This is my 4,000 word take on the incredible story of Chinese authorities three-year crusade to take down the greatest film piracy ring ever, and 'Ghost No. 1', the rogue server at the heart of it. lnkd.in/eqRgFgf

This would have sold very well. Sadly a missed opportunity. #Backrooms #collectible #popcornbucket youtube.com/watch?v=STXEBKr3…

Netflix film chief Dan Lin tells @nytimes that if any director asks Netflix to give their film a theatrical release, they will be shown the door. “There is a group of filmmakers who still want theatrical. Those are filmmakers that we’ve accepted we just won’t work with.” tinyurl.com/y6nuftck

If @ArcLightCinemas Hollywood were open for The Odyssey they’d make millions of dollars. They have multiple 70MM and 35MM projectors just sitting there abandoned!

Breaking! Comscore (with name change to Rentrak set for June 12) reports @A24's #Backrooms delivered one of the biggest horror openings of all time and made history! At just 20 years old, #KaneParsons became the youngest director to helm a #1 film globally, grossing $81.4 million in North America and $118 million worldwide this weekend, shattering the record for the largest opening weekend ever for a first-time director with an original film. #AtomicMonster @blumhouse @jason_blum

#MemorialDay weekend is off to a great start as @starwars: The Mandalorian and Grogu” @themandalorian earns $12M in Thursday previews. The film officially opens in the US and Canada today in 4,300 theatres, including 425 IMAX auditoriums, 1,100 Premium Large Format screens, 2,400 3D locations, 400 D-Box/4D motion screens, and 135 ScreenX locations. Last year's Memorial weekend was the biggest ever with the combination of “Lilo & Stitch” and “Mission: Impossible – The Final Reckoning” powering the best ever tally at a whopping $330M domestically.  Check out our Exclusive @Comscore @csMoviesUS @CSGlobalMovies chart of the Top Memorial Day weekends. @Disney @Lucasfilm

BREAKING: Blue Fox Entertainment has acquired IPIC Theaters Westwood, Pasadena, Boca Raton, Delray Beach, Pike and Rose, and New York City!

🎬 CinemaNext is a proud Gold Sponsor of next week's @Cinema_UK Conference 2026 at @vuecinemas, Shepherd's Bush! Join our VP Solutions Araceli Vaello on 13 May for practical insights on energy savings for cinemas 💡 Our UK & Solutions teams will be on the ground. Come say hello!

Let your EV car be its own drive-in cinema and projector, with this latest vehicle innovation out of China. insideevs.com/news/794295/ch…

.@patrickvons on Avengers, Infinity Vision, and the perils of trash-talking cinema, from #CinemaCon: linkedin.com/posts/patrickvo…

A great week at CinemaCon has wrapped! Honored to appear live on-air and represent @Comscore @csMoviesUS @CSGlobalMovies on @BBCWorld @BBCBusiness earlier this week with the great @SallyBundockBBC to discuss the exciting news direct from Caesars Palace Las Vegas! @cinema_united #CinemaCon

🚨BREAKING: Laemmle North Hollywood has been SAVED from DEMOLITION! The Laemmle family purchased the property back from the developer that was planning to add luxury apartments! 😀🙌🎥

Check out our @Comscore @csMoviesUS @CSGlobalMovies exclusive Domestic Top 10 Weekend Box Office Estimates & Commentary. This weekend’s overall total 3-day Domestic box office is at an estimated $124.6 million (down 17% vs. the same weekend a year ago) & YTD 2026 now at $2.26Bn is up 23% vs. 2025. As the industry prepares for the big @CinemaCon @cinema_united confab in #LasVegas this week, theater owners can celebrate a hot streak of sorts as the past few weeks have hit the box office jackpot taking the industry from a YTD advantage over last year of 5% at the end of the weekend of February 20-22 to now in the mid-20% range in just a few short weeks powered by some strong over-performances with films as diverse as the horror sequel “Scream 7," the family-friendly PG rated animated films “GOAT" and “Hoppers,” the runaway success of “Project Hail Mary” and now the mega-hit “The Super Mario Galaxy Movie." "Mario" as they say in the parlance of video gaming, is leveling up the box office in a big way to power a solid month of April with "Lee Cronin's The Mummy" and “Michael" among others in the coming weeks as the industry heads toward the all-important summer movie season set to launch with “The Devil Wears Prada 2" over the first weekend in May. @supermariomovie @projecthailmary #TheDrama #YouMeandTuscany

As the @supermariomovie #SuperMarioGalaxy gets off to a huge start, this article by @jakecoyleAP for @AP is right on the money! “The kids that are going to the movies today are going to take their kids tomorrow,” “As long as people keep making kids, the future of the movie theater experience is assured.” Terrific reporting (featuring a cool chart with our exclusive @Comscore Movies data) on the importance of GenZ and family moviegoing to the health of the theatrical business and for the studios who have gone all-in on family-friendly fare. With great insights from @UniversalPics' Jim Orr and @cinema_united's Michael O'Leary’! The PG surge comes several years after most family movies detoured to streaming during the pandemic, a shift that some, at the time, feared would become permanent. “The family film has literally come back from near-extinction,” says Paul Dergarabedian, head of marketplace trends for @csMoviesUS @CSGlobalMovies “The one genre that really took a major hit with the pandemic was the family film.” Dergarabedian has taken to calling PG the new PG-13. If slightly adult-leaning movies once occupied the center of the multiplex, that territory now belongs to the PG movie. apnews.com/article/family-mo…

A special @CSGlobalMovies @Comscore @csMoviesUS Spotlight on the extraordinary Global performance of @AmazonMGMStudio's #ProjectHailMary .... Topping the global, international and domestic charts this weekend is Amazon MGM Studio’s much-anticipated, well-reviewed @projecthailmary that continues to soar as the #1 film worldwide - grossing a stellar $108.6M globally in its second frame. The worldwide cume now stands at $300.8M! The hit film has enjoyed superb holds at the international box office. The weekend estimate is $54.1M from 86 markets, and the holdover drop was just -5%. The international cume now stands at $136.5M. The movie was #1 in 60 markets including China, United Kingdom, France, Germany, Italy, Mexico, Brazil, Australia, and Japan. The 5% holdover drop from opening weekend is exceptional. This performance compares very favorably to similar titles, including Interstellar (-21%), The Martian (-41%), Gladiator 2 (-42%), Superman (-45%), and Dune (-48%). The movie was #1 in 60 markets including China, United Kingdom, France, Germany, Italy, Mexico, Brazil, Australia, and Japan. @philiplord @chrizmillr @RyanGosling

The plan? Keep the Cinerama Dome abandoned for 20 years for a demolition by neglect. Use it as a tax shelter while we wait. Issue no PR statements to the public. Hope the public forgets. @Decurion @TaitForman

happy international women's day👸

Solid reporting from the great journalist @kristenklopez for @goldenglobes on the overall state of theatrical moviegoing and the often mischaracterization of the health of the industry. An honor to be quoted alongside Andrew Stewart at @cinema_united. The death of the movie theater has been greatly exaggerated, says @Comscore @csMoviesUS @CSGlobalMovies senior analyst Paul Dergarabedian (by way of Mark Twain). “The health of the movie industry is: You take its temperature one week and it could be riding high,” “The next week people are tolling the death knell for the movie theater.” “What is clear from the data is that China is a powerhouse second only to North America in its box office generating power particularly with their homegrown titles that often bring in staggering amounts of revenue in China alone,” “The North American market of course remains the top grossing territory,” “But it is indeed the collective horsepower of all countries, including notable films from France, the U.K., Mexico, Spain, and India and others that drive the global box office.” goldenglobes.com/articles/bo…

Seven days ago Netflix walked away from an $83 billion deal for Warner Bros. The stock jumped 12%. Wall Street cheered the discipline. And the very first move Netflix makes with its newly preserved balance sheet is buying a 16-person AI startup that's been in stealth mode for four years. That's the signal. Netflix looked at two paths to competitive advantage: spend $83 billion to acquire a legacy content library, or spend an undisclosed sum (almost certainly sub-$100M) to acquire technology that changes the economics of every piece of content you produce going forward. The math on InterPositive is what matters. Netflix spends ~$20 billion a year on content. VFX and post-production typically run 20-25% of a production budget. That's $4-5 billion annually flowing through color correction, relighting, environment work, and continuity fixes. If InterPositive's dailies-trained model can reduce even 10-15% of that post workflow, you're looking at $400-750 million in annual savings that compound across every title in the slate. And Sarandos already told you the strategy in 2024: "There's a better business and a bigger business in making content 10% better than making it 50% cheaper." InterPositive lets Netflix do both. Train a model on a production's own footage, use it to fix continuity errors, adjust lighting, handle environment work. The filmmaker stays in control. The post-production timeline compresses. Quality goes up. Cost per title goes down. What Affleck built is also strategically different from what every other AI company is doing. Sora, Runway, Kling, they all generate video from text prompts. InterPositive trains on a production's actual dailies and works within the existing filmmaking pipeline. That distinction matters because it means Netflix can offer this to creators without triggering the "AI is replacing artists" alarm that nearly shut down Hollywood in 2023. Netflix just walked away from the biggest media acquisition in history. Its first acquisition after? A 16-person team that could reshape the cost structure of a $20 billion content machine. That tells you where the leverage is moving.

The aviation industry just declared pre-Covid demand benchmarks “ancient history”: those days aren’t coming back. They moved on. They found new metrics. They stopped apologising. The cinema business would do well to adopt a similar posture. patrickvonsychowski.substack… by @patrickvons

It’s not just China and Russia where Hollywood films have lost their dominance - now Japan too. (Plus they never dominated India.)