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Box Office Mojo – The Business of Hollywood Thread
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I liked Apocalypse.
….somethingsomethingOscar Isaacsomethingsomething…
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“Tired of criticising Batman Vs Superman? Longing to direct your vitriol elsewhere? Fox proudly presents to you Dark Phoenix, the X-Men movie so shit we didn’t even want to put the X-Men name on it!”
Now that’s advertising that’ll put some bums in seats.
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Take that and multiply it by ten and you get New Mutants.
Yeah, I’m still convinced that New Mutants film is the biggest troll of cinema history… like, how long are they gonna keep moving it around in the schedule??? they should’ve put it in VOD/D+ a loooooong time ago… okay granted, this last one wasn’t their fault, but how much you wanna bet this ain’t gonna be the last delay?
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Jon, are you comparing New Mutants to the looooooong-awaited Snyder Cut?
No, because no one cares about the New Mutants =P
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#releasethemutantsnyder
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Slow and Furious: Inside Vin Diesel’s Long Battle For Street Cred at the Producers Guild
Actor Vin Diesel has been mired in a years-long struggle for an illustrious credit from the Producers Guild of America for his contributions to the billion-dollar “Fast and Furious” movie franchise, numerous sources tell Variety.
A cryptic Sunday night Instagram post from Diesel about “mitigating a war” with the PGA, a trade association representing film and TV producers, was only the latest round in a fight that has ensnared the likes of NBCUniversal Vice Chairman Ron Meyer and added to a long history of family drama in the high-flying action films.
The struggle boils down to Diesel’s desire for the Producers Guild of America’s mark of distinction, an addendum to a film credit that signifies to the industry and audiences that a producer has been verified as a substantial contributor in the making of a movie.
Diesel has attempted to receive the mark for nearly every film in the “Fast” series, sources said, which have grossed over $5.9 billion worldwide to date. He has consistently been denied and sought appeals, which have turned ugly. In his Sunday post, Diesel called the group “the prejudice guild of America.”–SNIP–
Diesel has had many powerful friends appeal directly to the PGA and its executive director Vance Van Petten, said three insiders familiar with the calls, including Meyer. While the elder statesman of NBCUniversal is one of the honorary creators of the mark, his pleas have not altered the guild’s rigorous determination process. That process, by the way, prohibits oral testimony from the producer seeking the mark.
The PGA mark appears after a producer’s name almost always in end credits, branded with the letters “p.g.a.” The most important function of the mark is that it makes someone eligible to receive the Oscar for best picture, a prize that goes to producers. On the studio level, producers with the mark are often entitled to early and increased bonuses based on box office performance and award nominations.
“Vin is a complicated guy,” sighed one executive familiar with the “Fast” franchise.
–SNIP–
But the idea that Diesel is active in the daily slog that gets the movies made — films where Mustangs drop out of aircraft carriers and land safely on mountaintops — is dubious to people involved in these projects. Diesel “leans in” to behavior typical of star talent, despite being listed on call sheets as a producer, said two sources familiar with numerous “Fast” productions. That behavior includes arriving hours late on pricey stunt days, said one source, behavior that costs time and swells budgets — two of any producer’s biggest obstacles.
The vetting process for the producers exists for that very purpose, the PGA states plainly on its website.
In determining eligibility, the guild “may contact key creative participants and department heads (e.g., writer, director, casting director, unit production manager, production designer, cinematographer, post-production supervisor) to obtain confidential information” about the level of work contributed by a producer, the rules say. The process is also entirely anonymous.
–SNIP–
“It’s clear that Vin wants this, and is willing to get dirty,” concluded another source.
Slow and Furious: Inside Vin Diesel’s Long Battle For Street Cred at the Producers Guild
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#releasethenewmutantssnydercut
I think we need more Snyders Cut. Snyder Cut of Citizen Kane, Snyder Cut of Three Colours Red, Snyder Cut of Eraserhead. These companies are sitting on literal goldmines!
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#releasethenewmutantssnydercut
I think we need more Snyders Cut. Snyder Cut of Citizen Kane, Snyder Cut of Three Colours Red, Snyder Cut of Eraserhead. These companies are sitting on literal goldmines!
Snyder cut of My Dinner with Andre or GTFO.
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The Godfather Part II The Synder Cut with commentary by Francis Ford Coppola?
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Snyder cut of My Dinner with Andre or GTFO.
Snyder cut of MY dinner last night!
(I had asparagus so at least he has some phallic imagery to play around with.)
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Disney parks could burn through $27 million a day amid COVID-19 pandemic, analysts warn
An analysts report from Wells Fargo Securities entitled ‘Thanos Returns as Coronavirus’ estimates that the shuttering of Disney resorts around the globe amid the COVID-19 pandemic could cost the Disney Parks, Experiences and Consumer Products division up to $7.5 billion in operating income over the next three quarters.
The COVID-19 challenges for the Disney parks division of the Burbank-based company are still being fully understood, according to the Wells Fargo Securities analyst report.
“It’s a long road ahead,” according to the Wells Fargo report. “We think this is the end of the beginning of the coronavirus impact, not the beginning of the end.”
All but one of Disney’s 12 theme parks around the world remain closed due to the global COVID-19 pandemic. The Shanghai Disneyland theme park in China reopened on May 11 with a severe attendance cap in place and stringent COVID-19 health and safety protocols.
Operating expenses at Disney’s domestic parks run at approximately $1 billion per month, according to Wells Fargo Securities analysts. Furloughing Disney theme park employees and implementing other cost-cutting measures saved the company approximately $333 million a month, according to the report.
–SNIP–
The Disney Parks, Experiences and Consumer Products division includes the company’s theme parks, Disney Cruise Line, Disney Vacation Club time-share program, Adventures by Disney vacation planning service and Disney stores.
–SNIP–
Strong demand for Shanghai Disneyland tickets is a good sign for Disneyland’s eventual reopening, according to Imperial Capital analyst David Miller.
“I would say it generally bodes well for Disneyland because Disneyland is more of a local visitation Disney park,” Miller told the Hollywood Reporter. “But there are no guarantees.”
Shanghai Disneyland’s positive early reception is not necessarily good news for Disney World, according to Miller.
“You can’t look at Shanghai and say, ‘This is how it’s going to go down in Florida,’ because in Florida, you have to fly there,” Miller told the Hollywood Reporter. “Orlando is a multi-headed monster. It completely dwarfs any other park operation in size and scope. But the trick for Disney is most people have to fly there.”
Reopening dates have not yet been announced for Disney’s theme parks in California and Florida.
Disney has ample cash and resources to weather the COVID-19 storm with approximately $14 billion in cash on hand and access to another $9 billion, according to the Wells Fargo report.
The Wells Fargo Securities forecast projects the Disney Parks, Experiences and Consumer Products division will generate no revenue through the end of the 2020 fiscal year. Theme park attendance is projected to be cut in half during the 2021 fiscal year, according to the report.
“Depending on the response to the pandemic and availability of vaccines, our estimates could prove overly positive or negative,” according to the Wells Fargo report.
Disney parks could burn through $27 million a day amid COVID-19 pandemic, analysts warn
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Oh yeah Disney’s FY2020 is fucked. Probably everyones is, but Disneys isssss.
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Yes, poor Disney, what will they do?
Oh wait…
Disney has ample cash and resources to weather the COVID-19 storm with approximately $14 billion in cash on hand and access to another $9 billion, according to the Wells Fargo report.
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It would be great to see Disney argue in favour of a government bailout.
“How can society function without at least six superhero movies per year?”
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Not a surprise:
Strong VOD Numbers for ‘Capone’ Can’t Cover Costs for a Busted Theatrical
Its performance has been quite good. It started strong (as high as #2 at iTunes, in its second week still #5), and revenue will likely increase after its initial availability at $9.99 decreases to $5.99, which is where Vertical prices most of its releases. However, these results don’t suggest VOD is a viable alternative to theatrical. At this point, all the metrics suggest it’s far from being a money-making proposition.
The reported budget on “Capone“ (a mostly Canadian production, which likely reduced the cost) came in at over $20 million, and was made with the expectation of a theatrical release. It was filmed in spring 2018, with initial publicity (including early stills of Hardy’s extreme transformation) over two years ago. According to sources, the completed film went to multiple distributors, with no deal forthcoming. (One source tells IndieWire this was likely more than a year ago). Concerns included the (correct) guess that this would not have the review or festival support often vital for independent projects. (Metacritic has it at a mixed-negative 46 score).
Analyzing financials for any given VOD is challenging with no real box-office analog, but here’s what we can gauge: The $2.5 million taken in so far will see Vertical collect perhaps 75 percent, or $1.8 million. We don’t know the details of their deal with the producers (who include early Quentin Tarantino partner Lawrence Bender), but figure they will get the bulk of that since it’s likely Vertical didn’t pay a high price for the rights (if they did, they’d have that money returned first).
That leaves the production company collecting perhaps $1.5 million from rentals so far. It’s still seeing interest after 10 days, but initial response is usually the strongest. “Capone” could double its take, possibly more with the likely price reduction. At the high end, this might means a $4 million-$5 million return.
For a VOD-play release, that would be excellent. But it still would leave the film more than $15 million in the hole.
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That must be frustrating for Trank.
He probably figures Capone can be his redemption
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I’m not sure if most people are ready and willing to go and sit in a room with multiple strangers for 2+ hours at this point, but I guess reopening would at least give them the option.
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Or maybe they’re just thinking of going “old-school” and release Tenet, then leave it for 6 months on screens… it won’t break any weekend records, but it will eventually do what it was gonna do. I mean, it’s not like there’s a lot of high profile movies coming out either way… so they could probably just leave it there for a bit.
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It’s a fair point Jon. They mention in the story about changes to the way they schedule the slots, which to me suggests running the big movie over more theatres. With very little else out you could work with limited seating and not every region opening up and just let it run.
Like I mentioned the Trolls movie on VOD running against zero competition on new material that could be in the cinemas too. If only Tenet is out then it dominates every headline and fills more screens.
The less than normal circumstances could change the normal scenario, like Avatar did with limited 3D screens. That film didn’t come close to any opening weekend records, it just ran and ran.
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Ah, I see what you’re saying a bit clearer now.
Let’s assume cinemas open up in a limited capacity. This could be done (but perhaps not very effectively) by taking peoples temperature before letting them in, have mandatory face masks (although “no eating” would be a severe blow to the cinemas economic standings) and limited, distanced, seating.
If they go the route of distanced seating it could open up for movies being shown for quite a longer time in theatres than what we’re used to. No less because there are fewer movies being produced right now. Maybe that in turn would open up for re-releases of older films if cinemas can find a way to resume business.
Tenet is obviously not going to VOD or anything like that as Nolan has a severe case of cinephilia, and given the popularity of his movies it seems likely that that movie will be the testing grounds for whatever changes to cinema culture is to come during this crisis.
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The truth is we don’t know enough right now about how this virus transmits but in all honesty this is pretty much exactly what is being proposed and carried out for schools, they’ll be indoors but fewer people and spaced out. They are opening everywhere. I appreciate schools have a more vital role than watching Fast & Furious 9 but that doesn’t seem to be the argument being made.
We’re essentially grabbing at arbitrary numbers of whether 10 is ok in a 50m squared room and 50 in a 500m squared room isn’t. We’re told that droplets from mouth and nose won’t move further than 2 metres so shouldn’t good air circulation potentially make it worse?
I do think gigs and sporting events are actually different, they are very hard to control. A cinema has a single entry point and stationary punters, it’s a lot closer to a restaurant and I went out tonight and had a meal at one. (Admittedly the Covid situation here is much better than most of Europe or the USA).
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it’s a lot closer to a restaurant and I went out tonight and had a meal at one.
BASTARD!!
What did you order?
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I didn’t, it was a chef’s selection tasting menu.
Course 1 – Dungeness Crab with avocado
Course 2 – Iceplant salad
Course 3 – Three mushroom soup
Course 4 – Iberico pork chop
Course 5 – Caramel chocolate cake
Plus a lot of Catalan red wine.
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It adds a nice orange glow.
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Yeah and that’s the big variable and risk involved. Don’t get me wrong that I think all cinemas globally should open in July and Tenet will be a big hit playing to packed houses.
It’s just that eventually they will open as part of the ‘new normal’, and that will vary globally based on how the virus is being contained and the more random ‘feeling’ of various governments. The lower the numbers are the less people will regard it as a risk. There’s a high chance we may see something a bit closer to the staggered releases of 20 odd years ago, one territory could get a movie 2 months later. If a second wave comes then it all shuts down again but we don’t know.
China in fact already opened them on May 8th (with capacity limits etc.).
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You should lock yourself in for the safety of everyone else.
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Thailand re-opened cinemas today:
For context Thailand has had 57 deaths from Covid, compared to thousands or tens of thousands in most of Europe and Americas. That may or may not be connected to the high level of mask wearing although this photo doesn’t reveal how they’ll keep them on in this scenario and eat those two massive buckets of popcorn the couple in the front are holding.
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It isn’t popcorn in those buckets — it’s the daily dosage of hydroxychloroquine that they’ve been taking since the Coronavirus became a threat. That’s the REAL secret of the low death count in Thailand.
My president says so, so it must be true!!
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The Netherlands have re-opened cinemas and theatres but with a maximum of 30 people.
Looking again at the Thai picture I think they are also similarly restricting, I can’t imagine they split out one row with two vacant seats and the next is anything goes so I think those empty unmarked rows are also restricted.
As we get them back I think it will depend on the R rate locally and also with that kind of limitation in numbers.
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As we get them back I think it will depend on the R rate locally
Some of them might be PG-13 too.
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What about outdoors if the air isn’t moving? It’s dead calm here without even a hint of a breeze. Should I lock myself in?
I don’t think it matters all that much. The air outside isn’t really dead calm even if we can’t feel the wind, and the aerosol will still disperse and not fill the room, as it will when there’s fifteen people in a mid-sized room for one and a half hours.
Which, hey, will you look at that? That’s my job description right now! Hooray!
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Age Be Oh No
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One of many wrinkles that still need to be worked out: HBO Max remains unavailable on Roku or Fire TV.
And internationally… Don’t blame me when the Snyder cut comes out =P
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Here’s an amusing box office story: These filmmakers shot a short horror film over Zoom, then took advantage of a loophole and rented a theater, bought out every seat & screened it for no audience so they could say they had the #1 movie in America https://t.co/hJ9i5swuan pic.twitter.com/dHpAiQx0gk
— Erik Davis (@ErikDavis) June 18, 2020
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As per their wishes, Quibi will be buried vertically.
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As per their wishes, Quibi will be buried vertically.
And the funeral will take less than five minutes.
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There was a great article a couple of months ago about Quibi that was doing the rounds, that featured interviews with Katzenberg that showed he didn’t have a clue what was going on… can anyone remember where I read it? It was on one of the bigger entertainment/tech websites like Wired or Vulture or somewhere.
EDIT: Found it. It’s a great article for fans of schadenfreude, packed with spicy behind-the-scenes stuff like this:
Katzenberg is on his phone all the time, but he is also among the moguls of his generation who have their emails printed out (and vertically folded, for some reason) by an assistant. In enthusing about what a show could mean for Quibi, Katzenberg would repeatedly invoke the same handful of musty touchstones — America’s Funniest Home Videos, Siskel and Ebert, and Jane Fonda’s exercise tapes. When Gal Gadot came to the offices and delivered an impassioned speech about wanting to elevate the voices of girls and women, Katzenberg wondered aloud whether she might become the new Jane Fonda and do a workout series for Quibi. (“Apparently, her face fell,” says a person briefed on the meeting.)
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Conceptually, Quibi wasn’t a terrible idea. Short form content for on the go viewing. For the most part, that’s YouTube. It would be a great supplement to an established streaming service like Netflix, Hulu, et al. The big providers have apps for phones and that type of material is great for that. For the most part, people aren’t going to watch a 30 minute or longer program on their phone but a 10 minute show will probably get eyeballs. For a bonus, tie it into a popular show on the service like the Short Treks CBS did for Star Trek.
But paying $5 per month for just short form content? Again, YouTube is free. I’m still not sure they would have made it even if they had at least two hit shows.
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It’s not just YouTube it was competing with, but TikTok as well. But they never acknowledged that they were in the same marketplace. What’s more, there was no ability to share Quibi content – you couldn’t even screencap their shows. They were completely clueless to the power of memes, which rely on just that.
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On the flipside, an alternative to youtubes market monopoly IS sorely needed, so points to quibi for trying.
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But youtube’s market is primarily still, well, youtube. People posting videos. That’s not what Quibi was trying to do, it wanted to be Netflix for phone content, which is something I very much have my doubts anyone needs, and they went about it in the dumbest way possible.
I think it’s actually a combo of the two. What they were offering was definitely more on the Netflix model but the audience they were looking for, young people used to viewing content on their phones, are using Youtube.
Youtube themselves though tried original paid for content and it didn’t work – so that gives you a basic idea how doomed it was – even with an already massive userbase they couldn’t sell the idea so what chance did Quibi have?
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Yeah, I’m surprised how much Cobra Kai has blown up in the few weeks it’s been on Netflix compared to the years it was available on Youtube.
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HBO Max, which launched on May 27, costs $14.99 per month, though current HBO subscribers with select cable providers (along with HBO Now subscribers) were given immediate access to the service at no additional cost. One of many wrinkles that still need to be worked out: HBO Max remains unavailable on Roku or Fire TV.
Roku has no workaround (I don’t have Roku, though) but Amazon Firestick uses an android platform so it is relatively easy to download the HBOMax app manually. You just need to go online to find the correct address and use the Downloader app.
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I wonder if that’s because people wanted to see it but not enough to pay for a YouTube premium service. Now that it’s available on Netflix, which many people already pay for, they’re excited because they can watch it now.
I think a lot of people just only know shows that are on Netflix.
The same thing’s happening with Evil, I’ve seen a lot of Americans talk about it in the last few days since it went up on Netflix, not knowing that it aired on regular TV a year ago.
Schitt’s Creek is probably the biggest example, going from a show that basically nobody ever heard of in its first few seasons to having the biggest-ever sweep at the Emmys.
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Yeah, I’m surprised how much Cobra Kai has blown up in the few weeks it’s been on Netflix compared to the years it was available on Youtube.
I wonder if that’s because people wanted to see it but not enough to pay for a YouTube premium service. Now that it’s available on Netflix, which many people already pay for, they’re excited because they can watch it now.
There’s that but also the fact that Youtube Red/Premium wasn’t available in most parts of the world at that time (Still isn’t?)… So yeah, it makes sense it got more attention with Netflix.
Also, one of the main reasons to get that premium youtube thing is watching videos without ads, something anyone can already do for free with an ad blocker…
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When Warner Bros. announced that “Wonder Woman 1984” would land on the streaming service HBO Max on Christmas, the same time it debuts in theaters, many expected it to be an isolated case in response to an unprecedented pandemic.
Instead, the studio will deploy a similar release strategy for the next twelve months. In a surprising break from industry standards, Warner Bros.’ entire 2021 slate — a list of films that includes “The Matrix 4,” Denis Villeneuve’s “Dune” remake, Lin-Manuel Miranda’s musical adaptation of “In the Heights,” Sopranos prequel “The Many Saints of Newark,” and “The Suicide Squad” — will debut both on HBO Max and in theaters on their respective release dates. The shocking move to simultaneously release movies day-and-date underscores the crisis facing movie theaters and the rising importance of streaming services in the wake of a global health crisis that’s decimated the film exhibition community.
Warner Bros.’ 2021 release slate also includes Denzel Washington’s thriller “The Little Things,” biographical drama “Judas and the Black Messiah,” a remake of “Tom and Jerry,” “Godzilla vs. Kong,” video game adaptation “Mortal Kombat,” “Those Who Wish Me Dead,” “The Conjuring: The Devil Made Me Do It,” “Space Jam: A New Legacy,””Reminiscence,” James Wan’s “Malignant” and sports drama “King Richard.”
In the short term, the move will inject some welcome buzz into HBO Max, a Netflix challenger that launched last spring without generating much sizzle. One of WarnerMedia’s key rivals, the Walt Disney Company, has strengthened its share price because of its investment in streaming offerings such as Disney Plus even as its core theme parks and film businesses have cratered. WarnerMedia and its corporate parent AT&T are likely making the move with an eye towards pleasing Wall Street.
Like “Wonder Woman 1984,” the films that Warner Bros. plans to release in 2021 will be available to HBO Max subscribers for 31 days. After the one-month mark, those movies will only play in theaters until it reaches the traditional home entertainment frame. From there, people can rent through online platforms like Amazon, iTunes or Fandango. It’s unclear when any titles will return to HBO Max.
WarnerMedia chair and CEO Ann Sarnoff referred to the model as a “unique one-year plan.” Executives at the company have stressed the initiative isn’t expected to continue into 2022 or beyond — it’s considered a temporary solution in response to the ongoing global heath crisis.
“We’re living in unprecedented times which call for creative solutions, including this new initiative for the Warner Bros. Pictures Group,” Sarnoff said in a statement. “No one wants films back on the big screen more than we do. We know new content is the lifeblood of theatrical exhibition, but we have to balance this with the reality that most theaters in the U.S. will likely operate at reduced capacity throughout 2021.”
“With this unique one-year plan, we can support our partners in exhibition with a steady pipeline of world-class films, while also giving moviegoers who may not have access to theaters or aren’t quite ready to go back to the movies the chance to see our amazing 2021 films,” she continued. “We see it as a win-win for film lovers and exhibitors, and we’re extremely grateful to our filmmaking partners for working with us on this innovative response to these circumstances.”
Variety reported earlier this week that Warners. was considering sending several films to HBO Max and theaters day-and-date. But the studio opted to move forward with the rest of its upcoming slate because the film landscape is only getting rockier as the pandemic worsens and parts of the United States consider implementing new stay-at-home orders. The idea that people will return to the movies anytime soon is looking more and more like a distant dream as the pandemic nears the one-year mark. It’s also unclear what kind of distribution footprint will await studios on the other end of the pandemic. More than 60% of U.S. theaters have closed down again, and that number could continue to rise if cases continue to spike around the holidays. Those that remain open teetering on the edge of bankruptcy. As a sign of these troubles, just hours before Warner Bros. disclosed its plans, AMC announced that it was selling up to 200 million shares of stock in an effort to raise as much as $834 million and shore up its liquidity.
To get theaters on board and allow Warners to break their theatrical contract for “Wonder Woman 1984,” the studio is giving cinemas a more generous cut of ticket sales. Theater chains are receiving as much of 60% of revenues. But sources say that won’t be the case for upcoming releases.
Thursday’s announcement from Warner Bros. is yet another example of just how dramatically the coronavirus crisis has shifted the power dynamic between studios and theater operators. Even with promising vaccines having completed clinical trials, the latest move by Warner Bros. suggests the balance may never return in favor of exhibitors.
Months ago, Universal Pictures took an axe to the theatrical window — industry parlance for the amount of time a new release plays exclusively in theaters. But in comparison, Universal’s terms of agreement with movie theater chains AMC and Cinemark make them look like downright martyrs. Under those pacts, the studio can put new movies on premium video-on-demand platforms in as little as 17 days. Films that generate at least $50 million in opening weekend ticket sales, however, will have to play exclusively in theaters for 31 days, or five full weekends. Traditionally, new releases remain on the big screen for 75 to 90 days before they move to digital platforms for a $19.99 rental fee. Universal has agreed to give the two circuits a cut of digital sales to get them to play ball. It’s not clear if theaters will receive any benefits from Warner Bros.
Warner Bros., perhaps more than any of its rivals, knows how unforgiving the theatrical market can be amid a pandemic. When the studio released Christopher Nolan’s “Tenet” in September in an attempt to revive a nationwide return to moviegoing, the $200 million-budgeted sci-fi epic mostly fell flat. “Tenet” generated substantial ticket sales overseas, but returns were lackluster in the United States. As a result, the movie is expected to lose many millions.
In an interview with Variety, studio chief Toby Emmerich said the hybrid plan came about after exploring various options for “Wonder Woman 1984.” The international box office has significantly rebounded and even fielded some massive hits in China and Japan. Alternatively, the domestic market hasn’t seen any movie come close to blockbuster levels in terms of ticket sales. HBO Max is only available in the U.S.
“We thought it could be a win-win and give the consumers the best choice,” he said. “Unfortunately, the U.S. has been one of the most hobbled markets in terms of theatrical. Outside the U.S., in places like China, South Korea, Japan, parts of Western Europe, our films will only be available in theaters. We think those markets can perform better.”
“After considering all available options and the projected state of moviegoing throughout 2021, we came to the conclusion that this was the best way for WarnerMedia’s motion picture business to navigate the next 12 months,” said WarnerMedia CEO Jason Kilar. “More importantly, we are planning to bring consumers 17 remarkable movies throughout the year, giving them the choice and the power to decide how they want to enjoy these films. Our content is extremely valuable, unless it’s sitting on a shelf not being seen by anyone. We believe this approach serves our fans, supports exhibitors and filmmakers, and enhances the HBO Max experience, creating value for all.”
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Wow, that’s huge. It’s a shame HBO Max doesn’t have a bigger overseas presence as this would probably get me to sign up.
If they handle it like Wonder Woman I guess it will be an initial theatrical release here with a shortened window before it hits VOD.
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