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'Marvel' is Soaring Past 'Wonder Woman,' 'Spider-Man' And 'Twilight' (Box Office)




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'Captain Marvel' Walt Disney

Yes, & Captain Marvel & nbsp; is officially about the $ 800 million global box office milestone, with a current 1

5-day global cume of $ 812.2m thus far. That includes $ 282.2m in 13 days of domestic play ($ 4.5m on Wednesday) and $ 530m overseas ($ 10.6m overseas on Wednesday). worldwide yesterday, meaning that unless it crashes hard today it will pass the unadjusted worldwide cumes of Wonder Woman & nbsp; ($ 821m in 2017) and & nbsp; Spider-Man & nbsp; ($ 821m in 2002) to become one of the very biggest non-sequel superhero movies ever.

It should be third weekend with around $ 286m domestic and $ 825 million worldwide as it makes a play for $ 900m-plus over the weekend. to be a bigger deal in North America (at least ini tially) than overseas. And yes, as long as Us & nbsp; opens well enough for its purposes (and we're talking about a $ 20m R-rated horror flick, so & nbsp; Conjuring -level numbers are not required) and Captain Marvel & nbsp; has a halfway decent hold, it does not matter which movie tops the box office this weekend.

The Anna Boden / Ryan Fleck-directed MCU adventure could end Sunday with over / under $ 915 million worldwide, putting the likes of & nbsp; Venom & nbsp; ($ 855m), Bohemian Rhapsody & nbsp; ($ 880m, with the movie debuting in China today in a heavily-censored cut and Spider-Man 3 & nbsp; ($ 890m in 2007). Notwithstanding inflation, that & nbsp; Captain Marvel starring Brie Larson as Carol Danvers, will be the biggest-grossing superhero movie not starring Batman or Iron Man and [from] Aquaman & nbsp; ($ 1.14 billion in 2018) and & nbsp; Black Panther & nbsp; ($ 1,346b in 2018). Yes, I'm counting Tom Holland's appearance in Captain America: Civil War & nbsp; (which itself is something of & nbsp; Avengers & nbsp; movie as a glorified cameo.

 

Wonder Woman, The Twilight Saga: Breaking Dawn Part II & nbsp; ($ 819 million in 2012, sans 3-D and with little IMAX help overseas) and The Hunger Games: Catching Fire & nbsp; ($ 865m in 2013, in 2-D), it'll be behind (unless you missed one) only Zootopia & nbsp; ($ 1,023 billion in 2016), Alice in Wonderland ($ 1,025b in 2016), Finding Dory & nbsp; ($ 1,028b in 2016), & nbsp; Rogue One: A Star Wars Story ($ 1,056b in 2016), Incredibles 2 ($ 1.24b in 2018), Beauty and the Beast & nbsp; ($ 1.263b in 2017), Frozen ($ 1,276b in 2013), Jurassic World: United Kingdom ($ 1.31b in 2018), Star Wars: The Last Jedi ($ 1.333b in 2017), Jurassic World & nbsp; [1 9459014] ($ 1,672b in 2015), Star Wars: The Force Awakens ($ 2,058b in 2015) and & nbsp; Titanic & nbsp; ($ 2.2b counting all reissues) among all big -scale female-led blockbuster / action fantasy flicks.

If you want to have some of those movies closer to two-handers than outright female-led, so be it. That just makes the accomplishment (without taking away anything from Samuel L. Jackson's obvious drawing power as an added value element in these big movies) even more impressive. We should also note that these 13 movies (counting Captain Marvel ) are all, save for Titanic, Alice in Wonderland and Frozen from the summer or 2015 or later. These films are almost entirely Walt Disney's, with two Jurassic World movies from Universal / Comcast and Fox's Titanic & nbsp; (yes, Fox is now part of Disney) also acting as the exception to the rule

As noted here and there, Disney started their march toward world domination when they stopped chasing trying to cash in on the success of Pirates of the Caribbean (while forgetting that The initial trilogy was essentially Elizabeth Swann's story and started trying to cash in on Alice in Wonderland . Disney became huge as they started betting on girls and women again, even if the MCU was something of an outlier in that sense. Once & nbsp; Captain Marvel & nbsp; gets to $ 1,022 billion, it'll be the 37th-biggest (counting presumably & Avengers: Endgame ) biggest global gross of all time.

Of those 37 movies, 13 of them are female-led or female-centric, three of them ( Black Panther Fate of the Furious & nbsp; and Furious 7 ) are explicitly cashing in on a desire for comparatively inclusive mega-bucks tenthole movies. That's 43% of the top 37 biggest-wholesalers (with the obvious caveat that general audiences flock to all kinds of tentpole movies), and it's actually accounting for 15 of the newest entries in the $ 1 billion-plus club among 31 new members over the last ten years (counting & nbsp; Avatar] and its opening of the 3-D floodgates.

Back in the last six years (2013 and onward), there will be at least 22 members counting Captain Marvel & nbsp; and & nbsp; Avengers 4 . " Iron Man 3 (1,215b in 2013), Transformers: Age of Extinction ($ 1.1b in 2014), Avengers: Age of Ultron ($ 1,405b in 2015), Captain America: Civil War & nbsp; ($ 1.15 b in 2016), Despicable Me ($ 1b in 2017), Avengers: Infinity War & nbsp; ($ 2,048b in 2018) and presumably Avengers: Endgame & nbsp; next month. Yes, some of the MCU ensemble movies relate from inclusive ensembles, but they are still generally Tony Stark, Thor and Steve Rogers melodramas.

The others are Disney's Star Wars & movies, and Furious sequels, Jurassic World & nbsp; sequels (which centered on Bryce Dallas Howard's protagonist), & nbsp; animated movies like & nbsp; Zootopia, & nbsp; Finding Dory, Frozen & nbsp; and & nbsp; Minions & nbsp; (which stars Sandra Bullock), Disney fairy tales like Beauty and the Beast, MCU flicks like & nbsp; Captain Marvel and Black Panther and Jason Momoa's Aquaman. What this shows is pretty simple: If you want to craft a super-big biggie that soars to the top of the global stage, you don't really need to be a white dude's heroic journey to succeed. Heck, you may even be at a disadvantage if it stars someone who looks more like Tom Hiddleston than Brie Larson.

At the very least, it goes back to the larger point. Audiences crave onscreen diversity and inclusivity, in the movies they already want to see. No, a thirst for diversity won't turn Miss Bala, A Wrinkle in Time or Pacific Rim: Uprising & nbsp; into a hit, but it'll make the newest comic book movie or big-scale animated movie, even one with " not a white guy " actors in key supporting roles or as part of a two-hander, into a slightly bigger deal.

Even at the lower rungs, it can help. Spider-Man: Into the Spider-Verse it out to $ 190 million from a $ 35m launch at least partially because it was at Miles Morning story instead of another Peter Parker story. & Nbsp; The onscreen diversity made & nbsp; Crazy Rich Asians both a big deal for representation and a big deal for that yearning for major-studio romantic comedies.

But that yearning didn't make it Searching & nbsp; into a super-smash (it did, $ 76 million worldwide) and it won't suddenly Love the Coopers & nbsp; into a smash. Audiences will see the things they want to see, and pundits will arguably be more concerned about diversity and inclusivity in the big movies they were already going to see versus almost anything below that tentpole line. Yes, that means we'll spend more time arguing if Dumbledore is gay enough than discussing the relative breakthroughs of Love Simon and Blockers .

That is a frustrating thing , especially as people's shouting " Yay, finally a female superhero! " & nbsp; or fan-cast in black James Bond or in Indiana Indiana as they ignore Tomb Raider Atomic Blond Alita & nbsp; and & nbsp; Resident Evil & nbsp; and treat the latest big comic book superhero flick as the all / end all of onscreen representation. That being said, if folks are only going to see specific kinds of movies, and those movies are financially incentivized to expand the notions of who can (or who can play), that's still a positive development.

Captain Marvel & nbsp; is a well-known wisdom. I just hope audiences are willing to expand their horizons a little bit. After all, now that Hollywood is finally pulling its head out of its butt in terms of movies can make huge global earning, it would be nice for onscreen diversity, in terms of gender, race sexual orientation and the like, to be more useful than merely propping up movies that were already going to be box office blockbusters.

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'Captain Marvel' Walt Disney

Yes, Captain Marvel is officially about The $ 800 million box office milestone, with a current 15-day global cume of $ 812.2m thus far, includes $ 282.2m in 13 days of domestic play ($ 4.5m on Wednesday) and $ 530m overseas ($ 10.6m overseas on Wednesday). The movie earned $ 15.1m worldwide yesterday, meaning that unless it crashes hard today it will pass the unadjusted worldwide cumes of Wonder Woman ($ 821m in 2017) and Spider-Man ($ 821 m in 2002) to become one of the very biggest non-sequel superhero movies ever. [19659003] It should be third weekend with around $ 286m domestic and $ 825 million worldwide as it makes a play for $ 900m-plus over the weekend. That's not a guarantee, but I expect for Jordan Peele's Us to be a bigger deal in North America (at least initially) than overseas. And yes, as long as Us opens well enough for its purposes (and we're talking about a $ 20m R-rated horror flick, so Conjuring -level numbers are not required) and Captain Marvel has a halfway decent, it does not matter which movie tops the box office this weekend.

The Anna Boden / Ryan Fleck-directed MCU adventure could end Sunday with over / under $ 915 million worldwide, putting the likes of Venom ($ 855m), Bohemian Rhapsody ($ 880m, with the film debuting in China today in a heavily-censored cut) and Spider-Man 3 ($ 890m in 2007). That will mean, notwithstanding, that Captain Marvel starring Brie Larson as Carol Danvers, will be the biggest-ever superhero movie not starring Batman or Iron Man and aside from Aquaman ( $ 1.14 billion in 2018) and Black Panther ($ 1,346b in 2018). Yes, I'm counting Tom Holland's appearance in Captain America: Civil War (which itself is something of an Avengers movie as a glorified cameo.

Once it passes Wonder Woman, The Twilight Saga: Breaking Dawn Part II ($ 819 million in 2012, sans 3-D and with little IMAX help overseas) and The Hunger Games: Catching Fire ($ 865m in 2013, in 2-D), it'll be behind (unless I missed one) only Zootopia ($ 1,023 billion in 2016), Alice in Wonderland ($ 1,025 b in 2016), Finding Dory ($ 1,028b in 2016), Rogue One: A Star Wars Story ($ 1,056b in 2016), Incredibles 2 ($ 1.24 b in 2018), Beauty and the Beast ($ 1,263b in 2017), Frozen ($ 1,276b in 2013), Jurassic World: Fallen Kingdom ($ 1.31b in 2018), Star Wars: The Last Jedi ($ 1.333b in 2017), Jurassic World ($ 1,672b in 2015), Star Wars: The Force Awakens ($ 2,058b in 2015 ) and Titanic ($ 2.2b counting all reissues) among all big-scale female-led blockbuster / action fantasy flicks.

If you want to argue that some of those movies are closer to two-handers than outright female-led, so be it. That just makes the accomplishment (without taking away anything from Samuel L. Jackson's obvious drawing power as an added value element in these big movies) even more impressive. We should also note that these 13 movies (counting Captain Marvel ) are all, save for Titanic, Alice in Wonderland and Frozen from the summer of 2015 or later. These films are almost entirely Walt Disney biggies, with two Jurassic World movies from Universal / Comcast and Fox's Titanic (yes, Fox is now part of Disney) also acting as the exception to the rule

As noted here and there, Disney started their march toward world domination when they stopped chasing trying to cash in on the success of Pirates of the Caribbean (while forgetting that the initial trilogy was essentially Elizabeth Swann's story and started trying to cash in on Alice in Wonderland . Disney became huge as they started betting on girls and women again, even if the MCU was something of an outlier in that sense. Once Captain Marvel gets $ 1.022 billion, it'll be the 37th-biggest (counting presumably Avengers: Endgame ) biggest global gross of all time

Of those 37 movies, 13 of them are female-led or female-centric, three of them ( Black Panther ] Fate of the Furious and Furious 7 ) are explicitly cashing in on a desire for comparatively inclusive mega-bucks tentpole movies. That's 43% of the top 37 biggest-wholesalers (with the obvious caveat that general audiences flock to all kinds of tentpole movies), and it's actually accounting for 15 of the newest entries in the $ 1 billion-plus club among 31 new members over the last ten years (counting Avatar and its opening of the 3-D floodgates).

If you only look back over the last six years (2013 and onward), there will be at least 22 members counting Captain Marvel and Avengers 4 . Of those 22 newbies, only seven of them are arguably "starring a white guy" fantasies, namely Iron Man 3 (1.215b in 2013), Transformers: Age of Extinction ($ 1.1b in 2014), Avengers: Age of Ultron ($ 1,405b in 2015), Captain America: Civil War ($ 1.15b in 2016), Despicable Me 3 ( $ 1b in 2017), Avengers: Infinity War ($ 2,048b in 2018) and presumably Avengers: Endgame next month. Yes, some of the MCU ensemble movies are from inclusive ensembles, but they are still generally Tony Stark, Thor and Steve Rogers melodramas.

The others are Disney's Star Wars movies, Fast and Furious sequels, Jurassic World sequels (which centered on Bryce Dallas Howard's protagonist), animated movies like Zootopia, Finding Dory, Frozen and Minions (which stars Sandra Bullock), Disney fairy tale like Beauty and the Beast, MCU flicks like Captain Marvel and Black Panther and Jason Momoa's Aquaman. What this shows is pretty simple: If you want to make a super-big thing that goes to the top of the global stage, you don't need to be a white dude's heroic journey to succeed. Heck, you may even be at a disadvantage if it stars someone who looks more like Tom Hiddleston than Brie Larson.

At the very least, it goes back to the larger point. Audiences crave onscreen diversity and inclusivity, in the movies they already want to see. Miss Bala, A Wrinkle in Time or Pacific Rim: Uprising into a hit, but it'll make the newest comic book movie or big-scale animated movie, even one with "not a white guy" actors in key supporting roles or as part of a two-hander, into a slightly bigger deal.

can help. Spider-Man: Into the Spider-Verse it out to $ 190 million from a $ 35m launch at least partially because it was a Miles Morales story instead of another Peter Parker story. But that yearning didn't make Searching Searching into a super-smash (it did, $ 76 million worldwide), and no one can make the next Love the Coopers into a smash. Audiences will see the things they want to see, and pundits will arguably be more concerned about diversity and inclusivity in the big movies they were already going to see versus almost anything below that tentpole line. Yes, that means we'll spend more time arguing if Dumbledore is gay enough than discussing the relative breakthroughs of Love Simon and Blockers .

That's a frustrating thing, especially if people's shouting "Yay, finally a female superhero!" or fan-cast in black James Bond or a female Indiana Jones as they ignore Tomb Raider Atomic Blond Alita and Resident Evil and treat the latest big comic book superhero flick as the all / end all of onscreen representation. That being said, if folks are only going to see specific kinds of movies, and those movies are financially incentivized to expand the notions of who can (or who can play), that's still a positive development.

Captain Marvel is a well-known wisdom. I just hope audiences are willing to expand their horizons a little bit. After all, now that Hollywood is finally pulling its head out of its butt in terms of movies can make huge global earning, it would be nice for onscreen diversity, in terms of gender, race sexual orientation and the like, to be more useful than merely propping up movies that were already going to be box office blockbusters.


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