Discover how The Conjuring: Last Rites broke records with a $187M global debut, audience love, and franchise milestones despite mixed critic reviews.
The Conjuring Last Rites opened on 5 September 2025 in theatres, earning an estimated $83 million domestically. It pulled in around $104 million internationally, which sums up a massive $187 million global opening. While the budget is about $55 million for the Last Rites for its record breaking release. It makes 44% domestic and 56% internationally which blows the previous films record. As compared to, The Devil Made Me Do It opening record is about $65.6 million domestic and $206.4 million worldwide back in 2021.
The Conjuring Last Rites blows its first weekend with $83 million, marking a record for the franchise. It surpassed the $53 million record of 2018 The Nun. It became the third largest horror opening ever and expected to surpass the top two It films. Variety notes that this is Warner Bros’ the seventh successful movie with a $40 million opening in this year.
This part makes more money in its first weekend than previous Conjuring parts. Its $83 million opening is exceeding the previous series opening of the horror movies domestically, The Devil Made Me Do It with $65.6 million, Annabelle Comes Home ($74.1 million), The Curse of La Llorona ($54.7 million), and almost matched first Annabelle movie ($84.3 million).
The Conjuring: Last Rites became the highest-grossing “Conjuring” franchise opening ever. Its $187 million shattered records for the franchise and pushed its universe past $2.3 billion. Analysts observed that Last Rites became the biggest blockbuster hit as it surpassed its opening record, making it the third-best horror movie. As BoxOfficePro noted, It will soon make a huge commercial win and beat other horror movies including The Devil Made Me Do It ($206.4M) and The Nun ($366M) which was franchise’s current highest earner.
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The Conjuring Last Rites opening is 3X larger than the entire box office collection of The Devil Made Me Do It, about $65.6 million total in the US. it also beats other Conjuring movies like Conjuring 3 made about $206 million worldwide but Last Rites opening was much stronger. As reported in EW.
The Conjuring 2025 release matches Annabelle opening record of $84 million, showing its stronger opening than the recent three movies of Conjuring Franchise. Taking a strong turn for Franchise’s box office power with this powerful debut.
As Hollywood Reporter notes, critics were divided on the Conjuring Last Rites film. While Rotten Tomatoes gave a 55% score for this film, audiences gave a warmer response to this film. It received a B cinemascore and critical PostTrak rating about 79%. Critics also criticized its untwisted plot that led to a lower review score but audiences enjoyed the movie as shown by CinemaScore.
Warner Bros. decided to launch Last Rites only in theaters and did not follow up the last film release strategy in 2021. TheWrap reports that the film was not yet streaming but it is set to arrive later on HBO Max.
The old-school theater first strategy works well to maximize the box office potential. Analysts also noted that last year’s mixed release also hurt the movie’s theater run.
Variety’s Rebecca Rubin noted that Last Rites fuel the box office for the movie franchise. It is expected that more movies will add up to this series even though it was called the “final” film. Warner Bros. surprised with its opening and now the Conjuring universe is worth $2.5 billion. Peter Safran sees that as a win, it also opens the door for more horror movies from Warner.
The Conjuring Last Rites break the opening record in its first weekend of run in theaters. Becoming the third best horror movie with audiences love while critics gave a rough rating to this film. Analysts and media were effusive about the results and also surprised Warner Bros. with its high grossing popularity.
Spider-Man: Brand New Day explained with comic history, One More Day fallout, Peter Parker's reset, and how Marvel reshaped the character's future.
The beginning of Spider-Man’s “Brand New Day,” starting at the top of The Amazing Spider-Man #546 in January 2008, was a clean slate for the character. Following “One More Day,” this era re-envisioned Peter Parker’s life by moving him from his married adulthood back to his origins as a single man and an aspirant. This contentious choice was taken in order to make the character more relatable and timeless for future generations.
Though they were out to make the character viable for at least the next few decades, how they went about doing so provides a textbook example of both imaginative thinking and the dangers of heavy-handed editorial mandates.
To get “Brand New Day,” you have to start with the ruins of “One More Day” (OMD). To fix Peter’s public unmasking during Civil War, Marvel had Peter literally make a “deal with the devil.” To save Aunt May’s life, the demon Mephisto wiped out Peter’s marriage to Mary Jane Watson from history.
This “Devil’s Bargain” erased two decades of continuity. For his part, Editor in Chief Joe Quesada has said that an older married Peter is too “aged” and in that sense less relatable. But it’s a forced regression — and it’s unearned, too. It was like a supernatural “undo” key, rather than traditional character development, and many fans felt it discounted their long-term investment in the series.
The most interesting thing about BND was not just the story, but the logistics. Marvel dropped several Spider-Man books to concentrate on one flagship title, The Amazing Spider-Man, three times monthly.
This necessitated a “brain trust” of rotating writers (such as Dan Slott, Mark Waid and Zeb Wells) and artists. This method enabled the book to mimic the speed of serialized television. They could sow “slow-burn” seeds — such as the mystery of the ‘Spider-Tracer Killer’ that would pay off months or even years down the road.
BND, however, also devoted a lot more attention to Peter’s life without the mask. Moving him back in with Aunt May and making him a freelance photographer once again Marvel played up “humanizing” the hero through urban hardship.
Return of Harry Osborn: Resurrecting Harry reintroduced a social mooring and a “best friend” dynamic that had been missing for years.
New Rogues: The era was prolific in new villains. Mister Negative was the breakout, presenting a stark visual “negative” of the Peter/Spidey duality.
New Faces: New characters Carlie Cooper (a CSI forensics expert) and Vin Gonzales (Peter’s Spider-Man-hating roommate) were also added to capture a contemporary, pan-op/NYC feel.
Controversial as it always was, BND’s DNA is stamped on everything today. The 2018 Marvel’s Spider-Man game took a lot of cues from this period, including Mister Negative and the F.E.A.S.T. shelter.
More importantly, the BND model is what the MCU is now following. Tom Holland’s Peter is, by the end of No Way Home, living in a small apartment, unknown to the world and devoid of his Stark tech. The 2026 film, apparently titled Spider-Man: Brand New Day, heralds a “fresh start” much like the 2008 relaunch – though presumably with a more heroic justification than a deal with Mephisto.
“Brand New Day,” was a radical rewrite designed to update the character by returning to his roots. Though it led to some of the best single stories in the character’s history, it also demonstrated that “narrative debt” is real. You can reset a character’s clock, but you can’t always reset the reader’s memory.
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Priyanka Chopra Jonas’ The Bluff draws inspiration from real pirate queens like Grace O’Malley, Anne Bonny, and Ching Shih.
Hollywood’s depiction of a woman pirate was, for many years, a romanticized caricature-a corseted sidekick or the occasional option roguish lead surrounded by familiar hearth and home arcs. But as we get ready to see Priyanka Chopra Jonas step into the shoes of Ercell Bodden in The Bluff, the narrative is at long last shifting.
As anyone who bothers to look at history will tell you, women pirates didn’t just “go along for the ride.” These were ruthless, calculating, and sometimes more horrifying malevolent forces than the men they led. Chopra Jonas’s take on Ercell, a woman who must reclaim her “warrior identity,” and is inspired by four legendary women who genuinely ruled the waves.
If Ercell Bodden is defined by her “maternal ferocity,” she rests on the foundation of Grace O’Malley. But not only was O’Malley a pirate who had come to command a fleet at a title that made her the “Pirate Queen of Connacht,” she was the ruler of an empire.
She reportedly gave birth on a ship and was back on deck a few hours later armed with a blunderbuss to help defend her men. Like Ercell, O’Malley was never really a greedy pirate – it was just about staving off hunger for her family and people. She even had a famous confrontation with Queen Elizabeth I, dispelling the myth that a pirate couldn’t be a canny political operator and a mother at the same time.
In The Bluff, we witness Ercell’s transformation from a deadly assassin to a suburban mom and the violent “unmasking” that follows. This is in the lives of Anne Bonny and Mary Read.
These 18th century pirates spent much of their lives passing as men, making their way in a world that offered them no place at the table. In the heat of battle they were said to be more “bloodthirsty” than the males. They are the “feral” energy Ercell must recapture to defend her home.
While Ercell battles on behalf of a tiny community in the Cayman Islands, her tactical prowess is a mirror image of Ching Shih (Madame Cheng). As the admiral of the Red Flag Fleet consisting of 1,500 ships and 80,000 pirates—Shih was perhaps the most prosperous pirate ever.
Significantly, she is also one of the few who actually managed to “retire” and live to tell the tale. That is the essential tension at the center of The Bluff: Ercell has found her peace, but as Ching Shih knew, your past is a shadow that never quite goes away.
Referred to as “Back from the Dead Red,” the biography of Jacquotte Delahaye is survival at its highest degree. faked her death to get away from the government, and then came back to the water with a vengeance.
This motif of “reanimation” is at The Bluff’s heart. Ercell is essentially “dead” to her former life until the wicked Captain Connor arrives and she must once again embrace her warrior spirit.
| Feature | Historical Reality | The Bluff (2026) |
| Weaponry | Improvised, heavy, and practical. | Conch shells, tactical traps, and “dirty” fighting. |
| Motivation | Political autonomy and family. | Maternal ferocity and redemption. |
| Outcome | Usually a short life or a quiet exile. | A focused, muscular 101-minute survival arc. |
The Bluff is more than just a survival thriller, it’s a celebration of women who survived against the odds in the face of the unforgiving ocean. Priyanka Chopra Jonas gives a portrayal that bleeds into fiction of the fiercest women in history.
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