Bold headline-worthy turmoil: Zootopia 2 returns to the throne while Ella McCay collapses at the box office. Disney’s yearbook of highs and lows shows a familiar pattern: a sure-fire animation hits No. 1 again, while a mid-budget drama aimed at grown-ups flops in spectacular fashion.
Zootopia 2 reclaiming the top spot in North America during its third weekend demonstrates the enduring appeal of family-friendly adventures. The film crossed the $1 billion milestone worldwide earlier, reaffirming Disney’s strength in franchise-friendly releases despite a crowded marketplace. By contrast, Ella McCay, a political dramedy helmed by James L. Brooks, opened to a modest $2.1 million domestically—well below even modest expectations and far from the studio’s blockbuster ambitions.
The cost contrast helps frame the weekend: Ella McCay had a modest $35 million production budget, a far cry from Disney’s typical mid- to high-budget dramas and blockbusters, which usually exceed $200 million. Even so, the film’s financial destiny doesn’t threaten Disney’s overall health; it’s a hiccup, not a catastrophe, in a slate that includes major tentpoles from Marvel, Avatar, and other family-friendly fare.
Brooks, known for his sharp character work in the 80s and 90s, brought a different taste to Ella McCay—one that critics and audiences largely rejected. The film carried a 24% Rotten Tomatoes score and a CinemaScore of B-, signaling a disconnect with contemporary viewers. This continues a streak of underperforming theatrical runs for Brooks in recent years, though there’s occasional optimism about a potential return to Broadway or streaming, should the right project arise.
From a performance standpoint, Zootopia 2 posted $26.3 million in the third weekend, down 39% from the prior frame, bringing its domestic total to $259 million and $1.13 billion globally. It remains a rare film to cross the billion-dollar mark this year, underscoring the strength of high-appeal family titles in a busy market.
Five Nights at Freddy’s 2 fell to $19.5 million in second place, a steep 70% drop from its $64 million launch. While the drop is heavy, the film’s total of $95 million domestic and $173 million worldwide after two weekends still marks a solid result for Blumhouse considering its comparatively modest budget of $36 million.
Wicked: For Good stayed at No. 3 with $8.5 million, an additional 51% decline. Its domestic total now sits around $312 million, with global receipts near $467 million. The musical’s pace suggests it’s losing momentum faster than its 2024 predecessor, which had a stronger box-office arc.
Specialty cinema saw Chloe Zhao’s Hamnet generating $1.5 million from 749 venues, a modest showing yet notable for a well-reviewed title anchored by strong performances. To date, Hamnet has accrued $7 million, highlighting the appeal of prestige dramas to a niche audience.
Overall box-office activity remains tepid, with total ticket sales around $8.1 billion, about 0.5% ahead of last year but roughly 22.7% behind 2019, according to Comscore. The industry braces for a holiday surge as major releases arrive: Avatar: Fire and Ash, The SpongeBob Movie: Search for SquarePants, and The Housemaid join the fray on December 19, alongside Timothée Chalamet-led projects and other prestige titles. Analysts wonder if these blockbusters can push the domestic box office past the $9 billion mark, reversing the slow trend and delivering a robust finish to the year.
