text:
Toy Story

Toy Story is a 1995 American animated comedy film produced by Pixar Animation Studios for Walt Disney Pictures. The first installment in the franchise of the same name, it was the first entirely computer-animated feature film, as well as the first feature film from Pixar. The film was directed by John Lasseter (in his feature directorial debut), written by Joss Whedon, Andrew Stanton, Joel Cohen, and Alec Sokolow based on a story by Lasseter, Stanton, Pete Docter, and Joe Ranft, produced by Bonnie Arnold and Ralph Guggenheim, and features the voices of Tom Hanks, Tim Allen, Annie Potts, John Ratzenberger, Don Rickles, Wallace Shawn and Jim Varney.

Taking place in a world where toys come to life when humans are not present, the plot of Toy Story focuses on the relationship between an old-fashioned pullstring cowboy doll named Woody and a modern space cadet action figure, Buzz Lightyear, as Woody develops jealousy towards Buzz when he becomes their owner Andy's favorite toy.

Following the success of Tin Toy, a short film that was released in 1988, Pixar was approached by Disney to produce a computer-animated feature film that was told from a small toy's perspective. Lasseter, Stanton, and Docter wrote early story treatments, which were rejected by Disney, who wanted the film's tone to be "edgier". After several disastrous story reels, production was halted and the script was rewritten to better reflect the tone and theme Pixar desired: "toys deeply want children to play with them, and ... this desire drives their hopes, fears, and actions". The studio, then consisting of a relatively small number of employees, produced Toy Story under minor financial constraints.

Toy Story premiered at the El Capitan Theatre in Los Angeles on November 19, 1995, and was released in theaters in North America on November 22 of that year. It was the highest-grossing film during its opening weekend, eventually grossing over $373 million worldwide, making it the second highest-grossing film of 1995. The film received critical acclaim, with praise directed towards the technical innovation of the animation, script, Randy Newman's score, appeal to all age groups, and voice performances (particularly Hanks and Allen), and holds a approval rating on film aggregation website Rotten Tomatoes. The film is frequently lauded as one of the best animated films ever made and, due to its status as the first computer-animated film, one of the most important films in the medium's history and film at large. The film received three Academy Award nominations—Best Original Screenplay (the first animated film to be nominated for the award), Best Original Song for "You've Got a Friend in Me", and Best Original Score—in addition to being honored with a non-competitive Special Achievement Academy Award.

In 2005, Toy Story was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant", one of nine films designated in its first year of eligibility. The success of Toy Story launched a multimedia franchise, spawning three sequels (and a planned fourth sequel) beginning with Toy Story 2 (1999), a spin-off film Lightyear (2022), and numerous short films. The film also had a theatrical 3D re-release in 2009 as part of a double feature with the second film.

Plot
A group of sentient toys, who pretend to be lifeless when humans are around, are preparing to move into a new house with their young owner Andy Davis, his infant sister Molly, and their single mother Mrs. Davis. Learning that Andy's birthday party has been unexpectedly moved to an earlier date, several toys — including Mr. Potato Head, Slinky Dog, Rex the tyrannosaur, Hamm the piggy bank, and Bo Peep the porcelain doll — become concerned that Andy might receive something that will replace them. To calm them, Sheriff Woody, Andy's favorite toy and their de facto leader, sends Sarge and his green army men to spy on Andy's birthday party with a baby monitor. Andy receives a Buzz Lightyear action figure, who believes he is an actual Space Ranger and does not know he is really a toy. Buzz impresses the others with his high-tech features and becomes Andy's new favorite toy, provoking Woody's jealousy.

Two days before the move, Andy's family plans for a dinner at Pizza Planet. To ensure Andy brings him along and not Buzz, Woody tries knocking Buzz behind the desk with the radio-controlled car RC. However, Buzz is accidentally knocked out of the bedroom window instead, and most of the other toys believe Woody has deliberately killed Buzz. Andy takes Woody with him, but Buzz furiously confronts him in the car. The two fight, fall out of the car, and are left behind; after a further quarrel, they hitch a ride to the restaurant on a Pizza Planet delivery truck.

At Pizza Planet, Buzz mistakes a claw crane full of Little Green Men for a rocket, and climbs in, pursued by Woody. Sid Phillips, Andy's sadistic next-door neighbor, takes the two from the crane to his house, where they encounter his Bull Terrier Scud and his "mutant" toys, made from parts of other toys he has destroyed.

Buzz, after watching a television commercial promoting him, realizes he is a toy after all. He attempts to fly but falls, breaks his arm, and suffers a mental breakdown. After Sid's toys fix Buzz, Sid tapes Buzz to a rocket, planning to blow him up the following day. Overnight, Woody helps Buzz realize that his purpose is to make Andy happy, restoring Buzz's resolve. Sid takes Buzz out to blow him up, but Woody rallies the mutant toys to "break the rules" and frighten Sid into never harming toys again.

Now freed, Woody and Buzz pursue the Davis' moving truck, but Scud attacks Woody. Buzz stays behind to fight off the dog; Woody climbs into the truck, and pushes RC out to rescue Buzz. Still thinking Woody has killed another toy, the others also toss him out of the truck. Woody and Buzz pursue the truck on RC, and the other toys see them and realize their mistake. RC's batteries run out, forcing Woody to ignite the rocket strapped to Buzz. Buzz opens his wings to sever the tape just before the rocket explodes; he and Woody glide through the sunroof of Mrs. Davis' car, landing safely inside.

As the toys listen in on the Christmas gift opening in the new house, Mr. Potato Head is delighted when Molly gets a Mrs. Potato Head. Woody and Buzz jokingly ponder what gift could be "worse" than Buzz, only to nervously smile at each other when Andy gets a dachshund puppy.

Voice cast

 * Tom Hanks as Woody, a pullstring cowboy doll who is Andy's favorite toy.
 * Tim Allen as Buzz Lightyear, a Space Ranger action figure, Andy's second favorite toy, and Woody's rival, who later becomes his best friend.
 * Don Rickles as Mr. Potato Head, a cynical potato-shaped doll with put-together pieces on his body.
 * Jim Varney as Slinky Dog, a dachshund slinky toy and Woody's second-in-command.
 * Wallace Shawn as Rex, a nervous green Tyrannosaurus figurine.
 * John Ratzenberger as Hamm, a smart-talking piggy bank.
 * Annie Potts as Bo Peep, a porcelain shepherdess doll and Woody's love interest.
 * John Morris as Andy Davis, the toys' owner.
 * Erik von Detten as Sid Phillips, Andy's next-door neighbor and bully, who destroys toys for fun.
 * Laurie Metcalf as Mrs. Davis, Andy and Molly's single mother.
 * R. Lee Ermey as Sergeant, the leader of a large troop of plastic green army men.
 * Jeff Pidgeon as Aliens, crane game toys at Pizza Planet.
 * Sarah Freeman as Hannah Phillips, Sid's friendly younger sister.
 * Penn Jillette as the Buzz Lightyear TV commercial announcer.
 * Mickie McGowan as Mrs. Phillips, the unseen mother of Sid and Hannah.

Development
John Lasseter's first experience with computer animation was during his work as an animator at Walt Disney Feature Animation, when two of his friends showed him the light-cycle scene from Tron. It was an eye-opening experience that awakened Lasseter to the possibilities offered by the new medium of computer-generated animation. Lasseter tried to pitch The Brave Little Toaster as a fully computer-animated film to Disney, but the idea was rejected and Lasseter was fired. He then went on to work at Lucasfilm and in 1986, he became a founding member of Pixar. In 1986, Pixar was purchased by entrepreneur and Apple Inc. co-founder Steve Jobs. At Pixar, Lasseter created short, computer-animated films to show off the Pixar Image Computer's capabilities. In 1988, Lasseter produced the short film Tin Toy, which was told from the perspective of a toy, referencing Lasseter's love of classic toys. Tin Toy won the 1989 Academy Award for Best Animated Short Film, the first computer-generated film to do so.

Tin Toy gained Disney's attention, and the new team at The Walt Disney Company, CEO Michael Eisner and chairman Jeffrey Katzenberg in the film division, sought to get Lasseter to come back. Lasseter, grateful for Jobs' faith in him, felt compelled to stay with Pixar, telling co-founder Ed Catmull, "I can go to Disney and be a director, or I can stay here and make history." Katzenberg realized he could not lure Lasseter back to Disney and therefore set plans into motion to ink a production deal with Pixar to produce a film. Disney had always made all their movies in-house and refused to change this. But when Tim Burton, who used to work at Disney, wanted to buy back the rights to The Nightmare Before Christmas, Disney struck a deal allowing him to make it as a Disney film outside the studio. This allowed Pixar to make their movies outside Disney.

Both sides were willing. Catmull and fellow Pixar co-founder Alvy Ray Smith had long wanted to produce a computer-animated feature, but only by the early 1990s were the computers cheap and powerful enough to make this possible. In addition, Disney had licensed Pixar's Computer Animation Production System (CAPS), and that made it the largest customer for Pixar's computers. Jobs made it apparent to Katzenberg that although Disney was happy with Pixar, it was not the other way around: "We want to do a film with you," said Jobs. "That would make us happy."

Catmull, Smith, and head of animation Ralph Guggenheim met with Walt Disney Feature Animation president Peter Schneider in the summer of 1990 to discuss making a feature film, but they found the atmosphere to be puzzling and contentious. They later learned that while Katzenberg was pushing the idea of working with Pixar, Schneider did not want to bring in a non-Disney animation studio. Katzenberg arranged to meet directly with the Pixar contingent, this time including Lasseter and Jobs. The Pixar team proposed a Christmas television special, A Tin Toy Christmas, as a first step, but Katzenberg countered that as long as they were gearing up to transition from 30-second commercials to a half-hour special, they might as well go all the way and make a feature-length film.

Katzenberg also made it clear that he was only working with Pixar to get access to Lasseter's talents, and that the Pixar team would be signing up to work with a self-described "tyrant" and micro-manager. However, he invited them to talk with Disney's animators and get their opinions on working under him and Lasseter was impressed with what he heard. The two companies began negotiations, although they disagreed on key points including whether Disney would get the rights to Pixar's animation technology or whether Pixar would retain partial ownership of the films, characters, and home video and sequel rights. As Pixar was nearing bankruptcy and desperate for funds, they settled on a deal that would allow Disney to have complete ownership and control of the films and characters, including the rights to make sequels without Pixar's involvement, while Pixar would get approximately 12.5% of ticket sales. These early negotiations became a point of contention between Jobs and Eisner for many years.

An agreement to produce a feature film based on Tin Toy with a working title of Toy Story was finalized, and production began soon thereafter.

Writing
Originally, Toy Story was going to feature "Tinny", the wind-up one-man band toy from the Tin Toy short film, along with "the dummy", a ventriloquist's dummy. While the film's premise was still about toys' desire to be played with by children, the rest of the film's script, which involved Tinny being left behind at a gas station, meeting up with the dummy, and having a series of adventures before finding their way into a kindergarten classroom where they can be played with every day, was quite different. Katzenberg was unhappy with the treatment drafted by Lasseter, Andrew Stanton, and Pete Docter, as the two character's motivations were too similar. Instead, he encouraged them to write it as a buddy film, giving the two main characters contrasting personalities, and having them only become friends after being forced to work together. Lasseter, Stanton, and Docter delivered a revised treatment in September 1991 that more closely resembles the final version of the film: Tinny replaces the ventriloquist dummy as a child's favorite toy, their bickering causes them to be left behind at a gas station, they almost catch up to the family at a pizza restaurant, they have to escape a kid that mutilates toys, and the movie ends with a chase scene as the two toys try to catch up to the family's moving van.

The script went through many changes before the final version of it. Lasseter decided Tinny was "too antiquated"; the character was first changed to a military action figure in the likes of G.I. Joe and was then given a space theme. Tinny's name changed to Lunar Larry, then Tempus from Morph, and eventually Buzz Lightyear (after astronaut Buzz Aldrin). Lightyear's design was modeled on the suits worn by Apollo astronauts as well as the aforementioned G.I. Joe action figures. Also, the green and purple color scheme on Lightyear's suit was inspired by Lasseter and his wife, Nancy, whose favorite colors are green and purple, respectively. Woody was inspired by a Casper the Friendly Ghost doll that Lasseter had when he was a child; he was a ventriloquist's dummy with a pull-string (hence the name "Woody"). This was until character designer Bud Luckey suggested that Woody could be changed to a cowboy ventriloquist dummy. Lasseter liked the contrast between the Western and the science fiction genres and the character immediately changed. Eventually, all of the ventriloquist dummy aspects of the character were deleted as the dummy looked "sneaky and mean". However they kept the name "Woody" to pay homage to the Western actor Woody Strode. The story department drew inspiration from films such as Midnight Run and The Odd Couple, and Lasseter screened Hayao Miyazaki's Castle in the Sky for further influence.

Since Toy Story's script writers had little experience with feature films, they attended a seminar given by screenwriter Robert McKee. They were inspired by his guidance, based on Aristotle's Poetics, that the main character in a story should be defined by how they react to the obstacles they face, and that it is those obstacles that make characters interesting. Disney also appointed the duo Joel Cohen and Alec Sokolow and, later, Joss Whedon to help develop the script. Whedon thought that while the script did not work, it had "a great structure". He added the character of Rex and sought a pivotal role for a Barbie doll; the latter transformed into Bo Peep as Mattel would not license the character. Whedon also re-visioned Buzz Lightyear from being a dim-witted but cheerful and self-aware character to an action figure who isn't aware that he's a toy—an epiphany that transformed the film. A brainstorming session with members of Disney Animation's creative team resulted in the addition of the three-eyed squeaky toy aliens.

Casting
Katzenberg approved the script on January 19, 1993, at which point voice casting began. Paul Newman, who subsequently accepted the role of Doc Hudson in the 2006 Pixar film Cars, was considered for the role of Woody. Robin Williams and Clint Eastwood were also considered for Woody, but Lasseter always wanted Tom Hanks to play the role. Lasseter claimed that Hanks "has the ability to take emotions and make them appealing. Even if the character, like the one in A League of Their Own, is down-and-out and despicable." To gauge how an actor's voice might fit with a character, Lasseter borrowed a common Disney technique: animate a vocal monologue from a well-established actor to meld the actor's voice with the appearance or actions of the animated character. This early test footage, using Hanks' voice from Turner & Hooch, convinced Hanks to sign on to the film.

Billy Crystal was approached to play Buzz, and was given his own monologue, utilizing dialogue from When Harry Met Sally. However, he turned down the role, believing the film would be unsuccessful due to its animation. Crystal regretted this upon seeing the film; he subsequently accepted the role of Mike Wazowski in the 2001 Pixar film Monsters, Inc.. In addition to Crystal, Bill Murray, Chevy Chase and Jim Carrey, along with a number of other actors, including Jason Alexander, Dan Aykroyd, Matthew Broderick, Kevin Costner, Michael J. Fox, Richard Gere, David Hasselhoff, Michael Keaton, Wayne Knight, Bill Paxton, Dennis Quaid, Kurt Russell, Adam Sandler and John Travolta, were also considered for the role of Buzz. Lasseter took the role to Tim Allen, who was appearing in Disney's Home Improvement, and he accepted. Crystal later stated in an interview that he would not have been right as Buzz, and that Allen was "fantastic" in the role. Before Wallace Shawn and Jim Varney were cast as Rex and Slinky Dog, Rick Moranis and John Cleese were originally considered for the roles.

To cast Andy, Pixar held an open call for young male actors to bring a toy with them. John Morris (who voices Andy in the film) brought multiple toys, specifically 45 X-Men figures, contrary to the instructions of bringing just one, and Pixar reacted to his dumping of the toys with laughter.

Toy Story was both Hanks' and Allen's first animated film, and they recorded their lines together to make their characters' chemistry and interactions realistic.

Production shutdown
Every couple of weeks, Lasseter and his team showed Disney their latest storyboards or footage. Disney was impressed by Pixar's technical innovation, but less so of the plot. Katzenberg discarded most of Pixar's script ideas, giving his own extensive notes. Katzenberg primarily wanted to add "more edginess" to the two main characters, as Disney wanted Toy Story to appeal to both children and adults, and they asked for adult references to be added to the film. The characters ended up being stripped of their charm, with Hanks, while recording Woody's dialogue for the story reels, pointed out that the Woody character had been made into a "real jerk". Pixar screened the first half of the film for Disney executives on November 19, 1993—an event they later dubbed the "Black Friday Incident". The results were disastrous, and Disney's head of feature animation, Peter Schneider, halted production. Katzenberg asked colleague Thomas Schumacher why the reels were bad, to which Schumacher answered, "Because it's not their movie anymore; it's completely not the movie that John set out to make."

Lasseter was embarrassed by the current state of the film, later recalling, "It was a story filled with the most unhappy, mean characters that I've ever seen." Katzenberg allowed him to take the script back to Pixar for rewrites, and the production crew shifted to television commercials while the head writers worked out a new script, being funded personally by Jobs until Disney resumed production. Although Lasseter attempted to keep morale high by remaining outwardly buoyant, the production shutdown was "a very scary time" according to story department manager BZ Petroff. Schneider appealed directly to Eisner to cancel the project altogether. Stanton and the other story artists worked to quickly produce new script pages, with help from consultants such as Whedon, and the first revisions were completed in two weeks as promised.

Pixar's script rewrites took three months, and saw Woody transformed from a tyrant to a wise leader. It also included a more adult-oriented staff meeting amongst the toys rather than the juvenile group discussion that had existed in earlier drafts. Buzz Lightyear's character was also changed "to make it more clear to the audience that he genuinely doesn't know he's a toy". Katzenberg and Schneider resumed production with the new script by February 1994, and the voice actors returned one month later to record their new lines. The crew grew from 24 people to 110, and now included 27 animators and 22 technical directors. In comparison, The Lion King, released in 1994, required a staff of 800. In the early budgeting process, Jobs was eager to produce the film as efficiently as possible, impressing Katzenberg with his focus on cost-cutting. However, the $17 million production budget was no longer going to be sufficient, and Jobs requested more funds from Disney to compensate them for the time lost in rewrites based on Katzenberg's notes. Catmull was able to reach a compromise on a new budget, but the incident led Jobs to rethink their deal with Disney.

Animation
Recruiting animators for Toy Story was brisk; the magnet for talent was not mediocre pay but the allure of taking part in the first computer-animated feature. Lasseter said of the challenges of computer animation, "We had to make things look more organic. Every leaf and blade of grass had to be created. We had to give the world a sense of history. So the doors are banged up, the floors have scuffs." The film began with animated storyboards to guide the animators in developing the characters. 27 animators worked on the film, using 400 computer models to animate the characters. Each character was first either created out of clay or modeled from a computer-drawn diagram before reaching the computer-animated design.

Once the animators had a model, its articulation and motion controls were coded; this allowed each character to move in a variety of ways, such as talking, walking, or jumping. Out of all of the characters, Woody was the most complex, as he required 723 motion controls, including 212 for his face and 58 for his mouth. The first piece of animation, a 30-second test, was delivered to Disney in June 1992, when the company requested a sample of what the film would look like. Lasseter wanted to impress Disney with several things in the test that could not be done in traditional, hand-drawn animation, such as Woody's yellow plaid shirt with red stripes, the reflections in Buzz's helmet and the decals on his spacesuit, or Venetian blind shadows falling across Andy's room.

There were eight teams that were responsible for different aspects of all of the shots. The art department was responsible for determining the overall color and lighting scheme. The layout department was responsible for determining the position of all elements of the shot, as well as programming the virtual camera's position and movements. The animation department created the movements of the characters, generally with one animator being assigned to animate an entire shot, but occasionally with each character having its own animator. The shading team used Pixar's RenderMan software to assign surface textures and reflectivity properties to objects. The lighting team placed global, spot, and flood lighting within the scenes. The "Render Farm" used Sun Microsystems computers, running around the clock, to produce the final frames of the film. The camera team recorded the finished frames, which had been rendered at a resolution of 1536 by 922, onto film stock. Finally, Skywalker Sound mixed sound effects, the musical score, and the dialogue to create the audio for the film.

In order to make the film feel as realistic as possible, the layout department, led by Craig Good, avoided the sweeping camera shots popular in computer animation at the time, and instead focused on emulating what would have been possible had the film been shot in live-action with real film cameras. The animation department, led by Rich Quade and Ash Brannon, used Pixar's Menv software to hand pose the characters at key frames based on videotape of the actors recording their lines, and let the software do the inbetweening. To sync the characters' mouths and facial expressions to the actors' recorded voices, animators spent a week per eight seconds of animation, as Lasseter felt that automatic lip syncing would not properly convey a character's emotions. The shading team, led by Tom Porter, used scans of real objects, as well as textures drawn by artists and created with procedural generation algorithms, to "dress" the objects in the film.

The film required 800,000 machine hours and 114,240 frames of animation in total, divided between 1,561 shots that totaled over 77 minutes. Pixar was able to render less than 30 seconds of the film per day.

Music
Lasseter did not want to make Toy Story into a musical, as he felt that it would make the film feel less genuine. Whedon later agreed, saying "It would have been a really bad musical because it's a buddy movie. It's about people who won't admit what they want, much less sing about it. ... Buddy movies are about sublimating, punching an arm, 'I hate you.' It's not about open emotion." However, Disney preferred to make it a musical, as they had had much success with incorporating Broadway-style musical numbers into their animated films, and encouraged Pixar to do the same. As a compromise, although the characters would not sing, the movie would feature non-diegetic songs as background music. Despite this not happening, the first musical number is seen at the end of Toy Story 2 (1999), and Toy Story: The Musical (2012) is the first version of the original to actually feature the cast of characters singing.

Randy Newman was hired, and composed three original songs for the film. The film's signature song "You've Got a Friend in Me", was written in one day. The song "Hakuna Matata" from The Lion King is heard briefly during the climax when Woody and Buzz are trying to get into the truck while riding RC. On Newman, Lasseter said, "His songs are touching, witty, and satirical, and he would deliver the emotional underpinning for every scene." The soundtrack for Toy Story was produced by Walt Disney Records and was released on November 22, 1995, the week of the film's release.

Editing and pre-release
The film's editors, including Lee Unkrich, worked on Toy Story up until the September 1995 deadline to deliver a final cut for scoring and sound design. According to Unkrich, a scene removed from the original final edit featured Sid torturing Buzz and Woody violently at his house before the scene where Sid interrogates Woody with a magnifying glass. The torture scene was removed because the crew thought the audience would love Buzz and Woody by that point and couldn't bear to see them be subjected to such violent torture. Another scene, in which Woody tries to get Buzz's attention when he was stuck in the box crate while insincerely apologizing for accidentally getting him knocking out of the window, was shortened because the creators felt it would lose the energy of the film. A test screening in July 1995 received encouraging responses from the audience, but the film was not rated as highly as had been hoped, leading to another last-minute round of edits. Eisner, who attended the screening, suggested that the final shot of the film should be of both Woody and Buzz, leading to the film's final shot of the two worried about the arrival of Andy's new puppy.

The crew had difficulty analysing the film's quality due to footage being in scattered pieces. Some animators felt the film would be a significant disappointment commercially but felt animators and animation fans would find it interesting. Schneider had grown optimistic about the film as it neared completion, and he announced a United States release date of November, coinciding with Thanksgiving weekend and the start of the winter holiday season.

Sources indicate that Jobs lacked confidence in the film during its production, and had been exploring the possibility of selling Pixar to companies such as Hallmark Cards and Microsoft. However, as the film progressed, Jobs, like Schneider, became increasingly passionate about the film and the transformative nature of what Pixar might be able to accomplish. Eager for Pixar to have the funds necessary to negotiate with Disney as an equal partner, and optimistic about the impact the finished film would have, Jobs decided that he would schedule an initial public offering (IPO) of Pixar just a week after the film's November release.

Release

Both Disney and Pixar held separate premieres for Toy Story, with Disney holding theirs at their flagship El Capitan Theatre in Los Angeles on November 19, 1995, and Pixar holding theirs the following night at the Regency Center in San Francisco. According to David Price's 2008 book The Pixar Touch, the film deeply resonated with audiences, with even the adults being noticeably moved by the film.

In some international territories, the theatrical release of the film was preceded by a re-release of the Roger Rabbit short Roller Coaster Rabbit.

In addition to showing at the El Capitan, where tickets included admission to the Totally Toy Story funhouse that Disney had built in the Hollywood Masonic Temple next door, the film opened on 2,281 screens on the 22nd and later expanded to 2,574.

The film was also shown at the Berlin International Film Festival out of competition from February 15 to 26, 1996. Elsewhere, the film opened in March 1996.

Marketing
Marketing for Toy Story included $20 million spent by Disney for advertising as well as advertisers such as Burger King, PepsiCo, Coca-Cola, and Payless ShoeSource paying $125 million in promotions for the film. Marketing consultant Al Ries reflected on the promotion: "This will be a killer deal. How can a kid, sitting through a one-and-a-half-hour movie with an army of recognizable toy characters, not want to own one?" Despite this, Disney Consumer Products was slow to see the potential of Toy Story. When the Thanksgiving release date was announced in January 1995, many toy companies were accustomed to having eighteen months to two years of lead time and passed on the project. Disney shopped the film at the Toy Fair trade show in February 1995, where only the small Canadian company Thinkway Toys, was interested in licensing the toy rights for the Toy Story characters. Disney promoted the film by inserting its trailer into the home-video re-release of Cinderella, showing a behind-the-scenes documentary on the Disney Channel, and incorporating the characters into a parade at the Disney-MGM Studios theme park in Florida.

It was screenwriter Joss Whedon's idea to incorporate Barbie as a character who could rescue Woody and Buzz in Toy Story's final act. The idea was dropped after Mattel objected and refused to license the toy. Producer Ralph Guggenheim claimed that Mattel did not allow the use of the toy as "They [Mattel] philosophically felt girls who play with Barbie dolls are projecting their personalities onto the doll. If you give the doll a voice and animate it, you're creating a persona for it that might not be every little girl's dream and desire." Hasbro likewise refused to license G.I. Joe (mainly because Sid was going to blow one up, prompting the filmmakers to instead use a fictional toy, Combat Carl), but they did license Mr. Potato Head. The only real-life toy in the film that was not in production was Slinky Dog, which had been discontinued since the 1970s. When designs for Slinky were sent to Betty James (Slinky inventor Richard James's wife) she said that Pixar had improved the toy and that it was "cuter" than the original.

3-D re-release
On October 2, 2009, Toy Story was re-released in Disney Digital 3-D. The film was also released with Toy Story 2 as a double feature for a two-week run which was extended due to its success. In addition, the film's second sequel, Toy Story 3, was also released in the 3-D format. Lasseter commented on the new 3-D re-release: The Toy Story films and characters will always hold a very special place in our hearts and we're so excited to be bringing this landmark film back for audiences to enjoy in a whole new way thanks to the latest in 3-D technology. With Toy Story 3 shaping up to be another great adventure for Buzz, Woody, and the gang from Andy's room, we thought it would be great to let audiences experience the first two films all over again and in a brand new way.

Translating the film into 3-D involved revisiting the original computer data and virtually placing a second camera into each scene, creating left eye and right eye views needed to achieve the perception of depth. Unique to computer animation, Lasseter referred to this process as "digital archaeology". The process took four months, as well as an additional six months for the two films to add the 3-D. The lead stereographer Bob Whitehill oversaw this process and sought to achieve an effect that affected the emotional storytelling of the film:

When I would look at the films as a whole, I would search for story reasons to use 3-D in different ways. In Toy Story, for instance, when the toys were alone in their world, I wanted it to feel consistent with a safer world. And when they went out to the human world, that's when I really blew out the 3-D to make it feel dangerous and deep and overwhelming.

Unlike other countries, the United Kingdom received the films in 3-D as separate releases. Toy Story was released on October 2, 2009. Toy Story 2 was instead released January 22, 2010. The re-release performed well at the box office, opening with $12,500,000 in its opening weekend, placing at the third position after Zombieland and Cloudy with a Chance of Meatballs. The double feature grossed $30.7 million in its five-week release.

Disney100 re-release
As part of Disney's 100th anniversary, Toy Story was re-released in selected CINEMARK theaters from July 21 to August 3, 2023, as well as UK cinemas from September 29 to October 5, and Latin American theaters from October 12 to 18 alongside Cinderella.

Home media
Toy Story was released by Walt Disney Home Video on VHS and LaserDisc in the United States and Canada on October 29, 1996, with no bonus material. Within the first few weeks of this release, VHS rentals and sales totaled $5.1 million, ranking Toy Story as the No. 1 video, beating out Twister. Over 21.5 million VHS copies were sold during the first year. A deluxe edition widescreen LaserDisc 4-disc box set was released on December 18, 1996. This THX certified LaserDisc release features bonus material, such as the history and development of characters, storyboards and story reels, abandoned concepts and characters, outtakes, deleted animation and trailers. On January 11, 2000, the film was re-released on VHS, but this time as the first video to be part of the Walt Disney Gold Classic Collection with the bonus short film Tin Toy. This release sold two million copies.

Toy Story was released for the first time on DVD on October 17, 2000, in a two-pack with its first sequel Toy Story 2. The same day, a 3-disc "Ultimate Toy Box" set was released, featuring Toy Story, Toy Story 2, and the third disc of bonus materials. The twin-pack release was later released individually on March 20, 2001. The DVD two-pack, the Ultimate Toy Box set, the Gold Classic Collection VHS and DVD, and the original DVD were all put in the Disney Vault on May 1, 2003. On September 6, 2005, a 2-disc "10th Anniversary Edition" was released featuring much of the bonus material from the "Ultimate Toy Box", including a retrospective special with John Lasseter and a brand new DTS sound mix. This DVD went back in the Disney Vault on January 31, 2009, along with Toy Story 2. The 10th Anniversary release was the last version of Toy Story to be released before being taken out of the Disney Vault lineup along with Toy Story 2. Also on September 6, 2005, a UMD of Toy Story featuring some deleted scenes, a filmmakers' reflect, and a new "Legacy of Toy Story" was released for the Sony PlayStation Portable.

Toy Story was available for the first time on Blu-ray in a Special Edition Combo Pack that included two discs, the Blu-ray, and the DVD versions of the film. This combo-edition was released by Walt Disney Studios Home Entertainment on March 23, 2010, along with its sequel. There was a DVD-only re-release on May 11, 2010. Another "Ultimate Toy Box", packaging the Combo Pack with those of both sequels, became available on November 2, 2010. On November 1, 2011, the first three Toy Story films were re-released all together, each as a DVD/Blu-ray/Blu-ray 3D/Digital Copy combo pack (four discs each for the first two films, and five for the third film). They were also released on Blu-ray 3D in a complete trilogy box set. The film had a re-release on 4K Ultra HD Blu-ray on June 4, 2019.

Box office
Before the film's release, executive producer and Apple Inc. co-founder Steve Jobs stated "If Toy Story is a modest hit—say $75 million at the box office, we'll [Pixar and Disney] both break even. If it gets $100 million, we'll both make money. But if it's a real blockbuster and earns $200 million or so at the box office, we'll make good money, and Disney will make a lot of money." Upon its release on November 22, 1995, Toy Story managed to gross more than $350 million worldwide. Disney chairman Michael Eisner stated "I don't think either side thought Toy Story would turn out as well as it has. The technology is brilliant, the casting is inspired, and I think the story will touch a nerve. Believe me, when we first agreed to work together, we never thought their first movie would be our 1995 holiday feature, or that they could go public on the strength of it."

The film's first five days of domestic release (on Thanksgiving weekend) earned it $39.1 million. Moreover, Toy Story earned a total of $158.6 million from ticket sales combined with the five-day Wednesday opening. It would go on to hold this record until Independence Day took it the next year. The film placed first in the weekend's box office with $29.1 million and maintained the number-one position at the domestic box office for the next two weekends. It was displaced by Jumanji in its fourth weekend, but still remained ahead of Heat with $10.9 million. Toy Story went on to become the highest-grossing domestic film of 1995, beating Batman Forever, Apollo 13 (also starring Tom Hanks), Pocahontas, Casper, Waterworld, GoldenEye, and other films. At the time of its release, it was the third-highest-grossing animated film of all time, after The Lion King (1994) and Aladdin (1992). Toy Story became the second-highest-grossing film of 1995, just $3 million behind Die Hard with a Vengeance. When not considering inflation, Toy Story is number 96 on the list of the highest-grossing domestic films of all time. The film had gross receipts of $192.5 million in the U.S. and Canada and $181.8 million in international markets from its original 1995 release and two re-releases for a total of $374.4 million worldwide. At the time of its release, the film ranked as the 17th-highest-grossing film (unadjusted) domestically and the 21st-highest-grossing film worldwide.

Critical response
Toy Story has an approval rating of based on  professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of. Its critical consensus reads, "Entertaining as it is innovative, Toy Story reinvigorated animation while heralding the arrival of Pixar as a family-friendly force to be reckoned with." Metacritic (which uses a weighted average) assigned Toy Story a score of 96 out of 100 based on 26 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Particular praise was offered for the film's 3D animation. Leonard Klady of Variety commended its "razzle-dazzle technique and unusual look" and said that "the camera loops and zooms in a dizzying fashion that fairly takes one's breath away." Roger Ebert of the Chicago Sun-Times compared the animation to Disney's Who Framed Roger Rabbit, saying that "both movies take apart the universe of cinematic visuals and put it back together again, allowing us to see in a new way." Due to the film's creative animation, Richard Corliss of TIME claimed that it was "the year's most inventive comedy".

The voice cast was also praised by various critics. Susan Wloszczyna of USA Today approved of the selection of Tom Hanks and Tim Allen for the lead roles. Kenneth Turan of the Los Angeles Times stated that "Starting with Tom Hanks, who brings an invaluable heft and believability to Woody, Toy Story is one of the best voiced animated features in memory, with all the actors ... making their presences strongly felt."

Several critics also recognized the film's ability to appeal to various age groups. Owen Gleiberman of Entertainment Weekly wrote "It has the purity, the ecstatic freedom of imagination, that's the hallmark of the greatest children's films. It also has the kind of spring-loaded allusive prankishness that, at times, will tickle adults even more than it does kids."

In 1995, Toy Story was ranked eighth in TIME's list of the "Best 10 films of 1995". In 2011, TIME named it one of the "25 All-TIME Best Animated Films". It also ranks at number 99 in Empire magazine's list of the "500 Greatest Films of All Time" and as the "highest-ranked animated movie".

In 2003, the Online Film Critics Society ranked the film as the greatest animated film of all time. In 2007, the Visual Effects Society named the film 22nd in its list of the "Top 50 Most Influential Visual Effects Films of All Time". The film is ranked 99th on the AFI's list of the "100 greatest American Films of All-Time". It was one of the only two animated films on that list, the other being Snow White and the Seven Dwarfs (1937). It was also the sixth best in the animation genre on AFI's 10 Top 10.

In more recent years, director Terry Gilliam has praised the film as "a work of genius. It got people to understand what toys are about. They're true to their own character. And that's just brilliant. It's got a shot that's always stuck with me when Buzz Lightyear discovers he's a toy. He's sitting on this landing at the top of the staircase and the camera pulls back and he's this tiny little figure. He was this guy with a massive ego two seconds before... and it's stunning. I'd put that as one of my top ten films, period."

Accolades
The film won and was nominated for various other awards including a Kids' Choice Award, MTV Movie Award, and a British Academy Film Award, among others. John Lasseter received a Special Achievement Academy Award in 1996 "for the development and inspired application of techniques that have made possible the first feature-length computer-animated film". Additionally, the film was nominated for three Academy Awards, two to Randy Newman for Best Music—Original Song, for "You've Got a Friend in Me", and Best Music—Original Musical or Comedy Score. It was also nominated for Best Original Screenplay for the work by Joel Cohen, Pete Docter, John Lasseter, Joe Ranft, Alec Sokolow, Andrew Stanton and Joss Whedon, making it the first animated film to be nominated for an Academy Award writing category.

Toy Story won eight Annie Awards, including Best Animated Feature. Animator Pete Docter, director John Lasseter, musician Randy Newman, producers Bonnie Arnold and Ralph Guggenheim, production designer Ralph Eggleston, and writers Joel Cohen, Alec Sokolow, Andrew Stanton, and Joss Whedon all won awards for Best Individual Achievement in their respective fields for their work on the film. The film also won Best Individual Achievement in technical achievement.

Toy Story was nominated for two Golden Globe Awards, one for Best Motion Picture—Comedy or Musical, and one for Best Original Song—Motion Picture for Newman's "You've Got a Friend in Me". At both the Los Angeles Film Critics Association Awards and the Kansas City Film Critics Circle Awards, the film won "Best Animated Film". Toy Story is also among the top ten in the BFI list of the 50 films you should see by the age of 14, and the highest-placed (at No. 99) animated film in Empire magazine's list of "500 Greatest Movies of All Time". In 2005, Toy Story, along with Toy Story 2 was voted the fourth greatest cartoon in Channel 4's 100 Greatest Cartoons poll, behind The Simpsons, Tom and Jerry, and South Park.

Influence and legacy
Toy Story had a large effect on the film industry with its innovative computer animation. After the film's debut, various industries were interested in the technology used for the film. Graphics chip makers desired to compute imagery similar to the film's animation for personal computers, game developers wanted to learn how to replicate the animation for video games, and robotics researchers were interested in building artificial intelligence into their machines that compared to the film's lifelike characters. Various authors have also compared the film to an interpretation of Don Quixote as well as humanism. In addition, Toy Story left an impact with its catchphrase "To Infinity and Beyond", sequels, and software, among others. In 2005, Toy Story was selected by the United States Library of Congress to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant".

"To Infinity... and Beyond!"
Buzz Lightyear's line "To Infinity and Beyond!" has been used not only on themed merchandise, but among philosophers and mathematical theorists as well. In 2008, during STS-124, astronauts took an action figure of Buzz Lightyear into space on Space Shuttle Discovery as part of an educational experience for students while stressing the catchphrase. The action figure was used for experiments in zero-g. It was reported in 2008 that a father and son had continually repeated the phrase to help them keep track of each other while treading water for 15 hours in the Atlantic Ocean. The phrase occurs in the lyrics of Beyoncé's 2008 song "Single Ladies (Put a Ring on It)", during the bridge. In 2012, the late Capital STEEZ released a song titled "Infinity and Beyond" in reference to the phrase as part of his AmeriKKKan Korruption mixtape.

Disney has also recycled the phrase in homage to Toy Story at least twice. In the "blooper reel" shown during the credits of A Bug's Life, Dave Foley says the line while in character as Flik, and Tim Allen himself repeated his famous line in The Shaggy Dog, in a scene when the titular character jumps off a bridge onto a moving vehicle.

Other influences
Toy Story's cast of characters forms the basis for the naming of the releases of the Debian computer operating system, from Debian 1.1 Buzz, the first release with a codename, in 1996, to Debian 14 Forky, the most-recently announced future release.

In 2013, Pixar designed a "Gromit Lightyear" sculpture based on the Aardman Animations character Gromit for Gromit Unleashed which sold for £65,000.

Sequels and spin-off
The first sequel, titled Toy Story 2, was released on November 24, 1999. In the film, Woody is stolen by a toy collector, leading Buzz and his friends to launch a rescue mission. Initially, Toy Story 2 was going to be a direct-to-video release, with development beginning in 1996. However, after the cast from Toy Story returned and the story was considered to be better than that of a direct-to-video release, it was announced in 1998 that the sequel would see a theatrical release.

Toy Story 3 was released on June 18, 2010. In the film, Andy's toys are accidentally donated to a day-care center as he prepares to leave for college.

Toy Story 4 was released on June 21, 2019, with most of the main cast returning for the film. In the film, Woody, Buzz, and the rest of the gang get used to living with Bonnie, who creates a new toy named Forky, from recycled materials from school. As they go on a road trip with Bonnie, Woody is also reunited with Bo Peep, and must decide where his loyalties lie.

A spin-off film, Lightyear, was released on June 17, 2022, with Chris Evans portraying the original Buzz Lightyear, upon whom the toy given to Andy in the first film was based.

On February 8, 2023, Disney announced that a fifth Toy Story film is in development.

title: Toy Story


text:
Satanic Verses

The Satanic Verses are words of "satanic suggestion" which the Islamic prophet Muhammad is alleged to have mistaken for divine revelation. The first use of the expression in English is attributed to Sir William Muir in 1858.

The words praise the three pagan Meccan goddesses: al-Lāt, al-'Uzzá, and Manāt and can be read in early prophetic biographies of Muhammad by al-Wāqidī, Ibn Sa'd and the of al-Tabarī. Religious authorities embraced the story for the first two centuries of the Islamic era. However, beginning in the 13th century, Islamic scholars (Ulama) started to reject it as being inconsistent with Muhammad's "perfection" ('isma), which meant that Muhammad was infallible and could not be fooled by Satan. According to some Islamic traditions, God sent Satan as a tempter to test the audience. Others categorically deny that this incident ever happened.

The incident is accepted as true by some modern scholars of Islamic studies, citing the implausibility of early Muslim biographers fabricating a story so unflattering about their prophet. Alford T. Welch, however, argues that this rationale alone is insufficient but does not rule out the possibility of some historical foundation to the story. He proposes that the story may be yet another instance of historical telescoping, i.e., a circumstance that Muhammad's contemporaries knew to have lasted for a long period of time later became condensed into a story that limits his acceptance of the Meccan goddesses’ intercession to a brief period of time and assigns blame for this departure from strict monotheism to Satan. Others have suggested that the story may have been fabricated for theological reasons.

Basic narrative

There are some accounts of the incident, which differ in the construction and detail of the narrative, but they may be broadly collated to produce a basic account. The different versions of the story are recorded in early tafsirs (Quranic commentaries) and biographies of the Prophet, such as Ibn Ishaq's. In its essential form, the story reports that Muhammad longed to convert his kinsmen and neighbors of Mecca to Islam. As he was reciting these verses of Sūrat an-Najm, considered a revelation from the angel Gabriel:"'Have you thought of al-Lāt and al-'Uzzá? And about the third one, Manāt?'
 * –Quran 53:19–20"

Satan tempted him to utter the following line:"'These are the exalted, whose intercession is hoped for.'"

Al-Lāt, al-'Uzzā, and Manāt were three pre-Islamic Arabian goddesses worshipped by the Meccans. Discerning the precise meaning of the word has proven difficult, as it is a hapax legomenon (i.e. used only once in the text). Commentators wrote that it meant "the cranes". The Arabic word does generally mean a "crane" – appearing in the singular as and, and the word has cousin forms in other words for birds, including "raven, crow" and "eagle". Taken as a segment, "exalted " has been translated by Orientalist William Muir to mean "exalted women", while contemporary academic Muhammad Manazir Ahsan has translated the same segment as "high-soaring ones (deities)". Thus, whether the phrase had intended to attribute a divine nature to the three "idols" is a matter of dispute. In either case, scholars generally agree on the meaning of the second half of the verse, "whose intercession is hoped for".

Tabarī's account
An extensive account of the incident is found in al-Tabarī's history, the (Vol. VI) (c. 915 CE):

"The prophet was eager for the welfare of his people, desiring to win them to him by any means he could. It has been reported that he longed for a way to win them, and part of what he did to that end is what Ibn Humayd told me, from Salama, from Muhammad ibn Ishaq, from Yazīd ibn Ziyād al-Madanī, from Muhammad ibn Ka'b al-Qurazī:

When the prophet saw his people turning away from him, and was tormented by their distancing themselves from what he had brought to them from God, he longed in himself for something to come to him from God which would draw him close to them. With his love for his people and his eagerness for them, it would gladden him if some of the hard things he had found in dealing with them could be alleviated. He pondered this in himself, longed for it, and desired it.

Then God sent down the revelation. 'By the star when it sets! Your companion has not erred or gone astray, and does not speak from mere fancy…' [Q.53:1] When he reached God's words, 'Have you seen al-Lāt and al-'Uzzā and Manāt, the third, the other?' [Q.53:19–20] Satan cast upon his tongue, because of what he had pondered in himself and longed to bring to his people, 'These are the high-flying cranes and their intercession is to be hoped for.'

When Quraysh heard that, they rejoiced. What he had said about their gods pleased and delighted them, and they gave ear to him. The Believers trusted in their prophet with respect to what he brought them from their Lord: they did not suspect any slip, delusion or error. When he came to the prostration and finished the chapter, he prostrated and the Muslims followed their prophet in it, having faith in what he brought them and obeying his command. Those of Quraysh and others who were in the mosque also prostrated on account of what they had heard him say about their gods. In the whole mosque there was no believer or who did not prostrate. Only al-Walīd bin al-Mughīra, who was an aged shaykh and could not make prostration, scooped up in his hand some of the soil from the valley of Mecca [and pressed it to his forehead]. Then everybody dispersed from the mosque.

Quraysh went out and were delighted by what they had heard of the way in which he spoke of their gods. They were saying, 'Muhammad has referred to our gods most favourably. In what he has recited he said that they are 'high-flying cranes whose intercession is to be hoped for'.'

Those followers of the Prophet who had emigrated to the land of Abyssinia heard about the affair of the prostration, and it was reported to them that Quraysh had accepted Islam. Some men among them decided to return while others remained behind.

Gabriel came to the Prophet and said, 'O Muhammad, what have you done! You have recited to the people something which I have not brought you from God, and you have spoken what He did not say to you.'

At that the Prophet was mightily saddened and greatly feared God. But God, of His mercy, sent him a revelation, comforting him and diminishing the magnitude of what had happened. God told him that there had never been a previous prophet or apostle who had longed just as Muhammad had longed, and desired just as Muhammad had desired, but that Satan had cast into his longing just as he had cast onto the tongue of Muhammad. But God abrogates what Satan has cast, and puts His verses in proper order. That is, 'you are just like other prophets and apostles.'

And God revealed: 'We never sent any apostle or prophet before you but that, when he longed, Satan cast into his longing. But God abrogates what Satan casts in, and then God puts His verses in proper order, for God is all-knowing and wise.' [Q.22:52]

So God drove out the sadness from His prophet and gave him security against what he feared. He abrogated what Satan had cast upon his tongue in referring to their gods: 'They are the high-flying cranes whose intercession is accepted [sic]'. [Replacing those words with] the words of God when Al-lāt, al-'Uzzā and Manāt the third, the other are mentioned: 'Should you have males and He females [as offspring]! That, indeed, would be an unfair division. They are only names which you and your fathers have given them'… as far as 'As many as are the angels in heaven, their intercession shall be of no avail unless after God has permitted it to whom He pleases and accepts' [Q.53:21–26] meaning, how can the intercession of their gods be of any avail with Him? When there had come from God the words which abrogated what Satan had cast on to the tongue of His prophet, Quraysh said, 'Muhammad has gone back on what he said about the status of our gods relative to God, changed it and brought something else', for the two phrases which Satan had cast on to the tongue of the Prophet had found a place in the mouth of every polytheist. They, therefore, increased in their evil and in their oppression of everyone among them who had accepted Islam and followed the Prophet.

The band of the Prophet's followers who had left the land of Abyssinia on account of the report that the people of Mecca had accepted Islam when they prostrated together with the Prophet drew near. But when they approached Mecca they heard that the talk about the acceptance of Islam by the people of Mecca was wrong. Therefore, they only entered Mecca in secret or after having obtained a promise of protection.

Among those of them who came to Mecca at that time and remained there until emigrating to Medina and taking part in the battle of Badr alongside Muhammad there was, from the family of 'Abd Shams b. Abd Manāf b. Qussayy, 'Uthmān b. 'Affān together with his wife Ruqayya the daughter of the Prophet. Abū Hudhayfa b. 'Utba with his wife Shal bint Suhayl, and another group with them, numbering together 33 men."

Early Islam
Shahab Ahmed, author of a book on the satanic verses in early Islam, observed that in the era of early tafsirs and sīrah/maghazi literature, the satanic verses incident was near universally accepted by the early Muslim community and illustrative of a concept of prophethood involving an ongoing struggle. Later, the logic of the era of hadith collections and subsequent orthodoxy required an infallible prophet.

According to Ibn Taymiyyah: "The early Islamic Scholars (Salaf) collectively considered the Verses of Cranes in accordance with Quran. And from the later coming scholars (Khalaf), who followed the opinion of the early scholars, they say that these traditions have been recorded with authentic chain of narration and it is impossible to deny them, and Quran is itself testifying it."

The earliest biography of Muhammad, Ibn Ishaq (761–767) is lost but his collection of traditions survives mainly in two sources: Ibn Hisham (833) and al-Tabari (915). The story appears in al-Tabari, who includes Ibn Ishaq in the chain of transmission, but not in Ibn Hisham, who admits in the preface of his text that he omitted matters from Ibn Ishaq's biography that "would distress certain people". Ibn Sa'd and Al-Waqidi, two other early biographers of Muhammad relate the story.

Paul Arno Eichler (1928) describes Muslims as believing that Satan's interference in divine revelation as a test sent by God. He explains this interpretation of Muslims by the fact that in Islamic thought, Satan (Iblīs) himself is not the tempter, but merely the instrument through which God tests his subjects.

Later medieval period
Due to its controversial nature, the tradition of the Satanic Verses never made it into any of the canonical hadith compilations (though possible truncated versions of the incident did). The reference and exegesis about the Verses appear in early histories. In addition to appearing in Tabarī's, it is used in the of Muqātil, ʽAbd al-Razzaq al-Sanʽani and Ibn Kathir as well as the  of Abu Ja'far an-Nahhās, the  collection of Wāhidī and even the late-medieval as-Suyūtī's compilation.

Objections to the incident were raised as early as the fourth Islamic century, such as in the work of an-Nahhās and continued to be raised throughout later generations by scholars such as Abu Bakr ibn al-‘Arabi (d. 1157), Fakhr ad-Din Razi (1220) as well as al-Qurtubi (1285). The most comprehensive argument presented against the factuality of the incident came in Qadi Iyad's. The incident was discounted on two main bases. The first was that the incident contradicted the doctrine of, divine protection of Muhammad from mistakes. The second was that the descriptions of the chain of transmission extant since that period are not complete and sound.

However, Uri Rubin asserts that there exists a complete version of the isnad continuing to the companion Ibn 'Abbās, but this only survives in a few sources. He claims that in another form of the isnad the name of Ibn 'Abbās was removed so that the incident could be deprived of its and discredited. Rubin makes similar comments about an isnad involving another companion, Makhrama bin Nawfal.

Another modern academic scholar, Shahab Ahmed, carefully examined 50 riwayahs (transmissions) of the hadith narrated from the companion Ibn 'Abbās, and successors (tabi'un) including Muhammad bin ka'b Al-Qurazi, Sa'id b. Jubayr, 'Urwah b. al-Zubayr, Qatada b. Di'amah, Abu Bakr 'Abd al-Rahman b. al-Harith, al-Hasan al-Basri, and Mujahid b. Jabr. He notes that many of these are sahih mursal (i.e. sound except that the chain of narration ends at the successor instead of a companion of the prophet). He also discusses some narrations whose chains go back to Ibn 'Abbās, including one (riwayah 40 in Ahmed's book) which was considered reliable by some scholars, though al-Albani rejected it due to limited biographical information on one of the transmitters, and a similar one (riwayah 41) which Ahmed describes as "an equally - if not more - reliable isnād that has apparently gone unnoticed by later commentators". This, he says, has an "immaculate isnād" and lacks the deficiency noted by al-Albani. Ahmed states that "all the first and early second century reports are agreed that the Prophet uttered the satanic verses".

Imam Fakhr al-Din al-Razi commenting on Quran 22:52 in his Tafsir al-Kabir stated that the "people of verification" declared the story as an outright fabrication, citing supporting arguments from the Qur'an, Sunnah and reason. He then reported that the preeminent Muhaddith Ibn Khuzaymah said: "it is an invention of the heretics" when once asked about it. Al-Razi also recorded that al-Bayhaqi stated that the narration of the story was unreliable because its narrators were of questionable integrity.

Those scholars who acknowledged the historicity of the incident apparently had a different method for the assessment of reports than that which has become standard Islamic methodology. For example, Ibn Taymiyyah took the position that since and  reports were commonly transmitted by incomplete, these reports should not be assessed according to the completeness of the chains but rather on the basis of recurrent transmission of common meaning between reports.

Al-Qurtubi dismisses all these variants in favor of the explanation that once Sūra al-Najm was safely revealed the basic events of the incident (or rumors of them) "were now permitted to occur to identify those of his followers who would accept Muhammad's explanation of the blasphemous imposture" (JSS 15, pp. 254–255).

Ibn Hajar al-Asqallani wrote:

"All the chains of this narration are weak, except of Said Ibn Jubayr. And when one incident is reported from many different chains, then it means there is something real in this incident. Moreover, this incident has also been narrated through 2 Mursal (where chain goes up to Successor, i.e., Tabari) traditions, whose chains of narration are authentic according to the standards of Imam Bukhari and Imam Muslim. First one is what Tabari recorded from Younus bin Yazid, he from Ibn Shahab that Abu Bakr Ibn Abdul Rehman narrated me. While second one which Tabari recorded from Mutabar bin Sulayman and Hammad bin Salama, and they from Dawud bin Abi Hind, and he from Abu Aliya [...] Ibn Arabi and Qadhi Ayyad say there is no proof of this incident, but contrary to their claim when one incident comes through different chain of narrations, then it means that this incident is real. While there are not only multiple chain of narrations about this incident, but also 3 of them are authentic while 2 of them are Mursal narrations."

Modern Islamic scholarship
While the authors of the texts during the first two centuries of the Islamic era do not seem to have regarded the tradition as in any way inauspicious or unflattering to Muhammad, it seems to have been universally rejected by at least the 13th century, and most modern Muslims likewise see the tradition as problematic, in the sense that it is viewed as "profoundly heretical because, by allowing for the intercession of the three pagan female deities, they eroded the authority and omnipotence of Allah. But they also hold... damaging implications in regard to the revelation as a whole, for Muhammad's revelation appears to have been based on his desire to soften the threat to the deities of the people." Different responses have developed concerning the account.

Many modern Muslim scholars have rejected the story. Arguments for rejection are found in Muhammad Abduh's article "Masʾalat al-gharānīq wa-tafsīr al-āyāt", Muhammad Husayn Haykal's Hayat Muhammad (1933), Sayyid Qutb's Fi Zilal al-Quran (1965), Abul Ala Maududi's Tafhim-ul-Quran (1972) and Muhammad Nasiruddin al-Albani's Nasb al-majānīq li-nasf al-gharānīq.

Haykal points out the many forms and versions of the story and their inconsistencies and argues that "the contextual flow of Surah 'al Najm' does not allow at all the inclusion of such verses as the story claims". Haykal quotes Muhammad Abduh who pointed out that the "Arabs have nowhere described their gods in such terms as 'al gharaniq'. Neither in their poetry nor in their speeches or traditions do we find their gods or goddesses described in such terms. Rather, the word 'al ghurnuq' or 'al gharniq' was the name of a black or white water bird, sometimes given figuratively to the handsome blond youth." Lastly, Haykal argues that the story is inconsistent with Muhammad's personal life and is completely against the spirit of the Islamic message.

Aqa Mahdi Puya has said that these fake verses were shouted out by the Meccans to make it appear that it was Muhammad who had spoken them; he writes:

"Some pagans and hypocrites planned secretly to recite words praising idolatry alongside the recitation of the Holy Prophet, while he was praying, in such a way that the people would think as if they were recited by him. Once when the Holy Prophet was reciting verses 19 and 20 of Najm one of the pagans recited: 'Tilkal gharani-ul ula wa inna shafa-atahuma laturja'-(These are the lofty (idols), verily their intercession is sought after.) As soon as this was recited the conspirators shouted in delight to make the people believe that it was the Holy Prophet who said these words. Here, the Quran is stating the general pattern the enemies of the messengers of Allah followed when they were positively convinced that the people were paying attention to the teachings of the messengers of Allah and sincerely believing in them. They would mix their false doctrines with the original teachings so as to make the divine message a bundle of contradictions. This kind of satanic insertions are referred to in thus verse, and it is supported by Ha Mim: 26. It is sheer blasphemy to say that satanic forces can influence the messengers of Allah."

Salman Rushdie
This entire matter was a mere footnote to the back-and-forth of religious debate, but was rekindled by Salman Rushdie's 1988 novel, The Satanic Verses, which made headline news. The novel contains some fictionalized allusions to Islamic history, which provoked both controversy and outrage. Muslims around the world protested the book's publishing, and Iran's Ayatollah Khomeini issued a fatwa sentencing Rushdie to death, saying that the book blasphemed Muhammad and his wives.

Historicity debate
Since William Muir, the historicity of this episode has been largely accepted by secular academics. Some orientalists, however, argued against the historic authenticity of these verses on various grounds. Sean Anthony observes a trend of more recent scholarship towards rejecting the historicity of the story after a period in which scholars were more divided.

William Montgomery Watt and Alfred Guillaume claim that stories of the event were true based upon the implausibility of Muslims fabricating a story so unflattering to their prophet: "Muhammad must have publicly recited the satanic verses as part of the Qur'ān; it is unthinkable that the story could have been invented by Muslims, or foisted upon them by non-Muslims."

Scholars such as Uri Rubin and Shahab Ahmed and Guillaume hold that the report was in Ibn Ishaq, while Alford T. Welch holds the report has not been presumably present in the Ibn Ishaq. Shahab Ahmed states that "Reports of the Satanic verses incident were recorded by virtually every compiler of a major biography of Muhammad in the first two centuries of Islam: 'Urwah b. al-Zubayr (23–94), Ibn Shihab al-Zuhri (51–124), Musa b. 'Uqbah (85–141), Ibn Ishaq (85–151), Abu Ma'shar (d. 170), Yunus b. Bukayr (d. 199), and al-Waqidi (130–207)." Alford T. Welch, however, argues that this rationale alone is insufficient but does not rule out the possibility of some historical foundation to the story. He proposes that the story may be yet another instance of historical telescoping, i.e., a circumstance that Muhammad's contemporaries knew to have lasted for a long period of time later became condensed into a story that limits his acceptance of the Meccan goddesses’ intercession to a brief period of time and assigns blame for this departure from strict monotheism to Satan.

John Burton argued for its fictitiousness based upon a demonstration of its actual utility to certain elements of the Muslim community – namely, those legal exegetes seeking an "occasion of revelation" for eradicative modes of abrogation. Burton supports his theory by the fact that Tabari does not discuss the story in his exegesis of the verse 53:20, but rather in 22:52. Disagreeing with Burton, G.R. Hawting writes that the satanic verses incident would not serve to justify or exemplify a theory that God reveals something and later replaces it himself with another true revelation. Burton, in his rejection of the authenticity of the story, sided with Leone Caetani, who wrote that the story was to be rejected not only on the basis of, but because "had these hadiths even a degree of historical basis, Muhammad's reported conduct on this occasion would have given the lie to the whole of his previous prophetic activity."

Maxime Rodinson finds that it may reasonably be accepted as true "because the makers of Muslim tradition would never have invented a story with such damaging implications for the revelation as a whole." He writes the following on the genesis of the verses: "Obviously Muhammad's unconscious had suggested to him a formula which provided a practical road to unanimity." Rodinson writes that this concession, however, diminished the threat of the Last Judgment by enabling the three goddesses to intercede for sinners and save them from eternal damnation. Further, it diminished Muhammad's own authority by giving the priests of Uzza, Manat, and Allat the ability to pronounce oracles contradicting his message. Disparagement from Christians and Jews, who pointed out that he was reverting to his pagan beginnings, combined with opposition and indignation from his own followers influenced him to recant his revelation. However, in doing so he denounced the gods of Mecca as lesser spirits or mere names, cast off everything related to the traditional religion as the work of pagans and unbelievers, and consigned the Meccan's pious ancestors and relatives to Hell. This was the final break with the Quraysh.

Fred Halliday states that rather than having damaging implications, the story is a cautionary tale, the point of which is "not to malign God but to point up the frailty of human beings," and that even a prophet may be misled by shaytan – though ultimately shaytan is unsuccessful.

Since John Wansbrough's contributions to the field in the early 1970s, though, scholars have become much more attentive to the emergent nature of early Islam, and less willing to accept back-projected claims of continuity:

"To those who see the tradition as constantly evolving and supplying answers to question that it itself has raised, the argument that there would be no reason to develop and transmit material which seems derogatory of the Prophet or of Islam is too simple. For one thing, ideas about what is derogatory may change over time. We know that the doctrine of the Prophet's infallibility and impeccability (the doctrine regarding his ) emerged only slowly. For another, material which we now find in the biography of the Prophet originated in various circumstances to meet various needs and one has to understand why material exists before one can make a judgment about its basis in fact..."

In Rubin's recent contribution to the debate, questions of historicity are completely eschewed in favor of an examination of internal textual dynamics and what they reveal about early medieval Islam. Rubin claims to have located the genesis of many prophetic traditions and that they show an early Muslim desire to prove to other scriptuaries "that Muhammad did indeed belong to the same exclusive predestined chain of prophets in whom the Jews and the Christians believed. He alleges that the Muslims had to establish the story of Muhammad's life on the same literary patterns as were used in the vitae of the other prophets". The incident of the Satanic Verses, according to him, conforms to the common theme of persecution followed by isolation of the prophet-figure.

As the story was adapted to include Qur'ānic material (Q.22:52, Q.53, Q.17:73–74), the idea of satanic temptation was claimed to have been added, heightening its inherent drama as well as incorporating additional Biblical motifs (cf. the Temptation of Christ). Rubin gives his attention to the narratological exigencies which may have shaped early material, as opposed to the more commonly considered ones of dogma, sect, and political/dynastic faction. Given the consensus that "the most archaic layer of the biography, [is] that of the stories of the [i.e. popular story-tellers]" (, EI²), this may prove a fruitful line of inquiry.

Rubin also claimed that the supposed temporary control taken by Satan over Muhammad made such traditions unacceptable to early hadith compilers, which he believed to be a unique case in which a group of traditions are rejected only after being subject to Qur'anic models, and as a direct result of this adjustment.

Building on Rubin's views, Sean Anthony has proposed that an early tradition attributed to ʿUrwa b. al-Zubayr about the mass conversion and prostration of the Meccans but which does not mention the satanic verses was at a later stage connected with Q. 53:19-20, Q. 22:52 and Q. 17:73-74.

Some scholars believe there is evidence in the Quranic text of surah 53 itself relevant to the question of historicity. Nicolai Sinai argues that the conciliatory satanic verses would make no sense in the context of the scathing criticism in the subsequent verses, whether they were uttered before Q.53:21-22 or (if those replaced the satanic verses) Q. 53:24-25. Patricia Crone makes a similar point but regarding the preceding verses, Q. 53:19-20. She argues that "Have you seen al-Lat...?" should be taken as a hostile question about literally seeing the three deities, particularly since the preceding half of the surah repeatedly claims that Allah's servant saw the heavenly being, and noting also other verses where a similar question is asked (Q. 35:40 and Q. 46:4).

On the other hand, Tommaso Tesei builds on the common observation (also mentioned by Crone) that verses 23 and 26-32 of Q. 53 appear to be an interpolation of long verses into a surah of otherwise short verses. Tesei argues that those verses display stylistic incoherence as well as a theological tension with the rest of Q. 53, a surah which is consistent with evidence external to the Islamic tradition regarding pre-Islamic deities and star worship. Of relevance to the possibility of historical elements in the satanic verses story, Tesei notes that the interpolation (as he sees it) coincides exactly with the traditional account that an explanatory comment was inserted to rectify the identification of the pagan deities as divine intercessors.

Shahab Ahmed noted that the Quran is at pains to deny that the source of Muhammad's inspiration is a shaytan (Q. 81:19–20, 25) because for his immediate audience, the sources for the two categories of inspired individuals in society, poets and soothsayers, were shaytans and jinn, respectively, whereas Muhammad was a prophet.

Related traditions
Several related traditions exist, some adapted to Qur'ānic material, some not. One version, appearing in Tabarī's and attributed to Urwah ibn Zubayr (d. 713), preserves the basic narrative but with no mention of satanic temptation. Muhammad is persecuted by the Meccans after attacking their idols, during which time a group of Muslims seeks refuge in Abyssinia. After the cessation of this first round of persecution they return home, but soon a second round begins. No compelling reason is provided for the caesura of persecution, though, unlike in the incident of the Satanic Verses, where it is the (temporary) fruit of Muhammad's accommodation to Meccan polytheism. Another version attributed to 'Urwa has only one round of, which begins after Muhammad has converted the entire population of Mecca, so that the Muslims are too numerous to perform ritual prostration all together. This somewhat parallels the Muslims and prostrating themselves together after Muhammad's first, allegedly satanically infected, recitation of, in which allegedly the efficacy of the three pagan goddesses is acknowledged.

The image of Muslims and pagans prostrating themselves together in prayer in turn links the story of the satanic verses to very abbreviated (i.e. prostration when reciting the Qur'ān) traditions found in the authoritative  collections, including the Sunni canonical ones of Bukhāri and Tirmidhī. Rubin claims that apparently "the allusion to the participation of the emphasises how overwhelming and intense the effect of this  was on those attending". The traditions actually state that all cognizant creatures took part in it, humans as well as jinns.

Rubin further argues that this is inherently illogical without the Satanic Verses in the recitation, given that in the accepted version of verses Q.53:19–23, the pagans' goddesses are attacked. The majority of traditions relating to prostration at the end of solve this by either removing all mention of the, or else transforming the attempt of an old Meccan to participate (who, instead of bowing to the ground, puts dirt to his forehead proclaiming "This is sufficient for me") into an act of mockery. Some traditions even describe his eventual comeuppance, saying he is later killed at the battle of Badr. Thus, according to Rubin, "the story of the single polytheist who raised a handful of dirt to his forehead… [in]… attempt of an old disabled man to participate in Muhammad's … in… a sarcastic act of an enemy of Muhammad wishing to dishonor the Islamic prayer". And "traditions which originally related the dramatic story of temptation became a sterilized anecdote providing prophetic precedent for a ritual practice".

Commentators

 * "Those Are The High Flying Claims" (Refutation of the Christian missionary writings on the so-called "Satanic verses")
 * The "Satanic Verses" story was never taken seriously by Islamic scholars
 * Muhammad: The man and the message

 * STORY OF THE CRANES or "SATANIC VERSES"

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Satanic Verses