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Disney's 'Snow White' opens with a lackluster $43 million amid controversies, poor reviews

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Disney's 'Snow White' opens with a lackluster  million amid controversies, poor reviews

It was more of a “ho-hum” than a “heigh-ho” at the box office this weekend, as Walt Disney Co.’s latest live-action remake “Snow White” arrived in theaters.

The movie, which stars Rachel Zegler as the titular princess and Gal Gadot as the Evil Queen, opened in the U.S. and Canada to a lackluster $43 million in ticket sales, landing it in first place at the domestic box office, according to studio estimates. Prior to its release, “Snow White” was expected to haul in $45 million to $55 million in its opening weekend, according to analyst and pre-sale ticket estimates.

The film will have to have to do lots of business in the coming weeks to break even. It cost an estimated $250 million to make, before marketing expenses. The movie grossed $44 million overseas for a total global debut of $87 million.

The “Snow White” opening number is less than that of Tim Burton’s re-imagining of “Dumbo” in 2019, which went on to gross $353 million worldwide and was considered a disappointment. “Snow White” received a grade of “B+” from audience polling firm CinemaScore, indicating a tepid response from moviegoers.

It has been a slow first quarter at the box office. So far, there has been a downturn compared with results from last year, analysts have said. It’s likely that the full first-quarter box office numbers will finish lower compared with the same time period a year ago, which were already significantly weaker than the pre-pandemic norm.

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Though the beginning of 2024 started off slowly, the latter part of the first quarter saw blockbuster hits like “Dune: Part Two” and “Godzilla x Kong: The New Empire,” each of which brought in at least $80 million in their opening weekends.

“To say that the stakes for ‘Snow White’ are only on Disney ignores the fact that this entire industry was expecting a better first quarter,” said Daniel Loria, senior vice president at the Boxoffice Co., which tracks theatrical data. “We really need to finish this month on the strongest note possible.”

“Snow White” faced a tough road to its opening weekend.

The film was hit with racist backlash after Zegler, who is of Colombian and Polish descent, was announced as the lead character. Then, die-hard fans criticized her for saying the new film would update tropes from the original 1937 animated movie, including the emphasis on Snow White’s romance with Prince Charming.

The film has also faced questions about its depiction of little people and its leading actors’ viewpoints on the Israel-Hamas war in Gaza; Zegler has been an outspoken advocate for Palestinians, while Gadot has voiced support for Israel, where she was born.

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It’s unclear how much the external controversy around the film factored into its opening weekend results.

But Disney’s strategy of mining its animated film library for live-action remakes shows no signs of stopping. The Burbank media and entertainment company plans to release a live-action version of “Lilo & Stitch” in May.

The remakes are a risk-management plan of sorts — the films retell familiar stories while also giving Disney a chance, in some cases, to revise problematic aspects from the original animated movies, such as giving some of the princesses more agency and diversifying the casts.

Updating the original animated films also allows Disney to redirect attention to these characters. The company can then sell new merchandise from the live-action films and pump up interest and familiarity with the characters.

That translates to other parts of Disney’s vast empire, such as theme parks, streaming services and Broadway plays, said Peter Kunze, a professor of communication at Tulane University and author of “Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance.”

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“By doing these live-action remakes, it’s kind of like a defibrillator to the franchise,” he said. ”It’s not only the theatrical distribution revenue stream that is dependent on this film; it’s often feeding into these other aspects of the company.”

Though fans have sometimes complained about the frequency of live-action remakes compared with original stories, these films can be big money-makers. The 2017 “Beauty and the Beast” grossed more than $1 billion worldwide, as did 2010’s “Alice in Wonderland,” 2019’s “The Lion King,” and 2019’s “Aladdin.”

And even if opening weekend is slow, these films can have a longer tail with audiences. “Snow White,” for instance, is coming at a time when many children will be on spring break, which means harried parents may be looking for things for their kids to do.

There’s little competition in the family movie space right now, with Warner Bros. Pictures “A Minecraft Movie” still two weeks away. StudioCanal’s “Paddington in Peru” (distributed by Sony in the U.S.), and Universal Pictures’ “Dog Man” came out weeks ago.

Last year’s “Mufasa: The Lion King” opened in December to a so-so $35 million domestically, but ended up grossing more than $717 million at the global box office. Family films can take a while to build buzz, and often don’t have the same types of fans who will clamor to see it in theaters as soon as possible, Loria said.

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“This weekend will only tell us part of the story of ‘Snow White,’ ” he said. “The true measure of a performance of a movie like this happens in week three, week four, week five.”

Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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