Entertainment
‘Project Hail Mary’ Author Andy Weir Says Paramount Rejected His ‘Star Trek’ Pitch — Then He Said Their ‘Shows Are Sh’…**
The man behind Hollywood’s biggest sci-fi hit right now had a vision for the Star Trek universe — but Paramount said no. What he said next about modern Trek is what every frustrated fan has been thinking for years.
There’s a particular kind of frustration that comes with being a lifelong fan of something — watching it slowly lose its way while the people in charge either don’t notice or simply don’t care. Andy Weir, the author behind The Martian and now the source material for one of Hollywood’s biggest box office hits of the year, knows that feeling intimately.
And this week, he said it out loud.
The Pitch Paramount Didn’t Want
In a candid interview making waves across the internet, Andy Weir revealed that he had pitched an idea to Paramount for a Star Trek project. The details of the pitch remain sparse — Weir hasn’t laid out exactly what his vision looked like — but the outcome is clear: Paramount passed.
For a man whose novel The Martian became a Ridley Scott-directed blockbuster starring Matt Damon, and whose follow-up Project Hail Mary is currently dominating multiplexes with Ryan Gosling at the helm, a rejection like that stings with an extra layer of irony.
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But Weir didn’t just shrug it off. He went further — much further.
‘Their Shows Are Sh**’
Speaking with characteristic bluntness, Andy Weir didn’t mince words about the state of modern Star Trek programming under Paramount+. He said, in no uncertain terms, that their Star Trek “shows are sh**.”
It’s the kind of quote that lands like a phaser shot in a quiet room.
And here’s the thing — he’s not alone in feeling this way. Large sections of the Trek fanbase have spent years debating whether modern entries like Star Trek: Discovery and others have honored the franchise’s original spirit — the optimistic, thoughtful, idea-driven storytelling that Gene Roddenberry built Star Trek on back in 1966. Many fans feel the newer shows prioritize spectacle and serialized drama over the philosophical, episode-of-the-week format that made the franchise legendary.
Weir’s comments give that frustration a very famous, very credible voice.
Why This Matters More Than a Soundbite
It would be easy to dismiss this as an author venting — a talented writer nursing a bruised ego after a rejection. But Andy Weir isn’t just anyone throwing shade at a Hollywood studio.
This is a man who understands science, storytelling, and — crucially — what audiences actually want from intelligent science fiction. The Martian was a masterclass in grounding extraordinary circumstances in human warmth and real-world problem-solving. Project Hail Mary, now a runaway box office success with Ryan Gosling, is doing the same thing on an even grander scale.
His instincts, in other words, have been validated repeatedly and publicly.
So when someone with that track record pitches a Star Trek idea and Paramount says no — and when that same person turns around and calls their output poor — it raises a legitimate question: What exactly did Paramount pass on?
The Star Trek IP, in the right hands, is still one of the most powerful in all of science fiction. J.J. Abrams proved that with his 2009 reboot. The animated series Star Trek: Lower Decks found genuine affection from fans precisely because it remembered what made Trek fun. There is clearly an audience hungry for good Star Trek storytelling.
But Paramount didn’t want Andy Weir‘s version of it. And given his current box office run, that decision is going to look increasingly difficult to defend.
A Bad Week to Be Paramount’s Streaming Division
The timing of Weir’s comments is particularly pointed. Project Hail Mary — released through Amazon MGM Studios — is currently one of the most-talked-about films of 2025, earning praise from critics, audiences, and even the scientific community for its accuracy and emotional intelligence.
Meanwhile, Paramount+ continues to navigate a turbulent period, with questions swirling around streaming subscriber numbers, content strategy, and the long-term direction of the Trek franchise following the conclusion of Star Trek: Picard and the cancellation of Discovery.
For the studio, having one of the most commercially validated science fiction writers alive publicly dismiss their flagship franchise’s output is not a great headline. For fans, it might feel like the most honest review they’ve read in years.
What Could Have Been
We may never know the full scope of Andy Weir‘s Star Trek pitch. But given the themes he gravitates toward — lone individuals facing impossible odds, rigorous science used as an emotional anchor, profound loneliness giving way to unexpected connection — one can only imagine what a Weir-written Trek story might have looked like.
A science-first, character-driven, optimistic space adventure that remembers humanity is worth rooting for?
That sounds a lot like Star Trek at its very best.
And Paramount said no.
Entertainment
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Renewed ticket sales send Marvel’s 2019 finale past ‘Avatar’ to lead the all-time global chart again.
Seven years after its original release, Avengers: Endgame has unfinished business at the box office.
The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.
The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.
The ‘Encore’ release that tipped the balance
The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.
Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.
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A rivalry with a history of reversals
This is another change of leadership in a box office contest that has lasted for years.
Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.
The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.
Why ‘Endgame’ matters to ‘Doomsday’
The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.
Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”
That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.
Entertainment
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
Cruise’s star power meets a fresh box office challenge as the Colleen Hoover adaptation emerges as a formidable rival.
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
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A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
Entertainment
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
The competing releases raise a compelling question: which film will persuade more audiences to buy a ticket?
Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.
Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.
Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?
ALSO READ : Emmy Nominations Announcement Gets a Star Twist… Liza Colón-Zayas & Jeff Hiller Set to Reveal 2026 TV Nominees
A costly film facing a modest opening
According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.
That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.
An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.
Reviews have complicated the pitch
The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.
For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.
The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.
Why ‘Verity’ makes the weekend more intriguing
The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com
Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.
From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.
The audience verdict is still ahead
Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.
The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.
For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.
How ‘Avengers: Endgame’ Returned to Cinemas and Reclaimed Box Office Glory
Tom Cruise’s ‘Digger’ Faces a Tough Opening: Could ‘Verity’ Take the Lead?
‘Verity’ Could Outopen ‘Digger’: Why Tom Cruise Faces a Tough Contest
‘Endgame’ Returns to No. 1 ‘Avatar’ Loses Its Box Office Throne
Mark Zuckerberg Faces a New Hollywood Reckoning Why Aaron Sorkin’s Film Hits Closer to Home
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