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Live Nation posted overall growth in its first quarter of the year with $3.79 billion in revenue despite taking a $450 million hit due to the legal costs associated with its Department of Justice settlement and litigation with the states.

The company revealed the $450 million figure in its Q1 2026 earnings report, upping the overall operating income loss from $114.8 million in Q1 2025 to $370.5 million for Q1 2026. The legal accruals hurt the company’s bottom line with a $389.1 million net income loss attributed to Live Nation stockholders compared to a $23.2 million profit the year prior, with a loss per share of $1.85.

Live Nation settled its antitrust case with the DOJ in March, staving off the threat of having to separate the company from its subsidiary Ticketmaster. But the blockbuster trial then went to 34 states, and last month, a jury decided that Live Nation and Ticketmaster illegally held monopoly power in the ticketing market. The ruling was essentially a rebuke to the DOJ’s settlement — reportedly ordered by President Donald Trump — in which the company agreed to a series of structural changes to its business, including changes to ticketing deals with venues, capping certain service fees and paying a $280 million fine.

Despite its legal problems, Live Nation is forecasting double-digit growth in 2026. In the first quarter of the year, the company posted a significant 12 percent increase to $3.79 billion in revenue, up from $3.38 billion during the same period in 2025. That can be credited to growth across concerts, ticketing, and sponsorship and advertising. Overall adjusted operating income, meanwhile, increased nine percent to $371 million, up from last year’s $341 million.

Live Nation highlighted how demand on the global level continues to carve a path for success for the rest of the year, with over 85 percent of large venue shows already booked for 2026. The company shared that event-related deferred revenue was up 22 percent to $6.6 billion, while ticketing deferred revenue was at $368 million, up 29 percent.

“2026 is off to a powerful start, with first quarter revenue climbing 12% to $3.8 billion,” said Michael Rapino, President and CEO of Live Nation, in a statement. “In an increasingly digital and AI-driven world, the global desire for authentic human connection has never been stronger. We are seeing a fundamental shift as fans prioritize the ‘live’ experience—the chance to be physically present with their favorite artists and share that energy with friends and fellow fans in a way a screen simply cannot replicate.

“This cultural demand is driving record-breaking activity across our business,” he continued. “We have already booked over 85% of our large-venue shows for the year, with show counts up year-over-year across stadiums, arenas, and amphitheaters. Our momentum is clear: we have sold over 107 million tickets to date—an 11% increase—and Venue Nation is on track to grow fan attendance at our owned and operated venues by double-digits. As we continue to expand our global footprint to meet this growing demand for physical connection, we are well positioned for long-term compounding double-digit growth.”

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Live Nation posted overall growth in its

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AMC Theatres and Arena One will partner on a new concept that will see the exhibition giant showcase live concerts on its screens.

The series will debut in June and feature performances from Bebe Rexha (June 17), Paris Hilton (June 18), Kim Petras (June 19) and Maren Morris (June 20), which will all be simulcast live in more than 300 AMC locations nationwide. Additional artists will be announced in the coming weeks. The program will be dubbed Arena One at AMC and was announced during the movie theater chain’s earnings call on Tuesday. It comes as cinemas have leaned more heavily into alternative content as a way to offset post-pandemic box office declines, as well as cuts to the number of films major studios are releasing.

AMC worked closely with Taylor Swift to bring a documentary about “The Eras Tour” and her film “The Life of a Showgirl” to its screens, and the company also partnered with Beyonce on her “Renaissance” concert film. But none of those were shown live.

“We built a cinematic stage optimized to translate seamlessly to cinemas, but artists are defining what it becomes,” said Peter Hamilton, CEO of Arena One, in a statement. “They’re not adapting tours; they’re building something new. That’s when a medium sparks reinvention.”

AMC said it will try to recreate the experience of being an arena, with “crowd buzz, sound, and reactions flowing back and forth between the fans and performers in real time.” To do that, the chain will utilize “innovative interactive technology.”

Arena One at AMC will be pricier than an average movie ticket (the national average is around $16), with costs ranging from $40 to $75, along with taxes and processing fees. But they are cheaper than attending a concert, which typically cost upwards of $140 a ticket. The shows are one-night-only events, with pricing set by market and not adjusted based on demand, AMC said.

“We consider this to be a major announcement, as once again AMC Entertainment takes an innovative step forward. Arena One at AMC has the potential to open an entirely new chapter in live entertainment. We are launching it on day one at more than 300 of our U.S. theaters, in some 89 markets from sea to shining sea,” said Adam Aron, Chairman and CEO of AMC Entertainment. “Thanks to Arena One at AMC, music fans across the country will be able to come together for the same live concert, at the same time, all with the accessible premium experience of huge screens, powerful sound, and comfortable seats that AMC guests know and expect.”

AMC Theatres saw its first quarter revenue increase to $1.04 billion, up from $862.5 million in the year-ago period on the strength of hits like “Scream 7” and “Project Hail Mary.” The theater chain’s net losses fell to $117 million, compared to $202.1 million in the same quarter last year. Global attendance at the chain increased from 41.9 million to 47.6 million.

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AMC Theatres and Arena One will partner

Last Updated:

De De Pyaar De 2 Review: Ajay Devgn fails to recreate the charm of the original 2019 film.

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De De Pyaar De 2 Review: R Madhavan and Jaaved Jaaferi steal the show.

De De Pyaar De 2 Review: R Madhavan and Jaaved Jaaferi steal the show.

De De Pyaar De 2U/A

3/5

14 November 2025|Hindi2 hrs 26 mins | Comedy

Starring: Ajay Devgn, R Madhavan, Rakul Preet Singh, Gautami Kapoor, Meezan JaaferiDirector: Anshul Sharma

Watch Trailer

De De Pyaar De 2 Review: Six years after Ajay Devgn’s Aashish and Rakul Preet Singh’s Ayesha first fell in love, the couple now returns to screens on November 14 with a new challenge. This time, they need to convince Ayesha’s parents that they are right for one another despite their glaring age gap. However, the only thing I am convinced of is that the sequel falls short of the original film.

The film begins with a comedic flashback narrated by Jaaved Jaaferi, who, in all his scenes, has outshone every other actor in the film. The story then takes us from London to Chandigarh, where Rakul’s Ayesha returns home for her sister-in-law’s delivery, as it’s a perfect opportunity for her to tell her parents about her 51-year-old boyfriend and soften the blow amid the celebration.

We are then introduced to R Madhavan and Gautami Kapoor, who are Ayesha’s “educated, progressive and modern” parents. R Madhavan plays a father who wants to be friends with his children. He is a doting father-in-law, a loving husband and inarguably a much better performer than our leading hero.

Much like Jaaved Jaaferi, R Madhavan steals every frame and aces all emotions of his character. Whether it’s an outright comedy scene or an emotional meltdown, Madhavan reminds us of his stellar acting chops. Gautami Kapoor complements him flawlessly, and their pairing works well on screen, perhaps even better than Ajay Devgn and Rakul Preet Singh.

Madhavan and Kapoor’s modernity is challenged when they learn that their daughter wants to marry a man who is barely two years their junior. They are faced with the age-old dilemma: log kya kahenge? What follows is a comedic battle of wits between father and daughter. While the ‘perfect dad’ now tries to manipulate his daughter into marrying a young Meezan Jaaferi, the ‘outspoken girl’ ploys a charade to convince her father otherwise.

Meezan Jaaferi doesn’t do much in the film, except aid Jaaved Jaaferi in cracking meta jokes about his son. However, he did come across as someone with potential to give a better performance in a better film. Rakul Preet Singh brings a certain charm to the more light-hearted scenes. However, her emotional breakdowns, especially the one with Madhavan in the middle of a dance sequence, seemed laughable.

Ajay Devgn is well, Ajay Devgn. He gave a tolerable performance in film, except for some of his comedy scenes with Jaaved Jaaferi. While I do believe in watching certain films just for the sake of the experience, without looking for logic and without expecting stellar performances, these factors cannot be overlooked if I had a frown during most of the film.

When De De Pyaar De was released in 2019, it came as a surprise and managed to impress most people. The concept was intriguing, and the narrative made the film an interesting watch, despite some flawed performances. While De De Pyaar 2 gives you hope in the beginning, the film eventually succumbs to half-baked writing. Some jokes land quite well, but that’s about the only thing that works. One might enjoy watching the film once for the jokes and Jaaved and Madhavan’s performances. However, it didn’t recreate the recall value of the original

About the Author

Kashvi Raj Singh

Kashvi Raj Singh

Kashvi Raj Singh is a Sub Editor at News18. She extensively covers Bollywood, Hollywood and television. She not only keeps an eye out for interesting news angles but also often writes social commentar…Read More

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Last Updated:November 14, 2025, 10:15 ISTDe De

All the hype surrounding the X-Men’s return in Avengers: Doomsday takes away from the fact that other mutants are blazing trails in the MCU. For starters, Deadpool & Wolverine was one of Marvel Studios’ most successful movies in recent memory. The Merc With a Mouth was firing on all cylinders, and he brought a few friends along with him.

Two members of Wade Wilson’s X-Force squad, Shatterstar and Peter, returned for the third film in the franchise, having been brought back to life after the titular character’s time travel shenanigans in Deadpool 2. 

Fox

Marvel Studios had to throw the team a bone, as fans didn’t exactly take kindly to the bait-and-switch that Fox allowed back in 2018. But the powers that be could’ve washed their hands after that and moved on. Instead, they’re giving X-Force a second wind in a critically acclaimed project, X-Men ’97.

Promotional images from the animated series reveal the three teams that will work to secure a future for mutants in the highly anticipated second season: X-Factor, X-Corp, and, most importantly, X-Force (via Nexus Point News). 

X-Force team for Marvel Animation's X-Men '97 Season 2.
Marvel Animation

The new lineup for the covert group is interesting, to say the least, as Deadpool is notably absent. However, if the heavy hitters on the team live up to their potential, they won’t need the fourth-wall-breaking anti-hero to make some noise.

X-Force’s Roster In X-Men ’97 Season 2

Cable

Cable holding a gun in X-Men '97.
Marvel Animation

X-Men ’97 put Cable through the wringer. He returned to the past hundreds of times in an effort to stop the attack of Genosha, but failed to stop it, losing his mother, Madelyne Pryor, in the process. Wanting revenge, he joined up with the X-Men to take down the man behind the curtain, Bastion. Sadly, the conflict only led to more loss for Cable, who watched his father, Cyclops, disappear during Asteroid M’s destruction.

Rather than throwing in the towel, Cable will get back on the horse in Season 2 and seemingly lead X-Force in the present day. There’s no better mutant for the job, as he knows a thing or two about weathering the storm during unprecedented times.

Jubilee

Jubilee using her powers in X-Men '97.
Marvel Animation

Mojo learned the hard way what Jubilee is capable of in X-Men ’97 Season 1, attacking her on her birthday and losing in spectacular fashion. Once her big day came and went, Jubilee, like the other members of her team, focused on protecting mutants from Bastion, Mr. Sinister, and anyone else who looked at them funny.

Having lost her friends in the Asteroid M incident, Jubilee’s mindset going into Season 2 is a bit of a mystery. She’s still in the present, but without Cyclops and Co., there’s sure to be a target on her back. Joining X-Force will be a way for her not only to protect herself but also to position herself as one of Earth’s greatest protectors.

Sunspot

Sunspot powered up in X-Men '97.
Marvel Animation

Roberto Da Costa was fine living as the heir to a fortune, but the Friends of Humanity threw a wrench in those plans by exposing him as a mutant who can project intense heat. Roberto’s family disowned him, forcing him to seek asylum in the X-Mansion. Jubilee took him under her wing, at least until Mangeto presented a more enticing offer. Eventually, Roberto saw the error of his ways and helped the X-Men during their mission on Asteroid M.

Despite not being a member of the X-Men for long, Roberto learned what it meant to be a hero pretty quickly. He’ll pick up the baton from Wolverine, Cyclops, and the rest in Season 2, joining Jubilee in X-Force. A new costume is also in his future, which means he’s sure to have more confidence moving forward.

Archangel

Archangel flying in X-Men: The Animated Series.
Marvel Animation

Most members of the original X-Men team still called the X-Mansion home in Season 1 of the sequel series. Warren Worthington III, aka Angel, left the team behind in the original series and got caught up in Apocalypse’s schemes, turning into Archangel and becoming one of the villain’s four Horsemen. Warren turned bitter after losing his feathered wings and vowed to kill Apocaylpse.

While Archangel never got the chance to finish the job in the original series, X-Men ’97 is sure to light a fire under him. Apocalypse is back in the picture and is putting together another group of Horsemen. With the rest of X-Force at his side, Archangel stands a decent chance of putting Apocalypse down for good.

Psylocke

Psylocke using her powers in X-Men: The Animated Series.
Marvel Animation

Archangel found himself the victim of a robbery attempt in X-Men: The Animated Series when Psylocke broke into his home to steal a couple of artifacts. Before he could get answers, though, his new enemy was kidnapped by Sabertooth and Mystique, who were kidnapping telepaths for Apocalypse. Rather than letting Psylocke get tortured or worse, Archangel teamed up with the X-Men to save her.

All these years later, Psylocke hasn’t forgotten what Archangel and the rest of the X-Men did for her. She’s part of the new X-Force lineup, bringing a unique powerset to the table in the fight against Apocalypse. It remains to be seen what kind of dynamics she has with the other members of the team, but they’re sure to be interesting at the very least.

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The Evil Dead franchise is continuing to bring supernatural horror to the big screen with yet another entry. This next standalone film,Evil Dead Burn, will tell yet another story set in this universe. Until now, we haven’t gotten a lot of information about this film despite it arriving on July 10. But, thanks to Warner Bros. special presentation at CinemaCon 2026 on April 14, we know more about what to expect. The first trailer for Evil Dead Burn blazes bloody images into your brain, and you can finally watch it right here.

We see a woman who greets someone named Alice, who runs in with a man. There’s a very undead (a Deadite, of course) person who comes into their threshold with an object lodged in the side of her head. It’s a gruesome turn for an entire family as they battle evil forces that wish to rip them apart. From fingers slammed off in car doors to being impaled by cutlery in the dishwasher, the Evil Dead Burn trailer is wild.

There is also the chilling date announcement trailer that fans can sink their teeth into. Additionally, we have a synopsis for Evil Dead Burn:

Evil Dead Burn unleashes the franchise’s most savage and terrifying ride to date, blazing onto big screens with an all-new chapter of carnage and demonic mayhem. After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites—turning the gathering into a family reunion from hell—she comes to discover that the vows she took in life… live on even in death.

HAIL TO THE DEADITES Documentary Celebrates Loyal EVIL DEAD Fans

The film stars Souhelia Yacoub and Hunter Doonan, who make quite the pair in the clip we saw at CinemaCon. We’re ready for horror to have yet another banner year.

Originally published on April 14, 2026.

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The Evil Dead franchise is continuing to

When you’re a self-funded, self-publishing studio like Rebellion, the team behind the Sniper Elite series and last year’s breakout new IP, Atomfall, you have to find a few ways to stand out from the pack. Steam has ballooned in size in recent years. In 2012, Steam would see about 30 new games per month, or an average of one per day. In March of this year, 2,472 new games hit Steam, or an average of more than 80 new games every day. Between tiny indie teams of as few as one person and mega AAA studios, there are studios like Rebellion trying to survive in the middle, and by many accounts, it’s getting harder. But Rebellion has some battle-tested ways to push out of the crowd.

“The key, I think, is controlling budgets and controlling ambition and having a very focused idea,” CEO Jason Kingsley told me. “So a lot of our games are named in a way that would allow people to guess what they’re all about. Sniper Elite is about being an elite sniper. Zombie Army is–guess what–about an army of zombies, you know?” This sort of simplicity, Kingsley believes, helps consumers quickly make up their minds as to whether a game is for them or not.

“And, you know, even Alien Deathstorm, which we’ve announced recently, it’s about a deathstorm with aliens,” he continued. “I know it sounds a bit stupid, but when we don’t have the marketing money of people, brilliant people like Ubisoft or Electronic Arts, or whoever it might be, we have to have all those things that will allow people to guess what we are.”

Continue Reading at GameSpot

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When you're a self-funded, self-publishing studio like

Well, this looks fun to mess around with on sets. ARRI has unveiled its new Omnibar, a compact, battery-powered, multi-color LED light set to be available in 2 and 4-foot lengths, each available with black or blue/silver housing.

What’s cool about this new ARRI Omnibar is what it promises in terms of versatility: full-spectrum output, modular scalability, and a durable design, which you’d expect from a brand like ARRI.

Let’s take a look at this new ARRI Omnibar and everything it has to offer for your film and video projects.


The New ARRI Omnibar

As you might expect with an ARRI lighting product, this looks to be a pretty awesome new LED bar option for those looking for modular options and plenty of light control for whatever your higher-end film projects, or smaller-end content creation shoots might require.

The ARRI Omnibar is set to deliver a high-quality, full-spectrum light output of CRI 98 at 5600K / TLCI 98, which should match well with any other ARRI LED fixtures you might already be using.

It will also provide dynamic in-camera effects and fun design elements, and render smoothly and in high resolution at 32-pixel zones in the Omnibar 4 and 16 in the Omnibar 2.

The Omnibar can also be daisy-chained quite easily and can operate with the Omnibase hub, which provides a single power and data source for your lighting setups.

Price and Availability

Overall, this is a super nice move by ARRI to introduce such a diverse lighting option, which has a ton of features worth exploring. A few more from the press release include magnetically fixed, easily interchangeable optics, such as a Round Diffuser for soft, tube-like ambient light; a Flat Diffuser for controlled, bar-like output suited to in-camera effects and live events; and an Intensifier to boost brightness and focus for high-output applications.

The ARRI Omnibar is now available in both 2-foot and 4-foot options, with single or creator sets for each. You can find all of the specs and different purchase options below.

  • For Film, Broadcast & Video Production
  • Linear IP65 LED Light
  • Magnetic Optics and Mounting
  • RGBAM Color Mixing, 1700-20,000K CCT
  • Battery-Powered Operation
  • CRMX/Bluetooth Wireless Control
  • Wired DMX Control via Optional Omnibase

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Well, this looks fun to mess around

Audrey Beth Davis, a retired longtime entertainment publicist, died of natural causes on May 1 in Pennsylvania. She was 82.

Davis was born on October 17, 1943, in Brooklyn, N.Y. and graduated from Brooklyn’s Midwood High School in 1960. She began her career working for Goodson Todman Productions on their television panel game show “The Match Game” before transitioning to public relations. Davis joined the agency Stone Associates in the late 1970s and was later recruited by company partner Dick Lippin when Lippin started his own venture, Lippin & Grant.

Davis continued to work with Lippin as his company transitioned into The Lippin Group in 1986. Davis established herself as a well-respected publicist throughout her years in the industry, working on a multitude of popular television series, including the iconic sitcom “The Golden Girls,” NBC’s “Empty Nest,” ABC’s romantic comedy-drama series”The Love Boat,” “Law & Order,” “Law & Order: Special Victims Unit,” “Law & Order: Criminal Intent” and the high profile CBS miniseries “Scarlett.” She retired in 2008.  

Davis died surrounded by family, friends, and her caregivers. She is survived by her sister Rhonda and husband Jim; her sister Sharon; her niece Rebecca and husband Konrad; her nephew Hank and wife Karen; her great-nieces and great-nephews, including Jake, Sarah, Zoe, & Hannah; as well as her friends and former colleagues.

A memorial service will be held for Davis at noon on May 14 at the Edward J. Kuhn Funeral Home, 739 Penn Ave., West Reading, Penn.

Donations may be made to the St. Francis Home.

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Audrey Beth Davis, a retired longtime entertainment

Pan’s Labyrinth and The Fast and the Furious are set to roar back onto the Croisette as part of this year’s Cannes Classics lineup, a typically eclectic mix of restored masterpieces, rediscoveries and film heritage tributes that underscores the section’s growing clout within the festival’s official selection.

Nearly two decades after its launch, Cannes Classics has become a cornerstone of the Cannes program, spotlighting restoration work from archives, studios and cinematheques around the world. This year’s edition, dedicated to the memory of production designer Dean Tavoularis (The Godfather, Apocalypse Now), will present 22 feature restorations, three shorts and six documentaries, alongside two contemporary films.

Guillermo del Toro’s Pan’s Labyrinth will screen as a pre-opening selection in a newly restored 4K version, marking the 20th anniversary of its Cannes debut, where it famously drew a record-breaking 22-minute standing ovation. Del Toro will be on hand for the screening. At the other end of the Croisette spectrum, Rob Cohen’s street-racing hit The Fast and the Furious gets a midnight slot at the Grand Théâtre Lumière, with cast members Vin Diesel, Michelle Rodriguez and Jordana Brewster attending.

The restored lineup spans continents and eras, from Artavazd Pelechian’s quartet of films in the Pelechian Project to Andrzej Wajda’s Man of Iron, Luchino Visconti’s The Innocent and Akira Kurosawa’s Sugata Sanshiro. Also featured are new restorations of Moonlighting from Jerzy Skolimowski and Metti una sera a cena, with Dario Argento set to present.

Beyond the restorations, Cannes Classics continues to lean into documentary storytelling about cinema itself. This year’s selection includes portraits of Bruce Dern in Dernsie: The Amazing Life of Bruce Dern, with Dern and his daughter Laura Dern attending, and David Lean in Maverick: The Epic Adventures of David Lean. Other titles explore the legacies of Vittorio De Sica and Chris Marker, while Irish documentarian and Cannes regular Mark Cousins returns with The Story of Documentary Film (The 70s).

The section will also host two new works: Bérenger Thouin’s The Golden Age, a sweeping fictional portrait of a woman navigating the 20th century, and Jean-Gabriel Périot’s A Life, A Manifesto, a documentary tracing the life of critic, filmmaker and revolutionary Michèle Firk.

Three short films will screen in a special program featuring Jia Zhang-Ke, Dustin Yellin and Amirhossein Shojaei, with talent including Zhao Tao, Paul Rudd and Darren Aronofsky expected on the Croisette.

Screenings will take place across the Buñuel and Agnès Varda theaters as well as at the Cinéma de la Plage.

Full lineup:

Restored prints:
Pan’s Labyrinth (Guillermo del Toro, 2006)
The Fast and the Furious (Rob Cohen, 2001)
Pelechian Project (Artavazd Pelechian, 1966–1975)
Sierra de Teruel (Espoir) (André Malraux, 1938)
Moonlighting (Jerzy Skolimowski, 1982)
Metti una sera a cena (Love Circle) (Giuseppe Patroni Griffi, 1968)
Amma Ariyan (Report to Mother) (John Abraham, 1986)
Farewell My Concubine (Chen Kaige, 1993)
Man of Iron (Andrzej Wajda, 1981)
Eva (Maria Plyta, 1953)
The Devils (Ken Russell, 1971)
La casa del angel (The House of Angel) (Leopoldo Torre Nilsson, 1957)
La ciociara (Two Women) (Vittorio De Sica, 1960)
La dérive (The Drift) (Paula Delsol, 1964)
La symphonie pastorale (Pastoral Symphony) (Jean Delannoy, 1946)
L’innocente (The Innocent) (Luchino Visconti, 1976)
Lu Bing Hua (The Dull-Ice Flower) (Yang Li-Kuo, 1989)
Machine Gun Kelly (Roger Corman, 1958)
Meeuwen sterven in de haven (Seagulls Die in the Harbour) (Roland Verhavert, Rik Kuypers, Ivo Michiels, 1955)
Sugata Sanshiro (Akira Kurosawa, 1943)
Tilaï (Idrissa Ouedraogo, 1990)
The Stranger (Orson Welles, 1945)

Documentaries:
The Story of Documentary Film (The 70s) (Mark Cousins, 2026)
Dernsie: The Amazing Life of Bruce Dern (Mike Mendez, 2026)
Maverick: The Epic Adventures of David Lean (Barnaby Thompson, 2026)
Vittorio De Sica – Staging Life (Francesco Zippel, 2026)
Mon Coluche à moi (My Coluche) (Michel Denisot, Camille Bruere, Julie Lazare)
Nostalgia for the Future (Brecht Debackere, 2026)

Contemporary films:
The Golden Age (Bérenger Thouin, 2026)
A Life, A Manifesto (Jean-Gabriel Périot, 2026)

Short films:
Goodnight Lamby (Dustin Yellin, 2026)
Torino Shadow (Jia Zhang-Ke, 2026)
Playground (Zamine Bazi) (Amirhossein Shojaei, 2025)

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Pan’s Labyrinth and The Fast and the

The Boys is currently just three episodes away from its season 5 finale, which will also be the show’s final episode. As fans anticipate how wild Butcher and Homelander’s clash will get, Amazon has announced that it will release the finale in theaters.

When will The Boys Season 5 finale be released in theaters?

The final episode of The Boys will release one day earlier than its Prime Video drop, on May 19, 2026. The episode will be released in 4DX cinemas, an immersive format that uses motion-controlled seats and other effects to simulate weather. If that’s anything to go by, the finale is going to be a thrilling ride. However, fans will need to act quickly as the theatrical release will be exclusive for one day only.

“In two weeks, we’re going out with a bang,” states the show’s official X account. “Literally, because ya might vibrate watchin’ the series finale in 4DX. Get yer mitts on a seat with the purchase of a concession voucher, which is good towards sweets or soda the day of. See ya May 19 at 9:30 p.m.”

Participating 4DX theaters across the United States and Canada include Regal Cinemas, AMC Theatres, B&B, Marcus, Cineplex, Cinema West, Cinepolis, and Regency. The finale has been confirmed to be 63 minutes long, so there’s plenty of time to resolve any remaining plot threads.

While the stories of Hughie, Butcher, Annie, Homelander, and Soldier Boy will likely conclude with The Boys, the larger Vought universe will continue to live on in spin-offs like Vought Rising. The final episode is also expected to give some closure to Gen V’s heroes following its cancellation.


Originally reported by Rahul Majumdar on SuperHeroHype.

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The Boys is currently just three episodes

Evil Dead Burn lit up with its first trailer, which shows a gory family reunion.

The film has been shrouded in mystery, but as the newly revealed logline reveals: “After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deadites — turning the gathering into a family reunion from hell — she comes to discover that the vows she took in life live on… even in death.”

Per the trailer’s tagline, “Family is the root of all evil.”

Evil Dead Burn film stars Swiss actress Souheila Yacoub, Wednesday actor Hunter Doohan, Luciane Buchanan, Tandi Wright and George Pullar. Filmmaker Sébastien Vaniček directed and wrote the script with Florent Bernard.

The trailer got its first look last month at CinemaCon in Las Vegas, where it spooked theater owners.

The horror franchise began life with Sam Raimi’s The Evil Dead in 1981, with the filmmaker directing the sequels Evil Dead II and Army of Darkness, starring frequent collaborator Bruce Campbell. He revamped it as a producer on Fede Álvarez’s 2013 reboot, Evil Dead, followed by Lee Cronin’s Evil Dead Rise (2023).

In addition to the features, the franchise also spawned the TV show Ash vs. Evil Dead, starring Campbell and running for three seasons on Starz. Evil Dead Burn opens July 24, with another installment coming from writer-director Francis Galluppi.

As for Burn, it is produced by Rob Tapert and Raimi. Romel Adam, Bruce Campbell, Lee Cronin and Jose Canas executive produce.

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Evil Dead Burn lit up with its

As expected, the Rolling Stones have re-teamed with producer Andrew Watt, who helmed their 2023 comeback Hackney Diamonds, for another new album. The 14-track Foreign Tongues will be released July 10 through Capitol and is being previewed with new single “In the Stars” as well as “Rough and Twisted,” which emerged last month as a limited white label vinyl release under the name the Cockroaches.

Foreign Tongues was recorded in under a month at London’s Metropolis Studios and features an eye-popping array of guest stars: Paul McCartney (who also made a cameo on Hackey Diamonds) Steve Winwood and both Robert Smith of the Cure and Chad Smith of the Red Hot Chili Peppers. Longtime Stones sideman Darryl Jones, Matt Clifford and Steve Jordan also lend a hand.

Of perhaps even greater import to fans, the album features one of drummer Charlie Watts’ final recording sessions prior to his 2021 death. “The atmosphere in the room was so creative, and the whole band was on top form throughout the whole process,” says guitarist Ronnie Wood. “Very often we nailed it on the first take. I hope everyone loves it.”

Adds Keith Richards, “The Foreign Tongues album has a continuity from Hackney Diamonds and it was great to be working in London again, and to have that London vibe around us. It was a month of concentrated punch. To me, it’s all about the enjoyment of it. I’m blessed to be able to do this and long may it last.”

American artist Nathaniel Mary Quinn crafted the album’s surreal cover art, enthusing that it was “an artistic honor” and “a dialog with one of the most enduring forces in cultural history.” Click here to explore pre-order formats.

Hackney Diamons, the Stones’ first of original music since 2005, boasted guest appearances by Elton John, Stevie Wonder, Lady Gaga and former Stones bassist Bill Wyman. It was rewarded with the Best Rock Album trophy at the 2025 Grammy Awards.

Stay tuned for coverage of the Stones’ album launch later today (May 5) in Brooklyn, N.Y., where they will be interviewed by Conan O’Brien.

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Following a storyline which brings Scent of a Woman to mind, director Kathy Meng and her co-writer Harrison Bacon share the moving and intimate portrait of a pair of characters brought together in the midst of their own private, sensitive turmoil. Willow and Wu works as both a meditation on connection and an examination of emotional authenticity.

Ao Lan Guo is Willow, whom we meet at the tail end of an unexpected and bitter break-up with her boyfriend over the phone. Before she has time to wipe away her tears, she finds herself being called into work on her day off. Though she argues her point, the task presented to her is framed as pressing.

In need of a distraction from the recent unpleasantness, Willow hurries to the office. There, she is escorted into the presence of the employer’s husband, Wu (Yves Yan), who requires her to help film a video eulogy for one of his childhood friends. Willow steps behind the camera without question, but the recording is quickly cut short as Wu, with a scripted message in hand, struggles to deliver the words he feels he needs to say.

“… Willow finds herself being called into work on her day off.”

Wu then suggests they leave the office and search out a more natural setting, thinking that will fix everything. So, Willow and Wu find a quiet park to resume recording. But still, there is something bothering Wu. The pair begins talking, and during the conversation, Willow expresses that Wu’s approach feels staged. She reflects on a friendship of hers that ended abruptly, and how she used the grief to forge ahead. The story is the tonic needed to move Wu out of his funk, abandon his script, and speak from his heart.

Meng’s subtle direction works well because of the strength of her two leads. Both Guo and Yan begin as cold and isolated characters, who, during the course of the story and the intimacy of the feeling divulged in their discussion, each begin to thaw, and obtain a clarity that inner turmoil was blinding them to.

With the elegant photography of Sancheev Ravichandran, a couple of actors sitting in silence or walking through dappled afternoon light are equally as dreamlike, and the chemistry between Willow and Wu adds further dimension to what is otherwise a visual poem about the importance of memory, with Guo’s Willow being the catalyst which aids in Yan’s Wu, with his guarded exterior, to slowly melt under her quiet charm and splendor of the setting.

The lingering quality of Willow and Wu is in its illustration of how, if you wish to say something meaningful, then the words must come from the heart and not from something pre-written. Emotion sometimes spills from thoughts conveyed simply. So, if you say what you mean, mean what you say, and apply emotional honesty to the delivery, then the words will carry, not just meaning, but a heart-warming weight which can’t help but make them memorable.

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Following a storyline which brings Scent of

Rapper Kid Cudi has announced that he fired British rapper M.I.A. as one of the openers for his Rebel Ragers Tour following her “offensive remarks” and “rants” onstage.

His decision comes after a viral rant she made on May 2 during a Dallas date of the tour at the Dos Equis Pavilion, where she was booed by the crowd during a monologue about her political views.

“I’ve been cancelled for many reasons. I never thought I would be cancelled for being a brown Republican voter,” M.I.A. reportedly said during the concert, according to Variety.


Click to play video: 'Sean ‘Diddy’ Combs trial: Rapper Kid Cudi arrives to court to testify'


Sean ‘Diddy’ Combs trial: Rapper Kid Cudi arrives to court to testify


She also told the audience she would not perform her song Illygirl before saying some “of you could be in the audience.”

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“All right, I’m illegal,” M.I.A. said in another video shared online. “Half of my team are not here because they didn’t get the visa, OK? I want you to know that. All right, so don’t listen to what the bots say on the internet.”

“We should be above politics,” she added, according to the video.

After videos of M.I.A.’s set spread online, Kid Cudi (real name Scott Mescudi) announced her departure from the tour on May 4 in an Instagram post.

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“TOUR UPDATE: M.I.A is no longer on this tour. I told my management to send a notice to her team before we started tour that I didn’t want anything offensive at my shows, cuz I already knew what time it was, and I was assured things were understood,” he wrote.

“After the last couple shows, I’ve been flooded with messages from fans that were upset by her rants. This, to me, is very disappointing, and I wont [sic] have someone on my tour making offensive remarks that upsets my fanbase. Thank you for understanding,” his post concluded.


A screenshot of Kid Cudi’s Instagram Stories.

@KidCudi/Instagram

M.I.A., whose real name is Mathangi Arulpragasam, responded to Kid Cudi hours after his announcement in a post on X, writing, “I WROTE ILLYGAL [sic] ON THE MAYA LP A SONG FROM 2010. I STARTED THIS INTRO TO THE SONG WITH THE STATEMENT SAYING I’M ILLYGAL, [sic] AND I SAID MY TEAM HASN’T GOTTEN VISAS YET. THEN PLAYED A SONG THAT HAD LYRICS SAYING ‘FU&% THE LAW’, WHICH I STILL BELIEVE, IF THE LAW IS UNJUST F@%& IT.”

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“DO NOT GASLIGHT MY WORDS. THAT IS THE WORK OF SATAN. I WROTE BORDERS AND ILLYGAL [sic] AND PAPER PLANES BEFORE YOU THOUGHT IMMIGRANT RIGHTS WERE COOL. I’VE HAD THSES [sic] BATTLES BY MYSELF WITHOUT THE HELP OF MILLIONS OF FANS BACKING ME,” she continued. “I DON’T NEED THIS VIRTUE SIGNAL ERA TO ALL OF A SUDDEN ERASE AN ENTIRE LIFE I’VE LED. JESUS WAS AN IMMIGRANT AND A REBEL.”


M.I.A. added that she has “no apology for the judgmental, the wicked and the ignorant.”

In response to a user on X who wrote, “and then you endorsed Donald Trump,” M.I.A. said that she “can’t vote in the US.”

Global News has reached out to Kid Cudi and M.I.A.’s representatives for further comment, but has not received a reponse.

The Rebel Ragers Tour kicked off on April 28, with two Canadian dates scheduled: Toronto’s RBC Amphitheatre on May 26 and Vancouver’s Rogers Arena on June 19.

M.I.A. previously faced criticism online after revealing she’s an anti-vaxxer during the coronavirus pandemic.

The Paper Planes rapper took to X in March 2020, saying she’d rather “choose death” over “the vaccine or chip.” The comment came as researchers around the world worked to develop a vaccination against COVID-19.

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“If I have to choose the vaccine or chip I’m gonna choose death — YALA,” she wrote, referencing her own 2013 hit, Y.A.L.A, which stands for You Always Live Again.

“Have a healthy life,” M.I.A. wrote. “Don’t live in fear!”

—With files from Global News’ Adam Wallis

&copy 2026 Global News, a division of Corus Entertainment Inc.

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Rapper Kid Cudi has announced that he

Image Credit: Bruce Glikas/WireImage

Sure, we have the Oscars and the Emmys, but who doesn’t love the stage? The annual Tony Awards are back this season, and the nominations were revealed on May 5. Taking place at New York City’s famous Radio City Music Hall on June 7, theatre kids can’t wait to watch which of their favorite actors and artists take home a Tony.

Below, Hollywood Life has rounded up all the Tony nominations for this year!

Best Musical

  • The Lost Boys
  • Schmigadoon!
  • Titanique
  • Two Strangers (Carry a Cake Across New York)

Best Play

  • The Balusters by David Lindsay-Abaire
  • Giant by Mark Rosenblatt
  • Liberation by Bess Wohl
  • Little Bear Ridge Road by Samuel D. Hunter

Best Revival of a Musical

  • Cats: The Jellicle Ball
  • Ragtime
  • The Rocky Horror Show

Best Revival of a Play

  • Becky Shaw by Gina Gionfriddo
  • Death of a Salesman by Arthur Miller
  • Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe
  • Fallen Angels by Noël Coward
  • Oedipus by Sophocles, adapted by Robert Icke

Best Performance by an Actress in a Leading Role in a Play

  • Rose Byrne, Fallen Angels
  • Carrie Coon, Bug
  • Susannah Flood, Liberation
  • Lesley Manville, Oedipus
  • Kelli O’Hara, Fallen Angels

Best Performance by an Actor in a Leading Role in a Play

  • Will Harrison, Punch
  • Nathan Lane, Death of a Salesman
  • John Lithgow, Giant
  • Daniel Radcliffe, Every Brilliant Thing
  • Mark Strong, Oedipus

Best Performance by an Actress in a Leading Role in a Musical

  • Sara Chase, Schmigadoon!
  • Stephanie Hsu, The Rocky Horror Show
  • Caissie Levy, Ragtime
  • Marla Mindelle, Titanique
  • Christiani Pitts, Two Strangers (Carry a Cake Across New York)

Best Performance by an Actor in a Leading Role in a Musical

  • Nicholas Christopher, Chess
  • Luke Evans, The Rocky Horror Show
  • Joshua Henry, Ragtime
  • Sam Tutty, Two Strangers (Carry a Cake Across New York)
  • Brandon Uranowitz, Ragtime

Best Performance by an Actress in a Featured Role in a Play

  • Betsy Aidem, Liberation
  • Marylouise Burke, The Balusters
  • Aya Cash, Giant
  • Laurie Metcalf, Death of a Salesman
  • June Squibb, Marjorie Prime

Best Performance by an Actor in a Featured Role in a Play

  • Christopher Abbott, Death of a Salesman
  • Danny Burstein, Marjorie Prime
  • Brandon J. Dirden, Waiting for Godot
  • Alden Ehrenreich, Becky Shaw
  • Ruben Santiago-Hudson, Joe Turner’s Come and Gone
  • Richard Thomas, The Balusters

Best Performance by an Actress in a Featured Role in a Musical

  • Shoshana Bean, The Lost Boys
  • Hannah Cruz, Chess
  • Rachel Dratch, The Rocky Horror Show
  • Ana Gasteyer, Schmigadoon!
  • Nichelle Lewis, Ragtime

Best Performance by an Actor in a Featured Role in a Musical

  • Ali Louis Bourzgui, The Lost Boys
  • André De Shields, Cats: The Jellicle Ball
  • Bryce Pinkham, Chess
  • Ben Levi Ross, Ragtime
  • Layton Williams, Titanique

Best Direction of a Play

  • Nicholas Hytner, Giant
  • Robert Icke, Oedipus
  • Kenny Leon, The Balusters
  • Joe Mantello, Death of a Salesman
  • Whitney White, Liberation

Best Direction of a Musical

  • Michael Arden, The Lost Boys
  • Lear deBessonet, Ragtime
  • Christopher Gatelli, Schmigadoon!
  • Tim Jackson, Two Strangers (Carry a Cake Across New York)
  • Zhailon Levingston and Bill Rauch, Cats: The Jellicle Ball

Best Choreography

  • Christopher Gattelli, Schmigadoon!
  • Ellenore Scott, Ragtime
  • Ani Taj, The Rocky Horror Show
  • Arturo Lyons and Omari Wiles, Cats: The Jellicle Ball
  • Lauren Yalango-Grant and Christopher Cree Grant, The Lost Boys

Best Original Score (Music and/or Lyrics) Written for the Theatre

  • Death of a Salesman, Music: Caroline Shaw
  • Joe Turner’s Come and Gone, Music: Steve Bargonetti
  • The Lost Boys, Music & Lyrics: The Rescues
  • Schmigadoon!, Music & Lyrics: Cinco Paul
  • Two Strangers (Carry a Cake Across New York), Music & Lyrics: Jim Barne and Kit Buchan

Best Book of a Musical

  • The Lost Boys, David Hornsby and Chris Hoch
  • Schmigadoon!, Cinco Paul
  • Titanique, Marla Mindelle, Constantine Rousouli and Tye Blue
  • Two Strangers (Carry a Cake Across New York), Jim Barne and Kit Buchan

Best Scenic Design of a Play ​​

Hildegard Bechtler, Oedipus

Takeshi Kata, Bug

David Korins, Dog Day Afternoon

Chloe Lamford, Death of a Salesman

David Rockwell, Fallen Angels

Best Scenic Design of a Musical

  • dots, The Rocky Horror Show
  • Soutra Gilmour, Two Strangers
  • Rachel Hauck, Cats: The Jellicle Ball
  • Dane Laffrey, The Lost Boys
  • Scott Pask, Schmigadoon!

Best Costume Design of a Play

  • Brenda Abbandandolo, Dog Day Afternoon
  • Qween Jean, Liberation
  • Jeff Mahshie, Fallen Angels
  • Emilio Sosa, The Balusters
  • Paul Tazewell, Joe Turner’s Come and Gone

Best Costume Design of a Musical

  • Linda Cho, Ragtime
  • Linda Cho, Schmigadoon!
  • Qween Jean, Cats: The Jellicle Ball
  • Ryan Park, The Lost Boys
  • David I. Reynoso, The Rocky Horror Show

Best Lighting Design of a Play

  • Isabella Byrd, Dog Day Afternoon
  • Natasha Chivers, Oedipus
  • Stacey Derosier, Joe Turner’s Come and Gone
  • Heather Gilbert, Bug
  • Heather Gilbert, The Fear of 13
  • Jack Knowles, Death of a Salesman

Best Lighting Design of a Musical

  • Kevin Adams, Chess
  • Jane Cox, The Rocky Horror Show
  • Donald Holder, Schmigadoon!
  • Adam Honoré, Cats: The Jellicle Ball
  • Adam Honoré and Donald Holder and 59 Studio, Ragtime
  • Jen Shriever and Michael Arden, The Lost Boys

Best Sound Design of a Play

  • Justin Ellington, Joe Turner’s Come and Gone
  • Tom Gibbons, Oedipus
  • Lee Kinney, The Fear of 13
  • Josh Schmidt, Bug
  • Mikaal Sulaiman, Death of a Salesman

Best Sound Design of a Musical

  • Kai Harada, Cats: The Jellicle Ball
  • Kai Harada, Ragtime
  • Adam Fisher, The Lost Boys
  • Brian Ronan, The Rocky Horror Show
  • Walter Trarbach, Schmigadoon!

Best Orchestrations

  • Doug Besterman and Mike Morris, Schmigadoon!
  • Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, The Lost Boys
  • Lux Pyramid, Two Strangers (Carry a Cake Across New York)
  • Brian Usifer, Chess
  • Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, Cats: The Jellicle Ball

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Image Credit: Bruce Glikas/WireImage Sure, we have the

The fifth (and likely final) season of The Bear isn’t out yet, but fans of the show can get a taste of the show before the season premieres.

The show dropped a surprise prequel episode Tuesday on Hulu. Titled “Gary,” the hour-long episode follows Richie (Ebon Moss-Bachrach) and Mikey (Jon Bernthal) on a trip to Gary, Indiana, before the events of the main series. (It’s searchable on Hulu under the episode title.)

Moss-Bachrach announced the episode on Instagram Tuesday. He and Bernthal — who are currently starring in a stage adaptation of Dog Day Afternoon on Broadway — co-wrote the episode, and The Bear creator Christopher Storer directed.

“Making this was a dream come true,” Moss-Bachrach wrote in his post. “Thanks to the beautiful people of Gary, Indiana and as always Chicago, Illinois.”

As for The Bear itself, it’s expected to premiere in the summer (all four prior seasons have premiered in June). It’s been widely assumed — including by members of the show’s cast — that the Emmy-winning FX series would wrap with season five. “Everybody knows it’s the end of the show,” Jamie Lee Curtis said in a red carpet interview with Entertainment Tonight in February. “I’m not breaking any news to anybody. It’s the end of the show — they’ve said it from the beginning.”

Storer originally had a four-season arc planned for the series, lead Jeremy Allen White has said in past interviews. FX, whose FX Productions is behind the Hulu series, picked up a fifth season a week after season four premiered in June 2025.

The Bear’s first three seasons won 21 Emmys, including a best comedy series award in 2023 and acting honors for Moss-Bachrach, Curtis, White, Ayo Edebiri, Liza Colon-Zayas and Jon Bernthal. Season four will compete in this year’s Emmy race, and the final season will be eligible in 2027.

Lionel Boyce, Matty Matheson, Edwin Lee Gibson and Corey Hendrix also star in The Bear. Storer executive produces with Josh Senior, Joanna Calo, Cooper Wehde, Tyson Bidner, Matheson, Hiro Murai and Rene Gube. Courtney Storer is co-EP and culinary producer.

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The fifth (and likely final) season of

The end of “The Boys” is getting the big-screen treatment, with its fifth and final season finale set for 4DX theatrical showings in addition to streaming on Prime Video.

“In two weeks, we’re going out with a bang,” the show posted on their X account Tuesday. “Literally, because ya might vibrate watchin’ the series finale in 4DX. Get yer mitts on a seat with the purchase of a concession voucher, which is good towards sweets or soda the day of. See ya May 19 at 9:30 p.m.”

Prime Video is the latest streamer to release an episode in theaters. Netflix leaned into this strategy with the epic finale of “Stranger Things” and more recently for the global premiere of “One Piece” Season 2. HBO Max also screened the final episode of “The Pitt” Season 2 in select Alamo Drafthouse locations.

“The Boys” is produced by Sony Pictures Television, Amazon MGM Studios with Kripke Enterprises, Original Film and Point Grey Pictures.

More to come…

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The end of “The Boys” is getting

If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission.

The 2026 UEFA Champions League Semi-Finals feature two clubs for a chance to hoist the UEFA Cup. There are two matches to determine which teams will make it to the final on Saturday, May 30.

The first match features Arsenal F.C. taking on Atlético Madrid at Emirates Stadium in London, England on Tuesday, May 5 at 3 p.m. ET/12 p.m. PT. The second match has FC Bayern Munich playing against Paris Saint-Germain F.C. at Allianz Arena in Munich, Germany on Wednesday, May 6 with a start time of 3 p.m. ET/12 p.m. PT. Both matches livestream on Paramount+.

The UEFA Champions League Semi-Finals livestreams on Paramount+ for subscribers only. Not a subscriber? Sign up for streaming service starting at $8.99/month.

Although Paramount+ doesn’t offers a 7-day free trial anymore, there’s a clever workaround to watch both matches online for free. If you sign up for a 30-day free trial for Walmart+, you can get access to Paramount+ too since the streaming service is included with the retailer’s membership.

In addition, Paramount+ is the home for live sports from NFL, NWSL, PGA Tour, Big 10 and other leagues.

Alternatively, the UEFA Champions League Semi-Finals broadcasts in Spanish on Univision, which is accessible via DirecTV and Hulu + Live TV. Both streaming services offer free trials, so you can watch for free this way too.

DirecTV

DirecTV

The service includes more than 125 channels — such as Univision, ABC, CBS, FOX, ESPN, FOX Sports, TNT and others

DirecTV offers Univision with their “Choice” package and above with prices starting at $84.99/month for the first 24 months of service ($94.99/month afterwards). The streamer has a free 5-day trial available, which is more than enough time to watch online for free. You can either cancel or keep the service after the free trial is over.

Hulu

Hulu + Live TV

Also includes access to Disney+, Hulu and ESPN Unlimited

Starting at $89.99/month, Hulu + Live TV is a great option for live channel streaming access to Univision, along with more than 95 other channels.

The 2026 UEFA Champions League Semi-Finals features Arsenal vs. Atlético Madrid on Tuesday, May 5 and Bayern vs. PSG on Wednesday, May 6. Both matches can be found on Paramount+.

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Last Updated:

In February, the project recently went on floors with a traditional mahurat ceremony, and pictures from the event quickly went viral across social media

Dhanush Shoots Intense Sequences With Mammootty For D55, To Wrap Up In July: Report

Dhanush Shoots Intense Sequences With Mammootty For D55, To Wrap Up In July: Report

Dhanush is currently busy with the shoot of his much-anticipated project, tentatively titled D55. The actor is expected to continue filming for the spy actioner until the second week of July 2026. A fresh report suggests that he has already completed significant portions of the film alongside Mammootty in Chennai. The collaboration between the two powerhouse performers has generated considerable buzz.

According to Vikatan, Dhanush is expected to continue shooting for D55 until the second week of July 2026. He has reportedly filmed portions of the spy actioner with Mammootty in Chennai. Dhanush is said to be shooting with the Malayalam superstar as part of the ongoing schedule. He is expected to move on to filming a song sequence with Sreeleela in the next schedule. Additionally, Sai Abhyankkar has reportedly completed composing two songs for the film. There is no official confirmation so far.

D55 Finally Goes On Floor

In February, the project recently went on floors with a traditional mahurat ceremony, and pictures from the event quickly went viral across social media, sparking excitement among fans. Wunderbar Films took to their X handle and shared the photos, “When all smiles led to a powerful start. Candid Moments from the #D55 pooja.” Dhanush and Mammootty are all set to create cinematic history as they come together for the first time in the film.

Wunderbar Films took to their X handle and shared the photos, “When the Big M chooses a story, it becomes history. Super excited to welcome Megastar @mammukka onboard #D55! We are honoured! Thank you #Mammootty sir.” Earlier, makers made the announcement of Sai Pallavi joining the film. It wrote, “She’s about grace and strength – all at once. Welcoming everybody’s favourite @Sai_Pallavi92 on board #D55. The hit combo returns to the big screen.” This will be the second time that Sai Pallavi will be working with Dhanush. She had earlier worked with Dhanush in director Balaji Mohan’s ‘Maari 2’.

Dhanush and Mammootty’s work front

The actor is currently seen in Kara. The film has received mixed response from the audience. It features Mamitha Baiju as the heroine. The film boasts a strong cast as well as a brilliant technical crew. Apart from Dhanush and Mamitha Baiju, the film will also feature director K S Ravikumar, Jayaram, Suraj Venjaramoodu, Karunas and Prithvi Pandiraj in pivotal roles. While Mammootty is seen in Patriot with Mohanlal and Nayanthara. The film is performing well at the box office.

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Last Updated:May 05, 2026, 20:39 ISTIn February,

Contenders are lined up for the 79th Tony Awards.

Tony nominee Uzo Aduba and Tony winner Darren Criss on Tuesday morning announced nominees live on CBS and YouTube. Musicals “The Lost Boys” and “Schmigadoon!” led nominations with 12 each, and “Ragtime” was close behind with 11. “Death of a Salesman,” “Cats: The Jellicle Ball” and “The Rocky Horror Show” tied with nine. Rose Byrne (“Fallen Angels”) and John Lithgow (“Giant”), among other stars, earned acting nods.

Qween Jean, Linda Cho, Heather Gilbert, Adam Honoré and Kai Harada were among the nominees for two different productions.

Like last year, several acting categories featured Hollywood heavyweights, including Byrne, who earned an Oscar nomination for her turn in Mary Bronstein’s psychological drama “If I Had Legs I’d Kick You.” With her nod for “Fallen Angels,” Byrne became the first woman to secure Oscar and Tony nominations in the same year since Laurie Metcalf in 2018 for “Lady Bird” and “Three Tall Women.” Metcalf herself was nominated in the featured actress category for “Death of a Salesman.”

In another milestone, 96-year-old June Squibb unseated Lois Smith as the oldest Tony-nominated actor in history for “Marjorie Prime.” Serendipitously, Smith originated Squibb’s role in the play in 2014.

Other headline nominees included Lesley Manville (“Oedipus”), Nathan Lane (“Death of a Salesman”), Daniel Radcliffe (“Every Brilliant Thing”) and Stephanie Hsu (“The Rocky Horror Show”).

Another notable name surrounding Tuesday’s announcement was producer Scott Rudin, who recently returned to Broadway after stepping back following allegations of abusive behavior. This cycle, Rudin produced nominees “Little Bear Ridge Road” and “Death of a Salesman,” both of which were recognized by the New York Drama Critics’ Circle.

The 79th Tony Awards will return to New York City’s Radio City Music Hall on June 7. The ceremony, hosted by Pink, will air live on CBS and stream on Paramount+.

Here is the complete list of nominees.

Play

“The Balusters”
“Giant”
“Liberation”
“Little Bear Ridge Road”

Musical

“The Lost Boys”
“Schmigadoon!”
“Titaníque”
“Two Strangers (Carry a Cake Across New York)”

Revival of a play

Arthur Miller’s “Death of a Salesman”
Gina Gionfriddo, “Becky Shaw”
Duncan Macmillan and Jonny Donahoe, “Every Brilliant Thing”
“Fallen Angels”
Robert Icke, “Oedipus”

Revival of a musical

“Cats: The Jellicle Ball”
“Ragtime”
Richard O’Brien’s “The Rocky Horror Show”

Performance by an actress in a leading role in a musical

Sara Chase, “Schmigadoon!”
Stephanie Hsu, “The Rocky Horror Show”
Caissie Levy, “Ragtime”
Marla Mindelle, “Titaníque”
Christiani Pitts, “Two Strangers (Carry a Cake Across New York)”

Performance by an actor in a leading role in a musical

Nicholas Christopher, “Chess”
Luke Evans, “The Rocky Horror Show”
Joshua Henry, “Ragtime”
Sam Tutty, “Two Strangers (Carry a Cake Across New York)”
Brandon Uranowitz, “Ragtime”

Performance by an actress in a leading role in a play

Rose Byrne, “Fallen Angels”
Carrie Coon, “Bug”
Susannah Flood, “Liberation”
Lesley Manville, “Oedipus”
Kelli O’Hara, “Fallen Angels”

Performance by an actor in a leading role in a play

Will Harrison, “Punch”
Nathan Lane, “Death of a Salesman”
John Lithgow, “Giant”
Daniel Radcliffe, “Every Brilliant Thing”
Mark Strong, “Oedipus”

Book of a musical

David Hornsby and Chris Hoch, “The Lost Boys”
Cinco Paul, “Schmigadoon!”
Marla Mindelle, Constantine Rousouli and Tye Blue, “Titaníque”
Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”

Original score

Music: Caroline Shaw, “Death of a Salesman”
Music: Steve Bargonetti, “Joe Turner’s Come and Gone”
Music and lyrics: The Rescues, “The Lost Boys”
Music and lyrics: Cinco Paul, “Schmigadoon!”
Music and lyrics: Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”

Performance by an actor in a featured role in a play

Christopher Abbott, “Death of a Salesman”
Danny Burstein, “Marjorie Prime”
Brandon J. Dirden, “Waiting for Godot”
Alden Ehrenreich, “Becky Shaw”
Ruben Santiago-Hudson, “Joe Turner’s Come and Gone”
Richard Thomas, “The Balusters”

Performance by an actress in a featured role in a play

Betsy Aidem, “Liberation”
Marylouise Burke, “The Balusters”
Aya Cash, “Giant”
Laurie Metcalf, “Death of a Salesman”
June Squibb, “Marjorie Prime”

Performance by an actor in a featured role in a musical

Ali Louis Bourzgui, “The Lost Boys”
André De Shields, “Cats: The Jellicle Ball”
Bryce Pinkham, “Chess”
Ben Levi Ross, “Ragtime”
Layton Williams, “Titaníque”

Performance by an actress in a featured role in a musical

Shoshana Bean, “The Lost Boys”
Hannah Cruz, “Chess”
Rachel Dratch, “The Rocky Horror Show”
Ana Gasteyer, “Schmigadoon!”
Nichelle Lewis, “Ragtime”

Scenic design of a play

Hildegard Bechtler, “Oedipus”
Takeshi Kata, “Bug”
David Korins, “Dog Day Afternoon”
Chloe Lamford, “Death of A Salesman”
David Rockwell, “Fallen Angels”

Scenic design of a musical

dots, “The Rocky Horror Show”
Soutra Gilmour, “Two Strangers (Carry a Cake Across New York)”
Rachel Hauck, “Cats: The Jellicle Ball”
Dane Laffrey, “The Lost Boys”
Scott Pask, “Schmigadoon!”

Costume design of a play

Brenda Abbandandolo, “Dog Day Afternoon”
Qween Jean, “Liberation”
Jeff Mahshie, “Fallen Angels”
Emilio Sosa, “The Balusters”
Paul Tazewell, “Joe Turner’s Come and Gone”

Costume design of a musical

Linda Cho, “Ragtime”
Linda Cho, “Schmigadoon!”
Qween Jean, “Cats: The Jellicle Ball”
Ryan Park, “The Lost Boys”
David I. Reynoso, “The Rocky Horror Show”

Lighting design of a play

Isabella Byrd, “Dog Day Afternoon”
Natasha Chivers, “Oedipus”
Stacey Derosier, “Joe Turner’s Come and Gone”
Heather Gilbert, “Bug”
Heather Gilbert, “The Fear of 13”
Jack Knowles, “Death of A Salesman”

Lighting design of a musical

Kevin Adams, “Chess”
Jane Cox, “The Rocky Horror Show”
Donald Holder, “Schmigadoon!”
Adam Honoré, “Cats: The Jellicle Ball”
Adam Honoré and Donald Holder with 59 Studio, “Ragtime”
Jen Schriever and Michael Arden, “The Lost Boys”

Sound design of a play

Justin Ellington, “Joe Turner’s Come and Gone”
Tom Gibbons, “Oedipus”
Lee Kinney, “The Fear of 13”
Josh Schmidt, “Bug”
Mikaal Sulaiman, “Death of a Salesman”

Sound design of a musical

Kai Harada, “Cats: The Jellicle Ball”
Kai Harada, “Ragtime”
Adam Fisher, “The Lost Boys”
Brian Ronan, “The Rocky Horror Show”
Walter Trarbach, “Schmigadoon!”

Direction of a play

Nicholas Hytner, “Giant”
Robert Icke, “Oedipus”
Kenny Leon, “The Balusters”
Joe Mantello, “Death of A Salesman”
Whitney White, “Liberation”

Direction of a musical

Michael Arden, “The Lost Boys”
Lear deBessonet, “Ragtime”
Christopher Gattelli, “Schmigadoon!”
Tim Jackson, “Two Strangers (Carry a Cake Across New York)”
Zhailon Levingston and Bill Rauch, “Cats: The Jellicle Ball”

Choreography

Christopher Gattelli, “Schmigadoon!”
Ellenore Scott, “Ragtime”
Ani Taj, “The Rocky Horror Show”
Omari Wiles and Arturo Lyons, “Cats: The Jellicle Ball”
Lauren Yalango-Grant and Christopher Cree Grant, “The Lost Boys”

Orchestrations

Doug Besterman and Mike Morris, “Schmigadoon!”
Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, “The Lost Boys”
Lux Pyramid, “Two Strangers (Carry a Cake Across New York)”
Brian Usifer, “Chess”
Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, “Cats: The Jellicle Ball”

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15-Second summary

Creating threat intel newsletters involves more than collecting relevant information. You need to summarize key concepts, extract TTPs (Tactics, Techniques, and Procedures) and other entities, and align analysis with stakeholder needs. We’ve added AI to Automated Newsletters to make them smarter and faster to craft.

With AI in Automated Newsletters, you can:

  • Use AI prompts in templates to save time and ensure consistency across issues.
  • Create actionable takeaways and analyst notes for sections or the entire newsletter.
  • Spot trends, themes, or attack patterns across your sources, including in foreign languages.
  • Extract critical threat data from individual articles in each section.
  • Tailor insights precisely to your stakeholders’ needs.

AI in Automated Newsletters helps you deliver clear, actionable threat intelligence that’s easy to digest and act on.

AI in Feedly Newsletter transformed our daily news roundup. Now we generate impactful content in German in minutes instead of hours, while our readers access key information faster. The AI-powered insights is strengthening both our internal and external communications.

Alexander Heyen, Security Analyst, Dataport

Sharing threat intelligence articles with stakeholders is only effective if readers quickly understand the risks and implications and can take action. This places a lot of pressure on analysts to create insightful, actionable, and easily consumed threat intelligence. AI in Newsletters does the heavy lifting, helping you quickly create professional, customized newsletters.

We have two types of AI prompts in Newsletters:

  • AI Overviews can be applied to specific sections or the entire newsletter. They identify overarching themes across multiple articles or sections and extract key details, elevating them to the top of a section or the entire newsletter.
  • AI Summaries apply to individual articles and can be customized to extract specific themes or data. However, each summary is limited to a single article and appears directly below it.

In this blog, we’re sharing five ready-to-use threat intelligence prompt examples that you can copy, paste, and integrate into your own Automated Newsletter effortlessly.

Use AI prompts in newsletter templates

Newsletter templates enable you to automatically pull content from your AI Feeds and Boards into a consistently formatted and branded newsletter. Consistency can raise the level of professionalism while aiding your reader’s comprehension. It also saves time through automation while maintaining editorial control and content quality.

For instance, you can add an AI Overview to the top of every issue or section, highlighting key threats. You can also add AI Summary prompts within sections to provide specific details about each article.

Create actionable takeaways and analyst notes

Quickly analyze sections or the entire newsletter by adding our new drag-and-drop ‘AI Overview’ block. Place it anywhere in your newsletter, and Feedly AI will analyze the selected content and create analyst notes you can manually adjust.

You can modify the prompt to fit your stakeholders’ needs. For example, if your stakeholders include security leadership, you might focus on broad trends or cyber-attacks in your industry. If your readers include the threat-hunting team, you might instead highlight the TTPs trending by certain threat actors.

AI Overview Prompt
My company is a multinational bank with operations in the US and Europe

Provide an overview of these articles to introduce the newsletter to my readers highlighting three takeaways. 
Answer in three distinct paragraphs 50 words maximum each

Make an introductory sentence to the overview.
Newsletter Preview
AI Overview Prompt
summarize the article in less than 300 characters. 

Answer in the same language as the article. 

Then, add analyst notes.

The analyst notes should be concise (two sentences maximum).

Return the result in the format below:
**Summary**:
**Analyst Note**: 
Newsletter Preview

Spot trends, themes, or attack patterns

You can get specific insights at the section level or for the entire newsletter with custom prompts. For instance, suppose you have a section that pulls articles from an AI Feed about cyberattacks in your industry. You can ask the AI to extract common attack patterns, including the threat actors and ransomware mentioned in the articles. You can also analyze sources in foreign languages and provide the response in the language of your choice. This can be particularly useful when tracking cyber-attacks covered in foreign media and distributing newsletters to your organization’s regional teams.

AI Overview Prompt
The readers are members of the incident response team.

Create a section overview in 3 bullet points maximum.
Highlight the bullet point theme in bold.

Highlight in bold and grey the mentions of: 
- Threat actors attributed to cyber attacks 
- Ransomware associated with the attacks

Introduce the three bullet points to the user before listing them.

Provide the result in English.
Newsletter Preview

AI in Feedly Automated Newsletters has significantly enhanced our communication of cyber news to our 500+ subscribers. I can now tailor content to meet the specific needs of each stakeholder. What once took 2-3 hours to create a custom newsletter can now be accomplished in just 25 minutes.

Senior Cyber Threat Intelligence Analyst, Sysco

Try AI in Automated Newsletters

Analyze and personalize threat intel faster with help from AI.

Start Free Trial

Extract critical threat data from individual articles

With AI in Newsletters, you can also apply prompts to each article in a section. For instance, suppose you have a Newsletter section that pulls articles from an AI Feed about critical CVEs in your tech stack. You could add an AI Summary prompt to the section to extract each CVE, the affected products, and the proof of exploit status.

AI Overview Prompt
Summarize the provided article in English in 300 characters maximum. 

After the summary, provide the following meta-data, if available, in bullet points in the format below: 
CVE Number (CVSS: Unknown/value of CVSS Score, Exploitation: Yes/No/Unknown) 

Format instruction: Put the following details in bold: 
- CVE Number 
- CVSS Score value 
- Exploitation value 
Newsletter Preview

Tailor insights precisely to stakeholders’ needs

Many organizations use multiple threat intelligence newsletters tailored to different audience needs. You can customize your prompts (both AI Overview and AI Summary) to provide context that helps ensure key risks or threats are aligned with your stakeholder’s PIRs (Priority Intelligence Requirements). For instance, you can include details about your industry or the role of the audience to ensure the recommendations or key themes align with the reader’s intel needs.

AI Overview Prompt
My company is a multinational bank with operations in the US and Europe

In this section, give highlights in the following format:
- **Key threat**: Key threat identified in the articles affecting our industry (into brackets, return medium (in green), high (in orange), critical (in red) for the threat level)
- **Detection technique**: One potential detection technique for each threat
- **Mitigation or remediation**: One potential mitigation or remediation for each threat

Answer directly with listing the threats without introduction. 

Note 1: Only mention medium or higher key threats

Note 2: Give the top three threats maximum

Note 3: List the threats from the most to the least critical 
Newsletter Preview

Try AI in Automated Newsletters — actionable, consistent, and efficient

AI in Automated Newsletters simplifies the creation and dissemination of actionable threat intelligence. It promotes consistency and alignment with stakeholders’ needs, so the impact is more significant while saving you a ton of preparation time.

Start Free Trial

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15-Second summaryCreating threat intel newsletters involves more

A new Batman is on the horizon in James Gunn’s new DC Universe. While we’re still in the dark about who’s going to play this new Dark Knight or what he’s going to look like in The Brave and the Bold, Warner Bros. actually has the perfect blueprint for the DCU Batsuit (and they’ve had it for the last 11 years).

When it comes to modern live-action depictions of Batman, there’s been a tendency to lean more into realism by making the Batsuits predominantly black. This is something the movies have only recently broken away from by adopting a more comic-accurate gray costume with a black cape and cowl (as seen with Ben Affleck and Robert Pattinson).

I’m very excited about the possibility of the DCU’s Batsuit leaning even further into the comic accuracy and more fantastical aspects of Batman lore, including his overall style. Keeping that in mind, there is a beloved version of the Batsuit that could be perfect for the DCU’s Dark Knight, one that never made it into live-action.

The DCU Should Use Batman’s Arkham Knight Suit As Key Inspiration

Back in 2015, Warner Bros. and Rocksteady released Batman: Arkham Knight, the third and final game in the Arkham trilogy. Not only was this the game that first featured the whole of Gotham City, but it also introduced the drivable Batmobile as The Dark Knight faced a city under siege.

Additionally, Arkham Knight also gave Batman a brand-new armored Batsuit designed by Lucius Fox, an advanced suit with “flexible plates overlaying an MR-fluid (magnetorheological fluid) armor layer“. Naturally, the suit also incorporated The Dark Knight’s vast arsenal of cutting-edge tech and gadgets. While it had armored plates, Batman still had an impressive range of flexibility thanks to the unique liquid-armor integration.

Beyond its practical utility, the overall style of the suit, cape, and cowl was also well received by fans. Still opting for the traditional grey-and-black color scheme as seen with the previous two Batsuits in the first two Arkham-verse games, it would be very cool to see something like Arkham Knight’s suit being used as a key inspiration for the DCU Batman’s costume on the horizon.

The suit feels sleek and modern, while still honoring the visual style of the comics. It very much looks like the kind of suit Batman would create, especially in an expansive world shared with powered heroes like Superman (and hopefully more of Batman’s fantastical rogues in Gotham).

The Arkham Knight Suit Only Needs One Tweak For A Peak DCU Batsuit

Close up of Batman bloody while punching
DC Comics: Close up of Batman bloody while punching 

As great as the Arkham Knight suit is, I do feel as though one key addition would elevate it even further in live-action: white lenses on Batman’s cowl.

A live-action Batman cowl with permanent white lenses has long been one of the most requested features from fans, and for good reason. The white lenses are a staple of Batman’s design in the comics, instantly giving him a more intimidating presence in the dark alleys of Gotham. However, the movies have only sparingly used variations of white eyes for select scenes (and they’ve never been permanent).



















Bold Reimagining · Alternate DC Universe
Test Your DC Comics
Absolute Universe Knowledge

♆️SupermanReimagined

🦇BatmanNo billions

⚔️Wonder WomanReforged

⚡FlashSpeed

🌐UniverseAbsolute

01

DC’s Absolute Universe is a new line of comics launched in late 2024 that reimagines iconic DC heroes in a world without the legacy advantages they traditionally have. Which DC event/storyline set up the creation of the Absolute Universe?




✓ Correct! The Absolute Universe was born from Darkseid rewriting reality in the current DC continuity. This cosmic act of villainy created a parallel world where DC’s greatest heroes exist without the advantages and support systems they traditionally rely on.

✗ That answer didn’t make it through the Absolute reboot! The answer is Darkseid’s rewriting of the DC Multiverse. While Dark Crisis, Infinite Frontier, and Flashpoint Beyond are all significant DC events, it was Darkseid’s manipulation of reality that gave birth to the Absolute Universe.

02

In Absolute Superman, Kal-El’s origin is dramatically different from the main universe. Instead of being raised by the Kents in Smallville, how does Absolute Superman grow up?




✓ Correct! In the Absolute Universe, Kal-El lands not with the Kents but in an immigrant community, growing up without wealth or privilege. This reimagining strips away Superman’s traditional support system while keeping his core values of hope and justice intact.

✗ That answer didn’t make it through the Absolute reboot! The answer is that he’s raised in an immigrant community with no wealth or privilege. The Absolute line is built on the concept of heroes without their traditional advantages, and Superman’s new upbringing reflects this perfectly.

03

Absolute Batman reimagines Bruce Wayne without his billionaire status. In this version, Bruce Wayne has a very different civilian occupation. What is Absolute Batman’s day job?




✓ Correct! In the Absolute Universe, Bruce Wayne works as an engineer and construction worker. Without the Wayne fortune or Wayne Enterprises, this Bruce builds his gear and gadgets with his own hands and working-class ingenuity, making him a truly self-made Batman.

✗ That answer didn’t make it through the Absolute reboot! The answer is engineer / construction worker. Absolute Batman strips Bruce Wayne of his billionaire status entirely. This Bruce is a massive, imposing figure who uses his engineering skills and physical labor background to craft his own Batman arsenal.

04

Absolute Batman’s costume and physique are dramatically different from the traditional Batman. This version of Bruce Wayne is much larger and more imposing. Who is the writer of Absolute Batman?




✓ Correct! Scott Snyder, who previously wrote the acclaimed New 52 Batman run, is the writer of Absolute Batman. His bold reimagining of Bruce Wayne as a working-class hero without billions has been one of the breakout hits of the Absolute Universe line.

✗ That answer didn’t make it through the Absolute reboot! The answer is Scott Snyder. Known for his legendary Batman run featuring the Court of Owls and other iconic storylines, Snyder returned to the Dark Knight with Absolute Batman, completely reinventing Bruce Wayne for this new universe.

05

Absolute Wonder Woman reimagines Diana in a significantly different setting. In this version, the character’s mythology and origin pull from different cultural influences. Who is the writer of Absolute Wonder Woman?




✓ Correct! Kelly Thompson writes Absolute Wonder Woman, bringing a fresh take on Diana’s mythology and origin. This version reimagines Wonder Woman’s world with different cultural influences while maintaining the warrior spirit at the core of the character.

✗ That answer didn’t make it through the Absolute reboot! The answer is Kelly Thompson. While all four writers are acclaimed in the comics industry, it’s Thompson who helms Absolute Wonder Woman, crafting a bold new vision for Diana in the Absolute Universe.

06

The Absolute Universe was created as a result of Darkseid altering reality. A key difference is that in this universe, heroes don’t have the traditional advantages and support systems. What concept describes this — that these heroes exist without their usual “safety nets”?




✓ Correct! “Heroes without legacy” is the core concept of the Absolute Universe. These versions of DC’s iconic characters exist without the inherited advantages, mentors, wealth, and support networks that traditionally define them — forcing them to become heroes purely on their own terms.

✗ That answer didn’t make it through the Absolute reboot! The answer is “Heroes without legacy.” The Absolute Universe is built on the idea that Darkseid stripped these heroes of their legacies — Batman has no fortune, Superman has no Kents, Wonder Woman has no Themyscira as we know it.

07

Absolute Flash reimagines Wally West in the Absolute Universe. In this version, the Flash’s connection to the Speed Force is portrayed differently. Who is the writer of Absolute Flash?




✓ Correct! Jeff Lemire, known for his deeply human storytelling in titles like Sweet Tooth and Animal Man, writes Absolute Flash. His take on Wally West reimagines the speedster’s relationship with the Speed Force in the context of the Absolute Universe’s stripped-down heroic landscape.

✗ That answer didn’t make it through the Absolute reboot! The answer is Jeff Lemire. While Williamson, Waid, and Adams have all written excellent Flash stories in the main continuity, it’s Lemire who brings his unique storytelling vision to Absolute Flash.

08

Absolute Superman is written and drawn by a critically acclaimed creator who handles both the writing and art duties on the series. Who is this creator?




✓ Correct! Absolute Superman is written by Jason Aaron with art by Rafa Sandoval. Together they’ve crafted a powerful reimagining of Kal-El, placing him in an immigrant community without the Kent family’s support, creating one of the most compelling new takes on the character in years.

✗ That answer didn’t make it through the Absolute reboot! The answer is Jason Aaron (writer) with Rafa Sandoval (art). While Jim Lee, Grant Morrison, and Jorge Jiménez are all legendary DC creators, it’s the Aaron and Sandoval team that brings Absolute Superman to life.

Analysis Complete
Your Absolute Knowledge

/ 8

Are you an Absolute expert — or still in the main continuity?

Adding white eyes to a gray-and-black Arkham Knight-inspired suit would complete the look, bridging the gap between comic accuracy and cinematic realism like we’ve never seen before on the big screen. More importantly, it would absolutely help differentiate the DCU’s Batman from previous depictions, and even concurrent versions (like Robert Pattinson’s The Batman).

At the end of the day, Warner Bros. really doesn’t need to reinvent the wheel when they already have a ringer waiting in the wings. They already nailed one of the best Batsuits 11 years ago. Now, it’s just a matter of bringing that same kind of style to live-action, finally giving fans the definitive live-action Batman look from the comics they’ve long been waiting for.


mixcollage-07-dec-2024-07-51-am-4123.jpg

Systems


Released

June 23, 2015

ESRB

M for Mature: Blood, Language, Suggestive Themes, Violence

Developer(s)

Rocksteady Studios

Publisher(s)

Warner Bros. Interactive

Engine

Unreal Engine 3


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A new Batman is on the horizon

Take-Two CEO Strauss Zelnick has explained why there are no plans to release a PC version of Grand Theft Auto 6 on November 19, alongside the PS5 and Xbox Series X/S versions.

Speaking with Bloomberg at the Interactive Innovation Conference in Las Vegas last week, Zelnick was asked about the growing importance of the PC market for some of Take-Two‘s series.

Zelnick explained that when he started at Take-Two in 2007, series like NBA 2K only sold around 5% of their total sales on PC, whereas nowadays “with regard to a big title, PC can be 45%, 50% of the sales”.

Zelnick was then asked why, if this is the case, the decision was made not to release Grand Theft Auto 6 on PC on day one. He replied that Rockstar‘s aim has always been to serve the “core consumer” with its titles, before focusing on things like PC ports.

“Rockstar always starts on console because I think with regard to a release like that you’re judged by serving the core,” he explained. “Like, really serving the core consumer. If your core consumer isn’t there, if they’re not served first and best, you kind of don’t hit your other consumers.”

Asked whether the game had a console exclusivity period as a result of any marketing deals with Sony, Zelnick said this wasn’t the case, stressing: “No. I mean, historically Rockstar’s gone to console first.”

As Zelnick says, Rockstar has a history of releasing its games on console first, then bringing them to PC at a later date, often years down the line.

The original Red Dead Redemption took 14 years to get a PC port.

Grand Theft Auto 5 was released on PS3 and Xbox 360 in September 2013, with PS4 and Xbox One ports in November 2014, but didn’t come to PC until April 2015.

Similarly, Grand Theft Auto 4 came to PC eight months after console, while LA Noire came six months later. Red Dead Redemption 2 also had a 13-month gap between console and PC release.

The largest gap, however, was for the original Red Dead Redemption, which only arrived on PC in October 2024, some 14 years after it was originally released on consoles.