There was a lot of talk about how the robust $69 million debut weekend of Anna Kendrick’s Pitch Perfect 2 proved (yet again) that female-centric franchise fare could score top-tier debut weekends without much help from male audiences. And there was much talk about the robust $45 million debut of Mad Max: Fury Road whereby a 70% male crowd lined up for an action spectacular that centered on a female character (played by Charlize Theron) and involved explicit commentary on the real-world illogic of a patriarchal system that treated half of the world’s population as chattel. Something that got less notice, and I will admit intending to write this earlier in the week, was that the weekend box office was dominated by films that were either explicitly female-centric or mostly female-targeted. Of the top 12 films in last weekend’s box office charts, eight of them were female-centric in nature. Moreover, three of them were somewhat gender-neutral. Only one wide release in the top twelve was wholly male-centric.