Claire Rothman, a pioneering woman in the live entertainment industry whose positions included president and general manager of The Forum in Inglewood, Calif., died Saturday (Nov. 22) in Las Vegas. She was 97.

“Claire Rothman for many decades invented how to run a building for fans, teams and bands,” Azoff Group chairman/CEO Irving Azoff, told Billboard. “There has never been, nor will there be anyone like her.  She was a great friend to so many of us.”    

Rothman began her facilities career at the Spectrum in Philadelphia in 1967, when she was 39. In a 2018 Billboard roundtable with other women who broke barriers in live entertainment, she said, “It was the time when the National Hockey League expanded from six to 12 teams and a lot of new venues came up. The Spectrum was one. Two weeks after I took the job, it filed for bankruptcy. I was newly divorced, with one kid in college and one in high school. I thought, ‘Oh, God, what did I do?’ But in five years, we brought the Spectrum out of bankruptcy. We paid 100 cents on the dollar, and I wrote out every check. We formed one of the first partnerships with Electric Factory Concerts. We provided the building, they provided the acts.”

Related

Rothman was hired by then-Lakers owner Jack Kent Cooke to come to the Forum seven years later, in 1975, after stints at Wild Kingdom in Orlando, Fla., and the Cleveland Coliseum. She’s credited with introducing Cooke to Jerry Buss, who at that time owned a tennis franchise, the Los Angeles Strings, which she hoped to bring to the Forum, according to Men’s Health. In 1979, Buss bought the Lakers, which played at the Forum until 1999.

Buss’ daughter Jeanie, who is the controlling owner of the Lakers, paid tribute to Rothman Sunday night (Nov. 23), telling the Los Angeles Times, “Claire paved the way for women working in live entertainment. She was tenacious, creative and indomitable. My father always described her as the MVP who championed the Fabulous Forum as the West Coast concert rival to the legendary Madison Square Garden.”

Earlier today, the Lakers posted a photo of Rothman and Jeanie Buss on its Instagram with the caption, “Remembering an icon: Claire Rothman, the pioneering President of the Forum during the Showtime era.” The photo was taken in 2018, and Buss subsequently posted it on her social media, writing, “I was blessed with this amazing woman as my mentor, Claire Rothman. She has been there for me at every crossroads and hurdle placed before me. I don’t tell her enough of how grateful I am. Thank you Claire! I love you.”

Related

During her early tenure at the Forum, Rothman was the only woman managing a venue that included an NBA (the Los Angeles Lakers) and NHL (Los Angeles Kings) franchise while also juggling concerts, circuses and other entertainment.

“So I was a curiosity. Everybody remembered my name because I was the only one,” she told Billboard. “I was very fortunate to work for men who had good relationships with their mothers and their wives. They were sure of their masculinity. Every man I ever worked for pushed me [to succeed]. A psychologist friend of mine said the reason they were supportive was I never gave them the feeling that I wanted their jobs — because I didn’t. I had ambition, but I wanted to do it myself.”

Rothman helped oversee a golden time for the Lakers, known as the Showtime era, that started in 1979 as players like Magic Johnson and Kareem Abdul-Jabbar helped the team dominate and win five championships over 10 years. That period was captured in the 2022-2023 HBO drama Winning Time: The Rise of the Lakers Dynasty. Rothman was portrayed by Gaby Hoffman in the series.

Related

Rothman also heightened the Forum’s appeal as a must-stop for concerts, including by bringing Prince to the venue for a six-night run in 1985, and was bold and unrelenting when it came to pursuing talent. A 1985 Los Angeles Times profile on Rothman recounted her asking Barry Manilow to play the arena in front of rival promoters, the Nederlanders, who were also pursuing the singer. “When Manilow half-jokingly asked why she would make a pitch in front of the competition, Rothman replied, ‘I’m cuter,’” the Los Angeles Times reported.  

Longtime booking agent Marsha Vlasic remembers working with Rothman shortly after she took over the Forum “I met Claire Rothman at the Forum when I was doing a Mott show,” Vlasic says, of the 1975 concert featuring a post-Ian Hunter and Mick Ralphs version of Mott the Hoople.”She was so classy and people respected and always referred to her when discussing the Forum! She had to be one of the rare females in the venue world.”

Rothman left the Forum in 1995, moving to Ticketmaster, where she was executive vp until 1999.  She also served on a number of boards, including City of Hope, the Music Center of Los Angeles County and the Reprise Theater Company, according to her LinkedIn page.

Survivors include a son, daughter, grandchildren and great-grandchildren, according to the Los Angeles Times.


Billboard VIP Pass

iHeartRadio’s chief programming officer and president, Tom Poleman, sent a letter to staff on Friday (Nov. 21), obtained by Billboard, pledging that the company doesn’t and won’t “use AI-generated personalities” or “play AI music that features synthetic vocalists pretending to be human,” among other promises.

The pledge marks the beginning of iHeart’s new “Guaranteed Human” program, which will also see the company publish only “Guaranteed Human” podcasts, according to Poleman’s letter.

Related

Starting Monday (Nov. 24), “‘Guaranteed Human’ is a core part of our brand,” Poleman wrote. “You’ll hear it in our imaging, and we want listeners to feel it every time they tune in.” iHeartRadio DJs must now add a line to their hourly legal IDs about being “Guaranteed Human.”

“Remember, this isn’t a tagline — it’s a promise,” Poleman added. “And it’s part of every station’s personality.”

News of the pro-human content initiative comes after recent headlines about the growth — and increasing indistinguishability — of AI-generated voices, songs and podcasts. According to French streaming service Deezer, 97% of participants in a recent study could not tell the difference between AI and human-made songs; the platform also estimates that 50,000 full AI-generated songs are added to their service every day. Billboard also recently revealed that AI music company Suno is generating 7 million tracks a day.

Related

While most of these AI songs aren’t receiving many streams or sales, there have been several breakthroughs in recent weeks. This includes Xania Monet, an artist whose work was recorded using Suno and paired with AI images. Her song “How Was I Supposed to Know?” recently debuted on the Adult R&B Airplay chart and has been put in rotation by a handful of radio stations across the U.S.

In terms of radio DJs, an AI radio personality called DJ Tori has taken over the undesirable overnight and weekend shifts at a hard-rock radio station in Hiawatha, Iowa, called KFMW Rock 108, according to a Rolling Stone report. Her voice and image — that of a fashionable tattooed rocker — are both AI-generated. Meanwhile, will.i.am launched RAiDiO.FYI, an interactive AI radio app featuring synthetic voices that tell you about the songs that are playing. Spotify also continues to push its AI DJ feature, programmed based on the voice and persona of one of its employees.

In the world of podcasting, a company called Inception Point AI, founded by a former Wondery executive, has more than 5,000 podcasts and is generating 3,000 episodes a week at a cost of $1 or less per episode.

To underscore his point to iHeart employees, Poleman added some stats, including that “70% of consumers say they use AI as a tool, yet 90% want their media to be from real humans,” and that “92% say nothing can replace human connection — up from 76% in 2016.”

Read the full letter below.

Related

Team,

A few weeks ago, I shared that iHeart is one of the last truly human entertainment sources and our listeners come to us for companionship, connection, and authenticity — something AI can’t replicate. We’re Guaranteed Human. We don’t use AI-generated personalities. We don’t play AI music that features synthetic vocalists pretending to be human. And the podcasts we publish are also Guaranteed Human.

Thank you for leaning into our commitment to keep everything we do real and authentic. That’s what makes us special. And now we’re taking it a step further.

Starting Monday, 11/24, we’re making “Guaranteed Human” a core part of our brand. You’ll hear it in our imaging, and we want listeners to feel it every time they tune in. Here’s how:

Hourly Legal IDs:

We’re changing hourly legal IDs beginning Monday to say:

“(Station call letters/name), (city of license) an iHeartRadio station… Guaranteed Human” (with the iHeartRadio audio signature heartbeat).

These will run every hour on our stations.

Sweepers

To augment our legal IDs, we also want you to create fun, nonchalant sweepers that fit your station’s vibe and reinforce that we’re Guaranteed Human. Sweepers should end with the words “Guaranteed Human.” Drop them in every hour, between songs or talk content where it feels natural. Many stations will also start these on Monday, with others ramping up in the following weeks.

Attached are examples of the hourly legal ID and sweepers.

Remember, this isn’t a tagline — it’s a promise. And it’s part of every station’s personality. When listeners interact with us, they know they’re connecting with real voices, real stories, and real emotion. That’s our superpower.

A little about why this matters so much; research says:

  • 70% of consumers say they use AI as a tool, yet 90% want their media to be from real humans.
  • 92% use social media, but 2/3 say it makes them feel worse and more disconnected.
  • 92% say nothing can replace human connection — up from 76% in 2016.
  • 9 in 10 say human trust can’t be replicated with AI.

To be clear, we do encourage the use of AI powered productivity and distribution tools that help scale our business operations – such as scheduling, audience insights, data analysis, workflow automation, show prep, editing and organization. Those tools help us reach more people efficiently, while preserving the human creativity and authenticity that define our brand.

We talk to our listeners constantly, and they tell us they are also using AI as a tool, but they tell us there’s a limit:

  • 3/4 expect AI will complicate their lives in the next year and beyond.
  • 82% are worried about the impact AI will have on society.
  • 2/3 are worried about losing their jobs to AI.
  • And, funny enough, 2/3 even fear that AI could someday go to war with humans.

The bottom line is our research tells us that 96% of consumers think “Guaranteed Human” content is appealing. So, we’re leaning in.

Thank you for keeping it real and making “Guaranteed Human” something that our audience hears and feels every day.

Sometimes you have to pick a side — we’re on the side of humans.

Tom


Billboard VIP Pass

Rolling Loud India took place this past weekend, and we’re taking you inside the inaugural event! Featuring interviews with Nav, Swae Lee, Wiz Khalifa, fans and more, keep watching to experience what the festival was like.

Swae Lee:

Shout out to India, man. 

Nav:

Everybody’s brown, everybody looks like me. 

Wiz Khalifa:

“Beware?” 

Tetris Kelly:

Yeah, it’s “Beware” remix with Jay-Z, I feel like as soon as that- we’re here.

Rich the Kid:

Hey, they knew every song. Knew every word. So it was exciting.

Guest 1:

Also, people love hip-hop in India.

Tarik Cherif:

If you want to experience hip-hop culture, come to Rolling Loud, and we’re coming to you worldwide.

Tetris Kelly:

Hanging out at Rolling Loud India with Wiz Khalifa, man, this is so crazy to me that we even here.

What is the song that you have you feel like that you know, everybody gonna sing the words that like they react differently than they would in the States?

Wiz Khalifa:

Definitely “We Dem Boyz,” that’s one that gets like the crowds in the foreign country. 

Tetris Kelly:

What was one of your favorite acts yesterday? 

Guest 2:

My favorite was Swae Lee. 

Swae Lee:

That crowd crazy, right? Feel like we back in Miami or something, like they, they screaming.  That’s my first time coming here. 

Tetris Kelly:

What you ate, like what’s the energy?

Rich the Kid:

I love it out here. It’s cool. All the people is cool, very down to earth, and the energy is great.

AR Paisley: 

I love it, can’t complain. Food’s been good. 

Wiz Khalifa:

I just had some regular chicken and rice type

Nav: 

We got to eat. The food is amazing. All the hotels, all of staff, everybody ever just treats us with the utmost respect.

Keep watching for more!

Femme It Forward returned to The Beverly Hilton for its 4th Annual Give Her FlowHERS Awards Gala, where the celebration centered on women whose impact continues to shape music, community, and the future of entertainment.

Hosted by Femme It Forward President & CEO Heather Lowery and executive produced by Miatta Johnson and Massah David of MVD, Inc., the evening brought together an electric group of artists, executives, athletes, and mentors for a night anchored in gratitude, sisterhood, and the power of uplifting women.

The evening also marked a standout moment for Billboard as its Executive Director of R&B/Hip-Hop, Gail Mitchell, was honored for her decades of shaping the genre’s narrative and opening doors for the next generation of women across the media industry. Her recognition underscored the gala’s emphasis on lineage, mentorship, and the women who have spent their careers amplifying others.

Gail Mitchell and Camren Linson onstage at the Give Her FlowHERS Gala 2025 held at The Beverly Hilton on November 21, 2025 in Los Angeles, California.

Gail Mitchell and Camren Linson onstage at the Give Her FlowHERS Gala 2025 held at The Beverly Hilton on November 21, 2025 in Los Angeles, California.

JC Olivera/Variety via Getty Images

The night opened under warm lights and lush florals, and included performances from Jordan Ward, Goapele, and FLO. This year’s honorees included Ciara, Jhené Aiko, Mariah The Scientist, Kehlani, Olandria Carthen, Normani, and Ravyn Lenae as they were celebrated alongside industry architects whose work has redefined possibility for women across entertainment.

The Next Gem Femme mentorship program, Femme It Forward’s flagship initiative, was also spotlighted for its pivotal role in providing access and accelerating career trajectories for women of color entering the field. Across the ballroom, mothers presented daughters, friends honored friends, and industry peers highlighted one another’s evolution, creating a night rooted in community and mutual admiration.

Teyana Taylor opened the evening by presenting her mother, Nikki Taylor, with The Queens Raising Queens Award. With barely a dry eye in sight, she thanked her for the blueprint she set, telling her, “I am the mother I am today because you are the mother you chose to be.”

Model Salem Mitchell presented longtime friend Ravyn Lenae with The Fem Z Award, spotlighting Gen Z artists who are setting the tone for the next generation.

Billboard’s Executive Director of R&B/Hip-Hop, Gail Mitchell, received the Mentor Excellence Award, honoring her 26-year legacy of elevating artists, nurturing talent, and advocating for inclusive storytelling across music media. Reflecting on her decades of mentorship, Mitchell told the room, “The main goal I’ve sought to accomplish throughout my career is paying my fortune forward: to hold the door open for others to walk through and fulfill their own dreams.”

Mitchell also offered a heartfelt nod to her colleagues, adding, “Thank you to my R&B/hip-hop family at Billboard, who are part of the next generation carrying the torch forward.”

Mariah The Scientist was recognized with The Bloom Award, presented by her sister Morgan Buckles, celebrating her artistic endeavors, where her momentum, vision, and evolution exemplify creative growth.

Jhené Aiko, whose catalog has contributed to shaping the fabric of contemporary R&B for more than a decade, received The Glow Getter Award from her mother, daughter, and sisters in a deeply vulnerable yet gratifying speech where she thanked her family for carrying her through a challenging year. “This year, they pulled me out of some really dark places,” she said. “They sat by my side when I couldn’t get out of bed.”

Olandria Carthen, honored with The Self-Love Award, emerged as one of the night’s breakthrough voices. With a growing fan base drawn to not only her beauty but her pure honesty, she used her moment to speak directly to women still learning to trust their own worth. “I dedicate this award to any woman who has ever questioned their worth.”

Normani took the stage to accept The Femme It Forward Award from Ryan Destiny, where she spoke spirit behind her work and the role of community in sustaining women in the industry.

“The Femme It Forward award fills me with immense gratitude because it speaks to humanity and who we are as people beyond anything else,” she said. “Philanthropy is never the work of one individual—it’s a shared effort built by communities, mentors, friends, and everyone who believes compassion is a force capable of real change.”

Kehlani’s acceptance of The Alchemist Award, presented by fellow Bay Area artist Goapele, unfolded as one of the night’s most vulnerable speeches. Coming off recent Grammy recognition and a years-long journey of evolution, she reflected on the often unseen parts of transformation.

“I firstly must thank God, the ultimate alchemist, the transformer of all things,” she said. “Alchemy isn’t always shiny; sometimes it happens in the dark when no one is watching, when you’re trying to remember who you are and what you’re here to do.” She thanked her community for allowing her to grow openly, saying, “Thank you for giving me the space to grow, to shift, to unlearn, to heal, and to come back to myself again and again.”

In her first major appearance after stepping down as Chairwoman of Epic Records, Sylvia Rhone accepted the inaugural Sylvia Rhone Legacy Award—a distinction honoring her groundbreaking, decades-long impact in the music industry.

She addressed the women in the room with clarity and conviction: “Now I am passing the baton to you all. Like the Olympic relay races, passing the baton transfers momentum. Successful exchanges make up time you thought you might have lost. Success relies on teamwork, timing, and communication. It’s your time, so go forth and prosper even more.”

The evening closed with a powerful message from Heather Lowery, who told the room: “To every woman watching, listening, or quietly dreaming, remember your story is sacred; your roots are strong; and your flower will bloom in its own divine timing.”

Billie Eilish has announced the global release date for her upcoming concert film, revealing the news onstage during the final night of her sold-out Hit Me Hard and Soft: The Tour in San Francisco on Sunday.

The film, arriving March 20, 2026, will be distributed worldwide by Paramount Pictures in partnership with Darkroom Records, Interscope Films and Lightstorm Earth. It is presented in 3D and directed by two Academy Award winners: James Cameron — most recently recognized for Avatar: Fire and Ash — and Eilish herself.

Captured during the singer’s extensive 2024–25 world tour, the film documents performances behind her third studio album Hit Me Hard and Soft, which debuted at No. 2 on the Billboard 200 earlier this year and produced the top-10 Hot 100 hit “Lunch.” The tour, which spanned North America, Europe, South America, Asia and Oceania, sold out multiple arena and stadium dates, including several two-night runs in major cities.

Eilish shared the announcement in a video posted to Instagram following the San Francisco show, paired with a new image featuring her and Cameron, shot by photographer Henry Hwu. Additional official stills were distributed on Sunday night.

The project continues a long run of visual releases from Eilish, who previously helmed her 2021 Disney+ concert special Happier Than Ever: A Love Letter to Los Angeles and starred in the 2021 documentary Billie Eilish: The World’s a Little Blurry. Her shift into co-directing a 3D theatrical release marks her most ambitious visual project to date.

Eilish, a two-time Oscar winner, nine-time Grammy winner and one of streaming’s most dominant global artists, remains a fixture across Billboard charts. As of this week, she places multiple tracks from Hit Me Hard and Soft on the Billboard Hot 100 and continues her multiyear streak on the Billboard Artist 100.

Paramount will announce international rollout details, premium formats and theater lists closer to release. Promotional materials — including trailer and key art — are expected to follow in early 2026.

 Ball Park Music are getting another boost from their career-defining support slot on Oasis’ blockbuster Australian reunion tour, with the Brisbane five-piece featured in the latest instalment of Live Nation’s Soundcheck series.

The behind-the-scenes episode documents the band stepping onto the biggest stages of their career, performing to arena-sized crowds across the country as Oasis returned to Australian venues for the first time in more than a decade.

The new video follows Ball Park Music from soundcheck through to showtime, capturing the emotional and technical build-up before the house lights drop. The band — who have long cited Oasis as formative influences — are shown tuning up backstage, taking in the scale of the arena, and reflecting on the surreal nature of opening for one of the most culturally dominant bands of the ’90s and 2000s.

“It’s hard to even describe what it feels like to open for Oasis,” the band say in the episode. “We’ve all grown up with their music and to suddenly be standing there, playing before them, it’s surreal. You can feel the crowd buzzing from the moment you walk out. It’s a mix of nerves and pure joy. Nights like that remind you why you started playing music in the first place.”

The Oasis tour itself has been one of the major Australian live music stories of 2025, prompting rapid sellouts across multiple cities and adding extra dates to meet demand. For Ball Park Music, the run marks a significant step up following a strong year that already included major touring and chart success.

Earlier in 2025, the group scored their first ARIA No. 1 album with Weirder & Weirder, extending their streak of consecutive top-10 entries on the ARIA Albums Chart. Until then, three of the band’s releases had stalled at No. 2: Puddinghead (2014), Ball Park Music (2020), and Weirder & Weirder (2022).

The Soundcheck episode portrays this shift in real time. Cameras capture the band navigating the fast pace of arena production, walking onstage to tens of thousands of fans, and later watching Oasis’ performance from the side of the stage. There are quieter moments too: the group describing their pre-show nerves, laughing about technical mishaps, and taking in the “full-circle” nature of the moment.

Live Nation’s Soundcheck series has previously highlighted artists across the Australian touring landscape, including Anna Lunoe, Teen Jesus and the Jean Teasers, Coterie and Dallas Frasca. The Ball Park Music instalment continues the focus on documenting live performance culture from the inside — showing the realities and emotions artists experience at key turning points in their touring career.

Watch the extended episode of Live Nation’s Soundcheck with Ball Park Music and Daphne Berry here.

Donald Glover told fans at Tyler, the Creator’s Camp Flog Gnaw festival on Saturday night (Nov. 22) that he suffered a stroke last year while touring under his Childish Gambino moniker — an episode that ultimately led to the cancellation of his world tour.

During his set at Dodger Stadium in Los Angeles, Glover recounted the medical emergency that struck mid-tour in 2024. He explained that the symptoms began after a show in New Orleans, where he experienced a sudden, intense head pain and blurred vision. Despite performing through the discomfort, he later sought medical attention in Houston, where doctors informed him he had experienced a stroke.

“I had a really bad pain in my head in Louisiana and I did the show anyway,” he told the crowd. “I couldn’t really see well, so when we went to Houston, I went to the hospital and the doctor was like, ‘You had a stroke.’”

He added that his first reaction was thinking he had “let everybody down,” before joking that he felt like he was “copying Jamie Foxx” — whose own stroke in 2023 made global headlines.

Glover said the stroke was only part of what he faced medically. He also revealed he had broken his foot around the same time, and that doctors discovered a hole in his heart that required two surgeries.

“They say everybody has two lives, and the second life starts when you realize you have one,” he told fans. “You’ve got one life, and the life I’ve lived with you guys has been such a blessing.”

The medical complications forced Glover to cancel the remainder of his planned dates, including U.S., U.K., European and Australian shows. At the time, he publicly referred to the incident only as an “ailment,” noting that his recovery was taking longer than expected.

Glover released Bando Stone & the New World in 2024 — which he billed as the final Childish Gambino album — and had planned the now-canceled tour as a farewell era for the stage name. The five-time Grammy winner has since shifted focus back to film and television projects under his own name.

Ten days and more than 200 comedy acts later, the New York Comedy Festival — the largest and longest running annual event of its kind in the United States — has drawn to a close, and boy, is our diaphragm tired. (Ba-dum-bump!) 

With A-list stand-up comics, improv groups and podcasters performing every night from Nov. 7 through Nov. 16, it was 10 days of often wheezing laughter. It was also a welcome break from the daily news and the doomscrolling that follows — especially since the performances we saw were largely free of political humor.  

Headliners at the 21-year-old festival founded by Caroline Hirsch included Margaret Cho, Louis C.K., Morgan Jay and Alex Edelman, as well as panels on the Peacock hospital sitcom St. Denis Medical, and the unrepentantly absurd 1999-2000 Comedy Central series Strangers with Candy with the creators and stars Amy Sedaris, Paul Dinello and Stephen Colbert. 

Related

And if there is any doubt that live comedy is hot these days, many of the performances took place at some of the city’s most prestigious venues, including Madison Square Garden, Carnegie Hall, the Beacon Theatre and Town Hall, as well New York comedy clubs and performance spaces.  

With multiple shows taking place every night across all five boroughs of the city, it was impossible to see everything. So, here are the top performances, and two panels — in ascending order — that Billboard witnessed.  

DO IT, the latest mixtape from Stray Kids, tops this week’s fan-voted music poll.

Related

Music fans voted in a poll published Friday (Nov. 21) on Billboard, choosing Stray Kids’ new five-track EP (via JYP Entertainment) as their favorite new release.

DO IT arrived in a week that also brought new music releases from the Wicked: For Good movie cast (it’s the film’s opening weekend), Tate McRae, The Kid LaROI, Tainy with Karol G and more. While Wicked: For Good is ruling the boxoffice, Stray Kids’ tunes topped this particular Billboard readers’ poll by a landslide, with DO IT bringing in an overwhelming 86% of the vote.

Stray Kids’ new song collection, which they’re branding as a mixtape and a “special album,” is the follow-up to Karma — their fourth Korean-language studio album, which fans just saw become a Billboard 200 albums chart No. 1 in September. The group has described DO IT as a part of their SKZ IT TAPE series, with it being a musical command to “act boldly with confidence right now” while exploring the story of the group as they seize the day and create their own “IT.”

Its tracklist is as follows: “Do It,” “DIVINE,” “Holiday,” “Photobook” and “Do It (Festival Version)” — with the first track/title track getting a dance-focused, cinematic music video release this week.

Among the new releases trailing behind DO IT are Tate McRae’s “So Close to What???” with nearly 6% of the vote, as well as the Cynthia Erivo and Ariana Grande-led cast’s Wicked: For Good official movie soundtrack with just over 5% of the vote.

See the final results of this week’s poll below.

Wicked: For Good has grossed $226 million worldwide in its opening weekend at the boxoffice, which allows it to join Billboard’s list of the top-grossing films that are adapted from Broadway musicals. Our list is drawn from boxofficemojo.com’s running tally of the 1,000 top-grossing films of all time in terms of worldwide grosses.

Both Wicked: for Good and its predecessor, 2024’s Wicked, were adapted from the 2003 Broadway musical Wicked. The first Wicked film opened on Nov. 22, 2024. In just five weeks, it pulled ahead of Mamma Mia! to become the top-grossing film adapted from a Broadway musical. Wicked received 10 Oscar nominations on Jan. 23, 2025, including nods for both of its stars, Cynthia Erivo and Ariana Grande. It won two awards at the Oscars ceremony on March 2, 2025 — best costume design and best production design.

Both Wicked and Wicked: For Good were directed by Jon M. Chu, whose hit-studded résumé includes a previous film adaptation of a Broadway musical, the 2021 movie version of Lin-Manuel Miranda’s breakout hit In the Heights.

Eight film adaptations of Broadway musicals appear on Box Office Mojo’s list of the top 1,000 films in terms of their lifetime worldwide grosses. One disclaimer about this list right at the top: The biggest blockbusters of earlier eras simply can’t match the grosses of today’s hits. (It’s not just your imagination that ticket prices are much higher than they used to be.) The Sound of Music has grossed $161.4 million worldwide, according to Box Office Mojo — not enough to make their list of 1,000 top-grossing films. But that 1965 adaptation of the 1959 Broadway musical is one of the biggest hits in film history. (Of course, back then a movie ticket cost less than a box of Raisinets does today.)

Our list does not include Mamma Mia: Here We Go Again, the Cher-featuring sequel to Mamma Mia!, on the grounds that it was really just a sequel to a hit movie. (The sequel did astonishingly well, with a worldwide gross of $395.6 million.) By contrast, Wicked: For Good had the same source material as Wicked — the 2003 Broadway show.

Here are the eight top-grossing film adaptations of Broadway musicals in terms of lifetime worldwide grosses.