document_title: List of highest paid film actors

question_text: who is the highest paid actor all time

question_tokens: who is the highest paid actor all time

text: List of highest paid film actors

text: Salaries for the world's highest paid film actors currently range from $20–30 million, but an actor can earn substantially more by deferring all or part of their salary against a percentage of the film's gross, known within the industry as a "profit participation" deal. Since not all salaries are made public, this is a non-definitive list of actors who have received $30 million or more as compensation for their services. The figures are given at their nominal value, since earnings from profit based deals are accumulated over many years, making it unfeasible to adjust for inflation.

text:
Highest-earning actors in films

Actor

Film

Year

Salary

Total income

Ref

Keanu Reeves

The Matrix ReloadedThe Matrix Revolutions

2003

$30,000,000

$156,000,000

[1]

Bruce Willis

The Sixth Sense

1999

$14,000,000

$100,000,000

[1]

Tom Cruise

Mission: Impossible 2

2000

$100,000,000

[1]

Tom Cruise

War of the Worlds

2005

$100,000,000

[1]

Will Smith

Men in Black 3

2012

$100,000,000

[2]

Robert Downey, Jr.

Iron Man 3

2013

$75,000,000

[3]

Sandra Bullock

Gravity

2013

$20,000,000

$70,000,000+

[4]

Tom Hanks

Forrest Gump

1994

$70,000,000

[1]

Tom Cruise

Mission: Impossible

1996

$70,000,000

[1]

Harrison Ford

Indiana Jones and the Kingdom of the Crystal Skull

2008

$65,000,000

[5]

Jack Nicholson

Batman

1989

$6,000,000

$60,000,000

[1][6]

Leonardo DiCaprio

Inception

2010

$59,000,000

[7]

Robert Downey, Jr.

Captain America: Civil War

2014

$40,000,000

$40,000,000+

[3]

Robert Downey, Jr.

Avengers: Age of Ultron

2014

$40,000,000

[8]

Johnny Depp

Pirates of the Caribbean: On Stranger Tides

2011

$35,000,000

$55,000,000

[7][9]

Robert Downey, Jr.

The Avengers

2012

$50,000,000

[10]

Cameron Diaz

Bad Teacher

2011

$42,000,000

[11]

Leonardo DiCaprio

Titanic

1997

$40,000,000

[1]

Tom Hanks

Saving Private Ryan

1998

$40,000,000

[1]

Johnny Depp

Alice in Wonderland

2010

$40,000,000

[7]

Aamir Khan

Dangal

2016

$37,000,000+

[nb 1][12][13]

Jim Carrey

Yes Man

2008

$35,000,000

[14]

Arnold Schwarzenegger

Terminator 3: Rise of the Machines

2003

$29,250,000

$30,000,000+

[nb 2][1]

Mel Gibson

Lethal Weapon 4

1998

$30,000,000

$30,000,000

[1]

Brad Pitt

Ocean's Eleven

2001

$10,000,000

$30,000,000

[1]

text:
Jump up ^ ₹257 crore ($37–41 million at 2017 exchange rates).

Jump up ^ Arnold Schwarzenegger received a $29,250,000 salary for Terminator 3 plus a 20% royalty on the worldwide box office gross over $380 million. The film ultimately had a global gross of $433 million.


document_title: Cinema of the United States

question_text: where were the first american film companies located

question_tokens: where were the first american film companies located

root

text: Cinema of the United States

text: History[edit]

text: Origins and Fort Lee[edit]

text: The first recorded instance of photographs capturing and reproducing motion was a series of photographs of a running horse by Eadweard Muybridge, which he took in Palo Alto, California using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices. In the United States, Thomas Edison was among the first to produce such a device, the kinetoscope.

tag: p

text: The history of cinema in the United States can trace its roots to the East Coast where, at one time, Fort Lee, New Jersey was the motion-picture capital of America. The industry got its start at the end of the 19th century with the construction of Thomas Edison's "Black Maria", the first motion-picture studio in West Orange, New Jersey. The cities and towns on the Hudson River and Hudson Palisades offered land at costs considerably less than New York City across the river and benefited greatly as a result of the phenomenal growth of the film industry at the turn of the 20th century.[14][15][16]

text: The industry began attracting both capital and an innovative workforce, and when the Kalem Company began using Fort Lee in 1907 as a location for filming in the area, other filmmakers quickly followed. In 1909, a forerunner of Universal Studios, the Champion Film Company, built the first studio.[17] They were quickly followed by others who either built new studios or who leased facilities in Fort Lee. In the 1910s and 1920s, film companies such as the Independent Moving Pictures Company, Peerless Studios, The Solax Company, Éclair Studios, Goldwyn Picture Corporation, American Méliès (Star Films), World Film Company, Biograph Studios, Fox Film Corporation, Pathé Frères, Metro Pictures Corporation, Victor Film Company, and Selznick Pictures Corporation were all making pictures in Fort Lee. Such notables as Mary Pickford got their start at Biograph Studios.[18][19][20]

text: In New York, the Kaufman Astoria Studios in Queens, was built during the silent film era, was used by the Marx Brothers and W.C. Fields. The Edison Studios were located in the Bronx. Chelsea, Manhattan was also frequently used. Picture City, Florida was also a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City returned to its original name of Hobe Sound. Other major centers of film production also included Chicago, Texas, California, and Cuba.

text: The film patents wars of the early 20th century led to the spread of film companies across the US Many worked with equipment for which they did not own the rights and thus filming in New York could be dangerous; it was close to Edison's Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the region's favorable year-round weather.[21]

text: Rise of Hollywood[edit]

text: In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Griffith stayed there for months and made several films before returning to New York. After hearing about Griffith's success in Hollywood, in 1913, many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.[22] Nestor Studios of Bayonne, New Jersey, built the first studio in Hollywood in 1911.[23] Nestor Studios, owned by David and William Horsley, later merged with Universal Studios; and William Horsley's other company, Hollywood Film Laboratory, is now the oldest existing company in Hollywood, now called the Hollywood Digital Laboratory. California's more hospitable and cost-effective climate led to the eventual shift of virtually all filmmaking to the West Coast by the 1930s. At the time, Thomas Edison owned almost all the patents relevant to motion picture production and movie producers on the East Coast acting independently of Edison's Motion Picture Patents Company were often sued or enjoined by Edison and his agents while movie makers working on the West Coast could work independently of Edison's control.[24]

text: In Los Angeles, the studios and Hollywood grew. Before World War I, movies were made in several US cities, but filmmakers tended to gravitate towards southern California as the industry developed. They were attracted by the warm climate and reliable sunlight, which made it possible to film movies outdoors year-round and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.

text: In the early 20th century, when the medium was new, many Jewish immigrants found employment in the US film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years: French-born director Alice Guy-Blaché.) They also set the stage for the industry's internationalism; the industry is often accused of Amero-centric provincialism.

text: Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week.[25]

text: Sound also became widely used in Hollywood in the late 1920s.[26] After The Jazz Singer, the first film with synchronized voices was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound — which Warner Bros. owned until 1928 – in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution.[25]

text: A side effect of the "talkies" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Picture Producers and Distributors of America (MPPDA).[27] The organization became the Motion Picture Association of America after Hays retired in 1945.

text: In the early times of talkies, American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies[which?] opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews.

text: Also, foreign unemployed actors, playwrights, and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat, and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:

text:
The lower budgets were apparent.
Many theater actors had no previous experience in cinema.
The original movies were often second-rate themselves since studios expected that the top productions would sell by themselves.
The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences.
Some markets lacked sound-equipped theaters.

tag: ul

text: In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.

text: Classical Hollywood cinema and the Golden Age of Hollywood (1917–1960)[edit]

text: Classical Hollywood cinema is defined as a technical and narrative style characteristic of film from 1917 to 1960. During the Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the early 1960s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films.

text: Most Hollywood pictures adhered closely to a formula – Western, slapstick comedy, musical, animated cartoon, biographical film (biographical picture) – and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.

text: At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; MGM, for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this – a trait that does not exist today.

text: For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899–1957) and Lauren Bacall (1924–2014), but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899–1961), the author of the novel on which the script was nominally based, and William Faulkner (1897–1962), who worked on the screen adaptation.

text: After The Jazz Singer was released in 1927, Warner Bros. gained huge success and were able to acquire their own string of movie theaters, after purchasing Stanley Theaters and First National Productions in 1928. MGM had also owned the Loews string of theaters since forming in 1924, and the Fox Film Corporation owned the Fox Theatre strings as well. Also, RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America[28]) responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as Photophone, to put sound in films.[25]

text: Paramount, which already acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in Detroit, Michigan.[29] By the 1930s, almost all of the first-run metropolitan theaters in the United States were owned by the Big Five studios – MGM, Paramount Pictures, RKO, Warner Bros., and 20th Century Fox.[30]

text: The studio system[edit]

text: Movie-making was still a business, however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary — actors, producers, directors, writers, stunt men, craftspersons, and technicians. They owned or leased Movie Ranches in rural Southern California for location shooting of westerns and other large-scale genre films. And they owned hundreds of theaters in cities and towns across the nation in 1920 film theaters that showed their films and that were always in need of fresh material.

text: In 1930, MPPDA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930.[31] However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency – appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn't go into effect.[32] Those films that didn't obtain a seal of approval from the Production Code Administration had to pay a $25,000 fine and could not profit in the theaters, as the MPPDA controlled every theater in the country through the Big Five studios.

text: Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether.[33] Some MGM stars included "King of Hollywood" Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Joan Crawford, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly.[33] But MGM did not stand alone. Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs.[34] This distinction was promptly topped in 1939 when Selznick International created what is still when adjusted for inflation, the most successful film of all time, Gone with the Wind.[35]

text: Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not everyone had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980), and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions.

text: The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, Top Hat, City Lights, Red River, The Lady from Shanghai, Rear Window, On the Waterfront, Rebel Without a Cause, Some Like It Hot, and The Manchurian Candidate.

text: Decline of the studio system (late 1940s)[edit]

text: The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:

text:
a federal antitrust action that separated the production of films from their exhibition; and
the advent of television.

text: In 1938, Walt Disney's Snow White and the Seven Dwarfs was released during a run of lackluster films from the major studios, and quickly became the highest grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.[36] This stoked already widespread frustration at the practice of block-booking, in which studios would only sell an entire year's schedule of films at a time to theaters and use the lock-in to cover for releases of mediocre quality.

text: Assistant Attorney General Thurman Arnold—a noted "trust buster" of the Roosevelt administration — took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the Sherman Anti-Trust Act.[37][38] The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:

text:
Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking.
Eliminate the block-booking of any more than five features in their theaters.
No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in the US would see films every two weeks before showing movies in theaters.
Set up an administration board in each theater district to enforce these requirements.[37]

text: The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree.[37][38] A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters — as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner Bing Crosby, Alan Ladd, and longtime actor for studio Gary Cooper too- by 1942. The Big Five studios didn't meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood anti-trust case, as did the Little Three studios.[39]

text: The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the Sherman Antitrust Act. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.

text: The decision resulted in the gradual loss of the characteristics which made Metro-Goldwyn-Mayer, Paramount Pictures, Universal Studios, Columbia Pictures, RKO Pictures, and 20th Century Fox films immediately identifiable. Certain movie people, such as Cecil B. DeMille, either remained contract artists till the end of their careers or used the same creative teams on their films so that a DeMille film still looked like one whether it was made in 1932 or 1956.

text: Impact: Fewer films, larger individual budgets[edit]

text: Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.

text: Television was also instrumental in the decline of Hollywood's Golden Age as it broke the movie industry's hegemony in American entertainment. Despite this, the film industry was also able to gain some leverage for future films as longtime government censorship faded in the 1950s. After the Paramount anti-trust case ended, Hollywood movie studios no longer owned theaters and thus made it so foreign films could be released in American theaters without censorship.

text: This was complemented with the 1952 Miracle Decision in the Joseph Burstyn Inc. v Wilson case, in which the Supreme Court of the United States reversed its earlier position, from 1915's Mutual Film Corporation v. Industrial Commission of Ohio case, and stated that motion pictures were a form of art and were entitled to the protection of the First amendment; US laws could no longer censor films. By 1968, with film studios becoming increasingly defiant to its censorship function, the Motion Picture Association of America (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.

text: New Hollywood and post-classical cinema (1960s–1980s)[edit]

text: Post-classical cinema is the term used to describe the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "twist endings", and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock's storyline-shattering Psycho.

text: The New Hollywood describes the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s; The 1967 film Bonnie and Clyde marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well.[40] Filmmakers like Francis Ford Coppola, Steven Spielberg, George Lucas, Brian De Palma, Stanley Kubrick, Martin Scorsese, Roman Polanski, and William Friedkin came to produce fare that paid homage to the history of film and developed upon existing genres and techniques. Inaugurated by the 1969 release of Andy Warhol's Blue Movie, the phenomenon of adult erotic films being publicly discussed by celebrities (like Johnny Carson and Bob Hope),[41] and taken seriously by critics (like Roger Ebert),[42][43] a development referred to, by Ralph Blumenthal of The New York Times, as "porno chic", and later known as the Golden Age of Porn, began, for the first time, in modern American culture.[41][44][45] According to award-winning author Toni Bentley, Radley Metzger's 1976 film The Opening of Misty Beethoven, based on the play Pygmalion by George Bernard Shaw (and its derivative, My Fair Lady), and due to attaining a mainstream level in storyline and sets,[46] is considered the "crown jewel" of this 'Golden Age'.[47][48]

text: In the 1970s, the films of New Hollywood filmmakers were often both critically acclaimed and commercially successful. While the early New Hollywood films like Bonnie and Clyde and Easy Rider had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with The Exorcist, Spielberg with Jaws and Jurassic Park, Coppola with The Godfather and Apocalypse Now, Scorsese with Taxi Driver, Kubrick with 2001: A Space Odyssey, Polanski with Chinatown, and Lucas with American Graffiti and Star Wars, respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.[49]

text: The increasing indulgence of these young directors did not help.[citation needed] Often, they'd go overschedule, and overbudget, thus bankrupting themselves or the studio.[citation needed] The three most famous examples of this are Coppola's Apocalypse Now and One From The Heart and particularly Michael Cimino's Heaven's Gate, which single-handedly bankrupted United Artists. However, Apocalypse Now eventually made its money back and gained widespread recognition as a masterpiece, winning the Palme d'Or at Cannes.[50]

text: Rise of the home video market (1980s–1990s)[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2013) (Learn how and when to remove this template message)

tag: table

text: The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as Showgirls, The Secret of NIMH, and The Shawshank Redemption, which may have performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of filmmakers with access to videotapes emerge. Directors such as Quentin Tarantino and Paul Thomas Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. Tarantino has had a number of collaborations with director Robert Rodriguez. Rodriguez directed the 1992 action film El Mariachi, which was a commercial success after grossing $2 million against a budget of $7,000.

text: This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.[citation needed]

text: Modern cinema[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2013) (Learn how and when to remove this template message)

text: The drive to produce a spectacle on the movie screen has largely shaped American cinema ever since.[citation needed] Spectacular epics which took advantage of new widescreen processes had been increasingly popular from the 1950s onwards. Since then, American films have become increasingly divided into two categories: Blockbusters and independent films.

text: Studios have focused on relying on a handful of extremely expensive releases every year in order to remain profitable. Such blockbusters emphasize spectacle, star power, and high production value, all of which entail an enormous budget. Blockbusters typically rely upon star power and massive advertising to attract a huge audience.[citation needed] A successful blockbuster will attract an audience large enough to offset production costs and reap considerable profits.

text: Such productions carry a substantial risk of failure, and most studios release blockbusters that both over- and underperform in a year.[citation needed] Classic blockbusters from this period include Raiders of the Lost Ark, E.T. the Extra-Terrestrial, Blade Runner, Scarface, Ghostbusters, The Terminator, The Goonies, Back to the Future, Beverly Hills Cop, Top Gun, Aliens, Lethal Weapon, Fatal Attraction, Wall Street, Rain Man, Die Hard, Driving Miss Daisy, Dances with Wolves, Goodfellas, Thelma & Louise, The Silence of the Lambs, Terminator 2: Judgment Day, Unforgiven, The Bodyguard, The Fugitive, Jurassic Park, Schindler's List, Forrest Gump, Pulp Fiction, Seven, Braveheart, Austin Powers, Titanic, Saving Private Ryan, American History X, Fight Club, The Matrix, The Green Mile, The Sixth Sense, American Beauty, Star Wars: Episode I – The Phantom Menace, Gladiator, Gangs of New York, The Lord of the Rings, Pirates of the Caribbean, The Notebook, Million Dollar Baby, Little Miss Sunshine, The Departed and The Bourne Identity.[51]

text:
American film industry (1995–2014)
All values in billions

Year
Tickets
Revenue

1995
1.22
$5.29

1996
1.26
$5.59

1997
1.42
$6.51

1998
1.44
$6.77

1999
1.44
$7.30

2000
1.39
$7.48

2001
1.44
$8.13

2002
1.58
$9.19

2003
1.55
$9.35

2004
1.49
$9.27

2005
1.40
$8.95

2006
1.41
$9.25

2007
1.40
$9.63

2008
1.39
$9.95

2009
1.42
$10.65

2010
1.33
$10.48

2011
1.28
$10.14

2012
1.39
$11.07

2013
1.34
$10.90

2014
1.27
$10.37

As compiled by The Numbers[52]

text: Studios supplement these movies with independent productions, made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation.[citation needed] These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budget, a successful independent film can have a high profit-to-cost ratio while a failure will incur minimal losses, allowing for studios to sponsor dozens[citation needed] of such productions in addition to their high-stakes releases.

text: American independent cinema was revitalized[citation needed] in the late 1980s and early 1990s when another new generation of moviemakers, including Spike Lee, Steven Soderbergh, Kevin Smith and Quentin Tarantino made movies like, respectively: Do the Right Thing, Sex, Lies, and Videotape, Clerks and Reservoir Dogs. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example, Fox Searchlight Pictures.

text: To a lesser degree in the early 21st century, film types that were previously considered[citation needed] to have only a minor presence in the mainstream movie market began to arise as more potent American box office draws. These include foreign-language films such as Crouching Tiger, Hidden Dragon and Hero and documentary films such as Super Size Me, March of the Penguins, and Michael Moore's Bowling for Columbine and Fahrenheit 9/11.

text: Hollywood and politics[edit]

text: In the 1930s, the Democrats and the Republicans saw money in Hollywood. President Franklin Roosevelt saw a huge partnership with Hollywood. He used the first real potential of Hollywood's stars in a national campaign. Melvyn Douglas toured Washington in 1939 and met the key New Dealers.[citation needed]

text: Political endorsements[edit]

text: Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, John F. Kennedy was a new, young face for Washington, and his strong friendship with Frank Sinatra exemplified this new era of glamor. The last moguls of Hollywood were gone and younger, newer executives and producers began generating more liberal ideas.

text: Celebrities and money attracted politicians into the high-class, glittering Hollywood lifestyle. As Ronald Brownstein wrote in his book "The Power and the Glitter", television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like Jane Fonda against the Vietnam War.[53] This era saw former actor Ronald Reagan become Governor of California and subsequently become the 40th President of the United States. It continued with Arnold Schwarzenegger as California's Governor in 2003, and former reality star Donald Trump as the 45th President of the United States.

text: Political donations[edit]

text: Today, Washington's interest is in Hollywood donations.[54] On February 20, 2007, for example, Barack Obama had a $2300-a-plate Hollywood gala, being hosted by DreamWorks founders David Geffen, Jeffrey Katzenberg, and Steven Spielberg at the Beverly Hilton.[54]

text: Spread to world markets[edit]

text:
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text: In 1912, American film companies were largely immersed in the competition for the domestic market. It was difficult to satisfy the huge demand for films created by the nickelodeon boom. Motion Picture Patents Company members such as Edison Studios, also sought to limit competition from French, Italian, and other imported films. Exporting films, then, became lucrative to these companies. Vitagraph Studios was the first American company to open its own distribution offices in Europe, establishing a branch in London in 1906, and a second branch in Paris shortly after.[55]

text: Other American companies were moving into foreign markets as well, and American distribution abroad continued to expand until the mid-1920s. Originally, a majority of companies sold their films indirectly. However, since they were inexperienced in overseas trading, they simply sold the foreign rights to their films to foreign distribution firms or export agents. Gradually, London became a center for the international circulation of US films.[56]

text: Many British companies made a profit by acting as the agents for this business, and by doing so, they weakened British production by turning over a large share of the UK market to American films. By 1911, approximately 60 to 70 percent of films imported into Great Britain were American. The United States was also doing well in Germany, Australia, and New Zealand.[57]

text: More recently, as globalization has started to intensify, and the United States government has been actively promoting free trade agendas and trade on cultural products, Hollywood has become a worldwide cultural source. The success on Hollywood export markets can be known not only from the boom of American multinational media corporations across the globe but also from the unique ability to make big-budget films that appeal powerfully to popular tastes in many different cultures.[58]

text: With globalization, movie production has been clustered in Hollywood for several reasons: the United States has the largest single home market in dollar terms, entertaining and highly visible Hollywood movies have global appeal, and the role of English as a universal language contributes to compensating for higher fixed costs of production.

text: In the meantime, Hollywood has moved more deeply into Chinese markets, although influenced by China's censorship. Films made in China are censored, strictly avoiding themes like "ghosts, violence, murder, horror, and demons." Such plot elements risk being cut. Hollywood has had to make "approved" films, corresponding to official Chinese standards, but with aesthetic standards sacrificed to box office profits. Even Chinese audiences found it boring to wait for the release of great American movies dubbed in their native language.[59]

text: Role of women[edit]

text: Women are statistically underrepresented in creative positions in the center of the US film industry, Hollywood. This underrepresentation has been called the "celluloid ceiling", a variant on the employment discrimination term "glass ceiling". In 2013, the "...top-paid actors...made 2½ times as much money as the top-paid actresses." [60] "[O]lder [male] actors make more than their female equals" in age, with "female movie stars mak[ing] the most money on average per film at age 34 while male stars earn the most at 51." [61]

text: The 2013 Celluloid Ceiling Report conducted by the Center for the Study of Women in Television and Film at San Diego State University collected a list of statistics gathered from "2,813 individuals employed by the 250 top domestic grossing films of 2012."[62]

text: Women accounted for...

text:
"18% of all directors, executive producers, producers, writers, cinematographers, and editors. This reflected no change from 2011 and only a 1% increase from 1998."[62]
"9% of all directors."[62]
"15% of writers."[62]
"25% of all producers."[62]
"20% of all editors."[62]
"2% of all cinematographers."[62]
"38% of films employed 0 or 1 woman in the roles considered, 23% employed 2 women, 28% employed 3 to 5 women, and 10% employed 6 to 9 women."[62]

text: A New York Times article stated that only 15% of the top films in 2013 had women for a lead acting role.[63] The author of the study noted that "The percentage of female speaking roles has not increased much since the 1940s when they hovered around 25 percent to 28 percent." "Since 1998, women's representation in behind-the-scenes roles other than directing has gone up just 1 percent." Women "...directed the same percent of the 250 top-grossing films in 2012 (9 percent) as they did in 1998."[60]


document_title: Smokey and the Bandit

question_text: who sang eastbound and down in smokey and the bandit

text: Smokey and the Bandit

text: Plot[edit]

text: Wealthy Texan Big Enos Burdette and his son Little Enos seek a truck driver willing to bootleg Coors beer to Georgia for their refreshment. At the time, Coors was regarded as one of the finest beers in the United States,[4] but it could not be legally sold east of the Mississippi River. Truck drivers who had taken the bet previously had been caught and arrested by "Smokey" (CB slang for highway patrol officers, referring to the Smokey Bear–type hats worn in some states).

text: The Burdettes find legendary trucker Bo "Bandit" Darville competing in a truck rodeo at Lakewood Fairgrounds in Atlanta; they offer him $80,000 to haul 400 cases of Coors beer from Texarkana, Texas back to Atlanta in 28 hours; Big Enos has sponsored a driver running in the Southern Classic stockcar race and "when he wins I want to celebrate in style." Bandit accepts the bet and recruits his partner Cledus "Snowman" Snow to drive the truck, while Bandit drives the "blocker", a black Pontiac Trans Am bought on an advance from the Burdettes, to divert attention away from the truck and its illegal cargo.

text: The trip to Texas is mostly uneventful except for at least one pursuing Arkansas State Trooper whom Bandit evades with ease. They reach Texarkana an hour ahead of schedule, load their truck with the beer and head back toward Atlanta. Immediately upon starting the second leg of the run, Bandit picks up runaway bride Carrie, whom he eventually nicknames "Frog" because she is "kinda cute like a frog", she is "always hoppin' around", and because he "wants to jump" her.  But in so doing, Bandit makes himself a target of Texas Sheriff Buford T. Justice, a career lawman whose handsome but slow-witted son Junior was to have been Carrie's bridegroom. Ignoring his own jurisdiction, Sheriff Justice, with Junior in tow, chases Bandit all the way to Georgia, even as various mishaps cause his cruiser to disintegrate around them.

text: The remainder of the film is one lengthy high-speed chase, as Bandit's antics attract more and more attention from local and state police across Dixie while Snowman barrels on toward Atlanta with the contraband beer. Bandit and Snowman are helped along the way via CB radio by many colorful characters, including Stacy Calhoun and an undertaker with his hearse driver and their funeral procession, an elderly lady, a drive-in waitress and all her customers, a convoy of trucks, and even a madam who runs a brothel out of her RV.  Neither Sheriff Justice nor any other police officers have any knowledge of Snowman's illegal manifest.  During this time, Bandit and Frog become closer and enjoy some romantic moments together, causing them to lose valuable time.

text: The chase intensifies as Bandit and Snowman get closer to Atlanta; moments after crossing back into Georgia, Bandit comes to the rescue when Snowman is pulled over by a Georgia State Patrol motorcycle patrolman, and state and local police step up their pursuit with more cruisers, larger roadblocks, and even a police helicopter to track Bandit's movements. Discouraged by the unexpected mounting attention, and with just four miles left to go, Bandit is about to give up, but Snowman refuses to listen and takes the lead, smashing through the police roadblock at the entrance to the fairgrounds. They arrive back at Lakewood Speedway (while the Southern Classic race is being run) with only ten minutes to spare, but instead of taking the payoff, Frog and Bandit accept a double-or-nothing offer from Little Enos — a challenge to run up to Boston and bring back clam chowder in 18 hours. They quickly escape in one of Big Enos' Cadillac convertibles as Georgia State Patrol cruisers flood the racetrack to confiscate the Trans Am and truck, passing Sheriff Justice's badly damaged police car by the side of the road. Bandit first directs Sheriff Justice to Big and Little Enos, but then in a gesture of respect, reveals his true location and invites Justice to give chase, leaving Junior behind.

text: Cast[edit]

text:
Actor
Role

Burt Reynolds
Bo Darville ("Bandit")

Sally Field
Carrie ("Frog")

Jerry Reed
Cledus "Snowman" Snow

Jackie Gleason
Sheriff Buford T. Justice ("Smokey")

Mike Henry
Junior Justice

Pat McCormick
Big Enos Burdette

Paul Williams
Little Enos Burdette

Macon McCalman
Mr. B

Susan McIver
Hot Pants

George Reynolds
Sheriff George Branford

Laura Lizer Sommers
Little Beaver

Michael Mann
Branford's Deputy

Lamar Jackson
Sugar Bear

Ronnie Gay
Georgia Trooper

Quinnon Sheffield
Alabama Trooper

Alfie Wise
Alabama Patrolman

Pat Hustis
Tow Truck Driver

Ingeborg Kjeldsen
Foxy Lady

Ben Jones
Trucker #1

Joe Klecko
Trucker #2

Hank Worden
Trucker #3

1977 Pontiac Trans Am
BAN-ONE "Blocker"

text: Production[edit]

text: Director Hal Needham originally planned the film as a low-budget B movie with a production cost of $1 million,[3] with Jerry Reed as the Bandit. It was not until Needham's friend Burt Reynolds read the script, and said he would star, that the film was aimed at a more mainstream release; Reed would now portray Bandit's friend Snowman (Reed would eventually play the Bandit in Smokey and the Bandit Part 3). At that time Reynolds was the top box office star in the world. In the original script Carrie was called Kate while Big Enos and Little Enos were called Kyle and Dickey. Bandit's car was a second generation Ford Mustang and the prize for completing the run was a new truck rather than $80,000.[5]

text: Burt Reynolds revealed in his autobiography that Needham had written the first draft script on legal pads. Upon showing it to his friend, Reynolds told Needham that it was the worst script he had ever read but that he would still make the movie. Most of the dialogue was improvised on set.[6]

text: Universal Studios bankrolled Smokey and the Bandit for $5.3 million, figuring it was a good risk.[3] Just two days before production was to begin, Universal sent a "hatchet man" to Atlanta to inform Needham that the budget was being trimmed by $1 million. With Reynolds' salary at $1 million, Needham was left with only $3.3 million to make the film. Needham and assistant director David Hamburger spent 30 hours revising the shooting schedule.[3]

text: "Buford T. Justice" was the name of a real Florida Highway Patrolman known to Reynolds' father, who was once Police Chief of Riviera Beach, Florida. His father was also the inspiration for the word "sumbitch" used in the film, a variation of the phrase "son-of-a-bitch" that, according to Reynolds, he uttered quite often.

text: Jackie Gleason was given free rein to ad-lib dialogue and make suggestions. It was his idea to have Junior alongside him throughout.  In particular, the scene where Sheriff Justice unknowingly encounters the Bandit in the "choke and puke" (a roadside diner) was not in the original story, but rather was Gleason's idea.

text: Before Gleason was cast in the film, Richard Boone was originally considered for the role of Buford T. Justice.[6]

text: Sally Field only accepted the part after her agent advised her that she needed a big movie role on her resume. Reynolds actively pushed for her casting after Universal initially resisted, claiming Field was not attractive enough. Field enjoyed making the film, but remembers that virtually the entire project was improvised.

text: Reportedly, Needham had great difficulty getting any studios or producers to take his project seriously, as in the film industry, he was better known as a stuntman. He managed to obtain studio attention after his friend Reynolds agreed to portray the Bandit in the film.

text: The movie was primarily filmed in Georgia in the cities of McDonough, Jonesboro and Lithonia. The scenes set in Texarkana were filmed in Jonesboro and the surrounding area, and many of the chase scenes were filmed in the surrounding areas on Highway 54 between Fayetteville and Jonesboro for a majority of the driving scenes, Mundy's Mill Road, Main Street in Jonesboro, Georgia State Route 400, I-85 (Pleasant Hill exit), and in McDonough. However, the scene where they drive through the Shell gas station was filmed in Ojai, California on the corner of Ojai and El Paseo. Much of the surrounding scene comes from that immediate vicinity. The scene featuring the racetrack was filmed at Lakewood Speedway at the old Lakewood Fairgrounds on the south side of Atlanta. The roller coaster seen in the movie was the Greyhound. It had not been used for some time and was repainted for the film. It was destroyed in Smokey and the Bandit II and a flashback scene in Part 3.[7]

text: The film's theme song, "East Bound and Down", was written virtually overnight by Jerry Reed. He gave Needham a preview of the song, and when initially he got no reaction from the director, offered to rewrite the song. Needham, however, liked the song so much he assured Jerry not to change a word. It became one of Reed's biggest hits and his signature song.[8]

text: The area around Helen, Georgia was also used for some locations. The scene where Buford T. Justice's car has the door knocked off by a passing semi truck was shot on Georgia State Route 75, 3 miles (4.8 km) north of Helen. The tow truck driver was a local garage owner, Berlin Wike.

text: The film features the custom clothing and costuming of Niver Western Wear of Fort Worth, Texas.[9] Niver provided much of the western attire worn in the film, as well as the custom-made sheriff's uniforms (waist size 64 inches) that Jackie Gleason wore throughout the film.

text: Reynolds and Sally Field began dating during the filming of Smokey and the Bandit.

text: While made to take advantage of the ongoing 1970s CB radio fad, the film added to the craze.[10]

text: Though the film Moonrunners (1975) is the precursor to the television series The Dukes of Hazzard (1979-1985), from the same creator and with many identical settings and concepts, the popularity of Smokey and the Bandit and similar films helped get the Dukes series on the air. Three actors from the main cast of The Dukes of Hazzard appear in small uncredited roles in Smokey and the Bandit: Ben Jones, John Schneider and Sonny Shroyer (who played a police officer in both). In return, Reynolds portrayed the Dukes character Boss Hogg (originally portrayed by Sorrell Booke) in the film adaptation The Dukes of Hazzard (2005). Reynolds is also referenced by name in several early episodes of the series.

text: Vehicles[edit]

text: Needham saw an advertisement for the soon-to-be-released 1977 Pontiac Trans Am and knew right away that would be the Bandit's car, or, as Needham referred to it, a character in the movie. He contacted Pontiac and an agreement was made that four 1977 Trans Ams and two Pontiac LeMans 4-door sedans would be provided for the movie.[11] The Trans Ams were actually 1976-model cars with 1977 front ends. (From 1970 to 1976, both the Firebird/Trans Am and Chevrolet Camaro had two round headlights, and in 1977, the Firebird/Trans Am was changed to four rectangular headlights, while the Camaro remained unchanged.) The decals were also changed to 1977-style units, as evidenced by the engine size callouts on the hood scoop being in liters rather than cubic inches, as had been the case in 1976. The hood scoop on these cars says "6.6 LITRE", which in 1977 would have denoted an Oldsmobile 403-equipped car or a non W-72, 180 hp version of the 400 Pontiac engine. All four of the cars were badly damaged during production,[12] one of which was all but destroyed during the jump over the dismantled bridge. The Trans Am used for the dismantled bridge jump was equipped with a booster rocket, the same type that was used by Evel Knievel during his failed Snake River Canyon jump. Needham served as the driver for the stunt (standing in for Reynolds) while Lada St. Edmund was in the same car (standing in for Sally Field during the jump). By the movie's ending, the final surviving Trans Am and LeMans were both barely running and the other cars had become parts donors to keep them running. The Burdettes' car is a 1974 Cadillac Eldorado convertible painted in a "Candy Red" color scheme, and is seen briefly at the beginning of the movie and as Bandit, Snowman, Fred, and Frog make their escape in the final scene.

text: The film also made use of three Kenworth W900A short-frame semi trucks, which Jerry Reed can be seen driving, each equipped with 38-inch sleepers. Two units were 1974 models as evidenced by standard silver Kenworth emblems on the truck grille, and one unit was a 1973 model as evidenced by the gold-painted Kenworth emblem on the truck's grille signifying Kenworth's 50 years in business. The paint code for each truck was coffee brown with gold trims, and the 48-foot (15 m) mural trailer used was manufactured by Hobbs Trailers in Texas with a non-operational Thermo King Refrigeration unit. This is obvious, because there is no fuel tank on the underside of the trailer to power the refrigeration unit, and the unit is never heard running.[13]

text: Legal status of Coors beer[edit]

text: In 1977, Coors was unavailable for sale east of Oklahoma. A 1974 Time magazine article explains why Coors was so coveted that one would be willing to pay the Bandit such a high price to transport it. Coors Banquet Beer had a brief renaissance as certain people sought it out for its lack of stabilizers and preservatives. The article says that future Vice President Gerald Ford hid it in his luggage after a trip to Colorado in order to take it back to Washington. President Dwight D. Eisenhower had a steady supply airlifted to Washington by the Air Force. The article also mentions Frederick Amon, who smuggled it from Colorado to North Carolina and sold it for four times the retail price.[14] The lack of additives and preservatives meant that Coors had the potential for spoiling in a week if it were not kept cold throughout its transportation and in storage at its destination. This explains the 28-hour deadline.[15]

text: Soundtrack[edit]

text:
Smokey And The Bandit: Music from the Motion PictureSoundtrack album by Various artistsReleased
1977 (1977)Genre
Truck-driving countrycountry rockcountrybluegrassrockLength
41:11Label
MCA RecordsProducer
Sonny Burke
Singles from Smokey And The Bandit: Music from the Motion Picture

"East Bound and Down"Released: August 1, 1977

text: The theme music, "East Bound and Down", was sung and co-written by Reed (credited under his birth name, Jerry Hubbard) and Dick Feller. It became Reed's signature song and is found on multiple albums, including Country Legends and his live album Jerry Reed: Live Still. In 1991 it was arranged for orchestra by Crafton Beck and recorded by Erich Kunzel and the Cincinnati Pops Orchestra for their album Down on the Farm. Several other groups, such as US rock band Tonic, have also covered it. Reed also penned and performed the song for the opening credits, entitled "The Legend", which tells of some of The Bandit's escapades prior to the events of the film, and the ballad "The Bandit", which features in several versions in the movie and on the soundtrack. Reed's hit notwithstanding, Bill Justis is the first name on the credits for the soundtrack as he composed and arranged original music throughout the film. Musicians such as Beegie Adair and George Tidwell played on the soundtrack as part of long careers in music. Legendary five-string banjo player Bobby Thompson is also heard prominently towards the end of "East Bound and Down." The soundtrack album was released in 1977 on vinyl, cassette and 8-track through MCA Records.[16]

text: Track listing[edit]

text: No.TitleWriter(s)Length1."The Legend"Jerry R. Hubbard2:092."Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Snowman"] – Jerry Reed) 0:283."West Bound And Down"Jerry R. Hubbard, Dick Feller2:454."Foxy Lady"Bill Justis2:515."Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Smokey"] – Jackie Gleason, Voice ["Snowman"] – Jerry Reed) 0:566."Orange Blossom Special"Ervin T. Rouse2:407."The Bandit"Dick Feller3:008."March Of The Rednecks"Bill Justis2:229."If You Leave Me Tonight I'll Cry"Gerald Sanford, Hal Mooney2:4710."East Bound and Down (Incidental CB Dialogue Included)" (Voice ["Bandit"] – Burt Reynolds, Voice ["Snowman"] – Jerry Reed)Jerry R. Hubbard, Dick Feller4:4211."The Bandit"Dick Feller2:4812."And The Fight Played On!"Bill Justis2:2213."Ma Cousin Plays Steel"Bill Justis3:1114."Hot Pants Fuzz Parade"Bill Justis4:4815."Incidental CB Dialogue" (Voice ["Bandit"] – Burt Reynolds, Voice ["Smokey"] – Jackie Gleason) 1:0516."The Bandit (Reprise)"Dick Feller2:17Total length:41:11

text: Reception[edit]

text: Smokey and the Bandit was a sleeper hit.[17] The film premiered at Radio City Music Hall in New York City where it performed badly.[18]  It then opened in just the South of the United States over the Memorial Day weekend and grossed $2,689,851 in 386 theatres.  By the end of June it had played in major Southern markets including Charlotte, Atlanta, Jacksonville, New Orleans, Memphis, Dallas and Oklahoma City grossing $11.9 million.  It opened in other Northern states at the end of July.[19]

text: With an original budget of $5.3 million (cut to $4.3 million two days before initial production),[3] the film eventually grossed $126,737,428 in North America,[20] making it the second-highest-grossing movie of 1977. The worldwide gross is estimated at over $300 million.[3]

text: Film critic Leonard Maltin gave the film a good rating (3 stars out of a possible 4) and characterized it as "About as subtle as The Three Stooges, but a classic compared to the sequels and countless rip-offs which followed."[21]

text: Gene Siskel, in his review in the Chicago Tribune, gave the film two stars and complained that the film failed to tell the audience when the clock started on the beer run, thus removing suspense throughout the film concerning how long remained to them. He also claimed that Bandit is never made aware of Frog's leaving Junior at the altar, which is why the Bandit continually asks why a Texas sheriff is chasing him. However, this is inaccurate: within seconds of Bandit picking her up, Frog tells him "there is a wedding in search of a bride", and goes on to explain her ill-advised romance with Junior, as Bandit holds up the CB mic for Snowman to hear.

text: The film's editors, Walter Hannemann and Angelo Ross, were nominated for the Academy Award for Best Film Editing. It currently holds a 79% "Fresh" rating on review aggregate website Rotten Tomatoes, based on 28 reviews.[22]

text: Burt Reynolds rated the film as the one he most enjoyed and had the most fun making in his career.[23]

text: Legendary film maker Alfred Hitchcock stated that the movie was one of his favorites.[24]

text: Upon meeting Burt Reynolds, Billy Bob Thornton told him that the picture was not considered a "film" in the south, so much as a documentary.[25]

text: Smokey and the Bandit was released in the United Kingdom on August 28, 1977 and was a sizeable success there, garnering positive reviews.[26]

text: American Film Institute Lists

text:
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:
Bandit (Bo Darville) – Nominated Hero

text: Cultural impact[edit]

text: Trans Am[edit]

text: After the debut of the film the Trans Am became wildly popular with sales almost doubling in two years of the film's release, to the delight of General Motors; in fact, it outsold its Chevrolet Camaro counterpart for the first time ever.[27] Reynolds was given the 1977 vehicle used during promotion of the film as a gift, though the car itself never actually appeared in the film. Because of the popularity of the movie and the sales success of the Trans Am, then President of Pontiac Alex Mair promised to supply Reynolds with a Trans Am each year. Owing to his financial difficulties, in 2014 Reynolds put his vast collection of artwork and memorabilia up for auction, including the Trans Am. High estimates for the car were up to $80,000, but that was dwarfed by the actual sale price of $450,000. Also up for auction was a go-kart replica of the car, which sold for nearly $14,000.[28] In 2016, Trans Am Depot, a Florida-based automobile customization company, announced that it would build 77 Trans Ams that would be modeled after the car that Reynolds drove in the 1977 original. Pontiac was discontinued by GM in 2009 and Trans Am Depot has permission to use the Trans Am name. These new models were built off the Camaro platform (the very same one that the real Firebird and Trans Am used), came with Pontiac arrowhead, flaming bird and Bandit logos, as well as instrument panels, center consoles and hood scoops emulating their 1977 counterparts, and were signed by Reynolds. Some differences included the use of a supercharged 454-cid (7.4-liter) Chevrolet-sourced engine that put out 840 HP, and four round headlights, which appeared on the 1967-69 Firebirds/Trans Ams only; the actual 1977-81 models had rectangular headlights.[29]

text: Diablo sandwich[edit]

text: The diablo sandwich ordered by Sheriff Justice in the Arkansas barbecue restaurant scene has entered popular culture as a minor reference to the film. While no authoritative source identifies the composition of the sandwich, there are several possibilities. A segment of the CMT program Reel Eats used a sloppy joe-style recipe consisting of seasoned ground beef, corn and sour cream.[30] Another proposal, based more closely on images from the film and the shooting location of the scene (at an Old Hickory House restaurant in Georgia), is pulled pork and hot sauce on a hamburger bun.[31]

text: The Bandit Run[edit]

text: First run in 2007 to celebrate the 30th anniversary of the movie, The Bandit Run was the brainchild of Dave Hall, owner of Restore A Muscle Car. A group of Trans Am owners and fans of the movie take part in an annual road trip from Texarkana to Jonesboro, Georgia, recreating the route taken by the characters in the film.

text: The Bandit Run quickly caught on and has become a fixture, most recently celebrating the 40th anniversary of the movie with a special screening of the film attended by Burt Reynolds and a recreation of the jump undertaken by Bandit and Frog across a river.[32]

text: Mobil 1 commercial[edit]

text: In 2014, petroleum company Mobil 1 produced television commercials, featuring NASCAR star Tony Stewart, closely based on the film. Called Smoke is the Bandit playing on Stewart's nickname, the commercials featured him as the Bandit opposite Darrell Waltrip who played Snowman and Jeff Hammond as Buford T. Justice. The story replaced the Coors beer with Mobil 1 products. The adverts poked fun at the film and even featured a Pontiac Trans Am and a cover version of the song East Bound and Down. The commercials were produced after Stewart mentioned that the movie was one of his favorites.[33]

text: Television censorship and alternative versions[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2018) (Learn how and when to remove this template message)

text: When Smokey and the Bandit first aired on American network television in the early 1980s, censors were faced with the challenge of toning down the raw language of the original film. For this purpose, they overdubbed dialogue deemed offensive, which was (and remains, to an extent) common practice. The most noted change made for network broadcast was the replacing of Buford's often-spoken phrase "sumbitch" (a contraction of "son of a bitch"; usually in reference to the Bandit) with the phrase "scum bum". This phrase achieved a level of popularity with children, and the 2007 Hot Wheels release of the 1970s Firebird Trans Am has "scum bum" emblazoned on its tail. The TV prints of the first two Bandit films are still shown regularly on television, although a few TV stations aired the unedited version in recent years as some of the phraseology (i.e. "(son of a) bitch", "ass", etc.) became more acceptable on TV.[citation needed]

text: The original actors mostly redubbed their own lines for the television version, except for Gleason. Actor Henry Corden, who voiced Fred Flintstone after original performer Alan Reed died, was used to replace a considerable amount of Sheriff Justice's dialogue.

text: In the UK, the heavily dubbed version was shown for a number of years, particularly by the BBC. However, in more recent years, the original version has been shown (on ITV, a commercial channel), usually with the stronger language edited out, often quite awkwardly and noticeably.[citation needed]

text: The theatrical release itself had a few lines deleted, including a creative edit in which Sheriff Justice tells a state trooper to "fuck off." His expletive is obscured when a passing big rig sounds its horn. At the time, using the 'F' word would immediately require an R rating and this clever self-censorship allowed the film to avoid this rating and reach a much larger audience. However, the scene and the obscured expletive was played for comedy value and written as such, with the passing truck being the gag of the scene more than a way to avoid the censors.

text: In 2006, a DVD re-release was issued of Smokey and the Bandit featuring a digitally-remastered audio track with 5.1 Dolby-compatible surround sound. It should be noted however that many of the film's original sounds were replaced. For instance, the diesel engine start and run up sequence in the opening sequence of the film was completely dubbed over with a totally new sound. A few other examples of "sound effect replacement" occur when Bandit takes off after managing to get a reluctant Cledus involved in the bet, and after he comes to a screeching halt on a roadway moments before picking up Carrie. Some of the original sound effects (such as Cledus' dog Fred's barking) and music (such as the final chase to the Southern Classic) were removed and not replaced. (Note: earlier DVD releases and the 40th Anniversary Blu-ray of the film have the original soundtrack intact.)[34]

text: Major portions of the audio 'background' have been modified with different engine sounds or tire squeals from the original film. The updated version of the film features sounds inaccurate for what would be produced by the Trans Am or the numerous other Pontiac vehicles in the film. The original film had correct sounds that were usually recorded live as the action took place.[citation needed]

text: Spin-off television films[edit]

text: A series of four made-for-TV spin-off films (Bandit Goes Country, Bandit Bandit, Beauty and the Bandit and Bandit's Silver Angel) were produced in 1994 for Universal Television's Action Pack with actor Brian Bloom playing a younger version of Bandit. The three original films introduced two generations of the Pontiac Trans Am, and the Dodge Stealth in the television movies.


document_title: Figure skating at the 2018 Winter Olympics – Men's singles

question_text: who won the men's figure skating at the olympics

question_tokens: who won the men 's figure skating at the olympics

text: Summary[edit]

text: With his victory at the 2018 Winter Olympics, Yuzuru Hanyu became the first male figure skater to win two consecutive gold medals after Dick Button, who did so in 1952. Fellow countryman Shoma Uno won the silver medal, and Spain's Javier Fernández won the bronze medal. Fernández won Spain's first figure skating medal and fourth medal at the Winter Olympics.

text: After the short program, Hanyu, Fernández, Uno, and Jin Boyang were first, second, third, and fourth respectively. Nathan Chen, originally one of the favorites for the podium, skated an uncharacteristically poor short program that placed him at 17th, but fought back to win the free skating with a score of 215.08--8.91 points above the second place free skating by Hanyu. He ended up fifth overall. In the free program, Jin Boyang overtook Chen by less than a point overall, and placed fourth.

text: In the victory ceremony, the medals were presented by Tsunekazu Takeda, member of the International Olympic Committee, accompanied by Alexander Lakernik, ISU Figure Skating Vice President.

text: Vincent Zhou landed the first quadruple lutz at the Olympics. Nathan Chen became the first to ever land six quads, five clean. He also landed the first quadruple flip at the Olympics. [5] With these jumps he holds the new record for highest free skating technical score.[6] For complete list of figure skating records, see list of highest scores in figure skating.

text: Qualification[edit]

text: A total of 30 skaters qualified to compete for the event, with each country allowed to only enter a maximum of three. 24 quotas were handed out during the 2017 World Figure Skating Championships and the remaining six were given out at the 2017 CS Nebelhorn Trophy. Each country decided the entry of its teams, and athletes winning the quota were not necessarily granted the right to compete.[7] All athletes competing must have met the minimum total elements score, which does not include component scores. For the short program this was 25.00 and the free skating 45.00.[8]

text: Schedule[edit]

text: All times are (UTC+9).

text:
Date
Time
Round

16 February
10:00[3]
Short program

17 February
10:00[3]
Free skating

text: Results[edit]

text: Short program[edit]

text: The short program was held on 16 February 2018.[3][9]

text:
Pl.
Name
Nation
TSS
TES
PCS
SS
TR
PE
CH
IN
Ded
StN

1
Yuzuru Hanyu
 Japan
111.68
63.18
48.50
9.71
9.43
9.86
9.75
9.75
0.00
25

2
Javier Fernández
 Spain
107.58
59.79
47.79
9.36
9.36
9.71
9.68
9.68
0.00
29

3
Shoma Uno
 Japan
104.17
58.13
46.04
9.29
9.00
9.25
9.29
9.21
0.00
28

4
Jin Boyang
 China
103.32
60.27
43.05
8.79
8.29
8.82
8.54
8.61
0.00
30

5
Dmitri Aliev
 Olympic Athletes from Russia
98.98
56.98
42.00
8.43
8.11
8.50
8.50
8.46
0.00
20

6
Patrick Chan
 Canada
90.01
45.08
45.93
9.36
9.07
9.00
9.29
9.21
–1.00
21

7
Adam Rippon
 United States
87.95
44.48
43.47
8.57
8.43
8.86
8.68
8.93
0.00
19

8
Mikhail Kolyada
 Olympic Athletes from Russia
86.69
43.84
43.85
8.96
8.54
8.64
8.82
8.89
–1.00
27

9
Michal Březina
 Czech Republic
85.15
44.34
40.81
8.25
7.89
8.25
8.21
8.21
0.00
13

10
Keegan Messing
 Canada
85.11
45.50
40.61
8.04
7.96
8.07
8.29
8.25
−1.00
12

11
Jorik Hendrickx
 Belgium
84.74
44.17
40.57
7.96
7.89
8.25
8.18
8.29
0.00
17

12
Vincent Zhou
 United States
84.53
48.50
36.03
7.39
6.96
7.11
7.32
7.25
0.00
3

13
Oleksii Bychenko
 Israel
84.13
43.63
40.50
7.93
7.71
8.36
8.18
8.32
0.00
23

14
Misha Ge
 Uzbekistan
83.90
41.75
42.15
8.18
8.18
8.54
8.46
8.79
0.00
16

15
Cha Jun-hwan
 South Korea
83.43
43.79
39.64
7.93
7.68
8.07
8.00
7.96
0.00
14

16
Brendan Kerry
 Australia
83.06
45.49
37.57
7.57
7.36
7.61
7.57
7.46
0.00
10

17
Nathan Chen
 United States
82.27
41.39
41.88
8.46
8.32
8.14
8.57
8.39
–1.00
26

18
Daniel Samohin
 Israel
80.69
43.29
38.40
7.79
7.29
7.79
7.71
7.82
–1.00
18

19
Yan Han
 China
80.63
40.99
40.64
8.46
8.07
7.86
8.18
8.07
−1.00
8

20
Keiji Tanaka
 Japan
80.05
40.30
40.75
8.36
7.86
8.07
8.21
8.25
–1.00
22

21
Deniss Vasiļjevs
 Latvia
79.52
39.34
41.18
8.25
8.00
8.18
8.39
8.36
–1.00
24

22
Moris Kvitelashvili
 Georgia
76.56
40.88
36.68
7.46
7.11
7.32
7.43
7.36
−1.00
11

23
Matteo Rizzo
 Italy
75.63
39.23
36.40
7.29
7.11
7.29
7.39
7.32
0.00
5

24
Paul Fentz
 Germany
74.73
37.71
37.02
7.46
7.25
7.46
7.46
7.39
0.00
15

Did not advance to free skating

25
Julian Yee
 Malaysia
73.58
38.37
35.21
7.07
6.82
7.11
7.14
7.07
0.00
9

26
Chafik Besseghier
 France
72.10
38.41
33.69
6.79
6.29
6.89
6.86
6.86
0.00
2

27
Denis Ten
 Kazakhstan
70.12
30.77
39.35
8.11
7.82
7.46
8.07
7.89
0.00
4

28
Michael Christian Martinez
 Philippines
55.56
26.04
29.52
5.96
5.64
5.96
6.00
5.96
0.00
6

29
Felipe Montoya
 Spain
52.41
22.59
30.82
6.25
6.07
6.00
6.25
6.25
−1.00
1

30
Yaroslav Paniot
 Ukraine
46.58
18.68
29.90
6.43
5.79
5.61
6.21
5.86
−2.00
7

text:
Notes:
WR - World record
TSS - Total Segment Score; TES - Technical Element Score; PCS - Program Component Score
SS - Skating Skills; TR - Transitions; PE - Performance/Execution
CH - Choreography; IN - Interpretation; Ded - Deduction; StN - Starting Number

text: Free skating[edit]

text: The free skating was held on 17 February 2018.[3][10]

text:
Pl.
Name
Nation
TSS
TES
PCS
SS
TR
PE
CH
IN
Ded
StN

1
Nathan Chen
 United States
215.08
127.64
87.44
8.82
8.32
9.04
8.79
8.75
0.00
9

2
Yuzuru Hanyu
 Japan
206.17
109.55
96.62
9.71
9.50
9.64
9.71
9.75
0.00
22

3
Shoma Uno
 Japan
202.73
111.01
92.72
9.36
9.07
9.25
9.32
9.36
–1.00
24

4
Javier Fernández
 Spain
197.66
101.52
96.14
9.46
9.43
9.64
9.79
9.75
0.00
23

5
Jin Boyang
 China
194.45
109.69
85.76
8.71
8.21
8.64
8.68
8.64
–1.00
20

6
Vincent Zhou
 United States
192.16
112.24
79.92
8.04
7.71
8.25
7.96
8.00
0.00
15

7
Mikhail Kolyada
 Olympic Athletes from Russia
177.56
91.62
87.94
9.00
8.64
8.68
8.86
8.72
–2.00
16

8
Patrick Chan
 Canada
173.42
81.56
91.86
9.32
9.14
8.66
9.29
9.32
0.00
21

9
Oleksii Bychenko
 Israel
172.88
89.08
83.80
8.39
8.04
8.61
8.43
8.43
0.00
7

10
Adam Rippon
 United States
171.41
84.47
86.94
8.75
8.54
8.68
8.71
8.79
0.00
18

11
Daniel Samohin
 Israel
170.75
89.03
81.72
8.32
7.75
8.32
8.18
8.29
0.00
8

12
Keegan Messing
 Canada
170.32
84.88
85.44
8.50
8.29
8.61
8.61
8.71
0.00
14

13
Dmitri Aliev
 Olympic Athletes from Russia
168.53
85.39
85.13
8.64
8.39
8.32
8.61
8.61
–2.00
19

14
Cha Jun-hwan
 South Korea
165.16
84.94
81.22
8.21
7.86
8.25
8.11
8.18
–1.00
13

15
Keiji Tanaka
 Japan
164.78
85.64
81.14
8.36
7.89
8.00
8.18
8.14
–2.00
5

16
Jorik Hendrickx
 Belgium
164.21
81.79
82.42
8.25
7.96
8.36
8.25
8.39
0.00
13

17
Misha Ge
 Uzbekistan
161.04
74.96
86.08
8.46
8.36
8.54
8.75
8.93
0.00
10

18
Michal Březina
 Czech Republic
160.92
76.58
84.34
8.57
8.21
8.39
8.57
8.43
0.00
17

19
Matteo Rizzo
 Italy
156.78
80.86
75.92
7.64
7.32
7.79
7.64
7.57
0.00
2

20
Deniss Vasiļjevs
 Latvia
155.06
76.42
80.64
8.14
7.86
7.96
8.18
8.18
–2.00
1

21
Brendan Kerry
 Australia
150.75
73.33
77.42
7.96
7.54
7.68
7.82
7.71
0.00
12

22
Paul Fentz
 Germany
139.82
66.98
72.84
7.50
7.14
7.14
7.39
7.25
0.00
3

23
Yan Han
 China
132.38
53.80
79.58
8.56
7.82
7.57
8.04
8.00
–1.00
4

24
Moris Kvitelashvili
 Georgia
128.01
63.35
70.66
7.34
6.86
6.68
7.32
7.04
–6.00
6

text:
Notes:
TSS - Total Segment Score; TES - Technical Element Score; PCS - Program Component Score
SS - Skating Skills; TR - Transitions; PE - Performance/Execution
CH - Choreography; IN - Interpretation; Ded - Deduction; StN - Starting Number

text: Overall[edit]

text: The skaters were ranked according to their overall score.[11]

text:
Rank
Name
Nation
TP
SP
FS

01 !
Yuzuru Hanyu
 Japan
317.85
111.68
1
206.17
2

02 !
Shoma Uno
 Japan
306.90
104.17
3
202.73
3

03 !
Javier Fernández
 Spain
305.24
107.58
2
197.66
4

4
Jin Boyang
 China
297.77
103.32
4
194.45
5

5
Nathan Chen
 United States
297.35
82.27
17
215.08
1

6
Vincent Zhou
 United States
276.69
84.53
12
192.16
6

7
Dmitri Aliev
 Olympic Athletes from Russia
267.51
98.98
5
168.53
13

8
Mikhail Kolyada
 Olympic Athletes from Russia
264.25
86.69
8
177.56
7

9
Patrick Chan
 Canada
263.43
90.01
6
173.42
8

10
Adam Rippon
 United States
259.36
87.95
7
171.41
10

11
Oleksii Bychenko
 Israel
257.01
84.13
13
172.88
9

12
Keegan Messing
 Canada
255.43
85.11
10
170.32
12

13
Daniel Samohin
 Israel
251.44
80.69
18
170.75
11

14
Jorik Hendrickx
 Belgium
248.95
84.74
11
164.21
16

15
Cha Jun-hwan
 South Korea
248.59
83.43
15
165.16
14

16
Michal Březina
 Czech Republic
246.07
85.15
9
160.92
18

17
Misha Ge
 Uzbekistan
244.94
83.90
14
161.04
17

18
Keiji Tanaka
 Japan
244.83
80.05
20
164.78
15

19
Deniss Vasiļjevs
 Latvia
234.58
79.52
21
155.06
20

20
Brendan Kerry
 Australia
233.81
83.06
16
150.75
21

21
Matteo Rizzo
 Italy
232.41
75.63
23
156.78
19

22
Paul Fentz
 Germany
214.55
74.73
24
139.82
22

23
Yan Han
 China
213.01
80.63
19
132.38
23

24
Moris Kvitelashvili
 Georgia
204.57
76.56
22
128.01
24

Did not advance to free skating

25
Julian Yee
 Malaysia

73.58
25

26
Chafik Besseghier
 France

72.10
26

27
Denis Ten
 Kazakhstan

70.12
27

28
Michael Christian Martinez
 Philippines

55.56
28

29
Felipe Montoya
 Spain

52.41
29

30
Yaroslav Paniot
 Ukraine

46.58
30

text: TP - Total points; SP - Short program; FS - Free skating


document_title: This Is Us (TV series)

question_text: who is kate's mom on this is us

question_tokens: who is kate 's mom on this is us

text: This Is Us (TV series)

text: Series overview[edit]

text: The series follows siblings Kate, Kevin and Randall as their lives intertwine. Kate and Kevin were originally part of a triplet pregnancy, conceived in the bathroom of Froggy's, a bar, during Super Bowl XIV.[4] Their due date was October 12, 1980, but they were born six weeks early on August 31; their biological brother was stillborn.[5] Their parents, Jack and Rebecca, having expected to bring home three babies, decide to adopt another newborn: Randall, a black child born the same day and brought to the same hospital after his biological father abandoned him at a fire station.[6]

text: Episodes weave through the stories of the past and present of the characters, with most scenes taking place in 1980, 1989–1995, and the present day (2016–2017). Flashback scenes take place in Pittsburgh, while current scenes are typically split between Los Angeles, New Jersey, and New York City.

text:
Season
Episodes
Originally aired
Nielsen ratings

First aired
Last aired
Rank
Average viewership
(in millions)

1
18
September 20, 2016 (2016-09-20)
March 14, 2017 (2017-03-14)
6
14.70[7]

2
18[3]
September 26, 2017 (2017-09-26)
TBA
TBA
TBA

text: Cast and characters[edit]

text: Main[edit]

text:
Milo Ventimiglia as Jack Pearson: Rebecca's husband, and Kate, Kevin, & Randall's father.
Mandy Moore as Rebecca Pearson (née Malone): Jack's wife, and Kate, Kevin, & Randall's mother.
Sterling K. Brown as Randall Pearson: Jack & Rebecca's son, and Kate & Kevin's brother. Also played by Niles Fitch (age 15) and Lonnie Chavis (ages 8–10).
Chrissy Metz as Kate Pearson: Jack & Rebecca's daughter, and Kevin & Randall's sister. Also played by Hannah Zeile (age 15) and Mackenzie Hancsicsak (ages 8–10).
Justin Hartley as Kevin Pearson: Jack & Rebecca's son, and Kate & Randall's brother. Also played by Logan Shroyer (age 15) and Parker Bates (ages 8–10).
Susan Kelechi Watson as Beth Pearson: Randall's wife, and mother of Tess and Annie.
Chris Sullivan as Toby Damon: Kate's fiancé.
Ron Cephas Jones as William H. Hill (aka Shakespeare): Randall's biological father. Also played by Jermel Nakia as a youth.
Jon Huertas as Miguel Rivas: Jack's best friend and Rebecca's second husband. (recurring season 1; main season 2–present)[8]
Alexandra Breckenridge as Sophie: Kate's childhood best friend as well as Kevin's childhood love and ex-wife. Also played by Amanda Leighton (age 15) and Sophia Coto (age 10). (recurring season 1; main season 2–present)[8]
Eris Baker as Tess Pearson: Randall and Beth's older daughter. (recurring season 1; main season 2–present)
Faithe Herman as Annie Pearson: Randall and Beth's younger daughter. (recurring season 1; main season 2–present)

text: Recurring[edit]

text:
Gerald McRaney as Dr. Nathan Katowski (aka Dr. K): An elderly widower, who delivers Kate and Kevin.
Janet Montgomery as Olivia Maine: Kevin's former stage partner and ex-girlfriend.
Milana Vayntrub as Sloane Sandburg: Kevin's stage partner and ex-girlfriend.
Ryan Michelle Bathe as Yvette: A family friend of the Pearsons.
Denis O'Hare as Jesse: William's friend and former romantic partner.
Adam Bartley as Duke: The stable worker at the weight-loss camp Kate attends.
Jill Johnson as Laurie: A member of Toby and Kate's weight-loss support group.

text: Episodes[edit]

text: Season 1 (2016–17)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

1
1
"Pilot"
John Requa & Glenn Ficarra
Dan Fogelman
September 20, 2016 (2016-09-20)
1AZC01
10.07[9]

2
2
"The Big Three"
Ken Olin
Dan Fogelman
September 27, 2016 (2016-09-27)
1AZC02
8.75[10]

3
3
"Kyle"
John Requa & Glenn Ficarra
Dan Fogelman
October 11, 2016 (2016-10-11)
1AZC03
9.87[11]

4
4
"The Pool"
John Requa & Glenn Ficarra
Dan Fogelman & Donald Todd
October 18, 2016 (2016-10-18)
1AZC04
9.71[12]

5
5
"The Game Plan"
George Tillman
Joe Lawson
October 25, 2016 (2016-10-25)
1AZC05
8.68[13]

6
6
"Career Days"
Craig Zisk
Bekah Brunstetter
November 1, 2016 (2016-11-01)
1AZC06
8.48[14]

7
7
"The Best Washing Machine in the World"
Silas Howard
K.J. Steinberg
November 15, 2016 (2016-11-15)
1AZC07
9.50[15]

8
8
"Pilgrim Rick"
Sarah Pia Anderson
Isaac Aptaker & Elizabeth Berger
November 22, 2016 (2016-11-22)
1AZC08
9.00[16]

9
9
"The Trip"
Uta Briesewitz
Vera Herbert
November 29, 2016 (2016-11-29)
1AZC09
10.53[17]

10
10
"Last Christmas"
Helen Hunt
Donald Todd
December 6, 2016 (2016-12-06)
1AZC10
10.95[18]

11
11
"The Right Thing to Do"
Timothy Busfield
Aurin Squire
January 10, 2017 (2017-01-10)
1AZC11
10.48[19]

12
12
"The Big Day"
Ken Olin
Dan Fogelman & Laura Kenar
January 17, 2017 (2017-01-17)
1AZC12
9.59[20]

13
13
"Three Sentences"
Chris Koch
Joe Lawson & Bekah Brunstetter
January 24, 2017 (2017-01-24)
1AZC13
9.63[21]

14
14
"I Call Marriage"
George Tillman Jr.
Kay Oyegun
February 7, 2017 (2017-02-07)
1AZC14
9.57[22]

15
15
"Jack Pearson's Son"
Ken Olin
Isaac Aptaker & Elizabeth Berger
February 14, 2017 (2017-02-14)
1AZC15
9.03[23]

16
16
"Memphis"
John Requa & Glenn Ficarra
Dan Fogelman
February 21, 2017 (2017-02-21)
1AZC16
9.35[24]

17
17
"What Now?"
Wendey Stanzler
K.J. Steinberg & Vera Herbert
March 7, 2017 (2017-03-07)
1AZC17
11.15[25]

18
18
"Moonshadow"
Ken Olin
Dan Fogelman & Isaac Aptaker & Elizabeth Berger
March 14, 2017 (2017-03-14)
1AZC18
12.84[26]

text: Season 2 (2017)[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

19
1
"A Father's Advice"
Ken Olin
Dan Fogelman
September 26, 2017 (2017-09-26)
2AZC01
12.94[27]

20
2
"A Manny-Splendored Thing"
John Fortenberry
Dan Fogelman & Bekah Brunstetter
October 3, 2017 (2017-10-03)
2AZC02
11.06[28]

21
3
"Déjà Vu"
John Requa & Glenn Ficarra
Isaac Aptaker & Elizabeth Berger
October 10, 2017 (2017-10-10)
2AZC03
11.02[29]

22
4
"Still There"
Ken Olin
Vera Herbert
October 17, 2017 (2017-10-17)
2AZC04
10.65[30]

23
5
"Brothers"
John Requa & Glenn Ficarra
Tyler Bensinger
October 24, 2017 (2017-10-24)
2AZC05
10.60[31]

24
6
"The 20's"
Regina King
Don Roos
October 31, 2017 (2017-10-31)
2AZC06
8.43[32]

25
7
"The Most Disappointed Man"
Chris Koch
TBA
November 7, 2017 (2017-11-07)
2AZC07
TBD

26
8
"Number One"[33]
TBA
TBA
November 14, 2017 (2017-11-14)
2AZC08
TBD

27
9
"Number Two"[34]
TBA
TBA
November 21, 2017 (2017-11-21)
2AZC09
TBD

28
10
"Number Three"[35]
TBA
TBA
November 28, 2017 (2017-11-28)
2AZC10
TBD

text: Release[edit]

text: Home media[edit]

text: In May 2017, Hulu acquired the SVOD rights to new and past episodes of the series to air exclusively on Hulu, in addition to NBC.com and the NBC app.[36]

text: Reception[edit]

text: Critical response[edit]

text: The review aggregation website Rotten Tomatoes reported a 89% approval rating for the first season with an average rating of 7.7/10 based on 56 reviews. The website's critical consensus reads, "Featuring full-tilt heartstring-tugging family drama, This Is Us will provide a suitable surrogate for those who have felt a void in their lives since Parenthood went off the air."[37] Metacritic, which uses a weighted average, assigned the season a score of 76 out of 100 based on 34 reviews, indicating "generally favorable reviews".[38] Season 2 received a 92% approval rating from Rotten Tomatoes based on 15 reviews.[39]

text: Entertainment Weekly gave the first few episodes of This Is Us a rating of B, calling it "a refreshing respite from the relational violence and pessimism that marks the other buzz soaps that have bubbled forth from a culture of divisiveness". Moreover, they praised all the actors, specifically Sterling K. Brown, for being able to navigate "his scenes with such intelligence, authenticity, and charisma".[40]

text: Ratings[edit]

text:
Season
Timeslot (ET)
Episodes
First aired
Last aired
TV season
Rank
Avg. viewers
(millions)
18–49 rating
(average)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
Tuesday 10:00 pm (1–2, 11)
Tuesday 9:00 pm (3–10, 12–18)
18
September 20, 2016 (2016-09-20)
10.07[9]
March 14, 2017 (2017-03-14)
12.84[26]
2016–17
6
14.70
4.6/16[7]

2
Tuesday 9:00 pm
18[3]
September 26, 2017 (2017-09-26)
12.94[27]
TBA
TBD
2017–18
TBD
TBD
TBD

text: Accolades[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2016
African-American Critics Association Awards
Top Ten TV Show
This Is Us
Won

American Film Institute Awards
TV Program of the Year
This Is Us
Won
[41]

Critics' Choice Television Awards
Best Drama Series
This Is Us
Nominated
[42]

Most Exciting New Series
This Is Us
Won
[42]

2017
ACE Eddie Awards
Best Edited One Hour Series for Commercial Television
David L. Bertman (for "Pilot")
Won
[43]

Golden Globe Awards
Best Supporting Actress – Series, Miniseries or Television Film
Chrissy Metz
Nominated
[44]

Mandy Moore
Nominated

Best Television Series – Drama
This Is Us
Nominated

MTV Movie & TV Awards
Best Actor in a Show
Mandy Moore
Nominated
[45]

Show of the Year
This Is Us
Nominated

Tearjerker
Milo Ventimiglia and Lonnie Chavis (Jack and Randall at Karate)
Won

NAACP Image Awards
Outstanding Actor in a Drama Series
Sterling K. Brown
Won
[46]

Outstanding Drama Series
This Is Us
Nominated

Outstanding Performance by a Youth
Lonnie Chavis
Nominated

Peabody Awards
Entertainment and Children's programs
This Is Us
Nominated
[47]

People's Choice Awards
Favorite Actor in a New TV Series
Milo Ventimiglia
Nominated
[48]

Favorite Actress in a New TV Series
Mandy Moore
Nominated

Favorite New TV Drama
This Is Us
Won

Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Drama Series
Sterling K. Brown
Nominated
[49]

Teen Choice Awards
Choice TV: Breakout Star
Chrissy Metz
Nominated

Choice TV Actor: Drama
Sterling K. Brown
Nominated

Milo Ventimiglia
Nominated

Choice TV Show: Drama
This Is Us
Nominated

Television Critics Association Awards
Individual Achievement in Drama
Sterling K. Brown
Nominated
[50]

Outstanding Achievement in Drama
This Is Us
Nominated

Outstanding New Program
This Is Us
Won

Program of the Year
This Is Us
Nominated

Writers Guild of America Awards
Episodic Drama
Vera Herbert (for "The Trip")
Won
[51]
[52]

New Series
This Is Us
Nominated

Primetime Emmy Awards
Outstanding Drama Series
This Is Us
Nominated
[53]

Outstanding Lead Actor in a Drama Series
Milo Ventimiglia
Nominated

Sterling K. Brown
Won

Outstanding Supporting Actor in a Drama Series
Ron Cephas Jones
Nominated

Outstanding Supporting Actress in a Drama Series
Chrissy Metz
Nominated

Primetime Creative Arts Emmy Awards[a]
Outstanding Guest Actor in a Drama Series
Brian Tyree Henry
Nominated

Gerald McRaney
Won

Denis O'Hare
Nominated

Outstanding Casting for a Drama Series
Bernard Telsey, Tiffany Little Canfield
Nominated

Outstanding Makeup for a Single-Camera Series (Non-Prosthetic)
Zoe Hay, Heather Plott, Elizabeth Hoel-Chang, Judith Lynn Staats, John Damiani
Nominated

Seoul International Drama Awards
Grand Prize
This Is Us
Won
[55]

Best Director
Dan Fogelman
Nominated

text: Notes[edit]

text: Jump up ^ In 2017, Hala Bahmet, Marina Ray and Elinor Bardach were nominated for Outstanding Costumes for a Contemporary Series, Limited Series, or Movie. The nomination was rescinded after it was determined that the submitted episode "Moonshadow" was primarily set in the 1970s, violating the TV Academy's rule that "more than 50 percent" of the episode must be contemporary (within 25 years of the air date).[54]

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