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This weekend, “Screen Talk” co-hosts Ryan and Anne are heading for Cannes after cramming in a bunch of preview screenings and links. And now that the official program is out, everyone is figuring out their crowded schedules.

But before we report to you from the Croisette, we look at what we might want to see from the summer movie lineup, debate the merits of provocative new indie “Blue Film,” and parse what Netflix is up to as it seems to be altering its release model with Greta Gerwig’s “Narnia: The Magician’s Nephew.”

Ryan and the rest of the team put together a list of 40 summer movies to check out. On the podcast, we lay out a few that we most want to see, which may not line up with the expected biggest grossers. Yes, we want theaters to kick ass this summer, but we are sniffing out pleasure and quality and fun, as opposed to sheer action mayhem. Predictably, Anne leans toward Hollywood fare from Nolan and Spielberg, while Ryan reflects his more eclectic tastes, including the violent “The Death of Robin Hood,” starring Hugh Jackman in Logan mode.

We suspect that Netflix chief Ted Sarandos, having looked under the distribution hood at Warner bros,, is now more open to experimenting with the theatrical model. “Narnia,” which had to push back from Thanksgiving to Easter, will be his guinea pig for what happens with a wide release with a 45-day window.

Getting a much smaller release is “Blue Film,” which was not booked by any major film festivals, presumably due to its pedophile subject, but hits theaters this weekend. Both Ryan and I found much to admire in this two-hander starring veteran Reed Birney and revelatory newcomer Kieron Moore.

We also welcome special guests to the podcast, multi-tasker writer/producer/director Judd Apatow and Michael Bonfiglio, who co-directed the two-part HBO Mel Brooks docuseries “Mel Brooks: The 99 Year Old Man!,” a very funny doc about a very funny man. I’ve interviewed Apatow before for some of his movies, which include “The 40-Year-Old Virgin” and “Knocked Up.” And I know Ryan was raised on “Freaks and Geeks,” as my daughter was. And writer/director/producer/cinematographer Bonfliglio won Emmys, along with Apatow, for his docs on the comedians Michael Shandling and George Carlin. They also collaborated on “May It Last: A Portrait of the Avett Brothers.”

'The Death of Robin Hood'
‘The Death of Robin Hood’Courtesy of A24

Needless to say Brooks, who is now 99 years old, was a barrel of laughs in conversation, but digging into his feelings was a tougher challenge, Apatow said. The late Rob Reiner, in one of his last interviews, helped to reveal Brooks’ deep relationship with father-figure Carl Reiner, who wasn’t much older. And Apatow reminded us that Brooks not only directed the comedy hits “Young Frankenstein,” “Blazing Saddles,” and “Spaceballs,” but was a tastemaker producer on such films as David Cronenberg’s “The Fly” and Oscar nominee “The Elephant Man,” hiring David Lynch to direct.

Apatow also talks about how he has nurtured younger talents over the years, from Seth Rogen to Lena Dunham, who was 24 when she wrote the pilot for HBO’s hit series “Girls” and took on the job of showrunner and lead actress.

Next up: Apatow is currently prepping “The Comeback King” with Glenn Powell and Christine Miloti.

Listen to the episode below or on your preferred podcast platform.

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This weekend, “Screen Talk” co-hosts Ryan and

Riley Green is heading to The Voice.

The 37-year-old country star announced on social media Saturday (May 9) that he will join as a coach for season 30 of the NBC music competition series.

Green shared the news ahead of his concert at Ameris Bank Amphitheatre in Alpharetta, Georgia, on Saturday. He is currently on his Cowboy As It Gets arena tour across North America.

“I guess y’all can start calling me coach… see ya this fall. @nbcthevoice #thevoice,” Green captioned the announcement on his Instagram account.

The “Worst Way” singer joins previously announced coaches Kelly Clarkson and Adam Levine for the upcoming season of The Voice, which airs this fall on NBC and streams on Peacock. Levine’s contestant, singer Alexia Jayy, was crowned the winner of Season 29 in April 2025.

Green’s announcement post features a clip of him listening to voicemail on his phone left by Clarkson, who politely greets him using her full name and addresses him by his.

“That is officially the last time we’re gonna use each other’s full name ’cause we’re not tools,” she says in the message, which has her welcoming him to The Voice. “But we’ve never officially met. I’m super stoked to coach alongside you.”

Clarkson also kindly tells him she’s a “superfan” in the message — a “big fan, but needless to say, fan and all it’s a competition.” So she’s sent him a special gift: his personalized The Voice coach chair, adorned with duck calls. “I think you’re gonna need the practice because Kelly’s gonna whoop that ass,” she quips.

Comments on Green’s post include a friendly congrats from host Carson Daly, who wrote, “Welcome to the fam!! Can’t wait to hang! You drink right? Pls God say yes.”

Green has been on a winning streak of his own. The singer-songwriter has scored four No. 1 hits on Billboard‘s Country Airplay chart, including “Worst Way” and the Ella Langley collaboration “You Look Like You Love Me,” and has earned multiple CMA and ACM Awards to date.

He is also set to perform at the upcoming ACM Awards on May 17, where he is nominated for male artist of the year, album of the year [for Don’t Mind If I Do (Deluxe)], artist-songwriter of the year, and music event of the year for “Don’t Mind If I Do,” featuring Langley.

In April, Green made his acting debut on the CBS series Marshals, in which he plays Garrett, a former Navy SEAL who arrives in Montana while carrying personal demons he needs to put to rest.

See the announcement of Green joining The Voice below.



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Riley Green is heading to The Voice. The

Peter Serafinowicz, who has starred in “Guardians of the Galaxy” and Star Wars prequel “The Phantom Menace,” opened “Saturday Night Live U.K.” with a guest appearance as right-wing politician Nigel Farage.

The cold open began with a voice-over explaining that the year is 1946 as it zoomed into the British Prime Minister’s residence of Downing Street in London.

A grey-haired man is seated at his desk with his back to the audience, leading the audience to assumes it’s probably “SNL U.K.” castmember George Fouracres playing Keir Starmer again. But as the man spins round in his chair, he’s revealed to be Serafinowicz as Farage, whose Reform party made huge gains across local elections in the U.K. this week in real life. The parody Farage, meanwhile, is on his cell phone (emblazoned with an English flag) wishing Sir David Attenborough a happy 120th birthday.

As he hangs up, he says “I love being Prime Minister” before “SNL U.K.” cast member Ayoade Bamgboye enters the room as Conservative Party leader Kemi Badenoch, with Farage welcoming her as his deputy. “Big news day, Prime Minister,” she tells him. “Thanks to our deportations, the population of London is finally down to single fingers.”

Farage replies: “Excellent, excellent.”

Badenoch adds: “And one last thing; King Trump assures us he’s almost negotiated a ceasefire over the Strait of Hormuz.”

The duo then bond over what a great team they make since merging their respective parties, before Farage announces they’re late for the “straight pride parade” and they head off.

At which point Fouracres enters — dressed as beleaguered Starmer — alongside Celeste Dring as former deputy Prime Minister Angela Rayner, who resigned last year after it emerged she had underpaid tax on her second home. It’s revealed they have traveled to the future by time machine to show Starmer what might happen if he doesn’t resign following disastrous results for Labour in this week’s council elections.

Fouracres looks at the paper where he sees Farage has been Prime Minister the entire time – and notes that “SNL U.K.” has been renewed for another season (as Variety exclusively revealed last week) – before Rayner urges him to stand aside so she can lead the party.

At which point Al Nash walks in through the time machine closet as Winston Churchill before the trio reel off the classic “Live from London, it’s Saturday Night!” intro.

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Peter Serafinowicz, who has starred in “Guardians

Hockey fans and organizations across the country are mourning legendary coach Ernie “Punch” McLean, who has died in a crash in northern B.C. at the age of 93.

RCMP say investigators have confirmed McLean was the sole victim in a single-vehicle crash about 30 kilometres south of Dease Lake.

McLean coached 16 seasons in the Western Hockey League with the New Westminster Bruins and Estevan Bruins.

After six seasons in Estevan, McLean and his partner Bill Shinske moved the Bruins from Saskatchewan to B.C., where he navigated the New Westminster Bruins to four straight WHL championships from 1975 to 1978 and two Memorial Cup titles in 1977 and 1978.

He also coached the Estevan Bruins to a WHL title in 1968, which made him the only man to win five WHL titles as a coach.

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The Vancouver Canucks are among those who took to social media to honour the coach, citing McLean’s record of four Memorial Cup appearances, two championships and a coach to more than 100 players in the NHL.

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The post called him “a presence that can never be replaced.”

“Ernie ‘Punch’ McLean was one of a kind — a legend of the game who gave everything to this province and to the players lucky enough to call him coach,” the Canucks post said.

McLean coached 1,067 WHL games in total and also led Canada to a bronze medal at the 1979 world junior men’s hockey championship.


The Western Hockey League issued its own statement, extending its condolences on behalf of the WHL and its 23 member clubs to friends, family and all those who knew McLean.

The tragic news comes the same week the Ernie Punch McLean Foundation launched a campaign to build a permanent statue honouring McLean at Queens Park Arena in New Westminster.

McLean attended the news conference Wednesday when the campaign launched.

The RCMP said in a news release Friday that officers responded to a call by a local road maintenance worker around 12:15 p.m. on Friday, who reported finding the car down an embankment.

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They said the cause of the crash is not yet known but their investigation suggests the man swerved and went off the road, where he was ejected from the vehicle.

&copy 2026 The Canadian Press

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Hockey fans and organizations across the country

“SNL U.K.‘s” Weekend Update took aim at Met Gala attendees this week for Episode 7, with co-host Ania Magliano saying that this year’s theme “was people you’d like to see exploded.”

“Beyonce looked amazing,” she said, adding of the singer’s elaborate silver headpiece: “Someone’s made the most of the Claire’s closing down sale” (a reference to the closure of all Claire’s Accessories stores in the U.K.). Magliano then moved on to Katy Perry’s outfit, which she described as: “an eerie mirrored mask covering her whole face, symbolizing what it’s like to live life as a stupid moron.”

Moving on from the Met Gala, Magliano also read a headline about former “I’m a Celebrity… Get Me Out of Here” winner Scarlet Moffat, who had revealed she “actually enjoyed eating camel penis” during her time on the show. “And for those of you interested in showbiz jargon, in TV we call ‘eating a penis’ auditioning,” the “SNL U.K.” castmember quipped.

Meanwhile co-host Paddy Young noted that famed natural history broadcaster David Attenborough turned 100 years old yesterday. “In celebration of his milestone birthday, London Zoo have told him he’s finally allowed to choose and make love to one animal to celebrate,” Young said.

The “Weekend Update” hosts then welcomed fellow castmember Hammed Animashaun on. Dressed as a rhino, Animashaun revealed he had beef with Attenborough after blaming the naturalist for his mother getting shot by poachers.

At which point Fouracres, reprising his role as Attenborough, ran onto the stage dressed in WWE-style spandex and began wrestling with Animashaun. Quickly other castmates, also dressed as wild animals, joined in and Magliano and Young begin commentating as though it were a wrestling match. “I’ve never seen anything like it on Weekend Update,” the co-hosts marveled.

“Ted Lasso” star Hannah Waddingham hosted the seventh and penultimate episode of “SNL U.K.,” which wraps for the season next week. In her opening monologue, she jokingly compared her hit Apple TV show “Ted Lasso” to “SNL U.K.,” saying: “Rich Americans working together, team spirit, and communal showers, yes, that was surprising and excellent.”

She added: “Brett Goldstein is a very hairy man.”

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“SNL U.K.‘s” Weekend Update took aim at

Blake Lively and Justin Baldoni averted a legal battle royale with the surprise settlement of a Lively’s It Ends With Us sexual harassment suit against him earlier this week. 

But even avoiding an ugly trial and now dealing with legal and punitive damages, the actress and actor-director now face a trial of a different sort. Namely that of rebuilding their Hollywood careers.

“They’re in in jail. Both of them,” says one high ranking studio executive.

It was a sentiment echoed over and over again by many agents, producers, studio executives and casting directors informally surveyed by The Hollywood Reporter over the question of what was next for the two’s careers. It should be noted that the insights expressed did not diminish the talent of either, which can be seen in their body of work, but did assess the damage both have suffered from a protracted legal and public relations fight in which pyrrhic victories were the best outcomes.

Lively led and produced 2024’s It Ends With Us, a drama that Baldoni directed, produced and also starred in. The movie was money-making hit, grossing $351 globally on a budget of $25 million. The fight between the two wasn’t over profits or credits, but the shooting and public relations machinations behind the movie, among them accusations of sexual harassment and smear campaigns, with both sides lobbing lawsuits and countersuits.

“Who wants to work with people that go this far?” says the high ranking studio executive.

And notes casting director Matthew Barry, known for such features as The Notebook and Rush Hour: “They’re both in for a tough time.” Barry points out that negative headlines around their contentious split led to a lengthy hiatus from studio work for Johnny Depp and Amber Heard, although the former stars in Paramount’s forthcoming Ebenezer: A Christmas Carol, marking his first major studio film since 2018.

Most sources THR surveyed agree that a good chunk of Hollywood will be reticent to work with Lively and Baldoni, although most concede that Lively will have an easier way back. 

Many believe that Lively should take a break from the public eye and “be thoughtful about what part she chooses next,” says another executive who has worked with controversy-mired talent before. 

“If I were her, I would do a villain role and lean into the baggage,” quips one producer.

Regardless of any comeback, Lively’s brand has taken a hit. One studio exec believes the actress could have garnered $12 million paydays post It Ends With Us. “Today, she’s worth $3 million,” this person says. 

That estimation falls in line with court filings in which Lively estimated the reputational fallout as a result of the alleged smear campaign to have cost her over $100 million. And she noted she was on track to secure roles in movies that would have included paydays between $10 million to $15 million each. 

Most agree that Baldoni, meanwhile, faces a tougher road back.

“The allegations of an unsafe set, it’s hard to imagine he could cast a movie,” says one of the studio executives.

One casting director predicts that rather than direct, Baldoni could return to his roots as a TV player, where he came up as a romantic interest on The CW’s Jane the Virgin. This person does not believe he will direct any time soon.

Another casting director, Jen Rudin, believes that Baldoni will work again, but that being associated with running a contentious set could present a mark against him, at least in the short term. 

“We’re at risk with anybody that we hire for anything,” says Rudlin, author of HarperCollins’ Confessions of a Casting Director, of any casting process. She adds about her general hiring philosophy: “I just want to work with great people, on and off set. Now more than ever, we really need to just be good, kind human beings to each other.” 

Still, Baldoni’s return path may be eased thanks his company Wayfarer, which has the backing of billionaire Steve Sarowitz, meaning perhaps he could self-finance his own movies. “He could bring his own career back, but no one will hire him right now,” says a studio executive. 

And one agent notes that Hollywood is harder on women than men in these situations, pointing to Depp’s return in Ebenezer: A Christmas Carol after his acrimonious divorce from Heard. “You don’t ever hear Amber’s name,” when people discuss that movie, this agent notes. “It’s easier for men.”

Then there is the Ryan Reynolds question. Reynolds, who is married to Lively, was named in Baldoni’s now-dismissed countersuit and has hovered over the proceedings as he supported his partner. Along the way, his reputation has also taken a hit as collateral damage. Several sources say Apple hesitated in dating the Ryan Reynolds action comedy Mayday for several months before finally committing to a Sept. 4 date in early February. 

Reynolds, one of the highest-paid actors in town, could be staring down a pay cut for the immediate future, although a new outing as Deadpool would be an asterisk.  

One agency partner notes that Reynolds could regain good will and cred by doing something leaner and scrappier as his next movie rather than a big studio production.

“He should do a Van Wilder movie for scale and regain his coolness,” says the agency partner, only half-jokingly.

—Ryan Gajewski, Mia Galuppo and Aaron Couch contributed reporting.

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Blake Lively and Justin Baldoni averted a

It’s a new month which means a new barrage of streaming options are landing on Paramount+.

For May 2026, one of the big additions is the entirety of the “Battlestar Galactica” remake. The mini-series that launched it all, the four seasons of the core show, the prequel series “Caprica” and the TV movie “The Final Plan” all hit Paramount+. It’s prime TV additions in May because the streamer also gets all five seasons of the beloved “Friday Night Lights” series at the top of the month.

Here is everything landing on Paramount+ in May 2026.

May 1

  • Battlestar Galactica: The Miniseries (Season 1)
  • Battlestar Galactica (Season 1-4)
  • Caprica (Season 1)
  • Friday Night Lights (Season 1-5)
  • Battlestar Galactica: The Plan
  • 13 Hours: The Secret Soldiers of Benghazi
  • Ali
  • American Son
  • Before We Vanish
  • Beverly Hills Cop
  • Beverly Hills Cop II
  • Beverly Hills Cop III
  • Blue Chips
  • Bride & Prejudice
  • Bruce Lee, The Legend
  • Crocodile Dundee
  • Crocodile Dundee II
  • Crocodile Dundee in Los Angeles
  • Dinner For Schmucks
  • Distant Thunder
  • Dreamer: Inspired by a True Story
  • Elf
  • Enemy at the Gates
  • Face/Off
  • Flags of Our Fathers
  • Flight Of The Intruder
  • Gasoline Alley
  • Good Mourning
  • Grudge Match
  • Hamburger Hill
  • Harold & Kumar Go To White Castle
  • Harriet The Spy
  • Holes
  • In & Out
  • Instant Family
  • Kate & Leopold
  • Killerman
  • Losing Isaiah
  • Memories of Murder
  • Most Wanted
  • Mother’s Day
  • Nacho Libre
  • Open Season
  • Pootie Tang
  • Quantum of Solace
  • Rules of Engagement
  • Run & Gun
  • Sahara
  • Scary Movie 4
  • Scary Movie V
  • School of Rock
  • Searching
  • Seven Psychopaths
  • Shaolin Soccer
  • Snag
  • Snake Eyes
  • Stepping Out
  • Stop-Loss
  • Super
  • Swingers
  • Texas Rangers
  • The Adventures Of Sharkboy and Lavagirl
  • The Boss Baby 2: Family Business
  • The Corrupted
  • The Dictator
  • The Fan
  • The General’s Daughter
  • The Guilt Trip
  • The Hunt for Red October
  • The Hurricane
  • The Mechanic
  • The Presidio
  • The Shootist
  • The Tin Star
  • The Tuxedo
  • Uncommon Valor
  • Unhook the Stars
  • Venom
  • Waking Up In Reno
  • We Were Soldiers
  • Wishful Thinking
  • World Trade Center
"School of Rock" (Paramount Pictures)
“School of Rock” (Paramount Pictures)

May 8

  • RuPaul’s Drag Race All Stars (Season 11) | Paramount+ Original Series
  • RuPaul’s Drag Race All Stars: Untucked (Season 8) | Paramount+ Original Series

May 12

  • Tyler Perry’s Zatima (Season 4 – New Episodes) | Paramount+ Original Series

May 13

  • Boomerang (Season 1-2)
  • Comic View (Season 2)
  • Gabrielle Union: My Journey to 50 (Season 1)
  • Gen Zone (Season 1)
  • I Got a Story to Tell (Season 1)
  • The Impact Atlanta (Season 1-3)
  • In Love & Toxic: Blue Therapy (Season 1)
  • Kingdom Business (Season 1-2)
  • Love You To Death (Season 1)
  • Perimeter (Season 1)
  • The Porter (Season 1)
  • Queen Boss (Season 1)
  • Real Husbands of Hollywood: More Kevin More Problems (Season 1)
  • Tales (Season 1-3)

May 15

  • Couples Therapy* (Season 5) | Showtime Original DocuSeries
  • Dutton Ranch | Paramount+ Original Series

May 21

  • SkyMed Season 4 | Paramount+ Original Series

May 22

  • The Chi* Season 8 | Showtime Original Series

May 25

  • American Music Awards** (live special)
  • The Ultimate Fighter (Season 1-5, 7, 10, 14, 17, 21, 31-33)

May 28

  • Criminal Minds: Evolution (Season 19) | Paramount+ Original Series

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It’s a new month which means a

Stream it on HBO Max.

By escaping to Thule Air Base in the title country of the movie “Greenland,” the Garrity family narrowly survived Earth’s near-total destruction. In the sequel, five years after the apocalyptic event, we catch up with the Garritys (Gerard Butler and Morena Baccarin) and their 15-year-old son (Roman Griffin Davis) just as the base they’ve been calling home is wrecked by an earthquake followed by a tsunami, because why stop at one? They somehow manage to make it to Britain in a lifeboat, and from there proceed to France. They are looking not for the last delicious cheeses in the world, but for a near-mythical crater area where wild life and plants are rumored to be making a comeback.

Admittedly “Greenland 2” is not quite as good as its predecessor, a gem of a survival story, but this largely has to do with the weaker script. Fortunately, Ric Roman Waugh, who directed both, continues to show a solid grasp of action filmmaking as he takes us from one set piece to another, and Butler and Baccarin function well together as a sturdy couple. Frankly, I wouldn’t mind seeing more entries in the “Greenland” series.

In many zombie movies, the exact nature of what makes the dead come back to life, or something that approximates life, is left vague: an experiment gone wrong, a lab leak, a new virus. We don’t know what was the experimental weapon that accidentally detonated over the Australian island of Tasmania, in Zak Hilditch’s movie, but we sure know who messed up: the United States. Half a million people succumbed to neural failure, but then a few of them stir again to show signs of activity. They can walk, for example, and they grind their teeth loudly and obsessively — one of Hilditch’s creepiest, most effective ideas.

In the middle of this is Ava (Daisy Ridley, from the “Star Wars” movies), who’s volunteered to recover bodies. What she really wants, though, is to find out what happened to her husband, who was at a retreat in the now-quarantined zone. “We Bury the Dead” essentially is a thoughtful road movie as Ava makes her way through deserted roads and abandoned houses (you know you’re not in America because nobody seems to feel the need to stockpile firearms or prance around in camo outfits). As so often happens with zombie stories, Ava’s journey is about facing grief and letting herself embrace life again, but Hilditch proceeds delicately. Even the undead look forlorn.

Speaking of firearms … The subgenre of jacked military wielding big guns is far from a personal favorite, but I am a sucker for well-directed action, which is why this shoot’ em up aboard a spacecraft kept me watching.

The director William Kaufman knows where to put a camera and how to edit scenes in such a way that you can always follow who’s where and why. That’s definitely a plus here, because the story involves a special forces commando, led by Kelly (Max Martini), engaging in gunfight first in a labyrinthine urban setting, then on a labyrinthine ship, to which the men have been abducted. Their alien captors look like a cross between the creature from the Black Lagoon and a Predator, and they are not happy to see their human prisoners roam the hallways. The set often looks like a gigantic storage space, complete with oversize containers, but the script actually justifies that aesthetic.

“Osiris” follows the soldiers as they try to escape and meet other human prisoners — one of them a Russian played by Linda Hamilton. More satisfying than watching the soldiers fire what feels like a million rounds of ammo is the way Kaufman sticks the movie’s landing. It would be interesting to see what he could do with a bigger budget.

While she was listening to a song by the Los Angeles band Death Valley Girls, Micah (Mia Danelle) becomes possessed by a sound wave. So begins Brando Topp’s debut feature, which feels like the cinematic equivalent of the kind of low-budget, lovely indie-rock record you recommend to simpatico friends. Micah’s boyfriend, Shannon (Will Tranfo), appears unfazed by this new development, and at first he goes along as Sound, as she is now known, is overwhelmed by new physical sensations — “I never had a mouth before,” she says, messily devouring a sandwich.

Before long, however, Shannon grows frustrated, and Sound gets more support from new acquaintances like, say, Rita (Quinn Marcus), whom she meets at a party. The movie explores Sound’s discovery of what it means to be human, and a big part of that involves relationships. The strains between Micah and Shannon bubble up as he gets frustrated and testy, but still, Sound learns that there is a lot of wonderfulness to go around in this crazy world. And it’s fun to realize that with her.

A major reference for Tom Ruddock’s British indie is “1984,” with Alec (Ryan Gage) standing in for Winston as a man who realizes he’s pretty much done with the oppressive surveillance system he’s helped sustain. Alec works for a company associated with EyeLight, a technology that allows users to essentially modify reality on the spot. It basically filters reality, and in the process keeps tabs on moves and thoughts — it feels like tomorrow’s version of Meta’s smart glasses, but done as a small light affixed to one’s temple.

Over the course of the movie, EyeLight becomes ever more invasive, its use ever more pervasive. Physical items are declared not just obsolete but illegal, for example, as people are forced to digitize their lives — EyeLight can’t manipulate analog images. A major symbol of Alec’s resistance to the new world order is that he secretly holds on to his old-fashioned camera. He is not alone in defiance, however, and joins forces with the equally disgruntled Jade (Lara Lemon). The sense that those developments are not far-off in our real world is what makes “The Draw” so interesting. Ruddock is not as comfortable integrating the Draw — a “Running Man”-like game in which candidates must evade being killed for eight hours — into the overall story, but never mind: You are likely to be discussing the movie’s ideas afterward more than its plot.

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Daadi Ki Shaadi offers a refreshing change of pace. While occasionally over-the-top, the film comes off mostly sincere.

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Daadi Ki Shaadi combines comedy, chaos and heartwarming emotions.

Daadi Ki Shaadi combines comedy, chaos and heartwarming emotions.

Daadi Ki ShaadiU/A

3/5

8 May 2026|Hindi2 hrs 35 mins | Family Drama

Starring: Neetu Kapoor, Kapil Sharma, Riddhima Kapoor Sahni, Sadia Khateeb, R SarathkumarDirector: Ashish R Mohan

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With family dramas becoming increasingly rare on the big screen, Daadi Ki Shaadi attempts to revive the comforting chaos of old-school Bollywood entertainers. Directed by Ashish R Mohan, the film mixes humour, emotions and generational conflicts into a wholesome package led by Neetu Kapoor, Kapil Sharma, Riddhima Kapoor Sahni, and Sadia Khateeb.

Plot

Daadi Ki Shaadi arrives with a delightfully simple premise- what happens when a grandmother decides to get married again? In the film, Kapil Sharma’s (aka Tony) family has had a hard time finding a suitable bride for him. However, when he is finally introduced to Sadia Khateeb and they agree to marry one another, Neetu Kapoor’s (Sadia’s daadi) plan adds a comic twist to their situation.

Her decision sends her family into emotional and comedic turmoil, bringing out buried family tensions and creating misunderstandings. However, is the reality truly what meets the eye? Kapil and Sadia soon discover that the elderly man who is supposed to marry Neetu is faking his identity. What follows is a journey of chaos and high emotions.

Performances

Neetu Kapoor is undoubtedly the heart of the film. The veteran actress brings elegance, warmth, and emotional honesty to the role, making you invest in her character’s unconventional journey. She balances comedy and vulnerability naturally, carrying much of the film’s emotional weight. The veteran actress lit up the screen and it was hard to look at anyone else around her.

It was especially refreshing to watch when Neetu Kapoor played the lighter aspects of her character. She draws you in in the more vulnerable scenes, and it is a reminder of why she is a superstar. Much of the film’s emotional impact rests on her ability to balance vulnerability with mischievous charm- and she pulls it off effortlessly.

Kapil Sharma plays a pleasantly restrained version of his TV avatar, but his acting skills still need more polishing. At 6 films old, the actor should have outshone the comedian on the big screen. Nonetheless, Kapil Sharma delivers one of his better performances in Daadi Ki Shaadi. While his emotional scenes feel slightly off, his shift from slapstick to a more refined comedic avatar is a welcome effort.

One of the biggest talking points about the film is that it marks Riddhima Kapoor Sahni’s acting debut. At 45, she is the oldest Kapoor to debut, and with this age and legacy comes a confidence that shows on screen. While naturally inexperienced in some scenes, she brings sincerity to her performance.

While we had witnessed a chirpier Riddhima in Fabulous Lives Vs Bollywood Wives, her more serious scenes in this film give her a chance to show off her talent. This she does, to an extent. Riddhima’s natural chemistry with Neetu Kapoor translates well on screen, and a particular scene in which she tells her future step-dad that he cannot replace her father is a highlight. It’s hard not to wonder about their real-life mother-daughter dynamic.

What Works

Neetu Kapoor’s graceful performance, Kapil Sharma’s effort, and the novelty of Riddhima Kapoor Sahni’s debut make the film worth watching for audiences craving wholesome entertainment over spectacle-heavy blockbusters. It is a warm, sentimental, and chaotic film designed for family viewing. It may not offer major surprises, but it succeeds in creating a feel-good atmosphere.

What Doesn’t Work

Much of the plot is already revealed in the trailer and the film does follow a safe formula typical to the genre. Those expecting sharp writing or innovative storytelling will be disappointed as the story is predictable.. Neetu Kapoor does a lot of the heavy lifting and her absence is felt when she is not on screen.

Kapil Sharma, though better, remains unpolished. His pairing with Sadia also doesn’t work. While it is unfortunately common for heroes to romance heroines nearly 20 years younger, in Kapil and Sadia’s case, the difference feels obvious and the pairing feels off and even uncomfortable to watch. The jokes also don’t land a lot of the times.

Final Verdict

Still, for audiences craving clean, family-oriented entertainment in an era dominated by action spectacles and dark thrillers, Daadi Ki Shaadi offers a refreshing change of pace. While occasionally over-the-top, the film comes off mostly sincere.

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Last Updated:May 08, 2026, 15:47 ISTDaadi Ki

SPOILER ALERT: This post contains details from Episode 6 of “Margo’s Got Money Troubles,” now streaming on Apple TV.

Margo’s got an OnlyFans account — and that was always the plan.

While the titular character Margo (Elle Fanning) on the David E. Kelley-created dramedy “Margo’s Got Money Troubles” started an OnlyFans once she began running out of options to make money as a single mother, her creator went about the process in reverse.

Rufi Thorpe, who wrote the 2024 novel of the same name that the Apple TV show is adapted from, tells Variety that she “started with the idea of wanting to write about a mother who was a sex worker.” Thorpe says that she felt drawn to exploring the stigma around sex work and motherhood, both which have haunted Margo throughout the season coming to a head in Episode 6, when her real-life identity is doxxed online. One-by-one, viewers have seen Margo’s friends and family disappointed by her choices: whether it’s her mothering techniques, or her decision to start posting on OnlyFans, the subscription-based platform that allows creators to monetize their work directly from fans through tips and pay-per-view content, most of which is typically explicit in nature.

Writing about an OnlyFans creator was an idea Thorpe had for many years, yet when the time came to write the novel, there was one key problem: OnlyFans is a confusing, complex website, and one that Thorpe needed insider information to fully understand. She eventually made a customer account for research purposes, a move that Eva Anderson, an executive producer on”Margo’s Got Money Troubles,” would replicate while developing the series.

Thorpe had a list of creators she’d followed while writing the book, a mixture of “cool, funny girls, pregnant women, realistic OnlyFans models” that she passed over to Anderson and the show’s other writers, who followed the creators on their newly made accounts.

“We would have these circular conversations,” says Anderson, who explains that the writers’ room was initially hesitant about pulling up specific photos or references, not wanting to cross any boundaries. “There was one day where we all were like, ‘This is getting ridiculous. We’re all going to start putting the photos in the [group] chat, so we don’t have to do this.’”

All sources of inspiration made their way into Anderson’s list of followed accounts. Later, when they began shooting, she was able to show Fanning a mood board of sorts. Fanning, who went through the accounts immediately, told Anderson: “OK, I understand this on a level that I didn’t before.”

Margo’s brand of OnlyFans content (think: alien cosplay, neon paint, comparing penis pictures to different Pokémon) may not be what comes to mind when one typically thinks of the website. While there are plenty of creators without gimmicks –“classical,” as Thorpe refers to them–– the ones with a unique shtick stood out to the writer from the sea of risqué bedroom photos.

Certain creators like TooTurntTony, BigHonkinCaboose and HarperTheFox helped Thorpe realize there were ways to incorporate humor and personality into the profession. “Part of what makes OnlyFans sexy is when it feels authentic and real, as opposed to hyper-produced pornography that makes it feel less intimate,” says Thorpe, who is also an executive producer on the show. “That humor being something that makes a girl sexy to a guy was definitely part of what I was thinking.”

Similarly, there were elements of videos that Anderson and the writing team took inspiration from, whether it was a person’s mannerisms, costumes, or language being used.

“Something we realized, once we were in the process of making the show, is that the average Apple TV audience is a lot older than the average person that would pick up Rufi’s book,” says Anderson. While Thorpe’s readership tended to skew toward a younger demographic (those aware of OnlyFans, and who had the base knowledge of how it worked), the show needed to walk its viewers through the site “step by step,” similar to the way Margo slowly begins to learn the ins-and-outs of the platform.

The production team brought in an OnlyFans creator who goes by HankSirStinki to serve as a consultant; warning production about the language Margo would be unable to use when captioning a promotional Instagram post and advising them at different points in the story how many followers she’d have and how much money she’d be making realistically.

Adding to the accuracy of the show, the OnlyFans interface was graphically recreated to use on-screen, down to the chatboxes Margo opens when DMing creators, looking for tips on how to expand her fanbase.

“The OnlyFans search algorithm is bizarre. It’s really hard to find an account unless you know their exact account name,” Thorpe says. “If you want to be found inside of the OnlyFans ecosystem, the easiest way to do that is by collabing with somebody so that their followers get exposed to you, and you and they get exposed to your followers.”

“Collaborating is necessary for Margo to move forward, but Rose [Lindsey Normington] and KC [Rico Nasty] are so vital to her as friends, both creatively and as people she just needs in the world,” adds Anderson about the creators Margo begins making content with. “It could just be about capitalism, but it ends up becoming about community and friendship and collective art making.”

Understandably, closed off to requests from strangers asking to talk, the OnlyFans creators that Thorpe reached out to via social media when writing were unresponsive. Eventually, Thorpe found a way to get in touch, via her own OnlyFans account: “I would send a $50 tip and say, ‘Hey, I’m a novelist. These are the books I published. I’m writing a book about a character who’s starting an OnlyFans. I want to portray sex work as work. The book has no moral agenda. I can’t make it good unless the research is good. And I can’t do good research unless some of you talk to me.  Please let me interview you. I’ll pay you by the question.”

Thorpe’s real-life method was written into the show by Anderson, having Margo send models a $50 tip with her questions. It wasn’t always the smoothest process, recalls Thorpe, saying, “A lot of girls have their chat function automated, so that anything you send, they’re like, ‘Ooh, I’m thinking about you.’ And then it’s just [explicit] pics. I would have to be like, ‘No, earnestly, I wish to converse with you.’”

The questions Thorpe asked the creators were varied, depending on which stage of her writing process she was in. Most focused on the elements of the website that she had no way of answering herself.

“Say I’m looking at a creator’s account, I can’t see what other people are saying,” says Thorpe. “A huge amount of what I was asking was: ‘What do men name their profiles? What is their handle? What photos do they use? How do you get your money out? What does your screen look like when you’re looking at your earnings?’”

While the creators were less likely to open up about the emotional or psychological fallout of doing OnlyFans, Thorpe read several think pieces written by models who had been doxxed or stalked, along with the hate messages they received.

“There is a reason why I decided to write and keep the frame of just starting out, because I knew that I could authentically think my way into that,” says Thorpe, who feels she wouldn’t have the personal experience to depict someone who’d been in the industry for years.

Having Margo be a writer, too, was a way for Thorpe to connect with her character. She crafted Margo’s story with the same careful and detail-oriented consideration she’d set out to achieve, down to the “HungryGhost” username the young mom chooses to go by.

“There’s a way in which Margo’s watching the world and feels slightly separated from it that’s part of her identity as a writer, and also as a person. It made sense to me that she would think of herself as an alien visiting this beautiful land,” says Thorpe. Her complicated relationship with her parents and being an only child adds to it, as does becoming a mother for the first time. “All these things made the alien make sense for Margo from the very beginning, but maybe [her baby] Bodhi kind of hypercharged that feeling, and it made sense for her to lean into it.”

As Episode 6 ends with Margo being challenged for custody, it becomes clear to viewers the repercussions a controversial job like OnlyFans can have. Despite wanting to portray the negative side of the platform, both Thorpe and Anderson were intent on not having Margo’s story be “misery porn,” as Anderson puts it.

“We didn’t want to judge Margo,” says Anderson. “That’s for the assholes in the book and the show to do.”

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Marvel Studios’ X-Men reboot has finally received a story confirmation that fans have been eager to hear. Set for a 2028 release, the film marks the first X-Men project to be fully developed under Marvel Studios and its President, Kevin Feige. This will introduce an entirely new team, the third new X-Men cast of the 21st century, separate from the returning roster set to appear in Avengers: Doomsday, and a recent update on director Jake Schreier’s vision has helped quiet fan concerns about the project’s direction.

In a new Men’s Health profile, Beef creator Lee Sung Jin opened up about the creative direction behind the upcoming X-Men film, and his words should be music to the ears of longtime fans. Sung Jin is co-writing the screenplay alongside The Bear showrunner Joanna Calo. 

He and Schreier are longtime collaborators, having worked closely together on both seasons of Beef, and their partnership continued with 2025’s Thunderbolts*, which was warmly received by both critics and audiences and ultimately secured Schreier the director’s chair for the X-Men reboot.

Marvel

Sung Jin made clear that the team is zeroing in on “character-first storytelling,” pushing back against the spectacle-heavy approach that has come to define so many recent superhero films.

He raved about the depth of the X-Men characters, highlighting “very rich backstories” that can touch on a variety of real-life topics and issues:

“What I’m excited about with Jake’s vision for the X-Men and [Marvel president Kevin Feige and co-president Lou D’Esposito] are fully aligned with his vision, is that he wants to get back to focusing on the characters first. 

These are amazing characters with very rich backstories full of so much emotion. There are so many intra-team dynamics and relationships. There’s soapy stuff. And sure, there are political themes baked into the DNA of X-Men too, and those are evergreen, but we want to get back to character-first storytelling.”

That commitment to the craft is clearly reflected in how the team is approaching the writing process day-to-day. 

Sung Jin describes an intensive, all-hands collaboration, with Marvel’s top brass “in the trenches” alongside the writers every step of the way.

“We’ve been in the lab every day. I’ve been going into Marvel every day. We’re doing long writing sessions. Kevin and Lou are in there with us. It’s me, [co-writer Joanna Calo, who is the showrunner of The Bear], Jake, Kevin, and Lou. We’re in the trenches together and it’s invigorating. We all love these characters. I’m excited, and I think true fans will be excited too.”

Though he admits he wasn’t initially planning to take on another Marvel project, he describes the opportunity as one he simply couldn’t pass up, “I grew up waking up every Saturday morning and turning on the cartoon:”

“I wasn’t planning on doing another Marvel thing because I do have a lot I want to explore in my personal projects. But Jake is one of my best friends, and when he comes calling with X-Men…come on, you drop everything for that. I grew up waking up every Saturday morning and turning on the cartoon. I watched every single episode. When they came back with X-Men ’97, I devoured that. The original Claremont run of the comics is near and dear to my heart.”

Hearing this seemingly candid breakdown of the behemoth in the scene’s writing room for X-Men is cause for celebration. For all of Marvel Studios, it seems like a lot is riding on the new X-Men movie, following the culmination of the Multiverse Saga with 2027’s Avengers: Secret Wars.

At the moment, it seems Black Panther 3 and X-Men are the two future MCU movies that are farthest along in pre-production, making their expected release dates May 5, 2028, and July 28, 2028.

Luckily, it seems like they’re getting back to basics with this next era of live-action X-Men, but there’s still very little known about the project, or even how a new generation of X-Men will suddenly be in the MCU (Earth-616). 

What We Know About X-Men 2028

With Sung Jin, Calo, Schreier, Feige, and D’Esposito all locked in, the creative team behind the reboot is fully assembled and clearly deep into production. 

On the casting front, many insiders believe Sadie Sink’s mystery character in Spider-Man: Brand New Day will be her X-Men introduction, a theory that gains further traction given her confirmed appearance in Avengers: Secret Wars as well.

That film is expected to be a pivotal setup for everything that follows. Marvel Studios has confirmed that Secret Wars will effectively reset the MCU into a singular timeline, though Feige has been careful to avoid the word “reboot.” 

The new continuity will likely place mutants at the center of the MCU going forward, permanently integrating the Fantastic Four into Earth-616 while phasing out the sprawling multiverse structure of the past five years. 

The reset may also open the door to entirely new characters, including a new Black Panther. For the X-Men, the original cast might say goodbye in Doomsday, and a new one will say hello in Secret Wars.

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Late last year, we reported the news that the Nintendo Switch was getting a price hike, something that did not make folks happy in this lean economic era. But we were told that the Switch 2 would stay at the same price, at least for the time being. Well, that sadly only lasted about six months. Via Polygon, we’ve now learned that the Switch 2 is getting a price increase of $50, to $499.99. The price hike will go into effect on Sept. 1. In Europe, the price goes up by €30 to €499.99. And in Canada, the price will increase by CA$50 to CA$679.99.

Nintendo

It appears that Japanese Switch users will be hurt in their wallets the most. Starting on May 25, the cost of all models of the original Nintendo Switch and the Switch 2 will both increase. Also, the price of Nintendo Switch Online subscriptions will increase significantly as well. Nintendo said price increases were occurring “in light of changes in market conditions, and after considering the global business outlook.” A global shortage of computer memory has driven up prices for RAM and storage, which many are saying is another reason. Nothing is getting cheaper these days, and Nintendo is not immune to this.

We don’t expect any of this to really put a dent in Nintendo’s sales, however. The company has apparently sold a whopping 19 million Switch 2 consoles so far. And in its second year, Switch 2 would still be ahead of the original Switch when it comes to sales at the same point during its release timeline. This is the case even with a lower projection of 16.5 million units. In a statement, a Nintendo representative said: “We sincerely apologize for the impact these price revisions may have on our customers and other stakeholders, and we deeply appreciate your understanding.” We’ll see if their apology is good enough that people will shell out more money without complaining too much online. We kind of doubt it.

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Games Late last year, we reported the news

Guerilla Games’ co-founder and the former technical director of Epic Games says he’s building a new game engine that will offer a ‘European alternative’ to American tech like Unreal and Unity.

Arjan Brussee is an industry veteran who programmed Epic’s Jazz Jackrabbit games in the 90s, before co-founding and leading production at Guerrilla Games in 2003. After co-founding Cliff Bleszinski’s now-closed Boss Key, Brussee returned to Epic for an eight-year stint in roles including global Director of product management for Unreal Engine.

Now back in the Netherlands as a free agent, Brussee claims he’s building a new ‘European’ game engine, ‘The Immense Engine’, which he says will offer a rare alternative to American and Chinese engines on the market.

“No one is currently making an engine that is fully European-hosted, built by Europeans, and complies with European rules and guidelines,” he told Dutch podcast De Technoloog.

“Creating usable 3D worlds is becoming increasingly important, certainly for purposes other than just gaming,” he added, noting that by being European, The Immense Engine could be used for 3D simulations in Defense or logistics.

Notably, the Guerrilla co-founder said he sees an opportunity for a game engine based on new construction principles and with “the full integration of AI”.

According to Brussee, current popular game engines like Unreal were “made for and by people who have to click through a menu with a mouse. If you want to change something, it has to be done for the entire engine.”

“The rise of AI means that we need to approach the development of this kind of crucial software differently,” he said. “As an old hand with a vision of how things should work, I see opportunities there.”

“If you are smart and know how to put a good framework of AI agents to work, you can do the work of ten or fifteen people,” he added.