title: Medgar Evers

text: In the third season (1975) episode of "Good Times" entitled "Cousin Cleatus", Michael Evans asks 2 FBI agents who are looking for his mother's nephew in connection with a bank robbery in Georgia which Special Agent is looking for Medgar Evers' killer.


title: Medgar Evers

text: A 2021 episode of Extra History from "Extra Credits" talks about Evers, his activism, and assassination.


title: Medgar Evers

text: In the Bojack Horseman episode "Time's Arrow" (Season Four, Episode 11), the character Beatrice Horseman makes a reference to Medgar Evers.


title: Historical Jesus

text: The term "historical Jesus" refers to the reconstruction of the life and teachings of Jesus by critical historical methods, in contrast to religious interpretations. It also considers the historical and cultural contexts in which Jesus lived.


title: Historical Jesus

text: Virtually all scholars of antiquity accept that Jesus was a historical figure, and attempts to deny his historicity have been consistently rejected by the scholarly consensus as a fringe theory.


title: Historical Jesus

text: Reconstructions of the historical Jesus are based on the Pauline epistles and the gospels, while several non-biblical sources also support his historical existence. Since the 18th century, three separate scholarly quests for the historical Jesus have taken place, each with distinct characteristics and developing new and different research criteria. Scholars differ about the beliefs and teachings of Jesus as well as the accuracy of the biblical accounts, with two events being supported by nearly universal scholarly consensus: Jesus was baptized and crucified. Historical Jesus scholars typically contend that he was a Galilean Jew and living in a time of messianic and apocalyptic expectations. Some scholars credit the apocalyptic declarations of the gospels to him, while others portray his "Kingdom of God" as a moral one, and not apocalyptic in nature.


title: Historical Jesus

text: The portraits of Jesus that have been constructed through history using these processes have often differed from each other, and from the image portrayed in the gospel accounts. Such portraits include that of Jesus as an apocalyptic prophet, charismatic healer, Cynic philosopher, Jewish messiah, prophet of social change, and rabbi. There is little scholarly agreement on a single portrait, nor the methods needed to construct it, but there are overlapping attributes among the various portraits, and scholars who differ on some attributes may agree on others.


title: Historical Jesus

text: Virtually all scholars of antiquity agree that Jesus existed. Historian Michael Grant asserts that if conventional standards of historical criticism are applied to the New Testament, "we can no more reject Jesus' existence than we can reject the existence of a mass of pagan personages whose reality as historical figures is never questioned." There is no indication that writers in antiquity who opposed Christianity questioned the existence of Jesus.


title: Historical Jesus

text: Since the 1970s, various scholars such as Joachim Jeremias, E. P. Sanders and Gerd Theissen have traced elements of Christianity to diversity in first-century Judaism and discarded nineteenth-century views that Jesus was based on previous pagan deities. Mentions of Jesus in extra-biblical texts do exist and are supported as genuine by the majority of historians. Historical scholars see differences between the content of the Jewish Messianic prophecies and the life of Jesus, undermining views Jesus was invented as a Jewish Midrash or Peshar. The presence of details of Jesus' life in Paul, and the differences between letters and Gospels, are sufficient for most scholars to dismiss mythicist claims concerning Paul. Theissen says "there is broad scholarly consensus that we can best find access to the historical Jesus through the Synoptic tradition." Bart D. Ehrman adds: "To dismiss the Gospels from the historical record is neither fair nor scholarly." One book argues that if Jesus did not exist, "the origin of the faith of the early Christians remains a perplexing mystery." Eddy and Boyd say the best history can assert is probability, yet the probability of Jesus having existed is so high, Ehrman says "virtually all historians and scholars have concluded Jesus did exist as a historical figure." Historian James Dunn writes: "Today nearly all historians, whether Christians or not, accept that Jesus existed". In a 2011 review of the state of modern scholarship, Ehrman wrote: "He certainly existed, as virtually every competent scholar of antiquity, Christian or non-Christian, agrees." James Crossley and Robert J. Myles admit they "are sceptical about what we can know "with confidence"" but they do not deny the existence of Jesus and instead "prefer to think in terms of whether ideas about Jesus were early or late and whether they were particular to his geographical location or beyond."


title: Historical Jesus

text: The Christ myth theory is the proposition that Jesus of Nazareth never existed, or if he did, he had virtually nothing to do with the founding of Christianity and the accounts in the gospels. In the 21st century, there have been a number of books and documentaries on this subject. For example, Earl Doherty has written that Jesus may have been a real person, but that the biblical accounts of him are almost entirely fictional. Many proponents use a three-fold argument first developed in the 19th century: that the New Testament has no historical value, that there are no non-Christian references to Jesus from the first century, and that Christianity had pagan and/or mythical roots.


title: Historical Jesus

text: Contemporary scholars of antiquity agree that Jesus existed, and biblical scholars and classical historians view the theories of his nonexistence as effectively refuted. Robert M. Price, an atheist who denies the existence of Jesus, agrees that his perspective runs against the views of the majority of scholars. Michael Grant (a classicist and historian) states that "In recent years, no serious scholar has ventured to postulate the non-historicity of Jesus, or at any rate very few have, and they have not succeeded in disposing of the much stronger, indeed very abundant, evidence to the contrary." Richard A. Burridge states, "There are those who argue that Jesus is a figment of the Church's imagination, that there never was a Jesus at all. I have to say that I do not know any respectable critical scholar who says that anymore."


title: Historical Jesus

text: The New Testament represents sources that have become canonical for Christianity, and there are many apocryphal texts that are examples of the wide variety of writings in the first centuries AD that are related to Jesus.


title: Historical Jesus

text: Non-Christian sources that are used to study and establish the historicity of Jesus include Jewish sources such as Josephus, and Roman sources such as Tacitus.


title: Historical Jesus

text: The Synoptic Gospels are the primary sources of historical information about Jesus and of the religious movement he founded. These religious gospelsthe Gospel of Matthew, the Gospel of Mark, and the Gospel of Lukerecount the life, ministry, crucifixion and resurrection of a Jew named Jesus who spoke Aramaic and wore tzitzit. There are different hypotheses regarding the origin of the texts because the gospels of the New Testament were written in Greek for Greek-speaking communities, and were later translated into Syriac, Latin, and Coptic.


title: Historical Jesus

text: The fourth gospel, the Gospel of John, differs greatly from the Synoptic Gospels and scholars generally consider it to be less historical than the Synoptic Gospels. As James Crossley and Robert J. Myles explain, John "is of limited use for reconstructing the life of the historical Jesus." However, scholars usually agree that John is not entirely without historical value: certain sayings in John are as old or older than their synoptic counterparts, his representation of the topography around Jerusalem is often superior to that of the synoptics, his testimony that Jesus was executed before, rather than on, Passover, might well be more accurate, and his presentation of Jesus in the garden and the prior meeting held by the Jewish authorities are more historically plausible than their synoptic parallels.


title: Historical Jesus

text: Historians often study the historical reliability of the Acts of the Apostles when studying the reliability of the gospels, as the Book of Acts was seemingly written by the same author as the Gospel of Luke.


title: Historical Jesus

text: The Pauline epistles are dated to between AD 50 and 60 ("i.e.", approximately twenty to thirty years after the generally accepted time period for the death of Jesus), and are the earliest surviving Christian texts that include information about Jesus.


title: Historical Jesus

text: Although Paul the Apostle provides relatively little biographical information about Jesus and states that he never knew Jesus personally, he does make it clear that he considers Jesus to have been a real person and a Jew. Moreover, he claims to have met with James, the brother of Jesus.


title: Historical Jesus

text: In addition to biblical sources, there are a number of mentions of Jesus in non-Christian sources that have been used in the historical analyses of the existence of Jesus.


title: Historical Jesus

text: Biblical scholar Frederick Fyvie Bruce says the earliest mention of Jesus outside the New Testament occurs around 55 CE from a historian named Thallos. Thallos' history, like the vast majority of ancient literature, has been lost but not before it was quoted by Sextus Julius Africanus (c. 160c. 240 CE), a Christian writer, in his "History of the World" (c. 220). This book likewise was lost, but not before one of its citations of Thallos was taken up by the Byzantine historian George Syncellus in his "Chronicle" (c. 800). There is no means by which certainty can be established concerning this or any of the other lost references, partial references, and questionable references that mention some aspect of Jesus' life or death, but in evaluating evidence, it is appropriate to note they exist.


title: Historical Jesus

text: There are two passages in the writings of the Jewish historian Josephus, and one from the Roman historian Tacitus, that are generally considered good evidence.


title: Historical Jesus

text: Josephus' "Antiquities of the Jews", written around AD 93–94, includes two references to the biblical Jesus in Books and . The general scholarly view is that while the longer passage, known as the "Testimonium Flavianum", is most likely not authentic in its entirety, it is broadly agreed upon that it originally consisted of an authentic nucleus, which was then subject to Christian interpolation. Of the other mention in Josephus, Josephus scholar Louis H. Feldman has stated that "few have doubted the genuineness" of Josephus' reference to Jesus in ("the brother of Jesus, who was called Christ, whose name was James"). Paul references meeting and interacting with James, Jesus' brother, and since this agreement between the different sources supports Josephus' statement, the statement is only disputed by a small number of scholars.


title: Historical Jesus

text: Roman historian Tacitus referred to "Christus" and his execution by Pontius Pilate in his "Annals" (written c. AD 116), . Robert E. Van Voorst states that the very negative tone of Tacitus' comments on Christians makes the passage extremely unlikely to have been forged by a Christian scribe and the Tacitus reference is now widely accepted as an independent confirmation of Jesus's crucifixion.


title: Historical Jesus

text: Other considerations outside Christendom include the possible mentions of Jesus in the Talmud. The Talmud speaks in some detail of the conduct of criminal cases of Israel whose texts were gathered together from 200 to 500 CE. Johann Maier and Bart D. Ehrman argue this material is too late to be of much use. Ehrman explains that "Jesus is never mentioned in the oldest part of the Talmud, the Mishnah, but appears only in the later commentaries of the Gemara." Jesus is not mentioned by name, but there is a subtle attack on the virgin birth that refers to the illegitimate son of a Roman soldier Panthera (Ehrman says, "In Greek the word for virgin is "parthenos""), and a reference to Jesus' miracles as "black magic" learned when he lived in Egypt (as a toddler). Ehrman writes that few contemporary scholars treat this as historical.


title: Historical Jesus

text: There is only one classical writer who refers positively to Jesus and that is Mara bar Serapion, a Syriac Stoic, who wrote a letter to his son, who was also named Serapion, from a Roman prison. He speaks of the execution of 'the wise king of the Jews' and compares his death to that of Socrates at the hands of the Athenians. He links the death of the 'wise king' to the Jews being driven from their kingdom. He also states that the 'wise king' lives on because of the "new laws he laid down". The dating of the letter is disputed but was probably soon after 73 AD.


title: Historical Jesus

text: Scholars such as Robert Van Voorst see little doubt that the reference to the execution of the "king of the Jews" is about the death of Jesus. Others such as Craig A. Evans see less value in the letter, given its uncertain date, and the ambiguity in the reference.


title: Historical Jesus

text: Historical criticism, also known as the historical-critical method or higher criticism, is a branch of criticism that investigates the origins of ancient texts in order to understand "the world behind the text". The primary goal of historical criticism is to discover the text's primitive or original meaning in its original historical context and its literal sense. Historical criticism began in the 17th century and gained popular recognition in the 19th and 20th centuries.


title: Historical Jesus

text: The historical reliability of the gospels refers to the reliability and historic character of the four New Testament gospels as historical documents. Little in the four canonical gospels is considered to be historically reliable.


title: Historical Jesus

text: Historians subject the gospels to critical analysis by differentiating authentic, reliable information from possible inventions, exaggerations, and alterations. Since there are more textual variants (200,000–400,000) than words in the New Testament, scholars use textual criticism to determine which gospel variants could theoretically be taken as 'original'. To answer this question, scholars have to ask who wrote the gospels, when they wrote them, what was their objective in writing them, what sources the authors used, how reliable these sources were, and how far removed in time the sources were from the stories they narrate, or if they were altered later. Scholars may also look into the internal evidence of the documents, to see if, for example, a document has misquoted texts from the Hebrew Tanakh, has made incorrect claims about geography, if the author appears to have hidden information, or if the author has fabricated a prophecy. Finally, scholars turn to external sources, including the testimony of early church leaders, to writers outside the church, primarily Jewish and Greco-Roman historians, who would have been more likely to have criticized the church, and to archaeological evidence.


title: Historical Jesus

text: Since the 18th century, three scholarly quests for the historical Jesus have taken place, each with distinct characteristics and based on different research criteria, which were often developed during each specific phase. These quests are distinguished from pre-Enlightenment approaches because they rely on the historical-critical method to study biblical narratives. While textual analysis of biblical sources had taken place for centuries, these quests introduced new methods and specific techniques in the attempt to establish the historical validity of their conclusions.


title: Historical Jesus

text: The scholarly effort to reconstruct an "authentic" historical picture of Jesus was a product of the Enlightenment skepticism of the late eighteenth century. Bible scholar Gerd Theissen explains that "It was concerned with presenting a historically true life of Jesus that functioned theologically as a critical force over against [established Roman Catholic] Christology." The first scholar to separate the historical Jesus from the theological Jesus in this way was philosopher, writer, classicist, Hebraist and Enlightenment free thinker Hermann Samuel Reimarus (1694–1768). Copies of Reimarus' writings were discovered by G. E. Lessing (1729–1781) in the library at Wolfenbüttel where Lessing was the librarian. Reimarus had left permission for his work to be published after his death, and Lessing did so between 1774 and 1778, publishing them as "Die Fragmente eines unbekannten Autors" ("The Fragments of an Unknown Author"). Over time, they came to be known as the "Wolfenbüttel Fragments" after the library where Lessing worked. Reimarus distinguished between what Jesus taught and how he is portrayed in the New Testament. According to Reimarus, Jesus was a political messiah who failed at creating political change and was executed. His disciples then stole the body and invented the story of the resurrection for personal gain. Reimarus' controversial work prompted a response from "the father of historical critical research" Johann Semler in 1779, "Beantwortung der Fragmente eines Ungenannten" ("Answering the Fragments of an Unknown"). Semler refuted Reimarus' arguments, but it was of little consequence. Reimarus' writings had already made lasting changes by making it clear criticism could exist independently of theology and faith, and by founding historical Jesus studies within that non-sectarian view.


title: Historical Jesus

text: According to Homer W. Smith, the work of Lessing and others culminated in the Protestant theologian David Strauss's "Das Leben Jesu" ('The Life of Jesus', 1835), in which Strauss expresses his conclusion that Jesus existed, but that his godship is the result of "a historic nucleus [being] worked over and reshaped into an ideal form by the first Christians under the influence of Old Testament models and the idea of the messiah found in Daniel."


title: Historical Jesus

text: The enthusiasm shown during the first quest diminished after Albert Schweitzer's critique of 1906 in which he pointed out various shortcomings in the approaches used at the time. After Schweitzer's "Von Reimarus zu Wrede" was translated and published in English as "The Quest of the Historical Jesus" in 1910, the book's title provided the label for the field of study for eighty years.


title: Historical Jesus

text: The second quest began in 1953 and introduced a number of new techniques, but faded away in the 1970s.


title: Historical Jesus

text: In the 1980s a number of scholars gradually began to introduce new research ideas, initiating a third quest characterized by the latest research approaches. One of the modern aspects of the third quest has been the role of archaeology; James Charlesworth states that modern scholars now want to use archaeological discoveries that clarify the nature of life in Galilee and Judea during the time of Jesus. A further characteristic of the third quest has been the interdisciplinary and global nature of its scholarship. While the first two quests were mostly carried out by European Protestant theologians, a modern aspect of the third quest is the worldwide influx of scholars from multiple disciplines. More recently, historicists have focused their attention on the historical writings associated with the era in which Jesus lived or on the evidence concerning his family.


title: Historical Jesus

text: By the end of the twentieth century, scholar Tom Holmén writes that Enlightenment skepticism had given way to a more "trustful attitude toward the historical reliability of the sources ... [Currently] the conviction of Sanders, (we know quite a lot about Jesus) characterizes the majority of contemporary studies." Reflecting this shift, the phrase "quest for the historical Jesus" has largely been replaced by "life of Jesus research."


title: Historical Jesus

text: Since the late 1900s, concerns have been growing about the usefulness of the criteria of authenticity.


title: Historical Jesus

text: According to Le Donne, the usage of such criteria is a form of "positivist historiography." According to Chris Keith, a historical Jesus is "ultimately unattainable, but can be hypothesized on the basis of the interpretations of the early Christians, and as part of a larger process of accounting for how and why early Christians came to view Jesus in the ways that they did." According to Keith, "these two models are methodologically and epistemologically incompatible," calling into question the methods and aim of the first model.


title: Historical Jesus

text: In 2021, James Crossley (editor of the "Journal for the Study of the Historical Jesus") announced that historical Jesus scholarship now had moved to the era of the Next Quest. The Next Quest has moved on from the criteria, obsessions with the uniqueness of Jesus, and the supersessionism still implicit in scholarly questions of the Jewishness of Jesus. Instead, sober scholarship now focuses on treating the subject matter as part of the wider human phenomenon of religion, cultural comparison, class relations, slave culture and economy, and the social history of historical Jesus scholarship and wider reception histories of the historical Jesus. The book by Crossley and Robert J. Myles, "Jesus: A Life in Class Conflict", is indicative of this new tendency.


title: Historical Jesus

text: The first quest, which started in 1778, was almost entirely based on biblical criticism. This took the form of textual and source criticism originally, which were supplemented with form criticism in 1919, and redaction criticism in 1948. Form criticism began as an attempt to trace the history of the biblical material during the oral period before it was written in its current form, and may be seen as starting where textual criticism ends. Form criticism views Gospel writers as editors, not authors. Redaction criticism may be viewed as the child of source criticism and form criticism. and views the Gospel writers as authors and early theologians and tries to understand how the redactor(s) has (have) molded the narrative to express their own perspectives.


title: Historical Jesus

text: When form criticism questioned the historical reliability of the Gospels, scholars began looking for other criteria. Taken from other areas of study such as source criticism, the "criteria of authenticity" emerged gradually, becoming a distinct branch of methodology associated with life of Jesus research. The "criteria" are a variety of rules used to determine if some event or person is more or less likely to be historical. These criteria are primarily, though not exclusively, used to assess the sayings and actions of Jesus.


title: Historical Jesus

text: In view of the skepticism produced in the mid-twentieth century by form criticism concerning the historical reliability of the gospels, the burden shifted in historical Jesus studies from attempting to identify an authentic life of Jesus to attempting to prove authenticity. The criteria developed within this framework, therefore, are tools that provide arguments solely for authenticity, not inauthenticity. In 1901, the application of criteria of authenticity began with dissimilarity. It was often applied unevenly with a preconceived goal. In the early decades of the twentieth century, F. C. Burkitt and B. H. Streeter provided the foundation for multiple attestation. The Second Quest introduced the criterion of embarrassment. By the 1950s, coherence was also included. By 1987, D. Polkow lists 25 separate criteria being used by scholars to test for historical authenticity including the criterion of "historical plausibility".


title: Historical Jesus

text: A number of scholars have criticized the various approaches used in the study of the historical Jesus—on one hand, for the lack of rigor in research methods; on the other, for being driven by "specific agendas" that interpret ancient sources to fit specific goals. By the 21st century, the "maximalist" approaches of the 19th century, which accepted all the gospels, and the "minimalist" trends of the early 20th century, which totally rejected them, were abandoned and scholars began to focus on what is historically probable and plausible about Jesus.


title: Historical Jesus

text: There is widespread disagreement among scholars on the details of the life of Jesus mentioned in the gospel narratives, and on the meaning of his teachings. Scholars differ on the historicity of specific episodes described in the biblical accounts of Jesus, but almost all modern scholars consider his baptism and crucifixion to be historical facts.


title: Historical Jesus

text: The existence of John the Baptist within the same time frame as Jesus, and his eventual execution by Herod Antipas is attested to by 1st-century historian Josephus and the overwhelming majority of modern scholars view Josephus' accounts of the activities of John the Baptist as authentic. One of the arguments in favor of the historicity of the Baptism of Jesus by John is the criterion of embarrassment, i.e. that it is a story which the early Christian Church would have never wanted to invent, as it implies that Jesus was subservient to John. Another argument used in favour of the historicity of the baptism is that multiple accounts refer to it, usually called the criterion of multiple attestation. Technically, multiple attestation does not guarantee authenticity, but only determines antiquity. However, for most scholars, together with the criterion of embarrassment it lends credibility to the baptism of Jesus by John being a historical event.


title: Historical Jesus

text: John P. Meier views the crucifixion of Jesus as a historical fact and states that based on the criterion of embarrassment, Christians would not have invented the painful death of their leader. Meier states that a number of other criteriathe criterion of "multiple attestation" (i.e., confirmation by more than one source), the "criterion of coherence" (i.e., that it fits with other historical elements) and the "criterion of rejection" (i.e., that it is not disputed by ancient sources)help establish the crucifixion of Jesus as a historical event. Eddy and Boyd state that it is now firmly established that there is non-Christian confirmation of the crucifixion of Jesusreferring to the mentions in Josephus and Tacitus.


title: Historical Jesus

text: Most scholars in the third quest for the historical Jesus consider the crucifixion indisputable, as do Bart Ehrman, John Dominic Crossan and James Dunn. Although scholars agree on the historicity of the crucifixion, they differ on the reason and context for it, e.g. both E. P. Sanders and Paula Fredriksen support the historicity of the crucifixion, but contend that Jesus did not foretell his own crucifixion, and that his prediction of the crucifixion is a Christian story. Géza Vermes also views the crucifixion as a historical event but believes this was due to Jesus’ challenging of Roman authority. On the other hand, Maurice Casey and John P. Meier state that Jesus did predict his death, and this actually strengthened his followers' belief in his Resurrection.


title: Historical Jesus

text: In addition to the two historical elements of baptism and crucifixion, scholars attribute varying levels of certainty to various other aspects of the life of Jesus, although there is no universal agreement among scholars on these items:


title: Historical Jesus

text: Scholars involved in the third and next quests for the historical Jesus have constructed a variety of portraits and profiles for Jesus. However, there is little scholarly agreement on the portraits, or the methods used in constructing them. The portraits of Jesus that have been constructed in the quest for the historical Jesus have often differed from each other, and from the image portrayed in the gospel accounts. These portraits include that of Jesus as an "apocalyptic prophet", "charismatic healer", "Cynic philosopher", "Jewish Messiah" and "prophet of social change", but there is little scholarly agreement on a single portrait, or the methods needed to construct it. There are, however, overlapping attributes among the various portraits, and scholars who differ on some attributes may agree on others.


title: Historical Jesus

text: Contemporary scholarship, representing the "third quest" and the "next quest" places Jesus firmly in the Jewish tradition. Jesus was a Jewish preacher who taught that he was the path to salvation, everlasting life, and the Kingdom of God. A primary criterion used to discern historical details in the "third quest" is that of plausibility, relative to Jesus' Jewish context and to his influence on Christianity. Contemporary scholars of the "third quest" include E. P. Sanders, Géza Vermes, Gerd Theissen, Christoph Burchard, and John Dominic Crossan. In contrast to the Schweitzerian view, certain North American scholars, such as Burton Mack, advocate for a non-eschatological Jesus, one who is more of a Cynic sage than an apocalyptic preacher.


title: Historical Jesus

text: Despite the significant differences among scholars on what constitutes a suitable portrait for Jesus, the mainstream views supported by a number of scholars may be grouped together based on certain distinct, primary themes. These portraits often include overlapping elements, and there are also differences among the followers of each portrait. The subsections below present the main portraits that are supported by multiple mainstream scholars.


title: Historical Jesus

text: The apocalyptic prophet view primarily emphasizes Jesus preparing his fellow Jews for the End Times. The first proponent of this hypothesis was Albert Schweitzer in his 1906 book "The Quest of the Historical Jesus".


title: Historical Jesus

text: The works of E. P. Sanders and Maurice Casey place Jesus within the context of Jewish eschatological tradition. Bart D. Ehrman aligns himself with Schweitzer's view that Jesus expected an apocalypse during his own generation, and he bases some of his views on the argument that the earliest gospel sources (for which he assumes Markan priority) and the First Epistle to the Thessalonians, chapters 4 and 5, probably written by the end of AD 52, present Jesus as far more apocalyptic than other Christian sources produced towards the end of the 1st century, contending that the apocalyptic messages were progressively toned down. Dale C. Allison Jr. does not see Jesus as advocating specific timetables for the End Times, but sees him as preaching his own doctrine of "apocalyptic eschatology" derived from post-exilitic Jewish teachings, and views the apocalyptic teachings of Jesus as a form of asceticism.


title: Historical Jesus

text: The characterization of Jesus as an apocalyptic or millenarian prophet can also be combined with other categories, such as in the work of James Crossley and Robert J. Myles (see below) who regard the end-time teaching of Jesus as a culturally credible way of responding to social and material upheaval in Galilee and Judea.


title: Historical Jesus

text: The charismatic healer portrait positions Jesus as a pious and holy man in the view of Géza Vermes, whose profile draws on the Talmudic representations of Jewish figures such as Hanina ben Dosa and Honi the Circle Drawer and presents Jesus as a Hasid. Marcus Borg views Jesus as a charismatic "man of the spirit", a mystic or visionary who acts as a conduit for the "Spirit of God". Borg sees this as a well-defined religious personality type, whose actions often involve healing. Borg sees Jesus as a non-eschatological figure who did not intend to start a new religion, but his message set him at odds with the Jewish powers of his time based on the "politics of holiness". Both Sanders and Casey agree that Jesus was also a charismatic healer in addition to an apocalyptic prophet.


title: Historical Jesus

text: In the Cynic philosopher profile, Jesus is presented as a Cynic, a traveling sage and philosopher preaching a cynical and radical message of change to abolish the existing hierarchical structure of the society of his time. In John Dominic Crossan's view Jesus was crucified not for religious reasons but because his social teachings challenged the seat of power held by the Jewish authorities. Burton Mack also holds that Jesus was a Cynic whose teachings were so different from those of his time that they shocked the audience and forced them to think, but Mack views his death as accidental and not due to his challenge to Jewish authority.


title: Historical Jesus

text: The Jewish Messiah portrait of N. T. Wright places Jesus within the Jewish context of "exile and return", a notion he uses to build on his view of the 1st-century concept of hope. Wright believes that Jesus was the Messiah and argues that the Resurrection of Jesus was a physical and historical event. Wright's portrait of Jesus is closer to the traditional Christian views than many other scholars, and when he departs from the Christian tradition, his views are still close to them. Like Wright, Markus Bockmuehl, Peter Stuhlmacher and Brant J. Pitre support the view that Jesus came to announce the end of the Jewish "spiritual exile" and usher in a new messianic era in which God would improve this world through the faith of his people.


title: Historical Jesus

text: The prophet of social change portrait positions Jesus primarily as someone who challenged the traditional social structures of his time. Gerd Theissen sees three main elements to the activities of Jesus as he effected social change: his positioning as the Son of man, the core group of disciples that followed him, and his localized supporters as he journeyed through Galilee and Judea. Richard A. Horsley goes further and presents Jesus as a more radical reformer who initiated a grassroots movement. David Kaylor's ideas are close to those of Horsley, but have a more religious focus and base the actions of Jesus on covenant theology and his desire for justice. Elisabeth Fiorenza has presented a feminist perspective which sees Jesus as a social reformer whose actions such as the acceptance of women followers resulted in the liberation of some women of his time. James Crossley and Robert J. Myles advocate a nuanced historical materialist perspective of Jesus as a religious organizer who responded to the intersecting material conditions of Galilee and Judea in culturally credible ways such as through intra-Jewish legal debate and a revolutionary millenarian proclamation.


title: Historical Jesus

text: S. G. F. Brandon, Fernando Bermejo Rubio, and Reza Aslan (the last one is not a biblical scholar) argue that Jesus was an anti-Roman revolutionary that tried to overthrow Roman rule in Palestine and re-establish the Kingdom of Israel.


title: Historical Jesus

text: The rabbi portrait advances the idea that Jesus was simply a rabbi who sought to reform certain ideas within Judaism. This idea can be traced to the late nineteenth century, when various liberal Jews sought to emphasize the Jewish nature of Jesus, and saw him as something of a proto-Reform Jew. Perhaps the most prominent of these was Rabbi Emil G. Hirsch, who in "The Doctrine of Jesus" wrote:


title: Historical Jesus

text: Bruce Chilton, in his book "Rabbi Jesus: An Intimate Biography", painted Jesus as a devout student of John the Baptist who came to see it as his mission to restore the Temple to purity, and purge the Romans and the corrupt priests from its midst. Jaroslav Pelikan, in "The Illustrated Jesus Through the Centuries" stated:


title: Historical Jesus

text: The most neutral and least controversial of these words is probably Rabbi, along with the related Rabbouni. Except for two passages, the Gospels apply the Aramaic word only to Jesus; and if we conclude that the title "teacher" or "master" (didaskalos in Greek) was intended as a translation of that Aramaic name, it seems safe to say that it was as Rabbi that Jesus was known and addressed.


title: Historical Jesus

text: The conservative evangelical scholar Andreas J. Köstenberger in "Jesus as Rabbi in the Fourth Gospel" also reached the conclusion that Jesus was seen by his contemporaries as a rabbi.


title: Historical Jesus

text: In 2012, the book "Kosher Jesus" by Orthodox Rabbi Shmuley Boteach was published in which Boteach takes the position that Jesus was a wise and learned Torah-observant Jewish rabbi. Boteach says he was a beloved member of the Jewish community. At the same time, Jesus is said to have despised the Romans for their cruelty, and to have fought them courageously. The book states that the Jews had nothing whatsoever to do with the murder of Jesus, but rather that the blame for his trial and killing lies with the Romans and Pontius Pilate. Boteach states clearly that he does not believe in Jesus as the Jewish Messiah. At the same time, Boteach argues that "Jews have much to learn from Jesusand from Christianity as a wholewithout accepting Jesus' divinity. There are many reasons for accepting Jesus as a man of great wisdom, beautiful ethical teachings, and profound Jewish patriotism." He concludes by writing, as to Judeo-Christian values, that "the hyphen between Jewish and Christian values is Jesus himself."


title: Disneyland Paris

text: Disneyland Paris is an entertainment resort in Chessy, France, east of Paris. It encompasses two theme parks, resort hotels, Disney Nature Resorts, a shopping, dining and entertainment complex, and a golf course. Disneyland Park is the original theme park of the complex, opening in 1992. A second theme park, Walt Disney Studios Park, opened in 2002. Disneyland Paris celebrated its 25th anniversary in 2017; by then 320 million people had visited, making it the most visited theme park in Europe. It is the second Disney park outside the United States, following the opening of the Tokyo Disney Resort in 1983, and the largest. Disneyland Paris is also the only Disney resort outside of the United States to be completely owned by The Walt Disney Company. It includes 7 hotels: Santa Fe, Hotel Cheyenne, Sequoia Lodge, Newport Bay Club, Hotel New York - the Art of Marvel, The Disneyland Hotel, and Davy Crockett Ranch; and one ride based as a hotel, The Twilight Zone Tower of Terror.


title: Disneyland Paris

text: Walt Disney announced a €1 billion ($1.25 billion) bailout plan to rescue its subsidiary Disneyland Paris, the "Financial Times" reported on 6 October 2014. The park is burdened by its debt, which is calculated at about €1.75 billion ($2.20 billion) and roughly 15 times its gross average earnings.


title: Disneyland Paris

text: Until June 2017, Disney only held a minority stake in the resort. In 2017, The Walt Disney Company offered an informal takeover of Euro Disney S.C.A., buying 9% of the company from Kingdom Holding and an open offer of 2 euros per share for the remaining stock. This brought The Walt Disney Company's total ownership to 85.7%. The Walt Disney company will also invest an additional 1.5 billion euros to strengthen the company. On 19 June 2017 Disney completed a tender offer to own over 97% of Euro Disney and then implemented a full buyout of the shares they did not already own.


title: Disneyland Paris

text: Following the success of Disneyland in California, plans to build a similar theme park in Europe emerged in 1966 with sites in Frankfurt, Paris, London or Milan under consideration. Under the leadership of E. Cardon Walker, Tokyo Disneyland opened in 1983 in Japan with instant success, forming a catalyst for international expansion. In late 1984 the heads of Disney's theme park division, Dick Nunis and Jim Cora, presented a list of approximately 1,200 possible European locations for the park. Britain, France, Italy and Spain were all considered. However, Britain and Italy were dropped from the list due to both lacking a suitable expanse of flat land. By March 1985, the number of possible locations for the park had been reduced to four; two in France and two in Spain. Both nations saw the potential economic advantages of a Disney theme park and offered competing financing deals to Disney.


title: Disneyland Paris

text: Both Spanish sites were located near the Mediterranean and offered a subtropical climate similar to Disney's parks in California and Florida. Disney had asked each site to provide average temperatures for every month for the previous 40 years, which proved a complicated endeavour as none of the records were computerised. The site in Pego, Alicante became the front-runner, but the location was controversial as it would have meant the destruction of Marjal de Pego-Oliva marshlands, a site of natural beauty and one of the last homes of the almost extinct Samaruc or Valencia Toothcarp, so there was some local outcry among environmentalists. Disney had also shown interest in a site near Toulon in southern France, not far from Marseille. The pleasing landscape of that region, as well as its climate, made the location a top competitor for what would be called Euro Disneyland. However, shallow bedrock was encountered beneath the site, which would have rendered construction too difficult. Finally, a site in the rural town of Marne-la-Vallée was chosen because of its proximity to Paris and its central location in Western Europe. This location was estimated to be no more than a four-hour drive for 68 million people and no more than a two-hour flight for a further 300 million.


title: Disneyland Paris

text: Michael Eisner signed the first letter of agreement with the French government for the site on 18 December 1985, and the first financial contracts were drawn up during the following spring. The final contract was signed by the leaders of the Walt Disney Company and the French government and territorial collectivities on 24 March 1987. Construction began in August 1988, and in December 1990, an information centre named "Espace Euro Disney" was opened to show the public what was being constructed. Plans for a theme park next to Euro Disneyland based on the entertainment industry, Disney-MGM Studios Europe, quickly went into development, scheduled to open in 1996 with a construction budget of US$2.3 billion. The construction manager was Bovis.


title: Disneyland Paris

text: In order to provide lodging to patrons, it was decided that 5,200 Disney-owned hotel rooms would be built within the complex. In March 1988, Disney and a council of architects (Frank Gehry, Michael Graves, Robert A.M. Stern, Stanley Tigerman, and Robert Venturi) decided on an exclusively American theme in which each hotel would depict a region of the United States. At the time of the opening in April 1992, seven hotels collectively housing 5,800 rooms had been built.


title: Disneyland Paris

text: An entertainment, shopping, and dining complex based on Walt Disney World's Downtown Disney was designed by Frank Gehry.


title: Disneyland Paris

text: With its towers of oxidised silver and bronze-coloured stainless steel under a canopy of lights, it opened as "Festival Disney". For a projected daily attendance of 55,000, Euro Disney planned to serve an estimated 14,000 people per hour inside the Euro Disneyland park. In order to accomplish this, 29 restaurants were built inside the park (with a further 11 restaurants built at the Euro Disney resort hotels and five at Festival Disney). Menus and prices were varied with an American flavor predominant and Disney's precedent of not serving alcoholic beverages was continued in the park.


title: Disneyland Paris

text: 2,300 patio seats (30% of park seating) were installed to satisfy Europeans' expected preference of eating outdoors in good weather. In test kitchens at Walt Disney World, recipes were adapted for European tastes. Walter Meyer, executive chef for menu development at Euro Disney and executive chef of food projects development at Walt Disney World noted, "A few things we did need to change, but most of the time people kept telling us, 'Do your own thing. Do what's American'."


title: Disneyland Paris

text: Unlike Disney's American theme parks, Euro Disney aimed for permanent employees (an estimated requirement of 12,000 for the theme park itself), as opposed to seasonal and temporary part-time employees. Casting centres were set up in Paris, London, and Amsterdam. However, it was understood by the French government and Disney that "a concentrated effort would be made to tap into the local French labour market". Disney sought workers with sufficient communication skills, who spoke two European languages (French and one other), and were socially outgoing. Following precedent, Euro Disney set up its own Disney University to train workers. 24,000 people had applied by November 1991.


title: Disneyland Paris

text: The prospect of a Disney park in France was a subject of debate and controversy. Critics, who included prominent French intellectuals, denounced what they considered to be the cultural imperialism of Euro Disney and felt it would encourage an unhealthy American type of consumerism in France. On 28 June 1992, a group of French farmers blockaded Euro Disney in protest of farm policies supported at the time by the United States.


title: Disneyland Paris

text: A journalist at the centre-right French newspaper "Le Figaro" wrote, "I wish with all my heart that the rebels would set fire to [Euro] Disneyland." Ariane Mnouchkine, a Parisian stage director, named the concept a "cultural Chernobyl", a phrase which would be echoed in the media during Euro Disney's initial years.


title: Disneyland Paris

text: In response, French philosopher Michel Serres noted, "It is not America that is invading us. It is we who adore it, who adopt its fashions and above all, its words." Euro Disney S.C.A.'s then-chairman Robert Fitzpatrick responded, "We didn't come in and say O.K., we're going to put a beret and a baguette on Mickey Mouse. We are who we are."


title: Disneyland Paris

text: Topics of controversy also included Disney's American managers requiring English to be spoken at all meetings and Disney's appearance code for members of staff, which listed regulations and limitations for the use of makeup, facial hair, tattoos, jewellery, and more.


title: Disneyland Paris

text: French labour unions mounted protests against the appearance code, which they saw as "an attack on individual liberty". Others criticised Disney as being insensitive to French culture, individualism, and privacy, because restrictions on individual or collective liberties were illegal under French law, unless it could be demonstrated that the restrictions are requisite to the job and do not exceed what is necessary.


title: Disneyland Paris

text: Disney countered by saying that a ruling that barred them from imposing such an employment standard could threaten the image and long-term success of the park. "For us, the appearance code has a great effect from a product identification standpoint," said Thor Degelmann, Euro Disney's personnel director. "Without it we couldn't be presenting the Disney product that people would be expecting."


title: Disneyland Paris

text: Euro Disney opened for employee preview and testing in March 1992. During this time visitors were mostly park employees and their family members, who tested facilities and operations. The press was able to visit the day before the park's opening day on 12 April 1992.


title: Disneyland Paris

text: On 12 April 1992, Euro Disney Resort and its theme park, Euro Disneyland, officially opened. Visitors were warned of chaos on the roads. A government survey indicated that half a million people carried by 90,000 cars might attempt to enter the complex. French radio warned traffic to avoid the area. By midday, the car park was approximately half full, suggesting an attendance level below 25,000. Explanations of the lower-than-expected turnout included speculation that people heeded the advice to stay away and that the one-day strike that cut the direct RER railway connection to Euro Disney from the centre of Paris made the park inaccessible. Due to the European recession that August, the park faced financial difficulties as there were a lack of things to do and an overabundance of hotels, leading to underperformance. The failure of Euro Disney caused the cancellation of several projects like WestCOT, Disney's America, Tomorrowland 2055 at Disneyland and Beastly Kingdom at Disney's Animal Kingdom.


title: Disneyland Paris

text: A new Indiana Jones roller-coaster ride was opened at Euro Disney in 1993. A few weeks after the ride opened there were problems with the emergency brakes which resulted in guest injuries.


title: Disneyland Paris

text: In 1994, the company was still having financial difficulties. There were rumours that Euro Disney was getting close to having to file for bankruptcy. The banks and the backers had meetings to work out some of the financial problems facing Euro Disney. In March 1994 Team Disney went into negotiations with the banks so that they could get some help for their debt. As a last resort, the Walt Disney Company threatened to close the Disneyland Paris park, leaving the banks with the land.


title: Disneyland Paris

text: In May 1992, entertainment magazine "The Hollywood Reporter" reported that about 25% of Euro Disney's workforce, approximately 3,000 people, had resigned from their jobs because of unacceptable working conditions. It also reported that the park's attendance was far behind expectations. The disappointing attendance can be at least partly explained by the recession and increased unemployment, which was affecting France and most of the rest of the developed world at this time; when construction of the resort began, the economy was still on an upswing.


title: Disneyland Paris

text: Euro Disney S.C.A. responded in an interview with "The Wall Street Journal", in which Robert Fitzpatrick claimed only 1,000 people had left their jobs. In response to the financial situation, Fitzpatrick ordered that the Disney-MGM Studios Europe project would be put on halt until a further decision could be made. Prices at the hotels were reduced.


title: Disneyland Paris

text: Despite these efforts in May 1992, park attendance was around 25,000 (some reports give a figure of 30,000) instead of the predicted 60,000. The Euro Disney Company stock price spiraled downwards and on 23 July 1992, Euro Disney announced an expected net loss in its first year of operation of approximately 300 million French francs. During Euro Disney's first winter, hotel occupancy was so low that it was decided to close the Newport Bay Club hotel during the season.


title: Disneyland Paris

text: Initial hopes were that each visitor would spend around US$33 per day, but near the end of 1992, analysts found spending to be around 12% lower. Efforts to improve attendance included serving alcoholic beverages with meals inside the Euro Disneyland park, in response to a presumed European demand, which began 12 June 1993.


title: Disneyland Paris

text: By the summer of 1994, Euro Disney was burdened with $3 billion worth of debt. Disney CFO Richard Nanula and Wall Street financier Steve Norris worked with Alwaleed's business advisor Mustafa Al Hejailan to rescue the overleveraged company. In that deal, the Walt Disney Corporation's 49 percent stake was reduced to 39 percent, the banks agreed to forego interest payments until 1997, Disney wrote off royalties and fees until 1999, and Alwaleed agreed to pay $345 million for a 24 percent stake in Euro Disney.


title: Disneyland Paris

text: On 1 October 1994, Euro Disney changed its name to Disneyland Paris. On 31 May 1995, a new attraction opened at the theme park. had been planned since the inception of Disneyland Paris under the name "Discovery Mountain", but was reserved for a revival of public interest. With a redesign of the attraction (which had premiered as Space Mountain at the Walt Disney World Resort's Magic Kingdom in 1975) including a "cannon launch" system, inversions, and an on-ride soundtrack, the US$100 million attraction was dedicated in a ceremony attended by celebrities such as Elton John, Claudia Schiffer, and Buzz Aldrin.


title: Disneyland Paris

text: On 25 July 1995, Disneyland Paris reported its first quarterly profit of US$35.3 million. On 15 November 1995, the results for the fiscal year ending 30 September 1995 were released; in one year the theme park's attendance had climbed from 8.8 million to 10.7 million, an increase of 21%. Hotel occupancy had also climbed from 60 to 68.5%. After debt payments, Disneyland Paris ended the year with a net profit of US$22.8 million.


title: Disneyland Paris

text: As of March 2002, Disneyland Paris underwent a second name change to Disneyland Resort Paris. In 2002, Euro Disney S.C.A. and the Walt Disney Company announced another annual profit for Disneyland Paris. However, it then incurred a net loss in the three years following. By March 2004, the Walt Disney Company had agreed to write off all debt that Euro Disney S.C.A. owed to the Walt Disney Company. On 1 December 2003, Euro Disney S.C.A launched the 'Need Magic?' campaign, which lasted until March 2006 to bring new, first-time European visitors to the resort. And by 2005, having been open fewer than fifteen years, Disneyland Paris had become the number one tourist destination for Europe, outselling the Louvre and the Eiffel Tower.


title: Disneyland Paris

text: In March 2006, Disneyland Resort Paris launched the advertising campaign "believe in your dreams" and paired with the TGV East European Line to encourage European family attendance to the resort. Shortly after announcing a 12% increase in revenues for the fiscal year of 2007, Euro Disney S.C.A. implemented a "reverse split" consolidation of shares of 100 to 1. August 2008 brought the resort's 200 millionth visitor, and made for the third consecutive year of growth in revenues for the resort as well as a record 15.3 million visitors in attendance.


title: Disneyland Paris

text: In 2009, the resort demonstrated dedication to the recruitment of new employment positions, especially for the Christmas and summer seasons, which continued in 2010 and 2011 when 2,000 and 3,000 employment contracts being offered, respectively. The 2009 fiscal year saw a decrease in revenues by 7% and a net loss of 63 million followed by stable revenues at 1.2 billion in fiscal 2010. Euro Disney S.C.A. refinanced their debt to Walt Disney Company again for 1.3 billion euros in September 2012.


title: Disneyland Paris

text: A study done by the Inter-ministerial Delegation reviewing Disneyland Paris' contribution to the French economy was released in time for the Resort's 20th anniversary in March 2012. It found that despite the resort's financial hardships, it has generated "37 billion euros in tourism-related revenues over twenty years", supports on average 55,000 jobs in France annually, and that one job at Disneyland Paris generates nearly three jobs elsewhere in France.


title: Disneyland Paris

text: For the first time in the resort's history, both the Disneyland Park and Walt Disney Studios Park closed from 14 to 17 November 2015, as part of France's national days of mourning following the November 2015 Paris attacks.


title: Disneyland Paris

text: On 19 June 2017, the resort's operating company, Euro Disney S.C.A, was acquired by The Walt Disney Company, giving them full control of the resort. In December 2018, Natacha Rafalski took over as CEO. On 1 September 2017 the resort's second nature resort opened as Les Villages Nature Paris.


title: Disneyland Paris

text: On 27 February 2018, Walt Disney Company CEO Bob Iger announced that company would invest €2 billion into the Disneyland Paris resort. The Walt Disney Studios Park will be expanded with three new areas based upon Marvel, "Frozen" and "Star Wars". In addition to the three new areas, the expansion includes a new lake, which will be the focal point for entertainment experiences and will also connect each of the new park areas. The first phase of the expansion will be completed in 2021. In April 2019, the location hosted a "Dota 2" esports tournament.


title: Disneyland Paris

text: In March 2018, a Disney Parks West regional division was formed with Disneyland Resort in California, Walt Disney World in Florida, and Disneyland Paris under Catherine Powell, outgoing Disneyland Paris president. This mirrors the Disney Parks East regional division consisting of Shanghai Disney Resort, Hong Kong Disneyland and Walt Disney Attractions Japan and headed by Michael Colglazier. Natacha Rafalski was promoted from chief financial officer to president for Disneyland Paris in December 2018. In September 2019, Powell exited her post as president of the Parks West division, with the division dissolving, and Disneyland Paris transferred to Disney Parks International, while the East region reverted to its prior name.


title: Disneyland Paris

text: On 1 June 2019, Disneyland Paris sponsored the Magical Pride Party, an LGBTQ celebration. Previous similar events have taken place at the park since 2014, but were not officially sponsored by Disney.


title: Disneyland Paris

text: On 15 March 2020, in line with other Disney parks and resorts, Disneyland Paris was shut down due to the worldwide COVID-19 pandemic. Disneyland Park and Walt Disney Studios Park reopened to the public on 15 July with the rest of the resort. On 29 October 2020, the resort closed again due to a second nationwide lockdown. Disneyland Paris re-opened on 17 June 2021.


title: Disneyland Paris

text: Disneyland Paris and its properties have been subject to a number of name changes, initially an effort to overcome the negative publicity that followed the inception of the Euro Disney Resort.


title: Disneyland Paris

text: Disneyland Paris contains 2 theme parks, 8 resort hotels, 7 associated hotels, a golf course, a high-speed rail station, a large outlet centre (la vallée village), and a large shopping mall: Val d'Europe.


title: Disneyland Paris

text: According to the Disneyland Paris website the theme park's top five attractions in Disneyland Park are "It's a Small World", "Star Wars Hyperspace Mountain" (formerly known as ""), "Big Thunder Mountain", "Pirates of the Caribbean", and "Buzz Lightyear's Lazer Blast". "It's a Small World", located in Fantasyland, takes visitors on a musical tour of world attractions; Star Tours and Hyperspace Mountain (which is a roller coaster) are situated in the Discoveryland district; Big Thunder Mountain is a mine train roller coaster within Frontierland; Pirates of the Caribbean is located in Adventureland; and Buzz Lightyear's Lazer Blast, also located in Discoveryland, was inspired by the Disney/Pixar film "Toy Story 2" and features people attempting to successfully shoot lasers at seemingly moving targets to earn as many points as possible.


title: Disneyland Paris

text: The park is approximately , and is divided into two main parks that each hold separate attraction areas within them. The park receives around twelve million visitors a year, which makes it the most visited place in Europe.


title: Disneyland Paris

text: In 2018, The Walt Disney Company announced a multi-year expansion project. It is expected to be completed by 2024 in time for the 2024 Summer Olympics in Paris.


title: Disneyland Paris

text: The complex features six Disneyland Paris hotels. The Disneyland Hotel is located over the entrance of the Disneyland Park and is marketed as the most prestigious hotel on the property. A body of water known as Lake Disney is surrounded by Disney Hotel New York — The Art of Marvel, Disney Newport Bay Club, and Disney Sequoia Lodge. Disney Hotel Cheyenne and Disney Hotel Santa Fe are located near Lake Disney; Disney Davy Crockett Ranch is located in a woodland area outside the resort perimeter.


title: Disneyland Paris

text: Disneyland Paris includes six on-site partner hotels that are not managed by The Walt Disney Company but provide free shuttle buses to the parks: B&B Hotel, Algonquin's Explorers Hotel and Campanile Val de France. There are also two associated hotels located in Val d'Europe: Adagio Marne-la-Vallée Val d'Europe and Hôtel l'Élysée Val d'Europe.


title: Disneyland Paris

text: A large railway station, Marne-la-Vallée–Chessy, is located between the theme parks and Disney Village. It opened on 1 April 1992 and is notably served by regional express line RER A which provides a direct connection with the centre of Paris and for further connections, direct to Paris - Gare de Lyon.


title: Disneyland Paris

text: The railway station is also served by long-distance high-speed TGV and Ouigo trains offering direct services to many cities across France. There are also Eurostar services from and to London St Pancras International until 5 June 2023. There are also Thalys services to both Brussels and Amsterdam.


title: Disneyland Paris

text: Free Disney shuttle buses provide transport to all Disney hotels and Les Villages Nature Paris (except Disney Davy Crockett Ranch) and Associated Hotels. They are accessed from the Disneyland bus station.


title: Disneyland Paris

text: Disneyland Paris has strict rules designed to prevent guests from seeing backstage areas of the park. Photography and filming are strictly forbidden in all backstage areas. The edges of the parks are lined with ride buildings and foliage to hide areas that are not for the public to see. Numerous area gates allow entrance into the park for cast members, parade floats, etc. When area gates around the park are open, anything that can be seen through them is considered to be on-stage and part of the Disney Magic. Therefore, from the moment the gates are open, all of the cast must be in character and in place to 'perform'. As the complex is so big, shuttle buses take cast members to different parts of the parks via service roads located around the perimeter of the parks.


title: Disneyland Paris

text: Many attractions are housed in large, soundstage-like buildings called "show buildings", some of which are partially or completely disguised by external theming. Most show buildings have off-white flat roofs that support HVAC units and footpaths for maintenance cast members. Housed inside show buildings are the actual attractions, which include hidden walkways, service areas, control rooms, and other backstage operations.


title: Disneyland Paris

text: On 8 July 2017, Disneyland hosted its first-ever EDM festival entitled Electroland, in celebration of Disneyland Paris' 25th anniversary. Steve Aoki, NERVO & Michael Calfan were the main highlights of the first edition. The second edition of the festival was held on 29 and 30 June 2018, which featured Afrojack, Dimitri Vegas & Like Mike, Klingande, Robin Schulz, Bob Sinclair, Mosimann and Lovely Laura & Ben Santiago. The third edition was held over a span of 3 days from 5 July through to 7 July in 2019. The theme of the third edition was based upon Disney's movie The Lion King. The lineup included Steve Aoki, Nervo, Showtek, The Magician, Nicky Romero, Alesso, Armin Van Buuren, Nora En Pure etc. Disneyland also announced the fourth edition of the 3-day festival in 2020 starting from 4 July.


title: Disneyland Paris

text: For a list of incidents that occurred at Disneyland Paris see: List of incidents at Disneyland Paris.


title: Love, Simon

text: Love, Simon is a 2018 American romantic comedy-drama film directed by Greg Berlanti, written by Isaac Aptaker and Elizabeth Berger, and based on the novel "Simon vs. the Homo Sapiens Agenda" by Becky Albertalli. The film stars Nick Robinson, Josh Duhamel, and Jennifer Garner. It centers on Simon Spier, a closeted gay high school boy who struggles to balance his friends, his family, and the blackmailer threatening to out him to the entire school, while simultaneously attempting to discover the identity of the anonymous classmate with whom he has fallen in love online.


title: Love, Simon

text: "Love, Simon" premiered at the Mardi Gras Film Festival on February 27, 2018, and was released in the United States on March 16, 2018, by 20th Century Fox. Critics praised the film for its "big heart, diverse and talented cast, and revolutionary normalcy", describing it as "tender, sweet, and affecting" and a "hugely charming crowd-pleaser" that is "funny, warm-hearted and life-affirming", with reviews comparing it to the romantic comedy-drama films of John Hughes. Notable as the first film by a major Hollywood studio to focus on a gay teenage romance, it grossed $66million worldwide. A television series titled "Love, Victor", set in the same universe as the film, premiered on June 17, 2020, on Hulu, with Robinson serving as the series' narrator for the first season.


title: Love, Simon

text: Simon Spier is a closeted gay teenager living in a suburb of Atlanta, Georgia. He has a close and loving family—parents Emily and Jack, and sister Nora—as well as three best friends: Nick and Leah, whom he has known most of his life, and newcomer Abby.


title: Love, Simon

text: Leah informs Simon about an online confession of a closeted gay student at their high school, known only by the pseudonym "Blue". Simon begins communicating with Blue via email using the pseudonym "Jacques". The two confide personal details and form a connection. Their emails are accidentally discovered by another student, Martin, who is infatuated with Abby. After learning his secret, Martin threatens to make Simon's emails public unless he helps Martin win over Abby. Simon begins trying to figure out which of his classmates is actually Blue.


title: Love, Simon

text: At a Halloween party, Simon suspects his classmate Bram might be Blue and attempts to connect with him, but later walks in on Bram making out with a female student. Nick confides in Simon that he has feelings for Abby. Simon lies to Nick, telling him that Abby has a boyfriend in college. Leah walks an inebriated Simon home, where she speaks vaguely about how she feels that she is fated to love one person very intensely; Simon believes she is referring to Nick.


title: Love, Simon

text: Simon meets up with Abby and Martin at a Waffle House after he convinces them to practice lines together for an upcoming school musical. Simon bonds with their server, a classmate named Lyle, and now suspects that Lyle may be Blue. That night, Simon comes out to Abby and is relieved when she reacts positively.


title: Love, Simon

text: At a school football game, Simon crosses paths with Lyle; before he can summon the courage to ask if Lyle is Blue, he finds out Lyle is actually interested in Abby. An upset Simon tells a pestering Martin to either "go big or go home" when courting Abby. Martin interrupts the national anthem and publicly declares his feelings for Abby. When Abby admits she does not share those feelings, Martin is humiliated and becomes the subject of ridicule.


title: Love, Simon

text: On Christmas Eve, to distract people from his own humiliation, Martin outs Simon by posting his emails on the school's gossip site. Simon's sister, Nora, tries to comfort Simon but he shuts her out and does not return his friends' texts and calls. Simon comes out to his parents on Christmas morning, to their surprise and acceptance.


title: Love, Simon

text: After the holidays, Nick and Abby, now a couple, confront Simon about the lies he told and learn that he tried to keep them apart due to Martin's blackmail. Leah confesses to Simon that she was in love with him, not Nick, and is upset he came out to Abby first. After his friends break off from him, Simon receives a final email from Blue, who is upset that their emails have been leaked. Blue tells Simon that they should stop speaking and deletes his email account.


title: Love, Simon

text: In the cafeteria, Simon and an openly gay student, Ethan, are mocked by classmates. Ethan and Simon bond over the difficulties they have faced coming out. After his mother reaches out and comforts him, Simon apologizes to Leah and tells her he is in love with Blue. Simon posts a confession on the gossip site apologizing to his friends, seeking out Blue and asking him to meet at the school carnival.


title: Love, Simon

text: After the school musical, Leah, Nick and Abby make amends with Simon and invite him to go to the carnival with them. Waiting for Blue at the carnival, Simon rides the Ferris wheel, drawing a large crowd of peers. When Simon runs out of tickets, Martin buys him one more ride. Just before the ride begins, Bram sits next to Simon, revealing himself as Blue; the kiss Simon saw with the female student was a drunken misunderstanding. They ride the Ferris wheel together and kiss as their friends cheer them on.


title: Love, Simon

text: Simon's life gradually returns to normal and he begins a relationship with Bram. While picking up his friends and boyfriend for school, Simon suggests that they forgo their usual morning routine and instead go "on a little adventure".


title: Love, Simon

text: Principal photography began on March 6, 2017, in Atlanta, Georgia. Filming officially ended on April 23, 2017, two days earlier than scheduled, an effort that Berlanti made to offset the cost of paying royalties for the most expensive songs on the film's soundtrack.


title: Love, Simon

text: Becky Albertalli, the author of the novel the film is based on, and YouTuber Doug Armstrong make cameo appearances as students in the film.


title: Love, Simon

text: "Love, Simon (Original Motion Picture Soundtrack)" was released by RCA Records and Sony Music Entertainment, on March 16, 2018. It featured music by several artists including Bleachers, Troye Sivan, Amy Shark, Brenton Wood, The 1975, Normani and Khalid, among others. It featured at #37 on "Billboard" 200's chart, #3 on "Billboard" Top Soundtracks chart, and at #24 in "Billboard" Canadian Albums chart for the week beginning with March 31, 2018, while also featured at #161 on "Billboard" 200 year-ender chart.


title: Love, Simon

text: Rob Simonsen's score was distributed by Lakeshore Records as "Love, Simon (Original Motion Picture Score)" and released along with the soundtrack album.


title: Love, Simon

text: "Love, Simon" premiered at the Mardi Gras Film Festival on February 27, 2018, and also screened at the Glasgow Film Festival and the Melbourne Queer Film Festival. The film was released by 20th Century Fox in the United States and Canada on March 16, 2018, and was scheduled to be released in other countries on various dates throughout 2018.


title: Love, Simon

text: Following the film's release, several celebrities – including Jennifer Garner, Kristen Bell, Neil Patrick Harris, Joey Graceffa, Matt Bomer, Robbie Rogers, Benj Pasek, Tyler Oakley, Martin Gero, Andrew Rannells, and Jesse Tyler Ferguson – bought out theaters and offered free screenings of the film because they believed it conveyed an important message. "Love, Simon" is notable as the first film by a major Hollywood studio to focus on a gay teenage romance.


title: Love, Simon

text: The film became available to pre-order on home video on January 17, 2018, was released digitally on May 29, 2018, and was released on 4K Blu-Ray, Blu-ray and DVD on June 12, 2018.


title: Love, Simon

text: "Love, Simon" grossed $40.8million in the United States and Canada, and $25.4million in other territories, for a worldwide total of $66.3million, against a production budget of $10–17million. It is the 15th highest-grossing teen romance film since 1980, and the third-highest by 20th Century Fox after "The Fault in Our Stars" and "Romeo + Juliet".


title: Love, Simon

text: "Love, Simon" held early preview screenings on March 10 before its official release on March 16, where it grossed $800,000 from 927 theaters, which "Deadline Hollywood" considered "strong". In the United States and Canada, the film was released alongside "Tomb Raider" and "I Can Only Imagine", and was projected to gross $10–12million from 2,401 theaters in its opening weekend. The film made $4.6million on its first day (including $850,000 from Thursday previews at 2,125 theaters). The film went on to debut at $11.8million, finishing fifth at the box office; 58% of its opening weekend audience was female and 59% was under 25. In its second weekend the film dropped 33% to $7.8million, finishing 7th, and in its third weekend made $4.8million, finishing ninth.


title: Love, Simon

text: In the United Kingdom, the film debuted fourth at the box office, earning $1.6million. In Australia, the film debuted fourth at the box office, earning $916,697. In Brazil, the film debuted fourth at the box office, earning $804,567. In Mexico, the film debuted third at the box office, earning $982,391.


title: Love, Simon

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The website's critical consensus reads, ""Love, Simon" hits its coming-of-age beats more deftly than many entries in this well-traveled genre – and represents an overdue, if not entirely successful, milestone of inclusion." On Metacritic, the film has a weighted average score of 72 out of 100, based on 38 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, one of fewer than 90 films in the history of the service to earn such a score.


title: Love, Simon

text: Benjamin Lee of "The Guardian" gave the film four out of five stars, calling it a "hugely charming crowd-pleaser". Pete Hammond of "Deadline Hollywood" gave the film four out of five stars, stating that audiences "are guaranteed to fall in love with this sweet, funny coming-of-age film".


title: Love, Simon

text: Molly Freeman of "Screen Rant" gave the film four out of five stars or an Excellent rating, stating that ""Love, Simon" is a funny, heartfelt, and truly touching teen romantic comedy that instantly becomes a modern classic for today's generation." Josh Winning of "GamesRadar+" gave the film four out five stars, describing it as a "warm, sensitive and engaging coming-out-of-ager" and "one of the freshest teen-coms in ages".


title: Love, Simon

text: Meredith Goldstein of "The Boston Globe" gave the film three and a half out of four stars and stated, ""Love, Simon" is a sweet, modern romantic comedy that manages to channel the teen movie classics of the late John Hughes, but only the good stuff." Colin Covert of the "Star Tribune" gave the film 3/4 stars and wrote, "If John Hughes had gone on to make a smart LGBT coming-of-age charmer, most likely it would resemble this."


title: Love, Simon

text: Bruce Demara of the "Toronto Star" also gave it three out of four stars, stating "The casting is high quality, the script – with a tantalizing mystery at its heart – is particularly well-crafted and the story hits all the right emotional notes in delivering a funny, warm-hearted and life-affirming tale." Brian Truitt of "USA Today" gave the film three and a half out of four stars and wrote, "Young and old, jocks and nerds, geeks and freaks, and everyone in between should be able to find something to adore in "Love, Simon"."


title: Love, Simon

text: Joyce Slaton of Common Sense Media gave the film four out of five stars, describing it as "tender, sweet, and affecting", with the film also receiving The Common Sense Seal, which recognizes movies that offer families an exceptional media experience. MJ Franklin of Mashable wrote that ""Love, Simon" feels like an instant classic that you're going to want to watch again and again."


title: Love, Simon

text: Max Weiss of "Baltimore" gave "Love, Simon" three out of four stars, calling it a "sweet, funny, warm-hearted film".


title: Love, Simon

text: Peter Debruge of "Variety", while stating that the film is average in execution, praised the content as "groundbreaking on so many levels, not least of which is just how otherwise familiar it all seems". Jesse Hassenger of "The A.V. Club" gave the film a C+ and wrote that the film "is touching as a gesture", but as entertainment "it's nothing "" hasn't done better".


title: Love, Simon

text: Becky Albertalli, the author of the novel on which the film is based, watched an early cut and praised the film, stating: "It's funny and relevant and timeless and charming and honest and painful and so romantic. It says exactly what I wanted the book to say."


title: Love, Simon

text: Although Berlanti indicated that, after witnessing the film's success, he would not necessarily be opposed to directing a sequel film based on the book's spin-off sequel, "Leah on the Offbeat", stating "God willing that the movie is successful enough that people actually ask for something like that. I loved working with these people on this film so much. I would just like to spend more time with them, that would be good!" When asked about a sequel, Katherine Langford said "I mean, it's always a discussion of who would make it, but if the script was good and the filmmaker had a great vision, then I would be totally down. I'm always down to tell a good story."


title: Love, Simon

text: On April 11, 2019, it was announced that a spin-off television series would premiere on Disney+. The series is not an adaptation of "Leah on the Offbeat" but rather a new story set at the same high school and follows closeted basketball player Victor and his already out-of-the-closet hipster crush, Benji.


title: Love, Simon

text: On June 13, 2019, actress Ana Ortiz was cast to star as Isabel, Victor's mother. On August 15, 2019, the rest of the cast was revealed, with Michael Cimino leading the series as Victor, James Martinez as Victor's father Armando, Isabella Ferreira as Victor's sister Pilar, Mateo Fernandez as Victor's brother Adrian, Rachel Naomi Hilson as Victor's friend Mia, Bebe Wood as Mia's friend Lake, George Sear as Victor's love interest Benji, Anthony Turpel as Victor's best friend Felix, and Mason Gooding as cocky jock Andrew. Additionally, Nick Robinson would return as narrator and a producer of the series.


title: Love, Simon

text: In February 2020, the seriesnow titled "Love, Victor"was announced to be premiering on Hulu instead in June 2020. It was released on Disney+ in February 2021 in territories where the Star content hub is available.


title: Kitsch

text: Kitsch ( ; loanword from German) is a term applied to art and design that is perceived as naïve imitation, overly-eccentric, gratuitous, or of banal taste.


title: Kitsch

text: The avant-garde opposed kitsch as melodramatic and superficial affiliation with the human condition and its natural standards of beauty. In the first half of the 20th century, kitsch referred to products of pop culture that lacked the depth of fine art. However, since the emergence of Pop Art in the 1950s, kitsch is sometimes re-appreciated in knowingly ironic, humorous or earnest fashion.


title: Kitsch

text: To brand visual art as "kitsch" is often still pejorative, though not exclusively. Art deemed kitsch may be enjoyed in an entirely positive and sincere manner. For example, it carries the ability to be quaint or "quirky" without being offensive on the surface, as in the "Dogs Playing Poker" paintings.


title: Kitsch

text: Kitsch can refer to music, literature, or any work, and relates to camp, as they both incorporate irony and extravagance.


title: Kitsch

text: As a descriptive term, "kitsch" originated in the art markets of Munich, Germany in the 1860s and the 1870s, describing cheap, popular, and marketable pictures and sketches. In "Das Buch vom Kitsch" ("The Book of Kitsch"), published in 1936, Hans Reimann defined it as a professional expression "born in a painter's studio".


title: Kitsch

text: The study of kitsch was done almost exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field.


title: Kitsch

text: Kitsch is regarded as a modern phenomenon, coinciding with social changes in recent centuries such as the Industrial Revolution, urbanization, mass production, modern materials and media such as plastics, radio and television, the rise of the middle class and public educationall of which have factored into a perception of oversaturation of art produced for the popular taste.


title: Kitsch

text: Modernist writer Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good. According to Walter Benjamin, kitsch, unlike art, is a utilitarian object lacking all critical distance between object and observer. According to critic Winfried Menninghaus, Benjamin's stance was that kitsch "offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, without sublimation". In a short essay from 1927, Benjamin observed that an artist who engages in kitschy reproductions of things and ideas from a bygone age deserved to be called a "furnished man" (in the way that someone rents a "furnished apartment" where everything is already supplied).


title: Kitsch

text: Kitsch is less about the thing observed than about the observer. According to Roger Scruton, "Kitsch is fake art, expressing fake emotions, whose purpose is to deceive the consumer into thinking he feels something deep and serious."


title: Kitsch

text: Tomáš Kulka, in "Kitsch and Art", starts from two basic facts that kitsch "has an undeniable mass-appeal" and "considered (by the art-educated elite) bad", and then proposes three essential conditions:


title: Kitsch

text: The concept of kitsch is a central motif in Milan Kundera's 1984 novel "The Unbearable Lightness of Being". Towards the end of the novel, the book's narrator posits that the act of defecation (and specifically, the shame that surrounds it) poses a metaphysical challenge to the theory of divine creation: "Either/or: either shit is acceptable (in which case don't lock yourself in the bathroom!) or we are created in an unacceptable manner". Thus, in order for us to continue to believe in the essential propriety and rightness of the universe (what the narrator calls "the categorical agreement with being"), we live in a world "in which shit is denied and everyone acts as though it did not exist". For Kundera's narrator, this is the definition of kitsch: an "aesthetic ideal" which "excludes everything from its purview which is essentially unacceptable in human existence".


title: Kitsch

text: The novel goes on to relate this definition of kitsch to politics, and specifically — given the novel's setting in Prague around the time of the 1968 invasion by the Soviet Union — to communism and totalitarianism. He gives the example of the Communist May Day ceremony, and of the sight of children running on the grass and the feeling this is supposed to provoke. This emphasis on feeling is fundamental to how kitsch operates:


title: Kitsch

text: Kitsch causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: How nice to be moved, together with all mankind, by children running on the grass! It is the second tear that makes kitsch kitsch.


title: Kitsch

text: According to the narrator, kitsch is "the aesthetic ideal of all politicians and all political parties and movements"; however, where a society is dominated by a single political movement, the result is "totalitarian kitsch":


title: Kitsch

text: When I say "totalitarian," what I mean is that everything that infringes on kitsch must be banished for life: every display of individualism (because a deviation from the collective is a spit in the eye of the smiling brotherhood); every doubt (because anyone who starts doubting details will end by doubting life itself); all irony (because in the realm of kitsch everything must be taken quite seriously).


title: Kitsch

text: Kundera's concept of "totalitarian kitsch" has since been invoked in the study of the art and culture of regimes such as Stalin's Soviet Union, Nazi Germany, Fascist Italy and Iraq under Saddam Hussein. Kundera's narrator ends up condemning kitsch for its "true function" as an ideological tool under such regimes, calling it "a folding screen set up to curtain off death".


title: Kitsch

text: In her 1999 book "The Artificial Kingdom: A Treasury of the Kitsch Experience", cultural historian Celeste Olalquiaga develops a theory of kitsch that situates its emergence as a specifically nineteenth-century phenomenon, relating it to the feelings of loss elicited by a world transformed by science and industry. Focusing on examples such as paperweights, aquariums, mermaids and the Crystal Palace, Olalquiaga uses Benjamin's concept of the "dialectical image" to argue for the utopian potential of "melancholic kitsch", which she differentiates from the more commonly discussed "nostalgic kitsch".


title: Kitsch

text: These two types of kitsch correspond to two different forms of memory. Nostalgic kitsch functions through "reminiscence", which "sacrifices the intensity of experience for a conscious or fabricated sense of continuity":


title: Kitsch

text: Incapable of tolerating the intensity of the moment, reminiscence selects and consolidates an event's acceptable parts into a memory perceived as complete. […] This reconstructed experience is frozen as an emblem of itself, becoming a cultural fossil.


title: Kitsch

text: In contrast, melancholic kitsch functions through "remembrance", a form of memory that Olalquiaga links to the "souvenir", which attempts "to repossess the experience of intensity and immediacy through an object". While reminiscence translates a remembered event to the realm of the symbolic ("deprived of immediacy in favour of representational meaning"), remembrance is "the memory of the unconscious", which "sacrific[es] the continuity of time for the intensity of the experience". Far from denying death, melancholic kitsch can only function through a recognition of its multiple "deaths" as a fragmentary remembrance that is subsequently commodified and reproduced. It "glorifies the perishable aspect of events, seeking in their partial and decaying memory the confirmation of its own temporal dislocation".


title: Kitsch

text: Thus, for Olalquiaga, melancholic kitsch is able to function as a Benjaminian dialectical image: "an object whose decayed state exposes and reflects its utopian possibilities, a remnant constantly reliving its own death, a ruin".


title: Kitsch

text: The Kitsch movement is an international movement of classical painters, founded in 1998 upon a philosophy proposed by Odd Nerdrum, which he clarified in his 2001 book "On Kitsch", in cooperation with Jan-Ove Tuv and others incorporating the techniques of the Old Masters with narrative, romanticism, and emotionally charged imagery.


title: Dil Se..

text: Dil Se.. () is a 1998 Indian Hindi-language romantic thriller film written and directed by Mani Ratnam, and produced by Ratnam, Ram Gopal Varma, and Shekhar Kapur. Set in the backdrop of Insurgency in Assam, the film stars Shah Rukh Khan and Manisha Koirala, while Preity Zinta makes her film debut in a supporting role. Written by Ratnam and Tigmanshu Dhulia, the film is an example of parallel cinema and is noted as the final installment in Mani Ratnam's trilogy that consists of "Roja" (1992) and "Bombay" (1995). The film's soundtrack album, composed by A. R. Rahman, sold six million units in India.


title: Dil Se..

text: "Dil Se.." was screened at the Era New Horizons Film Festival and the Helsinki International Film Festival. Noted for its aspects nonlinear storytelling, the film was moderate success at the domestic box office; however it was a major success overseas earning $975,000 in the United States and £537,930 in the United Kingdom, becoming the first Indian film to enter the top 10 in the United Kingdom box office charts, and it was also a hit in Japan.


title: Dil Se..

text: At the 44th Filmfare Awards, "Dil Se.." received 10 nominations, including Best Actress (Koirala) and Best Supporting Actress (Zinta), and won 6 awards, including Best Female Debut (Zinta) and Best Music Director (Rahman). At the 46th National Film Awards, the film won 2 awards – Best Cinematography and Best Audiography, while also receiving a Netpac Award at the Berlin International Film Festival.


title: Dil Se..

text: Amarkant Varma (Shah Rukh Khan) is a program executive for All India Radio, dispatched from New Delhi to cover festivities in Assam. On his way there, during a rainy night, Amar is stranded for hours at Haflong railway station to catch the Barak Valley Express. As he waits, he tries to have a smoke and asks a mysterious person for either a match or a lighter. Suddenly a strong gust of wind blows off the person's shawl, revealing a beautiful woman (Manisha Koirala). Amar approaches, tells her she's beautiful, and tries to strike up a conversation. She ignores him. He persists and she eventually asks him for a cup of tea. When he returns with the tea, he watches as she boards the next train with three male passengers and rides off into the distance.


title: Dil Se..

text: Amar's infatuation with the woman is depicted with a lengthy dance scene, with dozens of dancers dancing on top of a moving train through the beautiful Indian countryside.


title: Dil Se..

text: Amar reaches his destination and spots the same woman in Silchar. He attempts to talk to her, but she says she cannot recall meeting him before. As part of his news reporting assignment, for the occasion of fifty years of Indian Independence, Amar interviews many Assamese citizens, and an extremist chief, who blames the Indian Government for human rights violations and poverty in the region. The chief states the Liberationists do not wish to enter into any dialogue with the government, and justifies their resistance in Northeast India.


title: Dil Se..

text: Some time later, Amar describes his encounter with the woman, over the radio, which she hears. He again spots her at a post office. At this juncture, she tells him to leave her alone; but he follows her and tells her that he is in love with her. She resists and tells Amar that she is married.


title: Dil Se..

text: During the beating, Amar learns that the men are presumably her brothers and that she had lied about her being married. He rejoices in this discovery, despite being badly bruised and bloody. He reaches her home and learns from the locals that she has left. Amar then goes to the post office where he initially spotted her and bribes the PCO owner into giving him her contact details and learns that she is telephoning to Ladakh. Subsequently, Amar travels to Leh, and while recording the Sindhu Darshan Festival, a suicide bomber is chased and shot dead by the Indian military. Amar spots the woman again. As the woman and Amar board a bus, military officers question each passenger before the bus is allowed to leave. Amar tells the officers that he is reporting on the festival, and the woman falsely tells the officers that she is travelling with Amar.


title: Dil Se..

text: After some travel, the bus breaks down and the passengers are required to walk to a nearby village. En route, the woman reveals her name: Meghna. Amar continues to pursue Meghna, despite her protestations. Megha tells Amar that her destiny prevents her from being with him. She reveals a traumatic personal history and lets slip that if they were to be together, she would want eight children. Her ambivalence and their mutual attraction is depicted by a daydream dance scene in the desert. The two end up travelling together and recuperate near one another in the desert, over night. In the morning, Amar wakes to find Meghna gone.


title: Dil Se..

text: Heartbroken, Amar returns to his home in Delhi, where his family introduces him to Preeti Nair (Preity Zinta) from Kerala as a potential bride for him. Preeti confides that she was recently rejected in love and gets Amar to reveal that he was also just dumped. On their date, Amar spots one of Meghna's associates, Kim, who banished him earlier. Amar chases him down to Connaught Place, where he loses track of the man. Unbeknownst to Amar, the man kills himself with a cyanide pill after being stopped by local police. Because of the extremist nature of the situation, the police relinquish the incident to the CBI.


title: Dil Se..

text: Much to Amar's surprise, Meghna shows up at his engagement party and asks Amar for a place to stay and help getting a job at Amar's All India Radio office, which he does.


title: Dil Se..

text: Amar continues to pine for Meghna, not knowing she arrived in Delhi as part of a Liberationists group which has planned multiple suicide attacks in New Delhi at the upcoming Delhi Republic Day parade & celebrations. She stays in Amar's residence to escape from the CBI inquiry operation. At one point, Meghna expresses misgivings about her plans to kill innocent civilians. She is scolded by a member of her group and reminded of her duty to their cause.


title: Dil Se..

text: Based on an eyewitness identification of the Connaught Place incident, Amar is now a prime suspect of the CBI. He is questioned by police and pieces together that Meghna is involved in something dangerous. Amar finds Meghna and questions her motives. She finally reveals to Amar that her name is actually Moina, and as a child, she had been a rape victim of the army. She describes villages being burned to the ground, and family members being raped and murdered. She accuses Amar of having no understanding of her history. She says she seeks justice and liberation through her activities. Amar infers she is planning a suicide attack on the Indian army and the President of India during Republic Day. While trying to grab at a cyanide necklace hanging from her neck, Amar gets arrested for harassing the woman.


title: Dil Se..

text: In a separate scene, the CBI convinces the Army general of India to grant permission to conduct security checks of all the Army convoys and tankers participating in the parade. An associate of Moina's is privy to the government's secret security plans.


title: Dil Se..

text: Moina's associates bribe the police officers holding Amar to release him. They follow him out of the police station and assault him again. Amar fights back and renders his attacker unconscious. He then answers a call from Moina, which she had placed to his attacker's mobile phone. Amar pleads with Moina to stop all this and marry him. Moina tearfully says that it is too late and that her fate is sealed. The scene ends with the sounds of bullets, which imply Amar has been shot and killed.


title: Dil Se..

text: But Amar returns home, beaten and bloody, only to find out from Preeti that Amar's mother is also being questioned and that Moina's location is at Sunder Nagar. Preeti asks if he has any intention of marrying her, and Amar says he's the only one who can stop Moina.


title: Dil Se..

text: Amar is arrested again and unable to convince the CBI that he is not working with the terrorists. He says he is in love with Moina and that he met her while interviewing an extremist leader. He says he wants to prevent them from perpetrating an attack. The CBI is not convinced. They sedate him for further interrogation later. Through sheer will, Amar is able to resist the sedative effects of the injection he received. He escapes from the CBI and continues his relentless pursuit of Moina.


title: Dil Se..

text: The next day Moina is prepared for her role in a suicide attack, as an explosive device is concealed under her dress. Amar finds her. He expresses his undying love for her and his desire to be with her. He pleads with her to leave with him, so the two of them can start fresh in a new place. He asks her to say that she loves him. When she does not answer, he persists. Desperate, he asks her to at least let him die with her. He pulls her towards him, and continues to plead with her to say she loves him. She embraces him. As the two embrace one another, they cry, and the bomb carried by Moina explodes, killing them both.


title: Dil Se..

text: Filming began in November 1997, while Shah Rukh Khan was also simultaneously shooting for Karan Johar's "Kuch Kuch Hota Hai". Mani Ratnam had initially cast Jyothika in the lead female role, though Manisha Koirala later replaced her. Likewise, Simran was cast in a secondary lead role and opted out of other projects to accommodate the film. She later turned down the film citing that the role was too small and would affect her work in the Tamil and Telugu cinema industries. Preity Zinta was later brought in to replace her.


title: Dil Se..

text: Sameer Chanda, and Wasiq Khan were the production and art designers for "Dil Se". The principal photography took place in Himachal Pradesh, Leh, Assam, New Delhi, Kerala, and Ladakh over a period of 55 days. Tigmanshu Dhulia was the casting director. Pia Benegal and Manish Malhotra were the costume designers. The song "Chaiyya Chaiyya" was shot between Malaika Arora and Shah Rukh Khan on top of the Nilgiri Express, en route Ooty, Coonoor and Kotagiri, the train is particularly painted in brown for the song sequence. The travelling scenes, other crucial scenes were shot between Manisha Koirala and Shah Rukh Khan near Alchi Monastery, during the Sindhu Darshan Festival in Leh. The longest song of the film "Satrangi Re" with the lead pair was shot near Thikse Monastery, the mystical Basgo Monastery ruins, and Pangong lake near Pangong Tso in Ladakh. The song "Jiya Jale" was shot between Preity Zinta and Shah Rukh Khan near Athirappilly Falls, Alappuzha backwaters, Periyar National Park, Villangan Hills and Periyar Lake in Kerala. Several action sequences in the film choreographed by Allan Amin were shot near Connaught Place, New Delhi, Rajpath and Old Delhi.


title: Dil Se..

text: "Dil Se" is said to be a journey through the seven shades of love that are defined in ancient Arabic literature. Those shades are defined as attraction, infatuation, love, reverence, worship, obsession, and death. The character played by Shahrukh Khan passes through each shade during the course of the film. Authors Sangita Gopal and Sujata Moorti of "Global Bollywood: Travels of Hindi Song and Dance" also compared Khan's romance in the film to the trajectory of love in ancient Arabic literature, believing the lyrics in two of the songs to have delivered an "apocalyptic fatalism".