Tuesday, March 19, 2019

Follow-Up on the Lack of Director in 'Wonder Park' Talk on 'The Movie Breakdown'

I noted on yesterday's episode of The Movie Breakdown that there was no credited director for Wonder Park. The original director, Dylan Brown was fired a year ago after several sexual harassment claims. Despite my attempted joke on the show, obviously the movie then didn't magically make itself, but instead, three other people came in to make sure the movie was finished. It would be a similar situation to Bohemian Rhapsody where Bryan Singer was fired and Dexter Fletcher came in to finish the movie.

The big difference between the two is that Singer was still given the director credit, despite probably being as much an awful human being as Brown and he clearly didn't helm large portions of the movie (he was let go almost a whole year before the release).

The fascinating thing is that animated features don't fall under the Director's Guild of America, so they don't need to follow DGA rules about credits. For live action movies, there must be a director's credit, and unless it is a director duo where they are helming side by side, there can only be one credited director. If there is an issue where a director is replaced or a revolving door of directors, the DGA chooses who gets the director credit. In the case of Bohemian Rhapsody, they decided it should go to Singer, which led to the odd experience at the Oscars where everyone who accepted an award for the movie never acknowledged the film's director (something I don't think has ever happened).

Since animated movies aren't supported by the DGA, Wonder Park goes down in history as the rare movie where no director is credited. This would never happen in a live-action movie; therefore, we have occasions like the infamous pseudonym Alan Smithee for director's that disown their pictures. Or cases like Rogue One: A Star Wars Story, The Suicide Squad and Justice League where we're left wondering how much the director credited was responsible for what was released (as they were replaced in reshoots).

It should also be mentioned that animated movies are not covered by the Writer's Guild of America. This is why an animated feature can have seven writers credited. In the case of a live-action movie, which is covered by the WGA, only three screenwriters can get an official credit (though the Story By: credit is different and a way to get another writer's name on the big screen). This is why we had a situation like Indian Jones and the Kingdom of the Crystal Skull where the movie went through an army of different writers over several years and much of that what they wrote made it to final movie, but there is only one screenwriter officially credited.

We shouldn't blame numerous writers credited for an animated feature for its story issues, because likely that many writers were involved in most live-action movie too, but they just can't receive the credit. As always, there is much more to a movie's creative process then we see in the closing crawl.

Anyway, I forgot to mention this on the podcast, and I find this kind of stuff fascinating. It is another reminder of the crazy politics and behind the scene craziness that exists with every movie. The more I learn about movies, the more I'm fascinated so many ever end up working with so many different people being involved.

Monday, March 18, 2019

[Fixed] The Breakdown of 'Wonder Park', 'Five Feet Apart', 'Juanita', and 'Firebrand'

EDIT: We got out of the well! The sound has now been fixed and one may even say the show is near bearable now. Almost.You're still stuck with Scott and I rambling.

Monday means movies. Or at least talking about movies, as we've got another episode of The Movie Breakdown. This week we have four movie reviews, and each one has a female lead, an interesting fact that we completely failed to mention on the show. There are two theatrical releases this week including the terminal teen romance, Five Feet Apart and the animated feature about a magical theme park, Wonder Park. Then it is reviews for this week's Netflix Originals, which are the Alfre Woodard starring dramedy Juanita and the Indian drama about a female divorce lawyer, Firebrand. That isn't all the movie talk; in major news, Disney has rehired James Gunn to direct Guardians of the Galaxy Volume 3, and we reveal why this is a huge deal. As always, we had a blast recording the show even if we continue to sabotage our segues and can't nail the closing to save our lives (and for some reason, sounds like we recorded it in a cave this week). If you love the show, then we'd really appreciate you helping us out by promoting us on social media or just telling other movie fans about us.

Reminder that you can now subscribe either to The Movie Breakdown feed (a subscription link is at the top right hand of this site) or on iTunes (if you enjoy the show, please help us by giving us a five star review).

Four Star Rating:

Juanita ** (CS) & *** (SM)
Five Feet Apart **½ (CS)
Firebrand ** (CS) & *½ (SM)
Wonder Park **½ (CS)

Tuesday, March 12, 2019

Declaring the Death of the Cinematic Universe and I Hope the Cliffhanger is On Its Last Breath

Over on Hollywood Reporter, there was a piece about how cinematic universes did not end up being the magic genie in a bottle that kept granting billions of dollars for a movie series and the article predicts that the MCU concept may change drastically with Avengers: Endgame. Scott and I have frequently talked about how Marvel Studios were one of the only ones able to master the cinematic universe. They were so successful at it with huge box office hits and people hotly anticipating almost anything that comes from the studio that every other major studio wanted a piece of the action.

I think Warner Brothers and DC Comics had a shot at it working but they got impatient and jumped to Justice League way too soon. It took Marvel four years of groundwork before unleashing the massive hit that was the original Avengers. Half the heroes in Justice League had only been seen in a brief advertisement-like clip in Batman v. Superman: Dawn of Justice. It also doesn't help that the only good movie before their big team-up was Wonder Woman.

Dark Universe will go down in history as one of the funniest big studio misfires. It also is the only universe to get its own trailer and the studio had a lot of faith it would be a massive box office juggernaut. Then The Mummy flopped and now, they are rebranding their monster movies with Blumhouse and going in an entire new direction (going back to horror rather than action adventures). I also hope you screen grabbed the logo, because references to that universe are done

Remember Sony's attempts in The Amazing Spider-Man 2? A blatant attempt at creating spin-offs and sequels that did so much damage they ended up selling Spider-Man back to Marvel Studios to try to rehab things. Venom was awful but at least it shows they were more focused on a standalone movie rather than a major tie-in.

There has been a Hasbro-verse threatened for the last several years that I think was supposed to include Transformers, GI Joe, Visionaries, Micronauts and other toys from the 1980s that I barely remember. It now works better as a running joke. I am pretty sure the Paramount studios is now less confident that connecting all these movies will mean anything in the box office.

Actually, the last few years proves connecting several properties into a shared universe means nothing in the box office unless your Marvel Studios. The thing that most studios have missed is that most Marvel movies have been mostly standalone with the connection usually saved to the stinger.

It looks like most studios have figured out that audiences don't care about shared universes. Warner Brothers and DC look to mostly be focused on doing standalone movies now and given up the big Justice League dream. The attention is now on just making a really good Wonder Woman, Aquaman and Suicide Squad sequel, and doing interesting movies like Joker and Shazam! rather than putting a focus on how they all connect.

Even Marvel seems to have slowed down a bit on connecting a bigger world, and movies like Thor Ragnarok, Black Panther and Guardian of Galaxy mostly work as their own things. I do wonder if after the big pay off in Endgame, if Marvel will focus even more on the movies being standalone. I know there will be another big team up movies, so there will need to be an overarching story (and a big bad) again, but I wonder if it will be even more subtle this time.

Subtle is the best way to put together a cinematic universe anyway. The only other really successful shared universe that I can think of is from the horror series The Conjuring. I don't think this shared universe was planned from the start like most of the other ones, but rather they stumbled into it. The Conjuring turned out to be a huge summer movie hit, and the Annabelle doll at the start of the movie freaked out the audience, so they decided to make a spin-off. The Nun spin-off was more purposefully set up, but the point is that this entire movie universe felt organic rather than mandated by a studio executive. Maybe it was mandated by a studio executive after they saw all that money, but the important part, it never felt that way. This isn't to say this route has produced all hits from a quality standpoint, because I didn't enjoy the first Annabelle or The Nun, but their issues have nothing to do with forced world-building.

Making a movie feel organic is the important lesson here. As studios move away from the cinematic universe dream, they are still obsessed with creating sequels. While a few years ago, the sequel laying happened within the movie and made for incoherent narratives like Terminator: Genysis, it is now mostly saved for either the stinger or a 'To Be Continued' like finale. I am fine with the stinger approach because you can just leave the theatre without even knowing about it. The cliffhanger end is becoming a real annoyance and leaves you unsatisfied. I probably would have ended up recommending Alita: Battle Angel except the finale is such a blatant set-up to a sequel and means I spent two hours on a story that had no ending. That is frustrating and is going to start being a franchise killer. Marvel is probably the only ones that can get away with cliffhangers, because they are so big you know you'll get that follow-up movie, but even when they have done it, I feel like I got a full story and a follow-up isn't mandatory.

My hope is that what all studios have learned from the great shared universe failure is that audiences don't want teases and unfulfilled story points that force them to have to return in a year. What they want is fully told stories that have a start and an ending that are all satisfied in the movie they are watching. You can have your stingers or your teases for something more, but a movie isn't a TV series. It isn't weekly storytelling. It has been and always should be standalone that gets wrapped up in one sitting. Even Empire Strikes Back with its clear set-up for Return of the Jedi is a movie that works fine if you only watch it and none of the others. I'd argue Avengers: Infinity War has a real ending and told its whole story, even though we know there will be more to come in April.

I said it on the podcast and I'll reiterate here. Every movie that fails to have an actual ending and instead feels like a giant ad for the sequel that may never come (that is the other problem, we almost never get the conclusion since these movies don't make enough money), I will automatically deduct half a star. I realize this threat is making filmmakers, screenwriters and executives shake in their boots. I really do hope the focus returns to just making great movies, and then with that success, they can make more if there is a clear audience.

Popularity is Subjective

One of my favourite pop culture writers, Nathan Rabin recently wrote an article entitled The Generation Gap: Apparently a Thing over on his website Nathan Rabin's Happy Place. In the very well-written and insightful piece, Rabin mentions how he was shocked when listening to one of his favourite podcasts that the hosts were only vaguely familiar with Beastie Boys' sophomore album, Paul's Boutique. This was shocking to him because he always saw the album as an iconic masterpiece that is a landmark piece of pop culture. He is right, because it is, to him and many people like him. But it also is clearly a little-known album to many others. He learned that things he deems as universally popular, actually are not as significant or even known to other demographics

The idea of popularity is something that I wanted to discuss for awhile. The longer that I've written about pop culture, done a weekly movie podcast and been married to a lovely wife that has significant pop culture blindspots, I've learned that what one person feels is popular or famous is obscure to the next one. What one deems popular or famous has less to do with the actual relevance and cultural footprint of an item and more about one's own background, experience, social circle and interests. For me, significant bands from the 1990s include I Mother Earth, Smashing Pumpkins, Pearl Jam, Our Lady Peace and Nirvana, and while my wife knows the names of those bands, there is a strong chance I could play one of those bands' hits and she wouldn't know who was playing, I also realize that there is a strong chance that one of my American readers yelled out 'Who?' when they read I Mother Earth or Our Lady Peace. Popular music can also change from country to country, and the best example of that would be The Tragically Hip, probably is one of the most popular bands ever in Canada but relatively unknown almost anywhere else.

I've talked many, many, many, many times that the criticism of art is subjective, and that one person's beloved masterpiece can be another person's stinky burning trash heap. While I think many people will agree with me on that (though the internet proves daily that isn't universally accepted fact as people war over opinion), but some may not believe popularity is just as subjective. A lot of popularity has to do with how one decides to consume pop culture. There are certain groups that see personalities on YouTube to be big stars and others that can list all the contestants on The Bachelor and others that can list almost every NFL football player and others that know every movie release this year with who is starring in each. Depending if watching YouTube on the iPhone or you'd rather consume all the latest sci-fi novels, what you perceive as hot, trendy and popular is formulated by the pop culture world you construct.

Generation is a huge factor. I remember being absolutely shocked when I talked to someone who had never heard of Stephen King. He had been declared the rock star of the literary world and one of the all-time bestsellers, but this person who was at least 15 years younger than me, had never had him float into her radar. This is a person who likes to read, and there were many novels that we both liked, but King with his works leaning towards horror were never something she bothered to pay attention. For most people King is immensely popular even if you don't like him, but there are those living and breathing that get through the days barely knowing about him. The same way there can be huge fans of sci-fi novels that love modern writers like John Scalzi but be unaware of the very authors that influenced him like Isaac Asimov, Ray Bradbury and Robert A. Heinlein.

The interesting thing about popularity is that two people can enjoy the same thing, but still have a different perception of what is popular or well-known. I remember talking to a friend a few years ago who considers himself a movie buff and goes to the theatre several times a year. While he knows way more movies than my wife or my mom, I was still shocked by his blindspots. During our conversation, I was floored that he was unaware of the latest Wes Anderson movie that had just come out, which at the time was The Grand Budapest Hotel. He was equally oblivious to what was my most anticipated movie of that year in Richard Linklater's ambitious Boyhood. It floored me that one could identify as a fan of movies and somehow not even be aware of the latest works of important filmmakers like Anderson and Linklater. All this meant, was we looked and cared about movies differently. What I deemed important and the movie sites that I frequented and the things I immersed myself into was very different than my friend despite both loving cinema.

Wrestling is another great example of this. Wrestling has never been very great an honouring or remembering its history. It shouldn't be shocking to me that there are wrestling fans who have been watching as long as I have been (1987) but barely know wrestling icons like Pedro Morales and Bruno Sammartino. I think, most long-time wrestling fans who are at least over 30 years old are aware that both were wrestlers and were important but may not know their significance.

Sammartino is one of the biggest draws in WWE history (then WWWF and later WWF) and in the 1960s and 1970s carried the company on his back to make it one of the biggest wrestling promotions around. He had two WWF World Title reigns and they were over 11 years combined (no one else comes close to that combine length of a World title reign). He is the biggest star in WWF history comparable to Hulk Hogan and Stone Cold Steve Austin (even if he probably doesn't get that recognition due to it being decades ago).

Morales may even have less recognition today despite being a huge draw as WWF World Champion in the 1970s with a two-year reign that saw him a hero among Puerto Rican wrestling fans. He also was the first man to achieve the triple crown, which means he was the first to win the WWF World championship, WWF Intercontinental championship and WWF World Tag Team championship. He won those belts during a time that titles didn't change hands often and only a few people on the roster would actually win titles. These are indisputable WWF legends, but I can think of several wrestling fans that wouldn't mention them if they were told to list the ten most popular and important WWF wrestlers of all-time.

As a man who writes and talks about movies, I've also got a kick out of click-baity websites that try to compose lists of stuff like 'The 20 Best 2018 Movies You've Never Heard About' or '10 Great Obscure Horror Movies' and often being able to not only recognize most of the movies but have already seen them. I also get the strategy is to draw attention with titles like that but when writing a piece for movie fans, it can be a bit presumptuous that you can create a list of several movies that can be considered unknown to fans who spend time reading sites devoted to movies. My experience is that often the same movies keep on ending up on 'unknown lists' with a frequency that makes me question how unknown they really can be (Game Night made almost every underrated list that I saw last year so I question if it is underrated).

This is why when my co-host of The Movie Breakdown, Scott bemoans a star not being more recognizable or how a specific movie is unknown, that I largely stay quiet. Often those movies or stars are talked about frequently on social media and websites by other movie fans and writers. They likely aren't as well-known amongst the people he talks to on a daily basis. Since our podcast should largely be targeted towards movie fans, I assume the apparent obscure actor or movie could be one of a listener's favourites. At the same time, stuff I talk about as if it is common knowledge may be something a listener has little idea what I am talking about. Every listener and reader have different experiences and perspective, which in turn means different idea of what is popular or unknown.

All popular really means is that within your social circle this thing is frequently talked about. The people you know are aware and excited about this person or work of art. I confess as a person who writes about and watches a lot of movies, there are pictures or stars that I think are bigger deals and more well-known than the reality.

My experience is that we shouldn't assume anything. I shouldn't assume that a reader or listener hasn't ever heard about Dead Man's Shoes just like I shouldn't assume every listener or reader has seen Star Wars: The Last Jedi. What this means as a writer or podcaster is that I shouldn't insult intelligence by detailing every movie reference, because a listener or reader may know as much or more than me. I should also be careful in things like spoilers or using references that I assume everyone will get. Though personally I think it is always better to assume my audience knows more than I think, because there is a reason Google exists and it is always better to not slow down an article or conversation with over-explaining.

Since popularity is all subjective and about social circles, maybe somewhere there are two people that I think I'm more famous that Roger Ebert and JK Rowling combined. If only that then meant I can objectively make half as much money as them.

Monday, March 11, 2019

The Breakdown of 'Captain Marvel', 'The Boy Who Harnessed the Wind', 'Paris is Us' and Remembering Luke Perry

It is another huge episode of The Movie Breakdown. We have a review for one of the biggest movie events of the year and one that has been hotly anticipated for a long time with the latest MCU picture, Captain Marvel. We also have a Netflix movie that did the festival circuit and is the directorial debut of the talented Chiwetel Ejiofor with a based on true story feel-good drama called The Boy Who Harnessed the Wind. Do you feel like it is time for us to review another foreign arthouse drama? Well, we will with the French picture, Paris is Us.

We also pay tribute to a man who was a huge '90s star in Luke Perry. We also discuss two topics that we've looked at in the past but have once again started making headlines. We discuss if Netflix Originals should be able to be nominated for Oscars. Then we look at the toxic side of movie fandom and explore the dangers of too much 'loyalty'. It is almost 90 minutes of movie talk and we had a blast recording it. We really hope you love it, and if you do, please spread the word about us on social media to other movie fans.

Reminder that you can now subscribe either to The Movie Breakdown feed (a subscription link is at the top right hand of this site) or on iTunes (if you enjoy the show, please help us by giving us a five star review).

Four Star Rating:

Captain Marvel *** (CS)
The Boy Who Harnessed the Wind *** (CS & SM)
Paris is Us *½ (CS) & * (SM)

Sunday, March 10, 2019

Time to Get the Blog Back on Track to be the Best

I keep promising daily articles. I keep promising written reviews. I keep promising pieces that deliver my quick responses on major pop culture events. I keep promising a window into the life of being a father to busy little Spicers. I keep promising this is the place you need to be every day for bubbling, writery goodness. Yet I keep breaking that promise?

The reason?

I never backed up those promises with a theme song.

For those who have been long-time listeners of The Movie Breakdown, you know that I love The Karate Kid. It was right up there with Star Wars and Indiana Jones as a childhood cinematic influencer. There is a lot of reasons to love the movie, but I think it may have one of the best 1980s music montages around. And the 1980s knew how to do the music montage.

I dare you to try to avoid getting pumped while listening to Joe Esposito rock out 'You're the Best' as Daniel LaRusso makes his way through the tournament until the eventual big showdown with Johnny Lawrence. Yes, my dear reader, this is truly the only way to relaunch a blog properly.

Thursday, March 07, 2019

Looking Back at February 2019 Theatrical Release: The Year Keeps on Being Okay

Image result for how to train your dragon: the hidden world

Hey look! We are already in the third month of 2019, which means February is in the history. This past month did not end up being the army of articles and reviews that I had hope, dreamed and yearned for it to be. It wasn't due to lack of ideas or news to pontificate about, but rather the old standby reasons that I've already bored millions with in the past. I've never struggled with finding topics to discuss, and I have every intention to nail 365 posts/articles this year, so I will catch up on discussing many things that I've left withering away in the corner.

Speaking of catch-up. February had movies. Most of them can at least earn the title of 'decent.'. I'd say 2019 remains a movie year that hasn't blown me away but has provided a fine time at the ol' picture show auditorium. I've already shared my written thoughts on the February releases in Lego Movie 2: The Second Part, Cold Pursuit and The Prodigy. I'd say the second half kept the month solid but didn't end up feeling as strong as February last year..

There was one great movie and the easy best of the year so far (I know, two months out of twelve -- probably not time to hand out the trophy) with the terrific trilogy capper called How to Train Your Dragon: The Hidden World. It was a great conclusion to a gripping story that crafted characters I truly cared about, and now puts it as a great trilogy alongside classics like GodfatherToy Story, Before series, Captain America, original Star Wars, Planet of the Apes and Lord of the Rings. I'd say that it was not quite as strong as the previous two movies, but it still has breathtaking animation, some of the best big movie action sequences, emotional moments that hit hard and a willingness to tackle deeper themes that most other family animated movies avoid. This one may be a little more predictable than the others, but I was still hooked with the touching relationship between Hiccup and Toothless, which is the heart of the series. This is also one that I plan to revisit before year end. because I feel that I'll love it more on a revisit, especially if I see it with my kids. I'd like to review the trilogy at some point this year (which now puts it as the 3 billionth movie series I've promised to review in 2019).

Happy Death Day 2U follows the pattern of most of the sequels from this year by not being as good as the previous but still delivering an entertaining story. This one earns points for not just being a redo of the original and is more of a sci-fi comedy rather than the horror comedy of the first. Though that also ends up being one of the small negatives, as the killer gets forgotten for a huge chunk of the story and feels tacked on at the end. It really has some strong heartfelt moments and I liked Tree's inner battle over if she chooses the dimension where she is with her boyfriend or the new one where her mom is alive, and the conclusion that that is satisfying. Plus, Jessica Rothe is once again amazing and holds the whole movie together with her energy and layered performance. She is bound to be a big star.

I ended up a little disappointed in Alita: Battle Angel, even though it has stunning special effects, some amazing action sequences and a great lead performance by the CGIed Rosa Salazar. It was infectious when she demonstrated her child-like wonder of this new to her world, but she also was just as believable as a kick-ass killing machine. She also had a great daughter and father like chemistry with Christoph Waltz and it was one of the sweeter elements of the picture. Unfortunately, every other character was underwritten, motivations were a mess, lots of things were left unexplained, and it had an awful ending that was pure set-up for the sequels that will never come. For the most part, I was having fun despite the clunky narrative, and if they stuck the landing (gave us a stand-alone story) then I'd probably have given it my full recommendation (three stars opposed to the more on the fence two and a half).

On the podcast, both Scott and I discussed how it was interesting how a genre being gone for a long time can be enough for you to really get excited about it again. In 2005, both of us would have been happy to see the romantic comedy die with all the generic and intelligent insulting tripe that was stinking up the cinemas. But now that romantic comedies have been almost completely absent for the last several years, we have had excitement with their renaissance with movies like Set It Up, Crazy Rich Asians, Love, Simon and now Isn't It Romantic. I really love the high concept of a hater of romantic comedies now finding her self stuck in one and the movie has lots of fun playing with all the genre's tropes. Rebel Wilson is an amazing comic lead who plays off everyone great and makes you care about her fate. Even Adam DeVine does well, which is nice to say after his previous movies made me want to boycott all his stuff. This is a feel-good picture that doesn't really break any new ground but leaves with you with a giant smile on your face.

Feel-good is the best way to describe the Stephen Merchant directed wrestling biopic, Fighting with My Family. It is about former WWE wrestler Paige who came from a poor, wrestling obsessed family and ended up making it to the WWE. On the podcast, I mentioned the silliness of non-wrestling fan movie critics assuming if you liked wrestling that you'd love this movie. Maybe some wrestling fans really dug this. But as a fan, my big struggle was knowing how many things were inaccurate or altered to not really improve the story but make it a more generic and formulaic underdog sports story. The writing is very funny, and Florence Pugh is incredible in the lead and really creates a fully, fleshed out and relatable character. I enjoyed huge portions of this movie, but it ended up just feeling like something I've seen a thousand time before but this time with wrestling. I think most will have a decent time, but I couldn't fully endorse it.

While the first two months were okay, March looks to be delivering some heavy hitters and movies I have every intention of loving. The big guns are the first female led MCU movie in Captain Marvel and Jordan Peele's second feature movie in the creepy looking horror about doppelgangers in Us. I also intend to have reviews for theatrical releases Wonder Park, Five Feet Apart and Dumbo. There are also some Netflix movies that I'm really pumped to see and plan to write reviews including J.C. Chandor's latest picture in the thriller, Triple Frontier, Motley Crew biopic Dirt, and the Kevin Costner and Woody Harrelson starring The Highwaymen.

Do you want my deeper thoughts on February movies including the Netflix originals? Here are the episodes of The Movie Breakdown from last month.

The Breakdown of The Lego Movie 2: The Second Part, \Velvet Buzzsaw, Cold Pursuit, Green Book and Polar

The Breakdown of High Flying Bird, The Favourite, Soni, The Prodigy and Animas

The Breakdown of How to Train Your Dragon: The Hidden World, Alita: Battle Angel, Isn't It Romantic, Happy Death Day 2U, The Breaker Upperers, Dear Ex and the 2019 Academy Awards

The Breakdown of Fighting with My Family, Paddleton, The Drug King, The Tree of Blood and Yucatan

Tuesday, March 05, 2019

Now It Is Time to Brag About My Incredibly Talented Wife: Showing Off Danika's Birthday Cake

For those actively following the blog, you know the hot news that Danika has turned four. For those who know tradition, you may have guessed we celebrated the occasion with a birthday party. It isn't a proper celebration of age turning without a cake. And my lovely wife, Emily, has proven to be a master of cake creating the last several years. To the point, the first thing the kids do when they know their birthday approaching is not asking for a gift but rather put an order in for the theme of the cake. Danika requested a Frozen cake, and I'd say Emily proved once again why she is one of the most talented people that I know. More importantly, it made one little girl very thrilled.