Category: 5. Entertainment

F1: The Movie has been in theaters for just under a week, and early tallies are in: It smashed box office expectations by netting $144 million in its worldwide debut. 

The impressive figure means F1 is the most successful Apple Original film in history, as well as Brad Pitt’s most successful film launch.

F1: The Movie makes global waves in debut

Hailed as being the must-see blockbuster of the summer, F1: The Movie has just completed its first weekend in theaters, and it has been rewarded with stunning success — particularly for a racing movie.

The film debuted at No. 1 on American domestic box office charts, netting $55.6 million in the US alone. It also made $88.4 million internationally, bringing its debut weekend total to $144 million.

That makes this movie the most successful film launch of star actor Brad Pitt’s career, which is an impressive feat for a man with such a diverse resumé under his belt. It’s also the best market debut for an Apple Original Films movie; the company’s previous top debut was Killers of the Flower Moon, which made $23.2 million on opening.

More on the F1 movie:

👉 Six things about the F1 movie that make it a must-see

👉 Brad Pitt F1 movie: An insider’s complete guide to the F1 film

Motorsport-related films often struggle to make waves in the box office, which makes F1‘s success a compelling case study. Recent films like Ford v Ferrari only netted $52 million globally, while 2013’s Rush brought home $100 million.

And with America’s Independence Day holiday approaching this weekend, potential viewers of F1: The Movie who weren’t able to attend opening weekend will likely have the time to do so soon.

While $144 million is an impressive figure for a debut film, F1: The Movie will need to sell far more tickets in order to break even. Vulture estimates that the film cost around $250 million to film, while its advertising and promotion campaign cost an additional $150 to $175 million — and with ticket sales split between the theaters and the production company, some estimates have claimed F1 will need to net over a billion dollars to break even. However, Apple’s film model also relies heavily on streaming success through AppleTV+, which can build revenue for years to come.

Still, the film’s initial success had proved several things. It showed that Apple Original Films can produce a box-office success. It developed innovative filming techniques that could even transform the way motorsport is broadcast. It also proved that, with the right amount of hype and promotion, a racing film can branch out to new audiences.

Reviews of F1: The Movie have been mixed, with critics pointing out everything from its obvious product placement to its clunky plot, and motorsport fans noting that much of the movie hinges on racing sequences that are both unrealistic and that would also justify a driver being banned from the sport.

Still, many viewers have praised its top-notch editing and immersive film style. Over on film review website Rotten Tomatoes, F1: The Movie has netted an 83% rating on its “Tomatometer,” which means that 83% of verified user reviews for the film are positive. It has also earned a “Certified Fresh” status, meaning it has netted strong reviews.

Further, the website also rates films based on something called the “Popcornmeter,” which evaluates reviews for all users, not just verified users. F1: The Movie has earned a 97% rating on that metric, which means most fans have given the movie a 3.5-star rating or higher.

The long-term impact of the film is impossible to know at this point, but those involved with its release are hoping it will engage a new set of fans in much the same way that Netflix’s docuseries Drive to Survive did.

Read next: How many penalty points would F1 movie star Sonny Hayes have got in real life?

Whenever Beyoncé performs in her native Houston, her return creates a rippling homecoming effect across the city. That’s less of a reference to the tour de force singer and songwriter’s 2019 live album and documentary concert film of the same name, but more a nod to true-to-life, Lone Star State homecoming traditions.

The scene outside of NRG Stadium over the weekend for the two-night run of Cowboy Carter shows was nothing short of a pep rally. Texas-sized chrysanthemum corsages were on parade, embellished with ribbons and decorative spirit trinkets, pinned at the shoulder (down South, we call them mums). Red, white, and blue silk sashes sliced through crowds, too, customized to riff on the Grammy Award-winning (Best Country Album, anyone?) record cover. And because June 28 serendipitously doubled as International LGBTQI+ Pride Day, a gulf of self-described queens rounded out this metaphoric homecoming court.

Beyoncé’s past and present onstage fashion inspired street style looks laden with Easter eggs. A number of outfits paid homage to the inaugural NFL 2024 Christmas Day Halftime Show, apropos-dubbed BeyBowl, for the Houston Texas vs. Baltimore Ravens game, which also took place at NRG. Many a concertgoer drew from the furry, feathered, and rhinestone-flecked all-white western wear that stylist and costume designer Shiona Turini produced for Cowboy Carter Christmas. Others paid tribute to classic Americana, with patriotic flags waving through Levi’s or Wrangler denim belt loops.

For Houston Livestock Show and Rodeo competitors, such as sister barrel racers Leah and Elizabeth Zadel, it was an occasion to layer functional cowgirl gear with couture.

“These are Stella McCartney jeans that I saved up for, for a long time with the Ariat boots I always wear,” Leah told Vogue. “And my sister got the idea for her pants from Beyoncé’s custom Schiaparelli Haute Couture outfit for the tour. She sewed on all those conchos after she couldn’t find anything similar and thought, ‘Why not make it myself?’”

Outside of Queen Bey’s hometown hoedown, Vogue photographed some of the most inventive and inspiring looks.

Arturo Valenzuela: “I really went off of her Christmas [halftime show] outfits. With everything going on in the world right now I thought, ‘Let me show up and show out.’ I thought the white really pops on my skin tone. And my sash was made by a designer I found on TikTok.”

For “Grease” fans in Los Angeles, recent summer nights had a surprise in store. We’ll tell you more, tell you more.

John Travolta, who brought life to bad boy heartthrob Danny Zuko in the 1978 classic, crashed the Hollywood Bowl’s sing-along event Friday. He surprised not just the audience, but also fellow “Grease” alumni as he sauntered on stage in his character’s signature pompadour and leather jacket.

“No one knew, not even the cast,” Travolta, 71, recalled of the moment in an Instagram post shared Saturday.

The “Pulp Fiction” and “Hairspray” star on Instagram shared a closer look at his Danny Zuko-inspired styling and posted a video of him reuniting with co-stars Didi Conn, Barry Pearl, Michael Tucci, Kelly Ward and “Grease” filmmaker Randal Kleiser. Video from the sing-along shows audiences cheering and celebrating Travolta with a standing ovation. His surprise appearance came before the beginning of the sing-along, according to Entertainment Weekly.

“L.A.,” he says to fans before referencing a memorable line from the movie. “I thought you were going back to Australia!”

In that scene from “Grease,” Danny excitedly greets his summer sweetheart Sandy, before quickly playing it too cool and aloof, saving face for his T-Birds greaser squad. Olivia Newton-John indelibly played the role of Sandy. She died on Aug. 8, 2022, at age 73.

During Friday’s event, Travolta and his co-stars led fans in singing “A-womp-bop-a-looma-a-womp-bam-boom,” a line from the “Grease” finale number “We Go Together,” according to video from EW. He and his cast then left the stage and the sing-along began.

“Thank you for a great evening,” Travolta added in his Instagram post.

After several acts at the U.K. festival Glastonbury led chants in support of Palestinian freedom and denouncing the Israel Defense Forces, U.K. police opened a criminal investigation into their performances.

Several outlets including the BBC cited a statement from Avon and Somerset police in the U.K. announcing an inquiry into sets by the rap-punk group Bob Vylan and the Northern Irish rap group Kneecap.

During Bob Vylan’s set, the band’s singer Bobby Vylan (born Pascal Robinson-Foster) led Glastonbury crowds in chants of both “free, free Palestine” and, more controversially, “death, death to the IDF.”

Though police did not cite specific actions that were being investigated, “This has been recorded as a public order incident at this time while our enquiries are at an early stage,” the statement read. “The investigation will be evidence-led and will closely consider all appropriate legislation, including relating to hate crimes.”

The BBC, which broadcast Bob Vylan’s set, said in a statement that “The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves.” The network added that it “respects freedom of expression but stands firmly against incitement to violence.” Glastonbury’s organizers said in a statement that they were “appalled” by Vylan’s comments, which they said “crossed a line.”

The U.S. State Department also announced the the two members of Bob Vylan would have their U.S. visas revoked. “Foreigners who glorify violence and hatred are not welcome visitors to our country,” U.S. Deputy Secretary of State Christopher Landau said on social media.

The BBC did not broadcast the Glastonbury set from the acclaimed Belfast rap trio Kneecap, which has attracted worldwide attention for its outspoken criticism of Israel’s war on Gaza, including at its recent Coachella sets.

Kneecap instead reportedly roused the crowd in a profane chant against U.K. Prime Minister Keir Starmer, who had criticized their booking at the festival after the group’s Liam Óg Ó hAnnaidh, who performs as Mo Chara, was charged with supporting a proscribed organization for allegedly waving a flag from the terror group Hezbollah at a London concert in 2024 (Chara denied the charge).

U.K. prosecutors, citing time limits, recently dropped charges against the group after a 2023 concert where Chara allegedly said, “The only good Tory is a dead Tory. Kill your local MP.”

After the performance, talent agency UTA reportedly dropped Bob Vylan from its roster. Singer Bobby Vylan stood by his comments, writing on social media that “Teaching our children to speak up for the change they want and need is the only way that we make this world a better place.”

Prada has acknowledged that its new leather sandal design was inspired by India’s famous Kolhapuri “chappals” – handcrafted shoes known for their toe-loop design – after facing criticism over its failure to credit the footwear’s origins.

“We acknowledge the sandals … are inspired by traditional Indian handcrafted footwear, with a centuries-old heritage,” Lorenzo Bertelli, the corporate social responsibility chief at the Italian fashion house, said in a letter to the Maharashtra chamber of commerce.

The chamber had complained on behalf of thousands of Kolhapuri sandal-makers after images from Prada’s Milan runway show showed models wearing the open-toe footwear that was virtually identical to the unisex Indian original.

The chamber president, Lalit Gandhi, had said: “The collection includes footwear designs that bear a close resemblance to Kolhapuri sandals, a traditional handcrafted leather sandal that has been awarded ‘geographical indication’ status by the government of India in 2019.”

The geographical indication tag verifies that a product originates in a specific place. The sandals’ origins go back to the 12th century, to the city of Kolhapur in western Maharashtra state.

The buffalo-hide shoes with their distinctive braided T-strap are worn by everyone from farmers to millennials and business leaders.

The sight of models walking the runway last week in the footwear blandly described as “leather flat sandals” triggered a widespread backlash in India and charges of “cultural appropriation”.

The row tapped into a broader debate about how global fashion houses frequently repackage traditional craftsmanship as luxury goods without credit or compensation to the original artisans.

The sandals, known for their durability, cost about $12 (£8.75) in India, whereas Prada sandals retail for upwards of $800. Indian artisans “lose, while global brands cash in on our culture”, said Harsh Goenka, the chair of the pharmaceuticals-to-IT conglomerate RPG Group.

As photos of the show spread online, Indian outrage mounted. “From the dusty lanes of Kolhapur to the glitzy runways of Milan … will the world finally give credit where it’s due?” asked the news outlet DNA on X.

Gandhi asked Prada to seek ways for “collaboration or fair compensation that could benefit” Indian craftspeople. Bertelli replied the sandals were still in the “early” design stage, but that Prada was willing to open a “dialogue for meaningful exchange with local Indian artisans”.

“While Indian artisans and small-scale producers excel in craftsmanship, they rarely have access to capital or business acumen” to position their products globally as luxury goods, Dhanendra Kumar, an ex-World Bank executive director, said in India’s Economic Times.

“By not calling their new line of sandals ‘Kolhapuris’, Prada is guilty of monetising cultural appropriation,” Kumar said.

Still, some believe the row could have an unexpected upside. Sales of the sandals have plateaued in India in recent years, but local designers believe the spotlight could boost interest in the classic design, especially among younger consumers.

“Until now, it hadn’t been considered part of the ‘cool’ or aspirational footwear space in India’s luxury market … I truly believe in the ripple effect of what Prada has done,” said Shirin Mann, the founder of Needledust, a label known for its contemporary take on traditional Indian embroidered slip-ons.

Mann could be right. Since Prada’s runway show, Google Trends has shown a rise in searches for Kolhapuri sandals, and retailers report interest has surged, according to local media.

MANCHESTER, United Kingdom, June 30, 2025 (GLOBE NEWSWIRE) — Following the roaring success of its annual winter Comedy Tour over the last decade, one of the UK’s leading humanitarian aid charities, Human Appeal, today announces its first ever summertime Comedy Tour.

Taking place across three major UK cities – London, Manchester and Birmingham – Human Appeal’s summer Comedy Tour will feature some of the biggest names in the international comedy circuit: American actor and comic Omar Regan, who appeared in Hollywood films Rush Hour 2, American Sharia, and Five Thirteen; Ali Official, writer and comic best known for BBC Three show Muzlamic and for presenting the BBC 3 film Being British Bangladeshi; and Aatif Nawaz, writer and star of BBC Three comedy Muzlamic, who joins the Comedy Tour for the 9^th year running.

Whereas Human Appeal’s winter Comedy Tour reaches every corner of the UK at large capacity venues, the summer Comedy Tour features intimate shows for a much more personal audience experience.

Proceeds of the ticket sales for the summer Comedy Tour will support the charity’s Gaza Emergency Appeal.

The dates and times of the summer Comedy Tour shows are as follows:

• 20^th August, London: Coliseum Suite, 300-310 High Road, Ilford, IG1 1QW
• 21^st August, Manchester: Vermilion, Lord N St, Hulme Hall Ln, Manchester M40 8AD
• 22^nd August, Birmingham: The Eastside Rooms, Woodcock Street, Birmingham, B7 4BL

Early bird tickets are available from13^th June 2025 at just £7. Standard tickets will go sale on 13^th July at £10. Further ticket information, including ticket bundles and VIP packages can be found here.

Announcing the news, Razwan Faraz, UK Director of Fundraising at Human Appeal, adds, ‘Our annual winter Comedy Tour has just celebrated its 10th anniversary, and following its success spreading festive cheer year on year, we felt it was time to expand our much-loved event. This is the first time we are bringing the Comedy Tour to smaller venues for much more intimate shows, during the summer months and bring comedy cheer all year round.’

Tickets are available to purchase here.

About Human Appeal

Human Appeal is a fully independent British humanitarian charity based in Manchester, UK. It was established in 1991 as a registered and regulated UK charity that runs targeted aid relief programmes in collaboration with recognised global organisations such as the UN. Its purpose is to save and transform lives through emergency aid response and sustainable development programmes at home and abroad across 25 countries worldwide.

Media Contact

Grace Tucker

grace@mediafoundry.london

humanappeal@mediafoundry.london

02030111023

Movie franchises come and go, but The Twilight Saga is truly immortal.

The supernatural drama series, an adaptation of Stephenie Meyer’s best-selling young adult novels, follows the against-all-odds romance of high schoolers Bella Swan (Kristen Stewart) and Edward Cullen (Robert Pattinson).

Unlike most teen love affairs, the couple’s relationship is complicated by the reality that Edward is secretly a centenarian vampire with a thirst for blood. Bella’s life is thrown into further disarray when she befriends Jacob Black (Taylor Lautner), a fledgling werewolf who descends from a pack that has an uneasy relationship with the Cullen clan.

‘Twilight’ turns 20: Here’s your refresher on the iconic vampire books

Following the 2008 debut of “Twilight,” the franchise exploded into a pop culture phenomenon, raking in $3.4 billion worldwide across five films. Bella and Edward’s star-crossed romance, which includes an angsty love triangle with Jacob, inspired legions of “Twihards” to declare their allegiance to “Team Edward” or “Team Jacob.”

In honor of the third installment “Eclipse,” released 15 years ago on June 30, 2010, we take a fresh bite and rank the movies from worst to best:

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5. ‘Breaking Dawn – Part 2’ (2012)

How do you say goodbye to a group of vampires who live forever?

The conclusion of The Twilight Saga makes a mighty attempt, focusing on Bella’s long-awaited transformation into a vampire and the raising of Bella and Edward’s half-human, half-vampire daughter Renesmee (Mackenzie Foy). Despite the cuteness of it all, that CGI face of newborn Nessie was … a choice.

The thrill of Bella exploring her vampiric powers is truly a treat; the lamb becomes the lioness thanks to her own super-speed, inexhaustible strength and nifty force field-generation. On the parenting front, Bella and Edward are thrust into a race against time, albeit a sluggishly paced one, as they gather family witnesses to prove to the Volturi that Renesmee is not a threat to vampirekind.

4. ‘Twilight’ (2008)

Arizona transplant Bella attempts to acclimate to life in Forks, Washington, after moving in with her divorced father (Billy Burke), only to become captivated by aloof classmate Edward and his equally enigmatic group of siblings.

Bella and Edward’s meet-cute is fraught with painfully awkward conversations, sullen stares and a near-death by runaway van. The exposition required by their oil-and-water dynamic means the film isn’t as action-heavy as its sequels (with the exception of a rogue trio of murderous vampires, of course).

But the suspenseful mystery packed into Bella’s pursuit of Edward’s true identity, enhanced by cinematographer Elliot Davis’ eerie visuals, makes for a riveting introduction to the franchise. And with an immaculate soundtrack boasting moody alternative-rock, “Twilight” is a haunting you won’t want to exorcise.

3. ‘Breaking Dawn – Part 1’ (2011)

For a paranormal love story, “Breaking Dawn − Part 1” is probably as close as Twihards will ever get to a feel-good flick. The film kicks off in a haze of marital bliss as Bella and Edward prepare for their wedding, after Edward proposes marriage as a condition for turning Bella into a vampire (leave it to an undead bloodsucker to keep tradition alive.) 

Unfortunately, the couple’s newlywed fun is cut short when Bella unexpectedly finds herself pregnant on their honeymoon. Shockingly, Bella successfully gives birth in a body-horror extravaganza that is both gut-wrenching and mesmerizing. And if your heart wasn’t pounding already, Edward saves Bella from a post-delivery death in a nail-biting finale.

2. ‘New Moon’ (2009)

Bella hits rock bottom in this somber yet action-packed follow-up to “Twilight.” After Edward abruptly breaks up with her − in a cloaked effort to shield her from the dangers of the vampire world − grief-stricken Bella copes with a rebellious adrenaline junkie phase and her deepening friendship with Jacob.

Jacob, who has secrets of his own as he comes to terms with his werewolf power, is a shaft of earthy sunshine compared to Edward’s often icy veneer. Don’t get me wrong: The intense smolder of a bloodthirsty vampire would make my heart flutter, too. But Jake is cut from a softer cloth, and his warmth is an emotional salve for our distraught heroine Bella.

Bella’s brewing situationship with Jacob is thwarted by a whirlwind reunion with Edward in Italy. The happy ending is undoubtedly a win for the hopeless romantics (and not to mention Team Edward stans), but the pragmatist in me can’t help but root for the underwolf and his grounded charm.

1. ‘Eclipse’ (2010)

It’s not just the anniversary talking, folks. “Eclipse” is the soapy, hormonally charged climax of the franchise that solidifies the trifecta of Bella’s intense bonds with Edward and Jacob.

Bella’s reconciliation with Edward reaffirms her desire to become a vampire, while Jacob, futilely, maintains his dogged pursuit of her affections. The push and pull lends itself to some juicy dramatic tension, with Jacob even taking a punch to the face after a spur-of-the-moment kiss goes awry.

The impending invasion of Victoria (Bryce Dallas Howard) and her army of newborn vampires inspires an unlikely alliance between the Cullen coven and Jacob’s Quileute pack, setting the stage for some kickass action sequences. In the afterglow of their victory, Bella tells a battle-injured Jacob that she’s chosen Edward as her partner in a finale that’s as heartbreaking as it is infuriating.

As Formula 1 continues to have discussions about the future of its U.S. media rights, the racing property is hoping the strong opening for a new feature film starring Brad Pitt may be just the thing to help push those talks over the finish line.

F1: The Movie took in some $55.6 million in its domestic rollout, which is quite a haul for a non-sequel, adult-oriented film that isn’t constructed around superhero IP. Produced by Jerry Bruckheimer, the Apple Original Films offering stars the septuagenarian Pitt in the unlikely role as a washed-up racer who breaks back onto the circuit after a 30-year layoff.

The film booked another $88.4 million overseas, although it will have to generate a much greater windfall if it is to earn back an estimated $300 million in production and marketing expenses. The stateside summer release calendar may put the kibosh on a profit, however, as this weekend marks the launch of yet another Jurassic Park sequel—the seventh release in the series arrives on the heels of 2022’s $1 billion blockbuster Jurassic World: Dominion—while Warner Bros.’ Superman hits the multiplex on July 11.

If the F1 flick continues to draw a crowd here in the U.S., that enthusiasm could spill over to the televised racing product. While ABC’s broadcast of the Miami Grand Prix delivered the third-largest domestic F1 audience with 2.17 million viewers, that marked a 29% decline from the year-ago race (3.07 million), which was boosted by a lead-in from Game 7 of the Magic-Cavaliers NBA playoff series (4.32 million).

Oscar Piastri’s win in Miami also trailed a competing NASCAR Cup Series race on FS1, a basic-cable network that reaches approximately 30 million fewer homes than ABC. Despite the relatively restricted delivery system, the May 4 race at Texas Motor Superspeedway averaged 2.56 million viewers.

As much as F1 ratings zoomed to previously unimagined heights during its first few years as a Disney media partner, the TV growth effectively maxed out in 2022, when ESPN and its broadcast sibling averaged 1.21 million viewers per race. The following year saw F1’s deliveries slip 8.5% to 1.11 million viewers, an average delivery that carried over to the 2024 season. By way of comparison, NASCAR served up 2.9 million viewers per race over the course of its two most recent seasons.

The fact that NASCAR draws an audience that is two-and-a-half times the size of the F1 crowd likely goes a long way toward explaining why the latter group is getting pushback in its talks with prospective media partners. F1’s parent company, Liberty Media, is looking to double the value of its current $90 million/year deal with Disney, and that big ask has prompted the Mouse House to allow its exclusive negotiating window to lapse without a renewal. (ESPN chairman Jimmy Pitaro has demonstrated his unwillingness to overpay for even a Big Four league, opting out of the final two years of the company’s legacy $550 million/year MLB deal in February.)

While Apple is among the list of digital disruptors said to be kicking the tires on an F1 rights pact, a paywall will all but certainly prevent F1 from achieving the sort of rapid growth it enjoyed on cable and broadcast TV. (Disney’s ratings nearly doubled between 2018, the first year of its F1 stewardship, and 2022.) As illustrated by the 10-year, $2.5 billion Apple-MLS deal, all the money in the world can’t buy a bigger audience when fans have to shell out $99.99 for a season pass.

F1 still has plenty of time to work out the particulars of a new U.S. rights deal (its ESPN contract expires when the 2025 season runs out in December), and there’s an outside chance enthusiasm for the feature film might help boost the televised product just as the talks start heating up. ESPN will carry three F1 races between now and early August, with the British Grand Prix set to roar into view on July 6.

The 2024 race averaged 1.29 million viewers, which should provide a solid baseline for any post-theatrical comparisons when the holiday-delayed official Nielsen data for this year’s event drops on July 9.

Key Facts

This is a developing story and will be updated.

Further Reading

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