Hollywood
‘American Sniper’ hits $200 million at US box office
MUMBAI: Warner Bros. Pictures’ and Village Roadshow Pictures’ Oscar-nominated movie American Sniper has surpassed $200 million at the North American box office on only its tenth day in wide release.
Following its record-breaking first weekend in wide release, the Clint Eastwood-directed film has continued to fill conventional and IMAX theatres nationwide. American Sniper took in an estimated $64.4 million this past weekend, representing the smallest percentage drop ever for a film that opened at more than $85 million, including both three and four-day weekends, and bringing the domestic gross to $200.1 million and climbing. The movie is now, domestically, the highest-grossing film in Eastwood’s long career, and it is on track to become his top-grossing film worldwide.
Warner Bros. Pictures president of domestic distribution Dan Fellman said, “The filmmakers, led by Clint Eastwood, and cast, led by Bradley Cooper and Sienna Miller, have created a gripping drama with a rare insight into the toll of war that has resonated with audiences in almost every demographic. We congratulate them not only on the film’s box office success but on generating one of the most talked about films of this or any year.”
Eastwood directed American Sniper from a screenplay written by Jason Hall, based on the book by Chris Kyle, with Jim DeFelice and Scott McEwen. Bradley Cooper and Sienna Miller star in the film, produced by Eastwood, Robert Lorenz, Andrew Lazar, Cooper and Peter Morgan. Tim Moore, Jason Hall, Sheroum Kim, Steven Mnuchin and Bruce Berman served as executive producers.
The movie has earned six Academy Award nominations, including Best Picture, Best Actor (Cooper), and Best Adapted Screenplay (Jason Hall). In addition, Eastwood was honoured by his peers with his fourth Directors Guild of America Award nomination and also won the National Board of Review Award for Best Director. The film’s other honours include a Producers Guild of America Award nomination, a Writers Guild of America Award nomination, and a BAFTA Award nomination for Best Adapted Screenplay.
Hollywood
Disney to cut 1,000 jobs in major restructuring drive
Layoffs span ESPN, studios and tech as company pivots to growth
MUMBAI: The magic isn’t disappearing but it is being reorganised. The Walt Disney Company has announced plans to cut around 1,000 jobs as part of a sweeping restructuring effort aimed at sharpening its edge in an increasingly unpredictable entertainment landscape. The move, led by CEO Josh D’Amaro, reflects a broader internal reset as the company rethinks how it operates, allocates resources and competes in a fast-evolving industry. In a memo to employees, D’Amaro acknowledged the difficulty of the decision but framed it as a necessary step to ensure Disney remains “efficient, innovative, and responsive” to rapid shifts in consumer behaviour and technology.
The layoffs will span multiple divisions, including marketing, film and television studios, ESPN, technology teams and corporate functions. Notifications have already begun, signalling that the restructuring is not a distant plan but an active transition underway.
Importantly, the company has clarified that the cuts are not performance-driven. Instead, they form part of a wider transformation strategy aimed at building a leaner, more agile organisation, one better equipped to respond to streaming dynamics, digital disruption and evolving audience expectations.
The timing is telling. The global entertainment industry is in the middle of a structural shift, with traditional television revenues under pressure and box office returns becoming increasingly volatile. Meanwhile, streaming platforms and digital-first competitors continue to redraw the rules of engagement, forcing legacy players to rethink scale, speed and storytelling formats.
For Disney, long synonymous with blockbuster franchises and timeless storytelling, the pivot is both strategic and symbolic. The company is doubling down on technology, direct-to-consumer services and content ecosystems that align with modern viewing habits, where audiences expect immediacy, personalisation and cross-platform experiences.
Even as the restructuring unfolds, D’Amaro struck a note of optimism, reiterating Disney’s commitment to creativity and long-term growth. Support measures for affected employees are expected as part of the transition, though details remain limited.
In essence, this is less about cutting back and more about reshaping forward. As Disney redraws its organisational map, the message is clear, in today’s entertainment world, even the most magical kingdoms must evolve or risk being left behind.
