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Overview

AI agents are everywhere in the headlines—but for many professionals, especially in complex industries like financial services, the real challenge is cutting through the buzz to understand what they actually do and how they can drive value. That’s the problem this Ask AI Prompt is built to solve.

Written by our Senior Research Analyst, Jay Feyerabend, it’s crafted to generate a focused, leadership-ready report that explains the fundamentals of AI agents, showcases practical use cases from peer organizations, outlines the threats and opportunities the technology poses, and maps out where the technology is headed. In a sea of hype, this is a prompt that brings clarity, context, and strategic insight to stay ahead of the latest technology.

Ask AI Prompt

Copy and paste this prompt directly in your Ask AI panel!

`
I am an innovation manager at a large financial services company and I am creating a report for leadership about AI agents.
`

`
Create a report to help stakeholders understand what AI agents are and how they can be utilized in my work.
`

`
-start with an overview of the technology, what it is and what it does.
-give 2-3 case studies on how the technology is being used at similar companies in related industries.
-provide the top threats and opportunities for the financial service sector.
-finish with a conclusion outlining the future of the technology.
`

Ask AI Response

We ran this prompt on a set of articles discussing the recent news about AI agents and press releases of companies introducing their new AI agents. The output generated a report tailored to the financial services industry that included an overview of the technology, two case studies of peer organizations, and concluded with the future of AI agents in the financial sector.

💡Remember: Ask AI is available in both your AI Feeds and Boards.

Hover over the numbered bubbles in the Ask AI Response to view the exact article where the information came from.

Adapt it to your use case

While this example focuses on the finance industry, the prompt is fully customizable to fit your specific needs—no matter the sector. Simply select the articles that apply to AI agents in your industry, tweak the prompt to reflect your needs or research goals, and Ask AI will generate a tailored report on AI agents that aligns with your context.

In short…

With Ask AI, market intelligence analysts can move beyond fragmented news sources and generate a comprehensive technology scouting and analysis with greater depth, accuracy, and traceability.

Try Ask AI

Quickly synthesize content and create trusted, verifiable reports.

Start Free Trial

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OverviewAI agents are everywhere in the headlines—but

DCU

Mr. Freeze is one of the many Batman villains who appear in an exciting Dark Knight release, and the character looks perfect based on his history in Batman adaptations, as well as the tone of the project. Batman is one of DC‘s darkest heroes, if not the darkest. Bruce Wayne is known for his brooding persona, which has led to the best Batman movies.

At times, adaptations have tried to run away from that, leading to vibrant interpretations of heroes and villains, not all of which landed as well as expected. In terms of villains, Batman has the best Rogues’ Galleries in the comics, with foes like the Joker, Harley Quinn, Bane, and more becoming more well-known worldwide than even some of DC’s best heroes.

That is how important Batman and his corner of the larger franchise are for DC’s slate of releases. Villains like the Joker, in an Elseworlds franchise, and Clayface, in the new DC Universe, have even led solo movies. However, the most fun comes when Batman himself faces off against his villains, and in projects where many of them appear at once.

With that in mind, the animated Bat-Fam, which has all 10 of its season 1 episodes available on Prime Video, emerges as one of the hero’s most interesting recent releases. One of the many Batman villains to appear in the DC show is Mr. Freeze, who was rumored to appear in Robert Pattinson’s The Batman — Part II before Two-Face gained strength.

DC Has Revealed What Bat-Fam’s Mr. Freeze Looks Like

Mr. Freeze with armor and a shirt and a hat in Bat-Fam season 1
Mr. Freeze with armor and a shirt and a hat in Bat-Fam season 1

In Bat-Fam, Mr. Freeze is not a main villain. While the character does face off against the Dark Knight, the animated Batman series shines a light on other foes, like Mad Hatter, Killer Croc, Solomon Grundy, and more. Ra’s al Ghul and Man-Bat also play special roles, as they are not villains in the show, but rather members of the Bat-Family, as is a child version of Volcana.

Still, Mr. Freeze plays a fun role in the show, and he does not change sides, firmly staying against the Dark Knight. Voiced by Dolph Adomian, Mr. Freeze appears in Bat-Fam season 1, episode 9, “April Fools! Part 1.” Wearing a giant metal suit with red goggles, a yellow/green Hawaaiian shirt with purple flowers, a glass helmet, and a small heat on top of his blue skin, Mr. Freeze looks rather unique in the recent animated Batman series.

As expected, Mr. Freeze fights Batman in his new DC appearance. However, it is not much of a confrontation, as he fails to take down the Dark Knight despite being able to freeze Batman, Little Batman (Damian Wayne), and Bright (Alicia Pennyworth) in place initially. Using her fire powers, Volcana breaks the rest of the Bat-Family loose, with Damian later securing the villain.

How Bat-Fam’s Mr. Freeze Compares To Other Versions Of The DC Villain?

Mr Freeze smirks in Batman and Robin
Mr Freeze smirks in Batman and Robin

Bat-Fam‘s Mr. Freeze dons a design that is far too comedic and not menacing enough for most live-action Batman releases. If the character were truly to appear in The Batman — Part II or the planned threequel, then he would most likely look different from the Mr. Freeze of the Prime Video series. That said, this animated version of the character is close in tone to Arnold Schwarzenegger’s Mr. Freeze from the controversial Batman & Robin.

First, they have similar, noteworthy accents. Additionally, both characters donned intricate metal suits and had blue skin. Their personalities are also a near-match. That said, Bat-Fam‘s use of a Hawaiian shirt and hat made the whole look feel much warmer than Schwarzenegger’s Mr. Freeze ever looked in the live-action Batman movie. The animated series design also features a bulkier metal armor for the character, while the movie version was sleeker. Both looks fit their respective Batman projects, which are close in tone, but with a difference in execution.


Bat-Fam - Poster


Release Date

November 10, 2025

Network

Prime Video

  • Headshot Of Luke Wilson

    Luke Wilson

    Batman / Bruce Wayne (voice)

  • Headshot OF Yonas Kibreab

    Yonas Kibreab

    Little Batman / Damian Wayne


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Mr. Freeze is one of the many

Comics

Though four-time Grammy award winner Abel “The Weeknd” Tesfaye might be best known for his swoon-worthy singing voice, lately Tesfaye has been posting more about his video game career than his singing one. According to Polygon, the latest game Tesfaye’s been working through is the certified 10/10 masterpiece Persona 5 Royal. But while he might be around 92 hours in, apparently he still has a lot to learn. Most notably, that you need to indicate that you’d like to pursue a romance with your in-game love interest during their Rank 9 event.

Tesfaye took to his alternate Instagram account to lament this fact, sharing an image of a Google search result stating, “You cannot initiate a romance with Takemi after you have already reached Rank 10 if you did not choose the romance options during Rank 9.” Presumably, this means Tesafaye searched if he had missed his shot with Persona 5’s “hot goth doctor.” And, if he in fact did reach Rank 10 without having a steamy conversation with Tae, he did. Sorry, Tesfaye!

Shortly after sharing the above post, Tesfaye followed it up with this funny, albeit graphic, image. Naturally, fans have taken to X to fire off a lot of incredible memes and jokes about the ordeal.

Continue Reading at GameSpot

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Though four-time Grammy award winner Abel "The

Festivals

After 20 years, the supposed real-life inspiration behind Emily Blunt‘s The Devil Wears Prada character has come forward.

Leslie Fremar, a former Vogue assistant, recently claimed that the character of Emily Charlton was based on her, recalling when she met the actress behind the character in the 2006 movie.

When asked if she thinks Emily is based on her, Fremar said Vogue‘s The Run-Through podcast, “I know I am. Yes. Correct.”

“I have met Emily Blunt,” she noted. “I was always like, ‘If I meet Emily Blunt, what would I do?’ So one day I was getting a massage at the Greenwich Hotel and she was actually at the spa herself, and I wanted to say something and I didn’t. So I let that moment pass me and then a client of mine invited me over for dinner to her house and there was like seven people there and Emily was there.”

Fremar continued, “I was like, ‘This is so intimate and personal and we’re at a mutual friend’s house.’ So I said to her, I was like, ‘I just need to let you know I’m Emily.’ She was not that interested, to be honest. I was like, ‘I thought I was gonna get this like huge reaction.’ No, it was like, ‘Oh, okay.’”

Anne Hathaway, Meryl Streep and Emily Blunt in ‘The Devil Wears Prada’ (2006)

When the Hollywood stylist worked at Vogue, she hired The Devil Wears Prada author Lauren Weisberger to be a junior assistant for Anna Wintour, where they worked together for eight months. Weisberger wrote the 2003 book based on her time at the fashion glossy.

Blunt reprises her role in The Devil Wears Prada 2, premiering Friday in theaters, also seeing the fashionable returns of Meryl Streep as Miranda Priestley, Anne Hathaway’s Andi and Stanley Tucci as Nigel Kipling.

Tracie Thoms and Tibor Feldman will also reprise their roles from the original 2006 film, with Kenneth Branagh, Simone Ashley, Lucy Liu, Justin Theroux, B.J. Novak, Pauline Chalamet, Rachel Bloom, Patrick Brammall, Conrad Ricamora and Lady Gaga also joining the cast.

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After 20 years, the supposed real-life inspiration

Film

A lawsuit has been filed challenging Paramount‘s $110 billion megadeal for Warner Bros. Discovery, the opening legal salvo over a merger that will reshape Hollywood.

Paramount subscribers, in a lawsuit filed on Thursday in California federal court, allege the acquisition will substantially reduce competition in streaming, news and theatrical distribution in violation of antitrust laws. They seek a court order blocking the merger and unwinding Skydance‘s acquisition of Paramount.

The deal will consolidate “Paramount’s ability and incentive to raise prices, reduce output, narrow slates, reduce quality, and worsen consumer-facing terms, including through control of distribution, exclusivity, windowing, and licensing,” states the complaint.

The lawsuit is believed to be the first legal action targeting the merger that would combine two of Hollywood’s legacy studios. Consumers represent one of several groups that could pose an obstacle to consummating the deal, which includes the Justice Department, state attorneys general, the European Union and the Federal Communications Commission.

 “Paramount/Warner Bros. is not a done deal,” California Attorney General Rob Bonta said in February, hours after Netflix declined to raise its bid for the David Zaslav-led company, positioning Paramount as the winner of the bidding war. “These two Hollywood titans have not cleared regulatory scrutiny — the California Department of Justice has an open investigation, and we intend to be vigorous in our review.”

Paramount said in a statement that the lawsuit is “without merit.” It added, “The combination of Paramount and WBD will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice.”

In the lawsuit, consumers argue that the deal will substantially lessen competition in streaming and cable TV. The combined entity would have the third largest streaming platform behind Netflix and Disney with $17.9 billion flowing from its streaming business, according to the complaint, which notes that Warner Bros. Discovery and Paramount ranked third and fourth respectively in top streaming services in 2024. The lawsuit claims that the company would have the second largest streaming platform by subscriber count, though it doesn’t appear to account for consumers that have both services.

Paramount CEO David Ellison has framed the deal as one that will bolster competition in a large battle against tech giants like Netflix, Amazon and Apple. He’s pledged to release at least 30 movies a year theatrically with minimum 45-day theatrical windows.

That commitment, however, has drawn criticism from some in the industry who are skeptical it can maintain that output. Indeed, consumers argue that the deal will leave “moviegoers with fewer theatrical titles, less genre and budget variety,” plus “fewer meaningful alternatives at local theaters.”

If the merger is allowed to go through, the company would control roughly 24 percent of the theatrical distribution market, making it the largest theatrical distributor, according to the complaint. “The proposed transaction, therefore, would not merely combine two studios; it would increase top-four concentration by approximately 10.2 percentage points and eliminate Paramount as an independent studio competitor,” writes Joseph Alioto, a lawyer for the subscribers, in the lawsuit.

Earlier this month, Warner Bros. Discovery investors voted to combine with Paramount. The Justice Department hasn’t yet given its blessing, though President Trump previously thrusted himself into the bidding war to undermine Netflix’s bid in what’s largely been seen as support for Paramount.

Nodding to reports that Trump favors Paramount acquiring Warner Bros. Discovery, the lawsuit argues that the merger will diminish editorial independence, credibility and viewpoint independence at the combined entity. According to the complaint, the company would be the second largest news media entity behind Comcast.

Overall, the lawsuit contends that the merger should be blocked, in part, because of Skydance’s growth by way of acquisition rather than true competition. The Clayton Act bars mergers that may substantially lessen competition or tend to create a monopoly. The foundational U.S. antitrust law has also been interpreted to account for acquisitions that contribute to or accelerate a trend toward concentration by narrowing the field of meaningful rivals. Since 2010, the entertainment industry has seen mergers involving Paramount and Skydance, Disney and 21st Century Fox and Discovery and WarnerMedia.

“Skydance’s nontrivial acquisition of Paramount Global and the proposed nontrivial acquisition of Warner Bros. Discovery reflect the same strategy of refusing to compete by building better products, investing, innovating, or winning customers through rivalry on the merits, but instead pursuing scale through consolidation that eliminates independent rivals and weakens the competitive constraints that protect consumers,” states the complaint, which looks to force a divestiture.

California is currently investigating the merger. It will almost surely lead any effort on a lawsuit from state attorneys general to block the deal if one is filed.

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A lawsuit has been filed challenging Paramount‘s

TV

Possible is no longer trying to prove itself. That’s what organizer and Beyond Ordinary Events CEO Christian Muche told me ahead of the event. The sentiment rang true on the ground this week in Miami Beach, where the event, now in its fourth year, felt more polished and self-assured than in years past. 

Between Sunday night and Wednesday afternoon, some 7,500 attendees came together—a 38% bump from last year—to consume content, network, learn, schmooze, and play. The conference has expanded beyond the Fontainebleau, spilling onto the beach and into the neighboring Eden Roc and Nobu Hotels, all while its lineup of branded yachts on the west side of Collins Avenue grows longer. 

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Possible is no longer trying to prove

What to Watch

You are listening to the Daily Roundup here as part of the Reality. Steve Podcast, I’m your host reality. Steve, thank you all for tuning in on this Tuesday. A good show for you today. We’ve got a little more info now on the recent domestic dispute between Dakota and Taylor as the outlets got a copy or they were able to access the report from the police department.

I’ll read you that. Taylor Frankie Paul reappears on Instagram, and I’ll say it’s better than what she did last week, so I guess she’s improving. Got some thoughts on bachelor mansion takeover from last night. My thoughts now on the Paradise Finale on Hulu, and we’ve got another reality show being put out by Alex Cooper, what, two weeks after her last reality show posted.

I’m losing track here, but this seems different. It’s shorter, and it’s starting next week. We’ll get to all that right now. So we know about this incident. We have heard about this incident that happened at the end of February between Dakota and Taylor, and all we had heard was a he said, she said, and we now have, well, we saying the entertainment outlets got the police report from the Draper Police Department in Utah.

That was an open investigation into a domestic violence. Case involving Dakota and Taylor. Well, now I know a few more details. The investigation began when authorities were contacted by Dakota’s friend who reported to the police that Dakota was the victim of a domestic violence assault by an ex-girlfriend at her Draper residence.

Dakota later spoke with the police himself. Claiming in the report that there were two incidents of physical assault involving grabbing, scratching, shoving, and striking at the hands of Taylor. He alleged in the report that he was very apprehensive about coming forward due to Taylor’s high public profile.

The filing noted that the police obtained photos of Dakota’s neck scratches, which he alleged were from an altercation with Taylor with whom he shares ever with. According to the report, authorities were investigating an additional accusation of domestic violence in the presence of a child. Police did not specify who the accused was in the situation, but Draper PD told people.com on Monday that no charges have been filed.

Related to the allegation. So while we have a little more detail here, I assumed again that when more info came out about what happened at the end of February, it was going to be Taylor being the aggressor again, because we had pretty much were able to deduce when, when the stuff came out last week that, oh yeah, there was an incident last month that it came from Dakota’s side and I don’t think Dakota.

Would be reporting, Hey, look what I did. So this isn’t surprising in the least bit, but again, nobody has been charged with anything. Nobody’s guilty of anything just yet, but the optics of it look terrible. There’s no other way around it. These look terrible for Taylor because. You know how some people have said, I think even one of the women from Secret Lives has said, well, I’m not, I think it was Jesse.

Yeah. It was Jesse on Call her Daddy last week saying, I’m not gonna judge a woman by one bad night by or at her lowest. And I think, I mean that’s, I get it. Jesse is being a friend to Taylor and Taylor on social media yesterday, thanked Jesse and I believe McKayla or Macy, one of the s. For being there for her for the last couple weeks.

So I get it. But I thought that was, again, shortsighted by Jesse to say that, just saying, wow, I think it’s a a fine stance to take. I’m not gonna judge somebody by their lowest moment. From what we have known throughout the years and what shit we have seen on Secret Lives, that wasn’t an isolated incident.

It might’ve been an isolated incident in terms of throwing three bart stools at your baby daddy. Let’s hope that she hasn’t done that on any other occasion, but we’ve seen this relationship, we’ve seen how things happen, and it’s not good on either side. Dakota is not innocent in all this, and Taylor certainly isn’t innocent in all this.

But again, if you’re asking me, well, what about what Dakota did? It’s like, why do you guys want me to focus on stuff that I don’t know about yet that isn’t out there for us to visually see? I saw a video of three bar stools being chucked at a baby daddy. I didn’t see any videos. I haven’t seen any photos, so I can’t talk about stuff that isn’t out there.

If it is coming, absolutely I’ll destroy Dakota and say, frankly, your son doesn’t belong with either of you. If we see that apparently. From what I’m hearing behind the scenes, yeah, Taylor’s got some stuff on him, but I think at this point we all wanna see it. We all wanna know what it is, and if she does and he’s just as guilty, he’ll feel the wrath.

The problem is the child in all this ever. I mean, how are you going to divvy up Who gets ever if these two both have some serious domestic violence charges against them? As I said from the very beginning, this thing is just messy. The whole thing sucks. There’s a child involved that makes it a hundred times worse now.

Like look, domestic violence isn’t fun for any party involved. But now when there’s a child involved and there’s custody battles going back and forth, and this woman has already gotten her son taken away from her until next Monday at the minimum, like this isn’t good, and now we get. The police report from the incident at the end of February, and clearly it’s looking like Taylor was the aggressor again, until we hear her side of what happened.

If her side comes out and says, well, I don’t have any pictures or videos, but he did this to me, again, this just puts it at not a, he said, she said if she has some sort of proof, but it’s just gonna look bad for both of them in terms of, well, who’s gonna watch over this kid? Who is going to parent ever, because by the way, things are going, like, it’s not going well for Taylor.

It really isn’t. And it doesn’t necessarily mean that Ever’s going to be taken away, but the odds are certainly leaning in the favor of her losing a lot of custody of ever without, you know, supervision or something like that. Obviously that is gonna be determined by a judge or the courts. I just think it’s ugly.

And now we’ve got video from 2023. Police have seen photos of a scratch neck of what happened to Dakota last month, and then the 2024 incident that’s in an open investigation. We saw in that story last week. Videos are currently being looked at, and again, I’m assuming that was turned over by Dakota’s side.

He’s not gonna be turning over videos that are like, here look at me committing domestic violence against Taylor. So I’m serving those videos, that’s now three videos slash photos that make Taylor out to be the aggressor, and that’s not good for anybody, especially her. Now I mentioned in the Open, she went on social media yesterday and she put out an Instagram story of her playing the piano.

Which, Hey, that’s better than what she did last week. Like I have no problem with Taylor, Frankie Paul, going on social media, doing whatever she is, whatever it is she needs to do. If she’s just shopping at the grocery store and wants to post that, even if it’s not an ad and she just wants to post that, I’m fine with anything.

I’m fine with anything that Taylor, Frankie Paul posts on social media outside of making any sort of either snide remarks, throwing shade, or even discussing. The video and or anything Dakota related, nothing. She should never post anything about that until the time is right. So if she wants to post a picture of her or a video of her playing the piano or a, it was actually a still photo of her playing the piano.

I’m all fine with. Have at it. And then, like I said, she did comment to Jesse ’cause Jesse commented underneath that in the caption of that particular, in the comments of that particular photo. And, you know, she basically said, thank you for being there for me. You guys are the best. But yeah, this is, this is something that

she can do. Just don’t. Throw any shade at anybody and don’t even bring up the situation from 2023. Nothing like that. Fine with that. That’s what I’m saying last week. It’s not like, no, it’s not like we need you to stare at a wall like she had referenced. Just don’t talk about this case. Don’t throw shade.

Don’t bring up Dakota. Don’t bring up 2023. Don’t bring up anything that has to do with any of that stuff. There’s no need to and really, so far so good. Right. If you want to post Bible quotes, do that. I just think that commenting on anything is only going to hurt her, especially now, ever since this report is now out there that the police report has been obtained by the entertainment sites in regards to laughs, months in altercation, and it makes Taylor out to be the aggressor, which is not a good thing.





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Awards

Some of the most powerful state attorneys general in the nation just got eclipsed by five regular citizens in a move to put the brakes on Paramount‘s merger with Warner Bros Discovery.

“The April 23, 2026, stockholder vote materially changed the posture of the proposed acquisition,” says a wide-ranging antitrust filed Thursday in California federal court by five pay-TV and streaming services subscribers. “Before that vote, the transaction remained contingent on Warner Bros. Discovery stockholder approval. After that vote, a major closing condition had been satisfied, and the threatened injury to Plaintiffs became substantially more imminent because the remaining barriers to consummation were principally regulatory and closing-condition barriers rather than stockholder approval.”

In a graph-filled and David Ellison name-checking 46-page complaint suit filed Thursday in U.S. District Court (read it here), Pamela Faust, Len Marazzo, Lisa McCarthy, Deborah Rubinsohn and Gary Talewsky aim to do what California’s Rob Bonta, New York’s Letitia James and other AGs and most of the Democratic Party have only been talking about up to now: to stop the $111 billion multi-studio merger that has been greenlighted thus far by the Trump administration.

And that puts CNN, a longtime thorn in MAGA’s paw, right at the center of this.

RELATED: California AG Slams Feds Over Paramount-WBD Deal; Citing Antitrust Concerns, Rob Bonta Says Real “Possibility Of Multiple States Working Together”

“By placing CNN and other news assets under Paramount’s control as part of a broader consolidation strategy,” the complaint states, “Paramount’s proposed acquisition of Warner Bros. Discovery would reduce the number of independent owners capable of sustaining national television news operations at scale and weaken competitive constraints that protect editorial rivalry, investigative resources, and viewpoint diversity.”

In that vein, the five plaintiffs — who also are looking to unravel last year’s Paramount acquisition of Skydance — are going right to the math.

RELATED: Paramount-Warner Bros Discovery Deal: Experts Say Trump Factor Will Have Bearing On EU Antitrust Process

“If Paramount acquires Warner Bros. Discovery, Paramount and Warner Bros. would combine into a single firm with approximately 23.6% market share, making the combined Paramount/Warner Bros. entity the largest studio shown in the chart,” the complaint reads. “The post-merger top four studios would be Paramount/Warner Bros. at approximately 23.6%, Disney at approximately 21.4%, Universal at approximately 20.2%, and Sony/Columbia at approximately 11.1%, for a combined top-four share of approximately 76.3%. The proposed transaction, therefore, would not merely combine two studios; it would increase top-four concentration by approximately 10.2 percentage points and eliminate Paramount as an independent studio competitor.”

Surely lining up as the first of what could be many legal efforts to block the mega-deal, Thursday’s suit was quickly rejected out of hand by Paramount Skydance itself.

RELATED: It’s Not Just David Zaslav: Media & Entertainment CEO Pay Surged 117% In 2025, Report Finds

“We are aware of the private action filed today in federal district court and are confident that it is without merit,” a company spokesperson told Deadline. “The combination of Paramount and WBD will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice.”

Of course, that’s not how Faust, Marazzo, McCarthy, Rubinsohn and Talewsky interpret it.

“Plaintiffs are threatened with imminent loss or injury if the proposed acquisition of Warner Bros. Discovery by Paramount is consummated,” the lawsuit states. “These injuries include increased prices, diminished consumer choice, reduced output and quality of entertainment and news programming, less consumer choice, and degradation of non-price dimensions of competition in national news, including credibility, editorial independence, investigative vigor, output, and viewpoint diversity.”

RELATED: David Zaslav 2025 Pay Levitates To $165 Million On Option Awards Initially Tied To WBD’s Planned Split

Despite a flurry of protests, Warner Bros Discovery shareholders voted last week to approve the merger — a key hurdle in advancing the huge deal. Those same investors, however, balked at endorsing WBD CEO David Zaslav’s massive golden paramount, though that vote is non-binding.

RELATED: Trump Celebrity Supporters: Famous Folks In Favor Of The 47th President

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Some of the most powerful state attorneys

Music

Bluey: Up Here (The Orchestral Album) debuts at No. 3 on Billboard’s Kid Albums chart (dated May 2), scoring the animated series and pop culture phenomenon its fourth charting project on the ranking. Credited to series composer Joff Bush and The Bluey Music Team, the album also jumps 11-2 on the Classical Crossover Albums chart, notching a third week at its No. 2 peak.

Kid Albums ranks the week’s most popular kid albums in the United States, by equivalent album units, according to Luminate. The latest chart reflects the tracking week ending April 23.

The chart surge is owed to Bluey: Up Here’s release on zoetrope vinyl picture disc via independent record stores for Record Store Day on April 18. The set was initially released March 27 via streaming services, and for purchase on download, CD and vinyl.

Bluey: Up Here is the fourth Bluey album to reach the Kid Albums chart, following a trio of chart-toppers since 2021: Bluey: Rug Island, Bluey: Dance Mode! and Bluey: The Album, each spending a week at No. 1.

“This was our most ambitious album to date,” Bush says of Bluey: Up Here in a press statement, “so we wanted something extra special — something we’ve wanted to make for a long time. Orchestral music can be emotionally powerful and to be introducing kids and families to this music is an opportunity I treasure. Hearing the music from episodes like ‘Sleepytime’ and ‘The Sign’ in all its orchestra splendour meant tissues needed to be on hand throughout the mixing process.”

“Fittingly, the theme of this album is ‘growing up’. Much of this music, like the episodes they derive from, explore what it means when kids start to discover their independence and venture out on their own. Whether that’s learning to sleep in their own bed or taking a spaceship to Mars. I hope you enjoy Up Here, as the opportunity I had to make this album is thanks to YOU! Your wonderful support of the music in Bluey has allowed us to take it to new heights.”

Bluey, which follows Bluey (a lovable and tireless blue heeler dog who lives with her mom, dad and little sister Bingo), is produced by Ludo Studio for the Australian Broadcasting Corporation and BBC Studios Kids & Family. In the United States, Bluey airs and streams across Disney Channel, Disney Jr. and Disney+ through a global broadcasting deal between BBC Studios & Family and Disney Branded Television.

The success of Bluey has continued to expand into new arenas thanks to its Disney partnership, with the TV special Bluey’s Big Play – The Stage Show (premiered March 16 on Disney+), a live stage show Bluey’s Best Day Ever! at Disneyland Park in Anaheim, California (premiered March 22), Disney Cruise Line experiences with Bluey and Bingo, and Bluey activities and encounters at Disney’s Animal Kingdom at Walt Disney World Resort in Orlando, Florida.

Bluey: Up Here isn’t the only debut in the top five on the latest Kid Albums chart: The beloved Peanuts gang notches another chart entry with the No. 4 arrival of Vince Guaraldi’s It’s Arbor Day, Charlie Brown / Charlie Brown’s All Stars.

The soundtrack project bows thanks to its double vinyl release for Record Store Day, with a baseball-shaped disc containing the Arbor Day music, and a baseball glove-shaped disc containing the All Stars tracks. The set commemorates the 50th and 60th anniversaries of the CBS-TV specials Charlie Brown’s All Stars (premiered June 8, 1966) and It’s Arbor Day, Charlie Brown (premiered March 17, 1976). The latter was the 15th and final Peanuts special jazz great Guaraldi composed and performed before his death on Feb. 6, 1976.

A trio of familiar favorites round out the week’s top five on the Kid Albums chart. The Moana soundtrack is steady at No. 1, the Encanto (Highlights) soundtrack is a non-mover at No. 3 and the Frozen II soundtrack falls 3-5.

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Bluey: Up Here (The Orchestral Album) debuts

Docs

The Sony Future Filmmaker Awards have announced the shortlist for the 2026 edition, which spans the categories of fiction, non-fiction, animation, student, and future format.

The chosen filmmakers will join an exclusive program of interactive sessions and masterclasses at the Sony Pictures Studios in Culver City from June 8-11, closing with a gala ceremony on June 11 where the category winners will be announced, awarded cash prizes and Sony Digital Imaging equipment.

Established by Creo in partnership with Sony, the Sony Future Filmmaker Awards aim to provide career-defining opportunities for emerging talent by introducing them to the realities of professional filmmaking and equipping them with the tools to advance their work. The fourth edition of the Sony Future Filmmaker Awards received submissions from more than 8,400 filmmakers representing 162 countries and territories around the world.

The 2026 shortlist spans perspectives from across the globe. Highlights include stories of the women freedivers of Tamil Nadu risking their lives daily in the waters off Ramanathapuram; a Ukrainian ecologist in the Carpathian Mountains tending to water buffalo and ancient horse breeds; a newly qualified teacher struggling through the highs and lows of her first year in a London classroom; and two siblings growing up inside a Colorado alligator sanctuary. Additionally, when sheep begin disappearing, a Welsh shepherd, whose flock remain untouched, becomes the target of his community’s suspicion; a 90-year-old French piano legend prepares for his final concert, and three North Korean defectors give raw testimony about the invisible forces that held them and what it took to leave.

The shortlisted filmmakers will proceed to the next stage of judging, from which the category winners will be selected by the 2026 jury, which consists of Golden Globe-nominated director and producer Will Gluck; President of Film and Television at Pascal Pictures, Rachel O’Connor; Sony Pictures Animation co-director Adam Rosette; and director Justin Chadwick, who returns as jury chair for the fourth consecutive year.

Chadwick said, “This shortlist is a testament to the vitality of emerging filmmaking right now. From intimate character studies to urgent documentaries, from experimental animation to fearless student work, these are films that command attention, bold in their vision, accomplished in their execution, and vital in what they have to say. This program exists to give filmmakers of this calibre something beyond accolades: direct, unprecedented access to the inner workings of the industry. The jury faces the enviable but difficult task of choosing winners from work this strong; these filmmakers have set the bar high.”

While the remaining category winners will be announced on June 11, the Sony Future Filmmaker Awards announced the winner of this year’s “Future Format” competition, which asks participants to respond to a technical brief that explores the creative possibilities of storytelling. Nigeria’s Innocent Yama Lamido took home the prize for “Creating Without Permission,” “a meditation on creation and on the spaces between moments.” As part of his prize, Lamido will receive Sony Digital Imaging equipment and is invited to join the program at Sony Pictures Studios in June.

For more information, including the full list of nominees, visit sonyfuturefilmmakerawards.com.

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Michael Jackson‘s musical legacy reached a remarkable new milestone last weekend, as his catalog achieved the biggest streaming week of his career following the premiere of the ‘Michael’ film. The King of Pop’s songs surged 116% in US streams, drawing 47.9 million listens from April 24-26.

ChartData shared the impressive streaming figures on social media, noting the direct connection between the film’s debut and the surge in musical discovery. The data reveals something profound about how visual storytelling can breathe new life into an artist’s catalog, even decades after their passing.

The streaming numbers tell a story about artistic endurance that goes beyond simple nostalgia. When audiences watch Jackson’s creative journey unfold on screen, they’re drawn back to the music that made him legendary. This isn’t just about remembering past hits; it’s about rediscovering the craft and innovation that defined his artistry.

The ‘Michael’ film appears to have successfully captured something essential about Jackson’s creative process, inspiring viewers to explore his musical catalog with fresh ears. The 47.9 million listens represent more than just passive consumption. They suggest active engagement with an artist’s body of work, sparked by deeper understanding of his creative vision.

This streaming surge surpasses all previous weeks in Jackson’s career, including the periods following his passing when public attention naturally turned to his music. The fact that a biographical film could generate even greater engagement speaks to the power of storytelling in connecting audiences with an artist’s work.

The social media response to ChartData’s announcement has been equally impressive, with over 8,000 likes demonstrating continued public fascination with Jackson’s cultural impact. The engagement reflects how streaming data has become its own form of cultural commentary, offering insights into collective listening habits and artistic influence.

For many listeners, the film likely provided context that enhanced their appreciation of familiar songs. Understanding an artist’s creative struggles, breakthrough moments, and artistic evolution can transform how we experience their music. The streaming surge suggests that biographical storytelling serves as a bridge between historical artistry and contemporary audiences.

The timing of this achievement is particularly noteworthy in an era where streaming platforms have fundamentally changed how we measure musical success. Jackson’s posthumous streaming record demonstrates that great artistry transcends the limitations of any single medium or era. His music continues to find new audiences through various forms of cultural representation.

The success of both the film and the subsequent streaming surge offers lessons about artistic longevity. Jackson’s catalog wasn’t just revived by nostalgia or marketing; it was rediscovered through renewed understanding of his creative process. This pattern suggests that the most enduring artists are those whose work rewards deeper exploration.

The 116% increase represents more than statistical achievement. It reflects the ongoing conversation between past and present, between historical artistry and contemporary discovery. Jackson’s music continues to teach new generations about innovation, performance, and the relentless pursuit of creative excellence.

As streaming continues to reshape how we engage with music, Jackson’s record-breaking week demonstrates that authentic artistry remains the most powerful catalyst for audience connection. The numbers tell a story about artistic legacy that extends far beyond any single platform or moment in time.

The ‘Michael’ film has clearly succeeded in its mission to honor Jackson’s artistic journey while introducing his work to new audiences. The resulting streaming surge serves as evidence that when we understand an artist’s creative process, we’re naturally drawn to experience their work more deeply.

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  • 1X robot production facility is now building the Neo robot
  • One factory worker will look especially familiar
  • The company says it’s on track to deliver the humanoid into homes this year

It’s still hard to buy your own home robot. Humanoids like Tesla Optimus and Figure AI have yet to go on sale, and 1X’s $20,000 Neo Home Robot is still on pre-order. But at least Neo is doing its best to move the operation along, as it, according to a newly released video, assists in its own production.

1X released a nearly three-minute-long video on Thursday that shows virtually the entire Neo robot production process, from machining key components to weaving the touchable or huggable fabric to dropping in an Nvidia GPU.

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1X robot production facility is now building

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In the days since this year’s White House Correspondents’ Dinner was cut short when shots were fired at the event, there has been a boom of conspiracy theory videos created by people who insist that the entire situation was a false flag operation. These kinds of theories are nothing new, but the way they’re spreading now is a reflection of how reaction video culture is reshaping our social media landscape. And even though the initial chaos around the shooting has started to die down, content creators are still posting about what “really” happened.

There is still much we do not know about Cole Allen, the 31-year-old suspected shooter who allegedly traveled from Los Angeles to Washington, DC, ahead of the WCHD and was staying in the same Hilton where the event was held. But that has not stopped content creators from flooding platforms like YouTube, TikTok, Instagram, and X with videos purporting to have more insightful takes on the situation than what’s being reported by the mainstream media.

None of these videos reveal anything that hasn’t already been reported out via traditional media outlets. But each of them speaks to the way that this brand of content has become a normal part of people’s media consumption habits and something that creators see as a viable way to capture attention. In the US, trust in traditional media outlets is at a historic low and more people are turning to social media to stay informed about world events. And that shift has given conspiracy-minded content creators a choice opportunity to influence the way people understand reality.

All of this is similar to what happened in 2024 when Donald Trump survived an assassination attempt while campaigning for the presidency. Then, creators rushed to capitalize on the event while also writing it off as a false flag designed to garner sympathy for the Republican nominee. That news cycle and subsequent discourse dragged on for weeks, both because it was a significant moment in an election year and because it was difficult to understand how Trump could have been shot in his ear without sustaining any visible damage afterward.

Many of the newer videos about the WHCD shooting suggest that we should look at these events as a response to the Trump administration’s propensity for spreading misinformation. And while there is no evidence to suggest that the WHCD shooting was, in fact, orchestrated with Trump’s approval, one could argue the administration is at least partially responsible for the way that this idea has gained traction across the internet.

As easy as it is to laugh at the constant barrage of shitposts coming out of the president’s social media accounts and other official governmental channels, they have undoubtedly had an impact on the way that the public thinks about the current administration. By sharing ugly, immature memes and AI-generated images of Trump as a Christlike figure, the White House has told people that nothing is to be taken seriously and everything can be turned into a crude joke. And at a time when all of the internet’s biggest social media platforms have begun encouraging their users to upload videos of themselves while chasing engagement, it makes sense that many would see this past weekend’s shooting as a chance to boost their profiles.

Trump has made nonsensical “jokes” a significant part of his political brand, and people are responding with very similar energy.

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Entertaintment

Emmy winning costume designer Janie Bryant was knee deep in the Taylor Sheridan universe last spring when she started experiencing “weird stomach aches.” The jabbing pains were sometimes followed by vomiting, leading Bryant to brush it off as food poisoning or possibly irritable bowel syndrome.

“Then I did like a little research and I was like, ‘Oh, I’m anemic,’ because when you’re anemic, you can throw up sometimes or have jabbing pains,” Bryant explained on the latest episode of Lisa Guerrero Unleashed, hosted by her close friend. She tried copper and other remedies to no avail. “When I got to Montana, I was like, ‘OK, enough is enough. I got to go see a GI specialist.’ When I went in for my appointment, the doctor said to me, ‘Oh, you probably have an ulcer, but let’s do a colonoscopy and also let’s find out what’s going on.’ As I was coming out of sedation, my doctor, Dr. Walsh in Bozeman, looked at me and said, ‘Janie, you’re really sick.’”

Dr. Walsh confirmed to Bryant that she had a tumor that needed to be removed immediately. At the time, Bryan said she was juggling work on Sheridan shows The Madison, Dutton Ranch and Landman. So she sent an email to her boss Sheridan and other colleagues that she was dealing with some “personal issues,” declining to go into detail. “I felt like this was nobody’s business,” Bryant said, adding that she didn’t want anyone to feel sorry for her. “That energy is not healthy; that is low vibrations. That is not what I need. I need people to be feeling brave and feeling strong for me and having that energy around it.”

Bryant continued that she wanted to get in the mindset of talking directly to her cancer, “‘Cancer, thank you so much for showing me where I need to heal myself.’ It is about thanking and giving praise to it and loving it and all of those things, to have that kind of energy going to your body, to all your cells.”

For treatment, Bryant returned to Los Angeles where she “found amazing doctors and nurses” to help with the removal of the tumor, which she said was localized. During surgery, they removed her entire colon. Guerrero praised her friend for exhibiting strength and resilience across the entire cancer journey. “You were such a warrior in every way. I remember just looking at you and you were so frail and had lost so much weight, but you had a big smile on your face and you’re like, ‘Yes, I’m going to go to these appointments and I’m going to get through it,’” Guerrero said. “I didn’t cry in front of you, but it was hard to see you like that. And the fact that you were able to just with such dignity and grace get through that and continue working… because I mean, in all honesty, your strength during all this was inspiring.”

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The Devil Wears Prada 2 isn’t just unapologetically dazzling but also a wiser, more self-aware version of itself. Meryl Streep returns as Miranda Priestly with effortless command.

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The Devil Wears Prada 2, that comes 20 years after its prequel, is set for a theatrical release on May 1.

The Devil Wears Prada 2, that comes 20 years after its prequel, is set for a theatrical release on May 1.

The Devil Wears Prada 2A

4/5

1 May 2026|English2 hrs 00 mins | Drama

Starring: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Simone Ashley and BJ NovacDirector: David FrankelMusic: Theodore Shapiro

Watch Trailer

A chaotic newsroom. The bustling city of New York. Picture perfect models. Frazzled assistants. Designer clothes. Ego battles. Hustle. And the cerulean blue sweater. The Devil Wears Prada 2 is all of this and so much more. Twenty years later, director David Frankel, writer Aline Brosh McKenna and producer Wendy Finerman return with a much-anticipated sequel that is not only unapologetically dazzling but also a wiser, more self-aware version of itself.

For a film that became a pop culture sensation back in 2006, its sequel, needless to say, ran the risk of feeling like a product, especially given its blitzkrieg marketing. But The Devil Wears Prada 2 defies that expectation, ultimately standing as a complete piece of art in its own right.

Gird Your Loins.

It begins with Andy Sachs, now a serious journalist working with a newspaper called The Vanguard. As she is called on stage to accept an award for an outstanding series she has reported on and written about, she learns that her company has fired her entire team. Her fiery speech about journalistic organisations laying off employees, downsizing and consolidating, delivered right there on stage, catches the attention of Irv Ravitz, the chairman of Runway magazine.

He offers her a job. Her new role isn’t just that of a features editor, but also that of someone tasked with restoring the magazine’s credibility after an article by Miranda Priestly receives intense backlash for being politically incorrect. When Andy meets Miranda, the latter fails (or perhaps pretends) to recognise her – the same woman who once worked as her second assistant.

Miranda is far from pleased with Irv’s decision to hire Andy – referring to her at one point as ‘the CEO’s latest whim’ – and quietly waits for her to falter. The duo, along with Nigel Kipling, then meets Emily Charlton, now part of Dior’s advertising team. Their mission? To persuade Dior not to pull out and to continue funding Runway as it struggles to stay afloat in the wake of the scandal.

While Andy is swept over by a wave of nostalgia, Emily can’t help but feel a sense of near ‘hallucination’. Miranda, on the other hand, remains indifferent and seemingly unaware of having ever worked with either of ‘the Emilys’. As fate brings them together after two decades, they once again navigate the troughs and crests of soft news media. Adding to the chaos is the sudden demise of Irv.

The makers dive deep into everything the industry has been battling and enduring – digitisation, the death of print, economic pressures, declining revenues, technological disruptions, artistry versus AI, creativity versus commerce, and, of course, the bittersweet adrenaline rush of chasing that one mega exclusive interview with an elusive celebrity before competitors can get there first.

At 2 hours, The Devil Wears Prada 2 rarely ‘moves at a glacial pace’. It stands as a fitting tribute and a successful continuation of its predecessor. Women’s agency and ambition remain non-negotiable here. In fact, one might even sense Miranda softening, ever so slightly. What’s also refreshing is the film’s subtle emphasis on sisterhood – there’s no room here for women tearing other women down.

In a key scene, when Miranda worries that her time as a journalist, media mogul and editorial head of Runway may be drawing to an end, we see a rare moment of vulnerability. Her partner reassures her that not everything is over, that she still has a loving family, and that she should let the serenity of Italian mornings and a cup of espresso guide her toward the next chapter of her life.

And yet, in that very moment, Miranda already knows what she wants. She wants to keep working for as long as she possibly can. In another poignant scene inside a taxi, Miranda and Andy speak about work – how deeply they cling to it, how essential it is to their sense of purpose. It’s a simple yet powerful reflection on the modern woman, who refuses to be weighed down by guilt or judgment.

There’s also a measure of course correction in The Devil Wears Prada 2. This time, Miranda is seen hanging up her own coat instead of literally throwing it onto her assistant’s desk after an employee complaint to HR. She now has an assistant, Amari, who sits beside her in meetings, subtly censoring her whenever she veers toward something politically incorrect, particularly as she struggles to not say the word ‘fat’ out loud.

In the prequel, this adjective and ‘six’ (her size) became descriptors for Andy. But what became the weakest link of And Just Like That becomes a strength here. The film avoids performative virtue-signaling (despite some bit of tokenism) and resists the urge to be morally righteous through contrived, woke sermons.

An Asian or an effeminate assistant doesn’t come across as a calculated attempt to appease the so-called woke brigade but as a natural extension of the world it inhabits. In the 2006 film, Andy finds purpose through her stint at Runway. The sequel is more news industry driven. Here, a woman doesn’t get threatened by another woman’s rise even though ambition can make one take a less pleasant path.

But here, they come together to fight the monster that tries to turn Runway into a money-making factory and take their independence and sense of purpose away. By the end of it, Andy, interestingly, still remains a ‘fetcher’. In another world, her ex-boyfriend Nate would be happy. And yes, there’s a whole lot of glow-up here but rather than that becoming the reason of their confidence, it’s simply an accessory they wear to work every day alongside their drive and passion.

The formidable Meryl Streep returns as Miranda, a cultural icon, with effortless command. Her poise and gumption is truly one for the books. Her performance is all about precision and restrain. There’s the clipped dialogue, the measured pauses, but what stands out this time is the softening at the edges without diluting the character’s authoritativeness.

Anne Hathaway brings a grounded, mature energy to Andy, effectively charting her journey from an overwhelmed assistant to a self-assured journalist. She plays Andy with quiet conviction and has – no points for guessing – a luminous screen presence. Emily Blunt as Emily brings her signature bite and cold dismissiveness to the fore, elevating the screenplay with an interesting twist.

Stanley Tucci as Nigel is equal parts warm and witty, perfectly complementing the sharp-tongued Miranda. And while it’s good to see Simone Ashley, Justin Theroux and BJ Novac, don’t expect them to leave a lasting impact. And then, there’s Lady Gaga, who shares a deliciously witty scene with Miranda. Finally, there are some blink-and-miss almost-cameos by Winnie Harlow, Michele Morrone, Donatella Versace, Amelia Dimoldenberg and others.

The Devil Wears Prada 2 takes you to a good-looking, immersive world – one that’s occasionally messy and chaotic – that sometimes makes you feel like a voyeur. But underneath the blinding lime lights, walk-in closets and chic, avant garde fashion moments, the film tells a relevant story that will hit home if you’re a passionate journalist.

It hits that rare, sweet spot of nostalgic charm and original storytelling. It’s fun and deep in equal parts. Seems like the makers have truly cracked the sequel formula! So, wear florals for spring or that cerulean blue sweater from a cheap retail store but don’t miss this one.

That’s all.

First Published:

April 30, 2026, 21:30 IST

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Last Updated:April 30, 2026, 21:30 ISTThe Devil

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Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety chief awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.

Naomi Watts, “Love Story: John F. Kennedy Jr. and Carolyn Bissette”

Outstanding Supporting Actress in a Limited or Anthology Series or Movie (Updated: April 30, 2026): At the moment, this category sits as one of the two most competitive acting races in the entire Emmy landscape.

Cailee Spaeny delivers a career-best turn in the second season of Netflix’s anthology “Beef,” and it could bring the 27-year-old her first major Emmy nod. Whether Oscar winner Yuh-Jung Youn will be standing alongside her is a debate that figures to run the rest of the season.

The bigger logjam is surrounding “Love Story: John F. Kennedy Jr. and Carolyn Bissette,” which has Grace Gummer, Naomi Watts and Constance Zimmer all in play. Is there room for all three? Emmy history says probably not, but the FX limited series is the kind of prestige period swing that can absorb multiple bids in a category this loaded.

Laurie Metcalf is looking like a potential double-nominee alongside her comedy play in “Big Mistakes,” and she looks like a safe bet for Ryan Murphy’s “Monster: The Ed Gein Story.” She may not be alone from that show, either: Vicky Krieps has garnered some notices for her work in the same series, and Murphy productions have a long history of stacking the acting categories.

With the announcement that the entire cast of HBO Max’s “DTF St. Louis” will submit in supporting, Linda Cardellini becomes a real threat for her first statuette for one of the most talked-about turns of the season. Her co-star Joy Sunday could also factor into the fray.

Don’t sleep on Dakota Fanning, either (whose sister is also in the hunt in lead comedy actress). The two-time nominee is back in the conversation for Peacock’s “All Her Fault,” giving the network a credible play in a category where it has been historically underrepresented.

All official category submissions have yet to be confirmed, and the field could shift before the end of the eligibility cycle.

The Emmy Awards timeline begins with nomination-round voting from June 11-22, with nominations announced on July 8. The final voting runs from Aug. 17-26, leading into the Creative Arts Awards and Governors Gala on Sept. 5–6, culminating with the Emmy Awards ceremony on Sept. 14 on NBC.

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MCU

15-Second summary

Assessing the real-world risk of a CVE can be time-consuming and fragmented. CVE Insights Cards provide a 360° view of each vulnerability, but sometimes, you need answers to specific questions.

We’ve added Ask AI to CVE Insights Cards so you can:

  • Speed up prioritization by asking questions about how the CVE affects products, industries, or threat campaigns.
  • Assess exploitability based on your criteria with custom prompts that synthesize multiple sources into responses in seconds.
  • Create customized CVE reports including specific data like exploitation methods, related malware, or recommended mitigations.

With Ask AI in CVE Insights Cards, you can move from consolidated CVE overviews to precise, actionable insights faster.

Overview

CVE Insights Cards offer a comprehensive view of every CVE, continuously updated with real-time information: timelines, exploit and patch data, associated threat actors, malware, and more. They’re a powerful resource for understanding a vulnerability and digging into key details like affected versions or mitigation techniques.

But even with all that data, sometimes you need more: answers to specific questions, support for a custom scoring model, or data formatted to fit your workflow. That’s where Ask AI comes in. Now integrated directly into CVE Insights Cards, Ask AI helps you extract the exact insights you need—faster and with less effort.

Speed up CVE prioritization

CVSS, EPSS, and known exploits can help gauge the severity of a CVE, but they don’t always tell the full story—especially when you’re triaging dozens of vulnerabilities. You might need to understand whether threat actors targeting your industry are actively exploiting it, or how well interim mitigations hold up while a patch is pending.

In these examples, we prompt Ask AI to summarize significant risks and then calculate a risk score based on your specified criteria. We’re also showing an example regarding the chaining potential of the CVE. These prompts can be saved and reused, making it easier to apply consistent logic across multiple CVEs.

Example 1: CVE Scoring

Ask AI Prompt

You can create a custom scoring calculation to align with your company’s risk scoring methodologies. We’ve borrowed the example of a custom scoring prompt we discussed in more detail in this blog: ‘Prompt engineering: Extract customized CVE scoring‘

Ask AI Response

Example 2: Chaining potential

Ask AI Prompt

How is this CVE chained in attacks with other vulnerabilities?

Ask AI Response

Assess exploitability based on your criteria

Knowing a CVE exists is one thing; understanding how easily it can be exploited is another. Exploitability often depends on nuanced technical details buried in write-ups, proof-of-concept code, or analyst commentary. Manually gathering and interpreting that information takes time you don’t always have.

Ask AI can synthesize these sources to give you a clear, plain-language summary of exploitability. In these examples, we prompt it to explain how the exploit works, whether it requires authentication or user interaction, and how widely available the exploit code is. We’ve also asked Feedly AI to break down the attack chain. You can adjust the prompt to match your environment or use case.

Example 3: Technical details and exploitation requirements

Ask AI Prompt

Explain this vulnerability’s technical details and exploitation requirements.

Ask AI Response

Example 4: Attack chain

Ask AI Prompt

Create an attack chain a threat actor could use against this CVE, include a mermaid diagram and tag each step with the corresponding Kill Chain step and add MITRE t-codes where applicable.

Ask AI Response

Create customized CVE reports

Every team has different reporting needs. You might need a quick write-up for leadership, detailed technical notes for patch management, or structured data for a risk model. Hunting through multiple sources to pull the right details into the right format can be tedious and time-consuming.

Ask AI makes it easy to generate tailored CVE reports on demand. In these examples, we ask for a customized reports for non-technical leadership in, as well as a table response on TTPs, malware, and mitigations. You can also export results or fine-tune the prompt to match your reporting format.

Example 5: Custom reports

Ask AI Prompt

Create a customized report for this CVE for non-technical leadership, providing all pertinent information relevant to share at the executive level.

Ask AI Response

Example 6: TTPs table

Ask AI Prompt

Create a TTPs, malware, and recommended mitigation table for this specific CVE.

Ask AI Response

Get answers, not just data

CVE Insights Cards already bring together the most important information about each vulnerability. Now, with Ask AI, you can go a step further—asking specific questions, getting tailored answers, and spending less time searching for context.

Try Ask AI in CVE Insights Cards

Start your trial for Feedly Threat Intelligence and see how much faster CVE analysis can be.

Start Free Trial

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15-Second summaryAssessing the real-world risk of a

DCU

Lanterns, starring Aaron Pierre and Kyle Chandler as John Stewart and Hal Jordan, respectively, just got a release date from HBO. In a sneaky move only noticed by some avid fans on social media, the network confirmed exactly when audiences will be able to tune into the Green Lantern DCU reboot.

HBO has updated the official teaser trailer originally released in early March to include brand-new music, as well as an Aug. 16 premiere date. It was previously confirmed that the series would debut that month, but a specific date had not been set until now. While the music was likely changed due to the use of a licensed song, which is not out of the ordinary, the release date confirmation is an unexpected wrinkle. Lanterns is now set to debut a week after the finale of House of the Dragon Season 3. You can watch the updated trailer below.

Lanterns is one of three DC Studios projects officially releasing this year. The show debuts after Supergirl hits theaters this summer on Jun. 26, and before Clayface terrifies moviegoers on Oct. 23. The diverse nature of the DCU will be on full display for the first time since the announcement of the rebooted cinematic universe in early 2023. Last year saw James Gunn start things off with Superman, starring David Corenswet in the title role, as well as the long-awaited second season of HBO Max’s Peacemaker. Now, it is time for DC Studios to live up to its promise of delivering different flavors of the superhero genre.


It’s been an interesting road for Lanterns, which is being marketed as a True Detective-style series that grounds the intergalactic space cops in an Earth-set mystery. There have been complaints about the series leaning too far away from the source material, only amplified by the fact that the teaser trailer did not feature a lot of green. Frustration compounded when series co-creator Damon Lindelof (Watchmen) made a “dumb joke” about not wanting to include the word “Green” in the show’s title. After backlash from several comic creators, Lindelof made his stance clear, asserting his love for the comics (and the color).

Lanterns may be more grounded than previous adaptations, but expect to see plenty of familiar faces from the source material. In addition to Aaron Pierre as John Stewart and Kyle Chandler as Hal Jordan, the cast also features Ulrich Thomsen as Sinestro and Nathan Fillion as Guy Gardner, the latter reprising his role from Superman. And Paul Ben-Victor is playing an alien known as Antaan, who is speculated to be a cover for Atrocitus, the Red Lantern. Yes, Lanterns is clearly taking cues from mystery dramas like True Detective, but viewers will still be treated to the iconic elements of the material.


lanterns-2026-tv-show-logo-on-black-poster.jpg


Release Date

August, 2026

Network

HBO

Showrunner

Chris Mundy


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Lanterns, starring Aaron Pierre and Kyle Chandler

Comics

Despite all the heavy hitters we recently got, Clair Obscur Expedition 33 still holds the crown as the best-rated game of 2025 on Metacritic.

Back in April, when Sandfall officially released their flagship project, Clair Obscur: Expedition 33, it took the gaming scene by storm. Everyone was talking about it, either how the game is great, or expressing displeasure with turn-based games. This game is a perfect blend of everything the players love: the characters are all pretty realistic and relatable, combat is engaging enough, the soundtrack adds so much to the game, and the story is out of this world (people are still debating on what is the “right” ending). It was the best contender for the GOTY 2025 award, even managing to surpass some pretty serious titles, like Split Fiction or Kingdom Come: Deliverance II. 

And now, a few months later, we got a couple of pretty amazing new games, all extremely highly rated on Metacritic. However, Clair Obscur Expedition 33 is still the best-rated game of 2025 on Metacritic.

Clair Obscur Expedition 33 Is Still the Best-Rated Game of 2025 on Metacritic and #1 Contender for Game of the Year 2025 Award

Clair Obscur was released on April 27. After it, on June 26, we got the highly anticipated Death Stranding 2: On the Beach, which was widely praised as well. It managed to surpass Clair Obscur’s rating on the PlayStation Store (and even started a review ping-pong). And quite recently, another challenger has entered the arena, in the form of Donkey Kong Bonanza, which was just released on July 17. However, as far as Metacritic is concerned, they are both great, but still not that great to beat Expedition 33. As it stands, Clair Obscur is the highest-rated game of 2025, followed by Blue Prince and Split Fiction.

  • Clair Obscur: Expedition 33 – 93 Metascore
  • Blue Prince – 92 Metascore
  • Split Fiction – 91 Metascore
  • Donkey Kong Bonanza – 90 Metascore
  • Death Stranding 2: On the Beach – 89 Metascore
  • Monster Hunter: Wilds – 88 Metascore
  • Kingdom Come: Deliverance II – 88 Metascore

This year’s The Game Awards is scheduled for December 11 and will be held in LA’s Peacock Theater once more. There is still plenty of time until December, and some cool titles are on the way. Mafia: The Old Country will surely be a strong contender, and VTM: Bloodlines 2 could be a surprise hit. Unfortunately, it looks like Silksong will not get released on time, as the expected release date is somewhere in December, before the holidays. But, a surprise release is not out of the question.

In any case, we’d love to congratulate Sandfall once more and to thank them for an amazing game that will surely stand the test of time and serve as an inspiration for future games. Tomorrow comes!

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Despite all the heavy hitters we recently

Festivals

Adam Scott, who is starring in the upcoming horror film “Hokum” which opens in theaters on Friday, reflected on his time playing Ben Wyatt on the hugely popular NBC sitcom “Parks and Recreation” with Variety. The small-town government sitcom, which ran for seven seasons from 2009-2015, buzzed with a wholesome innocence that seems to be at odds with President Trump’s America, which began in 2017. When asked if “Parks and Recreation” could happen today, given the different energy of our country, he considered it with a nuanced answer.

“I think back on ‘Parks and Rec’ and the hope and joy that it brings people,” Scott says. “It’s so lovely to hear from people that it helped them through the pandemic or helps them through trying times now. And it is a dark time right now. And I do feel like our country may have lost what was left of its innocence in 2015, when Donald Trump stepped up and stepped into politics. And it’s easy to forget just how much our country has changed in the last 10 or 11 years.”

“But as far as whether it could kind of survive or how it would sit in the now if it started now: Certainly, it would be different,” he continued. “But something like ‘Abbott Elementary’ is able to maintain this really lovely tone, and it’s able to be hilarious and heartfelt and all of those things in a climate that isn’t always conducive to that. They’re able to protect themselves and make this great show. I think there’s always an audience for that.”

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Adam Scott, who is starring in the

Film

Imax edged Wall Street analysts’ estimates for the first quarter, saying Project Hail Mary helped it contend with difficult comparisons with the Ne Zha 2 bonanza of last year’s period.

Total revenue slipped 6% from the year-ago period, coming it at $81.4 million. Earnings per share climbed to 17 cents a share from 13 cents a year ago. Both top- and bottom-line metrics beat Wall Street analysts’ consensus expectation.

The company reaffirmed guidance that it expects to deliver a record $1.4 billion in global box office revenue from its sites in 2026.

Amazon MGM Studios’ Project Hail Mary, a sci-fi drama with Ryan Gosling, more than doubled Imax’s internal projections, the company said. The film has pulled in more than $600 million globally to date, easily ranking as the studio’s top-grossing title to date.

Ne Zha 2 was a phenomenon, especially placed during the often lucrative Chinese New Year period during last year’s first quarter. With more than $2.2 billion in box office, the film is the biggest animated film of all time, and the No. 4 title of any genre on the all-time list.

Project Hail Mary and Avatar: Fire and Ash paced the company’s $260 million in global box office during the quarter. Results in China lagged the year-ago period, of course, but North America grew 75% and the rest of the world excluding China was up 60%.

Imax CEO Rich Gelfond has been gradually resuming his duties after taking temporary medical leave earlier this spring. Normally a fixture at events like last week’s CinemaCon, the exec has been on the sidelines.

“My recovery from pneumonia is progressing well. I have been discharged from the hospital and will continue to focus on my health in the coming weeks,” Gelfond said in the earnings release. “I want to thank my doctors, my family, the team at IMAX, and everyone for their support.

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Imax edged Wall Street analysts’ estimates for

TV

AMC Networks has revealed C-suite pay for the company that operates cable networks AMC, IFC and Sundance TV and streaming services like AMC+ and Shudder.

CEO Kristin Dolan earned $12.5 million in 2025, compared with $8.69 million in 2024 and $14.6 million in 2023, the firm disclosed in a regulatory filing with the Securities and Exchange Commission.

Dolan, who was named chief of the company in February 2023, received a base salary of $2 million last year, the same as in 2024. She also received stock awards worth $4.2 million, compared with $2.3 million in 2024. Plus, Dolan received $6 million in non-equity incentive plan compensation — a cash bonus — last year, compared with $4.2 million in 2024.

Dan McDermott, the AMC Networks chief content officer and the president of AMC Studios, made a hair under $5 million in 2025. His base salary was nearly $1.6 million and his bonus was $2.6 million. McDermott’s stock awards were about $759,000. Each were up some from 2024, when McDermott’s whole haul came in a bit below $4.2 million.

Kim Kelleher, the AMC Networks president and chief content officer, made $3.93 million, all-in, in 2025. She made $4.05 million in 2024. Kelleher’s salary has been consistent at $1.3 million. Her bonus was $2.2 million.

The company’s streaming subscriber numbers stood at 10.4 million as of the end of 2025. “Streaming is now the largest single source of revenue in our domestic segment, a significant milestone and inflection point in the ongoing transformation of our business,” Dolan said about 2025 in February.

Dolan’s key priorities have been optimizing financials and brand impact by making AMC hit content available as widely as possible — including through licensing to other companies, while also looking for opportunities for further streaming subscriber growth, as well as broad distribution.

AMC has been deemphasizing its linear TV channels in favor of niche and targeted streaming platforms like the horror-focused Shudder, the international crime and mystery-focused Acorn TV, anime-centric HIDIVE, as well as its flagship AMC+ service for premium scripted TV, Sundance Now, and ALLBLK. In October, Dolan signed a contract extension through 2028.

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AMC Networks has revealed C-suite pay for the

What to Watch







 CBS

CBS’ “Tracker” is serving up a double dose of Jensen Ackles.

After reprising his role as Colter Shaw’s brother Russell in two episodes to kick off Season 3, Ackles will return to bookend the season with two additional appearances.

Though fans already knew he’d appear in the Sunday, May 24 finale, we can now confirm that he’ll also show up in the penultimate episode, airing Sunday, May 17.

In Episode 21, titled “Chrono Stasis,” Colter and Russell reunite for a personal mission to uncover their father’s mysterious work. (See a newly released photo above.)

Then in Episode 22, titled “The Best Ones,” the brothers search for a victim tied to a nefarious research project.

What We Learned in Season 3, Episode 18


Jensen Ackles as Russell Shaw in Tracker Season 3, Episode 21
Darko Sikman/CBS

The April 26 episode of “Tracker” didn’t deliver concrete answers about Colter and Russell’s father… but it did move the mystery forward.

After tracking down Buck Avery (Michael O’Neill), Colter learned that Ashton,had ties to a shadowy operation known as the Chrono Stasis Institute, a now-defunct research facility once housed on land leased to government contractors. According to Buck, the project — allegedly backed by DARPA — ended abruptly following a mysterious “accident,” after which the entire operation seemingly vanished.

Buck also pointed Colter toward a key figure: Dr. Serena Jukic, a researcher who may know what really happened. She referenced the accident before disappearing herself.

The episode closed by teeing up the season’s endgame — and Ackles’ return. Colter left his brother a voicemail, revealing their father’s connection to a potential government cover-up and urging him to help track Jukic down — who, as revealed in photos from Season 3, Episode 21, is played by Jeri Ryan (“Star Trek: Picard”).

Darko Sikman/CBS

Ahead of Ackles’ return, Justin Hartley’s real-life wife Sofia Pernas will return in Episode 20 (airing Sunday, May 7), when “Colter’s search for a woman who went missing from a rehab facility takes an unexpected turn when he runs into Billie, uncovering a possible link between each of their cases.”

See additional photos from Jensen Ackles’ “Tracker” return below, then leave a comment and let us know if you’re excited to see Russell again.

Darko Sikman/CBS
Darko Sikman/CBS
Darko Sikman/CBS
Darko Sikman/CBS
Darko Sikman/CBS



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Awards

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

Samsung is one of the many brands capitalizing on the buzz surrounding “The Devil Wears Prada 2,” hitting theaters this weekend.

The behemoth tech company is among those set to make an appearance in the long-awaited sequel, starting with a custom TV spot starring character Jin Chao, played by Helen J. Shen. In the ad, Chao uses the AI-enabled “Circle to Search” feature on the Galaxy S26 Ultra to execute Miranda Priestly’s request for an outfit at lightning speed. In the film itself, the phone is of similar importance to Chao and the wider Runway team, as she uses one of its many features to gather high-level intel that Andy later uses in an effort to save the day.

Described as “your personal Jin,” the phone’s headlining feature allows users to circle any item they want to identify online and receive immediate results. Other features include “Now Nudge,” which recognizes what’s on user screens and suggests relevant actions and “Now Brief,” a source of curated information highlighting what’s relevant search results for the user. Pricing for the phone starts at $1,299.99 and is available for purchase at Samsung.com in six different colorways.

Galaxy S26 Ultra

Jin Chao’s phone, as seen in “The Devil Wears Prada 2.”

“We wanted to extend the storytelling beyond the screen and into the cultural moments that define fashion today,” says Lylle Breier, EVP of partnerships, promotions, synergy & events at The Walt Disney Studios. “From the red carpet to social-first content, this collaboration brings fans closer than ever to the glamour, creativity, and fast-paced energy that make this franchise so iconic.”

Samsung also integrated during the New York City premiere of “The Devil Wears Prada 2,” with the first-ever Samsung Galaxy Runway Cam. Powered by the Galaxy S26 Ultra, the camera had a spot on the carpet and was set up to capture the night’s biggest names — including Lucy Liu and B.J. Novak, both integral characters in the sequel — and fashion moments.

Along with Liu and Novak, stars like Helen J. Shen, Heidi Klum, Justin Theroux, Paige DeSorbo, Hannah Berner and Winnie Harlow posed for the S26 Ultra photo-op to capture their memorable looks as seen below.

Samsung wasn’t the only brand with an AI-powered activation at the premiere. Google also set up an AI wardrobe, allowing attendees to choose outfits which then appeared on an AI-generated mirror. The premiere, which took over nearly the entirety of Lincoln Center, also boasted activations from Coca-Cola with a “Canny Pack” stand, L’Oreal with a hair touch-up booth and Grey Goose, the official alcohol partner of the evening. As the night wound down, guests were sent home with gift bags which included an array of items tied to the film, including a can of Diet Coke, L’Oreal’s Infallible Setting Spray and Tweezerman’s complete “The Devil Wears Prada 2” collection.

“The Devil Wears Prada 2” arrives in theaters May 1, and the Samsung Galaxy S26 is available for purchase here. Catch the full ad spot below.

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If you purchase an independently reviewed product

Music

At his Austin concert on Saturday, Bruce Springsteen kicked off his set with a remark about the reported assassination attempt at the White House Correspondent’s Dinner, offering a “prayer of thanks that our President, nor anyone in the administration, nor anyone attending was injured.” Donald Trump and members of his administration were evacuated after Secret Service agents engaged an active shooter in the Washington Hilton lobby. 

Springsteen has long been one of the President’s most outspoken celebrity critics. He called Trump “the most dangerous candidate for president in my lifetime,” accused his administration of undermining civil rights, and released music portraying America as being led by a “corrupt, incompetent and treasonous administration.” In January, he also condemned ICE’s “gestapo tactics,” which prompted a schoolyard rebuttal from the White House, and shared his protest song “Streets of Minneapolis” following the deaths of Renee Good and Alex Pretti. 

After performing at a No Kings rally in St. Paul, Springsteen used the opening night of his Land of Hope and Dreams Tour to ridicule Trump and his former Attorney General Pam Bondi, saying that the latter was taking “marching orders straight from a corrupt White House.” He told the audience, “We are living through some very dark times. Our American values that have sustained us for 250 years are being challenged as never before.” Earlier this month, Trump took an anti-Bruce stance on Truth Social, accusing him of having an “incurable case of Trump Derangement Syndrome” before dismissing the musician as a “total loser who spews hate against a President who won a Landslide Election, including the popular vote, all Seven Swing States, and 86% of the Counties across America.”

But in response to Saturday’s incident, Springsteen substituted his usual animosity with a call for peaceful action: “We can disagree. We can be critical of those in power, and we can peacefully fight for our beliefs, but there is no place in any way, shape, or form for political violence of any kind in our beloved United States.” The Land of Hope and Dreams Tour has been framed by Springsteen as a “celebration and defense of our American ideals, our democracy, our Constitution.” The tour resumes Wednesday in Chicago and will carry on through the end of May.

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At his Austin concert on Saturday, Bruce

Docs

The capital remains a Mecca for all things cinema. From the buzz of a Leicester Square premiere to the latest arthouse showings on the Southbank and the BFI’s IMAX, to screens small and large around the city, there is always something to catch. 

Of course, there’s always the opportunity to make a day or night of it, as the city’s restaurants come to life. But with so many restaurants to choose from, and the pain of chasing bookings on a busy night, there are easier ways to find and enjoy great food across many fine places to eat in central London from the Michelin-starred to close encounters for that hot date.

Mixing Food and Screens

From film festivals like June’s Raindance Film Festival 2026 to the latest blockbusters, if you want to mix food and cinema, then the cunning chefs at Taste Film put fine dining in front of the big screen at smart locations around west and central London and other major UK cities. With a custom menu to match classics like The Goonies, Mama Mia and a seven-course menu for Jaws, they make great dates or experiences. 

Another option is Electric Cinema, with locations in Portobello and White City offering classics, indies and the latest hits like Project Hail Mary. They both offer a lively dining experience, offering Wagyu smashed burger, a beef hot dog or Taiwanese fried chicken at Portobello and Dim Sum at Nori above the White City cinema.

The Best of Chinatown and Soho Around Leicester Square

Assuming you want to escape the cinema chatter of Leicester Square’s three main cinemas, the area is handy for Chinatown’s fleet of eateries, and the Cantonese delights of Plum Valley. It offers platters for sharing, plus fine dining, including Mongolian fillet steak, grilled sea bass and scallop dumplings. 

Plum Valley’s menu hits every taste bud with delightful force, while you discuss which of the trailers you want to see next, or fancy trying to list all the famous movies and TV shows that have filmed in and around the famous area. 

Another great Asian destination diner is Thai Tho in Soho’s Rupert Street, which ships in ingredients from Thailand weekly for genuine flavours. From amazing fishcakes to soups, salads and curries, there are plenty of light options for those in a hurry or on a diet, and the likes of Ped Ma Kham, a sliced and roasted duck topped with tamarind sauce and crispy shallots.

Big Flavours Around the Big-Screen IMAX

The South Bank plays host to the art house crowd checking out the latest indie hits and those who want to see the biggest blockbusters in the best way possible on IMAX. The BFI’s IMAX system delivers a 4K laser projection screen experience with 12-channel surround sound audio and thumping woofers. 

Whether it’s a reissue of Jean de Florette, a discussion of The Perfect Storm with the filmmakers, or the anniversary screening of Manga-favourite Akira, hunger will soon hit home after such a visual experience. Fortunately, there are plenty of joyous diners to let the imagery soak in. 

Within the BFI is the BFI Riverfront Restaurant & Balcony Bar offering small plates including a great ham hock terrine and a standout chicken ballotine as a main, plus pizzas and salads, with cocktails at the balcony bar to enjoy the views. 

Just around the corner is Sticky Mango, offering a modern take on Asia’s finest menus, all set within a gorgeous Instagrammable interior. With the 9 flavours tasting menu for those wanting the full experience, every mouthful is a delight. Or, there’s a set menu including mango salad (naturally), baby squid, and chicken curry puffs among the starters, plus miso-glazed salmon, beef rendang or prawn and squid nasi goreng as mains.

If this is a family trip, then there’s also the likes of Disney’s Dolly’s Cafe pop-up, in Selfridges, Oxford Street to keep the cinema vibe going. Or, finally, if you want to recreate the scents, rather than the scene, of About Time’s dark restaurant, then Dans Le Noir beckons, offering a three-course meal in pitch black (not that movie) for a unique dining experience. 

If these don’t appeal, you should have no trouble finding a great spot to dine among the many places to eat in London, just a stone’s throw from this screen! And if you think up a unique idea that might make a great movie, perhaps now’s the time to enrol in film school?

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The capital remains a Mecca for all

Global

The search continues for a woman from Australia who is believed to have gone missing while hiking in Cape Breton Highlands National Park earlier this month.

RCMP were contacted on Tuesday morning about a missing person.

According to RCMP, Denise Ann Williams, 62, from Australia was last heard from two weeks ago on April 15, when she indicated she was travelling to Chéticamp, N.S.

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“Her rental vehicle, a Nissan Sentra, was located at the Parks Canada Visitor Centre near the Acadian Trail head,” RCMP said in a Thursday release.

Search efforts so far have involved DNR Air Services, RCMP police dog services, multiple ground search and rescue teams, Parks Canada, Nova Scotia Public Safety Field Communications, and EHS emergency preparedness and special operations.


As of Thursday, the search continues, RCMP said.

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Williams is described as being five feet four inches tall, with greyish shoulder-length blond hair. She is believed to be wearing a dark winter jacket, a powder blue toque with “Antarctica” written on it, an orange and blue scarf and glasses.

Anyone who may have seen Williams around the Cape Breton Highlands National Park is asked to call Inverness County District RCMP at 902-258-2213.

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

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Trending

Image Credit: Getty Images for Prime Video

MrBeast’s rise to fame is unmatched. The YouTuber, whose real name is Jimmy Donaldson, has redefined what it means to be a content creator. With viral stunts, massive giveaways, and a business empire that spans everything from snacks to streaming, he’s become a household name—and a serious earner.

So, just how much money has he made by now? Find out more about his massive net worth below.

How Did MrBeast Get Rich?

Donaldson began his YouTube career in 2012 at the age of 13, initially posting gaming content and reaction videos. His major breakthrough came in 2017 with a video where he counted to 100,000—an odd yet captivating stunt that went viral and marked the start of his rise. From there, he leaned into over-the-top challenges, massive giveaways, and philanthropic acts, which quickly grew his audience. As his videos racked up billions of views, he began earning significant income through YouTube’s ad revenue and brand partnerships.

But Donaldson didn’t stop at content creation. He expanded into business with ventures like Feastables, a snack company that reportedly generated $215 million in revenue in 2024, and MrBeast Burger, a virtual restaurant brand that launched in 2020.

In 2024, he announced Beast Games, a reality competition series produced by Amazon Prime Video. The show featured 1,000 contestants competing for a record-breaking $10 million prize—the largest single cash prize in reality television history. The first season premiered on December 19, 2024, and quickly became one of Prime Video’s most popular shows, drawing viewers from within and beyond the US.

On top of that, he founded Beast Philanthropy, a nonprofit that funds food banks, disaster relief, and more. These efforts collectively turned MrBeast into a media empire—and made him one of the richest and most influential creators in the world.

What Is MrBeast’s Net Worth?

As of 2026, MrBeast’s net worth is estimated at $2.6 billion, according to Celebrity Net Worth.

In 2025, he reached a net worth of $1 billion at age 27, making him one of the youngest self-made billionaires. Much of his wealth comes from his company, Beast Industries, which generated $473 million in revenue in 2024.

Did MrBeast Buy the NFL?

No, MrBeast did not buy the NFL.

A video in September 2025 sparked the rumor after MrBeast humorously posed the question, “What if MrBeast bought the NFL?” in a playful promo alongside NFL Commissioner Roger Goodell. The clip, which imagines adding a special 54th roster spot on every team for YouTube creators, was released to promote YouTube’s first-ever exclusive live NFL broadcast, not any actual ownership change. The promo features creators like Dude Perfect, Valkyrae, IShowSpeed, and others—none of which indicates a real takeover.

That said, the stunt was a clever marketing move: YouTube is streaming a Week 1 matchup between the Chargers and Chiefs for free on Friday, September 5, 2025, live from São Paulo, Brazil.

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Image Credit: Getty Images for Prime Video MrBeast’s

Entertaintment

EXCLUSIVE: Netflix has announced an August 13 debut for A Child of My Own (Un Hijo Propio), the new documentary from two-time Oscar nominee Maite Alberdi.

The film examines the strange case of Eleonor Alejandra Marín Mendoza, known as Ale, a young woman in Mexico who felt so much pressure from her husband and in-laws to have a baby that she faked her own pregnancy. While sustaining the ruse for months, Ale arranged with an expectant young mother who didn’t want her child to take that woman’s newborn as her own. That, anyway, is what she later told police. The woman who gave birth insisted she had no arrangement to surrender her infant to Ale.

A Child of My Own screens Friday at the Doc10 festival in Chicago and on Sunday at the San Francisco International Film Festival. It recently screened at the Buenos Aires International Film Festival in Argentina and at Visions du Réel in Nyon, Switzerland after holding its world premiere in February at the Berlin Film Festival. In addition to streaming on Netflix, the documentary will be released in select theaters in the U.S., UK and Mexico.

Armando Espitia as Arturo and Ana Celeste Montalvo as Alejandra in ‘A Child of My Own (Un Hijo Propio).’

Courtesy of Netflix

Alberdi (The Mole Agent, The Eternal Memory) filmed extensive dramatizations for the project, casting Ana Celeste Montalvo Peña as Ale, and Armando Espitia as Ale’s husband, Arturo (he was completely taken in by the scheme and actually thought his wife had carried a baby to term).

“It’s not fiction for me; it’s more like a recreation of her point of view,” Alberdi says of the dramatized sequences. The filmmaker felt an urge to take that creative approach in part because Mexican news media had portrayed Ale in one-dimensional terms – as a baby thief. “It was so organic a way to tell this story because [previously] we were [seeing] only one vision and one version at that point.”

Ana Celeste Montalvo as Alejandra, Armando Espitia as Arturo in 'A Child of My Own (Un Hijo Propio).'

Ana Celeste Montalvo as Alejandra, Armando Espitia as Arturo in ‘A Child of My Own (Un Hijo Propio).’

Courtesy of Luis Antonio Rojas/Netflix

“In this feature-length documentary, Maite Alberdi shows how a simple lie turns into a charade that proves hard to keep up over months, in the eyes of her excited husband and family,” notes a release. “This farce traps Alejandra in an all-consuming simulation that pushes her past the point of no return, triggering a media scandal and making it impossible for her to sustain her lie.”

A Child of My Own continues Alberdi’s relationship with Netflix. The streamer adapted her documentary The Mole Agent into the series A Man on the Inside, starring Ted Danson, which has been renewed for a third season. The director’s 2024 fiction project In Her Place also is streaming on Netflix.

At the Berlin Film Festival, Alberdi told Deadline, “I have so many good experiences with Netflix, of course, starting with A Man on the Inside and I made my first fiction film, In Her Place, with them.” Regarding A Child of My Own, she noted, “It’s a very big film with a mix of big production with actors and with a big crew, and with my way to make documentaries with a small crew. So, it was an ambitious project, but very happy that we can do it with Netflix.”

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EXCLUSIVE: Netflix has announced an August 13

Movies

Last Updated:

Shah Rukh Khan shares Saif Ali Khan’s Kartavya first look; Sambhavna Seth and Avinash Dwivedi announce they are expecting their first child.

font

Shah Rukh Khan unveils the first look of Saif Ali Khan’s Kartavya; Sambhavna Seth and Avinash Dwivedi are expecting their first baby.

Shah Rukh Khan unveils the first look of Saif Ali Khan’s Kartavya; Sambhavna Seth and Avinash Dwivedi are expecting their first baby.

Shah Rukh Khan has unveiled the first look of Saif Ali Khan’s upcoming Netflix film Kartavya, a tense heartland drama backed by Red Chillies Entertainment. Taking to X on Wednesday evening, Shah Rukh shared the poster of the film and wrote, “Kartavya ke iss chakravyuh mein, har faisla ek imtihaan hoga. Watch Kartavya, out 15 May, only on Netflix.”

For More: Shah Rukh Khan Unveils Saif Ali Khan’s Kartavya Poster, Netflix Film To Release On May 15

On April 30, actress Sambhavna Seth and her husband Avinash Dwivedi took to social media and shared an adorable personal update. The couple announced that they are expecting their first child together. In their heartwarming post, the actress, who recently spoke about going through seven painful IVF procedures and suffering a miscarriage, revealed that they have opted for surrogacy.

For More: ‘Through Love, Hope, And Surrogacy’: Sambhavna Seth And Avinash Dwivedi Announce Pregnancy

Samantha Ruth Prabhu’s upcoming film Maa Inti Bangaaram has been generating steady curiosity among fans, especially since it marks an important milestone in her career as her debut production venture. The film was earlier scheduled to release in theatres on May 15, 2026, but the latest industry buzz suggests that audiences may have to wait a little longer.

For More: Samantha Ruth Prabhu’s Maa Inti Bangaaram May Skip May 15 Release, New Date Likely In June

Priyanka Chopra Jonas has revealed what she carries in her handbag in a new video with Vogue on YouTube. The actor’s mix of personal, cultural and practical items has caught attention, especially her admission about carrying a Hanuman Chalisa and an EpiPen.

For More: Priyanka Chopra Carries Hanuman Chalisa In Bag, Says She Tries To Recite It Daily: ‘It Protects Me’

Sidharth Malhotra and Kiara Advani, who got married in 2023, embraced parenthood in 2025. They welcomed their first child, a baby girl named Saraayah Malhotra. The couple is yet to reveal the munchkin’s face. However, Kiara recently gave a glimpse of their holidays in the Maldives. They recently jetted off to the serene spot to spend some quality time as a family. Interestingly, the actress also shared a video of herself playfully jamming to the Baby Shark track, and her mom era has left everyone in awe.

For More: Kiara Advani Sings Baby Shark During Vacay With Sidharth Malhotra, Sarayaah; Internet Loves It

First Published:

April 30, 2026, 22:00 IST

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Last Updated:April 30, 2026, 22:00 ISTShah Rukh

MCU

The Walt Disney Company and Mondelez are teaming up for a heroic collaboration.

Beginning February 2, shoppers will be able to find special-edition packages of Marvel-themed Oreos in the snack aisle.

Photo: Walmart

The new Marvel Oreo Stuff of Legends cookies will feature the beloved sandwich cookies embossed with fan-favorite characters from the Avengers, X-Men, and Fantastic Four franchises.

Even Spider-Man will make an appearance.

“We ended up developing 32 unique embossed cookies. 32 different characters across those 4 properties of Avengers, Spider-Man, X-Men, and Fantastic Four,” says Matt Foley, vice president of Oreo at Mondelez.

Photo: Mondelez

“We’ve never done anything close to that from a scale perspective.”

A Long Time Coming

According to Mondelez, the development of the Marvel-themed Oreos began two years ago. Ever since the company released its special-edition Star Wars Oreos, Marvel had been firmly in its sights.

Star Wars Oreo

“We are very intentional when collaborating with brands that embrace our values and serve our goal in creating unforgettable products and experiences at every level for consumers,” said Liz Shortreed, senior vice president Americas & Global Softlines, Disney Consumer Products.

“Much like Marvel, Oreo is a trusted and beloved brand, and this collaboration brings iconic Super Heroes into people’s homes and everyday lives in a way that is innovative in the consumables space as well as authentic to the Marvel Universe.” 

The OREO brand and Disney Consumer Products have teamed up for an epic collaboration through the launch of the new MARVEL OREO Stuf of Legends Cookies!

To ensure the cookie characters looked authentic, Oreo teamed up with famed Marvel artist Todd Nauck.

An Interactive Story

In total, there will be four Marvel-themed Oreo packages released.

Interestingly, however, only three of the packages will hit store shelves on February 2. The fourth package is being held back by Marvel villains.

Marvel

Photo: Marvel

To unlock the final container, fans will be encouraged to scan QR codes on their Oreo packages, then register and vote on which route a truck should take to avoid danger.

Each vote also enters fans into a sweepstakes, where they could win a $1,400 check, a $500 Disney gift card, or a $100 Oreo.com digital code.

theme parks

Photo: MickeyBlog

Thanks for visiting MickeyBlog.com! Want to go to Disney? For a FREE quote on your next Disney vacation, please fill out the form below. One of the agents from MickeyTravels, an EarMarked By Disney – Authorized Travel Agency – Diamond Level, will be in touch soon! Also, thank you for reading!

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DCU

The latest update on DC Studios’ Game of Thrones replacement show indicates that the DCU HBO series is finally making progress toward its release. George R. R. Martin’s Westerosi saga is one of the crown jewels in Warner Bros.’ slate, having already delivered eight seasons of the flagship series with two spin-offs, House of the Dragon and A Knight of the Seven Kingdoms, ongoing. These releases have been sprinkled in HBO and HBO Max’s release calendar alongside the latest from DC Studios, but they may soon become one in an upcoming show.

DC Studios co-CEO James Gunn took to Threads to answer fans’ biggest questions about the DCU slate, including the status of Paradise Lost, a Wonder Woman prequel series in the works for HBO Max that was compared to Game of Thrones upon its original announcement in 2023 for a very good reason.

While Gunn delivered a slew of updates on five upcoming DCU projects, he declared that Paradise Lost is in “extreme development,” placing it on a higher pedestal than the likes of Booster Gold, which he merely said is “in development.”

Upon announcing Paradise Lost as part of the DCU’s Chapter 1 slate, Gunn and Peter Safran were clear that it is a “Game of Thrones-type story” centered around Themyscira and the Amazons. Notably, Safran noted its focus on “political intrigue” in this fantasy-like setting, which is usually a staple of Westeros’ tales:

“This is a Game of Thrones-type story about Themyscira/Paradise Island, home of the Amazons and the birthplace of Wonder Woman. This involves all of the darkness, drama and political intrigue behind this society of only women.”

Gunn declared Paradise Lost to be an “origin story of how this society of women came about” that explores their politics, laws, and efforts to reach the top:

“It’s an origin story of how this society of women came about. What does it mean? What are their politics like? What are their rules? Who’s in charge? What are the games that they play with each other to get to the top? I think it’s really exciting.”

Safran was also clear that Paradise Lost‘s events “really take place before Diana’s birth,” likely shutting the doors on a Wonder Woman cameo. Fans may not be seeing the Amazonian Justice Leaguer in Paradise Lost, but DC Studios is cooking up a Wonder Woman reboot movie from Supergirl screenwriter Ana Nogueira that is expected to introduce her and could connect to the HBO show.

DC Studios has been struggling to get Paradise Lost truly into motion for over three years now, but the promise that it has now reached “extreme development” could signal that it is nearing a green light. That news will come as a shock to many, given that no lead creatives have been confirmed or widely reported.

That said, Nexus Point News once stated that DC Studios was circling The Handmaid’s Tale writer Kira Snyder and Bridgerton scribe Janet Lin to lead Paradise Lost, but there have been no updates on their involvement since 2024.

If Paradise Lost keeps up this seemingly newfound momentum, it could begin production at some point next year and come to HBO and HBO Max in 2028. It seems increasingly doubtful that Paradise Lost could be in front of cameras in time to air in 2027, likely leaving the DCU with no live-action shows coming next year.

Why Paradise Lost Sounds So Exciting For DC & Game of Thrones Fans

DC

As Paradise Lost explores the origins of Themyscira and the years before Diana Prince’s birth from Queen Hippolyta, it will presumably become the earliest project in the DCU timeline, thousands of years before the likes of Superman. That offers ample opportunity to deepen DCU lore and tee up Wonder Woman’s debut.

DC Studios has all the pieces on the table to recreate Game of Thrones‘ signature vibe if it leans into the political intrigue from multiple characters’ perspectives, combined with some sword-wielding combat and fantasy elements that could stem from the Greek gods who created Themyscria as an Amazonian paradise.

The series has the potential to land especially well in the female demographic (which can often be a struggle for superhero productions) due to its unique exploration of the powerful Amazonian women, from warriors to politicians. It seems likely that Wonder Woman’s mother, the Amazonian queen Hippolyta, will serve as Paradise Lost‘s main character, perhaps heading up an all-female cast.

It seems that Warner Bros. is looking to put a DC spin on some of its most successful HBO originals, with Lanterns similarly taking its cues from True Detective, while The Penguin has clear notes on The Sopranos. Doing so ought to both give HBO Max’s DC TV shows a prestigious feeling and draw in audiences who may now usually tune in for a superhero affair or Wonder Woman prequel.

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Nacon has announced the rescheduled date for its Nacon Connect presentation, despite ongoing concerns over its future and Wednesday’s  announcement that one its studios is closing down.

The Nacon Connect showcase was supposed to take place on March 4, but just days after setting this date Nacon announced that it had filed for insolvency.

On Wednesday, it was also announced that Spiders, the Nacon-owned studio behind such titles as Greedfall and Steelrising, had shut down.

Despite this, Nacon has now announced that the rescheduled Nacon Connect will take place on May 7, at 11am PT / 2pm ET / 7pm BST, and will be broadcast on Nacon’s YouTube and Twitch channels.

According to the publisher, the showcase will include new looks at The Mound, Edge of Memories, Endurance Motorsport Series and the recently announced Hunter: The Reckoning – Deathwish.

According to an announcement on February 25, Nacon’s majority shareholder Bigben Interactive had failed to make partial repayment of a bond loan, due to “an unexpected and late refusal by its banking pool”, forcing it to call for financial restructuring with its creditors.

Nacon then confirmed that its Connect presentation had been delayed until May, due to the “difficult economic environment for the company”, and to ”ensure that our future announcements have the impact they deserve”.

The company claimed that its announced releases remain on track and said it’s “confident we’ll get through this”.

Although the announcement of a May 7 presentation aligns with these previous plans, the timing of the announcement is somewhat unusual given that it comes less than 24 hours after Nacon-owned studio Spiders announced its closure.

In a message posted on social media, Spiders said that, after “a long period without clear answers”, the company “as a whole no longer exists”.

“We’re going to cut straight to the chase so you’re not left wondering: After a long period without clear answers, we have received confirmation that Spiders is being liquidated,” it said.

“What does it mean? This means the company as a whole no longer exists. We’ll cease our functions immediately. The planned DLC will release via Nacon, and then– well, that’s it.

“We’re sorry that it’s come to this and would like to thank each and every one of you for your support over the years. If you have any questions or run into issues with your games, please contact Nacon directly as we’ll no longer be able to reply.”