Hollywood
‘Star Wars: The Force Awakens’ takes biggest ever opening weekend
MUMBAI: The opening weekend for Star Wars: The Force Awakens is officially the biggest in North American box office history, ahead of its India release on 25 December.
The movie’s first weekend in theaters, the seventh film of the franchise brought in $238 million. The previous record-holder was Jurassic World, which made $208.8 million during its debut weekend over the summer.
Globally, Star Wars brought in $517 million, coming in just under the $525 million that Jurassic World made. However, the latter had the advantage of opening in China as well; The Force Awakens doesn’t come out there until 9 January, 2016.
Star Wars: The Force Awakens posted the highest Thursday preview gross ($57 million), the highest single-day and Friday gross ($120.5 million), and it is the first film to surpass $100 million in a single day. It also posted the highest theater average for a wide release with $57,568.
Marking the biggest opening weekend ever in numerous key territories, including the UK, Germany, Australia, and Russia, Star Wars: The Force Awakens posted an estimated international opening weekend of $279 million (third highest reported opening weekend in industry history, behindJurassic World at $316 million including around $97 million China and Harry Potter and the Deathly Hallows Pt 2 at $314 million) and topping the previous December record held by Avatar ($164.5 million).
Star Wars: The Force Awakens storm-trooped its way across the global landscape (except for China) this weekend to post an amazing estimated $517 million global gross.
Star Wars: The Force Awakens also generated a record-breaking estimated $48 million from Imax screens globally, beating the previous Jurassic World record of $44 (which included China).
Star Wars: The Force Awakens was on over 30,000 screens internationally this weekend. It opened at #1 in all markets throughout the world with the exception of Korea and Vietnam, where it was the #1 western films.
In the Asia-Pacific, the movie raked in $75.7 million, whereas in Latin America, it totted $36.0 million.
Star Wars: The Force Awakens is directed by JJ Abrams and stars Harrison Ford, Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Peter Mayhew, and Max von Sydow.
The movie opens in India on 25 December in English, Hindi, Tamil and Telugu.
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.
