Since neither Ella McCay nor Silent Night Deadly Night caught fire (and ash) this past weekend, we invited Greenlight Analytics Director of Insights & Content Strategy Brandon Katz to discuss (among other things) the whole “Netflix wants to buy Warner Bros.” situation beyond just what it does or doesn’t mean for theatrical cinema. Among the topics of discourse…

* The challenges with Hollywood still wanting to make “old-school movies” with little outside-the-bubble awareness of newer filmmakes and young(er) would-be movie stars, creating a reliance on decades-past-their-prime talent and decades-past-relevancy IP or (in terms of biopics) real-life historical figures.

* Whether Netflix’s attempt to buy Warner Bros. for all of its network television shows and previously theatrical movies is an admission that the streamer broke the system for making new monetizable favorites and now must overspend to get all of the comfort food created and released by its “out of touch” competition.

* Our favorite horror remakes, with an early-show conversation about the glories of Franz Oz’s Little Shop of Horrors and its original grimdark finale.

* The tragedy of a once-viable high concept flick like The Dust Bunny debuting to relative theatrical obscurity.

* Pre-release chatter about how Avatar: Fire and Ash might perform in relation to its predecessors both on opening weekend and (presumably) well into 2026.

* And more, including A) Jeremy’s deadpan hilarious response when asked if he has seen Ella McCay and B) what Steven Spielberg should have called Disclosure Day.

Recommended reading…

* Scott Mendelson explains how Wicked For Good became one of those big-deal sequels that’s viewed as a commercial disappointment only because it’ll only earn about what was (at best) expected from its over-performing predecessor.

* Jeremy Fuster offers a deep dive into India’s globally expanding theatrical footprint and its emerging issues, as seen in Hollywood, with a comparative “event movie or bust” mentality.

* Lisa Laman offered her preemptive picks for the most likely surprise hits and biggest bombs of 2026 (I, for one, have faith that WB’s animated remake of Funny Games might be a big hit) and runs down the few(er) and not-so-proud big mid-to-late December releases that tanked even amid the end-of-year holiday blitz. #Justice4MortalEngines and/or #Justice4PeterPan.

* Ryan Scott discusses IDW’s new imprint, IDW Dark, which will offer comic book expansions for ongoing theatrical horror franchises like Smile and A Quiet Place.

* Brandon Katz dug into a “favorite” topic of mine (and presumably yours, if you’re here), namely the commercial decline of the mid-budget “just a movie” movie.

If you like what you hear, please like, share, comment, and subscribe (using a cartoon mallet) with every justified ounce of strength and passion. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected] (which I finally fixed so that it’ll forward to my personal business email, natch).

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

* Brandon Katz - Greenlight Analytics and The Observer

The good news is that the theatrical ecosystem is exactly as alive as the main distribution studios allow it to be, as Blumhouse’s Five Nights at Freddy’s notches what is now the third straight $60 million-plus opening weekend in a row.

The bad news is that, once again, the fate of the multiplex ecosystem finds itself in existential peril through no real fault of its own.

Yes, Warner Bros. gets caught… yet again… in a tug-of-war over the imaginary value of theoretically valuable IP in spite, or perhaps because, of its aspirational year at the box office.

Needless to say, none of us are happy about what’s sure to be a definitive story that stretches well into 2026 if not well into 2027 or 2028, as any optimism afford to theaters now sits alongside a lit fuse and the likelihood of another legacy studio being taken off the board for no good reason.

So… uh… well, at least this episode has jokes?

Recommended reading…

* Scott Mendelson explains how and why, for those new to this game, Avatar: Fire and Ash will not need an opening on par with an Avengers or Star Wars movie to potentially soar to the upper rungs of the domestic and global box office.

* Jeremy Fuster notes how, despite constant proclamations of doom, gloom and cultural irrelevancy, indie theaters have continued to comparatively thrive.

* Lisa Laman explains quite simply why “There are no good corporate mergers.”

* Ryan Scott discusses how and why Alien Vs. Predator became one of 20th Century Fox’s most profitable movies.

If you like what you hear, please like, share, comment, and subscribe (using a cartoon mallet) with every justified ounce of strength and passion. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected] (which I finally fixed so that it’ll forward to my personal business email, natch).

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

As we wait and see if and how Universal chooses to embark on a presumably final film in the $7.3 billion-grossing Fast & Furious saga, Barry Hertz’s recently released Welcome to the Family: The Explosive Story Behind Fast & Furious, The Blockbusters That Supercharged The World offers an impressively comprehensive and potentially definitive look at the 25-year underdog success story.

The author stopped by to offer his thoughts, some of which are in the book and some of which are “new to you,” regarding the many unexpected and unpredictable ups and downs, triumphs and tragedies, lucky breaks and unprecedented missed opportunities that slowly turned “a little car movie for spring break” into the top-grossing real-world, non-fantastical action-adventure franchise in Hollywood history.

Without rehashing the book’s highlights, I’ll note that Hertz, Chief Film Critic for Toronto’s The Globe and Mail, knows that many of the readers know many of the key events along the way. As such, he uses the history we know as the starting point for a dissection into the how, why and why not related to the movies and moments that made headline news in the entertainment ecosystem and beyond.

For example, Hertz discusses the Vin Diesel/Dwayne Johnson feud in terms of Vin being a Sylvester Stallone-ish “serious artist who found success only as a beefcake action hero” and Dwayne being an Arnold Schwarzenegger-ish “anything to please the crowds” showman. Maybe it’s good that Sly and Arnie didn’t truly team up until 2013’s Escape Plan, by which point neither of them had the butts-in-seats stardom to justify inflated egos.

And, without giving too much away, he drops at least two nuggets here that A) didn’t make the book and B) genuinely surprised me. Okay, so one of them — a most unusual but on-brand request/demand regarding failed attempts to lure Vin Diesel back for a straight-up Fast and the Furious 2 — might make you laugh out loud. Oh, and gasp when I foolishly reveal my initial thoughts 25 years ago upon seeing a trailer for that first Fast and the Furious.

But beyond that, we discussed the unassuming nature of that first summer 2001 B-movie, which turned out to be, well, Fast and the Furious is to Speed as Driven is to Blown Away. We noted how Universal’s failure to lock a conventional sequel in place until years after the fact, with two kinda-sorta sequels arriving in the interim, played a crucial role in crafting a before-it-was-cool cinematic universe. We also noted the notion of many as “fan” — such as myself — coming late to the party, as I was among many who were otherwise indifferent to the first four films, only to be knocked out by the inexplicably spectacular Fast Five.

Anyway, among many other pleasures to be found in the prose and the conversation, I was most compelled by the in-hindsight reevaluation of Furious 7’s success in terms of keeping a post-mortem Paul Walker alive enough onscreen to bow out with grace. At the time, James Wan’s 2015 installment was an aspirational, fist-pumping, look-what-Hollywood-can-do success, in terms of technology, filmmaking craft, commercial success, and overall pop culture impact. Today? Well, like a lot of franchises, brands and showbiz players that inspired and entertained in the 2010s, there’s a particular “Die a hero or live long enough to become a villain” sentiment.

Cut to 2025 as Vin Diesel teases a “return” for Paul Walker’s protagonist that few fans actually want amid a still-in-limbo “final” chapter that will arguably only get made, presuming it does, because Fast X ended on a cliffhanger. For all that naval gazing and more (less stick-up-Scott’s-ass) conversation about what’s still among Hollywood’s definitive “rip-off, don’t remake” triumphs (Fast & the Furious in 2001 > Point Break in 2015), check out the conversation and then order the book, courtesy of Grand Central Publishing.

Somehow (an invitation, natch), Aaron Neuwirth returned. In a lengthy but dense Thanksgiving weekend wrap-up episode, the subject is, of course, Walt Disney’s Zootopia 2. The acclaimed and buzzy WDA sequel has thus far earned (counting its $7.5 million “second Thursday” in China) $170 million in North America, $315 million in China and $635 million worldwide.

Beyond obvious “What went right?” and “Does the bonkers-bananas Chinese opening mean anything beyond a deep decade-long Zootopia fandom?” Lisa Laman discusses the disturbing circumstances in which the holiday weekend has just eight wide releases in play, and (be it correlation or causation), tentpoles like Zootopia 2 and Wicked For Good are taking up more screens and more showtimes per theater than ever before.

Scott Mendelson agrees, noting that A) the kind of films that used to qualify as counterprogramming now barely exist at the theatrical level and B) Warner Bros., Disney, and Universal are essentially the only studios that “matter” in macro terms for the theatrical ecosystem, thereby improving their bargaining positions.

Jeremy Fuster eventually unloads with two years’ worth of justified indignation, lashing out at Bob Iger’s semi-regular strawman arguments equating Disney’s early 2020s struggles with the “not a white guy” stories being told — often created by “not a white guy” filmmakers, no less. Trust me, I’d cue up the Independence Day theme music for the occasion.

Aaron Neuwirth declares war on previous guest Ryan Scott for his harsh words directed at Godzilla: King of the Monsters. So, there’s a for-charity-bonus-episode if/when the time comes. As Jeremy notes, the unexpected 60-day window being afforded to Hamnet, Aaron discusses the complicated circumstances of successfully platforming well-liked but not necessarily crowdpleasing award-season fare. That’s just a sample — including Scott’s realization that The Housemaid could turn out to be a remake of Mary Poppins Returns — of the treats in store for those brave enough to press play on this uncommonly uncaged and feral episode of The Box Office Podcast.

No recommended reading as I got caught up elsewhere, but if you like what you hear,

That said, if you like what you hear, please like, share, comment, and subscribe. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected].

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

* Aaron Neuwirth - The Code is Zeek

This is a kind of half-and-half in terms of The Box Office Podcast. It’s technically an hour-long conversation with Bruce Nash, owner of The Numbers, as he prepares to release the site’s first-ever full-year market forecast. However, Jeremy Fuster and Lisa Laman were able to jump in amid this mid-week pre-Thanksgiving chit-chat, so it’s a bit of both worlds.

In the 60-minute discourse, we discuss Nash’s site and why it’s better or different from all other sites of its nature. Among other things, unlike its chief competitor, it didn’t set itself on fire six years ago, in terms of data availability and usability, for no good cause. The core topic is what we all think may or may not happen in the 2026 theatrical calendar year.

Everyone agrees that even the rosiest predictions, for the theatrical ecosystem as a whole, are predicated on Warner Bros. *not* being swallowed up and stripped for “Batman-or-bust” parts by whichever suitor wins this most egregious season of The Bachelor. Lisa wins the “quote of the episode” award, which I just made up right now, when she declares (paraphrasing) that we need “fewer mergers and more movies.” I’d put that bumper sticker on my car in a heartbeat.

However, at least from the start, 2026 will get a boost from Avatar: Fire and Ash and a busy January slate that looks closer to 2023 than 2024. The bad news is that there aren’t many titles with even the potential to be a breakout overperformer on par with Barbie or Inside Out 2. However, Chris Nolan’s The Odyssey seems the most likely such candidate by default. The good news is that most 2026 releases may perform as well as hoped (or better) with the bonus of Michael and Mortal Kombat II juicing the overall revenue totals for the first half of the year.

There’s plenty of that kind of punditry and analysis, some of it more serious (At what point do we accept that the consistent “This year will be back to normal!” drumbeat is a mirage?) than not (the key circumstance by which Mortal Kombat II could post Avatar-level grosses). Still, we do our best not to make Mr. Nash spend the duration thinking to himself, “Oh god, what have I done?”

No recommended reading, but I completely forgot to link to the GoFundMe Lisa mentioned two weeks ago, specifically for the slew of journalists laid off from Vibe following a merger with Rolling Stone. For those able and willing… go *here*.

As always, if you like what you hear, please like, share, comment, and subscribe. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected]. The regular Box Office Podcast episode, discussing the Thanksgiving box office, should drop within the next 24 hours..

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

Before we see to what extent Zootopia 2 ($39 million on Wednesday and $81 million worldwide thus far, or $100 million if you’re counting its $34 million Wednesday and $20 million Thursday in China) reaches the Thanksgiving weekend heights of Moana 2, listen to this extensive, comprehensive and almost intentionally random dissection of Wicked For Good’s $147 million domeatic and $223 million worldwide debut.

Chrissi Michael, content strategist by day and box office nerd by night, stops by in this 90-minute chat that features #importantjournalisms related to Muppet Clue, Repo: The Genetic Opera and, spoilers, whether “it’s” made of… corn. Fear not, there is also more… mature discourse about breakout sequels, what Broadway favorites should or should not get the big-budget movie treatment and the importance of adaptations that grow an existing fanbase.

Also on tap were thoughts on what studios might be thinking when they split a long book or play into two movies, the logic of making films for/from/about women, and whether Zooptia 2 will give Wicked more of a hassle than Moana 2 did. Most importantly, discover what exactly Lisa was talking about when she declared, “For the first time in my life, I feel… Phantom of the Opera 2007 revival!”

Apologies, but I’m running behind, so no “recommended reading” for this week. That said, if you like what you hear, please like, share, comment, and subscribe. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected].

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

* Chrissi Michael - c(ine)m(a) studies

The original permanent fourth chair returns, as Ryan Scott stops by for the first time since early August. Actually, since Jeremy Fuster couldn’t make this week’s show, it’s still a party of trio instead of a quartet. We, of course, discuss the ins and outs of Now You See Me: Now You Don’t (which should be just over/under $100 million worldwide by the time you read this) and The Running Man (which should be at around $35 million globally by tonight). And for those who have argued that I’m too… ruthless of an editor (I don’t entirely disagee), I did let this one hang out a little bit, including more false starts than Point Break or Return of the King has false endings, so those who just want the meat can skip to 14:50 for the top ten rundown and then 26:50 for the actual discourse.

Among the tangents, we discuss Aaron Eckhart’s 2020s run as a direct-to-consumer action star, why Ryan is still angry about Godzilla: King of the Monsters, why Lisa thinks that the history-reshaping racism of Birth of a Nation might only be the second-worst thing about it (that’s my joke, but think the oft-shared/memed “I draw the line at animal cruelty” Community scene) and why you might want to drop $50 on Sisu: Road to Revenge (which, by the way, is pretty dang great) topping the domestic box office this weekend.

Among the more pertinent topics are the complicated questions related to Glen Powell’s alleged movie stardom, and — in slightly related terms — Chris Evans’ post-MCU filmography, how The Running Man continues a Hollywood trend of reviving franchises or brands that audiences more or less previously rejected (both the 1987 Running Man movie and the early-2010s slew of failed remakes like Fright Night, Total Recall and RoboCop), and to what extent we should readjust the commercial bar for success amid the new PVOD and streaming-supplemented status quo.

Apologies, but I’m running behind, so no “recommended reading” for this week. That said, if you like what you hear, please like, share, comment, and subscribe. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected].

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

Welcome to another irregular spin-off episode of The Box Office Podcast, during which I (Scott Mendelson) sit down with Kevin Goetz. Mr. Goetz is the founder and current CEO of Screen Engine/ASI, among the leading companies involved in (among other things) pre-release test screening and pre-release tracking analysis. He also hosts a weekly podcast of his own, “Don’t Kill the Messenger,” which features inside baseball conversations with industry leaders and influential artists.

But the reason for the season is his second book, How to Score in Hollywood, which dropped on November 11 courtesy of Simon & Schuster. Among the insights are the difference between having that big idea and developing it to a commercially successful endpoint, crafting films with specific audiences via commercially viable budgets and marketing spends, and the changing definitions of what audiences consider “theater worthy” and using the test screening process as a positive tool rather than a (my words) “commerce > art” cudgel.

In the 50-minute conversation, as always edited for time and clarity, we discuss the common Hollywood mistakes (mistaking a singular hit for an easily replicable pattern, the difference between revisiting and rehashing, etc.), the shows that convinced him that television had caught up to movies in terms of production value and comparative impact and why the modern theatrical ecosystem has to cope with the three “Cs” — Cost, Convenience and Choice.

And with that… I hope you enjoy the most recent episode of The Box Office Podcast, which features the return of Ryan Scott, and will drop later this week.

Max Deering, of Fangoria and the Action For Everyone podcast, returns to discuss the rousing reception (artistically and commercially) for Dan Trachtenberg and Patrick Aison’s Predator: Badlands. But that’s not all, as the longtime Predator fan is here to spread the gospel about the, uh… *darkest* chapter of the Predator universe, namely AvP: Requiem. Is it an unsung (or at least undervalued) “trasherpiece”?

Is Trachtenberg a secret “AvP: Requiem Truther”? Will we ever see a version of the 2007 monster mash-up sequel that we can, I dunno, actually *see*? Meanwhile, we discuss whether Badlands can serve as a gateway for younger audiences who are not otherwise interested in prior Predator installments, as Jeremy Fuster reminds us of the complicated reasons why Prey went straight to Hulu.

Later, flags are half-mast for Die My Love and Christy and glasses are raised for Bugonia and Regretting You. We discuss why Mubi shelled out big bucks for an almost comically uncommercial flick and whether the boxing flick bombed due to or despite Sydney Sweeney’s SEO-gold online-famous fame.

All of that and more, including Scott Mendelson’s simple (and predictable?) reason for selecting Prey as his “favorite” Predator passion play.

Recommended reading…

* Scott Mendelson noted how the success of Predator: Badlands is a reminder that Disney ruled the 2010s because its 2010s movies were (relatively) good.

* Jeremy Fuster discussed how anime saved the domestic box office amid what otherwise would have been a brutal “Weapons to Wicked” slump.

* Lisa Laman discusses Disney’s mediocre-at-best 2025 box office run, just before Predator: Badlands, Zootopia 2 and Avatar: Fire and Ash arrive to right the ship.

* Ryan Scott’s latest “Tales from the Box Office” discusses the grim commercial fates, 25 years ago, of both Mission to Mars and Red Planet.

* Max Deering discusses the popular Alan Wake video game series and how it deals with hyperstition, which, in the game, comes about (simplification alert) in a manner similar to John Carpenter’s In the Mouth of Madness.

If you like what you hear, please like, share, comment, and subscribe (using a cartoon mallet) with every justified ounce of strength and passion. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected] (which I finally fixed so that it’ll forward to my personal business email, natch).

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria

* Max Deering - Fangoria and Action For Everyone

Forgive the lack of a “the top ten movies are” portion; I was on a time crunch and wanted to make sure we had time for “discourse.” It’s just the three of us, as Scott Mendelson, Lisa Laman and Jeremy Fuster talk shop about what really was a weak weekend.

* Regretting You’s second-weekend hold is terrific, no matter its rank.

* The Black Phone 2 was, by default, the hero Hollywood needed on Halloween.

* Bugonia’s *relatively* strong expansion counts as a relative win.

* Can even a best-case scenario reception for Predator: Badlands convince the disinterested to show up for “just a Predator flick?”

* The three of us pick our most anticipated movies for the remainder of the year.

* Oh, and in a skewed change of pace, Scott (not Lisa) pitches this episode’s franchise extension/revival from hell. Also, Scott’s fool-proof plan to discover whether or not Mason Thames is actually an emerging movie star.

Yes, even coming in just under an hour, this is a more… casual chit-chatty episode than usual. Not a bad thing, and honestly, it’s probably a good thing, but there you go either way.

Recommended Reading -

Scott Mendelson discusses Frankenstein’s key advantage in the 2025/2025 Oscar race: it isn’t held to the same commercial standards as conventional theatrical titles like Smashing Machine or Deliver Us From Nowhere.

Jeremy Fuster talks with theater executives who are exactly as thrilled by the idea of Warner Bros. being swallowed up by another conglomerate as you’d expect. Oh, and he also digs deep into the “Antitrust” conversation.

Lisa Laman details the top-earning musician-specific biopics, and I’ll again note (in terms of predictions for Michael) that there is a vast gulf between the #2 and #1 grossers in this sub-genre.

Ryan Scott’s latest “Tales from the Box Office” notes the 15th anniversary of Saw: The Final Chapter, which still did relatively well despite being among the worst Saw flicks.

If you like what you hear, please like, share, comment, and subscribe (using a cartoon mallet) with every justified ounce of strength and passion. If you’d like to reach out and offer good cheer, request in-show discussions, or suggest ideas for bonus episodes, please email us at [email protected] (which I finally fixed so that it’ll forward to my personal business email, natch).

* Scott Mendelson - The Outside Scoop and Puck News

* Jeremy Fuster - TheWrap

* Lisa Laman - Dallas Observer, Pajiba, Looper, Comic Book and Autostraddle

* Ryan C. Scott - SlashFilm and Fangoria