document_title: Haynes (surname)

question_text: where does the last name haynes come from

text: Haynes (surname)

text:
Haynes

Origin

Region of origin
England (Bedfordshire), Wales, Ireland (variant of Hayes), Scotland (Highlands)

Meaning
son of "Haine"

Other names

Variant(s)
Haines, Hayne, Haine

text: Haynes is a Welsh surname. Notable people with the surname include:

text:
Alex Haynes (born 1982), American football player
Abner Haynes (born 1937), American football player
Adrian Haynes (1926-1988), Native American leader
Arden Haynes (born 1927), Canadian former CEO of Imperial Oil and former Chancellor of York University
Arthur Haynes (1914-1966), English comedian
Billy Jack Haynes (born 1953), American former professional wrestler
Colton Haynes (born 1988), American actor
Cornell Haynes Jr. (born 1974), American rapper, better known as Nelly
Danny Haynes (born 1988), English footballer
Deborah Haynes, British journalist
Desmond Haynes (born 1956), West Indian cricketer and cricket coach
Elwood Haynes (1857–1925), American inventor and co-founder of the Haynes-Apperson Company
Elizabeth Ross Haynes (1883–1953), African American social worker, sociologist, and author
Gibby Haynes (born 1957), American musician
Fred Haynes (1946–2006), American athlete
James Haynes (American football) (born 1960), American football player
Jerry Haynes (1927–2011), American actor and children's television host
Jimmy Haynes (born 1972), American baseball player
Joe Haynes (baseball player), (1917-1967), American baseball player
Joe M. Haynes (1936-2018), American lawyer and politician
John Haynes (governor) (1594–1654), English colonial magistrate, governor of the Massachusetts Bay Colony and Connecticut Colony
John Henry Haynes (1849-1910), American archaeologist and pioneering early photographer
John Earl Haynes, American historian
Johnny Haynes (1934–2005), English football player
Lemuel Haynes (1753–1833), American preacher and abolitionist
Martin Alonzo Haynes (1842–1919), US Representative
Michael Haynes (defensive lineman) (born 1980), American football player
Michael Haynes III, American professional wrestler better known as Prince Iaukea
Mike Haynes (cornerback) (born 1953), American football player
Nicole Haynes (born 1974), Canadian-American heptathlete
O.H. Haynes, Jr. (1920–1996), Louisiana sheriff
O. H. Haynes, Sr. (1888–1969), Louisiana sheriff
Robert Haynes (1931–1998), Canadian geneticist and biophysicist
Roy Haynes (born 1926), American jazz musician
Stephen Haynes (1801–1879), American politician and builder, Brooklyn, New York
Terrence Haynes (born 1984), Barbadian freestyle swimmer
Todd Haynes (born 1961), American film director
Warren Haynes (born 1960), American rock and blues guitarist

text: Distribution[edit]

text: As a surname, Haynes is the 249th most common surname in Great Britain with 33,812 bearers. It is most common in the West Midlands where it is the 89th most common surname with 4,937 bearers. Other concentrations include East Sussex, (17th, 3,323), Hampshire, (84th,3,385), Tyne & Wear, (192nd,1,821), West Yorkshire, (280th,1,739), Cheshire, (282nd,1,715) and Essex (461st,1,703).

text: Fictional characters:

text:
Mr. Haynes, character in the novel Minty Alley by C. L. R. James
Gus Haynes, a character in the fifth season of The Wire

text: This page lists people with the surname Haynes. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.

text: Surnames

text: All set index articles


document_title: List of English football champions

question_text: when did man utd last win the premier league

root

text: List of English football champions

text: List[edit]

text: Teams in bold are those who won the double of League Championship and FA Cup, or the European Double of League Championship and European Cup in that season.

tag: p

text: Football League (1888–1892)[edit]

text:
Year
Champions
(number of titles)
Runners-up
Third place
Leading goalscorer
22Goals

1888–89
Preston North End[1]
Aston Villa
Wolverhampton Wanderers
 John Goodall (Preston North End)
21

1889–90
Preston North End (2)
Everton
Blackburn Rovers
 Jimmy Ross (Preston North End)
24

1890–91
Everton
Preston North End
Notts County
 Jack Southworth (Blackburn Rovers)
26

1891–92
Sunderland
Preston North End
Bolton Wanderers
 John Campbell (Sunderland)
32

tag: table

text: Football League First Division (1892–1992)[edit]

text:
Year
Champions
(number of titles)
Runners-up
Third place
Leading goalscorer
Goals

1892–93
Sunderland (2)
Preston North End
Everton
 John Campbell (Sunderland)
31

1893–94
Aston Villa
Sunderland
Derby County
 Jack Southworth (Everton)
27

1894–95
Sunderland (3)
Everton
Aston Villa
 John Campbell (Sunderland)
22

1895–96
Aston Villa (2)
Derby County
Everton
 Johnny Campbell (Aston Villa)
 Steve Bloomer (Derby County)
20

1896–97
Aston Villa (3)
Sheffield United
Derby County
 Steve Bloomer (Derby County)
22

1897–98
Sheffield United
Sunderland
Wolverhampton Wanderers
 Fred Wheldon (Aston Villa)
21

1898–99
Aston Villa (4)
Liverpool
Burnley
 Steve Bloomer (Derby County)
23

1899–1900
Aston Villa (5)
Sheffield United
Sunderland
 Billy Garraty (Aston Villa)
27

1900–01
Liverpool
Sunderland
Notts County
 Steve Bloomer (Derby County)
23

1901–02
Sunderland (4)
Everton
Newcastle United
 Jimmy Settle (Everton)
18

1902–03
The Wednesday[8]
Aston Villa
Sunderland
 Sam Raybould (Liverpool)
31

1903–04
The Wednesday[8] (2)
Manchester City
Everton
 Steve Bloomer (Derby County)
20

1904–05
Newcastle United
Everton
Manchester City
 Arthur Brown (Sheffield United)
22

1905–06
Liverpool (2)
Preston North End
The Wednesday
 Albert Shepherd (Bolton Wanderers)
26

1906–07
Newcastle United (2)
Bristol City
Everton
 Alex Young (Everton)
30

1907–08
Manchester United
Aston Villa
Manchester City
 Enoch West (Nottingham Forest)
27

1908–09
Newcastle United (3)
Everton
Sunderland
 Bert Freeman (Everton)
38

1909–10
Aston Villa (6)
Liverpool
Blackburn Rovers
 Jack Parkinson (Liverpool)
30

1910–11
Manchester United (2)
Aston Villa
Sunderland
 Albert Shepherd (Newcastle United)
25

1911–12
Blackburn Rovers
Everton
Newcastle United
 Harry Hampton (Aston Villa)
 George Holley (Sunderland)
 David McLean (The Wednesday)
25

1912–13
Sunderland (5)
Aston Villa
The Wednesday
 David McLean (The Wednesday)
30

1913–14
Blackburn Rovers (2)
Aston Villa
Middlesbrough
 George Elliot (Middlesbrough)
32

1914–15
Everton (2)
Oldham Athletic
Blackburn Rovers
 Bobby Parker (Everton)
35

1915/16–1918/19
League suspended owing to the First World War

1919–20
West Bromwich Albion
Burnley
Chelsea
 Fred Morris (West Bromwich Albion)
37

1920–21
Burnley
Manchester City
Bolton Wanderers
 Joe Smith (Bolton Wanderers)
38

1921–22
Liverpool (3)
Tottenham Hotspur
Burnley
 Andy Wilson (Middlesbrough)
31

1922–23
Liverpool (4)
Sunderland
Huddersfield Town
 Charlie Buchan (Sunderland)
30

1923–24
Huddersfield Town
Cardiff City
Sunderland
 Wilf Chadwick (Everton)
28

1924–25
Huddersfield Town (2)
West Bromwich Albion
Bolton Wanderers
 Frank Roberts (Manchester City)
31

1925–26
Huddersfield Town (3)
Arsenal
Sunderland
 Ted Harper (Blackburn Rovers)
43

1926–27
Newcastle United (4)
Huddersfield Town
Sunderland
 Jimmy Trotter (The Wednesday)
37

1927–28
Everton (3)
Huddersfield Town
Leicester City
 Dixie Dean (Everton)
60

1928–29
The Wednesday[8] (3)
Leicester City
Aston Villa
 Dave Halliday (Sunderland)
43

1929–30
Sheffield Wednesday (4)
Derby County
Manchester City
 Vic Watson (West Ham United)
41

1930–31
Arsenal
Aston Villa
Sheffield Wednesday
 Tom Waring (Aston Villa)
49

1931–32
Everton (4)
Arsenal
Sheffield Wednesday
 Dixie Dean (Everton)
44

1932–33
Arsenal (2)
Aston Villa
Sheffield Wednesday
 Jack Bowers (Derby County)
35

1933–34
Arsenal (3)
Huddersfield Town
Tottenham Hotspur
 Jack Bowers (Derby County)
34

1934–35
Arsenal (4)
Sunderland
Sheffield Wednesday
 Ted Drake (Arsenal)
42

1935–36
Sunderland (6)
Derby County
Huddersfield Town
 W. G. Richardson (West Bromwich Albion)
39

1936–37
Manchester City
Charlton Athletic
Arsenal
 Freddie Steele (Stoke City)
33

1937–38
Arsenal (5)
Wolverhampton Wanderers
Preston North End
 Tommy Lawton (Everton)
28

1938–39
Everton (5)
Wolverhampton Wanderers
Charlton Athletic
 Tommy Lawton (Everton)
35

1939/40–1945/46
League suspended owing to the Second World War

1946–47
Liverpool (5)
Manchester United
Wolverhampton Wanderers
 Dennis Westcott (Wolverhampton Wanderers)
37

1947–48
Arsenal (6)
Manchester United
Burnley
 Ronnie Rooke (Arsenal)
33

1948–49
Portsmouth
Manchester United
Derby County
 Willie Moir (Bolton Wanderers)
25

1949–50
Portsmouth (2)
Wolverhampton Wanderers
Sunderland
 Dickie Davis (Sunderland)
25

1950–51
Tottenham Hotspur
Manchester United
Blackpool
 Stan Mortensen (Blackpool)
30

1951–52
Manchester United (3)
Tottenham Hotspur
Arsenal
 George Robledo (Newcastle United)
33

1952–53
Arsenal (7)
Preston North End
Wolverhampton Wanderers
 Charlie Wayman (Preston North End)
24

1953–54
Wolverhampton Wanderers
West Bromwich Albion
Huddersfield Town
 Jimmy Glazzard (Huddersfield Town)
29

1954–55
Chelsea
Wolverhampton Wanderers
Portsmouth
 Ronnie Allen (West Bromwich Albion)
27

1955–56
Manchester United (4)
Blackpool
Wolverhampton Wanderers
 Nat Lofthouse (Bolton Wanderers)
33

1956–57
Manchester United (5)
Tottenham Hotspur
Preston North End
 John Charles (Leeds United)
38

1957–58
Wolverhampton Wanderers (2)
Preston North End
Tottenham Hotspur
 Bobby Smith (Tottenham Hotspur)
36

1958–59
Wolverhampton Wanderers (3)
Manchester United
Arsenal
 Jimmy Greaves (Chelsea)
33

1959–60
Burnley (2)
Wolverhampton Wanderers
Tottenham Hotspur
 Dennis Viollet (Manchester United)
32

1960–61
Tottenham Hotspur (2)
Sheffield Wednesday
Wolverhampton Wanderers
 Jimmy Greaves (Chelsea)
41

1961–62
Ipswich Town
Burnley
Tottenham Hotspur
 Ray Crawford (Ipswich Town)
 Derek Kevan (West Bromwich Albion)
33

1962–63
Everton (6)
Tottenham Hotspur
Burnley
 Jimmy Greaves (Tottenham Hotspur)
37

1963–64
Liverpool (6)
Manchester United
Everton
 Jimmy Greaves (Tottenham Hotspur)
35

1964–65
Manchester United (6)
Leeds United
Chelsea
 Andy McEvoy (Blackburn Rovers)
 Jimmy Greaves (Tottenham Hotspur)
29

1965–66
Liverpool (7)
Leeds United
Burnley
 Willie Irvine (Burnley)
29

1966–67
Manchester United (7)
Nottingham Forest
Tottenham Hotspur
 Ron Davies (Southampton)
37

1967–68
Manchester City (2)
Manchester United
Liverpool
 George Best (Manchester United)
 Ron Davies (Southampton)
28

1968–69
Leeds United
Liverpool
Everton
 Jimmy Greaves (Tottenham Hotspur)
27

1969–70
Everton (7)
Leeds United
Chelsea
 Jeff Astle (West Bromwich Albion)
25

1970–71
Arsenal (8)
Leeds United
Tottenham Hotspur
 Tony Brown (West Bromwich Albion)
28

1971–72
Derby County
Leeds United
Liverpool
 Francis Lee (Manchester City)
33

1972–73
Liverpool[2] (8)
Arsenal
Leeds United
 Pop Robson (West Ham United)
28

1973–74
Leeds United (2)
Liverpool
Derby County
 Mick Channon (Southampton)
21

1974–75
Derby County (2)
Liverpool
Ipswich Town
 Malcolm Macdonald (Newcastle United)
21

1975–76
Liverpool[2] (9)
Queens Park Rangers
Manchester United
 Ted MacDougall (Norwich City)
23

1976–77
Liverpool[3] (10)
Manchester City
Ipswich Town
 Malcolm Macdonald (Arsenal)
 Andy Gray (Aston Villa)
25

1977–78
Nottingham Forest[4]
Liverpool
Everton
 Bob Latchford (Everton)
30

1978–79
Liverpool (11)
Nottingham Forest
West Bromwich Albion
 Frank Worthington (Bolton Wanderers)
24

1979–80
Liverpool (12)
Manchester United
Ipswich Town
 Phil Boyer (Southampton)
23

1980–81
Aston Villa (7)
Ipswich Town
Arsenal
 Peter Withe (Aston Villa)
 Steve Archibald (Tottenham Hotspur)
20

1981–82 [5]
Liverpool[5](13)
Ipswich Town
Manchester United
 Kevin Keegan (Southampton)
26

1982–83
Liverpool[4] (14)
Watford
Manchester United
 Luther Blissett (Watford)
27

1983–84
Liverpool[3][4] (15)
Southampton
Nottingham Forest
 Ian Rush (Liverpool)
32

1984–85
Everton[6] (8)
Liverpool
Tottenham Hotspur
 Kerry Dixon (Chelsea)
 Gary Lineker (Leicester City)
24

1985–86
Liverpool (16)
Everton
West Ham United
 Gary Lineker (Everton)
30

1986–87
Everton (9)
Liverpool
Tottenham Hotspur
 Clive Allen (Tottenham Hotspur)
33

1987–88
Liverpool (17)
Manchester United
Nottingham Forest
 John Aldridge (Liverpool)
26

1988–89
Arsenal (9)
Liverpool
Nottingham Forest
 Alan Smith (Arsenal)
23

1989–90
Liverpool (18)
Aston Villa
Tottenham Hotspur
 Gary Lineker (Tottenham Hotspur)
24

1990–91
Arsenal (10)
Liverpool
Crystal Palace
 Alan Smith (Arsenal)
22

1991–92
Leeds United (3)
Manchester United
Sheffield Wednesday
 Ian Wright (Crystal Palace/Arsenal)
29

text: Premier League (1992–present)[edit]

text:
Year
Champions
(number of titles)
Points
Runners-up
Points
Third place
Points
Top goalscorer
Goals

1992–93
Manchester United (8)

84

Aston Villa

74

Norwich City

72

 Teddy Sheringham (Nottingham Forest/Tottenham)
22

1993–94
Manchester United (9)

92

Blackburn Rovers

84

Newcastle United

77

 Andrew Cole (Newcastle United)
34

1994–95
Blackburn Rovers (3)

89

Manchester United

88

Nottingham Forest

77

 Alan Shearer (Blackburn Rovers)
34

1995–96
Manchester United (10)

82

Newcastle United

78

Liverpool

71

 Alan Shearer (Blackburn Rovers)
31

1996–97
Manchester United (11)

75

Newcastle United

68

Arsenal

68

 Alan Shearer (Newcastle United)
25

1997–98
Arsenal (11)

78

Manchester United

77

Liverpool

65

 Chris Sutton (Blackburn Rovers)
 Dion Dublin (Coventry City)
 Michael Owen (Liverpool)
18

1998–99
Manchester United[7] (12)

79

Arsenal

78

Chelsea

75

 Jimmy Floyd Hasselbaink (Leeds United)
 Michael Owen (Liverpool)
 Dwight Yorke (Manchester United)
18

1999–2000
Manchester United (13)

91

Arsenal

73

Leeds United

69

 Kevin Phillips (Sunderland)
30

2000–01
Manchester United (14)

80

Arsenal

70

Liverpool

69

 Jimmy Floyd Hasselbaink (Chelsea)
23

2001–02
Arsenal (12)

87

Liverpool

80

Manchester United

77

 Thierry Henry (Arsenal)
24

2002–03
Manchester United (15)

83

Arsenal

78

Newcastle United

69

 Ruud van Nistelrooy (Manchester United)
25

2003–04
Arsenal[1] (13)

90

Chelsea

79

Manchester United

75

 Thierry Henry (Arsenal)
30

2004–05
Chelsea[4] (2)

95

Arsenal

83

Manchester United

77

 Thierry Henry (Arsenal)
25

2005–06
Chelsea (3)

91

Manchester United

83

Liverpool

82

 Thierry Henry (Arsenal)
27

2006–07
Manchester United (16)

89

Chelsea

83

Liverpool

68

 Didier Drogba (Chelsea)
20

2007–08
Manchester United[3] (17)

87

Chelsea

85

Arsenal

83

 Cristiano Ronaldo (Manchester United)
31

2008–09
Manchester United[4] (18)

90

Liverpool

86

Chelsea

83

 Nicolas Anelka (Chelsea)
19

2009–10
Chelsea (4)

86

Manchester United

85

Arsenal

75

 Didier Drogba (Chelsea)
29

2010–11
Manchester United (19)

80

Chelsea

71

Manchester City

71

 Dimitar Berbatov (Manchester United)
 Carlos Tevez (Manchester City)
20

2011–12
Manchester City (3)

89

Manchester United

89

Arsenal

70

 Robin van Persie (Arsenal)
30

2012–13
Manchester United (20)

89

Manchester City

78

Chelsea

75

 Robin van Persie (Manchester United)
26

2013–14
Manchester City[4] (4)

86

Liverpool

84

Chelsea

82

 Luis Suárez (Liverpool)
31

2014–15
Chelsea[4] (5)

87

Manchester City

79

Arsenal

75

 Sergio Agüero (Manchester City)
26

2015–16
Leicester City

81

Arsenal

71

Tottenham Hotspur

70

 Harry Kane (Tottenham Hotspur)
25

2016–17
Chelsea (6)

93

Tottenham Hotspur

86

Manchester City

78

 Harry Kane (Tottenham Hotspur)
29

text: Bold indicates Double winners – i.e. League and FA Cup winners OR League and European Cup winners

text: Bold Italic indicates Treble winners – i.e. League, FA Cup and European Cup winners

text: Total titles won[edit]

text: Teams in bold compete in the Premier League as of the 2017–18 season.

text:
Club
Winners
Runners-up
Winning seasons

Manchester United

20

15

1907–08, 1910–11, 1951–52, 1955–56, 1956–57, 1964–65, 1966–67, 1992–93, 1993–94, 1995–96, 1996–97, 1998–99, 1999–2000, 2000–01, 2002–03, 2006–07, 2007–08, 2008–09, 2010–11, 2012–13

Liverpool

18

13

1900–01, 1905–06, 1921–22, 1922–23, 1946–47, 1963–64, 1965–66, 1972–73, 1975–76, 1976–77, 1978–79, 1979–80, 1981–82, 1982–83, 1983–84, 1985–86, 1987–88, 1989–90

Arsenal

13

9

1930–31, 1932–33, 1933–34, 1934–35, 1937–38, 1947–48, 1952–53, 1970–71, 1988–89, 1990–91, 1997–98, 2001–02, 2003–04

Everton

9

7

1890–91, 1914–15, 1927–28, 1931–32, 1938–39, 1962–63, 1969–70, 1984–85, 1986–87

Aston Villa

7

10

1893–94, 1895–96, 1896–97, 1898–99, 1899–1900, 1909–10, 1980–81

Sunderland

6

5

1891–92, 1892–93, 1894–95, 1901–02, 1912–13, 1935–36

Chelsea

6

4

1954–55, 2004–05, 2005–06, 2009–10, 2014–15, 2016–17

Manchester City

4

5

1936–37, 1967–68, 2011–12, 2013–14

Newcastle United

4

2

1904–05, 1906–07, 1908–09, 1926–27

Sheffield Wednesday

4

1

1902–03, 1903–04, 1928–29, 1929–30

Leeds United

3

5

1968–69, 1973–74, 1991–92

Wolverhampton Wanderers

3

5

1953–54, 1957–58, 1958–59

Huddersfield Town

3

3

1923–24, 1924–25, 1925–26

Blackburn Rovers

3

1

1911–12, 1913–14, 1994–95

Preston North End

2

6

1888–89, 1889–90

Tottenham Hotspur

2

5

1950–51, 1960–61

Derby County

2

3

1971–72, 1974–75

Burnley

2

2

1920–21, 1959–60

Portsmouth

2

0

1948–49, 1949–50

Ipswich Town

1

2

1961–62

Nottingham Forest

1

2

1977–78

Sheffield United

1

2

1897–98

West Bromwich Albion

1

2

1919–20

Leicester City

1

1

2015–16

Bristol City

0

1

Oldham Athletic

0

1

Cardiff City

0

1

Charlton Athletic

0

1

Blackpool

0

1

Queen's Park Rangers

0

1

Watford

0

1

Southampton

0

1

text: Total titles won by region[edit]

text:
Region
Number of titles
Clubs

North West

58

Manchester United (20), Liverpool (18), Everton (9), Manchester City (4) Blackburn Rovers (3), Burnley (2), Preston North End (2)

London

21

Arsenal (13), Chelsea (6), Tottenham Hotspur (2)

Yorkshire and the Humber

11

Sheffield Wednesday (4), Huddersfield Town (3), Leeds United (3), Sheffield United (1)

West Midlands

11

Aston Villa (7), Wolverhampton Wanderers (3), West Bromwich Albion (1)

North East

10

Sunderland (6), Newcastle United (4)

East Midlands

4

Derby County (2), Leicester City (1), Nottingham Forest (1)

South East

2

Portsmouth (2)

East of England

1

Ipswich Town (1)

South West

–

Wales

–

text: By City / Town[edit]

text:
City / Town
Championships
Clubs

Liverpool

27

Liverpool (18), Everton (9)

Manchester

24

Manchester United (20), Manchester City (4)

London

21

Arsenal (13), Chelsea (6), Tottenham Hotspur (2)

Birmingham

7

Aston Villa (7)

Sunderland

6

Sunderland (6)

Sheffield

5

Sheffield Wednesday (4), Sheffield United (1)

Newcastle

4

Newcastle United (4)

Blackburn

3

Blackburn Rovers (3)

Huddersfield

3

Huddersfield Town (3)

Leeds

3

Leeds United (3)

Wolverhampton

3

Wolverhampton Wanderers (3)

Burnley

2

Burnley (2)

Derby

2

Derby County (2)

Portsmouth

2

Portsmouth (2)

Preston

2

Preston North End (2)

Ipswich

1

Ipswich Town (1)

Leicester

1

Leicester City (1)

Nottingham

1

Nottingham Forest (1)

West Bromwich

1

West Bromwich Albion (1)

text: Multiple trophy wins[edit]

text: See The Double and The Treble.


document_title: Beauty and the Beast (2017 film)

question_text: who is mrs potts in beauty and the beast 2017

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, 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. 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, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but 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 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 restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a 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.[12][13]

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.[14]

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.[15]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[16]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[17]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[18]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[19]
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.[20]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[14]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[21] 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.[22]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[21]
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.

tag: ul

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.[23]

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.[24]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[25][26] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[27]

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.[28] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[29] 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.[30]

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.'"[31] 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?"[32]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[33] 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.[32] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[34][35] and Watson confirmed their casting the following day through tweets.[12][36] 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.[15][14][18][20][19][16][17][37]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[38] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[39]

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.[40]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[14][41][42] Filming with the principal actors concluded on August 21.[43][44] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[45]

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.[7]

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.[23]

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".[46]

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".[47] 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.[48] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[49] 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.[50]

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.[51] 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.[52][53][54][55]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[56][57] 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.[58] 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.[59]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[59]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[14] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[60]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[61] 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.[62] The United Kingdom received the same version on April 21, 2017.[63]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move is an awards push as awards season heats up.[64]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[65] Following an announcement on May 22, 2016,[66] Disney premiered the first official teaser trailer on Good Morning America the next day.[67] 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.[68] This record has since been broken by Thor: Ragnarok,[69] It and Avengers: Infinity War.[70][71] The first official teaser poster was released on July 7, 2016.[72] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[73][74] One week later, Emma Watson and Disney debuted a new poster.[75] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[76] 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;[77] this record has since been broken by The Fate of the Furious.[78] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[79] Disney released the final trailer on January 30, 2017.[80]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[81] 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.[82] The movie regained the top spot on the national home video sales charts during its third week of release.[83] 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.[5] With a production budget of $160 million, it is the most expensive musical ever made, or the second-most expensive musical ever made if accounting for inflation; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[85] 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.[86] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[87] It surpassed the entire lifetime total of the original film in just six days.[88][89]

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,[90] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[91][92][93][94] 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.[95][96][97] It is currently the second-highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[98] the highest-grossing March release,[99] the highest-grossing remake of all time,[100] and the sixth-biggest Disney film.[101] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[100] 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.[102]

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.[103][104][105] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[106][107] 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).[108] 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.[109] The numbers were considered more impressive given that the film played during a school week.[110]

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).[111][112] 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).[113] 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.[90] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[114] 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,[115][116] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[117] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[118] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[118] 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.[114]

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.[119] 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.[90] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[118] 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.[120][121] 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.[120][121]

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).[122] 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.[123] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[124] 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.[125] 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).[85] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[126] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[127] 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).[128] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[129] 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.[130] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[131] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[132] 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),[133][134] 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.[135][136][137][138]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[139] the biggest musical film (both animated and live-action),[140] as well as the biggest film of 2017 (alongside The Last Jedi).[141]

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.[142] 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.[143] It topped the international box office for three consecutive weekends[144] 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.[145][97]

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.[146][147] 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).[142][143]

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).[148] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[149] 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).[150][143] 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.[151][152][153] It earned around ₹15 million (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[154] Disney reported a total of ₹92.6 million (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[155][156][157] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[158]

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.[159] The original film was, however, never widely popular in the country.[160] 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.[161] 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.[162][163] Either ways, it recorded the second-biggest opening for a Disney live-action film,[160] with $3.4 million coming from 386 IMAX screens.[142] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[143] 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.[164][165] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[166] 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[167][168][169] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[170] It topped the box office there for eight consecutive weekends.[171][172]

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).[142] 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).[145][173] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[174] 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).[175] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[164][176] 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).[171] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[164][167][177]

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.[10][11] On review aggregator Rotten Tomatoes, as of April, 2018, the film had an approval rating of 70% based on 319 reviews, with an average rating of 6.7/10. The site'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."[178] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[179] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[180][181]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[182] 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.[183] 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."[184]

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".[185] 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".[186] 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."[187] 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."[188] James Berardinelli of ReelViews described the 2017 version as "enthralling".[189]

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.[190] 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)".[191] 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."[192] 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.[193]

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.[194] 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.[195] 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".[196]

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".[197] 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".[198] 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.[199][200]

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".[201] 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.[202]

text: Accolades[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
[203]

Best Costume Design
Jacqueline Durran
Nominated

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Sarah Greenwood
Nominated
[204]

British Academy Film Awards
February 18, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[205]

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
[206]

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[207]
[208]

Costume Designers Guild Awards
February 20, 2018
Excellence in Fantasy Film
Jacqueline Durran
Nominated
[209]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Nominated
[210]

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
[211]
[212]

Best Soundtrack
Beauty and the Beast
Nominated

Best Make-up And Hairstyling
Won

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Nominated
[213]

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
Sullivan, MattMatt Sullivan
Nominated
[214]

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran[a]
Won
[215]

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
[216]
[217]

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
[218]
[219]

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
[220]

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
[221]

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[222]

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
[223]

Nickelodeon Kids' Choice Awards
March 24, 2018
Favorite Movie
Beauty and the Beast
Nominated
[224]

Favorite Movie Actress
Emma Watson
Nominated

Publicists Guild Awards
March 2, 2018
Motion Picture
Beauty and the Beast
Nominated
[225]
[226]

San Diego Film Critics Society
December 11, 2017
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[227]
[228]

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
[229]

Saturn Awards
June 2018
Best Fantasy Film
Beauty and the Beast
Pending
[230]

Best Actress
Emma Watson
Pending

Best Production Design
Sarah Greenwood
Pending

Best Costume Design
Jacqueline Durran
Pending

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Nominated
[231]
[232]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Sarah Greenwood
Nominated
[233]

Best Visual Effects
Beauty and the Beast
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[234]
[235]

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
[236]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[237]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

Women Film Critics Circle
December 17, 2017
Best Family Film
Beauty and the Beast
Nominated
[238]
[239]

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.[240] 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.”[241] 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."[242]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[243] 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).[244] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[245] 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.[246][247][248] 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.[249] 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.[250][251] 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.[252]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[253] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[254] 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.[255] 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.[256]

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

text: Disney has sought to portray Belle as an empowered young woman,[257] 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.[258] 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.[259][260] 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.[261]

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.[262] 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.[263][264] 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.[265] 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.[266]

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.

tag: ol


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

question_text: who plays the boy in one day at a time

question_tokens: who plays the boy in one day at a time

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).

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.

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 ex-boyfriend[14]
Sheridan Pierce as Syd (season 2): Elena's significant other who is 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)

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (April 2018)

text: Music[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
Nominated
[29]

Television Academy Honors
Television with a Conscience
Won

[30]


document_title: Paris Peace Accords

question_text: who represented the us at the paris peace talks

text: Paris Peace Accords

text: Provisions of the accords[edit]

text: The document began with the statement that "the United States and all other countries respect the independence, sovereignty, unity, and territorial integrity of Vietnam as recognized by the 1954 Geneva Agreements on Vietnam". The inclusion of this provision was a victory for the communist side —Saigon[clarification needed] and the Vietcong—towards a political settlement that would allow the South Vietnamese people to "decide themselves the political future of South Viet-Nam through genuinely free and democratic general elections under international supervision."

text:
Reunification of Vietnam was to be "carried out step by step through peaceful means".
If South Vietnam required any military hardware to defend itself against any North Vietnam aggression, the United States agreed to provide replacement aid to the South Vietnam on a piece-by-piece, one-to-one replacement basis.[5]

text: Paris peace negotiations[edit]

text: Early Deadlocks[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2017) (Learn how and when to remove this template message)

text: Following the success of anti-war candidate Eugene McCarthy in the New Hampshire primary, in March 1968 U.S. President Lyndon B. Johnson halted bombing operations over the northern portion of the North Vietnam (Operation Rolling Thunder), in order to encourage Hanoi (the perceived locus of the insurgency) to begin negotiations. Shortly thereafter, Hanoi agreed to discuss a complete halt of the bombing, and a date was set for representatives of both parties to meet in Paris, France. The sides first met on May 10, with the delegations headed by Xuân Thuỷ, who would remain the official leader of the North Vietnamese delegation throughout the process, and U.S. ambassador-at-large W. Averell Harriman.

text: For five months, the negotiations stalled as North Vietnam demanded that all bombing of North Vietnam be stopped, while the U.S. side demanded that North Vietnam agree to a reciprocal de-escalation in South Vietnam; it was not until October 31 that Johnson agreed to end the air strikes and serious negotiations could begin.

text: One of the largest hurdles to effective negotiation was the fact that North Vietnam and its ally in South Vietnam, the National Front for the Liberation of South Vietnam (NLF, or Viet Cong), refused to recognize the government of South Vietnam; with equal persistence, the government in Saigon refused to acknowledge the legitimacy of the NLF. Harriman resolved this dispute by developing a system by which North Vietnam and U.S. would be the named parties; NLF officials could join the North Vietnam team without being recognized by South Vietnam, while Saigon's representatives joined their U.S. allies.

text: A similar debate concerned the shape of the table to be used at the conference. The North favored a circular table, in which all parties, including NLF representatives, would appear to be "equal"' in importance. The South Vietnamese argued that only a rectangular table was acceptable, for only a rectangle could show two distinct sides to the conflict. Eventually a compromise was reached, in which representatives of the northern and southern governments would sit at a circular table, with members representing all other parties sitting at individual square tables around them.

text: Claimed sabotage of negotiations by Nixon campaign[edit]

text: Bryce Harlow, a former White House staff member in the Eisenhower administration, claimed to have "a double agent working in the White House....I kept Nixon informed." Harlow and Henry Kissinger (who was friendly with both campaigns and guaranteed a job in either a Humphrey or Nixon administration in the upcoming election) separately predicted Johnson's "bombing halt". Democratic senator George Smathers informed President Johnson that "the word is out that we are making an effort to throw the election to Humphrey. Nixon has been told of it".[6]

text: According to presidential historian Robert Dallek, Kissinger's advice "rested not on special knowledge of decision making at the White House but on an astute analyst's insight into what was happening." CIA intelligence analyst William Bundy stated that Kissinger obtained "no useful inside information" from his trip to Paris, and "almost any experienced Hanoi watcher might have come to the same conclusion". While Kissinger may have "hinted that his advice was based on contacts with the Paris delegation," this sort of "self-promotion...is at worst a minor and not uncommon practice, quite different from getting and reporting real secrets."[6]

text: Nixon asked the prominent Asian-American politician Anna Chennault to be his "channel to Mr. Thieu"; Chennault agreed and periodically reported to John Mitchell that Thieu had no intention of attending a peace conference. On November 2, Chennault informed the South Vietnamese ambassador: "I have just heard from my boss in Albuquerque who says his boss [Nixon] is going to win. And you tell your boss [Thieu] to hold on a while longer."[7] In response, President Johnson ordered the wire-tapping of members of the Nixon campaign.[8][9] Dallek wrote that Nixon's efforts "probably made no difference" because Thieu was unwilling to attend the talks and there was little chance of an agreement being reached before the election; however, his use of information provided by Harlow and Kissinger was morally questionable, and vice president Hubert Humphrey's decision not to make Nixon's actions public was "an uncommon act of political decency."[10]

text: Nixon government[edit]

text: After winning the 1968 presidential election, Richard Nixon became president of the U.S. in January 1969. He then replaced U.S. ambassador Harriman with Henry Cabot Lodge Jr., who was later replaced by David Bruce. Also that year, the NLF set up a Provisional Revolutionary Government (PRG) to gain government status at the talks. However, the primary negotiations that led to the agreement did not occur at the Peace Conference at all, but were carried out during secret negotiations between Kissinger and Lê Đức Thọ, which began on August 4, 1969.

text: North Vietnam insisted for three years that the agreement could not be concluded unless the United States agreed to remove South Vietnamese President Nguyễn Văn Thiệu from power and replace him with someone more acceptable to Hanoi. Nixon and Kissinger were unwilling to sign an agreement to overthrow a government the NLF had failed to overthrow by force of arms, though the extent of North Vietnamese demands is contested. Historian Marilyn B. Young, whose expertise is in American foreign relations, contends that the contents of Hanoi's proposal were systematically distorted from their original plea to permit Thiệu's replacement, to what Kissinger propagated as a demand for his overthrow.[11]

text: Breakthrough and agreement[edit]

text: On May 8, 1972, President Nixon made a major concession to North Vietnam by announcing that the U.S. would accept a cease-fire in place as a precondition for its military withdrawal. In other words, the U.S. would withdraw its forces from South Vietnam without North Vietnam doing the same. The concession broke a deadlock and resulted in progress in the talks over the next few months.[12]

text: The final major breakthrough came on October 8, 1972. Prior to this, North Vietnam had been disappointed by the results of its Nguyen Hue Offensive (known in the West as the Easter Offensive), which had resulted in the United States countering with "Operation Linebacker," a significant air bombing campaign that blunted the North's drive in the South as well as inflicting damage in the North. Also, they feared increased isolation if Nixon's efforts at détente significantly improved U.S. relations with the chief communist powers, the Soviet Union and the People's Republic of China, who were backing the North Vietnamese military effort. In a meeting with Kissinger, Thọ significantly modified his bargaining line, allowing that the Saigon government could remain in power and that negotiations between the two South Vietnamese parties could develop a final settlement. Within 10 days the secret talks drew up a final draft. Kissinger held a press conference in Washington during which he announced that "peace is at hand."

text: When Thiệu, who had not even been informed of the secret negotiations, was presented with the draft of the new agreement, he was furious with Kissinger and Nixon (who were perfectly aware of South Vietnam's negotiating position) and refused to accept it without significant changes. He then made several public radio addresses, claiming that the proposed agreement was worse than it actually was. Hanoi was flabbergasted, believing that it had been duped into a propaganda ploy by Kissinger. On October 26, Radio Hanoi broadcast key details of the draft agreement.

text: However, as U.S. casualties had mounted throughout the conflict since 1965, American domestic support for the war had deteriorated, and by the fall of 1972 there was major pressure on the Nixon administration to withdraw from the war. Consequently, the U.S. brought great diplomatic pressure upon their South Vietnamese ally to sign the peace treaty even if the concessions Thiệu wanted could not be achieved. Nixon pledged to provide continued substantial aid to South Vietnam, and given his recent landslide victory in the presidential election, it seemed possible that he would be able to follow through on that pledge. To demonstrate his seriousness to Thiệu, Nixon ordered the heavy Operation Linebacker II bombings of North Vietnam in December 1972. Nixon also attempted to bolster South Vietnam's military forces by ordering that large quantities of U.S. military material and equipment be given to South Vietnam from May to December 1972 under Operations Enhance and Enhance Plus.[13] These operations were also designed to keep North Vietnam at the negotiating table and to prevent them from abandoning negotiations and seeking total victory. When the North Vietnamese government agreed to resume "technical" discussions with the United States, Nixon ordered a halt to bombings north of the 20th parallel on December 30. With the U.S. committed to disengagement (and after threats from Nixon that South Vietnam would be abandoned if he did not agree), Thiệu had little choice but to accede.

text: On January 15, 1973, President Nixon announced a suspension of offensive actions against North Vietnam. Kissinger and Thọ met again on January 23 and signed off on a treaty that was basically identical to the draft of three months earlier. The agreement was signed by the leaders of the official delegations on January 27, 1973, at the Hotel Majestic in Paris, France.

text: Aftermath[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2018) (Learn how and when to remove this template message)

text:
Balance of Military Forces (January 1973)[14]

South Vietnamese armed forces

Ground combat regulars
210,000

Regional and Popular Force militias
510,000

Service troops
200,000

Total: South Vietnamese armed forces

920,000

Communist armed forces

North Vietnamese ground troops in South Vietnam
123,000

Viet Cong ground troops
25,000

Service troops
71,000

Total: Communist armed forces

219,000

text: The Paris Peace Accords effectively removed the U.S. from the conflict in Vietnam. However, the agreement's provisions were routinely flouted by both the North Vietnamese and the Saigon government, eliciting no response from the United States, and ultimately resulting in the communists enlarging the area under their control by the end of 1973. North Vietnamese military forces gradually built up their military infrastructure in the areas they controlled and two years later were in a position to launch the successful offensive that ended South Vietnam's status as an independent country. Fighting begun almost immediately in its aftermath due to a series of mutual retaliations, and war had come again in March 1973.[2]

text: Nixon had secretly promised Thiệu that he would use airpower to support the Saigon government should it be necessary. During his confirmation hearings in June 1973, Secretary of Defense James Schlesinger was sharply criticized by some senators after he stated that he would recommend resumption of U.S. bombing in North Vietnam if North Vietnam launched a major offensive against South Vietnam, but by August 15, 1973, 95% of American troops and their allies had left Vietnam (both North and South) as well as Cambodia and Laos under the Case-Church Amendment. The amendment, which was approved by the U.S. Congress in June 1973, prohibited further U.S. military activity in Vietnam, Laos and Cambodia unless the president secured Congressional approval in advance. However, during this time, Nixon was being driven from office due to the Watergate scandal, which led to his resignation in 1974. When the North Vietnamese began their final offensive early in 1975, U.S. Congress refused to appropriate additional military assistance for South Vietnam, citing strong opposition to the war by Americans and the loss of American equipment to the North by retreating Southern forces. Thiệu subsequently resigned, accusing the U.S. of betrayal in a TV and radio address:

text: At the time of the peace agreement the United States agreed to replace equipment on a one-by-one basis. But the United States did not keep its word. Is an American's word reliable these days? The United States did not keep its promise to help us fight for freedom and it was in the same fight that the United States lost 50,000 of its young men.[15]

text: Saigon fell to the North Vietnamese army supported by Viet Cong units on April 30, 1975. Schlesinger had announced early in the morning of April 29 the beginning of Operation Frequent Wind, which entailed the evacuation of the last U.S. diplomatic, military and civilian personnel from Saigon via helicopter, which was completed in the early morning hours of April 30. Not only did North Vietnam conquer South Vietnam, but the communists were also victorious in Cambodia when the Khmer Rouge captured Phnom Penh on April 17, as were the Pathet Lao in Laos successful in capturing Vientiane on December 2. Like Saigon, U.S. civilian and military personnel were evacuated from Phnom Penh, U.S. diplomatic presence in Vientiane was significantly downgraded, and the number of remaining U.S. personnel was severely reduced.

text: Signatories[edit]

text:
Henry Cabot Lodge, Jr., former United States Ambassador to South Vietnam, led the U.S. delegation
 William P. Rogers, United States Secretary of State
 Trần Văn Lắm, Minister for Foreign Affairs for the Republic of Vietnam
 Nguyễn Thị Bình, Minister for Foreign Affairs for The Provisional Revolutionary Government of the Republic of South Vietnam
 Nguyen Duy Trinh, Minister for Foreign Affairs for The Democratic Republic of Vietnam

text: Other key figures in the negotiations[edit]

text:
Henry Kissinger
Lê Đức Thọ
Thích Nhất Hạnh