document_title: Monsters, Inc.

question_text: who does the voice of sully in monsters inc

text: Monsters, Inc.

text: Plot[edit]

text: The city of Monstropolis in the monster world is powered by energy from the screams of human children. At the Monsters, Inc. factory, skilled monsters employed as "scarers" venture into the human world to scare children and harvest their screams, through doors that activate portals to the children's bedroom closets. It is considered dangerous work, as human children are believed to be "toxic". Energy production is falling because children are becoming less easily scared, and company chairman, Henry J. Waternoose, is determined to find a solution. James P. "Sulley" Sullivan is the organization's top scarer, but his chief rival Randall Boggs is close behind.

text: One day, Sulley discovers that Randall has left a door activated on the scare floor and a small girl has entered the factory. After several failed attempts to put her back, Sulley conceals her and takes her out of the factory. He interrupts his best friend Mike Wazowski's date with his girlfriend, Celia, at a sushi restaurant, and chaos erupts when the child is discovered. Sulley and Mike manage to escape with the child before the Child Detection Agency (CDA) quarantines the restaurant. They soon discover that she is not really toxic after all; Sulley grows attached to her and calls her "Boo," while Mike is just anxious to be rid of her.

text: When they smuggle her back into the factory disguised as a baby monster in an attempt to send her home, Randall discovers her and tries to kidnap her, but he mistakenly kidnaps Mike instead. He straps Mike to a large machine called "The Scream Extractor," which he intends to use to revolutionize the scaring industry and solve the monster world's energy problems by forcefully extracting screams from kidnapped human children. Before Randall can use the machine on Mike, Sulley intervenes and reports Randall to Waternoose. Waternoose, secretly in league with Randall, instead exiles Mike and Sulley to the Himalayas. The two are taken in by a Yeti, who tells them about a nearby village which Sulley realizes he can use to return to the factory. Sulley prepares to leave, but Mike refuses to go with him. Meanwhile, Randall is preparing to use the Scream Extractor on Boo, but Sulley arrives and saves her. Randall and Sulley fight, and after Mike returns and inexplicably help Sulley overpower Randall, the two reconcile, take Boo, and flee.

text: Randall pursues them to the door vault, and a wild chase ensues among the millions of doors as they move in and out of the storage vault on rails to the factory floor. Boo's laughter causes all the doors to activate, allowing the monsters to pass in and out of the human world. Randall attempts to kill Sulley, but Boo overcomes her fear and attacks him. Sulley and Mike trap Randall in the human world, where two residents at a trailer park mistake him for an alligator and beat him with a shovel. Sulley and Mike then trick Waternoose into revealing his plot with Randall, while Mike secretly records the entire conversation for the CDA to view. The CDA arrests Waternoose and it is revealed that Roz, the scare floor secretary, is the CDA's leader to which she thanks Sulley and Mike for the help and orders them to return Boo home and has her door shredded to prevent any more contact with her.

text: With the factory temporarily shut down, Sulley is named the new CEO of Monsters, Inc. Under his leadership, the energy crisis is solved by harvesting children's laughter instead of screams, as laughter has been found to be much more potent. Mike takes Sulley aside, revealing he has rebuilt Boo's door and only needs one final piece, which Sulley took as a memento. Sulley enters and joyfully reunites with Boo.

text: Voice cast[edit]

text:
John Goodman as James P. "Sulley" Sullivan, a large, furry blue monster with horns and purple spots. Even though Sulley excels at scaring children, he is a gentle giant by nature. At the film's beginning, Sulley has been the "Best Scarer" at Monsters, Inc. for several months running.
Billy Crystal as Michael "Mike" Wazowski, a short, round green monster with a single big eyeball and skinny limbs. Mike is Sulley's station runner and coach on the scare floor, and the two are close friends and roommates. Mike is charming and generally the more organized of the two, but is prone to neurotics and his ego sometimes leads him astray. He is dating Celia Mae, who calls him "Googly-Bear".
Mary Gibbs as Mary "Boo", a three-year-old[3][4][5] human girl who is unafraid of any monster except Randall, the scarer assigned to her door. She believes Sulley is a large cat and refers to him as "Kitty". In the film, one of Boo's drawings is covered with the name "Mary". The book based on the film gives Boo's "real" name as Mary Gibbs, the name of her voice actress who also happens to be the daughter of Rob Gibbs who worked as a story artist on the film.[6]
Steve Buscemi as Randall Boggs, a purple eight-legged lizard monster with a chameleon-like ability to change skin color and blend in completely with his surroundings. He is a snide and preening character who makes himself a rival to Sulley and Mike in scream collection.
James Coburn as Henry J. Waternoose III, an arthropodic monster with a crab-like lower body. Waternoose is the CEO of Monsters, Inc., a job passed down through his family for three generations. He acts as a mentor to Sulley, holding great faith in him as a scarer.
Jennifer Tilly as Celia Mae, a gorgon-like monster with one eye and tentacle-like legs. Celia is the receptionist for Monsters, Inc. and Mike's girlfriend.
Bob Peterson as Roz, a slug-like monster with a raspy voice reminiscent of Selma Diamond's who administrates for Scarefloor F where Sulley, Mike, and Randall work. At the end of the movie, it is revealed that Roz is "agent number 1" of the CDA, and has worked undercover at Monsters, Inc. for two and a half years.
John Ratzenberger as Yeti[7] aka. The Abominable Snowman,[8] a furry white monster who was banished to the Himalayas. He was inspired by the Abominable Snowman from the 1964 Rankin/Bass animated special Rudolph the Red-Nosed Reindeer.[9]
Frank Oz as Jeff Fungus, Randall's red-skinned, three-eyed assistant. He is generally incompetent and is often bullied by Randall.
Dan Gerson as Smitty and Needleman, two goofy adolescent monsters with cracking voices who work as janitors and operate the Door Shredder when required. The pair of them idolize Sulley and are generally seen as a nuisance by Mike.
Steve Susskind as Jerry Slugworth, a red seven-fingered monster who manages Scare Floor F and is a good friend of Waternoose.
Bonnie Hunt as Ms. Flint, a female monster who trains new monsters to scare children.
Jeff Pidgeon as Thaddeus "Phlegm" Bile, a trainee scarer for Monsters, Inc.
Samuel Lord Black as George Sanderson, a chubby, oranged-furred monster with a sole horn on top of his head. A running gag throughout the film involves George repeatedly making contact with human artifacts (such as socks and the like which cling to his fur via static), prompting his scare coach to trigger "23–19" incidents with the CDA resulting in him mobbed, shaved bald, and sterilized. He is good friends with Pete "Claws" Ward.
Phil Proctor as Charlie, George's assistant with sea-green skin and tendrils for limbs. He is friends with George, Mike, and Sulley but is quick to call the CDA on his scarer at the drop of a hat.
Joe Ranft as Pete "Claws" Ward, a blue monster with razor-sharp claws and horrifying breath. He is very good friends with George Sanderson.

text: Production[edit]

text: Development[edit]

text: The idea for Monsters, Inc. was conceived in a lunch in 1994 attended by John Lasseter, Pete Docter, Andrew Stanton and Joe Ranft during the production of Toy Story.[10] One of the ideas that came out of the brainstorming session was a film about monsters. "When we were making Toy Story", Docter said, "everybody came up to me and said 'Hey, I totally believed that my toys came to life when I left the room.' So when Disney asked us to do some more films, I wanted to tap into a childlike notion that was similar to that. I knew monsters were coming out of my closet when I was a kid. So I said, 'Hey, let's do a film about monsters.'"[11]

text: Docter began work on the film that would become Monsters, Inc. in 1996 while others focused on A Bug's Life (1998) and Toy Story 2 (1999). Its code name was Hidden City, named for Docter's favorite restaurant in Point Richmond.[12] By early-February 1997, Docter had drafted a treatment together with Harley Jessup, Jill Culton, and Jeff Pidgeon that bore some resemblance to the final film. Docter pitched the story to Disney with some initial artwork on February 4 that year. He and his story team left with some suggestions in hand and returned to pitch a refined version of the story on May 30. At this pitch meeting, longtime Disney animator Joe Grant – whose work stretched back to Snow White and the Seven Dwarfs (1937) – suggested the title Monsters, Inc., a play on the title of a gangster film Murder, Inc.,[13] which stuck.[14] The film marks the first Pixar feature to not be directed by Lasseter instead being helmed by Docter, as well as Lee Unkrich and David Silverman who served as co-directors.[15]

text: Writing[edit]

text: The story line took on many forms during production.[16] His original idea featured a 30-year-old man dealing with monsters that he drew in a book as a child coming back to bother him as an adult. Each monster represented a fear he had, and conquering those fears caused the monsters eventually to disappear.[17]

text: After Docter scrapped the initial concept of a 30-year-old terrified of monsters, he decided on a buddy story between a monster and a child titled simply Monsters, in which the monster character of Sulley (known at this stage as Johnson) was an up-and-comer at his workplace, where the company's purpose was to scare children. Sulley's eventual sidekick, Mike Wazowski, had not yet been added.[16][18][18]

text: Between 1996 and 2000, the lead monster and child went through radical changes as the story evolved. As the story continued to develop, the child varied in age and gender. Ultimately, the story team decided that a girl would be the best counterpart for a furry, 8-foot-tall (96 in) co-star.[16] After a girl was settled upon, the character continued to undergo changes, at one point being from Ireland and at another time being an African-American character.[14] Originally the character of the little girl, known as Mary, became a fearless seven-year-old who has been toughened by years of teasing and pranks from four older brothers.[14] In stark contrast, Johnson is nervous about the possibility of losing his job after the boss at Monsters, Inc. announces a downsizing is on the way. He feels envious because another scarer, Ned (who later became Randall), is the company's top performer.[14] Through various drafts, Johnson's occupation went back-and-forth from being a scarer and from working in another area of the company such as a janitor or a refinery worker, until his final incarnation as the best scarer at Monsters, Inc.[14] Throughout development Pixar worried that having a main character whose main goal was to scare children would alienate audiences and make them not empathize with him. Docter would later describe that the team "bent over backwards trying to create a story that still had monsters " while still solving the problem,[15] A key moment came when the team decided "Okay, he's the BEST scarer there. He's the star quarterback" with Docter noting that before that moment "design after design, we really didn't know what he was about."[15] Disney noted to Pixar early on that they did not want the character to "look like a guy in a suit."[15] To this end Johnson was originally planned to have tentacles for feet; however, this caused many problems in early animation tests. The idea was later largely rejected, as it was thought that audiences would be distracted by the tentacles.[19] Mary's age also differed from draft to draft until the writers settled on the age of 3. "We found that the younger she was, the more dependent she was on Sulley", Docter said.[11]

text: Eventually Johnson was renamed Sullivan. The name was suggested by an animator who had attended Texas A&M University, inspired by one of Texas A&M's historic icons, Lawrence Sullivan Ross, nicknamed "Sulley" by students. Sullivan was also planned to wear glasses throughout the film. However, the creators found it a dangerous idea because the eyes were a perfectly readable and clear way of expressing a character's personality; thus, the idea was rejected.[19]

text: The idea of a monster buddy for the lead monster emerged at an April 6, 1998 "story summit" in Burbank with employees from Disney and Pixar. A term coined by Lasseter, a "story summit" was a crash exercise that would yield a finished story in only two days.[20] Such a character, the group agreed, would give the lead monster someone to talk to about his predicament. Development artist Ricky Nierva drew a concept sketch of a rounded, one-eyed monster as a concept for the character, and everyone was generally receptive to it.[11] Docter named the character Mike for the father of his friend Frank Oz, a director and Muppet performer.[14] Jeff Pidgeon and Jason Katz story-boarded a test in which Mike helps Sulley choose a tie for work, and Mike Wazowski soon became a vital character in the film.[11] Originally, Mike had no arms and had to use his legs as appendages; however, due to some technical difficulties, arms were soon added to him.[11]

text: Screenwriter Dan Gerson joined Pixar in 1999 and worked on the film with the filmmakers on a daily basis for almost two years. He considered it his first experience in writing a feature film. He explained, "I would sit with Pete [Docter] and David Silverman and we would talk about a scene and they would tell me what they were looking for. I would make some suggestions and then go off and write the sequence. We'd get together again and review it and then hand it off to a story artist. Here's where the collaborative process really kicked in. The board artist was not beholden to my work and could take liberties here and there. Sometimes, I would suggest an idea about making the joke work better visually. Once the scene moved on to animation, the animators would plus the material even further."[16]

text: Casting[edit]

text: Bill Murray was considered for the voice role of James P. "Sulley" Sullivan. He screen tested for the role and was interested, but when Pete Docter was unable to make contact with him, he took it as a "no".[21][22] The voice role of Sulley went to John Goodman, the longtime co-star of the comedy series Roseanne and a regular in the films of the Coen brothers. Goodman interpreted the character to himself as the monster equivalent of a National Football League player. "He's like a seasoned lineman in the tenth year of his career," he said at the time. "He is totally dedicated and a total pro."[23] Billy Crystal, having regretted turning down the part of Buzz Lightyear years prior, accepted that of Mike Wazowski, Sulley's one-eyed best friend and scare assistant.[24][25] The casting of Steve Buscemi as Randall, Sulley's rival, saw a reunion between himself and John Goodman; they had previously worked together on The Big Lebowski and Barton Fink.

text: Animation[edit]

text: In November 2000, early in the production of Monsters, Inc., Pixar packed up and moved for the second time since its Lucasfilm years.[23] The company's approximately 500 employees had become spread among three buildings, separated by a busy highway. The company moved from Point Richmond to a much bigger campus in Emeryville, co-designed by Lasseter and Steve Jobs.[23]

text: In production, Monsters Inc. differed from earlier Pixar features, as every main character in this movie had its own lead animator – John Kahrs on Sulley, Andrew Gordon on Mike, and Dave DeVan on Boo.[26] Kahrs found that the "bearlike quality" of Goodman's voice provided an exceptionally good fit with the character. He faced a difficult challenge, however, in dealing with Sulley's sheer mass; traditionally, animators conveyed a figure's heaviness by giving it a slower, more belabored movement, but Kahrs was concerned that such an approach to a central character would give the film a "sluggish" feel.[26] Like Goodman, Kahrs came to think of Sulley as a football player, one whose athleticism enabled him to move quickly in spite of his size. To help the animators with Sulley and other large monsters, Pixar arranged for Rodger Kram, a University of California, Berkeley expert on the locomotion of heavy mammals, to lecture on the subject.[26]

text: Adding to Sulley's lifelike appearance was an intense effort by the technical team to refine the rendering of fur. Other production houses had tackled realistic fur, most notably Rhythm & Hues in its 1993 polar bear commercials for Coca-Cola and in its talking animals' faces in the 1995 film Babe.[26] This film, however, required fur on a far larger scale. From the standpoint of Pixar's engineers, the quest for fur posed several significant challenges; one was to figure out how to animate a large numbers of hairs – 2,320,413 of them on Sulley – in a reasonably efficient way,[26] and another was to make sure that the hairs would cast shadows on other ones. Without self-shadowing, either fur or hair takes on an unrealistic flat-colored look (e.g., in Toy Story, the hair on Andy's toddler sister, as seen in that movie's opening sequence, is hair without self-shadowing).[26]

text: The first fur test allowed Sulley to run an obstacle course. Results were not satisfactory, as such objects would catch and stretch out the fur due to the extreme amount of motion. Another similar test was also unsuccessful, because, this time, the fur would go through the objects.[19]

text: Pixar then set up a Simulation department and created a new fur simulation program called Fizt (short for "physics tool").[27] After a shot with Sulley in it had been animated, this department took the data for that shot and added Sulley's fur. Fizt allowed the fur to react in a more natural way. Every time when Sulley would have to move, his fur would (automatically) react to his movements, thus taking the effects of wind and gravity into account as well. The Fizt program also controlled the movement of Boo's clothes, which provided another "breakthrough".[27] The deceptively simple-sounding task of animating cloth was also a challenge to animate thanks to those hundreds of creases and wrinkles that automatically occurred in the clothing when the wearer moved.[28] Also, this meant they would have to solve the complex problem of how to keep cloth untangled – in other words, to keep it from passing through itself when parts of it intersect.[29] Fizt applied the same system to Boo's clothes as to Sulley's fur. First of all, Boo would be animated shirtless; the Simulation department then used Fizt to apply the shirt over Boo's body, and every time she would move, her clothes also would react to her movements in a more natural manner.

text: To solve the problem of cloth-to-cloth collisions, Michael Kass, Pixar's senior scientist, was joined on Monsters, Inc. by David Baraff and Andrew Witkin and developed an algorithm they called "global intersection analysis" to handle the problem. The complexity of the shots in the film, including elaborate sets such as the door vault, required more computing power to render than any of Pixar's earlier efforts combined. The render farm in place for Monsters, Inc. was made up of 3500 Sun Microsystems processors, compared with 1400 for Toy Story 2 and only 200 for Toy Story.[29]

text: Release[edit]

text: The film premiered on October 28, 2001, at the El Capitan Theatre in Hollywood, California.[30] It was theatrically released on November 2, 2001 in the United States, in Australia on December 26, 2001, and in the United Kingdom on February 8, 2002.[31] The theatrical release was accompanied with the Pixar short animated film For the Birds.[32]

text: As with A Bug's Life and Toy Story 2, a montage of "outtakes" and a performance of a play based on a line from the film were made and included in the end credits of the film starting on December 7, 2001.[33]

text: After the success of the 3D re-release of The Lion King,[34] Disney and Pixar re-released Monsters, Inc. in 3D on December 19, 2012.[35]

text: Home media[edit]

text: Monsters, Inc. was released on VHS and DVD on September 17, 2002.[36] It was then released on Blu-ray on November 10, 2009,[37] and on Blu-ray 3D on February 19, 2013.[38]

text: Reception[edit]

text: Box office[edit]

text: Monsters, Inc. ranked number 1 at the box office on its opening weekend, grossing $62,577,067 in North America alone. The film had a small drop-off of 27.2% over its second weekend, earning another $45,551,028. In its third weekend, the film experienced a larger decline of 50.1%, placing itself in the second position just after Harry Potter and the Philosopher's Stone. In its fourth weekend, however, there was an increase of 5.9%, making $24,055,001 that weekend for a combined total of over $525 million. As of May 2013, it is the eighth-biggest fourth weekend ever for a film.[39][40]

text: The film made $289,916,256 in North America, and $287,509,478 in other territories, for a worldwide total of $577,425,734.[2] The film is Pixar's ninth highest-grossing film worldwide and sixth in North America.[41] For a time, the film surpassed Toy Story 2 as the second highest-grossing animated film of all time, only behind 1994's The Lion King.[29]

text: In the U.K., Ireland, and Malta, it earned £37,264,502 ($53,335,579) in total, marking the sixth highest-grossing animated film of all time in the country and the thirty-second highest-grossing film of all time.[42] In Japan, although earning $4,471,902 during its opening and ranking second behind The Lord of the Rings: The Fellowship of the Ring for the weekend, it moved to first place on subsequent weekends due to exceptionally small decreases or even increases and dominated for six weeks at the box office. It finally reached $74,437,612, standing as 2001's third highest-grossing film and the third largest U.S. animated feature of all time in the country behind Toy Story 3 and Finding Nemo.[43]

text: Critical reception[edit]

text: Review aggregator Rotten Tomatoes gave the film a score of 96% based on 192 reviews, with an average score of 8/10. The critical consensus was, "Clever, funny, and delightful to look at, Monsters, Inc. delivers another resounding example of how Pixar elevated the bar for modern all-ages animation."[44] Metacritic, which assigns a normalized rating out of 100 top reviews from mainstream critics, calculated a score of 78 based on 34 reviews, indicating "generally favorable reviews."[45]

text: Charles Taylor from Salon.com stated, "[i]t's agreeable and often funny, and adults who take their kids to see it might be surprised to find themselves having a pretty good time."[46] Elvis Mitchell from The New York Times gave it a positive review, praising the film's use of "creative energy", saying "There hasn't been a film in years to use creative energy as efficiently as Monsters, Inc."[47] Although Mike Clark from USA Today thought the comedy was sometimes "more frenetic than inspired and viewer emotions are rarely touched to any notable degree," he also viewed the film as "visually inventive as its Pixar predecessors."[48]

text: ReelViews film critic James Berardinelli gave the film 31⁄2 stars out of 4 and wrote that the film was "one of those rare family films that parents can enjoy (rather than endure) along with their kids."[49] Roger Ebert from the Chicago Sun-Times gave the film 3 out of 4 stars, calling it "cheerful, high-energy fun, and like the other Pixar movies, has a running supply of gags and references aimed at grownups."[50] Lisa Schwarzbaum from Entertainment Weekly gave the film a "B" grade and praised the film's animation, stating "Everything from Pixar Animation Studios – the snazzy, cutting-edge computer animation outfit – looks really, really terrific and unspools with a liberated, heppest-moms-and-dads-on-the-block iconoclasm."[51]

text: Accolades[edit]

text: Monsters, Inc. won the Academy Award for Best Original Song (Randy Newman, after fifteen previous nominations, for "If I Didn't Have You").[52] It was one of the first animated films to be nominated for Best Animated Feature (lost to Shrek).[52] It was also nominated for Best Original Score (lost to The Lord of the Rings: The Fellowship of the Ring) and Best Sound Editing (lost to Pearl Harbor).[52] At the Kid's Choice Awards in 2002, it was nominated for "Favorite Voice in an Animated Movie" for Billy Crystal (who lost to Eddie Murphy in Shrek).[52]

text: Music[edit]

text:
Monsters, Inc.

Soundtrack album by Randy Newman

Released
October 23, 2001

Recorded
2000–2001

Genre
Score

Length
1:00:30

Label
Walt Disney

Randy Newman chronology

Meet the Parents
(2000)Meet the Parents2000
Monsters, Inc.
(2001)
Seabiscuit
(2003)Seabiscuit2003

Pixar soundtrack chronology

Toy Story 2
(1999) Toy Story 21999
Monsters, Inc.
(2001) Monsters, Inc.2001
Finding Nemo
(2003) Finding Nemo2003

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[53]

Empire
[54]

Filmtracks.com
[55]

Movie Wave
[56]

Soundtrack.net
[57]

text: Monsters Inc. was Randy Newman's fourth feature film collaboration with Pixar. The end credits song "If I Didn't Have You" was sung by John Goodman and Billy Crystal.[16]

text: The album was nominated for the Academy Award for Best Original Score and a Grammy Award for Best Score Soundtrack for Visual Media.[52] The score lost both these awards to The Lord of the Rings: The Fellowship of the Ring, but after sixteen nominations, the song "If I Didn't Have You" finally won Newman his first Academy Award for Best Original Song.[52] It also won a Grammy Award for Best Song Written for Visual Media.[52]

text: Track listing[edit]

text: All tracks written by Randy Newman.

text:
No.
Title
Length

1.
"If I Didn't Have You" (performed by Billy Crystal and John Goodman)
3:41

2.
"Monsters, Inc."
2:09

3.
"School"
1:38

4.
"Walk to Work"
3:29

5.
"Sulley and Mike"
1:57

6.
"Randall Appears"
0:49

7.
"Enter the Heroes"
1:03

8.
"The Scare Floor"
2:41

9.
"Oh, Celia!"
1:09

10.
"Boo's Adventures in Monstropolis"
6:23

11.
"Boo's Tired"
1:03

12.
"Putting Boo Back"
2:22

13.
"Boo Escapes"
0:52

14.
"Celia's Mad"
1:41

15.
"Boo Is a Cube"
2:19

16.
"Mike's in Trouble"
2:19

17.
"The Scream Extractor"
2:12

18.
"Sulley Scares Boo"
1:10

19.
"Exile"
2:17

20.
"Randall's Attack"
2:22

21.
"The Ride of the Doors"
5:08

22.
"Waternoose is Waiting"
3:14

23.
"Boo's Going Home"
3:34

24.
"Kitty"
1:20

25.
"If I Didn't Have You" (performed by Newman)
3:38

Total length:
1:00:30

text: Chart positions[edit]

text:
Chart (2001)
Peak
position

US Top Soundtracks (Billboard)[58]
25

text: Lawsuits[edit]

text: Shortly before the film's release, Pixar was sued by children's songwriter Lori Madrid of Wyoming, stating that the company had stolen her ideas from her 1997 poem "There's a Boy in My Closet."

text: Madrid mailed her poem to six publishers in October 1999, notably Chronicle Books, before turning it into a local stage musical in August 2001. After seeing the trailer for Monsters, Inc., Madrid concluded that Chronicle Books had passed her work to Pixar and that the film was based on her work.[60] In October 2001, she filed the suit against Chronicle Books, Pixar, and Disney in a federal court in Cheyenne, Wyoming. Her lawyer asked the court to issue a preliminary injunction, that would forbid Pixar and Disney from releasing the film while the suit was pending.

text: In a hearing on November 1, 2001 – the day before the film's scheduled release on 5,800 screens in 3,200 theaters across the country – the judge refused to issue the injunction. On June 26, 2002, he ruled that the film had nothing in common with the poem.[61]

text: In November 2002, Stanley Mouse filed a lawsuit, in which he alleged that the characters of Mike and Sulley were based on drawings of Excuse My Dust, a film that he had tried to sell to Hollywood in 1998.[62] The lawsuit also stated that a story artist from Pixar visited Mouse in 2000, and discussed Mouse's work with him.[62] A Disney spokeswoman responded, by saying that the characters in Monsters, Inc. were "developed independently by the Pixar and Walt Disney Pictures creative teams, and do not infringe on anyone's copyrights".[59] The case was ultimately settled under undisclosed terms.[63]

text: Prequel[edit]

text: A prequel, titled Monsters University, was released on June 21, 2013. John Goodman, Billy Crystal, and Steve Buscemi reprised their roles of Sulley, Mike, and Randall, while Dan Scanlon directed the film. The prequel's plot focuses on Sulley and Mike's studies at Monsters University, where they start off as rivals but soon become best friends.

text: Other media[edit]

text: An animated short, Mike's New Car, was made by Pixar in 2002 in which the two main characters have assorted misadventures with a car Mike has just bought. This film was not screened in theaters, but is included with all home video releases of Monsters, Inc., and on Pixar's Dedicated Shorts DVD.[64] In August 2002, a manga version of Monsters, Inc. was made by Hiromi Yamafuji and distributed in Kodansha's Comic Bon Bon magazine in Japan; the manga was published in English by Tokyopop until it went out of print.[65] A series of video games, including a multi-platform video game were created based on the film. The video games included Monsters, Inc., Monsters, Inc. Scream Team and Monsters, Inc. Scream Arena.[66] A game titled Monsters, Inc. Run was released on the App Store for iPhone, iPod Touch, and iPad on December 13, 2012.[67]

text: Feld Entertainment toured a Monsters, Inc. edition of their Walt Disney's World on Ice skating tour from 2003 to 2007.[68] Monsters, Inc. has inspired three attractions at Disney theme parks around the world. In 2006 Monsters, Inc. Mike & Sulley to the Rescue! opened at Disneyland Resort's Disney California Adventure in Anaheim, California.[69] In 2007, Monsters, Inc. Laugh Floor opened at Walt Disney World Resort's Magic Kingdom in Lake Buena Vista, Florida, replacing The Timekeeper. The show is improvisational in nature, and features the opportunity for Guests to interact with the monster comedians and submit jokes of their own via text message.[70] In 2009 Monsters, Inc. Ride & Go Seek opened at Tokyo Disney Resort's Tokyo Disneyland in Chiba, Japan.[71]

text: In 2009, Boom! Studios produced a Monsters Inc. comic book mini-series that ran for four issues. The storyline takes place after the movie and focuses on Sulley and Mike's daily struggles to operate Monsters Inc. on its new laughter-focused company policy. At the same time, their work is impeded by the revenge schemes of Randall and Waternoose, as well as a human child (indirectly revealed to be Sid Phillips from the Toy Story franchise) who has hijacked the company's closet door technology to commit a string of toy thefts throughout the human world.[72]

text: TV series[edit]

text: On November 9, 2017, while commenting the plans for a new Star Wars trilogy and live-action TV show, Disney CEO Bob Iger spoke about plans to develop TV spin-off shows of Monsters, Inc as well with Disney Channel's High School Musical and Marvel Entertainment's Marvel Cinematic Universe.[73] It was also confirmed that this announcement is just part of the plans that Disney has for the new streaming platform that they will launch in 2019 following their announcement to exit from Netflix.[74][75]


document_title: The Book of Love (song)

question_text: who wrote the book of love the monotones

root

text: The Book of Love (song)

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)

tag: table

text:
"The Book of Love"Single by The Monotonesfrom the album Who Wrote The Book Of LoveB-side
"You Never Loved Me"Released
February 1958Format
7"Recorded
September 1957Genre
Rock and rollrhythm and bluesdoo-woppopLength
2:24Label
Mascot (local release)Argo (nationwide release)Songwriter(s)
Warren DavisGeorge MaloneCharles Patrick

text: "The Book of Love" (also titled "(Who Wrote) The Book of Love") is a rock and roll / doo-wop song, originally by The Monotones. It was written by three members of the group, Warren Davis, George Malone and Charles Patrick.

tag: p

text: Lead singer Charles Patrick heard a Pepsodent toothpaste commercial with the line "wonder where the yellow went". From there he got the idea for the line, "I wonder, wonder, wonder who, who wrote the book of love", working it up into a song with Davis and Malone. The "boom" part of the song was a result of a kid kicking a ball against the garage while they were rehearsing. It sounded good, so they added it to the song.

text: In September 1957, the Monotones recorded "The Book of Love", which was released on the Mascot label in December that year. The small record company could not cope with its popularity, and it was reissued on Chess Records' subsidiary Argo label in February 1958. On the Billboard charts, "The Book of Love" peaked at No. 5 on the pop chart and No. 3 on the R&B chart.[1] Outside the US, the song reached No. 5 in Australia.

text: Cover Versions[edit]

text:
In the UK, there was a successful cover version by The Mudlarks.
In 1985, the song was covered on The 4 Seasons album, Streetfighter.
In 1988, the song became the new theme song for The Newlywed Game, when Paul Rodriguez replaced Bob Eubanks as host for one year.
In 1990, Ben E. King and Bo Diddley featuring Doug Lazy recorded a revamped rap version of "Book of Love" for the soundtrack of the film, Book of Love.
In 2014, the song became popular again as a cover by Gavin James.

tag: ul

text: In popular culture[edit]

text:
The song was performed by rock and roll revival group Sha Na Na at Woodstock in 1969.
The song is referenced in the lyrics to Don McLean's "American Pie" and in the lyrics of Led Zeppelin's "Rock and Roll".
The song has been featured in multiple films including American Graffiti (1973), Christine (1983), Stand by Me (1986), Le Nouveau monde (1995) and in the video game Mafia II.
The '80s/'90s synthpop band Book of Love named themselves after the song for its imagery and romantic connotations.
The song is also covered in the commercial for Wonder Ball.
The song is sung briefly by Billy Crystal and Bette Midler in the 2012 film Parental Guidance.
The song is also covered by Australian rock band Powderfinger for the movie "American Pie Presents: The Book of Love", which also uses the name of the song in its title.[2]
Frankie Lymon and the Teenagers made a response song called "I Promise to Remember"


document_title: World Trade Center (1973–2001)

question_text: how tall were the twin towers in floors

question_tokens: how tall were the twin towers in floors

text: World Trade Center (1973–2001)

text: Before the World Trade Center

text: The western portion of the World Trade Center site was originally under the Hudson River, with the shoreline in the vicinity of Greenwich Street. It was on this shoreline close to the intersection of Greenwich and the former Dey Street that Dutch explorer Adriaen Block's ship, the Tyger, burned to the waterline in November 1613, stranding Block and his crew and forcing them to overwinter on the island. They built the first European settlement in Manhattan. The remains of the ship were buried under landfill when the shoreline was extended starting in 1797, and were discovered during excavation work in 1916. The remains of a second ship from the eighteenth century were discovered in 2010 during excavation work at the site. The ship, believed to be a Hudson River sloop, was found just south of where the Twin Towers used to stand, about 20 feet below the surface.[16]

text: Later, the area became Radio Row. New York City's Radio Row, which existed from 1921 to 1966, was a warehouse district on the Lower West Side in the Financial District. Harry Schneck opened City Radio on Cortlandt Street in 1921, and eventually the area held several blocks of electronics stores, with Cortlandt Street as its central axis. The used radios, war surplus electronics (e.g., ARC-5 radios), junk, and parts often piled so high they would spill out onto the street, attracting collectors and scroungers. According to a business writer, it also was the origin of the electronic component distribution business.[17]

text: The idea of establishing a World Trade Center in New York City was first proposed in 1943. The New York State Legislature passed a bill authorizing New York Governor Thomas E. Dewey to begin developing plans for the project[18] but the plans were put on hold in 1949.[19] During the late 1940s and 1950s, economic growth in New York City was concentrated in Midtown Manhattan. To help stimulate urban renewal in Lower Manhattan, David Rockefeller suggested that the Port Authority build a World Trade Center in Lower Manhattan.[20]

text: Plans for the use of eminent domain to remove the shops in Radio Row bounded by Vesey, Church, Liberty, and West Streets began in 1961 when the Port Authority of New York and New Jersey was deciding to build the world's first world trade center. They had two choices: the east side of Lower Manhattan, near the South Street Seaport; and the west side, near the H&M station, Hudson Terminal.[21] Initial plans, made public in 1961, identified a site along the East River for the World Trade Center.[22] As a bi-state agency, the Port Authority required approval for new projects from the governors of both New York and New Jersey. New Jersey Governor Robert B. Meyner objected to New York getting a $335 million project.[23] Toward the end of 1961, negotiations with outgoing New Jersey Governor Meyner reached a stalemate.[24]

text: At the time, ridership on New Jersey's Hudson and Manhattan Railroad (H&M) had declined substantially from a high of 113 million riders in 1927 to 26 million in 1958 after new automobile tunnels and bridges had opened across the Hudson River.[25] In a December 1961 meeting between Port Authority director Austin J. Tobin and newly elected New Jersey Governor Richard J. Hughes, the Port Authority offered to take over the Hudson & Manhattan Railroad to have it become the Port Authority Trans-Hudson (PATH). The Port Authority also decided to move the World Trade Center project to the Hudson Terminal building site on the west side of Lower Manhattan, a more convenient location for New Jersey commuters arriving via PATH.[24] With the new location and Port Authority acquisition of the H&M Railroad, New Jersey agreed to support the World Trade Center project.[26] In compensation for Radio Row business owners' displacement, the PANYNJ gave each business $3,000 each, without regard to how long the business had been there or how prosperous the business was.[27] After the area had been purchased for the World Trade Center in March 1964,[28] Radio Row was demolished starting in March 1965.[29] It was completely demolished by 1966.[30]

text: Approval was also needed from New York City Mayor John Lindsay and the New York City Council. Disagreements with the city centered on tax issues. On August 3, 1966, an agreement was reached that the Port Authority would make annual payments to the City in lieu of taxes for the portion of the World Trade Center leased to private tenants.[31] In subsequent years, the payments would rise as the real estate tax rate increased.[32]

text: Design and construction

text: Design

text: On September 20, 1962, the Port Authority announced the selection of Minoru Yamasaki as lead architect and Emery Roth & Sons as associate architects.[33] Yamasaki devised the plan to incorporate twin towers; Yamasaki's original plan called for the towers to be 80 stories tall,[34] but to meet the Port Authority's requirement for 10,000,000 square feet (930,000 m2) of office space, the buildings would each have to be 110 stories tall.[35]

text: Yamasaki's design for the World Trade Center, unveiled to the public on January 18, 1964, called for a square plan approximately 208 feet (63 m) in dimension on each side.[34][36] The buildings were designed with narrow office windows 18 inches (46 cm) wide, which reflected Yamasaki's fear of heights as well as his desire to make building occupants feel secure.[37] Yamasaki's design included building facades sheathed in aluminum-alloy.[38] The World Trade Center was one of the most-striking American implementations of the architectural ethic of Le Corbusier, and it was the seminal expression of Yamasaki's gothic modernist tendencies.[39]

text: A major limiting factor in building height is the issue of elevators; the taller the building, the more elevators are needed to service the building, requiring more space-consuming elevator banks.[35] Yamasaki and the engineers decided to use a new system with two "sky lobbies"—floors where people could switch from a large-capacity express elevator to a local elevator that goes to each floor in a section. This system, inspired by the local-express train operation that the New York City Subway system used,[40] allowed the design to stack local elevators within the same elevator shaft. Located on the 44th and 78th floors of each tower, the sky lobbies enabled the elevators to be used efficiently, increasing the amount of usable space on each floor from 62 to 75 percent by reducing the number of elevator shafts.[41] Altogether, the World Trade Center had 95 express and local elevators.[42]

text: The structural engineering firm Worthington, Skilling, Helle & Jackson worked to implement Yamasaki's design, developing the tube-frame structural system used in the twin towers. The Port Authority's Engineering Department served as foundation engineers, Joseph R. Loring & Associates as electrical engineers, and Jaros, Baum & Bolles (JB&B) as mechanical engineers. Tishman Realty & Construction Company was the general contractor on the World Trade Center project. Guy F. Tozzoli, director of the World Trade Department at the Port Authority, and Rino M. Monti, the Port Authority's Chief Engineer, oversaw the project.[43] As an interstate agency, the Port Authority was not subject to local laws and regulations of the City of New York, including building codes. Nonetheless, the structural engineers of the World Trade Center ended up following draft versions of the new 1968 building codes.[44]

text: The tube-frame design, earlier introduced by Fazlur Khan, was a new approach that allowed more open floor plans than the traditional design that distributed columns throughout the interior to support building loads. The World Trade Center towers used high-strength, load-bearing perimeter steel columns called Vierendeel trusses that were spaced closely together to form a strong, rigid wall structure, supporting virtually all lateral loads such as wind loads, and sharing the gravity load with the core columns. The perimeter structure containing 59 columns per side was constructed with extensive use of prefabricated modular pieces, each consisting of three columns, three stories tall, connected by spandrel plates.[45] The spandrel plates were welded to the columns to create the modular pieces off-site at the fabrication shop.[46] Adjacent modules were bolted together with the splices occurring at mid-span of the columns and spandrels. The spandrel plates were located at each floor, transmitting shear stress between columns, allowing them to work together in resisting lateral loads. The joints between modules were staggered vertically, so that the column splices between adjacent modules were not at the same floor.[47]

text: The core of the towers housed the elevator and utility shafts, restrooms, three stairwells, and other support spaces. The core of each tower was a rectangular area 87 by 135 feet (27 by 41 m) and contained 47 steel columns running from the bedrock to the top of the tower. The large, column-free space between the perimeter and core was bridged by prefabricated floor trusses. The floors supported their own weight as well as live loads, providing lateral stability to the exterior walls and distributing wind loads among the exterior walls.[48] The floors consisted of 4 inches (10 cm) thick lightweight concrete slabs laid on a fluted steel deck. A grid of lightweight bridging trusses and main trusses supported the floors.[45] The trusses connected to the perimeter at alternate columns and were on 6 foot 8 inch (2.03 m) centers. The top chords of the trusses were bolted to seats welded to the spandrels on the exterior side and a channel welded to the core columns on the interior side. The floors were connected to the perimeter spandrel plates with viscoelastic dampers that helped reduce the amount of sway felt by building occupants.

text: Hat trusses (or "outrigger truss") located from the 107th floor to the top of the buildings were designed to support a tall communication antenna on top of each building.[45] Only 1 WTC (north tower) actually had an antenna fitted; it was added in 1978.[49] The truss system consisted of six trusses along the long axis of the core and four along the short axis. This truss system allowed some load redistribution between the perimeter and core columns and supported the transmission tower.[45]

text: The tube frame design, using steel core and perimeter columns protected with sprayed-on fire resistant material, created a relatively lightweight structure that would sway more in response to the wind compared to traditional structures, such as the Empire State Building that have thick, heavy masonry for fireproofing of steel structural elements.[50] During the design process, wind tunnel tests were done to establish design wind pressures that the World Trade Center towers could be subjected to and structural response to those forces.[51] Experiments also were done to evaluate how much sway occupants could comfortably tolerate; however, many subjects experienced dizziness and other ill effects.[52] One of the chief engineers Leslie Robertson worked with Canadian engineer Alan G. Davenport to develop viscoelastic dampers to absorb some of the sway. These viscoelastic dampers, used throughout the structures at the joints between floor trusses and perimeter columns along with some other structural modifications, reduced the building sway to an acceptable level.[53]

text: Construction

text: In March 1965, the Port Authority began acquiring property at the World Trade Center site.[28] Demolition work began on March 21, 1966, to clear thirteen square blocks of low rise buildings in Radio Row for construction of the World Trade Center.[29] Groundbreaking for the construction of the World Trade Center took place on August 5, 1966.[54]

text: The site of the World Trade Center was located on landfill with the bedrock located 65 feet (20 m) below.[55] To construct the World Trade Center, it was necessary to build a "bathtub" with a slurry wall around the West Street side of the site, to keep water from the Hudson River out.[56] The slurry method selected by Port Authority's chief engineer, John M. Kyle, Jr., involved digging a trench, and as excavation proceeded, filling the space with a "slurry" mixture composed of bentonite and water, which plugged holes and kept groundwater out. When the trench was dug out, a steel cage was inserted and concrete was poured in, forcing the "slurry" out. It took fourteen months for the slurry wall to be completed. It was necessary before excavation of material from the interior of the site could begin.[57] The 1,200,000 cubic yards (920,000 m3) of material excavated were used (along with other fill and dredge material) to expand the Manhattan shoreline across West Street to form Battery Park City.[58][59]

text: In January 1967, the Port Authority awarded $74 million in contracts to various steel suppliers, and Karl Koch was hired to erect the steel.[60] Tishman Realty & Construction was hired in February 1967 to oversee construction of the project.[61] Construction work began on the North Tower in August 1968; construction on the South Tower was under way by January 1969.[62] The original Hudson Tubes, carrying PATH trains into Hudson Terminal, remained in service as elevated tunnels during the construction process until 1971 when a new PATH station opened.[63]

text: The topping out ceremony of 1 WTC (North Tower) took place on December 23, 1970, while 2 WTC's ceremony (South Tower) occurred later on July 19, 1971.[62] The first tenants moved into the North Tower on December 15, 1970;[1] the South Tower accepted tenants in January 1972.[64] When the World Trade Center twin towers were completed, the total costs to the Port Authority had reached $900 million.[65] The ribbon cutting ceremony was on April 4, 1973.[66]

text: In addition to the twin towers, the plan for the World Trade Center complex included four other low-rise buildings, which were built in the early 1970s. The 47-story 7 World Trade Center building was added in the 1980s, to the north of the main complex. Altogether, the main World Trade Center complex occupied a 16-acre (65,000 m2) superblock.[67]

text: Criticism

text: Plans to build the World Trade Center were controversial. The site for the World Trade Center was the location of Radio Row, home to hundreds of commercial and industrial tenants, property owners, small businesses, and approximately 100 residents, many of whom fiercely resisted forced relocation.[68] A group of small businesses affected sought an injunction challenging the Port Authority's power of eminent domain.[69] The case made its way through the court system to the United States Supreme Court; the Court refused to accept the case.[70]

text: Private real estate developers and members of the Real Estate Board of New York, led by Empire State Building owner Lawrence A. Wien, expressed concerns about this much "subsidized" office space going on the open market, competing with the private sector when there was already a glut of vacancies.[71][72] The World Trade Center itself was not rented out completely until after 1979 and then only due to the fact that the complex's subsidy by the Port Authority made rents charged for its office space relatively cheaper than that of comparable office space in other buildings.[73] Others questioned whether the Port Authority should have taken on a project described by some as a "mistaken social priority".[74]

text: The World Trade Center design brought criticism of its aesthetics from the American Institute of Architects and other groups.[38][75] Lewis Mumford, author of The City in History and other works on urban planning, criticized the project and described it and other new skyscrapers as "just glass-and-metal filing cabinets".[76] The Twin Towers were described as looking similar to "the boxes that the Empire State Building and the Chrysler Building came in".[77] The twin towers' narrow office windows, only 18 inches (46 cm) wide and framed by pillars that restricted views on each side to narrow slots, were disliked by many.[37] Activist and sociologist Jane Jacobs also criticized plans for the WTC's construction, arguing that the waterfront should be kept open for New Yorkers to enjoy.[78]

text: The trade center's "superblock", replacing a more traditional, dense neighborhood, was regarded by some critics as an inhospitable environment that disrupted the complicated traffic network typical of Manhattan. For example, in his book The Pentagon of Power, Lewis Mumford denounced the center as an "example of the purposeless giantism and technological exhibitionism that are now eviscerating the living tissue of every great city".[79]

text: For many years, the immense Austin J. Tobin Plaza was often beset by brisk winds at ground level owing to the Venturi effect between the two towers.[80] In fact, some gusts were so high that pedestrian travel had to be aided by ropes.[81] In 1999, the outdoor plaza reopened after undergoing $12 million renovations, which involved replacing marble pavers with gray and pink granite stones, adding new benches, planters, new restaurants, food kiosks and outdoor dining areas.[82]

text: Complex

text: On a typical weekday 50,000 people worked in the towers[83] with another 200,000 passing through as visitors.[84] The complex was so large that it had its own zip code: 10048.[85] The towers offered expansive views from the observation deck atop the South Tower and the Windows on the World restaurant on top of the North Tower. The Twin Towers became known worldwide, appearing in numerous movies and television shows as well as on postcards and other merchandise, and became seen as a New York icon, in the same league as the Empire State Building, Chrysler Building and the Statue of Liberty.[86]

text: North and South Towers

text: One World Trade Center and Two World Trade Center, commonly the Twin Towers, the idea of which was brought up by Minoru Yamasaki, were designed as framed tube structures, which provided tenants with open floor plans, uninterrupted by columns or walls.[87][88] They were the main buildings of the World Trade Center.[62] The North Tower (One World Trade Center), the tallest building in the world at 1,368 feet (417 m) by the time of its completion, began construction in 1966 with the South Tower (2 World Trade Center);[89] extensive use of prefabricated components helped to speed up the construction process, and the first tenants moved into the North Tower in December 1970, while it was still under construction.[90] When completed in 1973, the South Tower, Two World Trade Center (the South Tower) became the second tallest building in the world at 1,362 feet (415 m); the South Tower's rooftop observation deck was 1,362 ft (415 m) high and its indoor observation deck was 1,310 ft (400 m) high.[91] Each tower stood over 1,350 feet (410 m) high, and occupied about 1 acre (4,000 m2) of the total 16 acres (65,000 m2) of the site's land. During a press conference in 1973, Yamasaki was asked, "Why two 110-story buildings? Why not one 220-story building?" His tongue-in-cheek response was: "I didn't want to lose the human scale."[92]

text: When completed in 1972, 1 World Trade Center became the tallest building in the world for two years, surpassing the Empire State Building after a 40-year reign. The North Tower stood 1,368 feet (417 m) tall and featured a telecommunications antenna or mast that was added at the top of the roof in 1978 and stood 362 feet (110 m) tall. With the 362-foot (110 m)-tall antenna/mast, the highest point of the North Tower reached 1,730 feet (530 m).[91] Chicago's Sears Tower, finished in May 1973, reached 1,450 feet (440 m) at the rooftop.[93] Throughout their existence, the WTC towers had more floors (at 110) than any other building.[91] This number was not surpassed until the advent of the Burj Khalifa, which opened in 2010.[94][95] Each tower had a total mass of around 500,000 tons.[96]

text: Top of the World observation deck

text: Although most of the space in the World Trade Center complex was off-limits to the public, the South Tower featured two public viewing areas called Top of the World Trade Center Observatories: an indoor one on the 107th floor and an outdoor one on the roof. Visitors would pass through security checks added after the 1993 World Trade Center bombing,[97] then were sent to the 107th-floor indoor observatory at a height of 1,310 feet (400 m). The exterior columns on each side of the floor were narrowed to allow 28 inches of window width between them. The Port Authority renovated the observatory in 1995, then leased it to Ogden Entertainment to operate. Attractions added to the observation deck included a simulated helicopter ride around the city. The 107th-floor food court was designed with a subway car theme and featured Sbarro and Nathan's Famous Hot Dogs.[98][99] Weather permitting, visitors could ride two short escalators up from the 107th-floor viewing area to an outdoor platform at a height of 1,377 ft (420 m).[100] On a clear day, visitors could see up to 50 miles (80 km).[98] An anti-suicide fence was placed on the roof itself, with the viewing platform set back and elevated above it, requiring only an ordinary railing and leaving the view unobstructed, unlike the observation deck of the Empire State Building.[99]

text: Windows on the World restaurant

text: The North Tower had a restaurant on its 106th and 107th floors called Windows on the World, which opened in April 1976. The restaurant was developed by Joe Baum at a cost of more than $17 million.[101] Aside from the main restaurant, two offshoots were located at the top of the North Tower: "Hors d'Oeuvrerie" (offered a Danish smorgasbord during the day and sushi in the evening) and "Cellar in the Sky" (a small wine bar).[102] Windows on the World also had a wine school program run by Kevin Zraly. Windows on the World was closed following the 1993 World Trade Center bombing.[101] Upon reopening in 1996, Hors d'Oeuvrerie and Cellar in the Sky were replaced with the "Greatest Bar on Earth" and "Wild Blue".[102] In 2000, its last full year of operation, Windows on the World reported revenues of $37 million, making it the highest-grossing restaurant in the United States.[103] The Skydive Restaurant, opened in 1976 on the 44th floor of the North Tower, was also operated by Windows on the World restaurant, but served only lunch.

text: Other buildings

text: Five smaller buildings stood around the 16 acres (65,000 m2) block. One was the 22-floor hotel, which opened in 1981 as the Vista Hotel, and in 1995 became the Marriott World Trade Center (3 WTC) at the southwest corner of the site. Three low-rise buildings (4 WTC, 5 WTC, and 6 WTC) in the same hollow tube design as the towers also stood around the plaza. 6 World Trade Center, at the northwest corner, housed the United States Customs Service and the U.S. Commodities Exchange. 5 World Trade Center was located at the northeast corner above the PATH station and 4 World Trade Center was at the southeast corner. In 1987, a 47-floor office building called 7 World Trade Center was built north of the block. Beneath the World Trade Center complex was an underground shopping mall, which in turn had connections to various mass transit facilities including the New York City Subway system and the Port Authority's own PATH trains connecting Manhattan to New Jersey.[104]

text: One of the world's largest gold depositories was stored underneath the World Trade Center, owned by a group of commercial banks. The 1993 bombing detonated close to the vault.[105] Seven weeks after the September 11 attacks, $230 million in precious metals was removed from basement vaults of 4 WTC, which included 3,800 100-Troy-ounce 24 carat gold bars and 30,000 1,000-ounce silver bars.[106]

text: Major events

text: February 13, 1975, fire

text: On February 13, 1975, a three-alarm fire broke out on the 11th floor of the North Tower. Fire spread through the tower to the 9th and 14th floors by igniting the insulation of telephone cables in a utility shaft that ran vertically between floors. Areas at the furthest extent of the fire were extinguished almost immediately and the original fire was put out in a few hours. Most of the damage was concentrated on the 11th floor, fueled by cabinets filled with paper, alcohol-based fluid for office machines, and other office equipment. Fireproofing protected the steel and there was no structural damage to the tower. In addition to damage caused by the fire on the 9th – 14th floors, water from the extinguishing of the fires damaged a few floors below. At that time, the World Trade Center had no fire sprinkler systems.[7]

text: February 26, 1993, bombing

text: The first terrorist attack on the World Trade Center occurred on February 26, 1993, at 12:17 p.m. A Ryder truck filled with 1,500 pounds (680 kg) of explosives, planted by Ramzi Yousef, detonated in the underground garage of the North Tower.[8] The blast opened a 100 foot (30 m) hole through five sublevels with the greatest damage occurring on levels B1 and B2 and significant structural damage on level B3.[107] Six people were killed and 1,042 others were injured during escape attempts complicated by smoke infiltration from the base of the building up to the 93rd floor of both towers. Many people inside the North Tower were forced to walk down darkened stairwells that contained no emergency lighting, some taking two hours or more to reach safety.[108][109]

text: Yousef fled to Pakistan after the bombing but was arrested in Islamabad in February 1995, and was extradited back to the United States to face trial.[110] Sheikh Omar Abdel Rahman was convicted in 1996 for involvement in the bombing and other plots.[111] Yousef and Eyad Ismoil were convicted in November 1997 for their carrying out the bombing.[112] Four others had been convicted in May 1994 for their involvement in the 1993 bombing.[113] According to a presiding judge, the conspirators' chief aim at the time of the attack was to destabilize the north tower and send it crashing into the south tower, toppling both landmarks.[114]

text: Following the bombing, floors that were blown out needed to be repaired to restore the structural support they provided to columns.[115] The slurry wall was in peril following the bombing and loss of the floor slabs that provided lateral support against pressure from Hudson River water on the other side. The refrigeration plant on sublevel B5, which provided air conditioning to the entire World Trade Center complex, was heavily damaged.[116] After the bombing, the Port Authority installed photoluminescent markings in the stairwells.[117] The fire alarm system for the entire complex needed to be replaced because critical wiring and signaling in the original system was destroyed.[118] As a memorial to the victims of the bombing of the tower, a reflecting pool was installed with the names of those who had been killed in the blast.[119] However, the memorial was destroyed following the September 11 attacks. Names of the victims of the 1993 bombing are included in the National September 11 Memorial & Museum.

text: January 14, 1998, robbery

text: In January 1998, Mafia member Ralph Guarino, who had gained maintenance access to the World Trade Center, arranged a three-man crew for a heist that netted over $2 million from a Brinks delivery to the eleventh floor of the World Trade Center.[9]

text: Other events

text: In 1974, French high wire acrobatic performer Philippe Petit walked between the towers on a tightrope, as shown in the documentary film Man on Wire (2008), based on Petit's book To Reach the Clouds: My High Wire Walk Between the Twin Towers (2002)[120][121] (released in paperback with the title Man on Wire (2008)[122]) and depicted in the feature film The Walk (2015).[123] Petit walked between the towers eight times on a steel cable.[124]

text: In 1977, Brooklyn toymaker George Willig scaled the exterior of the South Tower (2 WTC).[125]

text: In 1981, an Aerolineas Argentinas airliner was guided away by air traffic controllers following radar signals that indicated it was on a collision course with the North Tower (1 WTC). The aircraft was flying at a much lower altitude than regulations recommended, while scheduled to land at nearby Kennedy International Airport.[126]

text: In 1983, on Memorial Day, high-rise firefighting and rescue advocate Dan Goodwin successfully climbed the outside of the North Tower (1 WTC). His stunt was meant to call attention to the inability to rescue people potentially trapped in the upper floors of skyscrapers.[127][128]

text: The 1995 PCA world chess championship was played on the 107th floor of the South Tower.[129]

text: Lease

text: In 1998, the Port Authority approved plans to privatize the World Trade Center.[130] In 2001, the Port Authority sought to lease the World Trade Center to a private entity. Bids for the lease came from Vornado Realty Trust, a joint bid between Brookfield Properties Corporation and Boston Properties,[131] and a joint bid by Silverstein Properties and The Westfield Group.[10] By privatizing the World Trade Center, it would be added to the city's tax rolls[10] and provide funds for other Port Authority projects.[132] On February 15, 2001, the Port Authority announced that Vornado Realty Trust had won the lease for the World Trade Center, paying $3.25 billion for the 99-year lease.[133] Vornado outbid Silverstein by $600 million though Silverstein upped his offer to $3.22 billion. However, Vornado insisted on last minute changes to the deal, including a shorter 39-year lease, which the Port Authority considered nonnegotiable.[134] Vornado later withdrew and Silverstein's bid for the lease to the World Trade Center was accepted on April 26, 2001,[135] and closed on July 24, 2001.[136]

text: Destruction

text: On September 11, 2001, Islamist terrorists hijacked American Airlines Flight 11 and crashed it into the northern façade of the North Tower at 8:46:40 a.m., the aircraft striking between the 93rd and 99th floors. Seventeen minutes later, at 9:03:11 a.m., a second group crashed the similarly hijacked United Airlines Flight 175 into the southern facade of the South Tower, striking it between the 77th and 85th floors.[137] The damage caused to the North Tower by Flight 11 destroyed any means of escape from above the impact zone, trapping 1,344 people.[138] Flight 175 had a much more off-centered impact compared to Flight 11, and a single stairwell was left intact; however, only a few people managed to pass through it successfully before the tower collapsed. Although the South Tower was struck lower than the North Tower, thus affecting more floors, a smaller number, fewer than 700, were killed instantly or trapped.[139]

text: At 9:59 a.m., the South Tower collapsed after burning for approximately 56 minutes. The fire caused steel structural elements, already weakened from the plane impact, to fail. The North Tower collapsed at 10:28 a.m., after burning for approximately 102 minutes.[140] At 5:20 p.m.[141] on September 11, 2001, 7 World Trade Center started to collapse with the crumble of the east penthouse, and it collapsed completely at 5:21 p.m.[141] owing to uncontrolled fires causing structural failure.[142]

text: The Marriott World Trade Center, a hotel, was destroyed during the collapse of the two towers. The three remaining buildings in the WTC plaza were extensively damaged by debris and later were demolished.[143] The Deutsche Bank Building across Liberty Street from the World Trade Center complex was later condemned owing to the uninhabitable toxic conditions inside; it was deconstructed, with work completed in early 2011.[144][145] The Borough of Manhattan Community College's Fiterman Hall at 30 West Broadway was also condemned owing to extensive damage in the attacks and is slated for deconstruction.[146]

text: In the immediate aftermath of the attacks, media reports suggested that tens of thousands might have been killed in the attacks, as over 50,000 people could be inside the World Trade Center, although the National Institute of Standards and Technology (NIST) estimated that approximately 17,400 occupants were in the towers at the time of the attacks.[147] Ultimately, 2,753 death certificates (excluding those for hijackers) were filed relating to the 9/11 attacks in New York City, including one filed for Felicia Dunn-Jones, who was added to the official death toll in May 2007; Dunn-Jones died five months later from a lung condition linked to exposure to dust during the collapse of the World Trade Center.[148] Three other victims were then added to the official death toll by the city medical examiner's office: Dr. Sneha Anne Philip, who was last seen the day before the attacks; Leon Heyward, a man who developed lymphoma and subsequently died in 2008 as a result of dust ingestion during the events following the attacks to the Twin Towers;[149][150] and Jerry Borg, who died in December 2010 of pulmonary sarcoidosis determined in June 2011 to be the result of dust from the attacks.[11] 2,192 civilians died in and around the World Trade Center, including 658 employees of Cantor Fitzgerald L.P. (an investment bank on the 101st–105th floors of One World Trade Center),[151] 295 employees of Marsh & McLennan Companies (which was located immediately below Cantor Fitzgerald on floors 93–101, the location of Flight 11's impact), and 175 employees of Aon Corporation.[152] In addition to the civilian deaths, 343 New York City Fire Department (FDNY) firefighters were killed in the attacks, as well as 71 law enforcement officers, including 37 members of the Port Authority Police Department (PAPD) and 23 members of the New York City Police Department (NYPD).[153][154][155] Ten years after the attacks, remains of only 1,629 victims had been identified.[156] Of all the people who were still in the towers when they collapsed, only 20 were pulled out alive.[157]

text: New World Trade Center

text:
Rebuilding of the
World Trade Center

One WTC

Construction
In popular culture

2–7 WTC

2
3
4
5
7

Other elements

Liberty Park
National September 11 Memorial & Museum
Performing Arts Center
Transportation Hub
Vehicular Security Center
Westfield World Trade Center
St. Nicholas Greek Orthodox Church

v
t
e

text: Over the following years, plans were created for the reconstruction of the World Trade Center. The Lower Manhattan Development Corporation (LMDC), established in November 2001 to oversee the rebuilding process,[158] organized competitions to select a site plan and memorial design.[159] Memory Foundations, designed by Daniel Libeskind, was selected as the master plan;[160] however, substantial changes were made to the design.[161]

text: The first new building at the site was 7 WTC, which opened in May 2006.[162] The memorial section of the National September 11 Memorial & Museum opened on September 11, 2011[163] and the museum opened in May 2014.[164] 1 WTC opened on November 3, 2014;[15] 4 WTC opened on November 13, 2013;[165] and 3 WTC is expected to open in spring 2018,[166]

text: As of November 2013[update], according to an agreement made with Silverstein Properties Inc., the new 2 WTC will not be built to its full height until sufficient leasing is established to make the building financially viable.[167] In Summer 2015, Silverstein Properties revealed plans for a redesigned Tower 2 with News Corp as the core tenant; the Bjarke Ingels-designed structure was expected to be finished by 2020.[168] 5 WTC will be developed by the Port Authority of New York and New Jersey, but above-ground construction was suspended in November 2013 due to a lack of tenants[169] as well as disputes between the Port Authority and the Lower Manhattan Development Corporation.[170]


document_title: Jumanji: Welcome to the Jungle

question_text: who played martha in jumanji welcome to the jungle

text: Jumanji: Welcome to the Jungle

text: Plot[edit]

text: In 1996, in Brantford, New Hampshire, about a year after the events of the previous film, teenager Alex Vreeke receives the Jumanji board game, found by his father on a beach. When Alex claims to himself that board games are boring, the game, seeing Alex's interest in video games, magically transforms into a video game cartridge which catches Alex's attention the next morning. As he plays it he is teleported into the game.

text: Twenty years later in 2016, four students in Brantford High School are placed in detention together: Spencer Gilpin, who was caught writing essays for his former friend, Anthony "Fridge" Johnson, who is also in detention for the plagiarism, Bethany Walker, and Martha Kaply, who have both disrespected their respective teachers during their respective classes. Bethany made a phone call in the middle of class and refused to end it after being ordered to by her English teacher, and Martha refused to join in on P.E. class because she considered it useless and made it worse by insulting the teacher. They were ridiculed for their actions and are assigned by the school's principal to clear out its basement. While cleaning the four find Jumanji, a multiplayer action-adventure video game. One of the playable characters is inaccessible. When Spencer hits Start, the four are sucked into the game.

text: They find themselves in a jungle each now in the forms of their game avatars. Spencer is a tough, muscular explorer named Dr. Smolder Bravestone, Fridge is a short zoologist named Franklin "Mouse" Finbar whom he had selected upon misreading the name as "Moose," Martha is a gorgeous commando and martial arts expert named Ruby Roundhouse, and Bethany is an overweight, male cartographer named Professor Sheldon "Shelly" Oberon. They soon realize that they are in a video game and each have three lives. If they lose all three, Spencer concludes they die for real. Each of their avatars also comes with special skills and weaknesses.

text: They learn from Nigel, an NPC guide, that the big-game hunter, Russel Van Pelt, wants to obtain a jewel, the "Jaguar's Eye," allowing him to manipulate Jumanji's animals. To escape the game, the players must return it to an enormous jaguar statue and call out "Jumanji". Along the way the group begins to lose lives through various means when completing game levels. The group starts working together to obtain a clue from a snake at a bazaar but are cornered by Van Pelt's men. They are rescued by Alex, the fifth player, whose avatar is a pilot named Jefferson "Seaplane" McDonough. Recuperating in a tree house built by previous player Alan Parrish, the main character from Jumanji, the newcomers vow to help him return home. Alex, thinking he'd only been in the game for a few months, learns that he has been in the game for twenty years. The group works together to break into a transportation shed, commandeer a helicopter, and fly for the jaguar statue to return the jewel. Upon landing Alex loses his last life after a mosquito bites him, but Bethany performs CPR in time and transfers one of her lives to Alex in the process of saving him from dying.

text: Arriving at the statue the players find themselves facing Van Pelt's forces and predatory guards. Using their resources and teamwork, the players distract the villains while Spencer returns the jewel to the statue, and they all call out the game's name. The game ends, disintegrating Van Pelt into many rats and killing him, and the players revert to their former selves and return to the real world but discover that Alex did not come with them. On their way home they discover that the Vreeke household – once the neglected home of Alex's father "Old Man" Vreeke – has been restored. An adult Alex appears; he returned to 1996, and history was changed. He is now married and has named his eldest daughter after Bethany out of gratitude for saving his life.

text: Spencer and Fridge reconcile, Bethany becomes a better person and makes plans to go backpacking for another adventurous encounter, Martha starts dating Spencer, and the teens are now friends after their experiences in the game. The four hear Jumanji's drumbeats, but they take the game behind the school and destroy it with the bowling ball they found in detention to prevent anyone from playing it again.

text: Cast[edit]

text: Jumanji[edit]

text:
Dwayne Johnson as Dr. Smolder Bravestone, an archaeologist and explorer who is Spencer's avatar. Bravestone's strengths are stamina, courage, reflexes, climbing, smoldering intensity, and boomerang throwing. He apparently has no weaknesses. He is the archetypically masculine, intelligent, and courageous video game hero of the story. He is credited as "Spencer".
Jack Black as Professor Sheldon "Shelly" Oberon, a cartographer, cryptographer, archaeologist and paleontologist who is Bethany's avatar. Bethany chooses him, mistaking the character's name for that of a woman. Though Oberon's strengths are his fields of expertise, because of his obesity, his endurance is his weakness. He/she is credited as "Bethany".
Kevin Hart as Franklin "Mouse" Finbar, a short zoologist and weapons specialist who is Fridge's avatar. Fridge chose him due to misreading the character's nickname as "Moose". Finbar is Bravestone's weapon valet and is skilled in zoology. His weaknesses are cake, strength, and speed. He is credited as "Fridge".
Karen Gillan as Ruby Roundhouse, a commando, martial artist, and dance fighter who is Martha's avatar. Roundhouse is proficient in karate, tai chi, jujutsu and capoeira, and her only weakness is venom, such as that found in various animals in the game. Similar to Bravestone, Roundhouse is the archetypically intelligent, athletic, beautiful, and scantily clad video game heroine of the story. She is credited as "Martha".
Nick Jonas as Jefferson "Seaplane" McDonough, Alex Vreeke's avatar. McDonough is a mysterious guide, adventurer, and pilot in the game, who waits for and joins the other avatars as they attempt to escape Jumanji. McDonough's strengths are piloting and making margaritas. His only weakness is mosquito bites, which is bad for him since the jungle is teeming with mosquitoes. He is credited as "Alex".[9] He lives in a treehouse built and once occupied by Alan Parrish (previously portrayed by Robin Williams and Adam Hann-Byrd in the 1995 film Jumanji).
Bobby Cannavale as Russel Van Pelt, a corrupt explorer seeking to control the "Jaguar's Eye", whose power he is demonically possessed by. He is the boss of the film's video game scenario; Jonathan Hyde played a different version of Van Pelt in the 1995 film.
Rhys Darby as Nigel Billingsley, an NPC guide in the game.
William Tokarsky as Bread/Cake Vendor, an NPC food trader.
Rohan Chand as Boy at Bazaar, a young NPC guide.

text: Reality[edit]

text:
Alex Wolff as Spencer Gilpin, a nerdy gamer at Brantford High School who goes to detention with Fridge, Martha, and Bethany, for writing Fridge's homework for him; he discovers the Jumanji video game. He later becomes Martha's love interest. He is credited as "Young Spencer".
Madison Iseman as Bethany Walker, a pretty and popular but narcissistic and self-centered teenage girl at Brantford High School and goes to detention with Spencer, Fridge, and Martha, after talking on her phone during a quiz and displaying an arrogant contempt towards her class in the process. She is credited as "Young Bethany".
Ser'Darius Blain as Anthony "Fridge" Johnson, a Brantford High School football jock who lacks confidence to succeed academically, and goes to detention with Spencer, Martha, and Bethany for having Spencer write his essays for him. He is credited as "Young Fridge".
Morgan Turner as Martha Kaply, a teenage girl at Brantford High School who goes to detention with Spencer, Fridge, and Bethany, for objecting to physical education class and disregarding her teacher. She later becomes Spencer's love-interest. She is credited as "Young Martha".
Mason Guccione as Alex Vreeke, a teenage boy who played, and was trapped inside, the Jumanji video game for 20 years. He is credited as "Young Alex".

Colin Hanks as Adult Alex Vreeke

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

Tim Matheson as Older Alex's Father (Old Man Vreeke, uncredited)

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

text: Production[edit]

text: Development[edit]

text: In July 2012, rumors emerged that a remake of the film Jumanji was being developed. In an interview with The Hollywood Reporter, Columbia Pictures president Doug Belgrad said: "We're going to try and reimagine Jumanji and update it for the present."[10] On August 1, 2012, it was confirmed that Matthew Tolmach would produce the new version, alongside William Teitler, who produced the original film.[11]

text: In August 2015, Sony Pictures Entertainment announced that they had scheduled the film for a December 25, 2016 release.[12] Internet reception to this was negative, with some posters remarking that the announcement came too soon after the death of Robin Williams, who portrayed Alan Parrish from the original film, and had died in August 2014.[13][14] The news was heavily criticized by Bradley Pierce, who played Peter Shepherd in the original Jumanji, as well as by E! News, which stated that they felt that the remake was "unnecessary and kind of insulting".[15][16] On October 23, 2015, Scott Rosenberg was hired to rewrite the script for the film, whose production was a high priority for the studio.[17] On January 14, 2016, Deadline reported that Jake Kasdan had been hired to direct, from a script by Rosenberg and Jeff Pinkner, based on a draft by original writers Chris McKenna and Erik Sommers.[18]

text: On April 15, 2016, Variety reported that Dwayne Johnson and Kevin Hart were in early talks to star in the film, though both actors had other projects to shoot, which might have created schedule conflicts.[19] Later in April, Johnson confirmed his casting through his Instagram account.[20] In July 2016, it was reported that Nick Jonas had joined the film's cast, along with the confirmed casting of Johnson, Hart, and Jack Black.[21] In August 2016, Johnson clarified that the film would not be a reboot, but a continuation of the 1995 film,[22] while Karen Gillan was also announced as having been cast.[23] On September 20, 2016, Ser'Darius Blain and Madison Iseman were cast in the film, with Blain playing Anthony "Fridge" Johnson and Iseman playing Bethany. Following them, on September 22, 2016, Rhys Darby, Morgan Turner, and Alex Wolff joined the cast, with Darby playing Nigel, Turner playing Martha, and Wolff playing Spencer.[24][25][26] In November 2016, Bobby Cannavale announced his casting in the film,[27] and in December 2016, Tim Matheson also joined the cast, playing Old Man Vreeke.[28]

text: James Newton Howard was originally attached to compose the film's score;[29] after the film's release date was pushed back half a year, he was replaced by Henry Jackman.[1]

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

text: Filming[edit]

text: Principal photography began on September 19, 2016, in Honolulu, Hawaii,[19][30] primarily taking place in the Kualoa Ranch private nature reserve.[31] The film was then wrapped on December 8, 2016, in Atlanta, Georgia.[32]

text: Release[edit]

text: In August 2015, Sony set the film a release date of December 25, 2016.[33] As filming did not start until September 2016, the release was pushed back a year to July 28, 2017, and then to December 20, 2017.[2]

text: On November 29, 2017, it was announced Amazon Prime members in the United States would have early access to movie tickets for a single December 8, 2017, screening of the film, at select Regal, National Amusements, ArcLight Cinemas and AMC theaters.[34] The screenings ended up selling out at 1,200 theaters and making $1.9 million.[35] The film was released in IMAX 2D on January 12, 2018, for its first time in IMAX in the United States.

text: Reception[edit]

text: Box office[edit]

text: As of February 18, 2018[update], Jumanji: Welcome to the Jungle has grossed $377.6 million in the United States and Canada and $527 million in other territories for a worldwide total of $904.6 million.[4]

text: In the United States and Canada, the film was released on December 20, 2017 alongside The Greatest Showman and was projected to gross around $60 million from 3,765 theaters in its six-day opening weekend with the studio predicting a more conservative $45 million debut.[36][37] The film took in $7.2 million on its first day and $7.6 million on its second day. Over the three-day weekend, the film grossed $36.2 million (for a six-day total of $71.9 million), finishing second at the box office behind Star Wars: The Last Jedi.[5] During its second weekend, the film increased to $50.1 million, again finishing in second place at the box office.[38] The weekend-to-weekend increase of 38.4% marked the 4th-largest ever for a film playing in over 3,000 theaters; fellow 2017 Christmas release The Greatest Showman coincidently set record for best hold the same weekend.[39][40] The film dethroned Star Wars: The Last Jedi for the top spot the following weekend, declining just 28.1% to $36 million[41] and finished first again the following week with $28.1 million (and a total of $35.2 million over the four-day MLK weekend).[42] Jumanji: Welcome to the Jungle also remained at the top of the box office for its third weekend with $19.5 million.[43]

text: Jumanji: Welcome to the Jungle again topped the charts the following week with $20 million, despite two new releases in 12 Strong and Den of Thieves.[44] The following week it continued to hold well, dropping just 16% to $16.4 million, albeit finished second behind newcomer Maze Runner: The Death Cure,[45] and would regain the top spot once again the following weekend with $11.1 million to The Death Cure's $10.6 million.[46]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 76% based on 180 reviews and an average rating of 6.1/10. The website's critical consensus reads "Jumanji: Welcome to the Jungle uses a charming cast and a humorous twist to offer an undemanding yet solidly entertaining update on its source material".[47] On Metacritic which uses a weighted average, the film has a score of 58 out of 100 based on 44 critics indicating "mixed or average reviews".[48] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[5]

text: Dave White of TheWrap praised the cast and called the film a pleasant surprise saying "Jumanji: Welcome to The Jungle is the Christmas tentpole release that aims to please and succeeds, a funny family entertainment product that subverts more expectations than it was obligated to contractually".[49] David Ehrlich of IndieWire gave the film a "C" and called it unnecessary but mildly amusing: "Jumanji: Welcome to the Jungle is further proof that even the stalest whiff of brand recognition has become preferable to originality. Only part of the blame for that belongs to the studios but after cannibalizing themselves for much of the last 20 years, Hollywood has clearly eaten their way down to the crumbs".[50]

text: Writing for Variety, Owen Gleiberman was critical of the film saying "Excitement! Suspense! Childlike innocence! Ingeniously staged action set pieces! These are a few of the things you will not find, anywhere, in Jumanji: Welcome to the Jungle... It's supposed to be a board game come to life but really, it's just a bored game".[51]

text: Sequel[edit]

text: Dwayne Johnson, Jack Black and Nick Jonas have discussed in interviews what a possible Jumanji 3 would be about including the possibility of the film exploring the origins of the titular game. Karen Gillan has also said that the alternate ending for Jumanji: Welcome to the Jungle would have left the door open for another installment.[52][53][54][55] In February 2018, it was announced that Kasdan, Rosenberg and Pinkner would return to direct and write the sequel, respectively.[56] Johnson, Hart, Black and Gillan will reprise their roles.[57]


document_title: See a man about a dog

question_text: where does the expression going to see a man about a dog come from

text: See a man about a dog

text: To see a man about a dog or horse is an English idiom, usually used as a way to apologize for one's imminent departure or absence—generally to euphemistically conceal one's true purpose, such as going to use the toilet or going to buy a drink.

text: The original, non-facetious meaning was probably to place or settle a bet on a racing dog.[1]

text: Historical usage[edit]

text: The earliest confirmed publication is the 1866 Dion Boucicault play Flying Scud[2] in which a character knowingly breezes past a difficult situation saying, "Excuse me Mr. Quail, I can't stop; I've got to see a man about a dog."[3][4] In a listing for a 1939 revival on the NBC Radio program America's Lost Plays, Time magazine observed that the phrase was the play's "claim to fame".[5]

text: During Prohibition in the United States, the phrase was most commonly used in relation to the consumption or purchase of alcoholic beverages.[4]