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The Santa Clause
Theatrical release poster by Drew Struzan
Directed byJohn Pasquin
Written byLeo Benvenuti
Steve Rudnick
Produced byBrian Reilly
Jeffrey Silver
Robert Newmyer
Starring
CinematographyWalt Lloyd
Edited byLarry Bock
Music byMichael Convertino
Production
companies
Distributed byBuena Vista Pictures Distribution
Release dates
  • November 5, 1994 (1994-11-05) (Hollywood)
  • November 11, 1994 (1994-11-11) (United States)
Running time
97 minutes
CountryUnited States
LanguageEnglish
Budget$22 million[1]
Box office$190.3 million[1]

The Santa Clause is a 1994 American Christmas fantasy comedy film directed by John Pasquin and written by Leo Benvenuti and Steve Rudnick. The first installment in The Santa Clause franchise, it stars Tim Allen as Scott Calvin, an ordinary man who accidentally causes Santa Claus to fall from his roof to his death on Christmas Eve.[a] When he and his young son, Charlie, finish the late St. Nick's trip and deliveries, they go to the North Pole where Scott learns that he must become the new Santa and convince those he loves that he is indeed Santa Claus.

The Santa Clause premiered at Hollywood on November 5, 1994, and was theatrically released in the United States on November 11. It grossed $190 million worldwide, and received positive reviews from critics, and it has since become a Christmas-time staple among viewers.[2][3][4] Its success led to two sequels, The Santa Clause 2 (2002) and The Santa Clause 3: The Escape Clause (2006), both of which were commercially successful despite the former's mixed and the latter's negative reception. The franchise continued with a follow-up series, The Santa Clauses, which premiered November 16, 2022 on Disney+.

The film was originally going to be released under the Hollywood Pictures banner, but following positive test screenings among children, it was transferred to the Walt Disney Pictures banner.[citation needed]

Plot

[edit]

Scott Calvin, a marketing director for a toy company at Lakeside, Illinois, prepares to spend Christmas Eve with his young son Charlie. Scott wants Charlie to maintain his belief in Santa Claus, despite not believing himself. Scott's ex-wife Laura and her psychiatrist husband Dr. Neal Miller stopped believing in Santa at a young age and feel it is time for Charlie to do the same.

Scott and Charlie are awakened that night by a noise on the roof. While investigating, Scott startles Santa Claus, who falls off the roof and dies. Santa's body vanishes, leaving behind a red suit and business card stating that if anything were to happen to him, someone should put on the suit and the reindeer will know what to do. Scott and Charlie find Santa's sleigh and reindeer on the roof. At Charlie's request, Scott reluctantly dons the suit and delivers gifts before the reindeer take them to the North Pole.

It turns out that, by putting on the suit, Scott is subject to a legal technicality known as "The Santa Clause," and has accepted all of the late Santa's duties and responsibilities. The head elf, Bernard, gives Scott eleven months to get his affairs in order before reporting back to the North Pole on Thanksgiving. Overwhelmed, Scott changes into the pajamas provided to him and falls asleep. The next morning, Scott awakes in his own bed and believes the previous events were a dream, but realizes he is still wearing the pajamas given to him. Charlie is proud that his father is the new Santa Claus, and this arouses concern in Laura, Neal, and the school staff. Scott, not wanting to destroy Charlie's newfound enthusiasm, asks him to keep their North Pole trip a secret.

Over the next year, Scott undergoes a drastic transformation; he gains weight and develops an increased fondness for sweets, particularly milk and cookies. He develops a white beard that instantly regrows after shaving, and his hair turns white in spite of attempts to dye it. During a meeting with his company, Scott is angered at a proposal to advertise a toy military tank by showing Santa riding it. Scott also begins to recount "naughty" and "nice" children by name when he sees them. After Laura and Neal witness children wanting to sit on Scott's lap at Charlie's soccer game, they assume Scott is deliberately misleading Charlie and suspend Scott's visitation rights.

On Thanksgiving, a devastated Scott goes to Laura and Neal's house to see Charlie one last time. Charlie, desperate to help Scott realize how important he is to the children of the world, shows him a magical snow globe (a gift from Bernard), convincing Scott that he really is Santa. When Laura and Neal allow Scott a minute to talk to Charlie alone, Bernard appears and transports father and son to the North Pole. Thinking Scott has kidnapped Charlie, Laura and Neal summons the police.

Scott sets out to deliver gifts with Charlie in tow. Upon arriving at Laura and Neal's home, Scott is arrested inside the house while Charlie waits for him in the sleigh. The elves eventually break him out of jail. Scott returns Charlie to his house and insists he spend Christmas Eve with Laura and Neal. His heartfelt speech to Charlie about the importance of everyone in the family convinces Laura and Neal that he is Santa. Laura burns the court documents suspending Scott's visitation rights, and tells him he can visit anytime. According to Bernard, any time Charlie shakes his snow globe, his father will appear. Before leaving, Scott gives Laura and Neal the two presents that they never got as children, which caused their disbelief in Santa. His takeoff from the roof proves his identity to the police and various witnesses outside the house. After Scott leaves, Charlie summons him back with the snow globe, and Laura agrees to let them go together in the sleigh to finish delivering the presents.

Cast

[edit]

Production

[edit]

The script was written on spec by Steve Rudnick and Leo Benvenuti.[5] In November 1992, it was announced Hollywood Pictures had acquired the script as a potential starring vehicle for Tim Allen.[5]

The film was shot at Raleigh Studios in Hollywood, California,[6] and on location in the Greater Toronto Area, with Oakville serving as the city of Lakeside, Illinois. The reindeer used in the film were all from the Toronto Zoo. The trains used in the North Pole scene and the start of the film were all made by LGB.[7] Eric Lloyd had to wear fake teeth and part of his dialogue was rearranged after he knocked out his teeth in an accident on a day off.[8]

Bill Murray and Chevy Chase[9] were offered the role of Scott Calvin, but both turned it down; Chase declined due to scheduling conflicts, and Murray did not want to do another holiday-themed movie after doing Scrooged. Tom Selleck, Robin Williams, Tom Hanks, and Mel Gibson were also considered for the role. Jeff Daniels, Stanley Tucci, Christopher McDonald, and Bradley Whitford were considered for the role of Neal Miller. Patricia Richardson (Allen's co-star on Home Improvement), Patricia Clarkson, Patricia Heaton, and Kate Burton were considered for the role of Laura Miller.[10][11]

Reception

[edit]

Box office

[edit]

The Santa Clause grossed $145.3 million in the United States and Canada, and $45 million in other territories, for a worldwide, total of $190.3 million.[12]

The film grossed $19.3 million in its opening weekend, finishing second at the US box office behind Interview with the Vampire which opened with $36 million.[13][14] In its second weekend it grossed $17.1 million, finishing third. Over the three-day Thanksgiving frame it then made $20.4 million, peaked at number one.[15] In November 2020, with the COVID-19 pandemic limiting new releases, The Santa Clause was re-released into 1,581 theaters and grossed $711,000.[16][17]

Freeform and AMC have played the film on television during the holiday season with record ratings.[18]

Critical response

[edit]

On Rotten Tomatoes, the film holds an approval rating of 73% based on 59 reviews, with an average rating of 5.9/10. The website's critics consensus reads: "The Santa Clause is utterly undemanding, but it's firmly rooted in the sort of good old-fashioned holiday spirit missing from too many modern yuletide films."[19] On Metacritic the film has a weighted average score of 57 out of 100, based on reviews from 13 critics, indicating "mixed or average reviews".[20] Audiences surveyed by CinemaScore gave the film an average grade "A−" on scale of A+ to F.[21]

Sandi Davis of The Oklahoman ended up placing the film sixth overall on her list of the best films of 1994.[22]

Home media

[edit]

The Santa Clause was released on VHS and LaserDisc on October 25, 1995.[23]

At one point in the film, a brief exchange between Scott and Laura takes place in which Laura hands Scott a piece of paper with Neal's mother's phone number on it. Scott then says "1-800-SPANK-ME. I know that number." In 1996, this line caused an incident in which a child from Steilacoom, Washington called the number (which turned out to be an actual, working sex line number) and incurred a phone bill of US$400 (equivalent to $801.95 in 2024).[24] Beginning with the 1999 DVD release, the exchange was removed from all future United States home media releases of the film (though it remains in the earlier released VHS and LaserDisc releases) and most digital downloads. The line is also removed from the Disney+ print. On television broadcasts, the number is changed to 1-800-POUND.[25]

A special edition DVD of The Santa Clause was released on DVD on October 29, 2002, and was presented in widescreen and fullscreen versions.[26]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Santa Clause

View on Grokipedia
from Grokipedia
The Santa Clause (German: Santa Clause – Eine schöne Bescherung) is a American fantasy comedy film directed by and written by , starring as Scott Calvin, a cynical executive who accidentally kills and is magically bound by "the Santa Clause" to assume his role. The plot centers on Scott, who is spending with his young son Charlie () when Santa falls off their roof after Scott startles him; donning the Santa suit to complete the deliveries, Scott and Charlie are transported to the , where elves led by Bernard () explain the clause's fine print, forcing Scott to deliver gifts worldwide and undergo a physical transformation into the jolly icon. The film explores Scott's initial resistance and eventual embrace of his new identity, while dealing with skepticism from his ex-wife Laura () and her husband Neal (), who initially believe Charlie's tales are delusions. Produced by and with a of $22 million, it blends family humor, holiday magic, and themes of redemption and belief. Released theatrically on November 11, 1994, The Santa Clause earned a PG rating for mild language and was a major success, grossing $145.5 million in the United States and and $190.5 million worldwide. Critics delivered mixed-to-positive reviews, praising Allen's performance and the film's lighthearted charm, with a 73% approval rating on based on 59 reviews. The movie has since become a perennial holiday favorite, launching a franchise that includes sequels (2002) and The Santa Clause 3: The Escape Clause (2006), as well as the Disney+ series (2022–2023), all continuing Tim Allen's portrayal of Santa.

Synopsis and Characters

Plot

Scott Calvin, a cynical toy executive and divorced father, reluctantly spends Christmas Eve with his young son, Charlie, at his home. Skeptical of holiday traditions, Scott hears a noise on the roof and investigates with Charlie, only to startle the real , causing him to fall to his death. As the body vanishes in a swirl of magic, Scott and Charlie discover Santa's sleigh pulled by and a glowing inscribed with the : "The Santa Clause," which magically binds Scott to assume Santa's role if the previous one dies accidentally. Donning the Santa suit to complete the deliveries, Scott and Charlie embark on a whirlwind global journey, flying the sleigh to homes worldwide and entering through chimneys to distribute presents. Upon finishing, the sleigh transports them to the , where they meet the , including the stern head Bernard, who explains the clause's irrevocable terms and introduces Scott to the toy workshop's operations. As Scott begins to grasp the enormity of the role, he experiences inexplicable physical transformations: rapid from the endless and left out for Santa, and the spontaneous growth of a thick white beard and hair. Tim Allen's portrayal of Scott's transformation captures his initial resistance turning to reluctant adaptation. Returning home the next morning, Scott attempts to resume normal life, but his ex-wife Laura and her husband, Neal, dismiss his fantastical tale as , especially as his bodily changes become evident. Charlie, however, enthusiastically supports his father, leading to schoolyard boasts that draw official and strain Scott's custody arrangements. Over the following year, Scott's growing affinity for the Santa deepens; he secretly aids the elves in preparations and finds joy in the selfless act of giving, gradually rediscovering he had lost to cynicism. Tensions peak when authorities, influenced by Neal's skepticism, revoke Scott's visitation rights, prompting him to visit Charlie on against the and take him to the . Scott is arrested for but rescued by Charlie and the elves. He completes the deliveries successfully. On Christmas morning, from their home, the family watches as Scott departs in the sleigh, and he gives Laura and the gifts they missed as children that caused their disbelief in Santa, leading to reconciliation and Scott's full embrace of his destiny. The narrative underscores themes of rediscovering childhood wonder, the strengthening of family bonds through belief, and the transformative magic of selfless giving.

Cast

Tim Allen stars as Scott Calvin, a cynical advertising executive and divorced father who reluctantly assumes the role of after invoking the titular clause, a performance that marked Allen's prominent shift from his and television background—particularly as Tim "The Tool Man" Taylor on —to leading roles in family-oriented feature films. portrays Dr. Neal Miller, Laura's husband and a whose skeptical, rational demeanor provides as a foil to the story's supernatural elements. Wendy Crewson plays Laura Miller, Scott's ex-wife who begins the film doubtful of the holiday magic but grows supportive of her former husband and son. Eric Lloyd appears as Charlie Calvin, Scott's young son and the sole initial believer in Santa, whose enthusiasm aids his father's acceptance of the extraordinary circumstances. David Krumholtz is cast as , the stern and authoritative head elf at the who rigorously enforces the rules of the Santa Clause. Supporting roles include as Mr. Whittle, Scott's demanding boss at the toy company; as the diner waitress; and Larry Brandenburg as Detective Nunzio, the police officer investigating the disappearance linked to the events. Voice acting features providing the sounds for the reindeer, alongside various performers voicing minor elves and inhabitants such as Paige Tamada as Elf-Judy.

Production

Development

The screenplay for The Santa Clause was written by , based on their original spec script about a cynical executive who accidentally kills on and is magically bound by a contract to assume his role, complete with physical transformations and global toy deliveries. The project was developed under in association with , with Jeffrey Silver and serving as key producers through their Outlaw Productions banner, which had recently gained traction in the independent scene. Director was selected for his prior collaboration with lead actor on the ABC sitcom Home Improvement, where Pasquin had directed multiple episodes, fostering a rapport that suited the film's blend of comedy and family dynamics. Tim Allen was cast as the Scott Calvin to capitalize on his rising fame from , positioning the film as a family-friendly vehicle to transition him from to feature films. Eric Lloyd was chosen for the role of Charlie Calvin after open auditions across 13 cities, bringing authenticity to the character's wide-eyed wonder. David Krumholtz was cast as the head elf , providing a stern, authoritative foil to Allen's reluctant hero. The production was budgeted at $22 million, targeting the lucrative with a lighthearted holiday family comedy genre. Early script revisions toned down darker elements from the original draft, such as Scott explicitly and killing Santa, at the insistence of Disney Studios Chairman to ensure a PG rating suitable for family audiences.

Filming

Principal photography for The Santa Clause commenced in late spring 1994 and extended through the summer, spanning approximately three months. Exteriors were primarily filmed in and surrounding areas in , , doubling as the film's Midwestern settings, including Scott Calvin's suburban home in Oakville. Some interior scenes were captured at Raleigh Studios in , . The production faced logistical hurdles due to the summer heat, with enduring multiple layered fat suits that caused rashes, scars, and infections; he was limited to about six hours in the costume per day because of inadequate ventilation. North Pole sequences were constructed on soundstages in , utilizing practical effects to depict the elf workforce and toy assembly lines, with animatronic enhancing the magical atmosphere. Sleigh flight scenes relied on wire work for actor suspension and rudimentary CGI for aerial sequences, handled by the Buena Vista Visual Effects Group, reflecting the era's early digital capabilities. Tim Allen's physical transformation into involved extensive practical makeup, including prosthetics for facial features and padding for the belly and beard growth, requiring four to five hours of application daily and an additional two hours for removal. In , editing was led by Larry Bock, who assembled the 97-minute film from extensive footage, cutting over 30 minutes of material, including additional scenes focused on Charlie Calvin, to tighten the pacing. Reshoots were necessitated for family-oriented comedic moments, particularly to accommodate Allen's improvisations around child actors, ensuring appropriate timing and tone. The team further refined the flying and transformation elements, integrating practical elements with digital enhancements to realize the film's magical contract concept.

Music

Score

The original score for The Santa Clause was composed by Michael Convertino, an American film composer whose work includes contributions to various family-friendly productions. The score was recorded under the conduction of Artie Kane, featuring a full to capture the film's holiday spirit. Convertino's score is predominantly orchestral, characterized by whimsical and magical motifs infused with holiday elements, employing sleigh bells, light woodwinds, gentle pianos, and lush strings to evoke the wonder of the and underscore key transformations. These elements blend playful themes associated with elves and sleigh flights with more heartfelt, romantic string passages that highlight family bonds and emotional growth. Notable cues include "Believing Is Seeing," which uses a charming five-note chime motif to emphasize moments of faith and the father-son relationship; and "Flight," a brief but energetic track accompanying the magical sleigh sequences. Throughout the film, the score supports Scott Calvin's journey from to embracing , using subtle, mature orchestrations that enhance the magical realism without overwhelming the or comedic timing. While it received no major awards, Convertino's composition has been praised for its sophisticated yet innocent tone, effectively amplifying the film's emotional and fantastical moments.

Soundtrack

The soundtrack for The Santa Clause incorporates an eclectic selection of licensed holiday songs to enhance the film's comedic and festive tone, blending modern interpretations with traditional carols. The opening sequence features Yello's energetic techno rendition of "Jingle Bells," setting a playful, high-spirited mood as Scott Calvin encounters the Santa-suited intruder on his roof. Later, The Drifters' soulful "White Christmas" underscores family-oriented scenes, highlighting the emotional reconciliation between Scott and his son Charlie during their holiday preparations. These tracks punctuate key moments, such as Chuck Berry's rock-infused "Run Rudolph Run," which accompanies the chaotic delivery montages as Scott assumes the Santa role. Other notable songs include Loreena McKennitt's "The Bells of Christmas," a medley incorporating elements of and other traditional tunes, performed with orchestral arrangements that evoke the North Pole's magical atmosphere during the elf introduction sequence. contributes the original composition "Christmas Will Return," performed by and , which plays over the film's closing credits to provide an uplifting, reflective coda. Additional licensed tracks, such as The Chipmunks' "Santa Claus Is Comin' to Town," appear in lighter, humorous contexts to amplify the movie's whimsical holiday spirit. The commercial soundtrack album, The Santa Clause (Original Motion Picture Soundtrack), was released by Milan Records on December 1, 1994, featuring 19 tracks that intermix licensed songs with cues from Michael Convertino's original score. The album's tracklist opens with Convertino's "Let's Go," followed by instrumental pieces like "Believing Is Seeing" and "The Sash Completes the Ensemble," incorporating McKennitt's "The Bells of Christmas" and concluding with Webb's "Christmas Will Return." While the album achieved modest commercial success and contributed to seasonal holiday music sales without earning Grammy nominations, it remains a popular collector's item for fans of the film's festive audio landscape. A 1995 re-release added The Drifters' "White Christmas," bringing the total to 20 tracks.

Release and Reception

Theatrical release and box office

The Santa Clause had its world in Hollywood on November 5, 1994, followed by a wide theatrical release in the United States on November 11, 1994, distributed by . The distribution strategy featured a limited international rollout aligned with the holiday season to capitalize on festive timing, including openings in on November 24, 1994, and on December 25, 1994. Marketing for the film positioned it as a family-oriented holiday comedy, with trailers highlighting its magical elements and humorous premise, alongside promotions tying into Tim Allen's popularity from the ABC sitcom . Disney's campaign included widespread advertising featuring Allen dressed as on billboards and bus stops, as well as tie-in merchandise such as toys and promotional items available at Disney stores. The film opened to $19.3 million in its first weekend across 1,642 theaters, marking the third-highest opening for a release at the time and securing the second position at the domestic . It demonstrated strong holdover performance during the holiday period, topping the charts in 1994 with $62.3 million earned that month alone, driven by repeat family viewings and positive word-of-mouth amid the season. Overall, the film grossed $145.5 million domestically and $190.5 million worldwide, against a of $22 million.

Critical response

Upon its release, The Santa Clause received mixed-to-positive reviews from critics, who generally praised its heartwarming family appeal and Tim Allen's charismatic performance as Scott Calvin, while noting some narrative contrivances. On , the film holds a 73% approval rating based on 59 reviews, with an average score of 5.9/10; the site's consensus describes it as "utterly undemanding, but... firmly rooted in the sort of good old-fashioned holiday spirit missing from too many modern yuletide films." As of November 2025, it has a 6.5/10 rating on from over 140,000 user votes, reflecting broad audience appreciation for its lighthearted tone. Critics highlighted the film's effective blend of humor, magic, and emotional depth. Roger Ebert awarded it 2.5 out of 4 stars, commending its "nice, warmhearted feeling" and Allen's suitability for the role, noting how the movie cleverly explains Santa's logistics while delivering laughs like the elves' "attitude." Gene Siskel of the Chicago Tribune called it "a genial, lightweight entertainment," appreciating its family-oriented charm and Allen's effortless comedic edge. Jeff Shannon in the Seattle Times echoed this, praising Allen's humor as having "a quietly urgent edge" that grounds the fantasy in relatable father-son dynamics. However, some reviewers found the plot contrived and pacing uneven; Ebert observed that despite its charms, the film occasionally flagged in engagement and fell short of true inspiration. Metacritic aggregates a 57/100 score from 13 critics, underscoring the mixed reception with critiques of formulaic elements and stereotypical portrayals, such as the ex-wife trope. The film earned several award nominations recognizing its fantasy elements and young performances, though it secured few wins. It won the Saturn Award for Best Fantasy Film from the Academy of Science Fiction, Fantasy & Horror Films. received a nomination for Best Performance by a Young Actor Co-Starring in a Motion Picture. It won the People's Choice Award for Favorite Comedy Motion Picture in 1995. Retrospectively, The Santa Clause is regarded as a quintessential holiday classic, valued for its whimsical take on magic and themes of redemption and family bonding. Modern reassessments appreciate its enduring appeal in evoking childlike wonder, though some updated views critique dated gender dynamics while affirming its inclusive message of personal transformation through belief.

Home Media and Legacy

Home media releases

The Santa Clause was first released on and on October 25, 1995, by Home Video. This initial home media edition quickly became one of Disney's top-selling tapes, especially when bundled with holiday-themed promotions during the season. The film made its DVD debut on October 13, 1998, in both and fullscreen formats. A special edition DVD followed on October 29, 2002, which included behind-the-scenes featurettes such as the "So You Wanna Be an Elf?" documentary, deleted scenes, and audio commentary by star and director . The Blu-ray Disc version arrived on October 16, 2012, featuring and the same special features from the 2002 DVD. A 4K UHD digital edition became available in 2020 as part of Disney's holiday collection on platforms like and Vudu. Digitally, the film has been offered for purchase and rental on and other video-on-demand services since 2007. It joined the library at the platform's launch on November 12, 2019, where it continues to attract strong viewership during the holiday season. Across editions, common special features include the "So You Wanna Be an Elf?" making-of documentary, deleted scenes, and commentary tracks by Allen and Pasquin, emphasizing the film's production insights without overlapping theatrical trivia.

Franchise and cultural impact

The Santa Clause franchise expanded with two sequels that continued the story of Scott Calvin's transformation into Santa Claus. The Santa Clause 2, released in 2002, grossed $172.9 million worldwide and introduced elements like the need for Santa to find a wife to maintain his role. The Santa Clause 3: The Escape Clause, released in 2006, earned $110.8 million worldwide, focusing on Scott's use of a magical escape mechanism while dealing with family intrusions at the North Pole, though it showed diminishing box office returns compared to its predecessors. Across the three films, the franchise has generated over $473 million in worldwide box office earnings. The franchise further extended into television with , a Disney+ series that premiered in 2022 and ran for two seasons through 2023. As of November 2025, no third season has been announced. Starring as Scott Calvin, the series explores themes of succession as Scott, nearing retirement, searches for his replacement while navigating dynamics and threats to magic. These entries evolve the core themes of Santa's succession and the power of belief, shifting from individual transformation to generational handover and contemporary challenges like declining holiday spirit. Culturally, The Santa Clause has become a television staple, frequently airing on networks like ABC during annual programming blocks, reinforcing its status as a family viewing tradition. The film's "Santa Clause" contract, with its overlooked , has inspired memes highlighting themes of and contractual trickery in . The role also boosted Tim Allen's career, transitioning him from stand-up comedian and star to a enduring family entertainment icon synonymous with films. In terms of legacy, the franchise reinvented Santa lore in popular culture by introducing a contractual mechanism for Santa's replacement, blending folklore with modern redemption arcs that emphasize personal growth and the restorative power of magic. Its themes of redemption and belief in wonder have resonated across diverse audiences, contributing to annual viewings that solidify it as an essential Christmas staple. In 2024, the original film marked its 30th anniversary with special theatrical re-releases and retrospectives, sparking discussions on moral complexities such as the ethics of Santa's forced replacement and its implications for consent and servitude in holiday mythology.

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  63. https://www.boxofficemojo.com/release/rl1148159489/
  64. https://www.the-numbers.com/movies/franchise/Santa-Clause
  65. https://www.imdb.com/title/tt17047510/
  66. https://www.imdb.com/news/ni64325770/
  67. https://press.disneyplus.com/media-kits/the-santa-clauses
  68. https://abc.com/news/insider/abc-holiday-shows-specials-movies-2023-schedule
  69. https://www.getyarn.io/yarn-clip/1af8e4af-45fa-4bd3-ad70-ac83cc0d5096/gif
  70. https://movieweb.com/tim-allen-the-santa-clause-how-it-almost-didnt-happen/
  71. https://nerdtropolis.com/the-santa-clause-30th-anniversary/
  72. https://www.simpletix.com/e/the-santa-clause-30th-anniversary-1994-pg-tickets-194225
  73. https://americasfuture.org/the-santa-clause-magical-christmas-classic-or-a-violation-of-contract-law/
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