686-690

Chapter 686: Two Approaches

Praise, and more praise.

With endorsements from two authoritative media outlets, the "Los Angeles Times" and "Sight and Sound," the media reputation of Catch Me If You Can was cemented. But is that all there is?

Another round of stellar reviews?

Clearly not.

There is a natural tension between film critics and genre films. Critics often hope for films to push artistic boundaries beyond mere entertainment, while genre films aim to cater to popular tastes, often setting the two on opposite paths.

For a genre film to win unanimous praise from critics is no small feat.

Catch Me If You Can faces the same challenge.

"Rolling Stone" rated it 50 out of 100, saying, “Without a doubt, the film starts strong, but the 140-minute runtime weighs it down. As the film progresses, it becomes clumsier, ultimately revealing a shallow emotional core. Maybe Anson Wood is the only highlight, keeping the 140 minutes from feeling unbearable with what becomes a fashion show of pure Anson Wood charisma.”

"Village Voice" gave it 60, commenting, "It's well-made and worth watching, but unfortunately, it lacks that extra something—something with a bit more personality, a bit more jazz spirit."

"USA Today" also rated it 60, stating, “I don’t mind watching a two-hour fashion show of Anson Wood because this young man is certainly easy on the eyes. But at the end of the day, it’s just another father-son story: Hey, Steven, we’ve seen this one before.”

"The Baltimore Sun" also gave it 60: "Spielberg tries to evoke the retro-modern vibe of the '60s and '70s. It's more than just a biopic of a criminal; it's a nostalgic look at an era. But the film lacks a certain flair and attitude. Anson Wood is handsome and charming, but he's too modern to capture the '60s vibe. However, his performance is the film’s saving grace, preventing it from descending into a trashy soap opera, and even makes Tom Hanks seem clumsy in comparison. So, I’m not sure.”

The criticism is direct and sharp, just as strong as the praise.

But that's all there is.

In terms of the reviews, the critiques mostly focus on that elusive “chemistry,” an intangible quality. There’s no harsh criticism of the film itself. Moreover, there are only four such reviews—all of them lukewarm. That’s it.

No negative reviews.

Following Spider-Man, this is another genre film starring Anson Wood that manages to escape harsh critique. Despite some criticisms, no scathing reviews have surfaced.

In the first batch of media reviews for Catch Me If You Can, there were four mixed reviews but no negative ones. Even after scouring through the critiques, no more severe criticisms were found.

This hints at the overall reception of the film from the media—

Positive. Positive. And more positive.

A sense of disbelief lingered.

Even though many had anticipated this outcome, when the wave of glowing reviews actually hit, people couldn’t help but gape, astonished by the unanimous praise.

Anson Wood has once again brought forth a work that wins over critics!

The Chicago Sun-Times review, penned by legendary film critic Roger Ebert, reads:

"This isn’t the Spielberg blockbuster we might have expected, but it’s surprisingly worth watching.

Clearly, this is Spielberg relaxing between major projects. The film feels light and simple, its story isn’t complicated, and Spielberg handles it with ease, never needing to exert full effort. Everything flows smoothly.

The real charm lies in Anson Wood.

Humor. Suave. Handsome. Vulnerable. Lonely. Lost.

Audiences will find all the elements to fall in love with in this young man and will truly believe this is a story of redemption. Compared to Peter Parker's heavier journey, young Frank Abagnale’s desperate search for family and his father feels more personal but just as convincing.

Undoubtedly, Anson Wood takes a significant step forward in his acting career. Even alongside actors like Tom Hanks and Christopher Walken, he holds your attention."

Ebert gave it 80 out of 100.

He wasn’t wild about the film, keeping his review simple and restrained, acknowledging Spielberg’s talent. Ebert recognized that for Spielberg, this film was too easy to warrant much fuss. Instead, it was Anson’s unexpected performance that gave Ebert cause for celebration.

In conclusion, Ebert's verdict: 80.

Perhaps for a regular director, Catch Me If You Can would be a notable success, but for an exceptional filmmaker, this is just par for the course.

Ebert, a Pulitzer Prize-winning critic, remained calm, offering praise without exaggeration. Meanwhile, other authoritative critics took a slightly different approach.

Cahiers du Cinéma.

Founded in 1951 by film theorist André Bazin in Paris, this magazine became a strong advocate of the "auteur theory," believing that directors are the true authors of their films, the core and soul of the work. The magazine played a significant role in the French New Wave.

Within just half a century, Cahiers du Cinéma had a profound influence on French and European cinema, giving birth to a term: "Cahiers school."

The magazine stands out for its annual "Top Ten Films of the Year" list. Unlike other lists, they staunchly defend their tastes and aesthetic, refusing to follow trends. Over time, they built a unique standard of taste and gained significant global authority.

Some might think that Cahiers du Cinéma only favors avant-garde or experimental films, but that’s not true. They’ve always appreciated genre films. The magazine’s criteria for their top ten isn’t based on subject, genre, commercial appeal, or entertainment value—

Excellence is the sole criterion.

Over time, a group of directors known as "Cahiers filmmakers" emerged in the global cinema landscape. They might not win Oscars or conquer the top European film festivals, but thanks to the magazine’s influence, their films could still reach art house audiences and gain entry into major film festivals.

Undoubtedly, Cahiers du Cinéma holds an unparalleled status.

When it comes to Steven Spielberg, the magazine has had a mixed stance. While they weren’t fond of works like Schindler’s List or Saving Private Ryan, they praised Jurassic Park.

This time, unlike Roger Ebert, Cahiers du Cinéma loved Catch Me If You Can. In fact, they were nearly ecstatic about it.

“A Masterpiece of the Year!”

True to form, Cahiers du Cinéma editors were unrestrained in their praise for films they adored. They passionately championed the film, urging all moviegoers to flood theaters and support it.

Chapter 687: A Standard Ending

To this day, none of Steven Spielberg’s works have ever been featured on the "Cahiers du Cinéma" top ten films of the year list. No matter how much other media praise or elevate his work, this French magazine remains unwavering in its own stance, so much so that Spielberg, a director of unparalleled status in America, has never received its recognition.

What comes as a bit of a surprise is that "Cahiers du Cinéma" has taken a different view on his latest film, Catch Me If You Can, showering it with praise and elevating it to new heights.

“Fluid, lively, humorous. In a story brimming with dramatic tension, the camera is always focused on the characters’ psychological states—the lies, the tug of war, the hesitations. Whether the characters are basking in success or wallowing in sorrow, their mental state is always at the forefront. The film opens a small window into the culture and psyche of the 1970s.”

“Fashion, trends, fragmentation, unease—those born during the Great Depression are becoming the silent generation, gradually fading into obscurity after enduring confusion and upheaval. Yet, young Frank Abagnale bursts onto the scene as an anomaly, making himself heard in a way that defies the silence.”

As Carl Hanratty, the character in the film, remarks toward the end:

“Sometimes, lying is easier.”

Unlike other media outlets, Cahiers du Cinéma approaches films from unique angles—cinematic, cultural, psychological, and artistic. They are uninterested in actors' performances, focusing solely on the director’s vision.

The magazine declared that Catch Me If You Can is undoubtedly one of the must-see films of the year, offering a slightly different perspective from Roger Ebert.

They believed Spielberg abandoned his usual ambitions and desires for blockbusters, setting aside the need for grand themes and large-scale productions. Instead, he approached this film with a lighter touch, crafting a work that perfectly captures his keen awareness of the era.

This “small film,” they claim, is where Spielberg’s directorial prowess truly shines—effortless and graceful.

The praise!

Though praise from different sources may sound similar, there is a marked difference in how Roger Ebert and Cahiers du Cinéma perceive the film.

However, Cahiers du Cinéma's reviews aren't included in aggregate review scores.

It’s not that the magazine isn’t reputable enough; it’s just that they often delay their evaluations of new releases, or even refuse to review them, leaving media aggregators no choice but to omit their opinions.

For this reason, Cahiers du Cinéma publishing a review on Christmas Day, no less, was remarkable—evidently not due to any special connection between the film and France, but simply because the magazine wanted to highlight its admiration for the movie.

That one small opening provided a glimpse into the immense impact Catch Me If You Can was generating.

So, when glowing reviews filled every corner of the internet, it no longer came as a surprise.

Out of the first batch of reviews, there were only four mixed reviews, while the rest were overwhelmingly positive.

The New York Times gave it 90/100, praising its "superb entertainment value" and describing the viewing experience as "comfortable."

Time magazine also rated it 90/100:

“It has everything you want from a holiday movie: joy, humor, lightheartedness, warmth, and emotion—a well-crafted, feel-good Hollywood genre film. And of course, it has Anson Wood—seriously, who could resist Anson Wood?”

The Hollywood Reporter gave it another 90/100:

“Despite being over two hours long, trust me, you won’t notice the time passing. Like Mary Poppins’ magic, with just a snap of the fingers, you’ll enjoy a smooth, delightful experience. It could even ease family disputes during Christmas.”

Variety offered 89/100, calling it “charming, light, humorous, and warm,” and noted it as “Spielberg’s most entertaining film in years.”

The New Yorker rated it 85/100, describing the movie as “a light and effortless dessert that will leave you savoring its flavor for days.”

Vanity Fair gave it 83/100, saying:

“It’s a feel-good film that leaves you dancing, but it runs a bit too long, missing the perfect moment to cross the finish line. Fortunately, Anson Wood’s irresistible charm makes up for it, keeping audiences happy in their seats.”

The reviews were resoundingly positive.

From major media outlets to gossip magazines, there was a unified sentiment:

While Catch Me If You Can may not be the kind of 100-point masterpiece that shakes you to your core, no one should pass up this delightful, lighthearted film.

Time magazine emphasized that DreamWorks' decision to release the film just before Christmas wasn’t only because of its connection to key plot points, but also because it believed Catch Me If You Can was the most fitting holiday movie in the past five years, perfectly complementing the festive atmosphere.

Thus, most media ratings clustered in the 70-80 range, reflecting the film’s easy-going and joyful vibe.

Los Angeles Weekly was one of the few to stand out with a more modest score, giving the film 80/100. Though their review wasn’t particularly different from others, it sparked a wide discussion in Hollywood and among film fans.

“Anson Wood is a handsome man.

Some agree, others disagree. Although those in favor certainly have the overwhelming advantage, personal aesthetics are subjective. Some prefer beards, others like a bit of a belly, and still others are drawn to wild energy. Not everyone loves Anson Wood.

However, in Catch Me If You Can, no one can deny his charm—not his looks, but his presence.

It’s a blend of innocence and maturity, sunshine and vulnerability, cheerfulness and cunning.

In his previous works, Anson Wood often downplayed his physical appeal, trying to blend into his roles without disrupting the story’s balance. But this time, Spielberg shines the spotlight on him, allowing and even encouraging him to showcase his full range of charm.

This is the first time audiences have seen so many different facets of Anson. Without a doubt, he evokes memories of classic male actors from Hollywood’s golden era—actors who not only had good looks but also radiated charm, backed by solid professional skills that made the big screen come alive.

So.

If you’re going to see Catch Me If You Can for Anson Wood, that’s a solid choice.

And if you want three reasons to see it in theaters, let me think carefully—

Anson Wood. Anson Wood. Anson Wood.”

This review, in stark contrast to Cahiers du Cinéma, focused entirely on the actor—specifically Anson Wood, putting the spotlight squarely on him.

After Spider-Man, Anson has once again become a hot topic in Hollywood, and this time he’s reached new heights.

Then, all of Hollywood began buzzing with excitement.

Suddenly, everyone was talking about Anson, and the frenzy following Titanic's release seemed to be happening all over again.

Praise. Frenzy. Heat.

The scene Warner Bros. had long been waiting for had finally arrived. Yet it didn’t belong to Harry Potter or The Lord of the Rings—it belonged to Anson.

From summer all the way into the holiday season, Anson has become the brightest rising star in Hollywood for 2002.

So, is this an unexpected surprise, or simply the standard ending?

*Chapter 688: A Comeback Story*

As the summer blockbuster season ends, the fall and holiday releases take over, and the movie market remains as busy as ever.

However, both Harry Potter and the Chamber of Secrets and The Lord of the Rings: The Two Towers failed to meet expectations.

They weren’t outright failures, but audiences had hoped these films would explode at the box office just like Spider-Man. When they didn’t, disappointment was inevitable.

Thus, a question arose: Could Anson continue the box office miracle of Spider-Man?

Or was Spider-Man's success solely due to the appeal of the superhero genre, having little to do with Anson as an actor? Could it be that, like Leonardo DiCaprio's films, Anson wouldn’t stand out beyond his iconic role as Peter Parker?

Now, the answer was starting to take shape.

Whether audiences were buying tickets or not was still up for debate, but at least the film critics and media were captivated by Catch Me If You Can.

“If I had to list three reasons to go see Catch Me If You Can, let me think... Anson Wood. Anson Wood. Anson Wood.”

No one, not even LA Weekly itself, expected that this simple statement would take off, becoming the talk of the town.

For one, Anson was already a focal point. But saying something like this when both Steven Spielberg and Tom Hanks were involved? It was audacious.

The buzz spread like wildfire.

There was also a third reason for the buzz: critical reviews.

When Catch Me If You Can premiered, forty major media outlets immediately gave it scores. Compared to the summer blockbusters, it wasn’t as hot, but in the holiday market, its buzz was nearly on par with Harry Potter and The Lord of the Rings.

Let’s compare:

Harry Potter and the Chamber of Secrets faced a barrage of criticism, ending up with a disappointing score of 63, which wasn’t a good sign.

The Lord of the Rings: The Two Towers, on the other hand, was praised across the board, receiving a solid 87, making it one of the best-reviewed films of the year.

Yet, despite both praise and criticism, neither movie lived up to its box office expectations. This showed that in 2002, without the overwhelming presence of the internet, media reviews had a limited impact on whether the general public decided to buy tickets.

Still, good reviews are better than bad ones, as they could affect long-term box office performance. Plus, cast members appreciated the accolades.

So, how did Catch Me If You Can fare?

It scored an impressive 83.

A pleasant surprise!

The film garnered widespread acclaim.

For Anson, this was undoubtedly great news.

Following Spider-Man, this was his second consecutive film to receive critical praise, proving that his summer breakout wasn’t just a fluke—at least not this year.

In fact, it was even more than that. With the help of Spielberg and Hanks, Anson’s career took another step forward.

Edgar, Anson’s manager, breathed a long sigh of relief.

Media reviews were even more important than box office numbers because they showed that Anson wasn’t just seen as a pretty face, but a serious actor.

Not only was he not pigeonholed, but he managed to impress even the most critical of film reviewers.

If Catch Me If You Can performed well at the box office, all the better. But even if it didn’t, Edgar wasn’t worried. At the very least, Anson had cemented his place in the media’s good graces, dispelling any notion that his sudden rise to fame was just a bubble waiting to burst.

It was a reason to celebrate.

To be honest, even Edgar hadn’t anticipated such rave reviews for the film, nor had he expected Anson to become the focal point of the entire movie.

Immediately, Edgar contacted Anson’s publicist, Eve, to take advantage of the situation.

Now that momentum was in their favor, they couldn’t let it go to waste!

For Spielberg, though, there wasn’t much to celebrate. His other film, Minority Report, had also earned decent reviews, scoring 78. It was still within acceptable range and on par with Catch Me If You Can, but Minority Report’s box office performance had been far below expectations.

Media outlets had their own take:

"A strong comeback!"

"Proving himself once again."

"He’s pulled off a stunning comeback."

Their statements suggested that Minority Report was seen as a failure, with the media framing it as Spielberg's redemption.

Of course, they had their reasons.

While Minority Report had a solid score, it was a deeper, more philosophical sci-fi film. In some ways, the score reflected its lack of broader appeal.

Catch Me If You Can, by contrast, was a simple, heartwarming story—a classic holiday film. Its success came from striking a balance between entertainment and artistry.

So, even though their scores were similar, the media treated the two films very differently.

The media’s reaction to Catch Me If You Can was overwhelming. Headlines like “A must-see!” and “The best Christmas movie of the year” spread everywhere, creating a buzz that was hard to ignore.

And the effect was immediate.

Sure, 83 might not seem extraordinary for an art-house or Oscar contender, but for a popcorn movie, it was enough to label it a “must-see,” instantly catching the public’s attention.

By the next day, Christmas, Catch Me If You Can was the talk of the town.

“Anson’s done it again. It’s a hit!”

“I can’t wait to see what kind of magic Anson and Spielberg create together.”

“Hey, did you hear? Tom Hanks had nothing but praise for Anson.”

One rumor after another spread through the streets. Whether people were interested in the movie or not, Catch Me If You Can became the central topic of every conversation.

Some even compared Catch Me If You Can to the classic holiday film Home Alone, calling it the best Christmas movie in a decade.

Families couldn’t wait to see it.

Elaine Cole sat quietly in her seat at the cinema, even as the movie ended and the credits rolled. She was so moved that she couldn’t bring herself to leave.

The ending of Catch Me If You Can wasn’t overly emotional or the typical heartwarming family reunion you’d expect from a holiday movie. It was just Frank and Carl working together in an office.

But for Elaine, this simple scene made her eyes well up with tears.

To her, this was the perfect ending.

As the lights came up in the theater, a figure appeared in front of the screen.

“Hey, Merry Christmas.”

The entire audience froze in place.

*Chapter 689: Christmas Gift*

Elaine Cole, a girl who had unexpectedly met Gloria Preston at the premiere of The Princess Diaries and encountered Anson for the first time.

Though about to enter college, Elaine still held onto her princess dreams. She knew that, to many people, it seemed like a naive, childish, even foolish hobby. But she disagreed. To believe in fairy tales was to believe in the good, to trust that in a harsh and cold reality, hope and dreams still existed. Not because she was waiting for a prince on a white horse to save her, but because she believed that happiness and perfection were still possible in the real world.

That said, Elaine wasn’t much of a movie enthusiast. She had gone to The Princess Diaries premiere simply because it was the first live-action princess movie in years. So, Elaine hadn’t watched Spider-Man.

Of course, she knew about the movie—everyone was talking about it.

However, being uninterested meant she stayed uninterested.

Until today.

She had only planned to pick a Christmas movie to rekindle some happiness but ended up seeing Anson again and experiencing the most unforgettable matinee ever.

Though it was an early showing, the theater was more than 70% full. While not comparable to the summer blockbusters, this turnout was impressive for Christmas Day.

Together, the audience went on an adventure, a journey, an emotional rollercoaster, laughing and crying as if they were a group of uncontrolled lunatics.

Elaine loved these moments, warming her heart completely.

As the credits started rolling up, Elaine remained seated, soaking in the waves of emotions. Yet, some audience members couldn’t wait. Even before the lights came up, a few were already standing, ready to leave.

Reluctantly, the theater staff turned the lights on early.

Sigh.

Elaine felt a bit disappointed.

She had heard that European theaters often keep the lights off until the credits are over, out of respect for the crew whose names are scrolling on screen. Even though they don’t appear on the big screen, watching the credits till the end was a way to honor them.

Unfortunately, people in America were too impatient for that.

With the lights now on, the emotional immersion was abruptly interrupted, and Elaine felt gravity pulling her back into reality.

The only thing to be grateful for was the sense of excitement and joy that still lingered in the scattered conversations. The relaxed, happy expressions on people’s faces made it clear—they liked the movie.

With a sigh of relief, Elaine prepared to stand up when suddenly, a figure appeared on the big screen. Calmly, without causing a stir, the person held a microphone and quietly stepped onto the stage.

“Hey, Merry Christmas.”

The voice echoed through the speakers, catching everyone's attention. Conversations halted, and heads turned reflexively. People stopped in their tracks, causing a bottleneck at the exit. A few muttered protests could be heard but quickly faded as more turned to see the front.

Then, one by one, everyone froze in shock.

What...what’s going on?

Elaine’s hands flew to her mouth, her ears roaring as if caught in a free fall, the wind rushing in, leaving her dizzy. Her heart seemed to float outside her chest, suspended in midair. She couldn’t process what she was seeing.

It was—

“I happened to be nearby, so I thought I’d stop by to see if you all enjoyed the movie.”

“Oh, sorry, I forgot to introduce myself. I’m Anson Wood. It’s great to meet you all here at the theater.”

Ah.

Screams erupted, breaking free from all restraints, bursting with energy and disbelief.

Anson—the same Anson they had just seen on the big screen—had broken the fourth wall and appeared in real life. It was like a scene straight out of The Purple Rose of Cairo. Now they understood what that felt like.

Aaaaaah!

Brains short-circuited, turning each person into a screaming machine. The small theater was suddenly hit by a tidal wave of sound.

In no time, security guards rushed in from the sides, surrounding the stage and forming a human barrier between the crowd and Anson.

However, the scene was slightly awkward. No one dared rush forward—everyone was too shocked, too overwhelmed to react. You could see people collapsing to their knees, leaning against the walls, too stunned to move. Others covered their mouths, looking around for confirmation that they weren’t dreaming. But no one took a step forward.

Elaine was no different.

Frozen, standing still as if playing a game of "Red Light, Green Light," her eyes and mind were entirely focused on him.

He was dressed in a private school uniform—a blazer, shirt, sweater, cardigan, and tie, complete with a crest on his chest. It wasn’t the same as what he had worn at last night’s premiere, nor was it the uniform from the movie. It looked more like a traditional Cambridge University uniform, slightly formal yet exuding a scholarly elegance.

One look, and he had everyone’s attention.

He was like little Frank, but also like Anson.

Everything was an unexpected surprise.

Elaine hadn’t anticipated Anson’s appearance, much less such an entrance. Her brain and heart seemed to stop working altogether.

Was this...was this a dream?

So what was she supposed to do?

Before her mind could come up with a plan—

Ah!

A scream escaped her lips, bursting out with energy before she even realized it. Elaine didn’t know why, but somehow it felt right, like this was the only way to express all the tangled emotions. The more she screamed, the more real it felt, the louder she shouted, the more immediate it became.

Aaaaaah!

With every shout, her mood lifted. Tears, which had been brimming in her eyes, finally spilled over.

She thought she must seem crazy, but the strangest thing was, she didn’t mind.

Not only didn’t she mind—she loved it.

Elaine guessed that she might be falling for Anson, just like she still believed in princesses, dreams, and fairy tales.

Her smile bloomed, as she shouted at the top of her lungs, with all her might.

The entire theater was shaking with the sound.

In the theater next door, the tremors were starting to be felt—

Normally, the soundproofing was so good that you couldn’t hear anything from the other theater. At first, the audience watching different movies—whether Harry Potter or The Lord of the Rings—didn’t think much of it.

After all, in these movies, there were big action scenes, and a bit of rumbling was normal—it felt like 4D.

But as the noise continued to grow, some audience members began to notice something unusual. Their movements became hesitant.

Wait, is this an earthquake?

Hold on, isn’t Los Angeles on the Pacific Ring of Fire? This shaking is pretty intense—should they be running out of the theater instead of watching a movie?

Hey!

*Chapter 690: Killing Multiple Birds with One Stone*

"So, how did you do on your finals?"

"Have you decided which college to go to? What about your major?"

"Whatever you do, don't go to Stanford. Let me tell you, only people who aren't that great choose Stanford. That's an Ivy League secret. I wouldn't tell you if you weren't special."

"College is all about joining a sorority or fraternity."

"Haha, back when I was in college..."

Blah, blah, blah, the noise never stopped.

Gloria Preston had to use all her strength to resist rolling her eyes. She thought surviving Thanksgiving was the end of it, but here she was at Christmas, trapped again. The muscles in her face, forced into a permanent smile, were about to give out.

Excuse me, but isn’t Christmas supposed to be over after you open the presents? So why are they still here?

And it wasn’t just one or two people—every single "experienced adult" felt the need to give her advice and wax nostalgic about their glorious college days, as if everyone didn’t already know their lives had gone downhill since then.

Isn't there a saying?

Happy people look to the future, while unhappy people dwell on the past.

The only thing keeping Gloria calm and stopping her from flipping the table was the fact that after this ordeal, she was finally going to the theater to watch Catch Me If You Can.

Oh, God. Jesus Christ. Holy Mary.

She had waited so, so long for this. She had watched all three trailers at least thirty times. Anson was just that dreamy.

Gloria didn’t know what it was.

Normally, her crushes on handsome guys never lasted more than three months. But there was something different about Anson.

Maybe it was the unforgettable experience of meeting him on the set of Friends, or maybe it was the fact that every time Anson appeared, he brought a fresh new vibe.

Gloria didn’t know, and she didn’t care. All she knew was that she was still into Anson.

Catch Me If You Can was her biggest holiday anticipation this year. The only thing on her mind was seeing Anson’s gorgeous face on the big screen, even if the movie was terrible—it didn’t matter, as long as Anson was in it.

Having to spend Christmas at her grandmother’s house in Phoenix and missing the movie’s premiere was a total disaster. But if she could see Anson on the big screen today, maybe life wouldn’t seem so bad.

Even standing in the mud, you can still look up at the stars.

Ding, ding, ding.

The phone rang, and Gloria seized the chance to escape the bragging and posturing in front of her. She quickly picked up, and to her surprise, it was Elaine on the other end.

Besides feeling a wave of envy, Gloria didn’t know how else to describe her emotions. Elaine had already seen Catch Me If You Can in LA—that was the best Christmas gift ever...

Wait.

"What!"

Gloria couldn't control herself anymore. She let out a piercing scream.

"Ahh, ahhhhhh."

"Ahhhh, ahhhhhh."

Jumping up and down.

Even though it was all screaming, there was so much hidden in her voice.

She couldn’t believe it. Anson had shown up at the movie theater randomly, and Elaine had run into him.

And Elaine said Anson hinted that this wasn’t the only surprise appearance.

How was she supposed to stay calm?

"Ahhhhh!" Gloria was losing it.

She hung up the phone without even noticing the stunned faces of everyone in the room. She dashed out, leaving the house in a state of shock. But she wasn’t thinking about any of that anymore.

"Mom."

"Mom!"

"Mooooom..."

Running and yelling like a freight train, Gloria barreled through the house.

Finally, she found Mrs. Preston chatting with some relatives in the backyard. Gloria didn't care about manners. She hurriedly pulled her mom aside and whispered, almost out of breath.

"Mom, I need to go to the theater right now. I have to see Catch Me If You Can."

She barely caught her breath, worried her mom would say no, and quickly added.

"We've already opened the presents. We’ve been sitting in the living room all morning. I don’t even need to go to the early showing. I just can’t wait anymore. I need to get to the theater right now."

"Mom, do you understand? Anson just showed up at a theater in LA. Ahhh! A random appearance! He was there in person! I can’t believe it."

Mrs. Preston watched her daughter grow increasingly excited, her voice rising higher and higher, full of joy. Her eyes twinkled, and she smiled gently.

"Okay."

Gloria kept going, "I promise I’ll be back before lunch. I just need to see Anson. He’s the perfect Christmas gift for me. He’s the only thing making me happy today."

Mrs. Preston nodded again, "Okay."

Gloria had been so focused on convincing her mom that she hadn’t even heard her say "okay" the first time. Now she stopped, wide-eyed, clutching her chest in disbelief.

"Mom, are you serious?"

Mrs. Preston smiled, "Of course. If that's what you want for Christmas, Jesus, it’s the easiest gift ever. A movie ticket? I should be throwing a party for that."

The room burst into laughter.

Mrs. Preston thought for a moment, "Actually, I think I’ll come with you to the theater. Let’s enjoy Anson together on the big screen. What better way to spend Christmas than with a good movie?"

Gloria: ????

Wait, hold on. Can she refuse? Wasn’t this supposed to be her private date with Anson, separated only by the big screen?

Mrs. Preston turned to the other relatives, "Would you all like to join us?"

"I just read in the Arizona Tribune that it’s the perfect Christmas movie. No one should miss it. Maybe we should all go to the theater and relax. It’s more fun than staying home."

"I think that sounds great."

"A Christmas movie? That sounds fun."

"Why not?"

Gloria: Wait! Wait!

No, no, no, not all of you! Can’t you reconsider?

Gloria was stunned.

The words to stop them were on the tip of her tongue, but her mind raced as she tried to think of a way to talk them out of it.

Mrs. Preston turned back to Gloria, "Besides, we can help boost the box office."

Gloria froze.

Right. Why didn’t she think of that?

Even though she didn’t want the whole family tagging along and ruining her private time with Anson, boosting the box office was a great idea. After all, this holiday season was full of tough competition. Any little boost for Anson would help.

As for the middle-aged relatives, if they could stay quiet for two hours, it’d be a small price to pay for some peace. For Anson, she could tolerate their presence for a couple of hours.

Anyway, she wasn’t only going to watch it once. Anson in all those different outfits? How could she settle for just one viewing?

Three, four, five, six, seven, eight viewings would do.

So for the first time, she could watch with everyone. Then for her repeat viewings, she’d enjoy her private time with Anson.

Who knows, maybe she’d run into him at the theater, too?

With that thought, it all seemed perfect. Gloria raised her arms high in excitement.

"Let’s go! Let’s go! Christmas movie outing!"