AUSTIN, Texas--(BUSINESS WIRE)--Feb 3, 2026--
More than sixty years after four young musicians from Liverpool changed music forever, their story still holds powerful lessons for leaders, teams, and organizations striving for excellence. In The Fab Four Pillars of Impact: Building Dynamic Teams The Beatles’ Way (2/3/2026; Greenleaf Book Group, $27.95), longtime CEO, educator, and coach Dan Absher reframes The Beatles as one of the most instructive and overlooked case studies in organizational success.
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Absher’s lifelong fascination with The Beatles began on February 9, 1964, watching The Ed Sullivan Show as a five-year-old. That moment sparked a decades-long study of enduring excellence that later shaped his 32-year tenure as CEO of Absher Construction and his work teaching leadership, team building, and organizational performance. Following a near-death health crisis and a successful leadership transition through an employee buyout, Absher returned to The Beatles’ story with a fresh perspective, this time as a framework for impact.
In The Fab Four Pillars of Impact, Absher identifies four universal drivers behind The Beatles’ rise, and their eventual unraveling:
Through vivid storytelling, business parallels, and curated playlists, Absher shows how these pillars apply to any team, from startups and nonprofits to multinational organizations, seeking sustained excellence while avoiding the mistakes that derail even the most talented groups.
More than a business book or music history, The Fab Four Pillars of Impact is a blueprint for building legendary teams, grounded in connection, shared purpose, and a commitment to something bigger than individual success.
To learn more about Dan Absher and his work, visit www.fabfouracademy.com.
More about Greenleaf Book Group
Greenleaf Book Group is a publisher and distributor best known for its innovative business model, distribution power, and award-winning designs. Named one of the fastest-growing companies in the United States by Inc. Magazine, Greenleaf has represented more than 3,800 titles, including more than 55 New York Times, Wall Street Journal, and USA Today bestsellers.
"A fun, innovative management guide, based on the story of the world’s most popular band." - Kirkus
After nearly seven years away from the big screen, a new Star Wars movie drew healthy but not record-breaking crowds to global theaters this weekend. According to studio estimates on Sunday, “Star Wars: The Mandalorian and Grogu” made $82 million in ticket sales from 4,300 theaters in the U.S. and Canada. By the end of Monday’s Memorial Day holiday, it’s expected to have earned $102 million domestically and $165 million globally.
It exceeded opening weekend expectations for the movie, a continuation of Disney+ spinoff series “The Mandalorian,” but it’s also on the low end of Disney-era Star Wars releases, closer to “Solo: A Star Wars Story,” which made $103 million over the four-day Memorial Day frame in 2018. While “Solo” was considered a disaster, the metrics around “The Mandalorian and Grogu” are a little different.
The production budget for “Solo” was in the $300 million range, while “The Mandalorian and Grogu” was made for significantly less — a reported $165 million, not accounting for marketing and promotion costs. It makes the journey to profitability more likely, especially when factoring in positive audience scores. Although critics were mixed to negative on the movie (it currently carries a 63% on Rotten Tomatoes), ticket buyers overall gave it an A- CinemaScore. Boys under the age of 13 are especially high on the movie: They gave it an A CinemaScore and a perfect five on PostTrak. Parents also gave it a five out of five.
The Jon Favreau-directed movie stars Pedro Pascal as the titular bounty hunter and puts him and his tiny green companion on a mission to save Jabba’s son Rotta the Hutt, who is voiced by Jeremy Allen White.
“Star Wars: The Mandalorian and Grogu” could also be graded on a bit of a curve because of the streaming component, both that it started as a series, and that it will eventually end up as a value add on Disney+, which was only about a month old when the last Star Wars movie, “The Rise of Skywalker,” debuted in December 2019.
Star Wars as a brand is in a time of transition under its new leadership team of Dave Filoni and Lynwen Brennan; Earlier this year it was announced that Lucasfilm president Kathleen Kennedy, who produced “Star Wars: The Mandalorian and Grogu,” was stepping down after 13 years. The question for the industry is whether audience interest in Star Wars on the big screen might have cooled slightly, and if next year’s “Star Wars: Starfighter,” starring Ryan Gosling, will provide a definitive answer. Until then, the hope is that strong audience and exit scores will propel word-of-mouth generated enthusiasm in the coming weeks.
Word-of-mouth certainly helped Curry Barker’s relationship horror movie “Obsession” defy the standard box office trajectory and do better business in its second weekend. The Focus Features had an astonishing 30% uptick in ticket sales, earning $22.4 million from 2,655 theaters. The studio, which acquired the microbudget movie for some $15 million, is projecting that it will have made $28.2 million by the end of Monday, bringing its running total to $58.5 million. It snagged the second-place spot, while “Michael” landed in third place with $20 million for the three-day weekend. The Michael Jackson biopic has now earned $782.4 million.
“Obsession” also did better than the new horror movie “Passenger,” a Paramount Pictures release with Melissa Leo, which grossed an estimated $8.7 million from 2,534 locations. It’s expected to earn $10.5 million over its first four days. The movie received poor reviews from both critics (44% on Rotten Tomatoes) and audiences (B- Cinema Score).
The mix of movies this year didn’t hold a candle to last year’s record Memorial Day weekend, which was led by Disney’s live-action “Lilo & Stitch” and “Mission: Impossible — The Final Reckoning.” The overall four-day frame this year will net out around $211 million, down about 36% from last year’s $330 million. It’s also far from the disastrous 2024 Memorial Day weekend box office, a 30-year low, when “Furiosa: A Mad Max Saga” opened.
Jon Favreau arrives at the premiere of "Star Wars: The Mandalorian and Grogu" on Thursday, May 14, 2026, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
The character Grogu arrives at the premiere of "Star Wars: The Mandalorian and Grogu" on Thursday, May 14, 2026, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
