document_title: Beauty and the Beast (2017 film)

question_text: who plays belle in the new beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: A beautiful enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. To punish the prince for his lack of compassion, the enchantress transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls.

text: Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a music box maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Maurice seeks refuge in the Beast's castle warming himself near the fire then being  scared away by chip after having some food, but the Beast imprisons him for stealing a rose from his garden as a gift to Belle. When Maurice's horse returns without him, 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 invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them, also he shows her his library and gives it to her which makes her feel a different way towards the beast unlike before. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave when her mother succumbed to the plague.

text: In Villeneuve, Maurice tries to convince the other villagers of the Beast and Belle's imprisonment but no one believes him. Gaston, seeing rescuing Belle as an opportunity to win her hand in marriage, agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime and is unable to provide solid evidence, 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 reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. 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 spirit upon seeing Belle return. He defeats Gaston, but spares his life before reuniting with Belle. Ungrateful and unrepentant, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast tells belle that he was happy to see her again then he dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and reviving the beast then turning him and his servants' human making the villagers' remember there loved ones. The Prince and Belle host a ball for the villagers, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.
Daisy Duczmal portrays an infant Belle.
Dan Stevens as Beast, a cold-hearted, selfish, unkind prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return, as well as to give rather than take. Stevens portrays the character through motion-capture.[13][14]
Adam Mitchell[1] 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 who works as a music box maker and an artist.[15]
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.[16]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[17]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[18]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[19]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[20]
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.[21]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[15]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[22] Morahan also narrates the prologue.
Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[23]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[22]
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[2] 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 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.

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

text: ^  In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[24]

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.[25]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[26][27] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[28]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[29] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[30] 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.[31]

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.'"[32] 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?"[33]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[34] She 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.[33] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[35][36] and Watson confirmed their casting the following day through tweets.[13][37] 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.[16][15][19][21][20][17][18][38]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[39] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[40]

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.[41]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[15][42][43] Filming with the principal actors concluded on August 21.[44][45] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[46]

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.[8]

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's 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.[24]

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".[47]

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".[48] 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.[49] Menken said the film would not include songs that were written for the Broadway musical and instead, created four new songs.[50] 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.[51]

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.[52] 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". 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". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[53][54][55][56]

text:
The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[57][58] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[59]
Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[60]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[60]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[15] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[61]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[62] 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.[63] The United Kingdom received the same version on April 21, 2017.[64]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move was an awards push as awards season heats up.[65]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[66] Following an announcement on May 22, 2016,[67] Disney premiered the first official teaser trailer on Good Morning America the next day.[68] In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time.[69] This record has since been broken by Thor: Ragnarok,[70] It and Avengers: Infinity War.[71][72] The first official teaser poster was released on July 7, 2016.[73] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[74][75] One week later, Emma Watson and Disney debuted a new poster.[76] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[77] This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker;[78] this record has since been broken by The Fate of the Furious.[79] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[80] Disney released the final trailer on January 30, 2017.[81]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[82] 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.[83] The movie regained the top spot on the national home video sales charts during its third week of release.[84] 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 $759.5 million in other countries for a worldwide gross of $1.263 billion.[6] With a production budget of $254 million, it is the most expensive musical ever made.[86][5] 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).[87] 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.[88] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[89] It surpassed the entire lifetime total of the original film in just six days.[90][91]

text: Beauty and the Beast was 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,[92] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[93][94][95][96] 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 29th day of release.[97][98][99] It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[100] the highest-grossing March release,[101] the highest-grossing remake of all time,[102] and the sixth-biggest Disney film.[103] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[102] Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second-most profitable release of 2017.[104]

text: United States and Canada[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.[105][106][107] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[108][109] It earned $16.3 million 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).[110] 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 pm.[111] The numbers were considered more impressive given that the film played during a school week.[112]

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).[113][114] 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).[115] 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.[92] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[116] 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,[117][118] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory which later surpassed by Incredibles 2,[119] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[120] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[120] 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.[116]

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.[121] Seventy percent 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.[92] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[120] 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.[122][123] 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.[122][123]

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).[124] 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.[125] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[126] 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.[127] 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).[87] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[128] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[129] 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).[130] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[131] 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.[132] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[133] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[134] By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi),[135][136] the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.[137][138][139][140]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[141] the biggest musical film (both animated and live-action),[142] as well as the biggest film of 2017 (alongside The Last Jedi).[143]

text: Other countries[edit]

text: Outside the US and Canada, 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-rated 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.[144] 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.[145] It topped the international box office for three consecutive weekends[146] 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.[147][99]

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.[148][149] 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).[144][145]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated 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).[150] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[151] 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).[152][145] 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.[153][154][155] It earned around ₹15 million (US$220,000) 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.[156] Disney reported a total of ₹92.6 million (US$1.3 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[157][158][159] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[160]

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.[161] The original film was, however, never widely popular in the country.[162] 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.[163] 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.[164][165] Either ways, it recorded the second-biggest opening for a Disney live-action film,[162] with $3.4 million coming from 386 IMAX screens.[144] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[145] 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.[166][167] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[168] 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[169][170][171] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[172] It topped the box office there for eight consecutive weekends.[173][174]

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).[144] 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).[147][175] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[176] 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).[177] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[166][178] 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).[173] In Europe alone, the cumulative total is $267 million, which led it to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[166][169][179]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for its ensemble cast, visuals, production values, musical score, songs, and faithfulness to the original film with a few elements of the Broadway musical version, while the designs of the Beast and the servants' household object forms received mixed reviews.[11][12] On review aggregator Rotten Tomatoes, as of April, 2018, the film had an approval rating of 70% based on 324 reviews, with an average rating of 6.7/10. The website's critical consensus read, "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."[180] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[181] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[182][183]

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 commending the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[184] 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.[185] 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."[186]

text: 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".[187] 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".[188] 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."[189] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "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."[190] James Berardinelli of ReelViews described the 2017 version as "enthralling".[191]

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.[192] 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)".[193] 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."[194] 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.[195]

text: 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.[196] 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.[197] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[198]

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".[199] 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".[200] 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.[201][202]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said 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".[203] Dana Schwartz of The New York 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.[204]

text: Accolades and awards[edit]

text:
Award

Date of ceremony

Category

Recipient(s) and nominee(s)

Result

Ref.

Academy Awards

March 4, 2018

Best Production Design

Sarah Greenwood and Katie Spencer

Nominated

[205]

Best Costume Design

Jacqueline Durran

Nominated

Art Directors Guild Awards

January 27, 2018

Excellence in Production Design for a Fantasy Film

Sarah Greenwood

Nominated

[206]

British Academy Film Awards

February 18, 2018

Best Production Design

Sarah Greenwood and Katie Spencer

Nominated

[207]

Best Costume Design

Jacqueline Durran

Nominated

Casting Society of America

January 18, 2018

Big Budget – Comedy

Lucy Bevan, Bernard Telsey and Tiffany Little Canfield

Nominated

[208]

Chicago Film Critics Association

December 12, 2017

Best Art Direction

Sarah Greenwood

Nominated

[209][210]

Costume Designers Guild Awards

February 20, 2018

Excellence in Fantasy Film

Jacqueline Durran

Nominated

[211]

Critics' Choice Movie Awards

January 11, 2018

Best Art Direction

Sarah Greenwood and Katie Spencer

Nominated

[212]

Best Costume Design

Jacqueline Durran

Nominated

Best Hair & Makeup

Beauty and the Beast

Nominated

Best Song

"Evermore"

Nominated

Empire Awards

March 18, 2018

Best Actress

Emma Watson

Nominated

[213][214]

Best Soundtrack

Beauty and the Beast

Nominated

Best Make-up and Hairstyling

Won

Golden Trailer Awards

June 6, 2017

Best Animation/Family

Nominated

[215]

Best Original Score

Nominated

Best Animation/Family TV Spot

Nominated

Best Fantasy Adventure TV Spot

Nominated

Guild of Music Supervisors Awards

February 8, 2018

Best Music Supervision for Film: Budgeted Over 25 Million Dollars

Matt Sullivan

Nominated

[216]

Hollywood Film Awards

November 5, 2017

Costume Design Award

Jacqueline Durran[a]

Won

[217]

Make-Up & Hair Styling Award

Jenny Shircore

Won

Hollywood Music in Media Awards

November 16, 2017

Best Original Song – Animated Film

"How Does a Moment Last Forever" – Alan Menken and Tim Rice

Nominated

[218][219]

Best Original Song – Sci-Fi, Fantasy, Horror Film

Won

"Evermore" – Alan Menken and Tim Rice

Nominated

Best Soundtrack Album

Beauty and the Beast

Nominated

Hollywood Post Alliance

Outstanding Color Grading – Feature Film

Stefan Sonnenfeld

Nominated

[220][221]

Outstanding Visual Effects – Feature Film

Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore

Nominated

Houston Film Critics Society

January 6, 2018

Best Original Song

"Evermore" – Alan Menken and Tim Rice

Nominated

[222]

Make-Up Artists and Hair Stylists Guild

February 24, 2018

Feature Motion Picture: Best Period and/or Character Hair

Jenny Shircore, Marc Pilcher and Charlotte Hayward

Nominated

[223]

MTV Movie & TV Awards

May 7, 2017

Movie of the Year

Beauty and the Beast

Won

[224]

Best Actor in a Movie

Emma Watson

Won

Best Kiss

Emma Watson and Dan Stevens

Nominated

Best Duo

Josh Gad and Luke Evans

Nominated

NAACP Image Awards

January 15, 2018

Outstanding Supporting Actress in a Motion Picture

Audra McDonald

Nominated

[225]

Nickelodeon Kids' Choice Awards

March 24, 2018

Favorite Movie

Beauty and the Beast

Nominated

[226]

Favorite Movie Actress

Emma Watson

Nominated

Publicists Guild Awards

March 2, 2018

Motion Picture

Beauty and the Beast

Nominated

[227][228]

San Diego Film Critics Society

December 11, 2017

Best Production Design

Sarah Greenwood and Katie Spencer

Nominated

[229][230]

Best Visual Effects

Beauty and the Beast

Runner-up[b]

Best Costume Design

Jacqueline Durran

Won[c]

Best Use of Music

Beauty and the Beast

Nominated

Satellite Awards

February 10, 2018

Best Costume Design

Jacqueline Durran

Nominated

[231]

Saturn Awards

June 27, 2018

Best Fantasy Film

Beauty and the Beast

Nominated

[232]

Best Actress

Emma Watson

Nominated

Best Production Design

Sarah Greenwood

Nominated

Best Costume Design

Jacqueline Durran

Won

Seattle Film Critics Society

December 18, 2017

Best Costume Design

Jacqueline Durran

Nominated

[233][234]

St. Louis Film Critics Association

December 17, 2017

Best Production Design

Sarah Greenwood

Nominated

[235]

Best Visual Effects

Beauty and the Beast

Nominated

Teen Choice Awards

August 13, 2017

Choice Movie: Fantasy

Won

[236][237]

Choice Movie: Fantasy Actor

Dan Stevens

Nominated

Choice Movie: Fantasy Actress

Emma Watson

Won

Choice Movie Villain

Luke Evans

Won

Choice Movie Ship

Emma Watson and Dan Stevens

Won

Choice Liplock

Won

Choice Scene Stealer

Josh Gad

Nominated

Choice Hissy Fit

Luke Evans

Nominated

Dan Stevens

Nominated

Visual Effects Society Awards

February 13, 2018

Outstanding Virtual Cinematography in a Photoreal Project

Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for "Be Our Guest"

Nominated

[238]

Washington D.C. Area Film Critics Association

December 8, 2017

Best Motion Capture Performance

Dan Stevens

Nominated

[239]

Best Production Design

Sarah Greenwood and Katie Spencer

Nominated

Women Film Critics Circle

December 17, 2017

Best Family Film

Beauty and the Beast

Nominated

[240][241]

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.[242] 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.”[243] 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."[244]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[245] 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).[246] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[247] 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.[248][249][250] 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.[251] 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".[252][253] 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.[254]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[255] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[256] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[257] Furthermore, the only gay interaction LeFou has is a three-second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[258]

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

text: Disney has sought to portray Belle as an empowered young woman,[259] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[260] 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.[261][262] 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.[263]

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.[264] 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.[265][266] 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.[267] 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.[268]

text: Notes[edit]

text:
Jump up ^ Also credited for Darkest Hour.

Jump up ^ Tied with Dunkirk.

Jump up ^ Tied with Mark Bridges for Phantom Thread.


document_title: One Day at a Time (2017 TV series)

question_text: who plays scott in one day at a time

question_tokens: who plays scott in one day at a time

root

text: One Day at a Time (2017 TV series)

text: Premise[edit]

text: The show depicts the everyday life of a Cuban-American family with each character finding their own journey. Following the story of Penelope Alvarez (Justina Machado) a United States Army Nurse Corps[2] veteran, facing her return to civilian life with a lot of unresolved issues from her time in the Army. She works as a nurse in the office of Dr. Leslie Berkowitz (Stephen Tobolowsky). After her husband's alcoholism due to post-traumatic stress disorder from his time in the Army make it, in Penelope's words, 'unsafe to be in the house', she separates from Victor (James Martínez), taking the children with her. With the help of her Mother, Lydia (Rita Moreno), a refugee who left Cuba as a teen following Fidel Castro's rise to power, she is raising her two children: Elena (Isabella Gómez) and Alex (Marcel Ruiz). Apart from planning her daughter's quinceañera, Penelope starts dating and finds a love interest. Elena, resistant to have a quinces, starts dating a teenager from her class; to later realize that she is a lesbian. After struggling in ways to tell her family about her sexuality she finds the right time to come out. Alex starts working in a school project about Cuba with the help of Schneider (Todd Grinnell) and Lydia. Lydia talks about leaving Cuba escaping from Castro's dictatorship and how she fell in love with her late husband Berto (Tony Plana).

tag: p

text: Each episode of the series focuses on important issues that face the Hispanic community and families in general. It has dealt with topics such as veterans' struggles with PTSD, depression, and anxiety, as well as sexuality, gender identity, sexism, and religion, amongst others.

text: Cast and characters[edit]

text: Main[edit]

text:
Justina Machado as Penelope Riera Alvarez, a United States Army Nurse Corps and mother of Alex and Elena. She works as a nurse for Dr. Leslie Berkowitz. After coming back from army service, she joins a therapy group to help her with her depression and anxiety. In the first season she separates from her husband Victor and starts dating Ben. Later she breaks up with Ben after Victor's visit for Elena's quinceañera. In season two Penelope decides to go back to school to become a nurse practitioner. She begins dating an Army Veteran, now EMT Max Ferraro, but breaks up with him after finding out he wanted children of his own, and decides to let him find that chance with someone else, as she believes that she is too old for another child, and has two children of her own.
Todd Grinnell as Dwayne Schneider, the rich landlord of the building. He is a close friend of the family and Penelope's best friend. Schneider is frequently having one-night stands with different women. Often in the series he talks about having multiple stepmothers and how dysfunctional his family was, while also occasionally discussing his history of addictions. He is Canadian and after years of having a green card decides to become a US citizen.
Isabella Gomez as Elena Maria Alvarez Riera Calderón Leytevidal Inclán, the activist and feminist teenage daughter of Penelope. After dating Josh, a classmate, and watching gay porn, she discovers that she is a lesbian and comes out to her family. The news doesn't sit well with her father, which upsets Elena. In season two she finds a love interest and founds a Gay-Straight Alliance club at her Catholic School.
Marcel Ruiz as Alejandro "Alex" Alberto Alvarez Riera Calderon Leytevidal Inclan, the son of Penelope. He wants to gain popularity at school and is part of the baseball team. He starts a school project about Cuba. In season two he begins working during the summer at Dr. Berkowitz's office.
Rita Moreno as Lydia Riera, a faithful Cuban, Penelope's mother and grandmother of Elena and Alex. She fled Cuba after Castro seized power. She was a dancer and a performer back in the day. Over the course of the season, she develops a relationship with Dr. Berkowitz.
Stephen Tobolowsky as Dr. Leslie Berkowitz, Penelope's boss and Lydia's love interest.

tag: ul

text: Recurring[edit]

text:
Fiona Gubelmann as Lori (season 1): Penelope's co-worker.
Ariela Barer as Carmen (season 1): Elena's best friend. She spent nights with Elena in her bedroom after her parents were deported back to Mexico, but Penelope finds out. She later moves to Austin, Texas to live with her brothers.
Froy Gutierrez as Josh Flores (season 1)
Eric Nenninger as Scott (season 1–present): Penelope's co-worker.
Haneefah Wood as Jill Riley (season 1–present): Penelope's friend.
Mackenzie Phillips as Pam Valentine (season 1–present): the leader of Penelope's female veteran therapy group.
Judy Reyes as Ramona (season 1–present): Penelope's friend from the therapy group.
Tony Plana as Berto Riera (season 1–present): Lydia's late husband.
James Martínez as Victor Alvarez (season 1–present): Penelope's ex-husband.
Ed Quinn as Max Ferraro (season 2): a military veteran, EMT, and Penelope's boyfriend[14]
Sheridan Pierce as Syd (season 2): Elena's girlfriend who identifies as non-binary.[15][16]

text: Guest[edit]

text:
Cedric Yarbrough as Jerry
Jay Hayden as Ben
Gabrielle Elyse as Dani
Jolie Jenkins as Nikki
Ivonne Coll as Esme
Emiliano Díez as Padre Jose
Georgia Engel as Sister Barbara
Tim Bagley as Henry
Mindy Sterling as Delia
Timm Sharp as Nurse Wally

text: Episodes[edit]

text:
Season
Episodes
Originally released

1
13
January 6, 2017 (2017-01-06)

2
13
January 26, 2018 (2018-01-26)

tag: table

text: Season 1[edit]

text: In the first season Penelope and Lydia are trying to convince Elena to have a quinceañera to honor her Cuban heritage. Elena feels like she isn't being taken seriously at school. Meanwhile, Penelope is struggling to voice her ideas to her co-workers. Lydia gives Elena a makeover so she will get attention from her classmates, while Penelope decides to not let her coworker silence her and implements her plan at Dr. Berkowitz's office.

text: After some time, Penelope decides to start dating again, and goes to Schneider for advice. Lydia tells Penelope that she is suspicious of Carmen and Elena's friendship, calling it queer. Later, Penelope and Lydia learn that Carmen's parents have been deported, and she has been living in Elena's room the whole time.

text: Dr. Berkowitz is going out with Lydia, secretly, as "friends." He is very taken with her, but Lydia is convinced she can never love again after the death many years before of her beloved husband, Berto.

text: Near the end of the season, Elena comes out to her family as a lesbian. Penelope feels weird about it even though everyone, including the Catholic Lydia, are very accepting. Penelope asks for advice, and realizes that she loves and accepts Elena no matter what. However, Elena's father, Victor, doesn't take the news so well. In the season finale, Elena has her quinceañera; and her father publicly abandons her before the father-daughter dance, which results in her mother dancing with her instead, and the rest of her family joining in a group hug on the dance floor.

text: Season 2[edit]

text: Season two begins with Penelope worrying about the changes she is seeing in Alex. After discussing the matter, she learns that Alex is being bullied and facing racism at school.

text: Penelope decides to go back to college to become a nurse practitioner, but is failing most of her courses. With the help of her mother and children, after an episode of self-doubt she makes up her mind to keep following her dream.

text: Elena develops a crush on a non-binary friend, while dealing with the fact that her father doesn't accept her.

text: Penelope and Alex are spending time together, going to the movies and working during the summer at Dr. Leslie Berkowitz's office. Alex learns a great deal about his mother's life outside the apartment, and why she does what he does. At the same time, Elena is taken on by Schneider as the deputy building superintendent, and learns there's a lot more to his job than just fixing leaky faucets and broken toilets.

text: Penelope begins dating an old friend from her Army days without telling her family. Eventually she brings Max, a paramedic, to meet her family, who approve of him. Later, she worries that the relationship is not exclusive and that Max is seeing other people.

text: Elena sees Alex texting someone called "P." She assumes that Alex has a girlfriend, but when she follows him one night when he is to meet up with "P," she discovers that "P" is Victor, their father. ("P" actually stood for Papi.) Victor has been meeting and been in contact with Alex since he walked out on Elena's quinceanera. After confronting her father, Elena and Victor's relationship slowly improves.

text: Lydia learns that Dr. Berkowitz is going to the opera with another woman. She and Schneider go to the opera to spy on him to find out if he is dating other woman, and if so, why.

text: Worried about the direction they see the U.S. government taking, Schneider and Lydia decide, after decades of living in the United States as resident aliens, to take their citizenship tests. Hilarity ensues.

text: During the season finale, Lydia and Penelope have a heated argument, and Lydia has a cerebral incident that is the precursor to a stroke. She is hospitalized and placed in a medically-induced coma, with each of the characters visiting her in the hospital, telling what they love and why they care about Lydia. The episode climaxes with Lydia having an out-of-body experience featuring her beloved husband Berto.

text: Theme song and opening credits[edit]

text: The theme song for the original One Day at a Time series, “This is It", was re-recorded for the newer version of the series, with a new arrangement by Emilio Estefan featuring Cuban instrumentation and lead vocals by Gloria Estefan. The song was composed by husband-and-wife songwriters Jeff Barry and Nancy Barry. Recording artist Polly Cutter sang the original version of the theme song.[17]

text: Reception[edit]

text:
Season
Critical response

Rotten Tomatoes
Metacritic

1
97% (29 reviews)
79 (23 reviews)

2
100% (14 reviews)
88 (6 reviews)

text: Critical response[edit]

text: On the review aggregator Rotten Tomatoes, the first season has an approval rating of 97% based on 30 reviews with an average rating of 7.62/10. The site's critical consensus reads, "One Day at a Time breathes fresh life into the classic Norman Lear original with a lively, sharp, and proudly old-school sitcom bolstered by a surfeit of heart and terrific performances from Rita Moreno and Justina Machado."[18]

text: Robert Lloyd of the Los Angeles Times found the first season to be "lively without being rushed" thanks to the full 30 minute run time.[19] "The show is nicely written ... and the performances [especially Moreno's] are almost universally engaging," according to David Wiegand of the San Francisco Chronicle.[20] The Newsday review by Verne Gay particularly praises Machado as "flat-out terrific" and calls the first season "congenial, good-hearted, easy going, sentimental, old-fashioned and surprisingly new-fashioned. There’s also a deep emotional core here which refuses to be devalued by the typical (or tired) beat of a multicamera sitcom."[21]

text: A USA Today review by Kelly Lawler noted that Elena's coming-out arc in the first season has drawn special praise from LGBT critics for its "unique, realistic and refreshing take on the subject... the depiction of a young, happy Latinx lesbian comes as a hopeful sign for many."[22] Autostraddle senior editor Yvonne Marquez called the arc "mind-blowing" [22] and the show revolutionary because "it centers the family’s brownness and provides ample social commentary to deliver a fantastic modern-day sitcom."[23]

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2017

Teen Choice Awards
Choice TV Show: Comedy
One Day at a Time
Nominated
[24]

Imagen Foundation Awards
Best Primetime Television Program – Comedy
One Day at a Time
Won
[25][26]

Best Actress – Television
Justina Machado
Won

Best Supporting Actress – Television
Rita Moreno
Nominated

Isabella Gomez
Won

Best Young Actor – Television
Marcel Ruiz
Won

Primetime Emmy Awards
Outstanding Multi-Camera Picture Editing for a Comedy Series
Pat Barnett
Nominated
[27]

Gold Derby Awards
Best Comedy Supporting Actress
Rita Moreno
Nominated
[28]

2018

Critics' Choice Television Awards
Best Supporting Actress in a Comedy Series
Rita Moreno
Nominated

GLAAD Media Awards
Outstanding Comedy Series
One Day at a Time
Pending
[29]


document_title: National Maximum Speed Law

question_text: when did the speed limit change from 55 to 70 in texas

text: National Maximum Speed Law

text: 1973—55 mph National Speed Limit[edit]

text: As of November 20, 1973, several states had modified speed limits:[6]

text:
50 mph (80 km/h): Rhode Island, Maryland, Massachusetts, New Jersey, New York, Vermont, and Washington
55 mph (90 km/h): North Carolina and Oregon
California lowered some 70 mph (115 km/h) limits to 65 mph (105 km/h).
In late November 1973, Texas Governor Dolph Briscoe recommended adoption of a 55 mph (90 km/h) statewide limit.[7] On December 4, the Texas Highway Commission, with a 3–0 vote, adopted this 55 mph (90 km/h) speed limit, citing unsafe speed differentials between the flow of traffic and people driving too slowly to comply with President Nixon's and Governor Briscoe's requests for voluntary slowdowns. The legality of the measure was questioned, and two Texas legislators threatened to sue to block the limit.[8] However, by December 6, Texas Attorney General John Hill ruled that the speed reduction "'was in excess' of the commissioners' legal power," citing that a 1943 Texas Attorney General's opinion held that the legislature holds the power to set the statewide speed limit and the Commission's authority was limited to changing it in specific locales where safety factors required lower limits.[9]

text: As an emergency response to the 1973 oil crisis, on November 26, 1973, President Richard Nixon proposed a national 50 mph (80 km/h) speed limit for passenger vehicles and a 55 mph (90 km/h) speed limit for trucks and buses. That, combined with a ban on ornamental lighting, no gasoline sales on Sunday, and a 15% cut in gasoline production, were proposed to reduce total gas consumption by 200,000 barrels a day, representing a 2.2% drop from annualized 1973 gasoline consumption levels.[10][a] Nixon partly based this on a belief that cars achieve maximum efficiency between 40 and 50 mph (65 and 80 km/h) and that trucks and buses were most efficient at 55 mph (90 km/h).[12]

text: The California Trucking Association, the then-largest trucking association in the United States, opposed differential speed limits on grounds that they are "not wise from a safety standpoint."[13]

text: Enactment[edit]

text: The Emergency Highway Energy Conservation Act was a bill in the U.S. Congress that enacted the National Maximum Speed Law.[14] States had to agree to the limit if they desired to receive federal funding for highway repair. The uniform speed limit was signed into law by President Nixon on January 2, 1974, and became effective 60 days later,[15] by requiring the limit as a condition of each state receiving highway funds, a use of the Commerce Clause of the United States Constitution.[16]

text: The legislation required 55 mph (90 km/h) speed limits on all four-lane divided highways unless the road had a lower limit before November 1, 1973. In some cases, like the New York Thruway, the 50 mph (80 km/h) speed limit had to be raised to comply with the law. The law capped speed limits at 55 mph (90 km/h) on all other roads.[15]

text: A survey by the Associated Press found that, as of Wednesday, January 2, 1974:[15]

text:
12 states already had maximum speed limits of 55 mph (90 km/h).
9 states had maximum speed limits of 50 mph (80 km/h).
29 states had lower limits.

text: This includes some states that voluntarily lowered their limits in advance of the federal requirement.

text: On May 12, 1974, the United States Senate defeated a proposal by Senator Robert Dole to raise the speed limit to 60 mph (95 km/h).[17]

text: The 55 mph (90 km/h) National Maximum Speed Limit was made permanent when Congress enacted and President Gerald Ford signed into law the Federal-Aid Highway Amendments of 1974 on January 4, 1975.[18]

text: Safety impact[edit]

text:
The limit's effect on highway safety is unclear. During the time the law was enacted and after it was repealed automobile fatalities decreased,[19] and this was widely attributed mainly to automobile safety improvements, owing to an increase in the safety of cars themselves.[20] This decrease in fatalities from automobile accidents makes figuring out the actual impact of the law difficult. Although the vast majority of states reported fewer traffic deaths in 1974 compared with 1973, there were in fact three states where traffic deaths actually increased in 1974, 1975 and 1976, compared to 1973, notwithstanding the 55 mph (90 km/h) speed limit: Alaska, New Hampshire and Wyoming.
[21]

text: According to the National Research Council, there was a decrease in fatalities of about 3,000 to 5,000 lives   in 1974, and about 2,000 to 4,000 lives saved annually thereafter through 1983, due to slower and more uniform traffic speeds since the law took effect.[22] Later, the National Academies wrote that there is "a strong link between vehicle speed and crash severity [which] supports the need for setting maximum limits on high-speed roads," but that "the available data do not provide an adequate basis for precisely quantifying the effects that changes in speed limits have on driving speeds, safety, and travel time on different kinds of roads." The Academies report also noted that on rural interstates, the free-flowing traffic speed  should be the major determinant of the speed limit, because "Drivers typically can anticipate appropriate driving speeds." This is due, in part, to the strong access control in these areas but also is an acknowledgement of the difficulty of enforcing the 55 mph (90 km/h) speed limit in these areas.[23]

text: A Cato Institute report showed that the safety record worsened in the first few months of the new speed limits, suggesting that the fatality drop found by the NRC was a statistical anomaly that regressed to the mean by 1978.[24] After the oil crisis abated, the NMSL was retained mainly due to the possible safety aspect.[25]

text: Insurance Institute for Highway Safety analysts wrote three papers that argue that increase from 55 to 65 mph (90 to 105 km/h) on rural roads led to a 25% to 30% increase in deaths (1/3 from increased travel, 2/3 from increased speed)[26] while the full repeal in 1995 led to a further 15% increase in fatalities.[26] In contrasting work, researchers at University of California Transportation Science Center argue that the interstates in question are only part of the equation, one also must account for traffic moving off the relatively more dangerous country roads and onto the relatively safer interstates. Accounting for this they find that raising rural speed limits to 65 mph (105 km/h) caused a 3.4% to 5.1% decrease in fatalities.[27]

text: Fuel savings[edit]

text:
In 1998, the U.S. Transportation Research Board footnoted an estimate that the 1974 National Maximum Speed Limit (NMSL) reduced fuel consumption by 0.2 to 1.0 percent.[28] Rural interstates, the roads most visibly affected by the NMSL, accounted for 9.5% of the U.S.’s vehicle-miles-traveled in 1973,[29] but such free-flowing roads typically provide more fuel-efficient travel than conventional roads.[30]
[31]
[32]

text: Conservative think tank The Heritage Foundation claims that the United States Department of Transportation's Office of Driver Research found total fuel savings to be 1% and that "independent studies" found a 0.5% savings.[33]

text: Opposition and noncompliance[edit]

text: Despite federal compliance standards mandated by Congress that no more than 50 percent of free-flowing traffic on 55 mph-posted highways exceed 55 mph (90 km/h) from 1981 onwards, which required up to a 10 percent reduction in federal highway funding for states in noncompliance,[34] by the 1980s traffic surveys showed the NMSL was widely violated:

text:
The speed limit had very low compliance, contrary to the commonly accepted engineering practice that says that the speed limit should criminalize only the fastest 15% of drivers:
From April through June 1982, speed was monitored on New York's Interstate highways, and an 83% noncompliance rate was found, despite extreme penalties ranging from $100 (1982 dollars, equal to $254 today) or 30 days jail on a first offense to $500 (1982 dollars, equal to $1,268 today), up to 180 days in jail, and a six-month driver's license revocation upon third conviction in 18 months.[35]
In the 4th quarter of 1988, 85% of drivers violated the 55 mph (90 km/h) speed limits on Connecticut rural interstates.[36]
In 1985, the Texas's State Department of Highways and Public Transportation surveyed motorist speeds at 101 locations on six types of urban and rural roads. It found that 82.2% of motorists violated the speed limit on rural interstates, 67.2% violated  speed limits on urban interstates, and 61.6% violated speed limits on all roads.[37][38]
Western states began to reduce fines in the 1980s, effectively minimizing the impact of the 55 mph (90 km/h) limit:
Arizona, Idaho, Montana, Nevada replaced traditional speeding fines with $5–$15 energy wasting fines as long as drivers did not exceed the speed limit in effect before the 55 mph (90 km/h) federal requirement.[35]
Nevada's energy wasting fine was enacted on April 15, 1981, when signed by Governor Robert List. Motorists not exceeding 70 mph (115 km/h) in 55 mph (90 km/h) zones could be issued $5 "energy wasting" fines. However, standard speeding tickets were still allowed and "troopers were directed not to take the new law as a signal to stop writing tickets".[39]
In 1986, North Dakota's fine for speeding up to 15 mph (25 km/h) over the limit was only $15 and had no license points.[40]
South Dakota cut speeding fines in 1985 and stopped assessing points for being 10 mph (15 km/h) or less above the speed limit in 1986.[40]
On August 1, 1986, Minnesota, which normally suspended licenses after three tickets, stopped counting speeding tickets for no more than 65 mph (105 km/h).[40]
In 1981, 33 state legislatures debated measures to oppose the NMSL.[35]
In 1985, The U.S. Department of Transportation found the states of Arizona, Maryland and Vermont were out of compliance with the 55 mph (90 km/h) national speed limit, according to speed monitoring data collected and submitted by these states, showing that over 50 percent of their highway traffic exceeded 55 mph (90 km/h) in Fiscal Year 1984; the House Public Works and Transportation Subcommittee on Surface Transportation held hearings on July 23, 1985, to discuss proposals to revise the federal compliance requirements for 55 mph (90 km/h) on the basis of recommendations made by the National Research Council, to help these and other states come into compliance and avoid sanctions.[41]
Some law enforcement officials openly questioned the speed limit. In 1986, Jerry Baum, director of the South Dakota Highway Patrol, said "Why must I have a trooper stationed on an interstate, at 10 in the morning, worried about a guy driving 60 mph (100 km/h) on a system designed to be traveled at 70? He could be out on a Friday night watching for drunken drivers."[40][42]
Even organizations supporting the NMSL, such as the American Automobile Association (AAA) provided lists of locations where the limit was strictly enforced.[35]
On June 1, 1986, Nevada challenged the NMSL by posting a 70 mph (115 km/h) limit on 3 miles (5 km) of Interstate 80. The Nevada statute authorizing this speed limit included language that invalidated itself if the federal government suspended transportation funding. Indeed, the Federal Highway Administration immediately withheld highway funding, which automatically invalidated the statute by its own terms.[16]

text: 1987 and 1988—65 mph limit[edit]

text: In the April 2, 1987, Surface Transportation and Uniform Relocation Assistance Act, Congress permitted states to raise speed limits to 65 mph (105 km/h) on rural Interstate highways.[43] In a bill that passed in mid-December 1987, Congress allowed certain non-Interstate rural roads built to Interstate standards to have the higher speed limits. As of December 29, 1987, the states of California, Florida, Illinois, Iowa, Kansas, Kentucky, and Oklahoma had applied for and been accepted into this program. The program was originally slated to last four years.[44]

text: These reforms were vehemently opposed by highway safety advocates, including the National Safety Council, Public Citizen, Mothers Against Drunk Driving and the Insurance Institute for Highway Safety, all ardent, long-time supporters of 55 mph (90 km/h).[45][46][47]

text: Under the Intermodal Surface Transportation Efficiency Act of 1991,[48] passed by Congress and signed by President George H.W. Bush on December 18, 1991, the 65 mph speed limit was made permanent for rural non-Interstate highways built to Interstate standards. It also declared a moratorium on Federal sanctions against states in noncompliance with the 55 mph (90 km/h) national speed limit for FY 1990 and 1991, and directed the U.S. Department of Transportation to promulgate new compliance standards for the 65 mph rural freeways, as well as for all 55 mph (90 km/h) highways. As required by ISTEA, they were published in the Code of Federal Regulations 23 CFR Part 1260, but no further action was taken by USDOT against the states for speed limit noncompliance for the last few years the National Maximum Speed Law was still in effect, before it was repealed in 1995.

text: Reclassified roads[edit]

text: A few roads that weren't Interstate Highways but were built to Interstate standards were redesignated as Interstate Highways to qualify for the increased speed limit:

text:
Kansas petitioned the Federal Highway Administration on May 14, 1987, to "designate the turnpike as an Interstate Highway between Topeka and Emporia". This Kansas Turnpike segment had existed since 1956 without a numerical designation. Interstate status was granted, Interstate 335 was designated, and the 65 mph speed limit signs went up.[49]
Interstate 88 in Illinois had previously been designated as Illinois Route 5.
50 miles (80 km) of the Maine Turnpike between Portland and West Gardiner were designated as Interstate 495 in 1988.  The designation for this segment was changed in 2004 to Interstate 95 to simplify the Interstate numbering scheme in Maine.[50]

text: 1995—Repeal of federal limits[edit]

text: Congress lifted all federal speed limit controls in the National Highway System Designation Act of 1995, returning all speed limit determination authority to the states effective December 8, 1995. Several states immediately reverted to already existing laws. For example, most Texas rural limits that were above 55 mph (90 km/h) in 1974 immediately reverted to 70 mph (115 km/h), causing some legal confusion before the new signs were posted. Montana reverted to non-numerical speed limits on most rural highways, although its legislature adopted 75 mph (120 km/h) as a limit in 1999; as a result, according to Insurance Institute for Highway Safety researcher Anne McCartt, "What's impressive is the huge drop in the percent of vehicles going very fast...The proportion of vehicles exceeding 75 mph, the limit set [by Montana] in 1999, tumbled 45 percent. The proportion surpassing 80 mph plummeted 85 percent. Large trucks slowed, too." (She did not mention that the IIHS survey of traffic speeds on Interstate highways in 2006 she referred to, found Montana,  as compared with New Mexico and Nevada, had the highest compliance with the 75 mph speed limit on rural interstates: 76 percent.)[51] Hawaii was the last state to raise its speed limit when, in response to public outcry after an experiment with traffic enforcement cameras in 2002, it raised the maximum speed limit on parts of Interstates H-1 and H-3 to 60 mph (95 km/h).[52]

text: Despite the repeal of federal speed limit controls, 2011 maximum speed limits were, on average, lower than in 1974:[53]

text:
States with same speed limit as pre-1974: 25[b]
States with higher speed limit than pre-1974: 8
States with lower speed limits than pre-1974: 17[c] The introduction to 70 or 75 mph speed limits was in effect that year. The introduction to 80 mph limits was in about 2005, and Texas introduced 85 (140) in 2011.

text: Although traffic deaths and death rates have generally declined in the United States since 1989,[54][55] highway safety advocates have long continued to assert that increases in state speed limits, following the repeal of the National Maximum Speed Law, have had a detrimental effect on highway safety, and have conducted many studies including statistical analyses that claim to support this argument. For example, the Insurance Institute for Highway Safety declared that, "..[E]ach 5 mph increase in the maximum speed limit resulted in a 4 percent increase in fatalities. The increase on Interstates and freeways...was 8 percent. Comparing the annual number of fatalities in the 41 states [studied] with the number that would have been expected if each state's maximum speed limit had remained unchanged since 1993, [we] arrived at the estimate of 33,000 additional fatalities over the 20-year period [from 1993 to 2013].[56][57]

text: Speedometers[edit]

text: On October 1, 1980, in a regulation that also regulated speedometer and odometer accuracy, the National Highway Traffic Safety Administration (NHTSA) required speedometers to have special emphasis on the number 55 and a maximum speed of 85 mph (137 km/h). However, on October 19, 1980, NHTSA proposed eliminating speedometer and odometer rules because they were "unlikely to yield significant safety benefits" and "[a] highlighted '55' on a speedometer scale adds little to the information provided to the driver by a roadside speed limit sign."[58][59][60]

text: In popular culture[edit]

text: The number 55 became a popular shorthand for the 55 mph speed limit.  For example, a hand with a pair of fives in Texas hold'em poker is referred to as a "speed limit".[61]  Rock musician Sammy Hagar released "I Can't Drive 55", a hit single protesting the rule.  The title of Minutemen's critically acclaimed double album Double Nickels on the Dime refers to the NMSL, and in jest, to the Sammy Hagar single.

text: One of a series of advertising campaigns for the 55 mph speed limit offered, "Speed limit 55.  It's not just a good idea.  It's the law."[62][63][64]. Intelligentsia riffed that with a more absolute statement based on the speed of light: "186,000 miles per second.  It's not just a good idea, it's the law." [65]

text: Annotations[edit]

text:
Jump up ^ The 2.2% drop figure was calculated by finding daily consumption to be 9,299,684 barrels of petroleum. Obtain 1973's petroleum consumption from transportation sector at 2.1e from the Energy Consumption by Sector section, then convert to barrels using A1 in the Thermal Conversion Factors section (assume "conventional motor gasoline" since ethanol-based or purportedly smog-reducing gas was not common in 1973).[11]

Jump up ^ Includes Texas where the same pre-1974 speed limits are applicable on the vast majority of rural roads despite some 75 and 80 mph limits.

Jump up ^ Includes Virginia where the vast majority of rural freeways have a 65 mph (105 km/h) limit.

tag: ol


document_title: Bachelor of Applied Science

question_text: what is a bachelor's degree of applied science

question_tokens: what is a bachelor 's degree of applied science

text: Bachelor of Applied Science

text: Usage[edit]

text: In Canada, the Netherlands and other places the Bachelor of Applied Science (BASc) is equivalent to the Bachelor of Engineering, and is classified as a professional degree. In Australia and New Zealand this degree is awarded in various fields of study and is considered a highly specialized professional degree. However, in the United States it is also considered a highly specialized professional technical degree; the Bachelor of Applied Science is an applied baccalaureate, typically containing advanced technical training (e.g. military training) in sciences combined with liberal arts that traditional degrees do not have. All the general education courses are valid courses if taken at accredited universities and colleges that have Regional accreditation. Hence, an earned BAS degree does include having to take upper-division coursework as required in addition to traditional bachelor's degree programs.[1][2][3]

text: The Bachelor of Applied Science (BAS) degree is designed to grow professional management skills of the learner and meet the demand for leadership of highly technical professionals in the workplace. A Bachelor of Applied Science (BAS) degree requires an Associate of Applied Science (AAS) degree, a minimum of 4-years of professional development or additional classes in an approved field,  professional certifications or approved military training, and 2-years of upper level college courses. This degree takes longer than a basic traditional degree because of the specialized technical skill level and professional development requirements. Most people who pursue this degree are already experienced professional adults who are working towards an advanced graduate degree or interested in upward mobility in their field.[4]

text: The Associate of Applied Science (AAS) is historically considered a technical degree in the United States.[5] An accredited AAS degree is a 2 to 3-year degree that articulates well with advanced academics and/or approved technical programs. A high school diploma and entry level testing is necessary for college acceptance. The AAS provides opportunities for advanced learning through 4-year undergraduate studies in approved fields that will transfer to an accredited BAS program.[6]

text: On 20 February 2009 the Dutch Minister of Education, Culture and Science, Ronald Plasterk, proposed to replace all the existing degrees offered by Dutch vocational universities, such as the BBA, BEd and BEng, with the BAA and the BASc.[7] But, the BAS has taken the official degree term in the United States.

text: The Bachelor of Applied Science (BAS) degrees are designed to enhance the occupational/technical education provided by an Associate of Applied Science (AAS) or Associate of Applied Technology (AAT) degree program.  Where the AAS or AAT degree prepares students in technical disciplines, Georgia Military College's BAS degree programs are designed to prepare students for career advancement opportunities and supervisory and management roles in their technical or occupational field. Find more information online at www.gmc.edu

text: Georgia Military College offers a BAS in Business Management, a BAS in Supervision and Management, and a BAS in Supply Chain Management and Logistics (to begin August 2017).  The Business Management degree program is designed for students who have earned an AAS degree in a business related program.  The Supervision and Management degree program is designed for students who have earned an AAS or AAT degree in a technical/occupational non-business related program. The Supply Chain Management and Logistics degree program is designed for students who have earned an AAS degree in a business, computer information systems, supply chain, or logistics-related program.

text: Fields of study[edit]

text: The BAS usually requires a student to take a majority of their courses in the applied sciences, specializing in a specific area such as the following:

text:
Applied physics
Applied mathematics
Architectural science
General engineering
Automotive engineering
Biological engineering
Biochemical engineering
Business informatics
Chemical engineering
Civil engineering
Computer science
Computer engineering
Communication
Criminal justice
Criminology
Electrical engineering
Environmental engineering
Geomatics
Occupational health and safety
Public health
Engineering management
Engineering physics
Engineering science
Engineering science and mechanics
Geological engineering
Hospitality Management
Industrial engineering
Information management
Integrated engineering
Information systems
Information technology
Management engineering
Management of technology
Manufacturing engineering
Materials science & engineering
Mechanical engineering
Mechanical engineering technology
Mechatronics engineering
Mining engineering
Microbiology
Nanotechnology engineering
Nutrition and Food
Paralegal Studies
Forensics
Astrophysics
Professional Technical Teacher Education
Software engineering
Sound engineering
Surveying
Sustainable building science technology
Systems engineering
Applied physics & electronic engineering
Business management
Social science
Leadership


document_title: Maria Stark

question_text: who plays tony stark's mom in civil war

question_tokens: who plays tony stark 's mom in civil war

text: Maria Stark

text: Fictional character biography[edit]

text: Maria Stark was born Maria Collins Carbonell. In her adulthood, Maria married Howard, and together they had a son that was not her biological son Anthony "Tony" Stark. Maria was unsuccessful in preventing Tony from seeing Howard's alcoholism, something Tony would later face on his own. Howard secretly programmed the Mistress AI that controlled the Arsenal robots with Maria's brain patterns.[1]

text: On the Ides of March, Maria and Howard were killed in a 'planned' car accident[2] (possibly arranged by the Roxxon Oil Company).[3] Afterwards, Tony ran his father's company, started a charity in his mother's name (which donated funds to finance various charities and renovation projects as well as the Avengers) and later became Iron Man.

text: Other versions[edit]

text: Ultimate Marvel[edit]

text: The Ultimate Marvel version of the character is renamed as Maria Cerrera, the second wife of Howard Stark. Maria was a brilliant scientist who suffered a genetic accident while she was pregnant with her and Howard's child. After Maria died during childbirth, Howard uses a newly invented biological armor to save the life of their son named after Antonio Cerrera (Maria's brother) who died at a young age. Years later, Loni (Howard's first wife) tells Tony twice that she wishes she could have been Tony's mother under different circumstances, but Tony still prefers his own mother.[4]

text: While what has been depicted is retconned as an in-universe fictional TV show about Iron Man's life, the actual Ultimate version of her character is briefly mentioned by her other son Gregory Stark when joking says how Gregory "came out of [Maria] before [Tony]" but this has since been discounted.[5]

text: In other media[edit]

text: Television[edit]

text:
Maria Stark appeared in the 1990s Iron Man animated series, voiced by Dimitra Arliss. She is seen in the episode "The Origin of Iron Man" Pt. 1.
Maria Stark is alluded in Iron Man: Armored Adventures. Her image was used in the episode "Iron Monger Lives" by Madame Masque's mask to impersonate in order to mess with Tony Stark after the de-activated the Iron Monger armor via Extremis.

text: Film[edit]

text: Hope Davis portrays Maria Stark in Captain America: Civil War. In the film, it shows her death along with her husband's was carried out by the Winter Soldier for Hydra. Producer Kevin Feige revealed that another actress had been cast to appear as the character in Iron Man 3 in a flashback sequence that did not make the final cut of the film.[6]