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Tag: netflix

  • Seth Rogen & Jonah Hill’s Hilarious Star-Filled Comedy To Leave Netflix

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    This Is the End, a 2013 comedy hit featuring Seth Rogen and Jonah Hill, will be removed from Netflix’s streaming library next month. The supporting cast roster includes several other renowned comedy actors, playing fictionalized versions of themselves during a Biblical apocalypse.

    This Is the End leaves Netflix in March

    The popular apocalyptic horror comedy will not be a part of Netflix’s library soon.

    As per What’s on Netflix, This Is the End will be exiting the streaming platform on Sunday, March 1, 2026.

    Directed by longtime collaborators Evan Goldberg and Seth Rogen, the movie is a feature-length version of their 2007 short film, Jay and Seth Versus the Apocalypse. The movie features Rogen, Jonah Hill, James Franco, Jay Baruchel, Danny McBride, Craig Robinson, Michael Cera, and Emma Watson, among others.

    This Is the End follows a group of celebrities as fictionalized versions of themselves as they navigate a Biblical apocalypse. The story kicks off when a Rapture suddenly appears at a convenience store where Seth and Jay are. They later flee back to Franco’s housewarming party, where a massive earthquake strikes, swallowing most of the partygoers. The surviving group then faces increasingly bizarre and supernatural events, including demonic creatures and Jonah Hill becoming possessed.

    Released on June 12, 2013, the movie received a positive reception from both critics and audiences. It currently has a 82% Tomatometer score and 71% Popcornmeter score on Rotten Tomatoes. Moreover, This Is the End earned more than $126 million worldwide by the end of its theatrical run (via Box Office Mojo).

    The movie’s original title was reportedly The End of the World. However, Simon Pegg reached out to the filmmakers to change the title. This was because it was similar to his then-upcoming movie, The World’s End (via Vulture). Subsequently, Rogen announced the new title with a post on X (formerly Twitter).

    Interestingly, This Is the End’s first trailer and poster were released on December 20, 2012. It was one day before the supposed December 21, 2012, apocalypse associated with the Mayan Long Count calendar.

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    Harsha Panduranga

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  • Netflix’s ‘Culinary Class Wars’ has transformed South Korea’s fine dining scene

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    By JUWON PARK

    SEOUL, South Korea (AP) — When South Korean chef Jun Lee opened his restaurant SOIGNÉ in Seoul 13 years ago, explaining what fine dining meant was part of the job.

    Customers would ask for à la carte items at his “modern Seoul cuisine” restaurant, which only serves a tasting menu, or question why a meal took so long.

    Today Lee finds himself answering different questions — queries about flavor combinations, cooking techniques, and the philosophy behind his dishes.

    Chef Jun Lee prepares food for a photo at his restaurant SOIGNÉ in Seoul, South Korea, Thursday, Jan. 29, 2026. (AP Photo/Lee Jin-man)

    “Many people either didn’t know this culture existed or weren’t particularly interested,” said Lee, whose restaurant name means “well-made” in French. “But now they’re becoming interested, and when they come to dine, the questions they ask — the style of their questions — have more depth.”

    Chefs and culinary experts say part of the shift is driven by Netflix’s cooking competition series “Culinary Class Wars,” where Lee recently appeared in the second season.

    The unscripted series pits acclaimed “white spoon” chefs — including Michelin-starred restaurateurs — against underdog “black spoon” challengers. The second season of “Culinary Class Wars” debuted at No. 1 on Netflix’s Global Top 10 (Non-English TV) list in December, and has remained on the chart for five consecutive weeks. Netflix has officially confirmed a third season.

    Hundreds of thousands of booking requests

    Tei Yong, CEO of CATCHTABLE, South Korea’s leading restaurant reservation platform, said the show’s influence far exceeded entertainment value.

    “I never imagined a single TV show could generate this level of interest in gastronomy,” Yong told The Associated Press.

    In November 2024, after Season 1 aired, Seoul’s Metropolitan Government hosted a pop-up event featuring fine dining chefs from the Netflix series. When CATCHTABLE opened 150 reservations, nearly 450,000 people attempted to book — roughly 3,000 people competing for each spot.

    Yong said the interest in gastronomy has “sustained” after the first season. The average booking and waitlist registrations per participating restaurant jumped approximately 303% in the five weeks following Season 2’s premiere compared with the five weeks prior, he said.

    Personal transformations

    Chef Kim Sung-woon, of Table for Four in Seoul, said that reservations have tripled after the show.

    Kim Sung-woon, the chef and owner of Table for Four, poses for a photo on Jan. 31, 2026, in Seoul, South Korea. (AP Photo/ Juwon Park)
    Kim Sung-woon, the chef and owner of Table for Four, poses for a photo on Jan. 31, 2026, in Seoul, South Korea. (AP Photo/ Juwon Park)

    His staff receives roughly 100 phone calls daily — so many they can barely answer while working.

    But Kim said his life has changed in other ways, too.

    “Customers ask for photos constantly now — I feel like a celebrity,” Kim said. “I’ve received more letters than at any time since my military service. Young fans, even children, write to me.”

    Born and raised in Taean, a seaside town south of Seoul, Kim grew up farming and once dreamed of becoming a baseball umpire before stumbling into the restaurant industry. Despite decades in the culinary world, he said he was speechless when he arrived at the Netflix set and saw legendary chefs he’d idolized.

    Lee has seen similar changes. Walking down the street, people now ask for photos. Requests for international collaboration have increased significantly.

    Kim Sung-woon, the chef and owner of Table for Four, cooks his signature dish on Jan. 31, 2026, in Seoul, South Korea (AP Photo/ Juwon Park)
    Kim Sung-woon, the chef and owner of Table for Four, cooks his signature dish on Jan. 31, 2026, in Seoul, South Korea (AP Photo/ Juwon Park)

    “Before the show, foreigners made up the majority of our reservations,” Lee said. “Now South Korean customers book so quickly that foreign visitors often can’t get tables.”

    Modern Korean Cuisine

    The show has proven particularly significant for chefs serving Korean cuisine with fine dining techniques — a category gaining international attention. For Lee, simply adding Korean ingredients doesn’t make a dish culturally Korean.

    “If you just put kimchi in a dish and say it’s inspired by Korean food, does that make it Korean?” he said. “Korean food culture isn’t about specific recipes — it’s the accumulated lifestyle habits people have created.”

    Beyond the familiar Korean barbecue and bibimbap that have come to define Korean cuisine globally, chefs like Lee are reclaiming a more nuanced cultural identity. He draws on French, American, and other techniques learned in New York kitchens. “But because I’m expressing them as a South Korean person living in Seoul, Korean elements naturally come through,” he said.

    Rather than translating concepts into Western terms, Lee keeps them in Korean — beginning with his signature dish, Hanwoo and Banchans — top-quality beef with an array of seasonal Korean condiments and vegetables.

    “Side dishes in English suggest something optional. But in Korean culture, without banchan, a meal feels incomplete. The number of banchan signals whether it’s an ordinary day or a special occasion — emotions shared by those who live this culture.”

    Jun Lee, co-owner and executive chef of SOIGNÉ restaurant Group Inc., poses for a photo in Seoul, South Korea, Thursday, Jan. 29, 2026. (AP Photo/Lee Jin-man)
    Jun Lee, co-owner and executive chef of SOIGNÉ restaurant Group Inc., poses for a photo in Seoul, South Korea, Thursday, Jan. 29, 2026. (AP Photo/Lee Jin-man)

    Broader context

    The show’s success builds on years of groundwork — the South Korean government has actively promoted Korean cuisine globally since the late 2000s.

    Jihyung Andrew Kim, a professor in culinary arts and food management at Hanyang Women’s University, said entertainment content proved particularly effective in reaching younger audiences.

    “The government made genuine efforts for a long time,” Kim said. “But Netflix and cultural content — like BTS gaining international recognition — accelerated globalization of Korean food.”

    The academic observed that fine dining interest has grown particularly among diners in their 20s and 30s, driven by social media culture where dining experiences become shareable content.

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    Associated Press

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  • Dearest Reader, This Cinderella Story Is Getting Sexier by the Minute

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    She would love “Cinderella,” by the Cheetah Girls.
    Photo: Liam Daniel/Netflix

    There may not be a pumpkin chariot, a fairy godmother, or any fun-loving mice, but hopefully this Cinderella story keeps the happy ending. Netflix just dropped the trailer for the second part of Bridgerton’s fourth season, and things are getting steamy in the Bridgerton household with both Sophie and Benedict in the same place. In part one, the lovers met at a masquerade ball, where she had to hide her identity from her stepmother, who treats her like a maid. Then, he got her a job at her own house and offered her the prestigious position of his mistress, which she turned down. Now, they’re still dealing with the fallout. “Being a mistress is the last thing I would ever want,” Sophie (Yerin Ha) tells her beau. “How else am I supposed to be with a woman that society has made it impossible for me to be with?” Benedict (Luke Thompson) asks.

    The trailer even teases what looks like will be Benedict’s big speech, à la Anthony’s beloved “bane of my existence and the object of all my desires” monologue in season two. “I cannot love a maid,” Benedict says. “And yet you have taken possession of me.” Then, while she’s still in her maid outfit, the two kiss. Shondaland’s version of Regency-era society can handle a lot, but it is not going to be able to handle that. “There is one sacrifice that you will have to make,” the typically sweet Mama Bridgerton says. “Your family.” That’s a tough one to stomach. Find out what big B.B. chooses when season four, part two premieres on February 26.

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    Jason P. Frank

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  • Mel Gibson’s Biblical Hit Is Leaving Netflix Amid Sequel Updates

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    Mel Gibson‘s Oscar-nominated biblical movie is making its way out of Netflix’s library later next month. Released in 2004, the R-rated period drama became the highest-grossing independent movie of all time—a title it still boasts.

    The Passion of the Christ is leaving Netflix in March

    The Passion of the Christ will be delisted from Netflix on Saturday, March 28, 2026.

    Mel Gibson directed the movie from a script he co-wrote with Benedict Fitzgerald. It portrays the final 12 hours leading to Jesus Christ’s death. The cast features Jim Caviezel as Jesus, Maia Morgenstern as Mary, Christo Jivkov as John, Francesco De Vito as Peter, Monica Bellucci as Mary, and Mattia Sbragia as Caiaphas, among others, in prominent roles.

    The movie had become a controversial subject even before its theatrical release. Due to major anti-semitism allegations from the Jewish community, several Hollywood production companies had refused to produce it. Gibson later decided to fund it independently through his production company, Icon Productions, and distributed it with the help of Newmarket Films.

    The controversies continued even after the movie’s release, which opened to mixed-to-negative reviews from critics. It currently has 49% critic approval rating on Rotten Tomatoes. Audiences, however, gave it a warmer welcome, and it currently holds a strong 81% Popcornmeter score from over 250,000 user ratings.

    Furthermore, the movie became a box office success, concluding its theatrical run with global earnings of over $609 million. As of 2026, The Passion of the Christ remains the highest-grossing independent film of all time. Later, it earned three Academy Award nominations for Best Achievement in Cinematography, Best Achievement in Music Written for Motion Pictures, Original Score, and Best Achievement in Makeup.

    In early 2025, Gibson revealed that a second part, titled Resurrection of the Christ, is in development during his appearance on The Joe Rogan Experience. At the time, he also said his team aimed for a 2026 release.

    However, in August 2025, it was announced that it will be released in two parts. Part One will debut on Good Friday, March 26, 2027, and Part Two on Ascension Day, Thursday, May 6, 2027.

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    Harsha Panduranga

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  • Constance Zimmer on portraying powerful characters and the future of

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    Constance Zimmer on portraying powerful characters and the future of “The Lincoln Lawyer” – CBS News









































    Watch CBS News



    Constance Zimmer, who stars in the new season of “The Lincoln Lawyer,” talks about how she channels her powerful character in the series and why it’s important for her to always make her characters relatable.

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  • Madea, Come Get Your Brother! Joe Is Cussin’, Tusslin’ & Blicky-Bussin’ In Raunchy Trailer For ‘Tyler Perry’s Joe’s College Road Trip’

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    Madea, come get your brother!

    Source: Netflix

    Longtime fan favorite Joe Simmons is cussin’, tusslin’, and blicky-bussin’ in Tyler Perry‘s Joe’s College Road Trip which marks a stark departure from the media mogul’s usual faith-based entertainment.

    And yes, Tyler made sure to warn his legion of devotees that the upcoming film is Rated R for RAUNCHY with a whole lotta cussing and seemingly very little Jesus.

    So raunchy, in fact, that it has a red band trailer which is reserved for the raunchiest of films. Check it out below!

    In Joe’s College Road Trip, Joe takes his grandson, B.J. (Jermaine Harris), on a cross-country college road trip in an effort to teach him about the real world where tensions get high but life-changing lessons are learned.”

    “Jermaine is a brilliant actor,” said Perry in an interview with Blavity’s Shadow and Act. “I had so much fun bantering with him. He is such a great talent and brilliant actor. It was a joy to work with him again. I hope to see him rise as far as his faith will let him. And when I saw Amber Reign Smith’s audition for this role, I was impressed. Her vulnerability in any role she plays gives life to every character as only a great actor can.”

    Interestingly, the history of Joe actually predates Madea who makes a cameo as the third character played by Perry who also plays Joe’s son, Brian Simmons, in the film.

    “He was my first character but he’s always been the one that was more irreverent,” added Perry. “The timing was right because I feel like he has a lot to say about the world today from a voice and point of view that was lost long ago.”

    Check out the not-so-raunchy trailer below:

    Will you be seated for Tyler Perry’s Joe’s College Road Trip this Friday, Feb. 13, on Netflix? Tell us down below and peep some social media chitter-chatter over the raunchy film on the flip.

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    Alex Ford

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  • DGA Awards 2026: See The Full Winners List

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    Read on for the full list of DGA Awards 2026 winners below:

    Theatrical Feature Film

    WINNER: Paul Thomas Anderson – One Battle After Another

    Ryan Coogler – Sinners
    Guillermo Del Toro – Frankenstein
    Josh Safdie – Marty Supreme
    Chloé Zhao – Hamnet

    Michael Apted First Time Directorial Feature

    WINNER: Charlie Polinger – The Plague

    Hasan Hadi – The President’s Cake
    Harry Lighton – Pillion
    Alex Russell – Lurker
    Eva Victor – Sorry, Baby

    Documentary Film

    WINNER: Mstyslav Chernov – 2000 Meters to Andriivka

    Geeta Gandbhir – The Perfect Neighbor
    Sara Khaki and Mohammadreza Eyni – Cutting Through Rocks
    Elizabeth Lo – Mistress Dispeller
    Laura Poitras and Mark Obenhaus – Cover-Up

    Dramatic Series

    WINNER: Amanda Marsallis – The Pitt, “6:00 PM”

    Liza Johnson – The Diplomat, “Amagansett”
    Janus Metz – Andor, “Who Are You?”
    Ben Stiller – Severance, “Cold Harbor”
    John Wells – The Pitt, “7:00 A.M.”

    Comedy Series

    WINNER: Seth Rogen and Evan Goldberg – The Studio, “The Oner”

    Lucia Aniello – Hacks, “A Slippery Slope”
    Janicza Bravo – The Bear, “Worms”
    Christopher Storer – The Bear, “Bears”
    Mike White – The White Lotus, “Denials”

    Limited & Anthology Series

    WINNER: Shannon Murphy- Dying for Sex, “It’s Not That Serious”

    Jason Bateman – Black Rabbit, “The Black Rabbits”
    Antonio Campos – The Beast in Me, “Sick Puppy”
    Lesli Linka Glatter – Zero Day, “Episode 6”
    Ally Pankiw – Black Mirror, “Common People”

    Movies for Television

    WINNER: Stephen Chbosky – Nonnas

    Jesse Armstrong – Mountainhead
    Scott Derrickson – The Gorge
    Michael Morris – Bridget Jones: Mad About the Boy
    Kyle Newacheck – Happy Gilmore 2

    Variety

    WINNER: Liz Patrick – SNL50: The Anniversary Special

    Yvonne De Mare – The Late Show with Stephen Colbert, “Julia Roberts; Sam Smith”
    Andy Fisher – Jimmy Kimmel Live!, “Stephen Colbert; Kumail Nanjiani; Reneé Rapp”
    Beth McCarthy-Miller – SNL50: The Homecoming Concert
    Paul Pennolino- Last Week Tonight with John Oliver, “Public Media”

    Sports

    WINNER: Matthew Gangl – 2025 World Series – Game 7

    Steve Milton – 2025 Masters Tournament
    Rich Russo – Super Bowl LIX

    Reality/Quiz and Game

    WINNER: Mike Sweeney – Conan O’Brien Must Go, “Austria”

    Lucinda M. Margolis – Jeopardy!, “Ep. 9341”
    Adam Sandler – The Price is Right, “10,000th Episode”

    Documentary Series/News

    WINNER: Rebecca Miller – Mr. Scorsese, “All This Filming Isn’t Healthy”

    Marshall Curry – SNL50: Beyond Saturday Night, “Written By: A Week Inside the SNL Writers Room”
    Susan Lacy and Jessica Levin – Billy Joel: And So It Goes, “Part Two”
    Alexandra Stapleton – Sean Combs: The Reckoning, “Official Girl”
    Matt Wolf – Pee-Wee as Himself, “Part 1”

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    John Ross

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  • DOJ is investigating if Netflix used anticompetitive tactics as part of its merger probe

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    Netflix’s acquisition of Warner Bros. Discovery isn’t quite a done deal yet. As first reported by The Wall Street Journal, the US Department of Justice has started its probe of Netflix’s proposed purchase, but is notably interested in whether the streaming giant was involved in any anticompetitive practices. According to the civil subpoena seen by WSJ, the Justice Department is looking into any “exclusionary conduct on the part of Netflix that would reasonably appear capable of entrenching market or monopoly power.”

    While Netflix announced plans to acquire Warner Bros. Discovery in December at a value of $82.7 billion, the deal was expected to close in 12 to 18 months, subject to required regulatory approvals. The DOJ has the power to block the transaction and this investigation could hint at the agency’s approach, which may involve proving that Netflix put its competition at an unfair advantage.

    Netflix’s attorney, Steven Sunshine, told WSJ that this probe was standard practice and that, “we have not been given any notice or seen any other sign that the DOJ is conducting a separate monopolization investigation.” Netflix also said in a statement that it’s “constructively engaging with the Department of Justice as part of the standard review of our proposed acquisition of Warner Bros.” According to WSJ, the investigation is still in its early stages and could take up to a year to complete.

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    Jackson Chen

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  • Netflix’s Animated ‘Ghostbusters’ Movie Shows Signs of Life

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    You might’ve forgotten Sony and Netflix are teaming to bring Ghostbusters to animation, but they are, and their animated film is finally making some progress.

    A recent report from Jeff Sneider reveals the untitled movie has recently bagged a writer in Dolface writer Sam Jarvis. She’s the latest writer to join the project after Yoni Brenner and Kristy Hall, who wrote earlier drafts of the script. According to Sneider, the film’s directed by Kris Pearn (The Tiger’s Apprentice) and will be a wholly new entry in the franchise.

    Sony first announced its plans to make an animated Ghostbusters movie back in 2016 with the initial premise of telling a film from the ghosts’ perspective. It’s currently unclear if this movie will still go that route, but the studio’s been trying to make new cartoons out of the property for a while now: a Netflix series was announced back in 2022 with little drops of information in the years since, such as it being in CG and animated by Legend of Aang studio Flying Bark. At time of writing, it’s also a question mark whether this animated movie and show will connect in any way.

    And what about the next live-action movie after Ghostbusters: Frozen Empire? One may also be in the works at time of writing, so if you’re a fan, it sounds like you’ve got a good amount to look forward to in the near future…which will all end up on Netflix sooner or later since it and Sony are tight like that.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Justin Carter

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  • New Gordon Ramsay Series Coming to Netflix Very Soon

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    British celebrity chef Gordon Ramsay’s new show, Being Gordon Ramsay, will be added to Netflix’s catalog later this month. The six-part documentary follows him during the months leading up to launching five new dining concepts in London.

    Being Gordon Ramsay hits Netflix this month

    The multiple Michelin star awardee’s new docuseries is arriving on the streaming platform on Wednesday, February 18, 2026.

    The show will comprise six episodes, all of which will arrive on the same day. It offers behind-the-scenes access to Gordon Ramsay as he balances both his personal and professional lives while preparing to launch five new dining experiences at 22 Bishopsgate, a skyscraper in one of the most prestigious locations in London (via Tudum).

    Per the location’s official website, these experiences include:

    • Lucky Cat: Asian-inspired cuisines
    • The Lucky Cat Terrace: Cocktails and late-night entertainment
    • Bread Street Kitchen: Casual dining experience with cocktails
    • Restaurant Gordon Ramsay High: A 12-guest intimate experience served by Michelin-starred staff
    • Gordon Ramsay Academy: Cooking classes and experiences for both social and corporate events.

    In the show’s trailer, which was released on YouTube on January 21, Ramsay describes his decision as the “most ambitious project” of his life. He also claimed that the budget for the whole project was £20 million (roughly $27.2 million), which he funded himself.

    Being Gordon Ramsay is produced under the Hell’s Kitchen star’s production company, Studio Ramsay. Under the banner, he has also produced several other culinary shows, including Apple TV+’s Knife Edge: Chasing Machine Stars, Gordon Ramsay’s Secret Service, and Kitchen Nightmares.

    Born on November 8, 1966, Gordon Ramsay has had a long-standing and highly successful career as both a culinary figure and a television personality. He rose to global stardom with shows like Boiling Point, Ramsay’s Kitchen Nightmares, MasterChef, and The F Word, due to his perfectionism and blunt critiques.

    At one point, Ramsay reportedly held 17 Michelin stars simultaneously. Currently, he holds eight (via Auguste Escoffier School of Culinary Arts) across all his restaurants. The 59-year-old has also received several other prestigious accolades, including three Catey Awards.

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    Harsha Panduranga

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  • ‘Bridgerton’ Season 4 Part 2 Teaser: Things Get Steamy

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    If the dearest gentle readers thought the lake scene in Season 4 Part 1 of Bridgerton was steamy, a new teaser has arrived to challenge that notion.

    In the short clip, a warm bath awaits Benedict (Luke Thompson) and Sophie (Yerin Ha), and they slowly walk towards each other behind the tub. For those who have seen Part 1, they will remember that Benedict made a “polarizing” offer to Sophie at the very end of Episode 4.

    Part 2, which contains four more episodes, arrives Feb. 26.

    Only the star couple of Season 4 is seen in the teaser, but a sneak preview at Part 2 can also be seen at the end of Part 1, teasing the return of Viscount Anthony Bridgerton (Jonathan Bailey), his wife Kate Sharma (Simone Ashley) and their baby.

    After fate reunited Benedict with his Lady in Silver — though he has yet to make the connection — the pair remain separated by a class divide, as Sophie is a housemaid, and Benedict cannot marry a housemaid as society currently stands. The teaser is accompanied by a poster of the Season 4 stars framed by fall-like foliage at the lake, with the slogan “Change is in the air.”

    Part 2 will likely tease whose turn it is to step into the spotlight come Season 5, and showrunner Jess Brownell already told Deadline that it could be either Eloise (Claudia Jessie) or Francesca (Hannah Dodd), but she did not confirm the order.

    Bridgerton Season 4 also stars Victor Alli (Lord John Stirling), Adjoa Andoh (Lady Danbury), Julie Andrews (Lady Whistledown), Lorraine Ashbourne (Mrs. Varley), Masali Baduza (Michaela Stirling), Nicola Coughlan (Penelope Bridgerton), Daniel Francis (Lord Marcus Anderson), Ruth Gemmell (Violet Bridgerton), Florence Hunt (Hyacinth Bridgerton), Martins Imhangbe (Will Mondrich), Luke Newton (Colin Bridgerton), Golda Rosheuvel (Queen Charlotte), Will Tilston (Gregory Bridgerton), Polly Walker (Portia Featherington), Emma Naomi (Alice Mondrich), Hugh Sachs (Brimsley), Isabella Wei (Posy Li), Michelle Mao (Rosamund Li), and Katie Leung (Lady Araminta Gun).

    RELATED: More ‘Bridgerton’ Characters Could Get ‘Queen Charlotte’ Treatment As EP Tom Verica Confirms Discussions Of New Offshoots

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    Dessi Gomez

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  • Girl, Wake Up: BTS Is Livestreaming a Concert on Netflix

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    Photo: Axelle/Bauer-Griffin/FilmMagic

    No, really, get up. The show starts bright and early. In partnership with Netflix, BTS is live-streaming their first concert back from hiatus on March 21 at 7 a.m. ET in a special called BTS THE COMEBACK LIVE | ARIRANG. The concert will be filmed at Gwanghwamun in Seoul, with ticket information coming soon for those who might plan to travel to South Korea to see the boys in action. The special offers several firsts for those who want to watch it live on the couch. It’s the first Netflix livestream from South Korea and will likely be among the first shows where the group premieres songs from ARIRANG before they embark on a world tour. It might also be one of the earliest Netflix livestreams, as the show starts at 7 a.m. in the States for East Coasters and even earlier at 4 a.m. for those in the Pacific. But if you’re a longtime BTS fan, you might be used to the early call times already.

    The livestream will celebrate the release of their new album, ARIRANG, and serve as an appetizer to the upcoming documentary, BTS: THE RETURN, out the following week on March 27. Directed by Bao Nguyen, the documentary follows RM, Jin, SUGA, j-hope, Jimin, V, and Jung Kook as they return from military service to Los Angeles, where they reunite to make music together. Per the press release, the film promises to answer “quieter questions” like “how to begin again, how to honor the past without being bound by it, and how to move forward together.”

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    Alejandra Gularte

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  • As Streaming Grows Up, Familiar Shows Dominate Viewing, Data Shows

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    The dominance of Bluey underscores how children’s programming, not prestige drama, has become streaming’s most reliable engine. Mario Wurzburger/Getty Images

    The 2010s marked the streaming industry’s adolescence. Coupling a creative unshackling with the thrill of unbridled newness left those in the media bubble positively cooing like first-time parents. That would make the streaming boom of 2019-2022 its experimental college years. All that youthful optimism funneled into an unprecedented expansion. Yet since then, streaming has eventfully entered the “real world.” The industry is now a young adult assimilating into the steady nine-to-five routine. Growth is no longer driven by splashy hype. Instead, it is the reliability of habit that wins the day. And the data seems to back that up.

    Nielsen recently released its annual top streaming performance lists, meaning we now have yearly leaders from 2020 to 2025. Last year saw a 19 percent uptick in total U.S. streaming minutes compared to 2024. Yet, while streaming time is up, the variety of hits isn’t exactly following suit. Top 10 lists across original streaming series, acquired (licensed) series, and movies remain dominated by the same intellectual properties making multiple appearances. 

    The overall performances speak loudly to what audiences want in the streaming age and which companies are giving it to them.

    Why the same shows keep winning

    Just as the New England Patriots and Los Angeles Lakers always seem to be in the playoffs, sitcoms, procedurals and animated kids’ fare consistently rank among the best-performing titles year in and year out. Bluey (1st), Grey’s Anatomy (2nd), NCIS (4th), SpongeBob SquarePants (5th), The Big Bang Theory (8th) and Criminal Minds (10th) were not only among the 10 most-streamed shows overall in 2025, but have made multiple appearances across top “Acquired” and “Overall” TV lists in the last half decade. (No wonder there’s a Bluey movie en route). Just one streaming original series (Stranger Things, 2nd) managed to claw its way onto the overall Top 10. 

    Most of these shows, and the majority of the “Acquired” TV lists, consist of libraries with hundreds of episodes. (Nielsen’s minutes-viewed metric rewards longer-running series with many episodes). Yes, new action and thrillers thrive on the small screen. But audiences do gravitate toward laundry-folding comfort shows a bit more than cultural daggers. Returning hits capture the largest share of attention, while new hits are more on the periphery of the highest levels. 

    If your main character is a cop, doctor or cartoon, you just might have an edge. 

    Netflix leads in existing and new originals

    Netflix laid claim to seven of the Top 10 most-streamed originals in 2025 (though 10th place airs on both Netflix and Amazon): Stranger Things (1st), Squid Game (2nd), Wednesday (3rd), Ginny & Georgia (6th), The Night Agent (8th), Love Is Blind (9th), Gabby’s Dollhouse (10th). All of those shows have made multiple appearances in the yearly top 10s. 

    Even amid the regurgitation of familiarity, Netflix has managed to effectively launch new hits. First seasons (and/or one-season limited series) of Tiger King, Squid Game, Bridgerton, Maid, Wednesday, Dahmer, Inventing Anna, The Night Agent and Fool Me Once all made a Top 10 annual streaming original list in recent years.

    Launching new shows proved more difficult last year, and all streamers struggle with original comedy. But even with the issues, Netflix was still responsible for the second most-watched new original drama (The Residence, which was admittedly cancelled), the two most-watched new comedies (Running Point and The Four Seasons) and the two most-watched new unscripted series (Sean Combs: The Reckoning and Million Dollar Secret). (Paramount+’s Landman and Peacock’s Love Island USA are the only Top 10 streaming originals making their first appearances this year). 

    Netflix is far less dominant in the “Acquired” and “Overall” lists. Its scale typically enables it to debut new shows fairly successfully, but sustaining them for the long term is trickier today. 

    Prestige doesn’t translate to the top 10 scale

    Premium programming may be my bag, but the rest of the country apparently doesn’t agree. 

    Nielsen began tracking HBO Max in April 2022. Since then, not a single HBO title has made a top annual “Acquired Series” list. Granted, this is a post-Game of Thrones world, and making the “Acquired” list is far more competitive than the others. But still—surprising! HBO Max original The Pitt was the most-watched new original streaming drama in 2025. Appointment viewing furnishes a quality brand and drives regular weekly tune-in. But it’s a different model from the endless drawl of sitcoms and procedurals. It doesn’t automatically boast the same library value. 

    Then there’s the lack of Warner Bros. film representation. Due to the dominant rewatchability of kids’ films, Nielsen broke out a separate 2025 “General Audience Movie” list for the first time (Seven out of ten films were released between 2024-25). Despite WB’s stellar box office year, the studio’s only films among the Top 10 were the first two Harry Potter films, which were non-exclusive with Peacock. The data shows that fantasy is actually a high-upside genre across both film and TV if made accessible and not bogged down in intricate mythology.

    On the flip side of this equation, Amazon Prime Video reaches an impressive 54 percent of U.S. households, according to Greenlight Analytics, where I work as Director of Insights & Content Strategy. The streamer has delivered select breakout shows such as The BoysReacherFallout, and Red One. But its quiet overall presence suggests viewers enjoy the service but have not yet added it to their regular entertainment routines. 

    Kids’ entertainment is beyond dominant

    As the brilliant kids media analyst Emily Horgan often notes, children’s entertainment remains undervalued relative to its practical contributions. “While many think of the streaming wars as a battle for the buzziest new awards drama or star-studded blockbuster, the real SVOD clashes are fought in the trenches of regular daily usage,” Horgan wrote. “That’s where animated kids’ movies truly shine.”

    Bluey has been the top overall title in back-to-back years, while Cocomelon was a mainstay on the charts in the early 2020s. Family-friendly movies and legacy IP have proven to be the algorithm-proof gift that keeps on giving. 

    Disney has firmly established squatter’s rights in this lane. Of the 70 top annual film slots from 2020-2025 (including Nielsen’s new bifurcated movie lists this year), 34 belong to Disney+. The company manages to land the same films—Moana, Zootopia, Frozen I and II and Encanto—onto multiple lists as does Universal’s Dreamworks and Illumination across Peacock and Netflix to a lesser extent.

    Consistent box office returns plus guaranteed streaming viewership anoint kids’ entertainment as the king of all genres today. 

    Headlines for Hollywood

    It’s important to remember that just because a given title doesn’t appear among the 10 most-streamed shows every year doesn’t mean it’s unsuccessful. There are plenty of hits to be found beyond this narrow snapshot. 

    Prestige, novelty and event programming are helpful brand builders with temporary pop. But familiar recyclability and consistency appear to yield the best results. Comfort viewing and long runways for early breakout hits serve as streaming’s foundation and pillars, respectively, while “new” events struggle with sustainability. In that way, the upper echelons of streaming viewership confirm the industry’s shift into more mundane, expected territory. Welcome to the workforce. 

    As Streaming Grows Up, Familiar Shows Dominate Viewing, Data Shows

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    Brandon Katz

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  • ‘Bridgerton’ Season 4, Part 1 Review | The Mary Sue

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    Sophie Baek will break your heart. The Benedict-centric fourth season of Bridgerton, whose first half drops on Netflix January 29, is as lush and romantic as the series’ best love stories… and maybe even then some.

    Adapted from the third book in Julia Quinn’s series, An Offer From A Gentlemen, Benedict Bridgerton (Luke Thompson) and Sophie’s (Yerin Ha) tale is known for its Cinderella-ness. The eventual lovers meet at a masked ball. They are parted at the stroke of midnight. As the proverbial Prince Charming, Benedict devotes himself to finding the fair maiden who escaped his grasp against all odds. There’s an evil stepmother, played chillingly by Katie Leung, and her two marriage minded daughters (Michelle Mao and Isabella Wei). You’ll notice right away that there’s a Downton Abbey/Upstairs Downstairs feel to the whole season that expands the world just enough to let a courtship between the classes blossom.

    The rest of the ‘ton questions their place in society as well, from a conflict between Lady Danbury (Adjoa Andoh) and Queen Charlotte (Golda Rosheuvel) to whatever the Featheringtons are up to and Francesca’s (Hannah Dodd) new marriage to Lord John (Victor Alli). Despite what you may have heard, by the way, a desire to start a family is still part of latter’s story…

    Benedict finds his person in the last place he expects.

    I’ve been curious about how the An Offer From A Gentlemen season would fit within the larger series. Sure, I had no doubts that Thompson would perfectly step up to the plate as the leading man. Nor did I doubt that the show would strike gold in casting his love interest. But how would Bridgerton manage to give the most Bohemian and pansexual brother on the show the most traditional and heteronormative plot in the books?

    Benedict seeks passion outside of society with men and women who are more interesting than his wealthy, single-minded peers in the ton. Lady Bridgerton (Ruth Gemmell) tells him that he “just needs to meet the right young lady”–a refrain that, while well-meaning in this context, is absolutely a queerphobic microaggression in our world. Eloise (Claudia Jessie) sees her brother and ally’s sudden desire to settle down as a heel-turn, and if Bridgerton didn’t get this right I would be inclined to agree.

    But also… does he want to marry? We’ll see about that. For now, he’s in love. To be fair, that has happened before on the show. Many times, in fact. The trick this time, it seems, is to match him with someone who appreciates the little things he doesn’t and remove him from his monotonous environment in other ways. At first, Benedict thinks that Sophie (or, rather, the Lady in Silver) appeals to him because she is “not like other ladies.” Thankfully, she pushes back against that as a compliment. That’s not who Sophie is. They challenge each other just enough to create some real sparks and so, so much yearning.

    This one’s for the girls who are their own worst enemy.

    Ha’s sad little face, on the edge of tears and hesitating when Sophie wants nothing more than to run into Benedict’s arms, is absolutely devastating. She puts other people’s happiness before her own, like Kate. She’s as relatable as Penelope. Granted, I don’t think that many of can’t say that any crushes we’ve talked ourselves out of pursuing have ever essentially taken out a newspaper column telling the world that they were looking for us, like Benedict does. That does make Sophie’s hesitance to come clean about who she is a little more frustrating than relatable at times. But, in my humble opinion, all the best romances should have you yelling at the characters to kiss, or confess, or do something. That’s half the fun!

    Besides, the stakes are a little higher for Sophie than the average Cinderelly. It’s not just that her father remarried an evil stepmother who “hired” her as a maid the second he passed. Sophie grew up with a lot of shame about her circumstances, inflicted upon her by her stepmother and eventually herself. That shame affects how she moves through the world and her ability to let herself, well, follow her bliss. (There’s a certain Game of Thrones character I would compare her to, but it would give too much away.)

    Meanwhile, Benedict gets a lecture about power dynamics between the noble class and the serving class that makes him consider whether or not he’s taking advantage of her and pause. He’s not, of course; but it’s nice that they acknowledged the possibility.

    They’re not there yet, by the end of Part 1, but so far I’m completely sold and so ready to see what’s next. To be continued! As Sophie herself says in the third episode, “a fire needs kindling.” Ain’t that the truth.

    (featured image: Liam Daniel/Netflix)

    Have a tip we should know? [email protected]

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    Leah Marilla Thomas

    Leah Marilla Thomas (she/her) is a contributor at The Mary Sue. She has been working in digital entertainment journalism since 2013, covering primarily television as well as film and live theatre. She’s been on the Marvel beat professionally since Daredevil was a Netflix series. (You might recognize her voice from the Newcomers: Marvel podcast). Outside of journalism, she is 50% Southerner, 50% New Englander, and 100% fangirl over everything from Lord of the Rings to stage lighting and comics about teenagers. She lives in New York City and can often be found in a park. She used to test toys for Hasbro. True story!

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    Leah Marilla Thomas

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  • Finally Confirmation on Who Will Lead Bridgerton Season 5 & How [Spoiler]’s Storyline Changes Drastically From the Book

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    With the hype of Bridgerton Season 4 in full swing, many fans of the Netflix series are dying to know which Bridgerton will fall in love for Season 5.

    The Netflix Bridgerton series was adapted by primetime TV royalty Shonda Rhimes and is based on Julia Quinn’s bestselling book series of the same name. The show is set in the competitive world of Regency London’s high society and centers on the Bridgerton family. We’ve already seen four Bridgerton love stories play out with Anthony, Daphne, Colin, and now Benedict.

    Related: The Bridgerton Cast Looks Way Different In & Out of Their Costumes—Take a Look

    Netflix confirmed that the series will continue with seasons 5 and 6, but with 8 Bridgerton siblings in total, and 4 more left to go, who’s in the running?

    Who Is Bridgerton Season 5 about?

    Bridgerton showrunner Jess Brownell teased that Season 5 and 6 would be about Eloise and Francesca. At the Season 4 premiere of the show, Brownell wore two pocket squares with the initials E and F. “I would say both characters with the initials on my pocket squares will get seasons in 5 and 6,” the director told Deadline. However, she kept mum about who the next season could possibly be about.

    “I know who is scheduled next,” she told Us Weekly. “It could always change, like [the order] has changed in the past.” The showrunner referred to when Benedict and Colin’s seasons were swapped.

    The author continued: “My hope is that all the siblings will eventually take the lead because we love them [all]. That was kind of the whole point of the books is that you’ve got these eight separate stories, but they’re all connected.”

    As to what to expect from the next season, executive Shonda Rhimes teased on Sirius XM in October 2025 that it’ll be “a really sexy season … But then again, I say that about season 4.”

    “They’re just sexy in different ways,” she said. “And I think that’s what’s great.”

    If you need a summary of the love stories of the two sisters, we’ve got you covered. In the fifth book in the series, To Sir Phillip, With Love, Eloise becomes pen pal with Sir Philip Crane and eventually falls in love with him. In the sixth book When He Was Wicked, Francesca Bridgerton ends up with not one, but two husbands: John Stirling and Michael Stirling. She marries John in Season 4 of the Netflix series. In the book, John suddenly died. Francesca found solace in his cousin Michael and the rest of the story explores their romance.

    However, with the introduction of Michaela in place of Michael, Francesca will have a queer love route. “The reveal of Michaela versus Michael, from the books, is something that I’ve been pitching from season one of the show,” Brownell told Teen Vogue. “My approach to telling a queer story on Bridgerton has been to look to the books for thematic cues.”

    She also confirmed that she got the blessing from author Julia Quinn for the change. “We talked about the fact that with almost any single book, there would be a side of the fandom that would be disheartened to see their favorite characters changed. I don’t think that there is any book that wouldn’t happen with, so for me, again, it came back to story, and it came back to character. Because Francesca’s book resonated [with me] in the way that it did, it felt like a natural adaptation.

    Whether Francesca or Eloise, we’re eager to fall deeply in love with their stories like with the rest of the Bridgerton siblings!

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    Lea Veloso

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  • Netflix Sets Chinese-Language Slate Featuring Likes Of Ethan Ruan, Kent Tsai and Wallace Huo

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    Netflix has ordered seven Chinese-language series that will roll out across this year, starring the likes of Ethan Ruan, Kent Tsai and Wallace Huo.

    The streamer doesn’t operate in China but has leant in heavily in Taiwan and local-language fare. As such, it has given the greenlight to Miracles of the ER, Confessions, The Fixers, Bloody Smart, How to Survive Med School, Dogman and Pacify (working title).

    “Chinese-language storytelling is singular in its vibrancy, emotional depth, and willingness to explore complex, darker human truths,” said said Maya Huang, Head of Chinese Language Content, Netflix. “We’re especially excited by stories that take creative risks and immerse audiences in extraordinary worlds and experiences. Our goal is to uplift local storytelling while partnering with Taiwan’s creative community to expand access to support, training and resources.”

    Here’s a rundown of the new shows, which will sit alongside the likes of previously-announce series such as Million-Follower Detective, the Bossdom Digiinnovation Co. series that is led by Hong Kong action star Ekin Cheng, and fantasy adaptation Agent From Above, based on Taiwanese author Teensy’s novel series ‘The Oracle Comes.’

    Miracles of the ER stars Wallace Huo, Cheryl Yang, Kent Tsai, Chan Tzu-hsuan and Payne Peng, with Li Zhi-qiang and Huang Jing-tzu directing and Huang Jing-tzu and Lin-Yun-shuan writing. Jade Lee is the producer. It launches in Q4 2026.

    Story follows the Central University Hospital’s emergency medicine associate director Zhou Cheng-jun (Huo) who accepts an average-performing medical school graduate (Tsai) on to his team of elite peers. Together with attending physician Dr. He Ya-hua (Yang), the ER faces relentless medical crises, ethical dilemmas and internal power struggles.

    Confessions reunites the creator and principal cast of box office hit The Pig, The Snake and The Pigeon, marking writer-director Wong Ching-po’s first-ever local-language series. Starring Ethan Ruan, Gingle Wang, Chen Yi-wen and others, the psychological thriller traces how a violent crime in Taipei in 2004 binds three families across generations of buried resentment and moral reckoning.

    Alyssa Chia, Vivian Sung, Hsuen Shih-ling, Chang Hsiao-chuan, Nikki H, Yeh Chuan-chen, Peggy Tseng, Liu Tzu-chuan, Fu Meng-po, Frederick Lee, Hsieh Chiung-hsuan, Ben Yuen, Sean Lin, Emerson Tsai, Tracy Chou, Chang Han, Cheng Chih-wei and Tang Chih-wei are also among the key cast. No launch date has been announced yet.

    Youhug Media, Skyman Films, YP Production and Yellow People are the co-producers.

    The Fixers stars Singapore’s Christopher Lee, Shou Lou, Regina Lei, Fu Meng-po, Tuo Tsung-hua and Chang Yung-cheng, and comes from director 96 Minutes Hung Tzu-hsuan. Cora Yim and Benjamin Lin are the executive producers. S11 Partners is the production house.

    The fast-paced action-comedy series follows Lee as a down-on-his-luck gangster who stumbles into a covert network of operatives from the mysterious Qinghe Temple, which handles problems for the underworld and the establishment. He is paired with an arrogant young partner (Lou), a second-generation political scion whose personality clashes sharply with his own.

    Bloody Smart comes from director Hsieh Chun-yi, who also writes alongside Sakana and Yalan Cheng. Hsu Guo-lun is the producer. Miracle Production House is the producer. Key cast comprises Gigi Leung, Buffy Chen, Jerry Yu, Rin, Elly Hsu, Liu Hsiu-fu, Devin Pan and Edison Song.

    Per the synopsis: “In a tightly regulated school town obsessed with elite ideals, a Bloodfruit Tree quietly takes root, bearing crimson fruit. By legend, the fruit is delivered by a boy in black, only to those who truly ‘need’ it. As the fruit awakens long-suppressed desires, sealed emotions begin to slip free, setting the town on a slow path toward an irreversible unraveling.”

    How to Survive Med School is written and directed by Giddens Ko, and co-directed by Kai Ko – the lead actor in Agent from Above and a Golden Horse Best New Director nominee – and actress-turned-director Tsai Jia-yin.

    The series follows a young man who it tricked into enrolling in Taiwan’s top medical school. He rebels and vows to transfer to an aeronautics program and reunite with his girlfriend, who shares his dream of becoming an astronaut. No cast revealed at this stage.

    Finally, Pacify is from directors Derek Kwok and Anthony Yan, with Chang Ya-ting as producer and Kevin Tse as executive producer.

    Here’s the synopsis: “A cynical part-time worker, Hsiao-yu, is thrust into the supernatural after her sister is possessed by an evil spirit. Seeking answers, she joins a secret exorcism group, Yuzhen Bathhouse, and teams up with Chen Chiang-liu, whose quantum synesthesia allows him to sense hidden forces beyond ordinary, and his mentor, Chen Huo.

    “As Hsiao-yu learns to harness energy for exorcisms and discovers how consciousness can shape reality, the possession cases they investigate begin to converge, revealing a terrifying conspiracy. With time running out, the trio must uncover the truth before deadly forces claim even more lives.”

    Like How to Survive Med School, Pacify has not revealed cast, but both have wrapped principle photography, with premiere dates following at a later date.

    Netflix has poured significant resource into Taiwan since 2020, working on several local industry initiatives, including a writers’ room workshop with the Taiwan Creative Content Agency and a production training program with the Producers Association of Taiwan. A pact with Yiyi Pictures has seen six screenwriting interns participate in six months of development training.

    The streamer spent several years attempting to establish its service in China, but gave up after hitting censorship bollards time and time again. Last year, Netflix co-CEO Ted Sarandos told a crowd at the World Economic Summit that “not one” episode of its content had cleared China’s censorship board.

    Today, Chinese-language content chief Huang said: “As the industry evolves, our focus remains consistent: long-term commitment, creative excellence, and a platform where Chinese-language stories can flourish locally and reach audiences worldwide. Our ambition is to be the destination for Chinese-language entertainment, that takes audiences into unexpected worlds and bold adventures that go beyond the everyday.”

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    Jesse Whittock

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  • Will Smith & Margot Robbie’s Crime Comedy To Stream on Netflix Soon 

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    Netflix is preparing to bring a crime comedy film headlined by Will Smith and Margot Robbie to its streaming lineup. It gives subscribers another chance to watch the 2015 theatrical release. The film is set to arrive on the platform next month. 

    Focus to stream on Netflix next month

    Netflix will soon add Focus, the 2015 crime comedy led by Will Smith and Margot Robbie, to its streaming catalog. The film is scheduled to debut on the platform on February 1, 2026. It gives subscribers access to the con-artist film more than ten years after its theatrical release.

    Written and directed by Glenn Ficarra and John Requa, the film follows Nicky, an experienced con artist whose livelihood depends on manipulation and misdirection. His routine is disrupted when he encounters Jess, an ambitious newcomer attempting to break into the same world. Nicky decides to train her, drawing her into big schemes.

    Their partnership soon becomes personal, a development that clashes with Nicky’s strict rules about keeping relationships separate from work. Following a major score, he abruptly ends their relationship, only to run into Jess again three years later. The chance encounter forces both to confront unresolved tensions, even as another high-stakes scheme unfolds around them.  

    Smith leads the cast as Nicky, with Robbie playing Jess Barrett. Other cast members include Rodrigo Santoro as Rafael Garriga, Gerald McRaney as Bucky Owens, and Adrian Martinez as Farhad among others.

    Upon its original release in the United States on February 27, 2015, Focus received a mixed critical response. The film currently holds a 55 percent critics’ score on Rotten Tomatoes based on 229 reviews, along with a 53 percent audience rating on the site’s Popcornmeter. Dwight Brown wrote, “Focus is a bit too slick, but engaging nonetheless. It doesn’t give up. It doesn’t stop. Or as Nicky puts it, ‘Never drop the con. Die with the lie.’” He also praised Smith’s work in the film.

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    Disheeta Maheshwari

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  • Alex Honnold’s Wife Recalls “Internal Experience” During His Climb: “Thank God I’m Not Him!”

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    Now that Alex Honnold is safely back on the ground, the Skyscraper Live star’s loved ones can breathe a sigh of relief.

    The free solo climber’s wife Sanni McCandless admitted she was glad she was “not him” during Friday’s big feat, recalling her “internal experience” while watching him scale the 1,667-foot Taipei 101 in the Taiwanese capital for the Netflix special.

    “I was telling someone that when you really love someone, and you think that they might be stressed, you say, ‘I wish I could take their place, I wish I could take their stress away,’” she said in a press conference after the climb. “But in this case, I was like, ‘Thank god I’m not him!’”

    McCandless added, “I knew the second he left the ground, it would all just, not fade away, but kind of get quieter, be more of an internal experience, and then just be joyful. So, I was really happy once it just started, there wasn’t any waiting, and he got to do what he wanted to do.”

    Tying the knot in 2020, following his previous Netflix doc Free Solo (2018), McCandless opened up about some of the concerns she has with his climbs since they became parents.

    “There are things where I’m like, ‘That doesn’t feel so family friendly.’ For sure, there’s moments,” she explained. “But that’s how partnership works. Everybody kind of speaks their mind, you say your piece, and then you kind of see what decision is made. You try to make decisions as a team, but you also have to respect the art behind it and the passion behind it.

    “This project came together in a very cool way, and once Alex made that decision, I remember not being in resistance to it, but just kind of not having it in my mind. And then two months ago, being like, ‘Oh, this is coming up, this is happening.’ I had seen Alex training, and I had seen him preparing, but then he really kind of locked in.

    McCandless continued, “So, I felt that in my heart, of we’re liking in, full support mode, whatever happens happens. I’m just here for you. I’m here to problem-solve, support, be optimistic, be positive, make sure everything’s in line. And Alex does that for me in my projects and in my life and my work. That’s what makes us a good team, I think.”

    Following the livestream on Friday, Skyscraper Live is now available to watch on Netflix.

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    Glenn Garner

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  • Netflix’s New Releases This Week Include Bridgerton, a Sci-Fi Epic & More

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    Netflix‘s TV and movie release schedule for January 26 to February 1, 2026, includes the much-anticipated Bridgerton Season 4 Part 1, along with other projects like Ex-Machina and How to Train Your Dragon.

    On January 29, Bridgerton Season 4 Part 1 premieres on Netflix. The fourth season will focus on the love story of the second Bohemian son, named Benedict. While his elder and younger brothers are happily married, Benedict is reluctant about the same.

    Furthermore, the sci-fi thriller Ex Machina arrives on the streaming platform. It follows a young programmer who becomes part of an AI experiment where he must communicate with a female robot.

    Also coming to Netflix is How to Train Your Dragon. The animated adventure witnesses a Viking breaking rules to befriend a dragon whom he ends up naming Toothless. Together, they decide to stop the terror in their respective universes.

    New Netflix releases for January 26 to February 1, 2026

    Below are all the new TV shows and movies being added to Netflix from January 26 to February 1, 2026.

    Tuesday, January 27

    • Mike Epps: Delusional
    • Take That

    Thursday, January 29

    • Bridgerton Season 4, Part 1

    Sunday, February 1

    • Copshop (2021)
    • Crazy, Stupid, Love.
    • Ex Machina
    • Faith in the Flames: The Nicole Jolly Story
    • Flipped
    • Focus
    • Heartland (Season 18)
    • Hell or High Water
    • How to Train Your Dragon (2010)
    • How to Train Your Dragon 2 (2014)
    • Independence Day (1996)
    • Lee Daniels’ The Butler
    • Letters to Juliet
    • Matori and Kyoken: Men in the Back Alleys
    • Mike and Dave Need Wedding Dates
    • Mississippi Grind
    • Mrs. Doubtfire
    • Night at the Museum (2006)
    • Night at the Museum: Battle of the Smithsonian (2009)
    • Night at the Museum: Secret of the Tomb (2014)
    • Rumor Has It…
    • Soda Master
    • Terry McMillan Presents: Forever
    • Terry McMillan Presents: Tempted by Love
    • The American President
    • The Bucket List
    • The Glass House
    • The Mirror Has Two Faces
    • The Way Home (Season 3)
    • Vertical Limit
    • You’ve Got Mail
    • Zero Dark Thirty

    For more Netflix content, find out which 70s Horror movie is leaving the platform.

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    Ritika Singh

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  • David Ellison extends deadline for Warner Bros. Discovery takeover offer

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    Paramount Skydance CEO David Ellison is apparently still hopeful that investors will approve his $108.4 billion hostile takeover of Warner Bros. Discovery. Paramount Skydance announced Thursday that it’s extending its all-cash offer to acquire the storied studio, and giving investors until February 20, 2026 to accept. The company’s previous offer expired on January 21, but with a lawsuit in the works and a revised Netflix deal to compete with, Paramount Skydance wants to stay in the conversation.

    Netflix and Warner Bros. Discovery originally announced their $82.7 billion acquisition agreement in December 2025. Netflix’s deal is for a significant portion, but notably not all, of Warner Bros. Discovery as it exists today. If approved, the streaming service would acquire Warner Bros. film studios, New Line Cinema, HBO, HBO Max, the company’s theme parks, game studios and select linear channels like TNT, but not the collection of reality TV and news programming that Warner Bros. Discovery calls “Global Networks.”

    Paramount Skydance made its competing offer of $108.4 billion for all of Warner Bros. Discovery a few days later in December, with the recommendation that shareholders reject the Netflix deal. To add pressure, Paramount Skydance also sued Warner Bros. Discovery in January alleging that the company had not provided adequate information about why it favored Netflix over Paramount. Beyond offering more money, Paramount contends its deal is more likely to be approved by regulators because owning Warner Bros. doesn’t “entrench Netflix’s market dominance.” Warner Bros. Discovery claims that funding for Paramount’s deal “remains inadequate” and that the company is uncertain Paramount Skydance will actually be able to complete the deal.

    David Ellison was previously able to merge Skydance with Paramount using the financial backing of his billionaire father Larry Ellison, and the Ellison family’s friendly relationship with the Trump administration. Promising to make sure that CBS News represents “a diversity of viewpoints” via a newly appointed ombudsman, and that the merged Paramount Skydance won’t create any diversity, equity and inclusion programs was enough to get the FCC to approve the merger. Ellison might have thought acquiring Warner Bros. Discovery would be equally easy, but at least so far that hasn’t worked out as planned.

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    Ian Carlos Campbell

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