The Super Mario Bros. Movie hit theaters last week and broke records with the release raking in just over $146 million domestically. As Deadline says, that makes it the highest grossing opening weekend for any video game-based movie, knocking Sonic The Hedgehog 2, which previously held the record with $141 million, off the top spot. Mario has been a hit the world over, with global takings already more than $377, making it the biggest opening of the year so far.

Illumination and Universal's The Super Mario Bros. Movie bring the beloved Nintendo game to the big screen. The story follows Mario (voiced by Chris Pratt) and Luigi (Charlie Day), two failing plumbers from Brooklyn as they face Jack Black's Bowser after finding themselves somehow transported to the Mushroom Kingdom. Peach (Anya Taylor-Joy) rounds out the classic characters in this nostalgia-filled story. It's the video game's first movie adaptation since the 1993 widely disliked live-action film, Super Mario Bros. 

The newest film is available in 3D, IMAX, and other premium formats, which made up 38 percent of sales. According to Rich Gelfond, IMAX CEO, The Super Mario Bros. Movie is the company's highest grossing animated film, making $21.6 million worldwide. 

It's not just animated and video game movies it's stacking up against, either. The Super Mario Bros. Movie had the historically third highest Easter weekend sales after Batman vs. Superman's $181 million and Furious 7's $161 million.

With opening sales like these, it’s fairly likely we’ll see an animated Mario sequel at some point in the future, and this might open the door to further big-budget adaptations of beloved Nintendo properties. Get ready to explore Boo's mansion or Donkey Kong's jungle in the next inevitable spin-off. 

In a reversal of a limitation the platform put in place earlier in the week, Twitter is once again allowing users to interact with Substack links freely. At least for the time being, you can retweet, reply to and like posts that feature a link to a Substack newsletter. The platform also won’t issue a safety warning if you click those links. However, as of the writing of this article, searching for “substack” still produces results involving the word “newsletter.”

“We’re glad to see that the suppression of Substack publications on Twitter appears to be over,” Substack tweeted late Saturday evening. “This is the right move for writers, who deserve the freedom to share their work.”

Twitter began throttling Substack links mere days after the company announced Substack Notes, a feature that adds a Twitter-like feed to the newsletter platform. When Elon Musk eventually addressed the situation, he claimed Substack was “trying to download a massive portion of the Twitter database to bootstrap their Twitter clone,” an assertion Chris Best, the CEO of Substrack, strongly denied. “None of this is true,” he said in a Notes post shared with The Verge. “This is very frustrating. It’s one thing to mess with Substack, but quite another to treat writers this way.” Among other outcomes, Musk’s decision to limit access to Substack led to a feud with Matt Taibbi, the journalist who worked on the so-called “Twitter Files.” On Friday afternoon, Taibbi said he was quitting Twitter over the restrictions.

For it is worth, this week’s episode doesn’t seem to have convinced Substack to alter its plans around Notes. “We look forward to making Substack Notes available soon,” the company said. “But we expect it to be a new kind of place within a subscription network, not a replacement for existing social networks.”

Twitter has removed a label that designated NPR as a “US state-affiliated” media outlet mere days after first applying the label earlier this week. As of Saturday, the company now lists the public broadcaster as a “government funded” organization. NPR tech reporter Bobby Allyn was the first to report on the change. He said Elon Musk told him Twitter would apply the “government funded” designation to other institutions in the coming days. “Tesla, which has received billions of dollars in government subsidies over the years, does not appear to have the label,” Allyn added.

The main NPR account has not tweeted since Twitter first applied the state-affiliated label on Wednesday. After NPR CEO John Lansing issued a statement pointing out that the “state-affiliate” did not apply to the public broadcaster under Twitter’s own guidelines, the company changed those guidelines. "State-financed media organizations with editorial independence, like the BBC in the UK or NPR in the US for example, are not defined as state-affiliated media," the page said before Tuesday. By Wednesday, the company had removed the section of text that had referenced NPR. According to NPR, less than one percent of its annual operating budget comes from government grants. Over the last five years, the majority of the non-profit’s revenue, about 70 percent, has come from corporate sponsorships and programming fees.

Star Wars: Episode VI – Return of the Jedi is heading back to theaters. At its Star Wars Celebrations event in London, Disney announced today it would rerelease the classic film in cinemas in the US, UK and other parts of the world on April 28th. The theatrical rerun will give Star Wars fans the chance to celebrate the movie ahead of its 40th anniversary on May 25th.

Return of the Jedi won’t be the first time Disney has brought an old Star Wars film to theaters. Last year saw the brief return of Rogue One: A Star Wars Story to the silver screen in anticipation of the debut of Andor on Disney+. In 2020, it was also possible to see The Empire Strikes Back in theaters in between Covid-19 lockdowns. Looking to the future, fans can look forward to three new Star Wars films, one of which will feature the return of Daisy Ridley as Rey.

Separately, Disney announced on Saturday that a new season of Tales of the Jedi is in production. Creator Dave Filoni shared the news during a Star Wars Celebrations panel dedicated to The Clone War. “Tales of the Jedi was so fun the first time, I decided to do some more,” he told event attendees. Filoni didn't say when the new season would debut, but between all the new live-action series coming to Disney+ over the next year-and-a-half, there won’t be a dearth of Star Wars content anytime soon.

Substack users woke to a strange surprise today when trying to share links on Twitter, finding an error message when interacting with any tweet featuring a Substack link. Tweets with an outgoing link to Substack cannot be retweeted, replied to or even liked. The error message states that “some actions on this tweet have been disabled by Twitter.” The loss in functionality even extends to tools like TweetDeck.

You can still tweet out Substack links, but that is where engagement ends. This could be a garden variety error, but it could be a response by Musk and Twitter to Substack’s recently-announced Twitter-esque Notes feature. After all, Twitter is no stranger to silencing rivals, both real and imagined. The social network briefly placed restrictions on tweets with outgoing links to Mastodon, Facebook, Instagram and Truth Social, even outlawing outgoing links to other social media profiles in bios. Musk has also experimented with banning journalists who cover Twitter and made other questionable decisions for a self-proclaimed free-speech absolutist.

The founders of Substack issued a response to the move and it certainly seems like they believe the restrictions were instituted on purpose and not part of a system error.

“We’re disappointed that Twitter has chosen to restrict writers’ ability to share their work. Writers deserve the freedom to share links to Substack or anywhere else. This abrupt change is a reminder of why writers deserve a model that puts them in charge,” the founders wrote.

There is another option beyond spite or a system error. It is possible Substack ran afoul of Twitter’s recently-announced API pricing scheme. The sheer number of links to Substack content from users would force the company to invest in the Enterprise-level API at $42,000 a month. If Substalk balked about these costs and Twitter caught wind of it, this could be another New York Times checkmark situation.

Substack says it is currently investigating the newly-imposed restrictions and that it will “share updates as additional information becomes available.” The company shared a blog post in which it expressed hope that these moves were made in error and stated that "cracks are starting to show in the internet’s legacy business models." We reached out to Substack and will update this post if the situation changes or if functionality is restored.

EA will release the mobile free-to-play Lord of the Rings: Heroes of Middle-earth on May 10th, marking its first LOTR game since 2009's The Lord of the Rings: Conquest. It also unveiled the first real trailer, showing gameplay, menus and more. It's one of five LOTR games currently in development from Embracer (which bought the rights last year), including the much anticipated Lord of the Rings: Gollum set to arrive shortly afterwards. 

The trailer features a "stylized realism art style," EA wrote, leaning into existing lore with wanderers, warriors, wizards and other classic LOTR characters. AT the same time, it creates "a more diverse and inclusive Middle-earth," the company said, while showing off Story, PVP and other gameplay modes.  

Heroes of Middle-earth includes characters from both The Lord of the Rings and The Hobbit, along with collection systems, turn-based combat and more. In a previous news release, EA said that players will experience "iconic stories from the world of Tolkien and take up the fight against the great evils of Middle-earth." Given the free-to-play aspect, there are of course microtransactions.

Heroes of Middle-earth is set to arrive on iOS and Android on May 10th, with pre-registration now open. Meanwhile, Lord of the Rings: Gollum will launch on consoles and PC May 25th, and Embracer reportedly has three additional titles in development for the next two years. 

The latest edition of Star Wars Celebration is underway and, along with some fresh details about shows coming to Disney+ over the next year or two, Lucasfilm revealed more info about what's ahead for the movie side of the franchise. It announced three Star Wars films, one of which will feature the return of Daisy Ridley as Rey.

That film will take place 15 years after the events of The Rise of Skywalker, the final movie in the Skywalker saga and the most recent Star Wars movie to hit the big screen. It will center around Rey forming a new Jedi Order. Academy Award winner Sharmeen Obaid-Chinoy (Ms. Marvel, Saving Face) will direct the film.

A movie from James Mangold (Logan, Indiana Jones and the Dial of Destiny) will delve into the origins of the Force and the Jedi. It will be set 25,000 years before anything else we've seen in the Star Wars universe to date, according to The Hollywood Reporter.

Meanwhile, Dave Filoni will finally get a shot at directing a live-action Star Wars movie. Filoni has been at the heart of the franchise for many years. He directed the 2008 animated film Star Wars: The Clone Wars and has been deeply involved with the recent spate of Disney+ shows, such as The Mandalorian, The Book of Boba Fett, Ahsoka and Skeleton Crew. Fittingly, the movie he's set to direct will tie the stories of those shows together and put a bow on them.

Disney and Lucasfilm haven't revealed release dates for any of these films. However, Disney's current slate includes holiday 2025 and 2027 dates for untitled Star Wars flicks.

After the last three Star Wars films (The Last Jedi, Solo and The Rise of Skywalker) didn't exactly receive wide acclaim, Disney and Lucasfilm walked back on their plans to release a movie every year. They have made several attempts to get other Star Wars films off the ground, including Patty Jenkins' Rogue Squadron, a trilogy from Game of Thrones creators David Benioff and D.B. Weiss, another trilogy from The Last Jedi director Rian Johnson and entries from Taika Waititi and Marvel Studios head honcho Kevin Feige.

All of those projects have either been canned or deprioritized, according to reports. Disney and Lucasfilm are evidently hoping these three freshly announced films will reignite Star Wars' success in movie theaters, even if we'll have to wait at least a couple of years to see the first of them.

Super Mario Bros. is an almost perfect kids film. It's stunningly animated, it has enough momentum to keep youngins from being bored, and almost every character is unique and likable (even Bowser himself, thanks to the comedic stylings of Jack Black). It's clear that Nintendo didn't want to repeat the mistakes of that other Mario movie, the live-action 1993 film that's ironically beloved by some '90s kids (it's all we had!), but ultimately failed to capture the magic of the games. This film, meanwhile, is chock full of everything you'd remember from NIntendo's ouvre. It's a nostalgic romp for adults, and it's simply a fun time for children.

But boy is it safe. Maybe I'm a bit spoiled by the excellent non-Pixar animated films we've seen over the last decade, especially the ones that Phil Lord and Chris Miller have touched (The Lego Movie! Into the Spider-Verse!). But it's glaringly obvious Nintendo didn't want to take any major creative risks with this adaptation. The script from Matthew Fogel is filled with enough humor and references to keep us from feeling bored, and directors Aaron Horvath and Michael Jelenic deliver some inspired sequences. But it's almost like the film is trapped in a nostalgia castle thanks to the whims of an aging corporate dinosaur. (Bear with me.)

Nintendo/Illumination

That wasn't a problem for the kids in my matinee audience, but it's a bit disappointing if you've waited decades to see a truly great Mario adaptation. It's in line with the recent live-action Sonic the Hedgehog movie — Super Mario Bros. is "fine." There's no attempt to achieve anything deeper than the basics: Mario (voiced by Chris Pratt) and Luigi (Charlie Day) are two floundering Brooklyn plumbers who are inexplicably transported to the Mushroom Kingdom. Luigi, ever the scaredy-cat, is almost instantly captured by Bowser's minions, and it's up to Mario and Princess Peach (an effervescent Anya Taylor-Joy) to save him. Big bad Bowser, meanwhile, has plans to either marry Peach or, barring that, take over the kingdom.

The film bombards you with an endless series of references from the start – just look at all those Punch-Out! characters on the wall! – something that will either delight longtime Nintendo fans or make your eyes roll. Personally, though, I mostly enjoyed seeing how all of the nostalgia fodder was deployed (the adorably fatalistic Lumalee from Mario Galaxy practically steals the film). The filmmakers also show off plenty of visual flair, like an early scene in Brooklyn that rotates into a 2D chase sequence. If only some of the musical choices were more creative. (A Kill Bill reference? Bonnie Tyler's "Holding Out for a Hero" during Mario's training montage? Come on.)

It's always nice to see kids movies reach far beyond our expectations — The Lego Movie wrestled with the prison of capitalism, the importance of pushing against restrictive social expectations and how fandom can ruin the thing you actually love, all in addition to being a fun adventure for kids and injecting a dose of smart humor for adults. In Super Marios Bros., Mario learns to eat mushrooms because they literally make him big and strong. What subtext!

At the same time, I can still respect a movie that simply accomplishes its goal of entertaining children. Over the years, I've been subjected to plenty of truly awful kid's films with ugly animation and production design, lazy writing, and zero creative vision. I wish I could reclaim the time I spent watching Space Jam: A New Legacy or the 2011 Smurfs movie. The Super Mario Bros. may be a bit basic and safe, but it's not a waste of time.

For one, we've never seen Mario and the Mushroom Kingdom look this good. Illumination may not have the stellar track record of Pixar, but this movie is filled with gorgeously detailed characters, vibrant worlds jam-packed with detail and some of the most fluid animation I've seen in years. It's a visual feast, and it makes me long for the day when a Mario game can look so lush (as much as I loved Super Mario Odyssey, it's visuals are held back by the Switch's aging hardware).

And for the most part, the voice acting kept me invested. Jack Black is inspired as Bowser, a hopeless romantic who can only express his feelings through song and world domination. Charlie Day basically plays his usual harried persona, but it fits Luigi, a character who mainly exists to support his little bigger brother. And Anya Taylor-Joy makes for a perfect Princess Peach, a leader who has to feign bravery to protect her adorable Mushroom Kingdom people.

Nintendo/Illumination

For all of Chris Pratt's hype about his Mario voice, though, it's merely serviceable. The movie jokes about Charles Martinet's original problematic accent (Martinet also voices two characters in the film), but Pratt's spin on it just feels like someone pretending to be a schlubby Brooklynite. That's particularly surprising since Pratt injected so much life into his Lego Movie lead.

What's most disappointing about The Super Mario Bros. Movie is that it's so close to being genuinely great. If the film had more time to build up its characters, or if it made room for Jack Black unleash his full Tenacious D talents as Bowser, it would easily be stronger. Why not go a bit harder on that Mario Kart sequence? (Even Moana managed to fit in a Mad Max: Fury Road reference!) Why not spend a bit more time on the rivalry/budding bromance between Donkey Kong (Seth Rogen) and Mario?

With a projected opening weekend of $150 million or more, it's clear that Nintendo has a hit on its hands. A sequel is inevitable. I just hope that the company loosens up the next time around. After all, what fun is a Mario adventure without taking a few creative leaps over chasms of uncertainty?

At the Star Wars Celebration in London, Lucasfilm has unveiled a raft of news, trailers and more on its numerous upcoming streaming series, Variety has reported. That starts with a first look at The Acolyte showed to the ExCel Center crowd (but not online yet) and a launch date window of sometime in 2024. 

First revealed at Disney's Investor Day 2020, The Acolyte takes place in the High Republic era of the Star Wars universe (100 years before the franchise’s prequel trilogy) during a period called the Golden Age of the Jedi. The cast includes Jodie Turner-Smith, The Good Place star Manny Jacinto, Dafne Keen, Rebecca Henderson and Carrie-Anne Moss.

The first look showed footage of a Jedi temple, fighting with Moss, a gold lightsaber, and a shots of the Jedis lighting up their sabers in unison. "This is about power and who is allowed to use it," a tagline read. The show is reportedly a "mystery thriller" seen from the perspective of the Siths, with the term "acolyte" describing soldiers of Sith Lords, according to Variety.

Lucasfilm also revealed that the Ahsoka series will debut in August of 2023, and stars Rosario Dawson and Mary Elizabeth Winstead revealed a teaser trailer to the crowd (above), with Dawson intoning "Something is coming, something dark."  

In other news, creator Tony Gilroy also showed off a trailer (also not online yet) and said that Andor's second and final season will debut in August 2024. Meanwhile, Jude Law and Jon Favreau showed off the first trailer for Skeleton Crew, a Spielberg-esque series focused on a group of rebellious kids. The footage showed Jude Law as a Jedi, kids on speeders and spaceships, and a baddie from The Mandalorian. 

Pop star Maggie Rogers isn’t going to let bots spoil her upcoming tour. The “Alaska” singer told fans in an email today that she’s getting a jump on automated scalpers by selling tickets the old-fashioned way: in-person sales.

Rogers says fans can physically walk up to box offices on Friday to get first dibs on pre-sale tickets for her US summer tour, running from July to August. “On Friday, for one day only, we’re running an in-person pre-sales, where you can go directly to your local box office to buy a ticket,” wrote the artist, who rose to fame after a video of Pharrell Williams reacting to her “Alaska” demo went viral in 2016. “There’s a two-ticket-per-person limit, but you can choose any ticket you want — all of the prices and tiers will be available, along with exclusive merch and a special playlist I cooked up just for box office day.”

Rogers says the in-person process will vary from city to city, and she advises fans to check her website for specifics. For fans in the NYC area, she adds that she will visit the Music Hall of Williamsburg box office in Brooklyn on Friday, greeting fans buying tickets for her Forest Hills show scheduled for July 27th.

If you can't make it to the box office on Friday, Rogers says her website will open registrations for traditional artist pre-sales on April 11th. In addition, Spotify will have its own pre-sales on April 12th with local promoters joining on the 12th and 13th. General availability opens on April 14th.

ASSOCIATED PRESS

Ticketmaster has been in hot water lately over its inability to prevent bots from scooping up pre-sale tickets and reselling them for egregiously inflated prices. After 1.5 million presale codes went out to Taylor Swift fans in November, 14 million buyers (including “a staggering” amount of bots) tried to purchase tickets. The company said it was hit with 3.5 billion system requests, leading to the site crashing and fans left without access.

That caught the attention of the US Congress, including Rep. Alexandria Ocasio-Cortez, who called for the breakup of Ticketmaster. Joe Berchtold, President and CFO of Ticketmaster’s parent company Live Nation, testified before the Senate Judiciary Committee in January, acknowledging the problem but punting a resolution to (the largely dysfunctional) Congress. Despite a reported DOJ investigation, Senate hearings and the usual political showboating, the government hasn’t yet produced any reforms.

A similar fiasco unfolded in December when thousands of Bad Bunny fans heading to see the reggaeton star in Mexico City’s Estadio Azteca were denied entry at the door, with staff telling them their Ticketmaster-purchased tickets were fake. That incident led to Mexican antitrust scrutiny, but Ticketmaster avoided paying announced fines after it refunded buyers who were denied entry and provided additional compensation.

Although Rogers deserves credit for an analog solution to a modern-day problem, the story says more about our high-tech, modern-day ticket-purchasing catastrophe as it does the artist’s crafty workaround.