Echoes of Hollywood

Early Friday morning, Daisy headed out to the nearby cinema. She parked her car and bought a few newspapers before arriving at the Empire Cinema. It was only half-past eight in the morning, but the cinema was already open, and there were quite a few early bird moviegoers inside.

This was a tradition in North America. For Hollywood films, Friday marks the start of a new weekend, and for movie fans, it means a slew of new releases.

With newspapers in hand and a bag slung over her shoulder, Daisy walked to the ticket window. Perhaps because it was early, only one window was open, and ticket sales had just begun. About a dozen fans were clustered around, waiting to buy their tickets.

"One for 'Twilight,' please," said a girl.

She took her ticket, pleased, and walked away. One of the two boys behind her handed over a bill. "Two for 'Inglourious Basterds,' please."

"Three for 'Inglourious Basterds,' please."

"One for 'Twilight,' please."

Everyone ahead of Daisy chose between these two films. "Twilight" had been released before Thanksgiving and was past its peak, so more people were buying tickets for "Inglourious Basterds." Daisy also noticed that those going to see "Twilight" were predominantly female, while the boys were all buying tickets for "Inglourious Basterds."

After purchasing her ticket for "Inglourious Basterds," Daisy found a seat in the lounge area to wait for the screening to begin. She pulled out the newspapers she had bought and began reading.

Daisy wasn't interested in current events or political news; she flipped directly to the entertainment section. The front page of the entertainment section in the Los Angeles Times featured reviews of the weekend's new releases, with Murphy Stanton's new film "Inglourious Basterds" being the most prominent.

"'Inglourious Basterds' is a meticulously crafted, extremely complex, and utterly lawless film. In this mad world, where Hitler and a group of top Nazis are joyfully exterminated, there's nothing wrong with that. Yes, national warfare has turned into personal revenge, and Hitler has just died one more time. Cleverly, Hitler dies in a cinema, before a burning screen, showcasing Murphy Stanton's ambition: films are no longer tools for the powerful to play with. Instead, they have become weapons to execute evil and achieve justice. So let Hitler die happily in the cinema."

There was more to the film than Daisy had realized. Intrigued, she opened the New York Times.

"'Inglourious Basterds' is a cool movie that blends postmodern and old-fashioned styles with great entertainment value. Murphy Stanton has brought out all his best tricks for this film, including memorable characters, dense and nutritious dialogue, stunning plot twists, and visual style. With his unique dark style, Murphy Stanton has created a World War II dream that belongs solely to him."

Daisy nodded slightly. It seemed that not only was the audience's word-of-mouth positive, but the professional media reviews were also favorable. Murphy's films always managed to please a significant portion of the audience while also earning praise from the media and critics.

"'Inglourious Basterds' is chaotic, flawed, and very self-indulgent, but Murphy Stanton also provides great enjoyment. The film is filled with bloody glory. Murphy Stanton's war fantasy may ignite historical debates, but his movie is an outstanding contribution to World War II massacre films."

The Washington Post's review was also excellent. "Inglourious Basterds" had garnered unanimous praise from the three major American newspapers, strengthening Daisy's resolve to watch the film.

Finally, Daisy turned to the Chicago Sun-Times, finding the review column by the famous critic Roger Ebert.

"Murphy Stanton can perfectly blend various elements into his dark style, and his unique cinematic talent always creates films unlike any other. The newly released 'Inglourious Basterds' is dark, brutal, vivid, and fluent, with meticulous and cautious scenes. History and fantasy coexist, realism and surrealism blend, real and fictional characters mix, and famous historical events and notorious atrocities intertwine. Murphy uses all these popular cultural elements about World War II to create a unique war film!"

At the end of the review, Daisy saw Roger Ebert's iconic thumbs-up.

It was clear that this renowned critic also loved Murphy's new film.

The cinema started checking tickets, and Daisy entered the theater with high expectations. The film did not disappoint. The ending, where Hitler was gunned down and the Nazi high command was wiped out, brought the entire audience to a climax.

Besides being cool and thrilling, she couldn't find any other words to describe it.

If "Man of Steel" attracted viewers with its heavy and oppressive theme, creating an epic sense of destiny, this film felt more like a romp, using near-farcical methods to kill all the top Nazis, highlighting its cool and thrilling nature!

Sitting in her seat, watching the credits roll, Daisy realized that her previous dissatisfaction with Murphy Stanton had vanished. How could one not love a director who could create such a spectacular film?

Of course, no film could win everyone's favor. The more people liked it, the more people would dislike it.

Moreover, even with Murphy making "Inglourious Basterds" more mainstream, it still wasn't for everyone.

There were also criticisms of "Inglourious Basterds" online.

"If 'Inglourious Basterds' isn't a bad movie, and Murphy Stanton isn't a bad director, then the world is crazy. Keep praising your 'unique taste.' What I see and feel is a bad director making a bad movie because few bad people can truly push bad movies to us."

But these voices were not mainstream and didn't influence too many people. Having been in Hollywood for so many years, Murphy knew that those who disliked his dark style would always dislike it. That was an unchangeable reality.

On Friday, "Inglourious Basterds" easily surpassed the previously released "Twilight," leading in both attendance and showtimes, becoming the undisputed box office champion for the day.

"Only $18.9 million, including Thursday previews..."

In the backyard of Wave Manor, Margot Robbie adjusted her golden ponytail and said to Gal Gadot, who was walking with her on the stone path, "The opening weekend box office definitely won't exceed $100 million."

"Your expectations are too high and unrealistic, Maggie," Gal Gadot said, linking arms with her. "An R-rated film like this couldn't possibly gross over $100 million in its opening weekend."

Margot Robbie leaned in closer, smiling. "I know it's unrealistic, but since it's Murphy's movie, I thought it might work some miracles."

Gal Gadot shook her head helplessly. "He's just a regular person."

An R-rated film exceeding $100 million in its opening weekend wasn't a miracle—it was a fantasy.

As they walked through the garden, they saw a group of people having afternoon tea under a palm tree. James Franco waved to them first, and Gal Gadot and Margot Robbie quickly walked over.

"What are you discussing?" Gal Gadot sat in the chair next to Murphy. He poured her and Margot Robbie a cup of tea, then answered, "Jim is formally inviting us to his and Lily's housewarming party."

"When is it?" Gal Gadot asked, looking at James Franco.

"The weekend before Christmas," James Franco said. "You and Murphy must come."

Knowing the close ties within the Stanton faction, Gal Gadot immediately replied, "We'll be there on time."

"Yes, you must come!" Jonah Hill, on the other side, put down his teacup and reminded, "Don't forget, I've prepared something very special for you."

James Franco shrugged. "I hope it's not something that'll ruin the party."

Jonah Hill gave him the finger.

Listening to this, Margot Robbie first looked at James Franco, then at Gal Gadot. Understanding her meaning, Gal Gadot gave her an encouraging nod.

"Are you... having a party?" Margot Robbie asked tentatively. "Can I join?"

"Of course!" James Franco replied immediately. "I've already invited your brother David. You can both come next weekend."

"Okay!" Margot Robbie nodded and smiled.

For James Franco and Lily Collins, this was a significant party. Murphy knew it hadn't been easy for them to come together.

Lily Collins had managed to keep a pedophile focused solely on her, even gaining her mother's blessing for their relationship.

Given this situation, Murphy could only say that Hollywood couples were truly extraordinary.

With their participation in James Franco and Lily Collins' housewarming party confirmed, Murphy resumed his busy post-screening promotional work. "Inglourious Basterds" had achieved a good opening day box office, and he hoped the following days would yield even better results.

The film's box office and commercial success couldn't compare to "Man of Steel," which was obvious to anyone with a normal mind.

After grossing $18.9 million on its first day, "Inglourious Basterds" earned another $22.1 million on Saturday. The increase in the second day's box office indicated that the film would have a strong opening weekend.

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