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Box Office: “Ghostbusters” Reboot Is A Hit, Princess Diana Ghosts “Spencer,” Will Smith Less Than Royal

Roger Friedman
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Box Office: “Ghostbusters” Reboot Is A Hit, Princess Diana Ghosts “Spencer,” Will Smith Less Than Royal

Box office weekend:

“King Richard” was really hurt at the box office by its HBO Max day and date run. Total in wide release came to $5.7 million, which is even less than the low prediction of $5.9 million. Will Smith has been so pitched for Best Actor, and the cast is excellent. Serena and Venus Williams wanted this movie, this way, about how their father, Richard, trained them to become superstar athletes. The publicity and marketing were excellent, and the reviews were solid.

So now what? Let “King Richard” sit on his throne for a bit until awards notices come in the first week of December. “King Richard” will get a lot of nods from the Critics Choice Awards, and should find some s love among the critics groups in different cities.

Stranger still is what happened to Neon’s “Spencer.” Third week, Neon dropped “Spencer” from 311 theaters. After all the time and money that’s been put into Kristen Stewart for Best Actress as Princess Diana, the studio is letting the air out of the tires! Maybe it’s a short retreat until the awards nods in early December. But Princess Diana’s ghost seems to be haunting this movie as well as the alm0st-closed Broadway show (the two projects are separate).

Some good news: “Ghostbusters: Afterlife” is a hit after it looked bleak from opening night. The new film made $44 million over the weekend. In 2016, the all female “Ghostbusters” did $46 million ($53 million adj for inflation). So, not bad. Nothing to complain about.

RIP Billy Hinsche, 70, Ex Teen Pop Star from the 60s, Played with the Beach Boys Through the 70s

Roger Friedman
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RIP Billy Hinsche, 70, Ex Teen Pop Star from the 60s, Played with the Beach Boys Through the 70s

Two deaths to report this morning, each talented people too young.

Billy Hinsche, 70, was part of the teen pop trip Dino, Desi, and Billy from the mid 60s. Dino was Dean Paul Martin, son of Dean Martin. Desi was Desi Arnaz, Jr. They were like the Jonas Brothers but not as successful. Still, they were on the cover of “Tiger Beat” for weeks and months on end.

Hinsche went on to join the Beach Boys touring band through the 70s. His sister married Beach Boy Carl Wilson and Billy was on the board of the Carl Wilson Foundation. So that tied him to several famous families, all of whom in some way have posted tributes to him today. Ironically, Billy appeared Friday on the excellent Dean Martin documentary that aired on TCM, “King of Cool.”

On Instagram (see post below) Lucie Arnaz writes that Hinsche died of “Giant cell carcinoma. Only diagnosed a couple weeks ago. It ravaged him like an out of control train.” What a shame. I’m told, in another strange coincidence, that Billy’s mom passed this week as well.

From a British Beach Boys site:

Billy’s long association with the Beach Boys has included performances for Presidents Ford, Reagan and Bush, and sold-out shows at major stadiums and venues worldwide. Billy appeared with the Beach Boys at the original Live Aid in 1985 and sang on Elton John’s recording of “Don’t Let The Sun Go Down On Me,” Warren Zevon’s “Desperados Under the Eaves” (produced by Jackson Browne), “Hat Trick” by America and many other recordings of note.

His original songs have been recorded by Carl Wilson, Dean Martin and Nelson Riddle; and he wrote the television theme song for “Automan” (1983). His song, “Patria” was considered for an Emmy nomination in 2002 for the “I Love Lucy 50th Anniversary” television special.

He co-wrote DD&B’s “Lady Love” with Brian Wilson. Billy also holds a BFA degree in Motion Pictures/Television from UCLA and his vintage Beach Boys footage has appeared in many television documentaries. He is also a published writer of several music related articles.

Leonardo DiCaprio is Finally a Dad! In Satire “Don’t Look Up” He Plays the Father of Two Adult Sons

Roger Friedman
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Leonardo DiCaprio is Finally a Dad! In Satire “Don’t Look Up” He Plays the Father of Two Adult Sons

We’re still a ways off from getting into the nitty gritty of Adam McKay’s “Don’t Look Up.”

But while we wait, ponder this: Leonardo DiCaprio is now old enough to play the father of adult children. Believe it or not, and I can’t, Leo is now 47 years old.

Okay, I’m sitting down.

It was 30 years ago — like Adele’s 30 — when Leo was a teenager on “Growing Pains.”

It was 1993 when he broke through with the combination of “What’s Eating Gilbert Grape?” and “This Boy’s Life.” I have a clear memory of interviewing Leo over lunch in 1993. I was 12, which means he was a baby.

Over the years, DiCaprio has played a lot of roles, but never an onscreen Dad, not even to small children. He won an Oscar for tousling with a bear. Maybe he had kids in “Wolf of Wall Street,” but his character was too high on Quaaludes to know who they were. In “Catch Me If You Can,” he was a son of Christopher Walken. In Scorsese films, he’s had a lot of  things to do, but nothing involved progeny.

And yet, as a respected astronomer and scientist in “Don’t Look Up,” Leo’s got two sons at home. The actors who play them are 25 years old. His character is also married to an age appropriate woman played Melanie Lynskey. Indeed, in “Don’t Look Up,” DiCaprio — who used to be The Kid — is sort of avuncular toward Timothee Chalamet. Think of this: Leo used to be Timothee Chalamet.

And so it goes, right? The circle of life.

PS It kind of makes sense if you think about it. DiCaprio’s most famous role was as Jack in “Titanic.” His love interest was Kate Winslet. In “Mare of Easttown,” Kate had a grandchild! Really, now I’m taking a nap!

After All That, Adele’s “30” Album Has Sixth Highest Debut for Female Singer in Spotify History

Roger Friedman
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After All That, Adele’s “30” Album Has Sixth Highest Debut for Female Singer in Spotify History

After all that publicity, the Oprah TV show, therapy sessions, pants suits, her kid talking in the middle of a song, all of it, guess what? Adele’s “30” did not break any records yesterday. The album came in sixth among all time global debuts on Spotify for female singers. The “30” album had 60 million streams. A week earlier, Taylor Swift’s re-recorded “Red” album had 90 million. Indeed, Taylor holds the top 3 spots (see below).

What does this mean? Nothing, really. Who knows? In the overall picture, Adele’s numbers could start rising. And her CD and LP sales are unknown as of yet, although they will be BIG. We’ll get a sense of how “30” is really doing on Monday after everyone has calmed down and the music press’s spells have worn off.

What’s next for Adele? I’d like to see her with Dr. Phil. And then Dr. Oz. And then Dr. Seuss.

Biggest female album debuts in Global Spotify History:

1. Red (Taylor’s Version) — 90.6M Taylor Swift

2. folklore — 80.6M Taylor Swift

3. thank u, next — 70.2M Ariana Grande

4. evermore — 67M Taylor Swift

5. SOUR — 64M Olivia Rodrigo

6. 30 – 60.7M [NEW] Adele

7. Positions — 59M Ariana Grande

8. Lover —55M Taylor Swift

9. Fearless TV — 50.8M Taylor Swift

10. Chromatica — 48.3M Lady Gaga

 

 

Oscar Movies in Box Office Hunt: “Looking for Richard,” “Belfast” Begin Long Journeys

Roger Friedman
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Oscar Movies in Box Office Hunt: “Looking for Richard,” “Belfast” Begin Long Journeys

We’re off to the races with the main Oscar movies so far hitting the box office big time.

Will Smith’s “King Richard” took in $1.920 million Friday night as it begins a long journey to awards season. “King Richard” is also playing on HBO Max, which will temper its box office numbers. But the story of Serena and Venus Williams and their father, Richard, is a MOVIE and really should be seen in a theater for the experience. There are so many terrific performances in it, and they will all be rewarded with nominations in the coming weeks.

In a limited release so far, Kenneth Branagh’s “Belfast,” also top lined for the Oscars, is bringing audience to theaters. Last night “Belfast” moved up to $2.8 million with a strong $462 per theater. “Belfast” is a must-see, with Judi Dench, Jamie Dornan, and the music of (the previously sane) Van Morrison making for a glorious film.

Blockbuster buffs will be commenting on “Ghostbusters: Afterlife,” which looks headed for a $38 million weekend. That’s less than the huge numbers for the last “Ghostbusters” movie in 2016, but nothing to worry about. I’m looking forward to seeing it on an airplane one day.

And “The French Dispatch” is hanging in there, with almost $13 million total so far.

More tomorrow. It’s a beautiful day. Go to the movies this weekend!

 

Beyonce Has No Best Song Game for 2022 Oscars as “Be Alive” Fails to Catch On Anywhere

Roger Friedman
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Beyonce Has No Best Song Game for 2022 Oscars as “Be Alive” Fails to Catch On Anywhere

As the Oscar season movies roll out, so do a bunch of songs written especially for them. Most are by big pop stars or written by the, all aiming to make the top 5 Best Song nominees for 2022 Academy Awards.

Prominent among them is Beyonce, who is considered the Princess of R&B or something, but really doesn’t have that many hits. If you count them up, she runs very far behind Aretha, Tina, Whitney or Mariah just among R&B singers.

Last Friday, November 12th came a song Beyonce recorded for “King Richard,” the Will Smith movie about Serena and Venus Williams’ coaching father. When I heard “Be Alive” in the movie during a screening, I was surprised. Rather than let a new Beyonce song play unimpeded over the end credits, director Reinaldo Marcus Green cut in over it with home movies from the Williams family. You can just about hear the song if you strain for it. Otherwise, “Be Alive” is hidden.

Beyonce fans have met the song with apathy. It languishes now, a week after release as a single, at number 64 on iTunes. Pop radio isn’t playing it, neither is contemporary R&B. Beyonce has done nothing to promote it. So “Be Alive” is essentially DOA unless the music branch of the Academy rediscovers it. But that seems unlikely. Beyonce has ling exhibited an attitude that the Academy should come to her. But the mountain, as they say, is not coming to Mohammed. The future looks bleak for a change on either side.

There was also some hope that Beyonce might have a new album coming in conjunction with “Be Alive.” But that looks unlikely, too. Meantime, Adele– back on the charts after six years– has 14 spots tonight on the iTunes Top 100.

Can Norman Lear, Jimmy Kimmel Get George Clooney to Appear in Their “Facts of Life,” “Diff’rent Strokes” Revival?

Roger Friedman
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Can Norman Lear, Jimmy Kimmel Get George Clooney to Appear in Their “Facts of Life,” “Diff’rent Strokes” Revival?

We were hoping that Norman Lear’s 100th birthday year would bring about a live staged revival of “Maude” for his Jimmy Kimmel-produced renaissance.

Instead, we’re getting live versions of two lesser shows, “Facts of Life” and “Diff’rent Strokes.” Each of these NBC series from the 80s was pretty awful. Lear’s company, Tandem, produced them but his name never appeared on them. They were never nearly as important as “All in the Family,” “The Jeffersons,” and “Good Times,” all of which have had live revivals and won awards.

I asked Lear a couple of years ago who he wanted to play Bea Arthur’s “Maude.” He told me Meryl Streep was his number 1 choice. But Streep doesn’t do TV, and it appears even Lear had no luck in this case. I think Christine Baranski would have been perfect.

But “Maude” is not coming next. Instead we’re getting the very fine actress Ann Dowd to play Charlotte Rae’s Mrs. Garrett in these connected series. A major star, John Lithgow, will play Mr. Drummond, who adopts a pair of young Black kids and brings them to his Park Avenue apartment. In the original show, Gary Coleman — who was small for his age (four foot eight) and eventually died young from kidney disease — played Arnold. Todd Bridges, who had many legal issues after the show ended, played Willis.

Now Kevin Hart will play an adult Arnold and Damon Wayans will be Willis in what will be a much different “Diff’rent Strokes.” I guess adults will look more palatable than children. But they’ll still have Mrs. Garrett. No mention has been made of who would play Dana Plato’s role. Plato was Mr. Drummond’s daughter, Kimberly. In real life Plato, like Coleman, died young after a very troubled life.

Then Dowd will also appear as Mrs. Garrett when she was spun off of “Diffrent Strokes” to watch a bunch of girls in a boarding school in “Facts of Life.” No info yet on who will play the girls, but it would be amusing if George Clooney popped in. He played a handyman on 17 episodes of the sitcom. I’ll bet Lear and Kimmel are trying to get him. Clooney should play an ER doctor. Now that would be very ‘meta’.

The shows will air on ABC on December 7th.

Taylor Swift’s Revenge Complete, Sells Stunning 596K Copies of Re-recorded “Red” Album in One Week

Roger Friedman
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Taylor Swift’s Revenge Complete, Sells Stunning 596K Copies of Re-recorded “Red” Album in One Week

Taylor Swift’s revenge on Scooter Braun, Scott Borchetta, and Shamrock Holdings is complete. She sold 596,000 copies of her re-recorded “Red” album called “Red (Taylor’s Version)” this week.

“Red” 2.0 is the second highest debut album of the year, behind Drake. It was propelled by a lot of things including Swift’s appearance on “Saturday Night Live.”

When the original “Red” debuted in 2012, it sold 1.2 million copies in its first week. But that was before streaming and Spotify and electric powered cars existed. Selling half as many copies nearly a decade later of the same album is pretty extraordinary.

All of Swift’s other albums were lifted onto the charts this week as well. Those totaled up to around 75,000 more copies of the catalog, and most of those were sales from Taylor’s post-Borchetta break up. So the new owners of Swift’s masters reaped little. I can’t imagine those Shamrock people are too thrilled with Braun and Borchetta. For $300 million, they got bupkis.

In other news, hitsdailydouble reports that Adele earned $119,914 in streaming revenue from “Easy On Me” last week. That will pay for two pairs of haute couture pants suits plus a therapy session in Beverly Hills.

Western Stars: Kevin Costner’s “Yellowstone” Swaps Home Viewership, All Seasons in Top 10 Chart

Roger Friedman
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Western Stars: Kevin Costner’s “Yellowstone” Swaps Home Viewership, All Seasons in Top 10 Chart

Thirty one years after “Dances with Wolves,” Kevin Costner is all over the place and on top again!

Costner’s TV series from the mind of Taylor Sheridan has swamped the home viewing chart — among movies!

On the Digital Entertainment Group chart for home viewing this week, the current season of “Yellowstone” is number 1 and ahead of “Free Guy,” a big summer movie.

That’s season 4 of “Yellowstone.” The other three seasons of the series are also lodged in top 10 scattered among other movies among “Fast and Furious 9” and “Dr. Seuss’s The Grinch.”

The DEG chart measures DVD sales. So far “Yellowstone,” apart from its Paramount Network showings, has earned $22 million in sales. They should up the prices!

“Yellowstone”‘s success, as I’ve said before, is pointed directly at the bread basket of this country. It”s comfort food even for liberals, but it’s aimed exactly at conservative America. I hope the Democrats are taking notice of this. If Costner wants that road, he’s got it. But he could also invite Beto O’Rourke to make an appearance as a cowhand!

Stella McCartney, Julian Lennon & Sean Lennon Sit Together for Sensational L.A. Premiere of Beatles’ “Get Back” Movie

Roger Friedman
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Stella McCartney, Julian Lennon & Sean Lennon Sit Together for Sensational L.A. Premiere of Beatles’ “Get Back” Movie

Great notices came in late tonight from LA for the premiere of Peter Jackson’s “Get Back” documentary about the Beatles.

Disney Plus screened 100 minutes at El Capitan Theater in Hollywood for a wildly enthusiastic crowd. Stella McCartney represented Paul, Julian and Sean Lennon repped for John Lennon and Yoko Ono. Ringo Starr stayed away reportedly because of fears of COVID (no one blames him).

Disney chief Bob Iger introduced the film. Peter Jackson, via Zoom, explained the process of how he put it together.

Sources say Stella, Julian and Sean all sat together and loved the film, as did everyone else, including Peter Asher, who once ran the Beatles’ Apple Records and whose sister, Jane Asher, was Paul’s girlfriend in the 60s. As part of Peter and Gordon, Asher had a massive hit with Paul’s song, “A World Without Love.”

All six hours of “Get Back” begins running on Thanksgiving Day. Jackson took all the footage Michael Lindsay-Hogg didn’t use to make the “Let it Be” movie in 1970 and fashioned a film that shows all four Beatles getting along famously (with some short glitches) as they create this landmark recording.

I’m also told that Billy Preston shines as the “Fifth Beatle,” especially at the famous rooftop concert.

More to come, but by all accounts “Get Back” is a monumental achievement. (I wish they’d show us the 100 minutes in New York.
https://www.instagram.com/p/CWcSd0NMs9e/?utm_medium=copy_link

UPDATE FROM LEAH SYDNEY

Also at the El Capitan: JJ Abrams, Richard Curtis, Nathan East, Alan Parsons, Cary Elwes, Loree Rodkin, Chuck Lorre, Richard Lovett, Joyce Moore.

Julian Lennon told me it was “great, all consuming, I loved.  It wouldn’t have happened but for  Peter Jacksons amazing technology.”

Scott Mantz Entertainment Journalist KTLA and self-described ‘Beatle-maniac’ gave us insight.  “Countless wow moments, so intimate, such a joyous experience.  Exhilarating and  rousing, which was the exact opposite of the “Let It Be” movie which was so depressing. This is the movie that diehard and casual fans have been waiting for 51 years.  All the Beatles fans who watched “Let it Be” over these years, and said how depressing it was, this is proof that the sessions were very productive, and joyous.  The Beatles loved each other, were joking around,  making music  for the three weeks they were recording this album “Get Back”  they spent more time in the studio than they did when they recorded “The White Album” back in 1968, where they were in different studios recording it and not working together as a band.  In this they are working together as a band and here’s the proof! This is the reward that we’ve all been waiting for!”

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