Entertainment
Warner Bros. Vet Kevin McCormick to Step Down as Production EVP
Longtime Warner Bros production EVP Kevin McCormick is departing the studio, the company announced on Tuesday in a memo to staffers.
The “Saturday Night Fever” producer will segway into producing deal on the lot that encompasses both movies and stage productions.
Read McCormick’s note to staffers below:
Dear Friends,
As most of you know, I began my professional life as a movie producer, which I loved doing. I have also had the great opportunity to spend half my career as an executive.
Best of all, most of that time has been spent at WB.
Starting in June, I’m happy to report, I will still be working on movies—and theatrical ventures—but, once again, as a producer…here at WB.
I’m genuinely eager to return to my original profession, with only one serious reservation: I will truly miss all of you as colleagues I deeply admire. I’m glad to know that the many friendships I cherish here will long endure.
It’s been an honor and a pleasure to work with every one of you—to be part of not only the most dynamic creative team in Hollywood but also the most collaborative. It’s as rare as it is inspirational to watch everybody come together to produce the films—and the results—that you do.
Thank you for the countless pleasures of working with you.
No need to say goodbye because I’ll see you around campus.
///Kevin McCormick
Warner Bros Motion Picture co-chairs Pamela Abdy and Michael De Luca, along production presidents Jesse Ehrman and Mike Ireland also sent the following email:
Team Warner Bros.,
On behalf of everyone at Warner Bros. Motion Picture Group, we want to express our deep appreciation for Kevin and the extraordinary impact he has had on the studio over the course of his tenure. His insight, steady leadership, and the sage counsel he has offered to countless filmmakers have shaped not only individual projects, but the broader creative culture of our team. Kevin’s ability to champion talent, nurture stories, and guide productions with both expertise and heart has left an indelible mark on our organization.
As Kevin returns to producing, he will be building on his extensive experience in both feature films and theatrical stage works. He will now focus on developing and producing feature films for Warner Bros., including The Bodyguard, bringing his deep creative instincts and trusted relationships to these upcoming projects.
In addition, he will continue to work with Mark Kaufman on Warner Bros.’ stage productions, with Beetlejuice The Musical playing on Broadway, touring nationally, and captivating audiences across Japan, Korea, Australia, and soon London. He will also help guide the development of theatrical adaptations of Crazy Rich Asians, A Star Is Born, and Elvis, further extending the Warner Bros. brand through internationally resonant stage productions rooted in beloved studio storytelling.
We are truly grateful for Kevin’s continued partnership and ongoing commitment to the studio. His body of work speaks for itself, but the generosity, integrity, and passion he brings to every collaboration are what make him such a valued member of our community. We know you join us in celebrating Kevin’s remarkable achievements and in supporting him as he embarks on his new creative ventures with Warner Bros.
Pam, Mike, Jesse & Mike
McCormick served as President of Production in the film group from 2008-2010, before mounting his Langley Park label. Under his banner, McCormick produced Russell Brand’s rebooted “Arthur,” Zac Efron’s “The Lucky One” and the period ensemble “Gangster Squad.”
Before his promotion to president, McCormick served as an EVP supervising films like “Blood Diamond” and “No Reservations,” as well as Tim Burton’s “Sweeney Todd” and David Fincher’s “The Curious Case of Benjamin Button,” both of which Warner Bros. Pictures co-produced with DreamWorks.
McCormick spent time as an EVP at Fox 2000 from 1995 to 1999. He began his career at the Robert Stigwood Organization in London, working on films like “Tommy,” “Jesus Christ Superstar,” “Grease” and “Saturday Night Fever,” the last of which he executive produced.
Deadline first reported the news.
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“The History of Concrete” surpassed the $1 million mark at the box office on Saturday, becoming the highest-grossing platform-distributed documentary of 2026. It reached the milestone after just 16 days in theaters.
Magnolia acquired “The History of Concrete” out of the Sundance Film Festival, where it attracted a great deal of coverage for its creator, John Wilson, the star of the cult favorite HBO series “How To with John Wilson.” The film examines urbanism and architecture and lives up to its title by chronicling the history of concrete in an absurdist fashion (Wilson tries to make the film in the style of a Hallmark movie).
“The History of Concrete” grossed just over $450,000 from 160 screens over the weekend, putting its total at just north of $1.2 million. That’s a huge number for a documentary and a testament to the fan base that Wilson has developed.
“The History of Concrete” already shattered records at the IFC Center, becoming its second highest-grossing debut behind “Parasite.” This weekend, Magnolia saw strong numbers for the film in many markets, including a $47,510 week at the Music Box in Chicago, $34,534 at BAM in Brooklyn, and $24,653 at the Balboa, a small neighborhood theater in San Francisco. Low Cinema, a theater that Wilson operates in Ridgewood, Queens, has sold out every show of “History of Concrete” through the end of October. Audiences at the arthouses were predominantly comprised of younger moviegoers, the same demographic driving cinemas’ comeback this year.
“The History of Concrete” has yet to match the grosses of other documentaries this year that debuted on many more screens. “Melania,” Brett Ratner’s penetrating exploration of the life of First Lady Melania Trump, packed in the MAGA faithful to the tune of $16.7 million. That would be a strong result had Amazon MGM Studios not shelled out $40 million to buy the film and tens of millions more to market it. The suspiciously large price tag suggested Jeff Bezos might have had more on his mind than just a love of nonfiction moviemaking. President Donald Trump later reported that he and his wife made $10.71 million in licensing fees from the deal. America, right?
Neon also scored with “EPiC: Elvis Presley in Concert,” which opened across 325 Imax theaters (not as a platform roll-out like “The History of Concrete”) and ultimately earned $23.5 million globally and $13.6 million domestically. In its second weekend, “EPiC” was playing in 1,963 theaters. “Melania” opened across 1,778 screens.
In terms of documentaries that were rolled out in a platform fashion instead of going wide first, Kino Lorber’s “Mary Oliver: Saved by the Beauty of the World” earned $773,430, the independently released “Steal This Story, Please!” netted $750,077, and Watermelon Pictures’ “American Doctor” earned $470,159.
The success of “The History of Concrete” is good news for Magnolia, which also had a surprise hit last summer with John Early’s directorial debut, “Maddie’s Secret.”
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After cracks about Pete Hegseth, Kristi Noem and President Trump’s vendetta against CNN, Michael Che touched on the ongoing controversy at Cornell University and Ryan Murphy’s decision to bring back Glee.
Che first served up a serious note by referencing the sexual assault case at Cornell University and how “obviously we don’t want to make light of anything that happened, but it is a good time to talk about men holding other men accountable.”
As the camera panned toward to a silent Colin Jost, Che said, “Look, we all have that one friend that seems like a nice guy, but they’re definitely not.. It could be someone you’re close to, or someone you work with. Maybe you can’t prove anything. You can just look at him and tell those weird, privileged Ivy League types always got some messed up stuff going on.”
Che then turned to Jost and said, “Is there anything you want to add, Colin?”
“Stop cutting to me,” Jost responded.
Later, cast member Kam Patterson joined the desk to show his enthusiasm for the reboot of Glee. (Ryan Murphy recently said that he “just finished” a Glee reboot script). Che was a bit skeptical that Patterson is a true Gleek, despite Patterson claiming he was eager to find out if Rachel was still on Broadway and if Kurt and Blaine were still together.
But Che wasn’t convinced. “Look, I know you man. You don’t have to say yes to every day that a white writer pitches to you …. Look Kam. I’ve worked here, what, 30, 35 years. I know what this is. Two white writers came up to you in suits, pitched you an idea about Glee, and now you’re out here saying a bunch of names you’ve never heard before, right?”
Patterson admits he hasn’t and feels “pretty bad” that he “just did jazz hands on national television.”
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Just a month away from the volatile midterms and a president way down in the polls, there was once again a plethora of political material ripe for this week’s SNL cold open, and the NBC late-nighter went full MAGA, with some Mitch McConnell on the side.
Played by Mickey Day, the 84-year-old Kentucky senator offered a premature “Live from New York” before being cut off by RNC ad consultants desperate to turn things around for the GOP. There was a “He tricked us” Marco Rubio, portrayed by the always on point Marcello Hernández, and a 2028 J.D. Vance (Jeremy Culhane) that no one wanted to actually put in a spot.
Then there was Colin Jost’s Pete Hegseth, putting the fun in Defense Secretary once again.
“What’s up, schlong donkeys?” the Saturday Night Live Weekend Update co-anchor began in what might have been one of the greatest campaign ads ever (we’re talking 1954 Daisy level) if it was real. “Now listen up, okay, because I need all you patriots at home to do the gayest thing ever and vote. Thanks to me, the military finally has its priorities and sexuality straight.”
Tossing in some slam poetry, Jost’s Hegseth added: “In conclusion, vote, I guess. And remember, even if you’re stationed overseas, you can still vote by mail, which is the only by mail I’m cool with.”
Of course, this being a MAGA paraody and being SNL, the joke had to go further. Having said that, unlike many too-long cold open, this semi-morbid midterm skit work at the extra length – entirely because POTUS came to cook, base loathing and all.
“I’m President Trump and I approve this ramble,” started a typically and wonderfully unhinged James Austin Johnson.
Drawing from the fiction that is so much of Trumpland’s facts, he added in the fake ad: “We’re getting bogged out there, but not for long because I have a solution. If the Republicans win, I’ll give everyone $5,000, and that is not a bribe because I have no intention of following through on that promise.
“So, just pretend I’m on the ballot, okay? You have to use something called imagination. Imagination makes a MAGA nation. Wow, that’s pretty good. I can already see that written on the back of an obese woman’s booty shorts in dirty, disgusting Myrtle Beach. What a hell all this country is! It’s full of awful people.”
Perhaps but not in tonight’s spot-on cold open.
Delayed a tad again on the West Coast like last week’s season opener thanks to college football, tonight’s SNL is the second show of the 52nd season.
Verity star Dakota Johnson is hosting SNL for the third time. Coming off a big box office start for the Collen Hoover thriller, Johnson is joined by Turnstile as musical guest. This is the Maryland rockers’ SNL debut. Next week will see one-time dumped cast member Shane Gilis back for his third time hosting. The October 10 show will see the much-acclaimed Rosalía will be returning for her third SNL appearance.
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