របៀបដែល Sony ស្តារសិទ្ធិផ្តាច់មុខ 'Spider-Man' របស់ពួកគេឡើងវិញដោយការចំណាយរបស់ Marvel និង Disney

Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ has earned $671 million domestic and $1.54 billion worldwide in just under four weeks. The film has created a “rising tides lifts all boats” situation, whereby the existing មនុស្ស​ពីងពាង និង Venom movies are currently ruling over the various VOD charts. As of yesterday, ten of the top 22 titles over at YouTube were compromised of the earlier Spider-Verse flicks. That includes Spider-Man, Spider-Man 2, Spider-Man 3, Amazing Spider-Man, Amazing Spider-Man 2, Homecoming, Far from Home Venom, Venom: Let There Be Carnage, Into the Spider-Verse. They were all in the current top-40 over at iTunes, the top 49 at Amazon (the top 29 if you only count movies) and the top 32 at Google. It furthers the notion that Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ is a bigger win for Sony than for Disney and Marvel.  

First, left to their own devices, I’d argue that a Marvel-specific sequel to ពីងពាង - បុរស: ឆ្ងាយពីផ្ទះ likely would have been pretty much the story we expected in summer 2019. With Mysterio setting Spider-Man up for his own murder and outing him as Pater Parker to the world, Peter would deal with life as a fugitive superhero with most of his MCU pals no longer of aid (since they barely knew him even before Tony Stark died). Kraven the Hunter may or may not have been involved, but the theoretical Spider-Man: Run from Home (or whatever) would have cleared an easy $1.1 billion, and everyone would have been happy. However, ផ្ទះគ្មានផ្លូវ used the existing MCU continuity and fan base to craft a Spider-Man movie that can, if necessary, remove Spider-Man from Disney’s MCU franchise.  

That’s the skewed victory Sony scored by first latching its newest មនុស្ស​ពីងពាង reboot to the MCU and then by bringing in the earlier franchises’ respective continuity. Whether or not the events of Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ ធ្វើឱ្យមាន The Amazing Spider-Man 2 or Venom “essential MCU continuity,” the film acted as a 2.5-hour advertisement for Sony’s non-MCU superhero movies. Prior to last month, the Andrew Garfield-led reboot duology stood for the nadir of arbitrary “reboot for the sake of reboot” thinking as well as a once-trendsetting franchise chasing its cinematic rivals (បុរសម្នាក់ពីងពាងអស្ចារ្យ ចង់ក្លាយជា Batman ចាប់ផ្តើម និង Spider-Man ដ៏អស្ចារ្យ ២ wanted to a Dark Knight that set up Sony’s own Avengers). As of today, they are retroactively popular and a possible lynchpin for how Sony makes its own non-MCU មនុស្ស​ពីងពាង movie alongside however Holland fits into Marvel’s world. 

I’m not saying that an Andrew Garfield Spider-Man versus Tom Hardy’s Venom movie would be a good or artistically valid idea, but it would probably be an easy commercial success. Thanks to Garfield’s winning supporting performance in គ្មានផ្លូវទៅផ្ទះ, the bad financial choices (spending $235 million on a “cheaper” reboot, just making a grimdark remake of Sam Raimi’s មនុស្ស​ពីងពាង) and artistic whiffs (killing off Emma Stone’s Gwen Stacy to appease a vocal minority, marketing Spider-Man ដ៏អស្ចារ្យ ២ as a Sinister Six backdoor pilot) have all-but-dissipated in terms of their legacy. They are now newly must-see movies, especially for those who avoided them in 2012 and 2014. In a world where marquee characters rule, the only thing that matters about the បុរសម្នាក់ពីងពាងអស្ចារ្យ movies is that they feature Andrew Garfield’s now-popular interpretation of Peter Parker.  

This, in a film which ended with Tom Holland’s Peter Parker being essentially removed from the broader MCU continuity. I’m not the first person to describe Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ as a metaphorical divorce. Sony produced a sequel to ពីងពាង - បុរស: ឆ្ងាយពីផ្ទះ, a film whose $1.131 billion-grossing (including $199 million in China) success was partially predicated on its existence within the MCU (and coming right after Avengers: Endgame), that used its in-universe cliffhanger to hawk its prior មនុស្ស​ពីងពាង franchises, including the failed one. It then turned those films into rediscovered gems and climaxed with an ending (everyone forgets that Peter Parker ever existed) whereby Spider-Man is now a lone wolf with zero interaction with the larger MCU. This, after the much-publicized brokered peace concerning Holland’s Spider-Man continuing to exist within the MCU. That’s chutzpah. 

Those negotiations were implicitly predicated on the notion that Sony’s Spider-Man outside the MCU was far less valuable than one within. Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ, a film with a small supporting turn from Doctor Strange but otherwise entirely set within the world of Peter Parker, and one which uses franchise nostalgia from prior non-MCU Spider-Man movies, is going to earn more worldwide (around $1.7 billion), without China no less, than any superhero movie save for the last two Avengers movies ($2.048 billion and $2.8 billion). Oh, and in a year where Marvel ruled the box office, Sony’s Venom: សូមឱ្យមាន Carnage earned $212.5 million domestic and $505 million worldwide. That’s just below រាជវង្សស្ឆាងជី ($225 million) but well above ភាពអស់កល្បជានិច្ច (164 លានដុល្លារក្នុងស្រុក / 399 លានដុល្លារទូទាំងពិភពលោក) ស្ត្រីមេម៉ាយខ្មៅ (២០២ លានដុល្លារ / ៣០ លានដុល្លារ) និង Shang-Chi’s $430 million cume.  

Disney is absolutely entering 2022 on the defensive, although I’m still expecting grandiose things from the next two years of MCU sequels to Doctor Strange, Thor, Black Panther, Captain Marvel, Guardians of the Galaxy និង ស្រមោច-បុរសម្នាក់ (also… I believe in James Cameron). Moreover, I’m not expecting Sony’s ក្រាំងហិនទ័រ (starring Aaron Johnson) or មូបារ៉ាស។ (starring Jared Leto) to set the global box office on fire. That said, it may have looked “better” for Disney had Spider-Man: គ្មានផ្លូវនៅផ្ទះទេ performed on par with pre-Covid expectations (think around $1 billion) or under-performed. Such a circumstance would have suggested a ceiling for non-Disney MCU movies and the very idea of global theatrical releases (which plays into the current Disney+-centric strategy). With five Marvel movies released in 2021, the two biggest were the Sony titles. 

ផ្ទះគ្មានផ្លូវ rejuvenated interest in the blockbuster Sam Raimi-directed/Toby Maguire-led trilogy and spawned retroactive nostalgic interest in another Andrew Garfield-led installment, especially one teaming him with Tom Hardy’s currently popular Venom. Sony used the MCU as a vessel to rehabilitate the image of their earlier failed មនុស្ស​ពីងពាង franchise. They used the third film in the trilogy to metaphorically justifying keeping Holland’s Peter Parker outside of the larger MCU. I’d argue it overperformed in terms of pre-Covid expectations had it opened in July 2021 sans pandemic circumstances, and now ផ្ទះគ្មានផ្លូវ leaves the “burden of proof” on Disney rather than Sony. When Venom 2 ។ tops $500 million and Sony’s Spider-Man 3 កំណែ 2.0 tops $1.5 billion, over/under $400 million isn’t good enough for Disney’s MCU to still be considered the king of the world.