This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Beginning with William Hartnell, fourteen actors have headlined the series as the Doctor; as of 2024[update], Ncuti Gatwa leads the series as the Fifteenth Doctor. The transition from one actor to another is written into the plot of the series with the concept of regeneration into a new incarnation, a plot device in which, when a Time Lord is fatally injured, their cells regenerate and they are reincarnated. Each actor's portrayal is distinct, but all represent stages in the life of the same character and, together, they form a single lifetime with a single narrative. The time-travelling nature of the plot means that different incarnations of the Doctor occasionally meet. In 2017, Jodie Whittaker, as the Thirteenth Doctor, became the first woman to be cast in the lead role.
The series is a significant part of popular culture in Britain[2] and elsewhere; it has gained a cult following. It has influenced generations of British television professionals, many of whom grew up watching the series.[3]Fans of the series are sometimes referred to as Whovians. The series has been listed in Guinness World Records as the longest-running science-fiction television series in the world,[4] as well as the "most successful" science-fiction series of all time, based on its overall broadcast ratings, DVD and book sales.[5]
Doctor Who follows the adventures of the title character, a rogue Time Lord with somewhat unknown origins who goes by the name "the Doctor". The Doctor fled Gallifrey, the planet of the Time Lords, in a stolen TARDIS ("Time and Relative Dimension(s) in Space"), a time machine that travels by materialising into, and dematerialising out of, the time vortex. The TARDIS has a vast interior but appears smaller on the outside, and is equipped with a "chameleon circuit" intended to make the machine take on the appearance of local objects as a disguise. Because of a malfunction, the Doctor's TARDIS remains fixed as a blue British police box.[6]
Across time and space, the Doctor's many incarnations often find events that pique their curiosity, and try to prevent evil forces from harming innocent people or changing history, using only ingenuity and minimal resources, such as the versatile sonic screwdriver. The Doctor rarely travels alone and is often joined by one or more companions on these adventures; these companions are usually humans, owing to the Doctor's fascination with planet Earth, which also leads to frequent collaborations with the international military task force UNIT when Earth is threatened.[7] The Doctor is centuries old and, as a Time Lord, has the ability to regenerate when there is mortal damage to their body.[8] The Doctor's various incarnations have gained numerous recurring enemies during their travels, including the Daleks, their creator Davros, the Cybermen, and the renegade Time Lord the Master.[9]
Doctor Who was originally intended to appeal to a family audience[10] as an educational programme using time travel as a means to explore scientific ideas and famous moments in history. The programme first appeared on the BBC Television Service at 17:16:20 GMT on 23 November 1963; this was eighty seconds later than the scheduled programme time, because of announcements concerning the previous day's assassination of John F. Kennedy.[11][12] It was to be a regular weekly programme, each episode 25 minutes of transmission length. Discussions and plans for the programme had been in progress for a year. The head of dramaSydney Newman was mainly responsible for developing the programme, with the first format document for the series being written by Newman along with the head of the script department (later head of serials) Donald Wilson and staff writer C. E. Webber; in a 1971 interview Wilson claimed to have named the series, and when this claim was put to Newman he did not dispute it.[13] Writer Anthony Coburn, story editorDavid Whitaker and initial producer Verity Lambert also heavily contributed to the development of the series.[14][g]
On 31 July 1963, Whitaker commissioned Terry Nation to write a story under the title The Mutants. As originally written, the Daleks and Thals were the victims of an alien neutron bomb attack but Nation later dropped the aliens and made the Daleks the aggressors. When the script was presented to Wilson, it was immediately rejected as the programme was not permitted to contain any "bug-eyed monsters". According to Lambert, "We didn't have a lot of choice—we only had the Dalek serial to go ... We had a bit of a crisis of confidence because Donald [Wilson] was so adamant that we shouldn't make it. Had we had anything else ready we would have made that." Nation's script became the second Doctor Who serial – The Daleks (also known as The Mutants). The serial introduced the eponymous aliens that would become the series' most popular monsters, dubbed "Dalekmania", and was responsible for the BBC's first merchandising boom.[16]
We had to rely on the story because there was little we could do with the effects. Star Wars in a way was the turning point. Once Star Wars had happened, Doctor Who effectively was out of date from that moment on really, judged by that level of technological expertise.
—Philip Hinchcliffe, producer of Doctor Who from 1974 to 1977, on why the "classic series" eventually fell behind other science fiction in production values and reputation, leading to its cancellation[17]
The BBC drama department produced the programme for 26 seasons, broadcast on BBC One. Due to his increasingly poor health, William Hartnell, first actor to play the Doctor, was succeeded by Patrick Troughton in 1966. In 1970, Jon Pertwee replaced Troughton and the series began production in colour. In 1974, Tom Baker was cast as the Doctor. His eccentric personality became hugely popular, with viewing figures for the series returning to a level not seen since the height of "Dalekmania" a decade earlier.[18] After seven years in the role, Baker was replaced by Peter Davison in 1981, and Colin Baker replaced Davison in 1984. In 1985, the channel's controller Michael Grade attempted to cancel the series, but it returned after an 18-month hiatus. He also had Colin Baker removed from the starring role in 1986.[19][20][21] The role was recast with Sylvester McCoy, but falling viewing numbers, a decline in the public perception of the series and a less-prominent transmission slot saw production ended in 1989 by Peter Cregeen, the BBC's new head of series.[22] Although it was effectively cancelled, the BBC repeatedly affirmed over several years that the series would return.[23]
While in-house production concluded, the BBC explored an independent production company to relaunch the series. Philip Segal, a British expatriate who worked for Columbia Pictures' television arm in the United States, had approached the BBC as early as July 1989, while the 26th season was still in production.[23] Segal's negotiations eventually led to a Doctor Who television film as a pilot for an American series, broadcast on the Fox Network in 1996, as an international co-production between Fox, Universal Pictures, the BBC and BBC Worldwide. Starring Paul McGann as the Doctor, the film was successful in the UK (with 9.1 million viewers), but was less so in the United States and did not lead to a series.[23]
Licensed media such as novels and audio plays provided new stories, but as a television programme, Doctor Who remained dormant. In September 2003,[24][25]BBC Television announced the in-house production of a new series, after several years of attempts by BBC Worldwide to find backing for a feature film version. The 2005 revival of Doctor Who is a direct plot continuation of the original 1963–1989 series and the 1996 television film. The executive producers of the new incarnation of the series were Queer as Folk writer Russell T Davies and BBC Cymru Wales head of drama Julie Gardner. From 2005, the series switched from a multi-camera to a single-camera setup.[26]
The 50th anniversary of Doctor Who convention, held over three days at the ExCeL London in November 2013, included an appearance of three former Doctors: pictured left to right: Peter Davison, Sylvester McCoy and Colin Baker.
Starring Christopher Eccleston as the Doctor, Doctor Who returned with the episode "Rose" on BBC One on 26 March 2005, after a 16-year hiatus of in-house production.[27] Eccleston left after one series and was replaced by David Tennant.[28] Davies left the production team in 2009.[29]Steven Moffat, a writer under Davies, was announced as his successor, along with Matt Smith as the new Doctor.[30] Smith decided to leave the role of the Doctor in 2013, the 50th anniversary year.[31] He was replaced by Peter Capaldi.[32]
Both Whittaker and Chibnall announced that they would depart the series after a series of specials in 2022.[35] Davies returned as showrunner from the 60th anniversary specials, twelve years after he had left the series previously.[36]Bad Wolf co-produces the series in partnership with BBC Studios Productions.[37] Bad Wolf's involvement sees Gardner return to the series alongside Davies and Jane Tranter, who recommissioned the series in 2005.[36]
The programme has been sold to many other countries worldwide (see § Viewership).
It has been claimed that the transmission of the first episode was delayed by ten minutes due to extended news coverage of the assassination of US President John F. Kennedy the previous day; in fact, it went out after a delay of eighty seconds.[38] The BBC believed that coverage of the assassination, as well as a series of power blackouts across the country, had caused many viewers to miss this introduction to a new series, and it was broadcast again on 30 November 1963, just before episode two.[39][40]
The programme soon became a national institution in the United Kingdom, with a large following among the general viewing audience.[42][43] The show received controversy over the suitability of the series for children. Morality campaigner Mary Whitehouse repeatedly complained to the BBC over what she saw as the programme's violent, frightening and gory content. According to Radio Times, the series "never had a more implacable foe than Mary Whitehouse".[44]
A BBC audience research survey conducted in 1972 found that, by their own definition of violence ("any act[s] which may cause physical and/or psychological injury, hurt or death to persons, animals or property, whether intentional or accidental"), Doctor Who was the most violent of the drama programmes the corporation produced at the time.[45] The same report found that 3% of the surveyed audience believed the series was "very unsuitable" for family viewing.[46] Responding to the findings of the survey in The Times newspaper, journalist Philip Howard maintained that, "to compare the violence of Dr Who, sired by a horse-laugh out of a nightmare, with the more realistic violence of other television series, where actors who look like human beings bleed paint that looks like blood, is like comparing Monopoly with the property market in London: both are fantasies, but one is meant to be taken seriously."[45]
During Jon Pertwee's second season as the Doctor, in the serial Terror of the Autons (1971), images of murderous plastic dolls, daffodils killing unsuspecting victims, and blank-featured policemen marked the apex of the series' ability to frighten children.[47] Other notable moments in that decade include a disembodied brain falling to the floor in The Brain of Morbius[48] and the Doctor apparently being drowned by a villain in The Deadly Assassin (both 1976).[49] Mary Whitehouse's complaint about the latter incident prompted a change in BBC policy towards the series, with much tighter controls imposed on the production team,[50] and the series' next producer, Graham Williams, was under a directive to take out "anything graphic in the depiction of violence".[51]John Nathan-Turner produced the series during the 1980s and said in the documentary More Than Thirty Years in the TARDIS that he looked forward to Whitehouse's comments because the ratings of the series would increase soon after she had made them. Nathan-Turner also got into trouble with BBC executives over the violence he allowed to be depicted for season 22 of the series in 1985, which was publicly criticised by controller Michael Grade and given as one of his reasons for suspending the series for 18 months.[52]
The phrase "Hiding behind (or 'watching from behind') the sofa" entered British pop culture, signifying the stereotypical but apocryphal early-series behaviour of children who wanted to avoid seeing frightening parts of a television programme while remaining in the room to watch the remainder of it.[53] The phrase retains this association with Doctor Who, to the point that in 1991 the Museum of the Moving Image in London named its exhibition celebrating the programme Behind the Sofa. The electronic theme music too was perceived as eerie, novel, and frightening at the time. A 2012 article placed this childhood juxtaposition of fear and thrill "at the center of many people's relationship with the series",[54] and a 2011 online vote at Digital Spy deemed the series the "scariest TV show of all time".[55]
TARDIS interior (2005–2010) at the Doctor Who Experience, London Olympia
The image of the TARDIS has become firmly linked to the series in the public's consciousness; BBC scriptwriter Anthony Coburn, who lived in the resort of Herne Bay, Kent, was one of the people who conceived the idea of a police box as a time machine.[56] In 1996, the BBC applied for a trademark to use the TARDIS' blue police box design in merchandising associated with Doctor Who.[57] In 1998, the Metropolitan Police Authority filed an objection to the trademark claim; but in 2002, the Patent Office ruled in favour of the BBC.[58][59][60]
The 21st-century revival of the programme became the centrepiece of BBC One's Saturday schedule and "defined the channel".[61] Many renowned actors have made guest-starring appearances in various stories including Kylie Minogue,[62]Sir Ian McKellen,
Wonder Woman appears in American comic books published by DC Comics.[8] The character is a founding member of the Justice League. The character first appeared in All Star Comics#8 published October 21, 1941[9] with her first feature in Sensation Comics #1 in January 1942. The Wonder Woman title has been published by DC Comics almost continuously ever since.[10] In her homeland, the island nation of Themyscira, her official title is Princess Diana of Themyscira. When blending into the society outside of her homeland, she sometimes adopts her civilian identityDiana Prince.[11]
Wonder Woman's origin story (from Golden to Bronze Age) relates that she was sculpted from clay by her mother Queen Hippolyta and was given a life as an Amazon, along with superhuman powers as gifts by the Greek gods. In 2011, DC changed her background with the retcon that she is the biological daughter of Zeus and Hippolyta, jointly raised by her mother and her aunts Antiope and Menalippe. The character has changed in depiction over the decades, including briefly losing her powers entirely in the late 1960s; by the 1980s, artist George Perez gave her an athletic look and emphasized her Amazonian heritage.[12][13] She possesses an arsenal of magical items, including the Lasso of Truth, a pair of indestructible bracelets, a tiara which serves as a projectile, and, in older stories, a range of devices based on Amazon technology.
Wonder Woman's character was created during World War II; the character in the story was initially depicted fighting Axis forces as well as an assortment of colorful supervillains, although over time her stories came to place greater emphasis on characters, deities, and monsters from Greek mythology. Many stories depicted Wonder Woman freeing herself from bondage, which counterpointed the "damsels in distress" trope that was common in comics during the 1940s.[14][15] In the decades since her debut, Wonder Woman has gained a cast of enemies bent on destroying her, including classic villains such as Cheetah, Ares, Circe, Doctor Poison, Giganta, Blue Snowman, Doctor Cyber, along with more recent adversaries such as Veronica Cale and the First Born. Wonder Woman has also regularly appeared in comic books featuring the superhero teams Justice Society (from 1941) and Justice League (from 1960).[16]
The character is an archetypical figure in popular culture recognized around the world, in part due to being widely adapted into television, film, animation, merchandise, and toys. October 21 is Wonder Woman Day, commemorating the release of her first appearance in All Star Comics #8[17] (with the exception of 2017 which held the day on June 3 to tie in with the release of the film of the same name).[18]
In an October 1940 interview with the Family Circle magazine, William Moulton Marston discussed the unfulfilled potential of the comic book medium.[19] This article caught the attention of comics publisher Max Gaines, who hired Marston as an educational consultant for National Periodicals and All-American Publications, two of the companies that would merge to form DC Comics.[20] At that time, Marston wanted to create his own new superhero; Marston's wife and fellow psychologist Elizabeth suggested to him that it should be a woman:[21]
William Moulton Marston, a psychologist already famous for inventing the polygraph, struck upon an idea for a new kind of superhero, one who would triumph not with fists or firepower, but with love. "Fine," said Elizabeth. "But make her a woman."
Marston introduced the idea to Gaines. Given the go-ahead, Marston developed Wonder Woman, whom he believed to be a model of that era's unconventional, liberated woman. Marston also drew inspiration from the bracelets worn by Olive Byrne, who lived with the couple in a polyamorous relationship.[22] Wonder Woman debuted in All Star Comics#8 (cover date Dec/Jan 1941/1942, released in October 1941),[23] scripted by Marston. Marston was the creator of a systolic-blood-pressure-measuring apparatus, which was crucial to the development of the polygraph (lie detector). Marston's experience with polygraphs convinced him that women were more honest than men in certain situations and could work more efficiently.[24]
Marston designed Wonder Woman to be an allegory for the ideal love leader; the kind of woman who he believed should run society. "Frankly, Wonder Woman is psychological propaganda for the new type of woman who, I believe, should rule the world", Marston wrote.[25]
Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.
— William Moulton Marston
Marston was an outspoken feminist, polyamorist, and firm believer in the superiority of women.[27][28] He described bondage and submission as a "respectable and noble practice". Marston wrote in a weakness for Wonder Woman, which was attached to a fictional stipulation that he dubbed "Aphrodite's Law", that made the chaining of her "Bracelets of Submission" together by a man take away her Amazonian super strength.[29]
The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound... only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society.
Initially, Wonder Woman was an Amazon champion who wins the right to return Steve Trevor – a United States intelligence officer whose plane had crashed on the Amazons' isolated island homeland – to "Man's World" and to fight crime and the evil of the Nazis.[30]
During the Silver Age of the 1960s, under writer Robert Kanigher, Wonder Woman's origin was revamped,[33] along with other characters'. The new origin story increased the character's Hellenic and mythological roots: receiving the blessing of each deity in her crib, Diana is destined to become as "beautiful as Aphrodite, wise as Athena, strong as Hercules, and swift as Hermes."[34]
At the end of the 1960s, under the guidance of Mike Sekowsky, Wonder Woman surrendered her powers in order to remain in Man's World rather than accompany her fellow Amazons to another dimension. Wonder Woman begins using the alias Diana Prince and opens a mod boutique. She acquires a Chinese mentor named I Ching, who teaches Diana martial arts and weapons skills. Using her fighting skill instead of her powers, Diana engaged in adventures that encompassed a variety of genres, from espionage to mythology.[35][36] This phase of her story was directly influenced by the British spy thriller The Avengers and Diana Rigg's portrayal of Emma Peel.[37]
In the early 1970s the character returned to her superhero roots in the Justice League of America and to the World War II era in her own title.[38] This, however, was ultimately due to the popularity of the TV series at the time also having Wonder Woman set in the WWII era, and was shifted back to the 1970s era once the TV show did the same.
With a new decade arriving, DC president Jenette Kahn ordered a revamp in Wonder Woman's appearance. Artist Milton Glaser, who also designed the "bullet" logo adopted by DC in 1977, created a stylized "WW" emblem that evoked and replaced the eagle in her bodice and debuted in 1982.[39] The emblem in turn was incorporated by studio letterer Todd Klein onto the monthly title's logo, which lasted for a year and a half before being replaced by a version from Glaser's studio.[40] The series was canceled with issue #329 (February 1986) written by Gerry Conway, depicting Steve Trevor's marriage to Wonder Woman.
Following the 1985 Crisis on Infinite Earths series, George Pérez, Len Wein, and Greg Potter rewrote the character's origin story, depicting Wonder Woman as an emissary and ambassador from Themyscira to Patriarch's World, charged with the mission of bringing peace to the outside world. Pérez incorporated a variety of deities and concepts from Greek mythology in Wonder Woman's stories and origin. His rendition of the character acted as the foundation for the modern Wonder Woman stories, as he expanded upon the widely accepted origin of Diana being birthed out of clay. The relaunch was a critical and commercial success.[41]
In August 2010 (issue #600), J. Michael Straczynski took over the series' writing duties and introduced Wonder Woman to an alternate timeline created by the Gods in which Paradise Island had been destroyed and the Amazons scattered around the world.[42] In this timeline, Diana is an orphan raised in New York. The entire world has forgotten Wonder Woman's existence and the main story of this run was of Diana trying to restore reality even though she does not properly remember it herself. A trio of Death Goddesses called The Morrigan acted as the main enemy of Wonder Woman.[43][44] In this run, Wonder Woman wears a new costume designed by Jim Lee.[45] Straczynski determined the plot and continued writing duties until Wonder Woman #605; writer Phil Hester then continued his run, which ultimately concluded in Wonder Woman #614.[46]
Wonder Woman with Batman and Superman on the cover of Wonder Woman (vol. 5) Annual #1 (July 2017). Art by Nicola Scott and Romulo Fajardo Jr. In the 21st century, the three have appeared together in multiple titles as part of DC's trinity of its most popular and important superheroes.
In 2011's The New 52, DC Comics relaunched its entire line of publications to attract a new generation of readers, and thus released volume 4 of the Wonder Woman comic book title. Brian Azzarello and Cliff Chiang were assigned writing and art duties respectively and revamped the character's history considerably. In this new continuity, Wonder Woman wears a costume similar to her original Marston costume (except with a red-black-silver color scheme rather than the classic red-blue-gold), utilizes a sword and shield, and has a completely new origin. No longer a clay figure brought to life by the magic of the gods, she is, instead, a demi-goddess and the natural-born daughter of Hippolyta and Zeus. Azzarello and Chiang's revamp of the character was critically acclaimed, but highly divisive among longtime fans of the character.[47][48][49][50]
In 2016, DC Comics once again relaunched all of its publications as part of the "DC Rebirth" continuity reboot, and the new fifth volume of Wonder Woman was released semi-monthly with writer Greg Rucka. This fifth volume of Wonder Woman is part of the "DC Universe", the current continuity established after Rebirth. Initially, the new series does not use a regular storyline that exists between each issue; instead two separate storylines share the book, with an installment of one story published every other issue, and those of the other storyline published in between those. This practice began with the storyline "The Lies", for the odd numbered issues, and "Year One", for the even numbered issues. The new storyline as presented in these issues effectively retcons the events from the previous New 52 series. "The Lies"[51] storyline reveals that numerous events from the previous Wonder Woman series, in which Diana was made the Queen of the Amazons and the God of War, were in fact all an illusion created by a mysterious villain, and she had never once been back to Themyscira ever since she left, nor is she capable of returning there. The "Year One" story is presented as an all-new origin story for Diana,[52] which reveals how she received her powers from the Olympian Gods,[53] which was intended to bring her back to her classical DC roots. Wonder Woman appears in DC Rebirth with a revised look with an ancient Greek motif, including a red cape and light armor fittings, such as pteruges and shin guards. Along with her lasso and bracelets, she now regularly utilizes her sword and shield. Wonder Woman: Rebirth artist Liam Sharp described the new armor as a utilitarian piece which allows her to move more freely.[54]
In 2018, DC Comics announced G. Willow Wilson as the new writer on the Wonder Woman ongoing series. Wilson began her run in November, with the first story arc titled "The Just War."[55]
Steve Orlando took over from Wilson in 2020 with Mariko Tamaki taking over from him later in the year. 2020 also saw the Wonder Woman comics issues' numbering order restructured as DC's Doomsday Clock event united the current series to the original Golden Age as one continuous run. This meant the next issue was #750 despite the previous issue being numbered only #83. To celebrate, the issue was extra length and collected a variety of short stories celebrating the character of Wonder Woman with previous writers such as Phil Jimenez, Gail Simone and Greg Rucka returning.[56] In early 2021, it was announced that Becky Cloonan and Michael Conrad would serve as the writers of Wonder Woman starting with issue 770 as a part of Infinite Frontier, with Travis Moore serving as the initial artist.[57] Their run would last up to issue 800 in June 2023, where it was then announced that the series would receive a new #1 as a part of the Dawn of DC relaunch. Tom King will serve as the writer and Daniel Sampere providing the art, with the first issue launching on September 6, 2023, and a short story in issue 800 that will set up the series by introducing Diana's future daughter Lizzie/Trinity.[58][59]
The "Diana Prince" identity has been part of Wonder Woman's history since her comics debut in 1941. In the early Golden Age stories, Wonder Woman served as a military secretary during World War II, using Prince as her cover. Later occupations Wonder Woman performed as Prince included translator at the United Nations, Air Force captain and ambassador, and in the '70s TV series, Lynda Carter's Wonder Woman used Prince to serve as an agent of the Inter-Agency Defense Command. In the DC Extended Universe, Prince works as curator for the Department of Antiquities[60] at the extremely prestigious Louvre Museum and is held in very high esteem by the curator of the Gotham City Museum of Antiquities. Her tremendously long life span, accumulation of immense amount of knowledge and exceptional perceptiveness makes Diana Prince the wisest and most emotionally-intelligent member of the Justice League.[61][62]
During Marston's run, Diana Prince was the name of an army nurse whom Wonder Woman met. The nurse wanted to meet with her fiancé, who was transferred to South America, but was unable to arrange for money to do so. As Wonder Woman needed a secret identity to look after Steve (who was admitted to the same army hospital in which Diana Prince worked), and because both of them looked alike, Wonder Woman gave the nurse money to go to her fiancé in exchange for the nurse's credentials and took Diana Prince as her alias.[63] She started to work as an army nurse and later as an Air Force secretary.[63][64]
The identity of Diana Prince was especially prominent in a series published in the early 1970s, in which she fought crime only under the Prince alias and without her mystic powers. To support herself, she ran a mod clothing boutique.[65][66]
The Diana Prince alias also played an important role after the events of Infinite Crisis. Wonder Woman was broadcast worldwide killing a villain named Maxwell Lord, as he was mind controlling Superman into killing Batman. When Wonder Woman caught him in her lasso, demanding to know how to stop Superman, Maxwell revealed that the only way to stop him was to kill Lord, so as a last resort Diana snapped his neck.[67][68] To recover from the trauma of killing another person, the Amazon went into a self-imposed exile for one year.[69] On her return to public life, Diana realized that her life as a full-time celebrity superhero and ambassador had kept her removed from humanity. Because of this she assumed the persona of Diana Prince and became an agent at the Department of Metahuman Affairs. During a later battle with the witch Circe, a spell was placed on Diana leaving her powerless when not in the guise of Wonder Woman.[70]
The New 52 continuity did not feature the Diana Prince identity, as series writer Brian Azzarello stated in an interview.[71] However, when she and Superman began dating, for her civilian identity she used the Diana Prince alias whenever she was around Clark Kent; such as when she introduced herself to Lois Lane at Lois's housewarming party under that name.[72]
At last, in a world torn by the hatred and wars of men, appears a woman to whom the problems and feats of men are mere child's play. A woman whose identity is known to none, but whose sensational feats are outstanding in a fast-moving world.
She serves as a symbol of integrity and humanity, so that the world of men would know what it means to be an Amazon. With a hundred times the agility and strength of our best male athletes and strongest wrestlers, she appears as though from nowhere to avenge an injustice or right a wrong!
As lovely as Aphrodite- as wise as Athena- with the speed of Mercury and the strength of Hercules - She is known only as Wonder Woman!
—Narrator – All Star Comics #8 (Introducing Wonder Woman) - Written by William Moulton Marston
Many writers have depicted Diana in different personalities and tone; between both of her diametric extremes; that of a worldly warrior, a highly compassionate and calm ambassador, and sometimes also as a naive and innocent person, depending on the writer. What has remained in constant existence, and is a mainstay of the character, is the dichotomy of her dominant force aspect and her nurturing humanity: her overwhelming belief in love, empathy, compassion, and having a strong conscience. The latter aspect had been the reason for her induction into the Star Sapphires.[73][74]
Writer Gail Simone was applauded for her portrayal of Wonder Woman during her run on the series, with comic book reviewer Dan Phillips of IGN noting that "she's molded Diana into a very relatable and sympathetic character."[75]
Actress Gal Gadot described Wonder Woman as "an idealist. Experienced, super-confident. Open and sincere even in the midst of a gruesome, bloody conflict. Having many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[76][77]
In the Golden Age, Wonder Woman adhered to an Amazon code of helping any in need, even misogynistic people, and never accepting a reward for saving someone;[78] while conversely, the modern version of the character has been shown to perform lethal and fatal actions when left with no other alternative, exemplified in the killing of Maxwell Lord in order to save Superman's life.[67][68]
Brian Azzarello stated in an interview that the New 52 version of the character was being written as a very "confident", "impulsive" and "good-hearted" character in her. He referred to her trait of feeling compassion as both her strength and weakness.[79]
A distinctive trait of her characterization is a group of signature mythological exclamations, beginning with "Great Aphrodite!", followed by "Great Hera!",[80] "Merciful Minerva!", and "Suffering Sappho!', some of which were contributed by Elizabeth Holloway Marston.[81][3]
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In Tolkien's later conception, Balrogs could not be readily vanquished—a certain stature was required by the would-be hero. Only dragons rivalled their capacity for ferocity and destruction,[T 2] and during the First Age of Middle-earth, they were among the most feared of Morgoth's forces. Their power came from their nature as Maiar, angelic beings like the Valar, though of lesser power.
Tolkien invented the name "Balrog", providing an in-universe etymology for it as a word in his invented Sindarin language. He may have gained the idea of a fire demon from his philological study of the Old English word Sigelwara, which he studied in detail in the 1930s.
Balrogs appear in the film adaptations of The Lord of the Rings by Ralph Bakshi and Peter Jackson, in the streaming series The Rings of Power, and in computer and video games based on Middle-earth.
According to the fictional history in The Silmarillion, the evil ValaMelkor corrupted lesser Maiar (angelic beings) to his service, as Balrogs, in the days of his splendour before the making of Arda.[T 3][T 4] Upon the awakening of the Elves, the Valar captured Melkor and destroyed his fortresses Utumno and Angband. But they overlooked the deepest pits, where, with many of Melkor's other allies, the Balrogs fled into hiding. When Melkor returned to Middle-earth from Valinor, now bearing the epithet Morgoth, he was attacked by the evil giant spider Ungoliant; his scream drew the Balrogs out of hiding to his rescue.[T 4]
Tolkien's conception of Balrogs changed over time. In all his early writing, they are numerous. A host of a thousand is mentioned in the Quenta Silmarillion,[T 5] while at the storming of Gondolin Balrogs in the hundreds ride on the backs of the Dragons.[T 6] They are roughly of twice[T 7] human size,[T 8] and were rarely killed in battle.[T 9] They were fierce demons, associated with fire, armed with fiery whips of many thongs and claws like steel, and Morgoth delighted in using them to torture his captives.[T 10]
In the published version of The Lord of the Rings, however, Balrogs became altogether more sinister and more powerful. Christopher Tolkien notes the difference, saying that in earlier versions they were "less terrible and certainly more destructible". He quotes a very late marginal note[T 11] that was not incorporated into the text saying "at most seven" ever existed;[T 12] though in the Annals of Aman, written as late as 1958, Melkor still commands "a host of Balrogs".[T 13] In later writings they ceased to be creatures, but are instead Maiar, lesser Ainur like Gandalf or Sauron, spirits of fire whom Melkor had corrupted before the creation of the World.[T 3] Power of the order of Gandalf's was necessary to destroy them, as when Gandalf at the Bridge of Khazad-dûm tells the others "This is a foe beyond any of you."[T 14]
As Maiar, only their physical forms could be destroyed. Tolkien says of the Valar and the Maiar that they can change their shape at will, and move unclad in the raiment of the world, meaning invisible and without form.[T 15] But it seems that Morgoth, Sauron, and their associated Maiar could lose this ability: Morgoth, for example, was unable to heal his burns from the Silmarils or wounds from Fingolfin and the eagle Thorondor;[T 16] and Sauron lost his ability to assume a fair-seeming form after his physical body was destroyed in the downfall of Númenor.[T 17]
Tolkien does not address this specifically for Balrogs, though in his later conception, as at the Bridge of Khazad-dûm, the Balrog appears "like a great shadow, in the middle of which was a dark form, of man-shape maybe, yet greater". Though previously the Balrog had entered the "large square chamber" of Mazarbul, at the Bridge of Khazad-dûm it "drew itself to a great height, and its wings spread from wall to wall" in the vast hall.[T 14]
The Balrog's size and shape, therefore, are not given precisely. When Gandalf threw it from the peak of Zirakzigil, the Balrog "broke the mountain-side where he smote it in his ruin".[T 18]
Whether Balrogs had wings (and if so, whether they could fly) is unclear.[1] This is due both to Tolkien's changing conception of Balrogs, and to the imprecise but suggestive and possibly figurative description of the Balrog that confronted Gandalf.[T 14]
The Balrog of Moria used a flaming sword ("From out of the shadow a red sword leapt flaming") and a many-thonged whip that "whined and cracked" in its battle with Gandalf. In The Silmarillion, they also used black axes and maces.[T 19] Earlier writings also speak of steel claws and iron mail.[T 20]
In earlier drafts of The Lord of the Rings, some further indications of Tolkien's evolving conceptions appear, as when
A figure strode to the fissure, no more than man-high yet terror seemed to go before it. They could see the furnace-fire of its eyes from afar; its arms were very long; it had a red [?tongue].[T 21]
At this writing Tolkien contemplated an edict of the Valar concerning Balrogs, having Gandalf challenge the Balrog by saying "It is forbidden for any Balrog to come beneath the sky since Fionwë[a] son of Manwë overthrew Thangorodrim."[T 21]
Gothmog at the Storming of Gondolin.[T 22] Artwork by Tom Loback
Gothmog is developed in successive versions of Silmarillion material. He is physically massive and strong, and in one version he is some 12 feet tall.[T 23] He wields a black axe and whip of flame as his weapons. He holds the titles of the Lord of the Balrogs, the High Captain of Angband, and Marshal of the Hosts. In the Second Battle, Dagor-nuin-Giliath, he leads a force that ambushes Fëanor and wounds him mortally.[T 24] He leads Balrogs, Orc-hosts, and Dragons as Morgoth's commander in the field in the Fifth Battle, Nírnaeth Arnoediad, and slays Fingon, High King of the Noldor. In that same battle, he captures Húrin of Dor-lómin, who had slain his personal guard of Battle-trolls, and brings him to Angband.[T 25] As Marshal of the Hosts, he is in command of the Storming of Gondolin. He is about to kill Tuor when Ecthelion of the Fountain, a Noldorin Elf-lord, intervenes. Gothmog fights Ecthelion in single combat, and they kill each other.[T 26]
In The Book of Lost Tales, Tolkien describes Kosomot, the original version of Gothmog, as a son of Morgoth and the ogress Fluithuin or Ulbandi.[T 27]Gothmog is Sindarin for "Dread Oppressor".[T 28]Kosomot is often considered Gothmog's Quenya name;[T 29] however, in the Quenya name-list of The Fall of Gondolin another version appears, Kosomoko.[T 30]
In Tolkien's early Lay of the Children of Húrin is "Lungorthin, Lord of Balrogs". This might be another name for Gothmog, though Christopher Tolkien thought it more likely that Lungorthin was simply "a Balrog lord".[T 31]
This Balrog appears in The Lord of the Rings, encountered by the Fellowship of the Ring in the Mines of Moria.[1] It survived the defeat of Morgoth in the War of Wrath, escaping to hide beneath the Misty Mountains.[T 32] For more than five millennia, the Balrog remained in its deep hiding place at the roots of Caradhras,[T 33] one of the Mountains of Moria, until in the Third Age, the mithril-miners of the Dwarf-kingdom of Khazad-dûm disturbed it. The Balrog killed Durin VI, the Dwarf-King of Khazad-dûm, whereafter it was called Durin's Bane by the Dwarves.[T 32][T 34]Avarice, principally for mithril, drove the dwarves to go too deep and awaken the Balrog.[2]
The Dwarves attempted to fight the Balrog, but its power was far too great for them. In their efforts to hold Khazad-dûm against it, many Dwarves were killed: Durin's successor Náin ruled for only a year. The survivors were forced to flee. This disaster reached the Silvan Elves of Lothlórien, many of whom fled the "Nameless Terror".[T 32] From this time Khazad-dûm was known as Moria, Sindarin for "Black Pit" or "Black Chasm".[T 35][T 36]
For another 500 years, Moria was left to the Balrog; though according to Unfinished Tales, Orcs crept in soon after the Dwarves were driven out, leading to Nimrodel's flight.[T 37]Sauron began to put his plans for war into effect, and he sent Orcs and Trolls to the Misty Mountains to bar the passes.[T 34]
During the reign of Thráin II, the Dwarves attempted to retake Moria in the War of the Dwarves and Orcs, culminating in the Battle of Azanulbizar before the eastern gate of Moria. This was a victory for the Dwarves, but the Balrog prevented them from reoccupying Moria. Dáin II Ironfoot, having slain the Orc Azog near the gate, perceived the terror of the Balrog within[T 32] and warned Thráin that Moria was unachievable until some greater force could remove the Balrog. The Dwarves departed and resumed their exile. Despite Dáin's warning, Balin made another attempt to retake Moria.[T 34] His party managed to start a colony, but was massacred a few years later.[T 14]
The Fellowship of the Ring travelled through Moria on the quest to destroy the One Ring in Mount Doom. They were attacked in the Chamber of Mazarbul by Orcs.[T 14] The Fellowship fled through a side door, but when the wizard Gandalf the Grey tried to place a "shutting spell" on the door to block the pursuit behind them, the Balrog entered the chamber on the other side and cast a "terrible" counterspell. Gandalf spoke a word of Command to stay the door, but the door shattered and the chamber collapsed. Gandalf was weakened by this encounter. The company fled with him, but the Orcs and the Balrog, taking a different route, caught up with them at the Bridge of Khazad-dûm. The Elf Legolas instantly recognized the Balrog and Gandalf tried to hold the bridge against it. As Gandalf faced the Balrog, he proclaimed, "You cannot pass, flame of Udûn!", and broke the bridge beneath the Balrog. As it fell, the Balrog wrapped its whip about Gandalf's knees, dragging him to the brink. As the Fellowship looked on in horror, Gandalf cried "Fly, you fools!" and plunged into the darkness below.[T 14]
After a long fall, the two crashed into a deep subterranean lake, which extinguished the flames of the Balrog's body; however it remained "a thing of slime, stronger than a strangling snake". They fought in the water; the Balrog clutched at Gandalf to strangle him, and Gandalf hewed the Balrog with his sword, until finally the Balrog fled into the primordial tunnels of Moria's underworld. Gandalf pursued the monster for eight days, until they climbed to the peak of Zirakzigil, where the Balrog was forced to turn and fight, its body erupting into new flame. Here they fought for two days and nights. In the end, the Balrog was defeated and cast down, breaking the mountainside where it fell "in ruin".[T 18] Gandalf himself died shortly afterwards, but he returned to Middle-earth with greater powers, as Gandalf the White, "until his task was finished". Critics such as Jerram Barrs have recognised this as a transfiguration similar to that of Jesus Christ, suggesting Gandalf's prophet-like status.[3]
The critic Clive Tolley notes that the contest between Gandalf and the Balrog on Durin's bridge somewhat recalls a shamanistic contest, but that a far closer parallel is medieval vision literature, giving the example of St Patrick's Purgatory, and even Dante's Divine Comedy.[4]
The name "Balrog", but not the meaning, emerges early in Tolkien's work: it appears in The Fall of Gondolin, one of the earliest texts Tolkien wrote, around 1918. Tolkien began a poem in alliterative verse about the battle of Glorfindel with the Balrog in that text, where both were killed by falling into the abyss, just like Gandalf and the Balrog in The Lord of the Rings.[1]
An early list of names described Balrog as "an Orc-word with no pure equivalent in Tolkien's invented language of Quenya: 'borrowed Malaroko-' ".[T 38]
In Gnomish (another of Tolkien's invented languages), Balrog is parsed as balc 'cruel' + graug 'demon', with a Quenya equivalent Malkarauke. Variant forms of the latter include Nalkarauke and Valkarauke.[T 39]
By the 1940s, when Tolkien began writing The Lord of the Rings, he had come to think of Balrog as Noldorinbalch 'cruel' + rhaug 'demon', with a Quenya equivalent Malarauko (from nwalya- 'to torture' + rauko 'demon').[T 40]
The last etymology, appearing in the invented languages Quendi and Eldar, derives Balrog as the Sindarin translation of the Quenya form Valarauko (Demon of Might). This etymology was published in The Silmarillion.[T 41][T 42]
Gandalf on the bridge of Khazad-dûm calls the Balrog "flame of Udûn" ( the Sindarin name of Morgoth's fortress Utumno).[T 14]
Tolkien was a professional philologist, a scholar of comparative and historical linguistics.[T 44] The Balrog and other concepts in his writings derived from the Old English word Sigelwara, used in texts such as the Codex Junius to mean "Aethiopian".[6][7] He wondered why the Anglo-Saxons would have had a word with this meaning, conjecturing that it had formerly had a different meaning. He emended the word to Sigelhearwan, and in his essay "Sigelwara Land",[T 43] explored in detail the two parts of the word. He stated that Sigel meant "both sun and jewel", the former as it was the name of the Sun rune*sowilō (ᛋ), the latter connotation from Latinsigillum, a seal.[5] He decided that Hearwa was related to Old English heorð, "hearth", and ultimately to Latin carbo, "soot". He suggested from all this that Sigelhearwan implied "rather the sons of Muspell than of Ham",[b] a class of demons in Northern mythology "with red-hot eyes that emitted sparks and faces black as soot".[T 43] The Tolkien scholar Tom Shippey states that this both "helped to naturalise the Balrog" and contributed to the Silmarils, which combined the nature of the sun and jewels.[8] The Aethiopians suggested to Tolkien the Haradrim, a dark southern race of men.[T 45][9]
A real-world etymological counterpart for the word "Balrog" existed long before Tolkien's languages, in Norse mythology; an epithet of the Norse godOdin was Báleygr, "fire-eyed".[10]
Joe Abbott, writing in Mythlore, notes that the Old Norse Voluspa mentions that the fire-demon Surt carries both a sword and a sviga laevi, a deadly whipping-stick or switch; he suggests that it is "a short step" from that to the Balrog's flaming whip.[1] Abbott makes a connection, too, with the Beowulf poet's account of the monster Grendel: he notes that Tolkien wrote that Grendel was "physical enough in form and power, but vaguely felt as belonging to a different order of being, one allied to the malevolent 'ghosts' of the dead", and compares this with Aragorn's description of the Balrog as "both a shadow and a flame, strong and terrible".[1]
Tolkien felt acutely the error made by the Anglo-Saxon commander, the ealdormanByrhtnoth, at the Battle of Maldon, allowing the Vikings to step ashore and win the battle. Alexander Bruce, in Mythlore, comments that Tolkien may have used Gandalf's battle with the Balrog on the narrow bridge in Moria to "correct the behavior of the self-serving Byrhtnoth through the actions of the self-less Gandalf".[11] Bruce notes that the Tolkien scholar Janet Brennan Croft also contrasts the two leaders.[11][12]
Alexander Bruce's comparison of Gandalf's stand in Moria with Byrhtnoth's action in the Battle of Maldon[11]
There are multiple parallels between the Fall of Gondolin and the fall of Troy, as told in the Iliad, but again the tales differ. The Elf Ecthelion leads the charge against the Orcs, and fights Gothmog, the greatest Balrog; they wound each other and both fall into the king's fountain in Gondolin; both drown. Bruce compares this to how Aeneas rallies the Trojans, but fails, and sees king Priam perish.[13]
The Balrog in Ralph Bakshi's 1978 animated version was named Durin's Bane and had large wings like those of a bat.[14]Peter Jackson's 2001 and 2002 films The Fellowship of the Ring and The Two Towers had similar wings, expressing its "satanic, demonic nature".[14] Earlier artists such as Ted Nasmith had depicted Balrogs without wings; Jackson's films used the design of Tolkien illustrator John Howe, making wings standard, in the same way that Jackson has made pointed ears standard for elves.[14] A Balrog appears in The Lord of the Rings: The Rings of Power, with a similar visual design to Jackson's monster.[15]
A Balrog features in King Gizzard & the Lizard Wizard's 2017 album Murder of the Universe (2017) as a giant reanimated monster. Songwriter Stu Mackenzie explained: "It might not be the Balrog from Middle Earth, but he is a sort of fire demon."[18]
A now-defunct fantasy writing prize, the Balrog Award, was named after the monsters.[20] The Japanese novel series Restaurant to Another World introduces a Balrog as a butler; this Balrog is described as polite.[21]
^Tolkien 1977 and its early drafts speak frequently of the whips of fire. The Lays of Beleriand describe Morgoth's prisoners tortured by Balrogs with scourges; and the Balrog in Moria (The Fellowship of the Ring, "The Bridge of Khazad-dûm") is armed explicitly with a "whip of many thongs" or strands.
^Tolkien 1984b, "Turambar and the Foalókë", p.85: "yet of all are they [dragons] the most powerful, save it be the Balrogs only."
Psych premiered on July 7, 2006, following the fifth-season premiere of Monk, and continued to be paired with the series until Monk's conclusion on December 4, 2009. During the second season, an animated segment titled "The Big Adventures of Little Shawn and Gus" was added to the series. Psych was the highest-rated US basic cable television premiere of 2006.[4] USA Network renewed the series for an eighth season on December 19, 2012, to include eight episodes, and ordered two more episodes on June 25, 2013, bringing the episode order to ten.[5][6] On February 5, 2014, USA Network confirmed that the eighth season of Psych would be its last, with the series finale airing on March 26, 2014.[7]
Psych: The Movie, a two-hour television film, aired on USA Network on December 7, 2017, launching the Psych film series,[8] with Franks' hope being to make five more Psych movies following Psych: The Movie.[9] On February 14, 2019, it was announced Psych: The Movie 2 was greenlit and set to premiere in late 2019, for which the main cast would return, but the premiere thereof was subsequently delayed to 2020, with the film renamed Psych 2: Lassie Come Home, and released on NBCUniversal's streaming service, Peacock, July 15, 2020, the day the service officially launched.[10][11][12] On May 13, 2021, Peacock announced a third film, Psych 3: This Is Gus, which premiered on November 18, 2021.[13][14] Three further Psych films are in development.[9]
Most episodes begin with a cold open in the form of a flashback to Shawn and Gus' childhoods. The flashbacks usually involve Shawn and Gus being taught a lesson by a young Henry Spencer (Shawn's father) (Corbin Bernsen), who wishes that his son would follow in his footsteps and become a law enforcement officer. These lessons often play a role for the climax of the episode. As a child, Shawn was taught by Henry to hone his powers of observation and deduction, often using games and challenges to test him. Each flashback also sets the theme for the episode.
Shawn originally becomes known as a psychic when, after calling in tips on dozens of crimes covered on the news which help the police to close the case, the police become suspicious of his knowledge, theorizing that such knowledge could only come from the "inside" and unwilling to believe that it is merely Shawn having honed his observational skills. To avoid being sent to jail, Shawn uses those skills to convince the police that he is psychic; though the interim police chief warns Shawn that if his "powers" are fake, he will be prosecuted. With no choice but to keep up the act, and having proven himself an effective aid to the police in solving crimes, he establishes a psychic detective agency, Psych, and becomes an outside consultant to the police. Pretending to have psychic powers allows him to engage in strange and comic behavior as he turns real clues into hunches and otherworldly visitations. He enjoys teasing lifelong friend Burton Guster (Gus), a pharmaceutical sales representative, about Gus' eclectic interests as they drive around in a blue Toyota Echo nicknamed "The Blueberry"[15] solving crimes.
Head detective Carlton Lassiter (Timothy Omundson), playfully nicknamed "Lassie" by Shawn and Gus, quietly comes to respect Shawn's crime-solving skills despite doubting his psychic abilities; Lassiter is constantly exasperated by Shawn keeping investigations ongoing and/or infuriated by Shawn's antics. However, junior detective Juliet "Jules" O'Hara (Maggie Lawson) and Chief Vick (Kirsten Nelson) are far less antagonistic – with O'Hara expressing belief in Shawn's abilities while Vick is mum on the subject – and usually willing to give Shawn the leeway he needs to solve cases. Henry and Shawn have a difficult relationship, but despite this, Henry reluctantly helps Shawn on various occasions.
Lucinda Barry (Anne Dudek)[a] is Lassiter's original partner and love interest in the pilot, she is transferred after Shawn tips off her relationship with Lassiter to the Santa Barbara Police Department (season 1).
This section needs expansion. You can help by adding to it. (December 2021)
Anne Dudek's character was written out of the series after the character generated a negative test audience reaction with Lassiter due to their relationship. Maggie Lawson was cast as Juliet O'Hara to serve as a replacement.[17][18]
The theme song for Psych is "I Know You Know" by The Friendly Indians, series creator Steve Franks's band. Some episodes in seasons three through eight use an extended version of "I Know You Know" consisting of the first verse and the chorus,[19] but most episodes use a shortened version consisting of mostly the chorus. In some episodes, the theme song is changed, usually as a tie-in to the theme of the episode to come.
Variations of the theme song include:
A Christmas-themed version in "Gus' Dad May Have Killed an Old Guy" (2x10), "Christmas Joy" (3x09), and "The Polarizing Express" (5x14)
A Spanish-sung version in "Lights, Camera... Homicidio" (2x13) and "No Country for Two Old Men" (7x04)
A Bollywood-themed version sung in Hindi for "Bollywood Homicide" (4x06)
An a cappella version recorded by Boyz II Men in "High Top Fade-Out" (4x07) and "Let's Doo-Wop It Again" (6x13)
A version recorded by Curt Smith for "Shawn 2.0" (5x08)
A version sung by Julee Cruise in "Dual Spires" (5x12)
A superhero-themed version in "The Amazing Psych-Man & Tap-Man, Issue 2" (6x04)
A The Shining-inspired version for "Heeeeere's Lassie" (6x11)
In the "pilot", Roday improvised by picking up a pineapple and saying, "Should I slice this up for the road?" Since then, pineapples have appeared in every episode as a running gag, whether just one in the background or the actual mention of it. It is Shawn's go-to housewarming gift. The pineapple is a major marketing point for items related to the show on the USA website.[20] Fan movements, such as fan-made websites, have also been dedicated to finding a pineapple or pineapple-related object in each episode.[21]
Following the series finale on March 26, 2014, USA Network aired a live aftershow entitled "Psych After Pshow." The hour-long special was hosted by Kevin Pereira and featured series stars and creator/executive producer Steve Franks.[22]
In July 2011, Ion Television announced that Psych would become part of its 2012 broadcast in syndication.[23] During 2012, reruns of the show mostly ran on Saturdays as a marathon. In 2013, Ion Television announced the acquisition option pick-up of season seven of Psych. It no longer airs on Ion Television. The deal with NBC Universal Cable & New Media Distribution adds all 16 new episodes of season seven to Ion's existing library of seasons one–six of Psych and includes rights to future seasons.[24] As of January 2023, Psych started airing on Hallmark Movies and Mysteries.
Psych scored a 4.51 rating and an average of 6.1 million total viewers at its premiere, which made it the highest-rated scripted series premiere on basic cable in 2006 in all key demographics (households, P18-49, P25-54, and total viewers), according to a USA Network press release, quoted from the Futon Critic.[4]
In the series, Robotechnology refers to the scientific advances discovered in an alien starship that crashed on a South Pacific island.[3] With this technology, Earth developed robotic technologies, such as transformable mecha, to fight three successive extraterrestrial invasions.[4]
At the same time, Harmony Gold licensed the Macross TV series for direct-to-video distribution in 1984, but their merchandising plans were compromised by Revell's prior distribution of the Macross kits. In the end, both parties signed a co-licensing agreement and the Robotech name was adopted for the TV syndication of Macross combined with Super Dimension Cavalry Southern Cross (1984) and Genesis Climber MOSPEADA (1983).[5]
The Robotech chronology, according to Harmony Gold, is illustrated below:
Timeline
Generation / Saga (release date)
1999 (2009) – 2014
(1)
Robotech: The Macross Saga (1984)
2022
Robotech II: The Sentinels* (1987)
2027
Robotech: The Movie* (1986)
2029–2030
(2)
Robotech: The Masters (1985)
2031 (2042) – 2044
(3)
Robotech: The New Generation (1985)
2044–
Robotech: The Shadow Chronicles (2006)
* Asterisked works are now considered 'secondary continuity'—that is, that their events exist in the continuity of Robotech, but 'don't count' when conflicts arise with the primary continuity that comprises the three-part Robotech TV series and 2006's Robotech: The Shadow Chronicles.
In 2002, with the publication of the WildStorm (DC) comics, Harmony Gold officially decided to retcon the Robotech Universe. The following Robotech material is now relegated to the status of secondary continuity:
While these materials are not precisely 'retired' or 'removed' from the continuity, their events are subject to critical review, and are strictly subordinate to the 'official' events of the 85-episode animated series.
Harmony Gold's cited reasoning for combining these unrelated series was its decision to market Macross for American weekday syndication television, which required a minimum of 65 episodes at the time (thirteen weeks at five episodes per week).[7]Macross and the two other series each had fewer episodes than required, since they originally aired in Japan as weekly series. On some television stations, the syndicated run was preceded by the broadcast premiere of Codename: Robotech, a feature-length pilot.
This combination resulted in a storyline that spans three generations, as mankind must fight three destructive 'Robotech Wars' in succession with various invading forces, each of which is motivated in one way or another by a desire for a powerful energy source called 'protoculture'. While each of the three animated series used for its footage informs its content, the Robotech storyline is distinct and separate from each of them.
The First Robotech War (The Macross Saga) concerns humanity's discovery of a crashed alien ship and subsequent battle against a race of giant warriors called the Zentraedi, who have been sent to retrieve the ship for reasons unknown. In the course of this chapter, Earth is nearly annihilated, the Zentraedi are defeated, and humans gain knowledge of the energy source called protoculture. Humanity also learns of the Robotech Masters whose galactic empire the Zentraedi protected and patrolled.
The Second Robotech War (The Masters) focuses on the arrival in Earth orbit of the Robotech Masters, who have come seeking what turns out to be the sole means in the universe of producing protoculture. Through a combination of mistrust and arrogance, their attempts at retrieving this meet with opposition from the humans and unleash a war that leaves the Masters defeated and Earth awash in the spores of a plant called the Flower of Life—the source of protoculture and a beacon to the mysterious Invid who scour the galaxy for its presence.
The Third Robotech War (The New Generation) begins with the arrival on Earth of the Invid, who are lured by the Flower of Life and rapidly conquer the planet. References in the previous two chapters explain to viewers that many of the heroes of the First Robotech War had left Earth to seek out the Robotech Masters on a preemptive mission, and it is this Robotech Expeditionary Force that sends missions back from across the galaxy to attempt a liberation of their homeworld. The storyline follows one group of freedom fighters as they work their way towards the final battle with the Invid.
Robotech: The Movie, also called Robotech: The Untold Story, is a feature film and was the first new Robotech adventure created after the premiere of the original series. It uses footage from the Megazone 23 – Part 1 OVA (original video animation; made-for-video animated feature) combined with scenes from "Southern Cross" and additional original animation produced for the film.
The original plan for the film was to have it set during the Macross Saga, parallel to the SDF-1's return to Earth from Pluto. The film would also have served as a prequel to the Sentinels, as both projects were initially meant to share many characters. Harmony Gold producer Carl Macek worked with the OVA's original creators to make the story and the new ending work. The film had to be changed again after the distributor of the film, Cannon Films, saw an incomplete rough cut of the film and were upset by it. They ordered Macek to remove multiple scenes from the film and to add more violence (most of the scenes removed were scenes setting up characters and showing female characters interacting). Macek reluctantly did what they ordered, and created a new script and rough edit for the film in less than 24 hours. When the distributors saw Macek act out the new film, they were much more pleased with the new cut.[8] The opening night in Texas received a positive response, but Cannon Films pulled out after noting that most attendants were adults; the bulk of the scheduled advertising for the series was targeted to children. The film had limited success in Argentina and Belgium.[citation needed]
In 2011, A&E Home Video released, as a part of their Robotech: The Complete Series collection, a 29-minute version of Robotech: The Movie containing only footage used from "Southern Cross". There was no attempt to remaster the footage.[9]
This aborted American-produced series would have followed the continuing adventures of Rick and Lisa Hunter and the Robotech Expedition during the events of The Masters and The New Generation. The feature-length pilot is composed of the first three (and only) episodes that were produced. The Sentinels featured characters from all three Robotech sagas and introduced the SDF-3 along with an overview of their new mission. The series was planned to have a total of 65 episodes.[10]
In Robotech Art 3: The Sentinels, Carl Macek blamed the cancellation of the series on the crash of the Yen/Dollar exchange rate,[11] which caused toy partner Matchbox to withdraw from the project. Harmony Gold lacked the funds to produce the series on its own, and production ceased after only three episodes.
Robotech II: The Sentinels was released on VHS by Palladium Books.[12] In 2011, a "remastered" version was released on the A&E DVD set, Robotech: The Complete Original SeriesDVD. This version has opening titles resembling those found on the "Robotech Remastered" DVDs, as well as a new ending with text explaining the fate of the SDF-3. Also, all of the flashback footage used from "The Macross Saga" has been removed, including the re-used footage from the episode "Wedding Bells".[13]
In 2002, Tommy Yune announced development of a new animated sequel. Originally announced as a television series with a planned 2004 release date, the project was revealed at Anime Expo 2004 as a feature-length film titled Robotech: Shadow Force. The storyline overlaps with and continues from the unresolved ending of the original series. The title of the story arc was soon changed to Robotech: The Shadow Chronicles. The first trailers with finished animation were shown at Anime Expo and Comic-Con International in 2005. It was not until February 2006, when Kevin McKeever, operations coordinator at Harmony Gold, was able to confirm that the pilot movie had been completed. After a series of delays, FUNimation Entertainment was finally announced as the home video, broadcast, and theatrical distributor at the 2006 Comic-Con International in San Diego with the possibility of producing further sequels. Harmony Gold premiered the movie at various film festivals in 2006, and it was first seen by a public audience at MechaCon on August 9, 2006, where it was showcased as a charity screening to help raise funds for the ongoing Hurricane Katrina and Hurricane Rita recovery effort. A limited theatrical run followed in January 2007, and the film was released on DVD on February 6, 2007.[14] A two-disc collector's edition was released in November 2007.[15]
First revealed in late 2011 in the final minutes of Carl Macek's Robotech Universe, a documentary on the making of Robotech dedicated to the then-recent passing of Macek, Love Live Alive is an adaptation of the 1984 Genesis Climber Mospeada OVA, Love Live Alive, incorporating some brand-new animation. The film was released on DVD on July 23, 2013, by Lionsgate Home Entertainment in North America.[16]
This promotional VHS tape created by Matchbox was included with their Robotech Wars playset. This video includes two episodes cobbled together from clips of The Macross Saga. Titled "To the End of the Universe" and "Battle Royale", these episodes contain no new footage, and are not meant to follow any continuity established in the TV series.[17]
During the production of Robotech II: The Sentinels, Carl Macek had already begun to plot out 13 weeks of a third series title Robotech III: The Odyssey, which would have raised the total number or Robotech episodes 215 had both series been produced. He envisioned two additional series (Robotech IV and Robotech V) to bring the total number of episodes to around 300, one to air every weekday for over a year.[18]
For Robotech III: The Odyssey, Macek stated that his plans were to create a time-travel loop, allowing the last episode of The Odyssey to lead directly into the first episode of The Macross Saga.[19] This particular plot detail was eventually adapted into the Robotech novel The End of the Circle by Jack McKinney.[20]
In 1986, fan publication Macross Life published an interview with Harmony Gold executive Richard Firth who first mentioned the Robotech IV and Robotech V series plans.[21] Firth said the story would be about a retired Commodore character from The Macross Saga telling a story via flashback, but Macek later refuted that plot detail in a 2007 interview. Macek stated that while he was hoping to do up to five series, nothing was ever written for the final two.
Macek attempted another sequel with the development of Robotech 3000. This all-CGI series would have been set a millennium in the future of the Robotech universe and feature none of the old series' characters. In the three-minute trailer, an expedition is sent to check on a non-responsive mining outpost and is attacked by "infected" Veritech mecha. The idea was abandoned midway into production after negative reception within the company, negative fan reactions at the FanimeCon anime convention in 2000, and financial difficulties within Netter Digital who was animating the show. During a 2000 San Diego Comic-Con panel, Macek announced the series was would be re-conceptualized as a traditional, hand-drawn animated series, however that idea was abandoned sometime prior to 2002 in favor of development of what would become Robotech: The Shadow Chronicles. The trailer was hosted on the official Robotech website, and was included in the 2007 release of the Robotech: The Shadow Chronicles 2-disc collector's DVD, along with behind-the-scenes motion capture footage.
In October 2004, veteran animation writer and producer Greg Weisman revealed that he developed an animated spin-off series titled Robotech: Mars Force.[22] When asked about the project, Weisman said that he was under a non-disclosure agreement with Harmony Gold and was only allowed to mention that he developed the series.[23]
In 2006, Harmony Gold Creative Director Tommy Yune elaborated on the project in the Space Station Liberty Podcast, saying that Mars Force was a series geared at younger audiences, following the children of the Robotech Expeditionary Force.[24] A similar plot would later be used for the canceled 2014 spin-off, Robotech Academy.
A sixty-second public service announcement for the 60th anniversary of the United Nations, featuring Scott Bernard and Ariel, was animated during the production of The Shadow Chronicles. Although it did not use the original voice actors and the dialogue was somewhat out-of-character, it nonetheless marked the first fully completed Robotech footage in many years.[25]
On July 27, 2007, at their Comic-Con International panel, Harmony Gold and Yune unveiled the second entry of the Shadow Chronicles production, titled Robotech: Shadow Rising and was to be a co-production with FUNimation Entertainment. Pre-production reportedly began in February 2007 and a projected release date of sometime in 2009 was originally expected.[26] In 2009 Harmony Gold revealed that production had not moved forward since the summer of 2007, due to the announced development deal of a live-action film deal with Warner Bros. in September 2007.[27]
At Comic-Con 2012, Tommy Yune announced that Love Live Alive would pave the way for Shadow Rising,[28] and one year later announced at Anime Expo that they had resumed work on Shadow Rising.[29]
Harmony Gold's trademark of the term "Shadow Rising" was filed in 2007, extended in 2010, but abandoned since 2011.[30]
On July 5, 2014, Harmony Gold started a Kickstarter project for Robotech Academy, which Macek had developed before he died. The goal of this project was to raise US$500,000 to produce a new 24-minute pilot episode. The crowdfunding project was to have closed on August 9, 2014;[31] however, on August 2, the project was canceled with a pledge level of US$194,574, or 39% of its target.[32] Harmony Gold, however, announced that further plans to fund the project were being explored.[33] At the 2014 Long Beach Comic Con, it was announced that the producers at Harmony Gold were in talks with at least one new media network on the prospect of producing the show.[34] As of December 7, 2015, the project remains abandoned.
In the 1990s, Seishun Shitemasu, an anime fandubbing group, produced the parodies Robotech III: Not Necessarily the Sentinels and Robotech IV: Khyron's Counterattack, using footage from, respectively, Gunbuster and Gundam: Char's Counterattack, continuing the tradition of the original Robotech's adaptation of unrelated anime series into a single continuity.
On July 2, 2010, Ecuadorian animator Patricio "Pat" Mosquera uploaded to YouTube a teaser for Robotech Skull Knights. On August 17, 2010, second teaser revealed Rick Hunter standing in front of an image of the VF-4 shown in the final episodes of the original series. Robotech Skull Knights has not been released yet.[35] In July 2013, Patricio Mosquera was included as an animation director in the staff list in the IMDb page of Love Live Alive.[36]
On December 31, 2012, Cesar Turturro uploaded to YouTube an Argentinefan trailer for Robotech Valkyrie Project.[37] On December, 2013 the first episode was uploaded to YouTube, and in January 2014, the second episode was also uploaded. The series was cancelled after Harmony Gold issued a "cease and desist" letter to the producers. The team was, however, hired to do the CGI effects for Robotech: Academy.
Attempts at producing a live-action Robotech have been in development for an extended time, with numerous writers, directors, and actors attached at various times and the film rights changing between studios.
Some time prior to February 2006, the company Kickstart Entertainment (founded by Robotech: The Shadow Chronicles and Robotech 3000 producer Jason Netter) featured a graphic on their website stating that a live-action Robotech movie was in development with Chuck Russel attached to write and direct. While never formally announced by Harmony Gold, Kickstart Entertainment's announcement of this project was reported by Anime News Network on February 27, 2006.[38] Anime News Network's article was updated on March 1, 2006 saying that this announcement had been removed.
On September 7, 2007, The Hollywood Reporter announced that Warner Bros. had acquired the film rights to Robotech, with Tobey Maguire producing and pursuing the lead role.[39] A Harmony Gold representative stated that the company had been approached by WB and would have "a say" in the film's creative direction.[40] A March 2021 review of a 2008 draft written by S. Craig Zahler by the website Scriptshadow revealed the initial plot was very loosely based on The Macross Saga portion of Robotech.[41] Writers attached to the project included Lawrence Kasdan in June 2008,[42]Alfred Gough and Miles Millar in November 2008,[43]Tom Rob Smith in June 2009,[44] and Michael B. Gordon in February 2015.[45]Nic Mathieu had been announced as director in early 2013.[46]
On March 25, 2015, the Robotech franchise was acquired by Sony Pictures;[47] on July 3, 2015, Harmony Gold clarified that Sony has the rights to release the film worldwide with the exception of Japan.[48] After Harmony Gold and Big West reached an agreement which was signed on March 1, 2021 regarding to the Macross and Robotech franchises, announced on April 8, 2021, Big West officially affirmed as part of the deal that they will not take any opposition on Harmony Gold's upcoming live action adaptation of Robotech. Both Harmony Gold and Big West will cooperate on future projects for the foreseeable future.[49][50]
In June 2023, artist Col Price posted images on both social media and his official ArtStation page of concept art he was hired to create for the film.[55][56] While only citing "a few years ago" as the time frame of which they were made, Price's images depict an adaptation of The Macross Saga.
At the time of its broadcast, Harmony Gold also launched Robotech through a popular line of comics to be followed by novels, role-playing games, toys, and other consumer products. With the cancellation of Robotech II: The Sentinels, many of these licensed products were discontinued, and led to a drought of Robotech product through much of the 1990s, except for publishers who continued The Sentinels storyline in print.
In 1986, Starblaze Graphics published Robotech Art 1, a reference book containing artwork, Japanese production designs, and episode guides from the original television series. This was followed by Robotech Art 2, which was largely a collection of art by various American artists and fans. In 1988, Carl Macek collected much of the unused designs from Robotech II: The Sentinels into Robotech Art 3: The Sentinels, which also included his story outline for the rest of the unfinished series, with an explanation behind its cancellation. In 2007, Stone Bridge Press published The Art of Robotech: The Shadow Chronicles.
Robotech comics were first published in 1984 with DC Comics' short-lived Robotech Defenders and Comico's adaptation of the first episode of the Japanese version of Macross. However, the first adaptation of the Robotech television series did not arrive until 1984 with Comico's Robotech: The Macross Saga Number 2, which continued from the first Macross issue.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Darth Vader (/dɑːrθveɪdər/) is a fictional character in the Star Wars franchise created by George Lucas. He was first introduced in the original film trilogy as one of the leaders of the Galactic Empire. The prequel trilogy chronicles his transformation from the Jedi KnightAnakin Skywalker into the Sith Lord Darth Vader. His metamorphosis begins when he is lured to the dark side of the Force by Chancellor Palpatine, who later becomes Emperor. After a lightsaber battle with his former mentor Obi-Wan Kenobi, Vader is severely injured and is transformed into a cyborg. He serves Palpatine for over two decades, hunting down the remaining Jedi and attempting to crush the Rebel Alliance. When Palpatine tries to kill Vader's son, Luke Skywalker, the Sith Lord turns against his master and destroys him. Vader is the husband of Padmé Amidala, the father of Luke and his twin sister Leia Organa, and the grandfather of Ben Solo.[b]
David Prowse physically portrays Vader in the original trilogy, while James Earl Jones provides his voice in all of the films and some television series. Jake Lloyd and Hayden Christensen portray Anakin in the prequel trilogy, and Christensen also plays him in the series Obi-Wan Kenobi (2022) and Ahsoka (2023). In the standalone film Rogue One (2016), Vader is portrayed by Spencer Wilding and Daniel Naprous. The character also appears in novels, comics, and video games. He has become an iconic villain of cinema.[c]
As part of the development for the original Star Wars film,[d] Lucas hired the artist Ralph McQuarrie to create conceptual images for the characters. For Vader, Lucas asked McQuarrie to depict a "very tall, dark fluttering figure that had a spooky feeling like it came in on the wind."[9] Because the script described Vader traveling between spaceships, McQuarrie suggested that he should wear a space suit. Lucas agreed, and McQuarrie created Vader's iconic mask by combining a full-face breathing mask with a samurai helmet.[9][10] A 1975 production painting by McQuarrie depicts Vader engaged in a lightsaber duel with Deak Starkiller, who later became Luke Skywalker. Vader is shown wearing black armor, a flowing cape and a skull-like mask and helmet. This early design was similar to Vader's final appearance.[11]
Working from McQuarrie's concepts, the costume designer John Mollo devised an outfit that combined clerical robes, a motorcycle suit, a German military helmet and a military gas mask.[12] The prop sculptor Brian Muir created the helmet and armor.[13] The sound of Vader's breathing was created by the film's sound designer, Ben Burtt, using modified recordings of a scuba breathing apparatus.[14] The sound effect is trademarked at the U.S. Patent and Trademark Office.[15]
Lucas has provided differing accounts of how the name "Darth Vader" originated. In a 2005 interview with Rolling Stone, he claimed it was a modified version of "Dark Father."[16] On another occasion, he said it was inspired by the phrase "Dark Water".[17] It is also possible that "Darth Vader" originated from the name of Gary Vader, a boy who went to high school with Lucas.[18] In France, Darth Vader's name was changed to Dark Vador starting with Star Wars.[19][20] He was called Dart Fener In Italian-language versions of Star Wars films until 2015, when his name was reverted to the English version.[21] In Iceland, his name is Svarthöfði, which means "black-head".[22]
The films Swiss Family Robinson (1960) and Battle of the Bulge (1965) influenced the original Star Wars trilogy, but Lucas's publicist has denied that Anakin Skywalker was named after Ken Annakin, the director of those films.[23][24] The original surname of Anakin and Luke was "Starkiller", and it remained in the script until a few months into filming Star Wars. It was dropped due to what Lucas called "unpleasant connotations" with Charles Manson, who became a "star killer" in 1969 when he murdered the well-known actress Sharon Tate.[25][26] Lucas replaced the problematic name "Starkiller" with "Skywalker".[27]
The Phantom Menace introduced the possibility that Anakin could be the Chosen One of an ancient Jedi prophecy, who is destined to bring balance to the Force. Lucas stated in an interview that "Anakin is the Chosen One. Even when Anakin turns into Darth Vader, he is still the Chosen One." Hayden Christensen said of Anakin: "He believes that he's the Chosen One. He's not doing wrong things knowing that it's having a negative impact. So there's that sort of naivety to him...and it makes him more human in a lot of ways."[28]
After completing principal photography for Revenge of the Sith in 2003, Lucas made changes to Anakin's character by rewriting his turn to the dark side. He accomplished this through editing the principal footage and filming new scenes during pickups in London in 2004. In previous versions of the script, Anakin had several reasons for turning to the dark side, including his sincere belief that the Jedi were plotting to seize control of the Republic. Although he retains this belief in the finished film, Lucas's changes emphasized his desire to rescue Padmé from death. Thus, in the theatrical version of Revenge of the Sith, Anakin falls to the dark side primarily to save Padmé.[29]
Anakin's apprentice Ahsoka Tano was introduced in the 2008 animated film The Clone Wars. Giving Anakin responsibility for a Padawan was meant to place the character in a role that forced him to become more cautious and responsible. It was also meant to provide him with insight about his relationship with his own master, Obi-Wan Kenobi, and show how their relationship matured. Anakin's relationship with Ahsoka was seen as an essential story arc spanning both the film and the The Clone Warstelevision series.[30]
David Prowse, a 6-foot-6-inch (1.98 m) bodybuilder and actor, portrays Vader in the original trilogy. Prowse was originally offered the role of Chewbacca, but turned it down, as he wanted to play the villain.[31]Bob Anderson, a former Olympic fencer, portrays Vader during lightsaber fight scenes in The Empire Strikes Back and Return of the Jedi.[32] Lucas chose to have a different actor provide Vader's voice, because he felt Prowse's West Country English accent was inappropriate for the character.[33] The director originally considered Orson Welles for the role, but selected James Earl Jones instead after deciding that Welles's voice would be too recognizable to audiences.[34][35] Jones initially felt his role was too small to warrant recognition, and he chose to be uncredited in Star Wars and The Empire Strikes Back. He was finally credited in Return of the Jedi in 1983.[36][33]
When filming the scene in The Empire Strikes Back in which Vader confesses he is Luke's father, Prowse was given modified dialogue to read that did not exist in the script. He was known for repeatedly leaking information to the public, and the filmmakers wanted to keep Vader's revelation a secret until the film was released. Prowse was asked to read the line "Obi-Wan Kenobi is your father" instead of "No, I am your father."[37] Only the director, the producers, and Mark Hamill knew the actual line, which was dubbed in later by Jones.[37][38] Prowse did not know the real line until he viewed the finished film.[39]
Hayden Christensen portrays Vader in Revenge of the Sith, while Brock Peters provides his voice in the Star Wars radio series.[40][41]Scott Lawrence voices Vader in video games, including the 2019 virtual reality series Vader Immortal.[42]Matt Sloan voices the Sith Lord in both video games and television productions.[43] Both Spencer Wilding and Daniel Naprous portray Vader in Rogue One, with Jones providing the voice.[44] Jones also voices Vader in the Star Wars Holiday Special (1978) and the animated series Star Wars Rebels.[45][46] In September 2022, it was confirmed that Jones would retire from voicing the character. His voice was digitally recreated by the company Respeecher for use in the series Obi-Wan Kenobi, and he later signed over the rights to his voice for future Star Wars productions.[47][48]
Near the end of Return of the Jedi, Luke removes Vader's mask. Although Prowse had portrayed the Sith Lord throughout the trilogy, the filmmakers wanted a more experienced actor to play the unmasked Vader.[49]Sebastian Shaw was selected for the role, which appears as "Anakin Skywalker" in the credits.[50] Shaw's presence on set was kept secret from all but the minimum cast and crew, and Shaw was contractually obligated not to discuss any film secrets with anyone, even his family.[51][52] In the final scene of the film, Shaw portrays Anakin's Force spirit. His likeness in this scene was replaced with that of Hayden Christensen in the 2004 DVD release.[53]
When The Phantom Menace was being developed, hundreds of actors were auditioned for the role of young Anakin before Jake Lloyd was cast.[54]Rick McCallum, the film's producer, said that Lloyd was "smart, mischievous and love[d] anything mechanical—just like Anakin."[55][56] When casting the role of 19-year-old Anakin for Attack of the Clones, the filmmakers reviewed about 1,500 candidates before selecting Hayden Christensen.[57] The Canadian actor reprises the role in Revenge of the Sith and in the series Obi-Wan Kenobi and Ahsoka. His performance in Revenge of the Sith garnered him a nomination for the Saturn Award for Best Actor,[citation needed] while his portrayal of Anakin in Obi-Wan Kenobi earned him the Saturn Award for Best Guest Performance in a Streaming Series.[58]
Anakin is voiced by Mat Lucas and Frankie Ryan Manriquez in the 2003 animated micro-series Clone Wars, and is voiced by Kirby Morrow in several television productions.[59][60]Matt Lanter provides the character's voice in video games and in various television productions, including The Clone Wars, Rebels, Forces of Destiny and Star Wars: Tales.[61] Lanter also voices Anakin in the film version of The Clone Wars. During the second-season finale of Rebels, Lanter's voice is sometimes blended with the voice of James Earl Jones.[62]
In 1977, a New Journal and Guide writer criticized the lack of racial diversity in the original Star Wars film, pointing out that "the force of evil ... is dressed in all black and has the voice of a black man."[63]
Vader first appears in Star Wars (1977) as a cyborg commander serving the Galactic Empire. He and Grand Moff Tarkin have been tasked with recovering architectural plans for the Death Star battle station, which were stolen by the Rebel Alliance. Vader captures and interrogates the Rebel leader Princess Leia, who has sent the plans to Vader's former master Obi-Wan Kenobi. During Leia's rescue by Obi-Wan's allies Luke Skywalker and Han Solo, Vader strikes down his mentor in a lightsaber duel. After placing a tracking device aboard Han's ship, Vader locates the Rebel base on Yavin 4. When the Rebels attack the Death Star, Vader pursues Luke in his TIE fighter. Before he can shoot Luke down, Han intervenes and sends Vader's ship spiraling off course, which allows Luke to destroy the Death Star.
In The Empire Strikes Back (1980), Vader becomes obsessed with finding Luke, who is now a Rebel commander. Vader's forces assault the Rebel base on Hoth, but the Rebels escape. Vader convinces the Emperor that Luke could be a valuable ally if he were turned to the dark side of the Force. Vader hires a group of bounty hunters to follow Luke's companions, and compels the Cloud City administrator Lando Calrissian to set a trap for them. After Han, Leia, Chewbacca and C-3PO arrive, Vader tortures and freezes Han in carbonite and gives him to the bounty hunter Boba Fett. When Luke lands on Cloud City to help his friends, Vader overpowers him and severs his hand. He tells Luke that he is his father, and tries to persuade him to join the dark side and help him overthrow the Emperor. Horrified, Luke escapes through an air shaft. Vader telepathically tells Luke that it is his destiny to join the dark side.
Vader and the Emperor supervise the construction of the second Death Star in Return of the Jedi (1983). Believing there is still good in his father, Luke surrenders to Vader in an attempt to bring him back from the dark side. Vader takes his son to the Death Star and brings him before the Emperor, who attempts to seduce him to the dark side. Luke lashes out at the Emperor with his lightsaber, but Vader blocks his strike, and the two of them duel once again. As Luke regains control of his emotions, Vader senses that he has a sister, and threatens to turn her to the dark side if Luke will not submit. Enraged, Luke overpowers Vader and severs his hand. The Emperor then orders Luke to kill Vader and take his place, but Luke refuses.
The Emperor begins torturing Luke with Force lightning, and Luke calls out to his father for help. Vader hesitates, then throws the Emperor down a reactor shaft to his death. Vader is mortally wounded, and Luke carries him to a docking bay, where Imperial forces are evacuating in the face of a Rebel assault. At Vader's request, Luke removes his father's mask and looks upon the face of Anakin Skywalker for the first time. On Endor, Luke burns his father's body on a funeral pyre. As the Rebels celebrate the destruction of the Death Star and the fall of the Empire, Luke sees Anakin's spirit appear alongside the spirits of Obi-Wan and Yoda.
The first film of the prequel trilogy, The Phantom Menace (1999), takes place 32 years before Star Wars. Anakin is a nine-year-old slave living on Tatooine with his mother Shmi.[65] He is a gifted pilot and mechanic, and has built his own protocol droid, C-3PO. The Jedi Master Qui-Gon Jinn meets Anakin after making an emergency landing on Tatooine with Padmé Amidala, the queen of Naboo. Qui-Gon learns that Anakin was conceived without a father and can see the future. He becomes convinced that Anakin is the "Chosen One" of Jedi prophecy who will bring balance to the Force. After winning his freedom in a podrace wager, Anakin departs the planet with Qui-Gon to be trained as a Jedi, leaving his mother behind. During the journey to Coruscant, Anakin forms a bond with Padmé. Qui-Gon asks the Jedi Council for permission to train Anakin, but they refuse, concerned that the fear he exhibits makes him vulnerable to the dark side. During a conflict with the Trade Federation, Anakin helps end the blockade of Naboo by destroying a control ship. Qui-Gon is mortally wounded in a duel with the Sith Lord Darth Maul, and with his dying breath asks his apprentice Obi-Wan Kenobi to train Anakin. With the Council's reluctant approval, Anakin becomes Obi-Wan's apprentice. Palpatine, the newly elected Chancellor of the Galactic Republic, takes an interest in Anakin and his career as a Jedi.
Attack of the Clones (2002) is set ten years after The Phantom Menace. Anakin has grown powerful but arrogant, and believes that Obi-Wan is holding him back. After rescuing Padmé from an assassination attempt, he travels with her to Naboo as her bodyguard. They begin to fall in love, despite a Jedi Code prohibition against romantic relationships. Sensing that his mother is in danger, Anakin travels with Padmé to Tatooine and finds that she was kidnapped by Tusken Raiders. He locates her at a Tusken campsite, where she dies in his arms. Overcome with grief and rage, Anakin massacres the Tusken tribe. Padmé is disturbed by what he has done, but comforts him nevertheless. Anakin and Padmé then go to Geonosis to aid Obi-Wan, only to be captured by the Sith Lord Count Dooku. Facing execution, Anakin and Padmé profess their love for each other. They are saved from death by an army of Jedi and clone troopers, led by the Jedi Masters Mace Windu and Yoda. Anakin and Obi-Wan then confront Dooku, but he defeats them both and severs Anakin's arm. After being rescued by Yoda, Anakin is fitted with a robotic arm and marries Padmé in a secret ceremony.
A wax sculpture of Anakin Skywalker at the Madame Tussauds museum in London
Revenge of the Sith (2005) is set three years after Attack of the Clones. Anakin, who is now a Jedi Knight and a hero of the Clone Wars, leads a mission with Obi-Wan to rescue Chancellor Palpatine from the Separatist commander General Grievous. The two Jedi again battle Count Dooku, whom Anakin overpowers and then slaughters at Palpatine's urging. Anakin returns to Coruscant to reunite with Padmé, who tells him she is pregnant. Although initially excited, Anakin soon begins to have nightmares about his wife dying in childbirth. Palpatine appoints Anakin to the Jedi Council as his personal representative, but the Council is suspicious of the Chancellor. They decline to grant Anakin the rank of Jedi Master and instruct him to spy on Palpatine, which upsets Anakin. Later, Palpatine reveals to Anakin that he is the Sith Lord Darth Sidious, the mastermind of the Clone Wars. He suggests that Anakin can prevent Padmé's death by using the dark side of the Force. Anakin reports Palpatine's treachery to Windu, who confronts and subdues the Sith Lord. Desperate to save Padmé, Anakin intervenes on Palpatine's behalf and severs Windu's hand, which allows Palpatine to kill him. Anakin then pledges himself to the Sith, and Palpatine dubs him Darth Vader.
On Palpatine's orders, Vader slaughters all the Jedi in the Jedi Temple, including the children. After learning what her husband has done, a distraught Padmé travels to Mustafar and pleads with him to abandon the dark side, but he refuses. Believing that Padmé and Obi-Wan are conspiring against him, Vader uses the Force to strangle his wife into unconsciousness. He then engages Obi-Wan in a lightsaber duel that ends with Obi-Wan severing his limbs and leaving him for dead on the banks of a lava flow, where he catches fire and sustains severe burns. Palpatine finds the barely-alive Vader and takes him to Coruscant, where his mutilated body is covered in black armor that keeps him alive. When Vader asks if Padmé is safe, Palpatine lies to him and says that his strangulation killed her, which causes Vader to scream in anguish. At the end of the film, Vader supervises the construction of the first Death Star alongside Palpatine and Tarkin.
Anakin's voice is heard briefly in the third film of the sequel trilogy, The Rise of Skywalker (2019). During Rey's confrontation with the resurrected Palpatine, she hears the voices of various deceased Jedi, including Anakin. He encourages her to return balance to the Force.[66][67]
In the 2008 animated film The Clone Wars, Yoda assigns Anakin an apprentice, Ahsoka Tano. It is a responsibility that Anakin is at first reluctant to accept. He calls Ahsoka "Snips" for her "snippy" attitude, while Ahsoka refers to him as "Skyguy".[68] After earning Anakin's respect during a dangerous mission, Ahsoka joins him on a quest to rescue Jabba the Hutt's infant son, Rotta. Her impetuousness both annoys and endears her to Anakin, and he develops a friendly affection towards her.
In the standalone film Rogue One (2016), Vader summons the weapons developer Orson Krennic to his castle on Mustafar. He confronts him about his handling of the Death Star project and the destruction of Jedha City. When Krennic asks Vader for an audience with the Emperor, Vader refuses.[69] At the end of the film, Vader boards a Rebel flagship and kills several Rebel soldiers as he tries unsuccesfully to recover the stolen Death Star plans. Vader's role in the film was different in early versions of the story. In Gary Whitta's original pitch, the Sith Lord appeared on Scarif and slaughtered a Rebel blockade.[70] In another early storyline, Vader killed Krennic for his failure to prevent the Rebels from stealing the Death Star schematics.[71]
Anakin features prominently in all seasons of The Clone Wars (2008–2014, 2020). As a Jedi Knight, he leads the 501st Legion on missions with both his master Obi-Wan and his apprentice Ahsoka. Some of Anakin's actions taken out of concern for Ahsoka violate the Jedi code, such as torturing prisoners who may know her location.[72] Throughout the series there are references to Anakin's eventual fall to the dark side, including visions of his future as Darth Vader and his disillusionment with the Jedi Council after they wrongly accuse Ahsoka of bombing the Jedi Temple. While Ahsoka is later forgiven after the true culprit is found, she nonetheless chooses to leave the Jedi Order.[73] Anakin appears as Vader in the final scene of the series finale, which occurs after Revenge of the Sith. He investigates the crash site of a Star Destroyer, which was demolished during Order 66. Finding one of Ahsoka's lightsabers among the wreckage, he assumes that his former Padawan has perished.
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