Cate Blanchett brought Hollywood starpower to Brussels on Tuesday as she launched a free tool to give people the right to decide how their image can be used by AI firms.
Blanchett announced the Human Consent Registry was live at the European Parliament also attended by Hollywood directing heavyweight Steven Soderbergh.
The public tool available online will allow anyone to register how they want their identity — name, image, voice, likeness, movement and/or other personal attributes — to be used by artificial intelligence systems.
They will have three options: allowed, allowed with terms, or prohibited.”Human consent is not an impediment to progress.
Human consent does not diminish the struggles and the joys of technological innovation or inhuman creativity,” Blanchett said at the event in the parliament’s library.
She insisted the issue did not just affect public figures like herself, but for anyone who has been photographed “or simply lived some part of their life online”.
The registry has been launched by RSL Media, co-founded by Blanchett, a non-profit organization focused on ensuring consent in AI use.
RSL Media hopes AI companies will voluntarily consult the registry.
Blanchett has been a staunch proponent of protecting rights in the age of generative artificial intelligence.
She was among over 800 creatives including fellow actor Scarlett Johansson as well as director Guillermo Del Toro, who published an open letter accusing AI giants of “theft” in January this year.
Hosting Tuesday’s event was EU lawmaker Eva Maydell who hailed the new tool.
The registry “represents an ambitious attempt to turn the principles into practice and make consent more accessible and feasible, to make rights more transparent, and to make trust more scalable”, Maydell said. (JapanToday)
Clive Davis, the record company lawyer who became one of the music industry’s most powerful figures, launching or resurrecting the careers of such superstars as Janis Joplin, Whitney Houston, Carlos Santana and Alicia Keys, has died, his family confirmed. He was 94.
Earlier this year, Davis was hospitalized following an upper respiratory issue and was released a few days later. His death, in his Manhattan apartment, was confirmed by his publicist Aliza Rabinoff, who also shared a statement from his family.
“To the world, our father was the iconic music legend whose vision, instincts, and relentless pursuit of excellence shaped the soundtrack of countless lives. He discovered, mentored, and championed the greatest artists in modern music history, leaving an indelible mark on culture that will endure for generations,” the statement read.
Unlike other record moguls whose influence waned as they got older, Davis’ might only seemed to grow, spanning multiple genres and labels. Into his later years, he was directing the careers of everyone from Barry Manilow to “American Idol” winners Carrie Underwood and Kelly Clarkson. And his exclusive pre-Grammys gala, held the Saturday night before the Sunday award show every year since 1975, continued to be an institution.
“Clive’s talent has always been seeing and hearing what other people don’t,” former President Barack Obama said in a video message played at this year’s gala.
Clive Jay Davis was born on April 4, 1932 in Brooklyn, New York, where he grew up in the Crown Heights neighborhood. His father was an electrician and traveling salesman. He attended New York University and then Harvard Law School, eventually landing a job as an in-house lawyer at Columbia Records.
Davis always had a knack for business, and by 1967, became president of the company, just seven years after being hired as an attorney. He cited attending the Monterey International Pop Festival that year as pivotal; it eventually led him to bringing Bruce Springsteen, Chicago, Neil Diamond and many other groups to the label — bringing a counterculture spirit to a company that had resisted rock ‘n’ roll.
Davis took big swings in the music industry, particularly in his support for Black artists, beginning when he signed Gamble and Huff’s Philadelphia International Records in 1971.
In 2015, the NAACP recognized Davis for his groundbreaking work by presenting him with the Vanguard Award. And last summer, Davis was presented with the Apollo Theater’s Apollo Legacy Award and inducted onto its Walk of Fame.
His success stories were staggering, with Houston a crowning achievement and devastating tragedy: Davis signed her to his Arista record label when she was just a teen and turned her into America’s reigning pop princess.
Houston racked up multiple No. 1 hits and became one of the top-selling artists in pop history before drug abuse hobbled her career. She died in a Los Angeles hotel room in 2012, just hours before she was to appear at the annual pre-Grammy Awards gala hosted by Davis, who had been convinced she was turning her life around.
“Maybe I should have been more skeptical,” Davis wrote in his 2013 memoir, “The Soundtrack of My Life,” “but I’ve always been optimistic, and I felt hopeful. It felt like old times.”
He also launched the career of multi-platinum, multiple-Grammy winner Keys — and was quick to note other talents he signed, including Joplin and Billy Joel, Blood Sweat & Tears and other “all-timers,” as he so often put it.
“I signed Patti Smith, the great Renaissance woman … I signed Lou Reed … I signed the Grateful Dead,” he proudly touted in an interview with The Associated Press in 1999.
He also signed the then up-and-coming producer Sean “Diddy” Combs to a label deal with his Bad Boy Records. Under Davis, the label would have some of its biggest successes, most notably with late rap icon the Notorious B.I.G. That was long before the hip-hop mogul Diddy would be incarcerated, convicted of violating the federal Mann Act, which bans transporting people across state lines for any sexual crime. (JapanToday)
South Korean seven-piece BTS have won artist of the year at the American Music Awards (AMAs) for the second consecutive year, cementing their status as one of the world’s biggest bands.
The award, considered the ceremony’s grand prize, is just the latest crown jewel for the so-called kings of K-pop, who have been on a $1bn world tour since returning from a nearly four-year hiatus in March.
BTS also won song of the summer for their album’s lead single Swim and best male K-pop artist, while label partners Katseye were dubbed new artist of the year.
Golden, the viral single from the animated hit film K-Pop Demon Hunters, was named song of the year, while Sabrina Carpenter won album of the year for Man’s Best Friend.
Carpenter also won best female pop artist and best pop album, while Justin Bieber was named best male pop artist.
BTS beat artists including Taylor Swift, Bruno Mars, Bad Bunny and Lady Gaga in the artist category, as well as the likes of Harry Styles, Tame Impala and PinkPantheress in the song category.
Swift, who holds the record for the most AMA wins, went into this year’s awards with eight nominations but came home empty-handed.
But PinkPantheress didn’t miss out, picking up collaboration of the year for Stateside with Zara Larsson.
Larsson, who performed at Radio 1’s Big Weekend in Sunderland over the weekend, also won breakthrough album of the year for Midnight Sun.
Katseye also won two other prizes – best music video for Gnarly and breakthrough pop artist, while Huntrix also picked up best vocal performance, and best pop song.
EJAE added to that with a win for best soundtrack for KPop Demon Hunters. While she attended alongside Rei Ami, Audrey Nuna was unable to make it due to work commitments. (BBC)
Cate Blanchett said the #MeToo movement “got killed very quickly” in Hollywood, speaking Sunday at the Cannes Film Festival.
In a wide-ranging staged conversation, Blanchett lamented that the tide of #MeToo has been turned in Hollywood, where she has been outspoken about gender equality.
“It got killed very quickly, which I think is interesting,” said Blanchett.
“There are a lot of people with platforms who are able to speak up with relative safety and say this has happened to me,” Blanchett said. “And the so-called average woman on the street, person on the street, is saying MeToo. Why does that get shut down?”
In 2018, when she was president of the jury in Cannes, Blanchett took part in a red-carpet protest. She and 81 other women appeared on the steps of the Palais des Festivals, symbolically representing the number of female director who were selected for Cannes’ competition lineup. Over the same period, 1,866 male directors had been selected.
“I’m still on film sets and I do the headcount every day. There’s 10 women and there’s 75 men every morning,” Blanchett said.
“I love men, but what happens is the jokes become the same,’ she said. “You just have to brace yourself slightly, and I’m used to that, but it just gets boring for everybody when you walk into a homogeneous workplace.” (JapanToday)
Hollywood star John Travolta was given a surprise lifetime achievement award at the Cannes Film Festival Friday as he premiered the first movie he has ever directed.
The man who became an icon overnight with “Saturday Night Fever” was visibly moved as he accepted the honorary Palme d’Or before the screening of “Propeller One-Way Night Coach”, which is based on a book about his first experience in an airliner.
“I just can’t believe it. This is beyond the Oscar, really,” he said as he accepted the tribute.
The festival has been laying on the love for Hollywood legends this year despite the big studios staying away, with honorary Palmes for Barbra Streisand and Peter Jackson as well as a gala screening for Vin Diesel and the stars of “The Fast and the Furious” franchise to mark its 25th anniversary.
Travolta — who has never won an Oscar — revived his flagging career with his iconic turn as hitman Vincent Vega in Quentin Tarantino’s “Pulp Fiction”, which won the festival’s Palme d’Or top prize in 1994.
Many critics hailed it as his greatest performance, one that has since gone down in cinema history.
“My favorite movies in the history of my life have always been the winners of the Palme d’Or,” Travolta said.
Cannes had kept the award under wraps until the actor walked on stage for the premiere wearing a black suit and a white beret.
The 72-year-old said he had been hugely surprised to have his directorial debut, which stars his daughter Ella Bleu as an air hostess, accepted at the world’s most prestigious film festival.
When Cannes director Thierry Fremaux told him in November that “it would be the first film ever accepted that early I cried like a baby,” he said.
“I had no expectation my film would be accepted,” he added.
“Propeller One-Way Night Coach” is a one-hour self-financed autobiographical tale about Travolta’s flight as an eight-year-old with his actress mother from New York to Los Angeles in 1962.
“This is the blueprint of my life,” said the actor, a lifelong aeroplane nut, who narrates the story. What you’ll see in the movie is completely my perspective on what I witnessed people go through.
“Everyone that was in the movie is sitting in the audience right there, my family,” he added.
Travolta was bitten by the acting bug early.
Born in New Jersey to the an Irish mother and an Italian-American father who ran a tyre store, he left school at 16 to try his hand at acting and dancing.
Two years later he landed his first big stage role in the Broadway musical “Grease”.
He was nominated for an Oscar in 1978 for playing disco-dancing champion Tony Manero in the low-budget “Saturday Night Fever” and was launched into the Hollywood stratosphere by his role in the movie version of “Grease” the same year.
The rights to “Propeller One-Way Night Coach” have been bought by Apple, Travolta said.
Asked if he would direct again, he said he had watched all sorts of directors as an actor.
“I really believe that I can navigate around all of that, and anything I would choose to do, but I really feel I have to have passion about the material to do again what I’ve done here,” he said. (JapanToday)
After two weeks trailing “The Devil Wears Prada 2,” the Michael Jackson biopic “Michael” reclaimed the No. 1 spot at the North American box office with $26.1 million in ticket sales, according to studio estimates Sunday.
The Lionsgate movie is in rarefied territory, having brought in $703.9 million worldwide and counting. It still has a way to go to surpass the current reigning champion of musical biopics: “Bohemian Rhapsody.” The Queen movie grossed over $910.8 million worldwide.
There were also several newcomers in the mix this weekend, including the relationship horror movie “Obsession,” the Guy Ritchie action pic “In the Grey” and the revenge saga “Is God Is,” but the holdovers continued to draw the largest crowds. The power dynamics are poised to shift when “Star Wars: The Mandalorian and Grogu” hits theaters next weekend.
Disney and 20th Century Studios’ “The Devil Wears Prada 2” took second place in its third weekend with $18 million, bringing its domestic total to $175.9 million and worldwide earnings to $546.2 million.
“Obsession” topped the newcomers, exceeding expectations with an estimated $16.1 million from 2,615 theaters. YouTube breakout Curry Barker wrote and directed the thriller in which a hopeless romantic gets more than he bargained for when his crush returns his affections. The film received positive reviews from both critics (94% on Rotten Tomatoes) and audiences (A- CinemaScore). Perhaps more notable is that Barker made the film for $750,000. Focus Features acquired it out of the Toronto International Film Festival last fall for around $15 million.
Lisa Bunnell, president of domestic distribution for Focus Features, attributed some of “Obsession’s” success to audiences craving fresh, original voices at the movies. It’s also getting an infusion by word-of-mouth, with younger audiences making plans to go back with friends. Horror movies don’t often get CinemaScores in the A- range, but “Obsession” is in good company with another recent hit: “Weapons.”
“I’m expecting a really strong holdover,” Bunnell said.
Fourth place at the box office this weekend went to “Mortal Kombat II,” which fell 65% in its second weekend to $13.4 million in domestic ticket sales. Globally, it has made $101.2 million from 80 markets.
Amazon MGM Studios had three movies in the top 10, including “The Sheep Detectives” in fifth place, “Project Hail Mary” in seventh place and “Is God Is” rounding out the top 10.
“The Sheep Detectives” enjoyed a slim 33% drop from its first weekend, taking in an additional $10.2 million and bringing its running total to $30.5 million. “Project Hail Mary,” which is now available to rent or buy at home, brought in another $3.4 million in its ninth weekend in theaters. “Is God Is,” Aleshea Harris’s adaptation of her Obie-winning play about twin sisters ( Kara Young and Mallori Johnson ) on a quest to find and kill their abusive father made $2.2 million in its first weekend in theaters. It has a 97% rating on Rotten Tomatoes.
Meanwhile, the action caper “In the Grey,” released by Black Bear, made $3 million from 2,018 locations. Henry Cavill, Jake Gyllenhaal and Eiza González star in the film about a team of elite operatives on an impossible mission. It currently carries a 44% on Rotten Tomatoes and a B CinemaScore.
There were also several high-profile re-releases in theaters this weekend, including “Top Gun” which made $3.1 million, and “Shrek” which earned $1.3 million.
Paul Dergarabedian, head of marketplace trends for Comscore, noted that “Prada,” “Michael” and “Top Gun” all making the top 10 show “nostalgia is on full display.”
“What’s old is new again and audiences clearly love it,” he said. (JapanToday)
Bulgaria won the Eurovision Song Contest for the first time on Saturday in a final overshadowed by five countries’ boycott over Gaza, claiming a dramatic victory despite another big public vote for Israel that again secured it second place.
The garish and usually good-natured competition involving pop acts from countries across Europe and beyond, now in its 70th year, was plunged into crisis by a dispute over Israel’s military offensive in Gaza, a response to the Hamas-led attack on October 7, 2023.
The public broadcasters of heavyweights Spain, the Netherlands and Ireland, as well as Iceland and Slovenia, chose not to take part in protest at Israel’s participation.
Israel has alleged a global smear campaign against it. Its performance at the final was not, however, marred by any obvious protests, unlike Tuesday’s semifinal.
“This is unbelievable. I don’t even know what’s going on right now,” Bulgaria’s entrant Dara told a press conference after winning with her thumping, crowd-pleasing dance track “Bangaranga” that avoided politics altogether.
The song touches on themes of empowerment and surrendering to the night. It also left many puzzled as to its meaning.
“Bangaranga is a feeling that everybody gets in themselves. It’s the moment that you choose to be in love and not fear,” Dara said when asked to explain the song in the “green room” where artists await the results.
“This is a special energy … Once you feel (at) one with nature and your universe, you feel the harmony that you can be whatever you want to be and that everything is possible,” she said. (JapanToday)
The Rock & Roll Hall of Fame has announced its Class of 2026, with Nigerian music legends Fela Kuti and Sade Adu among the globally recognised artists being inducted for their lasting influence on music and culture.
The announcement, made on April 13, 2026, revealed a wide-ranging list of inductees across multiple categories, including Performers, Early Influence Award recipients, Musical Excellence honourees, and a special Ahmet Ertegun Award. The induction ceremony is scheduled for November 14, 2026, in Los Angeles, California, and will later be broadcast on ABC and Disney+.
The Rock & Roll Hall of Fame is regarded as one of the highest honours in the global music industry, recognising artists whose work has significantly shaped the evolution of rock and popular music across generations, while also serving as a museum that preserves and documents global music history.
In the Performer category, Sade joins a diverse lineup that includes Phil Collins, Billy Idol, Iron Maiden, Joy Division/New Order, Oasis, Luther Vandross, and Wu-Tang Clan, reflecting the Hall of Fame’s recognition of artists who have shaped rock, soul, R&B, and alternative music across decades.
Sade, whose full band identity blends jazz, soul, and R&B influences, is celebrated for a timeless catalogue that has sold millions of records worldwide. The group’s music is widely regarded for its emotional depth and signature sound, which has remained influential across generations.
In the Early Influence category, Fela Kuti is honoured alongside Celia Cruz, Queen Latifah, MC Lyte, and Gram Parsons, recognising pioneers whose work reshaped musical direction and cultural expression globally.
Fela Kuti is described by the Hall of Fame as a revolutionary figure who fused jazz, West African rhythms, and soul to pioneer Afrobeat, while using music as a tool for political expression and social commentary.
Born Olufela Olusegun Oludotun Ransome-Kuti in 1938, he rose to prominence after forming his band Koola Lobitos in London and later developing Afrobeat after exposure to African American jazz, funk, and civil rights-era influences in the United States.
He is credited with transforming music into a vehicle for resistance, with works such as Expensive Shit and Water No Get Enemy reflecting both artistic innovation and political criticism.
The Hall of Fame noted that despite being jailed and widely criticised during his lifetime for anti-government messaging, Fela Kuti remains one of the most influential African musicians in global history.
Other honourees in the Musical Excellence category include Rick Rubin, Arif Mardin, Jimmy Miller, and Linda Creed, recognised for shaping modern music production and songwriting.
The Rock & Roll Hall of Fame stated that eligibility requires artists to have released their first commercial recording at least 25 years prior, with selections made by industry professionals, historians, and past inductees.
The 2026 class has been described as one of the most diverse in the institution’s history, reflecting its continued expansion beyond rock into global, cross-genre musical recognition. (AriseNews)
The broadcast of a racial slur that was shouted during the Bafta Film Awards breached the BBC’s editorial standards, the corporation’s executive complaints unit (ECU) has ruled.
A Tourette syndrome campaigner shouted an involuntary racial slur while actors Michael B Jordan and Delroy Lindo were presenting one of the categories at the event in February.
The shout was not edited out of the subsequent TV broadcast, which aired on BBC One on a two-hour delay, and the ceremony remained available to stream on iPlayer until the morning after.
On Wednesday, the BBC’s chief content officer Kate Phillips said the ECU “found this should not have made it to air and it was a clear breach of our editorial standards”. However, she noted, it also “found the breach was not intentional”.
The ECU received “a large number of complaints” about the BBC’s Baftas coverage, and upheld those relating to editorial standards on harm and offence.
Last month, outgoing director general Tim Davie said the BBC “profoundly regrets” what happened, adding that the team editing the ceremony had not heard the word and did not intentionally leave it in.
The ECU’s findings said: “The ECU found that the inclusion of the n-word in the broadcast (which was also streamed live on iPlayer) was highly offensive, had no editorial justification and represented a breach of the BBC’s editorial standards, but that the breach was unintentional.”
Phillips explained that “the production team did not hear the n-word at the time it was said and therefore no decision was taken to leave the word within the broadcast”.
She added: “The ECU accepted this was a genuine mistake, especially as the team did correctly identify and edit out a subsequent use of the same word, in line with the protocols that were agreed in advance of the event regarding offensive and unacceptable language.”
The ECU said leaving the coverage on iPlayer until the Monday morning was also a “serious mistake” and breached guidelines.
“The fact that the unedited recording remained available for so long aggravated the offence caused by the inadvertent inclusion of the n-word in the broadcast,” its report said.
Phillips said: “There was a lack of clarity among the team present at the event as to whether the word was audible on the recording. This resulted in there being a delay before the decision was taken to remove the recording from iPlayer.
“The ECU has been clear that this was a serious mistake and commented that the fact the unedited version stayed up overnight made the severe impact of the inadvertent inclusion of the n-word worse.”
Phillips said the BBC “must learn from our mistakes and ensure our processes are as robust as they can be”, and set out measures to improve pre-event planning, production at live events, and the iPlayer takedown processes.
She added that she had written to Lindo, Jordan and Sinners co-star Wunmi Mosaku, as well as Tourette’s activist John Davidson, to “apologise directly”.
Best supporting actress winner Mosaku told Entertainment Weekly she had “no hard feeling” towards Davidson, but that the BBC’s failure to edit out slurs had “tainted” the event and later kept her awake at night and brought tears to her eyes.
Davidson said the BBC should have “worked harder to prevent anything that I said” from being aired, and questioned why he had been seated near a microphone.
He attended the ceremony because a film based on his life story, I Swear, was among the nominees, and went on to win three awards.
Director Kirk Jones said Davidson was “let down” by how the events unfolded.
Culture secretary Lisa Nandy called the broadcast “completely unacceptable and harmful”, while Conservative Party leader Kemi Badenoch said the BBC had made “a horrible mistake”.
Bafta ceremony host Alan Cumming apologised after the “trauma-triggering” show.
Elsewhere, the ECU dismissed “many complaints” about the BBC editing the words “Free Palestine” out of an acceptance speech.
Director Akinola Davies Jr made the remark as he ended his speech to accept the prize for best debut for My Father’s Shadow.
Davies Jr and his brother Wale, the film’s writer, spoke on stage for two-and-a-half minutes, but their speeches were edited to about one minute for broadcast, which the BBC said was due to time restrictions.
The ECU supported that explanation, concluding: “The production team’s decision did not hinge on considerations of impartiality. The principal consideration was that approximately three hours of recorded material had to be edited to fit a two-hour transmission slot.” (BBC)
“Project Hail Mary” is bringing audiences to movie theaters in numbers the industry hasn’t seen for a non-franchise film since “Oppenheimer.” The science fiction epic starring Ryan Gosling earned around $80.5 million in ticket sales in its first weekend playing in North America, according to studio estimates Sunday. Box office tracker EntTelligence estimates that translates into about 5 million ticket buyers.
The PG-13 rated film opened on 4,007 screens and easily topped the domestic box office charts, surpassing expectations to become the biggest of the year and delivering a record opening for studio Amazon MGM, whose previous best was “Creed III” ($58 million in 2023). Not accounting for inflation, “Project Hail Mary” also scored the second biggest opening for a non-franchise movie behind only “Oppenheimer,” which opened to $82.4 million in 2023.
It’s now one of only three non-franchise movies in the past decade to open over $70 million (the third is Jordan Peele’s “Us” ). In the realm of modern space operas, it exceeded the debuts of “The Martian,” also an Andy Weir adaptation that opened around $54.3 million in 2015, “Gravity” ($55.6 million in 2013) and “Interstellar” ($47.5 million in 2014).
Internationally, “Project Hail Mary” earned $60.4 million from 82 markets, bringing its global total to $140.9 million.
“We all know theatrical is not an easy business. It’s tougher today I think than it’s ever been,” Kevin Wilson, Amazon MGM Studios’ head of domestic distribution, told The Associated Press on Sunday. “And sci-fi movies, to break out to a broad audience, is not the easiest thing to do.”
And yet the results of the weekend put them in “rarefied air” alongside “Oppenheimer,” which Wilson said is “certainly something special.” The film is playing broadly across the country with markets like Salt Lake City, Denver and Portland overindexing which, Wilson said, suggests that they’re getting some family audiences too.
Directed by Phil Lord and Christopher Miller, “Project Hail Mary” cost about double the “Oppenheimer” production budget, with a price tag in the $200 million range. But it also carries strong reviews and audience scores and could be destined for a long run. According to PostTrak exit polls, where it scored five out of five stars, 83% of audiences said they would “definitely recommend” the film to friends. The gender breakdown skewed slightly more male (57%), and 55% of the audience were under 35.
In an era where the draw of movie stars is always in question, Wilson said, “It leaves no doubt that Ryan Gosling is a singular star that has the massive global appeal and charisma to anchor a story like this.”
The film is centered around Gosling’s character who wakes up alone and with little memory on a spaceship, where his apparent mission is to try to save the sun from dying. As has become the norm for “event” movies like “Project Hail Mary,” premium large format screens were in demand, making up 56% of the weekend’s gross. IMAX screens alone accounted for $$27.6 million of the global total.
“The next interesting piece will be how long can this movie play, which I think could be something special,” Wilson said.
“Project Hail Mary” will have a second weekend essentially free of big competition until it loses its IMAX screens to “The Super Mario Galaxy Movie” on April 1.
Hollywood’s other big new opener, “Ready or Not 2: Here I Come,” a Searchlight release, came in a distant fourth with $9.1 million, behind Disney and Pixar’s “Hoppers” ($18 million) and the Bollywood sequel “Dhurandhar: The Revenge,” which made $9.6 million from Friday through Sunday according to the U.S. distributor; Comscore is projecting a slightly higher $10 million figure. Universal’s Colleen Hoover adaptation “Reminders of Him” rounded out the top five in its second weekend with $8 million.
Viva Pictures also released an animated adaptation of the popular children’s book “The Pout-Pout Fish” in 1,854 theaters, which landed in ninth place with $1.5 million.
The year-to-date box office is now up around 21%, according to Comscore.
“The performance of ‘Project Hail Mary’ is a momentum builder like no other and it’s reinvigorating the movie marketplace,” said Paul Dergarabedian, Comscore’s head of marketplace trends. “This is a momentum business, and this is exactly what the industry needed right now.”
With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:
“Project Hail Mary,” $80.5 million.
“Hoppers,” $18 million.
“Dhurandhar: The Revenge,” $10 million.
“Ready or Not 2: Here I Come,” $9.1 million.
“Reminders of Him,” $8 million.
“Scream 7,” $4.3 million.
“Goat,” $3.7 million.
“Undertone,” $3 million.
“The Pout-Pout Fish,” $1.5 million.
“MET Opera: Tristan und Isolde,” $722,499. (JapanToday)
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