Nancy Meyers‘ next untiled feature is officially moving forward at Warner Bros after the studio took it in turnaround from Netflix back in 2023. It’s Meyers first time behind the camera in 11 years; her last movie being Warner Bros. Anne Hathaway and Robert De Niro comedy The Intern.
The previous iteration had Oscar winner Penélope Cruz and Owen Wilson attached, and they’ll remain aboard with Oscar winner Kieran Culkin, Jude Law and Emma Mackey in talks to join. The studio has set a Christmas Day 2027 theatrical release for the pic which Meyers also penned.
The logline remains under wraps with anything that’s been previously out there, untrue.
Producers are Meyers and Ilona Herzberg with Diana Pokorny executive producing.
The latest Meyers movie was previously set at Netflix with in addition to Wilson and Cruz, Scarlett Johansson and Michael Fassbender in talks. The pricetag was between $130M-$150M with $80M for above-the-line costs. Netflix couldn’t do it. We hear that Warner Bros is making the movie at a significantly lower cost than the project was conceived at. Two days after Netflix pulled the plug in mid-March 2023, the project moved over to Warners where they’ve been passionate about mounting the project. At one point, Adam Driver was kicking the tires before he committed to Michael Mann’s Heat 2.
The CAA, Untitled and Kuranda repped Cruz won Best Supporting Actress at the Oscars for Woody Allen’s Vicky Cristina Barcelona and received three additional Oscar nominations for Volver, Nine, and Parallel Mothers. Her recent film credits include Ferrari, directed by Michael Mann, and she next stars in the upcoming Warner Bros. release The Bride!, directed by Maggie Gyllenhaal.
The WME and Brookside Artist Management repped Culkin won an Oscar, BAFTA and Golden Globe in the supporting actor category for his turn in Searchlight’s A Real Pain last year as well as an Emmy and Golden Globe for HBO’s Succession. Film credits include Igby Goes Down, Scott Pilgrim vs. the World, and Steven Soderbergh’s No Sudden Move for HBO Max.
Tony and Golden Globe award nominee Jude won a BAFTA Award and received an Academy Award nomination for The Talented Mr. Ripley and earned an additional Oscar® nomination for Cold Mountain. His extensive film credits include The Order, Sherlock Holmes, and the Netflix series Black Rabbit. The actor is represented by CAA, Julian Belfrage Associates, Jackoway Austen, and Pippa Beng.
Mackey recently starred in James L. Brooks’ 20th Century Studios dramedy, Ella McCay. She is best known for her breakout role as Maeve Wiley in Netflix’s Sex Education, as well as portraying Emily Brontë in Warner Bros’ film Emily. Her upcoming projects include A24’s film Peaked directed by and starring Molly Gordon, and Greta Gerwig’s forthcoming Narnia adaptation for Netflix. The actress is repped by CAA, Johnson Shapiro Slewett & Kole, and Ziffren Brittenham.
Wilson was nominated for an Original Screenplay Oscar for co-penning Wes Anderson’s The Royal Tenenbaums. He is the star of the Meet the Parents franchise and it’s upcoming sequel, Focker In-Law. He stars on Apple TV’s Stick series and Disney+/Marvel Studios’ Loki. Other pic credits include Anderson’s TheFrench Dispatch, Bottle Rocket, The Grand Budapest Hotel, Life Aquatic, and Royal Tennebaums to name a few. He is repped by UTA and Hirsch Wallerstein Hayum Matlof + Fishman LLP.
Currently, there are no other wide entries on Christmas Day 2027, but the Meyers movie will bow in the wake of Warner Bros/New Line’s The Hunt for Golum movie and Disney/Marvel Studios’ Avengers: Secret Wars on Dec. 17.
Warner Bros. was once famed for their animation department. While originally devoted to theatrical shorts, the animators began devoting more time to television and film productions. These included superhero movies set in the DC Universe. Today, many of these films are available for streaming on HBO Max.
What are the best animated superhero movies on HBO Max?
Unfortunately, the full library of animated superhero movies made by Warner Bros. Animation is not freely available on HBO Max. In recent years, the streaming service has become infamous for cutting costs by not hosting the full Warner Archive. Despite this, there are still some great animated DC Comics movies available.
Batman: Mask of the Phantasm (1993)
There is considerable debate among superhero fans as to which of the many Batman movies is the best. Whenever these discussions happen, there is one dark horse candidate that some argue against purely because it is animated. That movie is Batman: Mask of the Phantasm.
Ten years after beginning his war on crime, Batman encounters a new vigilante who doesn’t share his code against killing. This Phantasm begins targeting the gangsters of Gotham City, leading the Dark Knight to seek a common link. The trail leads to businessman Carl Beaumont, who is recently returned to Gotham City after a decade abroad. It also leads Bruce Wayne to reconnect with Beaumont’s daughter, Andrea, who almost got him to give up the superhero life before breaking their engagement without explanation.
Produced by the same creative team behind Batman: The Animated Series, Mask of the Phantasm plays out like an extended episode of the show. The same moody orchestral music is on-hand, along with the series’ trademark Art Deco backgrounds painted on black paper. It is the script and the voice acting, however, that truly make the movie a classic.
Kevin Conroy delivered many classic performances as the Dark Knight, but Mask of the Phantasm was his first truly great one. The scene in which Bruce Wayne pleads at his parents’ grave during a thunderstorm was truly groundbreaking for the time. Both in terms of portrayals of Batman and superhero animation aimed at adults.
Dana Delaney also earned accolades for her performance as Andrea Beaumont. Many believe her work here led to her being cast as Lois Lane in Superman: The Animated Series. And unsurprisingly, Mark Hamill delivers a perfect performance as The Joker.
Green Lantern: Emerald Knights (2011)
For ages untold, the Green Lantern Corps has protected the universe. Now, the sun of their home base on the planet Oa is under attack by forces from the Anti-Matter universe. As the Corps prepare for the greatest battle in their history, a new recruit named Arisia questions her worthiness to be a Green Lantern. However, her spirits are boosted by veteran Lanterns Hal Jordan and Sinestro, who tell her tales of the challenges faced by other members of the Corps.
There have been quite a few animated movies based upon the Green Lantern comics. However, Green Lantern: Emerald Knights is easily the best. Part of this is due to the anthology format, which allows it to tell several stories within the frame of the larger conflict.
The best of these is adapted from a comic by Watchmen creators Alan Moore and Dave Gibbons. It concerns an evil warrior known as Bolphunga the Unrelenting, who hunts the mightiest warriors in the universe. He seeks out a legendary Green Lantern called Mogo, and ultimately learns just why Mogo is respected and feared in equal measure.
Green Lantern: Emerald Knights also boasts one of the most impressive voice casts of any animated superhero movie. Elisabeth Moss of The Handmaid’s Tale plays Arisia, while Jason Isaacs lends his voice to Sinestro. Henry Rollins plays the Green Lantern drill sergeant Killowog, while Bolphunga the Unrelenting is voiced by wrestling legend and They Live star Roddy Piper. It is Nathan Fillion’s performance as Hal Jordan, however, which anchors the film. It also led to Fillion recreating the role of Hal Jordan for the DC Animated Movie Universe, from 2013 to 2020.
Justice League: Doom (2012)
The immortal Vandal Savage has schemed to take over the world for millennia. His latest plan involves two elements. First, a Legion of Doom made up of the greatest enemies of the Justice League. Secondly, an attack from within using plans designed by Batman to stop his superhero allies should they ever get out of control.
The villains divide and conquer, putting their archenemies in dire straits. The only thing that might save them is the efforts of Cyborg, the new recruit who was overlooked in Savage’s plans. But even if the superheroes save the day, will the Justice League recover from the revelation that it was Batman’s plans that almost killed them?
Justice League: Doom is not set in the DC Animated Universe. This is made clear by the presence of Nathan Fillion as Green Lantern Hal Jordan and the absence of Hawkgirl. It also features a dramatically different animation style.
However, the film was scripted by Justice League Unlimited producer Dwayne McDuffie and adapted from the classic Justice League storyline ‘Tower of Babel.’ The movie also featured many voice actors from the DC Animated Universe, including Kevin Conroy as Batman and Tim Daly as Superman. This gives Justice League: Doom a familiar feeling, despite the darker tone and art direction. It also features some intense action scenes, such as The Flash reenacting the movie Speed on-foot, after being tagged with a velocity-sensitive bomb.
The Lego Batman Movie (2017)
The Lego Movie was a surprise smash when it was released in 2014. However, the film’s version of Batman, voiced by Will Arnett, was far and way the film’s breakout character. Three years later, he reprised the role in The Lego Batman Movie.
The film finds Batman in a panic, as new Police Commissioner Barbara Gordon plans to restructure the GCPD so they don’t need Batman. This leads him to go over the edge to prove his worth and accidentally enable Joker’s jail-break from the Phantom Zone. However, with the help of his new adopted son, Robin, a new Batgirl, and his butler Alfred, Batman may learn the value of family and that he doesn’t need to do everything on his own.
The Lego Batman Movie contains more of the same jokes about Lego figures from The Lego Movie. However, it also features a number of Easter eggs involving the DCU and DC Comics. Throw in a great ensemble including Michael Cera as Robin and Zach Galifianakis as Joker, and you have a movie that is as touching as it is funny.
Justice League Dark: Apokolips War (2020)
Knowing the threat Darkseid poses to Earth, the Justice League and Teen Titans join forces to stop him once and for all. They fail. Most of the superheroes are killed in the battle or enslaved by the armies of Apokolips.
Two years later, a depowered Superman tries to rebuild what was lost and save the Earth. With the aid of Lois Lane, Raven, Robin, and John Constantine, he will build a new superhero team. They will even draw upon the Suicide Squad in Earth’s darkest hour. However, it may be too late to save their universe, much less the Earth.
Justice League Dark: Apokolips War was a coda for the first chapter of the DC Animated Movie Universe. It was also proof that WB Animation could produce adult superhero anime and do it well. Again, the movie featured a stunning script and a talented voice ensemble. The stand-out, however was Matt Ryan, recreating the role of John Constantine after playing him in live-action in the Arrowverse.
How we picked the best animated superhero movies on HBO Max in 2026
Beyond the question of whether it was available on HBO Max or not, three criteria informed this list. First, is the movie well-regarded and historically important? Second, is it adapted from a notable comic book story? Finally, does it feature great voice acting?
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.
Netflix is revising its $72 billion offer for Warner Bros. Discovery to make it an all-cash transaction, sweetening the bid as rival Paramount Skydance continues with its hostile takeover attempt for the Hollywood studio.
Netflix initially offered a cash and stock deal valued at $27.75 per Warner Bros. share, giving it a total enterprise value of $82.7 billion, including debt.
On Tuesday, Netflix said the revised offer simplifies the transaction structure, providing more clarity on its value for Warner Bros. stockholders and speeding up the path to a Warner Bros. shareholder vote.
The companies said the all-cash transaction is still valued at $27.75 per share. Stockholders will also receive shares of Discovery Global following its separation from Warner Bros.
The revised offer comes amid Netflix’s tussle with Paramount Skydance, the parent company of CBS News, for ownership of Warner Bros. Earlier this month, Warner Bros. Discovery’s board of directors rejected Paramount Skydance’s revised hostile bid, saying that its terms are inferior to Warner’s $82.7 billion merger agreement with Netflix.
Last week, Paramount took another step in pursuing its hostile takeover bid for Warner Bros., saying that it would name its own slate of directors before the next shareholder meeting of the Hollywood studio.
The boards of both Netflix and Warner Bros. Discovery have approved the amended all-cash deal.
Netflix’s stock rose 61 cents, or 0.7%, to $88.62 in early trading. Warner Bros. Discovery shares slipped 0.7%.
Ever since Disney got the green light to acquire Fox, every corporation’s decided it’d like to do the same thing. What was once a thing that frankly shouldn’t have happened and hasn’t tangibly benefitted anyone beyond letting folks say “[x IP] is awesome again!” and “Wolverine can fight the Hulk!” is now just an average part of our day as corps keep trying to out-acquire one another and turn themselves into empires.
Warner Bros. is the latest company under threat of acquisition, with Netflix and Paramount both trying to be the next owner of Batman and Game of Thrones. At first, it seemed Netflix would easily bring another addition to its (mostly) anti-theatrical stable, but Paramount (which merged with Skydance just last year) just won’t have it. Current CEO David Ellison has complained, cried foul, and more recently filed a lawsuit as a means of blocking the deal WB’s shareholders already approved. At time of writing, a judge ruled that the Transformers studio hasn’t “identified [or suffered] any cognizable, irreparable harm” from the deal to come and therefore can’t fast track said suit as WB continues finalizing its deal with Netflix. He’s not giving up, though, as he’s now looking to rally European support to continue his efforts.
For those not keeping track at home, Ellison’s tried at least a dozen times now (again, at the time of writing) to convince Warner Bros.’ shareholders to let Paramount be the one to acquire it. And each time, those shareholders have told him in no uncertain terms their eyes are on Netflix and his offers are no good. Whether that’s the actual reason or there’s some lingering beef from last year’s war over South Park streaming rights, getting WB has become Ellison’s white whale, his hill to die on in the hopes of gaining near-total control over middle America on the entertainment and news level.
Ellison is clearly not above using his family connections and ameliorating federal interest to get the deals he wants—that’s already been cause for concern in how Paramount’s been going; it’s understandable there are corners of Hollywood that fear the same is happening with his desperation for WB. More than the unrestricted access to hundreds of IPs, new and old, he wants CNN as a means of making himself look worthwhile to U.S. president Trump and twisting another legacy news outlet into a vessel for ego stroking and appeasement.
In a just, better world, Warner Bros. would look at its successful run of films in 2025 and declare itself not for sale at all, actually. After five years of being jerked around by different parent companies and rebranding itself 80 times, it certainly could’ve used the back half of the 2020s using that momentum to get back to what it does best. There is no legitimate reason for either Paramount or Netflix to own it; monopolies are bad, corporate interference is worse, and like many studios, WB has been at its best when it gets out of its own way.
Instead, we’re all forced to watch a man with more money than he needs and who owns one of Hollywood’s biggest studios fail to repeat his “success.” This is all so many things at once: it’s predictable (and scary) that Ellison’s looking to make his mark on the world just by buying as much of the entertainment industry as possible, just as it’s darkly hilarious that he’s managed to torch CBS News and 60 Minutes but can’t seal the deal here. Were this a recurring gag on a season of TV like The Studio or 30 Rock, it might be an entertaining one to watch him get slapped down each time he goes to WB’s shareholders.
But this isn’t a TV show; it’s real life, and it’s just dumb that this is all happening. Corporate acquisitions have always been bad, and since the Disney-Fox merger, they’ve become a spectacle unto themselves, from announcing that discussions have been had to the eye-rollingly cringe celebratory video when the deal is completed. By now, we know there’s no real “magic” to come out of these, just layoffs and exhaustion. Whoever ultimately gets Warner Bros., Paramount’s dogged pursuit of the studio makes all this more exhausting than usual—and unfortunately, it’s likely to inspire other corps to not take multiple “no’s” for an answer.
Defense challenges detention bid in TV-set child abuse case, highlighting polygraph results and dozens of support letters
Attorneys for actor and director Timothy Busfield are urging a Bernalillo County judge to reject prosecutors’ request to keep him jailed until his trial, arguing the state’s case against him relies on unreliable witnesses, disputed allegations, and ignores multiple independent findings that he poses little to no risk if released. His lawyers revealed polygraph results, letters of support, and more in a recent exhibit-heavy filing.
Busfield, an Emmy Award–winning actor and director, had a warrant out for his arrest on January 9 after being charged with felony criminal sexual conduct counts tied to allegations stemming from his work as a director on the television series “The Cleaning Lady,” which filmed in New Mexico. Busfield surrendered on January 13 after authorities reported that US Marshals had joined efforts to locate him. Court filings show that several defense-initiated evaluations, including a psychosexual assessment and a polygraph examination, were conducted on January 12 and 13, indicating that Busfield was already actively preparing his defense before turning himself in.
The charges originated from claims made by the parents of child actors who appeared on the show, alleging inappropriate conduct toward one of their children during the 2022–2024. Busfield has denied all allegations.
In a 237-page response filed ahead of Busfield’s January 20 pre-detention hearing, defense attorneys Amber Fayerberg and Christopher Dodd argue prosecutors have failed to meet New Mexico’s constitutional standard for pretrial detention, which requires “clear and convincing evidence” that no combination of release conditions could reasonably protect the public. According to the defense filing, the allegations first surfaced after the children were recast from the series in 2024 and escalated only after the parents consulted civil attorneys. Defense attorneys argue the timing is significant, noting that two independent investigations commissioned by Warner Bros. Studios found no corroboration for the claims and concluded there was no evidence of inappropriate conduct or opportunity for a director to be alone with minors on a tightly supervised set.
The defense claims prosecutors are seeking detention as a matter of routine rather than based on Busfield’s individual circumstances, pointing to public statements by the DA in a recent press conference describing detention motions as “standard practice.” Attorneys argue that the approach runs counter to the presumption of innocence and New Mexico Supreme Court precedent.
A central focus of the defense filing is the credibility of the state’s primary witnesses, the parents of the child actors, whom attorneys say have documented histories of fraud and financial misconduct- the motion details the alleged victim’s father is a disbarred former attorney convicted of federal wire fraud in a multimillion-dollar scheme, while the other has faced fraud judgments, casino bad-check cases, and allegations of asset concealment, including a court finding involving a Bentley sold and then unlawfully repossessed. The defense alleges the parents had clear financial and retaliatory motives following the loss of the children’s roles on the series (their contracts were not renewed) and provided claims that one parent threatened to “get” Busfield if the children were not brought back for another season. This statement was supported by witness affidavits included with the motion. The following is a statement from the director of photography, who is also among the 13 witnesses the defense plans to call on January 20:
“The twins’ parents were odd. The father, Ronnie, creeped me out. He was pushy and manipulative. He would force the twins to give me a hug every single time I saw him on set. He thought I was important, and it seemed like he wanted me to really like the boys. I always thought it was very creepy and unhealthy to force a child to give someone a hug. Ronnie was very overbearing. He had a power-business, alpha-male attitude.”
Defense attorneys also argue that the criminal complaint omitted or mischaracterized witness statements. Several cast and crew members have since come forward (according to the filing) saying police summaries left out key details; this includes that minors were never unsupervised and that no inappropriate behavior was observed on set.
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Pretrial Services reportedly classified Busfield in the lowest possible risk category and recommended release on his own recognizance. He also voluntarily submitted to a court-qualified polygraph examination that found no deception, along with a psychosexual evaluation and ABEL assessment concluding he poses a very low risk and shows no sexual interest in minors. The filing revealed the polygraph questions as well, which showed Busfield passed.
Credit: Fayerberg, Dodd LLC
Excerpts from Timothy Busfield’s wife Melissa Gilbert’s letter to the judge ahead of his January 20 pre-detention/bail hearing:
•“Tim is, quite simply, the beating heart of our wild and wonderful extended family.” •“Tim has the strongest moral compass of any human I have… pic.twitter.com/3rcpq8lbsT
The filing also includes roughly 75 letters from not only Busfield’s wife, Melissa Gilbert, but also colleagues, educators, parents, and community members. The letters describe Busfield’s long history of professionalism and strong character and moral compass, which attorneys argue support release under the conditions. “Tim has the strongest moral compass of any human I have ever known,” Gilbert wrote. His “thirtysomethibng” cast mates Ken Olin, Peter Horton and Patricia Wellig Olin, also penned similar letters of support. Here’s Gilbert’s letter:
The filing also states Busfield, through his attorneys, attempted to coordinate an orderly surrender and traveled to New Mexico voluntarily, arguing that choosing self-surrender over extradition does not actually demonstrate a flight risk.
Busfield is due back in court on January 20 to determine whether or not he will be released before his trial.
Warner Bros. Discovery said Wednesday that its board determined Paramount’s offer is not in the best interests of the company or its shareholders. It again recommended shareholders support the Netflix deal.
“Paramount’s offer continues to provide insufficient value, including terms such as an extraordinary amount of debt financing that create risks to close and lack of protections for our shareholders if a transaction is not completed,” Warner Bros. Discovery Chair Samuel Di Piazza Jr. said in a statement. “Our binding agreement with Netflix will offer superior value at greater levels of certainty, without the significant risks and costs Paramount’s offer would impose on our shareholders.”
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Paramount did not immediately respond to a request for comment.
Business Matters: Warner Brothers rejects Paramount’s hostile bid
Late last month Paramount announced an “irrevocable personal guarantee” from Oracle founder Larry Ellison — who is the father of Paramount CEO David Ellison — to back $40.4 billion in equity financing for the company’s offer. Paramount also increased its promised payout to shareholders to $5.8 billion if the deal is blocked by regulators, matching what Netflix already put on the table.
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In a letter to shareholders, Warner expressed concerns about a potential deal with Paramount. It said it essentially considers the offer a leveraged buyout, which includes a lot of debt, and that it could take 12 to 18 months to close a deal.
The battle for Warner and the value of each offer grows complicated because Netflix and Paramount want different things. Netflix’s proposed acquisition includes only Warner’s studio and streaming business, including its legacy TV and movie production arms and platforms like HBO Max. But Paramount wants the entire company — which, beyond studio and streaming, includes networks like CNN and Discovery.
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If Netflix is successful, Warner’s news and cable operations would be spun off into their own company, under a previously-announced separation.
A merger with either company will attract tremendous antitrust scrutiny. Due to its size and potential impact, it will almost certainly trigger a review by the U.S. Justice Department, which could sue to block the transaction or request changes. Other countries and regulators overseas may also challenge the merger.
Warner Bros. Discovery’s board of directors on Wednesday rejected Paramount Skydance’s revised hostile bid, saying that its terms are inferior to Warner’s $82.7 billion merger agreement with Netflix.
“Our binding agreement with Netflix will offer superior value at greater levels of certainty, without the significant risks and costs Paramount’s offer would impose on our shareholders,” Warner Bros. Discovery’s board said in a statement.
The rebuff is the second from Warner Bros. Discovery of Paramount Skydance’s efforts to acquire the storied studio, which has produced films such as “Casablanca” and the “Harry Potter” franchise and owns cable networks including CNN and TNT.
Paramount Skydance, the parent company of CBS News, owns the Paramount studios and cable networks including Comedy Central and Nickelodeon.
Warner Bros. Discovery in December rebuffed Paramount Skydance’s most recent hostile bid, citing a lack of personal backing from the Ellison family.
Paramount Skydance later returned with an improved offer that included a personal guarantee from Oracle co-founder Larry Ellison — the father of Paramount Skydance CEO David Ellison — for $40.4 billion in equity financing.
But on Wednesday, Warner Bros. Discovery turned down the latest offer as well, stating that Paramount Skydance’s bid posed “significant costs, risks and uncertainties” compared with the Netflix merger. Warner Bros. Discovery also said Paramount Skydance’s offer would burden the combined company with significant debt.
Paramount Skydance didn’t immediately respond to a request for comment.
Netflix on Wednesday said it “welcomed” Warner Bros. Discovery’s ongoing commitment to the companies’ merger. The streaming service added that it has submitted its Hart-Scott-Rodino filing with U.S. agencies, which is required for a review of potential antitrust issues.
Netflix agreed to buy Warner Bros. Discovery’s HBO network, as well as its streaming and studios business, for $27.75 a share. Under the deal, Warner’s cable division would be spun off into a separately run unit before the merger is completed.
Netflix’s bid includes $23.25 in cash and shares of Netflix common stock representing a target value of $4.50. Paramount Skydance is offering $30 a share to buy all of Warner Bros. Discovery, valuing the offer at roughly $108 billion.
Warner Bros. again rejected Paramount’s latest takeover bid and told shareholders Wednesday to stick with a rival offer from Netflix.Warner’s leadership has repeatedly rebuffed Skydance-owned Paramount’s overtures — and urged shareholders just weeks ago to back the sale of its streaming and studio business to Netflix for $72 billion. Paramount, meanwhile, has sweetened its $77.9 billion offer for the entire company and gone straight to shareholders with a hostile bid.Warner Bros. Discovery said Wednesday that its board determined Paramount’s offer is not in the best interests of the company or its shareholders. It again recommended shareholders support the Netflix deal.Late last month Paramount announced an “irrevocable personal guarantee” from Oracle founder Larry Ellison — who is the father of Paramount CEO David Ellison — to back $40.4 billion in equity financing for the company’s offer. Paramount also increased its promised payout to shareholders to $5.8 billion if the deal is blocked by regulators, matching what Netflix already put on the table.The battle for Warner and the value of each offer grows complicated because Netflix and Paramount want different things. Netflix’s proposed acquisition includes only Warner’s studio and streaming business, including its legacy TV and movie production arms and platforms like HBO Max. But Paramount wants the entire company — which, beyond studio and streaming, includes networks like CNN and Discovery.If Netflix is successful, Warner’s news and cable operations would be spun off into their own company, under a previously-announced separation.A merger with either company will attract tremendous antitrust scrutiny. Due to its size and potential impact, it will almost certainly trigger a review by the U.S. Justice Department, which could sue to block the transaction or request changes. Other countries and regulators overseas may also challenge the merger.
NEW YORK —
Warner Bros. again rejected Paramount’s latest takeover bid and told shareholders Wednesday to stick with a rival offer from Netflix.
Warner’s leadership has repeatedly rebuffed Skydance-owned Paramount’s overtures — and urged shareholders just weeks ago to back the sale of its streaming and studio business to Netflix for $72 billion. Paramount, meanwhile, has sweetened its $77.9 billion offer for the entire company and gone straight to shareholders with a hostile bid.
Warner Bros. Discovery said Wednesday that its board determined Paramount’s offer is not in the best interests of the company or its shareholders. It again recommended shareholders support the Netflix deal.
Late last month Paramount announced an “irrevocable personal guarantee” from Oracle founder Larry Ellison — who is the father of Paramount CEO David Ellison — to back $40.4 billion in equity financing for the company’s offer. Paramount also increased its promised payout to shareholders to $5.8 billion if the deal is blocked by regulators, matching what Netflix already put on the table.
The battle for Warner and the value of each offer grows complicated because Netflix and Paramount want different things. Netflix’s proposed acquisition includes only Warner’s studio and streaming business, including its legacy TV and movie production arms and platforms like HBO Max. But Paramount wants the entire company — which, beyond studio and streaming, includes networks like CNN and Discovery.
If Netflix is successful, Warner’s news and cable operations would be spun off into their own company, under a previously-announced separation.
A merger with either company will attract tremendous antitrust scrutiny. Due to its size and potential impact, it will almost certainly trigger a review by the U.S. Justice Department, which could sue to block the transaction or request changes. Other countries and regulators overseas may also challenge the merger.
Zazie Beetz does not appear to be enjoying a restful hotel stay in the blood-soaked trailer for the forthcoming horror-comedy feature They Will Kill You.
They Will Kill You centers on a newly hired housekeeper (Beetz) at a mysterious New York City hotel known as the Virgil. She soon learns that the building is the headquarters for a satanic cult, with the members having chosen to murder her as a sacrifice.
In the trailer, Beetz gets this chilling warning: “This building is a temple to Satan. Each month, we must pay with a human sacrifice. Tonight, you are the offering.”
Later, a character asks Beetz, “Where did you learn how to fight like that?” She responds by nonchalantly saying, “Prison.”
Sokolov helmed the film from a script he co-wrote with Alex Litvak. Hailing from New Line Cinema and Nocturna, They Will Kill You counts Andy Muschietti, Barbara Muschietti and Dan Kagan as producers. Litvak and Sokolov executive produce the project alongside Russell Ackerman, John Schoenfelder and Carl Hampe.
The Hollywood Reporterexclusively reported in August 2024 that Arquette and Felton had joined the movie’s cast.
Beetz can currently be seen opposite André Holland and Kate Mara in The Dutchman, which hit theaters over the weekend. She also has a role in Gore Verbinski’s feature Good Luck, Have Fun, Don’t Die, set for theatrical release next month.
The Stranger Things finale hit theaters on New Year’s Eve. Yet despite doing pretty good with that one-day release, it seems Netflix still isn’t a fan of the theatrical experience when it doesn’t need to be.
Because of the cast’s contractual terms for residuals, there aren’t box office numbers to report for screenings, but Deadline and other outlets reported the finale made $25 million-$30 million worth of concession cash in its 620 screenings across North America. That concession money technically means the episode beat out KPop Demon Hunters as Netflix’s highest theatrical owner for 2025. The finale is also a particular win for AMC, which didn’t screen KPop during that movie’s time(s) in theaters, but reported more than half of all Stranger Things fans watched it at an AMC theater.
You’d think this would be good news as the streamer’s looking to snatch up Warner Bros.—which had a pretty strong big screen run in 2025—and honor that studio’s policy of putting its movies in theaters, but sources speaking to Deadline claim Netflix is considering a 17-day window for any of its potential films. That’s less than half of the 45-day standard adhered to by WB and other Hollywood studios, and AMC and other theatrical chains would very much prefer that standard maintained. Exhibitors would also love for more theatrical runs from Netflix, with the Stranger finale working as a possible “olive branch” to help get that ball rolling.
But if that alleged 17-day window happens, it’d “steamroll” the movie theater business and be bad for everyone in general. At time of writing, Netflix hasn’t disclosed any moves it aims to make should it get to acquire WB, instead keeping to its stance in December that things will currently be business as usual. But common sense and the streamer’s own past will tell you that things will be anything but, and eventually, that other shoe will drop.
Netflix‘s plans for movies after its projected acquisition of Warner Bros. still remains up in the air, but a new report suggests that the streamer has plans for some very small theatrical windows.
What are Netflix’s reported plans for WB movies’ theatrical windows?
In a new report from Deadline on the theatrical return for the Stranger Things finale, it’s noted that those in Hollywood remain wary of Netflix’s plans for WB movies once they acquire the company. Deadline notes that, although Netflix co-CEO Ted Sarandos has said nothing will change, sources note that Netflix have been “proponents of a 17-day” theatrical window for films.
The move, should it come to fruition, is one that Deadline notes would “steamroll the theatrical business,” with the report mentioning that companies like AMC believe a 45-day window is a line that cannot be crossed. While no confirmation of any theatrical window exists, Deadline has reportedmultipletimes through December that Sarandos is a big fan of the 17-day window structure.
Although rumors suggest Netflix will be shrinking the theatrical windows for films if and when it acquires WB, Sarandos himself has said otherwise. Following backlash on the idea of a shorter window and concerns about Netflix’s proposed acquisition of WB, Sarandos has said that it’ll be business as usual when it comes to how WB works.
“There’s been a lot of talk about theatrical distribution, so we want to set the record straight: we are 100% committed to releasing Warner Bros. films in theaters with industry-standard windows,” said Sarandos when Netflix announced the acquisition.
Get ready for a potentially busy time at theaters next year: both Dune: Part 3and Avengers: Doomsdayare coming December 18, 2026.
While the dates for these two films aren’t new, what is is that Dune, at least, is currently sticking to this date. According to reporter Jeff Sneider on a recent “Hot Mic” episode, Warner Bros. currently has no intention of delaying the film, and reporter Matt Belloni separately mentioned recently on his own podcast “The Town” that “neither of them” are budging on the date. Now that Doomsday has put out one of its four teasers for the general public, it’s looking like we’ll be getting another Barbenheimer-type phenomenon in “Dunesday“, as Marvel actor Simu Liu recently declared.
Avoiding whether Dunesday is another Barbenheimer in the making—it’s not, they’re two sides of the same coin where Barbie and Oppenheimerwere on different ends of the blockbuster spectrum—the big question is whether the two films will keep the same date or if one of them will budge. Admittedly, WB was the first studio to pin down a date for Dune: Part 3, and it’s certainly a gutsy move to put its young sci-fi franchise against the more established MCU. But as Sneider noted, first dibs on the release calendar may as well not matter in the court of public opinion—Avengers: Doomsday has teasers to hype up its incoming release, complete with a countdown timer, and Dune doesn’t even have a poster or anything to tease.
On the other hand, Disney’s had no problems moving around release dates for several Marvel movies, Doomsday included. Back when it was still subtitled Kang Dynasty, it was meant to come out this past May, and even after the retitling, it was kicked back to May 2026 before being pushed again to the current December slot. So it wouldn’t be a surprise if it had to be moved around once more, even if it’s weeks before Dune to steal some of its thunder. There’s a good chance either could move up, actually: aside from Spider-Man: No Way Home, MCU movies tend to stop at early November, while the Dune films have landed (or tried to) in September or October of their respective years.
At time of writing, Dune: Part 3 and Avengers: Doomsday will hit theaters on December 18, 2026. Let us know which one you plan to see, if not both, or whichever one you think will get out of the other’s way.
The year 2025 was jam-packed with must-see genre entertainment. io9 covered an extensive range of pop culture across film and television, including major releases from Marvel Studios, DC Studios’ big Superman arrival, Netflix heavy hitters like Stranger Things, and awesome anime.
Beyond the screen, io9 kept you updated on the latest in theme parks and immersive experiences, as well as the latest in collectibles, toys, books, games, and comics.
To close out 2025, we’ve compiled our staff picks, highlighting our most treasured stories and sharp coverage that defined the world of genre entertainment this year.
The Director of Good Boy on Creating Horror From a Dog’s Point of View
By Cheryl Eddy
Most dog owners can recall at least one instance where their pup has reacted to a seemingly invisible presence. Are they picking up a sound pitched higher than our hearing? Sniffing out the memory of a dropped piece of food? Or perhaps… using their canine super-senses to detect something supernatural?
Good Boy, the feature debut of director and co-writer Ben Leonberg, takes that idea and runs with it, following Indy (played by Leonberg’s own dog) and his owner, Todd (Shane Jensen), as they move into the former home of Todd’s late grandfather. It’s a gloomy, dark, isolated place, and—as Indy soon realizes—it appears to be teeming with unquiet spirits. [Read more]
The Superman We Need Right Now: A Report From the Set of James Gunn’s New DC Film
By Germain Lussier
When Superman started kissing the football on a stick, it all clicked together. The day was June 24, 2024, and io9 was in Cleveland to watch the filming of James Gunn’s Superman. At the end of a giant battle over the streets of Metropolis, the Man of Steel knelt down to kiss and profess his love to an inanimate object that special effects would later transform into his dog, Krypto. That little dash of heartfelt weirdness, in the middle of a massive action scene, did a near-perfect job of showing what the film’s cast and crew had been trying to articulate all day: this is not just a unique, new Superman, it’s James Gunn’s Superman. [Read more]
In Sinners, Honesty Leads to Freedom
By Justin Carter
Sinners is the type of movie where nearly every scene could be considered a standout moment on a technical, writing, or performance level. For me, there’s two moments—one utterly sincere and raunchy, the other delightfully meta—that speak to one of the film’s core themes.
In the first, burgeoning blues guitarist Sammie (Miles Caton) is getting intimate with singer Pealine (Jayme Lawson) and proceeds to get on his knees. He’s about to employ the advice his older cousin Stack (Michael B. Jordan) gave to him about pleasuring a woman earlier in the film, and just as Pearline’s about to politely decline, Sammie looks up at her and says: “You’re beautiful, and I want to taste it.” He’s clearly taken with her, and says this with the earnestness of someone who believes in what he’s saying. [Read more]
What’s the Story Behind Tron: Ares? Our Report From the Set
By Germain Lussier
“I have to ride a lightcycle.” That was my first thought last year when the invite arrived to visit the set of Disney’s new sequel, Tron: Ares. It seemed like a logical request. When you think of Tron, you think of lightcycles. They’re a huge part of both 2010’s Tron: Legacy and 1982’s Tron. And yet, I had to wonder, were there even lightcycles in this movie? What exactly WAS this movie? Coming out 15 years after the last one, with basically a whole new cast, it seemed any concept of what the film could or would be was entirely up in the air. I had questions. I wanted answers. And, perhaps, a ride on that lightcycle. [Read more]
I Love the Moment That Everything Changes in Gundam GQuuuuuuX
By James Whitbrook
The latest entry in the Gundam franchise, GQuuuuuuX, is built around one of the most fascinating premises a mainline Gundam show has had in years. To get there, we’re asked to cast our minds back over 45 years to the original 1979 anime—and in doing so, we’re also asked to consider a pretty hilarious idea.
The vast majority of Gundam GQuuuuuuX—as covered in its prequel/compilation movie GQuuuuuuX Beginning, out in American theaters today for a limited run—is predicated around the fact that the show is in fact set in an alternate version of Gundam‘s “Universal Century” timeline. The primary timeline of the original Gundam and its direct successor series, among others in the franchise, GQuuuuuuX‘s version of events asks us to consider another outcome. What if the antagonistic forces of the original series, the secessionist space colony Zeon, actually managed to win the war against Earth? [Read more]
7 Reasons Why The Nightmare Before Christmas Is Not a Halloween Movie, 4 Reasons Why It Is
By Sabina Graves
Every year, it seems that Halloween creeps in earlier than before, and with it, its Pumpkin King, Jack Skellington.
Take the Haunted Mansion Holiday at Disneyland; it’s a haunted house with ghosts that, as soon as Halloweentime arrives at the Disneyland resort at the end of summer, becomes inhabited by Jack and the people of Halloweentown. However, they’re not there for Halloween; they’re there to make Christmas. There’s the rub, because the once cult and now very mainstream holiday staple from the mind of Tim Burton and director Henry Selick is about one holiday taking over another. [Read more]
Bryan Fuller Reveals the Inspirations for His Dark Fairytale Feature Debut
By Sabina Graves
He’s best known for his acclaimed genre TV shows, but Bryan Fuller (Hannibal, Pushing Daisies) is making his feature film directorial debut with Dust Bunny, a coming-of-age storybook fantasy with his signature twist.
The film reunites the Hannibal series creator with star Mads Mikkelsen. He plays a hitman hired by a young girl named Aurora (Sophie Sloan), who wants his help to hunt the mysterious and monstrous Dust Bunny tormenting her apartment.
In a recent conversation with io9, Fuller talked about how the feature got the big screen treatment after previously being pitched as an episode of the Steven Spielberg-produced Amazing Stories series for Apple TV, and what it was like working on it with genre great Sigourney Weaver. The cult-fave creative mind also opened up about how he feels in regards to some of the projects he’s been attached to that have fallen through—as well as his excitement for a project yet to be announced. And yes, we even got a few details about his potential Silence of the Lambs limited series. [Read more]
Birds of Prey Deserved Its Full, Chaotic 15 Minutes of Fame
By Justin Carter
It always sucks when something that’s pretty good and was clearly well made just doesn’t hit the way it seems like it should’ve. This is particularly true when it comes to movies; think of a film you saw that was surprisingly enjoyable and how it didn’t really get a fair shake for whatever reason.
Plenty of examples come to mind for me, but one of the first is Harley Quinn: Birds of Prey. Originally released on February 7, 2020, under its initial (and funnier) title, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn), the film’s a bit of a tangled knot. You may remember it first seemed like a solo vehicle for Margot Robbie’s Harley post-Suicide Squad 2016, then somewhere along the line, it also may have become something for the popular, usually women-starring B-list superhero team, and then ended up being… kind of both? [Read more]
Castlevania: Nocturne Writers Talk Religion, Revolution, and Black Representation
By Isaiah Colbert
Castlevania: Nocturne returns with its second season on Netflix, sparking online discussions about video game references, animation enthusiasts sharing their favorite action clips, and Alucard babygirl posts in its wake. However, a new season also brings the resurgence of pearl-clutching and Gamergate-adjacent rhetoric concerning Black representation, which should be celebrated in the Powerhouse Animation series instead.
To address and preempt criticisms from those who deride the inclusion of Black characters in the video game series as “woke,” we talked to Black Castlevania: Nocturne writers Testament and Zodwa Nyoni, and executive producer Clive Bradley, about how they enriched Konami’s fantastical source material setting with real-world events and the Black experience. [Read more]
How Fionna and Cake Reflects the Legacy of Adventure Time
By Sabina Graves
Season two of Fionna and Cake has arrived on HBO Max, taking Adventure Time fans into a new world—and it’s one that’s finally established as its own universe, thanks to Prismo breaking the rules and making the Ice King’s fan fiction real.
The first season’s ending metatextually had Fionna and friends fight to make their world canon, and there’s now more to explore in its earned existence and how it might cross over into Adventure Time‘s Land of Ooo.
But don’t get the premise twisted, Fionna and Cake isn’t just fan service to sneak back into Adventure Time territory completely. In a conversation io9 had with producer Adam Muto, we discussed how the creative teams aim to make their beloved character variants stand on their own and, yes, sometimes stand with the legacy faces to take on new interdimensional threats. [Read more]
A Love Letter to Cobra Kai, One of the Greatest Sequels Ever
By Germain Lussier
When I first watched Cobra Kai, I stopped it five minutes in. This is a true story. I started the first episode and was so absolutely blown away by what I was seeing, I almost didn’t believe it was real. Since I was about five years old, I’d been a massive fan of The Karate Kid franchise, and here I was in my 30s watching the same actors from those movies tell this dynamic, awesome, follow-up story. There was no way this show was this good. It was impossible. [Read more]
Tony Gilroy Looks Back on Taking Shit Seriously in Andor
By James Whitbrook
Tony Gilroy is a man with a vision. That vision guided him from the extensive reshoots of Rogue One: A Star Wars Story all the way to a Disney+ series about one of that film’s heroes, Cassian Andor—and finding in it a critical acclaim unlike anything the galaxy far, far away had seen in a generation.
He’s also a very frank man who knows when that vision can potentially turn on a dime—as it did one day while filming the series in Scotland, when the writer, director, and showrunner realized that his grand plan for Andor wasn’t going to work. [Read more]
Andor‘s Tony Gilroy and Genevieve O’Reilly Break Down Mon Mothma’s Pivotal Dance
By Sabina Graves
During io9’s interview with showrunner Tony Gilroy and star Genevieve O’Reilly, who plays Mon Mothma, the duo broke down the last moments of the third episode of this week’s drop. Gilroy also discussed how framing these pivotal years as three-episode mini-movies came about. [Read more]
Andor‘s Finest Hours Just Delivered a Huge Gut Punch
By Sabina Graves
What it takes to sustain a rebellion is brought into question in this week’s episode arc of Andor, which covers what happens two years before the main events of Rogue One: A Star Wars Story and the original Star Wars saga. Thematically it’s time for the rebels to figure out if they want to just fight or actually win, as tensions come to a head on Ghorman in what’s probably the most gut-wrenching watch of the series, and perhaps even Star Wars as a whole. [Read more]
Who Was Syril Karn?
By James Whitbrook
“Who are you?” is the question that haunts Syril Karn for his entire life. From the moment we met him, prim and proper security uniform modified to be just so, a sense of purpose in a vast and uncaring universe has been at the core of understanding what makes Syril tick. The journey that took him across the galaxy reached a climactic moment in Andor‘s penultimate arc this week, and raised that haunting question once more. But the answer is more complicated than mere villain in Andor‘s narrative, doubting or otherwise. Because even as the hero of his own story, the man we know Syril to be, until the very end, is shaped less by himself and more by the systems and structures that made a tool of him. [Read more]
They Just Gave Kleya a Goddamn Gun
By James Whitbrook
There’s a scene in the ninth episode of Andor‘s second season where Vel Sartha, inspecting a table full of requisitioned weaponry at the Rebellion’s Yavin base, picks up a blaster and asks whose it is. Except, that’s not what she asks, raising the pistol into the air in front of a crowd of new recruits. What she actually says is “Who belongs to this?”
I was thinking a lot about that line an episode later, when, as she infiltrates a hospital in a desperate attempt to end the life of the man who saved hers as a child, Kleya Marki, one of Andor‘s standout characters, slips a tiny blaster with one hell of a kick out of her purloined nurse’s scrubs and calmly executes an ISB tactical officer. And then does it again. And again. It’s the climactic, tense moment of an episode that builds up to this singular moment of emotional and dramatic release as she tearfully turns off Luthen’s life support. In many ways, Kleya’s whole life, one torn apart by the Empire, and rebuilt out of her hatred of it, is leading to this moment, and this moment of infiltration and execution is just the final flourish. [Read more]
Vinland Saga Creator Makoto Yukimura Looks Back on Writing His Pacifist Viking Epic
By Isaiah Colbert
Anime and, by proxy, manga are typically viewed through a lens where violence begets violence, and the only hero is one with attention-grabbing hairdos, the ability to power up, and the capacity to punch things even more brilliantly. Very rarely is the traditional hero’s journey, whether in shonen or its older brother genre, seinen, predicated on having its hero question the nature of violence as a catch-all solution, rather than a spoke that keeps the cycle spinning. Then again, not every manga series challenges that notion so brilliantly as Vinland Saga. [Read more]
Revolutionary Girl Utena Is as Lynchian as Shojo Anime Has Ever Been
By Isaiah Colbert
Over the years, critics and everyday people have come to identify media as “Lynchian,” in reverence for how video games, movies, and TV shows evoke the dream-like quality of the late auteur David Lynch. Although most media described as Lynchian takes its inspiration from seminal works like Twin Peaks through referential nods, no show completely embodies the ephemeral vibe of Lynch’s opaque-yet-piercing style of storytelling quite like the similarly influential shojo anime series Revolutionary Girl Utena. [Read more]
Deep Space Nine Understood the Fantasy of Spies—and Their Reality
By James Whitbrook
In just under a week, the next Star Trek project arrives in the form of Section 31, a streaming movie starring Michelle Yeoh diving into the titular black ops organization—one that, at least in all the footage we’ve seen so far, puts an emphasis on the glitz and glam of secret agent work. There’s action, there’s dazzling costumes, there’s even, perhaps most surprisingly in the context of it all, direct Federation oversight, like a co-worker with a stick up their ass who’s here to stop you from having fun. [Read more]
The Leftovers Is Still One of TV’s Great Miracles
By Cheryl Eddy
Losing a loved one brings pain no matter the circumstances. Not knowing what happened to them only adds more agony. That grief and confusion is what propels The Leftovers, but on a global scale—leading to three fascinating, thought-provoking, audacious, cigarette-filled, and often miraculous seasons of TV.
At the start of the first episode, it happens: two percent of the world’s population vanishes into thin air. The amount of missing isn’t huge, but it’s significant. The people who lost someone dear are personally wounded, but nobody escapes being touched in some way by the event, which leaves humanity with an infuriating array of mystical questions. Why did those who left get “chosen”—and why were those who didn’t go get left behind? Was God or some other cosmic being involved? Where did they go? Will they ever come back? And will it happen again? [Read more]
The 6 Biggest Moments in the Shocking Foundation Season 3 Finale
By Cheryl Eddy
Foundation season three has come to an end, but it still feels like there’s so much story left to tell. Thank goodness Apple TV+ confirmed just yesterday that season four is on the way! But before we ponder what’s next, we must discuss the season finale.
“The Darkness” was… well, a lot sure did happen, didn’t it? [Read more]
Stranger Things Lets It Rip to Kick Off Its Final Season
By Sabina Graves
The conclusion to Netflix and the Duffer Brothers’ pop culture phenomenon Stranger Things begins with an epic first volume that’s now streaming for your binging pleasure.
Action and horror propel the return to Hawkins in volume one as our heroes race to find Vecna (Jamie Campbell Bower), hoping to vanquish him once and for all. In the time since the Upside Down ripped open in season four, Eleven (Millie Bobby Brown) has been training with Hopper (David Harbour) to strengthen her powers. Seeing Eleven’s growth into a strong as hell young woman from her early days throwing bullies off her friends is such a joy. Clearly, that’s thanks to Eggo waffles. [Read more]
Why Gainax’s Gunbuster Pose Is More Than Anime Rule of Cool Reference Fodder
By Isaiah Colbert
Anime of the late ’80s has an undeniable impact that extends beyond the medium into movies, TV shows, and video games. Many of the homages are to 1988’s Akira, which existed before Western culture had a grasp of what anime really was or could be. The “Akira slide”—an iconic shot of Kaneda sliding sideways on his bike in the 1988 movie adaptation of Akira—has become an icon of anime culture, referenced over and over in numerous cartoons and films, western and Japanese, ever since, including Jordan Peele’s Nope, Tron: Ares, and Metroid Prime 4: Beyond, amid an ocean of other Akira nods.
While Akira references are rife in new media like Naughty Dog’s Intergalactic, letting fans know that the creators are aware of its rule of cool, it’s hard not to feel a bit like the buck stopped at aping aesthetics for easy internet referential brownie points over carrying over its core narrative themes. Although most pop culture nods (Scavengers Reign aside) borrow Akira‘s surface style without echoing its thematic depth, every homage to fellow 1988 anime film Gunbuster‘s iconic arm-cross pose endures as a timeless gesture of steeled resolve wrapped in a badass stance. [Read more]
Meet Freddy Fazbear and Friends at Halloween Horror Nights’ Five Nights at Freddy’s House
By Sabina Graves
Take a look inside the Five Nights at Freddy’s house at Universal Studios’ Halloween Horror Nights. It looks like a real Freddy Fazbear’s Pizza location right out of the mind of game creator Scott Cawthon and Emma Tammi’s cinematic adaptation.
io9 was invited to a behind-the-scenes walkthrough of the Hollywood attraction based on the video game and Blumhouse film franchise, opening at HHN ahead of December’s Five Nights at Freddy’s 2. Creative director John Murdy took us through to highlight the incredible work done between Horror Nights, Cawthon, and Jim Henson’s Creature Shop. [Read more]
How Science Fiction Became the Key to This Year’s Most Buzzed About Concert
By Germain Lussier
2001: A Space Odyssey. Star Wars. Star Trek. Tron. Blade Runner. Akira. The Fifth Element. Interstellar. Superman. Flash Gordon. The Matrix. That sounds like a list of the greatest sci-fi films of all time, but actually, it’s a list of the films mentioned during a discussion about the inspirations behind the Backstreet Boys’ popular new residency at the Sphere in Las Vegas, Nevada.
This past July, one of the biggest boy bands of all time celebrated 20 years of their iconic album, Millennium, at the technologically advanced venue, with two months of sold-out shows that generated a ton of buzz and interest. As a result, two more months of shows were recently added, and io9 spoke to Baz Halpin, CEO and founder of Silent House, about it. [Read more]
KPop Demon Hunters and Expedition 33 Are Having a Moment
By Justin Carter
Have you watched KPop Demon Hunters on Netflix or played Clair Obscur: Expedition 33?
Chances are the answer is “yes,” and if not, you’ve certainly heard of them: both were released earlier this year to fairly glowing reviews (if not outright critical acclaim) and performed very well commercially. The latter, a turn-based RPG from newcomer Sandfall Interactive, will likely pick up some awards at year’s end, while Netflix is planning to go all in on KPop. Along with talks of sequels and an ever-growing wave of merchandise, the streamer submitted the mid-movie song “Golden” for Academy Award consideration. Both may also wind up jumping to live-action; Expedition had a movie announced months before the game’s release, while Netflix is reportedly mulling over a remake with human actors. [Read more]
Epic Universe’s Monster Lore Gives Us the Best Possible Dark Universe
By Sabina Graves
When you visit Epic Universe’s Dark Universe, you get hints of a story that’s so mysterious you’ll want to keep coming back to learn more. In Darkmoor Village, where monsters and humans co-exist—barely—the relationship between the villagers, the mad scientist in her castle with her monsters, and the vampires below is a very fragile menagerie of the macabre.
When io9 visited Darkmoor during Epic Universe’s opening week, we couldn’t help but wonder if the dense canon introduced would offer some insight into Universal’s abandoned Dark Universe film franchise. It turns out that some elements in the attractions, details in the land offerings, and immersive interactions echo what was once supposed to herald an Avengers-like assembly of the Universal Monsters on the big screen. [Read more]
Death Stranding 2 Is Hideo Kojima’s Most Refined and Relentless Vision Yet
By Isaiah Colbert
When Hideo Kojima—the man fashioned into a video game auteur out of his work on Metal Gear Solid—launched his debut title under the newly formed Kojima Productions in 2019, Death Stranding arrived shrouded in mystery and hype. Every Death Stranding trailer was full of cryptic imagery and spectral apparitions, and its stacked cast featuring Norman Reedus, Léa Seydoux, and Mads Mikkelsen set expectations sky-high. It was also the first title to come from the creator following a messy and public exodus from Konami. Would Kojima once again rewrite the rules of game design?
Upon release, Death Stranding didn’t disappoint so much as it defied prediction. At its core, it was an immersive, slow-burning post-apocalyptic courier simulator. Players took control of Sam Porter Bridges, a pulp comics-esque naming convention of a protagonist suffering from aphenphosmphobia, an extreme fear of being touched, tasked with completing a herculean cross country trek across haunted landscapes by plagued eldritch horrors with the help of a baby in a container on his chest—avoiding environmental hazards and balancing parcels on every available piece of real estate on his body to “reconnect America.” Reductively, Death Stranding is regarded in gaming circles as a “triple-A” indie game, with a weird (but not overly confusingly dense) world-building serving as the connective tissue propelling every careful footstep on Sam’s odyssey. What Death Stranding lacks in conventional thrills, it made up for with sheer conceptual weight. [Read more]
Walt Disney Returns as a Surreal Animatronic for Disneyland’s 70th Anniversary
By Sabina Graves
As of this week, Walt Disney returns to his original Magic Kingdom, with a little help from the magic-makers at Imagineering.
Through the audio-animatronics technology Walt Disney introduced when he opened Disneyland 70 years ago, the evolution of the show robots has gone from static positioning with some movements, as first seen on the singing birds in the Enchanted Tiki Room, to a roaming animatronic of Uncle Walt. Stationed in the Main Street Opera House, the (m)animatronic is the crown jewel of the Walt Disney – A Magical Life show, where he, along with the help of Disney CEO Bob Iger as the program’s narrator, gets to sit and stand front and center to share his story in his words. [Read more]
Ghost of Yotei Is a Stronger, Self-Assured Sequel
By Justin Carter
There was a moment early on in Ghost of Yotei where I knew it’d won me over. As Atsu, I wasn’t hunting down the Yotei Six who killed my family and left me for dead back in my youth; I was taking on a simple bounty who’d managed to get the better of me. I was all set to watch him plunge his katana in my back and restart the swordfight. Instead, a wolf jumped in out of nowhere, biting him and granting me full health so I could get back up and resume the fight and get my bounty. [Read more]
The Best Disney Park Ride Overlays, and Where to Find Them
By Sabina Graves
Seasonal and promotional ride overlays are now ways to draw in more people to revisit beloved attractions at Disney’s parks or give passholders a reason to come back over and over. Over time some have had more longevity than others, as the most popular overlay continues to be Disneyland’s Haunted Mansion Holiday, which has Jack Skellington and friends take over the West Coast haunt with his spooky Christmas shenanigans. Meanwhile, the haunted version of Space Mountain: Ghost Galaxy seems to have exorcised its spirit—it just might have been a tad too scary, while Star Wars: Hyperspace Mountain stays beating out the rest. [Read more]
Mass Effect 2 Helped Change What Being an RPG Meant
By Justin Carter
The Mass Effect series has always held a special, and often divisive spot in fans’ hearts. BioWare’s sci-fi RPG saga blew up with its first game back in 2007, and its sequel took the franchise to bigger, more mainstream heights. In the years since that game’s release, it’s cast a long shadow—not just over its own franchise and creator, but the larger RPG space, particularly those from western developers. [Read more]
Back to the Future Returns to Universal Studios Hollywood With an Incredible Immersive Experience
By Sabina Graves
With Back to the Future: Destination Hill Valley, Universal delivers on the promise of bringing you into the movies in a new, impactful way. The immersive experience is a triumph and you won’t want to leave.
You get on the studio tour and it becomes a time traveling tram that drops you into the moment that Marty McFly arrives and through the events of Back to the Future on the courthouse square where the Robert Zemeckis film was shot. Through roaming actors portraying George, Lorraine, Biff, and Doc, we get to see iconic moments recreated and be a part of them. I got to chat with my childhood crush George McFly and turned into a total shy mess as he asked if I was going to the Enchantment Under the Sea Dance. The storytelling propels forward as you are able to encourage him to ask Lorraine to go with him and help with his writing before we see the hilarious hijinks of Lorraine hitting on Marty, her future son who she wants to go to the dance with. Biff shows up and causes mayhem while fans spectate and quote along. [Read more]
Deus Ex Did Good Work, and I Wish It Could Do More
By Justin Carter
For as many long-running franchises were born during the PlayStation 3 and Xbox 360 era—your Assassin’s Creeds and Borderlands, to name a few—some old series tried making a return. Among those was Deus Ex, a series of cyberpunk role-playing games which just turned 20 years old and had an unfortunately short-lived return with a duology that under better circumstances, would’ve been a trilogy. [Read more]
Books, Art, and Toys
The full package – Regal Reobot
The Story Behind the Funniest Indiana Jones Prop Replica You’ve Ever Seen
By Germain Lussier
Indiana Jones is always on the hunt for rare antiquities. He’s found the Golden Idol, Ark of the Covenant, Holy Grail, and so much more. All of which makes prop replicas of those things rather obvious. But, for the Indiana Jones fan who wants to be like their favorite adventuring archaeologist and get something more rare and specific, how about a clothes hanger? [Read more]
For Sale: One Book of the Dead, Slightly Used
By Cheryl Eddy
That little getaway in the woods sure would have been much less eventful if Ash Williams and his pals hadn’t decided to read passages out of that creepy old book someone left behind. But we’re so glad they did—thereby awakening the forces of darkness, sparking the events of The Evil Dead and its sequels, launching Bruce Campbell into the goofy action hero pantheon, and giving horror fans endless delights over the past 40-plus years. And now, you can own the actual prop that started it all! [Read more]
You Have to Check Out These Insanely Detailed Pop Culture Sculptures
By Germain Lussier
Play-Doh is not generally considered a pathway to a career in art, but it was exactly that for Brad Hill. Years ago, the aspiring artist was gifted the popular children’s toy and, as a thank you, molded some of it into a head. “I was like, ‘Oh wait. That’s kind of fun,’” Hill said. “Every day, I’d just wake up and sculpt a head out of Play-Doh. And I thought, ‘Well, this isn’t sustainable.’” He was wrong. Fifteen years later, Hill’s work has gone all over the internet, and this week he’s having a retrospective art show featuring not just brand new work, but pieces from throughout his still blossoming career. [Read more]
Being a Manga Letterer Is More Than Having a Fun Job
By Isaiah Colbert
When people read manga, they often focus on the Instagram caption-worthy one-liners and larger-than-life illustrations that fill their pages. What usually goes unnoticed in picking up a manga is the work that goes into its lettering and graphic design, done by the folks who pour their craftsmanship into typesetting popular Japanese manga for Western audiences.
We spoke with professional letterers Brandon Bovia (The Guy She Was Interested in Wasn’t a Guy at All, Dragon Ball Super, Kaiju No. 8), Evan Hayden (Battle Angel Alita, Land of Lustrous, Akira), Sara Linsley (Kamudo), Aidan Clarke (Otaku Elf, Neo Faust, Les Miserable), Barri Shrager (Is It Wrong to Try to Pick Up Girls in a Dungeon?), Kyla Aiko (Dandadan, Gokurakugai, RuriDragon), and Finn K. (Shinobi Undercover, Dear Anemone) about the challenges of typesetting the best manga in the world. [Read more]
How the Grinch Stole Modern Christmas
By Sabina Graves
He’s a meme one, Mr. Grinch, or at least that’s the current pop culture identity of the iconic Dr. Seuss creation.
How the Grinch Stole Christmas, the beloved illustrated Seuss book that many of us first experienced as a story read to us as children, initially became a cultural phenomenon thanks to its timeless themes about how Christmas can be found not only in gifts but also in the hearts of all—even the grumpiest of green meanies. [Read more]
Right now, there is one name that’s completely dominating the headlines in media and entertainment. Naturally, I’m talking about Netflix(NASDAQ: NFLX). Netflix is currently in the midst of a heated acquisition bid against Paramount Skydance Corporation for Warner Bros. Discovery‘s (NASDAQ: WBD) film and television studios.
While the proposed deal is yet to cross the finish line, I see this transaction as a potentially transformative move in Netflix’s pursuit to evolve from a streaming pioneer into a full-blown media service.
Let’s explore why Warner Bros. is so valuable in the eyes of Netflix and what could be in store over the next several years should the deal come to fruition.
Image source: Netflix.
For years, Netflix primarily served as a distribution platform for other networks’ content. However, over the last several years, a number of media outlets have launched their own streaming services in an effort to compete more directly with Netflix.
While Netflix still offers a variety of licensed shows and movies in its library, the company has shifted its focus on developing original content. So far, this pivot has proved to be quite profitable for Netflix. Exclusive series including Stranger Things, Wednesday, Bridgerton, and The Queen’s Gambit were smash hits around the world.
The downside of creating original content is that it is both cost-intensive and time consuming. Moreover, a subtle risk is that even after opening up the pocketbook to bring on Hollywood’s best talent, there’s no guarantee the show or movie will be well received.
This is what makes Warner Bros. such a strategic asset for Netflix. Warner Bros. is home to beloved franchises, including DC Comics, Harry Potter, Looney Tunes, and HBO’s premium cable series which feature Game of Thrones, Succession, The Sopranos, and much more.
With Warner Bros. tucked into its catalogue, Netflix instantly gains prestige intellectual property (IP) that is treasured by people across all age and gender demographics.
Image source: Getty Images.
Acquiring Warner Bros. comes with more value than a deeper content library. The IP ecosystem that comes with Warner Bros. opens up new doors for Netflix in the world of theme parks, toys and merchandise, gaming, and more.
In the long run, Netflix could leverage all of the new brands and characters it acquires from Warner Bros. to continue fleshing out its budding advertising business and immersive experience segment, Netflix House.
Moreover, I think integrating Warner Bros. into Netflix’s existing platform provides the company a direct path to acquire more customers without overspending on sales and marketing.
In addition, the various assets that come with Warner Bros. allow Netflix to create new pricing tiers and subscription bundles. From there, I think it’s reasonable that Netflix could employ its pricing power and hike subscription costs for viewers with very little risk of substantial churn.
If Netflix is successful in its pursuit of acquiring Warner Bros., it is going to take quite some time before the deal looks accretive. Nevertheless, I think Netflix is on its way to transform its business model virtually on par with that of Disney over the next several years.
In the table below, I benchmarked Netflix against a cohort of other streaming, media, and entertainment businesses on a price-to-sales (P/S) basis. As the analysis shows, Netflix trades at the highest premium in this peer set. What’s even more telling is the disparity in valuation multiples between Netflix and other pure streamers like Roku or entertainment conglomerates like Disney.
The reason legacy media trades at such a discount is because their business models are increasingly vulnerable to linear TV decline and cyclical advertising dynamics. While entertainment businesses generally boast slightly higher multiples compared to legacy media, these companies rely heavily on live events with distribution caps.
Netflix, by contrast, has global distribution and recurring revenue — two drivers that fuel outsized demand. For this reason, the market views Netflix as more of a tech-enabled platform akin to a software-as-a-service (SaaS) business but with the cultural profile of Hollywood.
Although Netflix stock is pricey relative to its peers, I think the premium is warranted. Taking this one step further, the gap between Netflix’s valuation and that of Paramount is striking. To me, this could suggest that a marriage between Warner Bros. and Netflix is much more valuable than with Paramount Skydance.
Ultimately, I see Warner Bros. as a core pillar of Netflix’s plan to become a trillion-dollar company over the next five years as it becomes much more than a streaming specialist. For these reasons, I see Netflix stock as a compelling buy-and-hold opportunity for investors with a long-run time horizon.
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In a series of photos released late Wednesday by WBD, the Netflix co-CEOs practically announced “we are Greg and Ted and we are your future,” to paraphrase that killer quip from Bill & Ted’s Excellent Adventure. If not going full on Keanu Reeves and Alex Winter from the 1989 metalhead comedy, Sarandos and Peters did look a lot like guys about to get the keys to their new digs.
Getting some very touristy shots in with Zas in front of the WB water tower, between the sound stages and chatting with the troops, the near matching white kicks wearing executives’ appearance in Burbank had all the hallmarks of a big staged F.U. to WBD bid rivals David Ellison and Paramount.
Neither WBD nor Netflix had a comment about the Hump Day get together. However, the images did come with a caption of “today, Warner Bros. Discovery CEO David Zaslav welcomed Netflix Co-CEOs Ted Sarandos and Greg Peters to the historic Warner Bros. Studio lot in Burbank to meet with leaders across the company.”
In point of fact, Sarandos and Peters met around 400 members of WBD’s leadership (some of whom are going to be very very very well compensated if the deal between the iconic studio and the streamer goes through) in the lot’s Ross Theate. Hosted and, to some degree, MC’d by Zas, the co-CEO asked and took questions from the crowd. In the conversation, Sarandos and Peters offered assurances that they were interested in growing the business and had no interested in shuttering theatrical release — which WB has scheduled out until 2029 right now.
Really though it was a lot of optics for a corporate buddy movie that just over two months ago, Peters openly scoffed at and almost everyone in town thought was a de facto done deal for David Ellison and his second richest man on the planet and Donald Trump whisperer Larry Ellison.
Look at the smiles on their faces, look at the hope in their eyes …it’s just looking all wine, blue blazers and roses.
Of course, even with the WBD board’s latest no thanks to Paramount and recommendations to shareholders to say the same, David Ellison still wants his second studio. No matter that Zas and gang have thrown serious shade on the Ellisons’ backstop promises and money on the table, everyone expects David and his father are going throw more money at WBD to get it before the January 8, 2026 deadline they set.
While all that plays out, can we get some consensus here on if Greg Peters’ really is the Bill to Sarandos’ Ted? Asking for a friend…
(L-R) Keanu Reeves & Alex Winter at 1991’s Bill & Ted’s Bogus Journey Hollywood Premiere (Photo by Ron Galella/Ron Galella Collection via Getty Images)
Warner Bros. Discovery (WBD) just fired back at Paramount’s hostile takeover bid. The company encouraged its shareholders in a letter to reject the offer, arguing its deal with Netflix represents “superior” value for shareholders.
Netflix announced on December 5 its $72 billion agreement to acquire WBD’s entertainment studios after it splits from Discovery Global under the title Warner Bros. A few days later, Paramount issued a $77.9 billion tender offer, alleging its bid would deliver greater value to shareholders.
Some shareholders have already expressed a preference for Paramount’s offer, according to CNN. Now, WBD is doubling down in its opposition to the company.
“The PSKY offer provides inadequate values and imposes numerous, significant risks and costs on WBD,” WBD wrote in the letter. “The Board continues to unanimously recommend the Netflix merger, and that you reject the PSKY offer and not tender your shares.”
Paramount’s Financial Arrangement
WBD’s primary concern is whether Paramount represents good value, noting the company receives significant financial backing from the royal families of Saudi Arabia, Qatar, and Abu Dhabi, even as CEO David Ellison and his father, Oracle billionaire Larry, took over the company in August.
According to CNN, Paramount said it has “air tight financing” and that suggesting otherwise is “absurd.”
In response to Paramount’s claims that its bid has full backstop from the Ellison family, WBD said in the letter that “It does not, and never has,” and said Paramount has “consistently misled” WBD shareholders.
The Warner Bros streaming sibling revealed the news Monday about the streaming date, which comes a day before the pic premieres on the HBO linear channel. HBO Max will also stream an ASL version.
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The pic, a mash of crime and political action thriller and dark comedy, centers on DiCaprio’s washed-up revolutionary Bob, who exists in a state of stoned paranoia and survives off-grid with his spirited, self-reliant daughter Willa (Chase Infiniti). When his evil nemesis (Sean Penn) resurfaces after 16 years and Willa goes missing, Bob scrambles to find her, battling the consequences of his past.
Benicio Del Toro, Regina Hall and Teyana Taylor also star.
The pic, which opened September 26 and has surpassed $200 million at the global box office, has already been named Best Picture by the New York and Los Angeles critics groups and the National Board of Review and won the Best Feature honor at the Gotham Awards. It is up for 14 Critics Choice Awards and leads all films with nine nominations for the Golden Globes.
One Battle After Another is produced by Adam Somner, Sara Murphy and Anderson, with Will Weiske executive producing.
Whether or not Netflix’s $82.6 billion acquisition of Warner Bros. goes through, the deal encapsulates a fraught moment for Hollywood, as the entertainment business is increasingly overshadowed by tech giants.
On the latest episode of the Equity podcast, Kirsten Korosec and I discussed the deal’s implications, both for Netflix and the larger Hollywood ecosystem. Kirsten noted that it’s just the latest move bringing more consolidation to the media business, and she wondered whether it’s “too big a risk” for Netflix.
Meanwhile, I discussed a call with Netflix executives where Wall Street analysts also seemed to be struggling to wrap their heads around the deal. And then of course there’s Paramount’s competing hostile bid — whatever happens, Warner Bros.’ days as a standalone company seem to be numbered.
You can read an edited preview of our conversation below.
Kirsten: I remember when Netflix was just a little baby startup and I got their [DVDs] in the mail. Here they are, all grown up, bidding for a legacy company. Did that run through your head when you saw the news?
Anthony: Certainly symbolically, it’s this moment where the upstart has eaten Hollywood. There’ve been all these articles, even before this deal, saying, “Netflix is eating Hollywood, Netflix is transforming Hollywood.” Regardless of whether or not this deal ends up going through, Netflix will have transformed Hollywood, but this seems like the biggest — both symbolically but also substantively — one of the most dramatic things that can happen.
Then there are all these other questions about: Will Netflix get regulatory approval? Will Paramount’s hostile bid succeed?
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What jumped out to you is you were catching up on it, Kirsten?
Kirsten: Well, the first thing was I was like, can there be any more consolidation in this market? I mean, that was the big one for me, because if memory serves, Warner Bros. already went through like this consolidation with Discovery, right? So here we are again. There’s been so much consolidation that I have lost track of all of that.
But the second thought was what I immediately thought, what I kicked [off our discussion] with, which is really thinking about how Netflix [has grown], and there have been these dips in the road along its way, where the headlines have been about how it’s struggling, and will it remain relevant, and how can it do that? If they’re successful in the actual deal, [it would] potentially reflect [that] they have made it.
But then again, they have to execute on [running] an even bigger company than ever before. And so I guess my third thought on this is: Should they be buying this? Is this what it takes for them to expand? Is it a risk for them to take on so much? Why not just stay as they are? And I don’t know if you agree with me on that one. Is it too big of a risk?
Anthony: I can see how it makes sense for Netflix. It’s a way to take a [content] library that is already quite large, and they’ve obviously had some very successful TV shows — less so on the movie side — [but] potentially, they just become so much stronger on the content side.
[And] they’re suddenly now involved in all these other businesses, although the question is to what extent are they going to invest in things like the theatrical business, theme parks, making TV shows for other streaming services and networks, which are all businesses that Warner Bros is in, and Netflix says it will continue to support. But we’ll see to what extent that’s true.
So it seems like something that can really benefit Netflix in some ways, but, at the same time, it does seem like this is a huge risk. If you go and look at the analyst call that Netflix’s executives did after announcing the deal, you can see that the analysts are wrestling with it and wondering “Okay, I can see that this grows your business, but does it grow your business [so much that it’s] worth an $82 billion deal?”
And then of course, beyond the Netflix perspective, you have everybody else in Hollywood. There are all these maybe accurately hyperbolic headlines about: Is this the end of Hollywood? Is this the end of the movie theater business? All the unions are basically saying either, “This deal should be blocked” or “We’re very, very, very worried about this deal.” The theater owners are saying that
And so I think there’s A) Is this a good deal for Netflix? And B) is this a good deal for the entertainment business? I don’t have a good answer for either, [but] I think it’s more likely to be a good deal for Netflix than it is to be a good deal for the entertainment business.
Though again, part of what to keep in mind as people weigh those options or think about possible outcomes here, is that because of the way that Paramount has forced Warner Bros. to consider these acquisition offers, it seems unlikely that Warner Bros. is going to be able to continue as an independent company — which, if you’re not a fan of media consolidation, that is disappointing.
HBO Max has rolled out a limited-time, one-year subscription deal, offering a chance to stream HBO originals and Warner Bros. blockbusters at a lower cost. The platform has reduced pricing to $3 per month for one year, bringing the final cost down to $36 for the year. With many streaming services increasing their rates, this short-term offer lets you catch up on hit shows and new releases without committing to a full year. You can sign up via HBO Max’s website or, if you’re a Prime Video subscriber already, via that service as an add-on.
HBO Max has one of the best libraries of content in the streaming market, combining HBO’s acclaimed originals with Warner Bros. theatrical releases, Discovery content and live sports. The service now runs across three main plans. The Basic With Ads plan, the one included in this deal, allows streaming on two devices in full HD and costs $11 a month at full price. The Standard plan adds offline downloads, more live sports coverage and better device flexibility for $18.49 per month. The Premium plan increases quality to 4K with Dolby Atmos sound (where available), four simultaneous streams and up to 100 downloadable titles for $23 monthly.
HBO Max
This HBO Max Black Friday deal brings the monthly price of the ad-supported plan down to $3 for one year, instead of the usual $11.
While the feature differences matter, the real appeal of HBO Max is its library. Subscribers get access to the full catalog of HBO originals, including House of the Dragon, The White Lotus, The Last of Us and Euphoria, alongside recent Warner Bros. theatrical hits like Dune: Part Two and Barbie. The addition of Discovery content brings in reality favorites such as Fixer Upper: The Hotel and 90 Day Fiancé, while sports coverage through TNT and TBS channels includes NHL, NASCAR, college football and more.
It’s worth noting that live sports are still limited to certain tiers and regions and 4K availability varies by title. But compared with other premium services that have recently raised prices or limited simultaneous streams, HBO Max’s current setup offers strong flexibility across its plans.
If you’re considering which streaming platform gives the best range of new shows, live events and cinema releases, our guide to the best streaming services compares HBO Max with other major options. For now, this one-year subscription offer provides a straightforward way to explore HBO’s latest hits and a wide catalog of content at a lower upfront cost.
