Inverse shares a movie success story from last weekend: Coyote vs. Acme debuted to $15.9 million at the box office, beating out iconic director Ridley Scott's latest sci-fi adventure, The Dog Stars. This success has only continued since, and the worldwide box office currently sits above $22 million. Strong reviews and word-of-mouth are sure to keep viewers coming in, especially during the holiday weekend. What's impressive is Coyote vs. Acme had a limited marketing campaign that includes viral stunts. They photographed the movie's world premiere with a vintage Tasmanian Devil polaroid camera, and launched a phone number for the law firm suing Acme. ("If you've been injured by an enormous rubber band, press 7. If you've been injured by painted train tunnel that suddenly sprang to life, press 8...") And Cartoon Brew reports that Wednesday "the famously silent Looney Tunes star participated in an AMA on Reddit's r/movies, answering questions about his career, his relationship with the Road Runner, and the Warner Bros. executive who nearly prevented audiences from seeing his latest movie." In keeping with tradition, Wile E. delivered his responses through images of himself holding signs. The format produced several interesting and occasionally thought-provoking exchanges, but one obvious highlight came when a user asked: "Rumor has it that David Zaslav was paid off by ACME to cancel your film; what is your opinion on this?" Wile E.'s response was an image of the coyote glaring at the camera while holding a sign that read, "It's a limited number of signs," pulled from a scene in the film when Mr. Coyote first meets his eventual attorney Kevin Avery, played by Will Forte. Meanwhile, Boing Boing cites local news reports that a Southern California bird watcher Alexander DeBarros has actually captured a photo of a coyote holding a roadrunner bird in its mouth: In an incredible coincidence that is a movie publicist's dream, he snapped the rare, possibly unprecedented, photo on the opening weekend of the movie Acme vs. Coyote... In an even more incredible coincidence, DeBarros's father, Brian Mainolfi, is an animator whose first job in the field was working for Chuck Jones, the creator and director of the Roadrunner cartoon series. Cartoon Brew notes a Reddit user specifically asked the Coyote for his reaction to the news. Wile E. responded with some unexpectedly healthy advice: "We cannot judge our worth on the work of others." Aftermath calls the movie "a well made, deeply funny movie that pays a deep respect to the Looney Tunes in a way that Warner Brothers currently seems uninterested in doing."

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The Los Angeles Times first calls Ridley Scott's newest movie "a postapocalyptic thriller that trades zombies for pandemics and asks whether hope can outlast catastrophe." But besides The Dog Stars, Scott is also working on an adaptation of Robert Louis Stevenson's "Treasure Island" starring Hugh Jackman, and is thinking about turning one of his past films into a musical. ("I can't tell you which one because they're being difficult.") The common theme, they suggest, is a director who allows his stories to "speak through evocative, immersive images rather than unnecessary exposition." The British director says it's because he got his start in advertising after attending the Royal College of Art in London. After 1982's neon-coated sci-fi thriller "Blade Runner," Scott notably made the iconic Apple Macintosh computer ad "1984," a memorable Orwellian-themed clip that contained suggestions of the dystopias that would continue to fascinate Scott in his filmmaking. "Advertising in England at that point became a competitive art form," he says, pointing to the notorious "Adland Five," a group of directors that included Hugh Hudson, Adrian Lyne, Alan Parker, Scott and his brother Tony. "I've got a show reel which is 50 years old which would entertain the s — out you. Hasn't aged at all. Our visual drive changed the face of how films looked." That's apparent in Scott's latest, "The Dog Stars" (in theaters Friday), a film about survival after the end of the world. It's based on Peter Heller's 2012 novel and set in Colorado 10 years in the future after an aggressive flu has decimated much of the population. Those remaining alive use any means necessary to stay that way, resulting in instability, brutality and, more hopefully, connection... These days, Scott develops movies with his production company, Scott Free, which he founded with his late brother Tony in 1995. Before that he says he struggled to find good scripts. And rarely has someone handed one to him. "I've only ever had three films land on my desk," he says. "One was 'Alien,' which I was fifth choice for after Robert Altman." He makes a face. "Can you imagine offering Robert Altman 'Alien'? How stupid can you get?" Another was 2015 space adventure "The Martian," which Scott says had been sitting on a shelf for two years before it was sent to him. Scott's grounded, semi-comedic take on Andy Weir's novel resulted in seven Oscar nominations. The third screenplay to materialize was "The Dog Stars." "I read it and I was blown away," Scott says. Deadline notes that Scott is already re-writing the third prequel to Alien, citing Scott's comments to French outlet AlloCiné. "The one that just came out [2024's Alien: Romulus] was OK. I think it needs some help. So, I've gone back in." Scott continued, "I've already got a footprint for the next Alien.... I'm picking up where we left off in Covenant with Micheal Fassbender, who now thinks he's Ozymandius." With the sequel bringing back Fassbender's futuristic AI droid, Scott sees an opportunity to explore the repercussions of artificial intelligence in our current world. "I like the fact that AI has gone off the rails," said Scott of where the character is at the end of Covenant. "If we go AI, the moment we discover it's off the rails is too late. It could switch every digital thing off in the world like that. You'd have fucking chaos. It's that kind of stuff that's scary." Scott tells the Los Angeles Times that the malfunctioning AI character fascinates him, and in the movie will be creating a "brave new world for himself... AIs can go off. And if they do, it's like a bomb..." So far, Scott says he hasn't implemented AI technologies into his filmmaking. He holds up his "Treasure Island" Ridleygrams [hand-drawn storyboards] and shakes them at the camera. "I can compete with an AI without any problem making images," he says. "But it's coming, inevitably." Scott was not involved in the forthcoming Prime Video series "Blade Runner 2099," out in November. "I can't blame my lawyers and my agents at that time, but somehow we let 'Blade Runner' go," he says. "And when you're not the author of the actual written word, you don't have a piece." (He was more involved in Noah Hawley's recent "Alien: Earth" series, which he calls "pretty damn good....") Does that mean he thinks about his legacy as a filmmaker? He does, but not often. "When you think of your legacy, you're too near the end," Scott says. "I'm not near the end." He looks up from his drawings. "I've had a riotous time," he says. He corrects himself: "I'm having a riotous time."

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Paramount is making commitments to major theater chains to release 30 films annually for three years if its Warner Bros. deal goes through. According to Deadline, the written commitment was sent to "at least one of the top two circuits" (specifically Regal but AMC may have also received a written commitment) and includes "an exclusive 45-day theatrical window and a 90-day window to streaming." From the report: When it comes to the big chains, it matters for them to be on the right side of history with Paramount, especially when it comes to future terms on a 30-film slate. However, the rest of Cinema United (formerly National Association of Theatre Owners) remains firmly against the Paramount-Warner Bros merger and its potential negative financial outcomes in regards to long-term box office, feature film output and loss of jobs. Cinema United has been trying to meet again with Paramount CEO David Ellison, but there's nothing on the books yet, we understand. [Regal boss Eduardo Acuna] told Deadline that in regards to Paramount's future promise to exhibition, "[Paramount CEO] David [Ellison] is sincere in making these commitments, and he has offered to execute a consent decree to the state AGs to that effect. These are tangible and important commitments that will benefit the industry and which can be measured." Paramount insiders tell us that no written commitments have been given to exhibitors yet, but Ellison is willing to make non-bespoke ones to any theater chain wanting them. And such deals will come with financial penalties to Paramount should it break such agreements with theaters. Again, this is all about Ellison standing behind his promises made at CinemaCon to maintain a hefty theatrical output and excellent windows to theaters.

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Even as Hollywood performers protest and Hollywood studios sue "in their war on AI," reports the Los Angeles Times, "the entertainment industry is deepening its dependence on it." Among hundreds of job postings in late June, more than one in 10 was likely connected to AI. The top studios' public postings suggest they have been recruiting people to build AI tools. They are also recruiting teams to defend their intellectual property against unauthorized AI use. "There are plenty of studios that are hiring [for AI] but never talk about it in public," said Yoland Yan, a co-founder of ComfyUI, a company that helps studios juggle different AI tools. Companies have been hesitant to detail how they use generative AI in film production — partly because they are concerned about consumer and union backlash. Some in Hollywood described AI use as the new cosmetic surgery, where everyone knows it is happening, but few will admit to it... Although some companies may be shy about sharing their AI plans, big stars who don't have to answer to others have been more open about their embrace of the new technology for storytelling. Rejecting AI is like picking a horse and buggy over a car, said "Star Wars" creator George Lucas. "Artificial intelligence means it's much easier for us to make movies," he told a trade magazine earlier this year. "There's nothing you can do about it. That's progress. It's the future." Some in Hollywood have a softer stance on artificial intelligence, with studios cutting deals with AI companies, and filmmakers like Martin Scorsese backing AI companies. Ben Affleck launched an AI film tech company then sold it to Netflix for half a billion dollars. When launching InterPositive, Affleck said he wanted to keep "storytelling human" by building AI tools that could fix lighting, generate missing shots and other things while "keeping creative decisions in the hands of artists...." Disney, Netflix and Amazon had job postings that were about using AI on the creative side of the business. Universal, Paramount, Warner Bros. and Sony had job ads suggesting they were also using AI but for marketing, distribution and audience analytics. The postings suggest the Disney, Netflix and Amazon studios are building repeatable AI workflows for visual effects, animation, sound and dubbing. The companies also seem to be building in-house teams to develop custom generative-AI models, while also using third-party software. None of the jobs advertised were to create AI that wrote scripts or created AI actors. Ironically, the Times used Claude Code to build a scraper to identify the job postings, their article acknowledges. Three Disney jobs were for "content security," assessing AI tools and guarding against piracy, watermarking and rights-protection work. But Disney is also hiring PhD-level talent "to study 'computer graphics and AI' for Pixar and Disney films," according to the article, and "people to 'bridge the gap between research and practical studio application.'" Disney-owned visual effects shops Industrial Light & Magic "was searching for supervisors to 'explore emerging technologies (including AI/Machine Learning)' to develop new production workflows." Audio post-production unit Skywalker Sound "seemed to be recruiting to build proprietary AI models for soundtracks, voice separation, and voice transfer, the process of taking a speaker's tone and pitch, and applying it to new content." Amazon "was hiring a principal AI executive to drive AI-tool adoption across production, plus roles in operations automation and LLM content classification."

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A production company and filmmaker are suing Netflix for $105 million, alleging the streamer lost a stolen drive containing an unencrypted master copy of the unreleased Nicolas Cage film Fortitude, which they claim damage its exclusivity and market value. Netflix denied responsibility for the lost film but said it takes content security seriously and has offered to monitor piracy sites for unauthorized copies. CBS News reports: The complaint filed on Wednesday in California district court alleges that the film's associate producer, Daniel Haido, hand-delivered an unencrypted master copy of the film to Netflix so the company could screen it as a potential buyer. Haido verbally instructed the employee to delete the files after the screening, according to the suit. A little over a week after the screening, Netflix emailed the filmmakers to say the drive had been stolen, the plaintiffs allege. "Someone stole a good amount of drives from our office desks this past week," a Netflix executive wrote in the email, according to the suit. The complaint notes the movie, entitled "Fortitude," took over seven years to make and cost $45 million. It tells the story of a secret mission called Operation Fortitude during World War II that was orchestrated to mislead the Nazis about the Allied invasion of Europe. The film stars Nicolas Cage as Dusko Popov, a real-life spy during World War II, as well as Sir Ben Kingsley and Ron Perlman. The plaintiffs said studios will now be dissuaded from buying the rights to the movie, knowing that a version of it could be released by a third party for free. "The film's value depended in significant part on its exclusivity as an unreleased, first-to-market work," the complaint states. "By losing control of the film, Netflix destroyed that exclusivity and materially, if not completely, impaired the film's marketability."

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Variety reports: "The Odyssey" leaks have begun, as a high-quality bootleg of the film reached millions of people on X thanks to a viral tweet on July 25. At 2:25 p.m. PT, a post on X reading "Someone uploaded 'The Odyssey' full movie on X. Can you believe it?" amplified a message from a now-suspended account. The message included a high-quality version of the film, as confirmed by Variety, and climbed to over 2.1 million views within two and a half hours. By that time, the streaming film was replaced by a takedown notice, and then the account was suspended... As of July 26, a few clones of the bootlegged film are available on X, but they've been mostly flooded away by mislabeled files promising "The Odyssey" but actually showing a Rickroll, the longtime internet prank of tricking people into watching the music video for Rick Astley's 1987 song "Never Gonna Give You Up." The article notes the leak "certainly doesn't seem to have hurt the film's still-surging box office in its second weekend, during which it earned another $87 million," or lessened demand for Imax 70 mm tickets.

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Big news from Comic-Con 2026: "Coyote vs. ACME" debuted its long-awaited final trailer. CNET calls it "an animation-meets-live-action story," with the Coyote catapulting into theaters this August 28. (The film began development back in 2018, but was shelved for a tax write-off in 2023 by Warner Bros. until a backlash led to its sale to Ketchup Entertainment.) "Fed up with Acme's unreliable products, Wile E. Coyote decides to hire a lawyer and sue the company..." writes CNET. "The movie also features Lana Condor along with a host of Looney Tunes characters like Porky Pig, Tweety, Foghorn Leghorn and Granny (who gets dinged by an anvil)." In other movie news, CNET says Johnny Depp also "made a surprise appearance at Comic-Con, donning a costume as Ebenezer Scrooge" to promote his November 13 movie about the miser from Charles Dickens' famous Christmas novella. (Ian McKellen and Daisy Ridley are also in the movie.) But several geek favorites are being filmed as TV series... There's big news for William Gibson fans, reports Entertainment Weekly. "Two years after Apple TV announced production on the first-ever series adaptation of William Gibson's seminal 1984 novel Neuromancer, the lucky few hundred who attended the studio's Hall H panel at Comic-Con 2026 got to watch the first teaser. For Amazon's Prime Video, the Tolkien-derived "Rings of Power" series released a season 3 trailer that CNET said "successfully hides the best parts with fire... The trailer suggests that Sauron is building an army, and all of Middle-earth is trying to find ways to stop him... Rings of Power season 3 will start dropping weekly episodes on Nov. 11, meaning this show will be airing at the same time the Peter Jackson films will be celebrating their 25th anniversary." Later in November Amazon's Prime Video will also debut Blade Runner 2099, an eight-episode series that's a sequel to 2017's film Blade Runner 2049, reports CNET. "Set in an alternate version of LA where replicants run things and the humans play second fiddle, the series sees Yeoh's replicant Olwen chasing down outlaw replicants who've gone missing. With her own shelf life on a ticking clock, the stakes are high for her and for her human fugitive partner, Cora..." Paramount Plus will debut Avatar: Seven Havens in October, a new animated series from the creators of Avatar: The Last Airbender which CNET says "follows a pair of twin avatars, one of whom is Korra's successor." Disney+ has season 3 of Percy Jackson and the Olympians. Kevin Feige said Marvel's television slate will include more seasons of "X-Men '97" and the upcoming "VisionQuest" TV series. HBO Max will launch a new Green Lantern series called Lanterns on August 16.

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James Cameron filmed his Avatar sequels there. Marvel filmed Thor, Iron Man 2, and The Avengers. Manhattan Beach Studios in Los Angeles even handled Star Wars' series like Obi-Wan Kenobi and The Mandalorian, which Bloomberg points out is about "a heavily armed bounty hunter in a galaxy far, far away." "Now lenders who are selling the property's $240 million mortgage are promoting the site to potential buyers as a hub for making real space-age weapons." "The project is strategically positioned within Los Angeles' prominent aerospace and innovation corridor, anchored by industry leaders such as Northrop Grumman, Raytheon Technologies and SpaceX," said Cushman & Wakefield, which has the listing. "A supply-demand imbalance has emerged, driven by the growing concentration of advanced manufacturing users and a limited supply of viable space," the real estate brokerage said in a presentation. Bids are due July 28. The marketing pitch reflects Southern California's shifting economic landscape as the movie business slumps and weapons makers seek to cash in on surging Pentagon spending... The defense boom is spurring the revival of a regional industry that once churned out World War II bombers, supersonic Cold War planes and Apollo command and service modules before shrinking after the fall of the Soviet Union... In the Los Angeles area, aerospace and defense-related tenants have accounted for 11% of new industrial real estate leases since the start of 2025, up from an annual average 2% during the preceding decade, according to a report this month by brokerage Newmark Group Inc. Los Angeles "has always gone through transformations," Stephen Cheung, president of the Los Angeles County Economic Development Corp., told Bloomberg. "This is one of those."

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