Summer box office is officially in full swing, and this past weekend delivered a genuinely fun headline: the Wayans Brothers - absent from their own franchise for 25 years - crashed back onto the scene and reminded Hollywood what a comedy opening actually looks like.

The last time a non-action comedy opened north of $50 million domestically, 22 Jump Street was still in theaters and flip phones were making an ironic comeback. That was 2014. This weekend, Scary Movie shattered that drought with a franchise-record $56 million opening. Marlon and Shawn Wayans are back, Anna Faris is back, Regina Hall is back, and judging by the numbers, the audience was ready to laugh.

The studio spent a reported $30 million making this thing - dirt cheap compared to the $170 million He-Man movie opening right next to it - and ran a marketing campaign that had people in stitches on social media for weeks. The result? Hispanic and Latino audiences led at 40%, young men under 25 had the highest "definite recommend" rate in the exits, and the whole thing skewed 58% male. This wasn't prestige cinema. It was exactly what it promised to be, and people paid to see it.

In summary, The Wayans turned 26-year-old IP into the most profitable movie in Hollywood this weekend.

Amazon MGM's Masters of the Universe opened to $30.1 million in second place. Nicholas Galitzine plays He-Man, Idris Elba is voicing Skeletor, Camila Mendes is Teela, and Jared Leto is also somehow in this movie. The cast is charming, the family audience genuinely enjoyed it (kids under 12 gave it a 96% positive score), and critics were reasonably kind.

The problem is that this thing cost $170 million to produce, and $30 million is not the number you need when you've spent that kind of money. Amazon outspent Paramount on linear advertising $12.3M to $2.8M and still got lapped at the box office. The story here isn't that Masters of the Universe is bad - it sounds like a fun enough time. The story is that green-lighting a $170M He-Man reboot and hoping nostalgia does the rest is exactly the kind of math that's gotten studios into trouble for years. Strong family word-of-mouth could save this one in the legs. We'll see.

A24's Backrooms - the Kane Parsons horror film based on the internet creepypasta phenomenon - dropped 68% in its second weekend to $25.7 million, which is exactly what you'd expect from a film that's aggressively front-loaded on its hardcore fanbase. The real story is the global picture: Backrooms has now crossed $212 million worldwide and officially become A24's highest-grossing film of all time, dethroning Timothée Chalamet's Marty Supreme. The film cost under $10 million to make. In an era of bloated $200 million tentpoles barely scraping past their break-even, that's the kind of ROI that should be hanging on every studio executive's office wall.

Meanwhile, Obsession - the Focus Features horror film from YouTube creator Curry Barker - pulled off its fourth consecutive incredible weekend, dropping only 9% to $24.8 million. That's the best fourth-weekend hold for a horror movie in history, beating The Blair Witch Project. The film is now sitting at over $151 million domestically on a budget that was a fraction of what Amazon spent on He-Man. Older couples in their 40s and 50s are finding this thing and walking out arguing, which is apparently the best word-of-mouth a horror movie can have.

And Fathom Entertainment had itself a weekend with The Amazing Digital Circus: The Last Act, the animated finale to the viral YouTube sensation. The three-day gross came in around $14 million - a record for Fathom Events by a comfortable margin. There are apparently a lot of people who wanted to see a cartoon about being trapped in a creepy digital circus on the biggest screen possible. No notes.

The Michael Jackson biopic Michael is quietly becoming one of the most remarkable box office stories of 2026. Still in theaters in its seventh week, it added another $7.5 million this weekend and has now crossed $354 million domesticand $888 million worldwide - officially making it Lionsgate's highest-grossing film in company history, passing the Hunger Games and Twilight sequels.

Meanwhile, not ranking at all… anywhere… Star Wars: The Mandolorian and Grogu somehow in only its fourth weekend did not rank in the top 5 at the box office. Some of us have been saying it since Rian Johnson’s Star Wars “film” back in 2017, but we think it might be officially time to call this franchise dead.

Supergirl opens June 26 with Milly Alcock in the lead role, and the early tracking is not ideal for a $170 million production. Current projections have it opening around $55 million, which looks modest next to what Warner Bros. needs to break even on this. Plus, the film faces immediate competition from Toy Story 5 the following weekend.

The casting and the source material (Tom King's Woman of Tomorrow comic run) are fine. But the studio has handled the promotional rollout in the most WB way imaginable: not building urgency, letting the competition get louder, and allowing the conversation around the film to be defined more by Alcock's dismissive comments about critics than by anything about the actual movie.

For the record - if your big movie's biggest media moment before release is the lead actress calling audience skeptics "Christian dads with burner accounts," you've had a rough press tour. You can think the criticism was unfair all you want, but that's not how you sell tickets. Toy Story 5 arrives one week later and will almost certainly eat its lunch.

Go see a movie this week. The box office is having a genuinely good year.

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