document_title: Tom Clancy's Rainbow 6: Patriots

question_text: when is the next rainbow six game coming out

root

text: Tom Clancy's Rainbow 6: Patriots

text:
Tom Clancy's Rainbow 6: Patriots

The original concept box art for the game.

Developer(s)
Ubisoft Montreal
Red Storm Entertainment
Ubisoft Toronto

Publisher(s)
Ubisoft

Designer(s)
Jean-Sebastian Decant

Series
Tom Clancy's Rainbow Six

Engine
AnvilNext

Platform(s)
Microsoft Windows
PlayStation 3
Xbox 360

Release
Cancelled

Genre(s)
Tactical shooter

Mode(s)
Single-player, multiplayer

tag: table

text: Tom Clancy's Rainbow 6: Patriots[1] is a cancelled first-person shooter video game, part of the Tom Clancy's Rainbow Six series, announced on the cover of the December 2011 issue of Game Informer. It was to be published by Ubisoft, and was developed by the company's Montreal studio, with additional development by Ubisoft Toronto and Red Storm Entertainment.[2] Due to the death of Tom Clancy in October 2013, concern was raised that this game would become the last to bear his name. Ubisoft has since stated that they will continue putting Tom Clancy's name on future Tom Clancy titles out of respect for the late author.

tag: p

text: Patriots was cancelled in 2014 after it was announced in 2011. Instead, Ubisoft started development on a new Rainbow Six game called Siege.[3]

text: Plot[edit]

text: Team Rainbow is called to New York City to deal with a terrorist group calling itself the 'True Patriots'.[4] Styling themselves as a populist militia group, the True Patriots have taken it upon themselves to act as judge, jury, and executioner on behalf and avenging the alleged victims of what they see as Wall Street corruption.[5]

text: To complicate the situation, the new leader of Team Rainbow is James Wolfe, a former Navy SEAL who believes ethics are irrelevant in dealing with the True Patriots. As Echo Leader, a man who looks up to Wolfe as a father figure, they must stop the True Patriots at all costs; even at the price of their own personal morality.

text: Development[edit]

text: After finding "reason to believe that someone may leak [their] preliminary target gameplay footage", Ubisoft chose to pre-maturely announce the game through a trailer on November 4, 2011. It was stressed that the trailer showed a pre-rendered concept created in 2010 of what a level in the final game might appear like, rather than footage of any current game build.[6]

text: In March 2012, it was announced that creative director David Sears, narrative director Richard Rouse III, lead designer Philippe Therien, and animation director Brent George were all removed from the development team.[7] Minimal news on the game appeared until, May 2013, when GameStop removed Patriots from their database of upcoming games and cancelled all pre-orders.[8]

text: At E3 2013, Ubisoft confirmed that the game remained in development, but would now be produced for eighth generation consoles.[9] It had also been confirmed that players would also be able to play as the True Patriots in some capacity.

text: On June 9, 2014, it was announced that Patriots and its concept was scrapped. Instead, Tom Clancy's Rainbow Six Siege was announced as its replacement, and that was later released on December 1, 2015.[3]


document_title: How Firm a Foundation (hymn)

question_text: who wrote the hymn how firm a foundation

text: How Firm a Foundation (hymn)

text:
"How Firm a Foundation"

Hymn

Melody
"Protection" by Joseph Funk

Published
1787 (1787)

text: How Firm a Foundation is a Christian hymn, published in 1787 by John Rippon in A Selection of Hymns from the Best Authors, Intended to be an Appendix to Dr. Watts's Psalms and Hymns," known as "Rippon's Selection." It is attributed only to "K," which probably refers to Robert Keen(e), precentor at Rippon's church,[1] though other names suggested include Richard or John Keene, Kirkham, John Keith, or Words by G. Keith and Music by J. Reading as cited in the 1884 publication of Asa Hull's Jewels of Praise. [2] It is most often sung to the tune "Foundation" (or "Protection") which first appeared in A Compilation of Genuine Church Music (1832) edited by Joseph Funk, though the original tune may be Keen(e)'s "Geard. "[3]

text: This was the favorite hymn of General Robert E. Lee and has been played at the funerals of several US politicians. On Christmas Eve 1898, American units involved in the Spanish–American War joined together to sing the hymn. The units were from the North and the South.

text: The hymn, along with "Jesus Loves Me," served as the thematic material for Virgil Thomson's Symphony on a Hymn Tune, which was later incorporated into his score for the 1938 documentary film The River. Sections of The River's score were reused in the 1983 television film The Day After.

text: Don Gillis interspersed the hymn tune throughout his Symphony No. 7 "Saga of a Prairie School," written in honor of his alma mater, Texas Christian University.


document_title: The Sons of Katie Elder

question_text: who played the sheriff in the sons of katie elder

text: The Sons of Katie Elder

text: Plot[edit]

text: The four adult sons of Katie Elder – John (John Wayne), who is a famous (or infamous) professional gunman; Tom (Dean Martin), a professional gambler; Bud (Michael Anderson, Jr.), the youngest brother, still in school; and Matt (Earl Holliman), an unsuccessful hardware dealer – reunite in their hometown of Clearwater, Texas (approximately 2 hours east of Dallas, Texas), in 1898 for their mother's funeral, sharing regret that none of them has lived up to her high expectations of them.

text: The townspeople are unfriendly, to John and Tom in particular. Katie Elder was extremely well liked by everyone in the community, who were all aware of her honesty, her poverty and her undying love for the sons who neglected her. The brothers want to do something for Katie's sake, and their plan is to send youngest son Bud to college, raising money through a sale of another man's herd of horses, even though Bud wants to emulate his eldest brother.

text: Morgan Hastings (James Gregory), a gunsmith and rising entrepreneur, claims ownership of the Elders' ranch, saying he won it from their father in a game of cards; Bass Elder afterwards was shot in the back, and the killer is still unknown. Hastings hides a hostile attitude towards the brothers and brings in a hired gun, Curley (George Kennedy). Noting Hasting's attitude, the Elders begin to suspect foul play. Hastings claims Bass lost the ranch in a game of Blackjack, so John, in a ruse, states their father wouldn't have been caught dead playing Blackjack.

text: When Hastings learns about the brothers' investigations, he kills the sheriff (Paul Fix) and frames the Elder brothers for the murder. Then, not content with seeing them go to prison, Hastings arranges an ambush in which Matt is killed and Bud seriously injured. Deputy Ben Latta (Jeremy Slate) is not part of the conspiracy, but is shot and killed by Hastings when he decides to aid the Elders. The surviving Elders escape, and going back to town to get medical help for Bud, John and Tom barricade themselves in the smithy. Tom manages to kidnap Hasting's weak-willed son Dave (Dennis Hopper), although he is seriously injured in the process. Hastings shoots his own boy in an attempt to prevent him from testifying. In the presence of John Elder and the local judge, a wounded Dave manages to relate the tale of his father's crimes before he dies. John takes up arms and kills Hastings by shooting up a cask of gunpowder inside his own gun store.

text: Cast[edit]

text:
John Wayne as John Elder
Dean Martin as Tom Elder
Martha Hyer as Mary Gordon
Michael Anderson Jr. as Bud Elder
Earl Holliman as Matt Elder
Jeremy Slate as Ben Latta
James Gregory as Morgan Hastings
Paul Fix as Sheriff Billy Wilson
George Kennedy as Curley
Dennis Hopper as Dave Hastings
Sheldon Allman as Harry Evers
John Litel as Minister
John Doucette as Hyselman
James Westerfield as Mr. Vennar
Rhys Williams as Charlie Striker
John Qualen as Charlie Biller
Rodolfo Acosta as Bondie Adams
Strother Martin as Jeb Ross
Percy Helton as Mr. Peevey
Karl Swenson as Doc Isdell

tag: ul

text: Screenplay[edit]

text: William H. Wright picked up a copy of Life of the Marlows in a Los Angeles, California, bookstore in around 1953. Thinking that it would make the basis of a good Western, he paid members of the Marlow family $1,000 (about $9146.77 when adjusted for inflation) each for the rights to make it into a screenplay. But when the movie was made 12 years later, the film's plot had been drastically changed.[3]

text: Talbot Jennings was credited for the script.[4][5]

text: Development[edit]

text: Paramount purchased the story by William Wright and Talbot Jennings in 1955. The story concerned five brothers and centered around a cattle drive from Texas to Colorado. Sam Briskin was assigned as producer.[6] Frank Burt was to write the script, John Sturges was going to direct and Alan Ladd was to star, making a return to Paramount after several years' absence - he still owed Paramount one film left.[7][8]

text: Noel Langley signed to write a version of the script, and filming was to start in April 1956.[9] However, in July 1956 it was announced that Ladd had bought himself out of his Paramount commitment by paying $135,000, and he would no longer make the film.[10] (Henry Hathaway put this figure at $250,000.)[11]

text: Film rights were picked up by Hal Wallis, who had a deal with Paramount. In 1959 it was announced that Dean Martin would star.[12] John Sturges was still attached as director.[13] Eventually in 1964 John Wayne was signed to star, with Henry Hathaway to direct.[14]

text: Shooting[edit]

text: Filming was due to begin in September 1964, but had to be delayed until January 1965, after Wayne was diagnosed with lung cancer.[15] Following Wayne's surgery to remove a cancerous lung and two ribs, the star insisted on doing his own stunts, and nearly contracted pneumonia after being dragged into a river.

text: Outdoor locations were filmed in Durango, Mexico, and on the Denver and Rio Grande Western Railroad, Colorado, United States.

text: Tommy Kirk was signed for the film, presumably in the role of Bud Elder, but his arrest for being at a party where marijuana was used led to his being fired from the production.[16]

text: The name "Kate Elder" was one of several names used by Mary Katherine Horony Cummings, better known as "Big Nose Kate," a western icon and sometime companion of Doc Holliday.

text: John Wayne and Dean Martin had also starred in Howard Hawks's Rio Bravo six years earlier, one of Martin's earliest dramatic roles after splitting with his partner Jerry Lewis.

text: Four years later, Henry Hathaway also directed John Wayne in his Academy Award-winning role of Rooster Cogburn in the original screen version of True Grit. In addition to Wayne, actors Strother Martin, Dennis Hopper, and Jeremy Slate were in that film as well.

text: Song[edit]

text: Johnny Cash sang a song in 1965 also called "The Sons of Katie Elder", written by Elmer Bernstein and Ernie Sheldon. The film's background music was also composed by Elmer Bernstein.

text: Legacy[edit]

text: The 2005 film Four Brothers was loosely based on The Sons of Katie Elder.

text: The Malayalam film Big B (2007) is a remake of Four Brothers.

text: Historical basis[edit]

text: The film was roughly based on the 1888 true story of the five Marlow Brothers (George H., Boone, Alfred, Lewellyn, and Charles) of Graham, Texas, in Young County, and Marlow, Oklahoma.

text: The city of Marlow, Oklahoma, is named after the Marlow family, including their parents, Dr. Wilburn Williamson Marlow, Sr., and Martha Jane (née Keaton) Marlow. Dr. Marlow was the town's first physician and a prominent citizen. Marlow had previously been a Chisholm Trail rest spot near Wild Horse Creek.[17][18][19] There the Marlows built a dugout home called "Marlow Camp" in 1880. Ten years later, the Chicago, Rock Island and Pacific Railroad came through and built a station on the location, naming it Marlow.[20]

text: Dr. Wilburn and Martha Marlow had four children in addition to the five brothers: Wilburn Williamson "Willie" Marlow, Jr. (died in Leadville, Colorado, in 1879, where he had been taken to convalesce after contracting malaria in Mexico[21]), Charlotte Murphy, Elizabeth "Eliza" Gilmore, and Nancy Jane "Nannie" Murphy.[22] Dr. Marlow died April 12, 1885.[23][24]

text: Three of the brothers (Boone, Alfred, and Lewellyn) ended up being killed, although in the film, the brother that had done the real killings (basis for the Dean Martin role) was not with the other four when they were first arrested.[17][18][19]

text: Boone had earlier killed James Holstein (or Holdson or Holston) in 1882, a man allegedly hired to "intimidate settlers," after an inebriated Holdson began shooting at him on the Gilmore farm near Vernon, Texas, just across the Red River from Indian territory (his sister Elizabeth had married into the Gilmore family and the couple had set up a place there).[25][26] This killing seemed to be justified in self-defense, but would be brought up later by John and William Murphy, deputy marshal Edward W. "Ed" Johnson, and Sam Criswell, who were having a personal feud with Boone, and would be witnesses against the brothers.[27]

text: Boone, Alfred (aka Alf), Lewellyn (aka Epp, Ep, Ellie), and Charles were arrested near the Anadarko Agency headquarters (what became Anadarko, Oklahoma), for stealing 19 horses in the area around Fort Sill. George went to the homestead in Marlow and took the women by wagon to Graham where he was then also arrested. Martha Jane bailed them out and they went to their place in Young County,[17][18][19] a log and clapboard building on the farm of O. G. Denson, fifteen miles southeast of Graham.[28]

text: Popular sheriff Marion DeKalb Wallace[29] and his deputy Thomas B. "Tom" Collier went out to the Denson farm, December 17, 1888. Before they left Graham they had been drinking and were intoxicated.[30] The Marlows (Charles and his wife, Alfred's wife, Martha, Lewellyn, and Boone Marlow) were sitting down to noon dinner.[31] Boone saw Collier through the window and invited him in for dinner, to which Collier replied, "I'm not hungry." An altercation broke out between Collier and Boone, and without showing their warrant, Collier fired at Boone. As Wallace heard the commotion he came around from the other side of the house and came up behind Collier. Boone, aiming at Collier, shot sheriff Wallace by mistake.[30][32] As Collier and Charles attended to Wallace, Boone left the area. The other four brothers went into town and turned themselves in.

text: A mob then tried to avenge the sheriff and attacked the jail, January 17, 1889, but the brothers were able to fight off the mob.[17][18][19]

text: On January 19, 1889 (after dark),[33] the deputy then decided to move the four brothers to Weatherford, Texas, chained together along with two other prisoners (William D. Burkhart and Louis Clift). But the two wagons and one buggy were ambushed along the way at Dry Creek (about two miles from Graham).[19][34] The deputies guarding the brothers ran away, in league with the ambush party.[33][35]

text: The brothers managed to get some weapons, get to cover, and hold off the attack, but Alfred and Lewellyn were killed. Also killed were three of the mob that attacked the Marlows: Frank Harmison, Sam Criswell, and Bruce Wheeler.[36] George and Charles were both wounded (Charles severely so) but escaped, using Burkhart as a hostage and being aided by Clift, and went to their mother's house on the Denson farm. (About halfway there, they stopped in Finis at a farm house and asked to stay the night, but were refused. George spotted an ax and borrowed it to separate the men from their shackles. As soon Burkhart was free, he ran off).[37] Also wounded were Johnson, Logan, and Clinton "Clint" Rutherford.[36] The Marlows stayed at their mother's home until lawmen came from outside Young County, and then gave themselves up.[19] Deputy U.S. Marshal W. F. Morton of Dallas finally arrived, took them into custody, and transported them, first toward Weatherford and then, fearing another ambush, to Dallas.[35][38]

text: Boone had gone to stay with his girlfriend and her family, the Harbolts, in the vicinity of Marlow, but the girlfriend's brother, William "G.E." Harbolt, put some poison in the food that his sister took to Boone. William Harbolt had obtained the poison from a Dr. Carter. Harbolt, along with bounty hunters Jim "Martin" Beavers and John E. Derrickson (aka Direkson), shot his dead body for the $1,700 reward offered for his capture ($200 by the State of Texas and $1,500 by Young County), dead or alive.[19][40] An autopsy by Doctor R. N. Price determined that he was already dead when he had been shot, and that he had died of arsenic poisoning.[41] The three men were arrested but released on bail. Harbolt was later shot in the Chickasaw Nation and Beavers and Derrickson each received 15-year sentences.[41]

text: The five Marlow brothers had been falsely accused of stealing horses, and after the shootout that left three dead, George and Charles were finally acquitted in a Dallas trial.[18][19] The two brothers then moved to Colorado and became deputies.

text: As deputy marshal Ed Johnson was lying wounded at his home, he gave a newspaper interview to the Graham Leader. In the interview, he said that deputy sheriff Eugene Logan had been one of the guards taking the prisoners to Weatherford, and had been wounded in doing so. In fact, Logan had not been one of the guards but one of the men in the ambush party. The insistence that something be done in the edition of January 24 of the Graham Leader, and this slip up by Johnson, started an investigation into the affair by the U.S. marshal for the Northern District of Texas in Dallas, William Lewis Cabell. In addition, the U.S. attorney sent an investigator to Young County.[35][42]

text: Collier, deputy Johnson, David "Dink" Allen, attorney Robert "Bob" Holman, Jack Wilkins, W. R. Benedict, county attorney Phlete A. Martin, deputy tax collector John Levell, constable Marion A. Wallace (the dead sheriff's nephew), Wil Hollis, William Bee Williams, Richard "Dick" Cook, deputy sheriff Eugene Logan, constable Sam Waggoner, Clint Rutherford, and Verna Wilkerson were all charged with conspiring to falsify a case against the Marlow brothers, conspiring to kill the Marlow brothers in an ambush, and murdering Alfred and Lewellyn Marlow while they were in the protective custody of a United States Marshal.[35][43] However, only Cook, Hollis, Levell, Logan, Rutherford, Waggoner, Wallace, Wilkerson, and Williams, went to trial.[44]

text: John William "Bee" Williams and Thomas B. Collier (typhoid fever) died while in jail in mid-January 1891.[45]

text: George and Charles were summoned to testify and asked for and received protective custody from U.S. Marshal George A. Knight of Dallas. Additionally, Knight made George a "Special Deputy", while Charles was made an "attached witness".[46] Phlete A. Martin and John Frank Spears (Spears was in jail with the Marlows at the time of the mob attack) both turned state's evidence and testified against the conspirators.[35]

text: Clinton Rutherford was found not guilty on November 22, 1890, and the court removed Rutherford from the indictment, but bound over Eugene Logan and Verna Wilkerson. Logan, Waggoner, and Wallace were found guilty of conspiracy and not guilty of murder on April 17, 1891, and each sentenced to a $5,000 fine and ten years imprisonment. The other defendants (Cook, Levell, Hollis, and Wilkerson) were found not guilty.[4][35]

text: The case involving Eugene Logan, William Williams, Verna Wilkerson, and Clinton Rutherford (United States v. Eugene Logan et al.) was separated from the other defendants, and went all the way to the United States Supreme Court. (See Logan v. United States, 144 U.S. 263 (1892), filed March 16, 1891.)

text: The city of Graham had wanted to keep a federal court in their town, but after this incident the federal government denied that request.[47]


document_title: The Bells (poem)

question_text: when was the bells by edgar allan poe written

text: The Bells (poem)

text: Analysis[edit]

text: This poem can be interpreted in many different ways, the most basic of which is simply a reflection of the sounds that bells can make, and the emotions evoked from that sound. For example, "From the bells bells bells bells/Bells bells bells!" brings to mind the clamoring of myriad church bells. Several deeper interpretations exist as well. One is that the poem is a representation of life from the nimbleness of youth to the pain of age. Growing despair is emphasized alongside the growing frenzy in the tone of the poem.[1] Another is the passing of the seasons, from spring to winter. The passing of the seasons is often used as a metaphor for life itself. The poem also suggests a Poe theme of mourning over a lost wife, courted in sledge, married and then killed in a fire as the husband looks on. The tolling of the iron bells reflects the final madness of the grief-stricken husband.[citation needed]

text: The sounds of the verses, specifically the repetitive "bells, bells, bells, bells, bells, bells, bells," lie on a narrow line between sense and nonsense, causing a feeling of instability.[2] Poe uses the word "tintinnabulation", apparently a coinage of his own, based on the Latin word for "bell", tintinnabulum.[3] The series of "bells" echo the imagined sounds of the various bells, from the silver bells following the klip-klop of the horses, to the "dong, ding-dong" of the swinging golden and iron bells, to screeching "whee-aaah" of the brazen bells. The series are always four, followed by three, always beginning and ending on a stressed syllable. The meter changes to iambic in the lines with repeated "bells," bringing the reader into their rhythm. Most of the poem is a more hurried trochaic tetrameter.[4]

text: The bells of which he writes are thought to be those he heard from Fordham University's bell tower, since Poe resided in the same neighborhood as that university. He also frequently strolled about Fordham's campus conversing with both the students and the Jesuits.[5]

text: Critical response[edit]

text: This section needs expansion. You can help by adding to it. (August 2008)

text: According to Poe biographer Jeffrey Meyers, "The Bells" is often criticized for being mechanical and forced.[6]

text: Publication history[edit]

text: Poe is believed to have written "The Bells" in May 1848 and submitted it three times to Sartain's Union Magazine, a magazine run by John Sartain, until it was finally accepted.[7] He was paid fifteen dollars for his work, though it was not published until after his death in the November 1849 issue. It was also published in the New York Tribune on the front page of its October 20, 1849 issue as "Poe's Last Poem".

text: Inspiration for the poem is often granted to Marie Louise Shew, a woman who had helped care for Poe's wife Virginia as she lay dying.[7] One day, as Shew was visiting Poe at his cottage in Fordham, New York, Poe needed to write a poem but had no inspiration. Shew allegedly heard ringing bells from afar and playfully suggested to start there, possibly even writing the first line of each stanza.[8]

text: Adaptations[edit]

text: Sergei Rachmaninoff (1873–1943) composed a choral symphony The Bells, Op. 35, based on a Russian adaptation of the poem by Konstantin Balmont. The symphony follows classical sonata form: first movement, slow movement, scherzo, and finale, thus honoring the poem's four sections.[9] (The work is sometimes performed in English, using not Poe's original, but a translation of Balmont's adaptation by Fanny S. Copeland.) The Scottish composer Hugh S. Roberton (1874–1947) published "Hear the Tolling of the Bells" (1909), "The Sledge Bells" (1909), and "Hear the Sledges with the Bells" (1919) based on Poe's poem.[10] Josef Holbrooke composed his "The Bells, Prelude, Op. 50" on Poe's poem, and American folksinger Phil Ochs composed a tune to the poem recorded on his album All the News That's Fit to Sing.

text: Eric Woolfson, musical partner to Alan Parsons in the Alan Parsons Project, has written two albums based on the writings of Poe. His second, Poe: More Tales of Mystery and Imagination includes a song entitled "The Bells", for which he set Poe's words to music. This album was also the basis for a musical stage production that was performed in England, Austria, and other European countries. Pink Floyd have referenced the poem in the last verse of their song "Time" on the album The Dark Side of the Moon (1973). In 1993 Danish composer Poul Ruders wrote a piece "The Bells" for high soprano and ten instruments, using Poe's text in its entirety although in Dutch.[11] The piece was premiered in London, and has appeared on a CD from Bridge Records, New York. MC Lars, a Nerdcore Hip hop musician sang a complete version of the poem on his 2012 Edgar Allan Poe EP titled "(Rock) The Bells". The song may be listened to freely on his Bandcamp page.[12]


document_title: Jumanji: Welcome to the Jungle

question_text: who plays bethany in jumanji welcome to the jungle

text: Jumanji: Welcome to the Jungle

text: Plot[edit]

text: In 1996 in Brantford, New Hampshire, teenager Alex Vreeke receives the Jumanji board game which was found by his father on a beach after it was thrown over a bridge by Alan Parrish and Sarah Whittle 27 years earlier. Alex sets the game aside. That night, it transforms into a video game cartridge which catches Alex's attention when he is awakened by the Jumanji drums and he is transported into the game.

text: Twenty years later, in 2016, four Brantford High School students serve detention: Spencer Gilpin, caught writing an essay for former friend Anthony "Fridge" Johnson (also in detention); Bethany Walker, who made a video call during an English-class quiz and Martha Kaply, who refused to participate in gym class. They are sent to the school basement to prepare magazines for recycling and to think about their future. Fridge discovers Alex's discarded video-game system when he explores the basement, and he and Spencer set up the game. Although it has five playable characters, the first one cannot be selected. Spencer and Fridge choose two characters, and the girls choose their own. When Spencer presses "Start", they are transported into the game.

text: They are in a jungle, in the forms of their game avatars. Spencer is tough, muscular explorer and archaeologist Smolder Bravestone; Fridge is diminutive zoologist Franklin "Mouse" Finbar, whom he chose after misreading "Mouse" as "Moose"; Bethany is chubby male cartographer and intellectual Sheldon "Shelly" Oberon (whose nickname she mistook for a woman's), and Martha is beautiful commando and martial arts expert Ruby Roundhouse. They each have three lives; Spencer deduces that if they lose all three, they really die.

text: They learn the game's story from NPC Nigel: corrupt archeologist Russel Van Pelt stole the Jaguar's Eye (a magic jewel) from its shrine, cursing Jumanji. Nigel escaped Van Pelt with the jewel, and the players must return it to a jaguar statue and call "Jumanji" to lift the curse. Nigel warns them that Van Pelt will stop at nothing to retrieve the jewel, which gives him control of Jumanji's animals. They begin tackling the game's increasingly-difficult "levels", losing lives as they do so. The four are rescued by Alex (the missing fifth player, whose avatar is pilot Jefferson "Seaplane" McDonough). Taking shelter in a jungle house built by Alan Parrish, Alex believes that he has been in the game for a few months and is distressed to learn that it is really twenty years. The newcomers vow to help him return home. They break into a transportation shed, commandeering a helicopter to fly to the jaguar statue and return the jewel, but Fridge drops the jewel into a herd of white rhinoceros. Spencer uses one of Fridge's lives, pushing him out of the helicopter as a distraction, and retrieves the jewel. Alex loses his last life when a mosquito bites him, but Bethany performs CPR and transfers one of her lives to him.

text: At the statue, the players are surrounded by a pack of jaguars and Van Pelt's forces. They outmaneuver their opposition while Spencer and Martha race to the statue. Van Pelt confronts Martha (trapped in a pit of mambas) and demands the jewel, but she sacrifices one of her lives to re-spawn and get it to Spencer. With the players on their last lives, they end the game with Van Pelt disintegrating into a bunch of rats and return to the real world; Nigel bids them farewell, but Alex does not appear with them. They find the formerly-dilapidated Vreeke home restored and decorated for a Christmas family gathering. An adult Alex arrives, returning to where he left off in 1996. Now married with children, he named his eldest daughter after Bethany out of gratitude for saving his life and introduces them to his infant son, Andy.

text: Spencer and Fridge reconcile, Bethany begins caring for others than herself and plans a summer backpacking adventure, Martha and Spencer become romantically involved and the four are now friends after their experiences in the game. When they hear Jumanji's drumbeats, they bring the game behind the school and Fridge destroys it with a bowling ball (also found in detention) to prevent anyone from playing it again.

text: Cast[edit]

text:
Dwayne Johnson as Smolder Bravestone, an Indiana Jones-like archaeologist and explorer who is Spencer's avatar; he is the leader of his team.
Alex Wolff as Spencer Gilpin, a nerdy gamer at Brantford High School. Panphobic; his experience as Smolder Bravestone helps him cope with his anxiety and develop assertiveness.
Jack Black as Sheldon "Shelly" Oberon, a cartographer, cryptographer, archaeologist, and paleontologist who is Bethany's avatar.
Madison Iseman as Bethany Walker, a pretty, popular, self-centered teenage girl at Brantford High School
Kevin Hart as Franklin "Mouse" Finbar, a zoologist and weapons specialist who is Fridge's avatar.
Ser'Darius Blain as Anthony "Fridge" Johnson, a Brantford High School football jock coasting on his athletic prowess who cares more about dating than studying.
Karen Gillan as Ruby Roundhouse, a Lara Croft-like commando, martial artist, and dance fighter who is Martha's avatar.
Morgan Turner as Martha Kaply, a shy and cynical intellectual at Brantford High School who believes that physical education is needless and dislikes popular peers like Bethany and Fridge
Nick Jonas as Jefferson "Seaplane" McDonough, a young aircraft pilot in Jumanji who is Alex Vreeke's avatar[8]
Mason Guccione as Alex Vreeke, a teenage gamer who played (and was trapped inside) the Jumanji video game for 20 years. Colin Hanks plays the adult Alex when he appears 20 years later.

text: Game[edit]

text:
Bobby Cannavale as Russel Van Pelt, a former archeologist-turned-mercenary and an enemy of Smolder Bravestone. He tries to retrieve the Jaguar's Eye, whose power possesses him.
Rhys Darby as Nigel Billingsley, the main guide
William Tokarsky as a food vendor
Rohan Chand as a young guide at the bazaar

text: Reality[edit]

text:
Marc Evan Jackson as Principal Bentley, who makes Spencer, Bethany, Fridge, and Martha clean up the basement as part of their detention
Carlease Burke as Miss Mathers, Spencer and Fridge's U.S. History teacher
Sean Buxton as Alex's father, who discovered the Jumanji game
Tim Matheson (uncredited) as Old Man Vreeke, the older Alex's father. His narration at the beginning of the film implies that seeing his son teleported into the game had traumatized him. After Alex's return to 1996 alters history, he is a happy family man and grandfather.
Maribeth Monroe as Bethany's English teacher
Missi Pyle as Coach Webb, Martha's gym teacher
Kat Altman as Lucinda, Bethany's friend

text: Production[edit]

text: Development[edit]

text: In July 2012, rumors circulated that a remake of Jumanji was in development. In an interview with The Hollywood Reporter, Columbia Pictures president Doug Belgrad said: "We're going to try and reimagine Jumanji and update it for the present."[9] On August 1, 2012, it was confirmed that Matthew Tolmach would produce the new version with William Teitler (who produced the original film).[10]

text: In August 2015, Sony Pictures Entertainment announced that the film was scheduled for release on December 25, 2016.[11] Online reception to the news was negative, with some saying that the announcement came too soon after the August 2014 death of Robin Williams (who played Alan Parrish in the original film).[12][13] The announcement was criticized by Bradley Pierce (who played Peter Shepherd in Jumanji) and by E! News, which called the remake "unnecessary and kind of insulting".[14][15] On October 23, 2015 Scott Rosenberg was hired to rewrite the script for the film, whose production was a high priority for the studio.[16] On January 14, 2016, Deadline Hollywood reported that Jake Kasdan had been hired to direct the film from a script by Rosenberg and Jeff Pinkner based on a draft by original writers Chris McKenna and Erik Sommers.[17]

text:
On April 15, Variety reported that Dwayne Johnson and Kevin Hart were in early talks to star in the film (although both actors had other projects).[18] Later in the month, Johnson confirmed his casting on Instagram.[19] In July, it was reported that Nick Jonas had joined the film's cast with Johnson, Hart, and Jack Black.[20] The following month, Johnson said that the film would not be a reboot but a continuation of the 1995 film;[21] Karen Gillan was announced as part of the cast.[22] On September 20, Ser'Darius Blain was cast as Anthony "Fridge" Johnson and Madison Iseman as Bethany Walker. Two days later, Rhys Darby was cast as Nigel Billingsley, Morgan Turner as Martha Kaply, and Alex Wolff as Spencer Gilpin.[23][24][25] In November 2016, Bobby Cannavale announced his casting in the film,[26] and in December 2016, Tim Matheson joined the cast as Old Man Vreeke.[27]
Although James Newton Howard was originally signed to compose the film's score,[28] he was replaced by Henry Jackman when the film's release date was postponed six months.[1]

text: In March 2017, during CinemaCon, it was announced that the film's complete title was Jumanji: Welcome to the Jungle. Its plot involved teenagers cleaning out a school's basement who find a vintage video-game version of Jumanji and are sucked into the first film’s jungle setting. Although fans debated whether the film was a sequel or a reboot, the second trailer (released on September 20, 2017) indicated that the sequel is set twenty-one years after the first.

text: Filming[edit]

text: Principal photography began on September 19, 2016, in Honolulu, Hawaii,[18][29] primarily at the Kualoa Ranch nature reserve.[30] The film wrapped on December 8 in Atlanta, Georgia.[31]

text: Release[edit]

text: In August 2015, Sony gave the film a release date of December 25, 2016.[32] Since filming did not begin until September 2016, the release was pushed back to July 28 and then to December 20, 2017.[2]

text: On November 29, 2017, it was announced that Amazon Prime members in the United States would have early access to tickets for a December 8 screening of the film at select Regal, National Amusements, ArcLight Cinemas and AMC theaters.[33] The screenings sold out at 1,200 theaters and earned $1.9 million.[34] The film was released on IMAX 2D on January 12, 2018.

text: Home media[edit]

text: Jumanji: Welcome to the Jungle was released on Digital HD on March 6, 2018 and on DVD, Blu-ray and 4K Ultra HD Blu-ray on March 20, although the film was still in theatres. The Blu-ray and digital versions include two additional featurettes: “Surviving the Jungle: Spectacular Stunts!” and “Book to Board Game to Big Screen & Beyond! Celebrating The Legacy of Jumanji.”[35]

text: Reception[edit]

text: Box office[edit]

text: As of  April 15, 2018[update], Jumanji: Welcome to the Jungle has grossed $404 million in the United States and Canada and $550.6 million in other territories, for a worldwide total of $954.6 million.[5] On April 10, 2018, the film passed Spider-Man ($403,706,375) to become Sony's highest-grossing film domestically. Deadline Hollywood calculated its net profit as $305.7 million when factoring all expenses and revenues, making it 2017's fourth-most-profitable release.[36]

text: In the U.S. and Canada, the film was released on December 20, 2017 with The Greatest Showman and was projected to gross about $60 million from 3,765 theaters in its six-day opening weekend; the studio predicted a $45 million debut.[37][38] It earned $7.2 million on its first day and $7.6 million on its second day. Over the three-day weekend, the film grossed $36.2 million (for a six-day total of $71.9 million), finishing second at the box office behind Star Wars: The Last Jedi.[4] Its earnings increased to $50.1 million during its second weekend, again finishing in second place at the box office.[39] The 38.4-percent weekend-to-weekend increase was the fourth-largest for a film playing in over 3,000 theaters; The Greatest Showman set the record for best hold the same weekend.[40][41] The film passed Star Wars: The Last Jedi for the top spot the following weekend, declining 28.1 percent to $36 million,[42] and finished first again the following week with $28.1 million (and a total of $35.2 million over the four-day MLK weekend).[43] Jumanji: Welcome to the Jungle remained atop the box office for its third weekend, earning $19.5 million.[44]

text: It again topped the box office the following week with $20 million, despite the release of 12 Strong and Den of Thieves.[45] The film continued to do well the following week, dropping 16 percent (to $16.4 million) and finishing second to Maze Runner: The Death Cure,[46] before regaining the top spot the following weekend with $11.1 million.[47]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 76% based on 186 reviews, and an average rating of 6.2/10. The website's critical consensus reads, "Jumanji: Welcome to the Jungle uses a charming cast and a humorous twist to offer an undemanding yet solidly entertaining update on its source material."[48] On Metacritic, which assigns a weighted average, the film has a normalized score of 58 out of 100, based on 44 critics, indicating "mixed or average reviews."[49] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while PostTrak reported filmgoers gave it an 84% overall positive score.[4]

text: Dave White of TheWrap praised the cast and called the film a pleasant surprise: "Jumanji: Welcome to The Jungle is the Christmas tentpole release that aims to please and succeeds, a funny family entertainment product that subverts more expectations than it was obligated to contractually".[50] David Ehrlich of IndieWire gave the film a C grade, calling it unnecessary but mildly amusing: "Jumanji: Welcome to the Jungle is further proof that even the stalest whiff of brand recognition has become preferable to originality. Only part of the blame for that belongs to the studios but after cannibalizing themselves for much of the last 20 years, Hollywood has clearly eaten their way down to the crumbs".[51] For Variety, Owen Gleiberman wrote: "Excitement! Suspense! Childlike innocence! Ingeniously staged action set pieces! These are a few of the things you will not find, anywhere, in Jumanji: Welcome to the Jungle ... It's supposed to be a board game come to life but really, it's just a bored game."[52]

text: Accolades[edit]

text:
Award

Date of ceremony

Category

Recipient(s) and nominee(s)

Result

Ref.

Kids Choice Awards

March 2018

Kids Choice Awards for Favorite Movie

Jumanji: Welcome to the Jungle

Won

[53]

Kids Choice Awards for Favorite Actor

Dwayne Johnson

Won

Kevin Hart

Nominated

Saturn Awards

June 2018

Best Fantasy Film

Jumanji: Welcome to the Jungle

Pending

[54]

text: Sequel[edit]

text: Dwayne Johnson, Jack Black and Nick Jonas discussed Jumanji 3's plot in interviews, including the possibility of the film's exploring the origins of the game. According to Karen Gillan, the alternate ending of Jumanji: Welcome to the Jungle would have left the door open for another installment.[55][56][57][58] In February 2018 it was announced that Kasdan would direct the sequel, with Rosenberg and Pinkner again writing the script and Johnson, Hart, Black and Gillan reprising their roles.[59]


document_title: War for the Planet of the Apes

question_text: who plays the colonel in the planet of the apes

text: War for the Planet of the Apes

text: Plot[edit]

text: Two years after the U.S. military was called to fight off an increasingly intelligent and dangerous tribe of apes, starting a devastating war between the two species, the apes' clan, led by the chimpanzee Caesar, are attacked in the woods by a rogue paramilitary faction known as Alpha-Omega, led by a mysterious Colonel. Alpha-Omega has in its service apes (called "donkeys") that had previously followed Koba, a maniacal, human-hating bonobo who led a failed coup against Caesar and started the war after leading a vengeful attack against human survivors in San Francisco.

text: During Alpha-Omega's attack, the human soldiers are met by heavy ape resistance. Four soldiers and a "donkey" gorilla named Red are captured by the apes. Caesar arrives and releases the human soldiers, telling them to deliver a message to the Colonel - that he killed Koba for starting the war and that he desires peace between the humans and apes. Caesar then orders that Red is to be imprisoned but Red escapes, injuring albino gorilla Winter.

text: Soon after, Caesar's son, Blue Eyes, and his lieutenant Rocket return from a journey to find a safe haven for the apes. They report that they have found a place across the desert that is perfect for the clan. Winter, still frightened from the soldiers' attack, wants to leave immediately, but Caesar does not think they are prepared to leave so soon. That night, a group of Alpha-Omega soldiers, led by the Colonel, infiltrates the apes' home behind a waterfall. The apes discover their presence and kill them all except the Colonel, whom Caesar encounters preparing to escape. Discovering that the Colonel has killed his wife Cornelia along with Blue Eyes, an enraged Caesar lunges at the Colonel but fails to prevent him from escaping out of the waterfall. Upon discovering that Winter has disappeared, Luca, a gorilla and Caesar's secondary lieutenant, believes that he has betrayed them out of cowardice.

text: Leaving his younger son Cornelius in the care of Blue Eyes' wife Lake, Caesar departs to exact revenge on the Colonel for the deaths of his wife and oldest son. He is accompanied by Maurice, an orangutan and Caesar's adviser, Luca, and Rocket. The other apes head for the desert. During their journey, the apes enter an abandoned village, encounter a soldier, and kill him. Caesar, Maurice, Luca, and Rocket search the dead soldier's home. Maurice discovers a girl who the soldier was looking after. She is apparently unable to speak. Maurice befriends and adopts the girl, giving her a small rag doll.

text: Caesar's party eventually sneak inside an Alpha-Omega camp on a beach and encounter Winter, who has volunteered to become a "donkey" for the soldiers in return for sparing his life. He tells Caesar's group that the Colonel has departed for a location called the "border", where soldiers further north will meet them. Winter tries to call out to the Alpha-Omega soldiers to save him, and Caesar and the others restrain him from making noise. In the struggle, Caesar accidentally smothers and kills Winter. Caesar begins to worry that he is becoming like Koba by killing his fellow apes and seeking revenge.

text: While following the soldiers to the border, the group discover some soldiers who have been shot and left for dead. Their examination of a soldier who survived reveals that he, like the girl, cannot speak. At the soldier's urging, Caesar kills him. Later, they encounter Bad Ape, a reclusive chimpanzee hermit who lived in the Sierra Zoo before the Simian Flu pandemic. Bad Ape reveals that the human soldiers are encamped at the border and hesitantly agrees to lead them there.

text: When the group arrives at the border, they see hundreds of apes held captive inside a former quarantine facility. While getting a closer look, Luca is killed protecting Caesar from an Alpha-Omega patrol, angering Caesar and causing him to proceed alone. Caesar discovers that the captured apes belong to his clan, and are being forced to build a wall with no food or water. After Caesar is captured by Red, the Colonel reveals to Caesar that the Simian Flu virus has mutated and now causes humans who survived the original strain to become mute, which he believes is a sign of devolution to a primitive state. Caesar deduces that the Colonel is barricading the facility to fend off remnants of the U.S. Army from the north who are coming to execute him because he favors massacring any infected humans, including his own son, to stop the spread of the virus. Caesar is commended by the Colonel for his intelligence, and the Colonel explains that he is fighting a "holy war" for humanity's survival.

text: While Caesar is tortured with starvation, the mute girl, whom Maurice names Nova, sneaks into the facility to give Caesar food, water, and her rag doll (originally given to her by Maurice). To prevent Nova from being discovered, Rocket allows himself to be captured as a diversion. The next day, the Colonel comes to see if Caesar is still alive, and confiscates Nova's doll upon discovering it. Together, Caesar and Rocket are able to work out a means of escape via an underground tunnel that leads out of the facility. Maurice and Bad Ape use the tunnel to rescue the apes, and Caesar orders the others to escape while he goes to confront the Colonel as the facility comes under attack by the northern army. Caesar reaches the Colonel and prepares to kill him, but discovers that Nova's doll has infected him with the mutated virus, rendering him unable to speak. Caesar spares the Colonel and watches as he uses his pistol to commit suicide, rather than regressing to a primitive state.

text: During the battle between Alpha-Omega and the northern army, the escaping apes come under fire from Alpha-Omega. Red watches the apes struggle to escape and being picked off by the humans, and seems to be disturbed by watching his own kind suffer such a fate. Caesar attempts to attack Alpha-Omega forces from behind, but is shot with a crossbow by Preacher, one of the Alpha-Omega soldiers he had previously set free. In an act of redemption, Red saves Caesar's life by killing Preacher with a grenade launcher, and gets shot by an Alpha-Omega superior as a result. In the chaos, Caesar blows up a large fuel tank, causing a cascade of explosions which destroys the Alpha-Omega facility, allowing the northern army to win the battle. However, the army is subsequently devastated by an avalanche, which Caesar and the other apes, carrying Nova, survive by climbing nearby trees.

text: The remaining apes depart the facility and cross the desert to find an oasis. While the other apes joyously celebrate their new home, Maurice discovers Caesar's wound. Maurice then speaks, telling the dying Caesar that Cornelius will know who his father was, what he stood for and what he did to protect the apes. Caesar then slowly and silently succumbs to his wounds, dying peacefully while Maurice mourns his passing as the other apes look on.

text: Cast[edit]

text: Apes[edit]

text:
Andy Serkis as Caesar, an intelligent common chimpanzee who is leader to a tribe of genetically enhanced apes.[7]
Steve Zahn as "Bad Ape", a common chimpanzee who lived in a zoo before the Simian Flu outbreak, and was a hermit before joining Caesar's group.[8][9]
Karin Konoval as Maurice, a Bornean orangutan who is Caesar's adviser.[7]
Terry Notary as Rocket, a common chimpanzee who is Caesar's brother-figure.[10]
Ty Olsson as Red, a Western lowland gorilla who was once a follower of Koba, now serving the Colonel to defeat Caesar. Olsson previously played Chief Hamill in Rise.[citation needed]
Michael Adamthwaite as Luca, a Western lowland gorilla in Caesar's tribe.[citation needed]
Toby Kebbell as Koba, a bonobo who had previously waged war against the humans in Dawn of the Planet of the Apes, now appears in Caesar's hallucinations.
Judy Greer as Cornelia, Caesar's wife.[7]
Sara Canning as Lake, a common chimpanzee in Caesar's tribe, who is also Blue Eyes' mate and later Cornelius's caretaker.[11]
Max Lloyd-Jones as Blue Eyes, Caesar and Cornelia's oldest son.[12]
Devyn Dalton as Cornelius, Caesar and Cornelia's youngest son, and Blue Eyes' younger brother. Dalton previously played Cornelia in Rise.
Aleks Paunovic as Winter, an albino Western lowland gorilla in Caesar's tribe who sided with the Colonel out of fear.[13]

text: Humans[edit]

text:
Woody Harrelson as The Colonel, the leader of the paramilitary organization Alpha-Omega, who is obsessed with wiping out Caesar and his tribe to preserve humans as the dominant species.[14][15]
Amiah Miller as Nova, a mute orphan whom Maurice befriends and cares for.[16][17]
Gabriel Chavarria as Preacher, a human soldier working under the Colonel in Alpha-Omega.[18]

text: Production[edit]

text: Development[edit]

text: After seeing his cut of Dawn, 20th Century Fox and Chernin Entertainment signed Matt Reeves to return as director for a third installment of the reboot series. In January 2014, the studio announced the third film, with Reeves returning to direct and co-write along with Bomback, and Peter Chernin, Rick Jaffa and Amanda Silver serving as producers.[19][20] During an interview in mid-November 2014 with MTV, Andy Serkis said they did not know the next film's setting. "...It could be five years after the event. It could be the night after the events of where we left 'Dawn.'"[21] In May 2015, the title was first given as War of the Planet of the Apes.[22] By October 2015, it had been retitled as War for the Planet of the Apes.[8]

text: When director Reeves and screenwriter Bomback came on board to helm Dawn, the film already had a release date, which led to an accelerated production schedule. However, with the third installment, Fox wanted to give the duo plenty of time to write and make the film. Taking advantage of this, the two bonded with each other more than before.[23]

text: In interviews for Dawn, Reeves talked about the inevitable war Caesar would have with the humans: "As this story continues, we know that war is not avoided by the end of Dawn. That is going to take us into the world of what he is grappling with. Where he is going to be thrust into circumstances that he never, ever wanted to deal with, and was hoping he could avoid. And now he is right in the middle of it. The things that happen in that story test him in huge ways, in the ways in which his relationship with Koba haunts him deeply. It’s going to be an epic story. I think you’ve probably read that I sort of described it where in the first film was very much about his rise from humble beginnings to being a revolutionary. The second movie was about having to rise to the challenge of being a great leader in the most difficult of times. This is going to be the story that is going to cement his status as a seminal figure in ape history, and sort of leads to an almost biblical status. He is going to become like a mythic ape figure, like Moses."[24]

text: Toby Kebbell, who portrayed Koba in Dawn, had expressed interest in reprising his role or performing as other characters.[25] Plans to include Koba in a larger role in the film were abandoned early, with Bomback saying, "If you stayed until the very end of Dawn of the Planet of the Apes, you hear Koba’s breathing. We did that to give us a tiny crack of a possibility that we could revive Koba if we wanted to. Very early on in spitballing, we realized there was nothing more to do with Koba – certainly nothing that would exceed what he had done in the last story. But we knew we wanted to keep him alive as an idea. In playing out the reality of what happened at the end of the last film, Caesar would be traumatized by having to kill his brother. That would have resonance, and we wanted to make sure that didn’t get lost. So the answer was that we could go inside Caesar’s mind at this point and revisit Koba that way."[26]

text: Casting[edit]

text: In August 2015, Deadline reported that Gabriel Chavarria had been cast as one of the humans in the film.[27] In September 2015, The Hollywood Reporter announced that Woody Harrelson had been cast as the film's antagonist, and that Chavarria's role was supporting.[14] In October 2015, TheWrap reported that Steve Zahn was cast as a new ape in the film.[8] It was also announced that actress Amiah Miller was cast as one of the film's humans, with Judy Greer and Karin Konoval reprising their roles as Cornelia and Maurice,[7][16] while Aleks Paunovic and Sara Canning were cast as new apes.[13][11]

text: Filming[edit]

text: Principal photography on the film began on October 14, 2015 in the Lower Mainland in Vancouver, under the working title Hidden Fortress.[28][29] Filming was expected to take place there until early March 2016.[30] Parts of the film were expected to shoot for up to five days in the Kananaskis in late January and early February.[31] In March, Serkis confirmed that he had finished shooting his portions.[32]

text: Visual effects[edit]

text: As with Rise and Dawn, the visual effects for War were created by Weta Digital; the apes were created with a mixture of motion-capture and CGI key-frame animation, as they were performed in motion-capture technology and animated in CGI.

text: Influences[edit]

text: At New York Comic-Con 2016, Reeves explained that he and Bomback were influenced by many films before writing. He said, "One of the first things that Mark and I did because we had just finished Dawn was that we decided to watch a million movies. We decided to do what people fantasize what Hollywood screenwriters get to do but no one actually does. We got Fox to give us a theater and we watched movie after movie. We watched every Planet of the Apes movie, war movies, westerns, Empire Strikes Back... We just thought, 'We have to pretend we have all the time in the world,' even though we had limited time. We got really inspired."[33]

text: Additionally, during production, Reeves and Bomback sought broader inspirations from films like Bridge on the River Kwai and The Great Escape. Feeling that there was a need to imbue Biblical themes and elements, they also watched Biblical epics like Ben-Hur and The Ten Commandments. The influences and inspirations were made evident in the relationship between Caesar and Woody Harrelson's Colonel, a military leader with pretensions toward godhood. Reeves has compared their relationship to the dynamic between Alec Guinness's British Commander and Sessue Hayakawa's prison camp Colonel in Bridge on the River Kwai. Another comparison is in Caesar's journey to find the Colonel, flanked by a posse of close friends – a situation Reeves explicitly tied to Clint Eastwood's war-weary soldier in The Outlaw Josey Wales.[23] Influences from the film Apocalypse Now, notably Harrelson's character and his Alpha-Omega faction being similar to Colonel Kurtz's renegade army, were also noted by several journalists.[34][35][36] Harrelson has also acknowledged the similarities and inspiration.[37]

text: Soundtrack[edit]

text:
War for the Planet of the Apes

Soundtrack album by Michael Giacchino

Released
July 7, 2017 (Digital)
July 21, 2017 (Physical)

Recorded
2017

Genre
Film score

Label
Sony Masterworks

Michael Giacchino film scores chronology

Spider-Man: Homecoming
(2017)Spider-Man: Homecoming2017
War for the Planet of the Apes
(2017)
Coco
(2017)Coco2017

text: On October 17, 2015, it was confirmed that Michael Giacchino, the composer and writer of the soundtrack for Dawn, would return to compose War's score.[38] The soundtrack was digitally released to iTunes and Amazon on July 7, 2017,[39] and in its physical form by Sony Masterworks on July 21, 2017.[40]

text: Track listing[edit]

text: All music composed by Michael Giacchino.

text:
No.
Title
Length

1.
"Apes’ Past is Prologue"
10:53

2.
"Assault of the Earth"
5:29

3.
"Exodus Wounds"
4:23

4.
"The Posse Polonaise"
1:39

5.
"The Bad Ape Bagatelle"
1:13

6.
"Don’t Luca Now"
3:53

7.
"Koba Dependent"
2:54

8.
"The Ecstasy of the Bold"
1:57

9.
"Apes Together Strong"
7:12

10.
"A Tide in the Affairs of Apes"
5:31

11.
"Planet of the Escapes"
2:42

12.
"The Hating Game"
2:04

13.
"A Man Named Suicide"
5:32

14.
"More Red Than Alive"
2:41

15.
"Migration"
2:03

16.
"Paradise Found"
5:35

17.
"End Credits"
9:30

Total length:
75:11

text: Release[edit]

text: The film was initially set for a July 29, 2016, release. However, in January 2015, Fox postponed the film's release date to about a year later on July 14, 2017.[41][6]

text: Marketing[edit]

text: Special behind-the-scenes footage for the film was aired on TV on November 22, 2015, as part of a contest announcement presented by director Matt Reeves and Andy Serkis.[42] The footage aired during The Walking Dead on AMC.[43][44] The announcement allowed winners to wear a performance-capture suit and appear in a scene as an ape.[45] The announcement was released on 20th Century Fox's official YouTube page later the same day.[46]

text: At a New York Comic Con special event on October 6, Reeves, Serkis and producer Dylan Clark debuted an exclusive look at the film.[47]

text: Serkis has also mentioned that the film would be accompanied by a video game, for which he performed motion capture.[48] Titled Planet of the Apes: Last Frontier, the game is set for release for the PlayStation 4, Xbox One and PC in fall 2017.[49]

text: Home media[edit]

text: War for the Planet of the Apes was released on Digital HD on October 10, 2017, and on Blu-ray and DVD on October 24, 2017 by 20th Century Fox Home Entertainment.[50]

text: Reception[edit]

text: Box office[edit]

text: As of November 2, 2017[update], War for the Planet of the Apes has grossed $146.8 million in the United States and Canada and $342.7 million in other territories for a worldwide total of $489.5 million, against a production budget of $150 million.[5]

text: In North America, the film was projected to gross $50–60 million in its opening weekend,[51] however, given its acclaimed status and strong word-of-mouth, rival studios believed the film had the potential to debut as high as $70–80 million.[4][52][53] War was closely monitored by analysts while the summer was witnessing a decline in ticket sales, a situation that they blamed on franchise fatigue for an overabundance of sequels and reboots (such as Pirates of the Caribbean: Dead Men Tell No Tales, Transformers: The Last Knight and The Mummy). However, box office analysts noted that well-reviewed films have tended to perform in-line with estimates (Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man: Homecoming).[54][55][56] The film grossed $5 million from Thursday night previews at 3,021 theaters, up 22% from the $4.1 million earned by its predecessor, and $22.1 million on its first day. It went on to debut to $56.3 million, topping the box office, albeit with a 22% drop from Dawn's $72.6 million debut.[57][58] In its second weekend, the film grossed $20.9 million (a drop of 62.9%, more than the 50.4% fall Dawn saw), finishing 4th at the box office.[59] In its third weekend, the film made $10.5 million (dropping another 49.9%), finishing 6th at the box office. It was lower than the third weeks of both Rise ($16.1 million) and Dawn ($16.8 million).[60]

text: Outside North America, War for the Planet of the Apes is receiving a scattered release in a span of three months (July–September). The film began its release in about a third of the marketplace on July 14, albeit only in two major markets, and was projected to have an opening of $50–60 million, with the potential to go higher if smaller Asian markets over-perform, as they have for recent tent poles.[4] The film ended up having an international debut of $44.2 million, including $9.27 million in the United Kingdom.[61]

text: Critical response[edit]

text: War for the Planet of the Apes received critical acclaim for the performances of its cast (particularly Serkis), direction, musical score, visual effects, cinematography and morally complex storyline.[62] On review aggregator site Rotten Tomatoes, the film has an approval rating of 93%, based on 280 reviews, with a rating average of 8.1/10. The site's critical consensus reads, "War for the Planet of the Apes combines breathtaking special effects and a powerful, poignant narrative to conclude this rebooted trilogy on a powerful – and truly blockbuster – note."[63] On review aggregator Metacritic, which assigns a weighted average rating to reviews, the film has a score of 82 out of 100, based on 50 critics, indicating "universal acclaim".[64] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, the same score earned by its two immediate predecessors.[57] Scott Collura of IGN awarded the film a score of 9.5 out of 10, saying: "War for the Planet of the Apes is an excellent closing act to this rebooted trilogy, but also one that does enough world-building that the series can potentially continue from here – and it’s a rare case where, after three movies, we’re left wanting more."[65]

text: A.O. Scott of The New York Times said of the film, "“War for the Planet of the Apes,” directed by Matt Reeves, is the grimmest episode so far, and also the strongest, a superb example — rare in this era of sloppily constructed, commercially hedged cinematic universes — of clear thinking wedded to inventive technique in popular filmmaking," and lauded Andy Serkis's performance in the film, stating that "Andy Serkis’s performance as Caesar is one of the marvels of modern screen acting."[66] Peter Travers of Rolling Stone gave the film 3.5 out of 4 stars, and said that Serkis performed "with a resonant power and depth of feeling that's nearly Shakespearean. Oscar, get busy: Serkis deserves the gold," and went on to say that "War for the Planet of the Apes – No. 9 in the simian cinema canon – is the best of the Apes films since the 1968 original.[67] Eric Kohn of Indiewire gave the film a B+ rating, and praised Matt Reeves's directing, saying "It’s a given that an expensive 21st century sci-fi movie with talking animals, exploding tanks, and jarring machine guns would look and sound great, but Reeves applies these effects with such a measured strategy that they’re always working in service of a greater narrative agenda." Kohn went on to applaud the visuals, cinematography, and musical score, stating that "The breathlessly paced montage of flying bullets and angry monkeys raining down on terrified men, aided by Michael Giacchino’s vibrant score, is a strong indicator of the next-level craftsmanship that distinguishes these movies from so many cacophonous Hollywood spectacles; not only is the action easy to follow, but you care for the motion-captured characters at the center of it, while the humans cower in fear."[68]

text: Possible fourth film[edit]

text: In October 2016, it was reported that a fourth Planet of the Apes film was being discusssed.[69][70]


document_title: Demographic history of the United States

question_text: at the time of american independence in 1789 the population of the u.s. was dominated by

text: Historical population[edit]

text: 1610-1780 population data.[1] Note that the census numbers do not include Indians until 1860.[2]

text:
Census
year
Population

1610
350

1620
2,302

1630
4,646

1640
26,634

1650
50,368

1660
75,058

1670
111,935

1680
151,507

1690
210,372

1700
250,888

1710
331,711

1720
466,185

1730
629,445

1740
905,563

1750
1,170,760

1760
1,593,625

1770
2,148,076

1780
2,780,369

1790
3,929,214

1800
5,308,483

1810
7,239,881

1820
9,638,453

1830
12,866,020

1840
17,069,453

1850
23,191,876

1860
31,443,321

1870
38,558,371

1880
50,189,209

1890
62,979,766

1900
76,212,168

1910
92,228,496

1920
106,021,537

1930
123,202,624

1940
132,164,569

1950
151,325,798

1960
179,323,175

1970
203,211,926

1980
226,545,805

1990
248,709,873

2000
281,421,906

2010
308,745,538

text: Source

text: Median age at marriage[edit]

text: From 1890 to 2010, the median age at first marriage was as follows:[3]

text:
Year
Men
Women

1890
26.1
22.0

1900
25.9
21.9

1910
25.1
21.6

1920
24.6
21.2

1930
24.3
21.3

1940
24.5
21.5

1950
22.8
20.3

1960
22.8
20.3

1970
23.2
20.6

1980
24.7
22.0

1990
26.1
23.9

2000
26.8
25.1

2010
28.2
26.1

text: Immigration[edit]

text: Earlier Colonial era[edit]

text: Nearly all commercial activity was run in small privately owned businesses with good credit both at home and in England being essential since they were often cash poor. Most settlements were nearly independent of trade with Britain as most grew or made nearly everything they needed—the average cost of imports per most households was only about 5-15 English pounds per year. Most settlements were created by complete family groups with several generations often present in each settlement. Probably close to 80% of the families owned the land they lived and farmed on. They nearly all used English Common Law as their basic code of law and, except for the French, Dutch and Germans, spoke some dialect of English. They established their own popularly elected governments and courts and were, within a few years, mostly self-governing, self-supporting and self-replicating.

text: Nearly all colonies and, later, states in the United States were settled by migration from another colony or state, as foreign immigration usually only played a minor role after the first initial settlements were started. Many new immigrants did end up on the frontiers as that was where the land was usually the cheapest.

text: New England[edit]

text: The New England colonists included more educated men as well as many skilled farmers, tradesmen and craftsmen. They were mostly farmers and settled in small villages for common religious activity. Shipbuilding, commerce, and fisheries were important in coastal towns. New England's healthy climate (the cold winters killed the mosquitoes and other disease-bearing insects), and abundant food supply resulted in the lowest death rate and highest birth rate of any place in the world (marriage was expected and birth control was not, and a much higher than average number of children and mothers survived).[4]

text: The eastern and northern frontier around the initial New England settlements was mainly settled by the Yankee descendants of the original New Englanders. Emigration to the New England colonies after 1640 and the start of the English Civil War decreased to less than 1% (about equal to the death rate) in nearly all years prior to 1845. The rapid growth of the New England colonies (total population ~700,000 by 1790) was almost entirely due to the high birth rate (>3%) and low death rate (<1%) per year.[5]

text: Middle Colonies[edit]

text: The middle colonies' settlements were scattered west of New York City, New York (est. 1626 by Dutch, taken over by the English in 1664) and Philadelphia, Pennsylvania (est. 1682). The Dutch-started colony of New York had the most eclectic collection of residents from many different nations and prospered as a major trading and commercial center after about 1700. The Pennsylvania colonial center was dominated by the Quakers for decades after they emigrated there, mainly from the North Midlands of England, from about 1680 to 1725. The main commercial center of Philadelphia was run mostly by prosperous Quakers, supplemented by many small farming and trading communities with strong German contingents located in the Delaware River valley.

text: Many more settlers arrived in the middle colonies starting in about 1680, when Pennsylvania was founded and many Protestant sects were encouraged to settle there for freedom of religion and good, cheap land. These settlers were of about 60% German and 33% English extraction. By 1780 in New York about 17% of the population were descendants of Dutch settlers. The rest were mostly English with a wide mixture of other Europeans and about 6% Blacks. New Jersey and Delaware had a majority of British with 40% German-descended colonists, about a 6% black population, and a small contingent of Swedish descendants of New Sweden. Nearly all were at least third-generation natives.

text: South[edit]

text: The main drive of the economy in Virginia, Maryland and South Carolina was large plantations growing staples for export, especially tobacco and rice. Outside the plantations, land was farmed by independent farmers who rented from the proprietors, or (most often) owned it outright. They emphasized subsistence farming to grow food for their large families. Many of the Irish and Irish immigrants specialized in rye-whiskey making, which they sold to obtain cash. In Maryland, by 1700 there were about 25,000 people and by 1750 that had grown more than 5 times to 130,000. By 1755, about 40% of Maryland's population was black.[6]

text: Frontier[edit]

text: From 1717 to 1775 the western frontier was settled primarily by Presbyterian settlers who migrated in large part from Scotland and Ireland. Frontier settlers initially landed in Philadelphia or Baltimore before migrating to the western frontier for the cheaper land.[7]

text: Natural growth[edit]

text: All the colonies, after they were started, grew mostly by natural growth, with foreign born populations rarely exceeding 10% in isolated instances. The last significant colonies to be settled mainly by immigrants were Pennsylvania in the early 18th century and Georgia and the Borderlands in the late 18th century, as migration (not immigration) continued to provide nearly all the settlers for each new colony or state. This pattern would continue throughout U.S. history. The extent of colonial settlements by 1800 is shown by this map from the University of Texas map collection.[8]

text:
Estimated Population of American Colonies 1620 to 1780
Series Z-19 U.S. Census[9]
Note that the census numbers do not include American Indian natives before 1860.[2]

Year
1780
1760
1740
1720
1700
1680
1660
1640
1620

Tot Pop.
2,780,400
1,593,600
905,600
466,200
250,900
151,500
75,100
26,600
500

Maine[a]
49,100
20,000
-
-
-
-
-
900
-

New Hampshire[b]
87,800
39,100
23,300
9,400
5,000
2,000
1,600
1,100
-

Vermont[c]
47,600
-
-
-
-
-
-
-
-

Plymouth[d]
-
-
-
-
-
6,400
2,000
1,000
100

Massachusetts
268,600
202,600
151,600
91,000
55,900
39,800
20,100
8,900

Rhode Island
52,900
45,500
25,300
11,700
5,900
3,000
1,500
300
-

Connecticut
206,700
142,500
89,600
58,800
26,000
17,200
8,000
1,500
-

New York
210,500
117,100
63,700
36,900
19,100
9,800
4,900
1,900
-

New Jersey
139,600
93,800
51,400
29,800
14,000
3,400
-
-
-

Pennsylvania
327,300
183,700
85,600
31,000
18,000
700
-
-
-

Delaware
45,400
33,300
19,900
5,400
2,500
1,000
500
-
-

Maryland
245,500
162,300
116,100
66,100
29,600
17,900
8,400
500
-

Virginia
538,000
339,700
180,400
87,800
58,600
43,600
27,000
10,400
400

North Carolina
270,100
110,400
51,800
21,300
10,700
5,400
1,000
-
-

South Carolina
180,000
94,100
45,000
17,000
5,700
1,200
-
-
-

Georgia
56,100
9,600
2,000
-
-
-
-
-
-

Kentucky
45,000
-
-
-
-
-
-
-
-

Tennessee
10,000
-
-
-
-
-
-
-
-

Year
1780
1760
1740
1720
1700
1680
1660
1640
1620

New Eng. (ME to CT)
712,800
449,600
289,700
170,900
92,800
68,500
33,200
13,700
100

% Black[e]
2.0%
2.8%
2.9%
2.3%
1.8%
0.7%
1.8%
1.5%
0.0%

Middle (NY to DE)
722,900
427,900
220,600
103,100
53,600
14,900
5,400
1,900
-

% Black[f]
5.9%
6.8%
7.5%
10.5%
6.9%
10.1%
11.1%
10.5%
0.0%

South (MD to TN)
1,344,700
716,000
395,300
192,300
104,600
68,100
36,400
11,000
400

% Black[g]
38.6%
39.7%
31.6%
28.1%
21.5%
7.3%
4.7%
1.8%
0.0%

text:
Jump up ^ Maine was part of Massachusetts from about 1652 to 1820, when it was granted statehood as part of the Missouri Compromise.[10]
Jump up ^ New Hampshire was part of Massachusetts until about 1685, when it was split off and established under a British appointed governor. It was one of the original 13 colonies.
Jump up ^ Vermont was contested between the French and British settlers until the French and Indian war (1758–1765) drove out the French authorities. The territory was then disputed between Massachusetts, New York and New Hampshire until the settlers declared their independence from all of them and were accepted as the 14th state in 1791 and participated in the 1790 census a year late.
Jump up ^ Plymouth, Massachusetts despite being the first permanent New England settlement, lost its charter in 1690 and became part of the Massachusetts colony.
Jump up ^ By 1784 all slavery in the New England states was either completely prohibited or transitioning to its total prohibition.
Jump up ^ By 1804 all slavery in the Middle colonies (except Delaware [6.6% Black]) was either completely prohibited or was transitioning to its total prohibition.
Jump up ^ All slavery was prohibited in the entire U.S. in 1865 by the 13th amendment to the constitution.

tag: ol

text: Population in 1790[edit]

text: According to the source, The Source: A Guidebook of American Genealogy by Kory L. Meyerink and Loretto Dennis Szucs, the following were the countries of origin for new arrivals coming to the United States before 1790. The regions marked * were part of Great Britain. The ancestry of the 3.9 million population in 1790 has been estimated by various sources by sampling last names in the 1790 census and assigning them a country of origin. The Irish in the 1790 census were mostly Scots Irish. The French were mostly Huguenots. The total U.S. Catholic population in 1790 was probably less than 5%. The Native American Indian population inside territorial U.S. 1790 boundaries was less than 100,000.

text:
U.S. Historical Populations

Country
Immigrants Before 1790
Population 1790 -1

Africa -2
360,000
757,000

England*
230,000
2,100,000

Ulster Scot-Irish*
135,000
300,000

Germany -3
103,000
270,000

Scotland*
48,500
150,000

Ireland*
8,000
(Incl. in Scot-Irish)

Netherlands
6,000
100,000

Wales*
4,000
10,000

France
3,000
15,000

Jews -4
1,000
2,000

Sweden
500
2,000

Other -5
50,000
200,000

Total -6
950,000
3,900,000

text:
Data From Ann Arbor, Michigan: Inter-university Consortium for Political and Social Research (ICPS)
Several West African regions were the home to most African slaves imported to America. Population from US 1790 Census
Germany in this time period consists of a large number of separate countries, the largest of which was Prussia.
Jewish settlers were from several European countries.
The Other category probably contains mostly English ancestry settlers; but the loss of several states detailed census records in the Burning of Washington D.C. in the War of 1812 makes estimating closer difficult. Nearly all states that lost their 1790 (and 1800) census records have tried to reconstitute their original census from tax records etc. with various degrees of success. The summaries of the 1790 and 1800 census from all states survived.
The Total is the total immigration over the approximately 130-year span of colonial existence of the U.S. colonies as found in the 1790 census. Many of the colonists, especially from the New England colonies, are already into their fifth generation of being in America. At the time of the American Revolution the foreign born population is estimated to be from 300,000 to 400,000.

text: The 1790 population already reflected the approximate 50,000 "Loyalists" who emigrated to Canada at the end of the American Revolution and the fewer than 10,000 more who emigrated to other British territories.

text: Already by 1790 the ancestry question was starting to become irrelevant to many, as intermarriage from different ethnic groups was becoming common, causing people to form a common American identity. The total white population in 1790 was about 80% of British ancestry, and would go on to roughly double by natural increase every 25 years. From about 1675 onward, the native-born population of what would become the United States would never again drop below 85% of the total.

text: Immigration 1790 to 1849[edit]

text: In the early years of the U.S., immigration was only about 6,000 people a year on average, including French refugees from the slave revolt in Haiti. The French Revolution, starting in 1789, and the Napoleonic Wars from 1792 to 1814 severely limited immigration from Europe. The War of 1812 (1812–1814) with Britain again prevented any significant immigration. By 1808 Congress had banned the importation of slaves, slowing that human traffic to a trickle.

text: After 1820 immigration gradually increased. For the first time federal records, including ship passenger lists, were kept for immigration. Total immigration for the year 1820 was 8,385, gradually building to 23,322 by 1830, with 143,000 total immigrating during the intervening decade. From 1831 to 1840 immigration increased greatly, to 599,000 total, as 207,000 Irish, even before the famine of 1845-49, started to emigrate in large numbers as Britain eased travel restrictions. 152,000 Germans, 76,000 British, and 46,000 French formed the next largest immigrant groups in that decade.

text: From 1841 to 1850 immigration exploded to 1,713,000 total immigrants and at least 781,000 Irish, with the famine of 1845-1849 driving them, fled their homeland to escape poverty and death. In attempting to divert some of this traffic to help settle Canada, the British offered bargain fares of 15 shillings for transit to Canada, instead of the normal 5 pounds (100 shillings). Thousands of poor Irish took advantage of this offer and headed to Canada on what came to be called the "coffin ships" because of their high death rates. Once in Canada, many Irish walked across the border or caught an intercoastal freighter to the nearest major city in the United States - usually Boston or New York.

text: Bad potato crops and failed revolutions struck the heart of Europe in 1848, contributing to the decade's total of 435,000 Germans, 267,000 British and 77,000 French immigrants to America. Bad times in Europe drove people out; land, relatives, freedom, opportunity, and jobs in America lured them in.

text:
Population and Foreign Born 1790 to 1849
Census Population, Immigrants per Decade

Census
Population
Immigrants-1
Foreign Born
 %

1790
3,918,000
60,000

1800
5,236,000
60,000

1810
7,036,000
60,000

1820
10,086,000
60,000

1830
12,785,000
143,000
200,000 -2
1.6%

1840
17,018,000
599,000
800,000 -2
4.7%

1850
23,054,000
1,713,000
2,244,000
9.7%

text: The number of immigrants from 1830 on are from immigration records. The census of 1850 was the first census in which place of birth was asked. It is probably a reasonable estimate that the foreign born population in the U.S. reached its minimum in about 1815 at something like 100,000, or 1.4% of the population. By 1815 most of the immigrants that arrived before the American Revolution had passed on, and there had been almost no new immigration.

text:
The total number immigrating in each decade from 1790 to 1820 are estimates.
The number foreign born in 1830 and 1840 decades are extrapolations.

text: Nearly all population growth up to 1830 was by internal increase; about 98.5% of the population was native-born. By 1850, this had shifted to about 90% native-born. The first significant Catholic immigration started in the mid-1840s.

text: Immigration 1850 to 1930[edit]

text: Immigration 1930 to 1990[edit]

text: Immigration 1990 to Present[edit]

text: Migration within the United States[edit]

text: The American West[edit]

text: In 1848, the Treaty of Guadalupe Hidalgo, concluding the Mexican War, extended U.S. citizenship to approximately 60,000 Mexican residents of the New Mexico Territory and 10,000 living in California. However, much like Texas, the Mexican government had encouraged immigration and settlement of these regions from groups in the United States and Europe. Approximately half of this population is estimated to have been of American origin. In 1849, the California Gold Rush spurred significant immigration from Mexico, South America, China, Australia, Europe and caused a mass migration within the US, resulting in California gaining statehood in 1850, with a population of about 90,000.

text: Rural flight[edit]

text: Rural flight is the departure of excess populations (usually young men and women) from farm areas. In some cases whole families left, as in the Dust Bowl in the 1930s. Much of rural America has seen steady population decline since 1920.

text: Black migration out of the South[edit]

text: The Great Migration was the movement of millions of African Americans out of the rural Southern United States from 1914 to 1960. Most moved to large industrial cities, as well as to many smaller industrial cities.African-Americans moved as individuals or small groups. There was no government assistance. They migrated because of a variety of push and pull factors:[11][12][13]

text: Push factors[edit]

text:
Many African-Americans wanted to avoid the racial segregation of the Jim Crow South and sought refuge in the supposed "Promised Land" of the North where there was thought to be less segregation
The boll weevil infestation of the cotton fields of the South in the late 1910s, reduced the demand for sharecroppers.
The Great Mississippi Flood of 1927 and its aftermath displaced hundreds of thousands of African-American farm workers;

text: Pull factors[edit]

text:
Income levels were much higher in the North, with far higher wages in the service sector.
The enormous growth of war industries in WW1 and WW2 created new job openings for blacks
World War I effectively put a halt to the flow of European immigrants to the industrial centers, causing shortages of workers in the factories.
In the 1930s Works Progress Administration, Civilian Conservation Corps and other relief programs in the North were more receptive to blacks. The WPA paid more in the North.
After 1940, as the U.S. rearmed for World War II (see Homefront-United States-World War II), industrial production increased rapidly.
The FEPC equal opportunity laws were more enforced in the North and West.[14]

text: Recent demographic trends[edit]

text: Post-war baby boom[edit]

text: In the years after WWII, the United States, as well as a number of other industrialized countries, experienced an unexpected sudden birth rate jump. During WWII birthrates had been low, as millions of men had been away fighting in WWII and this had deterred women from starting families: women also had to take the place of men in the workplace, while simultaneously fulfilling their household duties. The millions of men coming back to the US after WWII, and the couples eager to start families, led to a sharp rise in the US birth rate, and a surge in new housing construction in the suburbs and outlying areas of the cities. Since the men who came back got jobs in the workplace again, married women stayed home to take care of the house and children and let their husbands be the breadwinner of the household.[17]

text: During the baby boom years, between 1946 and 1964, the birth rate doubled for third children and tripled for fourth children.[18]

text: The number of children aged 0–4 increased to 16,410,000 in 1950 from 11,000,000 in 1940, it continued into the 1960s where it peaked at 20,000,000 children under the age of 5.[citation needed]

text: The number of children under 19 rose to 69 million in 1960 from 51 million in 1950, a 35.3% increase, while the proportion of the population rose to 38.8% up from 33.8% in 1950.[citation needed]

text: The total fertility rate of the United States jumped from 2.49 in 1945 to 2.94 in 1946, a rise of 0.45 children therefore beginning the baby boom. It continued to rise throughout the 1940s to reach 3.10 in 1950 with a peak of 3.77 in 1957. Declining slowly thereafter to 3.65 in 1960 and finally a steep from decline after 1964, therefore ending the baby boom.

text:
[show]
Total fertility rates

Year
Fertility rate
Change
White
Non-Hispanic
Black
Non-Hispanic
Hispanic
Asian
Native

1940
2.30

1941
2.40

1942
2.62

1943
2.72

1944
2.58

1945
2.49

1946
2.94

1947
3.27

1948
3.11

1949
3.11

1950
3.10

1951
3.27

1952
3.35

1953
3.42

1954
3.54

1955
3.58

1956
3.68

1957
3.77

1958
3.71

1959
3.69

1960
3.65

1961
3.62

1962
3.46

1963
3.31

1964
3.19

1965
2.91

1966
2.72

1967
2.55

1968
2.46

1969
2.46

1970
2.48

1971
2.27

1972
2.01

1973
1.87

1974
1.83

1975
1.77

1976
1.74

1977
1.79

1978
1.76

1979
1.79

1980
1.84

1981
1.81

1982
1.81

1983
1.80

1984
1.82

1985
1.86

1986
1.85

1987
1.90

1988
1.97

1989
2.03

1.77
2.42
2.90
1.95
2.25

1990
2.08

1.85
2.55
2.96
2.00
2.18

1991
2.06

1.82
2.53
2.96
1.93
2.14

1992
2.04

1.80
2.48
2.96
1.89
2.14

1993
2.01

1.79
2.41
2.89
1.84
2.05

1994
1.99

1.78
2.31
2.84
1.83
1.95

1995
1.97

1.78
2.19
2.80
1.80
1.88

1996
1.97

1.78
2.14
2.77
1.79
1.86

1997
1.97

1.79
2.14
2.68
1.76
1.83

1998
2.00

1.83
2.16
2.65
1.73
1.85

1999
2.01

1.84
2.13
2.65
1.75
1.78

2000
2.06

1.87
2.18
2.73
1.89
1.77

2001
2.03

1.84
2.10
2.75
1.84
1.75

2002
2.01

1.83
2.05
2.72
1.82
1.74

2003
2.03

1.86
2.03
2.79
1.87
1.73

2004
2.04

1.85
2.02
2.82
1.90
1.73

2005
2.05

1.84
2.02
2.89
1.89
1.75

2006
2.10

1.86
2.12
2.96
1.92
1.83

2007
2.12

1.87
2.13
3.00
2.04
1.87

2008
2.08

1.83
2.11
2.91
2.05
1.84

2009
2.01

1.78
2.03
2.73
1.96
1.78

2010
1.93

1.79
1.97
2.35
1.69
1.40

Source 1970-2009
Source 2010

text: Marriages[edit]

text: According to statistics, the United States currently has the highest marriage rate in the developed world, as of 2008, with a marriage rate of 7.1 per 1,000 people or 2,162,000 marriages. The average age for first marriage for men is 27.4 and 25.6 years for women.[19] The United States also has one of the highest proportions of people who do marry by age 40; approximately 85% Americans are married at 40, compared to only 60% in Sweden.

text: During the 1930s, the number of marriages and the marriage rate dropped steeply due to the Great Depression, but rebounded almost immediately after the Depression ended. Marriage rates increased and remained at high levels in the late 1930 to the mid-1940s. The number of marriages shot up to reach over 2 million in 1946, with a marriage rate of 16.4 per 1,000 people as WWII had ended. The average age at first marriage for both men and women began to fall after WWII, dropping 22.8 for men and 20.3 for women in 1950 and dropping even more to 22.5 and 20.1 years in 1956. In 1959, the United States Census Bureau estimated that 47% of all brides marrying for their first time were teenagers aged 19 and under. In 1955, 51.2% of women were married by their 20th birthday and 88% by their 25th birthday; 40.3% of men and 28.5% of women aged 20–24 in 1955 had never married, down from 77.8% for men and 57.4% for women in 1940.[20]

text: As of 2002, 4.3% of men and 18.1% of women aged 20 are married, increasing to 37% of men and 52% of women by age 25, and then 61% of men and 76% of women by age 30.

text: Population growth projections[edit]

text: The U.S. population in 1900 was 76 million. In 1950, it rose to 152 million; by 2000 it had reached 282 million. By 2050, it is expected to reach 420 million.

text: Demographic models in Historiography[edit]

text: Richard Easterlin, an economist who has researched economic growth in the United States, explains the growth pattern of American population in the 20th century through fertility rate fluctuations and the decreasing mortality rate. Easterlin has attempted to explain the cause of the Baby Boom and Baby Bust through the "relative income" theory. The "relative income" theory suggests that couples choose to have children based on a couple's ratio of potential earning power and the desire to obtain material objects. This ratio depends on the economic stability of the country in which they live and how people are raised to value material objects. The "relative income" theory explains the Baby Boom by suggesting that the late 1940s and 1950s brought low desires to have material objects, as a result of the Great Depression and WWII, as well as huge job opportunities, because of it being a post war period. These two factors gave rise to a high relative income, which encouraged high fertility. Following this period, the next generation had a greater desire for material objects; however, an economic slowdown in the United States made jobs harder to acquire. This resulted in lower fertility rates, causing the Baby Bust.

text: State trends[edit]

text: Between 1880 and 1900, the urban population of the United States rose from 28% to 40%, and reached 50% by 1920, in part due to 9,000,000 European immigrants. After 1890 the US rural population began to plummet, as farmers were displaced by mechanization and forced to migrate to urban factory jobs. After World War II, the US experienced a shift away from the cities, mostly due to the gaining popularity of the automobile and heavy government funding of suburban housing and highways. Many of the original manufacturing cities lost as much as half their populations between 1950 and 1980. There was a shift in the population from the dense city centers filled with apartments, row homes, and tenements; to less dense suburban neighborhoods outside the cities which were filled with single family homes.