Entertainment

Toy Story 4 repeats at No. 1 over Annabelle, Yesterday

Published

7 years ago

June 30, 2019

LOS ANGELES (AP) — “Toy Story 4” hung onto the top spot in its second week in theaters and the horror sequel “Annabelle Comes Home” opened in line with expectations, but the Cinderella story of the weekend was actually the third place movie: “Yesterday.”

The Danny Boyle-directed musical romantic comedy featuring the music of the Beatles debuted well over industry expectations, earning an estimated $17 million from North American theaters. In a summer where most films have debuted either under or at industry tracking, which are often lowball projections, and original comedies have struggled to find audiences, “Yesterday” proved to be the exception.

Starring relative newcomer Himesh Patel, “Yesterday” imagines a world where only one man remembers the music of the Beatles and decides to present their catalog of hits as his own.

Although critics were mixed, audiences, who were mostly female (56 and over the age of 25 (75%) have embraced the film with an A- CinemaScore and a 90% audience score on Rotten Tomatoes.

Universal’s President of Domestic Theatrical Distribution Jim Orr says he tries to use the word “thrilled” judiciously, but that it applies here.

“Among all of the sequels and all of the explosions of the summer, this is a very charming, original, whimsical musical romance with iconic music and amazing performances… (and direction),” Orr said. “All of that adds up to a great, great run at the domestic box office.”

Even Warner Bros., which has the Bruce Springsteen-themed film “Blinded by the Light” coming later this summer was heartened by “Yesterday’s” launch, which motivated a solidly adult demographic to trek out to the movie theater on opening weekend.

As Comscore senior media analyst Paul Dergarabedian put it: “It’s not always the No. 1 film that’s the big story.”

The No. 1 film was once again “Toy Story 4,” which added $57.9 million from domestic theaters, down 52% from its debut last weekend. Globally the film has already netted $496.5 million.

Of the top grossing films of 2019, Disney now occupies the top four spots with “Avengers: Endgame,” ″Captain Marvel,” ″Aladdin” and “Toy Story 4.”

In second place was the third Annabelle film, “Annabelle Comes Home,” which debuted on over 3,500 screens Wednesday. The Warner Bros. horror earned $20.4 million over the weekend and $31.2 million in its first five days.

Although it is a franchise low — the first two opened over $35 million — with a budget of $27 million, it did well enough to justify its existence.

“This was a reasonable movie to make,” said Jeff Goldstein, Warner Bros.′ head of domestic distribution. “You don’t have to exceed on every one.”

He noted that the “Conjuring Universe” is the most successful horror franchise of all time with over $1.6 billion in ticket sales. And after a few back-to-back Conjuring spinoffs, the franchise is taking bit of a breather; “The Conjuring 3″ won’t hit theaters until after Labor Day next year.

“Aladdin” and “The Secret Life of Pets 2″ rounded out the top five. “Avengers: Endgame” also made it back into the top 10 after Disney added over 1,000 screens this weekend. It added an estimated $5.5 million, bringing its domestic total to $841.3 million. Globally, it’s now at $2.76 billion.

While some have viewed the “bring back” campaign as a naked “cash grab” to try to beat the “Avatar” record ($2.79 billion worldwide), Dergarabedian thinks it has more to do with “Spider-Man: Far From Home,” which opens next weekend and picks up right after the events of “Endgame.”

The weekend overall is down nearly 15% from last year and the year to date deficit is around 9.4%.

“We’ve been trying to dig our way out of this deficit for it seems like forever,” Dergarabedian said. “Some of the movies that were expected to be grand slam home runs were more like triples.”

But Sony and Marvel’s “Spider-Man: Far From Home,” which has already earned $111 million from China, Japan and Hong Kong, could help turn the year around.

“There’s a lot riding on Spider-Man’s shoulders,” Dergarabedian said. “I think this will be a real shot in the arm to the industry both financially and emotionally.”

He added: “If Spidey can’t do it, no one can.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.

1. “Toy Story 4,” $57.9 million ($80.6 million international).

2. “Annabelle Comes Home,” $20.4 million ($45 million international).

3. “Yesterday,” $17 million ($7.7 million international).

4. “Aladdin,” $9.3 million ($24.4 million international).

5. “The Secret Life of Pets 2,” $7.1 million ($11.8 million international).

6. “Men In Black: International,” $6.6 million ($11.5 million international).

7. “Avengers: Endgame,” $5.5 million ($2.3 million international).

8. “Child’s Play,” $4.3 million ($1.4 million international).

9. “Rocketman,” $3.9 million ($2.6 million international).

10. “John Wick: Chapter 3 —Parabellum,” $3.2 million ($6.6 million international).
___

Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to Comscore:

1. “Spider-Man: Far From Home,” $111 million.

2. “Toy Story 4,” $80.6 million.

3. “Annabelle Comes Home,” $45 million.

4. “Aladdin,” $24.4 million.

5. “The Secret Life of Pets 2,” $11.8 million.

6. “Spirited Away,” $11.8 million.

7. “Men In Black: International,” $11.5 million.

8. “Yesterday,” $7.7 million.

9. “John Wick: Chapter 3 — Parbabellum,” $6.6 million.

10. “Parasite,” $3.8 million.

Entertainment

160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

Published

2 days ago

April 15, 2026

Willie David

160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

DAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.

Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.

HEADLINERS AND DAILY LINEUP

This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.

Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard

FESTIVAL EXPANSION AND NEW FEATURES

Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.

In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.

SPECIAL EVENTS AND EXPERIENCES

Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.

A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.

TICKETS, ACCESS AND ATTENDANCE

Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.

With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.

Entertainment

Orlando International Fashion Week Partners with Orlando Fringe Festival for 35th Anniversary Avant-Garde Showcase

Published

5 days ago

April 12, 2026

FNN NEWS

Orlando International Fashion Week

ORLANDO, Fla. (FNN) — Orlando International Fashion Week (OIFW) has announced a new creative partnership with the Orlando International Fringe Theatre Festival as the festival celebrates its 35th anniversary this May.

As part of the collaboration, OIFW will present a special avant-garde fashion showcase on Saturday, May 16, 2026, from 5:30 p.m. to 6:30 p.m., during the two-week festival. The curated runway will feature bold, experimental designs that reflect Fringe’s spirit of artistic freedom, individuality and innovation.

PARTNERSHIP CELEBRATES CREATIVE COLLABORATION

Organizers say the partnership reflects a natural alignment between two nonprofit organizations committed to supporting artists and expanding access to creative spaces.

“Fringe and OIFW share a commitment to creating platforms where artists can take risks and express themselves freely,” said Rob Henlon, executive director and co-founder of OIFW. “This collaboration allows fashion to exist within a broader artistic conversation.”

John Payne-Rios, an OIFW advisory board member, added that the partnership strengthens Orlando’s creative ecosystem by bringing together fashion, theater and community engagement.

Festival organizers echoed that sentiment, noting the addition of fashion enhances the Outdoor Stage experience and introduces new artistic energy to the event.

DESIGNER CALL AND MODEL CASTING UNDERWAY

In conjunction with the partnership, OIFW has opened its designer registration call for creatives interested in participating in the Fringe showcase.

Designers are encouraged to submit collections that emphasize:

Avant-garde concepts
Artistic storytelling
Bold, experimental design

Models can also audition for both the Fringe showcase and upcoming OIFW runway shows. Casting calls are scheduled for April 12 and April 19 at CityArts Gallery in downtown Orlando from 11 a.m. to 3 p.m. The casting is open to ages 4 and up, with no prior experience required.

FRINGE FESTIVAL MARKS 35 YEARS OF ARTISTIC FREEDOM

For 35 years, the Orlando International Fringe Theatre Festival has provided an inclusive platform for artists to present original work in an unjuried and uncensored environment. The festival is the longest-running Fringe festival in the United States and returns 100% of ticket sales directly to artists.

Each May, the festival transforms Orlando into a hub of live performances, visual art, music and interactive experiences that celebrate diverse voices and creative expression.

What’s Next for OIFW?

The Fringe collaboration serves as a lead-in to OIFW’s signature summer event, Orlando International Fashion Week Presents: 626 Euphoria, scheduled for June 6, 2026, at the Winter Park Events Center.

Organizers say the upcoming season will continue to focus on:

Expanding fashion as a cultural platform
Strengthening cross-industry partnerships
Elevating emerging and diverse designers

Entertainment

Trick Daddy Threatens Tiffany Moore Russell Mayoral Race After AKA Show Shut Down

Published

1 week ago

April 9, 2026

Willie David

ORLANDO, Fla. (FNN) — A performance by Miami street legend rapper Trick Daddy ended abruptly Friday night during the 73rd South Atlantic Regional Conference of Alpha Kappa Alpha Sorority, Incorporated after event organizers said the artist ignored agreed-upon performance guidelines.

The incident, which occurred after the conference’s Step and Stroll competition, has sparked debate online about event vetting, audience expectations, and artistic responsibility.

The event was overseen by South Atlantic Regional Director Tiffany Moore Russell, who also serves as the elected Clerk of Courts for Orange County, Florida and is currently a candidate for Orange County mayor.

Conference Performance Ends Early

Conference attendees from across the South Atlantic region gathered in Orlando for the sorority’s five-day leadership and networking event.

Friday evening’s program featured step teams and strolling performances before transitioning to live entertainment. Organizers booked Trick Daddy, the Miami rapper known for hits including “Nann” and “Thug Matrimony,” to perform a curated list of songs.

However, the performance ended mid-set after organizers said the rapper used language and lyrics that violated previously discussed guidelines.

Russell addressed the incident in a statement distributed to conference attendees.

“We met several times with him and his team to detail our requirements, including attire, language, and specific songs,” Russell said. “Unfortunately, our requirements were ignored. The language, lyrics, and comments made by the artist were not acceptable. I ended the performance because of the disrespect for our organization and our brand.”

Trick Daddy’s performance during an Alpha Kappa Alpha conference was shut down early due to “disrespect for our organization and our brand” pic.twitter.com/AX8xsELyP4
— philip lewis (@Phil_Lewis_) April 4, 2026

Viral Video Fuels Online Debate

Videos posted on social media showed audience members reacting with surprise and discomfort during the performance.

In one clip, attendees could be seen leaving the room as the rapper used explicit language and interacted with the crowd in a manner some attendees described as inappropriate for the event.

The video quickly spread online, fueling debate over whether the performer or the event organizers were responsible for the mismatch between the artist and the audience.

Some critics argued the booking itself raised questions about vetting.

Questions About Booking and Vetting

The controversy has prompted broader discussion about event planning and audience expectations.

Alpha Kappa Alpha Sorority, Incorporated is one of the nation’s oldest historically Black sororities, known for its emphasis on scholarship, leadership, and community service.

Critics on social media questioned why an artist known for explicit hip-hop lyrics was booked for a conference audience largely composed of professional women and long-time sorority members.

Supporters of the organizers say the issue was not the booking itself but whether the performer honored the agreed-upon content guidelines.

Russell emphasized that the step teams and conference participants represented “creativity, discipline, and excellence,” adding that she regretted the performance overshadowed their work.

Trick Daddy Responds: “They Booked Me, Trick Daddy Dollars” [VIDEO]

Following the incident, Trick Daddy posted a video response denying that he violated the agreement and accusing organizers of damaging his reputation.

Trick Daddy video responding to AKA Director statement telling her not to give him a playlist, this isn’t her wedding and not to defame his characte, according to the video.

the video further that he states that anybody in there that was saddity and sanctified should not have been in there once I grabbed the MF’in mic.

He also referenced Russell’s political ambitions, saying: “I heard you’re running for some type of office or something. I’ll get on you every day until you don’t win. Don’t play with me.”

The comments intensified the controversy as the incident shifted from a performance dispute to a potential political crisis for Russell’s Orange County mayoral campaign.

What Happens Next? Reputation, Politics and Public Reaction

For Trick Daddy, the dispute raises questions about how the controversy could affect his public image and performance bookings.

For Tiffany Moore Russell, the issue arrives as she prepares for a campaign for mayor in Orange County, Florida, potentially drawing political scrutiny to the situation.

Whether the rapper follows through on his pledge to publicly attrack Russell’s mayoral campaign remains unclear.

For now, the moment stands as a cautionary tale about entertainment programming at professional events—where audience expectations, artist identity, and brand reputation must align.