document_title: Derek Shepherd

question_text: what season did derek shepherd die in grey's anatomy

question_tokens: what season did derek shepherd die in grey 's anatomy

text: Derek Shepherd

text: Storyline[edit]

text: Derek arrives at Seattle Grace Hospital as the new Head of Neurosurgery from New York City. He is a Bowdoin College graduate[2] and attended Columbia University College of Physicians and Surgeons alongside his childhood best friend Mark Sloan and ex-wife Addison Montgomery and Private Practice characters Naomi Bennett and Sam Bennett. Derek was a student of Dr. Richard Webber and was enticed to come with an "offer he couldn’t refuse"[3] – the position of Chief of Surgery, which he eventually turned down. He specializes in highly complex tumors and conditions of the brain and spine[4][5][6] and came to Seattle Grace with a reputation for taking on "lost causes" and "impossible" cases[7] that most of his peers would turn down. As an attending he is both well-liked and feared — well-liked by patients and his scrub nurses for his compassion and gentlemanly bedside manner and feared by interns and residents who are intimidated by his reputation and high standards.[4][8] He is passionate about his job and has been known to expel staff or remove interns and residents (or at least threaten them) from his service for being disrespectful about patients or if he deems their attitude to be detrimental to his patient's well-being.[9][10][11][8]

text: Derek first meets Meredith Grey at a bar, and soon finds out that she is an intern at Seattle Grace. They begin to have feelings for one another and it causes some awkwardness at work, particularly after her supervising resident Dr. Miranda Bailey discovers their relationship. Meredith's housemates and fellow interns George O'Malley and Izzie Stevens both antagonized her for some time as they felt she was using her relationship with Derek to further her career. He generally tolerated them despite his dislike of sharing his living space with the interns who worked under him. While most of his family members accepted Meredith, his sister, Nancy, particularly disliked her and repeatedly called her "the slutty intern";[12] as of season nine she still refuses to speak to Meredith or acknowledge her as her sister-in-law.[13] His mother Carolyn approved as she felt Meredith's gray perspective of life complemented Derek's tendency to see everything in black and white.[14]

text: Derek's background was generally a mystery for the first season and source of speculation amongst his colleagues due to his sudden departure from an established and highly respected practice in New York. In the season one finale, his past eventually catches up with him when his estranged wife Addison moves to Seattle and is offered a position by Dr. Webber. Shortly thereafter, his childhood best friend Mark joins Seattle Grace as the new head of plastic surgery. Derek and Addison attempt to repair their marriage but attempts were futile. Since their divorce they have remained on amicable terms, with Addison even admonishing Meredith for breaking up with Derek in season three. In the Private Practice episode "Ex-Life" Derek finally tells Addison that his mother never liked her in the first place. He admits to Meredith that Addison cheating on him with Mark was partly his fault as an absentee husband.[15] Addison eventually leaves Seattle for a private practice in Los Angeles, spawning the spin-off Private Practice. In the season eight episode "If/Then", Meredith dreams of an alternate universe where her mother never had Alzheimer's; Derek and Addison are still married but their strained relationship and Shepherd's disillusionment causes his career to stagnate, earning him the nicknames "Bad Shepherd" and "McDreary".

text: When Derek is offered the Chief of Surgery position for the second time, he persuades the board to keep Dr. Webber on the staff. During the merger of Seattle Grace with Mercy West their relationship sours when Derek disagreed with Richard's handling of the merger and Richard begins to display uncharacteristic behavior, not unnoticed by his fellow surgeons. Derek learns from Meredith that Richard has since resumed drinking and feels forced to have him removed as Chief of Surgery. With mixed feelings, Derek offers him an ultimatum: go into rehab and possibly pick up where he left off after, or quit completely.

text: In seasons three and four, Meredith and Derek's relationship becomes rocky and they each take time to date other people. Derek's plans to propose were ruined by a series of unfortunate events in season five. In the season finale, they decide to give their planned wedding to Alex and Izzie. Due to their tight schedule, they instead informally marry and Derek writes down their "promises" on a post-it note. They legalize their marriage in season seven in order to adopt Zola, a young African orphan treated for spina bifida.[16] They briefly separate after Meredith tampers with their Alzheimer's trial, jeopardizing her career and tarnishing Derek's reputation. Zola is taken away from Meredith after a social worker finds out she and Derek are living separately. In later seasons, Derek often griped about how his subsequent interns and residents – mainly Lexie Grey, Shane Ross and Heather Brooks – did not quite measure up to Meredith.[4][10] The social worker comes back and announces they are the official parents of Zola. As Meredith nears the end of her fifth year of residency, she and Derek are torn between staying at Seattle Grace Mercy West or leaving for Boston where Derek would work at Harvard while Meredith would be at the Brigham and Women's Hospital.

text: Following his rescue from the plane crash that killed Mark and Lexie, Derek learns that he may only regain 80 percent of his hand's function. He comes to terms with the fact that his career as a surgeon may be over and is grateful that he is alive. When Callie Torres (Sara Ramirez), head of orthopedic surgery, tells him a more risky surgery could give him back full function of his hand or reduce its function if it goes wrong, he agrees, accepting the possibility of never again holding a scalpel. Derek recovers well and Callie clears him to return to work, but it is still weeks later that he feels ready to operate. Derek, Callie and fellow resident Jackson Avery decide to do nerve transplant for his hand. Meredith, newly pregnant with their second child, goes behind his back and calls his sisters so they can donate a nerve to him. Lizzie (Neve Campbell), Derek's younger sister, agrees to donate a nerve and the surgery is a success.

text: Derek and Meredith's marriage is strained after he accepted an invitation from the President to participate in the Brain-Mapping Initiative. He went back on his promise to her that he would not add to his current workload in order to devote time to their two young children and allow her the chance to establish her career as a full-fledged attending. Eventually he was offered a position at the National Institutes of Health in Washington, D.C., but Meredith puts her foot down and refuses to leave her hometown and uproot their young family. His youngest sister Amelia (Caterina Scorsone) takes over his position at Grey Sloan. Meanwhile, he and Meredith fight bitterly on and off over whether they should move. After a bad argument, he accepts the job in the heat of the moment and leaves for Washington. While there, he and Meredith talk things out over the phone and come to a mutual conclusion that they both did not want to end their marriage. He tells her that just being with her, raising their children and operating on patients was more satisfying than "saving the world".

text: In season 11, Derek is involved in a fatal car accident while driving to the airport for his final trip to Washington. He is able to hear and process auditory input, but unable to speak. He is recognized by Winnie, one of the victims of a crash he assisted in earlier, who tells the surgeons that their patient's name is Derek and that he is a surgeon as well. The hospital he was taken to was understaffed and his head injury was not detected quickly enough by the interns on duty that night. Although the neurosurgeon on call is paged multiple times, he takes too long to arrive and Derek is declared brain dead. Police arrive at Meredith's door and take her to see Derek, where she consents to removing him from life support. At the time of his death, Meredith was pregnant with their third child. She gives birth to a daughter whom she names Ellis after her mother.

text: Derek was mentioned or referenced to a number of times in season 12 as the other characters struggle to cope with his sudden death. In the episode "My Next Life", Meredith had a flashback of their first ever surgery together when a patient named Katie Bryce was admitted to the hospital with a brain aneurysm. Amelia took his death especially hard as he was the sibling she was closest to. At the end of the season, prior to her wedding to Derek's long-time colleague Owen Hunt, Amelia goes on a nervous rant about how Derek was supposed to be the one to give her away, him having given away their three other sisters at their weddings.

text: Development[edit]

text: Casting and creation[edit]

text: When Patrick Dempsey auditioned for the role of Derek Shepherd, he was afraid that he was not going to get the part. Creator Shonda Rhimes' first reaction was: "The very first time I met him, I was absolutely sure that he was my guy. Reading the lines of Derek Shepherd, Patrick had a vulnerable charm that I just fell for. And he had amazing chemistry with Ellen Pompeo." Rhimes admitted that Dempsey's dyslexia threw her at first, particularly at the first few table readings: "I did not know about Patrick's dyslexia in the beginning. I actually thought that he didn't like the scripts from the way he approached the readings. When I found out, I completely understood his hesitation. Now that we all know, if he is struggling with a word, the other actors are quick to step up and help him out. Everyone is very respectful."[citation needed] Isaiah Washington also auditioned for the part and when he did not get it, he said his reaction was like "I'd been kicked in the stomach by 14 mules." Washington was, however, later cast as Preston Burke.[17] Rob Lowe was also considered to portray Shepherd but turned the role down.[18] Some of the character's medical cases were inspired by real-life patients of Steve Giannotta, Chair of Neurological Surgery at the University of Southern California Keck School of Medicine, whom Rhimes had consulted in writing for Shepherd's storylines and patients.[19]

text: In January 2014, Dempsey signed a two-year contract to remain on Grey's Anatomy (then in its tenth season) that would ensure his presence for potential 11th and 12th seasons.[20] However, in April 2015, Dempsey's character was killed off[21] while his contract was not over yet. Dempsey explained: "it just sort of evolved. It’s just kind of happened. It really was something that was kind of surprising that unfolded, and it just naturally came to be. Which was pretty good. I like the way it has all played out."[22] In August 2015, Rhimes commented:

text:
“
The decision to have the character die the way that he did was not a difficult one in the sense of what were the options? Either Derek was going to walk out on Meredith, and leave her high and dry, and what was that going to mean? That was going to suggest that the love was not true, the thing we had said for 11 years was a lie and McDreamy wasn't McDreamy. For me, that was untenable. Meredith and Derek's love had to remain Meredith and Derek's love. As painful as it was for me as a storyteller, because I had never really thought that was going to happen, it preserved what felt true to me, was that Derek was going to have to die in order for that love to remain honest. Because I really couldn't have the idea that he just turned out to be a bad guy who walked out on his wife and kids be a true story. To me, it felt like that was the only way to make Meredith and Derek's magic remain true and forever frozen in time.[23]
”

text: The character was later written to be a graduate of Bowdoin College, a liberal arts college in Brunswick, Maine, after an alumnus led a petition signed by over 450 students to "adopt" the character as an alumnus.[24] Dempsey is from Lewiston, about 18 miles (29 km) away from Brunswick, and was awarded an honorary doctorate by Bowdoin in 2013.[2]

text: Characterization[edit]

text: Rhimes describes Shepherd as typical "Prince Charming". He was planned to be a doctor who doesn't really care about anything, who lives in his "own" universe and has a big sex appeal. A man who is charming, devilishly handsome and the type of guy every girl dreams of, and a man that often makes the wrong decisions, and is often known as a jerk or the ultimate heartbreaker. Rhimes planned to have this kind of character from the beginning, because he was the kind of guy whom girls fall in love with and a character whose storylines could easily be changed.[citation needed] USA Today writer Robert Bianco said: "Derek could, at times, seem like two people, warm and funny one minute, cold and self-involved the next. Dempsey's gift was in making those two sides seem like part of the same person, while keeping us rooting for that person as a whole."[25]

text: Reception[edit]

text: With the show concluding its second season, Robert Bianco of USA Today said that Emmy voters could consider him because of the "seemingly effortless way he humanizes Derek's 'dreamy' appeal with ego and vanity".[26] In the third season, Alan Sepinwall of The Star-Ledger wrote that "the attempt to give the moral high ground back to McDreamy was bad. Dude, whatever happened in New York ceased to count in any kind of grievance tally once you agreed to take Addison back and give things another try. You're the dick who cheated on her, you're the one who knew that she found the panties, and still you act like her getting back together with Mark justifies what you did? Wow. I didn't think it was possible for me to dislike anyone on this show more than Meredith, but congratulations, big guy."[27]

text: Debbie Chang of BuddyTV noted the character's immaturity in the fourth season, saying: "The only character who did not make me love him was Derek Shepherd (Patrick Dempsey). How this character is still Shonda's golden child is beyond me. Yes, we get it. He's tormented by his love for Meredith, but that does not give him the right to lash out at her when his clinical trial patients are dying. If things don't go absolutely the way he wants them to, then he refuses to cooperate. How immature can this man possibly be? No amount of heavily styled hair or blue-blue-blue eyes is going to make me warm up to him unless he admits to being the needy, desperate one in the relationship."[28]

text: Entertainment Weekly placed Shepherd in its list of the "30 Great TV Doctors and Nurses".[29] The character was also listed in Wetpaint's "10 Hottest Male Doctors on TV" and in BuzzFeed's "16 Hottest Doctors On Television".[30][31] His relationship with Meredith was included in TV Guide's list of "The Best TV Couples of All Time".[32]

text: Victor Balta of Today listed Shepherd and Sloan's friendship in its "TV's best bromances". He called them "the most exciting couple on Grey’s," explaining "they’ve demonstrated an easy chemistry that makes for some of the great comic relief around Seattle Grace Hospital with their banter, sage wisdom on each other’s lives, and locker room-style teasing."[33] Their bromance was furthermore included in lists by About.com, BuddyTV, Cosmopolitan, Wetpaint.[34][35][36][37] However, following the announcement of Dane's upcoming departure from the show, Mark Perigard of the Boston Herald felt he and Derek "never clicked like you’d expect friends would. Any scene they had together ranged from uncomfortable to forced."[38]


document_title: Beauty and the Beast (2017 film)

question_text: who voiced beast in new beauty and the beast

root

text: Beauty and the Beast (2017 film)

text: Plot[edit]

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

tag: p

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

text: Belle befriends the castle's servants, who treat her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast, enraged, scares her into the woods. She is cornered by wolves, but the Beast rescues her and is injured in the process. A friendship develops as Belle nurses his wounds. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses it to visit her childhood home in Paris, where she discovers a plague doctor mask. Belle realises that she and her father were forced to leave her mother's deathbed as her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to the wolves. Maurice is rescued by the beggar Agathe, but when he tells the townsfolk of Gaston's crime, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Realizing that Belle loves the Beast, Gaston has her thrown into the asylum carriage with her father and rallies the villagers to follow him to the castle to slay the Beast. Maurice and Belle escape and Belle rushes back to the castle.

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

text: Cast[edit]

text:
Emma Watson as Belle, a beautiful and benevolent bibliophile who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as The Prince / Beast, a cold-hearted prince who is transformed into a hideous beast and forced to earn back his humanity by learning to truly love and be loved in return.[9][10]

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

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father.[11]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[12]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[13]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[14]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[15]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[11]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[16]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[17]
Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[18]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the Enchantress responsible for cursing the Prince.[19] Morahan also narrates the prologue.

Rita Davies portrays the Enchantress in her beggar woman form.

Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[19]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the Prince's valet who has been transformed into a coat rack.
Tom Turner[4] as The King, the Prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the Prince's mother who died of an illness when he was a child.
Dale Branston as Baker, Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' Mother, an unnamed seamstress who is the mother of the Village Lasses.

tag: ul

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[20]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[20]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[21]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[22][23] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[24]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[25] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[26] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[27]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[28] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[29]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[30] Watson was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[29] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[31][32] and Watson confirmed their casting the following day through tweets.[9][33] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[12][11][16][15][17][13][14][34]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[35] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[36]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[37]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, England, on May 18, 2015.[11][38][39] Filming with the principal actors concluded on August 21.[40][41] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[42]

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

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones' character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[20]

text: Music[edit]

text: When released in 1991, Beauty and the Beast marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[43]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[44] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[45] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[46] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[47]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion - singer of the original 1991 Beauty and the Beast duet song, with singer Peabo Bryson - that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[48] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way".[18] She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today".[9] Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[49][50][51][52]

text: The 2017 film features a remake of the 1991 original song Beauty and the Beast recorded as a duet by Ariana Grande and John Legend.[53][54] Grande and Legend's updated version of the Beauty and the Beast title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[55]

text: Emma Thompson also performed a rendition of "Beauty and the Beast", which was performed by Angela Lansbury in the original 1991 animated film release.[56]

text: Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song "Beauty and the Beast" on Freeform television network on March 5, 2017, and it has since attained over 100 million video views on the Vevo video hosting service.[56]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[11] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[57]

text: The world premiere of Beauty and the Beast took place on February 23, 2017, at Spencer House in London, England;[58] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[59] The United Kingdom received the same version on April 21, 2017.[citation needed]

text: Marketing[edit]

text: Disney spent around $140 million for marketing the film worldwide.[60] Following an announcement on May 22, 2016,[61] Disney premiered the first official teaser trailer on Good Morning America the next day.[62] In its first 24 hours, the teaser trailer reached 91.8 million views, which topped the number of views seen in that amount of time in history, including for the teasers for other films distributed by Disney such as Avengers: Age of Ultron, Star Wars: The Force Awakens and Captain America: Civil War.[63] This record has since been broken by Thor: Ragnarok and It.[64] The first official teaser poster was released on July 7, 2016.[65] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine for the week along with nine new photos as well.[66][67] One week later, Emma Watson and Disney debuted a new poster for the film.[68] On November 14, 2016, the first theatrical trailer was released again on Good Morning America.[69] The trailer reached 127.6 million views in its first 24 hours, setting a new record as the trailer with the most views in one day, beating out Fifty Shades Darker.[70] This record has since been broken again by The Fate of the Furious.[71] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[72] Disney released the final trailer on January 30, 2017.[73]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[74] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[75] The movie regained the top spot on the national home video sales charts during its third week of release.[76] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $758.6 million in other territories for a worldwide gross of $1.262 billion.[a] With a production budget of $160 million, it is the second-most expensive musical ever made; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second biggest musical ever overall, behind Disney's Frozen (2013).[78] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[79] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[80] It surpassed the entire lifetime total of the original film in just six days.[81][82]

text: Beauty and the Beast is the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[83] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[84][85][86][87] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[88][89][90] It is currently the highest-grossing film of 2017,[91] the highest-grossing March release,[92] the highest-grossing remake of all-time,[93] and the fifth biggest Disney film.[94] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[93]

text: North America[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[95][96][97] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[98][99] It earned $16.3 milion from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[100] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest – 59% – came from regular 2D shows which began at 7 p.m.[101] The numbers were considered more impressive given that the film played during a school week.[102]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[103][104] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[105] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell -2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[83] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[106] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[107][108] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[109] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[110] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[110] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[106]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second biggest film of the year, behind Logan ($184 million), and also the second highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[111] 70% of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[83] 70% of the film's opening day demographic was female, dropping to 60% through the weekend.[110] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[112][113] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[112][114]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second biggest March Monday, behind Batman v Superman ($15 million).[115] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a +32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[116] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[117] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[118] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[78] The hold was notable considering how the film was able to fend off three new wide release; Power Rangers, Life, and CHiPs.[119] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[120] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[121] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[122] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (-48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[123] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[124] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[125] By May 28, the film had earned over $500 million in ticket sales becoming the first (and currently only) film of 2017, the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman) and the eighth overall film in cinematic history to pass the mark.[126][127][128]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[129] the biggest musical film (both animated and live-action),[130] as well as the biggest film of 2017.[131]

text: Outside North America[edit]

text: Internationally, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second biggest for a PG title behind The Jungle Book.[132] In its second weekend, it fell just by -35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[133] It top the international box office for three consecutive weekends[134] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[135][90]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[136][137] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[132][133]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[138] This included the second biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[139] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[140][133] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[141][142][143] It earned around ₹1.5 crore (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases – Machine, Trapped and Aa Gaya Hero – combined.[144] Disney reported a total of ₹9.26 crore (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[145][146][147] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[148]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time – around two months – to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[149] The original film was however never widely popular in the country.[150] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[151] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[152][153] Either ways, it recorded the second biggest opening for a Disney live-action film,[150] with $3.4 million coming from 386 IMAX screens.[132] Japan – a huge Disney market – served as the film's final market and opened there on April 21[133] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[154][155] The two day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[156] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[157][158][159] and is the biggest film release of the year and overall the eleventh biggest of all time.[160] It topped the box office there for eight consecutive weekends.[161][162]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[132] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[135][163] In the Philippines, it emerged as the most commercial successful film of all time – both local and foreign – with over $13.5 million.[164] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[165] It is currently the eighth biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[154][166] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[161] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past 1 year (behind Rogue One: A Star Wars Story).[167][154][157]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for the faithfulness to the original film with a few elements of the Broadway musical version, cast performances, visuals, Jacqueline Durran's costume designs, Alan Menken's musical score and songs, though the designs of the Beast and the servants' household object forms received mixed reviews.[168][169] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 294 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[170] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[171] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[172][173]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[174] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[175] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[176] Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[177] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[178] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[179] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[180]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[181] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)."[182] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it’s loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[183] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[184] Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[185] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[186]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[187] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[188] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails – the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[189][190]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he sensed that the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film’s stronger elements".[191] Dana Schwartz of The Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[192]

text: Accolades[edit]

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

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[193]

Best Actor in a Movie
Emma Watson

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Beauty and the Beast
[194]

Best Original Score

Best Animation/Family TV Spot

Best Fantasy Adventure TV Spot

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[195]
[196]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans

Choice Movie Ship
Emma Watson and Dan Stevens

Choice Liplock

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans

Dan Stevens

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[197] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I’m sort of sick of this. Because you’ve seen the movie—it's such a tiny thing, and it’s been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly-talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that’s what’s exciting about it.”[198] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[199]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[200] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[201] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[202] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[203][204][205] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[206] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[207][208] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[209]

text: There were also a number of boycotts against the film. A call to boycott on LifePetitions received over 129,000 signatures,[210] while the American Family Association featured a petition to boycott with the film, asking the public to help crowdfund a CGI version of Pilgrim's Progress instead.[211]

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

text: Disney has sought to portray Belle as an empowered young woman,[212] but a debate questioning whether it is possible to fall in love with someone who is holding you prisoner, and whether this is a problematic theme, has resulted.[213] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[214][215] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[216]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[217] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[218][219] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th century France for arranged marriages, and that the power disparity is amplified in the Disney version.[220] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[221]

text: Notes[edit]

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

tag: ol


document_title: Wah-wah pedal

question_text: who was the first guitarist to use a wah wah pedal

text: Wah-wah pedal

text: History[edit]

text: The first wah pedal was created by Bradley J. Plunkett at Warwick Electronics Inc./Thomas Organ Company in November 1966. This pedal is the original prototype made from a transistorized MRB (mid-range boost) potentiometer bread-boarded circuit and the housing of a Vox Continental Organ volume pedal. The concept, however, was not new. Country guitar virtuoso Chet Atkins had used a similar, self-designed device on his late 1950s recordings of "Hot Toddy" and "Slinkey". Jazz guitarist Peter Van Wood had a modified Hammond organ expression pedal; he recorded in 1955 a version of George Gershwin's "Summertime" with a "crying" tone, and other recordings including humorous "novelty" effects. A DeArmond Tone and Volume pedal was used in the early 1960s by Big Jim Sullivan, notably in some Krew Cats instrumental tracks, and in Dave Berry's song "The Crying Game".

text: The creation of the modern wah pedal was actually an accident which stemmed from the redesign of the Vox Super Beatle guitar amplifier in 1966. Warwick Electronics Inc. also owned Thomas Organ Company and had earlier entered into an agreement with Jennings Musical Instruments of England for Thomas to distribute the Vox name and products in the United States. In addition to distributing the British-made Vox amplifiers, the Thomas Organ Company also designed and manufactured much of the Vox equipment sold in the US (the more highly regarded British Vox amplifiers were made by Jennings (JMI), the parent company of Vox and designed by Dick Denney). Warwick assigned Thomas Organ Company to create a new product line of solid state Vox amplifiers (called Vox Amplifonic Orchestra), which included the Super Beatle amplifier, named to capitalize on the Vox brand name's popularity in association with the Beatles, who used the Jennings-made English Vox amplifiers such as the famous Vox AC30 (although the Beatles did use several American-made Super Beatle units on their 1966 US tour). The US-made Vox product line development was headed by musician and bandleader Bill Page. While creating the Vox Amplifonic Orchestra, the Thomas Organ Company decided to create an American-made equivalent of the British Vox amplifier but that was transistorized (using solid state circuits), rather than vacuum tube, which would be less expensive to manufacture. During the re-design of the USA Vox amplifier, Stan Cuttler, head engineer of Thomas Organ Company, assigned Brad Plunkett, a junior electronics engineer, to replace the expensive Jennings 3-position MRB circuit switch with a transistorized solid state MRB circuit.

text: Plunkett had lifted and bread-boarded a transistorized tone-circuit from the Thomas Organ (an electric solid state transistorized organ) to duplicate the Jennings 3-position circuit. After adjusting and testing the amplifier with an electronic oscillator and oscilloscope, Plunkett connected the output to the speaker and tested the circuit audibly. At that point, several engineers and technical consultants, including Bill Page and Del Casher, noticed the sound effect caused by the circuit. Page insisted on testing this bread-boarded circuit while he played his saxophone through an amplifier. John Glennon, an assistant junior electronics engineer with the Thomas Organ Company, was summoned to bring a volume control pedal which was used in the Vox Continental Organ so that the transistorized MRB potentiometer bread-boarded circuit could be installed in the pedal's housing. After the installation, Page began playing his saxophone through the pedal and had asked Joe Banaron, CEO of Warwick Electronics Inc./Thomas Organ Company, to listen to the effect. At this point the first electric guitar was plugged into the prototype wah pedal by guitarist Del Casher who suggested to Joe Banaron that this was a guitar effects pedal rather than a wind instrument effects pedal. Banaron, being a fan of the big band style of music, was interested in marketing the wah pedal for wind instruments as suggested by Page rather than for the electric guitar as suggested by Casher. After a remark by Casher to Banaron regarding the Harmon mute style of trumpet playing in the famous recording of "Sugar Blues" from the 1930s, Banaron decided to market the wah-wah pedal using Clyde McCoy's name for endorsement.

text: After the initial invention of the wah pedal, the prototype pedal was then modified by Casher and Plunkett to better accommodate the harmonic qualities of the electric guitar. However, since Vox had no intention of marketing the wah pedal for electric guitar players, the prototype wah-wah pedal was given to Del Casher for performances at Vox press conferences and film scores for Universal Pictures. The un-modified version of the Vox wah pedal was released to the public in February 1967 with an image of Clyde McCoy on the bottom of the pedal.

text: Warwick Electronics Inc. assigned Lester L. Kushner, an engineer with the Thomas Organ Company, and Brad Plunkett to write and submit the documentation for the wah-wah pedal patent. The patent application was submitted on February 24, 1967, which included technical diagrams of the pedal being connected to a four-stringed "guitar" (as noted from the "Description of the Preferred Embodiment"). Warwick Electronics Inc. was granted US patent 3530224 ("foot-controlled continuously variable preference circuit for musical instruments") on September 22, 1970.

text: Early versions of the Clyde McCoy featured an image of McCoy on the bottom panel, which soon gave way to only his signature. Thomas Organ then wanted the effect branded as their own for the American market, changing it to Cry Baby which was sold in parallel to the Italian Vox V846. Thomas Organ's failure to trademark the Cry Baby name soon led to the market being flooded with Cry Baby imitations from various parts of the world, including Italy, where all of the original Vox and Cry Babys were made.[3] Jen, who had been responsible for the manufacture of Thomas Organ and Vox wah pedals, also made rebranded pedals for companies such as Fender and Gretsch and under their own Jen brand. When Thomas Organ moved production completely to Sepulveda, California and Chicago, Illinois these Italian models continued to be made and are among the more collectible wah pedals today.

text: Some of the most famous electric guitarists of the day were keen to adopt the wah-wah pedal soon after its release. Among the very first recordings released featuring wah-wah pedal were "Tales of Brave Ulysses" by Cream with Eric Clapton on guitar and "Burning of the Midnight Lamp" by the Jimi Hendrix Experience, both released in 1967. Hendrix also used wah wah on his famous song Voodoo Chile, in intro and in soloing. Clapton, in particular, used the device on many of the Cream songs included on their second and third albums, Disraeli Gears (1967) and Wheels of Fire (1968) respectively. In fact, Clapton himself would subsequently employ it again on "Wah-Wah", from his good friend George Harrison's solo album All Things Must Pass, upon the dissolution of The Beatles in 1970. Another prominent use occurred in the recording of "Crimson and Clover" by Tommy James and the Shondells in late 1968, with the single version eventually reaching number one in early 1969. Terry Kath, lead guitarist for the band Chicago, used it on many of their early recordings as well. Martin Barre, lead guitarist for the fledgling Jethro Tull, also employed it to great effect on their second album Stand Up, particularly on "We Used to Know" and "Look into the Sun". Yet another famous guitarist, Jimmy Page, featured the wah-wah pedal on several songs from the final Yardbirds album Little Games, as well as the solo on the Led Zeppelin song "Custard Pie", and throughout "Trampled Under Foot", both from Physical Graffiti. Tony Iommi has also used it on quite a few Black Sabbath recordings; notably the songs "Black Sabbath", "The Wizard" and "N.I.B." from their self-titled debut album, "Electric Funeral" from Paranoid and "Supernaut" from their fourth album. He also employed it on later recordings, such as "Shock Wave" on Never Say Die! (1978), "Lady Evil" from the first Ronnie James Dio-era album Heaven and Hell (1980), and "Turn Up the Night" on the subsequent Mob Rules (1981).

text: Other functions[edit]

text: In addition to rocking the pedal up and down to crest a spectral glide, another function of the pedal is to use it in a fixed position. A guitarist using the wah in this way selects a position on the wah pedal and leaves the pedal there. Depending on the position of the pedal, this will boost or cut a specific frequency. This can be used for emphasizing the "sweet spot" in the tonal spectrum of a particular instrument. One electric guitar player to use the pedal in this way was Jimi Hendrix, who revolutionized its application by combining a Fender Stratocaster with stacked Marshall Amplifiers (in both static and modulated mode) for lead and rhythm guitar applications unheard of before then. According to Del Casher, Hendrix learned about the pedal from Frank Zappa, another well-known early user.[4][5] Milestones of this signature guitar and amplifier combination include songs such as "Voodoo Chile (Slight Return)" as well as the "Star Spangled Banner" which was played by Hendrix at Woodstock in 1969. Mick Ronson used a Cry Baby for the same purpose while recording The Rise and Fall of Ziggy Stardust and the Spiders from Mars.[6]

text: Another famous style of wah-wah playing is utilizing it for a percussive "wacka-wacka" effect during rhythm guitar parts. This is done by muting strings, holding down a chord and moving the pedal at the same time. This was first heard on the song "Little Miss Lover" (1967) by the Jimi Hendrix Experience. One of the most famous uses of this effect is heard on Isaac Hayes's "Theme from Shaft" (1971), Charles Pitts playing the guitar. Michael Schenker also utilized the pedal in his work.[7][8] The "wah-wah" and "wacka-wacka" effects are often associated with the bands on 1970s TV variety shows, like those of Sonny and Cher, Flip Wilson, or Donny and Marie Osmond; or with the soundtracks of pornographic films, the sound referenced in TV commercials for Axe (brand) body spray as "bow chicka wow wow."

text: David Gilmour (Pink Floyd) used the pedal to create the "whale" effect during Echoes. He discovered this effect as a result of a roadie accidentally plugging his guitar into the output of the pedal and the input being plugged into his amp. The effect was first used during live performances of The Embryo during 1970 but was then switched into Echoes as it was being developed before being released on the Meddle album on 31 October 1971.[9]

text: Other instruments[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2008) (Learn how and when to remove this template message)

text: Many bassists have also used the wah-wah effect, for example Michael Henderson on Miles Davis's album On the Corner (1972). Bassist Cliff Burton of Metallica used a Morley Wah pedal (along with a Big Muff Distortion) extensively, including on "(Anesthesia) Pulling Teeth", which is primarily a bass solo recorded for Kill 'Em All (1983), and "The Call of Ktulu" and "For Whom the Bell Tolls", both recorded for Ride the Lightning. Geezer Butler, bassist of Black Sabbath, used it when playing his solo "Bassically", along with the bass line in "N.I.B.". Chris Squire of Yes used a wah-wah pedal on his solo piece "The Fish" on the album Fragile. While wah pedals are less popular as a bass effect, various companies now offer pedals designed specifically for bass guitars.

text: Many steel guitar players use a wah-wah, such as Robert Randolph from the Robert Randolph and the Family Band.

text: Melvin Ragin, better known by the nickname Wah Wah Watson, was a member of the Motown Records studio band, The Funk Brothers, where he recorded with artists such as The Temptations, The Jackson 5, The Four Tops, Gladys Knight & The Pips, and The Supremes. He played on numerous sessions in the 1970s and 1980s for many top soul, funk and disco acts, including Herbie Hancock.

text: Keyboardists have also made use of the wah-wah effect both in the studio and during live performances. Garth Hudson famously used a wah-wah pedal on a clavinet in The Band's song "Up on Cripple Creek" to emulate a jaw harp. Rick Wright of Pink Floyd played a Wurlitzer electric piano through a wah-wah pedal in their song "Money" to give the impression of many consecutive chords being played. Jordan Rudess of Dream Theater made an extensive use of the wah-wah pedal on Dream Theater's album Train of Thought. John Medeski of Medeski, Martin, and Wood uses a wah pedal with his clavinet.

text: Many jazz fusion records feature wind and brass instruments with the effect - Miles Davis's trumpet being a well-known example. Davis first used this technique in 1970 (at concerts documented on Live-Evil and The Cellar Door Sessions) at a time when he also made his keyboard players (Keith Jarrett and Chick Corea) play electric pianos with a wah-wah pedal. Napoleon Murphy Brock played a saxophone amplified through a wah-wah pedal in the Frank Zappa movie The Dub Room Special, as well as on some of Zappa's albums. David Sanborn can be heard playing an alto saxophone modified by a wah-wah pedal on the David Bowie album Young Americans. Noted saxophonist King Curtis was also known to use a wah-wah pedal. Dick Sims, the keyboard player with Eric Clapton in the late 1970s, used a Hammond organ in conjunction with a wah-wah pedal, placed on top of the organ and operated by his palm.

text: The effect is also extensively used with the electric violin. Notable examples are Jerry Goodman with the Mahavishnu Orchestra, and Jean-Luc Ponty, Don "Sugarcane" Harris and Shankar with Frank Zappa, all usually engaged in long wah-wah violin/guitar duels. Boyd Tinsley of the Dave Matthews Band is known to use a wah-wah pedal live.


document_title: Kevin (Probably) Saves the World

question_text: where is the show kevin saves the world filmed

text: Kevin (Probably) Saves the World

text: Premise[edit]

text: Kevin, a down-on-his-luck man who survived a suicide attempt, moves in with his twin sister Amy, an engineer and professor at the local college, and Amy's teenage daughter Reese. Shortly after, he encounters a celestial being named Yvette; Yvette claims that God has tasked Kevin with saving the world, and sent Yvette to guide and protect him.

text: At first, Kevin was the only one who could see and hear Yvette, so his conversations appear to be hallucinations to those around him. Kevin must perform good deeds to build up his spiritual powers, forcing him to become a better person. The series also explores a mystery, as there are supposed to be 36 righteous souls in each generation, but for unknown reasons, Kevin is the only one known to be left.[3]

text: As of the season one finale, Kevin has located three other righteous souls, and in a surprise revelation, allowed Yvette to appear in front of Amy, as she is now called upon to help Kevin in their quest.[4]

text: Cast and characters[edit]

text: Main[edit]

text:
Jason Ritter as Kevin Finn
JoAnna Garcia as Amy Cabrera (née Finn)
Kimberly Hebert Gregory as Yvette
India de Beaufort as Kristin Allen
J. August Richards as Sheriff Deputy Nathan Purcell
Chloe East as Reese Cabrera
Dustin Ybarra as Tyler Medina

text: Recurring[edit]

text:
Lauren Blumenfeld as Ava
Lesley Boone as Lucille
Will Sasso as Dave
Abbey McBride as Becky Simpson

text: Guest[edit]

text:
Barbara Eve Harris as Colonel O'Donnell
Michael Harney as Karl Gilmore
Sam Huntington as Jake Gilmore
Emma Bell as Deb
Richard Masur as Dr. Sloane
Kate Flannery as Anne
Brandon Quinn as Ignacio "Iggy" DePerro
Anjali Bhimani as Susan Allen
David Huynh as Vong, whose newborn son is the first righteous soul to be located by Kevin
Troy Evans as Gus
Sprague Grayden as Shea, the second righteous soul located by Kevin
Rhenzy Feliz as Marc
Currie Graham as Barry, the third righteous soul located by Kevin

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
"Pilot"
Paul McGuigan
Michele Fazekas & Tara Butters
October 3, 2017 (2017-10-03)
4.17[5]

After getting fired from his Wall Street job and surviving a suicide attempt, Kevin Finn returns to his hometown to live with his twin sister Amy, a widowed mom, and her teenage daughter Reese. While Amy is away at a work assignment, a meteor crashes to earth near her home. Kevin and Reese investigate, and when Kevin touches the meteorite, he is hurtled backward. He begins having strange visions, including a mysterious woman named Yvette that only Kevin can see. Yvette calls herself one of God's messengers, tasked with locating the 36 righteous souls of this generation, of which Kevin is the only one known to be left.

2
"Listen Up"
Kevin Dowling
Craig DiGregorio & Jack Kenny
October 10, 2017 (2017-10-10)
3.61[6]

Yvette tells Kevin that not even she knows what happened to the other 35 righteous ones, and that they'll have to let the universe guide them. She explains that Kevin needs to strengthen his soul by performing good deeds. While helping the son of a brewery pub owner find his true path, Kevin reconnects with his ex-girlfriend Kristin and the two sleep together. They ponder getting back together, but both remember how badly Kevin treated Kristin in the past and decide it's not a good idea. Kevin has a vision of an island surrounded by ocean.

3
"Sweet Little Lies"
Peter Leto
Chris Dingess & Davah Avena
October 17, 2017 (2017-10-17)
3.26[7]

Kevin tries to intervene as a wedding planner for Deb, whose former childhood friend proposed to her when she got cancer. But now that Deb is healthy, she reveals to Kevin that she does not want to get married. Kevin has a vision of a mariachi band. Yvette meets with Ava, a celestial messenger like herself. Ava says she will gather all the other messengers to meet about finding the rest of the righteous, but come meeting time, they are the only two to show up. Ava then says that she too is giving up.

4
"How to be Good"
J. Miller Tobin
Teleplay by: Brant Englestein
Story by: Michele Fazekas & Tara Butters
October 24, 2017 (2017-10-24)
2.87[8]

Kevin helps Lucille, Tyler's rude boss at the diner, and gets dragged into a feud between Lucille and her estranged sister, Anne. Kevin later has a vision of being in an Asian marketplace. Reese confronts Kevin about the strange things she's observed, and asks if the meteorite gave him superpowers.

5
"Brutal Acts of Kindness"
Rob Hardy
Craig DiGregorio
October 31, 2017 (2017-10-31)
2.71[9]

After Yvette convinces him to withdraw his entire $30,000 severance pay and give it away, Kevin helps a woman who cannot afford her son's diabetes medication. He later has a vision of being chased by a tiger through a jungle. Amy finds Reese's journal and sees that Kevin caused Reese to be thrown in jail. She angrily tells Kevin to pack up and move out.

6
"Rocky Road"
Wendey Stanzler
Jack Kenny
November 7, 2017 (2017-11-07)
2.91[10]

Kevin begins looking for places to stay, hitting up Tyler, Kristin and Nathan. He also helps a man who lost his job 18 months ago look for work, learning that the man never told his wife and has now exhausted their life savings. Angry at her mom, Reese skips school and runs away to an abandoned factory. Kevin and Amy arrive to talk her down, but Reese slips from her perch and falls. Yvette suspends Reese in mid air for a couple of seconds, allowing Kevin to get underneath and catch her. A dumbfounded Amy observes, and starts seeing Kevin the way Reese has seen him. Kevin gets a printout of all his previous visions, plus a new one of mountaintops in the clouds.

7
"Dave"
Ron Underwood
Chris Dingess
November 14, 2017 (2017-11-14)
2.62[11]

Kevin and Yvette are joined by Dave (Will Sasso), another celestial messenger, who helps them on Kevin's next assignment. The assignment turns out to be helping Kristin's cancer-stricken mother Susan (Anjali Bhimani) find some joy while living out her last days. Kevin later sees a vision of a flaming gazebo. Meanwhile, Amy wants to use science to figure out what she witnessed when Reese fell, and soon meets Iggy (Brandon Quinn), a theology professor who tries to convince her that it's okay for some things to remain unexplained. Also, Nathan tells Reese he wants to ask Amy out on a date, but Reese will not give him permission.

8
"Chrysalis"
Metin Hüseyin
Kevin Deiboldt
December 5, 2017 (2017-12-05)
2.62[12]

Kevin sees a vision of blue butterflies, and follows one to an art class held by Ethan (Enoch King). Kevin offers to help Ethan get over his fear of rejection by taking him to an art show, later realizing this will conflict with Reese's school play. Dave appears and reveals himself to Ethan, offering to take him to the art showing so Kevin can be with his family. At the same time, Yvette meets with Ava, who tells her that Dave has turned all the celestial messengers against her. Kevin angrily confronts Yvette about being able to reveal herself to other people, and asks what else she's hidden from him. Yvette admits she does not know if the other 35 righteous really exist, and is operating on faith alone. Kevin chooses to work with Dave, which backfires when Ethan gets scared and backs out of the show. Kevin returns to Yvette while making things right with Ethan by setting up a surprise showing of Ethan's paintings. Ethan offers a painting of a blue butterfly to Kevin as a thank you, also telling Kevin about a trip he took that inspired it. Kevin now knows where the next righteous soul will be found. Elsewhere, Kristin helps Amy prepare for her first date with Iggy, but later notices that Amy will not tell Nathan about the date.

9
"Probably"
Tamra Davis
Michele Fazekas & Tara Butters
December 12, 2017 (2017-12-12)
2.49[13]

Kevin travels to Laos, taking Tyler along. The two are befriended by Vong (David Huynh), whom Kevin and Yvette briefly think is the next righteous but he's not. Kevin sees another of his visions and wants to press on, but Yvette now has doubts and thinks Dave may have been right. Yvette appears as human and is approached by Tyler, who finds her fascinating. The two dance to a mariachi band (another of Kevin's earlier visions), which renews Yvette's faith. Kevin and Tyler, with help from Lucille on video chat, then help Vong's wife deliver their first child, and it turns out the baby is the next righteous soul. Back at home, Reese tells Amy that Nathan wanted to ask her out. Amy meets Nathan the next day and tells him about Iggy, but says she now knows she wasn't yet ready to date and is glad she realized this with someone she doesn't truly care about. Nathan later does something special for Amy.

10
"The Ugly Sleep"
J. Miller Tobin
Davah Avena
January 2, 2018 (2018-01-02)
2.62[14]

Kevin helps Charlie (Trent Garrett), who is despondent over a recent breakup, meet someone new, but when the someone new turns out to be Kristin, it leads to awkwardness. The situation causes Charlie to realize the girl he left is his one true love, and he returns to her. Inspired by Kevin's good deeds, Reese befriends a new girl at school who is struggling to fit in. Meanwhile, Yvette sees that Tyler is still smitten over her and tries to figure out a way to help him move on. Kevin has a vision of a snow-covered area in the woods. As the episode closes, Kristin tells Kevin that she submitted his name for an open substitute teacher position.

11
"Solo"
Lee Rose
Kevin Deiboldt
January 9, 2018 (2018-01-09)
2.39[15]

On his first day as a substitute teacher, Kevin encounters an introverted kid named Adam and extracts information about who will be the target of the annual "Freshman Prank". After Adam reveals the target is Kristin, he becomes even more disliked for squealing. Kevin tries to help Adam become noticed for something else -- namely, pulling off the most legendary Freshman Prank since the one Kevin engineered 20 years ago. Meanwhile, Amy and Nathan have an awkward first date, but later enjoy helping Kevin, Adam and Tyler as they plan the prank. Kevin has a vision of being on the deck of a crabbing boat.

12
"Caught White-Handed"
Jennifer Lynch
Brant Englestein
January 16, 2018 (2018-01-16)
2.46[16]

Reese is with Kevin when he tracks his next subject, and she realizes her uncle has stumbled upon the mysterious "acorn fairy" -- a person who has been doing good deeds around Taylor for the last ten years. In trying to help the woman (Kathleen Wilhoite), Kevin unintentionally causes her real identity to be revealed, along with her criminal past. Meanwhile, Yvette learns that the person responding to Tyler's ads searching for her is Kevin, who says he was just trying to figure out a way to let his friend down easy. This backfires when Tyler decides to travel to Canada to locate his true love. Kevin has a vision of the boat from the previous episode, but this time Tyler is with him.

13
"Fishtail"
J. Miller Tobin
Craig DiGregorio & Chris Dingess
February 6, 2018 (2018-02-06)
2.29[17]

Kevin tracks Tyler to Victoria, British Columbia, finding him working at a failing fish shop for a stubborn owner named Gus (Troy Evans), who refuses to update the shop in the modern marketplace that surrounds him. Kevin sees images from his fish boat vision, and determines the next righteous soul is in the vicinity. Elsewhere, Yvette reconnects with Dave to show him a cut on her finger and ask what it means. Dave later reveals a scrape on his leg. While Kevin and Tyler help Gus save his shop by developing an old-time fish tossing show, Kevin finds that the next righteous is Gus's landlord Shea (Sprague Grayden), who has done everything she can to keep the fish shop open. At Yvette's urging, Kevin tells Tyler the truth: that he wrote the emails from his "true love" to try and give him closure. Tyler decides that Kevin is no longer his friend.

14
"Old Friends"
Michael Patrick Jann
Chris Dingess & Craig DiGregorio
February 20, 2018 (2018-02-20)
1.55[18]

As Kevin helps Amy with a task, he meets and helps Marc (Rhenzy Feliz), a 19-year old who has become a drifter after being estranged from his parents. Kevin also makes numerous attempts to win back Tyler's friendship, all of which fail until he gets Dave's help to see into Tyler's past. With further help from Kristin and Amy, Kevin makes a grand gesture to recreate a piece of Tyler's childhood. In the process, Kevin reconnects with Kristin romantically. While kissing her, he is startled by a vision of a bearded corpse in a coffin. Elsewhere, Yvette and Dave are continuing to develop human qualities, like getting ill and becoming hungry. As the episode closes, Dave gets electrocuted and disappears. Yvette confesses to Kevin that she has no idea where Dave went.

15
"World's Worst Domino"
Peter Leto
Brant Englestein & Davah Avena
February 27, 2018 (2018-02-27)
2.11[19]

Amy hears something upstairs, which she thinks is a critter or intruder, but is actually Yvette. This causes Amy to install multiple security cameras. Yvette tells Kevin that Dave is likely dead, and that changes are happening to her. Meanwhile, Kevin helps Becky, the school security guard who was fired following the prank he helped engineer. It turns out Becky is a bit of an inventor, and with help from Amy and Tyler, Kevin is able to get her into a nearby inventor's expo. While the expo doesn't go well, Becky and Tyler fall for each other. As the episode concludes, Amy and Reese are reviewing security camera footage, and are startled by a brief, faint image of what appears to be a human talking to Kevin.

16
"The Right Thing"
J. Miller Tobin
Michele Fazekas & Tara Butters
March 6, 2018 (2018-03-06)
2.51[20]

Amy and Reese try to figure out what is on the security camera footage. Reese thinks it could be a ghost or an angel, and would explain Kevin always talking to someone who isn't there. Amy says it must be a video glitch, but she is clearly shaken. Kevin is led by a mistaken flower delivery to an area funeral home, where he sees things from his latest visions. He goes on to help the deceased's nephew, Barry (Currie Graham), the only family member who cares more about his uncle's wishes than his property. It turns out that Barry is the next righteous soul. Amy confronts Kevin who, to his own surprise, tells the truth about the meteor, Yvette, and his mission to save the world. Amy thinks it is another of Kevin's wild stories, but Yvette then reveals herself, telling Amy that she and Kevin need her help.

text: Production[edit]

text: The series was originally called The Gospel of Kevin, but the name was changed since the show was not "overtly religious".[21]

text: The series was picked up for a 16-episode full season on November 10, 2017.[22]

text: On May 11, 2018, ABC canceled the show after one season.[23]

text: Casting[edit]

text: Cristela Alonzo, who played a lead role as the heaven-sent entity in the original pilot, was replaced by Kimberly Hebert Gregory after the series was picked up.[24]

text: Filming[edit]

text: The series was filmed in Austin, Texas. [25] The pilot filmed March 23, 2017 in San Antonio, Texas at the San Antonio International Airport[26]

text: Reception[edit]

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Pilot"
October 3, 2017
1.0/4
4.17[5]
N/A
2.17
N/A
6.33[27]

2
"Listen Up"
October 10, 2017
0.8/3
3.61[6]
N/A
N/A
N/A
N/A

3
"Sweet Little Lies"
October 17, 2017
0.8/3
3.26[7]
N/A
1.75
N/A
5.01[28]

4
"How to be Good"
October 24, 2017
0.7/3
2.87[8]
N/A
N/A
N/A
N/A

5
"Brutal Acts of Kindness"
October 31, 2017
0.6/2
2.71[9]
N/A
N/A
N/A
N/A

6
"Rocky Road"
November 7, 2017
0.7/3
2.91[10]
N/A
N/A
N/A
N/A

7
"Dave"
November 14, 2017
0.7/3
2.62[11]
N/A
N/A
N/A
N/A

8
"Chrysalis"
December 5, 2017
0.6/2
2.62[12]
0.4
1.50
1.0
4.13[29]

9
"Probably"
December 12, 2017
0.6/2
2.49[13]
N/A
N/A
N/A
N/A

10
"The Ugly Sleep"
January 2, 2018
0.7/3
2.62[14]
N/A
N/A
N/A
N/A

11
"Solo"
January 9, 2018
0.6/3
2.39[15]
0.4
1.49
1.0
3.90[30]

12
"Caught White-Handed"
January 16, 2018
0.6/2
2.46[16]
N/A
N/A
N/A
N/A

13
"Fishtail"
February 6, 2018
0.5/2
2.29[17]
N/A
N/A
N/A
N/A

14
"Old Friends"
February 20, 2018
0.4/2
1.55[18]
N/A
N/A
N/A
N/A

15
"World's Worst Domino"
February 27, 2018
0.6/2
2.11[19]
TBD
TBD
TBD
TBD

16
"The Right Thing"
March 6, 2018
0.7/3
2.51[20]
TBD
TBD
TBD
TBD

text: Critical response[edit]

text: The review aggregator website Rotten Tomatoes reported a 68% approval rating with an average rating of 6.73/10 based on 22 reviews. The website's consensus reads, "Breezily entertaining, Kevin (Probably) Saves the World relies on its likable lead to carry its still-sketchy premise, hinting at deeper potential that's yet to develop."[31] Metacritic, which uses a weighted average, assigned a score of 59 out of 100 based on 18 critics, indicating "mixed or average reviews".[32]