New York-based Harry K. McWilliams Associates, a company run by former Columbia Pictures and Screen Gems advertising and PR director Harry K. McWilliams, won the rights to produce a fake newspaper 'herald' for distribution to the audience attending the Template:Film movie in 1968 - many years before the franchise was to be hugely exploited by merchandising opportunities in the mid-1970s. While The Ape was intended purely as a light-hearted and sometimes comedic take on the events in the movie, it (and it's successors) assumed added significance among Apes fans because of some of the names and facts invented by the writers, which have contributed to the mythos of the series. The same company repeated the publicity stunt for all of the movie's sequels, slightly altering the name each time, but keeping the terrific attention to the details of the movies. The newspaper issues and some of the new details they contained are listed below.
- The Ape - Template:Film
- The hunt which captured Taylor, Landon and Nova occurred on Friday March 1, 3978.
- The hunt was carried out by the 'Gorilla Scouting Corps', "whose responsibility is the control of the large bands of human animals known to be roaming the more remote but fertile areas to the North of the Capital foraging for food".
- The corn field where the humans were captured was "skirting the Eastern edge of Forbidden Zone."
- The human survivors were held at the 'Academy of Ape Science'.
- The 'Ape National Academy' is either the ape's governing assembly or a university.
- Nova is aged about 22.
- On his first escape attempt, Taylor entered the 'Simian Museum'.
- The 'Simian Star', the highest ape award for valour, was given to the apes who recaptured Taylor.
- Zarka is the name of the chief government spokesman.
- Among the retailers placing advertisements in the newspaper were 'Zeeka's clothes shop, 77 Simia Way' and 'Zeat & Zeat gun shop'.
- The Ape News / The Mutant News (the two newspapers were presented together) - Template:Film
- The newspapers were dated Friday March 1, 3955 - reflecting the change in date from the preceding movie.
- The price of the ape newspaper was '5 Frailins'.
- Ursus' title was 'Commander in Chief'.
- Among the advertisers this time were 'Electrolysis with Lady L, 2145 South End', 'Zuuba Coats', 'Man pelts - available in white, black, yellow and red', 'Manhunters gun ("14 gridgens, slightly higher west of Zorb")' and 'Zeeka's Simian Sauna ("by appointment only", apparently frequented by Zaius)'.
- Mendez' full title was given as 'Mendes the Divine and Invincible, Leader of the Underground'.
- Among the 'Interrogators' were Caspay and Albina (with picture captions reversed), Ongoro and Adiposo - the last two given names for the first time.
- The leader of the mutant resistance to the ape invasion - the 'General of the Defence' - was Ygli VII, whose responsibility was to train the population in the use of mental deterrents.
- There was much concern among the mutants about a 'light leak' into their underground lair, which had already claimed two lives before the authorities saw fit to repair the fissure.
- The (Ape) News (the newspaper was officially named 'The News', but was defaced with the word 'Ape' scrawled in) - Template:Film
- The newspaper was dated Friday March 1, 1973.
- Commander W.D. Deyerle of the Destroyer 'Spearhead' was in command of the rescue mission.
- 'Experts' polled by the newspaper included anthropologist Margaret Smee, pediatrician and folk philosopher Doctor Sprocket, and author, social critic, revolutionary Jerry Ruby.
- The visiting space apes were to be interviewed on the Uncle Fred 'Talking with Animals' show.
- The Alien Apes were to tour the city, directed by the Mayor himself, and to be given the keys to the city and a gold-plated banana inscribed with the words "See California and go Bananas".
- A special investigation was authorized by the President; C.I.C. agents would transport the apes before investigations by the F.B.Y., the C.I.D., the W.P.A., a Congressional Committee, and a specially convened Senatorial Committee.
- Future News - Template:Film
- The newspaper was dated Monday May 22, 1992.
- The cost was 10 cents.
- It was printed in 'Megalopolis'.
- The paper consisted of a pictorial spread without text articles.
- San Simian Sentinel - Template:Film
- The newspaper was dated January 1.
- This edition contained only 'real-world' articles, rather than the 'in-universe' articles featured in previous papers.
- Amongst the many stories from behind-the-scenes were short features about stuntmen Orwin Harvey and Robert Prohaska, and background apes Jimmy Gambina and Dominique Green - none of whom received any movie credit for the film elsewhere.
- There was also some background information printed on Paul Dehn, Pierre Boulle, John William Corrington & Joyce Hooper Corrington, Arthur P. Jacobs, Paul Williams, Lew Ayres, John Huston and Heather Lowe, and short interviews with Natalie Trundy, Claude Akins & Austin Stoker in addition to other stories from the set.
- 'Planet of the Apes' promotional material
- 'Beneath the Planet of the Apes' promotional material
- 'Escape from the Planet of the Apes' promotional material
- 'Conquest of the Planet of the Apes' promotional material
- 'Battle for the Planet of the Apes' promotional material
- Fan-produced reproduction Herald dedicated to the 'Planet of the Apes' TV series
Write the first section of your page here.
- "Glory be to the Bomb, and to the Holy Fallout. As it was in the beginning, is now, and ever shall be. World without end. Amen."
A Mutant represents any biological organism whose physical hereditary characteristics have been altered from that of the parent organism. Such alterations occur on the genetic level and may lead to further unpredictable mutations depending upon the initial root cause as well as other external stimuli. In terms of Template:Film, a mutant is a distorted creature marred by the radiation levels remaining after the nuclear war that destroyed much of life on Earth as seen in Template:Film. Some are bestial and some are brainy. They generally live in the Forbidden Zone and do not seem to be very nice.  The community of telepathic mutant humans encountered by Taylor and Brent in Template:Film lived in the ruins of New York City and worshiped the ultimate nuclear weapon - the instrument of the planet's final destruction.
Beneath the Planet of the ApesEdit
The mutants were descended from a long line of mutated humans, whose origins dated back to the 1990's when the human controlled governments of Earth waged war with one another – a war which devastated significant parts of the population, and caused drastic geological upheaval.
Survivors of the nuclear holocaust were forced to seek shelter in the ruins of cities contaminated with atomic radiation. The exposure to this radiation caused severe genetic defects – defects which were passed down through the generations, forcing select groups of mankind to evolve into a new subspecies of mutant. Two-thousand years later, many of these mutant descendants began to develop advanced telepathic abilities. Whether these mental endowments were borne as a side-effect of their mutation is still a matter of speculation.
By the late 40th century, a coalition of mutants established a settlement for themselves in the ruins of St. Patrick's Cathedral in New York City. They had acquired a weapon of mass destruction – a surviving relic from Humanity’s downfall. This was a Doomsday device known as the Alpha-Omega Bomb. Declaring the weapon as the "Divine Bomb", the Alpha-Omega Bomb represented not only a unifying characteristic of their lifestyle, but of their origins as well. They believed that God spoke to them through the weapon. They placed the missile, as well as its accompanying launch controls, at the nave of their altar in the cathedral. On most occasions, the subterranean denizens of New York wore latex masks and wigs which concealed their physical mutations, but during liturgical services and Mass, it was customary to remove their masks while proclaiming in unison, "I reveal my Inmost Self unto my God."
All elements of mutant culture revolved around devotion towards their religion. Followers wore stark, white, full-bodied uniforms, the design of which was patterned after the protective radiation suits worn by their ancestors. Even children were expected to behave in accordance to the tenets of their faith. A popular children's nursery rhyme, though seemingly innocent, invoked images of the nuclear horror that befell mankind centuries past. 
- Ring-a-ring o'neutrons,
- A pocketful of positrons,
- A fission! A fission!
- We all fall down.
The mutants were reclusive isolationists who shied away from the world above them. However, in 3978, a time-lost astronaut named George Taylor stumbled upon their underground society. The leaders used their mental powers to interrogate him at length, from which they learned that a society of evolved apes had developed a community outside the ruins of New York City. After extracting as much information as they could from Taylor, they imprisoned him in one of their many dungeon cells.
On occasion, the reigning council from Ape City would send Gorilla scouts into the region (which they referred to as the Forbidden Zone), in search of evidence of human occupation. To protect themselves from inquiry, the mutants used their telepathic powers to create massive illusions depicting scenes of graphic violence. In some cases they would craft the image of a great wall of flame; in others they would produce visions of apes being crucified and tortured. On one circumstance, they allowed a gorilla scout to enter the underground tunnels, where they placed him under an intense telepathic interrogation. Recognizing the aggressive prejudices of the apes, they decided that apes were a threat to their existence and took elaborate measures to conceal themselves from further inspection.
A short time later, another astronaut named John Brent and a mute human named Nova followed Taylor's trail into the Forbidden Zone.  The mutants captured them, and used the same mental torture techniques against Brent and Nova that they had used upon Taylor. They even manipulated Brent into turning on Nova, forcing him to choke her nearly to the point of death. After gleaning any information of value from him, they placed Brent into the same cell as Colonel Taylor. A guard named Ongaro watched over the prisoners and used his mental powers to make them fight against one another. In keeping with the structure of their own Holy doctrine, Ongaro iterated the fact that they do not actually kill their enemies, but rather, they force their enemies to kill each other. Brent and Taylor managed to break free of the mind control however, and killed Ongaro while escaping from their cell.
At the same time, a gorilla military leader named General Ursus led an invasion party into the Forbidden City to route out and exterminate all human occupants. They found the mutant’s cathedral and proceeded to execute as many mutants as they could find. Mendez and Caspay along with an unknown female mutant were shot down in cold blood, while Albina preferred to end her own life rather than suffer the fury of a military onslaught.
Moments after the last of the mutant leaders had been executed, George Taylor, dying from a gunshot wound, fell upon the launch controls of the Alpha-Omega Bomb. The device was activated and the resulting explosion destroyed the entire world and killed any surviving mutants that weren't executed by Ursus' Gorilla soldiers.
Members of the mutant leadership (notably the Inquisitors) possessed a wide variety of psychic abilities. These powers included the ability to communicate telepathically with their fellow mutants, as well as other humans. They employed these powers for a variety of effects, which they referred to as "Weapons of Peace". The most common of these abilities was a process known as the Visual Deterrent. This reflected a mutant's ability to create elaborate and convincing illusions designed to confound or in some cases ensnare unsuspecting prey. They used the Visual Deterrent to trap the time-lost astronaut George Taylor. They later used the power to much broader effect in the hopes of warding off an encroaching ape army. Accompanying the Visual Deterrent was a practice known as the Sonic Deterrent. Using this technique, a mutant could generate a piercing sonic hum in a target's mind – the intent of which was ultimately to drive the victim insane. The most intrusive and devastating tactic however, was a practice called Traumatic Hypnosis. Using this ability, a mutant could control another person's mind, forcing them to act in contrast to their own nature – even violently.
Mutant make-up preparation for Beneath the Planet of the Apes Mutant make-up preparation for Beneath the Planet of the Apes Mutant make-up test for Beneath the Planet of the Apes Mutant make-up test for Beneath the Planet of the Apes
- The mutants' name for the own society was never indicated on film or in the script. Marvel's comic book adaptation of the film, however, identified the mutants as the 'Children of the Bomb'.
- In Paul Dehn's earliest outline for Template:Film - the first of his story arc - he had already mapped out the background of the Mutant society: Their hereditary leader, Mendez the twenty-sixth, never tires of telling them that this religion is the first in Earth's history to have been founded not on Faith but on Fact. And this, in a sense, is true. When the last Atom Bomb exploded in up-state New York (circ. 1995) and huge earth-subsidences buried New York City, the few thousand survivors on the surface went underground in the hope of avoiding or at least minimising the genetic effects of radioactivity. It took only the misshapen birth of the next generation for this hope to be proved false. The mutants were 'created by the Holy Fall-Out descending like manna from the Divine Bomb'.
- In the movie, the character of Mendez XXVI is credited only as "Mendez". The novelization indicates that he is the twenty-sixth Mendez in a line of succession.
- Natalie Trundy, who played the mutant Albina, returned to the franchise first as Stephanie Branton in Template:Film, then as the chimpanzee Lisa for Template:Film and Template:Film.
- Actor Don Pedro Colley is credited only as "Negro" in the closing credits of the film. Colley's official web-site lists his character's name as Ongaro
- The site of Brent's interrogation was Grand Central Terminal
- Originally the music for the mutant's liturgy was to be composed by Jerry Goldsmith, who scored the music for the first Template:Film film, but POTA director Frank Shaffner convinced the studio heads at Twentieth Century Fox to pull Goldsmith from the project in favor of having him score Shaffner's then current film project, Patton. Goldsmith was ultimately replaced with composer Leonard Rosenman. 
- All of the elder members of the mutant community wore liturgical vestments, which were color-coordinated with the visual effects of their thought projection abilities.
- The first draft screenplay listed the areas of concern for each of Brent's Inquisitors. "Our actors should note that each Inquisitor pursues (in alternation) an individual line of questioning.
- The Negro probes for facts;
- Albina, for emotional feelings;
- Caspay, for beliefs and opinions.
- The Fat Man asks no questions at all. He is there merely to induce pain.
- The final screenplay reversed two of those roles.
- The Fat Man probes for facts.
- The Negro asks no questions at all. He is there merely to induce pain.
- According to The Mutant News newspaper distributed in theatres showing the movie in 1970, the leader of the mutant resistance to the ape invasion - the 'General of the Defence' - was 'Ygli VII', whose responsibility was to train the population in the use of mental deterrents.The purpose of the deterrent is to prevent any injury whatsoever to non-apes. If the deterrent was ignored then the process of AD would begin. AD stands for Assured Destruction.
Behind The ScenesEdit
Template:Film screenwriter Paul Dehn first developed the idea of the mutants. He conceived a grotesquely misshapen race who took pride in their deformities, and in his very earliest treatment introduced Mendez XXVI - "a figure who looks like the Grand Inquisitor grotesquely lengthened by a distorting-mirror. The immensely tall, cadaverously lean body is topped by a head discernibly human, though the great aquiline nose suggests an eagle's beak. Even the long fingers are raptorially curved like claws. But the eagle seems blind. Where there should be eyes, there is facial flesh. Then a curious thing happens. Mendez says: 'Let me look at you' and turns slowly into profile to reveal that his eyes are at the sides of his face and not in front. He can, like a great bird, look outwards but not forwards." The evolution of the mutants was to be demonstrated visually, with an example of their hypocrisy: "Mendez... enters a long corridor, lined with statues, ...they are strictly representational, totally realistic statues of Mutants; and the names and dates on the plinths tell us that they are Mendez's ancestors... as the dates become earlier, each statue's appearance approximates closer to the human norm... We end on Mendez I - a normal, handsome, strong-jawed, military-moustached, grizzle-haired soldier... Mendez pauses for a moment - seeing (without turning) out of his side-eye - and whispers in a sort of agony: 'Forefather, why can we not all look like you?... From whom will come the new, untainted blood that should cleanse our inbred race? We have lived a thousand years alone, like worms, below ground - doing good to none but ourselves. If we come up to Earth's surface we shall die. And though my people have been taught (for their greater comfort) that they are beautiful and therefore to be desired, what stranger, coming down among us, would find us desirable enough to use our deviant bodies for the creation of a nobler breed? Forefather, why can we not all look like you?'"
Dehn altered his vision of the mutant deformities for his later screenplay, keeping the idea of their gradual deterioration, but lessening the effects on their physiognomy. "At first, we were going to have them really mutated with monstrous noses and three eyes, real horror figures, but we didn't think that would have been nice for the children and after a great deal of research, it was the makeup department that came up with the idea that if you had been radiated, all seven layers of your skin would have been destroyed, and all that would be left was this terrible network of veins."
Director Ted Post was apparently responsible for the final makeup concept for the mutants in the film. For many months, the studio had spent thousands of dollars and several artists trying to find the right look for the mutants, coming up with almost every conceivable brand of monstrosity, deformity, and what-have-you. When Post walked into the makeup lab, he was appalled at the sight of myriad grotesque plaster heads lining the shelves, ranging from early Universal to early American-International in appearance. He remembered a drawing from a medical text entitled 'Gray's Anatomy', in which was printed a vivid picture of a man's head, with the top layer of epidermis removed. For some reason, he never forgot that picture and suggested the idea to Dan Striepeke and John Chambers. With the magic of their skills, they transformed this into film reality.
In order to create the effect of a human being mutated through exposure to radiation, make-up artist Chambers examined photographs of corpses where the outer dermal layer of skin had been removed. After sifting through other, more graphic potential mutant designs, he decided upon using these photographs for the basis of his mutant make-up.  He later recalled: "This was a full, soft foam-rubber head appliance, and I used silicone adhesives to blend it out. In the ape appliances, there were small pieces, a chin, a muzzle, and a forehead, and the rest was face hair and a wig. It took more time to blend the edges there, but the mutants were already made up, and the only extra makeup we used was around the eyes and mouth. So we took two hours, average, on those."
The original ending to the movie was to have the competing ape and mutant armies destroyed in the explosion of the missile, while Taylor, Nova and Brent escaped to the Ape City to establish a Utopian society. Moving forward by many decades, the action would cut to the Forbidden Zone where a group of horribly mutated gorillas emerge from a tunnel and, symbolically, shoot a dove.
Battle for the Planet of the ApesEdit
With the final movie of the Apes series, writer Paul Dehn wanted to bring the story full-circle and show the lead up to the events of the original movie and Beneath. Thus Template:Film shows the remnants of humanity in Governor Breck's city starting to become disfigured and mentally unbalanced due to the fall-out of a nuclear war. They also - in scenes filmed but only added to the film in DVD releases many, many years later - possessed the Alpha-Omega Bomb. Kolp, Chief of Breck's security at the time of Caesar's rebellion, was now the leader of the survivors after Breck's death. His chief advisors were Mendez (presumably 'Mendez I') and Alma, who took on the leadership of what remained after Kolp and his military leader launched a disastrous assault on Caesar's Ape City that resulted in the death of most of the able-bodied mutants and the capture of the few survivors. The final 'lost' scene from the movie showed Mendez refusing to detonate the bomb, preferring to view it as a symbol of hope for a peaceful future.
The scenes deleted from the movie serve to make the series a continuous loop. The reason they were omitted from the final theatrical cut is unknown. It has been speculated that they were omitted so that the ending could be left open - that the nuclear obliteration of the planet was not inevitable. However, according to Paul Dehn, the final shot of a tear on Caesar's statue was to tell the audience that Caesar's efforts would ultimately fail.
Planet of the Apes MagazineEdit
The Planet of the Apes Magazine published by Marvel Comics between 1974 and 1977 featured comic-strip adaptations of the five Apes movies, with the mutants as outlined above. One significant change was that, working from the shooting script rather than from the final cut of the movie, the adaptation of Battle featured Breck as the now-mutated leader of the humans in place of Kolp, and the strip also included the 'Alpha-Omega' scenes which were edited out of the theatrical release.
The new, original stories included in the magazine, written by Doug Moench, were full of wildly imaginative scenarios far beyond what was depicted in the movies or the TV series. In Terror on the Planet of the Apes, for example, the fugitives Jason and Alex had to combat giant mutated river monsters while on their way to confront 'The Inheritors', the society of vaguely-human Mutant Drones controlled by a network of five huge disembodied brains suspended in glass cases. The Inheritors also kept a menagerie of mutated monsters which they used for pit-fighting for their entertainment. The Inheritors had a rival race of mutant human descendents known as 'The Makers'. The Makers were slightly more human in appearance, though they were extensively reconstructed with bionic replacement body-parts. They were also more paranoid, and therefore destructive, than the power-hungry but calculating Inheritors. How their races diverged and became sworn enemies is not revealed. A race of Winged Monkey-Demons served the stranded alien 'Keepers' in their vast, buried ship - the 'Psychedrome'. The origin of the Monkey-Demons isn't known, whether they were fellow-aliens or Earthly mutations.
Evolution's Nightmare told the tale of the one human and one ape survivors of a great war, who had to travel together in order to escape the Forbidden Zone. Along the way they encountered monstrously deformed beasts, and their story ended when they were killed in the crossfire of two competing gangs of Mutant Apes and Mutant Men in the ruins of a destroyed city. Kingdom on an Island of the Apes included a knight's quest against a 'dragon' - a giant lizard, mutated to enormous size. Future History Chronicles rivaled Terror for it's inventive script. The sea-faring heroes had to deal with giant sea-monsters, one of them genetically engineered by an orangutan, before they encountered the 'New Order Born Of Old Sins' - a sea-borne population of horribly mutated apes and humans who traveled with a nuclear missile onboard their ship increasing their mutation constantly. They had differing views on how their 'New Order' had originated, but agreed that the effects of the radiation made them all so disfigured as to make any conflict between their species pointless. Their twisted logic was to spread their radioactive mutation to every living creature. Seemingly sinking the mutant's ship, the heroes later found themselves at the mercy of mutant apes who traveled on giant mutated frogs.
Return to the Planet of the ApesEdit
The Return to the Planet of the Apes animated series borrowed heavily from both the movies and the live-action TV series, whilst also adding it's own flavour. One such example was the 'Underdwellers'. These humans - entirely distinct from the mute humans of Nova's tribe - resembled the mutants of Beneath the Planet of the Apes in their robed attire, their apparent psychic and telekenetic powers (in making Judy disappear into a fissure in the ground in episode one; teleporting her back when she tried to escape), and their living in the underground ruins of a human city. They were not shown to be mutated beneath their human appearance however, and while they were single-minded in their self-preservation, they were not as outwardly hostile as the mutants of Beneath. In addition, they seemed to live in very close proximity to the Ape City, perhaps even directly below it, and their presence there was common knowledge - Urko attempted to provoke a war with them by sending hooded gorillas to commit robberies disguised as Underdwellers. Their leader was Krador, and their religion was centered on what they believed to be a statue of a prophesised saviour called 'Usa' - in reality a statue commemorating the lost astronaut Judy, with the letters 'U-S-A' noting her nationality. This was why they had abducted their 'saviour' when she suddenly appeared from the sky.
Adventure Comics' Planet of the ApesEdit
The Adventure Comics' series of Planet of the Apes comics and spin-off comics dealt with as wide a span of Apes history as did the Marvel Comics line. The title comic series featured a tribe of 'Children of the Forgotten Apes' led by Dunzell - forgotten because they had been imprisoned in underground cells within the Ape Management building, and had been left there unbeknownst to Caesar's rebellious ape followers. Trapped and kept prisoners by the mutated humans left in the city, they too had become mutated, and developed psychic powers. They were given their freedom by Caesar, but met their deaths at the ghostly hands of the spirit of Governor Breck - revived by those same mutated human survivors. His first act, however, was to slaughter the disfigured examples of humanity who had brought him back into existence.
The Forbidden Zone mini-series set out a dispute amongst the mutant community which led to Mendez X being expelled by Kolp (a different Kolp) and finding a new home in the ape/human settlement called 'Primacy'.
BOOM! Studios' Planet of the ApesEdit
In BOOM! Studios' principal Planet of the Apes title there were no mutants featured as such, but there was a religious order led by Brother Kale and Sister Martha who, we are told, separated from a main body of missile-worshippers taking with them a small part of their arsenal. Kale set up a mission among the human population of Mak, where he had a particular following among the younger mutes. Kale and his order were all bald or shaven headed, they wore robes very similar to those worn by the mutants in Beneath the Planet of the Apes, they had telepathic abilities, and they actively organised armed resistance to apekind, but they did not appear to be physically mutated or wearing masks.
BOOM!'s parallel storyline continuity stretched through Betrayal of the Planet of the Apes, Exile on the Planet of the Apes and Planet of the Apes: Cataclysm and portrayed Ape City in the years before Taylor's arrival. In Planet of the Apes: Cataclysm we learned that the mutants who guarded the Alpha-Omega Bomb had an extremist faction within their midst who wished to fire the weapon and end the world. To this end, one of their number murdered the chimp monk Brother Corvin and used his identity to access an ancient missile base, firing, and destroying the Moon. He then headed to Ape City to cause further damage before his identity was revealed to Zaius and he was killed. At some point, Ursus apparently either became their agent, or was himself a mutant in disguise. Later, Milo was captured by these mutants but was helped to escape by a member of the pacifist faction, who also summoned Zira, Cornelius and Lucius to join Milo after he had repaired Taylor's spaceship. Before that, however, Milo and Cornelius travelled to the distant Painted Valley, where they discovered a group of chimpanzees mutated by water contaminated by the nearby Forbidden Zone. These mutant apes had the ability to project mental images such as monsters, but they were only just learning to control their powers and were eventually received back into the remote community from which they had been outcast.
- Alpha-Omega Bomb
- Fellowship of the Holy Fallout
- The Forgotten Apes
- The Inheritors
- Kolp (Malibu Graphics)
- Krador/The Underdwellers
- The Makers
- Mendez I
- Mendez II
- Mendez Ten
- Mendez XI
- Mendez XII
- Mendez XIV
- Mendez XXVI
- Mendez Dynasty
- Mutant Workers
- Mutant Captain
- Mutant on Motorcycle
- Mutant Apes
- Mutant Men
- Mutant Drones
- Mutant article at Wikipedia
- Mutant (fictional) article at Wikipedia
- Mutant (Marvel Comics) article at Wikipedia
- ↑ Glossary to the Planet Of The Apes Jim Whitmore (1976)
- ↑ Although Beneath the Planet of the Apes featured an image of children playing together, the nursery rhyme that they sang was only included in the shooting script, and was not incorporated into the final cut of the film. The nursery rhyme is a re-imagined version of "Ring Around the Rosey".
- ↑ Beneath the Planet of the Apes gives the year as 3955, however this is inconsistent with the timeline provided in the first film. For the sake of consistency, this site recognizes the year 3978 as the authoritative timeline of events for both Planet of the Apes and Beneath the Planet of the Apes.
- ↑ Planet of the Apes Revisited - A treatment at Hunter's Planet of the Apes Scripts Archive
- ↑ The Official Don Pedro Colley Website
- ↑ John O'Callaghan; "The Great Apes Score Debate", Film Score Monthly
- ↑ Planet of the Apes Revisited - First Draft Screenplay at Hunter's Planet of the Apes Scripts Archive
- ↑ Beneath the Planet of the Apes - Final Screenplay at Hunter's Planet of the Apes Scripts Archive
- ↑ 'Beneath the Planet of the Apes' promotional material
- ↑ Planet of the Apes Revisited - A treatment at Hunter's Planet of the Apes Scripts Archive
- ↑ 'Cinefantastique Planet of the Apes Issue' (1972)
- ↑ 'Cinefantastique Planet of the Apes Issue' (1972)
- ↑ Behind the Planet of the Apes; 20th Century Fox, 1998
- ↑ 'Cinefantastique Planet of the Apes Issue' (1972)