Most people don’t want to see a movie underperforming at the box office. I think that despite the “wake up, go bust” rhetoric of a few people on social media, most see the value in consuming and identifying with the stories of people who may not be like them or who share their way of life. So, when a movie like brother, featuring an underrepresented population was unsuccessful.
Bros’ bleak opening at just $4.8 million — and ) A stunning string of tweets from writer star Billy Eichner — sparked a question about why well-censored gay rom-coms fail if audiences feel obligated to go to theaters to prove they want to see inclusivity.
Eichner frustrated with opening ,
turned heads on Twitter on Sunday,” Straight people, especially in certain parts of the country just don’t show up in Bros.” followed by “everyone who’s not a gay geek should watch tonight Brother .”
Has the tweet been well received. Eichner’s tweets feel more like finger shakes, then moral confrontations, rather than invitations with a bit of warning, and if you compare them to Viola Davis’ more polite plea last month, see QUEEN: “If you don’t throw money at opening weekend, you’re not going to see black women leading movies anymore.”
I’m sympathetic to the situation. It’s bad for an audience who is passionate about something and doesn’t see the willingness to meet that passion. However, I think it’s clear from the numbers that the box office doesn’t just boil down to heterosexuality, or homophobia.
Some critics think people are being turned away by a line in the trailer that says straight “runs well”, although I think any straights offended by the joke Wouldn’t have seen this movie anyway. What Eichner overlooks is that a substantial LGBTQ community has also not emerged. Whether it’s because the film didn’t appeal to the millennial and Gen Z audience that drove the box office, or because it was released in October alongside Paramount’s critically acclaimed horror film, smile, Bros didn’t make a convincing case for a movie that had to be in theaters, even though people did agree that there should be more LGBTQ+ roms – coms. But that’s comedy.
While Bros didn’t have any major stars as box office hits, the movie was directed by Judd Ahn Directed by Pato and Nicholas Stoller. The former sets the standard for comedy in 21 Anchor (2004), This2000-year-old virgin(2005), very bad(2007 ), Bridesmaids (2004), and later Blockbuster Comedy Forget Sarah Marshall (2011) and Neighbor(2014).
It’s easy to see why Universal and Eichner, best known for his role on TV, might be expecting an opening similar to Apatow’s R-rated rom-com Trainwreck
, starring Amy Schumer, another comedian who can’t put it down, has a strong personality and is well known in the television world. That movie was 21 million dollars 21. But not anymore 2015, comedy has been on a downward trend in terms of actually attracting audiences to theaters.
When Lionsgate’s Seth Rogen, Charlize Theron-led romantic comedy, Long Shot It was all too clear when it came to underperformance in the restricted office, leaving Hollywood studios and pundits stunned about the future of theatrical comedy. If Logan, a21st century comedy icon, and the beloved Oscar winner Theron can’t sell a single movie, what hope does anyone else have? Even so, Long Shot opened at $9.7 million, a figure that is likely to be the champagne provided by Universal for Bros, despite the price Cheap achieved just as much.
It’s becoming increasingly clear, even more so during a pandemic, that comedy no longer often plays a role in drawing crowds. It’s a disappointing reality, but if people go to the movies, yes, still risk COVID, they want to see spectacles like Sandra Bullock and Channing Tatum’s recent hit adventures rom-com, Lost City . If audiences are going to be drawn to theaters by comedy, they want Comedy+, they can get it from most Marvel movies, quite a few horror movies, Scream, not , barbarian , even like Top Gun: Maverick .
even like Crazy Rich Asians ( Movies like this ), which not only achieved box office success with Asian audiences, but also provided an enticing opportunity to see Singapore’s wealth and director Jon M. Chu’s visuals on screen. spectacle element. Most comedies and romantic comedies, if they’re not high-concept, present themselves as movies that feel like they’re ready to stream.
When Hulu released Clea DuVall’s lesbian Christmas romantic comedy Happiest Season starring Kristen Stewart , it dominated social media chatter over the Thanksgiving weekend of 2020. Apatow’s Pete Davidson comedy, The King of Staten Island, was released simultaneously in streaming and theaters earlier that summer. Recently, Davidson and Kaley Cuoco’s rom-com Meet Cute premiered at Peacock. If Bros premieres on Universal’s Peacock service as well as in theaters at the same time, it’s sure to attract a larger audience and thus more social media chatter.
It’s hard to break the notion that a theatrical release is the best measure of success. But it’s clear that streaming has become a place where comedy can flourish, and it’s easier for people to express their support for representation of a genre they do care about, and they don’t feel the need to see it in theaters at all.
If the theatrical experience is so important to this film, I think Bros the star and filmmaker can get from Black community that bought theaters for movies like Get Out, Black Panther, Queen & Slim and The Woman King, invite people to watch movies for free and spread the good news.
Someone pointed out in a twitter conversation the other day that I was flagged, watching movies is not a charity, and viewers are not obligated to watch movies to prove their worth. But I think watching movies and making sure to support inclusive films can benefit from a more charitable way of word of mouth. Whether through streaming or buying screentime, studios and creators have the opportunity to build a community around the films they want to ensure success.