document_title: Drive-in theater

question_text: what was the first movie shown at a drive-in theatre

text: Drive-in theater

text: History[edit]

text: A partial drive-in theater – Theatre de Guadalupe – was opened in Las Cruces, New Mexico, on April 23, 1915:

text: Seven hundred people may be comfortably seated in the auditorium. Automobile entrances and places for 40 or more cars within the theater grounds and in-line position to see the pictures and witness all performances on the stage is a feature of the place that will please car owners.[1]

text: The first movie shown by the Theatre de Guadalupe was Bags of Gold, produced by Siegmund Lubin. Theatre de Guadalupe soon was renamed De Lux Theater before closing in July 1916.[2]

text: In 1921, a drive-in was opened by Claude V. Caver in Comanche, Texas. Caver obtained a permit from the city to project films downtown. With cars parked bumper-to-bumper, patrons witnessed the screening of silent films from their vehicles.[3] In the 1920s, "outdoor movies" became a popular summer entertainment, but relatively few "drive-in" experiments were made due to logistical difficulties.

text: The drive-in theater was patented in Camden, New Jersey by chemical company magnate Richard M. Hollingshead, Jr.,[4] whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could have a clear view of the screen. Hollingshead applied for a patent of his invention on August 6, 1932, and he was given U.S. Patent 1,909,537 on May 16, 1933.[5]

text: Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard in Pennsauken Township,[6] a short distance from Cooper River Park. Rosemont Avenue now runs through the prior location.[7][8] It offered 400 slots[8] and a 40 by 50 ft (12 by 15 m) screen.[9][10] He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are."[11] The first film shown was the Adolphe Menjou film Wife Beware.[9][12][13] Failing to make a profit, Hollingshead sold the theater after three years to a Union, New Jersey theater owner who moved the infrastructure to that city, but the concept caught on nationwide.[14]

text: The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles[15] (September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia.

text: Early drive-in theaters had to deal with sound issues. The original Hollingshead drive-in had speakers installed on the tower itself which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars.[16] In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons.[17] Just prior to World War II, 9 of the 15 drive-in movie theaters open in the United States were operated by Philip Smith who promoted a family friendly environment by allowing children to enter free and built playgrounds.[18]

text: Peak[edit]

text: The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with some 4,000 drive-ins spread across the United States.[15] Among its advantages was the fact that a family with a baby could take care of their child while watching a movie, while teenagers with access to autos found drive-ins ideal for dates. Revenue is more limited than regular theaters since showings can only begin at twilight. There were abortive attempts to create suitable conditions for daylight viewing such as large tent structures, but nothing viable was developed.

text: During the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. Beginning in the 1970s, many drive-ins changed from family fare to exploitation films, as a way to offset declining patronage and revenue. Also, during the 1970s, some drive-ins began to show pornographic movies in less family-centered time slots to bring in extra income.[citation needed] This allowed censored materials to be viewed by a wide audience, some for whom viewing was still illegal in many states, and it was reliant upon the whims of local ordinances controlling such material. It also required a relatively remote location distant from populated areas such as towns and cities.

text: During their height, some drive-ins used attention-grabbing gimmicks to boost attendance. They ranged from drawings for prizes and free admission, small airplane runways,[19] unusual attractions such as a small petting zoo or cage of monkeys, personal appearances by actors to open their movies, or musical groups to play before the show. Some drive-ins held Sunday religious services, or charged a flat price per car on slow nights like Wednesdays or Sundays. On "buck" nights during the 1950s and 1960s, the admission price was one dollar per car.

text: One of the largest drive-in theaters was the Johnny All-Weather Drive-In in Copiague, New York. Covering over 29 acres, it could park 2,500 vehicles. It had a full-service restaurant with seating on the roof, and a trolley system to take children and adults to a playground and a large indoor theater for bad weather or for those who wanted to watch in air-conditioned comfort.[20]

text: Decline[edit]

text: The shift in content of drive-ins was less of a problem than competition from home entertainment, from color television to VCRs and video rentals. This, along with the 1970s energy crisis led to a sharp decline of attendance as well to the widespread adoption of daylight saving time (which made the shows start an hour later), making it harder for drive-ins to operate successfully. Also, the 1980s real estate interest rate hikes made the large property areas increasingly expensive, and thus far too valuable for businesses such as drive-ins, which in many cases were summer-only. Drive-ins were also subject to the whim of nature as inclement weather often caused poor attendance or cancellations. Less than two hundred drive-ins were in operation in the U.S. and Canada by the late 1980s. Since the 1990s they have lapsed into a quasi-novelty status with the remaining handful catering to a generally nostalgic audience, with many drive-ins continuing to successfully operate in some areas, mostly on the West Coast. Newer theaters opened during this time, as well as a handful of them reopened. By 2013, drive-ins comprised only 1.5 percent of movie screens in the United States, with 389 theaters in operation. At the industry's height, about 25 percent of the nation's movie screens had been in a drive-in.[15]

text: Many drive-in movie sites remain, but re-purposed as storage or flea market sites, often after residential housing or other higher value uses came to the lightly populated or unpopulated areas where the drive-ins were located. The largest drive-in theater in the world, the Fort Lauderdale Swap Shop, doubles as the world's largest daily flea market. Former drive-in properties in Michigan, for example, have become industrial parks, shopping centers, indoor theaters, and even churches (as with the Former Woodland Drive-In in Grand Rapids, MI). In Philadelphia, the South City Drive In became the location of the original Spectrum in the late 1960s, with a small portion of its old property line extending into what would become the (now demolished) Veterans Stadium complex. Another example of a drive in-turned-flea market is Spotlight 88 in North Sewickley Township, Beaver County, Pennsylvania, which ended business as a drive-in after an F3 tornado destroyed much of the property on May 31, 1985. As a joke after the tornado hit, the owners put up in the "now-showing" sign Gone with the Wind. It was most likely copied from a Taylor, Michigan Drive in called Ecorse Drive-In. On July 16, 1980, a freak derecho storm with 150 mph straight line winds [21] swept the Drive-In away leaving only the "now-showing" sign with the letters "Now Playing Gone with the Wind". They rebuilt the screen, but it never recovered; by 1989, it was sold and now is a Kroger grocery store.

text: Revival[edit]

text: The resurgence of the industry of the late 1990s led to the inception of the "do-it-yourself" drive-in beginning in 2001, which utilized contemporary tools such as LCD projectors and micro-radio transmitters. The first was the Liberation Drive-In in Oakland, California, which sought to reclaim under-utilized urban spaces such as vacant parking lots in the downtown area. The following years have seen the rise of the "guerrilla drive-in" movement, in which groups of dedicated individuals orchestrate similar outdoor film and video screenings. Showings are often organized online, and participants meet at specified locations to watch films projected on bridge pillars or warehouses. The content featured at these screenings has frequently been independent or experimental films, cult movies, or otherwise alternative programming. The best known "guerrilla" drive-ins include the Santa Cruz Guerilla Drive-In in Santa Cruz, California, North Bay Mobile Drive-In in Novato, California, MobMov in San Francisco, California and Hollywood, and most recently Guerilla Drive-In Victoria in Victoria, British Columbia.

text: Faced with the closure of Hull's Drive In in Lexington, Virginia in 1999, the non-profit group Hull's Angels formed to raise funds, buy the property and operate the theater as a non-profit venture specializing in family-friendly films. Hull's continues to be the nation's only non-profit drive in.[22]

text: As of March 2014[update], a figure of 348 drive-ins has been published for the United States.[23] In the Fall of 2014, the burger chain Johnny Rockets announced that it would team up with USA Drive-Ins to open 200 drive-ins by 2018 serving Johnny Rocket's food at the concession stands.[24]

text: Digital conversion[edit]

text: The ongoing conversion of the film distribution network to be exclusively digital distribution is also putting additional pressure on drive-in theaters. Most small drive-ins lack the finances (beginning at $70,000 per screen) needed to convert to digital projection.[15] The lack of multiple screens with many daily showings means the low volume of ticket sales will make it hard for many drive-ins to justify the cost of installing digital projection.

text: Conversion of the projection booth to digital is more complex for drive-in theaters. The projector needs a more powerful bulb due to an increased screen size and light pollution. In addition, digital projection equipment may require an Internet connection, and the booth must be retrofitted with special glass, more vents and stronger air conditioning as well as heat in northern climates.[15]

text: With installation of Jumbotrons[25] or similar digital display equipment in drive-in theatres, restrictions of the projector booth can be avoided; that is, no projector is needed.


document_title: Ovulation

question_text: failure of the ovaries to release a mature ovum at the time of ovulation is called

root

text: Ovulation

text: In humans[edit]

text: In humans, ovulation occurs about midway through the menstrual cycle, after the follicular phase. The few days surrounding ovulation (from approximately days 10 to 18 of a 28-day cycle), constitute the most fertile phase.[3][4][5][6] The time from the beginning of the last menstrual period (LMP) until ovulation is, on average, 14.6[7] days, but with substantial variation between females and between cycles in any single female, with an overall 95% prediction interval of 8.2 to 20.5[7] days.

tag: p

text: The process of ovulation is controlled by the hypothalamus of the brain and through the release of hormones secreted in the anterior lobe of the pituitary gland, luteinizing hormone (LH) and follicle-stimulating hormone (FSH).[8] In the preovulatory phase of the menstrual cycle, the ovarian follicle will undergo a series of transformations called cumulus expansion, which is stimulated by FSH. After this is done, a hole called the stigma will form in the follicle, and the secondary oocyte will leave the follicle through this hole. Ovulation is triggered by a spike in the amount of FSH and LH released from the pituitary gland. During the luteal (post-ovulatory) phase, the secondary oocyte will travel through the fallopian tubes toward the uterus. If fertilized by a sperm, the fertilized secondary oocyte or ovum may implant there 6–12 days later.[9]

text: Follicular phase[edit]

text: The follicular phase (or proliferative phase) is the phase of the menstrual cycle during which the ovarian follicles mature. The follicular phase lasts from the beginning of menstruation to the start of ovulation.[10][11]

text: For ovulation to be successful, the ovum must be supported by the corona radiata and cumulus oophorous granulosa cells. The latter undergo a period of proliferation and mucification known as cumulus expansion. Mucification is the secretion of a hyaluronic acid-rich cocktail that disperses and gathers the cumulus cell network in a sticky matrix around the ovum. This network stays with the ovum after ovulation and has been shown to be necessary for fertilization.[12][13]

text: An increase in cumulus cell number causes a concomitant increase in antrum fluid volume that can swell the follicle to over 20 mm in diameter. It forms a pronounced bulge at the surface of the ovary called the blister.[citation needed]

text: Ovulation[edit]

text: Estrogen levels peak towards the end of the follicular phase. This causes a surge in levels of luteinizing hormone (LH) and follicle-stimulating hormone (FSH). This lasts from 24 to 36 hours, and results in the rupture of the ovarian follicles, causing the oocyte to be released from the ovary via the oviduct.[14]

text: Through a signal transduction cascade initiated by LH, proteolytic enzymes are secreted by the follicle that degrade the follicular tissue at the site of the blister, forming a hole called the stigma. The secondary oocyte leaves the ruptured follicle and moves out into the peritoneal cavity through the stigma, where it is caught by the fimbriae at the end of the fallopian tube (also called the oviduct). After entering the oviduct, the oocyte is pushed along by cilia, beginning its journey toward the uterus.[8]

text: By this time, the oocyte has completed meiosis I, yielding two cells: the larger secondary oocyte that contains all of the cytoplasmic material and a smaller, inactive first polar body. Meiosis II follows at once but will be arrested in the metaphase and will so remain until fertilization. The spindle apparatus of the second meiotic division appears at the time of ovulation. If no fertilization occurs, the oocyte will degenerate between 12 and 24 hours after ovulation.[15] Approximately 1-2% of ovulations release more than one oocyte. This tendency increases with maternal age. Fertilization of two different oocytes by two different spermatozoa results in fraternal twins.[8]

text: The mucous membrane of the uterus, termed the functionalis, has reached its maximum size, and so have the endometrial glands, although they are still non-secretory.[citation needed]

text: Luteal phase[edit]

text: The follicle proper has met the end of its lifespan. Without the oocyte, the follicle folds inward on itself, transforming into the corpus luteum (pl. corpora lutea), a steroidogenic cluster of cells that produces estrogen and progesterone. These hormones induce the endometrial glands to begin production of the proliferative endometrium and later into secretory endometrium, the site of embryonic growth if implantation occurs. The action of progesterone increases basal body temperature by one-quarter to one-half degree Celsius (one-half to one degree Fahrenheit). The corpus luteum continues this paracrine action for the remainder of the menstrual cycle, maintaining the endometrium, before disintegrating into scar tissue during menses.[16]

text: Clinical presentation[edit]

text: The start of ovulation can be detected by signs. Because the signs are not readily discernible by people other than the female, humans are said to have a concealed ovulation. In many animal species there are distinctive signals indicating the period when the female is fertile. Several explanations have been proposed to explain concealed ovulation in humans.

text: Females near ovulation experience changes in the cervical mucus, and in their basal body temperature. Furthermore, many females experience secondary fertility signs including Mittelschmerz (pain associated with ovulation) and a heightened sense of smell, and can sense the precise moment of ovulation.[17][18]

text: Many females experience heightened sexual desire in the several days immediately before ovulation.[19] One study concluded that females subtly improve their facial attractiveness during ovulation.[20]

text: Symptoms related to the onset of ovulation, the moment of ovulation and the body's process of beginning and ending the menstrual cycle vary in intensity with each female but are fundamentally the same. The charting of such symptoms — primarily basal body temperature, mittelschmerz and cervical position — is referred to as the sympto-thermal method of fertility awareness, which allow auto-diagnosis by a female of her state of ovulation. Once training has been given by a suitable authority, fertility charts can be completed on a cycle-by-cycle basis to show ovulation. This gives the possibility of using the data to predict fertility for natural contraception and pregnancy planning.

text: The moment of ovulation has been photographed.[21]

text: Disorders[edit]

text: Disorders of ovulation are classified as menstrual disorders and include oligoovulation and anovulation:

text:
Oligoovulation is infrequent or irregular ovulation (usually defined as cycles of greater than 36 days or fewer than 8 cycles a year)
Anovulation is absence of ovulation when it would be normally expected (in a post-menarchal, premenopausal female). Anovulation usually manifests itself as irregularity of menstrual periods, that is, unpredictable variability of intervals, duration, or bleeding. Anovulation can also cause cessation of periods (secondary amenorrhea) or excessive bleeding (dysfunctional uterine bleeding).

tag: ul

text: The World Health Organization (WHO) has developed the following classification of ovulatory disorders:[22]

text:
WHO group I: Hypothalamic–pituitary-gonadal axis failure
WHO group II: Hypothalamic–pituitary-gonadal axis dysfunction. WHO group II is the most common cause of ovulatory disorders, and the most common causative member is polycystic ovary syndrome (PCOS).[23]
WHO group III: Ovarian failure
WHO group IV: Hyperprolactinemia

text: Induction and suppression[edit]

text: Induced ovulation[edit]

text: Ovulation induction is a promising assisted reproductive technology for patients with conditions such as polycystic ovary syndrome (PCOS) and oligomenorrhea. It is also used in in vitro fertilization to make the follicles mature before egg retrieval. Usually, ovarian stimulation is used in conjunction with ovulation induction to stimulate the formation of multiple oocytes.[24] Some sources[24] include ovulation induction in the definition of ovarian stimulation.

text: A low dose of human chorionic gonadotropin (HCG) may be injected after completed ovarian stimulation. Ovulation will occur between 24–36 hours after the HCG injection.[24]

text: By contrast, induced ovulation in some animal species occurs naturally, ovulation can be stimulated by coitus.[25]

text: Suppressed ovulation[edit]

text: Contraception can be achieved by suppressing the ovulation.[citation needed]

text: The majority of hormonal contraceptives and conception boosters focus on the ovulatory phase of the menstrual cycle because it is the most important determinant of fertility. Hormone therapy can positively or negatively interfere with ovulation and can give a sense of cycle control to the female.[citation needed]

text: Estradiol and progesterone, taken in various forms including combined oral contraceptive pills, mimics the hormonal levels of the menstrual cycle and engage in negative feedback of folliculogenesis and ovulation.[citation needed]


document_title: The Secret Life of Pets

question_text: who played duke in secret life of pets

question_tokens: who played duke in secret life of pets

text: The Secret Life of Pets

text: Plot[edit]

text: A Jack Russell Terrier named Max lives with his owner Katie in a Manhattan apartment. While she is at work during the day, he hangs out with other pets in the building: tabby cat Chloe, pug Mel, dachshund Buddy, and budgerigar Sweet Pea. One day, Katie adopts Duke, a large mongrel from the pound, leaving Max jealous because of her divided focus on Duke. Enraged by Max's attitude towards him, Duke tries to abandon Max in an alley, but they are both attacked by cats led by Sphynx cat Ozone who removes both dogs' collars and leaves them to be caught by Animal Control. Duke fears that he will be killed if he goes back to the pound. When Gidget, a white Pomeranian who is (not so) secretly in love with Max, discovers that he is missing, she decides to find him.

text: Max and Duke are rescued by a white rabbit named Snowball, the leader of "The Flushed Pets"—a gang of sewer-dwelling animals who hate humans because their owners mistreated them. After Max and Duke pretend to despise humans as much as they do by saying they killed their owners, the Flushed Pets invite them to join. Before they can prove their loyalty by allowing a one-fanged viper to bite them, Snowball learns from the cats that Max and Duke are domesticated. The two dogs escape the sewers and board a ferry to Brooklyn, inadvertently killing the viper in the process. Snowball vows to kill them and leads the Flushed Pets after them.

text: Meanwhile, Gidget recruits a red-tailed hawk named Tiberius to find Max, but he mistakenly locates Ozone, whom Gidget coerces into telling what he knows about the dogs. They then enlist Mel, Buddy, Chloe, guinea pig Norman and Sweet Pea. On the way, they meet Pops, an old Basset Hound who helps Gidget and the pets find Max. Meanwhile, Max and Duke raid a sausage factory for food. Then, Gidget and her team encounter Snowball, who vows to kill them as well, and Norman is captured as the rest of Gidget's team flees.

text: In the meantime, Duke tells Max about his previous owner, Fred, an elderly man who adopted him as a puppy and loved spending time with him. One day, Duke got lost while chasing a butterfly and was caught by Animal Control, but Fred never came to claim him. Max convinces him to visit Fred's house in a nearby neighborhood, confident Fred will still love him and take him back. When they arrive at Fred's house, they learn from the resident cat Reginald that Fred has died. Heartbroken, Duke accuses Max of attempting to get rid of him and barks at the new homeowners who have just returned to the house and called Animal Control. The handlers catch Max, but Duke interferes long enough for Max to escape and ends up being captured instead.

text: While trying to rescue Duke as he follows the Animal Control van, Max is attacked by Snowball who tries to kill him. However, when his gang is captured, Snowball realizes that he and Max must work together to rescue them. They drive a city bus into the van on the Brooklyn Bridge, stopping traffic. The Flushed Pets encircle Max, unaware of his partnership with Snowball, but Gidget and her team save him. Upon seeing Gidget using her kung-fu fighting skills, and Max starts to fall in love with her. The van gets stuck in scaffolding and the Flushed Pets escape. As soon as Max gets the keys to Duke's cage, the van plummets into the East River with him inside. Max is unable to free Duke, so Snowball jumps into the river to retrieve the keys, allowing them to escape the sinking van.

text: The entire group returns to the apartment block by pig-driven taxi. Max expresses his love for Gidget, who returns his affection. Snowball and the Flushed Pets then come up with a new plan to annihilate all humans, but a little girl named Molly arrives and adopts Snowball and the remaining Flushed Pets return to the sewers. At first, Snowball resists, but gives in and lets himself become a domesticated pet. The other pets return to their homes and embrace their owners, and Max and Duke finally reunite with Katie, sparking a true friendship. At the film's epilogue, Buddy and Mel show up in costume at a party in poodle Leonard's apartment. Leonard's owner returns and Tattoo crashes to the floor on the chandelier.

text: Cast[edit]

text:
Louis C.K. as Max, a Jack Russell Terrier.[7]
Eric Stonestreet as Duke, a large, brown, shaggy mongrel.[7]
Kevin Hart as Snowball, a white rabbit.[7]
Jenny Slate as Gidget, a white Pomeranian and Max's love interest.
Ellie Kemper as Katie, Max and Duke's friendly owner.[1][8]
Lake Bell as Chloe, an obese and apathetic grey tabby cat who is one of Max's friends.[8]
Dana Carvey as Pops, an elderly Basset Hound who is paralyzed in his back legs.[9]
Hannibal Buress as Buddy, a laid-back dachshund and one of Max's friends.[8][10]
Bobby Moynihan as Mel, a hyperactive pug and one of Max's friends.
Tara Strong as Sweetpea, a green and yellow budgie parakeet.
Steve Coogan as Ozone, a Cockney-accented Sphynx cat.
Coogan also voices Reginald, a malevolent Himalayan cat.
Albert Brooks as Tiberius, a curmudgeonly red-tailed hawk.[8][10]
Chris Renaud as Norman, a guinea pig who keeps getting lost trying to find his apartment.
Michael Beattie as Tattoo, a slow-witted tattooed pig who is one of the Flushed Pets.
Sandra Echeverría as Maria, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Jaime Camil as Fernando, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Kiely Renaud as Molly, a little girl who adopts Snowball.

text: Production[edit]

text: Renaud first became involved with the project in 2012, while he was still working on Despicable Me 2.[11] At that time, Illumination's CEO Chris Meledandri pitched him an idea on a film about what pets do when their caretakers are away.[11] While Renaud found the premise interesting he and his team did not know what form the story would take, with them at one point considering making it a murder mystery, before deciding to make something "that was a bit more relatable" [12]

text: The team used Jean-Jacques Sempé as an influence in designing the environment and attention was specifically paid to keep the designs "very vertically oriented"[11] In keeping with the tradition of old WB cartoons, the owners faces are almost never seen.[11] The home of the Flushed Pets was created to "hint at the darker side" of pet ownership "without, hopefully, getting too heavy.[11] as well as to explore "this whole mythology in New York of the world that’s unseen, " while still maintaining the pet theme.[11] The animation was created entirely in France by Illumination Mac Guff.[13]

text: Music and soundtrack[edit]

text:
The Secret Life of Pets (Original Motion Picture Soundtrack)Soundtrack album by Alexandre DesplatReleased
July 1, 2016 (2016-07-01)Recorded
2016Genre

Film score
Jazz
Classical
Length
51:31Label
Back Lot MusicProducer
Dominique LemonnierAlexandre Desplat soundtrack chronology

Florence Foster Jenkins(2016)Florence Foster Jenkins2016

The Secret Life of Pets(2016)

The Light Between Oceans(2016)The Light Between Oceans2016

tag: table

text: The original score for the film was composed by Alexandre Desplat.[14] The soundtrack was released on July 1, 2016 by Back Lot Music.[15]

text: All music composed by Alexandre Desplat, except "We Go Together" by The Sausage Factory Singers.

text: showTrack listingNo.TitleLength1."Meet the Pets"2:372."Katie's Leaving"0:553."Meet Duke"3:364."Fetch Me a Stick"3:095."Telenovela Squirrels"1:246."Hijack!"2:007."Gidget Meets Tiberius"4:568."Initiation Time"1:019."Rooftop Route"1:2710."The Viper"1:4911."You Have an Owner?"3:0412."Good Morning Max"1:2113."Sewer Chase"1:0914."Who's With Me?"1:2115."Me Like What Me See"0:5416."Traveling Bossa"1:5617."Flushed Out To Brooklyn"2:4718."Sausages!"1:1319."Duke's Old House / Captured"3:0320."Brooklyn Bridge Showdown"2:3421."Rescuing Duke"2:4622."Wet But Handsome / Blue Taxi"1:2423."Max and Gidget"1:3624."Welcome Home"1:5725."We Go Together" (originally from Grease)1:24Total length:51:31

text: Release[edit]

text: The film was originally scheduled to be released on February 12, 2016, but was pushed back to July 8, 2016.[2] It was released in 2D, 3D, and IMAX 3D using DMR.[16][better source needed] The Secret Life of Pets premiered at the 2016 Annecy International Animated Film Festival on June 16, 2016, and was screened at VidCon.[17] The film is accompanied by a Despicable Me short film entitled Mower Minions.

text: Home media[edit]

text: The Secret Life of Pets was released on Digital HD on November 22, 2016, and on Blu-ray, Blu-ray 3D, Ultra HD Blu-ray, and DVD on December 6, 2016. In addition to the short film Mower Minions which was released theatrically with the feature film, the releases also include two short films: Norman Television and Weenie.[18]

text: Reception[edit]

text: Box office[edit]

text: The Secret Life of Pets grossed $368.4 million in Canada and the U.S. and $507.1 million in other countries for a worldwide total of $875.5 million against a production budget of $75 million.[4] Its international takings helped push Universal Pictures [International] past $1 billion for the tenth consecutive year[19] and aided Illumination Entertainment to pass the $4 billion mark for the first time since 2010.[20]

text: It is the fifth-highest-grossing original worldwide film of all time (behind Avatar, Zootopia, The Lion King, and Finding Nemo),[21] the sixth-highest-grossing film of 2016,[22] the twelfth-highest-grossing animated film of all time, and the 51st-highest-grossing film of all time. Deadline Hollywood calculated the net profit of the film to be $374.6 million when factoring together all expenses and revenues for the film, making it the most profitable release of 2016.[23]

text: North America[edit]

text: In Canada and the United States, the film was projected to gross around $70 million in its opening weekend with some predictions going as high as $100 million.[24][25][26] It received the widest release for an animated film as well as for a PG-rated film (breaking Shrek Forever After's record) and the seventh-widest of all time overall across 4,370 theaters, the widest release since The Dark Knight Rises.[25][27][28][29] It made $5.3 million from Thursday night previews in 3,009 theaters which is the second-biggest of all time for Illumination behind only Minions ($6.2 million), and the third biggest of all time for an animated film behind Finding Dory ($9.2 million) and Minions.[26][30] This was followed by a record-breaking $38.5 million opening day gross (including previews), the biggest for an original film.[31][32] In its opening weekend, it exceeded expectations and grossed $104.4 million, finishing first at the box office.[33] Its debut is the sixth-biggest for an animated film, the sixth highest weekend debut in July, and the fourth-biggest opening weekend for Universal Pictures.[34] It also set the record for the largest opening for an original film, eclipsing the $90.4 million debut of Inside Out.[35][36]

text: In its second weekend, the film made $50.8 million (-51.3%) while maintaining the top spot, despite facing stiff competition with newcomer Ghostbusters.[37] Although it slipped into second place when overtaken by Star Trek Beyond in its third weekend, it was still able to fend off the two other new releases—Lights Out and Ice Age: Collision Course—by earning another $29.6 million.[38] It passed $300 million on its twenty-sixth day—the same day it crossed $400 million worldwide[39]—becoming the seventh film of 2016,[40] the seventh Universal Pictures film (the first for the year),[41] and the twelfth animated film overall to reach the benchmark.[42]

text: Outside North America[edit]

text: Internationally, The Secret Life of Pets received a scattered release from June to September in a total of 69 markets, and faced competition from other animated films such as Finding Dory and Ice Age: Collision Course in the course of its release.[43][44][45] In total, it had number-one openings in 45 markets and recorded the biggest opening for an original animated film in 17 territories, and the No. 1 animated film of 2016 to date in 13 markets.[20][46] It topped the international box office in its ninth weekend after earning $43.8 million in 53 markets (dethroning Suicide Squad).[47] However, this wasn't the film's biggest single weekend gross. Its biggest weekend gross was actually in its seventh weekend when it grossed $69.3 million. It opened at No. 3 behind Suicide Squad ($133.3 million) and the Chinese film Time Raiders ($64.6 million) that weekend.[48]

text: It was released in the United Kingdom and Norway two weeks ahead of its U.S. release, where it grossed a combined total of $14.1 million in the two markets.[43] Prior to its official debut in the UK and the Republic of Ireland on June 24, the film had two days' worth of previews on June 18 and 19 from which it made £3.63 million ($5.2 million) in two days. This figure was later counted in the film's official opening weekend.[49] It went on to score the fourth-biggest original animation opening weekend ever there, with £9.58 million ($13.4 million) from 592 theaters, trailing behind Inside Out, Monsters, Inc., and Up. Excluding previews, its total three-day opening was $8.1 million.[50][51] This was amidst Brexit and despite facing competition from Independence Day: Resurgence.[43][52] The film held off extremely well in its second and third weekend falling just 20% and 24%, earning £4.47 million ($6.1 million) and £3.62 million ($4.8 million) respectively despite facing some competitions.[53][54] It has topped the box office for three consecutive weekends and has grossed total of $41 million there.[55] In Norway, it took the number one spot as well, with $778,000.[43] It scored the biggest animation opening of 2016 and the second-biggest of all time overall in both Taiwan ($2 million)—behind Madagascar, and Hong Kong ($1.9 million)—behind Inside Out.[44]

text: In Argentina, the film had a record-breaking number-one debut with $4 million from 195 screens—the biggest opening weekend ever for an animated film and the second-biggest opening ever for any film (behind Furious 7). Similarly, Chile also recorded the second-biggest animated opening ever with $1.7 million (behind Minions). Colombia also opened at No. 1 with a huge $1.5 million.[56] In Mexico, other than opening at No. 1, it posted the biggest original animated opening of all time with $7.6 million, surpassing the studio's own previous record holder Inside Out.[45] Also in Russia, it scored the biggest original animated opening and the second-biggest ever for an animated film behind Minions with $16.3 million, although this included $6.4 million five days' worth of previews.[47] It went on to become the highest-grossing film of the summer that year.[57] In Japan, the film opened on August 11—the date of Japan's first Mountain Day national holiday—with Toho-Towa distributing, and earned $4.6 million on 370,000 admissions for its two-day opening weekend dethroning Shin Godzilla off the top spot. The cumulative total for the four-day holiday (August 11–14) was $9.7 million.[19][58] Similarly, it had number-one debuts in Germany ($7.1 million), France ($5.9 million), Australia ($5.6 million), Italy ($5.1 million), Brazil ($4.4 million), Spain ($4.5 million), Poland ($1.7 million), Singapore ($1.3 million), Belgium ($1.2 million), Denmark ($1.2 million), Indonesia ($1.1 million), the Philippines ($1 million), and South Africa ($463,000). In Germany, it scored the best animation opening since Minions.[45][59][60][61][62][63][64][65] It topped the box office in Israel for five straight weekends and in Australia, Russia and Spain for three weekends.[45][47][61][63] In Japan, the film was the highest-grossing foreign release of the weekend, holding the top spot for four consecutive weekends.[60]

text: In China—the world's second-biggest film market—the film opened on a Tuesday, earning a modest $5.2 million on its opening day. To Sunday, it achieved a six-day opening of $29.3 million and $15.5 million for the weekend alone (Friday to Sunday), with per screen averages over $500 per screen per day. In both instances, it was behind the local film Time Raiders.[59][66][67] In South Korea, despite debuting in fifth place, it had an opening of $6.9 million.[59] Elsewhere, it grossed $2.7 million in the Netherlands, $1.2 million in Sweden and in Hungary, it scored the biggest opening of the year with $738,000,[59] and also in Portugal ($965,000), Latvia ($224,000),[47] and South Africa.[64]

text: In terms of total earnings, its biggest markets are China ($58 million), United Kingdom and Ireland ($47.2 million), Japan ($41.6 million) and Russia ($34.2 million).[19][47][68] It became the third-highest-grossing film of all time in Russia (behind Avatar and Zootopia)[61] and the highest-grossing film of 2016 in Spain.[20][62]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 74% based on 213 reviews with an average rating of 6.2/10. The website's critical consensus reads, "Fast-paced, funny, and blessed with a talented voice cast, The Secret Life of Pets offers a beautifully animated, cheerfully undemanding family-friendly diversion."[69] On Metacritic, the film has a score of 61 out of 100 based on 39 critics, indicating "generally favorable reviews."[70] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[71]

text: Peter Travers of Rolling Stone gave the film three out of four stars and called it "an animated fluffball—a sort of Toy Story with pets does everything to drive you crazy and ends up being totally irresistible."[72] Scott Tobias, writing for NPR, characterized the film's concept as "Toy Story but with house pets," highlighting the film's "thinly distinguished characters" and "gloppy sentimentality."[73] Steven Rea of The Philadelphia Inquirer gave the film three out of four stars and said "In much the same way that the smash Zootopia demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur—and the warm, fuzzy feelings—fly."[74]

text: However, some critics disliked the film's unexpected similarities with Pixar's Toy Story.[75] Matthew Parkinson of The Escapist compared the plots of both films and wrote that "The Secret Life of Pets feels like one of those hour-long ripoffs you'd see on a children's television network."[76] Ethan Anderton of the website /Film criticised the film's characterisation, and noted that the relationship between Max and Duke was akin to "Woody and Buzz Lightyear all over again."[77]

text: Accolades[edit]

text:
List of awards and nominations

Award

Date of ceremony

Category

Recipient(s)

Result

Ref(s)

Annie Awards

February 4, 2017

Outstanding Achievement, Character Design in an Animated Feature Production

Eric Guillon

Nominated

[78]

Outstanding Achievement, Music in an Animated Feature Production

Alexandre Desplat

British Academy Children's Awards

November 20, 2016

BAFTA Kids' Vote

The Secret Life of Pets

[79][80]

Cinema Audio Society

February 18, 2017

Outstanding Achievement in Sound Mixing for a Motion Picture – Animated

David Acord, Jason Butler, Gary A. Rizzo, Carlos Sotolongo and Frank Wolf

[81]

Hollywood Music in Media Awards

November 17, 2016

Best Original Score – Animated Film

Alexandre Desplat

Won

[82][83]

International Film Music Critics Association

21 February 2017

Best Original Score for a Comedy Film

Nominated

[84]

2017 Kids' Choice Awards

March 11, 2017

Favorite Animated Movie

The Secret Life of Pets

[85]

Favorite Voice From an Animated Movie

Kevin Hart

Favorite Villain

Won

Most Wanted Pet

NAACP Image Awards

February 11, 2017

Outstanding Character Voice-Over Performance

Nominated

[86]

People's Choice Awards

January 18, 2017

Favorite Family Movie

The Secret Life of Pets

[87]

Favorite Animated Movie Voice

Kevin Hart

Producers Guild of America

January 28, 2017

Best Animated Motion Picture

Janet Healy and Chris Meledandri

[88]

text: Sequel[edit]

text: In August 2016, it was announced that there would be a sequel with director Chris Renaud, producers Chris Meledandri and Janet Healy, and writer Brian Lynch, with a release date of July 13, 2018.[89] On January 25, 2017, its release date was pushed back to July 3, 2019.[90] On August 15, 2017, its release date was moved forward to June 7, 2019.[6] On November 10, 2017, it was announced that Louis C.K. would not be reprising his role as Max after being accused of, and having admitted to, inappropriate sexual conduct with five women.[91] In April 2018, it was announced that Patton Oswalt will replace C.K. as Max while Hart, Stonestreet, Slate, Kemper, Bell, Carvey, Buress and Moynihan will return. Additional casting includes Tiffany Haddish, Nick Kroll, Harrison Ford and Pete Holmes.[92]