title: Deco

text: Anderson Luís de Souza (born 27 August 1977), known as Deco (), is a retired professional footballer who primarily played as an attacking or central midfielder. Born and raised in Brazil, he acquired Portuguese citizenship and played for Portugal.


title: Deco

text: Deco is one of the few players to have won the UEFA Champions League with two clubs, with Porto in 2004 and Barcelona in 2006. He was named UEFA Club Footballer of the Year and UEFA Best Midfielder in Porto's Champions League-winning season and was named Man of the Match in the 2004 UEFA Champions League Final. Deco was the first player to win the UEFA Best Midfielder Award with two clubs, Porto and Barcelona. He was awarded the 2006 FIFA Club World Cup Golden Ball and the Man of the Match award in the final despite losing to Internacional.


title: Deco

text: Born and raised in Brazil, Deco received Portuguese citizenship in 2002 having completed five years of Portuguese residence, and subsequently opted to play internationally for the Portugal national team. He earned 75 caps for them, playing at two UEFA European Championships and two FIFA World Cups, reaching the final of Euro 2004, and achieving a fourth-place finish at the 2006 World Cup.


title: Deco

text: Born in São Bernardo do Campo, Deco spent time at Corinthians as a youngster, competing in the Copa São Paulo de Futebol Júnior for them. In the 1997 edition, Benfica sent Toni to scout the tournament, and he soon noticed Deco, recommending his signing. In June 1997, Benfica purchased his rights from CSA and immediately sent him on loan (along with fellow Brazilian Caju) to their farm team, Alverca. After helping them win promotion to the top tier in 1997–98 season by scoring 13 goals in 32 appearances, he returned to Benfica in July 1998. However, he left for Salgueiros in exchange for Nandinho, who went in the opposite direction. When asked by Nuno Gomes in an interview for "FourFourTwo" why he did not stay and become a legend at Benfica, Deco said, "Benfica decided, it wasn't my decision. They didn't want me. The coach was Graeme Souness at the time. I was young and Benfica needed some players."


title: Deco

text: At Salgueiros, Deco was plagued by injuries and only made a few appearances, until Porto purchased him in March 1999, in time to win the league title. His release from Benfica and subsequent success with Porto was considered by António Simões as an "historical mistake", while Toni stated he saw in Deco, a successor for Rui Costa the club needed since his departure.


title: Deco

text: In his first season with Porto, Deco scored a goal after just 30.08 seconds in a 1–0 away win against Molde in the 1999–2000 UEFA Champions League.


title: Deco

text: Under the guidance of manager José Mourinho in the 2002–03 season, Deco scored 10 goals in 30 matches and received 17 yellow cards and 1 red card. He was one of the key players in Porto's UEFA Cup final 3–2 win over Celtic that year. In the 2003–04 season, Deco helped Porto recapture the national title and led the team to the 2004 UEFA Champions League Final, in which Porto won 3–0 over Monaco, scoring the second goal of the match. He was the UEFA Champions League's top assist provider and also suffered the most fouls in the Champions League that season. That season, Deco also won the UEFA Club Footballer of the Year as well as the award for the best midfielder in the competition.


title: Deco

text: A deal was achieved between Porto and Barcelona the day after the Euro 2004 final. Barcelona agreed on a €15 million fee in cash, plus the complete rights of Ricardo Quaresma to Porto, which tagged Quaresma for €6 million.


title: Deco

text: On 14 May 2005, Deco played in the draw against Levante, which gave Barcelona their 17th La Liga title. He also was named Barcelona's player of the season in the 2005–06 season.


title: Deco

text: Deco scored twice in the 2006 Supercopa de España, which Barça won. Deco won the UEFA Best Midfielder Award yet again for his performance in Barça's UEFA Champions League-winning season, enabling him to join the exclusive group of players that have won the same award more than once with different teams, having won the Champions League previously with Porto. He was also awarded the Golden Ball at the FIFA Club World Cup and the Man of the Match award, despite losing the final to Internacional.


title: Deco

text: On 30 June 2008, Chelsea signed Deco from Barcelona on a three-year contract for €10 million (£8 million). He was the first signing of new Chelsea coach Luiz Felipe Scolari, who was formerly the head coach of the Portuguese national team.


title: Deco

text: Deco scored on his Chelsea debut and his Premier League debut with a 30-yard goal in a 4–0 victory over Portsmouth. Deco followed up his performance by scoring in his second game for Chelsea, a curling free-kick against Wigan Athletic. These performances led to him winning the Premier League Player of the Month award for August. Deco made his UEFA Champions League debut for Chelsea on 16 September. Deco injured himself during a training session, but he returned from the thigh injury on 19 October and came on as a substitute against Middlesbrough. He was sent off in the 3–1 defeat by Roma on 4 November 2008. He then scored a bicycle kick against Bolton Wanderers on 6 December.


title: Deco

text: Deco eventually lost his place in the 2008–09 starting line up, due in part to some poor performances, but also to the sacking of Scolari. In a June interview, Deco said, "I do not want to stay. I have not liked my experience at Chelsea." This was soon followed by Internazionale, managed by former Chelsea manager José Mourinho, declaring Inter was attempting to sign Deco along with fellow countryman Ricardo Carvalho, who had also declared his desire to leave and, like Deco, desired to link-up with Mourinho again. Both players previously played under Mourinho at Porto. However, Inter club president Massimo Moratti ruled out signing either of the Portuguese internationals on the basis of their age, telling "Gazzetta dello Sport", "Deco and Carvalho? They are two champions but at this time I don't feel there's a need to buy them."


title: Deco

text: On 6 August 2010, Deco signed a two-year contract with Brazilian club Fluminense on a free transfer, joining former Chelsea and Barcelona teammate Juliano Belletti.


title: Deco

text: On 26 August 2013, Deco retired, ending a 17-year career. The decision came on the day before his 36th birthday. His final match was four days prior, against Goiás. Playing for Fluminense, Deco won the Campeonato Brasileiro in 2010 and 2012.


title: Deco

text: Deco also failed a drug test during his stay with Fluminense. In 2014, it was found that the result may have been due to a false positive or the contamination of the container of the urine sample. The Brazilian Football Confederation and Deco agreed to settle the case, and Deco was found not guilty of doping.


title: Deco

text: Deco was never called up to the Brazil national team, as the Brazil squad for the 2002 FIFA World Cup included other attacking midfielders such as Ronaldinho, Rivaldo and Juninho. After completing six years of residence in Portugal, he was able to gain Portuguese citizenship and play for their national team. As none of his great-grandparents, grandparents or parents were Portuguese, under FIFA's player eligibility rules his citizenship was the only factor to allow him to play for Portugal. He was subsequently mentioned several times in the media as an option for the Portugal national team.


title: Deco

text: After many months of public discussion which split Portuguese public opinion, and despite the opposition of a large number of Porto rivals' supporters, he was called up for his first international, coincidentally against Brazil. He came on as a substitute for Sérgio Conceição and scored the free-kick which won the match 2–1. This was Portugal's first win over Brazil since the 1966 FIFA World Cup. Since that match, he became a regular in the national team. Before UEFA Euro 2004, Luís Figo criticised Deco's inclusion and said, "Se você nasceu chinês, bem, você tem que jogar pela China."


title: Deco

text: Despite the early criticism, Deco was one of the highlights of the Portugal national team. He scored 5 goals in 75 caps for Portugal by June 2010, when his international career ended after the second-round defeat to Spain at the 2010 World Cup.


title: Deco

text: In the 2006 World Cup, Deco scored the first goal in Portugal's second Group D match against Iran in the 63rd minute prior to Cristiano Ronaldo's 80th-minute penalty. During the first knockout stage of the competition, Deco received two yellow cards in the match against the Netherlands with the first given for a rash tackle on John Heitinga, suspending him from the quarter-final win against England, as he had already picked up a caution in the match with Iran. The win against England in the quarter-final stage led to Portugal's defeat in the semi-final, which Deco was able to participate in.


title: Deco

text: On 11 June, Deco scored the opening goal in Portugal's second match of Euro 2008, a Group A clash with the Czech Republic. The match ended 3–1 to Portugal, with Deco aiding his team in their passage to the quarter-finals where Portugal's campaign came to an end against Germany, the eventual runners-up of the tournament.


title: Deco

text: In February 2010, Deco announced he would be retiring from international football after the 2010 World Cup.


title: Deco

text: Deco played for Portugal in their opening game against the Ivory Coast. During the match, he was injured and was ruled out of the remaining two group matches, against North Korea and Brazil. He was fit again for the round of 16 match against Spain, but Portugal head coach Carlos Queiroz chose Tiago over him.


title: Deco

text: As a player, Deco was a versatile, tactically intelligent and creative midfielder with excellent vision and technical ability. A generous and hard-working team-player capable of playing in several midfield positions. He was initially deployed as a central midfielder under manager José Mourinho during his time with Porto, although he was also capable of playing as an attacking midfielder, as a deep-lying playmaker or as a winger on either flank. What he lacked in pace as well as physical, defensive and athletic attributes, he made up for in stamina, as well as excellent ball control, dribbling skills, passing range and crossing ability, which allowed him to beat players, find space and create chances for teammates. Deco was an excellent visionary of the ball, who opened up spaces for his teammates through finding passing lanes that no one else saw, and also had a notable ability to switch the tempo of play in rapid style.


title: Deco

text: A diminutive midfielder, in later years, as he lost his acceleration, agility and mobility, he also went through a physical development, which, along with his balance, allowed him to protect the ball against larger opponents. He also contributed offensively with occasional goals due to his accurate mid-range shooting ability, and his adeptness at free-kicks. Despite his talent, Deco was also known to be injury-prone and inconsistent at times, and was also accused of drifting in and out of matches. Furthermore, his work-rate and fitness were often brought into question in his later career. Deco was also well known for his tendency to commit tactical fouls, and he was accused of diving throughout his career.


title: Deco

text: Deco is the brother-in-law of fellow footballer Alecsandro, who plays for Coritiba Foot Ball Club, and Richarlyson. Deco is an ambassador for the Laureus Sport for Good Foundation. He also has a charitable organisation, the Deco Institute, based in the Brazilian city of Indaiatuba, near São Paulo, where he grew up.


title: Deco

text: After retiring, Deco set up D20 Sports Management, a sports agency registered in Dublin, Ireland. The agency, whose clients include Brazil international Fabinho and Burkina Faso international Edmond Tapsoba, recorded €300,000 profit in 2017.


title: Deco

text: Deco features in EA Sports' "FIFA" football video game series. He was included in the Ultimate Team Legends in "FIFA 16".


title: Demographics of Sweden

text: The demography of Sweden is monitored by the "Statistiska centralbyrån" (Statistics Sweden). Sweden's population was 10,481,937 (May 2022), making it the 15th-most populous country in Europe after Czech Republic, the 10th-most populous member state of the European Union, and the 87th-most populous country in the world. The total fertility rate was rated at 1.66 in 2020, which is far below the replacement rate of 2.1.


title: Demographics of Sweden

text: The population exceeded 10 million for the first time on Friday, 20 January 2017. The three largest cities are Stockholm, Gothenburg and Malmö. Sweden's population has become much more ethnically, religiously and linguistically diverse over the past 70 years as a result of immigration. Every fourth (24.9%) resident in the country has a foreign background and every third (32.3%) has at least one parent born abroad. The most common foreign ancestry is Finnish.


title: Demographics of Sweden

text: The last large immigration wave was the immigration of asylum seekers during the European migrant crisis since 2015 mostly from Syria due to the Syrian civil war but also many other countries like Iraq and Afghanistan with 162,877 asylum seekers in 2015 and smaller numbers after it.


title: Demographics of Sweden

text: Sweden has 17 cities with a population of over 100,000 people. Most of Sweden's population lives in Svealand and Götaland.


title: Demographics of Sweden

text: The total fertility rate is the number of children born per woman. It is based on fairly good data for the entire period. Sources: Our World In Data and Gapminder Foundation.


title: Demographics of Sweden

text: The 2005 Swedish census showed an increase of 475,322 compared to the 1990 census, an average increase of 31,680 annually. During the 1990s, birth rate increased by more than 100,000 children per year while death rates fell and immigration surged. In the early 2000s, birth rate declined as immigration increased further, with the context of unrest in the Middle East, upholding steady population growth.


title: Demographics of Sweden

text: In 1950 Sweden had fewer people aged 10–20 with more people ages 20–30 and 0–10. In 2017 the ratio of male to female remains steady at about 50–50. As a whole, the graph broadens with people appearing to live longer. In 2050 it is predicted that all ages will increase from below 300,000 males and females to above 300,000 males and females. With about 50,000 people living to the ages of 90–100. In 2100 the graph is shaped as a rectangle with people of all ages and genders remaining steady. It narrows slightly at the top of the graph with about 250,000/300,000 males and females living to be 90–100 years old.


title: Demographics of Sweden

text: The population density is just over 25 people per km (65 per square mile), with 1,437 persons per km in localities (continuous settlement with at least 200 inhabitants). 87% of the population live in urban areas, which cover 1.5% of the entire land area. 63% of Swedes are in large urban areas. The population density is substantially higher in the south than in the north. The capital city Stockholm has a municipal population of about 950,000 (with 1.5 million in the urban area and 2.3 million in the metropolitan area). The second- and third-largest cities are Gothenburg and Malmö. Greater Gothenburg counts just over a million inhabitants and the same goes for the western part of Scania, along the Öresund. The Öresund Region, the Danish-Swedish cross-border region around the Öresund that Malmö is part of, has a population of 4 million. Outside of major cities, areas with notably higher population density include the agricultural part of Östergötland, the western coast, the area around Lake Mälaren and the agricultural area around Uppsala.


title: Demographics of Sweden

text: Norrland, which covers approximately 60% of the Swedish territory, has a very low population density (below 5 people per square kilometer). The mountains and most of the remote coastal areas are almost unpopulated. Low population density exists also in large parts of western Svealand, as well as southern and central Småland. An area known as "Finnveden", which is located in the south-west of Småland, and mainly below the 57th parallel, can also be considered as almost empty of people.


title: Demographics of Sweden

text: The majority of the population are ethnic Swedes, or people who can trace most of their ethnicity to Sweden going back at least 12 generations. The Sweden Finns are a large ethnic minority comprising approximately 50,000 along the Swedish-Finnish border, and 450,000 first and second-generation immigrated ethnic Finns, mainly living in the Mälaren Valley region. Meänkieli Finnish has official status in parts of northern Sweden near the Finnish border. In addition, Sweden's indigenous population groups include the Sami people, who have a history of practicing hunting and gathering and gradually adopting a largely semi-nomadic reindeer herding lifestyle. While the Sámi have lived in Fennoscandia from at earliest 3,500 years to at latest around 2,650 years, Sámi settlement of Scandinavia does not predate Norse/Scandinavian settlement of Scandinavia, as sometimes popularly assumed. The migration of Germanic-speaking peoples to Southern Scandinavia happened independently and separate from the later Sami migrations into the northern regions. Today, the Sami language holds the status of official minority language in the Norrbotten, Västerbotten and Jämtland counties.


title: Demographics of Sweden

text: In addition to the Sami, Tornedalers, and Sweden Finns, Jewish and Roma people have national minority status in Sweden.


title: Demographics of Sweden

text: There are no official statistics on ethnicity, but according to Statistics Sweden, around two million (19.6%) inhabitants in Sweden are born in another country. Of those, more than half are Swedish citizens. The most common countries of origin were Syria (1.82%), Finland (1.45%), Iraq (1.41%), Poland (0.91%), Iran (0.76%) and Somalia (0.67%). The average age in Sweden is 41.1 years.


title: Demographics of Sweden

text: There are at least two studies that forecast future demographic changes in Sweden largely due to immigration and low birth rates. A 2006 study states that "[based upon current data, extrapolated with relevant assumptions] Sweden and the Netherlands would have majority foreign-origin populations by the end of the [21st] century." A 2018 study concluded that in Sweden by "2065, the share of the native population is [set] to decrease to 49%, the Western population is projected to fall to 63%, and the Muslim population increase to 25%." Thomas Lindh, at the time head researcher for the Swedish Institute for Futures Studies, claimed in an interview that by the year "2050, more than half of Sweden's population will be immigrants or second-generation immigrants."


title: Demographics of Sweden

text: In 2021 80,465 (70.4%) babies were born to Swedish-born mothers while 33,798 (29.6%) were born to foreign-born mothers. The total fertility rate for Swedish-born women was 1.62, for foreign-born ones 1.86.


title: Demographics of Sweden

text: Prior to World War II, emigrants generally outnumbered immigrants. Since then, net migration has been positive with many immigrants coming to Sweden from the 1970s through today.


title: Demographics of Sweden

text: Between 1820 and 1930, approximately 1.3 million Swedes, a third of the country's population at the time, emigrated to North America, and most of them to the United States. There are more than 4.4 million Swedish Americans according to a 2006 US Census Bureau estimate. In Canada, the community of Swedish ancestry is 330,000 strong.


title: Demographics of Sweden

text: The demographic profile of Sweden has altered considerably due to immigration patterns since the 1970s. As of 2020, Statistics Sweden reported that around 2,686,040 or 25.9% of the inhabitants of Sweden were from a foreign background: that is, each such person either had been born abroad or had been born in Sweden to two parents who themselves had both been born abroad. Also taking into account people with only one parent born abroad, this number increases to one third (33.5%).


title: Demographics of Sweden

text: Additionally, the birth rate among immigrant women after arriving in Sweden is somewhat higher than among ethnic Swedes. Taking into account the fact that immigrant women have on average fewer children than Swedish women of comparable age, however, the difference in total birth rate is only 0.1 children more if the woman is foreign born – with the disclaimer that some women may have children not immigrating to and not reported in Sweden, who are thus not included in the statistics.


title: Demographics of Sweden

text: Immigration increased markedly with World War II. Historically, the most numerous of foreign born nationalities are ethnic Germans from Germany and other Scandinavians from Denmark and Norway. In short order, 70,000 war children were evacuated from Finland, of which 15,000 remained in Sweden. Also, many of Denmark's nearly 7,000 Jews who were evacuated to Sweden decided to remain there.


title: Demographics of Sweden

text: During the 1950s and 1960s, the recruitment of immigrant labour was an important factor of immigration. The Nordic countries signed a trade agreement in 1952, establishing a common labour market and free movement across borders. This migration within the Nordic countries, especially from Finland, was essential to create the tax-base required for the expansion of the strong public sector now characteristic of Scandinavia. but the influx gave rise to an anti-Finnish sentiment within Sweden and Norway.


title: Demographics of Sweden

text: Since the early 1970s, immigration to Sweden has been mostly due to refugee migration and family reunification from countries in the Middle East and Latin America.


title: Demographics of Sweden

text: According to Eurostat, in 2010, there were 1.33 million foreign-born residents in Sweden, corresponding to 14.3% of the total population. Of these, 859,000 (64.3%) were born outside the EU and 477,000 (35.7%) were born in another EU Member State. By comparison, the Swedish civil registry reports, for 2018, that nearly 1.96 million residents are foreign-born, a 47% increase from 2010. There are 8.27 million Swedish-born residents, giving a total population of 10.23 million, and a 19.1% foreign-born population.


title: Demographics of Sweden

text: The first group of Assyrians/Syriacs moved to Sweden from Lebanon in 1967. Many of them live in Södertälje (Stockholm). There are also around 40,000 Roma in Sweden. Some Roma people have long historical roots in Sweden, while others are more recent migrants from elsewhere in Europe.


title: Demographics of Sweden

text: Immigrants from Western Asia have been a rapidly growing share of Sweden's population. According to the government agency Statistics Sweden, the number of immigrants born in all of Asia (including the Middle East) rose from just 1,000 in 1950 to 295,000 in 2003. Most of those immigrants came from Iraq, Iran, Lebanon and Syria, according to Statistics Sweden.


title: Demographics of Sweden

text: Immigration of Iraqis increased dramatically during the Iraq War, beginning in 2003. A total of 8,951 Iraqis came to Sweden in 2006, accounting for 45% of the entire Iraqi migration to Europe. By 2007, the community of Iraqis in Sweden numbered above 70,000. In 2008, Sweden introduced tighter rules on asylum seekers.


title: Demographics of Sweden

text: A significant number of Syrian Christians have also settled in Sweden. There have also been immigrants from South-Central Asia such as Afghanistan and India. Since the European migrant crisis, Syrians became the second-largest group of foreign-born persons in the Swedish civil registry in 2017 with 158,443 people (after former Yugoslavia).


title: Demographics of Sweden

text: Note that the table below lists the citizenship the person had when arriving in Sweden, and therefore there are no registered Eritreans, Russians or Bosnians from 1990, they were recorded as Ethiopians, Soviets and Yugoslavs. The nationality of Yugoslavs below is therefore people who came to Sweden from the Socialist Federal Republic of Yugoslavia before 1991 and people who came from today's Montenegro and Serbia before 2003, then called the Federal Republic of Yugoslavia. Counting all people who came from Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Kosovo, Macedonia, Serbia and Montenegro, the Federal Republic of Yugoslavia and the Socialist Federal Republic of Yugoslavia, there were 176,033 people from there in 2018.


title: Demographics of Sweden

text: The twenty-five largest groups of foreign-born persons in the Swedish civil registry as of autumn 2018 were:


title: Demographics of Sweden

text: The ten most common countries of birth among immigrants registered in Sweden during 2016 (including asylum seekers who came in 2015) were the following:


title: Demographics of Sweden

text: The Swedish language is by far the dominating language in Sweden, and is used by the government administration. English is also widely spoken and is taught in public schools.


title: Demographics of Sweden

text: Since 1999, Sweden has five officially recognised minority languages: Sami, Meänkieli, Standard Finnish, Romani and Yiddish.


title: Demographics of Sweden

text: The Sami language, spoken by about 7,000 people in Sweden, may be used in government agencies, courts, preschools and nursing homes in the municipalities of Arjeplog, Gällivare, Jokkmokk and Kiruna and


title: Demographics of Sweden

text: Similarly, Finnish and Meänkieli can be used in the municipalities of Gällivare, Haparanda, Kiruna, Pajala and Övertorneå and its immediate neighbourhood.


title: Demographics of Sweden

text: During the mid to late 20th century, immigrant communities brought other languages, among others being Persian, Serbo-Croatian, Arabic and Neo-Aramaic.


title: Demographics of Sweden

text: The majority (56.4%) of the population belongs to the Church of Sweden, the Lutheran church that was disestablished as a state church in 2000. Until 1996, those who had family members in the church automatically became members at birth. Other Christian denominations in Sweden include the Roman Catholic Church (see Catholic Church of Sweden), several Orthodox churches in diaspora, Baptist, Pentecostal, Neo-pietistic ("nyevangeliska") and other evangelical Christian churches ("frikyrkor" = 'free churches'). Shamanism persisted among the Sami people up until the 18th century, but no longer exists in its traditional form as most Sami today belong to the Lutheran church.


title: Demographics of Sweden

text: Jews were permitted to practice their religion in five Swedish cities in 1782, and have enjoyed full rights as citizens since 1870. The new Freedom of Religion Bill was passed in 1951, and former obstacles against Non-Lutherans working in schools and hospitals were removed. Further, that bill made it legal to leave any religious denomination, without entering another. There are also many Muslims, as well as a number of Buddhists and Baháʼís in Sweden, mainly as a result of 20th and 21st century immigration. There is also a small Zoroastrian community in Sweden.


title: Jasmine (Aladdin)

text: Princess Jasmine is a fictional character who appears in Walt Disney Pictures' 31st animated feature film "Aladdin" (1992). Voiced by American actress Linda Larkin with a singing voice provided by Filipina singer Lea Salonga Jasmine is the spirited daughter of the Sultan, who has grown weary of her life of palace confinement. Despite an age-old law stipulating that the princess must marry a prince in time for her upcoming birthday, Jasmine is instead determined to marry someone she loves for who he is as opposed to what he owns. Created by screenwriters and directors Ron Clements and John Musker with co-screenwriters Ted Elliott and Terry Rossio, Jasmine is based on Badroulbadour, a princess who appears in the "One Thousand and One Nights" folktale "Aladdin and the Magical Lamp."


title: Jasmine (Aladdin)

text: Originally conceived as a spoiled, materialistic princess, the writers eventually rewrote Jasmine into a stronger and more prominent heroine following the elimination of Aladdin's mother from the script, while borrowing story elements from the romantic comedy "Roman Holiday" (1953). Several months after securing the role, Larkin was nearly fired from the project because Disney executive Jeffrey Katzenberg felt that her voice was not suitable for a princess, but Clements and Musker managed to convince him otherwise. Discovered by casting director Albert Tavares, Lea Salonga was cast as Jasmine's singing voice based on her performance in the musical "Miss Saigon"; this unprecedented casting decision made Jasmine the first Disney Princess to have her speaking and singing voices provided by two different actresses. Animated by Mark Henn, Jasmine's design is an eclectic combination of unique sources, including an anonymous theme park guest, Henn's own sister, and actress Jennifer Connelly.


title: Jasmine (Aladdin)

text: Unlike most of Disney's princesses, Jasmine is a supporting character in her own film, taking the secondary role of the love interest. The character has garnered mixed to positive reviews, with much of her character arc compared unfavorably to her predecessors Ariel from "The Little Mermaid" (1989) and Belle from "Beauty and the Beast" (1991), but has been praised for her personality and her chemistry with Aladdin. She is the sixth Disney Princess and the franchise's first non-European member, as well as its first West Asian princess. Due to this, the character is credited with introducing racial diversity to Disney's princess genre. Jasmine has made subsequent appearances in "Aladdin"'s sequels "The Return of Jafar" (1994) and "Aladdin and the King of Thieves" (1996), as well as its television series and a Broadway musical adaption of the film. Both Larkin and Salonga have been awarded Disney Legends for their contributions to the role. Naomi Scott played the character in the 2019 live-action adaptation of the original 1992 film.


title: Jasmine (Aladdin)

text: Jasmine is based on the princess who appears in the Middle Eastern folk tale collection "One Thousand and One Nights", specifically the story "Aladdin and the Magical Lamp." Lyricist Howard Ashman and composer Alan Menken had first begun to develop "Aladdin" while they were still writing songs for "The Little Mermaid" (1989), but further development was abandoned in favor of working on "Beauty and the Beast" (1991) instead. However, "Aladdin" was finally resurrected as "Beauty and the Beast" neared completion. While the princess in the original tale is named Badroulbadour, the studio decided to rename the character the more familiar "Jasmine" after actress Jasmine Guy. Additionally, the name was also among the decade's most popular at the time. In Ashman's original treatment of the film, Aladdin had two potential love interests: both Jasmine and a "Judy Garland-y tomboy," whose romantic feelings for Aladdin were not reciprocated by the hero. Screenwriter Linda Woolverton eventually drafted a screenplay based on the film "The Thief of Baghdad" (1940), a revision that included a handmaiden for Jasmine (an idea resurfaced in the 2019 live-action film), who was ultimately replaced by a pet tiger.


title: Jasmine (Aladdin)

text: Directors and writers Ron Clements and John Musker eventually disregarded Woolverton's script in favor of developing something more similar to Ashman's version, albeit making several changes to his treatment, among them approaching the character of Jasmine "a little differently," while maintaining Woolverton's vision of "a princess that Aladdin could woo." Following the elimination of Aladdin's mother from the script, Jasmine and Aladdin's relationship was expanded upon to the point of which it became a focal point of the film, ultimately allowing more screen time for the princess. Thus, Jasmine was developed into a more prominent character. Unlike Disney's previous adaptations of fairy tales, the princess is not the film's main character, and therefore the story does not revolve around her. Despite the presence of a prominent princess character, the directors decided to treat "Aladdin" more-so like "an Arabian adventure" as opposed to a traditional Disney fairy tale or princess film in the vein of "Snow White and the Seven Dwarfs" (1937) or "Beauty and the Beast". The decision to make "Aladdin" a high comedy ultimately eliminated the need to explore some of Jasmine's deeper storylines.


title: Jasmine (Aladdin)

text: Although several details of the original folk tale were altered for the film adaptation, Jasmine's main storyline being pressured into marriage remained mostly untouched. However, while Badroulbadour initially resents Aladdin, Jasmine on the other hand is almost immediately charmed by him. Screenwriters Ted Elliott and Terry Rossio rewrote Jasmine into a "stronger" character who actively longs for freedom from her "regal confinement." According to Dave Smith of the Disney Archives, the "liberated" Jasmine primarily "seeks to escape her present lifestyle." The idea of a disguised Jasmine stowing away from her palace in the middle of the night was inspired by the romantic comedy film "Roman Holiday" (1953), in which Princess Ann, portrayed by actress Audrey Hepburn, similarly escapes the royal embassy in disguise in order to spend one day exploring Rome on her own.


title: Jasmine (Aladdin)

text: The casting of American actor and comedian Robin Williams as the Genie inspired the studio to recruit similarly talented voice actors capable of matching his pace. The filmmakers had originally envisioned Jasmine's voice as similar to that of actress Lauren Bacall. Jasmine's speaking voice is provided by American actress Linda Larkin. The role was only one of several auditions Larkin had scheduled during the same week in which she auditioned for "Aladdin", and she originally underestimated the scope of the project, joking, "I thought it was going to be something like "DuckTales" (sic)." Initially presented with only a few pages of the screenplay, Larkin found that she was particularly drawn to Jasmine's "spirit of activism," in addition to the ways in which character was both similar to and different from previous Disney heroines. Princesses Snow White, Cinderella, and Aurora had been childhood favorites of the actress. Larkin's first audition was held in a Burbank, California recording studio, in which she performed solely for the film's casting director. The side used for Larkin's first audition was the scene in which Jasmine meets Aladdin in the marketplace their first encounter. Jasmine's line 'It's all so magical' helped convince Larkin that she was "meant" to voice the character. Although Larkin's voice was significantly different from what the filmmakers had originally envisioned for the character, her interpretation gradually changed their minds.


title: Jasmine (Aladdin)

text: In the form of an extensive series of callbacks, Larkin returned to the studio on several different occasions over the next few months. While the audience of studio executives and filmmakers continued to increase, the amount of actresses competing for the role gradually decreased accordingly as the audition process neared completion. Larkin's final audition lasted a total of four hours, during which she read through the entire script for the first time. The animators were also provided with an opportunity to animate to Larkin's voice for the first time. The actress was finally cast several months later, by which time she had nearly forgotten she had ever auditioned. Six months into recording, however, Larkin was forced to re-audition for the role by Disney executive Jeffrey Katzenberg, who felt that the actress' voice lacked the authority required to voice a princess. However, Clements and Musker disagreed with him, and managed to trick Katzenberg into not firing Larkin by staging a fake recording session during which they had the actress speak lower and slower in Katzenberg's presence, only to have her return to her natural voice thereafter. Larkin recorded only one scene alongside her co-stars Williams and Scott Weinger, the voice of Aladdin. Apart from some rough, unfinished storyboards and drawings, Larkin did not see much of her character until the film was finally screened at the Museum of Modern Art.


title: Jasmine (Aladdin)

text: Before discovering Larkin, Disney had been insisting on auditioning exclusively performers who were capable of singing as well as they could act. However, after Williams' recruitment, the studio relented in favor of casting "strong actors" instead. When Larkin first auditioned for the role, "A Whole New World," Jasmine's only surviving song, had not yet been written; she admitted, "there's no way I would have even auditioned ... if there had been a song from the beginning." After writing Jasmine's first song, the filmmakers asked Larkin if she would be interested in recording it and providing the character's singing voice. Larkin immediately declined, joking, "I do [sing] ... but not like a princess!" Thus, Disney decided to recruit a singer who could mimic Larkin's speaking voice instead, despite the actress' fear that the studio would completely replace her with a professional singer altogether.


title: Jasmine (Aladdin)

text: Jasmine's singing voice is provided by Filipina singer and actress Lea Salonga. Salonga's Tony Award-winning performance in the musical "Miss Saigon" helped her garner the interest of casting director Albert Tavares, who proceeded to leave a note for the singer on the stage door before leaving a show he had attended. Salonga's agent then scheduled her audition, at which she performed "Part of Your World" from "The Little Mermaid". Salonga finally began recording a demo of "A Whole New World" a few days later. With the casting of Salonga, Larkin became one of Disney's first voice actors to not provide the singing voice of the character she voices, and thus Jasmine marked the first time Disney decided to separate a Princess's speaking and singing voices. Describing Salonga as "an incredible singer," Larkin herself was pleasantly surprised by how much Salonga's voice resembled her own when she first heard "A Whole New World," joking, "the filmmakers almost had me convinced that I sang it."


title: Jasmine (Aladdin)

text: The character's blurb on the official Disney website reads, "Jasmine is an independent, fiery beauty capable of taking care of herself" who "longs to experience life outside the palace." The writers had originally conceived Jasmine as a spoiled and materialistic princess whose interests were limited to clothing and jewelry, but eventually developed her into a stronger, more mature character. Larkin described Jasmine as "a very strong, well defined character from the very beginning." Mark Henn served as Jasmine's supervising animator. Having originally been hired to animate Aladdin's mother, the removal of the character from the film ultimately provided Henn with the opportunity to animate Jasmine instead. Throughout Disney's previous animated film "Beauty and the Beast", the design of the heroine Belle whom Henn had also helped animate suffered from various inconsistencies due to the character having been animated at two completely separate studio locations. To avoid experiencing a similar dilemma with Jasmine, the filmmakers ultimately decided to have the princess animated entirely at one studio. Because Jasmine is the film's love interest as opposed to its main character, the princess was animated at the company's secondary studio in Florida, while Aladdin was animated in California. However, the more intimate love scenes between the two leads forced Henn to frequently communicate with Aladdin's lead animator Glen Keane through phone and fax, and the animators also sent designs and discs to each other. Out of his desire to introduce Indian architecture into the film, art director Bill Perkins based Jasmine's design on the famous mausoleum, the Taj Mahal, which itself incorporates and expands on Indian design, particularly the curves demonstrated in the character's hair, clothes and jewelry.


title: Jasmine (Aladdin)

text: Having just recently animated two previous Disney heroines Ariel from "The Little Mermaid" and Belle from "Beauty and the Beast", respectively – Henn initially suffered from a severe case of "artist's block" while attempting to design his third heroine, Jasmine. While working on the character at Disney-MGM Studios in Florida, Henn noticed a young female amusement park guest with long black hair, and ultimately decided to use her as his initial inspiration for Jasmine; the guest's identity remains anonymous to date. Earliest sketches of Jasmine were based on various exotic-looking supermodels in addition to her namesake Jasmine Guy, but the actress' facial features were ultimately considered to be too "severe" for an animated character. In search of "something fresh to help with the physical look of her," Henn was eventually inspired by a high school graduation photograph of his younger sister Beth Allen, who wore her hair in a style similar to what would ultimately become Jasmine's. Henn credits his sister with helping him overcome his artist's block, and the directors ultimately approved of Henn's concept design. The character's facial features were further inspired by actress Jennifer Connelly, specifically her eyebrows. Additionally, some of Larkin's own mannerisms and physical traits were incorporated into the character. Henn credits one particular dinner conversation he had shared with Larkin with proving very inspirational in terms of helping him discover Jasmine's emotional side. Model Robina Ritchie served as an on-location reference for the animation, pantomiming actions to the recording of Larkin's voiceovers so, in Henn's words, "the animator gets the feeling of what the real human movement would be."


title: Jasmine (Aladdin)

text: The final appearance of Jasmine consequently inspired the studio to redesign Aladdin; accordingly, Katzenberg felt that the main character, who was originally depicted as a younger, "scrawny" underdog, did not resemble a suitable leading man for Jasmine, which they feared would result in unconvincing chemistry between the couple. Thus, they ultimately decided to base Aladdin on actor Tom Cruise instead. Henn's favorite sequence to animate was the scene in which Jasmine discovers Aladdin's true identity and gives him "a look." The filmmakers decided to dress Jasmine in blue to symbolically represent water, which is "the most precious substance one can find in a desert." The animators sat the character next to a fountain when she is first introduced in the film to further emphasize this motif and comparison. With her appearance finalized, Jasmine became Disney's first non-white princess as opposed to being of European heritage.


title: Jasmine (Aladdin)

text: As a character, Jasmine is both similar to and different from Disney heroines who preceded her. She possesses many qualities associated with traditional Disney Princesses, grace and beauty among them. However, marketed by Disney as "a heroine of the 1990s," Jasmine is "born-before-her-time," and thus her intelligence and ambitions tend to more-so resemble contemporary incarnations, namely Belle. Brian Lowry of "Variety" likened Jasmine's strong-willed personality to that of Belle, describing her as an "anachronistically liberated" heroine. Meanwhile, "The Hollywood News"' Rob Burch observed that the princess is very similar to Ariel, being "independent, beautiful, and desperate for the chance to live her own life," while at the same time concealing kindness beneath "a shield of anger." Belonging to "a series of spunky heroines" inspired by both contemporary feminism and the girl power movement, Jasmine was recognized by "Hearing a Film, Seeing a Sermon: Preaching and Popular Movies" author Timothy B. Cargal as a member of Disney's "continued efforts to reshape their heroines for a more feminist age," in addition to providing young girls with strong female role models with whom they can identify. At only 15 years of age, Jasmine is already more resourceful than her two immediate predecessors, while sharing their same preference for assertiveness and empowerment over passiveness, traits echoed by several other Disney Princesses introduced throughout the decade. At the same time, Jasmine is depicted as being feistier than Belle and less naïve than Ariel.


title: Jasmine (Aladdin)

text: Distinctively, Jasmine is not "Aladdin"'s protagonist, a role held instead by title character Aladdin, while Jasmine herself occupies a secondary role as the film's love interest, consequently lacking significant character development. However, sometimes both characters are collectively referred to as protagonists, while Jasmine is sometimes identified as the film's "female protagonist." The First Novels Club observed that Jasmine essentially "ends up the same person as when she started." Little is known about Jasmine's interests, hobbies, and goals. "The Art of the Princess and the Frog" author Jeff Kurrti wrote that although "Jasmine is less prominent as a heroine ... she made decisions and was a little more strong-willed." Samantha Rullo of "Bustle" agreed that, despite her secondary role, Jasmine remains "determined to live her life the way she wants to, rather than letting others make her decisions for her," and thus ranks among Disney's most rebellious princesses. Jasmine's personality continues to rank among Disney's "strongest" heroines because she is not concerned about wealth or social class, despite her opulent upbringing. Similarly, Jasmine is not interested in marrying someone who is capable of only offering her everything she already owns, opting for excitement and companionship instead.


title: Jasmine (Aladdin)

text: Alongside "Aladdin"'s other main characters, Jasmine embodies the film's central theme of longing for freedom from some form of confinement or oppression. Both the film and its characters are influenced by Jasmine's "power of choice." The character's desire for both freedom and a sense of agency is constantly threatened by other characters and situations; the sole decision Jasmine maintains complete agency over during the entire film is who she falls in love with aided by the Genie's refusal to use his magical powers to force characters to fall in love although not who she marries. Although Jasmine yearns to explore her kingdom beyond the confines of her palace, she only gets as far as the marketplace before returning home. Jasmine explores "the idea that enclosing yourself behind walls can make you "more" vulnerable, not less," as evidenced by the fact that the character is unprepared and knows little about money when she ventures into the marketplace for first time. In the film, Jasmine releases a flock of birds from their cage, which serves as a metaphor for her own situation, being "caged from a world she has never seen and yearns to be released." Jasmine's bedroom is also shaped like a bird cage to represent her own confinement. Her story also explores themes such as civil rights, racial tolerance, social hierarchy, and life, liberty and the pursuit of happiness.


title: Jasmine (Aladdin)

text: Jasmine demonstrates several traits, beliefs and ideologies associated with feminism, exercising much "feminist potential," although notably less explicit than Belle's. Nonetheless, the character still adheres to traditional romance-oriented aspirations commonly associated with Disney's princess characters despite "her modern, feminist attitude," although her yearning for romance is much more subdued in comparison. Steve Daly of "Entertainment Weekly" identified Jasmine as "a sexually aware, proto-feminist princess." ""New" Exoticisms: Changing Patterns in the Construction of Otherness" author Isabel Santaolalla wrote that Jasmine appears to have inherited "the legacy bequeathed by the 1960s Women's Movement." Having "stepped out of the 1990s" according to "The Washington Post"'s Desson Howe, Jasmine is appropriately opposed to the glass ceiling." Defying marriage laws and arranged marriages are also among Jasmine's central themes. Larkin believes that her character is responsible for inspiring a change in her kingdom's marriage laws, explaining, "Jasmine didn't just believe in something, she fought against something that she saw was an injustice ... She actively sought change and made it happen." Musker agreed that the princess "rebel[s] against the social structure in choosing to marry someone of her own free will." According to singer Brad Kane, who provides Aladdin's singing voice, ""Aladdin" is a stealth feminist movie" because Jasmine is "willing to give up being a princess to not get stuck marrying someone." Jasmine's defiance eventually successfully convinces her father to change the constitution.


title: Jasmine (Aladdin)

text: The only named, speaking female character in the male-dominated film, Jasmine lacks both female companions and a motherly figure (the male characters account for 90% of the film's dialogue). The character has come to resent the patriarchal society in which she lives. "Movies and the Mind: Theories of the Great Psychoanalysts Applied to Film" author William Indick observed that Jasmine represents "the rejection of the father-king's domination and control over his daughter's life," resembling "a strong and assertive heroine who rebels against her father's tyranny rather than passively accepting his will." Jasmine's life is almost entirely determined by men, by whom she refuses to be ordered, constantly voicing her disapproval by rejecting arrogant suitors and yelling at men who attempt to make decisions on her behalf, while challenging traditional gender roles and male authority figures. Jasmine's father, the Sultan, responds to his daughter's constant rejection of potential suitors with "I don't know where she gets it from. Her mother wasn't nearly so picky," indicating that Jasmine's mother "belonged to a generation of docile pre-feminist ... women." At times, Jasmine can seem judgmental; she originally has a thoroughly negative opinion of all princes until she meets a disguised Aladdin. In Ulrich Marzolph's book "The Arabian Nights Reader", the author described the character as "the mouthpiece of opposition to a vaguely defined Middle Eastern backwardness and authoritarianism."


title: Jasmine (Aladdin)

text: Jasmine debuted in "Aladdin" (1992) as the Princess of Agrabah, daughter of the Sultan. Frustrated with constantly having decisions made for her and being pressured into marrying a prince by law, Jasmine disguises herself as a peasant and escapes the palace. In the nearby marketplace, Jasmine befriends street thief Aladdin after he rescues her from an angry vendor who very nearly chops her hand off. Escaping to Aladdin's hideout, the pair bonds over the realization that they both feel trapped in their own environments and long for better lives. When Aladdin is soon arrested by the palace guards, Jasmine demands his immediate release only to find her orders overruled by Jafar, the Sultan's scheming grand vizier. When the princess confronts Jafar, he lies and tells her that Aladdin has already been executed, leaving Jasmine distraught and blaming herself for his death; in reality, Jafar is using Aladdin to retrieve a magical lamp containing a genie. When the Genie, who saves and befriends Aladdin, grants his wish to be transformed into a prince to better his chances of wooing Jasmine, Aladdin introduces himself to her as "Prince Ali." Although initially unimpressed, Jasmine is charmed after joining him on a magic carpet ride, at the end of which she discovers that the prince is, in fact, the same peasant she met in the marketplace. However, Aladdin convinces Jasmine that he truly is a prince who, much like her, only occasionally disguises himself as a commoner. When Jafar learns the truth about Aladdin, he steals the lamp and becomes the Genie's master, banishing Aladdin and forcing the Genie to make him Sultan, while enslaving both Jasmine and her father. After refusing to marry him, Jasmine kisses Jafar to distract him while Aladdin returns in time to trick Jafar into wishing himself into a genie and thus trapping himself within the lamp. Jasmine and the Sultan are finally freed, and she and Aladdin become engaged after the Sultan abolishes the law so that Jasmine can legally marry whomever she chooses.


title: Jasmine (Aladdin)

text: Following the success of "Aladdin", Jasmine appears in the film's two direct-to-video sequels, both of which Larkin reprises her role as the character, with Liz Callaway replacing Salonga as her singing voice. The first, "The Return of Jafar" (1994), features Jasmine as she begins to question her trust in Aladdin after he defends Jafar's former pet parrot, Iago, who escapes Jafar's lamp and rescues Aladdin from bandits, hoping to make amends with the royal family. However, Iago manages to convince the princess that she still very much trusts Aladdin. Jasmine eventually befriends Iago after he helps mend her and Aladdin's relationship, frees the Genie, and ultimately risks his life to destroy Jafar once and for all, who has returned seeking vengeance. In the second, "Aladdin and the King of Thieves" (1996), Jasmine's long-awaited wedding to Aladdin is interrupted by the Forty Thieves. The Oracle, which the thieves are attempting to steal, reveals that Aladdin's father Cassim is still alive and is their leader. Encouraging Aladdin to pursue his father, Jasmine agrees to postpone the wedding, but can't help but worry for him during his absence. When Aladdin finally returns to Agrabah with Cassim and introduces him, Jasmine and the Sultan take an immediate liking to him. However, Cassim is soon imprisoned by the Sultan after he attempts to steal the Oracle again. Aladdin frees Cassim and accepts punishment for his actions until Jasmine convinces her father that he was only helping his father out of love. Iago returns to inform them that Cassim has been captured by Sa'luk and the remaining Thieves. Jasmine goes with Aladdin to rescue his father, and afterward, they return for their wedding, which Cassim attends from the shadows. They go for a ride on Carpet, waving goodbye to the Merchant from the first film and Iago and Cassim as they ride off. Jasmine also appears in the television series based on the film, which originally aired from 1994 to 1995.


title: Jasmine (Aladdin)

text: Jasmine, alongside the other Disney Princesses, appears in the film "Ralph Breaks the Internet", as was announced at the 2017 D23 Expo.


title: Jasmine (Aladdin)

text: Naomi Scott portrays Jasmine in a live-action adaptation of the 1992 film. The film's storyline depicts her mother to originate from Agrabah's neighboring kingdom of Sherebad, desiring to improve her people's lives as sultana despite traditions and Jafar manipulating the Sultan for his own ends. At the end of the film, Jasmine becomes Agrabah's first sultana with the power to legally marry whomever she chooses.


title: Jasmine (Aladdin)

text: Jasmine appears in the Broadway musical adaptation of "Aladdin", which premiered at the New Amsterdam Theatre in March 2014. The role was originated by actress Courtney Reed, becoming her first time originating a Broadway character after appearing in minor roles in Broadway productions such as "In the Heights" and "Mamma Mia!" Reed had grown up a longtime fan of Disney films and princesses, and, being of mixed ethnicity, cites Jasmine as her favorite princess because "she was my first experience seeing a Disney princess who looked like me ... So I thought, 'Wow, I can be like her'," while the others tend to have blond hair and blue eyes. Equally a fan of the film itself, the actress' childhood home included an "Aladdin"-themed room used to store toys; Reed also portrayed Aladdin's pet monkey Abu in a Children's Theatre of Elgin production of the film, although she had really wanted to be cast as Jasmine. Despite having already been associated with the project since its early beginnings and initial readings in 2010, Reed auditioned for the role for director Casey Nicholaw in Seattle before the production finally relocated to Broadway, selected out of only a few actresses who were invited to audition. Unlike co-stars Adam Jacobs and Jonathan Freeman, who portray Aladdin and Jafar, respectively, Reed was the only main cast member required to audition.


title: Jasmine (Aladdin)

text: After learning she had been cast, Reed hired a personal trainer and practiced a healthier diet to prepare herself for her revealing costumes in which she exposes her midriff as the character. In the musical, Jasmine resembles an even stronger, more spirited character than the film version, specifically the way in which she fights against marriage laws and men who wish to control her. Reed believes her character changed the most during workshops as the show traveled from Seattle to Toronto, and finally Broadway, including the replacement of an original musical number with "These Palace Walls," which composer Alan Menken wrote specifically for Reed. Described by Reed as "a really beautiful song" that "sets up her character," "These Palace Walls" narrates Jasmine's desire to explore the world beyond the confines of the palace, despite being grateful for everything her father has already provided her with. Reed originally found performing "A Whole New World" particularly daunting because, as the film's most famous song, "everyone has these very specific ideas of what they think it should look like or sound like," in addition to feeling pressured to match Salonga's performance, of whom she is a fan.


title: Jasmine (Aladdin)

text: According to the website Behind the Voice Actors, there are currently over 19 animated iterations of Princess Jasmine from various film, television and video game appearances, with Larkin having voiced 16 of them. As a member of the Disney Princess franchise, Jasmine's likeness is used in a wide variety of merchandise, including magazines, books, toys, video games, clothes, stationery and school supplies. In 2013, Jasmine's design within Disney Princess marketing was updated, garnering mild controversy because some critics accused the character's skin color of being lightened. The character appears in the film "", starring in the segment "More Than a Peacock Princess." Having grown weary of her usual princess duties, Jasmine demands more responsibility from the Sultan, who assigns her the position of Royal Assistant Educator at the Royal Academy, a job she actually finds quite difficult due to its rowdy pupils, until she learns to exercise patience and perseverance. The character is also challenged with retrieving the Sultan's horse Sahara, after he goes missing from the stables in order to save the stable boy's job. In print, Jasmine appears in the manga "Kilala Princess" among several other Disney Princesses, although they never interact with each other.


title: Jasmine (Aladdin)

text: In addition to starring in her own television series based on "Aladdin", Jasmine has made cameo appearances in the Disney Channel animated series "Hercules: The Animated Series" and "House of Mouse". In the film "" (2001), she was voiced by actress Bobbi Page. In June 2013, Jasmine appeared in the Disney Junior animated series "Sofia the First", with both Larkin and Salonga reprising the respective roles. This occasion marked the character's first television appearance since "House of Mouse" more than 10 years prior.


title: Jasmine (Aladdin)

text: Jasmine appears in several video game adaptations of the "Aladdin" film series, specifically "Disney's Aladdin in Nasira's Revenge" (2001), in which Jafar's twin sister Nasira plots to avenge her brother's death by capturing Jasmine and the Sultan. Jasmine becomes a playable character at certain points throughout the game, navigating levels stealthily by hiding in a large vase. The princess also appears as a non-playable character in the "Kingdom Hearts" video game series as one of the seven Princesses of Heart captured by Maleficent, each of whom is essential to fulfilling the villain's evil plan. Jasmine has appeared in the installments "Kingdom Hearts" (2002), "Kingdom Hearts II" (2005), and "Kingdom Hearts 358/2 Days" (2009). Jasmine's kingdom is one of four featured in "" (2007), which players taking on the role of their own customizable princess can explore via portals to solve various minigames and puzzles, equipped with a magic wand. Common Sense Media identified Jasmine's kingdom as among the game's more challenging environments. Jasmine appears in "" (2011), located in Adventureland. In 2015, Disney Interactive released figurines of both Jasmine and Aladdin for "Disney Infinity 2.0" (2014). Jasmine became the fifth Disney Princess to be officially added to the game, as well as the first to be made available as a figurine. In "Disney Infinity 2.0", Jasmine is equipped with a magic carpet in addition to the ability to summon wind and cyclones, inflicting various consequences upon enemies and targets. Jasmine is a playable character to unlock for a limited time in the video game "Disney Magic Kingdoms".


title: Jasmine (Aladdin)

text: In print, an illustrated version of Jasmine appears in the book "Tales from Agrabah: Seven Original Stories of Aladdin and Jasmine" (1995), a collection of stories written by author Katherine Applegate that details the lives of the two main characters prior to the events of the film, including how Jasmine came to meet her pet tiger Rajah.


title: Jasmine (Aladdin)

text: In September 2016, a live-action version of Jasmine debuted as a recurring character in the sixth season of the fantasy television series "Once Upon a Time", in which she is portrayed by actress Karen David. The character makes a brief first appearance in the season's fourth episode, "Strange Case," before finally starring in the fifth, "Street Rats," in which Jasmine enlists the help of Aladdin to locate a powerful item capable of interrupting Jafar's control over the Sultan. As has become custom with "Once Upon a Time"'s plots, creative liberties were taken with the original film, including Jasmine taking Aladdin to the Cave of Wonders instead of Jafar and the absence of the pair developing romantic feelings for each other, although the iconic scene in which Jasmine is imprisoned in an hourglass is retained. Jasmine's blue outfit was slightly modified for the series. David had previously expressed interest in playing an ethnic Disney heroine such as Pocahontas, Esmeralda or Jasmine on "Once Upon a Time", and was finally cast as the third in July 2016. The actress described preparing for the role as exciting yet "nerve-wracking," because "she's such an iconic and beloved character and all the fans have their idealism of what she should and shouldn't be," longing to please fans of both the original film and character.


title: Jasmine (Aladdin)

text: Disney has gradually been introducing new, modified versions of princess costumes at the Walt Disney Parks and Resorts. In September 2016, Jasmine's outfit received a "modest" makeover; a redesigned, less revealing version of the character's blue outfit from the film debuted at both Disney World and Disneyland after 24 years. The costume consists of long sleeves, new shoes, full-length top concealing her midriff, high neckline, and a modified hairstyle while retaining the original turquoise-blue color from the films. Her pants have been replaced with a floor-length dress. A gold belt featuring an embroidered design of Rajah's face has also been added to the costume. Jasmine introduced her new outfit to guests with a public appearance at the first Mickey's Not-So-Scary Halloween Party. Although similar modifications were made to Pocahontas' and Mulan's costumes, Jasmine's redesign has inspired the most controversial response from the public. When questioned, park attendants and cast members explain that the redesigns were made to be more accurate to the cultures from which the characters hail, although Jasmine is from the fictional kingdom of Agrabah. Rachel Paige of HelloGiggles identified the main reason for the dramatic modifications is because several park guests were complaining about the character's exposed midriff and its effects on young girls; Paige defended that the outfit is in accordance to the location and time period, in which the film is set. The redesign is expected to gradually appear at other Disney theme parks around the world as well. Jasmine, along with Aladdin, is a meetable character at all the parks worldwide and is usually located in Adventureland.


title: Jasmine (Aladdin)

text: Critical opinions of Jasmine have been generally mixed; some critics appreciated the character for continuing to "break the [passive] mold" that had been demonstrated by Disney's earliest princesses. Ty Burr of "Entertainment Weekly" described Jasmine as the "most full-bodied (in every sense) of the new Disney heroines," while Desson Howe of "The Washington Post" commended the character for providing the film with "feminist consciousness." "The Christian Science Monitor"'s David Sterrit wrote that Jasmine "is less carefully worked out [than Aladdin] but equally likable as a personality type." Contactmusic.com agreed that the character exhibits "likeably cynical streaks," despite being an "essentially bland" character. Jasmine's strong-willed personality has frequently been both positively and negatively compared those of her predecessors Ariel and Belle. Gary Thompson of the "Philadelphia Daily News" wrote, "Princess Jasmine is also more barbed, yet without the obvious feminist makeover given to Belle." Similarly, James Berardinelli of "ReelViews" commended Jasmine for "show[ing] the same streak of stubborn independence exhibited by Ariel and Belle," but ultimately criticized the fact that "she doesn't fill a more pressing role than that of Aladdin's 'love interest'." Agreeing that Jasmine appears "bland" in comparison to "Aladdin"'s supporting characters, Mari Ness of "Tor.com" wrote, "Jasmine follows in the footsteps of Ariel and Belle as someone unhappy with the restrictions of her world and her lack of choices: like both of them, she takes active steps to change this, and it's not entirely her fault that she's a secondary character in a film not all that interested in her ... She's perceptive, and fast thinking, but this isn't her movie, and in the end, although she does get to choose her own husband, she doesn't really get a chance, like Ariel and Belle, to move out of her world. She can be "shown" the world, but she stays in her palace." In a retrospective review, Texas Public Radio's Nathan Cone was pleasantly surprised "by how much of a leap forward the character of Jasmine was for the Disney storytellers," praising her boldness and intelligence, and preferring her over Belle.


title: Jasmine (Aladdin)

text: Other critics have been much less forgiving; common critiques have derided the princess as a spoiled, shallow, bland, and overly sexualized character. Common Sense Media criticized Jasmine for lacking an original predicament and premise, while Creative Loafing's Matt Brunson described the character as a "liberated" but "stiff" heroine. Janet Maslin of "The New York Times" panned Jasmine: "the sloe-eyed Princess Jasmine ... a nymph in harem pants, use[s] words like 'fabulous' and 'amazing' to express unremarkable thoughts," concluding, "Luckily, [she is] surrounded by an overpowering array of secondary characters who make the film's sidelines much more interesting than its supposed center." "Time Out" called the character disappointing, and "TV Guide" described her as "bland." Film critic Roger Ebert cited Jasmine among the film's weaknesses, dismissing the relationship between her and Aladdin as "pale and routine" in comparison to Belle and the Beast's. Additionally, Ebert wrote that the characters "look unformed, as if even the filmmakers didn't see them as real individuals." Ed Gonzalez of "Slant Magazine" derided the character as "another 'free-spirited' type in the Barbie-doll tradition, a faux feminist who wants everyone to know that she can do everything the boys can." "Orange Coast"'s film critic Henry A. Giroux dismissed Jasmine as little more than "an object of [Aladdin]'s immediate desire" and a "stepping stone to social mobility."


title: Jasmine (Aladdin)

text: Naomi Scott's performance as Jasmine in the 2019 film was generally well-received by critics. Tom Jorgensen of "IGN" found her portrayal of Jasmine, "a clear improvement over the 1992 version" and added that the character, "feels more three-dimensional (pun not intended... nor apologized for) and she is given far more interesting ambitions this time around. Scott gives the character a dignity and drive that makes it easier to root for her than poor old Al." Johnny Oleksinski of the "New York Post" found Scott's version of Jasmine, "lovely" and also had "more agency and less passiveness" than in the original version. "The San Francisco Chronicle"s critic Mick LaSalle found Scott to be the "real star" of the film and she "thrives and gives everything to her new power anthem" that was written for the film. "The Washington Post"s Michael O'Sullivan praised Scott's portrayal as someone, "who doesn't just dream of escaping from under her father's restrictive rules about whom she can marry" but also "super-feminist." Richard Roeper of "Chicago Sun-Times" described Scott's performance as "winning" and added, "she also gets the chance to shine and absolutely sparkles" in the new song, ""Speechless"." For her performance, Scott won the Teen Choice Award for Choice Movie Actress – Sci-Fi/Fantasy and also received a nomination for the Saturn Award for Best Supporting Actress.


title: Jasmine (Aladdin)

text: The reverse cover of "Aladdin"'s original home video release proudly touted Jasmine as "a heroine of the 1990s." However, "It's Not the Media: The Truth about Pop Culture's Influence on Children" author Karen Sternheimer strongly disagreed with this sentiment, writing that despite being "strong-willed and almost given feminist qualities," Jasmine nonetheless "resembles heroines of old, waiting for her 'prince' to come and rescue her and using traditional feminine wiles to get her out of trouble." The character continues to be heavily discussed among feminist critics. "Bustle" included Jasmine's first encounter with Aladdin on the website's ranking of the most feminist Disney Princess moments, with author Samantha Rullo crediting the scene with demonstrating "how strong-willed and independent she truly is." In a similar "Feminist Ranking Of All The Disney Princesses," "Bustle"'s Chelsea Maze appreciated Jasmine for refusing "to let the men in her life boss her around," ultimately placing the character at number eight because she possesses "the agency to choose her own mate and follow her heart, all while financially supporting the guy she loves." Mize concluded that Jasmine is "a pretty strong woman with a solid feminist streak."


title: Jasmine (Aladdin)

text: Both feminist and Muslim critics have accused Jasmine of being "an offensive role model unworthy of showcasing to impressionable young girls." According to Meghan O'Keefe of Overthinking It, Jasmine possesses "tremendous" yet "ineffectual ... potential to be a feminist heroine" due to her lack of interest in books, music, social interaction, and "thirst for learning" that Ariel and Belle share. O'Keefe concluded, "Jasmine's complaints to Aladdin about palace life sound less like a budding feminist finding her voice, and more like the spoiled muse of Pulp's 'Common People'." Charles I. Schuster, author of "Speculations: Readings in Culture, Identity, and Values", agreed that the character offers very little feminism apart from her "defiance of an arbitrary law." "Bust"'s Sholeh Hajmiragha began by praising Jasmine's progressiveness: "she challenges her ascribed life as a princess, is skeptical of marriage, and, by falling in love with poor Aladdin, upsets the class system." However, in the end the author criticized the character for being "very sexualized," explaining "while female sexuality is something to be proud and in control of, it maybe isn't the best message for young girls." Opening that Jasmine's role lacks significance, Feminist Fiction deemed her an example of how "Disney treats its female characters when they're "not" the protagonist of the story," elaborating "it looks like Disney put a lot of effort into giving Jasmine girl power and independence, at least in her dialogue and attitude," but "didn't follow through and give her strength in the plot itself." The website also observed that the character's feminism does not appear to extend beyond "lip service," ultimately criticizing Jasmine of using her sexuality instead of her intelligence to "save the day" before finally reverting to the role of a damsel in distress awaiting rescue. "The Routledge Companion to Media & Gender" author Cynthia Carter believes that Jasmine becomes "the possession of [her] husband" by the end of the film.


title: Jasmine (Aladdin)

text: Within the realm of the internet, the scene during which Jasmine kisses Jafar in order to distract him from Aladdin is oftentimes viewed as a point of contention among feminist writers and bloggers; Meredith Ancret of "The Snark Who Hunts Back" argued that both the Sultan and Genie are similarly enslaved by Jafar. Ancret continued to defend Jasmine for being of her own mind, bravely defying Jafar on numerous occasions, and praised her distraction of the villain for being instrumental to Aladdin's success. Also defending Jasmine's decision to kiss Jafar, feminist critic Mari Rogers explained to "The Daily Dot" that "Jasmine was a strong character and I think in many ways the story's focus on Aladdin sort of makes us forget this," concluding, "Even in her own movie, she was always the force behind her decisions. She went out seeking things." Awarding "Aladdin" a "neutral" grade in terms of feminism, Fanny Pack wrote that "What stops "Aladdin" from being wholly negative ... is the sheer strength of Jasmine as a character," who "seems to take the best parts of Ariel and Belle and build them into an even better, stronger, and sassier princess."


title: Jasmine (Aladdin)

text: BuzzFeed compiled a list citing "15 Times Jasmine From "Aladdin" Was The Most Feminist Disney Princess." The same website included Jasmine rejecting traditional standards of marriage second on its list of "27 Feminist Disney Moments That Unapologetically Smashed The Patriarchy." Ranking Jasmine second on a list analyzing "Which Disney Princess Most Embodies Feminist Principles," author Shannon Larson of "The Huffington Post" appreciated the character for rejecting the idea of marriage being necessary, asserting her right to marry whomever and owning her sexuality, but criticized the fact that she does not complete her attempt to escape royal oppression. Sonia Saraiya of "Nerve" ranked Jasmine fifth in her article "Ranked: Disney Princesses From Least To Most Feminist." Saraiya praised her personality, likening her boldness, curiosity, and skepticism of marriage to that of Belle while commending her for "falling for a completely inadequate 'street rat' and whisking him out of poverty, instead of the other way around." However, Saraiya labeled Jasmine's use of sexuality her "only power," criticizing her for sending a negative message to young girls. When questioned about whether or not Jasmine is a positive role model because "all she wants to do is get married," Larkin herself defended her character, explaining, "That's not true. Jasmine says to a generation of little kids about marriage that the law is wrong. She risks everything—her safety, her comfort, everything she knows—and goes out and finds a way to change the marriage law ... Yeah, she's a good role model!' Really good! Whether it's connected or not, that person that the writers created that I got to portray, I'm so proud of her. And I feel like she was ahead of her time."


title: Jasmine (Aladdin)

text: Famously, Jasmine was Disney's first princess of color; her unprecedented ethnicity is credited with ultimately inspiring the studio to become more ethnically diverse, as evidenced by the subsequent introduction of their non-white princesses Pocahontas and Mulan. Universally accepted, the character's status as Disney's first Arabic princess "won over hearts" upon the film's 1992 release, according to Andre Tartar of Vulture.com. However, while the fact that the princess is Middle Eastern is considered to be "a breakthrough," at the same time the characteristics of both Jasmine and Aladdin have been met with controversy; observers widely criticized the characters for being Westernized and Anglicized. In her book "Thinking Class: Sketches from a Cultural Worker", author Joanna Kadi joked that Jasmine is "as Arab as baseball and apple pie." The American-Arab Anti-Discrimination Committee was particularly disgruntled by the treatment of the lead characters, with Don Bustany accusing Disney of teaching "that anyone with an accent is bad." "The Arabian Nights Reader" author Ulrich Marzolph observed that the character speaks "perfect American English" despite her "ostensibly Middle Eastern features," and have conveniently American accents in spite of their "alleged Arab ethnicity." In his book "The Mouse that Roared: Disney and the End of Innocence", author Henry A. Giroux accused "the anglicized Jasmine and Aladdin" of communicating in American English, while the film's villains have strong foreign accents.


title: Jasmine (Aladdin)

text: Critics have also derided that the film's "bad" characters appear to be exaggerated in appearance, overweight, drawn with dark skin, large noses and damaged teeth, while Jasmine's skin tone remains lighter in comparison. Slim in stature, Jasmine also lacks obvious character flaws in both her personality and speech. "Uprooting Racism: How White People Can Work for Racial Justice Ð 3rd Edition" author Paul Kivel dubbed this "racial coding," a practice also believed to have been used to differentiate the good from bad characters in "The Lion King" (1994). According to "Debating Disney: Pedagogical Perspectives on Commercial Cinema author Douglas Brode", "Aladdin" "perpetuates the same racial pyramid" present in most of Disney's films, observing that Jasmine, Aladdin and the Sultan characters at high up on the social hierarchy appear to be the film's "whitest" characters, while the villainous Jafar speaks with a thick accent and exhibits far more Arabian features. Brode accused Jasmine of "perpetuat[ing] damaging stereotypes." Observing that "underneath their multicultural skin [Disney Princesses] all conform to the white, middle-class, thin, feminine ideal of beauty," Gary Burns, author of "A Companion to Popular Culture", accused Jasmine of being "an American-accented girl ... who battles the traditions of older, heavily accented, traditional Arabs." Despite Disney's attempt to accurately portray the culture of the time period during which the film is set such as a lack of women in powerful positions, Isabel Santaolalla, author of ""New" Exoticisms: Changing Patterns in the Construction of Otherness", agreed that Jasmine remains "a vehicle for contemporary gender politics in America" despite her Middle Eastern appearance, explaining, "the film's PC credibility is reserved for Jasmine, but this feistiness probably reflects developments in America more than the realities of 1990s Basrah or Baghdad." Critics also did not appreciate the scene in which Jasmine nearly gets her hand cut off by a merchant as punishment for unintentionally stealing an apple.


title: Jasmine (Aladdin)

text: According to "The Fiscal Times", "Aladdin" is Disney's fourth most profitable princess film in terms of box office returns. Having successfully established herself as a popular character, Jasmine ultimately became one of the original members of the Disney Princess franchise, and remains the only member of the lineup who is not the main character of her film. Consequently, "Aladdin" remains the only Disney Princess film whose featured princess is not its protagonist, and Jasmine became the first Disney Princess to marry a character who is not a prince by birth. Chronologically, Jasmine is the Disney Princess franchise's sixth member, and is considered to be one of the "classic" members of the lineup. The film "Aladdin" and the character of Jasmine are credited with beginning an expansion of Disney's princess characters. Before the character debuted, all of Disney's princesses in the studio's 55-year history had been either white or European in appearance. As Disney's first non-white and Arab princess, Jasmine is credited with introducing both racial and ethnic diversity to Disney's animated fairy tale genre. The character has since been succeeded by four princesses of color: Pocahontas from the eponymous 1995 film, Mulan from the eponymous 1998 film, Tiana from "The Princess and the Frog" (2009), Moana from the eponymous 2016 film, ultimately "paving the way in letting children believe that "anyone" of any race can be a princess." The quintet is believed to have helped diversify the studio and introduce "new visions of what a 'Disney Princess' could be." Additionally, as one of only two Disney Princesses who wear pants (the other being Mulan), Jasmine remains Disney's only princess whose official costume is not a gown or dress. According to "Vanity Fair", Jasmine was the first feminist Disney Princess, although author Alex Beggs admitted that this claim has been exaggerated to some degree.


title: Jasmine (Aladdin)

text: Jasmine's song "A Whole New World," which she performs as a duet with Aladdin, won the Academy Award for Best Original Song at the 65th Academy Awards in 1993. Six years after "Aladdin", Lea Salonga would be cast as the singing voice of Mulan in 1998. Salonga joked about being required to audition for the role despite having already voiced a Disney Princess: "Why do I have to audition? ... I was already a princess before. Wasn't that enough?" Meanwhile, Larkin would return to voice Jasmine several times in subsequent media appearances, including films, television series and video games. As the two actresses responsible for giving voice to the character, both Larkin and Salonga were honored with Disney Legends Awards for their contributions in 2011 at a ceremony recognized for awarding several other actresses who famously voiced Disney Princesses. In addition to songwriters Menken and Tim Rice, Salonga jokingly thanked Larkin in her acceptance speech for not being able to sing thus providing her with a job opportunity. Salonga became the Disney Legend Award's first Filipina recipient; her hand print is also imprinted at the Walt Disney headquarters in Burbank, California.


title: Jasmine (Aladdin)

text: Jasmine is now revered as an iconic character and princess. "Teen Vogue" included Jasmine in an article recognizing the "10 Best Disney Princesses of All Time." BuzzFeed ranked Jasmine second on their "Definitive Ranking Of Disney Princesses" list, while E! placed character at number four. According to PureWow, Jasmine is the fifth best Disney Princess because she "was not OK with her family marrying her off to some random suitor." "Seventeen" placed the character at number nine on a similar countdown. Author Jelani Addams Rosa wrote, "Our favorite thing about Jasmine is that her and Aladdin take turns rescuing each other," but at the same criticized her for being too judgmental. On MTV's "Ultimate Ranking of the Best Disney Princesses of All Time," Jasmine finished 10th. Refinery29 readers voted Jasmine the eighth greatest Disney Princess, garnering 351 votes. "Seventeen" ranked Jasmine the hottest Disney Princess, crediting her with initiating several young boys' sexual awakenings during 1992. "Complex" placed Jasmine second in its article "The 25 Hottest Cartoon Women Of All Time," praising her hair and her eyes. "Screen Rant" ranked Jasmine the 14th best animated film character of all time, calling her "the cool idol that we aspired to be like" and concluding that "the movie would truly not be the same if it weren't for the Princess Jasmine." "Cosmopolitan" placed Jasmine's signature blue outfit at number eight on the magazine's ranking of "The 37 Best Disney Princess Outfits," praising her for pulling off "a wide, jeweled headband, statement earrings, and a heavy necklace all at once without becoming overwhelmed by them."


title: The Viral Fever

text: The Viral Fever, abbreviated to TVF, is an Indian video on demand and over-the-top streaming service and YouTube channel started by TVF Media Labs in 2010, and currently owned and operated by Contagious Online Media Network Private Limited. According to the founder Arunabh Kumar, the thought behind starting TVF was to reach out to the younger generation who seldom watch television entertainment.


title: The Viral Fever

text: The Viral Fever was one of the early arrivals on the Indian digital entertainment segment with videos covering a range of topics on Indian politics, movies, lifestyle, and emerging social concepts. The Viral Fever was the pioneer of web series in India with cult hits like "Permanent Roommates", "TVF Pitchers" and "TVF Tripling".


title: The Viral Fever

text: The company runs the app and website TVFPlay to host their videos. TVF conceptualised the idea of promoting movies through the creation and distribution of original digital content. The Ishq Wala song series is one such venture.


title: The Viral Fever

text: Their first web series, "Permanent Roommates", debuted in 2014. It was the second most-viewed long-form web series in the world by June 2015. A second original series titled "TVF Pitchers" was released in June 2015. It portrays engineers at different companies who quit their jobs to create a startup company. Owing to its growing popularity, with both "TVF Pitchers" and "Permanent Roommates" being watched by millions around the globe, the company received $10 million in funding from Tiger Global in February 2016.


title: The Viral Fever

text: After graduating from IIT Kharagpur, Arunabh Kumar quit his job as a consultant for the red chillies entertainment to try his hand at production jobs, assisting Farah Khan on "Om Shanti Om". After a few production jobs, Kumar began to write and produce his own short films and videos.


title: The Viral Fever

text: Kumar, along with long-time friends and IIT alumni, Amit Golani, and Biswapati Sarkar began pitching shows targeting young people to MTV. Faced with rejection, The Viral Fever was founded when the group came together and released a video titled Rowdies on YouTube starring Deepak Kumar Mishra and Naveen Kasturia. The runaway success of the video prompted Arunabh to create the YouTube-focused video company, The Viral Fever, in 2012.


title: The Viral Fever

text: The Viral Fever released the first "Barely Speaking with Arnab" video with an interview of Shah Rukh Khan, and an appearance by then and current Delhi Chief Minister, Arvind Kejriwal. Biswapati Sarkar's parody of Indian news anchor Arnab Goswami was widely appreciated. TVF's content was dominated by parodies during these years with videos like Gaana Waala Song, Gangs of Social Media and Munna Jazbaati contributing to the growing popularity of the channel. The channel was recognised as one of the first success stories of original digital content in India.


title: The Viral Fever

text: After a few years of creating "viral videos", The Viral Fever released India's first web series, "Permanent Roommates", in 2014. Featuring then-unknown actor Sumeet Vyas and Nidhi Singh, "Permanent Roommates" has been watched over 5 crore (50 million) times. "Pitchers" was lauded as one of the best shows in recent memory in Indian entertainment for capturing the zeitgeist of the Indian startup scene. In 2016, The Viral Fever released the smash hit "Tripling", and the widely applauded "Humorously Yours". Other TVF network channels like Girliyapa, The Screen Patti and The Timeliners have also successfully debuted web series.


title: The Viral Fever

text: TVF debuted their own platform, TVFPlay, releasing the final two episodes of "Pitchers". The platform saw 10 lakh (1 million) hits in the first two days and crashed for 3 hours. In early 2016, venture capital firm Tiger Global invested $10 million into TVF, acquiring a 20% stake in the company. TVF has since launched other YouTube channels for original content: Girliyapa, a female-run channel, The Screen Patti, and The Timeliners, headquartered in New Delhi. TVF currently has offices in Mumbai and New Delhi.


title: The Viral Fever

text: TVF is one of the most sought after creators of original content with brands in India. TVF claims to have worked with over 150 brands. Some major companies to have worked with TVF or allied channels in the past include Asiazi, Procter & Gamble, Ola, Flipkart, Vodafone, Bharti Airtel, OnePlus, Xiaomi, Nokia and Tata Motors.


title: The Viral Fever

text: Focused on the making of entertainment products in India, ranging from a blockbuster movie to a decade long TV soap. The first season of "The Making Of..." comprised five episodes, with a standalone episode released for Season 2 in 2016.


title: The Viral Fever

text: "Permanent Roommates" is an Indian web series created by TVF and Biswapati Sarkar. This series revolves around a young couple, Tanya and Mikesh, who after being in a long-distance relationship for 3 years, face the prospect of marriage. The first season was released on YouTube on 31 October 2014. The second season was released on TVFPlay, TVF's video streaming medium, on 14 February 2016. "Permanent Roommates" was lauded for its portrayal of live-in relationships in conservative urban Indian families. Actors Sumeet Vyas and Nidhi Singh have gone on from "Permanent Roommates" to be showcased in Bollywood films.


title: The Viral Fever

text: A talk show starring Biswapati Sarkar as Arnub with a U, parodying Indian news anchor Arnab Goswami. "Barely Speaking with Arnub" was picked up after the success of an earlier video titled "Bollywood Aam Aadmi Party" featuring Jitendra Kumar, Nidhi Bisht, and novelist Mayank Shekhar. The parody talk show has been lauded for its portrayal of the loud and boisterous nature of Indian news where anchors prefer theatrics over nuance. Season one of the show opened with an interview with Shah Rukh Khan. Popular celebrities who have appeared on the show for an interview with Sarkar include Delhi Chief Minister Arvind Kejriwal, Ranveer Singh, Parineeti Chopra, Sunny Leone and Chetan Bhagat. In the first two seasons, Biswapati Sarkar, Amit Golani, Vipul Goyal, Shivankit Parihar, Jasmeet Singh Bhatia, and Abhishek Upmanyu have been writers on the show.


title: The Viral Fever

text: "Barely Speaking with Arnub" returned for a shortened season two in 2016. The show has been on hold as writer Biswapati Sarkar focuses on writing web series including the sequel to "TVF Pitchers".


title: The Viral Fever

text: "TVF Pitchers" is an Indian web series created by TVF and developed by Arunabh Kumar single-handedly with assisting efforts from others. The first season consists of five episodes and premiered online on TVFPlay on 10 June 2015. A week later, on 17 June, it premiered on YouTube. The season finale premiered on TVFPlay on 30 August 2015. It follows four friends, Naveen, Jitu, Yogi and Mandal, who quit their jobs in order to develop their own start-up company.


title: The Viral Fever

text: In 2016, TVF announced December 2017 as the projected release of Season 2 of "Pitchers" with the last scene of "Permanent Roommates", but it failed to materialise later.


title: The Viral Fever

text: Recently, TVF gave a hint of the TVF pitchers season 2 by uploading a scene of pitchers in its video 'Shows From The House Of TVF | 2021'


title: The Viral Fever

text: "TVF Tripling" is an Asian Television Award-winning Indian web series created by TVF. It traces the story of three siblings Chandan, Chanchal & Chitvan. Together they start a hilarious journey, to find themselves and their relations. Starring Sumeet Vyas, Maanvi Gagroo and Amol Parashar, and written by Sumeet Vyas and Akarsh Khurana, along with some other contributions, the series has won several awards, including a Kyoorius Blue Elephant. TVF partnered with Tata Motors for the project to promote the newly launched Tata Tiago. Tripling was recognised as one of the best web-series of 2016 and is a benchmark of success in Indian branded content. Season 2 of the series was released on 5 April 2019.


title: The Viral Fever

text: "Chai Sutta Chronicles" is TVF's Jim Jarmusch-inspired series about conversations between friends. Each episode has a theme, and centers on a conversation over a cigarette and a cup of tea. Season 1 of "Chai Sutta Chronicles" aired in 2013, with season 2 released in 2017 and 2018.


title: The Viral Fever

text: An ongoing TVF series about Jeetu and his conversations with his father, often about technology, relationships, and families in India. This is TVF's longest-running digital title with 10 videos in 4 years.


title: The Viral Fever

text: Long-time TVF writer, and stand-up comic Vipul Goyal features in a semi-autobiographical story about the life of a stand-up comic. The show furthered TVF's reputation for story-telling in the Indian context. "Humorously Yours" was renewed for a second season, released in 2019.


title: The Viral Fever

text: A "Tech Conversations with Dad" spin-off, "Fathers" features three veterans of the Indian television screen, Brijendra Kala, Gajraj Rao, and Atul Srivastava, playing three fathers trying to keep up with the times.


title: The Viral Fever

text: "Inmates" is a sitcom about living in Mumbai in the 21st century, starring Ashish Verma, Mukti Mohan and Aakansha Thakur, and writers Raghav Raj Kakkar and Kashyap Kapoor.


title: The Viral Fever

text: "Bachelors" is a show about four bachelors who live together and encounter hilarious situations as they face the world after college. In 2016, TVF released a pilot episode of "Bachelors" featuring popular YouTube star Bhuvan Bam. The success of the pilot led to a 4 episode extension with Bhuvan and over 25 million views. Bachelors was picked up for Season 2, released in late 2017, with Jitendra Kumar replacing Bhuvan Bam as the lead. Season 2 has also crossed 25 million views since release and was listed among the best web-series of 2017 by FilmCompanion and Indian Express, and was applauded by various sects of audience for its satirical timing, and spoofs of popular Bollywood movies such as Dangal (film), Bahubali (film) and Chak De! India among many others.


title: The Viral Fever

text: "The Aam Aadmi Family" is an offering from TVF's sister channel The Timeliners. It is an album of moments from the life of a middle-class family based in Delhi. It has garnered an average of 8 million views across 3 seasons.


title: The Viral Fever

text: "Flames" is another offering from TVF's sister channel The Timeliners. It is the story of a young romance unfolding as a chemical reaction. Studious Rajat falls for Ishita, the new girl in the tuition. Rajat's friends, Pandey & Anusha's friendship is beginning to turn into a relationship. The equations of friendships evolve in the first season of this teenage romance. This series has already garnered an average of 5 million views.


title: The Viral Fever

text: Season 2 of the show has just landed on the OTT space, and all five episodes are currently streaming on the OTT platform MX Player, as well as on TVFPlay.


title: The Viral Fever

text: "Zeroes" is a mini-series from The Screen Patti. It is about four zeroes who come together with an almost delusional ambition to create a great company despite being already late in the startup race. Whether they rise above their label of zeroes is what forms the crux of the story.


title: The Viral Fever

text: "Yeh Meri Family" is a mini-series released by TVF. It is about a nuclear-middle-class family living in the height of fad of the 1990s. The story revolves around a 13-year-old boy who is average at academics and is constantly being bullied and blackmailed by his elder brother. It is a mixture of the drama and thrills of being a teenager.


title: The Viral Fever

text: "Awkward Conversations With Parents" is a six-episode series produced by The Screen Patti. The story is about a modern-boy named Ishan and his down-to-earth, ritual parents. Ishan is in his late teens; a year before he leaves the home for college. He and his parents are involved in strange talks about absurd topics revolving around the desires of a growing-into-an-adult boy. The series involves various absurd topics such as condoms, wet dreams, etc.


title: The Viral Fever

text: "College Romance" is a 5-episode series by TVF sister channel The Timeliners about three best friends looking for love, laughs and some lifelong memories while attending college together. A second season was released in 2021 which revolves around the problems they are facing in their relationships, friendships, etc.


title: The Viral Fever

text: "ImMature" is a TVF original released in 2019. It stars Omkar Kulkarni, Rashmi Agdekar, Chinmay Chandranushush and Visshesh Tiwari in the lead roles. The show follows a one-conflict-per-episode format that ties into the protagonist Dhruv's larger quest to befriend his love interest Chhavi.


title: The Viral Fever

text: "TVF Insiders" is an experimental psychological thriller web series based on the life of 4 teenagers who unwilling meet each other every Saturday. The storyline of this show is based on the absurd imagination of all four characters.


title: The Viral Fever

text: It features Omkar Kulkarni (Of " ImMature " fame), Himika Bose, Ritviq Joshi and Arnav Bhasin in the lead role.


title: The Viral Fever

text: The show is co Written and directed by Pranav Bhasin. The music and background score is composed by Achint Thakkar (who composed the "Scam 1992" theme song).