Barnack

I imagine they do track them, but I suspect they are heavily correlated with standard views anyway. How many people seem to have created an account to watch it (by looking the time difference between the first log in and watching something), is probably a big metric for them.

I am not sure why they would care about something like that in that context, it would have been a tv movie anyway, that does not change how people see it, how much they are paid and so on..

It was a joke attempt (at trying to find a worst way to say it). But he didn't want to say an other Asian movie (how many of those we got), more a "movie trying to appeal at a undeserved minority demo", suggesting those being easier to bring into theater just by the fact they are on screen for a rare time and the movie does not need to be good to work, getting less budget/effort into them.

Would have been better if the map of florida at the end looked like this:

What else could have he said, colored people movie ?

Group % of Speaking Characters U.S. Population Ratio Black Characters 12.10% 13.30% 0.91 Asian Characters 4.80% 5.70% 0.84 Female Characters 31.80% 50.80% 0.63 Latino Characters 6.20% 17.80% 0.35 Characters w/Disabilities 2.50% 18.70% 0.13 LGBT Characters <1% 3.50% 0.03 I imagine one need to take into account that a lot of movie talent pool come from the very white Australia, UK, France, Canada (but that does not influence the % of speaking character played by female, LGBT, disabilities too)

Civil War 2 movie incoming.

Would like to look at the book sales the 2 month before release for those also, would not surprise me if it was a good correlation also. (sales numbers are physical no e-sales and does not include WalMart and some other major outlet, so they can use to be compared by book released around the same time targeting similar audience but are not indication of the total sales) Twilight sold 1.173m book the 8 weeks before domestic release in the domestic market and 3.89m in total before it did open, 70m OW Hunger games sold 1.63m book the 8 weeks before it domestic release and 5.39m in total before it's OW, 152.5m OW. Divergent sold 660k in 8 week and 2.3m in total 54m. Fault in our star 1.49 in 8 week, 2.68m total, 48m OW. OW / Book sold before release twilight: 18 HG: 28.3 Divergent: 23.5 fault: 17.9 Using the salse book just the months before the release Twilight: 60 HG: 93.5 Divergent: 81 Fault: 32

It does make some sense, WW was set a century before BvS, looked different and achieved that 100m OW by attracting the F+25 demo. JL looked like a direct continuation to BvS that did set it at the end of the movie. And JL friday was bigger than WW. Preview gross: BvS: 27.700m Justice league: 13m WW : 11.000m WW drop from BvS could easily have been worst than JL, success is a lot a good internal multi/legs story.

At least you need to be the same "genre" with similar target audience to make the comparison solid. Sharks/monster movies can work as original property. If you divide the US book sales of the Dan Brown series with the franchise OW, and the correlation between the sales and OW was quite something. Book sales: DA VINCI CODE: 83 million International – 58 million Domestic – 25 million ANGEL AND DEMONS: 45 million International – 30 million Domestic – 15 million Box office 1 The Da Vinci Code Sony $217,536,138 3,757 $77,073,388 3,735 5/19/06 2 Angels & Demons Sony $133,375,846 3,527 $46,204,168 3,527 5/15/09 77m/25m = 3.08 46.2m / 15m = 3.08 But even then Inferno plumetted even more than the book sales did. The correlation between Young adult type sales and box office was not bad either, but far from perfect

Both are extremelly similar imo (cannot imagine in what way talking about box office is not 100% a total waste of time), except if you plan to bet money on result but same goes for sportsball scores and them have bigger betting opportunity I think.

Sound a bit like saying Music industry created streaming and now complain it destroyed their revenues.... Mob culture mentality is deeply humans and as old has the world and Hollywood specially on the movie side is pretty much always behind and reactive to identity politics / mob culture, not at the front and are usually the people attacked by it, it is not some first time thing. Roseanne not so long ago was one of the biggest Hollywood celebrities that got gunned down by it. And Hollywood is not some block with monthly reunion, Disney fired Gunn not Hollywood. A bunch of people working there are not happy with it (as if Pratt/Batista were going around organizing mob culture) not Hollywood. Not so sure what identity politics has to do with rape jokes.

This is very important, specially when it is not even 100k people on twitter, they do it because it is free and easy to do (don't need to do any journalistic work, you can do it from a computer) and a large enough % of the audience accept it.

PG-13 superheroes does take all of the deaths seriously, they almost by design cannot. That why infinity war they kill some faceless/personnality less blue alien during battle, so we do not have to deal with their death:

And among them, maybe only Trump.

Quite crazy, the lowest prediction is almost 50% higher than the current Solo box office.

With that logic, why not Stein or Johnson ? All of american and western media & elites were much more certain without exception (like Trump had many exception like the biggest of them all American cable news network) Trump won by about 70k people voting one way instead of the other in a 315+ million people country, that "knowing" type of talk specially if someone didn't bet a big amount of money on it, sound quite BS.

If I am Disney, I get it to comment for the new director announcement or Gunn comeback, but not before.

Apparently that will be a very small hit, hard to even perceive on Disney bottom if at all, Roseanne was not an ABC owned show making it quite easier for them to cancel. https://deadline.com/2018/05/roseanne-cancellation-financial-impact-abc-disney-advertising-1202399633/ Another reason the cancellation will not have a longer-term financial impact: the series is not owned by Disney but rather independent production company Carsey-Werner. In fact, Disney Media Distribution, Disney’s international sales arm, had a first window to close global sales on the revival’s first season before rights reverted back Carsey-Werner and its own sales division. The show was not even mentioned at all in the Q2 conference call for how little relevance it had.

Do you have numbers for this ? Of the 6 billion Warner made last year in is movie division, 2.27b where from the box office, vast majority of the movies revenues made in 2017 by WB was via streaming and home ent. http://ir.timewarner.com/phoenix.zhtml?c=70972&amp;p=irol-reportsannual Universal studio in 2017: Theatrical $ 1,560 Content licensing $ 2,563 (streaming and tv) Home entertainment $ 1,254 Other $ 983 Total revenue $ 6,360 Universal studio made 2,500 millions by licensing is filmed entertainment content to cable/broadcast/svod/etc.. streaming platform, and it costed them very very little to let people play their movies in exchange of money. Netflix total net income in 2017 was of 558 millions (from 11.7b in revenues lot of which went to the studios) Disney need to get into streaming because streaming is going to change how their biggest income source (traditional TV) will be in 5-10-15 year's, not necessarily because of movies. For a comparison 2017 Disney revenues Media networks: 23.5 billion studio entertainment: 8.3b In operating income Media networks: 6.9b vs 2.35b for studio Distribution of media (streaming via cable/satellite/etc..) is for Disney around 300% of what the studio division is in revenues and profits, that would I imagine become even bigger with Fox world distribution going to them, and that what Netflix is directly threatening. Not necessarily their movies business side.

Hobbs and Shaw (2019) 26 July 2019 (USA) Jungle Cruise (2019) 11 October 2019 (USA) Jumanji 2 (2019) 13 December 2019 (USA) And they will all be 3 worldwide juggernaut saturated release, 77 days and 63 days between them. Would imagine that mean no Ballers season 5 in 2019.

Now with streaming contract it could make it hard, say with itunes sales and other of the sort, to they have a pre-agreed windows that is base on days after theatrical release and not in days after the movie is not in theater anymore ?

It still sold 2 ticket on fandago today: http://akvalley.pythonanywhere.com/static/Fandango_track.txt 2018-07-30 11:00:00 2 Rampage (2018) I imagine movies run in dollar theater and other ways for a long time after their tracking is over, but with marginal sales.

712 Die Hard: With A Vengeance Fox $100,012,499 1995 713 Gnomeo and Juliet BV $99,967,670 2011 714 Rampage (2018) WB (NL) $99,345,950 2018 #AlmostARecord for the highest non 100m on MOJO.