Shalit became one of American television’s most recognizable entertainment critics over a career that helped reshape how film reviews reached mainstream audiences. Joining Today in 1970 as a contributor before becoming arts editor in 1973, he went on to host his signature segment, “Critic’s Corner,” remaining with the program until his retirement in 2010.

His tenure spanned more than four decades, making him one of the most visible film critics on a major U.S. broadcast network during a period when television increasingly influenced public taste in cinema.

A defining voice in televised film criticism

According to NBC News reporting and statements from his family, Shalit’s approach combined accessible analysis with humor, often delivered through playful wordplay and puns that became his trademark style.

He emerged at a time when film criticism was largely dominated by print media. His presence on national television helped broaden the reach of entertainment journalism, alongside contemporaries such as Roger Ebert and Gene Siskel, whose influence also helped bring film criticism into mainstream culture.

Shalit previously worked as an entertainment columnist for magazines including McCall’s, Ladies’ Home Journal, and Look, where his writing helped establish his reputation before his transition to broadcast television.

Distinct style and cultural presence

Shalit was widely recognized for his distinctive on-air persona, including his famously bushy hair and oversized handlebar mustache, which became part of his public identity. His commentary often blended film analysis with humor-heavy phrasing, sometimes drawing attention for elaborate or unconventional descriptions of movies.

Among his more widely cited remarks were playful takes on films ranging from Frozen to The Color Purple, reflecting a style that prioritized accessibility and entertainment value for daytime television audiences.

Despite his lighthearted tone, Shalit was also known for avoiding detailed plot summaries, a principle he said was intended to preserve the viewing experience for audiences.

Influence on television entertainment coverage

Shalit’s role on Today coincided with a broader transformation in entertainment journalism, as television networks expanded dedicated arts and culture coverage. His presence helped solidify the idea that film criticism could be a regular part of morning news programming rather than a niche print discipline.

His career also intersected with the rise of other televised film critics, including Joel Siegel on Good Morning America and the nationally syndicated program Sneak Previews, which helped popularize televised film debate formats.

Industry observers and colleagues have credited Shalit with helping shift critical discourse from newspapers and magazines into living rooms across the United States, increasing the visibility of film criticism as a mainstream media segment.

Later years and retirement

Shalit remained with Today until 2010, when he concluded his long-running role as film critic. At the time of his departure, he was among the last remaining high-profile network television film critics.

His later career included occasional media appearances and cultural cameos, while his earlier work continued to be referenced in retrospectives on entertainment journalism.

He was predeceased by his wife, Nancy Lewis, in 1978, and is survived by six children.

Tags: Gene Shalit, Today Show, NBC, Film Critics, Television Journalism, Entertainment News, Hollywood, Roger Ebert, Gene Siskel, Media History

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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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