Entertainment
Column: 'Wicked' box office proves Hollywood needs to take family films seriously again
Everyone is wondering if “Glicked,” the potentially record-breaking, industry-lifting pre-Thanksgiving combination of “Wicked” and “Gladiator II,” will be this year’s “Barbenheimer,” the record-breaking, industry-lifting summertime combination of “Barbie” and “Oppenheimer.”
Could be. Hope so. But it’s hard not to think that everyone is missing the point.
Because Hollywood’s future doesn’t depend on who’s going to see both films on the same day. It depends on who’s going to see “Wicked” in the same row. Sharing Twizzlers and a tub of popcorn.
Families.
Double-feature combos are certainly a novel and fun way to engage audiences and goose the box office, and I would never disrespect the Oscar-winning “Oppenheimer,” which did amazingly well with audiences given its serious biopic genre. For its part, “Gladiator II” certainly looks like a gas.
But it was “Barbie,” and now “Wicked,” that put a serious number of butts in seats: Universal Pictures’ musical adaptation earned $114 million at the domestic box office this weekend, leading the $55.5-million take of Paramount’s swords-and-sandals epic. And it will be “Moana 2” that continues to do so over Thanksgiving weekend, if its predicted $125-million opening comes to fruition. Not the R-rated, demographically targeted projects but the big, festive movies that the whole family can enjoy.
“Something the whole family can enjoy” used to be a selling point. Now, in a time of targeted demographics, when Hollywood has decided that an R rating is all but required for a film to be considered “important,” it’s become a joke. Calling something that is not made by Pixar/Disney “family friendly” makes it immediately uncool and definitely unsexy. For all that they love to tout the elusive “four-quadrant” productions, most studios are not going out of their way to make family-friendly films these days. At least not those that exist outside the MCU.
And yet “Wicked,” like “Barbie” and this summer’s big hit, “Inside Out 2,” has played to enormous audiences across all kinds of demographics, not to mention generations, and no doubt included loads of families. (Who, if early accounts are an indication, were prepared to sing along with many of the songs, to the consternation of those who were not.)
If Hollywood really wants to make a comeback, it needs to take this lesson to heart: If you want to sell a bunch of tickets and popcorn, families are the ultimate consumer group. For good reason.
Streaming may have taken over the world, but believe me when I say parents want to take their children, of all ages, to the movies. If your kids are small, it offers the rare opportunity to do something they will enjoy while you get to sit down, without argument or constant demands, for two hours. Bliss! If you like the movie, even better.
If your kids are teens or young adults, movies offer the increasingly rare opportunity to share an experience in which everyone is fully engaged — unlike with home movie nights, dining out or virtually any group activity, cellphone usage is prohibited in movie theaters. Although complaints about bad behavior in cinemas may be on the rise, it’s still likelier here than anywhere that you can experience the joy of movie viewing without feeling compelled to ask, after noting the illuminated phone and bowed head of your child, “Are you even watching this?” They are, because that is the only thing they can do. And then, at least for the drive home, you all have something to talk about that does not require you to explain how people used to navigate entire cities without the benefit of an app or them to show you what they mean by playing something on TikTok.
Once again you have, if only temporarily, a shared language. Amazing!
And more than any other patrons, families — by which I mean any group that includes at least two generations, the elder of whom is paying — see the moviegoing experience as an outing, which means snacks are a given.
Once you’ve gone to the trouble of finding the time everyone is free, arguing over seats, buying the tickets and getting everyone to the theater on time, a parent (or grandparent or aunt or older brother) is not going to draw the line at getting this one a hot dog and that one a slushy. Nope, this is now officially a mini-holiday, so pretzel bites and Skittles all around. (And with “Wicked,” purchasers can console themselves with how much cheaper even the most concession-heavy film experience is when compared with seeing the stage version.)
So why, in an industry struggling to sustain its bricks-and-mortar business model in a digital world, are there so few films the whole family can enjoy?
Once upon a time, there were four-quadrant films in virtually every genre. Oh, for the golden years of the “Harry Potter” franchise, which, in its first three years, overlapped with “The Lord of the Rings.” Long will I remember the wonders of 2005, which included family-friendly hits like “Harry Potter and the Goblet of Fire,” “The Lion, the Witch and the Wardrobe,” “Batman Begins,” “Mr. & Mrs. Smith,” “Madagascar,” “Charlie and the Chocolate Factory,” “The Corpse Bride,” “King Kong,” “Nanny McPhee,” “Robots,” “Sky High,” “Zathura: A Space Adventure,” “Hoodwinked!” “Wallace & Gromit: The Curse of the Were-Rabbit,” “The Sisterhood of the Traveling Pants” and, of course, the enduring classic “The Adventures of Sharkboy and Lavagirl in 3-D.”
Our family practically lived in the cinema that year.
This is not an argument against sex, violence, mature themes or whatever bags the R rating for a given movie. That same year gave us “Brokeback Mountain,” “Memoirs of a Geisha,” “The Constant Gardener,” “Cinderella Man,” “A History of Violence,” “The 40 Year-Old Virgin,” “Wedding Crashers,” “Pride and Prejudice” and plenty of other fine, sophisticated, adult movies.
But with the notable exception of superhero movies, Hollywood seems increasingly willing to throw the baby, or at least the 8-year-old, out with the bathwater.
So while it’s clever to marry, and cross-promote, films as different as “Barbie” and “Oppenheimer” or “Wicked” and “Gladiator II,” let’s not lose sight of which films draw the bigger audiences. To paraphrase another movie that drew multiple generations to the multiplex: If you build it, they will come. Especially if they can bring the kids.
Entertainment
Stagecoach 2026: How to watch Friday’s livestream with Cody Johnson, Ella Langley, Bailey Zimmerman
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
Channel 1
3:05 p.m. Noah Rinker; 3:25 p.m.; Adrien Nunez; 4 p.m. Ole 60; 4:25 p.m. Avery Anna; 5 p.m. Chase Rice; 5:55 p.m. Nate Smith; 6:50 p.m. Ella Langeley; 7:50 p.m. Bailey Zimmerman; 8:55 p.m. the Red Clay Strays; 10 p.m. Cody Johnson; 11:30 p.m. Diplo
Channel 2
3:05 p.m. Neon Union; 3:25 p.m. Larkin Poe; 4 p.m. Marcus King Band; 4:50 p.m. Lyle Lovett; 5:35 p.m. BigXthaPlug; 6:30 p.m. Noah Cyrus; 7 p.m. Wynonna Judd; 8 p.m. Counting Crows; 8:50 p.m. Sam Barber; 10 p.m. Dan + Shay; 10:45 p.m. Diplo featuring Juicy J; 11:05 p.m. Rebecca Black; 11:45 p.m. Dillstradamus
Sirius XM Music Row Happy Hour
1 p.m. Avery Anna; 2 p.m. Nate Smith; 2:30 p.m. Josh Ross; 3 p.m. Cody Johnson; 3:30 p.m. Gabriella Rose; 5:15 p.m. Nate Smith; 7:50 p.m. Bailey Zimmerman; 9:30 p.m. Cody Johnson; 11 p.m. Diplo
Sirius XM Y’Allternative
5 p.m. Ole 60; 6 p.m. Larkin Poe; 7 p.m. Marcus King Band; 8 p.m. Sam Barber
Movie Reviews
Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows
Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
Entertainment
Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
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