Hollywood
‘Star Wars: The Force Awakens’ pips ‘Avatar’ to become highest grossing film in N. America
MUMBAI: With early box office results in mid-wee, Star Wars: The Force Awakens became the highest grossing film of all time in the North American market, surpassing the $760.5 million lifetime gross ofAvatar in a record-shattering 20 days of release. In addition, the film crossed the $800 million mark at the international box office on 6 January.
Through 5 January, the film had grossed $758.2 million in North America and $799.1 million for a global total of $1,557.3 million since its 16 December global debut.
Star Wars: The Force Awakens debuted in the US and Canada on 18 December, its first two weeks pushing the North American annual industry box office to an all-time high of $11 billion.
The movie has set numerous individual records including:
· Fastest film to reach $100 million (21 hours), $200 million (3 days), $300 million (5 days), $400 million (8 days), $500 million (10 days), $600 million (12 days), and $700 million (16 days)
· Biggest all-time debut and biggest December debut ($247.966 million), propelling the industry to the biggest overall moviegoing weekend of all time ($313.3 million for all films, 18 – 20 December)
· Biggest second weekend of all time ($149.2 million), propelling the industry to the biggest overall Christmas weekend of all time ($296.4 million for all films, 25 – 27 December)
· Biggest third weekend of all time ($90.2 million)
· Biggest Thursday preview gross ($57 million)
· Biggest Friday, opening, and single day ($119.1 million)
· Biggest Sunday ($60.55 million), Monday ($40.1 million), and Tuesday ($37.3 million)
· Biggest Christmas Day ($49.3 million) and New Year’s Day ($34.39 million)
· Highest per-theater average for a wide debut ($59,982)
· Biggest opening week ($390.85 million)
· Biggest IMAX debut ($30.1 million)
Globally, the film posted the highest global opening weekend of all time of $528.967 million and surpassed $1 billion in a record 12 days. It also had the biggest global IMAX debut ($48 million) and surpassed $152 million in IMAX in a record 19 days. It was the highest international debut in December history with $281 million, and it remains #1 in many territories after posting the biggest opening weekend in at least 18 major markets.
Star Wars: The Force Awakens now heads into its fourth weekend of global release ahead of a debut in its final international market, China, on 9 January.
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.
