title: The Catcher in the Rye

text: When "The Catcher in the Rye" was first released, many offers were made to adapt it for the screen, including one from Samuel Goldwyn, producer of "My Foolish Heart". In a letter written in the early 1950s, Salinger spoke of mounting a play in which he would play the role of Holden Caulfield opposite Margaret O'Brien, and, if he couldn't play the part himself, to "forget about it." Almost 50 years later, the writer Joyce Maynard definitively concluded, "The only person who might ever have played Holden Caulfield would have been J. D. Salinger."


title: The Catcher in the Rye

text: Salinger told Maynard in the 1970s that Jerry Lewis "tried for years to get his hands on the part of Holden," the protagonist in the novel which Lewis had not read until he was in his thirties. Film industry figures including Marlon Brando, Jack Nicholson, Ralph Bakshi, Tobey Maguire and Leonardo DiCaprio have tried to make a film adaptation. In an interview with "Premiere", John Cusack commented that his one regret about turning 21 was that he had become too old to play Holden Caulfield. Writer-director Billy Wilder recounted his abortive attempts to snare the novel's rights:


title: The Catcher in the Rye

text: In 1961, Salinger denied Elia Kazan permission to direct a stage adaptation of "Catcher" for Broadway. Later, Salinger's agents received bids for the "Catcher" film rights from Harvey Weinstein and Steven Spielberg, neither of which was even passed on to Salinger for consideration.


title: The Catcher in the Rye

text: In 2003, the BBC television program "The Big Read" featured "The Catcher in the Rye", interspersing discussions of the novel with "a series of short films that featured an actor playing J. D. Salinger's adolescent antihero, Holden Caulfield." The show defended its unlicensed adaptation of the novel by claiming to be a "literary review", and no major charges were filed.


title: The Catcher in the Rye

text: In 2008, the rights of Salinger's works were placed in the JD Salinger Literary Trust where Salinger was the sole trustee. Phyllis Westberg, who was Salinger's agent at Harold Ober Associates in New York, declined to say who the trustees are now that the author is dead. After Salinger died in 2010, Phyllis Westberg stated that nothing has changed in terms of licensing film, television, or stage rights of his works. A letter written by Salinger in 1957 revealed that he was open to an adaptation of "The Catcher in the Rye" released after his death. He wrote: "Firstly, it is possible that one day the rights will be sold. Since there's an ever-looming possibility that I won't die rich, I toy very seriously with the idea of leaving the unsold rights to my wife and daughter as a kind of insurance policy. It pleasures me no end, though, I might quickly add, to know that I won't have to see the results of the transaction." Salinger also wrote that he believed his novel was not suitable for film treatment, and that translating Holden Caulfield's first-person narrative into voice-over and dialogue would be contrived.


title: The Catcher in the Rye

text: In 2020, Don Hahn revealed that Disney had almost made an animated movie titled "Dufus" which would have been an adaptation of "The Catcher in the Rye" "with German shepherds", most likely akin to "Oliver & Company". The idea came from then CEO Michael Eisner who loved the book and wanted to do an adaptation. After being told that J. D. Salinger would not agree to sell the film rights, Eisner stated "Well, let's just do that kind of story, that kind of growing up, coming of age story."


title: The Catcher in the Rye

text: In 2009, the year before he died, Salinger successfully sued to stop the U.S. publication of a novel that presents Holden Caulfield as an old man. The novel's author, Fredrik Colting, commented: "call me an ignorant Swede, but the last thing I thought possible in the U.S. was that you banned books". The issue is complicated by the nature of Colting's book, "60 Years Later: Coming Through the Rye", which has been compared to fan fiction. Although commonly not authorized by writers, no legal action is usually taken against fan fiction, since it is rarely published commercially and thus involves no profit.


title: ByteDance

text: ByteDance Ltd. () is a Chinese internet technology company headquartered in Beijing and incorporated in the Cayman Islands.


title: ByteDance

text: Founded by Zhang Yiming, Liang Rubo and a team of others in 2012, ByteDance developed the video-sharing social networking services and apps TikTok and Chinese-specific counterpart Douyin. The company is also the developer of the news platform Toutiao. As of June 2021, ByteDance hosts 1.9 billion monthly active users across all of its platforms.


title: ByteDance

text: ByteDance has attracted regulatory attention in several countries over surveillance, privacy, and censorship concerns.


title: ByteDance

text: In 2009, software engineer and entrepreneur Zhang Yiming collaborated with his friend Liang Rubo to co-found 99fang.com, a real estate search engine. In early 2012, the pair rented an apartment in Zhongguancun and, along with several other 99fang employees, began developing an app that would use big data algorithms to classify news according to users' preferences, which would later become Toutiao. That March, Yiming and Liang founded ByteDance.


title: ByteDance

text: In March 2012, ByteDance launched its first app, called "Neihan Duanzi" (, lit. "profound gags"). This allowed users to circulate jokes, memes, and humorous videos. Before being forced by the Chinese government to shut down in 2018, "Neihan Duanzi" had over 200 million users.


title: ByteDance

text: In August 2012, ByteDance launched the first version of news and content platform Toutiao (头条, lit. "headlines"), which would become their core product.


title: ByteDance

text: In March 2016, ByteDance established its research arm, called the ByteDance AI Lab. It is headed by Wei-Ying Ma, the former assistant managing director of Microsoft Research Asia. The same year, the ByteDance AI Lab and Peking University co-developed Xiaomingbot (), an AI bot that wrote news articles.


title: ByteDance

text: From late 2016 until 2017, ByteDance made a number of acquisitions and new product launches. In December 2016, it invested in the Indonesian news recommendation platform BABE. Two months later, in February 2017, it acquired Flipagram, which was later merged with Musical.ly into TikTok upon the latter's acquisition in November 2017. Other notable acquisitions include the UGC short video platform Hypstar (Vigo Video) in July 2017, and News Republic from Cheetah Mobile in November 2017.


title: ByteDance

text: In December 2018, ByteDance sued Chinese technology news site Huxiu for defamation after Huxiu reported that ByteDance's Indian-language news app Helo was propagating fake news.


title: ByteDance

text: In March 2021, the "Financial Times" reported that ByteDance was part of a group of Chinese companies that aimed to deploy technology to circumvent Apple's privacy policies. The following month, ByteDance announced that it had created a new division called BytePlus to distribute the underlying platform of TikTok, so that others may launch similar apps.


title: ByteDance

text: Zhang Yiming was ByteDance's chairman and CEO from its founding in 2012 until 2021, when co-founder Liang Rubo took over as CEO.


title: ByteDance

text: On 19 May 2020, ByteDance and Disney released an announcement that Kevin Mayer, head of Disney's streaming business, would join ByteDance. From June 2020 to his resignation 26 August 2020, Mayer served as the CEO of TikTok and the COO of ByteDance, reporting directly to the company CEO Zhang Yiming. In 2021, Chew Shouzi, former CFO of Xiaomi, took over as TikTok CEO.


title: ByteDance

text: As with many Chinese companies, ByteDance has an internal CCP committee with Vice President Zhang Fuping serving as the company's CCP Committee Secretary.


title: ByteDance

text: ByteDance is financially backed by Kohlberg Kravis Roberts, SoftBank Group, Sequoia Capital, General Atlantic, and Hillhouse Capital Group. As of March 2021, it was estimated to be valued at $250 billion in private trades.


title: ByteDance

text: In April 2021, a state-owned enterprise owned by the Cyberspace Administration of China and China Media Group, the China Internet Investment Fund, purchased a 1% stake in ByteDance's main Chinese entity and placed a government official, Wu Shugang, on its board of directors. "The Economist" and Reuters have described the Chinese government's stake in ByteDance as a golden share investment.


title: ByteDance

text: ByteDance's China business has a strategic partnership with the Chinese Ministry of Public Security for the ministry's public relations efforts. In 2019, ByteDance formed joint ventures with Beijing Time, a publisher controlled by the Beijing municipal CCP committee, and with Shanghai Dongfang, a state media firm in Shanghai. In 2021, ByteDance announced that its partnership with Shanghai Dongfang had never been in operation and was disbanded.


title: ByteDance

text: ByteDance's lobbying efforts in the U.S. are led by Michael Beckerman. According to disclosures filed under the Lobbying Disclosure Act of 1995, ByteDance has lobbied the United States Congress, White House, Department of Commerce, Department of State, and the Department of Defense. ByteDance's lobbying has included hiring K&L Gates, LGL Advisors, and other firms to influence bills such as the United States Innovation and Competition Act, American Innovation and Choice Online Act, and the annual National Defense Authorization Act.


title: ByteDance

text: First released to the public in September 2016, Douyin (), previously named A.me, is the Chinese version of TikTok. The application is a short-form video social media platform that differs from its international counterpart version by having more advanced features, such as e-commerce. TikTok and Douyin have almost the same user interface but no access to each other's content. Their servers are each based in the market where the respective app is available.


title: ByteDance

text: First released to the public in 2019, Lark is ByteDance's enterprise collaboration platform. Lark was originally developed as an internal tool, becoming ByteDance's primary internal communication and collaboration platform, but was eventually made available to external users in certain markets.


title: ByteDance

text: First released to the public in September 2017, TikTok is a video-sharing social networking service used to make short-form videos, from genres like dance, comedy, and education. On 9 November 2017, ByteDance acquired Shanghai-based social media start-up Musical.ly for up to US$1 billion. They combined it and prior acquisition Flipagram into TikTok on 2 August 2018, keeping the TikTok name.


title: ByteDance

text: Toutiao (), launched in August 2012, started out as a news recommendation engine and gradually evolved into a platform delivering content in various formats, such as texts, images, question-and-answer posts, microblogs, and videos.


title: ByteDance

text: In January 2014, the company created the "Toutiaohao" () platform to attract more content creators. Later in the year, it added video capabilities. Toutiao used interest-based and decentralized distribution to help long tail content creators find an audience.


title: ByteDance

text: In 2017, Toutiao acquired Flipagram. ByteDance would later expand Toutiao's features to include: a missing person alerts project whose alerts have helped find 13,116 missing persons as of June 2020; short-form video platform Toutiao Video, later rebranded as Xigua Video (西瓜视频, also known as Watermelon Video), which hosts video clips that are on average 2–5 minutes long; and Toutiao Search, a search engine.


title: ByteDance

text: Initially launched as Toutiao Video in 2016, Xigua Video () is an online video-sharing platform that features user-created short and mid-length videos and also produces film and television content.


title: ByteDance

text: Initially launched in 2019, Nuverse has launched as a video game publisher company. The first game launched outside Mainland China was Warhammer 40,000: Lost Crusade in 2021. Later in 2021, Moonton became a subsidiary of Nuverse, after winning the bid, initially set by Tencent.


title: ByteDance

text: In 2022, the studio has launched Marvel Snap in October worldwide, after closed alpha testing in the Philippines, and gradually entering open beta with the first country being New Zealand.


title: ByteDance

text: ByteDance has garnered public attention over surveillance and privacy concerns as well as allegations that it worked with the Chinese Communist Party (CCP) to censor content on its platforms pertaining to human rights abuses in Xinjiang and other topics deemed sensitive by the CCP.


title: ByteDance

text: In April 2018, China's state media regulator, the National Radio and Television Administration (NRTA), ordered the temporary removal of Toutiao and Neihan Duanzi from Chinese app stores. The NRTA accused Neihan Duanzi in particular of hosting "vulgar" and "improper" content and "triggering strong sentiments of resentment among internet users". The following day, Neihan Duanzi announced it was permanently shutting down. In response to the shutdown, Yiming issued a letter stating that the app was "incommensurate with socialist core values" and promised that ByteDance would "further deepen cooperation" with the authorities to promote their policies. Following the shutdown, ByteDance announced that it would give preference to Chinese Communist Party members in its hiring and increase its censors from 6,000 to 10,000 employees.


title: ByteDance

text: In November 2019, the CAC ordered ByteDance to remove "slanderous" information on Fang Zhimin from Toutiao. In April 2020, the CAC ordered ByteDance to take down its office collaboration tool, Lark, because it could be used to circumvent Internet censorship. In January 2021, Chinese regulators fined ByteDance for spreading "vulgar information." In April 2021, ByteDance was among 13 online platforms ordered by the Chinese central bank to adhere to tighter data and financial regulations. The bank stated that ByteDance must conduct comprehensive self-examination and rectification to adhere to the country's laws. In May 2021, the CAC stated that ByteDance had engaged in illegal data collection and misuse of personal information.


title: ByteDance

text: In March 2021, the State Administration for Market Regulation fined a ByteDance subsidiary and other companies for antitrust violations.


title: ByteDance

text: In April 2022, ByteDance announced that it would report users' content on Toutiao and Douyin that engaged in "historical nihilism" in contradiction of official CCP history.


title: ByteDance

text: In November 2022, during the 2022 COVID-19 protests in China, the CAC directed ByteDance to intensify its censorship of the protests.


title: ByteDance

text: Citing national security issues the Indian Government banned TikTok along with 58 other Chinese apps on 29 June 2020. The ban was made permanent in January 2021. In March 2021, the Indian government froze ByteDance's bank accounts in the country for alleged tax evasion, which ByteDance disputed.


title: ByteDance

text: In December 2022, Taiwan's Mainland Affairs Council announced that an investigation had been launched into ByteDance on suspicion of operating an illegal subsidiary in the country.


title: ByteDance

text: On 27 February 2019, the Federal Trade Commission (FCC) fined TikTok US$5.7 million for collecting information from minors under the age of 13 in violation of the Children's Online Privacy Protection Act in the United States. ByteDance later added a kids-only mode to TikTok which blocks the upload of videos, the building of user profiles, direct messaging, and commenting on other's videos, while still allowing the viewing and recording of content.


title: ByteDance

text: In June 2022, FCC Commissioner Brendan Carr described ByteDance as "beholden" to the Chinese government and "required by law to comply with [Chinese government] surveillance demands." Carr called for Apple and Google to remove TikTok from their respective app stores. U.S. senators Mark Warner and Marco Rubio also called for an FCC investigation of TikTok and ByteDance.


title: ByteDance

text: On 3 August 2020, U.S. president Donald Trump set September 15 as the deadline for TikTok, a social media app under ByteDance, to find a US buyer, and he then issued executive orders that would effectively ban TikTok from operating in the country if it is not sold by ByteDance within 45 days.


title: ByteDance

text: On 7 August 2020, ByteDance released a statement in response to the executive order banning US companies and individuals from doing business with it, threatening to resort to the American justice system in order to get "fair treatment." On 14 August 2020, Trump issued an executive order mandating that ByteDance divest from all U.S. operations of TikTok within 90 days. On 28 August 2020, the Chinese Ministry of Commerce and the Chinese Ministry of Science and Technology announced that any sale of ByteDance's technology to foreign firms is a matter of "national security" and would require prior approval.


Star Wars: Episode I – The Phantom Menace is a 1999 American epic space opera film written and directed by George Lucas. It stars Liam Neeson, Ewan McGregor, Natalie Portman, Jake Lloyd, Ian McDiarmid, Anthony Daniels, Kenny Baker, Pernilla August, and Frank Oz. It is the fourth film in the "Star Wars" film series, the first film of the prequel trilogy and the first chronological chapter of the "Skywalker Saga". Set 32 years before the original trilogy, during the era of the Galactic Republic, the plot follows Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi as they try to protect Queen Padmé Amidala of Naboo in hopes of securing a peaceful end to an interplanetary trade dispute. Joined by Anakin Skywalker—a young slave with unusually strong natural powers of the Force—they simultaneously contend with the mysterious return of the Sith. The film was produced by Lucasfilm, with 20th Century Fox distributing.


title: Star Wars: Episode I – The Phantom Menace

text: Following the release of "Return of the Jedi," talks of a follow-up were proposed, but Lucas was unmotivated to return to the franchise. During the hiatus, the backstories he created for the characters, particularly Anakin's own backstory, sparked interest in him to develop a prequel trilogy during the 1990s. After he determined that computer-generated imagery (CGI) had advanced to the level he wanted for the prequel trilogy's visual effects, Lucas began writing "The Phantom Menace" in 1993, and production began in 1994. Filming started on June 26, 1997—at locations including Leavesden Film Studios and the Tunisian desert—and ended on September 30. The film marked Lucas' first directorial effort after a 22-year hiatus following the original "Star Wars" in 1977.


text: "The Phantom Menace" was released in theaters on May 19, 1999, almost 16 years after the premiere of "Return of the Jedi". The film's premiere was extensively covered by media and was widely anticipated because of the large cultural following the "Star Wars" saga had cultivated. Upon its release, "The Phantom Menace" received mixed reviews. While the visual effects, action sequences, musical score, and the performances of Neeson and McGregor were praised, criticism was largely focused on the screenplay, pacing, Lloyd's performance, and characters, with Jar Jar Binks in particular receiving extremely negative reception. Furthermore, the film's blend of complicated, politics-heavy storytelling and juvenile humor was perceived as incongruent. Despite the mixed reception, "The Phantom Menace" was a box-office success and broke numerous box-office records during its debut. It grossed more than $924.3 million worldwide during its initial theatrical run, becoming the highest-grossing film of 1999, the second-highest-grossing film worldwide and in North America (behind "Titanic"), and the highest-grossing "Star Wars" film at the time (inflation notwithstanding). A 3D reissue, which earned an additional $102.7 million and brought the film's overall worldwide takings to over $1 billion, was released in February 2012. "" (2002) and "" (2005) followed "The Phantom Menace", rounding out the "Star Wars" prequel trilogy.


text: The Trade Federation creates turmoil in the Galactic Republic by blockading the planet Naboo in protest of recent legislation taxing major galactic trade routes. The Republic's leader, Supreme Chancellor Finis Valorum, dispatches Jedi Master Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, to negotiate with Trade Federation Viceroy Nute Gunray. Darth Sidious, a Sith Lord and the Trade Federation's secret benefactor, orders the Viceroy to kill the Jedi and begin an invasion with an army of battle droids, but the Jedi escape and flee to Naboo. During the invasion, rescues a Gungan outcast, Jar Jar Binks. Indebted to , leads the Jedi to Otoh Gunga, the Gungans' underwater city. The Jedi fail to persuade the Gungan leader, Boss Nass, to help the planet's surface dwellers, but manage to obtain guidance and underwater transport to Theed, the capital city of Naboo. After rescuing Queen Amidala, the group make their escape from Naboo aboard her Royal Starship, intending to reach the Republic capital planet of Coruscant.


text: Passing through the Federation blockade, the ship is damaged in the crossfire, and its hyperdrive malfunctions. The ship lands for repairs on the outlying desert planet of Tatooine, situated beyond the Republic's jurisdiction. Qui-Gon, Jar Jar, astromech droid R2-D2, and Queen Padmé Amidala (in disguise as one of her own handmaidens) visit the settlement of Mos Espa to purchase a new part for their hyperdrive. They encounter a junk dealer, Watto, and his nine-year-old slave, Anakin Skywalker, a gifted pilot and engineer who has built a protocol droid, C-3PO.


text: Qui-Gon senses a strong presence of the Force within Anakin, and is convinced that he is the prophesied "Chosen One," destined to restore balance to the Force. With Watto refusing to accept payment in Republic currency, wagers both the required hyperdrive part and Anakin's freedom in a podrace. Anakin wins the race and joins the group to be trained as a Jedi, reluctantly leaving behind his mother, Shmi. En route to their starship, encounters Darth Maul, Sidious' apprentice, who was sent to capture Amidala. After a brief lightsaber duel narrowly escapes aboard the starship with the others.


text: Qui-Gon and Obi-Wan escort Amidala to Coruscant so that she can plead her people's case to Chancellor Valorum and the Galactic Senate. Qui-Gon informs the Jedi Council that his attacker was a Sith and subsequently asks for permission to train Anakin as a Jedi, but the Council refuses his request, concerned that Anakin's age makes him vulnerable to the dark side of the Force. Undaunted, vows to take up Anakin as his new apprentice. Meanwhile, Naboo's Senator Palpatine persuades Amidala to call for a vote of no confidence in Valorum to elect a more capable leader in order to resolve the crisis. Though she is successful in pushing for the vote, Amidala grows frustrated with the now-apparent corruption in the Senate, and decides to return to Naboo. and are ordered by the Jedi Council to accompany the queen and investigate the return of the Sith, whom they had thought to be extinct for over a millennium.


text: On Naboo, Padmé reveals herself as the actual queen before the Gungans to gain their trust, and persuades them to help against the Trade Federation. is promoted to general and joins his tribe in a battle against the droid army, while Padmé leads the search for Gunray in Theed. Qui-Gon tells Anakin to hide inside a starfighter in the palace hangar, but he accidentally triggers its autopilot, and flies into space, joining the Naboo pilots in their battle against the Federation droid control ship. With R2's help, Anakin pilots the fighter into the ship and causes its destruction from within, deactivating the droid army. Meanwhile, Maul, who has been dispatched by Sidious to assist Gunray, engages in a lightsaber duel with and . Maul mortally wounds Qui-Gon, but is then sliced in half by Obi-Wan and falls down a shaft. Qui-Gon asks Obi-Wan to train Anakin before dying in his arms.


text: Following the battle, Gunray is arrested by the Republic, and Palpatine is elected Chancellor. Master Yoda promotes to the rank of Jedi Knight, and reluctantly accepts Anakin as apprentice. A funeral is held for Qui-Gon, attended by the other Jedi, who contemplate that there is still one Sith remaining since there are always two of them. During a celebratory parade on Naboo, Padmé presents a gift of thanks to the Gungans to establish peace.


text: Additionally, Brian Blessed voiced Boss Nass, the leader of the Gungan tribe who allies with the Naboo surface dwellers; Andy Secombe voiced Watto, a junk dealer on Tatooine who owns Anakin and his mother as slaves; and Lewis MacLeod voiced Sebulba, an aggressive, scheming podracer who is Anakin's main rival at the Boonta Eve podrace. Greg Proops and Scott Capurro voiced Fode and Beed, respectively, the two-headed announcer of the Boonta Eve Race. Alan Ruscoe appears as Jedi Master Plo Koon and Neimoidian Daultay Dofine, commander of the Trade Federation's droid control ships. Ralph Brown plays Ric Olie, commander of the Naboo Royal Space Fighter Corps and chief pilot aboard Queen Amidala's starship, while Matthew Wood appears as the Twi'lek Bib Fortuna alongside a CGI Jabba the Hutt, who is voiced by an uncredited actor. Dominic West plays the role of an unnamed Naboo guard, and Sofia Coppola appears as Saché, one of Amidala's handmaidens. Christian Simpson appears as Lieutenant Gavyn Sykes. Lindsay Duncan voices TC-14, a protocol droid on the Federation ship. Sally Hawkins made her screen debut as an uncredited villager.


text: While writing the original "Star Wars" film, Lucas decided the story was too vast to be covered in one film. He introduced a wider story arc that could be told in sequels if it became successful. He negotiated a contract that allowed him to make two sequels, and over time created an elaborate backstory to aid his writing process. While writing the second film, "The Empire Strikes Back", Lucas considered directions in which to take the story. In the original trilogy, Darth Vader was revealed to have been Anakin Skywalker, a once-powerful Jedi Knight, and a traitor to the Jedi Order. With this backstory in place, Lucas decided that the movies would work best as a trilogy. In the trilogy's final episode, "Return of the Jedi", Vader is redeemed through an act of sacrifice for Luke.


text: Throughout the 1980s, Lucas said he had no desire to return to "Star Wars" and had canceled his sequel trilogy by the time of "Return of the Jedi". However, because Lucas had developed most of the backstory, the idea of prequels continued to fascinate him. In the early 1990s, "Star Wars" saw a resurgence in popularity in the wake of Dark Horse's comic line and Timothy Zahn's trilogy of novels. Lucas saw that there was still a large audience for his idea of a prequel trilogy, and with the development of special effects generated with computer-generated imagery (CGI), Lucas considered returning to his saga and directing the film. In 1993, it was announced in "Variety" and other sources that he would be making the prequels. Lucas began outlining the story; Anakin Skywalker rather than Obi-Wan Kenobi would be the protagonist, and the series would be a tragedy examining Darth Vader's origins. A relic of the original outline was that Anakin would, like his son, grow up on Tatooine. Lucas also began to change the prequels' timeline relative to the original series; instead of filling in the tangential history, they would form the beginning of a long story that started with Anakin's childhood and ended with his death. This was the final step toward turning the franchise into a saga.


text: Lucas began writing the "Star Wars" prequel trilogy on November 1, 1994. The screenplay of "Star Wars" was adapted from Lucas' 15-page outline that was written in 1976, which he designed to help him keep track of the characters' backstories and events that occurred before the original trilogy. Anakin was first written as a twelve-year-old, but Lucas reduced his age to nine because he felt that the lower age would better fit the plot point of Anakin being affected by his mother's separation from him. Eventually, Anakin's younger age led Lucas to rewrite his participation in the movie's major scenes. The film's working title was "The Beginning", with the title not being changed to "The Phantom Menace" until shortly before the film's completion. Lucas later revealed that the "Phantom Menace" title was a reference to Palpatine hiding his true identity as an evil Sith Lord behind the facade of a well-intentioned public servant.


text: The larger budget and possibilities opened up by the use of digital effects made Lucas "think about a much grander, more epic scale"which is what I wanted "Star Wars" to be". The story ended with five simultaneous, ongoing plots, one leading to another. The central plot is Palpatine's intent to become Chancellor, which leads to the Trade Federation's attack on Naboo, the Jedi being sent there, Anakin being met along the way, and the rise of the Sith Lords. As with the original trilogy, Lucas intended "The Phantom Menace" to illustrate several themes throughout the narrative. Duality is a frequent theme; Amidala is a queen who passes as a handmaiden, Palpatine plays on both sides of the war, among others. "Balance" is frequently suggested; Anakin is supposedly "the one" chosen to bring balance to the ForceLucas said, "Anakin needed to have a mother, Obi-Wan needed a Master, Darth Sidious needed an apprentice" as without interaction and dialogue, "you wouldn't have drama".


text: In November 2015, Ron Howard confirmed that he, Robert Zemeckis, and Steven Spielberg were approached by Lucas to direct "The Phantom Menace". All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting."


text: Before Lucas had started writing, his producing partner Rick McCallum was preparing for the film. McCallum stated that his experience with "The Young Indiana Jones Chronicles" led to many of his decisions on "The Phantom Menace", such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology. In April 1994, McCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet. Industrial Light & Magic (ILM) art director Doug Chiang impressed McCallum the most and was hired as the design director. Art development on the film began in January 1995.


text: Within three to four months of Lucas beginning the writing process, Chiang and his design team started a two-year process of reviewing thousands of designs for the film. Chiang stated that Lucas intended "Episode I" to be stylistically different from the other "Star Wars" films; it would be "richer and more like a period piece, since it was the history leading up to "A New Hope"." The story takes place on three planets, some with varied environments such as the human and Gungan cities of Naboo and three buildings in Coruscant. With the exception of the Gungan city, which had an art nouveau-inspired visual, these locations would be given distinctive looks with some basis in the real world. The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espawhich was also inspired by old Tunisian hotels and buildings and had touches such as a marketplace to differentiate it from "A New Hope"s Mos Eisleyand Coruscant, in particular a metropolis design that became the basis for the Senate. Bocquet would later develop the work of Chiang's team and design the interiors, translating the concepts into construction blueprints with environments and architectural styles that had some basis in reality "to give the audience something to key into." Some elements were directly inspired by the original trilogy; Lucas described the battle droids as predecessors to the stormtroopers. Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art.


text: Terryl Whitlatch, who had a background on zoology and anatomy, was in charge of creature design. Many of the aliens are hybrids, combining features of real animals. At times, entire food chains were developed, even though only a small percentage of them would appear in the film. Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators. Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens.


text: The film made extensive use of the new technique of digital pre-visualization, using computers to essentially create 3-D animated storyboards. This was done for dozens of scenes in the film but was first and primarily used in the pod race sequence. Animatic supervisor David Dozoretz, also an ILM alum, worked on this sequence for nearly three years, and at one point had a 25 minute version of the race, although the film only included a 9-minute version.


text: Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy. Gillard likened the lightsaber battles to a chess game "with every move being a check". Because of their short-range weapons, Gillard thought that the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping. While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence that lasted around 60 seconds and intended to be around five or six sequences per fight. Lucas later referred to the Jedi as "negotiators" rather than high-casualty soldiers. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi. Because Gillard thought that the stunt jumps with the actors and stuntmen dangling from wires did not look realistic, air rams were used to propel them into the air instead.


text: Lucas decided to make elaborate costumes, because the film's society was more sophisticated than the one depicted in the original trilogy. Designer Trisha Biggar and her team created over 1,000 costumes that were inspired by various cultures. Biggar worked closely with concept designer Iain McCaig to create a color palette for the inhabitants of each world: Tatooine followed "A New Hope" with sun-bleached sand colors, Coruscant had grays, browns, and blacks, and Naboo had green and gold for humans while Gungans wore "a leathery look, like their skin". The Jedi costumes followed the tradition from the original film; Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly". Biggar also consulted Gillard to ensure that the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins. A huge wardrobe department was set up at Leavesden Film Studios to create over 250 costumes for the main actors and 5,000 for the background ones.


text: Nute Gunray's Thai accent was chosen after Lucas and McCallum listened to various languages to decide how the Neimoidians would speak. The character design of Watto was an amalgam of rejected ideas; his expressions were based on video footage of Secombe's voice acting, photographs of animation supervisor Rob Coleman imitating the character, and modeler Steve Alpin saying Watto's lines to a mirror. Lucas described Sebulba's design as "a spider crossed with an orangutan crossed with a sloth", with a camel-like face, and clothing inspired by medieval armor.


text: After Samuel L. Jackson expressed interest in appearing in a "Star Wars" film, he was approached by casting director Robin Gurland to play Windu. Rapper Tupac Shakur was also considered for the role of Mace Windu. Ray Park, a martial arts champion with experience in gymnastics and sword fighting, was originally a member of the stunt crew. Stunt coordinator Nick Gillard filmed Park to demonstrate his conception of the lightsaber battles. Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz. Keira Knightley's parents tried to convince her not to audition, but the teenage actress still sought a role since she was a "Star Wars" fan. The casting was influenced by Knightley's remarkable similarity to Natalie Portman, with the actress admitting their mothers could not tell each other apart. Knightley was reported to have "cried every single day" due to finding the wardrobe uncomfortable.


text: Over 3,000 actors auditioned for the role of Anakin Skywalker including Haley Joel Osment, Cameron Finley, Justin Berfield and Michael Angarano before Jake Lloyd was finalised. Vinette Robinson auditioned for the role of Padmé Amidala. Benicio del Toro was originally cast as Darth Maul but later left the project when the character’s lines were cut. Michael Jackson expressed interest in playing Jar Jar Binks but he wanted to do it in prosthetic make ups while George Lucas wanted to do it in CGI. Joseph Fiennes auditioned for the role of Obi-Wan Kenobi and nearly landed the part until George Lucas's young daughter rejected him upon meeting him during the second level of auditioning.


text: Silas Carson was cast as Nute Gunray because another actor was uncomfortable with the costumes used by the Trade Federation characters, which were hot, exerted a lot of pressure on the bearer, and took about 15 minutes to apply. Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make. Brian Blessed originally auditioned for the role of Sio Bibble, the Governor of Naboo, for which he was considered "too loud". Casting director Robin Gurland approached him to play Nass because it was a "bigger than life" character with "a kind of bravado". Blessed described Nass as a "reluctant hero". Sofia Coppola, daughter of Lucas' long-time friend and creative partner Francis Ford Coppola, considers Lucas as "like an uncle to me". As she prepared the script for her directorial debut "The Virgin Suicides", Coppola heard Lucas would make a new "Star Wars" film and asked him if she could accompany him during filming. Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way".


text: Filming began on June 26, 1997, and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England. Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed. The forest scenes on Naboo were filmed at Cassiobury Park in Watford, Hertfordshire. Pick-ups were shot between August 1998 and February 1999 after Lucas screened a rough cut of the film for friends and colleagues in May 1998. Most of the action and stunts were filmed by Roger Christian's second unit, which worked alongside the main unit instead of afterwards because of the high number of shots to be completed daily.


text: The Tunisian desert was again used for the Tatooine scenes; Mos Espa was built outside the city of Tozeur. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props. The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned. The Italian Caserta Palace was used as the interior of the Theed City Naboo Palace; it was used as a location for four days after it had been closed to visitors. Scenes with explosions were filmed on replica sets in Leavesden.


text: A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI. The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds, or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors. Knoll, who remained on set through most of the production, worked closely with Tattersall to ensure that the shots were suitable to add effects later. The cameras were fitted with data capture models to provide technical data for the CGI artists.


text: "The Phantom Menace" was the final "Star Wars" film to be shot on 35mm film until "Episode VII" (""). Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizingan expensive process compared to recording directly on digital mediafor the compositing of computer-generated effects. All future films would be shot using Sony CineAlta high-definition video cameras. Greg Proops and Scott Capurro were filmed wearing makeup and blue bodysuits so their heads could be joined in a computer-generated body. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien.


text: Editing took two years; Paul Martin Smith started the process in England and focused on dialogue-heavy scenes. Ben Burttwho was also the film's sound editorwas responsible for action sequences under Lucas' supervision. Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised, and reworked shots and scenes. The final sound mix was added in March 1999, and the following month, the film was completed after the delivery of the remaining visual effects shots.


text: The film saw a breakthrough in computer generated effects. About 1,950 of the shots in "The Phantom Menace" have visual effects. The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration. The work was so extensive that three visual effects supervisors divided the workload among themselvesJohn Knoll supervised the on-set production and the podrace and space battle sequences, Dennis Muren supervised the underwater sequence and the ground battle, and Scott Squires, alongside teams assigned for miniature effects and character animation, worked on the lightsaber effects.


text: Until the film's production, many special effects in the film industry were achieved using miniature models, matte paintings, and on-set visual effectsalthough other films had made extensive use of CGI. Knoll previewed 3,500 storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those that would be created through visual effects. Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used. Knoll and his visual effects team wrote new computer software, including cloth simulators to allow a realistic depiction of the digital characters' clothing, to create certain shots. Another goal was to create computer-generated characters that could act seamlessly with live-action actors. While filming scenes with CGI characters, Lucas would block the characters using their corresponding voice actors on-set. The voice actors were then removed and the live-action actors would perform the same scene alone. A CGI character would later be added into the shot to complete the conversation. Lucas also used CGI to correct the physical presence of actors in certain scenes. Practical models were used when their visuals helped with miniature sceneries for backgrounds, set extensions, and model vehicles that would be scanned to create the digital models or filmed to represent spaceships and podraces.


text: Lucas, who had previously confronted problems with the props used to depict R2-D2, allowed ILM and the production's British special effects department to create their own versions of the robot. Nine R2-D2 models were created; one was for actor Kenny Baker to be dropped into, seven were built by ILM and featured two wheelchair motors capable of moving , enabling it to run and be mostly used in stage sets, and the British studio produced a pneumatic R2-D2 that could shift from two to three legs and was mostly used in Tunisia because its motor drive system allowed it to drive over sand.


text: Lucas originally planned to create many of the aliens with computer graphics, but those that would be more cost-effectively realized with masks and animatronics were created by Nick Dudman's creature effects team. These included the Neimoidians, background characters in Mos Espa, the Jedi Council, and the Galactic Senate. Dudman's team was told where the creatures would be required six months before principal photography begun, and they rushed the production. The Neimodian suits, which were originally intended as digital characters, were delivered one day before they would be required on set. Dudman traveled to Skywalker Ranch to see the original creatures that could be reused, and read the script for a breakdown of scenes with practical creatures, leaving only the more outlandish designs to be created using CGI.


text: To research for the podrace vehicles, the visual effects crew visited a jet aircraft junkyard outside Phoenix, Arizona and scavenged four Boeing 747 engines. Life-sized replicas of the engines were built and sent to Tunisia to provide reference in the film. Except for Jake Lloyd inside a hydraulically controlled cockpit and a few practical podracer models, the entire podracing scenewhich the effects crew designed to be as "out of this world" as possibleis computer-generated.


text: Like previous "Star Wars" films, "The Phantom Menace" makes several references to historical events and films that George Lucas watched in his youth. The "Star Wars" films typically mix several concepts from different mythologies together, drawing heavily from the hero's journey, an archetypical template developed by comparative mythologist Joseph Campbell. This film also notably borrows from "Ben Hur", including the podrace sequence, which mirrors the chariot race scene; additionally, the end celebration scene closely resembles a Roman parade in "Ben Hur".


text: There are many references to Christianity in the film, such as the appearance of Darth Maul, whose design draws heavily from traditional depictions of the devil, complete with red skin and horns. The "Star Wars" film cycle features a similar Christian narrative involving Anakin Skywalker; he is the "Chosen One"—the individual prophesied to bring balance to the Force—who was conceived of a virgin birth. However, unlike Jesus, Anakin will eventually fall from grace and seemingly fail to fulfill his destiny (until the prophecy comes true in "Return of the Jedi").


text: Japanese films such as Akira Kurosawa's "The Hidden Fortress" influenced the original "Star Wars" film; scholars say that "The Phantom Menace" was likewise influenced by Korean and Japanese culture. Film historians Geoff King and Tanya Krzywinska write, "The costume and make-up designs ... favour a mixture of the gothic and the oriental over anything very futuristic. The gothic is most strongly apparent in Darth Maul's demonic horns and the red and black make-up mask that borrows from the facial designs found in depictions of Japanese demons". King and Krzywinska say that "Qui-Gon's pony tail and Obi-Wan's position of apprentice further encourage a reading in terms of the Samurai tradition". They also say "Amidala, in keeping with her status and character, has a number of highly formal outfits ... to go with hair sculpted into a curve that frames make-up of a Japanese cast".


text: The Jedi practice Zen-like meditation and martial arts, as did the ancient Japanese Samurai warriors. The name "Qui-Gon" adapts the term qigong, which refers to a Chinese discipline involving meditation and cultivation of the flow of the vital energy called "Chi" or "Qi" for healing, health, and combat. The words "Ch'i" (Chinese), "gi" (Korean), "ki" (Japanese), and the Indian term "Prana" all refer to the energy that is thought to flow through all living things, from the source of all chi (or power), which is "The Way" or "The Tao" in Chinese philosophy. In Taoist philosophy, from The Way, yin and yang—the opposing but complementary aspects of reality or nature—are born. Unlike Chinese philosophy, in which yin and yang are not moral qualities, the ancient Persian philosophy of Zurvanism taught that the dualism of dark and light forces are locked in an eternal battle while being two sides (or evolutes) of the same "Force", the force of time itself (Zurvan)—the prime mover. These elements derive primarily from Eastern and Iranian religions and myths.


text: As with other "Star Wars" films, the themes about family and hope are featured prominently. In the episode "Legacy" of "", Dave Filoni explains that the use of "Duel of the Fates" during the lightsaber duel between Darth Maul against Qui-Gon Jinn and Obi-Wan Kenobi represents the fight for the fate of Anakin Skywalker. According to Filoni, Qui-Gon Jinn acts like a father figure towards Anakin because he feels he needs one after taking him from his mother, having realized that the Jedi shouldn't be opposed to love and care. In the end, Qui-Gon dies, and thus Anakin loses his father figure; Obi-Wan Kenobi ultimately becomes his master to honor Jinn's dying wish despite his initial contempt for him, and while he comes to eventually see him like a brother as shown in "" and "", he doesn't act like a father, which coupled with the Jedi's indifference, seals Anakin's fate.


text: As with previous "Star Wars" films, "Star Wars Episode I: The Phantom Menace"s score was composed and conducted by John Williams. He started composing the score in October 1998 and began recording the music with the London Voices and London Symphony Orchestra at Abbey Road Studios on February 10, 1999. Williams decided to use electronic instruments such as synthesizers to enhance the sound and choral pieces to "capture the magical, mystical force that a regular orchestra might not have been able to provide", and create an atmosphere that was "more mysterious and mystical and less military" than those of the original trilogy. One of the most notable tracks is "Duel of the Fates", which uses the chorus to give a religious, temple-like feel to the epic lightsaber duel. The track was made into a music video. While composing Anakin's theme, Williams tried to reflect the innocence of his childhood and to foreshadow his transformation into Darth Vader by using slight suggestions of "The Imperial March" in the melody.


text: The film's soundtrack was released by Sony Classical Records on May 4, 1999. This album featured the score, which Williams restructured as a listening experience; it is not presented in film order and omits many notable cues from the film because of the space restriction of the compact disc. A two-disc "Ultimate Edition" was released on November 14, 2000. The set features the entire score as it is heard in the film, including all of the edits and loops that were made for the sound mix.


text: Lucasfilm spent on the film's advertising campaign and made promotional licensing deals with Hasbro, Lego, Tricon Global Restaurants, and PepsiCo. Lucasfilm also helped the "Star Wars" fan club to organize an event called "Star Wars" Celebration, which was held in Denver, Colorado, between April 30 and May 2, 1999.


text: The first teaser trailer was released on selected screens accompanying "Meet Joe Black" on November 13, 1998, and media reported that people were paying full admission at theaters to see the trailer. Other films that played this trailer included "The Waterboy", "The Siege" and "A Bug's Life". To keep fans from leaving before the movie was over, some theaters played the teaser an additional time after the film finished. The second trailer debuted on March 12, 1999, with the film "Wing Commander". Again, many fans paid full theater admission to watch the new trailer. A bootlegged version of the preview was leaked to the Internet the same day. The next morning, the trailer was released on the film's official website and shortly afterwards the servers became overloaded. This trailer had over 1 million downloads within its first 24 hours of release. It would achieve the record for being the most downloaded trailer until the following April when it was surpassed by "". The theatrical trailer caused even more media attention because it was premiered in theaters and screened at the ShoWest Convention in Las Vegas, and was aired on "Entertainment Tonight" and "Access Hollywood".


text: The teaser poster, featuring Anakin with his shadow forming Darth Vader's silhouette, was released on November 10, 1998. After Lucas opted for a drawn theatrical poster, Drew Struzan, the artist responsible for the Special Edition posters, was commissioned to illustrate, and the poster was unveiled on March 11, 1999. Lucasfilm dictated that, contractually, Struzan's illustration was the only art the foreign distributors could use, and other than the text, it could not be modified in any way. The film also reused the "Godzilla" slogan on teaser posters.


text: was written by Terry Brooks, who met with Lucas before writing the book and received his approval and guidance. It includes some scenes that are not in the film and foreshadows pending developments in the following two installments of the series. Additionally, a Scholastic junior novelization was written by Patricia C. Wrede. A four-issue comic book adaptation was written by Henry Gilroy and published by Dark Horse Comics. The film was again adapted as part of the all-ages "Star Wars: The Prequel Trilogy - A Graphic Novel", released by Disney-Lucasfilm Press in 2017.


text: A LucasArts was released for the PlayStation and PC. The podracing tie-in "" was released for Nintendo 64, PC, and other platforms. A pinball machine was created by WMS Industries.


text: The release of the first new "Star Wars" film in 16 years was accompanied by a considerable amount of attention. According to "The Wall Street Journal", so many workers announced plans to view the premiere that many companies closed on the opening day. Queue areas formed outside cinema theaters over a month before ticket sales began. More theater lines appeared when it was announced that cinemas were not allowed to sell tickets in advance until two weeks into the release. This was because of a fear that family theater-goers would be either unable to receive tickets or would be forced to pay higher prices for them. Instead, tickets were to be sold on a first-come-first-served basis. However, after meetings with the National Association of Theatre Owners, Lucasfilm agreed to allow advance ticket sales on May 12, 1999, provided there was a limit of 12 tickets per customer. As a result, some advance tickets were sold by scalpers at prices as high as apiece, which a distribution chief called "horrible" and said was exactly what they wanted to avoid. "Daily Variety" reported that theater owners received strict instructions from Lucasfilm that the film could only play in the cinema's largest auditorium for the first 8–12 weeks, no honor passes were allowed for the first eight weeks, and they were obliged to send their payments to distributor 20th Century Fox within seven days.


text: Despite worries about the film being finished on time, two weeks before its theatrical release Lucasfilm moved the release date from May 21 to 19, 1999. At the ShoWest Convention, Lucas said the change was intended to give the fans a "head start" by allowing them to view it during the week and allowing families to view it during weekends. Eleven charity premieres were staged across the United States on May 16, 1999; receipts from the Los Angeles event, where corporate packages were available for between and ; proceeds were donated to the Elizabeth Glaser Pediatric AIDS Foundation. Other charity premieres included the Dallas premiere for the Children's Medical Center, the Aubrey Fund for Pediatric Cancer Research at the Sloan-Kettering Hospital in New York, the Big Brother/Sister Association of the Philadelphia premiere, and the Children's National Medical Center in Washington, D.C. A statement said that tickets were sold at apiece and that certain sections of the theaters were set aside for disadvantaged children.


text: The film had its UK premiere at the Royal Film Performance, an event held in aid of the Film & TV Charity, on the 14th July, 1999 at the ODEON Leicester Square. This event was attended by the Prince of Wales and helped to raise £225,000 for the charity.


text: The film opened at 12:01 am on Wednesday, May 19, 1999 in 2,010 theaters in the United States and Canada. An additional 960 theaters screened the film later in the day. About 120 theaters showed the film continuously on opening day, including the Ziegfeld Theatre in New York City and the Chinese Theatre in Los Angeles. Foreshadowing his future conversion to digital cinematography, Lucas said the film would be released on four digital projectors (two in New York and two in Los Angeles) on June 18, 1999. Few film studios released films during the same week: DreamWorks and Universal Studios released "The Love Letter" on May 21 and "Notting Hill" on May 28, respectively. "The Love Letter" was a commercial failure but "Notting Hill" fared better and followed "The Phantom Menace" closely in second place. Employment consultant firm Challenger, Gray & Christmas estimated that 2.2 million full-time employees missed work to attend the film, resulting in a loss of productivity.


text: The film was released on VHS on April 4, 2000. There were two versions of the film, which were a standard pan and scan version and a widescreen Collector's Edition version. In its first two days of availability, the regular version sold 4.5 million copies and the limited edition sold 500,000. A year later on June 19, 2001, it was announced that "The Phantom Menace" would become the first "Star Wars" film to be officially released on DVD, in a slightly extended cut from the theatrical releases. This THX certified two-disc DVD release debuted on October 16 of the same year. The first disc contains the film and the second disc contains special features. On the first disc, there are three randomized selected menus themed to the planets Naboo, Tatooine and Coruscant. There is an Easter egg located in the options menu. When the THX Optimizer is highlighted, the viewer can press 1-1-3-8. By doing this, some bloopers and DVD credits will be shown. The special features include seven deleted scenes completed specifically for the DVD, a commentary track featuring Lucas and producer Rick McCallum, and several documentariesincluding a full-length documentary entitled "The Beginning: Making Episode I". There are also DVD-ROM features, including trailers for "". "The Phantom Menace" became the fastest-selling DVD ever in the United States; 2.2 million copies were sold in its first week after release. This surpassed the previous record, "The Mummy Returns" with 2 million copies. Less than a month later, the record for the fastest-selling DVD was taken by "Shrek" when it sold 2.5 million copies in its first three days.


text: The DVD version was re-released in a prequel trilogy box set on November 4, 2008. A LaserDisc version of "The Phantom Menace" was released in Japan on April 7, 2000, one year and six months before it was available on DVD in the U.S. The "Star Wars" films were released by 20th Century Fox Home Entertainment on Blu-ray Disc on September 16, 2011; "The Phantom Menace" was restored to improve the picture quality and remove the magnification present on the previous DVD release, restoring approximately 8 percent of the picture to the frame. In the Blu-ray release of "The Phantom Menace", the Yoda puppet was replaced with a CGI model, making it consistent with the other films of the prequel trilogy.


text: On April 7, 2015, Walt Disney Studios, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released "Star Wars" films. "The Phantom Menace" was released through the iTunes Store, Amazon Video, Vudu, Google Play, and Disney Movies Anywhere on April 10, 2015.


text: Walt Disney Studios Home Entertainment reissued "The Phantom Menace" on Blu-ray, DVD, and digital download on September 22, 2019. Additionally, all six films were available for 4K HDR and Dolby Atmos streaming on Disney+ upon the service's launch on November 12, 2019. This version of the film was released by Disney on 4K Ultra HD Blu-ray box set on March 31, 2020.


text: On September 28, 2010, it was announced that all six films in the series would be stereo-converted to 3D. These would be re-released in episode order, beginning with "The Phantom Menace", which was released to cinemas on February 10, 2012. Prime Focus Limited did the conversion under the supervision of ILM. However, the 3D re-releases of Episodes "II–VI" were postponed or canceled after Lucasfilm was bought by The Walt Disney Company, who decided to focus on the development of "".


text: Lucas stated the 3D re-release was "just a conversion" of the film's 2011 Blu-ray release and no additional changes were made. Only a change to Anakin's magnetic wand during the podrace sceneits tip was sharpened to more accurately fit the original 2D photography to the new 3D imagewas confirmed.


text: General Mills and Brisk were promotional partners in North America for the 3D re-release but promotion was limited. The film was extensively promoted in Japan; promotional products were sold by 7-Eleven, Domino's Pizza, Pepsi and Gari-Gari Kun. Kellogg's promoted the film internationally, and French restaurant Quick launched three "Star Wars"-themed burgers. Lucasfilm also partnered with Variety, the Children's Charity to raise funds for children through the sale of a special edition badge.


text: Following an advance screening on Saturday, May 8, 1999, several newspapers broke an agreement with Fox and published reviews of the film on Sunday, May 9. In a front page review, the "Los Angeles Daily News" gave it 3½ stars calling it "pretty good" overall and "outstanding in many parts". The "New York Daily News" was less positive giving it 2½ stars. "Variety" also made its review by Todd McCarthy available on the Sunday with McCarthy calling it "the most widely anticipated and heavily hyped film of modern times" but said that the film "can scarcely help being a letdown on some levels, but it’s too bad that it disappoints on so many" and that "it is neither captivating nor transporting, for it lacks any emotional pull, as well as the sense of wonder and awe that marks the best works of sci-fi/fantasy".


text: On review aggregator Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads, "Burdened by exposition and populated with stock characters, "The Phantom Menace" gets the "Star Wars" prequels off to a bumpy – albeit visually dazzling – start." As of July 2022, the film is the lowest-rated live-action film of the "Star Wars" series dropping below "". On Metacritic, the film has a weighted average score of 51 out of 100, based on 36 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.


text: Many aspects of the script and characters were criticized, especially that of Jar Jar Binks, who was regarded by many members of the older fan community as toyetica merchandising opportunity rather than a serious character. Kenneth Turan of the "Los Angeles Times" described Binks as "a major miscue, a comic-relief character who's frankly not funny". Drew Grant of "Salon" wrote, "Perhaps the absolute creative freedom director George Lucas enjoyed while dreaming up the flick's 'comic' reliefwith no studio execs and not many an independently minded actor involvedis a path to the dark side."


text: Conversely, Roger Ebert of the "Chicago Sun-Times" gave it three-and-a-half stars out of four and called it "an astonishing achievement in imaginative filmmaking" and said, "Lucas tells a good story." Ebert also wrote that, "If some of the characters are less than compelling, perhaps that's inevitable" because it is the opening film in the new trilogy. He concluded his review by saying that rather than "Star Trek" films, filmmakers could "[g]ive me transparent underwater cities and vast hollow senatorial spheres any day". Owen Gleiberman of "Entertainment Weekly" gave the film a "B" grade and complimented Liam Neeson's performance and the action scenes. In an "Entertainment Weekly" review for the DVD release, Marc Bernardin gave the film a "C−", calling it "haplessly plotted, horribly written, and juvenile". ReelViews' James Berardinelli wrote, "Looking at the big picture, in spite of all its flaws, "The Phantom Menace" is still among the best 'bang for a buck' fun that can be had in a movie theater," and said the film was a "distinct improvement" over "Return of the Jedi".


text: Andrew Johnston of "Time Out New York" wrote, "Let's face it: no film could ever match the expectations some have for "Episode IThe Phantom Menace". Which isn't to say it's a disappointment: on the contrary, it's awesomely entertaining, provided you accept it on its own terms ... Like the original film, it's a Boy's Own adventure yarn with a corny but irresistible spiritual subtext. The effects and production design are stunning, but they always serve the story, not the other way around." Susan Wloszczyna of "USA Today" said that the film did "plenty right" and praised the characters Darth Maul and Watto. David Cornelius of efilmcritic.com said that the film's better moments "don't merely balance out the weaker onesthey topple them". Colin Kennedy of "Empire" magazine said that despite problems with pacing and writing, "there is still much pleasure to be had watching our full-blown Jedi guides in action". He praised the visuals and Liam Neeson's performance, and said that the duel between Darth Maul and the Jedi was "the saga's very best lightsaber battle".


text: "Empire" magazine ranked "The Phantom Menace" on its list of "500 Greatest Movies of All Time", while "Entertainment Weekly" and Comcast included the film on their lists of the worst movie sequels. James Berardinelli wrote, ""The Phantom Menace" was probably the most overhyped motion picture of the last decade (if not longer), and its reputation suffered as a result of its inability to satisfy unreasonable expectations." William Arnold of the "Seattle Post-Intelligencer" agreed that the film's massive hype caused many of the negative reactions, saying, "it built expectations that can't possibly be matched and scuttled [the] element of storytelling surprise". He also said that the film was "well made and entertaining" and was much better than similar box office fare released around that year, such as "The Mummy" and "The Matrix". Ewan McGregor said in 2002 that he was "slightly disappointed" that the film was "kind of flat" and believed the next film in the franchise would have "much more humor and...color."


text: The introduction of midi-chlorians—microscopic organisms that mediate use of the Force—has been regarded as controversial. Some viewed it as a concept that negates the Force's spiritual quality. Film historian Daniel Dinello says, "Anathema to "Star Wars" fanatics who thought they reduced the Force to a kind of viral infection, midi-chlorians provide a biological interface, the link between physical bodies and spiritual energy." Religion expert John D. Caputo writes, "In the 'Gospel according to Lucas', a world is conjured up in which the intractable oppositions that have tormented religious thinkers for centuries are reconciled ... The gifts that the Jedi masters enjoy have a perfectly plausible scientific basis, even if its ways are mysterious: their bodily cells have a heavier than usual concentration of 'midi-chlorians'."


text: There has been some controversy over whether several alien characters reflect racial stereotypes. For example, the oafish, slow-witted Jar Jar Binks has long droopy ears reminiscent of dreadlocks and spoke with what many perceived as a Caribbean patois reminiscent of Jamaican Creole. Drew Grant describes the character as "[s]ervile and cowardly ... a black minstrel-ish stereotype on par with Stepin Fetchit." Georgetown University professor of African-American studies Michael Eric Dyson says that the entire Gungan species seems suggestive of a primitive African tribe, with Boss Nass portrayed as "a fat, bumbling ... caricature of a stereotypical African tribal chieftain." The greedy and corrupt Neimoidians of the Trade Federation have been noted as resembling East Asian stereotypes, and the unprincipled trader Watto has been interpreted as a Jewish stereotype reminiscent of Charles Dickens' character Fagin. Lucas has denied all of these implications, instead criticizing the American media for using opinions from the Internet as a reliable source for news stories. Lucas added that it reflects more the racism of the commenters than it does the movie; however, animator Rob Coleman said ahead of the film's release that Watto's mannerisms were inspired by footage of Alec Guinness as Fagin in "Oliver Twist".


text: Even though it received mixed reviews, "The Phantom Menace" was a financial success, breaking many box office records in its debut, and beating out "The Mummy" by taking number 1. The film broke ""s records for the largest single-day gross for taking more than $28 million in the opening day and fastest to gross $100 million in five days. It grossed $64.8 million in its opening weekend, the second-ever highest at the time. Additionally, the film even had the second biggest May opening weekend, trailing behind "The Lost World: Jurassic Park" and staying ahead of "Twister", "", "Godzilla", "Deep Impact" and "The Mummy". This made it not only the seventh May film to reach the $40 million mark in an opening weekend, but also the second one to earn over $60 million in a single weekend. Overall, "The Phantom Menace" was the second movie to do so. It also became the quickest film to reach the $200 million and $300 million marks, surpassing "Independence Day" (1996) and "Titanic" (1997) respectively. "The Phantom Menace" held both records before "Spider-Man" took them in 2002. It would go on to earn $105.7 million, making it the highest five-day Wednesday opening weekend of all time. The film had the biggest opening weekend for any 20th Century Fox film for two years until 2001 when it was taken by "Planet of the Apes". Its opening day record was handed to "Harry Potter and the Sorcerer's Stone" that same year. Two years later in 2003, "" surpassed "The Phantom Menace" for having the largest five-day Wednesday opening weekend. During its second weekend, "The Phantom Menace" made $51.3 million, making it the highest-grossing second weekend at the time, surpassing "Jurassic Park". The film would hold this record until it was surpassed a year later by "How the Grinch Stole Christmas". In total, the film stayed at the top of the box office for three weeks until it was overtaken by "" during its fourth weekend. "The Phantom Menace" was 1999's most successful film, staying in the Top 10 until August 5 (11 weeks total), earning $431.1 million in the United States and Canada. Box Office Mojo estimates that the film sold over 84.8 million tickets in the US in its initial theatrical run.


text: The film set an opening record in Japan, grossing $12.2 million in its first two days from 403 screens. In the UK, the film also set an opening record with £9.5 million in its opening weekend (including previews), surpassing "Men in Black". It would go on to hold this record until it was taken by "Toy Story 2" a few months later. "The Phantom Menace" also grossed a record $11 million in its opening weekend in Germany. Outside the United States and Canada, the film grossed over $10 million in Australia ($25.9 million), Brazil ($10.4 million), France and Algeria ($43 million), Germany ($53.9 million), Italy ($12.9 million), Japan ($109.9 million), Mexico ($12 million), Spain ($25 million), and the United Kingdom and Ireland ($81.9 million). Its overseas total was $493.2 million, taking its worldwide total to $924.3 million. At that time, the film was the third highest-grossing film in North America behind "Titanic" and "Star Wars" (1977), and the second highest-grossing film worldwide behind "Titanic" without adjusting for inflation of ticket prices. When adjusted for ticket price inflation, it ranked as the 19th-highest-grossing film domestically, making it the fourth "Star Wars" film to be in the Inflation-Adjusted Top 20.


text: After its 3D re-release in 2012, the worldwide box office gross exceeded $1 billion. Although in the intervening years, the film had lost some of its rankings in the lists of highest-grossing films, the 3D re-release returned it to the worldwide all-time Top 10 for several months. In North America, its revenues overtook those of the original "Star Wars" as the saga's highest-grossing film when not adjusting for inflation of ticket prices, and is the tenth highest-grossing film in North America . In North America, its ranking on the Adjusted for Ticket Price Inflation list climbed to 16th placeone place behind "Return of the Jedi". The 3D , which premiered in February 2012, earned $43 million$22.5 million of which was in North Americaworldwide. The 3D re-release earned US$ worldwideincluding $43.5 million in North Americaand has increased the film's overall box office takings to $474.5 million domestically, and $552.5 million in other territories. The film's earnings exceeded $1 billion worldwide on February 22, 2012, making it the first "Star Wars" film and the 11th film in historyexcluding inflationto do so.


text: "The Phantom Menace" was nominated for three Academy Awards: Best Sound Effects Editing, Best Visual Effects, and Best Sound (Gary Rydstrom, Tom Johnson, Shawn Murphy and John Midgley); all of which went to "The Matrix". The film won Saturn Awards for Best Costumes and Best Special Effects, the MTV Movie Award for Best Action Scene, and a Young Artist Award for Jake Lloyd's performance. It was also nominated foramong othersthe BAFTAs for Visual Effects and Sound, and the Grammy Award for Best Score Soundtrack for Visual Media. The film did however receive seven Golden Raspberry Award (Razzie) nominations for Worst Picture, Worst Director, Worst Screenplay, Worst Supporting Actor (Jake Lloyd as Anakin), Worst Supporting Actress (Sofia Coppola as Saché), Worst Screen Couple (Jake Lloyd and Natalie Portman), and Jar Jar Binks actor Ahmed Best won the Worst Supporting Actor category.


text: The film was nominated Choice Drama Movie, Choice Movie Villain and Choice Summer Movie at 1999 Teen Choice Awards, but both lost to "Cruel Intentions" and "Big Daddy", respectively.


text: A sequel, "Attack of the Clones", was released in 2002. The story continues a decade later with Anakin grown to adulthood, played by Hayden Christensen. A second sequel, "Revenge of the Sith", was released in 2005.


text: A month after the film's release, "Weird Al" Yankovic released the parody song and music video "The Saga Begins", in which he interprets the film's plot from Obi-Wan's point of view to the tune of "American Pie"; this was included as a bonus feature on a 2011 "Star Wars" Blu-ray. In a 2018 "Saturday Night Live" comedy rap video, Natalie Portman reprised her appearance as Queen Amidala from "The Phantom Menace" and defended the prequel trilogy.


text: Darth Maul's lightsaber-fighting style served as the inspiration for the 2003 viral video "Star Wars Kid". Maul, who appears to die in "The Phantom Menace", was resurrected for the animated series "", and he also appears in "Star Wars Rebels" and "". In 2012, IGN named Maul the 16th-greatest "Star Wars" character. A similar weapon to his dual-bladed lightsaber appears in "".


title: The Last of Us Part II

text: The Last of Us Part II is a 2020 action-adventure game developed by Naughty Dog and published by Sony Interactive Entertainment for the PlayStation 4. Set five years after "The Last of Us" (2013), the game focuses on two playable characters in a post-apocalyptic United States whose lives intertwine: Ellie, who sets out in revenge for a murder, and Abby, a soldier who becomes involved in a conflict between her militia and a religious cult. The game uses a third-person perspective; the player must fight human enemies and cannibalistic zombie-like creatures with firearms, improvised weapons, and stealth.


title: The Last of Us Part II

text: Development of "The Last of Us Part II" began in 2014, soon after the release of "The Last of Us Remastered". Neil Druckmann returned as creative director, co-writing the story with Halley Gross. The themes of revenge and retribution were inspired by Druckmann's experiences growing up in Israel. Ashley Johnson reprises her role as Ellie, while Laura Bailey was cast as Abby. Their performances included the simultaneous recording of motion and voice. The developers pushed the technical capabilities of the PlayStation 4 during development. Gustavo Santaolalla returned to compose and perform the game's score. Development reportedly included a crunch schedule of 12-hour workdays.


title: The Last of Us Part II

text: Following some delays, partly due to the COVID-19 pandemic, "The Last of Us Part II" was released on June 19, 2020. It received critical acclaim, with praise for its gameplay, audio design, score, performances, characters, and visual fidelity, though its narrative and themes divided critics. It was the subject of review bombing on Metacritic, with some players criticizing the story and characters; discourse surrounding the game became adversarial. "Part II" is one of the best-selling PlayStation 4 games and the fastest-selling PlayStation 4 exclusive, with over four million units sold in its release weekend, and over ten million by 2022. It holds the record for most Game of the Year awards, and received multiple other accolades from awards shows and gaming publications.


title: The Last of Us Part II

text: "The Last of Us Part II" is an action-adventure game played from a third-person perspective featuring elements of the survival horror genre. The player traverses post-apocalyptic environments such as buildings and forests to advance the story. The player can use firearms, improvised weapons, and stealth to defend against hostile humans and cannibalistic creatures infected by a mutated strain of the "Cordyceps" fungus. Control intermittently switches between Ellie and Abby; the player also briefly controls Joel in the opening sequence. The nimble nature of the player character introduces platforming elements, allowing the player to jump and climb to traverse environments and gain advantages during combat. The player can break glass objects such as windows to access certain areas or obtain supplies. Some areas are navigated by horse or boat.


title: The Last of Us Part II

text: In combat, the player can use long-range weapons such as rifles and bows, and short-range weapons such as pistols and revolvers. The player is able to scavenge limited-use melee weapons such as machetes and hammers, and throw bricks and bottles to distract or attack enemies. Collected items can be used to upgrade weapons at workbenches or craft equipment such as health kits, Molotov cocktails, and makeshift silencers. The player can collect supplements to upgrade skills in a skill tree; training manuals found throughout the environment unlock additional skill tree branches, allowing upgrades to attributes such as the health meter, crafting speed, and ammunition types.


title: The Last of Us Part II

text: Though the player can attack enemies directly, they can also use stealth to attack undetected or sneak past them. "Listen Mode" allows the player to locate enemies through a heightened sense of hearing and spatial awareness, indicated as outlines visible through walls and objects. In the cover system, the player can crouch behind obstacles to gain advantages in combat, and can also crawl in a prone position to evade enemies. Hostile enemies use artificial intelligence; they may take cover or call for assistance, and can take advantage when the player is distracted, out of ammunition, or in a fight. The player may be impaled by an arrow, which will progressively decrease their health meter and disables Listen Mode until removed when in cover. Player companions, such as Dina, assist in combat by killing enemies or announcing their location. The game also introduces guard dogs that track the player's scent, which can be visualized in Listen Mode.


title: The Last of Us Part II

text: Joel Miller (Troy Baker) confesses to his brother Tommy (Jeffrey Pierce) his responsibility in preventing the Fireflies attempting to find a cure for the "Cordyceps" fungus pandemic by saving Ellie (Ashley Johnson) from an operation that would have killed her. Four years later, Joel and Ellie have built a life in Jackson, Wyoming, though their relationship has become strained. While on patrol, Joel and Tommy rescue a stranger, Abby Anderson (Laura Bailey), from an Infected horde. They return to an outpost being used as a temporary hideout by Abby's group, former Fireflies now part of the Washington Liberation Front (WLF), a militia group based in Seattle, Washington. The group attack Joel and Tommy; Abby seeks revenge against Joel for murdering her father, the Firefly surgeon (Derek Phillips) who was to perform the operation on Ellie. Meanwhile, Ellie and her girlfriend Dina (Shannon Woodward) leave Jackson in search of the brothers. Ellie enters the WLF camp to witness Abby beat Joel to death, and swears revenge.


title: The Last of Us Part II

text: Tommy sets out for Seattle to hunt Abby, and Ellie and Dina follow him. After escaping a WLF ambush, Ellie reveals her immunity to Dina, who in turn reveals she is pregnant. The next day, Ellie pursues Tommy alone and encounters Jesse (Stephen Chang), Dina's ex-boyfriend, who followed them to Seattle. While searching for Abby's friend, Nora Harris (Chelsea Tavares), Ellie encounters the Seraphites, a religious cult locked in a battle with the WLF over control of Seattle. Ellie tracks down Nora and tortures her for information on Abby's location, which traumatizes Ellie. The following day, she kills two more members of Abby's group, the pregnant Mel (Ashly Burch) and her boyfriend Owen Moore (Patrick Fugit). A flashback reveals that, two years earlier, Ellie traveled to the Firefly hospital in Salt Lake City and learned the truth. Devastated, she cut ties with Joel. In the present, Ellie's group is ambushed by Abby, who kills Jesse and holds Tommy hostage.


title: The Last of Us Part II

text: Three days earlier, Abby learns that Owen, her ex-boyfriend, has gone missing while investigating Seraphite activity. Abby searches for Owen and is captured by the Seraphites. She is rescued by Yara (Victoria Grace) and Lev (Ian Alexander), Seraphite siblings who have been branded apostates after Lev defied Seraphite traditions. Though Yara suffers a broken arm, Abby leaves them to find Owen who, disillusioned with the war, plans to sail to Santa Barbara, California, where the Fireflies may be regrouping. Abby returns to rescue Yara and Lev, and travels across Seattle with Lev to retrieve medical supplies from the WLF hospital so Mel can amputate Yara's arm. After the surgery, Lev runs away to convince his devout mother to leave the Seraphite cult, forcing Abby and Yara to pursue him. They find him in the Seraphite settlement, where Lev has accidentally killed his mother in self-defense. The trio flee as the WLF begins an assault on the Seraphites. Abby betrays the WLF to save Lev, and Yara sacrifices herself to allow Abby and Lev to escape. The pair return to find Owen and Mel dead and a map left by Ellie leading to her hideout. Abby shoots Tommy, impairing him, and brawls with Ellie and Dina, overpowering them. At Lev's insistence, Abby spares them and tells them to leave Seattle.


title: The Last of Us Part II

text: Several months later, Ellie and Dina are living on a farm, raising Dina and Jesse's son, though Ellie suffers from post-traumatic stress. When Tommy arrives with information on Abby's whereabouts, Ellie leaves to find her, despite Dina's pleas to stay. Abby and Lev arrive in Santa Barbara searching for the Fireflies, who they discover are regrouping at Catalina Island, California, but are captured, tortured, and left to die by the slave-keeping Rattlers. Ellie arrives at Santa Barbara and rescues the pair. Threatening to kill Lev, Ellie forces Abby to fight her, during which Abby bites off two of Ellie's fingers. Ellie overpowers her but has a change of heart and lets her live. Abby and Lev sail to the Fireflies. Ellie returns to the farmhouse and finds it empty. She tries to play Joel's guitar with her damaged hand, recalls her last conversation with Joel in which she expressed her willingness to forgive him, and leaves.


title: The Last of Us Part II

text: Early story concepts for "The Last of Us Part II" were conceived during the development of "The Last of Us" in 2013. Naughty Dog began development in 2014, soon after the release of "The Last of Us Remastered". By August 2017, with the release of "", the entire 350-person team at Naughty Dog had shifted to develop "Part II". Neil Druckmann led development as creative director and writer, reprising his role from "The Last of Us" and "" (2016). Anthony Newman and Kurt Margenau were selected to be co-game directors for "Part II", overseeing gameplay elements such as level design and mechanics. For the final months of development, the team was forced to work from home due to the COVID-19 pandemic. In total, approximately 2,169 developers across 14 studios worked on the game.


title: The Last of Us Part II

text: Druckmann wrote the story with Halley Gross. The team experimented with different plot structures and considered scrapping the project until they settled on an idea that mirrored the first game; Druckmann said that whereas "The Last of Us" is about the extreme measures one would take for love, "Part II" is more about how far one would go to bring justice for those they love. The themes of revenge and retribution were inspired by Druckmann's experiences growing up in Israel, where violence was a frequent topic. He recalled watching footage of the 2000 Ramallah lynching, and how, after hearing the cheering crowds, his mind turned to violent thoughts about bringing the perpetrators to justice. He wanted the player to feel a "thirst for revenge" before making them realize the reality of their actions. Druckmann said other themes include tribalism, trauma, and the pursuit of justice. Artists at Naughty Dog traveled to Seattle to analyze the architecture, vegetation, materials, topography, lighting, and capture photorealistic textures.


title: The Last of Us Part II

text: Ashley Johnson and Troy Baker reprise their roles as Ellie and Joel, respectively, while Laura Bailey was cast as Abby. The actors' performances were recorded at a studio in Playa Vista, Los Angeles using performance capture, recording motion and voice simultaneously. Gross noted that a goal of the writers was to "create the most multifaceted characters you've seen in games". She particularly wanted to explore the multifaceted behavior of Ellie, showing her power as well as her insecurities. The change of player character from Ellie to Abby was inspired by the change from Joel to Ellie in the first game, though emphasized in "Part II" due to its focus on empathy. Druckmann wanted the player to hate Abby early in the game, but later empathize with her.


title: The Last of Us Part II

text: The developers pushed the technical capabilities of the PlayStation 4 when creating "Part II", adding more enemies and larger environments than in previous games. Druckmann noted that any drops in detail would ruin the sense of authenticity, which required consistent optimization of the technology. Improved artificial intelligence (AI) allowed for deeper connections with characters and the creation of bonds through gameplay. "The Last of Us Part II" was originally planned as an open world game with hub worlds, but later game transferred to a more linear style as it better served the narrative. Naughty Dog wanted to increase the accessibility options introduced in "Uncharted 4" to ensure that all players could complete the story, and the developers attended conferences and worked with advocates.


title: The Last of Us Part II

text: Gustavo Santaolalla returned to compose and perform the game's score, as he had done with the first game, while Mac Quayle contributed to combat music. The developers received permission to use the songs "Future Days" by Pearl Jam and "Take On Me" by A-ha. To achieve the sound of the Shamblers, the team hired voice actors Raul Ceballos and Steve Blum, and used items such as grapefruits to create the explosion sounds. The dialogue team referenced whistled languages such as Sfryria and Silbo Gomero for the Seraphites' whistling, and hired actors Stevie Mack and Lisa Marie to provide the whistles in three styles.


title: The Last of Us Part II

text: According to a report by "Kotaku"s Jason Schreier, the development included a crunch schedule of 12-hour work days. This continued after the game was delayed. Schreier suggested that development was slowed due to the enormous turnover of employees following the , with few veterans left on the team. Some of the developers allegedly hoped that "Part II" would fail and prove that the working conditions were not viable. Publisher Sony Interactive Entertainment granted Naughty Dog an additional two weeks of development for bug fixes. Druckmann felt that he had failed to find the correct balance for employees on "Part II", and said the studio would receive external assistance for future projects.


title: The Last of Us Part II

text: "The Last of Us Part II" was announced at the PlayStation Experience event on December 3, 2016. At E3 2018, Druckmann said that Naughty Dog was refusing to announce a release date until the game was "very close to release", to avoid disappointing fans. During Sony's State of Play presentation on September 24, 2019, Naughty Dog announced a release date of February 21, 2020. On October 25, Druckmann announced a delay to May 29, 2020, to "bring the entire game up to a level of polish we would call Naughty Dog quality". On April 2, 2020, Sony announced that the game was almost complete but had been indefinitely delayed to due to logistical problems caused by the COVID-19 pandemic. In late April, several videos leaked online, showing cutscenes, gameplay, and significant plot details. Druckmann tweeted that he was "heartbroken" for fans and for the team, who had devoted years to development. On April 27, Sony announced a release date of June 19, 2020.


title: The Last of Us Part II

text: The first trailer was released alongside the announcement, showcasing the return of Ellie and Joel. The second trailer, released in October 2017 as a part of Paris Games Week, revealed Abby, Yara, and Lev. Dina and Jesse were first shown in a presentation at E3 2018. A trailer was featured in Sony's State of Play presentation in September 2019, which preceded additional marketing to celebrate Outbreak Week—the week in which the fictional outbreak occurred in the original game. A story trailer was released on May 6, followed by an animated commercial on June 3, and the final pre-launch trailer on June 10. Naughty Dog replaced and altered characters in the trailers to conceal story events; Druckmann cited the marketing of "" (2001), which concealed its protagonist in trailers, as an influence.


title: The Last of Us Part II

text: Naughty Dog announced the special edition versions in September 2019. The game was featured in its own standalone State of Play presentation on May 27. From May 13 to June 3, Naughty Dog released a series of videos about the development. The game was banned in Saudi Arabia and the United Arab Emirates, attributed to the countries' conservative traditions regarding homosexuality. An update on August 13 added a permadeath mode, a new difficulty level, and gameplay modifiers. For The Last of Us Day in September 2020, Naughty Dog announced new merchandise for the game, including a vinyl soundtrack, board game, statues, and posters. A performance update was released on May 19, 2021, allowing gameplay at 60 frames per second on the PlayStation 5.


title: The Last of Us Part II

text: "The Last of Us Part II" received "universal acclaim" from critics, according to review aggregator Metacritic. It was praised for its improved gameplay, graphical fidelity, cast performances, characters, audio design, and music, though critics were divided on its narrative and themes. Jonathon Dornbush of "IGN" called it "a masterpiece worthy of its predecessor" and wrote that "it delivers a layered, emotionally shattering story on top of stealth and action gameplay that improves the first game's mechanics [... and] still makes time for a stunning, nuanced exploration of the strength and fragility of the human spirit". "Game Informer"s Andy McNamara concurred, calling it "the best narrative game I have played" and "a sequel unlike any other, taking video game storytelling to new heights." Kaity Kline of NPR wrote that it "made me very aware of the little things in my life that I take for granted, the kinds of things you don't appreciate until they're ripped away forever". "GameSpot"s Kallie Plagge called it "beautiful and devastating", and wrote that "the more I reflect on it, the more I appreciate the story and characters at its core".


title: The Last of Us Part II

text: The narrative and writing divided critics. "Game Informer"s McNamara felt that the writers conveyed the themes "with careful nuance and unflinching emotion". "Destructoid"s Chris Carter and "VG247"s Kirk McKeand applauded the use of minor dialogue to echo the themes. Sammy Barker of "Push Square" particularly praised the use of flashback and overlapping stories; "The Guardian"s Keza MacDonald concurred, describing the narrative as "emotionally effective". Conversely, "GameRevolution"s Michael Leri thought that the flashbacks were evidence of pacing problems. Alex Avard of "GamesRadar+" felt that the narrative lost its momentum during its need to finalize every story thread. "USgamer"s Kat Bailey found the latter half slow, and that the game was five hours "too long". Bailey also criticized the dissonance between the statement against violence and its necessity during gameplay. "Polygon"s Maddy Myers and "Kotaku"s Riley MacLeod wrote that the game repeatedly delivered its themes without allowing the player any agency in their decisions. Rob Zacny of "Vice" wrote that, despite the amount of narrative moments, "it doesn't have much to say". Also writing for "Vice", Emanuel Maiberg wrote that the attempts to parallel the Israeli–Palestinian conflict through the WLF and Seraphites were poor, particularly in its allegorical representation of two equal sides.


title: The Last of Us Part II

text: McKeand of "VG247" described every character as "complex and human". "Destructoid"s Carter felt empathetic to the main characters, a sentiment echoed by "IGN"s Dornbush, who found Ellie's development particularly "riveting". Andrew Webster of "The Verge" praised the relationship between Ellie and Dina, though noted some dissonance in Ellie's behavior between gameplay and cutscenes. "GameSpot"s Plagge wrote that Abby's characterization led to a deeper connection to her than to Ellie, but found her character development incongruous with her "onslaught of combat against human enemies". "Kotaku"s MacLeod and "VentureBeat"s Dean Takahashi appreciated the diversity of characters; Oli Welsh of "Eurogamer" praised the representation of female and LGBT characters, calling it "a game about women". "NPR"s Kline lauded the game's ability to "connect with every character, not just the main characters". "Push Square"s Barker wrote that the supporting characters "establish themselves extremely swiftly", and "Game Informer"s McNamara found their occasional absence alarming, having grown close to them. Conversely, some critics felt that the new supporting characters lacked the higher quality of the main characters and of Naughty Dog's previous work; Yannick Le Fur of "Jeuxvideo.com" wrote that characters such as Jesse and Manny were simply used to advance the narrative. "Polygon"s Myers and "Vice"s Zacny criticized the characters' inability to learn from their mistakes.


title: The Last of Us Part II

text: Critics praised the cast's performances, particularly that of Ashley Johnson, Troy Baker, and Laura Bailey. Welsh of "Eurogamer" found Johnson's performance as Ellie to be "standout" due to her depiction of "rawness, vulnerability, and rage". "GamesRadar+"s Avard considered Johnson's portrayal of suffering "nothing short of awards worthy", and found that Baker "steals some of "Part 2"s best scenes as Joel" by adding complexities that enrich the character and relationships. Dornbush of "IGN" wrote that Johnson added nuance to every element of Ellie, and commended Woodward's performance as Dina, especially during quieter moments. "VG247"s McKeand found that the performances made the narrative more powerful.