No one expected such a result. Even with comparisons to Twilight and the inevitable weakness of the late March release weekend, few in the pundit biz could have anticipated the final tally. Indeed, when all is said and accounted for, The Hunger Games will wind up holding the distinction of having the third largest three day weekend box office total EVER! Only The Dark Knight and Harry Potter and the Deathly Hallows, Part 2 rank higher. With $155 million in the till and a few more records among its accomplishments, it signals the start of a very lucrative franchise for the gamblers at Lionsgate. Even if the 30 March numbers see a significant drop-off (say, somewhere in the 60% range), we are still looking at a movie that stands to make almost $250 million in less than ten days.

But what does it mean? What exactly does tapping into an already established teen lit phenon cultural zeitgeist really reflect? One could easily argue that, with a presold demo and an aesthetic consensus (the movie did well with critics, generally), a hit was bound to happen. Yet when you look at all the other wounded wannabes sitting in discount bins around the world, the Lemony Snickets and Eragons of the book-to-film universe, one has to wonder how Hunger did it. Of course, the core concept promised something scandalous and sensational, but as it turns out, the narrative is really not about kids killing kids. Even the comparison to Battle Royale no longer seem legitimate since, some foundational elements aside, both efforts have different philosophical aims.

By now it’s clear - The Hunger Games is going to be huge. Perhaps not Twilight or Harry Potter huge, but in the world of young adult lit hits, it has a chance of being unbelievably big.  Ever since Lionsgate bought the rights to the popular book series and projected out a four film treatment of the trilogy, fans have been anticipating the results. Once Gary Ross was hired to direct and up and comer Jennifer Lawrence was picked to star, the typical trepidation arrived. Even with a non-stop social media onslaught involving images, games, and contests, and a PR push that’s seen the studio cherrypick the early reviews, many still wonder about the final product’s viability. After the events of the last few days, the situation is even cloudier…or perhaps, clearer.

Let’s begin with the so-called embargo. Critics usually are required to abide by the film company’s demand that reviews be held until a certain time. It’s never the same for all (that’s why you see early articles up from such stalwarts as Entertainment Weekly, The Hollywood Reporter, and Variety) and usually is based on medium (online or print), name, location around the globe, and publication popularity. Of course, not every reviewer falls into one of these categories. Some are bloggers invited because of their associations and society (OFCS, SEFCA) credentials. Others are mere spectators, empowered by a preview ticket and capable of commenting without restriction. Because of the weird dynamic at play, few writers actually adhere to their embargoes. Late reviews are almost always the product of availability, not studio restrictions.

So, the critical consensus is in and after three official days of box office figures, the pundits are predicting that John Carter will be the first major flop of 2012. Of course, this ignores a couple dozen January to March releases that have already heaved a sigh of insignificant turnstile relief (Ghost Rider: Spirit of Vengeance, Gone, One for the Money), but that doesn’t stop the tribes of tongue waggers from burying the proposed epic while it’s still struggling. Granted, much of this has to do with expectations, the rumored production costs ($250 million by some secret estimates) and the lack of “legs” (ability to endure beyond the basic week long release window), but as with any premature declaration, it also has a lot to do with the web’s desire to be first if not foremost.

From the beginning, John Carter was going to be a hard sell. It is based on the books by pulp author Edgar Rice Burroughs and comes with a cult that’s faithful, if not quite far reaching. It represented the first live action feature for Pixar pioneer Andrew Stanton, and while the subject matter seemed perfect for his otherworld talents, trepidation at the House of Mouse (Disney financed this proposed fiasco in the making) saw some alleged infighting. Even today, budget and marketing numbers are debated, the company wanting to seem sensible and stable and not buying into the harmful hype Title changes (from John Carter of Mars to the new moniker) and junket schedules where the first indication of possible trouble. But no matter the final costs, or competence behind the lens, John Carter is now permanently stained by its initial performance.

With his passing this past week, veteran songsmith Robert Sherman enters those most hallowed of music halls—the myth. Even beyond his personal life—he was with the platoon of American troops that liberated the German concentration camp Dachau during World War II—and his many achievements and accolades, he will always been known by the sound he left behind, the lingering melodies and razor sharp lyrics that would keep generations humming and singing along. After a challenge from their Tin Pan Alley icon father Al, Robert and his brother Richard became a duo, delivering an early hit for Disney’s reigning sweater girl, Annette Funicello. Their 1958 collaboration, “Tall Paul,” got the attention of Walt, and he soon hired the duo as resident House of Mouse composers.

And thus the legacy was born. Over the next few years, the Shermans would craft some of the most memorable music in the history of the studio. They also ventured beyond the celluloid, coming up with material for Disney’s theme parks (“In the Tiki, Tiki, Tiki, Tiki, Tiki Room,” “Making Memories”) as well as the TV and theatre. When the venerable cartoonist died in 1966, the Brothers took their talents freelance, coming back from time to time to work on projects they deemed worthy. Nominated nine times for the Academy Award, he would pick up two for the family favorite Mary Poppins. In his later years, Robert would oversee the conversion of his work to the stage. In the final few years, and in failing health, he spent most of his time living in London and painting, a lifelong passion.

In the battle for the box office over the 2 March, 2012 weekend, it should come as no surprise that the latest Dr. Seuss adaptation, The Lorax, earned a resounding $70 million plus. After all, parents are constantly looking for ways to keep their entitled tots happy, and what better way than with a candy colored lesson on ecology. Indeed, almost any 3D CG cartoon today rakes in the unimaginable cash, so the record setting take for the slice of activist animation is no big accomplishment. What is interesting is the $20 million finish for the foul found footage teen comedy, Project X. Really nothing more than a series of outlandish antisocial stunts built around a basic “nerds throw a party” routine, the faux documentary style and YouTube tropes are seen as the evolution of the genre. While many critics hated it, word of mouth was strong among the intended demo (young males, 25 and under).

Whether or not that reaction from the predetermined fanbase means that Project X is a hit is yet to be seen. What can be deciphered from the statistics is that the sphere of influence for this misguided film has just grown a lot bigger. Put another way, the movie itself is junk, but it is dangerous junk. Now many who read that statement might think that this is some old man complaining about a primer to property damage and wholly inappropriate behavior, and in truth, it is. Yours truly is 51 this year and has never had the experiences the adolescences in Project X have. No envy, just a fact. To be fair, throughout his years in high school and college, he only attended one major “house” party - and it was one he himself threw at a off campus University residence. Considering there were few drunken/naked hotties, no gnomes filled with ecstasy, and the surrounding buildings were left fire free, one must consider it a failure (we did have a terrific live band in the basement, and plenty of recreational pharmaceuticals however).