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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.

The Democratic National Committee on Thursday filed a lawsuit alleging that President Trump’s administration secretly changed a postcard used by U.S. citizens overseas in a way that makes it harder to register to vote.

The lawsuit contends that the Department of Defense made the change by declaring an emergency, which allowed it to eliminate a specific box on the form. That box is typically checked by potential voters who acknowledge they are U.S. citizens but who have never lived in the United States.

They are usually the children of U.S. citizens, and 38 states allow them to cast ballots provided they have close family connections. Since 2013, the box has appeared on postcards sent to overseas voters.

Republicans have filed lawsuits in multiple states trying to prevent those voters, who typically support Democrats, from casting ballots. Thursday’s lawsuit contends that the administration simply made the change on its own without giving proper notice.

“These American citizens pay U.S. federal and state taxes, but now a years-old plan has culminated in a manufactured ‘emergency’ to justify impeding their right to vote in American elections and potentially disenfranchising them entirely,” the lawsuit states.

The Department of Defense, which administers the form, did not immediately respond to a request for comment.

The number of Americans overseas who have never lived in the United States yet cast ballots in the country was estimated at about 11,500 in 2016. The lawsuit contends the number has likely grown.

Some are already registered and are due to receive ballots for November. Others can opt to check other boxes saying they’re citizens who either intend to return to the U.S. or do not intend to return in order to receive ballots.

The move follows Secretary of Defense Pete Hegseth urging members of the military to cast ballots en masse, implying they could out-vote Democratic jurisdictions, such as Detroit, if they all cast ballots. The same federal law that lets members of the military who live overseas cast ballots also requires that civilians who live overseas be given the same opportunity.

But as Democratic-leaning civilians overseas have out-voted Republican-leaning members of the military in recent years, the GOP hasstarted to target the law, known as the Uniformed and Overseas Citizens Absentee Voting Act, or UOCAVA. Republicans were able to win a court case forbidding the votes of overseas citizens who have never lived in North Carolina from being counted there, but have not yet succeeded in lawsuits in other states, including swing state Michigan.

Susan Dzieduszycka-Suinat is a U.S. citizen in Munich whose 28-year-old daughter also is a U.S. citizen who has never resided in the country but votes regularly. She said the administration’s move was alarming.

“If this works in slicing off a piece of the electorate,” said Dzieduszycka-Suinat, who is president of the U.S. Vote Foundation, “wait until the next emergency.”

Riccardi writes for the Associated Press. AP writer Konstantin Toropin in Washington contributed to this report.

Tom Cruise is one of the bankable stars in Hollywood. But his pull may not be enough to lift his upcoming film “Digger” from a likely hard fall at the box office this weekend.

That would be unwelcome news for Warner Bros., whose movies have largely struggled to connect with audiences this year, in contrast to 2025, when the studio ran up a string of hits such as “Sinners” and “Weapons.”

All of this comes as the studio braces for an uncertain future with Paramount Skydance’s $111-billion acquisition of Warner Bros. Discovery set to close on Tuesday.

“No single film is going to capsize the boat,” said Stephen Galloway, dean of the Dodge College of Film and Media Arts at Chapman University. “However, it’s coming at a precarious time because it follows a series of less-than-successful releases at the very moment when the Warner Bros.- Paramount deal has been greenlit, and everybody — no matter how high up — is terrified for his or her job.”

Matching the success of the 2025 film slate was always going to be a tall order, particularly when so many of Warner Bros.’ movies that year overperformed.

So far this year, the studio’s domestic box office haul is $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 currently does not have any film in the top 20 of domestic box office earners this year, which includes some holdovers from 2025, with Emerald Fennell’s adaptation of “Wuthering Heights” ranking at 21 with $84 million. Bets on films like Maggie Gyllenhaal’s “The Bride!” cratered, while DC Studios’ “Supergirl” misfired.

“Digger” is unlikely to turn things around.

The satire from director Alejandro González Iñárritu about an impending climate change apocalypse has divided critics, yielding very mixed reviews. Tracking predictions for the film’s debut have steadily trended downward and settled between $15 million and $19 million.

That would be a major miss, given the film’s production budget was about $125 million (not counting marketing costs).

“Digger” faces several hurdles. For one, the film has a major twist, which complicates its marketing and makes it difficult to tell audiences what it’s about.

Then there’s Cruise’s nearly unrecognizable performance as Digger Rockwell, an eccentric oil tycoon whose drilling operations have led to the unfolding climate disaster. Clad in prosthetics with a head full of graying hair, Cruise is far from his usual stunts-heavy, bravado-filled roles, which could make his typical audience less likely to come out to theaters, analysts said.

“It has a lot of question marks,” said David A. Gross, who writes the movie industry newsletter FranchiseRe. “It doesn’t look like it’s heading for financial success.”

The film will have value to Warner Bros. beyond its theatrical reception. “Digger” probably will also make money through ancillary revenue streams such as premium video on demand and streaming, industry experts said. And if Cruise wins his much-coveted Oscar for his role as Digger, that is also a plus, Galloway said.

Beyond the fate of “Digger,” Warner Bros.’ theatrical business will be of prime importance to the combined Paramount-Warner company.

Last year, Warner’s studio business, which includes both film and television production, brought in $12.6 billion in revenue. This year, it’s projected to generate $11.1 billion, according to market expectations. On a positive note, Warner Bros. still has its animated “The Cat in the Hat” film releasing in November and the popular “Dune: Part Three” at the end of the year.

The prospects for Warner Bros. should improve next year, when the film and TV studios are expected to amass $11.7 billion in revenue, driven by strong titles including the sequel to “Minecraft” and a new “Lord of the Rings” movie, according to Bernstein research.

Aside from theatrical revenue, Warner Bros.’ film and TV properties have been key drivers of business to HBO Max and will also provide valuable content to Paramount+, particularly as the linear cable networks continue to decline.

“I would argue the studios are the very reason Paramount Skydance is buying Warner Bros.,” said Laurent Yoon, senior analyst at Bernstein. “Everything starts with the studios.”

The combined company is also legally required to release at least 30 films a year as part of a settlement agreement over antitrust claims with 12 state attorneys general, including California’s Rob Bonta. Paramount Chief Executive David Ellison has previously said the two studios would each release 15 films a year.

But the type of content the studios release could change after the merger is completed. Under film chiefs Pam Abdy and Mike De Luca, Warner Bros. developed a reputation for auteur-driven, original stories, particularly after the success of the 2025 slate. Ellison’s slate has trended toward blockbuster fare.

The combined company will also face a massive debt load of more than $80 billion after the merger closes, meaning there may be greater pressure for future films to be hits.

“Ellison is primarily in the business of delivering blockbusters,” Galloway said. “That’s going to be even more important as he tries to right the ship of his debt.”