Hollywood
The Wolverine had plenty of bark at the box office, and just enough bite
MUMBAI: The sixth installment of the X-Men franchise clawed its way to $55 million this weekend, according to studio estimates from box-office trackers Hollywood.com.
While the debut was plenty to win the weekend – there were no other major newcomers as studios cleared a path for the comic-book adaptation – the opening fell short of analysts’ projections, which called for a bow of at least $65 million.
Still, it snapped the string of high-priced live-action films that couldn’t claim the weekend crown. Last week, the $20 million horror flick The Conjuring opened to $42 million, crushing the $130 million supernatural film R.I.P.D., which debuted to a dismal $13 million. Similarly, Pacific Rim ($37 million), The Lone Ranger ($29 million) and White House Down ($25 million) opened well below projections, falling to cheaper movies and animated films.
While Wolverine’s opening was solid for a sixth franchise installment, analysts wondered whether moviegoers are suffering mutant fatigue. The previous Wolverine film, 2009’s X-Men Origins: Wolverine, debuted to $85 million.
But the new film resonated with viewers, which could help its run through a typically arid August at theaters. About 68 per cent of critics gave Wolverine a thumbs-up, and the movie scored an A-minus from moviegoers, says grading site CinemaScore.
Among the holdovers, Conjuring took second with $22.1 million, followed by the animated comedy Despicable Me 2 with $16 million.
The animated Turbo was fourth with $13.3 million, while Adam Sandler’s comedy Grown Ups 2 rounded out the top five with $11.5 million.
Hollywood
Disney unifies streaming, film, TV and games under Dana Walden
Debra O’Connell to chair Disney Entertainment Television in new setup
LOS ANGELES: The Walt Disney Company is pressing play on a more tightly woven future. As audiences hop between cinema screens, streaming apps and game worlds, the media giant is stitching its storytelling arms into one coordinated machine under Dana Walden.
Set to take charge as president and chief creative officer on March 18, Walden will oversee a newly unified Disney Entertainment structure that brings together streaming, film, television and the company’s fast-expanding games and digital business. She will report directly to incoming chief executive officer Josh D’Amaro.
The thinking is simple. Whether viewers are watching on Disney+, heading to the cinema or diving into a game, Disney wants the experience to feel like chapters of the same story. Walden summed it up as strengthening the emotional thread between Disney’s characters and its audiences, wherever they choose to engage.
The leadership reshuffle reads like a carefully cast ensemble. Alan Bergman continues as chairman of Disney Entertainment, studios, steering film production, marketing and distribution while sharing oversight of direct to consumer.
Streaming gets a dual command. Joe Earley and Adam Smith step in as co-presidents of direct to consumer, jointly handling strategy and financial performance across Disney+ and Hulu. Earley will also guide content strategy, while Smith retains his role as chief product and technology officer across Disney Entertainment and ESPN.
A new chair enters the frame with Debra O’Connell taking on the role of chairman, Disney Entertainment Television. She will oversee an expansive slate that includes ABC Entertainment, National Geographic and Hulu Originals, while continuing to supervise ABC News and owned stations.
Gaming, once a side quest, is now a central storyline. Sean Shoptaw, executive vice president, games and digital entertainment, moves into the Disney Entertainment fold. His remit includes partnerships such as the collaboration with Epic Games, aimed at building a Disney universe linked to Fortnite.
Elsewhere, John Landgraf remains chairman of FX, reporting to Walden, while Asad Ayaz continues as chief marketing and brand officer, reporting to both D’Amaro and Walden.
The message behind the reshuffle is clear. Disney is no longer thinking in silos of screens but in stories that travel. And with Walden at the creative helm, the company is betting that a single, seamless narrative can keep audiences hooked, whether they are watching, scrolling or playing.
