1573-1575

Chapter 1573: The Ultimate Question 

Frenzy, party, heads spinning! 

The sudden emergence of "Spider-Man 2" had turned the entire North American continent upside down. No one was an exception; everyone bustled about and joined the feast – 

The passion and surge of the summer blockbusters seemed to finally release their full energy. 

In a trance, it felt like being transported back to the seventies, the era when "Jaws" and "Star Wars" burst onto the scene one after another, when movies were still a pastime, a longing, a dream, and people were happy because of films everywhere they went. 

Now, "Spider-Man 2" had awakened that feeling again. 

Especially with the presence of the Independence Day long weekend. 

From the Independence Day long weekend box office record data, you could see that from "Batman" in 1989 to "The Perfect Storm" in 2000, the record numbers hadn't changed for many years. During the long weekend holiday, movies, which once dominated people's leisure activities, were slowly losing their priority. 

However, this year saw a return to glory. 

Even after the frenzy of Friday, Saturday, and Sunday, audiences continued to pour into cinemas on Monday, joining this holiday celebration one after another. Cinemas once again became a hot topic among friends. Audiences of different age groups scrambled to get into theaters and enjoy the party atmosphere. 

Movies were still important, still valuable, still building a bridge between art and commerce, still playing an important role in life. It didn't need to be grand or expensive; a movie ticket could open an adventure, unlocking the infinite possibilities of life. 

It had been a long time, truly, truly a long time! 

Mightily and spectacularly, the festive atmosphere continued to spread. 

The first weekend of July was over, and the second weekend was just around the corner. Willing or not, an ultimate question was unexpectedly laid bare. 

"Spider-Man 2": What would its second weekend box office be like? 

No one could predict. To be precise, no one dared to easily predict. 

Firstly, there was no reference standard. 

"Spider-Man 2"'s opening weekend performance was simply too terrifying. It seemed to have exploded the entire North American market's energy in one go, leaving everyone dizzy and disoriented. The explosive power of over $200 million in four days rendered all previous market knowledge and rules invalid, removing any basis for prediction. 

Moving forward, "Spider-Man 2"'s second-week box office could plummet like a cliff edge, because all the energy was gambled and released in the first week. The market capacity was limited, and even if it wanted to continue exploding, it might lack the necessary momentum. But it could also continue to ignite, because the film had become a phenomenon, easily breaking boundaries and overturning perceptions. All rules and frameworks no longer applied. 

Everything was possible. You couldn't reference "Titanic," nor the first "Spider-Man." The situation before them was entirely new. 

For the first time, so-called professional authorities looked at the situation before them and found that they were not professional at all. 

Secondly, the competition was an unknown variable. 

Frankly, no one wanted to face "Spider-Man 2." Any distribution company with a little common sense knew: do not go head-to-head with Anson Wood. 

However, this was the summer season. Every weekend, every slot faced fierce competition, and some weekends might even see multiple films premiere. This was a strategic battleground; film companies couldn't avoid it even if they wanted to. They had to grit their teeth and face the difficulty head-on, then silently pray with clasped hands – 

Pray for a miracle. 

Due to the earlier Oscar ceremony, this year's summer schedule was already chaotic. Major film companies' distribution strategies were all experimental. Slightly off-track, different film companies had already been avoiding each other, not only completely clearing the first week of July but also the last week of June. 

In the last week of June, "Fahrenheit 9/11," which had just won the Palme d'Or at the Cannes Film Festival a month prior, landed hot in the summer slot. This documentary, along with another small-budget comedy "White Chicks," debuted together, clearly avoiding the spotlight of "Spider-Man 2." 

Everything was centered around "Spider-Man," giving Anson space to showcase his talents and shine alone. 

If possible, the plan was to do the same for the second week of July, but the summer schedule was already packed. There was no room for maneuver; film companies had no retreat. 

So, although the road ahead was thorny, film companies still faced the pressure and entered the fray, gritting their teeth. 

And it wasn't just one film, but two, leveraging strength in numbers. 

One was from DreamWorks, "Anchorman: The Legend of Ron Burgundy." A Judd Apatow/Frat Pack production, starring Will Ferrell, Paul Rudd, Steve Carell, etc. A small $26 million budget comedy, completely different in genre from "Spider-Man 2," praying to write a miracle. 

One was from Disney, "King Arthur." Unlike DreamWorks' unconventional approach, this was a direct confrontation. Since competition couldn't be avoided in the summer slot, it wasn't surprising that Disney chose to face the challenge head-on, given its status and ambition. This was a major variable: 

A $120 million investment, directed by Antoine Fuqua, director of the Oscar-nominated film "Training Day," and starring Clive Owen, Keira Knightley, Mads Mikkelsen, Joel Edgerton, Hugh Dancy, and others. 

This was an epic masterpiece intended to challenge "Troy," undoubtedly another heavyweight of this summer season. 

Disney had deliberated and looked around, picking and choosing among different slots, and finally chose the second week of July, causing a wave of surprise. 

However, Disney's willingness to directly confront "Spider-Man 2" wasn't without thought. 

Firstly, "King Arthur" and "Spider-Man 2" were completely different types of films – cold weapons versus high-tech, distant ancient times versus completely contemporary, epic blockbuster versus youth/school story. Disney believed that after "Spider-Man 2" had exploded the market, audiences shouldn't mind a change of taste. 

Secondly, last year, "Pirates of the Caribbean," despite not being highly anticipated, exploded in the second week of July, becoming the most watched film of the year and bringing Johnny Depp out of the realm of niche independent films into the mainstream spotlight. Disney considered this a lucky spot. 

Considering all factors, "King Arthur" landed here. 

In fact, not just Disney, the Hollywood industry also reserved judgment, finding it hard to predict "King Arthur"'s box office potential. 

Although "Troy" had recently hit a wall, who knew? Maybe epic films could still show vitality. Maybe "King Arthur" could replicate the miracle of "Pirates of the Caribbean"? 

Not only them, but Sony Columbia also reserved judgment. This was an important reason why Michael Lynton was able to convince the board to be patient – 

With a behemoth like "King Arthur" ahead and a comedy like "Anchorman" behind, different genres and styles of films would divide the market potential. "Spider-Man 2" indeed faced numerous tests. 

Because of all this back and forth, "Spider-Man 2"'s second-week box office performance was full of variables. 

Especially now, after the frenzy, barrage, and adoration of the opening weekend, could "Spider-Man 2" continue to meet people's continuously rising expectations? 

This, this was the ultimate question. 

Remember, if the level of madness and explosion was even slightly weaker, those vultures and hyenas lurking might swarm in to tear at the flesh and blood. 

Chapter 1574: Each Shows Their Strengths 

Frenzy! 

After an unbelievable Independence Day long weekend, the excitement and anticipation levels just kept climbing. It felt like Red Bull was running through everyone's veins; they just couldn't settle down and refused to, keeping their hands raised high, singing and dancing, continuing the celebratory atmosphere. 

There were higher expectations for the movie market's box office surge. People wanted to witness history, they wanted to join hands to push this cultural wave to its peak, they wanted to create history with their own hands, and they wanted to stand at the forefront of pop culture, basking in the spotlight's glare. 

The atmosphere continued to heat up. 

Of course, people knew that "Spider-Man 2"'s second-week box office couldn't be that bad, no matter what. The real question was, could it continue the miracle? 

It was like "god-making." Once someone reached god-like status, the standards and expectations were completely different. For a deity, a "failure" might still be a success that ordinary people could never achieve in a lifetime. 

This was what Michael Lynton was hoping for, what he was praying for. 

One step to heaven, one step to hell. One person's heaven could be another's hell. Heaven and hell were just a thin line apart, but that line could completely change the fate of a group of people. 

Then, all eyes turned towards "Spider-Man 2," everyone holding their breath, waiting for the North American weekend box office chart for the second week of July to be released. 

July 2004, the second week. The North American weekend box office chart was about to drop, hot off the press, under the intense gaze of everyone. The level of attention even surpassed that of the Independence Day long weekend. 

After all, last week was "Spider-Man 2"'s solo performance. This week, it was a three-way race, a game of catch-up. The entry of "King Arthur" and "Anchorman" into the fray made things full of possibilities. Regardless of whether the new films successfully challenged "Spider-Man 2," it would at least give people something new to talk about in their daily lives. 

Disney's strategy was shrewd. Benefiting from the buzz around "Spider-Man 2," "King Arthur" received top-tier treatment. News outlets covered the film's release non-stop, from the premiere to the media reviews to the excitement in the theaters. Every step of the way, it was firmly in the spotlight. 

Of course, "Anchorman" was getting the same treatment. 

Without needing extra promotion or pushing, the film's exposure skyrocketed. News about "King Arthur" and "Anchorman" could be heard everywhere, on street corners and around town. 

"'King Arthur' and 'Anchorman' Held Premieres at the Chinese Theatre on Two Consecutive Nights." "Star-Studded Affair, Disney Turns 'King Arthur' Premiere into a Theme Park." "Half of Hollywood Turns Out, Summer Season Continues to Heat Up, Reaching a New Peak." "'Anchorman' Premiere Had the Whole Audience Roaring with Laughter, Non-Stop Jokes, Quality Far Exceeds Expectations." "'King Arthur' Receives the Grand Treatment of a Full Standing Ovation." "Rumor Has It, Disney is Suppressing Post-Screening Review News, Situation is Not Good." "Will Ferrell Is Extremely Happy with the Film, Says the Effect Is Excellent." "Looks Like 'Spider-Man' Might Be in Trouble, Two Dragons Entering the Sea Could Really Shake Things Up." "Anson Wood's Star Power Faces a Serious Challenge, Competitors Are Too Strong, Wonder If Anson Can Keep Audiences in Theaters." 

Blah, blah, blah. 

There were countless rumors swirling, a mix of truth and falsehood, filling everyone's view. From a media perspective, the summer season had truly unleashed new energy. May and June were suddenly forgotten; the excitement right now was the peak of the summer. Even the releases of "Shrek 2" and "Harry Potter and the Prisoner of Azkaban" were temporarily forgotten, erased, as if the summer season had only just begun now. 

Unbelievable. 

All of it, every bit, was because of "Spider-Man 2." 

That "Spider-Man 2" could create box office miracles was one thing. That "Spider-Man 2" could single-handedly change the entire market's focus and buzz index was quite another. 

This movie's influence on the industry had far exceeded expectations. Or perhaps, it wasn't Peter Parker's influence, but Anson Wood's? 

Not just Sony Columbia, not just Disney and DreamWorks, but other Hollywood film companies and industry insiders were all watching. 

All of this, however, was pure torment for Michael Lynton. It felt like being in a furnace, the flames raging, the future uncertain, being grilled day and night. The anxiety and tension were almost breaking free of his control. Every minute felt like slow torture, wearing away at his nerves, pushing him to the brink of collapse. 

Then, the flood of news updated again. 

"Anchorman" did indeed exceed expectations. For a lowbrow comedy, its Metascore was surprisingly high at sixty-three, quite eye-catching. 

In a summer season severely lacking in comedies, the arrival of "Anchorman" was like rain after a long drought. The market had finally gotten a proper comedy. Although "Spider-Man 2" had plenty of comedic moments, true comedy lovers needed a film like "Anchorman." 

"King Arthur," on the other hand... tanked. It bombed spectacularly, with a Metascore of forty-six, even worse than "Troy." 

Putting aside the harsh reality of epic films struggling, the quality of "King Arthur" itself was unsatisfactory, a complete disaster. 

No wonder Disney started putting out smoke bombs after the premiere ended. They likely realized this movie was a total catastrophe. 

Unexpected, yet completely understandable – 

Compared to "Anchorman" and "King Arthur," "Spider-Man 2" looked even more like a massive giant, towering in front of them. Its shadow completely enveloped all competitors. "King Arthur"'s terrible critical reception actually fit more with the expected outcome relative to such a dominant force. 

But, what about the box office? 

Regardless of the media reviews, would the initial publicity and buildup, the premiere's draw and hype, manage to attract an audience and boost the film's box office? 

More importantly, facing different genres and choices, could "Spider-Man 2" maintain its advantage? 

All of Hollywood held its breath. 

The momentum, the atmosphere, the attention, continued to rise, continued to burn, continued to explode. The summer in North America truly reached its peak this week. 

However, wasn't "Spider-Man 2" going to fight back? Facing the "encirclement" from "Anchorman" and "King Arthur," wasn't "Spider-Man 2" going to step up its promotion? Didn't Sony Columbia have any ambition? Didn't they expect "Spider-Man 2" to continue its strong run and make history? 

The answer was no, they weren't inactive. 

While the Chinese Theatre in Los Angeles had a string of events, from premieres to media reviews to cast promotions, creating wave after wave of buzz... 

On this side, the "Spider-Man 2" team continued its sweeping momentum, once again showing Anson's foresight and comprehensive planning. Everything had already been set up, requiring no deliberate manipulation. The powerful, scorching hot buzz could naturally continue, and it was about to shatter everyone's expectations again. 

The keywords: "Sunflower"; the "Spider-Man 2" movie soundtrack. 

Following the plan, the single and album were released one after another, coordinated with the movie's promotion. 

Back in the seventies and eighties, almost all movies would release a soundtrack. It didn't even need a theme song; the film score was enough. These albums were released alongside the movie and promoted via radio. In the era before the internet, this was an incredibly effective promotional tool. 

Now, "Spider-Man 2" was bringing those memories back, not just with the film score, but also with the theme song Anson specifically composed for the movie, "Sunflower." 

Released simultaneously! 

Chapter 1575: Debut at the Top of Both Charts 

You have your plan, I have my ladder over the wall – each side using their own unique skills. 

"Anchorman" and "King Arthur" were putting in effort. Regardless of their critical reception, widespread promotion campaigns were unfolding. 

"Spider-Man 2" wasn't sitting idle either. Whether it was Sony Columbia or others behind it, the publicity continued methodically. 

As the entirety of Hollywood was bustling and focused on every move of "King Arthur" and "Anchorman," the music industry also joined this melee. 

In the second week of July, Billboard announced the latest singles and album charts – 

"Spider-Man 2," topped both charts, dominating them hand in hand. 

Boom! Boom boom boom! 

Clearly, this wasn't an accident, nor entirely a surprise, but seeing this happen firsthand, news media and the general public still collectively plunged into a frenzy. 

First, the album chart. 

The "Spider-Man 2" movie soundtrack sold a massive five hundred thousand copies in the past week alone! 

Since "O Brother, Where Art Thou?", movie soundtrack sales had generally been low, and such strong sales numbers hadn't been seen for a very long time. "Spider-Man 2"'s dazzling debut showcased the film's comprehensive influence to the entire North American market, truly becoming a cultural phenomenon. It wasn't just about the movie and comic anymore; now it was further breaking down music industry barriers. This was a breakthrough, potentially even a long-term innovation for the cultural industry. 

It made blood boil! 

Professionals eagerly cast their gaze, ready to look through the phenomenon to grasp the essence, peering into the mysteries behind the cultural phenomena and waves from these numbers. 

Undoubtedly, "Spider-Man 2" debuted at the top of this week's Billboard album chart! 

And on this chart, there were quite a few familiar faces. 

Second, "Under My Skin," Avril Lavigne. 

Third, "Midsummer Midnight," August 31st Band. 

Fourth, "Confessions," Usher. 

Canadian pop-punk princess Avril Lavigne's second studio album was definitely one of the hottest topics this summer, while the competition between the August 31st Band and Usher had lasted from spring into summer and looked set to continue into fall. But in the face of "Spider-Man 2"'s dominance, they all yielded, together witnessing the movie soundtrack topping the charts once again. 

Applause, thunderous. 

Not just because "Spider-Man 2" continued its strong performance, the truly important key was that the promotion methods for movie soundtracks were re-entering the spotlight. 

With "O Brother, Where Art Thou?" before and "Spider-Man 2" now, the film industry and the music industry realized once again that while they were indeed two completely different types, collaboration between the two might create new chemical reactions, continuing the traditions of the eighties but also developing new features of the new century. 

Worth studying – 

The entire promotional model of "Spider-Man 2," starting from the premiere, was becoming an object of study for the industry across the board. 

Later, a PhD in Sociology from Princeton University wrote a thesis specifically researching the promotion and marketing strategy of "Spider-Man 2." This thesis sparked much discussion, triggering a storm in academia, with voices of support and criticism, complaints and curiosity, echoing constantly for a time. 

Evidently, the academic world never knew that a popcorn movie could actually become a subject of research. Was this... progress or decadence? 

What was completely unexpected was that even later, a professor of journalism and communication at Columbia University initiated a research project specifically analyzing Anson Wood's film promotion strategies and their impact on the entire industry. This was absolutely not just simple commercial genre film promotion. 

A small stone, stirring up layers of ripples – 

The butterfly effect was intensifying. The parallel universe Anson was currently in had now completely deviated from the path remembered in memory. 

And, this was not all. 

The album chart offered a glimpse into the continuously climbing frenzy of "Spider-Man 2." So what about the singles chart? 

Next, the singles chart. 

"Sunflower," way ahead, far leading. 

Currently, Billboard was still undergoing "reform." After the digital audio downloads of "Another Light," they had been discussing how to recalculate chart data. Digital audio absolutely needed to be considered, but how to consider it, what percentage it should account for, which platforms' data to reference, etc., were still under discussion. 

Billboard hadn't had time to release the new chart rules yet, but "Sunflower" still debuted strongly. 

With devastating force, "Sunflower" showcased a brand new look for the new century and new era on iTunes. The data of three million downloads in twenty-four hours had stunned the entire industry, but it still couldn't stop "Sunflower"'s digital audio from breaking further. Before the seven-day period ended, the single's download count successfully broke a new threshold and made new history: 

Ten million. 

"Sunflower" became the first single in the history of the iTunes platform to exceed ten million downloads, and the first single globally on any platform or website ever to have ten million legal digital downloads, pushing open the door to a brand new world. 

Just as mentioned before, when digital audio downloads reached such a height, the attitude and position of the entire record industry changed drastically. Not just because "Sunflower" simply made history; the truly important thing was that "Sunflower" had discovered a new continent, a brand new continent waiting to be explored, conquered, and divided. 

Everything, starting from here, would never be the same again. 

However, the Billboard chart rules had not changed for the moment. The ten million sales created on iTunes, which wrote history... actually could not be included in the statistics. 

Imagine, if "Sunflower" sold ten million in just one week, not only would it open the door to a new world as a digital audio source, but even in the physical single market, this would be unprecedented, a first; no single had ever sold ten million within a week. But "Sunflower" didn't enter the Billboard singles chart, or didn't reach number one. Then, who would be the joke – 

It certainly wouldn't be "Sunflower." 

The Academy of Motion Picture Arts and Sciences was the same. 

Just this thought was enough to make Billboard break into a cold sweat. But luckily, Billboard did not face such an awkward situation. 

Even though digital audio sales were not included in the calculation, "Sunflower" still strongly debuted at the top of the Billboard chart, relying on the "Spider-Man 2" album sales and skyrocketing radio airplay. 

Champion! 

Following "Another Light," Anson once again debuted at number one on the Billboard singles chart. 

And this time, not as part of the August 31st Band, but as Anson Wood. 

No one had forgotten the heavyweight news of Anson signing with Warner Records, but unexpectedly, while the influence of the major announcement was still spreading through the air, "Sunflower" had already completed the astonishing debut, grandly kicking off Anson's solo singing career and causing a stir. 

Look at Beyoncé, look at Justin Timberlake. They had successfully gone solo from groups without any hiccups and reached number one immediately. But their performance still paled in comparison to Anson. "Sunflower"'s momentum was truly terrifying; no one could ignore it. 

"Sunflower"'s debut at number one looked far more incredible than a simple "number one."