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Box Office Results – 'Doctor Strange 2' Wins Second Box Office Weekend, as 'Firestarter' Flames Out – The West News

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Doctor Strange in the Multiverse of Madness saw a 67 percent drop in its second week, earning $61 million to take the top spot at the domestic box office for the second week in a row. The dramatic drop is comparable to Marvel Studios’ worst, including Spider-Man: No Way Home (-67.5 percent) and Black Widow (-67.5 percent) (-67.8 percent ). Except Spidey and Black Widow had an excuse: the former’s second weekend fell on Christmas Eve, and Black Widow was launched on Disney+ PVOD at the same time.
According to Deadline, Doctor Strange 2 is experiencing negative press. The Sam Raimi-directed film received a B+ from critics, which puts it on level with Zack Snyder’s Batman vs. Superman: Dawn of Justice and Marvel’s own Eternals, both of which had a short runtime. Still, spare a thought for Marvel. Doctor Strange 2 is approaching $700 million worldwide and is expected to gross between $900 and 950 million when all is said and done. At the same time, that’s probably not the massive number Marvel had hoped for after the film’s explosive debut last week.
Firestarter, on the other hand, didn’t exactly set the box office on fire with a mediocre $3.8 million debut from 3,412 locations. The Stephen King adaption fell short of the original Drew Barrymore film, which grossed $4.7 million in 1,356 cinemas in 1984. The $12 million film received a C- CinemaScore and will most certainly vanish from the face of the Earth soon.
Downton Abbey: A New Era will be released next week, followed by Tom Cruise’s Top Gun: Maverick a week later. Will either of these flicks be a box office hit?
1.) Doctor Strange in the Multiverse of Madness (Dis) 4,534 theatres, Fri $16.7 million (-81 percent)/ Sat $26.5 million, Sun $17.7 million, 3-day $61 million (-67 percent)/Total $291.9 million/Wk 2
2.) The Bad Guys (Uni) 3,788 (-51) theatres, $1.68 million (-28 percent), $3.16 million (-28 percent), $2.06 million (-28 percent), 3-day $6.9 million (-28 percent)/Total $66.2 million/Week 4
3.)Sonic the Hedgehog 2 (Par) 3,116 (-242) theatres, Fri $1.03 million (-31%), Sat $2.1 million, Sun $1.42 million, 3-day $4.55 million (-24%)/Total $175.7 million/Week 6
4.) Firestarter (Uni) 3,412 theatres, $1.55 million (including previews), $1.38 million, $890 thousand, 3-day $3.8 million/week 1
5.) Everything Everywhere at Once (A24) 1,726 (+184) theatres, Fri $917,4K (-3%) Sat $1.36M, Sun $1M, 3-day $3.3M (-6%) Total $47.1M/Wk 8
6) Fantastic Beasts…Dumbledore (WB), 2,578 (-473) theatres, $640K (-38%) Friday, $1.08M Saturday, $700K Sunday, 3-day $2.42M (-43%)/Total $90M/Week 5
7).675 (-222) cinemas for The Lost City (Par). Wk 8: Fri. $470K (-25%), Sat. $765K, Sun. $530K, 3-day $1.73M (-37%)/Total $97.1M
8.) The Northman (Foc) 1,934 (-479) theatres, Friday $490K (-41%), Saturday $730K, Sunday $480K, 3-day $1.7M (-41%)/Total $31.1M/Week 4
9.) Family Camp (RSA) 854 theatres, $499K on Friday, $530K on Saturday, $398K on Sunday, $1.42M/week 1
10.) The Unbearable Weight of Massive Talent (LG) 1,076 (-255) theatres, Fri $291K (-31%), Sat $459K, Sun $300K, 3-day $1.05M (-33%), Total $18.2M/Week 4

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“Interview – ‘SEVERANCE’ Cinematographer ‘Jessica Lee Gagné’ on Apple TV+ Hit”
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Netflix has released the first details for Geeked Week 2022, a five-day virtual fan festival celebrating the streaming service’s highly anticipated film and television slate. The festival will begin on Monday, June 6 and conclude on Friday, June 10.
Along with the announcement, a fresh new Geeked Week trailer was released, which you can watch below and includes voiceover from David Harbour. The video gives a sneak peek at the amazing titles that will be included, as well as a few surprises. It includes new footage from Neil Gaiman’s Sandman series, including the first sight at Gwendoline Christie as Lucifer Morningstar.
Stranger Things, The Sandman, The Umbrella Academy, Resident Evil, First Kill, Manifest, Arcane, Alice in Borderland, and more will be included in Geeked Week 2022, as well as films such as The Gray Man, Day Shift, The School for Good and Evil, and Wendell & Wild. For the first time, details on the unique Netflix games will be shared at the event.
Each day will be jam-packed with cast announcements, talent appearances, trailer premieres, sneak peeks, surprise announcements, and more, with over 60 Netflix projects covered. The following is the schedule, along with the theme for each day:
Day 1 (Monday, June 6) – Series
Day 2 (Tuesday, June 7) – Film
Day 3 (Wednesday, June 8) – Animation
Stranger Things (Day 4) – Thursday, June 9
Games on Friday, June 10th (Day 5)
Jacob Bertrand, jstoobs, Jaeden Martell, Reece Feldman aka guywithamoviecamera, Ella Purnell, Tiffany Smith, Felicia Day, B Dave Walters, Geoff Keighley, and Mari Takahashi will be hosting Geeked Week 2022.
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The Boys Season 3 video has been published to promote Prime Video’s hit superhero series’ forthcoming comeback. It gives viewers a good glimpse at Jensen Ackles’ Soldier Boy and what they may expect from the series now that they’ve seen “the real” Homelander. The third season will premiere on Friday, June 3rd.
It gives viewers a good glimpse at Jensen Ackles’ Soldier Boy and what they may expect from the series now that they’ve seen “the real” Homelander. The third season will premiere on Friday, June 3rd.
The Boys is a satirical look at what happens when superheroes who are as well-known as celebrities, as powerful as politicians, and as venerated as gods abuse their superpowers instead of using them for good. The Boys embark on a heroic quest to discover the truth about the supergroup known as “The Seven,” pitting the weak against the powerful. While portraying the dark side of superhuman stardom and recognition, the programme keeps most of the comics’ boundary-pushing violence and eroticism.
Erin Moriarty, Antony Starr, Dominique McElligott, Jessie T. Usher, Chace Crawford, and Nathan Mitchell feature in the Amazon Studios series alongside Jack Quaid, Laz Alonso, Tomer Capone, Karen Fukuhara, and Karl Urban. Colby Minifie and Claudia Doumit.
Jensen Ackles (Supernatural) will play the infamous Soldier Boy, Katia Winter will play Little Nina, Miles Gaston Villaneuva (Law & Order True Crime) will play Supersonic, Sean Patrick Flanery (The Boondock Saints) will play Gunpowder, Nick Wechsler (Revenge) will play Blue Hawk, and Laurie Holden (The Walking Dead) will play Crimson Countess will play Crimson Countes
The series is produced by Evan Goldberg and Seth Rogen, who also created another subversive comic book-inspired series, AMC’s Preacher, and Supernatural creator Eric Kripke, and is based on the comic book series created by Garth Ennis and Darick Robertson.
Seasons 1-2 are available on Prime Video for streaming.

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ComingSoon had the chance to speak with cinematographer Jessica Lee Gagné about her work on the Apple TV+ series Severance. Gagné had an early and considerable influence on the appearance of Severance, owing to her collaborative working manner with Stiller. They have a strong creative connection and enjoy many of the same films, particularly from the 1970s.
Gagné also worked as the show’s sole cinematographer for all nine episodes, working as a creative force behind the show’s stunning look. It’s a huge accomplishment to keep that look for nine episodes, each of which is 40-57 minutes long. The effort was rewarded. Severance was renewed for a second season on April 6, just two days before the show’s critically acclaimed season finale, and it is now airing On Rotten Tomatoes, it has a near-perfect score of 98 percent.
Gagné, Jessica Lee: Oh, that’s a tough one. Well, I used to work and play in my father’s video store, and I used to go to the cinema with my family to watch a lot of movies, mostly American ones. That was a significant aspect of our lives. I believe I was unconsciously preparing myself to make movies. I had no idea making movies was a thing. My family had no artistic members, and no previous production expertise. So it took me a long to realise that this was a legitimate profession. When I was 17, I read about a college programme where you could study film and decided I wanted to pursue it Cinematography came later, when I was approximately 20 years old and at university in Montreal, when I realised I was obsessed with cameras and aesthetics and couldn’t seem to break free.
Gordon Willis was my biggest love in terms of cinematography when I realised I liked it midway through university — before that, it was more about directors for me. For me, his work, particularly with [Alan J.] Pakula, defined cinematography. It left a lasting impression on me.
My mind was set on accomplishing as much as you can — and doing it! — when I initially started. You’ll get better at it if you actually do it. Because I wasn’t receiving the outcomes I wanted and didn’t know how to use the tools, I was really oblivious to my work at first. I immediately began working as a cinematographer. Nothing else came to mind.
So, my first feature and short films – I worked on a lot of short films — were a lot of trial and error and learning how to accomplish things. I always went in not knowing what I was doing. I pretended that I knew what I was doing, that I was confident in my abilities, and that this helped me to succeed. But I got here through a series of projects. I didn’t make a lot of music videos or ads. I definitely did not take that route. I aspired to be a filmmaker. It’s what inspired me to pursue a career in this field. As a result, I began making short films that grew into longer features. And the fact that I was doing it helped speed things along I’m on my way in the world of fiction, and I’m confident about it.
Many young cinematographers, I believe, want to do nothing unless it’s perfect. “I just want to produce movies,” I said. My blunders seem to be everywhere. You can view them all. But it is because of those errors that I am the cinematographer I am today. I’m grateful for what I’ve accomplished.
No one has ever asked me that, yet it has completely changed my life. Because everything lead up to the next one, I was never scared by project duration or magnitude. Every endeavour led to the next or, in rare occasions, strange connections. I was always comfortable with the notion that I was continuously evolving and challenging myself. Escape at Dannemora was the first film that intimidated me, primarily because of the star power, but not because of the enormity of the sets, as I had previously worked on a large film in India with large sets and hundreds of workers. On set, there were occasionally around 300 individuals.
I keep having these incredible experiences, and I believe it’s because I’ve wanted to work on American films since I was ten years old. I grew up watching American television and knew I wanted to do bigger projects since they had an impact on me as a kid. It’s now intriguing to reassess what I’m looking for in terms of authenticity. But it’s what I’m used to and what I’ve grown up watching.
People don’t perceive that in me; instead, they see a person who comes from the Indie scene. I worked with a number of pretty obscure directors, but until I worked with Ben [Stiller], I never felt like I had a close connection.
, because he represents the direction I wanted to take as a filmmaker. This may be an overly heated discussion [laughs], but it’s where I feel most at ease. This kind of narrative is extremely familiar to me. I just noticed it.
I’d say Covid was the most difficult difficulty. Severance began before Covid, and I began in October of 2019. I had recently finished reading This Is America. We finished the New York section, and I immediately began looking for graphics for Severance. Not having a break was also difficult. The machine began to crank up, and we were about a month away from shooting when Covid struck, leaving no one in the dark. After that, returning to work with a staff that was terrified, no one knew what was actually going on. Then having to work in a situation where you’re constantly shooting and dealing with the stress of testing, worrying, “Oh my God, am I going to die?”
I’m not going to see anyone these days if I test positive; I’m going to be secluded.” The hardest aspect of Severance was the entire isolation component of Covid. Everything we accomplished was influenced by it.
Visual research is an important aspect of my work. I’m a visionary. That’s how I’ve always been. I immediately recognise the visual I’m looking for. I have similar feelings regarding cameras and lenses. When I first mount the lens on the camera, I conduct my own study. I have a gut feeling, and it all makes sense. I get quite enthusiastic.
At this photo expo, I discovered Tunbjörk’s book. Up until that time — it was the fall of 2019, and it was before I started working on the show in September – and I was doing a lot of different things.
“Oh my god, this is it,” I texted Ben almost immediately. Right now, I understand.” I hadn’t really grasped it, and when it did, it really opened up the possibilities for workplace photography. I also started looking at Lewis Baltz, who has a fascinating book called “Sites of Technology.” There’s a lot of the Severance aesthetic in there. Then I remembered Lynne Cohen, a photographer who I thought was extremely interesting back when I was at Concordia. She was an outstanding photographer.
When Ben, Jeremy (the production designer), and I bonded over these strange images, a lot of these imagery came through. “Oh my god, wouldn’t it be amazing to have a space with a water fountain?” I don’t know, but it was a lot of fun to look around. It felt as if I’d learned a new language.
I didn’t want to do Severance at first, but one of my requirements was that I shoot all nine episodes [laughs]. When Aoife [McArdle] came on and they split them up – Ben did six, Aoife did three – I was like, “Whatever happens, I need to shoot every episode.” Someone had to be present visually the entire time, I knew. Because Ben and Aoife shot at the same time, there were a handful of scenes I didn’t do that a friend of mine named Matt Mitchell came on to do. I’d pick which sequences I’d do with each of them based on their relevance, and Ben may sometimes override that, but ultimately
I wanted to participate in as much as possible. That was done to ensure that the show was always changing and that it made sense as a whole.
To return to your issue about being scared by a larger show, everything that inspires me to produce television is because of the episodes and volume of labour. I’ve done a number of short films, nine feature films, and this is my third series, and I’m looking forward to the challenge of changing throughout a show. Taking the audience on a journey and watching them visually grow during the process. It’s difficult to achieve that when you have five different directors and three cinematographers, as was the case on this film America, Mrs.
I believe that shooting all nine episodes made it easier. It taught Ben and me a great deal. It wasn’t always easy for Ben or Aoife, and I may have been selfish, but I believed it was ultimately what the programme needed.
I just did an interview and have mentioned it once or twice, but something interesting that happened on Severance — and I’m not sure if we ever fully expressed it to each other — was that we knew so much about what this show would look like that once we started doing it, it was like, “Yeah, yeah, yeah, that’s Severance.” We knew the inside environment was visually security-oriented, but I don’t think I comprehended how much the outside world was security-oriented. Inside Severance, there’s a continual sense of “You’re being watched,” and I think we did a great job with that. And there’s so much out there in the world… It’s simply different.

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