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Lindsay Lohan Is Returning to TV, and This Could Be the Low-Key Comeback Vehicle She Needs

http://www.indiewire.com/2017/06/lindsay-lohan-sick-note-comeback-1201842871/

Lindsay Lohan is heading back to television, but she’s doing it across the pond.

The “Mean Girls” star has landed a role on “Sick Note,” a British comedy series that will air on Sky Atlantic and streaming service NOW TV sometime this year. The show has already been renewed for a second season, which is when Lohan is slated to show up.

READ MORE: ‘Mean Girls 2’: Lindsay Lohan Has Written a Treatment and Hopes Tina Fey Can make Time for It

“Sick Note” stars Rupert Grint as Daniel Glass, whose life hasn’t been going so well lately. He’s struggling to care about his dead-end job with his demanding boss Kenny West (Don Johnson) and is also in failing relationship. It all comes to a head when he’s diagnosed with esophageal cancer, supposedly a fatal case. Upon learning the news, everyone begins to treat Daniel better, and as a result he becomes far more invested in his life.

Unfortunately, Daniel discovers that he was misdiagnosed by the incompetent Dr. Ian Glennis (Nick Frost). On the advice of the oncologist, Daniel decides to keep the truth a secret and perpetuate the charade. What could possibly go wrong when you’re lying about having a fatal disease?

Lohan will play Katerina West, the daughter of Daniel’s boss. According to IMDb, she’ll appear in at least the first three episodes of the second season. Lohan posted the news on her Instagram and Twitter accounts a few days ago, accompanied with a picture of her costars Grint and Frost.

 

“Sick Note” is co-created by Nat Saunders and James Serafinowicz. Jo Sargent is an executive producer, while Sarah Fraser is a producer and David Jargowsky and Scott Aukerman are consulting producers.

Lohan has had far more misses than hits in her career. After a promising start in soaps and then films like “The Parent Trap,” “Freaky Friday” and “Mean Girls,” her life started to spiral out of control due to alcohol abuse, family and behavioral issues, and even a DUI. Although she continued to land jobs, the work was inconsistent and later, her issues interfered sometimes with her ability to perform her duties. Some of her most recent critical failures were starring as Elizabeth Taylor in the Lifetime movie “Liz & Dick” and the indie erotic thriller “The Canyons.”

READ MORE: Paul Schrader Reminds Facebook He Is Still Disappointed in Lindsay Lohan

Despite all of her problems though, Lohan’s abilities as a performer often shine through. They’ve set her apart from contemporaries like Hilary Duff, who is charming and entertaining but hasn’t delivered the nuanced performances that Lohan has. She’s been shown to have an instinct for hitting the right emotional notes and great comic sensibilities. Even Meryl Streep, who co-starred with Lohan in “A Prairie Home Companion” once said, “She’s in command of the art form. Whatever acting is — I don’t know what it is — she’s in command of it. I think she could do anything she puts her mind to.”

This is all to say that Lohan has the ability if only she keeps the rest of her life under control. That’s a big “if,” judging by how much of her career has been derailed before. Nevertheless, “Sick Note” could be the comeback vehicle to get her back on her acting feet. It’s not big enough to require that she carry the weight of a leading role, but it’s not an insubstantial cameo either. Plus, she can do humor. A quirky, somewhat dark British comedy is low-key enough to not put on the pressure, but just interesting enough to let her show off her ability. At only 30 years old, Lohan could still have a strong acting career ahead of her if she fights for it.

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‘Black Panther’ Scorches Box Office Records, Sets the Bar for 2018 and Beyond

http://www.indiewire.com/2018/02/black-panther-box-office-records-2018-marvel-1201929926/

Marvel’s “Black Panther” (Disney) arrived with a record-breaking bang at the 2018 box office, outperforming pre-opening estimates for its three day U.S./Canada opening.

Check out its all-time records: “Black Panther” bests “Deadpool” by more than $50 million as the best February and pre-March opening weekends ever. It tops last year’s “Beauty and the Beast” as the best pre-May debut of all time. It nearly doubles “Furious 7” as the best opening for a black-directed film. It is triple the best previous record (held by “Straight Outta Compton”) for initial weekend of a film with a primarily black cast.

Those numbers will be re-counted when Sunday’s actual numbers are reported, plus the boost the movie will get from a four-day semi-holiday on Monday. And adjusting to an even playing field still leaves “Black Panther” remarkably (considering the month of release) among the ten best openers ever.

“Black Panther”

Ryan Coogler’s breakout film “Fruitvale Station” did well in limited release and commercial sequel “Creed” marked a decent wide release. But “Black Panther”‘s grosses are seismic and game-changing for the director. The movie is the biggest non-“Star Wars” opener since “Jurassic World” (with a prime June release date) nearly three years ago. Yes, “Black Panther” comes from within the lucrative comic book universe of adaptations, but by those high standards it ranks #4 (adjusted) after both “Avengers” films and “Spider-Man 3.”

There have been 13 Marvel or D.C. Comic book releases since “Avengers: Age of Ultron” opened to (an adjusted) $204 million in May, 2015. A majority have opened over $100 million (including similar game-changer “Wonder Woman.” But no comic book movie since (the best off-season opener “Batman v. Superman” opened to an adjusted $178 million, “Deadpool” $141 million), despite showcasing a who’s who of comic world characters (“Thor,” “X-Men,” “Spider-Man” and the ensemble in “Suicide Squad”) boasted the appeal of this long-overdue all-black cast of heroes and villains starring in an African myth.

The huge initial interest that propelled many fans to Thursday night and Friday shows likely account for a Saturday decline somewhat above some other recent Marvel and D.C. titles. The falloff was 13 per cent (from a higher starting point from most others) for its second full day from the initial totals. “Thor: Ragnarok” dropped  five per cent, “Wonder Woman” and “Guardians of the Galaxy Vol. 2” eight per cent.

But “The Avengers” also boasted an A+ CInemascore and dropped slightly more (14 per cent) on its initial Saturday on its way to a domestic total that was triple its opening (adjusted, its domestic total was just over $700 million).

Can “Black Panther” repeat that kind of long-term performance? There’s no way to judge after two days. The four-day totals will give a hint, but next weekend will be more key to assessing the future.

But even a standard ultimate showing (which would leave this somewhere around $500 million domestic – about 25 per cent above “Wonder Woman”) would change the rules about what American moviegoers want to see. “Black Panther” will elevate a wider range of stories, including Hollywood’s core big-budget action adventures. Yes, there has been a steady supply of black-centered releases going back to blaxploitation in the 1970s, Richard Pryor and Eddie Murphy lead the way in the 1980s and so on. But these often have come with non-minority creative control, and usually with lower budgets and compensation for many principles based on perceived economics.

"Black Panther"

“Black Panther”

The main excuse for not green-lighting similar films with the $300 million plus production and marketing costs expended on “Black Panther” is the resistance seen historically to black-centered films overseas. The foreign market for top-end productions (though not the “Star Wars” series) is expected to provide roughly two-thirds of the total gross for high end films. “Panther” debuted in a majority of the world, though not the key territories of China, Japan, or Russia yet.

The gross for these initial territories came in a little less than the domestic return ($169 million). What happens in the remainder of them will be important. But it would be reasonable at this point to anticipate at least $400 million overseas, along with at least that much (low end total) domestic. That would put the film at over $800 million worldwide. That total wouldn’t have placed it quite in the global Top Ten for 2017 (it would be about the same as the most recent “Pirates of the Caribbean,” which soared overseas and was similarly expensive). “Wonder Woman” did $812 million combined, with a similar domestic/foreign split. And it’s good enough, to put it mildly, even if the domestic share is higher than usual. It just might take longer for foreign to catch up.

The performance boosted year-to-date numbers, which had fallen below 2017 so far, to a boost of over five per cent (by the time different week day calendars balance out by midweek). “Panther” made up about two thirds of ticket sales (a lower total that the better than 75 per cent share “The Last Jedi” took in its pre-Christmas weekend.)

Early Man

Drowned out by the film was Nick Park’s Aardman animation “Early Man” (Lionsgate), which could only take in an anemic $3,150,000. It was hurt among kids by the draw of the second weekend of the less sophisticated “Peter Rabbit” (Sony), which managed as decent $17,500,000 and a 31 per cent drop.

“Fifty Shades Freed” (Universal), last week’s #1, dropped 56 per cent to fall behind “Early Man” slightly. Buried among the figures during the week though was the film’s dominance on Wednesday (Valentine’s Day). It grossed nearly $11 million, more than half of the day’s business as the clear film of choice to drag men to that night.

Long-running hits “Jumanji: Welcome to the Club” (Sony) and “The Greatest Showman” (20th Century Fox) both dropped around 20 per cent, a bit above their recent average but both amazing holds for films around since Christmas. But they needed company going forward, assuming that “Panther” has decent legs, since they can’t be expected to sustain theaters that much longer.

“Early Man”

The Top Ten

1. Black Panther (Disney) NEW – Cinemascore: A+; Metacritic: 88; Est. budget: $200 million

$192,023,000 in 4,020 theaters; PTA (per theater average): $47,767,000; Cumulative: $192,023,000

2. Peter Rabbit (Sony) Week 2; Last weekend: #2

$17,250,000 (-31%) in 3,725 theaters (no change); PTA: $4,631; Cumulative: $48,223,000

3. Fifty Shades Freed (Universal) Week 2; Last weekend: #1

$16,940,000 (-56%) in 3,768 theaters (no change); PTA: $4,496; Cumulative: $76,134,000

4. Jumanji: Welcome to the Jungle (Sony) Week 9; Last weekend: #

$7,945,000 (-21%) in 2,800 theaters (-336); PTA: $2,838; Cumulative: $377,624,000

5. 15:17 to Paris (Warner Bros.) Week 2; Last weekend: #

$7,685,000 (-39%) in 3,042 theaters (no change); PTA: $2,526; Cumulative: $25,433,000

6. The Greatest Showman (20th Century Fox) Week 9; Last weekend: #5

$5,100,000 (-21%) in 1,936 theaters (-437); PTA: $2,634; Cumulative: $154,478,000

7. Early Man (Lionsgate) NEW – Cinemascore: B; Metacritic: 68; Est. budget: $50 million

$3,150,000 in 2,494 theaters; PTA: $1,263; Cumulative: $3,150,000

8. Maze Runner: The Death Cure (20th Century Fox) Week 4; Last weekend: #6

$2,525,000 (-59%) in 1,891 theaters (-1,032); PTA: $1,335; Cumulative: $54,005,000

9. Winchester (Lionsgate) Week 3; Last weekend: #7

$2,230,000 (-57%) in 1,471 theaters (-1,001); PTA: $1,508; Cumulative: $21,860,000

10. Samson (Pureflix) NEW – Metacritic: 17; no budget estimate reported

$1,972,000 in 1,249 theaters; PTA: $1,579; Cumulative: $1,972,000


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