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Marvel’s ‘Black Panther’ Tops $500M After Record $65M Third Weekend

Published

7 years ago

March 4, 2018

umeektv

Black Panther just snagged a jaw-dropping $65.7 million in its third weekend of domestic release. That’s the third-biggest third weekend of all time, behind only Avatar ($69m in 2010) and Star: The Force Awakens ($90m in 2016). Both of those respective third frames occurred when the Friday was on New Years’ Day. Black Panther is thus the biggest third-weekend gross for a movie that didn’t have any holiday boost. If you want to adjust for inflation, the Black Panther’s third-weekend gross is the fourth-biggest of all time, behind only Spider-Man ($71m adjusted), Avatar ($79m adjusted) and Star Wars: The Force Awakens ($96m adjusted).

Oh, and that 41% drop is the fourth-lowest third-weekend drop for an MCU flick behind Iron Man (-37%), Captain America: The Winter Soldier (-38%) and Guardians of the Galaxy (-40%), all of which opened with over/under $100 million. Among $150m+ openers, it’s the fourth-smallest third-weekend drop behind only the last three Star Wars movies (all of which had year-end holiday boosts). Its current 17-day domestic total is now $501m, which is the third-biggest such figure (sans inflation) behind The Last Jedi ($517m in 2017/2018) and The Force Awakens ($742m in 2015/2016).

Like Jurassic World, it needed just 17 days to get to $500 million domestic, which will be one day slower than The Last Jedi and seven days slower than The Force Awakens. Boy, the studio that distributed Black Panther is gonna be pissed that it took longer to top $500m than those last two episodic Star Wars movies. In all seriousness, the ridiculous hold arguably implies that Black Panther will eventually catch up to The Last Jedi in day-to-day grosses. But it might take a moment, which just goes to show that year-end Christmas/New Years advantage.

Whether or not Black Panther catches up to The Last Jedi’s $619 million domestic total, it has already surpassed The Dark Knight Rises ($448m in 2012) and Avengers: Age of Ultron ($459m in 2015) to become the third-biggest grossing comic book superhero movie in North America. It sits behind The Dark Knight ($534m in 2008) and The Avengers ($623m in 2012). Putting aside inflation and 3D bumps for the moment, it’s now guaranteed that the Ryan Coogler-directed solo superhero flick will soon become the biggest non-ensemble superhero flick ever, thus making Chadwick Boseman America’s mightiest hero.

It has already passed Finding Dory to become the tenth-biggest U.S. grosser of all time, with a final landing spot of between seventh place and fifth place by the time it wraps up. Either way, this gives Walt Disney 15 of the top 30 domestic earners of all time, with 12 of those being in just the last six years. That’s a terrifying monopoly on the top-tier of mega-bucks franchises, which is why (all due respect), you might want to be rooting for Deadpool 2 and Jurassic World: Fallen Kingdom to kick unholy butt this summer.

Worldwide is just as impressive, even if it’s probably going to be one of those movies (like The Dark Knight, Wonder Woman or Rogue One) that makes more of its money in North America than overseas. That’s only because Black Panther is so obscenely overperforming in North America, again like Wonder Woman and the last few Star Wars movies. The picture has earned $897 million worldwide, meaning it should be past $900m worldwide tomorrow and over/under $1 billion by the end of next weekend. It is already the biggest comic book movie ever with no Bruce Wayne or Tony Stark to be found.

Among comic book superhero flicks, it sits behind only The Dark Knight ($1 billion in 2008), The Dark Knight Rises ($1.1b in 2012), Captain America: Civil War ($1.1b in 2016), Iron Man 3 ($1.2b in 2013), Avengers: Age of Ultron ($1.4b in 2015) and The Avengers ($1.5b in 2012). Yes, it’s going to make a play for Iron Man 3’s milestone as the biggest solo superhero flick worldwide. Yes, it’s thus-far tracking for a solid bow in China next weekend. No, it doesn’t need to hit a home run in China to prove anything. Come what may, Black Panther is already a glorious smash hit.

Your move, Teen Titans Go to the Movies!.

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FRGN-SPCMN’s RIDE AROUND THE SUN: A Masterpiece of Sound, Reflection, and Emotional Depth

Published

2 days ago

November 19, 2024

Music4U

North Carolina-based producer duo FRGN-SPCMN, composed of Ronnie Belle and André Jones, have crafted an album that feels as much like a personal diary as it does a universal meditation. RIDE AROUND THE SUN is a vivid exploration of life’s complexities, set against a backdrop of experimental beats, rich instrumentation, and hauntingly introspective lyrics. Known for their collaborations with Coast Contra and TDE’s Lance Skiiiwalker, as well as their contributions to Issa Rae’s Insecure soundtrack, FRGN-SPCMN have taken their own artistry to new heights with this release.

At its core, RIDE AROUND THE SUN is a reflection on the dualities that define our existence—pain and pleasure, chaos and calm, struggle and growth. The title track, featuring Mez and Ace Henderson, serves as the album’s emotional anchor. Mez’s poignant storytelling tackles systemic struggles and personal resilience, while Henderson’s smooth, reflective chorus encapsulates the perpetual search for peace and meaning. The lyric, “Round and round the sun again, I feel like I should go,” feels like a mantra for anyone grappling with the cyclical nature of life’s challenges.

The production throughout the album is strikingly cinematic. Inspired by a transformative trip to Joshua Tree, Belle and Jones weave together sounds that evoke the vastness of the desert. Tracks like “TO THE SKY” and “LOVE IN VEIN” combine earthy guitar riffs, subtle electronic flourishes, and layered percussion, creating a soundscape that feels both grounded and surreal. The duo’s ability to create space within their music allows listeners to lose themselves in its expansiveness while connecting deeply to the themes it explores.

What sets this album apart is its pacing and cohesion. FRGN-SPCMN have mastered the art of creating a narrative arc within their music. From the contemplative opener (“DAWN”) to the meditative closer (“CABANA BLUE”), each track feels intentional and interconnected. The tempos remain largely laid-back, but there’s an underlying tension—a pull that mirrors the unpredictability of life. It’s the kind of album that rewards repeated listens, with new details revealing themselves each time.

Beyond the sonics, RIDE AROUND THE SUN is a call for empathy and understanding. The duo’s message is clear: while our individual journeys may differ, we are all passengers on this shared ride around the sun. It’s an album that doesn’t just entertain but challenges the listener to reflect on their place in the world.

In a time when music often feels disposable, FRGN-SPCMN have delivered a project that demands attention and reflection. RIDE AROUND THE SUN is a masterpiece of sound and substance—a reminder of the beauty and complexity of the human experience. For those seeking depth, emotion, and artistry, this album is not to be missed.