her ears pierced especially for the very first time at the age of 27. After filming was completed, she then stopped wearing earrings and allowed the piercings to close up again. Release Aftershock: Earthquake in New York was initially aired in the United States in 1999 on CBS as a two-part, four-hour miniseries. The first part aired Sunday, November 14, and the second followed on Tuesday, November 16. It was released to VHS format by Hallmark Entertainment on October 17, 2000; and on Region 1 DVD by Artisan Entertainment on February 20, 2001. The miniseries aired in Germany as Aftershock - Das große Beben. It was released, under the title New York - Der Jüngste Tag, in a two-tape VHS format and a single disc DVD by WVG Medien in April 2001. Reception In 2000, Aftershock: Earthquake in New York was nominated for the Emmy Award for Outstanding Special Visual Effects. Michal Suchánek was nominated for a 1999 Young Artist Award in the "Best Performance in a TV Movie or Pilot - Young Actor Age Ten or Under" category. Sight & Sound Danny Leigh felt the film was "predictabl[y] histrionic", excessively long, and "geologically improbabl[e]". Ray Richmond of Variety found the film to be "roundly insipid" and a "mope opera that follows such a well-trod crisis path that viewers can set their watches by". Though he highly praised the film's special effects as being "sharp and impactful without being at all obtrusive", and noted the film had a talented cast, he panned the story for being unrealistic and lacking genuineness. The New York Times Ron Wertheimer felt the numerous subplots left the film feeling fragmented and confusing, and that it presented New York in an unrealistic light, even before the earthquake hits. Noting that the film has "hints of heartfelt drama, flashes of compelling characters, [and] echoes of true connection," he felt some of the film's best moments came in its smaller scenes. He criticized Lawrence's performance, but praised Dutton and Skerrit's, particularly their interactions together, stating "their scenes provide a strong argument for letting television drama do what it does best: focus on the details of human interaction." Tom Shales of The Washington Post gave the film a more positive review, calling it "one of the best disaster movies ever made for television" and a "fabulously entertaining ordeal". He praised the characters for being sympathetic, the actors for portraying