Fans rushed to theaters Thursday for 28 Years Later: The Bone Temple , pushing previews to $2.1 million domestically. This mark crushes the franchise record, outpacing 28 Years Later’s $5.8 million Thursday start from last June despite holiday boosts there.
Early tracking pointed to a $12-17 million opening, but strong word-of-mouth from rave first reviews lifted estimates toward $20 million-plus over the MLK four-day stretch.
Directed by Nia DaCosta, the sequel flips the Rage Virus world by spotlighting survivor brutality over zombie hordes. Trailers teased Dr. Kelson, played by Ralph Fiennes, tending a massive skull pyramid called the Bone Temple while bonding oddly with an alpha infected named Samson.
Jack O’Connell’s Sir Jimmy Crystal leads a satanic gang that makes the Rage look tame, pulling young Spike (Alfie Williams) into nightmare rituals. Such fresh horrors, built on 28 Years Later’s $30 million opener and $150 million global run, set expectations sky-high.
Murphy’s return as Jim adds rocket fuel. Absent from the 2025 film but exec producing, he steps back as the bike courier who awoke to apocalypse London in 2002’s 28 Days Later.
Danny Boyle confirmed a “significant role” ramps up in this entry, teasing fans with a post-credits cottage scene linking to franchise roots. Social media exploded with clips of Murphy’s gaunt, aged Jim, drawing comparisons to his Oppenheimer gravitas amid zombie chaos.
Cults and Skulls Redefine Rage Horror
The Bone Temple piles bones into towers as a memorial twisted by time and madness. After 28 years of outbreak, survivors craft these pyres, hinting at cults worshiping the dead or the virus itself.
Kelson fends off his morphine-addicted, infected pal Samson, who haunts the site like a guardian demon, underscoring how isolation breeds stranger threats than fast zombies.
Jimmy Crystal’s Fingers gang escalates the dread, skinning captives for satanic rites on a mainland farm. Pregnant survivor Cathy fights back amid barn infernos, while Spike grapples with loyalty to his new “family.”
DaCosta shifts focus to human evil, with Christian symbols inverted in crosses and rituals mocking collapsed faiths. Erin Kellyman as Ink/Kelly brings a gritty edge, impaling foes in a bloody climax, leaving Jimmy sobbing for mommy as Samson claims Kelson.
28 Years Later: The Bone Temple (Credit: Sony Pictures Releasing)
Murphy weaves in late, landing at that familiar Cumbria cottage from prior films, now a haven with books and signs of life. His Jim, older and battle-scarred, ties threads to original survivors, setting up the trilogy capper. Critics hail the pivot: no more mindless rage, but psyches fractured by decades of loss.
The box office reflects a gross of $2.1M; previews beat 28 Days Later’s full 2002 weekend of $10 million and Weeks Later’s $9.8 million. Early screenings in the UK sparked viral praise for O’Connell’s magnetic villainy, which Murphy himself called “absolutely magnetic.”
Trilogy Locked In, Murphy’s Arc Explodes
Sony greenlit the third film fast, with Alex Garland scripting and Boyle eyeing direction. The Bone Temple’s record previews signal franchise revival, doubling down on $60 million budgets that paid off before. Worldwide, expect legs like the original’s 4.5x multiplier if audiences stick, pushing past $150 million again.
Murphy’s Jim emerges central, his “satisfying introduction” morphing into bigger stakes. DaCosta gushed over bringing him back, crafting moments that blew her mind during shoots.
Fans dissect the cottage reveal, spotting ties to Naomie Harris’s Selena and hints at family legacies amid evolving infection. O’Connell steals scenes as Jimmy, but Murphy anchors nostalgia, pulling in Peaky Blinders and Oppenheimer crowds to horror roots.
Challenges loom: January slots compete with Avatar holdovers, and horror drops sharply without franchise fever. Yet Thursday’s haul, topping all prior franchise weekends outright, proves appetite ravenous.
Projections climb as reviews certify 90% plus scores, positioning The Bone Temple as 2026’s launchpad hit. Spike and Kelly’s wilderness trek closes on hope-tinged uncertainty, priming Murphy’s expanded run.
Netflix’s adaptation of Emily Henry’s 2021 bestseller People We Meet on Vacation has fans talking, especially about how one key intimate moment between leads Poppy Wright and Alex Nilsen got reworked.
In the original novel, the pair’s first physical connection, after years of simmering tension, unfolds with raw detail, capturing the messy, passionate release of long-buried feelings during their trip to Croatia.
That explicitness fits Henry’s style, blending heartfelt friendship-to-lovers arcs with unapologetic sensuality that has made her a romance powerhouse.
The film, directed by Brett Haley and starring Emily Bader as the free-spirited travel writer Poppy and Tom Blyth as the steady bookworm Alex, sticks close to the book’s spirit across ten years of summer vacations.
They first cross paths on a college road trip home, bond over quirky mishaps like burrito spills and bad karaoke, and build a ritual of annual getaways that masks a deeper attraction. By the time they reunite in Croatia after a two-year fallout, the stakes feel sky-high, and the book dives straight into their charged encounter.
Haley committed to fidelity at first, filming the scene page-for-page with all its intensity. Henry herself raved about the on-set result, calling it one of the most sensual sequences she had ever seen, raw and tender in a way that rivaled iconic moments from films like Titanic.
The crew and cast poured everything into making it feel genuine, emphasizing the emotional vulnerability beneath the physical heat. Yet once footage hit the editing bay, the raw version started raising flags.
Test audiences, including those unfamiliar with the book, reacted strongly. The sudden leap into explicit territory came across as a sharp detour, pulling viewers out of the film’s established warmth and whimsy.
Haley noted how the movie traces Poppy and Alex from awkward college kids to grounded adults, so maintaining that earnest wholesomeness became crucial.
The toned-down cut keeps the chemistry sizzling but opts for suggestion over detail, landing in classic rom-com territory with fades and glances that hint at passion without overwhelming the narrative.
Henry’s Take: Tonal Fit Trumps Book Loyalty Every Time
Emily Henry stepped in during post-production when Haley sought her input on the scene’s fate. She recognized its value in normalizing open sensuality between close friends, crossing that line, but ultimately greenlit the change because every element must advance the whole project.
Viewers should stay immersed, not jarred into feeling like the story derailed, she reasoned. That pragmatic stance reflects her hands-on role in the adaptation, where she consulted on script tweaks like merging Poppy and Alex’s first meetings for tighter pacing.
Haley echoed the sentiment, explaining that while the original shoot delivered extreme sexiness, it clashed with the film’s balance of steam and sweetness. He drew inspiration from beloved rom-coms like Jerry Maguire, where intimacy builds tension through restraint rather than excess.
The final version preserves the emotional core of Poppy chasing Alex to Croatia after ditching a Barcelona assignment, confessing her feelings that spark their union. It just dials back the visuals to keep the tone consistent from childhood sing-alongs to adult reckonings.
People We Meet On Vacation (Credit: Netflix)
Fan reactions split along book-versus-film lines. Readers who cherished the novel’s spicier edge expressed mild disappointment online, with some Reddit users calling the movie adaptation a bit too Hallmark-safe compared to Henry’s bolder prose.
Others praised the leads’ palpable friendship chemistry, arguing the subtler approach heightens the yearning that defines friends-to-lovers stories. On Rotten Tomatoes, the film holds a solid 75 percent from critics and a 78 percent audience score, suggesting most viewers bought into the adjustments.
Henry remains unfazed, even floating the idea of a director’s cut someday to showcase the full scene for curious fans.
She views this as one data point in her growing slate of screen projects, where tonal variations will allow for both fade-to-black classics and hotter interpretations down the line. Her priority stays true to each story’s heart, whether that means amplifying heat or pulling it back.
Bigger Shifts Signal Rom-Com Reinvention Ahead
The sex scene tweak is just one piece of how People We Meet on Vacation updates Henry’s book for Netflix’s audience. Poppy’s Croatia obsession gets reframed; she reroutes from Greece to crash Alex’s brother’s wedding, accelerating their reconciliation.
Alex’s confession happens mid-run outside his house instead of at his teaching job, cutting some of the novel’s hesitant back-and-forth for quicker emotional payoff. These compressions make the 110-minute runtime punchier, focusing on visual gags like Poppy’s baggage claim serenades that amp up her quirky charm.
Critics note how the film softens Poppy’s more abrasive book traits, making her less polarizing and more broadly appealing in a genre that thrives on relatable messiness.
That choice aligns with Netflix’s rom-com strategy, favoring accessible crowd-pleasers over niche edge. Henry’s other works, like Beach Read and Funny Story, are also headed to screens, promising a range of spiciness levels to match each tale’s vibe.
For the franchise Henry is building, this debut sets a flexible template. Strong streaming numbers and buzz around Bader and Blyth’s pairing could pave the way for sequels or spin-offs, with future directors free to lean spicier if the story calls for it.
The toned-down moment proves adaptations can honor source material while carving their own path, keeping book fans engaged without alienating moviegoers. As Netflix ramps up romance output, Henry’s voice ensures those pivots feel intentional, not watered down.
