document_title: Rumours (album)

question_text: who is on the cover of rumors fleetwood mac

text: Rumours (album)

text: Background[edit]

text: In July 1975, Fleetwood Mac's eponymous tenth album was released to great commercial success, reaching No. 1 in the U.S. in 1976. The record's biggest hit single, "Rhiannon", gave the band extensive radio exposure. At the time, Fleetwood Mac's line-up consisted of guitarist and vocalist Lindsey Buckingham, drummer Mick Fleetwood, keyboard player and vocalist Christine McVie, bass guitarist John McVie, and vocalist Stevie Nicks. After six months of non-stop touring, the McVies divorced, ending eight years of marriage.[2][3] The couple stopped talking to each other socially and discussed only musical matters.[4] Buckingham and Nicks—who had joined the band before 1975's Fleetwood Mac, after guitarist Bob Welch had left[5]—were having an on/off relationship that led them to fight often. The duo's arguments stopped only when they worked on songs together.[6] Fleetwood faced domestic problems of his own after discovering that his wife Jenny, mother of his two children, had an affair with his best friend.[7]

text: Press intrusions into the band members' lives led to inaccurate stories. Christine McVie was reported to be in hospital with a serious illness, while Buckingham and Nicks were declared the parents of Fleetwood's daughter Lucy after being photographed with her. The press also wrote about a rumoured return of original Fleetwood Mac members Peter Green, Danny Kirwan, and Jeremy Spencer for a 10th anniversary tour.[8] Despite false reports, the band did not change its line-up, although its members had no time to come to terms with the separations before recording for a new album began.[4] Fleetwood has noted the "tremendous emotional sacrifices" made by everyone just to attend studio work.[9] In early 1976, Fleetwood Mac crafted some new tracks in Florida.[10] Founding members Fleetwood and John McVie chose to dispense with the services of their previous producer, Keith Olsen, because he favoured a lower emphasis on the rhythm section. The duo formed a company called Seedy Management to represent the band's interests.[11]

text: Recording[edit]

text: In February 1976, Fleetwood Mac convened at the Record Plant in Sausalito, California, with hired engineers Ken Caillat and Richard Dashut. Production duties were shared by the three parties, while the more technically adept Caillat was responsible for most of the engineering; he took a leave of absence from Wally Heider Studios in Los Angeles on the premise that Fleetwood Mac would eventually use their facilities.[12] The set-up in Sausalito included a number of small recording rooms in a large, windowless wooden building. Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves.[13] Christine McVie and Nicks decided to live in two condominiums near the city's harbour, while the male contingent stayed at the studio's lodge in the adjacent hills.[14] Recording occurred in a six-by-nine-metre room which included a 3M 24-track tape machine, a range of high-quality microphones, and an API mixing console with 550A equalisers; the latter were used to control frequency differences or a track's timbre. Although Caillat was impressed with the set-up, he felt that the room lacked ambience because of its "very dead speakers" and large amounts of soundproofing.[12]

text: The record's working title in Sausalito was Yesterday's Gone.[15] Buckingham took charge of the studio sessions to make "a pop album".[16] According to Dashut, while Fleetwood and the McVies came from an improvisational blues-rock background, the guitarist understood "the craft of record making".[17] During the formative stages of compositions, Buckingham and Christine McVie played guitar and piano together to create the album's basic structures. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality.[18] When the band jammed, Fleetwood often played his drum kit outside the studio's partition screen to better gauge Caillat's and Dashut's reactions to the music's groove.[19] Baffles were placed around the drums and around John McVie, who played his bass guitar facing Fleetwood. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days working with a range of microphones and amplifiers to get a larger sound, before discovering they could adjust the sound effectively on the API mixing console.[12]

text: As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac.[20][21] The musicians did not meet or socialise after their daily work at the Record Plant. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;[13][22] sleepless nights and the extensive use of cocaine marked much of the album's production.[9] Chris Stone, one of the Record Plant's owners, indicated in 1997 that Fleetwood Mac brought "excess at its most excessive" by taking over the studio for long and extremely expensive sessions; he stated, "The band would come in at 7 at night, have a big feast, party till 1 or 2 in the morning, and then when they were so whacked-out they couldn't do anything, they'd start recording".[23]

text:
"Trauma, Trau-ma. The sessions were like a cocktail party every night—people everywhere. We ended up staying in these weird hospital rooms ... and of course John and me were not exactly the best of friends."[2]

—Christine McVie, on the emotional strain when making Rumours in Sausalito

tag: div

text: Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,[22] while, according to Buckingham, the tensions between band members informed the recording process and led to "the whole being more than the sum of the parts".[21] The couple's work became "bittersweet" after their final split, although Buckingham still had a skill for taking Nicks' tracks and "making them beautiful".[24] The vocal harmonies between the duo and Christine McVie worked well and were captured using the best microphones available.[12] Nicks' lyrical focus allowed the instrumentals in the songs that she wrote to be looser and more abstract.[25] According to Dashut, all the recordings captured "emotion and feeling without a middle man ... or tempering".[7] John McVie tended to clash with Buckingham about the make-up of songs, but both admit to achieving good outcomes.[26] Christine McVie's "Songbird", which Caillat felt needed a concert hall's ambience, was recorded during an all-night session at Zellerbach Auditorium, across San Francisco Bay in Berkeley.[27]

text: Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and fan feedback. After the concerts, recording resumed at venues in Los Angeles,[11] including Wally Heider Studios. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded "lifeless".[12] A sell-out autumn tour of the US was cancelled to allow the completion of the album,[2] whose scheduled release date of September 1976 was pushed back.[28] A specialist was hired to rectify the Sausalito tapes using a vari-speed oscillator. Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.[12] Fleetwood Mac and their co-producers wanted a "no-filler" final product, in which every track seemed a potential single. After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful".[29]

text: Promotion and release[edit]

text: In autumn 1976, while still recording, Fleetwood Mac showcased tracks from Rumours at the Universal Amphitheatre in Los Angeles.[2] John McVie suggested the album title to the band because he felt the members were writing "journals and diaries" about each other through music.[30] Warner Bros. confirmed the release details to the press in December and chose "Go Your Own Way" as a December 1976 promotional single.[31][32] The label's aggressive marketing of 1975's Fleetwood Mac, in which links with dozens of FM and AM radio stations were formed across America, aided the promotion of Rumours.[33] At the time, the album's advance order of 800,000 copies was the largest in Warner Bros.' history.[34]

text: Rumours was released on 4 February 1977 in the US and a week later in the UK.[35][36][not in citation given] The front cover features a stylised shot of Fleetwood and Nicks dressed in her "Rhiannon" stage persona, while the back has a montage of band portraits; all the photographs were taken by Herbert Worthington.[19] On 28 February 1977, after rehearsing at SIR Studios in Los Angeles, Fleetwood Mac started a seven-month-long promotional tour of America.[35] Nicks has noted that, after performing mostly Rumours songs during gigs, the band initially encountered poor receptions from fans who were not accustomed to the new material.[37] A one-off March performance at a benefit concert for United States Senator Birch Bayh in Indiana was followed by a short European tour of the UK, the Netherlands, France, and Germany in April.[2][38] Nigel Williams of Uncut called Fleetwood Mac's performances "rock's greatest soap opera".[39] "Dreams", released in March 1977, became the band's only number one on the US Billboard Hot 100 in June.[40]

text: Composition[edit]

text: Lyrics[edit]

text: Fleetwood Mac's main writers—Buckingham, Christine McVie and Nicks—worked individually on specific songs, but sometimes shared lyrics with each other. "The Chain" is the only track that all members, including Fleetwood and John McVie, collaborated on. All songs on Rumours concern personal, often troubled, relationships.[19] According to Christine McVie, the fact that the lyricists were extensively focusing on the various separations became apparent to the band only with hindsight.[30] "You Make Loving Fun" is about her boyfriend, Fleetwood Mac's lighting director, after she split from John.[20] Nicks' "Dreams" details a breakup and has a hopeful message, while Buckingham's similar effort in "Go Your Own Way" is more pessimistic.[41] After a short fling with a New England woman, he was inspired to write "Never Going Back Again", a song about the illusion of thinking that sadness will never occur again once feeling content with life. The lines "Been down one time/Been down two times" are in reference to the lyricist's efforts when persuading the woman to give him a chance.[19]

text:
"Don't Stop"

The lyrics of "Don't Stop" are about having an optimistic outlook on life. Inspired by the triple step, the song contains music from both normal and prepared pianos.[19]

Problems playing this file? See media help.

text: "Don't Stop", written by Christine McVie, is a song about optimism. She noted that Buckingham helped her craft the verses because their personal sensibilities overlapped.[19] McVie's next track, "Songbird", features more introspective lyrics about "nobody and everybody" in the form of "a little prayer".[42] "Oh Daddy", the last McVie song on the album, was written about Fleetwood and his wife Jenny Boyd, who had just gotten back together.[43][44][45] The band's nickname for Fleetwood was "The Big Daddy".[19] McVie commented that the writing is slightly sarcastic and focuses on the drummer's direction for Fleetwood Mac, which always turned out to be right. Nicks provided the final lines "And I can't walk away from you, baby/If I tried". Her own song, "Gold Dust Woman", is inspired by Los Angeles and the hardship encountered in such a metropolis.[19] After struggling with the rock lifestyle, Nicks became addicted to cocaine and the lyrics address her belief in "keeping going".[46]

text: Music[edit]

text: Featuring a soft rock and pop rock sound,[47][48] Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of Fender Rhodes piano or Hammond B-3 organ are present on all but two tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees' "Jive Talkin'", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke celtic rock. "Dreams" includes "ethereal spaces" and a recurring two note pattern on the bass guitar.[19] Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes; the band added vocals and further instrumental audio tracks to make it more layered.[49][50] Inspired by triple step dancing patterns, "Don't Stop" includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. "Go Your Own Way" is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' "Street Fighting Man". The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano.[19]

text:
"Gold Dust Woman"

"Gold Dust Woman" is influenced by jazz and features a dobro.[19] The song's lyrics focus on Nicks' struggle with cocaine addiction.[46]

text: Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There",[19] and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track.[51] The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, "You Make Loving Fun" has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. "Oh Daddy" was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with "Gold Dust Woman", a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.[19]

text: Critical reception[edit]

text:
Professional ratings

Aggregate scores

Source
Rating

Metacritic
99/100[54]

Review scores

Source
Rating

AllMusic
[52]

Robert Christgau
A[53]

Pitchfork
10/10[55]

Slant Magazine
[56]

Consequence of Sound
A+[57]

text: Rumours has been acclaimed by music critics since its release. Robert Christgau, reviewing in The Village Voice, gave the album an "A" and described it as "more consistent and more eccentric" than its predecessor. He added that it "jumps right out of the speakers at you".[58] Rolling Stone magazine's John Swenson believed the interplay among the three vocalists was one of the album's most pleasing elements; he stated, "Despite the interminable delay in finishing the record, Rumours proves that the success of Fleetwood Mac was no fluke."[59] In a review for The New York Times, John Rockwell said the album is "a delightful disk, and one hopes the public thinks so, too",[60] while Dave Marsh of the St. Petersburg Times claimed the songs are "as grandly glossy as anything right now".[61] Robert Hilburn was less receptive and called Rumours a "frustratingly uneven" record in his review for the Los Angeles Times,[62] while Juan Rodriguez of The Gazette suggested that, while the music is "crisper and clearer", Fleetwood Mac's ideas are "slightly more muddled".[63] The album finished fourth in The Village Voice's 1977 Pazz & Jop critics' poll, which aggregated the votes of hundreds of prominent reviewers.[64]

text: In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time."[65] According to Slant Magazine's Barry Walsh, Fleetwood Mac drew on romantic dysfunction and personal turmoil to create a timeless, five-star record,[66] while Andy Gill of The Independent claimed it "represents, along with The Eagles Greatest Hits, the high-water mark of America's Seventies rock-culture expansion, the quintessence of a counter-cultural mindset lured into coke-fuelled hedonism".[67] In 2007, BBC's Daryl Easlea labelled the sonic results as "near perfect", "like a thousand angels kissing you sweetly on the forehead",[68] while Patrick McKay of Stylus Magazine wrote, "What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart. Here is a radio-friendly record about anger, recrimination, and loss."[69]

text: Commercial performance[edit]

text: Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, following the 1975 eponymous release.[40] It stayed at the top of the Billboard 200 for 31 non-consecutive weeks,[15] while also reaching number one in the United Kingdom, Australia, Canada,[38] and New Zealand.[70] In May 2011 it re-entered Billboard 200 chart at number 11, and the Australian ARIA chart at number 2, due to several songs from the album being used for the "Rumours" episode of the American TV series Glee.[71][72] The album was certified platinum in America and the UK within months of release after one million units and 300,000 units were shipped respectively.[73][74] All three major US trade publications—Billboard, Cash Box, and Record World—named it Album of the Year for 1977.[75] After a debut at number seven, Rumours peaked at the top of the UK Albums Chart in January 1978, becoming Fleetwood Mac's first number one album in the country.[36] In February, the band and co-producers Caillat and Dashut won the 1978 Grammy Award for Album of the Year.[40] By March, the album had sold over 10 million copies worldwide, including over eight million in the US alone.[75]

text: By 1980, 13 million copies of Rumours had been sold worldwide.[76] As of 2013, sales were over 40 million copies.[43] As of May 2016[update], Rumours has spent 630 weeks in the UK Top 75 album chart and is the 11th best-selling album in UK history and is certified 11× platinum by the British Phonographic Industry, the equivalent of 3.3 million units shipped.[74] The record has received a Diamond Award from the Recording Industry Association of America for a 20× platinum certification or 20 million units shipped, making it, as of 2012[update], the sixth best-selling album in US history (by number of units shipped).[77]

text: Legacy[edit]

text: Mick Fleetwood has called Rumours "the most important album we ever made", because its success allowed the group to continue recording for years to come.[78] Pop culture journalist Chuck Klosterman links the record's sales figures to its "really likable songs", but suggests that "no justification for greatness" is intrinsically provided by them.[79] The Guardian collated worldwide data in 1997 from a range of renowned critics, artists, and radio DJs, who placed the record at number 78 in the list of the 100 Best Albums Ever.[80] In 1998, Legacy: A Tribute to Fleetwood Mac's Rumours was produced by Fleetwood and released. The record contained each song of the original Rumours covered by a different act influenced by it. Among the musicians involved were alternative rock bands Tonic, Matchbox 20, and Goo Goo Dolls, Celtic rock groups The Corrs and The Cranberries, and singer-songwriters Elton John, Duncan Sheik, and Jewel.[81] Other diverse acts influenced by Rumours include baroque pop artist Tori Amos,[82] hard rock group Saliva,[83] indie rock band Death Cab for Cutie.[84] and art pop singer Lorde, who called it a "perfect record".[85]

text:
"There was a time when Fleetwood Mac's Rumours was just seen as an album that sold incredibly well; over the past five years, though, it's become more acceptable to classify Rumours as great in and of itself."[79]

—Chuck Klosterman in 2004, on recognition for the record

text: In 1998, Q placed Rumours at number three—behind The Clash's London Calling and Pink Floyd's The Dark Side of the Moon—in its list of 50 Best Albums of the 70s.[86] In 1999, Vibe featured it as one of 100 Essential Albums of the 20th Century.[87] In 2003, VH1 ranked the record at number 16 during its 100 Greatest Albums countdown,[79] while Slant included it as one of 50 Essential Pop Albums.[88] The same year, USA Today placed Rumours at number 23 in its Top 40 Albums list,[89] while Rolling Stone ranked it at number 25 in its special issue of "The 500 Greatest Albums of All Time", the highest Fleetwood Mac record.[90] In 2006, Time named it in its All-TIME 100 Albums shortlist,[91] while Mojo featured it in its unnumbered list of 70 from the 1970s: Decade's Greatest Albums.[92] The record is included in both The Guardian's "1000 Albums to Hear Before You Die" and the book 1001 Albums You Must Hear Before You Die.[93][94] For the 2013 reissue of the album, Pitchfork's Jessica Hopper gave the album a rare 10 out of 10, earning it best new reissue.[95]

text: Track listing[edit]

text:
Side one

No.
Title
Writer(s)
Lead vocals
Length

1.
"Second Hand News"
Lindsey Buckingham
Buckingham
2:56

2.
"Dreams"
Stevie Nicks
Nicks
4:14

3.
"Never Going Back Again"
Buckingham
Buckingham
2:14

4.
"Don't Stop"
Christine McVie
Buckingham with C. McVie
3:13

5.
"Go Your Own Way"
Buckingham
Buckingham
3:38

6.
"Songbird"
C. McVie
C. McVie
3:20

text:
Side two

No.
Title
Writer(s)
Lead vocals
Length

7.
"The Chain"
Buckingham, Mick Fleetwood, C. McVie, John McVie, Nicks
Buckingham with C. McVie and Nicks
4:30

8.
"You Make Loving Fun"
C. McVie
C. McVie
3:31

9.
"I Don't Want to Know"
Stevie Nicks
Nicks with Buckingham
3:15

10.
"Oh Daddy"
C. McVie
C. McVie
3:56

11.
"Gold Dust Woman"
Nicks
Nicks
4:56

text: Cassette

text: The original cassette release has a different running order, transposing "Second Hand News" and "I Don't Want to Know".

text: Silver Springs

text: "Silver Springs" (4:48), a song written by Nicks, was recorded at the same sessions and intended for inclusion on Rumours. It was eventually released as the B-side of "Go Your Own Way" and has been restored to later reissues of the album.

text: 2001 reissue

text: The DVD-Audio version of Rumours released in 2001 includes "Silver Springs" (Track 6, with "Songbird" relocated to Track 12), and short audio interviews with band members about the making of each song.

text: 2004 reissue

text: Warner Bros. released a remastered version in 2004 with "Silver Springs" between "Songbird" and "The Chain". The booklet features additional photography and detailed liner notes. Rhino Entertainment coupled this disc with a bonus disc of demos, roughs, and outtakes.

text:
[show]Disc 2: Recording Sessions, Roughs & Outtakes

No.
Title
Writer(s)
Length

1.
"Second Hand News"
Buckingham
2:55

2.
"Dreams"
Nicks
4:32

3.
"Brushes (Never Going Back Again)"
Buckingham
2:52

4.
"Don't Stop"
C. McVie
3:33

5.
"Go Your Own Way"
Buckingham
3:16

6.
"Songbird"
C. McVie
3:11

7.
"Silver Springs"
Nicks
6:08

8.
"You Make Loving Fun"
C. McVie
4:55

9.
"Gold Dust Woman #1"
Nicks
5:02

10.
"Oh Daddy"
C. McVie
4:03

11.
"Think About It"
C. McVie
3:01

12.
"Never Going Back Again"
Buckingham
1:55

13.
"Planets of the Universe"
Nicks
3:30

14.
"Butter Cookie (Keep Me There)"
C. McVie
2:47

15.
"Gold Dust Woman"
Nicks
5:00

16.
"Doesn't Anything Last"
Buckingham
1:06

17.
"Mic The Screecher"
Fleetwood
0:53

18.
"For Duster (The Blues)"
C. McVie, J. McVie, Buckingham, Fleetwood
4:47

text: 2013 reissue

text: The 2013 triple CD reissue restored the original running order of the album, instead moving "Silver Springs" to follow "Gold Dust Woman". The second CD contained live versions, recorded during their 1977 tour, of eight songs from the album and three from its predecessor, Fleetwood Mac. The third disc contained demo versions, early takes, and instrumental versions of songs from the album, but different selections from those on the 2004 reissue. A Deluxe Edition also included the second disc from the 2004 reissue, a DVD documentary, The Rosebud Film, from 1977, and the original album on 12" LP. A digital-only "Super Deluxe" version includes the second disc from the 2004 reissue as Disc 4.

text:
[show]Disc 2: Live, 1977 Rumours World Tour

No.
Title
Writer(s)
Length

1.
"Intro"

0:48

2.
"Monday Morning"
Buckingham
2:38

3.
"Dreams"
Nicks
4:07

4.
"Don't Stop"
C. McVie
3:51

5.
"The Chain"
Buckingham
5:40

6.
"Oh Daddy"
C. McVie
4:47

7.
"Rhiannon"
Nicks
7:55

8.
"Never Going Back Again"
Buckingham
2:19

9.
"Gold Dust Woman"
Nicks
7:03

10.
"World Turning"
C. McVie, Buckingham
4:03

11.
"Go Your Own Way"
Buckingham
4:54

12.
"Songbird"
C. McVie
4:00

text:
[show]Disc 3: More From The Recording Sessions

No.
Title
Writer(s)
Length

1.
"Second Hand News (Early Take)"
Buckingham
2:26

2.
"Dreams (Take 2)"
Nicks
5:35

3.
"Never Going Back Again (Acoustic Duet)"
Buckingham
2:19

4.
"Go Your Own Way (Early Take)"
Buckingham
4:04

5.
"Songbird (Demo)"
C. McVie
4:33

6.
"Songbird (Instrumental Take 10)"
C. McVie
4:23

7.
"I Don't Want To Know (Early Take)"
Nicks
3:42

8.
"Keep Me There (Instrumental)"
C. McVie
5:14

9.
"The Chain (Demo)"
C. McVie, J. McVie, Buckingham, Fleetwood, Nicks
5:29

10.
"Keep Me There (With Vocal)"
C. McVie
4:18

11.
"Gold Dust Woman (Early Take)"
Nicks
5:25

12.
"Oh Daddy (Early Take)"
McVie
3:48

13.
"Silver Springs (Early Take)"
Nicks
5:31

14.
"Planets Of The Universe (Demo)"
Nicks
4:27

15.
"Doesn't Anything Last (Acoustic Duet)"
Buckingham
1:03

16.
"Never Going Back Again (Instrumental)"
Buckingham
2:36

text:
[show]Disc 4: Recording Sessions, Roughs & Outtakes

No.
Title
Writer(s)
Length

1.
"Second Hand News"
Buckingham
2:55

2.
"Dreams"
Nicks
4:32

3.
"Brushes (Never Going Back Again)"
Buckingham
2:52

4.
"Don't Stop"
C. McVie
3:33

5.
"Go Your Own Way"
Buckingham
3:16

6.
"Songbird"
C. McVie
3:11

7.
"Silver Springs"
Nicks
6:08

8.
"You Make Loving Fun"
C. McVie
4:55

9.
"Gold Dust Woman #1"
Nicks
5:02

10.
"Oh Daddy"
C. McVie
4:03

11.
"Think About It"
C. McVie
3:01

12.
"Never Going Back Again"
Buckingham
1:55

13.
"Planets of the Universe"
Nicks
3:30

14.
"Butter Cookie (Keep Me There)"
C. McVie
2:47

15.
"Gold Dust Woman"
Nicks
5:00

16.
"Doesn't Anything Last"
Buckingham
1:06

17.
"Mic The Screecher"
Fleetwood
0:53

18.
"For Duster (The Blues)"
C. McVie, J. McVie, Buckingham, Fleetwood
4:47

text:
[show]DVD: The Rosebud Film

No.
Title
Writer(s)
Length

1.
"World Turning"
C. McVie, Buckingham

2.
"Rhiannon"
Nicks

3.
"Say You Love Me"
C. McVie

4.
"Go Your Own Way"
Buckingham

5.
"You Make Loving Fun"
C. McVie

6.
"I'm So Afraid"
Buckingham

text: Personnel[edit]

text: Adapted from the album's credits and AllMusic.[19][65]

text: Fleetwood Mac

text:
Lindsey Buckingham – guitars, dobro, percussion, vocals
Stevie Nicks – vocals
Christine McVie – keyboards, vocals
John McVie – bass guitar
Mick Fleetwood – drums, percussion, harpsichord[96]

tag: ul

text:
Production

Ken Caillat – producer, engineer
Richard Dashut – producer, engineer
Fleetwood Mac – producers
Chris Morris – assistant engineer
Ken Perry – mastering
Charlie Watts – mastering

Artwork

Desmond Strobel – design
Larry Vigon – calligraphy
Herbert W. Worthington – photography

text: Charts[edit]

text:
Chart (1977–78)
Position

Australian Kent Music Report[38]
1

Austrian Albums Chart[97]
25

Canadian RPM Albums Chart[98]
1

Dutch Albums Chart[99]
1

French SNEP Albums Chart[100]
13

Japanese Oricon LPs Chart[101]
33

New Zealand Albums Chart[70]
1

Norwegian VG-lista Albums Chart[102]
17

South African Albums Chart[75]
1

Swedish Albums Chart[103]
19

UK Albums Chart[36]
1

US Billboard 200[40]
1

US Billboard Catalog Albums[40]
1

West German Media Control Albums Chart[104]
6

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

Australia (ARIA)[105]
13× Platinum
910,000^

Canada (Music Canada)[106]
2× Diamond
2,000,000^

France (SNEP)[107]
Platinum
265,900[108]

Germany (BVMI)[109]
5× Gold
1,250,000^

Hong Kong (IFPI Hong Kong)[110]
Platinum
15,000*

Netherlands (NVPI)[111]
Gold
50,000^

New Zealand (RMNZ)[112]
13× Platinum
195,000^

South Africa (RiSA)[113]
Gold
25,000*

Spain (PROMUSICAE)[114]
Gold
50,000^

United Kingdom (BPI)[115]
11× Platinum
3,800,000[116]

United States (RIAA)[117]
2× Diamond
20,000,000^

*sales figures based on certification alone
^shipments figures based on certification alone


document_title: Dog the Bounty Hunter

question_text: who sings the theme song for dog the bounty hunter

root

text: Dog the Bounty Hunter

text: Cast[edit]

text:
Duane "Dog" Chapman
Beth Chapman, Dog's wife
Leland Chapman, Dog's son
Tim Chapman, Dog's "brother" not related
"Baby" Lyssa Rae Chapman, Dog's daughter (seasons 2–8)
Duane Lee Chapman Jr., Dog's son (season 2–8)
Cecily Barmore-Chapman, Beth's daughter
Justin Bihag (seasons 1–6), Dog's "nephew" not related
Garry Chapman, Beth's son
Bonnie Chapman, Beth's daughter

text: Unrelated Cast Members

tag: p

text:
Sonny - bounty hunter
Wesley - office manager
Moon - Beth's best friend, Justin's mom
Richie - Bounty hunter
Kaleo - Bounty Hunter

text: Production[edit]

text: The program spun off from Chapman's appearance on the show Take This Job, a program about people with unusual occupations.[1] Dog the Bounty Hunter captured an audience immediately by drawing viewers into the interaction of Chapman and his family/team, mixing street smarts, romance, arguments, teamwork, adrenaline-laced arrests and a philosophy of hope and second chances.[1]

text: Viewers are taken along as Chapman and his family/team locate and arrest people who have broken the terms of their bail agreements. Bounty hunts and arrests segue into the rides to jail, during which Chapman and his team show compassion and strongly counsel the fugitives to start over, leaving behind drugs and/or crime to become dependable members of their families and society. Rounding out most episodes are scenes featuring Dog, Beth and their large family of children, grandchildren and friends.

text: As the show progressed, viewers were taken further behind the scenes during Baby Lyssa's training as a licensed bail bondswoman and bounty hunter; Dog's capture of Andrew Luster and the ensuing arrests of Chapman, Tim and Leland in Mexico; the deaths of Beth's father (Garry Smith) and Dog's oldest daughter (Barbara Katie Chapman); Chapman and Beth's 2006 wedding; Baby Lyssa's wedding and the birth of her second child; and the shock and fear of the family after Dog, Tim and Leland were arrested by federal marshals in Hawaii to await possible extradition to Mexico.

text: Chapman and Beth freely invited viewers into their lives, sharing personal stories about Chapman's 1976 imprisonment; his ex-wives and custody battles; While Chapman was serving his sentence, his first wife LaFonda filed for divorce, and married his best friend. Chapman did field work for the prison, in addition to serving as the warden’s barber. When an inmate was attempting to escape, Chapman tackled him, which prevented the escapee from being shot at by guards. This, in addition to Chapman’s overall good behavior, led to him being paroled after only 18 months. Inspired by his tackle, Chapman decided to pursue becoming a bounty hunter once released.[3] Dog was seen in 2016 making an appearance with his wife using a cane, which is surprising for the active bounty hunter we saw for so many years.[4]

text: Season 4 hiatus[edit]

text: Production and airing of the show was halted by A&E on November 2, 2007, after an audio tape was released, featuring Duane Chapman using the word "nigger" repeatedly in a discussion about the word itself with son Tucker regarding Tucker's black girlfriend's probable sensitivity to the word. Tucker had sold the tape to the National Enquirer, and it quickly was picked up by numerous print and broadcast media outlets. This media exposure led Duane to make an apology on CNN's Larry King Live for his lack of sensitivity on the matter, and vowed to educate himself and make amends. On February 19, 2008, A&E announced that the show would return.[5] Reruns of Dog the Bounty Hunter, along with never-before-seen episodes from season 4, began airing on June 25, 2008, and the show continued, along with special episodes about the arrest and fallout from the Luster situation.

text: Season 6 shooting[edit]

text: On April 21, 2009, during filming of Season 6, Chapman was allegedly shot at with a handgun while his crew, along with bail bondsman Bobby Brown, were attempting to arrest a fugitive named Hoang Nguyen in Colorado Springs, Colorado. The suspect escaped on a motorcycle and was captured by Chapman about six hours later. This is contrary to evidence shown in the A&E airing of the episode titled "Easy Rider", on December 16, 2009. According to Chapman's website and TMZ, Nguyen was arrested and charged with attempted murder related to the shooting attempt of Chapman and the Chapman family. On May 15, 2009, the El Paso County, Colorado Assistant District attorney dropped the attempted murder charge against the alleged shooter due to lack of evidence and conflicting statements by Chapman, his son Leland, and bail bondsman Bobby Brown. The prosecutors also state that they have not received the requested video footage from the incident, which was allegedly filmed by the television crew.[citation needed] In March 2011, Nguyen filed a lawsuit against Chapman, Brown, and Chapman's sons Duane Chapman II and Leland Chapman. In the lawsuit, Nguyen claims he lost his job as a result of the incident and had to relocate. He also says he was injured by pepper pellets that were allegedly fired at him. Chapman's attorney, James A. Quadra, told Celebrity Crime Reporter the lawsuit has no basis "in law or fact".[6] The lawsuit was in mediation the first week of March 2011 with a trial date on November 28, 2011.[7]

text: Lawsuit and sons quit[edit]

text: In 2011, Leland and Duane Lee quit working with their father and stepmother and severed ties with their family.[8] The March 21, 2012 episode showed Duane Lee telling Beth "You want me fired, you gotta fire me," and then Leland weighed in, saying "I quit too."[9] In January 2012, the two brothers confirmed leaving the show.[9] Leland now operates his own bail bond company on the Big Island of Hawaii and heads Bounty Hunter Tactical Supply Co.[10] while Duane Lee moved to Florida.[10] Beth tweeted, "It will take 6 weeks to get through the whole thing tonight's jus [sic] the beginning."[9]

text: In September 2011 Bobby Brown, who appeared in 30 episodes, sued A&E Television Networks, Hybrid Films, and D&D Television Productions in Colorado federal court, claiming he was promised to be a full cast member, but received only $6,000 for his contributions.[11] The lawsuit is for "the misappropriation of his publicity rights as well as claims of breach of contract and promises.[11]

text: Music[edit]

text: Heavy metal artist Ozzy Osbourne sings the show's theme song, "Dog the Bounty Hunter". The song can be heard on Osbourne's Prince of Darkness box set. Many episodes feature at least one song from a band that is either unsigned or with an independent label, usually played during an action scene. These songs are plugged at the end of each episode, following the closing credits. Several episodes in season three and four have music from New York City-based dub reggae group Subatomic Sound System's On All Frequencies album. Featured songs include: "Criminal", "Doin' It", and "Ghetto Champion". Soulja Boy's music video for "Yahhh!" includes an impersonation of "Dog Woof Woof"

text: Series overview[edit]

text: The following summarizes the original broadcast presentation:

text:
Season No.
No. of Episodes
Start Date
End Date

1[12]
17
August 31, 2004 (2004-08-31)
January 25, 2005 (2005-01-25)

2[13]
23
April 5, 2005 (2005-04-05)
January 31, 2006 (2006-01-31)

3[14]
27
March 21, 2006 (2006-03-21)
November 28, 2006 (2006-11-28)

4[15]
20
April 10, 2007 (2007-04-10)
October 29, 2008 (2008-10-29)

5
38
February 4, 2009 (2009-02-04)
September 9, 2009 (2009-09-09)

6[16]
24
December 2, 2009 (2009-12-02)
August 11, 2010 (2010-08-11)

7[17]
21
October 6, 2010 (2010-10-06)
April 6, 2011 (2011-04-06)

8[18]
23
January 4, 2012 (2012-01-04)
June 23, 2012 (2012-06-23)

tag: table

text: All the hour-long episodes were split into two parts for broadcast syndication. Full episodes are shown on streaming sites and DVD.

text: DVD releases[edit]

text: Note that not all episodes have been released on DVD.

text:
DVD name
No.
Release date
Additional information

The Best of Season 1
7
January 25, 2005
Features Dog's episode of Take This Job, cast biographies and promos

The Best of Season 2
7
March 29, 2006
Features cast biographies and a pop-up dog hunting quiz

The Wedding Special
1
December 12, 2006
Features 5 featurettes titled:

The Drama of Dog's Wedding Ring
Dance Lessons
Shopping with Beth
The Bow Wow Vow
A Tribute to Dog & Beth

The Best of Season 3
8
February 27, 2007
Features a photo gallery

The Arrest
1
September 25, 2007

Features additional scenes.
Also Features The Special Double Episode Year of the Dog

The Best of Season 4
8
August 26, 2008

To Seize and Protect (The Best of Season 5)
8
September 8, 2009

Crime is on the Run (The Best of Season 6)
8
July 27, 2010

The Wild Ride Megaset
48
January 11, 2011
8-disc collection of previous releases: The Best of Seasons 1-6, The Wedding Special and The Arrest

This Family Means Business (The Best of Season 7, Part 1)
6
June 28, 2011

Christmas Has Gone to the Dog
2
October 18, 2011
Contains two Christmas-themed episodes, one from Season 3 and the other from Season 6

Taking It to the Streets (The Best of Season 7, Part 2)
4
June 12, 2012

text: Books[edit]

text: The television series led to a 2007 autobiographical book, You Can Run But You Can't Hide, which chronicles Chapman's years before becoming a bounty hunter and some of his more infamous hunts, including the controversial hunt that took him and his team to Mexico to capture serial rapist Andrew Luster. It also delves into his criminal past as well as his family background, imprisonment in Texas, marriages and children.[19][20] A second book, Where Mercy Is Shown, Mercy Is Given, was published in 2009. Its title reflects Chapman's overriding philosophy of second chances, which he writes about at length as he asks the public for a second chance of his own. The book largely deals with the fallout from two factors: the federal marshals' arrest and the scandal over his use of the word "nigger".

text: Parodies[edit]

text: Chapman has been parodied in live action productions:

text:
In Season 3, Episode 13 of Boston Legal, "Dumping Bella", Chapman is referred to by Alan as one of the only two people he truly admires and as such the only candidate besides Shirley herself to be his costume for the party.
In Season 3, Episode 9 of 30 Rock Jenna says "Now Dog the Bounty Hunter is the second grossest guy I've been with."
In Season 2, Episode 4 of The Eric Andre Show A lookalike of Dog is featured in the episode with an impersonator or George Clooney.

text: Chapman has also been parodied in both animation and print:

text:
In the American Dad! episode "Joint Custody", Roger dresses up as Chapman and tries to hunt down Jeff Fischer.
In the Family Guy episode "Something, Something, Something, Dark Side", Stewie calls a bounty hunter meeting and Chapman is briefly seen.
Chapman and the TV show were both parodied on Cartoon Network's television program, Mad, as "Frog the Bounty Hunter".[episode needed]
In the 2006 season South Park episode "Miss Teacher Bangs a Boy", Eric Cartman dressed up as Chapman and had a TV show filmed of himself, Beth and Chapman's familiar crew after he was made a school hall monitor.
In the Nickelodeon TV series The Mighty B!, Bessie's dog Happy dressed up as Chapman and tried to find the person who pulled the fire alarm at the Bee scouts' troophouse.
The song "Dog Catchers" on Insane Clown Posse's The Mighty Death Pop! is a diss to Dog the Bounty Hunter.
The series was parodied in the June 2007 issue of Mad magazine as Dud The Lousy Hunter.
In the Squidbillies episode "Fatal Distraction", Early Cuyler acquires a GPS system for his truck, which he attempts to use to hunt down Osama bin Laden. Cuyler briefly dresses as Chapman to pursue bin Laden before "calling it a night" and going to a strip club.
There's also an obvious parody to the "Dog" character in the Simpsons episode named "Sex, Pies and Idiot Scrapes" where a character named "Wolf, the Bounty Hunter" is hired by Lucky Jim to hunt down Gil Gunderson.
Dog and his show were referred to in a 2015 episode of Last Week Tonight with John Oliver which was satirically critical of the American bail system.


document_title: God of War (2018 video game)

question_text: who does the voice of kratos in god of war

text: God of War (2018 video game)

text: Gameplay[edit]

text: The gameplay is vastly different from the previous installments, as it was rebuilt from the ground up.[9] Although the previous main installment, Ascension (2013), introduced multiplayer to the series, this new installment is single-player-only.[5] The new installment features a third-person, over-the-shoulder free camera, a departure from the previous installments, which featured a third-person, fixed cinematic camera (with the exception of 2007's 2D side-scroller Betrayal).[10] Enemies in the game stem from Norse mythology, such as trolls, ogres, and draugrs,[11] as well as revenants, beings warped by seiðr magic.[12]

text: A major change is that Kratos no longer uses his signature double-chained blades, as he lost these at the conclusion of God of War III (2010). Instead, he uses a magical battle axe, called the Leviathan Axe,[13] which can be infused with different elemental abilities and thrown at enemies. For example, the axe can be engulfed in ice and Kratos can hurl it at an enemy and magically summon it back to his hand (similar to Thor's hammer Mjölnir). Kratos can also charge the axe and let out a burst of energy that damages nearby enemies. In gameplay, the axe has light and heavy attacks; heavy attacks allow Kratos to launch enemies into the air. Larger enemies, such as an ogre, have precision targets and throwing the axe at those targets will stun the enemy. The weapon can also be thrown at environmental objects, such as a container, to trigger an explosion that will damage nearby enemies. The Leviathan Axe can be upgraded by using runes, with one slot being for light attacks and the other for heavy. This provides players with a variety of options to cater to their own play style.[14] Another new weapon that Kratos utilizes is a shield. When not in use, it folds up and appears like armor on Kratos' left forearm. When summoned, the shield can be used offensively and defensively.[15] Kratos also utilizes hand-to-hand combat, a feature originally introduced in Ascension.[10]

text: The game is open, but it is not open-world.[9] Due to it being open, players can encounter optional boss battles, in addition to the regular story-based bosses.[16] Quick time events are not like they were in previous games.[9] Instead, enemies display two meters above their heads, one for health and the other for stun. Filling up the stun meter helps in defeating more difficult enemies. When the stun meter is full, a grab-prompt will appear. Depending on the enemy, Kratos may rip it in half, or he may grab them and throw them into other enemies, among other possible outcomes.[17] As the ability to swim was cut from the game,[18] players instead use a boat to traverse over bodies of water when necessary.[16]

text: The game features elements similar to role playing games (RPG), such as archery knowledge points, as well as a Spartan Rage timed-ability during battle, similar to the "Rage" ability of previous installments. Like the previous versions, the Rage ability has a meter that gradually fill during combat. With this ability, Kratos uses powerful bare-handed attacks, as opposed to weapons, to greatly damage enemies.[10][19] There are also crafting resources for the player to find.[20] These resources allow players to create new armor or upgrades to existing armor. Throughout the game world, players can find chests with an item called Hacksilver, which is a key component in creating new items. Experience points (XP) are also required for upgrades and making new items.[19]

text: Although the game is played entirely as Kratos,[21] there are times when the player may choose to passively control Kratos' son, Atreus. One button is dedicated to Atreus and its use depends on the context. For example, if the player needs assistance, they can look at an enemy, press the button, and Atreus will use his bow to shoot arrows at the enemy.[6] The arrows have little affect on an enemy's health, but they do increase their stun meter.[17] Over the course of the game, Atreus helps in combat, traversal, exploration, and puzzle-solving. When facing a large number of enemies, he freely acts as a distraction for the weaker ones as Kratos fights the stronger ones.[20] If too many enemies gang up on Atreus, he is knocked out for the remainder of that combat. Just like Kratos, Atreus acquires new skills, armor, and special abilities, such as lightning arrows.[22]

text: Synopsis[edit]

text: Setting[edit]

text: While the first seven games were loosely based on Greek mythology, this new installment will be based on Norse mythology. Barlog explained the transition: "it's kind of this BC–AD change over kind of thing. We're moving and starting from zero and kind of moving forward on that."[23][21] Before settling on Norse mythology, Egyptian mythology was also considered. Barlog said that half of the team was for it, but since "there's a lot more about civilization - it's less isolated, less barren", they decided on the Norse setting because they wanted the focus to stay on Kratos: "Having too much around distracts from that central theme of a stranger in a strange land."[24] In explaining why Kratos is now in the Norse world, Barlog said that different cultures' belief systems coexisted, but they were "separated by geography", suggesting that Kratos traveled from Greece to Norway (Scandinavia) after the conclusion of God of War III.[25] Barlog also confirmed that this game predates the Vikings; it is the time in which their gods walked the Earth.[6][24] Throughout the game, players will be able to visit some of the nine realms of Norse mythology.[23]

text: Plot[edit]

text: Many years have passed since Kratos took his vengeance against the Olympian gods. Having survived his final encounter with his father Zeus, Kratos now lives with his young son Atreus in the world of the Norse gods, a savage land inhabited by many ferocious monsters and warriors. In order to teach his son how to survive in such a world, Kratos must master the rage that has driven him for many years and embrace his newfound role as a father and mentor. Kratos must also contend with the Norse gods themselves as they are taking precautions against him, due to them being aware of his role in the destruction of Olympus. Over the course of their time together, Atreus learns more about his father's complicated and shady past, while struggling with whether to be like his father or choose to be his own person.

text: Development[edit]

text: At the first annual PlayStation Experience on December 6, 2014, Santa Monica Studios's creative director Cory Barlog confirmed that a new God of War was in very early development. He said that the game would not be a prequel, but it might be a reboot.[26] In April 2016, Polygon reported that concept art of the next installment had been leaked. The images showed Kratos in the world of Norse mythology; a concept originally considered by series creator David Jaffe after Kratos eliminated the Greek gods.[27] At the 2016 Electronic Entertainment Expo (E3), the next installment was officially announced with a gameplay demo and confirmed the concept art to be true. The demo showed a fully bearded Kratos with a son, and Kratos was teaching the boy how to hunt. The pair also battled a troll. The end of the demo showed the title God of War and confirmed it was in development for the PlayStation 4.[10][2] E3 also confirmed that Barlog had returned to the series as game director for the new installment. Barlog has been a major contributor in the development of the God of War series since the original installment in 2005, with his prior most notable role being game director of God of War II (2007). This new installment is his fifth God of War game that he has worked on.[6]

text: In naming the game, Barlog stated that it was deliberately titled God of War with no numeral or subtitle because although it is a continuation of the series, "we are reimagining everything."[23][21] Head of Santa Monica Studio Shannon Studstill and Barlog said that Sony Interactive Entertainment had to be convinced to do another God of War game as a lot of people at Sony wanted the series to "sleep and rest" due to the lackluster response of the previous game, Ascension.[28] In explaining why Barlog was brought back, Studstill said that he knew the series very well, "and bringing in someone that understands that history is the respect the franchise deserves."[18] Barlog followed up and said that "You gotta know the rules to break the rules."[18] Series creator David Jaffe was also considered, but was unavailable.[29]

text: Most of the development team that worked on the original God of War is working on the new installment.[23] They claimed that they matched the new gameplay with the same level of accessibility as the previous installments.[9] It was confirmed that the game would not feature any morality system or branching story; all players have the same story experience. The developers also confirmed that some of the more controversial mini-games found in previous entries (such as the sex mini-game) would not return.[23] Some gameplay characteristics found in the previous installments were cut, such as jumping, swimming, and instant-death platforming challenges; these were cut due to the camera being closer to Kratos.[18] Although the previous installment, Ascension, introduced multiplayer to the series, the team decided to drop the mode to focus on the single-player experience.[7] In changing the gameplay, Studstill said "I felt like, in order to reinvent, we really needed to turn a lot of things around."[30] In regards to the camera change, Barlog said "We wanted a much more intimate experience, a much more up close, and a much more player-controlled experience, so the camera really is a mechanic that [we leaned] into heavily for everything in the game."[9] Explaining Kratos' axe, lead gameplay designer Jason McDonald, who has worked on the series since the original game, said the axe was chosen because they wanted a more grounded direction for the game. Initially, they were unsure how to make it unique, like how the double-chained blades were. After they came up with the concept of throwing the axe and having it return to Kratos, "things started to fall into place."[31] McDonald said that combat with the axe is a little slower than what it was with the blades, "but it's just as fluid and just as brutal as it's ever been."[31]

text: The entire game was done in a single shot, as in no camera cuts, meaning there are no loading screens or fade-to-black between gameplay and cutscenes.[20] The frame rate was confirmed as 30 frames per second,[5] and the enemy count was increased to up to 100 enemies on-screen; God of War III and Ascension could do up to 50.[23] Unlike the previous games, Santa Monica did not make a demo specifically for public release. Barlog explained that doing so would have delayed the game by a couple of months.[32] He also confirmed that the game was built for the standard PlayStation 4,[32] but the game would "benefit from the power" of the PlayStation 4 Pro; an updated version of the PlayStation 4 that can render games in 4K and was released a few months after God of War was announced.[33] In late December 2016, Barlog confirmed that the game was playable from start to finish.[34] At the 2017 PlayStation Experience, Barlog said that the game's story would take 25-35 hours to complete, which is significantly more than the previous four main installments, which each took an average of 10 hours to complete.[8]

text: At E3 2017, a new trailer was shown featuring new gameplay, cinematics, and characters. In the trailer, Kratos was shown using a shield that he could use offensively and defensively. At one point in the trailer, Kratos finds a Greek vase with himself on it, wielding his infamous double-chained blades. During the trailer, an unnamed woman warns Kratos about the Norse gods, as they know what he did to the Greek gods, while a pair of wolves were also shown. The trailer ends with Kratos and Atreus encountering the World Serpent. Atreus was able to translate what it said, which was that it wanted to help the pair. It was confirmed that the game would release in early 2018.[15] Since E3 2017, Santa Monica has included a section on the God of War website titled "The Lost Pages", detailing some of the lore of the new God of War world. In one section, it was revealed that Kratos' magical axe is called the Leviathan Axe and was forged by the Dwarvin brothers, Brok and Sindri, whose weapons were used by the Æsir gods.[13] Barlog said that the Leviathan Axe has a deep rooted history and connection with the characters; it is connected to both Atreus and his mother.[23] In January 2018, the game's release date was confirmed for April 20, 2018. A trailer was also released that showed that the character Mímir from the mythology would have a role in the game. Similar to the mythology, Kratos will carry around Mímir's head and it will talk to Kratos.[35] On March 22, God of War went gold.[36]

text: Characterization[edit]

text: During early development, there was talk about having a different protagonist for the game, but it was decided to keep Kratos. Referencing the Nintendo character Mario and the Mario games, Barlog said that just like Mario, "Kratos is intrinsically tied" to the God of War series.[6] In regards to the new changes, Barlog said that:

text: I knew I didn’t want to simply reboot the franchise, starting over with a retelling of the origin story. I wanted to reimagine the gameplay, give players a fresh perspective and a new tactile experience while delving deeper into the emotional journey of Kratos to explore the compelling drama that unfolds when an immortal demigod makes a decision to change.

text: Barlog explained that Kratos had to change his cycle of violence and learn how to control his rage. He said that Kratos had made many bad decisions, which led to the destruction of Olympus, and wanted to know what would happen if Kratos made a good decision. The birth of Barlog's own son influenced the idea of Kratos' character change.[37] The canceled live-action Star Wars television series was also an influence.[38] The bond between Kratos and his son is at the heart of the game and Barlog said "This game is about Kratos teaching his son how to be a god, and his son teaching Kratos how to be human again."[20] Referencing the Marvel Comics character Hulk, Barlog said that in regards to Kratos, "We've already told the story of The Hulk. We want to tell the story of [Bruce] Banner now."[20] One of their goals was to make Kratos "a more nuanced and interesting character."[39] In changing the narrative focus, Studstill said "I think we inherently knew the franchise needed to evolve in that emotional beat and be something meatier for the older generation of gamers."[39]

text: Christopher Judge, best known as Teal'c from Stargate SG-1, replaces T.C. Carson as the voice of Kratos; Carson had voiced Kratos since the original God of War. Commenting in response to the change, Carson said, "Sony went in a new direction."[40] Barlog explained that the way the previous games were made, they were able to have someone else do the motion capture instead of the voice actor. Although Carson had done the motion capture for Kratos in Ascension, Barlog said the actor change was made because of the type of camera work they wanted to do. The new camera work required the voice actor to also do the motion capture for their character, and they needed someone who was closer to Kratos' size to do the motion capture along with a child. Carson was unsuitable for this because he was much shorter than Kratos, who is over 6-feet tall: "Offsetting [Carson's height] for the size of a child, it turned out it was going to be almost impossible to try and actually shoot them and go in and redo the animations."[41] Judge was chosen because he was 6-foot-3 and had the body of a professional football player. He was also chosen because of the chemistry with his then-10-year-old co-star, Sunny Suljic, who plays Kratos' son Atreus; Suljic's opinion was also sought in making the decision, and out of all the auditions, he liked Judge the most. The two bonded well, and Judge described his time with Suljic as time he had missed with his own children. In stepping into the role of Kratos, Judge took it as an opportunity to add something new to the character. He researched the character and Carson's performance, but decided not to imitate it. Since Santa Monica were going in a new direction, he decided to start with a blank slate and go from there. Judge was thrown off when he first read the script, stating it "was a real script", and not just "a way to get into battles."[41] He said "it was really this great story of this relationship and this crazy mythology."[41]

text: During E3 2016, GameSpot mistakenly reported that Kratos' son's name was Charlie, which Barlog laughingly denied.[42] In January 2017, after a fan downloaded the God of War overture and saw the track's details that said "An introduction to Kratos and Atreus", Barlog confirmed on Twitter that Atreus was in fact the son's name.[43] Barlog said that Atreus was aware that Kratos was a demigod, but did not know about his past.[5] In regards to Atreus' mother, Barlog said they were not talking about her yet, as she is a critical part of the story.[23] Barlog stated that during gameplay, Atreus would be "like magic, an additional combat resource, and [the player is] training him and teaching him."[6] The developers stated that Atreus would not be a burden during gameplay.[13] The team experimented with several different approaches for Atreus to ensure that he was an empowering presence. Barlog said he did not want the game to be an escort-mission where the A.I. caused a problem for the player. Their goal was for Atreus to enhance Kratos' capabilities without Atreus becoming a liability. This resulted in the developers designating a command button for Atreus as well as for him to act freely.[17] During combat, Atreus was also designed to call out enemy locations, as due to the camera being closer to Kratos, some enemies may be difficult for the player to see. Jason McDonald said it took a lot of iterations with the enemies and Atreus to make it all work together.[31]

text: Release[edit]

text: The game is scheduled for release on April 20, 2018 for the PlayStation 4.[35] In addition to the standard base game, there will be three special editions: the Stone Mason Edition, the Collector's Edition, and the Digital Deluxe Edition. Only available in the United States and Canada, the Stone Mason Edition comes with several physical items, including the base game in a SteelBook case, a 9-inch (230 mm) statue of Kratos and Atreus that was created by Gentle Giant, 2-inch (51 mm) carvings of the Huldra Brothers, a horse, and a troll, an exclusive lithograph, a cloth map, a stone mason's ring, and a keychain of Mímir's head that talks. There is also various downloadable content (DLC), including an exclusive shield skin, in addition to an armor set and another shield skin for Kratos, a PlayStation 4 dynamic theme, a digital artbook, and God of War #0 by Dark Horse Comics.[44] The Collector's Edition comes with many of the same items, minus the ring, the keychain, the 2-inch (51 mm) carvings of the horse and troll, and the Stone Mason Edition's exclusive shield skin. The Digital Deluxe Edition comes with all of the digital content, minus the Stone Mason Edition's exclusive shield skin. U.S. and Canadian customers also receive a Kratos and Atreus pin for pre-ordering the Digital Deluxe Edition. Pre-orders at select retailers will receive three skins for Kratos' shield, while pre-orders from GameStop or EB Games will also receive a "Luck of Ages XP Talisman", granting increased XP gain, increased Hacksilver gain, and increased ability to trigger Perks.[45]

text: In addition to the special editions of the game, a Limited Edition PlayStation 4 Pro bundle will also be available the same day as the game. The bundle includes the standard base game, a PlayStation 4 Pro console decorated with the runes as on Kratos' axe, and a similarly themed DualShock 4 controller with the God of War logo.[46] Game Director Cory Barlog confirmed that God of War would not have microtransactions post-launch, a feature that has become prominent with other recent games and negatively criticized.[47]

text: God of War: A Call from the Wilds[edit]

text: God of War: A Call from the Wilds is a text-based game playable through Facebook Messenger. To help further promote God of War, Sony partnered with Facebook to develop the play-by-web game, which released on February 1, 2018. Completing the game unlocks downloadable concept art. The short story follows Atreus on his first adventure in the Norse wilds. After archery training and learning runes with his mother, Atreus adventures into the wilderness after telepathically hearing the voice of a dying deer; he finds it covered in blood and stays with it during its final moments. A couple of draugrs appear and Atreus attempts to fight them, but is injured. He is saved by his father, Kratos, who was out hunting. The two then battle a revenant before returning home.[48][49][50]

text: Soundtrack[edit]

text: Bear McCreary, best known for his work on television shows such as Battlestar Galactica and The Walking Dead, is scoring God of War, composing all-new themes for the game. McCreary said that he was called into Santa Monica Studio in November 2014 to meet with music producers Pete Scaturro and Keith Leary to discuss "a secret project"; McCreary had previously collaborated with Scaturro and Leary on 2011's SOCOM 4: U.S. Navy SEALs. Ideas of folk music, mythology, Nordic ethnic instruments, vocal writing, and classical thematic development were discussed, to which McCreary correctly guessed that the discussions were about a new God of War. He met with Barlog early on, and they discussed Barlog's narrative vision for the game. After meeting with Barlog, he felt that the franchise was in good hands because God of War II, which Barlog also directed, was his favorite installment.[51]

text: McCreary's initial efforts focused on writing the new main theme, or what he called the Kratos Theme. He spent several months working with Barlog, Scaturro, Leary, Sony music director Chuck Doud, and the rest of the development team in making this new theme. McCreary described the Kratos Theme as "arguably one of my most structurally satisfying and catchy melodies." The main theme features low orchestral instruments, Icelandic choir, deep male vocals, powerful female vocals (in particular Faroese singer Eivør Pálsdóttir), folk percussion, and Nordic stringed instruments, such as the nyckelharpa and hurdy gurdy. When it was decided that God of War would be revealed at E3 2016, Sony wanted McCreary to perform his original score with a live orchestra at the press conference. McCreary opened the show with the new main theme before the unveiling of God of War, and performed the gameplay demo's music live during the presentation.[51] On January 13, 2017, a live recording from E3 2016 of God of War's overture was released for free for a limited time. Barlog released the overture as a thank you to fans for God of War's E3 2016 trailer reaching fifteen million views on YouTube.[52]

text: Reception[edit]

text: Pre-release[edit]

text: God of War's E3 2016 impressions were positive. Marty Sliva of IGN said that although the original trilogy are three of the most influential action games of the past fifteen years, he was never able to connect with the series, mainly because of Kratos. The developing relationship between Kratos and his son and the more intimate experience of the new installment, based on the E3 2016 demo, changed Sliva's attitude and made him care for the series.[20] Peter Brown of GameSpot said that changing the camera was a "smart move" and a change he was hoping for; "it's super impressive." He said the intimate moment between Kratos and his son killing the deer "inspired emotion from me," a feeling that was not evoked with the previous installments. Alexa Ray Corriea, also of GameSpot, was also glad that there is no fixed camera and that players can explore the world.[53] Steve Watts of Shacknews noted that like recent games, it has a theme of parenthood, and that "it's a more thoughtful premise than we've seen from the series, and it allows for narrative possibilities more complex than a deific murder spree."[54]

text: Accolades[edit]

text:
Year
Award
Category
Result
Ref

2016
Game Critics Awards 2016
Special Commendation for Graphics
Won
[55]

IGN's Best of E3 2016 Awards
Game of the Show
Nominated
[56]

Best PlayStation 4 Game
Nominated

Best Action Game
Nominated

The Game Awards 2016
Most Anticipated Game
Nominated
[57]

2017
The Game Awards 2017
Most Anticipated Game
Nominated
[58]


document_title: Jumanji: Welcome to the Jungle

question_text: when does the movie jumanji welcome to the jungle come out

text: Jumanji: Welcome to the Jungle

text: Plot[edit]

text: In 1996 in Brantford, New Hampshire, teenager Alex Vreeke receives the Jumanji board game which was found by his father on a beach after it was thrown over a bridge by Alan Parrish and Sarah Whittle 27 years earlier. Alex sets the game aside. That night, it transforms into a video game cartridge which catches Alex's attention when he is awakened by the Jumanji drums and he is transported into the game.

text: Twenty years later, in 2016, four Brantford High School students serve detention: Spencer Gilpin, caught writing an essay for former friend Anthony "Fridge" Johnson (also in detention); Bethany Walker, who made a video call during an English-class quiz and Martha Kaply, who refused to participate in gym class. They are sent to the school basement to prepare magazines for recycling and to think about their future. Fridge discovers Alex's discarded video-game system when he explores the basement, and he and Spencer set up the game. Although it has five playable characters, the first one cannot be selected. Spencer and Fridge choose two characters, and the girls choose their own. When Spencer presses "Start", they are transported into the game.

text: They are in a jungle, in the forms of their game avatars. Spencer is tough, muscular explorer and archaeologist Smolder Bravestone; Fridge is diminutive zoologist Franklin "Mouse" Finbar, whom he chose after misreading "Mouse" as "Moose"; Bethany is chubby male cartographer and intellectual Sheldon "Shelly" Oberon (whose nickname she mistook for a woman's), and Martha is beautiful commando and martial arts expert Ruby Roundhouse. They each have three lives; Spencer thinks that if they lose all three, they really die.

text: They learn the game's story from NPC Nigel: Corrupt Russel Van Pelt stole the Jaguar's Eye (a magic jewel), cursing Jumanji. Nigel escaped Van Pelt with the jewel, and the players must return it to a jaguar statue and call "Jumanji" to lift the curse. Nigel warns them that Van Pelt will stop at nothing to retrieve the jewel, which gives him control of Jumanji's animals. They begin tackling the game's increasingly-difficult "levels", losing lives as they do so. The four are rescued by Alex (the missing fifth player, whose avatar is pilot Jefferson "Seaplane" McDonough). Taking shelter in a jungle house built by Alan Parrish, Alex believes that he has been in the game for a few months and is distressed to learn that it is really twenty years. The newcomers vow to help him return home. They break into a transportation shed, commandeering a helicopter to fly to the jaguar statue and return the jewel, but Fridge drops the jewel into a herd of white rhinoceros. Spencer uses one of Fridge's lives, pushing him out of the helicopter as a distraction, and retrieves the jewel. Alex loses his last life when a mosquito bites him, but Bethany performs CPR and transfers one of her lives to him.

text: At the statue, the players are surrounded by a pack of jaguars and Van Pelt's forces. They outmaneuver their opposition while Spencer and Martha race to the statue. Van Pelt confronts Martha (trapped in a pit of venomous snakes) and demands the jewel, but she sacrifices one of her lives to re-spawn and get it to Spencer. With the players on their last lives, they end the game with Van Pelt disintegrating into a bunch of rats and return to the real world; Nigel bids them farewell, but Alex does not appear with them. They find the formerly-dilapidated Vreeke home restored and decorated for a Christmas family gathering. An adult Alex arrives, returning to where he left off in 1996. Now married with children, he named his eldest daughter after Bethany out of gratitude for saving his life and introduces them to his infant son, Andy.

text: Spencer and Fridge reconcile, Bethany begins caring for others than herself and plans a summer backpacking adventure, Martha and Spencer become romantically involved and the four are now friends after their experiences in the game. When they hear Jumanji's drumbeats, they bring the game behind the school and Fridge destroys it with a bowling ball (found in detention) to prevent anyone from playing it again.

text: Cast[edit]

text:
Dwayne Johnson as Dr. Smolder Bravestone, an Indiana Jones-like archaeologist and explorer who is Spencer's avatar. Bravestone's strengths are stamina, courage, reflexes, climbing, smoldering intensity, and boomerang throwing. Being the archetypically masculine, intelligent, and courageous video game hero of the story, he apparently has no weaknesses. He is credited as "Spencer".

Alex Wolff as Spencer Gilpin, a nerdy gamer at Brantford High School who goes to detention with Fridge, Martha, and Bethany, for writing Fridge's homework for him. Spencer is panphobic; he fears everything or nothing. His experience as Smolder Bravestone helps him cope with his anxiety and becomes assertive. He later becomes Martha's love interest. He is credited as "Young Spencer".

Jack Black as Professor Sheldon "Shelly" Oberon, a cartographer, cryptographer, archaeologist, and paleontologist who is Bethany's avatar after mistaking the character's presented name ("Shelly") for that of a woman and calling him, "the curvy genius." Though Oberon's strengths are his fields of his expertise, because of his state of being as an "overweight, middle-aged man", Oberon lacks endurance. He/she is credited as "Bethany".

Madison Iseman as Bethany Walker, a pretty and popular yet narcissistic and self-centered teenage girl at Brantford High School who goes to detention with Spencer, Fridge, and Martha, after talking on her phone during a quiz and displaying an arrogant contempt towards her class in the process. Her experience in the game changes her for the better, becoming apathetic with her smartphone, friendly, and seeks exciting interests. She is credited as "Young Bethany".

Kevin Hart as Franklin "Mouse" Finbar, a zoologist and weapons specialist whom Fridge chose as his avatar due to the character's nickname being misread as "Moose" due to the game's font. Finbar's status as weapons specialist makes him Bravestone's weapon valet, having everything Bravestone needs in his signature backpack. He is nicknamed "Mouse" for his short stature; though this degrades him of speed and strength, he uses his nickname to rendezvous with the others in the climax of the film on the back of an elephant that was charging at him earlier. Cake makes him explode, making it another weakness. He credited as "Fridge".

Ser'Darius Blain as Anthony "Fridge" Johnson, a Brantford High School football jock who lacks confidence to succeed academically, namely because he cares more with dating than studying. He is kicked off the football team and sent to detention for having Spencer write his essays for him; he is the one who discovers the Jumanji video game, as well as the bowling ball he uses to destroy it. Because of his avatar is highly intelligent, Fridge gains confidence from being Finbar to succeed intellectually. He is credited as "Young Fridge".

Karen Gillan as Ruby Roundhouse, a Lara Croft-like commando, martial artist, and dance fighter who is Martha's avatar (after Martha was peer-pressured into playing with the others). Roundhouse is proficient in karate, t'ai chi, aikido and dance fighting and is reputed as "killer of men" because of both her skills and attractiveness. Similar to Bravestone, Roundhouse is the archetypically intelligent, athletic, beautiful, and scantily clad video game heroine of the story, with her only weakness being venom, such as that found in various animals and vegetation in the game. She is credited as "Martha".

Morgan Turner as Martha Kaply, a teenage girl at Brantford High School who goes to detention with Spencer, Fridge, and Bethany, for objecting to physical education class and disregarding her teacher. She later becomes Spencer's love-interest and gains appreciation with physical fitness after her experience as Ruby Roundhouse. She is credited as "Young Martha".

Nick Jonas as Jefferson "Seaplane" McDonough, Alex Vreeke's avatar. McDonough is a mysterious guide, adventurer, and pilot in the game, who waits for and joins the other avatars as they attempt to escape Jumanji. McDonough's strengths are piloting and making margaritas that "Mouse"/"Fridge" takes a liking to. His only weakness is mosquito bites, which is bad for him and all the more ironic since the jungle, being a tropical one, is teeming with mosquitoes. He is credited as "Alex".[8] During his twenty-year absence, only a few months have passed for him in the game world; and in the meantime, he lives in a treehouse built and once occupied by Alan Parrish (portrayed by Robin Williams and Adam Hann-Byrd in the 1995 film Jumanji).

Mason Guccione as Alex Vreeke, a teenage boy who played, and was trapped inside, the Jumanji video game for 20 years. He is credited as "Young Alex". Colin Hanks portrays adult Alex Vreeke after he returns to 1996 and appears 20 years later, changing history as a result. Out of gratitude for Bethany saving his life, he named his eldest daughter after her.

text: Jumanji[edit]

text:
Bobby Cannavale as Professor Russel Van Pelt, a corrupt explorer once partnered with Dr. Smolder Bravestone. He seeks to regain the "Jaguar's Eye", whose power he is demonically possessed by. He is the boss of the film's game scenario, despite acting more like a classical kingpin; Jonathan Hyde played a different variant of the character in the original film.
NPCs in the game include:

Rhys Darby as Nigel Billingsley, the main NPC guide in the game.
William Tokarsky as an NPC food trader at the place of his name in the credits: Bread/Cake vendor.
Rohan Chand as the boy at Bazaar, a young NPC guide who leads Spencer, Fridge, Martha, and Bethany to the black mamba's basket, which has the next clue.

text: Reality[edit]

text:
Marc Evan Jackson as Principal Bentley, the principal who makes Spencer, Bethany, Fridge, and Martha clean up the basement as part of their detention.
Sean Buxton as Alex's Father / Jogger, who discovered the Jumanji game

Tim Matheson as Older Alex's Father (Old Man Vreeke, uncredited); his dialogues in the beginning of the film implies that he had witnessed his son being teleported to the game and was traumatized since. After Alex's return to 1996 alters history, he is shown to be a happy family man and grandfather.

Maribeth Monroe as Bethany Walker's English teacher
Missi Pyle as Coach Webb, Martha Kaply's physical education (PE) instructor

text: Production[edit]

text: Development[edit]

text: In July 2012, rumors emerged that a remake of the film Jumanji was being developed. In an interview with The Hollywood Reporter, Columbia Pictures president Doug Belgrad said: "We're going to try and reimagine Jumanji and update it for the present."[9] On August 1, 2012, it was confirmed that Matthew Tolmach would produce the new version, alongside William Teitler, who produced the original film.[10]

text: In August 2015, Sony Pictures Entertainment announced that they had scheduled the film for a December 25, 2016 release.[11] Internet reception to this was negative, with some posters remarking that the announcement came too soon after the death of Robin Williams, who portrayed Alan Parrish from the original film, and had died in August 2014.[12][13] The news was heavily criticized by Bradley Pierce, who played Peter Shepherd in the original Jumanji, as well as by E! News, which stated that they felt that the remake was "unnecessary and kind of insulting".[14][15] On October 23, 2015, Scott Rosenberg was hired to rewrite the script for the film, whose production was a high priority for the studio.[16] On January 14, 2016, Deadline reported that Jake Kasdan had been hired to direct, from a script by Rosenberg and Jeff Pinkner, based on a draft by original writers Chris McKenna and Erik Sommers.[17]

text: On April 15, 2016, Variety reported that Dwayne Johnson and Kevin Hart were in early talks to star in the film, though both actors had other projects to shoot, which might have created schedule conflicts.[18] Later in April, Johnson confirmed his casting through his Instagram account.[19] In July 2016, it was reported that Nick Jonas had joined the film's cast, along with the confirmed casting of Johnson, Hart, and Jack Black.[20] In August 2016, Johnson clarified that the film would not be a reboot, but a continuation of the 1995 film,[21] while Karen Gillan was also announced as having been cast.[22] On September 20, 2016, Ser'Darius Blain and Madison Iseman were cast in the film, with Blain playing Anthony "Fridge" Johnson and Iseman playing Bethany Walker. Following them, on September 22, 2016, Rhys Darby, Morgan Turner, and Alex Wolff joined the cast, with Darby playing Nigel Billingsley, Turner playing Martha Kaply, and Wolff playing Spencer Gilpin.[23][24][25] In November 2016, Bobby Cannavale announced his casting in the film,[26] and in December 2016, Tim Matheson also joined the cast, playing Old Man Vreeke.[27]

text: James Newton Howard was originally attached to compose the film's score;[28] after the film's release date was pushed back half a year, he was replaced by Henry Jackman.[1]

text: In March 2017, during CinemaCon, it was announced that the complete title of the film is Jumanji: Welcome to the Jungle. The plot was revealed to involve teenagers cleaning out a school's basement who find a vintage video game version of Jumanji, and get sucked into the jungle setting of the first film. While many fans theorized whether the film was a sequel or a reboot, the second trailer, which was released on September 20, 2017, revealed that the film takes place over twenty-one years after the events of the first.

text: Filming[edit]

text: Principal photography began on September 19, 2016, in Honolulu, Hawaii,[18][29] primarily taking place in the Kualoa Ranch private nature reserve.[30] The film was then wrapped on December 8, 2016, in Atlanta, Georgia.[31]

text: Release[edit]

text: In August 2015, Sony set the film a release date of December 25, 2016.[32] As filming did not start until September 2016, the release was pushed back a year to July 28, 2017, and then to December 20, 2017.[2]

text: On November 29, 2017, it was announced Amazon Prime members in the United States would have early access to movie tickets for a single December 8, 2017, screening of the film, at select Regal, National Amusements, ArcLight Cinemas and AMC theaters.[33] The screenings ended up selling out at 1,200 theaters and making $1.9 million.[34] The film was released in IMAX 2D on January 12, 2018, for its first time in IMAX in the United States.

text: Home media[edit]

text: Jumanji: Welcome to the Jungle was released on Digital HD March 6, 2018 and on DVD, Blu-ray and 4K Ultra HD Blu-ray March 20, 2018 despite the film was still in theatres. The Blu-ray and digital versions include two additional featurettes: “Surviving the Jungle: Spectacular Stunts!” and “Book to Board Game to Big Screen & Beyond! Celebrating The Legacy of Jumanji.”[35]

text: Reception[edit]

text: Box office[edit]

text: As of April 8, 2018[update], Jumanji: Welcome to the Jungle has grossed $403.7 million in the United States and Canada and $547.1 million in other territories for a worldwide total of $950.7 million.[4] Deadline Hollywood calculated the net profit of the film to be $305.7 million, when factoring together all expenses and revenues, making it the 4th most profitable release of 2017.[36]

text: In the United States and Canada, the film was released on December 20, 2017 alongside The Greatest Showman and was projected to gross around $60 million from 3,765 theaters in its six-day opening weekend with the studio predicting a more conservative $45 million debut.[37][38] The film took in $7.2 million on its first day and $7.6 million on its second day. Over the three-day weekend, the film grossed $36.2 million (for a six-day total of $71.9 million), finishing second at the box office behind Star Wars: The Last Jedi.[5] During its second weekend, the film increased to $50.1 million, again finishing in second place at the box office.[39] The weekend-to-weekend increase of 38.4% marked the fourth-largest-ever for a film playing in over 3,000 theaters; fellow 2017 Christmas release The Greatest Showman coincidentally set the record for best hold the same weekend.[40][41] The film dethroned Star Wars: The Last Jedi for the top spot the following weekend, declining just 28.1% to $36 million[42] and finished first again the following week with $28.1 million (and a total of $35.2 million over the four-day MLK weekend).[43] Jumanji: Welcome to the Jungle also remained at the top of the box office for its third weekend with $19.5 million.[44]

text: Jumanji: Welcome to the Jungle again topped the charts the following week with $20 million, despite two new releases in 12 Strong and Den of Thieves.[45] The following week it continued to hold well, dropping just 16% to $16.4 million, albeit finished second behind newcomer Maze Runner: The Death Cure,[46] and would regain the top spot once again the following weekend with $11.1 million to The Death Cure's $10.6 million.[47]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 76% based on 184 reviews, and an average rating of 6.1/10. The website's critical consensus reads, "Jumanji: Welcome to the Jungle uses a charming cast and a humorous twist to offer an undemanding yet solidly entertaining update on its source material."[48] On Metacritic, which assigns a weighted average, the film has a normalized score of 58 out of 100, based on 44 critics, indicating "mixed or average reviews."[49] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while comScore reported filmgoers gave it an 84% overall positive score.[5]

text: Dave White of TheWrap praised the cast and called the film a pleasant surprise saying "Jumanji: Welcome to The Jungle is the Christmas tentpole release that aims to please and succeeds, a funny family entertainment product that subverts more expectations than it was obligated to contractually".[50] David Ehrlich of IndieWire gave the film a "C" and called it unnecessary but mildly amusing: "Jumanji: Welcome to the Jungle is further proof that even the stalest whiff of brand recognition has become preferable to originality. Only part of the blame for that belongs to the studios but after cannibalizing themselves for much of the last 20 years, Hollywood has clearly eaten their way down to the crumbs".[51]

text: Writing for Variety, Owen Gleiberman was critical of the film saying "Excitement! Suspense! Childlike innocence! Ingeniously staged action set pieces! These are a few of the things you will not find, anywhere, in Jumanji: Welcome to the Jungle ... It's supposed to be a board game come to life but really, it's just a bored game."[52]

text: Accolades[edit]

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

Kids Choice Awards
March 2018
Kids Choice Awards for Favorite Movie
Jumanji: Welcome to the Jungle
Won
[53]

Kids Choice Awards for Favorite Actor
Dwayne Johnson
Won

Kevin Hart
Nominated

Saturn Awards
June 2018
Best Fantasy Film
Jumanji: Welcome to the Jungle
Pending
[54]

text: Sequel[edit]

text: Dwayne Johnson, Jack Black and Nick Jonas discussed in interviews what Jumanji 3 could be about, including the possibility of the film exploring the origins of the titular game. Karen Gillan has also said that the alternate ending for Jumanji: Welcome to the Jungle would have left the door open for another installment.[55][56][57][58] In February 2018, it was announced that Kasdan would return to direct the sequel, with Rosenberg and Pinkner again writing the script and Johnson, Hart, Black and Gillan also reprising their roles.[59]