Senin, 24 Februari 2020

Katherine Johnson Dies at 101; Mathematician Broke Barriers at NASA - The New York Times

They asked Katherine Johnson for the moon, and she gave it to them.

Wielding little more than a pencil, a slide rule and one of the finest mathematical minds in the country, Mrs. Johnson, who died at 101 on Monday at a retirement home in Newport News, Va., calculated the precise trajectories that would let Apollo 11 land on the moon in 1969 and, after Neil Armstrong’s history-making moonwalk, let it return to Earth.

A single error, she well knew, could have dire consequences for craft and crew. Her impeccable calculations had already helped plot the successful flight of Alan B. Shepard Jr., who became the first American in space when his Mercury spacecraft went aloft in 1961.

The next year, she likewise helped make it possible for John Glenn, in the Mercury vessel Friendship 7, to become the first American to orbit the Earth.

Yet throughout Mrs. Johnson’s 33 years in NASA’s Flight Research Division — the office from which the American space program sprang — and for decades afterward, almost no one knew her name.

Mrs. Johnson was one of several hundred rigorously educated, supremely capable yet largely unheralded women who, well before the modern feminist movement, worked as NASA mathematicians.

But it was not only her sex that kept her long marginalized and long unsung: Katherine Coleman Goble Johnson, a West Virginia native who began her scientific career in the age of Jim Crow, was also African-American.

In old age, Mrs. Johnson became the most celebrated of the small cadre of black women — perhaps three dozen — who at midcentury served as mathematicians for the space agency and its predecessor, the National Advisory Committee for Aeronautics.

Their story was told in the 2016 Hollywood film “Hidden Figures,” based on Margot Lee Shetterly’s nonfiction book of the same title, published that year. The movie starred Taraji P. Henson as Mrs. Johnson, the film’s central figure. It also starred Octavia Spencer and Janelle Monáe as her real-life colleagues Dorothy Vaughan and Mary Jackson.

In January 2017 “Hidden Figures” received the Screen Actors Guild Award for outstanding performance by a cast in a motion picture.

The film was nominated for three Oscars, including best picture. Though it won none, the 98½-year-old Mrs. Johnson received a sustained standing ovation when she appeared onstage with the cast at the Academy Awards ceremony that February.

Of the black women at the center of the film, Mrs. Johnson was the only one still living at the time of its release. By then, she had become the best-known member of her formerly unknown cohort.

In 2015, President Barack Obama awarded her the Presidential Medal of Freedom, proclaiming, “Katherine G. Johnson refused to be limited by society’s expectations of her gender and race while expanding the boundaries of humanity’s reach.”

In 2017, NASA dedicated a building in her honor, the Katherine G. Johnson Computational Research Facility, at its Langley Research Center in Hampton, Va.

That year, The Washington Post described her as “the most high-profile of the computers” — “computers” being the term originally used to designate Mrs. Johnson and her colleagues, much as “typewriters” was used in the 19th century to denote professional typists.

She “helped our nation enlarge the frontiers of space,” NASA’s administrator, Jim Bridenstine, said in a statement on Monday, “even as she made huge strides that also opened doors for women and people of color in the universal human quest to explore space.”

As Mrs. Johnson herself was fond of saying, her tenure at Langley — from 1953 until her retirement in 1986 — was “a time when computers wore skirts.”

For some years at midcentury, the black women who worked as “computers” were subjected to a double segregation: Consigned to separate office, dining and bathroom facilities, they were kept separate from the much larger group of white women who also worked as NASA mathematicians. The white women in turn were segregated from the agency’s male mathematicians and engineers.

But over time, the work of Mrs. Johnson and her colleagues — myriad calculations done mainly by hand, using slide rules, graph paper and clattering desktop calculating machines — won them a level of acceptance that for the most part transcended race.

“NASA was a very professional organization,” Mrs. Johnson told The Observer of Fayetteville, N.C., in 2010. “They didn’t have time to be concerned about what color I was.”

Nor, she said, did she.

“I don’t have a feeling of inferiority,” Mrs. Johnson said on at least one occasion. “Never had. I’m as good as anybody, but no better.”

To the end of her life, Mrs. Johnson deflected praise for her role in sending astronauts into space, keeping them on course and bringing them safely home.

“I was just doing my job,” Ms. Shetterly heard her say repeatedly in the course of researching her book.

But what a job it was — done, no less, by a woman born at a time, Ms. Shetterly wrote, “when the odds were more likely that she would die before age 35 than even finish high school.”

Creola Katherine Coleman was born on Aug. 26, 1918, in White Sulphur Springs, W.Va., the youngest of four children of Joshua and Joylette (Lowe) Coleman. Her mother was a schoolteacher, her father a farmer.

From her earliest childhood Katherine counted things: the number of dishes in the cupboard, the number of steps on the way to church and, as insurmountable a task as it might pose for one old enough to be daunted, the number of stars in the sky.

“I couldn’t wait to get to high school to take algebra and geometry,” Mrs. Johnson told The Associated Press in 1999.

But for black children, the town’s segregated educational system went as far as only sixth grade. Thus, every fall, Joshua Coleman moved his family 125 miles away to Institute, W.Va.

In Institute, Katherine’s older siblings, and then Katherine, attended the high school associated with the West Virginia Collegiate Institute, a historically black institution that became West Virginia State College and is now West Virginia State University.

Mr. Coleman remained in White Sulphur Springs to farm, and, when the Depression made farming untenable, to work as a bellman at the Greenbrier, a world-renowned resort there.

Katherine entered high school at 10 and graduated at 14. The next year she entered West Virginia State. By her junior year, she had taken all the math courses the college had to offer.

Her mentor there, William Waldron Schieffelin Claytor, only the third black person to earn a doctorate in mathematics from an American university, conceived special classes just for her.

“You would make a good research mathematician,” he told his 17-year-old charge. “And I am going to prepare you for this career.”

“Where will I find a job?” Katherine asked.

“That,” he replied, “will be your problem.”

After graduating summa cum laude in 1937 with a double major in mathematics and French, she found, unsurprisingly, that research opportunities for black female teenage mathematicians were negligible. She took a job as a schoolteacher in Marion, Va.

In 1940, she was chosen by the president of West Virginia State to be one of three black graduate students to integrate West Virginia University, the all-white institution in Morgantown.

Two years earlier, ruling in the civil-rights case Missouri ex rel. Gaines v. Canada, the United States Supreme Court held that where comparable graduate programs did not exist at black universities in Missouri, the state was obliged to admit black graduate students to its white state universities. In the wake of that decision, West Virginia’s governor, Homer Holt, chose to desegregate public graduate schools in his state.

Now married to James Francis Goble, a chemistry teacher, she entered West Virginia University in the summer of 1940, studying advanced mathematics.

“The greatest challenge she faced,” Ms. Shetterly wrote, “was finding a course that didn’t duplicate Dr. Claytor’s meticulous tutelage.”

But after that summer session, on discovering she was pregnant with her first child, she withdrew from the university. She returned with her husband to Marion and was occupied with marriage, motherhood and teaching for more than a decade.

Then, in 1952, Katherine Goble heard that Langley was hiring black women as mathematicians.

The oldest of NASA’s field centers, Langley had been established by the National Advisory Committee for Aeronautics in 1917. In 1935, it began hiring white women with mathematics degrees to relieve its male engineers of the tedious work of crunching numbers by hand.

Within a decade, several hundred white women had been employed as computers there. Most, unlike the male scientists at the agency, were classified as subprofessionals, paid less than their male counterparts.

In June 1941, as the nation prepared for war, President Franklin D. Roosevelt signed Executive Order 8802, barring racial discrimination in the defense industry. In 1943, with the wartime need for human computers greater than ever, the Langley Memorial Aeronautical Laboratory, as the research facility was then known, began advertising for black women trained in mathematics.

Among the first hired was Dorothy Vaughan who began work that year. In 1951, Mrs. Vaughan became the first black section head at NACA, as the advisory committee was known, when she was officially placed in charge of Langley’s West Area Computing Unit, the segregated office to which the black women were relegated.

It was in this unit that Katherine Goble began work in June 1953, tabulating sheets of data for the agency’s engineers.

By the time she arrived, the company cafeteria had already undergone de facto desegregation: Its “Colored Computers” sign, designating a table in the back for the women, had been a salubrious casualty of the war years. But the separate bathrooms remained.

Quite by accident, Katherine Goble broke that color line herself. While the agency’s bathrooms for black employees were marked as such, many bathrooms for whites were unmarked.

Without realizing it, she had been using a white women’s restroom since her arrival. By the time she became aware of her error, she was set in her routine and disinclined to change. No one took her to task, and she used the white bathrooms from then on.

Two weeks into her new job, she was borrowed by the Flight Research Division, which occupied an immense hangar on the Langley grounds.

There, the only black member of the staff, she helped calculate the aerodynamic forces on airplanes. For that task, as she quickly demonstrated, she came armed with an invaluable asset.

“The guys all had graduate degrees in mathematics; they had forgotten all the geometry they ever knew,” Mrs. Johnson said in the Fayetteville Observer interview. “I still remembered mine.”

She remained in the division for the rest of her career.

By the early 1960s, with the United States provoked by Soviet prowess in space, NASA was under great pressure to launch an astronaut. It fell to the Flight Research Division to do many of the associated calculations.

“Our assignment was the trajectory,” Mrs. Johnson explained to The Associated Press. “As NASA got ready to put someone in space, they needed to know what the launch conditions were. It was our assignment to develop the launch window and determine where it was going to land.”

Their work was secret — at times even from the mathematicians themselves.

“We were the pioneers of the space era,” Mrs. Johnson told The Daily Press, a Virginia newspaper, in 1990. “You had to read Aviation Week to find out what you’d done.”

She routinely logged 16-hour days, once falling asleep at the wheel of her car and waking up — safe, providentially — at the side of the road.

But the work engaged her deeply.

“I loved every single day of it,” she told Ms. Shetterly. “There wasn’t one day when I didn’t wake up excited to go to work.”

It helped sustain her through the death of her first husband from brain cancer in 1956, leaving her, at 38, a widow with three adolescent daughters. She married James A. Johnson, a United States Army captain, in 1959.

Over the years, Mrs. Johnson published more than two dozen technical papers. She was among the first women at NASA to be a named author or co-author on an agency report.

Ceaselessly curious about the aerospace technology that underpinned her work, she made it possible for women to attend the agency’s scientific briefings, formerly closed-door affairs reserved for male staff members. (“Is there a law against it?” Mrs. Johnson asked, and when her male colleagues, after some head-scratching, concluded that, no, there was no law, they let her in.)

After retiring from NASA, Mrs. Johnson became a public advocate for mathematics education, speaking widely and visiting schools.

Complete information on survivors was not immediately available.

Mrs. Johnson’s colleague Mary Jackson died in 2005; Dorothy Vaughan died in 2008.

In 2016, Mrs. Johnson, self-effacing as ever at 98, seemed somewhat indifferent to the fuss surrounding the feature film about her life.

“I shudder,” she told The New York Times that September, some three months before the film’s release, having heard that the screenwriters might have made her character seem a tiny bit aggressive. “I was never aggressive.” (As things transpired, Mrs. Johnson liked the finished film very much, Ms. Shetterly said in an interview for this obituary in 2017.)

Mrs. Johnson may not have been aggressive, but she was assuredly esteemed. An index of just how esteemed she was came from Mr. Glenn, Mercury astronaut and future United States senator, who died in 2016.

In early 1962, a few days before he prepared to orbit the Earth in Friendship 7, Mr. Glenn made a final check of his planned orbital trajectory. The trajectory had been generated by a computer — not the flesh-and-blood kind, but the electronic sort, which were starting to supplant the agency’s human calculators.

Electronic computation was still something of a novelty at NASA, and Mr. Glenn was unsettled by the use of a soulless mass of metal to divine something on which his life depended.

He asked that Mrs. Johnson double-check the machine’s figures by hand.

“If she says the numbers are good,” he declared, “I’m ready to go.”

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2020-02-24 15:14:00Z
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Gabrielle Union Wore the Coolest Pastel Blue Culotte Suit - Yahoo Lifestyle

Photo credit: @gabunion - Instagram

From Marie Claire

  • Gabrielle Union wore the silhouette of the moment in a pastel blue suit with wide culotte legs.
  • She co-ordinated her outfit with daughter Kaavia, who wore a blue floral dress.
  • Union also matched with Kaavia at husband Dwyane Wade's jersey retirement ceremony, wearing black tailoring with white details.

Another flawless outfit from one Gabrielle Union-Wade! She wore a pastel blue culotte suit, designed by Aje, in a new photo posted on Instagram Sunday, and proved once again that she's miles ahead of the fashion curve—after all, the culotte suit's been all over the runway during fashion month. And, delightfully, she co-ordinated her outfit with best celebrity baby Kaavia James Union-Wade, who wore a Peter Pan collar dress in a complementary shade of blue. Absorb their photoshoot below, and feel your Monday improve:

On Saturday, mother and daughter matched again, as they attended Dwyane Wade's jersey retirement ceremony at the Miami Heat vs. Cleveland Cavaliers game. Union wore a black dress with white collar and buttons, while Kaavia wore a tailored black jacket with white buttons and piping. Cute! The absolute cutest!

If you're in need of a little vicarious romance this morning, look no further: Wade paid tribute to his wife in an emotional speech at the jersey retirement event, and Union teared up in response. "To my wife, Gab, thank you for coming into my life and showing me that life can be different. Through you, I learned that life is really what you make it,” he said, as Entertainment Tonight reports. "Thank you for the experiences we’ve shared. Thank you for those Twitter rants."

"Thank you for calling me out when I wasn’t on top of my game," Wade continued. "And I’m not just talking about basketball—I’m speaking about life. Thank you for loving me, thank you for pushing me." Well, unsurprisingly, now I'm crying too.

For more stories like this, including celebrity news, beauty and fashion advice, savvy political commentary, and fascinating features, sign up for the Marie Claire newsletter.

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2020-02-24 12:47:00Z
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B. Smith, Restaurateur And Lifestyle Icon, Dies At 70 Of Early-Onset Alzheimer's - NPR

Barbara Elaine Smith, better known as B. Smith, began her career as a model, going on to be a restaurateur, celebrity chef, author, entertainer and lifestyle doyenne. bsmith.com hide caption

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The world is less generous, and less welcoming because B. Smith, former model, entertainer and lifestyle doyenne, has left it.

At age 70, Smith succumbed to early-onset Alzheimer's, which she'd been battling for years. She died Saturday at her Long Island home with family nearby.

Plenty of media have described Smith as "The Black Martha Stewart." And superficially, one could see why: both women had been models (Smith appeared on the covers of several fashion magazines, the first brown-skinned black model to be featured on Mademoiselle's cover in the 1970s.)

Both had a genius for cooking and entertaining. Both eventually built an empire based on their skills (food, decorating, entertaining, home keeping). And when people (mostly white people) called Smith the black Martha, they meant it as a compliment.

Smith saw it as well-intended, but short-sighted.

"Martha Stewart has presented herself doing the things domestics and African Americans have done for years," Smith told New York magazine in a 1997 interview. "We were always expected to redo the chairs and use everything in the garden. This is the legacy that I was left. Martha just got there first."

True, but Smith made up for that by diving into everything she did with passion.

Born to a steelworker father and a mother who was a part-time housekeeper, Barbara Elaine Smith left her Western Pennsylvania hometown of Scottsdale for a modeling career right after high school.

Barbara became B. as her modeling career took off.

After a successful career with modeling agency Wilhelmina and several lucrative corporate contracts, Smith became interested in restaurants.

She married her second husband, Dan Gasby in 1992, and together they created an empire that encompassed best-selling cookbooks, the weekly show and a lifestyle magazine that was briefly published by American Express. Eventually there were also housewares, bed linens and even an At Home with B. Smith furniture line.

Smith opened her first eponymous restaurant in Manhattan's theater district in 1986. Two more B. Smith's followed: one near her weekend home on Long Island and the other in the historic Union Station complex in Washington, D.C.

Smith had been showing signs of forgetfulness for a while. In 2013, after she lost her train of thought while she was doing a cooking demonstration on NBC's Today, she sought a doctor's opinion.

The devastating verdict: tests indicated she was in the beginning stages of early-onset Alzheimer's disease. She and Gasby went public with the news in 2014. Smith put on a brave face, and told the public she intended to live and enjoy life until she couldn't.

The B. Smith who appeared in a public service announcement the following year was a woman whose wattage had dimmed considerably. Her disease was progressing swiftly. Her famously radiant smile flashed less frequently. Her sparkling eyes looked vacant, she forgot things easily, and once became lost in Manhattan for several hours.

Despite that, she and Gasby did several interviews to educate the public and destigmatize Alzheimer's. They also wrote a book, Before I Forget, on dealing with the disease. They were determined to try to make a difference, as Alzheimer's is known to be more prevalent in women and African Americans.

The interviews tapered off, though, as Smith's condition continued to deteriorate. She lived quietly with Gasby in their weekend home on Long Island Sound. But someone else was living with them, and seeking to control the narrative.

In 2018 Gasby confirmed the rumors: he had a girlfriend, Alex Lerner, and together they were caring for Smith. Last year, on Today, Gasby explained to friend Al Roker how painful it was to watch Smith fade.

You meet and fall in love with someone, he explained, "(and they are) the perfect person for you, and you watch them slowly dissolve, and you go down with them..."

Some people understood and sympathized. Others, like The View's Sonny Hostin (who'd helped care for a grandmother with Alzheimer's) were appalled.

"I find it very disrespectful that he is with his wife and disrespecting her by being with his girlfriend in their home," an emotional Hostin told her co-hosts.

Gasby has heard his critics, and it bothers him, but he feels strongly that his life counts, too.

"I believe in the sanctity of marriage," he told the Washington Post last year, but not in 'till death do you part. If the person you love, he said, is no longer mentally or emotionally present, he doesn't believe "that you should sit there and watch your life shrivel up..." (He visited The View to face Hostin and explain his side of the story.)

It's a hard call that more and more Americans are going to have to make, as more of us are diagnosed with Alzheimer's. Last year, the Alzheimer's Association estimated 5.8 million people have the disease; 200,000 of those have early onset. As our population continues to age, the numbers continue to climb, and more caregivers will have to ask themselves: how do you honor the life of your loved one while managing to preserve your own?

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2020-02-24 09:46:00Z
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Meghan Markle's BFF Jessica Mulroney Denies Setting Up a Secret Website for the Duke and Duchess - Cosmopolitan.com

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    Yesterday, a Daily Mail report dropped that Meghan Markle's best friend Jessica Mulroney had allegedly registered a new domain for Meghan and Prince Harry. According to said report, Jessica "registered the website sussexglobalcharities.com last Wednesday through her charity the Shoebox Project Foundation, which supports vulnerable women." So yeah, obviously a lot of people assumed that "Sussex Global Charities" could be in the running for Harry and Meghan's new charity name.

    But, turns out the Shoebox Project Foundation in question has nothing to do with Jessica—something she made clear on Twitter:

    “If certain investigative journalists were to do their jobs, perhaps they would see that Shoebox Project Foundation is owned by a Mr Roy in North Carolina and has no affiliations or ties to our charity The Shoebox Project. Happy Sunday.”

    Glad that's cleared up! But why do the Sussexes even need a new name, you ask? Meghan and Harry actually just announced that they won't be using the word "royal" after stepping down from the fam, which is kinda a problem considering both their website and Instagram are "Sussex Royal."

    In their statement, the couple wrote:

    "While The Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding use of the word ‘Royal’, it has been therefore agreed that their non-profit organisation will not utilise the name ‘Sussex Royal’ or any other iteration of ‘Royal.’

    For the above reason, the trademark applications that had been filed as protective measures and that reflected the same standard trademarking requests as done for The Royal Foundation of The Duke and Duchess of Cambridge, have been removed."

    They also noted that "While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word ‘Royal’ overseas, The Duke and Duchess of Sussex do not intend to use ‘Sussex Royal’ or any iteration of the word ‘Royal’ in any territory (either within the UK or otherwise) when the transition occurs Spring 2020."

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      2020-02-24 11:38:00Z
      52780622608461

      Royal Critic Attacks Prince Harry and Meghan Markle's 'Staggering Disrespect' for Queen Elizabeth - Showbiz Cheat Sheet

      Prince Harry and Meghan, Duchess of Sussex released a statement that provided more details about their exit from the royal family, including their agreement to give up the name “Sussex Royal.” The Sussexes’ critics have taken aim at this statement, with their most vocal critic, Piers Morgan, slamming the couple on Twitter.

      Meghan Markle, Prince Harry, and Queen Elizabeth II pose for a picture during the Queen's Young Leaders Awards Ceremony on June 26, 2018
      Meghan Markle, Prince Harry, and Queen Elizabeth II | JOHN STILLWELL/AFP via Getty Images

      The Sussexes won’t use the ‘Sussex Royal’ name

      As rumors swirled about whether the queen would ban Prince Harry and Meghan’s use of the Sussex Royal name, the couple released a statement to clear things up.

      “While The Duke and Duchess are focused on plans to establish a new non-profit organisation, given the specific UK government rules surrounding the use of the word ‘Royal,’ it has been therefore agreed that their non-profit organisation will not utilise the name ‘Sussex Royal’ or any other iteration of ‘Royal,’” read the statement on the couple’s website.

      “For the above reason, the trademark applications that had been filed as protective measures and that reflected the same standard trademarking requests as done for The Royal Foundation of The Duke and Duchess of Cambridge, have been removed,” the statement further explained.

      They continued: “While there is not any jurisdiction by The Monarchy or Cabinet Office over the use of the word ‘Royal’ overseas, The Duke and Duchess of Sussex do not intend to use ‘Sussex Royal’ or any iteration of the word ‘Royal’ in any territory (either within the UK or otherwise) when the transition occurs Spring 2020.”

      Morgan found the statement disrespectful

      The lengthy statement the Sussexes released provided more clarity around their transition but Morgan was quick to find fault with it. “The staggering disrespect these two keep showing to the Queen is outrageous. Who the hell do they think they are?,” he tweeted.

      When royal fans challenged Morgan’s thoughts on the matter, he had plenty more to say. He tweeted: “I read it in their own statement, posted to their own website last night, in which they directly dispute the Queen’s right to stop them using the ‘Royal’ tag abroad to flog themselves to bankers. I’ve never seen any royal publicly try to challenge the Queen’s authority like this.”

      When another fan said to leave them alone, Morgan made his view clear, tweeting: “Pipe down you clueless, sycophantic clown. They released a lengthy statement last night directly challenging the Queen’s authority. I will continue to support Her Majesty & the Monarchy against the Sussexes’ shameful efforts to have their royal cake and eat it. End.”

      Does their statement reveal how unhappy they are?

      While the intention of the statement was to quiet rumors as the couple makes their official move away from the royal family, one royal expert believes it’s very telling of how unhappy the Sussexes are about the arrangement.

      “The statement’s underlying message is they are very, very unhappy with this arrangement,” royal expert Richard Fitzwilliams told The Sun Online, adding, “It was completely unnecessary.”

      Fitzwilliams further noted that this “may lead to future trouble — they don’t like the arrangement that is forcing them to step down as working royals and not use their titles, even though they will have them.”

      He continued: “They want to use Sussex Royal but by saying the monarchy doesn’t have the power to prevent them from using it — why say that? There’s no point.”

      “My hope is the bitterness they seem to feel with the current arrangement will become more positive as months progress,” Fitzwilliams shared.

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      2020-02-24 09:22:51Z
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      Minggu, 23 Februari 2020

      'Sonic the Hedgehog' Holds on to #1; 'Call of the Wild' Overperforms into Second - Box Office Mojo

      Paramount's Sonic the Hedgehog managed to hold off 20th Century's The Call of the Wild for a second weekend at #1, topping $106 million after just ten days in release and already ranking as the fourth largest video game adaptation domestically of all-time. STX's release Brahms: The Boy II currently holds a narrow lead for a fourth place finish while truTV's release of Impractical Jokers: The Movie managed to land just outside the top ten despite playing in just 357 locations.

      Paramount's Sonic the Hedgehog dipped a little more than we anticipated, but still managed to hold on to the #1 spot at the weekend box office over its sophomore frame. The film fell -55% compared to its strong debut last weekend and delivered an estimated $26.3 million over the three-day, pushing the film's domestic cume over $106 million after just ten days in release. The film now sits just behind The Angry Birds Movie ($107.5m) as the fourth largest video game adaptation domestically of all-time.

      Internationally, Sonic added another $38.3 million, pushing the international cume to $96.5 million for a global tally topping $203 million. New openings were led by Russia with $6.3 million while the UK still leads the way overseas with a cumulative total of $19.1 million.

      20th Century
      Finishing in second place is Disney's release of 20th Century's The Call of the Wild. The adaptation of the classic Jack London adventure novel cost a reported $135 million and the film managed an estimated $24.8 million three-day debut. The performance, while ahead of pre-weekend expectations, still leaves a lot of room to run for the picture with a price-tag that high and an overtly American story that may not be able to generate a large following outside the country. Those that turned out stateside seemed to have enjoyed it as it earned an "A-" CinemaScore from opening day crowds and a 90% audience score on RottenTomatoes. Opening weekend audiences were split 50/50 among males and females with 62% of the opening weekend crowd coming in aged 25 or older.

      Internationally, the film launched in 40 markets with an estimated $15.4 million for a $40.2 million global launch. Leading the way was a $2.6 million opening in France followed by the UK ($1.9m), Mexico ($1.4m) and Russia ($1.2m). Next weekend sees openings in Japan, Czech Republic, Slovakia, Finland, South Africa, Taiwan, Thailand, Argentina, Uruguay and Venezuela with an April 16 date set for South Korea.

      WB's Birds of Prey finished in third with an estimated $7 million as the film's domestic cume now tops $72 million as it enters its third week in release. The film also added another $10 million internationally this weekend from 78 markets, pushing its international cume over $101 million for a global tally that currently stands at $173.7 million.

      STX
      Narrowly edging out Bad Boys for Life for fourth is STXfilms and Lakeshore Entertainment's horror sequel Brahms: The Boy II with an estimated $5.9 million. The film received a "C-" CinemaScore from opening day audiences while receiving a 40% audience score at RottenTomatoes. The film's opening weekend crowd was 53% female with 56% of the overall crowd coming in under the age of 25. Internationally, the film launched in 23 markets with an estimated $2.22 million for a global launch just over $8 million.

      Rounding out the top five is Sony's Bad Boys for Life with an estimated $5.86 million, pushing its domestic cume to $191 million as it will soon become the first release of 2020 to top $200 million domestically. Internationally the film added another $8.1 million, including a $1.1 million debut in Italy, pushing the overseas cume to $200 million for a worldwide tally reaching $390 million.

      Just outside the top ten is the film extension of the truTV series "Impractical Jokers", the aptly titled Impractical Jokers: The Movie, which finished with an estimated $2.6 million from 357 locations ($7,308 PTA). The film will continue to expand into more cities and theaters next weekend.

      In limited release, Lionsgate's release of Pantelion Films’s Las Pildoras De Mi Novio took in an estimated $1.4 million on 350 screens this weekend earning $4,071 per screen. The film received an "A-" CinemaScore.

      Focus's domestic debut of Emma. brought in an estimated $230,000 from five locations ($11,626 PTA) while continuing to play internationally where it added four new markets and brought in an estimated $2.4 million for an overseas cume that now stands at $8.4 million. The UK still leads the way overseas with a cume that now totals an estimated $6 million. The pic will expand to nearly 100 locations domestically next week while also opening in Korea, Netherlands, Greece, Latvia, Lithuania and Poland.

      Additionally, Oscilloscope debuted the 2020 edition of CatVideoFest in 30 locations with an estimated $220,150 ($7,338 PTA) with an expectation to add another 80 locations next weekend. Amazon Studios also debuted Seberg starring Kristen Stewart in three locations in New York and Los Angeles with an estimated $60,487 ($20,162 PTA) and will see the film expand into over 300 locations nationwide next weekend.

      Next weekend sees yet another horror film hit theaters in Universal's The Invisible Man, debuting in over 3,500 theaters.

      You can check out all of this weekend's estimated results right here and we'll be updating our charts with weekend actuals on Monday afternoon.

      Discuss this story with fellow Box Office Mojo fans on Facebook. On Twitter, follow us at @boxofficemojo.

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