title: Nuclear fusion

text: The net result of the opposing electrostatic and strong nuclear forces is that the binding energy per nucleon generally increases with increasing size, up to the elements iron and nickel, and then decreases for heavier nuclei. Eventually, the binding energy becomes negative and very heavy nuclei (all with more than 208 nucleons, corresponding to a diameter of about 6 nucleons) are not stable. The four most tightly bound nuclei, in decreasing order of binding energy per nucleon, are , , , and . Even though the nickel isotope, , is more stable, the iron isotope is an order of magnitude more common. This is due to the fact that there is no easy way for stars to create through the alpha process.


title: Nuclear fusion

text: An exception to this general trend is the helium-4 nucleus, whose binding energy is higher than that of lithium, the next heavier element. This is because protons and neutrons are fermions, which according to the Pauli exclusion principle cannot exist in the same nucleus in exactly the same state. Each proton or neutron's energy state in a nucleus can accommodate both a spin up particle and a spin down particle. Helium-4 has an anomalously large binding energy because its nucleus consists of two protons and two neutrons (it is a doubly magic nucleus), so all four of its nucleons can be in the ground state. Any additional nucleons would have to go into higher energy states. Indeed, the helium-4 nucleus is so tightly bound that it is commonly treated as a single quantum mechanical particle in nuclear physics, namely, the alpha particle.


title: Nuclear fusion

text: The situation is similar if two nuclei are brought together. As they approach each other, all the protons in one nucleus repel all the protons in the other. Not until the two nuclei actually come close enough for long enough so the strong nuclear force can take over (by way of tunneling) is the repulsive electrostatic force overcome. Consequently, even when the final energy state is lower, there is a large energy barrier that must first be overcome. It is called the Coulomb barrier.


title: Nuclear fusion

text: The Coulomb barrier is smallest for isotopes of hydrogen, as their nuclei contain only a single positive charge. A diproton is not stable, so neutrons must also be involved, ideally in such a way that a helium nucleus, with its extremely tight binding, is one of the products.


title: Nuclear fusion

text: Using deuterium–tritium fuel, the resulting energy barrier is about 0.1 MeV. In comparison, the energy needed to remove an electron from hydrogen is 13.6 eV. The (intermediate) result of the fusion is an unstable He nucleus, which immediately ejects a neutron with 14.1 MeV. The recoil energy of the remaining He nucleus is 3.5 MeV, so the total energy liberated is 17.6 MeV. This is many times more than what was needed to overcome the energy barrier.


title: Nuclear fusion

text: The reaction cross section (σ) is a measure of the probability of a fusion reaction as a function of the relative velocity of the two reactant nuclei. If the reactants have a distribution of velocities, e.g. a thermal distribution, then it is useful to perform an average over the distributions of the product of cross-section and velocity. This average is called the 'reactivity', denoted . The reaction rate (fusions per volume per time) is times the product of the reactant number densities:


title: Nuclear fusion

text: If a species of nuclei is reacting with a nucleus like itself, such as the DD reaction, then the product formula_2 must be replaced by formula_3.


title: Nuclear fusion

text: formula_4 increases from virtually zero at room temperatures up to meaningful magnitudes at temperatures of 10–100 keV. At these temperatures, well above typical ionization energies (13.6 eV in the hydrogen case), the fusion reactants exist in a plasma state.


title: Nuclear fusion

text: The significance of formula_4 as a function of temperature in a device with a particular energy confinement time is found by considering the Lawson criterion. This is an extremely challenging barrier to overcome on Earth, which explains why fusion research has taken many years to reach the current advanced technical state.


title: Nuclear fusion

text: If matter is sufficiently heated (hence being plasma) and confined, fusion reactions may occur due to collisions with extreme thermal kinetic energies of the particles. Thermonuclear weapons produce what amounts to an uncontrolled release of fusion energy. Controlled thermonuclear fusion concepts use magnetic fields to confine the plasma.


title: Nuclear fusion

text: Inertial confinement fusion (ICF) is a method aimed at releasing fusion energy by heating and compressing a fuel target, typically a pellet containing deuterium and tritium.


title: Nuclear fusion

text: Inertial electrostatic confinement is a set of devices that use an electric field to heat ions to fusion conditions. The most well known is the fusor. Starting in 1999, a number of amateurs have been able to do amateur fusion using these homemade devices. Other IEC devices include: the Polywell, MIX POPS and Marble concepts.


title: Nuclear fusion

text: Accelerator-based light-ion fusion is a technique using particle accelerators to achieve particle kinetic energies sufficient to induce light-ion fusion reactions. Accelerating light ions is relatively easy, and can be done in an efficient manner—requiring only a vacuum tube, a pair of electrodes, and a high-voltage transformer; fusion can be observed with as little as 10 kV between the electrodes. The system can be arranged to accelerate ions into a static fuel-infused target, known as "beam-target" fusion, or by accelerating two streams of ions towards each other, "beam-beam" fusion.


title: Nuclear fusion

text: The key problem with accelerator-based fusion (and with cold targets in general) is that fusion cross sections are many orders of magnitude lower than Coulomb interaction cross-sections. Therefore, the vast majority of ions expend their energy emitting bremsstrahlung radiation and the ionization of atoms of the target. Devices referred to as sealed-tube neutron generators are particularly relevant to this discussion. These small devices are miniature particle accelerators filled with deuterium and tritium gas in an arrangement that allows ions of those nuclei to be accelerated against hydride targets, also containing deuterium and tritium, where fusion takes place, releasing a flux of neutrons. Hundreds of neutron generators are produced annually for use in the petroleum industry where they are used in measurement equipment for locating and mapping oil reserves.


title: Nuclear fusion

text: A number of attempts to recirculate the ions that "miss" collisions have been made over the years. One of the better-known attempts in the 1970s was Migma, which used a unique particle storage ring to capture ions into circular orbits and return them to the reaction area. Theoretical calculations made during funding reviews pointed out that the system would have significant difficulty scaling up to contain enough fusion fuel to be relevant as a power source. In the 1990s, a new arrangement using a field-reverse configuration (FRC) as the storage system was proposed by Norman Rostoker and continues to be studied by TAE Technologies . A closely related approach is to merge two FRC's rotating in opposite directions, which is being actively studied by Helion Energy. Because these approaches all have ion energies well beyond the Coulomb barrier, they often suggest the use of alternative fuel cycles like p-B that are too difficult to attempt using conventional approaches.


title: Nuclear fusion

text: Muon-catalyzed fusion is a fusion process that occurs at ordinary temperatures. It was studied in detail by Steven Jones in the early 1980s. Net energy production from this reaction has been unsuccessful because of the high energy required to create muons, their short 2.2 µs half-life, and the high chance that a muon will bind to the new alpha particle and thus stop catalyzing fusion.


title: Nuclear fusion

text: At the temperatures and densities in stellar cores, the rates of fusion reactions are notoriously slow. For example, at solar core temperature ("T" ≈ 15 MK) and density (160 g/cm), the energy release rate is only 276 μW/cm—about a quarter of the volumetric rate at which a resting human body generates heat. Thus, reproduction of stellar core conditions in a lab for nuclear fusion power production is completely impractical. Because nuclear reaction rates depend on density as well as temperature and most fusion schemes operate at relatively low densities, those methods are strongly dependent on higher temperatures. The fusion rate as a function of temperature (exp(−"E"/"kT")), leads to the need to achieve temperatures in terrestrial reactors 10–100 times higher than in stellar interiors: "T" ≈ 0.1–1.0×10 K.


title: Nuclear fusion

text: In artificial fusion, the primary fuel is not constrained to be protons and higher temperatures can be used, so reactions with larger cross-sections are chosen. Another concern is the production of neutrons, which activate the reactor structure radiologically, but also have the advantages of allowing volumetric extraction of the fusion energy and tritium breeding. Reactions that release no neutrons are referred to as "aneutronic".


title: Nuclear fusion

text: For reactions with two products, the energy is divided between them in inverse proportion to their masses, as shown. In most reactions with three products, the distribution of energy varies. For reactions that can result in more than one set of products, the branching ratios are given.


title: Nuclear fusion

text: Some reaction candidates can be eliminated at once. The D-Li reaction has no advantage compared to p- because it is roughly as difficult to burn but produces substantially more neutrons through - side reactions. There is also a p- reaction, but the cross section is far too low, except possibly when "T" > 1 MeV, but at such high temperatures an endothermic, direct neutron-producing reaction also becomes very significant. Finally there is also a p- reaction, which is not only difficult to burn, but can be easily induced to split into two alpha particles and a neutron.


title: Nuclear fusion

text: In addition to the fusion reactions, the following reactions with neutrons are important in order to "breed" tritium in "dry" fusion bombs and some proposed fusion reactors:


title: Nuclear fusion

text: The latter of the two equations was unknown when the U.S. conducted the Castle Bravo fusion bomb test in 1954. Being just the second fusion bomb ever tested (and the first to use lithium), the designers of the Castle Bravo "Shrimp" had understood the usefulness of Li in tritium production, but had failed to recognize that Li fission would greatly increase the yield of the bomb. While Li has a small neutron cross-section for low neutron energies, it has a higher cross section above 5 MeV. The 15 Mt yield was 150% greater than the predicted 6 Mt and caused unexpected exposure to fallout.


title: Nuclear fusion

text: To evaluate the usefulness of these reactions, in addition to the reactants, the products, and the energy released, one needs to know something about the nuclear cross section. Any given fusion device has a maximum plasma pressure it can sustain, and an economical device would always operate near this maximum. Given this pressure, the largest fusion output is obtained when the temperature is chosen so that is a maximum. This is also the temperature at which the value of the triple product required for ignition is a minimum, since that required value is inversely proportional to (see Lawson criterion). (A plasma is "ignited" if the fusion reactions produce enough power to maintain the temperature without external heating.) This optimum temperature and the value of at that temperature is given for a few of these reactions in the following table.


title: Nuclear fusion

text: Note that many of the reactions form chains. For instance, a reactor fueled with and creates some , which is then possible to use in the - reaction if the energies are "right". An elegant idea is to combine the reactions (8) and (9). The from reaction (8) can react with in reaction (9) before completely thermalizing. This produces an energetic proton, which in turn undergoes reaction (8) before thermalizing. Detailed analysis shows that this idea would not work well, but it is a good example of a case where the usual assumption of a Maxwellian plasma is not appropriate.


title: Nuclear fusion

text: Any of the reactions above can in principle be the basis of fusion power production. In addition to the temperature and cross section discussed above, we must consider the total energy of the fusion products "E", the energy of the charged fusion products "E", and the atomic number "Z" of the non-hydrogenic reactant.


title: Nuclear fusion

text: Specification of the - reaction entails some difficulties, though. To begin with, one must average over the two branches (2i) and (2ii). More difficult is to decide how to treat the and products. burns so well in a deuterium plasma that it is almost impossible to extract from the plasma. The - reaction is optimized at a much higher temperature, so the burnup at the optimum - temperature may be low. Therefore, it seems reasonable to assume the but not the gets burned up and adds its energy to the net reaction, which means the total reaction would be the sum of (2i), (2ii), and (1):


title: Nuclear fusion

text: For calculating the power of a reactor (in which the reaction rate is determined by the D-D step), we count the - fusion energy "per D-D reaction" as "E" = (4.03 MeV + 17.6 MeV)×50% + (3.27 MeV)×50% = 12.5 MeV and the energy in charged particles as "E" = (4.03 MeV + 3.5 MeV)×50% + (0.82 MeV)×50% = 4.2 MeV. (Note: if the tritium ion reacts with a deuteron while it still has a large kinetic energy, then the kinetic energy of the helium-4 produced may be quite different from 3.5 MeV, so this calculation of energy in charged particles is only an approximation of the average.) The amount of energy per deuteron consumed is 2/5 of this, or 5.0 MeV (a specific energy of about 225 million MJ per kilogram of deuterium).


title: Nuclear fusion

text: Another unique aspect of the - reaction is that there is only one reactant, which must be taken into account when calculating the reaction rate.


title: Nuclear fusion

text: The last column is the neutronicity of the reaction, the fraction of the fusion energy released as neutrons. This is an important indicator of the magnitude of the problems associated with neutrons like radiation damage, biological shielding, remote handling, and safety. For the first two reactions it is calculated as ("E"-"E")/"E". For the last two reactions, where this calculation would give zero, the values quoted are rough estimates based on side reactions that produce neutrons in a plasma in thermal equilibrium.


title: Nuclear fusion

text: Of course, the reactants should also be mixed in the optimal proportions. This is the case when each reactant ion plus its associated electrons accounts for half the pressure. Assuming that the total pressure is fixed, this means that particle density of the non-hydrogenic ion is smaller than that of the hydrogenic ion by a factor 2/("Z"+1). Therefore, the rate for these reactions is reduced by the same factor, on top of any differences in the values of . On the other hand, because the - reaction has only one reactant, its rate is twice as high as when the fuel is divided between two different hydrogenic species, thus creating a more efficient reaction.


title: Nuclear fusion

text: Thus there is a "penalty" of (2/("Z"+1)) for non-hydrogenic fuels arising from the fact that they require more electrons, which take up pressure without participating in the fusion reaction. (It is usually a good assumption that the electron temperature will be nearly equal to the ion temperature. Some authors, however, discuss the possibility that the electrons could be maintained substantially colder than the ions. In such a case, known as a "hot ion mode", the "penalty" would not apply.) There is at the same time a "bonus" of a factor 2 for - because each ion can react with any of the other ions, not just a fraction of them.


title: Nuclear fusion

text: The maximum value of is taken from a previous table. The "penalty/bonus" factor is that related to a non-hydrogenic reactant or a single-species reaction. The values in the column "inverse reactivity" are found by dividing 1.24 by the product of the second and third columns. It indicates the factor by which the other reactions occur more slowly than the - reaction under comparable conditions. The column "Lawson criterion" weights these results with "E" and gives an indication of how much more difficult it is to achieve ignition with these reactions, relative to the difficulty for the - reaction. The next-to-last column is labeled "power density" and weights the practical reactivity by "E". The final column indicates how much lower the fusion power density of the other reactions is compared to the - reaction and can be considered a measure of the economic potential.


title: Nuclear fusion

text: The ions undergoing fusion in many systems will essentially never occur alone but will be mixed with electrons that in aggregate neutralize the ions' bulk electrical charge and form a plasma. The electrons will generally have a temperature comparable to or greater than that of the ions, so they will collide with the ions and emit x-ray radiation of 10–30 keV energy, a process known as Bremsstrahlung.


title: Nuclear fusion

text: The huge size of the Sun and stars means that the x-rays produced in this process will not escape and will deposit their energy back into the plasma. They are said to be opaque to x-rays. But any terrestrial fusion reactor will be optically thin for x-rays of this energy range. X-rays are difficult to reflect but they are effectively absorbed (and converted into heat) in less than mm thickness of stainless steel (which is part of a reactor's shield). This means the bremsstrahlung process is carrying energy out of the plasma, cooling it.


title: Nuclear fusion

text: The ratio of fusion power produced to x-ray radiation lost to walls is an important figure of merit. This ratio is generally maximized at a much higher temperature than that which maximizes the power density (see the previous subsection). The following table shows estimates of the optimum temperature and the power ratio at that temperature for several reactions:


title: Nuclear fusion

text: The actual ratios of fusion to Bremsstrahlung power will likely be significantly lower for several reasons. For one, the calculation assumes that the energy of the fusion products is transmitted completely to the fuel ions, which then lose energy to the electrons by collisions, which in turn lose energy by Bremsstrahlung. However, because the fusion products move much faster than the fuel ions, they will give up a significant fraction of their energy directly to the electrons. Secondly, the ions in the plasma are assumed to be purely fuel ions. In practice, there will be a significant proportion of impurity ions, which will then lower the ratio. In particular, the fusion products themselves "must" remain in the plasma until they have given up their energy, and "will" remain for some time after that in any proposed confinement scheme. Finally, all channels of energy loss other than Bremsstrahlung have been neglected. The last two factors are related. On theoretical and experimental grounds, particle and energy confinement seem to be closely related. In a confinement scheme that does a good job of retaining energy, fusion products will build up. If the fusion products are efficiently ejected, then energy confinement will be poor, too.


title: Nuclear fusion

text: The temperatures maximizing the fusion power compared to the Bremsstrahlung are in every case higher than the temperature that maximizes the power density and minimizes the required value of the fusion triple product. This will not change the optimum operating point for - very much because the Bremsstrahlung fraction is low, but it will push the other fuels into regimes where the power density relative to - is even lower and the required confinement even more difficult to achieve. For - and -, Bremsstrahlung losses will be a serious, possibly prohibitive problem. For -, p- and p- the Bremsstrahlung losses appear to make a fusion reactor using these fuels with a quasineutral, isotropic plasma impossible. Some ways out of this dilemma have been considered but rejected. This limitation does not apply to non-neutral and anisotropic plasmas; however, these have their own challenges to contend with.


title: Nuclear fusion

text: In a classical picture, nuclei can be understood as hard spheres that repel each other through the Coulomb force but fuse once the two spheres come close enough for contact. Estimating the radius of an atomic nuclei as about one femtometer, the energy needed for fusion of two hydrogen is:


title: Nuclear fusion

text: This would imply that for the core of the sun, which has a Boltzmann distribution with a temperature of around 1.4 keV, the probability hydrogen would reach the threshold is formula_7, that is, fusion would never occur. However, fusion in the sun does occur due to quantum mechanics.


title: Nuclear fusion

text: The probability that fusion occurs is greatly increased compared to the classical picture, thanks to the smearing of the effective radius as the de Broglie wavelength as well as quantum tunneling through the potential barrier. To determine the rate of fusion reactions, the value of most interest is the cross section, which describes the probability that particles will fuse by giving a characteristic area of interaction. An estimation of the fusion cross-sectional area is often broken into three pieces:


title: Nuclear fusion

text: Where formula_9 is the geometric cross section, is the barrier transparency and is the reaction characteristics of the reaction.


title: Nuclear fusion

text: formula_9 is of the order of the square of the de-Broglie wavelength formula_11 where formula_12 is the reduced mass of the system and formula_13 is the center of mass energy of the system.


title: Nuclear fusion

text: More detailed forms of the cross-section can be derived through nuclear physics-based models and R-matrix theory.


title: Nuclear fusion

text: The Naval Research Lab's plasma physics formulary gives the total cross section in barns as a function of the energy (in keV) of the incident particle towards a target ion at rest fit by the formula:


title: Nuclear fusion

text: Bosch-Hale also reports a R-matrix calculated cross sections fitting observation data with Padé rational approximating coefficients. With energy in units of keV and cross sections in units of millibarn, the factor has the form:


title: Nuclear fusion

text: In fusion systems that are in thermal equilibrium, the particles are in a Maxwell–Boltzmann distribution, meaning the particles have a range of energies centered around the plasma temperature. The sun, magnetically confined plasmas and inertial confinement fusion systems are well modeled to be in thermal equilibrium. In these cases, the value of interest is the fusion cross-section averaged across the Maxwell-Boltzmann distribution. The Naval Research Lab's plasma physics formulary tabulates Maxwell averaged fusion cross sections reactivities in formula_22.


title: Lost in Space

text: Lost in Space is an American science fiction television series, created and produced by Irwin Allen, which originally aired between 1965 and 1968 on CBS. The series was inspired by the 1812 novel "The Swiss Family Robinson." The series follows the adventures of the Robinsons, a pioneering family of space colonists who struggle to survive in the depths of space. The show ran for 83 episodes over three seasons. The first season comprised 29 episodes that ran 1 hour apiece, filmed in black and white. In seasons 2 and 3 the episodes were 55 minutes long and shot in color.


title: Lost in Space

text: On October 16, 1997, the United States is gearing up to colonize space. The "Jupiter 2", a futuristic saucer-shaped spacecraft, stands on its launch pad undergoing final preparations. Its mission is to take a single family on a five-and-a-half year journey to an Earth-like planet orbiting the star Alpha Centauri.


title: Lost in Space

text: The Robinson family consists of Professor John Robinson (Guy Williams), his wife Maureen (June Lockhart), and their three children: Judy (Marta Kristen); Penny (Angela Cartwright); and Will (Bill Mumy). The family is accompanied by U.S. Space Corps Major Donald West (Mark Goddard). The Robinsons and Major West are to be cryogenically frozen for the voyage, and they are set to be unfrozen when the spacecraft approaches its destination.


title: Lost in Space

text: Dr. Zachary Smith (Jonathan Harris), Alpha Control's doctor, is revealed to be a saboteur working on behalf of an unnamed nation, with which he communicated under the code name Aeolis-14-Umbra. After disposing of a guard who catches him aboard the spacecraft, Smith reprograms the "Jupiter 2"s ym3-b-9 environmental control robot - [Gunther} (Bob May, voiced by Dick Tufeld) to destroy critical systems on the spaceship eight hours after launch. Smith becomes trapped aboard at launch, however, and his extra weight throws the "Jupiter 2" off course, causing it to encounter asteroids. This, plus the robot's rampage, causes the ship to prematurely engage its hyperdrive, and the expedition becomes hopelessly lost in the infinite depths of outer space. Smith's selfish actions and laziness frequently endanger the expedition, but his role assumes less sinister overtones in later parts of the series.


title: Lost in Space

text: The astronaut family of Dr. John Robinson, accompanied by a pilot and a robot, set out in the year 1997 from an overpopulated Earth in the spaceship "Jupiter 2" to travel to a planet circling the star Alpha Centauri. The "Jupiter 2" mission is sabotaged by Dr. Zachary Smith – an agent for an unnamed foreign government – who slips aboard the spaceship and reprograms the robot to destroy the ship and crew. However, Smith is trapped aboard, and his extra weight alters the craft's flight path and places it directly in the path of a massive meteor storm. Smith manages to save himself by prematurely reviving the crew from suspended animation. The ship survives, but the damage caused by Smith's earlier sabotage of the robot leaves the crew lost in space. The "Jupiter 2" crash-lands on an alien world, later identified by Will as Priplanus, where they spend the rest of the season and survive a host of adventures. Smith remains with the crew and acts as a source of comedic cowardice and villainy, exploiting the eternally forgiving nature of Professor Robinson.


title: Lost in Space

text: At the start of the second season (from this point on filmed in color), the repaired "Jupiter 2" launches into space once more, to escape the destruction of Priplanus following a series of cataclysmic earthquakes. The Robinsons crash-land on a strange new world, to become planet-bound again for another season.


title: Lost in Space

text: In the third season, a format change was introduced. In this season, the "Jupiter 2" travels freely in space in seven episodes, visiting a planet but leaving at the end, or encountering an adventure in space. They visit new worlds in several episodes, with both crash and controlled landings, as the family attempts to either return to Earth or else at least reach their original destination in the Alpha Centauri system. A newly introduced "Space Pod" provides a means of transportation between the ship and passing planets, allowing for various escapades. This season had a different set of opening credits and a new theme tune, which had been composed by John Williams as part of the show's new direction.


title: Lost in Space

text: Jonathan Harris, although a permanent cast member, was listed in the opening credits as a "Special Guest Star" in every episode of "Lost in Space".


title: Lost in Space

text: Props and monsters were regularly recycled from other Irwin Allen shows. A sea monster outfit that had been featured on "Voyage to the Bottom of the Sea" might get a spray paint job for its "Lost in Space" appearance, while space monster costumes were reused on "Voyage" as sea monsters. The clear round plastic pen holder used as a control surface in the episode "The Derelict" turned up regularly throughout the show's entire run both as primary controls to activate alien machinery (or open doors or cages), and as background set dressing; some primary controls were seen used in episodes such as Season 1's "The Keeper (Parts 1 and 2)", "His Majesty Smith", and Season 3's "A Day At The Zoo", and "The Promised Planet".


title: Lost in Space

text: Spacecraft models were also routinely re-used. The foreboding derelict ship from season 1 was redressed to become the "Vera Castle" in season 3. The Fuel Barge from season 2 became a Space Lighthouse in season 3. The derelict ship was used again in season 3, with a simple color change. Likewise the alien pursuer's ship in "The Sky Pirate", was lifted from the 1958 film "War of the Satellites", and was re-used in the episode "Deadliest of the Species".


title: Lost in Space

text: Despite being credited as a "Special Guest Star" in every episode, Smith became the pivotal character of the series. The show's writers expected Smith to be a temporary villain who would only appear in early episodes. Harris, on the other hand, hoped to stay longer on the show, but he found his character to be boring, and feared it would also quickly bore viewers. Harris "began rewriting his lines and redefining his character", by playing Smith in an attention-getting, flamboyant style, and ad-libbing his scenes with colorful, pompous dialogue. By the end of the first season, the character of Smith is established as a self-serving coward. These character traits are magnified in subsequent seasons. His haughty bearing, and ever-present alliterative wit were staples of the character.


title: Lost in Space

text: "Lost in Space" is remembered for the Robot's oft-repeated lines such as "Warning! Warning!" and "It does not compute". Smith's frequent put-downs of the Robot were also popular. Harris was proud to talk about how he used to lie in bed at night dreaming them up for use on the show. "You Bubble-headed Booby!", "Cackling Cacophony", "Tin Plated Traitor", "Blithering Blatherskyte", and "Traitorous Transistorized Toad" are but a few, alongside his trademark lines: "Oh, the pain ... the pain!" and "Never fear, Smith is here!" One of Harris's last roles was providing the voice of the praying mantis Manny in Disney's "A Bug's Life", who also says the line "Oh, the pain ... the pain!" near the end of the film.


title: Lost in Space

text: The catchphrase "Danger, Will Robinson!" originates with the series, when the Robot warns young Will Robinson about impending threats. It was also used as the slogan of the 1998 film, whose official website had the address "www.dangerwillrobinson.com".


title: Lost in Space

text: In 1962, Gold Key comics, a division of Western Publishing Company, began publishing a series of comic books under the title "Space Family Robinson". The story was largely inspired by "The Swiss Family Robinson" but with a space-age twist. The film and television rights to the comic book were then purchased by noted television writer Hilda Bohem ("The Cisco Kid"), who created a treatment under the title "Space Family 3000".


title: Lost in Space

text: Intended as a follow up to his first successful television venture, "Voyage to the Bottom of the Sea", Allen quickly sold his concept for a television series to CBS. Concerned about confusion with the Gold Key comic book, CBS requested that Allen come up with a new title. Nevertheless, Hilda Bohem filed a claim against Allen and CBS Television shortly before the series premiered in 1965.


title: Lost in Space

text: Additional legal challenges appeared in 1995, when Prelude Pictures announced their intention to turn "Lost in Space" into a motion picture.


title: Lost in Space

text: The show was conceptualized in 1965 with the filming of an unaired pilot episode titled "No Place to Hide". The plot of the pilot episode followed the mission of a ship called the "Gemini 12," which was to take a single family on a 98-year journey to an Earth-like planet orbiting the star Alpha Centauri. The "Gemini 12" was pushed off course due to an encounter with an asteroid, and the story centered on the adventures of the Robinson family, depicting them as a happy crew without internal conflicts. While many storylines in the later series focused primarily on Dr. Zachary Smith, a stowaway and saboteur played by Jonathan Harris, he was absent from the unaired pilot. His character was added after the series was commissioned for production. The pilot episode was first aired on television during a 1997 retrospective.


title: Lost in Space

text: CBS bought the series, turning down "Star Trek" in favor of "Lost in Space". Before the first episode was filmed, the characters Smith and the Robot were added, and the spaceship, originally named "Gemini 12", was renamed the "Jupiter 2" and redesigned. For budget considerations, a good part of the footage included in the pilot episode was reused, being carefully worked into the early series episodes.


title: Lost in Space

text: The first season emphasized the daily adventures of the Robinsons. The first half of season 1 dealt with the Robinson party trekking around the rocky terrain and stormy inland oceans of Priplanus in the Chariot to avoid extreme temperatures. However, the format of the show later changed to a "Monster of the Week" style, where stories were loosely based on fantasy and fairy tales.


title: Lost in Space

text: In January 1966, ABC scheduled "Batman" in the same time slot as "Lost in Space". Season 2 imitated "Batman"'s campy humor to compete against that show's enormous success. Bright outfits, over-the-top action, and outrageous villains came to the fore in outlandish stories. Stories giving all characters focus were sacrificed in favor of a growing emphasis on Smith, Will, and the Robot. According to Bill Mumy, Mark Goddard and Guy Williams both disliked the shift away from serious science fiction.


title: Lost in Space

text: The third season had more straight adventure, with the "Jupiter 2" now functional and hopping from planet to planet, but the episodes still tended to be whimsical and to emphasize humor, including fanciful space hippies, more pirates, offbeat intergalactic zoos, ice princesses and "Lost in Space"s beauty pageant.


title: Lost in Space

text: During the first two seasons, episodes concluded in a "live action freeze" anticipating the following week, with a cliff-hanger caption, "To be continued next week! Same time—same channel!" For the third season, each episode's conclusion was immediately followed by a vocal "teaser" from the Robot (Dick Tufeld), warning viewers to "Stay tuned for scenes from next week's exciting adventure!". Scenes from the next episode were then presented, followed by the closing credits. There was little continuity between each episode, except for the aspiration of reaching a large goal, ie, enough fuel to travel from planet to planet.


title: Lost in Space

text: After cancellation, the show was successful in reruns and in syndication for many years, appearing on the USA Network (in the mid-to-late 1980s) and on FX, Syfy, ALN, MeTV and Hulu.


title: Lost in Space

text: In early 1968, while the final third-season episode "Junkyard in Space" was in production, the cast and crew were informally led to believe the series would return for a fourth season. Allen had ordered new scripts for the coming season. A few weeks later, however, CBS announced the list of returning television series for the 1968–69 season, and "Lost in Space" was not included. CBS executives failed to offer any reasons why "Lost in Space" was cancelled.


title: Lost in Space

text: The most likely reason the show was cancelled was its increasingly high cost. The cost per episode had grown from $130,980 during the first season to $164,788 during the third season, and the actors' salaries nearly doubled during that time. Further, the interior of the "Jupiter 2" was the most expensive set for a television show at the time, at a cost of $350,000. 20th Century Fox had also recently incurred huge budget overruns for the film "Cleopatra," which are believed to have caused budget cuts. Allen claimed the series could not continue with a reduced budget. During a negotiating conference regarding the series direction for the fourth season with CBS chief executive Bill Paley, Allen was furious when told that the budget would be cut by 15% from Season Three.


title: Lost in Space

text: The "Lost in Space Forever" DVD cites declining ratings and escalating costs as the reasons for cancellation. Irwin Allen admitted that the Season 3 ratings showed an increasing percentage of children among the total viewers, meaning a drop in the "quality audience" that advertisers preferred.


title: Lost in Space

text: Guy Williams had grown embittered with his role on the show as it became increasingly "campy" in Seasons 2 and 3 while centering squarely on the antics of Harris' Dr. Smith character. Williams retired from acting and relocated to Argentina after the end of the series.


title: Lost in Space

text: In 1995, Kevin Burns produced a documentary showcasing the career of Irwin Allen, hosted by Bill Mumy and June Lockhart in a recreation of the "Jupiter 2" exterior set. Mumy and Lockhart utilize the "Celestial Department Store Ordering Machine" as a temporal conduit to show information and clips on Allen's history. Clips from Allen's various productions as well as pilots for his unproduced series were presented along with new interviews with cast members of Allen's shows. Mumy and Lockhart complete their presentation and enter the "Jupiter 2", following which Jonathan Harris appears in character as Smith and instructs the Robot once again to destroy the ship as per his original instructions "... and this time get it right, you bubble-headed booby".


title: Lost in Space

text: In 1998, Burns produced a television special about the series which was hosted by John Larroquette and Robot B-9 (performed by actor Bob May and voice actor Dick Tufeld). The special was hosted within a recreation of the "Jupiter 2" upper deck set. The program ends with Laroquette mockingly pressing a button on the Amulet from "The Galaxy Gift" episode, disappearing and being replaced by Mumy and Harris who play an older Will Robinson and an older Zachary Smith. They attempt to return to Earth one more time but they find out that they are "Lost in Space ... Forever!"


title: Lost in Space

text: "Lost in Space" showcased a variety of transportation methods in the series. The "Jupiter 2" is a two-deck, nuclear powered flying saucer spacecraft. The version seen in the series was depicted with a lower level and landing legs.


title: Lost in Space

text: On the lower level were the atomic motors, which use a fictional substance called "deutronium" for fuel. The ship's living quarters feature Murphy beds, a galley, a laboratory, and the robot's "magnetic lock". On the upper level were the guidance control system and suspended animation "freezing tubes" necessary for non-relativistic interstellar travel. The two levels were connected by both an electronic glide tube elevator and a fixed ladder. The "Jupiter 2" explicitly had artificial gravity. Entrances and exits to the ship were via the main airlock on the upper level, or via the landing struts from the lower deck, and, according to one season 2 episode, a back door. The spacecraft was also intended to serve as home to the Robinsons once it had landed on the destination planet orbiting Alpha Centauri.


title: Lost in Space

text: "The Chariot" was an all-terrain, amphibious tracked vehicle that the crew used for ground transport when they were on a planet. The Chariot existed in a dis-assembled state during flight, to be re-assembled once on the ground. The Chariot was actually an operational cannibalized version of a Thiokol Snowcat Spryte, with a Ford 170-cubic-inch (3 L) inline-6, 101 horsepower engine with a 4-speed automatic transmission including reverse. Test footage filmed of the Chariot for the first season of the series can be seen on YouTube.


title: Lost in Space

text: Most of the Chariot's body panels were clear – including the roof and its dome-shaped "gun hatch". Both a roof rack for luggage and roof mounted "solar batteries" were accessible by exterior fixed ladders on either side of the vehicle. The vehicle had dual headlights and dual auxiliary area lights beneath the front and rear bumpers. The roof also had swivel-mounted, interior controllable spotlights located near each front corner, with a small parabolic antenna mounted between them. The Chariot had six bucket seats (three rows of two seats) for passengers. The interior featured retractable metallised fabric curtains for privacy, a seismograph, a scanner with infrared capability, a radio transceiver, a public address system, and a rifle rack that held four laser rifles vertically near the inside of the left rear corner body panel.


title: Lost in Space

text: A jet pack, specifically a Bell Rocket Belt, was used occasionally by Professor Robinson or Major West.


title: Lost in Space

text: The "Space Pod" was a small spacecraft first shown in the third and final season, which was modeled on the Apollo Lunar Module. The Pod was used to travel from its bay in the "Jupiter 2" to destinations either on a nearby planet or in space, and the pod apparently had artificial gravity and an auto-return mechanism.


title: Lost in Space

text: For self-defense, the crew of the "Jupiter 2" had an arsenal of laser guns at their disposal, including sling-carried rifles and holstered pistols. The first season's personal issue laser gun was a film prop modified from a toy semi-automatic pistol made by Remco. The crew also employed a force field around the "Jupiter 2" for protection while on alien planets. The force shield generator was able to protect the campsite and in one season 3 episode was able to shield the entire planet.


title: Lost in Space

text: For communication, the crew used small transceivers to communicate with each other, the Chariot, and the ship. In "The Raft", Will improvised several miniature rockoons in an attempt to send an interstellar "message in a bottle" distress signal. In season 2 a set of relay stations was built to further extend communications while planet-bound.


title: Lost in Space

text: Their environmental control Robot B-9 ran air and soil tests, and was able to discharge strong electrostatic charges from his claws, detect threats with his scanner and could produce a defensive smoke screen. The Robot could detect faint smells and could both understand speech and speak in its own right. The Robot claimed the ability to read human minds by translating emitted thought waves back into words.


title: Lost in Space

text: The "Jupiter 2" had some unexplained advanced technology that simplified or did away with mundane tasks. The "auto-matic laundry" took seconds to clean, iron, fold, and package clothes in clear plastic bags. Similarly, the "dishwasher" would clean, wash, and dry dishes in just seconds.


title: Lost in Space

text: Technology in the show reflected contemporary real-world developments. Silver reflective space blankets, a then new invention developed by NASA in 1964, were used in the episode titled "The Hungry Sea" and "Attack of the Monster Plants". The crew's spacesuits were made with aluminum-coated fabric, like NASA's Mercury spacesuits, and had Velcro fasteners, which NASA first used during the Apollo program (1961–1972).


title: Lost in Space

text: While the crew normally grew a hydroponic garden on a planet as an intermediate step before cultivating the soil of a planet, they also had "protein pills", which was a complete nutritional substitute for normal foods, in cases of emergency.


title: Lost in Space

text: Some members within the science-fiction community have pointed to "Lost in Space" as an example of early television's perceived poor record at producing science-fiction. The series' deliberate fantasy elements were perhaps overlooked as it drew comparisons to its supposed rival, "". However, "Lost in Space" was a mild ratings success, unlike "Star Trek", which received relatively poor ratings during its original network television run. The more cerebral "Star Trek" never averaged higher than 52nd in the ratings during its three seasons, while "Lost in Space" finished season one 35th in the Nielsen ratings, season two in 44th place, and the third and final season in 53rd place.


title: Lost in Space

text: "Lost in Space" also ranked third as one of the top five favorite new shows for the 1965–1966 season in a viewer TVQ poll. The other top contenders were "The Big Valley", "Get Smart", "I Dream of Jeannie" and "F Troop". "Lost in Space" was the favorite show of John F. Kennedy, Jr. while he was growing up in the 1960s.


title: Lost in Space

text: "Lost in Space" received a 1966 Emmy Award nomination for Cinematography-Special Photographic Effects but did not win, and again in 1968 for Achievement in Visual Arts & Makeup but did not win. In 2005, it was nominated for a Saturn Award for Best DVD Retro Television Release, but did not win. In 2008, TVLand nominated and awarded the series for Awesomest Robot.


title: Lost in Space

text: The open and closing theme music was written by John Williams. Williams was listed in the credits as "Johnny Williams". The original pilot and much of Season One reused Bernard Herrmann's eerie score from the classic sci-fi film "The Day the Earth Stood Still" (1951).


title: Lost in Space

text: Season three featured a new score which was considered more exciting and faster tempo. The opening music was accompanied by live action shots of the cast, featuring a pumped-up countdown from seven to one to launch each week's episode.


title: Lost in Space

text: Much of the incidental music in the series was written by Williams who scored four episodes. These scores helped Williams gain credibility as a composer. Other notable film and television composers who worked on the music for "Lost in Space" included Alexander Courage, who contributed six scores to the series.


title: Lost in Space

text: "Lost in Space" was picked up for syndication in most major U.S. markets. The program didn't have the staying power throughout the 1970s of its supposed rival, "Star Trek". Part of the reason for the show's obsolescence was that the first season of "Lost in Space" was in black-and-white, while a majority of American households at the time had a color television receiver. By 1975, many markets began removing "Lost in Space" from daily schedules or moving it to less desirable time slots. The series experienced a revival when Ted Turner acquired it for his growing WTBS "superstation" in 1979. Viewer response was positive, and it became a WTBS mainstay for the next five years.


title: Lost in Space

text: The OTT video streaming platform Hulu (which 70% of the service is owned by Lost in Space's distributor The Walt Disney Company) has consistently carried the show over the years. The show also airs on the classic television Digital broadcast network MeTV as part of their Super Sci-Fi Saturday Night block.


title: Lost in Space

text: In 1998, New Line Cinema produced a film adaptation. The 1998 film includes a number of homages to the original television series. These include cameos and story details from the original TV-series, including:


title: Lost in Space

text: Additional cameo appearances of actors from the original series were considered, but not included in the film:


title: Lost in Space

text: The film used a number of ideas familiar to viewers from the original show: Smith reprogramming the robot and its subsequent rampage ("Reluctant Stowaway"), near miss with the Sun ("Wild Adventure"), the derelict spaceship ("The Derelict"), discovery of the Blawp and the crash ("Island in the Sky") and an attempt to change history by returning to the beginning ("The Time Merchant"). Also a scene-stealing 'Goodnight' homage to the Waltons was included. Something fans of the original always wanted to see happen was finally realized when Don knocks out an annoyingly complaining Smith at the end of the film, saying "That felt good!"


title: Lost in Space

text: In 2004, a television series titled "The Robinsons: Lost in Space" was developed in the U.S. A pilot for the series was filmed; however, the series was ultimately never produced. The series originally was intended to emulate Lost in Space's unaired pilot. The 2004 show did feature the unnamed robot, and an additional older Robinson child named David. Penny, who had been depicted as a preteen in the original series was depicted as an infant in the 2004 remake. The pilot was titled "The Robinsons: Lost in Space" and was commissioned by The WB. The pilot was directed by John Woo and produced by Synthesis Entertainment, Irwin Allen Productions, Twentieth Century Fox Television and Regency Television.


title: Lost in Space

text: The "Jupiter 2" interstellar flying-saucer spacecraft of the original series was depicted as a planet-landing craft, deployed from a larger inter-stellar mothership.


title: Lost in Space

text: The plot of the series followed John Robinson, a retiring war hero of an alien invasion who had decided to take his family to another colony elsewhere in space. The Robinson's ship is attacked and the Robinsons are forced to escape in the small "Jupiter 2" "Space Pod" of the mothership.


title: Lost in Space

text: The show was not among the network's series pick-ups confirmed later that year. Looking back at the pilot when the 2018 Netflix reboot was aired, Neil Calloway of Flickering Myth said "you’re hardly on the edge of your seat." and "You start to wonder where the $2 million went, and then you question why something directed by John Woo is so pedestrian."


title: Lost in Space

text: The producers of the new "Battlestar Galactica" show bought the show's sets. They were redesigned the next year and used for scenes on the Battlestar "Pegasus".


title: Lost in Space

text: On October 10, 2014, it was announced that Legendary TV was developing a new reboot of "Lost in Space" for Netflix with "Dracula Untold" screenwriters Matt Sazama and Burk Sharpless attached to write. On June 29, 2016, Netflix ordered the series with 10 episodes. The series debuted on Netflix on April 13, 2018. It was renewed for a second season on May 13, 2018, which aired on December 24, 2019. On March 9, 2020, the series was renewed for a third and final season.


title: Lost in Space

text: Before the television series was developed, a comic book named "Space Family Robinson" was published by Gold Key Comics, written by Gaylord Du Bois and illustrated by Dan Spiegle. The comic book series had been loosely based on an 1812 novel by Johann David Wyss, "The Swiss Family Robinson". Du Bois became the sole writer of the series once he began chronicling the Robinsons' adventures with "Peril on Planet Four" in issue #8. Due to a deal worked out with Gold Key, the title of the comic later incorporated the "Lost in Space" sub-title. The comic book featured different characters and a unique H-shaped spacecraft rather than one of a saucer shape.


title: Lost in Space

text: In 1991 Bill Mumy provided "Alpha Control Guidance" for a "Lost in Space" revival in comic book form "Lost in Space" comic book for Innovation Comics, writing six of the issues. The first officially licensed comic to be based on the TV series, the series was set several years after the show. The kids were now teenagers, and the stories attempted to return the series to its straight adventure roots with one story even explaining the camp / farce episodes of the series as fanciful entries in Penny's Space Diary.


title: Lost in Space

text: Complex adult-themed story concepts were introduced and the story included a love triangle developing between Penny, Judy and Don. The "Jupiter 2" had various interior designs in the first year. The first year had an arc ultimately leading the travelers to Alpha Centauri with Smith contacting his former alien masters along the way. Aeolis 14 Umbra were furious with Smith for not having succeeded in his mission to prevent the "Jupiter 2", built with technology from a crashed ship of their race, from reaching the star system they had claimed as their own. The year ended with Smith caught out for his traitorous associations and imprisoned in a freezing tube for the "Jupiter"s final journey to the Promised Planet. Year two was to be Mumy's own full season story of a complex adventure following the Robinson's arrival at their destination and capture by the Aoleans. Innovation folded in 1993 with the story only halfway through and it wasn't until 2005 that Mumy was able to present his story to Lost in Space fandom as a complete graphic novel via Bubblehead Publishing. The theme of an adult Will Robinson was also explored in the film and in the song "The Ballad of Will Robinson" (written and recorded by Mumy; see ""Music"" below).


title: Lost in Space

text: In 1998 Dark Horse Comics published a three-part story chronicling the Robinson Clan as depicted in the film.


title: Lost in Space

text: In 1990, Bill Mumy and Peter David co-wrote "Star Trek: The Return of the Worthy", a three-part story that was essentially a crossover between "Lost in Space" and "Star Trek" with the "Enterprise" crew encountering a Robinson-like expedition amongst the stars, though with different characters.


title: Lost in Space

text: In 2016, American Gothic Press published a six-issue miniseries titled "Irwin Allen's Lost in Space, the Lost Adventures", based on unfilmed scripts from the series. The scripts "The Curious Galactics" and "Malice in Wonderland" were written by Carey Wilber. The first script was adapted as issues 1 – 3 of the series, with the adapted script written by Holly Interlandi and drawn by Kostas Pantaulas, with Patrick McEvoy doing coloring and covers. The second script was adapted as issues 4 – 6 of the series, again adapted by Interlandi, with McEvoy providing pencil art, coloring and covers.


title: Lost in Space

text: In 1967, a novel based on the series, with significant changes to the personalities of the characters and the design of the ship, was published by Pyramid Books, and written by Dave Van Arnam and Ted White (as "Ron Archer"). A scene in the book correctly predicts Richard Nixon winning the Presidency after Lyndon Johnson.


title: Lost in Space

text: In the 1972–1973 television season, ABC produced "The ABC Saturday Superstar Movie", a weekly collection of 60-minute animated films, pilots and specials from various production companies, such as Hanna-Barbera, Filmation, and Rankin-Bass. Hanna-Barbera Productions contributed animated work based on such television series as "Gidget, Yogi Bear, Tabitha, Oliver Twist, The Banana Splits", and "Lost in Space".


title: Lost in Space

text: The "Lost in Space" episode aired on September 8, 1973. Dr. Smith (voiced by Jonathan Harris) was the only character from the original program to appear in the special, along with the Robot (who was named Robon and employed in flight control rather than a support activity). The spacecraft was launched vertically by rocket, and Smith was a passenger rather than a saboteur. The pilot for the animated "Lost in Space" series was not picked up as a series, and only this episode was produced. This cartoon was included in the Blu-ray release of the entire original television series on September 15, 2015.


title: Lost in Space

text: As part of his 1997 album "Dying To Be Heard" (Infinite Visions), Bill Mumy recorded "The Ballad of William Robinson", in which a now 42-year-old Will Robinson recounts the premise of "Lost in Space", the current state of his family (his father Professor John Robinson has died five years previously) and his despair at "still [being] Lost in Space." The song can also be found as a track on "Dr. Demento's Hits From Outer Space" (Laughs.com - LGH1137, 2002).


title: Lost in Space

text: 20th Century Fox has released the entire series on DVD in Region 1. Several of the releases contain bonus features including interviews, episodic promos, video stills and the original un-aired pilot episode.


title: Lost in Space

text: All episodes of "Lost in Space" were remastered and released on a Blu-ray disc set on September 15, 2015 (the 50th anniversary of the premiere on the CBS TV Network). The Blu-ray disc set includes a cast table reading of the final episode, written by Bill Mumy, which brings the series to a close by having the characters return to earth.


title: Lost in Space

text: All episodes of "Lost in Space" were reformatted (from the Blu-ray video masters) to 16:9 widescreen and released on a 17 disc DVD set on February 5, 2019.


title: Rise of the Planet of the Apes

text: Rise of the Planet of the Apes is a 2011 American science fiction film directed by Rupert Wyatt from a screenplay by Rick Jaffa and Amanda Silver. It is a reboot of the "Planet of the Apes" film franchise, which is based on the 1963 novel "Planet of the Apes" by Pierre Boulle. It stars Andy Serkis as Caesar, alongside James Franco, Freida Pinto, John Lithgow, Brian Cox, Tom Felton, and David Oyelowo. In the film, Caesar, a chimpanzee genetically enhanced and raised by William Rodman (Franco), goes from son to sheltered, and eventually leads an ape uprising against members of humanity.


title: Rise of the Planet of the Apes

text: "Rise of the Planet of the Apes" first entered development in 2006 when Jaffa and Silver wrote a screenplay and sold it to 20th Century Fox, the producers and distributors of the original franchise. The film features homages and drew inspiration from previous entries, particularly "Conquest of the Planet of the Apes" (1972). Production struggled until Franco, Serkis, and Wyatt were hired by late 2009, and principal photography started in July 2010 and finished that September, with filming locations including Vancouver, San Francisco, and Oahu. The apes were created using extensive visual effects and performance capture commissioned by Weta Digital.


title: Rise of the Planet of the Apes

text: "Rise of the Planet of the Apes" was theatrically released worldwide by 20th Century Fox on August 5, 2011. The film received positive reviews from critics, with praise for Wyatt's direction, visual effects, and Serkis' performance, which helped change perceptions on the recognition of acting through performance capture. "Rise of the Planet of the Apes" was also a commercial success, grossing over $481 million worldwide against a budget of $93 million, and received numerous awards and nominations, including an Academy Award nomination for Best Visual Effects. It helped relaunch the franchise, and was followed by the sequel films "Dawn of the Planet of the Apes" (2014) and "War for the Planet of the Apes" (2017). A fourth film, "Kingdom of the Planet of the Apes", is set to release on May 24, 2024.


title: Rise of the Planet of the Apes

text: In San Francisco, pharmaceutical chemist William Rodman is testing the viral-based drug ALZ-112 on chimpanzees at the biotech company Gen-Sys to find a cure for Alzheimer's disease. ALZ-112 is given to a chimpanzee named Bright Eyes, greatly increasing her intelligence. However, during Will's presentation for the drug, Bright Eyes is forced from her cage, goes on a rampage, and is shot to death. Will's boss Steven Jacobs terminates the project and has the chimpanzees euthanized. However, Will's assistant Robert Franklin reveals that the reason for Bright Eyes' rampage was that she had recently given birth to an infant chimpanzee. Will reluctantly takes in the chimpanzee, eventually giving him the name Caesar. Discovering that Caesar has inherited his mother's intelligence through being exposed to ALZ-112 before birth, Will decides to raise him. Three years pass, and Caesar becomes highly intelligent and can play games, draw pictures, and communicate with Will through sign language. Will introduces Caesar to the redwood forest at Muir Woods National Monument so he can roam. Meanwhile, Will treats his father, Charles, with ALZ-112, which seems to restore his cognitive ability.


title: Rise of the Planet of the Apes

text: Five years later, Caesar, now a young adolescent, questions if he is a pet and learns of his origins from Will. Meanwhile, Charles' condition returns as his immune system becomes resistant to ALZ-112. Caesar injures an aggressive neighbor, Douglas Hunsiker, while defending a confused Charles. As a result, animal control arrives and takes him away to an ape shelter. Due to his difference in appearance and relative lack of interaction with other apes, Caesar is tormented by the alpha chimpanzee, Rocket, and the chief guard, Dodge Landon. However, Caesar also befriends Maurice, a former circus orangutan who also knows sign language. Caesar learns how to unlock his cage, gaining free access to the common area. With the assistance of Buck, a gorilla, he confronts Rocket and claims the position of the alpha chimpanzee. Meanwhile, Jacobs clears the development of a more powerful gaseous version of the drug, the ALZ-113, when Will tells him it can improve intelligence. Will takes the drug home for his father, but Charles declines further treatment and dies overnight. After attempting to test the drug on a scarred bonobo test subject named Koba, Franklin becomes exposed to ALZ-113 and becomes ill.


title: Rise of the Planet of the Apes

text: Attempting to warn Will at his home, he sneezes blood onto Hunsiker and is later discovered dead. Will attempts to reclaim Caesar, but Caesar instead decides to stay and steals the ALZ-113 canisters from Will's house and enhances the intelligence of the other apes in the sanctuary. When Dodge attempts to get him back into his cage, Caesar speaks for the first time, shouting "no" and fights with Dodge while freeing the apes, which inadvertently leads to Dodge's death. The apes flee the facility, releasing Koba and the remaining apes from Gen-Sys, and freeing more apes from the San Francisco Zoo. A battle ensues as the apes fight their way past a police blockade on the Golden Gate Bridge in an attempt to escape into the redwood forest. To rescue Caesar, Buck sacrifices himself to wreck a police helicopter in which Jacobs is riding. Koba then pushes Jacobs into the Golden Gate strait to his death.


title: Rise of the Planet of the Apes

text: As the apes find their way into the forest, Will catches up to them in a stolen police car and warns Caesar that the humans will hunt them down, begging him to return home. In response, Caesar hugs him and says, "Caesar is home". Realizing that this is their last goodbye, Will respects Caesar's wishes. The apes embrace their new lifestyle in the forest as news and police helicopters fly over San Francisco. Meanwhile, Hunsiker, now infected with ALZ-113, arrives at San Francisco International Airport for his flight to Paris. He eventually spreads the virus around the globe to international flight routes, leading to a deadly pandemic.


title: Rise of the Planet of the Apes

text: "Rise of the Planet of the Apes" features an ape cast that includes Karin Konoval as the Bornean orangutan Maurice, Terry Notary as the chimpanzees Rocket and Caesar's mother Bright Eyes, Richard Ridings as the western lowland gorilla Buck, Devyn Dalton as the chimpanzee Cornelia, Jay Caputo as Caesar's chimpanzee father Alpha, and Christopher Gordon as the treacherous bonobo Koba.


title: Rise of the Planet of the Apes

text: The human cast includes Tyler Labine as handler Robert Franklin, David Hewlett as Will's hot-headed neighbor Douglas Hunsiker, Jamie Harris as the ape sanctuary's caretaker Rodney, and Chelah Horsdal as Charles's nurse Irena.


title: Rise of the Planet of the Apes

text: In 2006, screenwriter-producer Rick Jaffa was searching for a script idea. As Jaffa searched a newspaper articles clipping, one about pet chimpanzees that become troublesome to their owners and heartbroken for not adapting well to the human environment intrigued him. As Jaffa eventually realized it fit the "Planet of the Apes" series, he called his wife and screenwriting partner Amanda Silver to express his ideas of such a chimpanzee eventually starting the ape revolution, and then the couple started developing the character of Caesar. Jaffa indicated that "it's a reinvention" and if he had to pick between calling it a prequel or a reboot he would say it is a reboot: "It's a different story of who Caesar is, and how he came to be. So it's really kind of hard to put a label on it. We are hopefully rebooting it." He went on to say that "we tried really hard to create a story that would stand on its own and yet also pay homage and honor the movies that came before us." Jaffa and Silver then wrote a script and sold it to Fox, producers of the "Apes" franchise. The script added other elements which the couple had researched, such as genetic engineering. Several tributes to specific scenes, characters, and cast and crew from the previous "Apes" film series were added in the script. In particular, Caesar's treatment at the primate sanctuary parallels Taylor's treatment as a captive in the original film.


title: Rise of the Planet of the Apes

text: In a segment of a video blog post, director Rupert Wyatt commented on the originality of the plot: "This is part of the mythology and it should be seen as that. It's not a continuation of the other films; it's an original story. It does satisfy the people who enjoy those films. The point of this film is to achieve that and to bring that fan base into this film exactly like "Batman Begins"." In a 2009 interview, Wyatt said, "We've incorporated elements from "Conquest of the Planet of the Apes", in terms of how the apes begin to revolt, but this is primarily a prequel to the 1968 film...Caesar is a revolutionary figure who will be talked about by his fellow apes for centuries...This is just the first step in the evolution of the apes, and there's a lot more stories to tell after this. I imagine the next film will be about the all-out war between the apes and humans." Mark Bomback did an uncredited rewrite of the script.


title: Rise of the Planet of the Apes

text: Filming began on July 27, 2010, in Vancouver, British Columbia. Filming also happened in San Francisco, California (the primary setting of the film), and around Oahu, Hawaii, which doubled for the African jungle as the schedule and budget did not allow for location shooting in Africa.


title: Rise of the Planet of the Apes

text: As the apes in "Rise" were meant to be real, the producers decided not to use actors in suits. After considering real apes, instead Weta Digital created the apes digitally in almost every case through performance capture. Almost 1,500 visual effects shots were previsualized. Advances in the technology allowed the use of performance capture in an exterior environment, affording the film-makers the freedom to shoot much of the film on location with other actors, as opposed to the confines of a soundstage. The main breakthrough was a camera that enabled viewing the motion capture dots in daylight, employed mostly for the Golden Gate Bridge battle. A maximum of six actors could have their movements captured, with larger ape crowds using fully digital animals animated using Weta's move library. The Golden Gate Bridge set used both a physical set which was extended digitally, and a fully computer-generated model of the bridge that also included the ocean and nearby hills.


title: Rise of the Planet of the Apes

text: After shooting the actors playing humans interacting with others wearing the motion capture suits, a clean plate was shot with actors for extra reference. Actor-stuntman Terry Notary guided the actors on realistic ape movement, while Weta studied the chimps in the Wellington Zoo for reference. The digital apes also received detailed models with skeletons, muscles and nerve tissue layers for accurate animation. Cast models of apes' heads and limbs helped the texture department replicate skin details such as wrinkles and pores. Given the difference between human and chimpanzee facial muscles, the animators tweaked the performance through a new facial muscle system adding dynamics, ballistics, and secondary motion. As the silent performance required expressive eyes, a new eye model was made to depict both greater accuracy in muscle movement in and around the eyes, and also tears, pupil dilation, and light refraction. While Andy Serkis was the primary performer for Caesar, as the effects team considered that at times "Andy overcame the character," other motion capture team actors were also used, especially Devyn Dalton, whose height matched that of a chimpanzee. Along with that, they used Notary to play Caesar in stunt-filled scenes such as the Golden Gate Bridge scene.


title: Rise of the Planet of the Apes

text: The score for the film was written by Patrick Doyle and performed by the Hollywood Studio Symphony conducted by James Shearman. The main concern was to have the music help progress the plot in the scenes without dialogue, for instance, conveying the emotions of Caesar's relationships with Will and Charles. To turn the score into a "driving force that keeps audiences paying attention," Doyle employed an African-American chorus and focused on percussion and "low and deep" orchestra sounds. Doyle collaborated closely with the sound department to make the music complement the sound effects, including writing a recurring theme based on their recording of a chimpanzee.


title: Rise of the Planet of the Apes

text: "Rise of the Planet of the Apes" made its debut in the United States and Canada on roughly 5,400 screens within 3,648 theaters. The film was projected to gross around $35 million on its opening weekend. It grossed $19,534,699 on opening day and $54,806,191 in its entire opening weekend, making it #1 for that weekend as well as the fourth-highest-grossing August opening ever. The film held on to the #1 spot in its second weekend, dropping 49.2%, and grossing $27,832,307. "Rise of the Planet of the Apes" crossed the $150 million mark in the United States and Canada on its 26th day of release. "Entertainment Weekly" said that this was quite an accomplishment for the film since the month of August is a difficult time for films to make money.


title: Rise of the Planet of the Apes

text: The film ended its run at the box office on December 15, 2011, with a gross of $176,760,185 in the U.S. and Canada as well as $305,040,864 internationally, for a total of $481,801,049 worldwide.


title: Rise of the Planet of the Apes

text: On review aggregator Rotten Tomatoes, the film holds an 82% approval rating based on 272 reviews, with an average rating of 7.20/10. The website's critics consensus reads, "Led by Rupert Wyatt's stylish direction, some impressive special effects, and a mesmerizing performance by Andy Serkis, "Rise of the Planet of the Apes" breathes unlikely new life into a long-running franchise." Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100 based on 39 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


title: Rise of the Planet of the Apes

text: Roger Ebert gave the film 3 out of 4 stars and praised the role of Caesar and Andy Serkis by stating it was a "wonderfully executed character" and "one never knows exactly where the human ends and the effects begin, but Serkis and/or Caesar gives the best performance in the movie." Giving the film 5 out of 5 stars, Joe Neumaier of "Daily News" labeled "Rise of the Planet of the Apes" as the summer's best popcorn flick. Nick Pinkerton of "The Village Voice" wrote, "Caesar's prison conversion to charismatic pan-ape revolutionist is near-silent filmmaking, with simple and precise images illustrating Caesar's General-like divining of personalities and his organization of a group from chaos to order." Roger Moore of "Orlando Sentinel" wrote, "Audacious, violent and disquieting, "Rise of the Planet of the Apes" is a summer sequel that's better than it has any right to be." He gave the film 3.5 out of 4 stars. Manohla Dargis of "The New York Times" praised the film by saying, "Precisely the kind of summer diversion that the studios have such a hard time making now. It's good, canny-dumb fun." She also gave it 3.5 out of 4 stars.


title: Rise of the Planet of the Apes

text: Peter Travers of "Rolling Stone" noted that the film has mixed "twists lifted from 1972's "Conquest of the Planet of the Apes" and 1999's "Deep Blue Sea"".


title: Rise of the Planet of the Apes

text: "Rise of the Planet of the Apes" was released on Blu-ray Disc, DVD, and Digital copy on December 13, 2011.


title: Rise of the Planet of the Apes

text: Regarding the story setting up possible sequels, director Rupert Wyatt commented: "I think we're ending with certain questions, which is quite exciting. To me, I can think of all sorts of sequels to this film, but this is just the beginning." Screenwriter and producer Rick Jaffa also stated that "Rise of the Planet of the Apes" would feature several clues as to future sequels: "I hope that we're building a platform for future films. We're trying to plant a lot of the seeds for a lot of the things you are talking about in terms of the different apes and so forth."


title: Rise of the Planet of the Apes

text: On May 31, 2012, 20th Century Fox announced that the sequel would be named "Dawn of the Planet of the Apes". Reports said that Wyatt was leaving the sequel due to his concern that a May 2014 release date would not give him enough time to properly make the film; he was replaced by "Cloverfield" director Matt Reeves. Jaffa and Silver returned as producers and to pen the screenplay, with rewrites from Scott Z. Burns and Mark Bomback.


title: Rise of the Planet of the Apes

text: Taking place ten years after "Rise", "Dawn" follows Caesar's growing nation of evolved apes. Andy Serkis, Terry Notary and Karin Konoval reprise their roles as Caesar, Rocket and Maurice. James Franco returned as Will Rodman in a "cameo via video". "Dawn of the Planet of the Apes" was released July 11, 2014.


title: Rise of the Planet of the Apes

text: On January 6, 2014, 20th Century Fox announced a third installment with Reeves returning to direct and co-write along with Bomback, with a planned July 2016 release. In January 2015, Fox delayed the release to July 14, 2017. On May 14, 2015, the title was given as "War of the Planet of the Apes", later re-titled to "War for the Planet of the Apes".


title: Rise of the Planet of the Apes

text: On December 3, 2019, it was reported that Wes Ball was set to direct a then-untitled "Planet of the Apes" film. In August 2019, it was confirmed that any future installments would take place in the same universe first established in "Rise". In September 2022, the film's title was revealed to be "Kingdom of the Planet of the Apes", and was set to release on May 24, 2024. The film began production in October 2022.


title: 500 Days of Summer

text: 500 Days of Summer (stylized as (500) Days of Summer) is a 2009 American romantic comedy-drama film directed by Marc Webb from a screenplay written by Scott Neustadter and Michael H. Weber, and produced by Mark Waters. The film stars Joseph Gordon-Levitt and Zooey Deschanel and employs a nonlinear narrative structure, with the story based upon its male protagonist and his memories of a failed relationship.


title: 500 Days of Summer

text: As an independent production, the film was picked up for distribution by Fox Searchlight Pictures and premiered at the 25th Sundance Film Festival. It garnered generally positive reviews and became a successful "sleeper hit", earning over $60 million in worldwide returns, far exceeding its $7.5 million budget. Many critics lauded the film as one of the best from 2009 and drew comparisons to other acclaimed films such as "Annie Hall" (1977) and "High Fidelity" (2000).


title: 500 Days of Summer

text: The film received Best Original Screenplay and Best Screenplay awards at the 14th Satellite Awards and 25th Independent Spirit Awards, respectively, as well as two nominations at the 67th Golden Globe Awards: Best Motion Picture – Musical or Comedy and Best Actor – Musical or Comedy (Gordon-Levitt).


title: 500 Days of Summer

text: Tom Hansen is an aspiring architect who works as a writer at a greeting card company. One day he meets Summer Finn, a new employee. They discover that they have a similar taste in music. Later, at a karaoke night for their work, they talk about love. Tom believes in it, but Summer does not. Tom's friend and co-worker McKenzie drunkenly reveals that Tom likes Summer, which he asserts is only "as friends", something Summer agrees with. A few days later, Summer spontaneously kisses Tom in the office. Summer is not looking for a serious relationship. Tom agrees to a casual relationship. That night they have sex; Tom is elated.


title: 500 Days of Summer

text: After several months of dating, they grow closer. Both Tom's friends and his preteen half-sister Rachel push him to ask Summer where they are in their relationship, though Summer brushes this off, saying that it should not matter if they are both happy. One night, Tom gets into a fight with a man who tries to pick Summer up in a bar, causing their first argument. Later, Summer visits Tom; they make up. Tom asks about their relationship, wanting consistency. Summer says she cannot promise him how she would feel in the future. To show him how she currently feels, she kisses him; they spend the night together.


title: 500 Days of Summer

text: After meeting at a cafe, Tom wants to go back to Summer's, but she insists on seeing "The Graduate". She weeps at the ending, surprising him, as he had always thought it was a romantic fairy tale. Later, at the record store, Summer is distracted, and kisses him good night on the cheek. Tom brings her to a diner, where she lightly announces the relationship is not working, and breaks up with him. Although she still considers Tom her best friend, he is horrified and becomes depressed.


title: 500 Days of Summer

text: Summer quits the greeting card company. Tom's boss moves him to the consolations department, as his depression is making him unsuitable for happier events. Tom goes on a blind date with a woman named Alison. Tom spends the date talking about Summer until Alison leaves exasperated.


title: 500 Days of Summer

text: Months later, Tom attends co-worker Millie's wedding and tries to avoid Summer on the train, but she spots him and invites him for coffee. They have a good time at the wedding, dance together, and Summer catches the bouquet. She invites Tom to a party at her apartment, falling asleep on his shoulder on the ride back. He attends the party, hoping to rekindle their relationship, but barely interacts with Summer, spending most of the night drinking alone, until he spots her engagement ring.


title: 500 Days of Summer

text: Tom leaves devastated. Further depressed, he only leaves his apartment for alcohol and junk food. After a few days, he returns to work hung over and, after an emotional outburst, quits. Rachel, his sister, tells Tom that she does not believe Summer was "the one" and that he is only remembering happy memories of the relationship. Tom thinks harder, finally seeing moments of incompatibilities he overlooked, and warning signs he missed on the day of the breakup. One day, Tom finds the energy to get out of bed and rededicates himself to architecture, as Summer had encouraged him to do. He assembles a portfolio and secures job interviews.


title: 500 Days of Summer

text: Summer visits Tom at his favorite spot in the city. He tells her he left the office, and notes that she got married, which he cannot comprehend as she never wanted to be someone's girlfriend. Summer says she got married because she felt sure, which she did not with Tom. When he says he was wrong about true love existing, she counters that he was right about it, just wrong about it being with her. She tells him she is glad he is doing well. Tom wishes her happiness.


title: 500 Days of Summer

text: On Wednesday, May 23, Tom meets a woman applying for the same job. He finds she shares his favorite spot and invites her for coffee afterwards. She politely declines, then changes her mind. She reveals her name as Autumn. The day counter then resets to Day 1, becoming brighter than it ever did during the Days of Summer.


title: 500 Days of Summer

text: The film is presented as a non-linear narrative. Each scene is introduced using a title card showing which of the 500 days it is. Co-writer of the film Scott Neustadter admitted the film was based on a real romance. Neustadter explains that when he met the real girl who inspired the character Summer as a student at the London School of Economics in 2002, he was rebounding from a bad breakup back home, and promptly fell "crazily, madly, hopelessly in love" with the girl who "returned his kisses but not his ardor." The ending of the relationship was "painfully and unforgettably awful," which prompted him to co-write the film with Michael H. Weber. When Neustadter later showed the script to Summer's real-life counterpart, she said she related more to the Tom character. Weber also stated that, "we've all been in the trenches of love, we've all gone through the highs and lows, so Scott and I felt that the only way to tell this story was to come at it from a completely real place. It was pretty interesting for us because Scott was just going through a break-up and I was in a long-term relationship, so we each brought a totally opposite perspective, living it and not living it, and I think that tension helped to bring out more of the comedy".


title: 500 Days of Summer

text: Director Marc Webb has described the film as more of a "coming of age" story as opposed to a "rom-com". He stated, "We arrive at a different conclusion, for one thing. Plus, most romantic comedies are more loyal to a formula than to emotional truth. It's about happiness, and learning that you'll find it within yourself, rather than in the big blue eyes of the girl in the cubicle down the hall. I wanted to make an unsentimental movie and an uncynical movie. In my mind, I wanted it to be something you could dance to. That's why we put a parenthesis in the title – it's like a pop song in movie form. It's not a big film. It's not about war or poverty. It's about 500 days in a young guy's relationship, but it's no less deserving of scrutiny. When your heart is first broken, it consumes you. And it's an emotion I wanted to make a movie about, before I forgot how it felt".


title: 500 Days of Summer

text: Webb also stated that Deschanel's character, Summer, is based on a stock character type; "Yes, Summer is an immature view of a woman. She's Tom's view of a woman. He doesn't see her complexity and the consequence for him is heartbreak. In Tom's eyes, Summer is perfection, but perfection has no depth. Summer's not a girl, she's a phase." Gordon-Levitt explained that he was drawn to the role of Tom because of his relatability to the character. "I've had my heart broken before. Truly, truly broken. But when I look back at me in my heartbroken phase, it's pretty hilarious, because it felt so much more extreme than it really was. One of the things I love about "500 Days of Summer" is that it doesn't make light of what we go through in romances, but it is honest about it and shows it for what it is, which is often profoundly funny".


title: 500 Days of Summer

text: The film was originally set in San Francisco but was later moved to Los Angeles and the script rewritten to make better use of the location. Buildings used include the Los Angeles Music Center (which includes the Dorothy Chandler Pavilion) and the towers of California Plaza.


title: 500 Days of Summer

text: The older Fine Arts Building is featured in the film, in a scene where Tom shows it to Summer and mentions its designers, Walker and Eisen, two of his favorite architects.


title: 500 Days of Summer

text: Christopher Hawthorne of the "Los Angeles Times" describes the film as having "finely honed sense of taste" to include the Bradbury Building where Tom goes for his job interview.


title: 500 Days of Summer

text: Tom's favorite spot in Los Angeles was shot at Angel's Knoll, which became a popular tourist attraction after the film's release. Since July 2013 it has been closed off to the public due to state cutbacks. In his article about cinematic cartography, Dr. Chris Lukinbeal suggests that the location of Angel's Knoll mirrors Tom's view of the world. He argues that Tom only perceives the beauty of the buildings surrounding them and only acknowledges the parking lot when Summer points it out to him. He states that “Tom is also unable to see beyond his expectations of hopeless romance.”


title: 500 Days of Summer

text: Costume designer, Hope Hanafin has revealed through interviews that Marc Webb insisted on the color blue being worn exclusively by Summer. He based his decision on Zooey Deschanel's eye color, but as Hanafin disclosed, it works on a subconscious level as well, attracting attention at all times. The only scene to break this "rule" is the Hall & Oates dance sequence where many of the extras appear in blue. "The point of that was to show that, in his morning-after glow, Tom's whole world is a reflection of Summer". The costumes are a mixture of vintage and fast fashion with the emphasis on staying realistic to what the characters could afford. Summer's wardrobe is refreshing and stylish without anything tying it to the years around the film's release which gives the aesthetics a timeless quality.


title: 500 Days of Summer

text: To help promote the film, Gordon-Levitt and Deschanel starred in the debut episode of Microsoft Zune and "Mean Magazine"s "Cinemash" series. In the episode, they "mash" the characters from the film "Sid and Nancy" with story elements from "500 Days of Summer".


title: 500 Days of Summer

text: Marc Webb created a music video as a companion piece to the film, titled "The Bank Heist". It features Deschanel and Gordon-Levitt dancing to "Why Do You Let Me Stay Here?", a song by Deschanel's folk group She & Him. Webb remarked, "when we didn't include Zooey in the dance sequence [in "500 Days"], she was a little heartbroken and I felt like I needed to remedy that."


title: 500 Days of Summer

text: The film made its debut at the 25th Sundance Film Festival. It proved a huge success and received a standing ovation from festival crowds upon screening. In Europe, "500 Days of Summer" premiered in Switzerland as the opening film of the 62nd Locarno Film Festival.


title: 500 Days of Summer

text: Filmed independently, it was picked up for distribution by Fox Searchlight Pictures and opened in the United States and Canada on July 17, 2009, later expanding to wide release on August 7, 2009. It was later also released on September 2, 2009, in Ireland and the United Kingdom, and opened in Australia on September 17, 2009.


title: 500 Days of Summer

text: Upon the film's initial limited release in the U.S, it was expected to become the "breakout indie hit of the summer".


title: 500 Days of Summer

text: By September 8, the film had taken in $1.9 million from 318 screens in the United Kingdom. This was regarded as a successful five-day opening by Fox Searchlight, earning around half as much as the science-fiction blockbuster "District 9", which took in $3.5 million.


title: 500 Days of Summer

text: The film ended up grossing $32.4 million in the United States and Canada and $60.7 million worldwide.


title: 500 Days of Summer

text: On Rotten Tomatoes, the film has an approval rating of 85% based on 236 reviews, with an average rating of 7.6/10. The site's critical consensus reads, "A clever, offbeat romantic comedy, "500 Days of Summer" is refreshingly honest and utterly charming." At the website's year-end "Golden Tomato Awards", which honored the best reviewed films of 2009, the film placed second in the romantic category. On Metacritic, the film has a weighted average score of 76 out of 100 based on 36 critics, indicating "generally favorable reviews".


title: 500 Days of Summer

text: Roger Ebert of the "Chicago Sun-Times" gave the film four stars out of four, describing the film as "a delightful comedy, alive with invention". He particularly praised the strong performances of Gordon-Levitt and Deschanel and summarized his review by adding, "Here is a rare movie that begins by telling us how it will end and is about how the hero has no idea why". "Premiere" also awarded the film four stars out of four, stating "Much like the actual summer (the season, not the character), we never wanted it to end".


title: 500 Days of Summer

text: Michael Ordoña of the "Los Angeles Times" gave a positive review. He wrote, ""500 Days of Summer" is something seldom seen: an original romantic comedy. It bristles with energy, emotion and intellect, as it flits about the dizzying highs and weeping-karaoke lows of a passionate entanglement".


title: 500 Days of Summer

text: Dana Stevens of "Slate" also praised the film and described it as "a keeper. It's fun both to watch and to talk about afterward, and it possesses the elusive rom-com sine qua non: two equally appealing leads who bounce wonderfully off each other".


title: 500 Days of Summer

text: Lou Lumenick of the "New York Post" awarded the film three stars out of four. He praised the directing of Marc Webb, stating, "it's the oldest bittersweet story in the book, of course, but music-video director Marc Webb approaches his feature debut with great confidence, flair and a minimum of schmaltz. That's the whole guy-centric point of "500 Days of Summer", though. Sometimes you never, ever truly figure out why these mysterious creatures break your heart". "Entertainment Weekly" critic Owen Gleiberman gave the film an "A", and also praised the originality of the story; "Most romantic comedies have half a dozen situations at best: Meet Cute, Infatuation, Pop Song Montage, Contrived Mix-Up, Angry Breakup, and Final Clinch. "500 Days of Summer" is about the many unclassifiable moments in between. It's a feat of star acting, and it helps make "500 Days" not just bitter or sweet but everything in between". "Film Threat" critic Scott Knopf gave the film a maximum five-star rating and called the script "fantastic". He also lauded the film's innovative nature; "Of course they meet. Of course they fall for each other. Of course there are problems. It sounds cliché but what's remarkable about "500 Days" is how the film explores new ways to tell the world's oldest story". He concluded that the film was "the best romantic comedy since "Love Actually"." Peter Travers of "Rolling Stone" gave the film three and a half stars out of four. He wrote, "Boy meets girl, boy loses girl. It's been done to emo death. That's why the sublimely smart-sexy-joyful-sad "500 Days of Summer" hits you like a blast of pure romantic oxygen" and concludes: ""500 Days" is otherwise a different kind of love story: an honest one that takes a piece out of you". USA Today's Claudia Puig wrote: "Much like "Annie Hall" did for a previous generation, "(500) Days of Summer" may be the movie that best captures a contemporary romantic sensibility." "IGN" critic Eric Goldman gave the film 9 out of 10, and praised the film as "one of the best of 2009" and particularly complimented the innovative nature of the story in an often clichéd genre; ""500 Days of Summer" proved there is a way to bring something fresh and new to one of the most cliché and often frustrating genres – the romantic comedy". A.O. Scott of "The New York Times" gave the film 4 out of 5 and called it "Slight, charming and refreshingly candid little picture."


title: 500 Days of Summer

text: Scott Tobias of "The A.V. Club" graded the film B−, but criticized it for its "dispiriting clichés," which make it "wind up in a no-man's land between Hollywood and something real." "NPR" was more dismissive: "For all its rhetorical whimsy and hipster dressings, "500 Days of Summer" is a thoroughly conservative affair, as culturally and romantically status quo as any Jennifer Aniston vehicle." Joe Morgenstern of "The Wall Street Journal" was also more critical, calling it, "synthetic and derivative, a movie that's popping with perceptions while searching for a style."


title: 500 Days of Summer

text: British newspaper "The Times" gave a mixed review. Despite Toby Young awarding the film three stars out of five, he critiqued, "It is hardly the freshest romantic comedy of past 20 years. Taking the best bits from other movies and rearranging them in a non-linear sequence does not make for an original film." "The Guardian" film critic Peter Bradshaw said the film was "let down by sitcom cliches, and by being weirdly incurious about the inner life of its female lead."


title: 500 Days of Summer

text: Mark Adams of the "Daily Mirror", though, gave the film a glowing review, awarding it a full five stars, and writing, "It is a modern romance for grown-ups... a sweet-natured, funny, deeply-romantic tale that brims with energy and is blessed with top-notch performances by Deschanel and Gordon-Levitt, who are both charming and have real chemistry". "Empire" gave the film 4 out of 5 stars, and wrote: "Perfectly played, simultaneously serious and light, endlessly inventive, this is a strong contender for the most original date movie of the year."


title: 500 Days of Summer

text: In the Entertainment Weekly's interview of the 10th anniversary of the film's release, the lead actors, Joseph Gordon-Levitt and Zooey Deschanel, addressed its cultural impact and the viewers' frequent misconception of their characters, such as thinking Summer is a villain. Even though the film is told from Tom's point of view, "Summer is completely honest the entire movie." Gordon-Levitt repeatedly warned against sympathizing with his character Tom, who "develops a mildly delusional obsession over a girl onto whom he projects all these fantasies [...] That's falling in love with the idea of a person, not the actual person."


title: 500 Days of Summer

text: Scott Neustadter and Michael H. Weber received numerous awards for their screenplay; including the 2009 Hollywood Film Festival's Hollywood Breakthrough Screenwriter Award on October 26, 2009, the Satellite Award for Best Original Screenplay, the Southeastern Film Critics Association Award for Best Original Screenplay (with the film also being named in the Top Ten Films of the Year), as well as the Las Vegas Film Critics Society Award for Best Screenplay.


title: 500 Days of Summer

text: Alan Edward Bell won the San Diego Film Critics Society Award for Best Editing, as well as the film being named one of the ten best movies of the year by the National Board of Review Awards 2009.


title: 500 Days of Summer

text: The film also received two nominations at the 67th Golden Globe Awards announced on December 15, 2009, for Best Motion Picture – Musical or Comedy and for Joseph Gordon-Levitt for Best Actor – Musical or Comedy. It has been nominated for four Independent Spirit Awards and won the award for Best Screenplay.


title: 500 Days of Summer

text: Two soundtrack albums were released for "500 Days of Summer". The first, consisting of various pop songs from the film, was released through Sire Records and reached no. 42 on the "Billboard" 200 sales chart. Andrew Leahey of Allmusic rated the album three and a half stars out of five, saying "With music playing such an integral role in the story line, it's refreshing to see that the accompanying soundtrack does its job well, distilling the characters' record collections (not to mention the movie's quirky, nostalgic ambiance) into one eclectic track list." The second album consists of the film's musical score, composed by Mychael Danna and Rob Simonsen.


title: Bell's palsy

text: Bell's palsy is a type of facial paralysis that results in a temporary inability to control the facial muscles on the affected side of the face. In most cases, the weakness is temporary and significantly improves over weeks. Symptoms can vary from mild to severe. They may include muscle twitching, weakness, or total loss of the ability to move one or, in rare cases, both sides of the face. Other symptoms include drooping of the eyelid, a change in taste, and pain around the ear. Typically symptoms come on over 48 hours. Bell's palsy can trigger an increased sensitivity to sound known as hyperacusis.


title: Bell's palsy

text: The cause of Bell's palsy is unknown and it can occur in any age. Risk factors include diabetes, a recent upper respiratory tract infection, and pregnancy. It results from a dysfunction of cranial nerve VII (the facial nerve). Many believe that this is due to a viral infection that results in swelling. Diagnosis is based on a person's appearance and ruling out other possible causes. Other conditions that can cause facial weakness include brain tumor, stroke, Ramsay Hunt syndrome type 2, myasthenia gravis, and Lyme disease.


title: Bell's palsy

text: The condition normally gets better by itself, with most achieving normal or near-normal function. Corticosteroids have been found to improve outcomes, while antiviral medications may be of a small additional benefit. The eye should be protected from drying up with the use of eye drops or an eyepatch. Surgery is generally not recommended. Often signs of improvement begin within 14 days, with complete recovery within six months. A few may not recover completely or have a recurrence of symptoms.


title: Bell's palsy

text: Bell's palsy is the most common cause of one-sided facial nerve paralysis (70%). It occurs in 1 to 4 per 10,000 people per year. About 1.5% of people are affected at some point in their lives. It most commonly occurs in people between ages 15 and 60. Males and females are affected equally. It is named after Scottish surgeon Charles Bell (1774–1842), who first described the connection of the facial nerve to the condition.


title: Bell's palsy

text: Bell's palsy is characterized by a one-sided facial droop that comes on within 72 hours. In rare cases (<1%), it can occur on both sides resulting in total facial paralysis.