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Can Disney recapture the Force with ‘The Mandalorian and Grogu’?

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Can Disney recapture the Force with ‘The Mandalorian and Grogu’?

After a 6½-year hiatus from theaters, “Star Wars” returns to the big screen this weekend with “The Mandalorian and Grogu.”

This time around, however, the franchise faces a much different universe than it did in 2019 when the last film came out. For one, theatrical attendance has fallen dramatically since “Star Wars: Episode IX — The Rise of Skywalker” grossed more than $1 billion worldwide in the pre-pandemic days.

Then, there’s Walt Disney Co.-owned Lucasfilm’s own trajectory. In the last few years, new “Star Wars” stories have come only via streaming series on Disney+. And since the service debuted in 2019, the San Francisco-based studio pumped out 13 shows, including “The Mandalorian,” which inspired the film, though others received mixed reviews.

Lucasfilm is also under new leadership, as veterans Dave Filoni and Lynwen Brennan are now co-presidents after George Lucas’ handpicked successor, Kathleen Kennedy, stepped down this year.

It all adds up to a crucial question: Can the nearly 50-year-old franchise still delight its longtime fans, while bringing in new viewers to help it endure?

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“There’s a lot riding on this,” said Jeff Bock, box-office analyst at entertainment data and research firm Exhibitor Relations. “It’s close to a make-or-break strategic test … just to see if the modern ‘Star Wars’ is still viable theatrically.”

“The Mandalorian and Grogu” is expected to gross around $80 million in the U.S. and Canada for the four-day Memorial Day weekend, according to studio estimates.

That would rank among some of the top openings this year, including Amazon MGM Studios’ “Project Hail Mary” ($80.5 million) and Disney-owned 20th Century Studios’ “The Devil Wears Prada 2” ($76.7 million). Another big sci-fi installment, Warner Bros. Pictures and Legendary Entertainment’s “Dune: Part Two,” opened to $82.5 million in 2024.

But for a “Star Wars” movie, that’s considered low.

2019’s “The Rise of Skywalker,” for example, opened to $177 million, with 2015’s “The Force Awakens” and 2017’s “The Last Jedi” each debuting to more than $200 million. The $84-million opening for 2018’s “Solo: A Star Wars Story” was considered a disappointment at the box office.

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To be sure, theatrical expectations have changed dramatically since the pandemic, which altered moviegoers’ habits and trained many to wait and watch films at home.

“The Mandalorian and Grogu” also stems from a streaming series and does not continue the story line of the traditional “Star Wars” saga films that follow the Skywalker family. (The movie’s reported production budget of $166 million also makes it cheaper than its predecessors.)

And for Disney, box-office revenue will not be the only indicator of this film’s success.

Director Jon Favreau, left, and Pedro Pascal on the set of Lucasfilm’s “Star Wars: The Mandalorian and Grogu.”

(Nicola Goode / Lucasfilm Ltd. / Disney via Associated Press)

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The company expects the movie will boost other parts of its business, including streaming, its gaming collaboration with Fortnite and the all-important theme parks, where the film’s main characters appear at the Star Wars: Galaxy’s Edge-themed land, and the Millennium Falcon: Smugglers Run ride has been overlaid with a “Mandalorian and Grogu” storyline.

Then of course, there’s merchandise. (Famously, fans rushed to buy items of Grogu — known colloquially as Baby Yoda — after “The Mandalorian” show debuted in 2019, though products didn’t arrive for months. Once available, 13 million Grogu toys were sold in the two years after they were released, Disney has said.)

“It’s not using cinema in the way ‘Star Wars’ used cinema before,” said Carmelo Esterrich, a professor at the school of communication and culture at Columbia College Chicago, who has written about how “Star Wars” is a reflection of American culture. “It’s using the franchise of television and the power machine of Grogu to bring it to the big screen.”

Grogu’s appeal highlights an important goal for the franchise: expanding beyond its original fan base to new audiences. Although “The Mandalorian and Grogu” builds on storylines from the streaming show, the film was designed to be accessible to viewers who had never watched it.

“I hope that our excitement and joy and love of ‘Star Wars’ translates to a new generation of fans seeing it, experiencing it the way we did for a long time,” director Jon Favreau told an audience in April at the CinemaCon trade conference during a presentation about Disney’s film lineup.

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Early ticket sale tracking indicated strong interest from older men, who have historically been the core audience for “Star Wars” films. But after an extensive marketing campaign, Disney’s studio estimates now show audiences are younger, with more families and women represented.

To date, “The Mandalorian” is still the most popular Disney+ series. The show, which has run for three seasons, has won 15 Emmys, including for sound mixing and special effects. The critical and fan response, as well as the opportunity to explore new characters’ backstories, led Lucasfilm to choose this show to spin off into a movie, according to sources close to the studio.

Since the launch of the platform in November 2019, “The Mandalorian” and other “Star Wars” titles such as “The Acolyte” and the second season of “Andor” have seen relatively high audience demand, according to an analysis by Parrot Analytics, a firm that tracks streaming data. Despite several big hits, the average demand for live-action television series set in the galaxy far, far away have shown a slight downward trend over time.

In contrast, demand for live-action series from Disney-owned Marvel Studios has held stable since the premiere of its first streaming show, “WandaVision.” Though Marvel’s television offerings outnumber those of “Star Wars,” overall audience interest in the superhero shows is less than the biggest “Star Wars” hits and more comparable to some of Lucasfilm’s lesser-hyped titles, including “Skeleton Crew,” according to Parrot Analytics.

In the end, “The Mandalorian and Grogu” needs to keep audience interest in “Star Wars” on the big screen. Next year, Lucasfilm will release “Star Wars: Starfighter,” a film starring Ryan Gosling and directed by Shawn Levy of “Deadpool & Wolverine” that has generated great interest, particularly given Gosling’s turn in “Project Hail Mary.”

“This is a safe reentry point,” Bock of Exhibitor Relations said of “The Mandalorian” movie. “If Grogu can bring in the families and if ‘The Mandalorian’ continues to bring in the audiences of the old movies, maybe they can bridge these generations like classic ‘Star Wars’ once did.”

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Grocery Outlet restarts expansion with new California branches

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Grocery Outlet restarts expansion with new California branches

Grocery Outlet is opening new locations across California, rebuilding its network in the Golden State after closing stores early this year.

A new branch in Ontario Ranch is scheduled to open July 23, and more openings are planned for later this summer.

The location will be operated by independent owners Gloria and Jason Pineda. By the end of August, the discount grocery retailer plans to open stores in Ramona, San Francisco, Clovis and Petaluma as well.

The Emeryville, Calif.-based chain announced the closure of 36 stores in March, including nine California locations. The closures were an attempt to roll back an overexpansion in the wrong markets, resulting in a loss in 2025. Grocery Outlet did not announce which locations would be closed at the time, but they were listed for sublease by advisory firm Gordon Bros.

Among those listed was an Ontario location closer than seven miles from the soon-to-open site.

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Five other Southern California locations were marked for closing in Azusa, Brawley, El Cajon, La Habra, Ontario and Poway. In Central California, the Kerman, Patterson and Ridgecrest stores were also listed for sublease. Outside of California, stores in Idaho, New Jersey, Maryland, Ohio and Pennsylvania also were listed.

In an earnings call in May, Grocery Outlet Chief Executive Jason Potter said the restructuring was helping boost the company’s profit.

“These closures are now complete and have improved fleet quality and will strengthen the earnings profile of the business over time,” he said.

Grocery Outlet was founded in San Francisco in 1946 as a discount grocery store chain selling overstock of limited-time or holiday food items. There are about 280 Grocery Outlet locations in California, accounting for more than half of its total store count.

Though Grocery Outlet has cultivated a dedicated consumer base on TikTok and other social media posts from grocery bargain hunters, it faces fierce competition from other budget grocery chains, including Aldi, which is set to open 180 stores in 2026. It also competes with Trader Joe’s, Walmart and Amazon, which have steadily gained customers.

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Last year it was also hurt by the lapse in federal food assistance during the 43-day government shutdown.

In the wake of rising grocery prices and economic anxiety, some low-income customers who would once have shopped at budget grocery chains such as Grocery Outlet are turning to food banks instead. According to Los Angeles Regional Food Bank, 1.2 million people visit its food banks per month.

Grocery Outlet’s net sales rose 4% in the first quarter from a year earlier to $1.17 billion. It recorded a net loss of $180 million for the period.

It said it had closed locations as part of its optimization plan. It also underwent a store refresh program, changing products and is clustering locations to boost profit and customer traffic.

“Our value-oriented product offering continues to resonate with consumers. While we’re encouraged by the progress we’re beginning to see, we’re not satisfied with our current level of performance and are focused on the work we have in front of us,” Potter said on the earnings call.

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Grocery Outlet shares have fallen more than 25% over the last 12 months. The Dow Jones industrial average has climbed more than 15% during the same period.

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Commentary: Trump greenlights California’s dumbest water project

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Commentary: Trump greenlights California’s dumbest water project

On July 9, the Trump administration delivered a gift to Cadiz Inc., a politically well-connected firm that has been trying for decades to win approval for a scheme to pump water out of the Mojave Desert and market it to water agencies across the Southland.

The administration approved the company’s application to convert an abandoned 220-mile oil and gas pipeline crossing the desert to carry water instead. Susan Kennedy, the chief executive of Cadiz, called the approval “a pivotal milestone” that would enable the project to move into its construction stage.

Here’s betting that Kennedy’s statement was somewhat premature. The project still faces significant opposition from environmentalists, local Indian tribes and the state of California. It has been declared ready to go — and declared dead, too — so often that it could serve as a character in a zombie movie or streaming series.

I haven’t seen anything to persuade me that there’s not going to be any environmental damage.

— Ileene Anderson, Center for Biological Diversity

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Indeed, this is the second time that Trump has greenlighted this project. He did so during his first term, but his decision was overturned during the Biden administration; Trump’s most recent approval overturned that action — but there’s no promising that the next president, whoever that is, won’t overturn this one.

I’ve been covering the Cadiz project for nearly 25 years, starting in 2002; I take credit for helping to put the kibosh on a proposal for the Metropolitan Water District, which supplies water to 13 million Southern California residents, to partner with Cadiz.

In fact, there’s reason to wonder whether Cadiz itself still wants to do the project, even though in the past it described it as its potential corporate lifeblood.

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Last year Cadiz reported that nearly 90% of its revenue stemmed from the sale of water filtration equipment manufactured by ATEC, a Hollister firm it acquired in 2022. That segment is its only profitable operation, though the $2.5 million in operating income the unit produced in 2025 was swamped by losses in its other operations — mostly the sale of fruits and vegetables grown on its desert tract — producing an overall loss of $25.6 million. The company has never reported a profit.

Kennedy told me this week that she now sees the water treatment business as “the future of our company — an enormous market opportunity.” She said “demand for filtration is skyrocketing,” with cleansed stormwater “the biggest source of new water supply.” Cadiz has doubled its manufacturing capacity for the equipment, and “we expect to double again.” The company has also signed an agreement to produce hydrogen at its desert site by installing a solar array for power.

Meanwhile, Cadiz is taking steps to hive off the infrastructure it has planned to use for its water project, mostly two unused pipelines, into a special purpose subsidiary. These entities are typically aimed at insulating the parent company from the risks and liabilities of a speculative investment.

In this case, Kennedy told me, the idea is to open the water project more broadly to outside investors.

In practice, that means that the pipelines Cadiz proposes to use to transport desert waters to urban, industrial and agricultural users would fall into the hands of private equity firms, which haven’t been known as a class for their devotion to the public interest. Cadiz would end up with a minority stake in the pipelines, Kennedy says.

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Transporting water out of the desert faces so many headwinds that it may make more sense to divest the business and shift over into less controversial enterprises, like filtering poisonous minerals out of reclaimed stormwater and producing hydrogen.

It’s worth reacquainting ourselves with the company’s discreditable history. The Cadiz project was the brainchild of British-born Keith Brackpool, who had a checkered record as an investment promoter. As I wrote in 2002, he pleaded guilty in London in 1983 to criminal charges that included dealing in securities without a license.

Brackpool’s pitch was that by stockpiling water from the Colorado River under the Cadiz sands in years when a surplus was available and delivering it during droughts, the company could assuage the supply crisis confronting Southern California.

I wrote years ago that the project boasted “a sort of shimmering authenticity” — if one didn’t look too closely. Yes, the state faces a long-term water shortage. But the problem is that there’s no surplus water in the Colorado available for California. Cadiz has never made a conclusive case that it could withdraw as much water from its desert tract as it proposed without draining its underground aquifer to a dangerous level or causing its contamination with carcinogenic minerals.

After he started pitching the project in the mid-1990s it began to look as though the company’s principal asset was political juice. Former Rep. Tony Coelho, an important Democratic Party fundraiser, served on the Cadiz board. Cadiz and Brackpool were leading campaign contributors to former Gov. Gray Davis, who was thought to be the source of pressure on the Metropolitan Water District to make a deal with Cadiz. Brackpool hobnobbed with former Los Angeles Mayor Antonio Villaraigosa, who received campaign contributions from him and Cadiz. (Brackpool is no longer associated with Cadiz.)

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Kennedy herself had been associated with Cadiz since before she became chief of staff to former Gov. Arnold Schwarzenegger in 2005. Before her appointment, and while she was serving on the state Public Utilities Commission, the firm paid her $120,000 in consulting fees. In 2009, Schwarzenegger endorsed the water scheme as “a path-breaking, new, sustainable groundwater conservation and storage project.”

For years, Cadiz shares traded as a sort of plaything for water investors hoping for a big score over the horizon — what craps players call “betting on the come.” In this case the bet is on the distant prospect that government approvals would eventually make the project real.

For these players, the investments tended to be cheap compared to the potential gains. The largest shareholder of Cadiz, with a 35% stake, is Netherlands-based Heerema International Services, a global industrial infrastructure company. Its holding is worth about $115 million at the current stock price — peanuts for a company that collects revenue of about $5 billion a year.

Then there’s Trump. In March 2017, his Interior Department reversed two Obama administration rulings that had blocked Cadiz’s ability to use a 43-mile pipeline to carry water from the desert to Southern California users. Biden’s Interior Department canceled those rulings. The July 9 action applies to a separate 220-mile pipeline.

In its recent ruling, the Interior Department’s Bureau of Land Management stated that the pipeline conversion would have “no significant impact … on the quality of the human environment” and therefore no environmental impact statement was even needed.

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Environmental groups and other plaintiffs who have been fighting the project are “looking at all our options” for legal challenge, says Ileene Anderson, a senior scientist at the Center for Biological Diversity, a plaintiff in lawsuits challenging the project. “I haven’t seen anything to persuade me that there’s not going to be any environmental damage,” she says.

When I spoke with Kennedy in January 2024, a few weeks after she took over as Cadiz CEO, she acknowledged that the company’s name had become a “poison pill.” Her plan was to “change the company so people think about it differently.”

At that time, this amounted to refocusing its water supply program on serving users in San Bernardino County rather than urban users throughout Southern California. The idea was to counteract what she called a “political” claim that its goal was to drain the desert to “fill swimming pools in L.A.”

Kennedy didn’t mention ATEC then, but she talks about it today with unalloyed enthusiasm. Indeed, she asserted that the water filtration and hydrogen production businesses together could use as much of the company’s available water as it would pipe miles across the desert.

Kennedy is correct to maintain that government, which once built Hoover Dam, the Central Valley Project and Glen Canyon Dam as crucial pieces of our water infrastructure, “has gotten out of the business.”

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But it’s wrong to say that it’s because government can’t afford such projects. Ceding them to private equity is a choice. Given Americans’ dependence on water as a life-giving commodity, do we really want to establish private firms as toll-takers on the water highway, permitted to charge what they wish to maximize their profits? Cadiz may be beating a path to that future, but it may not be a happy journey.

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A ‘next generation studio’ for YouTube creators

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A ‘next generation studio’ for YouTube creators

Hollywood’s fascination with YouTube creators is going to the next level.

Los Angeles-based investment firm Content Partners and media entrepreneur Ed Simpson announced Tuesday that they are launching a new company, Wonderloom Media, that will acquire YouTube-creator led businesses.

Wonderloom’s first acquisition is YouTube true-crime channel Dr. Insanity, which has more than 5 million subscribers and more than 1.3 billion total views.

Content Partners owns or licenses more than 800 films and more than 3,000 hours of television content. The company co-owns the “CSI” franchise.

“This is a kind of next step evolution in the type of IP we will be acquiring,” Alphonse Lordo, a partner at Content Partners, said in an interview.

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The effort comes as the film industry continues to struggle to bring more people into movie theaters and has had recent success with the YouTube creator-led films “Obsession” and “Backrooms.” As studios and TV networks have shed jobs over the years, more entertainment workers are applying their expertise at major YouTube creator-led businesses, which have continued to grow their audiences.

YouTube’s audience has shifted from smartphones to TVs, on which many U.S. consumers watch YouTube videos with their families. That in turn has attracted streamers such as Netflix to partner with YouTube creators to bring their content to the same platform that has high-budget television shows and movies.

Simpson, a former TV producer who will be Wonderloom’s chief executive, said Dr. Insanity was the “perfect first acquisition” because it had a loyal audience, proven storytelling and meaningful room to expand. “True crime is an incredibly sticky genre of programming that works just as well as it does on YouTube, as it does on Netflix and linear and cable channels,” he said in an interview.

Financial terms of the deal were not disclosed.

Wonderloom, based in L.A., also will assist entrepreneurs who started YouTube channels grow their businesses.

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The new company also is eyeing possible acquisitions in food, travel and general entertainment programming, added Simpson, a former chief strategy officer at Wheelhouse, a production firm behind “America’s Sweethearts: Dallas Cowboy Cheerleaders.”

“This is about building the next generation studio, so we think of this as the beginnings of Paramount, of Warner Bros., of those great studios,” Simpson said. “We see this space following in that very same pattern right now.”

Other Hollywood companies also are getting into the creator business acquisition space. Last month, Century City-based Creative Artists Agency said it was partnering with Integrated Media Co. to form a $250-million holding company called Compound Creative Holdings that will acquire and operate a portfolio of creator economy businesses.

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