
Aiysha Hart in ‘Desert Warrior’
If Desert Warrior was one of Saudi Arabia’s big cinema swings, then it looks to have been a swing and a miss, based on the movie’s early box office takings. Starring Captain America’s Anthony Mackie and Oscar winner Ben Kingsley, Desert Warrior endured a troubled five-year trek to the screen, but finally debuted in theaters last weekend across the U.S. and Middle East.
Set up at Riyadh media giant MBC Group and acquired by Vertical, the movie has suffered bruising headlines based on its performance in the U.S., where it had grossed $596,000 on 1,010 screens as of Thursday, and been billed as one of the biggest box office flops in history.
Vertical’s marketing has unsurprisingly spotlighted Mackie, Kingsley, and Rise of the Planet of the Apes director Rupert Wyatt’s spectacular shots of Saudi sands, but cinemagoers have ultimately not responded to Desert Warrior’s rallying cry, and it looks unlikely to recoup its $150M budget.
Not that expectations were ever that high. Those close to Desert Warrior were realistic about the movie’s appeal, particularly at a time when war is raging in the Middle East. There had been hopes Desert Warrior could crack $1M in America, but even so, it’s far from a disaster for Vertical.
Industry sources said it is unlikely that Vertical broke the bank for Desert Warrior, meaning a path to profit is entirely plausible for the distributor once all theatrical and home entertainment revenue is counted. Vertical is said to be particularly focused on premium video on demand, where it will hero Mackie in artwork following similar tactics with films like Elevation.
MBC did not respond to a request for comment. Vertical declined to comment.
Middle East Box Office
The box office picture is not much brighter in Middle Eastern markets, according to figures seen by Deadline. Desert Warrior grossed $87,000 from 6,100 admissions in Saudi Arabia over its opening weekend, making it the eighth-biggest title in the country.
Some of Saudi’s biggest hits in recent years performed more than ten times better than Desert Warrior. This includes Shabab Al Bomb, which grossed $1.24M in its opening weekend but benefited from being based on one of the most popular TV franchises in the Arab world.
Empire Entertainment, the Saudi distributor that handled Desert Warrior for MBC and looks after Sony releases in the territory, has had bigger hits this year, not least Project Hail Mary, which grossed $700,000 in its opening weekend.
As of Thursday in Saudi Arabia, Desert Warrior’s ticket sales totalled $110,000, per Comscore. In the UAE, this figure was $37,000, while across the Middle East, Desert Warrior has clocked up sales of just $225,000, though local sources said the film has not been heavily marketed.
Why Was ‘Desert Warrior’ Deserted?
MBC will surely have hoped for better from a project that was announced in a blaze of ambition, but did not have an easy journey to the screen amid creative differences with director Wyatt (who left the project and later returned), and a budget that grew with delays and a pick-up shoot in Saudi.
Timing has worked against the MBC. Cinemagoers don’t have the appetite for a film about a desert war in the middle of a literal desert war, one observer noted. MBC considered pushing Desert Warrior after Donald Trump bombed Iran, but the company was reluctant to delay again after years of false dawns.

Aiysha Hart in ‘Desert Warrior’
Others point to more fundamental creative issues with the film. A distribution source in the Middle East told Deadline that Desert Warrior has fallen between stalls, appealing to neither Arab nor Western audiences. “I’m not sure who it is targeting,” this person said. “It looks like another big-budget Hollywood film that just happens to have been filmed in Saudi.”
These concerns were echoed after an unfinished version of Desert Warrior, which was not edited by Wyatt, underwent audience testing in July 2023, producing negative results. Sources told Deadline that the research led people on the film to question whether there was any demand for a Western interpretation of an Arab story.
For others, that Desert Warrior has even been released is a cause for celebration. There were times, between when the film was shot in 2021 and its period of post-production limbo, when crew members were openly speculating about it never seeing the light of day.
“There was definitely a fear among the filmmakers and talent that the thing had become such a white elephant that MBC would just bury it,” a source said. “It would have been easier for them to go straight to streaming, so MBC deserves credit for going the distance. They believed in what was good about the film, and it does some of the things they intended in showcasing what can be achieved on screen in the region.”
Deadline has reported that Desert Warrior’s box office return will not be the only measure of its success. We revealed that MBC executives discussed the importance of Mohammed bin Salman’s verdict and how this could impact the company’s future funding. Will the Saudi Crown Prince continue to sanction big swings, or will the regime retreat from movies, as it has done with sport?
Crew members will tell you: Desert Warrior‘s $150M didn’t just buy a movie, it bought a filmmaking infrastructure for Saudi Arabia. As the nation restructures its economy away from fossil fuels, there are those who believe that valuable lessons can be learned from Desert Warrior to support filmmaking endeavors in the future.
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At this weekend’s Zurich Summit a group of film financiers were asked by Deadline for their thoughts on the prospects of a U.S. federal film incentive.
Last week, a bipartisan group of lawmakers unveiled the bill for a 20% incentive, which with bonuses could bring the total rebate to 30%. The move has long been called-for by the U.S. industry concerned by the exodus of production overseas.
Alex Walton, former Co-Lead & Partner at WME Independent, told the Summit the move was “hugely positive”: “It’s wild to think there hasn’t been an efficient tax credit in America. It has helped many other countries. Spain is booming because of it now; and all over Europe. It’s going to take some time to be realized and for financial institutions to be able to cash flow it. But you’ve got to believe it will happen within the next three-four years, and then that will see all the foreign tax credits compete harder to maintain their positions.”
A start date is not yet set. The proposed text from last week stated that the credit would apply to qualifying film and TV productions beginning in taxable years after December 31, 2026 (effectively targeting projects starting in 2027). But bills can take years to pass.
Andrea Scarso, Managing Partner at prolific financier IPR.VC, whose credits include Marty Supreme and Materialists, agreed that a U.S. incentive would be “positive” but also cautioned against rising production costs: “It remains to be seen whether the prices and budgets are also going up by the same amount, which is something that happens in some foreign territories when they increase the amount of tax credit or soft money. It’s always a balance. But overall, I think it’s good news.”
Sarah Schweitzman, Co-Head CAA Media Finance, noted: “What’s important is that when you look at some of the international markets, you realize that we’re making movies there because of a tax incentive situation and I think if we’re able to federalize a tax incentive program in the U.S. it’s going to create many more jobs and invigorate crews, which is something we absolutely need in the U.S.”
A recent Motion Picture Association study claimed that a federal film tax credit could increase U.S. production spending by $125BN and add more than 143,000 jobs by 2035.
You can read more about the bill here.
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Hot on the heels of his Golden Eye award ceremony on Saturday night, John Turturro entertained another crowd at a Zurich Film Festival masterclass on Sunday.
The Emmy-winning U.S. star has been recognized for his performance in Noah Segan’s The Only Living Pickpocket in New York, a project that is already garnering awards buzz. In the film, Turturro plays Harry, a seasoned pickpocket whose carefully controlled life is thrown into turmoil when a job goes wrong, setting off a tense chain of events that unfolds over the course of 36 hours.
In a career-spanning conversation with Deadline‘s Melanie Goodfellow — the actor’s shining Golden Eye trophy neatly nestled between them — Turturro discussed growing up in an immigrant household, his decades-long friendship with Spike Lee, and the transition from acting to filmmaking.
Turturro, who has steadily become one of the industry’s most formidable actors yet to put “Oscar nominee” on his resume, was asked about joining the best actor race this year with the Sundance success The Only Living Pickpocket in New York. “I never really have gone the whole hog with it,” he responded about the upcoming awards campaign. “But now I’m the lead in the film, so I’m going to support the film because I love the film.”
He explained that being pulled into awards conversations is “helpful to help you do the next thing.” Turturro continued: “Is it nice to be acknowledged? Great, but that’s not why you do it. […] Just because a film is really popular doesn’t mean it will have staying power, but it’s nice to be in the conversation. I don’t look upon myself as being a competitive person. I’m competitive with myself,” he added. “I want to get the most out of what I can do, but it’s not sports!”
However, he admitted to feeling surprised by the positive critic reaction out of Sundance. “Finally,” he thought, “I’m in something that people will see… My job is I like to try to improve, and I feel like being an actor is one of the few things you can improve in. You may not be able to run as fast as you did when you were younger, but I have a lot of life experience, and as you get older, you accumulate that, and you can distill things in a way that you couldn’t do when you were young, because you didn’t really experience all those things. And now I’ve experienced life, death, loss, being a parent, being married — what it is to really love someone versus falling in love. That’s a huge difference,” he giggled.
Turturro regaled attendees with stories about his impressive stage career. He naturally came on to two major TV performances of his in the last decade: HBO’s The Night Of and Apple’s Severance.
He coyly confirmed a return for his character, Irving Bailiff, in season three of the Emmy-winning Severance with Adam Scott. “Yeah,” he (eventually) told the room. “As long as they give me interesting things to do, then I’m interested.” He swiftly took the opportunity to gush over friend and colleague Christopher Walken, whose character, Burt Goodman, began a romance with Turturro’s Irving in season one. “‘Who’s going to be my love interest?’” Turturro asked before joining the show. “And they were like, ‘All these younger guys.’ I said, ‘Well no, I’ve worked with Chris Walken,’ and I said, ‘I want Chris, because I love Chris.’ And I don’t have to act that I love him because I love him.”
Though Walken “didn’t understand a lot of the show,” Turturro was able to guide him through their authentic, real-life friendship. “I said, ‘Don’t worry about it. You just look at me.’ We have so much fun because I directed him like three times, and we’ve acted, and we’ve worked together a lot. And he’s a wonderful theater actor, and people obviously think he plays only strange [characters] but he can do a lot of different things. He’s also very sensitive, but he has a childlike joy in his work, and when that happens, anything is possible.”
Turturro received a round of applause when discussing the HBO crime drama The Night Of, which ran for one season in 2016 and co-starred Riz Ahmed. It would later win five Emmys, and Turturro was nominated for his role as the eczema-stricken defense lawyer John Stone. “The Night Of is something I’m very proud of,” said Turturro on Sunday. “It was originally a BBC thing, which I actually never watched because I didn’t want to be influenced.”
He even confirmed that he actually wanted to do another season of it. “But they couldn’t agree on what the story would be,” revealed the actor. “But I loved doing it. It was one of those great experiences in my life.”
Turturro’s career spans four decades, having worked with acclaimed directors such as Spike Lee, the Coen brothers, Martin Scorsese, Robert Redford, Robert De Niro, Nanni Moretti and Pedro Almodóvar.
He first gained international recognition through his collaborations with Lee, appearing in Do the Right Thing and Jungle Fever. With Joel and Ethan Coen, he acted in Miller’s Crossing, Barton Fink, O Brother, Where Art Thou? and The Big Lebowksi, in which Turturro created the iconic Jesus Quintana. For his lead performance in Barton Fink, he won best actor at the 1991 Cannes Film Festival, an experience that Turturro reflected on at his Zurich masterclass. He even confessed to feeling like he lands “more normal” roles in Europe than across the Atlantic, and said he has turned down scripts “again and again” that involve his character being violent towards women.
At his Zurich Golden Eye ceremony Saturday night, Turturro collected the award and quoted Italian novelist Cesare Pavese. “[He] once said that the only great thing in life is to begin. I still consider myself a beginner in many ways,” said the star. “I’m very fortunate. I wanted to make a living doing something that interested me and to do interesting work — to share that with an audience, [and that] wouldn’t diminish their intelligence at the same time,” he laughed. “I consider this an encouragement to continue.”
Turturro joins 2026 Zurich honorees Julianne Moore and Tom Hiddleston. The 22nd edition runs Sept. 24-Oct. 4.
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Following the Knicks’ big win at Madison Square Garden, Jalen Brunson took the stage at 30 Rockefeller Center for his Saturday Night Live hosting debut.
On Saturday’s Season 52 premiere, the NBA Finals 2026 MVP showed off some comedic chops in an otherwise business-as-usual episode of the NBC sketch comedy show, which featured Katseye as its musical guest.
Introducing new cast members Grace Reiter and Saidah Belo-Osagie, Katseye returned to a parody season of The Debut: Dream Academy to crown a new girl group. The quartet also performed in a mini music video with the awkward group of ladies, also featuring Jane Wickline and Veronika Slowikowska.
The next sketch was a support group featuring Brunson as one of several men whose spouses were grinded on at Usher and Chris Brown’s The R&B Tour.
“When I spent $1,200 on that meet-and-greet, I never expected her to actually greet his meat,” said Brunson as the other group members comforted him.

Katseye on ‘Saturday Night Live’

Jeremy Culhane and Jalen Brunson in ‘Saturday Night Live’

Jalen Brunson, Jeremy Culhane and Ben Marshall on ‘Saturday Night Live’
Brunson also starred in the parody sketch High School Musical: The New Generation as an athletically gifted new student who hilariously keeps dunking on the new Troy Bolton stand-in (Jeremy Culhane) and steals his girlfriend (Slowikowska).
As Shark Tank judge Daymond John, Brunson asked if the invention Respectacles, a pair of glasses that sounds an alarm when the wearer looks at breasts, “works for ass.” The inventors’ (Culhane and Ben Marshall) presentation keeps getting interrupted as they check out Lori Greiner.
Saturday Night Live kicked off its 52nd season this weekend on NBC with host Brunson and musical guest Katseye. The season continues with guest hosts Dakota Johnson, Shane Gillis and Inde Navarrette, along with musical guests Turnstile, Rosalía and Gracie Abrams.
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