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Hollywood has a box office problem: The old movie sequel trick is falling flat

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Hollywood has a box office problem: The old movie sequel trick is falling flat


Moviegoers will find a wealth of familiar franchises on the big screen this year. It may not be enough to save the box office.

New entrants from popular film series dominate the movie slate in the next 12 months. The 2026 schedule features releases from Star Wars, Marvel, DC Comics, Toy Story, Super Mario Bros., Hunger Games, Scream, Scary Movie, Minions, Dune and Jumanji.

Intellectual property like these established franchises has long been an important part of Hollywood, but they are increasingly vital in 2026 as the theatrical industry seeks to break the $10 billion mark at the domestic box office for the first time since the pandemic.

But some big-name installments aren’t drawing the crowds they used to, and industry insiders worry the $10 billion benchmark may be beyond reach this year for a post-pandemic industry that has been rocked by production shutdowns, the consolidation of major studios and a shift in consumer viewing toward streaming.

“The reliance on franchises has been a little trickier the last few years,” said Alicia Reese, senior vice president of equity research for Wedbush. “Yes, there’s a level of certainty … but it’s not a home run. It’s never going to be a home run from here on out, because people are pickier than they used to be. They know what’s coming. Word of mouth means more than ever.”

Since 2010, the top 10 highest-grossing films domestically have predominantly been franchise films, according to data from Comscore. During that time, between eight and 10 of the films released each year were a sequel, prequel or remake. The only outlier was 2020, when seven of the top 10 films were franchise based, due to the number of films that were delayed during Covid shutdowns.

And, of course, a number of the original titles that broke into the top 10 have become franchises themselves in the last two decades. Look at “Avatar,” “Frozen,” “Zootopia,” “Inside Out,” “Secret Life of Pets” and “Ted.”

“Studios clearly feel that audience comfortability — with going to see a movie where they already, in some sense, know what they’re getting before they walk into the auditorium — is a bet worth making,” said Paul Dergarabedian, head of marketplace trends at Comscore.

As studios lean into the safety of a built-in audience, box-office sales become more reliant on the success of these franchise films.

Before the pandemic, during the span of 2010 to 2019, top 10 films represented an average of 30% of the total domestic box office annually. Outpacing the group was the 2019 calendar where these films accounted for nearly 40% of the annual haul. All 10 films that year were IP-driven, and nine of them generated more than $1 billion globally.

Post-pandemic, the average percentage that the top 10 films represent of the total annual domestic box office is 44%.

“I remember having this conversation the late ’90s,” said Eric Handler, managing director and senior research analyst at Roth Capital Partners. “The box office has for the last several decades been franchise-driven. That’s just the way it is. Why? It’s because when there’s familiarity with content, there’s a greater chance that people will show up because there’s an affinity towards a particular franchise and it’s already known.”

Now, Hollywood is facing the harsh reality of what happens when franchises fall flat.

Great expectations

Two of the most anticipated films to hit theaters last year — Universal’s “Wicked: For Good” and Disney’s “Avatar: Fire and Ash” — underperformed expectations.

The first “Wicked” movie, released in 2024, tallied $475 million at the domestical box office and a little more than $750 million globally during its run in theaters. A year later, the second part of the duology collected just under $350 million from the U.S. and Canada and about $525 million globally.

Box-office analysts attributed the smaller ticket sales to a drop in quality between the first and second installments. “Wicked” generated an 88% “Fresh” rating on review aggregator Rotten Tomatoes, while “Wicked: For Good” scored a 66% rating.

“Avatar: Fire and Ash” had even bigger shoes to fill. James Cameron’s breakout hit “Avatar,” released in 2009, snared $785.2 million domestically and $2.1 billion internationally. It remains the highest-grossing film of all time at the box office with $2.9 billion in ticket sales.

More than a decade later, “Avatar: The Way of Water” hit theaters, generating $688.8 million domestically and $1.6 billion internationally, bringing its total haul to $2.3 billion.

But when “Fire and Ash” hit theaters in December, consumer demand wasn’t nearly as high and the allure of Cameron’s groundbreaking filming techniques had worn off. “Fire and Ash,” which is still playing in theaters, has tallied just $378.5 million domestically and passed $1 billion internationally as of Sunday.

Wedbush’s Reese said part of the problem can be trying to mine too much from any one franchise.

Take, for example, Disney’s Marvel Cinematic Universe. The film franchise has been a box-office darling for nearly two decades, but struggled in the wake of the climactic “Avengers: Endgame” in 2019 to produce consistent quality sequels. At the same time, it flooded the streaming market with a dozen new television series.

“If you try to stretch it too thin and you don’t put the same level of attention to details then it’s not going to work,” Reese said.

There’s also risk in trying to broaden a niche interest into a global success, she said. Do filmmakers stay close to the original IP and play to its base, or do they shoot for a wider audience and a bigger splash?

Sandworms emerge on the desert planet Arrakis in Denis Villeneuve’s “Dune: Part Two.”

Warner Bros. | Legendary Entertainment

Reese noted Warner Bros.’ new Dune franchise, starring Timothée Chalamet and directed by Denis Villeneuve, is a good example of a series that’s threaded the needle, landing with fans who already loved the books at the same time that it drew in new crowds.

“If it’s a good film, it’ll service that core audience and it might bring in some newbies and have that broader appeal,” Reese said. “But, if you try to get that broad appeal and you’re not servicing your core fans, they will turn against you. That will spell huge problems, because if they don’t like the film, everyone else is going to find out about it, and they won’t go either, right?”

More than a film

Since Covid shutdowns all but decimated the movie industry in early 2020, the number of films being produced for theatrical release has declined.

As studios produce fewer films, they’re counting even more on what they perceive as the safe bets of tried and true IP.

In 2024, 94 movies were released in more than 2,000 locations, a 20% decline from the 120 wide releases in 2019. That drop was mirrored in the box-office results, which were down about 23% from the $11.4 billion tallied in 2019.

In 2025, there were 112 wide released films, about 6.6% down from 2019 levels, but the box office still lagged more than 20%.

Hollywood analysts point to several factors to explain why the domestic box office continues to drag.

There is a lack of theatrical content, particularly films that are in the mid-budget range — $15 million to $90 million. Most of these films, which tend to be dramas, comedies, romantic comedies and thrillers, have transitioned to streaming, as they are cheaper to make and help pad digital libraries with new content.

At the same time, consumers have become pickier about what they watch and the home entertainment space has advanced in a way that in-home technology makes staying on the couch easier.

Because of this, studios and theater owners have started “eventizing” film releases — promoting the films as must-see in premium large format theaters like IMAX, Dolby Cinema, Screen X or 4DX; selling specialty merchandise like popcorn buckets and drink sippers as well as limited-time food options; and hosting events associated with a film release like friendship bracelet making for the Taylor Swift concert film release.

Often, the films that are easiest to promote in this way are those that are based on known franchises.

Last year, when “Downton Abbey: The Grand Finale” hit theaters, Alamo Drafthouse hosted fancy dress screenings, encouraging moviegoers to arrive in period-appropriate attire. The event included a costume contest and themed drinks and food. The theater chain has hosted similar events for screenings of James Bond and Star Wars films and will host one for the upcoming “Wuthering Heights” adaptation.

And these franchises aren’t just showing up in movie theaters. Many major film studios also have their own consumer product and experience divisions, which rely on theatrical content to not only sell merchandise but fuel theme park designs, live events and even cruise ships.

Fans of franchises are hungry for products that celebrate and show off their favorite characters or movie moments. This can manifest in the form of apparel, bedding, kitchen utensils and bumper stickers all the way to collectibles, luxury watches, electronics and seasonal products like ornaments.

Disney has built theme park lands, rides and cruise ship elements based on Star Wars, Marvel, The Muppets, Pixar films like Cars, The Incredibles, Toy Story and Monsters Inc., as well as Disney Animation properties like Frozen, Zootopia, Moana, The Lion King and the Little Mermaid.

New Toy Story Land at Disney’s Hollywood Studio

Source: Courtesy Visit Orlando

Comcast’s Universal, too, has decked out its theme parks with its own properties — Jurassic Park, Minions, Secret Life of Pets, Dark Universe and How to Train Your Dragon — alongside licensed franchises like the Wizarding World of Harry Potter and Nintendo.

And beloved and well-tended-to franchises have staying power: The Star Wars franchise hasn’t notched a new theatrical release since 2019, yet it’s remained one of the top film franchises in the cultural zeitgeist, according to Fandom, the world’s largest platform for entertainment fans.

Disclosure: CNBC and Rotten Tomatoes are divisions of Versant Media.



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‘Crisis worse than two 1970s oil shocks put together’: IEA chief’s big warning on Strait of Hormuz – The Times of India

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‘Crisis worse than two 1970s oil shocks put together’: IEA chief’s big warning on Strait of Hormuz – The Times of India


The ongoing war in the Middle East has triggered an energy crisis for the world and “no country is immune” to its shockwaves, the International Energy Agency (IEA) warned on Monday. Addressing the National Press Club in Australia’s capital, Birol said the current situation has evolved into an unprecedented disruption, combining multiple shocks to oil and gas supplies.“This crisis as things stand is now two oil crises and one gas crash put all together,” he said. He also drew comparisons with the oil shocks of the 1970s and the fallout from Russia’s 2022 invasion of Ukraine.Highlighting the broader economic risks, Birol said, “The global economy is facing a major, major threat today, and I very much hope that this issue will be resolved as soon as possible.”Commenting on the fallout of the energy crisis, Fatih Birol said, “no country will be immune to the effects of this crisis if it continues to go in this direction,” adding, “so there is a need for global efforts.”The conflict has already caused extensive damage to energy infrastructure, with Birol noting that at least forty facilities across nine countries in the region have been “severely or very severely damaged”.“At least forty… energy assets in the region are severely or very severely damaged across nine countries,” he said.The disruption was intensified by the near shutdown of the Strait of Hormuz, a key transit route for roughly one-fifth of global oil and gas shipments. The standoff has deepened as the war entered its fourth week, with Donald Trump and Tehran issuing repeated threats, including Washington’s demand for the reopening of the waterway.Birol identified the reopening of the Strait of Hormuz as the most critical step towards stabilising the situation, while also flagging rising fuel shortages in Asia as a growing concern. Oil markets reflected the strain, with US benchmark crude briefly touching the $100-per-barrel mark early on Monday. As fuel prices continue to rise, he added that there would not be any specific crude level to trigger another release.He added that the agency is currently consulting governments worldwide and remains prepared to release additional oil from emergency reserves if needed, though he clarified that no specific price level would automatically trigger such a move. Meanwhile, US President Donald Trump issued an ultimatum to Iran to reopen the strategically critical Strait of Hormuz within 48 hours, warning of military consequences if it failed to comply. He said, “If Iran doesn’t fully open, without threat, the Strait of Hormuz, within 48 hours from this exact point in time, the United States of America will hit and obliterate their various power plants, starting with the biggest one first! Thank you for your attention to this matter.In response, Tehran warned, signalling that any attack on its energy infrastructure would prompt retaliation beyond conventional military targets. The message was conveyed by Ebrahim Zolfaghari and carried by Islamic Republic of Iran Broadcasting. He said any strike on Iran’s fuel and energy sector would trigger action against a broader range of targets linked to the United States and its regional allies.Earlier this month, 32 member nations of the IEA agreed to release 400 million barrels of oil from their emergency reserves to the market, to deal with the ongoing energy supply disruption.



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MAC entices staff to transform into TikTok live shopping hosts

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MAC entices staff to transform into TikTok live shopping hosts



A major beauty brand is enticing all its UK employees to earn a cut of any sales they drive on TikTok Shop in a bid to cash in on the rapid rise of the influencer-led beauty market.

MAC Cosmetics is kitting out shops with mini studios for its makeup artists to host live shopping shows when it launches on TikTok Shop on April 2.

It says it is the first major beauty brand in the UK to give every member of staff the opportunity to opt in as an affiliate and sell on the social media platform.

Those who become faces of the live channel will be offered a percentage of any sale that they drive on TikTok Shop.

The makeup artists will be encouraged to host tutorials and product demonstrations, with items available to buy directly through the app.

MAC, which is part of the Estee Lauder group of beauty brands, said the first live shopping show will stream from its Carnaby Street store in London.

It is hoping that tapping into social media shoppers will also bring more people into its more than 230 standalone shops and concessions.

TikTok Shop burst onto the UK’s retail scene in 2021 and, in recent years, has become a significant force in the world of e-commerce, reaching millions of people who use the video-sharing app and converting many into shoppers with a few taps.

Many content creators can earn a commission on products that they sell through the app when they co-operate with a brand or retailer.

Major retailers like Marks & Spencer and Sainsbury’s are now selling products on the marketplace alongside thousands of smaller businesses and brands.

The app has particularly been part of a boom for the beauty market, with beauty sales on the platform soaring by 60% year-on-year in 2025, fuelled by trends such as Korean skincare.

But the spread of in-app shopping has also prompted concerns about so-called impulse buying, particularly among younger consumers who are often targeted by influencer-led marketing.

Sara Staniford, the vice president and general manager of MAC in the UK and Ireland, said: “MAC has always been driven by our artists and the communities they create.

“TikTok Shop gives us an exciting new way to celebrate that creativity and connect with beauty lovers in real time.

“It puts our artists exactly where they belong, at the centre of the conversation.”



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FY27 budgeting in uncertain times | The Express Tribune

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FY27 budgeting in uncertain times | The Express Tribune


Tax systems designed primarily for extraction eventually undermine revenue due to weak economic growth

A flat tax would eliminate much of the inefficiency from Pakistan’s tax system by both broadening the tax base and significantly lowering the highest marginal tax rates. photo: file


ISLAMABAD:

The federal budget for next fiscal year (2026-27) will be under preparation after Eid holiday. Our policymakers would face an uphill task to balance the budget amidst the 37-month $7 billion Extended Fund Facility (EFF) of the International Monetary Fund (IMF) and shockwaves of the war imposed on Iran by the US and Israel in circumstances.

Regional war has intensified geopolitical risk, commodity markets remain volatile and global financial conditions continue to tighten. For a country already navigating fiscal consolidation under an IMF programme, the margin for policy error has become extremely narrow.

In such moments, governments often resort to familiar instruments: higher tax rates, new levies and additional withholding measures designed to secure immediate revenue. Pakistan’s experience over several decades suggests that this approach rarely produces durable fiscal stability. Slower investment, weaker economic activity and a shrinking tax base often follow temporary revenue gains.

A more sustainable framework for fiscal policy is outlined in the PIDE-PRIME Tax Reforms Commission report titled “Revenue with Growth”. The report argues that Pakistan’s tax system must move away from narrow revenue extraction towards a structure that supports economic expansion. Simplification of taxes, encouragement of investment, protection of exports and modernisation of tax administration form the central pillars of this approach. In the difficult environment facing the country today, this framework offers a practical guide for budget strategy.

Escaping high-tax, low-growth trap

Pakistan’s fiscal dilemma has long been structural. Revenues remain modest relative to the size of the economy while expenditures – particularly debt servicing and defence – continue to rise. Periods of geopolitical tension naturally intensify these pressures.

Historically, the response has been to increase taxes on existing taxpayers rather than expand the underlying economic base. This pattern has created a cycle in which weak growth leads to revenue shortfalls, tax rates are increased to meet fiscal targets, higher taxes suppress investment and economic activity, and slow growth again produces fiscal stress.

The PIDE-PRIME report challenges this cycle by emphasising a basic principle of public finance: tax systems designed primarily for extraction eventually undermine the revenue they seek to maximise. Breaking this pattern requires a shift towards policies that expand the productive economic activity.

Simplifying complex tax system

Pakistan’s tax structure has gradually evolved into a complicated web of withholding taxes, presumptive regimes and special levies such as super tax and turnover taxes. Such complexity raises compliance costs, increases litigation and discourages documentation of economic activity. Simplification therefore becomes the logical starting point for reform.

A tax structure with moderate rates applied to a broader base is more likely to encourage compliance while reducing administrative disputes. Predictability is particularly important in the present environment where businesses already face uncertainty from global geopolitical developments.

Encouraging investment and industrial expansion

Economic growth ultimately depends on investment. Yet Pakistan’s tax policy often raises the cost of investment through high duties on machinery and industrial inputs.

The PIDE-PRIME report recommends removing regulatory duties and additional customs duties and allowing zero-rating of plant, machinery and key intermediate goods. Such measures would reduce the cost of capital investment and support technological upgrading within industry.

For the upcoming budget, this principle carries special significance. Periods of regional instability often lead businesses to delay expansion plans. Clear policy signals encouraging industrial investment can counter that hesitation and strengthen confidence in the economy.

Protecting export competitiveness

Exports remain central to Pakistan’s economic resilience. Yet exporters frequently face liquidity constraints arising from withholding taxes, delayed refunds and administrative bottlenecks.

Budget policy should therefore focus on removing distortions affecting export sectors and ensuring efficient refund mechanisms. Strengthening export competitiveness improves foreign exchange earnings and reduces pressure on the balance of payments – an objective that becomes even more critical during periods of global economic turbulence.

Modernising tax administration

Tax reform cannot succeed without administrative reform. The PIDE-PRIME report emphasises the importance of digitisation, automation and reduced discretionary authority in tax administration.

Modern data-driven systems can minimise direct interaction between taxpayers and officials, reduce opportunities for rent seeking and improve voluntary compliance. Administrative credibility becomes especially important in times of economic stress when taxpayers already face higher costs and uncertainty.

Fiscal discipline and credibility

Credible fiscal management must accompany a growth-oriented tax system. Citizens are more willing to comply with taxation when public expenditures demonstrate discipline and transparency.

The upcoming budget should therefore combine tax reform with efforts to rationalise non-development spending and improve efficiency in public sector operations. Fiscal credibility strengthens the relationship between the state and taxpayers and supports long-term revenue mobilisation.

Turning crisis into reform

Pakistan’s economic history shows that periods of crisis often create the political space for structural reform. The present geopolitical and economic pressures therefore offer an opportunity to rethink fiscal strategy.

Instead of repeating the familiar pattern of incremental tax increases, policymakers could use the upcoming budget to initiate transition towards a growth-oriented tax system. Simplifying taxes, encouraging investment, strengthening exports and modernising administration would gradually expand the economic base and improve long-term fiscal stability.

In uncertain times, the most effective fiscal policy is not the one that extracts the largest revenue in the short term. It is the one that strengthens the productive capacity of the economy and ensures sustainable revenue in the years ahead.

The writer is the Advocate Supreme Court, Adjunct Faculty at LUMS, member Advisory Board, visiting Senior Fellow of Pakistan Institute of Development Economics and holds LLD in tax laws



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