document_title: List of British monarchy records

question_text: who is the oldest monarch to be crowned

question_tokens: who is the oldest monarch to be crowned

text: List of British monarchy records

text: Reign of British monarchs[edit]

text: Longest[edit]

text: The longest reign of a British monarch is that of the current monarch, Elizabeth II (7004240560000000000♠65 years, 314 days since 6 February 1952). The second longest reign is the 63 years 216 days of Victoria between 1837 and 1901. Queen Elizabeth II's reign became longer than Queen Victoria's on 9 September 2015. The third longest reign was that of George III, who reigned for 59 years 96 days between 1760 and 1820.

text: James Stuart, the Old Pretender, was a pretender to the throne from 16 September 1701 until his death on 1 January 1766, a total of 64 years 108 days.

text: Prince Philip, Duke of Edinburgh has been the monarch's spouse (prince consort) since 6 February 1952, for a total of 7004240560000000000♠65 years, 314 days, making him the longest-serving consort overall. The Queen consort with the longest tenure was Charlotte of Mecklenburg-Strelitz, who was George III's consort for 7004208880000000000♠57 years, 70 days, between 1761 and 1818.

text: Prince Charles is the longest serving heir-apparent, Duke of Cornwall, and Duke of Rothesay, with a tenure of 7004240560000000000♠65 years, 314 days, and Prince of Wales, with a tenure of 7004216940000000000♠59 years, 144 days.

text: Margaret of Scotland, Countess of Kent was heiress-presumptive to William I of Scotland, Alexander II and Alexander III for a total of about 43 years, 14 days (her tenure as heiress-presumptive to Alexander II was also the longest single tenure at 7003977100000000000♠26 years, 274 days). The longest-serving heir-presumptive (of either sex) was Robert II, who was heir-presumptive to Robert I and then David II for a total of 46 years, 353 days; he also served the longest single tenure (7004152350000000000♠41 years, 260 days as heir-presumptive to David II).

text: Shortest[edit]

text: The shortest-reigning monarch was Lady Jane Grey who ruled for 9 days from 6 July until 15 July 1553 (although she was only proclaimed queen by the Lords of the Council on 10 July). Note: Jane's reign is disputed.

text: The king with the shortest definitively known reign was Edgar the Ætheling who ruled for 2 months, 12 days in 1066 before submitting to William the Conqueror. Some records indicate that Sweyn Forkbeard reigned for only 40 days in 1013-4.[1]

text: The queen consort with the shortest tenure was Yolande de Dreux, second wife of Alexander III, who was queen for 154 days in 1285 and 1286.

text:
Elizabeth I holds the records for the shortest tenure of an English heiress-presumptive (almost 2 years as heir-presumptive to Henry VIII) and the shortest-serving English heiress-presumptive (and heir-presumptive of either sex) was Lady Jane Grey's sister, The Lady Herbert of Cardiff (13 days).
The longest single tenure for a male heir-presumptive was Walter Stewart, Earl of Atholl, heir-presumptive to James II of Scotland for 7003197000000000000♠5 years, 144 days; the shortest total tenure as a male heir-presumptive was George I (54 days).

text: Mary, Queen of Scots, was heiress presumptive from birth until her ascension to the throne at the age of 6 days.

text: Pretenders in Power[edit]

text: During the Middle Ages and the Mid-18th Century, a number of pretenders to the throne controlled all or a substantial portion of England:

text:
Empress Matilda: Held King Stephen prisoner from 7 April to 1 November 1141 and controlled a substantial portion of country from 1141 to 1148.
Louis VIII of France: Controlled the Southeast of England and later the whole country briefly in during the First Barons' War from 1215 to 1217.
Henry the Young King led a revolt against his father Henry II and for several months in 1173–74 controlled much of England.
James III and VIII sent his son Bonnie Prince Charlie to reclaim his kingdom and the latter controlled Scotland and Northern England for several months in 1745.

text: Longevity[edit]

text: Monarchs[edit]

text: Longest-lived[edit]

text: The longest-lived British monarch and ruler is Queen Elizabeth II, the current monarch, who is aged 7004334780000000000♠91 years, 240 days.

text: The longest-lived male consort is her husband, Prince Philip, Duke of Edinburgh, who is 7004352540000000000♠96 years, 190 days old and is also the longest-lived male descendant of Queen Victoria. Queen Victoria's longest-lived descendant overall was Princess Alice, Countess of Athlone (1883-1981) at 97 years 312 days (Prince Philip would surpass her on April 18, 2019, and Queen Elizabeth II would pass her as longest-lived holder of a British royal title from birth on February 27, 2024). The longest-lived holder of a British royal title by marriage was Princess Alice, Duchess of Gloucester (1901-2004) at 102 years 319 days (Prince Philip would surpass her on April 24, 2024; Queen Elizabeth II would pass her age on March 7, 2029).

text: The longest-lived king was George III, who died at the age of 81 years, 239 days in 1820.

text: The longest-lived male ruler was Richard Cromwell who ruled as Lord Protector (1658-1659) who lived until the age of 7004313270000000000♠85 years, 282 days.

text: The longest-lived queen consort was Lady Elizabeth Bowes-Lyon, later known as the Queen Mother, consort to George VI, and mother of the current longest-lived British monarch, who was 101 years 238 days at the time of her death on 30 March 2002.Prince Philip would pass her as longest-lived overall consort in February 2023.

text: Shortest-lived[edit]

text: The youngest Scottish monarch to die was Margaret, Maid of Norway, who died at the age of 7 years, five months, and 18 days in 1290.

text: The youngest English monarch to die was Edward V, who was most likely murdered after he was deposed, when he was 12.

text: Heirs apparent[edit]

text: The present Prince of Wales is the oldest heir apparent at 7004252350000000000♠69 years, 33 days.

text: The oldest heir apparent to an heir apparent was George V (aged 35 years 233 days at the death of Victoria). Prince William, Duke of Cambridge is currently 7004129630000000000♠35 years, 179 days old and would surpass George V on February 10, 2018.

text: The oldest heir apparent to an heir apparent to an heir apparent was Edward VIII (aged 6 years 213 days at the death of Victoria). Prince George of Cambridge is currently 7003160900000000000♠4 years, 148 days old and would surpass Edward VIII on February 20, 2020.

text: Age of ascension[edit]

text: Oldest[edit]

text: The oldest monarch at the start of his reign was William IV who succeeded to the throne in 1830 at the age of 64 years 309 days. If the current Prince of Wales became the King today, he would be the oldest to do so at the age of 7004252350000000000♠69 years, 33 days.

text: The oldest female monarch at the time of her ascension was Mary I, aged 7004136660000000000♠37 years, 151 days when she became queen in 1553.

text: The oldest queen consort was Alexandra of Denmark, wife of Edward VII, who was aged 7004205050000000000♠56 years, 52 days when she became queen in 1901. If Camilla, Duchess of Cornwall were to become Queen consort (or possibly Princess consort) today, she would be the oldest to do so at the age of 7004257210000000000♠70 years, 153 days.

text: Youngest[edit]

text: The youngest British monarch at the start her reign was Mary, Queen of Scots, who became queen aged 6 days in 1542. The youngest king was Henry VI, who was 8 months and 26 days old at the time of his accession.

text: The youngest queen consort was Isabella of Valois, second wife of Richard II, aged 6 years 11 months and 25 days when she became queen in 1396.

text: Age differences, outgoing and succeeding monarchs[edit]

text: Greatest[edit]

text: The greatest age difference of an outgoing British monarch and successor was 54 years and 205 days between Edward III (born 13 November 1312) and his grandson Richard II (born 6 June 1367) who succeeded on the former's death on 21 January 1377.

text: Smallest[edit]

text: The smallest age difference of an outgoing British monarch and successor was 1 year and 171 days between Edward VIII (born 23 June 1894) and his brother George VI (born 14 December 1895) who succeeded on the former's abdication on 11 December 1936.

text: Marriage[edit]

text: Most marriages[edit]

text: Henry VIII was married six times, making him Britain's most-married monarch. The queen who was married the most times was Mary, Queen of Scots, who had three husbands. The most-married queen consort was Catherine Parr, sixth wife of Henry VIII, who had four husbands.

text: Never married[edit]

text: William II, Edward V, Edward VI, and Elizabeth I all lived and died unmarried. In addition, Edward VIII was unmarried during his tenure as monarch, though he then married Wallis Simpson after his abdication.

text: Youngest[edit]

text: The youngest monarch to marry was David II, who married Joan, daughter of Edward II when he was 7003159500000000000♠4 years, 134 days old in 1328.

text: The youngest female monarch at the time of her marriage was Mary II, who was 7003566700000000000♠15 years, 188 days old when she married William III in 1677.

text: The youngest queen consort was Isabella of Valois, who married Richard II when she was 7003254900000000000♠6 years, 358 days old in 1396.

text: Oldest[edit]

text: The oldest monarch at the time of his first marriage was William IV, who was 7004193160000000000♠52 years, 324 days old when he married Adelaide of Saxe-Meiningen in 1818.

text: Mary I was the oldest queen at the time of her first marriage, aged 7004140370000000000♠38 years, 157 days when she married Philip of Spain in 1554.

text: When second or subsequent marriages are included the oldest monarch at the time of his marriage was Edward I, whose second marriage was to Margaret of France in 1299 when he was 7004219980000000000♠60 years, 83 days old and she was no more than 20.

text: The oldest queen consort at the time of her marriage was Maud, Countess of Huntingdon, who married David I when she was around 40 years old.

text: Longest[edit]

text: The longest marriage of a British sovereign is between Elizabeth II and Prince Philip, who have been married since 20 November 1947, making their marriage 7004255950000000000♠70 years, 27 days old. The royal couple celebrated their 70th wedding anniversary on 20 November 2017.

text: Shortest[edit]

text: The shortest marriage is between Alexander III of Scotland and Yolande, who were married for 4 months and 19 days from 1285-1286 until the former's death.

text: Children[edit]

text: Most[edit]

text: The British monarch with the most children was Henry I, who had 29 children (5 legitimate).

text: The queen regnant with the most pregnancies was Anne, who had 17 of which only 5 resulted in live-born children (2 of whom survived past the age of 1 year,1 reached 2 years, but all of them died before their mother). Queen Victoria had 9 children who all reached adulthood.

text: Age of parents[edit]

text: At 15, Henry IV is the youngest King to father a child, prior to his accession.

text: The youngest queen regnant to give birth is Mary II, who gave birth to a stillborn child in 1678, prior to her accession, when she was just 16. The youngest mother to give birth to a monarch was Lady Margaret Beaufort, wife of Edmund Tudor, who was months from turning 14 when she gave birth to Henry VII in 1457.

text: The oldest parent was Edward I, who fathered his last child, Eleanor, in 1306, when he was 66, almost 67 years old.

text: The oldest mother was Eleanor of Aquitaine, who gave birth to John, in 1166, when she was 44.

text: Physical attributes[edit]

text: Tallest[edit]

text: The tallest measured British monarch was Edward IV, whose skeleton measures 6'4½" (1.94 m). Records indicate that when fully clad in armour he would have been about 6'7" (2 metres), an exceptional height for any man in the 15th century.

text: Both Edward Longshanks and Richard the Lionheart were also considered unusually tall for the mediaeval period - although contrary to popular belief, 'Longshanks' was not called that due to the length of his legs, but his arms; they were over a yard long (91 cm), though there is no evidence to suggest they were particularly disproportionate to the rest of his body.

text: The tallest queen was Mary, Queen of Scots, who was around 6 feet tall, which was exceptionally tall for a woman of this time.

text: Shortest[edit]

text: The shortest British monarch (not counting those who ascended as minors) was most likely Queen Victoria, who stood only 5' (1.52 m) when in her 30s, and was possibly an inch or two shorter towards the end of her life.


document_title: Kushan Empire

question_text: who is the last ruler of kushan dynasty

question_tokens: who is the last ruler of kushan dynasty

root

text: Kushan Empire

text: Origins[edit]

text: Chinese sources describe the Guishuang (貴霜), i.e. the Kushans, as one of the five aristocratic tribes of the Yuezhi, with some people claiming they were a loose confederation of Indo-European peoples,[27] though many scholars are still unconvinced that they originally spoke an Indo-European language. As the historian John E. Hill has put it: "For well over a century ... there have been many arguments about the ethnic and linguistic origins of the Great Yuezhi or Da Yuezhi (大月氏), Kushans (貴霜), and the Tochari, and still there is little consensus".[28]

tag: p

text: The Yuezhi were described in the Records of the Great Historian 史記 and the Book of Han 漢書 as living in the grasslands of Gansu, in the northwest of modern-day China, until their King was beheaded by the Huns from Siberia (the Xiongnu 匈奴) who were also at war with China, which eventually forced them to migrate west in 176–160 BCE.[29] The five tribes constituting the Yuezhi are known in Chinese history as Xiūmì (休密), Guìshuāng (貴霜), Shuāngmǐ (雙靡), Xìdùn (肸頓), and Dūmì (都密).

text: The Yuezhi reached the Hellenic kingdom of Greco-Bactria (in northern Afghanistan and Uzbekistan) around 135 BC. The displaced Greek dynasties resettled to the southeast in areas of the Hindu Kush and the Indus basin (in present-day Afghanistan and Pakistan), occupying the western part of the Indo-Greek Kingdom.

text: Early Kushans[edit]

text: Some traces remain of the presence of the Kushans in the area of Bactria and Sogdiana. Archaeological structures are known in Takht-I-Sangin, Surkh Kotal (a monumental temple), and in the palace of Khalchayan. Various sculptures and friezes are known, representing horse-riding archers,[30] and, significantly, men with artificially deformed skulls, such as the Kushan prince of Khalchayan[31] (a practice well attested in nomadic Central Asia). The Chinese first referred to these people as the Yuezhi and said they established the Kushan Empire, although the relationship between the Yuezhi and the Kushans is still unclear. On the ruins of ancient Hellenistic cities such as Ai-Khanoum, the Kushans are known to have built fortresses.

text: The earliest documented ruler, and the first one to proclaim himself as a Kushan ruler, was Heraios. He calls himself a "tyrant" in Greek on his coins, and also exhibits skull deformation. He may have been an ally of the Greeks, and he shared the same style of coinage. Heraios may have been the father of the first Kushan emperor Kujula Kadphises.

text: Ban Gu's Book of Han tells us the Kushans (Kuei-shuang) divided up Bactria in 128 BC. Fan Ye's Book of the Later Han "relates how the chief of the Kushans, Ch'iu-shiu-ch'ueh (the Kujula Kadphises of coins), founded by means of the submission of the other Yueh-chih clans the Kushan Empire, known to the Greeks and Romans under the name of Empire of the Indo-Scythians."[32]

text: The Chinese Hou Hanshu 後漢書 chronicles gives an account of the formation of the Kushan empire based on a report made by the Chinese general Ban Yong to the Chinese Emperor c. 125 AD:

text: More than a hundred years later [than the conquest of Bactria by the Da Yuezhi], the prince [xihou] of Guishuang (Badakhshan) established himself as king, and his dynasty was called that of the Guishuang (Kushan) King. He invaded Anxi (Indo-Parthia), and took the Gaofu (Kabul) region. He also defeated the whole of the kingdoms of Puda (Paktiya) and Jibin (Kapisha and Gandhara). Qiujiuque (Kujula Kadphises) was more than eighty years old when he died. His son, Yangaozhen [probably Vema Tahk (tu) or, possibly, his brother Sadaṣkaṇa], became king in his place. He defeated Tianzhu [North-western India] and installed Generals to supervise and lead it. The Yuezhi then became extremely rich. All the kingdoms call [their king] the Guishuang [Kushan] king, but the Han call them by their original name, Da Yuezhi.

text: Diverse cultural influences[edit]

text: In the 1st century BCE, the Guishuang (Ch: 貴霜) gained prominence over the other Yuezhi tribes, and welded them into a tight confederation under yabgu (Commander) Kujula Kadphises. The name Guishuang was adopted in the West and modified into Kushan to designate the confederation, although the Chinese continued to call them Yuezhi.

text: Gradually wresting control of the area from the Scythian tribes, the Kushans expanded south into the region traditionally known as Gandhara (an area primarily in Pakistan's Pothowar and Khyber Pakhtunkhwa region but going in an arc to include the Kabul valley and part of Qandahar in Afghanistan)[citation needed] and established twin capitals in Begram[35] and Peshawar, then known as Kapisa and Pushklavati respectively.

text: The Kushans adopted elements of the Hellenistic culture of Bactria. They adopted the Greek alphabet to suit their own language (with the additional development of the letter Þ "sh", as in "Kushan") and soon began minting coinage on the Greek model. On their coins they used Greek language legends combined with Pali legends (in the Kharoshthi script), until the first few years of the reign of Kanishka. After that date,[vague][when?][dubious – discuss] they used Kushan language legends (in an adapted Greek script), combined with legends in Greek (Greek script) and legends in Prakrit (Kharoshthi script).

text: The Kushans "adopted many local beliefs and customs, including Zoroastrianism and the two rising religions in the region, the Greek cults and Buddhism".[36] From the time of Vima Takto, many Kushans started adopting aspects of Buddhist culture, and like the Egyptians, they absorbed the strong remnants of the Greek culture of the Hellenistic Kingdoms, becoming at least partly Hellenised. The great Kushan emperor Vima Kadphises may have embraced Saivism (a sect of Hinduism), as surmised by coins minted during the period. The following Kushan emperors represented a wide variety of faiths including Zoroastrianism, Buddhism, and possibly Saivism.

text: The rule of the Kushans linked the seagoing trade of the Indian Ocean with the commerce of the Silk Road through the long-civilized Indus Valley. At the height of the dynasty, the Kushans loosely ruled a territory that extended to the Aral Sea through present-day Uzbekistan, Afghanistan, and Pakistan into northern India.

text: The loose unity and comparative peace of such a vast expanse encouraged long-distance trade, brought Chinese silks to Rome, and created strings of flourishing urban centers.

text: Territorial expansion[edit]

text: Rosenfield notes that archaeological evidence of a Kushan rule of long duration is present in an area stretching from Surkh Kotal, Begram, the summer capital of the Kushans, Peshawar, the capital under Kanishka I, Taxila, and Mathura, the winter capital of the Kushans.[37]

text: Other areas of probable rule include Khwarezm,[37] Kausambi (excavations of Allahabad University),[37] Sanchi and Sarnath (inscriptions with names and dates of Kushan kings),[37] Malwa and Maharashtra,[38] and Odisha (imitation of Kushan coins, and large Kushan hoards).[37]

text: Kushan invasions in the 1st century CE had been given as an explanation for the migration of Indians from the Indian Subcontinent toward Southeast Asia according to proponents of a Greater India theory by 20th-century Indian nationalists. However, there is no evidence to support this hypothesis.[39]

text: The recently discovered Rabatak inscription confirms the account of the Hou Hanshu, Weilüe, and inscriptions dated early in the Kanishka era (incept probably 127 CE), that large Kushan dominions expanded into the heartland of northern India in the early 2nd century CE. Lines 4 to 7 of the inscription[40] describe the cities which were under the rule of Kanishka, among which six names are identifiable: Ujjain, Kundina, Saketa, Kausambi, Pataliputra, and Champa (although the text is not clear whether Champa was a possession of Kanishka or just beyond it).[41][42][43] The Kushan state was bounded to the south by the Pārata state of Balochistan, western Pakistan, Afghanistan, Kyrgyzstan, Tajikistan, Uzbekistan, and Turkmenistan. Turkmenistan was known for the kushan Buddhist city of Merv.[37] As late as the 3rd century AD, decorated coins of Huvishka were dedicated at Bodh Gaya together with other gold offerings under the "Enlightenment Throne" of the Buddha, suggesting direct Kushan influence in the area during that period.[44]

text: Northward, in the 2nd century AD, the Kushans under Kanishka made various forays into the Tarim Basin, where they had various contacts with the Chinese. Both archaeological findings and literary evidence suggest Kushan rule, in Kashgar, Yarkand and Khotan.[45]

text: Main Kushan rulers[edit]

text: Kujula Kadphises (c. 30 – c. 80)[edit]

text: ...the prince [elavoor] of Guishuang, named thilac [Kujula Kadphises], attacked and exterminated the four other xihou. He established himself as king, and his dynasty was called that of the Guishuang [Kushan] King. He invaded Anxi [Indo-Parthia] and took the Gaofu [Kabul] region. He also defeated the whole of the kingdoms of Puda [Paktiya] and Jibin [Kapisha and Gandhara]. Qiujiuque [Kujula Kadphises] was more than eighty years old when he died."

text: These conquests probably took place sometime between 45 and 60 and laid the basis for the Kushan Empire which was rapidly expanded by his descendants.

text: Kujula issued an extensive series of coins and fathered at least two sons, Sadaṣkaṇa (who is known from only two inscriptions, especially the Rabatak inscription, and apparently never ruled), and seemingly Vima Takto.

text: Kujula Kadphises was the great-grandfather of Kanishka.

text: Vima Taktu or Sadashkana (c. 80 – c. 95)[edit]

text: Vima Takto (Ancient Chinese: 閻膏珍 Yangaozhen) is mentioned in the Rabatak inscription (another son, Sadashkana, is mentioned in an inscription of Senavarman, the King of Odi). He was the predecessor of Vima Kadphises, and Kanishka I. He expanded the Kushan Empire into the northwest of South Asia. The Hou Hanshu says:

text: "His son, Yangaozhen [probably Vema Tahk (tu) or, possibly, his brother Sadaṣkaṇa], became king in his place. He defeated Tianzhu [North-western India] and installed Generals to supervise and lead it. The Yuezhi then became extremely rich. All the kingdoms call [their king] the Guishuang [Kushan] king, but the Han call them by their original name, Da Yuezhi."

text: Vima Kadphises (c. 95 – c. 127)[edit]

text: Vima Kadphises (Kushan language: Οοημο Καδφισης) was a Kushan emperor from around 90–100 CE, the son of Sadashkana and the grandson of Kujula Kadphises, and the father of Kanishka I, as detailed by the Rabatak inscription.

text: Vima Kadphises added to the Kushan territory by his conquests in Afghanistan and north-west Pakistan. He issued an extensive series of coins and inscriptions. He issued gold coins in addition to the existing copper and silver coinage.

text: Kanishka I (c. 127 – c. 140)[edit]

text: The rule of Kanishka the Great, fifth Kushan king, lasted for about 13 years from c. 127. Upon his accession, Kanishka ruled a huge territory (virtually all of northern India), south to Ujjain and Kundina and east beyond Pataliputra, according to the Rabatak inscription:

text: In the year one, it has been proclaimed unto India, unto the whole realm of the governing class, including Koonadeano (Kaundiny, Kundina) and the city of Ozeno (Ozene, Ujjain) and the city of Zageda (Saketa) and the city of Kozambo (Kausambi) and the city of Palabotro (Pataliputra) and so long unto (i.e., as far as) the city of Ziri-tambo (Sri-Champa).

text: His territory was administered from two capitals: Purushapura (now Peshawar in northwestern Pakistan) and Mathura, in northern India. He is also credited (along with Raja Dab) for building the massive, ancient Fort at Bathinda (Qila Mubarak), in the modern city of Bathinda, Indian Punjab.

text: The Kushans also had a summer capital in Bagram (then known as Kapisa), where the "Begram Treasure", comprising works of art from Greece to China, has been found. According to the Rabatak inscription, Kanishka was the son of Vima Kadphises, the grandson of Sadashkana, and the great-grandson of Kujula Kadphises. Kanishka’s era is now generally accepted to have begun in 127 on the basis of Harry Falk’s ground-breaking research.[46][47] Kanishka’s era was used as a calendar reference by the Kushans for about a century, until the decline of the Kushan realm.

text: Vāsishka (c. 140 – c. 160)[edit]

text: Vāsishka was a Kushan emperor who seems to have had a 20-year reign following Kanishka. His rule is recorded as far south as Sanchi (near Vidisa), where several inscriptions in his name have been found, dated to the year 22 (the Sanchi inscription of "Vaksushana" – i.e., Vasishka Kushana) and year 28 (the Sanchi inscription of Vasaska – i.e., Vasishka) of the Kanishka era.

text: Huvishka (c. 160 – c. 190)[edit]

text: Huvishka (Kushan: Οοηϸκι, "Ooishki") was a Kushan emperor from about 20 years after the death of Kanishka (assumed on the best evidence available to be in 140) until the succession of Vasudeva I about thirty years later. His rule was a period of retrenchment and consolidation for the Empire. In particular he devoted time and effort early in his reign to the exertion of greater control over the city of Mathura.

text: Vasudeva I (c. 190 – c. 230)[edit]

text: Vasudeva I (Kushan: Βαζοδηο "Bazodeo", Chinese: 波調 "Bodiao") was the last of the "Great Kushans." Named inscriptions dating from year 64 to 98 of Kanishka’s era suggest his reign extended from at least 191 to 225 AD. He was the last great Kushan emperor, and the end of his rule coincides with the invasion of the Sasanians as far as northwestern India, and the establishment of the Indo-Sasanians or Kushanshahs in what is nowadays Afghanistan, Pakistan and northwestern India from around 240 AD.

text: Kushan deities[edit]

text: The Kushan religious pantheon is extremely varied, as revealed by their coins that were made in gold, silver, and copper. These coins contained more than thirty different gods, belonging mainly to their own Iranic, Greek, and Indo-Aryan worlds as well. Kushan coins had images of Kushan Kings, Buddha, and figures from the Indo-Aryan and Iranian pantheons.[48] Greek deities, with Greek names are represented on early coins. During Kanishka's reign, the language of the coinage changes to Bactrian (though it remained in Greek script for all kings). After Huvishka, only two divinities appear on the coins: Ardoxsho and Oesho (see details below).

text: The Iranic entities depicted on coinage include:

text:
Αρδοχþο (ardoxsho, Ashi Vanghuhi)
Aþαειχþo (ashaeixsho, Asha Vahishta)
Αθþο (athsho, Atar)
Φαρρο (pharro, Khwarenah)
Λροοασπο (lrooaspa, Drvaspa)
Μαναοβαγο, (manaobago, Vohu Manah)
Μαο (mao, Mah)
Μιθρο, Μιιρο, Μιορο, Μιυρο (mithro and variants, Mithra)
Μοζδοοανο (mozdooano, Mazda *vana "Mazda the victorious?")
Νανα, Ναναια, Ναναϸαο (variations of pan-Asiatic nana, Sogdian nny, Nana)
Οαδο (oado Vata)
Oαxþo (oaxsho, "Oxus")
Ooρoμoζδο (ooromozdo, Ahura Mazda)
Οραλαγνο (orlagno, Verethragna)
Τιερο (tiero, Tir)

tag: ul

text: Representation of entities from Greek mythology and Hellenistic syncretism are:

text: Ηλιος (Helios), Ηφαηστος (Hephaistos), Σαληνη (Selene), Ανημος (Anemos). Further, the coins of Huvishka also portray the demi-god erakilo Heracles, and the Egyptian god sarapo Sarapis

text: The Indic entities represented on coinage include:

text:
Βοδδο (boddo, Buddha)
Μετραγο Βοδδο (metrago boddo, bodhisattava Maitreya)
Mαασηνo (maaseno, Mahasena)
Σκανδo koμαρo (skando komaro, Skanda Kumara)
þακαμανο Βοδδο (shakamano boddho, Shakyamuni Buddha)
Οηϸο (oesho), long considered to represent Indic Shiva,[49][50][51] but also identified as Avestan Vayu conflated with Shiva.[52][53]
Two copper coins of Huvishka bear a 'Ganesa' legend, but instead of depicting the typical theriomorphic figure of Ganesha, have a figure of an archer holding a full-length bow with string inwards and an arrow. This is typically a depiction of Rudra, but in the case of these two coins is generally assumed to represent Shiva.

text: Kushans and Buddhism[edit]

text: The Kushans inherited the Greco-Buddhist traditions of the Indo-Greek Kingdom they replaced, and their patronage of Buddhist institutions allowed them to grow as a commercial power.[56] Between the mid-1st century and the mid-3rd century, Buddhism, patronized by the Kushans, extended to China and other Asian countries through the Silk Road.

text: Kanishka is renowned in Buddhist tradition for having convened a great Buddhist council in Kashmir. Along with his predecessors in the region, the Indo-Greek king Menander I (Milinda) and the Indian emperors Ashoka and Harsha Vardhana, Kanishka is considered by Buddhism as one of its greatest benefactors.

text: During the 1st century AD, Buddhist books were being produced and carried by monks, and their trader patrons. Also, monasteries were being established along these land routes that went from China and other parts of Asia. With the development of Buddhist books, it caused a new written language called Gandhara. Gandhara consists of eastern Afghanistan and northern Pakistan. Scholars are said to have found many Buddhist scrolls that contained the Gandhari language.[57]

text: The reign of Huvishka corresponds to the first known epigraphic evidence of the Buddha Amitabha, on the bottom part of a 2nd-century statue which has been found in Govindo-Nagar, and now at the Mathura Museum. The statue is dated to "the 28th year of the reign of Huvishka", and dedicated to "Amitabha Buddha" by a family of merchants. There is also some evidence that Huvishka himself was a follower of Mahāyāna Buddhism. A Sanskrit manuscript fragment in the Schøyen Collection describes Huvishka as one who has "set forth in the Mahāyāna."[58]

text: Kushan art[edit]

text: The art and culture of Gandhara, at the crossroads of the Kushan hegemony, continued the traditions of Greco-Buddhist art and are the best known expressions of Kushan influences to Westerners. Several direct depictions of Kushans are known from Gandhara, where they are represented with a tunic, belt and trousers and play the role of devotees to the Buddha, as well as the Bodhisattva and future Buddha Maitreya.

text: During the Kushan Empire, many images of Gandhara share a strong resemblance to the features of Greek, Syrian, Persian and Indian figures. These Western-looking stylistic signatures often include heavy drapery and curly hair,[59] representing a composite (the Greeks, for example, often possessed curly hair).

text: In the iconography, they are never associated however with the very Hellenistic "Standing Buddha" statues, which might therefore correspond to an earlier historical period.

text: Contacts with Rome[edit]

text: Several Roman sources describe the visit of ambassadors from the Kings of Bactria and India during the 2nd century, probably referring to the Kushans.

text: Historia Augusta, speaking of Emperor Hadrian (117–138) tells:

text: Reges Bactrianorum legatos ad eum, amicitiae petendae causa, supplices miserunt

text: "The kings of the Bactrians sent supplicant ambassadors to him, to seek his friendship."

text: Also in 138, according to Aurelius Victor (Epitome‚ XV, 4), and Appian (Praef., 7), Antoninus Pius, successor to Hadrian, received some Indian, Bactrian, and Hyrcanian ambassadors.

text: "Precious things from Da Qin [the Roman Empire] can be found there [in Tianzhu or Northwestern India], as well as fine cotton cloths, fine wool carpets, perfumes of all sorts, sugar candy, pepper, ginger, and black salt."

text: The summer capital of the Kushan Empire in Begram has yielded a considerable amount of goods imported from the Roman Empire--in particular, various types of glassware.

text: Contacts with China[edit]

text: During the 1st and 2nd century, the Kushan Empire expanded militarily to the north and occupied parts of the Tarim Basin, their original grounds, putting them at the center of the profitable Central Asian commerce with the Roman Empire. They are related to have collaborated militarily with the Chinese against nomadic incursion, particularly when they collaborated with the Han Dynasty general Ban Chao against the Sogdians in 84, when the latter were trying to support a revolt by the king of Kashgar.[61] Around 85, they also assisted the Chinese general in an attack on Turpan, east of the Tarim Basin.

text: In recognition for their support to the Chinese, the Kushans requested a Han princess, but were denied,[61][62] even after they had sent presents to the Chinese court. In retaliation, they marched on Ban Chao in 86 with a force of 70,000, but were defeated by a smaller Chinese force.[61][62] The Yuezhi retreated and paid tribute to the Chinese Empire during the reign of emperor He of Han (89–106).

text: Later, around 116, the Kushans under Kanishka established a kingdom centered on Kashgar, also taking control of Khotan and Yarkand, which were Chinese dependencies in the Tarim Basin, modern Xinjiang. They introduced the Brahmi script, the Indian Prakrit language for administration, and expanded the influence of Greco-Buddhist art which developed into Serindian art.

text: The Kushans are again recorded to have sent presents to the Chinese court in 158–159 during the reign of emperor Huan of Han.

text: Following these interactions, cultural exchanges further increased, and Kushan Buddhist missionaries, such as Lokaksema, became active in the Chinese capital cities of Loyang and sometimes Nanjing, where they particularly distinguished themselves by their translation work. They were the first recorded promoters of Hinayana and Mahayana scriptures in China, greatly contributing to the Silk Road transmission of Buddhism.

text: Decline[edit]

text: After the death of Vasudeva I in 225, the Kushan empire split into western and eastern halves. The Western Kushans (in Afghanistan) were soon subjugated by the Persian Sasanian Empire and lost Sogdiana, Bactria and Gandhara to them. The Sasanians deposed the Western dynasty and replaced them with Persian vassals known as the Kushanshas (also called Indo-Sasanians or Kushano-Sasanians).

text: The Eastern Kushan kingdom was based in the Punjab. Around 270 their territories on the Gangetic plain became independent under local dynasties such as the Yaudheyas. Then in the mid-4th century they were subjugated by the Gupta Empire under Samudragupta.

text: In 360 a Kidarite Hun named Kidara overthrew the Indo-Sasanians and remnants of the old Kushan dynasty, and established the Kidarite Kingdom. The Kushan style of Kidarite coins indicates they claimed Kushan heritage. The Kidarite seem to have been rather prosperous, although on a smaller scale than their Kushan predecessors.

text: These remnants of the Kushan empire were ultimately wiped out in the 5th century by the invasions of the Hephthalites, the Alchon Huns and the Nezak Huns in the northwest, and the rise of the Gupta empire in the east.

text: Rulers[edit]

text:
Heraios (c. 1 – 30), first Kushan ruler, generally Kushan ruling period is disputed
Kujula Kadphises (c. 30 – c. 80)
Vima Takto (c. 80 – c. 95), alias Soter Megas or "Great Saviour."
Vima Kadphises (c. 95 – c. 127) the first great Kushan emperor
Kanishka the Great (127 – c. 140)
Vāsishka (c. 140 – c. 160)
Huvishka (c. 160 – c. 190)
Vasudeva I (c. 190 – to at least 230), the last of the great Kushan emperors
Kanishka II (c. 230 – 240)
Vashishka (c. 240 – 250)
Kanishka III (c. 250 – 275)
Vasudeva II (c. 275 – 310)

Vasudeva III reported son of Vasudeva II, a King, uncertain.[64]
Vasudeva IV reported possible child of Vasudeva III, ruling in Kandahar, uncertain.[64]
Vasudeva V, or "Vasudeva of Kabul" reported possible child of Vasudeva IV, ruling in Kabul, uncertain.[64]

Chhu (c. 310? – 325?)[64]
Shaka I (c. 325 – 345)[64]
Kipunada (c. 345 – 375)[64]


document_title: Beauty and the Beast (2017 film)

question_text: who plays belle's dad in the new movie

question_tokens: who plays belle 's dad in the new movie

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

tag: table

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.

tag: ol