With his next film, Tom Cruise continues to exploit one of Hollywood’s most profitable legacies: his own

‘Days of Thunder’ was not a blockbuster in 1990, nor did it please critics much. And still, it’s going to be next let Tom Cruise roll. Before ‘Top Gun 3’ or any other project on his agenda. It is not another whim of the star, it is a new episode in the recovery of a legacy that the actor knows is currently valued very highly in Hollywood: his own. Days of Thunder 2. After months actively and passively confirming that the film is underway, Paramount now has a director for the sequel: it will be Jonathan Levinestill negotiating the terms of his contract. Cruise returns to be Cole Trickle, the NASCAR driver he played 36 years ago, and produces alongside Jerry Bruckheimer, the film’s original producer. The studio is already treating the film as Cruise’s next production, ahead of ‘Top Gun 3’, which Paramount has already announced is in development, and ahead of ‘Broadsword’, the project he is preparing with Christopher McQuarrie. A relative failure. ‘Days of Thunder’ was born in its day as an attempt to repeat the formula of ‘Top Gun’: same director, Tony Scott, same producers, Don Simpson and Jerry Bruckheimer, same protagonist, four years after the premiere of that one. And although, as we say, he reunited Cruise with the director of his previous success, it did not work so overwhelmingly: ‘Top Gun’ grossed $357 million worldwide. with a budget of just 15; ‘Days of Thunder’ stood at 157 million compared to a disbursement of 60. Legacy is what matters. But Cruise treats both films the same: as his property, to be reactivated when he decides. When Paramount proposed turning ‘Days of Thunder’ into a series for Paramount+ years ago, it was the actor himself who rejected the idea. I didn’t want a second-rate spin-off. He wanted to repeat with this film the same move that worked with ‘Top Gun: Maverick’, about which we already explained how he turned nostalgia into Hollywood’s most profitable mechanism, compared to the forced recycling of other studios. Comedy on wheels. Levine’s choice is also unusual. Until now he has directed comedies like ‘Memories of a Teenage Zombie’ or modest dramas like ’50/50′, never an action blockbuster on this scale, and Paramount comes to him for an indirect reason. Apparently, test screenings of ‘Mr. Irrelevant: The John Tuggle Story’, a sports drama with David Corenswet that opens next Christmas, have been exceptionally good. That result, and not a previous history with cars or chases, is what has boosted the studio’s confidence in Levine. The definitive boost. The final push came, almost accidentally, from another motorized debut. In June 2025, while promoting ‘F1’, the film with Brad Pitt that Bruckheimer also produced, the producer confirmed that conversations with Cruise were active: “there are always new technologies, new ways of doing things and showing them.” weeks later it was more direct: confirmed that Cruise wants to film the sequel and that the two were still shaping the script. The actor himself confirmed it that same month. 36 years later. Of course, ‘Days of Thunder’ has severe problems recovering its original cast team, and it cannot be solved emotionally, as happened with the absence of Val Kilmer in ‘Maverick’. Thirty-six years later, Tony Scott and Robert Duvall have passed away (the absence, of course, will be regrettable). And Nicole Kidman, whom Cruise met during that filming and with whom he was married for eleven years, has not worked with her ex-husband since the divorce, and her return should be considered impossible. But first. Before Cruise gets back into a race car, ‘Digger’ will hit theaters on October 2: a black comedy by Alejandro González Iñárritu that marks Cruise’s return to Warner Bros., a decade after ‘Edge of Tomorrow’. There Cruise is not an action hero, but the most powerful man in the world, facing a catastrophe that he himself caused. The other side of the strategy: in this way Cruise reactivates his catalog with Bruckheimer, but also tries a different register with Iñárritu. Cruise has something for everyone. In Xataka | Being a close friend of Tom Cruise has a special bonus: exclusive viewing of a six-hour film masterclass

If Midjourney survives Disney’s demand we could be facing the most radical transformation in Hollywood’s history

Tool or enemy? It is clear that the relationship between generative and Hollywood IAS is going to bring a lot of tail: they were one of the key points of the requests of actors and screenwriters in the strikes that paralyzed Hollywood A few months ago. But far from being circumstantial allies, producers and artificial intelligences do not team, but quite the opposite: for the first time, two Majors of cinema demand a company of AI. What requests for demand. It is notorious because it is the first time that happens, although very possibly it will not be the last. The demand accuses Midjourney of violating the copyright of the plaintiffs, Disney and Nbcuniversal, both directly and secondary. That is, Midjourney is accused of both performing without authorization acts reserved for the holder of rights and facilitating the tools for others to do so. This infraction has occurred during the training process of its AI model and by showing images generated by artificial intelligence of copyright characters. The precedent of strikes. Interestingly, now you are Majors They face the companies of AI representing the industry, but it was also the IA that caused the fracture of the industry two years ago: the scriptwriter union faced the Alliance of Film and Television Producers in May 2023 (The actors in July joined the conflict), paralyzing Hollywood For six months. The agreement that was reached significantly restricted the use of the generative AI: this is prohibited so that the producers generate a script without a screenwriter, or replicate the image of an actor without permission, but its use is allowed as tools for the technicians. What can and what is not. Producers are clear What do you want from AI companies: “Piracy is piracy, and the fact that it is done by an AI company does not make it less offender,” says Disney’s legal department. It clashes like this with an assumption of technology: that it is legal to train machines with protected material, low the rules of Fair Use that in the US defends, for example, to parodies. The result enters a very diffuse legal landand that is why the result of this demand is essential for the future of the entertainment industry: Should Chatgpt images inspired by Ghibli’s work account with Hayao Miyazaki? They are not the first. Although this action is a point and apart from the size of the plaintiffs, there have been other previous ones (one of the most sounded: the New York Times demanding Microsoft and OpenAi): This updated map details the 42 current demands against AI companies. The one that brings together more conflicts is Midjourney, which does not put limitations to its Prompts If you try to make ChatgPT make a version of an image of Darth Vader, for example, you will find a warning that the petition violates its content policies. Midjourney, on the other hand, adds Dozens of artists’ demands and creators to absorb and inspire themselves in their work. There is no back. There is much at stake with this demand, to the point that if it goes ahead it can mean the end of many companies linked to AI, which could have to return to their zero models. Hollywood would have a free way, thus, to generate new income through the licenses of its properties, or creating companies that use “legal”, giving rise to producers built entirely under these cases, such as Asteria Film, Natasha Lyonne and Bryn Mooser’s companythat only has official material and will soon release its first film. We may be, in that sense, in a “wild” era for the IAS, which has their days counted before they begin to be preceded. Trump’s idyll with the IAS. However, this purpose can run into an impediment: large technological corporations have already taken steps to ensure that they have the law on their side. Not only the great CEOs Tech supported Trump In his presidential possession: Openai, for example, sent a report to the White House In January defending that the use of material bachelor in training of AI systems should be free. Several laws around Copyright relaxed as an immediate effect, and then the avalanche of images inspired by Ghibli generated by chatgpt came. We are not seeing a clash between weak rivals, precisely: both sides have a lot to win and they will invest millions so that the demand is resolved in their favor. The future of this war. This conflict just started. Disney and Universal (depending on how long and successful this demand) they go behind other companies: they have started by Midjourney, possibly because it is the weakest. But, if for whatever, Midjourney or whoever continues to win the demand and has free way to generate images under copyright, we will be before A total revolution: The studies, as we have met them until now, could abandon their role as guardians of the franchises and the characters and anyone could generate their own material of licensed content. The new role of studies. Studies would simply be property licenses. It is a dramatic turn, but not completely unreal. After all, it is what they are already doing: exploit properties in Attraction parks and produce infinite sequelae and Continuous refritos Of the same images, the same characters and the same stories. We may be taking the first steps towards the disintegration of Hollywood as we know it. Header | Disney In Xataka | Sony seems determined to embrace AI to reduce costs in their films. Their own producers have doubts

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