Tyler Perry’s final Madea release was not enough to unseat Universal’s “How to Train Your Dragon” trilogy-ender at the box office this weekend.
“How to Train Your Dragon: The Hidden World” maintained the top spot after two weekends at the box office, adding $30 million for a cumulative $97.7 million, according to estimates from measurement firm Comscore.
Lionsgate’s “A Madea Family Funeral” opened at No. 2 with $27 million, above analyst predictions of $18 million to $20 million. It earned a 24% “rotten” rating on Rotten Tomatoes. “Madea,” however, on 1,800 fewer screens, had the higher per-screen average, $11,077, to “Dragon’s” $7,010.
The final movie in the long-running series, “A Madea Family Funeral” is Perry’s biggest opening since 2010’s “Why Did I Get Married Too?” opened with $29 million. The previous year, “Madea Goes to Jail” opened with $41 million, his highest opening.
Perry’s Lionsgate deal kicked off with 2005’s “Diary of a Mad Black Woman,” which grossed $50 million despite having a micro budget. “A Madea Family Funeral” is the 11th theatrical film to feature Perry as Madea over the course of 14 years. The Madea films have grossed more than $500 million to date.
In third place, Fox’s “Alita: Battle Angel” added $7 million in its third weekend for a cumulative $72.2 million.
At No. 4, Warner Bros.’ “The Lego Movie 2: The Second Part” added $6.6 million in its fourth weekend for a cumulative $91.7 million.
Following three Oscar wins, including best picture, Universal’s “Green Book” crept back into the top five after 16 weekends in theaters, adding 1,388 locations (the largest theater increase a best picture nominee has ever received the weekend following the ceremony) and $4.7 million for a cumulative $75.9 million.
This weekend’s haul is the third biggest weekend gross for the film. Ticket sales were at a high during the film’s initial wide release expansion in late November and again in late January in the wake of its five Oscar nominations.
Other Oscar winners that saw a notable bump this weekend include Sony’s animated feature winner “Spider-Man: Into the Spider-Verse,” which added 1,661 locations (for a total of 2,404) and $2.1 million in its 12th weekend for a cumulative $187.4 million and Warner Bros.’ “A Star Is Born,” which added 490 locations and $1.8 million in its 22nd weekend for a cumulative $213 million.
Also new this week, Focus Features’ “Greta” opened at No. 8 with $4.6 million, just below analyst predictions of a soft $5-million opening.
The dark mystery stars Isabelle Huppert and Chloe Grace Moretz as a pair of New York transplants who bond over a sense of loneliness. It earned a 58% “rotten” rating on Rotten Tomatoes.
In a limited IMAX release, Neon released the documentary “Apollo 11” in 120 locations with $1.6 million, a per-screen average of $13,750. The film opens in traditional theaters next week.
A24 released Gasper Noe’s “Climax” in five locations with $121,655, a per-screen average of $24,331.
Next week, Disney debuts the highly anticipated “Captain Marvel,” starring Brie Larson and Samuel L. Jackson, which is expected to give the box office a much-needed jolt. The year-to-date total now trails 2018 by 25.8%.
Unveiling a name change for the limited series, Netflix has dropped the first teaser for When They See Us, Ava DuVernay’s scripted, four-part project on The Central Park Five. The release coincides with the 30th anniversary of the incident.
In a statement, Netflix says in part: “The media dubbed the men The Central Park Five and they were forever linked to that name. The new title aims to break them free from that moniker. This is a story told from the perspective of the five men. It is important to everyone involved in the project to give these men an opportunity to tell their story and the series should have a title that represents their story.”
“In 1989, five Black and brown teen boys were wrongly accused of a crime they did not commit and branded The Central Park Five, a moniker that has followed them since that time. In 2019, our series gives the five men a platform to finally raise their voices and tell their full stories. In doing so, Korey, Antron, Raymond, Kevin and Yusef also tell the story of many young people of color unjustly ensnared in the criminal justice system. We wanted to reflect this perspective in our title, embracing the humanity of the men and not their politicized moniker,” says DuVernay.
The official description of the series: Based on a true story that gripped the country, When They See Us will chronicle the notorious case of five teenagers of color, labeled the Central Park Five, who were convicted of a rape they did not commit. The four-part limited series will focus on the five teenagers from Harlem — Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise. Beginning in the spring of 1989, when the teenagers were first questioned about the incident, the series will span 25 years, highlighting their exoneration in 2002 and the settlement reached with the city of New York in 2014.
Portraying the young versions of the five are Jharrel Jerome, Ethan Herisse, Caleel Harris, Asante Blackk and Marquis Rodriguez. Jerome will also play the adult version of his character, alongside Chris Chalk, Freddy Miyares, Jovan Adepo and Justin Cunningham as the others.
Felicity Huffman and Vera Farmiga will play members of the prosecution team, while Michael K. Williams, John Leguizamo, Niecy Nash, Aunjanue Ellis, Kylie Bunbury, Storm Reid and Marsha Stephanie Blake play family members of the accused. Famke Janssen, Aurora Perrineau, Omar J. Dorsey and Adepero Oduye also have roles.
The series was created by Ava DuVernay, who also co-wrote and directed the four parts. Jeff Skoll and Jonathan King from Participant Media, Oprah Winfrey from Harpo Films and Jane Rosenthal, Berry Welsh and Robert De Niro from Tribeca Productions will executive produce the limited series alongside DuVernay through her banner, Forward Movement. DuVernay, Attica Locke, Robin Swicord and Michael Starrburry also serve as writers on the limited series.
Watch the teaser and check out the images below:
Put 70-year-old Grace Jones in a metallic leather jacket and gold mesh bodysuit on your runway and you’ve got yourself a hit. Tommy Hilfiger brought the pop star out at the end of his latest celebrity collaboration last night — with the actress and singer Zendaya — which toasted diversity, in race as well as age and size, with a cast that included Beverly Johnson, Pat Cleveland, and Veronica Webb.
For Zendaya, the Hilfiger platform — in the middle of Paris Fashion Week — was a great way to call attention to the general lack of diversity in the entertainment and fashion industries, not just on the catwalk but in power positions. And let’s hope that Hilfiger, 67, who has built his name and fortune by selling images of white privilege — with recent collections evoking the Ivy League, Mustique, and Savile Row — makes true diversity his business, because he hasn’t always in the past.
Even without such overt messaging, though, designers are making powerful statements about feminine strength and self-representation.
At Hermès, Nadège Vanhee-Cybulski opened with black leather, lots of it — hot pants, sharp coats, and little fanny purses emblazoned with an H. Given that the soundtrack had a hard, thumping beat, I wouldn’t have been surprised if one of the kohl-eyed models had suddenly produced a whip from her tiny purse. And I don’t mean the equestrian kind. Seriously, though, it was great to see Vanhee-Cybulski venture into more daring territory for classical Hèrmes. Designers should be free to explore and propose, and she has already demonstrated that she can do light, eclectic sportswear, as she did in her dazzling spring show. Apart from the hot pants, the mood of this collection was strict and rather buttoned-up, with pencil skirts in textured leather shown with matching boots and long-sleeve, mock-turtleneck tops in solid hues of orange and moss silk that were a novel treatment of the house’s famous scarves.
As if willed into existence by our collective despair, Solange surprise-released her fourth album, When I Get Home, last night right at the intersection of Black History Month ending and Women’s History Month beginning. Her mind! Like her previous, groundbreaking album A Seat at the Table, Home is a rich tableau of collaboration, black history, and references to her Houston upbringing (the homeward destination implied by the collection’s title), but the album takes even more experimental risks with her sound. Among the mix of artists involved are Gucci Mane, Dev Hynes, Earl Sweatshirt, Cassie and … a viral Atlanta public-access sexpert? Let’s plunge right on in to the world of When I Get Home.
It’s not entirely clear how soon after A Seat at the Table Solange broke ground on When I Get Home — she took some time off in 2017 to treat an unspecifiedautonomic disorder — but exactly one year ago, she revealed in a Billboard cover story that she’d been working on new music. She mentioned writing in Laurel Canyon, Topanga Canyon, and Jamaica, and said she was “following” Joni Mitchell for inspiration, sometimes unknowingly: “It has been really wild. The house that I was just recording in [in] Jamaica, I stayed there for four days. And then the last day, the owner was like, ‘You know that mural that’s downstairs in the spare bedroom that the engineer booth is in? Joni Mitchell painted that.”
Later in the year, Solange did another interview for the New York Times’ T magazine, where it was reported that her fourth album would “likely arrive into the world fully formed at some mysterious and unexpected moment, like a meteor cratering into the culture” sometime that fall. “But she will not be rushed,” the piece warned. The album would be “still very much in progress until the very end,” and it remained untitled at the time of publication. “I like to be able to tell the story in 13 different ways, then I like to edit,” she said. Though it was unfinished, Solange knew how it would sound, noting that jazz would be at its core — though not exclusively. She said electronic and hip-hop drum and bass elements would also be present with the intention to make it “bang and make your trunk rattle.”
Once again citing Joni as an influence (for “lessons in balancing a career as a musician with the demands of visual creation”), she named other muses: director Busby Berkeley, dancer and choreographer Diane Madden, and Vegas theater, for inspiration for her new live shows; Missy Elliott, for visuals; and Aaliyah, Sun Ra, Rotary Connection, and Stevie Wonder’s Journey Through the Secret Life of Plants, for sonic cues. The Times wrote, “The record will be warm, she says, fluid and more sensual than her last one.”
Like A Seat at the Table, Solange gave us little time to prepare for When I Get Home, mostly because sharing her art makes her antsy; drawing out the process would only make it worse. (“I have this fear living in my body about releasing work,” she told the Times. “I don’t know any artist that doesn’t feel that before they hit the send button.”) Instead, Solange reemerged on — of all places — BlackPlanet, bringing back from the presumed dead one of the original social-media platforms (predating even Myspace) that was created specifically by and for black people. She launched her own page with lyric excerpts and a dossier of new images, both still and moving, that appear to be pieces of a larger visual project.
They — along with the album’s cover, another striking portrait of Solange — were shot by Max Hirschberger and Alex Marks, creative directed by Cary Fagan, and styled by Kyle Luu and Mecca James-Williams. Images included a pole dancer (Instagram’s @neyon_tree) and scenes from a ranch, with horses and dancers styled in modern cowboy looks. Solange had referenced the latter inspiration in an earlier interview as something she’d recently taken an interest in. “Hundreds and hundreds of people every weekend are getting on horses and trail-riding from Texas to Louisiana,” she told Billboard. “It’s a part of black history you don’t hear about.” She later teased what appears to be a music video on her Instagram, instructing fans to dial the number 281-330-8004 for more clues. It’s the exact same number Mike Jones used in his song “Back Then” (“Mike jones 4 life!” she added in the caption.) She then shared the album’s full 19-song track list, with multiple songs named for geographic locales within Houston. Per her mother, Tina Lawson, it’s a map of Solange’s life: “Binz” (the street where she grew up); “Almeda” (the street where she’d get a shrimp po’boy at There’s No Place Like Nola — or Nolas, for short); “Exit on Scott” (the street where she’d eat fried chicken and beans at Frenchy’s); “Beltway” (take it to get seafood at Pappadeaux); and “S McGregor” (for a “trip down memory lane” on the street where Debbie Allen and Phylicia Rashad’s father lived and “we jogged on the bayou”).
Though Solange undoubtedly sits at the head of her table, there are others who got a chair. When I Get Home is her most experimental work yet, the result of massive group effort between more than a dozen artists who’ve been in Solange’s orbit for some time. The album features guest verses from Gucci Mane (“My Skin My Logo,” on which Solange also tries her hand at rapping) and Playboi Carti (“Almeda”); Cassie and Abra are the lone featured women, with vocals on “Way to the Show” and “Sound of Rain,” respectively. The rest of the album includes repeat production and vocal contributions from her circle of close friends: Dev Hynes, Tyler the Creator, Earl Sweatshirt, The-Dream, Pharrell, French artist Chassol (with whom she’s toured), Panda Bear (a.k.a. Animal Collective’s Noah Lennox), Sampha, and Jamire Williams.
Atlanta producer Metro Boomin is also brought into the mix, with production on “Stay Flo” and vocals on “Almeda.” Gio Escobar, the de facto leader of the “post-genre” New York group Standing on the Corner and a close collaborator of Earl Sweatshirt, has multiple production and composition credits, lending his group’s freewheeling, sample-heavy sound as the album’s connective tissue. The Internet’s Steve Lacy also contributed production, which Solange hinted at when she previously told the Times that the two had been “jamming” together. “He’s like, ‘OK, I got these chords.’ ‘Hey, papa, let’s go!’” she said.
While A Seat at the Table was narrated by New Orleans legend Master P and Solange’s personal legends, her parents, this new album doesn’t have a narrator in that sense. But it is chopped up by interludes and snippets that involve Houston’s finest, specifically focusing on Solange’s heroes of the Third Ward, where she grew up. Most of them are samples, but even rap titan Scarface makes an original one-line special appearance for the interlude “Not Screwed!”
This first interlude samples a clip from the 1987 TV movie Superstars & Their Moms, where Houston’s own Phylicia Rashad and Debbie Allen recite a poem called “On Status” written by their mother Vivian Ayers-Allen, accompanied by piano: “And now my heart knows no delight. I boarded a train, kissed all goodbye.” The song’s title is a reference to S MacGregor Way in Houston, where the sisters grew up. READ MORE: https://www.vulture.com/2019/03/solanges-when-i-get-home-explainer.html
We still don’t know exactly what happened in the Jussie Smollett case that has dominated the news cycle for the past week. What we do know is that after the Empire star revealed he was allegedly the victim of a racist and homophobic hate crime, conflicting reports started to emerge suggesting that Smollett may have been involved in orchestrating the incident. Olabinjo and Abimbola Osundairo, the two brothers who were originally considered suspects, both knew Smollett in advance of the attack and told Chicago police that they were hired by Smollett. After the Chicago PD announced they were “shifting the trajectory” of their investigation, Smollett said in a statement that he is “angered and devastated by recent reports that the perpetrators are individuals he is familiar with” and that anyone claiming he played a role in his own attack “is lying.”
While it’s too soon to render a verdict on what exactly went down, if the case does prove to be a hoax, the ramifications are hard to overstate. As we’ve seen in the extremely rare cases involving false rape allegations, they serve as ammo for people looking to undermine the credibility of genuine victims (like clockwork, Donald Trump Jr. is already tweeting about Smollett’s story, in which his attackers were originally described as two men shouting, “This is MAGA country”). But what would motivate someone to pretend to be the victim of a hate crime? We called up Dr. Marc Feldman, who is not involved in the case but is an expert on factitious disorder and Munchausen syndrome by proxy, to learn more about “factitious victimization” — a disorder that causes people to feign victimhood for psychological reasons — and how it could come into play in the Smollett case.
What did you think when you first heard this case might be a hoax?
Munchausen syndrome refers to the most extreme examples of “factitious disorder,” which is the official psychiatric term for people who feign illness or injury for intangible reasons. Ever since I encountered my first case of a woman who faked cancer for emotional reasons back in 1989, I’ve obviously been more sensitive to that possibility than most people ever would be. I try not to falsely accuse people and that’s why I am approaching this subject with a little timidity. But when it does arise I think it’s important that we identify it and help educate the public about it. READ MORE: https://www.thecut.com/2019/02/why-would-somebody-fake-a-hate-crime.html
LeBron James can’t say that he wasn’t warned.
Lots of us were crowing in the summer, and pretty loudly so, about what would greet the unquestioned Lord of the Eastern Conference if he dared to defect.
Sign with the Los Angeles Lakers if you wish, for the sunnier Hollywood life and all the perks, but brace yourself for the most trying regular season of your career if you decide to go West.
That was the gist of the scouting report — which in retrospect could not have been much more prescient.
On cue: The most daunting and, yes, disappointing season of James’s career is right here, right now, for the biggest name in basketball.
And it appears he will soon have to stomach that it’s going on his ledger in the most permanent ink that he was unable to bring a halt to the longest postseason drought in Lakers history — barring an unforeseen resurrection from a fractured group that sits four and a half games out of a Western Conference playoff berth with 19 games to go.
No matter how much culpability you wish to assign James for what is poised to go down as the Lakers’ franchise-record sixth successive trip to the draft lottery, he’s going to have to own this as much as the front-office tandem of Magic Johnson and Rob Pelinka as well as the under-fire coach Luke Walton.
The LeBron Way, for years and years, has worked something like this: He inevitably gets most of the credit when his team flourishes; his teammates absorb the bulk of the blame when things unravel. But this is different. This would be the jarring sight of James, fresh off his eighth consecutive finals appearance, actually missing out on the N.B.A. postseason for the first time since his second professional season in 2004-5, when he was just 20.
Even though he can rightly point to his recent groin strain as the biggest standings-altering disruption these Lakers have endured, James surely understands that his maiden campaign in Los Angeles is bound to be recorded in many precincts as a failure to make the playoffs that belongs to him. The Lakers are 4-7 since James returned from the groin injury that sidelined him longer (17 consecutive games) than any previous injury in his 16-year career. They have followed up an unsightly road loss to Atlanta in their final game before the All-Star break with harder-to-rationalize road losses to New Orleans, Memphis and Phoenix since the break.
After Saturday night’s humiliation against a 13-51 Suns team, which dropped the Lakers to 30-33, James’s gang only sports a 1.3-percent chance of reaching the postseason, according to Basketball-Reference.com.
They also have the league’s eighth-toughest remaining schedule, according to Tankathon.com.
We’ll never know if the Lakers, who had risen to a heady fourth in the West at 20-14 when James sustained the groin injury in a Christmas Day rout of Golden State, could have kept building upon that promising start with a healthy LeBron. But we most certainly do know that James’s mere return to the lineup, at 34, wasn’t enough to rescue a roster that has been assailed since conception for its lack of perimeter shooting and its defensive deficiencies. Nor has he been able to galvanize a locker room that was deeply destabilized by the Lakers’ trade pursuit of the New Orleans superstar Anthony Davis, which became all-consuming in late January, and has never recovered.
It obviously doesn’t help that James, after missing two key free throws in the final minute Saturday, is also converting a substandard 66.9 percent of his attempts from the line to give his critics more handy folder.
Leaving his home-state Cleveland Cavaliers for the Lakers last July without the accompaniment of a second superstar meant that James, in a far deeper conference, would have little margin for error just to reach the playoffs. When you combine James’s injury absence with the continuing post-Davis malaise and the team’s declining ball movement since Lonzo Ball (ankle) was sidelined six weeks ago, it adds up rather quickly to a margin that is long gone.
The calls for Walton’s dismissal, as they were in January, remain nonsensical. A coaching change now, much like New Orleans’s decision to fire General Manager Dell Demps shortly after the trade deadline, would have no discernible effect on the Lakers’ short-term prospects beyond providing their frustrated fans with a “See? We did something” sacrifice.
The prevailing assumption in league coaching circles remains that Walton will almost certainly be dismissed after the season, followed by the Lakers resuming their trade quest for Davis. But denying Walton an opportunity to at finish out a season wrought with drama and distraction since James’s first dribble in purple and gold would be cruel and needless.
Changes are coming, though. It’s an open secret that a big off-season reset looms in Lakerland. James always knew that his new club would not be in the title mix until his second campaign as a Laker, but his patience predictably faded quickly — one more reason desperation has become so palpable around this team.
Many of us know-it-alls in the news media indeed wrote in our preseason forecasts that the playoffs were no certainty for these Lakers, as constructed, but very few of us were actually willing to outright predict that they would miss out. Reason being: It’s not very smart to bet against LeBron Raymone James.
Yet we’ve suddenly reached that unprecedented juncture where it would be wholly irresponsible to advise you that James can extricate himself from this jam just because he’s LeBron. Whether it’s the lingering effects from his groin injury, or his own unmistakably waning spirit in the face of increasingly bleak odds, James has been lacking the zip you associate with his well-chronicled playoff mode — which he assured us on Feb. 21 had been “activated” earlier than usual.
I briefly stood beside James on the floor in Charlotte, N.C., before the All-Star Game tipped off and bought into the idea a surge was coming when he insisted he was eager to embrace “the challenge” of hauling the Lakers out of their hole.
“And I’m getting healthy, too,” James said that night.
A mere two weeks later, it’s already time to start imagining the N.B.A.’s first spring without King James after watching him for eight straight Junes — and wondering how on Earth he’s going to cope with not being a part of it.