logo
Ready to ride? Pre-order the Hot Wheels 'F1 The Movie' die-cast car today

Ready to ride? Pre-order the Hot Wheels 'F1 The Movie' die-cast car today

You can now pre-order the new Hot Wheels + F1 The Movie vehicle for just $25.
Pre-order now
Calling all collectors! It is time to make room on your desk or in your display case for a new die-cast car.
Following last week's thrilling announcement that Hot Wheels and the upcoming summer blockbuster, 'F1 The Movie,' teamed up to create a limited-edition 1:64 scale die-cast car, it's officially available for pre-order.
The Hot Wheels car was inspired by actor Brad Pitt's fictional Formula 1 race car that his character Sonny Hayes drives for the Apex Grand Prix (APXGP) in the movie.
Like many movie-inspired collectibles, this is sure to be a hot commodity for fans, whether they're a motorsport fanatic like myself or a casual movie buff.
Before 'F1 The Movie' hits theaters across North America on Friday, June 27, snag a piece of movie magic with this sweet, one-of-a-kind die-cast car that's sure to be a stunner in your collection.
Here's how to secure yours today:
The car is sold exclusively online by Mattel Creations for $25.
Among the many highlights of the model includes a molded driver's helmet that's visible inside the cockpit of the die-cast car and an authentic gold and black livery adorned with Hayes' number seven.
To cap it off, collectors receive the following:
Pre-order the exclusive car today
'F1 The Movie' releases internationally on Wednesday, June 25. The North American release is set for Friday, June 27.
The blockbuster film is based on Brad Pitt's character, Sonny Hayes, getting a second chance at success in Formula 1 after a horrific crash in the 1990s derailed Hayes' once promising career.
With the help of former teammate Ruben Cervantes (Javier Bardem), Hayes joins Cervantes' struggling F1 team (APXGP) alongside hotshot rookie driver Joshua Pearce (Damson Idris).
The film is a road to redemption story that highlights the very real highs and lows of the sport.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Superman' rescues DC at the box office with a $122 million debut
‘Superman' rescues DC at the box office with a $122 million debut

Los Angeles Times

timean hour ago

  • Los Angeles Times

‘Superman' rescues DC at the box office with a $122 million debut

James Gunn's 'Superman' soared to the top of the box office this weekend, giving Warner Bros.'s DC Studios much-needed momentum in the superhero genre after a string of underperforming movies. 'Superman,' which stars David Corenswet as the Man of Steel, hauled in a robust $122 million in the U.S. and Canada. Globally, 'Superman' brought in a total of $217 million. The movie was a big swing for Burbank-based Warner Bros. and DC, costing an estimated $225 million to produce, not including substantial spending on a global marketing campaign. 'Superman' benefited from mostly positive critics reviews — the movie notched a 82% approval rating on aggregator Rotten Tomatoes. Moviegoers liked it too, indicated by an 'A-' grade from polling firm CinemaScore and a 93% positive audience rating from Rotten Tomatoes. The performance for 'Superman' fell short of expectations of some analysts, who had projected an opening weekend of $130 million. . Industry observers attributed that to heavy competition in the marketplace from other blockbusters, including Universal's 'Jurassic World Rebirth' and Apple and Warner Bros.'s 'F1 The Movie.' Shortly before its release, 'Superman' came under fire from right-wing commentators, who criticized comments Gunn made to the Times of London about how Superman (created by a Jewish writer-artist team in the late 1930s) is an immigrant and that he is 'the story of America.' 'If there's any softness here, it's overseas,' said industry analyst and consultant David A. Gross in his FranchiseRe newsletter, after describing the domestic opening as 'outstanding' for a longrunning superhero franchise. The movie generated $95 million outside the U.S. and Canada. Analysts had raised questions about whether Superman's reputation for earnestly promoting truth, justice and the American way would still appeal to a global audience, particularly as other countries have bristled at the U.S. tariff and trade policies enacted by President Trump. 'Superman has always been identified as a quintessentially American character and story, and in some parts of the world, America is currently not enjoying its greatest popularity,' Gross said. The movie's overall success is key to a planned reboot and refresh of the DC universe. Gunn and producer Peter Safran were named co-chairmen and co-chief executives of DC Studios in 2022 to help turn around the Warner Bros.-owned superhero brand after a years-long rough patch. While 2013's 'Man of Steel,' directed by Zack Snyder, and 2016's 'Batman v Superman: Dawn of Justice' each achieved substantial box office hauls, they did not receive overwhelmingly positive reviews. 2017's 'Justice League,' which was intended to be DC's version of Marvel Studios' 'Avengers,' was a critical and commercial disaster for the studio. More recently, films focused on other DC characters such as 2023's 'Shazam! Fury of the Gods,' 'The Flash' and last year's 'Joker: Folie à Deux' struggled at the box office. With Gunn and Safran at the helm, the pair are now tasked with creating a cohesive vision and framework for its superhero universe, not unlike its rival Marvel, which has long consolidated control under president Kevin Feige (though its films and shows are handled by different directors). Starting the new DC epoch with Superman also presented its own unique challenges. Though he is one of the most recognizable superheroes in the world, Superman's film track record has been a roller coaster. Alternatively sincere, campy or gritty, the Man of Steel has been difficult for filmmakers and producers to strike the right tone. Gunn's version of 'Superman' — still mostly sincere but a touch of the filmmaker's signature goofy humor — worked for critics and audiences. It was a tall order, considering some fans still hold Richard Donner's 1978 'Superman,' starring Christopher Reeve, as the gold standard. 'Pinning down 'Superman' has been a challenge,' said Paul Dergarabedian, senior media analyst at Comscore. 'It's been like Kryptonite for years for many filmmakers and producers to get it right.' 'Superman' bumped 'Jurassic World Rebirth' to second place, which collected $38.8 million domestically over the weekend for a total of $231 million so far. 'F1,' Universal's 'How to Train Your Dragon' and Disney-Pixar's 'Elio' rounded out the top five at the box office this weekend. Later this month, another major superhero movie will enter the summer blockbuster marketplace: 'The Fantastic Four: First Steps,' from Walt Disney Co.-owned Marvel Studios.

Versailles Royal Opera to visit Wine Country in one-of-a-kind cultural exchange
Versailles Royal Opera to visit Wine Country in one-of-a-kind cultural exchange

San Francisco Chronicle​

timean hour ago

  • San Francisco Chronicle​

Versailles Royal Opera to visit Wine Country in one-of-a-kind cultural exchange

The Versailles Royal Opera makes its home in one of history's most famous settings: the Palace of Versailles. Just 12 miles outside Paris, the grand estate houses a strikingly beautiful concert hall completed for King Louis XV in 1770, once the largest performance venue in Europe. So it's only fitting that the esteemed opera company, embarking on its first this summer, would want to play somewhere with comparable beauty for its North American debut. The Versailles Royal Opera is slated to bring its acclaimed production of Gaetano Donizetti's 'La Fille du Régiment' to Charles Krug Winery in St. Helena on Friday, July 18. The evening is expected to be one of the highlights of this year's Festival Napa Valley, which kicked off on July 5 and continues through July 20, with classical concerts, film screenings and more at various Wine Country locales. But it's not just opulence that connects Versailles and Napa. Stage director Jean-Romain Vesperini, who mounted 'Fille' in France this spring, was referred to the historic company for this production by Festival Napa Valley's co-founder, vice president and director of artistic planning, Charles Letourneau. That introduction sparked a years-long international collaboration that ultimately made it possible to adapt the production for a California vineyard. 'You couldn't produce an opera like this in the U.S.,' Letourneau told the Chronicle via Zoom call from his New York office, explaining how the effort to bring 'Fille' had to start overseas. 'So many elements are so particular to France and Versailles.' Vesperini, who lives in Paris but has worked with Festival Napa Valley for the past six years, was primed to serve as ambassador. On a separate Zoom call from Liège, Belgium, where he was in rehearsal for another opera, the director described how this production of 'Fille' is rooted in historical accuracy and a very specific time and place. First and foremost visually are the period costumes by renowned fashion designer Christian Lacroix, which evoke the early 19th century Napoleonic era, when Donizetti's comic two-act opera is set. There's also the orchestra playing on period instruments, tuned lower than standard modern pitch — as they would have been heard at the opera's 1840 premiere. But fidelity to the past doesn't mean this production can't also come alive for 21st century audiences. 'I often say, it is not necessary to have contemporary costumes or set design to make a contemporary staging,' explained Vesperini. To this end, much of his directing has focused on letting the singers behave and react more like people in 2025, which adds humor and helps modern audiences identify with the characters. Letourneau praised the updates that Vesperini and the rest of the artistic team have carried out in this spirit. 'They were clever and rewrote some of the dialogue to make references to what's happening today in America, like TikTok,' he noted. 'They're young, they're hip, they're fun and they're motivated.' You might even say there's a tradition of ingenuity at Versailles. Designers equipped the opera house in 1770 with stage techniques so advanced they remained in wide use across Europe and much of the Western world for the next 200 years. Those practices — large painted backdrops, sliding scenery flats and action that shifted between the forestage and full stage — were established before the French Revolution, when the venue was shuttered. (It underwent restoration in the 1950s and reopened in its present form in 2009 following a safety retrofitting.) Many modern productions there, including 'Fille,' embrace this history by continuing to feature painted backdrops. But adapting everything for a differently sized outdoor stage in Napa required further innovation. Vesperini revealed that the company took photos of the sets in Versailles, digitized them and then built a model on a computer. What the festival audience will see are digital projections of these original sets — just one solution to the challenge of transporting a full-scale production across an ocean and a continent. Letourneau acknowledged that when he and his colleagues first discussed hosting a Versailles opera in Napa about seven years ago, it was 'one of those crazy ideas that seemed ridiculous and out of reach.' But he persisted, in part because of the parallels he saw between the two cultural retreats. Versailles, he explained, is 'very much of a similar mindset to what we do in Napa — which is creating these extraordinary artistic experiences and finding ways to pay for them.' A lunch in New York City with Gerret and Tatiana Copeland, owners of Bouchaine Vineyards in Napa and supporters of the festival since its beginning nearly two decades ago, led to solid backing. In addition to 'Fille,' presented on the annual opera series underwritten by San Francisco philanthropist Maria Manetti Shrem, the Versailles Royal Opera Orchestra is scheduled to play a second program of Baroque favorites on Saturday, July 19, at Copeland Olive Hill Estate in Carneros. It's a cultural exchange that everyone can get excited about. Festival Napa Valley's pay-what-you-can pricing means that tickets for 'Fille' can be purchased for as little as $5; general admission and lawn seats are otherwise fixed at $35. For an experience that would normally require a trip to Versailles, that's a bargain. 'This is a happy story about countries and cultures collaborating together,' Letourneau said. 'We need more of that.'

How Jonathan Wheatley wants Sauber to use F1 podium momentum in Audi transformation
How Jonathan Wheatley wants Sauber to use F1 podium momentum in Audi transformation

Yahoo

time3 hours ago

  • Yahoo

How Jonathan Wheatley wants Sauber to use F1 podium momentum in Audi transformation

Jonathan Wheatley says he is relishing the chance to carry Sauber's mid-season momentum into 2026, as the team transitions into the Audi Formula 1 outfit. Wheatley officially joined Sauber in April after leaving Red Bull and has already overseen steady improvements during his short tenure as team principal. Advertisement At the Austrian Grand Prix, Gabriel Bortoleto finished eighth and scored his first points in F1, while a major payday came at the British GP where Nico Hulkenberg claimed his first podium in 239 F1 starts by finishing third – marking Sauber's first podium since 2012. Wheatley says he is looking to build on that form as the team prepares for its transformation into an Audi-run operation next season. When asked by at the Goodwood Festival of Speed about the team's progress, he joked: 'I don't think I've achieved much, to be honest, except for a successful move to Switzerland! 'No, it's been wonderful working with the team. Obviously, Matteo [Binotto, Sauber's COO] put a huge amount of work in before I arrived, and so got the ball was rolling from that point. Advertisement 'It's been great to just absorb myself in the team and try to understand how it works, to add a little bit of guidance here and there, and now, when I sat on the pitwall at Silverstone, it really feels like it's coming together. Watch: Why Bortoleto Is Already Confident About Audi's 2026 F1 Potential 'My first race was Suzuka and the Japanese GP [in April]. I've done 10 races in 13 weeks or something like that. It's been it's been quite a period of time. I think from the moment we brought the first upgrade to the car, you could see the confidence in the drivers all of a sudden, they could push the car, they could string together consecutive qualifying laps, and it puts us in a position where we can maximise our advantage. 'There's a lot of work going on before I got here, and I don't want to stand here and take credit for things. It's a huge team at work here. They made the big steps in terms of equipment but also coaching confidence in the crew and things like pitstops, which are a manifestation of team spirit. When you see a team relaxed delivering good pitstops, that's a happy team.' Advertisement As F1 teams prepare for the biggest regulation change in its history with new chassis and engine rules, Wheatley knows that despite having Audi's backing the team faces a serious challenge in overhauling the traditional frontrunners. However, he says that challenge was what lured him away from Red Bull to join the Audi project, which he believes is one of the most exciting developments in F1. 'It was a year ago, almost to the day, where I had my job interview. I drove from here at Goodwood to Southampton Airport where I met with Audi and we discussed the project. I've been on the hook ever since,' he said. 'I grew up watching Audi Quattros smashing through the forest with flames coming out of the exhaust! Audi always did it differently and it's fantastic to be part of that journey. It is probably the biggest thing in our sport at the moment. The greatest good news story in sport. It's fantastic for F1 and everyone should be excited about it. Advertisement Oliver Hoffmann, Head of Technical Development at Audi Sport GmbH, with Markus Duesmann, Chairman of the Board of Management of Audi AG, with the new Audi Sport concept car Oliver Hoffmann, Head of Technical Development at Audi Sport GmbH, with Markus Duesmann, Chairman of the Board of Management of Audi AG, with the new Audi Sport concept car 'We have to be humble about the challenge that we face. It's going to be tough to get to the same level as the established teams, and to smash through that level requires a level of momentum. 'But I firmly believe we're going to be there. We're on the road already. We've put ourselves in a position where we were able to capitalise on some wet-weather situations. 'Very soon I'm going to have four rings on a shirt, and I'm going to be the happiest team principal in F1.' Read Also: Sauber opens new technology centre ahead of Audi F1 takeover To read more articles visit our website.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store