https://yhoo.it/3KVi8aG
这是一篇在讨论“玛利欧电影如何排挤掉同期其他电影（尤其是D&D）票房”的文章。
一般比较低龄向的动画电影因为偏向家庭市场，第二周开始会转为以家庭单位入场的观众为
主，
其余一般观众会去看别的电影，然而现在这个“常态”并未发生。
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.
其中玛利欧在第二周进场的观众中，36%小于17岁，41%介于18至35岁间，
只有23%的比例是超过35岁的观众进场，显然除了家庭观众外还有大量的年轻观众进场，
结果就是玛利欧在第二周末票房跌幅远比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.
由于年轻观众宁愿重复进场观看玛利欧也不打算把目光放到其它电影上，
龙与地下城只能跟其它电影一起争抢残羹剩饭。
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.
“卖情怀”卖到近八成观众是年轻人了。
任天堂重新定义何谓“情怀”。