The box office hit a power-up this weekend, as “The Super Mario Galaxy Movie” continued a healthy streak for family films in theaters.

The animated sequel from Universal Pictures, Nintendo and Illumination raced to $190 million in the U.S. and Canada in its five-day holiday weekend debut, placing it solidly in first place, according to studio estimates and Comscore data. That total was in line with expectations of a $186-million domestic opening.

Globally, the film earned $372.5 million, the largest opening so far in 2026.

The first film based on the video game franchise, “The Super Mario Bros. Movie,” made $146.4 million in its 2023 debut.

“The Super Mario Galaxy Movie,” which had a production budget of $110 million, continues the story of iconic Nintendo characters Mario, Luigi and Princess Peach as they journey to rescue Princess Rosalina.

Amazon MGM’s “Project Hail Mary” came in second at the box office with a domestic total of $30.7 million – pushing its total to $217 million. A24’s “The Drama ($14.4 million), Disney’s “Hoppers” ($5.8 million) and Universal’s “Reminders of Him ($2.2 million) rounded out the top five.

The success of “Mario” this weekend is another example of the power of family films at the box office.

Animated movies like Sony Pictures Animation’s “Goat” and Walt Disney Co. and Pixar’s “Hoppers” have performed well in theaters this year, along with the strong holdover performance of Disney’s 2025 hit “Zootopia 2,” which has now made more than $1.87 billion worldwide.

That’s all contributed to a stronger first quarter in the theatrical business, as this year’s revenue was up more than 20% compared with the same period in 2025. March was especially strong, with the massive haul from “Project Hail Mary.”

Universal Pictures released the sequel globally on Wednesday, capitalizing on kids’ spring break vacations in the week leading up to the Easter holiday. With an estimated $182.4 million from 80 overseas markets, the film is looking at an astronomical $372.5 million debut — the latest hit for the PG rating. Mexico is leading the international bunch with $29.1 million from 5,136 screens, followed by the U.K. and Ireland with $19.7 million.

The animated sequel, Illumination CEO Christopher Meledandri’s 16th movie in 16 years, is the industry’s biggest debut since “Avatar: Fire and Ash” launched over Christmas. The Chinese movie “Pegasus 3,” which was not a Motion Picture Association release, has the slight edge for the 2026 global record, however.

It’s also a dip from the first film, which opened to $204 million domestically during the same five-day time frame in 2023 ($147 of that was from Friday, Saturday and Sunday). “The Super Mario Bros. Movie” went on to be the second biggest movie of 2023, with over $1.3 billion in box office receipts.

“The Super Mario Galaxy Movie,” which features returning voice actors Chris Pratt, Jack Black, Anya Taylor-Joy and Charlie Day, had a massive footprint in the U.S. and Canada, where it played in 4,252 theaters, including 421 IMAX and 1,345 premium large format screens. It made $15 million from the IMAX screens alone.

“It’s exactly the kind of broad, crowd-pleasing release that brings people into theatres,” AMC Chairman and CEO Adam Aron said in a statement.

It also cost around $110 million to make, not including marketing and promotion expenses. But it arrived on a wave of less-than-stellar reviews. Its Rotten Tomatoes score is currently sitting at a lousy 40%. Ticket buyers were more enthusiastic, however.

The family audience gave the movie five out of five stars according to PostTrak exit polls, while general audiences gave it four stars and an A- on CinemsScore. Audiences skewed male (61%) overall, although when it came to families attending there were slightly more moms (52%) than dads.

“These kind of audience reaction scores just point to a ridiculously strong run, not only throughout the spring, but likely into the summer as well,” said Jim Orr, Universal’s president of domestic distribution.

“The Super Mario Galaxy Movie” will open in Japan later this month.

Last year, the first weekend in April hosted the launch of another video game blockbuster, “A Minecraft Movie,” which had a bigger three-day debut ($162.8 million) but didn’t have a “Project Hail Mary” in a strong second place, meaning the weekend overall is still up around 5%.

As expected, “The Super Mario Galaxy Movie” ended the two-week reignof the Ryan Gosling-led sci-fi hit “Project Hail Mary,” which landed in second its third weekend in theaters where it added $30.7 million, bringing its running domestic total to $217.2 million. Worldwide, it’s made $420.7 million to date.

Third place went to A24’s provocative new movie “The Drama,” starring Zendaya and Robert Pattinson, which made an estimated $14.4 million from 3,087 theaters. The film’s stars have been on a massive and charming press blitz to promote their R-rated movie about a engaged couple grappling with an unnerving revelation, which cost a reported $28 million to produce. The reveal has drummed up a fair amount of cultural discourse. While reviews have been more positive than not (82% on Rotten Tomatoes), it got a less promising B CinemaScore.

“Hoppers” and “Reminders of Him” rounded out the top five. And the box office outlook looks bright overall, up around 30% from last year.

“There’s no better opening act for a great summer than a huge month of April powered by a mega blockbuster like the ‘The Super Mario Galaxy Movie,’” said Paul Dergarabedian, comscore’s head of marketplace trends.

Top 10 movies by domestic box office

With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

1.“The Super Mario Galaxy Movie,” $130.9 million.

2.“Project Hail Mary,” $30.7 million.

3.“The Drama,” $14.4 million.

4.“Hoppers,” $5.8 million.

5.“Reminders of Him,” $2.2 million.

6.“A Great Awakening,” $2.1 million.

7.“They Will Kill You,” $1.9 million.

8.“Dhurandhar The Revenge,” $1.9 million.

9.“Ready or Not 2: Here I Come,” $1.8 million.

10.“Scream 7,” 915,000.

One of the hottest tickets for the events surrounding Super Bowl LX in February was a party thrown at the Cow Palace in San Francisco by Sports Illustrated, where attendees could hang with Justin Bieber, Kevin Hart and Travis Kelce.

The magazine’s logo and a team of models from its latest annual swimsuit issue were present at another pre-game bash at the Michelin three-star restaurant Quince.

Sports Illustrated journalists were getting requests from peers looking to score invites to the gatherings, which symbolized a turnaround at the 72-year-old title. Just two years earlier, many of its writers were told their jobs were being eliminated.

But Authentic Brands Group, the New York-based company that purchased Sports Illustrated in 2019 for $110 million, says the title is now thriving after reducing its reliance on advertising and circulation revenue. The privately held firm — which expects $38 billion in global retail sales this year, up from $35 billion in 2025 — does not break out the finances for its businesses but says SI is highly profitable after a rocky period. Less than half of SI’s revenue comes from its media business.

“It took us a little while and we had a couple of bumps along the way,” Daniel W. Dienst, executive vice chairman for Authentic, said in a recent interview from his New York office, where a photo of baseball legend Hank Aaron taken by acclaimed SI photographer Neil Leifer hangs on the wall behind his desk.

For decades, SI was where every sports journalist aspired to work, hoping to become the next Frank DeFord or Gary Smith, whose 32-year career at the magazine is highly revered. Cover images of Muhammad Ali, Michael Jordan and other superstars are emblazoned in the memories of fans who eagerly awaited the title to arrive in the mail each week. For athletes and sports institutions, the cover remains a coveted honor.

“You go to LeBron James’ office in Akron, it’s got his 30 covers on the walls,” Dienst said. “You go to USC, they’ve got 21 covers with their athletes and coaches all over their athletic department.”

Now a monthly magazine, the flagship business of Sports Illustrated is no longer the first stop for fans looking for game analysis or profiles of athletes, many of whom have asserted greater control over their images through social media and podcasts.

Like other print magazines, SI has seen a sharp falloff in its circulation, currently at 400,000, down from 3 million in 2010. Authentic says SI has 52 million users a month on its web site and 21 million social media followers. ESPN had 229 million digital users in November.

But the famous SI name still resonates with generations of consumers and Authentic has sought ways to capitalize on it, from selling replica covers to opening branded resort hotels in Chicago and Nashville. International editions of the magazine have been launched in Germany, China and Mexico, with plans to launch in France and the U.K.

In January, Sports Illustrated launched its own free ad-supported streaming TV channel called SITV that features live shows with its journalists and includes films and shows from an archive stocked with documentaries and swimsuit issue specials going back decades.

The channel, which along with the other SI assets is managed by New York-based Minute Media, will also carry live sports coverage including college basketball. While Minute Media did not reveal early viewership figures, the company said the audience for the channel has grown 60% since its launch.

The streaming channel is a major media initiative for brand that has seen more activity in other sectors.

In 2023, Authentic put the SI name on Lunatix, a sputtering ticket marketplace. Now called Sports Illustrated Tickets, the business has signage deals with 13 venues around the world including a New Jersey-based stadium — the home of the New York Red Bulls soccer team. The service expects to generate $500 million in revenue this year.

Authentic also uses Sports Illustrated-sponsored events such as the ones held at the Super Bowl to entertain clients for its other businesses and makes tickets available to the public. SI will host an event for Authentic at the Masters golf tournament in Augusta this week and has a permanent high-end, track-side hospitality space at Churchill Downs in Kentucky called Club SI.

Authentic specializes in acquiring and investing in famous retail properties that have foundered. The firm has acquired such names as the outerwear retailer Eddie Bauer, Brooks Brothers and Reebok, and in January took a 51% share in the fashion brand Guess.

ABG enlists outside operators to run the brands. Those operators pay an ongoing license fee to ABG, which also takes a cut of the revenues.

That was the plan when Authentic bought Sports Illustrated from Meredith Corp., now known as People Inc.

After the purchase, Authentic entered a $15-million-a-year licensing agreement with Arena Group (at the time known as Maven) to run Sports Illustrated. A New York-based digital media company, Arena operated such well-known titles as Men’s Journal, Parade and TheStreet. But the partnership unraveled when Arena used AI for sponsored content on Sports Illustrated’s website, which sounded alarm bells at the esteemed publication.

Sports Illustrated’s 2026 Super Bowl party at the Cow Palace in San Francisco.

(Sports Illustrated)

The Arena Group acknowledged it hired an outside firm to create product reviews that used fake bylines. The scandal coincided with the termination of its chief executive, Ross Levinsohn, who once held a leadership role at the Los Angeles Times.

The relationship with Authentic worsened when Arena’s majority owner, Manoj Bhargava, took over as interim chief executive. The founder of 5-Hour Energy, Bhargava tried to fire Sports Illustrated’s unionized editorial staff and renegotiate a lower licensing fee from Authentic. He also used the magazine’s editorial pages and website to promote his energy drink business.

The SI media business was unprofitable under Bhargava and Arena missed a payment to Authentic on its licensing deal. In March 2024, Arena announced it was shutting down the print edition of SI.

Around the same time, Authentic hired Minute Media, which runs the digital sites Fansided and Players’ Tribune, to take over Sports Illustrated. Bhargava didn’t go quietly; according to legal filings, he threatened to delete Sports Illustrated’s archive of intellectual property.

Authentic sued Arena for breaching the SI licensing agreement, which was settled. Many of the title’s laid-off journalists were rehired.

The experience with Arena was a harsh lesson for Authentic, which never had owned a media property before.

“The minute I make that phone call or anybody perceives that Authentic could control the newsroom, forget it, game over,” Dienst said, referencing Bhargava. “We had to move on.”

Minute Media has gotten high marks from the SI staff for its repair work on the media side of the business.

“It’s been a long time since we felt like we had an operator and support from the very top to not just grow what we’re doing day to day, but to grow what Sports Illustrated is going to look like 10 years down the road,” said Steve Cannella, editor in chief of Sports Illustrated.

SI’s union representing editorial employees praised Minute Media when it took over, and is close to agreeing on a new contract deal with the company.

Minute Media is aiming to expand the SI brand‘s reach across other media platforms to make up for the time lost under previous regimes.

“I’ve asked, ‘guys, what are all the things you wanted to do that you haven’t been able to do?’ ” said Minute Media President Rich Routman. “If we’re not trying new stuff, we’re failing.”

Some sports media types believe SI is largely a nostalgia play in a landscape where young fans go elsewhere for game highlights and turn to provocative hosts such as Pat McAfee on YouTube. But awareness goes beyond the audience of baby boomers and Gen Xers who grew up with the brand.

Lisa Delpy Neirotti, who leads the sports management program at George Washington University, recently conducted a study with her students on their media consumption habits. She said she was surprised to see high recognition of Sports Illustrated with the Gen Z crowd, and credits SI for Kids, the spin-off publication for younger readers launched in 1989.

“They would remember getting it in the mail, and it was the first thing that got them interested in sports,” Neirotti said. “There are a lot of positive memories that keep the brand alive.”

Dienst said the audience for SI has gotten younger under Authentic’s ownership. But he doesn’t disregard the oldsters who grew up with it.

“They’re very affluent and they’re super loyal,” he said.