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    Britain Lost Out on Euro Disney. Now It’s Getting a Universal Theme Park.

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    A yet-to-be-named Universal Studios theme park will be the country’s largest tourist attraction when it opens in 2031. But studio executives have not yet said which characters will be featured.Universal Studios will build its first European theme park in Bedfordshire, England, studio officials said Wednesday, previewing a sprawling resort that could combine iconic American brands like “Jurassic Park” with classic British characters like Paddington Bear, Dr. Who and Harry Potter.Set to open in 2031, British officials said the yet-to-be-named theme park would be Britain’s largest single tourist attraction. Executives at Comcast, Universal’s parent company, said the 476-acre complex would include themed lands, rides, a 500-room hotel, shops and dining.Keir Starmer, the British prime minister, hailed the announcement as a boost for his country’s sluggish economy and an example of his government’s attempt to cut through the red tape that has long made it costly and difficult to complete complex projects in Britain.“Today we closed the deal on a multibillion-pound investment that will see Bedford home to one of the biggest entertainment parks in Europe,” Mr. Starmer said in a statement, adding that the project would create around 28,000 jobs.The theme park, which Mr. Starmer said would generate nearly $64 billion (£50 billion) in revenue for the area by 2055, is a rare bright spot at a moment when the British economy has been barely growing.But it will be years before the doors open to the public as the company transforms what is a bare piece of land about 35 minutes north of London by train. That delay creates the kind of uncertainty that has sometimes doomed previous theme park efforts.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      50 Years Ago, ‘Jaws’ Hit Bookstores, Capturing the Angst of a Generation

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      In 1973, the first chapter of an unpublished novel was photocopied and passed around the Manhattan offices of Doubleday & Co. with a note. “Read this,” it dared, “without reading the rest of the book.”Those who accepted the challenge were treated to a swift-moving tale of terror, one that begins with a young woman taking a postcoital dip in the waters off Long Island. As her lover dozes on the beach, she’s ravaged by a great white shark.“The great conical head struck her like a locomotive, knocking her up out of the water,” the passage read. “The jaws snapped shut around her torso, crushing bones and flesh and organs into a jelly.”Tom Congdon, an editor at Doubleday, had circulated the bloody, soapy excerpt to drum up excitement for his latest project: a thriller about a massive fish stalking a small island town, written by a young author named Peter Benchley.Congdon’s gambit worked. No one who read the opening could put the novel down. All it needed was a grabby title. Benchley had spent months kicking around potential names (“Dark White”? “The Edge of Gloom”?). Finally, just hours before deadline, he found it.“Jaws,” he wrote on the manuscript’s cover page.When it was released in early 1974, Benchley’s novel kicked off a feeding frenzy in the publishing industry — and in Hollywood. “Jaws” spent months on the best-seller lists, turned Benchley from an unknown to a literary celebrity and, of course, became the basis for Steven Spielberg’s blockbusting 1975 film adaptation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Donna Langley, Universal Chair, Bet Big on ’Oppenheimer’

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      Under Donna Langley’s leadership, Universal has managed the rare feat of achieving creative dominance and commercial supremacy at the same time.“Queen!”It was a Friday night in January, and Snoop Dogg had just rolled into a cocktail party hosted by Donna Langley, NBCUniversal’s chief content officer and studios chairwoman. His shouted greeting, paired with a jaunty deferential dance, seemed to leave her a bit embarrassed. “We’re here to celebrate filmmakers and films,” Langley told the room a few minutes later. “This is not about me.”For an executive who ardently prefers to stay in the background — she declined to be interviewed for this article and dispatched a lieutenant to try and kill it — the 2024 Oscar trail has been an awkward one. Like it or not, this moment in Hollywood history is very much about her.It was Langley who, in a wild bet on a three-hour period drama about a physicist, gave Christopher Nolan the money to make “Oppenheimer.” It won seven Oscars on Sunday, including the ones for director and best picture. Nolan started his acceptance speech for best director by saying, “Donna Langley — thank you for seeing the potential in this.”Nolan’s film helped Universal be No. 1 at the worldwide box office in 2023, ending an eight-year reign by Disney.Antony Jones/Getty ImagesDa’Vine Joy Randolph won the supporting actress Oscar for her performance as a grieving mother and boarding school cook in “The Holdovers,” which was released by Focus Features, a specialty film studio that Langley also oversees.In a rare achievement, Universal’s creative dominance has coincided with commercial supremacy: The studio was No. 1 at the worldwide box office in 2023, selling nearly $5 billion in tickets and ending an eight-year reign by Disney. Moreover, Universal reached audiences the old-fashioned way — by serving up movies from a mix of genres, with nary a superhero to be found. “The Super Mario Bros. Movie” ($1.4 billion) led the way, followed by “Oppenheimer” ($958 million), “Fast X” ($705 million), “Five Nights at Freddy’s” ($291 million) and “Migration” ($279 million).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More