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Great news! “Rhythm + Flow Italy” is available to watch on Netflix UK!

 

Date Added: 19th February 2024

Known expiry dates are shown above as well as on the Last Chance page.

Want to keep forever? Try looking for ‘Rhythm + Flow Italy’ on Amazon (paid link)

History:

   19/02/2024: 5 Episodes (2024)

   31/03/2025: 2 Seasons (2025)

   22/06/2026: 3 Seasons (2026)

 

 

Synopsis:

A jury of hip-hop icons scours cities like Rome, Milan, Naples and Genoa for Italy’s next rap star in this competition with a mic-dropping €100,000 prize.

 

Age Ratings

Certificate: Suitable for ages 15 and up

 

Release Details

Year: 2026

Duration: 3 Seasons

Available Seasons: Season 1 (8 Ep), Season 2 (8 Ep)

 

Cast and Crew

Cast: Fabri Fibra, Geolier, Rose Villain, Guè

 

Production & Season Details:

Status: Returning Series”Rhythm + Flow Italy” is a TV show produced by Fremantle Italia. The show was originally broadcast on Netflix and premiered on February 19th 2024. So far there have been 3 seasons (comprising of 25 episodes) of “Rhythm + Flow Italy”. The most recent episode aired on April 14th 2025 and more seasons are expected in the future.

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In an era where the path to launching an indie film career is murkier than ever, everyone has a different suggestion about building an audience for your first project. Some people still swear by the festival circuit, while others insist it’s all about building a YouTube or TikTok audience first. There’s some truth to both of those answers, but Jocelyn Catt, Genu Lee, and Marco Bizio’s “Valley Daze” is proof of a viable third option that might be the best of all: putting the community first.

The independent TV pilot, which was filmed for a $30k budget in 2023, tells a “Clerks”-esque story about a group of skaters, drug dealers, influencers, artists, and wallflowers navigating a week of tumultuous youthful antics in the San Fernando Valley. But while the writing and performances are enjoyable, it’s most notable for its regionally specific details that could have only been crafted by people who grew up there.

The “Valley Daze” project is a collaboration between 100 Los Angeles locals who met each other at high schools around the San Fernando Valley. The film exists because of a crowdfunding campaign in which they pooled their resources with the hope of creating a comedy project that reflects the quirks of their neighborhoods.

That community-first ethos has powered its unique distribution strategy as well. The pilot, which hails from executive producer David Dastmalchian, has eschewed festivals or online distribution in favor of packed local screenings around the Valley. The project even attracted the attention of the Los Angeles City Council, which came on board to host a sold-out screening on Friday night with the hope of encouraging more intimate, community-based film projects to emerge in the area.

The event was spearheaded by Los Angeles City Councilmember Adrin Nazarian, who represents the East San Fernando Valley in Council District 2. On a call with IndieWire, he explained that he saw “Valley Daze” as a chance to remind the city that championing small filmmakers in the infancy of their careers is just as important as supporting massive studio projects.

“I was so impressed by the crew from ‘Valley Daze.’ These people for the most part are all Valley-based, Valley-grown. There was a common bond between each one of them across the school boundaries. They came together in their early 20s and made something really amazing,” Nazarian said. “You want to continue to foster that. Not only for that talent to be seen and to be recognized, but you want to nurture it so that it continues to grow here.”

He continued, “Where does a giant, almond-producing tree come from? It comes from one little seedling. When you give that chance, when you nurture it, when you do all the things necessary to make that little seedling thrive, it’s going to do a lot more. And that’s something we should never lose sight of.”

It remains to be seen what’s next for “Valley Daze.” More episodes could certainly be in the works, and its creators remain interested in developing it into something bigger. But whatever the case, there will be a packed house tonight of Valley locals who want to show what the project means to them. Every independent filmmaker should be so lucky.

The “LA City Council Presents: Valley Daze” screening takes place on Friday, June 19 at 6pm P.T at the El Portal Theater.

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The 28th Shanghai International Film Festival closed June 21 with its clearest statement yet on what the industry values most: new voices, deep pipelines, and an embrace of artificial intelligence that it insists will complement rather than displace the humans making films. Whether the industry believes that last part is another matter.

Debut Directors Had the Night — in Both Directions

When Zhong Kaifeng’s “Atlantic Rhapsody” claimed best feature film at the Golden Goblet Awards, it completed a sweep that no one had mapped in advance but felt, in retrospect, inevitable. The film – a loose, time-skipping portrait of a young man searching for his father against the freewheeling capitalist churn of late-1990s Northeast China – also won best cinematography for Hao Jiayue, whose previous work includes “A Song Sung Blue.” It is Zhong’s debut feature.”

The Asian New Talent section told the same story. Gong Yiwen’s “Her First Taste,” a campus-set identity film developed with support from the SIFF Project over the past three years, won both best film and best actress for lead Ma Fufu. Sompot Chidgasornpongse’s “9 Temples to Heaven” – the Thai director’s Cannes Directors’ Fortnight title – was a double winner in the section. Apart from the best screenplay prize, which went to “Hunter’s Moon,” every Asian New Talent award went to a debut feature.

That the two competition sections arrived at the same conclusion independently is less a coincidence than a signal. The jury, led by Tony Leung Chiu-wai in his first outing as a Golden Goblet competition president, was clearly reading the room – an industry thirsty for fresh creative energy in a market that has been dominated by established names.

The Pipeline Is the Point

Shanghai’s investment in new talent extends well beyond the competition program, and the 28th edition made that infrastructure more visible than any previous year. The festival’s Three-Pillar system – SIFF Project for project incubation, SIFF ING for emerging filmmakers, and SIFF YOUNG for industry-facing talent development – now operates as a structured ladder from idea to international exposure.

SIFF YOUNG unveiled its class of 2026, nine filmmakers selected from 59 applicants spanning directing, producing and screenwriting. Nominations came from established names including Jia Zhangke and Jojo Hui; the final-round jury was chaired by Wen Muye, himself a SIFF YOUNG alumnus from 2023. “The young creators we have selected boast outstanding talent and diverse styles,” Wen said. “They combine solid professionalism with independent thinking.”

Meanwhile, SIFF ING’s new Mobile Filmmaking Camp concluded with 10 short films shot entirely on iPhone by emerging Chinese directors, screened both on-site in Shanghai and online. The camp provided each participant with professional iPhone filmmaking equipment, production funding and technical mentorship across the full production cycle. It is the kind of initiative – small in scale, deliberate in design – that distinguishes SIFF from festivals that treat talent development as a press release rather than a program.

AI Is Everywhere, and the Jobs Question Won’t Go Away

Shanghai embedded AI more deeply into its main program than any previous SIFF edition – running dedicated workshops spanning image creation, audio tuning, AI writing and legal tutoring, and partnering with generative AI company MiniMax as an institutional collaborator. AI film showcases and AI-welcoming studio launches ran throughout the festival’s 10 days.

At the SIFForum panel on “Smart Tech, Immersive Worlds, The Next Film Revolution,” speakers identified three core challenges: computing power, distribution and the ability to direct generative video AI with precision. Yan Yijun, VP of AI foundational model builder MiniMax, called compute the “absolute core” of the problem. “For a generative video model to achieve greater fidelity, what you really need is greater computing power to repeatedly refine and experiment,” Yan said. “The more you experiment, the better to train certain aspects more effectively.”

The pace of change on the ground is already striking. One AI-first company that spoke with Variety at the festival disclosed that it had completed shooting a 120-minute live-action period epic in seven days, using AI background replacements, relighting and VFX work, with crew members standing in for performances that were later replaced by AI-generated actors. Panellists at AI forums throughout the festival repeatedly insisted that generative AI would be complementary to human creativity rather than a substitute for it. The anxiety in the room suggested the industry is not yet convinced.

China Wants the World — but the Red Tape Is Real

Unlike many festivals in China, which can be inward-looking in programming and industry focus, SIFF leans hard into its international standing. The 2026 edition drew more than 420 films selected from around 4,100 submissions across 125 countries, with managing director Chen Guo describing selection as guided by “the values reflected in each work and its premiere status,” alongside considerations of geographic representation and diversity of filmmakers by gender and generation.

The Belt and Road Film Festival Alliance, which the festival established in 2018, now counts 55 members from 48 countries. Chen described the initiative as transforming “cultural showcases into in-depth, long-term industrial cooperation.” A dedicated Egyptian Film Week marked the 70th anniversary of China-Egypt diplomatic relations.

But the SIFForum’s co-production panel delivered a franker assessment of the barriers to that cooperation. Yan Peng, deputy general manager of state-owned Huaxia Film Distribution, pointed to significant regulatory and copyright inconsistencies affecting Chinese producers working abroad – differences in approval qualifications, actor ratios, investment proportions and content censorship across regions. “From copyright to derivative IP rights, issues of inconsistency often exist,” Yan said. “Distribution cycles and currency settlements across theatrical, streaming, and TV ends also differ, which leads to cumbersome cross-border accounting.” Ambition and friction, it turns out, travel together.

The Festival Knows What It Is — and It Executes

The opening ceremony at the Grand Theatre drew a constellation of Chinese-language stars and set an unmistakable tone. The standout moment came not from Leung’s appearance as jury president, but from Lisa Lu – the “Crazy Rich Asians” actor who has already passed her 100th birthday by the Chinese calendar – receiving the Lifetime Achievement Award. “Shanghai is my hometown, and it is also where my artistic journey began,” Lu said from the stage. “Looking at so many outstanding filmmakers present here today, if there is an opportunity in the future, please get in touch with me. I have not retired. I will continue to act.”

That the ceremony opened with a performer hoisted on a robotic arm interacting with AI-generated projections, yet centered its emotional core on a centenarian actor declaring she was still available for work, was not incidental. It was SIFF’s thesis statement: a festival threading the needle between the technological and the irreducibly human. Translators at virtually every press conference, press pool photography accessible without a Chinese phone number, and rapid event transcripts – small things, but they reflect a festival that understands what international credibility requires. SIFF remains the only FIAPF-accredited competitive A-list feature film festival in China, and it produces an opening gala on the level of a major televised awards ceremony. That execution is not an accident.

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Paris-based production company Good Hero has announced feature animation Ballerina 2, a sequel to the aspirational 2016 hit Ballerina which was released in the U.S. under the title of Leap!.

Production on the film begins this month on the eve of the 10th anniversary of the successful release of the original film, which played in more than 100 countries worldwide to achieve a $120m gross.

The announcement signals the first step in Good Hero’s plans to expand the Ballerina universe across multiple media platforms, including film, television, and digital including YouTube.

Good Hero principals Gregory Ouanhon (Sisu, Valerian and the City of a Thousand Planets, Replicas) and Laurent Zeitoun (Fireheart, The Intouchables, The Death of Stalin, C’est la vie, Aline) are producing the film while the latter wrote the screenplay and is directing.

Gaumont, which also worked on Ballerina, returns as the French and international theatrical distributor, with a planned global release scheduled for late 2029.

The original Ballerina – which was voiced in English by Elle Fanning and Dane DeHaan and in French by Camille Cottin and Malik Bentalha – followed a young girl who flees a rural orphanage to pursue her dream of becoming a ballerina at the Paris Grand Opera House.

“Ballerina’s aspirational story of female empowerment has continued to resonate with new audiences over the last decade and is even more relevant today,” said Zeitoun and Ouanhon.

“The film embodies what it means to follow your dreams — the universal values of overcoming challenges, hard work and commitment, the power of artistic expression, and creating positive change in the world by being true to yourself. We want to expand the Ballerina universe and introduce this magical, heartwarming story to a new generation of young women who already personify these values.”

Gaumont’s Alexis Cassanet, EVP International Distribution & Co-Productions, said the company was happy to continue the Ballerina adventure with Ouanhon and Zeitoun.

“Ballerina remains one of the most successful independent animated films at the worldwide box office, demonstrating its strength and universal themes. The DNA of the franchise is timeless and has the power to delight multiple generations of families,” he said.

Separately, as part of the lead-up to a digital expansion of the Ballerina universe, Good Hero is also developing an animated television series to launch in wake of the new film.

Award-winning British Andrew Burrell, best known for writing on Matt Groening’s Netflix animated series Disenchantment and the BBC’s EastEnders, will serve as series writer.

Burrell was previously Head Writer and Script Editor on the animated series Sasha and Milo (2023–2024), which aired globally on Max, Banijay Studios, and Discovery Kids. He is also the writer behind the celebrated Danger Mouse reboot (2015–2019). Andrew Burrell is represented by Independent Talent Group.

The Ballerina 2 universe announcement follows hot on the heels of Good Hero’s Cannes Market presentation with StudioCanal/Mediawan of the first footage from its upcoming animated feature, Wings of Freedom, voiced by Eva Longoria and Nicholas Galitzine.

Set in Mexico, Salana, a cautious harpy eagle and devoted teacher, is thrust into the flamboyant Animal Air Force. Paired with quirky swift Lieutenant Pirro, she races to outsmart the mischievous AI, Eternity!.

Previously released Good Hero animated features include animated feature Fireheart (aka Vaillante), which was released in the U.S. on Hulu, and voiced in English by Olivia Cooke, William Shatner, and Kenneth Branagh.

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Paris-based production company Good Hero has announced

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“Ballerina” (‘Leap!), the animated feature global smash hit, is set to return with a “Ballerina” sequel and an animated TV series simultaneously in development. Paris-based Good Hero, also behind “Fireheart” and the upcoming “Wings of Freedom”), will produce the movie sequel “Ballerina 2,” with what it describes as an ambitious expansion of the “Ballerina” universe […]

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“Ballerina” (‘Leap!), the animated feature global smash

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Note: This story contains spoilers from “House of the Dragon” Season 3, Episode 1.

“House of the Dragon” Season 3 finally tackled the long-awaited Battle of the Gullet. And although Rhaenyra’s side was victorious, it was a botched win with heavy losses.

The plan for Team Black was to have Corlys Velaryon (Steve Toussaint) meet The Triyarchy — a large naval presence swayed to join Aegon and Team Green — in the Gullet. Things took a turn for the better — and then far worse — when Jace (Harry Collett) and Baela (Bethany Antonia) joined the battle with their dragons Vermax and Moondancer.

Compounding the bad choices, Jace decided it was best if Rhaenyra (Emma D’Arcy) was held in her chambers so that she wouldn’t either stop her son and heir from fighting in the battle or join herself and be killed. Only to end up dead himself by the end of the pivotal hour.


Collett told TheWrap that Jace’s decision and urgency behind it was born out of a kid who wanted to be a part of the war making a silly decision.

“I think just everything is pushing into one moment,” Collett said. “I think that it’s been a lot of pressure and a lot of buildup to this, and I feel like this is just something he feels like he has to do. I don’t really know how else to explain it, except that it’s just a kid making a silly decision, but he believes that this is what he was born to do. He feels like he has to prove himself as being the rightful heir to the Seven Kingdoms.”

While Jace was sure that joining the fight without his mom is the right move, Baela was much more hesitant. Antonia told TheWrap her concerns were in the very logical realm of knowing they don’t have the war experience to handle the battle themselves.

“She can just see so clearly that, as capable as she thinks they both are, she’s very aware that they are much younger and their dragons are much smaller than some of the dragons on the other side,” Antonia said. “As much as she wants to do this with him, I think she could just feel that it’s all very impulsive, and she doesn’t want to go. She knows Rhaenyra’s plan is to all go together, so she’s thinking we should just wait for the grownups and all go together and be really smart and really considered.”

She added: “I think Baela knows that she is pretty disposable to Rhaenyra, so she will be going anyway. She would rather have Jace stay at home and then get to go with the grownups, and then come back and tell him what’s happened, then go the two of them. That’s where her hesitance comes from.”

The two go at it themselves, though, and from their arrival it’s clear they’re in over their head despite riding dragons. Jace is nearly taken out in the first few minutes — foreshadowing his fate — before being bailed out by Baela. Collett pointed out that this was Jace’s first major battle in the war and the “naivety of not knowing” what the real thing is like.

Then Rhaena (Phoebe Campbell) showed up riding an untrained Sheepstealer. The dragon is clearly wild and does not consider sides. It flies on the scene and starts burning Trearchy and Velaryon ships alike. This new chaotic wildcard further complicates things for Jace and Baela, who turn their focus to the new dragon — not knowing Rhaena is the rider. Jace gets close enough to identify Rhaena but in doing so loses what is going on in the larger battle. Collett put the full blame for what happened next squarely on Rhaena and Sheepstealer.

“It’s all her fault,” he said.

While Jace and Vermax had a close call with Sheepstealer, The Triarchy reloaded and reaimed on the dragon. For the second time, the dragon was hit with a harpoon meant to drag the beast into the water. Baela wasn’t around to save them this time and Vermax went into the water and sunk to the bottom. Jace managed to unhook from the dragon saddle and rise to the top, clutching to a piece of debris. That sigh of relief goes away quick though. Jace floated up in front of a Triarchy ship and was pincushioned with arrows, dying almost instantly.

Harry Collett in "House of the Dragon" (Credit: HBO)
Harry Collett in “House of the Dragon” (Credit: HBO)

“The thing that surprised me when I watched the episode was the way that the music just stops, and then all you can hear is the arrows going into my body,” Collett said about Jace’s death. “Then it just ends with a sort of drone shot of the whole battle, and then fades to black. I think that was so powerful, because it just felt so real. The music left the room.”

He added that the Battle of the Gullet — and Jace’s death — being moved to Season 3 rather than ending Season 2, like originally planned, was nice for him because he got to talk about his character’s ending more openly.

“If it were the Season 2 finale, I wouldn’t have been allowed to speak about it on the Season 2 press tour,” he said. “Now I get to speak about it with all you guys, and I get to tell you all these amazing stories and say thank you for letting me be a part of this show.”

For Baela, the fallout of leaving for the battle, Jace’s death, and the (yet unknown) fact that her sister and Sheepstealer played a major part in his death, a lot of questions remain in the air. Antonia said that Baela is not aware that Rhaena was a part of the fight but learning so would “be catastrophic for them as a pair.” Her standing with Rhaenyra is also likely worse off for siding with Jace and heading to the battle without her, but with the heir dead there are new opportunities available for her the rest of the season — and they might not be as a member of the Targaryen family.

“I wouldn’t say she’s looking for power, I think purpose, definitely,” Antonia said. “I think community and family, I think from, she’s somebody who’s experienced loss from such a young age, and all she’s ever wanted is to have a family around her, and losing Jace is such a big blow, but it’s sort of the final blow. I think it’s the final thing that ties her to this side of her family.”

She finished: “And “Daemon has been pretty absent in most of her life, so she knows now that Rhaenyra is not going to look at her in the same way. And so her life with the Targaryens is just not going to be what it was. I think we’re going to see her this season, really remember that she is a woman of two houses and maybe look to the others for a bit of support.”

“House of the Dragon” airs Sundays at 6 p.m ET/PT on HBO and HBO Max.


George R.R. Martin attends the world premiere of "A Knight Of The Seven Kingdoms" at Zoo Palast on January 13, 2026 in Berlin, Germany. (Gerald Matzka/Getty Images)

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Global hit Webtoon webcomic “Lumine” looks set for another life as an animated series. Webtoon Productions, the U.S.-based studio and IP business of Webtoon Entertainment, has pacted with French animation studio OuiDo! Productions to develop an animated series version of the smash hit webcomic which has scored over 550 million views on Webtoon’s platform.

Webtoon Entertainment caught attention last November thanks to a deal with Warner Bros Animation to co-produce together adaptations of 10 fan-favorite Webtoon webcomic series for global distribution. 

The deal with OuiDo! shows it continuing to grow its international slate of animated and anime-inspired adaptations outside that WBA arrangement, focusing on some of its most popular franchises.

One prime example is author Emma Krogell fantasy friendship tale “Lumine”which ran on Webtoon from 2017 to 2024, with a hiatus. The adaptation will be introduced during this week’s Annecy Festival Mifa market in France which runs June 23-26.

A logline released by Webtoon Productions and OuiDo! on Monday confirms that the adaptation is once more set in a world where weredogs, witches, and humans live side by side. 

“Lumine is a down-on-his-luck weredog with nowhere to turn…until he meets antisocial witch boy Kody. One causes trouble wherever he goes, and the other attracts trouble like a magnet,” the logline runs. 

“Without realizing, Lumine has stumbled paws first into a family full of their own secrets. Kody is plagued by shadows, and his motivations for hiring Lumine aren’t nearly as simple as they seem. Things are far more dangerous than Lumine bargained for, and this is only the beginning,” the logline ends. 

A key art image shared with Variety picks up on the character design of the early part of the webcomic and shows Lumine and Kody plus a white-furred werewolf protecting two children from an attack by another werewolf. Surrounding the characters is woodland, a gothic mansion and two skyscraper buildings rearing on the horizon.

Screenwriter Bryan Q. Miller (“He-Man and the Masters of the Universe,” “Smallville”) will serve as showrunner and co-write the adaptation, working with OuiDo! Productions CEO Sandrine Nguyen and her creative team at Paris-based OuiDo! Productions.

The adaptation’s executive producers are Webtoon Productions President David Madden and Head of Global Animation Sydney Bright alongside OuiDo!’s Nguyen and President Boris Hertzog.  

“‘Lumine’ is exactly the kind of project we love to champion at OuiDo!: a beloved world, memorable characters, and a story with true emotional resonance,” said Sandrine Nguyen, CEO of OuiDo! Productions. 

“We are so excited to partner with Webtoon Productions, whose deep understanding of creator-led franchises and global fan communities is invaluable,” she added. “Having Bryan Q. Miller on board is another tremendous strength for the adaptation, bringing exceptional experience in crafting compelling character journeys. Together, we look forward to bringing Emma Krogell’s extraordinary world to animation for audiences worldwide.”

“Webtoon has transformed visual storytelling, and there is an enormous opportunity for us to adapt these incredible stories into new animated TV and film projects,” said David Madden, President of Webtoon Productions. 

“Fans around the world have connected with Lumine because of its incredibly lovable characters, emotional friendships, and unique blend of fantasy, humor, and mystery. At its core, it’s a story about belonging and found family wrapped in a visually imaginative world, which makes it especially exciting to bring to animation alongside OuiDo!, who brings expertise in developing animated entertainment from tentpole IP.”

The “Lumine” webcomic has been translated from English into French, Spanish, and German and Chinese (traditional and simplified). It has also been published in four graphic novel volumes by Penguin Random House and Webtoon Unscrolled. 

Announcement of its adaptation follows the January greenlight of Webtoon Productions’ animated series adaptation of “Lore Olympus” with Prime Video and The Jim Henson Company. Further animation makeovers in the works of Webtoon webcomic hits include “Apocalyptic Horseplay,”adapted by “Workaholics” co-creator Dominic Russo, and “Gosu” with Toei Animation and Studio Mir; “Eleceed” with DandeLion Animation Studio.

Founded in 2003 by Nguyen and Hertzog, Ouido! Productions has produced “Magicampers” for Disney Jr., “Alvinnn!!! and The Chipmunks,” co-produced with Bagdasarian Productions, and “Mickey Mouse Clubhouse+” for Disney Jr.

Having bought back OuiDo! from Technicolor Animation Productions in 2025, founders Nguyen and Hertzog have converted it into a full media group covering the full value chain of production, distribution and licensing and launching a dedicated studio for teen and adult animation with the “Lumine” adaptation its banner move in this drive.     

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Global hit Webtoon webcomic “Lumine” looks set

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Indian children’s entertainment company Emomee has unveiled its debut original animated series “Emomee,” introducing three characters – E, Mo and Mee – who guide young viewers through adventures spanning science, nature, friendship and discovery.

The company has released a trailer for the series, which comes as Emomee’s first major content milestone since drawing national attention earlier this year on “Shark Tank India” Season 5, where all five sharks made offers at the founders’ asking valuation of INR50 crore ($5.2 million).

“Our ambition is to build the next billion-dollar children’s IP from India. This series is an important milestone in that journey – using storytelling to help kids build confidence, curiosity and emotional intelligence while creating characters families can grow up with,” said Pooja Jauhari, founder and CEO of Emomee.

Founded in 2023 by Jauhari and co-founder and chief creative officer Varun Duggirala, Emomee has positioned itself around what it describes as a “life-skills-first” approach to children’s content, in contrast to the algorithm-driven, high-stimulation formats that have drawn scrutiny from parents and educators globally. Suraksha Subramaniam joined as a third co-founder, overseeing compliance and culture.

“We’re not building another show. We’re building an ecosystem around purposeful storytelling. The most enduring kids’ brands become a part of childhood memories because they create value beyond the screen. Our ambition is to build an Indian IP that children around the world grow up with and parents feel good about introducing to their kids,” said Duggirala.

Since its launch, the platform has accumulated 2.5 million subscribers and one billion views, with an audience spread across more than 100 countries including the U.S., the U.K. and markets across Southeast Asia.

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Indian children’s entertainment company Emomee has unveiled

MCU

The next Spider-Man TV show from Marvel Studios is facing a frustrating hurdle. The web-slinger remains one of Marvel’s biggest comic book characters, and as such, Marvel Studios is capitalizing on Spider-Man on every front, pushing him into live-action films, video games, and animation. Beyond the next major release of Tom Holland’s fourth MCU Spider-Man film, Marvel Studios has a second Spidey project waiting in the wings, but it has a challenge ahead of it.

Your Friendly Neighborhood Spider-Man is an animated multiverse story that tells Peter Parker’s origin during his high school years. Season 1 of the Marvel Animated show was released in 2025, and a second (and third) season was quickly revealed to be in development. Your Friendly Neighborhood Spider-Man Season 2 has since been on the release calendar for 2026, but without a firm date, and Marvel Television executive Brad Winderbaum just revealed why.

In an interview with ScreenRant, Winderbaum said that Your Friendly Neighborhood Spider-Man’s new season is “complete,” but they haven’t set a date for a frustrating reason. Winderbaum mentioned that “there’s a lot coming out this year,” pointing to Spider-Man: Brand New Day, VisionQuest, X-Men ’97 Season 2, and Avengers: Doomsday in Marvel Studios’ crowded 2026 schedule. The executive said they “want to give [Your Friendly Neighborhood Spider-Man] a good place to live and breathe.” 

Marvel Animation

Given complaints of superhero fatigue and overwhelm, particularly with Marvel Studios, DC Studios, and Sony Pictures all releasing their own competing superhero projects, it makes sense that Marvel is holding back on dating Your Friendly Neighborhood Spider-Man Season 2. Years of work go into these shows, and a good release window can make or break their success. 

Marvel particularly doesn’t want to impact the success of its own projects by having them release too close to one another, so allowing the proper breathing room between each of its 2026 projects is essential. 

Your Friendly Neighborhood Spider-Man is created by Jeff Trammell and stars the voices of Hudson Thames as Spider-Man, Colman Domingo as Norman Osborn, and Hugh Dancy as Dr. Otto Octavius. Season 1 was released on Disney+ on January 29, 2025. 

When Is Your Friendly Neighborhood Spider-Man Most Likely to Release?

Spider-Man with Avengers heroes in background.
Marvel Studios

Looking ahead at Marvel Studios’ release calendar for the remainder of 2026, it’s easy to see why Winderbaum and the Marvel TV team are struggling to find a place for Your Friendly Neighborhood Spider-Man Season 2.

2026 has already brought the releases of Wonder Man, The Punisher: One Last Kill, and Daredevil: Born Again Season 2, not to mention the rival Spider-Man release from Prime Video, Spider-Noir, in May. In the next six months, this is what Marvel Studios has dated on the calendar:

  • X-Men ’97 Season 2: July 1, 2026
  • Spider-Man: Brand New Day: July 31, 2026
  • VisionQuest: October 14, 2026
  • Avengers: Doomsday: December 18, 2026

There is very little breathing room between Marvel projects over the next six months, but one thing Your Friendly Neighborhood Spider-Man has in its favor is its short release schedule. The first season, despite comprising 10 episodes, was released over four weeks, with multiple episodes released weekly.

If Marvel chooses to do the same with Season 2, that means Your Friendly Neighborhood Spider-Man only needs one month to clear itself from other Marvel releases. An option for this would be between the release of Spider-Man: Brand New Day and VisionQuest, possibly in September, but the trouble there is that it would mean two back-to-back Spider-Man releases from Marvel (plus the Spider-Man-adjacent Wolverine game on September 15), which could result in oversaturation of the character. 

VisionQuest’s full release schedule has yet to be revealed, but if it finishes its run late in November, Your Friendly Neighborhood Spider-Man may have enough time to air before Avengers: Doomsday in December. 

Another potential and quite likely option is that Marvel Studios pushes Your Friendly Neighborhood Spider-Man Season 2 back into 2027, possibly claiming a January/February release slot next year, which would mimic Season 1’s release strategy. Alternatively, Marvel Studios may consider binge-releasing the show this year to give it more space between releases. 

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    DCU

    The principal star of Interview with the Vampire seasons one and two was Jacob Anderson as the undead Louis de Pointe du Lac. After all, he is the titular vampire being interviewed. But he takes a back seat for season three, now re-titled The Vampire Lestat. And this is in keeping with Anne Rice’s series of novels, as Louis just makes a minor appearance in the second book in the series. However, the AMC series gives Jacob Anderson as Louis a whole new storyline, one not from the novels. And they tie it to a plotline from IWTV season two, a story point also created just for the AMC series.

    The Talamasca Recruits Louis to Take Down the Fang Gang

    AMC Networks

    At the end of episode two, the Talamasca convinces Louis to handle a problem for them, essentially cornering Louis after a hotel meeting with Daniel Molloy. The vampire coven in Detroit that attempted to kill Lestat, the Fang Gang, has been making undue trouble. They’ve been selling fentanyl, keeping humans prisoners as a food supply, and just overall wreaking havoc. The Talamasca does not want to get its hands dirty, so they try to convince Louis to take care of its problem, just as he did in Paris with the Theater of the Vampires decades prior. They flatter him, telling him he’s quite good at dispatching those who trouble him.

    Jacob Anderson louis in the vampire lestat
    AMC Networks

    At first, Louis says “no thank you,” until Talamasca agent Raglan James mentions the leader of the Fang Gang, a vampire named Killer. But he used to go by another name, many years before. He once went by Bruce. And Louis instantly realizes who this Bruce is, especially after Raglan James shows him an old photograph. Once he hears that Killer is really Bruce, he agrees to take care of the problem for the Talamasca. Because this Bruce (Damon Daunno) is the same vampire who once tortured Claudia for weeks, then seemingly disappeared. Louis has waited a century for his revenge.

    THE VAMPIRE LESTAT’S Backstory, Explained in Linear Fashion

    In season one of IWTV, we learn that Claudia attempted to leave home, where she met the first vampire outside her family, a man named Bruce. He charms her at first, but later brutally sexually assaults her, and keeps her prisoner for weeks. She writes about the entire harrowing experience in her diary, which Louis reads from. He eventually abandons her and takes off for parts unknown, leaving Claudia traumatized for the rest of her life. In the present day, Louis learns Bruce survived until the present day, and now leads the Detroit coven. This is in keeping with Rice’s novel The Queen of the Damned, where Killer leads a motorcycle vampire gang.

    Louis Gets Revenge for Claudia

    A revenge driven Louis (Jacob Anderson) in The Vampire
    AMC Networks

    We see in episode three, “Toronto,” Louis goes full vampire slayer mode, and goes to the vampire coven house in Detroit. He dispatches all of the vampires providing security, decapitating more than one of them. Louis then frees their human prisoners. Covered in blood, he waits for Killer to get home. He finally arrives with his new bride, who we recognize as Baby Jenks, the vampire groupie from episode one. Louis pushes Baby Jenks out of the way, and cripples Killer. He then reads the passages of Claudia’s diary to him, detailing her harrowing ordeal with him that nearly destroyed her psyche. When he’s done, he lights the pages of the diary on fire, sets them on Killer’s head…and watches as the vampire once named Bruce burns to death after 100 years of causing so much pain.

    Louis Meets Regina, Claudia’s Human Doppelgänger

    delainey hayles as claudia in interview with the vampire season 2
    AMC Networks

    Afterward, Louis tells his new lover, Loumel, that he feels better after having done the deed. However, his somber facial expression suggests otherwise. Getting rid of Killer and his coven (except for Baby Jenks, who survives) didn’t bring Claudia back. So Louis goes to an all-night diner in New York, where he’s been following a young waitress who works there. Turns out, this waitress is an exact doppelgänger for his lost Claudia, only human. And British. This is how actress Delainey Hayles returns to the series, as a waitress named Regina.

    Louis (and Claudia’s?) Future in The Vampire Lestat

    Could Regina be Claudia reincarnated in human form? And can Louis ever forgive himself for everything that happened to her? None of these story elements, such as Louis’ revenge on Bruce or Claudia’s human doppelgänger, are from Rice’s novels. AMC’s The Vampire Lestat is truly going into uncharted territory for the character of Louis this season. And we can’t wait to see what his future holds. Judging from the opening moments of episode one, which take place in a future where Louis is crippled, it’s going to be a harrowing journey.

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    ⚡ Quick Take Jacob Anderson’s Louis has a storyline

    Comics

    Sony has removed mention of bringing its first-party titles to PC from an annual business report, seemingly confirming a major policy change.

    The new annual report was filed with the U.S. Securities and Exchange Commission this weekend, and thanks to analysis from Game File, some notable changes and omissions have been uncovered.

    Notably, a line from last year’s report that stated “Sony plans to continue its efforts to deploy its first-party titles to multiple platforms such as PC” had been cut entirely from the 2026 version.

    This is seemingly the first public admission by the PlayStation maker of a change in release strategy, following a Bloomberg report earlier this year that claimed Sony was pulling back from its plan to release its upcoming games on PC, with future single-player games set to become PS5 exclusives.

    PlayStation Studios CEO Hermen Hulst is said to have told staff in May that single-player titles from PlayStation, such as Ghost of Yotei, Saros and Marvel’s Wolverine, would remain console exclusives. In recent years, the company has ported its games to PC after their PS5 versions.

    Elsewhere in Sony’s business report, it has added a new section about how “Sony is utilizing AI to unleash the creativity of studios and further enhance the PlayStation experience.”

    Sony laid out its plan for the use of AI in PlayStation game development earlier this year and committed to its implementation.

    The Sony report has also removed the word “profitable” for its immediate aims, likely in light of the ongoing components shortage that has caused hardware prices to soar.

    In 2025, Sony was striving “to continuously expand the installed base of PS5.” This year, it says it “expects to be affected by the impact of increased prices and supply shortages of memory semiconductors.”