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Amoeba
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This article is about the cellular body type. For the genus, see Amoeba (genus). For other uses, see Amoeba (disambiguation).
A "giant amoeba", Chaos carolinense
An amoeba (/əˈmiːbə/; rarely spelled amœba, US English spelled ameba; plural am(o)ebas or am(o)ebae /əˈmiːbiː/),[1] often called amoeboid, is a type of cell or organism which has the ability to alter its shape, primarily by extending and retracting pseudopods.[2] Amoebas do not form a single taxonomic group; instead, they are found in every major lineage of eukaryotic organisms. Amoeboid cells occur not only among the protozoa, but also in fungi, algae, and animals.[3][4][5][6][7]
Microbiologists often use the terms "amoeboid" and "amoeba" interchangeably for any organism that exhibits amoeboid movement.[8][9]
In older classification systems, most amoebas were placed in the class or subphylum Sarcodina, a grouping of single-celled organisms that possess pseudopods or move by protoplasmic flow. However, molecular phylogenetic studies have shown that Sarcodina is not a monophyletic group whose members share common descent. Consequently, amoeboid organisms are no longer classified together in one group.[10]
The best known amoeboid protists are the "giant amoebae" Chaos carolinense and Amoeba proteus, both of which have been widely cultivated and studied in classrooms and laboratories.[11][12]Other well known species include the so-called "brain-eating amoeba" Naegleria fowleri, the intestinal parasite Entamoeba histolytica, which causes amoebic dysentery, and the multicellular "social amoeba" or slime mould Dictyostelium discoideum.
Contents
[hide]
1 Shape, movement and nutrition
2 Size range
3 Amoebae as specialized cells and life cycle stages
4 Amoebae as organisms
4.1 Early history and origins of Sarcodina
4.2 Dismantling of Sarcodina
4.3 Classification
5 Pathogenic interactions with other organisms
6 Meiosis
7 In popular culture
8 References
9 External links
Shape, movement and nutrition[edit]
The forms of pseudopodia, from left: polypodial and lobose; monopodial and lobose; filose; conical; reticulose; tapering actinopods; non-tapering actinopods
Amoebae move and feed by using pseudopods, which are bulges of cytoplasm formed by the coordinated action of actin microfilaments pushing out the plasma membrane that surrounds the cell.[13] Typically, an amoeba moves by extending a pseudopod, attaching it to the substrate and filling it with cytosol, then releasing its rear portion from attachment to the substrate, which results in the organism being propelled forward.[14]
The appearance and internal structure of pseudopods are used to distinguish groups of amoebae from one another. Amoebozoan species, such as those in the genus Amoeba, typically have bulbous (lobose) pseudopods, rounded at the ends and roughly tubular in cross-section. Cercozoan amoeboids, such as Euglypha and Gromia, have slender, thread-like (filose) pseudopods. Foraminifera emit fine, branching pseudopods that merge with one another to form net-like (reticulose) structures. Some groups, such as the Radiolaria and Heliozoa, have stiff, needle-like, radiating axopodia (actinopoda) supported from within by bundles of microtubules.[3][15]
Morphology of a naked lobose amoeba
Free-living amoebae may be "testate" (enclosed within a hard shell), or "naked" (a.k.a. gymnamoebae, lacking any hard covering). The shells of testate amoebae may be composed of various substances, including calcium, silica, chitin, or agglutinations of found materials like small grains of sand and the frustules of diatoms.[16]
Shell of the testate amoeba Difflugia acuminata.
To regulate osmotic pressure, most freshwater amoebae have a contractile vacuole which expels excess water from the cell.[17] This organelle is necessary because freshwater has a lower concentration of solutes (such as salt) than the amoeba's own internal fluids (cytosol). Because the surrounding water is hypotonic with respect to the contents of the cell, water is transferred across the amoeba's cell membrane by osmosis. Without a contractile vacuole, the cell would fill with excess water and, eventually, burst.
Marine amoebae do not usually possess a contractile vacuole because the concentration of solutes within the cell are in balance with the tonicity of the surrounding water.[18]
Amoeba phagocytosis of a bacteria
The food sources of amoebae vary. Some amoebae are predatory and live by consuming bacteria and other protists. Some are detritivores and eat dead organic material.
Amoebae typically ingest their food by phagocytosis, extending pseudopods to encircle and engulf live prey or particles of scavenged material. Amoeboid cells do not have a mouth or cytostome, and there is no fixed place on the cell at which phagocytosis normally occurs.[19]
Some amoebae also feed by pinocytosis, imbibing dissolved nutrients through vesicles formed within the cell membrane .[20]
Size range[edit]
Foraminifera have reticulose (net-like) pseudopods, and many species are visible with naked eye
The size of amoeboid cells and species is extremely variable. The marine amoeboid Massisteria voersi is just 2.3 to 3 micrometres in diameter,[21] within the size range of many bacteria.[22] At the other extreme, the shells of deep-sea xenophyophores can attain 20 cm in diameter.[23] Most of the free-living freshwater amoebae commonly found in pond water, ditches and lakes are microscopic, but some species, such as the so-called "giant amoebae" Pelomyxa palustris and Chaos carolinense, can be large enough to see with the naked eye.
Species or cell type
Size in micrometres
Massisteria voersi[21] 2.3 - 3 μm
Naegleria fowleri[24] 8 - 15 μm
Neutrophil (white blood cell)[25] 12 - 15 μm
Acanthamoeba[26] 12 - 40 μm
Entamoeba histolytica[27] 15 - 60 μm
Arcella vulgaris[28] 30 - 152 μm
Amoeba proteus[29] 220 - 760 μm
Chaos carolinense[30] 700 - 2,000 μm
Pelomyxa palustris[31] up to 5,000 μm
Syringammina fragilissima[32] up to 200,000 μm
Amoebae as specialized cells and life cycle stages[edit]
Neutrophil (white blood cell) engulfing anthrax bacteria
Some multicellular organisms have amoeboid cells only in certain phases of life, or use amoeboid movements for specialized functions. In the immune system of humans and other animals, amoeboid white blood cells pursue invading organisms, such as bacteria and pathogenic protists, and engulf them by phagocytosis.[33]
Amoeboid stages also occur in the multicellular fungus-like protists, the so-called slime moulds. Both the plasmodial slime moulds, currently classified in the class Myxogastria, and the cellular slime moulds of the groups Acrasida and Dictyosteliida, live as amoebae during their feeding stage. The amoeboid cells of the former combine to form a giant multinucleate organism,[34] while the cells of the latter live separately until food runs out, at which time the amoebae aggregate to form a multicellular migrating "slug" which functions as a single organism.[8]
Other organisms may also present amoeboid cells during certain life-cycle stages, e.g., the gametes of some green algae (Zygnematophyceae)[35] and pennate diatoms,[36] the spores (or dispersal phases) of some Mesomycetozoea,[37][38] and the sporoplasm stage of Myxozoa and of Ascetosporea.[39]
Amoebae as organisms[edit]
Early history and origins of Sarcodina[edit]
The first illustration of an amoeboid, from Roesel von Rosenhof's Insecten-Belustigung (1755).
The earliest record of an amoeboid organism was produced in 1755 by August Johann Rösel von Rosenhof, who named his discovery "Der Kleine Proteus" ("the Little Proteus").[40] Rösel's illustrations show an unidentifiable freshwater amoeba, similar in appearance to the common species now known as Amoeba proteus.[41] The term "Proteus animalcule" remained in use throughout the 18th and 19th centuries, as an informal name for any large, free-living amoeboid.[42]
In 1822, the genus Amiba (from the Greek amoibè, meaning "change") was erected by the French naturalist Bory de Saint-Vincent.[43][44] Bory's contemporary, C. G. Ehrenberg, adopted the genus in his own classification of microscopic creatures, but changed the spelling to Amoeba.[45]
In 1841, Félix Dujardin coined the term "sarcode" (from Greek sarx, flesh, and eidos, form) for the "thick, glutinous, homogenous substance" which fills protozoan cell bodies.[46] Although the term originally referred to the protoplasm of any protozoan, it soon came to be used in a restricted sense to designate the gelatinous contents of amoeboid cells.[10] Thirty years later, the Austrian zoologist Ludwig Karl Schmarda used "sarcode" as the conceptual basis for his Division Sarcodea, a phylum-level group made up of "unstable, changeable" organisms with bodies largely composed of 'sarcode.'[47] Later workers, including the influential taxonomist Otto Bütschli, emended this group to create the class Sarcodina,[48] a taxon that remained in wide use throughout most of the 20th century.
Within the traditional Sarcodina, amoebae were generally divided into morphological categories, on the basis of the form and structure of their pseudopods. Amoebae with pseudopods supported by regular arrays of microtubules (such as the freshwater Heliozoa and marine Radiolaria) were classified as Actinopods; whereas those with unsupported pseudopods were classified as Rhizopods.[49] The Rhizopods were further subdivided into lobose, filose, and reticulose amoebae, according to the morphology of their pseudopods.
Dismantling of Sarcodina[edit]
In the final decade of the 20th century, a series of molecular phylogenetic analyses confirmed that Sarcodina was not a monophyletic group. In view of these findings, the old scheme was abandoned and the amoebae of Sarcodina were dispersed among many other high-level taxonomic groups. Today, the majority of traditional "Sarcodines" are placed in two eukaryote supergroups: Amoebozoa and Rhizaria. The rest have been distributed among the excavates, opisthokonts, and stramenopiles. Some, like the Centrohelida, have yet to be placed in any supergroup.[10][50]
Classification[edit]
Recent classification places the various amoeboid genera in the following groups:
Supergroups
Major Groups and Genera
Morphology
Amoebozoa
Lobosa:
Acanthamoeba, Amoeba, Balamuthia, Chaos, Clydonella, Discamoeba, Echinamoeba, Filamoeba, Flabellula, Gephyramoeba, Glaeseria, Hartmannella, Hydramoeba, Korotnevella (Dactylamoeba), Leptomyxa, Lingulamoeba, Mastigina, Mayorella, Metachaos, Neoparamoeba, Paramoeba, Polychaos, Phreatamoeba, Platyamoeba, Protoacanthamoeba, Rhizamoeba, Saccamoeba, Sappinia, Stereomyxa, Thecamoeba, Trichamoeba, Trichosphaerium, Unda, Vannella, Vexillifera
Conosa: Endamoeba, Entamoeba, Hyperamoeba, Mastigamoeba, Mastigella, Pelomyxa, Dictyostelium, Physarum
Lobose pseudopods (Lobosa): Lobose pseudopods are blunt, and there may be one or several on a cell, which is usually divided into a layer of clear ectoplasm surrounding more granular endoplasm.
Rhizaria
Cercozoa:
Filosa:
Monadofilosa: Gyromitus, Paulinella
Granofilosea
Chlorarachniophyceae
Endomyxa:
Proteomyxidea: Vampyrella
Gromiidea
Foraminifera
Radiolaria
Filose pseudopods (Filosa): Filose pseudopods are narrow and tapering. The vast majority of filose amoebae, including all those that produce shells, are placed within the Cercozoa together with various flagellates that tend to have amoeboid forms. The naked filose amoebae also includes vampyrellids.
Reticulose pseudopods (Endomyxa): Reticulose pseudopods are cytoplasmic strands that branch and merge to form a net. They are found most notably among the Foraminifera, a large group of marine protists that generally produce multi-chambered shells. There are only a few sorts of naked reticulose amoebas, notably the gymnophryids, and their relationships are not certain.
Radiolarians are a subgroup of actinopods that are now grouped with rhizarians.
Excavata
Heterolobosea:
Vahlkampfiidae: Monopylocystis, Naegleria, Neovahlkampfia, Paratetramitus, Paravahlkampfia, Psalteriomonas, Sawyeria, Tetramitus, Vahlkampfia, Willaertia
Gruberellidae: Gruberella, Stachyamoeba
Parabasalidea: Dientamoeba, Histomonas
Other: Rosculus, Acrasis, Heteramoeba, Learamoeba, Stygamoeba, Plaesiobystra,[51] Tulamoeba[51]
The Heterolobosea, includes protists that can transform between amoeboid and flagellate forms.
Heterokonta
Chrysophyceae: Chrysamoeba, Rhizochrysis
Xanthophyceae: Rhizochloris
Labyrinthulomycetes
The heterokont chrysophyte and xanthophyte algae includes some amoeboid members, the later being poorly studied.[52]
Alveolata
Dinoflagellata: Dinamoeba, Pfiesteria
Parasite with amoeboid life cycle stages.
Nucleariid
Micronuclearia, Nuclearia
Nucleariids appear to be close relatives of animals and fungi.
Ungrouped/
unknown
Adelphamoeba, Astramoeba, Cashia, Dinamoeba, Flagellipodium, Flamella, Gibbodiscus, Gocevia, Hollandella, Iodamoeba, Malamoeba, Nollandia, Oscillosignum, Paragocevia, Parvamoeba, Pernina, Pontifex, Protonaegleria, Pseudomastigamoeba, Rugipes, Striamoeba, Striolatus, Subulamoeba, Theratromyxa, Trienamoeba, Trimastigamoeba, Vampyrellium, and about 50 other genera[53]
It should be noted that some of the amoeboid groups cited (e.g., part of chrysophytes, part of xanthophytes, chlorarachniophytes) were not traditionally included in Sarcodina, being classified as algae or flagellated protozoa.
Pathogenic interactions with other organisms[edit]
Trophozoites of the pathogenic Entamoeba histolytica with ingested red blood cells
Some amoebae can infect other organisms pathogenically, causing disease:
Entamoeba histolytica is the cause of amoebiasis, or amoebic dysentery.
Naegleria fowleri (the "brain-eating amoeba") is a fresh-water-native species that can be fatal to humans if introduced through the nose.
Acanthamoeba can cause amoebic keratitis and encephalitis in humans.
Balamuthia mandrillaris is the cause of (often fatal) granulomatous amoebic meningoencephalitis
Meiosis[edit]
Recent evidence indicates that several Amoebozoa lineages undergo meiosis.
Orthologs of genes employed in meiosis of sexual eukaryotes have recently been identified in the Acanthamoeba genome. These genes included Spo11, Mre11, Rad50, Rad51, Rad52, Mnd1, Dmc1, Msh and Mlh.[54] This finding suggests that the ‘’Acanthamoeba‘’ are capable of some form of meiosis and may be able to undergo sexual reproduction.
The meiosis-specific recombinase, Dmc1, is required for efficient meiotic homologous recombination, and Dmc1 is expressed in Entamoeba histolytica.[55] The purified Dmc1 from E. histolytica forms presynaptic filaments and catalyses ATP-dependent homologous DNA pairing and DNA strand exchange over at least several thousand base pairs.[55] The DNA pairing and strand exchange reactions are enhanced by the eukaryotic meiosis-specific recombination accessory factor (heterodimer) Hop2-Mnd1.[55] These processes are central to meiotic recombination, suggesting that E. histolytica undergoes meiosis.[55]
Studies of Entamoeba invadens found that, during the conversion from the tetraploid uninucleate trophozoite to the tetranucleate cyst, homologous recombination is enhanced.[56] Expression of genes with functions related to the major steps of meiotic recombination also increase during encystations.[56] These findings in E. invadens, combined with evidence from studies of E. histolytica indicate the presence of meiosis in the Entamoeba.
Dictyostelium discoideum in the supergroup Amoebozoa can undergo mating and sexual reproduction including meiosis when food is scarce.[57][58]
Since the Amoebozoa diverged early from the eukaryotic family tree, these results suggest that meiosis was present early in eukaryotic evolution. Furthermore, these findings are consistent with the proposal of Lahr et al.[59] that the majority of amoeboid lineages are anciently sexual.
In popular culture[edit]
The crew of the Enterprise went up against a giant amoeba in the 1968 Star Trek episode, The Immunity Syndrome.
"A Very Cellular Song," a song from British psychedelic folk band the Incredible String Band's 1968 album The Hangman's Beautiful Daughter, is told partially from the point of view of an amoeba.[60]
"Amoeba," a song from American punk rock band The Adolescents's 1981 debut album "The Adolescents".[61]
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Jump up ^ Flowers JM, Li SI, Stathos A, Saxer G, Ostrowski EA, Queller DC, Strassmann JE, Purugganan MD (2010). "Variation, sex, and social cooperation: molecular population genetics of the social amoeba Dictyostelium discoideum". PLoS Genet. 6 (7): e1001013. doi:10.1371/journal.pgen.1001013. PMC 2895654  . PMID 20617172.
Jump up ^ O'Day DH, Keszei A (2012). "Signalling and sex in the social amoebozoans". Biol Rev Camb Philos Soc. 87 (2): 313–29. doi:10.1111/j.1469-185X.2011.00200.x. PMID 21929567.
Jump up ^ Lahr DJ, Parfrey LW, Mitchell EA, Katz LA, Lara E (2011). "The chastity of amoebae: re-evaluating evidence for sex in amoeboid organisms". Proc. Biol. Sci. 278 (1715): 2081–90. doi:10.1098/rspb.2011.0289. PMC 3107637  . PMID 21429931.
Jump up ^ "A Very Cellular Song Lyrics". Metro Lyrics. Retrieved 29 February 2016.
Jump up ^ "Amoeba Lyrics". Metro Lyrics. Retrieved 3 May 2017.
External links[edit]
The Amoebae website of Maciver Lab of the University of Edinburgh brings together information from published sources.
Amoebas are more than just blobs
Sun Animacules and Amoebas
Molecular Expressions Digital Video Gallery: Pond Life – Amoeba (Protozoa) Some good, informative Amoeba videos.
Amoebae: Protists Which Move and Feed Using Pseudopodia at the Tree of Life web project
Siemensma, F. Microworld: world of amoeboid organisms. http://www.arcella.nl/.
Pawlowski, J. & Burki, F. (2009). Untangling the Phylogeny of Amoeboid Protists. Journal of Eukaryotic Microbiology 56.1: 16–25, [7].
Völcker, E. & Clauß, S. Penard Labs: the fascinating world of amoebae. http://www.penard.de/.
Walochnik, J. & Aspöck, H. (2007). Amöben: Paradebeispiele für Probleme der Phylogenetik, Klassifikation und Nomenklatur. Denisia 20: 323–350, [8].
[show]
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Microbiology: Protistology: Protists
Former
classifications
Protozoa
Mastigophora/Flagellates
Sarcodina/Amoeboids
Testate
Heliozoa
Infusoria/Ciliates
Sporozoa
Algae
Cryptogams
Thallophytes
Fungus-like organisms
Slime molds
Ambiregnal protists
Morphology
Archaeplastida
Chloroplastida
"green algae": Phycoplast
Phragmoplast
Flagellar apparatus
Glaucophytes:
Cyanelles
Phycobilisomes
Red algae:
Pit connection
Phycobilisomes
Hacrobia
Cryptophyta:
Mastigonemes
Periplast
Haptophyte:
Coccolith
Haptonema
Stramenopiles
General:
Mastigonemes
Diatoms:
Frustule
Brown algae:
Lamina
Pneumatocyst
Alveolata
General:
Alveoli
Trichocyst
Dinoflagellates:
Dinokaryon
Dinocyst
Theca
Ciliates:
Cilium
Cirrus
Macronucleus
Micronucleus
Apicomplexans:
Rhoptry
Apicoplast
Microneme
Rhizaria
Phytomyxea
Cruciform division
Excavate
Kinetoplastids:
Kinetoplast
Glycosome
Euglenoidea:
Periplast/pellicle
Amoebozoa
Dictyostelids:
Macrocyst
Sorocarp
Opisthokonta
Choanoflagellates:
Collar of microvilli
General
Levels of
organization
Unicellular
Monadoid
Amoeboid
Coccoid
Colonial s.s.
Colonial flagellated
Tetrasporal/capsal/palmelloid
Sarcinoid
Coenobial
Filamentous/trichal/hyphal
Parenchymatous
Pseudoparenchymatous/plektenchymatic
Membranous/thalloid/foliaceous
Multinucleated
Syncytial
Coenocytic
Siphonous
Siphonocladous
Multicellular s.s./tissular/histonal
Cell surface
structures
Simple cell membrane
Mucilage
Scale
Frustule
Cell wall
Lorica
Skeleton
Test
Theca
Periplast/pellicle
Locomotion
Flagellum
Cilium
Pseudopodia
Gliding motility
Mitochondria
Hydrogenosome
Mitosome
Nucleus
Nucleomorph
Multinucleate cells
Plasmodium
Dikaryon
Heterokaryon
Mitosis in protists
Open
Closed
Orthomitosis
Pleuromitosis
Meiosis in protists
Gametic
Zygotic
Sporic
Other
Cyst
Cytostome
Fimbriae
Extrusome
Contractile vacuole
Eyespot apparatus
Pyrenoid
Axostyle
Mastigont system
Ecology and
physiology
Microbial ecology
Microbial biogeography
Baas-Becking hypothesis
Development/Reproduction
Life cycles
Fertilization
Nutrition: Autotrophy
Phototrophy
Heterotrophy
Phagotrophy
Osmotrophy
Saprotrophy
Parasitism
Biotrophy
Necrotrophy
Mixotrophy
Auxotrophy
[show]
v
t
e
Eukaryota
Domain
Archaea
Bacteria
Eukaryota
(Supergroup
Plant
Hacrobia
Heterokont
Alveolata
Rhizaria
Excavata
Amoebozoa
Opisthokonta
Animal
Fungi)
Diaphoretickes
Archaeplastida
Glaucophyta
Rhodophyta
Viridiplantae
Plantae s.s.
Chlorophyta
Streptophyta
Cryptista
Corbihelia
Cryptophyta
Haptista
Centroheliozoa
Haptophyta
SAR
Halvaria
Alveolata
Ciliates
Miozoa
Acavomonadia
Colponemidia
Myzozoa
Stramenopiles
(heterokonts)
Bicosoecea
Developea
Hyphochytrea
Ochrophyta
Peronosporomycota
Pirsoniomycota
Placidozoa
Platysulcea
Sagenista
Rhizaria
Filosa
Phytomyxea
Retaria
Ectoreta
Marimyxia
Vampyrellidea
Incertae sedis
Kamera lens
Excavata
Malawimonadea
Metamonada
Discoba
Jakobea
Tsukubea
Discicristata
Euglenozoa
Percolozoa
Podiata
Amorphea
Amoebozoa
Conosa (Archamoebae, Semiconosia)
Lobosa (Cutosea, Discosea, Tubulinea)
Obazoa
Apusozoa
Apusomonadida
Breviatea
Opisthokonta
Holomycota
Cristidiscoidea
Opisthosporidia
Aphelida
Cryptomycota
Microsporidia
True fungi
Holozoa
Choanoflagellates
Filasterea
Metazoa or Animals
Teretosporea
Mesomycetozoea
Corallochytrea
Varisulca
(paraphyletic)
Ancyromonadida
Diphyllatea
Discocelida
Mantamonadida
Micronucleariida
Rigifilida
Incertae sedis
Ancoracysta twista
Parakaryon myojinensis
†Acritarcha
†Charnia
†Gakarusia
†Galaxiopsis
†Grypania
†Leptoteichos
Major kingdoms are underlined. See also: protist. Sources and alternative views: Wikispecies.
[show]
v
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Amoebozoa
Domain
Archaea
Bacteria
Eukaryota
(Supergroup
Plant
Hacrobia
Heterokont
Alveolata
Rhizaria
Excavata
Amoebozoa
Opisthokonta
Animal
Fungi)
Lobosa
Cutosea
Squamocutida
Squamamoebidae
Sapocribridae
Glycopoda
Discosea
Hyalodiscida
Hyalodiscidae
Centramoebia
Centramoebida
Acanthamoebidae
Balamuthiidae
Cochliopodiida
Parvamoebina
Parvamoebidae
Tectiferina
Cochliopodiidae
Pellitina
Pellitidae
Goceviidae
Flabellinia
Thecamoebida
Stenamoebidae
Thecamoebidae
Mayorellidae
Mayorella
Dermamoebida
Dermamoebidae
Glycostylida
Vannellina
Vannellidae
Discamoebidae
Stygamoebina
Stygamoebidae
Dactylopodina
Paramoebidae
Vexilliferidae
Tubulinea
Echinamoebida
Echinamoebidae
Vermamoebidae
Leptomyxida
Flabellina
Flabellulidae
Leptomyxina
Gephyramoebidae
Leptomyxidae
Neolobosia
Trichosida
Trichosphaerium
Eulobosia
Euamoebida
Nolandellidae
Amoebidae
Hartmannellidae
Arcellinida
Phryganellina
Eulobosina
Centropyxidae
Difflugidae
Conosa
Archamoebae
incertae sedis
Tricholimacidae
Endamoebidae
Entamoebida
Entamoebidae
Pelobiontida
Pelomyxina
Pelomyxidae
Mastigamoebina
Mastigamoebidae
Semiconosia
Variosea
(paraphyletic)
Holomastigida
Phalansteriida
Artodiscida
Varipodida
Mycetozoa
Myxogastria
Echinosteliopsida
Ceratiomyxida
Lucisporidia
Liceida
Trichiida
Echinostelida
Echinosteliidae
Clastodermidae
Fuscisporida
Lamprodermina
Stemonitina
Physarina
Others
Protosteliales
Protosporangiida
Dictyosteliida
Incertae sedis
Multicilia
[show]
v
t
e
Rhizaria
Domain
Archaea
Bacteria
Eukaryota
(Supergroup
Plant
Hacrobia
Heterokont
Alveolata
Rhizaria
Excavata
Amoebozoa
Opisthokonta
Animal
Fungi)
Cercozoa
Filosa
Monadofilosa
Imbricatea
Euglyphida (T): Cyphoderiidae
Euglyphidae
Paulinellidae
Trinematidae
Thaumatomonadida (F)
Thecofilosea
Cryomonad (F)
Ebriidae (F)
Phaeodarea (A)
Tectofilosid (T)
Cryptodifflugia (T)
Spongomonadea (F)
Spongomonas, Rhipidodendron
Sarcomonadea
Cercomonadida (F/A): Cercomonadidae
Heteromitidae
Sainouridae
Reticulofilosa
Granofilosea
Limnofilida (A)
Leucodictyida (A/F)
Heliomonadida (H/F)
Desmothoracida (H)
Gymnosphaerida (H)
Chlorarachnea (A)
Chlorarachnion
Gymnochlora
Lotharella
Cryptochlora
Bigelowiella
Endomyxa
Proteomyxidea (A)
Reticulosida
Aconchulinida
Vampyrellidae
Pseudosporida
Phytomyxea (Fu)
Phagomyxida
Plasmodiophorida
Gromiidea (T)
Gromida
Ascetosporea (S)
Haplosporida
Paramyxida
Claustrosporida
Paradinida
Retaria
Foraminifera (A)
Allogromiida
Miliolid
Textulariida
Radiolaria (A)
Polycystinea
Acantharea
Taxopodida (H): Sticholonche
Organization type: F: flagellates; A: amoebae; T: testate amoebae; H: heliozoan amoebae; S: sporozoan-like; Fu: fungus-like.
[show]
v
t
e
Excavata
Domain
Archaea
Bacteria
Eukaryota
(Supergroup
Plant
Hacrobia
Heterokont
Alveolata
Rhizaria
Excavata
Amoebozoa
Opisthokonta
Animal
Fungi)
Discoba
Discicristata
Euglenozoa
Postgaardia
Postgaardea
Bihospitida
Bihospitidae
Postgaardida
Calkinsiidae
Postgaardidae
Glycomonada
Diplonemea
Diplonemida
Diplonemidae
Hemistasiidae
Kinetoplastea
Bordnamonadida
Trypanophidida
Prokinetoplastida
Neobodonida
Parabodonida
Bodonida
Trypanosomatida
Euglenida
Entosiphonea
Entosiphonida
Entosiphonidae
Stavomonadea
Heterostavida
Serpenomonadidae
Decastavida
Decastavidae
Keelungiidae
Petalomonadida
Sphenomonadidae
Petalomonadidae
Ploeotarea
Ploeotiida
Lentomonadidae
Ploeotiidae
Peranemea
Peranemida
Pseudoperanemataceae
Anisonemida
Anisonemidae
Natomonadida
Neometanemidae
Distigmidae
Astasiidae
Acroglissida
Teloproctidae
Euglenophyceae
Rapazida
Rapazidae
Eutreptiales
Eutreptiaceae
Euglenales
Euglenomorphaceae
Phacaceae
Euglenaceae
Percolozoa
Pharyngomonadidea
Pharyngomonadida
Pharyngomonadidae
Heterolobosea
Lyromonadida
Plaesiobystridae
Gruberellidae
Psalteriomonadidae
Acrasida
Acrasidae
Guttulinidae
Schizopyrenida
Naegleriidae
Vahlkampfiidae
Neovahlkampfiidae
Paravahlkampfiidae
Euhyperamoebidae
Percolatea
Percolomonas
Stephanopogon
Jakobea
Jakobida
Andaluciidae
Stygiellidae
Moramonadidae
Jakobidae
Histionidae
Tsukubea
Tsukubamonadida
Tsukubamonadidae
Loukozoa
Metamonad
Trichozoa
Parabasalia
Chilomitea
Chilomitida
Chilomitidae
Trichonymphea
Lophomonadida
Lophomonadidae
Trichonymphida
Hoplonymphidae
Spirotrichosomidae
Staurojoeninidae
Teranymphidae
Trichonymphidae
Trichomonadea
Trichomonadida
Hypotrichomonadidae
Tricercomitidae
Hexamastigidae
Honigbergiellidae
Trichomonadidae
Trichocovinida
Trichocovinidae
Tritrichomonadida
Dientamoebidae
Monocercomonadidae
Simplicimonadidae
Tritrichomonadidae
Spirotrichonymphida
Spirotrichonymphidae
Cristamonadida
Calonymphidae
Devescovinidae
Fornicata
Eopharingea
Caviomonadidae
Diplomonadida
Giardiidae
Octomitidae
Spironucleidae
Hexamitidae
Retortamonadida
Retortamonadidae
Carpediemonadea
Carpediemonadida
Carpediemonadidae
Other
Kipferliidae
Dysnectida
Dysnectidae
Chilomastigida
Chilomastigidae
Anaeromonada
Anaeromonadea
Paratrimastigidae
Trimastigida
Trimastigidae
Oxymonadida
Polymastigidae
Saccinobaculidae
Pyrsonymphidae
Streblomastigidae
Oxymonadidae
Neolouka
Malawimonadea
Malawimonadida
Malawimonadidae
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Shut Up and Dance (Black Mirror)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Shut Up and Dance"
Black Mirror episode
The mysterious hacker blackmailing Kenny tells him to wait until he is "activated".
Episode no.
Series 3
Episode 3
Directed by
James Watkins
Written by
Charlie Brooker
William Bridges
Featured music
Original Score by
Alex Heffes
Original air date
21 October 2016 (2016-10-21)
Running time
52 minutes
Guest appearance(s)
Alex Lawther as Kenny
Jerome Flynn as Hector
Susannah Doyle as Blackmailed Woman
Sarah Beck Mather as Restaurant Mother
Beatrice Robertson-Jones as Restaurant Daughter
Maya Gerber as Lindsay
Camilla Power as Sandra
Ivanno Jeremiah as Blackmailed Man
Natasha Little as Karen
Nicola Sloane as Bank Clerk
Paul Bazely as Man in the Woods
Leanne Best as Penny
Episode chronology
← Previous
"Playtest" Next →
"San Junipero"
List of Black Mirror episodes
"Shut Up and Dance" is the third episode of the third series of British science fiction anthology series Black Mirror. It was written by series creator and showrunner Charlie Brooker and William Bridges, and premiered on Netflix on 21 October 2016, together with the rest of series three.[1]
The episode tells the story of a teenage boy (Alex Lawther) who is blackmailed into committing bizarre and criminal acts by a mysterious hacker possessing a video of him masturbating. The boy is joined by a middle-aged man (Jerome Flynn), whom the same hacker is blackmailing over infidelity.
The episode received highly mixed reviews, with the twist ending polarising critical opinion; several reviewers took issue with the ambiguous moral of the episode. "Shut Up and Dance" places poorly in critics' rankings of Black Mirror episodes by quality, though both Lawther and Flynn's performances were well received. The episode is thematically similar to "White Bear", a previous episode of the show.
Contents
[hide]
1 Plot
2 Production
3 Critical reception
4 See also
5 References
6 External links
Plot[edit]
Teenager Kenny (Alex Lawther) returns home from his restaurant job to find that his younger sister Lindsay has unintentionally infected his laptop with malware; Kenny downloads a purported anti-malware tool called Shrive which actually allows an unseen hacker to use the laptop's camera to record him masturbating. The hacker emails Kenny, threatening that the video will be sent to everyone in his contacts list unless he follows a series of instructions.
The next day at work, Kenny receives a text directing him to a location 15 miles away, with only 45 minutes to get there; he feigns illness to his boss and frantically cycles to the coordinates. There he is met by a man on a scooter, also acting on instructions from the hacker, who gives Kenny a box with a cake inside. Kenny is instructed to deliver the cake to a hotel room, where he finds Hector (Jerome Flynn). Hector then receives blackmail messages of his own: he was about to cheat on his wife with a prostitute, and follows the instructions out of fear he will lose custody of his children.
Kenny and Hector are instructed to drive to a location outside the city. However, when they stop for petrol, Hector's wife's friend Karen (Natasha Little) asks Hector for a lift home, for which they must drive recklessly without explanation, before continuing to their destination. There they are told to use a gun concealed in the cake to rob a bank. Hector insists on being the driver, leaving Kenny to perform the robbery. Though Kenny urinates out of nervousness during the robbery, he manages to get a bag full of cash and flee the scene with Hector.
Hector is instructed to destroy the car, while Kenny carries the money to a drop-off point in a nearby wood. There he meets another blackmail victim (Paul Bazely), who explains they are to fight to the death while the blackmailer observes through a camera-equipped drone; the money goes to the winner. Kenny tearfully protests that he merely looked at some pictures. The man asks whether, like him, it was child pornography; Kenny, now an emotional wreck, says nothing. Kenny brandishes the gun, then attempts suicide, but finds the gun is not loaded. The two then approach each other to fight as the drone camera continues its transmission.
Meanwhile, Hector returns home to his family, but finds the hackers have already sent his wife the evidence of his infidelity. The other blackmail victims have also had their information released, despite having complied with instructions; they each receive a trollface image from the blackmailer.
Bloody from the fight, Kenny staggers from the woodland with the money. He receives a call from his mother hysterically crying that Kenny's sister saw the video, and saying "they're saying it's kids! That you've been looking at kids!" He ends the call as the police arrive, offering feeble resistance as they apprehend him.
Production[edit]
Whilst series one and two of Black Mirror were shown on Channel 4 in the UK, in September 2015 Netflix commissioned the series for 12 episodes (split into two series of six episodes),[2] and in March 2016 it outbid Channel 4 for the rights to distributing the third series, with a bid of $40 million.[3] Due to its move to Netflix, the show had a larger budget than in previous series.[4] "Shut Up and Dance" is the third episode of the third series; all six episodes in this series were released on Netflix simultaneously on 21 October 2016. Two days prior to the release of series 3 on Netflix, Den of Geek! published an interview in which Brooker hinted that the episode is "a grimy, contemporary nightmare? [...] Set in absolutely present-day London. It’s not sci-fi at all."[5] Brooker states in one interview that the absence of science fiction elements from the episode is a "very conscious thing", noting that prior episodes "The National Anthem" and "The Waldo Moment" also "touch base with the real world".[6] In another interview, he says of that episode that "in the same way that one of the things that led to doing "San Junipero" was me thinking, Can I do a story set in the past? – that was where that idea kind of sprang from – we thought, Can we do a story just set today?"[7] Brooker noted that the story went through many different iterations and some did not include the suggestion that Kenny was (or may have been) looking at child pornography when the blackmailers filmed him. He revealed that in one version of the story, there was no reason why the events were happening, and in another the roles were reversed, with Jerome Flynn's character having the extremely dark secret.[6]
The episode was filmed over a three week period. Alex Lawther plays the main character Kenny; Lawther was a "huge fan" of the series prior to auditioning, and particularly liked the previous episode "White Bear". When first auditioning, Lawther had only seen the script for a couple of scenes and was unaware of the twist ending. Lawther first met co-star Jerome Flynn, who plays Hector, during the shooting. Whilst shooting, Lawther notes that "there was a news story in the real world about something very similar" to the episode, which he describes as "a very surreal thing."[8] Director James Watkins was previously known for The Woman in Black and Eden Lake, which Lawther says made Watkins "really [learn] the craft of sustaining incredible suspense over long periods of time."[8]
On the topic of reception to the episode, Brooker comments that "no one can agree on what is their favourite episode", claiming that "Oh my God, it's absolutely chilling" and "It's about nothing, it's boring" are both things people say about "Shut Up and Dance".[9]
Critical reception[edit]
This episode is considered the best of series 3 in a ranking by The Independent; Christopher Hooton writes that "the pacing is breakneck and it's impossible to take your eyes off the screen." Hooton says "it's what initially seems a gripe with the episode that ends up flooring you" when the twist ending "leaves you feeling as though all your entrails just dropped out".[10] Paul Tassi of Forbes believes the episode to be second best of the series, as it "does not carry an overt message like so many of these other episodes" but has "one of the best twists in the entire season", and "even if the rest of the episode is merely good, the ending elevates it to great."[11]
Tim Goodman of The Hollywood Reporter praised Alex Lawther's performance in the episode, calling it "one of the best things of 2016"; Goodman says the episode "unapologetically — and frantically — punches you right in the face, proving how nimble Brooker is at storytelling."[12] Robbie Collin of The Daily Telegraph rated the episode 5 out of 5, describing it as "soul-scorching [and] relentlessly riveting". Collin says that director James Watkins "outdoes himself here, immediately establishing a mood of barely suppressed panic, then tightening every screw and ratchet at his disposal", and notes that the episode is "the most nihilistic episode of Black Mirror so far."[13] Matt Fowler of IGN similarly praised the episode, saying that it may leave the viewer "utterly shaken", and that it was a "remarkably heart-pounding episode".[14] In the Daily Mirror, Suchandrika Chakrabarti gave the episode 5 out of 5 stars, summarising that the episode is "very simple, but incredibly effective" and "the least-technical episode of Black Mirror on Netflix, but among the very scariest".[15]
Pat Stacey of Irish Independent gives the episode four stars out of five, commenting that the episode is the first in series 3 to be set in England and "feels most like the old Black Mirror". Stacey summarises that it is a "fantastically tense, blackly funny tale with a shock, rug-pulling ending that packs a terrific wallop."[16] An article in TheWrap ranks the episode sixth best of the first 13, with the authors saying "it's brilliantly plotted" and "no episode of "Black Mirror" will leave you feeling worse about humanity than this one."[17] Another review in which the episode is sixth of the 13 in the first three series is Corey Atad's, for Esquire; Atad opines that it is "the most purely disturbing episode" and that "as with many of the most disturbing stories, the fact that they touch such a nerve speaks their human insight."[18] Zack Handlen of The A.V. Club gave the episode a B+ rating, complimenting Black Mirror's "willingness to force moral questions that make everyone feel awful", and saying that the episode was "never boring, but [...] not all that engaging, either".[19]
Josh Dzieza of The Verge gave the episode a mixed review, criticising the twist ending as a "letdown". Dzieza comments that the episode is "a clammy hour of sustained anxiety" which "does a fine job driving home hacking's humiliating invasiveness", but says the twist reveals that "the episode is more interested in turning gadgets into weapons of maximum humiliation than in saying anything more interesting about how digital humiliation works". Dzieza writes of the aesthetics that "the episode takes place in a series of cramped spaces shot with a cool tint" and of the actors that Lawther has an aura of "adolescent desperation" while Flynn "switches between gruffness and utilitarian friendliness".[20] Alex Mullane of Digital Spy gives "Shut Up and Dance" a mixed review, writing that it is a "progressively and particularly nasty hour of television". Mullane praises that Lawther is "superb in the main role" and Flynn is "suitably sleazy, without ever being a caricature". However, Mullane critiques that the episode "feels a bit thin" as it does not have "much to say" and is simply "a story in which bad people do bad things and then get punished for it", though Mullane concedes that "the closing sequence as the trollfaces come through to the various sinners is fantastic."[21] Adam Chitwood of Collider stated that although it wasn't a "bad episode", it was a "frustratingly tense one [...] [and] a bit too long and has one of the darkest throughlines of the season".[22]
In a largely negative review, Sophie Gilbert of The Atlantic described the episode as "something of a redux" of "White Bear" due to structural similarities. Criticising the episode as "too much of an endurance test, with no clear message or moment of redemption to take away from it", Gilbert infers that "the question for viewers at the end is, can we still sympathize with him? Should we?" Gilbert also notes a similarity to "Paedogeddon", a Brass Eye episode co-written by Brooker, as both are "a condemnation of those who refuse to empathize with people who have terrible impulses, or who've done terrible things."[23] Charles Bramesco of Vulture ranks the episode tenth among the first 13 episodes, calling it a "spiritual sequel" to "White Bear" which is "all but identical". Bramesco lambasts the episode as "one sick, distasteful joke" filled with "sheer unpleasantness in want of a greater statement".[24] Mat Elfring of GameSpot writes that "it follows the same formula as another episode" in an article which puts the episode as 10th best in the first 13 of the series.[25]
Aubrey Page of Collider.com rates the episode 11th best of the first 13, commenting that "never before has Black Mirror delivered such a compelling, masterfully handled introduction only to toss it all away with a few final moments" and writing that the ending causes the episode to become "one of the series' least plausible yet."[26] Morgan Jeffery of Digital Spy also ranks the episode 11 of 13, with the justification that there are "issues with how far we're expected to sympathise along the way, adding up to a general whiff of nastiness as the dust settles."[27] The episode is at position 12 of 13 in Entertainment Weekly's ranking of the first three series by James Hibberd, with the comment that "this nihilistic hour is perhaps a victim of its own anguished mood."[28]
See also[edit]
Blue Whale (game)
References[edit]
Jump up ^ "Black Mirror Season 3 Will Premiere Sooner Than We'd Thought". The Verge. 27 July 2016.
Jump up ^ Birnbaum, Debra. "'Black Mirror' Lands at Netflix". Variety.
Jump up ^ Plunkett, John (29 March 2016). "Netflix deals Channel 4 knockout blow over Charlie Brooker's Black Mirror". The Guardian.
Jump up ^ "Black Mirror review – Charlie Brooker's splashy new series is still a sinister marvel". The Guardian. 16 September 2016. Retrieved 19 September 2016.
Jump up ^ Mellor, Louisa (19 October 2016). "Black Mirror series 3 interview: Charlie Brooker and Annabel Jones". Den of Geek!. Retrieved 31 August 2017.
^ Jump up to: a b Hibberd, James (21 October 2016). "Black Mirror postmortem: Showrunner talks season 3 twists". Entertainment Weekly. Retrieved 24 October 2016.
Jump up ^ Fitz-Gerald, Sean (23 October 2016). "'Black Mirror' Creator Charlie Brooker Explains Season 3 and Reveals Easter Eggs". Retrieved 5 December 2017.
^ Jump up to: a b Meslow, Scott (22 October 2016). "Black Mirror Star Alex Lawther Takes Us Inside the Nightmare of 'Shut Up and Dance'". Retrieved 5 December 2017.
Jump up ^ Stolworthy, Jacob (21 October 2016). "Black Mirror creator Charlie Brooker: 'I'm loath to say this is the worst year ever because the next is coming'". The Independent. Retrieved 5 December 2017.
Jump up ^ Stolworthy, Jacob; Hooton, Christopher (21 October 2016). "Black Mirror review: The season 3 episodes, ranked". The Independent. Retrieved 3 September 2017.
Jump up ^ Tassi, Paul (25 October 2016). "Ranking 'Black Mirror' Season 3's Episodes From Worst To Best". Forbes. Retrieved 3 September 2017.
Jump up ^ "'Black Mirror' Season 3: TV Review". The Hollywood Reporter. 15 September 2016. Retrieved 19 September 2016.
Jump up ^ "Black Mirror, season 3, Shut Up and Dance, review: 'soul-scorching, dark and riveting'". The Daily Telegraph. 6 October 2016. Retrieved 20 October 2016.
Jump up ^ Fowler, Matt (19 October 2016). "Black Mirror: Season 3 Review". IGN. Retrieved 20 October 2016.
Jump up ^ Chakrabarti, Suchandrika (16 December 2016). "Shut Up and Dance review: Black Mirror's present-day tale of shame, blackmail and the corroding power of secrets". Daily Mirror. Retrieved 23 April 2017.
Jump up ^ Stacey, Pat (24 October 2016). "Black Mirror is back and it's as disturbing as ever... with a few minor cracks". Irish Independent. Retrieved 3 September 2017.
Jump up ^ Donnelly, Matt; Molloy, Tim. "All 13 'Black Mirror' Episodes Ranked, From Good to Mind-Blowing (Photos)". TheWrap. Retrieved 12 August 2017. CS1 maint: Multiple names: authors list (link)
Jump up ^ Atad, Corey (24 October 2016). "Every Episode of Black Mirror, Ranked". Esquire. Retrieved 12 August 2017.
Jump up ^ Handlen, Zack (October 23, 2016). "No one's watching the watchmen on a so-so Black Mirror". The A.V. Club. Retrieved April 22, 2017.
Jump up ^ Dzieza, Josh (26 October 2016). "Black Mirror's episode Shut Up and Dance is hacking torture-porn". The Verge. Retrieved 5 December 2017.
Jump up ^ Mullane, Alex (22 October 2016). "Black Mirror season 3 'Shut Up And Dance' review: a particularly nasty hour of television". Digital Spy. Retrieved 5 December 2017.
Jump up ^ "'Black Mirror' Season 3 Review: The Future Is Slightly Sunnier on Netflix". Collider. 4 October 2016. Retrieved 4 October 2016.
Jump up ^ Gilbert, Sophie (21 October 2016). "'Black Mirror' Is Back: 'Shut Up and Dance' Is a Horrifying Thriller". The Atlantic. Retrieved 23 October 2016.
Jump up ^ Bramesco, Charles (21 October 2016). "Every Episode of Black Mirror, Ranked From Worst to Best". Vulture. Retrieved 3 February 2017.
Jump up ^ Elfring, Mat (28 October 2016). "Black Mirror: Every Episode Ranked From Good to Best". GameSpot. Retrieved 3 February 2017.
Jump up ^ Page, Aubrey (28 October 2016). "Every 'Black Mirror' Episode Ranked From Worst to Best". Collider.com. Retrieved 22 September 2017.
Jump up ^ Jeffery, Morgan (9 April 2017). "Ranking all 13 episodes of Charlie Brooker's chilling Black Mirror". Digital Spy. Retrieved 3 September 2017.
Jump up ^ Hibberd, James (23 October 2016). "Black Mirror: All 13 Episodes, Ranked". Entertainment Weekly. Retrieved 12 August 2017.
External links[edit]
"Shut Up and Dance" on IMDb
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King Louie
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This article is about the fictional character. For the rapper, see King Louie (rapper).
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King Louie
The Jungle Book character
King Louie singing "I Wan'na Be Like You".
First appearance
The Jungle Book
Created by
Milt Kahl, Frank Thomas, John Lounsbery, and Walt Disney
Voiced by
Louis Prima (The Jungle Book)
Jim Cummings (TaleSpin, The Jungle Book Groove Party)
Jason Marsden (Jungle Cubs season 1)
Cree Summer (Jungle Cubs season 2)
Christopher Walken (2016 live-action film)
Information
Species
Bornean orangutan
Gigantopithecus (2016 film)
Gender
Male
King Louie (Hindi: राजा लुई; Urdu: بادشاہ لوئی) is a fictional character introduced in Walt Disney's 1967 animated musical film, The Jungle Book. Unlike the majority of the adapted characters in the film, Louie was not in Rudyard Kipling's original works.
He was voiced by Louis Prima in the original film and by Christopher Walken in the 2016 live-action/CGI The Jungle Book film.
Jim Cummings and others voiced him in other incarnations. Initially, the producers considered Louis Armstrong for the role[citation needed], but to avoid the likely controversy that would result from casting a black person to voice an ape, they instead chose Prima[citation needed].
Contents
[hide]
1 Conception and creation
2 Other appearances
2.1 TaleSpin
2.2 Jungle Cubs
2.3 1994 live-action film
2.4 2016 live-action film
2.5 Other Disney media
2.6 Non-Disney works
3 Reception
4 References
Conception and creation[edit]
This section's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (August 2016) (Learn how and when to remove this template message)
Although the Disney adaptation is based on the Kipling stories,[1] the character King Louie does not appear in Rudyard Kipling's original book, as orangutans, the species as which he is portrayed, are not native to India in real life. It is also stated by Kipling in the original that the Bandar-log, or monkeys over which King Louie rules, have no effective leadership, let alone a king. In the book, Mowgli is abducted by a band of nameless and leaderless bandar-log monkeys, but the rest of the scene plays out very differently from Disney's version.
Bill Peet's original story for the film did not feature King Louie, but did feature a larger monkey without a tail, who was perhaps meant to be their king. Peet left the Disney company due to a dispute he had with Walt Disney regarding the contents of his script, so his ultimate vision for the king of the Bandar-log remains unknown. Development of the story continued following Peet's departure, with his darker story giving way to a new emphasis on lightheartedness and jazzy tunes. It was in this company milieu that King Louie eventually came into being, given life through the voice and personality of popular performer Louis Prima. Personality was also given to Louie by Milt Kahl, Frank Thomas, and John Lounsbery, three of Disney's Nine Old Men who animated the character. Kahl animated Louie's interaction with Mowgli, Thomas his solo song and dance portions, while Lounsbery animated his memorable scat duet with a disguised Baloo.
Other appearances[edit]
Famed Italian-American and New Orleans native Louis Prima portrayed King Louie in the film. Louis Prima considered playing King Louie as one of the highlights of his career and felt he had become "immortal" thanks to Walt Disney and the entire studio.[citation needed]
TaleSpin[edit]
In the Disney animated television series TaleSpin, Louie (voiced by Jim Cummings) is a fun-loving orangutan who wears a Hawaiian shirt, a straw hat, and a lei. He owns an island nightclub, restaurant and hotel called "Louie's Place", located near but outside the protection of the city of Cape Suzette. It also serves as a refueling station/pit stop area for pilots. Louie is Baloo's best friend (unlike in The Jungle Book, but like in the later Jungle Cubs) but sometimes can be competitive with him when it comes to women, treasure-hunting and, on occasion, in business and monetary matters. His hold on the island is somewhat tenuous, though through his own ingenuity and the aid of his friends he has managed to avoid losing it (in the episode "Louie's Last Stand").
Jungle Cubs[edit]
In the Disney animated television series Jungle Cubs, Louie (voiced by Jason Marsden in Season 1, and Cree Summer in Season 2) is a juvenile orangutan and Baloo's best friend. He is very physically active, spending a great deal of his time in trees and eating bananas. Prince Louie (as he is referred to in the show) wants to become king of the jungle one day, and when any man-made objects turn up he immediately shows great interest.
1994 live-action film[edit]
A slightly different version of the character appeared in Disney's 1994 live-action film. Once again he is an orangutan (portrayed by a trained Bornean orangutan), and is the 'leader' of a group of monkeys that make their home in an abandoned human city. His name arises in this version from the vast wealth that humans left behind in the city, and in particular to his habit of wearing a crown similar in appearance to that worn by the King of France, Louis XIV. Kaa appeared to serve him, being summoned with a clap of his hands, Louie using Kaa to ward off or even kill intruders, the latter for his own amusement. At first, he acts a rival to Mowgli, but later warms up to him after seeing him defeat Kaa. Louie would later on appear during the battle between Mowgli and Captain William Boone (Cary Elwes), as he is seen cheering for Mowgli. After Mowgli defeats Boone, Louie happily applauds Mowgli for a job well done before summoning Kaa, who then kills Boone in the moat.
2016 live-action film[edit]
King Louie, in promotional material for The Jungle Book (2016)
Christopher Walken voiced King Louie in Disney's 2016 live-action film.[2] He is portrayed as a Gigantopithecus, an extinct species of great ape, because orangutans themselves are not native to India. In an interview regarding the character, Christopher Walken described King Louie as standing around 12 feet tall, and "as charming as he is intimidating when he wants to be".[3] In the film, Louie offers Mowgli protection from Shere Khan in exchange for the secret of making fire, which he and his fellow Bandar Log plan to use to take over the jungle. While accommodating and friendly at first, Louie quickly becomes spiteful and impatient, refusing to believe Mowgli's protests that he does not know how to make fire. He is briefly distracted by the appearance of Baloo, allowing Mowgli to be rescued by Bagheera. However, they are spotted by one of Louie's pig-tailed macaque servants, and Louie orders the trio to be captured. Emerging from the temple, Louie finds his Bandar Log too preoccupied fighting Bagheera and Baloo to capture Mowgli, so he goes after the man cub himself. Blocking Mowgli's escape, he tries to coerce him into staying whilst antagonizing him with the revelation of Akela's death. Mowgli refuses to stay, infuriating Louie into chasing him through the temple. During his rampage, he destroys several of the pillars supporting the temple, causing it to collapse over him. During the credits, Louie is shown emerging from the rubble, and performs "I Wan'na Be like You".
Other Disney media[edit]
Q.T., an orangutan who looks very similar to King Louie, is one of the main characters in Dumbo's Circus.
King Louie does not appear in The Jungle Book 2 because of a legal dispute with Louis Prima's widow Gia Maione (though a shadow puppet of him can be seen at the very beginning of the movie, and Baloo implies that he left the jungle).
Louie's very identical twin brother Larry appeared in an episode of House of Mouse. Like in The Jungle Book 2, a dispute with Gia Maione at the last minute stopped the crew from using Louie as they thought to, leading to the last-minute creation of Larry instead.
Louie appears as a meetable character at Walt Disney Parks and Resorts.
Non-Disney works[edit]
King Louie appears in the Fables comic series published by Vertigo Comics and he is only referred to as King. He is one of the revolutionaries who wish to overthrow the Fabletown government out of resentment at the apparent second-class status of Fables. Due to his peripheral involvement, he is given a sentence of hard labor---twenty years, reduced to five years conditional on good behavior.[citation needed]
In Fables, Louie is wrongly described as a "Kipling" character; on his official forums, Fables author Bill Willingham cited Louie's appearance in Fables as "a very good example on why it's best to go back to the source material before one embarks on a major story, rather than rely on often faulty memory of which characters were original canon and which weren't."[4]
Reception[edit]
This section needs expansion. You can help by adding to it. (October 2008)
The characterization of King Louie has frequently been cited as an example of racial stereotyping in Disney films.[5][6][7] However, in his 2004 book The Gospel According to Disney, Mark Pinsky asserts that a child in the current environment (as opposed to in the late 1960s) would not discern any racial dimension to the portrayal. Pinsky also relates Orlando Sentinel's film critic Jay Bogar's assertion that "the primates could be perceived as representing African Americans in a time of turmoil, but [that Bogar] saw no racism in the portrayal." [6]
References[edit]
Jump up ^ Pinsky, Mark I. (2004). The Gospel According to Disney. Westminster John Knox Press. p. 88. ISBN 978-0-664-22591-9. Retrieved 2008-11-10.
Jump up ^ "Christopher Walken to voice King Louie in 'Jungle Book' remake - The Times of India". Timesofindia.indiatimes.com. Retrieved 2015-10-21.
Jump up ^ Annika Harris (March 21, 2016). "First Look: Lupita Nyong'o, Idris Elba & Others In 'The Jungle Book'". UPTOWN Magazine. Retrieved May 28, 2016.
Jump up ^ Re: Questions for Bill 2009, at Clockwork Storybook; posted June 18, 2009; retrieved December 7, 2012
Jump up ^ Bell, Elizabeth; Lynda Haas; Laura Sells (1995). From Mouse to Mermaid. Indiana University Press. p. 92. ISBN 978-0-253-20978-8. Retrieved 2008-10-16.
^ Jump up to: a b Pinsky, Mark I. (2004). The Gospel According to Disney. Westminster John Knox Press. p. 91. ISBN 978-0-664-22591-9. Retrieved 2008-10-16.
Jump up ^ Schiappa, Edward (2008). Beyond Representational Correctness. SUNY Press. p. 65. ISBN 978-0-7914-7423-5. Retrieved 2008-10-16.
[hide]
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Rudyard Kipling's The Jungle Book
Books
The Jungle Book (1894)
The Second Jungle Book (1895)
All the Mowgli Stories (1933)
Mowgli stories
"Mowgli's Brothers"
"Kaa's Hunting"
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"My Own Home"
"Jungle Jungle Baat Chali Hai"
Video games
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Elephant Boy (1937)
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Adventures of Mowgli (1973)
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Television
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Jungle Book Shōnen Mowgli (1989–90)
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Other
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A dzsungel könyve
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Related
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The Graveyard Book (2008)
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