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After a nearly seven-year absence from theaters, Star Wars proved it still has the Force, as the latest installment, “The Mandalorian and Grogu,” is on track to earn an estimated $102 million in the U.S. and Canada for the Memorial Day weekend.

The movie, which is a continuation of “The Mandalorian” streaming show that debuted on Disney+ in 2019, met studio expectations for its opening weekend results.

Globally, the film was on track to pull in $165 million for the four-day holiday weekend.

Director Jon Favreau’s “The Mandalorian and Grogu” now ranks as the year’s third-highest grossing domestic opening, based on its Friday-Sunday ticket sales of $82 million, according to ticket tracker Comscore.

The results are likely a relief to Walt Disney Co.-owned Lucasfilm, which had not released a theatrical Star Wars film since 2019’s “Star Wars: Episode IX — The Rise of Skywalker.”

Since then, the San Francisco-based studio has largely focused on its Star Wars streaming shows, which have included both live-action and animated series. Some of those shows received mixed reviews, though “The Mandalorian” and “Rogue One” spin-off “Andor” were breakout hits, praised by critics and largely revered by fans.

The movie — starring Pedro Pascal, Sigourney Weaver and Jeremy Allen White — benefited from positive reviews from moviegoers, but it stopped short of shattering expectations. Its initial financial performance was on par with the disappointing 2018 opening weekend for “Solo: A Star Wars Story.” That film notched $103 million in its opening weekend.

Still, as cinemas struggle to recover from pandemic-era shutdowns, a film that generates more than $100 million in its the opening weekend is typically seen as a success.

Box office revenue for “The Mandalorian and Grogu,” which played in 4,300 theaters, will be just one indicator of the movie’s success.

The Burbank entertainment giant is counting on the film to boost other parts of its business, including views of Star Wars shows on the Disney+ streaming service, its gaming collaboration with Fortnite and its all-important theme parks sector. The main characters are present in the Star Wars: Galaxy’s Edge-themed land, and the Millennium Falcon: Smugglers Run ride has been overlaid with a new “Mandalorian and Grogu” storyline at Disney parks in Anaheim and Orlando.

The weekend ticket sales underscore the enduring appeal of Star Wars, which remains among Disney’s top five franchises, producing more than $1 billion in annual retail sales.

Reception for the film was seen as critical to keeping the franchise fresh in moviegoers’ minds, particularly as Disney prepares for the upcoming 50th anniversary of Star Wars and a new movie starring Ryan Gosling set for next year.

Locally, “The Mandalorian and Grogu” is the first Star Wars movie to be made entirely in Los Angeles.

The film received a state tax credit to film in the Golden State, Favreau said at the premiere last week.

“The Mandalorian and Grogu” faced little new competition at the box office this Memorial Day weekend. Rival studios largely stayed on the sidelines, with no other potential blockbuster debuting at the same time.

Focus Films’ horror hit “Obsession” came in second at the box office with $22.4 million for its three-day total, according to Comscore.

Lionsgate’s blockbuster Michael Jackson documentary, “Michael,” snared $20 million, bringing its total to $314 million. “The Devil Wears Prada 2” came in fourth with $12.6 million, bringing its purse to $196 million since it opened earlier this month.

Amazon’s MGM studio’s “The Sheep Detectives” rounded out the top five with nearly $9 million.

Kiki Rice dribbled to the hoop, deked and then put up a shot over the Toronto Tempo practice squad, crisp ombre blue-and-burgundy nails releasing the ball into the basket.

Just over a month ago and just about 10 miles away, Rice‘s blue-and-yellow nails grasped the NCAA championship trophy in celebration at Pauley Pavilion. That’s when she was starring for UCLA and leading the Bruins to their first NCAA national title during her fourth college season.

She was one of six Bruins to be selected in the WNBA draft on April 14, with all of them sticking to notoriously difficult-to-crack WNBA rosters. Rice was the expansion Toronto Tempo’s first college pick.

“We got really lucky getting her in the draft,” Tempo coach Sandy Brondello said. “She hasn’t disappointed.”

Former UCLA star Kiki Rice holds up a Toronto Tempo jersey next to WNBA Commissioner Cathy Engelbert. Rice was the Tempo’s first draft pick and was selected No. 6.

(Angelina Katsanis / Getty Images)

In her first two WNBA games, Rice has averaged 7.7 points and 1.3 assists in 20 minutes per game. She has been coming off of the bench to back up starting point guard Julie Allemand, who the Tempo took from the Sparks in the expansion draft.

“There’s definitely a lot of adjustments and getting used to what it is like inside this level,” Rice said on Friday. “But I’m with great vets, really great coaches, and I’m really enjoying the play as a pro.”

The No. 6 pick in this year’s WNBA draft, Rice elevated her stock as a prospect by having her best UCLA season. She finished her senior season averaging 14.9 points per game with 5.9 rebounds and 4.3 assists, and was named the Big Ten tournament MVP.

Ahead of the NCAA tournament, WNBA scouts said that her defensive prowess and willingness to charge to the basket made her emerge as an early first-round candidate.

“She stays confident in who she is, and that’s what we just pour into her,” Brondello said. “She comes from a really successful, you know, college program in UCLA. Cori [Close] is a great coach, and you know, pushed her hard for greatness. So she’s very mature. She knows that there’s another level that she can go to. She’s going to work really hard to get there.”

Rice went through the WNBA rookie gauntlet, going from the NCAA championship game to the draft within a week and then straight to the Tempo’s training camp.

“It’s something we all go through, it’s the same for all the rookies,” Rice said. “I feel like I haven’t slept a ton the past few weeks. It’s definitely not easy, it happens very quickly, but I am very grateful to be in the position.”

Sparks coach Lynne Roberts coached against Rice during her first two UCLA seasons while the former was the head coach at Utah.

Tempo guard Kiki Rice drives past the Storm’s Zia Cooke during expansion franchise Toronto’s first win on Wednesday in Toronto.

(Michael Chisholm / Getty Images)

“I think she’s going to do well with Sandy in her system,” Roberts said on Friday. “I saw over the course of her four years … her decision making, you know, improve and get better, which is natural, and her outside shot get more comfortable. … She’s going to be a good player to watch.”

Rice faced her old teammates Lauren Betts and Angela Dugalic with the Washington Mystics in the franchise’s first game on May 8, and the trio hugged at center court in Toronto. Rice had one assist and no points in 18 minutes during the loss. She rebounded with 12 points and one assist in 21 minutes during the franchise’s first win over the Seattle Storm on Wednesday.

“Playing with five other pros, you got the advantage of really competitive practices,” Rice said of her time at UCLA. “[The draft] was an incredible moment, something that’s very special for all of us. We didn’t do it alone, and to be able to share it with some of my closest friends, and to hear everyone’s name, be called to see everyone walk across the stage, be able to celebrate together, enjoy the moment, was special.”

This weekend provided a different kind of reunion, with her UCLA coaches in attendance Friday night as Rice scored 11 points and added two assists in 21 minutes during a loss to the Sparks. The Tempo rallied to within one possession in the final minute and get a rematch on Sunday.

ST. LOUIS — Tomas Totland scored four minutes into the match and fellow defender Rafael Santos added a second-half goal to help St. Louis City beat LAFC for the first time, earning a 2-1 victory on Wednesday night.

Totland used assists from Eduard Löwen and Marcel Hartel to find the net for the first time this season and the third time in 55 career appearances. It was the first assist of the campaign for Löwen and the second for Hartel.

Santos added an unassisted goal in the 64th minute. It was his first score this season and his fourth in 92 career matches. Santos entered the match in the 10th minute for an injured Jaziel Orozco.

David Martínez entered the match in the 70th minute and scored in the 73rd to cut it to 2-1. Nkosi Tafari and defender Aaron Long set up Martínez’s fourth goal this season and his 11th in 58 appearances.

Roman Bürki finished with three saves for St. Louis City (3-6-3), which entered the match 0-5-2 all time against LAFC.

Hugo Lloris did not have a save for LAFC (6-4-3). He leads the league with eight clean sheets in 11 starts.

Mathieu Choinière scored his only two goals of the season — both from long range — to lead LAFC to a 2-0 victory over St. Louis City on March 14.

St. Louis City had scored just 10 goals in its first 11 matches under coach Yoann Damet, second fewest in the league.

Up next

St. Louis: Visits D.C. United on Saturday.

LAFC: Visits Nashville SC on Sunday.

A pivotal moment early in “Harry Potter and the Sorcerer’s Stone” arrives when Harry’s suburban house is swarmed and flooded with letters of acceptance for the Hogwarts School of Witchcraft and Wizardry. Harry’s aunt and uncle have been preventing such dispatches from reaching the young wizard-to-be, but the boarding school’s messenger owls are having none of it.

Letters flood in from the fireplace, windows and nearly seem to cause the house to burst. And while watching the film recently at Inglewood’s Cosm, home to an all-encompassing high-definition spherical screen, I half expected a letter to fall upon my lap. Cosm specializes in sports, but has released three collaborations with Warner Bros. for what it deems “experiential film.” A framed screen displaying the original 2001 work from director Chris Columbus is untouched, but surrounding it are newly added digital animations designed to envelop guests.

And in this early “Sorcerer’s Stone” scene, letters were a-flying any which way I looked. Up, down, left and right — mail missives were rocketing toward the center screen. As the world closed in on Daniel Radcliffe’s Potter and family, it did so, too, at Cosm. I’ve seen Cosm’s take on “The Matrix” and “Willy Wonka and the Chocolate Factory,” so I knew a letter wouldn’t come zapping my way, but one could be forgiven for protecting their cocktail — themed, of course — from being knocked over.

The famed “sorting hat” scene at Cosm’s interpretation of “Harry Potter and the Sorcerer’s Stone.”

(Cosm)

Such is the power of Cosm’s curved screen, which brings a sense of dimension, and even at times movement, to the film. Think of Cosm, perhaps, as a mini version of Las Vegas’ Sphere, but smaller doesn’t mean any less sweeping. No, “Harry Potter and the Sorcerer’s Stone” in Cosm’s hands is often quite grand, as the first glimpse of Hogwarts Castle inspired cheers from the opening night audience, its cliffside towers, a romanticized spin on medieval architecture, towering above us in such a way that we will crane our necks. Only in Universal’s theme parks does the palace seem more real and welcoming.

“Harry Potter and the Sorcerer’s Stone” arrives at Cosm during what is a big year for the franchise. It’s the 25th anniversary, of course, of the first film in the series, and later this year on Christmas Day a new television series based on author J.K. Rowling’s popular book series is set to premiere on HBO Max. This summer, Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire.

All of this activity is happening as Rowling has become the center of heated debate for her controversial views on trans women. None of it, however, has seemed to curtail fan interest in the series. The 2023 video game “Hogwarts Legacy” became a massive hit despite calls for a boycott, and Universal Studios last year opened in Florida a brand new theme park land based upon the franchise at its Epic Universe park, with its centerpiece ride, Harry Potter and the Battle at the Ministry, often commanding some of the longest waits at the park.

At the film’s early May premiere at Cosm, Rowling was mentioned little, and wasn’t among the massive list of names being thanked by studio and Cosm execs. “Harry Potter” in 2026 is perhaps best viewed as a franchise that has outgrown its creator to take on a life of its own, and Cosm’s approach is that of a love letter to its many fans, recognizing that this is a magical, enchanting world that generations have long wished to find themselves immersed in.

A climatic scene in “Harry Potter and the Sorcerer’s Stone” is outfitted with additional effects at Cosm.

(Cosm)

To that end, I’d rank “Harry Potter and the Sorcerer’s Stone” as the most successful of Cosm’s three cinematic interpretations. Certainly the subject matter plays a role, and while Cosm has been successful in matching the high-energy of “The Matrix” or the trippiness of “Willy Wonka,” here Cosm and its partners — experiential firm Little Cinema and effects house MakeMake — can simply luxuriate in atmosphere. The train to Hogwarts, for instance, is especially well done, seemingly stretched to infinity. The famed “sorting hat” scene, too, as Cosm’s wizards contrast the internal anxiety of being assigned a role with the external one of doing so in front of an audience, bringing to exaggerated life the cavernous Hogwarts assembly hall.

Cosm works best when it’s able to use its venue to create the illusion of no longer being a spectator, when the space itself starts to feel like a living theater. Feel this, for instance, when Harry and pals traverse the moving staircase. The frame of the screen may move, creating a slight sense of disorientation as the stairs themselves shift. The portraits on the wall, whose characters occasionally come alive, start to envelop us. Cosm used some restraint here, keeping us guessing as to which framed pictures may seek to speak or nod our way.

If there’s any qualm in Cosm’s work it’s that at times there could be a tinge more self-control in order to let the film do its work. Stepping into the hidden magic nook of London’s Diagon Alley is a showcase moment in Columbus’ film, and at times it is in Cosm’s interpretation as well. Out on the street, the shops circle around us, further conveying the cramped nature of the neighborhood. It feels, more than ever, like a real-life space. Inside an intimate pub, however, filling out the scene with empty tables could distract from the hurried, nervous nature of the filmmaker’s original intent.

But we live in an immersive age. Art, increasingly, is maximized to encompass us, and Cosm understands this moment well. Once again, the venue has made the argument that cinema can feel like communal, live entertainment.

The International Alliance of Theatrical Stage Employees is striking against “CoComelon: The Melon Patch” in protest over wages and working conditions.

The union representing crew members working on the live-action YouTube series said the workers are being overworked and that the production is understaffed.

The crew, which consists of 22 workers, recently signed cards seeking the International Alliance of Theatrical Stage Employees, or IATSE, to represent them in collective bargaining. The production’s management refused to bargain, according to the workers.

“The crew on this project experienced firsthand what working conditions can be like on a non-union production and organized for fair wages and industry-standard benefits after they started the second season,” IATSE said in a statement to The Times.

The strike began on Wednesday, halfway through the series’ shoot. The workers are currently picketing outside the Stage This studio in Sun Valley.

Moonbug Entertainment, the company behind the “CoComelon” franchise, declined to comment on the matter.

“The Melon Patch” first launched in 2025 and is a spinoff of the original “CoComelon” on YouTube. Over the last several years, “CoComelon” has become a staple in households with young children, known for its brightly colored 3D animation style. The franchise has spawned many spinoffs including Netflix’s “CoComelon Lane.” Universal Pictures is set to release a full-length feature in early 2027.

Several previous “CoComelon” productions have successfully been unionized and covered by IATSE’s contract, including the Netflix series.

Chris Roberts worked as an art director on the first season, but says he was initially offered a lower rate for season two. Though the project is non-union, he said it’s ironic to have to picket a company that makes kids’ content, as he’s unable to support his own family.

“It’s a little disheartening to be offered less money than we were paid in the first season and then have less staff, a heavier workload, and not be able to provide for my kids,” said Roberts, who has been a member of IATSE since 2016.

England and Real Madrid footballer Jude Bellingham has bought a 1% stake in cricket team Birmingham Phoenix.

The deal for The Hundred franchise, set to be confirmed on Wednesday, is worth around £800,000.

The eight franchises were put up for sale last year and American investment group Knighthead Capital Management, who own Bellingham’s former club Birmingham City, bought a 49% stake for £48m. Warwickshire retained their 51% stake.

Bellingham is a cricket fan and played junior cricket for Hagley Cricket Club in Worcestershire.

Asked in an interview last year which sportsperson he would swap places with, he said England Test captain Ben Stokes.

Legendary NFL quarterback Brady is also part of the Knighthead group.

Los Angeles — Lisa Rinna said she would return to the “Real Housewives” franchise, but to get her husband Harry Hamlin on board, it would have to involve some big numbers.

“You guys are gonna laugh and think I’m ridiculous, but I was like, ‘I might do it for $5 million,’” Rinna explained. “He’s like, ‘No, 10. $10 million, you can go back.’”

The “Real Housewives of Beverly Hills” alum wasn’t afraid to throw shade on a sunny Saturday morning during her panel at The Times’ Festival of Books.

The “You Better Believe I’m Gonna Talk About It” author sat down with Times senior television writer Yvonne Villarreal to talk about Rinna’s journey from soap star to her rise on the “Real Housewives of Beverly Hills” and her recent “The Traitors” fame.

As a “Real Housewife,” Rinna was known for her snappy comebacks and for sharing her candid emotions. Her memoir explores Rinna’s experience during Season 12, which was filmed shortly after the death of her mother, Lois Rinna. Rinna explained that her grief manifested into feelings of “rage.”

“Rage was the first emotion that came. I didn’t expect that. You know, you think you’re going to be in shock, and then you think you’re going to be really sad? Well, I went immediately into rage, and that’s not really very cute,” Rinna said. “But I think my being in grief triggered the housewives, and it triggered the audience.”

After Rinna’s time on “RHOBH,” she joined the cast of Season 4 of “The Traitors.” The show — loosely based on the game Mafia — selects celebrities to be faithfuls and traitors, and the faithful must attempt to discover the traitors. Wearing outfits like her viral cheetah-print ensemble, Rinna skyrocketed to fan-favorite status during her tenure as a traitor.

“So when I decided to do ‘Traitors,’ I was like, ‘Self, listen. You’re gonna go in there and just be you. No Housewives s—, no, none of that reactionary stuff, no, you’re gonna just be you,’” Rinna said.

She also joked that being a traitor was the “highlight” of her year: “I could kill people, I could lie, I could deceive, I could backstab. Heaven.”

Rinna compared the objectives of “RHOBH” to “The Traitors” and the different strategies she had to employ on the franchises.

“‘Housewives’ is not a game. ‘Traitors’ is a game,” Rinna explained. “‘Housewives,’ you just tried to literally protect yourself from the drama and the toxicity. And it’s even though it’s a television show, it’s real. I mean, no one is writing a script for you. You’re dealing with interpersonal relationships and conflict.”