document_title: Beauty and the Beast (2017 film)

question_text: who plays the dad in beauty and the beast 2017

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, an enchantress disguised as a beggar arrives at a ball and offers the host, a coldhearted prince, a rose for shelter. When he refuses, she transforms him into a beast and his servants into household objects, and erases the castle from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will never lift unless he learns to love another, and earn their love in return, before the last petal falls.

text: Years later, in the village of Villeneuve, Belle dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. Lost in the forest, Belle's father Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose. Belle ventures out in search for him and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. A friendship develops as Belle nurses his wounds. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask. Belle realises that she and her father were forced to leave her mother's deathbed as her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the beggar Agathe, but when he tells the townsfolk of Gaston's crime, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his will upon seeing Belle return. He overpowers Gaston but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles and he falls to his death. The Beast dies as the last petal falls and the servants become inanimate. When Belle tearfully professes her love to him, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a beautiful and benevolent bibliophile who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

Adam Mitchell[3] portrays the younger version of the Prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[11]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[20]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[20]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[21]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[22][23] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[24]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[25] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[26] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[27]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[28] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[29]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[30] Watson was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[29] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[31][32] and Watson confirmed their casting the following day through tweets.[9][33] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[12][11][16][15][17][13][14][34]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[35] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[36]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[37]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][38][39] Filming with the principal actors concluded on August 21.[40][41] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[42]

text: The Beast was portrayed with a “more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast.” The castle servants who are transformed into household objects were created with CGI animation.[6]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones' character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[20]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[43]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[44] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[45] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[46] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[47]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion - singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson - that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[48] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way".[18] She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[49][50][51][52]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[53][54] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney classic.[55]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[56]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video hosting service.[56]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[57]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[58] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[59] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[60] Following an announcement on May 22, 2016,[61] Disney premiered the first official teaser trailer on Good Morning America the next day.[62] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[63] This record has since been broken by Thor: Ragnarok and It.[64] The first official teaser poster was released on July 7, 2016.[65] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[66][67] One week later, Emma Watson and Disney debuted a new poster for the film.[68] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[69] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[70] This record has since been broken again by The Fate of the Furious.[71] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[72] Disney released the final trailer on January 30, 2017.[73]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[74] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[75] The movie regained the top spot on the national home video sales charts during its third week of release.[76]

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $758.6 million in other territories for a worldwide gross of $1.262 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second biggest musical ever overall, behind Disney's Frozen (2013).[78] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[79] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[80] It surpassed the entire lifetime total of the original film in just six days.[81][82]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[83] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[84][85][86][87] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[88][89][90] It is currently the highest-grossing film of 2017,[91] the highest-grossing March release,[92] the highest-grossing remake of all-time,[93] and the fifth biggest Disney film.[94] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[93]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[95][96][97] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[98][99] It earned $16.3 milion from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[100] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest – 59% – came from regular 2D shows which began at 7 p.m.[101] The numbers were considered more impressive given that the film played during a school week.[102]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[103][104] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[105] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell -2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[83] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[106] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[107][108] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[109] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[110] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[110] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[106]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second biggest film of the year, behind Logan ($184 million), and also the second highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[111] 70% of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[83] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[110] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[112][113] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[112][114]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second biggest March Monday, behind Batman v Superman ($15 million).[115] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a +32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[116] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[117] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[118] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[78] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[119] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[120] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[121] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[122] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[123] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[124] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[125] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[126][127][128]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[129] the biggest musical film (both animated and live-action),[130] as well as the biggest film of 2017.[131]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second biggest for a PG title behind The Jungle Book.[132] In its second weekend, it fell just by -35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[133] It top the international box office for three consecutive weekends[134] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[135][90]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[136][137] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[132][133]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[138] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[139] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[140][133] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[141][142][143] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases – Machine, Trapped and Aa Gaya Hero – combined.[144] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[145][146][147] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[148]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time – around two months – to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[149] The original film was however never widely popular in the country.[150] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[151] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[152][153] Either ways, it recorded the second biggest opening for a Disney live-action film,[150] with $3.4 million coming from 386 IMAX screens.[132] Japan – a huge Disney market – served as the film's final market and opened there on April 21[133] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[154][155] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[156] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[157][158][159] and is the biggest film release of the year and overall the eleventh biggest of all time.[160] It topped the box office there for eight consecutive weekends.[161][162]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[132] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[135][163] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[164] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[165] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[154][166] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[161] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[167][154][157]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[168][169] On review aggregator Rotten Tomatoes, the film has an approval rating of 70% based on 291 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[181] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[182] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[183] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[184] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[185] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[186]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[187] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[188] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[189][190]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[191] Dana Schwartz of the Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[192]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[193]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[194]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[195]
[196]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[197] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it's such a tiny thing, and it’s been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly-talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that’s what’s exciting about it.”[198] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[199]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[200] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[201] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[202] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[203][204][205] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[206] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[207][208] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[209]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[210] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[211]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[212] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[213] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[214][215] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[216]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[217] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[218][219] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th century France for arranged marriages, and that the power disparity is amplified in the Disney version.[220] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[221]

text: Notes[edit]

text: ^ Jump up to: a b Beauty and the Beast at Box Office Mojo. Retrieved August 14, 2017.


document_title: Cellular respiration

question_text: after complete oxidation of a glucose molecule how many number of atp molecules are formed

root

text: Cellular respiration

text: Aerobic respiration

text: Aerobic respiration requires oxygen (O2) in order to create ATP. Although carbohydrates, fats, and proteins  are consumed as reactants, it is the preferred method of pyruvate breakdown in glycolysis and requires that pyruvate enter the mitochondria in order to be fully oxidized by the Krebs cycle. The products of this process are carbon dioxide and water, but the energy transferred is used to break bonds in ADP as the third phosphate group is added to form  ATP (adenosine triphosphate), by substrate-level phosphorylation, NADH and FADH2

tag: p

text:
Simplified reaction:

C6H12O6 (s) + 6 O2 (g) → 6 CO2 (g) + 6 H2O (l) + heat

ΔG = −2880 kJ per mol of C6H12O6

tag: table

text: The negative ΔG indicates that the reaction can occur spontaneously.

text: The potential of NADH and FADH2 is converted to more ATP through an electron transport chain with oxygen as the "terminal electron acceptor". Most of the ATP produced by aerobic cellular respiration is made by oxidative phosphorylation. This works by the energy released in the consumption of pyruvate being used to create a chemiosmotic potential by pumping protons across a membrane. This potential is then used to drive ATP synthase and produce ATP from ADP and a phosphate group. Biology textbooks often state that 38 ATP molecules can be made per oxidised glucose molecule during cellular respiration (2 from glycolysis, 2 from the Krebs cycle, and about 34 from the electron transport system).[2] However, this maximum yield is never quite reached because of losses due to leaky membranes as well as the cost of moving pyruvate and ADP into the mitochondrial matrix, and current estimates range around 29 to 30 ATP per glucose.[2]

text: Aerobic metabolism is up to 15 times more efficient than anaerobic metabolism (which yields 2 molecules ATP per 1 molecule glucose).  However some anaerobic organisms, such as methanogens are able to continue with anaerobic respiration, yielding more ATP by using other inorganic molecules (not oxygen) as final electron acceptors in the electron transport chain.  They share the initial pathway of glycolysis but aerobic metabolism continues with the Krebs cycle and oxidative phosphorylation. The post-glycolytic reactions take place in the mitochondria in eukaryotic cells, and in the cytoplasm in prokaryotic cells.

text: Aerobic respiration summed up

text: 1. Glycolysis:

text: --- 2 ATPs  +  Glucose  →  2 Pyruvic Acid  +  4 Hydrogen  +  4 ATPs

text: 2. Formation of Acetyl CoA:

text: --- 2 Pyruvic Acid  +  2 CoA  →  2 Acetyl CoA  +  2 Carbon Dioxide  +  2 Hydrogen

text: 3. Krebs Cycle:

text: --- 2 Acetyl CoA  +  3 O2  →  6 Hydrogen  +  4 Carbon Dioxide  +  2 ATPs

text: 4. Electron Transport System:

text: --- 12 Hydrogen  +  3 O2  →  6 Water  +  32 ATPs

text: Overall Reaction:

text: --- Glucose  +  6 O2  →  6 Carbon Dioxide  +  6 Water  +  36 ATPs

text: Glycolysis

text: Glycolysis is a metabolic pathway that takes place in the cytosol of cells in all living organisms. This pathway can function with or without the presence of oxygen. In humans, aerobic conditions produce pyruvate and anaerobic conditions produce lactate. In aerobic conditions, the process converts one molecule of glucose into two molecules of pyruvate (pyruvic acid), generating energy in the form of two net molecules of ATP. Four molecules of ATP per glucose are actually produced, however, two are consumed as part of the preparatory phase. The initial phosphorylation of glucose is required to increase the reactivity (decrease its stability) in order for the molecule to be cleaved into two pyruvate molecules by the enzyme aldolase. During the pay-off phase of glycolysis, four phosphate groups are transferred to ADP by substrate-level phosphorylation to make four ATP, and two NADH are produced when the pyruvate are oxidized. The overall reaction can be expressed this way:

text: Starting with glucose,  1 ATP is used to donate a phosphate to glucose to produce glucose 6-phosphate. Glycogen can be converted into glucose 6-phosphate as well with the help of glycogen phosphorylase. During energy metabolism, glucose 6-phosphate becomes fructose 6-phosphate. An additional ATP is used to phosphorylate fructose 6-phosphate into fructose 1,6-disphosphate by the help of phosphofructokinase. Fructose 1,6-diphosphate then splits into two phosphorylated molecules with three carbon chains which later degrades into pyruvate.

text: Glycolysis can be literally translated as "sugar splitting".[3]

text: Oxidative decarboxylation of pyruvate

text: Pyruvate is oxidized to acetyl-CoA and CO2 by the pyruvate dehydrogenase complex (PDC).  The PDC contains multiple copies of three enzymes and is located in the mitochondria of eukaryotic cells and in the cytosol of prokaryotes. In the conversion of pyruvate to acetyl-CoA, one molecule of NADH and one molecule of CO2 is formed.

text: Citric acid cycle

text: This is also called the Krebs cycle or the tricarboxylic acid cycle. When oxygen is present, acetyl-CoA is produced from the pyruvate molecules created from glycolysis. Once acetyl-CoA is formed, aerobic or anaerobic respiration can occur.[4] When oxygen is present, the mitochondria will undergo aerobic respiration which leads to the Krebs cycle.  However, if oxygen is not present, fermentation of the pyruvate molecule will occur.  In the presence of oxygen, when acetyl-CoA is produced, the molecule then enters the citric acid cycle (Krebs cycle) inside the mitochondrial matrix, and is oxidized to CO2 while at the same time reducing NAD to NADH. NADH can be used by the electron transport chain to create further ATP as part of oxidative phosphorylation. To fully oxidize the equivalent of one glucose molecule, two acetyl-CoA must be metabolized by the Krebs cycle. Two waste products, H2O and CO2, are created during this cycle.

text: The citric acid cycle is an 8-step process involving 18 different enzymes and co-enzymes.[4] During the cycle, acetyl-CoA (2 carbons) + oxaloacetate (4 carbons) yields citrate (6 carbons), which is rearranged to a more reactive form called isocitrate (6 carbons). Isocitrate is modified to become α-ketoglutarate (5 carbons), succinyl-CoA, succinate, fumarate, malate, and, finally, oxaloacetate.

text: The net gain of high-energy compounds from one cycle is 3 NADH, 1 FADH2, and 1 GTP; the GTP may subsequently be used to produce ATP. Thus, the total yield from 1 glucose molecule (2 pyruvate molecules) is 6 NADH, 2 FADH2, and 2 ATP.

text: Oxidative phosphorylation

text: In eukaryotes, oxidative phosphorylation occurs in the mitochondrial cristae. It comprises the electron transport chain that establishes a proton gradient (chemiosmotic potential) across the boundary of inner membrane by oxidizing the NADH produced from the Krebs cycle. ATP is synthesized by the ATP synthase enzyme when the chemiosmotic gradient is used to drive the phosphorylation of ADP. The electrons are finally transferred to exogenous oxygen and, with the addition of two protons, water is formed.

text: Efficiency of ATP production

text: The table below describes the reactions involved when one glucose molecule is fully oxidized into carbon dioxide. It is assumed that all the reduced coenzymes are oxidized by the electron transport chain and used for oxidative phosphorylation.

text:
Step

coenzyme yield

ATP yield

Source of ATP

Glycolysis preparatory phase

−2

Phosphorylation of glucose and fructose 6-phosphate uses two ATP from the cytoplasm.

Glycolysis pay-off phase

4

Substrate-level phosphorylation

2 NADH

3 or 5

Oxidative phosphorylation : Each NADH produces net 1.5 ATP (instead of usual 2.5) due to NADH transport over the mitochondrial membrane

Oxidative decarboxylation of pyruvate

2 NADH

5

Oxidative phosphorylation

Krebs cycle

2

Substrate-level phosphorylation

6 NADH

15

Oxidative phosphorylation

2 FADH2

3

Oxidative phosphorylation

Total yield

30 or 32 ATP

From the complete oxidation of one glucose molecule to carbon dioxide and oxidation of all the reduced coenzymes.

text: Although there is a theoretical yield of 38 ATP molecules per glucose during cellular respiration, such conditions are generally not realized because of losses such as the cost of moving pyruvate (from glycolysis), phosphate, and ADP (substrates for ATP synthesis) into the mitochondria. All are actively transported using carriers that utilize the stored energy in the proton electrochemical gradient.

text:
Pyruvate is taken up by a specific, low Km transporter to bring it into the mitochondrial matrix for oxidation by the pyruvate dehydrogenase complex.
The phosphate carrier (PiC) mediates the electroneutral exchange (antiport) of phosphate (H2PO4−; Pi) for OH− or symport of phosphate and protons (H+) across the inner membrane, and the driving force for moving phosphate ions into the mitochondria is the proton motive force.
The ATP-ADP translocase (also called adenine nucleotide translocase, ANT) is an antiporter and exchanges ADP and ATP across the inner membrane. The driving force is due to the ATP (−4) having a more negative charge than the ADP (−3), and thus it dissipates some of the electrical component of the proton electrochemical gradient.

tag: ul

text: The outcome of these transport processes using the proton electrochemical gradient is that more than 3 H+ are needed to make 1 ATP. Obviously this reduces the theoretical efficiency of the whole process and the likely maximum is closer to 28–30 ATP molecules.[2] In practice the efficiency may be even lower because the inner membrane of the mitochondria is slightly leaky to protons.[5] Other factors may also dissipate the proton gradient creating an apparently leaky mitochondria. An uncoupling protein known as thermogenin is expressed in some cell types and is a channel that can transport protons. When this protein is active in the inner membrane it short circuits the coupling between the electron transport chain and ATP synthesis. The potential energy from the proton gradient is not used to make ATP but generates heat. This is particularly important in brown fat thermogenesis of newborn and hibernating mammals.

text: According to some of newer sources the ATP yield during aerobic respiration is not 36–38, but only about 30–32 ATP molecules / 1 molecule of glucose [6], because:

text:
ATP : NADH+H+ and ATP : FADH2 ratios during the oxidative phosphorylation appear to be not 3 and 2, but 2.5 and 1.5 respectively. Unlike in the substrate-level phosphorylation, the stoichiometry here is difficult to establish.
ATP synthase produces 1 ATP / 3 H+. However the exchange of matrix ATP  for cytosolic ADP and Pi (antiport with OH− or symport with H+) mediated by ATP–ADP translocase and phosphate carrier consumes 1 H+ / 1 ATP as a result of regeneration of the transmembrane potential changed during this transfer, so the net ratio is 1 ATP : 4 H+.
The mitochondrial electron transport chain proton pump transfers across the inner membrane 10 H+ / 1 NADH+H+ (4 + 2 + 4) or 6 H+ / 1 FADH2 (2 + 4).

text:
ATP : NADH+H+ coming from glycolysis ratio during the oxidative phosphorylation is
1.5, as for FADH2, if hydrogen atoms (2H++2e−) are transferred from cytosolic NADH+H+ to mitochondrial FAD by the glycerol phosphate shuttle located in the inner mitochondrial membrane.
2.5 in case of malate-aspartate shuttle transferring hydrogen atoms from cytosolic NADH+H+ to mitochondrial NAD+

text: So finally we have, per molecule of glucose

text:
Substrate-level phosphorylation: 2 ATP from glycolysis + 2 ATP (directly GTP) from Krebs cycle
Oxidative phosphorylation
2 NADH+H+ from glycolysis: 2 × 1.5 ATP (if glycerol phosphate shuttle transfers hydrogen atoms) or 2 × 2.5 ATP (malate-aspartate shuttle)
2 NADH+H+ from the oxidative decarboxylation of pyruvate and 6 from Krebs cycle: 8 × 2.5 ATP
2 FADH2 from the Krebs cycle: 2 × 1.5 ATP

text: Altogether this gives 4 + 3 (or 5) + 20 + 3 = 30 (or 32) ATP per molecule of glucose

text: The total ATP yield in ethanol or lactic acid fermentation is only 2 molecules coming from glycolysis, because pyruvate is not transferred to the mitochondrion and finally oxidized to the carbon dioxide (CO2), but reduced to ethanol or lactic acid in the cytoplasm.[6]

text: Fermentation

text: Without oxygen, pyruvate (pyruvic acid) is not metabolized by cellular respiration but undergoes a process of fermentation. The pyruvate is not transported into the mitochondrion, but remains in the cytoplasm, where it is converted to waste products that may be removed from the cell. This serves the purpose of oxidizing the electron carriers so that they can perform glycolysis again and removing the excess pyruvate. Fermentation oxidizes NADH to NAD+ so it can be re-used in glycolysis.  In the absence of oxygen, fermentation prevents the buildup of NADH in the cytoplasm and provides NAD+ for glycolysis.  This waste product varies depending on the organism. In skeletal muscles, the waste product is lactic acid. This type of fermentation is called lactic acid fermentation. In strenuous exercise, when energy demands exceed energy supply, the respiratory chain cannot process all of the hydrogen atoms joined by NADH. During anaerobic glycolysis, NAD+ regenerates when pairs of hydrogen combine with pyruvate to form lactate. Lactate formation is catalyzed by lactate dehydrogenase in a reversible reaction. Lactate can also be used as an indirect precursor for liver glycogen. During recovery, when oxygen becomes available, NAD+ attaches to hydrogen from lactate to form ATP. In yeast, the waste products are ethanol and carbon dioxide. This type of fermentation is known as alcoholic or ethanol fermentation. The ATP generated in this process is made by substrate-level phosphorylation, which does not require oxygen.

text: Fermentation is less efficient at using the energy from glucose: only 2 ATP are produced per glucose, compared to the 38 ATP per glucose nominally produced by aerobic respiration. This is because the waste products of fermentation still contain chemical potential energy that can be released by oxidation. Ethanol, for example, can be burned in an internal combustion engine like gasoline. Glycolytic ATP, however, is created more quickly. For prokaryotes to continue a rapid growth rate when they are shifted from an aerobic environment to an anaerobic environment, they must increase the rate of the glycolytic reactions. For multicellular organisms, during short bursts of strenuous activity, muscle cells use fermentation to supplement the ATP production from the slower aerobic respiration, so fermentation may be used by a cell even before the oxygen levels are depleted, as is the case in sports that do not require athletes to pace themselves, such as sprinting.

text: Anaerobic respiration

text: Cellular respiration is the process by which biological fuels are oxidised in the presence of an inorganic electron acceptor (such as oxygen) to produce large amounts of energy, to drive the bulk production of ATP.

text:
Anaerobic respiration is used by some microorganisms in which neither oxygen (aerobic respiration) nor pyruvate derivatives (fermentation) is the final electron acceptor.  Rather, an inorganic acceptor such as sulfate or nitrate is used.
Such organisms are typically found in unusual places such as underwater caves or near hydrothermal vents at the bottom of the ocean.


document_title: Pascal and Maximus

question_text: what is the name of the chameleon in tangled

text: Pascal and Maximus

text: Development[edit]

text: Conception[edit]

text: Filmmaker Walt Disney himself had first attempted to adapt the Brothers Grimm fairy tale "Rapunzel" into a feature-length animated film during the 1930s. However, he abandoned the project because the story was considered too "small."[1] When they were approached to direct Tangled in 2008, directors Nathan Greno and Byron Howard decided that it would be best to update the story "for a modern audience",[1] soon discovering "that the problem with having a prison character [like Rapunzel] ... is that they don't have anyone to talk to."[2] Howard explained that because Rapunzel is incapable of having a decent conversation with Mother Gothel, the isolated, incarcerated heroine "needed someone to relate to."[2] Unwilling to default to using the traditional "boring, ordinary side-kick," Greno and Howard created Pascal, conceiving the character as a chameleon because Rapunzel is, according to Greno, "a rough-and-tumble girl."[1][2] Howard explained that "we wanted to do ... something fresh, something different. This girl, she's not a dainty, precious girl ... So what would she have? ... She's going to have a lizard."[2] Additionally, Howard believed that a reptile would compliment Rapunzel's personality best, describing the character as "a quirky pet for a quirky young woman."[1]

text:
"We didn't want to do like a bird or a chipmunk or ... [s]quirrel ... you've seen it. You've seen all these things; this is the 50th movie that Disney's made. So what we wanted to do is something fresh, something different. This girl, she's not a dainty, precious girl. She is this rough and tumble girl next door ... She's not going to have a little, pretty bluebird on her shoulder. She's going to have a lizard. That is her. She's different. So when it came time, we put a lot of thought into this and Pascal, this little tough guy that sits on her shoulder".[2]

— co-director Nathan Greno on Pascal's conception.

text: Howard originally envisioned Maximus as the "ultimate super-cop", jokingly referring to the character as "the Tommy Lee Jones of horses".[3] Attempting to make Maximus feel like a "fresh" character, the filmmakers researched several historical horses from both animated and live-action films to ensure that the character would be unique and different enough from his predecessors. Greno explained that "Maximus ... could have easily slipped into the category of, 'Oh, I've seen that before.'"[3] To prevent this, the filmmakers referenced "a board with photos of all the different animated horses that had been done".[4] Howard explained that Maximus was originally conceived as a "pretty serious" character, but eventually developed into a funnier and more likeable horse as the animators continued to draw him with dog-like attributes.[3] Both Pascal and Maximus, who according to the Austin American-Statesman are responsible for providing the film with the majority of its comic relief,[5][6] were eventually written into the film by screenwriter Dan Fogelman.[7] Analyzing the characters' roles in the film, HitFix observed that "There's a simplicity to it all that I admire, and you throw in a few anthropomorphized animals so everyone laughs a lot, and that's the Disney recipe".[8] One critic wrote about Maximus:[9]

text: "Horses have played a key role in armies and police forces around the world for hundreds of years, but Maximus is clearly one of a kind. Fearless in the face of danger, relentless in pursuit, and possessed of a nose befitting a bloodhound, this equine super-sleuth won't let anything stop him getting his man."

text: Characterization[edit]

text: Considered rare for Disney animals,[10] Pascal and Maximus do not speak.[11] The idea to make Pascal and Maximus mute was inspired by the performances of actors Charlie Chaplin and Buster Keaton in Silent films.[12] Identifying themselves as "huge fans" of Chaplin, Greno and Howard suggested that it would be a good idea to have a character like the actor featured in the film.[13] Additionally, the directors explained in an interview with Orange that Pascal and Maximus' silence was also inspired by the roles of Princess Aurora's animal friends in Disney's Sleeping Beauty (1959), following the film's rules and guidelines that even though they do not talk, they remain "very expressive" nonetheless[14] and "act and understand without words."[15] Maximus particularly "belongs to the grand tradition of Disney creatures that are full of personality even though they don't talk."[16] One film critic observed that Pascal and Maximus "have personalities all their own, making use of techniques harkening back to the silent era".[17] Howard explained that "Pantomime acting is a great challenge for our animators"[12] because, according to animator Jin Kim, Pascal and Maximus both "had to be funny without speech", forcing the animators to exaggerate their emotions and facial expressions.[18][19] The Chicago Sun-Times observed that "Pascal ... doesn't speak, but manages to convey himself with eye rolls and changes of color."[20] Both animals' sound effects are provided by American actor Frank Welker.[citation needed]

text: Pascal's supervising animator Lino DiSalvo told the Los Angeles Times that at one point the animators "weren't getting enough entertainment out of Pascal." DiSalvo elaborated, "originally, he was very realistic. He moved like a real chameleon," which in turn depicted him as very "cold." By exaggerating the character's shape and face, the animators eventually "amped [him] up" in order to make him funnier.[21] The name "Pascal" was borrowed from a pet chameleon owned by Tangled animator Kellie Lewis.[22] During production, Lewis' other pet chameleon and Pascal's mate hatched six eggs, in turn making Pascal a father. In tribute to Pascal, the directors included a "Chameleon Babies" credit in the film's closing credits, parodying the more traditional "Production babies" credit,[10] while Lewis herself received a "Chameleon Wrangler" credit.[23]

text: Discussing the likelihood a Tangled sequel, Howard explained to the Los Angeles Times "We don't want to do a sequel for the sake of sequels ... The story has to be worth telling." Because the original film "buttons up" well, the directors wanted to avoid simply creating a movie wedding featuring Rapunzel and Flynn because "that's not entertainment", so Greno and Howard conceived a funny story about Pascal and Maximus instead, providing the animators and writers with "an opportunity to do a lot of slapstick" that was mostly absent in Tangled. Wanting the film "to be a movie for everyone", the directors "figured out a way to give [the audience] exactly what they wanted, so there is a beautiful grand wedding in the short, but what happens pretty quickly, those two goofballs Maximus and Pascal lose the wedding rings ... It turned into this big, zany, cartoony, fun, action-packed short."[24] In the short, Pascal and Maximus encounter "a trail of comical chaos that includes flying lanterns, a flock of doves, a wine barrel barricade and a very sticky finale".[25]

text: Appearances[edit]

text: Tangled[edit]

text: Pascal and Maximus first appear in Tangled (2010). Introduced as the pet and best friend of Rapunzel, Pascal is a chameleon who lives with Rapunzel in Mother Gothel's secluded tower. Although Rapunzel pretends to be happy living in isolation under Gothel's strict, controlling parenting, Pascal refuses to hide his discontent. Meanwhile, Maximus and thief Flynn Rider share a bitter animosity; as a police horse, Maximus is determined to arrest Flynn Rider for stealing a crown. Seeking refuge from Maximus, Flynn hides in Gothel's tower where he is quickly incapacitated by Rapunzel, and he and Pascal immediately adopt a love-hate relationship. Determined to see the mysterious "floating lights" in time for her eighteenth birthday, Rapunzel agrees to return Flynn's crown to him only after he escorts her to safely to the kingdom. Meanwhile, Maximus, who continues his search for Flynn, inadvertently tips off Gothel that Rapunzel, on whose magical hair she relies to stay alive, has left the tower accompanied by Flynn. With her life in danger, she desperately pursues them.

text: When Maximus eventually catches up with Rapunzel, Flynn and Pascal, the horse attempts to apprehend Flynn only to be charmed by Rapunzel, who convinces him to leave Flynn alone until they have arrived at their destination while Pascal ensures that the two maintain a healthy relationship. In the kingdom, Flynn, Rapunzel and Pascal embark on a canoe ride to see the floating lights, revealed to be lanterns, up-close, while Maximus is forced to wait ashore as there is not enough room for him. In a friendly gesture, Flynn gives him a bag of apples. Realizing that he is falling in love with Rapunzel, Flynn attempts to hand off the crown he was promised to the Stabbington Brothers, two colleagues of his, only to be kidnapped and handed over to the police. Mistaking this for abandonment, Rapunzel is taken back to the tower by Gothel, who has caught up with them.

text: Maximus manages to help an imprisoned Flynn about to be hanged for his crimes and escape from the dungeon then gets him to Gothel's tower, where he is stabbed. However, Rapunzel eventually heals Flynn after he cuts her hair, which in turn destroys Gothel, and they live happily every after Pascal and Maximus move to Corona with them; Maximus is eventually knighted, becoming Captain of the Guards and eliminates crime in the kingdom.

text: Tangled Ever After[edit]

text: Tangled Ever After is set six months after the events of the original movie. In the short, Pascal and Maximus are ring bearers at Rapunzel and Flynn Rider's wedding. When Maximus suffers a reaction from one of the flower petals Pascal is sprinkling along the aisle, Maximus sneezes and the rings are propelled off the pillow on which he is carrying the rings; the fly through a window in the chapel and into the city streets. Pascal and Maximus discreetly sneak out of the chapel to retrieve them in time for Rapunzel and Flynn to exchange them. Pascal and Maximus encounter several obstacles and hindrances in their attempt, eventually crashing into a tar factor upon retrieving the rings from a flock of flying doves. Completely soiled, Pascal and Maximus finally return to the chapel and return the rings, only to cause the wedding cake to roll out the door.

text: Tangled: Before Ever After[edit]

text: Pascal is now living in the Castle of Corona with his longtime best friend and her boyfriend, Eugene. He later creates an illusion of Rapunzel to keep Eugene from finding out that she had gone out the walls of Corona.

text: Maximus is ridden by Eugene in a race against Rapunzel, riding Fidela, and the Guards. At night he accompanies Cassandra and Rapunzel on their sneaking out, and tries to cross the shattering stone bridge. He runs back to release Rapunzel's newly regrown blonde hair from the broken bridge.

text: Tangled: The Series[edit]

text: Pascal continues to live with Rapunzel at the castle of Corona. Although he seems to like helping Rapunzel adjust to her new royal life, he eventually starts to feel he doesn't belong with her and runs away, to Rapunzel's isolated tower in the deepest parts of the forest. In Episode 11, it is revealed that, as a baby, his mother had sent him to safety on a lily-pad to escape a ravenous snake that was pursuing them. As his mother was eaten by the snake, he had floated down a waterfall, where he heard young Rapunzel singing. He climbed her tower but was still being followed by the snake which infected him with its lethal venom. It was then that the young Rapunzel used the light-based, healing magic of her blond hair to return him to life. She welcomed the infant chameleon as her best friend, that way they would never have to be alone again. Upon returning to the ivy-covered tower, he is again attacked by the white snake that had killed his mother. Fortunately, his time with Rapunzel had made him brave, and he fends off the snake until Rapunzel arrives.

text: Maximus continues to be the guard's greatest steed in arresting criminals in all of Corona. He seems to have feelings for a female horse named Fidel.

text: Miscellaneous[edit]

text: Both Pascal and Maximus appear in the Nintendo DS version of Tangled: The Video Game (2010).[26] While playing mostly as Rapunzel, players are allowed to "interact with Flynn, Pascal, and Maximus", according to Nintendo.com.[27] The video game includes a minigame inspired by Pascal entitled "Pascal's Colors/Melody Match".[28]

text: Reception[edit]

text: Critical response[edit]

text: Pascal and Maximus have garnered widespread universal acclaim from film critics, who greeted both characters with nearly equal praise but generally reviewed Maximus more enthusiastically.[29][30][31] Citing both characters as "right on the money," Jonathan Crocker of Total Film described Maximus as "A horse ... who thinks he's John McClane."[32] Kerry Lengel of The Arizona Republic enthused, "In true Disney fashion, two of the most memorable characters are animals: Pascal ... and Maximus, a barrel-chested horse with the tracking skills of a bloodhound and a sense of duty straight out of Gilbert and Sullivan."[33] The Chicago Tribune's Michael Phillips wrote that both characters are "Very funny, very noble" and "lovely supporting character[s]."[34] Peter Travers of Rolling Stone admitted to having "fell hard" for Maximus and Pascal.[35] Similarly, Lindsey Ward of Canoe.ca predicted Tangled Ever After, writing, "Kids and adults alike will also fall for Rapunzel's trusty chameleon sidekick Pascal and palace horse Maximus -- whose hilarious role as Flynn's foe-turned-BFF might just earn him his own spin-off."[36] The Globe and Mail's Jennie Punter hailed them as "characters that only Disney animators could so memorably portray."[37] Writing for the Miami Herald, Rene Rodriguez described both characters as "terrific,"[38] while Alison Gang of U-T San Diego called them "hilarious."[39] David Edelstein of Vulture.com admitted that he "can't help liking a movie with chameleon reaction shots."[40] Joe Neumaier of the Daily News appreciated the fact that although "There are laughs involving ... Rapunzel's silent chameleon sidekick ... directors Nathan Greno and Byron Howard keep the tale grounded."[41] Observing the way in which animal sidekicks have become "Disney animation staples," Doris Toumarkine of Film Journal International wrote that Pascal is "cute-as-can-be," likening the character to Jiminy Cricket from Disney's Pinocchio (1940).[42] Matt Brunson of Creative Loafing wrote that Pascal "is likely to charm the adults, further designating Tangled as silky-smooth entertainment."[43] Norman Wilner of Now wrote that "the best performance is a silent one delivered by ... Maximus, a guardsman's horse clearly modelled on Tommy Lee Jones in The Fugitive – but funnier."[44] Describing the character as "marvelously bothered," Michelle Orange of Movieline wrote that Maximus is "given a nuanced fidelity and expressive agility so precise that it seems more human than human."[45] Cynthia Fuchs of PopMatters called Maximus "magnificent."[46] Empire's Helen O'Hara wrote that Maximus is a "comic scene-stealer and police horse extraordinaire."[47] While Ian Berriman of SFX dubbed Maximus the film's "breakout star,"[48] The Age's Jim Schembri hailed the character as "the funniest horse in film history."[49] Sandra Hall of The Sydney Morning Herald labelled Maximus "The de facto star of ... Tangled" who "possesses the strength of Hercules, the nose of an airport sniffer dog and the crankiness of Harrison Ford."[50]

text:
“
[The music] would be the highlight of "Tangled" were it not for Maximus, who doesn't get to sing because he's a horse. The prize steed of the royal guard, Maximus pursues Flynn doggedly -- and I do mean 'like a dog,' complete with ground-sniffing and tail-wagging. The animators have filled this valiant fellow with personality and charisma.
”

— The Oregonian's Shawn Levy.[51]

text: According to Greno and Howard, the decision to make Pascal and Maximus non-speaking characters has been appreciated by both critics and audiences alike,[52][53] explaining, "We've gotten so many compliments about him and Pascal ... and so many people saying: 'Thank you for not making them talk.'"[15] Hailing Pascal and Maximus as "delightful supporting characters who continue yet another Disney custom without saying a word of dialogue", Leonard Martin of Indiewire compared Pascal to a "comic Greek chorus" while dubbing Maximus "an extraordinarily expressive equine adversary ... who earns many of the movie's biggest laughs.[54] Similarly, The Wall Street Journal's Joe Morgenstern wrote, "No one voices Maximus ... but he steals every scene he's in", while calling Pascal "endearing".[55] The Quad-City Times' Linda Cook reviewed, "it's fun to watch the animal sidekicks express themselves, not through words, but facial expressions and body movements. The critters provide much of the comedy",[56] while Steve Persall of the Tampa Bay Times penned, "No talking animals here, although when they're as amusing as a loyal chameleon and a horse who's partly bloodhound and cop-flick action hero, they don't need to speak", joking that the Brothers Grimm "probably wouldn't object."[57] ABC Online "like[d] the way the animals were used", explaining, "They don't talk ... it really is funny", accrediting this to executive producer John Lasseter's influence on the film.[58] Criticizing the script's "abundant chatter," Justin Chang of Variety commended the filmmaker's "shrewd decision to have the animal sidekicks ... express themselves without the benefit of speech."[59] Similarly, Richard Corliss of Time wrote that both characters "radiate plenty of personality without speaking."[60]

text: Critics who were generally less positive in their opinions of Tangled and its main characters Rapunzel and Flynn Rider[61] were otherwise impressed by Pascal and Maximus' performances.[62] The Liverpool Echo's Catherine Jones felt that "Pascal and Maximus shamelessly scene-steal from the human characters",[63] while Chris Tookey of the Daily Mail wrote, "The enjoyable visual gags generally come from the two animal sidekicks".[64] The Illinois Times' Chuck Koplinski wrote, "Throw in two animal sidekicks – wily horse Maximus and protective chameleon Pascal – and you have a film that, while not as moving as the Pixar movies, is a satisfying lark."[65] TV Guide opined that although "There's nothing particularly innovative about Dan Fogelman's screenplay", the author wrote that "a cute animal sidekick ... extend[s] to the visual aspects of the film".[66] Similarly, Simon Reynolds of Digital Spy wrote, "This ride's a familiar one, but with humourous (sic) sidekicks such as horse-who-thinks-he's-a-dog Maximus and chameleon Pascal, it's thoroughly enjoyable."[67] Although Dave White of Movies.com strongly panned Tangled, he dubbed Pascal and Maximus the film's "Most Memorable Cliché", writing that the characters "are better than the movie deserves." White continued, "they both steal scene after scene from the Cream of Wheat-like main characters", concluding, "I kept wishing I was watching a movie about just them."[68] The Independent's Anthony Quinn, who was ambivalent towards the film, admitted that Pascal and Maximus "provide some chuckles."[69] Similarly, Tom Huddleston of Time Out wrote, "With two such bland heroes, it's good that plenty of attention is paid to the supporting characters, notably ... a bad tempered but loveable horse",[70] while Todd Hertz of Christianity Today called Maximus "a more complex, multi-dimensional character than some movies' leads".[71] Despite calling the film "bland", the Houston Chronicle's Amy Biancolli called Maximus a "stone cool" character.[72] Tyler Hanley Palo Alto Weekly, however, praised the entire ensemble as a whole, calling Rapunzel, Flynn, Pascal and Maximus "a thoroughly enjoyable quartet."[73] In a lone lukewarm review, James Berardinelli of ReelViews called Pascal "among the least recognizable animal sidekicks (although he possesses amusing mannerisms)."[74]

text: In 2013, M Magazine ranked Maximus the sixth best Disney sidekick,[75] while Pascal was ranked eighth.[76] In 2014, BuzzFeed organized a list of the "Definitive Ranking of Disney Sidekicks", ranking Pascal and Maximus fourth and fourteenth, respectively. Author Jemima Skelley described Pascal as "The most badass chameleon there ever was" while hailing Maximus as "The fiercest horse you've probably ever seen."[77] Unranked, Glamour slightly preferred Pascal to Maximus in the magazine's article "Our Favorite Disney Animals of All Time".[78]

text: Merchandise[edit]

text: Tom Huddleston of Total Film predicted that the popularity of Pascal and Maximus, combined with the success of Tangled, would ultimately provide Disney with promising merchandising opportunities, describing the characters as "tie-in toys you just pre-ordered in your head,"[32] while Keith Uhlich of Time Out called them "action-figure ready."[79] Pascal's likeness has since been adapted into a wide variety of items, including toys, decorations and ornaments, costumes, clothing, jewellery and cosmetics, as demonstrated by the Disney Store's website.[80] In much of the film's merchandise, Pascal is included alongside Rapunzel, namely play sets;[81] The Rapunzel Tangled Figure Play Set features miniature figurines of both Pascal and Maximus in addition to Rapunzel, Flynn Rider and Mother Gothel.[82] However, merchandise inspired by Maximus remains less common. The character's likeness has, however, been adapted into a plush toy.[83]