Chapter 695: Box Office Tragedy!

In the lavish expanse of Warner Bros.' influence, Martin's intrigue with "Dark Places" was piqued right from its debut. As the film's premiere rolled out across North America, expectations were high but the theaters echoed with the silence of low attendance.

The initial market buzz was lukewarm at best.

Secluded in the sanctuary of his villa's master bedroom, Martin was poring over the latest box office figures when Elizabeth Olsen, with a tone mixed with concern and curiosity, inquired, "I've been scouring through the online reviews, and they're not exactly singing praises. What's the verdict at the box office?"

Without missing a beat, Martin shared the disappointing statistics, "It's beyond bleak. On opening day across North America, we barely scraped together $2.74 million."

And this wasn't some limited release; it was a grand unveiling in over 3,000 theaters.

"Is that all?" Elizabeth couldn't hide her astonishment. A thought struck her, and with a tinge of disbelief, she queried, "Didn't Warner Bros. funnel a whopping 70 million dollars into this project?"

Her camaraderie with Gillian Fernandes Lin brought another comparison to mind, "The reception to 'Gone Girl' was stellar, and now this... It's disheartening."

Martin mulled over, "Perhaps the director couldn't quite capture the essence that David Fincher so masterfully does."

Elizabeth, having absorbed the grim data Martin forwarded, slid off her slippers, nestled her feet comfortably on the sofa, and laid her head in Martin's lap, musing, "The real missing piece is you leading the charge on screen."

Martin responded with a gentle stroke, his tone laced with regret, "I feared the film's reception might not be favorable, but this is a disaster I hadn't anticipated."

Post-dinner and with no appetite for more, Elizabeth caught Martin's gaze, a spark of curiosity in her eyes, "Hearing those box office numbers got me thinking... You didn't deliberately pass this project to Warner Pictures, did you?"

"Warner Pictures snatched the project away," Martin retorted, his voice a blend of jest and sincerity, "I'm not one to sabotage. It was out of my hands."

Their conversation took a playful turn, weaving through moments of affection and light-hearted banter.

Amid these personal exchanges, Lily's silent grievances about being excluded from their games surfaced.

As the night wore on, Martin's focus shifted entirely away from the dismal fate of "Dark Places," immersing himself and Elizabeth in discussions far removed from the world of cinema.

Across the city, within the walls of WMA headquarters in Century City, Ali-Emmanuel brooded over his desk. The disappointing first-day box office numbers of "Dark Place" seemed to seal the film's fate as a financial flop.

It was a puzzle that vexed him. Warner Pictures had invested a fortune, $80 million, to be exact. The director had previously been on an upward trajectory, and Gillian Flynn, the best-selling author, had adapted the screenplay from her hit novel, with "Gone Girl" setting high expectations. Natalie Portman, the film's lead, was an Oscar-winner and a darling of the mainstream media, renowned for her talent and charm.

How could a project with so many elements poised for success falter so badly?

Ali stood by the floor-to-ceiling window, his gaze lost in the distant Beverly Hills, contemplating the irrevocable downturn of "Dark Place." His ambitious vision for Natalie Portman's continued rise in Hollywood seemed to be crumbling right at the outset.

Ali's mind wandered to the infamous Oscar winner's curse, wondering if Natalie Portman had fallen victim to its clutches. However, he quickly recalled that Sandra Bullock, a former Oscar winner herself, seemed unscathed by such superstitions. The underperformance of "Dark Place" loomed large, signaling a potentially challenging path ahead for Natalie in securing roles that matched the caliber she was accustomed to. "How do we break this supposed curse that haunts Oscar-winning actresses?" Ari pondered, his concern deepening.

After a moment of contemplation, Ari decided to consult Thomas, a trusted colleague, and promptly summoned him to his office.

Upon arrival, Thomas was immediately questioned about his insights on "Dark Place's" predicament. "Are you keeping up with the situation in 'Dark Place'?" Ari asked, hoping for some enlightenment.

"Yes," Thomas replied, his thoughts drifting to a conversation he had planned with Martin, "After the release of the statistics, I forwarded them to Martin at the first chance I got."

"And what was Martin's response?" Ali probed further.

Thomas shook his head, a gesture of uncertainty, "He hasn't said anything yet."

Ali then sought Thomas's personal take on the matter, returning to his seat with a sense of urgency, "What do you think went wrong?"

Thomas internally acknowledged his success was largely attributed to following the right people, understanding the intricate dance of factors that lead to a film's success or failure. Yet, he couldn't voice this thought directly. Instead, he recalled an article he had recently read that seemed to offer a plausible explanation, "We might have misjudged the situation, particularly concerning Natalie."

Ali's interest was piqued, "Regarding Natalie Portman?"

Thomas nodded, "There's a comprehensive analysis on CinemaScore's website, based on audience ratings. It might be worth your time."

With this suggestion, Ari turned to his computer to delve into the analysis, while Thomas excused himself, glancing back as he left. He couldn't shake the feeling that the success of "Gone Girl" versus the failure of "Dark Place" hinged on the involvement of Martin and Natalie, with the latter's appeal—or lack thereof—being a critical factor.

Upon reviewing the CinemaScore website, Ari discovered that "Dark Place" had only secured a B rating from audiences, a score marginally better than that of "Green Lantern"—a comparison that did not bode well, considering the latter's impact on Warner Bros.' plans.

The article by Ed Mintz, founder of CinemaScore and renowned for his astute market analysis, caught Ali's attention. Mintz's column focused on Natalie Portman, highlighting a disparity between her mainstream media popularity and her reception among moviegoers.

Mintz argued that while Portman's media image as an educated, fame-indifferent actress who pursued further studies in Jerusalem had bolstered her reputation among a certain demographic, it didn't necessarily translate to widespread fan support for large-scale productions. Aside from notable roles in "Leon" and the "Star Wars Prequel" trilogy, Portman's filmography lacked titles that resonated with the general movie-going audience. Her association with "Leon" was controversial, and her contribution to the success of the "Star Wars" prequels was deemed minimal.

Mintz concluded that while Portman might be celebrated among highly educated circles for her refined image, she struggled to connect with a broader audience—a predicament that posed a significant challenge in leading major film projects.

Ali absorbed these insights, grappling with the complexities of Natalie Portman's standing in Hollywood and pondering strategies to navigate the delicate balance between critical acclaim and mass appeal.

As Ari perused the critical insights laid out in Ed Mintz's analysis, a sense of realization dawned on him. He leaned back from his computer, deep in thought about Natalie Portman's current predicament within the industry. Despite her joining WMA later in her career and maintaining her unique persona and style, Ali now pondered the possibility that her character might not resonate as broadly with the general audience as he had previously assumed.

The notion that Natalie Portman's distinct persona could be a detriment to her mass appeal was a bitter pill to swallow. Determined not to abandon his top female client, Ali found himself wrestling with the challenge of how Natalie could transcend the so-called Oscar-winning actress' curse.

As the weekend concluded, the box office numbers for "Darkland" were in, casting a shadow over its future. Despite faring better in reviews than last year's "Gods and Kings" and "Green Lantern," its opening weekend haul of $7.21 million in North America was disheartening. Forecasts were bleak, with predictions suggesting it would struggle to cross the $15 million mark in North American box office receipts— a far cry from its $70 million production budget.

In the vast confines of the Warner Building, a critical meeting unfolded between Kevin Tsujihara and his brother-in-law, Jon Berg. The conversation turned towards the disappointing performance of "Dark Place," with Jon attributing the film's direction to an overreliance on Gillian Flynn's input during post-production, a decision that respected her perspective but ultimately failed to deliver the anticipated success.

Kevin Tsujihara responded with a nod, advising caution against overly emotional decisions, particularly highlighting the rarity of female producers in Hollywood with final cut authority. Jon assured him of corrective measures in editing plans for future projects to avoid repeating such mistakes.

Understanding that Hollywood's landscape was littered with both hits and misses, Kevin Tsujihara chose not to dwell on the failure, allowing Jon Berg to move forward. However, Jon found himself in a quandary, placing Gillian Flynn and Natalie Portman on Warner Pictures' blacklist, not out of malice, but as a strategic move to navigate the choppy waters ahead.

With an upcoming report to the board of directors, Jon strategized to shift focus onto the year's successes like "Harry Potter 9" and "The Hangover 2," aiming to deflect from the shortcomings of "Dark Place." Blaming Gillian Flynn emerged as a convenient scapegoat, though Jon harbored reservations about leveraging sequels from his predecessor to mitigate the current crisis.

Amidst these reflections, Jon's thoughts inadvertently circled back to Martin Davis. The failures of both "Gods and Kings" and "Darkland" had links to Martin, sparking a moment of intrigue. Could there be an underlying connection between these setbacks, each involving projects entangled with Martin's interests?

This newfound perspective prompted Jon to delve deeper into the dynamics at play, contemplating the intricate web of relationships and decisions that shaped the fortunes of Warner Pictures' recent endeavors.