Hollywood
Disney’s ‘Star Wars: The Force Awakens’ crosses $2 billion global box office mark
MUMBAI: Star Wars: The Force Awakens has crossed the $2 billion mark worldwide on 6 February, which was its 53rd day of release, thus becoming only the third film ever to do so and just the second to do it in original release.
Additionally, the movie also crossed the $900 million mark at the North American box office and is the only film in history to reach this milestone.
“This is a historic moment for Star Wars, for Lucasfilm, and for Disney, and all of us here are extremely gratified to be a part of this journey with fans around the world who have made Star Wars: The Force Awakens such an extraordinary success. The film’s achievements are truly astounding, and it’s our great honor to relaunch this cinematic galaxy not only for all the devoted decades-long fans but for a new generation who will keep the Star Wars legacy alive for many years to come,” said The Walt Disney Studios chairman Alan Horn.
Through 4 February, Star Wars: The Force Awakens earned an estimated $899.1 million in North America and $1,095.6 million internationally for a global total of $1,994.7 million. Opening internationally 16 December and in the US on 18 December, Star Wars: The Force Awakens posted the all-time biggest global and domestic debuts with $528.9 million and $247.9 million respectively.
Over the course of its eight-week run, it has set numerous other records, including:
– Biggest domestic preview gross ($57 million)
– Biggest opening day domestically ($119.1 million)
– Biggest domestic second weekend ($149.2 million)
– Biggest domestic third weekend ($90.2 million)
– Biggest opening week domestically ($390.8 million)
– Biggest opening weekend in 18 territories: UK (4-day), Australia, Russia, Germany, Sweden, Norway, Finland, Austria, Poland (3-day), Denmark (5-day), Romania, Hungary, Bulgaria, Croatia, Ukraine, Iceland, Serbia, New Zealand
– Fastest film to $1 billion globally (12 days)
– Biggest film of all time in the US and the UK
Directed by J.J. Abrams, written by Lawrence Kasdan & Abrams and Michael Arndt, and produced by Kathleen Kennedy, Abrams and Bryan Burk, Star Wars: The Force Awakens was named one of AFI’s top ten films of 2015 and has received five Academy Award nominations, for film editing, visual effects, sound editing, sound mixing, and for series composer John Williams’ original score.
The Star Wars Saga continues 15 December, 2017, in Star Wars: Episode VIII, picking up in the wake of Star Wars: The Force Awakens. Later this year, Rogue One, a new adventure detailing events prior to Star Wars: A New Hope, will take flight on 16 December, 2016.
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.
