Forecast: Blockbusters with a Chance of Competition

[Music] Hey guys, welcome to Tickets to Ride. Hey. Hey. Welcome. Welcome. Welcome back. Welcome home. Yeah, welcome home. Right. What What episode is this? I'm putting Paul on the spot. I know Paul doesn't I don't know. It's 11. It's episode 11. Okay. Episode 11. Wow. Look at that. We're just rolling along here, guys. Well, this is a very uh critical weekend. not critical. It's an important weekend. Critical sounds negative, but with the Memorial Weekend right here on the horizon, one of the most epic weekends in history for the movie theater, uh, for movie theaters in general and for audiences and for studios. I think we're going to have a much brighter uh, much more fun, much more stupendous box office memorial weekend than we did a year ago. a major bummer. That is, it's funny. I mean, we should get right into that, Paul, because that is probably the biggest story like as we're, you know, there's a lot of storylines going on right now. And I think, you know, if you go back six weeks ago, uh, the sky was falling as it has numerous times since we started this podcast. Pre Minecraft. Pre Minecraft, right? pre Minecraft, it was all over and movie theaters were going to be extinct by the time we get to August. Warner Brothers goes and contributes what is it $750 million of box office and all of a sudden Happy Days are here again. Um, Final Destination goes out and does 50 million last weekend. Do you realize I didn't even, you know, I I started doing the uh the research over the weekend, 25 years since the first installment of that franchise came out and that uh that grossed $27 million back in March of 2020. This one goes out and does $51 million. It almost doubled that. It is the highest grossing installment of the franchise to date. Unbelievable. Who knew, Mike, that people getting killed in strange ways would be just as popular today as it was back in the day, right? Definitely. And I got to give Warers a lot of credit, man. They they they took a little bit of a drubbing in that first quarter, but man, they've come back with a vengeance, a trifecta of Minecraft movie Sinners, and now Final Destination Bloodlines that every studio should be celebrating because think of all the people that were in theaters in April. And then of course we have to give credit to Disney as well with Thunderbolts being exposed to in the marketing and trailers for these upcoming films coming out Memorial weekend, postmemorial weekend and beyond. And wow, you're right, Mike. I mean, everybody was doom and gloom. And that will happen when you have a March that was down 46% versus March last year, but we had an April that was up 100% versus April last year. And I predict, if not the biggest Memorial Weekend of all time, which is a high bar, and we'll get to that number, but also one of the best lineup of films I've ever seen for the summer. But I think this May, I mean, last May was pretty bad. And last uh the Memorial Weekend of 24, we all know why because of the strikes and the resulting chaos. So, the release calendar was the lowest grossing in decades. the 4-day period according to our com score data 132.3 million right right for 4 days for all films domestically US I I'm willing to bet that one of the films opening this weekend will surpass that on its own right I think you've stitched together quite a narrative there Mike and the and the two and the and the two blockbusters together will do better maybe possibly will do better than the entirety of the best Memorial Day in history. And that's just those two films. And then there's all these then there's all these holdovers that are doing very very well. Holdovers are key. And I do have in front of me the and I can give this to your team, Thaddius, so we can put up this chart for those watching on video. But the biggest Memorial weekend ever, a high bar, by the way, 2013, Fast and Furious 6 led a 4day of $314.3 million. Wow. I think that's going to be a tough bar to That's a tough bar. I However, yeah, go ahead, Mike. I think in looking at the data, Paul, that that you guys put together, uh, if this is not the second best, it'll be top three, top four of all time, which is saying a lot considering Memorial Day weekend used to be way back in the day, guys, the kickoff to summer and then it kind of got moved back a little bit by, you know, each year. I think we all saw, you know, now it's literally the last week of April, first week of May. That's global warming. That's global warming, isn't it? Well, I guess summer starts earlier, right? Right. Um but but that is I like it. I like it. Uh, but but I think what what that's all telling us is, you know, we keep saying this over and over and over again, and I know, you know, I've been accused of sounding like a a homer for the industry on this, but what it really comes down to is it's truly about the content, guys. And, you know, we got into it a little bit on our last episode where we talked about, you know, existing IP versus, you know, the struggles that some of the the non-existing IP has had. And but when you look at something like Sinners which is just cruising along right now and you know is the highest grossing you know original IP I think in 10 years something along those lines. It's really amazing what they've been able to pull off with that. It really is and that's so important for the summer season because you need that momentum and this year we had a Marvel movie to kick off the summer which is always a good sign. And uh you know if you look back the last couple of years like okay we talked about 24 being 132.3 million for the 4-day memorial frame domestically 23 was 205 right 22 was 224 million the the top two movies this weekend will earn well if we do let's say uh uh for let's see Lilo and Stitch could do 140ish for four and uh if If Mission does 7580 or more for Yeah, you're looking at 220 right there because those two movies those two movies and as we know the holdovers are very strong right now. Uh you're going to have a very strong hold over with um Final Destination uh which I think it's safe to say this isn't their Final Destination. My guess is uh you won't have to wait 13 years for the next installment of the franchise. Um, but I I think between Final Destination, between Sinners, between, you know, what's left in Minecraft, Minecraft is still looking at a very solid, you know, 4-day frame for all film. Did you guys follow that Sinners had a had a sort of return run in IMAX last weekend, right? And for the weekend it did um $930,000 or something in in nine locations or $950,000 in nine location. That's $100,000 per venue in the weekend. And what you what week is sinners in now? It's just amazing, right? It's amazing. Now I want to ask you guys both. I want you each answer this individually. So, you know, we're fixated, not we, but just in general, there's a fixation on opening weekend gross. And Thunderbolts opened to 74.8, I believe, million domestically. And people are like, well, Avengers Endgame opened at 357, all this, you know, back in 2019. But I I I think, and I'm already kind of answering my own question in a way, what's more important, big opening weekend or long-term playability? Mike, what say you? Um, I'm actually going to say it's very dependent on the film itself. And, um, there are certain films where it's all about a big weekend. And, you know, I I mean, we've talked about this before, too. You know, there are those films that are um they're very commercial. Uh, they've got great marketability. They may be challenged when it comes to playability. And in those cases, Paul, I would say it's all about, you know, get as much as you can that opening weekend. It's not like a fine wine. It's not going to get any better. However, there are those movies such as Minecraft, such as Sinners that we're seeing, uh, which are what I would call, you know, more of a a marathon, less of a sprint. They are the And I know it's hard to say it with a $415 million movie that it's a sleeper, but in the case of Minecraft, no one had that on the bingo card doing $415 million and no one had it holding in the way it did. And no one had sinners holding in the way it did. So I I don't think you can say in my mind at least that it's important that a film, you know, has long playability. Every film is different and every film needs to be judged for for what it is. I mean, if you look at something like Captain America, uh, Brave New World, that's one where I think you could say it's a little disappointing that it did not have the legs that, you know, a typical Marvel film might have. It opened big and it flamed out very quickly. Thunderbolts uh, had a second weekend drop on par with the heyday of Marvel in the mid50% range for a second weekend. So Thaddius, what what do you say about the I'm just going to sort of opening versus long-term? Yeah, I think I mean on the one hand, if you're the studio, it's just whatever the long-term number is, I would assume, right? Although you have to make decisions. Here I am not a studio guy talking about what the studios think. But you know, the studio has to make decisions about how to market the film, right? So you have to know what you have and how to approach what you have, which comes back to your point, Mike. But I think from the exhibitor's point of view, it's a symphony. You've got all kinds of different films going on at one point in time and you want to have enough volume weekend to weekend. So if you've got a a a film that's holding well then you hold on to it and that contributes to the to the symphony, right? And then you have big openers that might come and go in a flash and you have to kind of have a variety of product in your in your cinniplex in order to be successful. So it depends on which of the two perspectives you're coming from. And I like what you said about a symphony because we're having a symphony right now at least April, May, and going through the summer whereas we had last year we had a cacophony if you will and that really kind of I think hurt the hurt the year. I mean we really didn't get kickarted into summer until June with Bad Boys Ride or Die last year, then Inside Out 2, but we were like making up for a f almost a first half of the year that was so disrupted. And this year it just seems like and Mar, let's face it, and Mike, we've talked about this for years, that it's the movie gods, right? Part of it is the movie gods smiling because if you go back to March, it was pretty bad. And there were some really good originals out there. Mickey 17, Black Bag, Novacane. I mean, there's some there was another one. I'm Drop was another one that what got great. I mean, but that's got to go back to again and and it's the, you know, everything is there there's pluses and minuses on everything and is what it comes down to and I think this goes back to the topic from the last uh time we got together and that is marketing of original IP is extremely difficult right now. breaking through the the clutter and all of that noise is more difficult than ever when you take existing IP and you mentioned uh Lilo and Stitch this weekend coming up. Lilo and Stitch is probably one of the most beloved animated um classics that Disney has in in modern generation. I know a lot of kids grew up on that who are now young adults who are adults and actually have kids of their own that they want to share that experience with the underestim not underestimating but it doesn't have a as big of a hurdle to get over because it's already like I've already loved that I want to go see it. Same way with Mission Impossible. Mission Impossible is a known uh commodity. When you get into something like black bag, like Mickey um 17 drop, you got that is you have to educate the audience to why is it that you should spend $125 to come see this movie? And that becomes part of the the the big issue. And I think as an industry, and this goes back to what we were talking about, you know, a few weeks ago, that's a nut we've got to figure out. And if we don't figure that out, you know, that's going to lead to much bigger issues down the road. That's and and last breath was the other one that was well reviewed and all that. And then sinners comes along. You know, people start all we always talk about this that big pronouncements are made about our industry during a sliver of time like March uh where those originals didn't connect and then s but sinners had a lot going for it. Ryan Cougler, Michael B. Jordan, great reviews. I mean, everything kind of came into play there. But yeah, I mean that's what makes our industry so interesting and difficult to kind of put in a box because it's everchanging. But I got to say, I've been going out there a lot and just talking about this lineup of films and we may have talked about this on our last podcast. This the cadence, frequency, the excitement. I mean, I'm looking at like I don't know, How to Train Your Dragon, the response that got at Cineacon, that could be I'm not going to say the biggest movie of the year, but it's who knows, right? Who knows? It could be huge. That's another one where if you go back and if you look at the history of the franchise and those are all animated movies, there's a ceiling on what those movies do, right? It's very possible that this movie opens to what the total gross is for for those films, which is, you know, when it's kind of mindboggling when you think about it. And to your point, Paul, the lineup of films between now and the end of summer, and I know you always like to uh you know, you you you when we had the $4 billion summer and you know, you would equate that to how that was going to work out for end of year. Um Paul, if you don't know it, everyone, he is a mad scientist when it comes to the algorithms of how the world of the box office will work. Um, but you know, I had many discussions going into the spring with several distributors and exhibitors who were concerned that we would not get to $9 billion this year, right? Um, the the topic now is trying to keep everybody tempered from the from saying, "Wow, we can be at 10 billion." Like, slow down, guys. We're not that we're not there yet. So, well, I will predict that we will get to over four billion this summer. I don't see and especially with an August that looks killer. This isn't Leave it on the floor August or, you know, the dog days of August. When I look at the uh Naked Gun, Bad Guys 2, Freak Your Friday, Weapons, Nobody Too, Cot Stealing the Roses. What are you kidding me? It's fantastic. I mean, it's unreal. The punk rock month is back cuz that's the month where we got in Glorious Bastards District 9 Super Bad Guardians 1, right? I just from soup to nuts, man. From beginning to end, I don't know how to say it. And it's not I'm not just Look, if the lineup sucked, well, I wouldn't say it sucked, but I wouldn't be saying it's one of the best ever. And I've talked to a lot of journalists and uh talking about I think this going to be one of the best summers ever. And they're like, it's going to be a record breaker. I go, I didn't say that, right? I said it's going to be one of the best summers ever. That doesn't necessarily mean we're going to break 4.76 billion like we did back in 2013. It just means that the currency of goodwill and the love of the movie theater and appreciation for the movie going experience is going to be heightened and amplified and finally put to bed this idea that the movie theater is not going to survive. There's challenges of course, but let's just get off of that notion. So, as Mike always says, it it's always about the movies. It's about the product. I don't even like to call it product, but you know what I'm saying. So, I live in Boston. I live in Boston. And every summer there are stories about the tourist industry on Cape Cod. It was a good it was a sunny summer. It was a rainy summer. It was a good tourist season. It was a bad tourist season, right? And it's it's a chronic media story every single summer. And when we're up, we're up. And when we're down, the whole industry is done forever. I think the movie industry is the same thing. There are good summers because there's good product or good weather as the case may be and there are bad summers which is the way it works, right? I'm stealing that. I'm stealing that from you, Thaddius. I love that because that's exactly what it is. It's as unpredictable as the weather almost. It's well I mean and and that's the one thing that is so unique about the the movie business as opposed to almost any other industry when you roll out a product and that is the audience is so fickle and you have you can you can think you know what you're doing. you can put together what you think is the greatest package of, you know, with actors and and producers and everything. And at the end of the day, if the execution isn't there, everybody looks at it and goes, "Ho hoham." And, you know, a movie is also something that doesn't have this, you know, if you roll out a box of cereal and for whatever reason the campaign doesn't work on on the opening day, you can tweak the campaign and maybe you can get there. You don't get that luxury with a with a movie. If the movie is a crash and burn on Friday, it's yesterday's news by Sunday. That's right. It doesn't get that that it's it's unique in that way. Conversely, Paul talking about like that, you know, movie that has the long legs. Yeah. If a movie comes out and it's a discovery and people love it, all of a sudden, you know, it went from what was that to you've got to see this movie. Well, do you think that could happen with F1? Because there's a lot of grumblings about F1. And I want to disabuse people of the idea that since oh it comes on tracking lower than expected. This is a brand new IP. I mean Brad Pitt is not brand new IP. Joe Kazinski is not brand new IP. But traditionally Formula 1 movies like Rush, Grand Prix, Lal, they have not done that well traditionally at the box office. To me it's going to be a movie whatever it opens to once people go and see it especially in IMAX or you know the premium formats. It's going to build that buzz. I it's got a lot going for it, right? I mean that that F1 has a lot going for it. It's got Brad. They had they had the industry screenings of this uh last week and um we happened to have um the Will Rogers film row golf tournament last Thursday and uh the big talk was the F1 screening. And when I say the big talk, I don't mean the big talk of oh look out for that. It was more of like that was absolutely awesome. I did not hear one negative thing on that movie. I think that movie has a chance again. I'm going to put this in that it's hard to call a movie like that a sleeper, but I have a feeling we're going to look back on that at the end of uh summer going, "Wow, we didn't we didn't quite see that number coming from." But it could rack up a lot of good weekends over many weeks in a row in the way some of the films that we were talking about a minute ago. You know, Paul Paul brought this up and I've just pulled up the calendar and I let let's talk a little bit about what we have coming up. We'll start with this weekend. We have Lilo and Stitch. We have Mission Impossible. And then uh our friends at Angel have The Last Rodeo on May 30th. Uh we get uh Karate Kid Legends. By the way, I saw the trailer for Karate Kid Legends. Looks great. And we kind of think of like, sorry to interrupt you, Mike, but I just want to jump in real quick. We kind of think of like Memorial Weekend's the last weekend of May. It's not postmemorial weekend, you're going to have Karate Kid and then after that some really cool movies as well. Well, then you get Ballerina on June 6 from the world of John Wick. Um then you have uh uh Paul Dabedian's uh How to Train Your Dragon on June 13th. Don't forget the Phoenician scheme. Did you direct that, Paul? Did you direct that? Yeah, I directed it. Right. Right. And I did. I I jumped over the Phoenician scheme, which, you know, is is going to be a very interesting movie that a lot of people have their eyes on. But then you get to June 20th and you have Ilio and then you have 28 years later, which looks great, right? And then you have on the 27th we have F1 and then we have Megan 2.0. And I'm only hitting the the the the what I would call the marquee ones here. We have some really cool like barbenheimer possibilities here. Oh my god. Do you No kidding. F1. I don't Yeah, don't get me started on Yeah. 28 Helios later. I I don't know. It's kind of crazy out there. Then there's this little movie on uh over July 4th called Jurassic World Rebirth. Wow. Uh then you have another little movie on the 11th called Super. You may have heard of that. And then on the 18th, uh, we have Smurfs and the reboot of I Know What You Did Last Summer. Then on and then we get to July 25th and then Marvel's, uh, which which looks like right now it's probably one of the most anticipated movies of the summer. So good. Fantastic 4. Definitely. Um, and so now that's just July. Then we get to August, which Paul was talking about. You have Wait, I got to play devil's devil's advocate here. We have to keep it real. Is there too much good stuff? Are any of these movies going to get hurt? Is it too much one after the next? Is it too much to expect audiences to go out every weekend or will the marketplace expand to accommodate all these amazing? That is a really good question because this is, you know, we saw a little of this right after the pandemic. If you guys remember, right when things kind of opened up again, there were all those movies that had been put on the shelf and they were kind of lined up like planes waiting to land at an airport. And we went through that up until I believe Bullet Train was the last movie in that that stretch in the first week of August and then the pipeline dried up if I remember correctly and we had that just one monster after another. So the your question Paul is is very well founded because post pandemic there really is no precedent as far as you know does the marketplace expand as it previously did. So pre- pandemic the marketplace would expand and basically it would make room for all these movies. Now, the one thing we also know about the movie business is that while all of these things look great on on paper, there are going to be one or two of these that don't live up to expectations. So, we know and we also know there's going to be one or two of them that someone's going to go, "Where did that come from?" you know, um, you know, you look at this calendar and one of those could be, you know, Neon has a horror film on August, uh, the August 1st weekend called Together. You know, could that be this year's long legs? I I don't know. You know what I mean? But, you know, then we get into August and then we have Naked Gun. We have Bad Bad Guys 2. Uh then you have you know weapons and freak of your Friday from uh on the eth as well as uh sketch and then you know now you're you know once you get into you know toward the end of August then you have nobody too and remember nobody was a you know a pandemic hit. So the question really goes is, you know, is there, you know, to your point, Paul, does this keep rolling all the way through? You know, what would the shortage be, right? There's enough seats at the movie theater. Maybe there's a little bit of a premium on the premium large format seats, but by and large, there's enough seats at the movie theater. There's probably enough popcorn buckets to serve the popcorn, right? Well, it's good that uh AMC is doing that 50% off Wednesdays cuz that which is another will drive attendance. Who knows what that will do to box office, but it'll certainly drive attendance. Right. Nadius, you bring up a great point. How are all these films, not all of them need or have to have premium screens, but there's a lot of them here that do. How is that going to play into, you know, there's a lot there's only a certain amount of shelf space, and you have to see Mission in in IMAX or or a big screen format. You have to see Superman like that. many of these other films, F1 as well and others and Jurassic, how are they all going to, it may be an open-ended question, but how are they all going to get those screens that they need to get those premium format? I mean, it'll be a struggle. There'll be a there'll be a kind of conflict between the different studios as well as, you know, the negotiations that the studios have with the exhibitors around which film is going to, you know, get those screens at a given complex or across the whole circuit. I was just talking to an exhibitor the other day that has, you know, a pretty large footprint and they'll say, "Well, I'll give you this complex for this title on my IMAX screen and I'll give you this complex for this other title." And that's part of the negotiation. However, I think you we all need to keep in mind that a lot of these exhibitors have upgraded their regular auditoriums in pretty significant ways. You know, luxury amenities, recliner seats. So, it's still a very it's still a premium movie movie going experience even if you're not in the IMAX screen. Well, I mean champagne problem to have like how how are we going to it is a yeah it's a total first world problem to have and a lot of it's going to be survival of the fittest as well and that is you know as you start going in and as you start seeing the ticket sales from one film to another is going to help you know make those decisions for the exhibitor. And you you make a a really good point there, Thaddius, where um overall the presentation in these screens is dramatically better than when I worked in a movie theater way back when. The difference though is remember the PLF formats are getting $4 to5 extra per ticket, right? that, you know, as much as it's the um experience that is important, you know, on the business side, the dollars and cents matter. And getting that extra upcharge um you know, is the difference could be the difference between a $50 million weekend and a $45 million weekend or The Last Mission Impossible and Oppenheimer as the case may be, right? Because that was a case that comes to mind where there was really contest over who was going to get the IMAX screen. All you have to do is we just we just kind of went over real quick this summer. You know, you have a stretch where you're going to have Superman, F1, and Jurassic World all vying for the same premium formats in a very, you know, condensed. July is like and then with Fantastic 4 to round out July. So, that's going to be like the PLF month to end all PLF month. Well, if if you're an IMAX stockholder, it's going to be a good uh good stretch for you. So, I want to sort of that's true. I want to touch back on something that you sort of brought out, Paul, which is, you know, what happens with um sort of the studios or the industries. It's not just the studio, it's the exhibitor as well. Ability to market all of these titles effectively. So, you get so the consumer gets that in his or her head. That's the film that I want to see. You know, attendance, it's a sort of a dirty little secret within the industry, but attendance is down very significantly from what it was pre- pandemic still, even if the box office is inching up and inching up because the average ticket prices are increasing. So, I think and the screen count is also down, but it's not down that much. So, there's a lot of capacity in these movie theaters as long as you can get the people to come to the theaters, right? There's lots of show times. The films are great or they will be great. They are great. They will be great. So, it's comes back then to your point you've made several times, Mike, which is marketing. You've got to somehow get the message out to the audience to get them to the theater. Again, you know, when you know, you're not wrong. And the the attendance issue is definitely something that um I think a lot of industry observers are very much aware and concerned of and we keep going back to we have to grow the top of the funnel and we have to find ways to um and I don't and and anyone who's ever heard me on this subject I always say it's not even bringing people back it's finding new people to come to the Great point and to show them that this is a great value proposition. And and again that's another key in in my mind and that is you know whether you're spending 12 13 14 $15 that is a great value proposition for what you're getting compared to wherever you could wherever else you could spend the money for. Talk about what AMC did this week in terms of trying to drive attendance. Yeah, but I would argue too that, you know, for people who have so many options at home on streaming, that's what raises the bar on what it takes to get people in the movie theater. I always say streaming and movie theaters are additive and complimentary, not adversarial, but it just means the bar has been raised in terms of what it takes for someone to say, I've already paid for my month of whatever name the streaming service. I can just sit on my butt, watch a movie, pause it, go to the fridge, take a bathroom break. you know, the convenience factor, but then you get one a person going to see Mission Impossible and they'll be like, whoa, this is totally different. We need more people and I don't know how you do that. I guess just through marketing and and Mike, as you said, through proper messaging and then to get new people to go, but it's a it's a very complicated, very competitive entertainment landscape. and the fact that movie theaters are doing as well as they did. I just want to say just for point of reference, the Memorial Weekend of 2020, we all know what that than that was. The total four days, $842,000. I think we're going to do better than that. I think we're going to do a little Well, I I want to go back to one thing about marketing, and this is something that caught me caught my eye last week. I am fascinated with uh this organization called the Savannah Bananas. I don't know if you guys are familiar with them. They are kind of the Harlem Globe Trotters of baseball. And uh they have they have built the brand from nothing to uh a week and a half ago they sold out in Nashville um where uh the Titans play and 81,000 people to come see the you know this just baseball menagerie so to speak. The interesting thing is when you talk to when when you listen to to the the guy who owns them, he's all about marketing and he's and he even calls his company Fans First. And it was really interesting hearing what he was saying because he was saying he wanted to be a great value proposition goes back to that. And his ticket price, which is now around $30 a ticket, um includes food and beverage when you go to the when you go to the game. So he's not looking to nickel and dime. He's not looking to make it a a laborious experience. He's make he's looking to make it a fantastic experience that you want to repeat other people of how your business. That's kind of what I was thinking. I'm like these are these it sounds like common sense. Yeah. And it sounds like a way that again you can grow your funnel and this guy has in you know five years has taken it taken it to from nothing to it's it's now a major attraction on on par with something like WWE. We can apply those lessons to other places then. That's that's my point. In a funny way, it reminds me of Angel Studios, you know, because they came from nowhere and all of a sudden, you know, they focused on the community that they were targeting and, you know, the the enjoyment of the community experience, right? So, yeah. Well, clearly the Savannah bananas are very appealing. You get comedy here on with that, Paul. I think that's that's our cue to call it a day. Time to call it. I'm gonna make like a banana and peel out of here. Um, no, it's great to talk to you guys. Ticket to Ride Pre-Memorial uh weekend edition. I know Thaddius's team who we need to give credit to. They do a great editing job for all the platforms and we really appreciate it. So, we look forward to this episode. I mean, for providing it to all of you, our dear viewers and listeners out there, right guys? You bet. People will be listening all the way to the to the Cinniplex, right? On their way to the Cinniplex. Hey, that's a great idea. I like that. Love it. Love it. All right, guys. I'm Paul Garedian, senior media analyst for ComCore. Daddius Buchard, the head of Screen Dollars, and Mike Polydoris, the king of paper airplane media. We're African, the top banana. There we go. Love it. See, the comedy never stops. Never stops here. There you go. Well, thank you guys. Have a great Memorial weekend at the movies. For sure. Thanks. See you next time. Byebye. Bye. Bye. Bye, guys. [Music]