Debbie McWilliams Says Mystery Matters More Than Fame

McWilliams is hardly an outside observer. Over the course of 13 Bond films, she selected Timothy Dalton, Pierce Brosnan, and Daniel Craig to inherit one of cinema’s most recognizable roles. Now retired following Amazon’s takeover of MGM and the franchise’s creative transition, she believes familiarity has become a major obstacle for the actors currently topping fan speculation.

Referring to Callum Turner, Harris Dickinson, Jacob Elordi, and the other frequently mentioned names, McWilliams was direct about her reservations. “I don’t want to see any of them as Bond because we now know so much about them. We want to know as little about them personally as possible, because that’s what spies are.” She added that audiences should never be thinking about where Bond shops, who his family is, or what his private life looks like.

For McWilliams, the role demands more than charisma or star power. “A vital element of the whole thing is his job description. He’s licensed to kill, and we have to believe that he can do that. If you don’t, then you’ve lost the audience.” That philosophy reflects the approach she followed throughout her career, consistently backing performers who had yet to become household names.

The comments stand in contrast to the current wave of speculation surrounding the franchise. Turner has emerged as one of the names most often linked to the role thanks to projects such as “Masters of the Air” and “The Boys in the Boat.” Dickinson has built momentum through acclaimed performances in films including “Triangle of Sadness,” “The Iron Claw,” and “Babygirl,” while Elordi’s profile has skyrocketed after “Euphoria,” “Saltburn,” and his Oscar-nominated turn in Guillermo del Toro’s “Frankenstein.”

Whether the next Bond turns out to be one of the rumored favorites or a complete unknown remains to be seen. Amazon MGM is moving ahead with “Bond 26” under director Denis Villeneuve, writer Steven Knight, and casting director Nina Gold, with auditions reportedly underway as the studio searches for a younger actor to launch a new chapter for the franchise.

Although neither Cox nor McDaid has publicly commented on the reported breakup, the news marks the end of one of Hollywood’s longest-running low-profile relationships. Over the years, the pair largely kept their romance out of the spotlight while balancing careers that often placed them on opposite sides of the Atlantic.

A Relationship That Spanned More Than a Decade

Cox, best known for playing Monica Geller on “Friends”, and McDaid, a member of Snow Patrol and an acclaimed songwriter, began dating in the fall of 2013 after being introduced through mutual friend Ed Sheeran. Their relationship quickly became serious, leading to an engagement in 2014.

The couple experienced a brief breakup the following year before reconciling in 2015. Rather than returning to wedding plans, they chose to continue their relationship without getting married, a decision Cox later discussed publicly as one that ultimately worked for them.

Their relationship also endured long stretches of distance. During the COVID-19 pandemic, Cox remained in the United States while McDaid was in Europe, forcing them to spend more than four months apart before they were reunited. At the time, both spoke openly about maintaining their connection despite the separation.

The latest report suggests geography eventually became a more permanent challenge. Cox has continued to live primarily in Los Angeles, while McDaid has spent much of his time in the United Kingdom. Sources cited by the Daily Mail said the pair ultimately realized they were living different lives, but emphasized that the breakup was friendly and that they remain supportive of one another.

The film, which debuted on June 26, follows a meticulous real estate agent whose carefully organized life is thrown into chaos when his eccentric former “little brother” unexpectedly reappears.

During an interview with The Hollywood Reporter to promote the release, Cena explained why he believes his success in comedy can be traced back to an entirely different stage: the WWE ring.

John Cena Says WWE Taught Him the Most Important Lesson for Comedy

Asked how his career led him to become one of Hollywood’s most recognizable comedic actors, Cena didn’t point to his films or directors. Instead, he credited the years he spent performing in front of wrestling crowds.

“For any origin to my bravery, the credit has to be given to WWE,” he said, recalling that wrestling audiences quickly reward commitment while rejecting performers who hesitate. “The audience is vocal and honest and harsh.”

According to Cena, that environment taught him that authenticity matters more than trying to protect an image. “The biggest mistake you can make with that audience is by not being authentic, by not going for it, by trying to make safe choices.” He added that he has carried that mindset into every acting role, approaching comedy with complete commitment rather than chasing laughs for their own sake.

That philosophy also means accepting that not every joke or performance will land. “You also have to trust the process and be willing to fail. It is not a conservative choice,” Cena said, describing the willingness to take risks as an essential part of comedy.

Looking back on the final stretch of his wrestling trajectory, Cena recalled leaning into a more self-aware style of performance. “Toward the end of my WWE career, I was heavily winking at the camera,” he said, explaining that it reflected a sense of commitment between himself and the audience. “We’re all in this together, audience. You guys have gone on with my belief for 20 years. So for the last three, it is no longer mine. It is ours.”

What we know about Netflix’s live-action ‘Gundam’ movie

Based on the 1979 anime “Mobile Suit Gundam,” created by Hajime Yatate and Yoshiyuki Tomino, the film is not expected to retell a specific series from the franchise. Instead, it will introduce an original story set within the broader “Gundam” universe. The project is a co-production between Bandai Namco Filmworks, Legendary Pictures, and Nightshade.

Netflix has described the story as following two opposing factions whose conflict unfolds across Earth and its space colonies. As alliances begin to shift and a larger threat emerges, the characters are drawn into a race that could determine humanity’s future. The studio has said the movie aims to balance large-scale mecha action with a character-focused narrative.

Sydney Sweeney and Noah Centineo are joined by Michael Mando, Shioli Kutsuna, Gemma Chua-Tran, Nonso Anozie, Javon Walton, Oleksandr Rudynskyi, Jason Isaacs, and Ida Brooke.

The adaptation has had a lengthy journey to the screen. Development was first announced in 2018, and the project went through several creative changes before Jim Mickle took over as writer and director. Netflix, which had previously stepped away from the title, later reacquired worldwide distribution rights.

Production is now underway in Queensland, Australia, with filming taking place across the Gold Coast, Brisbane, and Toowoomba under the working title “Teardrop.” While Netflix has outlined the picture’s premise and confirmed its principal cast, a release date has not yet been announced.

Lionel Richie Postponed His Next Two Tour Stops

Richie was performing at the Xcel Energy Center in St. Paul when fans noticed something was wrong during his rendition of “Dancing on the Ceiling.” Videos shared by concertgoers showed the music icon taking a seat onstage as he told the audience he was feeling dizzy. He later returned to perform “Three Times a Lady” before exiting the stage.

Around 40 minutes after Richie left, his saxophonist informed the audience that the concert would not continue because the singer was unable to return. TMZ later reported that Richie was taken to a hospital as a precaution following the incident. Earth, Wind & Fire drummer John Paris also told The Minnesota Star-Tribune that Richie appeared to be dealing with dehydration and that no earlier signs of illness had been apparent before the show.

The health scare has now led to changes in the tour itinerary. Richie’s scheduled concerts in Chicago on Friday and Columbus, Ohio, on Saturday have both been postponed. A statement shared by Chicago’s United Center said the decision came after doctors advised the singer to focus on recovering before returning to the stage.

The venue also confirmed that replacement dates for both performances will be announced at a later time. In the same statement, organizers said Richie is disappointed to delay the concerts and is looking forward to performing for fans again as soon as he has fully recovered.

If his recovery continues as expected, Richie and Earth, Wind & Fire are set to resume their Sing a Song All Night Long Tour with a performance in Pittsburgh on Tuesday. The North American run is currently scheduled to continue throughout the summer, with its final stop planned for Aug. 14 in Austin, Texas.

‘Supergirl’ Opens Below Expectations as Audience Scores Raise Concerns

Directed by Craig Gillespie, “Supergirl” stars Milly Alcock as Kara Zor-El, Superman’s cousin, who embarks on a revenge-driven journey across space alongside her dog Krypto. The cast also includes Matthias Schoenaerts, Eve Ridley, David Corenswet as Superman, and Jason Momoa making his DCU debut as Lobo.

The early commercial picture, however, has been overshadowed by audience reaction. Deadline reports that “Supergirl” received a B- CinemaScore, placing it below several DC releases that struggled critically or commercially. Among them are “The Flash” (B), “Aquaman and the Lost Kingdom” (B), “Green Lantern” (B), and “Shazam! Fury of the Gods” (B+). It also matched unfavorably against Marvel Studios’ “The Marvels,” which earned a B CinemaScore.

The film arrived with considerable expectations after “Superman” launched the new DC Universe. Adapted from Tom King and Bilquis Evely’s acclaimed “Supergirl: Woman of Tomorrow” comic series, the project was positioned as a darker, more character-driven take on Kara Zor-El than previous screen versions.

Gunn and Safran selected the film as the second chapter of the DCU after praising Ana Nogueira’s screenplay, while Gillespie brought his experience directing female-led projects such as “I, Tonya” and “Cruella.”

Before release, industry tracking had projected an opening north of $50 million before estimates gradually declined in the final weeks. The reported $40 million debut now places “Supergirl” below those initial forecasts, raising questions about its theatrical momentum in the weeks ahead.

Produced on a reported net budget between $170 million and $186 million, the film faces a significant challenge as it seeks to build on its opening weekend and establish itself as a cornerstone of DC Studios’ long-term franchise plans.

From Child Radio Performer to One of Hollywood’s Last Golden Age Stars

Born Anne Marie Blythe on Aug. 16, 1927, in Mount Kisco, New York, Blyth entered show business at an early age through children’s radio programs before joining the New York Children’s Opera Company. She later made the leap to Broadway in Lillian Hellman’s “Watch on the Rhine,” a performance that led to a contract with Universal Pictures after the production toured Los Angeles.

Her breakthrough arrived in Michael Curtiz’s “Mildred Pierce,” where she played Joan Crawford’s calculating daughter, Veda. The role earned Blyth an Academy Award nomination for Best Supporting Actress and established her as a dramatic performer after beginning her film career in light musical comedies. Although a serious back injury shortly afterward interrupted her momentum, she returned to the screen and remained a familiar presence throughout the late 1940s and 1950s.

During that period, Blyth appeared in a wide range of productions, including “Brute Force,” “Killer McCoy,” “The Great Caruso,” “The World in His Arms”, “Rose Marie,” “Kismet,” and “The King’s Thief.” She worked with many of the era’s biggest stars, including Burt Lancaster, Gregory Peck, Robert Mitchum, Mario Lanza, Tyrone Power, and Bing Crosby, while moving between Universal, MGM, Paramount, and other major studios.

As feature film opportunities slowed, Blyth shifted her focus to the stage and television. She starred in touring productions of “The King and I,” “The Sound of Music,” and “Show Boat,” while making guest appearances on series such as “The Twilight Zone,” “Wagon Train,” “Burke’s Law,” “Quincy,” “M.E.,” and “Murder, She Wrote.” She retired from acting in 1985 after more than four decades in the entertainment industry.

Outside her career, Blyth married obstetrician James McNulty in 1953, and the couple raised five children together. She received a star on the Hollywood Walk of Fame in recognition of her contributions to film and remained celebrated as one of the final living links to the studio era that shaped classic American cinema.

Bob Gale Says the Franchise Is Better Left Alone

Gale said every new “Back to the Future” project is approached with caution, pointing to the Broadway musical as an example. “We’re very careful what we do,” he said, explaining that he and Robert Zemeckis always had the power to cancel the production if it failed to live up to their expectations. “If we saw that it wasn’t going to work, we would have just buried it.” Instead, after seeing it develop, they realized, “OK, yeah, this is funny. The songs are great. We can cast this. It’s going to work.”

That careful approach is also why a fourth picture has never been on the table. “We don’t want to do Back to the Future Part IV for a whole bunch of different reasons,” Gale said before identifying what he considers the biggest obstacle: “Who wants to see a Back to the Future movie without Michael J. Fox? Nobody wants to see that.” He then acknowledged the actor’s inability to return to the role, adding, “And he can’t do it.”

Gale also questioned whether revisiting Marty McFly decades later would serve the story. “Do we even want to see Marty McFly at age 60? We don’t want to see that, either,” he said, before summing up the creative team’s philosophy in a simple conclusion: “Let’s leave well enough alone.”

Although another film is off the table, Gale did not rule out every possibility for the franchise. “Is there room somewhere to do something else to enhance the Back to the Future experience? There could be. We’re not closing the door on that.” At the same time, he made clear that prequels and spin-offs hold little appeal. “We don’t need that,” he said, pointing to franchises that have “gone back to the well too many times” and left audiences wishing “they should have stopped.”

Adam McKay Reflects on His Split With Will Ferrell and a Possible Reunion

McKay and Ferrell were responsible for some of the defining studio comedies of the 2000s, including “Anchorman,” “Talladega Nights: The Ballad of Ricky Bobby,” “Step Brothers,” “The Other Guys,” and “Anchorman 2.” Beyond those films, they also built Gary Sanchez Productions and co-founded Funny or Die before their partnership came to an end in 2019.

Looking back, McKay insisted there is no lingering resentment on his end. “I totally have been open to the idea,” he said about working with Ferrell again. Calling their partnership a successful one, he added, “We always got along great, we were tremendous creative partners,” while maintaining that the tension only emerged when they decided to wind down Gary Sanchez.

Rather than pointing to a single dramatic incident, McKay described the company’s growth as something neither of them fully anticipated. “It’s a shame because we had a great creative partnership,” he said, explaining that “both of us underestimated the complications” of running a successful production company for so many years.

McKay suggested that their careers naturally pulled them in different directions. While he wanted to continue expanding as a producer, Ferrell had grown tired of the additional responsibilities that came with managing a major company. “It had become too much extra work; it was never his passion,” McKay recalled, adding that the different demands of being a movie star versus a writer-director ultimately led them to “split up.”

The pair’s breakup became one of Hollywood’s most talked-about creative divorces, with reports at the time linking the fallout to both the closure of Gary Sanchez and disagreements surrounding HBO’s “Winning Time: The Rise of the Lakers Dynasty.” Although McKay did not revisit those details in his latest comments, his remarks leave open the possibility that one of modern comedy’s most influential partnerships may not be finished after all.

What to Expect From ‘The Paper’ Season 2

Created by Greg Daniels and Michael Koman, “The Paper” serves as a follow-up to “The Office,” shifting the documentary crew’s attention from the Scranton branch of Dunder Mifflin to a struggling Ohio newspaper fighting to stay relevant.

The series centers on editor-in-chief Ned Sampson, whose ambitious plans often clash with the realities of the modern news business, while Oscar Nuñez returns as fan-favorite accountant Oscar Martinez from the original sitcom.

Season 2 begins after the Truth Teller staff celebrates a successful night at the Ohio Journalism Awards. That victory quickly gives way to new challenges as Ned pursues an investigation involving a local private club, a decision that threatens the newspaper’s future.

Returning cast members include Domhnall Gleeson, Sabrina Impacciatore, Chelsea Frei, Melvin Gregg, Gbemisola Ikumelo, Tim Key, Ramona Young, Eric Rahill, Duane Shepard Sr., Alex Edelman, and Nuñez.

Produced by Universal Television, “The Paper” is executive produced by Daniels and Koman alongside “The Office” creators Ricky Gervais and Stephen Merchant, as well as Howard Klein, Ben Silverman, and Banijay Americas.

Based on Ubisoft’s long-running video game franchise, the live-action adaptation is being developed as an anthology from “Fargo” creator Noah Hawley, with Caplan’s role remaining under wraps. No premiere date has been announced.

What We Know About FX’s ‘Far Cry’ Series

While specific plot details have yet to be revealed, the television adaptation will follow the anthology format that has defined the “Far Cry” games for years. Rather than adapting a single title from the franchise, each season is expected to introduce a different setting and a new group of characters, telling an original story that explores themes similar to those found throughout the games.

Hawley has previously said the series is designed to capture the spirit of the franchise instead of recreating familiar storylines from characters like Vaas Montenegro or Joseph Seed.

Caplan becomes the second cast member publicly attached to the show after Rob Mac, formerly known professionally as Rob McElhenney, who is also serving as a co-creator and executive producer. Hawley and Mac are developing the project for FX, with the title set to stream on Hulu in the United States and Disney+ in international markets.

Caplan is no stranger to genre projects. She broke through with “Mean Girls” before starring in films such as “Cloverfield,” “Cobweb,” and “Now You See Me: Now You Don’t.” On television, she earned Primetime Emmy nominations for her performance as Virginia Johnson in “Masters of Sex,” while more recent credits include “Fleishman Is in Trouble,” “Fatal Attraction,” and Netflix’s “Zero Day.”

First released in 2004, “Far Cry” has grown into one of Ubisoft’s biggest gaming franchises. Although each installment features its own protagonist and location, the series is known for placing ordinary people in dangerous, isolated environments where they must confront ruthless dictators, warlords, or cult leaders while navigating expansive open worlds.

Donkey’s Story Continues Beyond ‘Shrek 5’

“Donkey” is scheduled to premiere on June 30, 2028, arriving roughly one year after “Shrek 5,” which is currently set for release in the summer of 2027. Murphy will reprise his role as the fast-talking companion, this time leading a story that explores the character’s origins and how he became the Donkey audiences first met in the original Shrek.

The project has been developing alongside “Shrek 5” for several years. DreamWorks first acknowledged that a Donkey-focused spinoff was being discussed in 2023, before Murphy revealed in 2024 that the picture had received the green light. Last year, the actor also shared that the story would revolve around Donkey, his dragon wife, and their hybrid children, with voice recording expected to begin in late 2025.

Behind the scenes, “Donkey” brings together filmmakers with experience in both animation and family entertainment. Charlie Bean, whose credits include “The Lego Batman Movie” and Disney’s live-action “Lady and the Tramp,” will direct the feature. Rebecca Huntley, a producer on “Kung Fu Panda 4” and “The Bad Guys,” is producing, while DreamWorks story artist Matt Flynn has been tapped as co-director after contributing to films such as “The Wild Robot,” “Puss in Boots: The Last Wish,” and “The Bad Guys 2.”

The announcement comes as DreamWorks prepares to revive its flagship franchise with “Shrek 5.” Mike Myers, Cameron Diaz, and Eddie Murphy are all returning to voice Shrek, Fiona, and Donkey, respectively, while Zendaya has joined the cast as Felicia, one of Shrek and Fiona’s children.

The project reunites Jay-Z with Rubin more than two decades after they collaborated on “99 Problems,” one of the defining tracks from 2003’s The Black Album. This time, the producer steps behind the camera as director and interviewer, guiding a series of conversations designed to revisit the moments that shaped the artist’s career both inside and outside the recording studio.

Jay-Z Will Reflect on His Music, Lyrics and Life in HBO Series

Rubin’s connection to Jay-Z stretches back to one of the rapper’s most celebrated albums, making him a natural choice to lead the documentary. Rather than focusing on a single era, “Jay-Z in 8” will examine the evolution of his songwriting, the meaning behind his lyrics, and the experiences that informed his work across decades of music.

The documentary arrives during a milestone year for the artist. In 2026, Jay-Z is marking the 30th anniversary of his landmark debut album, Reasonable Doubt, with an ambitious series of live performances. After headlining Philadelphia’s Roots Picnic in May, he is scheduled to play three sold-out anniversary shows at New York’s Yankee Stadium in July before taking the retrospective “Jay-Z 30” concerts to Paris in September and Los Angeles in October.

Although Jay-Z has released music only selectively in recent years, his influence has remained strong. His 2017 album 4:44 earned widespread critical acclaim for its introspective approach and debuted at No. 1 on the Billboard 200. Since then, he has continued making high-profile guest appearances, entered the Rock and Roll Hall of Fame, and expanded his legacy through projects such as The Book of HOV, which documented his life and career.

Behind the scenes, “Jay-Z” in 8 also brings together an accomplished production team. The series is executive produced by Jay-Z alongside Daniel Kaluuya and Rick Rubin. Producers Leila Mattimore and David Rohde are also attached to the HBO project, which is expected to premiere later this fall.

‘Dept. Q’ Season 2 will send Carl Morck after Scotland’s elite

Netflix’s newly released synopsis reads: “DCI Carl Morck heads up the maverick Dept. Q from the basement of an Edinburgh police station, charged with cases previously deemed unsolvable. This darkly humorous, propulsive show delivers all the pleasures of a procedural, but takes us into the complex mysteries not just of the cases but of the detectives themselves.”

Producer Rob Bullock revealed that the new central mystery will take the team into far more influential circles than before. “This season, Carl and his band of misfits tackle a terrible crime hidden in the highest echelons of Scottish society.” He added that “It is a story for our times: rich and powerful people who believe they are above the law,” while making clear that Carl refuses to accept that assumption. The producer also celebrated returning to work with Scott Frank, calling him a “master storyteller,” and praised Netflix “for letting them loose once again.”

Netflix executive Manda Levin also reflected on the first installment’s reception, recalling that it “made us laugh and cry; it shocked and intrigued us,” while audiences embraced both the characters and the show’s distinctive Edinburgh setting. Looking ahead, she promised that “The story of Season 2 is as darkly delicious as you’d expect,” with Carl and his “glorious gang” facing another difficult hunt as they pursue those responsible.

The series, created by Scott Frank and Chandni Lakhani, is based on Jussi Adler-Olsen’s bestselling novels but relocates the action from Copenhagen to Edinburgh. Part 1 followed Morck as he reluctantly assembled a misfit cold case unit that unraveled the disappearance of prosecutor Merritt Lingard while dealing with the aftermath of the shooting that nearly ended his career. Production on Season 2 is now underway, with filming scheduled to continue through late 2026 ahead of an expected 2027 release.

‘Dept. Q’ Season 2 Expands Its Cast as Production Moves Forward

Matthew Goode is set to return as Detective Chief Inspector Carl Morck, leading the Department Q team once again. Also reprising their roles are Alexej Manvelov as Akram Salim, Leah Byrne as Rose Dickson, Jamie Sives as James Hardy, Mark Bonnar as Stephen Burns, Kate Dickie as Moira Jacobson, Aaron McVeigh as Jasper, and Sanjeev Kohli as Martin Fleming.

Joining the series for Season 2 are “Speak No Evil” star Aisling Franciosi as Kimmie, “The Crown” actor Greg Wise as Derek Powell, and “Spy Among Friends” star Nicholas Rowe as Thomas Fulton. The new additions also include “Outlander: Blood of My Blood” actor Tony Curran as Winnie Calderwood, “The Batman” star Alex Ferns as Phil Allenbeck, “Heartstopper” actress Rebecca Root as June Lovesay, “The Queen’s Gambit” breakout Isla Johnston as Agnes, and “Judging Amy” and “The Old Man” star Amy Brenneman as Helen.

Hamish Clark from “Monarch of the Glen” has also joined the cast as Christopher Herron, while Ross Anderson, known for “The Last Kingdom” and “Lift,” will portray Ricky Daddario.

Created by Scott Frank and Chandni Lakhani, the show follows Morck, an emotionally scarred detective who is assigned to lead a newly established cold case department after surviving a violent ambush that left his partner seriously injured.

Operating from an overlooked basement office, Morck gradually assembles a team of unlikely investigators to reopen long-forgotten crimes. The first installment premiered on Netflix in May 2025 and earned strong critical reviews, with praise directed at its performances, writing, and central mystery.

Millie Bobby Brown Is Still Holding Onto Hope for Eleven

The final chapter of “Stranger Things” left audiences divided after Eleven’s apparent sacrifice to stop Vecna in the Upside Down. Although the epilogue hints she may have secretly escaped with the help of her sister Kali, the show never confirms whether Mike’s hopeful version of events is real or simply his way of coping with the loss.

Brown revealed that she has been instructed to keep the answer a secret. After the finale premiered, she said the Duffer Brothers reached out with a reminder: “They were like, ‘Do not tell anyone. Because we made it a secret kind of pledge.’ No one else knows. It’s just us three. And what we do with that information, it’ll be up to them.”

Despite the ongoing speculation, Brown admitted she leans toward the optimistic interpretation. As conversations about the finale continue, fans often ask whether she believes Eleven is still alive. Her response leaves little doubt about where she stands: “All people say now is, ‘Do you believe?’ And of course I believe.”

She also shared that opinions within the cast are far from unanimous. Recalling conversations after the finale dropped, Brown joked that many of her co-stars are convinced Eleven didn’t make it. “The whole cast thinks I’m dead. One, rude. It’s so rude of them,” she laughed, before adding that she encouraged people to “Believe! Let’s have some hope in here.”

The ambiguity was built into the ending itself. In the finale, Eleven chooses to remain behind after defeating Vecna, seemingly disappearing as the Upside Down collapses. However, the closing scenes show Mike imagining a future in which she survived by faking her death through Kali’s illusion powers, leaving viewers without a definitive answer. Brown’s latest comments suggest that, at least for now, the mystery is one she is happy to keep alive.

DC’s First Official Anime Series Gives the Joker a New Mission

“Joker: Laugh Riot” marks a milestone for DC Studios as its first official anime TV show, reflecting the company’s growing interest in Japanese animation. The project is being developed in partnership with Warner Bros. Animation and Sola Entertainment, the studio behind “The Lord of the Rings: The War of the Rohirrim,” with award-winning filmmaker Yasuhiro Aoki attached to direct.

Rather than revisiting the familiar rivalry between Batman and the Joker, the series starts with the Dark Knight’s death. The official synopsis reveals that Joker embarks on a violent campaign through Gotham City’s criminal underworld to uncover the identity of Batman’s killer. Along the way, his pursuit gradually pushes him into territory more commonly associated with heroes than villains, forcing him to question his own identity without his greatest adversary.

While DC has collaborated with Japanese animation before, “Joker: Laugh Riot” represents a different step for the studio. Previous anime-inspired projects have included the anthology film “Batman: Gotham Knight,” the feature “Batman Ninja,” and “Suicide Squad Isekai.” However, the newly announced show is being positioned as DC Studios’ first official anime television production centered entirely on the DC Universe.

The reveal came alongside several other additions to DC’s animation lineup unveiled at Annecy, including an adult animated adaptation of “Absolute Batman” and a new “Krypto” series.

The announcement was made during a joint presentation at the Annecy International Animation Film Festival, where DC Studios co-heads James Gunn and Peter Safran joined Warner Bros. Animation president Sam Register on stage.

‘Absolute Batman’ Is Making the Jump From Comics to Animation

The upcoming show will reunite the creative team behind the comic. Snyder is set to serve as executive producer and showrunner, while Dragotta will produce the project, giving the adaptation direct involvement from the creators who reshaped Batman for the Absolute Universe. The announcement did not include a release window or reveal a voice cast.

First published in October 2024, “Absolute Batman” introduced an alternate version of Bruce Wayne that departs significantly from the traditional mythology. Instead of growing up as Gotham’s wealthy heir, this Bruce is a 24-year-old working-class civil engineer raised in Crime Alley who relies on equipment and armor he designed himself. The series also reinvents familiar characters, including Alfred Pennyworth as an MI6 operative and the Joker as a powerful billionaire rather than an agent of chaos.

The title quickly became one of DC’s biggest commercial successes. Its debut issue emerged as the publisher’s best-selling comic of 2024, and the series has continued to gain momentum through multiple printings while earning an Eisner Award nomination for Best New Series. By the end of 2025, it had sold nearly three million copies, cementing its place as the flagship title of the Absolute Universe line.

The “Absolute Batman” announcement was one of several projects unveiled during DC’s Annecy presentation. Warner Bros. Animation also revealed the adult animated show “Joker: Laugh Riot,” which follows the Clown Prince of Crime after Batman’s death, along with an untitled children’s series centered on Krypto the Superdog.

Whitney Houston’s Estate Disputes Oprah Winfrey’s Account

The response came through an official statement shared on Whitney Houston’s Instagram account, where the estate acknowledged that the singer did fall before her 2009 interview with Winfrey. However, it rejected any suggestion that drugs played a role. Instead, the statement said the fall occurred during a sound check because of the dark stage and Houston’s unfamiliarity with the setup, adding, “She was absolutely not high.”

The estate also pushed back against what it described as a recurring narrative surrounding Houston’s personal struggles. While recognizing that the Grammy-winning artist faced difficult periods in her life, it argued that “it is inaccurate and unfair to attach that struggle to every performance or every chapter of her life.” The statement urged people to separate documented facts from long-standing assumptions.

It further defended Houston’s professionalism on the day of the interview, stating that “What the studio audience witnessed on stage was the result of discipline, talent, and commitment not the assumptions others project.” The message concluded by calling for a more accurate retelling of the singer’s legacy, saying, “We owe her the dignity of telling the truth not repeating myths.”

Winfrey first shared her version of the events during a conversation at the Cannes Lions International Festival of Creativity after receiving the LionHeart Award. She recalled asking audience members not to release photos of the fall because she feared the incident would devastate Houston’s public image. As of now, Winfrey has not publicly responded to the estate’s statement.

Supergirl Opens to a Much More Divided Critical Response

When “Superman” premiered in 2025, it quickly established momentum for DC Studios’ new cinematic universe by earning a 90% approval rating on Rotten Tomatoes and securing the site’s Certified Fresh designation. Critics largely embraced David Corenswet‘s performance as Clark Kent, the film’s optimistic tone, and its balance of spectacle and emotion, even as some reviewers argued that its story tried to juggle too many characters.

“Supergirl” has not enjoyed the same critical consensus. The picture is currently placed well below its predecessor and signaling a much more mixed response from reviewers. While audience scores have not yet been established, the early critics’ rating has already sparked comparisons with the strong debut of Gunn’s first DCU feature.

Directed by Gillespie from a screenplay by Ana Nogueira, “Supergirl” follows Kara Zor-El as she embarks on a revenge-driven journey across the galaxy after meeting the young Ruthye Marye Knoll. The film adapts elements of Tom King and Bilquis Evely’s acclaimed “Supergirl: Woman of Tomorrow” comic and stars Milly Alcock alongside Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, Corenswet himself, and Jason Momoa.

Unlike the hopeful tone that defined “Superman,” the new movie centers on a version of Kara shaped by the trauma of growing up on a fragment of the destroyed Krypton before arriving on Earth. That darker approach was a key part of DC Studios’ creative vision for the character, positioning “Supergirl” as a distinctly different chapter within the expanding franchise.

With its theatrical release set for June 26, the picture now faces the challenge of determining whether moviegoers will respond more positively than critics. As only the second film in the rebooted DC Universe, its box office performance and audience reception will be closely watched as indicators of whether James Gunn’s broader franchise can maintain the momentum established by “Superman.”

Divorce Filing Details Emerge

Court records indicate that Jean, 36, listed June 3 as both the filing date and the date of separation. In the petition, she alleges that White’s conduct made further cohabitation “unsafe and improper,” language that has drawn attention as details of the filing became public.

Jean is also seeking financial support as part of the proceedings. According to the filing, she claims to be financially dependent on White and has requested alimony, continued medical insurance coverage, and the ability to remain a beneficiary on his life insurance policy. Representatives for both artists had not publicly commented on the matter at the time of reporting.

The split marks the end of a relationship that stretches back more than a decade. Jean, a singer, guitarist, and longtime Third Man Records collaborator, first connected with White professionally in 2009 after catching his attention with a demo she left for him before a Dead Weather concert. She later became the frontwoman of the gothic rock group The Black Belles before launching a solo career, releasing albums including Bathtub Love Killings, Night Owl, and Raving Ghost.

White, meanwhile, remains one of the most influential figures in modern rock. Rising to fame as the guitarist and vocalist of The White Stripes, he later expanded his career through projects such as The Raconteurs and The Dead Weather, while also building Third Man Records into a respected independent label. Over the years, he has earned multiple Grammy Awards and was inducted into the Rock and Roll Hall of Fame as a member of The White Stripes.

Their marriage began in dramatic fashion in April 2022 when White proposed to Jean during a concert in Detroit before the couple immediately exchanged vows onstage. At the time, both spoke positively about the unexpected ceremony, which became a widely covered moment in music news. Now, just over three years later, the relationship is heading to court as the two musicians move forward separately.

A New Class of Oscar Voters Takes Shape

Membership in the Academy is one of the most significant distinctions in the film business. Beyond recognizing professional achievement, it grants members the ability to participate in the Oscar voting process, helping determine the nominees and winners across the Academy Awards. Invitations are extended selectively, with candidates typically requiring sponsorship from existing members or consideration through an Oscar nomination.

This year’s invitees include a notable group of actors whose careers have continued to gain momentum in recent years. Elordi, who has emerged as one of Hollywood’s most sought-after young stars following projects such as “Saltburn” and “Frankenstein,” joins fellow invitee Jenna Ortega, whose success has stretched from “Wednesday” to “Scream.” Also receiving invitations are Mia Goth, Julia Garner, Josh O’Connor, Bill Skarsgård, and Teyana Taylor.

The list also recognizes a number of respected performers with long-established careers. Jon Bernthal, known for playing the Punisher and for his work in films including “King Richard” and “The Wolf of Wall Street,” was invited alongside actor and comedian Jemaine Clement, actor and writer Stephen Fry, and “Frozen” star Josh Gad. David Dastmalchian, whose recent appearances in “Oppenheimer” and “Dune” have raised his profile considerably, is another notable addition.

Several internationally recognized figures also made the cut. “Barbie” and “Shang-Chi and the Legend of the Ten Rings” actor Simu Liu joins a membership class that reflects the Academy’s continuing effort to broaden its global reach and include professionals from a wide range of filmmaking backgrounds and disciplines.

In a joint statement, Academy CEO Bill Kramerand Academy President Lynette Howell Taylor praised the incoming class, saying the invitees have made meaningful contributions to filmmaking through their work.

If they accept their invitations, the new members will become part of a community of roughly 11,000 film professionals whose responsibilities extend beyond the Oscars to educational initiatives, industry programs, and activities connected to the Academy Museum throughout the year.

Danny Pintauro Says Multiple Jobs Are Part of Life as a Working Actor

Pintauro, now 50, became a household name as Jonathan Bower on all eight seasons of “Who’s the Boss?,” the hit ABC sitcom that ran from 1984 to 1992 and helped define television comedy during the decade. Decades after the show’s success, however, he says his career looks very different from what many fans imagine.

Speaking on the Pod Meets World podcast, Pintauro revealed that his Amazon delivery work is only one part of a much larger patchwork of employment. “It’s one of the five different gig jobs that I’m doing right now,” he said, noting that acting itself is simply another piece of the mix. “We’re gig actors. Acting is one of the six gigs.”

The attention surrounding his delivery job surprised him. After posting a photo from an Amazon Flex shift earlier this year, headlines quickly followed, prompting questions from fans who assumed a former sitcom star would not need supplemental work. For Pintauro, the reaction echoed an experience from years ago when he took a summer job at Gap after “Who’s the Boss?” ended. He recalled that someone secretly photographed him folding clothes and framed it as evidence of a dramatic fall from success.

One of the biggest misconceptions, according to Pintauro, involves residual payments. While many viewers believe stars of long-running network hits continue earning substantial checks, he says that is not the case for him. “I don’t make money from residuals,” he stated, adding that the Amazon work provides reliable earnings, with shifts typically bringing in between $80 and $100 for a few hours of work.

Pintauro emphasized that his situation is not unique within the entertainment industry. “We have to do what we have to do to survive,” he said. “We’re all doing it. I am not different from you in that sense.” His comments offer a reminder that even performers from some of television’s most recognizable series often face the same financial realities as many of the people who watched them grow up on screen.

Mary Bennet’s Story Continues This Holiday Season

The Christmas event is scheduled to begin filming in Wales later this summer. Quintrell, who was responsible for most of the original series’ scripts, is returning to write all three installments, drawing on storylines developed by author Janice Hadlow, whose novel inspired the television adaptation.

Released in March, “The Other Bennet Sister” reimagined the world of Jane Austen’s “Pride and Prejudice” through the eyes of Mary Bennet, the middle sister who often remained in the background of Austen’s classic novel. The hit initially revisited familiar events from Mary’s perspective before following her own path toward independence, self-discovery, and romance.

Ella Bruccoleri is set to reprise her role as Mary, with additional cast members from the original production expected to return. The first season featured an ensemble that included Richard E. Grant, Ruth Jones, Indira Varma, Richard Coyle, Laurie Davidson, Dónal Finn, and Tanya Reynolds.

The decision to extend the show follows a highly successful launch on both sides of the Atlantic. The drama became one of the BBC’s strongest-performing new series, while also delivering significant subscriber growth for BritBox in North America. Its strong reception was matched by critical praise, with reviewers highlighting the title’s fresh perspective on Austen’s world and Bruccoleri’s central performance.

What Season 2 Means for the Future of ‘Dutton Ranch’

The early renewal underscores Paramount’s confidence in the latest entry in Taylor Sheridan‘s expanding television universe. Since debuting in May, “Dutton Ranch” has served as both a sequel to “Yellowstone” and a fresh starting point for Beth and Rip.

Rather than remaining in Montana, the series follows the couple as they try to establish a new life in South Texas after leaving behind the events that defined their years at the Yellowstone ranch. Their efforts to build a future are complicated by powerful local rivals, shifting alliances, and the challenges of running a ranch in unfamiliar territory.

The first season has also expanded the world around Beth and Rip by introducing new characters, including ranch owner Beulah Jackson, played by Annette Bening, and local veterinarian Everett McKinney, portrayed by Ed Harris. Returning “Yellowstone” character Carter, played by Finn Little, has likewise taken on a larger role as the family’s next chapter begins to take shape.

The renewal comes despite behind-the-scenes changes. Chad Feehan, who created the series and served as showrunner during its first installment, exited the project after production wrapped. While Feehan remains credited as the creator, Paramount has not yet announced who will oversee the show’s second part.

With two episodes still remaining in its debut run, “Dutton Ranch” now joins the growing list of Sheridan-produced hits that have earned long-term commitments from Paramount.

The development marks one of the clearest signs yet that Amazon MGM Studios is narrowing its list of contenders to succeed Daniel Craig as the iconic British spy.

The Race to Become the Next 007 Moves Forward

The upcoming auditions represent the latest phase in a lengthy casting process that has been underway since producers Amy Pascal and David Heyman joined the project in 2025. Industry sources cited by Deadline indicate that Villeneuve has personally contacted actors advancing to the next round, although no official shortlist has been confirmed.

Reports suggest the number of candidates under consideration could be anywhere from five to seven actors to dozens more, depending on how broadly the studio chooses to cast its net.

Casting director Nina Gold has reportedly met with a variety of performers, including emerging talent who could potentially join the pool of contenders. Those conversations were part of an effort to evaluate a wide range of options before moving into the next stage of auditions.

While no names have been officially attached to the process, actors such as Harris Dickinson, Callum Turner, and Jacob Elordi have frequently been mentioned in industry discussions surrounding the role. At this stage, however, Amazon MGM Studios has not confirmed any candidates, and the studio has remained publicly silent on the status of the casting search.

The timing suggests that a final decision could arrive before the end of the year, allowing the production to move toward filming in 2027. Screenwriter Steven Knight is developing the script, which continues to be refined as the studio prepares for the series’ next chapter.

The picture will be the first James Bond installment developed under Amazon’s full creative control following the transition of long-time franchise stewards Barbara Broccoli and Michael G. Wilson away from their executive leadership roles. A release is currently expected in 2028, making the selection of the next Bond one of the most closely watched casting decisions in Hollywood.

A Return to the Original ‘What We Do in the Shadows’

The announcement came during a conversation about animation, when Clement was asked whether he had ever considered adapting “What We Do in the Shadows” into an animated series. The idea, it turns out, was more than hypothetical.

“Of the TV show, I talked to a company about it,” Clement recalled. “They wanted to make an animated What We Do in the Shadows.”

Although discussions took place, the project never moved forward. Clement explained that his collaboration with FX effectively ended with the television series, which wrapped up its six-season run in 2024. “I feel like my work with FX was that one show and I think we’ve ended our relationship with FX. I feel like I’ll move on now.”

The bigger revelation arrived moments later. Rather than expanding the television version through animation, Clement disclosed that attention has shifted back to the property that started it all. “We’re writing another What We Do in the Shadows movie, like a sequel to the movie.”

The original 2014 film, co-written and co-directed by Clement and Taika Waititi, followed a group of eccentric vampires sharing a flat in Wellington, New Zealand. The low-budget horror comedy became a critical hit and eventually launched an entire franchise that included the long-running FX adaptation and the spin-off series “Wellington Paranormal.”

For now, Clement did not offer plot details, a production timeline, or any indication of whether Waititi will be involved. Still, the confirmation that a sequel is actively being written marks the most significant update fans have received in years regarding the future of the original vampire ensemble.

With the television chapter now complete, the franchise appears poised to revisit the world that introduced audiences to Viago, Vladislav, Deacon, and their uniquely chaotic version of undead life.

A New Ride for a Beloved Educational Franchise

First introduced through a series of children’s books created by writer Joanna Cole and illustrator Bruce Degen, “The Magic School Bus” became a staple of science education for generations of young readers. The stories followed the eccentric Ms. Frizzle and her students as they embarked on extraordinary field trips aboard a shape-shifting school bus capable of traveling through space, the human body, the depths of the ocean, and countless other destinations.

The franchise expanded well beyond publishing. In 1994, Scholastic’s books were adapted into an animated television series that aired on PBS and featured Lily Tomlin as the voice of Ms. Frizzle. The show ran for four seasons and earned a reputation for blending science lessons with imaginative adventures. Its popularity endured through reruns, home media releases, and later streaming availability.

A new generation was introduced to the property through Netflix’s “The Magic School Bus Rides Again,” which premiered in 2017. That series shifted the focus to Fiona Frizzle, the younger sister of the original teacher, voiced by Kate McKinnon, while Tomlin returned as Professor Frizzle. The revival ran for multiple seasons and updated the franchise’s educational focus for contemporary audiences.

The upcoming film marks the first live-action adaptation of the property. While plot details remain under wraps, the project signals another major expansion of a franchise that has remained part of children’s media for nearly four decades.

Banks remains busy both in front of and behind the camera. In recent months, she has headlined Peacock’s “The Miniature Wife” and signed on to star in and executive produce an upcoming Apple TV+ comedy from creators Liz Heldens and Matt Ward. Alongside those projects, she will now add one of children’s entertainment’s most recognizable roles to her résumé as the new Ms. Frizzle.

Keke Palmer Addresses Sean Evans Rumors After Years of Fan Interest

The conversation took place during Spotify’s Conversations That Channel Culture panel, where podcast host Jay Shetty asked Palmer whether things had become serious between her and Evans. Rather than providing a definitive label, she kept her answer simple: “We hangin out, you know what I mean?”

Palmer also spoke warmly about the popular interviewer, making it clear that their connection remains important regardless of how it is defined publicly. “First of all, I love Sean Evans. I love Sean, hey Sean. That’s my guy,” she said before adding, “You never know what can arise from there.”

Her remarks arrive after months of renewed attention surrounding the pair, whose history stretches back nearly a decade. Palmer first appeared on Hot Ones in 2017, an episode that quickly became a fan favorite thanks to their easy rapport. Subsequent reunions only strengthened the fascination, including a virtual interview during the pandemic and Palmer’s return to the show in late 2025, when the two shared an on-camera kiss that quickly spread across social media.

Interest in their relationship gained further momentum in May when Evans appeared on Palmer’s podcast, Baby, This Is Keke Palmer. During the episode, they revisited some of their most talked-about moments together and reflected on the connection audiences had noticed for years. Evans recalled feeling the same spark Palmer remembered from their earliest collaborations, telling her they had been on the “same wavelength” from the beginning.

Now, after reports of a Brooklyn dinner outing and Palmer’s latest comments in Cannes, fans appear to have received the closest thing yet to an official update. For the moment, however, Palmer seems content to keep things open-ended. “We just take it day by day,” she said. “One wing at a time so to speak.”

A New Era Begins for the ‘Blair Witch’ Franchise

The upcoming picture marks the fourth theatrical installment in the “Blair Witch” series and continues a revival effort that has been taking shape behind the scenes for several years. Lionsgate first began developing a new entry in 2022, with the intention of relaunching the property for a new generation of horror audiences.

Filmmaker Dylan Clark is directing the project from a script he co-wrote with Chris Thomas Devlin. Clark first gained widespread attention through the viral 2022 YouTube horror short “Portrait of God,” while Devlin has become a notable name in studio horror after writing Netflix’s “Texas Chainsaw Massacre” and the psychological thriller “Cobweb.”

While plot details for the new “Blair Witch” remain under wraps, franchise veteran Michael C. Williams previously indicated that the film will not be a remake and will instead bring the Blair Witch mythology back into focus through a new story.

The production team reflects the growing collaboration between some of horror’s most recognizable names. Jason Blum and James Wan are among the producers, alongside Roy Lee, Adam Hendricks, and Greg Gilreath. The project also brings together Blumhouse, Atomic Monster, and Lionsgate.

Several figures closely tied to the franchise’s origins are also involved as executive producers. Original creators Eduardo Sánchez and Daniel Myrick have returned, joined by producer Gregg Hale and original cast members Joshua Leonard and Williams.

That original movie remains one of the most remarkable success stories in horror history. Produced on a modest budget and propelled by an innovative marketing campaign that blurred the line between fiction and reality, “The Blair Witch Project “became a cultural sensation after its Sundance debut.

The franchise later expanded with “Book of Shadows: Blair Witch 2” in 2000 and the direct sequel “Blair Witch in 2016.” With a release date now locked in, the next chapter is officially on the calendar, setting the stage for the series’ first theatrical outing in more than a decade.

That score, however, does not put the newest installment at the top of the series. Instead, it lands “Toy Story 5” near the bottom of a series whose standards have remained unusually high for more than three decades. Audience reactions tell a slightly different story, with the latest chapter earning a 95% audience score, the strongest audience reception of any mainline “Toy Story” picture so far.

How ‘Toy Story 5’ Compares to the Previous Movies

Measured by critics’ scores on Rotten Tomatoes, the original “Toy Story” and “Toy Story 2” remain tied for first place with perfect 100% ratings. Those films continue to set the benchmark for the franchise and are among the most celebrated animated features ever released.

The next highest-ranked entry is “Toy Story 3,” which holds a 98% critics score. The 2010 title was widely praised for delivering an emotionally resonant conclusion to the saga at the time, and it remains one of Pixar’s most acclaimed releases.

“Toy Story 4” follows closely behind with a 97% critics score. Despite questions before its release about whether the franchise needed another sequel, the film earned strong reviews and eventually became one of the best-reviewed entries in the series.

That leaves “Toy Story 5” in fifth place among the five mainline movies, with its 93% critics rating. While that ranking may appear modest compared to its predecessors, the score still places it comfortably within Rotten Tomatoes’ “Certified Fresh” territory and well above the threshold most studios would consider a success.

Audience scores paint a different picture. “Toy Story” stands at 92%, “Toy Story 2” at 87%, “Toy Story 3” at 90%, and “Toy Story 4” at 94%. With a 95% audience rating, “Toy Story 5” currently leads the franchise among moviegoers. The film centers on Jessie, Woody, and Buzz confronting a new challenge as Bonnie becomes attached to a tablet named Lilypad, reflecting the story’s broader focus on technology’s growing role in childhood play.

Burrows, whose career spanned more than five decades and helped shape the modern sitcom, directed episodes of “Friends,” co-created “Cheers,” and became one of the most decorated comedy directors in television history.

Jennifer Aniston Remembers the Man Behind Some of TV’s Biggest Comedies

Aniston opened her tribute by acknowledging how difficult it was to put her feelings into words. “The hardest thing about writing this is that you spent a lifetime making people feel loved, and now it feels impossible to put all of that love into a few paragraphs.”

She then shared one of the memories that defined Burrows’ relationship with the Friends cast. “He called us his ‘kids,'” she wrote, recalling familiar phrases such as, “‘Where are the kids?'” and “‘Let’s see if the kids can make the joke work.’ No pressure.”

The actress also reflected on the place Burrows held in her life beyond the set. “His own incredible children were generous enough to share him with all of us who were lucky enough to experience his unicorn presence,” she wrote. “He was a father figure to me. He always checked in on me. He worried about me, celebrated me, taught me, guided me, and held me through the hardest times and the best of times. He spoiled us rotten.”

One lesson, in particular, stayed with her throughout the years. “Most of all, he taught us the kids how important it is to love and respect one another. To take care of each other. To have each other’s backs and support each other, no matter what.” Looking back on that bond, Aniston added, “And we did just that.”

Aniston concluded with a final message to the man she affectionately called “Papa Burrows”: “I miss your voice. I miss your laugh. I miss your brilliance.” She ended by returning to one of his favorite expressions: “Wherever you are, I hope someone is asking, ‘Where are the kids?'”

The Canadian actor, who died on June 20, 2024, built one of the most celebrated careers in film history, appearing in classics ranging from “MASH*” and “Don’t Look Now” to “Ordinary People” and “The Hunger Games” franchise.

Donald Sutherland Didn’t Want His First Major Collaboration With Kiefer to Be an Enemy Role

By the sixth season of “24,” Kiefer Sutherland’s Jack Bauer had become one of television’s most recognizable protagonists. When the series introduced Bauer’s father, Phillip Bauer, Kiefer reportedly hoped the role could be played by his own father.

Donald Sutherland was open to the idea at first. However, after reading the script, he discovered that Phillip Bauer was not a sympathetic father figure but one of the season’s principal villains. The character ultimately becomes involved in a conspiracy that puts Jack Bauer’s life at risk, turning the relationship into a bitter conflict rather than a family partnership.

According to accounts of the casting process, Donald suggested a different direction for the characters. He reportedly liked the idea of appearing opposite Kiefer but envisioned a relationship closer to the one shared by Sean Connery and Harrison Ford in “Indiana Jones and the Last Crusade,” where tensions existed but father and son ultimately worked together.

The producers chose to keep Phillip Bauer as an antagonist, and Donald declined the role. The part eventually went to James Cromwell, whose performance became a key component of the season’s storyline.

The decision remains one of the more revealing anecdotes from Donald Sutherland’s long career. Although he later appeared alongside Kiefer in the 2015 revisionist western “Forsaken,” he was unwilling to make their first major father-son pairing revolve around a parent plotting against his own child.

According to Deadline, the film has already generated $129.3 million worldwide and is now expected to outperform its initial global opening forecast of $275 million.

‘Toy Story 5’ Is Delivering One of Pixar’s Strongest Starts

The fifth installment is off to a particularly impressive start in North America, where it collected $71 million on Friday alone. That figure ranks as the second-biggest Friday ever for an animated feature, trailing only “Incredibles 2.” As a result, projections for the domestic opening weekend have climbed considerably, with current estimates ranging between $160 million and $170 million after earlier forecasts hovered closer to $140 million.

Internationally, the picture is proving equally resilient. After expanding into additional territories including the United Kingdom and China, “Toy Story 5” reached 48 markets worldwide. The United Kingdom delivered a $5.5 million opening day, setting a new opening-day benchmark for a Pixar release in the market, while China contributed $7.4 million and secured a leading position at the local box office.

Several major territories have embraced the sequel. Mexico led the way with $11.4 million, while France, Spain, Australia, Brazil, and Italy all posted strong openings. In Argentina, the film recorded one of the country’s best opening days of 2026 and quickly reached a $2 million running total. South Korea also debuted at No. 1 and captured half of the market share on opening day.

The strong results arrive despite years of discussion surrounding the franchise’s future. “Toy Story 5,” directed by Andrew Stanton, takes place two years after the events of “Toy Story 4” and centers on Jessie, Woody, and Buzz as they confront a new challenge in Bonnie’s life: a tablet named Lilypad that becomes her favorite source of entertainment. The story explores the growing role of technology in children’s lives and the struggle of traditional toys to remain relevant in a screen-focused world.

While it remains far from Pixar’s all-time opening record, currently held by “Inside Out 2,” the latest numbers indicate that “Toy Story 5” is positioned for a significantly larger debut than many analysts initially expected. For a franchise that has repeatedly been declared complete, the latest box office figures suggest audiences may not be ready to say goodbye just yet.

According to Slashfilm, which highlighted comments from “The Art of Toy Story 5,” co-director and co-writer Kenna Harris revealed that an earlier version of the film would have reunited Jessie with Emily decades after their original goodbye.

Pixar Once Planned a Direct Reunion Between Jessie and Emily

In the finished picture, Jessie returns to the farmhouse where Emily once lived. Rather than meeting her former owner, she discovers evidence that Emily carried those childhood memories into adulthood, a realization that becomes a crucial step in her emotional journey.

That was not always the plan. Harris revealed that an earlier draft featured a chance encounter between the two characters years later. “Emily was now a grandmother and introduced her beloved childhood doll to her grandbaby in a touching climactic sequence,” Harris said while discussing development artwork created for the scene.

The filmmaker also recalled exploring the idea visually during production. “I drew this in exploration of that special, nostalgia-filled moment,” Harris explained, referring to concept art depicting the long-awaited reunion. While the sequence never made it into the final version, it remained tied to one of the movie’s central emotional threads.

Even as the story evolved, the creative team never abandoned the importance of Jessie’s connection to Emily. “Though the film ultimately went in a different direction, we always knew that Jessie’s special connection to Emily would be key to ‘Toy Story 5,'” Harris noted.

Released on June 19, “Toy Story 5” follows Jessie, Woody, Buzz, and the rest of Bonnie’s toys as they confront a new challenge in the form of technology’s growing role in children’s lives. Set two years after “Toy Story 4,” the picture places Jessie at the center of the story while revisiting one of the franchise’s most beloved emotional arcs.

Pamela Anderson’s Advice Stayed With Olivia Wilde During a Difficult Period

Wilde explained that her connection with Anderson began after watching “Pamela, a Love Story,” the 2023 Netflix documentary that revisits Anderson’s rise to fame, her experiences with public judgment, and her efforts to reclaim her own story. “After I saw the documentary I reached out to her, and I was like, ‘Yo, respect. Just want to say big fan,'” she recalled.

Their exchange came at a time when Wilde was facing relentless attention tied to “Don’t Worry Darling,” the psychological thriller she directed and appeared in alongside Florence Pugh, Harry Styles, Chris Pine, Gemma Chan, KiKi Layne, and Nick Kroll. Long before audiences saw the film, headlines had become dominated by reports of alleged on-set tensions, questions surrounding casting changes, speculation about Wilde’s personal life, and a string of viral moments that often overshadowed discussion of the movie itself.

According to Wilde, Anderson was aware of the pressure she was under and offered a piece of guidance that left a lasting impression. Recalling the conversation, Wilde shared Anderson’s message: “The most rebellious thing you can do is stay soft. Don’t let it harden you.”

The filmmaker also acknowledged how difficult it was to remain silent while stories about her circulated online and across entertainment media. “It was so hard,” Wilde said, remembering her desire to publicly challenge claims she believed were inaccurate.

Released in 2022 following Wilde’s acclaimed directorial debut “Booksmart,” “Don’t Worry Darling” arrived in theaters after months of intense public fascination with its production. Looking back, Wilde described the criticism she endured as “so insanely disproportionate,” while emphasizing that her priority throughout the storm was ensuring the film reached audiences despite the distractions surrounding it.

Why Disney’s New ‘Moana’ Faces Different Expectations Than ‘Moana 2’

The forecast places “Moana” among the stronger family releases of the year, but comparisons to its predecessor are inevitable. “Moana 2” became one of Disney’s biggest recent theatrical successes, launching with a record-breaking Thanksgiving debut that reached $225.4 million over five days in 2024. Against that backdrop, the live-action adaptation is entering theaters with considerably lower early projections.

The upcoming picture revisits the story that first introduced audiences to the Polynesian heroine in 2016. Directed by “Fosse/Verdon” filmmaker Thomas Kail in his feature directorial debut, the movie stars Catherine Laga’aia as Moana, while Dwayne Johnson returns to portray Maui after voicing the character in the animated films. The cast also includes Rena Owen, John Tui, Frankie Adams, and Jemaine Clement, who reprises his role as Tamatoa.

Industry tracking indicates that interest among family audiences remains strong, particularly among women over 25 and younger girls. However, those measurements are currently trailing the levels recorded by “Moana 2” at a similar stage of its release campaign. The production is nevertheless performing ahead of several recent family titles in early audience surveys.

Another factor shaping expectations is the crowded family film marketplace. Disney’s “Toy Story 5” and Universal’s “Minions & Monsters” are also competing for attention during the summer season, creating a highly competitive environment for family audiences. The projected opening for “Moana” is currently comparable to the debut of Universal’s live-action “How to Train Your Dragon,” which opened to $84.6 million.

Announced in 2023, the live action adaptation was produced by Johnson alongside Hiram Garcia, Dany Garcia, Beau Flynn, and Lin-Manuel Miranda. The picture follows Moana as she leaves Motunui and journeys beyond the island’s reef with Maui in an effort to restore balance to her community.

According to Deadline, Cuthbert discussed her hiatus while promoting Prime Video’s new romantic drama “Every Year After,” where she plays a key supporting character in the series.

Why Elisha Cuthbert Chose to Step Away From Acting

Speaking during an appearance on Today, Cuthbert explained that the decision came after the birth of her second child. Reflecting on that period of her life, she said, “After we had our second, I realized—because I had worked all through the first four years of our first child—and it was really hard to separate that mom from the working person I was.”

Rather than immediately returning to work, Cuthbert decided to focus entirely on being present at home. “So, when we had our second, I just felt like I didn’t want to waste any second of it and I didn’t want to be on set,” she explained.

Looking back on those years away from Hollywood, Cuthbert said she has no regrets about stepping back from her career. “I just felt like I needed to be at home with the kids and I enjoyed every minute,” she said.

That perspective began to change as her children grew older. Cuthbert explained that “they’re in school now full time,” which has transformed how she feels about returning to work. “I feel like I have the space and the energy and the heart to kind of leave them and do it,” she concluded.

Her return comes through “Every Year After,” Prime Video’s adaptation of Carley Fortune’s bestselling novel “Every Summer After.” In the series, Cuthbert plays Sue Florek, the mother of Sam and Charlie Florek. The role marks her first major onscreen project since 2022.

A Massive Opening Puts ‘Toy Story 5’ in Rare Company

The picture’s estimated $71 million opening day total leaves it just shy of the animated first-day record established by “Incredibles 2,” which opened to $71.2 million including previews. While the difference is minimal, the result still places “Toy Story 5” among the strongest animated launches in box office history and marks the biggest first day for any film since “Deadpool & Wolverine” debuted in 2024.

Industry projections currently point to a domestic opening weekend between $160 million and $170 million. If those estimates hold, “Toy Story 5” will deliver the biggest domestic debut of the year so far and set a new opening weekend record for the long-running Pixar franchise. It would also rank as the second largest three-day opening ever for an animated movie, trailing only “Incredibles 2.”

The film’s momentum extends beyond North America. Since its international rollout began earlier in the week, “Toy Story 5” has accumulated roughly $129.3 million worldwide, giving Disney and Pixar another major theatrical success at a time when established family franchises continue to prove their value at the global box office.

Directed by Andrew Stanton, the fifth installment shifts much of the spotlight to Jessie as she, Woody, Buzz Lightyear, and the rest of Bonnie’s toys face a new challenge: competing with a tablet called Lilypad that becomes Bonnie’s favorite source of entertainment. The story explores the growing role of technology in children’s lives while revisiting many of the beloved characters that helped make the series one of Pixar’s defining franchises.

Audience response appears to be helping fuel the picture’s strong commercial performance. “Toy Story 5” received an A CinemaScore from opening-day moviegoers, continuing the franchise’s long track record of positive audience reactions. With Father’s Day weekend expected to provide an additional boost, all eyes are now on whether the sequel can maintain its momentum and secure a place among the highest grossing animated openings ever.

‘The Sopranos’ Cast Received an Unexpected Gift From James Gandolfini

At the height of show’s success, Gandolfini was not only the face of “The Sopranos” but also one of television’s highest paid actors. His performance as Tony Soprano earned widespread acclaim and helped transform the HBO drama into a cultural phenomenon that reshaped modern television.

Following a difficult period of contract negotiations between HBO and the hit’s star, production temporarily stalled as discussions continued. Then, Gandolfini learned that he was the only cast member receiving a share of certain DVD profits generated by the series.

Rather than keep the additional earnings for himself, the actor reportedly gathered members of the main supporting cast and personally distributed checks worth approximately $33,000 each. The gesture ultimately amounted to roughly half a million dollars from his own compensation package.

The reported gift was intended as a way of thanking his colleagues for their support during the production shutdown and acknowledging the ensemble effort behind the show’s success. While Gandolfini became synonymous with Tony Soprano, the series was built around a cast that included Edie Falco, Michael Imperioli, Lorraine Bracco, Tony Sirico, and many others whose performances helped define the acclaimed drama.

Thirteen years after Gandolfini’s death in Rome at age 51, stories about his work continue to be celebrated. Yet among cast members and longtime fans, this act of generosity remains one of the clearest examples of how the actor’s reputation extended well beyond the screen.

Ian McDiarmid Recalls George Lucas’ Perspective on the Prequel Era

Speaking to fans at the event, McDiarmid reflected on the staying power of the franchise and the generations that have embraced it over the years. Looking back on the prequel trilogy’s release, he recalled that Lucas never assumed the films would immediately win over everyone. “He saw early on, well, maybe his generation, my generation really, who saw the original movies will be a bit picky,” the actor said.

McDiarmid remembered how strongly children connected with the trilogy when it first arrived in theaters. “The kids were completely knocked out by it,” he stated, describing the enthusiastic response that contrasted with the criticism often dominating fan discussions at the time.

The performer also shared what he described as Lucas’ guiding philosophy during that period. “I make these films for everybody, but if an 8-year-old is happy, I’ll feel I’ve done my work,” Lucas reportedly told him.

The comments arrive at a moment when the prequel trilogy enjoys a far warmer reputation than it did during its original run. Many viewers who first discovered “The Phantom Menace,” “Attack of the Clones,” and “Revenge of the Sith” as children have since become a major part of the franchise’s fanbase.

Meanwhile, “Star Wars” continues to grow under Lucasfilm’s current leadership, with projects including “Ahsoka” Season 2, “Star Wars: Starfighter” starring Ryan Gosling, and Daisy Ridley‘s upcoming return as Rey helping chart the saga’s next chapter.

Billy Crudup Passed on Hopper Before David Harbour Made the Role His Own

The conversation began when Harbour, appearing in a pre-recorded video, encouraged the Duffer Brothers to finally answer a question he had avoided for years. He asked them to explain “how I came to be cast as Chief Hopper, and who had to say no to allow me to do that wonderful, incredible role?” adding that he had always “run away” whenever the subject came up on set.

Ross Duffer revealed that the production initially looked beyond Harbour when searching for the actor who would bring Hopper to life. During the discussion, host Josh Horowitz mentioned a rumor that the role had once been intended for Josh Brolin, a theory that Matt Duffer quickly shut down. “No, no no no no no. I’m sorry, I like Josh Brolin, it’s just that’s not accurate.”

Instead, the role had first been offered to Billy Crudup. “No, it was Billy Crudup,” Matt confirmed, revealing that the star ultimately passed on the opportunity to join the series. Reflecting on the timing, the filmmaker noted, “I don’t think he was doing much TV at the time.”

While many viewers now know Crudup for his Emmy-winning work on “The Morning Show,” he had already built an impressive career long before “Stranger Things” entered development, earning acclaim for films such as “Almost Famous,” “Big Fish,” “Mission: Impossible III,” “Watchmen,” and “Jackie,” while also establishing himself as a celebrated stage actor and Tony Award winner.

Crudup’s decision ultimately created an opening for Harbour, whose audition left an immediate impression on the creative team. “We just saw the tape and it was so clear instantly, right? This is Hopper. And we just cast him right then and there.”

Part of what sealed the deal was Harbour’s confidence in his interpretation of the character. Ross remembered a moment from the audition process when casting director Carmen Cuba asked whether he wanted to perform another take without a hat that partially covered his face. Harbour’s answer was brief: “No.” He walked out, and the creators felt they had found their man. As Ross later put it, “That’s the guy, that’s Hopper.”

Over five seasons, Hopper has become one of the most recognizable figures in the “Stranger Things” universe, a Vietnam veteran and small-town police chief whose personal losses shape much of the show’s emotional core. Harbour’s performance transformed the character into a fan-favorite, making it difficult to imagine Hawkins under anyone else’s watch.

In a statement shared with PEOPLE, Burrows’ family described him as “one of the most influential and beloved directors in television history,” praising not only his professional accomplishments but also his generosity and commitment to those around him. They emphasized that his impact extended far beyond the shows he directed, noting his role as a mentor and creative force whose work reached audiences around the world.

Career That Helped Define Television Comedy

Burrows began his television journey in the mid-1970s, directing episodes of “The Mary Tyler Moore Show” after transitioning from theater work. What followed was one of the most accomplished directing careers in television history. Over the years, he became known for his ability to elevate ensemble comedies, guiding performers through the precise rhythm and timing that helped make many of his shows cultural landmarks.

His name became permanently linked to “Cheers,” the iconic sitcom he co-created alongside Glen and Les Charles. Premiering in 1982, the series grew from a modest ratings performer into one of television’s defining comedies. Burrows directed the vast majority of its episodes and helped establish the tone that would influence countless sitcoms in the decades that followed.

Beyond “Cheers,” Burrows left his mark on a staggering number of acclaimed series. He directed episodes of “Taxi,” “Frasier,” “Friends,” “3rd Rock from the Sun,” “The Big Bang Theory,” and many others. He also directed every episode of “Will & Grace” during its original run and later returned for the revival.

By the time he reached the later stages of his career, Burrows had directed more than 1,000 television episodes and over 50 pilot episodes, achievements that few directors have matched. His contributions earned him 11 Primetime Emmy Awards, five Directors Guild of America Awards, and a Directors Guild Lifetime Achievement Award. NBC even dedicated a star-studded tribute special to him in 2016, bringing together casts from many of the shows he helped shape.

In their tribute, Burrows’ family wrote that he understood comedy as something deeper than simply generating laughs, describing it as a vehicle for “humanity, connection, and truth.” He is survived by his wife Debbie, his four daughters, and seven grandchildren.

While his death marks the end of a remarkable chapter in television history, the influence of his work remains woven into some of the medium’s most celebrated comedies.

Why ‘The Room Returns!’ Has Taken So Long to Reach Audiences

Produced by the nonprofit organization Acting For a Cause, “The Room Returns!” takes a distinctive approach to revisiting Tommy Wiseau’s 2003 film. Rather than reimagining the story, the project has its cast perform the original screenplay against green screen backdrops that recreate locations from the cult classic. Odenkirk leads the ensemble as Johnny, the role originally played by Wiseau, while the cast also includes Greg Sestero, Bella Heathcote, Mike Flanagan, Kate Siegel, Cameron Kasky, and director Brando Crawford.

The picture’s arrival comes after a lengthy and often confusing road to release. The remake was first reported in 2023 and was initially expected to debut that same year. Instead, updates arrived only sporadically over the following years. In 2024, Sestero indicated that work on the project was still ongoing, and in 2025 Odenkirk revealed that Wiseau had concerns about the remake’s release, believing it could be interpreted as making fun of the original title.

Despite those delays, the movie eventually surfaced through a handful of special screenings before securing its upcoming premiere. The event will also serve a charitable purpose, with proceeds benefiting amfAR, The Foundation for AIDS Research, and Blue Collaborative, a nonprofit organization that supports independent artists.

Crawford described the project as both a tribute and an experiment. In a statement, he said that “The Room” has spent two decades proving that audiences connect with authenticity rather than perfection, adding that “The Room Returns!” was created to celebrate that legacy while supporting causes important to the filmmakers. He also noted the contrast between the productions, pointing out that Wiseau’s original picture was made over the course of a year with a reported $6 million budget, while the remake was completed in a single day with volunteer participation.

The project’s subject remains one of the most unlikely cult success stories in modern cinema. Released in 2003, “The Room” followed a tragic love triangle involving banker Johnny, his fiancée Lisa, and his best friend Mark. Although widely criticized upon release and frequently labeled one of the worst movies ever made, the film developed a devoted following through midnight screenings and word of mouth. Its legacy later inspired Greg Sestero’s memoir “The Disaster Artist” and the acclaimed 2017 adaptation starring James and Dave Franco.

The comments arrive as interest continues to build around Luca Guadagnino’s forthcoming adaptation, which is being developed for Lionsgate with a screenplay by Scott Z. Burns. Unlike Harron’s 2000 film, the new project is expected to take a different approach to Ellis’ source material rather than revisit the earlier movie’s interpretation of the character.

Mary Harron Says Christian Bale Is Still Her Patrick Bateman

Harron was speaking with Dread Central while discussing the theatrical return of her 1996 picture “I Shot Andy Warhol,” recently restored by Janus Films. During the conversation, the subject turned to the future of “American Psycho” and the actor who might inherit one of cinema’s most infamous roles.

For Harron, however, the question barely exists. Reflecting on the casting process that led her to Bale more than two decades ago, she explained that the actor remains inseparable from the character. “Christian Bale is so firmly set in my mind, I can’t imagine anyone else doing it,” she said, before adding, “Once I do casting, I can’t imagine anyone else in the main role.”

Looking back at her work, she noted that once she settles on a lead performer, that choice becomes permanent in her view. “When I’ve done it, it’s like that’s it; that’s the person,” Harron said. “They’re just fixed for me.”

Released in 2000, “American Psycho” transformed Ellis’ novel into a sharp blend of horror and dark satire, with Bale’s portrayal of the image-obsessed investment banker helping the movie achieve lasting cult status.

Meanwhile, speculation surrounding the new adaptation continues. No actor has officially been announced as Patrick Bateman, though Austin Butler and Jacob Elordi have both been linked to the role in industry rumors. For Harron, though, the original remains unchallenged.

Speaking with Cinema ES, the actor addressed the possibility of returning for the upcoming crossover films, though he made it clear that he is not privy to every detail of Marvel Studios’ long term plans.

Tom Holland Weighs In on Spider-Man’s Avengers Future

Speaking about the two upcoming Avengers installments, Holland suggested that he remains largely in the dark about their storylines. “I don’t know a lot about those movies,” he admitted, before joking about his well-known tendency to let secrets slip. “I have a reputation for spoiling certain things, and I think the studios are keeping me away from the juicy details.”

The comments immediately caught attention because Spider-Man has not been officially announced among the principal cast members of “Avengers: Doomsday,” despite the character’s importance within the Marvel Cinematic Universe. While Marvel has unveiled an enormous roster that includes Robert Downey Jr.’s Doctor Doom, the Fantastic Four, the X-Men, and several Avengers veterans, Holland’s Peter Parker remains notably absent from the confirmed lineup.

Even so, the actor’s wording left the door open to future appearances. Referring to a potential return, Holland said, “When I do get to grace that set, I’m so curious about what that means for Peter and how that works.” He also described the prospect as “really cool” and added that he is “very excited about whatever it is that they do.”

For now, Holland’s immediate Marvel commitment is “Spider-Man: Brand New Day,” the fourth installment in his standalone Spider-Man series. Directed by Destin Daniel Cretton, the film follows the events of “Spider-Man: No Way Home,” with Peter Parker operating anonymously in New York after the world forgot his identity. The project is scheduled to arrive in theaters on July 31.

That release date has only intensified questions about Spider-Man’s role in Marvel’s broader plans. “Avengers: Doomsday” is set to follow later in 2026, with “Avengers: Secret Wars” arriving in 2027. As Marvel builds toward a multiverse collision involving heroes from several franchises, fans continue to watch closely for any hint that Holland’s web slinger will swing back into the center of the action.

Jamie Lynn Spears Reflects on the Public Backlash That Followed Her Teen Pregnancy

Long before she returned to television with Netflix’s “Sweet Magnolias,” Spears became the subject of widespread tabloid attention after revealing she was pregnant in 2007 during the height of Zoey 101’s popularity. Looking back, she remembers just how severe the reaction was.

“I was called the biggest letdown in the world,” she said, recalling the headlines that followed the announcement. The criticism was relentless enough that she was also told “my life was over,” admitting that “it was really, really tough not to believe those things.”

In the years that followed, Spears stepped away from Hollywood and focused on building a life around her daughter. She moved to Mississippi, where she could escape much of the attention surrounding her personal life. “It really was just me and her,” she said of those early years with Maddie. Faced with the realities of young motherhood, Spears remembered telling herself, “Look, this little girl needs you. You better figure it out.” Her goal, she explained, was simple: “I wanted to create a good, stable life for my daughter.”

As Maddie grew older, Spears became increasingly focused on the example she was setting. “I wanted her to have a mom she could be proud of,” she said. She was also determined to make sure her daughter never carried guilt about the circumstances surrounding her birth. “I wanted to make sure [she knew] that it wasn’t her fault that she got a mom who was 16 and pregnant,” Spears shared. In trying to get everything right, she admitted, “I think I was a bit of a helicopter parent.”

Now 18, Maddie sees those years through a different lens. Looking back on her childhood, she described her mother as “definitely strict but with good reason,” adding, “She just wants me to be safe.” At the same time, she believes their relatively small age gap created a unique bond. “We just had fun together because she did have me so young,” Maddie said.

Despite growing up connected to one of pop culture’s most famous families, Maddie insists her upbringing felt surprisingly ordinary. “I never felt different,” she said, crediting her mother with doing “a really good job of giving me a normal childhood.” Spears echoed that sentiment, noting that her daughter’s famous relatives were simply part of everyday life from the beginning. “She was born with everyone knowing who her family is, so there wasn’t anything odd about it because it’s pretty much all she’s ever known.”

As Maddie prepares to leave for college later this year, the interview offers a rare look at how both mother and daughter view a chapter that once dominated headlines.

Jeff Daniels and Brendan Fraser Set Course for ‘Starman’

Daniels will play Ed Watkins, a powerful executive who helped build a transformative company alongside Tom Adams, a visionary technologist portrayed by Fraser. While the two men are connected through their ambitious work, their relationship is described as far more personal than a standard business partnership.

The project was first announced with Fraser attached as the lead. His character is introduced as a forward-thinking innovator who launches a historic expedition to Mars. What begins as a landmark achievement for humanity soon becomes something far more urgent when unexpected circumstances leave him stranded millions of miles from home.

The premise has drawn attention for combining the large scale spectacle of a Mars mission with a deeply personal narrative. That blend of science fiction and human drama has already led many observers to compare the project to films such as “The Martian.”

The casting also brings together two actors who are experiencing particularly active periods in their careers. Daniels recently joined the fifth season of “The Morning Show” and is set to portray President Ronald Reagan in the historical drama “The Brink of War” Outside of screen work, he continues to oversee Michigan’s Purple Rose Theatre Company while performing music and producing his memoir-style audio series “Alive and Well Enough.”

For Fraser, “Starman” marks another high-profile addition to a career resurgence that gained momentum following his Academy Award-winning performance in “The Whale.” The actor has remained busy with projects including “Rental Family” and “Pressure,” while also preparing for a return to one of his most beloved roles in a new “The Mummy” sequel.

With Daniels now aboard, “Starman” adds another notable name to a film that is positioning itself as one of the more intriguing science fiction projects on the horizon.

The story unfolds in an affluent Miami community and revolves around a woman whose seemingly perfect life is upended by a shocking discovery about her husband.

‘Palm Grove’ Brings Together Two Stars on a Career High

“Palm Grove” centers on a wealthy wife who learns that her husband has been living a secret life. What begins as a revelation soon develops into a complex battle of manipulation and desire, placing the protagonist at the center of a dangerous struggle where trust becomes increasingly difficult to find.

The project arrives at a particularly busy moment for Ana de Armas. The actress recently expanded her profile as an action star by leading “Ballerina,” the “John Wick” franchise spinoff, and continues to be one of Hollywood’s most sought after performers. Her involvement in “Palm Grove” adds another high profile title to a filmography that has moved between prestige dramas, action films, and psychological thrillers.

Hudson is also enjoying a strong run professionally. In addition to starring in and executive producing Netflix’s “Running Point,” she earned some of the strongest reviews of her career for “Song Sung Blue.” The actress has also continued to branch out beyond acting through her music career and business ventures, making Palm Grove another notable addition to a period of sustained visibility.

While “Palm Grove” has yet to secure a distributor, the combination of Hudson and de Armas gives the project considerable momentum as it enters the marketplace. With a premise rooted in betrayal and two stars currently enjoying significant career success, it is already shaping up as one of the more closely watched packages seeking a home.

The picture, directed by Craig Gillespie, arrives in theaters on June 26 and follows Supergirl as she embarks on a galaxy-spanning quest for revenge alongside her dog Krypto.

Why Everyone Is Comparing ‘Supergirl’ to ‘Mad Max’

One theme surfaced repeatedly across the first wave of reactions: “Mad Max.” Rather than leaning heavily into colorful space opera territory, several viewers described a harsher universe filled with rough-edged worlds, dangerous characters, and a protagonist carrying significant emotional baggage.

Journalist Mike Ryan wrote that the film “looks and plays more like a Mad Max movie, with dirty worlds, gross villains and a self destructive hero,” adding that it was far different from what he initially expected.

That darker approach appears to be intentional. Based on the acclaimed comic “Supergirl: Woman of Tomorrow,” the title centers on a version of Kara who endured the destruction of Krypton in a far more traumatic way than her cousin Superman. DC Studios has previously described this incarnation as more jaded and closer to an antihero than the hopeful Kryptonian audiences are accustomed to seeing.

Other reactions highlighted the film’s blend of influences. CineXpress called it “a solid follow-up to last summer’s Superman,” describing the story as an intergalactic road trip that mixes emotional weight with large-scale adventure. The outlet also singled out Alcock’s performance, praising her portrayal of Kara as both “fierce and vulnerable.”

The AU Review similarly pointed to the picture’s darker edge, noting that it carries “MAD MAX vibes” while drawing motivation from a revenge-driven story reminiscent of “John Wick.” The reaction also praised Alcock’s lead turn and highlighted Jason Momoa‘s debut as the bounty hunter Lobo, saying he brings his signature chaotic energy to the DC Universe.

The comparisons align with comments previously made by director Craig Gillespie, who described “Supergirl” as a road movie set across multiple worlds and said the story explores the trauma Kara carries from her childhood. With early reactions emphasizing its rougher tone and Alcock earning consistent praise, “Supergirl” is already shaping up as one of DC’s most unconventional entries yet.