https://yhoo.it/3KVi8aG
這是一篇在討論「瑪利歐電影如何排擠掉同期其他電影（尤其是D&D）票房」的文章。
一般比較低齡向的動畫電影因為偏向家庭市場，第二週開始會轉為以家庭單位入場的觀眾為
主，
其餘一般觀眾會去看別的電影，然而現在這個「常態」並未發生。
Rather than skewing towards families in its second weekend, as can be the case f
or some animated films while general audiences buy tickets for other films, “Ma
rio” continued to perform evenly during its animation-record second weekend.
其中瑪利歐在第二週進場的觀眾中，36%小於17歲，41%介於18至35歲間，
只有23%的比例是超過35歲的觀眾進場，顯然除了家庭觀眾外還有大量的年輕觀眾進場，
結果就是瑪利歐在第二週末票房跌幅遠比2022年初的平均跌幅要低。
According to internal data from Universal, 41% of the second weekend crowd for
“Mario” came from the 18-35 demographic, with 36% being 17 and under and 23% o
ver 35. Even as kids, teens and their parents continue to make “Mario” their m
ovie of choice, non-family moviegoers are turning out to the point that this Ill
umination title only dropped 41% from its opening weekend, defying the 58% avera
ge that The Numbers has calculated for films released since the start of 2022.
由於年輕觀眾寧願重複進場觀看瑪利歐也不打算把目光放到其它電影上，
龍與地下城只能跟其它電影一起爭搶殘羹剩飯。
With “Mario” dominating the pop culture conversation and earning repeat viewin
gs from people of all ages on top of drawing in newcomers, “Dungeons & Dragons
” has been left fighting with the rest of the films in theaters for scraps, a s
ituation no big-budget film wants to be in.
「賣情懷」賣到近八成觀眾是年輕人了。
任天堂重新定義何謂「情懷」。