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Monday, Oct 19th, 2026
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Can you believe it? We’re halfway through March. This is the lion part! The Disney+, Hulu, and ESPN bundle has all the content fit for the king of the jungle as of March 16.

March 16

• Disney+ and Hulu: In Your Radiant Season (Hulu Original) – New Episodes

March 17

• Hulu: Agatha Christie Library (ITV)
• Disney+ and Hulu: American Idol (Season 9) (ABC) – New Episode
• ESPN: TGL Semifinals: Doubleheader (ESPN) – 6:30pm ET

March 18

• Hulu: The Nanny (Complete Series) (Sony)
• Disney+: Short Circuit Experimental Films: Life Drawings – Premiere
• Disney+: Short Circuit Experimental Films: Maddie & The Test – Premiere
• ESPN: Women’s College Basketball: NCAA Tournament First Four (ESPN Networks) – TBD

March 19

• ESPN: NCAA College Wrestling Championships: First Round (ESPNU) – 12pm ET
• ESPN: NCAA College Wrestling Championships: Second Round (ESPN) – 7pm ET

March 20

• ESPN: NCAA College Wrestling Championships: Quarterfinals (ESPNU) – 12pm ET
• ESPN: NCAA College Wrestling Championships: Semifinals (ESPN2) – 8pm ET
• ESPN: Women’s College Basketball: NCAA Tournament First Round (ESPN Networks) – TBD

March 21

• Hulu: Garfield (2024)
• Disney+: Locker Diaries: ZOMBIES: Shorts – New Episode
• ESPN: NCAA College Wrestling Championships: Medal Round (ESPNU) – 11am ET
• ESPN: NCAA College Wrestling Championships: Finals (ESPN) – 6:30pm ET
• ESPN: Women’s College Basketball: NCAA Tournament First Round (ESPN Networks) – TBD

March 22

• Hulu: Summertide (Seasons 1-2)
• ESPN: Women’s College Basketball: NCAA Tournament Second Round (ESPN Networks) – TBD

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Can you believe it? We’re halfway through

Triple Oscar-winning cinematographer Vittorio Storaro is set to be honored with a special prize by Italy’s David di Donatello Awards in tandem with Rome’s Cinecittà Studios during the upcoming edition of the country’s top film prizes.

Storaro — who has won Academy Awards for his work on “Apocalypse Now,” the Warren Beatty-directed “Reds” and Bernardo Bertolucci’s “The Last Emperor” — will be celebrated during the 71st edition of the Davids that will take place at Cinecittà Studios on May 6.

Storaro has more than 70 cinematography credits, including with Woody Allen, Carlos Saura, Richard Donner, Alfonso Arau and Paul Schrader. His work with fellow Italian Bertolucci is considered one of the most seminal filmmaking partnerships in history.

“The Cinecittà David 71 Special Award to Vittorio Storaro is a tribute to a maestro who knows how to write with light, transforming technique into visual poetry and bringing our country’s excellence to the world’s most prestigious stages,” said Italy’s undersecretary for culture Lucia Borgonzoni, who oversees the country’s cinema department, in a statement.

“Cinecittà is known worldwide for the brilliance of its artists and artisans,” noted Cinecittà CEO Manuela Cacciamani. “This well-deserved fame is also due to the work of this poet of the image. So this award goes to him along with our gratitude.”

Donatello Academy president Piera Detassis called the prize to Storaro “the most beautiful way to celebrate an immense talent and, along with him, a special anniversary: the 50th anniversary of Bernardo Bertolucci’s masterpiece ‘Novecento,’” the historical epic shot in 1976 with a stellar cast comprising Robert De Niro, Gérard Depardieu, Dominique Sanda and Donald Sutherland.”

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Triple Oscar-winning cinematographer Vittorio Storaro is set

Cornelius, the project of Japanese composer Keigo Oyamada, is launching a new phase. Off the back of a burst of TikTok virality, Oyamada has signed to Eat Your Own Ears and released a cover of a Japanese Balearic classic: Yosui Inoue’s 1990 song “Yumenemi” (or “Yume Ne Mi”). Check it out below.

The new music heralds a period of renewed Cornelius activity, a press release notes. Oyamada’s last releases came in 2024: the Arto Lindsay-assisted EP Bad Advice/Mind Train and the ambient album Ethereal Essence. Before that, he released the 2023 LP Dream in Dream, which followed a bizarre scandal that prompted his exit from the Tokyo Olympics opening ceremony, after an old interview was unearthed in which he apologized for bullying people with disabilities as a child.

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Cornelius, the project of Japanese composer Keigo

Alongside receiving an honorary Palme d’Or at this year’s Cannes Film Festival, Peter Jackson is now set to sit down for a special conversation.

The acclaimed “Lord of the Rings” has been named as part of the festival’s “Rendezvous at the Festival de Cannes” program of public discussions alongside Cate Blanchett and Tilda Swinton.

Jackson’s visit comes almost 25 years to the day that the first images of “The Lord of the Rings” were revealed at Cannes, one of the first steps in what would become a $3 billion dollar franchise winning 17 Oscars, revolutionising VFX and cementing the legendary status of its director. He’ll take part in the talk on May 13, the day after he’s awarded the Palme.

Blanchett, meanwhile, has been attending Cannes since 1999, serving as jury president 20 years later. One of the most acclaimed and celebrated actresses working today, with two Oscars and four BAFTAs, Blancett has also founded the Proof of Concept program supporting women, trans and non-binary voices, as well as the Displacement Film Fund for refugee filmmakers and those telling stories of displacement. As she did in 2025, Blanchett will host a panel at the Festival de Cannes 2026 announcing the next cohort of artists it supports. Her talk is scheduled for May 17.

Another Cannes regular, Swinton has seemlessly switched between experimental art-house and major Hollywood productions since her 1992 breakout in “Orlando,” winning both an Oscar and BAFTA. She was recently at the festival with “Asteroid City” and “Three Thousand Years of Longing,” and also served as a jury member in 2004. Swinton’s Rendezvous discussion will take place May 21.

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Alongside receiving an honorary Palme d’Or at

Hello everyone! The Good Bad Mother celebrates its third anniversary today, marking three years since the acclaimed Korean drama first brought its powerful mother-son story into our living rooms worldwide.

The series premiered on April 28, 2023, starring Ra Mi-ran as the titular ‘bad mother’ and Lee Do-hyun as her son. The show captured audiences with its complex portrayal of family dynamics, trauma, and the challenging journey toward healing and understanding.

PopBase highlighted the anniversary milestone in a tweet that garnered over 3,700 likes. The social media attention demonstrates the lasting impression the drama left on viewers around the globe.

The Good Bad Mother told the story of Young-soon, a strict mother who raised her son Kang-ho with an iron fist, believing tough love would prepare him for life’s challenges. When a tragic accident leaves Kang-ho with the mental capacity of a child, both mother and son must navigate their complicated relationship from an entirely new perspective.

Ra Mi-ran’s powerhouse performance earned widespread praise for bringing nuance to a character who could have easily become a one-dimensional villain. Instead, she crafted a mother whose harsh exterior masked deep love and fear for her child’s future. Lee Do-hyun matched her intensity, portraying both the ambitious prosecutor Kang-ho becomes and the vulnerable man-child he transforms into after his accident.

The drama premiered during a particularly strong period for Korean content on the global stage. K-dramas had already begun their worldwide conquest, but 2023 saw even greater international appetite for Korean storytelling. The Good Bad Mother benefited from this cultural moment while also contributing to it with its authentic exploration of family relationships that transcend cultural boundaries.

The series tackled themes that resonated across different cultures. The pressure parents place on children to succeed, the weight of expectations, and the difficulty of expressing love within demanding family dynamics struck a chord with international audiences. Many viewers found themselves questioning their own family relationships and parenting approaches.

Beyond the central mother-son relationship, the show painted a vivid picture of rural Korean life and community bonds. The supporting characters, from Young-soon’s friends to the various villagers, created a rich tapestry that grounded the more dramatic elements in everyday reality.

The drama’s success also highlighted the growing sophistication of Korean television production. The writing balanced emotional depth with compelling plot developments, while the cinematography captured both the beauty of the countryside setting and the intensity of the family drama.

Three years later, The Good Bad Mother continues to find new audiences through streaming platforms. International viewers discovering Korean content often cite the series as a standout example of K-drama’s emotional storytelling prowess.

The anniversary arrives as Korean content maintains its strong global presence. The Good Bad Mother helped establish the template for family dramas that don’t shy away from difficult topics while still delivering the emotional satisfaction audiences seek.

Ra Mi-ran has continued building her impressive career with subsequent projects, while Lee Do-hyun has taken on diverse roles that showcase his range beyond the memorable performance that introduced him to many international fans.

The show’s exploration of second chances and family healing remains relevant today. In a world where family relationships face increasing complexity, The Good Bad Mother’s message about understanding, forgiveness, and the different ways people express love continues resonating with viewers discovering these characters and stories in their living rooms for the first time.

As Korean entertainment celebrates another milestone, The Good Bad Mother stands as a testament to the power of authentic storytelling that brings universal human experiences into focus, proving that the best dramas create lasting connections that extend far beyond their original broadcast dates.

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The family of late rapper Tupac Shakur filed a wrongful death lawsuit against Keefe D and others on Tuesday, seeking unspecified damages tied to the artist’s 1996 murder.

In legal documents filed in Los Angeles County Superior Court and viewed by TheWrap, Mopreme Shakur, acting as the administrator of the estate for his late father (and Tupac’s stepfather), Mutulu Shakur, listed Duane “Keefe D” Davis and other unnamed co-conspirators, identified only as “John Does 1 -100,” as defendants in the suit.

A representative for Davis did not immediately respond to TheWrap’s request for comment.

“Nearly 30 years after Tupac’s death, in 2023, the first—and only—arrest was made. Related grand jury transcripts and a subsequent Netflix documentary have since revealed the existence of a broader, more complex conspiracy to murder Tupac that involved much more than mere retaliation for a prior altercation,” the document stated. “Despite this additional information, however, the truth remains elusive. Many individuals who were involved have long since passed way, while others have been hard to identify.”

“Yet, one thing is certain: there remain individuals who were involved in Tupac’s murder who, for 30 years, have not been held accountable for their crimes,” it continued. “This action seeks to change that and to recover damages for the wrongful death of Tupac on behalf of the Estate of Mutulu Shakur, Tupac’s late stepfather and parent.”

Additionally, the suit explained why it name checked Keefe D, stating that the alleged member of the South Side Compton Crips was the “only individual who has been criminally charged in connection with Tupac’s murder.” Keefe D was allegedly in the white Cadillac alongside the gunman who shot Tupac on September 7, 1996.

Nearly 30 years later, on September 29, 2023, a Clark County grand jury indicted him for first-degree murder. Keefe D previously pleaded not guilty to the charge. His trial has been been delayed until August.

As for the other possible defendants, the suit noted that “plaintiff has been unable to confirm, through independent investigation, the precise roles of specific individuals or to distinguish among potential defendants with the certainty required to name them in this Complaint.”

Yet, vowed to “amend this Complaint to state the true names and capacities of the Doe Defendants when the same have been ascertained through discovery.”

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The family of late rapper Tupac Shakur

The rapper Megan Thee Stallion will play her final performance in “Moulin Rouge! The Musical” on Friday, the production announced in a news release on Monday night, ending her run more than two weeks earlier than originally planned.

The production did not give a reason for her early departure in its news release but included a statement from the performer.

“It’s been such an honor to be part of ‘Moulin Rouge!’ and I’ve met so many amazing people in this theater!” the rapper’s statement read in part. “Y’all work so hard, and I have so much respect for the dedication, the stamina, the work ethic, the time and the effort y’all put into the work!”

She continued: “I’m so grateful for the cast and crew that made this experience so meaningful. Y’all are really some of the kindest human beings I’ve ever met! To all the Hotties that showed up or planned to attend, thank you for supporting me during this incredible journey!”

The show had enlisted Megan Thee Stallion, 31, to play Zidler, a nightclub impresario in turn-of-the-century Paris, partly in an effort to increase its sales. It is not unusual for Broadway shows, particularly those deep into their runs, to hire musical artists and other celebrities in an effort to goose their grosses. (The production, which has had a seven-year run interrupted by the coronavirus pandemic, has set a closing date for Aug. 30.)

Megan Thee Stallion was scheduled to appear from March 24 to May 17, but her splashy Broadway debut hit a rough patch early on. After a week of performances, she fell ill midway through a show and was rushed to a hospital.

At the time, a spokesman for Megan Thee Stallion said in a statement that the performer had been evaluated at a hospital and diagnosed with “extreme exhaustion, dehydration, vasoconstriction and low metabolic levels.” She returned to the production two nights later.

The news of her departure comes a day after she was seen visibly upset, wiping away tears, at a curtain call on Sunday. Hours earlier, she had announced the breakup of her relationship with Klay Thompson, who plays for the Dallas Mavericks of the N.B.A.

It is unclear if that development influenced her decision to leave the production, or who will step into the role of Zidler once she departs. The production said in its news release that a new performer would be announced soon.

Michael Paulson contributed reporting.

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The rapper Megan Thee Stallion will play

“Shakti,” the debut narrative feature from filmmaker Nani Sahra Walker, will make its digital bow on Prime Video across the U.S. and U.K. on May 22, with a trailer unveiled ahead of the launch. Buffalo 8 handles distribution.

The film unfolds in Kathmandu, where a mother races to shield her nine-year-old daughter from a sudden and troubling change – a journey that forces both characters to reckon with trauma and with a legal system ill-equipped to deliver justice. At its center, the story takes aim at Nepal’s time limits on prosecuting sexual violence, reflecting wider pressure for legislative accountability.

Walker’s prior credits include the documentary “Other Nature,” which she directed, and the Academy Award-winning short “The Last Repair Shop,” on which she served as executive producer.

“Shakti” gathered prizes across a run of prominent international festivals, including the Heartland International Film Festival, the Santa Barbara International Film Festival, the International Film Festival of India and the Hawaii International Film Festival. Before it reaches streaming audiences, the film will appear at the 44th CAAMFest – presented by the Center for Asian American Media – in the San Francisco Bay Area on May 10.

“The conversations we’ve seen at festivals – especially with younger audiences – point to an urgent demand for stories that confront the abuse of power in society,” Walker said.

“Every gatekeeper who called this story ‘too taboo’ only reinforced the film’s point. Naming these realities is the first step toward dismantling that culture,” Walker added.

Keiko Nakahara served as director of photography. The cast includes Laxmi Bardewa, Menuka Pradhan, Shristi Shrestha, Maoste Gurung and Akash Nepali, with Polina Oli making her screen debut. Snehal Fulzele and Vrushali Satarkar financed the project, with additional backing from the Gerbode Foundation and the ARRI International Support Program.

“As Dalit entrepreneurs, supporting ‘Shakti’ was deeply personal for us. The film confronts uncomfortable truths with rare authenticity, and we believe stories like this have the power to shift perspectives and spark meaningful change,” Fulzele and Satarkar said.

William Ryan Fritch composed the score, which Buffalo 8 Music has distributed globally. The album incorporates an original track, “Naam,” from Nepali rapper Dmriti, alongside sarangi contributions from musician Shyam Nepali.

Watch the trailer here:

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“Shakti,” the debut narrative feature from filmmaker

15 Second summary

Ever visited a competitor’s website hoping to uncover their latest strategic moves, only to find outdated information? This has led market intelligence analysts to turn to social media for early signals, market shifts, and predictive insights. One platform, in particular—LinkedIn—has become a go-to source for timely, business-savvy intelligence. But researching on LinkedIn can be fragmented when each team member searches individually. That’s why we’ve integrated LinkedIn feeds directly into your Feedly account, eliminating the fragmentation and ensuring you never miss real-time insights.

Following LinkedIn Feeds in Feedly allows you to:

  • Follow companies and thought leaders, using custom filters to surface the posts most relevant to you.
  • Analyze posts or entire feeds to uncover trends and extract data using Ask AI.
  • Conduct historical searches with AI Models optimized for market intelligence.
  • Share key insights with your team using Automated Newsletters, Slack and Microsoft Teams.

Please note his feature is available exclusively on Business and Enterprise plans. Start your free trial today to explore it.

I use Feedly to monitor competitive and market news, which is an essential part of our compete program at HubSpot. Their new LinkedIn integration has been great at helping us expand our coverage and stay on top of emerging trends! More and more news is happening on social media, and this helps us keep track of all that. I got it set up in less than 30 minutes, and it’s greatly expanded our competitive news coverage.

Ben Conte, Senior Product Marketing Manager, Competitive Intelligence, HubSpot

Follow companies and thought leader’s feeds

As with any source in Feedly, following companies or thought leaders on LinkedIn is as simple as adding their feed URL. But what if you want to go deeper, like tracking only a CEO’s posts that mention sustainability, or surfacing partnerships and product launches shared on a competitor’s company page? That’s where Feedly AI shines. It filters out the noise and pulls in only the insights that matter to you using market intelligence optimized AI Models. This level of precision turns LinkedIn from a cluttered social feed into a focused stream of high-value intelligence tailored to your strategic priorities.

Analyze posts or entire feeds to uncover trends and extract data

With Ask AI, Feedly does more than collect content—it helps you analyze it with one click. Once you’ve added LinkedIn posts to your feed, Ask AI can analyze them at scale. Whether you’re tracking a specific thought leader, a group of executives, or your competitors’ marketing posts, you can extract the most intriguing data points, identify key themes, or create data visualizations to help you create deliverables with ease.

Feedly’s LinkedIn integration has streamlined my benchmark reporting. I can track all competitor updates in one place, quickly spot key launches or M&As, and easily pull insights into reports. It’s saved me hours and made sharing intel across the team effortless.

Isabo Osstyn, Product Manager, Schoeller Allibert

Conduct historical searches

Spotting the first mention of a new product line, or analyzing a competitor’s messaging over time is critical for understanding your industry. That’s why Feedly allows you to search through months of LinkedIn activity from the feeds you follow. Filter posts by date, topic, or the highest impact stories to uncover key announcements, identify strategic shifts, and build detailed reports, timelines, and executive briefings to drive action in your organization.

Share key insights with your team

Found a post worth sharing? Now, you can seamlessly distribute LinkedIn intelligence across your organization using Automated Newsletters or our Slack and Microsoft Teams integrations. Whether you’re feeding a weekly trend report to marketing or sharing competitive signals with your sales team, automation keeps everyone aligned. Quick tip: create a Board to centralize the most valuable LinkedIn posts, then link that Board to a newsletter and share it with your team. It’s never been easier to turn LinkedIn insights into team-wide action.

Ready to try it?

Adding LinkedIn as a source in Feedly is now available to all users on Business and Enterprise plans. Just search for a LinkedIn profile, hit follow, and start unlocking insights in seconds.

Stay ahead of your market. Stay connected to thought leaders. And let Feedly do the heavy lifting.

Try Feedly Market Intelligence

FAQs

Who can follow LinkedIn Feeds on Feedly?

All Feedly Market Intelligence and Feedly Threat Intelligence customers can follow LinkedIn Feeds on their account.

Is there a limit in the number of LinkedIn Feeds that can be followed?

No, you can follow as many LinkedIn Feeds as you want.

Do I need to have a LinkedIn account to be able to follow LinkedIn Feeds in Feedly?

No, you would just need to be able to find the URL of the LinkedIn page you want to follow in Feedly.

What types of LinkedIn pages can be followed in Feedly?

You can follow any LinkedIn page from a company or individual, including reposts. This does not include groups for now.

How far back does my new LinkedIn Feed in Feedly go?

When you create your LinkedIn Feed in your account, we fetch the fifty most recent articles that were published on that LinkedIn page. As new posts are published on the page, they will appear in real-time in your Feedly account.

How do you recommend I organize my LinkedIn Feeds in my Feedly account?

We recommend following all your LinkedIn Feeds in a single Folder you could call “LinkedIn”. That way, you can easily filter LinkedIn Feeds with specific topics of interest.

Is it possible to create a Feed with all the LinkedIn posts that mention or tag a company or person?

It’s not possible today.

Is it possible to create a Feed with all the LinkedIn comments made by a company or individual?

It’s not possible today.

Can I create a search query on top of a LinkedIn Feed in Feedly?

Yes, you can create an AI Feed or a Power Search query on any of the LinkedIn Feeds you follow in Feedly in order to avoid information overload.

Can I mute out specific topics from my LinkedIn Feeds in Feedly?

Yes, you can apply mute filters on your LinkedIn Feeds.

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15 Second summaryEver visited a competitor’s website

A handful of classic DC characters used in Christian Bale’s The Dark Knight will be revisited under new actors in Matt Reeves’ The Batman – Part 2. The Batman 2 is slowly inching closer to its production start date, and it will follow up on Reeves’ original Gotham-set movie five years later. While its cast is still slowly coming into focus, the movie will, unsurprisingly, draw on DC history to continue the story in this alternate-reality comic universe.

Five characters from 2027’s The Batman 2 were previously brought to life in 2008’s The Dark Knight. Still regarded as one of the greatest superhero movies ever made, the Christian Bale-starring The Dark Knight marked a new step in comic-book-movie storytelling in 2008, featuring some of the most highly regarded performances in history. Although the plots of this movie and the latest Batman film, which hits theaters on October 1, 2027, will be vastly different, they naturally share a few similarities in their rosters.

Every The Dark Knight Character in The Batman 2

Batman/Bruce Wayne

Warner Bros.

The Batman 2 will take the same route as The Dark Knight by centering on Bruce Wayne/Batman, with The Dark Knight featuring Christian Bale in the titular role. This film showed Bale’s Batman further into his run as a hero and a businessman, devoting his life to protecting Gotham while struggling to handle an insane villain who rose from the shadows at the end of 2005’s Batman Begins.

Meanwhile, Robert Pattinson takes on the Bat-mantle for The Batman 2, marking his second appearance as the Caped Crusader. While story details have not been revealed, Pattinson’s hero will deal with a flooded Gotham City while fighting a rising wave of new villains across the city.

Alfred

Michael Caine as Alfred Pennyworth in 'The Dark Knight,' Andy Serkis as Alfred Pennyworth in 'The Batman.'
Warner Bros.

Every Batman has his Alfred, who was portrayed in Nolan’s The Dark Knight by British legend Michael Caine. Making his second appearance, Alfred continued to assist Batman in both his business and superhero lives, working hard to hide Bruce Wayne’s identity while offering support to those he cared deeply about, like Maggie Gyllenhaal’s Rachel Dawes.

Playing a younger version of Alfred in The Batman was industry legend Andy Serkis, who will return to the role in The Batman 2. After suffering major injuries in an explosion at Wayne Tower in the first movie, Serkis’ Alfred is expected to make a full recovery and return to assist Bruce Wayne in his superhero endeavors in the second movie (although Serkis has his own ideas for what he wants to happen).

The Joker

Heath Ledger as the Joker in 'The Dark Knight,' Barry Keoghan as the Joker in a deleted scene from 'The Batman.'
Warner Bros.

In 2008, the late Heath Ledger etched his name into comic book movie history with his portrayal of the Joker, which won him a posthumous Academy Award for Best Supporting Actor. The Dark Knight showed a wild and insane version of the Clown Prince of Crime, who did everything in his power to burn Gotham to the ground and send the city into chaos.

2022’s The Batman gave the Joker one quick moment to shine, portrayed by Eternals star Barry Keoghan in one of the movie’s last scenes. After showing up in the Arkham Asylum cell next to Paul Dano’s Riddler, the Joker is now set for The Batman 2, but the specifics for his story are still unknown.

Harvey Dent

Aaron Eckhart as Harvey Dent in 'The Dark Knight,' Sebastian Stan as Bucky Barnes in 'Thunderbolts*.'
Warner Bros., Marvel Studios

One of the surprise villains in The Dark Knight was Aaron Eckhart’s Harvey Dent, who later took a dark turn and became the villainous Two-Face. Originally a friend and ally of Christian Bale’s Batman and Jim Gordon, half of his face is burned off in an attack by the Joker, leading him to go on a rampage across Gotham.

MCU star Sebastian Stan was reported to be playing Harvey Dent for Matt Reeves, marking Dent’s first live-action appearance since The Dark Knight. Following at least 11 live-action performances as Bucky Barnes, this film will mark Stan’s DC debut, although it is unclear where he will go as Dent.

Commissioner Gordon

Gary Oldman as Jim Gordon in 'The Dark Knight,' Jeffrey Wright as Jim Gordon in 'The Batman.'
Warner Bros.

Gary Oldman took on his lone comic-book-movie role by playing Jim Gordon in 2008’s The Dark Knight. Eventually being promoted from Gotham PD Lieutenant to Commissioner, Gordon worked closely with Batman to take on the Joker, even faking his death to get to the bottom of the Joker’s crime spree.

Jeffrey Wright took over the role of Lieutenant Gordon in The Batman, operating as the only GCPD officer to work closely with Pattinson’s Batman. This movie gave the two their closest working relationship yet, as they united on multiple occasions to investigate the Riddler and Penguin’s activities throughout Gotham.

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Annemarie Jacir’s award-winning film Palestine 36 leads the nominations for the 10th edition of the Critics Awards For Arab Films, which were announced today.

The annual prizes, organized by the Arab Cinema Centre (ACC), have been voted on by a record 307 Arab and international critics from 75 countries this year, with the awards ceremony due to take place during the Cannes Film Festival on May 16.

Palestine 36 has been nominated in six categories including best film, director and screenplay.  It is followed by Maryam Touzani’s Calle Málaga with five nominations; Cherien Dabis’ All That’s Left Of You with four; and then Yunan, My Father’s Scent, and Once Upon A Time in Gaza with three each.

Kaouther Ben Hania’s Oscar-nominated and Venice Grand Jury Prize winner Gaza War-set drama The Voice of Hind Rajab has garnered just one nomination in the best director category.

Exploring the events around the 1936-1939 revolt in which Palestinians rose up against Britain’s colonial rule, Palestine 36 world premiered in Toronto last year and went to tour raft of festivals, winning the Tokyo Grand Prix, and made it into the Academy Awards Best International Feature Film December shortlist.

Following a packed festival run, Watermelon Pictures launched the picture theatrically in North America at the end of March. It has also enjoyed successful runs in the UK and a raft of European territories and continues to travel.

Moroccan director Touzani’s Spanish-language drama Calle Málaga, starring Carmen Maura as a woman fighting to keep her childhood home in Tangier, debuted in Venice, winning the Audience Award.

U.S.-Palestinian director Dabis’ All That’s Left Of You, following three generations of a Palestinian family in the wake of 1948, premiered at Sundance, and also made it onto the Best International Feature Film shortlist.

Recent winners of the best film award are Thank You For Banking With Us! (2025) and Goodbye Julia (2024).

The Full List Of 2026 Nominees:

Best Feature Film

ONCE UPON A TIME IN GAZA | Tarzan and Arab Nasser | Palestine
PALESTINE 36 | Annemarie Jacir | Palestine
ALL THAT’S LEFT OF YOU | Cherien Dabis | Palestine
CALLE MÁLAGA | Maryam Touzani | Morocco
COTTON QUEEN | Suzannah Mirghani | Sudan

Best Screenplay

Amer Nasser and Marie Legrand| ONCE UPON A TIME IN GAZA
Cherien Dabis | ALL THAT’S LEFT OF YOU
Annemarie Jacir | PALESTINE 36
Maryam Touzani and Nabil Ayouch | CALLE MÁLAGA
Ahmed Amer and Mohamed Siam | MY FATHER’S SCENT

Best Director

Maryam Touzani | CALLE MÁLAGA
Cherien Dabis | ALL THAT’S LEFT OF YOU
Tarzan and Arab Nasser | ONCE UPON A TIME IN GAZA
Annemarie Jacir | PALESTINE 36
Kaouther Ben Hania | THE VOICE OF HIND RAJAB

Best Actress

Deborah Christelle Naney | PROMISED SKY
Mounia Akl | A SAD AND BEAUTIFUL WORLD
Yasmine Al Massri | PALESTINE 36
Carmen Maura | CALLE MÁLAGA
Baneen Ahmad Nayyef | THE PRESIDENT’S CAKE

Best Actor

Adham Shukr | THE SETTLEMENT
Nawwaf Aldaferi | HIJRA
Dhafer L’Abidine | PALESTINE 36
Georges Khabbaz | YUNAN
Ahmed Malek | MY FATHER’S SCENT

Best Music

Armand Amar | HIJRA
Suad Bushnaq | YUNAN
Amine Bouhafa | AISHA CAN’T FLY AWAY
Omar El-Deeb | THE PRESIDENT’S CAKE
Freya Arde | CALLE MÁLAGA

Best Editing

Ameer Fakher Eldin | YUNAN
Ahmed Hafez | MY FATHER’S SCENT
Qutaiba Barhamji, Maxime Mathis, and Kaouther Ben Hania | THE VOICE OF HIND RAJAB
Heba Othman | THE SETTLEMENT
Zeina Aboul Hosn | DEAD DOG

Best Cinematography

Hélène Louvart | PALESTINE 36
Mostafa El Kashef | AISHA CAN’T FLY AWAY
Joe Saade | A SAD AND BEAUTIFUL WORLD
Christopher Aoun | ALL THAT’S LEFT OF YOU
Frida Marzouk | PROMISED SKY

Best Documentary

THE LIONS BY THE RIVER TIGRIS | Zaradasht Ahmed | Iraq
KHARTOUM | Anas Saeed, Rawia Alhag, Ibrahim Snoopy, Timeea Mohamed Ahmed, and Phil Cox | Sudan
50 METERS | Yomna Khattab | Egypt
LIFE AFTER SIHAM | Namir Abdel Messeeh | Egypt
DO YOU LOVE ME | Lana Daher | Lebanon

Best Short Film

L’MINA | Randa Maroufi | Morocco
IT’S SO BEAUTIFUL HERE | Basma Alsharif and Kamal Aljafari |  Palestine
CONTROL ANATOMY | Mahmoud Al Haj | Palestine
I’M GLAD YOU’RE DEAD NOW | Tawfeek Barhom | Palestine
SOUS LES RUINES | Nadhir Bouslama | Tunisia

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Annemarie Jacir’s award-winning film Palestine 36 leads

There cannot possibly be a more perfect setup for making a horror movie about a “tradwife” than whatever’s happening to women in the U.S. right now. Gender relations have reached a shocking new low, as Americans of all kinds struggle to navigate a new political reality defined, in part, by slang terms like “looksmaxxing” and “manosphere.” Shallow, misogynistic speech has seeped into the daily vocabularies of many, suggesting the toxic, anti-woman values that have long inspired such rhetoric are once again calcifying into a widespread and serious problem.

Simultaneously, actress Anne Hathaway is back in the spotlight during an especially busy time in her career (chaotically shared by both A24’s “Mother Mary” and Disney’s “The Devil Wears Prada 2”). She’s poised to eventually dominate Hollywood’s discussion around gender discourse with her upcoming adaptation of the controversial sci-fi, horror novel “Yesteryear.” Hathaway is attached to star in and produce the film through her Somewhere Pictures banner.

Reaching shelves just a few weeks ago, author Caro Claire Burke’s “Yesteryear” is a sometimes surreal piece of semi-historical fiction that imagines the ultimate tradwife fantasy curdling into a trap of wish fulfillment. Importantly, that trap is not some broad societal punishment so much as a deeply personal one for this character, a nightmare shaped by the very ideals she chose to promote.

When a misguided modern woman, Natalie, is transported back to the 19th-century American frontier, she’s forced to live within the historic period’s rigid domestic constraints, which she once pushed to her millions of followers as a more ideal way to live. That setting quickly transforms into a punishment the seemingly clueless time traveler may never escape. What initially reads like a generally cautionary tale reveals itself to be something far narrower as this specific woman is caught inside the logical result of her decisions.

Amazon MGM Studios acquired the provocative story’s rights in a competitive bidding war in July 2024, according to Deadline. Emmy-winning writer Hannah Friedman (“Obi-Wan,” “Willow”) was also confirmed to pen the script last year. No director for “Yesteryear” has been publicly announced, and the project is thought to still be in pre-production at this time.

(Left to right): Anne Hathaway in 2007’s ‘Becoming Jane’ and the cover art for ‘Yesteryear’

The sense of mystery around both the “Yesteryear” novel and movie hasn’t stopped social media from speculating about its tantalizing premise. Even after the book’s wide rollout this spring, “Yesteryear” has continued to inspire increasingly loud, often ill-informed chatter online.

Across TikTok, Instagram, Threads, YouTube, Goodreads, and Reddit, reactions have focused less on the craft of fiction writing than on the spiritual subjugation of women that any media about this topic must, by nature, interrogate and include. That oversimplification is telling, and much of the current discourse treats Burke’s story like a sweeping indictment of conservative family values and motherhood, rather than engaging with how acutely “Yesteryear” centers on a single character’s self-made reality coming undone.

While some readers have described “Yesteryear” as a cathartic takedown of the patriarchy, others have bristled at its brutal twist ending and, from that, inferred a sort of nasty streak in Burke’s narrative approach. Plenty of others haven’t engaged with the book at all, instead using its premise — and ironically, Hathaway’s role as a female producer on the film — as fodder for the ever-raging American culture wars. In many cases, the loudest reactions seem to be responding to the idea of the book, not the arc it actually follows.

On one end of the spectrum, critics frame “Yesteryear” as an inevitable leftist attack on conservative women. On the other, you’ll find a swirl of posts that are more positive but still half-informed, widely reducing Burke’s novel into a flat meme that celebrates suffering. The result is a sideways PR cycle that feels less like an unusually strong reaction to the pre-production process, and more like an opportunistic projection of today’s politics that risks pushing the public to ignore the book Burke actually wrote.

Sure, plenty of movie studios would kill to have people fighting this frantically over any script they’re still planning to make. And yes, in 2026, rage coming from either side of the aisle is an incredibly powerful tool for marketing. But with such intense controversy already creeping into the “Yesteryear” discussion, and the film nowhere near theaters, are the folks making and debating it ready for the long road ahead?

Who (or What) Is a Tradwife?

The term “tradwife” is more slippery than it looks. In its most benign framing, the internet-born phrase refers to women who embrace a “traditional” (read: heterosexual, white, Christian) division of labor at home. That means these women are responsible for cooking, cleaning, child-rearing, and most other domestic duties, while their husbands are tasked with making money and major family decisions. 

When that lifestyle is represented on social media, it is often deliberately done in a retro aesthetic that suggests this mindset can serve as a portal to the “good ol’ days,” which, for many women who actually lived before this century, never existed.

In contemporary reality, the “tradwife” is more of a cultural Rorschach test, embodying both the wholesome, lucrative promise of a lifestyle brand — and the viral political messaging that can optimize content for growth.

THE HANDMAID'S TALE, 1990, (c) Cinecon International/courtesy Everett Collection
‘The Handmaid’s Tale’ (1990)©Cinecom Pictures/Courtesy Everett Collection

In a recent essay for The Guardian, “Yesteryear” author Burke discussed the harrowing real-world inspirations behind her book, and traced the term “tradwife” from its surprising origins in online incel spaces to the mainstream influencer culture that’s widening the ideology’s appeal today. She notes that the label operates as both an aspiration and a provocation, making it ideal fuel for internet friction.

“Tradwife content is fundamentally performative,” Burke wrote. “It’s about constructing an image of domesticity that can be consumed, shared, and aspired to, rather than reflecting the lived reality of most women.” As a novel, “Yesteryear” ultimately tapers its focus away from American society at large to instead spotlight what happens when one person can no longer separate her true identity from an assumed facade. And that duality is what makes the concept so tempting to explore more deeply — particularly through the interiority of a complex woman who will be literally trapped on the big screen.

What Happens in the Book “Yesteryear”?

“Yesteryear” follows Natalie, a wildly successful tradwife influencer whose meticulously curated image includes a handsome husband, a beautiful farmhouse, and six adorable children. But Natalie’s picturesque reality also involves an elaborate network of behind-the-scenes labor and wealth that’s invisible to her viewers and essential to her hollow, precarious performance of so-called “real” life.

One day, Natalie wakes up in a place where the mid-19th-century aesthetic she once chose for herself remains, but the illusion of women’s joy and freedom within that universe is gone. With no electricity, no staff, and no agency, Natalie is suddenly forced to become the kind of tradwife she always pretended to be in the worst conditions imaginable. That disorienting time shift, into the far harsher historical world of 1855, Idaho, is what gives Burke’s book not just its spine but its compelling narrative shape. 

DON'T WORRY DARLING, Florence Pugh, 2022.   © Warner Bros. / Courtesy Everett Collection
‘Don’t Worry Darling’ (2022)©Warner Bros/Courtesy Everett Collection

Natalie’s new life goes way beyond rural inconveniences — instead, punishing her with the kind of period-specific atrocities even the most “accurate” tradwives of today conveniently leave out. But jumping between that antiquated hellscape and the modern choices that brought Natalie there in the first place, “Yesteryear” doesn’t torture readers so much as force us into a hopeless descent. Crucially, that decline is framed less as a random act of supernatural misfortune than as the culmination of Natalie’s own carefully constructed latticework of mistakes.

That said, the plot is also propelled by a series of escalating shocks that would no doubt kill in theaters (even if Burke’s use of the word “mushy-penised” probably won’t).

Critically, the response to “Yesteryear” has been split but ferociously engaged. “Black Mirror” and “Don’t Worry Darling” are solid references if you’re looking for tonal touchstones in any medium. But Burke’s book is an especially good pick for readers of Margaret Atwood’s “The Handmaid’s Tale” and Christina Dalcher’s “Vox” (which imagines a world where women are only allowed to speak a few words per day). But unlike those wider speculative dystopias, “Yesteryear” resists building an entire alternate system or government of oppression, instead zeroing in on one nightmarish existence.

Commercially, too, “Yesteryear” seems to be doing well, with repeat appearances on national book club curations and various bestseller charts. Note: We won’t spoil the novel’s entire plot here, but you can find several “Yesteryear” summaries online that detail what happens to Natalie and how she gets seemingly forced back in time.

When Will the Movie with Anne Hathaway Hit Theaters?

There is no official release date for “Yesteryear” yet, and given that Amazon MGM reportedly paid top dollar for the film rights, that uncertainty doesn’t tell us much about what’s actually happening with the film’s development or production right now.

MOTHER MARY, Anne Hathaway, 2026. © A24 / Courtesy Everett Collection
‘Mother Mary’ (2026)Courtesy Everett Collection

That said, with no director and no official production timeline to date, the public perception of “Yesteryear” rests at Hathaway’s feet. That puts the movie in an interesting position relative to the actress’ broader professional trajectory. In recent years, Hathaway has moved fluidly between prestige projects and tentpole studio fare that spark complex conversations.

If “Yesteryear” moves forward soon, it will land in theaters within the next few years. But whether the goal is to create a high-concept adaptation anchored in a layered, award-worthy performance from Hathaway, or a ham-fisted genre movie with a built-in discourse machine, won’t be known for a while.

High Risk, High Reward (or, Free PR via the Far Right)

This far into horror history, “Yesteryear” fits into an eerily familiar category. In film, the genre market has spent years cycling through literary dystopias about extreme oppression, from “The Hunger Games” to “The Long Walk.” And thanks to Hulu’s hugely successful, Emmy-winning TV adaptation of “The Handmaid’s Tale,” gendered violence has never been more creatively permissible to depict on screen.

And yet, grouping Burke’s novel too neatly into that lineage risks missing its significance as a contained horror story reaching American audiences at a time when many people feel like they’re living a lie — or enduring some kind of simulation. Burke excels at articulating just how painfully Natalie’s mask hardens into a private hell that she’s subconsciously feared and created all her life.

But if anger draws attention to “Yesteryear,” it may also cut its emotion and nuance. The risk of the film being misunderstood looms for Hathaway, Amazon MGM, and anyone reading this who remembers the messy, outrage-driven release of “The Hunt” (2020). Will our taste for media that pisses us off make it until “Yesteryear” comes out?

THE HUNT, Betty Gilpin, 2020. ph: Patti Perret / © Universal Pictures / courtesy Everett Collection
‘The Hunt’ (2020)©Universal/Courtesy Everett Collection

Saturation in the dystopian film space risks fatigue among potential ticket holders, yes. But, this specific adaptation could be equally advantaged by presenting an imagined hell within our lesser, present one. The book’s main source of fear comes from collapsing the gap between fantasy and reality, and centuries of cautionary tales in both politics and art prove that kind of nightmare rarely goes out of style. 

A project this gutsy could pay off or backfire, but “Yesteryear” shouldn’t become shorthand for a cultural argument before it even gets made. Of course, dealing with the obstacles this film faces from the very start might just boost Burke’s concept above the caricature it may always be to some.

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There cannot possibly be a more perfect

The Trade Desk CEO Jeff Green expressed empathy for the strife of ad agencies, many of which are facing increasing margin pressure as they navigate tighter budgets, the AI boom, and shifting media supply chain dynamics.

“You can’t keep taking money out of the middle, providing a higher level of service in a more complicated ecosystem, and do that for less and less,” he said in an onstage conversation with Michael Kassan, the renowned media dealmaker and head of 3C Ventures, at Possible 2026 in Miami Beach.

“There has been this pressure being added to the companies in between the advertiser and publisher,” he said.

The Trade Desk CEO Jeff Green expressed

This one is for the OGs. We’ve seen Taylor Swift release music across a series of eras, but there’s nothing quite like your first, is there? The mega star got her start 20 years ago with a series of country pop bangers from her debut album, including “Our Song.” Ever since it came out, fans have been talking about one line in the song that the icon herself has just shared the story behind. Let’s get into it:

Taylor Swift Explained That One Line In ‘Our Song’

Of course, I’m talking about the part when Taylor Swift sings “When we’re on the phone, and you talk real slow, cause it’s late, and your mama don’t know.” Why didn’t Swift decide to go for the more obvious choice, “talk real low”? It just makes so much more sense! Here’s what Swift had to say during an interview with The New York Times:

I don’t like to have a word end with the same letter that the next word starts with… [Our Song] was supposed to be ‘when you’re on the phone and you talk real low,’ but I was like… I don’t like the ‘real low.’ So it turned into, ‘when you talk real slow.’ Certain words just, like, fly for me.

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This one is for the OGs. We’ve

IndieWire and Disney’s Pass the Remote screening series is back, and next week Los Angeles will have a chance to celebrate one of the most exciting nature documentaries of the season with an evening of storytelling, community, and conversation.

On Tuesday, May 5, a special Pass the Remote screening of National Graphic’s Emmy-contending documentary “Ocean with David Attenborough” will take place at Vidiots Foundation in Eagle Rock. Following the film, director Keith Scholey will join IndieWire Awards Editor Marcus Jones for a discussion.

TV Academy members and guild members are invited to attend the event, which will be followed by a reception with beer and wine after the Q&A. Anyone interested in attending can register here. Space is limited, and admission is not guaranteed.

“Ocean with David Attenborough” sees the legendary British broadcaster and nature lover narrate an exploration of the world’s oceans, the vital role that they play in our ecosystems, and the threats they currently face. The film was accompanied by the companion book “Ocean: Earth’s Last Wilderness,” which was co-written by Attenborough and Colin Butfield, who co-directed the film along with Scholey and Toby Nowlan.

“Ocean with David Attenborough” is currently available to stream on National Geographic, Disney+, and Hulu. Stay tuned for more updates on future Pass the Remote events.

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IndieWire and Disney’s Pass the Remote screening

After devoting much of the past two years to her starring role as Glinda in the Wicked film franchise, Ariana Grande has announced her eighth studio album, petal, arriving July 31 via Republic Records. It’s her first full-length release since 2024’s eternal sunshine.

Executive produced and co-written by Grande alongside longtime collaborator ILYA, petal is described as a more organic, growth-focused project. Grande portrays the album as “something that is full of life and growing through the cracks of something cold and hard and challenging.” petal is available for pre-order now across standard physical and digital formats, including vinyl, CD, cassette and a direct-to-consumer exclusive LP variant.

eternal sunshine debuted at No. 1 on the Billboard 200 and produced back-to-back Hot 100-topping singles, “yes, and?” and “we can’t be friends (wait for your love).” The artist has now notched eight consecutive platinum albums and more than 125 billion streams globally. She’ll return to the road for her first extensive tour since 2019 beginning June 6 in Oakland, Ca.

Wicked and its follow-up Wicked: For Good have collectively grossed more than $1.2 billion worldwide and earned Grande nominations at the Oscars, Golden Globes and BAFTAs, further cementing her crossover status.

Next, she’s also set to appear in Focker-In-Law alongside Ben Stiller and Robert De Niro later this year, while additional projects include a planned West End debut in Sunday in the Park with George and voice work in an animated adaptation of Dr. Seuss’ Oh, the Places You’ll Go!.

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EDMONTON – Leon Draisaitl scored a pair of goals and Evan Bouchard chipped in with three assists as the Edmonton Oilers dug deep to stave off elimination, defeating the Anaheim Ducks 4-1 on Tuesday to force Game 6 in California.

Vasily Podkolzin and Zach Hyman also scored for the Oilers who had previously allowed six separate leads to slip away in the first four games of the best-of-seven playoff series.

Connor McDavid and Ryan Nugent-Hopkins each had a pair of assists. Edmonton now owns an all-time record of 18-3 when scoring first in a game when facing elimination.

Alex Killorn replied for the Ducks who take a 3-2 lead back home in their first playoff series since 2018.

Connor Ingram made 29 stops to record the win in Edmonton’s net, while Ville Husso recorded 10 saves for Anaheim after coming in to relieve Lukas Dostal, who allowed three goals on nine shots.

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For the fifth straight game the Oilers struck first, scoring on the game’s first shot just 2:22 into the contest as Podkolzin beat Dostal up high for his second of the post-season.

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Edmonton took a 2-0 lead 8:33 into the opening period as a point shot was deflected twice, the second time through Dostal’s legs by Hyman, who recorded his second of the playoffs.

The Oilers took a three-goal lead just 1:14 later as Draisaitl tipped a Bouchard point shot in for his second of the playoffs. That spelled an early end of the night for Dostal. It was the fifth fastest three goals to start a playoff game in Edmonton franchise history.

Anaheim got on the board with their lethal power play 8:26 into the second frame as Mason McTavish dropped it back to Killorn, who extended his points streak to four games with his third goal of the playoffs.

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Edmonton responded with a power-play goal of its own a couple minutes later on a wicked one-timer by Draisaitl for his second of the game. Draisaitl tied Wayne Gretzky for the most post-season power-play goals in franchise history at 23.


There was no scoring in the third.

The Ducks outshot Edmonton 24-8 over the final 40 minutes.

NOTES

Edmonton has played the most playoff games of any NHL team since 2022 with 80, two more than the Florida Panthers, who beat the Oilers in the last two Stanley Cup finals before failing to qualify this season … Playing in his 80th career playoff game, Bouchard collected his 88th point, moving into a tie for third place all-time for players through 80 games with Brian Leetch, behind only Bobby Orr (92) and Paul Coffey (92) … McDavid (63 points) passed Adam Oates for the second-most points in NHL history when trailing in a playoff series. Only Gretzky (80) has more.

UP NEXT

Game 6 takes place Thursday night at the Honda Center in Anaheim.

This report by The Canadian Press was first published April 28, 2026.

&copy 2026 The Canadian Press

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Image Credit: Getty Images for AARP

The ensemble cast of The White Lotus is growing as the anthology series prepares for its fourth season, taking its signature blend of satire and drama to France. New additions like Laura Dern, Chris Messina, and model-turned-actor Marissa Long join previously announced cast members including Steve Coogan, Alexander Ludwig, AJ Michalka and rising Australian talent Caleb Jonte Edwards for the highly anticipated fourth season.

Helena Bonham Carter was originally a part of the cast, but Laura replaced her in April 2026.

Season 4 will once again center on a new group of wealthy vacationers whose stay at a luxury French resort unravels into sharp character conflicts and darkly comic twists — a formula that has defined creator Mike White’s acclaimed series.

HBO chief Casey Bloys first confirmed the Season 4 setting in November 2025, revealing that the next chapter would unfold in France while noting that White was still in the early stages of development. “Mike [White] is writing and just starting,” Bloys said at the time, adding that the creative team was “very, very early” in the casting process.

Below, meet the main actors joining The White Lotus Season 4 and learn more about the characters they’ll bring to life.

Chris Messina

Messina is confirmed as part of The White Lotus Season 4. He’s known for his versatility in both comedy and drama, with notable roles on The Mindy Project, Sharp Objects, The Sinner and recent projects like Based on a True Story. His film work includes supporting turns in Argo and Air.

Marissa Long

Long makes her television debut in Season 4. Previously working in short films like Valley Mentality! and The Old Breed, Long is stepping into The White Lotus with her first major TV role.

“I’ll try and make this short and sweet, but I am absolutely raw right now!!! God is so good — I am in the middle of so many feelings and I’m unbelievably honored to be joining this with such incredible people,” she wrote on Instagram when the news was announced. “And thank you Mike White!!!!!!!!!! I’m speechless and cannot wait for this journey, feeling deeply blessed.. LETS GO!!!!”

Steve Coogan

Coogan brings seasoned dramatic and comedic chops to Season 4. Coogan’s best known for creating and playing Alan Partridge in multiple TV series and films, as well as his acclaimed dramatic turn (and co-writing credit) in Philomena. His eclectic filmography includes roles in Tropic Thunder and Night at the Museum.

Caleb Jonte Edwards

Edwards is part of the Season 4 cast, bringing fresh energy to the ensemble. An emerging actor, he previously appeared in the Australian crime drama Black Snow, marking a continued rise into international television.

AJ Michalka

Michalka returns to TV in a major ensemble role. First rising to fame as one half of the pop duo Aly & AJ, she transitioned into acting with projects including Cow Belles, Super 8, The Goldbergs and its spinoff Schooled.

Alexander Ludwig

Ludwig was among the earliest Season 4 cast announcements. He’s widely known for his breakout role as Björn Ironside on Vikings, and his film work includes The Hunger Games (as Cato) and Bad Boys: Ride or Die.

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Image Credit: Getty Images for AARP The ensemble

Jimmy Kimmel laid into Donald Trump after the president appeared to make a crack about his age — a day after calling for the late night host to be fired for a similar joke.

During Tuesday’s monologue for “Jimmy Kimmel Live!,” the late night host addressed King Charles III and Queen Camilla’s visit to the United States, where they linked up with the president and First Lady Melania Trump in Washington, D.C.. Per Kimmel, Trump was notably excited about hosting the U.K.’s king and queen, noting, “Trump’s mom was a great fan of the royal family.”

The “Jimmy Kimmel Live!” editors then played a snippet from Trump’s speech welcoming Charles and Camilla, in which he referenced his parents’ relationship. Trump then turned to his wife and added, “They were married for 63 years. And, excuse me, if you don’t mind. That’s a record we won’t be able to match, darling. I’m sorry. Just not going to work out that way.”

Of course, it didn’t take long for Kimmel to clock that the president was referencing his eventual demise with the comment.

“Wait a minute. Did he just make a joke about his death?” Kimmel said. “My god. You should be fired for that.”

The comedian, who appeared pretty heated, added: “Only Donald Trump would demand I be fired for making a joke about his old age and then, a day later, go out and make a joke about his own old age.”

Kimmel then touched on the new indictment plaguing former FBI director James Comey.

“Just when you think they’ve hit peak ridiculous making a big thing out of this joke, they then top themselves and … charge former FBI director Jim Comey, who Trump doesn’t like because he did his job and investigated him,” he highlighted. “And they charged Comey once with obstruction and with making a false statement which went nowhere. It got thrown out of court. So now they’re charging him again. This time with threatening the president’s life for — this is not a joke — this photo of seashells that spell out ’86-47.’”

He added: “86 is an old restaurant term. It means get rid of. And Trump is the 47th president. Trump’s pets in the DOJ are claiming this is some kind of threat or call to violence, which even he should be embarrassed by this. Put that back up. That is not a threat. That is a piece of art your aunt with a beach house would buy on Etsy.”

After recapping the drama, Kimmel ruled that the Trump administration “just [doesn’t] like people named Jim.”

Watch Kimmel’s full monologue below.

Kimmel’s comments came a day after he defended his “expectant widow” joke from last week’s mock White House Correspondents’ Dinner as a “light roast” meant to highlight Donald and Melania Trump’s age difference.

“It was a very light roast joke about the fact that he’s almost 80 and she’s younger than I am,” Kimmel said on Monday. “It was not, by any stretch of the definition, a call to assassination. And they know that. I’ve been very vocal for many years, speaking out against gun violence, in particular.”

Still, the Trumps made it clear they did not find the bit funny, especially after the spoof WHCD speech was followed by an assassination attempt at the annual White House Correspondents’ Association event. Both Melania and Donald called for Kimmel’s termination over the remark.

Additionally, in the wake of the controversy, the Federal Communications Commission asked Disney’s eight local ABC broadcast stations to apply for an early renewal for broadcast licenses.

“The FCC determines that calling in Disney’s ABC licenses for early renewal, at this time, under the Communications Act’s public interest standard is essential within the meaning of agency regulations,” David J. Brown, the chief of the FCC’s video division, wrote to Disney, ABC and the stations in a letter on Tuesday. “Therefore, Disney’s ABC is hereby directed to file license renewals for all of their licensed TV stations within 30 days–in other words, by May 28, 2026.”

A Disney spokesperson said the company received the letter and it believes “ABC and its stations have a long record of operating in full compliance with FCC rules and serving their local communities with trusted news, emergency information, and public‑interest programming.”

“Jimmy Kimmel Live!” airs weeknights at 11:35 p.m. ET on ABC.

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Jimmy Kimmel laid into Donald Trump after

If you grew up as a wrestling fan who trained hard, said your prayers, and took your vitamins, Hulk Hogan: Real American is a nostalgia-filled journey worth taking. Directed by Bryan Storkel, Netflix’s entertaining four-episode docuseries delves into how mere mortal Terry Bollea transformed into “The Immortal” Hulk Hogan. The renowned grappler left an indelible mark on professional wrestling, but the legacy of the man behind the icon is rife with controversy. Relive the highs and lows of Hulk’s transformative career in this engaging new documentary.

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By Josh Sorokach If you grew up as a

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Kis Kisko Pyaar Karoon 2 follows Mohan juggling multiple marriages and identities in chaotic comedy, with Kapil Sharma’s comic timing shining amid wild, illogical plot twists.

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A poster of the film.

A poster of the film.

Kis Kisko Pyaar Karoon 2 2025 ‧ Romance/Drama ‧ 2h 24mU/A

2.5/5

12 December 2025|Hindi2 hrs 24 mins | Comedy

Starring: Kapil SharmaDirector: Anukalp Goswami

Watch Trailer

Kis Kisko Pyaar Karoon 2 Movie Review: Kis Kisko Pyaar Karoon 2 is basically that one friend who creates 100 problems for absolutely no reason and then still expects everyone to clap for him. Mohan Sharma (Kapil Sharma) is supposed to marry the love of his life, Saniya… but destiny clearly had other plans because every single time he chases her, he ends up tying the knot with someone else. Hindu, Muslim, Christian… Mohan collects wives like freebies. And just when he somehow manages to juggle all three, Saniya returns with a whole new identity and a whole new religion of a Sikh woman. Chaos? Bas mat hi poocho!

The whole setup is so wild that you won’t find logic in this plot. Mohan becomes Mehmood to marry one girl, switches to Michael for another, and gets tricked into a Hindu marriage in between. Triple shift, triple stress, triple dhoka. This man needs therapy, not weddings. The women are shown as nincompoops who threaten to kill themselves if Kapil divorces them. The tone of the film clearly screams: “Dimaag ghar pe rakh ke aao.” Because if logic is brought to the theatre, the show will end in tears.

But what actually works are some of the jokes which land like clean sixers, mostly thanks to Kapil’s effortless comic timing. The entire cast tries their best to keep the confusion entertaining, and some moments genuinely spark laughter. There’s also something sweet about Mohan not cheating on anyone despite being married to half the city. He even respects his Muslim wife and keeps roza for her.

However, the story jumps more than a cricket ball on a cracked pitch. Scenes appear and disappear with no sense of direction. Emotional moments feel forced, monologues feel dragged, and the preachy ending comes out of nowhere. The writing is messy, the logic is on holiday, and the chaos sometimes feels more exhausting than funny.

Talking about performances, Kapil Sharma carries the film like a school kid dragging a heavy school bag. He gives his full effort, but the load is too much on him. Manjot Singh brings in some genuine laughs. Among the women, Ayesha Khan and Tridha Choudhary get the meaty parts, while Parul Gulati and Hira Warina add glam but deserved more depth. Everyone tries, but the script doesn’t exactly support them.

Kis Kisko Pyaar Karoon 2 is pure timepass cinema. Laughs come, but logic runs far, far away. It’s chaotic, loud, and absolutely ridiculous, but if the only goal is to watch Kapil do his Kapil-ness, this works as a one-time, easy-watch entertainer. For anyone expecting smart storytelling or solid direction, bhool jao. Just remember to leave your brains at home while coming to watching this movie.

News movies bollywood Kis Kisko Pyaar Karoon 2 Review: Kapil Sharma’s Comedy Film Is All Noise, No Logic
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Last Updated:December 11, 2025, 22:41 ISTKis Kisko

15-Second summary

Feedly’s integration with ThreatConnect simplifies and enhances threat intelligence workflows by delivering relevant, contextual intelligence directly into your TIP, enabling deeper enrichment, smarter prioritization, and alignment with intelligence requirements — all with seamless health monitoring through our no-code service app.

With this no-code integration, you can:

  • Enrich your investigations with high-signal intelligence from Feedly AI Feeds and Boards.
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Boost your threat research with enriched, actionable insights from Feedly and ThreatConnect.

Enrich your investigations with high-signal intelligence

Many threat intelligence platforms struggle with the quality of their open-source data. Analysts often face a flood of low-signal content, such as irrelevant or duplicative articles, indicators that lack context, or vulnerabilities unrelated to their tech stack. This noise not only slows investigations but risks burying the few pieces of truly actionable intelligence.

Feedly’s AI Feeds surface only the most relevant, high-confidence open-source intelligence from thousands of sources, filtering out noise and highlighting critical IoCs, TTPs, CVEs, malware families, and threat actors. This intelligence flows directly into ThreatConnect TI Ops as structured reports and indicators, with relationships and context preserved. Analysts can quickly enrich investigations with high-signal intelligence that integrates seamlessly with existing threat data.

Ingest IoCs, CVEs, TTPs, threat actors, and malware data with context into ThreatConnect

Feedly AI automatically extracts and correlates key threat intelligence entities, such as CVEs, IoCs, TTPs, malware families, and threat actor names, from thousands of cybersecurity sources. Each article is processed into structured STIX 2.1 JSON and enriched with contextual relationships through the Feedly Threat Graph. This ensures that when intelligence is ingested into ThreatConnect, it arrives in a usable, standardized format that maintains the context necessary for effective analysis.

When Feedly identifies a relevant article containing actionable intelligence, it can automatically generate a report in ThreatConnect, complete with extracted indicators, TTPs, vulnerabilities, and linked threat actors or malware. This automation streamlines the intelligence ingestion process, reduces manual entry, and preserves the connections between entities, enabling CTI analysts to quickly pivot from high-level reporting to technical details during investigations.

Correlate Feedly and ThreatConnect data to improve threat prioritization and response

Once Feedly intelligence is inside ThreatConnect, it becomes part of a larger, connected threat landscape that includes additional intelligence feeds, internal telemetry, and detection systems. Using the ThreatConnect Threat Graph, analysts can correlate Feedly-sourced indicators, TTPs, CVEs, and actor profiles with internal data to reveal deeper relationships and surface hidden threats.

This correlation improves both prioritization and response. Analysts can identify whether a Feedly-sourced IoC appears in internal logs, map emerging vulnerabilities to affected assets, or connect new TTPs to known adversary behavior. By linking external insights with internal visibility, teams can make better-informed decisions and act faster against the most relevant threats.

Intelligence from Feedly can be automatically mapped to ThreatConnect Intelligence Requirements, ensuring fidelity and relevancy with your most critical intel needs.

Conclusion

The integration of Feedly Threat Intelligence with ThreatConnect brings automation, precision, and context to your threat intelligence workflows. It eliminates the burden of low-signal open-source data and helps analysts move efficiently from ingestion to investigation to action. With structured, contextual intelligence flowing directly into your TIP, your team can stay focused on what matters: identifying threats early, prioritizing confidently, and responding with speed.

Try Feedly’s ThreatConnect integration

Simplify and enhance threat intelligence workflows by delivering relevant, contextual intelligence directly into your TIP.

Try Feedly Threat Intelligence

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15-Second summaryFeedly’s integration with ThreatConnect simplifies and

Here’s something worth thinking about: with hundreds of scripted shows airing at any given time across cable, broadcast, and every streaming platform known to humankind, how does any single one of them manage to make everyone happy? Television is a vast, clumsy, and almost difficult storytelling machine. Sci-fi lovers and rom-com loyalists barely share a channel. Crime drama fans will sit through three cold-blooded murders before breakfast while their roommate is rewinding a cooking competition for the fourth time. There are period TV dramas, workplace comedies, animated epics, and reality show rabbit holes, and every single one of them has found its little, passionate corner of the internet. It’s hard to get TV’s massive, fractured audience to agree on anything.

However, some TV shows just cut through all of that. Not because they appeal to one specific type of viewer, but because they do what great storytelling has always done: tap into something deeply, embarrassingly human. Some people discover them decades later and immediately regret not watching them sooner. People recommend these series with a sense of urgency, as if the person recommending has their whole aura on the line. Here are 10 TV shows that virtually everyone, everywhere, at some point in time, has watched and said, “Yeah, that’s a masterpiece.”

‘Band of Brothers’ (2001)

Soldiers sit together in Band of Brothers HBO

War TV tends to either sanitize the story into something palatable or lean so far into brutality that it loses the humanity underneath. Band of Brothers does neither, and it is still the greatest WWII TV show of all time. The 10-part HBO miniseries, produced by Steven Spielberg and Tom Hanks off the back of Saving Private Ryan, follows the Easy Company of the 101st Airborne Division through WWII’s European theater, from their early training at Camp Toccoa all the way to Hitler’s Eagle’s Nest at Berchtesgaden.

Band of Brothers took $120 million to produce, which, at the time, made it the most expensive TV project ever. It currently holds a 94% Certified Fresh rating on Rotten Tomatoes. It’s not the spectacle that earns all those numbers (although the battle sequences are extraordinary), but the intimacy. Each episode opens with real survivors of the Easy Company speaking directly to the camera, quietly reminding you that these were actual people. In a way, it’s a living memorial.

‘M*A*S*H’ (1972 – 1983)


Imagine a comedy set in a war zone. Sounds odd, doesn’t it? However, M*A*S*H pulled it off. Set in a Mobile Army Surgical Hospital during the Korean War, it ran on CBS for 11 seasons, which is eight years longer than the actual war lasted. Somehow, for most of that run, it proved that sitcoms could handle serious themes without losing humor. The show uses the Korean conflict as cover to talk about Vietnam and about the human cost of any armed conflict.

M*A*S*H was the first series on television to make dramedy work by effortlessly striding the line between the deadly serious and the completely bonkers. Alan Alda’s Hawkeye Pierce became a new archetype: the disaffected, funny, ultimately broken man who copes with horror through humor. The final episode, “Goodbye, Farewell and Amen,” broke TV records and was the most-watched broadcast in the United States for 27 years before a Super Bowl surpassed its numbers.

‘Cheers’ (1982 – 1993)

Diane and Sam on Cheers NBC

It ranked 74th out of 77 shows in its premiere week. It was nearly canceled. And ratings were so dismal that NBC kept it on air mostly because they had nothing else to put in that slot. And then, slowly, Cheers became one of the defining TV shows in the history of American television. Set almost entirely within a single Boston bar, “where everybody knows your name,” the show ran for 11 seasons and left behind a legacy that a shocking number of modern sitcoms still live inside.

Cheers earned a Top-10 Nielsen rating during eight of its 11 seasons and received 29 nominations for Outstanding Comedy Series every single year it aired. It eventually won 28 Primetime Emmy Awards from a record 111 nominations. The writing was unusually sharp, and the ensemble (including Ted Danson, Shelley Long, Kirstie Alley, Kelsey Grammer, Woody Harrelson, and Rhea Perlman), gave the show depth. Beyond laughter and emotion, Cheers gave birth to Frasier, one of the most successful spin-offs ever.

‘Avatar: The Last Airbender’ (2005 – 2008)

Aang, Katara, and Sokka in the Avatar: The Last Airbender animated TV show Paramount

Ask anyone who watched Avatar: The Last Airbender as a kid, and they’ll defend it like it’s personal. Ask anyone who came to it as an adult, expecting a cartoon and landing somewhere entirely different, and they’ll tell you they weren’t prepared for how perfect the show is. Avatar: The Last Airbender aired on Nickelodeon for three seasons. It follows a 12-year-old named Aang who wakes from a century-long sleep to find the world at war.

The storytelling is rich, layered, and full of twists. It balances humor, action, and drama in a way that appeals to both children and adults, which is something that few animated series manage. The show was nominated for the Outstanding Animated Program award at the Primetime Emmys in 2007, won the Peabody Award, and has received countless other accolades. Also, the writers don’t shy away from topics like genocide, child abuse, war, and broken families. Instead, they used them to deepen and strengthen the characters. Avatar‘s resurgence on Netflix in 2020 has only made it more popular and more accessible.

‘Breaking Bad’ (2008 – 2013)


Breaking Bad creates suspense. It’s not the will-they-won’t-they of a thriller, but something closer to watching someone sleepwalk toward a cliff and being unable to stop them or look away. Walt cooks meth. Walt gets good at it. Walt gets too good at it. The entire moral weight of the show shifts under your feet so slowly and methodically that by the time you realize you’ve been watching a villain origin story, you’re already five seasons in and implicated.

The saga of Walter White was certified by Guinness World Records as the most critically acclaimed TV show of all time. It holds a 96% average rating on Rotten Tomatoes, with 100% scores for both its third and fourth seasons. Bryan Cranston won four Outstanding Actor Emmys, setting a record. Every season of Breaking Bad was better than the last. Even fans defend the show’s lowest-rated episode, “Fly,” as a profound character study.

‘Succession’ (2018 – 2023)


Power is ugly, but Succession makes it weirdly addictive to watch. HBO’s modern saga follows the Roy family, a media dynasty run by a dying patriarch and circled by his catastrophically damaged children. The show manages to be a savage satire, a genuine family drama, and one of the funniest shows on TV all at once. Logan Roy barking orders; Roman making offensive jokes to cover the fact that he’s terrified; Kendall oscillating between self-destruction and delusion; and Shiv slowly revealing that she learned from the best.

Succession maintained universal acclaim across all four of its seasons. It averaged a 95% rating on Rotten Tomatoes, and placed 10th in BBC Culture’s ranking of the 100 greatest TV series of the 21st century. The dialogue alone justifies the legacy. So many lines from the show entered the cultural conversation the same way Seinfeld catchphrases did in the ‘90s. However, these are darker and more barbed. Succession also sticks the landing. In the end, it’s not a show about who wins. It’s about watching everyone lose, one by one.

‘The Sopranos’ (1999 – 2007)

James Gandolfini as Tony Soprano in The Sopranos HBO

Before The Sopranos, you watched TV. After The Sopranos, you invested in it. David Chase’s HBO crime drama is about New Jersey mob boss Tony Soprano, a man simultaneously navigating panic attacks, therapy sessions, and ordering hits. The show essentially invented a template that the next two decades of prestige drama would spend trying to replicate. Mad Men, Ozark, and The Wire arej just a few.

Critics and journalists frequently call The Sopranos the greatest TV show ever made, with one Boston Globe television critic arguing it was the first series that genuinely made people willing to pay for cable just to see one show. It paved the way for every complex, morally compromised protagonist that followed, and it established that we could empathize with dangerous, irredeemable people. And that finale? Still debated and still dissected. Few shows have managed to feel this psychologically rich while staying this rewatchable.

‘Seinfeld’ (1989 – 1998)


A show about nothing. That phrase is repeated so often it’s lost most of its meaning, but it’s also true. Jerry Seinfeld and Larry David built nine seasons of network television out of parking spots, soup lines, bad dates, and what happens when you accidentally double-dip at a party. The show had no lesson. No growth arcs. No moral dilemmas. The characters were petty, neurotic, self-absorbed, and completely hilarious, and we collectively gathered around them every Thursday night for a decade.

Seinfeld was voted the Greatest Show of All Time by TV Guide in 2002. Seinfeld coined phrases like, “yada yada yada,” “Festivus,” “master of your domain,” and “No soup for you,” which have become so embedded in the American lexicon that many people use them without knowing where they came from. Additionally, Seinfeld didn’t soften its characters to make them easier to like. It trusted the viewers to find funny people funny even when (or especially when) they were being terrible.

‘The Golden Girls’ (1985 – 1992)


Picture the year 1985. Now picture a network sitcom about four women in their 50s and 60s, living together in Miami, dating, fighting, eating cheesecake at midnight, and talking frankly about sex, death, loneliness, and aging. It was a bold concept. The network took the gamble, viewers showed up in staggering numbers, and TV has never recovered from the intelligence of that premise.

The Golden Girls, a groundbreaking sitcom, received 65 Emmy nominations and won 11, with all four lead actresses, Bea Arthur, Betty White, Rue McClanahan, and Estelle Getty, earning an Emmy for their performances. The show tackled homelessness, assisted suicide, undocumented immigration, and LGBTQ rights with a sensitivity and directness that several dramas of the era didn’t even attempt. It has now turned 40, all four of its stars have passed, and it is still streaming, still referenced, and still beloved.

‘Friends’ (1994 – 2004)

Joey,Phoebe, Rachel, Monica, and Ross in Friends NBC

Some TV shows are great. Some are cultural monuments. And then there’s Friends, which is neither of those things, and yet both of them. It’s a show that essentially became the wallpaper of the ‘90s and never stopped being relevant. Six people, one coffee shop, and a very nice apartment no one could actually afford, turned into 10 seasons of jokes, heartbreak, and terrible timing.

The first episode drew 22 million viewers. The finale, a decade later, drew 52 million viewers, making it the third most-watched TV series finale in TV history at the time. In 2018, the show accounted for 4% of all Netflix views globally, despite being a decades-old network sitcom with no ongoing storyline. It basically introduced the concept of being “friend-zoned” into everyday conversation and gave the world the idea that your friends could be your family. Friends directly inspired How I Met Your Mother, The Big Bang Theory, and essentially the entire hangout-sitcom genre that followed. There are valid critiques about the dated humor on Friends and the lack of diversity, but nothing changes the sheer, stubborn fact that Friends made the whole world feel like they were part of the group.

So… are we actually agreeing, or just being polite? Drop your take in the comments below.

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Here’s something worth thinking about: with hundreds

Charity game speedrunning event, Games Done Quick, is coming to Europe for the first time, thanks to a collaboration with Gamescom.

Gamescom GDQ will take place during this year’s expo, which is held annually in Cologne, Germany, for three days of live programming, which will also be streamed on Twitch and YouTube.

As with previous GDQ events, gamescom GDQ will showcase a curated lineup of speedruns performed by top players from around the world, “celebrating skill, community, and the positive impact of games”. Runner submissions will open on May 4 on gamesdonequick.com.

Since 2010, Games Done Quick has raised more than $60 million for charities worldwide, including Doctors Without Borders, Prevent Cancer Foundation, Malala Fund, and Race Forward.

The Gamescom event will benefit Gaming for Democracy, an initiative created in partnership with Bertelsmann Stiftung and Stiftung Digitale Spielekultur, supporting civic engagement and democratic values through gaming culture.

“We’re thrilled to expand Games Done Quick globally and to bring a live event to gamescom in Germany, an opportunity that’s incredibly meaningful to our team,” commented Ashley Farkas, owner of Games Done Quick.

Since 2010, Games Done Quick has raised more than $60 million for charities.

“This partnership not only supports an amazing initiative, but also creates space for more runners to participate, especially those who haven’t previously had the opportunity to travel to the US.”

Tim Endres, Director of Gamescom, added: “Speedrunning captivates millions of people around the world. We are therefore all the more excited to announce gamescom GDQ. This gives fans in Europe their first opportunity to experience this popular format live.

“At the same time, the event underscores gamescom’s importance not only in its leading role for the games industry and community, but also as a platform for social engagement.

“Games Done Quick and gamescom are a perfect match: Here, it becomes clear what makes gaming so special: the sense of community, the passion, the competition, but also simply the joy of playing games and creatively pushing the boundaries of the rules.”