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‘Spider-Man: Brand New Day’ nets second best North American opening ever
It was just shy of “Avengers: Endgame,” which debuted to $357 million in 2019.
‘Spider-Man: Brand New Day’ beats ‘Avengers: Endgame’ box office record
“Spider-Man: Brand New Day” has broken the “Avengers: Endgame” record for the biggest North American opening weekend. Sony Pictures says Monday that the film earned $360 million in ticket sales
From Singing ‘Yankee Doodle’ to Streaming ‘Avengers’: That’s Been Entertainment!
How Americans spent their leisure time has varied widely through the centuries, but some things have remained constant.
Chris Evans' 'Avengers: Doomsday' return confirmed after leaks
Cap is back! Chris Evans' 'Avengers: Doomsday' return is official, days after Marvel's in-theater teasers leaked online.
Avengers: Doomsday To Have a Rare & Major Difference From All MCU Movies
Avengers: Doomsday, one of the most highly anticipated movies of the year, could be markedly different from previous MCU films. A new report suggests the movie may take a much more serious approach th...
The Most Successful Movie Of The Year Is Dominating Peacock
The Odyssey, Spider-Man, The Avengers, no one can dethrone this film from the top of the mountain and now it's on Peacock.
Is Elon Musk building the AI Avengers?
As the internet digests the SpaceX-Cursor deal, we've got the scoop on another startup Musk explored a partnership with.
Fall Movie Preview: Russo brothers, maestros of ensembles, test their limits in 'Avengers: Doomsday'
Ups and downs have followed the Marvel Cinematic Universe since 2019’s “Avengers: Endgame,” but “Avengers: Doomsday” might just heal all its wounds.
2 Most Unexpected Heroes To Return in Avengers: Secret Wars
Two unexpected characters could have major roles in Avengers: Secret Wars, per a new rumor. While the recent report from a well-known entertainment scooper’s claim has yet to receive official confirma...
'Avengers: Endgame' Returns to Theaters, Could Reclaim No. 1 Box Office Spot
Disney's "Avengers: Endgame Encore" is tracking to lead the box office this weekend, ahead of "Doomsday" in December.
'Avengers: Endgame' retakes box office crown; Robert Pattinson drives sales for 'Primetime'
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.” | KNX News 1070 AM
Magic: The Gathering® | Marvel Super Heroes Comes to MTG Arena
The Avengers, Fantastic Four, and more are coming to MTG Arena! Prepare for the Marvel Universe to debut in digital Magic.
New 'Avengers: Doomsday' trailer drops at D23 featuring Robert Downey Jr. and more
A new trailer for the highly anticipated "Avengers: Doomsday" was unveiled on Friday at the D23 Disney Entertainment Showcase.
'Avengers: Endgame' retakes box office crown; Robert Pattinson drives sales for 'Primetime'
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.” | WBEN
Five Science Fiction Movies to Stream Now
In this month’s picks, avengers of the toxic variety and princesses of the cosmic variety.
As Marvel pivots back to the Avengers, Wonder Man goes its own way
The Wonder Man hype is more than justified.
Marvel Cosmic Invasion reeals Siege of Castle Doom DLC
Today, Dotemu and Tribute Games unveiled brand new Siege of Casstle Doom DLC for Marvel Cosmic Invasion. The first piece of art can be found above. The DLC will feature a brand new game mode along with two new playable characters. Unsurprisingly, the infamous Doctor Doom will be central to that mode. With the Avengers: Doomsday movie coming up, it...
Robert Downey Jr.’s Doctor Doom arrives in ‘Avengers: Doomsday’ trailer
Robert Downey Jr. is officially revealed in the ‘Avengers: Doomsday’ trailer. The Marvel veteran returns as comic-book villain Doctor Doom after playing Iron Man for a decade.
MrBeast Sales Slow, Angel Stock Falls, MUBI and Neon Look for Hits, and Will an NBA Franchise Set a Sales Record?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) You probably remember egg prices spiking a few years ago. This led to a lot of debate between the pro-market/pro-competition/antitrust/Neo-Brandesian crowd and the center/center-right/center-left/abundance/libertarian crowd over the cause, whether it was the avian flu outbreak or whether industry consolidation led to price fixing, using avian flu as a convenient cover. Basel Musharbash wrote a whole investigation at BIG looking at it. Well, two years later, we have our answer: it was price fixing. The Justice Department found proof, via emails, of price fixing. Indeed, just the threat of an investigation brought prices down two years ago: I bring this up because at least half a dozen of my favorite political writers and pundits, who were skeptical about price fixing at the time, haven’t written any mea culpas on this issue. It’s really dispiriting and makes it much, much harder to trust their work on other issues. If you take a hard stand on an issue, then you get it wrong, you need to explain how and why you got it wrong. Or update your priors. This is how epistemological bubbles are formed! All of which is to say, it’s time for another installment of “What I Got Right, What I Got Wrong”. Last issue, I mostly focused on the “wrong” side of the equation, so today’s is a bit more balanced, but with one big mea culpa (though I still stand by my original concerns). Let’s dive right in! Subscribe CORRECTION: UFC Didn’t Release Subscriber Data (But Seems to Have Bragged About It Internally) In my analysis of the viewership of UFC Freedom 250, I wrote... “Paramount has also released datecdotes bragging about their subscriber numbers. Earlier this year, they claimed that the first UFC fight on Paramount+ brought in 1 million subscribers.” Well, that datecdote did not come from a PR rep, but from great reporting from James Faris at Business Insider. The actual quote was this: “Paramount’s flagship streaming service generated about a million new subscribers on the day of its first-ever UFC event, Paramount product chief Dane Glasgow told employees in a town hall on Tuesday morning, three staffers who attended the meeting told Business Insider.“ This wasn’t the biggest goof in the world; even Faris emphasized to me that this is more a “clarification” than a correction. Still, it sounds like, internally, the folks at Paramount were very happy about this result—and I’m guessing they were happy with this news getting out—even though the gains didn’t last through the quarter, dropping to 700K adds. RIGHT: MrBeast’s Struggles Continue... I’m very skeptical about MrBeast’s burgeoning media “empire” and, in particular, its $5 billion valuation, as I wrote earlier this year and last year. Sure enough, according to Business Insider, regarding its “booming” consumer products division_:_ “US sales volume grew 13% year-over-year in 2025, following a 33% leap the previous year, according to a presentation deck dated May 2026....A February 2025 investor deck viewed by Business Insider showed Feastables’ net revenue more than doubled in 2024 from 2023, to $215 million, and was forecast to grow 74% in 2025, to $375 million.” [Emphasis mine.] If you told investors that you projected 74% growth but delivered 13%,1 that’s not ideal. But it’s not just MrBeast. Logan Paul and KSI’s Prime had sales drop in half for their energy drinks. It’s one thing to build a successful entertainment company and an entirely different thing to succeed in the heavily-consolidated-but-also-very-competitive consumer packaged goods space! CPGs are dominated by a few firms with very wide moats compared to YouTube, which has few barriers to entry. These businesses require different skill sets and have completely different business environments. WRONG: Does the NBA Have an $8 Billion Bidder? Almost as soon as I published my article about the NBA’s finances, casting skepticism on NBA expansion, I saw this Front Office Sports headline: One group “claims to have already raised $8 billion” for the Vegas expansion team. I mean, wow. That’s just $2 billion less than what the Los Angeles Lakers were valued at when they were sold just last year. And they’re arguably the most popular team in the NBA. (Side note: the new owner is now under an investigation for fraud in how he went about financing the Lakers and the Dodgers purchases.) So much for the “dried up” language I used in that article. (This is why I usually stick to my “Entertainment Nuance Guy” tone in articles...) I went off old information—from April, when I read/heard about the NBA downplaying expansion efforts—instead of doing a quick double-check for new news. That said...if you read the article, the market for Seattle is “slow”, with just one reported bidder. So I wasn’t entirely off. This goof has annoyed me since I first published it, mainly because it undercut that article’s real point, which I stand by: NBA franchises are really overvalued right now. Now, I get why NBA teams are overvalued. When it comes to owning sports teams, it’s basically never wrong to assume that some rich person somewhere will care more about owning a team (or just being part of a group since they’re so expensive) than the actual financials. There are only so many teams to own, and opportunities to buy in preferred markets don’t come along very often. This explains why the teams sell for such high multiples (usually above a 10 to 12.5 revenue multiple, which is very high). You only need one person to overpay! Beyond the ultra-wealthy luxury good explanation, I worry NBA teams are becoming speculative assets. More and more private equity investors are buying into NBA teams. But the value, in owning a team, comes from selling it later, not any meaningful relationship to revenue or profit growth. In other words, the newer NBA owners are increasingly expecting someone later to buy their inflated asset. That’s not sound economics; that’s the “greater fool” theory at work.2 At some point, actually making money has to matter. Especially since revenue growth is now below the growth of the stock market. (And this matters because the NBA doesn’t have easy levers to pull to drastically lower their costs—half of their revenue has to go to players and then you actually have to run a team, including coaching, training, travel, media expenses, and more—or raise revenues aside from one-off expansions in America and overseas.) I just don’t see how investors make their money back buying NBA teams, except for selling at a higher price later on down the line. But if revenue/profit growth continues to slow, at some point, someone will be left holding the bag. RIGHT: Baseball and Basketball are about equally popular. Related to the above, I wanted to cite two quick pieces of evidence for one of my other theories: that the NBA and MLB are about as popular as each other, but the NBA gets much, much better media coverage. One YouGov survey has that fans prefer basketball to baseball by 52% to 48%, which I’m guessing is within the margin of error for that poll. That’s virtually even, meaning they’re about the same popularity. Over on NBC, a recent Red Sox-Yankees game averaged 4 million viewers, higher than Sunday Night Basketball’s average of 3.4 million on the same network. A Yankees-Dodgers game averaged 3.9 million two weeks ago. Not every game averages this much, but it shows you that baseball isn’t far off from basketball, depending on the matchup. Altogether, the NBA is just slightly more popular than baseball, but NBC is paying MLB a fraction of what they pay the NBA, a point I’ve made before. RIGHT: Angel, MUBI and Neon Updates... I’ve long been skeptical about many of Hollywood’s buzziest startups/smaller indie studios. It’s not that they don’t make great movies—films like Anora and Everything Everywhere All at Once are amazing—or that they’re not (rightfully) pushing the majors to make better films, but...they get a ton of hype, and that hype often doesn’t live up to the reality or difficulty in scaling up. Starting with MUBI, well, The Wall Street Journal wrote a feature on MUBI’s struggles last April, best summarized by the subheader “After Sequoia valued Mubi at $1 billion, a left-wing revolt sent the indie film company into a tailspin”. MUBI lost $7.3 million on $200 million in revenue in Q4 2025, but reportedly hit a record 1.7 million subscribers at the end of Q1. As for Neon, Department M purchased a “significant stake” in the company earlier this year. How much is that “stake” worth? According to Deadline, “No financial figures for the Neon-Department M deal were disclosed.” So...that’s not great! If it was a big valuation, we’d hear about. Also, I found this curious: “Both Neon and Department M already have separate partnerships with Qatar. The Qatar Film Committee has a slate deal in place with the former, and a biopic production pact with the latter.” Color me skeptical about much Middle Eastern investment dollars. See: LIV Golf. Finally, as for Angel (formerly Angel Studios), their stock very, very slightly popped last month after Young Washington ($20 million budget) which made $45 million in the US, but their stock is still way down from its opening. Smaller Updates RIGHT: The WGA should focus on antitrust concerns! I’ve been on this for years. Post-WGA/AMTPT deal in 2023, I wrote an article for the Ankler calling on the WGA to focus and organize against industry consolidation. Sure enough, the WGA filed a lawsuit against the Paramount-WBD merger, and people are organizing around this issue now. I wish this energy had coalesced earlier (specifically to lobby Washington much earlier), but better late than never! WRONG: Actually, the chip shortage might be due to market manipulation. In my last “Long Reads for the Long Summer” article, I shared an article about how LLMs are causing memory chip prices to spike, which will make all electronics more expensive. Well, turns out, three RAM manufacturers control 90% of the market, and now a private lawsuit accuses them of price-fixing. So yeah. WRONG/UPDATE: The Odyssey will hold! Two weeks ago, I wrote, “As of this moment, we haven’t had a super-blockbuster, though The Odyssey, Spider-Man: Brand New Day and Avengers: Doomsday could all cross the $500 million mark. (At this point, The Odyssey would need a very strong hold to get there.)” Well, it’s safe to say it’s going to have that hold! It only dropped 30% in weekend two and IMAX screenings are sold out all month. Spider-Man: Brand New Day is also off to a great start. RIGHT: People are rushing to get shows out yearly. I’ve long been bullish on yearly, weekly-released shows, and Leslie Goldberg at The Ankler wrote about how many people in town are now listening. WRONG: Mark Carney reverses Canada’s stance on homegrown production. After writing about Canada installing domestic production quotas, Canada has backed off. WRONG: I don’t trust Spider-Man: Brand New Day’s online “views”. When I originally wrote about the latest Spider-Man film’s record-breaking trailer, I thought this was just YouTube views, but after watching this Corridor Crew video and doing more research, well, it’s all social views of the trailer globally. Really? That stat includes TikTok, Reels and YouTube Shorts views. Basically, I don’t trust it anymore. (This film will probably set record, but I trust the pre-sales data more.) RIGHT: Celebrity Production companies are still struggling. I’ve written about this for years, but the company that I didn’t track was Kevin Hart’s HartBeat, which was valued at $650 million but is struggling now and might just end soon, especially after Kevin Hart pulled his endorsement deals. And Bad Robot is moving to NYC. CORRECTION: SpongeBob is a “second run” title. In my 2025 recap article, I had _SpongeBob SquarePants_labelled as a “library” title, when it is still a “second run” show, with new episodes still coming out on Nickelodeon. CORRECTION: In my last “What I Got Right, What I Got Wrong” update, I offered a correction from Doug Creutz and misspelled TD Cowen. Thanks, Grammarly! 1 Though he could have increased prices to make up for the gap, he couldn’t have increased them that much. 2 There’s a theory, which I think that Daryl Morey created and Bill Simmons popularized, that, to be successful building your team, you only need a handful of bad GMs in the league to take advantage of. To be clear, Daryl Morey’s theory was also for signing bad contracts, that you could always get out of bad contracts. Basically, there’s always someone who will make a bad trade. It’s not the same exact thing, but similar enough to the Greater Fool Theory that I really like it.
Alan Cumming doesn’t ‘fully understand the plot’ of ‘Avengers: Doomsday’
Alan Cumming has admitted that he doesn’t ‘fully understand the plot’ of ‘Avengers: Doomsday.’
A submersible ride revealed a vast whale graveyard. And it holds more than just bones
Researchers found a huge whale graveyard dating back millions of years, with fossils, modern carcasses and deep-sea scavengers, some of which may be new to science.
What’s Next for the MCU? Every Upcoming Phase 6 Movie and TV Show Release Date
With Phase Six of the Marvel Cinematic Universe set to wrap up in 2028 with Avengers: Secret Wars, fans are already looking to what lies beyond the horizon. Marvel Studios ...
Chris Evans, Robert Downey Jr. tease 'Avengers: Doomsday' at D23
ANAHEIM, Calif. — Marvel Studios president Kevin Feige revealed that the upcoming "Avengers: Doomsday" will unite the Avengers, Fantastic Four and the X-Men.
City Demands Answers from Gaslamp Business Leader on Comic-Con Ad Deal
An illegal Avengers advertisement installed over the Gaslamp marquee during this year’s Comic-Con has come back to haunt a local business leader. A new letter from the city alleges that […]
'Avengers: Endgame Encore's extra 'Doomsday' scenes, explained
You could watch "Avengers: Endgame Encore" to prep for "Doomsday." Or you could just read about it here.
New ‘Avengers: Doomsday’ trailer: Robert Downey Jr.’s Doom squares off with Mr. Fantastic
New ‘Avengers: Doomsday’ debuted at the D23 Expo. Here’s what we learned.
Who Won August and September: Original Films or Franchises?
(Welcome to the Entertainment Strategy Guy, a newsletter on the entertainment industry and business strategy. I write a weekly Streaming Ratings Report and a bi-weekly strategy column, along with occasional deep dives into other topics, like today’s article. Please subscribe.) I just heard someone say that if you’re reading a pundit or data analyst, and they don’t tell you that they got anything wrong, they’re not a pundit but an “influencer”. I agree with that. You have to tell your audience when you get things wrong, or they won’t (or shouldn’t) trust you as much. Today, we’ve got another edition of “What I Got Right, What I Got Wrong”. In general, I’m patting myself on the back (and patting very hard) about a few things like IP at the box office, LIV golf, horror films, crowdfunding movies, superheroes, and old people going to the theaters. That said, I also made a couple of data mistakes on the streaming bubble popping and HBO’s datecdotes, so I’m not perfect. But first, I need your feedback... Subscribe Follow-Ups: What Should We Call Mid-Budget Movies Which Aren’t Cinematic Enough for Theaters But Are Too Expensive to Make Money on Streaming? After I asked for feedback on what we should call straight-to-streaming films that are too big to pencil out on streaming but not really big enough to resonate in theaters, I got some great suggestions from you all, including... “Moldilocks” from John Aboud “Little Big Indie” from Travis Frick1 “Midflicks” from Jonathan Funke. “Extra-Medium” from Jona Nwuke. (Read the explanation in the footnote.) Between these and Brandon Katz—who suggested “Bermuda Budget Triangle”, “The Platform Gap” and “The Distribution Deadzone”—we’ve got some excellent suggestions. And they’re better than my suggestion, the “Streaming Budget Dead Zone”, so let’s take a poll! The winning entry becomes the new term. Loading... RIGHT: LIV Golf is Fully Bankrupt…Is Anyone Else Next? A few years ago, I was always a bit perplexed at all the articles I’d read praising LIV Golf and their strategy to disrupt the PGA. LIV Golf, a brand new professional golf league, offered PGA stars ten times what they made on the PGA Tour to join their new league. And folks praised this strategy for its initial “success” in that a lot of big names did indeed leave the PGA. Yeah, of course the players came over. LIV Golf paid them so, so, so much more! But LIV Golf hadn’t discovered a way to increase potential revenue. So think about this in basic business terms… They paid much more in costs… …but had no real way to increase revenue. That’s not a strategy! That’s deficit financing. It won’t work unless you bankrupt the competition (and then turn around and pay those same golfers much, much less). It’s not a sustainable strategy and only lasts as long as the company/person/nation backing it decides they’re cool with losing money. For LIV Golf, that meant Middle East oil wealth, in particular Saudi Arabian money. Clearly, the current Iran War has hurt Middle East finances, so they need to trim their more exorbitant spending. And LIV Golf was part of that trimming. This should be a major warning for others. TGL’s parent company, TMRW Sports, just got a $1 billion valuation, despite TGL’s (the indoor golf league) horrible TV viewership of less than half a million viewers per match. Unrivaled, the women’s basketball league, just secured a $650 valuation, despite its horrible TV viewership and a new rival (Project B) entering the scene next year. To relate this to streaming, Hollywood should ask which streamers may have wealthy patrons funding their losses. (Let’s be clear: Google, Amazon and Apple.) Could those patrons lose their appetite? For Amazon, probably not. But Apple has a new boss, so maybe! WRONG: My Analysis of the Streaming Bubble Was Missing a Week I’m going to be congratulating myself a lot today, but I make mistakes too, like this data goof. When I last compiled the data on the decline in TV shows, I was missing one week at the end of June. If you look at the first image, you can see that one week was mislabelled as “July”. Mainly, this image got updated to show a 27% decline, not 29%: This change doesn’t really impact the overall analysis, but it is two percent better. By the way, through the third quarter, the decline increased and it’s now a 30% decrease since 2022. (I’ll write/visualize this in an upcoming article.) But I want you to trust me and my data. Especially these days, when many people are using LLMs that I know are inserting faulty data into their charts, I want to keep earning my audience’s faith. So that’s the accurate data. RIGHT: IP Remains Very, Very Popular In July, I wrote a giant (and I mean giant) article on Backrooms, Obsession, and the box office, going over what we know, what we don’t know about what works in theaters, looking at YouTubers, IP, the horror genre, comic book movies, and a whole lot more. The month of August really tested a lot of my theses and, being honest, mostly supported my arguments. Let’s start with IP. Looking at 8-Aug (the weekend after Spider-Man: Brand New Day came out) to 18-Sep (the weekend that Resident Evil came out, which I think provides a nice bookend to this time period), there were seven films based on pre-existing IP: Resident Evil (2026) ($126 million) Practical Magic 2 ($65 million) _Insidious: Out of the Furthe_r ($65 million) Coyote Vs. Acme ($59 million) Paw Patrol: The Dino Movie ($53 million) Tony ($15 million) Super Troopers 3 ($7 million) Compare those to the notable original films from the past month—I actually could have included more movies, but here are just thirteen, bringing us to an even twenty films—including.... The End of Oak Street ($54 million) Buddy ($26 million) Mutiny ($15 million) By Any Means ($15 million) The Dog Stars ($14 million) Runner ($14 million) One Night Only ($11 million) Hope ($8 million) Spa Weekend ($7 million) The Uprising ($6 million) Teenage Sex and Death at Camp Miasma ($6 million) Onslaught ($3 million) Eli Roth’s Ice Cream Man ($2.8 million) Here’s that in chart form: Five of the top six films in this time period were all based on IP. I made a big chart of films that grossed over $200 million at the box office before Spider-Man: Brand New Day and The Odyssey hit theaters. Let’s update that chart! By the way, if you want to see how I categorized each film—so another bar chart—here it is: I know that many of my fellow critics/pundits/analysts dislike films based on IP and how Hollywood is making so many of them. And I’m sympathetic to this point of view. As I’ve written many, many times before, you need a balance between existing franchises, new IP, and original films. And Hollywood clearly needs to make more films like Resident Evil (a well-made film from a visionary director) and fewer Practical Magic 2’s (which didn’t get critical or customer buzz). But at some point, critics and pundits need to contend with what audiences are telling them: Movie-goers aren’t showing up to original films. Audiences are speaking with their dollars, telling you they want more IP and franchises. You can try to convince studio heads to make fewer IP-based films and franchises, but the data and numbers aren’t there. Instead, critics need to work harder to convince audiences to show up for original films. Aim your ire/concern at the average person, not studio heads.2 Because they’re just making the films that audiences are telling them to make. WRONG: Original Horror Films Didn’t Break Out I’ll be honest, even though I wrote an article casting some skepticism on the horror genre in July, if you asked me to make a prediction, I would have predicted that, in August, a new, original horror film would have blown up. No, seriously, I just assumed that Obsession and Backrooms presaged a change in audience behavior. But none of the buzzy new original horror films from August—Teenage Sex and Death at Camp Miasma, Onslaught (not an action film in spite of the ads), The End of Oak Street, Eli Roth’s Ice Cream Man, or _Buddy—_broke out. To be clear, exactly one of those films (Buddy) had good “ROI”, but again—I try to be specific in my language—none were “popular” in any broad sense of the word. None of them will be “saving” movies theaters like Backrooms or _Obsession_helped save the summer. The new Insidious film and Resident Evil, both based on IP, were far and away the biggest horror films since July. (We’ll see if this changes in October/Halloween season.) RIGHT: Stay Skeptical about Crowdfunding... I’ve long been skeptical about crowd-investing platforms as one of Hollywood’s saviors, mainly because there’s so much hype/buzz. People need to stay more skeptical about more things, explaining both the potential upside but also the downsides. In particular, the media often hypes crowdfunding at the start and never checks in on the actual results after they’ve come in later. And August gave us our first update! _Ice Cream Man—_directed by Eli Roth—grossed $6 million off of a $5.5 million budget. This is a production of The Horror Section, which was one of the first “crowd investing” studios with 2,400 investors, which means that 2,400 investors probably lost money. They certainly aren’t getting as great of returns as if they had just invested their dollars in the stock market. Hopefully Stiletto (Tagline: “Someone’s Going to Make it Rain Blood!”) does better next month. WRONG: Another Data Goof Here’s another data error. When the first episode of House of the Dragon came out, HBO put out that it had 21.5 million viewers in the first three days, and I read that to mean in the US…but no, it was global. So my US-only datecdotes charts shouldn’t have included it. We never got US-only numbers for the first episode, but for the final episode, HBO put out that it had 11 million US viewers. (And that global dropped to 21 million viewers.) Here’s the updated chart (which I’ve since used in the Streaming Ratings Report): Still, this show is absolutely huge. RIGHT: Superhero Films Remain Very, Very Popular After Supergirl flopped, I read a few takes that “comic book movies are going the way of the Western”. Post-Spider-Man: Brand New Day, that take didn’t age well. To be fair, I have a very nuanced take on the superhero genre right now; it’s down right now, for a lot of reasons. But it’s not “dead”. Maybe _Spider-_Man is just a really popular character? I saw that take, and it’s a fair counter-argument. (But pundits arguing that superhero movies were dead should have mentioned this $1.5 billion counter-argument…) But is it just Spider-Man? The next Avengers film already has $50 million in pre-sales (and I was skeptical that that film would do well) and the Avengers: End Game re-release topped the box office two weekends ago (over three original films). And I wouldn’t bet against Batman or Superman. So maybe it’s just Spider-Man, Batman, Superman and the Avengers. Oh, and Deadpool, of course. And Black Panther. And Wolverine. And probably the X-Men. Plus a well-made Wonder Woman or the Hulk film could break out. But that’s it! It’s just those ten characters/teams. Oh, what’s that? Lanterns is also doing well on HBO? (See previous section…) To be fair, I’m actually pretty sympathetic to the argument that more popular characters—like Spider-Man and Batman—anchor more popular films. In fact, I made that exact argument three years ago when I first wrote about the “Marvel-cession”. In many ways, you can blame The Guardians of the Galaxy for fooling Marvel Studios (and the rest of us) into believing that any character could pop. It turns out, the list of iconic characters is probably smaller than most people think. But it’s probably too early to say that superhero films and comic book movies are dead unless “death” means a slight decline over a longtime. RIGHT: Who Killed Theaters? Old People I get frustrated whenever I see headlines or analysis about how young people are “returning” to theaters. As I’ve detailed(for years), young people have always powered the US box office, despite narratives about “kids these days” and their “phones”. Really, what’s changed post-2020/pandemic is that old people aren’t going to the movies nearly as much. This summer, I saw a movie (from an older director) in a theater near a retirement community, and multiple older people at the theater were talking about how this was their first time seeing a movie in years. I dislike personal anecdotes, so YouGov can fill in the data, best summarized by this headline: “Who killed movie theaters? Not the youths”. According to them, 64% of people aged 18-29 have seen a movie in the last year, but only 30% of 65-and-older. 20% of 18-29 have seen a movie in theaters in the last week and 42% in the last month. Here’s the polling data: Most concerning? Many Americans (17%) think theaters are a worse or much worse experience than watching films at home. Slight WRONG: Hadestown Opens Big A live theater capture of the Broadway musical, Hadestown, made $20 million at the US box office, which begs the question: was I wrong to be skeptical about musicals a few years ago? Yes and no. On the one hand, $20 million is a far cry from being “popular”, so yeah, the genre isn’t that popular overall and Hadestown is one of the more popular musicals from recent years (i.e. the “Taylor Swift Data Fallacy” in action). On the other, I doubt filming this cost all that much, and I don’t think that they spent much on marketing, so this is a good source of ancillary revenue. Smaller Updates WRONG: As I mentioned in a Streaming Ratings Report, I underestimated the budget for Enola Holmes 3. It probably cost more like $50 million, if not more. But... I’m not sure that it really matters? At sub-10 million hours, prices have to come down to make this work. WRONG: Netflix is giving Ink a 27-day in theaters! To quote the kids/YouTubers these days, let’s go! Now I might actually have a chance to see Danny Boyle’s latest in theaters. I’d complained about this in a “Coming Soon” section, but I was heartened to read that Netflix is giving multiple films longer theatrical windows this year. RIGHT: Netflix is sending 4-5 films per year to theaters. Netflix is slowly but surely sending more and more films to theaters, as I cautiously predicted earlier this year. For now, it’s just three big films and a number of awards contenders, but still, this is great news. And they’ll be releasing box office grosses! Just this week, Ted Sarandos confirmed that KPop Demon Hunters 2 will come to theaters (and my guess is it performs in the box office top ten at a minimum). WRONG: Angel has 3 million subscribers! How do I know this? Well, they told Deadline, who reported it. I marked this as “wrong”, since they’ve doubled their subscribers in one year but, you know, they don’t really have a hit film to speak of and they’re still losing money. WRONG: Furious was only renewed for one more season. I accidentally wrote “two more seasons” in my latest “Renewals, Cancellations, Un-Orders and Removals Update”. RIGHT: House of David is ending with its third season. In July, Prime Video renewed House of David for a third season, as I just wrote in my latest “Renewals and Cancellations” report. Well, now it’s ending after that third season. Why? As I’ve been writing, its viewership wasn’t great. I got feedback that this show didn’t cost very much, but it cost enough that its limited viewership didn’t save it. WRONG: Adults was a Hulu original! So I missed Adults when it first came out last year; I saw that it aired on FX and just assumed that it was a linear-first program. Turns out, it aired three episodes on FX, but binge-released the rest of its episodes the next day on Hulu. Huh. So I should have covered it last year! But I just wrote about it. 1 “When I was a kid in the 90s, if you wore a t-shirt to school that wasn’t too big and also wasn’t too small, but somehow didn’t quite fit, we’d say you were wearing an “extra-medium” shirt.” 2 As always, a huge exception is Disney, which barely makes anything original anymore.
‘Avengers: Endgame’ retakes box office crown; Robert Pattinson drives sales for ‘Primetime’
Seven years after becoming the second-highest grossing film ever, “Avengers: Endgame” returned to the No_ 1 spot at the box office in a victory lap for Marvel and an appetizer for the upcoming “Avengers: Doomsday.”.
‘Seeking connection’: the video game where players stopped shooting and started talking
In a post-apocalyptic landscape of cutthroat scavengers, surprisingly peaceful players are opting to team up and open up – a phenomenon that’s intriguing game developers and psychologists alike
‘Spider-Man: Brand New Day’ nets second best North American opening ever
It was just shy of “Avengers: Endgame,” which debuted to $357 million in 2019.
Scavengers Stay Healthy By Not Eating Their Own Kind, New Science Suggests
It’s not actually a dog-eat-dog world.
A Legendary Avengers: Doomsday Star Once Called Movies The Worst Form Of Entertainment
Legendary Avengers: Doomsday star Ian McKellen once held a not-so-high opinion of movies and cinematic entertainment in general.
Pedro Pascal teases Reed Richards’ dynamic with Robert Downey Jr.’s Doctor Doom in ‘Avengers: Doomsday’
‘Fantastic Four’ star Pedro Pascal is sharing Reed Richards’ perspective on Robert Downey Jr.’s villainous Doctor Doom in ‘Avengers: Doomsday.’
Robert Downey Jr. returning as Iron Man in new ‘Avengers’ project with Disney
Robert Downey Jr. returning as Iron Man in new Disney project at Disneyland, where an ‘Avengers’ ride will unite him with Anthony Mackie, Chris Hemsworth, and Jeremy Renner.
Does Doctor Doom Appear in ‘Avengers: Endgame Encore?’
Here's what you need to know about Doctor Doom's presence, or lack thereof, in "Avengers: Endgame Encore."
'Avengers: Doomsday' footage, 'Mandalorian' opening unveiled at CinemaCon
The Walt Disney Co. has staged a major presentation at CinemaCon, showcasing new footage from upcoming films. They revealed the opening of the new Star Wars movie and scenes from “Avengers:...
‘X-Men’ movie cast confirmed: Sadie Sink, Kit Connor, and more announced
‘X-Men’ movie cast officially confirmed: Marvel reveals the new mutants coming to the MCU.
Robert Downey Jr. ‘nerded out’ over OG X-Men returning for ‘Doomsday’
The ‘Avengers: Doomsday’ cast joined EW following Marvel’s Comic-Con panel on Saturday, where Robert Downey Jr. raved about original X-Men stars Kelsey Grammer and Rebecca Romijn returning as Beast and Mystique, respectively.
'Avengers: Endgame' rerelease confirms new title, footage, and end tag
'Avengers: Endgame' rerelease gets a new title and confirms fresh footage and a special end tag.
Fortnite's latest live event drew in 10.5 million players to see Godzilla, Hatsune Miku, Homer Simpson, and countless other characters fight a giant squid man
I imagine this is what watching Avengers: Endgame would have felt like to my grandfather.
Robert Downey Jr. breaks down Doctor Doom’s parallels to Tony Stark in Avengers: Doomsday (exclusive)
‘Avengers: Doomsday’ star Robert Downey Jr. is opening up about the striking parallels between the villainous Doctor Doom and the late hero Tony Stark, a.k.a. Iron Man.
Chris Evans received ‘a dozen’ Captain America pitches before returning for ‘Doomsday’ (exclusive)
Marvel star Chris Evans received ‘at least a dozen pitches’ to return as Captain America before signing on to ‘Avengers: Doomsday.’ Here’s why he finally came back.
Chris Evans explains how filming ‘Doomsday’ was like making the first ‘Avengers’ in 2011 (exclusive)
‘Avengers: Doomsday’ star Chris Evans sits down with EW for an exclusive Comic-Con interview, where he explains why making the movie gave him the same feels as filming ‘The Avengers’ in 2011.
X-Men's 'Avengers: Doomsday' return is 'opportunity to pit multiple universes against each other' (exclusive)
The X-Men in 'Avengers: Doomsday' became 'an amazing opportunity to pit multiple universes against each other,' Marvel Studios head Kevin Feige tells EW at CinemaCon. 'I think people know that the story of Doomsday is inspired by a very famous comic run in which universes are colliding.'
AP Entertainment SummaryBrief at 5:19 p.m. EDT
'Avengers: Endgame' retakes box office crown; Robert Pattinson drives sales for 'Primetime'
Spider-Man's Media-Reported $927M Global Opening Powers AMC Weekend
The weekend's food-and-beverage record topped Avengers: Endgame's 2019 mark; IMAX 70mm engagements of The Odyssey extend into September.
‘Avengers: Endgame Encore’ takes a bow at No. 1, Robert Pattinson’s ‘Primetime’ catches $20 million at global box office
‘Encore,’ a reissue of ‘Avengers: Endgame,’ makes repeat No. 1 box office debut, while Robert Pattinson’s ‘Primetime’ catches $20 million worldwide in its opening weekend.
PSA: 'Avengers: Endgame Encore' features one less 'Doomsday' tease in non-IMAX theaters
Only certain "Avengers: Endgame Encore" formats will show you every "Avengers: Doomsday" tease.
\'Avengers: Doomsday\' footage, \'Mandalorian\' opening unveiled at CinemaCon
The Walt Disney Co. has staged a major presentation at CinemaCon, showcasing new footage from upcoming films. They revealed the opening of the new Star Wars movie and scenes from
The 12 Best Sci-Fi Shows on HBO Max
I agree with the list, for the series that I have seen; they do deserve to be on the list. I have not seen Years and Years, Station Eleven or Scavengers Reign. If anyone has seen them and would like to recommend them for a watch, let me know :) Also, any series that di
'Avengers Endgame: Encore' beats new movies with big box office debut
Earth's mightiest heroes don't need a new movie to top the box office.
“Avengers: Endgame Encore” bows at No. 1, Robert Pattinson’s “Primetime” catches $20 million at global box office
With the Marvel superhero film’s reissue, “Avengers: Endgame” has now surpassed $2.885 billion internationally.