document_title: Biblical manuscript

question_text: when were the oldest surviving new testament manuscripts written

text: Biblical manuscript

text: Hebrew Bible (or Tanakh) manuscripts[edit]

text: The Aleppo Codex (c. 920 CE) and Leningrad Codex (c. 1008 CE) were the oldest Hebrew language manuscripts of the Tanakh. In 1947 CE the finding of the Dead Sea scrolls at Qumran pushed the manuscript history of the Tanakh back a millennium from the two earliest complete codices. Before this discovery, the earliest extant manuscripts of the Old Testament were in Greek in manuscripts such as Codex Vaticanus and Codex Sinaiticus. Out of the roughly 800 manuscripts found at Qumran, 220 are from the Tanakh. Every book of the Tanakh is represented except for the Book of Esther; however, most are fragmentary. Notably, there are two scrolls of the Book of Isaiah, one complete (1QIsa), and one around 75% complete (1QIsb). These manuscripts generally date between 150 BCE to 70 CE.[1]

text: Extant Tanakh manuscripts[edit]

text:
Version
Examples
Language
Date of Composition
Oldest Copy

Silver Scrolls

Paleo-Hebrew

587-586 BCE[2] (Amulets with the Priestly Blessing recorded in the Book of Numbers)

Dead Sea Scrolls

Hebrew, Aramaic, and Greek
c. 150 BCE – 70 CE
c. 150 BCE – 70 CE (fragments)

Septuagint
Codex Vaticanus, Codex Sinaiticus and other earlier papyri
Greek
300–100 BCE
2nd century BCE (fragments)
4th century CE (complete)

Peshitta

Syriac

early 5th century CE

Vulgate
Codex Amiatinus
Latin

early 5th century CE
early 8th century CE (complete)

Masoretic
Aleppo Codex, Leningrad Codex and other, incomplete MSS
Hebrew
c. 100 CE
10th century CE (complete)

Samaritan Pentateuch

Samaritan Hebrew
200–100 BCE
Oldest extant MSS, c. 11th century CE; oldest MSS available to scholars, 16th century CE

Targum

Aramaic
500–1000 CE
5th century CE

Coptic
Crosby-Schøyen Codex, British Library MS. Oriental 7594
Coptic

3rd or 4th century CE

text: New Testament manuscripts[edit]

text:
The New Testament has been preserved in more manuscripts than any other ancient work, having over 5,800 complete or fragmented Greek manuscripts, 10,000 Latin manuscripts and 9,300 manuscripts in various other ancient languages including Syriac, Slavic, Gothic, Ethiopic, Coptic and Armenian. The dates of these manuscripts range from c. 125 (the

P

{\displaystyle {\mathfrak {P}}}

52 papyrus, oldest copy of John fragments) to the introduction of printing in Germany in the 15th century.

text: The difficulty is in the origin of manuscripts. Often, especially in monasteries, a manuscript cache was little more than a former manuscript recycling centre, where imperfect and incomplete copies of manuscripts were stored while the monastery or scriptorium decided what to do with them.[3] There were several options. The first was to simply "wash" the manuscript and reuse it. Such reused manuscripts were called palimpsests and were very common in the ancient world until the Middle Ages. One notable palimpsest is the Archimedes Palimpsest. If not done within a short period of time after the papyri was made, washing it was less likely since the papyri might deteriorate and thus be unusable. When washing was no longer an option, the second choice was burning. Since the manuscripts contained the words of Christ, they were thought to have had a level of sanctity;[3] burning them was considered more reverent than simply throwing them into a garbage pit, which occasionally happened (as in the case of Oxyrhynchus 840). The third option was to leave them in what has become known as a manuscript gravesite. When scholars come across manuscript caches, such as at Saint Catherine's Monastery in the Sinai (the source of the Codex Sinaiticus), or Saint Sabbas Monastery outside Bethlehem, they are finding not libraries but storehouses of rejected texts[3] sometimes kept in boxes or back shelves in libraries due to space constraints. The texts were unacceptable because of their scribal errors and contain corrections inside the lines,[4] possibly evidence that monastery scribes compared them to a master text. In addition, texts thought to be complete and correct but had deteriorated for heavy usage or had missing folios would also be placed in the caches. Once in a cache, insects and humidity would often contribute to the continued deterioration of the documents.[3]

text: Complete and correctly-copied texts would usually be immediately placed in use and so wore out fairly quickly, which required frequent recopying. Manuscript copying was very costly when it required a scribe's attention for extended periods so a manuscript might be made only when it was commissioned. The size of the parchment, script used, any illustrations (thus raising the effective cost) and whether it was one book or a collection of several would be determined by the one commissioning the work. Stocking extra copies would likely have been considered wasteful and unnecessary since the form and the presentation of a manuscript were typically customized to the aesthetic tastes of the buyer.

text: Due to the prevalence of manuscript caches, scholars today are more likely to find incomplete and sometimes conflicting segments of manuscripts rather than complete and largely consistent works.[3]

text: Distribution of Greek manuscripts by century[5]

text:
New Testament manuscripts
Lectionaries

Century
Papyri
Uncials
Minuscules
Uncials
Minuscules

2nd
2
-
-
-
-

2nd/3rd
5
1
-
-
-

3rd
28
2
-
-
-

3rd/4th
8
2
-
-
-

4th
14
14
-
1
-

4th/5th
8
8
-
-
-

5th
2
36
-
1
-

5th/6th
4
10
-
-
-

6th
7
51
-
3
-

6th/7th
5
5
-
1
-

7th
8
28
-
4
-

7th/8th
3
4
-
-
-

8th
2
29
-
22
-

8th/9th
-
4
-
5
-

9th
-
53
13
113
5

9th/10th
-
1
4
-
1

10th
-
17
124
108
38

10th/11th
-
3
8
3
4

11th
-
1
429
15
227

11th/12th
-
-
33
-
13

12th
-
-
555
6
486

12th/13th
-
-
26
-
17

13th
-
-
547
4
394

13th/14th
-
-
28
-
17

14th
-
-
511
-
308

14th/15th
-
-
8
-
2

15th
-
-
241
-
171

15th/16th
-
-
4
-
2

16th
-
-
136
-
194

text: Transmission[edit]

text: The task of copying manuscripts was generally done by scribes who were trained professionals in the arts of writing and bookmaking. Some manuscripts were also proofread, and scholars closely examining a text can sometimes find the original and corrections found in certain manuscripts. In the 6th century, a special room devoted to the practice of manuscript writing and illumination called the scriptorium came into use, typically inside medieval European monasteries. Sometimes a group of scribes would make copies at the same time as one individual read from the text.[6]

text: Manuscript construction[edit]

text:
An important issue with manuscripts is preservation. The earliest New Testament manuscripts were written on papyrus, made from a reed that grew abundantly in the Nile Delta. This tradition continued as late as the 8th century.[7] Papyrus eventually becomes brittle and deteriorates with age. The dry climate of Egypt allowed some papyrus manuscripts to be partially preserved, but, with the exception of

P

{\displaystyle {\mathfrak {P}}}

77, no New Testament papyrus manuscript is complete; many consist only of a single fragmented page.[8] Beginning in the fourth century, parchment (also called vellum) began to be a common medium for New Testament manuscripts.[9] It wasn't until the twelfth century that paper (made from cotton or plant fibers), which was invented in first-century China, began to gain popularity in biblical manuscripts.[10]

text: Of the 476 non-Christian manuscripts dated to the second century, 97% of the manuscripts are in the form of scrolls; however, eight Christian manuscripts are codices. In fact, most New Testament manuscripts are codices. The adaptation of the codex form in non-Christian text did not become dominant until the fourth and fifth centuries, showing a preference for that form amongst early Christians.[11] The considerable length of some New Testament books (such as the Pauline epistles), and the New Testament itself, was not suited to the limited space available on a single scroll; in contrast a codex could be expanded to hundreds of pages.

text: Script and other features[edit]

text: The handwriting found in New Testament manuscripts varies. One way of classifying handwriting is by formality: book-hand vs. cursive. More formal, literary Greek works were often written in a distinctive style of even, capital letters called book-hand. Less formal writing consisted of cursive letters which could be written quickly. Another way of dividing handwriting is between uncial script (or majuscule) and minuscule. The uncial letters were a consistent height between the baseline and the cap height, while the minuscule letters had ascenders and descenders that moved past the baseline and cap height. Generally speaking, the majuscules are earlier than the minuscules, with a dividing line roughly in the 11th century.[12]

text: The earliest manuscripts had negligible punctuation and breathing marks. The manuscripts also lacked word spacing, so words, sentences, and paragraphs would be a continuous string of letters (scriptio continua), often with line breaks in the middle of words. Bookmaking was an expensive endeavor, and one way to reduce the number of pages used was to save space. Another method employed was to abbreviate frequent words, such as the nomina sacra. Yet another method involved the palimpsest, a manuscript which recycled an older manuscript. Scholars using careful examination can sometimes determine what was originally written on the material of a document before it was erased to make way for a new text (for example Codex Ephraemi Rescriptus and the Syriac Sinaiticus).

text: The original New Testament books did not have titles, section headings, or verse and chapter divisions. These were developed over the years as "helps for readers". The Eusebian Canons were an early system of division written in the margin of many manuscripts. The Eusebian Canons are a series of tables that grouped parallel stories among the gospels. Starting in the fifth century, subject headings (κεφαλαία) were used.

text: Manuscripts became more ornate over the centuries, which developed into a rich illuminated manuscript tradition, including the famous Irish Gospel Books, the Book of Kells and the Book of Durrow.

text: Cataloging[edit]

text: Desiderius Erasmus compiled the first printed edition of the Greek New Testament in 1516, basing his work on several manuscripts because he did not have a single complete work and because each manuscript had small errors. In the 18th century, Johann Jakob Wettstein was one of the first biblical scholars to start cataloging biblical manuscripts. He divided the manuscripts based on the writing used (uncial, minuscule) or format (lectionaries) and based on content (Gospels, Pauline letters, Acts + General epistles, and Revelation). He assigned the uncials letters and minuscules and lectionaries numbers for each grouping of content, which resulted in manuscripts being assigned the same letter or number.[13]

text: For manuscripts that contained the whole New Testament, such as Codex Alexandrinus (A) and Codex Ephraemi Rescriptus (C), the letters corresponded across content groupings. For significant early manuscripts such as Codex Vaticanus Graecus 1209 (B), which did not contain Revelation, the letter B was also assigned to a later 10th-century manuscript of Revelation, thus creating confusion. Constantin von Tischendorf found one of the earliest, nearly complete copies of the Bible, Codex Sinaiticus, over a century after Wettstein's cataloging system was introduced. Because he felt the manuscript was so important, Von Tischendorf assigned it the Hebrew letter aleph (א). Eventually enough uncials were found that all the letters in the Latin alphabet had been used, and scholars moved on to first the Greek alphabet, and eventually started reusing characters by adding a superscript. Confusion also existed in the minuscules, where up to seven different manuscripts could have the same number or a single manuscript of the complete New Testament could have 4 different numbers to describe the different content groupings.[14]

text: Von Soden[edit]

text: Hermann, Freiherr von Soden published a complex cataloging system for manuscripts in 1902-10.[15] He grouped the manuscripts based on content, assigning them a Greek prefix: δ for the complete New Testament, ε for the Gospels, and α for the remaining parts. This grouping was flawed because some manuscripts grouped in δ did not contain Revelation, and many manuscripts grouped in α contained either the general epistles or the Pauline epistles, but not both. After the Greek prefix, Von Soden assigned a numeral that roughly corresponded to a date (for example δ1-δ49 were from before the 10th century, δ150-δ249 for the 11th century). This system proved to be problematic when manuscripts were re-dated, or when more manuscripts were discovered than the number of spaces allocated to a certain century.[16]

text: Gregory–Aland[edit]

text: Caspar René Gregory published another cataloging system in 1908 in Die griechischen Handschriften des Neuen Testaments, which is the system still in use today. Gregory divided the manuscripts into four groupings: papyri, uncials, minuscules, and lectionaries. This division is partially arbitrary. The first grouping is based on the physical material (papyrus) used in the manuscripts. The second two divisions are based on script: uncial and minuscule. The last grouping is based on content: lectionary. Most of the papyrus manuscripts and the lectionaries before the year 1000 are written in uncial script. There is some consistency in that the majority of the papyri are very early because parchment began to replace papyrus in the 4th century (although the latest papyri dates to the 8th century). Similarly, the majority of the uncials date to before the 11th century, and the majority of the minuscules to after.[17]

text:
Gregory assigned the papyri a prefix of P, often written in blackletter script (

P

{\displaystyle {\mathfrak {P}}}

n), with a superscript numeral. The uncials were given a prefix of the number 0, and the established letters for the major manuscripts were retained for redundancy (e.g. Codex Claromontanus is assigned both 06 and D). The minuscules were given plain numbers, and the lectionaries were prefixed with l often written in script (ℓ). Kurt Aland continued Gregory's cataloging work through the 1950s and beyond. Because of this, the numbering system is often referred to as "Gregory-Aland numbers". The most recent manuscripts added to each grouping are

P

{\displaystyle {\mathfrak {P}}}

131, 0323, 2928, and ℓ 2463.[18] Due to the cataloging heritage and because some manuscripts which were initially numbered separately were discovered to be from the same codex, there is some redundancy in the list (i.e. the Magdalen papyrus has both the numbers of

P

{\displaystyle {\mathfrak {P}}}

64 and

P

{\displaystyle {\mathfrak {P}}}

67).[19]

text: The majority of New Testament textual criticism deals with Greek manuscripts because scholars believe the original books of the New Testament were written in Greek. The text of the New Testament is also found both translated in manuscripts of many different languages (called versions) and quoted in manuscripts of the writings of the Church Fathers. In the critical apparatus of the Novum Testamentum Graece, a series of abbreviations and prefixes designate different language versions (it for Old Latin, lowercase letters for individual Old Latin manuscripts, vg for Vulgate, lat for Latin, sys for Sinaitic Palimpsest, syc for Curetonian Gospels, syp for the Peshitta, co for Coptic, ac for Akhmimic, bo for Bohairic, sa for Sahidic, arm for Armenian, geo for Georgian, got for Gothic, aeth for Ethiopic, and slav for Old Church Slavonic).[20]

text: Dating the New Testament manuscripts[edit]

text: The New Testament books appear to have been completed within the 1st century. The original manuscripts of the New Testament books have not survived. The autographs were lost or destroyed a long time ago. What survives are copies of the original. Generally speaking, these copies were made centuries after the originals from other copies rather than from the autograph. Paleography, a science of dating manuscripts by typological analysis of their scripts, is the most precise and objective means known for determining the age of a manuscript. Script groups belong typologically to their generation; and changes can be noted with great accuracy over relatively short periods of time. Dating of manuscript material by a radiocarbon dating test requires that a small part of the material be destroyed in the process.[21] Both radiocarbon and paleographical dating only give a range of possible dates, and it is still debated just how narrow this range might be. Dates established by radiocarbon dating can present a range of 10 to over 100 years. Similarly, dates established by paleography can present a range of 25 to over 125 years.[22]

text: Earliest extant manuscripts[edit]

text: The earliest manuscript of a New Testament text is a business-card-sized fragment from the Gospel of John, Rylands Library Papyrus P52, which may be as early as the first half of the 2nd century. The first complete copies of single New Testament books appear around 200, and the earliest complete copy of the New Testament, the Codex Sinaiticus dates to the 4th century.[23] The following table lists the earliest extant manuscript witnesses for the books of the New Testament.

text:
Book

Earliest extant
manuscripts

Date

Condition

Matthew

P

{\displaystyle {\mathfrak {P}}}

1,

P

{\displaystyle {\mathfrak {P}}}

19,

P

{\displaystyle {\mathfrak {P}}}

21,

P

{\displaystyle {\mathfrak {P}}}

25,

P

{\displaystyle {\mathfrak {P}}}

37,

P

{\displaystyle {\mathfrak {P}}}

45,

P

{\displaystyle {\mathfrak {P}}}

53,

P

{\displaystyle {\mathfrak {P}}}

64,

P

{\displaystyle {\mathfrak {P}}}

67,

P

{\displaystyle {\mathfrak {P}}}

70,

P

{\displaystyle {\mathfrak {P}}}

77,

P

{\displaystyle {\mathfrak {P}}}

101,

P

{\displaystyle {\mathfrak {P}}}

103,

P

{\displaystyle {\mathfrak {P}}}

104[24]

c. 150–250 (2nd–3rd century)

Large fragments

Mark

P

{\displaystyle {\mathfrak {P}}}

45

c. 250 (3rd century)

Large fragments

Luke

P

{\displaystyle {\mathfrak {P}}}

4,

P

{\displaystyle {\mathfrak {P}}}

69,

P

{\displaystyle {\mathfrak {P}}}

75,

P

{\displaystyle {\mathfrak {P}}}

45

c. 175–250 (2nd–3rd century)

Large fragments

John

P

{\displaystyle {\mathfrak {P}}}

5,

P

{\displaystyle {\mathfrak {P}}}

6,

P

{\displaystyle {\mathfrak {P}}}

22,

P

{\displaystyle {\mathfrak {P}}}

28,

P

{\displaystyle {\mathfrak {P}}}

39,

P

{\displaystyle {\mathfrak {P}}}

45,

P

{\displaystyle {\mathfrak {P}}}

52,

P

{\displaystyle {\mathfrak {P}}}

66,

P

{\displaystyle {\mathfrak {P}}}

75,

P

{\displaystyle {\mathfrak {P}}}

80,

P

{\displaystyle {\mathfrak {P}}}

90,

P

{\displaystyle {\mathfrak {P}}}

95,

P

{\displaystyle {\mathfrak {P}}}

106

c. 125–250 (2nd–3rd century)

Large fragments

Acts

P

{\displaystyle {\mathfrak {P}}}

29,

P

{\displaystyle {\mathfrak {P}}}

38,

P

{\displaystyle {\mathfrak {P}}}

45,

P

{\displaystyle {\mathfrak {P}}}

48,

P

{\displaystyle {\mathfrak {P}}}

53,

P

{\displaystyle {\mathfrak {P}}}

74,

P

{\displaystyle {\mathfrak {P}}}

91

Early 3rd century[25]

Large fragments

Romans

P

{\displaystyle {\mathfrak {P}}}

27,

P

{\displaystyle {\mathfrak {P}}}

40,

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

1 Corinthians

P

{\displaystyle {\mathfrak {P}}}

14,

P

{\displaystyle {\mathfrak {P}}}

15,

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

2 Corinthians

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

Galatians

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

Ephesians

P

{\displaystyle {\mathfrak {P}}}

46,

P

{\displaystyle {\mathfrak {P}}}

49

c. 175–225 (2nd–3rd century)

Fragments

Philippians

P

{\displaystyle {\mathfrak {P}}}

16,

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

Colossians

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

1 Thessalonians

P

{\displaystyle {\mathfrak {P}}}

30,

P

{\displaystyle {\mathfrak {P}}}

46,

P

{\displaystyle {\mathfrak {P}}}

65

c. 175–225 (2nd–3rd century)

Fragments

2 Thessalonians

P

{\displaystyle {\mathfrak {P}}}

30

Early 3rd century

Fragments

1 Timothy

א

c. 350 (4th century)

Complete

2 Timothy

א

c. 350 (4th century)

Complete

Titus

P

{\displaystyle {\mathfrak {P}}}

32

c. 200 (late 2nd – early 3rd century)

Fragment

Philemon

P

{\displaystyle {\mathfrak {P}}}

87

3rd century

Fragment

Hebrews

P

{\displaystyle {\mathfrak {P}}}

12,

P

{\displaystyle {\mathfrak {P}}}

13,

P

{\displaystyle {\mathfrak {P}}}

17,

P

{\displaystyle {\mathfrak {P}}}

46

c. 175–225 (2nd–3rd century)

Fragments

James

P

{\displaystyle {\mathfrak {P}}}

20,

P

{\displaystyle {\mathfrak {P}}}

23,

P

{\displaystyle {\mathfrak {P}}}

100

3rd Century

Fragments

1 Peter

P

{\displaystyle {\mathfrak {P}}}

81,[24]

P

{\displaystyle {\mathfrak {P}}}

72

c. 300 (late 3rd – early 4th century)

Fragments

2 Peter

P

{\displaystyle {\mathfrak {P}}}

72

c. 300 (late 3rd – early 4th century)

Fragments

1 John

P

{\displaystyle {\mathfrak {P}}}

9

3rd century

Fragment

2 John

א

c. 350 (4th century)

Complete

3 John

א

c. 350 (4th century)

Complete

Jude

P

{\displaystyle {\mathfrak {P}}}

72,

P

{\displaystyle {\mathfrak {P}}}

78

c. 300 (late 3rd – early 4th century)

Fragments

Revelation

P

{\displaystyle {\mathfrak {P}}}

18,

P

{\displaystyle {\mathfrak {P}}}

24,

P

{\displaystyle {\mathfrak {P}}}

47,

P

{\displaystyle {\mathfrak {P}}}

98,

P

{\displaystyle {\mathfrak {P}}}

115

c. 150–250 (2nd-3rd century)

Fragment

text: Textual criticism[edit]

text: Palaeography is the study of ancient writing, and textual criticism is the study of manuscripts in order to reconstruct a probable original text.

text: None of the original documents of the New Testament is extant and the existing copies differ from one another. The textual critic seeks to ascertain from the divergent copies which form of the text should be regarded as most conforming to the original.[26] The New Testament has been preserved in three major manuscript traditions: the 4th-century-CE Alexandrian text-type, the Western text-type, and the Byzantine text-type, which includes over 80% of all manuscripts, the majority comparatively very late in the tradition.

text: Since the mid-19th century, eclecticism, in which there is no a priori bias to a single manuscript, has been the dominant method of editing the Greek text of the New Testament. This is reflected in the Novum Testamentum Graece, which since 2014 corresponds to both the United Bible Society, 5th edition and Nestle-Aland, 28th edition. In textual criticism, eclecticism is the practice of examining a wide number of text witnesses and selecting the variant that seems best. The result of the process is a text with readings drawn from many witnesses. In a purely eclectic approach, no single witness is theoretically favored. Instead, the critic forms opinions about individual witnesses, relying on both external and internal evidence. Even so, the oldest manuscripts, being of the Alexandrian text-type, are the most favored, and the critical text has an Alexandrian disposition.[27] Modern translations of the New Testament are based on these copies.

text: Textual scholar Bart D. Ehrman writes: "It is true, of course, that the New Testament is abundantly attested in the manuscripts produced through the ages, but most of these manuscripts are many centuries removed from the originals, and none of them perfectly accurate. They all contain mistakes - altogether many thousands of mistakes. It is not an easy task to reconstruct the original words of the New Testament...."[28] In reference to the textual evidence for the New Testament, Bruce M. Metzger wrote,

text: In evaluating the significance of these statistics...one should consider, by way of contrast, the number of manuscripts which preserve the text of the ancient classics. Homer's Iliad...is preserved by 457 papyri, 2 uncial manuscripts, and 188 minuscule manuscripts. Among the tragedians the witnesses to Euripides are the most abundant; his extant works are preserved in 54 papyri and 276 parchment manuscripts, almost all of the later dating from the Byzantine period...the time between the composition of the books of the New Testament and the earliest extant copies is relatively brief. Instead of the lapse of a millennium or more, as is the case of not a few classical authors, several papyrus manuscripts of portions of the New Testament are extant which were copies within a century or so after the composition of the original documents.[29][30]

text: Biblical scholar Gary Habermas adds,

text: What is usually meant is that the New Testament has far more manuscript evidence from a far earlier period than other classical works. There are just under 6000 NT manuscripts, with copies of most of the NT dating from just 100 years or so after its writing. Classical sources almost always have fewer than 20 copies each and usually date from 700-1400 years after the composition of the work. In this regard, the classics are not as well attested. While this doesn't guarantee truthfulness, it means that it is much easier to reconstruct the New Testament text. Regarding genre, the Gospels are usually taken today to be examples of Roman biographies.[31]

text: Every year, several New Testament manuscripts handwritten in the original Greek format are discovered. The latest substantial find was in 2008, when 47 new manuscripts were discovered in Albania; at least 17 of them unknown to Western scholars.[32] There has been an estimate of 400,000 variations among all these manuscripts (from the 2nd to 15th century).[33] If you spread those 400,000 variations over 5,600 manuscripts, that comes out to only about 71 variations per manuscript. (400,000 divided by 5,600). And some of these manuscripts are the equivalent of several hundred pages of text, hand-written (see Codex Vaticanus, Codex Alexandrinus, et al.). The number of variants is additionally less significant than may appear since it is a comparison across linguistic boundaries. More important estimates focus on comparing texts within languages. Those variations are considerably fewer. The vast majority of these are accidental errors made by scribes, and are easily identified as such: an omitted word, a duplicate line, a misspelling, a rearrangement of words. Some variations involve apparently intentional changes, which often make more difficult a determination of whether they were corrections from better exemplars, harmonizations between readings, or ideologically motivated.[34] Variants are listed in critical editions of the text, the most important of which is the Novum Testamentum Graece, which is the basis for most modern translations. For over 250 years, Christian scholars have argued that no textual variant affects key Christian doctrine.[35][36]

text: Listings[edit]

text:
List of New Testament papyri
List of New Testament uncials
List of New Testament minuscules
List of New Testament lectionaries
List of New Testament Latin manuscripts

text: Gallery[edit]

text: This section contains what may be an unencyclopedic or excessive gallery of images. Galleries containing indiscriminate images of the article subject are discouraged; please improve or remove the section accordingly. (March 2017) (Learn how and when to remove this template message)

text:
Fragments of the Dead Sea scrolls on display at the Archeological Museum, Amman

P

{\displaystyle {\mathfrak {P}}}

52 is the oldest known manuscript fragment of the New Testament, containing a portion of the Gospel of John

P

{\displaystyle {\mathfrak {P}}}

46 is the earliest (nearly) complete manuscript of the Epistles written by Paul in the new testament.

P

{\displaystyle {\mathfrak {P}}}

45 is a manuscript of Gospels and Acts. It contains the earliest known text of Mark. Scholars find it hard to read it because of its fragmentary state.

P

{\displaystyle {\mathfrak {P}}}

87 is the earliest known manuscript of Philemon.

P

{\displaystyle {\mathfrak {P}}}

37 is a fragment of the Gospel of Matthew containing nomina sacra.

P

{\displaystyle {\mathfrak {P}}}

1 is an early third century fragment of the Gospel of Matthew.

Codex Sinaiticus (c. 350) contains the oldest complete copy of the New Testament, as well as most of the Greek Old Testament, known as the Septuagint

Codex Vaticanus Graecus 1209 is one of the best available Greek manuscripts of almost the entire bible.

P. Chester Beatty VI showing portions of Deuteronomy

Uncial 0308 is a fragment of the Book of Revelation.

The first page of the Gothic language Codex Argenteus

Folio 5r of the Codex Amiatinus, manuscript of Vulgate


question_text: where did they shoot three billboards outside ebbing missouri

root

text: Plot[edit]

text: In the town of Ebbing, Missouri, Mildred Hayes is grieving the rape and murder of her teenage daughter, Angela, seven months earlier. Angry over the lack of progress in the investigation, Mildred rents three abandoned billboards near her home, and posts on them: "Raped While Dying", "Still No Arrests?", and "How Come, Chief Willoughby?" The billboards upset the townspeople, including Chief Bill Willoughby and Officer Jason Dixon, the latter being a racist and a violent alcoholic. The open secret that Willoughby suffers from terminal pancreatic cancer adds to everyone's disapproval. Mildred and her son Robbie are harassed and threatened, but to Robbie's chagrin, she stays firm about keeping the billboards up.

tag: p

text: While Willoughby is sympathetic to Mildred's frustration, he finds the billboards an unfair attack on his character. Angered by Mildred's lack of respect for his authority, Dixon threatens businessman Red Welby, who rented Mildred the billboards, and he arrests her friend and coworker, Denise, on trivial marijuana possession charges. Mildred is also visited by her abusive ex-husband Charlie, who blames her for their daughter's death.

text: Willoughby brings Mildred in for questioning after she drills a hole in her dentist's thumb when he threatens her. During the interview, Willoughby coughs up blood. He leaves the hospital against medical advice and spends an idyllic day with his wife Anne and their two daughters, then commits suicide due to his illness. He leaves suicide notes for several people, including Mildred, in which he explains that she was not a factor in his suicide and that he secretly paid to keep the billboards up for another month, amused at the trouble this will bring her and hope that they will keep attention on the murder. Dixon reacts to the news of Willoughby's death by assaulting Welby and throwing him out of a window. This is witnessed by Willoughby's replacement, Abercrombie, who fires Dixon. In the meanwhile, Mildred is threatened by a crop-haired stranger in her store.

text: The billboards are destroyed by arson. Mildred retaliates by tossing Molotov cocktails at the police station, which she believes is unoccupied for the night. However, Dixon is there to read Willoughby's letter to him, which advises him to let go of hate and learn to love, as the only way to realize his wish to become a detective. Dixon escapes with Angela's case file but suffers severe burns. Mildred's acquaintance James witnesses the incident and provides Mildred with an alibi, claiming they were on a date. Dixon is treated for his burns, and he is temporarily confined in the same hospital room as Welby, to whom he apologizes.

text: Discharged from the hospital, Dixon overhears the man who threatened Mildred bragging in a bar of an incident similar to Angela's murder. He notes the Idaho license plate number of the man's vehicle, then provokes a fight by scratching the man's face. At home later, he removes a sample of the man's DNA from under his fingernails. Meanwhile, Mildred goes on a date with James to thank him for the alibi. Charlie enters with his 19-year-old girlfriend Penelope and admits to burning the billboards while intoxicated. After accidentally causing James to leave, Mildred apologetically tells Charlie to treat Penelope well and leaves.

text: Though commending him, Abercrombie informs Dixon that the DNA sample does not match DNA found on Angela's body, and that the man was overseas on military duty at the time of the murder. Dixon concludes that the man must be guilty of some other rape, and joins Mildred on a trip to Idaho in order to kill him. On the way, Mildred confesses to Dixon that she set the police station on fire. He indicates that he knew already. They express reservations about their mission but agree to decide what to do along the way.

text: Cast[edit]

text:
Frances McDormand as Mildred Hayes
Woody Harrelson as William 'Bill' Willoughby
Sam Rockwell as Jason Dixon
John Hawkes as Charlie Hayes
Peter Dinklage as James
Abbie Cornish as Anne Willoughby
Caleb Landry Jones as Red Welby
Kerry Condon as Pamela
Darrell Britt-Gibson as Jerome
Lucas Hedges as Robbie Hayes
Željko Ivanek as Desk Sergeant
Amanda Warren as Denise
Kathryn Newton as Angela Hayes
Samara Weaving as Penelope
Clarke Peters as Chief Abercrombie

tag: ul

text: Production[edit]

text: Development[edit]

text: While traveling through the Southern United States in around 1998, Martin McDonagh came across a couple of accusatory billboards about an unsolved crime, which he described as "raging and painful and tragic [sic]". The billboards highlighted the incompetence of police work and deeply affected McDonagh; he said that the image "stayed in my mind [...] kept gnawing at me" and presumed that they were put up by the victim's mother.[5][a] This incident, combined with his desire to create strong female characters, inspired him to write the story for Three Billboards Outside Ebbing, Missouri.[5] McDonagh discussed the creative process, saying that it took him about ten years to "[decide] that it was a mother who had taken these things out. It all became fiction [...] based on a couple of actual billboards".[7][8]

text: Casting and filming[edit]

text: The character of Mildred was written with Frances McDormand in mind, and likewise the character of Dixon was written specifically for Rockwell.[9] McDormand initially felt that she was older than the character as it was written, and suggested that Mildred instead be Angela's grandmother; McDonagh disagreed, feeling that it would change the story too much.[9][10] McDormand's husband Joel Coen persuaded her to take the part regardless.[9] McDormand took inspiration for her character from John Wayne; and Rockwell, wanting to make his character "the exact opposite" of Mildred, took inspiration for his character in part from Wayne's co-star in The Man Who Shot Liberty Valance, Lee Marvin.[9]

text: Principal photography began on May 2, 2016, in Sylva, North Carolina,[11] and ran for 33 days.[12] Allison Outdoor Advertising of Sylva built the actual billboards, which were put in a pasture near Black Mountain, North Carolina because that location was better. Most of the time the billboards were covered because people in the area found them upsetting. David Penix of Arden, North Carolina bought the billboards and used the wood for a roof in Douglas Lake in Tennessee, though the messages are no longer in order.[13] Town Pump Tavern in Black Mountain, which had appeared in The World Made Straight, was used as a set and was closed for three days during filming. A pool table and booths were added. The bar's actual sign appeared in the movie.[14]

text: Music[edit]

text: The musical score was written by Carter Burwell, who had also supplied the score for McDonagh's films In Bruges and Seven Psychopaths. As well as Burwell's score, the film features songs by Joan Baez, Monsters of Folk, Townes Van Zandt, and the Four Tops.

text: Release[edit]

text: Three Billboards Outside Ebbing, Missouri premiered in competition at the 74th Venice International Film Festival on September 4, 2017.[15] It also had screenings at the 2017 Toronto International Film Festival,[16] the 2017 San Sebastián International Film Festival (where it won the Audience Award),[17] the BFI London Film Festival,[18] and the 2017 Zurich Film Festival.[19] It was also screened at the Mar del Plata International Film Festival.[20]

text: In the United States, the film was released, by Fox Searchlight Pictures, on November 10, 2017, beginning with a limited release, before "going wide" on December 1.[4]

text: The film was released on 4K Ultra HD, Blu-ray and DVD on February 27, 2018.[21] Six Shooter, McDonagh's Academy Award-winning short film, is included as a bonus.

text: Reception[edit]

text: Box office[edit]

text: As of March 16, 2018[update], Three Billboards Outside Ebbing, Missouri has grossed $53.6 million in the United States and Canada, and $91 million in other countries, for a worldwide total of $144.7 million.[4]

text: In its limited opening weekend, the film made $322,168 from four theaters for a per-theater average of $80,542, the fourth best of 2017.[22] The film made $1.1 million from 53 theaters in its second weekend and $4.4 million from 614 in its third, finishing a respective 9th and 10th at the box office.[23] In the weekend following its four Golden Globe wins the film was added to 712 theaters (for a total of 1,022) and grossed $2.3 million, and increase of 226% from the previous week's $706,188.[24] The weekend of January 27, 2018, following the announcement of the film's seven Oscar nominations, it made $3.6 million (an increase of 87% over the previous week's $1.9 million), finishing 13th.[25] The weekend of March 9–11, following its two Oscar wins, the film made $705,000, down 45% from the previous week's $1.3 million.[26]

text: Critical response[edit]

text: The film had an approval rating of 92% based on 317 reviews on the review aggregator website, Rotten Tomatoes, and an average rating of 8.5/10. The website's critical consensus reads, "Three Billboards Outside Ebbing, Missouri deftly balances black comedy against searing drama – and draws unforgettable performances from its veteran cast along the way."[27] On Metacritic, which assigns a normalized rating to reviews, the film had a weighted average score of 88 out of 100, based on 50 critics, indicating "universal acclaim."[28] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[29]

text: Owen Gleiberman of Variety praised the film's performances, stating "It's Mildred's glowering refusal to back down that defines her, and McDormand brilliantly spotlights the conflicted humanity beneath the stony façade," and called Rockwell's performance a "revelation."[30] Steve Pond, writing for TheWrap, praised McDonagh's writing, calling it "Very funny, very violent and surprisingly moving."[31] Divesh Mirchandani from C'est le Cinema hailed the film for its screenplay, rating the film 4/5. [1]

text: Conversely, others have criticized the film's script. In her review for The New York Times, Manohla Dargis wrote "[McDonagh's] jokes can be uninterestingly glib with tiny, bloodless pricks that are less about challenging the audience than about obscuring the material's clichés and overriding theatricality."[32] In a column for The Daily Beast, blogger Ira Madison III called the film's treatment of Rockwell's character "altogether offensive," arguing that the character's described racism was handled insensitively, and writing "McDonagh's attempts to script the black experience in America are often fumbling and backward and full of outdated tropes."[33] A scathing critique by Tim Parks in The New Yorker asked “what does it [this film] tell us about the U.S.A.?” After praising the “magnificently photographed images”, the plot is ridiculed as containing “a thousand cheap coincidences”. “Caricatures, conflict, and political correctness mesh, with the greatest of ease”. Parks’ theme is that “below the surface of this narrative, a deeper conflict is being waged: the fight of the liberal intelligentsia against the redneck, racist Trump voters of Missouri”.[34]

text: Accolades[edit]

text: At the 75th Golden Globe Awards, Three Billboards Outside Ebbing, Missouri won for Best Motion Picture – Drama, Best Actress – Drama (McDormand), Best Supporting Actor (Rockwell), and Best Screenplay, and was nominated for Best Director and Best Original Score.[35] At the 71st British Academy Film Awards, it received nine nominations, including Best Film, Best Director, and Best Actress in a Leading Role (McDormand), and Best Actor in a Supporting Role for both Rockwell and Harrelson.[36][37] It won five awards, including Best Film and Outstanding British Film (making it the only film along with The King's Speech to win both awards since the latter category was reintroduced in 1992)[38] while both McDormand and Rockwell won the Lead Actress and Supporting Actor awards respectively.[39] It was nominated for four awards at the 24th Screen Actors Guild Awards, winning three, including Outstanding Performance by a Cast in a Motion Picture. At the 90th Academy Awards it received seven nominations, including Best Picture, Best Actress for Frances McDormand, Best Original Screenplay for Martin McDonagh and two Best Supporting Actor nominations for both Sam Rockwell and Woody Harrelson. McDormand and Rockwell took home their respective awards.

text: It was named one of the top 10 films of the year by the American Film Institute.[40] At the 2017 Toronto International Film Festival,[16] the film won its top prize, the People's Choice Award.[41] At the 2017 San Sebastián International Film Festival, it won the Audience Award.[17]

text: Impact[edit]

text: On February 15, 2018, Justice4Grenfell, an advocacy group created in response to the Grenfell Tower fire, hired three vans with electronic screens in a protest against perceived inaction in response to the fire.[42] The vans were driven around London, and displayed messages in the style of the billboards in the film: '71 Dead', 'And Still No Arrests?', 'How Come?'[43]

text: In response to the Stoneman Douglas High School shooting that took place on February 14, 2018, in Parkland, Florida, activist group Avaaz had three vans circle Florida senator Marco Rubio's offices displaying 'Slaughtered in School', 'And Still No Gun Control?', 'How Come, Marco Rubio?'[44][45]

text: On the night of February 15, 2018, the movement #OccupyJustice set up three billboards and a number of banners in Malta, marking the four-month anniversary of the murder of the journalist Daphne Caruana Galizia. The billboards bore the text 'A Journalist Killed. No Justice.', 'A Country Robbed. No Justice.', and 'No Resignations. No Justice.'[46][47] The authorities removed the billboards the following day,[48] stating that they were illegal.[49] The government was criticized for this move,[50][51] and a day after their removal, activists laid down banners with similar text near Auberge de Castille, the Office of the Prime Minister.[49]

text: Outside the Bristol city centre on February 3, 2018, a mural was erected depicting three billboards reading 'Our NHS is dying', 'And still no more funding', and 'How come, Mrs May'. It was installed by the groups People’s Republic of Stokes Croft and Protect Our NHS in response to the alleged privatization of the National Health Service (NHS) and the death of a 15-year-old girl attributed by some to a purported lack of resources by the NHS.[52]

text: On February 22, 2018, the Union of Medical Care and Relief Organizations, protesting the inaction of the UN's role within the Syrian Civil War, set up three billboards outside the United Nations building in New York that read '500,000 Dead in Syria', 'And still no action?', and 'How come, Security Council'.[53][54]

text: On or around March 1, around the time of the 2018 Oscars, three billboards were taken out in Los Angeles, stating "WE ALL KNEW AND STILL NO ARRESTS", "AND THE OSCAR FOR BIGGEST PEDOPHILE GOES TO..." and "NAME NAMES ON STAGE OR SHUT THE HELL UP!", as an attempt to protest both the Oscars and the #MeToo movement.[55]

text: On March 8, on International Women's Day, three billboards were put in downtown Pristina, Kosovo[56], to protest the death of two women as a result of domestic violence.[57]

text: Both McDormand and McDonagh have responded positively to the protests, with McDonagh saying "You couldn't ask for anything more than for an angry film to be adopted by protests,"[58][59] and McDormand saying she is “thrilled that activists all over the world have been inspired by the set decoration of the three billboards in Martin’s film.”[60]

text: On March 24, 2018, signs inspired by Three Billboards appeared at March for Our Lives gun safety rallies across the US and around the world.[61][62]

text: Explanatory notes[edit]

text: Jump up ^ The billboards were later found along the Interstate 10, and had been put by James Fulton, whose daughter Kathy Page was assaulted and killed in 1991.[6]

tag: ol


document_title: The Moon Is a Harsh Mistress (song)

question_text: who wrote the moon's a harsh mistress

question_tokens: who wrote the moon 's a harsh mistress

text: The Moon Is a Harsh Mistress (song)

text: "The Moon Is a Harsh Mistress" (sometimes titled as "The Moon's a Harsh Mistress") is a song by American songwriter Jimmy Webb. It has become a much-recorded standard, without ever having charted as a single. Webb appropriated the title from the 1966 science fiction novel The Moon Is a Harsh Mistress by Robert A. Heinlein.[1] The song is especially associated with Glen Campbell, who performed the song on his farewell tour,[2] Judy Collins, and Joe Cocker, who first recorded the song in 1974.

text: The song is commonly presented in the key of G (to B♭). The song structure consists of three seven-line verses and a two-line coda. The first two verses have a rhyme scheme of AABACDC. The third verse modulates three half steps (from G to B♭), with the rhyme scheme altered to ABABCDC, and the coda repeating the DC. The time signature of the song is common time with the lines introduced between the second and third beat.

text: In a 2009 interview with Lisa Torem for Penny Black Music, Jimmy Webb talked about the influence of Robert Heinlein and the song's title:

text: Robert Heinlein, was a kind of early mentor of mine. I started reading his books when I was eight years old. ... I guess I was really getting more of my education out of science-fiction than out of public school. I was reading Ray Bradbury and Isaac Asimov and learning a great deal about the patois of the language itself and how these words were being used to create emotions. I was learning this from writers without even knowing it. ... "The Moon is a Harsh Mistress" was one of the best titles I've ever heard in my life. I really am guilty of appropriating something from another writer. In this case I had contact with Robert A. Heinlein's attorneys. I said, 'I want to write a song with the title, "The Moon is a Harsh Mistress". Can you ask Mr. Heinlein if it's okay with him?' They called me back and he said he had no objection to it.[1]

text: Since Joe Cocker's first recording of the song in 1974, "The Moon Is a Harsh Mistress" has been recorded by a variety of artists, from traditional renditions by female singers such as Judy Collins, Linda Ronstadt, and Joan Baez, to versions by male singers such as Joe Cocker, Glen Campbell, and Michael Feinstein. Webb recorded the song twice, in 1977 for his El Mirage album, and again in 1996 for his Ten Easy Pieces album. The song has attracted a wide range of artists, including the Norwegian singer Radka Toneff, who recorded the song on her 1982 album Fairytales, which in a 2011 poll of Norwegian musicians was voted the best Norwegian album ever.[3] Various instrumental versions have also been recorded, including the 1997 version by Charlie Haden and Pat Metheny on the album Beyond the Missouri Sky (Short Stories), which won a Grammy for Best Jazz Instrumental Album, Individual or Group.

text: Recorded versions[edit]

text: This article is in a list format that may be better presented using prose. You can help by converting this article to prose, if appropriate. Editing help is available. (January 2016)

tag: table

text:
Joe Cocker on his album I Can Stand a Little Rain (1974)[4]
Glen Campbell on his album Reunion: The Songs of Jimmy Webb (1974)[4]
Judy Collins on her album Judith (1975)[4]
Jeannie Lewis on her album Tears of Steel & the Clowning Calaveras (1975)[4]
Jimmy Webb on his album El Mirage (1977)[4]
Erick Nelson & Michele Pillar on their album "The Misfit" (1979)
Radka Toneff and Steve Dobrogosz on the album Fairytales (1982)[4]
Linda Ronstadt on her album Get Closer (1982)[4]
Joan Baez on her album Recently (1987)[4]
Jimmy Webb on his album Ten Easy Pieces (1996)[4]
Pat Metheny and Charlie Haden on their Jazz album Beyond The Missouri Sky (1997)[4]
Grażyna Auguścik on her album The River (2001)[4]
Michael Feinstein on his album Only One Life: The Songs of Jimmy Webb (2003)[4]
Tone Damli on her album Bliss (2005)[4]
Karrin Allyson on her album Wild for You (2006)[4]
Albert Lee on his album Road Runner (2006)[4]
Aleksandra & the Belgian Sweets on their album Island Girl (2008)[4]
Maureen McGovern on her album A Long and Winding Road (2008)[4]
Celtic Woman (soloed by Lisa Kelly) on their album Celtic Woman: Songs from the Heart (2010)[4]
Nick Haywood Quartet on the album "1234" (2010)
Nils Landgren on his album The Moon, the Stars, and You (2011)[4]
Silje Nergaard on her album Unclouded (2012)[5]
Josh Groban on his album All That Echoes (2013)[4]
Rita Marcotulli & Luciano Biondini on their album La strada invisibile (2014)[4]


document_title: Independence Day: Resurgence

question_text: who played the president in independence day 2

text: Independence Day: Resurgence

text: Plot[edit]

text: Twenty years after the devastating alien invasion, the United Nations has set up the Earth Space Defense (ESD), a global defense and research program that reverse-engineers alien technology and serves as Earth's early warning system against extraterrestrial threats.[4][5][6] Civilization has been restored and relative peace among nations exists following the human species victory over the aliens' attacks; humanity has developed an anti-extraterrestrial sentiment against anything from outer space.

text: As the twentieth anniversary of the invasion approaches, ESD Director David Levinson meets with warlord Dikembe Umbutu and Dr. Catherine Marceaux in the African state Republique Nationale d'Umbutu.[7] They travel to an intact alien city destroyer and discover that alien survivors sent a distress call to their home world before their defeat. It is revealed that former U.S. President Thomas Whitmore, Dr. Brackish Okun, and Umbutu are telepathically linked to the aliens, following personal encounters, and have visions of an unidentified spherical object.

text: An unidentified spherical ship emerges from a wormhole near Earth's Moon, and despite objections from Levinson, is destroyed on the orders of the United Nations' Security Council. Defying orders, American pilots Jake Morrison and Charlie Miller then pick up Levinson, Marceaux, Umbutu, and U.S. federal controller Floyd Rosenberg on a space tug. They head for the wreckage in the Van de Graaff crater, where they recover a large container. An alien mothership suddenly appears,[7] responding to the distress call, and proceeds to destroy much of the Earth's planetary defenses before landing over the North Atlantic Ocean, where it starts to drill down toward the Earth's molten core. Narrowly escaping death, those on board the space tug are able to avoid capture and return to Area 51.

text: Whitmore, Levinson, and U.S. General Joshua Adams' groups interrogate one of the aliens held in captivity at Area 51's prison facility from the war. They learn that the aliens exist in eusociality and that one of their colossal Queens is commanding the invasion. Levinson hypothesizes that, if they kill the supervising Queen, her forces will cease drilling and retreat. An ESD aerial fleet, led by Captain Dylan Hiller, stages a counterattack, but they are caught in a trap within the mothership, leaving only a few survivors, including Dylan, Jake, Charlie, and fellow ESD lieutenant and Chinese pilot Rain Lao.

text: In Area 51, Okun opens the rescued container and releases a giant white sphere of virtual intelligence. She reveals that her mission is to evacuate survivors to a planet of refuge from worlds targeted by the aliens, whom she calls "Harvesters", and unite them in an attack on the Harvesters' planet. In the mothership, all surviving ESD pilots manage to escape by hijacking enemy craft; Dylan, Jake, Charlie, and Rain navigate two alien fighters to pursue the Queen's personal ship, which is heading to Area 51 to extract information from the sphere about the refugee planet.

text: Knowing the Harvester Queen has become aware of the sphere's presence, the ESD hide her in an isolation chamber and use a decoy in Jake's space tug to lure the Harvester Queen's ship into a trap. Whitmore volunteers to pilot the transport ship on a suicide mission, leading the Queen's ship into a trap before detonating a bomb, thus sacrificing himself but destroying the enemy ship. However, the Harvester Queen survives by using an energy shield and a fight breaks out. Initially, the ESD soldiers' weapons cannot penetrate the Queen's shield, but after the Harvester Queen lowers her shield to fire her own weapon, a good shot by Whitmore's daughter Patricia disables her shield. This allows Dylan's party, which arrives just in time, to ultimately kill her before she can take the sphere. With the Queen dead, all the remaining alien fighters are rendered inactive, while the mothership stops drilling and retreats to space. Okun reveals that the sphere has asked humanity to lead her resistance and has offered them new technology in preparation for a counterattack on the Harvesters' home world.

text: Cast[edit]

text: The following includes backstory and details covered in the current film, in the original 1996 film, in cast interviews and in the canon novel Independence Day: Crucible.

text: Liam Hemsworth as Jake Morrison, a U.S. pilot serving as a lieutenant in ESD, Patricia Whitmore's fiancée, Charlie Miller's best friend, and Dylan Hiller's estranged friend and competitor for Legacy Squadron's leadership. Originally from the city of Los Angeles, he grew up in an orphanage after his parents were killed in the invasion of 1996 and later joined the ESD.[8]

text: Jeff Goldblum as David Levinson, a scientist, MIT-educated computer expert, strategist, and environmental activist. Formerly a satellite technician at a cable television company in New York City and now in charge of research at Area 51 after Brackish Okun. Whitmore went on to recommend him as Director of ESD, in charge of its civilian sector where he provides the United Nations the resources to combat extraterrestrial threats with his subordinates and in the process using his political influence to promote his activism. For twenty years, David is dedicated to protect Earth at the cost of his relationships with his family, and is revered as a hero alongside Steven Hiller, Thomas J. Whitmore, and William Grey. Levinson also become friends with Hiller and Whitmore's families following the first invasion.

text: Jessie Usher as Dylan Hiller (born Dylan Dubrow), the son of Jasmine Dubrow-Hiller and adoptive son of the now-deceased war hero, Col. Steven Hiller, USMC (Will Smith's character in the previous film) and childhood friend of Patricia Whitmore (whom he befriended twenty years previously at Area 51), now a pilot and captain in ESD, serving as a fleet leader for its Legacy Squadron.[9] Dylan secured leadership of Legacy Squadron after competing with Jake, but strained their friendship in the process. Usher plays the adult version of the character that was played by Ross Bagley as a child in the original film.

text: Bill Pullman as Thomas J. Whitmore, the 42nd and former President, Patricia's widowed father, and a Persian Gulf War combat pilot veteran. Though his presidency has ended, 15 years after his second term, Whitmore remains a significant figure and some still refer him as the country's leader as the result of his role during the first invasion and its aftermath. Whitmore remains traumatized by the death of his wife Marilyn (Mary McDonnell's character in the previous film) and his past encounter with one of the Harvester fighters.

text: Maika Monroe as Patricia Whitmore, the former First Daughter, Jake's fiancée, and Dylan's childhood friend (whom she befriended twenty years previously at Area 51). She also works for her father's successor, Elizabeth Lanford, as one of her aides and speechwriter at the White House. Prior to working for the government, she served as an ESD pilot alongside Dylan and Jake, intending to follow her heroic father's footsteps as a combat pilot. She held the rank of lieutenant at ESD, and is a skilled aviator. Monroe plays the adult version of the character that was played by Mae Whitman as a child in the original film.

text: Sela Ward as Elizabeth Lanford, the 45th President of the United States and the first woman in the country's history to hold the Oval Office,[10] who is in her first term, succeeding Thomas J. Whitmore, William Grey, and Lucas Jacobs.[4] Lanford is also a member of ESD's Security Council, founded by Thomas Whitmore and other world leaders. About her character she said, "She's strong, decisive, and not afraid to kick ass!"[11] Prior to her presidency, Lanford lost her family during the first attack, and she served as Vice President under Jacobs.

text: William Fichtner as Joshua T. Adams, a U.S. General in charge of ESD's defense sector, David Levinson's military counterpart within the organization; he later becomes the 46th President of the United States after being named designated survivor following Lanford and the rest of the presidential line of succession's deaths.

text: Judd Hirsch as Julius Levinson, David's widowed father, retired rabbi, and author of How I Saved The World, who now lives in a retirement home in Florida and is an avid fisherman.

text: Brent Spiner as Dr. Brakish Okun, the unkempt and highly excitable scientist formerly in charge of research at Area 51 and thus David Levinson's predecessor. He awakens 20 years after being rendered comatose by a Harvester's psychic attack and then works with ESD. Okun is revealed to be gay; he and Dr. Milton Isaacs are romantic partners.

text: Patrick St. Esprit as Reese Tanner, the United States Secretary of Defense. Tanner was indirectly responsible for Steven Hiller's death in 2007, after he and his administration under then-President Lucas Jacobs ignored Levinson's warning regarding the prototype hybrid fighter that killed Hiller and caused an international scandal. He has been at odds with Levinson and the Hillers ever since.[6]

text: Vivica A. Fox as Jasmine Dubrow-Hiller, the widow of the late war hero Steven Hiller, Dylan's mother, and a former exotic dancer. After her marriage, Jasmine returned to school to study nursing and is now working as a hospital administrator.[6]

text: Angelababy as Rain Lao, a Chinese pilot and lieutenant in ESD and the niece / adoptive daughter of ESD Moon Base commander Jiang Lao. While still a child, Rain, Chinese name Lao Meifeng, lost her mother after the aliens' first attack in Beijing and later her father, who was one of the pilots that participated in the final battle against the aliens above the ruins of Wuhan during the war. She was then raised by her late father's brother. Rain is also a fan of the late American colonel, Steven Hiller; she had witnessed his death in 2007.[6]

text: Charlotte Gainsbourg as Dr. Catherine Marceaux, a French psychiatrist who is an associate of David Levinson; though trained as a physician, she is researching exolinguistics and telepathy after witnessing her patients writing logograms after personal encounters with aliens, becoming a renowned inquirer of her investigation. She is also David's new love interest; she and David first met at the 2012 ESD Spring Expo in French Guiana three years after the latter's wife, Constance Spano (Margaret Colin's character in the previous film, whom David previously divorced but later remarried to), died in a car accident.[6]

text: Deobia Oparei as Dikembe Umbutu, head of government of a Congolese provincial state named "Republique Nationale d'Umbutu", after his late tyrannical warlord father; he leads a resistance group that has fought the Harvesters for years. After Umbutu's father was assassinated by his own people, he took over his father's position in hopes of making amends to his countrymen. He advises Floyd Rosenberg and Jake Morrison of the aliens' biomechanical suits' critical weaknesses based on his experience, which helps their respective survivals against them.

text: Nicolas Wright as Floyd Rosenberg, a mild-mannered government controller from the Federal Accounting Standards Advisory Board appointed to the ESD and amateur combatant; he wants to learn how to fight aliens after meeting Dikembe Umbutu and to participate in the battle against them.

text:
Travis Tope as Charlie Miller, a U.S. pilot and lieutenant serving in ESD and Jake Morrison's best friend and surrogate brother since childhood, who is infatuated with Rain.[12] Prior to becoming an ESD pilot, Charlie lost his family in the first war, met Jake after he defended him from a group of bullies, and was a valedictorian in the ESD flight school where he, Jake, Dylan, and Patricia enrolled.[6] He is somewhat inept and inattentive to his duties, and is notable for wearing a jacket that states his rank is that of Senior Airman.
Ng Chin Han as Jiang Lao,[13] a Chinese General and commanding officer of the ESD's Moon Base. He is also Rain's paternal uncle and adoptive father.
Gbenga Akinnagbe as Agent Matthew Travis, a United States Secret Service agent assigned to Whitmore's protection detail.
Robert Loggia as General William Grey, USMC (Ret.), the 43rd and former President, who served as Chairman of the Joint Chiefs of Staff during the war and succeeded Whitmore as President for one term.[4] Like Whitmore, Hiller, and Levinson, Grey is revered as a hero because of his military leadership during the war. This is Loggia's final film role before his death in December 2015, and the film was dedicated in his memory. Loggia's wife, Audrey O'Brien, also made an appearance as General Grey's wife.
John Storey as Dr. Milton Isaacs, a scientist and physician in charge of Area 51's medical facility. He is Dr. Brackish Okun's life partner.
Joey King as Samantha "Sam" Blackwell, the oldest of a group of siblings living in Florida. They find a stranded Julius Levinson in Austin, Texas after the aliens land their mothership.[14]
Jenna Purdy as the voice of the Sphere, an extraterrestrial virtual intelligence sent to serve as a liaison between Earth and a party of interplanetary resistance who are also victims of the Harvesters' attacks.
Garrett Wareing, Hays Wellford, and Mckenna Grace as Bobby, Felix, and Daisy, Sam's younger siblings.
James A. Woods as Lieutenant James Ritter, one of General Adams's subordinates in alien technology research at ESD.
Robert Neary as Captain McQuaide

text: Production[edit]

text: Development[edit]

text: The possibility of a sequel to Independence Day had been discussed as early as 2001,[15] and the film's producer and writer, Dean Devlin, once stated that the world's reaction to the September 11 attacks influenced him to strongly consider making a sequel to the film.[16][17] Devlin began writing an outline for a script with Emmerich,[18] but in May 2004, Emmerich said he and Devlin had attempted to "figure out a way how to continue the story", but that this ultimately did not work, and the pair abandoned the idea.[19] In October 2009, Emmerich said he once again had plans for a sequel,[20] and had since considered the idea of making two sequels to form a trilogy.[21] On June 24, 2011, Devlin confirmed that he and Emmerich had found an idea for the sequels and had written a treatment for it.[22] In October 2011, however, discussions for Will Smith returning were halted, due to Fox's refusal to provide the $50 million salary demanded by Smith for the two sequels. Emmerich, however, made assurances that the films would be shot back-to-back, regardless of Smith's involvement.[23] In July 2012, Devlin reiterated that the Independence Day sequel was still in development, and the script would take place in 2012, 16 years after the original film's events.[24]

text: In March 2013, Emmerich stated that the titles of the new films would be ID Forever Part I and ID Forever Part II.[25] The films will take place twenty years after the original, when reinforcements of the original alien species arrive at Earth after finally receiving a distress call. The new films will focus on the next generation of heroes, including the stepson of Smith's character in the original film. In May 2013, Emmerich and Devlin mentioned that wormholes would be used as a plot device in ID Forever.[26] On May 29, 2014, it was announced that the script for the first sequel written by Emmerich and Devlin would be rewritten by Carter Blanchard.[27] The script was delivered to Fox along with twenty previsualization shots produced under effects supervisor Volker Engel, a long-time collaborator of Emmerich.[14] On November 26, 2014, Deadline confirmed that Fox had greenlit the single film, and they were in talks with Emmerich to direct the film, while casting was reported to begin after Emmerich's confirmation.[28] The full title, Independence Day: Resurgence, was revealed on June 22, 2015.[29] Returns, Retaliation, Rises, and Requiem were all considered too along with the title before settling with Resurgence.[30] Emmerich explained that in the sequel, the alien invaders that were likened in the original to locusts "are more like bees", with a hive mentality and only interested in multiplying, "and when they arrive it’s more like a natural disaster than an invasion."[31]

text: Casting[edit]

text: Early on, both Emmerich and Devlin hoped that Smith would return.[22] However, in June 2013, Emmerich announced that Smith would not be returning, noting that "he's too expensive."[32] Smith later stated that he declined the role due to scheduling conflicts with Suicide Squad, also in production at the time.[33] Smith's absence in the movie is explained with the death of his character, Steven Hiller, who had been promoted to colonel, 11 years after the events of the first film when personally testing the first experimental prototype fighter designed with alien technology for the ESD.[4][6] Later in June, it was officially confirmed that both Goldblum and Pullman would return in the sequel, and that a gay character would be featured.[34][35] After Resurgence's release, reviewers with an interest in LGBT issues accused the film of under-delivering on this commitment.[36]

text: On January 27, 2015, casting began with Fox offering the lead role to Liam Hemsworth.[37] French-British actress Charlotte Gainsbourg was in talks to join the film's cast, revealed by THR on March 20, 2015.[38] Newcomer Travis Tope was set on March 25, 2015 to play the role of Charlie.[12] On March 3, 2015, Emmerich confirmed via Twitter that Vivica A. Fox would reprise the role of Jasmine Dubrow, her character from the previous film.[39][40] That same day, Jessie Usher was added to the cast to portray the role of the stepson of Smith's character.[41] Jeff Goldblum and Bill Pullman were also set to reprise their roles from the previous film.[42] Maika Monroe signed on to star in the film on April 27, 2015.[43] She would play the daughter of the former President after Mae Whitman, who played the character in the original movie, declined to read for the part, according to Emmerich.[44] Monroe was selected from a shortlist that included Gabriella Wilde, Britt Robertson, Merritt Patterson and Lucy Boynton. Sela Ward's casting as the new President of the United States was confirmed on May 4, 2015.[45] On May 13, 2015, Mckenna Grace also joined the film to play Daisy.[46] On May 19, 2015, Patrick St. Esprit was cast as Secretary of Defense Tanner.[47] On May 29, 2015, William Fichtner was cast as a General, a role that will be larger in the next two films.[48] The casting of Angelababy was announced on Twitter by Emmerich on June 3, 2015.[49]

text: Filming[edit]

text: Filming began on April 20, 2015,[50][51] and wrapped on August 22, 2015.[52] Filming for additional scenes also took place in early 2016 in Los Angeles. Some scenes were also filmed in West Wendover, Nevada, London, at the Burj Khalifa in Dubai, and Singapore's Marina Bay Sands.[53] Due to the availability of regional filming, the producers decided to shoot the film largely in New Mexico. Moreover, the state offers a 25% movie tax credit. However, while location filming did take place in rural New Mexico and further north on the Utah and Nevada border, most of the shooting was studio-based. Albuquerque Studios was a major venue for the film in which Maze Runner: The Scorch Trials and The Lone Ranger were also filmed.[54] The film was shot on Red Dragon anamorphic cameras in 6K resolution, being later stereo converted.[14]

text: Emmerich decided to return to the Bonneville Salt Flats in Utah, which he said he fell in love with while looking for a unique location for shooting the first film. However, problems cropped up as Emmerich was slightly disappointed by the nature and color of the area. This was because prior to the arrival of the crew, a windstorm had occurred around the area, which blew a lot of dirt into the salt and subsequently turned it into a shade of beige.[55]

text: The filmmakers refrained from shooting in India or portraying any prominent Indian monuments as being damaged to avoid potential protests and legal action from Indian religious groups and activists.[56] Originally, Dubai was planned to land on Paris in the scene depicting the mothership destroying Europe while using Asian monuments pulled out by its gravitational pull. However, following the November 2015 Paris attacks, filmmakers reconsidered and instead had Dubai land on London. Emmerich said, "After the attacks, we felt it wasn't right to have the Burj Khalifa crashing on the Eiffel Tower, so we dumped it on the London Eye instead. The English can take it."[57]

text: Visual effects and design[edit]

text: Like the original Independence Day, Resurgence had its visual effects led by supervisor Volker Engel and producer Marc Weigert from Uncharted Territory, LLC.[58] Like with Emmerich's White House Down, the Ncam camera tracking system was used on set to provide animation previews to the cast and crew and gather data for the effects companies. While the original film relied heavily on miniatures and Engel wanted them on at least one scene, the effects were mostly computer-generated "which was pretty much less than half of the budget". Uncharted Territory, along with coordinating the overall efforts of 15 effects houses, was the leading company with 268 shots, created in a tight collaboration with the film's art department. Scanline VFX was the first vendor hired,[14] and handled the mothership landing, which included creating detailed models of London and Singapore out of thousands of reference photographs and even Lidar scans to realistically destroy both cities.[58] Weta Digital was mainly responsible for the design of the aliens and carrying out the climactic battle scene.[59]

text: Music[edit]

text: Soundtrack[edit]

text:
Independence Day: Resurgence (Original Motion Picture Soundtrack)

Soundtrack album / Film score by Thomas Wander and Harald Kloser

Released
June 17, 2016

Recorded
2016

Genre
Film soundtrack
Film score

Length
51:14

Label
Sony Classical Records
Fox Music

Producer
Thomas Wander
Harald Kloser

Thomas Wander and Harald Kloser film scores chronology

White House Down
(2013)White House Down2013
Independence Day: Resurgence
(2016)

Singles from Independence Day: Resurgence (Original Motion Picture Soundtrack)

"Electric U"
Released: June 17, 2016
"Bang Bang (My Baby Shot Me Down)"
Released: June 17, 2016

text: The film’s music was composed by Thomas Wander and Harald Kloser. The soundtrack also contains “Electric U”, performed by Kid Bloom and “Bang Bang (My Baby Shot Me Down)”, performed by Annie Trousseau. The soundtrack was released on June 17, 2016 by Sony Classical Records.

text: Track listing[edit]

text: All music composed by Thomas Wander and Harald Kloser, except “Electric U” and “Bang Bang (My Baby Shot Me Down)”.

text:
No.
Title
Length

1.
"Traveling Through Space"
1:26

2.
"Great Speech"
1:37

3.
"Hostile Territory"
1:23

4.
"How Did They Get the Lights On?"
1:13

5.
"Inside the African Ship"
1:22

6.
"More Stimulation"
1:50

7.
"Fear"
2:06

8.
"The Friendly Spaceship"
3:18

9.
"The Only Family I Got"
1:01

10.
"Welcome to the Moon"
1:17

11.
"What Goes Up"
2:11

12.
"It's Getting Real"
3:06

13.
"Flying Inside"
2:00

14.
"It's a Trap"
2:36

15.
"Worth Fighting For"
1:12

16.
"The Sphere"
3:37

17.
"The Queen is Leaving"
1:09

18.
"Whitmore's Choice"
1:59

19.
"Humanity's Last Stand"
1:10

20.
"Bus Chase"
3:08

21.
"We are Rich"
1:05

22.
"Independence Day Resurgence Finale"
3:14

23.
"ID4 Reprise" (composed by David Arnold)
2:27

24.
"Electric U" (performed by Kid Bloom)
2:50

25.
"Bang Bang (My Baby Shot Me Down)" (performed by Annie Trousseau)
2:57

Total length:
51:14

text: Release[edit]

text: Independence Day: Resurgence premiered at the TCL Chinese Theatre in Los Angeles on June 20, 2016. The film was originally going to be released on July 3, 2015[60] but on November 12, 2013, it was announced that the sequel had been rescheduled for a July 2016 release.[61] On October 14, 2014, Fox changed the release date to June 24, 2016.[62] It was released in certain formats such as 3D, IMAX 3D, and premium large formats.[63]

text: Marketing[edit]

text: Titan Books published several tie-in books for the film, including novels and comics. The first, an omnibus of Stephen Molstad's three Independence Day novels, Silent Zone, War in the Desert, and the novelization of Independence Day, was released on March 19, 2016.[citation needed] The second, Independence Day: Crucible, was written by Greg Keyes. Crucible serves as a prequel to the film and was published on May 24, 2016. A novelization of Independence Day: Resurgence by Alex Irvine followed on June 21 before the film's release and it differs from the film in that the character of the President survives most of the alien conflict as a prisoner of the Harvester Queen and is killed when the ship is destroyed, instead of being killed when the aliens attack the fortified bunker in Colorado and it also reveals - in POV exposition, during the scene where the Queen captures the sphere - that the sphere aliens are responsible for the creation of the Harvester aliens, who turned on them and wiped them out, though this plot device is not further explored in the book and may not be considered canon in any further films since it was not used in the final film. Titan Comics started a six issue comic book miniseries, Independence Day: Dark Fathom, written by Victor Gischler, with art by Tazio Bettin, which serves as a prequel set between the first and second films, and which began its run on March 23 and ended on June 15.[64]

text: On December 13, 2015, the first trailer was released by 20th Century Fox.[65] A TV spot was shown during Super Bowl 50 on February 7, 2016. A commercial for the U.S. Army aired promoting the film by presenting itself as a commercial for the ESD, or Earth Space Defense, a fictional military faction dedicated to defending the Earth against any further alien invasion.[66]

text: In June 2016, 20th Century Fox's British division collaborated with Manchester United, of which 20th Century Fox is the official film partner, for a commercial featuring Jeff Goldblum and Angelababy, and guest-starring United players Chris Smalling, Daley Blind, Ashley Young, Juan Mata and captain Wayne Rooney as fighter pilots.[67]

text: In Japan, 20th Century Fox collaborated with Sunrise to cross-promote the film with Mobile Suit Gundam Unicorn. One of the film's posters has the Statue of Liberty replaced with the RX-0 Unicorn Gundam aiming at the alien mothership, while a TV spot features commentary by Gundam Unicorn characters Banagher Links and Full Frontal.[68][69]

text: Home media[edit]

text: Independence Day: Resurgence was released on Digital HD on September 27, 2016, and on Blu-ray 3D, Blu-ray,and DVD on October 18, 2016 by 20th Century Fox Home Entertainment.[70] It topped the No. 1 spot in the Blu-ray Disc sales charts.[71]

text: Reception[edit]

text: Box office[edit]

text: Independence Day: Resurgence was unable to duplicate the success of its predecessor, which grossed $817.4 million worldwide in 1996. It was not even one of the top-grossing films of 2016 or of its month of release, due to Finding Dory being the highest-grossing film of June. The film also failed to garner much support from China – the world's second biggest movie market – as the cinemagoers there complained about how little screen time there was for Chinese actress Angelababy. Moreover, the film was released in a crowded summer during the "sequelitis" where numerous major sequels underperformed.[72][73][74][75] The film has grossed $103.1 million in the United States and Canada and $286.5 million in other territories for a worldwide total of $389.7 million (53% less than the first film), against a production budget of $165 million.[3][76]

text: In the United States and Canada, Independence Day: Resurgence was released on June 24, 2016 and was projected to gross $45–65 million in its opening weekend.[2][77][78][79] It opened across 4,130 theaters, which includes 3,242 3D locations, 386 IMAX theaters and 450 premium large format.[80] It made $4 million in Thursday-night previews from 3,200 theaters,[81][82] On its opening day, it made $16.8 million including Thursday previews, compared to the first film's $11.1 million.[83] In its opening weekend, the film grossed $41 million, less than the $50.2 million debut of the original, finishing in second place at the box office, behind the animated Finding Dory which was on its second week of play. IMAX made up $5 million of the film's opening numbers from 365 theaters.[84] It dropped enormously on its second Friday by 72.1% earning $4.7 million.[85] In its second weekend the film fell by 59.3%, despite the Independence Day holiday frame, earning $16 million.[86] After falling well below studio expectations, it was considered "a box office disappointment" by analysts.[77][87][88][89]

text: Internationally, the film fared better and was released across 58 countries – 73.5% of its total marketplace – where it earned a five-day total of $99.5 million on 21,872 screens,[90][91] which fell more or less in line with its $100–150 million opening projections.[92] It took the number one spot in 40 of those markets. It performed exceptionally well in IMAX, where it recorded the biggest IMAX international opening for Fox, with $10.8 million from 533 IMAX theaters, breaking Deadpool's previous record of $8.1 million the same year.[90] In its second weekend, it grossed an additional $39 million from 64 markets and on just under 17,686 screens, down 60% from its first weekend while maintaining the top spot.[93] It topped the international box office for two consecutive weekends before falling into fourth place in its third weekend behind Ice Age: Collision Course, Finding Dory and The Legend of Tarzan.[94]

text: Its highest international tallies were recorded in China ($37.3 million), Mexico ($11.5 million), South Korea ($7.3 million), the United Kingdom and Ireland ($7.3 million), and Taiwan ($3.7 million). It scored the biggest ever opening for Fox in India with $3.5 million.[90] In United Kingdom and Ireland, it debuted in second place, behind The Secret Life of Pets during a week when Brexit happened.[95] Fox also reported "terrific" results across Asia and Latin America, with numerous markets generating the biggest opening weekend ever for a Roland Emmerich film.[91] In Japan, with an opening of $6.4 million, the film recorded the biggest Saturday and Sunday opening for Fox since Star Wars: Episode III – Revenge of the Sith in 2005, besting even Avatar by 5%.[94] In China, where the film received overwhelmingly negative reviews,[96] it managed to record the fourth biggest Fox opening ever and came in second place, behind Now You See Me 2, after a close race between the two. However, it did set the record for the biggest IMAX opening for Fox there, where it took in $6.4 million at 294 IMAX sites, surpassing The Martian.[90][91] It is expected to earn $90–153 million in China, which could eclipse Emmerich's previous biggest film there, 2012 ($68.6 million).[96][97] It has so far grossed a total of $66.15 million in two weeks there.

text: In terms of total earnings, the biggest markets outside North America are China ($75.3 million), Japan ($25.03 million), Germany ($16.5 million), the United Kingdom ($15.7 million), Mexico ($14.1 million), and South Korea ($11.2 million).

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 31% based on 195 reviews and an average rating of 4.3/10. The site's critical consensus reads, "It's undeniably visually impressive, but like its predecessor, Independence Day: Resurgence lacks enough emotional heft to support its end-of-the-world narrative stakes."[98] On Metacritic, the film has a score of 32 out of 100 based on 40 critics, indicating "generally unfavorable reviews".[99] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[100]

text: Richard Roeper gave the film one and a half out of four stars, writing, "The Resurgence blueprint calls for a scene in which characters have human, allegedly humorous and/or touching moments; a scene in which characters plot strategy against the aliens; and a big action sequence in which it's often difficult to tell the difference between the good-guy spaceships and the bad-guy spaceships. Rinse and repeat, rinse and repeat."[101] Mike Ryan of Uproxx gave the film a negative review, saying, "This should be dumb fun. It's just dumb."[102] Peter Bradshaw of The Guardian gave the film 1/5 stars, describing it as a "planet-smashingly boring sci-fi sequel."[103] Dave Palmer of The Reel Deal gave the film 2/10, saying, "The final shot of the film is a set up for another sequel, and I just pray to God aliens come and wipe us out before that day comes."[104] Ignatiy Vishnevetsky of The A.V. Club criticized the film as an example of Hollywood's current business model of "preemptive franchising," stating that "The movie's dips into all-out space opera (interstellar travel, more alien species, etc.) are only meant to get the audience pumped for a movie that doesn't yet exist, making the undistinguished climax seem like a skirmish."[105] Robbie Collin of The Telegraph gave it 2/5 stars, saying it shows "no signs of intelligent life."[106] Sandie Angulo Chen of Common Sense Media says that the film "isn't going to wow anyone who's seen the original," and it may satisfy younger audiences who care about the battle sequences, "but overall this isn't a satisfying sequel."[107]

text: Dan Jolin of Empire gave the film a positive review, saying it was "spectacular as you'd hope from a sequel to the 1996 planet-toaster, and as amusingly cheesy. You'll enjoy yourself enough that you won't even miss Will Smith."[108] Guy Lodge of Variety gave the film a positive review, calling it "a silly but spectacular sequel".[109] Lucy O'Brien of IGN gave the film an 8/10, saying, "a silly, cheesy, spectacle-driven blockbuster with heart, Independence Day: Resurgence is a refreshing antidote to the grim and the serious sentiment we've seen trending in sci-fi flicks of recent years. While its plot is messy and it's stuffed with too many characters, I dare you not to leave the theatre with a guilt-free smile on your face."[110] Also rating the film an 8/10 was Jack Bottomley of Starburst, who wrote, "Emmerich's film is stupid and entertaining and sometimes stupidly entertaining but unlike his misfires 10,000 BC and Godzilla, it realises this fact and embraces it as a facet of the movie's character, taking its popcorn-munching entertainment to ridiculous levels in terms of grand scale and enjoyment."[111] Ealasaid A. Haas of The Mercury News gave the film a mediocre review, saying that "It was okay."[112]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Alliance of Women Film Journalists
December 21, 2016
Most Egregious Age Difference Between The Lead and The Love Interest Award
Charlotte Gainsbourg and Jeff Goldblum
Nominated
[113]
[114]

Remake or Sequel That Shouldn’t Have Been Made
Independence Day: Resurgence
Nominated

Houston Film Critics Society
January 6, 2017
Worst Film
Independence Day: Resurgence
Nominated
[115]
[116]

Jupiter Awards
March 29, 2017
Best International Film
Independence Day: Resurgence
Won
[117]

Golden Raspberry Awards
February 25, 2017
Worst Picture
Dean Devlin, Harald Kloser and Roland Emmerich
Nominated
[118]

Worst Director
Roland Emmerich
Nominated

Worst Screenplay
Nicolas Wright, James A. Woods, Dean Devlin, Roland Emmerich and James Vanderbilt
Nominated

Worst Supporting Actress
Sela Ward
Nominated

Worst Prequel, Remake, Ripoff or Sequel
Independence Day: Resurgence
Nominated

Saturn Awards
June 28, 2017
Best Science Fiction Film
Independence Day: Resurgence
Nominated
[119]

Teen Choice Awards
July 31, 2016
Choice Summer Movie
Independence Day: Resurgence
Nominated
[120]

Choice Summer Movie Star: Male
Liam Hemsworth
Nominated

Visual Effects Society Awards
February 7, 2017
Outstanding Compositing in a Photoreal Feature
"Under the Mothership" – Matthew Giampa, Daniel Lee, Adrian Sutherland and Ed Wilkie
Nominated
[121]

text: Possible sequel[edit]

text: In June 2016, during an interview with Empire magazine, Emmerich stated that a third film could be made, depending on the success of the second one. He also said that audiences would not have to wait as long as they did for the second in the series.[122] According to Emmerich, the third film will depict an intergalactic journey, possibly set a year or two later since he wants to maintain the same group of people, especially the young characters.[123]


document_title: The Lion King (2019 film)

question_text: who is playing nala in the new lion king

text: The Lion King (2019 film)

text: Voice cast

text:
Donald Glover as Simba, the crown prince of the Pride Lands.
JD McCrary as young Simba
Beyoncé Knowles-Carter as Nala, Simba's childhood best friend and future love-interest.
Shahadi Wright Joseph as young Nala
James Earl Jones as Mufasa, the king of the Pride Lands and the father of Simba. Jones reprises his role from the original 1994 animated movie of the same name.
Chiwetel Ejiofor as Scar, the treacherous brother of Mufasa and the uncle of Simba who seeks to take the mantle of king.
Billy Eichner as Timon, a wise-cracking and loyal meerkat who befriends and adopts, Simba when he was a young runaway.
Seth Rogen as Pumbaa, a naive common warthog who befriends and adopts, Simba when he was a young runaway.
John Kani as Rafiki, a wise mandrill who serves as the shaman of the Pride Lands and a close friend of Mufasa's.
John Oliver as Zazu, a hornbill who is the advisor to the King of the Pride Lands.
Alfre Woodard as Sarabi, Mufasa's mate, the mother of Simba, and queen of the Pride Lands.
Florence Kasumba as Shenzi, the lead hyena of the trio, Scar's henchmen.
Eric Andre as Azizi, a member of Scar's trio.
Keegan-Michael Key as Kamari, an unhinged hysterical hyena who laughs a lot and is part of Scar's henchmen.

text: Production

text: Development

text: On September 28, 2016, Walt Disney Pictures confirmed that Jon Favreau would be directing a fast-tracked remake of the 1994 animated film The Lion King, which would feature the songs from the 1994 film, following a string of recent box office successes on the other Disney remake films such as Maleficent, Cinderella, Favreau's The Jungle Book and Beauty and the Beast with the latter three also earning critical praise.[1] Later on October 13, it was reported that Disney had hired Jeff Nathanson to write the screenplay for the remake.[2] In November, talking with ComingSoon.net, Favreau said the virtual cinematography technology he used in The Jungle Book would be used to a greater degree in The Lion King.[3] Although the media reported The Lion King to be a live-action film, it actually utilizes photorealistic animation. Disney also did not describe it as live-action, only stating it would follow the "technologically groundbreaking" approach of The Jungle Book.[4]

text: Casting

text: In mid-February 2017, Donald Glover was cast as Simba, with James Earl Jones reprising his role as Mufasa from the 1994 film.[5]

text: In April, Billy Eichner and Seth Rogen were cast to play Timon and Pumbaa respectively.[6] In July, John Oliver was cast as Zazu.[7] In August, Alfre Woodard and John Kani were announced to play Sarabi and Rafiki, respectively.[8][9]

text: Earlier in March, it was announced that Beyoncé was Favreau's top choice for the role of Nala and that the director and studio would be willing to do whatever it took to accommodate her busy schedule.[10] Later on November 1, her role was confirmed in an official announcement,[11][12] which also confirmed that Chiwetel Ejiofor would play the role of Scar as he had impressed Favreau after watching his antagonistic performance as Baron Mordo in Doctor Strange (2016). Other stars Eric Andre, Florence Kasumba, Keegan-Michael Key will be the voices of Azizi, Shenzi and Kamari while JD McCrary and Shahadi Wright Joseph will be the voices of young Simba and young Nala, respectively.[13][14][15][16]

text: Filming

text: Production on the film commenced in the summer of 2017,[17] on a blue screen stage in Los Angeles, California.[18]

text: Music

text: On November 1, 2017, it was announced that Hans Zimmer would return to score the film, having previously scored the 1994 animated version.[19] On November 28, 2017, it was reported that Elton John had signed onto the project to rework his musical compositions from the original film before his retirement.[20] The following day it was reported that Beyoncé would be assisting John in the reworking of the soundtrack.[21] On February 9, 2018, John reported that he, Tim Rice and Beyoncé would create a new song for the end credits of the film.[22] Later that month, it was revealed that four songs from the original film would be included in the film: "Can You Feel the Love Tonight", "Hakuna Matata", "I Just Can't Wait to Be King", and "Circle of Life".[23]

text: Release

text: The Lion King is scheduled to be released on July 19, 2019, which marks the 25th anniversary of the release of the original film.[24]

text: The Lion King will be one of the first films to be released on Disney's planned streaming service alongside Toy Story 4, and Frozen 2.[25]