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universe

Steven Spielberg Once Again Asks The Question, Are We Really Alone In This Universe?

Steven Spielberg has been creating a multitude of cinematic worlds for over 50 years now. As a director, Spielberg has a way of inviting the audience to go on wild adventures while being introspective about the world around them and their own lives.

cinema

‘Project Hail Mary’ Strengthens Its Lead as 2026’s Biggest Hit

Despite a crowded theatrical landscape, “Project Hail Mary” continues to dominate the box office, holding firm in its second weekend and reinforcing its status as the year’s biggest hit so far.

The sci-fi adventure, directed by Phil Lord and Chris Miller and starring Ryan Gosling, brought in $54.5 million over the weekend, according to studio estimates released Sunday. The 32% drop from its opening weekend ranks among the best second-weekend performances in recent years for a film of its size, outperforming titles like “Oppenheimer” and “Dune: Part Two” in terms of retention.

Based on the novel by Andy Weir, the story follows a high school science teacher who awakens alone aboard a spacecraft with no memory of his mission. As he pieces things together, he discovers he’s been sent to save the sun from dimming—a crisis that threatens Earth with an ice age. Along the way, he encounters an alien life form nicknamed “Rocky,” and the two form an unlikely partnership to solve the problem.

With its breakout success, conversations about a sequel are already circulating. While Weir has expressed interest in continuing the story, there have been no formal discussions with Amazon MGM yet. Still, industry insiders suggest a follow-up remains a strong possibility.

Project Hail Mary has already earned $300.8 million worldwide in just two weeks, putting it on a trajectory that industry analysts are watching closely. Initially exceeding expectations with a $80.6 million domestic debut, the movie posted the second-largest opening in a decade for a non-franchise title, just behind Oppenheimer. It also represents the biggest domestic opening of Gosling’s career as a leading man and a new high for directors Phil Lord and Christopher Miller.

The film has now become the highest-grossing Hollywood release of 2026 to date, as well as Amazon MGM Studios’ biggest title ever (unadjusted for inflation).

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Overseas performance has been equally impressive. The film opened last weekend with $60.4 million across 80 markets and has since added another $54.1 million from 86 territories—a remarkably small 5 percent decline. This is especially notable given that sci-fi titles often struggle in certain international markets.

Much of the film’s success is attributed to strong word of mouth, driven by its mix of humor, emotional depth, and broad audience appeal.

Produced on a budget nearing $200 million, “Project Hail Mary” has benefited from minimal competition and near-exclusive access to premium large-format screens. While one of the weekend’s most anticipated titles, the K-pop documentary “BTS: The Return,” drew attention, its Netflix release meant it posed little threat to theatrical ticket sales.

Meanwhile, the box office tells a different story for horror movies, a genre that may be reaching its breaking point.

The weekend’s top new theatrical release, “They Will Kill You,” opened to just $5 million for Warner Bros. The R-rated film, starring Zazie Beetz, follows a woman who takes a job as a maid at an apartment complex, only to discover she’s being groomed as a sacrificial offering.

Though its $20 million budget cushions the disappointment somewhat, the film’s muted debut underscores a larger trend. According to David A. Gross, who runs the consulting firm FranchiseRe, theaters have seen a new horror release every weekend for the past 14 weeks.

“That included last week’s ‘Ready or Not 2: Here I Come’ ($16.3 million domestically so far) and a second horror-comedy that also debuted this weekend.”

One such release, IFC’s “Forbidden Fruits,” about a coven of witches working at a Texas mall, managed just $1.2 million in ticket sales.

Even so, Gross believes the genre remains financially significant, forecasting that horror films will bring in roughly $2.1 billion in North American ticket sales in 2026. That figure, however, would represent a drop from last year’s $2.75 billion, suggesting that audience appetite may be cooling after a period of oversupply.

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While horror shows signs of fatigue, family films continue to perform steadily.

The Pixar original “Hoppers” held onto second place, earning $12.2 million in its fourth weekend. Distributed by The Walt Disney Company, the film has now reached $297.6 million globally.

That momentum may soon face a major test. Next weekend, Universal Pictures is set to release “The Super Mario Galaxy Movie,” which is widely expected to deliver the biggest opening weekend of the year.

The top 10 films at the domestic box office this weekend were led by “Project Hail Mary,” which brought in $54.5 million, followed by “Hoppers” with $12.2 million. The weekend’s highest debut, “They Will Kill You,” opened in third place with $5 million, just ahead of “Dhurandhar The Revenge,” which earned $4.8 million, and “Reminders of Him,” close behind at $4.7 million. “Ready or Not 2: Here I Come” added another $4 million, while “Scream 7” took in $2.6 million. Rounding out the list, “GOAT” earned $2.2 million, “Undertone” followed with $1.7 million, and “Forbidden Fruits” closed out the top 10 with $1.2 million.

Project Hail Mary’s performance arrives at a pivotal moment for Hollywood. Amazon MGM is expanding its international distribution capabilities, positioning itself as a major studio once again, decades after MGM lost that status. At the same time, David Ellison’s Skydance Media is in the process of acquiring Paramount Global and potentially adding Warner Bros. Discovery to its portfolio.

Ellison has indicated the studios would remain separate, though the structure of such a large-scale merger remains uncertain and would likely face scrutiny from regulators. The deal has drawn attention in Washington, particularly given Ellison’s connections and broader industry implications.

police

Rob Reiner and Michele Singer Reiner Deaths Become Political Flashpoint After Son’s Arrest

Authorities in Los Angeles are investigating the deaths of filmmaker Rob Reiner, best known for directing The Princess Bride, and his wife, Michele Singer Reiner, who were found dead in their home on Sunday. Police have described the case as an “apparent homicide,” though officials have not released details about the circumstances surrounding their deaths.

Crime scene tape has since been removed from the residential street, and the investigation has shifted into a more prolonged phase, with law enforcement continuing to withhold specifics.

Outside the Reiner residence on Monday, the scene had become chaotic, with members of the media gathered along the street and several online streamers drawing attention. Two Twitch streamers disrupted the area—one wearing a Burger King crown and shouting “no one watches TV!”, while another sat in a black Tesla blasting music, BBC reported.

The deaths quickly became entangled in the nation’s already charged political climate, following comments made by former President Donald Trump that appeared to link Reiner’s political views to his death. Trump suggested on Monday that Reiner’s outspoken criticism of him amounted to an “obsession” that may have played a role.

“He was known to have driven people CRAZY by his raging obsession of President Donald J. Trump, with his obvious paranoia reaching new heights as the Trump Administration surpassed all goals and expectations of greatness, and with the Golden Age of America upon us, perhaps like never before. May Rob and Michele rest in peace!”

Trump later expanded on his remarks in a Truth Social post, claiming, without providing evidence, that Reiner and his wife had reportedly “died due to the anger he caused others through his massive, unyielding, and incurable affliction” with what Trump referred to as “Trump Derangement Syndrome.” It remains unclear which reports the president was referring to, and police have not supported any such claims.

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Reiner, a longtime Hollywood figure and prominent supporter of progressive political causes, had been one of Trump’s most vocal critics for years. In a 2017 interview, Reiner described Trump as “mentally unfit” to serve as president. The following year, he escalated his criticism, accusing Trump of “treason.” More recently, during an October interview with MSNBC (now MS NOW), Reiner characterized the political environment under the Trump administration as “beyond McCarthy era-esque.”

The term “Trump Derangement Syndrome” is primarily used by Trump supporters to describe individuals they believe harbor irrational or extreme hostility toward the former president. Trump and his allies have frequently used the label to dismiss critics on the political left.

That phrase has moved beyond casual political insult and into legislative debate. In March, Rep. Warren Davidson (R-Ohio) introduced the Trump Derangement Syndrome Research Act of 2025. The proposed legislation would direct the National Institutes of Health to study what it describes as the “psychological and social roots” of TDS. Just days after Davidson introduced the bill, Minnesota state Senate Republicans sought to formally add the term to a list of definitions related to mental health care within the state.

Meanwhile, new developments in the investigation emerged Monday involving the Reiners’ family. Nick Reiner, the couple’s 32-year-old son, was arrested on Sunday evening and booked into custody in the early hours of Monday, according to the Los Angeles County Sheriff’s Department Inmate Information Center. Records show he is being held on $4 million bail in connection with a felony-level charge.

The agency involved is listed as LAPD-gang activity, and his location is recorded as an LAPD jail division. Authorities have not publicly detailed the nature of the charges or said whether the arrest is directly related to his parents’ deaths.

Nick Reiner is the middle child of Rob Reiner and Michele Singer Reiner, who shared three children together. He has worked as a screenwriter and co-wrote the 2016 film “Being Charlie,” which his father directed. The film, centered on a drug-addicted teenager, was loosely based on Nick Reiner’s own struggles with addiction, which he discussed publicly at the time of the film’s release.

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Trump’s statement about Reiner stands in stark contrast to the responses from Democratic leaders, Hollywood figures, and political allies, many of whom focused on Reiner’s legacy and artistic contributions rather than partisan conflict. Former President Barack Obama was among those who expressed grief, issuing a statement that conveyed “heartbreak” over the loss of a man Democrats described as someone who “fought for America’s democracy.”

“Michelle and I are heartbroken by the tragic passing of Rob Reiner and his beloved wife, Michele. Rob’s achievements in film and television gave us some of our most cherished stories on screen. But beneath all of the stories he produced was a deep belief in the goodness of people—and a lifelong commitment to putting that belief into action. Together, he and his wife lived lives defined by purpose. They will be remembered for the values they championed and the countless people they inspired. We send our deepest condolences to all who loved them.”

Tributes also poured in from across the entertainment industry. Actor and comedian Eric Idle said he had spoken with Reiner for over an hour the night before his death, describing him as “a clever, talented and very thoughtful man.” Kathy Bates, who starred in Reiner’s 1990 film “Misery,” said he had “changed the course of my life,” while fellow actors John Cusack, Elijah Wood, James Woods, and Ben Stiller described the deaths as devastating and called Reiner’s body of work formative for generations of filmmakers and audiences.

As investigators continue their work, law enforcement officials have emphasized that the case remains active and unresolved. Police have cautioned against speculation as the inquiry proceeds.

streaming

Scream, Stream, Repeat: The Cult of Shudder and the Horror Renaissance

In a sea of streaming services that all seem to look the same — massive libraries, algorithm-driven “you may also like” carousels, and endless “content drops,” one platform is quietly carving out its own lane. Shudder is a curated gateway into a world of horror, suspense, and the beautifully strange. If you’ve ever thought that streaming has become bland or that the thrill of discovery is gone, meet the underdog doing things differently.

court

Justin Baldoni’s Legal Team Alleges Blake Lively Tried to Pressure Taylor Swift into Publicly Supporting Her

A new legal filing has thrust Taylor Swift into the growing storm surrounding “It Ends With Us,” with actor and director Justin Baldoni’s lawyers alleging that Blake Lively attempted to pressure her longtime best friend into publicly supporting her amid an ongoing legal fight.

netflix

Netflix to Overhaul User Experience With TikTok-Style Feed and AI Search

Netflix announced Tuesday that it will soon test a new, vertically-scrolling feed that is specifically catered to the watching patterns of its users, embracing the trend made popular by social media platforms like TikTok. According to the streaming giant, customers will be able to access this feature alongside a revamped new home page in the coming weeks or months, depending on the viewer’s location.

The new feature will utilize short-form video clips from Netflix’s extensive catalog of movies and shows, personalized based on viewing history. Users can interact with these snippets by swiping through them to watch, save favorites, or share them directly with friends, mirroring the intuitive user experience that has made apps like TikTok immensely popular.

Netflix Chief Product Officer Eunice Kim explained the reasoning behind the platform’s new direction during a virtual event.

“We know that swiping through a vertical feed on social media apps is an easy way to browse video content, and we also know that our members love to browse our clips and trailers to find their next obsession, so in the coming weeks, we’ll be testing a vertical feed filled with clips of Netflix shows and movies to make discovery easy and fun.”

This test won’t be universally available immediately. Netflix clarified to Fast Company that the trial phase will initially reach only select mobile users. Those chosen will encounter a customized stream labeled as “top picks for you.”

Netflix previously experimented with vertical video in 2021 via two niche apps: Fast Laughs, which showcased comedy segments, and Kids Clips, designed for younger audiences.

The current initiative, however, broadens this strategy to encompass Netflix’s entire library, significantly enhancing content discovery. “This is not the first change we’ve made to our home page,” said Kim in a briefing with reporters.

“We’ve been constantly improving it over the last 12 years, mostly behind the scenes, but now, thanks to a combination of new technology and the expansion of our entertainment offerings, we think it’s time to take a giant leap forward.”

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Steve Johnson, Netflix’s head of design, previously expressed concerns regarding two key issues: content discovery and competition from mobile-focused, short-form video platforms that capture substantial viewing hours. By adopting a familiar vertical swipe experience, Netflix aims to enhance content visibility and retain users within its ecosystem longer.

The broader move reflects a significant industry shift, with vertical video formats originally popularized by TikTok now permeating various apps. Social media platforms such as Instagram and YouTube have adapted short-form interfaces, while streaming services like Tubi have launched similar discovery tools. Even Uber Eats has launched a new short-form video feed aimed at highlighting dishes from leading merchants.

Netflix’s strategy cleverly leverages viewer habits and the viral potential of bite-sized, shareable clips. By curating and controlling snippets from its own content, Netflix can ensure quality representation across platforms, simultaneously fostering organic, user-generated marketing.

If Netflix’s pilot proves successful, other streaming platforms may follow suit, exploring ways to adapt their content libraries to this increasingly influential viewing format.

The vertical feed experiment is just part of several new design features Netflix revealed, which include a revamped “My Netflix” section where users can manage their personalized lists, receive reminders for upcoming episode releases, and access their continue-watching lists.

Additionally, the streaming giant’s homepage is being updated to quickly display highlights like “New Episode,” “Oscar Winner,” or “Recently Added,” each marked by recognizable emoji icons.

“Our current TV experience was built for streaming shows and movies. This one is designed to give us a more flexible canvas now and in the future. We are always going to keep sight of what we think is the best experience for our members, particularly driving discovery and engagement with all of the movies, shows, live events and games that they love. And we believe that the improvements to the member experience will ultimately drive lots of great outcomes for us as well.”

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The company is also adapting its recommendation engine to be “more responsive to your moods and interests in the moment.”

Elizabeth Stone, Netflix’s chief technology officer, announced the platform’s collaboration with OpenAI to develop a generative AI search tool. This innovative feature will enable users to request tailored recommendations from Netflix using conversational language.

“This company has always had a unique ability to marry incredible technology with incredible entertainment. That’s our superpower,” Stone stated. “Everything starts with great shows and movies that people love. But if you think about all of the areas where Netflix has a big advantage, our reach, our recommendations, our fandom, technology enables all those things. That technology includes AI.”

“We want you to be able to discover shows in movies using natural conversational phrases, like, ‘I want something funny and upbeat,’ or ‘I want something scary, but not too scary, and also maybe a little bit funny, but not like, ha ha funny.’ Believe it or not, that search phrase will actually yield results in the new experience.”

Netflix also indicated interest in integrating video podcasts into its offerings.

The announcement of these upcoming features arrives three weeks after Netflix disclosed record profits in its most recent quarterly report, alleviating concerns among investors amid the economic turmoil triggered by President Trump’s tariffs.

It also comes just over a week before the company’s May 14 upfront, when it will present its lineup of content and products to potential advertisers. Even while Kim pointed out that “This was not timed to influence the upfronts,” the redesign and Netflix’s recent success are sure to generate interest despite advertisers seeming hesitant in the face of economic challenges.

disney

Disney Scales Back ‘Snow White’ Premiere Amid Mounting Controversies

Disney’s anticipated live-action adaptation of “Snow White,” directed by Marc Webb, is facing turbulence ahead of its theatrical debut on March 21, prompting a notable downsizing of its Hollywood premiere on March 15.

Instead of Disney’s signature red carpet extravaganza featuring extensive media presence, the event at Hollywood’s historic El Capitan Theatre will be significantly more reserved. Coverage is restricted to photographers and a limited in-house team, foregoing the usual bustling lineup of media interviews and interactions.

While Disney has remained silent about the reasoning behind this scaled-back premiere, the timing aligns closely with multiple controversies surrounding the film and its leading actresses.

Initial backlash surfaced when Rachel Zegler, cast as the iconic Snow White, faced criticism partly due to her Latina heritage, sparking divisive conversations among Disney enthusiasts online.

Zegler, widely acclaimed for her breakout role in “West Side Story,” further fueled the controversy by labeling the original 1937 animated classic “dated” and critiquing the prince’s pursuit of Snow White as “stalking.” In an interview with Variety two years ago, Zegler highlighted her portrayal as one of independence and strength.

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“She’s not going to be saved by the prince. She’s not going to be dreaming about true love. She’s dreaming about becoming the leader she knows she can be.”

Adding another layer of complexity, on an episode of the “WTF With Mark Maron” podcast, actor Peter Dinklage publicly voiced concerns over the portrayal of the seven dwarfs, arguing it reinforced harmful stereotypes about little people.

“Literally no offense to anyone, but I was a little taken aback when they were very proud to cast a Latina actress as Snow White — but you’re still telling the story of ‘Snow White and the Seven Dwarfs.’ Take a step back and look at what you’re doing there. It makes no sense to me. You’re progressive in one way, but then you’re still making that f—— backward story about seven dwarfs living in a cave together? What the f— are you doing, man? Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.”

In a statement to “Good Morning America,” Disney responded to the criticism by promising a reimagined and respectful portrayal of these beloved characters.

“To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period.”

In an interview in the March issue of Vogue Mexico, Zegler remarked that the backlash against the film is due to viewers’ “passion” for the original movie.

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“I interpret people’s sentiments towards this film as passion. What an honor to be a part of something that people feel so passionately about. We’re not always going to agree with everyone who surrounds us, and all we can do is our best.”

The situation grew more complex with divergent political stances from the film’s stars. Rachel Zegler has publicly supported Palestinian rights through social media. In contrast, her co-star Gal Gadot, an Israeli actress, has become increasingly vocal about her support for Israel. Gadot notably addressed these issues passionately during her speech at the Anti-Defamation League’s annual summit in early March, emphasizing her concern about rising anti-Semitic sentiments.

Zegler also experienced backlash from supporters of President Donald Trump after her strongly-worded response to his re-election. In an Instagram post, she wrote, “May Trump supporters and Trump voters and Trump himself never know peace,” before apologizing two days later.

Despite these tensions, Disney continues with strategic promotional activities, showcasing Gadot and Zegler together at prominent events like the Oscars and planning international appearances. Audience anticipation remains strong, with the film’s official trailer amassing nearly 12 million views on YouTube, underscoring ongoing interest despite the surrounding controversies.

media

Millie Bobby Brown Criticizes Media’s Obsession with Her Appearance: “It’s Disturbing”

Millie Bobby Brown, known for her role as “Eleven” in “Stranger Things,” posted a three-minute video on her Instagram page Monday to speak out against recent media coverage scrutinizing her physical appearance.

“This isn’t journalism, this is bullying,” the actress, who celebrated her 21st birthday last month, said as she read out the headlines of offending news stories and the reporters who wrote them.

Among them was an article by Lydia Hawken, titled “Why are Gen Zers like Millie Bobby Brown aging so badly?” and a piece by John Ely questioning, “What has Millie Bobby Brown done to her face?” Another headline, from a writer named Cassie Carpenter, read, “Millie Bobby Brown mistaken for someone’s mom as she guides younger sister Ava through LA.”

Brown also criticized a story by Bethan Edwards, who wrote, “Little Britain’s Matt Lucas takes savage swipe at Millie Bobby Brown’s new ‘mommy makeover’ look.” Particularly annoyed with the article, Brown suggested it was “amplifying an insult rather than questioning why a grown man is mocking a young woman’s appearance.”

In recent weeks, Brown has been on a press tour promoting her new film “The Electric State,” making appearances at both the SAG and Brit awards and attending the movie’s Hollywood premiere last month.

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“I grew up in front of the world, and for some reason, people can’t seem to grow up with me. Instead, they act like I’m supposed to stay frozen in time like I should still look the way I did on Stranger Things season one. And because I don’t, I’m now a target.”

Many of the articles Brown names in her post suggest that she appears significantly older than her actual age. “The fact that adult writers are spending their time dissecting my face, my body, my choices, is disturbing,” Brown said.

“Disillusioned people can’t handle seeing a girl become a woman on her terms, not theirs. I refuse to apologize for growing up.”

Since age ten, Brown has navigated the complexities of fame and life in the public eye, first capturing attention in the ABC drama “Once Upon a Time in Wonderland” and later in the BBC America series “Intruders.”

In 2016, she experienced a pivotal moment in her career, securing the role of “Eleven” in the widely popular Netflix sci-fi series “Stranger Things.” Brown gained international recognition and received nominations for prestigious awards at both the SAG and Emmy awards for her outstanding performance.

Brown also spoke out about the criticism women especially often endure concerning their physical appearances. “The fact that some of these articles are written by women? Even worse,” she added.

“We always talk about supporting and uplifting young women, but when the time comes, it seems easier to tear them down for clicks.”

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Numerous actors have expressed their support for Brown. Sarah Jessica Parker, recognized for her role in “Sex in the City,” stated that she was “enormously proud.” Meanwhile, Matthew Modine, Brown’s co-star on “Stranger Things,” added, “Yes. Good for you! Brava.”

Brown’s co-star in “Enola Holmes,” Louis Partridge, remarked: “Well said, Millie. Handled with grace.” Actress Sharon Stone added, “Beautifully said Thx it really doesn’t matter our age or stature, we must be willing to own ourselves fully not fall to the false ideology of tear down media. Good job my friend.”

Aaron Paul wrote, “You are such a beautiful example of grace and mutuality. Way to stand up for yourself. So proud of you Mills.” Mckenna Grace, who plays “Esther” in “The Handmaid’s Tale,” stated, “No young woman or person deserves to feel pressure or cruelty for simply existing. You are so well-spoken and so beautiful. Very well said, thank you for making this video.”

Brown ended the video by saying, “I refuse to make myself smaller to fit the unrealistic expectations of people who can’t handle seeing a girl become a woman.”

“I will not be shamed for how I look, how I dress, or how I present myself. We have become a society where it’s so much easier to criticize than it is to pay a compliment. Why is the knee-jerk reaction to say something horrible rather than to say something nice? If you have a problem with that, I have to wonder—what is it that actually makes you so uncomfortable? Let’s do better, not just for me but for every young girl who deserves to grow up without the fear of being torn apart for simply existing.”

Her film “The Electric State” will be released later this month, and the final season of “Stranger Things” is expected to come out later this year.

lionsgate

Lionsgate Partnering With AI Firm To Advance New Generative Model

Lionsgate has signed a deal with Runway, an artificial intelligence research firm. In the deal, Runway will gail access to Lionsgate’s large movie and television library and be able to train new generative AI models. 

According to the Wall Street Journal, the model will “be customized to Lionsgate’s proprietary portfolio which includes hit franchises such as John Wick, Saw and The Hunger Games. The aim is to help film-makers and other creatives augment their work through the use of AI,” according to the Guardian.

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“Runway is a visionary, best-in-class partner who will help us utilize AI to develop cutting-edge, capital-efficient content creation opportunities,” said Michael Burns, Lionsgate’s vice-chair. 

“Several of our film-makers are already excited about its potential applications to their pre-production and post-production process. We view AI as a great tool for augmenting, enhancing and supplementing our current operations.”

“The deal will save Lionsgate millions and millions of dollars.”

Through the deal, both companies are aiming to utilize their technology to help filmmakers create a storyboard for a project, and eventually background scenery and special effects.

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The deal was announced the day after Gavin Newsom, California’s governor, signed two new bills that will work to restrict the use of AI replicas or performers. 

The bills were initially passed last month and gained the support of members of the Hollywood union Screen Actors Guild after their new contract was enacted with new protections following the writers and actors strike. 

“We’re making sure that no one turns over their name, image and likeness to unscrupulous people without representation or union advocacy,” Newsom said

“In a world where it is becoming difficult to distinguish between a real photograph and a generated one, we believe it’s absolutely pivotal to understand the ways generative AI could impact nonfiction storytelling,” a statement from Archival Producers Alliance read.