She came at a billionaire playboy philanthropist and did not miss.
Image: Warner bros.
Step aside, Tony Stark — just as we predicted, Wonder Woman will land in the Top 5 highest-earning superhero movies of all time at the domestic box office. And it’ll go down over the holiday weekend, passing Iron Man 3 and settling in behind The Dark Knight Rises, probably sometime mid-Monday.
Wonder Woman had earned $408.939 million in North America as of Sunday, according to estimates from comScore. That put Diana Prince short of Iron Man 3 by a paltry $75,000 — a figure Wonder Woman will easily eclipse on Labor Day, and possibly before.
There’s no way Wonder Woman can get up to No. 4 The Dark Knight Rises ($448 million), what with the home video release coming in mid-September. But a Top 5 finish is still quite a feat, considering that Wonder Woman opened at $103 million, while the four films above it all opened at $160 million or higher.
Wonder Woman had unheard-of staying power
Translation: Wonder Woman had unheard-of staying power, dropping an average of 33% week over week through its 13-plus weeks of release. Also as we predicted, Warner Bros. staged a special engagement in IMAX to boost earnings in Week 13, taking advantage of the lack of August offerings by putting Wonder Woman in 2,210 theaters.
It isn’t official-official yet, but as of Monday, your new superhero Top 5 will look something like this:
Marvel’s The Avengers: $623.3 million
The Dark Knight: $534.8 million
Avengers: Age of Ultron: $459 million
The Dark Knight Rises: $448.1 million
Wonder Woman: $409+ million
Interesting side-note: Wonder Woman‘s entry into that group shifts the balance of top 5 all-time domestic superhero films from Marvel to DC, which now has three of those spots (though Marvel still has 7 of the top 10, if you count Spidey films).
But that imbalance could be in jeopardy, too — with Gal Gadot’s take on Wonder Woman as popular as she is, Justice League right around the corner, and a Wonder Woman sequel coming before you know it, the DCEU may have finally found its stride.
Here’s where things currently stand, per our friends at comScore:
Marvel’s The Avengers: $623.4 million
The Dark Knight: $544.3 million
Avengers: Age of Ultron: $459 million
The Dark Knight Rises: $448 million
Iron Man 3: $409 million
Captain America: Civil War: $408 million
Spider-Man (2002): $403.7 million
Wonder Woman: $399.5 million
Wonder Woman has now played in North American theaters for nine full weeks (plus this weekend), making $7.5 million in its eighth week and another $5.5 million in Week 9. To put that in perspective, only one other superhero film indisputable superhero box office champ Marvel’s The Avengers had better weeks 8-9, with $10.8 million and $6.9 million.
Most other cape-and-cowl capers lost all their powers that late into their runs, and were soon out of theaters. DCEU counterparts Batman v Superman made $737,776 in weeks 8 and 9, while Man of Steel made $716,840. Just a few weeks later, they were gone.
It’s going to be close, and it’s going to take a rally
The numbers Wonder Woman is generating at this stage are a monument to its quality, staying power, and the absolute cultural necessity of female superheroes. Wonder Woman opened to $103 million on May 2 solid, though considerably less than any of the films that now stand in front of it but has since burned far hotter and longer than all but Avengers. Not even The Dark Knight, which played for a staggering 33 weeks in theaters, had better 8 and 9 frames ($7.18 million and $5.3 million).
But back to our question: Will that long-term and repeat business be enough to catapult Wonder Woman into the Top 5?
As long as Warner Bros. keeps Wonder Woman in theaters for as long as similarly strong-performing DC films like The Dark Knight Rises (21 weeks), maybe. It’s going to be close.
The average week-over-week drop for Wonder Woman has been almost exactly 33% this past week only 30% and shows no signs of slowing from that pace. I predict it will play that way for 12 more weeks giving it 21 total, exactly as many as The Dark Knight Rises, one less than The Avengers and closing down for good just before Thanksgiving holiday titles hit.
Assuming a 1/3 drop for each week until then, here’s how that plays out, starting with the estimated $5,242,373 from Week 9:
Week 10: $3,494,915
Week 11: $2,329,943
Week 12: $1,553,295
Week 13: $1,035,530
Week 14: $690,353
Week 15: $460,235
Week 16: $306,823
Week 17: $204,549
Week 18: $136,366
Week 19: $90,910
Week 20: $60,607
Week 21: $40,404
Add that to Wonder Woman‘s $397,146,079 gross (before this weekend’s estimated $2.3 million, which will be included in the Week 10 total), and you’ve got …
… $407.5 million.
Good enough for No. 7, just behind Captain America: Civil War.
Wait, didn’t you say it could crack the Top 5?
I did, and that means somewhere down the line, Wonder Woman will need a little help to take out Iron Man 3 and Captain America: Civil War (which sits at $408 million).
Never fear these superhero studios always stage one last big theater bump-up at the end of long-running hits, which The Dark Knight did in weeks 18 and 28 (for an extra $1.56 million) and The Avengers did too, going large in its 18th week (a $2.7 million bonus).
Wonder Woman is a phenomenon that could benefit from a lack of massive August competition
No doubt Warner Bros. will boost up a similar last-chance-to-see-it effort in the coming weeks, especially with Justice League right on Wonder Woman‘s heels on Nov. 17. And the response should be juuuuuust enough let’s say $1.6 million, for $409.1 million domestic ultimate to get Wonder Woman across enemy lines and into that hallowed Top 5.
ComScore box-office whisperer Paul Dergarabedian is more bullish than I am; he’s thinking Wonder Woman can clean up in the late-summer movie wasteland.
“Now Wonder Woman is a phenomenon that could benefit from a lack of massive August competition and who knows, maybe she could rustle up another $15 million, putting her at $411 million-plus,” he told me. “But anything could happen!”
That’s true. Anything could happen. Like, someone could start a #Top5forWonderWoman campaign to get people out to support it one more time.
Because Top 5 superhero movie of all time has a nice ring to it, right?
The Justice League Comic-Con trailer makes a big deal out of uniting the DC superheroes. But it doesn’t take a Batman-level intellect to figure out that one’s still missing.
Superman’s nowhere to be seen in the latest Justice League footage reel and since Henry Cavill was also MIA at the Warner Bros. Hall H panel, no one got a chance to ask him about it. But that latest trailer may have given us a little clue as to how the Man of Steel will figure into all of this.
At the very end of the video, Jeremy Irons’ Alfred addresses an unseen figure. “He said you’d come. Now let’s hope you’re not too late.” That line is prefaced by Alfred noticing that his whiskey glass is starting to shake, Jurassic Park-style. Whoever or whatever it is, it’s creating a lot of commotion.
Kind of like what happened to the dirt over Clark Kent’s grave.
In theory, this unseen figure could be just about anyone. But in context … it’s gotta be Superman, right?
During the panel, Jason Momoa played dumb when a young fan asked about Superman’s whereabouts. “I’m not sure if you’re parents showed you the last movie, but Superman’s dead,” he responded.
However, the cast and crew have generally been very clear that Superman will return in some form or fashion, despite his untimely demise at the end of Batman v Superman. Heck, Momoa’s comment was followed by Gal Gadot reassuring the kid that Superman fans would be “very happy” to see how he factors in.
So now we know that Alfred, somehow, becomes the one to greet him when he returns. Which raises more questions than it really answers how did “he” (presumably Batman) know Supes would return? Is Superman too late? Does Martha know about all of this? What about the other Martha?
But it feels like a promise for fans of the Man of Steel. Just be patient, guys. The red cape is coming.
Though everyone loves a clever Pixar theory, one of the production company’s most prominent writers and directors is setting the story straight on a viral interview that claims to explain a major Toy Story mystery.
A wildly depressing story about Andy’s father circulated the internet on Saturday, stemming from a single interview in which a friend of a late Pixar writer shared what he says is the truth about this mysterious plot point.
Though Andy’s father’s absence from the films has long been the subject of fan speculation, this interview claims to offer the true story, recounted by the friend of someone who worked on the film.
Later, Pixar writer and animator Andrew Stanton stepped in to call bull:
The viral origin story comes courtesy of a YouTube toy reviewer named Mike Mozart who says he became friends with late Pixar writer Joe Ranft years before his death in 2005. In an interview with YouTube channel Super Carlin Brothers shared on June 22, Mozart relayed a conversation he says the pair had regarding the absence of Andy’s father.
The story tells a depressing tale of Andy Sr.’s childhood struggle with polio and the three toys he managed to save Woody, Slinky Dog, and Mr. Potato Head before the rest of his belongings were incinerated.
Years later, moments before his death, he’d call Andy Jr. to him and present him with a key to a trunk in their attic. Andy Sr. tells him to go upstairs and retrieve the trunk, but by the time Andy Jr. returns, his dad has passed away. A few days later, Andy Jr. finally opens his father’s trunk and finds the three toys.
While there are certain details from the film that support Mozart’s story, Stanton’s rebuttal suggests it might be best to label this story a compelling theory until further notice.
But for whatever it’s worth, Mozart stands by his interview:
When you take two of todays most admired actresses and cast them in brief but crucial roles as surprise two of the most admired actresses of their respective generations, what do you get? Two of Feud‘s most inspired more-than-cameos from Catherine Zeta-Jones and Sarah Paulson, natch.
Zeta-Jones tells Mashable she had enormous respect for British actress Olivia de Havilland, one of the most glamorous and talented actresses of the 30s and 40s, who is still remembered today for her star-making roles as Maid Marian, in 1938s The Adventures of Robin Hood, and Melanie Wilkes, well-mannered rival to Scarlett OHara in Gone With the Wind not to mention her Oscar-winning turns in 1946s To Each His Own and 1949s The Heiress.
Zeta-Jones notes that, despite the competitive fractions that were all too common and encouraged between many of the leading ladies of the era, de Havilland and Bette Davis bonded quickly and became extremely close.
It was Bette who became a friend to Olivia, first, says the actress. Olivia had a touch of royalty. She was an ex-pat; she had an exotic air she was born in Tokyo, but she lived here. She started doing Shakespeare in upstate California; she was certainly not found having a popsicle at the diner. Her name alone de Havilland!
Bette saw that she was more than a pretty face very early on and Olivia never forgot that and they became friends, adds Zeta-Jones. I think Bette wasnt threatened by Olivia and Olivia wasnt threatened by Bette. It was a great dynamic they had and they respected each other for that.
Shes a woman who didnt take a lot of BS at the time and who left [Hollywood] of her own accord, Zeta-Jones says of de Havilland, noting that when the actress had fulfilled her seven-year contract to Warner Bros and the studio tried to forcibly extend her commitment, she filed suit and won an important legal victory for all actors that is still enforced today.
Despite a two-year virtual blacklisting in Hollywood, when she returned to the screen de Havilland quickly reclaimed her box office clout and critical accolades, before retreating to a quieter, semi-retired life in France, taking occasional roles as when she stepped into help Davis save 1964s HushHush, Sweet Charlotte after Joan Crawfords acrimonious departure.
She was very happy to go out to France, to Europe, says Zeta-Jones. She wanted real stuff in her life. She went up against the studio heads. You dont do that now, but to do that then, when they were literally pawns in the chess game of Hollywood, the women she was tough! If a woman can live into her hundredth year, she must have been a lot tougher than [people thought].
De Havilland celebrated her 100th birthday in 2016 and remains a living link to Hollywoods Golden Age much like Zeta-Jones father-in-law, Kirk Douglas, whom the actress says has schooled her on the close-knit friendships of many Golden Age stars.
There were a lot of really true friendships then, says Zeta-Jones. My father-in-law had good relationships with a lot of actors: Tony Quinn, Tony Curtis, Frank Sinatra really good friendships. Women of that time were always, in the press, made to look like they were feuding; bitching. I found that a lot of strong friendships were made in those studio system years. It was like all the women were vying for the better roles; vying for the popularity contest, but they knew that they had to have each others backs.
Emerging a generation after de Havilland to become one of the most revered actresses of her own generation, Geraldine Page respected the value of professional camaraderie among actresses by the time she encountered the more manipulative Joan Crawford in 1963 and agreed to, in necessary absentia, let Crawford accept her Academy Award for Best Actress for Sweet Bird of Youth if she won a role she originated on Broadway and which provided the second of eight career nominations.
You dont become an actress and not know about the genius that is Geraldine Page, says Paulson, who played Page in Episode 5, set at the Academy Awards.
Paulson dove into her research on Page: the Lee Strasberg-trained actress was a stage sensation during her formative years in the 1950s, starring in productions of playwright N. Richard Nashs The Rainmaker and Tennessee Williams Summer and Smoke and Sweet Bird of Youth, which also led to her first Tony nomination.
While she remained a huge stage attraction throughout her career, Page also scored many Hollywood roles including Hondo, Toys In the Attic, Pete N Tillie, Interiors and A Trip to Bountiful, for which she finally claimed an Oscar, two years before her death in 1987.
I know a lot of people from New York in the theater community who told me a lot of things about her that were utterly useless to me in what was required of me in this part, in terms of what I was having to do, admits Paulson. I was serving a bigger picture story of Joans and her need, so it wasnt about Geraldine. So some of the information I had gathered, I had to kind of chuck out, because it wasnt really about that.
Paulson adds that shes itching to reprise the role, should opportunity knock: Boy, would I long to play her in a really larger fashion! Shes a fascinating woman, and an extraordinary actress, and a very proper human being I want a whole Feud about Geraldine Page and whomever shes feuding with, but I dont know who shes feuding with!
Unlike Page, de Havilland did have a public personal and professional feud of her own, as hinted at during the course of the series: a longstanding and often bitter rivalry with her only sibling, actress Joan Fontaine, who was also a Best Actress Oscar winner a contentious relationship that Zeta-Jones suggests was likely exacerbated by Hollywood.
Even today, people will say what a tough business were in, she says. But back then it was really tough, and really tough for women. And it was a popularity contest, where if you were in, you were in with the studio behind you. And they showed you in a wonderful light. And if you were out, you could be ostracized and kicked out of town, like the Blacklist. It was a real tough time.
Zeta-Jones admits that she was oblivious to the politics of the studio system when she started out. Myself, growing up I didnt know. It always sounded wonderful. I knew I wanted to be part of it. I came to Hollywood at my time; a different generation, and its not as glamorous. Its not all autographs and sunglasses, as they say. Its sad: women in Hollywood are still having a tougher go at it than men. Its changed somewhat, but its still baby steps in the whole bigger spectrum of it all.
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