Breakthrough Entertainer: Stephanie Hsu, Now Everywhere 

Stephanie Hsu arrives at the Governors Awards on Saturday, Nov. 19, 2022, at Fairmont Century Plaza in Los Angeles. (AP)
Stephanie Hsu arrives at the Governors Awards on Saturday, Nov. 19, 2022, at Fairmont Century Plaza in Los Angeles. (AP)
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Breakthrough Entertainer: Stephanie Hsu, Now Everywhere 

Stephanie Hsu arrives at the Governors Awards on Saturday, Nov. 19, 2022, at Fairmont Century Plaza in Los Angeles. (AP)
Stephanie Hsu arrives at the Governors Awards on Saturday, Nov. 19, 2022, at Fairmont Century Plaza in Los Angeles. (AP)

Dressed as Elvis and nonchalantly walking a pig on a leash, Stephanie Hsu made a memorable big screen impression this year. 

Hsu actually had two roles in "Everything Everywhere All at Once," playing both a sullen teen and an intergalactic supervillain for a film that can best be called a fantastical science fiction comedy-drama. 

With Michelle Yeoh joining Hsu as her onscreen mother, the indie film has garnered critical acclaim, hit over $100 million in global ticket sales and has sparked Oscar buzz. 

"The movie is so special because we could not have possibly expected this to have happened and so we were really able to just throw paint at the wall," Hsu said. "It came from a very raw place with zero expectations, only trying to tell the story as deeply and honestly as we can." 

Hsu's performance — combining deep hurt with a real skill with nunchucks while rocking sequin-lined eyes — has made her one of The Associated Press’ Breakthrough Entertainers of the Year alongside Joaquina Kalukango, Sadie Sink, Tenoch Huerta, Iman Vellani and more. 

"I have been working for a really long time and I guess that’s what a breakout is: You chip away and then all of a sudden, there’s one thing that everyone is like, ‘That’s the thing that put you on the map.’" 

Hsu was a Broadway veteran with a few TV credits when she worked with the writing and directing duo of Daniel Kwan and Daniel Scheinert for an episode of "Norah From Queens." 

Working with Kwan and Scheinert — know as The Daniels — was a revelation for Hsu and when they contacted her about "Everything Everywhere All at Once" she never hesitated. 

"We’re like artistic soulmates in so many ways," she said. "When I read the script, in so many ways, it actually made a lot of sense to me weirdly enough. I don’t know what that says about me." 

The film begins with Yeoh as a struggling laundromat owner who is being audited by the IRS and has a strained relationship with her daughter. The story gets surreal when she discovers she has to connect with parallel universes to prevent cataclysmic destruction, also involving her daughter. It's also a family drama, with richness in the complex love between relations. 

"This movie, in so many ways, embodies what I love to do as an artist. So it feels like the most honest handshake I could make with Hollywood," she said. 

"I think art at its very best offers some help in processing or helping us move through a very confusing world and offer some healing. And that is ultimately the type of work that I want to make." 

Hsu began her acting career on Broadway, where she played Karen the Computer in "SpongeBob the Musical," and Christine Canigula in "Be More Chill." She was born in California and moved to New York to study at New York University, graduating in 2012. 

She showed off her work ethic by combining a punishing eight-show-a-week Broadway schedule with filming "The Marvelous Mrs. Maisel" on Mondays, her only day off. 

"The discipline that forced me into, I think, really prepared me for everything that has happened since. And I feel really grateful that I was given the opportunity to work that hard," she said. 

Hsu will next be seen in Rian Johnson’s Peacock anthology series "Poker Face," alongside Natasha Lyonne and Joseph Gordon-Levitt. She’ll also star opposite Ashley Park in "JFC," a raunchy, R-rated comedy directed by Adele Lim. 

"What I’m excited to do next, honestly, is to develop more of my own work," she said. "In order to make this career sustainable and joyful is to be able to dig in and not always just fill shoes for someone else." 



Statham’s 'A Working Man’ Upsets ‘Snow White’ to Take No. 1 at Box Office

This image released by Amazon MGM Studios shows Jason Statham in a scene from "A Working Man." (Dan Smith/Amazon MGM Studios via AP)
This image released by Amazon MGM Studios shows Jason Statham in a scene from "A Working Man." (Dan Smith/Amazon MGM Studios via AP)
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Statham’s 'A Working Man’ Upsets ‘Snow White’ to Take No. 1 at Box Office

This image released by Amazon MGM Studios shows Jason Statham in a scene from "A Working Man." (Dan Smith/Amazon MGM Studios via AP)
This image released by Amazon MGM Studios shows Jason Statham in a scene from "A Working Man." (Dan Smith/Amazon MGM Studios via AP)

In an unexpected upset, the Jason Statham thriller “A Working Man” took No. 1 at the box office, besting the rapidly declining “Snow White,” according to studio estimates Sunday.

Even after a lackluster debut, the Walt Disney Co.’s live-action remake was predicted to remain the top film in US and Canadian theaters over the weekend. Instead, “Snow White,” plagued by bad buzz and backlash, nosedived in its second weekend and dropped 66%, The Associated Press reported.

At the same time, Amazon MGM Studios’ “A Working Man,” directed by David Ayer, beat expectations with a $15.2 million debut. Co-written by Sylvester Stallone, “A Working Man” reteams Statham and Ayer following last year’s successful “The Beekeeper” ($162 million worldwide). This time around, Statham plays a construction worker with an elite military past.

While reviews have been mixed and audiences only gave “A Working Man” a “B” CinemaScore, showing Statham has carved out something rare in the movie industry today: bankability. “A Working Man” opened similarly to “The Beekeeper,” which launched with $16.5 million.

The bigger headline, though, might have been the fast erosion of ticket buyers' appetite for “Snow White.” The film, directed by Marc Webb and starring Rachel Zegler, had been hoped to lift movie theaters after a painful start to 2025. Produced for more $250 million, the film has turned into a poisoned apple, with a two-week global haul of $143.1 million.

Next weekend, Warner Bros.’ “A Minecraft Movie,” is expected to win the weekend and will, like “Snow White,” target family audiences.

A trio of newcomers – A24’s “Death of a Unicorn,” Universal and Blumhouse’s “The Woman in the Yard,” and the Fathom’s “Chosen: The Last Supper” – also opened over the weekend, though none made a big impact.
“The Chosen: The Last Supper,” fared the best, with $11.5 million in 2,235 theaters. The Christian TV series, now in its fifth season, has regularly driven ticket sales before streaming. More episodes will roll out in theaters through April.
“Death of a Unicorn,” a horror comedy starring Jenna Ortega and Paul Rudd, portrays a father and daughter who hit a unicorn on the road while they're driving. The movie collected a modest $5.8 million from 3,050 theaters.
The weekend’s more straightforward horror contender, Blumhouse’s “The Woman in the Yard,” starring Danielle Deadwyler, debuted with $9.4 million from 2,842 cinemas. In “Black Adam” director Jaume Collet-Serra’s film, a mysterious woman keeps appearing in a family’s front yard. Though it cost little to make, with a production budget of $12 million, it has been slammed by critics.
One of the weekend’s biggest successes was the 1997 Studio Ghibli classic “Princess Mononoke." The Hayo Miyazaki film grossed $4 million across just 347 IMAX screens. Distributor GKids touted that result as a victory for humanity over technology. Earlier in the week, a new version of ChatGPT allowed users to render images in Studio Ghibli-like animation.
Sony Pictures Classic’s “The Penguin Lesson,” starring Steve Coogan and Jonathan Pryce, opened with $1.2 million at 1,017 theaters. Coogan plays an Englishman teaching in Argentina in 1976 who rescues a penguin from an oil spill.
With flagging ticket sales overall, Hollywood marked the first quarter of 2025 with a sizeable box-office deficit. Sales are down 11% from the same point in 2024, and nearly 40% from 2019, according to Comscore.
“Hopefully ‘Minecraft’ can help the marketplace level up since after some underwhelming weekends at the box office we need to get some momentum back at the multiplex,” said Paul Dergarabedian, senior media analyst for Comscore.