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Page 1 of 8
December 21, 2010
Da
y
il
Inside:
TELEVISA,
UNIVISION
SEAL DEAL
By Anthony Crupi
COOPER SHOW
SELLING WELL
PAge 2
DAN BROWN
TO ADAPT PIC
PAge 4
A NEW ERA
BEGINS AT MGM
PAge 4
movie REVIEW:
LITTLE FOCKERS
bags of sports broadcasting,
that dapper old swell from
Monopoly who functions as
the benign face of rapacious
capitalism.
Crisp C-notes bursting
from the pockets of its tuxedo jacket, the sports giant
snatches up every sports
property on which it alights,
running the gamut from
lowly Baltic Avenue (The
Bassmasters) to Boardwalk
(Monday Night Football)
before the competition so
much as passes “Go.”
Perhaps nothing illustrates ESPN’s rapacity quite
like the college football
bowl season. After blowing
Fox Sports out of the water
with a $500 million bid,
ESPN won the rights for the
Bowl Championship Series
CRYSTALS AT CITYCENTER 702.207.2420
SOUTH COAST PLAZA 714.549.1053
DONNAKARAN.com
Kevin C. Cox/GETTY IMAGES
ESPN is the rich Uncle Penny-
PAge 2
PAge 6
Bowling for Dollars:
ESPN Rakes It In
Heisman winner Cam Newton leads Auburn against Oregon in college football’s title game, one of 33 bowl games that ESPN will televise this season.
through 2014. In so doing,
it now plays host to 33 of
the 35 bowl games, including the Oregon-Auburn
title match on Jan. 10. And
here’s the corker: Despite
the towering expenses associated with hosting the BCS
games, ESPN could air the
championship event commercial-free and still walk
away fat and happy.
Advertising? Gravy. The
real meat is in the brand
hegemony, the way in which
see page 2
Page 2 of 8
December 21, 2010
television news
FROM page 1
ESPN’s ownership of college football justifies its
carriage fee. Here’s how the
math works: In exchange
for its broadcast feed and
hi-def simulcast, the company charges cable and satellite operators an average
of $4.40 a month per subscriber, according to SNL
Kagan data. Multiply that
by 99.8 million subscribers, over 12 months, and
ESPN’s annual affiliate revenue haul works out to be
$5.27 billion. To throw that
into greater relief, note that
ESPN’s subscriber revenue is roughly 43 percent
of CBS Corp.’s market cap
($12.8 billion as of Friday).
Kagan projects ESPN’s
2010 net ad sales dollars
will add up to some $1.48
billion, up 8 percent from
the year-ago number. With
automotive humming along
and financial services dollars pouring in, the network could take in as much
as $1.57 billion in ad sales
next year.
Last year, ABC commanded as much as
$975,000 for a 30-second spot in the AlabamaTexas BCS capper, which
drew 30.8 million viewers. While media buyers
don’t anticipate this year’s
showdown will perform as
well on cable, the turnout
should be well worth the
investment.
“We’re hoping it will
break the cable record,
but even if that’s not the
case, you don’t cherry-pick
ESPN,” one national TV
buyer said. “In for a penny,
in for a pound. It’s a yearround commitment.”
To some extent, ESPN’s
pigskin takeover is a hedge
on future negotiations with
carriers. “Content always
wins the war, and major
sporting events are the
most powerful weapons,”
RBC Capital Markets analyst David Bank said. “They
can point to these investments and say, ‘Why not
cut an early deal and avoid
all the drama … and we
won’t hit you with as big of
an increase.’ ”
Ed Erhardt, ESPN’s
president of customer sales
and marketing, said that
as much as 75 percent of
his college football inventory is sold in seasonlong
packages. In turn, a significant portion of avails
are claimed by the 14 official BCS sponsors, which
include Allstate, AnheuserBusch InBev, Ford, General
Motors and Taco Bell.
Spreading the field has
taken a lot of the anxiety
out of Selection Sunday,
when the bowl matchups
are announced. “There was
a time where if you didn’t
get such a great matchup
in the championship game,
you’d be concerned,”
Erhardt said. “The way we
sell it now, the matchup is
just not a defining factor.”
ESPN has had no trouble meeting its guarantees this season, averaging
2.97 million viewers over
75 broadcasts, marking its
strongest campaign since
1994. And while even a onespot walk-on wouldn’t be
granted a guarantee for the
title game, buyers said they
expect the Oregon-Auburn
game in Glendale, Ariz.,
will deliver as many as 10
million viewers 18-49.
“You’re buying a full season of ratings points, the
full college football experience,” Erhardt said. “This
isn’t just about a few nights
in January.”
Anthony Crupi is a senior
editor at Mediaweek.
UNIVISION AND
TELEVISA OK DEAL
By John Hecht
MEXICO CITY — Mexico’s Televisa and its stateside partner Univision have
closed a billion-dollar deal
that extends their long-term
program license agreement
to 2025.
Additionally, the Spanish-language media titans
said Monday that they have
agreed to a program license
agreement for Mexico, giving Televisa the rights to air
Univision content. Televisa
also broadcasts programming provided by Univision
rival Telemundo.
After years of legal wrangling over royalty payments and Internet rights,
the two companies unveiled
an agreement in October
that allows Televisa to up
its stake in Univision to as
much as 40 percent over
several years. However, U.S.
media-ownership rules limit
a foreign company to own as
much as 25 percent in a U.S.
broadcaster.
Televisa paid $130 million
to buy a 5 percent stake in
Univision and has the option
to raise its share to 10 percent after three years. Moreover, Televisa can hold debt
that is convertible into an
additional 30 percent stake.
Under the expanded content arrangement, Televisa
scored added license-fee
payments estimated at
about $50 million in the
first year. And two key Televisa executives also landed
seats on Univision’s board
of directors: CEO Emilio
Azcarraga Jean and executive vp Alfonso de Angoitia.
Univision, in turn,
received debt relief, rights
to digital content in the
U.S. and a crucial extension
of the PLA pact; Univision
has long leaned on Televisa
as a content supplier for
the bulk of its primetime
programming.
“The refinancing of Univision’s debt was completed
on terms that exceeded our
expectations, reflecting the
financial community’s confidence in our business and
its future,” Univision CEO
Joe Uva said.
STATIONS LOAD
UP ON ANDERSON
By Elizabeth Guider
In the past 10 days, some 40
stations have inked to carry
Anderson Cooper’s show
this fall, making the Warner Bros. strip a firm go for
the upcoming season. They
come on the heels of launch
clearances with Tribune’s
WPIX in New York and Fox
outlets in L.A., Chicago and
Boston.
As the TV industry
gears up for the Jan. 24-26
NATPE trade show in
Miami, Anderson will come
to town with at least 80 stations cleared, repping 70
percent of the country.
see page 3
Page 3 of 8
December 21, 2010
television news
FROM page 2
The show is being pitched
as like the smart, provocative talk show once provided by Phil Donahue
but emotionally more like
what Oprah Winfrey delivers. (Winfrey
exits syndication after the
current season
to launch her
cable chanCooper
nel, OWN: The
Oprah Winfrey Network.)
The latest clearances
were unveiled by Ken Werner, president, and Rick
Meril, executive vp/general
sales manager, of Warner
Bros. Domestic Television
Distribution.
Key stations that have
inked in the cash/barter deals include KTVU
(San Francisco), WXIA
(Atlanta), WDIV (Detroit),
KPHO (Phoenix), WFTS
(Tampa, Fla.), KTVD/
KUSA (Denver), WOIO
(Cleveland), KDNL
(St. Louis) and WPXI
(Pittsburgh).
“The momentum for
this show is robust,” Meril
said, given how “quickly
and aggressively” outlets
have signed on. “Stations
are recognizing Anderson
for both its instant wideranging appeal as well as
its long-term franchise
potential.”
Like Winfrey and before
her Donahue, Copper will
target women looking to be
informed and entertained,
gain perspective and stay
connected to the world
around them.
Cooper previously told
The Hollywood Reporter
that the show would not
track hard news as he does
on CNN but rather would
focus on watercooler topics — the big celebrity interview one day, the personal
story behind the headlines the next. There also
will be undercover investigations and hidden-camera experiments. Cooper
also said interactivity would
be emphasized in order to
involve viewers at home as
well as those in the studio
audience.
The five-day-a-week
series will be based in New
York and produced by Telepictures in association
with StrongChild Prods.;
Cooper will serve as an
executive producer.
The only other talk show
with significant clearances
for next season is DebmarMercury’s Jeremy Kyle,
which has been cleared in
70 percent of the country,
mostly on indie stations.
ABUGOV TO RUN
CANADIAN TOON
By Etan Vlessing
TORONTO — Two and a Half
Men exec producer Jeff
Abugov will serve as the
showrunner on the Canadian animated comedy Fugget About It from 9 Story
Entertainment.
Canadian cartoon cable
channel Teletoon ordered
13 half-hours of the comedy
about the 16-year-old son
of a former New York mob
boss whose family now lives
in Canada as part of the
witness protection program.
Fugget About It was created by Nicholas Tabarrok and Willem Wennekers
before being kicked into
shape by Abugov, a veteran
Los Angeles sitcom writer.
The homegrown comedy emerged as a finalist
among 200 submissions to
the Teletoon at Night Pilot
Project to tap the latest
series ideas and concepts
from Canada’s animation
community.
KHAN TO HOST
INDIA’s WIPEOUT
By Nyay Bhushan
NEW DELHI — Bollywood
superstar Shah Rukh Khan
will host the Indian version
of international game show
Wipeout.
Produced by Endemol
India, Zor Ka Jhatka (Hindi
for A Big Shock) will unfurl
next month on Turnerowned Hindi entertainment
channel NDTV Imagine. The show’s 28 contestants will compete for prize
money worth 15 million
rupees (about $3 million)
including a cash prize of 5
million rupees for the eventual winner.
Wipeout airs in 22 countries. The show marks a
return to TV for Khan, who
hosted the Indian version of
Who Wants to Be a Millionaire and Are You Smarter
thr
Than a 5th Grader?
Manager, Music Licensing.
Liberty Music Trax is seeking a seasoned Music Licensing Manager, well established in the music library field, to be responsible for its new U.S. music licensing operations.
Liberty offers a library of pre-existing original songs and production library music from around the world, pre-cleared in perpetuity, for licensing to independent
producers of:
• television series (e.g. lifestyle, factual entertainment, and scripted)
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• corporate videos
• advertising (radio and television)
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• non-commercial film projects (film schools, universities)
The Manager’s role will be to seek out, establish and build long term relationships with music supervisors, production managers, producers,
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Att: Ralph Levy - Managing Director / e-mail : [email protected]
www.libertymusictrax.com
Page 4 of 8
December 21, 2010
movie news
Author Brown
Will Adapt
Own Symbol
By Jay A. Fernandez
and Borys Kit
Mega-selling mystery author
Dan Brown has taken over
writing duties on the film
adaptation of his most
recent novel, The Lost
Symbol.
Columbia Pictures is
developing the film version
of Brown’s novel, which was
published in
2009 and sold
more than a
million copies
in its first day
on shelves. In
Brown
it, Brown’s regular protagonist, Harvard
symbologist Robert Langdon, gets mixed up with the
Freemasons in Washington, D.C.
The 2006 adaptation of
The Da Vinci Code and the
2009 version of Angels &
Demons grossed $1.24 billion
at the worldwide box office
for Sony. But this is the first
time Brown has taken on
screenwriting duties. Akiva
Goldsman penned Da Vinci
and co-wrote Demons with
David Koepp.
Oscar-nominated Eastern Promises scribe Steven Knight first took a
run at the Symbol screenplay. Although Ron Howard
and Brian Grazer’s Imagine Entertainment is once
again producing, Howard,
who directed the first two
Brown adaptations, has
not committed to directing
Symbol, nor has star Tom
Hanks officially come on
board to reprise the Langdon role.
Regardless, given the
sure-thing built-in audience,
Sony is sure to have Symbol in theaters sooner rather
than later. With Men in
Black III and the Spider-Man
reboot already set for summer 2012, here’s betting that
Brown’s latest is on screens
the following summer.
MGM BEGINS
ANEW WITH
‘BRIGHT FUTURE’
By Paul Bond
MGM on Monday said it has
emerged from bankruptcy
with $500 million to run its
rejuvenated business.
At the helm are Spyglass
Entertainment founders
Gary Barber and Roger
Birnbaum, who are running
things at MGM as of
Monday as co-chairmen
and co-CEOs. They own
a combined 1 percent of
the new MGM and remain
non-operational owners of
Spyglass.
The rest of MGM will be
owned by a slew of entities
that swapped about $5
billion in debt for various
amounts of equity in
the revamped company.
Owning the biggest chunk
is billionaire financier Carl
Icahn, who also has a large
stake in Lionsgate.
Stephen Cooper, the
corporate turnaround
specialist who has been
MGM’s CEO for the past
16 months, has left the
company as expected.
Cooper’s prepackaged
reorganization plan
was approved Dec. 2. It
included former owners
Sony, Comcast and a host
of investment firms losing
all equity in the 86-year-old
studio.
MGM emerges from
bankruptcy not only
with $500 million in exit
financing to spend, but
also with a library of 4,100
TV and movie titles and
such franchises as James
Bond, Rocky, Pink Panther,
Robocop and The Hobbit.
It retains the iconic Leo the
Lion mascot as well.
Barber and Birnbaum
were unavailable Monday,
but the two issued a
statement that read, in
part, “Beginning today,
MGM is a stronger, more
competitive company, with
a solid financial foundation
and a bright future.”
Decisions as to when the
two will hire a film chief and
which studio they might
choose as a distribution
partner will be made later.
MGM intends on making
as many as six films a year,
with the first one — perhaps
Part 1 of The Hobbit with
partner Warner Bros. — due
out in 2012.
MGM also is beginning
new discussions with
Danjaq and the family of
Albert Broccoli concerning
the next movie in the Bond
series.
MGM laid off 50
employees last week, and the
company is expected to shed
another 30 before settling in
with a staff of about 320.
“MGM is emerging
from one of the most
challenging periods of its
storied history,” Barber
and Birnbaum said in
their statement. “We are
honored and inspired
at the opportunity of
leading one of Hollywood’s
most iconic studios into
its next generation of
unforgettable filmmaking,
global television production
and distribution and
aggressively pursuing,
developing and exploiting
new digital platforms.”
DUBAI FESTival
ENDS ON UP NOTE
By Liza Foreman
Despite the economic problems that have beset the
region, the Dubai International Film Festival was its
usual glitzy self while keeping the spotlight squarely
on filmmakers from the
Arab world.
And there was plenty
of Hollywood flair. Sean
Penn received a Lifetime
Achievement Award and
was one of a number of
international celebrities to
attend the event, including
Peter Weir, Colin Farrell
and Jim Sturgess for Weir’s
World War II drama The
Way Back. Carey Mulligan
also made the trek.
see page 5
Page 5 of 8
December 21, 2010
gareth cattermole/getty images
movie news
Colin Farrell takes questions from journalists at the Dubai film festival.
FROM page 4
Arab royalty was also on
hand, with the UAE’s HH
Sheikh Majid Bin Mohammed Bin Rashid Al Maktoum, HH Sheikh Mansour
Bin Mohammed Bin Rashid
Al Maktoum and HH
Sheikh Saeed Bin Mohammed Bin Rashid Al Maktoum gracing the red
carpet. The eight-day festival closed Sunday.
A total of $600,000 was
awarded in prize money in
the festival’s Muhr Emirati,
Muhr Arab and Muhr Asia
Africa categories. There
was plenty of industry
activity, with representatives from Sony Pictures to
the Weinstein Co. making
it to Dubai, which hosted
a film market, a series of
seminars and a co-producers platform.
This year’s figures have
yet to be tabulated, but
more than 130 films were
sold at the 2009 market
with deals valued at about
$2.2 million.
This year, the Muhr
Award for best Arab feature
went to Morocco’s Xavier
Castro for his drama Pegasus. Bushra took home
the best actress award for
Egypt’s 678, and the best
actor award went to her costar Maged El Kidwaany.
The special jury prize went
to Mohammed Al Hushki
for the Jordanian film,
Transit Cities. In all, some
157 films unspooled from 57
countries.
For the first time, DIFF
presented the Muhr Emirati Awards for excellence
in filmmaking to UAE filmmakers. Fourteen films
made by UAE nationals
competed. The first prize
went to Nayla Al Khaja for
Bored.
“At DIFF 2010, we sampled the best cinema from
around the world with a
particular emphasis on
work from the Arab world,
Asia and Africa,” DIFF’s
artistic director Masoud
Amralla Al Ali said. “All
three of our competitions
were outstanding this year,
and one of our greatest
challenges was to whittle
the entries down to an initial shortlist.”
PS FEST NOD TO
SOCIAL NETWORK
By Tim Appelo
The Palm Springs International Film Festival
announced Monday that
The Social Network will
receive the 2011 Ensemble
Performance Award at its
Jan. 8 Awards Gala.
Jesse Eisenberg, Andrew
Garfield, Justin Timberlake,
Armie Hammer and Rooney
Mara are expected to attend
to accept the award, presented by Social Network
director David Fincher.
“Every so often, a movie
comes along with performances that set the standard for a generation of
actors. The
Social Network combines a theme
that defines
our time with
Eisenberg
performances
that redefine acting for the
screen,” festival chairman
Harold Matzner said.
The awards gala, held
at the Palm Springs Convention Center, will be
hosted by Entertainment
Tonight’s Mary Hart. Previously announced honorees include Javier Bardem,
Robert Duvall, Colin Firth,
Jennifer Lawrence, Carey
Mulligan, Natalie Portman,
David O. Russell and Diane
Warren.
The festival runs Jan.
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6-17.
Page 6 of 8
December 21, 2010
movie review
LITTLE FOCKERS
By Todd McCarthy
Little Fockers is focking dismal. Clearly nothing but
a paycheck project for all
concerned, this is definitely
the least and hopefully
the last of a franchise that
started amusingly enough
a decade ago but has now
officially overstayed its welcome. Still, this won’t stop
quite a few folks from parting with some bucks in
search of some holiday season yucks, the majority of
them from jokes that could
have originated on men’s
room walls.
The title of this unsavory
hodgepodge is misleading,
in that very little time is
spent with the twin sprigs
of Greg and Pam Focker.
After attention shifted
in the second installment, Meet the Fockers, to
the enjoyably hedonistic
seniors played by Dustin
Hoffman and Barbra Streisand, the focus has here
reverted to the tension
between Ben Stiller’s distracted male nurse and his
intimidating father-in-law,
Jack, played by Robert De
Niro, who wants Greg to
man up to his responsibilities and become the clan’s
“godfocker.”
Providing the distraction for Greg is Jessica
Alba’s Andi Garcia (yes,
much mileage is made of
her name), a hot-to-trot
drug company rep who,
for inexplicable reasons,
decides that Greg would
be the perfect guy to promote Sustengo, an erectile
dysfunction drug. This one
plot element not only sets
the very low tenor of most
of the film’s gags but also
introduces the possibility
that Andi might lead Greg
astray, which she could no
doubt accomplish without
the help of her product.
But the suspense generated by the threat to
Greg’s fidelity is nothing
compared to the breathless
excitement created by the
momentum leading up to
the film’s climactic event
— the twins’ fifth birthday
party. For this, of course,
all four grandparents must
travel to the Focker abode
in Chicago, with Greg’s
dad, Bernie (Hoffman),
needing to come in all the
way from Spain, where the
old lech has taken up flamenco dancing.
Greg’s filthy rich pal
Kevin (Owen Wilson) is
rescued from matrimony
to a predatory Russian
bride to host the birthday event on a grand
scale at his estate, the
only unexpected fruit of
which is a little makeout
scene between Wilson and
Streisand.
But lest we forget the
pervasive influence of Sustengo, it is responsible for
no end of lewd remarks
as well as for the film’s
big stab at an outrageous
set piece. Having visibly acquired the desired
results, Jack needs quick
relief from his condition,
something only Greg can
provide with an injection
in the relevant area. And
then they’re caught in the
act.
Anchored by humor of
this nature, the film will
probably be a big favorite
The third film in the franchise has Robert De Niro, right, pressing
son-in-law Ben Stiller to man up and become the clan’s “godfocker.”
in retirement homes and
with mainstream audiences of a certain age. But
screenwriters John Hamburg and Larry Stuckey
have hardly strained themselves trying to come up
with fresh gags, while
director Paul Weitz, stepping in for Jay Roach, who
this time contents himself
with a producer’s credit,
just keeps pushing haphazardly from one frantic incident to the next.
The series’ veterans
know what’s expected of
them, so suffering most
from this lack of special
care is series newcomer
Alba, who is made to look
foolish as her Andi relentlessly pursues Greg to the
brink, as if there weren’t
some more suitable guy
upon whom she could
bestow her favors. Laura
Dern shows up briefly in a
mocking turn as the director of a New Age-y institution called “Early Human
School.”
Opens: Dec. 22 (Universal/
Paramount).
Production: Relativity/Tribeca/
Everyman Pictures.
Cast: Robert De Niro, Ben Stiller,
Owen Wilson, Blythe Danner, Jessica Alba, Teri Polo, Laura Dern,
Colin Baiocchi, Daisy Tahan, Harvey Keitel, Yul Vazquez, Dustin
Hoffman, Barbra Streisand.
Director: Paul Weitz.
Screenwriters: John Hamburg,
Larry Stuckey, based on characters created by Greg Glienna,
Mary Ruth Clarke.
Producers: Jay Roach, Robert
De Niro, Jane Rosenthal, John
Hamburg.
Executive producers: Daniel
Lupi, Meghan Lyvers, Andrew
Miano, Nancy Tenenbaum, Ryan
Kavanaugh.
Director of photography: Remi
Adefarasin.
Production designer: William
Arnold.
Costume designer: Molly
Maginnis.
Editor: Greg Hayden, Leslie
Jones, Myron I. Kerstein.
Music: Stephen Trask.
thr
PG-13, 98 minutes.
Page 7 of 8
December 21, 2010
concert review
PRINCE
By Frank Scheck
syncratic twists and turns,
Prince made one of his
more baffling choices at
Madison Square Garden
Saturday night, the first
New York City date of his
Welcome 2 America tour —
he actually gave the people
what they wanted.
While many of the prolific star’s past shows have
veered into unfamiliar territory filled with obscurities and lengthy funk
instrumental jams, this
one was a crowd-pleasing compendium of hits
that were mostly decades
old, many of them culled
from his landmark Purple
Rain and 1999 discs. And
while the headliner comically groused at one point
by muttering, “Too many
hits,” he played them with
a freshness and ferocity
that resulted in a galvanizing show that thrilled the
sold-out crowd.
From “Baby I’m a Star”
to “Kiss,” he re-explored
his vintage catalogue as if
playing the songs for the
first time. And while the
evening was short on spectacle, it was long on musical excitement, with the
52-year-old star displaying
the charisma and stamina
of his youth while backed
by a band that couldn’t
have been any tighter.
The audience roared
at the opening chords
of each familiar number, from “The Beautiful Ones” (performed with
the accompaniment of
a sexy ballet dancer) to
Jumana El-Heloueh/Reuters
In a career filled with idio-
Prince, shown during a performance last month, delighted the Madison
Square Garden crowd with the hits.
“Let’s Go Crazy” to “Delirious” to “Raspberry Beret”
to “Nothing Compares 2
U” to “Purple Rain.” The
only cover songs on display,
Sylvester’s “Dance (Disco
Heat)” and The Time’s
“Cool,” were melded seamlessly into the proceedings.
Performing on a stage
shaped like his trademark
glyph symbol, the star
seemed in excellent spirits, striking guitar god
poses for his frequent solos
and frequently breaking
into his trademark dance
workouts. He reserved
his most stunning moves
for “Kiss,” delivering a
precisely calibrated routine
of hip and shoulder-popping break-dance style contortions that had the crowd
roaring in leering approval.
Former collaborator
Sheila E. was brought out
to thunderous applause
for a duet on “U Got the
Look” and a lengthy solo
on “The Glamorous Life”
that allowed Prince time
for a costume change.
They also collaborated
for the encore, “A Love
Bizarre,” with Prince inviting seemingly every celebrity in attendance to join
him onstage. The disparate
group — including Tavis
Smiley, Spike Lee, Naomi
Campbell, Jamie Foxx,
Sinbad, John Leguizamo
— happily danced with
abandon, although the
sight of Whoopi Goldberg
and author Cornell West
boogieing together was
surely one of the stranger
things ever seen at the
Garden.
As is his wont, Prince
picked one of his musical
inspirations as the opening act. On this show, it was
Graham Central Station,
whose leader, the legendary
bass player Larry Graham,
commented that it was his
first time performing at the
venue since he appeared
as part of Sly & the Family Stone. The headliner
briefly joined them for a
raucous medley of that
group’s hits, including such
classics as “Family Affair”
and “Everyday People.”
Set List:
1. Welcome to America
2. Dance (Disco Heat) —
Sylvester cover
3. Baby I’m a Star
4. The Beautiful Ones
5. Let’s Go Crazy
6. Delirious
7. 1999
8. Shhh
9. Uptown
10. Raspberry Beret
11. Cream
12. Cool— The Time cover
13. Let’s Work
14. U Got the Look (with Sheila E.)
15. The Glamorous Life (Sheila E.)
16. Nothing Compares 2 U
17. Purple Rain
Encore
18. Kiss
19. A Love Bizarre (with Sheila E.
thr
and Questlove)
Page 8 of 8
December 21, 2010
box office chart
The top 40
This Last
week week
Movie
Distributor
Weekend gross
Percent
change
# of
theaters
Per-theater
average
Days in
release
Cumulative
gross
Disney
44,026,211
—
3,451
12,758
3
44,026,211
Warner Bros.
16,411,322
—
3,515
4,669
3
16,411,322
Fox
12,388,662
-48.4
3,555
3,485
10
42,752,237
Paramount
12,135,468
3,945
2,503
4,848
10
12,569,403
Disney
8,775,344
-38.8
3,201
2,741
26
127,918,276
8,522,287
-48.3
2,756
3,092
10
30,613,520
1
New
Tron: Legacy
2
New
Yogi Bear
3
1
Chronicles of Narnia: Dawn Treader
4
19
The Fighter
5
3
Tangled
6
2
The Tourist
Sony
Black Swan
Searchlight
8,383,479
153.6
959
8,742
17
15,791,753
Sony
7,484,696
—
2,483
3,014
3
7,484,696
Warner Bros.
5,022,361
-40.8
2,860
1,756
31
265,723,618
Fox
1,843,696
-50.3
1,874
984
38
77,386,304
7
6
8
New
9
4
Harry Potter Deathly Hallows Part 1
10
5
Unstoppable
How Do You Know
11
7
Burlesque
Sony
1,425,855
-55
1,510
944
26
35,537,765
12
9
Due Date
Warner Bros.
1,262,257
-51.1
1,157
1,091
45
97,327,179
13
8
Love and Other Drugs
Fox
1,111,878
-62.7
1,093
1,017
26
30,201,141
14
15
The King’s Speech
Weinstein
1,097,131
85.4
43
25,515
24
2,936,959
15
10
Megamind
Paramount
690,573
-72.7
1,025
674
45
141,641,535
16
13
127 Hours
Searchlight
556,044
-44.9
307
1,811
45
9,321,571
17
11
Faster
18
18
RED
19
20
The Social Network
20
16
Fair Game
21
12
22
New
The Next Three Days
23
23
Despicable Me
24
26
I Love You Phillip Morris
25
22
Lance et Compte
26
17
Morning Glory
L’Appat
CBS
433,950
-74.9
660
658
26
22,500,498
Summit
336,572
-21.9
439
767
66
88,429,993
Sony
282,025
-1.1
228
1,237
80
91,840,926
Summit
219,973
-60.4
268
821
45
8,650,388
Lionsgate
183,486
-82.1
361
508
31
20,946,536
Alliance Viva
176,785
—
76
2,326
3
176,785
Universal
171,325
-10.5
233
735
164
250,493,640
Roadside Att.
147,188
-4
49
3,004
17
521,699
Seville
131,753
-32.4
65
2,027
24
2,023,741
Paramount
117,651
-76.6
263
447
40
30,568,989
27
24
Guardians: Owls of Ga’Hoole
Warner Bros.
107,164
-32.3
210
510
87
55,194,666
28
34
Hubble 3D
Warner Bros.
106,994
10.3
56
1,911
276
19,359,509
29
25
Girl Who Kicked the Hornet’s Nest
Music Box
92,964
-40.3
114
815
52
5,107,407
30
14
The Warrior’s Way
Relativity
84,571
-91.3
217
390
17
5,504,388
Warner Bros.
83,992
-24.1
15
5,599
2,231
181,721,419
Paramount
82,538
82.2
174
474
59
84,436,978
Disney
76,032
-41.3
155
491
73
58,325,410
31
32
The Polar Express
32
39
Paranormal Activity 2
33
30
Secretariat
34
33
Easy A
Sony
73,468
-26.6
161
456
94
58,401,464
35
45
Hereafter
Warner Bros.
71,078
126
232
306
66
32,576,841
36
31
Inside Job
Sony Classics
70,055
-43.9
75
934
73
3,266,357
37
41
The Tempest
38
29
The Town
Disney
58,136
37
21
2,768
10
121,526
Warner Bros.
57,591
-55.7
144
400
94
92,074,857
39
28
Skyline
Universal
55,965
-62.9
123
455
38
21,371,425
40
New
Rabbit Hole
Lionsgate
53,778
—
5
10,756
3
53,778
Total: 134,412,298