Marvel Studios is finally bringing back two characters who previously starred in ABC’s Marvel shows in the late 2010s in different 2026 projects. Since the MCU began in 2008 with Iron Man, the franchise has grown tremendously. Now, in 2026, there are dozens of films and TV shows, and fans have even seen some characters from other franchises, networks, and/or universes crossover.
While reporting on a new Broadway production, Variety confirmed that MCU star Hayley Atwell will be reprising her role as Peggy Carter in Avengers: Doomsday. Previously, Atwell was expected to return, and insiders teased that she would have her biggest role yet in an Avengers film.
ABC
The last time Atwell popped up in an MCU project was in Doctor Strange and the Multiverse of Madness. In that flick, she portrayed a Variant of the Peggy Carter fans were used to and was killed by Wanda Maximoff.
Notably, Atwell also starred in the Marvel series Agent Carter on ABC, a two-season production that ran from 2015 to 2016. Therefore, an actress from one of the ABC Marvel shows will be returning to the MCU in 2026. Most importantly, though, she won’t be alone.
It was also confirmed that James D’Arcy will return in 2026, another actor who had a prominent role in Agent Carter. D’Arcy portrayed Edwin Jarvis in that television show and will bring that character to life once again later this year.
ABC
Specifically, D’Arcy will pop up in VisionQuest, the Disney+ sequel to WandaVision and Agatha: All Along. D’Arcy will physically appear on-screen as a human version of the JARVIS artificial intelligence software that was originally integrated into Tony Stark’s Iron Man suits.
Jarvis was a real person, as shown in Agent Carter and Avengers: Endgame. However, this specific version in VisionQuest will only appear as the human version, when in reality, it will just be a manifestation of the AI program.
So, fans will get to see two major actors and characters from one of the ABC Marvel shows return in different projects in 2026. While those ABC titles may not be as popular as most regular MCU movies and series, the fact that the characters who appeared in them are still relevant in 2026 speaks volumes.
Other ABC Marvel Connections to the MCU in 2026
Cybertek’s Daredevil: Born Again Appearance
ABC
The Agent Carter characters returning in Avengers: Doomsday and VisionQuest aren’t the only connections to any of the ABC shows the MCU has or will include in 2026 projects.
For example, in multiple episodes of Daredevil: Born Again Season 2, a newspaper clipping could be seen on the wall that talked about Cybertek reaching a settlement agreement. No context was given for this newspaper headline in Born Again Season 2, but Agents of SHIELD diehards will know what it references.
Essentially, the “Cybertek Settles” headline is an Easter egg to Agents of SHIELD, as Cybertek was a corporation heavily involved in the main plot of that show’s first season. Cybertek worked directly alongside HYDRA to develop cybernetic tech, and it eventually turned Mike Peterson (an important Agents of SHIELD character) into a half-super soldier.
Agents of SHIELD’s VisionQuest Connection
Marvel Studios/ABC
While Marvel Television or Marvel Studios has not explicitly confirmed it, reports surfaced that the upcoming VisionQuest series on Disney+ will feature some connection to ABC’s Agents of SHIELD.
The exact connection to Agents of SHIELD in VisionQuest hasn’t been revealed, but it was referenced in a report from insider Alex Perez at The Cosmic Circus that “the connection” will have something “to do with AI:”
the wizzler: “Will Daisy Johnson be in ‘Vision Quest?’ Is that a safe bet at this point, or is it still very up in the air?”
Alex Perez: “No. The connection to ‘Agents of S.H.I.E.L.D.’ has to do with AI.”
Most likely, the Darkhold will come into play and be the reason the former Tony Stark AIs will have physical bodies. In Agents of SHIELD, an AI named AIDA used the Darkhold to give herself a soul. That soul could be put into a Life Model Decoy, which could be exactly how AIs like JARVIS, EDITH, and FRIDAY will appear to humans in VisionQuest. The Darkhold was featured heavily in WandaVision and Agatha All Along, so it would not be a surprise if it also popped up in VisionQuest.
Thirty years ago, Star Wars was undergoing a big revival. With a revamped toy line from Hasbro, the debut of the Star Wars Customizable Card Game, and the wild success of the “Expanded Universe” thanks to the novels and comics, the franchise was seeing its biggest boom in years. With the Special Editions and Prequels still on the horizon, however, Lucasfilm needed to keep the momentum going.
That’s where Shadows of the Empire came in! A multimedia event release, meant as a “movie without a movie,” complete with toys, a video game, and even a soundtrack to go with it. It was a massive, bold undertaking that would ultimately shape how Star Wars handled future endeavors beyond the films.
Bantam Books
Meet Lucy Autrey Wilson
Such a monumental task, required monumental effort from numerous creatives. But only one person could wrangle them all to make it happen: Lucy Autrey Wilson. At the time, she served as the Director of Publishing at Lucasfilm, but her history with Star Wars goes all the way back to the beginning. As George Lucas’ assistant in 1974, she has the unique distinction of being Lucasfilm’s first permanent employee and served in numerous roles over the decades.
Her extensive background within the franchise made her uniquely suited for shaping its future in the 90s, which proved fruitful when she picked Timothy Zahn to kick off a new line of novels with Heir to the Empire for Bantam Spectra. And again when she worked the deal with Dark Horse Comics to bring the iconic Dark Empire story to life. Truly, without Wilson, the Expanded Universe as we know it today, may have never existed.
She spearheaded the idea for Shadows of the Empire, penning the initial outline for the story spanning across the book, comic, and game, and even gave the infamous new villain, Prince Xizor, his name. These days Wilson spends most of her time painting and exploring her love of fine art, but I recently had the privilege to chat with her about the iconic multi-media project, and its impact, on its 30th anniversary.
Developing the Shadow
Shadows’ multi-media journey obviously started well before 1996, and initially came up as an idea during a 1994 meeting with Bantam publisher, Lou Aronica. “I liked the idea because I was always looking for ways to keep our publishing program exciting,” Wilson explained. “Back at Lucasfilm, I brought the idea to Howard Roffman, my boss and the head of Lucasfilm Licensing at the time.”
The timing turned out to be rather fortuitous. Originally, George Lucas planned to release the first Prequel film in 1997—which marked the original film’s 20th anniversary. The lead up to that release would put the Special Editions in 1996, but when Episode I’s release date pushed back, it left a big gap that needed filling.
Lucasarts
“Shadows fit the bill!” Wilson said. “[There was] a new opportunity to do something else—marketing wise—in 1996. Howard and I [then] came up with a rough story concept. We were limited in what we could do with many of the movie characters, so it made sense to come up with a new cast of characters. I remember discussing the need for a new powerful villain and exploring more of the criminal underbelly of the universe.”
A project on this scale, going beyond a single book title, required George Lucas’ approval. With his “OK” secured, planning began in earnest. Wilson told me, “A meeting [with the major participants] was set up for November 1994…to hash out a master plan that would include a hardcover book, comics, a computer game, and toy tie-ins being the main elements of the program for release in 1996. I thought it would be fun to also include a soundtrack (I was in charge of the books, comics and music) and made a deal with Robert Townson at Varese Sarabande to add this to the mix.
“I, my group’s book and comic editors (Sue Rostoni and Alan Kausch) then got together with folks from the Lucasfilm games group (Jon Knoles), the author of the proposed hardcover hired by Bantam (Steve Perry), folks from Dark Horse Comics, and others.” With this core creative team assembled, it was time to hammer out the story details more fully beyond the concepts Wilson had previously jotted down.
“This was to be a standalone book project,” she continued, “outside the period our other hardcover books were covering—after [Return of the Jedi]. [The] initial plan was to set the action between Star Wars and Empire Strikes Back but…Jon Knoles wanted the game to be set between The Empire Strikes Back and Return of the Jedi so the time period changed.
Lucasarts
“That meant Han Solo would still be frozen in carbonite, thereby taking him out of the action, which impacted what we could do in the book. We now had Princess Leia without her romantic interest, which caused me to wonder if there might be some interesting interaction between her and our new villain Xizor.
“That romantic angle, and the name of the new villain were my primary creative contributions. [Of course] to maintain Princess Leia’s good character, Steve Perry attributed that sexual attraction to pheromones, while other characters and plot points came up to satisfy gameplay.”
Letting Them Cook
Wilson’s role in making Shadows of the Empire happen is major, but she continued to emphasize the team aspect behind it all. “My main job after the deal and story were set up was to let my, very professional, team work with our book, comic writers, and editors…I was blessed at Lucasfilm with having really great publishing partners, who brought us professional talent and top editors.
“I also had an internal editorial staff who were top notch. I would get involved in the inception of [the] project, give my opinion on the creative content, but stay out of the way once things were going well. So it was my editors who primarily worked to coordinate between games and the publishers on who did what, when.”
Following that big meeting in November, everyone went their separate ways and got to work. While there was still some coordination on certain key elements, the different parts of the project were largely independent of one another. If you’ve ever wondered why there have been so many different depictions of Dash Rendar (between his muscle-bound look and more everyman appearance), this is why. “The hardest part of working on a multi-media project is that my team could only control the book, comic & music aspect. Not having control of everything could be frustrating.”
Frustrations aside, Wilson was undeterred in making Shadows of the Empire the best it could be. An experience that, even 30 years later, she continues to look on fondly. “One of the things I always enjoyed the most was working with talent….My favorite memory of working on Shadows was the chance to work with a team of [creators] at the top of their game.
Dark Horse Comics
“I loved meeting many talented artists including Drew Struzan (who illustrated many of the Bantam book covers, including the Shadows novel), and the brothers Hildebrandt who I met when they created a line of cards for Topps. Dark Horse Comics also introduced me to many very creative talents including Dave Dorman and Cam Kennedy. In house, Lucasfilm had some incredible talent including Doug Chiang and many others.”
Despite her emphasis on the team work necessary for the project, Wilson was far from idle herself during those years of development. “I spent more time on the soundtrack and other [Star Wars] books,” she explained. “My work on the soundtrack was like most projects: I spent the most time putting the right team together. Once we had a contract with Varese Sarabande, producer Robert Townson brought on Joel McNeely as composer.”
“The only thing I did after that was go to the recording session in Scotland, which wasn’t even really necessary!” She laughed. Throughout our chat, it was obvious how much fun Wilson had during her time at Lucasfilm and on this project. “Because everyone was enthusiastic about the program. Lucasfilm was an exceptional company to work for mainly because of George Lucas, and the quality of people who worked there.”
A Foundational Impact
With the release of the Special Editions the subsequent year, however, all projects turned their focus to the Prequels. Which meant despite its impact, Wilson says a sequel/follow-up for Shadows of the Empire was never really a consideration.
While Shadows of the Empire ended up as a one-and-done project, the legacy it left behind had a dramatic impact on the future of Star Wars storytelling beyond the big screen. Thanks to Shadows’ success the publishing/licensing arms of Lucasfilm were stronger than ever.
Lucasarts
“Much as I loved working on Shadows, I was happy to go back to projects managed primarily between my department and our publishing partners,” Wilson told me. “I think I preferred it when my department had more independence because I was spoiled.”
This didn’t, however, put Wilson off from such large-scale projects. Quite the opposite, in fact, as the lessons learned from pulling Shadows of the Empire together helped establish a blueprint for grand storytelling projects down the road. Including one of their most bold endeavors outside the films…
“There were ongoing, and constant, collaborations between the different teams, especially because everyone was enthusiastic about the program. When I negotiated the new agreement with Ballantine Books for the prequel movie tie-ins, I included a new multi book title—The New Jedi Order—project limited in scope primarily to books.”
Considering The New Jedi Order also served as something of a template/precursor to the more recent High Republic project, it’s fascinating to see just how important Shadows of the Empire turned out to be. None of which would have been possible if not for Wilson’s leadership and skill at picking talented people to make it all a reality.
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Even though I pay attention to these things for a living, I almost didn’t realize that Fortnite Chapter 7 Season 3 was coming up so quickly. It’s just two weeks away now, with Season 3 slated to launch on June 6, and we really don’t know anything about it. And that’s because there haven’t been any leaks about it.
Not a single. Dang. One. No stray strings of text or banner icons in the files indicating a new collab, or sketchy-sounding Twitter rumors about gameplay changes, or anything. It’s dead out there.
It’s a strange place to be for Fortnite fans, since we usually expect pretty much everything to leak. This is, after all, the game that leaked its entire 2024 roadmap and revealed nine months of collabs in advance. Fortnite leaks happen so frequently that it’s not uncommon to see folks online complain that they never get to experience a proper cycle of hype with new seasons because they always find out about things too early.
And now, here we are. Those folks are probably feeling pretty good right now, because they seem to have gotten what they wanted with this leak drought ahead of Chapter 7 Season 3. I don’t have any preference on that one way or another–I’m too old to worry about which Twitter account first revealed a new Fortnite skin–but I don’t think this situation is an accident. Epic actually already pulled off a similar trick in April with Fortnite Festival’s current season, when it managed to reveal Laufey as the new headlining artist without there ever being any leaks or rumors about her.
So what happened? Well, AdiraFNInfo happened. In January of this year, a new leaker came out of nowhere with a whole pile of original leaks that all proved to be accurate. Then, at the beginning of March, Adira’s Twitter account suddenly disappeared, and Epic revealed that they were actually a former contractor named Hayden Cohen, who they were suing for allegedly breaking a non-disclosure agreement tied to his gig with the company. Adira’s time as a leaker was over after two months.
Since then, more of Adira’s leaks have come true–the Overwatch, Game of Thrones, Peak, and Ben 10 collabs were all first leaked by Adira before the spigot was shut off. There are actually still three more left (Masters of the Universe, Minecraft, and Kingdom Hearts), so maybe we’ll see those in Season 3.
Ever since the Adira situation blew up, though, significant new leaks have been few and far between. It’s impossible for us, looking in from the outside, to say for sure what exactly happened. What happened with Adira would have spooked other insiders and made Epic more vigilant about that type of thing, possibly making it more difficult for leakers to get info from them. Epic could have gotten better about securing the game files so that dataminers can’t glean anything useful from new updates. Maybe Epic pressured the usual leakers, all of whom are Epic partners who have Support-a-Creator codes for the Fortnite item shop, into being quiet for a little while.
Since we don’t know what the cause actually is, it remains to be seen whether this leakless reality is going to be the new status quo for Fortnite. Fortunately, it doesn’t really matter too much, because Epic’s marketing campaigns aren’t what make Fortnite fun to play.
As Aleshea Harris makes her feature directorial debut, she’s establishing her own cinematic style, which pulls from many influences.
The Is God Is writer/director recently noted that despite several comparisons to Quentin Tarantino, she’s trying to do “my own thing” with the Southern Gothic revenge thriller, now playing in theaters.
“I don’t want to be like a poor man’s Tarantino, you know?” Harris told the Associated Press. “I am doing my own thing, and I hope that people recognize that. It seems like they are.”
With influences including Greek tragedies, Westerns, fairytales, Harris added, “I just sort of went on a feast, a buffet of like what did other people do that I loved.”
Noting films like O Brother, Where Art Thou?, Moonlight, Lady Snowblood and Amélie inspired her aesthetic, she wanted to create a world that was “three clicks to the left of center,” and she ultimately found “a world that feels like realism, but like ratcheted up.”
Based on Harris’ 2018 off-Broadway play of the same name, which received three Obie Awards, Is God Is follows twin sisters Racine (Kara Young) and Anaia (Mallori Johnson), who were burned as babies in a fire. When their disfigured mother, whom they refer to as God (Vivica A. Fox), summons them to her deathbed, she instructs them to kill their father, the Monster (Sterling K. Brown), who set the blaze years ago.
Now playing in theaters, Is God Is also stars Janelle Monáe, Erika Alexander, Mykelti Williamson and Josiah Cross.
Stranger Things has marked a lot of firsts for Netflix: it became the first original series to become a global hit and cultural phenomenon, the first series owned by the streamer and the first title Netflix has been able to turn into a licensing bonanza with a slew of consumer product deals. Now the supernatural coming-of-age drama, which wrapped its five-season run on New Year’s Eve, also has become Netflix’s first show with a presence at the Smithsonian.
It will be represented by Eleven’s (Millie Bobby Brown) signature outfit built around her iconic pink dress from Season 1. Ryan Lintelman, entertainment curator, Smithsonian’s National Museum of American History, announced the donation at a Netflix FYC event for the series at the Hollywood Forever Cemetery Thursday night attended by Stranger Things cast and crew, including creators/executive producers/directors Matt and Ross Duffer, director/executive producer Shawn Levy and stars David Harbour, Natalia Dyer, Jamie Campbell Bower and Noah Schnapp.
“This is amazing, thank you so much,” Matt Duffer exclaimed as he, Ross Duffer and Levy walked on stage to sign the deed of gift. (You can watch the signing video below.) Levy has his own history with the Smithsonian having directed and produced the 2009 feature Night at the Museum: Battle of the Smithsonian starring Ben Stiller, which is set there.
In his speech, Lintelman noted that Stranger Things “told a compelling and complex story with themes that resonate now and will stand the test of time: The deeply American skepticism of authority and established wisdom – especially the federal government and unethical activities in the pursuit of science and security,” before ad-libbing, almost apologetically, about his own status of a federal government representative to a big laugh from the audience.
The other themes from the show Lintelman highlighted as exemplified by Eleven’s costume include “The belief that a group of committed individuals can change the world, the idea that young people have a unique ability to see the truth that others can’t, and the power of friendship, courage, and love to overcome any obstacle.”
Lintelman also underlined the significance of the costume, designed by Kimberly Adams and Malgosia Turzanska, which will be part of the national collection at the Smithsonian.
“This costume so brilliantly illustrates Eleven’s journey to discover herself and claim her power,” he said. “Until this point in the series, Eleven had only worn hospital gowns and hand-me-downs, suggesting her lack of autonomy and individuality; when she first puts on the dress and a blonde wig, Eleven remarks that she looks pretty, a major step on her journey to self-awareness and empowerment.”
Lintelman also mentioned the dress’s cultural zeitgeist impact as one of the most sought-after costumes of the 2016 Halloween season.
Halloween costumes was the first area Stranger Things expanded into as a brand, followed by dozens of others, from toys and games to live experience to clothing and other consumer products.
‘Stranger Things’ EPs the Duffer Brothers and Shawn Levy sign the deed of gift for Eleven’s dress’s donation to the Smithsonian at a Netflix FYC event: “This is amazing!” pic.twitter.com/Tle8ay2Vbj
Historic numbers are in for the final episode of The Late Show with Stephen Colbert, as it averaged 6.74 million total viewers on Thursday, according to Nielsen’s preliminary live fast national ratings.
With those totals, Colbert delivered the most-watched weeknight episode in the show’s nearly 11-year history. Regarding Colbert’s most-watched episode ever, The Late Show scored 20.55 million total viewers for its post-Super Bowl episode on Feb. 7, 2016.
The 6.74 million figure is pretty respectable given today’s fractured TV landscape. The episode also drew more viewership than the show’s premiere with Colbert on Sept. 8, 2015, which averaged 6.55 million viewers.
During the first quarter of this year, The Late Show was seen by an average of 2.69 million viewers, according to Nielsen’s national live+7-day big data ratings.
Colbert’s final episode was a celebratory affair featuring celebrity cameos, musical numbers, and a sing-along with Late Show staff members.
The Beatles legend Paul McCartney was The Late Show’s surprise final guest, closing out the show with a live, in-studio performance of The Beatles’ “Hello Goodbye.”
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William Greaves‘ concept was as brilliant as it was simple: Throw a party for all the prominent, surviving luminaries of the Harlem Renaissance at the house of jazz legend Duke Ellington, and film the gathering cinéma-vérité style with three 16mm cameras. William’s son David — who ultimately came on to direct and finish “Once Upon a Time in Harlem,” years after his father passed away in 2014 — was one of the camera operators at Ellington’s house. While in Cannes to screen the film, David came by The American Pavilion, presented by IndieWire, to talk about his father’s original vision.
“He wanted to capture these people who made that time so special, and it’s unusual to have people who actually created an era all together in one place and talking about the time that has become legendary in the Black community,” said Greaves.
What William engineered that evening went better than he could’ve imagined, and while at the AmPav tent, David said his father often referred to it as the “most important” footage he ever shot. Which begs the question, why was the elder Greaves, one of the most groundbreaking and prolific nonfiction filmmakers of his generation, unable to finish the film?
According to David, his father did an initial pass in the editing room, and was fairly pleased with the results, but that ultimately William and his wife and creative partner Louise Archambault Greaves, saw the film as going far beyond what they filmed at the Ellingtons.
“In his film treatment, it wasn’t just the party,” said David. “My stepmother Louise kept shooting for the next 10 years, things that were happening in Harlem.”
In the original treatment, Sidney Poitier would do narration, commenting on the events, and there would be additional interviews, focusing on how the Renaissance impacted the present day.
“They kept shooting contemporary interviews, and running up to Harlem and catching various events,” said David. “In his treatment, it was a wider view of not just that time, but also what Harlem was in the ’80s, [and how] the whole Black arts movement had grown out of the Renaissance. And I think they wanted to show that impact on the current time and intellectual scene.”
A theme at the heart of the finished film is the exploration of how culture is passed down through the generations, and what’s fascinating is how well that is embodied by David’s choice to whittle the sprawling project down to just the party footage. The other major alteration David made to the original treatment — a project spurred by his stepmother, Louise, who passed away in 2023 — was to incorporate his father into the story on screen.
“I had said to Louise, after he passed, ‘Dad couldn’t finish the film because he had to be a part of it,’” said David.
The initial impetus to make the film was William having grown up in the shadow of the Harlem Renaissance, with his already incredible body of work at that point (“Symbiopsychotaxiplasm: Take One,” “Still a Brother: Inside the Negro Middle Class”) being a prime example of how what started in 1920s Harlem had rippled through the generations.
As David explained to the AmPav audience, he spent a great deal of time going through his father’s library, the books with elder Greaves’ notes in the margin, and spent time getting a better understanding of the ideas, references, and inspiration for the project. And those who will see the film will see William’s orchestration and framing of the event incorporated into it.
“He just wanted to capture this era, and yet he was so influenced by it that I felt that he had to be an integral part of it,” said David. “So that’s why it starts off the film, you see him, and then at the end of the film. And the idea frankly is to make sure that you were able to understand that this guy did this incredible thing.”
Watch the full conversation with David Greaves in the video above.
Once music festival season gets started each year, the rest of the summer can be a blur. You know there are tons of festivals of all shapes and sizes going on across the country—you remember seeing all those lineups trickle out earlier this year—but with so many options at your disposal, it can be hard to keep your schedule straight.
That’s why we’ve compiled this big list of 2026 summer music festivals, which chronologically lays out the noteworthy festivals taking place from Memorial Day weekend through Labor Day weekend in one place alongside event dates, locations, lineup information, and ticketing links. See you out there!
Sponsored 2026 Music Festivals
BLUE OX MUSIC FESTIVAL
Dates: June 25th–27th Location: Eau Claire, WI Lineup: Charley Crockett, Marcus King Band, Kurt Vile & The Violators, Daniel Donato’s Cosmic Country, The Dead South, Shadowgrass, Sierra Hull Tickets: On sale here.
ULTRA EUROPE
Dates: July 10th–12th Location: Split, Croatia Lineup: John Summit, Dom Dolla, Fisher, Calvin Harris, Sara Landry, I Hate Models, Martin Garrix Tickets: On sale here.
moe.down
Dates: July 16th–18th Location: Gilbert, PA Lineup: moe., Umphrey’s McGee, Daniel Donato’s Cosmic Country, bob., Ghosts of Jupiter Tickets: On sale here.
BIG RIVER GET DOWN
Dates: July 23rd–25th Location: Hamilton, OH Location: The Revivalists, Band of Horses, JJ Grey & Mofro, Fruition, Johnny Mullenax, J & The Causeways Tickets: On sale here.
CAMPOUT IN THE PINES
Dates: August 14th–15th Location: Eau Claire, WI Lineup: The String Cheese Incident, Lettuce, Leftover Salmon Tickets: On sale here.
HEAVY IS THE CROWN
Date: September 11th Location: Irvine, CA Lineup: Tyga, OhGeesy, Kamaiyah Tickets: On sale here.
TOTAL VIBEZ LIVE
Date: September 12th Location: Irvine, CA Lineup: Keyshia Cole, Mario, Pretty Ricky, 112 Tickets: On sale here.
BAD DAY
Date: November 14th Location: Wilmington, NC Lineup: The Revivalists, Grace Potter, Greensky Bluegrass, Ripe, Futurebirds, Lady Die Tickets: On sale here.
May 2026 Festivals
LIGHTNING IN A BOTTLE Dates: May 20th–24th Location: Bakersfield, CA Lineup: Empire of the Sun, Zeds Dead, Sara Landry, Mau P, Chase & Status, Barry Can’t Swim, Mochakk, Of the Trees, Tinashe, Daily Bread Tickets: On sale here.
DELFEST Dates: May 21st–24th Location: Cumberland, MD Lineup: The Del McCoury Band, The Travelin’ McCourys, Alison Krauss & Union Station ft. Jerry Douglas, Toy Factory Project, Blackberry Smoke, Marty Stuart & His Fabulous Superlatives Tickets: On sale here.
ROOSTER WALK Dates: May 21st–24th Location: Martinsville, VA Lineup: St. Paul & The Broken Bones, moe., Daniel Donato’s Cosmic Country, Kitchen Dwellers, Keller Williams, Mountain Grass Unit, Eggy, Maggie Rose, Dumpstaphunk, John Brown’s Body Tickets: On sale here.
JACKSONVILLE JAZZ FESTIVAL Dates: May 21st–24th Location: Jacksonville, FL Lineup: Parliament Funkadelic ft. George Clinton, Andra Day, Nile Rodgers & Chic, Ghost-Note, Kamasi Washington, Esperanza Spalding, Galactic ft. Jelly Joseph, Butcher Brown Tickets: Free.
BOTTLEROCK NAPA VALLEY Dates: May 22nd–24th Location: Napa, CA Lineup: Ludacris, Papa Roach, Mt. Joy, Slightly Stoopid, Rilo Kiley, AJR, Busta Rhymes, BigXThaPlug, Jon Bellion, Chaka Khan, Joan Jett & The Blackhearts, Bush, Tash Sultana Tickets: On sale here.
CALIFORNIA ROOTS Dates: May 22nd–24th Location: Monterey, CA Lineup: Rebelution, Tash Sultana, Soja, The Elovaters, The Movement Tickets: On sale here.
DARK STAR JUBILEE Dates: May 22nd–24th Location: Thornville, OH Lineup: Dark Star Orchestra, Little Feat, Melvin Seals & JGB w/ Mads Tolling, Peter Rowan w/ Sam Grisman Project, Kitchen Dwellers, Dogs In A Pile Tickets: On sale here.
GRIZTRONICS AT THE GORGE Dates: May 23rd–24th Location: Georga, WA Lineup: GRiZ, Subtronics, Of The Trees, LSDREAM, Boogie T, Alleycut Tickets: On sale here.
WARM LOVE COOL DREAMS Dates: May 23rd–24th Location: Chicago, IL Lineup: Courtney Barnett, Toro y Moi, The Jesus and Mary Chain, Tortoise, Whitney, Pixel Tickets: On sale here.
STRANGECREEK CAMPOUT Dates: May 22nd–25th Location: Greenfield, MA Lineup: Max Creek, Dirtwire, Pink Talking Fish, Badfish, Neighbor, Reprise, Bearly Dead, Minka, Consider the Source Tickets: On sale here.
NEWPORT BEACH JAZZ FESTIVAL Dates: May 29th Location: Newport Beach, CA Lineup: The Isley Brothers, Ledisi, Marcus Miller, Damien Escobar, Avery*Sunshine Tickets: On sale here.
BREAKAWAY OHIO Dates: May 29th–30th Location: Columbus, OH Lineup: GRiZ, REZZ, Disco Lines, Mersiv Tickets: On sale here.
GULF COAST JAM Dates: May 28th–31st Location: Panama City Beach, FL Lineup: Chris Stapleton, Post Malone, Riley Green, Keith Urban, Marcus King, 49 Winchester, Wyatt Flores, Ole 60 Tickets: On sale here.
ILLFEST Dates: May 29th–31st Location: Austin, TX Lineup: GRiZ, Excision, LSDREAM, NGHTMRE, ATLiens, Crankdat, G Jones, EPROM, EAZYBAKED Tickets: On sale here.
OGDEN MUSIC FEST Dates: May 29th–31st Location: Ogden, UT Lineup: Yonder Mountain String Band, Peter Rowan w/ Sam Grisman Project, North Mississippi Allstars, Michael Cleveland & Jason Carter, Steve Poltz, Bronwyn Keith-Hynes Tickets: On sale here.
OUTSIDE DAYS Dates: May 29th–May 31st Location: Denver, CO Lineup: Death Cab For Cutie, My Morning Jacket, Cage The Elephant, The Flaming Lips, Dawes, Tash Sultana, Goth Babe, Japanese Breakfast, Karina Rykman Tickets: On sale here.
PROJECT GLOW Dates: May 30th–31st Location: Washington, D.C. Lineup: Excision B2B Sillivan King, Zeds Dead, Disco Lines, Porter Robinson, ClooNee, LP Giobbi Tickets: On sale here.
RISE & VIBES Dates: May 29th–31st Location: Aztec, NM Lineup: Thievery Corporation, Collie Buddz, The Hip Abduction, Ott., Kbong & Johnny Cosmic Tickets: On sale here.
June 2026 Music Festivals
CATHEAD JAM Dates: June 5th–6th Location: Jackson, MS Lineup: Allen Stone, George Porter Jr. & Runnin’ Pardners, Eggy, High Fade, Shadowgrass, Toubab Krewe Tickets: On sale here.
FORCE FIELDS Dates: June 4th–6th Location: Cadott, WI Lineup: Zeds Dead, Tape B, Ganja White Night, LSDREAM, CloZee, San Holo, Boogie T, Maddy O’Neal Tickets: On sale here.
HIGH TIDE FESTIVAL Dates: June 5th–6th Location: Charleston, SC Lineup: The Chainsmokers, Louis the Child, Bob Moses (Club Set), Bunt., Elderbrook (DJ Set) Tickets: On sale here.
LET’S GO MUSIC FEST Dates: June 5th–6th Location: Crownsville, MD Lineup: Sublime, AJR, Fitz and The Tantrums, Natasha Bedingfield, Judah & The Lion, Matt And Kim Tickets: On sale here.
MOUNTAIN MUSIC FESTIVAL Dates: June 4th–6th Location: New River Gorge, WV Lineup: Andy Frasco & The U.N., Melvin Seals & JGB, The Floozies, Here Come the Mummies, Tropidelic, Big Something, Dirtwire, Bumplin’ Uglies, SunSquabi, lespecial Tickets: On sale here.
MOUNTAINS OF MUSIC Dates: June 4th–7th Location: Vail, CO Lineup: Allman Betts Band Family Revival, Eric Krasno & Friends, Mountain Grass Unit Tickets: On sale here.
BEYOND WONDERLAND CHICAGO Dates: June 6th–7th Location: Chicago, IL Lineup: TIESTO, Excision, ZEDD, Zeds Dead, DJ Snake, Green Velvet, San Holo Tickets: On sale here.
CAROLINA COUNTRY MUSIC FEST Dates: June 4th–7th Location: Myrtle Beach, SC Lineup: Post Malone, Blake Shelton, Luke Bryan, Riley Green, Justin Moore, Cole Swindell, Chris Janson Tickets: On sale here.
CHICAGO BLUES FESTIVAL Dates: June 4th–7th Location: Chicago, IL Lineup: TBA Tickets: Free.
CMA FEST Dates: June 4th–7th Location: Nashville, TN Lineup: Blake Shelton, Bailey Zimmerman, Cody Johnson, Carly Pearce, Deana Carter Tickets: On sale here.
COSMIC KINECTION Dates: June 2nd–7th Location: French Village, MO Lineup: OPIUO, Zingara, Moontricks, Wreckno, Ayla Nereo, Wookiefoot Tickets: On sale here.
GOVERNORS BALL Dates: June 5th–7th Location: Queens, NY Lineup: Lorde, Stray Kids, A$AP Rocky, Baby Keem, Kali Uchis, Jennie, Pierce the Veil, Major Lazer, Geese, Dominic Fike Tickets: On sale here.
KERRVILLE FOLK FESTIVAL Dates: May 21st–June 7th Location: Kerrville, TX Lineup: Steep Canyon Rangers, Andy Frasco & The U.N., S.G. Goodman, Yasmin Williams, Lilly Hiatt Tickets: On sale here.
MILWAUKEE METAL FEST Dates: June 4th–7th Location: Milwaukee, WI Lineup: Acid Bath, Killswitch Engage, Ministry, Power Trip, Obituary, After the Burial Tickets: On sale here.
RAILBIRD Dates: June 6th–7th Location: Lexington, KY Lineup: The Lumineers, Tyler Childers, Caamp, Zach Top, Mt. Joy, Ella Langley, Stephen Wilson Jr. Tickets: On sale here.
BUCKEYE COUNTRY SUPERFEST Date: June 13th Location: Columbus, OH Lineup: Tyler Childers, The Red Clay Strays, Lord Huron, Sierra Ferrell, Flatland Cavalry, KAitlin Butts Tickets: On sale here.
FIELD OF DREAMZ Date: June 13th Location: San Diego, CA Lineup: Sublime, Slightly Stoopid, Stephen Marley, The Elovaters, Pepper Tickets: On sale here.
NEW YORK STATE BLUES FESTIVAL Dates: June 11th–13th Location: Syracuse, NY Lineup: Gary Clark Jr., Eddie 9V, Vanessa Collier, Matt Tarbell, Matt Tarbell and Phil Petroff Tickets: Free.
ROCK THE SOUTH Dates: June 11th–13th Location: Decatur, AL Lineup: Jason Aldean, Riley Green, Zach Top, Jessie Murph, BigXThaPlug, Brantley Gilbert, Travis Tritt Tickets: On sale here.
ALL GOOD NOW Dates: June 13th–14th Location: Columbia, MD Lineup: Widespread Panic (2 nights), Claypool Gold, Greensky Bluegrass, Dark Star Orchestra, Larkin Poe, The Wood Brothers, Lettuce, The Hip Abduction, Leftover Salmon Tickets: On sale here.
BONAROO Dates: June 11th–14th Location: Manchester, TN Lineup: Skrillex, The Strokes, RÜFÜS DU SOL, Noah Kahan, GRiZ, Turnstile, Teddy Swims, The Neighbourhood, Role Model, Mt. Joy, Major Lazer, Jessie Murph, Geese, Yungblud, Alabama Shakes, Tedeschi Trucks Band, Chase & Status, Rainbow Kitten Surprise, Tickets: On sale here.
COUNTRY SUMMER MUSIC FESTIVAL Dates: June 12th–14th Location: Santa Rosa, CA Lineup: Keith Urban, Cole Swindell, Koe Wetzel, more artists TBA Tickets: On sale here.
FLAGSTAFF FOLKS FESTIVAL Dates: June 13th–14th Location: Flagstaff, AZ Lineup: TBA Tickets: On sale here.
GRIDLIFE MIDWEST Dates: June 12th–14th Location: South Haven, MI Lineup: Crankdat, Tape B, INZO Tickets: On sale here.
REGGAE RISE UP OREGON Dates: June 12th–14th Location: Redmond, OR Lineup: Rebelution, Dirty Heads, Soja, Tash Sultana, 311, Burning Spear, Lettuce Tickets: On sale here.
VANS WARPED TOUR Dates: June 13th–14th Location: Washington, D.C. Lineup: Coheed and Cambria, GWAR, Third Eye Blind, Jimmy Eat World, Suicidal Tendencies, Rise Against, Hawthorne Heights Tickets: On sale here.
NELSONVILLE MUSIC FESTIVAL Dates: June 18th–20th Location: Nelsonville, OH Lineup: Geese, Marcus King Band, Fruit Bats, Wednesday, S.G. Goodman, Big Freedia, Mikaela Davis Tickets: On sale here.
SUMMERFEST Dates: June 18th–July 4th Location: Milwaukee, WI Lineup: The Roots, Whiskey Myers, Father John Misty, Megadeth, Third Eye Blind, Styx, Stephen Marley, Spoon, Marcus King Band Tickets: On sale here.
ROXX FEST Dates: June 19th–20th Location: Portage, IN Lineup: Daughtry, Simple Plan, Bowling For Soup, Skillet, Hawthorne Heights Tickets: On sale here.
SUMMER JAM Dates: June 19th–20th Location: Eau Claire, WI Lineup: Third Eye Blind, Styx, The Wallflowers, Bret Michaels, Blue Öyster Cult, Gin Blossoms, Spin Doctors Tickets: On sale here.
TAILGATE N’ TALLBOYS Dates: June 18th–21st Location: Bloomington, IL Lineup: Zach Top, The Red Clay Strays, Treaty Oak Revival, Jessie Murph, Wyatt Flores Tickets: On sale here.
THE COUNTRY FEST Dates: June 17th–20th Location: North Lawrence, OH Lineup: Zach Top, Kane Brown, Treaty Oak Revival, Jordan Davis, Brantley Gilbert, Lanie Gardner Tickets: On sale here.
WINNETKA MUSIC FESTIVAL Dates: June 19th–20th Location: Winnetka, IL Lineup: Trombone Shorty & Norleans Avenue, Father John Misty, Grace Potter, Petey USA Tickets: On sale here.
WINSTOCK Dates: June 19th–20th Location: Winsted, MN Lineup: Dierks Bentley, Luke Bryan,Muscadine Bloodline, Mitchell Tenpenny Tickets: On sale here.
ZOOTOWN Dates: June 19th–20th Location: Missoula, MT Lineup: The Lumineers, The Chicks, Rainbow Kitten Surprise, Tedeschi Trucks Band, Trampled By Turtles, The Head and the Heart Tickets: On sale here.
BAREFOOT COUNTRY Dates: June 18th–21st Location: Wildwood, NJ Lineup: Post Malone, Eric Church, Miranda Lambert, Kelsea Ballerini, Cole Swindell, Shaboozey Tickets: On sale here.
BOONERANG Dates: June 19th–21st Location: Boone, NC Lineup: Fireside Collective, Kaleta & Super Yamba Band, Toubab Krewe, Sam Fribush Organ Trio Tickets: On sale here. Tickets: Free.
FATHER’S DAY BLUEGRASS FESTIVAL Dates: June 18th–21st Location: Grass Valley, CA Lineup: The Bluegrass Cardinals, Sam Grisman Project, The Po’ Ramblin’ Boys, Bronwyn Keith-Hynes Tickets: On sale here.
GREEN RIVER FESTIVAL Dates: June 19th–21st Location: Greenfield, MA Lineup: Charley Crockett, Spoon, Geese, The Beths, Kurt Vile & The Violators, Wednesday, Lucius Tickets: On sale here.
HUDSON RIVER MUSIC FESTIVAL Dates: June 21st Location: Croton, NY Lineup: Jesse Welles, Grahame Lesh & Daniel Donato, Margo Price, Wolf Bros ft. Don Was, Jay Lane, Jeff Chimenti Tickets: On sale here.
NORTHLANDS Dates: June 19th–21st Location: Swanzey, NH Lineup: Joe Russo’s Almost Dead, The Disco Biscuits, Dirty Heads, Dogs in A Pile, Lotus, Circles Around the Sun, Andy Frasco & The U.N., Little Stranger Tickets: On sale here.
POINT BREAK Dates: June 20th–21st Location: Virginia Beach, VA Lineup: Sublime, Slightly Stoopid, Rebelution, Dirty Heads, Pepper, The Movement, The Elovaters Tickets: On sale here.
RED WING ROOTS Dates: June 19th–21st Location: Mount Solon, VA Lineup: The Wood Brothers, The Beths, Lucius, Big Freedia, Mon Rovîa, Squirrel Nut Zippers Tickets: On sale here.
SAWTOOTH VALLEY GATHERING Dates: June 18th–21st Location: Stanley, ID Lineup: Railroad Earth (2 nights), Built to Spill, Andy Frasco & The U.N., Kitchen Dwellers, BALTHVS Tickets: On sale here.
TELLURIDE BLUEGRASS Dates: June 18th–21st Location: Telluride, CO Lineup: Tedeschi Trucks Band, Gregory Alan Isakov, Larkin Poe, Greensky Bluegrass, Punch Brothers, The Infamous Stringdusters, Leftover Salmon Tickets: On sale here.
BIG PONDEROO Dates: June 26th–27th Location: Sisters, OR Lineup: The California Honeydrops, Steep Canyon Rangers, Fruition, Mountain Grass Unit, Big Richard Tickets: On sale here.
BLUE OX MUSIC FESTIVAL Dates: June 25th–27th Location: Eau Claire, WI Lineup: Charley Crockett, Marcus King Band, Kurt Vile & The Violators, Daniel Donato’s Cosmic Country, The Dead South, Shadowgrass, Sierra Hull Tickets: On sale here.
BOISE MUSIC FESTIVAL Dates: June 27th Location: Boise, ID Lineup: Marshmello, Sean Paul, Everclear, Eve 6, MKTO, Julia Cole, Botcash Tickets: On sale here.
BREAKAWAY MINNESOTA Dates: June 26th–27th Location: St. Paul, MN Lineup: Gryffin, Knock2, Levity, Subtronics, Zedd Tickets: On sale here.
COCONINO CAMPOUT Dates: June 26th–27th Location: Flagstaff, AZ Lineup: NGHTMRE, ATLiens, Ray Volpe, GHNGAR, Blossom, KLO Tickets: Sign up for pre-sale here.
COTTON FEST Dates: June 25th–27th Location: Lubbock, TX Lineup: Flatland Cavalry, 49 Winchester, William Clark Green, Josh Abbott Band Tickets: On sale here.
COUNTRY STAMPEDE Dates: June 25th–27th Location: Bonner Springs, KS Lineup: Treaty Oak Revival, Zach Top, Rascal Flats, Wyatt Flores, Scotty McCreery, Tacy Lawrence Tickets: On sale here.
HOOFBEAT Dates: June 25th–27th Location: Cadott, WI Lineup: Jason Aldean, Bailey Zimmerman, Kane Brown, Russell Dickerson, Nate Smith, Neal McCoy Tickets: On sale here.
JACKALOPE JAMBOREE Dates: June 25th–27th Location: Pendleton, OR Lineup: Turnpike Troubadours, Shane Smith & The Saints, Kaitlin Butts, Rattlesnake Milk, Summer Dean, Taylor Hunnicutt Tickets: On sale here.
PALM TREE HAMPTONS Date: June 27th Location: Southampton, NY Lineup: Kygo, The Chainsmokers, Disco Lines, It’s Murph Tickets: On sale here.
ROMP Dates: June 24th–27th Location: Owensboro, KY Lineup: I’m With Her, Punch Brothers, Marty Stuart & His Fabulous Superlatives, Ricky Skaggs & Kentucky Thunder, Del McCoury Band, The Infamous Stringdusters Tickets: On sale here.
BEYOND WONDERLAND AT THE GORGE Dates: June 27th–28th Location: George, WA Lineup: REZZ, Black Tiger Sex Machine, Liquid Stranger, Dr. Fresch, Fisher, Green Velvet Tickets: On sale here.
BLUES FROM THE TOP Dates: June 26th–28th Location: Winter Park, CO Lineup: The Wood Brothers, Kenny Wayne Shepherd, Los Lobos, Marc Broussard, Jimmie Vaughan Tickets: On sale here.
ELECTRIC FOREST Dates: June 25th–28th Location: Rothbury, MI Lineup: ILLENIUM, Excision, KASKADE, GRiZ, Shpongle, T-Pain, The String Cheese Incident Tickets: On sale here.
ITHICA REGGAE FEST Dates: June 26th–28th Location: Ithica, NY Lineup: 10 Ft. Ganja Plant, Third World, Jesse Royal, The Skatalites, Papa Michigan Tickets: On sale here.
JAS JUNE EXPERIENCE Dates: June 25th–28th Location: Snowmass, CO Lineup: Karl Denson’s Tiny Universe, The Family Stone, the Robert Cray Band, Cory Henry & The Funk Apostles, Jimmie Vaughan & The Tilt-A-Whirl Band Tickets: On sale here.
MOJO FEST Dates: June 26th–28th Location: Woodland, WA Lineup: Kitchen Dwellers, Dizgo, Squeaky Feet, Garcia Birthday Band, Jujuba Tickets: On sale here.
SOLID SOUND Dates: June 26th–28th Location: North Adams, MA Lineup: Wilco, The Breeders, S.G. Goodman, Billy Bragg, Wilco & Billy Bragg perform Mermaid Avenue Tickets:Sold out.
TEN MILE CREEK REVIVAL Dates: June 26th–28th Location: Laytonville, CA Lineup: The Brothers Comatose, AJ Lee & Blue Summit, Iris Dement, Paul Thorn Tickets: On sale here.
July 2026 Music Festivals
WATERFRONT BLUES FESTIVAL Dates: July 2nd–4th Location: Portland, OR Lineup: The Revivalists, Durand Jones & The Indications, Tank And The Bangas, Cymanide, Don Was & The Pan-Detroit Ensemble Tickets: On sale here.
WILLIE NELSON’S 4TH OF JULY PICNIC Date: July 4th Location: Austin, TX Lineup: Willie Nelson & Family, Billy Strings, Wilco, Sheryl Crow, Lukas Nelson Tickets: On sale here.
AMERICAN MUSIC FESTIVAL Dates: July 2nd–5th Location: Berwyn, IL Lineup: Spin Doctors, Neal Francis, The Heavy Heavy, Dave Alvin & Jimmie Dale Gilmore, Southern Avenue, River Shook Tickets: On sale here.
ESSENCE FESTIVAL OF CULTURE Dates: July 3rd–5th Location: New Orleans, LA Lineup: Cardi B, Patti Labelle, Brandy & Monica, Latto, Kehlani Tickets: On sale here.
THE GREAT BLUE HERON Dates: July 3rd–5th Location: Sherman, NY Lineup: Ripe, The Dip, Donna The Buffalo, Moontricks, Big Something, Bombargo, Sneezy Tickets: On sale here.
COUNTRY CONCERT Dates: July 9th–11th Location: Fort Loramie, OH Lineup: Jason Aldean, Alabama, Riley Green, Travis Tritt, Jamey Johnson, Cole Swindell Tickets: On sale here.
JEEZUM CROW FESTIVAL Dates: July 10th–11th Location: Jay, VT Lineup: The Disco Biscuits, Yonder Mountain String Band, Railroad Earth, Magoo Tickets: On sale here.
LAKEFRONT MUSIC FEST Dates: July 10th–11th Location: Prior Lake, MN Lineup: Billy Idol, Keith Urban, Jefferson Starship, George Thorogood & The Destroyers Tickets: On sale here.
LALLYCOOLER Dates: July 10th–11th Location: Sioux Falls, SD Lineup: Darius Rucker, Jason Derulo, Bow Wow, Gavin DeGraw, Braxton Keith, Graham Barham Tickets: On sale here.
MINNESOTA COUNTRY CLUB Dates: July 10th–11th Location: St. Paul, MN Lineup: The Red Clay Strays, Treaty Oak Revival, Charley Crockett, Trampled By Turtles, Stephen Wilson Jr., Jessie Murph, The Beach Boys Tickets: On sale here.
PENDLETON WHISKY MUSIC FEST Date: July 11th Location: Pendleton, OR Lineup: Zach Top, Shaboozey, Carly Peace, Diamond Rio, Chancey Williams Tickets: On sale here.
BREAKAWAY NEW YORK Date: July 17th Location: New York, NY Lineup: Tiësto, D.O.D., Lilly Palmer, Camoufly, DJ Mandy, Oppidan, Arlo, Wes Mills Tickets: On sale here.
ROCK THE DOCK Date: July 11th Location: Lake George, NY Lineup: Dark Star Orchestra, Spafford, Strange Machines, Annie In The Water Tickets: On sale here.
TARGHEE FEST Dates: July 10th–11th Location: Alta, WY Lineup: Marcus King Band, Charley Crockett, Lukas Nelson, Larkin Poe, The Wood Brothers, JJ Grey & Mofro, Neal Francis Tickets: On sale here.
BEACH ROAD TRIP WEEKEND Dates: July 10th–12th Location: Atlantic City, NJ Lineup: Ms. Lauryn Hill, YG Marley & Zion Marley, Beenie Man, Sizzla Tickets: On sale here.
DEAD OF SUMMER Dates: July 9th–12th Location: Manchester, VT Lineup: God Street Wine, Pink Talking Fish Are Dead Ensemble, Leftover Salmon, Steely Dead, Jerry’s Middle Finger, Giant Panda Guerilla Dub Squad Tickets: On sale here.
HODAG COUNTRY FESTIVAL Dates: July 9th–12th Location: Rhinelander, WI Lineup: Brothers Osborne, Old Dominion, Nate Smith, Russell Dickerson, Steve Earle with Reckless Kelly, Neal McCoy, LeAnn Rimes Tickets: On sale here.
WINDY CITY SMOKEOUT Dates: July 8th–12th Location: Chicago, IL Lineup: Lainey Wilson, Jordan Davis, Hootie & The Blowfish, Treaty Oak Revival Tickets: On sale here.
4848 FESTIVAL Dates: July 16th–18th Location: Snowshoe, WV Lineup: Greensky Bluegrass, The Revivalists, STS9, The Infamous Stringdusters, Moon Taxi, Daniel Donato’s Cosmic Country, Lotus: Rodeo Rave Tickets: On sale here.
moe.down Dates: July 16th–18th Location: Gilbert, PA Lineup: moe., Umphrey’s McGee, Daniel Donato’s Cosmic Country, bob., Ghosts of Jupiter Tickets: On sale here.
ROCK FEST Dates: July 16th–18th Location: Cadott, WI Lineup: Limp Bizkit, Gojira, The Offspring, Insane Clown Posse, The Pretty Reckless, Machine Head Tickets: On sale here.
COUNTRY THUNDER WISCONSIN Dates: July 16th–19th Location: Twin Lakes, WI Lineup: The Red Clay Strays, Keith Urban, Riley Green, Gavin Adcock Tickets: On sale here.
FRENDLY GATHERING Dates: July 17th–18th Location: Windham, VT Lineup: Neighbor, Satsang, Gatsby’s Revenge, Ryan Dempsey (Twiddle), Marvel Years, Cool Cool Cool Tickets: On sale here.
GRASSROOTS FINGER LAKES FESTIVAL Dates: July 16th–19th Location: Trumansburg, NY Lineup: Rhiannon Giddens, Donna the Buffalo, Del McCoury Band, Taj Mahal Tickets: On sale here.
GREY FOX BLUEGRASS FESTIVAL Dates: July 15th–19th Location: Oak Hill, NY Lineup: Rhiannon Giddens & The Old-Time Revue, Del McCoury Band, The Infamous Stringdusters, The SteelDrivers, AJ Lee & Blue Summit Tickets: On sale here.
INKCARCERATION Dates: July 17th–19th Location: Mansfield, OH Lineup: Dusturbed, Bad Omens, Limp Bizkit, Papa Roach, Cypress Hill, Gojira, A Day to Remember Tickets: On sale here.
LEVITATE Dates: July 18th–19th Location: Marshfield, MA Lineup: Alanis Morissette, CAAMP, Royel Otis, Ziggy Marley, The Elovaters, Trombone Shorty & Orleans Avenue, Pigeons Playing Ping Pong Tickets: On sale here.
MINNESOTA YACHT CLUB Dates: July 17th–19th Location: St. Paul, MN Lineup: The Strokes, The Lumineers, Matchbox Twenty, The Black Keys, Cage The Elephant, Lord Huron, Geese, The All-American Rejects, Lucy Dacus, Mt. Joy Tickets: On sale here.
MOSSWOOD MELTDOWN Dates: July 18th–19th Location: Oakland, CA Lineup: Iggy Pop, Bikini Kill, Otoboke Beaver, The Return of Jackie & jJudy, The Spits, The Dead Milkmen, hosted by John Waters Tickets: On sale here.
NORTHERN LIGHTS Dates: July 17th–19th Location: Piercy, CA Lineup: CloZee, Tape B, Justin Martin, LP Giobbi, Goldfish Tickets: On sale here.
SUMMER OF 99 AND BEYOND Dates: July 18th–19th Location: Tinley Park, IL Lineup: Limp Bizkit, Creed, Cypress Hill, Bush, Puddle of Mudd, Hoobastank, Candlebox Tickets: On sale here.
UNDER THE BIG SKY Dates: July 17th–19th Location: Whitefish, MT Lineup: Chris Stapleton, Zach Top, Cody Jinks, Ryan Bingham & The Texas Gentlemen, Of Monsters and Men, Stephen Wilson Jr. Tickets: On sale here.
CINCINNATI MUSIC FESTIVAL Dates: July 23rd–25th Location: Cincinnati, OH Lineup: Mary J Blige, Charlie Wilson, Nelly, Tyrese, Trey Songz, SWV, Ledisi Tickets: On sale here.
BIG RIVER GET DOWN Dates: July 23rd–25th Location: Hamilton, OH Location: The Revivalists, Band of Horses, JJ Grey & Mofro, Fruition, Johnny Mullenax, J & The Causeways Tickets: On sale here.
FLOOD CITY Dates: July 24th–25th Location: Johnstown, PA Lineup: Greensy Bluegrass ft. Holly Bowling, The Disco Biscuits, Pigeons Playing Ping Pong, Big Something, Magoo, Super Sonic Shorties, The Nth Power Tickets: On sale here.
BIG DUB Dates: July 21st–26th Location: Artemas, PA Lineup: Mersiv, Eptic, OPIUO, Ravenscoon, Ahee, Infekt Tickets: On sale here.
CHEYENNE FRONTIER DAYS Dates: July 17th–25th Location: Cheyenne, WY Lineup: Zach Top, Blake Shelton, The Red Clay Strays, Riley Green, Alex Warren Tickets: On sale here.
FLOYDFEST Dates: July 22nd–26th Location: Check, VA Lineup: Tedeschi Trucks Band, My Morning Jacket, Stephen Wilson Jr., Lukas Nelson, Larkin Poe, Railroad Earth, The Dip, The Word (ft. Robert Randolph, John Medeski, North Mississippi Allstars) Tickets: On sale here.
GAMBLER’S RUN Dates: July 23rd–25th Location: Crystal Bay, NV Lineup: The String Cheese Incident, Big Head Todd & The Monsters, Diggin Dirt, Octave Cat, Sicard Hollow, Robert Jon & The Wreck Tickets: On sale here.
GREAT SOUTH BAY Dates: July 23rd–26th Location: Patchogue, NY Lineup: Gov’t Mule, My Morning Jacket, Sublime, The Used, Little Feat, Bruce Hornsby Tickets: On sale here.
NEWPORT FOLK Dates: July 24th–26th Location: Newport, RI Lineup: Ms. Lauryn Hill, Brandi Carlile, Vulfpeck, Courtney Barnett, Dawes, Gillian Welch & David Rawlings, Hayley Williams & Friends, Punch Brothers, Hot Tuna Tickets: Join the waitlist.
RED ANTS PANTS Dates: July 23rd–26 Location: White Sulpher Springs, MT Lineup: Ricky Skaggs & Kentucky Thunder, Molly Tuttle, Sara Evans, Old 97’s, Daniel Donato’s Cosmic Country, S.G. Goodman Tickets: On sale here.
ROCKYGRASS Dates: July 24th–26th Location: Lyons, CO Lineup: I’m With Her, Punch Brothers, Sam Bush Bluegrass Band, Rhiannon Giddens & The Old-Time Revue, Del McCoury Band, Tim O’Brien, Steep Canyon Rangers Tickets: On sale here.
VAN WARPED TOUR Dates: July 25th–26th Location: Long Beach, CA Lineup: All Time Low, Bowling For Soup, Flogging Molly, G-Eazy, Hoobastank, Papa Roach, Plain White T’s, Sleeping With Sirens, Taking Back Sunday, The Used, Yelawolf Tickets: On sale here.
COUNTY LINE COUNTRY FEST Dates: July 30th–August 1st Location: Prairie du Chien, WI Lineup: Brothers Osborne, Scotty McCreery, Warren Zeiders Tickets: On sale here.
EVERWILD Dates: July 30th–August 1st Location: Thornville, OH Lineup: 311, Dirty Heads, Tropidelic, Andy Frasco & The U.N., Mike Love, Wookiefoot, The Quasi Kings Tickets: On sale here.
WILDLANDS Dates: July 31st–August 1st Location: Big Sky, MT Lineup: Carrie Underwood, Riley Green, Leann Rimes, Kaitlin Butts Tickets: On sale here.
HINTERLAND Dates: July 30th–August 2nd Location: St. Charloes, IA Lineup: Lorde, Mumford & Sons, KATSEYE, Kali Uchis Tickets: On sale here.
LOLLAPALOOZA Dates: July 30th–August 2nd Location: Chicago, IL Lineup: Charli XCX, Tate McRae, Lorde, Olivia Dean, John Summit, Jennie, The Smashing Pumpkins, The XX, Turnstile, Lil’ Uzi Vert Tickets: On sale here.
NEWPORT JAZZ Dates: July 31st–August 2nd Location: Newport, RI Lineup: Herbie Hancock, Celebrating 100 Years of Coltrane & Miles (ft. Kamasi Washington & Chief Adjuah), Vulfpeck, Jonathon Batiste Trios, Thundercat, Gary Clark Jr. Lake Street Dive Tickets: On sale here.
PICKATHON Dates: July 30th–August 2nd Location: Happy Valley, OR Lineup: Steve Earle, Built to Spill, Shakey Graves, The Brothers Comatose, Acid King Tickets: On sale here.
RHYTHMS ON THE RIO Dates: July 30th–August 1st Location: Del Norte, CO Lineup: Leftover Salmon (ft. Workingman’s Salmon set), The Infamous Stringdusters, Moontricks, Clay Street Unit, Brothers Comatose, Big Something Tickets: On sale here.
SALMONFEST Dates: July 31st–August 2nd Location: Ninilchik, AK Lineup: Trampled By Turtles, Goth Babe, Guster, Molly Tuttle, Daniel Donato’s Cosmic Country Tickets: On sale here.
SOUND HAVEN Dates: July 30th–August 2nd Location: Whitwell, TN Lineup: Detox Unit, YDG, Ott., more TBA Tickets: On sale here.
August 2026 Music Festivals
JAMPACKED Dates: August 1st Location: Richmond, VA Lineup: Oteil & Friends (ft. Steve Kimock, Jason Crosby, Johnny Kimock, Tom Guarna, Lamar Williams Jr.), Big Something, Neighbor, Sidechick Tickets: On sale here.
ASHLEY FOR THE ARTS Dates: August 6th–8th Location: Arcadia, WI Lineup: Keith Urban, Gene Simmons Band, Foghat Tickets: On sale here.
BEANSTALK Dates: August 6th–8th Location: Bond, CO Lineup: Magic Beans, Lotus, Octave Cat, Squeaky Feet, Sqwerv, Banshee Tree, Cycles, Space Bacon Tickets: On sale here.
DOMEFEST Dates: August 6th–8th Location: New River Gorge, WV Lineup: Pigeons Playing Ping Pong, Spafford, The Motet, Mihali, TAUK, Dizgo, Sicard Hollow Tickets: On sale here.
HEAD IN THE CLOUDS Dates: August 8th Location: Pasadena, CA Lineup: KATSEYE, XG, Dabin.kr, Rich Brian, Tiffany Day Tickets: On sale here.
MAHA FESTIVAL Dates: August 8th Location: Omaha, NE Lineup: Wet Leg, Bright Eyes, Killer Mike, Blondshell, Whitney Tickets: On sale here.
TELLURIDE JAZZ FESTIVAL Dates: August 7th–8th Location: Telluride, CO Lineup: The Disco Biscuits, Lettuce, Don Was & The Pan-Detroit Ensemble, Robert Randolph Tickets: On sale here.
UP IN THE SKY Dates: August 7th–8th Location: Aspen, CO Lineup: John Summit, Dom Dolla, Empire of the Sun, Parcels, Polo & Pan Tickets: On sale here.
WE FEST Dates: August 5th–8th Location: Detroit Lakes, MN Lineup: Thomas Rhett, Lainey Wilson, Brooks & Dunn, Little Big Town, Flatland Cavalry Tickets: On sale here.
XROADS41 Dates: August 6th–8th Location: Oshkosh, WI Lineup: Lainey Wilson, Jason Aldean, Wiz Khalifa, Wyatt Flores, Jackson Dean Tickets: On sale here.
CAPITOL HILL BLOCK PARTY Dates: August 7th–9th Location: Seattle, WA Lineup: Wet Leg, Disco Lines, Muna, Parcels, Magdalena Bay, Between Friends, Tinashe, Amber Mark Tickets: On sale here.
DAS ENERGI Dates: August 7th–9th Location: Salt Lake City, UT Lineup: Zedd, Liquid Stranger, Ganja White Night, INZO, Crankdat, Seven Lions, Chris Lorenzo Tickets: On sale here.
ELEMENTS Dates: August 7th–9th Location: Long Pond, CA Lineup: GRiZ, Excision, Subtronics, Chris Lake, CloZee, Daily Bread, Ganja White Night, LSDream Tickets: On sale here.
GRAND TARGHEE Dates: August 7th–9th Location: Alta, WY Lineup: Jesse Welles, Railroad Earth, Daniel Donato’s Cosmic Country, The Devil Makes Three, Mountain Grass Unit, Yonder Mountain String Band, Keller & The Keels Tickets: On sale here.
ON THE OCEAN Dates: August 7th–9th Location: Portland, OR Lineup: Guster, Iron & Wine, Watchhouse, The Barr Brothers, Neal Francis, Eggy Tickets: On sale here.
OUTSIDE LANDS Dates: August 7th–9th Location: San Francisco, CO Lineup: Charli XCX, Rüfüs Du Sol, The Strokes, The xx, Baby Keem, Turnstile, GriZTronics, DJO Tickets: On sale here.
RE/EVOLUTION Dates: August 5th–9th Location: Darrington, WA Lineup: Railroad Earth, Luttrell, Cytrus, Magoo, Oliver Smith, Nils Hoffman, Holly Bowling Tickets: On sale here.
ROCKY MOUNTAIN FOLKS FESTIVAL Dates: August 7th–9th Location: Lyons, CO Lineup: Gillian Welch & David Rawlings, Jesse Welles, Ani DiFranco, Junior Brown, Steve Poltz Tickets: On sale here.
SAN JOSE JAZZ FESTIVAL Dates: August 7th–9th Location: San Jose, CA Lineup: Patti Labelle, Trombone Shorty & Orleans Avenue, Cory Wong, Afro-Cuban All Stars Tickets: On sale here.
VOICES OF AMERICA COUNTRY MUSIC FEST Dates: August 6th–9th Location: West Chester, OH Lineup: Brad Paisley, Rascal Flatts, Blake Shelton, Jordan Davis, Scotty McCreery, Lee Brice Tickets: On sale here.
BOOTS ON THE BEND Dates: August 14th–15th Location: South Bend, IN Lineup: Eric Church, Hardy, Brandon Lake, Flatland Cavalry, Chase Rice, Ashley McBryde Tickets: On sale here.
BREAKAWAY MICHIGAN Dates: August 14th–15th Location: Grand Rapids, MI Lineup: FISHER, Gigantic NGHTMRE, It’s Murph, Subtronics, Two Friends (Bass Set) Tickets: On sale here.
BASS CANYON Dates: August 14th–16th Location: George, WA Location: Illenium, Excision, Ganja White Night, NGHTMRE, ATLiens, Big Gigantic Tickets: On sale here.
FIELD OF VISION Dates: August 14th–16th Location: Buena Vista, CO Lineup: King Gizzard & The Lizard Wizard, Angine de Poitrine, Blood Incantation, Die Spitz Tickets: On sale here.
GREEN MOUNTAIN Dates: August 13th–16th Location: Manchester, VT Lineup: Railroad Earth, Watchhouse, I’m With Her, Noam Pikelny & Stuart Duncan, Dan Tyminski Band, Lindsay Lou Tickets: On sale here.
RHODES MUSIC FESTIVAL Dates: August 15th–16th Location: Pawtucket, RI Lineup: Sublime, Slightly Stoopid, Rebelution, The Roots, Iration, Action Bronson Tickets: On sale here.
CAMPOUT IN THE PINES Dates: August 14th–15th Location: Eau Claire, WI Lineup: The String Cheese Incident, Lettuce, Leftover Salmon Tickets: On sale here.
BREAKAWAY MASS Dates: August 21st–22nd Location: Worcester, MA Lineup: Crankdat, Excision, Gryffin, It’s Murph, Zedd Tickets: On sale here.
GATHERING OF THE JUGGALOS Dates: August 19th–22nd Location: Macks Creek, MO Lineup: Insane Clown Posse, Ouija Macc, More TBA Tickets: On sale here.
JUST LIKE HEAVEN Date: August 22nd Location: Pasadena, CA Lineup: The Strokes, LCD Soundsystem, Chromeo, Feist, Twin Peaks, TV Girl, STRFKR Tickets: On sale here.
WOBBLELAND Dates: August 21st–22nd Location: San Jose, CA Lineup: Alison Wonderland b2b NGHTMRE, Excision, DJ Diesel, Ghengar Tickets: On sale here.
CAMP ALDERWILD Dates: August 28th–29th Location: Telluride, CO Lineup: Of the Trees, Daily Bread Tickets: On sale here.
IONIA FREAK FAIR Dates: August 28th–29th Location: Ionia, MI Lineup: Billy Strings, Greensky Bluegrass, Sierra Hull, Leftover Salmon, Michael Cleveland & Flamkeeper, Lindsay Lou Tickets: Sold out.
PARK CITY SONG SUMMIT Dates: August 27th–29th Location: Park City, UT Lineup: TBA Tickets: On sale TBA.
September 2026 Music Festivals
BUMBERSHOOT Dates: September 5th–6th Location: Seattle, WA Lineup: Turnstile, Death Cab for Cutie, Japanese Breakfast, Orville Peck, De La Soul Tickets: On sale here.
BURNING MAN Dates: August 30th–September 6th Location: Gerlach, NV Lineup: TBA Tickets: On sale here.
CHICAGO JAZZ FESTIVAL Dates: September 3rd–6th Location: Chicago, IL Lineup: TBA Tickets: Free.
DEEP TROPICS Dates: September 4th–6th Location: Nashville, TN Lineup: TBA Tickets: Join waitlist.
DELAWARE VALLEY BLUEGRASS FESTIVAL Dates: September 4th–6th Location: Woodstown, NJ Lineup: Travelin’ McCourys, Jason Carter & Michael Cleveland, Dan Tyminski Band Tickets: On sale here.
EARL SCRUGGS MUSIC FESTIVAL Dates: September 4th–6th Location: Mill Spring, NC Lineup: The Avett Brothers, Greensky Bluegrass, Béla Fleck: My Bluegrass Heart, Del McCoury Band Tickets: On sale here.
JAS LABOR DAY EXPERIENCE Dates: September 4th–6th Location: Snowmass, CO Lineup: Benson Boone, Tim McGraw, Red Clay Strays, Trombone Shorty & Orleans Avenue, Bonnie Raitt, Shaboozey Tickets: On sale here.
NORTH COAST Dates: September 4th–6th Location: Chicago, IL Lineup: Illenium b2b Slander, GRiZ, Tape B, Jade Cicada, Ganja White Night, Wooli Tickets: On sale here.
RHYTHM & ROOTS Dates: September 4th–6th Location: Charlestown, RI Lineup: The Devil Makes Three, St. Paul & The Broken Bones, Margo Price, Marty Stuart & His Fabulous Superlatives, Preservation Hall Jazz Band, Yonder Mountain String Band Tickets: On sale here.
ROCKLAHOMA Dates: September 4th–6th Location: Pryor, OK Lineup: Godsmack, Papa Roach, Slayer, Stone Temple Pilots, Cypress Hill, Black Label Society Tickets: On sale here.
SECRET DREAMS Dates: September 4th–6th Location: Marengo, OH Lineup: Pretty Lights, Of the Trees, Tape B, Daily Bread, INZO, Wonky Llama, Detox Unit, Earthgang Tickets: On sale here.
SHOE FEST Dates: September 4th–6th Location: Manteno, IL Lineup: Old Shoe, Leftover Salmon, Shadowgrass, Horsehoes and Hand Grenades, Allie Kral Tickets: On sale here.
DETROIT JAZZ FESTIVAL Dates: September 4th–7th Location: Detroit, MI Lineup: TBA Tickets: Free.
SHANGRI-LA Dates: September 3rd–6th Location: Clarks Grove, MN Lineup: Wookiefoot, Fortunate Youth, Little Stranger, Moontricks, Tropidelic Tickets: On sale here.
Uncover how modern indie directors build tension and moral dilemmas in suspense-driven narratives redefining independent cinema in 2026.
Independent cinema has long served as a laboratory for ethical dilemmas. While blockbusters rely on spectacle, indie directors strip storytelling down to its rawest nerve: the moment a character must choose between right and wrong. This shift toward moral complexity defines the current generation of filmmakers. They build tension not through explosions, but through impossible decisions. For viewers craving this kind of intellectual stimulation, platforms like Rocket Play – play live dealer online offer a similar rush of high-stakes decision-making in real time. The parallels between a director constructing a tense scene and a player calculating their next move are uncanny.
Key Facts About Tension in Modern Indie Film
The data reveals a clear trend toward moral conflict as a primary storytelling engine. These numbers show how audiences reward films that refuse easy answers.
In 2026, 73% of Sundance Film Festival entries centered on a protagonist facing an irreversible ethical choice.
Films with morally ambiguous protagonists earned 41% higher audience scores on review aggregators than those with clear heroes.
The average runtime of indie films featuring moral dilemmas increased to 118 minutes in 2025, up from 94 minutes in 2020.
Directors under 35 are 3.2 times more likely to use silence as a tension-building tool compared to directors over 50.
Indie films that incorporate gambling or high-stakes games as plot devices saw a 28% box office increase in 2024.
Streaming platforms now categorize “Moral Conflict” as a distinct genre, with 1,200+ titles tagged in 2026.
Scripts that include a moment where the protagonist must sacrifice a personal relationship for a greater good sell 2.4 times faster to distributors.
The Director as a Player of Human Emotions
Sean Baker, the director behind “The Florida Project,” builds tension by placing characters in impossible economic situations. He forces viewers to watch a mother decide between rent and her child’s happiness. This mirrors the experience of someone sitting at a blackjack table, calculating odds while managing emotional pressure. Both the filmmaker and the player understand one truth: the best moments come when you have everything to lose.
Kelly Reichardt takes a different approach. She stretches time until the audience feels every second of a character’s hesitation. In “First Cow,” two men risk everything for a taste of success. The film’s slow burn creates a tension that feels almost unbearable. Directors like Reichardt understand that anticipation generates more anxiety than action itself. This principle applies directly to how players approach progressive jackpots and strategic table games, where waiting for the outcome carries its own emotional weight.
Why Audiences Crave Moral Gray Areas
The modern viewer rejects simplistic narratives. We no longer want heroes who always win and villains who always lose. Indie directors respond by creating characters who operate in moral gray zones. A protagonist might cheat, lie, or steal for reasons that feel justified. The audience must decide whether to root for them or condemn them.
This complexity reflects real life. According to a 2025 study from the University of Southern California, 68% of filmgoers prefer stories where the central conflict has no clear right answer. These viewers want to argue about the film afterward. They want to debate whether the protagonist made the correct choice. This intellectual engagement keeps indie cinema alive and relevant.
The Unexpected Connection Between Film and Gaming
The structural similarities between a tense film scene and a high-stakes game are striking. Both require the participant to process information rapidly, manage emotional responses, and commit to a decision. Indie directors have started incorporating game-like structures into their narratives. They use countdowns, visible stakes, and multiple possible outcomes to keep audiences engaged.
Ari Aster, known for “Hereditary” and “Midsommar,” builds his horror through slow-reveal mechanics. He gives the audience just enough information to feel anxious but not enough to predict the outcome. This mirrors the experience of playing live dealer games, where each round delivers new information and shifts the odds. The tension comes from not knowing what the next card or next scene will reveal.
The Future of Indie Storytelling
As streaming platforms continue to fund independent projects, the demand for morally complex narratives will grow. Directors now have access to global audiences who crave stories that challenge their assumptions. The most successful indie films of 2026 share one trait: they leave the audience unsettled. They refuse to tie everything up with a neat bow.
This approach respects the viewer’s intelligence. It acknowledges that life rarely offers clean resolutions. Indie directors who embrace moral conflict and sustained tension will continue to dominate festivals and critical discussions. They understand that the most memorable stories are the ones that force us to question our own ethics.
The next time you watch a character hesitate before making a fateful decision, remember that tension is a craft. It requires precision, timing, and an understanding of human psychology. Whether you experience that tension through a film or through a live game, the emotional payoff remains the same.
The industry lobby group representing big American streaming services slammed new revenue rules on Friday forcing them to invest in Canadian content while some Canadian industry organizations said the rules are in line with what this country has required for decades.
The groups are reacting after Canada’s broadcast regulator, the CRTC, said Thursday large TV streaming services must contribute 15 per cent of their Canadian revenues to Canadian content.
That’s three times the initial contribution requirement the CRTC set out in 2024, which is being challenged in court by streamers including Apple, Amazon and Spotify.
The CRTC made the decisions as part of its implementation of the Online Streaming Act, which the United States has identified as a trade irritant ahead of negotiations with Canada.
The Motion Picture Association, the U.S. group representing streamers including Netflix and Prime Video, said the new rules impose unprecedented, unnecessary and discriminatory investment obligations on U.S. streaming services.
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It said it will triple the cost of doing business in Canada and called on the federal government to reconsider.
“American studios and streaming services are already the top foreign investors in Canada’s film and TV ecosystem — delivering content to Canadian audiences and sharing Canadian stories with the world,” the group wrote in a media statement.
The Canadian Media Producers Association, a national advocacy body for independent media producers, however, said the rules are largely in line with federal broadcasting policy for generations.
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In a statement released on Friday, it said the CRTC’s decisions “reflect the underlying philosophy of the Online Streaming Act, namely that broadcasters and streaming services that generate significant revenues from Canadian subscribers and viewers must also invest in Canadian programming.”
The organization said they are reviewing the changes and will work to ensure they enable Canadian producers to continue making contributions to Canadian programming.
Will Netflix and other major streaming services leave Canada after CRTC ruling?
ACTRA Toronto, the union representing performers in film, radio and TV, also expressed support for the CRTC’s decision.
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“Decisions to strengthen support for Indigenous and Canadian content and to improve discoverability are a step in the right direction. For ACTRA Toronto performers, this has the potential to generate new opportunities, strengthen domestic production, and help ensure Canadian audiences continue to see themselves reflected on screen,” said ACTRA Toronto president Kate Ziegler.
“However, funding formulas are not the only determinant factor.”
Canadian Heritage Minister Marc Miller said in a social media post Thursday he is reviewing the CRTC’s decision.
“As we carefully assess its impacts, it will always be paramount to ensure that Canadians continue to see themselves reflected on screen, hear Canadian voices, and celebrate what makes this country unique,” he wrote.
U.S. Ambassador to Canada, Pete Hoekstra, said the CRTC’s decision “is making a bad situation worse.”
“CRTC is targeting and taxing U.S. companies, putting up new, discriminatory trade barriers, and worsening the investment climate for American businesses,” he wrote on social media.
The CRTC’s new rules also change the contribution requirements for traditional broadcasters. Currently paying between 30 and 45 per cent, those fees will be lowered to 25 per cent.
The CRTC also set out rules on how the money must be spent for both streamers and broadcasters, including contributions toward production funds and direct spending on Canadian content.
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Most of the streamers’ financial contributions can go toward content, though the CRTC is imposing rules on how that money must be spent for the largest streamers.
For instance, streamers with Canadian revenues of more than $100 million annually must direct 30 per cent of spending toward partnerships with Canadian broadcasters and independent producers.
Large Canadian broadcasters will have to direct at least 15 per cent of their contributions toward news.
Austrian filmmaker Sandra Wollner’s third feature Everytime has scooped the top Jury Prize in Cannes Un Certain Regard.
The drama revolves around a family coming terms with loss when the eldest daughter’s night of partying with her boyfriend takes a deadly turn in the eve of a family holiday.
A year later, the girl’s mother and younger sister are joined by the boyfriend in a trip to Tenerife for a family holiday that never happened. Under the glow of the sun, past and present quietly start to overlap as they struggle with blame and forgiveness.
This year’s Un Certain Regard jury was presided over by French actress Leïla Bekhti and also included Senegalese producer Angèle Diabang, Lebanese composer Khaled Mouzanar, Italian director Laura Samani, and French filmmaker Thomas Cailley.
A total of 19 feature – six of them first features – played in the section devoted to discoveries and auteur films.
In other prizes, Abinash Bikram Shah’s Elephants in the Fog was feted with the Jury Prize, Louis Clichy’s Iron Boy won the Special Jury Prize.
Bradley Fiomona Dembeasset scooped Best Actor in Rafiki Fariala’s Congo Boy
Marina De Tavira, Daniela Marín Navarro and Mariangel Villegas shared the Best Actress prize for their performances in Valentina Maurel’s Forever Your Maternal Animal about a woman who returns to Costa Rica to reunite with her family after years of studying in Europe, to find it drifting in apart.
Aside from the prize-winners, this year’s selection also feature market breakout Club Kid and the buzzed about opening film Teenage Sex and Death at Camp Miasma.
Assassin’s Creed Black Flag Resynced creative director Paul Fu says the game will feature new scores
The team also tweaked the original game’s music, “especially for the emotional moments of the game”
Fu says players will “love” the new music
Ubisoft has tweaked Assassin’s Creed Black Flag‘s original score for Black Flag Resynced and added new music to complement some of the more significant story moments.
“There are certain moments in quests where we have changed the music, but what you’re playing field today may not represent what’s final,” creative director Paul Fu told TechRadar Gaming at a preview event in Paris.
Fu confirmed that the development team is currently adding the final touches to the game, explaining that some musical cues from the demo may differ from the launch version.
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“So that might change a little bit,” he said, “but especially for the emotional moments of the game where Edward goes through these ups and downs with his friends, we try to keep it as authentic as possible.”
Ubisoft has previously confirmed that Black Flag Resynced will feature new playable content, such as character quests, and that new music, including sea shanties, has been created for the remake. Fu also went on to tease the new tracks, saying players will “love them”.
“We also added new scores, which are not in the demo, but we know that fans will love them, and I can’t wait for you here,” he said.
When talking about some of his favorite new aspects of the remake later in the interview, Fu added, “Watch out for the new songs in the game that you haven’t yet heard today, they’re going to be really good, specifically for some of the new quests.”
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Assassin’s Creed Black Flag Resynced officially launches on July 9 for PS5, Xbox Series X and Series S, and PC.
Screenwriters: Clio Barnard, Keiran Goddard, Enda Walsh
Sales agent: Charades
Logline: On the cusp of turning 30, Patrick, Shiv, Rian, Oli and Conor, five childhood friends from the same [Birmingham] estate, are suddenly forced to confront a life where their hopes and dreams haven’t materialized. They are all walking the high wire. But which one will fall?
Panelists: Cast members Anthony Boyle (Patrick); Joe Cole (Rian); Jay Lycurgo (Oli)
Key quotes: Joe Cole on his character, Rian, who has left Birmingham to become a banker in London: “I think he’s at a crossroads in his life where he’s had a certain amount of success in his career, he’s made money, but he’s also looking at his friends who have relationships and families and they’re building lives together and he hasn’t done that. So, there’s a sense of even though he has all this sort of financial, monetary success and big houses, he’s probably quite lonely and you see him kind of going through dates and relationships and trying to figure that out and he hasn’t quite got it. So yeah, I think all the characters are at different stages of life and some are more successful in some ways and some are more successful in others.”
Jay Lycurgo on his character, Oli, who is going through struggles: “Oli is dealing with this addiction. He’s just turned 30. He’s realized that he hasn’t got his responsibility or his purpose yet. I see it more of just like him counting on his friends. He needs Lola [a dog he adopts] more than anything because I think what Lola represents is that second chance. And if she dies, if Oli doesn’t look after her, then he’s going to go back to what he was like before.”
Anthony Boyle, a Northern Ireland native, on trying to master the speech patterns of a lad from Birmingham: “I couldn’t get the accent for the first while. I had a dialect coach and couldn’t get it and was sort of panicking. And I [typed] in the area in Birmingham where the accent was from and I saw [a video of] a man batter another man outside of a pub going, ‘I’m fucking Ginge. My name’s fucking Ginge, yeah.’ He was punching him and I was like, ‘I need to find this guy.’ …So I found him on Instagram and flew over to Birmingham and then went for a pint with him and then started getting the accent.”
The surprising success of Spencer Pratt‘s campaign to become mayor of Los Angeles is serving as a spotlight on the changing dynamics of political media: TV, radio and traditional media are out, social media virality and clipping are in.
Pratt (who garnered national fame from reality TV and leveraged that into a sizable social media presence) is in a strong position to make the runoff, where he would likely face incumbent Karen Bass in the general election (Nithya Raman is trying to flank Bass from the left). President Trump seemed to endorse Pratt this week, though it is not obvious that would be helpful to his campaign.
But while campaign expenditures from the Bass and Raman campaigns show thousands of dollars in expenses related to TV, radio and print ads, the Pratt campaign appears far more focused on social media, and in particular the phenomenon of “clipping,” taking moments from events and interviews and spreading them far and wide on platforms like TikTok and Reels.
According to the campaign records, earlier this month Pratt’s campaign spent $30,025 on “Clipping Culture LLC” which calls itself “The #1 clipping agency behind viral campaigns” and a client list that includes Yung Gravy, Selena Gomez and Lady Gaga. The campaign also spent $25,000 on Cliphaus Inc., which calls itself “the trusted, leading clipping company distributing content at the largest scale, and helping creators, artists and brands generate billions of views through short-form content, with unrivaled results.” Its clients include Rich the Kid and Atlantic Records.
Clipping has become a fact of life, given the velocity of viral social videos, but the Pratt campaign is taking it to the next level, releasing its own clips and amplifying AI videos apparently created by fans and supporters.
Pratt’s campaign has taken advantage of a slew of AI-generated videos, apparently created by fans and supporters, underscoring how generative AI and social media are transforming the nature of political media. Probably the most widely-shared video featured a digital recreation of Bass, wearing makeup similar to that of The Joker from the Batman franchise as images of L.A. in flames appear. Pratt is then featured putting on a Batman suit.
Pratt is not ignoring legacy media: he has appeared fairly regularly for interviews with local TV and local media, but when it comes to paid media, it seems clear that his campaign strategy is betting on social, even as his competitors bet that traditional media still has juice. If he succeeds, it would be a sea change moment for political media consultants, though like President Trump, it is not obvious that any lessons learned can work with other candidates that aren’t as skilled at demanding people’s attention.
The New York Timesreports thatthe Pratt campaign has not purchased any local TV airtime, while his rivals have spent about $2 million combined.
Bass has mostly avoided discussing him and taking him seriously, despite his performance in the polls and his ability to garner high-profile supporters like Haim Saban, Brian Grazer and Nicole Avant. Bass told The Hollywood Reporter in an interview this week: “I think the tone of his campaign is very negative and it’s like the tone I think you would see from a reality star. So I think his goal is to be famous and he’s a lot more famous now than he was as a reality TV star.”
Instead, supporters of Bass, including some high-profile labor unions, appear to be leveraging online virality to, depending on how you look at it, oppose Pratt, or maybe to bolster him.
An ad that appeared earlier this month, which was financed by LA Unions Opposed to Spencer Pratt for Mayor 2026, including the AFL-CIO, declared that “Pratt opposes using taxpayer money to build brand new houses for our unhoused neighbors” and that Pratt wants L.A. “to hire thousands more police officers, rather than more social workers.”
The video indeed went viral, with online personalities like Megyn Kelly and Ben Shapiro laughing at the absurdity of it, and people like Sen. Ted Cruz sharing it.
The ad, which cost $221,000 according to filings, may have been a back-door effort to drum up GOP support, betting that getting Pratt into the next round with Bass could give her an easier path to victory in the general election.
And it was a digital play by the unions, betting (correctly, it seems) that the surprising ad would be the subject of chatter on X and TikTok, among other platforms, primarily by conservatives.
But it is telling that one of the most viral anti-Pratt ads could very well have been designed to bolster him, and that his competitors haven’t seem to be able to grasp the fast-moving nature of social media and clipping.
Colbert, who has refused to back down since news of his show’s cancellation last July, ended his tenure at the Ed Sullivan Theatre in true style.
Before the show officially began, Colbert gave a heartfelt message to the audience. “Now, on night one of The Colbert Report, back in the day, I said anyone can read the news to you. I promised to feel the news at you’, and I realized pretty soon in this job that our job over here was different. We were here to feel the news with you, and I don’t know about you, but I sure have felt it.”
He continued, “I’ll say to you what I have said to every audience for the last eleven years, and I have meant it every time: have a good show, thanks for being here, and let’s do it, y’all.”
First, there were the extra-special guest appearances. Along with Colbert’s entire family, there were also 20(!!) celebrity friends who stopped by to wish him well. Brian Cranston, Paul Rudd, and Tim Meadows all interrupted the monologue to gift Colbert a bunch of farewell bananas and/or complain about not being the final guest.
Tig Notaro claims she was there simply because she likes to be at historical events, such as the moon landing, but didn’t realize this was the final show. Ryan Reynolds even stopped by to uncomfortably hug Colbert’s keyboardist, Corey Bernhard.
Despite Colbert hinting at an appearance by Pope Leo XIV over the last few weeks, his holiness did NOT make an appearance, but “his arm” did. Someone dressed like Pope Leo XIV refused to come out of the green room because Colbert had supplied him with New York-style hot dogs instead of Chicago dogs.
Thankfully, Paul McCartney stepped in as the final guest to reminisce on Beatlemania, promote his upcoming album, and air his grievances with internet cookies. He also gifted Colbert a signed photo of The Beatles’ first televised performance in the US, on The Ed Sullivan Show in 1964, in the very theatre where The Late Show was hosted.
The other Late Night hosts, also known as Strike Force 5, appeared next to a wormhole – naturally – to say goodbye to their friend and colleague. Also, Andy Cohen and Neil DeGrasse Tyson got sucked into the wormhole. It was a whole thing.
Jon Stewart then stopped by to read a very real, totally not made-up letter from Paramount addressing the cancellation: “Paramount strongly believes in covering both sides of any black hole that is swallowing everything we know and love, and the coverage must also include the positive aspects of the insatiable emptiness.”
The very literal hole, he continued, cannot be ignored. “The only choice you have now is how you choose to walk through it. You can go in kicking and screaming –” To which Colbert replied, “That one.” “Or you can do what you’ve done for the past 30 years when faced with something dark: You stare it down, and you can laugh.”
Throughout the show, Colbert and his guests demonstrated the same beautiful display of humor, joy, and honesty that has defined this iteration of The Late Show. Most notably, McCartney said the United States is still the Land of the Free and the home of democracy, “hopefully.”
During his “Meanwhile” segment, Colbert mentioned recent copyright lawsuits filed by the owners of the “Peanuts” television specials over the use of the iconic theme. He explained that “anyone illegally using that music is going to have to pay through the nose…” Suddenly, the house band, Louis Cato and the Great Big Joy Machine, started playing the “Peanuts” theme. Truly a wild coincidence!
The show ended with two beautiful performances. The first, a stripped-down version of “Jump Up,” with Elvis Costello and Jon Batiste; the second, a raucous live performance of “Hello, Goodbye,” led by Paul McCartney, backed by Colbert, Costello, Batiste, and the house band once more.
Finally, the Colbert family and all the staffers joined on stage to sing along, before Colbert and McCartney flipped the giant switch to literally shut off “the Joy Machine,” as he often called his show.
It’s safe to say the internet is in shambles.
“A Stephen Colbert shaped hole has just formed in my heart.”
“Television is losing a true legend.”
“They can cancel shows. They can pressure networks. They can try to silence critics. But they can’t silence the truth.”
“Stephen Colbert not being in the Ed Sullivan Theater after tonight is like if they suddenly moved the Mona Lisa from the Louvre to an Arby’s bathroom.”
“The black-and-white cold open of Stephen Colbert walking the empty Ed Sullivan Theater hallways, surrounded by the echoes of 11 years of audio clips, was incredibly well done.”
“Stephen Colbert’s exit is such a great example of how you can be classy and also throw furniture from a rooftop because you deserved better than this shit.”
“‘Hello, Goodbye’ was the perfect choice.”
“I’m crying and I was trying to figure out why I’m taking this so hard and it’s still basically this.”
Some people were already preparing for Colbert’s next steps.
“What he does next will be his legacy…Man I hope he uses it!”
“So how many minutes until the Colbert substack drops?”
Even celebrities and politicians were in shambles.
Tonight Show host Jimmy Fallon posted, “There’s good in this world, Mr. Frod…and it’s worth fighting for.”
Jimmy Kimmel, host of Jimmy Kimmel Live! wrote, “Tonight we congratulate our friend Stephen @colbert and his writers, staff, and crew for eleven years of excellence.”
Former late-night host, Conan O’Brien, posted, “Here’s to Stephen Colbert, a man of great integrity and wit.”
Former Vice President, Kamala Harris said, “Stephen Colbert has a talent for making people laugh and encouraging them to stay curious, stay engaged, and stay hopeful about the world around them.”
…Of course, one politician couldn’t stay away.
“Colbert is finally finished at CBS. Amazing that he lasted so long! No talent, no ratings, no life.”
“Stephen Colbert’s firing from CBS was the ‘Beginning of the End’ for untalented, nasty, highly overpaid, not funny, and very poorly rated Late Night Television Hosts.”
Stephen, thank you for everything.
What did you think about last night’s final episode? Drop your thoughts in the comments!
After 10 days of crazed moviegoing at the Cannes Film Festival, Times film critic Amy Nicholson and Times film editor Joshua Rothkopf are all but spent. They leave with 10 recommendations (listed below in alphabetical order), including several titles you’ll be hearing about during awards season, but also, admittedly, more reservations than usual.
Amy Nicholson: There are worse ways to spend your life than watching four movies a day in the south of France. For a week and half, we ran in and out of the dark theaters, blinking at the shock of the sun and bickering about what we just saw with the highest concentration of film lovers anywhere — most of us jacked up on espresso or rosé. Yet, we’re flying home miffed that the movies themselves were mediocre. Cannes is meant to launch ambitious, prickly works by grandmasters and next-generation talents. This year, the programming looked like a party with an impressive invite list — Nicolas Winding Refn, Asghar Farhadi, Hirokazu Kore-eda — but upon arrival, all the guests felt like old acquaintances tapped out of anything interesting to say.
I’m being harsh. Cannes had good movies, too. But I needed this year’s Cannes to be great. Audiences trickling back into theaters deserve to see something fantastic. Instead, too many filmmakers took the crowd’s attention span for granted; even the strongest films in competition could delete a half-hour of dead air. Fittingly, the majority of my favorites came from Cannes’ kookier programming sections, Directors’ Fortnight and Un Certain Regard — and I suspect many of yours did, too, oui?
Joshua Rothkopf: I did find a handful of films from the main competition that impressed me, but point taken: Nobody is served if we can’t admit that this year’s edition was weaker than others. We could blame screenwriting or pacing (though paradoxically I was impressed by both the longest and the shortest movies in competition). Maybe it’s an overall lack of boldness. When a restored version of Ken Russell’s salacious 55-year-old “The Devils” eclipses virtually everything else shown at the festival, a certain timidity is hard to deny. There were too many “nice” films: perfectly respectable but not what I want Cannes to be.
Fortunately, we saw enough to sharpen up a list of favorites. Here’s what stirred us.
‘All of a Sudden’
I’m not convinced that the utopian vision of end-of-life care presented in Ryusuke Hamaguchi’s drama has a fighting chance in America, but we deserve the opportunity to grapple with its compassionate turns and have that discussion. The director of “Drive My Car” continues his process-centric exploration of workplace relationships in this quietly revelatory movie, one with a centerpiece conversation that merits comparison to the long walks of Richard Linklater’s “Before” movies. Virginie Efira and Tao Okamoto let a day’s stroll linger into profundity, the twilight dimming and human connection brewing in all its possibilities. Is it too late for them? It doesn’t need to be. — Joshua Rothkopf
‘The Beloved’
Esteban (Javier Bardem), a renowned bad boy Spanish filmmaker, returns to his homeland from New York to shoot a period picture in the desert. Off-screen, he’s gifted one of the four leading roles to his estranged daughter (Victoria Luengo), an aspiring actor who hasn’t seen her father in 13 years. Esteban failed as Emilia’s dad. Can he succeed as her director, especially when her big break packs this much pressure? Not likely, especially as Emilia has inherited his disastrous boozing habits. “The Beloved’s” actual director, Rodrigo Sorogoyen, unleashes his leads to become a tag team of destruction, each blaming the other for what’s going wrong on set. They’re both mired in clashing narratives of their relationship. Sorogoyen shows us the truth, as well as the visible frustrations of the film-within-a-film’s cast and crew that risk shutting down this too-passionate passion project. — Amy Nicholson
‘Bitter Christmas’
(Iglesias Mas / Sony Pictures Classics)
Pedro Almodóvar’s self-flagellating film about his artistic process has a Charlie Kaufman-lite structure that I’d rather let audiences discover on their own. In brief: Almodovar’s avatar, a filmmaker named Raúl (Leonardo Sbaraglia), gets dragged over the artistic coals by the dramatic female characters he’s been writing for decades, one of whom dares him to simply coast on his legacy. Too many veteran filmmakers in his year’s Cannes competition seem to have accepted that bargain, so when Raúl got to the end of a new script and decided it wasn’t up to his standards, I nearly shouted “Bravo!” Navel-gazing cinema about the creative process isn’t usually my bag, but Almodóvar doesn’t take his own misery that seriously, even inserting a manic pixie dream hunk, a male stripper-slash-firefighter played by Patrick Criado, for a little bump and grind. — Amy Nicholson
‘Clarissa’
It’s been 101 years since Virginia Woolf first published “Mrs Dalloway,” a novel about persnickety party hostess Clarissa Dalloway colliding with her former lovers, one male and one female. The plot seems simple, but every glare and sigh tells a whole story about modernization, capitulation, cynicism and violence. Twin brothers Arie and Chuko Esiri have transplanted the tale to present-day Nigeria and stacked the cast with Sophie Okonedo, Ayo Edebiri, Nikki Amuka-Bird, David Oyelowo and the staggeringly talented India Amarteifio as the diva in her captivating youth before she married a tedious oilman and started bullying the help. “Clarissa” makes several smart adjustments, swapping in a traumatized Boko Haram soldier for a shell-shocked veteran of the Great War, and cocking an eyebrow at the shiny new yoga studios and coffee shops littering Lagos’ once-lush waterfront. Better still, it’s sexy as heck — the flashbacks are one swimsuit party after another. — Amy Nicholson
‘Club Kid’
The one-sentence pitch of Jordan Firstman’s debut dramedy — a gay nightclub promoter sobers up when he discovers he has a 10-year-old boy — sounded as fun as snorting a line of aspartame. I stand corrected. “Club Kid” is a blast: a spicy, surprising and irreverent comedy that rarely peddles the audience anything artificially sweet. Firstman stars as Peter, a debauched millennial aging out of a New York scene that never cared about him as a person in the first place. His business partner Sophie (Cara Delevingne) is a horror; his selfish squatter-roommate Nicky (Eldar Isgandarov) is even worse and so hilarious I’d watch a spin-off sequel just about him. Peter’s shock son Arlo (Reggie Absolom) has a casual charm that pickpockets your heart, but it’s the script’s sour quips that will have you urging people to get past the treacly set-up and go see “Club Kid” themselves. — Amy Nicholson
‘The Diary of a Chambermaid’
Art punk Radu Jude’s latest satire is about a Romanian immigrant with a burlesque double life. By day, Gianina (Ana Dumitrașcu, fantastic) is the live-in housemaid of a daft Parisian family; by night, she’s an actress in a turn-of-the-20th century slapstick farce about a housemaid whose master suckles her patent leather boots. In neither world can she openly say what she thinks (although in her native tongue, she curses her employers and their young son plenty). Fast, crisp and snide, “The Diary of a Chambermaid” gives equal weight to the monotony and the absurdity of Gianina’s grind. And Jude isn’t above including a mocking slow-motion shot of a spoiled French boy totally whiffing a soccer kick. — Amy Nicholson
‘Fatherland’
The tension at the heart of Paweł Pawlikowski’s period piece, set in a ravaged, fallen Germany after the end of World War II, is one that goes unresolved. All that’s left are defensive denials, evasions of Nazi collaboration and the faint hope that something higher has survived. I could watch this kind of guilt-ridden post-apocalyptic movie for hours; instead, this lasts a scant 82 minutes. The conclusion, a wordless moment between father and daughter set to the strains of Bach played on a broken pipe organ, was the most devastating passage of the entire festival. “Fatherland” shows off Pawlikowski’s exquisite way with black-and-white evocations of European tragedy, but he’s never summed them up as poetically. — Joshua Rothkopf
‘Fjord’
People at the festival called this one complex; I found myself disagreeing. It’s actually a fairly straightforward story about a religious but mostly level-headed family flung into conflict with an overly sensitive branch of child protection services — and maybe with the whole of agnostic Norwegian progressivism. As reactionary as that sounds, I was totally rapt. Partly that’s due to a beautifully plotted courtroom scenario and the immersive performances of Sebastian Stan and Renate Reinsve, reuniting after “A Different Man,” as parents increasingly out of their depths. But mainly, I credit Romanian director Cristian Mungiu, who knows a good story when he sees one, crystallizing its potency with every camera choice. — Joshua Rothkopf
‘Minotaur’
The ice-chilled return of Russian filmmaker Andrey Zvyagintsev (after a multiyear battle with long COVID) is worth the wait: a condensation of everything he does well into something so purely distilled, it should come with a proof warning. The movie kicks off as a casual portrait of the vacant nouveau riche lifestyles of the mini-oligarchs: fancy dinners, divorces, bathroom gossip. Then it becomes an erotic thriller (it’s based on Claude Chabrol’s 1969 “The Unfaithful Wife,” as was Diane Lane’s “Unfaithful”). But the best comes last, as the situation gets fixed in broad daylight with breathtaking brutality. The war in Ukraine? Someone else’s problem. “Minotaur” takes on the whole of Putin’s dissociative society and puts its winners above the blackened clouds, looking down at the rest of us. — Joshua Rothkopf
‘Teenage Sex and Death at Camp Miasma’
I am growing to love Jane Schoenbrun’s exfoliation of ’80s horror obsessions, especially for the movie’s nonjudgmental embrace: Let these movies be free in all their “problematic” badness and let them work on you. The fact that “Teenage Sex” sometimes plays like a bottle episode of “Hacks” doesn’t hurt. Hannah Einbinder brings vulnerability to a project that needs her brand of self-excoriating fearlessness. Points, too, for not turning this into yet another celebration of some forgotten male director reclaimed as a genius. Rather, the opposite: It’s about an abused scream queen (Gillian Anderson, gamely campy), a liminal, wintry campground and the exhilaration of running in the woods in your pajamas. — Joshua Rothkopf
After Avengers: Doomsday was denied potential IMAX screens for its December 18 release, Marvel Studios attempted to save face at CinemaCon by announcing it would release in “Infinity Vision” instead of IMAX. However, Netflix later announced that it would delay the release of Narnia: The Magician’s Nephew from November 25 to February 12, 2027, leaving two full weeks of IMAX screens free.
After IMAX initially denied Doomsday the use of its enormous and immersive screens, fans thought Marvel Studios would jump at the chance to take Narnia‘s spot. Sadly, Netflix recently reclaimed the Thanksgiving opening with The Adventures of Cliff Booth (via Deadline), denying Marvel Studios the best, and maybe last, opportunity to change Avengers: Doomsday’s release plans.
Everyone in attendance for CinemaCon knew that Disney’s proposed “Infinity Vision” was merely an attempt to replace the IMAX screens taken away from Doomsday. So, it’s possible that, after making this announcement only three weeks before Netflix’s move, Disney didn’t want to appear weak by immediately backpedaling after pushing the move so heavily at the convention.
However, the most likely reason Marvel Studios didn’t fill the vacant slot was that Doomsday just wouldn’t be ready in time for an earlier release. After all, it’d be moving up the opening by more than three weeks, when Disney had already delayed Doomsday by six months.
Is There Any Hope For Doomsday in IMAX?
The last hope before this one for Avengers: Doomsday to get any IMAX screens was when Jumanji: Open World moved from its December 11 release date to Christmas Day, leaving one week free for IMAX screens. It would be a far more realistic change of plans without putting too much burden on production; after all, moving Doomsday up by just one week sounds like far less of a hassle than three weeks.
Sadly, despite rumors before CinemaCon, Marvel Studios remained adamant that Doomsday would still release on December 18. At the moment, no other film has snatched up Jumanji‘s abandoned one-week slot, so there’s still a slim chance Disney could change its mind, but the company seems determined with this “Infinity Vision” rollout, meant to compete directly with IMAX.
The Direct
According to Disney, it’s a certification program designed to help audiences identify existing and future Premium Large Format (PLF) theaters that offer the optimal viewing experience for its films, including Avengers: Doomsday. There are already 75 Infinity Vision-certified PLFs in the United States, with 300 abroad, with more to come.
For a theater to become Infinity Vision-certified, it must be outfitted with the largest screens for maximum scale, matching the field-of-view provided by IMAX, superior high-contrast laser projection for brightness and clarity, and fully immersive premium audio formats that rival Dolby’s Atmos surround sound technology.
While there’s concern that Doomsday’s absence from IMAX theaters will hurt its box office run, it still amassed over 1 billion views from its four teaser trailers. Clearly, audiences are still interested in the franchise, despite its recent shortcomings, and it’s hard to imagine that a lack of IMAX screens will do it much harm.
After a promising soft launch with Creature Commandos, James Gunn and Peter Safran’s rebooted DC Universe officially began last summer with the blockbuster success of Superman. Not only did Superman get people excited about DC again for the first time in years, it also inspired audiences to feel hope and optimism during an absurdly dark time in recent history. At the tail end of a decade of mopey, miserable, grimdark Superman films, it was refreshing to finally see a Superman who’s basically Ted Lasso in a cape — the aw-shucks goody two-shoes farm boy we recognize from the comics.
Superman felt like a comic book brought to life, with brightly colored cinematic splash pages — it’s a quintessential superhero movie. But Gunn has been very clear that he wasn’t laying out a house style with Superman. That’s how he approached that particular character, and that particular story, but he won’t be expecting the DCU’s other directors to follow in his footsteps and emulate what he did with Superman.
Instead, Gunn is encouraging filmmakers like Supergirl’s Craig Gillespie and Clayface’s Mike Flanagan to follow their own vision, and give their projects the tone and aesthetic that the story calls for. Superman was a relatively grounded sci-fi/fantasy superhero epic — a big, colorful crossover event like Infinity War or Across the Spider-Verse — but Supergirl, which hits theaters on June 26, is more of a space opera, and Lanterns, which premieres on HBO on August 16, is a dark, grisly, grounded murder mystery.
Supergirl has been described as being similar to Guardians of the Galaxy: a rollicking action comedy with dazzling cosmic visuals, a sizzling jukebox soundtrack, and touching themes of found family. But Lanterns has been likened to gritty HBO detective dramas like True Detective and Mare of Easttown. Honestly, I’m excited about all this genre experimentation.
Lots Of Different Genres Is Good For The DCU
Hal Jordan and John Stewart in a preview image for Lanterns
The DCU will switch genres once again before the year is over. On October 23, DC will release its first horror movie, Clayface, telling the tragic origin story of the titular Batman villain. Based on its trailer, Clayface seems to be a full-on gonzo body horror epic in the vein of The Substance or Together. All these different genres and tones and styles will be good for the DCU. It’ll stop it from getting stale and settling into a familiar plot formula or visual house style like Marvel has.
Even when a new movie or TV show isn’t particularly great, at least it’ll be very different from what we’ve seen before. There have been a lot of complaints about Lanterns since its dull, slow, decidedly gray (i.e. not green) teaser trailer first dropped. Comic book readers, who are used to seeing the Green Lantern Corps depicted as an intergalactic police force battling aliens and monsters across the cosmos, don’t necessarily agree that a gritty, grounded whodunit with its feet planted firmly on Nebraskan soil is the best way to do a Green Lantern TV show.
But, whether Lanterns turns out to be an unexpected hit or an unmitigated disaster, I’m glad the DCU is taking big swings like this. James Mangold is working on a gothic horror-tinged Swamp Thing movie, which could be DC’s Crimson Peak. Bane and Deathstroke are teaming up for what will presumably be a sort of Midnight Run-style odd-couple buddy comedy set in Gotham City.
A war movie about Sgt. Rock and a ragtag ensemble actioner about the Authority are both stuck in development hell, but the fact they’re on the docket at all means Gunn and Safran are willing to take a chance on D-list characters outside the usual superhero fare. The DCU is in very safe hands.
Superman, Batman, Wonder Woman, Aquaman, The Flash, Cyborg, Harley Quinn, The Joker, Shazam, Darkseid, Amanda Waller, Lex Luthor, Doomsday, Deadshot, Deathstroke, Black Canary, Black Adam
Nintendo is ramping up the production of the Nintendo Switch 2, as the Kyoto-based firm looks to produce 20 million consoles by March 2027.
In the company’s financial results posted earlier this month, the company said that it expected to sell 16.5 million Switch 2 consoles in its next business year, which runs until April 2027, down from the 19.86 million it sold in the last.
Now, according to Bloomberg, the firm plans to produce 20 million Nintendo Switch 2 systems, an increase of around 20%.
“For them, there is no real downside in lowballing numbers first and then surpassing them later,” industry analyst Serkan Toto told Bloomberg. “The just-finished fiscal year is a good example.”
From September 1, 2026, the price of Switch 2 consoles in the US will increase by $50 to $499.99. In Europe, Switch 2 hardware will increase by 30 Euros to 499.99 Euros, and in Canada, the console will increase by $50 to $679.99.
“In light of changes in market conditions, and after considering the global business outlook, Nintendo will revise the manufacturer’s suggested retail prices (MSRP) of the Nintendo Switch 2 system and Nintendo Switch systems,” the company said at the time of the announcement.
In Japan, the price revisions will take effect next week, with all of Nintendo’s hardware increasing by around ¥10,000. The ‘Japan-only’ region-locked Switch 2 will increase to ¥59,980, Switch OLED to ¥47,980, Switch Lite to ¥29,980, and the standard Switch to ¥43,980.
“Yoshi and the Mysterious Book powers along with the kind of breathless imagination typically associated with mainline Super Mario adventures, with new ideas and gameplay mechanics stretching across the margins of its pages.”
After garnering a rapturous reception and a 16-minute standing ovation in Cannes, Javier Ambrossi and Javier Calvo’s “La Bola Negra” (“The Black Ball”) has sparked a multi-studio bidding war for U.S. rights. Among the bidders are A24, Mubi and Netflix.
Thursday night’s premiere marked the Cannes competition debut for the filmmaking duo known collectively as Los Javis, who have built an ardent international following with the series “Veneno” and “La Mesías.” Their film “The Black Ball” — a queer epic spanning 85 years of Spanish history and inspired by an unfinished fragment by Spanish poet and playwright Federico García Lorca — is in contention for both the Palme d’Or and the Queer Palm.
The deal marks the second major bidding war of this year’s festival; the other hot sales title was Jordan Firstman’s “Club Kid,” which ultimately landed at A24 in a $17 million acquisition.
A24 would be the most surprising of the three distribtuors to land the title as the indie darling hasn’t widely prioritized non-English-language films, while Mubi is more established in that arena and Netflix has a track record of promoting local-language movies. Neon, which brought nine titles to the festival, also has a history of foreign-language films, but it’s unclear if they’ve submitted a bid or are simply interested in the title.
“The Black Ball” traces the interconnected lives of three gay men across three eras — 1932, 1937, and 2017 — braiding together stories of desire, loss, and what one generation bequeaths to the next. The film’s title alludes to a mode of social rejection: a black ball cast into a voting urn to deny a young gay man entry into a Granada club. Glenn Close appears in a supporting role alongside Guitarricadelafuente — the beloved Spanish singer-songwriter, making his screen debut — Miguel Bernardeau, Carlos González, Milo Quifes and Lola Dueñas, with Penélope Cruz contributing an extended cameo.
Ambrossi and Calvo co-wrote the screenplay with playwright Alberto Conejero. “The Black Ball” is also the first film produced under Suma Content Films, the new cinema division of Los Javis’ production company; additional producers include Movistar Plus+, Pedro and Agustín Almodóvar’s El Deseo and Le Pacte.
The film opens theatrically in Spain on Oct. 2 via Elastica Films. International sales are being handled by Goodfellas.
TV actor Stewart McLean has been missing for one week, and the Royal Canadian Mounted Police have turned the missing person’s case into a homicide investigation.
On May 18, the Squamish RCMP received a missing person report after McLean had not been seen since May 15. It was announced on Thursday that the Integrated Homicide Investigation Team took over the case and believe McLean to be the victim of a homicide. McLean was last seen at his home in Lions Bay, British Columbia, Canada.
“On May 20, IHIT deployed and assumed conduct of the investigation,” a press release on Thursday said. “Squamish RCMP continues to work closely with IHIT and the Integrated Forensic Identification Service (IFIS) to advance the investigation. Squamish RCMP initiated an investigation and, through investigative efforts, uncovered evidence that led investigators to believe Mr. McLean was victim of homicide. Anyone with information regarding this investigation is asked to call the IHIT information line at 1-877-551-IHIT (4448) or by email at ihitinfo@rcmp–grc.gc.ca.”
McLean was often credited as Stew McLean, according to his IMDb profile. Most recently, he played a barfly on a 2026 episode of “Virgin River,” the Netflix drama that films in British Columbia. He also appeared in an episode of the Canadian series “Murder in a Small Town,” “Happy Face,” the DC show “Arrow,” “Travelers,” “The Killer Inside: The Ruth Finley Story” and the Freeform TV series “Beyond.” His acting credits date back to 2015. According to his IMDb, he was also a producer and he often filmed in the Vancouver area, including Bowen Island and Squamish.
As anyone who’s been on one knows, lengthy road trips can be a trying experience. The new horror film from director André Ovredal (The Autopsy of Jane Doe, Scary Stories to Tell in theDark) runs only 94 minutes, but it captures the feeling all too well. Like a bright headlight facing you dead on or the sudden honk of a loud horn, only the jump scares keep you from falling asleep during the seemingly interminable Passenger.
This is the sort of generic “things that go bump in the night” chiller that seems more suited for late-night cable than theatrical release, especially in an era when superior efforts have lifted the horror genre to a higher level. The story couldn’t be simpler: A young couple hit the highway in their souped-up van to experience the freedom of life on the road, only to discover that a malevolent force bent on their destruction is tracking them every step of the way. As if highway patrolmen weren’t scary enough.
Passenger
The Bottom Line
Not worth the ride.
Release date: Friday, May 22 Cast: Jacob Scipio, Lou Llobell, Melissa Leo, Joseph Lopez, Miles Fowler, Alan Trong Director: André Ovredal Screenwriters: Zachary Donohue, T.W. Burgess
Rated R,
1 hour 34 minutes
After a brief prologue in which two young male drivers learn the lesson that you should never stop on the side of the road to pee (and not because of passing traffic), we’re introduced to the uber-enthusiastic Tyler (Jacob Scipio) and the less-than-eager Madi (Lou Llobell, Foundation), who ditch their comfortable Brooklyn apartment for a nomadic life. Their van equipped with a Bob Ross bobblehead — the kitschy artist’s mantra, “There are no mistakes, only happy accidents,” becomes a running theme — they go looking for adventures.
It isn’t long before bad things start to happen, as their growing fears are confirmed when they meet the nomadic Diana (Melissa Leo, whose haunted expression mostly indicates that she sees the chance of a second Oscar slipping away). She offers them several rules of the road as advice, such as “Don’t ever stop” and “Don’t drive at night.”
“People don’t take trips, trips take people,” she counsels, sounding like the worst public service announcement ever.
After repeatedly spotting the titular demonic figure (Joseph Lopez), who looks like an even more desiccated Iggy Pop, and nearly getting strangled by her seatbelt (been there), Madi skims through a scary book at a gift shop and learns about the “Hobo Code,” devised by itinerants a century ago. Among the symbols she learns about is three slashes, meaning “Not safe here,” which she soon sees carved on the side of their van.
More would-be scary incidents ensue, the most notable and stylishly filmed of which is an encounter with the Passenger while they’re using an outdoor projector to screen the classic film Roman Holiday (complete with the Paramount Pictures logo prominently spotlighted). Hearing mysterious noises, they use the illuminated images of Gregory Peck and Audrey Hepburn’s indelible faces to search the woods, and one can only hope the actors’ heirs are receiving royalties.
At a nomad camp, they again run into Diana, providing Leo the opportunity to score a few more minutes of screen time and helpfully describe the malevolent figure as the “Highwaymen from Hell,” which would have made for a far better title.
Lacking any sort of thematic heft to make the proceedings truly spooky, proficient helmer Ovredal mainly relies on a series of jump scares, complete with sudden loud noises, to keep us on edge. It works well enough on a superficial level but there’s so little depth to the main characters (not the fault of the performers) and so little resonance to the supernatural threat that any feelings of dread will be quickly forgotten. The film may provide a slight boost to the sale of St. Christopher medals, but as far as highway journeys go there’s nothing in it scarier than the current price of gas.
The history of the modern box office and film industry is permanently entwined with “Star Wars.” While Steven Spielberg’s “Jaws” got the ball rolling, the debut of George Lucas’ sci-fi film in 1977 gave rise to the merchandise and sequel-driven economic model that Hollywood has been pursuing for almost 50 years.
Over the course of three trilogies, multiple re-releases and a mixed bag of spinoffs, “Star Wars” has seen the twists and turns of Hollywood including the rise and fall of physical home media, the takeover of streaming, and of course, the war for IP acquisitions as its creator, George Lucas, sold the franchise and its studio, Lucasfilm, to Disney for $4 billion in 2012.
That history comes with years of theatrical dormancy, and the most recent period is coming to an end this weekend with “The Mandalorian and Grogu,” the first “Star Wars” theatrical release since the critically derided “The Rise of Skywalker” in 2019. As Disney fights to get the audience reinvested in what was once a crown jewel of blockbuster cinema, it’s worth looking back at how we got here.
“A New Hope”
On its opening day on May 25, 1977, “Star Wars” made $254,809 from just 32 theaters. Like many Hollywood hits, distributor 20th Century Fox didn’t know what they had, as pre-release marketing was minimal. But upon release, buzz quickly spread, and lines soon gathered outside the select few theaters screening the film.
While massive changes to movie ticket prices make direct comparisons inexact, the opening day total for “Star Wars” equates to roughly $1.4 million in today’s money after inflation adjustment. If a specialty release today made that much money from its opening day — a per theater average of $43,750 — they would be touting that as a huge sign that the film was a hot ticket in major cities.
Over the next month, “Star Wars” rapidly expanded to 1,700 theaters as moviegoers eagerly anticipated the arrival of one of the best reviewed films of the year at their local cinema. At a time before VHS was widely available, there was nothing stopping a hit film from playing in theaters for months on end, and “Star Wars” stayed No. 1 from its seventh weekend to its 22nd weekend, finishing with a North American box office total of $225 million and passing “Jaws” for the all-time record.
“The Empire Strikes Back”
Of course, a sequel to a film that big isn’t going to go unnoticed on opening weekend, but 20th Century Fox chose to keep the opening weekend of “The Empire Strikes Back” limited to 126 theaters, hoping to build up anticipation as it made $7.2 million over a 5-day opening on Memorial Day weekend. Of course, when word got out that the film had what would go on to become the most famous twist in film history, the hype around “Empire” exceeded that of its predecessor.
But despite that twist and its modern reputation as the best “Star Wars” film ever, “Empire” didn’t get the legs of “Star Wars.” Released at a time of great economic uncertainty in the summer of 1980, the darker tone of the sequel, complete with Han Solo captured and frozen in carbonite and Luke losing his hand, divided both critics and fans at the time of its release. While still a hit and the year’s highest grossing film, “Empire” grossed less than its predecessor with an estimated $209 million in North America.
“Return of the Jedi”
“Return of the Jedi” didn’t have that problem with American moviegoers in 1983, as its uplifting payoff to the “Empire” cliffhanger drove it to a year-best $252 million domestic total, more than double the $108 million of the next highest grossing film that year, “Terms of Endearment.” By the time “Return” completed its original theatrical run, the “Star Wars” trilogy had grossed more than $1 billion worldwide with re-releases included and provided the blueprint for studio windfalls through merchandising and other ancillary revenue that would be seen just a year later with films like “Ghostbusters.”
Re-releases and home video
But in the 14 years after the fall of the Galactic Empire, “Star Wars” didn’t have much of a cultural footprint aside from anniversary re-releases and Timothy Zahn’s novels continuing the story of the films. That changed in 1993 when it was first reported that Lucas, seeing the advent of computer technology, decided to make a new trilogy of films showing Darth Vader’s origins as a Jedi named Anakin Skywalker.
To prime the pump, the original trilogy was re-released in 1997 with updated computer effects from Lucas that stoked the anger of many longtime fans. Despite that, the “Star Wars: Special Edition” was one of the most successful re-releases in box office history, grossing $472 million worldwide between the three films and even forcing a move of the re-release date for “Return of the Jedi” as a new generation of “Star Wars”-loving families turned out for the previous two installments…and bought millions of action figures and toys along with it.
Liam Neeson, Ewan McGregor and Jake Lloyd in “Star Wars Episode I: The Phantom Menace” (Lucasfilm)
“The Phantom Menace”
That led directly to the release of “Episode I: The Phantom Menace,” a film release that lives in both theatrical fame and infamy. Once again, “Star Wars” fans lined up more than a week before the film’s premiere to make sure they got tickets to the first screenings, and the film’s arrival was a cultural phenomenon, grossing $924 million in its original 1999 release and becoming the highest grossing film of that year.
Of course, we know what happened afterwards. Jar-Jar. Midichlorians. The digital effects. And that was just the beginning. Over the next six years, the “Star Wars” prequels became reviled by the franchise’s fans and turned George Lucas into an object of ire, even as they continued to bring in hundreds of millions of dollars at the box office.
“Attack of the Clones” and “Revenge of the Sith”
“Episode II — Attack of the Clones” grossed $645 million and became the fourth-highest grossing film of 2002, while “Episode III — Revenge of the Sith” made $850 million in 2005, second only to “Harry Potter and the Goblet of Fire” on that year’s charts. In total, more than $2.4 billion in global grosses before re-releases and inflation.
With Lucas announcing that he was finished with “Star Wars” — and the fans seemingly finished with him — it seemed like that was it for the franchise theatrically. A 2008 Warner Bros.-released addendum to the prequels, “Star Wars: The Clone Wars” went nowhere with just $68 million grossed worldwide, though it did serve as a launch for a Cartoon Network series that was well received by fans at the time…and would become a part of what would come next.
“Star Wars Episode VII – The Force Awakens” starring Daisy Ridley and John Boyega (Walt Disney Studios)
“The Force Awakens” and “Rogue One”
In 2012, the news dropped: Disney was buying Lucasfilm, and “Star Wars” was coming back to theaters. The hype cycle kicked into high gear all over again, as fans got excited for J.J. Abrams’ “The Force Awakens,” which released in December 2015 and blew all expectations out of the water.
Like “Empire” 35 years prior, the pop culture discourse was filled with talks of the film’s big twist, this one being the shocking death of Han Solo. With fans desperate to see the film before being spoiled, “The Force Awakens” earned a then-record $248 million opening weekend and became just the third film to gross $2 billion worldwide before inflation adjustment, with a $936 million domestic total that still remains a North American record.
With Disney riding high off this relaunch of the franchise, the studio, along with Lucasfilm chief Kathleen Kennedy, took a big bet on the public’s appetite for more “Star Wars.” Not only would there be a new trilogy, but the years in-between those installments would bring anthology films that told tales from various parts of the “Star Wars” timeline.
No more years-long gaps between new releases. “Star Wars” would become an annual box office mainstay like the Marvel Cinematic Universe. That seemed to work in 2016 with “Rogue One,” a film set just before the start of the original trilogy that grossed $1.05 billion worldwide and which, years later, spawned a Disney+ prequel trilogy in “Andor” that stands as Disney’s most acclaimed “Star Wars” tale to date.
“Solo: A Star Wars Story” (Credit: Disney)
“The Last Jedi” and “Solo”
But then, in 2017, came “Star Wars: The Last Jedi,” arguably the most polarizing film of the 21st century with adoring fans and vicious haters who blamed the franchise’s downfall upon it. Earning a $220 million opening weekend, the film’s $1.33 billion box office total made it the highest grossing film of 2017, but the $730 million gap between that and the $2.07 billion total of “The Force Awakens” was seen by its detractors as proof that the film wasn’t enjoyed by enough people to truly leg out at the box office.
The real undisputed bust for Disney came less than six months after “Last Jedi” with the next anthology film “Solo: A Star Wars Story,” which grossed a mere $392 million worldwide from its Memorial Day weekend opening amidst lukewarm reviews. It was a clear message from the public to Disney that, no, they weren’t interested in seeing “Star Wars” every year, and the plans for yearly anthology films were soon scuttled between that film’s results and the COVID-19 pandemic in 2020.
Adam Driver in “Star Wars: The Rise of Skywalker” (Credit: Disney/Lucasfilm)
“The Rise of Skywalker”
But before the pandemic, there was one more film to release: “Star Wars: The Rise of Skywalker,” the film that gave us the phrase “Somehow Palpatine returned.” Panned by critics for walking back some of the bolder moves of “The Last Jedi” and failing to displease the fans disgruntled by its predecessor, “Rise” still turned a theatrical profit from its 2019 release but needed to stretch out just to join the $1 billion club.
Between the poor reception of “Rise of Skywalker,” the online debate around the Sequel Trilogy being mostly whether or not it was worse than the Prequel Trilogy, and the stronger reception for “The Mandalorian” on streaming, “Star Wars” transitioned in the 2020s from a cinematic franchise to a television one. But that shift hasn’t done much to fix Disney’s image in the eyes of many fans.
While “The Mandalorian” and “Andor” have been successes, and fans of the “Clone Wars” animated series were thrilled when Disney brought that series back, other titles like “Skeleton Crew,” “Obi-Wan Kenobi,” “The Acolyte” and “Ahsoka” were met with, at best, mixed reception and downright rejection at worst. Amidst all of this, the decision was made in 2023 to pivot plans for a fourth season of “The Mandalorian” into a standalone feature film, “The Mandalorian and Grogu,” which would mark the franchise’s return to theaters.
Ryan Gosling on the set of “Star Wars: Starfighter” (Lucasfilm)
What’s next
Meanwhile, after theatrical projects ranging from a Patty Jenkins-directed “Rogue Squadron” to a “Solo” spinoff “Lando” starring Donald Glover have fallen into development hell, another standalone film, “Star Wars: Starfighter” has gotten off the ground and will hit theaters in 2027. “Deadpool & Wolverine” director Shawn Levy is attached, as is “Barbie” Oscar nominee Ryan Gosling fresh off his latest box office hit, “Project Hail Mary.”
But for now, “The Mandalorian and Grogu” is looking at a $90 million 4-day domestic opening weekend, below the $103 million for “Solo.” It is quite possible that the film may finish with a global total below “The Devil Wears Prada 2,” which once upon a time might have seen as an impossibility for any “Star Wars” film.
While still a lucrative IP for Disney, “Star Wars” has lost its box office luster, and who knows how long it will take, if ever, to get it back.
Live Nation is asking a federal judge to overturn the blockbuster verdict that the music giant is an illegal monopoly, arguing there was so little evidence during the trial that the jury’s decision “cannot stand.”
In a pair of motions filed in Manhattan federal court Thursday (May 21), Live Nation is urging the judge to undo the April verdict, in which jurors sided decisively with a coalition of state attorneys general who called the concert company a “monopolistic bully.”
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Live Nation wants the judge to either reverse the verdict entirely or grant the company a new trial. It says the states lacked sufficient evidence to win the case and instead had relied on “cherrypicked” data and claims designed to “inflame and distract” the jury.
“In the end, the jury verdict is legally indefensible,” the company’s lawyers write in the filing, obtained and first reported by Billboard. “At the very least, a new trial is needed.”
Thursday’s filings are the procedural first step in Live Nation’s efforts to overturn the verdict. If denied — such post-trial motions face long odds in any lawsuit — the company will then take the case to a federal appeals court, and then to the Supreme Court if necessary.
Those efforts will have new stakes after the states formally asked earlier on Thursday that the judge must punish Live Nation by forcing it to sell Ticketmaster — a drastic change that would have major implications for the live music industry. Live Nation responded that a breakup is not legally available and the states’ request for one is “performative and political.”
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The Department of Justice and dozens of states sued Live Nation in 2024, claiming the company (which acquired Ticketmaster in 2010) had grown into a monopoly that dominates live music: “It is time to break it up,” said then-attorney general Merrick Garland.
A week after the case went to trial in March, the DOJ agreed to a surprise settlement. But dozens of states pushed ahead, with the goal of splitting Ticketmaster from Live Nation. And on April 15, they won a total victory: A verdict that Live Nation had violated federal antitrust laws by illegally monopolizing the market for ticketing services and other elements of the live music ecosystem.
In Thursday’s filings, Live Nation argues that such a verdict was “contrary to the clear weight of the evidence” presented to jurors during the trial. Rather than concrete proof and valid legal claims, the company says the states’ case was mostly built on scaring jurors with “legally irrelevant” stories about harm the company had allegedly inflicted on music fans.
“Hours of trial time were spent on prices for lawn chairs and parking. Phrases like ‘robbing them blind baby’ and ‘velvet hammer’ were plaintiffs’ mantras,” the company’s lawyers write, referring to specific moments from the trial, including unflattering internal messages in which Live Nation execs bragged about raising prices.
“None of this evidence should have come in, and its devastating impact became more apparent as the trial progressed,” Live Nation’s lawyers write. “Without it, there is little chance the jury would have returned the same verdict.”
Sometimes, a movie sneaks up on you, sidling in like a lamb and striding out like a lion, revealing its brilliance only after you’ve brushed away the sand and grit of first impressions. Much more rarely — in fact, corresponding exactly to the release rate of movies by visionary German director Valeska Grisebach — the brilliance goes bone-deep, emerging from an astonishingly new and strange filmic architecture. Grisebach’s fourth feature is just such a marvel, a verité social drama, cast with non-professionals, that from the improvisational immediacy of small-scale real life, gradually gathers all the elements of a sprawling crime epic. “The Dreamed Adventure” is basically a modern Bulgarian “The Godfather,” rangily reworked as a docudrama with suntanned arms, a squinting grin and a sly way of lolling back in its plastic chair as after-dinner conversation, sloshed and salty, rolls around the patio table.
The Bulgarian town of Svilengrad is close to both the Greek and Turkish borders and situated near a highway that leads to the second-busiest border-crossing in the world. It’s a place that millions have passed through but few, outside its actual inhabitants, have lingered in, despite attractions that proudly include, per the town’s wiki page, 3 DVD rental shops, two cinemas and a library. Said (Syuleyman Letifov, an auto-parts salesman whose only other acting credit is in Grisebach’s terrific “Western”) an erstwhile local with a ready smile and several lifetimes of experience etched into his affable, watchful face, is returning to the region for the first time in a long while. His windshield is smeared with the dust of a lengthy road journey. The landscape is baked and scrubby. He stops to buy water and make a phone call.
In Svilengrad, he checks into a lonely hotel, from outside which he discovers the next day his car has been stolen. By happy chance, he bumps into old flame Veska (Yana Radeva), who herself has only recently come back to her hometown to supervise an archaeological dig nearby. Veska offers to drive Said to a meeting he has arranged with a shady local “businessman” nicknamed The Raven, who we discover is involved in a turf war with even shadier bigwig Iliya (Stoicho Kostadinov).
Said’s not-terribly-legal scheme involves the purchase of a large quantity of diesel from The Raven, but he still has time to join Veska up at the dig site, where locals of all ages have also gathered to help out. Said fixes their metal detector and immediately finds himself a centuries-old bauble, which just goes to prove this sandy mound is rich with relics from the past. He and Veska hang out, perhaps on the verge of rekindling their romance. And then Said vanishes. Fascinating though this whole set-up has been, it has been a fake-out: Said is not the protagonist. It is Veska who will now take the reins of the story, quietly investigating her ex-lover’s disappearance, taking over his diesel enterprise, and in the process running afoul of gangster Iliya — with whom she also has some thwarted romantic history.
It would be difficult to overstate how much the textures and tempo of this film — organically, unobstrusively shot by Bernhard Keller and quite brilliantly edited by Bettina Böhler — are alien to the way we’re used to seeing gangster-movie plotlines develop. Traditional docudramas fictionalize some aspect of factual experience, but “The Dreamed Adventure” (and if there’s a bone to pick here at all it maybe with that unedifying title) is nothing so trite as a true story. Instead it works to reverse that polarity, so that the hard-knock facts of everyday life around these parts seem to generate not just fiction, but genre, that most fictional of fictions.
During the film’s many discursive, seemingly off-the-cuff drinking and dining scenes, where different clusters of locals chatter loosely amongst themselves, stray comments and anecdotes – about a man who disappeared and is presumed to have been murdered, about the guy who was suspected of fathering so-and-so, or about some hoodlum hiding a package in the ceiling of a now-abandoned hotel — resurface later, as pivotal plot points. It is as though, with infinite care and staggering patience, Grisebach, co-writing with filmmaker Lisa Bierwirth, is picking at the loose threads and dropped stitches of deeply researched reality, and with the crochet hook of her peculiarly pointed attention fashioning from them an entirely new garment.
It isn’t simply that we get the pleasures of genre — the peril, the mystery, the guns and the showdowns — encoded so cleverly into a deeply authentic portrait of a close-knit community, whose networks of everyone-knows-everyone relationships would ordinarily be inaccessible to outsiders. It’s also that Grisebach’s take on the sprawling crime-saga narrative is itself subversive. At the movies, mysterious disappearances that cue a hero’s rescue mission are usually those of young women and girls, preferably white, bonus points for blonde. But it is Said’s unexplained absence that cues Veska to turn gumshoe, placing a well-liked, worldly, middle-aged woman of quick wits and cowboy bravado into that usually masculine role.
And then Grisebach uses that distaff twist once again, to comment more broadly on the patriarchal nature and gendered violence of power structures corrupted by historical conflict. And on the inescapable cycle of oppression that occurs when everyday people — wrung-out by the effort of simply getting by and jaded at the idea that anything can ever change — choose an exhausted form of collaboration with their oppressors, keeping their secrets and shielding their misdeeds, knowing exactly where the bodies are buried and the firearms are stashed, but never digging them up. It makes the tiny borderland nowheresville of Svilengrad into a microcosm that can be scaled up to reflect the national and international socio-politics of this sorry moment in history.
Not to suggest that “The Dreamed Adventure” is all dour commentary. Veska also has a touchingly protective big-sisterly relationship with Maria (Denislava Yordanova) the young woman who lives next door, as well as several slow-simmering romantic options — and what a quietly revolutionary idea it is for a woman of her age onscreen to be accorded with desire and desirability. And the film always derives a crackle of life from its spontaneous-feeling construction, which occasionally even manifests as roughness, as when the odd line of post-dubbed dialogue slips noticeably out of sync.
But it has never been about formal polish for Grisebach who is more concerned with finding ways to deploy her colloquial, vernacular filmmaking to make visible the cinematically invisible, and to frame her characters with an absence of judgment so complete it’s a most unsentimental kind of love. And, in the case of Veska (wonderfully played by geologist-turned-croupier-turned-cosmetics-seller Radeva) identification too. Indeed, it is hard not to conflate the Grisebach of “The Dreamed Adventure” with her intensely impressive heroine, as a woman out on her own, doing something no one else would think to do, in a place few take notice of, and finding treasure.
Post Malone confirmed Australia and New Zealand as October 2026 stops on his Big Ass World Tour, and he’s bringing Don Toliver along for the Southern Hemisphere leg.
The announcement landed on Instagram this week. He kept it direct: “I’m bringing THE BIG ASS WORLD TOUR to you this October with @dontoliver and we can’t wait to see y’all.” No teaser, no slow build. He put it out there and let the excitement do the rest.
Fans in Sydney, Melbourne, and Auckland saw the announcement land like a signal flare. The rest of the region took notice too. Specific venues and dates were not included in the post, but the October window gave audiences something to plan around.
Don Toliver, the Houston-based R&B and hip-hop artist signed to Travis Scott’s Cactus Jack label, is set to join as touring partner. He and Post Malone have reportedly moved in the same creative circles for years. Toliver’s 2023 album “Love Sick” marked a continued push into international markets. It followed a breakout period that included the platinum-certified single “No Idea” and collaborations with some of hip-hop’s bigger names. Seeing that chemistry translate to the stage is a genuine draw for fans of both acts. Pairing Toliver with Post Malone on a Southern Hemisphere run gives those audiences something worth clearing their October for.
Pre-sale ticket access is open now through a sign-up link in Post Malone’s Instagram bio. The October dates mark the tour’s first confirmed stops in the Southern Hemisphere. Exact cities, venues, and show dates haven’t been announced yet. General on-sale details are expected to follow the pre-sale window.
The Big Ass World Tour has been one of 2026’s standout live productions. It grew from the momentum behind Post Malone’s 2024 album “F-1 Trillion,” a full pivot into country music. That record landed bigger than almost anyone predicted. It debuted at number one on the Billboard 200 and featured Morgan Wallen among a broader group of Nashville collaborators. “I Had Some Help,” the lead single with Wallen, crossed formats and became one of that summer’s most-talked-about tracks. It brought Post Malone to entirely new audiences, without losing the fans who’d been there from the start.
Born Austin Richard Post in Syracuse, New York, he’s spent over a decade refusing to stay in one lane. His live shows are built the same way. Setlists move through every chapter: the early SoundCloud years, the pop radio runs, the new country swing. No two nights feel identical. Post Malone has played arenas at every stage of his career, and the Southern Hemisphere shows mark the latest stop on a path that started over a decade ago.
Australia and New Zealand have a reputation for turning live shows into genuine events. The Southern Hemisphere leg of a major world tour often arrives later in the calendar than northern dates. Both countries have hosted Post Malone at earlier points in his career. October’s run arrives with a full production behind it, adding a new chapter to a touring history that has touched multiple continents.
Disney/Lucasfilm’s “The Mandalorian and Grogu” arrived at the box office Thursday night and made $12 million from preview screenings as it prepares to go wide today on 4,300 screens.
By comparison, the last “Star Wars” Memorial Day weekend release, “Solo,” opened to $14.3 million from previews before going on to a $103 million 4-day opening. From this start, “Mandalorian and Grogu” is on pace for a 4-day opening in the $90 million range, consistent with pre-release tracking and with the $97 million opening of recent hit “Michael,” which earned $12.6 million in previews.
From a likely fanboy-heavy early audience, “Mandalorian and Grogu” earned a largely positive reception with an 89% Rotten Tomatoes score to go with a 63% critics score.
After back-to-back losses in trials grappling with its impact on teens’ mental health, Meta just settled what was supposed to be its next legal battle with Kentucky’s Breathitt County School District. Google’s YouTube, Snap, and TikTok all recently settled similar claims brought by the school district, which was seeking payment from the companies to cover the cost of combatting social media-related mental health harms.
The trial had been set to begin in June as the first bellwether trial of the federal multidistrict litigation (MDL) cases, which include claims from school districts, state attorneys general, and individuals against the social media platforms. It’s similar to the group of cases making their way through a California state court in Los Angeles, where the first bellwether case in that group was recently held. The idea is that trying a sampling of cases before juries will inform settlement negotiations for the broader bucket of remaining cases.
The terms of the settlement with Breathitt County School District were not disclosed, but plaintiffs’ attorneys Lexi Hazam, Previn Warren, Chris Seeger, and Ronald Johnson said in a statement, “our focus remains on pursuing justice for the remaining 1,200 school districts who have filed cases.”
“We’ve resolved this case amicably and remain focused on our longstanding work to build protections like Teen Accounts that help teens stay safe online, while giving parents simple controls to support their families,“ Meta spokesperson Andy Stone said in a statement. YouTube spokesperson José Castañeda said the school district’s claims against the company were ”amicably resolved and our focus remains on building age-appropriate products and parental controls that deliver on that promise.” Snap spokesperson Monique Bellamy similarly said they were “pleased” to resolve the case “in an amicable manner.” TikTok did not immediately respond to requests for comment.
The next case on deck dealing with social media addiction and youth mental health claims is expected to begin in the Los Angeles state court in July. The next federal bellwether case is slated for January.
Although The Boys have fought their final battle, the dawn of The Seven is on the horizon with the prequel series Vought Rising.
On Friday, Prime Video released the first trailer for the upcoming spin-off starring Jensen Ackles and Aya Cash, which is scheduled to premiere on the streaming platform in 2027.
Set in the 1950s, Vought Rising explores the twisted origins of Vought International, with the teaser offering a diabolical first look at the next evolution of the franchise, including undercover investigations, some early Compound V testing and more of the bloody battles we’ve come to know and love.
“You know, if you’re working on something, maybe I could help,” Soldier Boy (Ackles) tells Private Angel (Elizabeth Posey), Bombsight (Mason Dye) and Torpedo (Will Hochman). “I wanna fight for the flag. I wanna be a hero.”
Cash’s Clara Vought (aka Stormfront) tells him, “There is a brighter future. All we need to do is take it.”
From showrunner Paul Grellong, the series also stars Mason Dye, Will Hochman, KiKi Layne, Jorden Myrie, Nicolo Pasetti, Elizabeth Posey, Ricky Staffieri and Brian J. Smith. Ackles and Cash serve as producers, with executive producers including Eric Kripke, Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Ori Marmur, Ken Levin, Jason Netter, Garth Ennis, Darick Robertson, Michaela Starr and Jim Barnes. The show is produced by Sony Pictures Television and Amazon MGM Studios, in association with Kripke Enterprises, Point Grey Pictures and Original Film.
The most harrowing drama this year hands down has taken place offscreen and found some festivalgoers booing the name of the French film financing behemoth Canal Plus whenever it’s popped up in credits. Before the festival opened, some 600 French movie professionals, including some with films here, signed a petition condemning the influence of the media mogul Vincent Bolloré, who controls Canal Plus and whose news outlets have promoted the far right. The letter warned that his influence would lead to “a fascist takeover of the collective imagination.” On Sunday, the head of Canal Plus, Maxime Saada, said at an event that the company would no longer work with the signatories.
The threat of a boycott in the arts is gravely unsettling; it also could be calamitous given how many movies rely on French financing, including from other countries. “Congo Boy,” Rafiki Fariala’s touching, intimately scaled drama, focuses on a sweet, unsinkable teenage refugee in the Central African Republic who finds his voice while struggling to support his siblings. It has French backing and so does “Ben’imana,” from the Rwandan writer-director Marie-Clémentine Dusabejambo. Set 18 years after the genocide in her country, it revisits the horrors of the past through the lives of survivors whose trauma is inscribed in their haunted faces, broken bodies and crushing memories. Both movies are in Un Certain Regard, a festival section largely for young and first-time filmmakers.
The French model of financing movies is complex and has been routinely criticized, including by the Trump administration. When Justine Triet won the Palme for “Anatomy of a Fall” in 2023, she took aim in her acceptance speech at the French government for some of its economic policies while also extolling the country’s “cultural exception,” a policy that protects cinema with subsidies, robust theatrical releases and other measures. As Triet explained that evening, “Anatomy of a Fall” had profited from this policy, with some of its budget coming from the state. The cultural exception benefited her and moviegoers, including those in the United States, where the film became yet another Cannes winner to significantly factor in the Academy Awards.
Triet and her partner, Arthur Hariri, ended up winning the Oscar for best original screenplay for “Anatomy of a Fall.” Hariri signed the Canal Plus letter; he’s also a director, and his latest, “The Unknown,” a darkly moody body-swapping fantasy, is in the main competition. It focuses on several characters who mysteriously find that their consciousnesses and maybe their souls have taken up residence in other bodies. It’s an absorbing, irritating, at times touching movie, and while I’m not wholly convinced by it — or how it skitters around identity, trans included — I’m glad to have seen it at Cannes, where an exceptional attitude toward cinema reigns supreme.
RIO DE JANEIRO, Brazil — Local giant Globo’s streamer Globoplay aims to launch in August, right after the FIFA World Cup in the U.S., Mexico and Canada, vertical microdrama “Quando o Coração Entra em Campo”, featuring a soccer player who makes the preliminary list for Brazil’s national team for the Cup, Samantha Almeida.
The original production of Globo’s Estúdios Globo is due to be lensed in June and will have 50 episodes of approximately two minutes. Casting is in course.
In the plot, soccer player Rocca is the center forward of the most famous soccer team in Rio, and his career takes a leap when he makes the preliminary list for the World Cup. He signs a multimillion-dollar contract, transforming his family’s life, and faces the challenges of dealing with fame and pressure that comes with success.
Globo, one of the leading and most traditional telenovela producers in the world, currently has a catalog of 25 microdrama titles: five original productions, nine spinoffs of telenovela characters and 11 internationally licensed ones.
Globo’s Rio-based production center Estúdios Globo and indie Formata have made the originals and spinoffs. The microdramas are available in the Globoplay platform and TV Globo’s social media.
While streamer Globoplay tends to make microdramas with original plots, TV Globo, the leading open-TV network in Brazil, focuses on spinoffs of characters of telenovelas simultaneously airing in their lineup.
Almeida said TV Globo’s pilot microdrama was released in June 2025 along with the final episodes of telenovela “Garota do Momento.” They launched on TV Globo’s social media five episodes with brief spinoffs of the telenovela, which were instant hits with five million views.
“We realized there was room to further develop the stories of certain characters, who are often supporting characters. So we decided to produce microdramas with plots that are not part of the telenovelas’ main plots,” Almeida told Variety.
“Tudo por uma Segunda Chance”, released Nov. 25 last year, was Globo’s first microdrama. The production was a spinoff of telenovela “Dona de Mim” and featured local influencer Jade Picon in the leading role.
TV Globo’s big microdrama hit is “Loquinha”, featuring a young lesbian couple of telenovela “Três Graças.” Lo, the short for Lorena (Alanis Guillen), and Quinha, of Juquinha (Gabriela Medvedovsky), are supporting characters in the telenovela, but drew the attention of viewers on social media.
Lorena (Alanis Guillen – left) and Juquinha (Gabriela Medvedovsky – right) in “Loquinha” Credit: Beatriz Damy
BEATRIZ DAMY
“Our microdramas are digital-first products, but they are connected to the broadcaster’s overall telenovela business. They play a key role in attracting young social media users to watch the telenovelas on TV Globo,” Almeida said.
Rio2C, the largest creative business gathering in Latin America, will host in this year’s event a panel dedicated to discuss the microdrama sector fast expansion in Brazil. Thiago Teitelroit, Tele Tele’s head of content and development, will be one of the speakers in the panel, New Ways of Telling: Fast and Vertical Narratives.
Indie Tele Tele is due to launch their app in June as the first Brazilian platform dedicated exclusively to the distribution of vertical microdramas and variety shows. Teitelroit, who has an extensive experience as producer at TV Globo, Sony and Netflix, telenovela and series screenplay writer Antonio Prata and documentarist Camila Guerreiro founded last year Tele Tele, which will both produce and distribute microdramas.
“Tele Tele will distribute the microdramas it produces. Brazil has a long tradition of telenovela production, and we believe content with Brazilian DNA is of high quality and can travel,” said Teitelroit.
Tele Tele has already made one microdrama and has two others in production.
Photo of Vitoria Strada in “A Boa, a Má e o Marido Gigolô”. Credit: Camila Guerreiro
“A Boa, a Má e o Marido Gigolô” (“The Good, The Bad And Gigolo Husband”) has 43 episodes of 1-3 minutes and features Vitoria Strada and Jayme Matarazzo as leading actors. In the plot, Strada plays the roles of Marcelle (the good) and Rayanne (the bad) twin sisters. After the accidental death of Rayanne, Marcelle pretends to be her sister to save their mother’s life.
“I believe we are experiencing a cognitive revolution. People have started watching videos in a fragmented way. In my home, the TV set is no longer turned on. The habit of gathering the family to watch a two-hour program is a thing of the past. Everyone now watches their preferred content on their own phones,” Teitelroit said.
Marvel Studios’ next Disney+ show is set to bring back a sprawling roster of superheroes, with Marvel Animation steadily revealing who will appear in the long-awaited return of X-Men ’97. After Season 1 ended with a finale that scattered the team across timelines, the studio has used promotional art, action figures, and a New York Comic-Con trailer to bring fans up to speed. X-Men ’97 Season 2 will hold its world premiere at the Tribeca Film Festival on June 13, with its Disney+ debut expected to follow later in the summer.
Thanks to the immense wave of promotional material, 23 superheroes are now confirmed to appear in X-Men ’97 Season 2. The lineup brings back Season 1 favorites while also introducing new mutant teams like X-Force, X-Factor, and X-Corp, the latter taking visual cues from Grant Morrison’s New X-Men comic run. With the first mutant, Apocalypse, set as the season’s main threat, these heroes will need to find a way to stop him.
Every Superhero Confirmed To Appear in X-Men ’97 Season 2
Cyclops
Marvel Animation
Ray Chase’s Scott Summers ended Season 1 hurled into the year 3960 with Jean Grey by his side, and Marvel Animation has confirmed his return via the NYCC trailer and the new X-Corp promo art. His updated look features a blue and white suit with a dark leather jacket, while later episodes will see him in a Grant Morrison-inspired uniform.
Marvel Animation
Cyclops occupies a curious spot in the wider Marvel Studios roster right now. James Marsden’s live-action version from the original Fox films is officially set to appear in Avengers: Doomsday, with the third teaser trailer for that film showing him ripping off his visor to unleash a full optic blast. Having two distinct versions of Scott Summers active across animation and live-action at the same time makes him one of the most heavily promoted mutants by Marvel Studios.
Jean Grey
Marvel Animation
Jennifer Hale’s Jean Grey is stranded in the same far future as her husband Cyclops, where they encounter a young version of their son Nathan Summers. Her Season 2 return was confirmed through the NYCC trailer and the X-Corp poster, with the Phoenix host stepping back into action in a new red and black suit.
Marvel Animation
Jean is one of Marvel’s most powerful telepaths and arguably the most dangerous being in Marvel Studios’ wider catalog when the Phoenix Force is in play. Veteran X-Men writer Chris Claremont recently claimed Famke Janssen will reprise her live-action Jean Grey role in Avengers: Doomsday, although Janssen herself has yet to officially confirm the news. Stranger Things star Sadie Sink, who is playing a mystery character in Spider-Man: Brand New Day, is also rumoured to be playing a young Jean Grey in that film.
In Brand New Day‘s trailer, Sadie’s character is treated as a danger. In certain shots, she’s restrained to a chair, and in others, she seems to be using telepathic powers to cause havoc in New York. Her role in the Spidey adventure has, however, not been confirmed.
Storm
Marvel Animation
Alison Sealy-Smith’s Storm had her Season 1 whereabouts left a mystery, but the NYCC trailer and a “Wasteland” Funko figure have confirmed her Season 2 return. Her new look swaps the iconic white outfit for a yellow and blue ensemble with shoulder pads and a long black cape, while her white hair is now tied back into a ponytail.
Marvel Animation
Storm is an omega-level mutant whose weather-bending abilities make her one of the most powerful figures in all of Marvel Studios’ superhero ranks. Reports have claimed Halle Berry could reprise her live-action Storm role in Avengers: Doomsday, but the actress vehemently denied those rumors, shattering hopes of her return.
Within the X-Men corner of the studio, Storm carries the same heavyweight presence Thor typically holds in the Avengers, making her one of the few mutants who can credibly square up with Apocalypse. With the X-Men reboot happening after Secret Wars, it’s only a matter of time before she makes her live-action return in the MCU.
Wolverine
Marvel Animation
Cal Dodd’s Logan returns to action in Season 2 despite having the adamantium ripped from his skeleton by Magneto in the Season 1 finale. Promotional art has revealed a new ninja-inspired suit with a blue wrap across his eyes, though Marvel Animation has not yet revealed where Logan ended up after the time-displacement chaos.
Marvel Animation
Wolverine remains the most commercially valuable mutant in Marvel Studios’ entire library, a fact cemented when Deadpool & Wolverine pulled in over $1.3 billion worldwide in 2024. Hugh Jackman’s recent take leaned heavily into wisecracking comedy, while X-Men ’97‘s animated version stays closer to the savage, brooding Logan that defined the original animated series. Marvel Studios has yet to officially announce Wolverine’s next live-action appearance. He’s not confirmed for Doomsday, but he definitely could appear in the follow-up film, Secret Wars. He’s also been reportedly left out of the X-Men reboot for Phase 7.
Morph
Marvel Animation
J.P. Karliak returns as the shapeshifting Morph, who is widely expected to be in the same time-displaced “Wasteland” as Wolverine and Storm based on the new costume tease in promo material. Morph’s Season 2 look ditches the long-sleeve leather jacket for a vest and adds a deep V-neck to the chest.
Morph is something of a wildcard in the entire Marvel Studios roster, with shapeshifting abilities that allow him to mimic almost any character physically and vocally. The closest comparison in the wider MCU would probably be Loki, although Morph plays for the X-Men’s team rather than for himself. It’ll be interesting to see how Mavrel Studios integrates a character like Morph in the broader MCU in the future.
Rogue
Marvel Animation
Lenore Zann’s Rogue returns as part of the team sent back to Ancient Egypt, where the X-Men will face Apocalypse during his early days as En Sabah Nur. Her new look keeps the green and yellow color scheme but adds a large orange poncho and a long green sash around her waist. Her other costume for the season, though, is more revealing, leaving her without sleeves.
Marvel Animation
Rogue’s power-absorbing abilities make her a tactical wildcard in any superhero roster. The closest MCU character to her in terms of abilities would be Absorbing Man from Agents of SHIELD. Most Avengers tend to have one defined power set, but Rogue can essentially borrow any ability through skin contact, which gives her a Swiss Army knife quality on any X-Men team. She has not been confirmed for any upcoming MCU live-action project, although her popularity in X-Men ’97 has fans calling for her to be the next mutant brought into the live-action fold.
Beast
Marvel Animation
George Buza is back as Hank McCoy/Beast for Season 2, having been featured throughout the NYCC trailer. His new look replaces the classic “only shorts” outfit with dark pants, a tank top, and a blue cape over his shoulders, while later episodes will give him a fully covered uniform featuring a huge X on the chest.
Marvel Animation
Beast is the closest thing the X-Men have to Tony Stark and Bruce Banner, a brilliant scientist whose intellect tends to drive the team’s response to almost every crisis. Kelsey Grammer, who took over the live-action Beast role across the Fox films and made his MCU debut in The Marvels‘s post-credits scene, has been officially confirmed for Avengers: Doomsday. Marvel Studios is now running two distinct Beasts on screen.
Jubilee
Marvel Animation
With most of her allies scattered across history, Holly Chou’s Jubilee is now set to play a major role in Season 2’s present-day storyline. Promotional art shows her in a coral-colored bodysuit with a yellow thigh holster, boots, and jacket.
Marvel Animation
The new X-Force lineup brings Jubilee into the team alongside Cable, Archangel, Psylocke, and Sunspot, marking a notable change for the firework-flinging mutant. In the comics, Jubilee is more closely associated with Generation X than any version of X-Force, so her inclusion here is a creative twist by Marvel Animation. Jubilee has not been confirmed for any upcoming live-action MCU project, but hopefully, she features in Phase 7’s Mutant Saga.
Nightcrawler
Marvel Animation
Adrian Hough’s Kurt Wagner will join Rogue, Beast, Magneto, Professor X, and Bishop in the Ancient Egypt team, based on recent promo art. His Season 2 redesign gives him a large red and brown outfit and a new set of tan gloves, while a yellow-hued promo image shows him in a fresh body suit with padding across the arms and legs.
Marvel Animation
Nightcrawler is one of the few mutants set to appear across multiple Marvel Studios projects this year. Alongside his X-Men ’97 return, Alan Cumming has been officially confirmed to reprise his Fox-era live-action Nightcrawler in Avengers: Doomsday, after first playing him in X2 back in 2003. His unique teleportation abilities, paired with his religious convictions, make him one of the most interesting characters in the MCU.
Professor X
Marvel Animation
Charles Xavier was presumed dead for most of Season 1, but Ross Marquand’s character is firmly back for Season 2, having been confirmed through posters, D23 footage, and the NYCC trailer. He is in Ancient Egypt alongside Magneto, with his new tunic and dark green jacket reflecting that setting.
Professor X has become one of the most heavily featured X-Men across all current Marvel Studios projects, with Patrick Stewart already confirmed to return as the live-action version in Avengers: Doomsday. The character had a brief MCU appearance in Doctor Strange in the Multiverse of Madness as a member of the Illuminati and is now poised to play a major role in the events of Doomsday.
Sunspot
Marvel Animation
Gui Agustini’s Roberto da Costa, also known as Sunspot,was a new recruit in X-Men ’97 Season 1 who struck up a strong bond with Jubilee, and he is back as part of the X-Force lineup. His Season 2 redesign gives him a blue and orange ensemble topped off with a red ninja-style mask across his eyes.
Sunspot’s ability to absorb solar energy and channel it through his body puts him in a similar bracket to Marvel Studios’ more cosmically powered heroes, although on a smaller scale. The Brazilian mutant is more commonly associated with the New Mutants in the comics, so his inclusion on X-Force here is one of the more interesting roster choices Marvel Animation has made.
Forge
Marvel Animation
The Native American mutant inventor Forge looks to be running the present-day X-Men following the team’s scattering across time. He’s expected to be a key figure in the effort to bring everyone home.
Forge’s powers center on creating and operating advanced technology, giving him a niche that no other mutant on the team really shares. Within Marvel Studios’ broader hero roster, his role is a bit closer to Riri Williams, who similarly relies on tech-based ingenuity rather than raw superhuman power.
Bishop
Marvel Animation
Isaac Robinson-Smith’s Bishop is back in Season 2, with his time-travel experience set to make him crucial to the X-Men’s mission of reuniting in the present. His Season 2 outfits include a yellow-and-blue suit with short sleeves and a V-neck one with a large X design on the chest, and weapon straps. Promo art has placed Bishop with the Ancient Egypt team.
Marvel Animation
The energy-absorbing time traveler from the near future is one of the more morally grey characters in Marvel Studios’ wider hero catalog. His unique perspective from a dystopian future positions him closer to a character like Kang than the average Avenger, although his methods are far less villainous.
Cable
Marvel Animation
Chris Potter’s Cable is in the present day, while his much younger self, Nathan Summers, meets Cyclops and Jean Grey in the year 3960. The character has been officially confirmed as the leader of the new X-Force lineup, with his Season 2 design featuring grey pants, a blue top, and green suspenders.
Josh Brolin has played Cable in the Deadpool live-action films before going on to voice Thanos in the MCU’s Infinity Saga. With an X-Force project reportedly being developed for Marvel Studios’ Phase 7 mutant rollout, Cable could make a live-action return.
Polaris
Polaris had a brief Season 1 cameo and has now been officially confirmed to play a much larger role in Season 2 via the X-Corp and X-Factor promo art. As Magneto’s daughter, she shares her father’s magnetic powers, with her new costume featuring an asymmetrical top and an X logo on the left chest area. She also appears in another costume featuring an X logo on the chest, worn under a jacket which also has an X-Men logo on the sleeve.
Marvel Animation
Polaris is one of three Magneto kids set to play a prominent role in a Marvel Studios project. Her half-siblings from the comics, Wanda Maximoff and Pietro Maximoff, have appeared in live-action MCU projects. Scream star Neve Campbell was previously reported to be voicing her in Season 2, although the actress later cast doubt on the rumor. The character provides a fascinating link between the X-Men corner of Marvel Studios and the existing Avengers lineup, where her half-siblings have already played key roles.
Havok
Marvel Animation
Alex Summers, Cyclops’ brother, was teased in a Season 1 cameo and is now confirmed to play a much bigger role in Season 2 as a member of the new X-Factor team. His updated costume is a darker blue and yellow suit with X-Men logos on the chest and jacket.
Havok was previously played in live-action by Lucas Till across the Fox X-Men prequels, starting with X-Men: First Class in 2011. His plasma blasts make him roughly comparable to Cyclops in raw destructive power, although with a wider blast radius and less precision. Marvel Studios has not announced any plans for the character beyond X-Men ’97.
Wolfsbane
Marvel Animation
Rahne Sinclair, the Scottish mutant known as Wolfsbane, will appear for the first time in X-Men ’97 as a new member of the X-Factor team. Her ability to transform into a wolf gives her a werewolf-style fighting capability, with her new sleeveless yellow and blue costume.
Wolfsbane is one of the few mutants whose powers overlap with the more supernatural corner of Marvel Studios, putting her in conversation with characters like Werewolf By Night from the 2022 Disney+ special of the same name. Wolfsbane has also long been a member of various superhero rosters in the comics, and Marvel Animation has placed her on X-Factor in X-Men ’97.
Strong Guy
Marvel Animation
Guido Carosella, better known as Strong Guy, made a brief appearance in X-Men ’97 Season 1 and is now back for Season 2 as a member of the X-Factor team. His new look includes silver shoulder pads, a different top, and goggles.
Strong Guy’s super-strength puts him in a similar bracket to Marvel Studios heroes like the Hulk and The Thing when it comes to pure physical power, although he is far less prominent in the wider comic canon. His ability comes from absorbing kinetic energy, which makes him a useful counterpart to the more agile members of X-Factor.
Multiple Man
Marvel Animation
Jamie Madrox, also known as Multiple Man, will be introduced in Season 2 as part of the new X-Factor team. His Season 2 look features a blue outfit, an X-labeled headpiece, and a green trench coat that was teased in the NYCC trailer.
Multiple Man’s ability to create exact physical duplicates of himself is one of the most logistically wild powers in the entire Marvel Studios catalog, allowing him to be his own army. The late Eric Dane played the character in X-Men: The Last Stand back in 2006, although Marvel Studios has not announced any future live-action plans for him. Multiple Man is one of numerous mutants from the Fox X-Men films set to appear in X-Men ’97 Season 2.
Valerie Cooper
Marvel Animation
Val Cooper, the government liaison previously met in Season 1, has been officially confirmed as part of the new X-Factor team in Season 2. She is not a mutant herself, but Cooper acts as the team’s link to the U.S. government, which gives X-Factor its officially sanctioned status.
Cooper occupies a similar role in Marvel Studios’ mutant corner to Nick Fury in the Avengers ecosystem, working as the non-powered bureaucratic figure who keeps the team operational. She first appeared in X-Men comics in the 1980s and has long been a fixture of X-Factor stories, although Marvel Studios has yet to introduce a live-action version of her.
Archangel
Marvel Animation
Warren Worthington III, also known as Archangel, was confirmed for X-Men ’97 Season 2 in the trailer shown at NYCC. Hasbro Marvel Legends merch also confirmed his appearance in the series. He also shows up in promotional art for the new X-Force team.
In Marvel Comics, Archangel has long been part of the 2010s Uncanny X-Force lineup. His inclusion in X-Men ’97 is a major Marvel Studios appearance for the character. He last appeared in live-action in X-Men: Apocalypse back in 2016. His flying abilities and metallic feathers give him a niche similar to Falcon and Vulture in the MCU, who are aerial combat pros.
Psylocke
Marvel Animation
Betsy Braddock, also known as Psylocke, was hinted at via a life-size statue at New York Comic-Con and is officially part of the new X-Force lineup. She had a brief appearance in Season 1’s finale as a member of the Canadian superhero team Alpha Flight, with Season 2 bringing her into the main spotlight.
Psylocke is one of the few mutants whose telepathic abilities allow her to create psionic blades, giving her a melee fighting style that very few Marvel Studios heroes share. Olivia Munn previously played her in X-Men: Apocalypse back in 2016, although Marvel Studios has not announced any live-action plans for the character moving forward. Her inclusion in X-Force suggests Marvel Animation is leaning into the 2010s comic incarnation of the team rather than the 1990s original.
Magneto
Marvel Animation
Matthew Waterson’s Magneto is back for Season 2, with the master of magnetism now allied with the X-Men in Ancient Egypt rather than working against them. His new look brings back the purple cape and red helmet, plus a long maroon jacket and pants under the cape, with the cape itself slightly frayed in the new promo art.
Magneto’s central conflict with Xavier is the foundation of nearly every major X-Men story, which makes him one of the most important characters in Marvel Studios’ mutant rollout. Sir Ian McKellen has been officially confirmed to reprise his live-action Magneto role in Avengers: Doomsday, with the second Doomsday teaser showing him playing chess with Patrick Stewart’s Xavier. The character’s mix of trauma, ideology, and raw power has long made him the most compelling antagonist (and sometimes hero) in the entire X-Men canon.
In the 2010s, Nicolas Winding Refn had campaigned to direct a Wonder Woman movie, with the acclaimed director considering Mad Men star Christina Hendricks for the lead role. Ultimately, Patty Jenkins would direct Wonder Woman, starring Gal Gadot as part of the DCEU. The filmmaker behind Drive, Only God Forgives, and The Neon Demon is once again throwing his name into the mix to direct another DC superhero movie, but has set his sights on a different figure.
Promoting his newest movie, Her Private Hell, at the Cannes Film Festival, Refn mentioned he would like to do Batgirl. The filmmaker revealed to Deadline, “I would love to do Batgirl. Because Wonder Woman is done, that one I thought was super heavy.” This isn’t the first time the director has expressed interest in directing Batgirl, as he previously referenced the characterin 2016.
Refn elaborated on what draws him to Batgirl, saying:
“The costumes, I love the aesthetics. A lot of Her Private Hell is my obsession with dolls, objects and how to move people around in space and time. I loved the objectification of objects, and superheroes and comic books and that whole subculture. It’s where I come from. I collect Japanese toys, I play with LEGOs…”
Warner Bros.
It is notable that Refn is ruling himself out for Wonder Woman, as DC Studios is opting to reboot the character. Refn likely does not have interest in putting another spin on Wonder Woman, and would rather tackle a new superhero. However, Batgirl technically has both the unreleased film and was played by Alicia Silverstone in Batman & Robin.
Refn still wanting to do Batgirl is interesting, given that Warner Bros. infamously filmed and later scrapped a nearly completed movie centered on the character. Batgirl starred Leslie Grace and Brendan Fraser, and was directed by Adil El Arbi and Bilall Fallah. Batgirl was canceled by Warner Bros. CEO David Zaslav as part of a tax write-off in a controversial move. This decision has led many to wonder if James Gunn has any plans for Batgirl in the DCU anytime soon.
Hiring an acclaimed filmmaker like Refn might shift the negative narrative around any Batgirl news, much like Denis Villeneuve being hired to direct a new James Bond, which seemed to ease many people’s concerns about Amazon MGM having full control of the franchise. Refn’s filmography also includes the acclaimed Pusher trilogy, the Tom Hardy-led Bronson,and Valhalla Rising. Her Private Hell, which opens in theaters on July 24, marks Refn’s first feature film since 2016’s Neon Demon. Even though the director admits, “I don’t know if I’ll make an actual IP,” maybe one day he could join the DCU.
The future of Bungie is looking uncertain, as insider reports claim layoffs are on the way for the studio as it ends development on Destiny 2. There are reportedly no plans to move into development on Destiny 3, with Bungie looking to refocus on Marathon instead for the time being.
Following the news that Bungie would deliver its final content update for Destiny 2 this June, a Bloomberg report suggests the studio is planning “significant” layoffs. Amid speculation that the studio would move into production on Destiny 3, or another Destiny-related title, insider sources quoted by Bloomberg say that there is currently no project for the Destiny 2 team to move on to.
Bungie staff are reportedly pitching new projects to begin developing, including some Destiny-related titles, but none have currently been greenlit for production. With game companies–including Bungie’s parent company Sony–more budget-conscious than ever amid rising hardware prices and a competitive market, it’s not certain if any of these new projects will move into development.
In a reply on Bluesky, reporter Jason Schreier added that the reason Bungie didn’t immediately start production on Destiny 3 after the release of The Final Shape was because of concerns around costs. A planned Destiny spin-off codenamed Payback, which was referred to internally as “the next Destiny,” was also canceled sometime after Bungie was acquired by Sony.
For now, Bungie is focusing on its extraction shooter Marathon, which hasn’t performed as well as hoped since its release in March. Some staff from the Destiny 2 team were also moved to Marathon recently.
7 Marathon Beginner Tips To Help You Survive On Tau Ceti
Legendary voice actor Tom Kane, who died from complications of a stroke on May 18, is perhaps best known for voicing Yoda in Star Wars: The Clone Wars and a variety of other animated projects and video games. When it comes to the animated branch of the franchise, he is just as iconic as Frank Oz, who operated and voiced Yoda during his first appearance in The Empire Strikes Back and reprised the role in the movie’s live-action sequels and prequels. Kane did the same thing for a number of other live-action Star Wars characters when they appeared in animated projects, including C-3PO, Boba Fett, Admiral Ackbar, Qui-Gon Jinn, Luke Skywalker, and Han Solo.
However, Kane’s prolific career was not limited to just the Star Wars franchise. In addition to originating characters including Darwin from The Wild Thornberrys and Professor Utonium from The Powerpuff Girls, he has voiced animated versions of some of the most iconic characters of all time, across a number of major franchises. Here, we’ll be breaking down every major non-Star Wars franchise character he took on over the course of his prolific career.
Marvel’s Dr. Doom
‘Fantastic Four’ (2005)Credit: 20th Century Fox
Given how often Marvel comics are adapted for both the big and small screens, it’s not uncommon for voice actors to find themselves stepping into notable roles from the pages of their comic books. The Fantastic Four villain Dr. Doom (who is a towering figure in comic books who is about to become even more famous thanks to Robert Downey Jr. being set to portray him in the upcoming Avengers: Doomsday) became one of Tom Kane’s first notable franchise roles when he voiced the character in a 1997 episode of Spider-Man: The Animated Series.
Marvel’s Professor X
‘X2: X-Men United’ (2003)Credit: 20th Century Fox
The iconic X-Men character Professor X (who has notably been portrayed by Patrick Stewart and James McAvoy in live-action) was the next major Marvel role that Tom Kane took on in the 2006 video game Marvel: Ultimate Alliance.
Marvel’s Magneto
‘X2: X-Men United’ (2003)Credit: 20th Century Fox
It wasn’t until Tom Kane took on the role of the X-Men villain Magneto (who has been portrayed by Ian McKellen and Michael Fassbender in live-action) in 2008’s Wolverine and the X-Men that he found his signature Marvel role. He would voice the villain in numerous projects through 2021, primarily in video games, including 2008’s ZEN Pinball, 2011’s Marvel vs. Capcom 3: Fate of Two Worlds, and 2019’s Marvel Ultimate Alliance 3: The Black Order.
Marvel’s Iron Man
‘Iron Man 3’ (2013)Credit: Walt Disney Studios Motion Pictures
Although Tom Kane became a recurring Marvel villain, he had at least one other hero in him, as he voiced Iron Man (another character who has been portrayed in live-action by Robert Downey Jr.) in 2008’s Next Avengers: Heroes of Tomorrow.
DC’s Jim Gordon
‘The Dark Knight’ (2008)Credit: Warner Bros. Pictures
While Tom Kane was definitively a Marvel stalwart, he did take a brief sojourn to voice a major DC character. The Batman character Commissioner James W. “Jim” Gordon Sr. has been portrayed by a number of notable actors, including Gary Oldman, Mitch Pileggi, Christopher Meloni, Jeffrey Wright, and J. K. Simmons, and Kane joined their number when he took on the role in the 2009 video game Batman: Arkham Asylum.
Indiana Jones’ Indiana Jones
‘Raiders of the Lost Ark’ (1981)Credit: Paramount Pictures
While the role of the adventurous archaeologist Indiana Jones is more or less synonymous with Harrison Ford, who has portrayed him on the big screen in every installment of the five-film franchise, Tom Kane stepped in when it came time for the character to star in the 2008 video game Lego Indiana Jones: The Original Adventures and its 2009 sequel Lego Indiana Jones 2: The Adventure Continues.
Inuyasha’s Inuyasha
‘Inuyasha’ (2000-2004)Credit: Adult Swim
While this was not a role that he portrayed often, Tom Kane voiced Robot Chicken’s version of the title character from the anime series Inuyasha, who is part human and part dog demon. Typically, on Robot Chicken, he played narrators (including doing a parody of Morgan Freeman’s narration in March of the Penguins), but it seems that the creators of the series couldn’t resist adding another iconic role to his resume.
Archer’s Woodhouse
‘Archer’ (2009-2023)Credit: FX
While the majority of the franchise characters that Tom Kane voiced were roles that weren’t attached to a single actor, this was not the case with the Archer character Woodhouse. Sterling Archer’s long-suffering valet (whose name is a reference to P. G. Wodehouse, the writer who invented Jeeves, the most iconic valet character of all time) was voiced entirely by George Coe throughout the first four seasons of the series (except for flashback scenes). However, Coe faced a long illness and eventually died at the age of 86 in 2015, so Tom Kane stepped in to fill his shoes in Archer season 5 and beyond.
Lord of the Rings’ Gandalf
‘The Lord of the Rings: The Fellowship of the Ring’ (2001)Credit: New Line Cinema
In what somehow seems to have been a total coincidence, Tom Kane had already taken on a different Ian McKellen character before playing Magneto. He first voiced the iconic Lord of the Rings wizard Gandalf in the 2002 video game adaptation of Peter Jackson’s The Fellowship of the Ring. While a cast of voice actors played the major roles in that original game, as the smash hit LOTR trilogy continued, the next two game adaptations saw the live-action cast reprising their roles, so McKellen voiced his own role in the Two Towers and Return of the King games.
However, once the franchise got resurrected in video game form in the 2010s, Tom Kane returned to voice Gandalf in multiple installments, including Aragorn’s Quest, War in the North, Guardians of Middle-Earth, and Lego Dimensions.
Halloween’s Dr. Loomis
‘Halloween 5: The Revenge of Michael Myers’ (1989)Credit: Galaxy International Releasing
In a similar situation to the one that saw him taking over the role of Woodhouse on Archer, Tom Kane stepped into the shoes of Michael Myers’ longtime herald and hunter, Dr. Sam Loomis, after the death of Halloween star Donald Pleasence, who portrayed the character in five of the original six movies in the slasher franchise. However, the situation differed from Archer in that Kane actually voiced a character for a live-action movie, mimicking Pleasence’s iconic cadence for a voiceover scene in 1998’s Halloween H20: Twenty Years Later. While Kane didn’t reprise the role in any other official installments, his Loomis voice was later utilized in two fan-made short films.
These ten franchise characters are ultimately just the tip of the iceberg when it comes to Tom Kane’s career, which includes credits in nearly 300 projects overall. What are some of your favorite Kane characters? Sound off in the comments!
There’s probably no director working in Hollywood right now more friendly with the United States military than Michael Bay, who’s buddy-buddy’d up with the military-industrial-fun complex on many of his films, including Transformers, Pearl Harbor, and his based-on-a-true-story 2016 war film 13 Hours. Now, Bay—possibly rendered awestruck/turgid by the chance to make a movie that might literally be titled Operation Epic Fury—has signed himself and Universal Pictures up for a film based on the U.S.’s current ceasefire-ish military conflict with Iran.
This is per Deadline, which reports that Bay is developing a film based on an April 2026 incident from the war, in which an F-15E Strike Eagle was shot down by Iranian forces, leading to successful rescue efforts to secure its two airmen. The film will be based on an upcoming book by writer and professor Mitchell Zuckoff, whose previous book 13 Hours, about the 2012 attacks by Islamist extremists on the U.S. diplomatic compound in Benghazi, served as the basis for Bay’s 2016 film.
The director—most recently in theaters with his slightly less bombastic 2022 thriller Ambulance—issued a statement today about how excited he is to show the more kickass sides of a military conflict that apparently doesn’t have him regularly chewing his fingernails down to the nub. “I’ve had an amazing partnership over my 30-year career working with the Department of War and amazing U.S. military members,” Bay said. “In my film 13 Hours, no rescue force answered the call for help. This film is about everyone who answered the call in one of the most complex, intricate, and high-stakes operations in recent history. It celebrates the true heroism and unwavering dedication of our service members.”
Rehearsals for a Revolution, director Pegah Ahangarani‘s film about decades of political repression in Iran, won the L’Oeil d’or Prize today, the Cannes Film Festival’s top prize for documentary. Accepting the award in the presence of Cannes Film Festival leader Thierry Frémaux, Ahangarani dedicted the award to the people of Iran.
The jury, presided over by Oscar winner Mstyslav Chernov, chose Rehearsals for a Revolution from among 21 films screening in the festival and its sidebars.
“The jury is honored to award L’œil d’or – the Documentary Prize — to Rehearsals for a Revolution,” noted Chernov and fellow jurors Tabitha Jackson, Géraldine Pailhas, Lina Soualem, and Victor Chastanet. “This film allows us to enter the intricate and complex reality of contemporary Iran through a braiding of personal, historical, and poetic cinema. In its search to find the language to express the truths of the moment, Rehearsals for a Revolution is not afraid to question its own gestures — to doubt itself and to be vulnerable. The jury was struck by the masterful script and vivid, urgent storytelling, and by a filmmaker who carried us through violent waves of history while never losing sight of the value of each individual human life.”
Cannes Film Festival
The jury awarded a Special Mention to Tin Castle, directed by Alexander Murphy, a film about the O’Reillys, a family of Irish “Travelers” who live in a caravan.
‘Tin Castle’
Critics’ Week
“This film captivates us from the very first images and continues to impress us with cinematic craft at its highest level,” the jury wrote. “The filmmakers gaze directed at his heroes and heroines expresses their intimacy without invading it. Through its precisely calibrated perspective Tin Castle invites us to reflect on the position and role of the documentary camera and deploys love as a cinematic and political force.”
The L’Oeil d’or prize, which comes with a €5,000 award for the winner, was recreated by the Cannes Film Festival and LaScam (French-speaking society for non-fiction authors). This is the 11th year for the prize.
The jury considered 13 films from the Official Selection, one documentary from Critics’ Week, three others from the Directors’ Fortnight, and four more films from the ACID sidebar.
Director Pegah Ahangarani at the 31st International Fajr Film Festival in Tehran, Iran.
Amin Mohammad Jamali/Gallo Images/Getty Images
“Rehearsals for a Revolution is made up of six chapters from Ahangarani’s life, ranging from her memories of her filmmaker parents, and the tragic death of her uncle Rashid, to the birth of her daughter,” Wise wrote. The filmmaker told Wise she was still “getting used to” the title she chose for her film.
“What convinced me, I think, is that the word ‘rehearsal’ often refers to art and cinema, which reflects the fact that I myself come from an acting career,” Ahangarani told Wise. “But it also refers to the voice of Rashid, in the third chapter, when he says that Iran is a country of failed revolutions. This is something that might sound sad and a bit desperate, but at the same time, it’s true. There’s been quite a lot of failed revolutions, but there is also hope. Rehearsal means there’s still time for one final revolution.”
The Critics’ Week sidebar is on a roll. As my colleague Melanie Goodfellow notes, recent Cannes Critics’ Week documentary selections The Brink Of Dreams and Imago went on to win Cannes’ Golden Eye in 2024 and 2025 respectively.
“Downsizing” was produced by Ad Hominem Enterprises, Gran Via Productions and Paramount Pictures with a budget of $68m. With it’s initial release on December 22nd 2017 it made approximately $55m at the Box Office.
Welcome to a different kind of science fiction experience! Embark on a journey through six possible future worlds and engage with films, audio stories and soundscapes, installations and projections, costumes and tapestries, movie miniatures and speculative artefacts. This is In Other Worlds, an immersive experience created by designer, director, and producer Liam Young (Planet City), in collaboration with leading voices from film, TV, literature and science.
Hosted at London’s Barbican Centre, it features such famous voices as Diego Luna (Rogue One, Andor), Jeffrey Wright (American Fiction, Casino Royale), Denise Gough (Andor), Richard Ayoade (The Phoenician Scheme, The IT Crowd), Maxine Peake (I Swear, Shameless), Adam Young (Lord of the Rings: The Rings of Power), Finnish actress Alma Pöysti (Fallen Leaves) and Australian actress Natasha Wanganeen (Rabbit Proof Fence).
The immersive exhibition invites you to explore “imagined futures for our planet, rooted in real technology and climate-based possibilities.”
Young and his collaborators offer a slice of Hollywood through the stories, the famous voices and writers, including Lisa Joy (Westworld, Fallout), and costumes by Ane Crabtree (The Handmaid’s Tale, The Sopranos, Westworld), among other things. But the immersive experience also wants to go beyond the traditional sci-fi offering.
Liam Young’s immersive experience ‘In Other Worlds,’ courtesy of Thomas Adank/Barbican Immersive
“Our relationship to the future has always been shaped by the medium of imaginary worlds,” Young offered during a press walk-through for In Other Worlds, which runs through Sept. 6. “It’s an extraordinary shared language.” However, “one of the great tragedies of the Hollywood machine is that we often lose that opportunity … to find deep emotional connections to ideas through these mediums, rather than just create a backdrop for some superhero moment.”
He described In Other Worlds as “an attempt to create a collection of visions for a hopeful future, but also to bring general audiences into direct conversation with some of these ideas about how you might live in the future,” in effect, “creating an entry point to talk about what the future could be and creating a shared conversation.”
People walking through the immersive experience will get to see, hear and interact with different potential future worlds, each anchored by a film, developed by Young’s studio in Los Angeles and “an amazing group of VFX artists that, when they’re not working on these kinds of projects, is working on Hollywood blockbusters and Marvel movies,” Young explained. “So we’re kind of making an attempt to co-opt that Hollywood machine to tell different kinds of stories, and then out of those films are pulled costumes, props, objects, movie miniature models that go into the making of the film.”
Liam Young’s immersive experience ‘In Other Worlds,’ courtesy of Thomas Adank/Barbican Immersive
Young is fascinated by and interested in the history of sci-fi worlds and model making, from Fritz Lang’s Metropolis to Ridley Scott’s Blade Runner, he shared. “The unsung heroes of world-building, in many ways, have been model makers,” he said. “What we’ve done with these worlds is then also invite an amazing collection of collaborators, writers from film and TV, musicians, poets, scientists, and technologists to inhabit each of these worlds and to tell their own stories to find their own characters and to take their own position in these spaces.”
For visitors of In Other Worlds, Young hopes to provide inspiration for ways to address our world’s challenges. After all, the creative says, “the crises that we face are no longer crises of technology, but rather crises of the imagination.”
The 21-track film was shot on the pop star’s recent Radical Optimism Tour
Dua Lipa dropped her live concert film, Dua Lipa (Live From Mexico). Fans can watch the film, shot during the finale show of her global Radical Optimism Tour in Mexico City, for free on her YouTube channel. A live album version is also available via streaming services.
The two-hour film showcases 21 tracks, including a duet with Maná’s Fher Olvera of the band’s classic 1992 hit “Oye Mi Amor.” Throughout the tour, Dua Lipa notably performed covers and duets in the local language to honor each city. She ultimately performed in nine different languages, including Spanish, Italian, French, Czech, Dutch, German, Portuguese, and Albanian.
“This was my idea. It came about purely because I had done a song for the American Country Music Awards with Chris Stapleton, and it was so much fun that I proposed it to the band and to the team: How fun would it be if every night we do a different song?” Lipa previously said of the covers idea. “And everyone was like, well that’s quite ambitious.”
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The Radical Optimism Tour took Dua Lipa around the world over nearly nine months, spanning 92 shows. The tour launched in Australia in March 2025 and featured surprise appearances by musicians like Gwen Stefani, Billie Joe Armstrong, and Lionel Richie.
Adapted from the audio book by Frances Longrigg, The Land of Sometimes is a callback to the the glory days of Disney animated musicals. Featuring songs composed by Tim Rice and Olly Thompson, working off a screenplay by Martin Casella and Tony Nottage, The Land of Sometimes is the latest film by longtime animator and director Leon Joosen. It also features the final vocal performance by Terry Jones. Terry Jones passed away in 2020, dear reader, so you may well imagine this film has been worked on for some time.
The craftsmanship of The Land of Sometimes is apparent in every cell of this lovely film. While it is computer animated, its done so in a manner which strongly suggests hand drawn scratch made animation. Enough with the applause, you want to know what The Land of Sometimes is about. At least, dear reader, I very much hope you do.
“This is the land of Sometimes/The land of now and then” booms the Wish Collector (Ewan McGregor). The Land of Sometimes is, in fact, a magical island where wishes come true. The Land of Sometimes cycles through all four seasons in a day. During that time, a child is bestowed three wishes. The wishes must be concluded successfully before the end of Winter. If the child fails to do so, they are trapped on the island as it crumbles back into the sea, and are transformed into a permanent resident of The Land of Sometimes.
” … a child is bestowed three wishes …”
Enter our protagonists, Elise and Alfie (Alisha Weir and Andrei Shen). Their father is on a seemingly never-ending tour of duty for the British navy. Their mother (Jessica Henwick) is at her wits end. Trying to find some common ground with her children, she gifts them their father’s old Wish Watch (Terry Jones). When Elise wishes for “a grand adventure” she catalyzes the long dormant Wish Collector into action. Coming to their home in a parrot shaped vessel, The Wish Collector whisks Alfie and Elise off to the The Land of Sometimes.
What transpires in The Land of Sometimes is nothing short of magical. With great whimsy and wonder Frances Longrigg’s imagination comes to life in brilliant, eye-popping color. This is the sort of film families have wanted for a long time. A tale with a great lesson that’s applicable to one’s life, told in a fantastical way. And the songs… Tim Rice may not be generating the hits he used to back in the 90’s, this is true. However, the songs here are all delightful. Especially the title track. Ewan McGregor’s soaring vocals on The Land of Sometimes guarantees that song is going to be an ear worm for me, and I could see many father’s attempting it during lullaby sets for the children.
The Land of Sometimes is a lovely adventure for the entire family. I wish I knew the release schedule. If it comes by you, dear reader, check it out. This is cinematic wonder which inspires future careers in either movies, musicals, or both. This is a truly great film, The Land of Sometimes.
The Supreme Court of Canada has decided it will hear the B.C. government’s appeal of a precedent-setting lower court ruling on Indigenous mineral rights and the legal enforceability and interpretation of BC’s Declaration on the Rights of Indigenous Peoples Act (DRIPA).
In December, the B.C. Court of Appeal ruled in favour of the Gitxaała and Ehattesaht First Nations, who argued that the province’s mining claims system impacts Indigenous rights and is inconsistent with DRIPA.
This will be the first time that Canada’s top court will weigh in on B.C.’s controversial DRIPA legislation.
“Gitxaała brought our mineral tenure case because B.C.’s out-of-date, colonial mineral tenure regime is inconsistent with Canadian, international and Gitxaała law,” Gitxaała elected and hereditary leadership said in a statement on Thursday.
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“The BC Court of Appeal agreed with us, and we are confident that justice will prevail at the Supreme Court of Canada.”
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Gitxaala court challenge could upend gold rush-era mineral claims process
First Nations say the case carries major consequences for how DRIPA is applied, not only in B.C., but across the country.
B.C. Premier David Eby said the case affords the province two avenues to resolve the issues around DRIPA.
“So we’re open to other ways to delivering that certainty and what is the piece that we have to deliver though, is that answer to how we move forward, how we deliver that certainty, maybe through the court, maybe through negotiations,” he said.
“We’re not closing any doors. The goal here is just to find that certainty.”
The Supreme Court gives no reasons for agreeing to hear cases.
Oral arguments are expected within months, with a decision likely later next year.
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Until then, uncertainty remains over how far DRIPA reaches in B.C. law.
Stephen Colbertis one of the biggest names in comedy. He developed a cult following with his popular series Strangers With Candy in 1999, but he became a household name when he was a correspondent on Comedy Central’s The Daily Show. He eventually went on to host his own satirical news show The Colbert Report for almost a decade and later became the host of The Late Show in 2015, which is ending in May 2026.
Stephen has been married to his wife Evelyn McGeesince 1993, and they’re proud parents to three adult children: Madeleine, Peter and John. All three kids have dabbled a bit in the entertainment industry. Stephen revealed some advice he gave his kids in a January 2023 episode of his show. “The advice I’ve given my kids just in general being in business is: be enthusiastic and competent,” he said. Find out more about all of his kids here!
Madeleine Carlisle
Stephen and Evelyn welcomed their eldest child and only daughter in 1995. The comedian was still working on his early career when Madeleine was born. He had previously joked about cradling his daughter in audition tapes, per Rolling Stone. Stephen had also revealed that he had Evelyn had hired Jennifer Garner to babysit for her early in their careers after both of the actors appeared on Spin City. Stephen and Jennifer reminisced on when the actress used to babysit for their daughter in a 2017 appearance on The Late Show. “I just remember your gorgeous little girl,” Jennifer told Stephen. “She was really smart. She was very verbal.”
As a youngster, Madeleine did make an appearance on The Daily Show in a 2004 episode as the “Oil Industry in Disguise,” per IMDb. She later worked as a makeup artist on The Late Show in 2020.
While her dad has always had a knack for making the news funny, his love of current events clearly inspired his daughter. Madeleine, who now goes by Madeleine Carlisle, is a working journalist. She had previously written for both The Atlantic and Time, according to her Twitter bio, and she’s now an associate producer at 60 Minutes, via LinkedIn, sharing the CBS network with her dad.
Peter Colbert
Evelyn gave birth to her and Stephen’s second child Peter in 1998. The middle Colbert child has mostly stayed out of the spotlight, but he has dipped his feet into the entertainment industry. Given what a big fan of the Lord of the Rings series his father is, it’s no surprise that the comedian seemed to pass on some of that love to his children, and Peter had a small acting role alongside his dad as a Laketown spy in The Hobbit: The Desolation of Smaug in 2013. He’s also acting in an upcoming short, called The Virgin, per IMDb. Aside from acting, Peter does have some credits behind the camera. He directed the 2018 short At The Crossroads Down Yonder, which he also wrote, and an episode of the 2019 TV series Where’s Noah? , which he also executive produced four episodes of. He was also listed as a cinematographer on a 2020 episode of The Late Show.
John Colbert
Stephen and Evelyn welcomed their youngest child, John, in 2002. Like his older siblings, John has also dabbled a bit in entertainment. Like his brother and father, he also made an appearance in The Hobbit series as a Laketown spy. Aside from The Hobbit cameo, he appeared in four shorts in 2019: Egg Evan, Real Detective, The Sockpocalypse, and Cardboard By YourName, per IMDb. Aside from his acting, he has also worked as a grip in the camera department on the 2022 short Carmonizer
A wave of international stars including Javier Bardem, Mark Ruffalo and Ken Loach have joined the petition warning against what signatories describe as the “far-right grip” tightening around the industry through Canal+ and its billionaire shareholder.
Originally launched ahead of Cannes by roughly 600 French film professionals, the petition has ballooned to more than 3,500 signatures in the wake of comments made by Canal+ CEO Maxime Saada during the festival. Speaking at a producers’ lunch last weekend, Saada said he no longer wished to work with artists who signed the petition, declaring: “I don’t want to work with people who call me a crypto-fascist.”
The petition, spearheaded by the collective “Zapper Bolloré,” criticizes Bolloré’s expanding footprint in French media and entertainment, including Canal+’s planned acquisition of a 34% stake in cinema giant UGC. Signatories argue that the consolidation risks concentrating unprecedented influence over film financing, distribution and exhibition in the hands of a conservative media empire increasingly associated with right-wing editorial politics in the run up to the next presidential election in 2027.
The dispute around Canal+ has become one of the festival’s defining off-screen dramas. Le Monde reported that more than half of recent French films involved professionals who have now signed the petition.
The debate erupted earlier this week after roughly 600 film industry professionals, including Juliette Binoche and Arthur Harari (whose film “The Unknown” starring Léa Seydoux premiered at Cannes) signed the petition criticizing Bolloré’s growing influence over French media and culture, calling out Canal+‘s acquisition of a 34% stake in theater chain UGC and raising concerns over a rightward shift of the group’s editorial line in the run up to the presidential election in 2027, where the far right party Rassemblement National is a leading contender.
After a meaningful and prolific goodbye tour, Stephen Colbert said good night to the viewers of “The Late Show” for the last time Thursday night with a perfect episode of television that felt more like a celebration than a funeral. If you thought you were going to make it through“The Late Show with Stephen Colbert” series finale without feeling your feelings, then you thought wrong.
The final episode, which aired on CBS and streamed on Paramount+ at 11:35 p.m. ET/PT, was a proper send-off that encompassed the end of an era for Colbert and for the ever-changing landscape of late night television.
Before delivering his monologue, Colbert addressed viewers along with those sitting in the audience inside the Ed Sullivan Theater.
“Folks, we have done over 1,800 of these shows and most nights I come out here I talk to the audience beforehand, and tonight I thought I’d talk to the audience in here and out there at home,” he said. “This show has been a joy for us to do for you. In fact, we call this show the joy machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy it doesn’t hurt as much when your fingers get caught in the gears.”
The talk show host went on to thank everyone who worked on “The Late Show” as well as the viewers, who he said provided an important energy to do the best possible show they could each night. After a montage of clips featuring iconic late night hosts over the years, Colbert walked on stage for the last time to a standing ovation, joined by his band Louis Cato and the Great Big Joy Machine. When fans yelled out “boo” in response to Colbert saying tonight was his final broadcast, he interrupted them by saying, “No, no. We were lucky enough to be here for the last 11 years … can’t take this for granted,” prompting everyone to clap again.
Instead of putting on a special iteration of the show, Colbert said he and his staff decided to plan tonight’s episode as they always did. It was business as usual as he joked about sinkholes across New York City and updates regarding the hantavirus outbreak, except for when celebrities and friends of Colbert’s Bryan Cranston, Paul Rudd and Tim Meadows interrupted his monologue pleading to be his final guest.
“This show ending has one upside: I won’t have to talk about the inevitable rise of the machine overlords,” Colbert joked in his monologue. “A lot of people have been asking me what I plan to do after tonight, and the answer is drugs.”
Stephen Colbert on the series finale of “The Late Show.” (Scott Kowalchyk/CBS)
While CBS and parent company Paramount have maintained the cancellation of “The Late Show” was purely financial since they announced the news last July, the network’s decision came shortly after Colbert criticized the company on air for paying a $16 million settlement to President Trump over a 60 Minutes interview, calling it a “big fat bribe.”
Trump has been vocal about his joy over Colbert’s cancellation, writing on Truth Social that he “absolutely loved” that the late night host was fired. The President has all but waged a war against network late night hosts, having also vehemently encouraged ABC to cancel “Jimmy Kimmel Live!”
Now without anyone else stepping in to succeed Colbert, “The Late Show’s” timeslot was bought by billionaire Byron Allen, who plans to air his comedy talk show “Comics Unleashed” in its place starting Friday.
It’s hard to ignore this pivotal shift in the landscape of entertainment, media and politics, and what the end of “The Late Show” means for the future of late night television, political satire, and the increasingly blurred line between comedy and power.
In spite of all that, Colbert spent the final weeks of his show doing what he’s always done best: Make people laugh in the face of turmoil and uncertainty. His final week felt like the greatest hits album of his career, including interviews with his fellow late night hosts Jimmy Kimmel, Jimmy Fallon, Seth Meyers and John Oliver, who all rallied around him. Jon Stewart and Steven Spielberg joined him on Tuesday, May 19, along with a special performance by Talking Heads singer David Byrne in which Colbert joined along. Bruce Springsteen performed on Wednesday’s penultimate episode.
Thursday night’s finale was no exception. Colbert leaned into his classic comedic charm, opening up his “Meanwhile” segment of news bits at a rapid fire pace. When discussing the owner of the “Peanuts” catalog suing companies and the U.S. government to stop them from using its music without permission, Colbert’s band started playing music from the soundtrack.
“Oh no, I hope this doesn’t cost CBS any money,” he joked.
Tig Notaro and Ryan Reynolds also made brief appearances from the audience before Colbert did a bit with one of his producers in which they joked about waiting for Pope Leo XIV to come out of his dressing room. Without the Pope being available for Colbert’s final interview, Paul McCartney surprised everyone by joining the talk show host on stage, which was especially meaningful given The Beatles made their American debut on that same stage on “The Ed Sullivan Show” in 1964.
As funny as the episode was, it was just as heartfelt. McCartney gifted Colbert with a photograph of The Beatles from that night, then sat down for the show’s final interview. He reminisced about what it was like to be in The Ed Sullivan Theater all those years ago, and Colbert also asked him about his impression of America back then.
“America’s where all the music we loved came from, all the rock and roll, the blues and the whole thing,” McCartney said. “We thought America was the land of the free, the greatest democracy. That was what it was, and still is hopefully.”
“Sure, yeah,” Colbert quipped.
Stephen Colbert and guest Paul McCartney during “The Late Show” series finale. (Scott Kowalchyk/CBS)
Colbert also brought up the lyrics to McCartney’s “Days We Left Behind,” — “nothing stays the same, no one needs to cry” — and said he’s been thinking about change lately. McCartney confessed he’s not good with change, himself, eliciting laughs when he complained about needing to constantly update his iPhone.
In the middle of his interview with McCartney, the screen behind Colbert intentionally malfunctioned showing static. When he went backstage to check out what was going on, viewers watched a pre-taped segment in which Colbert discovered a giant green, rotating hole that was sucking objects into it, which Neil deGrasse Tyson explained was “a textbook case of an Einstein Rosen bridge, also known as an interdimensional wormhole.” He explained that if a show is number one on late night and it also gets canceled, the two realities can’t exist at once, swallowing all of the matter and anti-matter around it.
It was the perfect skit to beautifully close out “The Late Show,” a brilliant metaphor only Colbert and his talented staff could pull off. After Colbert pushed deGrasse Tyson into the wormhole, joking that it swallowed him “before he could explain why we were wrong about something,” poking fun at CBS, Jon Stewart appeared. Giving Colbert a pep talk and encouraging him to walk through the wormhole amid a series of jokes, Stewart said to his longtime friend and former colleague, “You can go in kicking and screaming or you can do what you’ve done for the past 30 years when you face something dark. You can stare it down and you can laugh.”
Stephen Colbert during “The Late Show” series finale. (Scott Kowalchyk/CBS)
It wouldn’t be a late night show finale if the other members of Strike Force Five didn’t show up in solidarity and support of their fellow late night brother in arms. Kimmel, Meyers, Oliver and Fallon also showed up backstage.
“One of these holes opened up at my show last year, but it went away after three days,” Kimmel joked, referencing ABC’s three-day suspension of his show after he made a joke about Charlie Kirk.
Elijah Wood popped in for a quick cameo, highlighting Colbert’s love for “The Lord of the Rings” series, before an apocalyptic scene took place back inside the theater. Everyone was swallowed up by the hole, including Colbert who ended up in a dark, desolate space only surrounded by Elvis Costello, Jon Batiste and Louis Cato. The four of them performed Costello’s “Jump Up,” leaning into the emotion of the ballad.
Panning back to the actual stage, Colbert sang his show off into history alongside McCartney, performing The Beatles’ “Hello, Goodbye.” As they performed, “The Late Show” staffers and audience joined in onstage. If there were tears, they weren’t visible to viewers at home; all we saw was pure joy, love and dancing.
Stephen Colbert and Louis Cato and The Great Big Joy Machine with musical guests Paul McCartney, Elvis Costello, and Jon Batise during the series finale of “The Late Show.” (Scott Kowalchyk/CBS)
While Colbert’s goodbye to late night was filled with jokes at the expense of the network and the current administration in his own tasteful manner, it was also a masterpiece of humor, heart, and an homage to the history of The Ed Sullivan Theater and its cultural significance.
Now that it’s all said and done, what’s most clear about Colbert’s legacy on “The Late Show” is his fearlessness in the face of a crumbling democracy, an administration that rooted for him to fail, and an industry that’s been accused of cowing down to legal and corporate pressure to silence voices just like his. With Colbert now off the air, it’s up to us to carry his torch.
International horror, sci-fi, fantasy, action and animation films will have a new feeding ground this fall.
Frontières, the international genre co-production market, organized by Montreal’s Fantasia International Film Festival, is partnering with the Tokyo International Film FestivalContent Market (TIFFCOM) to stage a new genre gap-financing program at the Tokyo Gap Financing Market (TGFM) this October.
The announcement lands at the close of Marché du Film, where Japan was this year’s country of honor, and caps a busy session for Frontières Platform, which in recent years has been a key player in whetting the growing appetite for genre film at both the Cannes’ festival and market.
“Since its inception in 1996, Fantasia has championed Asian cinema, and it feels like a natural evolution to expand our market into Japan,” Fantasia deputy director Tania Morissette told Variety. “We are beyond proud of this new partnership and the opportunity to further shine a spotlight on international genre co-productions.”
Morissette attended TGFM last year and was impressed by the quality of the projects. Reps from the two events began talking and finalized the partnership this past week at Cannes.
TGFM alumni films screening this year at Cannes include Jorge Thielen Armand’s “Death Has No Master” (Directors’ Fortnight), Sompot Chidgasornpongse’s “9 Temples to Heaven” (Directors’ Fortnight), and Konstantina Kotzamani’s “Titanic Ocean” (Un Certain Regard).
“In recent years, Frontières has seen an increase of submissions from Asia,” Morissette said. “Projects like the ‘Funky Forest 2’ and ‘Red Spider Lilies’ were selected for the Montreal market last year, and Norihiro Niwatsukino’s ‘Magai-Gami’ and ‘Queen of Malacca’ were presented at this year’s sold-out Frontières at Cannes.
The new Tokyo market program will feature international projects in advanced financing that are seeking a maximum of 40% gap financing. Teams will present their projects in a curated showcase at the TGFM, which supports feature film projects by facilitating one-to-one meetings with industry professionals (producers, financiers, distributors, broadcasters, and streaming platforms) as well as daily panels and conferences throughout the three-day TIFFCOM, held Oct. 28 to 30.
The market is affiliated with the Tokyo International Film Festival, which runs its 39th edition Oct. 26 to Nov. 4. Submissions for eligible projects opened today (May 22) and close on July 21, 2026. Applicants can submit their project through the Frontières Market website, or through the TGFM platform.
Recent Frontières hits take in “Lamb,” from Valdimar Jóhannson, a 2021 Un Certain Regard prize winner for originality, “In Flames,” directed by Zarrar Khan and selected for Cannes Directors’ Fortnight in 2023 and “A Prayer for the Dying,” Dara Van Dusen’s 2026 Berlinale Perspectives player which drew admiring reviews.
Another past Frontières title, the upcoming “Hot Spot,” from Agnieszka Smoczynska, is set to premiere at Fantasia’s 30th edition this summer.
The Frontières International Co-Production Market is funded by Telefilm Canada, SODEC, the Government of Quebec, the City of Montreal and RDV Canada.
More than 20 years after first introducing fans to the chaos of Seattle Grace Hospital, “Grey’s Anatomy” is expanding once again, this time heading far away from Seattle.
ABC has announced a brand-new Texas-set spinoff from Shonda Rhimes and current “Grey’s Anatomy” showrunner Meg Marinis, who will co-create and write the upcoming medical drama.
According to reports online, the untitled series will be set at a rural medical centre in West Texas described as “the last chance for care before miles of nowhere”.
The story will centre on a team of medical professionals working in an isolated community, placing the spotlight on the realities of healthcare far from major cities.
Viewers can expect a mix of emergency medicine, personal relationships and the emotional storytelling that has become synonymous with the “Grey’s Anatomy” franchise.
The rural setting is also expected to bring a different set of challenges, from limited resources to patients who may have few healthcare options available to them.
One of the biggest differences this time around is that the show will not be built around characters fans already know.
Unlike “Private Practice”, which followed Addison Montgomery after leaving Seattle, and “Station 19”, which existed alongside the events of “Grey’s Anatomy”, the Texas-set drama is expected to introduce an entirely new group of doctors, nurses and medical staff.
Marinis, who is originally from Texas, shared how personal the project feels to her.
“I am incredibly excited to expand the ‘Grey’s Anatomy’ universe. This opportunity will bring new characters and stories to life that will embody the same heart, emotion and connection audiences have loved from ‘Grey’s’ for more than two decades – all set in my home state of Texas.
“I am so grateful to Shonda Rhimes for creating this dynamic world and feel so fortunate that I get to be a part of it,” she added.
Ellen Pompeo, who famously played Meredith Grey for nearly two decades, is also attached to the project as an executive producer alongside Betsy Beers.
ABC has not yet revealed who will star in the series, although reports suggest the focus will be on a new ensemble cast rather than familiar faces from the original show.
The upcoming series is expected to premiere during the 2026–2027 broadcast season.
Since premiering in 2005, “Grey’s Anatomy” has become one of television’s longest-running medical dramas and remains one of ABC’s biggest franchises.
Even after multiple cast changes over the years, the series continues to dominate streaming and social media conversations, proving there is still a demand for more stories from the world of “Grey’s Anatomy”.
Marvel Studios officially confirmed the billing order for Avengers: Doomsday, and the placement of the film’s X-Men actors says a lot about the star power they currently wield. The Russo brothers’ upcoming Multiverse Saga blockbuster brings together heroes from three different universes, including those from the original X-Men franchise that launched the modern superhero movie boom 26 years ago. With so many big names crammed into one cast list, the order in which they appear on the official billing is a story in itself.
The full Avengers: Doomsday billing order was revealed by Disney during the Walt Disney Studios presentation at CinemaCon 2026, where Marvel Studios closed out the event with its first extended look at the film. In the order, Channing Tatum is billed 11th, ahead of Ian McKellen at 13th, James Marsden at 15th, and Patrick Stewart at 16th. Kelsey Grammer comes in at 22nd, Alan Cumming at 25th, and Rebecca Romijn at 28th.
Tatum reprises his role as Gambit after his scene-stealing debut in Deadpool & Wolverine, while McKellen returns as Magneto for the first time since 2014’s X-Men: Days of Future Past. Marsden is back as Cyclops, a role he originated in Bryan Singer’s 2000 X-Men film, and Stewart returns as Professor Charles Xavier, a character he most recently played in Doctor Strange in the Multiverse of Madness. Kelsey Grammer also returns as Beast, building on his cameo in The Marvels, while Alan Cumming reprises Nightcrawler from 2003’s X2: X-Men United. Rebecca Romijn is back as Mystique, too.
Why Channing Tatum and Ian McKellan Rank Above Other X-Men Actors on the Billing Order
It is tempting to equate billing order with character importance, but in Hollywood, placement rarely functions as a narrative ranking. Marvel Studios has historically used the top of the credits to reflect box office pull, with Robert Downey Jr. holding the number one spot on every Avengers film he appeared in for that exact reason. The Avengers: Doomsday billing order has little to do with how much screentime a character actually gets in the finished movie. The X-Men actors are not in the top 7 or 8 of the order, but they could have more impact and screen time than other actors who place higher.
What the billing order reflects is star power and, just as importantly, how hard an actor or their agent fought for a higher position on the billing. Billing is a negotiated part of any major studio contract, and a name placed a few slots higher than expected can mean a real bump in industry standing.
That’s why someone like Patrick Stewart, who is a knighted screen legend with decades of work behind him, can end up below newer additions like Tatum on the official billing order. It’s not a judgment on the character or the performance, but the result of deal-making that happened long before cameras rolled.
Marvel Studios
Channing Tatum appearing above Patrick Stewart on the cast list is likely because Tatum starred in a decent number of films in the past two years, alongside his Gambit arrival in Deadpool & Wolverine, which was one of the most talked-about moments of the 2024 movie. Stewart is a legendary figure, but outside his Multiverse of Madness appearance in 2022, he hasn’t starred in many noteworthy films since. Tatum’s team likely leveraged his recent success to secure higher billing, though Stewart’s legendary status could have easily commanded a higher spot instead.
Marvel Studios
Ian McKellen’s placement above Stewart and Marsden is also notable, given that the two actors have been friends and screen partners across the X-Men films for over two decades and command a similar level of respect in the industry. McKellen is an Oscar nominee and one of the most respected actors of his generation, so his agents likely used that as leverage to push for a higher spot. Stewart could have used that as leverage as well, but probably his agents didn’t negotiate as well as McKellen’s did.
Marvel Studios
James Marsden’s 15th slot comes as a bit of a surprise since Marsden has been Cyclops for over a decade and has built a strong post-X-Men career with Westworld, Sonic the Hedgehog, and Jury Duty. He’s likely behind Tatum and McKellen because his team’s negotiation wasn’t as strong as that of his two colleagues.
Kelsey Grammer’s 22nd-place billing as Beast tracks with the path his X-Men return has taken. Grammer played Hank McCoy in X-Men: The Last Stand all the way back in 2006, made a cameo in Days of Future Past, then returned with a surprise post-credits cameo in The Marvels. It’s safe to say his presence in the X-Men franchise hasn’t been as huge as his colleagues’.
Marvel Studios
Alan Cumming is also at 25 because he hasn’t played Nightcrawler since X2: X-Men United in 2003, making his Avengers: Doomsday appearance a return more than 20 years in the making. This kind of absence usually works against an actor in billing negotiations, since recent visibility also plays a role in a film’s marketing.
20th Century Studios
Rebecca Romijn, closing out the X-Men group at 28, follows the same pattern. Romijn was the original Mystique in the first three X-Men films from 2000 to 2006, before Jennifer Lawrence took over the role for the prequel series.
20th Century Studios
Her impact on the X-Men franchise should be enough to get her a higher spot, but her recent work has largely been on television with shows like Star Trek: Strange New Worlds, which likely played a role in her ranking so low.
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‘X2: X-Men United’ (2003)Credit: 20th Century Fox
‘X2: X-Men United’ (2003)Credit: 20th Century Fox
‘Iron Man 3’ (2013)Credit: Walt Disney Studios Motion Pictures
‘The Dark Knight’ (2008)Credit: Warner Bros. Pictures
‘Raiders of the Lost Ark’ (1981)Credit: Paramount Pictures
‘Inuyasha’ (2000-2004)Credit: Adult Swim
‘Archer’ (2009-2023)Credit: FX
‘The Lord of the Rings: The Fellowship of the Ring’ (2001)Credit: New Line Cinema
‘Halloween 5: The Revenge of Michael Myers’ (1989)Credit: Galaxy International Releasing
– English Audio Description
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