
Gaia's Long Goodbye
The observatory is called Gaia. And, like so many good things, you wouldn't really miss it until it's gone—and now it is.
Launched in 2013 by the European Space Agency (ESA), it ceased operations this past March, when it used what little fuel it had left to steer into a graveyard orbit around the sun. From its station in a quiescent region of deep space more than 1.6 million kilometers from Earth, Gaia's mission was, in essence, quite simple: it was designed to give us a better sense of where we are—a celestial 'reference frame' on overlapping interplanetary, interstellar and intergalactic scales. To do that, it used twin sky-sweeping telescopes and three instruments, including a billion-pixel camera, to painstakingly measure the distances, positions, motions, and more of about two billion celestial objects, most of them stars in our own galaxy. It made some three trillion observations in all, producing (among many other things) the largest, most precise three-dimensional map of the Milky Way ever made.
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'Gaia was our best galactic cartographer, and I sometimes say that Encounters in the Milky Way is my love letter to it,' says Jackie Faherty, a senior research scientist at the AMNH, who curated the new space show and regularly works with Gaia data. 'It turns out you can learn a lot by determining where and how far off the stars are from you—and especially by how they are moving.... Gaia's creation of this map is something we all should celebrate because it's just as iconic and useful as the maps of Earth we all see in school or pull up on Google. Looking at it, you can find and explore all sorts of different things you want to know.'
From Gaia's map, more than 13,000 peer-reviewed studies have already emerged, and many have concerned the fundamental structure and deep history of the Milky Way. Thanks to Gaia, scientists now can better gauge the amount of dark matter within our galaxy and have been able to track the Milky Way's growth and evolution across eons via relic streams of stars strewn from ancient mergers with other, smaller galaxies.
'Stars retain memories of their origins in their ages, motions and chemical compositions—all of which Gaia measured,' says Amina Helmi, an astronomer at the Kapteyn Astronomical Institute in the Netherlands. She and her colleagues used the mission's data to discover evidence of a major galactic merger that, some 10 billion years ago, shaped our home galaxy into the Milky Way we know today. 'With all that information, it was like a veil being lifted…. We could suddenly perform what's sometimes called 'galactic archaeology,' reconstructing the Milky Way's history to see when and how this merger happened with another, smaller galaxy that was about a third to a quarter of our galaxy's mass.... Gaia allows us to look billions of years into the Milky Way's history—before our solar system even formed—to see what actually happened back then, which is absolutely amazing.'
Tracing perturbations from one more recent and ongoing merger, astronomers have even managed to reveal an apparent warp in the Milky Way's disk, offering a new twist—literally—on the classic image of our cosmic home. At smaller scales, the spacecraft has refined the orbits of more than 150,000 asteroids, surveilling hundreds of them to see if they have their own moons. It has spied hints of thousands of worlds and even a few black holes orbiting other stars. At larger scales, it has helped estimate the expansion rate of the universe, and it has also teased out the subtle tugging of the Milky Way's heart upon the solar system across tens of thousands of light-years.
Gaia's sprawling cosmic reckoning is now a cornerstone for most state-of-the-art Earth- and space-based telescopes, which rely on the mission's target-dense celestial map to orient and calibrate their own observations and operations. Whether it's NASA's James Webb Space Telescope, ESA's Euclid mission, the ground-based, U.S.-built Vera C. Rubin Observatory or Europe's under-construction Extremely Large Telescope, practically all of the world's most exciting starlight-gathering telescopes will, in some sense, be guided by Gaia. And stunningly, the best is yet to come. More than two thirds of the mission's treasure trove of data is still under wraps. It is being prepared in a time-consuming process for two major upcoming milestones: about half of Gaia's total data are targeted for release next year, and the mission's full data are set to arrive no earlier than 2030.
But because it didn't beam back images ready-made for lush wall posters and desktop backgrounds, Gaia was destined from the start to be 'criminally under-recognized outside astronomy,' says Mark McCaughrean, an astronomer and former senior adviser to ESA. 'And because Gaia provided utterly essential, if mundane, information such as precise stellar distances, it's been doomed with this curse of simultaneous ubiquity and obscurity as many people use its data but take it for granted as just 'coming from a catalog.''
Anthony Brown, an astronomer at Leiden University in the Netherlands, who leads the mission's data processing and analysis group, puts it most succinctly: 'For astronomers, Gaia has become almost like the air you breathe,' he says.
At the heart of Gaia's mapmaking is a technique called astrometry, the measurement of celestial positions and motions in the plane of the sky. Paired with a phenomenon called parallax—the apparent shift of an object's position when viewed from two vantage points—astronomers can use Gaia for determining distances, too. You can see the parallax effect with your own two eyes: hold your thumb out at arm's length and watch as it appears to jump around as you blink one eye and then the other. The closer the object is, the bigger its displacement will be. And the bigger your baseline is between two vantage points, the smaller the displacement will be that you can discern. Your eyes have a baseline of about six centimeters; Gaia's was 300 million kilometers, set by the opposite sides of Earth's orbit around the sun.
A Gaia predecessor, ESA's Hipparcos mission, used that same gigantic baseline to survey the sky from 1989 until it ran out of fuel in 1993. But the technology of the time limited Hipparcos's astrometric reckoning to a precision of about one milliarcsecond, with high-quality measurements only for about 100,000 objects within about 200 parsecs (650 light-years) of the solar system. (A single arc second is a very small angular slice of the heavens, making Hipparcos's milliarcsecond precision all the more noteworthy. The moon, for instance, takes up about 1,800 arc seconds in Earth's sky.)
As impressive as Hipparcos was, Gaia shattered the records set by its precursor—although not without challenges, such as precision-threatening sprays of stray light that leaked around the edges of the spacecraft's sun shield and through a hole punched by an errant micrometeoroid. But ultimately, Brown says, Gaia's measurements achieved on the order of 100 times greater precision—reaching about 10 microarcseconds. And within the Milky Way, the spacecraft's view encompassed 100 times more volume and included 10 times more targets.
The numbers underpinning Gaia are so alien to everyday experience that they border on nonsensical, says Michael Perryman, a former ESA researcher, who has served as project scientist for Hipparcos and Gaia and played a crucial developmental role for both missions. He likens Hipparcos's precision to discerning a second's worth of growth of a human hair from a distance of one meter. Gaia's 100-times-better view, he says, is more like measuring the width of a single hydrogen atom from the same distance. Another comparison involves the size of the two missions' datasets. When the Hipparcos team printed out its complete catalog, Perryman recalls, it comprised five thick volumes—almost enough to fill a single shelf of a bookcase. Printing out the full Gaia catalog with the same density of information per page, he says, would require about 10 kilometers of shelf space. 'The mind boggles,' he says. 'It's almost incomprehensible; these are numbers and dimensions we're simply not equipped to visualize, so even the analogies are very difficult to grasp.'
The best example of the heights such precision can reach may be Gaia's tour de force determination of the solar system's acceleration with respect to a vast, sky-encompassing field of quasars. Quasars are the conspicuously bright cores of remote galaxies that harbor actively feeding supermassive black holes. As such, quasars are among the most powerful beacons astronomers can use to probe distant regions of the universe. Gaia pinpointed the positions of more than one and a half million of them to establish a fixed backdrop of sorts, against which various minuscule motions of our solar system or other nearby celestial objects could be seen.
One motion Gaia managed to measure was an astonishingly small acceleration of just 0.232 nanometer per second squared—a continuous atom-scale deflection in the solar system's 220-kilometer-per-second trajectory through the Milky Way, attributed to the gravitational pull from our galaxy's center some 26,000 light-years away. Writ large, the displacement adds up to less than a meter per day—and essentially reflects the real-time sculpting of our galactic orbit as the solar system carves a path through the Milky Way's gravitational field.
'It's an almost circular motion around the galactic center, and it's directed toward the supermassive black hole there,' says astronomer Sergei Klioner of Germany's Dresden University of Technology, who led much of the work behind the measurement. 'No other observational data could come anywhere close to competing with Gaia here.... You often hear the term 'astronomical' in the sense of something being very large—but this is an example where Gaia has shown us something that's astronomically small.'
Now that Gaia has gone dark, there's already talk of what comes next. 'Do we really need another astrometry mission?' asks Brown, who first began working on Gaia in 1997. 'Well, not immediately, but the extremely precise stellar reference frame it gave us—upon which many other observatories depend—will eventually deteriorate because all the stars are moving, right?' ESA is envisioning a follow-on mission, which would potential launching in the 2040s. This time that mission would be optimized for infrared observations to allow astronomers to see through the dust that otherwise clouds their view of the Milky Way's star-packed disk and galactic center.
'It's, in a way, wonderful but also a bit sad that people take Gaia for granted because, my God, it was a tough mission,' Perryman reflects. 'I don't feel sadness that it's gone; I'm just delighted and relieved it lasted so long, and I'm very conscious of how remarkable it is that we live in a time when society is willing to pool its resources to support such things, and we have the technology in place to do them. I hope this period continues—but I worry we've been taking that for granted, too.'
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Geek Girl Authority
2 days ago
- Geek Girl Authority
THE FANTASTIC FOUR: FIRST STEPS Spoiler Review
Major spoilers ahead for The Fantastic Four: First Steps. You've been warned. * * When the comic debuted in 1961, not even Stan Lee could foresee how popular The Fantastic Four would be – that Marvel's 'first family' would spawn hundreds of collections of comics that continue to this day. However, that popularity didn't translate as well to the movie versions that popped up over the years. It seemed like nobody could get Fan 4's particular brand of goofy, family-friendly adventure right for the big screen. But now The Fantastic Four: First Steps takes a huge, ambitious, risky swing at it. Does it score? Read on to find out. RELATED: Superman Spoiler Review So, it's important to note that this version of Fantastic Four takes place on Earth-828, in 1964. And in this glorious, retro-futuristic (think Tomorrowland at Disneyworld) version of New York is where the Fantastic Four make their home. While Reed Richards, aka Mr. Fantastic (Pedro-I'm-in-friggin'-everything-Pascal) tears the bathroom apart looking for something, his wife and colleague, Susan Storm, aka Invisible Woman (Vanessa Kirby) tells him to wait just 12 more seconds. Ebon Moss-Bachrach, Pedro Pascal, Vanessa Kirby, Joseph Quinn in The Fantastic Four: First Steps She goes to just the right drawer, finds the thing he's looking for and gives it to him. Then, she gives him a pregnancy test blinking positive. Reed's both nervous and excited, given that they've both been genetically altered. But Sue says it's going to be okay. They can do this. A TV show plays, 'The Ted Gilbert Show,' going over the events which led to the Fan 4 becoming the supers they are. As astronauts, Reed and Sue, her brother Johnny, aka Human Torch (Joseph Quinn) and pilot Ben Grimm, aka The Thing (Ebon Moss-Bachrach) went to space and were exposed to cosmic rays that altered their DNA. RELATED: Movie Review: Osiris For those unfamiliar, Reed became super-stretchy; Sue can turn invisible and create force fields. Johnny can turn into flame and fly, and Ben turned into a super-strong rock monster. Over the years, the Fan 4 became Earth's heroes, protecting people from supervillains like Harvey Elder, aka Mole Man (Paul Walter Hauser). But at least with Mole Man, Sue was able to broker a peace deal so that New York and his city beneath the city, Subterranea, could coexist. Sue and Reed join Ben and Johnny for their traditional Sunday dinner. Ben can immediately tell that Sue's pregnant. Everyone celebrates, including the family robot, H.E.R.B.I.E. (Matthew Wood). Over the next few months, everyone works on baby-proofing the penthouse and lab. Meanwhile, Reed also works on a teleportation machine but can't get it quite right. They also pick up a broadcast from space in a strange language, which H.E.R.B.I.E. records. Ebon Moss-Bachrach, Matthew Wood in The Fantastic Four: First Steps While out buying cookies for Sue (but mostly himself), a bunch of schoolkids see Ben and cheer for him, wanting him to pick up a car. They want him to throw it, but of course, Ben won't do that. The kids' teacher, Rachel (Natasha Lyonne), comes out to talk to him. Ben's clearly surprised that she isn't frightened of him or just wants a photo. They strike up a conversation, and Rachel invites Ben to stop in and visit next time. Ben walks away with a new crush. Aww. Picking up a strange signal coming into the city from space, the Fan 4 fly their Fantasticar to Times Square as a strange being arrives. It looks like a metallic, humanoid, female-looking alien hovering on what looks like a surfboard (Julia Garner). She asks the Fan 4 if they're Earth's protectors, and they say yes. The Herald announces that Earth is marked for destruction by her master, Galactus (Ralph Ineson). RELATED: Movie Review: The Fantastic Four: First Steps She says that all Earth's inhabitants should spend what little time they have with their loved ones. Then the Herald flies away, back toward space. Johnny 'flames on' and follows her, catching up to her and grabbing the board. The Herald says something to him in her language and then knocks him back, sending him falling back down. Meanwhile, as the public starts panicking, Reed assures them that they will protect them. The Fan 4 go back to the lab, and Reed analyzes what info they have. Based on her looks, they decide to call the Herald 'Silver Surfer,' and identify other planets where her energy signature has been – other planets that have been destroyed. Even though Sue is ready to deliver any day, the Fan 4 realize they have to go back to space. So, they hop in their Excelsior rocket and take off with the world anxiously waiting. Julia Garner in The Fantastic Four: First Steps Reed finds the planet that Galactus is currently consuming. His massive ship pulls the Excelsior inside, and Silver Surfer meets them, bringing them to meet Galactus. Reed guesses that she is the one who decides which planets to destroy. And Johnny asks her what she said to him. She tells him it was a blessing: 'Die with yours.' The Fan 4 finally see Galactus, the ultra-humongous cosmic god, and Reed asks that Earth be spared. Galactus detects Sue's baby and also detects the baby's power. He says that the child shares the same power as he does, and that the child could take his place so that he could finally rest. Galactus gives them an ultimatum: sacrifice the child or sacrifice Earth. RELATED: Thunderbolts* Spoiler Review Unwilling to give up the baby, the Fan 4 make a break for their ship and manage to break free of Galactus' ship. But Silver Surfer chases them, even following them at faster-than-light speed. Sue goes into labor while Reed tells Ben to fly them toward a black hole. Johnny fires their guns at Silver Surfer, but the wormhole bends the beams. Ben flies them closer to the black hole, close enough to start ripping parts off the ship – but also close enough to trap Silver Surfer in the gravity well. Ebon Moss-Bachrach, Pedro Pascal, Vanessa Kirby in The Fantastic Four: First Steps The Excelsior barely makes it out but manages to get home, and Sue gives birth to a baby boy, Franklin. When they get back to Earth, everyone's excited to see the baby but upset when Reed tells the press that they couldn't defeat Galactus – because the price was too high. When Reed reveals that they wouldn't sacrifice Franklin, public opinion immediately turns on them. Meanwhile, Silver Surfer tries to reason with Galactus, saying that killing a baby is going too far. But Galactus lifts her off her board, choking her for daring to question him. Back on Earth, while Reed desperately tries to come up with some way to defeat Galactus, Johnny decides to do some work on his own, analyzing all those recordings of those space broadcasts until he finds one that contains the same language Silver Surfer spoke to him. RELATED: Movie Review: Jurassic World: Rebirth From the penthouse, Sue looks down on the angry mob protesting outside the Baxter Building. She takes Franklin and goes outside, telling them that while she will never sacrifice her child, she also won't sacrifice anyone else's. She asks everyone to just have some faith that they'll be able to save them, which seems to lessen the crowd's anger. Reed finally perfects his teleportation device and scales it way up so that they'll be able to actually teleport the entire planet. This means building special rigs all over the world and nightly global blackouts to conserve power. But it works, and as Galactus approaches Earth, Reed throws the switches. But then Silver Surfer shows up and zips around destroying all the rigs. Pedro Pascal, Vanessa Kirby in The Fantastic Four: First Steps Johnny goes after her as she reaches New York and catches up to her. He speaks to her in her language, addressing her by her real name: Shalla-Bal. Apparently, she was a scientist on her own world, and when Galactus came calling, she offered to become his servant in exchange for saving her world and her child. Haunted by the deafening screams of the dead, Silver Surfer flees. RELATED: Captain America: Brave New World Spoiler Review With the planetary teleportation plan blown, the Fan 4 have one play left – to teleport Galactus when he arrives. But the only way to get him away from his ship is to lure him. And the only thing they can lure him with is Franklin. It's a scary, horrible plan, but even Reed and Sue know it's the only way. And to get the many civilians out of harm's way, Sue reaches out to Mole Man and gets him to agree to let the people stay down in Subterreanea. The Fan 4 set up the teleporter and put Franklin in a baby seat/protective pod in the center of it while they hide out of sight. Galactus shows up as expected, tromping the city under his massive feet. But just as he's heading for the teleporter, he realizes the baby's not there. He scans around and finds Franklin in the Baxter Building instead, the Fan 4 having pulled a switcheroo. The Fan 4 use all their powers to try and stop him, but individually, they're just no match. Galactus gets a kick out of stretching Reed to almost snapping him in half. Johnny and Ben manage to temporarily burn Galactus' eyes and clobber him, but they both get knocked out of the way. Only Sue can generate a forcefield powerful enough to push Galactus toward the open porthole. Ebon Moss-Bachrach, Joseph Quinn in The Fantastic Four: First Steps But Sue's tiring fast, and they can all see that Galactus might pull himself out before it closes. So Johnny makes the fateful decision to sacrifice himself and flies toward Galactus with all speed, to push him back in. But then suddenly Silver Surfer reenters the fray and comes flying in, shoving Johnny out of the way. She launches herself at Galactus, and they both disappear into the porthole as it closes. RELATED: Kraven The Hunter Spoiler Review Sue collapses. Reed, Johnny and Ben rush to her side with baby Franklin. Reed does CPR on Sue, but she's gone. Baby Franklin cries, reaching for her, so Reed puts him down on her chest. Franklin touches her, and after a moment, she comes back (like there was ever any question). Everyone's relieved, and Sue says Franklin's more special than they could've imagined. All's well that ends well, and just as the Fan 4 are about to go onto Ted Gilbert's (Mark Gatiss) show, they receive a distress call. Ted Gilbert opens the curtain on an empty stage while the Fan 4 are outside by the Fantasticar. Holding Franklin, Sue smiles while watching Reed, Ben and Johnny argue over putting the baby seat in right. Then, once they get it figured out, they zip off to their next mission. Then, in the mid-credits scene, four years later, Sue reads a book to Franklin. He asks for another, and she goes to get one. When she comes back, she hears a weird noise and prepares a force field. She sees Franklin touching the face of someone in a hooded green cloak, holding a metal mask – Doctor Doom. Vanessa Kirby in The Fantastic Four: First Steps And in a last stinger, a main title sequence for an animated Fantastic Four cartoon plays, and a quote from the late comic creator Jack Kirby: 'If you look at my characters, you will find me. No matter what kind of character you create or assume, a little of yourself must remain there.' *** I'll be the first to admit that I'm suffering from a pretty acute case of superhero fatigue – especially Marvel fatigue. The MCU's Infinity Saga was such an incredible ride, such a perfect case of lightning in a bottle. They've been trying like crazy ever since to recreate the magic. But with each new flick or series or whatever, it makes part of me wish they would just stop altogether. RELATED: Art Book Review: Marvel Studios' The Infinity Saga – Avengers: Age of Ultron: Art of the Movie None of the flicks that Marvel's put out since Avengers: Endgame (2019) have retained the same level of narrative quality. While Thunderbolts* came pretty close, and as appealing as they are, it's clear that Yelena and Bucky and company (or street-level supers like Daredevil and Punisher, who have the best written series) aren't the kind of supers who are going to defeat something like Galactus or the Celestials. But the next iteration of the Avengers is slowly coming together anyway, although it's not at all clear how – or how well – they'll work as a team. But what is clear is that the Fan 4 are an integral part of this new version of the Avengers. So, in order for the team to work, their own flick's launch has to be a success. And thankfully, The Fantastic Four: First Steps is not only making a profit, but it's also just really, really good. Joseph Quinn, Pedro Pascal in The Fantastic Four: First Steps The most impressive thing about it is, without a doubt, the gorgeous production design. Director Matt Shakman's previous work on WandaVision (2021) clearly informed his decisions here, to amazing effect. It's not often that the worldbuilding and visual scope of a flick impress me enough to make my jaw drop, but I was in awe. It was Tomorrowland to infinity. From the Fan 4's penthouse to Galactus' ship and the Interstellar -inspired black hole. Truly outstanding work. Thankfully, just as much work has been put into the writing. With the Fan 4, it's easy to get mired down by their – let's face it – pretty corny powers. But what's focused on in First Steps is each character, even if, like in Ben and Johnny's cases, they aren't given equal screen time. RELATED: Art Book Review: Marvel Studios' The Infinity Saga – Captain America: The Winter Soldier: The Art of the Movie Even though one could say that Pedro Pascal's Reed is a little too understated (and in need of a shave), he certainly portrays Reed's conflict of being the world's smartest guy while also being scared. Vanessa Kirby's Sue is the most powerful and the most confident of the family, but she too contends with the conflict of being a heroine and now a new mother. While they toned way down the goofy, sibling-like rivalry antics between Ben and Johnny, each of them gets their moment. Instead of just being the vapid, attention-seeking womanizer, Johnny actually gets to do some science-y stuff and forms a connection (though tenuous) with Silver Surfer. He even displays selflessness and courage at the end. Ebon Moss-Bachrach in The Fantastic Four: First Steps And then there's Ben, whose story is the most endearing. Even though attention to him is slight, what he does get is quality time. Though he keeps up the Thing's wisecracking bravado, Ben's loneliness is evident. When Natasha Lyonne's Rachel takes the time to notice him, to just talk to him as a person, it's so genuine. They're so sweet together, and I totally ship it. RELATED: Top 10 Badass Marvel Female Characters First Steps also manages to present one of Marvel's most unwieldy super-mega-humungo-villains, Galactus, in such a way that he actually looks like he's supposed to look, but not so far gone that he looks silly. In fact, as he's presented here with a ship that he's built into, Galactus is pretty creepy. And I gotta give them props for that. I'm really happy to say that I walked out of The Fantastic Four: First Steps with a big sigh of relief, instead of more fatigue. While Marvel will never recapture the magic of the Infinity Saga, First Steps gives me hope for at least Avengers: Doomsday . Given the strength of Fan 4, I have hope that Marvel's first family will be the right leaders of the next generation of Avengers. Directed by: Matt Shakman Written by: Josh Friedman, Eric Pearson, Jeff Kaplan, Ian Springer, Stan Lee (comics), Jack Kirby (comics) Release date: Jul 25, 2025 Rating: PG-13 Run time: 1hr 55min Distributor: Marvel Studios/Walt Disney Studios I KNOW WHAT YOU DID LAST SUMMER Spoiler Review
Yahoo
4 days ago
- Yahoo
'Fantastic Four' wins battle of heroes at N. America box office
"The Fantastic Four: First Steps," Disney's hotly anticipated reboot of the Marvel Comics superhero franchise, conquered the North American weekend box office, earning $118 million and sidelining "Superman," industry estimates showed Sunday. "Fantastic Four" -- starring actor-of-the-moment Pedro Pascal, Vanessa Kirby, Emmy winner Ebon Moss-Bachrach and Joseph Quinn ("Stranger Things') -- tells the story of a team of heroes trying to save a retro-futuristic world from the evil Galactus. "This is an outstanding opening," said David A. Gross of Franchise Entertainment Research. "'Fantastic Four' was a modest and struggling superhero series; it just caught up with the biggest and the best." "Superman," the latest big-budget action film featuring the iconic superhero from Warner Bros. and DC Studios, slipped to second place at $24.9 million, Exhibitor Relations said. That puts the global take of the film, starring David Corenswet as the Man of Steel, over the $500 million mark. "Jurassic World: Rebirth" -- the latest installment in the blockbuster dinosaur saga -- finished in third place at $13 million. Its worldwide total stands at $672.5 million. The Universal film, starring Scarlett Johansson, Jonathan Bailey and Mahershala Ali, takes viewers to an abandoned island research facility, where secrets -- and genetically mutated dinosaurs -- are lurking. "F1: The Movie," the Apple and Warner Bros. flick starring Brad Pitt as a washed-up Formula One driver who gets one last shot at redemption, moved up to fourth place at $6.2 million. "Smurfs," the latest film featuring the adorable blue creatures and starring Rihanna as Smurfette, slipped to fifth place in only its second week in theaters with $5.4 million in North American ticket sales. "The box office is on an excellent run that started two weeks ago," Gross said. "These are not the good old days, but 'Fantastic Four' and 'Superman' are performing extremely well. Superheroes are showing some swagger, and it's good news for the industry." Rounding out the top 10 were: "I Know What You Did Last Summer" ($5.1 million) "How to Train Your Dragon" ($2.8 million) "Eddington" ($1.7 million) "Saiyaara" ($1.3 million) "Oh, Hi!" ($1.1 million) bur-sst/ksb
Yahoo
4 days ago
- Yahoo
'Fantastic Four' wins battle of heroes at N. America box office
"The Fantastic Four: First Steps," Disney's hotly anticipated reboot of the Marvel Comics superhero franchise, conquered the North American weekend box office, earning $118 million and sidelining "Superman," industry estimates showed Sunday. "Fantastic Four" -- starring actor-of-the-moment Pedro Pascal, Vanessa Kirby, Emmy winner Ebon Moss-Bachrach and Joseph Quinn ("Stranger Things') -- tells the story of a team of heroes trying to save a retro-futuristic world from the evil Galactus. "This is an outstanding opening," said David A. Gross of Franchise Entertainment Research. "'Fantastic Four' was a modest and struggling superhero series; it just caught up with the biggest and the best." "Superman," the latest big-budget action film featuring the iconic superhero from Warner Bros. and DC Studios, slipped to second place at $24.9 million, Exhibitor Relations said. That puts the global take of the film, starring David Corenswet as the Man of Steel, over the $500 million mark. "Jurassic World: Rebirth" -- the latest installment in the blockbuster dinosaur saga -- finished in third place at $13 million. Its worldwide total stands at $672.5 million. The Universal film, starring Scarlett Johansson, Jonathan Bailey and Mahershala Ali, takes viewers to an abandoned island research facility, where secrets -- and genetically mutated dinosaurs -- are lurking. "F1: The Movie," the Apple and Warner Bros. flick starring Brad Pitt as a washed-up Formula One driver who gets one last shot at redemption, moved up to fourth place at $6.2 million. "Smurfs," the latest film featuring the adorable blue creatures and starring Rihanna as Smurfette, slipped to fifth place in only its second week in theaters with $5.4 million in North American ticket sales. "The box office is on an excellent run that started two weeks ago," Gross said. "These are not the good old days, but 'Fantastic Four' and 'Superman' are performing extremely well. Superheroes are showing some swagger, and it's good news for the industry." Rounding out the top 10 were: "I Know What You Did Last Summer" ($5.1 million) "How to Train Your Dragon" ($2.8 million) "Eddington" ($1.7 million) "Saiyaara" ($1.3 million) "Oh, Hi!" ($1.1 million) bur-sst/ksb Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data