1146-1150

*Chapter 1146: Sailing Against the Wind*

"Childish. Simple. Foolish. Narcissistic. Half-hearted. Once again, men attempt to play God.

Blah blah blah. Utterly dreadful."

Opening strike!

Wait, isn’t this supposed to be a positive review? Why does it seem so… off?

This critique from The Hollywood Reporter, scoring an impressive 85 out of 100, is the highest among the first wave of media reviews for The Butterfly Effect.

Though it’s surprising to see such a rating from The Hollywood Reporter, a positive review from such an authoritative and professional outlet is worth its weight in gold.

But that opening… is it normal? Did they miscalculate the score, leaving out a decimal point? Could it actually be an 8.5 instead of an 85?

Clearly, something’s off.

But The Hollywood Reporter knows what it’s doing.

"Yes, that's true. But why act so surprised? Doesn’t Hollywood churn out 300 films like this every year?

At least The Butterfly Effect had the courage and audacity to choose this ending—refusing to compromise, rejecting perfection, and defying the mainstream. It carries a certain tragic weight, forcing the protagonist to face the consequences of every foolish, arrogant, and impulsive decision, even if it leads to disaster.

If the ending had been different, I would’ve hated this film, as it would’ve turned into a self-indulgent fantasy for the frat-boy crowd, amplifying every flaw tenfold into a hypocritical, self-serving narrative. In fact, I believe that’s what the directors/writers initially envisioned—

Because the crew revealed that the film features five different endings.

God, I can already picture at least three of them.

And yet, I believe it was Anson Wood who pulled the reins on this runaway carriage before it plunged off a cliff, insisting on showing this particular ending at the premiere, even at the cost of everything.

That alone distinguishes The Butterfly Effect from the other 299 films.

What’s more, The Butterfly Effect has the audacity to release the other four endings to theaters, attempting something entirely new.

In the film, Anson imbues his character with an unbelievable—dare I say it—depth.

Like opening Pandora’s box, we watch as an ignorant fraternity boy transforms into a man willing to take responsibility. His pain, his struggles, and his despair draw the audience into this chaotic story with extraordinary dramatic tension.

Without a doubt, Anson’s performance gives the story credibility. Rachel McAdams and Heath Ledger also deliver compelling performances in their scenes together, culminating in a story with a tragic hue—

Let’s not forget, the protagonist is only 20 years old. Of course, he’s supposed to be immature."

Eighty-five points!

Bold, unwavering, and clear in its stance.

The Hollywood Reporter sails against the tide, standing firm amidst a sea of criticism and offering an outstanding 85 points.

The lowest score? A measly 10 from The Wall Street Journal.

The highest? That 85 from The Hollywood Reporter.

This was an unexpected turn of events leading up to the release of The Butterfly Effect—

The Hollywood Reporter and The Wall Street Journal, two major outlets, are now at odds!

In the succinct summary of their review, The Hollywood Reporter states:

"You’ll appreciate the foolish, naive, and arrogant mistakes in this film because they’re the price of youth and fate’s cruel joke. Meanwhile, Anson Wood’s star power elevates the story, delivering a punch of emotional resonance. The perfect holiday season pick."

Unbelievable!

The Hollywood Reporter’s firm stance becomes even more striking when contrasted with the widespread negative reviews.

This also marks the beginning of a polarizing debate.

Interestingly, The Hollywood Reporter isn’t alone in its praise. This dichotomy of admiration and criticism fuels the growing divide.

On one side, we have The Hollywood Reporter vs. The Wall Street Journal. On the other, The Los Angeles Times vs. The New York Times.

This time, the roles are reversed.

The Los Angeles Times hated The Butterfly Effect, awarding it a mere 20 points, oozing disdain and refusing to give it a second glance. Meanwhile, The New York Times took the opposite stance with 80 points.

"This is a work that bombards you with dramatic tension, teetering on the edge of becoming a soap opera. Yet Anson’s nuanced and restrained performance keeps it on course, guiding the chaotic emotional turmoil with clarity and purpose.

A complex, desperate, and turbulent emotional core is brought to life by Anson’s grounded and magnetic performance.

Undoubtedly, this is a surprise. One of the year’s must-watch films."

High praise, extreme high praise—arguably more shocking than the 80-point score itself.

While Nicholas Flynn’s report for The New York Times had already made its position clear, Flynn is a journalist, not a film critic.

Thus, the review from The New York Times’ professional film critic holds immense value, complementing Nicholas’s in-depth feature.

Even The New York Times’ own editorial team hadn’t anticipated this turn of events. They had expected Master and Commander to sweep through with a resounding triumph, only to find dissent within their own ranks.

Now, the situation has become truly fascinating.

Other reviews:

- San Francisco Chronicle: 75 points. "In a way so absurd it’s almost incomprehensible, The Butterfly Effect is the most entertaining film of this holiday season. Amid an immature script, sloppy directing, cheap cinematography, and blaring music, Anson Wood finds a way to keep audiences glued to their seats for this two-hour roller coaster ride."

- Baltimore Sun: 75 points. "The Butterfly Effect’s biggest problem: stupidity. Its greatest asset: Anson Wood."

- USA Today: 73 points. "The script tries too hard to craft a fateful tragedy, making every twist feel shallow and contrived. Yet, astonishingly, the film is compelling, thanks to the actors. Heath Ledger once again proves his ability to shine amidst terrible writing, and Anson Wood demonstrates star power for the first time."

- Variety: 70 points. "A textbook case of the cast saving a film. Anson Wood, Rachel McAdams, Heath Ledger, and a talented supporting cast achieve the impossible: making an awful script watchable."

- Empire: 70 points. "A disastrous script, but how does Anson Wood manage to shine like a beacon amid the wreckage?"

- Entertainment Weekly: 68 points. "Who would’ve thought Anson Wood could captivate audiences even outside his comfort zone? His performance far exceeds expectations, as do the others. Personally, I didn’t like the overly melodramatic ending, but hey, we have four other versions to choose from."

(Chapter ends.)

*Chapter 1147: Dual Forces of Ice and Fire*

Surprised or not? Excited or not?

The reviews for The Butterfly Effect revolve entirely around Anson. This was to be expected, as Anson is undeniably the core of the film. However, the truly shocking revelation is this: Anson saved the movie—

through his acting.

This…

Leaves people stunned, questioning their eyes.

Some might argue, “This isn’t the first time, remember Catch Me If You Can? No need to act like this is brand-new information.”

The key difference lies here: Catch Me If You Can was essentially a stylish blockbuster. Steven Spielberg fully capitalized on Anson’s good looks, making it more of a typecast performance without much technical depth.

As for the Golden Globe nomination for Best Actor in a Musical or Comedy, let’s not even mention it. Those in the know understand—it was purely ornamental—

Completely meaningless.

This time, however, is different.

Critics aren’t just praising Anson; some even suggest his performance saved the entire movie. In a film riddled with flaws, he became the only redeeming factor, showcasing for the first time the charisma of a true movie star.

This is no small feat.

Granted, The Butterfly Effect is just a sci-fi suspense film. It lacks the kind of gravitas that would earn acting nominations like The Fugitive. And while media praise doesn’t necessarily make Anson an Oscar contender, the real point lies elsewhere.

The crux of the matter is this: Anson carried the movie on his shoulders, injecting life into a mediocre—even terrible—film, much like Julia Roberts in Pretty Woman.

So, why not celebrate this?

It’s indeed a remarkable and surprising achievement.

In fact, from mixed reviews to positive ones, Anson’s name is everywhere. Every highlight and redeeming quality of the movie seems tied to this young idol-turned-actor—a result no one could have anticipated before the film’s release.

Yet, the facts remain—

Polarizing reviews abound, with glowing praise on one side and scathing critiques on the other. The reception is a mix of fire and ice.

The divide is especially sharp between the East and West Coasts. Even West Coast-based outlets like the Los Angeles Times and The Hollywood Reporter hold differing opinions, as do East Coast staples like the Wall Street Journal and The New York Times. The discourse is chaotic, underscoring the film's contentious nature.

The debates are lively and intense.

In the end, the composite score, based on reviews from 23 outlets, lands at 61—

Barely passing.

Despite efforts from publications like The Hollywood Reporter and The New York Times to salvage the score, the weight of negative reviews dragged the average down, perilously close to falling below the pass line.

Still, even a 61 feels jarring, especially compared to the explosive success of Spider-Man and Catch Me If You Can last year.

So, what does this signify?

Is this a lackluster debut for Anson as a producer?

Perhaps it’s too early to jump to conclusions.

Then, as expected yet unexpectedly, things took a subtle turn—

The buzz surrounding The Butterfly Effect began to soar.

Here’s what happened.

The overwhelming acclaim for Master and Commander: The Far Side of the World had initially dominated the conversation. Whether it was Russell Crowe’s star power or the epic nature of the film, it easily captured the spotlight with unanimous praise, monopolizing attention.

But behind this flood of accolades lurked concerns.

First, the surge of epic films in recent years had dulled audiences’ excitement. With an oversaturation of epics flooding the market, the novelty had worn off. Moreover, these lengthy films—Master and Commander runs 138 minutes—were testing viewers’ patience in an era where most movies clock in around 90 minutes.

Second, the pirate and naval war genres had long been stagnant. While this year’s surprise success of Pirates of the Caribbean rekindled interest, it didn’t necessarily reignite the broader market’s enthusiasm.

Third, the overwhelming critical praise for Master and Commander created the impression that it was an awards-season film—potentially alienating casual moviegoers who preferred straightforward genre flicks.

While these were just potential pitfalls, they laid the groundwork for The Butterfly Effect to disrupt the narrative.

Where there’s controversy, there’s attention.

Where there’s debate, there’s intrigue.

The polarizing reviews—praise and criticism clashing—sparked curiosity.

And that’s not all. The intrigue around Anson, combined with the unique premiere and the revelation that The Butterfly Effect has five alternate endings, created an irresistible buzz.

Boom!

The internet exploded.

Not from excitement, but from controversy.

Supporters and detractors alike voiced their opinions, sparking a frenzy of debates. The dual layers of controversy thrust the movie into the spotlight, slowly eroding the momentum of Master and Commander. The tide began to turn.

The situation became fascinating.

Within 24 hours, then 48 hours…

The heated discussions surrounding Master and Commander and The Butterfly Effect intertwined, becoming a highlight of this holiday season.

This was good news—for the film industry, at least.

Studios don’t care who wins or loses. They care about market vitality. As long as audiences flock to theaters during the cold winter and busy holidays, it’s a win.

Initially, the underwhelming box-office performance of The Matrix Revolutions, the series finale, raised concerns about audience interest. But within a week, the market showed signs of recovery.

“Anson vs. Russell.”

This unexpected rivalry lit a spark no one saw coming, igniting a wave of interest.

Finally, Friday arrived—

The day of reckoning.

Both films hit theaters, officially opening to the public. After all the pre-release battles, it was now up to audiences to decide.

The verdict?

That’s for the box office to determine.

…

As the credits rolled, Carl Rivette let out a long sigh, sitting quietly in his seat to gather his thoughts.

Around him, some viewers began leaving, but most remained seated, processing what they had just watched.

As expected, the film’s dramatic intensity had drawn everyone into its whirlpool, sweeping them toward a breathtaking conclusion.

Whether they liked it or not, the film’s magnetic pull was undeniable.

(End of Chapter)

*Chapter 1148: The Drama Vortex*

The concept of holiday box office seasons isn't exclusive to North America; overseas markets have them too, albeit with varying degrees of buzz and market potential.

Naturally, the head-to-head competition between Master and Commander and The Butterfly Effect extended beyond North America to international markets. Thanks to the star power of Russell Crowe and Ashton Kutcher, both films faced minimal obstacles in securing international distribution.

In fact, in 2003, the overseas distribution capabilities of 20th Century Fox and New Line Cinema were fairly evenly matched, much closer than their North American gap. Both studios relied heavily on partnerships with local distributors to promote their films, and the final performance depended on the skill of their distribution teams.

As a result, despite differences in release schedules across some regions, Master and Commander and The Butterfly Effect simultaneously debuted in six major international markets, including the UK, France, and Germany. The intense rivalry that began in North America spread across the globe.

For film enthusiasts, this was undoubtedly good news. They cared little about box office competition; what mattered was the chance to see compelling works of cinema.

Living in Paris, Karl wasn't about to miss the opportunity to dive into this wave of cinematic excitement.

His first choice was The Butterfly Effect.

Karl's reasoning was simple: The Butterfly Effect was a smaller-scale film, easier to digest. Watching it first would leave him with enough energy to follow up with Master and Commander. Reversing the order, however, might prove exhausting.

But now, Karl was beginning to doubt his decision.

Lingering in his seat long after the screening ended, Karl finally stood up and walked out, his steps hesitant, his mind racing.

The ending of the film he had just watched differed slightly from what he had imagined.

In the final moments of the story, Evan used a home video to travel back to when he was in his mother's womb, ensuring his birth marked the start of a new life.

At the age of seven, Evan encountered Kayleigh on the street. He hesitated briefly but said nothing, walking past her without stopping.

Kayleigh noticed Evan as well. Though her expression showed a flicker of recognition, nothing came to her mind, and she continued on her way, her steps unbroken.

This time, they never knew each other. Their lives never intersected.

In the end, Evan let go of his obsession—his need to save Kayleigh, his pursuit of perfection, and his search for happiness.

It was cruel.

Karl understood what this meant: the suffering that Kayleigh and Tommy would endure would continue, an unbearable weight for Evan.

Was this the ending they hoped for?

Evan finally realized his father had been right—he should not play God. He should not chase perfection or believe he could save everyone.

But was this truly the truth?

Evan neither saved Kayleigh and Tommy from their struggles nor found his own happiness. Was this really the "correct" path in life? Karl didn't know. His mind swirled with countless thoughts.

Standing in the theater lobby, Karl felt lost.

By his original plan, he should now head to the adjacent screening room to watch Master and Commander. Yet here he was, standing aimlessly like a fool.

"...I heard there's a different version, with a happy ending."

"What? Evan and Kayleigh end up together? How does that work?"

Nearby, snippets of conversation caught Karl's attention. Without thinking, his body moved before his brain could catch up, intercepting the two young moviegoers.

"Are you talking about The Butterfly Effect?" he asked.

The two film buffs nodded, unfazed by his sudden approach.

"Yes, at Médicis Lumière. My friend said the ending there is different."

"That theater is just..."

"I know, I know," Karl interrupted, nodding repeatedly. "We need to hurry."

Without further explanation, Karl took off at a sprint, the two others following behind, confused but keeping pace.

*Médicis Lumière.* How could Karl not know about it?

The theater was renowned for screening international and indie films, including festival winners and works too niche for mainstream chains. It was a favorite among cinephiles.

Moreover, Médicis Lumière was famous for its intimate viewing experience. With limited seating, it ensured a distraction-free atmosphere—no noisy chatter, no phone cameras, no sleepers.

It was a haven for true film lovers.

Never in a million years did Karl expect Médicis Lumière to be showing The Butterfly Effect.

They had to hurry or risk missing out.

Luckily, the theater was only two streets away. Karl sprinted full-speed, his breath ragged, while the others trailed behind, similarly winded and bewildered.

"Why are we running?" one of them finally asked.

Karl froze mid-thought. He had no idea.

Logically, The Butterfly Effect wasn’t an arthouse film. Major Parisian theaters were all screening it, and with its head-to-head battle against Master and Commander, ticket sales weren’t expected to be stellar.

At Médicis Lumière, there was little reason to worry about tickets selling out.

Besides, wasn’t he planning to watch Master and Commander after The Butterfly Effect? He even had two blog posts to finish tonight.

So why were they running?

Before Karl could answer, the theater entrance suddenly filled with a throng of people, like a herd of zebras on an African savanna.

Startled, the three froze in place, exchanging wide-eyed glances.

Karl’s first instinct kicked in: “Buy tickets.”

Without hesitation, he spun around, rushed to the ticket window, and blurted, “Next showing for Ashton Kutcher.”

Within three seconds, a ticket was in his hand.

Staring at the ticket, Karl was momentarily stunned.

Wasn’t he supposed to watch Master and Commander? What was he doing here?

Who am I? Where am I? What am I doing?  

The existential crisis was real.

But soon, Karl would feel grateful. Within five minutes, the tickets had sold out.

Unbelievable!

And that wasn’t all.

According to the ticket clerk, all three morning showings of The Butterfly Effect had sold out as well. As a small theater with only one screen, Médicis Lumière hadn’t even scheduled Master and Commander. They had assumed The Butterfly Effect might be sidelined or ignored, so they gambled on showing it three times Friday morning. The results were completely unexpected.

Furthermore, the theater confirmed they had received only one version of the film—a single ending.

If audiences wanted to see alternate endings, they would need to visit other theaters.

The version playing at Médicis Lumière was labeled "2," indicating it was the second ending.

Starting in the second week, theaters could apply for additional copies with different endings, depending on demand. The choice of versions and scheduling was left entirely up to the theaters.

This bold release strategy was nothing short of audacious.

One might even call it insane!

(To be continued)  

Chapter 1149: Spoiler Alert

"This... isn’t this too crazy? What on earth is New Line Cinema thinking?"

"I have a bold theory. This might be Anson’s idea."

"...Really? No way, right?"

"Think about it. Remember last year’s surprise flash event for Catch Me If You Can? It was insane. Back then, we were even wondering if Anson would show up in Paris."

"Hah, if it was Paris, I’d be curious which theater Anson would pick."

"So, Anson is breaking conventions again this year. I think it’s entirely possible. The New Line distribution team doesn’t come up with genius ideas like this."

"But even for Anson, isn’t this strategy just too wild?"

The chatter grew louder, with an endless stream of buzzing conversations.

In the cozy, intimate space of Light and Shadow, movie enthusiasts shared their thoughts enthusiastically, each expressing their own take.

Among the crowd, Karl remained silent, immersed in his thoughts.

Then, after some hesitation, he threw out a daring idea.

"Could it be... that this is all intentional on Anson’s part?"

The surrounding gazes snapped to him, the chatter momentarily softening.

"From the new premiere format onward, Anson has been emphasizing the concept of the butterfly effect: every choice we make could lead to different outcomes."

"So, Anson is extending that philosophy by giving theater managers the power of choice."

"On one hand, the manager's decision on which ending to screen and how to schedule showings might affect their own box office performance."

"On the other hand, what version we as audiences see, at what time, and with what crowd also creates a ripple effect."

Huh.

The room buzzed again, the lively discussions reigniting.

Someone nearby exclaimed, "But wouldn’t this be bad for the movie’s box office?"

Karl nodded. "That’s precisely the point."

"Anson knows that the choices made by theater managers and audience reactions will directly impact the box office, yet he still handed over the decision-making power."

"The film’s performance at the box office becomes an unknown variable, completely disrupting this year’s holiday season market."

Shocked silence.

Then, someone added, "It’s like one giant social experiment."

Wow!

Gasps, exclamations, and amazement erupted like a volcanic explosion.

Even Karl himself could hardly fathom how Anson had conceived such a bold marketing strategy. The movie utterly shattered the fourth wall, extending its dramatic impact into the real world.

Karl didn’t need others to convince him; his own experience was proof enough.

Through the viewing process, he had unknowingly been swept into the drama’s vortex.

In terms of plot alone, Karl agreed with the North American critics: the two screenwriters seemed to lack real-life experience, with the storyline feeling overly simplistic—like something concocted by frat boys in college.

But the movie clearly transcended that. Under Anson’s leadership, the cast elevated the material and broke the fourth wall, spilling the dramatic tension onto the audience.

Karl was certain: without Anson, if any other actor had played Evan’s role, the movie’s impact would have diminished significantly.

And even after the movie ended, the storm in Karl’s mind continued to rage. Every aspect of the butterfly effect seemed to pull him deeper into its aftermath.

Before he realized it, Karl found himself at Light and Shadow, joining a new group of friends to explore the second version of the film’s ending.

Later, Karl poured all his thoughts into a blog review.

"…We can’t help but wonder, what if? What if we had done this or that differently? Would life be the same? Through one movie’s runtime and an unprecedented release strategy, Anson Wood tells us about life’s unpredictability:

Instead of chasing perfection, why not embrace the unexpected and the flaws? Why not accept the wounds and pain and find the strength to keep moving forward?

Indeed, the butterfly effect’s plot is immature and absurd. To heighten dramatic tension, the single-threaded narrative fails to capture the true complexity and chaos of fate. Yet, behind this simplicity lies space for the audience to think—

Look, it’s simple, isn’t it? Such a simple story with such a simple premise. But sitting in front of the screen, what will you choose?

The movie offers five different endings. Which one do you prefer?

By letting the audience make their own choices, the movie delivers its final, ultimate statement:

Perhaps the French prefer tragedy; perhaps Americans prefer a happy ending; perhaps the Chinese appreciate bittersweet regrets.

And so on.

That is where the movie is most cunning. Sitting in front of the big screen, you’ve become part of Anson’s grand social experiment—including those pretentious critics who aren’t exempt.

When you mock Anson as a mere pretty face, Anson is busy laughing at your ignorance.

So, did you really understand the movie?"

In his blog, Karl spoke freely, unapologetically sharing his opinions. He didn’t just praise the film; he aimed sharp criticism at self-important critics, pulling no punches.

A score?

Karl didn’t give one—this was a blog, after all. It was all about his personal perspective.

But at the end, Karl made his stance crystal clear with phrases like "Highly Recommended" and "Must Watch." Undoubtedly, he believed this was a film not to be missed.

The blog sparked a massive reaction.

First in Europe, then through translations that crossed the Atlantic and Pacific, it spread across global forums, igniting widespread discussions.

The buzz only continued to grow, extending beyond the film enthusiast community and catching the attention of broader audiences. Once again, the movie stood at the center of controversy.

In the midst of the storm, a soul-searching question emerged online:

*So, what’s the ending?*

After all that rambling, isn’t this just another marketing strategy? There’s no need to make it sound so profound. Bottom line: it’s just a promotional gimmick. The movie’s been out for 24 hours now—have all five endings been revealed? Has anyone found them all?

Amid the lively debate, there were always those who tried to play it cool, throwing cold water on the excitement.

But this time, things were a little different.

Before anyone could start posting all the endings, a new perspective quietly spread:

*No spoilers.*

In 2003, with social media yet to take off, the spread of information—and spoilers—was slower. While people still disliked spoilers, forums weren’t as universally accessible, so the fear of being spoiled wasn’t as heightened.

Yet this time, no one knew where it started, but the call for "No Spoilers" swept across forums everywhere.

Audiences believed they should decide for themselves whether to see all the endings or which ending to watch. It wasn’t for others to dictate.

(End of Chapter)

*Chapter 1150: Irresistible*

When Anson proposed the "no spoilers" initiative, Eve felt skeptical—

Spoilers? So what?

Eve understood that some movies lose their charm when spoiled. Take The Sixth Sense, for instance. If someone revealed the ending beforehand, the movie's structure and narrative would crumble, and its allure would disappear. She personally disliked spoilers.

But was it really that serious?

At its core, wasn’t it just a spoiler? Just a movie? Even if someone spoiled it, wouldn’t you still need to watch it yourself to decide if you liked it? That seemed logical, right?

Eve grasped the concept and recognized the biases and folly of the internet. However, she couldn’t foresee the full blueprint of Anson’s strategy.

Nevertheless, she trusted Anson and actively cooperated with his plan.

Then, the unbelievable happened, nearly causing Eve to choke on her own spit.

"Get lost, spoilers!"

"You're not the only one watching the movie; we’ll go to the theater ourselves, okay?"

"Please don’t spoil it! I have homework on Friday and Saturday and can’t go to the theater until Sunday. Please!"

"Idiot! The whole point of The Butterfly Effect is leaving everything to fate. Whether we like the ending or not is destiny's decision—who made you God?"

"No spoilers, no spoilers, no spoilers."

"Can all the spoilers just be muted already? What’s with the superiority complex?"

"The ending is meant to be discovered, just like life."

"Just because you saw one or two versions of the ending doesn’t mean you’re superior."

"Finding the ending is part of the fun. Why ruin it?"

The reaction was overwhelmingly one-sided!

Though there were various voices, including those who deliberately spoiled the endings out of spite, the dominant sentiment was an aversion to spoilers.

To be precise, it wasn’t just resistance—it was outright disdain.

The surging tide continued to rise.

This sparked intense discussion within fan circles.

“Who cares about spoilers” vs. “diehard anti-spoiler” debates erupted like knife fights, fiercely clashing.

Ironically, those responsible for the spoilers were sidelined, while fans turned their forums into battlegrounds, setting threads ablaze across multiple platforms.

The chaos was unparalleled.

Eve was astounded.

She admitted this was a world she knew nothing about. It was a perfect opportunity to learn and absorb public relations strategies.

The results were immediate.

Because of the spoiler frenzy, audiences began taking action—

The best way to avoid spoilers? See the movie yourself.

Moreover, with The Butterfly Effect featuring five different endings, people’s curiosity and competitiveness skyrocketed.

Initially, the general public was resistant. They grumbled and complained, criticizing the five endings as a joke, seeing it as a blatant cash grab.

This reaction was entirely within New Line Cinema’s expectations.

From the start, the strategy of five endings wasn’t about pleasing everyone. It targeted hardcore sci-fi and suspense fans. Awakening their curiosity was the goal, and any victory there was a success.

Now, after the Carl Rivette blog post and the anti-spoiler wave, the narrative had shifted. The situation was entirely different.

The five endings could now be seen as The Butterfly Effect breaking the fourth wall—a reality-bending intrusion. The focus wasn’t on watching all five endings but rather on the impression left by the specific ending each viewer saw.

One version, one ending. That alone was enough—a unique interaction between the audience and the film, creating a personal butterfly effect.

The buzz quietly spread across North America and even the globe.

Young people. Hardcore movie fans. Trend-chasers. Bored but curious individuals. Sci-fi/suspense enthusiasts.

These were the target groups. While it didn’t cover every demographic, it was still a considerable force. And they were mobilized.

Of course, a small subset emerged on a mission—

A mission to collect all five endings, like Easter eggs. They flitted between theaters in their cities, racing to explore the film's multiple possibilities.

It was clear this was more entertaining than trick-or-treating on Halloween or hunting for Easter eggs. It carried a sense of adventure and exploration, as if the vast expanse of the cosmos was unfolding before their eyes.

And it might even become a popular topic during Thanksgiving family gatherings.

A friendly competition was brewing among young people: Who could become the first to collect all the endings?

When Roger Ebert arrived at the AMC theater, it was nearing midnight on Friday, just 40 minutes shy of Saturday.

Busy.

As a film critic, year-end was his busiest season, with awards-season films flooding in. Theater releases often took a backseat unless work required it.

But Roger refused to miss The Butterfly Effect. He was deeply curious about Anson’s taste as a producer.

He figured that late Friday night wouldn’t draw much of a crowd.

He was wrong.

Seeing the bustling throng before him, Roger doubted his own eyes.

Had he missed something?

When did Friday nights during the holiday season become this lively?

“What?”

Roger doubted his ears. The next The Butterfly Effect showing was sold out?

After an entire day of screenings, its attendance rate was still this high?

“What about Master and Commander?” he asked instinctively.

The answer was even more surprising—

There were no screenings tonight. The next showing was at 10:30 a.m. the following day.

Roger was a professional. He understood what this meant:

Master and Commander’s first-day attendance was underwhelming, far below expectations. Meanwhile, The Butterfly Effect clearly dominated, leading theaters to drop the former's late-night slots.

What no one expected was that The Butterfly Effect would sell out even its late-night screenings.

The gap was obvious.

This was AMC, a major chain that prioritized box-office performance. They would increase showtimes for popular films and immediately cut back on poorly performing ones. Their decisions were always calculated.

Roger hadn’t anticipated this. Thoughts raced through his mind.

But he didn’t jump to conclusions just yet and asked another question.

“Is there a midnight showing tonight?”

After receiving confirmation, Roger didn’t hesitate to grab a ticket for The Butterfly Effect’s midnight screening.

Soon, Roger felt lucky his reflexes were quick—because even the midnight show had surpassed 50% capacity.

For a non-premiere, non-special event midnight screening, this was rare.

A little digging revealed the reason:

Rumor had it this AMC location was showing the fifth ending!