As the sad Poe image implies, former co-host Ryan Scott is back, at least for one episode. They never found the body; he fixed the autopilot six months ago, an enraged Superboy punched the space-time continuum or whatever a bunch of times, and/or the entire last season was a dream. Either way, we hope for a few more Ryan Scott guest appearances over the next year to the extent his schedule allows. It was like riding a bike as we discussed why Wolf Man earned too little, with Scott discussing the specifics of Invisible Man’s success. Ryan correctly noted the unusually high budget, and both Jeremy and Lisa pointed out a relatively cold streak for Blumhouse as they face no longer being the cool kids in the horror sandbox. 

And yes, we discussed the borderline miracle that was One of Them Days pulling 2010s-level box office for what is an original, non-franchise, R-rated, not-a-white-guy theatrical comedy. Oh, and alongside a random digression about The Super Mario Bros. Movie 2 and wondering what A24 forgot to do with Sing Sing, Ryan will correctly note that the notion of a Disney+ series being pretzeled into a $1 billion-plus theatrical film outweighs overall concerns about Disney relying on pre-packaged nostalgia for top-tier box office success. 

As always, if you like what you hear, like, share, comment, and smash (using a cartoon mallet) that subscribe button with every justified ounce of strength and passion. If you want to bother us and offer good cheer, request in-show discussions, or offer ideas for bonus episodes, ping us at [email protected].

Yes, I’m going to start scheduling weekly subscriber chats this week (I just did one this morning, to relative success) and eventually become more aggressive about encouraging and answering listener emails.

Scott Mendelson - The Outside Scoop and Puck NewsJeremy Fuster - TheWrapLisa Laman - Looper, Cultress, Comic Book and AutostraddleRyan C. Scott - SlashFilm and Fangoria

Finally, if you have the means and motivation, several worthwhile organizations are attempting to help those impacted by the California fires.

As Jeremy mentions at the end of the previous episode, the Los Angeles-based Anti-Recidivism Coalition, a nonprofit dedicated to ending mass incarceration, is raising funds to support California’s prison fire crews.

Likewise, as Lisa noted at the end of last week’s episode, please take a look at this spreadsheet listing GoFundMe links for displaced Black families (and impacted businesses) in Altadena, California.

And here are links for…The Red CrossThe LA food bankThe LAFD Wildfire Emergency FundThe California Fire FoundationDirect Relief

In what was the first “new” weekend of 2025, Den of Thieves 2 opened seven years after its predecessor with an almost identical amount of money in North America. For the special occasion, The Box Office Podcast welcomed the one and/or only Brandon Streussnig to discuss Vulture’s third annual “Stunt Awards” along with Gerard Butler’s B-level stardom, the nuanced politics of seemingly simplistic grindhouse fare and the key difference between knowing what’s wrong and knowing who or what is to blame.

Yes, there is plenty of box office punditry, including an extended fist-bump for the continued slow-burn success of A24’s The Brutalist. However, there’s also time to discuss the action genre as a whole, the ongoing notion of well-liked art made by less-than-ideal artists, the problem of blaming pop culture over the real-world culture it sometimes endorses or emulates and why Paramount’s support of Better Man qualifies as a moral victory even in the face of entirely expected box office failure.

Since there were no newbies of note this weekend, all due respect to Vertical’s The Damned, Scott Mendelson, Lisa Laman and Jeremy Fuster just talked about the holdover business and that pesky “fewer movies than theaters were once accustomed to” issue that still seems to be in play five years after the start of the COVID pandemic. The good news is that Mufasa: The Lion King is legging like a champ, and Sonic the Hedgehog 3 is racing into the video game-based movie history books. Moreover, adult-skewing biggies like Nosferatu, A Complete Unknown and Babygirl are thriving concurrently right alongside the all-quadrant tentpoles. The “bad” news is that, yeah, there was no excuse not to have *something* of note this weekend and Wicked Part One’s 49% seventh-weekend drop might make it the rare theatrical success that gets a little bit undercut by PVOD availability. Ask us again next weekend, natch.

In what will be the last episode of 2024, the three proverbial box office musketeers/amigos/etc. are joined by Daniel Loria for a deep dive into what went right over the holiday weekend and why it’s exactly the kind of “everybody wins” frame exhibitors and theatrical proselytizers have been waiting for since, well, even before the COVID era of multiplex melodrama. Mufasa: The Lion King and Sonic the Hedgehog 3 both held like champs, Wicked Part One and Moana 2 got big holiday bumps, and Nosferatu came on like a (pun intended) bat out of hell with a relatively sky-high five-day debut. 

The year will end almost tied, give or take a Disney movie delayed to 2025 and/or a painfully underperforming Joker sequel, with the #Barbenheimer-infused 2023 domestic totals. We thus all again note that the struggles and perils facing the multiplex remain more about supply than about demand. All of us express cautious optimism for next year, which is the first one since 2019 (or honestly, 2018 if you note the sheer Disney domination of what was supposed to be Bob Iger’s swan song), where theatrical is playing with something approximating a full deck.

However, even with concerns about lighter-than-expected slates in January and March, all signs point to, if not a full pre-COVID-level theatrical total, then something approximating best-case scenario business in an ecosystem where A) 20th Century Fox is no longer independent and no longer releasing 15-20 movies a year, while B) original animation and Marvel/DC films are no longer surefire mega-hits. All that, plus discover for yourself why the episode ended with Jeremy challenging theatrical moviegoers to “rawdog Shoah.”

After appearing on all 46 of the first episodes of The Box Office Podcast (even the late June episode where it was just her and Ryan holding down the fort), Lisa Laman had to sit this one out. She’ll be back for episode 48, so you can listen to me roll my eyes at all the Nosferatu nonsense *and* shudder at the hardcore deep-dive Sonic the Hedgehog nerdery in one single episode. This time, however, we’ve got a special guest star… (copies and pastes the whole thing cause I’m a lazy b*****d), Comscore Sr. Media Analyst Paul Dergarabedian!!!

Anyway, it’s mostly chatter about how well Sonic the Hedgehog 3 performed over its initial domestic debut and to what extent Mufasa: The Lion King has a shot in hell at recovering thanks to that magic “Christmas-to-New Year’s” period after a comparatively terrible opening weekend. We then all discuss the extent to which the overall marketplace has been firing on all cylinders since Bad Boys for Life and Inside Out 2 in early June. Oh, and listen to Jeremy and Paul gush over the Superman trailer.

Spoiler: You will believe a nearly Medicare-eligible man can cry while watching the first trailer for the third Superman reboot in 19 years. Paul had to dash at the end of “act two,” and the final portion is just Jeremy and Scott discussing the ebb and flow of the 2025 calendar. Oh, and for whatever reason, we had some tech issues in that portion, so Jeremy’s audio is a little “fish underwater.” Beyond that, it’s a fun, ping-pong-ish conversation in a shorter-than-usual episode

* 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.