Echoes of Hollywood

As a typical American gross-out comedy, professional reviews are not important at all, and the film review circle has never really appreciated this type of movie. "The End of the World" can be considered one of the few R-rated comedies in recent years to receive relatively positive reviews. However, both Murphy, as the investor, and 20th Century Fox, as the distributor, knew very well that the only metric that truly matters for such films is box office performance.

This type of film has no chance for awards season. Without a strong box office showing, subsequent television rights, online streaming, and DVD sales would all be severely affected.

On Monday morning, Murphy didn't go for his morning workout but instead opened his computer and logged into his email.

Gal Gadot, draping a blanket casually over herself, walked up behind Murphy, leaned over to wrap her arms around his neck, and also looked at the computer screen with concern.

Feeling the smooth and delicate arms, Murphy deliberately tilted his head and rubbed against them a few times.

"Don't move," Gal Gadot gently bit his ear, "It's prickly... How many days have you not shaved?"

"Only two days."

Murphy deliberately rubbed against her fair arms again, causing a layer of tiny goosebumps to appear on her smooth skin.

Gal Gadot simply let go and stood up, looking at the computer screen, "An email from Kara."

Seeing the email marked Kara Faith, Murphy moved the mouse and clicked it open. The contents of the email quickly appeared before him and Gal Gadot. There wasn't much written inside.

However, the first thing marked was a striking number—$48.6 million!

This was the box office figure for "The End of the World" in its North American opening weekend!

"Very nice!" Gal Gadot laughed, "It looks like surpassing $150 million in North America is very likely."

Murphy nodded, "There shouldn't be much of a problem."

In just three days, the film's North American box office had already surpassed its production cost. For a relatively low-budget gross-out comedy like this, it could definitely be described as a box office hit.

"There's more," Gal Gadot reminded.

Murphy scrolled down with the mouse wheel to see the rest.

"'The End of the World' has a CinemaScore of 'A', a Popcorn Score of 85%, and good audience word-of-mouth. With such word-of-mouth and the appeal of the Stanton followers, the North American box office has a good chance of reaching $200 million."

"Media reviews are moderately positive. Of the 136 media outlets included in Rotten Tomatoes, 72% gave it positive reviews, with an average score of 7.2. The authoritative media aggregator MetaCritic has an average score of 71 from 43 media outlets, far higher than other R-rated comedies released in recent years."

Overall, "The End of the World" had a decent reputation. CinemaScore didn't just mention $150 million in North America but directly predicted a possible $200 million.

If the film's North American box office really reached $200 million, the Stanton followers would be firmly established as a box office magic bullet in Hollywood.

"I heard from Kara," Gal Gadot seemed to understand Murphy's thoughts, "that 20th Century Fox is keen for you all to continue starring in similar comedies and would give Seth Rogen and Jonah Hill enough power."

Murphy propped up his chin and thought for a while, then said, "Asking for 30% to 35% of the box office split for the five of us together with 20th Century Fox shouldn't be too much, right?"

Gal Gadot shrugged and didn't answer directly.

Murphy's idea was simple: in these comedies, he was basically a supporting role and could just take a basic paycheck, while the comedic core, Seth Rogen and Jonah Hill, could get more.

These two weren't like him, James Franco, or Robert Downey Jr., who could command such high salaries. Seth Rogen and Jonah Hill's pay was still relatively low.

Now, with the success of "The Hangover" and "The End of the World," Seth Rogen and Jonah Hill had enough leverage.

After breakfast, Murphy drove alone to Death Star Tower, where Bill Rossis was already waiting in his office.

"Murphy, you need to be mentally prepared."

Putting a cup of coffee on the table in front of Murphy, Bill Rossis sat on the left sofa and said, "Back when 'Doubt' attracted suspicion and criticism from the Catholic Church, the scenes you filmed will be no exception. Your plan will definitely bring a lot of pressure."

"No worries," Murphy seemed unconcerned, "I can handle it. This film is okay; people at 20th Century Fox have seen the rough cut and have no objections."

If the film had any real issues, it wouldn't pass 20th Century Fox's scrutiny either.

Since 20th Century Fox dared to release it, by Hollywood and American film standards, those scenes were definitely not problematic.

Thinking about the recent visit, Murphy told Bill Rossis, "A few days ago, the regional archbishop of the Catholic Church in Southern California, Father Marcus Costello, visited Waverly Estate."

"What did he say?" Bill Rossis asked with concern.

"Nothing much..." Murphy shook his head, speaking honestly, "He probably heard some vague rumors and came to test my attitude. I sent him away."

Bill Rossis drummed his fingers on the sofa armrest, "If he contacts you again, let me know immediately."

He knew Murphy's personality and reminded him, "The Catholic Church may just be one of many religious forces in California and not the largest, but don't underestimate them."

"I know," Murphy took a sip of coffee, "I won't underestimate anyone."

After drinking some coffee, Murphy asked, "How's the authorization for 'The Boston Globe' article coming along?"

Bill Rossis knew that such a controversial event was prime material for a film adaptation, especially since Murphy had vaguely mentioned his intentions when giving the task. This was part of a series of interconnected plans. If successful, both Murphy and his agent could advance their careers significantly.

In Hollywood, moving forward after reaching a certain level was undoubtedly difficult. Seeing such an opportunity, Bill Rossis felt it was worth taking some risks.

"With your influence, CAA, and 20th Century Fox's involvement, the negotiations have been relatively smooth." Bill Rossis smiled, "After getting support from Robbie Robinson and others, I've pushed Focus Features out of the picture."

Murphy put down his coffee cup, "When can we get authorization?"

"The negotiations are in the final stages." Bill Rossis suggested, "You should have Gal go to Boston personally for the final talks."

The preliminary work could be handled by Bill Rossis, but the final signing would be done by Stanton Studios. Murphy knew this and said, "Okay, I'll have Gal come see you tomorrow. You two can discuss the details."

Since he had handed over Stanton Studios to Gal Gadot, Murphy would have her handle this task as well.

Murphy thought for a moment and said, "Bill, if there's no reaction from the Catholic Church after 'Diego Ross' is released..."

"We can get the media to stir things up." Bill Rossis said without hesitation, "As long as the media pays attention and reports widely, it will definitely catch the Catholic Church's notice."

"In that case, they will surely respond..." Murphy propped up his chin, "Once they speak out, things will be easier."

Even in Hollywood, there was a certain resistance to external criticism. If an influential Hollywood director was too fiercely attacked by an outside voice, especially when it concerned Hollywood's perceived non-negotiable freedom to film, it would likely provoke a strong backlash.

Thinking about his plans for next year and the adaptation of "The Boston Globe" article that Bill Rossis was negotiating, Murphy knew this was his best chance as a commercially inclined director.

Many things in this world aren't obtained just because you want them or because you've done well enough. They require a well-thought-out plan and excellent execution.

To win the awards he wanted, Murphy had laid a lot of groundwork. He didn't want to end up like Ridley Scott or David Fincher, forever a runner-up.

As for the Catholic Church, it was indeed troublesome, but this wasn't the past. Otherwise, there wouldn't be so many films about Catholic scandals.

If it were twenty, even fifteen years ago, Murphy would have been much more cautious with such subject matter. But the world is constantly changing, and those stories are already widely known in many circles.

Murphy and Bill Rossis discussed some precautions, then Bill Rossis changed the subject, "There's another matter. E.L. James has been calling me frequently lately, asking when her novel will be adapted for the big screen."

"Fifty Shades of Grey" had already been revised by E.L. James, and the series had sparked a certain buzz online, garnering quite a few supporters.

"Tell her not to rush." Murphy thought for a moment and told Bill Rossis, "Stanton Studios is contacting publishers for the book and has reached an e-book agreement with Amazon. Once the book's reach expands, I'll plan the adaptation."

Bill Rossis nodded, reminding, "Don't forget, Fox Television is scheduled to interview you this week."

Murphy pointed to his forehead, "I know. How's the communication with Grace going?"

"Quite smooth. 20th Century Fox intends to promote current and future films through your publicity, so the questions will mainly focus on that."

After spending more than an hour in Bill Rossis' office, Murphy left. As he walked out of Death Star Tower, he received another call from Gal Gadot, informing him that E.L. James had called Stanton Studios again, urging them.

Murphy's stance was clear: there was no need to

 rush. For a Mary Sue film like this, caution was paramount.

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