document_title: Beauty and the Beast (2017 film)

question_text: who plays the voice of the clock in beauty and the beast

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 fishmonger and 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.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

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 film.[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] The movie became available on Netflix on September 19, 2017.

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 71% based on 292 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: List of Ben 10: Alien Force episodes

question_text: how many episodes are in ben 10 alien force season 1

root

text: List of Ben 10: Alien Force episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
13
April 18, 2008 (2008-04-18)
August 31, 2008 (2008-08-31)

2
13
October 10, 2008 (2008-10-10)
March 27, 2009 (2009-03-27)

3
20
September 11, 2009 (2009-09-11)
March 26, 2010 (2010-03-26)

Movie
November 25, 2009 (2009-11-25)

tag: table

text: Episodes[edit]

text: Season 1 (2008)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code

1
1
"Ben 10 Returns, Part 1"
Dan Riba
Dwayne McDuffie
April 18, 2008 (2008-04-18)
101

After setting aside the Omnitrix some years ago, 15-year-old Ben Tennyson discovers his Grandpa Max has disappeared. Inside Max's, Ben finds RV a Holo-viewer with a recording from Max and he asks his cousin Gwen for advice as they meet Magister Labrid, an agent of the Plumbers and Max's partner in a case he was working on. They go to a train station where an arms trade between the Forever Knights and the DNAliens, brokered by Kevin Levin. Ben tries to dial in his alien on his Omnitrix, but it reboots and recalibrates into a thin watch with a color scheme of green and black, giving him access to 10 new aliens. The DNAliens get away, the Forever Knights escape with one of the weapons crates, and Kevin is captured. The Plumber asks Kevin for help in finding the Knights' hideout.
Omnitrix alien debuts: Swampfire

2
2
"Ben 10 Returns, Part 2"
Butch Lukic
Dwayne McDuffie
April 18, 2008 (2008-04-18)
102

The group runs into an army of Forever Knights. In the confrontation Magister Labrid is killed when he saves Kevin's life, and Kevin joins Ben and Gwen on their search for Max to repay his debt. Gwen is able to trace a leftover Laser Lance back to its original owners, and they soon find a secret underground base infested with DNAliens. Sneaking in, the find that Max isn't there anymore, and on their way out, they see that the Highbreed in charge of the ship.
Omnitrix alien debuts: Echo Echo, Humungousaur

3
3
"Everybody Talks About the Weather"
Dan Riba
Dwayne McDuffie
April 26, 2008 (2008-04-26)
103

The authorities of a local town named Grover's Mill arrest a half-human, half-Pyronite boy named Alan Albright for arson and criminal damage. He is wearing a Plumber's badge, which leads Ben, Kevin and Gwen to Alan, thinking Alan's badge is Max's. Elsewhere, Alan uses his pyrokinetic/thermokinetic abilities to escape the officers, and the resulting damage to a building leads the team to believe that Alan may have hurt Grandpa Max. Ben soon discovers that the DNAliens are responsible for the damage, having built a huge, needle-like weather machine in the corn fields.
Omnitrix alien debuts: Jetray

4
4
"Kevin's Big Score"
Butch Lukic
Matt Wayne
May 3, 2008 (2008-05-03)
104

Kevin meets with an old friend named Argit, who claims he knows the location of a particular piece of alien tech Kevin is looking for. Needing something to bargain with, Kevin steals Max's RV, the Rustbucket, but Argit double crosses Kevin and steals the RV for himself, after seeing the huge amount of Plumber's tech and weapons inside it. The team follows Argit with a tracking device that Kevin hid on the Rustbucket's undercarriage and stops Argit, but Kevin storms away to seek out Vulkanus, who is in possession of the alien device. Kevin tries to make a deal with Vulkanus, but the later forces Kevin absorb a rare alien crystal called Taedenite, planning to use him as a living gem mine.
Omnitrix alien debuts: Big Chill

5
5
"All That Glitters"
Dan Riba
Bob Goodman
May 10, 2008 (2008-05-10)
105

Ben, Gwen, and Kevin set out on their mission to locate other Plumbers' children and they encounter Michael Morningstar. Since he has all the Plumber's gear of his late father, as well as the fact that he seems to have been helping his city using his energy-controlling abilities, Ben and Gwen are quick to trust him. Kevin, however, remains suspicious. Finding a group of zombified school girls at a power plant, the team engages in a short battle, and Michael "accidentally" lets them escape. Kevin later discovers Michael is making the zombies, draining the schoolgirls of their vital life-force energy and then commanding them to collect more strength for him. Gwen sees through Michael's facade and takes back her energy for herself. Kevin crushes Michael's Plumber badge after Ben's team defeats him, telling him he doesn't deserve it.
Omnitrix alien debuts: Chromastone

6
6
"Max Out"
Butch Lukic
Jim Krieg
May 17, 2008 (2008-05-17)
106

Gwen's older brother Ken is missing, and she asks for Ben and Kevin's help to find him. The gang stumbles upon a Highbreed base in a small town called Santa Mira that manufactures Xenocytes, headcrab-like parasites that mutate humans into DNAliens. Ken has been infected by one of the Xenocytes, but Ben is able to remove it with the help of the Omnitrix. With Ken in tow, the gang finds Grandpa Max inside the base. While they help him in his mission, Max sets about destroying the factory while searching for the egg-laying machine. Upon their return, the gang finds Max locked in battle with a Highbreed Commander. In an act of self-sacrifice, Max uses an unfocused Null Void warp projector to destroy the Highbreed base, leaving his fate unknown.

7
7
"Pier Pressure"
Dan Riba
Len Uhley
May 31, 2008 (2008-05-31)
107

Gwen tells Ben to ask Julie to go on a date with him to a local boardwalk amusement park, the Pier. After Ben attempts to ask her out, Julie agrees. Elsewhere, out in the forest, a small dog-like Galvanic Mechamorph seeps out of a crashed spaceship. Seeking a Plumber's badge signature, the Mechamorph soon finds Ben and starts taking control of the rides to get Ben's attention. After a few failed attempts, the alien then uses a ride to kidnap Julie. In the process, Julie finds out about the Omnitrix. The two follow the Mechamorph to the crash site. The Galvanic Mechamorph, accidentally given the name Ship, is reunited with his owner, Baz-El, another Galvanic Mechamorph who looks more human. He leaves Ben and Julie in peace.
Omnitrix alien debuts: Brainstorm

8
8
"What Are Little Girls Made of?"
Butch Lukic
Matt Wayne
June 7, 2008 (2008-06-07)
108

While Ben, Gwen, and Kevin are taking a break at Max's favorite fishing spot, they see a mysterious cloaked woman leave a flower at the base of Max's favorite tree. When the team tries to meet her, she disappears. They decide to stake out the area for a while until the woman shows up again. The woman shows up, and is able to beat both Ben and Kevin in battle with ease. However, when she sees Gwen use her powers, she is amazed. As it turns out, Gwen's magical powers are in fact inherited from the strange woman, who turns out to be Ben and Gwen's long-lost paternal grandmother, Verdona, who is an immensely powerful energy being called an Anodite from the planet Anodyne. She attempts to convince Gwen to break out of her human body and embrace her full Anodite power, but Gwen refuses, even after a long fight. Verdona leaves, but promises it won't be the last time she asks her.
Omnitrix alien debuts: Spidermonkey

9
9
"The Gauntlet"
Dan Riba
Rob Hoegee
June 14, 2008 (2008-06-14)
109

After the team faces off against a Techadon robot, Kevin grabs the severed hand of the robot and places it in his trunk. At night, Ben's childhood bullies J.T. and Cash Murray see Kevin's car outside a restaurant, and decide to wreck it. They push it down a hill, smashing the trunk open. They look inside and grab the Techadon gauntlet before the car's alarm attracts Kevin. Back at their hangout, Cash puts the gauntlet on, planning on using its built-in laser blaster to destroy Ben once and for all and repair their reputation but the full robot armor begins to reform around Cash's body. In doing so, the arm messes with Cash's mind, making him more hostile than usual. Ben fights Cash, and J.T. attempts to reason with him. After remembering his friendship with J.T., Cash's willpower overrides the robot arm, and it gradually reduces in size to the point where Cash can take it off. J.T. and Cash walk away with a newfound respect for Ben.
Omnitrix alien debuts: Goop

10
10
"Paradox"
Butch Lukic
Jim Krieg
July 5, 2008 (2008-07-05)
110

The team gets word of a strange creature roaming around an abandoned desert town named Los Soledad outside of Bellwood. The creature seems to be aging everything it touches at an accelerated rate. While Ben, Gwen, and Kevin investigate, they see a strange man who seems to be able to disappear at will. After trying to fight him, the team soon formally meet the man who they name Professor Paradox (as he forgot his original name after spending 100,000 years detached from time and space), a scientist from the 1950s who was sucked into the event horizon of his time-travel experiment. Displaced from time and space, Paradox is able to move through time at will. However, the same mistake that rendered him ageless created the creature they seek. After analyzing its movements, they come to the conclusion that its movement is like that of a man desperately attempting to find his way out of a strange town. They realize that it was Paradox's assistant, Hugo, and attempt to travel back in time to prevent him from turning into the creature. As they open a portal and push Hugo away from it, Paradox gets leverage from gumballs, which he claims are unaffected by time, and they are able to place Hugo back into his proper time. Back in the present, the team sees Hugo, now normally aged, and Paradox exchanges pleasantries with him before he departs. Kevin discovers that Paradox fixed his car in the process. Inside, he discovers a note saying that if it were to come into contact with anything from 1976, it would explode like antimatter.

11
11
"Be-Knighted"
Dan Riba
Stan Berkowitz
July 12, 2008 (2008-07-12)
111

Kevin has arranged a meeting for Ben with the Forever Knights, who need help in slaying a dragon they have kept captive underneath their castle for 1,000 years. After teaming up with the Knights' mightiest warrior, Sir Connor, in a failed attempt to destroy the dragon, Ben notices that the dragon appears to be trying to communicate. The team leaves the Knights behind and tracks the dragon to a warehouse where its spaceship is being held. Ben as Spidermonkey fits the dragon with a universal translator so it can speak, and it reveals that he is an alien mapmaker, but was captured by the Forever Knights. Ben helps the dragon find its spaceship, and it departs in peace. He then starts to question the motives of the Forever Knights.

12
12
"Plumbers' Helpers"
Dan Riba
Len Uhley
July 19, 2008 (2008-07-19)
112

A pair of rogue half-human plumbers' kids, a female human-Kineceleran named Helen Wheels, and a male human-Tetramand named Manny Armstrong, have been attacking stray DNAliens and all other aliens they can find, and sucking them into a Null Void projector, believing it to have vaporized them. Believing that the team is DNAliens in disguise, they kidnap Kevin, intending to use him as bait for Gwen and Ben. After his rescue, the two sides work things out. After looking at a database of the aliens they captured and put into the Null Void, Ben realizes that some of them may have been Plumbers' kids. To make things right, the duo set out into the Null Void to rescue those they wrongfully imprisoned.

13
13
"X = Ben + 2"
Butch Lukic
Matt Wayne
August 31, 2008 (2008-08-31)
113

The Incursean Emperor Milleous's daughter Attea is kidnapped by the bounty hunter Sevenseven. Unless she is returned, Milleous plans to destroy the Earth. The Emperor's majordomo, Raff, seeks out Kevin to help on the search. Using Gwen's powers to track her, they teleport to a nearby dam to rescue her. When the dam is broken , Ben uses the untested Alien X to try to fix it. The task proves simple thanks to Alien X's vastly strong reality-warping capabilities, but Attea is yet again captured by Sevenseven and Ben finds himself locked inside Alien X in endless debate with the alien's other two personalities, Bellicus and Serena, unable to move or transform back without their consent. Meanwhile, Kevin and Gwen struggle against the Incurean forces attacking them at all sides. Eventually, Ben is able to convince Serena to trasform him into Swampfire, and makes quick work of the enemies. The team completes the job successfully, and Milleous informs them that Earth will be spared.
Omnitrix alien debuts: Alien X

text: Season 2 (2008–09)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code

14
1
"Darkstar Rising"
Dan Riba
Dwayne McDuffie
October 10, 2008 (2008-10-10)
201

After a Plumber setup to find out if the team has been masquerading as Plumbers, Ben, Gwen and Kevin are forbidden to fight against the Highbreed threat by Plumbers Magister Prior Gilhil. Ghilhil has doubts the Highbreed are even as much of a threat as they claim. Elsewhere, a mysterious powerful new enemy 'employs' a Highbreed to attack the team. Having also tipped off Gilhil, all three side are captured by the team's old enemy, Michael Morningstar, now calling himself Darkstar.

15
2
"Alone Together"
Butch Lukic
Charlotte Fullerton
October 17, 2008 (2008-10-17)
202

After an accident with a teleporter pod, Ben and a Highbreed officer named Reinrassic III are stranded on a desert planet called Turrawuste. The pair are forced to work together to fend off the dangerous predators on the planet while making their way to the routing station, much to Reinrassic's chagrin. As they make their way across the desert, the two save each other from danger several times from the violent native wildlife, even risking their own lives to do so. The night before they reach the routing station, a creature attacks them while they are resting, severing Reinrassic's right hand. This prompts Ben to transform into Swampfire to reattach it. However, Reinrassic does not take well to this, claiming Ben made him impure. When Ben goes to leave through the portal the next morning, he asks Reinrassic why he is choosing to stay back. Reinrassic says that he is doing so because his Methanosian right hand has rendered him impure by Highbreed standards, and that only pure Highbreed can continue with the invasion.

16
3
"Good Copy, Bad Copy[a]"
Butch Lukic
Stan Berkowitz
October 24, 2008 (2008-10-24)
203

A Galvan (Grey Matter's race) named Albedo builds his own Omnitrix and is permanently stuck in Ben's human form (since wearing the Omnitrix, Ben's DNA has become a default in the Omnitrix). Desperate to find Ben, Albedo resorts to destroying DNAlien hives and Forever Knight castles, demanding information on the teenage Omnitrix wearer. When Gwen and Kevin hear rumors of Ben causing all that damage without them, they're naturally suspicious of the real Ben, who has been studying for a physics test with Julie the entire time. Gwen and Kevin find "Ben" taking out another hive and stop him. When "Ben" answers Kevin's questions, his left eye begins to twitch, suggesting that he is lying. The real Ben comes soon after. The fake Ben reveals himself as Albedo, a Galvan, and the creator of the Omnitrix. When he demands the Omnitrix back, his left eye twiches again. Ben, thinking Albedo is a Highbreed, demands that he reveal his face. Albedo tells him this is not possible because he took on Ben's human form due to Ben's DNA being set as a default for the Omnitrix. Albedo transforms into Jetray and flies off to a computer factory, but Gwen tracks him with the mana he leaves behind. When they follow him there, Albedo sticks Gwen and Kevin to a wall with packing foam. Ben and Albedo continuously change forms as they fight. When both their Omnitrixes time out, Albedo makes one final plea to Ben to remove the Omnitrix. When Ben refuses, Albedo reaches out and attempts to punch Ben. As Ben steps aside, his Omnitrix locks with Albedo's. It sends out an energy pulse which turns Albedo's jacket red and his hair white. Azmuth teleports to the facility and tells the group that Albedo was his assistant who helped him build the Omnitrix. Azmuth takes away Albedo's Omnitrix, effectively trapping him in his human form, and sends him to a prison in the Null Void, where he plots his revenge and demands chili fries.

17
4
"Save the Last Dance"
Dan Riba
Amy Wolfram
November 7, 2008 (2008-11-07)
204

Gwen asks Kevin to take her to her school's dance, forcing a clueless Kevin to seek advice from Ben. However, Ben has his own problems as Big Chill is overriding the Omnitrix, and taking over his body with each transformation. Each time it occurs, Ben finds himself lying on a large metal structure which continues to develop each time he ends up there. Despite the fact that Julie helps him take note of his transformation into Jetray, he involuntarily hits the Omnitrix and turns into Big Chill. Ben has no recollection of the second transformation ever happening when Julie tells him in the morning. On the night of the dance, the group finds themselves following Big Chill out to the large metal structure. It bursts open, revealing a green goo inside. Several bubbles of goo emerge and inside of them are baby Necrofriggians. Kevin reveals that Necrofriggians reproduce asexually once every eighty years, meaning that it will be unlikely that Ben will ever have to go through this again. Big Chill sends off his children to live on the Necrofriggian homeworld, and Kevin jokingly calls Ben "Mom" when he turns back. Seeing that they missed their dance, Gwen and Kevin decide to do so out in the desert.

18
5
"Undercover"
Butch Lukic
Adam Beechen
November 14, 2008 (2008-11-14)
205

After trying to test a broken teleporter pod, the team decide to enlist the help of Cooper Daniels, the young boy who had helped the Tennysons in the past. Upon reaching his home, they discover a video of his capture by the DNAliens. They track him down to the abandoned military base Los Soledad, where Paradox built his time machine. They discover that the Highbreed have erected a cloaking field, built by Cooper over the area, concealing a huge, mysterious arch-like device.

19
6
"Pet Project"
John Fang
Len Uhley
November 21, 2008 (2008-11-21)
206

The Forever Knights scientist Dr. Joseph Chadwick sends Sir Morton to kidnap Ship so that the Forever Knights can use him to mass-produce a fleet of interstellar spacecraft with which to attack the homeworld of the alien dragon that escaped them. Morton attacks Ship, capturing the small alien. Ben arrives too late, and the team sets out to find the Knights. Assuming that the Knights have something to do with a medieval-themed track of houses, the team, joined by Julie, attempt to sneak into the main house to rescue Ship.

20
7
"Grounded"
Dan Riba
Jim Krieg
November 26, 2008 (2008-11-26)
207

While fighting one of the Highbreed, Ben's parents catch him transforming into Swampfire. Seeing as he comes home with a black eye, they forbid him from using the Omnitrix ever again for fear of him getting hurt. With Gwen and Kevin on the trail of a Highbreed plot, Ben tries to sneak out of the house as Echo Echo. Once Ben's parents see that he disobeyed their orders, they ground him. His various attempts to aid his allies by phone and by computer only results in Ben being forced to tell his parents about Gwen helping him, resulting in her suffering the same fate as her cousin, and leaving Kevin alone to find out what the Highbreed are up to.

21
8
"Voided"
Butch Lukic
Jim Krieg
December 5, 2008 (2008-12-05)
208

Helen and Manny use Gwen's powers to call on Ben's team to help deal with a dangerous foe in the Null Void: D'Void. Ben goes in alone, with Kevin and Gwen waiting on the other side to bring him back. Once inside, Ben is shocked to learn that "D'Void" is really his old enemy Dr. Animo, who has taken control of the Null Guardians and enslaved the inhabitants of the Null Void. Ben later encounters Grandpa Max, who was transported to the Null Void in "Max Out" and has been leading a resistance movement under the name of "The Wrench".

22
9
"Inside Man"
John Fang
Matt Wayne
December 12, 2008 (2008-12-12)
209

The team rescues a young man named Tyler, who stole the Oscillator Key for the Highbreed's hyperspace gateway from Los Soledad. He crashed the truck and suffered memory loss as he escaped. After being almost captured by the DNAliens in a small town, the team saves him and are forced to race the DNAliens to track down the device, resulting in a battle. The team is victorious, but they discover that Tyler is actually a DNAlien, having managed to resist the Xenocyte controlling him, and only looked human through the use of an ID Mask.

23
10
"Birds of a Feather"
Dan Riba
Stan Berkowitz
March 24, 2009 (2009-03-24)
210

An Arachnichimp (Spidermonkey's race), Simian, needs help in retrieving a crystal which is supposedly the symbol of the monarchy on his planet. The crystal is being kept in a base on the moon. Ben offers his help, but Kevin and Gwen are skeptical. In the midst of the battle, Ben discovers that Simian has been lying, and that the crystal is actually powering an intergalactic communications station. By stealing it, Simian will prevent Earth from calling for help against the upcoming Highbreed invasion.

24
11
"Unearthed"
Butch Lukic
Charlotte Fullerton
March 25, 2009 (2009-03-25)
211

A DNAlien mining operation under Los Soledad uncovers an alien spacecraft, from which a large alien creature is released. It wanders around the nearby town collecting random items, eventually attracting the attention of Ben, Gwen, and Kevin. After a short battle, they realize that the alien is in fact a baby girl. The alien perceives Gwen as an Anodite and hangs on her every word. Needing to return the baby to her parents, the team follows her back to her ship.

25
12
"War of the Worlds, Part 1"
Dan Riba
Dwayne McDuffie
March 27, 2009 (2009-03-27)
212

Paradox and Azmuth arrive on Earth to warn Ben of the approaching Highbreed fleet. Gwen and Kevin gather all the allies they've met (Alan, Cooper, Julie and Ship, as well as their enemy Darkstar) to counter the threat. Meanwhile, Azmuth reveals to Ben that the Omnitrix contains the DNA of every sentient species in the galaxy, 1,000,910 in total, and unlocks the Master Control so Ben can effectively combat the Highbreed.
Omnitrix alien debuts: Cannonbolt, Murk Upchuck, Way Big

26
13
"War of the Worlds, Part 2"
Butch Lukic
Dwayne McDuffie
March 27, 2009 (2009-03-27)
213

The team has to get to the captain of the fleet, on the Highbreed head ship to stop the invasion. Ben, Gwen and Kevin quickly head to the captain of the fleet. The Highbreed commander and the team fight. The trio is then surrounded by a group of DNAliens, but are saved by Grandpa Max, Pierce, Helen, Manny, and one Null Guardian, who have regained control over the Null Void. Ben, Gwen, Kevin, Azmuth, and Ship as a spaceship head to the Highbreed's homeworld of Augstaka to confront the Highbreed Supreme after the commander tells them that he is the only one who can call off the war. When they get to Augstaka, they are captured. Ben escapes his confinement by transforming into Humungousaur when Azmuth reminds him the Master Control is still on. The team breaks out and confronts the Highbreed Supreme in person. Ben uses the Omnitrix to detect genetic damage in all the Highbreed. It sends out a pulse which attaches Omnitrix alien DNA to every Highbreed. The Highbreed Supreme is disgusted by Ben's action, and considers mass suicide as the species' only dignified exit. Before he can follow through, Reinrassic III comes in and tells the Highbreed Supreme that this genetic recombination has allowed their species to survive. Reinrassic, whose Methanosian DNA has grown further up his right arm, is otherwise unaffected by the genetic recombination. Seeing Reinrassic's firsthand knowledge of introducing additional DNA, the Highbreed Supreme steps down and names Reinrassic the new Highbreed Supreme. With this, Ben asks Reinrassic to call off the war, which he does. The two shake hands before they depart. Back on Earth, Gwen tells everyone that Darkstar escaped, to which Ben replies that they will find him later. Ben discovers that the Master Control got shut off. When he asks Azmuth how to turn it back on, Azmuth smiles and tells him to have fun figuring it out. He teleports away, leaving Ben free to try out a new alien that just emerged.

text: Season 3 (2009–10)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code

27
1
"Vengeance of Vilgax, Part 1"
Dan Riba
Dwayne McDuffie
September 11, 2009 (2009-09-11)
301

Vilgax begins by winning a Conqueror's Challenge and drains the powers of the champion who he defeats. He then heads to Earth in an attempt to get revenge on Ben. Meanwhile, Ben is seen acting more arrogant as he receives another medal for saving the universe, and is shown to have received many of them. He shows up late to a mission and Gwen and Kevin are angry at him. Psyphon shows up on Earth and summons Vilgax, who defeats Max and the other Plumbers. Kevin attempts to hack the Omnitrix despite a warning from Azmuth but is transformed into a combination of different metals and some of Ben's aliens escape the Omnitrix.

28
2
"Vengeance of Vilgax, Part 2"
Butch Lukic
Dwayne McDuffie
September 11, 2009 (2009-09-11)
302

Ben begins by recapturing the lost aliens of Chromastone, Spidermonkey, and Goop before taking on Vilgax. However, despite trying to use Jetray, Big Chill, and Humongusaur he is unable to defeat Vilgax. Gwen and Keving show up with Way Big, who Ben scans and attempts to transform into, but he becomes Chromastone instead. Vilgax smashes Chromastone and Psyphon picks up the Omnitrix, but then Ben reappears as Diamondhead and defeats Vilgax, saving the Earth.
Omnitrix alien debuts: Diamondhead

29
3
"Inferno"
John Fang
Len Uhley
September 18, 2009 (2009-09-18)
303

Ben, Gwen, and Kevin discover that Vulkanus is planning to drill to the Earth's center.

30
4
"Fool's Gold"
Dan Riba
Eugene Son
September 25, 2009 (2009-09-25)
304

An alien asks Ben to help locate his missing best friend.

31
5
"Simple"
Butch Lukic
Stan Berkowitz
October 9, 2009 (2009-10-09)
305

Ben and the team travel to an alien planet to resolve a conflict between the inhabitants. Kevin finds the Argit has been selling the weapons from one side to the other after painting them a different color. A temporary truce occurs, but as Ben attempts to shake hands with the leaders of each side, one side takes offense and the war restarts. Then Ben kidnaps the leaders of each side to attempt to force another truce, but they escape after blinding Ben with a flashlight. Ben transforms into Way Big and accidentally breaks a statue of the planet's former leader. With both sides fighting angry at Ben, he flees the planet.
Omnitrix alien debuts: Lodestar

32
6
"Vreedle, Vreedle"
John Fang
Charlotte Fullerton
October 16, 2009 (2009-10-16)
306

Ben and Kevin try to thwart repo-men sent to return Ship to his maker and appeal to a judge to rescind his ruling.

33
7
"Singlehanded"
Dan Riba
Marty Isenberg
October 23, 2009 (2009-10-23)
307

A bounty hunter who's after the Omnitrix sends Ben to the Null Void, but his left hand remains on Earth.

34
8
"If All Else Fails"
Butch Lukic
Adam Beechen
November 6, 2009 (2009-11-06)
308

Ben and the team have to thwart a Highbreed failsafe, which gets accidentally set off.

35
9
"In Charm's Way"
John Fang and Rick Morales
Peter David
November 13, 2009 (2009-11-13)
309

Charmcaster returns and gets Kevin to help her to defeat Gwen.

36
10
"Ghost Town"
Dan Riba
Nicole Dubuc
November 20, 2009 (2009-11-20)
310

Vilgax asks for Ben's help to take down Zs'Skayr who has taken over his planet.
Omnitrix alien debuts: Ghostfreak

37
11
"Trade-Off"
Butch Lukic
Len Wein
December 4, 2009 (2009-12-04)
311

Kevin teams up with Darkstar to retrieve an artifact that could cure both of them.

38
12
"Busy Box"
Rick Morales
Jake Black
December 11, 2009 (2009-12-11)
312

Ben and the gang battle an alien's toy which proves to be very dangerous.

39
13
"Con of Rath"
Dan Riba
Len Uhley
January 8, 2010 (2010-01-08)
313

The Omnitrix malfunctions, turning Ben into a ruthless and aggressive alien while on an intergalactic peace mission.
Omnitrix alien debuts: Rath

40
14
"Primus"
Butch Lukic
Charlotte Fullerton
January 15, 2010 (2010-01-15)
314

Ben and the gang get transported by the Omnitrix to a strange new planet where they encounter Vilgax.

41
15
"Time Heals"
Rick Morales
Len Uhley
January 22, 2010 (2010-01-22)
315

Gwen goes back in time to stop the Omnitrix experiment from ever happening while causing disasters in the present time.

42
16
"The Secret of Chromastone"
Dan Riba
Rich Fogel
January 29, 2010 (2010-01-29)
316

A sick Ben is happy to see an old friend Tetrax but finds out he has plans of his own.

43
17
"Above and Beyond"
Butch Lukic
Eugene Son
March 12, 2010 (2010-03-12)
317

The Plumbers' Helpers travel to a Plumber station to rescue Max from an insane, rampaging Ben.

44
18
"Vendetta"
Rick Morales
Len Wein
March 19, 2010 (2010-03-19)
318

Kevin decides to settle old scores with an escaped con.

45
19
"The Final Battle, Part 1"
Dan Riba
Dwayne McDuffie
March 26, 2010 (2010-03-26)
319

Vilgax and Albedo return and team up to kidnap Kevin and Gwen so that they can take down Ben.
Ultimatrix alien debuts: Ultimate Humungousaur

46
20
"The Final Battle, Part 2"
Butch Lukic
Dwayne McDuffie
March 26, 2010 (2010-03-26)
320

Ben gives up the Omnitrix and overcomes seemingly impossible odds to defeat Vilgax, who has betrayed Albedo.
Ultimatrix alien debuts: Ultimate Swampfire

text: Movie (2009)[edit]

text:
Title
Directed by
Written by
Original air date

"Ben 10: Alien Swarm"
Alex Winter
John Turman and James Krieg
November 25, 2009 (2009-11-25)

Elena, a childhood friend of both Ben and Gwen, as well as a Plumber's kid, returns to explain that her father has been abducted and that she needs their help.
Omnitrix alien debuts: Nanomech

text: Video short (2009)[edit]

text:
Title
Directed by
Written by
Original air date

"Peter Kay's All Animated Stars"
Tim Harper
Peter Kay
November 21, 2009 (2009-11-21)

Big Chris leads a chorus of characters from various animated children's television shows in a medley of seven songs including Ben Tennyson on a computer screen singing.

text: DVD releases[edit]

text: Region 1 releases

tag: p

text:
DVD title
Season
Aspect ratio
Episode count
Time length
Release date

Ben 10: Alien Force Volume 1[1][2]
Season One
4:3[1]
5[1]
110 Minutes[2]
October 21, 2008[1][2]

Ben 10: Alien Force Volume 2[3][4]
Season One
4:3[3]
4[3]
88 Minutes[4]
January 13, 2009[3][4]

Ben 10: Alien Force Volume 3[5]
Season One
4:3[5]
4[5]
88 Minutes[5]
April 7, 2009[5]

Ben 10: Alien Force Volume 4[6]
Season Two
16:9[7]
5[6]
113 Minutes[7]
September 1, 2009[6]

Ben 10: Alien Force Volume 5[8]
Season Two
16:9[9]
4[8]
90 Minutes[9]
November 17, 2009[8]

Ben 10: Alien Force Volume 6[10]
Season Two
16:9[10]
4[10]
90 Minutes[10]
March 30, 2010[10]

Ben 10: Alien Force Volume 7[11]
Season Three
16:9[11]
7[11]
159 Minutes[11]
June 29, 2010[11]

Ben 10: Alien Force Volume 8[12]
Season Three
16:9[12]
6[12]
136 Minutes[12]
August 24, 2010[12]

Ben 10: Alien Force Volume 9[13]
Season Three
16:9[13]
7[13]
180 Minutes[13]
October 5, 2010[13]

text: Region 4 releases

text:
DVD title
Season
Aspect ratio
Episode count
Time length
Release date

Ben 10: Alien Force – Season 1[14]
Season One
4:3[14]
13 [14]
286 Minutes
June 1, 2011 [14]

Ben 10: Alien Force – Season 2[15]
Season Two
4:3[15]
13
286 Minutes[15]
June 1, 2011

Ben 10: Alien Force – Season 3[16]
Season Three
4:3[16]
10[16]
220 Minutes
June 1, 2011[16]


document_title: Honey bee life cycle

question_text: how long does it take bee brood to hatch

text: Honey bee life cycle

text: Colony life[edit]

text: Unlike a bumble bee colony or a paper wasp colony, the life of a honey bee colony is perennial.  The three types of honey bees in a hive are: queens (egg-producers), workers (non-reproducing females), and drones (males whose main duty is to find and mate with a queen). Honey bees hatch from eggs in three to four days. They are then fed by worker bees and develop through several stages in the cells.  Cells are capped by worker bees when the larva pupates.  Queens and drones are larger than workers, so require larger cells to develop. A colony may typically consist of tens of thousands of individuals.

text: While some colonies live in hives provided by humans, so-called "wild" colonies (although all honey bees remain wild, even when cultivated and managed by humans) typically prefer a nest site that is clean, dry, protected from the weather, about 20 liters in volume with a 4- to 6-cm2 entrance about 3 m above the ground, and preferably facing south or south-east (in the Northern Hemisphere) or north or north-east (in the Southern Hemisphere).

text: Development[edit]

text: Development from egg to emerging bee varies among queens, workers, and drones. Queens emerge from their cells in 15–16 days,workers in 21 days, and drones in 24 days.  Only one queen is usually present in a hive.  New virgin queens develop in enlarged cells through differential feeding of royal jelly by workers.  When the existing queen ages or dies or the colony becomes very large, a new queen is raised by the worker bees.  When the hive is too large, the old queen will take half the hive and half the reserves with her in a swarm. This occurs a few days prior to the new queen hatching. If several queens emerge they will begin piping (a high buzzing noise) signaling their location for the other virgin queens to come fight. Once one has eliminated the others, she will go around the hive chewing the sides of any other queen cells and stinging and killing the pupae. The queen takes one or several nuptial flights. The drones leave the hive when the queen is ready and mate, and mate in turns, dying after doing so. After mating the queen begins laying eggs. A fertile queen is able to lay fertilized or unfertilized eggs.  Each unfertilized egg contains a unique combination of 50% of the queen's genes[1] and develops into a haploid drone. The fertilized eggs develop into either diploid workers or virgin queens if fed royal jelly.

text: The average lifespan of a queen is three to four years; drones usually die upon mating or are expelled from the hive before the winter; and workers may live for a few weeks in the summer and several months in areas with an extended winter.

text:
Type

Egg

Larva

Cell capped

Pupa

Average developmental period
(Days until emergence)

Start of fertility

Body length

Hatching weight

Queen

up to day 3

up to day 8½

day 7½

day 8 until emergence

16 days

day 23 and up

18–22 mm

nearly 200 mg

Worker

up to day 3

up to day 9

day 9

day 10 until emergence (day 11 or 12 last moult)

21 days
(range: 18–22 days)

N/A

12–15 mm

nearly 100 mg

Drone

up to day 3

up to day 9½

day 10

day 10 until emergence

24 days

about 38 days

15–17 mm

nearly 200 mg

text: The weight progression of the worker egg, larva:

text:
Days

Developmental state

Weight

Length

Food source

1

egg

0.132 mg

1.2mm

yolk

2

egg

not listed

yolk

3

egg

0.09 mg

yolk

4

larva

not listed

royal jelly

5

larva

3.4 mg

royal jelly

6

larva

33.3 mg

royal jelly/honey and pollen (bee bread)

7

larva

100.1 mg

honey and pollen (bee bread)

8

larva

134.5 mg

honey and pollen (bee bread)

9

larva

155.2 mg

honey and pollen (bee bread)


document_title: Make a mountain out of a molehill

question_text: meaning of idiom make a mountain out of a molehill

text: Make a mountain out of a molehill

text: Look up make a mountain out of a molehill in Wiktionary, the free dictionary.

text: Making a mountain out of a molehill is an idiom referring to over-reactive, histrionic behaviour where a person makes too much of a minor issue. It seems to have come into existence in the 16th century.

text: Metaphor[edit]

text: The idiom is a metaphor for the common behaviour of responding disproportionately to something - usually an adverse circumstance. One who "makes a mountain out of a molehill" is said to be greatly exaggerating the severity of the situation.[1] In cognitive psychology, this form of distortion is called magnification[2] or overreacting. The phrase itself is so common that a study by psychologists found that with respect to familiarity and image value, it ranks high among the 203 common sayings they tested.[3]

text: Similar idioms include 'Much ado about nothing' and 'Making a song and dance about nothing'. The meaning finds its opposite in the fable about the mountain in labour that gives birth to a mouse. In the former too much is made of little; in the latter one is led to expect much, but with too little result. The two appear to converge in William Caxton's translation of the fable (1484), where he makes of the mountain a hylle whiche beganne to tremble and shake by cause of the molle whiche delved it.[4] In other words, he mimics the meaning of the fable by turning a mountain into a molehill. It was in the context of this bringing together of the two ideas that the English idiom grew.

text: Origin[edit]

text: The earliest recorded use of the alliterative phrase making a mountain out of a molehill dates from 1548. The word for the animal involved was less than two hundred years old by then. Previous to that the mole had been known by its Old English name wand, which had slowly changed to 'want'. A molehill was known as a 'wantitump', a word that continued in dialect use for centuries more.[5] The former name of want was then replaced by mold(e)warp (meaning earth-thrower),[6] a shortened version of which (molle) began to appear in the later 14th century[7] and the word molehill in the first half of the 15th century.[8]

text: The idiom is found in Nicholas Udall's translation of The first tome or volume of the Paraphrase of Erasmus vpon the newe testamente (1548) in the statement that "The Sophistes of Grece coulde through their copiousness make an Elephant of a flye, and a mountaine of a mollehill." The comparison of the elephant with a fly (elephantem ex musca facere) is an old Latin proverb that Erasmus recorded in his collection of such phrases, the Adagia,[9] European variations on which persist. The mountain and molehill seem to have been added by Udall[10] and the phrase has continued in popular use ever since. If the idiom was not coined by Udall himself, the linguistic evidence above suggests that it cannot have been in existence long.


document_title: Diamonds Are a Girl's Best Friend

question_text: who immortalized the saying diamonds are a girl’s best friend

question_tokens: who immortalized the saying diamonds are a girl 's best friend

text: Diamonds Are a Girl's Best Friend

text: Marilyn Monroe version[edit]

text: The song is perhaps most famously performed by Marilyn Monroe in the 1953 film Gentlemen Prefer Blondes. Monroe's character, Lorelei Lee, has been followed on a Transatlantic ocean liner by a detective hired by her fiance's father, who wants assurance that she is not marrying purely for money. He is informed of compromising pictures taken with a British diamond mine owner and cancels her letter of credit before she arrives in France, requiring her to work in a nightclub to survive. Her fiance arrives at the cabaret to see her perform this song, about exploiting men for riches. Diamonds are an element in another story line in the film, in which Lorelei is given a diamond tiara by the mine owner, in gratitude for her recovering the photographs. In a later scene, Jane Russell, who played opposite Monroe, sang "Diamonds Are a Girl's Best Friend" in court, while pretending to be Lorelei.

text: Most of the song in the film is Monroe's own voice but she needed help in two phrases – "These rocks don't lose their shape, diamonds are a girl's best friend", and at the beginning with a series of high-pitched "no's", all of which were dubbed in by the soprano Marni Nixon.[1]

text: The number was later re-shot in CinemaScope, to be used as part of a CinemaScope demonstration held on the Fox lot in March 1953. Producer Darryl F. Zanuck told Daily Variety that it only took 3-1/2 hours to shoot the number in CinemaScope versus four days for the original film version. The public finally saw the CinemaScope version ten years later when it closed Fox's documentary tribute to Marilyn, however this has not been released on DVD or VHS.

text: The song was listed as the 12th most important film song of all time by the American Film Institute.[2]

text: Monroe's rendition of the song has been considered an iconic performance and has since been copied by other entertainers ranging from Madonna and Kylie Minogue to Geri Halliwell and Anna Nicole Smith. Madonna's video "Material Girl" uses a similar set and costumes for the singer and her male dancers.

text: Moulin Rouge! version[edit]

text: The song is also featured in the 2001 film Moulin Rouge!, in which it is sung principally by Nicole Kidman in the role of Satine, the (fictional) star performer of the famous Moulin Rouge nightclub in Paris, at the turn of the 20th century. This film version is technically a musical adaptation that director Baz Luhrmann titled "Sparkling Diamonds". Although it consists almost entirely of an adaptation of "Diamonds Are a Girl's Best Friend", this version differs from the lyrics in Gentlemen Prefer Blondes in several ways. For example, it does not include the name Harry Winston in the chant of famous jewelers; rather, Moulin Rouge founder Charles Zidler's name was changed to Harold in the film, so his name replaces Winston's in the song as "Harry Zidler". Black Starr & Frost-Gorham was known by that name only after 1925, but instead of using their 1875-1925 name of "Black Starr & Frost", their name was replaced in the Luhrmann film by nonsense words (understood by many listeners as "Ross Cole;" in the 2002 DVD release, the words printed in the text captioning are "Black Star, Roscor"). And the potentially anachronistic line "help you at the Automat" was altered in the Luhrmann film to "help you feed your pussycat." Additionally, a lyrical snippet from Madonna's song "Material Girl" was worked into this adaptation of the song.

text: Other versions[edit]

text:
Ethel Merman recorded the song in 1950.
Lena Horne recorded the song in 1958, for her album Give the Lady What She Wants.
Della Reese recorded the song in 1960, for her album Cha Cha Cha.
Julie London recorded the song in 1961.
Eartha Kitt recorded the song in 1962.
Emmylou Harris recorded a country/rock version in 1983, for her album White Shoes.
Thalía performed this song in 1991, on Spanish television.
Jennifer Saunders and Dawn French, dressed as Marilyn Monroe and Jane Russell, respectively, parodied the number in their 1993 BBC special Gentlemen Prefer French & Saunders.
Kylie Minogue performed this song in 1995. She also performed the song in 1999, dressed as Marilyn Monroe for the opening of 20th Century Fox's Australian Studios. In 2007, she recorded another version for her film White Diamond.
Anna Nicole Smith recorded the song in 1998. The single went on to reach the top 100 dance singles in France.
In 2007, Beyoncé did an updated version for Giorgio Armani's new fragrance Emporio Armani Diamonds in an ad directed by Jake Nava and titled "Can You Resist?".
Wendi Peters performed a version for BBC Children in Need on November 16th, 2007, adding, "I am a Material Girl" halfway through, then returning to the normal song.
Nicole Scherzinger performed a version for the 2007 CBS special, Movies Rock, which paid tribute to the strong relationship between films and music.
T-Bone Burnett's rock version of the song is both campy and cynical, while capturing the essence of the lyric.
Nadine Coyle recorded a demo for this song.
Deanna & The Downbeats, a cabaret-jazz quintet from Portland, Oregon, performs a traditional version of the song that segues into a lounge-swing version of Madonna's "Material Girl".
In the cartoon Hey Arnold!, Helga's mother sang, "Beepers Are a Girl's Best Friend", for a commercial in the same manner as Marilyn Monroe's performance.
In the 100th episode of Gossip Girl, titled "G.G.", Serena Van der Woodsen (portrayed by Blake Lively) has a dream in which she is Marilyn Monroe and sings "Diamonds Are a Girl's Best Friend".[3]
In the music video for her single "Material Girl" (1985), Madonna emulates the scene in which Marilyn Monroe sang the song. She also included a snippet of the song during selected shows of her Rebel Heart Tour (2015-2016), following a cover of "La Vie en rose".
Christina Aguilera also did the song on her first featured film Burlesque (2010). Kristen Bell and Julianne Hough first lip-synched Marilyn's version, then Christina finished it with her own vocals.
The Puppini Sisters sing a version on their 2011 album Hollywood
Nicole Kidman performs the song in the film Moulin Rouge.
The song is performed by the female Glee Cast in the TV show Glee, in the 2013 episode "Girls (and Boys) On Film", as a mashup with Madonna's "Material Girl".
Anne Ducros sings the song on her album Either way : from Marilyn to Ella (Naïve, 2013)
Shirley Bassey and Paloma Faith sing the song for Bassey's album Hello Like Before (2014)
Saara Aalto performed a mashup of the song with Diamonds Are Forever in Week 8 of the live shows on The X Factor (UK series 13)|
The 1986 Herb Alpert single "Diamonds", which features Janet Jackson on lead vocals, contains the "Diamonds are a girl's best friend" refrain within the lyrics.

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