DOCSLIB.ORG

Long Before He Created Last Season's Top-Rated New TV Show, Dan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Long Before He Created Last Season's Top-Rated New TV Show, Dan This Is Us Is His Long before he created last season’s top-rated new TV show, Dan Fogelman got his start listening to his Penn housemates’ stories and making them laugh with his. BY ALYSON KRUEGER the evening of March 7, 2017, fi fth most popular program overall for This Is Us tells the story of the Pearson Hollywood writer and producer the 2016-17 season, according to Nielsen family—biological twins Kate and Kevin; Dan Fogelman C’97 had a ques- ratings. But from the start of his career, adopted son Randall, born on the same ON tion for his 24,500 Twitter fol- Fogelman’s fi lm and TV work has always day; and parents Jack and Rebecca. Some lowers: “Everyone okay?” tried to reach viewers by giving them of the story is set in the present, as the It was one week before the season fi - everyday stories to which they can relate, siblings are turning 36 years old, but there nale of his television show This Is Us was then turning things up a notch (or more) are also extended fl ashbacks to their child- scheduled to air on NBC. There were from real life so they can’t look away. hoods and to Jack and Rebecca’s early many plot lines still unresolved on the His entrée to writing for fi lms was an relationship and the day of the kids’ breakout-hit show—the rare broadcast early screenplay mining the real-life emo- birth—when, in the big emotional moment network program to capture the zeitgeist tional upheaval of a New Jersey teenager— that sets the series action in motion, Jack in the current era of prestige cable and with more than a passing resemblance to and Rebecca decide to adopt Randall, an streaming sites—and the show’s loyal the author—going through his Bar Mitzvah. African American infant abandoned at a viewers were an emotional mess. One of his most successful movies—Crazy, nearby fi re station, after the third of their “Um … no … not even close,” respond- Stupid, Love, from 2011—is rooted in the expected triplets dies at birth. ed @sassycrazygal. “Gonna have to watch misadventures of a long-married couple The adult siblings all have their diffi cul- next week in a corner somewhere.” (played by Julianne Moore and Steve ties: Kate (Chrissy Metz) hates herself “MY HEART IS ON FIRE!” posted @ Carell) trying to rekindle a romantic spark for being overweight. Kevin (Justin iAMgaither. “Why must you do this to in their relationship. Another, 2012’s The Hartley) stars in a hit TV-show—whose me?!?!?!?!!” Guilt Trip, starring Barbara Streisand and punning title, The Manny, tells all you This Is Us struck a special chord with Seth Rogen, involves a mother and son need to know about it—but can’t focus audiences—Variety reported in May that bickering and bonding their way through on his serious acting ambitions or a re- it was the number one new show and a cross-country road trip. lationship. In addition to struggling gen- 54 THE PENNSYLVANIA GAZETTE Sep|Oct 2017 ILLUSTRATION BY JONATHAN BARTLETT Sep|OctSep|Sepp|OctOcO t 20170177 THEHEE PENNSYLVANIAPENPEPEENNNNNSYSYYLVYLLVLVANIAAANINIANINIAA GAGAZETTEAZEETTTTETTTTEE 5555 erally with his position in the family a lot of it is really, really good. Any program about how much the show aff ected them. because of his race and adopted status, that breaks through that is a big deal.” Entertainment Weekly called This Is Us over the course of the season, Randall The response on social media was even “a bear hug for a culture desperate for a (Sterling K. Brown)—a successful trader bigger. On the day of the show’s fi nale, little bit of that human touch.” The Atlan- in “weather commodities”—has to come March 14, 2017, #thisisus was the number tic headlined its analysis with, “This Show to terms with fi nally meeting his bio- two trending topic on Twitter. Will Make You Cry.” Singer-songwriter logical father, who is dying. Meanwhile, “When a show breaks out like this, John Mayer tweeted while watching: “Not in the past segments Rebecca (Mandy where people are watching it when it airs even wiping away tears for the next epi- Moore) is torn between motherhood and and live tweeting it, that’s exceptionally sodes. Just gonna let the fi rst ones create pursuing a singing career and Jack (Milo rare in our age,” says Birnbaum. “People tracks for a more even, effi cient fl ow.” Ventimiglia) struggles with an inherited don’t want to miss this because they want Comedian Sarah Silverman said it more drinking problem. (He appears to have to be part of the conversation.” simply with, “I’m a puddle of tears.” died before the story’s present, in which Count me in, too. Critics speculated on why the show was Rebecca is married to his best friend, I am a triplet, and for my family, the getting the reaction it did. Was Fogelman’s Miguel, played by Jon Huertas.) show has been a form of therapy, giving writing that good, or was it just fortunate Family stories have been a staple of TV us a glimpse into how another family with timing that he created an emotionally ca- from the beginning and have been set multiple births operates. My parents and thartic show at a moment when Americans everywhere from the sitcom suburbs of two sisters all watched it every week, and needed an outlet for their feelings? Another Ozzie and Harriet and The Brady Bunch then we would analyze it together over theory proposes that the acting is the key— to the Cartwrights’ wild west, the Rob- text or the phone. When we have family the cast is so good, no one can turn away. insons’ outer space, and the Depression- drama, we’ve started saying, “This is us.” Whatever the reason for the hold This Is era mountain country of The Waltons. Us had on audiences, the network took Modern Family—still going strong after ince the show appears on NBC rath- notice. In January, NBC announced it was eight seasons—is a more, well, modern er than, say, HBO or Netfl ix, this renewing the show for two more seasons, example of the phenomenon. audience enthusiasm fueled media which hardly ever happens in this era of “We had Parenthood, we had thirtysome- Sreports hailing it as a sign that broad- fi ckle viewers and generally declining TV thing,” says Debra Birnbaum, executive cast television could still hold its own in audiences. (Empire, the big new network editor for TV at Variety, naming two more the face of the rising popularity of cable hit of 2015-16, is still popular, holding the standouts. “It’s not like [Fogelman] dis- and streaming services. A New York Times number six slot in 18-49 viewership, but covered this new genre or pot of gold that article carried the headline: “‘This Is Us’: saw a 33 percent drop in 2016-17.) Which no one has thought about.” Why TV Networks Are Hopeful.” leads to another question: Can This Is Us But the extent to which This Is Us took The program also ended the drought of keep up and retain its devoted following? hold across the country surprised near- industry recognition for network shows, Fogelman is certainly thankful for the ly everyone. which have been largely shut out from show’s success—“I’m blessed,” he says re- The trailer for the show amassed 50 consideration at the big awards programs peatedly—but he’s not much interested in million views on Facebook—as compared by cable and streaming entries. This Is Us the speculation around why it’s become to 15 million for Star Wars Episode VII: won the People’s Choice Award for Favorite such a phenomenon. (Pitch, meanwhile, The Force Awakens. Since premiering on New TV Drama last January, and was the the other Fogelman-created TV show that September 20, 2016, This Is Us averaged only broadcast network show nominated debuted last season, about the fi rst female 15 million viewers each week, close to the in its category, Best Television Series, pitcher in Major League Baseball, strug- numbers reached by perennial audience Drama, at the 2017 Golden Globes (Netfl ix’s gled to fi nd its audience despite positive favorite The Big Bang Theory, and trailing The Crown won). And in July the show was critical response and was cancelled after only that show and various iterations of nominated as Best Drama Series—again one season by the Fox Network.) primetime NFL broadcasts for viewers in as the only broadcast network entry—and “I just write,” Fogelman says. “And I’m the sought-after 18-49 age demographic Sterling K. Brown and Milo Ventimiglia trying to get really, really good.” to earn the fi fth spot overall. were among the contenders for Best Actor Throughout the fi rst season of This Is “That’s huge for a scripted drama,” says at the Emmy Awards, scheduled to be Us Fogelman checked on his viewers Robert Thompson, director of the Bleier broadcast on September 17. through Twitter. Randall’s learning about Center for Television & Popular Culture at Besides the love from regular viewers, and coming to terms with his biological Syracuse University. “There are around celebrity fans and critics alike couldn’t father was a major dramatic arc. During 460 scripted shows currently active, and stop themselves from publicly talking the episode in which the father died, he 56 THE PENNSYLVANIA GAZETTE Sep|Oct 2017 “I just write.
Load more

Recommended publications
  • Bunn/Knightdale/Wendell/Zebulon Edition
    ™ Local and National Unusual News Bunn, Knightdale, Wendell, & Zebulon NC Edition – 919.637.6973 “I’M FREE—Take Me With You!” Check out our Other Editions for Volume 3, Number 26A Eastern North Carolina Online: www.greyareanews.com December 6–19, 2013 Photography Contests Carmike 10-Wilson Fruitcake: Traditional and Seeking Local Entrants Movie Review of the Issue Tasty Target of Ridicule By Kay Whatley, Editor Does your Christmas gathering include fruitcake on the Franklin County Area Photo Contest This issue’s movie review is Last Vegas. It follows four lifelong table? This concoction is made of nuts, dried fruit, candied friends on an adventure to Las Vegas for a wedding. Now in fruit, and just enough cake to hold it all together. Whether A photo contest will be accepting submissions through their sixties, the film sometimes flashing back to their teen spiced or spiked with liquor, a fruitcake is a decadent, sweet January 17, 2014. There are no fees to participate. For years to show their close friendship. details, contact Ruby Savage at 919.495.2221. treat with a long shelf life. The four friends are played by big- Following the judging, selected photos will be displayed at name actors. Michael Douglas plays Long after the Christmas cookies are gone, holiday leftovers the Common Grounds Coffee (and Fun) House in Bunn. Billy, who is to be the groom in the eaten, and the pies spoiled, a fruitcake can stay fresh and upcoming wedding, to a woman half ready to eat. Bake a few around the holidays, and the family his age.
    [Show full text]
  • Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD by Steve Sternberg
    April 2021 #105 ________________________________________________________________________________________ _______ Pre-Upfront Thoughts on Broadcast TV, Promotions, Nielsen, and AVOD By Steve Sternberg Last year’s upfront season was different from any I’ve been involved in during my 40 years in the business. Because of the COVID-19 pandemic, there were no live network presentations to the industry, and for the first time since I’ve been evaluating television programming, I did not watch any of the fall pilots before the shows aired. Many new and returning series experienced production delays, resulting in staggered premieres, shortened seasons, and unexpected cancellations. The big San Diego and New York comic-cons were canceled. There was virtually no pre-season buzz for new broadcast or cable series. Stuck at home with fewer new episodes of scripted series than ever to watch on ad-supported TV, people turned to streaming services in large numbers. Netflix, which had plenty of shows in the pipeline, surged in terms of both viewers and new subscribers. Disney+, boosted by season 2 of The Mandalorian and new Marvel series, WandaVision and Falcon and the Winter Soldier, was able to experience tremendous growth. A Sternberg Report Sponsored Message The Sternberg Report ©2021 ________________________________________________________________________________________ _______ Amazon Prime Video, and Hulu also managed to substantially grow their subscriber bases. Warner Bros. announcing it would release all of its movies in 2021 simultaneously in theaters and on HBO Max (led by Wonder Woman 1984 and Godzilla vs. Kong), helped add subscribers to that streaming platform as well – as did its successful original series, The Flight Attendant. CBS All Access, rebranded as Paramount+, also enjoyed growth.
    [Show full text]
  • Jennifer Lynn Jones, Indiana University Successfully Competing in Peak TV Requires Savvy Promotions
    Shape Shifting for Time Shifting: Weight Loss in the Transmediation of This Is Us Jennifer Lynn Jones, Indiana University Successfully competing in Peak TV requires savvy promotions. Generally, “Peak TV” refers to the saturation of scripted television in this alleged new “Golden Age of Television,” with broadcast networks, cable channels, and stand-alone streaming services competing for ever more elusive viewers. Following the Pearson family and its unconventional triplets, NBC’s hit This Is Us (2016 to current) has distinguished itself in Peak TV by updating the generic conventions of a family soap with a mobile narrative temporality, constantly moving from present to past and, as season two glimpses suggest, into the future, in ways that create experiential and affective convergences between characters. This has given the show an edge in an era when network television has struggled with changing televisual viewing practices marked by both time- and platform-shifting. These relate to another significant aspect, body size: a main storyline involves the corpulence and weight loss of sister Kate, which has likewise necessitated body shaping in the contract of actress Chrissy Metz. The vicissitudes of Metz’s body extend Kate’s story, thus creating textual convergences through the body as a platform for transmediation. This response will consider how Metz’s appearances in mainstream television talk shows contribute to this phenomenon. Metz claims that she “committed to Kate’s evolution” in her audition process knowing that it would involve body shaping.1 “Body shaping” refers to any activity meant to transform the body, whether through diet, exercise, prosthetics, surgery, or cosmetology.
    [Show full text]
  • From Broadcast to Broadband: the Effects of Legal Digital Distribution
    From Broadcast to Broadband: The Effects of Legal Digital Distribution on a TV Show’s Viewership by Steven D. Rosenberg An honors thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Science Undergraduate College Leonard N. Stern School of Business New York University May 2007 Professor Marti G. Subrahmanyam Professor Jarl G. Kallberg Faculty Adviser Thesis Advisor 1. Introduction ................................................................................................................... 3 2. Legal Digital Distribution............................................................................................. 6 2.1 iTunes ....................................................................................................................... 7 2.2 Streaming ................................................................................................................. 8 2.3 Current thoughts ...................................................................................................... 9 2.4 Financial importance ............................................................................................. 12 3. Data Collection ............................................................................................................ 13 3.1 Ratings data ............................................................................................................ 13 3.2 Repeat data ............................................................................................................
    [Show full text]
  • Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
    “INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing.
    [Show full text]
  • Micdi Productions, Inc
    MICDI PRODUCTIONS, INC. CALIFORNIA STATE CORPORATION SIGNATORY OF I.A.T.S.E. MEMBER OF LOCAL 700 EDITOR’S GUILD [email protected] PHONE 818-563-3400 FAX 818-563-3800 MICDI PRODUCTIONS, INC. MICDI Productions is an award-winning, cutting-edge music editoriaL company and is home to a famiLy of taLented music editors, assistants, and support staff. Formed in 1987, MICDI holds among its credits many of film and television’s biggest hits and emerging favorites. We pride ourselves as creative colLaborators and host a Long and storied list of fiLmmakers, producers, composers, and music supervisors as our partners. We are adept in providing high-quaLity music editoriaL services for many media formats including broadcast television, feature fiLms, streaming, and new media. The MICDI faciLity is equipped with state-of-the-art technology including on-site ProtooLs editoriaL suites, mobiLe ProtooLs editoriaL systems, a fulLy networked faciLity and their very own high-speed server to secureLy transfer media fiLes with productions anywhere around the world. To colLaborate with remote productions and clienteLe, MICDI is equipped with remote playback systems such as Source Live and Source Connect, as welL as their very own hardware QVidium media streaming system. AdditionaLLy, our editors have access to a vast and exclusive fiLm & television score library containing many thousands of titLes, avaiLable only to MICDI. Being centraLLy located to aLL major studios in the greater Los Angeles area, our Burbank faciLity hosts amenities including a fulLy-stocked hospitaLity kitchen, runner & client services personnel, a conference room and electric vehicle charging stations. We look forward to Learning more about your project.
    [Show full text]
  • By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
    A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible.
    [Show full text]
  • 157: 10 Favorite Things I Watched This Year
    157: 10 Favorite Things I Watched This Year Hi guys. Before we get started, I wanted to let you know, today is the final day to sign up to receive the Quiet Collection for Christmas. Thousands of you have signed up to receive the brand-new, 10-day audio devotional series I created just for us in 2020. And many of you have come back and purchased the collection as gifts for others. We make that super easy for you to get it for yourself or for a group, large or small. Simply visit emilypfreeman.com/christmas to learn more and sign up today. All right. Now back to your regularly scheduled podcast episode. I’m Emily P. Freeman, and welcome to The Next Right Thing. You’re listening to episode 157. This is a podcast about making decisions, but also about making a life. Every week, I invite anyone who struggles with decision fatigue or chronic hesitation to join me for a few minutes for a thoughtful story, a little prayer, and a simple next right step. This month on the podcast, I’m changing up the format a bit, and I want to invite you into a final mini-series of the year where I’m sharing some of my next right favorite things. Last episode, I shared five books I read this year and in this one, I want to share 10 favorite things I watched, because next month, The Next Right Thing guided journal will hit bookshelves around the country, and one of the reflections in the book is a page that I call A Happy List.
    [Show full text]
  • Susannah Buxton - Costume Designer
    SUSANNAH BUXTON - COSTUME DESIGNER THE TIME OF THEIR LIVES Director: Roger Goldby. Producer: Sarah Sulick. Starring: Joan Collins and Pauline Collins. Bright Pictures. POLDARK (Series 2) Directors: Charles Palmer and Will Sinclair. Producer: Margaret Mitchell. Starring: Aiden Turner and Eleanor Tomlinson. Mammoth Screen. LA TRAVIATA AND THE WOMEN OF LONDON Director: Tim Kirby. Producer: Tim Kirby. Starring: Gabriela Istoc, Edgaras Montvidas and Stephen Gadd. Reef Television. GALAVANT Directors: Chris Koch, John Fortenberry and James Griffiths. Producers: Chris Koch and Helen Flint. Executive Producer: Dan Fogelman. Starring: Timothy Omundson, Joshua Sasse, Mallory Jansen, Karen David Hugh Bonneville, Ricky Gervais, Rutger Hauer and Vinnie Jones. ABC Studios. LORD LUCAN Director: Adrian Shergold. Producer: Chris Clough. Starring: Christopher Ecclestone, Michael Gambon, Anna Walton and Rory Kinnear. ITV. BURTON & TAYLOR Director: Richard Laxton. Producer: Lachlan MacKinnon. Starring: Helena Bonham-Carter and Dominic West. BBC. RTS CRAFT AND DESIGN AWARD 2013 – Best Costume Design. 4929 Wilshire Blvd., Ste. 259 Los Angeles, CA 90010 ph 323.782.1854 fx 323.345.5690 [email protected] DOWNTON ABBEY (Series I, Series II, Christmas Special) Directors: Brian Percival, Brian Kelly and Ben Bolt. Series Producer: Liz Trubridge. Executive Producer: Gareth Neame. Starring Hugh Bonneville, Jim Carter, Brendan Coyle, Michelle Dockery, Joanne Froggatt, Phyllis Logan, Maggie Smith and Elizabeth McGovern. Carnival Film & Television. EMMY Nomination 2012 – Outstanding Costumes for a Series. BAFTA Nomination 2012 – Best Costume Design. COSTUME DESIGNERS GUILD (USA) AWARD 2012 – Outstanding Made for TV Movie or MiniSeries. EMMY AWARD 2011 – Outstanding Costume Design. (Series 1). Emmy Award 2011 – Outstanding Mini-Series. Golden Globe Award 2012 – Best Mini Series or Motion Picture made for TV.
    [Show full text]
  • Christmas TV Schedule 2020
    ChristmasTVSchedule.com’s Complete Christmas TV Schedule 2020 • All listings are Eastern time • Shows are Christmas themed, unless noted as Thanksgiving • Can’t-miss classics and 2020 Christmas movie premieres and are listed in BOLD • Listings are subject to change. We apologize for any inaccurate listings • Be sure to check https://christmastvschedule.com for the live, updated listing Sunday, November 8 5:00am – Family Matters (TBS) 5:00am – NCIS: New Orleans (Thanksgiving) (TNT) 6:00am – Once Upon a Holiday (2015, Briana Evigan, Paul Campbell) (Hallmark) 6:00am – A Christmas Miracle (2019, Tamera Mowry, Brooks Darnell) (Hallmark Movies) 7:00am – The Mistle-Tones (2012, Tori Spelling) (Freeform) 8:00am – 12 Gifts of Christmas (2015, Katrina Law, Aaron O’Connell) (Hallmark) 8:00am – Lucky Christmas (2011, Elizabeth Berkley, Jason Gray-Stanford) (Hallmark Movies) 9:00am – Prancer Returns (2001, John Corbett) (Freeform) 10:00am – A Christmas Detour (2015, Candace Cameron-Bure, Paul Greene) (Hallmark) 10:00am – The Christmas Train (2017, Dermont Mulroney, Kimberly Williams-Paisley) (Hallmark Movies) 10:00am – Sweet Mountain Christmas (2019, Megan Hilty, Marcus Rosner) (Lifetime) 12:00pm – Pride, Prejudice, and Mistletoe (2018, Lacey Chabert, Brendan Penny) (Hallmark) 12:00pm – Christmas in Montana (2019, Kellie Martin, Colin Ferguson) (Hallmark Movies) 12:00pm – Forever Christmas (2018, Chelsea Hobbs, Christopher Russell) (Lifetime) 2:00pm – Holiday Baking Championship (Thanksgiving) (Food) 2:00pm – Snow Bride (2013, Katrina Law, Patricia
    [Show full text]
  • Theaters 3 & 4 the Grand Lodge on Peak 7
    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
    [Show full text]
  • Holiday TV Guide 2020
    HolidayTV Better watch out 20th Century Fox Thirty years after premiering in theaters, this movie about a boy who protects his home from burglars at Christmastime is still entertaining viewers young and old. Kevin McCallister (Macaulay Culkin, “My Girl,” 1991) learns to be careful what he wishes for after his mom and dad accidentally leave him behind as they fly to Paris for the holidays in “Home Alone,” airing Thursday, Nov. 26, on Freeform. Holiday TV| Home Alone 30th Anniversary 30 years of holiday high jinx ‘Home Alone’ celebrates big milestone By Kyla Brewer TV Media their extended family scramble to make it to the airport in time to catch their flight. In the ensuing chaos and confusion, parents Kate (Catherine he holidays offer movie fans a treasure O’Hara, “Schitt’s Creek”) and Peter (John Heard, trove of options, old and new. Some are “Cutter’s Way,” 1981) forget young Kevin, who Tfunny, some are heartwarming, some are had been sent to sleep in the attic after causing a inspirational and a precious few are all of those ruckus the night before. The boy awakens to find things combined. One such modern classic is cel- his home deserted and believes that his wish for ebrating a milestone this year, and viewers won’t his family to disappear has come true. want to miss it. At first, Kevin’s new parent-and-sibling-free Macaulay Culkin (“My Girl,” 1991) stars as Kevin existence seems ideal as he jumps on his parents’ McCallister, a boy who is left behind when his fam- bed, raids his big brother’s room, eats ice cream ily goes on vacation during the holidays, in “Home for supper and watches gangster movies.
    [Show full text]