Box Office: ‘Supergirl’ Stumbles With $37 Million Debut, ‘Toy Story 5’ Remains No. 1 With $70 Million
UPDATED: “Supergirl” is struggling to take flight at the box office.
The comic book adaptation, a space adventure revolving around Superman’s cousin, debuted to a disappointing $37.1 million from 3,600 North American theaters and $67 million globally. Monday’s final tally is below Sunday’s $38 million estimate.
Heading into the weekend, the Warner Bros. and DC Studios film was targeting a domestic start of around $50 million to $55 million, which already would have been a soft launch for such a big-budget tentpole. Initial ticket sales are concerning for the studio because the movie’s polarizing reception, as well as the intense competition during the peak of summer movie season, could limit its theatrical staying power. That would be a problem because “Supergirl” carries a substantial $170 million price tag, not including the mega marketing budget. Although economics vary from studio to studio, a movie of this size would need to earn at least $375 million to break even since cinema owners get to keep roughly half of revenues. A source close to the film says the breakeven point for “Supergirl” is closer to $300 million.
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Critics didn’t like “Supergirl,” which holds a 56% on Rotten Tomatoes, while audiences appear mixed, with a “B-” grade on CinemaScore exit polls. Initial crowds were 59% male, meaning the film didn’t break out beyond the core superhero fanbase. Milly Alcock plays Supergirl, who travels through the cosmos with her trusty pup Krypto the Superdog. When she encounters an alien girl named Ruthye, she reluctantly joins her on a quest for vengeance and justice. Craig Gillespie, best known for “I, Tonya” and “Cruella,” directed the film from a script by Ana Nogueira (“The Vampire Diaries”).
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“Supergirl” arrives a year after “Superman,” which rebooted the DC Universe under the direction of James Gunn and Peter Safran. That film, starring David Corenswet as the Man of Steel, made $125 million and ended its run with $618 million, a decent result at a time when superhero movies have been worryingly Earth-bound. After the debut of “Superman,” Warner Bros. Discovery’s CEO David Zaslav championed the “bold 10-year plan” of the new DC Universe, saying the “vision is clear, the momentum is real.” Yet the start for “Supergirl” indicates the road to building an interconnected film franchise (and fashioning a rival to Disney’s Marvel Cinematic Universe) has hit its first speed bump.
Moreover, “Superman” had the benefit of centering on one of the most recognizable heroes of all time, while his cousin Kara Zor-El, a.k.a. Supergirl, isn’t a household name. The staying power of “Supergirl” could signal whether lesser-known characters get the big screen treatment, or if future installments in the DC Universe will focus solely on marquee characters. Up next is October’s “Clayface,” which carries a substantially smaller $40 million budget, followed by 2027’s “Superman: Man of Tomorrow,” which brings back two heavyweights, Corenswet’s Clark Kent and Nicholas Hoult’s Lex Luthor, as the adversaries team up to take down a bigger threat.
This weekend’s other newcomer, “Jackass: Best and Last,” also stumbled at the box office with $8.4 million from 2,855 venues. The film faltered overseas with $1.9 million from 19 markets for a global debut of $10.3 million. Those ticket sales rank as the worst opening in the prank comedy series that’s all about risking life, limb and dignity. To compare, 2022’s “Jackass Forever,” the property’s prior installment, debuted to $23 million domestically and ended up with $80 million globally. However, “Jackass 5” cost just $10 million to produce, so it doesn’t need to earn much to turn a theatrical profit.
For “Jackass: Best and Last,” critics and audiences actually liked the R-rated reckless prank sequel, which carries an 87% on Rotten Tomatoes and “A-” grade on CinemaScore. One reason the new entry didn’t bring out a bigger crowd is because the film isn’t entirely original; “Best and Last” features stars Johnny Knoxville, Steve-O, Wee Man and their other daredevil friends in a compilation of new and old stunts and skits.
“This is a weak opening [and] a sharp drop from the last opening in the series,” says David A. Gross, who publishes the box office newsletter FranchiseRe. However, he adds that “very few comedies reach a fifth episode — that in itself is an accomplishment. And this one should be profitable, even without strong overseas business.”
Neither of the new releases was close to dethroning Disney and Pixar’s “Toy Story 5,” which ruled again with $70 million in its second weekend of release. That’s a standard 55% decline from its huge $160 million debut. The fifth installment in the generation-spanning franchise is poised to be one of the year’s highest-grossing releases with $297 million domestically and $585 million globally after just 12 days in theaters. “Toy Story 5” is also expected to wind up as the biggest entry in the 31-year-old franchise, a record that currently belongs to “Toy Story 4” with $1.07 billion.
“Obsession” slid to the No. 3 spot, ranking behind “Supergirl” and ahead of “Jackass: Best and Last.” Now in its seventh weekend of release, the box office juggernaut has earned $9.8 million from 2,965 locations, a mere 27% decline in ticket sales. The low-budget horror sensation has generated $233.9 million domestically and $370 million worldwide, making “Obsession” a wildly profitable success for both Focus Features and theater owners.
Steven Spielberg’s sci-fi adventure “Disclosure Day” rounded out the top five with $8.1 million from 3,357 venues, a 54% drop from the prior weekend. So far, “Disclosure Day” has generated $94.3 million in North America and $193 million globally after three weekends on the big screen. Since the PG-13 movie cost $115 million, “Disclosure Day” is estimated to need around $300 million globally to be profitable.
Among specialty titles, A24’s comedy “The Invite” grossed $379,104 on just seven screens in New York and Los Angeles, translating to a strong $54,158 per location. The movie’s commercial appeal will be tested as it continues to roll out in select markets before expanding nationwide on July 10. Olivia Wilde directed the well-reviewed “The Invite,” in which she and Seth Rogen play a bickering married couple who host a dinner party for their far more free-spirited upstairs neighbors (Penélope Cruz and Edward Norton).
Although this weekend’s nationwide releases didn’t live up to expectations, Hollywood is enjoying the best summer season since COVID, with revenues just 1.7% behind 2019, according to Rentrak. Next weekend is July 4th, which sees the release of the family-friendly “Despicable Me” spinoff “Minions & Monsters,” with tentpoles like Christopher Nolan’s “The Odyssey” and “Spider-Man: Brand New Day” on the horizon.
“Those lovable little Minions will provide some box office fireworks,” predicts Paul Dergarabedian, Rentrak’s head of marketplace trends. “The summer hit parade just keeps rolling along.”
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Badenoch blasts 'moaning' female Labour MPs over Burnham jobs 'quota'
Kemi Badenoch has told Labour women to earn a job in Andy Burnham's Cabinet instead of demanding they are handed jobs because of their gender.
The Tory leader lashed out today amid reports that female MPs are demanding the de-facto new prime minister introduce a 50:50 gender split 'quota' in his government.
Amid reports that former foreign secretary David Miliband is being lined up to return to the role, possibly with his brother Ed as Chancellor, one female minister also complained that Burnham could not have 'more Milibands than women' in the top posts.
But in a scathing article in the Times today Mrs Badenoch told them to 'stop moaning' and get chosen on merit instead of retreating into 'more of the failed identity politics that is holding back our country'.
'There are many, many reasons why you shouldn't have any Milibands in the cabinet,' she said.
'But complaining that the boys haven't given them the right jobs or that the boys are taking all the jobs, just shows that Labour's women still don't get it.'
The idea of quotas was also attacked by Baroness Jacqui Smith, Labour's Skills Minister.
Asked by Times Radio if Mr Burnham should reserve jobs for women, she said: 'No, I think what Andy Burnham should be doing is building the very best team around him to change this country.'
A letter written by the Women's Parliamentary Labour Party has called on Mr Burnham to ensure a 50:50 split between men and women in government jobs
Amid reports that former foreign secretary David Miliband (above, right, in 2010) is being lined up to return to the role, possibly with his brother Ed as Chancellor, one female minister complained that Burnham could not have 'more Milibands than women' in the top posts
But Mrs Badenoch told them to pipe down and get chosen on merit instead of retreating into 'more of the failed identity politics that is holding back our country'
A letter written by the Women's Parliamentary Labour Party and seen by the BBC has called on Mr Burnham to ensure a 50:50 split between men and women in government jobs after he succeeds Sir Keir Starmer.
'We are asking you to demonstrate this change from day one and address the toxicity and misogyny within our own party and government,' it said.
Labour has never had a female leader, while the Conservatives have had three, and Mrs Badenoch urged the government to follow its meritocratic example.
'If you run a meritocracy, then you do not have to worry about jobs for the boys,' she wrote.
'Every woman who is a Conservative MP, every woman who has ever won the leadership, has had to fight to get where she is.
'By contrast, Labour women are demanding guarantees from Burnham. But the truth is he doesn't have to give any guarantees.
'If none of Labour's women are prepared to get their hands dirty and challenge him for the leadership, their demands are toothless.'
'In fact, it's quite revealing that the women's parliamentary Labour Party has written to Burnham asking him to commit himself to at least 50 per cent female ministers.
'This has nothing to do with meritocracy. It is yet more of the failed identity politics that is holding back our country.'
Venezuela Fury and Noah Price subsidising their life by livestreaming
Venezuela Fury and her husband Noah Price look to be making their own way in the world by raking it in from their lucrative social media accounts.
The influencer daughter of Tyson and Paris Fury, 16, has become an internet sensation after tying the knot with her husband Noah, 19, earlier this year.
Since getting married and moving in together the couple have been earning thousands of pounds a month, livestreaming their life as newlyweds in their static caravan in the East Riding of Yorkshire.
And fans can't get enough of their regular life updates on TikTok and Kick, which have proved to be very profitable for the pair.
They look to be supporting themselves after Noah denied that he was given £5million by Venezuela's family as a wedding gift.
Despite his wife's huge family wealth, an estimated combined £160 million, Noah recently told his Kick followers that he 'pays for everything' for the couple.
Making light of the claims about Venezuela's millionaire financial status, Noah said: 'I actually pay for everything unfortunately. You'd expect the millionaire to pay for it wouldn't you.'
Venezuela Fury and Noah Price are earning thousands livestreaming their caravan life - after her new groom insisted he pays all the bills and denied he had £5m handout from her dad
The influencer daughter of Tyson and Paris Fury , 16, has become an internet sensation after tying the knot with her husband Noah, 19, earlier this year
Venezuela then asked their fans: 'Do you think I am a millionaire?'
Noah joked: 'She isn't a secret millionaire guys', before she broke into song and sang: 'But I live like a millionaire!'
But it seems according to estimated calculations from their social media work, Noah and Venezuela can more than afford to support themselves.
Noah has been livestreaming on platforms such as Kick and TikTok, where viewers can send paid gifts or donations.
He was previously encouraging viewers to send gifts on his honeymoon during livestreams, suggesting this is one revenue stream.
Both Noah and Venezuela have built substantial followings on Instagram and TikTok. They can potentially earn money through sponsored posts, brand collaborations, affiliate links and creator payouts.
Kick allows its creators to take home 95 per cent of the £4.99 subscription cost that fans pay.
Streamers keep 100 per cent of direct tips and donations, minus minor standard payment processing fees.
It is unclear how many subscribers Noah currently has because this information is hidden, but he does have 7,200 followers which is publicly viewable.
An industry insider has suggested Noah is making around £400 per video on TikTok, while Venezuela is likely to make £2,000 due to her following count of 1.3 million.
An industry insider has suggested Noah is making around £400 per video on TikTok, while Venezuela is likely to make £2,000 due to her following count of 1.3 million
In one video on their honeymoon, Noah asked his followers if they'd give them some more gifts now that they were married.
In a TikTok live viewed by 20,000 he said: 'Keep liking our videos people, keep sending gifts.'
After saying thank you to several of his followers he joked they should stick around on the livestream and 'watch Venezuela punch me in the mouth'.
The other half of the honeymooning couple said: 'I am, honestly!'
Noah previously confirmed that the pair don't share their finances after they were asked whether they have a shared bank account.
'She earns her money, I earn mine,' said Noah, as Venezuela joked: 'Yeah, what you gonna do about it.'
Noah went on to debunk the rumour that Tyson gave him £5million when he tied the knot with his daughter as he insisted: 'No Tyson did not give me £5million'.
Meanwhile Venezuela is being eyed up by executives for a fly on the wall TV series.
Noah went on to debunk the rumour that Tyson gave him £5million when he tied the knot with his daughter as he insisted: 'No Tyson did not give me £5million'
Boasting 1.3 million TikTok followers, Venezuela is already entertaining fans with her honest musings and candid moments, from cooking to kitting out her and Noah's static caravan home.
And following the success of the Netflix series At Home With The Furys, it is no wonder bosses are wanting to draw on the Fury popularity.
A TV insider said: 'The couple are not A-list celebrities but everyone has become obsessed with their love story.
'People are genuinely intrigued by them. Whether it’s the fact they have married so young, Venezuela’s famous family or their gypsy lifestyle, they have the ‘X factor'.
'Several TV executives think a proper fly-on-the-wall series following their lives as newlyweds in the gypsy community would be fascinating,' they told The Sun.
It is thought Netflix would be likely to produce the series due to their already established relationship with the Furys.
Venezuela's representatives told The Daily Mail: 'We have many offers on the table regarding Venezuela which we are discussing.'
