Categories
Widget Image
Trending
Recent Posts
Monday, Oct 19th, 2026
HomeStandard Blog Whole Post (Page 299)

Elizabeth Chambers stepped away from her dream job of being a teacher when she was 40, decades before retirement. But like many of Canada’s caregivers who are looking after ailing loved ones, she had little choice.

“It was one of the hardest decisions,” said the now 46-year-old. “I was very proud to be in the field of education, and I was proud that that was who I was.”

With her mother suffering from Alzheimer’s disease and her son dealing with lifelong learning disabilities, Chambers said they needed her full-time attention.

Canada’s caregivers are being financially squeezed as they try to balance having a career with taking care of loved ones who need them, a survey by the Canadian Centre for Caregiving Excellence shows.

Around six in 10 (59 per cent) said they are juggling their caregiving duties with their careers, while 36 per cent said caregiving had hampered their productivity and caused them to lose earnings.

Story continues below advertisement

Chambers is part of what is often called the “sandwich generation” — the cohort of Canadians, typically between the ages of 40 and 60, caring for both ageing parents as well as their children.

“People don’t know what our lives are like until they live them,” she said.

Pamela Barkhouse, who is based in Halifax, was 45 when her father was diagnosed with Alzheimer’s and lung cancer. Four years later, after he passed away, her mother developed cancer as well.

Barkhouse, 49 at the time, took an early retirement from her job to take care of her.

“The federal government was downsizing. There were workforce adjustments in the year 2011, 2012, just after my dad died and they were laying people off. Even though I wasn’t red-circled, I put up my hand because I found the caregiving exhausting,” she said.

While stepping away from her job helped her take care of her mother, and later her husband when he fell ill, it cost her in her retirement years.

“At the age of 60, when people start to think about drawing CPP, I then realized being out of the workforce for well over 10 years, the hit was huge because you were penalized for that in your retirement. You have not made [a] contribution to CPP, therefore you’re penalized for that lack of employment years,” she said.

Story continues below advertisement

When the financial strain of being a caregiver took a toll on Barkhouse and her husband, they had to readjust the dream they had for their retirement.


Click to play video: 'New initiative supporting caregivers'


New initiative supporting caregivers


“We were pretty frugal. We loved boating and we loved travelling. Not that we travelled a lot, but we wanted to just experience life together without the stress of going to work every day. But that financial plan went out the window,” she said.

Receive the latest medical news and health information delivered to you every Sunday.

Get weekly health news

Receive the latest medical news and health information delivered to you every Sunday.

Orlena Broome has no regrets about quitting her job when her son was eight so she could spend more time with him, as his needs required her attention. But she wishes she had better financial advice back then.

“The fact that I stayed home was good for the child. Not so good for my retirement,” she said.

Broome eventually returned to work, albeit in a different field. As an immigrant from Barbados who came to Canada in 1984, Broome was no stranger to starting over. But going back to work after eight years out of the job market proved difficult.

Story continues below advertisement

“I began again at the entry-level salary,” she said, “but it was still better than the zero salary I was getting as an unpaid caregiver.”

One in four Canadians is currently a caregiver and at least half will take on the role at some point in their lives, contributing an estimated $97 billion in unpaid labour each year, the report from the Canadian Centre for Caregiving Excellence (CCCE) shows.

“It is becoming unaffordable to care for our loved ones,” Liv Mendelsohn, executive director of CCCE, said.

The care crisis is holding Canada back from economic prosperity,” the report says, adding that working caregivers are “trapped in a vicious cycle of needing to work more to meet the financial demands of care and needing to work less to meet the time demands of care.”

The burden of caregiving predominantly falls on women in Canadian society, Barkhouse said.

“The statistics from the National Caregiver Strategy has pointed out that very, very clearly and predominantly the caregiving falls on the women,” she said.

The cost of caregiving begins well before retirement. Nearly half (49 per cent) of caregivers said they face financial strain, while one in five said they spend more than $12,000 a year out of pocket.

“You start selling things. You start dipping into savings that you thought you were going to be using once you turn 65,” Barkhouse said.

Story continues below advertisement

The cost of taking care of kids with special needs compounds over time, Broome said, especially when one person quits their job.

“You were grateful that you got time to stay home. But at the same time, you were now down to one income. You’ve got an extra mouth to feed. An extra month that needs special formulas, special apparatus and speech therapy,” she said.


Professional care is also getting harder to find for many Canadians. More than three-quarters (76 per cent) of care providers are considering leaving the profession, citing low wages and safety concerns, the report shows.

“I needed to be educated (myself). I started researching how to do lifts, how to transfer from a chair to a bed, how to not hurt myself when I’m doing that, how to interact with somebody who has dementia,” Barkhouse said, adding it was critical for nurses and personal support workers to be adequately compensated.

The lack of professional care takes a toll on families, Chambers said.

“If we don’t have nurses, my husband and I are staying up. That is going to mean that we’re now getting lack of sleep,” she added.

“Our health and social systems depend on unpaid caregivers and underpaid care providers, but like the roads, bridges, and buildings we rely on every day, our governments need to invest in this critical infrastructure before it collapses,” Mendelsohn said.

Story continues below advertisement


Click to play video: 'Caring for Caregivers on National Caregiver Day'


Caring for Caregivers on National Caregiver Day


Canada is currently in the midst of its largest-ever wave of retirements, with all baby boomers set to hit retirement age by 2030, having far-reaching implications for Canada’s economy and labour market, a recent RBC report said.

The boomer retirement wave, which started in 2011 when the oldest boomers turned 65, will reach its peak by the end of this decade, the Royal Bank of Canada report said.

By 2024, two-thirds of all boomers had reached retirement age, and the remaining boomers will reach age 65 by 2030.

“We’re struggling, and I would worry about what’s happening next,” Chamber said.

As provinces play catch up with the ageing population, the expenditure on health care is the biggest risk to Canada’s financial stability, a recent Desjardins report says.

Story continues below advertisement

According to Statistics Canada, the share of people 65 years and over in the population went from 16 per cent in 2015 to 19.5 per cent in 2025 and could rise to nearly 23 per cent by 2035.

“As the population ages, this gets compounded. On the revenue side, the share of working-age Canadians who finance these rising expenditures is getting smaller,” Randall Bartlett, deputy chief economist at Desjardins said in the report.

The Canadian Centre for Caregiving Excellence calls for higher wages and better working conditions for care workers, including protections for migrants who work in the sector.

The report also calls for improved access to mental health supports, respite care, and practical services.

In addition to fixing staffing shortages, the group is also asking the government to “simplify and expand access to tax credits and benefits” for people receiving care, as well as their families.

“Canada’s care system is under strain — but the path forward is clear. With targeted action, governments can reduce pressure on caregivers, improve productivity, strengthen workforce participation, and build a more resilient care system for the future,” the report says.

Source link

Elizabeth Chambers stepped away from her dream

TV dramas come in many shapes and sizes, as perfectly spotlighted at Variety FYC TV Fest on May 6, where discussions took place around WBTV/HBO’s “Welcome to Derry,” AMC’s “The Audacity” and CBS’ “Matlock” — three shows that all dive into differing type of evil, from clowns to tech bros to a law firm hiding a huge secret.

On “Matlock,” Jason Ritter and Skye P. Marshall play exes and co-parents who also work together at their law firm. But at the end of Season 2, Ritter’s Julian admits to his part in a massive cover-up — something Marshall was thrilled to see, despite their characters finally being on good terms.

“I was trying to figure out some way where there was maybe some accountability for Julian, but maybe not so much accountability that he’s in jail for six seasons,” she said. “I do hope that he pays for it, because I am sick of seeing people get away with stuff and not being held accountable. I’m exhausted. If he could at least do a few months in jail in the beginning of Season 3.”

Ritter is excited to see what’s next for Julian after those consequences happen. “Maybe his professional life is ending, but in a way, he’s finally free of all of this,” he said. “His relationship with his dad is such an elusive one. I feel like he’s always just been like, ‘Well, maybe if I just do this one more thing, then he’ll go, “Actually, I am proud of you.”‘ Sometimes when your biggest, worst secret comes out, you can actually begin a new, humble life.”

For “It: Welcome to Derry,” executive producers Andy and Barbara Muschietti, who also produced the “It” movies, opened up about being drawn back into the world of “It,” due to Stephen King’s book.

“We read the book when we were 14 and 15,” she said. “We had read other Stephen King books, but this one did a number on us. And still today, we’re being pulled by the book and by Stephen King.”

Andy Muschietti, who directed the films and show, says the book is a bit of a bible. “The movies don’t really do justice to the richness that the book has. There’s a whole thread of chapters they call the interludes — there are the writings and investigations of Mike Hanlon, one of the losers, the guy that stayed in town and actually was trying to figure out what It was.”

In the end, Bill Skarsgård returned as the horrifying clown Pennywise, which was always the plan from the start.

“For some reason, a lot of times we’re not conscious about how lucky we got for getting the group together,” said Barbara. “We got basically the people that had made the movies with us. Bill being the God. I think our passion for it and people seeing that we were going to be there for the length of it, allowed us for us to get Bill and the rest of the team.”

Meanwhile, “The Audacity” focuses on a horror a little closer to home: tech leaders. Showrunner, writer and executive producer Jonathan Glatzer, executive producer Gina Mingacci and actors Billy Magnussen and Simon Helberg opened up about the timeliness of the drama.

“Tech has never been so much integrated into politics as it is today,” Glatzer said on the panel. “I think everybody’s got a very strong opinion about the individuals, particularly at the top of the pyramid. But I think that we sort of save ourselves from being in that same target list because all of our characters want to get to that place. They’re want to be titans.”

He adds that Magnussen’s character is so desperate that it makes him relatable. “He has a want, he has a need. The people at the top of that pyramid that we read about every day do not have very many wants or needs that are not,” he said before backtracking. “I’m going to take that back, actually, because they have enormous wants and needs and we’re all paying the price for it!”

Source link

TV dramas come in many shapes and

SPOILER ALERT: This article contains major spoilers for “Mortal Kombat II,” now playing in theaters.

Writer Jeremy Slater grew up playing “Mortal Kombat” in his local arcade and spent hours mastering the violent fighting game on the Super Nintendo Entertainment System and Sega Genesis. He was a fan of the original 1995 movie, directed by Paul W. S. Anderson, and now, more than 30 years later, he’s penned the script for the big-budget adaptation “Mortal Kombat II.”

The sequel, which opened to $40 million at the box office this weekend, continues the story from the 2021 movie, which was released amid the pandemic simultaneously in theaters and on HBO Max. The first movie had its fans, with many praising the gory fight scenes and accuracy to the video games, but it left out one key component: the actual Mortal Kombat tournament. With the sequel, Slater doesn’t waste time kicking things off with the battle-to-the-death showdowns and nostalgic characters that made the games so popular.

Teased in the first movie, fan-favorite fighter Johnny Cage is introduced in “Mortal Kombat II,” played by Karl Urban. The sequel also brings in the deadly Kitana (Adeline Rudolph), razor-sharp Baraka (CJ Bloomfield), final boss Shao Kahn (Martyn Ford) and more. It doesn’t hold back on the action or violent “fatality” kill scenes either, but, like the games, death isn’t always the end for these video game characters. Multiple fighters who died in the first movie are resurrected from the afterlife to battle again in the sequel. And Slater, who’s already tapped to write a third “Mortal Kombat” movie, teases one key character who’s coming back from the dead in the next film.

Before “Mortal Kombat II,” Slater created Marvel’s “Moon Knight” series, executive produced Netflix’s “Umbrella Academy” and co-wrote Warner Bros.’ last Monsterverse entry, “Godzilla x Kong: The New Empire.” He also co-wrote this summer’s “Coyote vs. Acme,” which was originally shelved despite being completed by Warner Bros. Discovery but then was saved by Ketchup Entertainment. It was announced last year at New York Comic Con that he’ll be writing “Mortal Kombat III,” continuing his sprawling video game story. With Variety, he teases what fans can expect in the threequel, which fighter is getting resurrected and who he wants to see in a spinoff.

Apple Photos Clean Up

The first movie set up the “Mortal Kombat” tournament and the inclusion of Johnny Cage at the very end. Where did you start with planning things for the sequel?

Those were the two big promises in the first movie; beyond that, it was very much a blank slate. What I pitched is: It’s not that we don’t need to continue the story of Cole Young, but for me the joy of “Mortal Kombat” is you put a quarter in the machine and you select a different character and you have an entirely different story. So my argument was we don’t need to be tied down to just one POV; let’s introduce some new characters.

Johnny and Kitana became the two emotional pillars of the movie. Kitana has a really tragic, rich backstory with this warlord barbarian who killed her family, enslaved her people and stole her throne. It gives her some really personal stakes in the matter. With Johnny, we knew that we needed a big movie star to come in and join the cast. A lot of times in the past, Johnny is used as just comic relief, which is fine but it doesn’t give an actor like Karl Urban very much to do. So part of my pitch was rather than trying to say he’s a martial arts star who’s also the biggest movie star on the planet in 2026, let’s lean into those action-movie realities of what the landscape actually looks like.

Johnny Cage in the original games was very famously modeled off Jean-Claude Van Damme. Obviously guys like Van Damme are not the biggest action stars in the world right now. That was a really attractive starting place for someone who had this shot at fame and because of his own mistakes he saw that success slip through his fingers and it left him feeling broken, jaded and like he doesn’t have a place in the world anymore. Once I cracked that, that’s a character I can take on a full journey over the course of this movie and really get the audience on his side and have you rooting for this guy. If you start him in a low place, he has plenty of room to grow and succeed.

Characters are dying and getting resurrected left and right in the movie. How did you keep track of who was on the board?

I had to draw up a full bracket before I started the script. The sad thing about the movie is you’re going to have to kill some of your darlings. But it is a tournament to the death, so you have to make those tough calls. I had to figure out who I wanted standing in that final battle and then the tier below them. If these are the top two, who are the four fighting below that? Who are the eight below that? You have to plan out that tier of who you can you afford to lose. Who do you have to keep alive for narrative reasons? If we have to keep this person alive, who can we pair them against so that it doesn’t seem convoluted that they managed to survive? There was a lot of mental gymnastics that goes into the basic structure. We locked the tournament wins and losses down before we wrote a page of the screenplay. We can’t suddenly decide halfway through this guy lives instead, without upsetting the whole cart. Locking that down was that probably the single biggest challenge.

You kill off Cole Young, who was the protagonist in the first film, early in the sequel. How did you come to the decision to murder the previous main character?

It’s something I pitched in the round table when they brought in a bunch of writers because at the time I wasn’t writing it. It was someone else’s problem. It’s very easy when you’re just sitting there throwing out ideas to be like, “I would kill that guy.” It is tough, because I really like Lewis Tan as an actor. He’s a phenomenal human being and a world class martial artist. The reality is that his inclusion was something that was sort of studio-mandated on the first movie. They wanted that POV character.

But for the fans, they look at Cole Young and they’re like, “This guy doesn’t belong.” It’s like an Avengers movie where you’ve got Iron Man and Captain America, and then you have Bob over here and people are like, “He’s not an Avenger.” The fans have been waiting 30 years to spend time with these characters, and when it’s not one of those characters eating up the screen time, they get resentful. The one thing I will say is death is never permanent in the “Mortal Kombat” universe. So just because I don’t think you’re ever going to see Cole Young again, but that doesn’t mean you’re not going to see Lewis Tan again in some regards. Even for the deaths that were really hard to pull the trigger on, we do have long-term plans for some of those characters. Some of those deaths are necessities, because they are potentially setting up future story threads.

©Warner Bros/Courtesy Everett Collection

The other major hero death is Liu Kang, but in the video games he eventually comes back to life as a fire god. Is that something you’re going to explore in “Mortal Kombat III”?

Absolutely. My pitch in the round table was you need two shocking deaths. Killing Cole is absolutely going to shock the casual fans who bought a ticket to the first movie and are expecting to see him be the hero again. It’s not going to shock the hardcore fans who have been online calling for this character’s death. On the same token, the casual fans are not going to be surprised by a death like Liu Kang, but that’s going to be absolutely shattering to the hardcore fans because canonically Liu Kang is the one who defeats Shao Kahn. A lot of them are walking into the movie expecting him to be the champion. By setting up Kitana’s backstory in the way we did, we sort of wrote ourselves into a corner where there was no satisfying person to kill Shao Kahn except for Kitana. She is the one who has been wronged by him and spent her life waiting for revenge.

Then the question is: Do you have Liu Kang standing on the sidelines, which didn’t seem that fun, or do we try to do something shocking and surprising? So we always had planned to kill him in this movie, but Ludi Lin is so goddamned good. We didn’t expect how much even the casual audience would fall in love with Liu Kang. We always knew that we would be bringing Liu Kang back in some regard in the third movie. But we did wind up altering his death a little bit to make it more of a choice. So we’re not sure if he actually died or did he ascend to some other plane? What actually happened to hit to him in that moment is absolutely a mystery that’s going to be explored in “Mortal Kombat III.”

Was there any other character from first movie who died that you debated bringing back to life in the sequel?

I told them right off the bat, I’m not taking this job unless I can bring Kano back to life. Josh Lawson was my favorite part about the first movie. I thought his version of Kano is so funny and so instantly iconic. So I knew I had to have him in the movie, and I really wanted a Kung Lao fight. Those were two that I had to bring back, and then you look at the amount of real estate you have. We could bring back Kabal, Reptile, Mileena or Goro, but that means we’re not going to have the chance to introduce someone like Quan Chi or Jade. There’s only so much real estate and new characters that the audience can can keep track of. Between Kitana, Sindel, Shao Kahn, Jade, Johnny Cage and Baraka, we already had a lot of new faces joining. The great thing about the “Mortal Kombat” universe is death is never permanent, and that doesn’t mean we’ll never see them again in some future installment.

What stage is your “Mortal Kombat III” script at?

We’re not done. I wrote an exploratory draft with me throwing a lot of different things at the wall, just to see what was resonating and what wasn’t. We have a really great creative brain trust between Dave Neustadter at New Line and our producer Todd Garner. The three of us looked at those early pages and said, “Here’s the stuff that’s working. Here’s the stuff where we may be biting off more than we can chew.” Now we are seeing fans watching 2 and reacting. In the same way that 2 was tailored to take advantage of the strengths of 1, hopefully 3 can now be tailored to take advantages of the strengths of 2, and we can continue to take those elements that are working and push them even further. So I’m close to finishing a second draft that I feel very good about, but then ultimately it’s going to be in New Line and Warner Bros.’ hands.

The video games have explored different worlds, alternate futures and universe reboots. Is that a direction the movies would go in?

It’s a great question that I don’t have a solid answer for yet. I think we would certainly want to stay steer clear of doing any sort of major timeline reboots or resets, especially because what we’re learning right now is people like these characters and tone. Doing a board wipe and starting from scratch with new versions may be a bridge too far. Some of that stuff feels like fertile ground to explore, but maybe not right off the bat. Two was very much about reclaiming the mistakes of 1 and doubling down on the strengths and proving this could be a franchise. Nothing would make me happier than this becoming like New Line’s version of “Fast and Furious,” where every couple of years you get an amazing “Mortal Kombat” movie but then there’s also room for spinoffs in between where we can take some of these side characters and give them more room to flourish or play with different genres. In success, I think it’s a lot easier to grow “Mortal Kombat” into its own mini universe, and when that happens that’s when you have the ability to start getting more creative with different multiversal and time travel stuff.

What characters would you like to see get a spinoff?

Johnny Cage and Kano, Karl Urban and Josh Lawson, have such amazing chemistry together. The idea of pairing those guys up seems incredibly fun. Obviously, Kung Lao and Liu Kang are huge fan favorites, so are Kitana and Jade. There’s such a deep roster for the villains bench. This is just me as a fan geeking out. I love Scorpion and Sub-Zero. A story about Scorpion’s entire life would be amazing. I’m dying to get more Baraka into the universe, since he’s my favorite character. It’s not really an answer, because I’m saying everybody. You could do Jax and Sonya’s “Special Forces.” You could do “Deadly Alliance.” You could do “Shaolin Monks.” There’s such a deep, deep roster to draw from, because the games have had their own spinoffs and any one of those could be translated to live-action. If it’s done with enough care and love, we could make it really, really awesome. There certainly have been no official plans or anything worked out, but in success the sky is the limit.

Which characters from the games would you like to see get introduced to live-action?

I know exactly which new characters we’re bringing in, but it’s way too early to tell people at this point. We’re also being really receptive to the fan base. Todd Garner has maintained such a great relationship with the “Mortal Kombat” fan base and keeping a dialogue open in terms of “Who are you dying to see in live action?” We have that feedback to take into consideration, but we also have to balance that against the story needs of where we ultimately want to take it and what we’re building toward. I have dozens of characters that I want to bring into live action. Some of them are on deck next, and some of them are being saved for a hypothetical 4, 5 or 6. In success, we will get to as many of the classics as we possibly can, but we always want to be careful to never overload the audience.

Source link

SPOILER ALERT: This article contains major spoilers

Ben Kingsley (The Thursday Murder Club, Wonder Man), Max Minghella (The Handmaid’s Tale, The Social Network) and Pekka Strang (Mister 8, Dogs Don’t Wear Pants) are rounding out the cast of HBO‘s The White Lotus for Season 4. Details regarding their recurring roles are under wraps.

The fourth season of the Mike White-created series will follow a new group of White Lotus hotel guests and employees over the span of a week, taking place during the Cannes Film Festival. Shooting is currently underway in France.

“Early on, Mike talked about wanting to do Season 4 as the life of an artist – the loneliness and the pain,” teased executive producer David Bernad while at Canneseries last month. “That’s a throughline that runs throughout the season. As we located the show at the Cannes Film Festival, this idea of fame popped up, and who has the world’s attention? Who can grab it, and who is the plus-one in a relationship? What are the things that satisfy us? Is it the love of an intimate partner, the love of strangers? What do we prioritize in people?”

The Season 4 ensemble cast also includes Vincent Cassel, Steve Coogan, Laura Dern, Caleb Jonte Edwards, Dylan Ennis, Corentin Fila, Ari Graynor, Marissa Long, Alexander Ludwig, Chris Messina, AJ Michalka, Kumail Nanjiani and Nadia Tereszkiewicz. Additional cast includes Chloe Bennet, Sandra Bernhard, Heather Graham, Max Greenfield, Frida Gustavsson, Charlie Hall, Jarrad Paul, Rosie Perez, Ben Schnetzer and Laura Smet.

White serves as the creator, writer and executive producer. Bernad and Mark Kamine also EP.

Kingsley is represented by CAA, Independent Talent Group, and Stone, Genow, Smelkinson; Minghella is represented by CAA and Anonymous Content; Strang is represented by Actors in Scandinavia and Artist International Group.

Source link

Ben Kingsley (The Thursday Murder Club, Wonder Man),

Last Updated:

Palak Tiwari calls King her Veera in a heartfelt note as their emotional bond as Sanober and MC Badnaam in Lukkhe wins attention.

font
Palak Tiwari penned a heartfelt note for King, calling him her “Veera”, as their emotional bond in Prime Video’s Lukkhe wins love.

Palak Tiwari penned a heartfelt note for King, calling him her “Veera”, as their emotional bond in Prime Video’s Lukkhe wins love.

King has made his acting debut with Lukkhe, and his performance as MC Badnaam has become one of the talking points of the crime drama. The rapper, singer and songwriter steps into a fierce and emotionally layered role in the series, which is currently streaming on Prime Video across more than 240 countries and territories.

Set against the backdrop of Punjab’s underground music and crime scene, Lukkhe has been appreciated for its stylised storytelling, immersive world-building and high-energy characters. Among the many equations in the series, one bond that has especially connected with viewers is the sibling dynamic between King’s MC Badnaam and Sanober, played by Palak Tiwari.

Palak Tiwari Calls King Her ‘Veera’

Palak recently took to social media to share a heartfelt note for King, celebrating their bond both on and off screen. Referring to him affectionately as her “Veera,” she expressed gratitude for sharing this special journey with him through Lukkhe. Her caption read, “Nihal to me and badnaam to the world, similarly Arpan to me and king to the world. There has been no greater joy than being your younger sister. Tujhse accha koi nahi. I’m always your sanno and you’ll always be my Veera. Lukkhe was a first for both of us and I’m so happy it gave me you!! Meri jaan bhi kya, rooh teri kadar kare. But on a side note to everyone please watch Lukkhe on @primevideoin hehe🥹.”

Their on-screen relationship, rooted in fierce protection, love and emotional vulnerability, has struck a chord with audiences. The warmth between the two actors appears to have translated naturally into their performances, making MC Badnaam and Sanober’s bond one of the emotional highlights of the show.

King’s Acting Debut As MC Badnaam

Known primarily for his music, King makes a strong shift into acting with Lukkhe. His character MC Badnaam is placed in a world where rap, ambition, loyalty and crime collide. The role allows him to bring both intensity and emotional depth to the screen.

As Lukkhe continues to find attention on Prime Video, the series stands out as a music-driven crime drama rooted in the charged landscape of Punjab and Chandigarh. At its centre is Lucky, a promising sportsman whose life begins to unravel after trauma, addiction and difficult choices push him into a dangerous world he is not fully prepared for. His romance with Sanober, a musician carrying her own emotional wounds, becomes one of the softer threads in a story otherwise driven by crime, ambition, loyalty and betrayal. Their relationship is soon caught between police officer Gurbani, who is determined to crack a narcotics network, and MC Badnaam, a rising rapper whose fame, rage and dangerous connections make him one of the most volatile forces in the narrative. The show uses rap music not merely as decoration, but as the pulse of its world, placing performance, rivalry, ego and survival within the same chaotic frame.

King’s MC Badnaam, also known as Nihal, is written as a figure who sits at the crossroads of music, power and moral corrosion. He is not just a performer chasing fame, but someone whose world is shaped by control, fractured loyalties, emotional damage and the murky pull of crime. Around him, Lukkhe builds a restless ecosystem of rappers, friends, lovers, cops, drug networks and young people trying to survive circumstances that are often bigger than them. Within this high-pressure world, Palak Tiwari’s Sanober brings a crucial emotional counterpoint. Her bond with MC Badnaam gives the series some of its more vulnerable moments, allowing the story to move beyond crime and swagger into the complicated territory of protection, hurt, dependence and affection. That is why Palak’s note for King feels significant. It reflects not just their off-screen warmth, but also the emotional trust that helps their equation land on screen.

News movies web-series Lukkhe: Palak Tiwari Celebrates Emotional Bond With King, Calls Him Her ‘Veera’ | PHOTOS
Disclaimer: Comments reflect users’ views, not News18’s. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.

Source link

Last Updated:May 11, 2026, 22:00 ISTPalak Tiwari

Walt Disney Co. has picked up a vocal ally in its fight against the Federal Communications Commission: one of the panel’s three commissioners.

FCC Commissioner Anna Gomez — the panel’s lone Democrat — took a rare step of sending a letter to Disney Chief Executive Officer Josh D’Amaro Monday to describe what she sees as a pressure campaign to weaken not just Disney’s ABC network — but all media outlets that provide critical coverage of President Trump.

“What Disney and ABC are facing is not a series of coincidental regulatory actions but a sustained, coordinated campaign of censorship and control, carried out through the weaponization of the FCC’s authority as a federal regulator,” Gomez wrote.

The FCC’s efforts were all about “pressuring a free and independent press and all media into submission,” Gomez wrote in the four-page missive to D’Amaro — Disney’s recently installed chief executive.

Her outreach comes after the FCC, in a highly unusual move, initiated an early review of the broadcast licenses for ABC stations that Disney owns, including KABC-TV Channel 7 in Los Angeles. Disney owns eight stations and its licenses were not set to expire for another two to five years.

The FCC also demanded that Disney’s Houston television station explain why the ABC daytime show, “The View,” should be entitled to an exemption from providing equal time rules for politicians whose opponent appears on a program.

Disney has said “The View” was granted an exemption — which is widely used among news programs — in 2002. Last Thursday, Disney sent a blistering letter to the FCC, challenging its inquiry on “The View.”

Gomez has been outspoken about the tactics of her colleague — FCC Chairman Brendan Carr, a Trump appointee — and the dangers she said that certain FCC actions represent to 1st Amendment freedoms. Monday’s letter escalated her criticism and gives Disney potent ammunition to use in its legal battle against the FCC.

Disney and the FCC did not immediately comment.

Gomez, a telecommunications attorney, listed four key events, which began when Disney decided to settle a defamation lawsuit brought by Trump one month after he was reelected for a second-term. Some free speech experts felt Disney had a chance to win that case, based on erroneous statements made by ABC News anchor George Stephanopoulos.

However, Disney agreed to pay $15 million in late 2024 to make the case go away.

“Whatever the legal calculations behind that decision, its effect was immediate and unmistakable,” Gomez wrote. “It told this administration that pressure works. It told every other company watching that capitulation was an option. And it opened the door to every action that has followed.”

Gomez said the administration’s goal has not been to bring challenges that the FCC would have to defend in court, but rather, to prompt TV networks to self-censor and tone down their news coverage as a way to avoid getting pulled into fights with the president and Carr.

“Most [FCC investigations] are destined never to be brought to any enforcement conclusion that could face judicial review,” Gomez wrote. “That is because the threat is the point.”

Source link

Walt Disney Co. has picked up

Disney’s annual Upfront is right around the corner, and Marvel Studios is predicted to make a splash with several of its upcoming Disney+ shows. Those familiar with the Upfronts will know that this is no fan event like San Diego Comic-Con, D23 Expo, or New York Comic-Con. Instead, it is designed to highlight projects coming in the next 12 months to prospective advertisers.

Disney’s Upfronts Presentation is scheduled for Tuesday, May 12, at 4 p.m. ET at the North Javits Center in New York City. Marvel Studios will share the time with Disney’s other entertainment brands with a television presence, including Lucasfilm, Hulu, ABC, FX, National Geographic, Disney+, and more.

To reasonably predict what Marvel Television will unveil at the Upfront, it’s important to understand its recent history, so The Direct has dug into all the previous MCU Upfront announcements…

Marvel Studios’ 2026 Upfront Predictions Are Based On Prior Announcements

Marvel Studios

2025 – Daredevil Born Again, Wonder Man, Ironheart

The MCU’s 2025/26 Disney+ shows made a splash at last year’s Upfront, with announcements for Daredevil: Born Again, Wonder Man, and Ironheart. Namely, last year’s Upfront brought the official announcement that Krysten Ritter was reprising Jessica Jones for Born Again‘s second season. Attendees caught a brief glimpse of the sophomore outing featuring Jessica Jones, as Season 2 was then in the middle of production, just as Season 3 is now.

Wonder Man also confirmed its eight 30-minute episode structure and announced a December 2025 release window that never came true, as it was pushed to January. The Disney presentation also brought big news for Ironheart, confirming its June 2025 premiere and a strange release schedule of two or three-episode drops, while attendees also saw an exclusive trailer released online a day later. 

2024 – Ironheart, Agatha All Aong, Daredevil: Born Again

The Upfronts usually highlight TV coming in the next 12 months, but due to a delay, Ironheart was also at the 2024 event, with stars Dominique Thorne and Anthony Ramos attending to reveal a new logo, 2025 release window, and an exclusive trailer. But they weren’t the only MCU-leading, hero-villain duo on stage, as Charlie Cox and Vincent D’Onofrio reunited at Disney’s 2024 Upfront to reveal Born Again‘s new logo and March 2025 release after the creative overhaul.

That said, the MCU gave the second chapter of its WandaVision trilogy, Agatha: All Along, the biggest spotlight, finally ending the debate over its ever-changing title, showcasing a trailer, and announcing its release date. Three members of the witchy coven, Kathryn Hahn, Joe Locke, and Patti LuPone, came out on stage to hype up the show and declare that it “looks like a $100 million movie.”

2023 – Secret Invasion, Loki, Echo

The 2023 Upfront was strange, as they took place during the Hollywood strikes, meaning Marvel Studios President Kevin Feige presented alone, with no actors from any upcoming shows, and much of Disney’s presentation leaned heavily on unscripted content. Notably, Feige revealed a new clip from Secret Invasion just weeks before its premiere, featuring Samuel L. Jackson and Don Cheadle.

Loki Season 2 also got some love, showing off new footage to attendees only and confirming its exciting October 6, 2023, release date. Echo was announced to have the MCU’s first-ever historic binge release before also unveiling new footage and a November 29, 2023, release date that was later shifted.

2022 – She-Hulk, Secret Invasion, Loki

2022’s Disney Upfront had a major emphasis on She-Hulk, which was nearing its August release date at the time. That included unveiling its Attorney at Law subtitle with a new logo, poster, and trailer that were unleashed to the world after their Upfront debut, all while announcing that it would land on August 17, 2022.

Furthermore, Nick Fury actor Samuel L. Jackson came out on stage to talk a little about Secret Invasion and the super spy’s evolution in the show. Kevin Feige also came out to tease the successor to the MCU’s most successful show, Loki, announcing that production was about to begin with the whole cast returning.

What to Expect From Marvel Studios’ 2026 Upfront

Marvel Studios’ Upfront history offers some major lessons, namely that Marvel Animation has thus far never made its presence known, with the likes of What If…?, X-Men ’97, and Marvel Zombies never being featured. 

Fans shouldn’t expect to see any brand-new shows announced at this event, such as the reportedly in-development Young Avengers Disney+ series. The focus is likely to be on promoting what is already known to be on the horizon, possibly accompanied by new announcements, logos, posters, and footage.

Daredevil: Born Again Season 3

Wilson Fisk, Daredevil, Luke Cage, Daredevil Born Again.
Marvel Television

Daredevil: Born Again has made its presence known at Disney’s Upfront for the last two years, and 2026 seems almost guaranteed to continue that streak, especially as Season 3 is currently shooting in New York, where the event is held.

Fans have already uncovered through set photos that all four Defenders will appear in Season 3, including Mike Colter’s Luke Cage and Finn Jones’ Iron Fist. It seems highly likely that all four Netflix mainstays will take to the stage at the Upfront to confirm the Defenders reunion that audiences have been waiting for.

If Born Again follows in the footsteps of last year, attendees could also see a limited amount of footage from the first two months of shooting, although that almost certainly won’t be released to the rest of the world.

VisionQuest

VisionQuest logo, Paul Bettany as Vision.
Marvel Television

Now that Daredevil: Born Again Season 2 has come and gone, next up for live-action MCU Disney+ shows is VisionQuest. Marvel Television is expected to tout the synthezoid-centric series in a big way, emphasizing its connections to the highly successful WandaVision and the starpower behind its lead Avenger.

Last October, New York Comic-Con attendees saw the first teaser for VisionQuest, and either the same or a new trailer could make an appearance at the Upfront. As the series won’t premiere until the fall, a public release seems doubtful, but not entirely impossible, given that it is now the MCU’s next live-action show.

Perhaps some of VisionQuest‘s biggest stars, like Paul Bettany and James Spader, could even take to the stage at the Upfront to offer up some nuggets of information, maybe even a more specific release window.

Wonder Man Season 2

Wonder Man Simon Williams, Marvel Studios logo.
Marvel Television

Wonder Man was only recently renewed for Season 2, meaning its release date is still a long way off and unlikely to fit into the usual 12-month Upfront focus.

While the cast and crew probably won’t be in attendance, Marvel Television boss Brad Winderbaum could take to the stage to discuss the Hollywood satire comedy more broadly, hyping up its rave reviews and noting its Season 2 renewal.

Showrunner Andrew Guest recently told The Hollywood Reporter that writing is in the “early stages” and that the show will maintain a similar tone. The Upfront may well echo that sentiment, perhaps accompanied by a broad release window.

X-Men ’97 Season 2

X-Men 97 Rogue and Wolverine.
Marvel Animation

Marvel Animation may not have historically attended the Upfront, but X-Men ’97‘s strong viewership and reception last season could earn it a place in the Disney presentation, especially as Season 2 is expected to be the MCU’s next show.

If the X-Men: The Animated Series revival does show up, fans could expect a release date announcement, a trailer, and a poster, all of which are likely to make their way online as well, given how close its Summer 2026 release is.

That being said, this prediction could go either way, not just because of the past, but also because X-Men ’97 Season 2 has already been confirmed to premiere at the Tribeca Festival in June, where more news is expected.

Source link

With DC Studios keeping busy this year with live-action releases like Supergirl and Clayface in their feature film slate and the upcoming television series Lanterns, it’s easy to forget about the animated projects in development. The new DC Universe’s launching pad was the television series Creature Commandos, an animated project that, when compared to the follow-up project Superman, showcases how varied James Gunn and Peter Safran’s new continuity can be. There haven’t been many updates about other animated projects up until this point, with plenty of new developments being revealed as part of a press release as part of an animation festival.

Warner Bros. Animation is participating in The Annecy International Animation Film Festival in France in June, with a press release detailing many of their upcoming animated projects. Interestingly, many of those projects are a part of the DC Studios slate, as Co-Chairman Peter Safran will be a part of a panel that will discuss “the next era of DC animation.” One of the more exciting reveals was that the film festival will hold the premiere for the next Batman animated film, as well as a panel featuring the creative teams behind other projects such as Mister Miracle, Creature Commandos, My Adventures with Green Lantern, Starfire, and more.

Titled Batman: Knightfall Part 1: Knightfall, the animated movie is stated as being a part of a multipart DC animated event, adapting the storyline of the same name from the comics. The iconic comic book story sees Batman being pushed to his physical and psychological limits by Bane, who unleashes The Dark Knight’s rogues gallery all at once. With the first part of the story focusing on Batman capturing many of his iconic villains, the first movie in this adaptation will more than likely do the same. Moreover, the Knightfall storyline is best known for a moment at the end of the first part of the story, which sees Bane break Batman’s back.

Batman: The Dark Knight Returns - Part One
Batman: The Dark Knight Returns – Part One
Warner Bros. Home Entertainment

There have been many DC animated projects that have adapted iconic Batman story arcs from the comic books, such as the two-part adaptation of The Dark Knight Returns, which saw RoboCop’s Peter Weller voice an aged Bruce Wayne who comes out of retirement to take up his war on crime once more. Most recently, Jeph Loeb and Tim Sale’s comic Batman: The Long Halloween was also adapted into two films, which received positive reviews for its animation and how skillfully it adapted the story.

It has not yet been revealed how many films Warner Bros. and DC Studios will take to adapt the remainder of the Knightfall storyline, though the comic itself was split up into three oversized volumes to collect the story for trade paperback purchase. Batman’s fall and rise back to take his mantle has long been one of the more well-known stories in the character’s rich history, as part of it was even used as an inspiration for Christopher Nolan’s final film in his Batman trilogy, The Dark Knight Rises. It will be interesting to see the story take on new life in an entirely different medium, as well as see the first reactions to the movie from viewers at the Annecy Animation Film Festival.

Source link

With DC Studios keeping busy this year

It’s here! The Control Group Warbond dropped on July 17. It’s quite a fun Warbond, and it has received lots of praise so far. However, one thing stood out from the very start. Helldivers 2 players noticed that the Warp Pack allowed them to teleport into the bunkers! Surely that’s a bug, right? Nope, one of the devs confirmed this was a feature.

Helldivers Can Use the Warp Pack to Enter Bunkers Solo

Now, this will completely change the solo missions, and it’ll make SC farming much, much easier. Once the players noticed this phenomenal change, they immediately suspected it was a bug. After all, Arrowhead is sort of known for accidentally introducing bugs.

However, the devs confirmed that this was, in fact, a feature. Alexus, one of the Helldivers 2 developers, took to Discord and wrote: “Nah that’s by design to let you jump into bunkers with the warp pack”.

Screenshot by N4G Unlocked via Discord

So, if you prefer going solo, but you had to bring a buddy to farm Super Credits, you don’t have to anymore. Or, if none of your teammates can be bothered to come open the bunker with you, you can now do it on your own. Truth be told, this is such an elegant solution, well done, devs!

A Mech Can Also Get You Into the Bunker

The devs truly cooked with the latest patch, as players noticed that if you use a mech, you can also enter the bunker solo. One player, Careless_Line41, posted a video showing off this “trick”. They noted: “You can enter and collect the items in bunkers now as solo”.

You can now enter the bunkers solo! Video by Careless_Line41 via Reddit

The devs also confirmed that this was intentional. So, don’t worry, it won’t be “fixed”. In other words, if you still haven’t collected enough SC for the latest Warbond, you can still enjoy farming them solo! Naturally, the community loved this change, as the players had requested it for a long while.

Arrowhead has been killing it lately, and these devs deserve all the praise, as it seems they have big plans for the future. So, dear Helldiver, enjoy the Warbond and solo farming! Join us on Tarsh, and let’s try to complete the latest Major Order. For Liberty and Super Earth.

The post It’s a Feature, Not a Bug! Helldivers 2 Developer Confirms the Warp Pack Works as Intended appeared first on N4G.

Source link

It’s here! The Control Group Warbond dropped

Hosts from MS NOW‘s Morning Joe and CNBC‘s Squawk Box appeared at the NBCUniversal upfront Monday to vouch for the impact of Versant Media‘s programming.

For years, the talent’s presence at Radio City Music Hall would have been utterly ordinary. In 2026, though, the talent and networks are not owned by NBCUniversal. Along with a number of other cable and digital assets, MS NOW and CNBC were spun off by Comcast into a new stand-alone company, Versant Media.

As a bridge from its start-up phase to a more established one down the line, the new company reached multi-year agreements with NBCU for distribution and advertising services. Along with MS NOW (rebranded from MSNBC) and CNBC, properties under the Versant tent include USA Network, Golf Channel and movie outlet Fandango. Versant started trading last January on the Nasdaq.

The appearance by Morning Joe co-hosts Mika Brzezinski and Joe Scarborough, and CNBC’s Andrew Ross Sorkin and Becky Quick came toward the end of a nearly two-hour upfront presentation by NBCU. The event is the kickoff to this year’s blitz of upfronts spanning Monday through Wednesday.

“Every day, we equip our viewers with what’s happening in Washington, why it matters, and how it impacts their lives,” Brzezinski told the crowd. “Our audience comes to us for trust and for deeper understanding. Viewership is up 20%. Our lineup is resonating. We’re reaching 32 million Americans every week who spend more than nine hours with us.”

Scarborough also chimed in, pronouncing his new company’s name “Ver-SAHNT.” Sorkin and Quick added some messaging from CNBC before a sizzle reel played.

While Versant didn’t cast the largest shadow during the lengthy presentation, they did merit a spot in Seth Meyers’ roast set at the end of the show.

“If you’re from out of town and you get hassled by someone for money on the subway, don’t panic – that’s just the Versant afterparty,” the late-night host cracked.

Source link

Hosts from MS NOW‘s Morning Joe and

Last month, we ran a story about Paramount’s retribution against people who opposed its merger with Warner Bros. Discovery, namely The Ankler and its columnist Richard Rushfield. Mark Ruffalo was a fan of the story, tweeting it out and writing on X that retribution has already started. “Trust them when they tell you they will use the power and this consolidation of media for political reasons,” he tweeted.

Now, Ruffalo and political commentator Matt Stoller have expanded on this premise with a new op-ed in The New York Times, laying out again the blueprint to stop the merger: Sign letters, encourage politicians and attorneys general to investigate and break it up. But what is perhaps most notable in the piece is the one claim about the existing open letter, which has accumulated nearly 5,000 signatures. “But the most revealing thing about that letter wasn’t the people who signed,” they write. “It was the people who didn’t. Not because they disagreed — because they were afraid.”

“There are many reasons to block this deal, but we now believe the most fundamental one is what we encountered when asking artists to use their voices: fear. A deep, ugly and pervasive fear of speaking out,” the article continues. “We heard time and time again from artists, when asked to sign this letter, that they supported it but were afraid of retribution.”

Still, the op-ed ends on an optimistic tone, noting that recent rulings regarding Ticketmaster and Live Nation, the Tenga/Nexstar merger, and against Google and Meta suggest that there is still hope of blocking the merger. Write Ruffalo and Stoller: “The oligarchs are still in charge. But they are starting to lose their grip on power.” You can read the whole article here. 

Source link

Last month, we ran a story about

The sheer joy at a graduation is just so palpable! And clothes should reflect that, which is why figuring out what to wear to a graduation is so key.

Whether you’re finishing school in the coming months—in which case, congratulations!—or simply celebrating the person accepting their diploma, finding the perfect look to express your pride should be the easiest part of the process. After all, you’re probably still balancing any unfinished assignments and tests, finalizing travel plans, or making post-ceremony reservations.

But, of course, graduation shopping can be daunting for everyone involved. Unlike summer weddings, graduations often come with unclear dress codes and a lot more logistical considerations. If it’s inside an auditorium with the AC on full blast, a long-sleeve spring dress or suit may be the way to go. Alternatively, should the venue be outside in the heat, something breezy and lightweight is a must for graduation attire—especially if you’re prone to sweating. After all, you’re looking at hours worth of sitting through speeches.

The dress code is also important to keep top of mind when selecting a graduation outfit. Anything sheer or supershort likely won’t cut it, so it’s best to leave jeans and sneakers at home. Still, you hardly want to look too formal or somber on a day that’s brimming with excitement and new beginnings. Matching to the school colors is a fun way to show school pride, whether you’re a grad or a guest.

It’s always a delightful experience to see someone you care about achieve a major life accomplishment such as graduating from high school or college. Whatever your situation is, if there’s a graduation date on your calendar, you’ll want to pick out an outfit for the special day soon so you have time to shop for any pieces you need. And if you’re still scratching your head on what to wear to a graduation ceremony, we’ve compiled some outfit ideas for the big day below. (Oh, and PS: don’t forget the gift!)

What to wear to a graduation in 2026

Polka Dots

Valentina Frugiuele/Getty Images

Zara Asymmetric Polka Dot Dress

Tie-Back Halter Maxi Dress

Source link

The sheer joy at a graduation is

Picture Credit: Getty Images

Guillermo del Toro’s highly anticipated adaptation of The Buried Giant is still moving forward at Netflix, following its initial announcement in 2023. Following the massive success of the Oscar-winning movie Pinocchio and last year’s live-action Frankenstein, the visionary director recently confirmed that his next animated feature is officially gearing up—and it will be a strictly adult, stop-motion epic. Here is our updated 2026 guide to everything we know so far about The Buried Giant.

The project has been confirmed since early 2023, but we recently received a major update on its progress, and thankfully, unlike many other Netflix Animation projects, which tend to just go away quietly, this one remains in active development. In May 2026, while receiving the British Film Institute’s highest honor (the BFI Fellowship) in London, Guillermo del Toro took to the stage to confirm that the gears are officially turning on The Buried Giant.

Front and center was del Toro’s confirmation of the film’s mature tone (via Deadline). He proudly described the upcoming adaptation as a “fascinatingly difficult stop-motion movie for adults” that is being produced “without any concession to a family audience.”

Del Toro is directing the feature and co-writing the script alongside Dennis Kelly, a writer whose impressive resume includes Netflix’s Matilda the Musical, Utopia, and The Third Day. The project forms a core pillar of del Toro’s ongoing overall deal with Netflix, which has already brought us phenomenal hits like Cabinet of Curiosities and the aforementioned titles, plus indirect titles like the global picking up of I Am Frankelda. 

Netflix At The Oscars: How Many Nominations And Wins Does The Streamer Have?Netflix At The Oscars: How Many Nominations And Wins Does The Streamer Have?

Because this is a sprawling, incredibly complex stop-motion epic, the physical production is being handled meticulously inside animation studios. ShadowMachine—the brilliant stop-motion studio that served as the home base for Guillermo del Toro’s Pinocchio—is returning to handle the animation for The Buried Giant. The studio, established in 1999 and with offices in Portland and Los Angeles, also worked on The Tiny Chef Show, Bojack Horseman, and Long Story Short.

Fans shouldn’t expect a flurry of rapid-fire set photos, however. Stop-motion animation is notoriously painstaking and time-consuming. Del Toro himself made sure to temper expectations regarding the timeline, warning the BFI crowd just how massive the undertaking is: “It’s gonna take us years. And it’s incredibly difficult.”


What is the plot of The Buried Giant?

Buried Giant ArtBuried Giant Art

The Buried Giant artwork

The Buried Giant is an adaptation of the best-selling 2015 fantasy novel by acclaimed author Kazuo Ishiguro, who famously spent a decade “on and off” writing the profound narrative.

Here is the official synopsis for the story:

I”n a fictional, post-Arthurian medieval England, the wars that once raged between the Saxons and the Britons have finally ceased. Axl and Beatrice, an elderly British couple, set off to visit their son, whom they haven’t seen in years. And, because a strange mist has caused mass amnesia throughout the land—preventing anyone from retaining long-term memories—they can scarcely remember anything about him. As they embark on a perilous journey across a landscape full of trolls, fairies, and magic, they are joined by a Saxon warrior, his orphan charge, and an illustrious knight. Together, Axl and Beatrice slowly begin to remember the dark and troubled past they all share.”

During his recent BFI talk, del Toro elaborated on exactly why this specific story had to be told via stop-motion animation, rather than live-action. “If you do a live action movie about an old couple crossing a landscape full of trolls and fairies, and there are special effects and actors… all of a sudden a puppet walks through, it becomes uncanny valley, which is a horrible thing that doesn’t belong in the same world,” he explained. “I want all the creatures to be of the same material.”


Who is cast in The Buried Giant?

For years, the voice cast has remained entirely under wraps. However, during his May 2026 BFI career talk, del Toro finally dropped our first massive casting scoop: Ron Perlman has officially joined the cast in an undisclosed role!

Del Toro is a director who loves to assemble a troupe of frequent, trusted collaborators, and Perlman is undoubtedly at the top of that list. The legendary actor most recently voiced the Podestà in Pinocchio, but the pair’s creative partnership stretches all the way back to del Toro’s 1993 debut feature, Cronos.

As production continues to ramp up, we fully expect to hear more familiar voices from Guillermo del Toro’s universe (such as Cate Blanchett or Doug Jones) join the roster.


What is the Netflix release date for The Buried Giant?

Netflix hasn’t announced an official release date for The Buried Giant.

Given del Toro’s recent confirmation that the animation process will “take years,” it is highly unlikely we will see the film hit our screens anytime soon. If we look at the historical timeline for animated projects of this scale, a release date of 2028 or 2029 seems like the most realistic, educated guess, but there’s a lot that has to go right for that to happen.

We will continue to update this article with all the latest casting news, behind-the-scenes glimpses, and release updates as soon as they break.


Are you looking forward to an exclusively adult stop-motion adventure from Guillermo del Toro? Let us know your thoughts in the comments below! For more on Netflix’s upcoming slate of animated movies, keep it locked here on What’s on Netflix.

Source link

Four “Fast & Furious” TV series are officially in the works at Peacock.

The announcement was made onstage by franchise star Vin Diesel at the NBCUniversal upfront presentation in New York on Monday alongside Jimmy Fallon.

“For the last decade, we have realized that the fans have wanted more,” Diesel said. “They wanted us to expand the legacy characters, their stories. And for the last decade, the desire has been for us to entire the TV space that Fallon has mastered. And I had to wait till it was right… It became right when Donna Langley started to oversee it all, because that’s when I knew that the integrity of the characters, the international appeal, what makes us all feel like family would be protected in the TV space… The news that I have here today is that Peacock is launching four shows from the ‘Fast and Furious’ universe.”

More to come…

Source link

Four “Fast & Furious” TV series are

Jimmy Kimmel Live! will air a rerun next Thursday, May 21, reportedly out of respect for Stephen Colbert, who will be hosting the final episode of The Late Show that night. 

Kimmel confirmed the decision to Late Nighter, though reps for his show did not immediately return a request for further comment. The Late Show airs in the 11:30 p.m. time slot; with Kimmel going dark in the live realm for the night, Colbert’s only competition will be The Tonight Show Starring Jimmy Fallon. 

Colbert has hosted The Late Show for 11 years, taking over the show from David Letterman in 2015. While the show has long been one of the most-watched programs in late-night, and earned numerous accolades, including an Emmy and a Peabody Award, CBS decided to cancel the show last July.

At the time, the network said it was a “purely financial decision,” adding, “It is not related in any way to the show’s performance, content or other matters happening at Paramount.” Those “other matters” likely referred to the then-ongoing efforts at Paramount (CBS’ parent company) to complete a merger with David Ellison’s Skydance. Considering Colbert was a frequent critic of President Donald Trump, many alleged that CBS’ decision to cancel The Late Show was part of a wider effort to appease the Trump administration, which still had to approve the merger. 

In the world of late-night TV, Kimmel and Colbert have long been more friends than rivals. But the two seemed even more bonded after Colbert’s cancellation and Kimmel’s scrap with the Trump admin over a joke about the man accused of killing Charlie Kirk. Last fall, in the aftermath of both events, the two appeared on each other’s shows, using the opportunities to reflect on the chaos engulfing late-night TV. 

Trending Stories

At one point, Colbert asked Kimmel if his younger self could have imagined the President of the United States “celebrating” his brief unemployment. 

“No, I never imagined that we’d ever have a president like this, and I hope we don’t ever have another president like this again,” Kimmel replied. “I never even imagined there would ever be a situation in which the president of our country was celebrating hundreds of Americans losing their jobs. But somebody who took pleasure in that — that to me is the absolute opposite of what a leader of this country is supposed to be.”

Source link

Jimmy Kimmel Live! will air a rerun

NBA Hall of Famer Grant Hill and veteran industry executive Kimberly Evans Paige boarded the forthcoming feature documentary “Romare Bearden: A Life in Collage” as executive producers.

The documentary offers a definitive, cinematic portrait of one of America’s most influential visual artists, Romare Bearden, and a cut of the film will screen at Cannes’ Marché du Film on Friday.

“Romare Bearden’s story is foundational to understanding the Black creative tradition,” said Hill. “For years, I’ve had the privilege of sharing our collection of Black masters with audiences across the country. Bearden was a pioneer whose art spoke to our shared history and cultural memory. Supporting this film feels like a natural extension of that mission — to preserve, celebrate, and elevate the brilliance of Black artists for generations to come.”

Directed by award-winning filmmaker Deborah Riley Draper (one of Variety’s 10 Documakers to Watch in 2016) and produced by Emmy winner Jarobi Moorhead, “Romare Bearden: A Life in Collage,” a release explains, positions Bearden at the center of American art and culture, “illuminating how his images continue to shape the visual language of Black life worldwide.” The documentary follows Bearden’s journey from North Carolina to the Negro Leagues, World War II, Paris, and ultimately Harlem, where he translated the everyday Black experience into groundbreaking collage and painting.

“Bearden’s work captures the complexity, beauty, and resilience of Black life in ways that are both intimate and expansive,” added Paige, a veteran C-suite brand architect with more than 25 years of experience in media, beauty and culture. “This film not only honors his legacy, but it also invites new audiences—especially young people and emerging artists—to see themselves reflected in his vision. I’m proud to help bring this story to screens, galleries, and classrooms around the world.”

“Romare Bearden: A Life in Collage,” the release adds, uses archival footage, collage-inspired visuals and commentary to “immerse audiences in the people, places and ideas that shaped Bearden’s artistic vision — from the Great Migration and the Harlem Renaissance to jazz, literature, and global modernism.” As such, the documentary features interviews with contemporary collectors — and cultural icons themselves — including Denzel Washington and Usher, alongside leading visual artists like Mickalene Thomas, Titus Kaphar and Derrick Adams, whose work extends Bearden’s legacy.

Titus Kaphar in “Romare Bearden: A Life in Collage.”

Scholars and cultural leaders, including Dr. Mary Schmidt Campbell (former President of Spelman College), Dr. Elizabeth Alexander (President of the Mellon Foundation) and Dr. Lowery Stokes Sims, also appear in the documentary to contextualize Bearden’s enduring influence on art, history and American identity.

“Romare Bearden’s art captures the beauty, complexity, and resilience of Black life,” said Draper. “Through his collages, he gave voice to entire generations, merging memory and imagination into a singular vision of what it means to be human and Black in America. This film is an invitation into his world—and a reminder of how urgently we need his perspective now.”

In addition to Hill and Paige, executive producers Robin Lyon, Jocelyn Moore and Alva Greenberg, and consulting producer Mikki Taylor round out the producing team.

“Romare Bearden: A Life in Collage” is a Coffee Bluff Pictures production, supported by the Artemis Rising Foundation, KPJR Films, Dr. Sandra Nichols and Ronnie Nichols. The film is currently in post-production and is represented by Ari Lever at CAA.

Romare Bearden (center), with director Deborah Riley Draper and producer Jarobi Moorhead,

Source link

NBA Hall of Famer Grant Hill and

DC Studios and Warner Bros. Animation have revealed first looks of Super Mutant Magic Academy, Keeping Up With The Joneses and Living the Dream ahead of the Annecy International Animation Film Festival.

Peter Safran (Co-Chairman and Co-CEO, DC Studios) and Sam Register (President, Warner Bros. Animation, Cartoon Network Studios, Hanna-Barbera Studios Europe) will attend the fest, hosting a panel with top creatives.

Cartoon Network’s Super Mutant Magic Academy is an animated comedy melodrama about the unusual humans and mutants that attend an ailing public boarding school. Netflix’s Living the Dream from George Gendi follows a couple of really cool guys from London who should have made it big by now but haven’t but still could, while Adult Swim’s Keeping up with the Joneses charts the Newberry family as they try to “keep up” with their staggeringly wealthy Dallas neighbors.

Each will be discussed at Annecy, which starts next month. There will also be a previously announced screening of Batman: Knightfall Part 1: Knightfall.

‘Living the Dream’. Image: Netflix

Safran and Register, meanwhile, will host a panel featuring executive producers Tom King (Mister Miracle), Rick Morales (Creature Commandos), Jake Wyatt (My Adventures with Superman, My Adventures with Green Lantern), Josie Campbell (Starfire!), and Matt Beans (DC Super Powers).

Register said: “Annecy continues to be one of the most important global gatherings for the animation community, celebrating the artistry and innovation that move our industry forward. From expanding the next era of DC animation with our partners at DC Studios to showcasing original voices across our studios, our programming this year reflects the range, ambition, and creative momentum driving everything we do.”

Netflix was first out the blocks last week with an Annecy slate that included a first look at Ricky Gervais’ Alley Cats.

‘Keeping up with the Joneses’

Source link

DC Studios and Warner Bros. Animation have

Fox has renewed what can fairly be called a boatload of its unscripted shows.

Heading into its upfront presentation Monday afternoon, the network says it has renewed 17 unscripted series (including a couple that had been previously announced). They include six shows on the schedule for the fall: Celebrity Name That Tune, Celebrity Weakest Link, The Floor (one of the previously announced pickups, a two-season order), 99 to Beat, Hell’s Kitchen (also a two-season renewal) and Special Forces: World’s Toughest Test. A seventh show, Next Level Baker, is set for a holiday-season run, though its place on the schedule hasn’t been determined.

Eight more — Crime Scene Kitchen, Don’t Forget The Lyrics, Extracted, Fear Factor: House of Fear, Gordon Ramsay’s Secret Service, Lego Masters, The Masked Singer and Next Level Chef — are on deck for later in the 2026-27 season. So is Masterchef, which is in the middle of a two-season order and not included on the renewal list.

Finally, Beat Shazam and Kitchen Nightmares also received renewals, though they’re not mentioned in the shows slated for next season. Those two are among several shows that will have been off the air for a year or more when they next air; so have Crime Scene Kitchen, Don’t Forget the Lyrics and Gordon Ramsay’s Secret Service.

Fox sometimes orders more shows than it needs for a given season, Fox Entertainment CEO Rob Wade told reporters on a conference call Sunday evening. Earlier this year, before the Writers Guild and SAG-AFTRA made new deals with studios, was a bit of an uncertain period, so Fox stockpiled some shows in the event of another strike.

Having a big bullpen of unscripted shows also serves a couple other purposes, Wade and Fox Television Network president Michael Thorn said. “We talk a lot about how to keep as much original [programming] on the schedule as possible,” said Thorn. “It allows us to have new and returning series throughout the year — midseason, spring and summer.”

It’s also nice to have a backstop in case something on the schedule doesn’t work, Wade noted: “It’s better to have something ready to go than to try and rush something through production,” he said.

Source link

Fox has renewed what can fairly be

Pedro Almodóvar recently spoke to the Los Angeles Times ahead of his latest movie, “Bitter Christmas,” competing at the Cannes Film Festival and called out the Oscars for being blatantly apolitical this year.

“You know, I’m not really blaming anyone in particular, but it was quite notable watching the Oscar telecast where there were not many protests against the war or against Trump,” Almodóvar observed. “Maybe he wasn’t the only one, but the only real example I can remember came from a European, a friend of mine, Javier Bardem, who did directly say, “Free Palestine.’”

“People are obviously very frightened,” the director continued. “The U.S. is not a democracy right now. Some people say it’s maybe an imperfect democracy, but I really don’t think the U.S. is a democracy right now. The heartbreaking and ironic thing is that democracy has given rise, through the proper, right voting mechanism, to this kind of totalitarian regime. And it’s both a paradox and it’s also incredibly sad.”

Almodóvar has come out swinging against Trump before, notably in 2025 while receiving the Chaplin Award at Lincoln Center in New York City. The filmmaker referred to Trump at the time by saying America was “ruled by a narcissistic authority, who doesn’t respect human rights.” He later said Trump would be remembered as a “catastrophe.”

When asked by the Los Angeles Times if he fears what speaking out could do to his career, Almodóvar answered, “Not at all.”

“I don’t have many fears. In a generalized Spanish sense, here we’re not afraid to call things for what they are. We have a government that has called Gaza a genocide and the Spanish people in general are not afraid to call these wars out for what they are,” he explained, adding that “it’s easier for me to be clear” with his beliefs because he’s a foreigner and works outside of Hollywood.

Many members of the film press criticized the Oscars this year being “overly safe” when it came to addressing political issues. The apolitical bent of the ceremony was even more notable due to the fact Paul Thomas Anderson’s politically-charged “One Battle After Another” took home best picture and several other trophies.

As Variety’s Owen Gleiberman noted in his show review: “‘One Battle’ is a movie that has the politics of America today at the very core of its cinematic DNA…  It was a piece of cathartic political art. In an evening where it took home six Oscars, that reality should have been at the forefront of the celebration of its triumph. Instead, if you tuned into the Oscars but hadn’t seen the movie they saluted most ardently, you might never have had the slightest idea what the movie was about.”

Source link

Pedro Almodóvar recently spoke to the Los

Oscar season only just ended and the summer movie season has barely begun, but cinephiles won’t have much time to catch their breath: The Cannes Film Festival begins Tuesday, unspooling its 79th edition over the next two weeks. Here are a few of the story lines to watch.

Last year, Cannes mounted one of its most star-packed editions ever, with the likes of Jennifer Lawrence and Denzel Washington breezing through the Croisette, as well as the high-profile premiere of Tom Cruise’s final “Mission: Impossible” movie. But this year’s lineup is light on the glitz, with fewer English-language films in contention and no auteur-driven summer blockbusters like Christopher Nolan’s “The Odyssey” or Steven Spielberg’s “Disclosure Day” to pump up the proceedings.

To make up for that starry shortfall, the festival director Thierry Frémaux added a last-minute anniversary screening of the original “The Fast and the Furious,” with the leads Vin Diesel and Michelle Rodriguez scheduled to be in attendance. He also stocked the competition jury with names like Demi Moore and Stellan Skarsgard, though rumors suggest that a broken foot prevented Jacob Elordi from joining them.

Among the A-listers still expected are Adam Driver, Scarlett Johansson and Miles Teller for James Gray’s crime drama “Paper Tiger”; Renate Reinsve and Sebastian Stan, who play a couple in “Fjord,” from the Romanian director Cristian Mungiu; and Rami Malek for “The Man I Love,” a musical from the writer-director Ira Sachs about an actor dying of AIDS.

Other buzzy English-language films include Nicolas Winding Refn’s “Her Private Hell,” starring Sophie Thatcher and Charles Melton; “Teenage Sex and Death at Camp Miasma,” featuring Hannah Einbinder and Gillian Anderson in a film by Jane Schoenbrun (“I Saw the TV Glow”); and “Butterfly Jam,” with Barry Keoghan and Riley Keough in a Kantemir Balagov production.

Though Cannes counts on a healthy helping of glamorous stars, auteurs are still the most celebrated artists at the festival. With that metric in mind, this festival can still boast plenty of big names, including Pedro Almodóvar (“Bitter Christmas”) to Asghar Farhadi (“Parallel Tales”).

Many Cannes veterans are back this year: The “Drive My Car” director Ryusuke Hamaguchi returns with the French drama “All of a Sudden,” while Paweł Pawlikowski follows his acclaimed “Cold War” with “Fatherland,” starring Sandra Hüller. I’ve also got my eye on “Colony” from the “Train to Busan” director Yeon Sang-ho, Hirokazu Kore-eda’s “Sheep in the Box,” and “Coward,” from the young Belgian filmmaker Lukas Dhont, who won major prizes here for his first two films.

The indie studio Neon has managed a remarkable record at Cannes, repping the last six winners of the Palme d’Or: “Parasite,” “Titane,” “Triangle of Sadness,” “Anatomy of a Fall,” “Anora” and last year’s “It Was Just an Accident.”

That streak is bound to snap someday. Still, with the company already securing rights to a sizable share of this year’s competition titles — including “Paper Tiger,” “Fjord,” “All of a Sudden,” “Sheep in the Box” and “The Unknown,” starring Léa Seydoux — it’s entirely possible that Neon could claim a seventh consecutive Palme. That is, unless …

When it comes to filling out the Oscars’ international-film category, you rarely have to look much further than Cannes: This past year, all but one of the five academy nominees premiered at the festival, including the eventual winner, “Sentimental Value.”

Still, a new Oscar rule announced this month could strengthen that already formidable bond. Traditionally, each country can submit one official selection to contend in the international category. Under the new rule, films can also become eligible by winning the top prize at a major film festival, like the Palme d’Or at Cannes.

This will be a boon for dissident directors from countries that are unlikely to submit their work, like Jafar Panahi, whose Iranian film “It Was Just an Accident” won the Palme last year and had to be submitted to the Oscars as a French co-production. But will the rule change influence the deliberations of the Cannes jurors, who might be more inclined to give their top honor to a political film that needs an awards-season edge? Stay tuned.

Source link

Oscar season only just ended and the

Leading Korean sales outfit Finecut has closed deals across seven territories for Hong Sangsoo‘s “The Day She Returns,” the Korean auteur’s 34th feature, which had its world premiere in the Panorama strand of the Berlinale.

The Berlin appearance marked Hong’s seventh consecutive year with a film invited to the festival. Buyers include The Cinema Guild (North America), as previously revealed by Variety, Atalante (Spain), Carlotta Films (France), Cola Films (Taiwan), the Institute of Contemporary Arts (U.K.), BKS Cinema (Finland), and Hugoeast (Mainland China).

“The Day She Returns” stars Song Sunmi as an actress who stepped back from acting after marriage and a subsequent divorce, and makes a comeback with a role in an independent film.

Separately, Finecut has acquired international sales rights to “Dora,” July Jung’s Cannes Directors’ Fortnight title, covering all markets excluding French-speaking Europe and Africa, Luxembourg, and South Korea. The selection makes Jung the first Korean female director to land three consecutive features at Cannes. Her debut, “A Girl at My Door,” screened in Un Certain Regard in 2014, and her second film, “Next Sohee,” closed the Critics’ Week in 2022.

“Dora” follows a young woman who finds an unexpected reserve of courage during a summer defined by humiliation and contempt. Kim Doyeon – known for “18 Youth” and “Idiot Girl and School Ghost: School Anniversary” – leads as Dora, a character coping with nervous breakdowns who retreats to a seaside village to recover. Ando Sakura, whose credits include “Godzilla Minus One,” “Monster,” and Palme d’Or winner “Shoplifters,” plays Nami, an old family friend Dora encounters there. The film is produced by Redpeter Films and co-produced by The French Connection, Les Films Fauves, Humorous Film, and Arte France Cinéma.

At the Cannes Film Market, Finecut has first footage screenings planned for “Long Long Night,” an animated feature in 3D drawn from a prize-winning Korean novel, and “Wash Away,” a Japanese horror-thriller.

Source link

Leading Korean sales outfit Finecut has closed

The MCU’s next R-rated action movie release is finally in sight following the brand’s success with adult characters like Deadpool and Daredevil. Having gone the entire Infinity Saga with just a family-friendly PG-13 rating, Marvel Studios took its first dives into the R-rated market in Phase 5. That venture began where nobody expected, with the five-episode Hawkeye spin-off Echo receiving a TV-MA rating (the television equivalent of an R-rating). While Marvel Zombies and Daredevil: Born Again followed in its footsteps by bringing vicious adult action and the first tastes of gore to Disney+, to this day, Deadpool & Wolverine remains the MCU’s only R-rated movie to be released in theaters.

Just one week after Daredevil: Born Again Season 2 concludes, Marvel Studios’ first R-rated movie in almost two years (since July 2024’s Deadpool & Wolverine) will land on Disney+: The Punisher: One Last Kill. Despite being only one hour long, the Special Presentation has been hyped as an adrenaline-packed, TV-MA mini-action movie, but that’s just the beginning of the MCU’s upcoming R-rated plans.

Announcing The Punisher‘s solo outing, star Jon Bernthal described it as “high octane” while Marvel Television boss Brad Winderbaum declared it a “shotgun blast of a story” that has “all the pathos and emotion” one would hope for.

One Last Kill‘s trailer very much reflected its action-packed promise, showing Castle slaying bad guys, charging out the window of a fiery building, firing gunshots in mid-air, and protecting the innocent as chaos erupts on the street.

The Punisher‘s special isn’t holding back on its R-rated brutality, with set videos confirming a tragic death that is bound to leave many viewers uneasy.

Due to its one-hour runtime, One Last Kill will have no time to waste, and it looks to be using every moment of it on showing Frank Castle doing what he does best and getting plenty more blood on his hands (figuratively and literally), making it much more akin to a shortened movie than a TV episode.

Moving forward, Marvel Studios, Television, and Animation have three more R-rated projects in the pipeline, and two more that could bear the red rating.

Every Other R-Rated Marvel Studios Project On the Horizon

Daredevil: Born Again Season 3

Marvel Television

Fans have already enjoyed two seasons of the TV-MA-rated Daredevil: Born Again on Disney+, and they can look forward to a third next year. The series’ gritty, grounded violence will continue as Born Again explores more intense themes.

Born Again showrunner Dario Scardapane confirmed to The Direct that there are a “few” more new villains coming to the Disney+ show, beyond the return of Vincent D’Onofrio’s Kingpin. One of those is Lady Muse, whose Season 1 artistic killer inspiration certainly points to another gruesome arc next season. 

Marvel Zombies Season 2

Spider-Man with Marvel Zombies poster.
Marvel Animation

The red brand joined the likes of Invincible in the market for TV-MA animated shows with last year’s Marvel Zombies, an MCUified take on the comic run of the same name, hailing from The Walking Dead creator Robert Kirkman.

After Marvel Zombies Season 1 used its R-rating to the fullest extent, with heroic skulls smashing and bodies being sliced in half, development is officially underway on Season 2. Based on last season, the adult-only rating will primarily denote its extreme gore and occasional horror, with limited and mild foul language.

Blade

Mahershala Ali with red and blue background in Blade like costume.
Mahershala Ali

Blade‘s status is a matter of mystery, as the vampire-centric MCU flick was announced at San Diego Comic-Con 2019, but it has gone on to hire and lose multiple writers and directors, plunging it into development hell. In fact, some reports have even stated that Blade has been scrapped altogether.

For the time being, that is all rumor, but one thing that is official is that former director Yann Demange confirmed Blade would be R-rated, allowing Mahershala Ali’s vampire slayer to express his complete “ruthlessness.” If Blade happens, it seems there will be plenty of vampire blood on the supernatural hero’s sword.

BONUS.) Deadpool 4

Ryan Reynolds Deadpool.
Marvel Studios

Ryan Reynolds’ Wade Wilson led Marvel Studios’ first R-rated movie, so it’s only right that rating holds into the MCU team-up project he is penning for the next saga that will unite Deadpool with other mutants. However, as Deadpool is stepping back into a supporting role, the untitled flick may not be quite as adult.

If Deadpool 4 follows in the footsteps of its predecessor trilogy, fans could expect an outrageous blend of violence and foul language, possibly along with alcohol abuse, nudity, sex, and drug references (but not use, because, according to Wade Wilson, “cocaine is the one thing that Feige said is off limits”).

BONUS.) Midnight Sons

Moon Knight, Doctor Strange, and Elsa Bloodstone.
Marvel Studios

Even if Blade doesn’t move forward, Marvel Studios seems to be moving swiftly ahead with Midnight Sons, an ensemble team-up that could unite supernatural icons from the Multiverse Saga and some that fans are still waiting to meet. One has to wonder if Midnight Sons could even be the MCU’s first true horror movie.

If Midnight Sons became a replacement for Blade on the MCU slate, it stands to reason that it, too, would be R-rated. There’s no denying that an adult focus would complement the likes of Blade, Moon Knight, and Ghost Rider, allowing their violence to shine through as they slay demons together and take on Mephisto.

Source link

DC’s Clayface movie is one of the most talked-about projects on the DCU’s release calendar this year, and the conversation around it just got more interesting. The film is the third theatrical entry in James Gunn and Peter Safran’s rebooted DCU, following Superman in 2025 and Supergirl, which releases on June 26. It is also one of the riskiest projects on the slate because it’s an R-rated body horror film about a Batman villain, made on a mid-tier budget. Additionally, it happens to be in a universe that hasn’t introduced its own Batman yet. For a studio still trying to prove what its new era can sustain, that is a lot of pressure on one release.

After the first trailer arrived, Clayface became the most important DCU release of the year. The teaser made it clear that Gunn is putting out a hard horror film, and the movie will be nothing like any other DCU project. The film is led by Tom Rhys Harries as Matt Hagen and directed by James Watkins from a Mike Flanagan and Hossein Amini script. Whether it works at the box office on October 23 will decide how much room DC Studios has to keep making movies that look nothing like Superman. 

DC Studios

Watch the Clayface teaser back-to-back with anything else from the new DCU, and the gap in difference is obvious. The Clayface trailer opens on Hagen in a hospital bed, face wrapped in bloody bandages after a knife attack. A scientist injects him with something experimental. His features start to change, and by the closing shot, he is in a bathtub wiping his own face off like wet plaster. 

Gunn has called Clayface psychological, body horror, and gross. Safran also said Hagen’s story is in some ways more terrifying than what audiences got with characters like Joker and Penguin. The trailer earns those descriptions with the way it depicts Hagen’s horrific transformation. 

Why Is Clayface the Most Important DCU Release of 2026? 

Tom Rhys Harries as Matt Hagen in Clayface.
DC Studios

Clayface is the only film on the DCU slate for which general audiences lack a fair idea about its lead character. Supergirl is a Kara Zor-El blockbuster with a recognizable hero. Lanterns is a Green Lantern series on HBO Max with Kyle Chandler. People know how to feel about both before the lights go down. Clayface does not have that built-in audience. This film is basically asking ticket buyers to show up for a body horror film about a Batman villain most casual viewers cannot name. There isn’t much of a safety net, but the low budget likely softens the risk.

The result Clayface pulls in matters a lot. If the film finds an audience, Gunn’s pitch that the DCU can work in different genres stops being a talking point and becomes a fact. The studio earns the right to keep greenlighting smaller, stranger projects like the long-anticipated Swamp Thing horror film, or any darker pitch sitting in development. 

If Clayface flops, everything changes, and executives stop taking those swings and stick with Superman, Batman, and the heroes already pulling in crowds. If we’re to see more unique DCU projects, Clayface needs to knock it out of the park when it arrives in theaters on October 23. Given the reported $40 million budget, it’ll be a big surprise if the film doesn’t turn in a massive profit, though.

Source link

Nintendo has announced that it will be changing the name of its official online store.

The company’s digital store was overhauled in February 2022 and renamed My Nintendo Store, offering games, hardware and merchandise.

Now Nintendo has announced that the shop will be getting rebranded on May 27, and will simply be known as the Nintendo Store from that point on.

Despite the name change, Nintendo says the shop will continue to run as normal, with “no change to the service or products”.

The change has already been confirmed by the Japan and UK Nintendo accounts. At the time of writing the Nintendo of America account has yet to confirm it, but this may change later today when US office hours start.

The My Nintendo Store was designed to tie in with the My Nintendo loyalty program which launched in March 2016 alongside the mobile game Miitomo.

My Nintendo lets players earn Platinum Points by carrying out certain tasks in its mobile games or on Switch via the Nintendo Switch Online page.

These points can then be spent on digital rewards such as wallpapers, in-game items for Nintendo’s mobile titles, or exclusive merchandise on the My Nintendo Store (soon to be just the Nintendo Store).

Nintendo has not given any indication that the My Nintendo loyalty program will be getting renamed or changed in any way, meaning for now only the online store appears to be getting the name change.