Universal and Amblin‘s Steven Spielberg alien sci-fi movie, Disclosure Day, is posting a significantly better than expected global start of $93.9M. Originally, the movie, which is a throwback to 1970s movies like Parallex View, was eyeing a low $65M.
Overseas is overindexing with $49.9M in addition to $44M from North America where the Emily Blunt, Colman Domingo, Josh O’Connor and Colin Firth ensemble has a B Cinemscore.
Broken out, here’s how it’s doing, the pic being No. 1 everywhere listed below except Germany where it’s No. 2
The UK & Ireland added $1.6M on Friday, taking the 3-day total to $3.8M. The Friday result is in line with Project Hail Mary, +57% above Amblin’s Twisters, and more than double Arrival. The BFI Imax remained the top site for a third straight day, with main evening shows largely sold out. Imax B.O. is repping 11% of the pic’s business with the BFI accounting for 20%. Odeon is the No.1 circuit for the film, although luxury chain Everyman jumped 2 pts on Friday, a sign that older audiences were heading out and seeking a more premium experience on Friday night. The weekend is on track for $7.3M, excluding previews this is in line with Ready Player One, above Tenet (+16%), Twisters (+23%), Arrival (+49%), and One Battle After Another (+54%).
France added $500K on Friday, taking the 3-day total to $1.5M; the pic repping a 22% share with the best average per screen, with more than double the admissions of second-placed local blockbuster De Gaulle Part 1. PLFs are repiping 8% of ticket sales, 5% coming from Imax. The weekend is on track for $3.7M, above Blade Runner 2049 (+9%), One Battle After Another (+28%), Twisters (+92%), Project Hail Mary (+58%), and more than double Arrival.
Mexico saw $740K on Friday to take the 3-day total to $1.6M. The Spielberg pic reps 31% of the overall weekend B.O. — and that’s with World Cup screenings. Weekend outlook is $3.5M in line with Ready Player One and Twisters, above Project Hail Mary (+7%), Interstellar (+21%), more than double One Battle After Another, and more than 3x Arrival.
Australia saw $2.1M across four days, including an early estimate of $1M for Saturday. The pics commanding 26% of the weekend B.O. Imax reps 9% of ticket sales for a weekend that should come in just under $3M, in line with Ready Player One and Twisters, above Arrival (+70%) and double One Battle After Another.
Spain‘s Friday was $800K with the pic accounting for close to half of the B.O. yesterday. Imax reps 4% with a weekend forecast of $2.8M. The opening day is more than 3x Twisters and One Battle After Another, more than double Arrival, as well as topping Project Hail Mary (+31%) and Tenet (+29%).
Brazil saw $700K from 972 screens for a 3-day total of $1.5M, accounting for 32% of total business in the market. Imax is pulling in 5% of that from 12 screens with 20% coming from PLF screens. The weekend is looking like $2.7M, above all key comps including Ready Player One (+61%), Project Hail Mary (+73%), more than double Twisters and Interstellar, and more than 3x One Battle After Another.
Italy added $400K on Friday, taking the 3-day total to $992K for an overall weekend outlook of $2.2M. Disclosure Day is the clear top pic in the market with a strong 39% of total business, and the highest average per screen, growing +48% from Thursday. Imax is driving close to 4% of business from seven sites. The weekend, excluding Wednesdays previews this is just off Ready Player One (-14%), above Project Hail Mary (+24%), One Battle After Another (+38%), Arrival (+39%), and more than double Twisters.
Germany grossed $500K on Friday with the 3-day rising to $1M. Disclosure Day claimed a market share of 14.5% on Friday, ranking No.2 behind Scary Movie. Imax is repping 8.2%, 70MM close to 2%. This result excluding previews is in line with One Battle After Another, above Arrival (+18%), and Twisters (+80%).
Hong Kong has grossed a half a million across the first three days with Disclosure Day commanding 40% of the overall territory weekend’s business. The opening is looking like $1M, excluding previews this is above Arrival (+38%), Twisters (+47%), Project Hail Mary (+60%), and more than 3x One Battle After Another.
Netherlands minted $500K across its first three days with Friday adding $212K as Universal’s highest day to-date, accounting for 22% of the market. Imax was strong at 19% and Dolby Cinema doing another 8%. The weekend is on track for $0.9M, excluding previews this is in line with Project Hail Mary, One Battle After Another, and Interstellar, above Twisters (+60%), and more than 3x Arrival.

Hugh Jackman appears ready to move beyond the drama with his ex-wife, Deborra-Lee Furness. In a June 2026 report from Globe, a source revealed that the Death of Robin Hood actor is setting his sights on working with someone Deb banned him from working with during their marriage: Angelina Jolie.
“It’s no secret in his world that he has wanted to team up with her on a major project for years and generally speaking, Hollywood has been welcome to the idea,” a source told the outlet. “There have been a few attempts to put them in the same film [but] it just never quite came together.”
Jackman and Jolie nearly co-starred in both the 2004 action horror movie Van Helsing and Christopher Nolan’s The Prestige, but things didn’t work out. “Angelina did consider joining that cast at one point before her schedule and her new relationship with Brad Pitt made it impossible,” the source explained, adding that Deb also played a role in the two not working together.
In a 2015 interview with Australia’s Today (per E! News), Deb spoke about her relationship with Jackman. When asked about the secret to their romance, Deb joked, “I’ve told his agent he’s not allowed to work with Angelina [Jolie].” She quickly added, “I’m sure she’s lovely.”
Related: Hugh Jackman & Sutton Foster’s Engagement Plan Gets Devastating Update as Ex-Wife Drama & Affair Rumors Reportedly ‘Take a Toll’ on the ‘Hated’ Actress
Since he and Deb called it quits in 2023, Jackman has actively been looking for “something for him and Angie to do together” because, according to him, they are “so overdue for a significant team-up.”
Meanwhile, Jackman’s new girlfriend, actress Sutton Foster, is also hoping to work with him. An insider told Globe she’s “still patiently waiting for the chance to make a blockbuster movie,” but Jackman reportedly doubts a film starring the two of them would be both a critical success and a box office hit.
“As much as Hugh believes he and Angie would have incredibly physical chemistry in an action movie together, he’s also always keeping the box office at [the] top of mind,” the source explained. “And when it comes to selling tickets, a movie starring him and Sutton just isn’t going to fly.”
They continued, “You have to feel for Sutton in this situation.”

Russell Crowe has suggested Ridley Scott’s Gladiator II failed to ignite audiences in the same way as the original film because it lacked a “moral core”.
He recalled how he had pushed back against studio moves to give his Gladiator character Maximus sex scenes back in 2000, in his belief that it would not chime with a man grieving the death of his wife.
“I just kept pushing back,” he recounted. “I said, ‘This is a story about a man who’s avenging the death of his wife and his child. There cannot be a moment on that journey where he stops and has sex with somebody. It doesn’t make any sense… that destroys the journey’.”
“They fought me, they sent me letters about it and everything, and I just stuck to my guns. Luckily for me, Ridley, even though he would have loved to write a sex scene with me and Connie Nielsen, he agreed with me back then, and that that was the moral core of the film.”
“We were shooting for something really, really old fashioned and the studio kind of, at the time, didn’t quite understand why,” he continued.
Crowe said he had been vindicated by the fact that when the film came out there were more women in theatres than men.
“On the surface, Gladiator is a movie for men but if it was a movie for men, it would be about revenge. But it’s not about revenge. It’s a movie for women because it’s about vengeance and this is a subtle difference, but it is a difference.I needed the character to stay on that track,” he said.
“So for them, in a second movie to destroy that moral centre, it’s very interesting because the second movie barely took the same box office that the first movie took but that’s 20 years later, and when you apply how much of a change there’s been on the value of a dollar, they failed, and they failed because they didn’t understand why it was successful, because it had a moral core.”
Crowe was speaking at the Taormina Film Festival where he will receive an International Achievement Award on Saturday evening ahead of the world premiere of Derrick Borte’s action thriller Bear Country.
The film stars Crowe as an ageing club owner whose dreams of selling-up and retiring are scuppered when an masked robber cleans out the business. With cartel bosses breathing down his neck and a young upstart eager to purchase the club he needs to act fast.
Crowe previously worked with Borte on the 2020 road rage thriller Unhinged.
Co-stars Nina Dobrev and Aaron Paul have joined Crowe and Borte at the festival, with producers Mark Fasano and Jeffrey Greenstein also in town.
The open air screening for some 4,500 spectators will kick-off a summer preview tour across Italy for the film ahead of an August 26 release by 01 Distribution on behalf of Minerva Pictures with Rai Cinema.

Last year, The Studio dominated the comedy race at the Emmys, barnstorming every major category to the tune of a record-setting 23 nominations and 13 wins. With season two taking its time getting on the air, the field of potential Best Comedy nominees this year was looking rather stale — until Widow’s Bay premiered. The New England–set Apple TV series from creator Katie Dippold made landfall at the end of April to great reviews (97 percent fresh at Rotten Tomatoes) and the kind of word-of-mouth enthusiasm that is increasingly rare in an overstuffed TV landscape; Apple is happy enough that it just announced a season-two pickup. At a time when Hacks’s final season seems all but destined to receive a farewell Emmy in this category, with rivals like The Bear, Abbott Elementary, and Only Murders in the Building feeling too familiar to truly rock the boat, could a comedy-horror hybrid be the thing that actually jolts the race?
Widow’s Bay concerns a fictional island town in New England whose mayor, Tom (Matthew Rhys), is sweating to get the same tourism dollars those fancier, think-they’re-so-great places like Martha’s Vineyard get. Only Martha’s Vineyard doesn’t have to deal with persistent rumors that it’s haunted by a centuries-old curse. A mainlander by birth, Tom is initially skeptical of the local lore until weird things start happening to him. Repeatedly. Widow’s Bay manages to scratch the same itch as recent idiosyncratic horror offerings like Evil and Castle Rock, municipal comedies like Parks and Recreation, and quaint small-town BritBox mysteries. Cross Mike Flanagan’s Midnight Mass with Mrs. Hatt and you’ve got it. A recent episode featuring Kate O’Flynn’s socially awkward mayoral aide Patricia running for her life from a Michael Myers–style killer is made no less thrilling by the fact that O’Flynn figured out the single funniest running form I have ever seen. The comedy of that isn’t undermined by the terror of Patricia’s plight; it’s enhanced by it.
“The genre mix is what is helping this achieve breakout status in my world,” one Emmys voter who works in production and development told me. They said they were recommended the show by a mix of friends and industry connections, plus the “insanely positive reviews.” Oscar-winning director Guillermo del Toro tweeted his praise for Widow’s Bay, calling it the best streaming series he’d seen in a long time and “one of the most mesmerizing acts of narrative prestidigitation in Horror.” Polygon called the episode featuring Patricia’s aforementioned gumby-legged chase scene the best slasher (film or TV) in nearly a decade. Jeff Hiller, the Somebody Somewhere Emmy winner who plays mayoral staffer Dale, says he’s seeing the show’s popularity reflected in public, too. “I am occasionally stopped on the street for Somebody Somewhere, but it’s inconsistent. Not so with Widow’s Bay,” he told me this week. “People are stopping me constantly — occasionally even in the changing room at Nordstrom Rack.”
Hiller compared it to his experience when he guest-starred on Pluribus, another Apple TV Emmy hopeful from earlier this year. “When a show has lore like this,” he says, “people become so passionately invested. They like to ask questions and share their theories.” But while Pluribus still feels like a homework show, where you have to listen to post-episode podcasts and read recaps to make sure you didn’t miss anything, Widow’s Bay is much easier to experience in the realm of pure pleasure. In recommending it to my in-laws or phlebotomist (the two classes of people I find myself recommending TV shows to most often), I don’t feel like I’m handing out a multilevel assignment.
The top-line talent on Widow’s Bay also offer compelling cases for Emmys attention. Dippold brings to the show a great comedic pedigree, having written the script for the Melissa McCarthy–Paul Feig collab The Heat and contributed uncredited punch-up work on their follow-up film, Spy (though you may know her best as the author and subject of the greatest Halloween tweet of all time). And then there’s Matthew Rhys, who plays the mayor of Widow’s Bay, desperate to promote his island town’s tourist appeal while masking the rising terror that all the stories told about the island are true. The New York Times review declared Rhys’s performance his best since The Americans, and considering he won the Emmy for that series in 2018, that’s the kind of praise that will make voters sit up and listen.
Aside from being an Outstanding Actor in a Comedy hopeful for Widow’s Bay, Rhys — a five-time Emmy nominee all told — is also in contention in the Limited/Anthology category this year for playing a suspected murderer next door on Netflix’s The Beast in Me. The two roles underline the actor’s formidable versatility, all skittish panic in the former and arrogant sociopathy in the other. His marriage to his Americans co-star and likely 2026 Emmy nominee Keri Russell (The Diplomat) has “First Couple of American television” vibes. With last year’s Lead Actor in a Comedy winner, Seth Rogen, out of the race, Rhys’s top competition includes Jason Segel (Shrinking), Martin Short and Steve Martin (Only Murders in the Building), Jeremy Allen White (The Bear), Adam Brody (Nobody Wants This), and probably Steve Carell (Rooster). The Bear has been on a downward Emmys trajectory for two years, and both Nobody Wants This and Only Murders delivered buzzless seasons this year. There is absolutely room for Rhys to sneak in.
Meanwhile, Hamish Linklater and three-time Emmy nominee Betty Gilpin — who are at the center of the season’s big flashback episode — could easily find themselves in the mix for Guest Actor and Guest Actress in a Comedy, respectively. But the real cause célèbre among the show’s cast is Kate O’Flynn, an English actress from the Mike Leigh company of performers who was already stealing scenes even before her character’s spotlight episode (“Beach Reads”) unlocked a level of dark pathos for Patricia. “In a community overflowing with crusty weirdos,” my colleague Nicholas Quah put it in our Don’t Not Consider List two weeks ago, “Kate O’Flynn’s Patricia emerges as the undeniable standout.”
Behind the camera, Widow’s Bay also offers a strong case. Its horror elements provide the first season’s excellent roster of directors — including nine-time Emmy nominee Hiro Murai as well as filmmakers Ti West (Pearl) and Andrew DeYoung (Friendship) — ample opportunity to show off, while the unflagging comedic sensibility is a testament to the show’s writing. Even though 2025 writing/directing nominees Hacks, Abbott, and The Bear should all draw plenty of support once again, both the Writing for a Comedy and Directing for a Comedy categories have recognized at least one first-year show in 11 of the last 12 years.
With everything Widow’s Bay has going for it as an awards contender, this is still a show that wasn’t on anyone’s Emmys radar as of two months ago. Folks who follow the Oscars race have gotten used to the idea that studios save their big contenders for the end of the year, but the Emmys could never operate like that due to the strictures of the TV schedule: TV seasons mostly premiered in September, a handful of shows made mid-season debuts, and the big season-finale events all hit in May. Now that TV has become completely unmoored from the old release schedule, the release calendar is starting to look more like the Oscars, with many of the year’s prestige offerings choosing to wait until the season is nearly over to debut. The sweet spot for Emmys contenders seems to run from mid-March to mid-April; that’s the window that saw the premieres of past Comedy Series winners The Studio, Veep, and The Marvelous Mrs. Maisel, along with nominees Barry, Silicon Valley, Jury Duty, and Palm Royale. But an April 29 debut seems to be daring the Emmys voters to run out of time before they could fire up those Widow’s Bay screeners. Since 2009, when the Outstanding Comedy Series category expanded past five nominees, only one freshman series has premiered later than April 29 and scored an Outstanding Comedy Series nomination, and that was Hacks in 2021.
Widow’s Bay is also facing internal competition from fellow Apple TV series Shrinking (a 2025 nominee) and Margot’s Got Money Troubles. The latter show features bona fide movie stars Michelle Pfeiffer and Elle Fanning, plus a plot — single mom starts an OnlyFans to make ends meet — that fits right in with the 21st-century trend of comedies that play like dramas. Vulture’s review of the show’s South by Southwest premiere basically called Margot’s Emmy nominations locked. And while everyone I’ve talked to seems to think Widow’s Bay’s horror-comedy mix helps it stand out from the crowd, the reality is that horror-comedy has historically been a tough sell for the Emmys. Recent successes by Wednesday and especially What We Do in the Shadows gives some hope, but they’re outbalanced on the ledger by snubbed shows like Los Espookys, Santa Clarita Diet, Swarm, and even the comparatively un-scary Ghosts.
But as skittish as Emmys voters can be about horror, they also respond to popularity, and from what I’m hearing, Widow’s Bay’s popularity is real. It’s currently the No. 1 show on Apple TV’s “Most Popular Now” page, ahead of the star-studded new Cape Fear series and the aforementioned Shrinking and Margot’s Got Money Troubles, among others. That makes it easier to believe when, for example, The Guardian calls the show “the biggest word of mouth hit that television has had in years.” Meanwhile, the all-important industry buzz seems to be coalescing around Widow’s Bay too: One awards insider in L.A. told me they spoke to two showrunners on rival shows who both loved it.
“The word of mouth is mouthing,” said the Emmys voter I spoke to earlier. Now it’s a matter of whether the Emmys voters will be voting.

Gene Shalit, a movie critic and arts reporter for the “Today” show over four decades who was known for his puffy hair, oversized handlebar mustache and affection for groan-inducing puns, has died. He was 100.
Shalit’s family announced the death Friday to NBC News, saying in a statement that he “passed away peacefully today after 100 years of an amazing life.”
Shalit joined “Today” as a contributor in 1970 and became arts editor in 1973, later settling in for his segment, “Critic’s Corner.” When he left the show in 2010, he was one of the last high-profile film critics on a major network.
“What resonated above his unusual appearance was his incredible wit, his remarkable intelligence. But he didn’t pound you over the head with it. He amused you. He enlightened and amused whatever subject he was on,” Guy Ludwig, Shalit’s producer for more than 20 years, wrote in an essay at the time of Shalit’s retirement.
It was no coincidence that Chicago critics Roger Ebert and Gene Siskel’s local “thumbs-up, thumbs-down” movie-review program, “Sneak Previews,” went national on PBS in the late 1970s and that “Today” show’s ABC rival, “Good Morning America,” hired Joel Siegel to be its movie critic in 1981.
“Shalit was instrumental in changing the balance of critical power in America. When he began his ‘Today’ tenure, newspapers and magazines were the primary sources for movie reviews. That’s where cinematic opinion was sparked and shaped,” The Plain Dealer wrote in 2010, calling Shalit “Daniel Boone in a bow tie and Groucho glasses.”
Magazine work led to NBC offer
Shalit started as an entertainment columnist for McCall’s magazine, eventually becoming senior film critic for Look magazine in 1968 and writing for Ladies’ Home Journal. His popularity in magazines led to an offer from NBC.
“No one at NBC had seen him. They’d only read his stuff. So he walked into this executive’s office and the executive took one look at him and said, ‘Mr. Shalit, have you ever thought of radio?’” wrote Ludwig. “They didn’t know how the public would react to someone who looked so different from people who were typically on TV in 1967.”
On the air, Shalit was a middle-of-the-road critic. Of 1986’s classic “Stand By Me,” he said it was different from other movies about youth “because of instead of grossing you out, ‘Stand by You’ is engrossing.”
“Many critics will give so much of the plot of a movie away that they destroy the movie for the viewer. … I just don’t give away the story,” he told The Associated Press in 1993.
Highlights in words
He liked “Enemy at the Gates,” starring Jude Law, calling it “a vivid dramatization of one of history’s titanic turning points.” But he called “Brokeback Mountain “wildly overpraised, but not by me” and drew condemnation from GLAAD for calling Jake Gyllenhaal’s character, Jack, a “sexual predator.” Shalit apologized.
He called “Frozen” “very cool.” He said the oddball title of “The Men Who Stare at Goats” was “heard to bleat,” and his review of “The Lovely Bones” read in part: “There’s no bones about it.”
He began reviewing on air the year of “Patton” and “Love Story” and ended his run with a critique of “Shrek Forever After,” of which he noted that the “bellow fellow is now a mellow fellow.” One highlight of this tenure was his descent into a fit of giggles while interviewing Carol Channing.
He called a remake of “King Kong” so “gargantuan that I must create new words to describe it: fabularious … a brilliantological humongousness of marvelosity.” His take on Steven Spielberg’s adaptation of Alice Walker’s “The Color Purple”: “It should be against the law not to see it.”
In a 1981 interview with John Belushi and Dan Aykroyd, Belushi said Shalit’s hair looked like “an ant farm on fire.” Nevertheless, he peppered his guest with so many questions about their daily life that it felt like therapy. He asked both comedians what their last meals would be. “What do you want to be doing 10 years from now, John Belushi?” Shalit asked. “Fiddler on the Roof” Belushi replied.
During his tenure, he traded quips with anchors ranging from Edwin Newman, Barbara Walters and Jane Pauley to Tom Brokaw, Bryant Gumbel, Katie Couric, Al Roker and Meredith Vieira.
Gumbel was not always a fan, once saying Shalit’s reviews “are often late and his interviews aren’t very good.” The critique came in what was supposed to be a confidential memo to Marty Ryan, the show’s executive producer at the time.
In 1994, while in St. Pete Beach, Florida, to cover Major League Baseball spring training, a car hit Shalit as he was crossing a street and broke his leg. After that, “Today” began recording his movie reviews in his home studio.
Early life
He was born in New York and grew up in Morristown, New Jersey, starting his grammar school’s first newspaper before writing a humor column for the newspaper while a student at Morristown High School. He graduated from the University of Illinois in 1949.
Shalit played the bassoon, but he said he started out on the clarinet.
“I didn’t practice for a few weeks and the teacher got furious,” he recalled in 1988, before playing bassoon in a New York City fundraiser. “He took away my clarinet and as punishment he said, ‘From now on, you’re gonna play THIS.’”
In 1987, he edited a book called “Laughing Matters: A Celebration of American Humor,” saying he wanted to introduce and reintroduce such old and new masters of American humor as Mark Twain, James Thurber and Russell Baker.
Shalit was regularly mocked on “Saturday Night Live” by cast member Horatio Sanz, who would appear on the “Weekend Update” desk dressed as Shalit and go on extended, barely coherent rants that punned the title of every movie he reviewed. Shalit also made cameos on “Sesame Street,” “Family Guy” and “SpongeBob SquarePants.”
Shalit was predeceased in 1978 by his wife, Nancy Lewis, and had six children.