Adam Tijerina

MARTIN GROVE'S HOLLYWOOD REPORT FOR 12/1/24: A Martian who landed in L.A. Thanksgiving weekend would likely be texting home that theatrical exhibition is an amazing business and he wants to buy some cinemas if he can pay with Bitcoins.   With the five day holiday boxoffice hitting a massive estimated $420M, per Comscore, it's easy to see why the Martian and everyone else knows moviegoing isn't dead. Of course, had our Martian had a faster spaceship and landed in mid-October, he'd have seen empty multiplexes and would be excited about going into streaming.   The real difference between JOKER 2's implosion in October and today's sizzling boxoffice is that the studios are now playing films moviegoers want to see. The resulting ticket sales should be giving Wall Street second thoughts about having pushed Hollywood to abandon exhibition and undertake the crushing costs of streaming.   Driven by MOANA 2, WICKED & GLADIATOR II, this weekend's domestic marketplace totaled $271.1M for three days, per Comscore Senior Media Analyst Paul Dergarabedian, up 32.4% from the prior weekend and up 176% vs. this time last year. Comscore's year to date tally has 2024 at $7.78B, down 6.4% from $8.31B in 2023. The previous weekend in 2024 was down 10.7% vs. 2023.   Meanwhile, back at the multiplexes: Disney's PG animated comedy adventure MOANA 2 sailed into 4,200 theatres with $135.5M for three days ($32,262) and $221M for five days, per Comscore. Hollywood buzz-ards were projecting not so long ago just $100M for three days & $135M for five days! The sequel, which delivered the all-time biggest five day launch, did $165.3M internationally and has a worldwide cume of $388.3M. M2 started out to be a Disney+ series but became a theatrical feature instead when research pointed to boxoffice potential.    M2's tracking best for first choice with under 25 women (21 points over norm) and next best with women over 25 (11 points over norm). Rotten Tomatoes critics don't like it at 65%, but audiences are happier at 87%.   Universal/Marc Platt Productions' PG fantasy musical romance WICKED was #2 in weekend 2 with $80M for three days (29%) at 3,888 theatres ($20,576). The Jon M. Chu film reportedly cost $150M to produce and has done $262.4M domestic and $359.3M worldwide. WICKED 2, also budgeted at $150M, will be in theatres for Thanksgiving 2025.   Paramount/Scott Free Productions' R rated historical action adventure GLADIATOR II was third in weekend two with $30.7M (-44%) for three days at 3,580 theatres ($8,575). The Ridley Scott sequel reportedly cost $250M to produce and has done $111.2M domestic and $320M worldwide.   Next weekend (12/6): No big studio releases are opening, but holdover business for MOANA 2, WICKED & GLADIATOR II should keep the multiplexes humming.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #wicked #gladiator2 #moana2                                    

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https://lnkd.in/gNU_MyVX The Summer travel season has begun and the attached media report shares the positive forecast for millions of visitors expected in Central Florida- while pondering if some are choosing to wait for next year when Universal Epic Universe opens. While the article asserts experts are "split" over this, the world's busiest theme park destination market is likely to host record numbers of Guests this year- and the first quarter of 2024 already set a new record for Florida tourism.

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There is such a thing as win-win in business. Success does not have to be a zero-sum game. This is something I hold very dear. Also: Transformers x Hot Wheels is just really damn cool.

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📰 ACT Entertainment Announces Strategic Partnership Posts ACT Entertainment has announced that Philip Norfolk, sales director of Ambersphere and Brian Dowd, designer relationship manager of Ayrton, will be stepping into new strategic partnership roles as, respectively, director and vice president of strategic partnerships for ACT Entertainment. Read the full story here 👉 https://bit.ly/3ZzSfEL

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Is Sony’s $400 Million Misstep the Biggest Entertainment Investment Blunder Yet? Sony’s hero shooter Concord could be one of the most significant financial missteps in gaming history. Developed over eight years at an alleged cost of more than $400 million, the game sold fewer than 25,000 copies before being pulled from sale just two weeks after launch—with full refunds issued to players. Despite the massive investment, Concord failed to gain traction in a crowded market, with players quickly abandoning it for more established titles like Overwatch and Valorant. The reasons for Concord’s failure are numerous. It launched into an oversaturated genre, had minimal marketing, and lacked distinctive gameplay elements to set it apart from competitors. Players had little reason to switch from their existing favorites, and Sony’s weak promotional efforts meant that most people weren’t even aware of the game’s existence until it was too late. Ultimately, Concord stands as a cautionary tale about the risks of high-budget, long-term projects in a competitive and rapidly evolving industry like gaming. As development costs skyrocket and the market becomes increasingly crowded, even well-funded projects can fail spectacularly if they don’t resonate with players. This high-profile flop highlights the urgent need for publishers to innovate and explore new directions, rather than merely replicating the success of established giants. The other question is: given the scale of this failure, why is this not getting the same attention as when a film flops? After all, $400+ million is a big number. https://lnkd.in/eVjkEXkq #GamingIndustry #GameDevelopmen #Sony #VideoGames #TechNews #Entertainment #MarketingStrategy #IndustryTrends

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 5/12/24: APES climbed atop the boxoffice chart with $56.5M, giving exhibitors new hope after a grim winter and spring.   While KINGDOM OF THE PLANET OF THE APES' opening doesn't come close to 2014's DAWN OF THE PLANET OF THE APES, which kicked off to $72.6M and did $710.6M worldwide, times have changed and those good old days may be gone forever. Nonetheless, KINGDOM's launch is in the ballpark compared to 2011's RISE OF THE PLANET OF THE APES ($54.8M) and 2017's WAR FOR THE PLANET OF THE APES ($56.3M).   Driven by KINGDOM, the overall marketplace, per Comscore Senior Media Analyst Paul Dergarabedian, totaled $94.4M, up 26.4% from the prior weekend, but down 9% vs. this time last year. Comscore's year to date tally has 2024 at $2.29B, down 22% from $2.93B in 2023. Last weekend 2024 was down 21% vs. 2023.   Meanwhile, back at the multiplexes: Disney/20th Century's PG-13 sci-fi action adventure KINGDOM earned its $56.5M at 4,075 theatres ($13,865). Internationally, it opened to $72.5M, per Comscore, bringing its worldwide total to $129M.   KINGDOM reportedly cost $160M to produce -- but that money's all on the screen as there aren't any $20M stars in the movie! Hollywood handicappers were bullish on KINGDOM from the start with $50-60M estimates.   Going into this weekend, KINGDOM was tracking best for first choice with men over 25 (10 points over norm) and next best with men under 25 (six points over norm). Women under 25 were okay with five points over norm. Women over 25 were the least likely to be going with three points over norm. Rotten Tomatoes critics are happy at 81% while audiences are just okay at 78%.   Universal/87 North's PG-13 action dramedy THE FALL GUY, directed by David Leitch (JOHN WICK) and starring Ryan Gosling & Emily Blunt, fell to second place in weekend two with $13.7M (-51%) at 4,008 theatres ($3,418). It's done $49.7M domestic and $103.7M worldwide. FALL  reportedly cost $130M after Australia tax credits.   MGM/Amazon's CHALLENGERS held on to third place in weekend three with $4.7M (-38%) at 2,609 theatres ($1,795). It reportedly cost $55M to produce and has done $38.1M domestic and $68.7M worldwide.   As for next weekend's wide releases: Paramount/Maximum Effort's PG rated family dramedy "IF," directed by John Krasinski and starring Ryan Reynolds, should keep the boxoffice sizzling. Media pundits expect $45-55M at about 3,900 theatres.   It's tracking best and equally well for first choice with women under & over 25 (each nine points over norm) and next best with men under 25 (six points over norm). Men over 25 are the least excited (two points over norm).   Lionsgate's R rated horror thriller "THE STRANGERS: CHAPTER 1," opening at about 2,800 theatres, is tracking best with men under & over 25, but just equal to norm. It's below norm with men & women under 25. Some more exuberant analysts see it opening to $15-20M.   #movies #boxoffice #martingrove #kingdom            

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URGENT NEED TODAY! Do you purchase tickets to concerts and theater? Did you know that fraud and deceptive resell practices are on the rise and it's easy to get taken? Together, we can make real change in the future of live entertainment. The ticket-buying process is a nightmare. You’ve been price gouged, sold fake tickets, hit with hidden fees, deceived into paying higher prices on fraudulent websites, and more. Well, those predatory practices hurt us too. It’s time we all take a stand. This July 9th, we urge you, our friends, neighbors, fans, and supporters, to join us in support of the Fans First Act. Here's why Congress acting on these bills matters: They prohibit the sale of speculative or fake tickets, so you never show up to an event with a fake ticket in hand, only to be turned away at the gate. They ban deceptive marketing practices that trick you into buying illegitimate or non-venue sponsored tickets. They guarantee up-front pricing so you see your total cost, including any mandatory fees, from the moment a transaction begins. They ​​provide for clear penalties and state and federal enforcement so predatory resellers are held accountable. This is not just about fixing ticketing; it's about restoring transparency and safety to an industry that we all hold dear. Let’s take action together. On July 9th, visit the “Fix the Tix” website and fill out the form that lets Congress know you want them to fix Ticketing.  https://lnkd.in/gmQdJKwt Thank you for your unwavering dedication to organizations like mine. Together, we can put fans first. 

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There have been plenty of eyes watching trends in theme park attendance and Guest spending patterns lately as reports around the amusement industry of impacts of inflation and high prices. The attached from Barrons discusses this in terms of the Walt Disney Company, which begins their 2025 fiscal year today, October 1 with some analysts concerned about the performance of their theme parks in the near future.

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At Hampton Creative, we've learned that in the amusement park industry—and truly any industry—successful partnerships are about more than just creative ideas. They're built on trust, collaboration, and the ability to solve challenges. That's exactly what makes working with Jerry Brick of Palace Entertainment so incredible. Over the years, we've teamed up on projects like Story Land, Adventureland Resort, Kennywood Park, and Lake Compounce Amusement Park, and each time, Jerry's expertise has played a key role in bringing these designs to life. The amusement park industry comes with its own set of challenges—balancing safety, budgets, and guest experience—and that's where Jerry's expertise shines. His ability to manage the many layers of a project, whether it's coordinating multidisciplinary teams or solving logistical challenges, keeps everything on track and ensures the final product is just as envisioned. Park projects are more than just blueprints; they require the coordination of numerous teams, decision-makers, and specialists. Jerry brings all of these moving parts together, balancing operational needs, safety regulations, and long-term sustainability—all while advocating for the designs we create (which is no small feat!). Over the years, Jerry has become more than just a partner in our projects—he's a true friend. He's the kind of person who can dive into a complex roller coaster concept one minute and then dance around in a theme park costume the next. We've shared several laughs, memories and inside jokes that have deepened our professional relationship. What makes our relationship work so well though, is our foundation of communication and collaboration. When roadblocks come up, he explains his reasoning clearly and works with us to uncover new possibilities and innovative solutions that keep the project's momentum going. He can look at one of our designs and turn it into reality—and 99% of the time, what he builds perfectly matches our vision. When working on large-scale park projects, you want to partner with someone who understands the vision and how to bring it to life. Jerry's ability to navigate the twists and turns of the amusement park industry—finding that sweet spot between bold, creative concepts and operational realities—makes him the person you want by your side when challenges arise. His expertise helps us turn big ideas into real, lasting results, ensuring that what gets built not only matches the vision but stands the test of time, making every project a smooth ride. As we prepare to share the stage with him at IAAPA next month, we can't help but reflect on how far our partnership has come. We're excited for what's ahead, and more importantly, we're grateful for the friendship and trust we've built along the way. Jerry, you’re the man. #IAAPA #HamptonCreative #IAAPA2024 Johnie Hampton Nate Olsen IAAPA North America

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

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JOY RETURNED TO HOLLYWOOD THIS WEEKEND Even better ANXIETY and its ally FEAR were banished! What brought JOY back? 295 million dollar WW opening for Inside Out 2 including estimated 155 from North America Great EXITs- 71 def recommend and A Cinemascore Broad Demos with outsized turnouts from teens, Hispanics and non family audiences Why is Box Office Anxiety finally pushed aside? Despite worries that Pixar brand was damaged by straight to Disney + titles, polarizing messaging and theatrical’s slow summer start, Pixar has their second biggest opening all time behind The Incredibles 2 What tactics propelled this massive win? We at EDO measured and marveled at a campaign that built optimized and expanded at every critical phase The Disney marketing machine excelled with their long length story spots that reignited Nostalgia for the first film’s concept for families The result of getting the family audience job done early was they were able to kick into a high gear opening week using 15 reviews spots as well as villain conflict story spots to bring onboard general audiences that enabled huge walk up business Friday So if you are looking for a little joy, catch this gem of a film that mixes humor, emotion and an ultra intelligent look at what determines sense of self

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Exit gates are the best KPI you have in the amusement business. Like all successful businesses, we at Five Star Parks and Attractions are extremely data driven. You have to make decisions based on what the data is telling you. Data tells you what is happening but it may not tell you why it’s happening. Standing at the Exit gate will tell you everything you need to know. It is the visual of our “why”. It is what we sell. Let me explain… Below is a pic of one of our indoor go kart tracks. As guests are walking out they are smiling, high fiving, fun smack talking. “I passed you on the last lap”, kids are literally skipping out, Moms are hugging their kids in excitement, grown adults can’t contain themselves but to smile/laugh as they exit. That’s it!!! If I could package THAT up in a box as THAT is what we sell. We are selling experiences that have much more value to our guests than the cost of a go kart ride. EBITDA , EBITDAR, YABBA DABBA DO it all doesn’t matter if your attractions produce THAT result it’ll move the needle in your favor on all the financial metrics that matter. If your attractions do not produce that result then you have missed the mark. We have a team of passionate people that are focused on creating that result at our Exit gates. It’s not curing cancer but those of you in this industry, don’t take for granted this opportunity we have to deliver a great memorable experience for our guests. Spend some time at your Exits and see for yourself. It’ll tell you as much as looking at any spreadsheet produced.

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MARTIN GROVE'S WEEKEND BOXOFFICE BUZZ: Now playing below -- a quick look at the upcoming July 4th holiday weekend.   . Universal/Illumination Entertainment's PG rated animated sequel DESPICABLE ME 4 is opening 7/3 at about 4,000 theatres. It's expected to generate colorful boxoffice fireworks with around $140M for five days -- or more, which is usually the case these days! The RT critics are haters at 63%, but that won't keep families away. It's tracking best with men under 25 (13 points over norm) and next best with women under 25 (12 points over norm).   . Lionsgate/Roadside Attractions' R rated Indian action crime drama KILL is opening wide 7/4. Pundits are guessing $4-6M for four days. RT critics love it at 95%, but that's based on just 20 reviews. It's tracking below norm for all demos.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove

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Tokyo Disney Resort's "Fantasy Springs" expansion to their Tokyo DisneySea theme park is arguably the most anticipated new development in the global themed entertainment and amusement industry this year. Despite this, this year's attendance is forecast by Oriental Land Co., the Japanese owners and operators of Tokyo Disney Resort, to be eleven percent lower than pre-pandemic 2019's record results. The attached shares much of this story cribbed from Forbes, and sorry for sharing this version of the article instead- the Forbes version refused to share correctly on LinkedIn. Despite the sensationalistic and misleading headline, par for the course for this source in recent years, OLC is referring to year-on-year comparison between this year and 2019...

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I love it when I hear about two brands coming together to execute something out the box. These creative ideas are awesome. Question / How can we do the same with your brand? How can we utilize the power of sports to drive traffic towards your platforms? Let's discuss how we could impact your holiday window, positively.

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