Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter Netflix's acclaimed adult animated series Love Death + Robots has dropped its long-awaited fourth season, which includes 10 striking fever dream episodes that run the gambit of storytelling — from a cat battling Satan, to naked gladiators riding dinosaurs, to a dolphin messiah. Once again, the show has served up visions inspired by an array of short stories that are unlike anything else on TV (trailer below). And once again, there are controversies, with the show's passionate fandom debating certain aspects (such as a character voiced by Mr. 'Karate Kid: Legends' Director Jonathan Entwistle on Navigating 'Cobra Kai' and the Test Screening-Inspired Epilogue Issa Rae to Star in Comedic Thriller 'Good People, Bad Things' About Mysterious Parking Garage Below, creator and director Tim Miller (Deadpool) discusses the new season, several of the episodes and the show's future (if you haven't yet watched season four, better to do that first). The show's success has also allowed him to expand his talents to another adult animated anthology series, Prime Video's Secret Level, which has been renewed for a second season. Before we get into the new episodes, if you could adapt any story for this show — like, anything out there that you don't currently have the rights to do — what would you want? And I know they made a movie, but it's so different than the short story that nobody would recognize those two things other than some character names and a dolphin. The original short story is just amazing — as were many of those books from that age. My second one would be a Gibson and Bruce Sterling collaboration from Mirrorshades called “Dog Fight.” As this is “summer reading list” season, what are some of your all-time favorite short story collections? And I really love these books called SNAFU from Cohesion Press in Australia, where we find a lot of Love Death + Robots stories. It feels like there's some creative linkage between your show and Black Mirror. Have you and Charlie Brooker ever discussed collaborating or trading an episode? His show with its fear of technology and what it might do to our lives, whereas I'm all over the map. So this season, people seem to love “Spider Rose.” The original ending of the short story, she eats her pet out of desperation because she realizes she wants to live, which causes her body to metamorphosis into a new version of the creature. You can talk about the creature being cute, but it's a different thing entirely when you see it. And [director] Jennifer Yuh Nelson made it super fucking cute. The idea that a dolphin would be able to rise from the dead, be able to speak to aliens and also tell them humans suck and you should scour the earth clean, it was too much of a chance. I'm pretty agnostic, or atheist, and this and “How Zeke Got Religion” ends with an affirmation of religion. So I try not to let my beliefs get in the way of a good story. I was curious about that, because religion is a theme in multiple episodes this season and wondered if that was a coincidence. I hate cats, so why are they there? It's really sometimes only after the fact that somebody points out a pattern that I go, “Oh, yeah, I guess so.” Speaking of the cats, I quite liked “For He Can Creep.” What drew you to that one as a non-cat person? I don't like cats, but I do like John Scalzi and John Scalzi likes cats and a lot of those stories are from him. The attitude of [the black cat] Joffrey, the protagonist, I found it very humorous that he feels like like the poet is his pet and when Satan shows up he's like, “Fuck you, don't tell me what to do.” But I don't think it could have been more Zack Snyder even if he had? Well, at some point there was lot more sex in it. The Duke and Duchess were not just sitting there. They were, let's say, otherwise occupied during the race — which I think would make it a little more Zack Snyder. Sometimes you do something and you think it's cool, and then sometimes you go, “Am I doing that for the right reasons, or am I doing that just to shock people and get a reaction?” Beast's character worked and didn't realize it was him while watching. The way some fans reacted, you would think that guy had invented cancer rather than found a way give tens of millions to strangers. I wasn't surprised at the reaction to Mr. It allows us to make art and tell stories. The one episode that people seem to pile on a bit is “Can't Stop.” It sounds like fans were thinking that it was going to progress into a story instead of being only a performance. It was never discussed and I think that's more my hubris than anything. The reason David and I created the show to begin with was an excuse to do anything that we thought was visually interesting, and/or a good story. Sometimes it's just a beautiful piece of art. So I was kind of surprised by that because it didn't enter my my head, nor had anybody else's. The second time I fucking loved it, because I could just sit back and enjoy the spectacle and not have that expectation. I don't know if we'll ever get there on “Can't Stop,” but I enjoyed the hell out of it. It sounds like you don't mind looking online to see how people react to the show when many creatives are like, “That way lies madness.” A showrunner I respect just watched season four and wrote to say he fucking loved it. I said, “Me too, but we're getting a little hate.” Then he said, “Dude, there's not many things that I can tell you about this industry that I've learned over the years. But the one thing is do not read the comments.” Maybe I'm insecure, but I can't help it. And as accomplished as David is, when we screen the show, or I'm on the press tour, he'll text me afterwards and ask, “How did it play? Do they like it?” If you're a creator who doesn't care what people think, I'm not quite sure what you're doing it for. This is the longest wait for new episodes. And, if so, will it take another three years? I picked two seasons worth of stories and said [to Netflix], “We can get it out faster because we'll just do these seasons back to back.” The wait was too long and fans were not happy about that, and rightly so. It wasn't the plan to take three years. And if we had more money, that would go up on the screen, too. Sign up for THR news straight to your inbox every day Inside the business of TV with breaking news, expert analysis and showrunner interviews Subscribe for full access to The Hollywood Reporter Send us a tip using our anonymous form.

In a heartfelt letter to fans, Swift excitedly announced that she regained control of her music, purchasing her recordings from the investment firm Shamrock Capital. “I can't thank you enough for helping to reunite me with this art that I have dedicated my life to, but never owned until now,” she wrote. While the news was certainly a reason to celebrate, it left fans with one major question: What about Reputation (Taylor's Version), one of two albums left to re-record and release? (Fans have also been waiting for her to release her debut album, as well, but Reputation was largely speculated to be the next drop.) Full transparency: I haven't even re-recorded a quarter of it.” She continued: “The Reputation album was so specific to that time in my life, and I kept hitting a stopping point when I tried to remake it. That's not to say that Swift won't release the Reputation vault tracks — or her complete re-recording of her 2006 self-titled debut, which she confirmed is already in the can. Those 2 albums can still have their moments to re-emerge when the time is right, if that would be something you guys would be excited about. It's important to note that this doesn't kill the Debutation fan theory — that Swift would release both Reputation TV and the debut TV simultaneously. But neither appear to be imminent, as Swifties were anticipating (they most recently expected the announcement to be made during the 2025 AMAs). Swift herself seemed to tease Reputation TV during the Eras tour, particularly during her first Miami show in October 2024, when she sported a new Reputation bodysuit — the only costume she hadn't swapped since launching the tour in March 2023. It was featured on another series just last week, in the penultimate episode of The Handmaid's Tale (star and executive producer Elisabeth Moss confirmed she's a Swiftie). “The one-two punch, bait-and-switch of Reputation is that it was actually a love story,” she said. All the weaponized sort of metallic battle anthems were what was going on outside. Justin Baldoni Drops Taylor Swift Subpoena in Blake Lively Lawsuit Neil Young Stands With Taylor Swift, Bruce Springsteen in Trump's Musician War: ‘You Work for Us' She followed up Fearless TV with re-recordings of Red (November 2021), Speak Now (July 2023), and 1989 (October 2023). ‘Everything Could Have Been a Huge Disaster': Nathan Fielder on Making ‘The Rehearsal' Season 2 Elon Used So Much Ketamine He Couldn't Pee Right: Report Whether or not she ever releases Reputation TV and Taylor Swift TV, her re-recordings were highly influential to the music industry, encouraging other artists (including recently, John Fogerty), to do the same. “Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this flight, I'm reminded of how important it was for all of this to happen,” Swift said. But Swift regaining control of her recorded music is a massive, joyous achievement in itself, one that she joked she might celebrate by getting a shamrock tattooed on her forehead (please don't).

EXCLUSIVE: MRC is set to finance Good People, Bad Things, a new comedic thriller produced by and starring Emmy and Golden Globe nominee Issa Rae (Insecure). Written and directed by Scottish filmmaker Ninian Doff (Get Duked! ), the film follows an overwhelmed woman (Rae) who gets lost in a seemingly infinite parking garage and soon discovers she is not alone. Hoorae's Sara Rastogi is exec producing alongside Michelle Craig and Piero Frescobaldi. Best known for creating and starring in HBO's Emmy-winning and Golden Globe-nominated comedy Insecure, Rae has most recently been seen starring opposite Emma Corrin and Awkwafina in “Hotel Reverie,” an AI-themed episode from Black Mirror‘s critically acclaimed seventh season. Other recent credits include Barbie and American Fiction. She is repped by CAA, 3 Arts Entertainment, and Hansen, Jacobson, Teller. Doff made his feature debut with the 2019 dark comedy Get Duked!, which won the Audience Award in the Midnighters section of SXSW before going on to release through Amazon and was nominated for Best Debut Director at the British Independent Film Awards. Most recently putting out titles like Fair Play, G20 and Saltburn, MRC's upcoming slate also includes Wuthering Heights — from Saltburn‘s Emerald Fennell — along with titles like The Gallerist and The Only Living Pickpocket in New York. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

EXCLUSIVE: Multi-platinum-selling country star Kane Brown will make his feature film debut opposite Taylor Lautner in The Token Groomsman, a new romantic comedy from director Natalie Simpkins. The indie follows the career-focused Scott (Lautner), who has hit rock bottom at work when he finds himself invited to be a groomsman at an elite, luxury, destination wedding. But when sparks unexpectedly fly with the groom's sister Mia, Scott has to decide between “closing the deal” for money, or for love. Brown will play Neil, the best friend and moral compass to Scott. As Scott stumbles through a chaotic weekend, Neil proves a ride-or-die friend who may be the only sane voice in the madness of wedding season. When casting the part, said Simpkins, “We knew we needed bold, lovable personalities to match the heart and humor of this story. He has a rare mix of vulnerability and magnetism that's incredibly compelling.” Simpkins co-wrote the screenplay for The Token Groomsman with John C. Hall and Sohale Andrus Mortazavi, working from a story by Hall. Pam Renall and Hall will produce through their Retinue Media production company, along with Simpkins. The Fithian Group's Attend will oversee a 2,500-screen U.S. theatrical release, with Radiant Films International handling global sales. A three-time host of the CMT Awards, Brown made his acting debut in an episode of CBS's Fire Country in 2023. He first broke onto the music scene in 2016 with his self-titled, 2X Platinum debut album, where he became the first artist ever to lead all five of Billboard's main country charts simultaneously and earned two of the most-streamed country songs of all time. His fourth studio album, The High Road, is out now. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. We use vendors that may also process your information to help provide our services. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services.

Subscribe for full access to The Hollywood Reporter Bobby is all grown up in 14th season of the animated series. Hulu has set a date for its return to Arlen, Texas. Margaret Atwood Calls Fellow Hollywood Reporter Women in Entertainment Canada Honorees "Very Hard Acts to Follow" Cincinnati Reds vs. Chicago Cubs Livestream: When to Watch the MLB Game Online With Hulu + Live TV Here is Hulu's description of the new season: “After years working a propane job in Saudi Arabia to earn their retirement nest egg, Hank and Peggy Hill return to a changed Arlen, Texas, to reconnect with old friends Dale, Boomhauer and Bill. Much of the show's original voice cast, including co-creator Mike Judge, Kathy Najimy, Pamela Adlon, Johnny Hardwick, Stephen Root, Lauren Tom and Toby Huss, return for season 14. Hardwick, who voiced Hank's (Judge) conspiracy-loving neighbor Dale Gribble, died in August 2023. Sign up for THR news straight to your inbox every day Inside the business of TV with breaking news, expert analysis and showrunner interviews

We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Ariana Grande in her first post-“Wicked” and post-Oscar nomination role has joined the cast of “Meet the Parents 4″ at Universal, an individual with knowledge of the project told IndieWire. Grande joins Ben Stiller and Robert De Niro, who are returning to the long-running comedy franchise, and Universal has also now set a release date for the film on November 25, 2026, or Thanksgiving week 2026. Related Stories Darren Aronofsky Produces ‘Mythological' Cave Documentary ‘Underland' with Sandra Hüller Narrating — Watch the First Look ‘Stealing Pulp Fiction' Trailer: Cazzie David Helps Plan a Heist of Quentin Tarantino's Personal 35mm Print Blythe Danner and Teri Polo, who also starred in the original trilogy of movies, are also expected to return for the fourth film. The original followed Stiller as a man trying to win the affection — or join the “circle of trust” — of his fiancé's (Polo) hard-nosed parents, played by De Niro and Danner, only to find that De Niro is a former CIA agent. “Meet the Parents 4” is, of course, a reunion between Universal and Grande, as she starred as Glinda in last year's “Wicked” and will return this fall for “Wicked: For Good,” the conclusion to the Broadway musical adaptation. Executive Vice President of Production Development Matt Reilly and Director of Production Development Jacqueline Garell will oversee the project for the Studio. Grande is repped by CAA, Good World Management, The Lede Company and Myman Greenspan Fox Rosenberg & Light LLP. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Swift, in a surprise move, has reclaimed her master recordings years after they were initially sold, first to Scooter Braun's Ithaca Holdings, then to Shamrock Capital. Taylor Swift announced on Friday (May 30) she has regained ownership of her master recordings from Shamrock Capital, the private equity firm that purchased them from Scooter Braun's Ithaca Holdings in late 2020. According to sources, Shamrock sold Swift's catalog back to her for an amount relatively close to what they paid for it — which sources tell Billboard was around $360 million. In a message on her website, Swift says: “All the times I was this close, reaching out for it, only for it to fall through. I almost stopped thinking it could ever happen after 20 years of having the carrot dangled and then yanked away. But that's all in the past now… I really get to say these words: All of the music I've ever made… now belongs to me. The saga of Swift's masters goes back to June 2019, when Ithaca purchased Big Machine Label Group, which owned the master recordings to Swift's first six albums, for an estimated $300 million. Over the years, Swift has very publicly declared her displeasure with the shuffling around of her masters and, in 2019, began re-recording those Big Machine albums in order to restore control over her songs from a commercial standpoint. Her re-recording journey began with Fearless (Taylor's Version) in April 2021, followed by Red (Taylor's Version) in November 2021. Since leaving Big Machine in November 2018, she's released five additional albums on Republic Records: Lover (2019), Folkore (2020), Evermore (2020), Midnights (2022) and The Tortured Poets Department (2024). She also embarked upon and completed her career-defining Eras Tour, which rewrote the rules of what a concert tour could be, and massively boosted streams and sales of her entire catalog, including the re-recordings. Swift was not involved in Shamrock's 2020 purchase of her music. “This was the second time my music had been sold without my knowledge,” she said at the time. Shamrock's 2020 statement about acquiring Swift's catalog from Ithaca emphasized their admiration for her artistry and the value of her music. They described Swift as a “transcendent artist” with a “timeless catalog” and said their investment was driven by belief in the long-term potential of her work. While they had hoped to partner with her directly, they acknowledged and respected her decision not to be involved. The six albums and two live albums that Swift recorded when she was signed to Big Machine generated roughly $60 million a year on average globally from 2022 to 2024, according to Billboard's estimates based on Luminate data. Distribution, marketing and royalty payments to Swift likely consumed about 50% of that revenue, leaving Shamrock with an annual profit of around $30 million a year. As of May 22 according to Luminate, Speak Now (Taylor's Version) has racked up 2.3 million equivalent album units to the original's 8.6 million U.S. units, despite the latter having a more than 12 year head start; Red (Taylor's Version) has accumulated 5.18 million equivalent album units to the original's 9.16 million U.S. units, despite the latter having been released nearly 10 years prior to the re-recording; Fearless (Taylor's Version) has accrued 3.0 million equivalent album units to the original's 11.7 million U.S. units, the latter having had a 13-year head start; and 1989 (Taylor's Version) has earned 4.87 million equivalent album units to the original's 14.6 million, with a nine year gap in release dates. Overall, Swift's catalog has racked up 116.77 million equivalent album units in the United States over the years, according to Luminate, stretching back to her self-titled debut album in 2006. She has sold 54 million albums in the U.S. and generated 70.746 billion streams. Read Taylor's full message on reclaiming her masters: I'm trying to gather my thoughts into something coherent, but right now my mind is just a slideshow. A flashback sequence of all the times I daydreamed about, wished for, and pined away for a chance to get to tell you this news. All the times I was thiiiiiiiis close, reaching out for it, only for it to fall through. I almost stopped thinking it could ever happen, after 20 years of having the carrot dangled and then yanked away. But that's all in the past now. I've been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words: All of the music I've ever made… now belongs… to me. To my fans, you know how important this has been to me — so much so that I meticulously re-recorded and released four of my albums, calling them Taylor's Version. I can't thank you enough for helping to reunite me with this art that I have dedicated my life to, but have never owned until now. All I've ever wanted was the opportunity to work hard enough to be able to one day purchase my music outright with no strings attached, no partnership, with full autonomy. The way they've handled every interaction we've had has been honest, fair, and respectful. Full transparency: I haven't even re-recorded a quarter of it. The Reputation album was so specific to that time in my life, and I kept hitting a stopping point when I tried to remake it. To be perfectly honest, it's the one album in the first 6 that I thought couldn't be improved upon by redoing it. There will be a time (if you're into the idea) for the unreleased Vault tracks from that album to hatch. Those 2 albums can still have their moments to re-emerge when the time is right, if that would be something you guys would be excited about. But if it happens, it won't be from a place of sadness and longing for what I wish I could have. I'm extremely heartened by the conversations this saga has reignited within my industry among artists and fans. Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this fight, I'm reminded of how important it was for all of this to happen. Thank you for being curious about something that used to be thought of as too industry-centric for broad discussion. Every single bit of it counted and ended us up here. Thanks to you and your goodwill, teamwork and encouragement, the best things that have ever been mine… finally actually are. Additional reporting by Elizabeth Dilts Marshall and Dan Rys. Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.

We use vendors that may also process your information to help provide our services. For heist comedy “Stealing Pulp Fiction,” cinephiles know no limits…and even plan to break in and take Quentin Tarantino's personal 35mm print of his iconic Oscar-winning film. “Stealing Pulp Fiction” stars Jon Rudnitsky and Cazzie David as Tarantino superfans who set out to lift the original print of the feature. Karan Soni, Jason Alexander, Taylor Hill, and Oliver Cooper co-star. Danny Turkiewicz makes his directorial debut with the film, which had its world premiere at the Newport Beach Film Festival in October 2024. “Stealing Pulp Fiction” was adapted from Turkiewicz's 2020 short film of the same name. Related Stories Cannes 2025 Films Sold So Far: Kino Lorber Buys ‘Amrum' from Director Fatih Akin Ariana Grande Joins ‘Meet the Parents 4' Cast with Ben Stiller and Robert De Niro The logline reads: “‘Stealing Pulp Fiction' follows a group of enterprising wannabes and their eccentric therapist as they concoct a plot to steal Quentin Tarantino's personal 35mm print of his famous 1994 film from his movie theater. “'Stealing Pulp Fiction' is an electrifying homage not just to the work of Tarantino but to the history of film in general. Danny Turkiewicz's dazzling and whip-smart vision is a must-see for film buffs and casual moviegoers alike,” Giant Pictures' content acquisitions manager Shayna Weingast said in a statement. “On behalf of the Giant Pictures team, we are thrilled to bring ‘Stealing Pulp Fiction' to movie-loving audiences around the country.” Director Turkiewicz added, “Giant Pictures has an undeniable love for the history of cinema and a passion for championing new and upcoming directors. “Stealing Pulp Fiction” is produced by Turkiewicz, Ben Shields Catlin, Becca Standt, Jordan Willcox, Josh Zakaria, Ian Novotny, Dr. Slava Shut, and Chris Barry. Tribeca Films will release “Stealing Pulp Fiction” in select theaters and on demand June 27. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

We use vendors that may also process your information to help provide our services. Joseph Kosinski wasn't looking for a “Top Gun: Maverick” reunion with Tom Cruise when casting his upcoming “F1.” In fact, the filmmaker shared that working with Cruise for the Formula 1 racing feature might even have been “scary,” due to Cruise's well-known dedication to stuntwork. But, yeah, I could see Tom maybe scaring us a little bit more.” Related Stories Ariana Grande Joins ‘Meet the Parents 4' Cast with Ben Stiller and Robert De Niro Darren Aronofsky Produces ‘Mythological' Cave Documentary ‘Underland' with Sandra Hüller Narrating — Watch the First Look “F1” action-vehicle supervisor Graham Kelly, who previously worked with Cruise on Kosinski's “Top Gun: Maverick” and a slew of “Mission: Impossible” films helmed by Christopher McQuarrie, agreed that Cruise could have pushed things a bit too hard. “We'd have had a crash,” Kelly joked about Cruise starring in “F1” instead of Pitt. He added, “I've done loads of ‘Mission: Impossibles' with Tom and it's the most stressful experience for someone like me building cars for him, doing stunts with him. Whereas Brad listens and he knows his abilities, and I think he'd be the first to say, ‘Yeah, I'm not going to do that. As Variety noted, Cruise and Pitt were both set to star in Kosinski's shelved version of “Ford v Ferrari.” Instead, Christian Bale and Matt Damon led the film, with James Mangold directing. Variety cited that Kosinski's film was never made due to budget issues because of both Cruise and Pitt wanting to do their own driving stunts in the movie. Meanwhile, Cruise has been hanging out of biplanes for “Mission: Impossible – The Final Reckoning” and will also return to the skies for a third “Top Gun” movie with Kosinski directing. Kosinski previously told Deadline that “F1” was the “next generation” of stunts from what he did on “Maverick.” “Now we have real-time control of panning and focusing them while shooting through a very extensive RF network that we've built around the tracks.” Kosinski continued, “We've got Brad and Damson actually driving the cars, which is pretty spectacular in itself, but to do that in front of a live audience and at the speeds they're doing it and figuring out a way to capture it. … The logistics of it are unlike anything I've done before. We use vendors that may also process your information to help provide our services. We use vendors that may also process your information to help provide our services.

Sony's Karate Kid: Legends grossed $2.3M from previews that began at 2 p.m. Thursday. The PG-13 movie is a vortex of old school and new school: Ralph Macchio's Daniel-san, Jackie Chan's Mr. Han and, shhhhh, the Cobra Kai gang (I mean, is it really a secret?). Forecast for the movie is $25M-$30M in a marketplace where Disney's Lilo & Stitch is overpowering with a potential $60M second frame. Mission: Impossible – The Final Reckoning also is hoping to hold with those Imax screens, around $32M or less. Critics like this Karate Kid a little less than the 2010 Chan one, 55% Rotten vs. 67% fresh. Overall, men showed up at 60% last night. Karate Kid: Legends was made for $45M net before P&A; that's $5M more than the 2010 version cost (unadjusted for inflation). A24's Danny and Michael Philippou horror movie Bring Her Back made $850K in previews at 2,409 theaters that began at 4 p.m. Thursday. That figure is just under A24's fall sleeper Heretic, which made $1.2M in previews starting at 7 p.m. before turning into a $4.3M Friday and $10.8M opening. A good definite-recommend from the fanboy crowd last night for Bring Her Back at 58%, with women over 25 giving the movie its best positive score at 83%. The Thursday crowd was male-heavy at 57% to female's 43%. Women overall enjoyed it more than the guys, 83% to 77%. On Rotten Tomatoes, Bring Her Back has been stamped with 88% certified fresh. Lilo & Stitch ends its first week with $217M at 4,410 theaters, after $9.2M yesterday, -9% from Wednesday. The pic's first week is 15% behind that the $255M for Inside Out 2, which ended its run at $652.9M, and it's 9% behind Moana 2‘s first seven days of $239.3M (final $460.4M). No, we're not saying the movie is doing badly, we're just trying to give you an idea of where Lilo & Stitch lives. While no one is forecasting this for Lilo & Stitch, sometimes these fan-fave Disney movies can go into overdrive, i.e. Inside Out 2 owns the best second weekend ever for a PG movie of $101.2M. Mission: Impossible – The Final Reckoning ends its first week with an estimated $95.3M at 3,857, which is 7% ahead of the first week of 2018's Mission: Impossible – Fallout ($220.1M final domestic) and 4.7% ahead of the first seven days of 2022's Dead Reckoning (final domestic B.O. Get our Breaking News Alerts and Keep your inbox happy. We use vendors that may also process your information to help provide our services. Get our latest storiesin the feed of your favorite networks Send us a tip using our annonymous form. Sign up for our breaking news alerts We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. Deadline is a part of Penske Media Corporation. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

Sen. Joni Ernst is encouraging her constituents to think big-picture about the Medicaid cuts in the “big, beautiful” bill President Donald Trump and House Republicans passed last week. Ernst began to respond but then stopped herself, exasperated. “Well, we all are going to die,” she said, smirking as the audience jeered. “It's corrections of overpayments and of people who have not been eligible for these programs, by law as it is currently written,” Ernst said before her constituent pointed out that people will die. Rep. Brendan Boyle (D-Pa.) pointed out while arguing against the bill last week that of the millions of Americans projected to lose coverage because of the “big, beautiful” bill, exactly zero are undocumented, as undocumented immigrants are ineligible for Medicaid. The tax bill does, however, cut federal Medicaid funding to states that use their own funds to provide care for undocumented immigrants. Taylor Swift Finally Owns All of Her Old Music ‘Everything Could Have Been a Huge Disaster': Nathan Fielder on Making ‘The Rehearsal' Season 2 Shakira Concert at Boston's Fenway Park Canceled Just Hours Before Showtime Ernst continued to claim that Republicans are looking out for the less fortunate, though. “Those that meet the eligibility requirements for Medicaid, we will protect. Medicaid is extremely important here in the state of Iowa.” Rolling Stone is a part of Penske Media Corporation.

Subscribe for full access to The Hollywood Reporter Subscribe for full access to The Hollywood Reporter Patrick Wachsberger's 193 unveils deals for Lynne Ramsay's 'Die My Love,' Colman Domingo's directorial debut 'Scandalous!,' 'The Surgeon,' and the reimagination of 'The Toxic Avenger.' By Georg Szalai Global Business Editor Movies starring the likes of Sydney Sweeney, Jennifer Lawrence and Robert Pattinson, Michelle Yeoh as well as Peter Dinklage have sold wide during the recently closed Cannes Film Festival market. 193, the film production and global sales entity led by industry veteran Patrick Wachsberger which is a joint venture with Legendary Entertainment, said on Thursday that it sold four marquee films to various territories. The movies are the Lynne Ramsay-directed Cannes competition title and psychological thriller Die My Love, starring Lawrence and Pattinson, upcoming historical drama Scandalous!, Colman Domingo's directorial debut, starring Sweeney and David Jonsson, action film The Surgeon with Yeoh, written and directed by Roshan Sethi, as well as dark comedy The Toxic Avenger, a reimagining of the 1984 Troma Entertainment cult classic of the same name with an all-star cast including Dinklage, Kevin Bacon, Elijah Wood, Taylour Paige, and Jacob Tremblay. Toxic Avenger is directed by Macon Blair from a screenplay he wrote based on Lloyd Kaufman's original script. Related Stories TV Russell Brand Pleads Not Guilty to Rape, Indecent and Sexual Assault Charges in London TV Sky Doc on Flight 149 British Airways Passengers, Crew Held Hostage by Saddam Hussein Gets Trailer Previously unveiled during Cannes was a huge deal by arthouse distributor and streamer Mubi for Die My Love covering North America, Latin America, and the U.K. “We are immensely proud to see our slate resonate so strongly at Cannes,” said 193 CEO Wachsberger. “Securing global sales on four high-profile films, one of which having already had a successful premiere, affirms the strength of our storytelling and the trust our global partners have placed in us. This is a fantastic start for our company and a signal of the compelling projects we will continue to deliver.” Below is a list of the buyers of the four movies across various territories. Die My LoveBaltics – GPICIS – Provzglyad – VestaHong Kong – Golden SceneIndonesia – Falcon FilmsIsrael – Forum FilmJapan – The KlockworxMiddle East – Italia FilmsMongolia – FilmBridgePhilippines – Pioneer FilmsPoland – Vision FilmPortugal – NOS AudiovisuaisScandinavia – NonStop EntertainmentSerbia, Croatia, Montenegro – KCS Scandalous!Australia/New Zealand – Village RoadshowBaltics – GPIBenelux – Belga FilmsEastern Europe – Monolith FilmsGreece – The Film GroupIsrael – Forum FilmItaly – Rai CinemaLatin America – Sun Distribution GroupMongolia – FilmBridgePhilippines – Pioneer FilmsPortugal – Pris AudiovisuaisScandinavia – Nordisk FilmSouth Africa – Empire EntertainmentSpain – DeAPlaneta EntertainmentTurkey – Fabula FilmsUnited Kingdom – Entertainment Film Distributors The SurgeonAustralia/New Zealand – Umbrella EntertainmentBaltics – ACME FilmBenelux – 18KCIS – Unicorn MediaEastern Europe – Unicorn MediaGreece – The Film GroupIsrael – United King FilmsPhilippines – Pioneer FilmsPortugal – NOS AudiovisuaisSouth Africa – Empire EntertainmentSpain – DeAPlaneta EntertainmentTurkey – Fabula Films The Toxic AvengerAustralia/New Zealand – Umbrella EntertainmentCIS – Golem FilmsGermany/Austria – Wild Bunch AGGreece – The Film GroupIsrael – Golem FilmsItaly – Eagle PicturesJapan – Nikkatsu CorporationMiddle East – The Plot PicturesPhilippines – Pioneer FilmsPoland – Vision FilmScandinavia – NonStop Entertainment South Africa – Empire Entertainment Spain – Vertigo FilmsUnited Kingdom – Signature Entertainment Sign up for THR news straight to your inbox every day Sign up for THR news straight to your inbox every day Subscribe for full access to The Hollywood Reporter Send us a tip using our anonymous form.

She struts across a film studio backlot to one of the stages, where she dances alongside a group of back-up dancers in true showgirl style. The song sees Cyrus reflecting on a difficult relationship: “You got the love I always needed/ Tie me to horses and I still wouldn't leave ya/ But you're not an easy lover.” Something Beautiful, Cyrus' ninth album, arrives ahead of the premiere of its accompanying short film, which is set to debut on June 6 at the Tribeca Film Festival before it hits theaters nationwide on June 12. A one-of-a-kind pop opera from the mind of Miley Cyrus.” ‘Everything Could Have Been a Huge Disaster': Nathan Fielder on Making ‘The Rehearsal' Season 2 Senator Dismisses Medicaid Cuts Killing People: ‘Well, We're All Going to Die' The album includes collaborations with Naomi Campbell and Brittany Howard. The songs explore healing, transformation, and finding beauty in darkness, according to a press release. During a fan event at the Chateau Marmont earlier this week, Cyrus debuted songs from the LP, while also teasing its follow-up record. “My next album is about to be extremely experimental, so have fun with that,” she said.

Grills, guitars, Auto-Tune, CS:GO gameplay footage, Wisp, flashing lights, shooting guns, skeletons, scuzzy CCTV shots. In the overstimulating music video for “I Heard You,” nu-gaze and SoundCloud rap congeal into an onslaught of digital debris, like an A24 take on corecore. The mastermind is Max Epstein, a Los Angeles workaholic whose rap sheet—live guitar for Jane Remover and quannnic, production for post-emo prodigies like daine and Blair—often outshines his own feverish output. Busy as Epstein is, I look at her scans as a document of his downtime: hours spent fiddling with old demos, jamming on tour buses, dreaming on studio floors. He pays the bills by nudging peers towards their voices, but his back-catalog betrays a years-long struggle to find his own. His earliest releases as Photographic Memory, which date back to 2014, brim with hazy slowcore, like a (very) low-budget take on Duster. It's bad practice to judge an album by its cover, but his aesthetic identity has long suggested the subtlety of a peripheral figure. Intentional or not, the allusion is telling of its contents: a young guitarist shrouded in the shadows of his peers and influences. But I look at her is not the triumphant, swaggering comeback album in which the reclusive unsung hero finally roars. And this isn't at all bad. Epstein has managed to distill his defining qualities—production prowess, spotlight aversion, frenetic collaboration—into a vivid snapshot of digital music in 2025, when producer tags, power chords, live instruments and Ableton plugins coexist in chaotic harmony. Fittingly, the most brilliant moment on this project is not a solo track, but “Heartsyle,” a glistening single in which Wisp flits over an Epstein-produced plugg beat. It is disarmingly odd; like much of I look at her, it basks in the strange collisions forged by an amorphous, oversaturated era. I laughed the first time I heard “Recently,” in which Gucci Mane raps “Woppenheimer” over what sounds like a scrapped Tired of Tomorrow demo. Beautiful, too, is Epstein's voice, which sounds stronger here than it ever has. While his vocal timbre—something like a lonely, androgynous android—has remained relatively consistent over the past few years, the textures on I look at her grant it more room to command. Digi-rock epic “Clearly” is a loud-quiet-loud stomper, all twinkling synth stabs, soft acoustic pluckage, and the occasional pulsating kick. At certain points, it risks scanning as a Snow Strippers remix of “Fireflies.” But what rescues the song from its potential pitfalls—overstimulation and ennui—is the push-and-pull between Epstein's voice and production, a complex soundscape braved by a careful, somewhat childlike protagonist. Regardless of your definition of “nu-gaze” (“new shoegaze” or “shoegaze à la nu-metal”), there's something on this record for members of all sects: compare the glitchy pathos of “Emo Tour Track” to the growling thrash of “Love in My Heart.” Epstein the singer is undergirded by Epstein the producer, who is undergirded by Epstein the curator. When these multiple selves converge here, their handiwork is the strongest proof yet of his singular vision. Pitchfork may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.

Clarkson stayed true to the 1983 original for her two-minute cover on Thursday's (May 29) episode, getting a boost from backup singer (and the daytime talk show's vocal director) Jessi Collins on the essential “turn around” interjections. “Total Eclipse of the Heart” — written by late composer, lyricist and record producer Jim Steinman — was a four-week No. As Billboard‘s Jason Lipshutz wrote for the list, “If your karaoke night ends with ‘Total Eclipse of the Heart,' it's been a good night.” Tyler's enduring hit returned to national prominence back in August 2017 following a total solar eclipse that passed across the United States, breaking onto Billboard‘s Digital Song Sales chart for the first time with 31,000 digital downloads sold — up 546 percent from the previous week. To capitalize on the song's surge in popularity, Tyler performed “Eclipse” on a Royal Caribbean cruise ship on Aug. 21, 2017, in the Caribbean Sea, with the Joe Jonas-fronted DNCE as her backing band. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. A daily briefing on what matters in the music industry Send us a tip using our anonymous form. Billboard is a part of Penske Media Corporation.