The Ryan Gosling-led “Project Hail Mary” rocketed to the top of the box office this weekend, marking a big win for Amazon MGM Studios.
The film — which stars Gosling as a science teacher who embarks on a space mission to save humanity — hauled in $80.5 million in the U.S. and Canada, making it the biggest domestic debut of the year so far. Globally, “Project Hail Mary” brought in $140.9 million.
The movie is an adaptation of a novel by Andy Weir, author of “The Martian” — another successful book-to-screen adventure. The big opening weekend for “Project Hail Mary” is a boost for Amazon MGM Studios, which had heavily promoted the film as an example of the big blockbusters it could produce.
“We believe deeply in the Hail Mary, and it’s clear audiences do as well,” Kevin Wilson, head of domestic theatrical distribution for Amazon MGM Studios, said in a statement. “What we’re seeing in theaters —the energy, the exit scores, the word of mouth — is everything we believed this film would deliver.”
Walt Disney Co. and Pixar’s “Hoppers” came in second at the box office this weekend with a domestic total of $18 million. The original animated film has now garnered $120.4 million in the U.S. and Canada since it debuted in theaters earlier this month.
Indian action film “Dhurandhar The Revenge” came in third with $10 million, followed by Disney-owned Searchlight Pictures’ horror film “Ready or Not 2: Here I Come” and Universal Pictures’ romance “Reminders of Him” rounding out the top five.
It has been nearly three years since Hollywood writers went on a historic strike that lasted 148 days and ushered in an extraordinary period of labor unrest that virtually shut down the film and TV business.
Now, writers are poised to commence another round of bargaining with the major studios on a new three-year film and TV contract. Few observers think the union is girding for another showdown, especially at a time when many of its members are struggling to find work amid media consolidation and belt-tightening.
But in advance of negotiations that begin on Monday , union leaders are eager to dispel any perception that they might have scaled back their demands.
“Our members have shown many times that they’re willing to fight for what we need as a collective group,” WGA West President Michele Mulroney said in an interview. “And there’s no exception here.”
With its current contract expiring on May 1, the WGA hopes to improve its members’ healthcare plans, increase streaming residuals and expand AI protections.
Michele Mulroney speaks as the Screen Actors Guild (SAG-AFTRA) and Writers Guild of America (WGA) join GLAAD in releasing the 11TH Annual GLAAD Studio Responsibility Index at The Village at Ed Gould Plaza Los Angeles LGBT Center in Los Angeles, California, on September 14, 2023.
(Michael Tran/AFP via Getty Images)
Ellen Stutzman, the union’s executive director, said despite popular belief, the studios have weathered the transition from cable television to streaming “very well,” citing their efforts to maximize revenue with streaming bundling, rising subscription fees and advertising revenue.
“Writers are watching as Netflix and Paramount are fighting it out to acquire Warner Bros… Paramount is spending $81 billion,” said Stutzman. “There’s money for a fair deal for writers.”
The union leaders agree that this year’s negotiations are all focused on the sustainability of a writer’s career.
A spokesperson from the Alliance of Motion Picture and Television Producers, which represents the major studios in negotiations, said in a statement that they look forward “to engaging in a constructive and collaborative bargaining process with the WGA. Through continued good-faith dialogue, we are confident we can reach balanced solutions that support talented writers while sustaining the long-term success and stability of our industry and its workforce.”
A top priority for the WGA is to increase the caps that companies contribute to the union’s healthcare plan. Union officials say the current cap has remain unchanged for two decades as healthcare contributions have steadily declined due to fewer writers working.
“AI is using [studios’] IP, which is stuff that we wrote to license these models,” said John August, the co-host of the “Scriptnotes” podcast and WGA’s negotiating committee co-chair. “With the Sora deal, it seems clear that the companies intend to monetize this IP for use with AI.”
August says the union will be skeptical toward arguments that it’s still too early to seek more safeguards around such a nascent industry, citing the union’s past history with the rise of DVDs and the internet and how profoundly those technologies changed the compensation for writers.
“If you’re taking the work that we created to generate AI outputs, we are owed money. They’re using our work to do something down the road,” added August.
WGA’s negotiating committee also is looking to boost streaming residuals, expand the minimum number of people allowed in a writers’ room and add protections for scribes working on pilots.
“We very much hope that lessons were learned in 2023 and that the AMPTP will come to the table ready to take our proposal seriously and to make a fair deal, and to do that quickly,” Mulroney said. “It provides stability for the companies and for our membership. It’s better for everybody.”
WGA is entering contract negotiations nearly a month after the actors’ union, SAG-AFTRA, began its bargaining sessions. Last week, the AMPTP said it was extending negotiations another seven days.
Universal Studios Hollywood has begun peeling back the curtain — or opening the garage? — on its new “Fast & Furious”-inspired coaster coming to the park this summer.
The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-Y, Nissan Skyline GT-R and Toyota Supra, all complete with pull-down lap-bars and working taillights — were unveiled at a media event Wednesday.
But perhaps the most exciting news out of the event is just how meaty of a coaster Fast & Furious: Hollywood Drift looks to be.
Fast & Furious: Hollywood Drift will launch this summer at Universal Studios Hollywood and boast ride vehicles that are miniatures of actual cars. The show building is themed like a warehouse with a vibrant, spray-painted mural.
(Todd Martens / Los Angeles Times)
The attraction, the second outdoor coaster at the park after the more kid-focused “Harry Potter” ride Flight of the Hippogriff, was timed at running about two minutes around the track, which goes over and under the park’s famed hillside escalators. Hollywood Drift will reach a top speed of 72 mph.
While a representative for the company said the coaster is intended to reach that 72-mph milestone at various points on the ride, it’s worth noting that it’s still in testing mode and the final speeds and run-time may change. Still, the fact that Universal has been able to pack such a mighty experience into a tight piece of real estate should be positive news for coaster enthusiasts.
By comparison, the family coaster Flight of the Hippogriff is only about a minute, whereas Disney California Adventure’s Incredicoaster comes in at more than 2 and a half minutes. It’s not uncommon for modern coasters today, due to their increasing emphasis on speed and thrills, to last only about a minute.
A look at the ride vehicles and inside mural in the passenger load area of Fast & Furious: Hollywood Drift.
(Todd Martens / Los Angeles Times)
Though packing storytelling into a fast-moving outdoor ride is always a theme park challenge, Universal is doing what it can to make guests feel as if they’re sitting in actual tiny, authentic cars. Check, for instance, the brightly orange Supra, or the black, vintage-style Charger. Each car will be equipped with onboard audio and has unique details, right down to the different placement of the odometers on the dashboard.
One question: Do those odometers actually work and measure speed? A Universal rep declined to answer, but no matter, as most guest will likely be focused on the scenery outside the vehicle, such as the next-door golf course or bird’s-eye views of the park.
An artist rendering of Universal Studios Hollywood’s Fast & Furious: Hollywood Drift, the park’s first high-speed outdoor coaster.
(Universal Studios Hollywood)
The coasters will board two at a time inside the red brick, warehouse-themed show building, which features spray-painted murals from artist Tristan Eaton. Each coaster train holds four cars. There will be a single rider line for solo guests, and the coaster will boast 360-degree rotation, which is meant to create the sensation of a car drifting. The track is 4,100 feet and will take guests on a hillside journey between the park’s upper and lower lots.
The “Fast & Furious” saga spans 11 films, and will soon be recognized with an exhibit at the Petersen Automotive Museum. “A Fast & Furious Legacy: 25 Years of Automotive Icons” opens March 14 and will feature various movie-used vehicles and stunt cars. Among the cars on display will be an early ‘90s Supra driven by Paul Walker’s character Brian O’Conner, one of the vehicles Universal mimicked for the roller coaster.
