Return of the Career Prospectus: Rachel McAdams
Rachel McAdams is where she wants to be...
Dear Squawkers,
A few weeks—months? Time is a construct—ago, y’all suggested bringing the Career Prospectuses back as a feature here on The Squawk. haven’t done a career prospectus since 2018—you can see the archive here—but I remember them being labor intensive, requiring a lot of research, occasional re-watching of movies and/or TV shows, and multiple drafts to hone my assessment of an allegedly floundering film/TV career. So it was that I started work on this Rachel McAdams career prospectus, prepared to dig in, and very quickly realized that Rachel McAdams doesn’t need a career prospectus, she needs chiller fans. For there is nothing wrong with Rachel McAdams’ career, she is exactly where she wants to be, by design.
Let’s rewind to the 2000s. Rachel McAdams broke out with the 2004 double-header of Mean Girls and The Notebook. She sealed the deal in 2005 with the triple-header of Wedding Crashers, a legit MONSTER hit; Red Eye, a late-summer sleeper hit ($153 million in box office, adjusted for inflation); and The Family Stone, a holiday rom-com that some people, insanely, like (I have never wanted to burn a beautiful movie house down more, the Stones SUCK). Rachel McAdams had FIVE hits in a row over two years, by the end of 2005, she could write her own ticket in Hollywood…
…And she moved back to Canada.
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