Every drama needs to have a villain. It's what creates friction for the protagonist. Some of the shows make the antagonist so horrible that they might as well be wearing a mustache that they twirl at every opportunity (see every single person Chuck Norris went up against in Walker, Texas Ranger). Justified's Boyd Crowder is no common villain. In fact, he might be the best one on TV or at least in the Top 5.
Walton Goggins is a force of nature when portraying Crowder. People take one look at him and dismiss as him as a country bumpkin, but there's a seething intellect burning behind those eyes. Crowder speaks eloquently and is prone to quoting from the most esoteric works. Not bad for a man who spent a good portion of his life working in a mine (that's how he knows Deputy Marshal Raylan Givens, the show's protagonist; they worked in the same mine). But for all Crowder's veneer of civility, there is a coldness to him, one where he will kill whoever stands in his way, with the same amount of thought given to squashing a bug. He can be laughing and smiling one minute and then be training his gun on you, his eyes dead.
The relationship between Crowder and Givens is partly what makes this show so fascinating. The two men are clearly on the opposite sides of the law, but hold each other in some regard, since both have come to each other's rescue more than once during the show's run. It's going to be fascinating to see what happens in the next season, with Crowder having a chance at a somewhat normal life ripped out from under his feet.
I'm no stranger to Goggins' work, having seen his turn next to Michael Chiklis on The Shield. In fact, one thing I lament is that there would never be a crossover on Breaking Bad. I'd be very curious to see what Crowder would think of Heisenberg.
Funny thing was, Crowder was supposed to die as he did in the short story, "Fire In The Hole," that inspired Justified. I'm glad that the showrunners decided against that.
The 2012 Producer's Guild of America Awards are approaching, celebrating both Theatrical Motion Pictures and Long-Form Television with a new batch of nominees that the PGA has just released. Many of the films are no surprise—crossovers with the upcoming Golden Globes nominees abound. For theatrical motion picture include The Artist, The Descendants and Midnight in Paris; nominees for animated theatrical motion picture include Rango and The Adventures of Tintin.
The television nominees also offer some unsurprising names, including Mildred Pierce, Downton Abbey, Parks and Recreation, Boardwalk Empire,Game of Thrones, Mad Men and The Colbert Report.
Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures
Producer: Thomas Langmann
Producers: Judd Apatow, Barry Mendel, Clayton Townsend
Producers: Jim Burke, Alexander Payne, Jim Taylor
THE GIRL WITH THE DRAGON TATTOO
Producers: Ceán Chaffin, Scott Rudin
Producers: Michael Barnathan, Chris Columbus, Brunson Green
Producers: Graham King, Martin Scorsese
THE IDES OF MARCH
Producers: George Clooney, Grant Heslov, Brian Oliver
MIDNIGHT IN PARIS
Producers: Letty Aronson, Stephen Tenenbaum
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt
Producers: Kathleen Kennedy, Steven Spielberg
The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures
THE ADVENTURES OF TINTIN
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Producer: Denise Ream
KUNG FU PANDA 2
Producer: Melissa Cobb
PUSS IN BOOTS
Producers: Joe M. Aguilar, Latifa Ouaou
Producers: John B. Carls, Gore Verbinski
The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures
BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST
Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion)
BILL CUNNINGHAM NEW YORK
Producer: Philip Gefter
Producer: Simon Chinn
Producer: James Gay-Rees
Producers: Cameron Crowe, Michelle Panek
The David L. Wolper Producer of the Year Award in Long-Form Television (Movies of the Week and Miniseries)
CINEMA VERITE (HBO)
Producers: Zanne Devine, Karyn McCarthy
DOWNTON ABBEY (Masterpiece) (PBS)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame
THE KENNEDYS (ReelzChannel)
Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow
MILDRED PIERCE (HBO)
Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon
TOO BIG TO FAIL (HBO)
Producers: Carol Fenelon, Jeffrey Levine, Paula Weinstein
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
30 ROCK (NBC)
Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Jeff Richmond, John Riggi, Don Scardino
THE BIG BANG THEORY (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady
Producers: Ian Brennan, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Kenneth Silverstein
MODERN FAMILY (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Jeff Morton, Jeffrey Richman, Dan O’Shannon, Brad Walsh, Bill Wrubel, Danny Zuker
PARKS AND RECREATION (NBC)
Producers: Greg Daniels, Dan Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael Schur
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
BOARDWALK EMPIRE (HBO)
Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter
Producers: Sara Colleton, John Goldwyn, Chip Johannessen, Robert Lloyd Lewis
GAME OF THRONES (HBO)
Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss
THE GOOD WIFE (CBS)
Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker
MAD MEN (AMC)
Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew Weiner
The Award for Outstanding Producer of Live Entertainment & Talk Television
THE COLBERT REPORT (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers eligibility pending arbitration completion)
THE ELLEN DEGENERES SHOW (Syndicated)
Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Ed Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt
REAL TIME WITH BILL MAHER (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
SATURDAY NIGHT LIVE (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
THE 64TH ANNUAL TONY AWARDS (CBS)
Producers: Ricky Kirshner, Glenn Weiss
The Award for Outstanding Producer of Competition Television
THE AMAZING RACE (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
AMERICAN IDOL (FOX)
Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Fuller, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick
DANCING WITH THE STARS (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur, Rob Wade
PROJECT RUNWAY (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
TOP CHEF (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
The Award for Outstanding Producer of Non-Fiction Television:
30 FOR 30 (ESPN)
Producers: John Dahl, Connor Schell, Bill Simmons
AMERICAN MASTERS (PBS)
Producers: Susan Lacy, Julie Sacks
ANTHONY BOURDAIN: NO RESERVATIONS (Travel Channel)
Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale
DEADLIEST CATCH (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, John Gray, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner
UNDERCOVER BOSS (CBS)
Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Johnson, Stephen Lambert, Allison Schermerhorn
ANDERSON COOPER 360º (CNN)
BBC WORLD NEWS AMERICA (BBC)
NBC NEWS WITH BRIAN WILLIAMS (NBC)
THE RACHEL MADDOW SHOW (MSNBC)
60 MINUTES (CBS)
MONDAY NIGHT FOOTBALL (ESPN)
REAL SPORTS WITH BRYANT GUMBEL (HBO)
SPORTS CENTER (ESPN)
30 FOR 30 (ESPN)
2010 FIFA WORLD CUP (ABC / ESPN / ESPN2)
U.S. OPEN TENNIS CHAMPIONSHIP (CBS / ESPN2 / Tennis Channel)
DORA THE EXPLORER (Nickelodeon)
PHINEAS AND FERB (Disney Channel)
SESAME STREET (PBS)
SPONGEBOB SQUAREPANTS (Nickelodeon)
ASK A NINJA (blip.tv)
THE GUILD (WatchTheGuild.com)
PARKS AND RECREATION PRESENTS: "APRIL AND ANDY'S ROAD TRIP" (NBC.com)
30 ROCK PRESENTS JACK DONAGHY, EXECUTIVE SUPERHERO (NBC.com)
WEB THERAPY (LStudio.com)
*These programs were not vetted for producer eligibility this year but winners in these categories will be announced at the official ceremony on January 21st.
Source: Producer's Guild
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
The Haunted Mansion and Dr. Seuss' The Cat in the Hat dominated the Thanksgiving box office with Eddie Murphy's Disneyland attraction flick placing first for the five day holiday period and Mike Myers' wacky feline topping the three day chart.
The Haunted Mansion enjoyed the biggest five day (Wed.-Sun.) slice of box office pie with $35 million* versus The Cat in the Hat's $34 million take. For three days (Fri.- Sun.), The Cat in the Hat led with $25.5 million versus The Haunted Mansion $25.3 million.
Of the four new wide releases vying for the North American box office, The Haunted Mansion was the only one to crack the Top Five, with last week's topper The Cat in the Hat giving it a run for its money, despite taking a critical beating.
"[Family films] are sometimes put up against a much more critical standard than they should be," Disney head of distribution, Chuck Viane, told The Associated Press Sunday. "You have people who want everything to be so artistic. That's not what family movies are about. They're about enjoyment and laughter and having fun."
Family entertainment was certainly the thing to beat this weekend. The holiday comedy Elf remained in third place in its third week of release, taking in a not-so-elfish $31.8 million. Elf's weekend take was enough to push it by the $100 million mark, making it the 24th release of the year to do so. This ties 2002's record of 24 films.
Gothika, meanwhile, came in fourth with $18.2 million, and Master and Commander: The Far Side of the World rounded out the Top Five with $17.5 million.
Thanksgiving's three other wide theatrical openings were turkeys compared to Mansion--Bad Santa brought in only $16.8 million, The Missing made $16.5 million and Timeline took $12.6 million. The films came in sixth, seventh and eighth respectively.
Key films grossed $209.5 million for five days, up about 8.6 percent from last Thanksgiving (Nov. 27 to Dec. 1, 2002) when key films did $192.9 million. The year 2000 still holds the overall Thanksgiving record with $232.16 million for the Top 12's five-day period, but if this week's estimates hold, this year's five-day posts will be the second all-time best.
THE TOP TEN
(NOTE: Today's films are ranked according to their estimates for the FIVE-DAY Thanksgiving holiday period from Wednesday through Sunday. Percentage variations do not apply because the previous weekend was a normal three-day weekend. Estimates for the three-day period from Friday through Sunday are indicated parenthetically.)
Buena Vista's PG rated horror comedy The Haunted Mansion led the five-day box office in its opening week with an ESTIMATED $35 million at 3,122 theaters, with a strong $8,104 per theater average. (Its ESTIMATED gross for three days is $25.3 million.)
In the film, a real estate agent moves his family into a mansion located on a remote bayou with the hopes of refurbishing it and making the deal of a lifetime--until he unearths the house's history and finds that his wife has unexpected connections to its haunted past.
Directed by David Berenbaum, it stars Eddie Murphy, Terence Stamp, Nathaniel Parker, Marsha Thomason and Jennifer Tilly.
Universal Pictures' PG rated Dr. Seuss' Cat in the Hat, last week's box office champ, followed in close second in its second week with an ESTIMATED $34 million at 3,467 theaters (+3 theaters, $7,130 per theater). Its cume is approximately $77 million. (Its ESTIMATED gross for three days is $25.5 million.)
Directed by Bo Welch, it stars Mike Myers, Dakota Fanning, Spencer Breslin, Kelly Preston, Alec Baldwin and Sean Hayes.
New Line Cinema's PG rated holiday comedy Elf remained in third place in its fourth week with an ESTIMATED $31.8 million at 3,202 theaters (-179 theaters; $6,925 per theater). Its cume is approximately $130.1 million. (Its ESTIMATED gross for three days is $22.1 million.)
Directed by Jon Favreau, it stars Will Ferrell, James Caan, Bob Newhart, Ed Asner, Zooey Deschanel and Mary Steenburgen.
Warner Bros.' R rated horror thriller Gothika fell two notches to fourth place in its second week with an ESTIMATED $18.2 million at 2,382 theaters (unchanged; $5,336 per theater). Its cume is approximately 41.1 million. (Its ESTIMATED gross for three days is $12.7 million.)
Directed by Mathieu Kassovitz, it stars Halle Berry, Robert Downey Jr., Penelope Cruz and Bernard Hill.
Twentieth Century Fox's PG-13 rated naval epic Master and Commander: The Far Side of the World dropped one place to round out the Top Five in its third week with an ESTIMATED $17.5 million at 2,703 theaters (-398 theaters; $4,698 per theater). Its cume is approximately $67.4 million. (Its ESTIMATED gross for three days is $12.7 million.)
Directed by Peter Weir, it stars Russell Crowe and Paul Bettany.
*Box office estimates provided by Exhibitor Relations, Inc.
Miramax Films' R rated holiday comedy Bad Santa kicked off rather politely in sixth place with an ESTIMATED $16.8 million at 2,005 theaters ($6,227 per theater). (Its ESTIMATED gross for three days is $12.4 million.)
In the film, two conmen disguised as Santa and his elf go on a road trip to rob malls during the holiday season.
Directed by Terry Zwigoff, it stars Billy Bob Thornton, Bernie Mac, Tony Cox and John Ritter.
Sony Pictures' R rates Western The Missing debuted in seventh place with an ESTIMATED $16.5 million at 2,765 theaters ($4,245 per theater). (Its ESTIMATED gross for three days is $11.7 million.)
In the film, a young medicine woman raising her two daughters in an isolated area of New Mexico in the 1880s must reunite with her estranged father when one of her children is abducted.
Directed by Ron Howard, it stars Cate Blanchett, Tommy Lee Jones, Jenna Boyd and Eric Schweig.
Paramount Pictures' PG-13 rated thriller Timeline opened in eighth place with an ESTIMATED $12.6 million at 2,787 theaters ($3,041 per theater). (Its ESTIMATED gross for three days is $8.4 million.)
In the film, based on Michael Crichton's 1999 bestseller, a group of archeologists travel to and get trapped in 14th-century France.
Directed by Richard Donner, it stars Paul Walker, Gerard Butler, Billy Connolly and Frances O'Connor.
Universal Pictures' R rated romantic comedy Love Actually dropped four positions to ninth in its fourth week with an ESTIMATED $11.2 million in 1,714 theaters (+24 theaters; $4,597 per theater). Its cume is approximately $43.2 million. (Its ESTIMATED gross for three days is $7.8 million.)
Directed and written by Richard Curtis, it stars Hugh Grant, Emma Thompson, Alan Rickman, Liam Neeson, Laura Linney, Colin Firth, Keira Knightley and Bill Nighy.
Buena Vista's G rated animated film Brother Bear slipped three spots to No. 10 in its sixth week with an ESTIMATED $6.4 million in 2,034 theaters (-851; $2,409 per theater). Its cume is approximately $77.7 million. (Its ESTIMATED gross for three days is $4.9 million.)
Directed by Aaron Blaise and Bob Walker, it features the voices of Joaquin Phoenix, Jeremy Suarez, D.B. Sweeney and Michael Clarke Duncan.
As the major studios begin generating their pre-Academy Award buzz, several Oscar-bait films debuted this weekend in limited release.
Fox Searchlight's PG-13 rated drama In America debuted in 11 theaters with an ESTIMATED $257,853 ($18,430 per theater average. (Its ESTIMATED gross for three days is $202,729.)
Directed by Jim Sheridan, it stars Samantha Morton, Paddy Considine, Djimon Hounsou, Sarah Bolger and Emma Bolger.
Lions Gate's R rated black comedy The Cooler opened in 11 theaters with an ESTIMATED $173,000 ($11,909 per theater). (Its ESTIMATED gross for three days is $131,000.)
Dirceted by Wayne Kramer, it stars William H. Macy, Alec Baldwin and Maria Elana Bello.
Sony Picture Classics' PG-13 rated animated feature Triplets of Belleville (Les Triplette de Belleville) opened in six theaters with $150,371 ($19,106 per theater). Its ESTIMATED gross for three days is $114,636.)
Directed by Sylvain Chomet, it features the voices of Jean-Claude Donda, Michel Robin, Monica Viegas and Michèle Caucheteux.
Key films--those grossing more than $500,000--took in an ESTIMATED $209.5 million for the five day Thanksgiving holiday period, up about 8.6 percent from last year's five day Thanksgiving weekend when they totaled $195.9 million. Comparisons to last weekend of this year are not valid because last weekend was a normal three-day weekend.