🎬 Too Risky

👋 Good morning! Tired of your kids binging ‘Paw Patrol’ for the millionth time? A24 is here to save your sanity (and cultivate some mini cinephiles). Earlier this month, the indie studio dropped ‘Hey Kids, Watch This!’—a 288-page guide curating over 100 classic films for the discerning young viewer. From silent era gems to modern hits, it's got everything but A24's own films.

Whether you're a seasoned subscriber or a new arrival, we're thrilled to have you here. Every Monday, Wednesday and Friday, we'll deliver the most important industry scoops directly to your inbox.

🎞 Here’s what’s on the reel today:

• Tim Burton’s Box Office Win

• Netflix's British Charm Offensive

• FAST Channels' Ad Dilemma

• Last Looks: 👀 Bite-sized scoops on developing stories/projects

• Video Village: The latest trailers

• Martini Shot 🍸

But first, let’s take a look at what happened at the box office this past weekend!

LAST WEEKEND’S
🎟️ BOX OFFICE BREAKDOWN 🎟️

1. 🦇 Beetlejuice Beetlejuice: $26M domestic weekend (-49%), $226.8M domestic total, $329.7M global. Three-peats at #1 in a surprise upset.

2. 🤖 Transformers One: $25M domestic opening, $39M global debut. Underwhelming start for the animated prequel.

3. 🙊 Speak No Evil: $5.9M domestic weekend (-48%), $21.4M domestic total. Solid hold for the horror remake.

4. 🔒 Never Let Go: $4.5M domestic opening. Disappointing debut for Halle Berry thriller.

5. 💀 Deadpool & Wolverine: $3.9M domestic weekend (-26%), $627.2M domestic total. Passes ‘The Avengers’ as 5th highest MCU film domestically.

6. 💉 The Substance: $3.1M domestic opening. Soft start for Demi Moore body horror film.

7. 🤔 Am I Racist?: $2.5M domestic weekend (-41%), $9M domestic total. Controversial documentary holding decently.

8. 🇺🇸 Reagan: $1.66M domestic weekend (-43%), $26.5M domestic total. Biopic continues to find audience.

9. 🎤 Jung Kook: I Am Still: $1.4M domestic weekend, $2.57M domestic total. Solid showing for BTS member's solo film.

10. 👽 Alien: Romulus: $1.32M domestic weekend (-45%), $103.6M domestic total. Horror prequel crosses $100M mark.

The Big Picture: This weekend's box office pulled in about $82M, which is a solid 57% jump from the same time last year when the actors' strike impacted releases. But we're still not firing on all cylinders—Apple scaling back ‘Wolfs’ left a $10M-$12M hole in the lineup. ‘Beetlejuice Beetlejuice’ is still killing it, showing some serious staying power. On the flip side, ‘Transformers One’ landed with a bit of a thud. Looks like the switch to animation didn't quite rev up audiences like Paramount hoped. As for the genre releases, ‘Never Let Go’ and ‘The Substance’ had a rough go of it, reminding us that mid-budget movies are still having a tough time in theaters these days.

🍿💰 'Beetlejuice Beetlejuice' just crossed the $300M mark globally, but Tim Burton recently revealed his sequel nearly became a streaming casualty. Warner Bros., reeling from their worst summer since 1982, initially deemed the $147M budget too risky for a theatrical release of a 36-year-old sequel. The studio considered a Max-only release, but Burton stood firm on a theatrical run. The studio set a clear condition: Bring the budget under $100M for a big-screen green light. Burton and WME agent Mike Simpson spent two months slashing costs from $147M to $99M. Their strategy? Convincing A-listers like Michael Keaton and Winona Ryder to trade upfront paydays for backend profits, while aggressively pursuing tax breaks. This financial maneuvering won over Warner Bros. Motion Picture Group co-chairs Pamela Abdy and Michael De Luca. Now, as box office numbers climb, his victory's become a hot topic in Hollywood's streaming vs. theater debate. It stands in stark contrast to recent industry moves, like Amazon pushing Doug Liman's ‘Road House’ straight to Prime despite objections, or Apple quietly shifting ‘Wolfs’ to limited release before streaming. For Warner Bros., Burton's box office triumph isn't just a win—it's a much-needed lifeline, offering a glimmer of hope for the struggling studio's theatrical future.

👑🎬 Netflix is doubling down on Britain's TV scene, and it's turning heads. Co-CEO Ted Sarandos recently hit London to flex the streamer's UK muscles: $6B invested since 2020, 100 active productions, and four global hits made on British soil. Netflix is going all-in, sponsoring industry events and touting that it's creating 30,000 jobs. They're even playing nice with local broadcasters, doing co-productions and leaving most of the IP rights in British hands. But this charm offensive isn't winning everyone over. UK producers are anxious about shifting deal structures and who'll really own the shows long-term. Smaller production companies fear being left out as Netflix cozies up to the big players. There's also worry about editorial standards, with the "Baby Reindeer" controversy highlighting the clash between Netflix's global approach and Britain's strict broadcasting rules. The show, billed as a "true story," contained significant fictional elements, raising questions about Netflix's compliance with UK content standards. When pressed on this, Sarandos dismissed it as a "uniquely British debate," further irking UK TV execs. The industry's grappling with a tricky balance: welcoming Netflix's deep pockets while preserving local creativity and control.

📺💸 Free, ad-supported streaming TV (FAST) channels are seeing a viewership boom, but there's a catch: available ad slots are outpacing advertiser demand. Wurl, a streaming tech provider powering FAST channels for media giants like A+E Networks, reports that a growing percentage of ad slots on FAST channels remain unsold, indicating a broader supply-demand imbalance in the streaming ad market. With big players like Amazon Prime Video joining the ad-supported arena, competition for ad dollars is fierce. While FAST ads are cheaper (CPMs of $10-$12 vs. $30+ for premium streamers), transparency is the real issue. Advertisers are in the dark about which specific shows feature their ads, raising brand safety red flags. One exec calls it the "Wild West" of ad placement. Add in concerns about ad fraud and tricky inventory practices, and you've got cautious spenders. Another challenge? Discoverability. FAST channels often get buried within streaming platforms, making it hard for viewers to find specific content. The bottom line: FAST channels have eyeballs, but to sell their growing ad inventory, they'll need to offer advertisers clearer insight into ad placements.

A MESSAGE FROM OUR SPONSOR

Brain Food, Delivered Daily.

🤔 Are you the most interesting person in the room? Well, if you’re not quite there yet, you’re in luck—Refind is here to help! We curate the smartest, most thought-provoking reads tailored just for you. Join over 505,000 curious minds who rely on Refind to stay sharp and inspired. Ready to fuel your brain with content that matters? Subscribe now and get a daily dose of brilliance delivered straight to your inbox!

Development 🗒️

• Anthony Ramos joins Kathryn Bigelow’s upcoming untitled Netflix thriller. (more)

• Nell Scovell and Susan Rovner are developing ‘The Fishbowl,’ a CBS medical examiner procedural. (more)

• Josh O’Connor is set to star in Kelly Reichardt’s next film ‘The Mastermind.’ (more)

• Netflix unveils its latest Spanish film slate at the San Sebastián Festival. (more)

• Oasis is reportedly in talks for a documentary with Apple TV+ about their 2025 reunion gigs. (more)

• Madison Pettis, Frances Fisher, and Yvonne Orji have joined the cast of Netflix’s rom-com ‘The Wrong Paris.’ (more)

• Questlove is set to direct a documentary on ‘Earth, Wind & Fire.’ (more)

• ‘The Chosen’ universe is expanding with spinoffs about Moses and Joseph, an animated series, and an unscripted Bear Grylls adventure show. (more)

• Managers Jake Miller and Karli Doumanis have joined 42, bringing Emmy-winning ‘Shōgun’ star Anna Sawai among their clients. (more)

• SZA makes her acting debut alongside Keke Palmer in an untitled R-rated buddy comedy, set to release on Jan. 25, 2025, from Sony Pictures. (more)

✅ Renewed & Canceled ❌

• ‘Pretty Little Liars’ reboot is cancelled after S2 at Max. (more)

Business 🤝

• Alysia Russo, former Head of Docuseries at Amazon MGM Studios, has left to join Netflix on an 18-month contract. (more)