‘Inside Out 2’ soared to infinity and beyond, nabbing $154 million domestic and $294 million worldwide in its global theatrical launch. That’s good, right? We’re all in agreement that it’s great news for the box office and the multiplexes. However, if Bob Iger and friends are to capitalize on this, they have to -- to quote my favorite Disney animated film -- make the right choices and (say it with me now) keep moving forward!

A well-liked sequel to a successful sequel in a popular franchise opened at the high end of realistic expectations… what a shock...!

What a $107 million global debut for Bad Boys: Ride or Die does (and doesn’t) say about Will Smith’s current drawing power...

After The Watchers stumbles, is horror in trouble or are the movies underwhelming?

Since Hollywood didn’t bother to release any new wide openers last weekend, I gave the box office folks the weekend off. In the meantime, and this may be a backdoor pilot of sorts for a second semi-regular podcast, I spoke last week with Business Insider entertainment correspondent Jason Guerrasio. His as-it-happened reporting was essential in exposing the less-than-glittery gold that was the year of MoviePass. He’s an executive producer on the new documentary Movie Pass Movie Crash.

Whether or not Furiosa: A Mad Max Saga should have performed better or was an inevitable “online fandom doesn’t equal audience interest” misfire, such a film shouldn’t have been expected to hold up theatrical — alongside The Garfield Movie — almost by itself. That’s the crux of the chat amid a historically grim Memorial Day weekend box office session.

We dissect If’s complicated $33.7 million domestic debut (remember G-Force?), whether we should be “happy” that The Strangers: Chapter 1 opened with $12 million (if horror becomes as franchise-dependent as every other theatrical genre…), and whether anyone should be surprised at the Amy Winehouse biopic Back to Black earning less than $3 million for the weekend (I was there… in early 1992… when The Babe bombed).

We talk about the solid $131 million debut for 'Kingdom of the Planet of the Apes,' including what went right, why it got a B from CinemaScore and what the math looks like (especially sans China) in terms of justifying follow-up. Oh, and 'Poolman' opened, too, I guess.

Does the mediocre opening weekend suggest a broader theatrical problem, or was Ryan Gosling in a Hollywood love letter to itself less enticing to regular moviegoers? Plus, how this is all, of course, the fault of our 'Star Wars'

The complicated new math of films distributed by obscenely wealthy streaming companies where it hardly matters if a $55 million flick like Zendaya’s Challengers makes a rate-of-return profit on theatrical alone. What is the “success” point for these “theatrical as PR for streaming” movies in terms of making the distributors happy with the box office results? How good (or bad) is a $15 million opening for a film like Challengers amid the current status quo compared to the mid-2010s when studio programmers were in a healthier place?

ComScore senior media analyst Paul Dergarabedian guest-stars (as Ryan Scott takes a breather) amid a look at Civil War’s second-weekend hold (the good) and the debuts for Abigail and Ministry of Ungentlemanly Warfare (the bad) prior to a deep dive into the upcoming summer movie season (barring a miracle, the ugly).

* What does Civil War’s chart-topping $26 million debut mean for A24?

* Scott and Lisa think a new Blair Witch is a horseman of the apocalypse situation.

* Ryan thinks we should all stop worrying and love the Blair Witch.

* Jeremy and Ryan talk about what they saw at CinemaCon.

And so much more!!