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Despite calling time on his playing career two decades ago, it is still rare for Shearer to find himself with a weekend off.

Now a regular pundit on Match of the Day, as well as co-commentating on England games and sitting alongside Gary Lineker and Micah Richards on The Rest Is Football podcast, he has become one of the most respected pundits in the game.

But that was not always going to be the case.

Unsure of whether he would enter the world of management or media post-retirement, Shearer served as interim Newcastle manager in 2009 for the remaining eight games of the season.

It ended badly, with the Magpies relegated and Shearer never returning to the dugout.

“Newcastle were were in desperate trouble and I could never say no – we were bottom of the league, fighting for our lives,” he said.

“I should have known that when I signed the contract on April Fool’s Day that it wasn’t going to work out!

“I always felt that I was going to go into it again and I wanted to. I had a couple of interviews and got offered the job at Cardiff. And then things changed … and I thought, ‘what am I doing here?'”

That ended Shearer’s brief brush with management and he returned to punditry, spending his weekends travelling between Newcastle and Salford for Match of the Day.

“It is such a long day. For me travelling from Newcastle, it’s a probably 19-20 hour day,” he said.

“What people don’t realise is that you’re meant to be at your brightest and your liveliest when you go on live at 10:30, whereas if you’re watching football all day on the settee, you’re ready to nod off at that time.”

Watching so much Premier League football, at least Shearer is able to monitor that goal-scoring record of his.

Audiences for animated movies are proving to be more diverse than the industry expected.

Over the weekend, Laika, the Oscar-nominated studio behind movies like “Coraline” and “ParaNorman,” released its newest feature film “Wildwood.” The original animated feature, which received a rare PG-13 rating, landed in third place at the domestic box office, earning an estimated $11.6 million, according to its distributor Fathom Entertainment.

DC Studio’s body horror “Clayface” topped the box office, with a haul of $24 million. “You Can See Everything,” the experimental Elizabeth Holmes documentary, came in second and added $19.5 million to its total $45 million haul, according to the data-analytics company Rentrak.

Distributed by Fathom Entertainment — the joint venture of AMC Entertainment Holdings, Regal Cinemas, and Cinemark Holdings — “Wildwood” opened in just over 2,900 North American theatres. The distributor said this box office haul is a rare achievement for independently produced and distributed PG-13 animation, as very few films of this nature have received such a wide theatrical release and opened above $10 million.

The opening comes as audiences have strongly favored familiar animated stories like “Toy Story 5” and “The Super Mario Galaxy Movie,” which each earned over $1 billion. Original animated stories have received mixed reactions. Earlier this year, Disney Pixar’s “Hoppers” found success opening weekend, earning $45 million domestically while DreamWorks Animation’s “Forgotten Island” opened to a softer $13 million last month.

“While the major studios rely heavily on established animated franchises like ‘Super Mario,’ ‘Minions’ and ‘Toy Story,’ Laika has carved out a really unique place in the animation world,” Paul Dergarabedian, the head of marketplace trends at Rentrak, said in a statement.

The film is Laika’s first in seven years and has been in the works since 2011. Based on the novel by Colin Meloy and Carson Ellis, it follows Prue, a young girl who ventures into an enchanted forest to save her little brother. The Oregon-based studio was founded in 2005 by Nike co-founder Phil Knight. His son, Travis Knight, is the owner, chief executive and director of “Wildwood.”

The handcrafted stop-motion film runs just over two hours and more than a thousand people worked on it. The studio did not disclose its production budget. Laika films can cost between $60 million and $100 million to make, according to Forbes.

“‘Wildwood’ embodies everything LAIKA believes animation can be: a handmade film that is emotionally resonant, visually ambitious, and created by artists, craftspeople and technical innovators working at the highest level,” David Burke, the film’s executive producer, said in a statement.

Opening weekend was just a starting point for Laika. The studio’s films have historically demonstrated strong theatrical staying power, with its five previous features averaging around 3.6 times their opening weekend domestically, according to Fathom. The film is also expected to hit dozens of international markets in the coming weeks, which is expected to boost its box office revenue.

Dergarabedian said the film’s opening is “encouraging, particularly for a film that doesn’t fit the traditional animated blockbuster mold. Its performance is another example of why originality and creative risk-taking are so important to the theatrical marketplace.”

“At Laika, we have always taken the long view,” Burke said in a statement. “Laika makes timeless films that resonate with audiences around the world and across generations. ‘Wildwood’ carries that tradition forward.”

Netflix publicly reported box office results for the first time in its history this weekend as it released its queer drama “La Bola Negra” in U.S. theaters.

The Spanish-language film opened in limited release — just four theaters in Los Angeles and New York — and brought in $277,500 on a reported production budget of $15 million to $17 million. That averaged out to about $69,375 per screen, the second-highest per-screen average for a non-English language film.

Netflix acquired the U.S. rights to the film at Cannes, reportedly for about $5 million.

The Los Gatos-based streaming giant plans to expand the number of locations in the coming weeks to as many as 300 theaters across the country. The film already opened in Spain in late September.

“La Bola Negra” will be available on Netflix on Dec. 2.

Netflix has high hopes for the film, which won six audience awards on the festival circuit and will be Spain’s entry for the Academy Awards.

But the U.S. debut comes at a rocky time for Netflix, which cut 6% of its workforce, or about 1,000 jobs, last week. The layoffs, which are believed to be the largest in company history, included Chief Content Officer Bela Bajaria, who was replaced by former Disney executive Peter Rice.

The move arrives as Netflix’s stock price has tumbled, and the company is under pressure from shareholders to churn out more hit films and TV shows, while increasing engagement on the platform.

Elsewhere at the box office, Paramount Pictures’ video game adaptation “Street Fighter” took the top spot, with a domestic haul of $31 million. It is the first major release from Skydance, the company formed when Paramount completed its $111-billion acquisition of Warner Bros. Discovery earlier this month.

A24’s Elizabeth Holmes documentary, “You Can See Everything,” which opened on only 855 screens, made about $15 million, while Universal Pictures’ “Other Mommy” ($8.3 million), Disney-owned 20th Century Studios’ “Whalefall” ($8 million) and Universal-owned Focus Features’ “Sense and Sensibility” ($7.2 million) rounded out the top five.

The Tom Cruise-led “Digger” is poised for a massive loss after ticket sales for the political satire fell 60% in its second weekend in theaters in the U.S. and Canada.

The Warner Bros. film made just $3.2 million in those theaters over the weekend, according to a studio estimate. Its opening weekend brought in $8 million, Cruise’s lowest opening as a leading man since 2007’s “Lions for Lambs.” Global ticket sales for “Digger” were only $35.3 million.

The tepid box-office returns mean the studio is now expected to lose at least $150 million on the film, including ancillary revenue streams such as premium video-on-demand and streaming, industry sources said. Historically, a film has typically needed to make 2½ to three times its budget to recoup its costs.

A Warner Bros. spokesperson did not respond to a request for comment.

It’s a tough result for the film, which stars Cruise as an aging oil tycoon whose company sets off an environmental catastrophe. Analysts have said that the film was challenging to market, given a major twist in the plot, and that Cruise’s nearly unrecognizable appearance could have dissuaded his fan base from coming out to support the film.

The film suffered from polarizing critical reviews, notching a 53% on aggregator Rotten Tomatoes. Opening-night audiences gave it a C+ on CinemaScore, a grade that typically points to weak word of mouth and steep drops in the weeks that follow.

The budget for “Digger” raised the stakes. Warner Bros. has said the film cost $125 million to produce, though some industry experts and trade reports have estimated the cost was at least $160 million, citing production delays.

That figure also doesn’t include marketing costs, which sources said could have increased in the days after the film’s opening since Warner Bros. began using the divided reviews in social media and TV ads to encourage people to see the film for themselves.

The film will have value to Warner Bros. — and Skydance, the newly combined company that now owns it — beyond its theatrical reception. “Digger” probably will make money through downstream revenue sources such as streaming. If Cruise wins his first competitive Oscar, that also would be a plus for the film.

But a film’s domestic reception, and to some extent, its international box office revenue, does play a role in the value of those downstream revenue opportunities, experts said.

“Even with respectable ancillary income based on the film’s pedigree, the movie is going to lose a lot of money,” David A. Gross wrote in his FranchiseRe movie industry newsletter shortly after the film’s opening.

The reception for “Digger” comes during a tough time for Warner Bros.

The film opened Oct. 2, the same day the studio’s film chiefs, Michael De Luca and Pam Abdy, departed. Four days later, Paramount completed its acquisition of Warner Bros. Discovery, and the combined company took the name Skydance.

The studio has had a string of disappointments this year, including Maggie Gyllenhaal’s “The Bride!” and DC Studios’ “Supergirl.” None of its 2026 releases has crossed $100 million at the domestic box office.

But the prospects for Warner Bros. should improve next year, according to the research and brokerage firm Bernstein. Skydance has said it will keep the Warner Bros. and Paramount studios distinct, though Paramount Pictures chiefs Dana Goldberg and Josh Greenstein are expected to oversee both. Bernstein expects the Warner Bros. film and TV studios to amass $11.7 billion in revenue, driven by strong titles that include the sequel to “Minecraft” and a new “Lord of the Rings” movie.

Tom Cruise’s latest film Digger is expected to lose around $245m (£185m), Hollywood analysts have said, after the film’s continuing poor performance in cinemas.

Ticket sales for the satirical black comedy, which stars Cruise as oil magnate Digger Rockwell, dropped by around 60% in the movie’s second weekend.

It brings Digger’s total box office takings to around $35m (£26m) globally so far. The film is estimated to have cost its studio Warner Bros around $280m (£211m) to make and market.

But Cruise said last week, external that he “never thought of movies when I’m making them [in terms of] opening weekend,” adding he was instead focused on making films that “hopefully will translate, last and evolve”.

The film’s takings relative to its budget mean it could become one of the biggest film flops in Hollywood history.

Digger’s performance is in sharp contrast to the success of IP-driven hits starring Cruise in recent years, such as new instalments of the Top Gun and Mission: Impossible franchises.

Digger is directed by Alejandro G Iñárritu, best known for films such as Birdman, Babel and The Revenant.

Hollywood trade publication Variety said Digger was expected to end its box office run with around $50m (£38m) worldwide.

The film would need around $350m (£264m) to break even, due to its budget, marketing costs, the portion of ticket sales that go to theatres and the likely spend on an awards season campaign.

However, a Warner Bros spokesman pushed back slightly on the figure, telling Variety the film’s break even point was $300m (£227m).

Digger was the last standalone release for the studio before its recent takeover by Paramount.

Universal Pictures’ (CMCSA) supernatural horror thriller “Other Mommy” scared up an estimated $27.5 million in domestic ticket sales over the weekend, leading the North American box office as moviegoing revenue for 2026 surpassed $8 billion.

The film, starring Jessica Chastain and

The Tom Cruise-led movie “Digger” cratered at the box office this weekend, limping to a fifth-place finish with $8 million in the U.S. and Canada in its theatrical debut.

The Warner Bros. film was expected to do poorly after polarizing reviews from critics and a challenging marketing campaign. The film had a production budget of about $125 million. Worldwide, the film brought in just $20 million in its opening weekend, meaning the studio will probably post a significant loss from the release.

A representative of Warner Bros. did not respond to a request for comment.

Amazon MGM Studios’ “Verity,” starring Anne Hathaway, easily lapped “Digger,” coming in first at the domestic box office with a haul of $32.6 million. The film made $62.5 million worldwide.

The underwhelming performance from “Digger” marks a rare misfire from the usually bankable Cruise and adds to a difficult year for Warner Bros.’ film studio, whose lineup of movies has struggled to connect with audiences. That’s in stark contrast to 2025, when the studio ran up a string of hits such as “Sinners” and “Weapons.”

It also comes as Paramount Skydance’s $111-billion acquisition of Warner Bros. Discovery is set to close Tuesday. As part of the merger, there have already been several management shake-ups, including the exit of Warner Bros. film chiefs Pam Abdy and Michael De Luca. The duo oversaw the studio for the last four years, providing a mixed bag of hits and misses for the Burbank-based studio.

The deal is expected to dramatically reshape Hollywood by combining two of the major studios, a move that is expected to lead to massive layoffs. Paramount has already told Wall Street that it’s planning $6 billion in cost cuts.

“Digger” is the result of nine years of work, as director Alejandro González Iñárritu started on the project before the pandemic. The film is a satire about an impending climate change apocalypse that’s triggered by the drilling operations of oil tycoon Digger Rockwell, played by Cruise, who looks nearly unrecognizable clad in prosthetics and graying hair.

In a post-screening, onstage discussion last week, Cruise noted the carefully handcrafted props and sets.

“Everything is practical,” he said. “It was so beautiful, and I just have to say … AI can’t do that.”

Sony Pictures’ “Resident Evil” came in second at the box office this weekend with $12.5 million in its third weekend in theaters. Paramount’s “Heart of the Beast” ($11 million) and A24’s “Primetime” ($8 million) ranked third and fourth.

As of last week, Warner Bros.’ domestic box-office haul this year was $437.7 million, representing about 5.6% of the total theatrical revenue in the U.S. and Canada, according to Rentrak data.

Last year, Warner Bros.’ total at this time was $1.8 billion, aided by back-to-back successes starting with “A Minecraft Movie,” which went on to become the highest-grossing movie at the domestic box office during that calendar year.

The studio does not have any film in the top 20 of domestic box-office earners this year, with Emerald Fennell’s adaptation of “Wuthering Heights” ranking at 21 with $84 million. Bets on films such as Maggie Gyllenhaal’s “The Bride!” cratered, while DC Studios’ “Supergirl” misfired.