The king of ghosts lives in a haunted $4.3 million dollar mansion in the heart of New Orleans' French quarter. The dozens of paranormal tour guides who lead tourists through the neighborhood are sure to know of him and have an opinion of him. Lance Zaal is the most controversial man in America's booming ghost business, CEO of what competitors have dubbed "The Walmart of Ghost Tours."

Over the past half-decade, Zaal, 42, and his company, US Ghost Adventures, have opened ghost tours in more than 250 cities and towns, employing more than 1,000 guides, according to his company's website. He's also been buying up the country's haunted landmarks like it's the first trip around the Monopoly board — the Lizzie Borden House in Massachusetts, the Villisca Axe Murder House in Iowa, the McInteer Villa in Kansas, and two historic houses in Gettysburg, Pennsylvania. "Lance has said he wants to build an empire, and that's what he's doing," says Diane Student, who hosts the industry podcast History Goes Bump.

USGA also sells ghost detection gear through the brand Ghost Daddy — products with names like the Sinister Speaker, Medusa's Net, and Devil's Marble MK2. An Ultimate Ghost Hunt Kit For Two sells for $629.99. The whole operation has made Zaal wealthy enough to buy the Lalaurie Mansion, his primary residence, which stands on the site of an infamous slaveowner's torture chamber. Previous guests have reported unexplained moaning and groaning inside, along with the sudden, putrid smell of burning flesh, and, according to New Orleans tour guide Catie Santos, passing guides stand on the opposite side of the street because of the house's dark energy. On tours, Santos, who was briefly employed by Zaal as a content creator, also warns her guests "about the real life Marvel supervillain living in that house," she says.

In assembling his dominion of the undead, Zaal has made a host of enemies among the living. I spoke with more than a dozen competitors and insiders in the industry who described him as "vindictive," "predatory," a "bully," and a "hemorrhoid." He has been accused of borrowing content from local tours, ripping off merchandise designs, redirecting negative reviews to competitors, misclassifying workers as contractors, and using names similar to local companies to confuse tourists. The allegations have resulted in a mounting pile of lawsuits against USGA. Zaal, who did not respond to repeated inquiries for this story, has consistently denied any predatory behavior and emphasizes his commitment to historic preservation.

When passing Zaal's mansion, Catie Santos warns tourists of "the real life Marvel supervillain living in that house," she says.

He has gone after his rivals, filing copyright and defamation suits and frequently threatening legal action. "This gang of competitors are the bullies. So desperate to restore their monopolies or do whatever they can to eliminate their competition," USGA wrote in the comments section of "Exposing US Ghost Adventures Corrupt and Unethical Business Practices Part 1," a recent video from the YouTube channel The Paranormal Engineer.

When Walmart surged through the country in the 1980s, it sparked fierce resistance from the mom and pop stores threatened by their expansion. Today, the rise of the Walmart of Ghost Tours has ignited a war in the ghost industry.

In the biography published on his website — which has a slapdash, early-2000s blog design — Zaal describes a hardscrabble childhood in Southern California. After his parents divorced when he was 6, he was often homeless, sometimes sleeping in the family van. He was bullied in school, he writes, and threw himself into little entrepreneurship projects like a lemonade stand, where he bumped his margins by charging extra for a "Lemon Special," which involved adding a Lemonhead candy to the drink. He says his youth was also marked by eerie experiences — mysterious footsteps, doors opening and closing without explanation — that inspired a lifelong fascination with the supernatural. "I've experienced odd things I can't explain," he said in a recent interview with Business Insider.

After 9/11, Zaal enlisted in the Marine Corps at age 17. He completed three tours, including two in Iraq, where he was stationed for a time at President Saddam Hussein's palace. Then he got an MBA at William and Mary, and worked briefly at Booz Allen Hamilton and Mythics Inc., until he was laid off in 2012. He set out on his own, developing a GPS-guided audio ghost tour app called ItourMobile. It was good timing. America was in the midst of a ghost renaissance.

In a 1978 Gallup poll, 11% of Americans said they believed in ghosts. By 2025, that number soared to 39%. Some attribute the trend to a decline in traditional religion, with non-religious people becoming more inclined to seek other supernatural answers to life's big questions. And as paranormal beliefs have risen, there has been an influx of people trying to profit from them. Reality TV shows "Ghost Hunters" and "Ghost Adventures" took off in the 2000s. By 2023, "dark tourism" — which ranges from the sites of atrocities to haunted houses — was valued at $32 billion and projected to reach $39 billion by the decade's end, according to Grand View Research.

Years after US Ghost Adventures took off, an interviewer at Authority Magazine asked Zaal what advice he wished he could give his younger self. "You're on your own," Zaal said, in a quote displayed under a photo of him in a vest, arms crossed, blue-steeling the camera. "You have no friends. The market is God."

Ting Rappa, an EMT and firefighter who runs an Orlando-based ghost tour called American Ghost Adventures met Zaal in 2015, when he was managing a tour called Colonial Ghosts in Williamsburg, Virginia. Zaal approached Rappa after she attended one of his tours with a proposal to team up. "He was a little off," Rappa says. Something about his energy made her apprehensive. "But he was a very intelligent person. I could tell he had a drive." Zaal said he would help finance her company in exchange for a share of the operation. But the deal didn't seem like an even partnership, so she turned him down.

You're on your own. You have no friends. The market is God.Lance Zaal

Three years later, she discovered that Zaal had a new name for his company that resembled hers: US Ghost Adventures. When she tried to trademark American Ghost Adventures years later, the application was denied because Zaal had registered his first. In 2024, she filed a suit asking for the USGA trademark to be cancelled, still working its way through the courts. "There's just no ethics to it," she says of Zaal's expansion. "Competition is good, but play nice. Right now, you're just being a big bully."

In the Authority Magazine story, Zaal was asked how he researches whether someone else has already had one of his ideas, a question that would become more significant as his business continued to grow.

"It's not relevant," Zaal said. "Who cares who else thought of an idea? This is fear at first thinking. What matters is creating a sustainable, strong business. Just because there are others in your market, doesn't mean you can't succeed in it, or even redefine it. What is important is ensuring you don't break the law, whether that be a trademark, patent, or whatever."

A ghost tour is a pretty simple business to set up. Most are walking tours through public spaces that require little overhead. At USGA, guides are generally contractors paid a flat rate of $40 to $50 per tour, plus tips, per its website. With a tour drawing dozens of customers paying $20 to $40 for a ticket, the money can quickly pile up.

USGA wasn't the only company to pursue ghost tours on a national scale — the rival Ghost City Tours operates 60 tours — but it was the most aggressive. During the pandemic in 2020, as other tour companies were shuttering, Zaal expanded to dozens of cities and towns, ready to put guides on the pavement once restrictions were lifted. That year, he unsuccessfully sued to reverse a COVID ban on walking tours in Massachusetts. By 2021, USGA had operations in 33 cities, each under a local name.

One of the first cities targeted was Baltimore, where Melissa Rowell had operated Baltimore Ghost Tours since 2001. Zaal came on her radar when she began receiving phone calls from irate customers. "We are trying to find out where this ghost tour is," one man complained in a voicemail shared with Business Insider. "Nobody's answering the goddamn phone … after we spent almost $100."

The man was looking for Zaal's new local affiliate of USGA, which had begun operating under the name Baltimore Ghosts. Rowell sent Zaal a letter asking him to change the name to something more distinct. Soon after, Rowell says, USGA started using the name Baltimore Ghost Tour in some materials. "Instead of trying to cause less confusion, they seemed to be trying to cause more," she says.

Rowell and Zaal have since been in a cold war, volleying terse emails and cease-and-desist letters. "I understand you actively collaborate with a confederation of other companies to disparage and damage both the company and my personal reputation," Zaal wrote Rowell in 2024. "Let us honor the spirit of Halloween this season and cease this animosity. There's enough customers for all of us."

Rowell denies that she is part of a confederation, but local tour guides have collaborated in dealing with their ascendant rival. There's a private Facebook group where guides across the country share information about USGA. Mike Carter, a tour guide from Annapolis, Maryland, bought the domain name USAghostadventures.com to build a site that urged customers to choose local ghost tours instead of Zaal's outfit. (Zaal got the site taken down and sued Carter for defamation.) Some paranormal companies, like Central New York Ghost Hunters, have rejected partnerships with USGA out of solidarity with local guides.

In Austin, Texas, USGA was sued by the owners of a local Booze and Boos Tour after Zaal opened a Boos And Booze tour. In Savannah, Georgia, the national company Ghost City Tours, which operated a Dead of Night Tour, sued USGA for opening the Savannah Terrors Ultimate Dead of Night Haunted Ghost Tour. In Charlotte, North Carolina, the local Queen City Tours sued Zaal's Queen City Ghosts. USGA generally argues in court papers and public statements that the names are too generic to own. The Austin suit was settled in 2024; the latter two lawsuits are currently making their way through the courts.

USGA was sued by the owners of the Booze and Boos Tour after it opened a Boos And Booze tour; the Dead of Night Tour for opening the Savannah Terrors Ultimate Dead of Night Haunted Ghost Tour; and Queen City Tours for opening Queen City Ghosts.

In one instance, a guide alleges that Zaal uses these similar names to trick tourists into leaving negative reviews on his competitors' tours. Angela Taverniti, who runs Colonial Ghosts of Williamsburg, said a USGA customer, Samantha Butler, accidentally left a negative review on Taverniti's tour. When she pointed out the mixup, Butler pulled up the link she got from USGA asking her to review the tour and tested it. A screen recording Butler shared with Business Insider shows that when she submitted a four-star ranking, she was directed to the Google review page of the USGA tour she took. But when she submitted a two-star rating, she was directed to the Google page for Taverniti's tour. Spooky. Reviews are a big deal for tour operators. "98 percent of our business comes from Google," Taverniti tells me. "It's a game that you have to play constantly. And he knows how to play it."

Other paranormal guides say Zaal borrows the content of the tours along with the names. Laine Johnson, a former park ranger, spent the last decade developing a tour of the supernatural happenings in Durango, Colorado, drawing from firsthand accounts of locals, newspaper archives, and out-of-print books. When a new tour called Durango Ghosts set up shop there in early 2023, Johnson took it to check out the competition. She says she was startled that they followed her exact route and told the same stories, sometimes with the same phrasing.

When she got home and did some research, she formulated a theory of what had happened. During the pandemic, she had uploaded her materials to a site called Junket, which allowed her to host virtual tours. Junket and Durango Ghosts were owned by Lance Zaal. Her content, she's convinced, had been snatched from the Junket website and co-opted by her new competitor.

USGA has meaningfully eaten into her bottom line, she says. "This is a really small town. It's ridiculous that there's now three ghost tours going here," she says.

By 2021, USGA purchased the crown jewel in its collection of haunted property, a three-story Greek Revival House in Fall River, Massachusetts, where Lizzie Borden was accused of axe-murdering her parents in 1892. It's famous for paranormal activity, and Zaal mentioned in an interview shortly after the purchase that he felt as if "someone, or something, was in the room with him," when he spent the night there alone.

This is a really small town. It's ridiculous that there's now three ghost tours going here.Laine Johnson, a ghost tour owner in Durango, Colorado

In 2023, a small cafe called Miss Lizzie's opened nearby, and Zaal sued, arguing that the name and logo — a blood-stained hatchet — infringed on his trademark. "She's a historical figure," cafe owner Joe Pereira counters. "I don't think anyone can own her." It was a strange reversal of the trademark suits that had been filed against him, and local competitors followed the case closely.

The next year, a judge sided with Pereira, saying the logos were substantially different. "Miss Lizzie's hatchet has a handle and smooth axe blade that spews blood," the judge wrote in his decision. "Ghost Adventures' hatchet is bereft of either handle or blood and features a notch halfway along the blade." But the lawsuit, which dragged on for years afterwards, has taken a financial toll on Pereira. Though a judge affirmed the initial ruling this month, Pereira was also ordered to pay $31,207 in legal fees after missing various filing deadlines.

Amid the acrimony, USGA has continued to grow. From 2019 to 2023, Zaal told Entrepreneur Magazine, USGA's revenue increased by 2,600%. To service the expansion, he contracted with writers and creators to develop tours and other content about new cities in the USGA empire.

Some guides, like Sabrina Velandry, a psychic medium who conducts tours for USGA in Salem, have had broadly positive experiences with the company. It's more professionalized than some of the local tours, she says. "It is corporate, but it's just really really well-run and organized." Others have butted heads with management, and two lawsuits have alleged misclassifying workers as independent contractors and failure to pay overtime wages. USGA has denied these claims, and one suit was settled while another is still in the courts.

In 2023, Ronald Murphy, a high school teacher outside of Pittsburgh, began picking up some extra work for USGA as an independent contractor, where he would crank out a new tour for $200, or make $40 for a 300 word blurb on the USGA website. All told, he says, he wrote tours for about 18 cities.

He says he wasn't given time for deep research and didn't like the idea of using content posted by competing local tours, so for a tour about Fort Worth, Texas, he decided to get creative. "I was going to simply make up the ghosts," he says. He thought the local Cowboy Museum was the sort of place that a ghost might frequent and wrote this fiction for the website: "Of course, no cowboy can hold a candle to The Duke himself, Mr. John Wayne. Visit the Texas Cowboy Hall of Fame where it's said the apparition of the 6 foot 4 actor has been seen admiring the cowboy memorabilia on display." The work eventually dried up. Today, USGA is recruiting an AI Creative Specialist, at $42,000 a year, "to draft, edit, and refine engaging tour scripts, website copy, and compelling marketing collateral." Even ghost jobs aren't safe from the AI revolution.

Trevor Foster didn't have much interest in ghost tours until he was ripped off, he tells me. He's a ceramics artist who specializes in dark pieces like bones, pistols, and mystical eyes. This January, he received a message informing him that USGA may have stolen one of his designs to sell on its Ghost Daddy website — an intricate skull-shaped mug with a handle like a curved bone. From initial casting to final glazing, it took Foster about about 100 hours to complete.

The skull on Ghost Daddy looked like one Foster designed in a slightly different color. Foster says the fact that it had the same sutures on the top — "almost like a fingerprint" — made it clear it was a ripoff. He also found that Zaal had recently purchased the same skull mug from him. "For someone to buy it and make a direct mold just seems kinda brazen," Foster says.

Foster sent a cease-and-desist letter, and Zaal responded that he planned to remove the item within six months. "My understanding in looking at your website is that you have your initials on the bottom (ours doesn't), each one is hand crafted and unique (ours are consistent and the same which is why yours looks better), ours is of a lighter color, and our logo is on the back," Zaal added. To Foster, it seemed Zaal was implying that replacing his initials with the USGA logo was enough to make the knockoff legal.

An Instagram video Foster posted went viral in the ghost tour community, and Zaal agreed in an email shared with Business Insider to discontinue the item immediately. He attributed the similar design to a mistake made by an overseas supplier who was given multiple examples to draw inspiration from. That wasn't good enough for Foster, who sued and settled with Zaal in September.

Foster was surprised to have found something of a community as a result of the whole debacle. After he'd posted about the situation, he was inundated with dozens of messages from people with their own grievances with US Ghost Adventures, commiserating with him. "It's just kind of incredible how many people they've angered," Foster says.

And — if you fall into the 39% of the country that believes in ghosts — you might believe that it isn't just corporeal beings that have been angered. This summer, a group of part-time ghost hunters visited Zaal's newly purchased McInteer Villa and set up K-2 meters, REM pods, and a ghost box.

But the group's leaders Dawn Lorenzen and Amy Osborn found the ghosts to be surprisingly uncommunicative. When they'd visited before Zaal's purchase, the ghost hunting had been good.

They Facetimed a medium to figure out what was going on. The ghosts were irritated, she told them, and it seemed to be related to the new ownership. "They made a circus of the place," the ghosts kept repeating, she said. "And now we are a spectacle."

• Taylor Swift's self-titled debut album celebrates its 20th anniversary this week.
• It would've been the ideal time to revisit her country roots with "Taylor Swift (Taylor's Version)."
• Instead, Swift squandered her own momentum by releasing the "Showgirl" deluxe last month.

The stage was set for Taylor Swift to sing her way back into critics' hearts — and back onto the country charts — with nostalgic twang and another picture to burn.

Instead, the curtains raised to reveal a rare strategic misstep.

This week is the 20th anniversary of Swift's debut album, "Taylor Swift." For much of this year, fans had been expecting Swift to mark the occasion by releasing "Taylor Swift (Taylor's Version)" and reclaiming her place in the country-star pantheon — especially after "I Knew It, I Knew You," her cowgirl-inspired single for the "Toy Story 5" soundtrack, became a crossover hit in June, topping the Billboard Hot 100 and Hot Country Songs simultaneously and finishing at No. 2 on the Songs of the Summer chart for 2026.

"I Knew It, I Knew You" suggested an imminent return to Swift's country beginnings, one that would be welcomed with open arms by longtime listeners and Nashville gatekeepers alike. The charm offensive was well underway: Swift gave interviews and exclusive snippets to country radio stations and publicly gushed about honoring her "country roots." Even the song's lyrics seemed to play like a sly Swiftian in-joke, the kind of marketing wink that she's famous for weaving into her work: "I remembered I loved you / Came back when it mattered."

But the "Taylor Swift" 20th anniversary celebration has been interrupted by a flashier, less prudent version of its titular author.

In late September, Swift surprised fans by unveiling the deluxe edition of her 12th album. "The Life of a Showgirl: The Encore" features four new songs Swift said she wrote in an excitable creative burst last year, shortly after the original album's release.

Commercially, this unexpected move has paid off. One of the new "Showgirl" tracks, "Patient Zero," has been No. 1 on the Hot 100 for three consecutive weeks, making "Showgirl" one of just a handful of albums throughout history to yield three chart-topping hits. The album also returned to No. 1, adding hundreds of thousands of additional sales to its already eye-popping total.

Strategically, however, revisiting "Showgirl" in lieu of "Taylor Swift" is far from savvy — especially for a self-described mastermind who is seldom caught in the middle of a PR campaign with a domino out of place. Swift had seemingly arranged her country-music homecoming with care, precision, and pitch-perfect anticipation. Now, that momentum is gone.

'The Encore' disrupted what could have been a perfect rollout to revisit 'Taylor Swift'

After two decades of Swift's solo-written anthems and high-pressure reinventions, the 2025 arrival of "Showgirl" was uniquely disenchanting. Swift had recently wrapped the highest-grossing tour in history, reunited with two of the music industry's most revered producers, and promised the album would contain "the best ideas we've ever had." This was positioned to be her pop opus.

Alas, "Showgirl" was overhyped and underbaked, peppered with ham-handed imagery and corny puns. Critics tempered their disappointment with justifications: Swift is too famous and too successful to disappear into her work; her public persona has grown too distracting and unwieldy; she's likely experiencing professional burnout.

This year's deluxe album was received with much less mercy, earning a 39 out of 100 on Metacritic, a 40-point drop from the original's score. When Swift brought "Showgirl" back to the fore, its shortcomings shifted focus away from the goodwill she'd spent all summer cultivating with "I Knew It, I Knew You."

Even worse, the new batch of "Showgirl" tracks included "Cleveland!" — an egregious attempted kiss-off that indulges all of Swift's worst impulses. Social media exploded with derisive glee, with some going so far as to say Swift had ruined her own songwriting legacy. Even fans who defended the song called it "rage bait" and "not that deep."

Even if the other deluxe tracks are catchy, polished, and well-structured, they were unleashed at a far too precarious time to receive the general public's benefit of the doubt.

Indeed, many assumed that Swift, ever the tactician, would move on from the "Showgirl" era with haste — and what better way to course-correct than by reminding us how she became a household name?

A reminder of Swift's country prowess is long overdue

Back in 2006, critics were charmed by the precocious lyrics and banjo-laden hooks that populate Swift's debut, from "Tim McGraw" and "Our Song" to "Should've Said No" and "Picture to Burn." At 16, Swift had already penned indelible zingers like "You said the way my blue eyes shine put those Georgia stars to shame that night / I said, 'That's a lie.'"

Twenty years later, the highlights on "Taylor Swift" stand as peak examples of Nashville-honed storytelling — the kind that helped pave the way for a new wave of country stars like Ella Langley to dominate the charts.

Of course, Swift may still release "Taylor Swift (Taylor's Version)." It could arrive tomorrow, next week, or years from now. While the "Taylor's Version" project was made redundant when Swift bought back her masters last year, she had already rerecorded her debut by the time the purchase went through. "I really love how it sounds now," she told fans, saying it would be released "when the time is right."

But it's hard to imagine a better window than the one Swift just squandered. If "Taylor Swift (Taylor's Version)" does end up closely following "The Encore," it will no longer live in its own moment, but in the shadow of a critical flop. The triumphant return-to-country narrative has been muddled. Plus, with "Patient Zero" still performing well on the charts, it doesn't make economic sense to release another album that would siphon away attention and streams.

So why did Swift decide this time wasn't right for her debut to reemerge? We can only speculate, though it's possible that Swift's talent for brand management has distracted us from her primary drive, the very thing that made "Taylor Swift" a sensation in the first place: She's a creative, an artist, a songwriter with something to say. Perhaps this was not a calculated choice, but a personal one. Perhaps she simply wrote new songs and decided to share them. Perhaps she anticipated "The Encore" would face more pushback than "Taylor Swift (Taylor's Version)" and decided to do it anyway.

Swift's lyrics offer clues to this effect. "Babylon," the final deluxe track on "The Encore," warns against "using nostalgia as a weapon to hurt yourself" and "missing all the best parts" of the present day. The story is not told from Swift's first-person perspective, but, when read as a meta-narrative, it seems to forestall critiques just like this one — asking listeners not to romanticize the past precisely as she declines the most obvious opportunity to monetize her own.

"Babylon" doubles as a preemptive epilogue to the embattled "Showgirl" era. Swift has recently been accused of devolving, of failing to live up to the heights of her past work — as if her now-beloved albums like "Red" and "Reputation" were never dismissed or ridiculed upon release.

Will "Showgirl" receive the same revaluation? Only time will tell, but it sounds like Swift is feeling optimistic.

"You hate this song," she sings, "but you wake up on the train with your headphones gone / Now that melody is all you want."

• Miley Cyrus' new album, "Bass Persuades," is not selling well compared to her industry peers.
• Although Cyrus' music has struggled to capture the zeitgeist, she has remained firmly A-list.
• Her career more closely resembles that of a legacy act, like Cher or Madonna, thanks to her longevity.

Miley Cyrus is oozing star power.

Sporting an electric guitar and the perfect smoky eye in a recent promo video, she strums in the stance of a rock star, putting one leg up on a step and whipping her hair to the music. The clip is black-and-white, with the backdrop completely blank, suggesting Cyrus — who now goes mononymously by Miley — is magnetic all on her own.

The 33-second video, simply titled "MILEY," was designed to tease her big comeback shows at the Hollywood Bowl in October. It worked: Cyrus' two-night run sold out in minutes after 1.5 million hopefuls joined the presale ticket queue. Clearly, people were itching to see Cyrus in the flesh.

That demand, however, lately hasn't translated to people purchasing her music. Cyrus' new album, "Bass Persuades," sold only 61,000 units in its first week. For comparison, Taylor Swift's "The Life of a Showgirl: The Encore," the deluxe version of a year-old album, sold 173,000 units the very next week. Earlier this year, Ariana Grande's new album "Petal" sold 295,000 units in the same timeframe. Aside from Cyrus' titular lead single, which peaked at No. 35, only one more song from "Bass Persuades" cracked the Billboard Hot 100: "Let's Get Married" sneaked in at No. 99.

While Cyrus did sell enough to secure a No. 1 chart debut in a non-competitive release week, "Bass Persuades" also earned a less-flattering distinction when it plummeted to No. 157 on the Billboard 200 the following week: the biggest single-week drop for an album ever recorded.

Yet, somehow, when Cyrus appeared onstage at the Hollywood Bowl, numbers and technicalities melted away. Clad in understated, monochromatic looks with no backup dancers or flashy set pieces to speak of, she proved that her name alone is still a powerful draw.

In the last decade or so, Cyrus has become a celebrity whose creative output is tangential to her status, like a vestigial organ she's evolved to no longer need. Sure, Cyrus still makes and releases music, but she rarely engages with the typical cycle of promotion and performance. She hasn't staged an arena tour since 2014, and, with the sole exception of her Grammy-winning song "Flowers," her music over the past decade has struggled to capture the zeitgeist. (Perhaps if her 2020 rock opus "Plastic Hearts" hadn't been released during the pandemic, it could've broken that curse, but I digress.)

But as her sold-out Hollywood Bowl stint proves, Cyrus has a legion of supporters at her fingertips, whether her recent music is resonating or not. Even when Cyrus drew criticism for not singing every word of some of her songs — especially nostalgic hits like "Party in the USA," "The Climb," "We Can't Stop," and "Wrecking Ball" — the backlash underlined just how little she needs to do to keep her A-list position secure.

"I've learned now through the queue that my calculations are correct and people will come to me," she previously told Apple Music's Zane Lowe of the mini-residency. "I don't need to drive to you."

Miley Cyrus is a pop diva without the pop

Even as Cyrus' music since her last No. 1 album, 2013's "Bangerz," has failed to achieve widespread relevance and popularity, as a name, she remains as relevant and popular as ever.

Part of this is thanks to her longevity. Cyrus has been famous since she was the tween star of "Hannah Montana," a role that led to her being named the youngest-ever Disney Legend in 2024. Earlier this year, Cyrus celebrated the show's 20th anniversary with a Disney+ special, in which Chappell Roan told her, "You literally walked so I could run."

Cyrus and her blonde alter ego have also been cited as major influences by artists like Sabrina Carpenter and this year's breakout star Adéla, whose viral hits like "Ain't in LA" and "Nicole Kidman" have drawn comparisons to "Bangerz."

"Watching 'Hannah Montana' was my introduction to pop stardom," Adéla told Dazed.

As members of pop's new guard look to Cyrus' early work for inspiration, Cyrus remains positioned as a tastemaker and a reference point. The success of her newer albums is a secondary concern.

In recent years, Cyrus has deliberately been out of touch — both figuratively, from trends, and literally, from her audience. Despite fans clamoring for more live performances, Cyrus has declined to satisfy the demand, telling British Vogue that she doesn't want to live her life for "anyone else's pleasure or fulfillment." Cyrus has also been open about her "unhealthy" relationship to touring; she experienced job burnout at a young age and never quite recovered. As a result, she seems wholly unconcerned with chart positions or sales figures. She is more interested in building a legacy that will endure than in instant gratification.

"My life is so beautiful. It never feels like I'm swimming upstream anymore," Cyrus told Variety in March. "I like the way people see me. And when I first left 'Hannah' and put out 'Bangerz,' I did not feel that way." 

Cyrus is acting like a legacy artist, not a modern star

Videos from the Hollywood Bowl show the crowd singing every word to Cyrus' decade-old favorites. For newer songs like "Orbit" and "Something Beautiful," Cyrus did most of the singing herself.

The gap between her past and present impact has never been more glaring. Cyrus may not have liked her public image as a teenager and young adult, but fans were gratified — and future phenoms were taking notes.

At 33, Cyrus has become a premature legacy act. The way she's navigating her career today resembles that of long-established divas like Cher, who remains a cultural touchstone but hasn't scored a hit in decades, or Madonna, whose most recent album is a callback to her earlier career heights. "Confessions II," the sequel to 2005's dance-pop blockbuster "Confessions on a Dance Floor," has thus far failed to spawn a top-40 hit. Still, Madonna's devoted fan base is ready to swarm a concert venue at a moment's notice.

Leaning on legacy and nostalgia is not necessarily a sign of failure. In fact, for Cyrus, it may be the goal.

With "Bass Persuades," her 10th studio album, Cyrus has dropped her surname in marketing materials. As her dad pointed out, this is a time-honored tradition in the music industry.

"I told @miley yesterday I felt good about her going with her first name," Billy Ray Cyrus wrote on X. "I mentioned Dolly and Cher. Thinkin about it more and more … Elvis .. Prince …and so on. It's a natural progression for an iconic superstar legend."

Like her forebears, Miley is in a league of her own — neither in the lower nor upper echelons of the music industry, but a secret third space, detached from standard markers of success.

In the end, a mononym is less a branding choice than a vote of confidence: the audience already knows exactly who you are.

• Some of the most hyped films of 2026 are based on blockbuster novels.
• You still have a few weeks to read "Dune Messiah" before "Dune: Part Three."
• There are a couple of holiday books getting adapted, too.

Any booklover knows that news of an adaptation can be complicated: Can we trust the directors, screenwriters, and actors to bring our favorite stories to life?

This year's movie slate is filled with books that are near and dear to thousands of readers, including classics that are decades (or centuries) old, like "Pride and Prejudice, "A Christmas Carol," and "Dune Messiah."

There are also some new classics set to be adapted this year, including "Klara and the Sun" and "Sunrise on the Reaping."

We've compiled a list of 13 must-read books that you should crack open before they're adapted this year.

'Whalefall'

Release date: October 16 in theaters

Daniel Kraus published "Whalefall" in 2023. It's a pretty self-contained, if wild, story: What would happen if you got swallowed by a whale? And not in a biblical, Jonah sense — in a literal, swallowed-while-scuba-diving sense.

The film stars Austin Abrams as Jay (get it? J as in Jonah?) and Josh Brolin as Mitt, Jay's deceased father, from whom he was estranged. That's the whole reason he dives in the first place; he's diving to find his father's remains.

'Wildwood'

Release date: October 23 in theaters

Stop-motion studio LAIKA's latest film, "Wildwood," is based on the 2011 novel of the same name, written by Colin Meloy and illustrated by Carson Ellis.

Both the film and the book follow Prue, a teenager, whose baby brother, Mac, is stolen by a pack of birds and taken into a mystical forest. She, along with her classmate Curtis, ventures into the woods to rescue Mac and perhaps save this magical land.

Prue is voiced by Peyton Elizabeth Lee and Curtis is voiced by Jacob Tremblay. Carey Mulligan, Mahershala Ali, Awkwafina, Jake Johnson, Angela Bassett, Charlie Day, and Amandla Stenberg also star.

'Klara and the Sun'

Release date: October 23 in theaters

Kazuo Ishiguro's 2021 novel "Klara and the Sun" was longlisted for the Booker Prize upon its publication.

The book takes place in a not-too-distant dystopian future where rich children can be gifted "Artificial Friends" to help them socialize, since now all schooling is done at home, online. Klara, the narrator, is purchased for a sick girl named Josie.

In the film, which was cowritten and directed by Taika Waititi, Klara will be played by Jenna Ortega, Josie will be played by Mia Tharia, and Josie's mom, Chrissie, will be played by Amy Adams.

'The Good Daughter'

Release date: November 12 on Peacock

Karin Slaughter's "The Good Daughter" is a bestselling thriller that was published in 2017.

It follows two sisters, Charlotte and Samantha, whose lives were shattered as kids when their mother was murdered and their father was traumatized. Now, as adults, Charlotte has followed in her dad's footsteps and tried to be the perfect daughter. Samantha chose to deal with her grief in a, shall we say, different way.

In the Peacock series, Rose Byrne plays Samantha and Meghann Fahy plays Charlotte.

'Being Heumann: An Unrepentant Memoir of a Disability Rights Activist'

Release date: November 13 on Apple TV+

Director Siân Heder's follow-up to best picture winner "CODA" is "Being Heumann," a biopic about Judith Heumann, who is known as the "Mother of the Disability Rights Movement." It's based on her 2020 memoir of the same name.

The film stars Ruth Madeley as Judith, Mark Ruffalo as United States Health and Human Services Secretary Joseph A. Califano Jr., and Dylan O'Brien as a reporter who covers Judith's protests.

'Victorian Psycho'

Release date: November 13 in theaters

"Victorian Psycho" was written by Virginia Feito and published in 2025.

The story follows Winifred Notty, a governess sent to Ensor House (a gothic dream), who seems more like Patrick Bateman than Maria von Trapp.

Maika Monroe will play Winifred.

'A Christmas Carol'

Release date: November 13 in theaters

Yet another adaptation of Charles Dickens' "A Christmas Carol," originally published in 1843, is hitting theaters this year.

This time it's called "Ebenezer" and stars Johnny Depp as Scrooge. He'll be joined by Rupert Grint as Bob Cratchit, Scrooge's long-suffering employee, Andrea Riseborough as the Ghost of Christmas Past, Tramell Tillman as the Ghost of Christmas Present, Ian McKellen as Scrooge's dead business partner Marley, Sam Claflin as Scrooge's nephew Fred, and Daisy Ridley as Fred's wife Clara.

This version of the story will be helmed by director Ti West, so it might be a more horror-forward version of the classic.

'The Bodyguard'

Release date: November 18 on Netflix

Netflix first announced that Katherine Center's novel "The Bodyguard," published in 2022, will be adapted for the streamer in September 2025.

The story follows Jack Stapleton, a famous actor with a stalker, who hires bodyguard Hannah Brooks to protect him. But since he doesn't want to worry his sick mother, the two instead pretend to date.

The catch with this adaptation? Since there's already a quite famous film called "The Bodyguard," Netflix, along with stars Leighton Meester (Hannah) and Jared Padalecki (Jack), asked fans to come up with a new name for the film, and they landed on "Guarding Stars."

'Sunrise on the Reaping'

Release date: November 20 in theaters

For years, fans begged "Hunger Games" author Suzanne Collins to tell the story of Haymitch Abernathy's games. In March 2025, she obliged, publishing "Sunrise on the Reaping," a "Hunger Games" prequel that takes place 24 years before the first novel.

It tells the story of the 25th Hunger Games, which Haymitch, the future tribute mentor for District 12, won. As with all "Hunger Games" books, it's devastating.

"The Hunger Games: Sunrise on the Reaping" boasts an all-star cast of Mckenna Grace, Jesse Plemons, Ralph Fiennes, Glenn Close, Kieran Culkin, Elle Fanning, Billy Porter, Maya Hawke, Lili Taylor, Kelvin Harrison Jr., Whitney Peak, and newcomer Joseph Zada as Haymitch.

'The Titan's Curse'

Release date: November 20 on Disney+

Season three of "Percy Jackson and the Olympians" is set to premiere on November 20. This season consists of eight episodes and concludes on December 11.

This season is based on the third installment in Rick Riordan's books: "The Titan's Curse." It sees Percy (Walker Scobell) go on a mission to rescue his friend, Annabeth (Leah Sava Jeffries), and the goddess Artemis (Dafne Keen) after they're kidnapped by mysterious forces.

'In a Holidaze'

Release date: December 2 on Netflix

Romance powerhouse duo Christina Lauren published their first holiday romance in 2020, called "In a Holidaze."

This is a classic time-loop story that follows Mae (Maddie Ziegler) as she returns home for Christmas, determined to tell her longtime crush Andrew (Graham Phillips) how she really feels. But when everything goes wrong, instead of dealing with the fallout, she relives the same day over and over.

'Pride and Prejudice'

Release date: December 3 on Netflix

"Sense and Sensibility" wasn't the only Jane Austen novel getting adapted this year — over 20 years after Keira Knightley and Matthew Macfadyen played Elizabeth Bennet and Mr. Darcy, there's a new duo in town that's ready to play these iconic yearners.

In this Netflix miniseries, adapted by Dolly Alderton, Emma Corrin and Jack Lowden will play the two. They'll be joined by Olivia Colman, Rufus Sewell, Daryl McCormack, Louis Patridge, Jamie Demetriou, Fiona Shaw (who was also in "Sense and Sensibility" this year), and Freya Mavor.

'Dune Messiah'

Release date: December 18 in theaters

After the two-part adaptation of "Dune," the third film in the series is set to adapt Frank Herbert's second novel, "Dune Messiah," published in 1969.

Picking up after the events of "Dune: Part Two," "Dune: Part Three" will follow Paul Atreides (Timothée Chalamet) as he struggles to control the galaxy, prevent the death of millions, avenge his father, and juggle relationships with Princess Irulan (Florence Pugh) and his love Chani (Zendaya).

Editor's Note: This story was first published in December 2025 and was last updated in October 2026.

• I've worked as a wedding photographer for years, and I've seen couples make the same mistakes.
• Too many people schedule the day to the minute and don't get the chance to enjoy their wedding.
• Not budgeting for the right photographer and videographer can lead to disappointing results.

I've been photographing weddings for over a decade, so I've witnessed countless ceremonies and receptions — some disastrous, others impeccable.

Throughout the years, I've also watched couples make the same mistakes over and over. Here are a few I wish they'd avoid.

Filling the day-of schedule with way too much

Couples have to find time for the ceremony, photos, eating and drinking, dancing, talking to the people they invited, and connecting with each other.

When you try to fit too many things into the day, no one — especially the married couple — has time to breathe and relish the moments. The day can feel rushed and more focused on activities than the celebration of love.

A packed schedule often leaves couples stressed, with no time to eat because they've been pushed from one 15-minute window to the next.

However, your wedding day shouldn't be a blur. You should have time to soak in every moment. When you map out your day, prioritize traditions you love and estimate how long each will take … then add buffers.

I also recommend working with a wedding planner or coordinator to plan your timeline, or consulting with your photographer and other vendors when arranging your schedule. They've experienced countless weddings and know firsthand how much time each activity usually takes.

Letting small mishaps and issues ruin the whole day

One of the things I always tell my couples right before their wedding day is that something will go wrong.

I don't say this to scare them or make them worry, but mostly to adjust their expectations. No matter how much planning you do, people are imperfect, the weather can be unpredictable, and life happens.

By the time the day comes, couples have done all they can to make sure it's how they pictured it. All that matters after that is that they enjoy their wedding.

Missing flowers or a cake that's the wrong flavor can throw off your day — but these unexpected mishaps shouldn't be so consuming that they're all you remember from your wedding.

I don't want to witness any more miserable couples desperately trying to fix details that will never be exactly right. Please try to roll with the punches on your wedding day.

Hiring the wrong photographer or videographer

I may be a bit biased, but I strongly believe having important memories properly documented in photo and video form is priceless.

I've also heard from countless married couples who regret booking a subpar photographer or skipping a videographer.

When hiring any vendors — especially these — choose carefully. You're paying someone to use their physical and creative energy to tell the story of your wedding.

Ask a ton of questions and make sure you love their style by viewing their portfolios and websites. It can also help to hop on a phone call or video meeting — couples should esnsure they vibe with their photo and video team on a personal level because they'll be spending a lot of time with them on the big day.

Planning the wedding they think they should have instead of the one they actually want

Weddings are for the couple, so they should do what they want.

I see so many of them spend thousands of dollars and devote countless hours to planning, only to celebrate their love the way they think they're supposed to — not how they'd actually like.

Your wedding should be unique to you, and it doesn't need to look like everyone else's. If you wish to elope in the forest or plan a ball inspired by "Bridgerton" in a mansion, go for it.

The couple is at the core of the celebration, so why shouldn't everything be based on who they are and what matters most to them? 

Consider this my official public service announcement: Your wedding can — and should — be fun, unique, and meaningful to you. 

This story was originally published in June 2021 and most recently updated on October 23, 2026.

Sebastian Stan isn't afraid to make people uncomfortable.

The 44-year-old actor, who earned an Oscar nomination for playing a young Donald Trump in "The Apprentice," watched in 2024 as his movie encountered roadblock after roadblock — a cease-and-desist letter from Trump, struggles landing a distributor, and hesitance from other actors to discuss the film with him in press— in its journey to screen.

But the headache hasn't deterred him from taking risks on projects that challenge the audience.

"It's not even about Trump anymore. We should be able to explore anything and everything that is uncomfortable," Stan told Business Insider. "We can't become so sensitive to the point where we're actually depriving ourselves of elevated thought about anyone or any matter. Certainly not in the hands of fear."

Stan's latest film, "Fjord," delivers on that promise, telling a subversive, provocative story about a conservative Romanian-Norwegian couple whose parenting methods are called into question after they move to a progressive Norwegian town.

For Stan, the film wasn't just an opportunity to play nuanced, thought-provoking material. As a Romanian-American who fled the country as a boy in the late 1980s, working with Romanian filmmaker Cristian Mungiu ("4 Months, 3 Weeks and 2 Days") was also a long-awaited homecoming.

Stan immersed himself fully in the role, sporting a shaved head with a massive bald spot and speaking most of his lines in Romanian. He and Renate Reinsve, who plays his wife, were so locked in during production that they would go out to dinner together, still dressed in the clothes they shot their scenes in that day. Stan said the experience brought him closer to his homeland.

"A lot of people go, 'Great, you want to come back to Romania, and you want to do movies, but you didn't grow up here, you don't know what our experience is. You were lucky you got away,' so I was a little apprehensive," Stan told Business Insider about working with Mungiu's Romanian-heavy crew. "But, honestly, on the last day of this movie, they wrapped the Romanian flag around me, and they were so proud to kind of take me back in a way and welcome me home." 

For the latest interview in Business Insider's Role Play series, Stan talks about his failed "American Idol" audition, where he thinks Bucky Barnes fits in the current MCU, and realizing how "hypocritical" Hollywood is after playing Trump.

On sleeping on the street to audition for 'American Idol' and losing out on 'The O.C.'

Business Insider: What are your recollections of auditioning for "American Idol" back when you were 19?

Sebastian Stan: It was my friend Justin; we both went to Rutgers for the acting program, and he said, "I'm going to New York City to try out for this new show, 'American Idol,'" and he said, "Want to come?" And I was like, "Fuck it, why not."

I remember I had on leather pants; I don't know why I thought that was gonna make a difference. We got there and it was in Times Square, and I see this huge line around the block, and I'm like, "What's going on?" He's like, "No, no, the audition is tomorrow," but it was like 6 p.m., and he tells me we're going to sleep on the street.

So we went to a McDonald's in Times Square, slept barely in this line, and in the morning we got in to these auditions. And what they did was they took five or six of you at a time; they lined you up. I didn't meet any of the judges; it was just some guy. The five of us did 20 seconds of a capella; I think I sang the medley from "Moulin Rouge!," and they were like, "Next." So it didn't work out. 

You start building credits, and then you go on this five-year run of playing the obnoxious jerk roles: "The Covenant," "The Education of Charlie Banks," "Rachel Getting Married," "Hot Tub Time Machine." Was there a point when you were worried about getting typecast as the 2000s-era jerk?

My mindset was, get a job. I was just trying to get a foot in the door. And by the way, I was getting close to a lot of other kinds of roles. At the time, there was that movie "Alpha Dog" — I tried out for that and didn't get it.

But in that era were the "American Pie" movies and "Not Another Teen Movie," which Chris Evans did; they were these movies that had the stereotypical jock asshole guy, and people would always take a look at me and go, "That's the guy." And in "Gossip Girl" I played that, too. But I was just trying to get a start. It wasn't who I felt I truly was. 

I remember I tried out for "The O.C." and got very close. "Star Trek," didn't get that. "Green Lantern," "John Carter," "The Lone Ranger" — so I was going out for big stuff; I just wasn't getting it.

On why he believes Bucky Barnes needs to stay grounded and the 'education' Marvel gave him

Looking back, do you think your career could have went down a different path if being cast as Bucky Barnes didn't hit the way it did?

What's funny is you go to acting school, and you're being taught the craft, but then there's the learning that you do on set — having the experience of being on set with a camera, learning the lenses, what everyone does. So in some ways, Marvel was a real education in moviemaking and acting. It also allowed me to go back over and over and have some consistency in my life, which I didn't have. I grew up in that period. I got more focused. And it freed me.

The role, which I thought was complex, this character is very different now than when we started out. That character had PTSD, had gone through things; there was a lot to play there. So that box was checked.

Looking outside of that, it became: what were the things I could do that were so far away from that? I don't know if I would have pursued those things as aggressively if I didn't have this lane where I was getting to play more of the straight man.

Are there tweaks you've done to the Bucky character over the years that you're surprised fans haven't caught on to yet?

We've tried, and I make an emphasis on we because it's not just me. I have had to adjust to Marvel changing and evolving and becoming a bigger world. The Captain America franchise, when we started, they were very grounded. "Captain America: The Winter Soldier" is kind of a suspense thriller; "Civil War" had more personalities, but at the heart it was serious, so this character, at its core, is a very serious character.

Maybe people would argue differently, but things have gone more into an expansive, integrative place of how does everybody fit in, and I think humor is a big part of making that happen. We have, and I have, tried to adapt to those things. So the question then became, What's funny about this guy? What is there to play? Some of it has been explored, but not entirely.

It's trying different things. At this moment in time, the character adopted this sort of Clint Eastwood, crusty old man humor. Dry —been there, done that, Why are we fucking doing this again — that kind of thing. I don't know if the character will stay there, but it's not a character who can suddenly go big.

On realizing Hollywood is 'hypocritical' after playing Trump and collaborating with great directors

Going to acting school is one aspect of building a career, and you mentioned another is learning what it's like working on sets. But yet another is understanding the Hollywood game. What was the biggest thing you learned about Hollywood after playing Donald Trump in "The Apprentice"?

Um [Laughs.] It's quite hypocritical in a lot of ways. Everybody has good intentions, I think, about saying the right things, but they don't always do the right thing. I'm not saying it's gaslighting, but there's something to it, because there's often times you end up asking yourself if you're the one that's crazy.

There are many times — and I'm not saying it was just related to "The Apprentice" or Trump — there are other things even now where I've been in rooms and talking to people who will say things in private that they will never say publicly.

As it pertains to that movie, that was the experience, which was everybody loved the movie that I talked to; everybody wanted to support it, but yet nobody wanted to step up to the plate.

Now here we are today, where the trailer for the Elon Musk documentary is struggling to be shown online, so now this kind of thing is pretty normalized. Can you imagine that happening ten to 20 years ago?

Back in 2018, I spoke to you for "Destroyer." At that time, you hadn't landed lead roles yet. I asked what you were looking for when that happens, and you said, "Down the line I want to be remembered for being part of specific works and visions of directors rather than a group of characters."

Is that still your mindset? Because with roles like Jeff Gillooly in "I Tonya," Tommy Lee in "Pam & Tommy," Edward in "A Different Man," you are building an incredible stable of memorable characters. 

It's crazy to hear that quote. Back then, I think that was where I was starting to go because I had come off of "I, Tonya" and I'd learned the value of having a good director and how it influences your work and the performance. Karyn Kusama, who did "Destroyer," was someone I really respected.

And also, before that, you mentioned "Rachel Getting Married" — my whole plan back then was to just get one scene or a little part in a big director's movie. So that was Jonathan Demme. "The Martian," I got to work with Ridley Scott. I took those parts because this is a director's medium. 

Since then, I've tried to stick to that, and these performances you've mentioned, to some extent, they've worked because of those collaborations where you need to have the captain of the ship. You need to have those directors who know how to communicate. I've found myself better when I am in trusted hands, when it's someone that I really allow myself to let go with.

Because if you can't trust a director, what happens is you start to be worried about what's happening on the other side of the camera, and you're then not involved in the experience of the role you're playing. I think that shows when that happens. 

This interview has been condensed and edited for length and clarity.

"Fjord" is in theaters now.

On eBay Live, livestreaming is for the entrepreneurial everyman. It is a no-frills, decentralized QVC for the modern age.

The interface is clunky, the sellers are unpolished, and the viewer numbers are low. The site is more like a digital garage sale than a Sotheby's auction, but it's just as thrilling to watch a bidder win a rare baseball card as to watch one win a Rothko.

Items for sale include Rolex watches, Funko Pop toys, commemorative coins, and Michael Kors backpacks, which sellers hawk to audiences of anywhere from 10 to 1,000 other souls. These online auctioneers set countdown clocks, sometimes as short as 10 seconds. Bids start as low as $1.

Tuning into a sub-100-viewer eBay Live auction is strangely intimate. Sellers, often in makeshift home sets or nondescript warehouse backrooms, fill the time between auctions with banter and often play music on their own speakers. Sellers also respond to the audience, affectionately referred to as "chat."

One bidding frenzy drew me in. Ten seconds and a flurry of clicks later, I became the proud owner of a $3.81 Dragonite Pokémon card. I know nothing about Pokémon, yet I felt a surge of joy hearing my username declared the winner. There is a simple pleasure in buying and selling real things in a digital auction house.

The post Review: eBay Live Is QVC for the Modern Age appeared first on Reason Magazine.

• The Elizabeth Holmes documentary "You Can See Everything" earned $15.6 million in its debut weekend.
• That makes it the second-highest-grossing traditional docufilm opening weekend of all time.
• Business Insider compiled the 25 biggest documentary opening weekends using Box Office Mojo data.

Something unusual is happening right now: a documentary is drawing crowds to theaters at a level rarely seen for the genre.

The Elizabeth Holmes documentary "You Can See Everything," directed by Nathan Fielder and Lance Oppenheim, grossed $15.6 million in the US and Canada during its opening weekend in October.

That makes it the second-biggest theatrical docufilm debut ever, behind director Michael Moore's "Fahrenheit 9/11," which saw a nearly $24 million opening in 2004. "You Can See Everything" was filmed in the month before Holmes reported to prison in May 2023 after she was convicted of defrauding investors in connection with her now-defunct blood-testing company, Theranos.

Theatrical documentary premieres have become rarer since the streaming era began, as the genre has found a major audience on streaming services such as Netflix and Hulu. Besides the new Holmes docufilm, only two others on the list were from this decade: "Melania" debuted to $7.1 million in January 2026, and "After Death," a documentary about near-death experiences, opened to $5 million in 2023.

Still, theatrical docufilms were once a cultural force, especially in the 2000s and 2010s, when a wave of nature-, political-, and celebrity-focused ones premiered in theaters to much fanfare.

Here are the 25 highest-grossing traditional documentary film openings at the box office, using data from Box Office Mojo. Several hit concert docufilms, like "Taylor Swift: The Eras Tour" and "Justin Bieber: Never Say Never," earned more but were omitted from this list to focus on traditional nonfiction documentaries.

25. Whitney (2018)

Opening weekend domestic gross: $1,265,572

Directed by Kevin Macdonald, "Whitney" chronicles the life and career of singer Whitney Houston.

The documentary uses archival footage and interviews with people close to Houston to explore her rise to fame, personal struggles, and her death in 2012.

24. Imagine: John Lennon (1988)

Opening weekend domestic gross: $1,412,213

The documentary, directed by Andrew Solt, looks back on John Lennon’s life and career through archival footage, home movies, interviews, and recordings.

It covers Lennon's time with the Beatles, his solo work, and his relationship with Yoko Ono.

23. That's Dancing! (1985)

Opening weekend domestic gross: $1,506,802

Directed by Jack Haley Jr., "That's Dancing!" chronicles how dance evolved in Hollywood films through clips from musicals.

It features performances by Fred Astaire, Gene Kelly, Judy Garland, and more.

22. Rize (2005)

Opening weekend domestic gross: $1,574,787

David LaChapelle directed the documentary that focuses on the different dance styles across Los Angeles, including krumping and clowning.

It follows dancers who use dance as an outlet in South Central LA.

21. Babies (2010)

Opening weekend domestic gross: $2,160,460

Directed by Thomas Balmès, the documentary follows four infants from birth through their first year in Namibia, Mongolia, Japan, and the US.

20. Penguins (2019)

Opening weekend domestic gross: $2,282,593

Directed by Alastair Fothergill and Jeff Wilson, the Disneynature documentary, narrated by Ed Helms, follows a penguin as he searches for a partner and starts a family in Antarctica.

19. The Real Cancun (2003)

Opening weekend domestic gross: $2,300,000

"The Real Cancun" follows 16 American college students on spring break in Mexico.

The documentary captures the students as they party, hook up, argue, and more during a 10-day stay in Cancún's Hotel Zone.

18. Death of a Nation (2018)

Opening weekend domestic gross: $2,356,522

Conservative commentator Dinesh D'Souza co-directed "Death of a Nation" with Bruce Schooley.

The documentary uses reenactments and interviews to argue that Donald Trump is comparable to Abraham Lincoln and that the Democratic Party has historical ties to racism and fascism.

17. Meet the Mormons (2014)

Opening weekend domestic gross: $2,509,808

Produced by The Church of Jesus Christ of Latter-day Saints, the documentary follows six church members around the world, including the US, Costa Rica, and Nepal, to depict their daily lives and beliefs.

16. Expelled: No Intelligence Allowed (2008)

Opening weekend domestic gross: $2,970,848

Directed by Nathan Frankowski, "Expelled: No Intelligence Allowed" challenges the teaching of evolution and includes interviews with scientists, writers, and religious figures.

15. Fahrenheit 11/9 (2018)

Opening weekend domestic gross: $3,008,563

Director Michael Moore's "Fahrenheit 11/9," a follow-up to his 2004 documentary "Fahrenheit 9/11," examines the political climate surrounding Donald Trump's election and presidency.

The documentary ranges from the Flint water crisis to the Parkland school shooting and criticism of Democratic leaders.

14. Religulous (2008)

Opening weekend domestic gross: $3,409,643

Comedian Bill Maher travels the world questioning believers, clergy members, and religious institutions in "Religulous," directed by Larry Charles.

The documentary takes a comedic and confrontational look at Christianity, Judaism, Islam, and other religions.

13. Terror in the Aisles (1984)

Opening weekend domestic gross: $4,009,866

Directed by Andrew J. Kuehn, "Terror in the Aisles" dives into the history of horror cinema.

Actors Donald Pleasence and Nancy Allen introduce clips from films including "Psycho," "The Exorcist," "Halloween," and "The Shining," while discussing why audiences enjoy being scared.

12. Monkey Kingdom (2015)

Opening weekend domestic gross: $4,577,861

"Monkey Kingdom" follows Maya, a toque macaque, as she raises her son within the Sri Lankan jungle.

Mark Linfield and Alastair Fothergill directed the Disneynature documentary, narrated by Tina Fey.

11. Tupac: Resurrection (2003)

Opening weekend domestic gross: $4,632,847

Director Lauren Lazin's documentary examines the life of Tupac Shakur through archive footage, home videos, interviews, and Shakur's own voice recordings.

The documentary lets Shakur's recordings guide the audience through his childhood, music career, activism, legal troubles, and his death in 1996.

10. Bears (2014)

Opening weekend domestic gross: $4,776,267

"Bears" follows a brown bear mother as she emerges from hibernation in Alaska with her two cubs.

Directed by Alastair Fothergill and Keith Scholey and narrated by John C. Reilly, the Disneynature documentary tracks the family's search for food and protection as they face wolves, rival bears, and the wilderness.

9. Born in China (2017)

Opening weekend domestic gross: $4,790,367

Director Lu Chuan takes viewers across China's mountains and forests in "Born in China," a Disneynature documentary narrated by John Krasinski.

It follows a giant panda mother and cub, a golden snub-nosed monkey family, and a snow leopard raising her young in the highlands.

8. After Death (2023)

Opening weekend domestic gross: $5,051,950

"After Death" interviews people who say they had near-death experiences and returned to life.

The documentary, co-directed by Stephen Gray and Chris Radtke, also includes interviews with doctors, scientists, and others about consciousness, death, and the possibility of an afterlife.

7. African Cats (2011)

Opening weekend domestic gross: $6,003,200

Set in Kenya, the Disneynature documentary, directed by Alastair Fothergill and Keith Scholey, focuses on a family of lions and a cheetah raising her cubs.

It was nominated for documentary awards by the Environmental Media Awards and the Phoenix Film Critics Society.

6. Oceans (2010)

Opening weekend domestic gross: $6,058,958

"Oceans," directed by Jacques Perrin and Jacques Cluzaud, is a portrait of marine life around the world.

The documentary is largely filmed underwater, showcasing whales, sharks, schools of fish, and more.

5. Melania (2026)

Opening weekend domestic gross: $7,161,605

Directed by Brett Ratner, "Melania" follows first lady Melania Trump during the 20 days before Donald Trump’s second presidential inauguration in January 2025.

The film offers behind-the-scenes footage of her preparations to return to the White House, including meetings, travel, and intimate moments among family members.

4. Earth (2009)

Opening weekend domestic gross: $8,825,760

Disneynature directors Alastair Fothergill and Mark Linfield directed "Earth," which follows polar bears, elephants, and humpback whales across the different seasons.

The documentary was the first release from Disneynature in the US and was among the highest-grossing nature documentaries at the time.

3. Chimpanzee (2012)

Opening weekend domestic gross: $10,673,748

"Chimpanzee" centers on a young chimp living in the forests of Ivory Coast who is orphaned after a rival troop attacks his group.

The Disneynature documentary was directed by Alastair Fothergill and Mark Linfield, with Tim Allen as the narrator.

2. You Can See Everything (2026)

Opening weekend domestic gross: $15,601,418

Directed by Nathan Fielder and Lance Oppenheim, the documentary offers a revealing portrait of Elizabeth Holmes, who was convicted of fraud and conspiracy connected to her fallen company, Theranos.

Holmes allowed the directors into her life during the 34 days before she reported to federal prison to serve an 11-year sentence. It's receiving wide critical acclaim and sparking online debate about its portrayal of Holmes.

1. Fahrenheit 9/11 (2004)

Opening weekend domestic gross: $23,920,637

Director Michael Moore's "Fahrenheit 9/11" takes a close look at President George W. Bush, the September 11 attacks, the war in Iraq, and the connections between American political and business leaders.

The documentary won the Palme d'Or at the Cannes Film Festival and became the highest-grossing traditional documentary in US box-office history.