Peacock

Disney/Marvel’s Doctor Strange in the Multiverse of Madness will easily reign in its second weekend without any truly fire-breathing competition from rival majors, expected to draw $74M-$80M, a 57% to 60% decline. Yesterday the Sam Raimi directed sequel collected $7.7M at 4,534 theates, off 15% from Wednesday’s $9.1M, for a running seven-day total of $230.4M. Abroad, the
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Before the pandemic, if there was something studio executives rubbed their hands about, it was the near total eclipse of the theatrical window. In 2021, for some studios that dream came true, and as far as 2022 goes, hopefully they’ve learned their lesson from this nightmare that, in Deadline’s annual survey, shows largely diluted box
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In another move to feed the beast of frosh streamers, Universal has announced that their Jennifer Lopez–Owen Wilson romantic comedy Marry Me will stream on Peacock the same weekend the movie hits theaters, Feb. 11-13. Previous theatrical-day-and-date Peacock releases include DreamWorks Animation’s The Boss Baby: Family Business ($57.3M domestic) and Blumhouse/Miramax’s Halloween Kills. The latter film didn’t seem to be
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The failure of Universal’s Dear Evan Hansen at the domestic box office with a $7.5M opening didn’t really surprise anyone after the movie was torn apart by critics post its TIFF world premiere. But the latest misfire by a feature adaptation of a Broadway musical raises plenty of questions about the sub-genre’s fate at the
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Hollywood’s unofficial wake-up call came on February 1, 2013, when Netflix dropped the first season of House of Cards in a single, binge-able chunk. While that distinctive release pattern hasn’t yet become the official norm — many new rivals to Netflix insist on the traditional episode-at-a-time approach — the whole gestalt of the show signaled
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