document_title: United Kingdom driving test

question_text: when were driving licences introduced in the uk

text: United Kingdom driving test

text: History[edit]

text: UK driving licences were introduced by the Motor Car Act 1903 but no test was required.[8]

text: A test for disabled drivers was introduced by the Road Traffic Act 1930.[9]

text: Legislation for compulsory testing was introduced for all new drivers with the Road Traffic Act 1934. The test was initially voluntary to avoid a rush of candidates until 1 June 1935 when all people who had started to drive on or after 1 April 1934 needed to have passed the test.[9]

text: Testing was suspended during World War II,[9] and was suspended again during the Suez Crisis in 1956 to allow examiners help to administer petrol rations.[9]

text: The driving theory test was introduced in July 1996 as a written examination, which was updated to computerised format in 2000.[9]

text: The hazard perception segment of the theory test, was introduced in November 2002.

text: In January 2015, new CGI clips replaced the real-life video clips in the Hazard Perception Test.[10]

text: The current test[edit]

text: Currently, there are two tests (for a car licence) that need to be passed in order to obtain a full driving licence. First the theory test and then, within two years of passing this, the practical test.

text: Theory test[edit]

text: The theory test is made up of two parts, both of which differ according to the type of vehicle licence the candidate is pursuing:

text:
Multiple-choice test
Hazard perception test

text: Both parts must be passed in order to obtain a theory test pass certificate. This enables the candidate to book a practical driving test.[6] Candidates have two years from the date that they passed the first part of their theory test to take their practical test, or they will have to pass both parts of the theory test once again before they can book a practical test.

text: Multiple-choice test[edit]

text: This part of the theory test is performed on a computer system. The test has 50 multiple choice questions and the candidate must answer at least 43 of them correctly to pass.[11] All questions are randomly selected from a bank of just under one thousand on a selection of topics.

text: The test lasts for 57 minutes although candidates with certain special needs can apply for more time.[12] All 50 questions must be answered. The test allows 15 minutes practice time at the start of the exam to get used to answering the questions and how to use the system. To answer a question the candidate simply touches their choice of answer from the listed answers on the computer screen. If a mistake is made the candidate can deselect a choice and reselect a different option. The candidate is allowed to go back to a question at any time and can also flag questions they are unsure of in order to find and return to it quickly and easily later.[11] To pass the test, 43 of the 50 questions (86%) must be answered correctly.[6]

text: For lorry and bus drivers, 100 questions are asked over a 115-minute period, and 85 out of 100 must be answered correctly to pass.

text: Prior to 3 September 2007, the car and motorcycle multiple-choice tests comprised 35 questions, with a pass mark of 30 within a 40-minute time limit.

text: Hazard perception[edit]

text: Candidates watch fourteen one-minute clips (nineteen clips for lorry and bus candidates) filmed from the perspective of a car driver or motorcyclist and have to indicate, usually by clicking a mouse button or touching the screen, when they observe a developing hazard.[13]

text: Practical test[edit]

text: Unless one is converting a foreign licence, it is necessary to have passed both components of the theory test before sitting this exam.[14] Passing the practical test then entitles one to hold a full UK driving licence.[1]

text: The test candidate must produce their provisional licence for the examiner before the test starts.

text: The practical car test can be taken in either a manual or an automatic car; if the test is passed in an automatic car, then the full licence granted will be restricted to automatic cars only.

text: The practical motorcycle test is split into two separate modules - the off-road module and the on-road module. To get a full motorcycle licence, the candidate needs to pass both modules. The target waiting time for a practical driving test is six weeks. However, in practice the waiting time can be considerably longer.[15]

text: Format[edit]

text: The practical car test is taken on the road, with a professionally trained DVSA examiner directing the candidate around a pre-determined route. The examiner marks the candidate for driving faults, serious faults, and dangerous faults. A candidate will fail the test if he or she accumulates any serious or dangerous faults, or more than fifteen driving faults. If a candidate accumulates several driving faults in the same category, the examiner may consider the fault habitual and mark a serious fault in that category. The test usually lasts 38 to 40 minutes in a standard test, or approximately 70 minutes when the candidate is taking an extended test after having had their licence revoked.[16]

text: Eyesight test[edit]

text: Before getting to the car, the examiner will ask the candidate to read a car's number plate at a distance. The distance required is 20.5 metres for an old-style plate (A123 ABC) and 20 metres for a new style plate (AB51 ABC).[17] If the candidate needs glasses to do this, then they must be worn during the test. If the candidate fails to read the first number plate correctly, then the examiner asks the candidate to read a second number plate. If the candidate cannot correctly read the second number plate, then the examiner must use a tape measure to measure the correct distance between the candidate and a third number plate. If the candidate cannot read the third number plate, then the candidate is deemed to have failed and the test will not continue.

text: Vehicle safety questions[edit]

text: Before the candidate is taken out onto the road, the examiner asks two questions about car maintenance and safety. These are phrased in the form "Show me..." and "Tell me..."; as such, this component of the test is often known as "Show me, tell me". For example:

text:
Show me how you would check that the power assisted steering is working before starting a journey.
Open the bonnet, identify where you would check the engine oil level and tell me how you would check that the engine has sufficient oil.

text: A failure to answer one or both of these questions correctly would result in a driving fault being marked against the candidate. The questions that may be asked are changed from time to time. From July 2008, there are 19 different questions which can be asked in 13 different combinations.[18]

text: Controlled stop[edit]

text: The controlled stop, more commonly referred to as the "emergency stop", is an exercise which determines the ability of the candidate to stop the vehicle promptly yet under control during a simulated emergency. The simulation is performed by the examiner raising his or her hand and saying, "STOP!". A controlled stop exercise will be carried out on every extended test and one third of normal tests. This might be an emergency stop, or the candidate might be asked to make a controlled stop in a specific location.[16] During dangerous weather conditions, such as rain and snow, this test can be left out for safety reasons.

text: Manoeuvres[edit]

text: During the test, the examiner will ask the candidate to carry out one manoeuvre from the following list:[19]

text:
Turn in the road, colloquially known as a "3 point turn", although more than 3 moves may be necessary.
Reverse around a corner
Reverse park into a parking space either parallel to the kerb (on road), or oblique or right-angle (in a marked bay in an off-road car park)

text: This change from two manoeuvres to one was introduced to allow time for the independent driving section of the test that was introduced on 4 October 2010.

text: Manoeuvres are selected at random by the examiner depending on the route chosen and conditions on the route.

text: General driving[edit]

text: Generally, the candidate must demonstrate an ability to drive in various road and traffic conditions [20] and react appropriately in actual risk situations.[19] The conditions typically encountered on test include driving in urban areas as well as higher speed limit roads where possible; this includes dual carriageways but not motorways as motorways in Britain can only be used by full licence holders. The object of the test is to ensure that the candidate is well grounded in the basic principles of safe driving, and is sufficiently practised in them to be able to show, at the time of the test, that they are a competent and considerate driver and are not a source of danger to themselves or to other road users. The drive will include two or three normal stops at (and moving away from) the side of the road on level roads as well as on gradients, in addition to a demonstration of moving away from behind a stationary vehicle.[16] The regulations state that the on-road driving time must be no less than 30 minutes.[21] If at any point during the test, the examiner has to intervene with any controls, this will usually result in failure and could be marked on the test report as a dangerous fault.

text: Independent driving[edit]

text: The test includes a 10-minute section of independent driving. It is included in the following practical driving tests:

text:
car
motorcycle module two
large goods vehicle (LGV)
passenger carrying vehicle (PCV) tests
approved driving instructor (ADI) driving ability (sometimes called 'part two')
taxi

text: During the independent driving section, candidates have to drive by:

text:
following traffic signs to a destination, or
following a series of verbal instructions, or
following a combination of both.

text: To help candidates understand where they are to go, the examiner may show them a route diagram. It does not matter if candidates do not remember every direction, nor if they deviate from the intended route unless they commit a driving fault.

text: If there are poor or obscured traffic signs, the examiner will give the candidate directions until they can see the next traffic sign. Candidates will not need to have a detailed knowledge of the area, but will not be allowed to use Automotive navigation system for this part of the test.

text: If the candidate has special needs, the examiner will be able to make reasonable adjustments. For the independent driving section, this could be asking the candidate which method they prefer - following signs, or a series of directions (a maximum of three) [22]

text: As of 4th December 2017

text: The U.K driving test will change, all the relevant changes can be found here driving test or read this article [23]on the new changes being made.


document_title: Bachelor of Management Studies

question_text: why do we need to study economics in bms

root

text: Bachelor of Management Studies

text: BMS Programme structure[edit]

text: Core and Major Curriculum[edit]

text: This programme enables students to develop advanced knowledge and skills in a range of business functions while setting them within the wider context of current business practice. [3] In the first and second years, students have a variety of choices with an understanding of the role of the core business disciplines: [4]

tag: p

text:
Accounting[5]
Introduction to finance[5]
Operations and Information management[5]
Human resource management[5]
Introduction to marketing[5]
Micro Economics[5]
Organizational Behaviour[5]
Business Law[5]

tag: ul

text: In third year, students will study Organizational Strategy and they will have a choice of subjects from a list of options, based on their own interests and career aspirations. [4]These options offer excellent opportunities to gain relevant work experience to prepare for their careers or add an international dimension to their undergraduate study. [6]

text: Main Course Descriptions[edit]

text: Introduction To Management

text: This course gives a brief introduction to the critical management skills involved in planning, structuring, controlling and leading an organization. It provides a framework to help students understand managing and being managed. Thus, leading them to become a more effective contributor to organizations that they join. Students can develop a system view of organizations through examining organizations as part of a context. It aims to train the learners to diagnose and suggest the suitable solutions to various managerial and organizational cases.[7]

text: Human Resource Management

text: The focus of this course is to explore the principles of leading and managing people efficiently in today’s global entreprises. In this field, students access HR policy and practice in the areas of employment law, job analysis, employee relations and international HRM.[8]

text: Organizational Behavior

text: This organizational behaviour course combines classic arguments and contemporary empirical debates by discussing different elements of organizational structure. It introduces theoretical and empirical research on individual, interpersonal and group effectiveness at work. Course topics can be extended from decision making, motivation, leadership, teamwork to organizational culture. The learning method highly focuses on applying the essential tools of human side of management in role-play exercises and group projects in global organizations.[7]

text: Economics for Management

text: The objective of the course is to show students how economics theory is related to the applications in managerial decision making and how resources are allocated and coordinated to achieve the organizations' end goal. [9]It emphasizes microeconomics ideas to solve problems and define the main concepts and models used in economic analysis. "Course topics covered include consumer theory, production, applications to the labour market, market structure, monopoly, oligopoly, product differentiation, pricing, decision analysis, bargaining, auctions, and asymmetric information."[10]

text: Law and Policy

text: The primary aim of the course is to make students aware of the basic legal concepts and implications affecting business transactions. It fosters a deeper practical sense of how to critically manage the important relationship between business and the natural environment [7]

text: Organizational Strategy

text: The first half of the course studies strategic situations and learn how to utilize the analytical tools to evaluate a firm's position in the industry.[11] Due to the modeling foundation of game theory, students will be tackled the real-world challenges and build the apporapriate action plans .The second half of the course explores the evidence of different managerial styles and the impact on firm process, organizational change and corporate culturethat constitute today’s collaborative business environments.[10]

text: Optional Courses[edit]

text: The flexible management courses share a common first year before allowing you to focus on your chosen specialism to enhance your career prospects.[12]The dissertation and optional modules allow students considerable opportunities to focus their studies on areas of special interest.[13] Students are able to choose some elective modules (optional courses) from a selection list include:

text:
Strategic management[14]
Managerial Economics[14]
Bank Strategy and Management[14]
Entrepreneurship[14]
Introduction to International Business[14]
Leadership[14]
Advanced Financial Accounting[14]

text: Placements and Internships[edit]

text: Most of the universities offer a 11 months work placement option or studying abroad opportunity for a four-year degree on management studies. Undertaking the Management Studies Programme will give you the opportunity to gain work experience during your holidays or attend a short-term management training program to strengthen the essential business strategies . The experience of working for a leading institution can be invaluable as it enables students to build strong capabilities to adapt the constantly changing business environments in their future careers. Students will acquire skills and competencies by investigating an issue within a company and producing a complete research report.[15]The programme will give students a clear direction whether they wish to go straight into the job market, or to earn a graduate degree for career advancement.[16]

text: What job could I be doing for Internships?[edit]

text:
Marketing: Assistant Brand Manager; Technical Marketing Assistant; Media Planner & Buyer[17]
Supply Chain Management: E-commerce Analyst[17]
Banking, Finance and Accountancy: Global Investment Manager; Mergers & Acquisitions Analyst; Audit or Tax Trainee; Treasury Assistant[17]
Human Resources: International Recruitment Consultant; Training Coordinator[17]
IT: Systems Analyst; Project Analyst[17]

text: Career Options after Bachelor of Management Studies (BMS)[edit]

text: Employability skills[edit]

text: Demonstrating employability skills is crucial to students standing out from the crowd in the face of today's fierce job market competition.[18]Graduates from BMS become equipped with a portfolio of transferable skills which employers in all sectors look for. These include general skills such as being well organized and having effective communication skill, but aptitudes specific to studying Management include:[19]

text:
Business acumen: this course gives students an insight into business practise, financial transactions and commercial ventures. This is valuable because one of the most skills most commonly sought by graduate recruiters is commercial awareness.[19]
Problem solving: most graduate employers look for this quality in potential recruits. Our Management courses teach you specific ways to approach problems and further develop your critical thinking skills.[19]
Ability to use statistics and quantitative methods: for certain graduate jobs such as market research, some areas of banking, and some types of consultancy, knowledge of statistics, quantitative methods and related software packages is a real asset.[19]
Global thinking: the ability to see the bigger picture in a 'whole systems' manner. Useful for strategic roles within a range of organizations.[19]

text: Career Direction[edit]

text: "In 2009, 65% of graduates from BMS went into full-time employment approximately. 22% work in the commercial, industrial and public management sectors. Others found work as health professionals (14.8%), in retail (14.4%) and marketing (12.5%). "[20]The Bachelor of Management Studies Degree will be relevant in a vast number of professions; particularly within all business related sectors. [21]This course will provide the perfect gateway for a career in:

text:
General business management[21]
Finance[21]
Financial Consulting[21]
Business Analysis[21]
Strategic Management and Planning[21]


document_title: What's Happening Now!!

question_text: who played roger's wife on what's happening

question_tokens: who played roger 's wife on what 's happening

text: What's Happening Now!!

text: Series basis[edit]

text: In the series, Roger "Raj" Thomas (played by Ernest Thomas) has become a fledgling writer. He bought half of the restaurant Rob's Place (renamed Rob's) and was running the business with Shirley (Shirley Hemphill), making money for himself and his new wife Nadine (Anne-Marie Johnson), who was a social worker. Dwayne (Haywood Nelson) has become a computer programmer, and Rerun (Fred Berry) a used-car salesman. Raj and Nadine live in Raj's childhood home while Rerun and Dwayne share an apartment.

text: The antics and sarcastic one-liners were reminiscent of the first series. Raj's little sister Dee (Danielle Spencer) showed up on a sporadic basis in guest spots, with the explanation that she had gone away to college. Raj and Nadine also became foster parents to a young girl named Carolyn Williams, played by Reina King (sister of actress Regina King), who displayed the sass that was seen in Dee when she was younger.

text: Second season[edit]

text: By the second season, both Fred Berry and Reina King left the series. The writers wrote Carolyn out of the series by saying she had moved in with an aunt she didn't know she had.

text: Berry's departure, however, was more acrimonious. After the first season, Berry went to the producers and asked for a significant raise. Due to the popularity of his character, Berry believed he was the only reason viewers tuned in every week and that it should be reflected in his salary. Berry quit the series when the producers would not acede to his demands, and in retaliation the writers removed Rerun from the series continuity altogether (a practice referred to as "Chuck Cunningham syndrome", where a character is dropped from a series and then treated as if he/she never existed).[1] Berry's widow, Essie Berry, told Urbanite magazine at Georgia State University that their unwillingness to pay Fred Berry his due in both shows led to their early cancellations.

text: Third (final) season[edit]

text: During the third season, the series introduced a pair of characters that harkened back to the original incarnation of What's Happening!!. Maurice Warfield (Martin Lawrence) was a teenager who spent his afternoons as a busboy at Rob's under the supervision of Shirley and Raj while his best friend Darryl (Ken Sagoes) hung out with him. Together, they had many misadventures not unlike the original trio of Raj, Dwayne, and Rerun.

text: Cast[edit]

text:
Ernest Thomas (Roger "Raj" Thomas)
Anne-Marie Johnson (Nadine Hudson-Thomas)
Haywood Nelson (Dwayne Nelson)
Fred Berry (Fred "Rerun" Stubbs; 1985-1986)
Shirley Hemphill (Shirley Wilson)
Reina King (Carolyn Williams; 1985-1986)
Danielle Spencer (Dee Thomas; recurring)
Martin Lawrence (Maurice Warfield; 1987-1988)
Ken Sagoes (Darryl; 1987-1988)

text: Production and reruns[edit]

text: The original What's Happening!! was a modest success in its network run on ABC, despite some serious production problems. But repeats of the show's 65 episodes did reasonably well in syndication. In some markets, the show was perceived to appeal to both children and adults in a similar way to The Brady Bunch and Happy Days. The show was often aired in transitional hours where stations would go from cartoons to evening sitcoms. In a few markets the show actually had higher ratings in syndication than during the network run. This, combined with a trend of former network series finding new life in first-run syndication that was going on during the 1980s, led to the development of what eventually became What's Happening Now!!.

text: The show was produced by Columbia Pictures Television for its entire run. Colex Enterprises, a joint effort of CPT and LBS Communications, served as distributor for the first two seasons. In 1988 the partnership was dissolved and CPT's sister company Coca-Cola Telecommunications joined LBS as distributor.

text: Shortly after the series ended, all 66 episodes were added to the previous show's syndication package, continuing on many local stations across the United States in an on-again, off-again manner until 2009.

text: BET reran both series from September 20, 1993 to October 27, 1995.

text: TV Land, which reran the previous series during the 2005–2006 television season, aired 30 select episodes during the summer of 2007.

text: On February 21, 2014, a marathon of What's Happening Now!! aired on BET Her.

text: The show is currently airing on FamilyNet in reruns, as of September 1, 2014.[2]

text: TV One began showing reruns on May 8, 2015, airing twice a week on Friday nights.

text: Episodes[edit]

text: DVD release[edit]

text: On June 12, 2007, Sony Pictures Home Entertainment released the first season of What's Happening Now!! on DVD in Region 1. To date, no other seasons have been released on DVD.

text:
DVD Name
Ep #
Release Date

The Complete First Season
22
June 12, 2007

tag: table


document_title: Beauty and the Beast (2017 film)

question_text: who plays beast in the movie beauty and the beast

text: Beauty and the Beast (2017 film)

text: Plot[edit]

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

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

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. 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 it to visit her childhood home in Paris, where she discovers a plague doctor mask and realises that she and her father were forced to leave her mother's deathbed 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 the wolves. Maurice is rescued by the herb-wife 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 proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape, and Belle rushes back to the castle.

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

text: Cast[edit]

text:
Emma Watson as Belle, a 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 The Prince / Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return.[11][12]

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

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[13]

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.[14]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[15]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[16]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[17]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[18]
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.[19]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[13]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[20] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form. The film is released posthumously after Davies' Death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[21]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[20]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[22]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[22]

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.[23]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[24][25] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[26]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[27] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[28] 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.[29]

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.'"[30] 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?"[31]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[32] 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.[31] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[33][34] and Watson confirmed their casting the following day through tweets.[11][35] 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.[14][13][17][19][18][15][16][36]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[37] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[38]

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.[39]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[13][40][41] Filming with the principal actors concluded on August 21.[42][43] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[44]

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

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones'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.[22]

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".[45]

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".[46] 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.[47] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[48] 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.[49]

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.[50] 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.[51][52][53][54]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[55][56] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[57]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[58]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video-hosting service.[58]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[13] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[59]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, United Kingdom;[60] 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.[61] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[62] Following an announcement on May 22, 2016,[63] Disney premiered the first official teaser trailer on Good Morning America the next day.[64] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[65] This record has since been broken by Thor: Ragnarok and It.[66] The first official teaser poster was released on July 7, 2016.[67] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[68][69] One week later, Emma Watson and Disney debuted a new poster for the film.[70] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[71] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[72] This record has since been broken again by The Fate of the Furious.[73] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[74] Disney released the final trailer on January 30, 2017.[75]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[76] 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.[77] The movie regained the top spot on the national home video sales charts during its third week of release.[78] 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 $759.4 million in other territories for a worldwide gross of $1.263 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[80] 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.[81] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[82] It surpassed the entire lifetime total of the original film in just six days.[83][84]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[85] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[86][87][88][89] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[90][91][92] It is currently the highest-grossing film of 2017,[93] the highest-grossing March release,[94] the highest-grossing remake of all-time,[95] and the fifth-biggest Disney film.[96] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[95]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[97][98][99] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[100][101] 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).[102] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 p.m.[103] The numbers were considered more impressive given that the film played during a school week.[104]

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).[105][106] 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).[107] 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.[85] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[108] 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,[109][110] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[111] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[112] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[112] 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.[108]

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.[113] 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.[85] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[112] 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.[114][115] 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.[114][116]

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).[117] 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.[118] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[119] 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.[120] 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).[80] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[121] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[122] 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).[123] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[124] 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.[125] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[126] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[127] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[128][129][130]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[131] the biggest musical film (both animated and live-action),[132] as well as the biggest film of 2017.[133]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[134] 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.[135] It topped the international box office for three consecutive weekends[136] 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.[137][92]

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.[138][139] 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).[134][135]

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).[140] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[141] 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).[142][135] 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.[143][144][145] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[146] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[147][148][149] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[150]

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.[151] The original film was, however, never widely popular in the country.[152] 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.[153] 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.[154][155] Either ways, it recorded the second-biggest opening for a Disney live-action film,[152] with $3.4 million coming from 386 IMAX screens.[134] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[135] 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.[156][157] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[158] 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[159][160][161] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[162] It topped the box office there for eight consecutive weekends.[163][164]

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).[134] 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).[137][165] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[166] 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).[167] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[156][168] 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).[163] 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).[156][159][169]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, production design, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews..[9][10] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 296 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, 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."[180] James Berardinelli of ReelViews described the 2017 version as "enthralling".[181]

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.[182] 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)."[183] 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."[184] 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.[185] 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.[186] 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.[187]

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".[188] 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".[189] 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.[190][191]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[192] 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.[193]

text: Accolades[edit]

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

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[194]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[195]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[196]
[197]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[198] 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.”[199] 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."[200]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[201] 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).[202] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[203] 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.[204][205][206] 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.[207] 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.[208][209] 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.[210]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[211] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[212]

text: The film also received criticsm over its portrayal of LeFou, as many felt that it relied on stereotypes[213] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[214] 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.[215] 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. [216]

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

text: Disney has sought to portray Belle as an empowered young woman,[217] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[218] 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.[219][220] 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.[221]

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.[222] 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.[223][224] 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.[225] 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.[226]

text: Notes[edit]

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

tag: ol


document_title: Patagonian toothfish

question_text: where did the name chilean sea bass come from

text: Patagonian toothfish

text: Name[edit]

text: This species is also sold under the trade names Chilean Seabass in the United States and Canada; Merluza negra in Argentina, Peru and Uruguay; Legine australe in France; Mero in Korea, Japan, and Spain, and Bacalao de profundidad in Chile.[2]

text: The name "Chilean Seabass" was invented by a fish wholesaler named Lee Lantz in 1977. He was looking for a name that would make it attractive to the American market. He considered "Pacific sea bass" and "South American sea bass" before settling on "Chilean sea bass".[3] In 1994, the U.S. Food and Drug Administration (FDA) accepted "Chilean Seabass" as an "alternative market name" for Patagonian toothfish,[3] and in 2013 for Antarctic toothfish.

text: In the UK, the approved commercial designations for D. eleginoides and D. mawsoni are "icefish" and "toothfish".[4] This has created some confusion as there is a genuine "icefish" (Champsocephalus gunnari) caught in subantarctic waters, which does not resemble toothfish in any way.

text: Ecology[edit]

text: Patagonian toothfish spawn in deep water (around 1,000m) during the austral winter, producing pelagic eggs and larvae. Larvae switch to a demersal habitat at around 100m (1 year old) and inhabit relatively shallow water (<300m) until 6–7 years of age, when they begin a gradual migration into deeper water. As juveniles in shallow water, toothfish are primarily piscivorous, consuming the most abundant suitably sized local prey. With increasing size and habitat depth, the diet diversifies and includes more scavenging of squid, fish, and crustaceans.[1] In turn, toothfish constitute a small part of the diets of sperm whales, southern elephant seals, and colossal squid.[5][6][7]

text: As most toothfish fisheries are managed in accordance with CCAMLR regulations and conservation measures, it should be noted that CCAMLR adopts an “ecosystem approach” which requires that all other living resources of the Southern Ocean are treated as an integrated system where effects on predator, prey and related species are considered, and decisions on sustainable harvesting levels are made on the basis of sound, internationally peer reviewed scientific advice.[8]

text: Management[edit]

text: Commercial fishing of toothfish is managed by the Commission for the Conservation of Antarctic Marine Living Resources (CCAMLR) inside the CCAMLR Convention Area which spans the Antarctic continent and waters between 45°S and 60°S. Some fisheries inside territorial waters within the Convention Area (e.g. Crozet Island, Prince Edwards and Marion Islands) are managed separately by countries with territorial waters taking CCAMLR management practices into account. Toothfish fisheries outside the CCAMLR Convention Area in the coastal waters of Argentina, Chile and Uruguay are managed by the relevant coastal state. However, these fisheries are still subject to the CCAMLR Catch Documentation Scheme (CDS) which tracks the trade of toothfish from the point of unloading to the point of final consumption.[9]

text: In the legal toothfish fisheries managed by CCAMLR and countries with territorial waters, the most common method is fishing by longlines (where a long "mainline" is set in the water, with many baited hooks coming off that line). A small quantity of toothfish is caught by trawling (where a net is towed behind the boat for short periods of time). For all methods of legal fishing for toothfish, there are minimal interactions with, and risks to, seabirds.[10] This is a result of requirements for legal operators to use mitigation devices or approaches such as:

text:
Seasonal fishery closures during the summer months due to increase in seabird abundance for chick rearing;[11]
No setting of hooks during the daytime;[12]
No fishing without having a bird-scaring line trailing out the back of the boat to keep birds away from the hooks;[12]
Bird Exclusion Devices (BED) or "Brickle curtain" to be used on 100% of hauls;[12]
Boats must use weighted longlines so that the baits and hooks sink before the birds can grab them;[12]
Limitations on release of offal overboard at the same time as the setting or hauling of lines (to avoid attracting seabirds when they may otherwise be vulnerable to the baits and hooks).[12]

text: In 2011 the CCAMLR Scientific Committee Chair, David Agnew, was quoted as saying “levels of seabird mortality are negligible in most areas”, with the one region yet to achieve these "near zero" results, having reduced seabird interactions by over 98% from their peak levels, and have continued to improve each year.[13]

text: Trawling generally catches toothfish in the smaller size range, which requires calculations to be made at the annual stock assessment meetings of CCAMLR to take these catches of smaller sized fish into account, and lowers the overall available catch of toothfish by trawl. CCAMLR has prohibited all trawl fishing in high seas waters and exploratory fisheries.[14]

text: Compliance[edit]

text: To minimise the risk of long-term adverse effects on target species, by-catch species and marine ecosystems, CCAMLR uses a number of compliance systems to monitor fishing activities in the Convention Area. This includes:

text:
Vessel licensing;[15]
Monitoring of transhipments;[16]
Vessel and Port inspection systems;[15][17]
Automated satellite-linked Vessel Monitoring Systems (VMS);[18]
Catch Document Scheme:

text: The Catch Documentation Scheme (CDS) for Patagonian toothfish (Dissostichus eleginoides) and Antarctic toothfish (Dissostichus mawsoni) was one measure that ensured reductions in illegal fishing for toothfish and reduced the scope for trade in illegally caught fish. The CDS is an innovative online catch document information system (DCD: Dissostichus Catch Document) developed to identify legal toothfish harvested, which tracks toothfish from the point of landing throughout the trade cycle to point of sale. The CDS requires verification and authorisation by national authorities at regular intervals in the trade cycle. Identification of the origin of toothfish entering the ports and markets of CDS Parties is essential.[19][20]

text: Legal fishing[edit]

text: The Coalition of Legal Toothfish Operators, Inc. (COLTO) is a toothfish fishing industry body whose members represent around 85% of the legal toothfish catch worldwide. Seven of the fisheries that are fished by COLTO members are now independently certified by the Marine Stewardship Council (MSC)[21] as sustainable and well managed fisheries. Commercial fishing of Patagonian and Antarctic toothfish is managed by CCAMLR around most of the sub-Antarctic and Antarctic regions, however a fishery that lies within a nation’s Exclusive Economic Zone (EEZ) is managed by that nation, taking into account management recommendations and approaches by CCAMLR.[22]

text: In 2004, the South Georgia toothfish fishery (CCAMLR Statistical Division 48.3) was the first toothfish fishery to be MSC certified, and was recertified in 2009 and 2014, as all MSC certified fisheries must be audited annually, and fully reassessed every five years. Currently, the South Georgia Total Allowable Catch (TAC) is 2,400t, and there are 6 longline vessels being operated by 4 companies in this fishery, which is managed by the UK overseas territory of South Georgia and the South Sandwich Islands.[23][24]

text: The Ross Sea fishery (CCAMLR Statistical Division 88.1 and 88.2) was the second toothfish fishery to be independently evaluated and certified by the MSC as sustainable and well managed (in 2010, and re-certified in 2015). This fishery catches mainly Antarctic toothfish, a close relative to the Patagonian toothfish.[25][26]

text: The Heard Island and McDonald Islands fishery (CCAMLR Statistical Division 58.5.2) was certified as a sustainable and well managed fishery by the MSC in March 2012 (and re-certified in 2017) and is operated under Australian jurisdiction in a manner consistent with CCAMLR regulations. There are 4 vessels operated by 2 Australian companies (Austral Fisheries and Australian Longline). The CCAMLR determined TAC is 3,405t of toothfish for the 2016/17 season.[27][28]

text: The Macquarie Island toothfish fishery is within the Australian EEZ, and is situated outside the CCAMLR Convention Area within FAO Statistical Area 81, though it is managed in a complementary way with the conservation measures adopted by CCAMLR. In May 2012, this was the fourth toothfish fishery to gain MSC certification (and re-certified in 2017). There are 2 Australian companies that are allocated to catch 450t of toothfish in 2017/18.[29][30]

text: France regulates Patagonian toothfish in the waters surrounding the French islands in the South Indian Ocean, with scientific oversight from the National Museum of Natural History. These fisheries are located around the Kerguelen Islands (CCAMLR Statistical Division 58.5.1) and the Crozet Islands (CCAMLR Statistical Division 58.6). Fishing authorizations have been granted to six fishing companies based out of Reunion Island. The TAC for the Kerguelen Island fishery is 5,050t and was certified by the MSC in September 2013.[31] The current TAC for the Crozet Islands fishery is 1,300t, and was certified by the MSC in 2017.

text: The Falkland Islands, a self-governing British Overseas Territory, also has a toothfish fishery and was awarded MSC certification in 2014. The Falklands do not fall in the CCAMLR Convention area, though regulations on fishing methods, science and management mirror CCAMLR requirements. The TAC is currently 1,040t and is caught by a sole longline vessel.[32][33]

text: Combined, over 50% of all legally harvested toothfish is independently assessed and certified by the MSC as being from sustainable and well managed fisheries.[34][35]

text: The Chilean toothfish fishery is separated into two separate fleets. The "artisanal fleet" of small boats operates in the region north of 47°S inside the Chilean EEZ; and 8 vessels from the "industrial fleet" operate south of 47°S inside the Chilean EEZ as well as on the high seas both within and outside CCAMLR waters.[36] The TAC for the industrial fleet is determined each year by the Chilean government based on biological studies carried out by both public and private scientific bodies. The current Chilean TAC for the industrial fleet is 1,656t that is caught by 3 companies. Since 2006, artisanal fleet catches have fluctuated between 2,091t and 1,558t per annum,[37][38]. It's current quota is 1,491t.

text: Argentina has a toothfish fishery off its coastline that is managed by the Argentine Federal Fisheries Council under recommendations from the National Fisheries Research Institute. This season the Argentine TAC is 3,700t that is caught by 5 vessels from 4 companies.[39]

text: The Prince Edward and Marion Islands toothfish fishery is managed and regulated by Branch Fisheries, part of the South African Minister of Agriculture, Forestry and Fisheries. The South African Marine Resource Authorities fully supports and follows all CCAMLR Conservation Measures. The current TAC is 575t and is fished by two vessels belonging to two fishing companies/cooperatives, with catches having been restricted significantly following excessive illegal, unreported and unregulated (IUU) fishing in those waters in the late 1990s.[40][41] TACs from this fishery have slowly started to increase as the stock begins to recover.

text: The total allowable catch of toothfish worldwide is around 28,300t in 2017, with around 85% of this coming from COLTO members, and 56% of the total catch (15,900 tonnes) now being independently certified as coming from sustainable and well managed fisheries by the Marine Stewardship Council.[35]

text: Illegal fishing[edit]

text: In the late 1990s to early 2000s, illegal, unreported and unregulated fishing (IUU) for toothfish nearly collapsed some fisheries in the Southern Ocean. Though, since 2005, thanks to CCAMLR Member nations, government patrol vessels, NGOs, media exposure and a trade and port state measures, IUU fishing has been all but eliminated from within countries' exclusive economic zones, and until 2015 a relatively small portion of IUU fishing still occurred in high seas areas[42]. In 2014 and 2015 there were several major campaigns to eliminate IUU fishing for toothfish. This included the Sea Shepherd campaign, ""Operation Icefish", which pursued one of the vessels, the Thunder, for 110 days before it was scuttled.[43] Operations by the Royal New Zealand Navy, the Royal Australian Navy, Interpol, and governments of Spain, Thailand, Malaysia and Indonesia all combined to successfully apprehend, arrest and prosecute all of the remaining 6 IUU vessels fishing illegally for toothfish on the high seas.

text: At the peak of IUU fishing, illegal catches were estimated to be 32,000 tonnes in 1997 with approximately 55 vessels believed to be active. By 2010, IUU catches had fallen to an estimated 1,615 tonnes, all taken in high seas areas, with just four IUU fishing vessels reported to be active. This was a decrease in IUU fishing by over 95% since the mid 1990s. CCAMLR estimated in 2012 that 90% of IUU catches at the time were of Antarctic toothfish, not Patagonian toothfish.[44]

text: CCAMLR annually reviews information on IUU fishing activities in the Convention Area and has established a Contracting Party and a Non-Contracting Party IUU Vessel List[45] (CCAMLR Conservation Measure 10-06 and Conservation Measure 10-07). Vessels included on the IUU Vessel Lists have engaged in IUU activities in the Convention Area and undermined the effectiveness of conservation measures, thereby threatening toothfish stocks, marine habitats and by-catch species. Vessels are included on the IUU Vessel Lists after a consensus decision from the Commission based on set criteria. This measure, combined with additional surveillance by member nations, catch documentation schemes has played a significant part in the reduction of IUU fishing for toothfish.

text: In the past, France sold some fishing rights to Japanese and other foreign fisheries, but because of IUU fishing, rights are now reserved for French fishers based at Réunion Island. Because of previous poaching, the French Navy and Australian Customs vessels still work in concert, patrolling both French and Australian EEZs, having made numerous arrests and seizures in the late 1990s to early 2000s. An Australian Customs vessel, the Southern Supporter, was involved in the renowned chase and apprehension of an IUU vessel in the 2003 Viarsa incident that stretched over 7,200 kilometers.[46]

text: TACs for legal operators in CCAMLR are set, taking into account the estimated IUU catches from past years, and any current IUU activity that may be occurring in the different fisheries.[47] In some fisheries this has meant a considerable reduction in legal catches – an example of this is the Australian Heard Island and McDonald Islands fishery, where the legal TAC was 3,800t in 1996/97. This was dropped to a minimum of 2,427t by 2006/07 with a substantial portion of that decline attributed to the IUU catches taken from the fishery between 1996 and 2002. Since then there has been zero IUU fishing in that fishery, and the legal TAC has steadily increased.[48]

text: In addition to the Catch Documentation System mentioned above, USA regulations do not allow toothfish imports without valid Dissostichus Catch Documents; and dealer permit and pre-approval certificates issued in advance by NOAA. In addition, toothfish must be caught from vessels equipped with satellite-linked automated VMS that track vessel movements from port-to-port to ensure compliance with set quotas and boundaries. All vessel VMS data must be reported to the centralized CCAMLR system, with confirmation to USA required that it has occurred, in order for any products from those boats to be imported into the United States.[49]

text: As revealed by the "Black spider memos",[50] Charles, Prince of Wales was worried about the future for the species. An open reply noted that sea birds had indeed been protected in toothfish fisheries globally, and that IUU fishing was virtually eliminated.[51]

text: The EU has also imposed requirements against IUU fishing that include:

text:
Only marine fisheries products validated as legal by the relevant flag state or exporting state can be imported to or exported from the EU.
A European black list having been drawn up covering both IUU vessels and states that turn a blind eye to illegal fishing activities.
EU operators who fish illegally anywhere in the world, under any flag, face substantial penalties proportionate to the economic value of their catch, which deprive them of any profit.[52]

text: Seafood chooser organizations[edit]

text: Patagonian Toothfish is currently listed by the Monterey Bay Aquarium on its Seafood Watch list and pocket guides. In April 2013, Seafood Watch produced an updated report,[53] indicating new ratings for some fisheries, which allocates approximately 78% of toothfish caught worldwide, which are as follows:

text:
Best Choice – Heard Island and McDonald Islands Fishery (Australia), Macquarie Island Fishery (Australia), Falkland Islands Fishery
Good Alternative – South Georgia Fishery, Kerguelen Islands Fishery (France), Ross Sea Antarctic toothfish Fishery
Avoid – Prince Edward & Marion Island Fishery (South Africa), Chile, Crozet Islands Fishery (France)
Not Rated – Argentina

text: In 2010, Greenpeace International added the Patagonian toothfish to its seafood red list. "The Greenpeace International seafood red list is a list of fish that are commonly sold in supermarkets around the world, and which have a very high risk of being sourced from unsustainable fisheries."[54] Greenpeace have not updated their rating of toothfish since the 2013 Monterey Bay Aquarium review.

text: Notes[edit]

text:
^ Jump up to: a b Collins, M.A.; Brickle, P.; Brown, J.; Belchier, M. (2010). "The Patagonian toothfish: Biology, ecology and fishery". Advances in Marine Biology. 58: 227–300. ISBN 9780123810151. doi:10.1016/B978-0-12-381015-1.00004-6.
Jump up ^ Froese, Rainer and Pauly, Daniel, eds. (2015). "Dissostichus eleginoides" in FishBase. October 2015 version.
^ Jump up to: a b G. Bruce Knecht, Hooked: Pirates, Poaching, And the Perfect Fish", 2006. ISBN 1-59486-110-2. p. 9
Jump up ^ "The Fish Labelling (England) Regulations 2010", Statutory Instrument 2010 No. 420, 23 February 2010, PDF, came into force 6 April 2010
Jump up ^ Yukhov, V.L. (1972). "The range of fish of the genus Dissostichus (Fam. Nototheniidae) in the Antarctic waters of the Indian Ocean". Journal of Ichthyology. 12 (2): 346–347.
Jump up ^ Rosa, R.; Seibel, B.A. (2010). "Slow pace of life of the Antarctic colossal squid". Journal of the Marine Biological Association of the United Kingdom. 90 (7): 1375–1378. doi:10.1017/S0025315409991494.
Jump up ^ van den Hoff, J. (2004). "A comparative study of the cephalopod prey of Patagonian toothfish (Dissostichus eleginoides) and southern elephant seals (Mirounga leonina) near Macquarie Island". Journal of Polar Biology. 27 (10): 604–612.
Jump up ^ Constable, A.J. (2002). "The Status of Antarctic Fisheries Research". The Antarctic: Past, Present and Future. Antarctic CRC Research Report. 28. pp. 71–84.
Jump up ^ "About CCAMLR". Retrieved 22 August 2012.
Jump up ^ "CCAMLR XXX Scientific Committee Report". Retrieved 22 August 2012.
Jump up ^ "CCAMLR CM 41-02 to 41-11". Retrieved 22 August 2012.
^ Jump up to: a b c d e "CCAMLR CM 25-02" (PDF).
Jump up ^ "CCAMLR XXX Commission Report".
Jump up ^ "CCAMLR CM 22-05" (PDF).
^ Jump up to: a b "CCAMLR CM 10-02".
Jump up ^ "CCAMLR CM 10-09".
Jump up ^ "CCAMLR CM 10-03".
Jump up ^ "CCAMLR CM 10-04".
Jump up ^ "CCAMLR CM 10-05".
Jump up ^ Best Practice Study of Fish Catch Documentation Schemes (PDF). MRAG Asia Pacific. 2010.
Jump up ^ "Marine Stewardship Council Toothfish". Retrieved 22 August 2012.
Jump up ^ "COLTO Fisheries". Retrieved 22 August 2012.
Jump up ^ "South Georgia MSC". Retrieved 22 August 2012.
Jump up ^ "South Georgia COLTO".
Jump up ^ "Ross Sea MSC".
Jump up ^ "Ross Sea COLTO".
Jump up ^ "HIMI MSC".
Jump up ^ "COLTO HIMI".
Jump up ^ "Macquarie Island MSC". Retrieved 22 August 2012.
Jump up ^ "Macquarie Island COLTO". Retrieved 22 August 2012.
Jump up ^ "French Toothfish MSC".
Jump up ^ "Falkland Islands MSC".
Jump up ^ "Falkland Islands COLTO".
Jump up ^ "CCAMLR XXX Commission Report". Retrieved 22 August 2012.
^ Jump up to: a b "MSC Toothfish".
Jump up ^ Gonzalez, E.P.; et al. (2001). "Changes in Fleet Capacity and Ownership of Harvesting Rights in the Fishery for Patagonian Toothfish in Chile. Case studies on the effects of transferable fishing rights on fleet capacity and concentration of quota ownership". FAO Fisheries Technical Paper. 412.
Jump up ^ "SernaPesca Annual Reports".
Jump up ^ "Chile COLTO".
Jump up ^ "Argentine COLTO".
Jump up ^ Brandão, A.; Butterworth, D.S. (2009). "A proposed management procedure for the toothfish (Dissostichus eleginoides) resource in the Prince Edward Islands vicinity". CCAMLR Science. 16: 33–69.
Jump up ^ "Prince Edward COLTO".
Jump up ^ "CCAMLR FSA report".
Jump up ^ "A Renegade Trawler, Hunted by 10,000 miles by Vigilantes".
Jump up ^ "SC-CCAMLR-XXIX, Annex 8, Table 6". Retrieved 22 August 2012.
Jump up ^ "CCAMLR Non-contracting party IUU Vessel List".
Jump up ^ "Chase around the world for white gold". National News. The Sydney Morning Herald. 2003-08-23.
Jump up ^ "CCAMLR FSA Report 2011".
Jump up ^ "CCAMLR 58.5.2 Fishery Report".
Jump up ^ "USA Federal Register". Retrieved 22 August 2012.
Jump up ^ "Prince of Wales correspondence with government departments". Cabinet Office, London. Retrieved 13 May 2015.
Jump up ^ "Open Letter to HRH, the Prince of Wales" (PDF).
Jump up ^ "EU IUU Policy".
Jump up ^ "Chilean Seabass Seafood Watch Report". Monterey Bay Aquarium Seafood Watch. Archived from the original on 12 April 2013. Retrieved 19 April 2013.
Jump up ^ Greenpeace International Seafood Red list