* It’s basically the “all Kraven and all The War of the Ro…hru…ru… how the f**k do I pronounce that again?” as the Box Office Podcast podcasts about the box office of this weekend’s epic commercial losers.

* Lisa lays out just how awful the opening weekend for Kraven really was.

* Jeremy rages at the absurdity of offering an anime film with subpar animation to an audience that expects visual panache.

* Scott appreciates Sony finally seeing the “It Ends with Us > Kraven” light, even while still decrying why the powers that be didn’t embrace the obvious years earlier. 

* Among other tidbits and digressions (including the now standard give-and-take concerning Warner Bros. Discovery)…

* Lisa drops the most plausible reason yet offered for why James Gunn’s Superman could be a commercial success.

* Jeremy offers a way for Sony to stop making ill-advised comic book movies while still placating the “franchises are all that matters” investor class.

* Scott continues to be horrified by the sheer amount of ridiculous lore present in the now 30-year-old Sonic the Hedgehog franchise.

Weirdly enough, there were well over a dozen new releases this weekend, even if it a few of them made anything resembling “money” in terms of domestic grosses. Nonetheless, this episode offers a slew of tangents including…

* The comparative cultural rehabilitation of Chris Nolan’s Interstellar, at least in terms of online nitpicking versus critical and real-world approval

* The value of putting old(er) classics back into wide theatrical release

* Why Y2K was DOA

* Bruce Willis’ complicated 2010s filmography

* Our critical complaints with Gladiator II

* Michelle Kisner (and Lisa Laman) raving about The Brutalist

Oh, right, Michelle Kisner, a card-carrying (and founding) member of the Michigan Movie Critics Guild, stopped by as a special guest as Jeremy took the week off. So this week it’s Scott, Lisa and Michelle in a conventionally unconventional episode that somehow found more to talk about in regard to those Johnny English movies than about Moana 2.

Moana 2 shattered Thanksgiving weekend records with a sky-high $225 million Wed-Sun debut, right alongside Wicked Part One’s equally impressive $118 million Wed-Sun *non-opening weekend*. Oh, and Gladiator II kept up with the competition, relatively speaking, as it showed that there’s room in the moviegoing marketplace for more than one — or even two — big-deal franchise-friendly mega-budget tentpoles. But, sorry Red One, definitely not four big-deal franchise-friendly mega-budget tentpoles.

Listen as Lisa Laman decries the extent to which Disney’s tentpole-focused strategy has overwhelmed Searchlight, Jeremy Fuster passionately explains why the Academy Awards both still matter and are more important than any other awards show, while Scott Mendelson notes that the dual success of both female-skewing, family-friendly musical fantasies shows that there are no more excuses for Hollywood to be shy about placing one major movie right alongside another one.

Meanwhile, we say a temporary farewell to one of our co-hosts as we essentially killed off a major character in one of the year’s final episodes. Fear not, it’s of his own volition, and it’s less Halloween Ends and more Sherlock Holmes: A Game of Shadows. Surely nobody could have survived that fall, explosion, tidal wave or being chopped in half by a laser sword before drifting down a bottomless gorge, right?

The conventional wisdom that Wicked Part One’s $112 million opening destroyed (audiences don’t mind musicals, and they don’t mind the whole “part 1 of 2” thing) and whether a $55 million domestic debut is good enough for the pricy Gladiator II (which, inflation aside, is relatively high for an R-rated action movie not based on a comic book). Meanwhile, some digressions related to Moana II’s upcoming Thanksgiving release, how Bonhoeffer represents the status quo for Angel Studios and a deep-dive conversation prompted by a listener question about “What If?” box office scenarios. What if Amazing Spider-Man had bombed in 2012? What if The Interview had been even a modest hit in 2014? Could Disney have survived the theoretical failure of Pirates of the Caribbean: Curse of the Black Pearl in 2003? Lisa also explains why Tom Cruise and Adam Driver are current examples of great actors who make comparatively poor career choices.

It is a tale of two franchise-friendly $250 million tentpoles and to what extent the streamer deserves nuance and mercy for a domestic and global opening weekend that would be an outright disaster for a legacy studio. Sure, Red One was greenlit and budgeted for streaming, but why make excuses for the very streaming companies that helped undercut the legacy studios’ ability to release non-franchise theatricals in the first place, especially when the film in question isn’t a studio programmer like Challengers or a prestige flick like Killers of the Flower Moon? Meanwhile, hopes are high for Gladiator II (which earned a decent $87 million in its overseas debut) and Wicked Part One (which is set to play the role of the pre-Thanksgiving YA fantasy epic of the year indeed), while Moana II is tracking so high that we’re just hoping that it’s… better than Inside Out 2.

We all try to distract ourselves by discussing the long-game value of Christmas movies and the coming triple-whammy of Gladiator II, Wicked Part One, and Moana II, which will help bring the overall year-end closer to 2023 than any of us dared hope back in January. You can also enjoy our wildly off-topic discussions about what Hollywood tried to make in the 2010s. From here on out, Timothée Chalamet shall be known (in a superlative, complimentary sense) as “The Dune Twink.”

Ryan had to skip out on this episode, so it’s just Scott, Lisa and Jeremy talking shop. We spend half the episode discussing the good news (Venom 3, Anora, Conclave, etc.) and the bad news (Here, Juror #2, Absolution). The second half is a listener mailbag episode, including some very macabre conversations about potential Pixar sequels and why The Good Dinosaur 2 should be a cross-over/combo sequel to Ice Age and Dinosaur.

Venom: The Last Dance is more evidence that the late-2010s Marvel/DC superhero boom has ended, with the sub-genre now as execution-dependant as any other franchise film. Still, a $120 million threequel that will probably clear $400 million worldwide allows Sony a graceful off-ramp for their decade-long efforts to make Spider-Man’s rogues gallery into their own cinematic universe.

Smile 2 showed that you don’t have to be a breakout sequel to be a successful follow-up, while Terrifier 3 was no one-weekend wonder. Joker 2 plunged again while Wild Robot and Beetlejuice Beetlejuice shrugged off PVOD availability and Anora notched the second-biggest per-theater average in five years. Meanwhile, a dive into the listener feedback bag led to some spirited debates about the decline of the theatrical comedy, inexplicably incorrect opinions and hints of simmering conflict waiting just below the surface. Exciting!

A deep dive into the genuinely unprecedented box office success that was Terrifier 3, as well as a look at A) just how badly Joker Folie a Deux performed on its second weekend and B) why nobody gave a damn about “origin story” flicks about Donald Trump and Saturday Night Live (which Jeremy righteously tears to shreds). Also on tap are a few listener emails, leading to a spirited discussion on the commercial fortunes for next summer’s Jurassic World: Rebirth.