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As ‘Digger’ Sinks, Hollywood’s Three Amigos Circle the Wagons

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As Alejandro G. Iñárritu’s Digger entered a box-office death spiral, two familiar defenders appeared.

Guillermo del Toro blasted as “entirely petty” an IGN post suggesting moviegoers save their money and wait to stream the Tom Cruise vehicle, whose budget has been estimated as high as $180 million, praising Digger instead for its ambition and theatrical scale.

Alfonso Cuarón, meabnwhile, posted a series of old critical pans of a number of films whose regard grew exponentially, Blade Runner, 2001: A Space Odyssey, Metropolis and The Shining among them.

It looked like two members of the Mexican filmmaking triumvirate long ago christened “the Three Amigos” circling the wagons around the third. In fact, they have been doing some version of this for nearly three decades.

Long before the Oscars and nine-figure budgets, Cuarón, del Toro and Iñárritu became each other’s private critics, advisers and occasional unofficial editors, quietly shaping films from Amores Perros and Y Tu Mamá También to Gravity, Birdman and Crimson Peak.

Cuarón and del Toro met in Mexico’s film and television world in the late 1980s, most famously around Televisa’s Twilight Zone-like anthology La Hora Marcada, whose orbit also included future three-time Oscar-winning cinematographer Emmanuel “Chivo” Lubezki.

Iñárritu came from a different world. He made his name in Mexico City radio before moving into advertising and directing. He met Cuarón in the mid-1990s, when Cuarón was already working in Hollywood, and has described him as an early mentor.

The trio really took shape around Amores Perros. Cuarón encouraged Iñárritu to show his 2000 debut to del Toro, who according to a 2006 Los Angeles Times profile watched it, called Iñárritu early in the morning and told him two things: He had made a masterpiece, and it was too long. Soon del Toro was in Mexico City arguing with Iñárritu over the edit.

It established a pattern. Over the years, the three became trusted sounding boards on one another’s films. For a time they even formalized the relationship, creating Cha Cha Cha Films in 2007 and striking a production deal with Universal.

By then, the friends were becoming Hollywood powers, producing a series of films both intensely personal and enormously profitable. Birdman, made for roughly $18 million, grossed more than $100 million worldwide. Del Toro’s roughly $20 million The Shape of Water approached $200 million.

Their budgets rose, and the bets paid off. Cuarón’s $100 million-plus Gravity grossed roughly $700 million, while Iñárritu’s notoriously difficult $135 million The Revenant made more than $530 million.

Hollywood rewarded them accordingly. Beginning with Cuarón’s win for Gravity in 2014, the Three Amigos won the directing Oscar an astounding five times in six years: Cuarón twice, Iñárritu twice and del Toro once.

Three friends from Mexico had come close to monopolizing Hollywood’s highest directing honor.

Now there is Digger.

It is Iñárritu’s first Hollywood studio film since The Revenant. He returned to Mexico in between for 2022’s intensely personal, Spanish-language Bardo — a Netflix release that was similarly divisive — but has said the idea for Digger came in the aftermath of The Revenant and took a full ten years to bring to the screen.

He began writing it with Mexican playwright and screenwriter Sabina Berman in 2017 and approached Cruise years before cameras finally rolled. With Cruise, the decade-in-the-making project finally got its green light, along with its massive budget. It was Iñárritu’s biggest Hollywood swing since The Revenant. This time, the gamble didn’t pay off.

What Digger means for Iñárritu, or for the extraordinary run of Hollywood success enjoyed by the Three Amigos, remains to be seen. But its failure comes just a year after Bong Joon Ho’s similarly ambitious Mickey 17, another $100 million-plus Warner Bros. bet on an Oscar-winning international auteur, struggled at the box office.

Arriving as the far safer Paramount subsumes Warner Bros., it may be a very long time before Hollywood places another nine-figure wager of this kind.

For nearly 30 years, Cuarón and del Toro have been among the few people willing to tell Iñárritu when they think he’s gotten something wrong. With Digger, they became two of the loudest voices insisting everyone else had.

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What’s Up With ‘Barbie 2’ Now That Paramount & Warner Bros Have Merged?

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At this afternoon’s newly merged Skydance presser, we asked when Barbie 2 would be a go project.

“Too early to talk about that,” was the official response from former Mattel CEO Ynon Kriez, newly named Skydance co-CEO. Kriez was involved in the first Warner Bros movie based on the famed Mattell blonde doll, that Warner Bros pic the highest grossing movie ever in the studio’s history with $1.44B at the global box office.

There was high drama before Paramount married Warner Bros as to whether the sequel was bound for a green light. Word was that former WBD CEO David Zaslav balked at paying increased wads of money for the CAA juggernaut repped Barbie team of stars Margot Robbie, Ryan Gosling, director Greta Gerwig, and her spouse and co-writer Noah Baumbach. In the meantime, a first look deal was made with Baumbach but at Warners specialty label, Clockwork (which were told at the time didn’t encompass Barbie 2). There was a ticking time clock as the film rights would revert back to Mattel at the end of the year, and the toymaker would have to start from scratch with a frosh project, and frosh talent.

Cooler heads are now prevailing, and it is day one at the new Skydance. Kriez is now on the other side of the equation, and one of several priorities for Skydance Motion Picture Group chairs Dana Goldberg and Josh Greenstein is getting into the weeds that is Barbie 2. That among the 36 Warner Bros dated theatrical releases they’re inheriting and more. The duo need to figure out which state of development myriads projects are in, read, the Baz Luhrmann untitled film is not shooting yet, and reportedly in pre-production. That was another audacious big auteur swing from the previous Warners motion picture administration. A new draft is in the wings for Weapons prequel, Gladys, but it’s in need of a director if it’s going to make its September 2028 release date.

As far as Barbie 2 goes, stay tuned. Those heels aren’t necessarily made for walking. If there’s a takeaway from the new Ellison merger it’s to honor the legacies of each studios. Not erase them.

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HBO Max & Paramount+ Will Combine Thanks To AI After “Short Term” Bundling Phase, David Ellison Says

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Skydance chairman and CEO David Ellison sees HBO Max and Paramount+ combining into a single service over time after a “short-term” phase as separate-but-bundled services.

“Long-term, the plan is basically to bring them together,” Ellison said at a press event held on the Paramount lot to mark the closing of the merger of Paramount and Warner Bros. Discovery. “It’ll take a period of time to do that. So, I think in the immediate [term], you will see them operated separately, with things like bundling or things that you’ll be able to see accelerated in the relatively short term. I can’t be specific about that yet today.”

Already, the company has managed to bring together the tech stacks of Paramount+, BET+ and Pluto TV, a shift that subscribers and viewers do not notice. Ellison credited “the way AI technology and other things have progressed” for providing a boost to that process. He stopped short of saying outright that those advancements could simplify the cumbersome process of uniting streaming services into a single product. And he also did not address the pricing or strategy for consumer adoption and retention of a single service with multiple branded tiers, a puzzle that general-entertainment services have to solve as they gain scale.

Ellison said the centralization of tech stacks after the merger close will happen “as quickly as possible,” noting that the project was completed “in record time” after Skydance took over Paramount in August 2025.

Ellison’s projection, which came a few hours after the close of the Skydance merger, seemed to point in a different strategic direction than recent comments by Casey Bloys, head of HBO and HBO Max content. Bloys hinted that bundling would be the focus given the distinct subscriber bases of the two services, which combined have more than 200 million global subscribers. A slide deck released by Skydance earlier this week included images of both streamers, indicating at least they would both continue independently, at least for now.

Across the streaming landscape, a number of players have found it complex and expensive to meld two services into one. Disney has been chipping away at a long-term positioning of Disney+ as its mother ship and Hulu programming migrating there behind a home-screen tile. Sometimes, viewer feedback can cause a rethink, as was the case when WarnerMedia merged with Discovery Communications in 2022. Initially, executives pursued a plan to merge unscripted and lifestyle service Discovery+ with HBO Max under the new umbrella brand Max. Warner Bros. Discovery stepped back from that plan and also reversed the Max rebrand amid viewer and partner confusion and resistance.

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Josh Goldstine To Oversee Film Marketing & Distribution At Skydance

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Josh Goldstine is being tapped as the head of Marketing and Distribution of all Skydance film labels including Paramount and Warner Bros, Deadline has confirmed.

Goldstine had been overseeing marketing at Paramount Pictures, but following the Paramount-Warner Bros Discovery merger that closed Tuesday, the veteran studio exec will now oversee all marketing and distribution for both studios and any other film labels under the Skydance banner.

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Warner Bros marketing execs Dana Nussbaum, Christian Davin and John Stanford as well as Jeff Goldstein, president of global theatrical distribution, will all report to Goldstine in the new structure.

Goldstine joined Paramount in October 2025 as president of worldwide marketing and distribution, following David Ellison’s acquisition of the company that August. He previously served as president of worldwide marketing at Warner Bros., departing in January 2025.

Variety was first to report the news of Goldstine’s new position.

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