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‘Ne Zha 2' Passes ‘Star Wars: The Force Awakens' to Join Top 5 Highest Grossing Films Ever With $2.08 Billion

‘Ne Zha 2' Passes ‘Star Wars: The Force Awakens' to Join Top 5 Highest Grossing Films Ever With $2.08 Billion

Yahoo18-03-2025

China's highest grossing film of all time, 'Ne Zha 2,' has passed one more milestone in its historic run. This past Sunday, it surpassed the global total of 'Star Wars: The Force Awakens' to join the top five highest grossing films of all time before inflation adjustment.
Unlike the Hollywood productions that make up the rest of the list like 'Avatar,' nearly all of the film's $2.08 billion global total has come from domestic audiences in China, with only $31 million coming from overseas. More than 300 million tickets for 'Ne Zha 2' have been bought by Chinese moviegoers, a number that nearly matches the 340 million of the entire estimated United States population.
Thanks to the unprecedented popularity of 'Ne Zha 2' in China since its Lunar New Year launch, the film has exceeded the unadjusted $2.06 billion total grossed by 'Star Wars: The Force Awakens' in the winter of 2015-16. Prior to that, it passed 'Inside Out 2' to become the highest grossing animated film of all time in just three weeks of theatrical play.
The first 'Ne Zha' was the debut project of the franchise's studio, Chengdu Coco Cartoon, and grossed $742 million at the box office. Similar to breakout Hollywood animated sequels like 'Moana 2' and 'Inside Out 2,' years of subsequent play on streaming helped build up the hype for 'Ne Zha 2' by the time it hit theaters during the lucrative Lunar New Year box office period.
As China's local film industry continues to grow in leaps and bounds, 'Ne Zha' has proven to be a key milestone. TheWrap reported last month that the film provides Chinese audiences with something they have never had the chance to enjoy before: a locally produced animated film made with the feature production quality of a movie from Disney or DreamWorks, but rooted in a story from traditional Chinese mythology and culture.
And that has been enough to make 'Ne Zha 2' the first $2 billion animated hit, joining a top five all-time list that includes the two 'Avatar' films, 'Titanic' and 'Avengers: Endgame.'
The post 'Ne Zha 2' Passes 'Star Wars: The Force Awakens' to Join Top 5 Highest Grossing Films Ever With $2.08 Billion appeared first on TheWrap.

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Why Disney and Universal are investing billions into their theme parks
Why Disney and Universal are investing billions into their theme parks

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  • CNBC

Why Disney and Universal are investing billions into their theme parks

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How I Accidentally Inspired a Major Chinese Motion Picture
How I Accidentally Inspired a Major Chinese Motion Picture

Atlantic

time3 hours ago

  • Atlantic

How I Accidentally Inspired a Major Chinese Motion Picture

In December, a friend sent me the trailer for a new Chinese movie called Clash. It's a sports comedy about a ragtag group of Chinese men who start an American-football team in the southwestern city of Chongqing. With the help of a foreign coach, the Chongqing Dockers learn to block and tackle, build camaraderie, and face off in the league championship against the evil Shanghai team. Funny, I thought. In 2014, I wrote an article for The New Republic about a ragtag group of Chinese men who'd started an American football team in the southwestern city of Chongqing. With the help of a foreign coach, the Chongqing Dockers learned to block and tackle, built camaraderie, and—yes—faced off in the league championship against the evil Shanghai team. The Chinese studio behind Clash, iQIYI, is not the first to take an interest in the Dockers' story. My article, titled 'Year of the Pigskin,' was natural Hollywood bait: a tale of cross-cultural teamwork featuring a fish-out-of-water American protagonist, published at a moment when Hollywood and China were in full-on courtship and the future of U.S.-China relations looked bright. It didn't take much imagination to see Ryan Reynolds or Michael B. Jordan playing the coach—a former University of Michigan tight end who'd missed his shot at a pro career because of a shoulder injury—with Chinese stars filling the supporting roles. Sony bought the option to the article, as well as the coach's life rights. When that project fizzled a few years later, Paramount scooped up the rights but never made anything. Now a Chinese studio appeared to have simply lifted the idea. I texted Chris McLaurin, the former Dockers coach who now works at a fancy law firm in London. (Since my original article published, we have become good friends.) Should we say something? Should we sue? 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I moved to Beijing, with funding from a Luce scholarship, and started looking for stories. They weren't hard to find. The years after the 2008 Beijing Olympics turned out to be a remarkable era of relative openness. Many international observers saw Xi Jinping's rise in 2012 as the beginning of a period of liberalization, the inevitable political outcome of the country's growing prosperity. For journalists, China was a playground and a gold mine at once. We could travel (mostly) freely and talk to (almost) anyone. Along with the wealth of narrative material came a sense of purpose: We felt as though we were writing the story of the New China—a country opening up to the rest of the world, trying on identities, experimenting with new ways of thinking and living. The story that captivated me most was that of the Chongqing Dockers. It was one of those article ideas that miraculously fall in your lap, and in retrospect feel like fate. I'd heard that McLaurin, another Luce Scholar, had started coaching a football team in Chongqing, so I flew down to visit him. The first practice I attended was barely controlled chaos: The team didn't have proper equipment, no one wanted to hit one another, and they kept taking cigarette breaks. 'It was like 'Little Giants,' except with adult Chinese men,' I wrote to my editor at The New Republic. He green-lighted the story, and I spent the next year following the team, as well as McLaurin's efforts to create a nationwide league. The movie analogy was fortuitous. Just before the article was published, Sony bought the IP rights, as well as the rights to McLaurin's life story. The project would be developed by Escape Artists, the production company co-founded by Steve Tisch, a co-owner of the New York Giants. Maybe the NFL, struggling to break into the Chinese market, would even get involved. The deal changed McLaurin's life. Sony flew him and his mom out to Los Angeles, where a limo picked them up at the airport. He met with Tisch and the other producers. They floated Chris Pratt for the role of the coach. One executive asked McLaurin if he'd considered acting. McLaurin also met with high-level executives at the NFL interested in helping establish American football in China. He'd been planning to apply to law school, but now he decided to stay in Chongqing and keep developing the league. In retrospect, the China-Hollywood love affair was at that point in its wildest throes. As the reporter Erich Schwartzel recounts in his 2022 book, Red Carpet: Hollywood, China, and the Global Battle for Cultural Supremacy, China spent the late 2000s and 2010s learning the craft of blockbusting by partnering with Hollywood filmmakers and executives. Hollywood studios, meanwhile, got access to the growing market of Chinese moviegoers. (In 2012, then–Vice President Joe Biden negotiated an agreement to raise the quota of U.S. films allowed to screen in China.) It was, in effect, a classic technology transfer, much like General Motors setting up factories in China in exchange for teaching Chinese workers how to build cars. Erich Schwartzel: How China captured Hollywood With a potential audience of 1.4 billion, every U.S. studio was trying to make movies that would appeal to the Chinese market. This led to some ham-fisted creative choices. The filmmakers behind Iron Man 3 added a scene in which a Chinese doctor saves Tony Stark's life, though it wasn't included in the U.S. cut. The Chinese release of Rian Johnson's time-travel thriller, Looper, contained a gratuitous sequence in which Bruce Willis and Xu Qing gallivant around Shanghai. In the same film, Jeff Daniels's character tells Joseph Gordon-Levitt's, 'I'm from the future—you should go to China.' The threat of being denied a Chinese release also resulted in countless acts of self-censorship by Hollywood studios. Sony changed the villains of its Red Dawn remake from Chinese to North Korean in postproduction, and removed a scene showing the destruction of the Great Wall of China from the Adam Sandler film Pixels. In this environment, Hollywood put a premium on stories that could appeal equally to American and Chinese audiences. That usually meant going as broad as possible and leaning away from cultural specifics, as in the Transformers and Marvel movies. But in theory, another, more difficult path existed, the Hollywood equivalent of the Northwest Passage: a movie that incorporated Chinese and American cultures equally. This could be a breakthrough not only in the box office but also in storytelling. It could even map a future for the two countries, offering proof that we have more in common than we might think. The producers at Sony apparently hoped that a 'Year of the Pigskin' adaptation could pull off that trick. 'The movie we want to develop is JERRY MAGUIRE meets THE BAD NEWS BEARS set in China,' Tisch wrote in an email to Sony's then-chairman and CEO, Michael Lynton. 'This is the perfect movie to film in China.' But there was a puzzle built into the project. 'The struggle for me was trying to figure out who the movie was for,' Ian Helfer, who was hired to write the screenplay, told me recently. His task was to create a comedy that would be a vehicle for a big American star while appealing to Chinese audiences. But nobody in Hollywood really knew what Chinese audiences wanted, aside from tentpole action movies. They seemed happy to watch Tom Cruise save the world, but would they pay to see Chris Pratt teach them how to play an obscure foreign sport? Helfer's vision mostly tracked the original article: An American former college-football star goes to China and teaches the locals to play football. Everyone learns some important lessons about teamwork, brotherhood, and cultural differences along the way. He turned in a draft and hoped for the best. Most Hollywood projects die in development, and the autopsy is rarely conclusive. Exactly why the Sony project fizzled is not clear. Helfer said he'd heard that Sony's China office had objected to the project because it didn't feature a Chinese protagonist. Whatever the reason, when the 'Pigskin' option came up for renewal in 2017, Sony passed. By then, the China-Hollywood wave was cresting. The Zhang Yimou–directed co-production The Great Wall, released in 2017 and starring Matt Damon, flopped in the United States. That same year, the agreement that had raised the quota of U.S. films in China expired. Xi Jinping, who was turning out not to be the liberal reformer many Westerners had hoped for, railed against foreign cultural influence and encouraged homegrown art. His plan worked: Although China had depended on the U.S. for both entertainment and training earlier in the decade, it was now producing its own big-budget triumphs. In 2017, the jingoistic action flick Wolf Warrior 2 broke Chinese box-office records and ushered in a new era of nationalist blockbusters. At the same time, however, U.S. box-office revenues had plateaued, making the Chinese market even more important for Hollywood profits. After Sony declined to renew, Paramount optioned the rights to 'Year of the Pigskin,' and the development gears ground back into motion. This time, there was apparent interest from John Cena, who was in the midst of a full-on pivot to China, which included studying Mandarin. (He hadn't yet torpedoed his career there by referring to Taiwan as a 'country' in an interview, after which he apologized profusely in a much-mocked video.) The Paramount version of 'Pigskin' died when the studio discovered belatedly that football wasn't big in China, according to Toby Jaffe, the producer who'd arranged the deal. 'They realized that it wasn't well-suited for the Chinese market,' he told me recently. 'So the reason they bought it for maybe wasn't the most logical analysis.' The option expired once again in 2019. The coronavirus pandemic snuffed out whatever flame still burned in the China-Hollywood romance. McLaurin's China dreams were fading too. His hopes for a broad expansion of American football in China—he had started working for the NFL in Shanghai—seemed out of reach. He left China and went to law school. I figured we'd never hear about a 'Pigskin' adaptation again. When I met the Clash producer and screenwriter Wu Tao outside a hotel in Rotterdam in February, he greeted me with a hug. He told me he couldn't believe we were finally meeting after all these years, given how our lives were both intertwined with the Dockers. 'It's fate,' he said. Wu has spiky hair, a goatee, and an energy that belies his 51 years. He was wearing a bright-green sweater covered with black hearts with the words THANKYOUIDON'TCARE spelled backwards. We sat down at a coffee table in the hotel lobby alongside the director of Clash, Jiang Jiachen. Jiang was wearing computer-teacher glasses and a ribbed gray sweater. Wu, who'd produced and written the script for Clash, right away called out the elephant in the room with a joke. He had stolen one line from my article, he said with a chuckle—a character saying, 'Welcome to Chongqing'—but hadn't paid me for the IP. (This line does not actually appear in the article.) 'Next time,' I said. Wu said he'd been working as a producer at the Chinese media giant Wanda in Beijing when, in 2018, he came across an old article in the Chinese magazine Sanlian Lifeweek about the Dockers. He'd already produced a couple of modest hits, including the superhero satire Jian Bing Man, but he wanted to write his own feature. He was immediately taken with the Dockers' story, and a few days later, he flew to Chongqing to meet the players. They mentioned that Paramount was already working on a movie about the team, but Wu told them that an American filmmaker wouldn't do their story justice. 'In the end, Hollywood cares about the Chinese market,' Wu told me. 'They don't understand China's culture and its people.' He paid a handful of the players about $2,750 each for their life rights, and bought the rights to the team's name for about $16,500. Wu also met up with McLaurin in Shanghai, but they didn't ultimately sign an agreement. 'I understood that, in his head, this was his movie,' Wu said. But Wu had his own vision. Shirley Li: How Hollywood sold out to China Wu got to work writing a script. By 2022, he'd persuaded iQIYI to make the movie and gotten his script past the government censorship bureau with minimal changes. In summer 2023, they began shooting in Chongqing. Wu told me that he'd set out to tell the Dockers' story from a Chinese perspective. 'It's easy to imagine the Hollywood version, like Lawrence of Arabia,' he said. 'A white Westerner saves a group of uncivilized Chinese people.' Even if he'd wanted to tell that kind of story, Wu knew it wouldn't fly in the domestic market. 'We're not even talking about politics; that's just reality,' Wu said. Jiang added, 'It's a postcolonial context.' This argument made sense to me in theory, but I was curious to see what it meant in practice. That evening, I sat in a packed theater and took in the film. Clash opens with a flashback of Yonggan, the hero, running away from a bully as a kid—behavior that gets him mocked as a coward. (His name translates to 'brave.') It then cuts to adult Yonggan, who works as a deliveryman for his family's tofu shop, sprinting and careening his scooter through Chongqing's windy roads, bridges, and back alleys. When Yonggan gets an urgent delivery order from an athletic field where a football team happens to be practicing, the team captain watches in awe as Yonggan sprints down the sideline, takeout bag in hand, faster than the football players. He gets recruited on the spot. Although Clash has the same basic framing as the American film treatments—an underdog team struggling against the odds—the details are original, and telling. Instead of focusing on the coach, the story centers on Yonggan and his teammates, each of whom is dealing with his own middle-class problems: Yonggan's father wants him to give up his football dreams and work at the tofu shop; the war veteran Rock struggles to connect with his daughter; the model office-worker Wang Peixun can't satisfy his wife. The coach, meanwhile, is not an American former college-football star, but rather a Mexican former water boy named Sanchez. He wanted to play in the NFL, he tells the players, but in the U.S., they let Mexicans have only subordinate jobs. The sole American character is, naturally, the captain of the evil Shanghai team. Notably, there's no mention of 'American football' at all; they simply call the sport 'football,' which in Mandarin is the same as the word for 'rugby.' As for the tone, it's hyperlocal in a way that feels authentic to the material. Characters trade quips in rat-a-tat Chongqing dialect. Jokes and references are not overexplained. The film has a catchy hip-hop soundtrack featuring local artists. It also embraces tropes of Chinese comedy that might feel cringey to American audiences: abrupt tonal shifts, fourth-wall breaks, and flashes of the surreal, including an impromptu musical number and a surprisingly moving moment of fantasy at the end. (There are also the predictable gay-panic jokes.) I had been dreading a lazy rip-off, but this felt like its own thing. To my surprise, the audience—which was primarily European, not Chinese—loved it. At both screenings I attended, it got big cheers. When festival attendees voted on their favorite films, Clash ranked 37th out of 188 titles. (The Brutalist came in 50th.) After watching the film, my griping about the IP rights felt petty. Sure, Wu had blatantly lifted the premise of my article. (I looked up the Chinese article that Wu claimed first inspired him and saw that it explicitly mentioned my New Republic article, and the Sony movie deal, in the first paragraph.) But he'd done something original with it. It occurred to me that even if Wu had taken the story and reframed it to please a domestic audience, I was arguably guilty of the same crime. Just like Wu, I had been writing for a market, namely the American magazine reader of 2014. American narratives about China tend to be simplistic and self-serving. During the Cold War, China was foreign and scary. In the 1980s, as it began to reform its economy, American reporters focused on the green shoots of capitalism and the budding pro-democracy movement. In the post-Olympics glow of the 2010s, American readers were interested in stories about how the Chinese aren't all that different from us: See, they play football too! Or go on cruises, or follow motivational speakers, or do stand-up comedy. I was writing at a cultural and political moment when American audiences—and I myself—felt a self-satisfied comfort in the idea that China might follow in our footsteps. What Hollywood didn't realize is that Chinese viewers weren't interested in that kind of story—not then, and certainly not now. Part of me still wishes that a filmmaker had managed to tell the Dockers story in a way that emphasized international cooperation, especially now that our countries feel further apart than ever. But the liberal-fantasy version was probably never going to work. I'm glad someone made a version that does.

A floating Disney bubble: What families can expect on Disney cruises
A floating Disney bubble: What families can expect on Disney cruises

USA Today

time6 hours ago

  • USA Today

A floating Disney bubble: What families can expect on Disney cruises

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My favorite show on our Disney Treasure sailing was "Disney the Tale of Moana," which Disney developed with Broadway veterans and Polynesian cultural advisors and cast. The youth clubs, particularly for younger children, feel like stepping into Disney movies. Many kids happily spend hours there, and adults wish they could, too. The closest grown-up guests get is during open houses. Guests rotate through a variety of themed restaurants for dinner each night of their sailing, and servers rotate with you so they can get to know you and your preferences, as well as any dietary needs. The level of customer service is exactly what you'd expect from Disney. Ships are designed with families in mind. Most staterooms have split bathrooms, so multiple people can get ready at the same time, and most feature bathtubs, which are clutch with young children. You're traveling with fellow Disney families and fans, who share your enthusiasm. Non-Disney fans can still enjoy sailings, but for those who love Disney, it's the ultimate floating Disney bubble. Disney parks take to the seas: How the new Disney Treasure makes magic Is a Disney cruise all-inclusive? Disney cruises include lodging, most dining, entertainment, recreation, youth club access, and more in their standard fare. There is an additional fee for childcare for infants and toddlers under age 3 at 'it's a small world nursery.' Extra experiences like adult-exclusive dining, makeovers at Bibbidi Bobbidi Boutique at Sea, the Royal Court Royal Tea Party with Disney princess, and spa and salon services also have fees. Is all the food on a Disney cruise free? Meals at rotational dining restaurants, on-board buffets, and various food stands are included in the cruise fare, as is most room service. Guests may choose to pay extra for adult-exclusive dining like Remy or Enchanté by Chef Arnaud Lallement. Treats at smoothie and sweets shops and snacks at concession stands near onboard movie theaters have à la carte fees. Specialty coffee drinks and alcohol are also extra. Do Disney cruises have good food? Yes. There are various options at each rotational restaurant. Guests are also welcome to ask for other offerings off menu, but what stuck out to me were everyday dishes like comforting congee at breakfast and a mountain of succulent crab legs during lunch at the Treasure's Marceline Market buffet. Mickey Churro Waffles and Disney Cruise Line chicken tenders are other fan favorites. So are Mickey ice cream bars, which you can order for free through room service. Italian-inspired Palo and other adult-exclusive restaurants, which cost extra, are so popular that reservations book up well ahead of sailings. Guests who miss out in advance can try to book in person upon embarkation. Is there unlimited alcohol on Disney cruises? 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Additionally, Disney Cruise Line passengers can lock in 10% off a future cruise when they purchase a refundable placeholder reservation while onboard a ship. At last check, the lowest priced sailing for a family of four departing the U.S. with two adults and two kids between the ages of 3-12 was priced at $2,620. That works out to $655 per person in an interior cabin on the Disney Wish for a 3-night Bahamas cruise leaving Port Canaveral on Aug. 22, 2025. Three-night cruises on the new Disney Adventure, launching in Singapore this December, start even lower. Does Disney Cruise Line go to Europe? Yes. Disney sails from three European ports: Barcelona, Spain Citavecchia, Italy (outside Rome) Southampton, England Transatlantic sailings are also offered several times a year. Do adults with no kids go on Disney cruises? Yes. Even though the cruises are designed with families in mind, lots of Disney adults sail kid-free. Many enjoy getting to feel like kids again themselves. Each ship and both of Disney's private island destinations have adult-exclusive areas and experiences. What are Disney's two private islands? Disney's has two private island destinations in the Bahamas: Castaway Cay and Lookout Cay at Lighthouse Point. Is it cheaper to go to Disney or Disney cruise? That depends on how long you plan to sail versus visit parks, as well as choice of accommodations, dining and time of year. It can go either way. What is the cheapest way to book a Disney cruise? Guests will generally find the best prices the day itineraries are released. This happens a few times a year, about 15 to 18 months in advance of sailings, according to Plan Disney. Travelers can work with travel agents to keep tabs on when the next batch will be released or sign up for Disney Cruise Line email updates and follow the cruise line on social media. Are Disney cruises worth it? They are for many fans. 'They rate us very, very highly, and they tend to want to come back,' D'Amaro said. But just like any vacation, the cruises may not be worth it for everyone. The reporter on this story received access to the ship from Disney Cruise Line. USA TODAY maintains editorial control of reviews.

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