document_title: X-Men: Apocalypse

question_text: who plays apocalypse in the new xmen movie

text: X-Men: Apocalypse

text: Plot[edit]

text: En Sabah Nur, a powerful mutant believed to be the first of his kind, rules ancient Egypt until he is betrayed by his worshippers, who entomb him alive. His four lieutenants die preserving him. Awakening in 1983, he believes humanity has lost its way without his presence. Aiming to destroy and remake the world, he recruits a Cairo pickpocket Ororo Munroe, who can control the weather, and upgrades her power.

text: In East Berlin, shape-shifting mutant Raven discovers Kurt Wagner, a blue skinned mutant who can teleport. Raven rescues Kurt and requests black marketeer Caliban to transport him to America. En Sabah Nur recruits Caliban's enforcer, Psylocke, who leads him to mutant fighting champion Angel. En Sabah Nur enhances both of their powers, repairing Angel's damaged wings and transforming them into metal.

text: Alex Summers discovers that his younger brother Scott is manifesting a mutation for shooting optic beams. Alex takes Scott to Professor Charles Xavier's educational institute in Westchester County, New York, hoping that Xavier and Hank McCoy will teach him to control his abilities. Scott meets the telepathic and telekinetic Jean Grey, and the two develop an attraction, while Raven brings Kurt to the institute. En Sabah Nur's powers cause disturbances around the world, leading Xavier and Alex to consult with CIA operative Moira MacTaggert, who has been researching the legend of Nur.

text: In the Polish People's Republic, the metal-controlling mutant Erik Lehnsherr (under the alias Henryk Górski) lives with his wife and their young daughter, Nina. When En Sabah Nur's resurrection causes a worldwide earthquake, he uses his powers to save a coworker, prompting the militia to capture him. When they accidentally kill Erik's family, he retaliates by executing them. En Sabah Nur later approaches the devastated Erik and takes him to Auschwitz, where Erik's power first manifested. Persuaded by En Sabah Nur, Erik's powers are enhanced and he destroys the camp, joining En Sabah Nur.

text: En Sabah Nur remotely accesses Cerebro, a brainwave-amplifying device Xavier uses to locate mutants and forces the telepathic Xavier, just as the later uses the device to contact Erik, to make the global superpowers launch their entire nuclear arsenals into space to prevent interference with En Sabah Nur's plan. He and his new Four Horsemen arrive at the mansion and kidnap Xavier. Attempting to stop them, Alex accidentally causes an explosion that destroys the mansion. Peter Maximoff, having realized that he is Erik's biological son and hoping that Xavier can help to find him, arrives just in time; he uses his super-speed to evacuate the students and teachers before the explosion destroys the building, but fails to save Alex, who dies in the process.

text: Colonel William Stryker's forces subsequently capture Hank, Raven, Peter, and Moira, and take them to a military facility for interrogation. Scott, Jean, and Kurt follow covertly, and liberate their comrades using Stryker's brainwashed experiment Weapon X to massacre the base, whose memories Jean partially restores.

text: At En Sabah Nur's behest, Erik uses his powers to control the Earth's magnetic poles, causing destruction across the planet. Sabah Nur plans to transfer his consciousness into Xavier's body, and use Xavier's power to enslave every person on Earth. Xavier secretly sends a telepathic distress call to Jean, and the others travel to Cairo to battle Sabah Nur and his horsemen. They rescue Xavier, but he loses his hair as the process nears completion. The team attempt to escape in the jet, but Angel and Psylocke attack it. As they try to force their way inside, the jet is put into a dive which throws Psylocke off. Kurt teleports them all out into an empty building just as Angel flies inside towards them. The jet crashes as Angel gets to the cockpit, incapacitating him in the process. Erik and Ororo are persuaded to turn on En Sabah Nur and, with the help of Scott, they keep him occupied physically, while Xavier fights him telepathically in the astral plane. Finally, Xavier encourages Jean to unleash the full extent of her powers, which causes roaring flames to engulf her and turn her eyes orange: incinerating En Sabah Nur to ash. Psylocke escapes.

text: Xavier and Moira rekindle their relationship as Xavier gives back her lost memories of them together. Upon returning to the United States, Erik and Jean help reconstruct the school, but Erik refuses Xavier's offer to stay and help teach. Peter decides not to tell Erik yet that he is Erik's son. Using confiscated Sentinels,[4] Hank and Raven train the new X-Men recruits: Scott, Jean, Ororo, Kurt, and Peter.

text: In a Post-credits scene, men in black suits visit the Weapon X facility to retrieve data on Stryker's mutant research, including an X-ray and a blood sample marked "Weapon X", on behalf of the Essex Corporation.

text: Cast[edit]

text:
James McAvoy as Charles Xavier / Professor X:
A mutant pacifist and the world's most powerful telepath, who is the founder of Xavier's School for Gifted Youngsters and leads the team of powerful skilled mutant known as the X-Men, in order to protect the humankind and battle against the deadly enemy within. McAvoy shaved his head for the role.[5]
Michael Fassbender as Erik Lehnsherr / Magneto:
A mutant Auschwitz survivor with the ability to control magnetic fields and manipulate metal, who was once Xavier's closest ally and best friend until his belief that mankind and mutantkind would never coexist led to their separation. He is globally infamous for attempting to assassinate U.S. President Richard Nixon on live broadcast 10 years prior. Bill Milner appears in archival footage as a Young Erik.
Jennifer Lawrence as Raven / Mystique:
A mutant with shapeshifting abilities, globally renowned for saving Nixon's life 10 years prior. She is also Xavier's once closest ally and his adopted sister. Lawrence said, "she hears about what happened to Erik and she wants to seek him out and help him."[6]
Oscar Isaac as En Sabah Nur / Apocalypse:
Born in ancient times, and presumably the world's first mutant, he has a variety of destructive superhuman abilities, including telekinesis, cyberpathy, teleportation, and the ability to augment other mutants' abilities. Isaac described Apocalypse as the "creative-slash-destructive force of the Earth." He added, "When things start to go awry, or when things seem like they're not moving towards evolution, [Apocalypse] destroys those civilizations."[6] Isaac had to go through extensive makeup and prosthetics applications, and wore high-heeled boots to appear taller and a 40-pound suit. The full costume was uncomfortable, particularly in the humid environment of the outdoor scenes, which forced Isaac to go to a cooling tent between takes. Apocalypse's previous old-form (seen at the beginning of the film) was played by Berdj Garabedian, a 70-year-old Canadian real estate agent in his first credited film role.[7]
Nicholas Hoult as Hank McCoy / Beast:
A mutant with leonine attributes, prehensile feet and superhuman physical abilities. Hank acts as a teacher in Xavier's school and he builds inventions for troubled students. He also built the X-Jet.[8]
Rose Byrne as Moira MacTaggert:
A CIA operative who first met and fell in love with Xavier in X-Men: First Class, where he wiped portions of her memories of him and the X-Men at the end. Simon Kinberg said they are "essentially, strangers" when they meet in this film.[9]
Evan Peters as Peter Maximoff / Quicksilver:
A mutant who can move, think, and perceive at hypersonic speeds, and the son of Magneto. Describing the relationship between Quicksilver and Magneto, Peters stated, "I have learned that he's my father at this point and I am trying to ... I don’t know what I can say. I'm trying to ... Yeah. It's like an adoptive child or any kind of child who has a strange father trying to ... He knows who he is now so he is trying to find him. He's been searching for him. It's been 10 years and he hasn't found him and then something happens."[10]
Tye Sheridan as Scott Summers / Cyclops:
A mutant who fires destructive optic beams and wears a visor or sunglasses to stabilize and contain them, and who is the younger brother of Havok. Sheridan describes Cyclops as "angry and a bit lost." He added, "He's now learning about being a mutant and trying to handle his powers."[11]
Sophie Turner as Jean Grey:
A mutant who is scared of her telepathic and telekinetic power, and one of Charles Xavier's most prized students.[12] Turner states that she was cast in the film because of the "dark side" of her character Sansa Stark in Game of Thrones. She compared Jean to Sansa and described being an outcast in the human world, who struggles with her power and gift, the same way Sansa, who wanted to live a normal life, felt.[13] Turner learned archery in preparation for the role.[14]
Olivia Munn as Elizabeth Braddock / Psylocke:
A mutant with telepathic, telekinetic and psionic abilities. Her abilities also include projecting purple psychic energy, usually into the form of an energy blade that can burn through metal. Munn described Psylocke as "very lethal, very powerful and very strong."[15] She practiced sword fighting in preparation for the role.[16]
Kodi Smit-McPhee as Kurt Wagner / Nightcrawler[17]:
A German[12] teleporting mutant and one of Charles Xavier's new students. Singer said Nightcrawler is a source of comic relief.[18]
Alexandra Shipp as Ororo Munroe / Storm:
A young mutant orphan who can control weather. Storm is discovered by Apocalypse in Cairo. Shipp shaved her head partially, and sported a Mohawk for the role.[19][20]
Lucas Till as Alex Summers / Havok:
A mutant who has the ability to absorb energy and release it with destructive force from his body, and the older brother of Cyclops.
Josh Helman as Colonel William Stryker:
A military officer who hates mutants and has, in the ten years since Days of Future Past, been developing his own plans for resolving "the mutant problem”.[8]
Ben Hardy as Angel:
A mutant with bird-like feathered wings, gaining metallic wings which can also be used as razor sharp projectiles as a result, similar to his Archangel counterpart in the comics.[21] Hardy practiced indoor skydiving in preparation for his role.[22]
Lana Condor as Jubilee:
A mutant student at Charles's school who has the ability to create psionic energy plasmoids.[12][23] Discussing her first day on X-Men: Apocalypse, Condor says: "I was very new and it was my first role. I'd never been on a set before or in front of a camera, so I didn't know what to expect. The first day we shot scenes in an 80s-themed mall with hundreds of extras in 80s gear, plus crew and cameras. It was surreal." She also discussed the character of Jubilee and how she became the mutant: "It's a lot easier when you have the costume, as that helps bring everything to life. She has her iconic yellow jacket, which is a staple. It's very bold and confident, like her. A lot of her costumes are super 80s. I also listened to music from the 80s and that helped."[24]

text: Tómas Lemarquis portrays Caliban, a mutant with the ability to sense and track other mutants.[25] Wrestler "Giant" Gustav Claude Ouimet plays The Blob, Angel's opponent in an underground fight club.[26][27] Monique Ganderton portrays one of En Sabah Nur's original lieutenants, Death.

text: Hugh Jackman makes an uncredited appearance as Logan / Wolverine, in his Weapon X form. In that same scene, director Bryan Singer cameos as a guard who is killed by Wolverine as he attempts to escape the complex.[28] X-Men co-creator Stan Lee and his wife Joan B. Lee make a cameo appearance together, as bystanders witnessing the launch of nuclear missiles worldwide; this was Joan's last film before her death the following year.[29] Željko Ivanek cameos as a Pentagon scientist.[30] In a deleted scene, Scott shows Jean a record from Dazzler. The scene is not in the theatrical film, but is included on the home video release.[31]

text: Archive footage was used of Caleb Landry Jones as Sean Cassidy / Banshee, journalist Jessica Savitch and actors Leslie Parrish and Michael Forest (the latter two appearing in footage with dialogue from the 1967 Star Trek episode "Who Mourns for Adonais?").[32]

text: Production[edit]

text: Development[edit]

text: The film was announced by Bryan Singer in December 2013 via Twitter, before Days of Future Past was released to theaters.[33] In the same month, Simon Kinberg, Dan Harris, and Michael Dougherty were revealed by Singer to be attached to work on the film's story.[34] According to Singer, the film would focus on the origin of the mutants, and features the younger versions of Cyclops, Jean Grey, and Storm.[35][36] Singer also said that he was considering Gambit and a younger version of Nightcrawler to appear.[37] According to Kinberg, it would take place in 1983, and completes a trilogy that began with 2011's X-Men: First Class.[38][39] In September 2014, 20th Century Fox officially announced that Singer would direct the film.[40] Singer has called the film "kind of a conclusion of six X-Men films, yet a potential rebirth of younger, newer characters" and the "true birth of the X-Men".[41]

text: Writing[edit]

text:
It will address historical mutant-cy, meaning the deep past, mutant origins and things like that. It’s something that's always intrigued me when we think about our Gods and our history and miracles and powers.

—Bryan Singer on what will be seen in X-Men: Apocalypse.[35]

text: Singer said that Apocalypse is the main focus of the film. Kinberg said that the younger versions of Scott Summers, Storm, and Jean Grey appearing in the film are "as much a part of the film as the main cast". He described Summers as "not yet the squeaky-clean leader", Storm as a "troubled character who is going down the wrong path in life", and Grey as "complex, interesting and not fully mature."[42] Kinberg also said that the film delivers on the dramatic story and emotion of the last two films and that it acts like the culmination of the main characters portrayed by Lawrence, McAvoy, Fassbender and Hoult.[43] Kinberg said First Class, Days of Future Past, and Apocalypse formed a trilogy about Mystique, explaining, "She starts in First Class entirely on Charles’ side, ends up following Erik, and we then find her in Days of Future Past and she’s on her own because Erik is gone. She’s on her own side in that movie but is drawn toward Charles by the end of the film and shoots Erik. Then in Apocalypse she comes back to Charles. There’s a full circle narrative over the span of this little trilogy that is about Mystique from beginning with Charles in the mansion and ending with Charles in the mansion, but not as the same timid little girl we met in First Class."[44] Kinberg was paid $8 million for writing the script, the same amount he received for X-Men: Days of Future Past.[45] The plot was partially inspired by the 1986 X-Men story arc "The Fall of the Mutants".[46]

text: Casting[edit]

text: In October 2014, casting for X-Men: Apocalypse began.[47] In November, Singer confirmed that Oscar Isaac would portray Apocalypse.[48] In January 2015, Singer announced that Alexandra Shipp, Sophie Turner, and Tye Sheridan would portray young Storm, Jean, and Cyclops, respectively.[49] The same month, Kinberg confirmed that Rose Byrne would reprise her role as Moira MacTaggert in the film.[9] In February, Kodi Smit-McPhee was cast as Nightcrawler and Ben Hardy was cast in an unspecified role.[17][50] In March, Singer announced that Lana Condor was cast as Jubilation Lee.[51] In April, Singer confirmed that Hardy would portray Angel, Olivia Munn would portray Psylocke, and Lucas Till would return as Havok.[21][52][53] In May, Singer announced that the mutant Caliban would appear in the film.[54][55] In July, Hoult revealed on Conan that Josh Helman would return as William Stryker.[56] In April 2016, Hugh Jackman confirmed that he would make a cameo appearance as Wolverine.[57]

text: Filming[edit]

text: Principal photography commenced on April 27, 2015, in Montreal, Canada.[58] In late August, the first-unit production for the film wrapped.[59] Additional filming took place in January 2016.[60]

text: Australia-based Rising Sun Pictures provided, as it did for X-Men: Days of Future Past, the effects for Quicksilver's time-stopping, quick motion effects in the mansion rescue scene, and also other effects, including when Cyclops splits Professor Xavier's favorite tree in half.[61] Aerial footage of snow-capped mountains as Stryker traveled in his helicopter to the secret base was provided by SmartDrones of St. Albert, Alberta, Canada.[62]

text: Music[edit]

text: On March 2, 2015, it was announced that John Ottman, who composed the scores for X2 and X-Men: Days of Future Past, would return to write and compose the score for Apocalypse. On May 20, 2016, the official soundtrack was released as a digital download. In addition to Ottman's score, the film features a remix of the second movement of Ludwig van Beethoven's seventh symphony entitled "Beethoven Havok" and two songs contemporary to the film's 1983 setting, "Sweet Dreams (Are Made of This)" by Eurythmics and "The Four Horsemen" by Metallica.[63]

text: Marketing[edit]

text: In July 2015, Singer, Lee, Hugh Jackman and cast-members McAvoy, Fassbender, Lawrence, Isaac, Hoult, Munn, Peters, Smit-McPhee, Turner, Sheridan, Shipp, Condor, Till and Hardy gave a presentation at the 2015 San Diego Comic-Con International, together with the release of the film's first teaser poster, featuring En Sabah Nur and a wreckage of the X-Mansion.[64] Footage from the film was screened.[65]

text: In October 2015, Mars Chocolate partnered with 20th Century Fox for the marketing of the film, using M&M chocolates in their promotional materials. The deal included retail displays and special packaging markings, TV and cinema commercials, and social media posts featuring M&M's characters mixed with elements of the X-Men. The first image of M&M candies wearing Storm and Magneto costumes was released on the day of the announcement.[66]

text: In December 2015, Kia Motors collaborated with 20th Century Fox to create a custom Kia Sportage to promote the film. Designed after Mystique, the car was revealed at the 2016 Australian Open. It is Kia's second "X-Car" project after the Kia Sorento customized for the home media release of Days of Future Past and the 2015 Australian Open.[67][68][69][70] A trailer released in the same month received criticism from Rajan Zed, a United States-based Hindu cleric, who stated that the part where Apocalypse claims himself to have been called "Krishna" was an offense to the Hindu religion, and demanded that Singer remove all references to Krishna from the trailer, and the film itself.[71][72] The references to Krishna were removed from the film's final cut.[73] On January 4, 2016, Kia Motors released the first promo video of the car, featuring Spanish tennis player Rafael Nadal.[74]

text: Concerning the character Apocalypse, the director Bryan Singer has said,

text: The way I describe him the most, the best is he to me is the God of the Old Testament and all that comes with that. If there isn’t the order and the worship then I’ll open up the Earth and swallow you whole, and that was the God of the Old Testament. I started from there and when Oscar and I met we began discussing, since he isn’t really God, he’s the first mutant perhaps, but he’s not God necessarily, he’s imbued with certain unique powers. Some of them may or may not be from this Earth, we don’t know.[75][76]

text: In April 2016, Coldwell Banker partnered with 20th Century Fox to list the X-Mansion for $75 million.[77] The fictional listing included a video tour of the mansion and stories of the home from the perspective of characters such as Charles Xavier and Scott Summers. The fake property was listed by agent Kala V. Rhomedren, an anagram for Raven Darkholme.[78][79] That same month, Fox released a faux TV show called "In the Footsteps of..." narrated by George Takei which is inspired by the classic TV series In Search of... that focus on En Sabah Nur's origins.[80][81][82] In May 2016, Fox released a faux TV Commercial for the Xavier School for Gifted Youngsters with Lana Condor as Jubilee. They also released a video voiced mail message a week later and a faux TV show called Fables of the Flush & Fabulous with Robin Leach which is inspired by Leach's show Lifestyles of the Rich and Famous.[83][84][85][86]

text: Release[edit]

text: X-Men: Apocalypse had its world premiere in London on May 9, 2016. The film was released in 20,796 screens across 76 international markets on May 18, 2016,[87][88] one week before its North American debut. Apocalypse was issued both 3D and 2D formats, and in IMAX 3D in select international markets, using the DMR process.[89][90] It opened in Korea on May 25 and in China on June 3. It was released in Japan on August 11.[87]

text: Home media[edit]

text: The film was released by 20th Century Fox Home Entertainment on digital download on September 9, 2016, and on DVD, Blu-ray, 3D Blu-Ray and 4K Ultra HD Blu-ray on October 4, 2016.[91] The film topped the national home video sales charts for the week ending on October 9, 2016.[92]

text: Reception[edit]

text: Box office[edit]

text: X-Men: Apocalypse grossed $155.4 million in the U.S. and Canada and $388.5 million in other territories, for a worldwide total of $543.9 million against a budget of $178 million.[2] The film is the fourth-highest-grossing film in the X-Men series (without adjusting for inflation), behind Deadpool, Logan, and X-Men: Days of Future Past.[93] It made 27% less than Days of Future Past.[94]

text: X-Men: Apocalypse opened in the United States on May 27, 2016 alongside Alice Through the Looking Glass and was projected to gross around $80 million from 4,150 theaters in its opening weekend, and up to $100 million over the four-day Memorial Day weekend.[95][96] It made $8.2 million from Thursday previews at 3,565 theaters (better than its predecessor at $8.1 million).[97][98] On its opening day it earned $26.4 million (including previews), the fourth-lowest opening day amount of the franchise.[99] In its opening weekend, it grossed $65.8 million.[100][101] Over the four-day Memorial weekend it earned $79.8 million,[102] including $9 million from 480 premium large format screens and $19 million from RealD screens.[103] In its second weekend the film grossed $22.3 million (a drop of 66.1%), finishing second at the box office behind Teenage Mutant Ninja Turtles: Out of the Shadows.[104]

text: Elsewhere, X-Men: Apocalypse was released one week before the United States in 76 markets, and grossed $101.5 million from 20,796 screens over the May 18 weekend. It debuted at No. 1 in 71 of those markets, with IMAX contributing $5 million from 246 screens in 57 markets, while RealD took in $18.4 million.[87] It broke opening records for Fox in the Philippines ($4.9 million), India ($3.4 million), Indonesia ($3.1 million), Singapore ($2.8 million), Thailand ($2.7 million) and Colombia ($1.9 million), and had the biggest opening in the X-Men franchise in 33 markets, including Russia ($6.5 million).[87] Its top openings were the United Kingdom ($10.5 million), Mexico ($8.6 million), Brazil ($6.6 million), Russia ($6.5 million) and France ($5.9 million).[87] It opened in China on June 3 and brought in $59 million, the second-largest Fox opening in China and $20 million more than Days of Future Past.[105] It opened next in Japan on August 11.[87]

text: Critical response[edit]

text: X-Men: Apocalypse received mixed reviews from critics.[106] On review aggregator Rotten Tomatoes, the film has an approval rating of 48% based on 305 reviews, with an average rating of 5.7/10. The website's critical consensus reads, "Overloaded action and a cliched villain take the focus away from otherwise strong performers and resonant themes, making X-Men: Apocalypse a middling chapter of the venerable superhero franchise."[107] On Metacritic, the film has a weighted average score of 52 out of 100, based on 48 critics, indicating "mixed or average reviews".[108] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[109]

text: Ignatiy Vishnevetsky of The A.V. Club commented, "Much of what makes X-Men: Apocalypse legitimately interesting also makes it frustrating and lopsided, since Singer and screenwriter-producer Simon Kinberg remain committed to the structure of an overlong comic-book blockbuster, complete with a climax in which the world has to be saved using as many different colors of energy beam as possible."[110] Mike Ryan of Uproxx disparaged the film's story as redundant and stale, arguing "I get it: Life is hard for mutants. We all get it. It’s literally the only thing mutants ever seem to talk about. It is odd that other superheroes seem to get to have some fun, but never the X-Men. Here we are, 16 years later, and everyone involved is still sad. It feels repetitive."[111] Scott Mendelson of Forbes wrote, "X-Men: Apocalypse is the kind of weightless, soulless trifle of a bore that makes comic book superhero movies look bad and makes me not look forward to the next installment."[112] Helen O'Hara of Empire criticized the performances of the main cast and stated that the film felt "messier and heavier than Days of Future Past."[113]

text: On the other hand Mick LaSalle from the San Francisco Chronicle gave the film a positive review, calling it "a thinking person's action movie" and complimenting its high stakes.[114] Richard Roeper called the film "a visual feast" and lauded its cast, saying "Even the hardcore geeks who like to get their Comic-Con on might be feeling a little superhero fatigue right about now. Still. You owe it to yourself to see Quicksilver do his thing."[115]

text: Accolades[edit]

text:
List of awards and nominations

Year
Award
Category
Recipient(s)
Result
Ref.

2016
AACTA Awards
Best Visual Effects or Animation
John Dykstra, Matt Sloan, Blondel Aidoo, Stephen Hamilton, Tim Crosbie and Dennis Jones
Nominated
[116][117]

Hollywood Music in Media Awards
Best Original Score – Sci-Fi/Fantasy Film
John Ottman
Nominated
[118][119]

Spike Guys' Choice Awards
Jean-Claude Gahd Dam
Olivia Munn
Won
[120]

Teen Choice Awards
Choice Summer Movie
X-Men: Apocalypse
Nominated
[121]

Choice Movie: Hissy Fit
Hugh Jackman
Nominated

Choice Movie: Scene Stealer
Evan Peters
Nominated

Choice Movie: Breakout Star
Alexandra Shipp
Nominated

2017
Golden Tomato Awards
Best Comic Book/Graphic Novel Movie 2016
X-Men: Apocalypse
4th Place
[122]

People's Choice Awards
Favorite Movie Actress
Jennifer Lawrence
Won
[123]

Favorite Action Movie Actress
Nominated

Favorite Action Movie
X-Men: Apocalypse
Nominated

Saturn Awards
Best Comic-to-Film Motion Picture
X-Men: Apocalypse
Nominated
[124]

Best Director
Bryan Singer
Nominated

Best Make-up
Charles Carter, Rita Ciccozzi and Rosalina Da Silva
Nominated

Visual Effects Society Awards
Outstanding Compositing in a Photoreal Feature
"Quicksilver Rescue" – Jess Burnheim, Alana Newell, Andy Peel and Matthew Shaw
Nominated
[125]

Nickelodeon Kids' Choice Awards
Favorite Squad
James McAvoy, Alexandra Shipp, Sophie Turner, Jennifer Lawrence, Michael Fassbender, Nicholas Hoult, Evan Peters, Tye Sheridan, Ben Hardy, Kodi Smit-McPhee, Olivia Munn
Nominated
[126]

text: Sequel[edit]

text: In May 2016, Simon Kinberg said the next X-Men film would be set in the 1990s.[127] He separately said the post-credits scene mentioning the Essex Corporation was related to Logan, and that it could have ties to Gambit as well as the following X-Men film.[128] Bryan Singer said he would be interested in having the villain Proteus in an X-Men film.[129] He also said he will be stepping away from the franchise but could envision returning to it at a later date in some capacity.[130] In February 2017, Sophie Turner said production on the next film would begin soon.[131] On April 22, 2017, 20th Century Fox announced that the film's sequel, X-Men: Dark Phoenix, is scheduled for release on February 14, 2019.[132] In June 2017, it was announced that Kinberg had signed on as director and that Lawrence, Fassbender, McAvoy, Hoult, Shipp, Turner, Sheridan, Smit-McPhee, Munn, and Peters would all be reprising their roles.[133][134]


document_title: Gulliver's Travels

question_text: where does gulliver land when he is shipwrecked

root

text: Gulliver's Travels

text: Plot[edit]

text: Part I: A Voyage to Lilliput[edit]

text: The travel begins with a short preamble in which Lemuel Gulliver gives a brief outline of his life and history before his voyages.

tag: p

text: During his first voyage, Gulliver is washed ashore after a shipwreck and finds himself a prisoner of a race of tiny people, less than 6 inches (15 cm) tall, who are inhabitants of the island country of Lilliput. After giving assurances of his good behaviour, he is given a residence in Lilliput and becomes a favourite of the Lilliput Royal Court. He is also given permission by the King of Lilliput to go around the city on condition that he must not harm their subjects.

text: At first, the Lilliputians are hospitable to Gulliver, but they are also wary of the threat that his size poses to them. The Lilliputians reveal themselves to be a people who put great emphasis on trivial matters. For example, which end of an egg a person cracks becomes the basis of a deep political rift within that nation. They are a people who revel in displays of authority and performances of power. Gulliver assists the Lilliputians to subdue their neighbors the Blefuscudians by stealing their fleet. However, he refuses to reduce the island nation of Blefuscu to a province of Lilliput, displeasing the King and the royal court.

text: Gulliver is charged with treason for, among other crimes, "making water" in the capital though he was putting out a fire. He is convicted and sentenced to be blinded. With the assistance of a kind friend, "a considerable person at court", he escapes to Blefuscu. Here, he spots and retrieves an abandoned boat and sails out to be rescued by a passing ship, which safely takes him back home.

text: Part II: A Voyage to Brobdingnag[edit]

text: Gulliver soon sets out again. When the sailing ship Adventure is blown off course by storms and forced to sail for land in search of fresh water, Gulliver is abandoned by his companions and is left on a peninsula on the western coast of the North American continent.

text: The grass of that land is as tall as a tree. He is then found by a farmer who was about 72 ft (22 m) tall, judging from Gulliver estimating a man's step being 10 yards (9 m). He brings Gulliver home and the farmer's daughter Glumdalclitch cares for Gulliver. The giant-sized farmer treats him as a curiosity and exhibits him for money. After a while the constant shows make Gulliver sick, and the farmer sells him to the queen of the realm. Glumdalclitch (who accompanied her father while exhibiting Gulliver) is taken into the Queen of Brobdingnag's service to take care of the tiny man. Since Gulliver is too small to use their huge chairs, beds, knives and forks, the Queen of Brobdingnag commissions a small house to be built for him so that he can be carried around in it; this is referred to as his "travelling box".

text: Between small adventures such as fighting giant wasps and being carried to the roof by a monkey, he discusses the state of Europe with the King of Brobdingnag. The King is not happy with Gulliver's accounts of Europe, especially upon learning of the use of guns and cannons. On a trip to the seaside, his traveling box is seized by a giant eagle which drops Gulliver and his box into the sea where he is picked up by some sailors who return him to England.

text: Part III: A Voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan[edit]

text: Setting out again, Gulliver's ship is attacked by pirates and he is marooned close to a desolate rocky island near India. He is rescued by the flying island of Laputa, a kingdom devoted to the arts of music, mathematics, and astronomy but unable to use them for practical ends. Rather than use armies, Laputa has a custom of throwing rocks down at rebellious cities on the ground.

text: Gulliver tours Balnibarbi, the kingdom ruled from Laputa, as the guest of a low-ranking courtier and sees the ruin brought about by the blind pursuit of science without practical results, in a satire on bureaucracy and on the Royal Society and its experiments. At the Grand Academy of Lagado in Balnibarbi, great resources and manpower are employed on researching completely preposterous schemes such as extracting sunbeams from cucumbers, softening marble for use in pillows, learning how to mix paint by smell, and uncovering political conspiracies by examining the excrement of suspicious persons (see muckraking). Gulliver is then taken to Maldonada, the main port of Balnibarbi, to await a trader who can take him on to Japan.

text: While waiting for a passage, Gulliver takes a short side-trip to the island of Glubbdubdrib which is southwest of Balnibarbi. On Glubbdubdrib, he visits a magician's dwelling and discusses history with the ghosts of historical figures, the most obvious restatement of the "ancients versus moderns" theme in the book. The ghosts consist of Julius Caesar, Brutus, Homer, Aristotle, René Descartes, and Pierre Gassendi.

text: On the island of Luggnagg, he encounters the struldbrugs, people who are immortal. They do not have the gift of eternal youth, but suffer the infirmities of old age and are considered legally dead at the age of eighty.

text: After reaching Japan, Gulliver asks the Emperor "to excuse my performing the ceremony imposed upon my countrymen of trampling upon the crucifix", which the Emperor does. Gulliver returns home, determined to stay there for the rest of his days.

text: Part IV: A Voyage to the Land of the Houyhnhnms[edit]

text: Despite his earlier intention of remaining at home, Gulliver returns to sea as the captain of a merchantman, as he is bored with his employment as a surgeon. On this voyage, he is forced to find new additions to his crew whom he believes to have turned the rest of the crew against him. His crew then commits mutiny. After keeping him contained for some time, they resolve to leave him on the first piece of land they come across, and continue as pirates. He is abandoned in a landing boat and comes upon a race of hideous, deformed and savage humanoid creatures to which he conceives a violent antipathy. Shortly afterwards, he meets the Houyhnhnms, a race of talking horses. They are the rulers while the deformed creatures that resemble human beings are called Yahoos.

text: Gulliver becomes a member of a horse's household and comes to both admire and emulate the Houyhnhnms and their way of life, rejecting his fellow humans as merely Yahoos endowed with some semblance of reason which they only use to exacerbate and add to the vices Nature gave them. However, an Assembly of the Houyhnhnms rules that Gulliver, a Yahoo with some semblance of reason, is a danger to their civilization and command him to swim back to the land that he came from. Gulliver's "Master," the Houyhnhnm who took him into his household, bought him time to create a canoe to make his departure easier. After another disastrous voyage, he is rescued against his will by a Portuguese ship. He is disgusted to see that Captain Pedro de Mendez, a Yahoo, is a wise, courteous, and generous person.

text: He returns to his home in England, but he is unable to reconcile himself to living among "Yahoos" and becomes a recluse, remaining in his house, largely avoiding his family and his wife, and spending several hours a day speaking with the horses in his stables.

text: Composition and history[edit]

text: It is uncertain exactly when Swift started writing Gulliver's Travels (much of the writing was done at Loughry Manor in Cookstown, County Tyrone, whilst Swift stayed there) but some sources[which?] suggest as early as 1713 when Swift, Gay, Pope, Arbuthnot and others formed the Scriblerus Club with the aim of satirising popular literary genres. According to these accounts, Swift was charged with writing the memoirs of the club's imaginary author, Martinus Scriblerus, and also with satirising the "travellers' tales" literary subgenre. It is known from Swift's correspondence that the composition proper[clarification needed] began in 1720 with the mirror-themed Parts I and II written first, Part IV next in 1723 and Part III written in 1724; but amendments were made even while Swift was writing Drapier's Letters. By August 1725 the book was complete; and as Gulliver's Travels was a transparently anti-Whig satire, it is likely that Swift had the manuscript copied so that his handwriting could not be used as evidence if a prosecution should arise, as had happened in the case of some of his Irish pamphlets (the Drapier's Letters). In March 1726 Swift travelled to London to have his work published; the manuscript was secretly delivered to the publisher Benjamin Motte, who used five printing houses to speed production and avoid piracy.[8] Motte, recognising a best-seller but fearing prosecution, cut or altered the worst offending passages (such as the descriptions of the court contests in Lilliput and the rebellion of Lindalino), added some material in defence of Queen Anne to Part II, and published it. The first edition was released in two volumes on 28 October 1726, priced at 8s. 6d.[9]

text: Motte published Gulliver's Travels anonymously, and as was often the way with fashionable works, several follow-ups (Memoirs of the Court of Lilliput), parodies (Two Lilliputian Odes, The first on the Famous Engine With Which Captain Gulliver extinguish'd the Palace Fire...) and "keys" (Gulliver Decipher'd and Lemuel Gulliver's Travels into Several Remote Regions of the World Compendiously Methodiz'd, the second by Edmund Curll who had similarly written a "key" to Swift's Tale of a Tub in 1705) were swiftly produced. These were mostly printed anonymously (or occasionally pseudonymously) and were quickly forgotten. Swift had nothing to do with them and disavowed them in Faulkner's edition of 1735. Swift's friend Alexander Pope wrote a set of five Verses on Gulliver's Travels, which Swift liked so much that he added them to the second edition of the book, though they are rarely included.

text: Faulkner's 1735 edition[edit]

text: In 1735 an Irish publisher, George Faulkner, printed a set of Swift's works, Volume III of which was Gulliver's Travels. As revealed in Faulkner's "Advertisement to the Reader", Faulkner had access to an annotated copy of Motte's work by "a friend of the author" (generally believed to be Swift's friend Charles Ford) which reproduced most of the manuscript without Motte's amendments, the original manuscript having been destroyed. It is also believed that Swift at least reviewed proofs of Faulkner's edition before printing, but this cannot be proved. Generally, this is regarded as the Editio Princeps of Gulliver's Travels with one small exception. This edition had an added piece by Swift, A letter from Capt. Gulliver to his Cousin Sympson, which complained of Motte's alterations to the original text, saying he had so much altered it that "I do hardly know mine own work" and repudiating all of Motte's changes as well as all the keys, libels, parodies, second parts and continuations that had appeared in the intervening years. This letter now forms part of many standard texts.

text: Lindalino[edit]

text: The five-paragraph episode in Part III, telling of the rebellion of the surface city of Lindalino against the flying island of Laputa, was an obvious allegory to the affair of Drapier's Letters of which Swift was proud. Lindalino represented Dublin and the impositions of Laputa represented the British imposition of William Wood's poor-quality copper currency. Faulkner had omitted this passage, either because of political sensitivities raised by an Irish publisher printing an anti-British satire, or possibly because the text he worked from did not include the passage. In 1899 the passage was included in a new edition of the Collected Works. Modern editions derive from the Faulkner edition with the inclusion of this 1899 addendum.

text: Isaac Asimov notes in The Annotated Gulliver that Lindalino is generally taken to be Dublin, being composed of double lins; hence, Dublin.[10]

text: Major themes[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)

tag: table

text: Gulliver's Travels has been the recipient of several designations: from Menippean satire to a children's story, from proto-science fiction to a forerunner of the modern novel.

text: Published seven years after Daniel Defoe's wildly successful Robinson Crusoe, Gulliver's Travels may be read as a systematic rebuttal of Defoe's optimistic account of human capability. In The Unthinkable Swift: The Spontaneous Philosophy of a Church of England Man, Warren Montag argues that Swift was concerned to refute the notion that the individual precedes society, as Defoe's novel seems to suggest. Swift regarded such thought as a dangerous endorsement of Thomas Hobbes' radical political philosophy and for this reason Gulliver repeatedly encounters established societies rather than desolate islands. The captain who invites Gulliver to serve as a surgeon aboard his ship on the disastrous third voyage is named Robinson.

text: Scholar Allan Bloom points out that Swift's critique of science (the experiments of Laputa) is the first such questioning by a modern liberal democrat of the effects and cost on a society which embraces and celebrates policies pursuing scientific progress.[11]

text: A possible reason for the book's classic status is that it can be seen as many things to many different people. Broadly, the book has three themes:

text:
A satirical view of the state of European government, and of petty differences between religions
An inquiry into whether men are inherently corrupt or whether they become corrupted
A restatement of the older "ancients versus moderns" controversy previously addressed by Swift in The Battle of the Books

tag: ul

text: In storytelling and construction the parts follow a pattern:

text:
The causes of Gulliver's misadventures become more malignant as time goes on—he is first shipwrecked, then abandoned, then attacked by strangers, then attacked by his own crew.
Gulliver's attitude hardens as the book progresses—he is genuinely surprised by the viciousness and politicking of the Lilliputians but finds the behaviour of the Yahoos in the fourth part reflective of the behaviour of people.
Each part is the reverse of the preceding part—Gulliver is big/small/wise/ignorant, the countries are complex/simple/scientific/natural, and the forms of government are worse/better/worse/better than England's.
Gulliver's viewpoint between parts is mirrored by that of his antagonists in the contrasting part—Gulliver sees the tiny Lilliputians as being vicious and unscrupulous, and then the king of Brobdingnag sees Europe in exactly the same light; Gulliver sees the Laputians as unreasonable, and his Houyhnhnm master sees humanity as equally so.
No form of government is ideal—the simplistic Brobdingnagians enjoy public executions and have streets infested with beggars, the honest and upright Houyhnhnms who have no word for lying are happy to suppress the true nature of Gulliver as a Yahoo and are equally unconcerned about his reaction to being expelled.
Specific individuals may be good even where the race is bad—Gulliver finds a friend in each of his travels and, despite Gulliver's rejection and horror toward all Yahoos, is treated very well by the Portuguese captain, Don Pedro, who returns him to England at the novel's end.

text: Of equal interest is the character of Gulliver himself—he progresses from a cheery optimist at the start of the first part to the pompous misanthrope of the book's conclusion and we may well have to filter our understanding of the work if we are to believe the final misanthrope wrote the whole work. In this sense Gulliver's Travels is a very modern and complex novel. There are subtle shifts throughout the book, such as when Gulliver begins to see all humans, not just those in Houyhnhnm-land, as Yahoos. However, a feminist perspective of Gulliver's Travels argues that it is misogyny, and not misanthropy, that is shown in Gulliver.[12]

text: Throughout, Gulliver is presented as being gullible; he believes what he is told, never perceives deeper meanings, is an honest man, and expects others to be honest. This makes for fun and irony; what Gulliver says can be trusted to be accurate, and he does not always understand the meaning of what he perceives.

text: Also, although Gulliver is presented as a commonplace "everyman", lacking higher education, he possesses a remarkable natural gift for language. He quickly becomes fluent in the native tongue of any strange land in which he finds himself, a literary device that adds much understanding and humour to Swift's work.

text: Despite the depth and subtlety of the book, it is often classified as a children's story because of the popularity of the Lilliput section (frequently bowdlerised) as a book for children. One can still buy books entitled Gulliver's Travels which contain only parts of the Lilliput voyage.

text: Misogyny[edit]

text: A well-known underlying theme in Gulliver's Travels is misogyny. Swift uses satire to openly mock misogyny throughout the book, with one of the most cited examples of this coming from Gulliver's description of a Brobdingnagian woman:

text: "I must confess no Object ever disgusted me so much as the Sight of her monstrous Breast, which I cannot tell what to compare with, so as to give the curious Reader an Idea of its Bulk, Shape, and Colour.... This made me reflect upon the fair Skins of our English Ladies, who appear so beautiful to us, only because they are of our own Size, and their Defects not to be seen but through a magnifying glass...."

text: This open critic towards aspects of the female body is something that Swift often brings up in other works of his, particularly in poems such as The Lady's Dressing Room and A Beautiful Young Nymph Going To Bed [13]

text: A well known criticism of Swift's misogyny by Felicity A. Nussbaum proposes the idea that that “Gulliver himself is a gendered object of satire, and his antifeminist sentiments may be among those mocked.” Gulliver’s own masculinity is often mocked, seen in how he is made to be a coward among the Brobdingnag people, repressed by the people of Lilliput, and viewed as an inferior Yahoo among the Houyhnhnms.[12]

text: Another criticism of Swift's use of misogyny delves into Gulliver's repeated use of the word 'nauseous,' and the way that Gulliver is fighting his emasculation by commenting on how he thinks the women of Brobdingnag are disgusting.

text: "Swift has Gulliver frequently invoke the sensory (as opposed to reflective) word "nauseous" to describe this and other magnified images in Brobdingnag not only to reveal the neurotic depths of Gulliver's misogyny, but also to show how male nausea can be used as a pathetic countermeasure against the perceived threat of female consumption. Swift has Gulliver associate these magnified acts of female consumption with the act of "throwing-up" — the opposite of and antidote to the act of gastronomic consumption."[14]

text: This commentary of Deborah Needleman Armintor relies upon the way that the giant women do with Gulliver as they please, in much the same way as one might play with a toy, and get it to do everything one can think of. Armintor's comparison focuses on the pocket microscopes that were popular in Swift's time. She talks about how this instrument of science was transitioned to something toy-like and accessible, so it shifted into something that women favored, and thus men lose interest. This is similar to the progression of Gulliver's time in Brobdingnag, from man of science to women's plaything.

text: Character analysis[edit]

text: Pedro de Mendez is the name of the Portuguese captain who rescues Gulliver in Book IV. When Gulliver is forced to leave the Island of the Houyhnhnms, his plan is "to discover some small Island uninhabited" where he can live in solitude. Instead, he is picked up by Don Pedro's crew. Despite Gulliver's appearance—he is dressed in skins and speaks like a horse—Don Pedro treats him compassionately and returns him to Lisbon.

text: Though Don Pedro appears only briefly, he has become an important figure in the debate between so-called soft school and hard school readers of Gulliver's Travels. Some critics contend that Gulliver is a target of Swift's satire and that Don Pedro represents an ideal of human kindness and generosity. Gulliver believes humans are similar to Yahoos in the sense that they make "no other use of reason, than to improve and multiply...vices" [15] Captain Pedro provides a contrast to Gulliver's reasoning, proving humans are able to reason, be kind, and most of all: civilized. Gulliver sees the bleak fallenness at the center of human nature, and Don Pedro is merely a minor character who, in Gulliver's words, is "an Animal which had some little Portion of Reason."[16]

text: Cultural influences[edit]

text: From 1738 to 1746, Edward Cave published in occasional issues of The Gentleman's Magazine semi-fictionalized accounts of contemporary debates in the two Houses of Parliament under the title of Debates in the Senate of Lilliput. The names of the speakers in the debates, other individuals mentioned, politicians and monarchs present and past, and most other countries and cities of Europe ("Degulia") and America ("Columbia") were thinly disguised under a variety of Swiftian pseudonyms. The disguised names, and the pretence that the accounts were really translations of speeches by Lilliputian politicians, were a reaction to an Act of Parliament forbidding the publication of accounts of its debates. Cave employed several writers on this series: William Guthrie (June 1738 – November 1740), Samuel Johnson (November 1740 – February 1743), and John Hawkesworth (February 1743 – December 1746).

text: In his reference to the astronomers of Laputa in Chapter III, Swift states: "They have likewise discovered two lesser stars, or satellites, which revolve about Mars; whereof the innermost is distant from the centre of the primary planet exactly three of his diameters, and the outermost, five; the former revolves in the space of ten hours, and the latter in twenty-one and a half; so that the squares of their periodical times are very near in the same proportion with the cubes of their distance from the centre of Mars; which evidently shows them to be governed by the same law of gravitation that influences the other heavenly bodies."[17] (This is 151 years earlier than the recognized discovery of the two moons of Mars by Asaph Hall in 1877.)

text: Voltaire was presumably influenced by Swift: his 1750 short story Micromégas, about an alien visitor to Earth, also refers to two moons of Mars.

text: Swift crater, a crater on Mars's moon Deimos, is named after Jonathan Swift, while on Mars's other moon, Phobos, there is one named regio, Laputa Regio, and one named planitia, Lagado Planitia, both of which are named after places in Gulliver's Travels (the fictional Laputa, a flying island, and Lagado, imaginary capital of the fictional nation Balnibarbi).[18] Many of the craters on Phobos are also named after characters in Gulliver's Travels.[19]

text: The term Lilliputian has entered many languages as an adjective meaning "small and delicate". There is even a brand of small cigar called Lilliput. There is a series of collectable model houses known as "Lilliput Lane". The smallest light bulb fitting (5mm diameter) in the Edison screw series is called the "Lilliput Edison screw". In Dutch and Czech, the words Lilliputter and liliput(á)n respectively are used for adults shorter than 1.30 meters. Conversely, Brobdingnagian appears in the Oxford English Dictionary as a synonym for very large or gigantic.

text: In like vein, the term yahoo is often encountered as a synonym for ruffian or thug. In the Oxford English Dictionary it is considered a definition for "a rude, noisy, or violent person" and its origins attributed to Swift's Gulliver's Travels.[20]

text: In the discipline of computer architecture, the terms big-endian and little-endian are used to describe two possible ways of laying out bytes in memory. The terms derive from one of the satirical conflicts in the book, in which two religious sects of Lilliputians are divided between those who crack open their soft-boiled eggs from the little end, and those who use the big end, the "Big-endians".

text: Dostoevsky references Gulliver's Travels in his novel Demons (1872): 'In an English satire of the last century, Gulliver, returning from the land of the Lilliputians where the people were only three or four inches high, had grown so accustomed to consider himself a giant among them, that as he walked along the Streets of London he could not help crying out to carriages and passers-by to be careful and get out of his way for fear he should crush them, imagining that they were little and he was still a giant....'

text: In other works[edit]

text: Sequels and imitations[edit]

text:
Many sequels followed the initial publishing of the Travels. The earliest of these was the anonymously authored Memoirs of the Court of Lilliput,[21] published 1727, which expands the account of Gulliver's stays in Lilliput and Blefuscu by adding several gossipy anecdotes about scandalous episodes at the Lilliputian court.
Abbé Pierre Desfontaines, the first French translator of Swift's story, wrote a sequel, Le Nouveau Gulliver ou Voyages de Jean Gulliver, fils du capitaine Lemuel Gulliver (The New Gulliver, or the travels of John Gulliver, son of Captain Lemuel Gulliver), published in 1730.[22] Gulliver's son has various fantastic, satirical adventures.
Donald Grant Mitchell retold part one of the novel in the form of a short story for children, published in St. Nicholas magazine in 1874.[23]
Hungarian author Frigyes Karinthy wrote two science fiction novellas that continue the adventures of Gulliver: Voyage to Faremido (1916) is an early examination of artificial intelligence, with a pacifist theme,[24] while Capillaria (1921) is a satire on the 'battle of the sexes'.[24]
Soviet science fiction writer Vladimir Savchenko published Gulliver's Fifth Travel—The Travel of Lemuel Gulliver, First a Surgeon, and Then a Captain of Several Ships to the Land of Tikitaks (Russian: Пятое путешествие Гулливера – Путешествие Лемюэля Гулливера, сначала хирурга, а потом капитана нескольких кораблей, в страну тикитаков), a sequel to the original series in which Gulliver's role as a surgeon is more apparent. Tikitaks are people who inject the juice of a unique fruit to make their skin transparent, as they consider people with regular opaque skin secretive and ugly.
Gulliver's Travels Beyond the Moon (ガリバーの宇宙旅行, Garibā no Uchū Ryokō, Gulliver's Space Travels) is a 1965 Japanese animated film, portraying an elder Gulliver taking part in a space travel, joined by a boy, a crow, a talking toy soldier and a dog. The film, although being a children's production generally fascinated by the idea of space travelling, portrays an alien world where robots have taken power. Thus it continues in Swift's vein of critical approach on themes in current society.
Hanna-Barbera produced two adaptations of Gulliver's Travels, one was an animated TV series called The Adventures of Gulliver from 1968 to 1969 and another was a 1979 animated television special titled Gulliver's Travels.
American physician John Paul Brady published in 1987 A Voyage to Inishneefa: A First-hand Account of the Fifth Voyage of Lemuel Gulliver (Santa Barbara: John Daniel), a parody of Irish history in Swift's manner.
In 1998 the Argentine writer Edgar Brau published El último Viaje del capitán Lemuel Gulliver (The Last Voyage of Captain Lemuel Gulliver), a novel in which Swift's character goes on an imaginary fifth journey, this time into the River Plate. It satirises ways and customs of present-day society, including sports, television, politics, etc. To justify the parody, the narrative is set immediately after the last voyage written by Swift (precisely, 1722), and the literary style of the original work is kept throughout the whole story.
"L. Gulliver" appears in Alan Moore's comic The League of Extraordinary Gentlemen Volume 1 as a member of a prior Society of Extraordinary Gentlemen from 1780s.[25]

text: Allusions[edit]

text:
Philip K. Dick's short story "Prize Ship" (1954) loosely referred to Gulliver's Travels.[26]
In the 9th book of The Time Wars Series, Simon Hawke's The Lilliput Legion, the protagonists meet Lemuel Gulliver and battle the titular army.[27]
The BBC Radio 4 comedy series Brian Gulliver's Travels by Bill Dare is a satirical comedy about a travel documentary presenter, Brian Gulliver (played by Neil Pearson), who talks about his adventures in the undiscovered continent of Clafenia. Gulliver's Travels was the only book Dare read while he was at the university.[28]
The 1986 Japanese anime film Castle in the Sky, directed by Hayao Miyazaki and released by Studio Ghibli, centers on a floating city known as Laputa. The film was originally titled Laputa: Castle in the Sky.
A 2012 series of advertisements for the Acura RDX.[29]
In Journey 2: The Mysterious Island, elements of Lilliput were used to make up this film's version of The Mysterious Island.
In the film Dr. Strangelove, a loose B-52 bomber targets a science research laboratory in the fictional Soviet city of Laputa.
In Fahrenheit 451 the main character, Guy Montag, remarks "It is computed that eleven thousand persons have at several times suffered death rather than submit to break their eggs at the smaller end."
In the Doctor Who story The Mind Robber and its novelization, the character of Gulliver appears, speaking only lines from the book.
In Old Man's War, John Perry has to fight a race of aliens called the Covandu. Perry compares them to the Lilliputians due to them resembling humanity closely, and also the fact they are, on average, only one inch tall. Despite their small size, the novel mentions that they perform well in space battles and are aggressive colonizers, but they are understandably under-matched against Perry's forces in a ground battle.
In the Charle E Fritsch book Horses Asteroid, a collection of Sci fi short stories written before 1980, the hynhouyhyms have left earth in a spaceship due to it being too full of humans and settled on an asteroid.

text: Adaptations[edit]

text: Music[edit]

text:
In 1728 the Baroque composer Georg Philipp Telemann composed a 5-movement suite for two violins based on Swift's book. Telemann's piece is commonly known as Gulliver's Travels, and depicts the Lilliputians and the Brobdingnagians particularly vividly through rhythms and tempos. The piece is part of Telemann's Der getreue Musik-meister (The Steadfast Music Teacher).
The ambient band Soufferance based and themed their 2010 concept album on the book. Titled "Travels into Several Remote Nations of the Mind", the album featured a single, 65 minute song, bearing the title "The Thoughts and Memoirs of Mike Lachaire, First a Strange Individual, and then a Philosopher", referencing the full title of the original book.[30]

text: Film, television and radio[edit]

text: Gulliver's Travels has been adapted several times for film, television and radio. Most film versions avoid the satire completely.

text:
Guliver's Travels Among the Lilliputians and the Giants (1902): A French Silent film by Georges Méliès, a pioneer of early film. Gulliver is played by Méliès himself in this version.
Gulliver Mickey (1934): is a black and white Mickey Mouse short, produced by Walt Disney and released by United Artists in 1934.
The New Gulliver (1935): this Soviet retelling of the travel to Lilliput was lauded for the ground-breaking animation work by director Aleksandr Ptushko.
Gulliver's Travels (1939): Max Fleischer's animated feature-length classic of Gulliver's adventures in Lilliput. This was the first full-length animated cartoon after Walt Disney's Snow White and the Seven Dwarfs. The film was spun off into two cartoon short series: the Gabby cartoons about a Lilliputian sidekick of the film, and the Animated Antics cartoons starring Sneak, Snoop and Snitch (the three villains) and Twinkletoes (the carrier pigeon).
The Three Worlds of Gulliver (1960): a loose adaptation starring Kerwin Mathews and featuring stop motion effects by Ray Harryhausen.
Case for a Rookie Hangman (1970): A satirical movie by the Czech Pavel Juráček, based upon the third book, depicting indirectly the Communist Czechoslovakia, shelved soon after its release.[31]
Gulliver a törpék országában (1974): Directed by András Rajnai for Hungarian Television (MTV), this show deals with the trip to Lilliput.[32]
Gulliver's Travels (1977): Part live-action and part-animated. Stars Richard Harris.
Gulliver's Travels (1979): An animated TV movie adaptation of the first two parts made in Australia. It was produced by Southern Star Group for Famous Classic Tales, with the voice cast being Julie Bennett, Regis Cordic, Ross Martin, Don Messick, Hal Smith, John Stephenson, and Janet Waldo.[33]
Gulliver az óriások országában (1980): The second adaptation by András Rajnai for Hungarian Television (MTV), this hour-long show is an adaptation of Gulliver's voyage to Brobdingnag.[34]
Gulliver in Lilliput (1981): BBC Classics Television. Stars Andrew Burt and Elisabeth Sladen.[35]
Gulliver's Travels: It was produced by Saban Entertainment. It was aired from September 8, 1992 to June 29, 1993. It is an adaptation of the Gulliver's Travels novel by Jonathan Swift, and spanned a total of 26 episodes.
Gulliver's Travels (1996): Live-action, 2 part, TV miniseries with special effects starring Ted Danson and Mary Steenburgen, also featuring a variety of film stars in cameo roles.[36] This version includes all four voyages.
Crayola Kids Adventures: Tales of Gulliver's Travels (1997): Live-action Direct-to-video film starring children with Adam Wylie as Gulliver.[37]
Jajantaram Mamantaram (2003): Live-action Indian children's film, starring Javed Jaffrey.[38]
Gulliver's Travels (2010): Modernized, Live-action version of Gulliver's adventures in Lilliput, starring Jack Black, also featuring Billy Connolly, James Corden, Amanda Peet, Chris O'Dowd, Catherine Tate, Jason Segel, Emily Blunt and Olly Alexander.[39]
Gulliver's Travels was produced by Golden Films. This is an animated short version of the story. It is part of a larger series known as "Enchanted Tales."


document_title: Currency transaction report

question_text: is an attempt to avoid large currency reporting

text: Currency transaction report

text: History[edit]

text: When the first version of the CTR was introduced, the only way a suspicious transaction less than $10,000 was reported to the government was if a bank teller called law enforcement. This was primarily due to the financial industry's concern about the right to financial privacy. The Bank Secrecy Act requires financial institutions to report currency transaction amounts of over $10,000.

text: Procedure[edit]

text: When a transaction involving more than $10,000 in cash is processed, most banks have a system that automatically creates a CTR electronically. Tax and other information about the customer is usually pre-filled by the bank software. CTRs since 1996 include an optional checkbox at the top if the bank employee believes the transaction to be suspicious or fraudulent, commonly called a SAR, or Suspicious Activity Referral. A customer is not directly told about the $10,000 threshold unless they initiate the inquiry. A customer may decline to continue the transaction upon being informed about the CTR, but this would require the bank employee to file a SAR. Once a customer presents or asks to withdraw more than $10,000 in currency, the decision to continue the transaction must continue as originally requested and may not be reduced to avoid the filing of a CTR. For instance, if a customer reneges on their initial request to deposit or withdraw more than $10,000 in cash, and instead requests the same transaction for $9,999, the bank employee should deny such a request and continue the transaction as originally requested by filing a CTR. This sort of attempt is known as structuring, and is punishable by federal law against both the customer and the bank employee.[4][5] Those who habitually run transactions just under the $10,000 threshold will likely subject themselves to scrutiny and/or the filing of a SAR.