Entertainment
We Could Save Movie Theaters If Studios Just Did One Simple Thing
By Robert Scucci
| Updated
I’m probably dating myself here, but does anybody else remember when a three-hour movie coming out felt like a cultural event? James Cameron’s Titanic was so long, 3 hours and 14 minutes to be precise, that it was sold for home viewing on double VHS sets. It was a cultural phenomenon, costing $200 million to produce and earning over $2.2 billion at the box office. But it was also the exception, not the rule, when it came to cost and scale of storytelling.
These days, ever since the MCU and DCEU became the cultural juggernauts that they are, movies have gotten longer and exponentially more expensive, which makes me wonder why studios stopped putting out 90-minute movies with budgets at or around $50 million. When you look at the box office returns for so many doomed projects, they tend to have two things in common: they’re too long, and they cost too much to make.
Don’t believe me? I brought receipts.
Make Them Cheaper And Shorter!
While I’m not totally averse to long movies, I’ve always been a strong advocate for the 90-minute runtime. It’s a simple three-act structure that lets filmmakers tell a complete story. They’re also cheaper to make, and you can have more movies in rotation at your local theater on any given day. A three-hour movie occupying multiple screens cuts into revenue potential because we’re putting all of our eggs in one basket.
2024’s The Flash cost $220 million to make and runs 144 minutes. It earned $271.4 million at the box office. That might seem like it at least broke even and secured a small profit, but it didn’t. Factor in marketing and distribution, and it’s a box office failure.
2025’s Weapons cost $38 million to produce, with a runtime of 128 minutes. Still a little long for my taste, but it earned $270 million, almost exactly the same as The Flash, for a fraction of the cost. That’s a financial success.
Of course, there are other variables at play. Superhero fatigue had fully set in by 2024, while a strong horror flick from a rising filmmaker is usually a reliable moneymaker. But the core takeaway still stands. The longer, more expensive movie performed worse than the shorter, cheaper one.
2024’s Joker: Folie a Deux cost $200 million and runs 138 minutes. It earned $208 million, barely recouping its production budget. That’s a failure. Compare that to 2019’s Joker, which cost just $70 million, runs just over two hours, and earned over a billion dollars. The pattern is hard to ignore.
Let’s push it further. 2025’s Anaconda runs 99 minutes, cost $45 million, and brought in $135 million at the box office, earning three times its production budget. If you need more proof, just look up the financials for any movie to come out over the past decade, and tell me what you see.
The John Wick Method Works For Scaling An IP
I’m going to lay out something I’m calling “The John Wick Method,” because it perfectly illustrates the point. I’m not against long films. I’m not against expensive films. But films that are both long and expensive need to earn their keep. Superhero movies learned this the hard way when Marvel and DC kept cranking out epics nobody asked for, forcing them to course correct, reconsider their release schedule, and how much money they’re dumping into projects that don’t necessarily guarantee a return on their investment.
The John Wick franchise, on the other hand, started small and scaled up. The first film topped out at $30 million and earned $86 million. It runs 101 minutes. The concept was proven, audiences wanted more, and the sequel followed with a $40 million budget, a 122-minute runtime, and $174 million in box office receipts. Chapter 3 runs nine minutes longer than Chapter 2, cost $75 million, and earned $327 million, and so on. People wanted John Wick to be bigger and badder, that’s exactly what they got, and the numbers prove that this is the way to properly scale towards a film like Chapter 4, which is nearly three hours long, but doesn’t feel like a total slog to get through. It’s exactly why it earned $447 million against its $100 million budget.
You know what didn’t perform well? 2023’s Napoleon, which had a $200 million budget, barely broke even at $222 million, and comes with a 205-minute director’s cut that hit streaming because the 157-minute version apparently wasn’t punishing enough. Think about how many Anaconda and Weapons-type films we could have cycled through theaters if Ridley Scott didn’t have such a hard-on for historical epics.
This isn’t an indictment of long, expensive movies. But when 2000’s Gladiator was released, it felt like an event, not standard practice. We wanted to see what $103 million looked like on the big screen. And because it was a great movie that fully justified its 155-minute runtime, it felt like a special occasion. That’s why it earned nearly half a billion dollars. It was spectacular, and people wanted to see it again.
We Want Movies, Not Events
When every single film is treated like an event, audiences have to be selective. The last time I went to a regular, non drive-in theater, four tickets, a large popcorn, and a large soda cost me $100. If it’s also going to cost me three hours of my time for a movie that isn’t even good enough to recoup its budget, then why aren’t studios cranking out shorter, cheaper films?
We’ve reached the point where it’s obvious you don’t need hundreds of millions of dollars to make something worth watching. And nobody wants to burn an entire afternoon or evening on something that’s just “meh.” It will deter them from making a night at the movies a regular family outing, especially when you consider how much it costs to go to the movies these days.
The John Wick franchise did it right. It proved demand with a tight runtime, and a relatively inexpensive concept, then scaled up once it was proven that audiences were invested. Unless studios can consistently capture lightning in a bottle like that, it’s time to cut runtimes, cut budgets, and make movies people actually want to sit through instead of self-indulgent endurance tests. Do that, and you’ll see more asses in seats. Suddenly, 10 screens can show 10 different movies. Suddenly, people care about going to the theater again.
Entertainment
20+ book deals Im sending to the group chat before Prime Day even begins
Table of Contents
The best early Prime Day book deals at a glance:
It’s nearly Amazon Prime Day, which officially runs from June 23 through 26, but if you don’t feel like waiting, there’s already plenty of live deals to shop.
Besides offering three free months of both Kindle Unlimited and Audible to new subscribers, Amazon also has some pretty great discounts on books themselves. I’m not usually one to recommend purchasing physical books via Amazon (support local book stores!), but it’s pretty hard to pass up a 50% price drop on a book you’ve had on your TBR.
Amazon Editors just dropped the 20 best books of 2026 (so far) — find out what made the list
I’m tracking some of the best deals on physical books and e-books at Amazon ahead of the official Prime Day kick off, but remember to check back for more once things start ramping up.
Best early Prime Day hardcover book deal
$14.67
at Amazon
$30
Save $15.33
with on-page coupon
Why we like it
Named one of the best books of 2026 so far by Amazon Book Editors, Crux is an “exhilarating, tender novel about an unlikely friendship forged through a shared love of rock climbing,” according to Amazon Editor Abby Abell. Thanks to an on-page coupon at Amazon, you can add the hardcover version to your home library for less than half its usual cost.
More hardcover book deals
Best early Prime Day paperback book deal
$7.50
at Amazon
$19.95
Save $12.45
Why we like it
A classic trope of two abducted girls, only one returns and one doesn’t, The Girl Who Was Taken is a psychological thriller by Charlie Donlea where nothing is as it seems. Typically around $20, you can pick up the paperback version for only $7.50 at Amazon ahead of Prime Day. That’s just a few cents away from its lowest price ever.
Mashable Deals
More paperback book deals
Best early Prime Day Kindle book deal
$2.99
at Amazon
$18.99
Save $16.00
Why we like it
I highly recommend grabbing this twisty psychological thriller from internationally best-selling author Steve Cavanagh while the Kindle version is only $2.99. Kill For Me Kill For You follows two women seeking revenge against the men who killed their daughters. Over drinks one night, they decide to swap murders, but things don’t go exactly as planned.
More Kindle book deals
Entertainment
Red Drink for Juneteenth
Amber Mayfield Hewett loves a good party. Not “good” in the sense that there were enough chairs and everyone liked the dip (though a killer dip and a place to sit definitely don’t hurt). To Amber, a good party is one where everyone in the room feels like they belong — no one feels like a plus-one or wonders if they should’ve stayed home. “In my early twenties, I was living in Harlem and working as an assistant at a TV network,” she explains in her new book, Your Turn to Host. “I loved going out, exploring the restaurant scene and private clubs… But something always felt missing. Even though I was surrounded by people all the time, I felt lonely.”
So, Amber started her own supper club, hosting dinners as a way to create community. “The first dinner was 24 people — roommates, co-workers, people I’d met out in the city,” she says. “Everyone walked in as strangers, but as the night went on, they were laughing and swapping stories like old friends.” Her supper club has since grown into a full-time career, and as of this week, a book — a guide to hosting meaningful gatherings of all kinds: Friendsgiving potlucks, Sunday suppers, and of course, cookouts.
“At the core, cookouts are a way for your village to come together,” Amber explains. “I keep an open-door policy for kids and friends of friends. And to me, cookouts are synonymous with freedom because of the holidays typically celebrated with them, including Juneteenth.” In her book, Amber offers a full guide for a Juneteenth cookout — everything from grilling tips to lawn games, as well as her own recipe for traditional Red Drink. “On Juneteenth, it’s customary to serve red foods and beverages,” she says. “Red is a symbol of the profound sacrifice and resilience of African American people.” Amber’s recipe starts with a classic sorrel-syrup base (“You can use the same technique to make other syrups, like lavender or elderflower”) and is spiked with a cup of rum. “You can easily omit the booze if you prefer a non-alcoholic version,” she adds. “The drink is delicious and refreshing on its own.” Here’s how to make it…
Red Drink
Serves 15
From Your Turn to Host by Amber Mayfield Hewett
Sorrel Syrup:
4 cups (1 L) water
1 1/2 cups (300 g) sugar
1 cup (1 1/2 oz/40 g) cut and sifted dried hibiscus flowers
2 cinnamon sticks
Punch:
2 (2 L) bottles club soda
1 cup (240 ml) dark rum
Juice of 2 large lemons
Ice cubes
4 lemons, sliced into wheels and seeded, for garnish
Make the syrup: In a medium pot, combine the water and sugar. Bring to a boil over a medium-high heat, stirring until the sugar has dissolved. Add the hibiscus flowers and cinnamon sticks, and stir until the flowers start to soften. Reduce the heat to medium to maintain a gentle boil. Cook, stirring occasionally, until the syrup is deep red in color and infused with a floral flavor (about 20 minutes). Remove from the heat and let stand for 5 minutes.
Strain the mixture through a fine-mesh sieve into a bowl, pressing on the solids to extract all the liquid; discard the solids. Let the syrup cool completely before using or storing (about 30 minutes). The sorrel syrup can be stored in an airtight container in the refrigerator for up to a week.
Make the punch: In a large punch bowl, stir together the club soda, 1 cup (240 ml) of the sorrel syrup, rum, and lemon juice to combine. (Amber notes: “If you’re skipping the rum, and want a little more flavor, you can add a splash of lemonade or a berry-flavored sparkling water.”) Serve with ice and garnish with lemon wheels.
Big thanks to Amber for sharing this recipe with us! You can find TONS of party recipes and hosting tips in her book and newsletter.
P.S. Five easy party foods, and a monochromatic fruit salad.
(Top photo by Xiana Gutierrez. Excerpted from Your Turn to Host by Amber Mayfield Hewett, published by Artisan Books. Copyright © 2026.)
Entertainment
A Little Help From My Friends
I was on my fourth radiation session. I was sitting across from my friend Rachel’s husband, Rob. He was holding a paperback, dog-eared copy of The Stories of John Cheever. Rob was my driver that day.
When we’d first arrived at the medical center, Rob found a seat in the waiting room, while I went to the dressing room. I carefully took off my clothes, peeled a rectangle of gauze from my chest, and pulled on a white gown. The Maine Med radiation oncology department is on the basement level, and the cold air felt uncomfortable on my bare arms. But pain had taken on an unanticipated psychological dimension: Feeling it meant I was still here to feel it.
Then I took a photo of myself in the dressing room, smiling. I’d taken one before each session since starting treatment, as a way of marking the weeks. As always, I sent the photo to my husband Dan, and to my friend Rachel. I was here. This happened. Then I left the dressing room to join Rob on the blue chairs.
Two weeks earlier, it was Rachel who had come up with the plan: my radiation buddy system. I’d gone in for my final pre-treatment CT scan, and sitting in my car afterward, I felt my courage abandon me. The aloneness of cancer is existential. You and only you go into the strange room with the beeping machines. You alone wake with a start in the middle of the night, thinking: I have breast cancer. Life will never be the same. I called Rachel from the parking lot and told her: I wasn’t sure I was brave enough to drive to radiation by myself. She paused, then replied, “I’ll figure this out.”
Within a few days, she had. Recruiting four female friends and three of their husbands, Rachel made a schedule of my radiation drivers, all of whom had gladly signed up. Since Rachel’s work schedule wouldn’t allow her to drive me herself, she served as coordinator, and texted me the night before each appointment with the plan. Tomorrow, your driver is Merry. She’ll be there at 9:15 a.m.
On that Monday, four days into treatment, the skin on my breast was already starting to sting. Rob sat across from me, and I asked him about the book he was reading. He told me about finding the paperback at the swap shop at our local dump. I told him I loved Cheever’s stories, too — especially “The Swimmer.” After my session, Rob drove me home, and I got out of the car feeling lighter.
When you’re preparing for radiation, the doctors will tell you that you can drive yourself. It’s easy; it’s only 20 minutes. But it’s not easy — and it’s never only 20 minutes. Perhaps I could have managed the actual mechanics of driving, but I know it was those rides from my friends that got me through the treatment.
When my friend Nora brought me to my appointment, she came into the exam room and asked questions. On Leah’s days, we’d have breakfast first at my house — a Dutch baby with raspberries. Emma cried with me when we saw a boy, the same age as my younger son, arriving at the radiation center for treatment. Merry showed up on her driving days with bouquets of flowers from her garden. Surrounded by longtime friends — chatting, the way we’d done for years — I was able to see cancer as only a part of my larger life.
On my last day of radiation, in mid-July, my husband, Dan, brought doughnuts for the radiation team at Maine Med. After my session, everyone gathered and clapped as I rang the cowbell to announce that I was done. When I got home, our older son was standing in the dining room with a Lazy Daisy cake he’d baked, covered with candles.
It’s now been almost a year since those appointments, and I still remember them clearly: my breast swelling to the size of a watermelon; my nipple bleeding and my areola peeling off; the instructions coming through the loudspeaker, reminding me to hold my breath and stay still.
But I can’t recall the pain anymore. What I can still feel is my friend Jess’s leg against mine on the waiting-room sofa; the relief that rolled through me when I left the treatment room and found Emma or Rob or Dan waiting for me. More than anything, I feel a deep sense of worthiness. During those five weeks of driving — with conversations about books and teenagers and what goes best on Dutch babies — I learned how it felt to be truly cared for. I realized that love can take on many shapes: flowers, cakes, spreadsheet schedules.
Sometimes it was as simple as a friend in the waiting room holding a paperback, ready to talk about it all the way home.
Caitlin Shetterly is a journalist, editor, and author. Her new novel, The Gulf of Lions, was published in May. She lives in Maine with her husband and two sons.
P.S. “9 life lessons I learned after my cancer diagnosis,” and what does it mean to think about cancer as a battle?
(Photo by Ángela Rober/Stocksy.)
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