The Super Mario Galaxy Movie "is officially the year's highest-grossing film to date with $629 million at the global box office," reports Variety — and it will likely earn over $1 billion. Project Hail Mary now becomes the year's second highest-grossing movie, with four-week ticket sales over $510, notes The Hollywood Reporter: The two films have helped propel year-to-date revenue to $2.113 billion — the best showing for the first part of the year since before the pandemic in 2019 ($2.619 billion), according to Comscore. And revenue is running 25% ahead of the same corridor last year. Some context from ScreenRant: Even though The Super Mario Galaxy Movie reviews were largely negative, earning it a disappointing 43% score from critics on Rotten Tomatoes, audiences gave it a far superior score of 89% from audiences, making it Verified Hot on the platform's Popcornmeter. This indicates that the movie should continue to climb up the global box office chart thanks to strong word of mouth, even as it trails consistently behind the original 2023 movie in terms of commercial performance. Canadian astronaut Jeremy Hansen called Project Hail Mary "an inspirational example.. We all thought that movie was really uplifting and inspiring." Before the Artemis astronauts launched their mission, Space.com points out "they were treated to a viewing of Amazon MGM Studios' Project Hail Maryto bolster their spirits ahead of their monumental 10-day lunar voyage. " Marking the occasion and providing encouraging words to the three American astronauts and one Canadian astronaut, Ryan Gosling recorded a brief encouraging video for the moon-bound foursome. Today NPR took a spoiler-filled look at the science in the film, asking: Would it be possible for humans to travel to a place as far away as the Tau Ceti star system? It's not possible right now, says Lisa Carnell, division director for NASA'S Biological and Physical Sciences Division. "I don't think we are fully prepared to send humans to Mars, let alone light years away," she says. Given the leaps in technology that humanity has made in just the past century, however, she didn't want to rule it out.... "I believe it's possible [one day]"... The hypothetical study of how humans and extraterrestrials might communicate is a real scientific field, called xenolinguistics, that includes researchers from linguistics, animal communication, and anthropology. Martin Hilpert, a professor of linguistics at the University of Neuchâtel in Switzerland, says the film "gets a lot of things right" for how such an encounter might occur, though it also employs a lot of "happy coincidences" too.

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Hundreds of theatres are now showing a new documentary called The AI Doc: Or How I Became An Apocaloptimist. Variety calls it "playful and heady,"edited "with a spirit of ADHD alertness." The New York Times suggests it "tries to cover so much that it ends up being more confusing than clarifying, but parts are fascinating." But the Los Angeles Times calls it an "aggravating soup of information and opinion that wants to move at the speed of machine thought." So while co-director Daniel Roher asks whether he should bring a child into a world with AI, "Perhaps more urgently, should Roher have made an AI doc that treats us like children?" First, he parades all the safety doomers, seeming to believe their warnings that an unfeeling superintelligence is upon us and we can't trust it. Then, sufficiently disturbed, he hauls in the AI cheerleaders, a suspiciously positive gang who can envision only medical miracles and grindless lives in which we're all full-time artists. Only then, after this simplistic setup where platitudes reign, do we get the section in which the subject is treated like the brave (and grave) new world it is: geopolitically fraught, economically tenuous and a playground for billionaires. Why couldn't the complexity have been the dialogue from the beginning, instead of the play-dumb cartoon "The AI Doc" feels like for so long? Maybe Roher believes this is what our increasingly gullible, truth-challenged citizenry needs from an explanatory doc: a flashy, kindhearted reminder that we're the change we need to be. Read more reactions here and here. Mashable warns the documentary's director "will ultimately craft a journey that feels like a panic attack in real time. In the end, you may not feel better about mankind's chances against the rise of AI. But you'll likely feel less helpless in the future before us all." They also point out that the film "shares some ways its audience can more actively be apart of the conversation, and provides a link to the film's website for engagement," where 6,948 people have now signed up for its newsletter. ("Demand a seat at the table," urges its signup button, under a warning that "Government and AI companies are designing our future without us. We need to reclaim our voice in shaping the future of AI...")

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There's a surprise in a new documentary about that Bigfoot film shot in 1967 by Roger Patterson, reports the Wall Street Journal. Capturing Bigfoot "builds to a big reveal: freshly surfaced film that appears to show a woodsy dress rehearsal for one of the world's most enduring hoaxes." In the new footage — from a Kodak reel dating to 1966 — Patterson's camera tracks a man in costume, his brother-in-law, moving in a similar fashion to the figure in the 1967 shoot, which featured a different location and a bigger man with a more distinctive stride, according to the documentary. The test-run footage "is the work of a director with a vision," says Capturing Bigfoot director Marq Evans. He says the reel was given to him by a colleague at Olympic College in Bremerton, Wash., where Evans runs a documentary film program. The colleague found the film in a safe that belonged to her late father, who worked in a Boeing film lab and could have developed film discreetly. With the long-buried footage in hand, Evans set out to explore the ripple effects from the Bigfoot film. Patterson, who died in 1972, hailed from the same region of Washington as Evans; the documentarian discovered that the hardscrabble cowboy had also been a gifted craftsman and artist. Patterson illustrated a self-published book, "Do Abominable Snowmen of America Really Exist?", and set out to make a wildlife movie that would feature the ultimate trophy footage. He and his collaborators inadvertently helped spawn "this massive culture and industry" around the Bigfoot legend, Evans says... Roger Paterson presented his footage to America in a traveling show that crisscrossed the nation and climaxed with the hyped Bigfoot sequence on screen. The money poured in, leading to resentment among cohorts who felt they'd been shortchanged, none more so than Bob Gimlin, Patterson's wingman in the field during the infamous shoot.. [Roger's son] Clint Patterson says his mother privately confirmed his suspicions that the family's claim to fame was bogus, but he kept quiet to protect their financial stream. About 10 years ago, when he first wanted to go public with the truth, his mother disowned him. Bigfoot was also a recurring character on the 1970s TV show The Six Million Dollar Man. Which kind of puts the whole thing in perspective...

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A Pew Research Center survey found that only 53% of U.S. adults went to a movie theater in the past year, while 7% said they've never seen a movie in a theater at all. "The findings reflected a domestic box office still fighting to regain its footing since the COVID-19 pandemic, when ticket sales collapsed 81% in 2020 due to theater closures," reports Variety. From the report: In 2025, moviegoers in the U.S. and Canada bought 769.2 million tickets, less than half of the all-time peak of roughly 1.6 billion tickets sold in 2002, according to data from Nash Information Services. However, an August 2025 study field by NRG/National Research Group showed that 77% of Americans ages 12-74 went to see at least one movie in a theater in the previous 12 months. Box office revenue peaked at an inflation-adjusted $16.4 billion in 2002, and annual ticket revenue held relatively steady through the 2000s and 2010s before falling to under $3 billion in 2020 when theaters closed for months. Last year, U.S. theaters sold just over $9 billion worth of tickets, per media analytics firm Comscore. The number represents a recovery, but nowhere near a full one, as ticket sales have been lagging around 20% below pre-pandemic levels.

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Warner Bros. is developing a feature film set in the world of Game of Thrones with writer Beau Willimon of Andor and House of Cards. "That's about all we know right now, and as with everything 'Thrones' things could change, but the film is firmly in development," reports TheWrap. Page Six Hollywood was first to break the news and speculated that the story could revolve around Aegon I, the legendary Targaryen king who spawned a dynasty. From the report: The Targaryens have been at the center of all things "Thrones" on HBO, with "Game of Thrones" following Daenerys Targaryen's (Emilia Clarke) quest to usurp the throne, spinoff "House of the Dragon" set in the midst of the Targaryens' reign and recent spinoff "A Knight of the Seven Kingdoms" following the squire-ship of Aegon "Egg" Targaryen towards the end of the family's run atop the Iron Throne. All, of course, based on George R.R. Martin's expansive book universe.

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The Library of Congress has restored Gugusse et l'Automate, an 1897 short by Georges Melies that likely features the first robot ever shown on film. Long thought lost, the reel was discovered in a box of decaying nitrate films donated from a Michigan family collection. NPR reports: The film, which can be viewed on the Library of Congress' website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer. In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, "probably the first instance of a robot ever captured in a moving image." (The word "robot" didn't appear until 1921, when Czech dramatist Karel Capek coined it in his science fiction play R.U.R..) "Today, many of us are worried about AI and robots," said archivist and filmmaker Rick Prelinger, in an email to NPR. "Well, people were thinking about robots in 1897. Very little is new."

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Paramount Skydance plans to combine HBO Max and Paramount+ into a single streaming platform following its acquisition of Warner Bros. Discovery. "As we said, we do plan to put the two services together, which today gives us a little over 200 million direct-to-consumer subscribers," said David Ellison, the company's CEO. "We think that really positions us to compete with the leaders in the space." The deal still needs regulatory approval. The Washington Post reports: He added that Paramount didn't want to make changes to the HBO brand. "Our viewpoint is HBO should stay HBO," Ellison said, noting that his favorite HBO product is "Game of Thrones." If Justice Department regulators allow the deal to go through, it would place recent HBO Max hits, such as "The Pitt" and "A Knight of the Seven Kingdoms," alongside Paramount offerings including "South Park" and "Yellowstone." "They built a phenomenal brand," he said. "They are a leader in the space, and we just want them to continue doing more of it." The deal to buy Warner Bros., valued at about $110 billion, will almost surely attract regulatory scrutiny from the Justice Department because -- without divestments -- it places major swaths of the film, television and news industries under one roof: Warner Bros. and Paramount studios, HBO Max and Paramount+, and CBS and CNN would all have the same parent company. Ellison expressed confidence on the call that the deal wouldn't face hurdles with regulators.

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DVD and Blu-ray sales have been in freefall for years, but the decline is slowing considerably as Gen Z buyers turn to physical media and drive a measurable uptick at video rental stores and retailers across the U.S. Overall disc sales fell just 9% last year after dropping more than 20% in both 2023 and 2024, according to the Digital Entertainment Group, and U.S. consumers spent 12% more on 4K UHD Blu-rays in 2025 than the prior year. The Criterion Collection, a leading boutique Blu-ray label, confirmed significant year-over-year sales increases that its president credits to younger customers. Vidiots, a video store in Los Angeles, averaged 170 rentals a day in January 2026 -- its biggest month ever -- after loaning about 22,000 discs total in 2023 and roughly 50,000 in 2024. Barnes & Noble reported DVD and Blu-ray sales growth of "mid-double digits" over the past year.

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