MikeQ

A 32.1% drop into a non-holiday weekend from a $126.7M holiday-boosted opening weekend is incredible and pretty much unprecedented (certainly for the era of box office with Thursday previews). And it looks like it may fare even better with actuals. When looking at all the 100M+ openers that opened on a Friday — and didn’t have a holiday-boosted second weekend — TGM is in a league of it’s own. Best Second Weekend Drops for 100M+ Friday Openers without Holiday Second Weekend: Top Gun: Maverick (2022): -32.1% Spider-Man (2002): -37.8% The Jungle Book (2016): -40.4% Wonder Woman (2017): -43.3% Black Panther (2018): -44.7% Finding Dory (2016): -46.0% Alice in Wonderland (2010): -46.0% Toy Story 3 (2010): -46.2% Beauty and the Beast (2017): -48.3% Jurassic World (2015): -49.0%* The Avengers (2012): -50.3% The Batman (2022): -50.4% Toy Story 4 (2019): -50.6%^ It (2017): -51.3% The Secret Life of Pets (2016): -51.3% *2nd weekend was not technically a holiday weekend, but it did benefit from Father’s Day ^2nd weekend wasn’t a holiday weekend for US/NA, but it was for CANADA (Canada Day weekend arguably boosted its Sunday gross) If we expand this list to 60M+ openers, it still drives home how exceptional TGM is. Notice that most of the films on the list below are animated family films and/or of an earlier era of box office when Thursday previews were not as dominant or did not exist (and therefore second weekend drops naturally weren’t as hefty). Best Second Weekend Drops for 60M+ Friday Openers without Holiday Second Weekend: Monsters Inc (2001): -27.2% American Sniper (2014): -27.6% The Incredibles (2004): - 28.7% Zootopia (2016): -31.6% Inception (2010): -32.0% Top Gun: Maverick (2022): -32.1% Finding Nemo (2003): -33.7% Up (2009): -35.2% The Passion of the Christ (2004): -36.5% Spider-Man (2002): -37.8% The Jungle Book (2016): -40.4% Inside Out (2015) -42.1% Mission: Impossible - Fallout (2018): -42.3% The Grinch (2018): -42.9% Wonder Woman (2017): -43.3% Peace, Mike

What a thrilling weekend for the box office. It's exciting to see Top Gun Maverick surpass the Memorial Day weekend record that was set 15 years ago. And it's doubly thrilling when it's a film that is so well received both critically and commercially - with strong legs, this will be a fun run to follow. And I know this is a sequel, but because it's a follow-up to a film from the 80s, and not another instalment of a current established franchise/brand (e.g. MCU, Star Wars, etc), I think it makes this weekend even more exciting for many. Peace, Mike

I can't relate to this. I love that the first episode is focused on character development. Four seasons in, the show is as epic as ever, and yet it still centres the relationships and interpersonal dynamics of characters, and gives space for the grief and trauma that characters have experienced in very different ways. And, again, it's not like this season is short on epic plot and story advances - the latter episodes in particular are "holy crap" experiences. It's thrilling to see the story come together this season in such an epic fashion and in a way that goes back to its roots - the show has earned it. Peace, Mike

Looks stunning. The visuals and music together (with Jake's ending line) really make the teaser work. As I've said, the potential is there for this to be an incredibly immersive and impactful experience and story, as the original was - and in turn, while no guarantee, to do gangbusters at the box office. From the teaser I already have a sense of the themes that may resonate strongly across the world. The potential is exciting... we'll see if Cameron pulls it off, and the story is able to pull in audiences in the same way it did last time. Peace, Mike

ERC's tweet here is just, so, useless. What do I learn from this comparison? How is this a helpful tweet in any way? In what universe is this comparison apt? I don't understand... Peace, Mike

I love when I watch a movie that is way better than I ever expected it to be. This is one of them. It works on many levels - and one of the reasons why it works is because it is so darn earnest. Cage and Pascal are terrific. The movie is hilarious and meta, while the story still works in its own right. If you were on the fence in seeing this, I definitely recommend checking it out. Peace, Mike

Is it going to be HFR pretty much everywhere it’s released, or just select theatres? I don’t know much about how this works. I intensely dislike HFR - it’s strange feeling and anti-cinematic. I’d rather watch it at 24fps, and hope we aren’t pushed in the HFR direction. I’m not really a fan of 3D either, even when done well. Just give me a 2D, 24fps experience. Peace, Mike

This was nuts, and wonderfully so. Absurdly creative and wild, while also rooted in something sincere. Michelle Yeah and Jamie Lee Curtis are divine, but Ke Huy Quan and Stephanie Hsu are also terrific. A real strength of the film is the entire cast that contribute significantly to the emotional landscape of the film. This isn't a film that you process logically - you just feel it and experience it. It was a real treat. Peace, Mike

Never mind - don't want to wade into this today. Peace, Mike

Yeah, the "edited-in" categories completely felt like an afterthought, and that sense of momentum from win after win (most wins of the night) was lost. They didn't save any time from cutting the categories from the live show, so one can hope they will re-instate them next year. Certainly, I hope they do. Peace, Mike

I can't see the tweet - has it been removed? Would anyone mind filling me in? Peace, Mike

Was I the only one that appreciated the approach they took to the In Memoriam? When my Dad passed away, we held a celebration of life, rather than a funeral - which to an outsider may have looked and felt strange, but for me was really meaningful and special. In the same vein, I appreciate that they approached it as a celebration of all that they contributed to their craft, as opposed to a few minutes of silence while pictures flashed on the screen. Peace, Mike

All this said, from what I understand, Netflix is still way in the lead when it comes to Oscars recognition/nominations from any of the steamers, particularly when you look across the breadth of categories. So, if their end goal is to have their movies legitimized via Oscar recognition, they're doing quite well, they just haven't managed to take home the statuette in that top category. Peace, Mike

Netflix needs to not only rely on complex, critically acclaimed films from acclaimed directors to aim for that Best Picture Oscar, because so often it's the competently made, "feel-good" film that wins. I'd say most of Netflix's original major contenders (Roma, Mank, The Irishman, Marriage Story, Power of the Dog) have been the kinds of movies that the Academy will not always award as the best film of the year if they have a suitable "feel-good" alternative. Not always, but Netflix needs to consider that moving forward, if they so badly want that Oscar. Peace, Mike

Though not as strong of a weekend hold as many were expecting for The Batman, it is still a strong performance overall. Those weekday holds were really strong, so to some degree, the money is just being shifted around. The Batman also did move from the 15th best opening weekend for a live-action comic book film, to the 12th best second weekend, to the 10th best third weekend of all time. Can it pass $400 million and hit the 3x multiplier (at $402 million)? Will be fun to watch its run and later legs for this reason. Best 3rd Weekends for Live Action Comic Book Movies Title (Year) — Third Weekend Gross (Drop from Second Weekend) Black Panther (2018) — 66.3 million (-40.6%) Avengers: Endgame (2019) — 63.3 million (-57.1%) Avengers: Infinity War (2018) — 62.1 million (-45.9%) Spider-Man: No Way Home (2021) — 56.0 million (-33.7%)* Marvel’s The Avengers (2012) — 55.6 million (-46.0%) Spider-Man (2002) — 45.0 million (-36.9%) The Dark Knight (2008) — 42.7 million (-43.2%) Wonder Woman (2017) — 41.3 million (-29.5%) Avengers: Age of Ultron (2015) — 38.9 million (-50.0%) The Batman (2022) — 36.8 million (-44.6%) Iron Man 3 (2013) — 35.8 million (-50.7%) The Dark Knight Rises (2012) — 35.7 million (-42.5%) Guardians of the Galaxy Vol. 2 (2017) — 34.7 million (-46.9%) Captain America: Civil War (2016) — 32.9 million (-54.7%) Iron Man (2008) — 31.8 million (-37.8%) Deadpool (2016) — 31.1 million (-44.9%) Aquaman (2018) — 31.0 million (-40.5%) Joker (2019) — 29.3 million (-47.6%) Spider-Man 3 (2007) — 29.0 million (-50.1%) Iron Man 2 (2010) — 26.4 million (-49.3%) Captain America: The Winter Soldier (2014) — 25.6 million (-38.0%) Guardians of the Galaxy (2014) — 25.1 million (-40.4%) Spider-Man 2 (2004) — 24.8 million (-45.2%) Batman v Superman: Dawn of Justice (2016) — 23.4 million (-54.5%) Deadpool 2 (2018) — 23.2 million (-46.7%) Spider-Man: Homecoming (2017) — 22.2 million (-49.9%) Thor: Ragnarok (2017) — 21.8 million (-61.8%) Shang-Chi and the Legend of the Ten Rings (2021) — 21.7 million (-37.5%) Spider-Man: Far From Home (2019) — 21.0 million (-53.7%) Suicide Squad (2016) — 20.9 million (-52.1%) *December Holiday weekend Peace, Mike

Excellent second weekend for The Batman. It would need to slide up over a million in actuals in order to have a drop under 50% - is that possible? We'll find out. Either way, great hold. Best 2nd Weekends for Live Action Comic Book Movies Title (Year) — 2nd Weekend Gross (Drop from Opening Weekend) Avengers: Endgame — 147.4 million (-58.7%) Avengers: Infinity War — 114.8 million (-55.5%) Black Panther (2018) — 111.7 million (-44.7%) Marvel’s The Avengers (2012) — 103.1 million (-50.3%) Spider-Man: No Way Home (2021) — 84.5 million (-67.5%) Avengers: Age of Ultron (2015) — 77.7 million (-59.4%) The Dark Knight (2008) — 75.2 million (-52.5%) Captain America: Civil War (2016) — 72.6 million (-59.5%) Iron Man 3 (2013) — 72.5 million (-58.4%) Spider-Man (2002) — 71.4 million (-37.8%) Captain Marvel (2019) — 68.0 million (-55.7%) The Batman (2022) — 66.0 million (-50.7%) Guardians of the Galaxy Vol. 2 (2017) — 65.3 million (-55.5%) The Dark Knight Rises (2012) — 62.1 million (-61.4%) Wonder Woman (2017) — 58.5 million (-43.3%) Spider-Man 3 (2007) — 58.2 million (-61.5%) Thor: Ragnarok (2017) — 57.1 million (-53.5%) Deadpool (2016) — 56.5 million (-57.4%) Joker (2019) — 55.9 million (-41.9%) Aquaman (2018) — 52.1 million (-23.2%)^ Iron Man 2 (2010) — 52.0 million (-59.4%) Batman v Superman: Dawn of Justice (2016) — 51.3 million (-69.1%) Iron Man (2008) — 51.2 million (-48.1%) Spider-Man: Far From Home (2019) — 45.4 million (-51.0%)* Spider-Man 2 (2004) — 45.2 million (-48.7%)* *Opened on a Tuesday/Wednesday ^Second weekend was December holiday weekend Peace, Mike

I certainly don’t mean to say that people cannot be critical of the film and any perceived flaws, only that I take issue with the assertion that a so-called dark and serious approach to the film is problematic in and of itself. Peace, Mike

Absolutely - this is completely legitimate to consider the impact of the film’s tone/style/length/etc on the film’s box office. Point taken. My comment was more in terms of the film itself and to question the idea that the film being dark and serious is somehow inherently problematic. Peace, Mike

Every perspective is valid, but I do find it difficult to understand the notion that The Batman’s dark and serious tone is problematic and “not what we need right now”, etc. This doesn’t resonate with me when the vast majority of comic book films released in this era are on the opposite end of this spectrum. Why are we not allowed to have one darker, more serious film? Generally speaking, I find these kind of films can prove cathartic in a similar way that lighter, more “escapist” fare can be a relief during troubled times. I like having options and variety. I say all this not having seen The Batman - just a general observation. As usual, I hope the film does gangbusters so that the box office nerd in me gets to enjoy the film’s run. How lucky that we’ve had No Way Home (and to a lesser extent Uncharted) to sustain us over the last few months. Peace, Mike

Thank you - classic new-BOM messing everything up. I wish there was a good alternative to BOM that was more like the old BOM - unfortunately, The Numbers isn’t there for me on the structure/style side of things. Peace, Mike

As others have commented, it’s so refreshing to have such a strong weekend in February. I’m hopeful that this is a sign of people starting to make their way back to theatres as discussion of Covid fades and, at least around here, most people are treating the Omicron wave as the last significant wave. I’m ready for The Batman. Peace, Mike

Maybe I’m totally misreading, but the Sunday estimate on BOM is $2.835 million. Thus, $2.6 million would be a decrease of about $235K. Still a phenomenal weekend hold and incredible late run regardless. Peace, Mike

Sign me up. ‘Get Out’ was excellent, but it is ‘Us’ that really enthralled me: both layered and thoughtful, and entertaining and visually captivating horror. Lupita Nyong’o genuinely deserved a Best Actress Oscar nomination for her performance. The characterizations of Adelaide and Red were so complete and well done that they felt like different actresses. So, I’m ready to experience anything from Jordan Peele. Peace, Mike

It it weren't for Titanic and then Avatar so dramatically setting new worldwide records (smashing the $1 billion and $2 billion marks so handily for the first time), I would call $3/4 billion worldwide predictions/chances for Avatar ridiculous. But at this point I just can't doubt James Cameron. That's not to say that Avatar 2 will do such numbers (nor that I expect it will) - just that the potential for such gangbuster numbers seems obvious - given reasons I've mentioned earlier in this thread, and that James Cameron has already shown twice in modern history that such an increase in the worldwide record is possible. Titanic smashed the worldwide record before it by over 100% in 1997, and Avatar by nearly 50% (and over 140%, if Titanic hadn't existed) in 2009 - dramatic increases. It's not hard to imagine, therefore, that Avatar 2 could reach new heights in 2022 if all of the pieces are there. It's not an easy feat, but Cameron has, remarkably, done it twice. Again, this will, in my opinion, depend on if Avatar 2 manages to captivate audiences again in terms of sheer technological marvel and a resonant story that appeals to diverse audiences. We'll see if all the stars align. (Side note: It is interesting to see the films that would have set the worldwide record if Titanic and Avatar hadn’t existed and decimated the records in the way they had.) ---- From Jurassic Park’s worldwide record in 1993 onwards: (*All original run grosses only except where otherwise noted; films that didn't, but would have set the record, are in blue) Jurassic Park (1993) — $912,667,947 (actual record holder prior to Titanic’s whopping 100% increase) Titanic (1997) — $1,843,478,449 The Phantom Menace (1999) — $924,305,084 Harry Potter and the Sorcerer’s Stone (2001) — $974,755,371 Lord of the Rings: Return of the King (2003) — $1,140,682,011 Avatar (2009) — $2,743,577,587 (nearly 50% increase; whopping 140% increase if Titanic didn't exist) Harry Potter and the Deathly Hallows Part 2 (2011) — $1,341,511,219 The Avengers (2012) — $1,518,812,988 Jurassic World (2015) — $1,670,400,637 Star Wars: The Force Awakens (2015) — $2,068,223,624 Avengers: Endgame (2019) — $2,797,501,328 Avatar (2009) with re-releases — $2,847,246,203 - current worldwide record holder Peace, Mike

Many people do not agree, obviously. She's a person in a position of power and privilege, with a large platform, who has put a good deal of time and energy into spreading false and misleading representations of trans issues, and propagating inaccurate and dangerous tropes about trans people. This includes upholding the (very) tired trope that allowing trans people to use the right bathrooms are somehow a threat to women and children - which has been disproven by research. It's disappointing, especially since she claims in her essay to be someone who does the research to educate herself. She's allowed to say what she wants, but naturally people are going to call her out for it. She absolutely does not deserve to be the recipient of misogynistic and hateful abuse. Likewise, her experience of being a survivor of abuse, and her experiences of trauma, are valid and should be recognized. But that, in my view, and the view of many in the year 2022 now, is not an excuse to target and spread falsehoods about trans people - a group of people who are already among the most vulnerable, and who experience harassment, violence, and sexual assault at extremely disproportionate levels. That's a real disappointment, especially for me, as a lover of Harry Potter - and its various themes of love and acceptance and inclusion. Peace, Mike