception of the Imperial Japanese Navy. Kōtetsu (Japanese: 甲鉄, literally "Ironclad", later renamed Azuma 東, "East") had a decisive role in the Naval Battle of Hakodate Bay in May 1869, which marked the end of the Boshin War, and the complete establishment of the Meiji Restoration. The IJN continued to develop its strength and commissioned a number of warships from British and European shipyards, first ironclads and later armored cruisers. These ships engaged the Chinese Beiyang fleet which was superior on paper at least at the Battle of the Yalu River. Thanks to superior short-range firepower, the Japanese fleet came off better, sinking or severely damaging eight ships and receiving serious damage to only four. The naval war was concluded the next year at the Battle of Weihaiwei, where the strongest remaining Chinese ships were surrendered to the Japanese.[83]

text: End of the ironclad warship[edit]

text: There is no clearly defined end to the ironclad, besides the transition from wood hulls to all-metal. Ironclads continued to be used in World War I. Towards the end of the 19th century, the descriptions 'battleship' and 'armored cruiser' came to replace the term 'ironclad'.[84]

text: The proliferation of ironclad battleship designs came to an end in the 1890s as navies reached a consensus on the design of battleships, producing the type known as the pre-Dreadnought. These ships are sometimes covered in treatments of the ironclad warship. The next evolution of battleship design, the dreadnought, is never referred to as an 'ironclad'.[85]

text: Most of the ironclads of the 1870s and 1880s served into the 1900s (decade). For instance, a handful of US navy monitors laid down in the 1870s saw active service in World War I. Pre-Dreadnought battleships and cruisers of the 1890s saw widespread action in World War I and in some cases through to World War II.

text: Legacy[edit]

text: H. G. Wells coined the term The Land Ironclads in a short story published in 1903, to describe fictional large armored fighting vehicles moving on Pedrail wheels.[86]

text: A number of ironclads have been preserved or reconstructed as museum ships.

text:
Parts of USS Monitor have been recovered and are being conserved and displayed at the Mariners' Museum in Newport News, Virginia
HMS Warrior is today a fully restored museum ship in Portsmouth, England
Huáscar is berthed at the port of Talcahuano, Chile, on display for visitors.
The City-class ironclad USS Cairo is currently on display in Vicksburg, Mississippi.
Northrop Grumman in Newport News constructed a full-scale replica of USS Monitor. The replica was laid down in February 2005 and completed just two months later.[87]
The Dutch Ramtorenschip (Coastal ram) Zr. Ms. Buffel is currently under display in the Maritime Museum Rotterdam.
The Dutch Ramtorenschip (Coastal ram) Zr. Ms. Schorpioen is a museum ship at Den Helder.
The complete, recovered wooden hull of the CSS Neuse, a casemate ram ironclad, is on view in Kinston, North Carolina, and, in another part of town on the Neuse River, the recreated ship, named CSS Neuse II, is nearly built and can be visited.
The hull of the casemate ironclad CSS Jackson can be seen in the National Civil War Naval Museum at Port Columbus, Georgia.
The new United States Navy Zumwalt-class guided missile destroyer has been described as bearing resemblance to ironclads.[88]
Chinese battleship Dingyuan was rebuilt in 2003 as a floating museum at Weihai.


document_title: Dora the Explorer

question_text: who does the voice of dora the explorer

question_tokens: who does the voice of dora the explorer

root

text: Dora the Explorer

text: Plot

text: The series centers around Dora, a 7 (Later 8) year old American girl of Indigenous Mexican heritage, with a love of embarking on quests related to an activity that she wants to partake of or a place that she wants to go to, accompanied by her talking purple backpack and anthropomorphic monkey companion named Boots (named for his beloved pair of red boots). Each episode is based around a series of cyclical events that occur along the way during Dora's travels, along with obstacles that she and Boots are forced to overcome or puzzles that they have to solve (with "assistance" from the viewing audience) relating to riddles, the Spanish language, or counting. Common rituals may involve Dora's encounters with Swiper, a bipedal, anthropomorphic masked thieving fox whose theft of the possessions of others must be prevented through fourth wall-breaking interaction with the viewer. To stop Swiper, Dora must say "Swiper no swiping" three times. However, on occasions where Swiper steals the belongings of other people, the viewer is presented with the challenge of helping Boots and Dora locate the stolen items. Another obstacle involves encounters with another one of the program's antagonists; the "Grumpy Old Troll" dwelling beneath a bridge that Dora and Boots must cross, who challenges them with a riddle before permitting them the past that needs to be solved with the viewer's help. Known for the constant breaking of the fourth-wall depicted in every episode, the audience is usually presented to two primary landmarks that must be passed before Dora can reach her destination, normally being challenged with games or puzzles along the way. The episode always ends with Dora successfully reaching the locale, singing the "We Did It!" song with Boots in triumph.

tag: p

text: On numerous occasions, television specials have been aired for the series in which the usual events of regular episodes are altered, threatened, or replaced. Usually said specials will present Dora with a bigger, more whimsical adventure than usual or with a magical task that must be fulfilled, or perhaps even offer a series of different adventures for Boots and Dora to travel through. They might be presented with an unusual, difficult task (such as assisting Swiper in his attempts to be erased from Santa Claus's Naughty List) that normally is not featured in average episodes, or challenge Dora with a goal that must be achieved (such as the emancipation of a trapped mermaid). Sometimes, the specials have involved the debut of new characters, such as the birth of Dora's superpowered twin baby siblings and the introduction of the enchanted anthropomorphic stars that accompany Dora on many of her quests.

text: Voices

text:
Dora Márquez[2] (aka Dora the Explorer): Kathleen Herles (2000–2007), Caitlin Sanchez (2008–2011), Fátima Ptacek (2012–2014)
Boots: Harrison Chad (2000–2007), Regan Mizrahi (2008–2012), Koda Gursoy (2012-2014)
Backpack: Sasha Toro (2000–2007), Alexandria Suarez (2008–2014)
Swiper: Marc Weiner (2000–2014)
Map: Marc Weiner (2000–2014)
Isa the Iguana: Ashley Fleming (2000–2007), Lenique Vincent (2008–2011), Skai Jackson (2012–2014)
Tico the Squirrel: Jose Zelaya (2002–2007), Jean Carlos Celi (2008–2014)
Benny the Bull: Jake Burbage (2000–2007), Matt Gumley (2008–2014)
Big Red Chicken: Chris Gifford (2000–2014)
Explorer Stars: Christiana Anbri, Henry Gifford, Katie Gifford, Aisha Shickler, Muhammed Cunningham, Jose Zeleya
Diego: Felipe and Andre Dieppa (2003–2006), Jake T. Austin (2005–2010), Brandon Zambrano (2011–2012), Jacob Medrano (2012–2014)[3][4]
Elaine Del Valle - Val the Octopus, various
Eileen Galindo -Mrs. Marquez
Chris Gifford - Big Red Chicken, Grumpy Old Troll, various
K.J. Sanchez
Adam Sietz - Boots' Daddy, various
Leslie Valdes
Marc Weiner

tag: ul

text: Guest voices

text:
John Leguizamo
Cheech Marin
Ricardo Montalbán
Esai Morales - Mr. Marquez
Amy Principe
Irwin Reese
Chita Rivera (Dora's Fairytale Adventure, 2004)
Antonia Rey
Paul Rodriguez
Frankie Grande

text: Guest stars

text:
Johnny Weir, (Dora's Ice Skating Spectacular, 2013)
Hilary Duff, (Dora's Ice Skating Spectacular, 2013)
Jewel Kilcher (Dora in Wonderland, 2014)
Mel Brooks (Dora in Wonderland, 2014)
Alan Cumming (Dora in Wonderland, 2014)
Sara Ramirez (Dora in Wonderland, 2014)

text: Episode list

text: Development

text: Dora is a Latina. According to a Nickelodeon spokesman, "She was developed to be pan-Latina to represent the diversity of Latino cultures."[5]

text: On March 8, 2009, Mattel and Nickelodeon announced that Dora will receive a tweenage makeover, switching from a young age to a teenage attending middle school. Initially, it was announced that the new look would not be revealed until late 2009,[6] but after a short controversy, the tween Dora was unveiled on March 16, 2009.[7][8][9] The change was criticized by one writer that did not support the feminization of Dora's image.[10]

text: In 2012, a CGI opening was created for new episodes of the series.[11]

text: Dora's Explorer Girls

text: In 2009, Mattel and Nickelodeon introduced a preteen version of Dora, with four friends named Naiya, Kate, Emma, and Alana, who call themselves the Explorer Girls.[12] The Explorer Girls were included in the Dora and Friends spin-off in 2014.

text: Foreign adaptations

text: Dora the Explorer has been produced in various other languages worldwide. It facilitates the learning of important foreign language words or phrases (mostly English, interspersed with a local language (e.g. Norwegian, Russian, Hindi, or German), with occasional use of Spanish (used in the Gaelic, Serbian, and Turkish versions)) through its simplicity and use of repetition.

text:
Arabic – The Arabic language version is broadcast on the "Nickelodeon on MBC3" block of MBC3, and is presented in Arabic-English.
Cantonese – The Cantonese language version (Chinese: 愛探險的朵拉; literally: "Explore-loving Dora") is sold in Hong Kong. It is presented in Cantonese-English.
Danish – The Danish language version is called "Dora – udforskeren" and there are commands and expressions in English. It is broadcast on the national public children's channel, DR Ramasjang, and also on Nick Jr. through various pay TV providers.
Dutch – The Dutch language version broadcasts on Nickelodeon and Nick. Jr, It is presented in Dutch-English. The voice actors are Lottie Hellingman as Dora and Dieter Jansen as Boots.
French – The French language version, Dora l'exploratrice, broadcasts on TF1 in France and Télé-Québec in Canada. It is presented in French-English, with Dora and Boots (called Babouche) speaking French and other protagonists speaking and answering in English.
Filipino – The Filipino language version broadcasts on ABS-CBN and has the same English title "Dora, the Explorer". The characters speak Filipino and some English, Dora teaches English in this version.
German – The German language version broadcasts on the German branch of Nickelodeon. The bilingualism is German-English.
Greek – The Greek language version is called "Ντόρα η μικρή εξερευνήτρια" (or Dora the Little Explorer). It broadcasts on Nickelodeon and Star Channel. The bilingualism is Greek-English. Dora and Boots (called Botas) speak Greek and other protagonists speak and answer in English.
Hebrew – The Hebrew language version broadcasts on HOP channel. The bilingualism is Hebrew-English. The series is called מגלים עם דורה (or Megalim Im Dora--English: Discovering with Dora).
Hindi – In the Hindi language version, Dora and the other characters speak Hindi. It broadcasts on Nickelodeon and Nick Jr. Dora teaches the viewers English words and numbers.
Hungarian – In the Hungarian language version, Dora and the other characters speak Hungarian with some English words or phrases. It broadcasts on Nickelodeon (Hungary). The series is called Dóra a felfedező.
Indonesian – The Indonesian language version broadcasts on Global TV. The bilingualism is Indonesian-English.
Irish – The Irish language version broadcasts on the Irish station TG4. The bilingualism is Irish-Spanish with Dora and Boots speaking in Irish and some other characters speaking Spanish as in the original American version.
Italian – The Italian language version broadcasts on Cartoonito and on Nickelodeon. The bilingualism is Italian-English. The series is called Dora l'esploratrice ("Dora the Explorer"). Most characters speak Italian, but some characters and especially Dora's parents and backpack speak English along with Italian.
Japanese – The Japanese language version broadcasts on Nick Japan. The bilingualism is Japanese-English, with Dora and Boots speaking Japanese and other protagonists speaking and answering in English. The version is called ドーラといっしょに大冒険 (Dōra to issho ni dai bōken/Adventures with Dora).
Kannada – The Kannada language version broadcasts on Chintu TV and is a very popular program on that network. Hindi is the second language in this version.
Korean – The Korean language version broadcasts on Nick Jr in Korea. The title is "Hi Dora" and is introduced by a real person whose name is Dami – she introduces key English vocabulary for each episode. The episode is primarily in Korean with some English.
Macedonian – The Macedonian language version broadcasts on MRT 1 in Macedonia. The title is "Дора истражува" (or Dora the Explorer). The bilingualism is Macedonian-English.
Malay – The Malay language version broadcasts on TV9. The bilingualism is Malay-English. Dora speaks primarily in Malay, and the secondary language is English. The original English-Spanish version, however, is also available on Nickelodeon South East Asia via the Nick Jr. programming slot to subscribers of the ASTRO satellite TV service.
Malayalam – The Malayalam language version is called Dorayude Prayanam (ഡോറയുടെ പ്രയാണം) and broadcasts on a local kids programming channel Kochu TV, which is the Malayalam dubbed version of Chutti TV.
Mandarin – In the Mandarin Chinese language version Dora the characters speak mainly Mandarin with limited English. It broadcasts on Yo-yo TV in Taiwan (Channel 25).
Maori – The Māori language version is called "Dora Mātātoa".
Norwegian – In the Norwegian language version, the bilingualism is Norwegian-English.
Polish – The Polish language version broadcasts on Nickelodeon in Poland. The bilingualism is Polish-English. The series is called Dora poznaje świat ("Dora explores the world").
Portuguese – In the Portuguese language versions, Dora a Exploradora broadcasts on RTP2 and Nickelodeon Portugal. On Nickelodeon Brazil, the show is called Dora a Aventureira, and Dora and Boots (called Boots in the Portuguese version and Botas in the Brazilian version) speak Portuguese, while the other protagonists speak and answer in English. Some Portuguese episodes are available on DVD.
Persian – The Persian language version broadcasts on Persian Toon. The bilingualism is Persian-English.
Russian – The Russian language version broadcasts on TNT and Nickelodeon. The bilingualism is Russian-English. The series is called Dasha-sledopyt ("Dasha the Pathfinder"). Dasha is the children's name of Daria (Darya).
Serbian – The Serbian language version broadcasts on B92. The bilingualism is Serbian-Spanish. The series is called Dora istražuje (Dora is exploring).
Spanish – There are different Spanish language versions for Mexico, Latin America, and Spain. Dora la Exploradora broadcasts on Nickelodeon in Latin America (and up to September 2006 on Telemundo in the USA; from April 2008 on Univisión). Dora and Boots (called Botas) speak Spanish and the other protagonists speak and answer in English. Some Spanish episodes are available to US viewers on VHS, and some DVDs have a Spanish track (including Dora's Egg Hunt). This version is entirely the reverse of the original English version; Tico and Señor Tucan (called Mr. Toucan) only speak English. Additionally, Univision has added on-screen captions of the Spanish words spoken in English. In Spain, Dora la exploradora is aired on TVE 1, Clan TVE and Nickelodeon. It is another reverse of the original English version (the characters speak mainly Spanish but there are commands and expressions in English).
Swedish – In the Swedish language version Dora- utforskaren the characters speak mainly Swedish but there are commands and expressions in English. It broadcasts on Nickelodeon and TV4.
Tamil – In the Tamil language version Doravin Payanangal (டோராவின் பயணங்கள்), the characters all speak Tamil, with some English interspersed. It broadcasts on a local kids programming channel Chutti TV.
Thai – In the Thai language version ดอร่าดิเอกซ์พลอเรอร์ or ดอร่าสาวน้อยนักผจญภัย, the characters speak Thai; however, Tico speaks English. It broadcasts on Gang Cartoon Channel, Nick Jr., Thai PBS.
Turkish – In the Turkish language version Dora the characters speak mainly Turkish, Spanish, and English but there are commands and expressions in Turkish. It broadcasts on Nickelodeon and CNBC-e.

text: As shown by the list above, the usual second language is English, but Spanish is used in the original American version in English (broadcast also for Malay speakers), in the Gaelic (Irish), Serbian, and the trilingual Turkish versions.

text: Stage adaptations

text: Two stage versions of Dora the Explorer toured North America, the first being "City of Lost Toys", and the second being "Dora's Pirate Adventure". Produced by Nickelodeon and LiveNation, these productions featured live actors portraying the roles of Dora and her friends, including Boots, Diego, Isa, and the Fiesta Trio. Many of the characters wore elaborate foam costumes designed to resemble the Dora characters. Each production featured a structure similar to an episode of the television series. City of Lost Toys featured Christina Bianco as Dora while Dora's Pirate Adventure featured Danay Ferrer of the band Innosense in the role of Dora and Frankie Grande as Boots. Both productions featured a version of the popular Gloria Estefan song "Get On Your Feet" as the final number of the show. Both productions were conceived by Chris Gifford, creator of the television show, and directed by Gip Hoppe.

text: There have been three Dora touring companies. The "City of Lost Toys" company and the "Pirate Adventure" company featured actors and crew that were members of Actor's Equity and IATSE, respectively, the unions for professional actors and stagehands in the United States. The third company performs a reduced version of "Pirate Adventure" and does not employ union personnel. This production is currently touring North America, and scheduled to travel to the United Kingdom and France.

text: Dora the Explorer merchandise

text: There are many action figures and playsets available in many markets, along with DVDs, cosmetics, hygiene products, ride-ons, books, board games, plush dolls, apparel, handbags, play tents, play kitchens, and more. Licensees include Fisher-Price in the United States and Holland Publishing in the United Kingdom.

text: Toys

text: In 2004 Lego released four sets based on the TV series' characters. These include 7330 Dora's Treasure Island, 7331 Diego's Rescue Truck, 7332 Dora and Boots at Play Park, and 7333 Dora and Diego's Animal Adventure.

text: In 2007, lead paint used by a contract toy manufacturer in China prompted Mattel to issue recalls for nearly a million toys, many of which featured Sesame Street and Nickelodeon characters, including Dora the Explorer. Nickelodeon responded that they would introduce "third-party monitoring" of all manufacturers of products under its brands.[13][14][15]

text: Books

text: Dora the Explorer series

text:
Dora's Backpack (ISBN 978-0689847202)
Little Star (ISBN 978-0689847219)
Happy Mother's Day Mami! (ISBN 978-0689852336)
Meet Diego! (ISBN 978-0689859939)
Dora's Thanksgiving (ISBN 978-0689858420)
Dora Loves Boots (ISBN 978-0689863738)
Dora's Book of Manners (ISBN 978-0689865336)
Dora Goes to School (ISBN 978-0689864940)
Dora's Fairy-Tale Adventure (ISBN 978-0689870125)
Dora's Chilly Day (ISBN 978-0689867958)
Show Me Your Smile! (ISBN 978-0689871696)
Dora's Pirate Adventure (ISBN 978-0689875830)
Big Sister Dora! (ISBN 978-0689878466)
At the Carnival (ISBN 978-0689858413)
Dora's Costume Party! (ISBN 978-1416900108)
Dance to the Rescue (ISBN 978-1416902164)
Dora's Starry Christmas (ISBN 978-1416902492)
Super babies (ISBN 978-1416914853)
The Birthday Dance Party (ISBN 978-1416913030)
Dora's World Adventure (ISBN 978-1416924470)
Dora Climbs Star Mountain (ISBN 978-1416940593)
It's Sharing Day! (ISBN 978-1416915751)
Dora Had a Little Lamb (ISBN 978-1416933687)
Dora Saves Mermaid Kingdom! (ISBN 978-1416938415)
Dora and the Stuck Truck (ISBN 978-1416947998)

tag: ol

text: Ready To Read series – Level 1

text:
Dora's Picnic (ISBN 978-0689852381)
Follow Those Feet! (ISBN 978-0689852398)
Dora in the Deep Sea (ISBN 978-0689858451)
I Love My Papi! (ISBN 978-0689864957)
Say "Cheese!" (ISBN 978-0689864964)
The Halloween Cat (ISBN 978-0689867996)
Eggs for Everyone! (ISBN 978-0689871764)
Just Like Dora! (ISBN 978-0689876752)
I Love My Mami! (ISBN 978-1416906506)
Puppy Takes a Bath (ISBN 978-1416914839)
Around the World! (ISBN 978-1416924784)
Dora's Sleepover (ISBN 978-1416915089)
Dora Helps Diego! (ISBN 978-1416915096)
Dora's Perfect Pumpkin (ISBN 978-1416934387)
Dora's Mystery of the Missing Shoes (ISBN 978-1416938248)

text: A Lift-the-Flap Story

text:
Good Night, Dora!: A Lift-the-Flap Story (ISBN 978-0689847745)
Where Is Boots?: A Lift-the-Flap Story (ISBN 978-0689847752)
Let's Play Sports!: A Lift-the-Flap Story (ISBN 978-1416933502)
All Dressed Up!: A Lift-the-Flap Book (ISBN 978-0689877186)

text: Treasury books and collection books

text: Dora's Ready-to-Read Adventures (ISBN 978-0689878152)

text: Contains: Dora's picnic, Follow those feet, Dora in the deep sea, I love my Papi!, Say "Cheese"

text: Dora's Storytime Collection (ISBN 978-0689866234)

text: Contains: Dora's Backpack, Little Star, Happy Birthday, Mami!, Meet Diego!, Dora Saves the Prince, Dora's Treasure Hunt, Good Night, Dora!

text: Dora's Big Book of Stories (ISBN 978-1416907084)

text: Contains: Dora's Book of Manners, Dora Goes to School, Dora's Fairy-Tale Adventure, Dora's Chilly Day, Show Me Your Smile!, Dora's Pirate Adventure, Big Sister Dora!

text: Sticker books

text: Dora's Magic Watering Can (ISBN 978-1416947721)

text: DVDs and videos

text: Video games

text: Video games based on the 2000 television show Dora the Explorer were released. In Canada, Cheerios offered a free Dora the Explorer the Game CD-ROMs in specially marked packages. However, packages sold in Quebec would only have the French version. Dora the Explorer: Barnyard Buddies is a video game released for the PlayStation in 2003 in the US. It was not released in Europe until 2005 being one of the very last games released on that platform in that territory. Dora the Explorer: Super Star Adventures is an adventure video game for the Game Boy Advance released in 2004. It was developed by Imaginengine and published by Global Star.[16]

text: Dora the Explorer: Journey to the Purple Planet is an action-adventure video game, developed by Monkey Bar Games, published by Global Star Software and powered by Vicious Engine. The game was released for GameCube in North America on October 13, 2005,[17] and later in PAL regions on December 16, 2005. The PlayStation 2 version was released on PAL regions on December 2, 2005, and later in North America on February 9, 2006.[18] The game is about Dora and Boots who finds some lost aliens from the purple planet. However, to take them home, she and Boots are required to collect keys to open the space gate, leading to the saturn planet. The game is unique in that it uses pictures and symbols to communicate rather than words. The object of the game is to capture one of the six explorer stars. Each explorer star has a special power such as the ability to be noisy or the ability to create music. In order to capture the star, the player must complete a hide-and-seek activity. These activities include maze navigation, matching games, side-scrolling race games, a "Frogger"-type game, a complete-the-pattern activity and a song playing game.[19]

text: Dora Puppy is a puppy simulator where players must help Dora take care of her puppy, Perrito, and help train him for doggie competitions. All the actions are performed by either tracing certain shapes with the stylus or calling out commands into the DS's microphone.[20] It was developed by Take-Two Interactive for the Nintendo DS and published by 2K Play in North America[21] and Australia in 2009, and in Europe in 2010.

text: Dora the Explorer: Dora's Cooking Club is a cooking video game for the Nintendo DS. It was published by 2K Play in 2010.[22] In the game, players have to chop veggies, stir soups, top pizzas, and more using math skills. They may be sorting cookies into numbered groups or counting out different amounts of ingredients.[23]

text:
Dora the Explorer: Dora Saves the Snow Princess is a video game that was released for the PlayStation 2 and the Wii console in 2008.
Dora the Explorer: Dora Saves the Crystal Kingdom is a video game that was released for the PlayStation 2 and the Wii console in 2009.

text: Sequel

text: In 2013, Nickelodeon announced that it will have a sequel to Dora the Explorer titled as Dora and Friends: Into the City!. It will star the Latina heroine Dora as a 10-year-old who goes on city adventures with the Explorer Girls, accompanied by a male pal named Pablo. The series has been picked up for 20 episodes and aired on Nickelodeon on August 18, 2014.[24][25][26][27][28][29]


document_title: This Is the End

question_text: this is the end who goes to heaven

question_tokens: this is the end who goes to heaven

text: This Is the End

text: Plot[edit]

text: Jay Baruchel arrives in Los Angeles to visit old friend and fellow Canadian actor Seth Rogen, who invites him to attend a housewarming party hosted by James Franco. Jay is uncomfortable at the crowded party, so Seth accompanies him to a convenience store for cigarettes, but beams of blue light come down and suck numerous people into the sky. Seth and Jay flee back to Franco's house, only to find the party unharmed. An earthquake strikes and the party goers rush outside, but Michael Cera demands to know who stole his cell phone, then all of a sudden he gets impaled by a lamppost and a large hole opens in James' yard, swallowing himself, Rihanna, Mindy Kaling, Jason Segel, Christopher Mintz-Plasse and Martin Starr. Seth, James, Jonah Hill and Craig Robinson survive and run back inside the house. James' assistant Karen gets accidentally crushed by Paul Rudd. Aziz Ansari grabs Kevin Hart's foot but he gets hit in the face by the other foot, then gets his arm cut off by a lamppost and falls into the sinkhole. Kevin tries to get Aziz's arm off, but he also falls into the sinkhole. Jay tries to help David Krumholtz escape the sinkhole, but he falls into the sinkhole as well. Jay escapes the sinkhole and runs back to the house. After learning the biggest earthquake has struck Los Angeles on the news, the group take inventory of their supplies, set up a ration system, board up the house and await help.

text: The next morning, Danny McBride, also in the house and unaware of the crisis, wastes much of their food and water. The others tell him of the previous night's events, which he initially does not believe until a man (Brian Huskey) outside is decapitated as they watch. Tensions rise due to various conflicts, including Jay and Seth's growing estrangement, and the others' scepticism of Jay's belief that the disaster might be the Apocalypse predicted in the Book of Revelation. Later, Emma Watson, another survivor of the party, returns. However, due to a misunderstanding, she believes the group is planning to rape her and leaves, taking the group's remaining drinks with her. Craig is chosen to travel outside to the basement for water, but finds the door is locked and returns after an encounter with an unknown being.

text: The experience causes Craig to believe Jay's theory that the Apocalypse has arrived. Jay and Seth reach the basement by digging through the floor and find the water, but Danny ends up wasting most of it out of spite, prompting him to be kicked out of the house. Before he leaves, Danny reveals that Jay was in town two months prior but stayed at a hotel, instead of at Seth's house, because of their strained friendship. Jonah makes a remark that annoys Jay, causing him to punch him and giving him a nasty nosebleed. Later that night, Jonah prays for Jay to die, but is possessed by a demon shortly after. The next day, Jay and Craig go to a neighboring home for supplies, and escape a demonic bull. Meanwhile, Seth and James are attacked by the possessed Jonah, but Jay and Craig arrive in time to knock him out. The group subdues Jonah and tie him up, but during an exorcism attempt, Jay and Seth get into a fight and knock a candle over. A fire starts, engulfing Jonah and the house in flames and forcing the others outside.

text: James suggests taking his car to his home in Malibu, but finds the car guarded by a demon. Craig volunteers to sacrifice himself. The plan succeeds and Craig is raptured into Heaven, which means that the others can be saved if they do a selfless act. They are then captured by cannibals led by Danny and his Gimp Channing Tatum. James volunteers to sacrifice himself to save the others, but taunts Danny and flips him off as he ascends to Heaven, causing his beam to vanish. Danny then warns James that he was being petty for not going to Heaven and joins in the cannibals to eat him alive while Seth and Jay run away from them. They then encounter a gigantic satanic being. Jay apologises to Seth for his actions as the being attempts to eat them. A beam strikes Jay, and he begins to ascend while Seth does not. Jay grabs Seth's hand, but his presence prevents him from ascending into Heaven. As a result, another beam strikes Seth and slices off the being's crotch and he and Jay both finally ascend to Heaven where they meet Craig, who tells them that it is a place where any desire comes true. Jay wishes for the Backstreet Boys and the band performs "Everybody (Backstreet's Back)" as everyone dances.

text: Cast[edit]

text: Most of the film's cast portray fictional, exaggerated versions of themselves:[4]

text:
Jay Baruchel
Seth Rogen
Craig Robinson
Danny McBride
James Franco
Jonah Hill
Emma Watson
Kevin Hart
Paul Rudd
Rihanna
Christopher Mintz-Plasse
Mindy Kaling
David Krumholtz
Michael Cera
Martin Starr
Aziz Ansari
Channing Tatum
Backstreet Boys
Jason Segel (uncredited)
Brian Huskey (headless man)

text: Production[edit]

text: Rogen and Goldberg told interviewers, "We always wanted to do a movie where people played themselves and something extraordinary happened; the initial version of the film was Seth Rogen and Busta Rhymes were filming a music video and a film respectively, on the Sony lot, and Antmen attacked from the center of the earth."[5] The film is also based on Jay and Seth versus the Apocalypse, a short film created by Goldberg and Jason Stone in 2007.[6]

text: In an interview with The Guardian, Goldberg commented on influences contributing to the film, "If you drilled down to the core of what I do, it's just ripping off little bits of Charlie Kaufman. Seth and I always loved The Larry Sanders Show too. And the popularity of reality television now also feeds into that idea of whether what we're watching is actually real. We thought working with our friends in that situation would be awesome because they're all comedians willing to take stabs at themselves."[7] The actors play exaggerated versions of themselves, with only James Franco having no objections to doing what the script wanted him to do.[8]

text: While set in Los Angeles, principal photography was in New Orleans due to financial incentives from that city. Filming rolled from February to early July 2012.[9] Modus FX made 240 visual effects for the film, including natural disasters, set extensions for the house, computer-generated demons, and the Rapture beams.[10] After filming wrapped, Rogen and Goldberg were displeased with their ending; they considered putting Morgan Freeman in Heaven, but he declined.[11] Since "Everybody (Backstreet's Back)" already played in a scene and the directors wanted to close on an over-the-top note, the directors decided to feature the Backstreet Boys in the scene instead.[12]

text: During production, the film was titled The Apocalypse, later changed to The End of the World.[6][13] The name changed to This Is the End on December 20, 2012, upon the release of its first trailer and poster.[14][15] This was done at the request of Rogen's Paul co-star Simon Pegg, who wrote to Rogen in concern that The End of the World was too similar a title to his comedy film The World's End, also released in the summer of 2013 and centered around an apocalypse with an ensemble cast. As The World's End was the name of a key location in that film, Pegg worried he could not change the name of his film.[16]

text: On April 1, 2013, Sony released an April Fools' Day trailer for Pineapple Express 2, which was in fact a teaser trailer for This Is the End.[17] According to Rogen and Goldberg, however, the homemade Pineapple Express 2 film in This Is the End depicts what they envision for the actual sequel.[18]

text: Music[edit]

text: Soundtrack[edit]

text:
This Is the End: Original Motion Picture Soundtrack

Soundtrack album by Various Artists

Released
June 11, 2013

Recorded
2013

Genre
Film soundtrack

Length
48:43

Label
RCA

tag: table

text: This Is the End: Original Motion Picture Soundtrack is the soundtrack of the film. It was released on June 11, 2013[19][20] by RCA Records.

text:
No.
Title
Performer(s)
Length

1.
"Take Yo Panties Off"
Snoop Dogg & Craig Robinson
5:06

2.
"Step Into a World (Rapture's Delight)"
KRS-One
4:50

3.
"Tipsy (Club Mix)"
J-Kwon
4:05

4.
"A Joyful Process"
Funkadelic
6:17

5.
"Love in the Old Days"
Daddy
4:18

6.
"When the Shit Goes Down"
Cypress Hill
3:11

7.
"Watchu Want"
Belief & Karniege
2:57

8.
"Easy Fix"
K.Flay
3:36

9.
"Spirit in the Sky"
Norman Greenbaum
3:58

10.
"Everybody (Backstreet's Back)"
Backstreet Boys
3:45

11.
"Please Save My Soul"
Church Friends Choir featuring Pamela Landrum
2:07

12.
"I Will Always Love You"
Whitney Houston
4:33

Total length:
48:43

text:
"Gangnam Style" by Psy
"Rapture" by Blondie
"Hole in the Earth" by Deftones
"Disco 2000" by Pulp
"Spiteful Intervention" by Of Montreal
"Paper Planes" by M.I.A.
"End of the Beginning" and "War Pigs" by Black Sabbath
"The Next Episode" by Dr. Dre.

text: Score[edit]

text: The score by Henry Jackman,[21] with additional material by Dominic Lewis and Matthew Margeson and conducted by Nick Glennie-Smith, was not officially released on its own, not even as bonus tracks on the CD or digital releases on RCA's album. Despite that, a promotional album for the score does exist, according to Soundtrack.net.[22]

text:
No.
Title
Length

1.
"Rapture on Melrose"
1:47

2.
"Hills on Fire/The Sinkhole"
3:36

3.
"Foreboding News Report"
0:22

4.
"Can't Sleep"
0:43

5.
"Head Guy"
0:30

6.
"The Sinkhole Remains"
0:35

7.
"This Shit is Biblical"
0:58

8.
"Boredom Montage"
0:36

9.
"Emma Returns"
0:15

10.
"Drawing Matches Part 1"
0:42

11.
"Craig Gets the Water"
1:37

12.
"Creepy Basement Memorabilia"
0:25

13.
"The Devil Rapes Zac"
1:17

14.
"Drawing Matches Part 2"
1:05

15.
"Jay & Craig Go Outside"
1:22

16.
"Something's Wrong with Jonah"
0:37

17.
"Jonah is Possessed"
0:35

18.
"Demonic Chase Sequence"
4:01

19.
"Lights Out, Jay's Got a Plan"
0:22

20.
"The Exorcism of Jonah Hill"
0:37

21.
"Fire Chase"
1:12

22.
"Craig's Last Stand"
2:15

23.
"Franco's Demise"
1:31

24.
"The Rapture of Seth & Jay"
2:25

Total length:
29:30

text: Reception[edit]

text: Box office[edit]

text: This Is the End grossed $101.5 million in the United States and Canada and $24.6 million in other territories for a worldwide total of $126 million, against a production budget of $32 million.[2] It made a net profit of $50 million, when factoring together all expenses and revenues for the film.[23]

text: The film was released in North America on June 14, 2013, alongside Man of Steel, and was projected to open to around $12 million from 3,055 theaters.[24] The film made $7.8 million on its first day and went on to debut to $20.7 million in its opening weekend (a five-day total of $33 million), finishing second at the box office behind Man of Steel ($116.6 million).[25] In its second weekend it grossed $13.3 million, dropping to 4th.[26]

text: Critical response[edit]

text: This Is the End met with positive reviews from critics. Rotten Tomatoes gave the film an approval rating of 83% based on 212 reviews, with an average rating of 7.1/10. The site's critical consensus reads, "Energetic, self-deprecating performances and enough guffaw-inducing humor make up for the flaws in This Is the End's loosely written script."[27] On Metacritic, the film has an average score of 67 out of 100, based on 41 critics, indicating "generally favorable reviews".[28] On CinemaScore, audiences gave the film an average grade of "B+" on an A+ to F scale.[29]

text: Owen Gleiberman of Entertainment Weekly gave the film a letter grade of "A", saying, "You could sit through a year's worth of Hollywood comedies and still not see anything that's genuinely knock-your-socks-off audacious. But This Is the End . . truly is. It's the wildest screen comedy in a long time and also the smartest, the most fearlessly inspired and the snort-out-loud funniest."[30] Brian D. Johnson of Maclean's wrote, "There could be worse ways to experience the apocalypse than with a party of stoned celebrities at James Franco's house. For one thing, his epic art collection can be used to board up the cracking walls against demons and zombies. That's the screwball scenario of This Is the End...The film unfolds as a profanely funny showbiz parody. But with perfect timing, it also sends up a genre that has recently gone viral at the multiplex: the apoca-blockbuster."[31] At the other end of the spectrum, Canada's The Globe and Mail compared the film to the interminable wait for a cancelled bus, giving it one and a half stars out of five. The critic referred to the actors in the film as "the lazy, the privileged and the mirthless".[32]

text: Home media[edit]

text: The film was released on DVD and Blu-ray on October 1, 2013.[33] It was the last movie to be officially rented by Blockbuster Video before they went out of business at 11 p.m. on November 9, 2013.[34]

text: Possible sequel[edit]

text: When asked whether a sequel to the film was probable, director and co-writer Evan Goldberg said, "If you ask me, I'd say there's a pretty good chance of a sequel. If you ask Seth Rogen, he'd say no." In June 2013, Goldberg announced ideas for a sequel in which the apocalypse occurs at the premiere of This Is the End. "Seth's a cokehead in this version, Michael Cera is a calm dude with a boyfriend, Rihanna and The Backstreet Boys are back," Goldberg said in an interview. "We have a lot of ideas: a heaven and hell, for example, and a garden of Eden version where Danny [McBride] is Adam."[35] Despite this, Goldberg has stated it would be difficult to re-create the casting conditions from the first film due to different schedules, believing them to be a stroke of luck, saying, "I honestly don't know if we could get the guys together [again]." In May 2014, Seth Rogen posted a status on Twitter saying, "I don't think we'll make a sequel to This Is the End, but if we did, it would be called No, THIS Is the End.[36]

text: Attraction[edit]

text: This Is The End was adapted into a 3D maze entitled This Is The End: 3D at Halloween Horror Nights at Universal Studios Hollywood in 2015. The maze served as the event's first comedy-horror based attraction.[37]