Yang, a five-time Emmy nominee, had become one of the show’s defining comedic voices in recent seasons. His departure arrives amid shifting cast dynamics and follows a period of expanded opportunities across film, television, and live performance.

A Farewell Framed by Performance

The episode’s closing sketch served as Yang’s on-air goodbye, placing him in the role of a retiring airport lounge worker on Christmas Eve. The scene blended scripted humor with live musical performance, as Yang delivered a rendition of the holiday standard “Please Come Home for Christmas.”

Grande joined the performance alongside musical guest Cher, turning the segment into a collaborative send-off. The moment concluded with an emotional exchange between performers, reflecting Yang’s longstanding relationships within the cast.

According to reporting from the Associated Press, Yang became visibly emotional during the sketch, marking one of the more personal departures in recent “SNL” history.

Career Trajectory and Industry Standing

Yang joined “SNL” in 2018 as a writer before being promoted to on-air talent the following season. Within two years, he secured a repertory cast position, becoming the first Chinese American cast member in the show’s history.

His tenure was defined by a mix of character-driven satire and cultural commentary, earning him five Primetime Emmy nominations. Recurring appearances on the “Weekend Update” segment—often a platform for his most experimental material—helped establish his reputation within the comedy landscape.

Beyond the show, Yang has expanded into film and television, including roles in Wicked and its sequel, as well as projects such as Fire Island and Dicks: The Musical. He also co-hosts the pop culture podcast “Las Culturistas” with Matt Rogers, further extending his presence in the entertainment industry.

Timing and Broader Cast Changes

Yang’s departure comes during a period of transition for “SNL,” following a wave of cast exits ahead of its 51st season. Industry observers have noted that mid-season departures, while less common, are not unprecedented for the series.

In prior interviews, Yang indicated he had considered leaving earlier but opted to remain after discussions with creator Lorne Michaels. His eventual decision to exit mid-season suggests a recalibration of priorities as his career expands beyond sketch comedy.

Cultural Impact and Legacy

Yang’s presence on “SNL” coincided with a broader push for diversity in mainstream comedy. As one of the few openly gay Asian American performers in a leading ensemble role, his work contributed to evolving representation on network television.

In public statements, Yang has emphasized the collaborative environment at the show and the personal significance of his tenure. His departure signals both the end of a notable chapter for “SNL” and the continuation of a career increasingly defined by cross-platform storytelling.

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Universal Pictures’ two-part adaptation of the Broadway hit “Wicked” continues its blockbuster streak with the release of “Wicked: For Good”, surpassing the first film’s global debut. In its opening weekend, the final chapter earned $150 million domestically and $226 million worldwide, according to studio estimates released on Sunday, cementing the franchise’s status as one of the most successful musical adaptations in cinematic history.

The sequel’s opening eclipsed the original film’s $112 million North American launch, setting a new benchmark for Broadway-based movies. Only “The Minecraft Movie” has recorded a higher opening this year, with $162 million. Analysts note that the strong debut signals renewed audience appetite for musical adaptations, particularly as the holiday season approaches.

Domestic Box Office Momentum

“Wicked: For Good” began its theatrical rollout earlier in the week with preview screenings. On Monday, it grossed $6.1 million from 1,050 theaters, followed by $6.5 million from 2,300 theaters on Wednesday. By Friday, the film had expanded to 4,115 North American locations, generating $68.6 million in daily earnings. IMAX screenings contributed $15.5 million—around 11% of the domestic total—a record for the company in November.

IMAX CEO Rich Gelfond emphasized the film’s broad appeal, stating that the results demonstrate “our momentum carries into demos and genres beyond our traditional core, including families.” The success reflects both the film’s marketing reach and its resonance with core audiences, particularly families and young adult viewers.

Audience Demographics and Reception

Women accounted for approximately 71% of opening weekend ticket buyers, according to PostTrak exit polls, mirroring trends seen during the first film’s release. Critics offered mixed reviews of the sequel, noting some narrative pacing issues, but audiences responded overwhelmingly positively. An estimated 83% of viewers said they would “definitely recommend” the film to friends, underscoring the franchise’s continued popularity and the power of fan-driven engagement.

Directed by Jon M. Chu, both films star Cynthia Erivo and Ariana Grande, reprising their leading roles from the original installment. The first “Wicked” adaptation earned over $758.7 million globally and garnered ten Academy Award nominations, winning for Best Costume Design and Best Production Design. With combined production costs of around $300 million—excluding marketing—the two films represent one of the most significant investments in musical cinema in recent years.

Global Box Office Performance

Internationally, the film opened in multiple markets simultaneously, contributing to the $226 million global figure. While North America remains a key driver of revenue, strong performances in Europe, Asia, and Latin America helped push the sequel past the previous record. Industry analysts attribute this success to the built-in Broadway fanbase, strategic marketing campaigns, and the rising popularity of musical films post-pandemic.

Universal’s marketing strategy emphasized cross-platform engagement, including streaming tie-ins, merchandise collaborations, and high-profile interviews. Social media buzz, particularly on platforms such as TikTok and Instagram, amplified pre-release anticipation. Early box office results suggest that the sequel is likely to maintain momentum, particularly through the upcoming holiday period.

Competition and Box Office Landscape

This weekend saw additional wide releases, though none rivaled “Wicked: For Good” in box office earnings. Searchlight Pictures released Brendan Fraser’s comedy-drama “Rental Family” in 1,925 theaters, while Sony distributed the Finnish action film “Sisu: Road to Revenge” across 2,222 theaters. Despite modest openings, these films faced stiff competition from established holdovers and the blockbuster musical, illustrating a “winner-takes-all” pattern common during peak holiday weekends.

Entertainment industry observers highlight that the success of “Wicked: For Good” is crucial for cinemas nationwide. Following a slower fall season, theaters rely on blockbuster openings to drive attendance ahead of Thanksgiving and holiday releases. Upcoming titles, including “Zootopia 2”, are expected to benefit from renewed audience interest in theaters, further strengthening the domestic exhibition sector.

Critical Perspective and Industry Impact

The “Wicked” franchise demonstrates how Broadway adaptations can generate substantial box office returns while appealing to global audiences. The films’ combined production and marketing costs represent a high-stakes gamble, but early results suggest the investment is paying off. Industry analysts argue that the sequel’s success reinforces the potential of musicals to attract diverse demographics, including families, young adults, and international viewers.

The films also underscore the importance of casting and star power. Cynthia Erivo’s performance received widespread acclaim, while Ariana Grande’s involvement drew her large fanbase to theaters, contributing significantly to ticket sales. This strategy mirrors trends seen in other adaptations, where established stage works are elevated through cinematic spectacle and celebrity appeal.

Looking Ahead

As “Wicked: For Good” continues its theatrical run, box office analysts will closely monitor its weekend-to-weekend performance, international expansion, and audience reception. The film’s success sets the stage for potential spin-offs, streaming partnerships, and merchandising opportunities, solidifying “Wicked” as one of the most commercially successful musical franchises of the decade.

With audiences responding positively to both spectacle and storytelling, Universal Pictures’ two-part gamble demonstrates that high-quality adaptations can achieve significant returns while enriching the global entertainment landscape. The combination of nostalgic Broadway appeal and modern cinematic production positions “Wicked” as a benchmark for future musical film endeavors.

Source: AP News – ‘Wicked: For Good’ is even more popular than the first, soaring to a $226 million global debut

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The 2025 Oscars had a mix of tear-jerking speeches, unexpected moments, and a few surprising calls from the stage. Here are some of the standout highlights that made this year’s ceremony one to remember.

Zoe Saldaña’s Heartfelt Win

Zoe Saldaña was already a favorite for Best Supporting Actress, but that didn’t make her victory any less emotional. Accepting the award for her role in Emilia Pérez, she tearfully spoke about her immigrant roots, honoring her grandmother who came to the U.S. in 1961.

Saldaña, the first American of Dominican origin to win an Academy Award, reflected on the significance of the moment: “My grandmother, if she were here, she would be so delighted. This is for her.”

Her win capped off a phenomenal awards season, where she also took home the Golden Globe, BAFTA, Critics’ Choice, and SAG awards for her role as lawyer Rita Mora Castro.

A ‘Wicked’ Opening

The night kicked off with an electrifying tribute to the Wizard of Oz, led by Ariana Grande and Cynthia Erivo. Grande, sparkling in a red dress, kicked off the performance with “Somewhere Over the Rainbow,” followed by Erivo’s breathtaking rendition of “Home” from The Wiz.

The duo then teamed up for “Defying Gravity” from Wicked, with Grande even kissing Erivo’s ring at the end. Los Angeles stood in for Oz in a sequence of iconic movie moments, before Conan O’Brien humorously joined in, pulling himself out of Demi Moore’s body—an unexpected nod to her film The Substance.

Kieran Culkin’s Oscar Family Drama

Kieran Culkin, who had previously joked about wanting more kids during his Emmy acceptance speech, raised the stakes at the Oscars. After his win, Culkin cheekily reminded his wife Jazz Charton that they had made a deal at the Emmys: If he won an Oscar, they’d have a third—and maybe even a fourth child. “I just have to say this to you, Jazz, love of my life, ye of little faith,” he said to the crowd’s delight. “Now let’s get cracking on those kids, what do you say?”

Later, director Victoria Warmerdam jokingly referenced Culkin’s “baby talk” after winning Best Live Action Short, saying, “I’m not having your babies because of this statue.”

James Bond Gets a Tribute

While no Bond film was up for an Oscar this year, there was a major 007 celebration. To honor the transfer of the franchise to Amazon MGM, the show featured three stunning performances: Lisa sang “Live and Let Die,” Doja Cat tackled “Diamonds Are Forever,” and Raye wowed the crowd with Skyfall.

The segment also paid tribute to longtime Bond producers Michael G. Wilson and Barbara Broccoli, who are stepping back after decades of guiding the iconic franchise. Halle Berry took a moment to thank them for being the “heart and soul” of Bond.

Gene Hackman Honored by Morgan Freeman

In a somber moment, Morgan Freeman paid tribute to his friend and co-star Gene Hackman, who passed away earlier this week. Freeman recalled their time together on films like Unforgiven and Under Suspicion. “Gene always said, ‘I don’t think about legacy. I just hope people remember me as someone who tried to do good work,’” Freeman shared.

The in memoriam segment also honored other beloved figures such as Terri Garr, Donald Sutherland, Shelley Duvall, and Maggie Smith. A separate tribute was dedicated to legendary composer Quincy Jones.

Adrien Brody’s ‘First Rodeo’ Moment

When the wrap-up music began to play during Adrien Brody’s speech, he took a bold stand. “I’m wrapping up, please turn the music off,” Brody said, staring directly into the camera. “It’s not my first rodeo, but I will be brief.” His no-nonsense response was a nod to his infamous moment at the 2003 Oscars when he famously interrupted the music during his win for The Pianist.

A Special Night for Los Angeles Firefighters

A heartfelt moment came when the Oscars audience gave a standing ovation to Los Angeles firefighters who had battled recent wildfires. The tribute highlighted their courage and the resilience of the city.

Timothée Chalamet’s Bold Fashion Choice

Timothée Chalamet was a red carpet sensation, turning heads in a bright yellow suit. The striking look sparked plenty of conversation and became one of the evening’s most talked-about fashion statements.

The 2025 Oscars delivered unforgettable moments, from emotional speeches and quirky family demands to stunning performances and heartfelt tributes. It was a night to celebrate not just the winners, but the spirit of cinema itself.

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In the wake of devastating wildfires that ravaged Los Angeles and impacted the heart of the movie industry, Hollywood showed resilience with a strong showing for Netflix’s Emilia Pérez. The trans identity narco-musical led the Oscar nominations on Thursday with a record-breaking 13 nods, including Best Picture and Best Actress for Karla Sofía Gascón, who made history as the first openly trans actor nominated for an Oscar. The film also secured nominations for Best Director (Jacques Audiard), Best Original Screenplay, two song nominations, and a supporting performance from Zoe Saldaña.

“This recognition is a celebration of the global world we live in,” Audiard commented in a statement, emphasizing the film’s universal appeal.

Emilia Pérez became the most nominated non-English language film ever, surpassing Netflix’s previous contender, Roma, which garnered 10 nominations. With 13 nominations, Emilia Pérez joins an elite group of films, including All About Eve, Titanic, and La La Land, which scored more nominations in Academy Awards history.

“Wicked” and “The Brutalist” Garner Multiple Nominations

The musical Wicked, based on the beloved Broadway adaptation, also performed strongly, securing 10 nominations, including Best Picture and acting nods for Cynthia Erivo and Ariana Grande. Similarly, Brady Corbet’s postwar epic The Brutalist, released by A24, earned 10 nominations, including Best Picture and Best Director. Adrien Brody, Guy Pearce, and Felicity Jones received acting nominations for their standout performances in the film.

Surprising Entries and Unexpected Contenders

In this wide-open Oscar race, several films and performances exceeded expectations. The Brazilian film I’m Still Here, a powerful depiction of political resistance during Brazil’s military dictatorship, landed a Best Actress nomination for Fernanda Torres. Nickel Boys, directed by RaMell Ross, earned praise for its inventive first-person perspective, prompting critical discourse about race and pain in American cinema.

Ross, watching the nominations in Providence, Rhode Island, said, “This film forces a subjective response. It’s a film built for discourse.”

Surprises also came in the Best Picture race, where The Apprentice – a film about the formative years of Donald Trump – earned a pair of nominations for Sebastian Stan and Jeremy Strong. Strong, playing Trump’s mentor Roy Cohn, expressed complicated emotions about his role, particularly in light of Trump’s divisive legacy. “It was the role of a lifetime,” Strong said, “but his legacy is playing out in real-time in frightening ways.”

Notable Exclusions and Highly Competitive Categories

In the Best Actor category, Timothée Chalamet (A Complete Unknown), Colman Domingo (Sing Sing), and Ralph Fiennes (Conclave) joined Stan and Brody, while Daniel Craig, widely praised for his un-James Bond performance in Queer, was notably absent.

Best Actress proved to be one of the most competitive categories of the year, with Demi Moore, Karla Sofía Gascón, Fernanda Torres, Cynthia Erivo, and Mikey Madison (from Anora) making the cut. The category notably excluded stars like Marianne Jean-Baptiste (Hard Truths) and Nicole Kidman (Babygirl).

In the Best Director race, Coralie Fargeat, the filmmaker behind The Substance, broke through the all-male lineup, which included Sean Baker (Anora), Corbet, Audiard, and James Mangold (A Complete Unknown).

Oscars Push Ahead Despite Ongoing Wildfires

Originally scheduled for January 17, the Oscar nominations were delayed twice due to the wildfires that began on January 7, devastating parts of Los Angeles, including the Pacific Palisades and Altadena. Despite calls to cancel the ceremony, the Academy has chosen to move forward, with March 2 set for the awards show. Academy leaders have emphasized the importance of the Oscars in supporting Los Angeles’ economy and as a symbol of resilience during these challenging times.

“We will reflect on the recent events while highlighting the strength, creativity, and optimism that defines Los Angeles and our industry,” said Bill Kramer, Academy CEO, and Janet Yang, President of the Academy, in a statement.

Blockbusters Miss the Mark, But Indie Films Shine

This year’s nominations reflect the unpredictable state of Hollywood. While big-budget blockbusters like Wicked and Dune: Part Two performed well, other high-grossing films like Deadpool and Wolverine and Inside Out 2 missed out on nominations. Notably, Netflix’s Emilia Pérez has not been one of the platform’s top watches, but its record-breaking nominations indicate that streaming services are still making their mark.

Several films that were initially declined by distributors, including The Apprentice and the documentary No Other Land, found unexpected success, earning Oscar recognition despite their uncertain release paths.

Unlike last year, when Oppenheimer dominated, the 2024 Oscar race is wide open, with The Brutalist, Emilia Pérez, Anora, Conclave, and Wicked all in the running for Best Picture. The next few weeks will be crucial as the film industry prepares for the awards ceremony in March.

This year’s Oscars will be a testament to Hollywood’s resilience, creativity, and optimism, even as it deals with ongoing challenges, including the aftermath of wildfires and political turbulence. With a diverse slate of nominees across genres and formats, this year’s ceremony promises to be one of the most exciting and unpredictable in recent memory.

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Lilly Jay, a clinical psychologist specializing in perinatal mental health, is speaking out about the personal and public challenges she faced after her marriage to Ethan Slater ended.

In an essay for The Cut published on Dec. 18, Jay reflects on the dissolution of her marriage, the ensuing media frenzy surrounding Slater’s relationship with his Wicked co-star Ariana Grande (without directly naming Grande), and her journey as a mother to their 2-year-old son.

Navigating Heartbreak and Motherhood

“Motherhood, I have learned, fills your time but not your mind,” Jay shared. She described the emotional and physical demands of parenting while processing the “sudden public downfall” of her marriage.

“In the countless hours I spend rocking my son to sleep, pushing his stroller, marveling at his sweaty little hands grasping a crayon, I work diligently on my private project of accepting this new reality,” she wrote.

Despite the pain, Jay expressed hope for the future: “Slowly but surely, I have come to believe that in the absence of the life I planned with my high-school sweetheart, a lifetime of sweetness is waiting for me and my child.”

A Painful Transition

Slater, 32, began dating Grande, 31, after separating from Jay earlier this year. Their divorce, finalized in September, ended a relationship that began 12 years ago and a marriage that started in November 2018.

Jay candidly addressed the shock of the split: “No one gets married thinking they’ll get divorced, in the same way we don’t board a plane expecting to crash. But I really never thought I would get divorced—especially not just after giving birth to my first child and especially not in the shadow of my husband’s new relationship with a celebrity.”

She admitted to mourning the loss of her once-private life: “I deeply miss the life of invisibility I created for myself as a psychologist specializing in women’s mental health.”

Public vs. Private

Jay revealed how the media attention surrounding her personal life has affected her work and relationships. “People from my past have reached out to say they saw my face in a tabloid,” she shared. “But on the flip side, my patients have remained silent.”

While she initially feared the publicity would be a liability in her professional life, she’s beginning to see it as an opportunity for connection. “If I’m discovered—being vulnerable—perhaps it could be a point of connection rather than a clinical liability,” she reflected.

Finding Strength in Vulnerability

Jay acknowledged that postpartum depression and the loss of control she had long feared did indeed strike her. Still, she insisted she’s finding resilience: “If I can’t be invisible anymore, I may as well introduce myself.”

She likened her struggles to a sponge: “You know how a sponge is most effective at absorbing liquid when it’s already a bit wet? Maybe we can think about my messy not-so-personal life in that way: a dose of my own loss, rage, powerlessness, sadness that helps me hold yours.”

Co-Parenting Through Change

Despite their changed relationship, Jay emphasized their unwavering commitment as parents. “While our partnership has changed, our parenthood has not. Both of us fiercely love our son 100 percent of the time, regardless of how our parenting time is divided.”

Jay’s essay offers a deeply personal glimpse into her heartbreak, resilience, and dedication to her child amidst public scrutiny.

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New York – The debut of Wicked and Gladiator II has given the box office a much-needed boost, generating a combined $270 million in global ticket sales and marking one of the busiest weekends for moviegoers this year.

Jon M. Chu’s visually stunning musical Wicked, starring Ariana Grande and Cynthia Erivo, earned $114 million in the U.S. and $164.2 million worldwide, according to Universal Pictures estimates. This impressive opening makes it the third-largest of 2024, trailing only Deadpool & Wolverine and Inside Out 2, and sets a new record for Broadway musical adaptations.

Meanwhile, Ridley Scott’s Gladiator II, a sequel to his 2000 Academy Award-winning film, grossed $55.5 million in its opening weekend. Despite a hefty $250 million production budget, the film performed well internationally, adding $50.5 million to its total. While the film’s domestic opening fell slightly short of the $60 million forecast, Gladiator II has shown strength overseas, suggesting a successful global run.

The two films, debuting simultaneously, sparked comparisons to the Barbenheimer phenomenon of last year, when Barbie and Oppenheimer premiered together. However, the impact of Wicked and Gladiator II wasn’t quite as pronounced. The coined term “Glicked” didn’t catch on as well, and the cultural impact was more muted, with fewer people opting for a double feature. Despite this, the strategic timing of the releases benefited both films. Universal’s Jim Orr remarked, “We saw an opportunity to dominate a weekend and get a very large running start into the Thanksgiving holiday.”

Box office trends revealed a gender divide in audiences. Wicked drew a female audience, with 72% of ticket buyers being women, while Gladiator II skewed male, with 61% of viewers being men. According to Comscore’s Paul Dergarabedian, “Both films raised awareness and drove ticket sales without harming each other’s performance.”

Both films employed heavy marketing campaigns to draw in audiences. Gladiator II promoted a quirky Airbnb partnership with the Colosseum in Rome and aired a one-minute trailer across 4,000 networks and platforms. Wicked, on the other hand, made waves with a massive branding push, including limited-edition Starbucks drinks, Stanley mugs, and Mattel dolls. The film also had significant celebrity visibility, with cast appearances at major events like the Met Gala and the Olympics.

The box office had been underperforming in recent months, down 11% from last year and 25% from pre-pandemic levels. However, the success of Wicked and Gladiator II is seen as a positive sign, especially with Moana 2 set to debut on Wednesday. David A. Gross, a film consultant, noted, “These two strong openers are invigorating a box office that struggled after a solid summer.”

Looking ahead, Wicked seems poised for long-term success, especially with positive reviews and strong audience reception. The film has already earned an “A” on CinemaScore and is expected to be an awards contender. Universal has also split the film into two parts, with the second installment set for release next November. Each part of Wicked cost around $150 million to make.

Gladiator II also received favorable reviews, particularly for Denzel Washington’s standout performance. However, its audience score was a bit weaker, with a “B” on CinemaScore. While Gladiator II has seen robust international ticket sales, its domestic performance leaves questions about its long-term prospects.

In comparison, Red One, a holiday action-comedy starring Dwayne Johnson and Chris Evans, came in third place with $13.3 million. With a hefty $250 million production budget, Red One has underperformed at the box office, though it could still see a return on investment once it hits streaming platforms.

Top 10 Box Office (Friday to Sunday, Estimated Domestic Sales):

1. Wicked – $114 million
2. Gladiator II – $55.5 million
3. Red One – $13.3 million
4. Bonhoeffer: Pastor Spy Assassin – $5.1 million
5. Venom: The Last Dance – $4 million
6. The Best Christmas Pageant Ever – $3.5 million
7. Heretic – $2.2 million
8. The Wild Robot – $2 million
9. Smile 2 – $1.1 million
10. A Real Pain – $1.1 million

As we head into the Thanksgiving holiday, Hollywood may be on the cusp of a record-breaking season, with Wicked and Gladiator II leading the charge.

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