Patrick Mahomes knows Travis Kelce's football career can come to an end at any time. “Every season I've had with him these last few years, I try to cherish because you never know,” Mahomes, 30, said. “We just have to execute at a higher level in those big moments,” he said. “It's something we haven't done this year.” By clicking above you agree to the Terms of Use and Privacy Policy. Kelce looked visibly upset on the sidelines after he dropped a pass from Mahomes in the fourth quarter, which led to a Houston interception late in the game. Kelce's fiancée, Taylor Swift, attended the game on Sunday alongside Selena Gomez and Lena Dunham. Leonardo DiCaprio was also spotted in Kelce's suite at Arrowhead Stadium in Kansas City, Mo., though the Oscar-winning actor wasn't seated by Swift and her pals. Last month, Kelce shared that he was focused on winning, rather than retirement. “All of that will be at the end of the season and I won't be thinking about it until then,” he told reporters. Multiple sources told Page Six that the pop superstar wants to marry the NFL athlete at Ocean House in Rhode Island on Saturday, June 13, 2026 — so much so that she paid off a couple who already booked the venue for that day to secure the wedding date.

The Netflix co-CEOs were interviewed hours after a hostile offer for Warner Bros. from Paramount. "We didn't buy this company to destroy that value," Sarandos adds. Ted Sarandos and Greg Peters aren't worried about Paramount‘s hostile bid for Warner Bros. “We have a deal done, and we are really happy with the deal for shareholders, for consumers, it's a great way to create and protect jobs in the entertainment industry. The Gloves Are Off: Wall Street Games Out Paramount's Hostile Warner Bros. Bid Ryan Coogler on Huge 'Sinners' Golden Globes Noms and WB-Netflix Sale News: "Theatrical Releases Mean Everything to Me" In the conversation with UBS analyst John Hudlick, Sarandos and Peters emphasized that they do not intend to shut down parts of the company, and will operate the studios and HBO as they are currently. In fact, Sarandos reaffirmed that Netflix will be committed to theatrical releases. “In this transaction, we pick up three businesses basically that we're not currently in, meaning we have no redundancies currently, but one of them is a motion picture studio with a theatrical distribution machine,” Sarandos said. “There's been a lot of speculation what we would do with this. I think it's important to note that all we are going to do with this is staying deeply committed to releasing those movies exactly the way they've released the movies today, all three of these new businesses we want to keep operating largely as they are, the theatrical business we have not talked a lot about in the past, about wanting to do it, because we've never been in that business. “We didn't buy this company to destroy that value,” he continued. As for HBO, “this is a prestige television brand that people really love, and I would say that they have been doing gymnastics to make themselves into a general entertainment brand,” Sarandos said. We're already a very well established general entertainment brand. We want HBO to double down on the things that people have loved for 50 years.” The pair said that unlike Paramount, they are not planning to consolidate studios, and pointed out the billions in efficiencies that Paramount is pursuing. And they made the argument that Netflix does not dominate the streaming business at all, bringing along a graphic that was displayed on screens beside the stage, with Nielsen Gauge data that showed Netflix behind YouTube an Disney in terms of total TV time spent. If Paramount acquired Warner Bros., they would also be above Netflix, the executives argued, Their interview came just hours after Paramount, led by David Ellison, launched a hostile tender offer for Warner Bros., seeking to peel off the company from Netflix's grasp. Netflix has been strategic in its pursuit of Warner Bros., including a secret meeting between Sarandos and President Trump last month, which the deal came up. Trump subsequently called Sarandos “fantastic” but nonetheless said the deal could be “problematic.” Trump's son-in-law Jared Kushner is among the backers of Paramount's bid for Warners. Sign up for THR news straight to your inbox every day

While in the middle of rehearsals for the upcoming production of Kip Williams' Dracula on London's West End, where Erivo plays all 23 roles, she was informed about her historic nomination. Alongside her co-star Ariana Grande, Erivo has made history as the first two actors from the same film to be consecutively nominated for their roles as Elphaba and Glinda. However, in addition to that, Erivo also makes Golden Globes history as the first Black woman to be nominated twice in the Best Performance by a Female Actor in a Motion Picture – Musical or Comedy category. “It's amazing, but also let's make sure that it doesn't stay that way,” the actor said to Deadline on nominations morning. “Let's make sure that more Black women are nominated in this category. At the nomination's ceremony, Wicked: For Good did ride the broom to success with five total nominations, including Best Original Song in a Motion Picture for Stephen Schwartz's “No Place Like Home” and “The Girl in the Bubble” and Best Cinematic and Box Office Achievement. Below, Erivo speaks to Deadline about her performance in Wicked: For Good, “No Place Like Home” and making history at the Golden Globes. CYNTHIA ERIVO: I just take things day by day, and I try not to take any of it for granted. I'm acutely aware that this has done something we were all wholly unprepared for. We knew it would be special on the set, but we couldn't have imagined the response of what came after. DEADLINE: According to the Hollywood Foreign Press, you're the first Black woman to be nominated for lead actress twice. What does that responsibility mean to you? Let's make sure that more Black women are nominated in this category. I hope there are more of me. DEADLINE: “No Place Like Home” also got a nomination. Talk a bit about the importance of that song for Elphaba's character journey. And then we did some work on it, and I really wanted to make sure that we made the connection between how she was feeling and how everyone else could feel too. So, there was a through line of understanding that Elphaba understood what it felt like to feel like she didn't belong in a place, which is what we've been telling people this entire time. And so, I felt like it was important for that to still be in this song. And I think what has amazed me is how many people are seeing the connection between where we are now and who we are now and this particular song and how it makes people feel and how people feel in the world and how the home is still home even when it doesn't treat you the way it should. I think there's something very special about the song. DEADLINE: Elphaba gets to show a deeper pain and frustration this time around in Wicked: For Good. What is a scene that still resonates or haunts you—in a good way—that highlights the best of that performance? ERIVO: “For Good” is one of those scenes, but I think it might be “No Good Deed” really. The response to that has shocked even me a little bit. So, there was a part of me that was like, “Am I really going to be able to pull this off? There's memory flashbacks, stunt work, and a massive emotional arc within the song, and to top it off, I'm singing in wires. “No Good Deed” feels like a culmination of everything I have learned across the two movies in one space. I knew that singing “For Good” would work because, even when we weren't ready for it, we were. However, I didn't know how “No Good Deed” would be because there was no feedback; all I had was Jon [M. Chu], but no one was performing with me to gauge the temperature. Also, performing intimately with Ariana [Grande] and Jonny [Bailey] is something that will stick with me, and it was beautiful to be part of. DEADLINE: I simply have to mention that people online are absolutely raving over your composition of that song, but more specifically, on the way you riff, “Maybe that's the reason why.” I feel like I remember working with Stephen Schwartz, and I was just like, “I think I have an idea for something in this line.” Because I didn't want to break up the emotional tension of that moment, I wanted it to feel like a fall into a yell, and the only way to do that was to slide up the scale and into the next note and as you mentioned, it pulls and lengthens until you land on the note. DEADLINE: Metaphorically and probably spiritually, you put people in the hospital with that note. Listen, it was a lot of breathwork. I put myself through it that day. [This interview has been edited for length and clarity] 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.

Netflix Co-CEO Ted Sarandos said Paramount‘s hostile bid for Warner Bros. “Today's move was entirely expected,” Sarandos said at a conference in New York hosted by Wall Street bank UBS. We think it's a great way to create and protect jobs in the entertainment industry. Paramount Unveils Jared Kushner, Middle East Sovereign Funds As Backers Of Now Hostile WBD Bid: China's Tencent Out Debora Cahn Says She'll Celebrate 'The Diplomat's Third Consecutive Golden Globe Best Drama Nod "By Making More Of It" “What are your thoughts?” Hodulik asked, and the room broke out in laughter as the buzzed-about topic surfaced. Netflix last Friday announced a $82.7 billion deal (including debt) to acquire the studios and streaming division of Warner Bros. Paramount then came back Monday morning with a hostile offer of $30 per share for the entire company, higher than the Netflix proposal's $27.75 a share. In a conference call with analysts Monday to discuss the bid, as well as during a somewhat contentious interview on CNBC, Paramount CEO David Ellison strove to depict his bid as pro-consumer and pro-competition. Letting Netflix and Warner Bros. merge, he argued, would be a negative outcome for streaming subscribers and the industry alike. He also argued that “cash is king,” with Paramount's new bid (its sixth in the past 12 weeks) entirely cash, and said it provides more certainty to WBD shareholders in terms of the financials as well as on the regulatory front. Get our Breaking News Alerts and Keep your inbox happy. Netflix is the next owner of Warner Brothers. The bid from Paramount is not higher. You have to factor in that the cable channels will be sold for $3-5 a share, not the $1 that Ellison is claiming in his tantrums. 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.

We use vendors that may also process your information to help provide our services. the recently announced Critics Choice Awards get it right more often than not. About 50 of those HFPA cohorts remain, forming an easy-to-lobby L.A. bloc. Related Stories Director Kevin Lewis Almost Died from COVID — but That Wasn't the Only Battle This Filmmaker Had to Fight Letterboxd Offers New Details on VOD Platform Video Store and Reveals First Slate of Films Again, it's about getting the Oscar voters to watch these titles, such as Sundance flick “If I Had Legs I Could Kick You,” which landed Rose Byrne a nomination in the Comedy category. The snubs are significant, because there are so many categories that not making into one of them is a striking omission. For example, while awards pundits already knew that Sydney Sweeney wasn't happening for box office flop “Christy,” and Kathryn Bigelow's respectably reviewed “A House of Dynamite” was not an awards play for Netflix, “Wicked: for Good,” a Globes favorite last year, not landing a Musical/Comedy slot is a glaring sign of weakness. The sequel had to settle for acting nods for Cynthia Erivo and Ariana Grande, the Box Office performance category, and two Song nominations. It should still factor at SAG's renamed The Actor Awards, but do not look for Best Picture Oscar love. While George Clooney landed a Comedy slot for Netflix's “Jay Kelly,” the movie surprisingly did not wind up on the Best Musical/Comedy list. “The Secret Agent” is less surefire, but it is building momentum with its recent release and scored $30,000 at the AMC in Century City its opening weekend. Three international Best Picture nominations would set a new record. Neon lead the Globes field with 21 nominations and could score all five Best International Feature Film Oscar slots with its Cannes prize-winners: “Sentimental Value,” which earned eight Globe nominations, “It was Just an Accident,” “The Secret Agent,” and “Sirāt.” The fifth could be Venice entry “No Other Choice.” The surprise is how many nominations these films picked up in other categories — even “Sirāt.” Also in Comedy are likely Oscar BP contenders “Bugonia” and “Marty Supreme.” That would leave out “Blue Moon,” which could land a Best Actor Oscar slot for popular veteran Ethan Hawke; Korean Oscar submission “No Other Choice,” which could wind up an international nomination; and Cannes hit “Nouvelle Vague.” Congrats to auteur Richard Linklater for scoring two Globes nominations in one day. As for the six Animated nominees, the likely five Oscar nominees are all listed but one won't make it. That's probably “Demon Slayer: Kimetsu no Yaiba Infinity Castle” (Aniplex, Crunchyroll, Sony Pictures Entertainment). At first glance, the Female Actor in a Motion Picture Drama category is a strange list: only Jessie Buckley (“Hamnet”) and Renate Reinsve (“Sentimental Value”) are likely to make it to the Oscars. Their likely competitors are in Comedy this year: Rose Byrne (“If I Had Legs I'd Kick You”), Chase Infiniti (“One Battle After Another”), and Emma Stone (“Bugonia”). Among the Drama actors, Joel Edgerton (“Train Dreams”), Michael B. Jordan (“Sinners”), and Wagner Moura (“The Secret Agent”) should land Oscar nominations, along with Comedy contenders Timothée Chalamet (“Marty Supreme”), Leonardo DiCaprio (“One Battle After Another”), andEthan Hawke (“Blue Moon”). Given that Comedy Globe nominee George Clooney (“Jay Kelly”) did not land a CCA nomination, it's unlikely that he will prevail at the Oscars. On the Supporting Actress side, both Elle Fanning (“Sentimental Value”) and Inga Ibsdotter Lilleaas (“Sentimental Value”) landed slots, along with Amy Madigan (“Weapons”), Teyana Taylor (“One Battle After Another”), and Ariana Grande (“Wicked: For Good”). Among the Male Supporting Actors, Benicio Del Toro (“One Battle After Another”), Adam Sandler (“Jay Kelly”), and Stellan Skarsgård (“Sentimental Value”) are solid Oscar contenders, while Jacob Elordi (“Frankenstein”), Paul Mescal (“Hamnet”), and Sean Penn (“One Battle After Another”) will be duking it out for the remaining two slots. The Best Director Oscar five should include Globe nominees Paul Thomas Anderson (“One Battle After Another”), Ryan Coogler (“Sinners”), Joachim Trier (“Sentimental Value”), and Chloé Zhao (“Hamnet”) with Guillermo del Toro (“Frankenstein”) and Jafar Panahi (“It Was Just an Accident”) duking it out for the fifth slot. A wider mass of voters adore “Frankenstein” than “It Was Just an Accident,” but Iranian filmmaker Panahi has a narrative — he has been sentenced to prison again, in absentia — that cannot be denied.Given that the Globes squeeze Adapted and Original Screenplays into one category, all six should land nominations: Paul Thomas Anderson (“One Battle After Another”), Ronald Bronstein & Josh Safdie (“Marty Supreme”), Ryan Coogler (“Sinners”), Jafar Panahi (“It Was Just an Accident”), Eskil Vogt & Joachim Trier (“Sentimental Value”), and Chloé Zhao & Maggie O'Farrell (“Hamnet”). The rest of the more predictable contenders will be competing for five slots: Alexandre Desplat (“Frankenstein”), Ludwig Göransson (“Sinners”), Jonny Greenwood (“One Battle After Another”), Max Richter (“Hamnet”), and Hans Zimmer (“F1”). Best Original Song Oscar contenders will include Globe nominees “Dream as One” – “Avatar: Fire and Ash,” “Golden” – “KPOP Demon Hunters,” “I Lied to You” – “Sinners,” “No Place Like Home” – “Wicked: For Good,” “The Girl in the Bubble” – “Wicked: For Good,” and “Train Dreams” – “Train Dreams.” One will miss out. There will always be surprises on the road to Oscar. We use vendors that may also process your information to help provide our services.

The original Silent Night, Deadly Night has a two-fold cultural legacy: A killer poster that looked great on a video store shelf and the “garbage day” meme, which originated in the first of four sequels. In 1984, the film elicited outrage from the likes of Mickey Rooney, who would ironically star in Silent Night, Deadly Night 5: The Toy Maker, but was more of an exploitation also-ran to that summer's big Christmastime horror-comedy: Gremlins. With this second remake (following 2012's Silent Night), Silent Night, Deadly Night writer-director Mike P. Nelson has a low bar for his sleigh to clear, and he came up with a fun-in-theory premise to deliver: A Hallmark movie about a serial killer Santa, adding grisly killings to the rote clichés of laid-back, low-budget holiday rom-coms. Like the original, Silent Night, Deadly Night opens with eight-year-old Billy Chapman watching Santa Claus gun down his parents in cold blood. Cut to 20 years later and Billy (now played by Halloween Ends‘ Rohan Campbell) is an aimless drifter, murdering in motel rooms at the behest of the malevolent baritone voice in his head (Mark Acheson, best known as Elf‘s Mailroom Guy) telling him to “Kill the naughty or else the nice will die.” Still haunted by that fateful Christmas, Billy carries out the voice's murderous whims while dressed as a Temu Santa. Fleeing his most recent crime scene, Billy hops a bus to the underpopulated small town of Hackett, Wisconsin, where he meets Pam (Ruby Modine), the clerk at her father's (David Lawrence Brown) quaint Christmas shop. Is this one where he finds the spirit of Christmas in a small town's warmth and a high school sweetheart, or one where he's dating Santa Claus' daughter? The movie isn't sure, so it does what any self-respecting slasher would do: It adds unnecessary side plots and superfluous business from different versions of the script to gum up the works. An ancient advent calendar where Billy counts down the days in the blood of his victims, a body-swap plot pulled from Child's Play, and another local killer known as “The Snatcher” all provide frequent diversions that lead to an overcooked turkey. When the movie can't find sufficient evidence of his victims' wrongdoing, Nelson retcons what he can. The town Scrooge is actually a white nationalist! As Billy, Rohan once again takes on the role of proxy killer, trading Halloween Ends‘ absentee Michael Myers for a low-rent Eddie Brock. Rohan makes for a good drifter and, if you squint hard enough, some semblance of humanity can be spotted in his brief, quasi-charming flirtations with Modine. With plenty of splatter but minimal gore, Nelson often cuts away just as Billy's axe makes contact, as if he were conspicuously aiming his unrated film at the confines of an R. So why bother, beyond boasting “unrated” as a marketing stunt? In that third act, Nelson's merciful editor, Geoff Klein, reveals how much of the film he has excised, condensing what was likely a prologue down into a last-minute, cut-to-ribbons flashback. But the movie is noncommittal toward all of them, as if Nelson were playing whack-a-mole with studio notes. There's tension, tinsel, and simplicity to that story that Silent Night, Deadly Night‘s overworked script would wrap in lights and baubles, as if over-decorating a dead tree. Silent Night, Deadly Night misses its holiday mark and lands in the no-man's land between Christmas and New Year's: There's not much going on as unrealistic anticipation leads to disappointment around how you spent your night. Director: Mike P. Nelson Writer: Mike P. Nelson Starring: Rohan Campbell, Ruby Modine, David Lawrence Brown, David Tomlinson, Mark Acheson Release Date: December 12, 2025 Recommended for You1Medieval Europe was fascinated by this Christian king in Central Asia2Rob Mac and Noah Hawley are loading up a Far Cry TV show3What's on TV this week—Stranger Things' final season, Blossoms Shanghai4Keep Thanksgiving on track this year with these family-perfect multiplayer games5Carol asks the tough questions in a hilarious and heartbreaking Pluribus6Final fight(s): The 25 best beat-'em-up games7Spoiler Space: Was Wicked changed for good?8R.I.P. Jimmy Cliff: Reggae pioneer dead at 819Great Job, Internet! : Pluribus' "Carol Sturka" did a very wink-y Reddit AMA10Everything comes together in The Chair Company's sublime climax11December 2025 TV preview: Fallout, Stranger Things' finale, and Taylor Swift12Screw it, Scarlett Johansson will star in the latest "radical new take" on The Exorcist13Reluctant revolutionary Katniss Everdeen ignited a generation14A Man On The Inside returns looking a bit more like Only Murders In The Building15Great Job, Internet! : Jmail has made reading the Epstein emails easier than ever

Shirley Manson has not shifted in her stance on beach balls, even after she went viral for cursing at an audience member for relentlessly volleying them toward the stage during Garbage's recent appearance at Good Things Festival in Melbourne. She hasn't changed her stance on the humanitarian crisis in Palestine, either, and she's using the viral spotlight to draw attention to that instead. “The only thing that kind of shocks me a little is there's been more fuss made about me offending beach balls than there has about 20,000 Palestinian kids who are now fucking under the dirt,” Manson said during a headlining performance in Brisbane. “So whilst the Brits are busy cooking up some kind of crazy, like, antichrist rhetoric, I would just like to remind you all what's actually important in this life.” “Maybe a beach ball brings you joy, and for that I apologize,” Manson continued. In her initial response to the controversy, she doubled down. “If I upset you about your blessed beach balls, I humbly apologize,” Manson continued onstage to a sea of even more beach balls. Kiss, Sylvester Stallone Receive Oval Office Medals Ahead of Kennedy Center Honors Ceremony The Mavericks Kick Off Emotional Two-Night Tribute to Raul Malo in Nashville ‘One Battle After Another,' ‘White Lotus,' ‘Severance' Dominate 2026 Golden Globe Nominations The Israeli–Palestinian conflict cannot be resolved through illegal occupation, de jure or de facto annexation, forced displacement, recurrent terror or permanent war,” she said. Baerbock also noted that at least 67 children have been killed since the ceasefire began in October. Of those deaths, 352 were counted after the ceasefire was enacted.

We use vendors that may also process your information to help provide our services. On December 10, the site will launch Video Store, a new VOD platform that allows users to rent a curated selection of movies curated by the Letterboxd team. With Video Store debuting on Wednesday, Letterboxd has answered some of our questions about the previously announced platform. Video Store will use a transactional video-on-demand (TVOD) model, in which users pay to watch individual movies without any subscription fee. The product will launch in 23 countries, and the app will be available on iOS, Android, web browsers, and a variety of smart TVs. The first nine films will be arranged into two “shelves”: Unreleased Gems, consisting of recent festival favorites that previously did not have distribution; and Lost & Found, which is comprised of previously lost or newly restored classics. Notable titles include Todd Haynes' 1991 debut feature “Poison,” Kiyoshi Kurosawa's “Before We Vanish,” and 2025 SXSW premiere “It Ends.” “We take their lead, and believe that has been integral to Letterboxdʼs success. They tell us what's really happening — a 1980s action film suddenly trending, a festival title from two years ago still being added to watchlists.” He continued, “Video Store lets us act on that real demand, whether itʼs helping a distributor unlock value from a forgotten gem in its vault or giving a filmmaker direct access to the audience theyʼve been building on our platform. Keep reading for the full slate of titles launching on Video Store, with language provided by Letterboxd. “It Ends” (2025) – Director Alexander Ullom's directorial debut about recent grads trapped on an infinite, nightmarish backroad made waves when it premiered at SXSW 2025, going on to win Best First Feature at Fantasia International Film Festival and the Narrative Feature Grand Jury Award at the Atlanta Film Festival. “Sore: A Wife from the Future” (2025) – Director Yandy Laurens' inventive time-loop sci-fi romance about a woman who travels back in time to change her husband's destiny received eight nominations at the 2025 Indonesian Film Festival, including Best Picture, and has been selected as Indonesia's submission for the Best International Feature Film for the upcoming Academy Awards. “Kennedy” (2023) – Anurag Kashyap's neo-noir thriller following a presumed-dead insomniac ex-cop seeking redemption in Mumbai's dark streets premiered at the Cannes Film Festival in 2023, going on to screen at over twenty international festivals. “Tiger on the Beat” (1988) – This legendary 1988 action-comedy starring Chow Yun-Fat and directed by Lau Kar-Leung remains a beloved classic of Hong Kong cinema. “Kisapmata” (1981) – Considered one of the greatest Filipino films of all time, Mike de Leon's masterpiece about a young woman living under her domineering father's suffocating control won ten awards at the 1981 Metro Manila Film Festival including Best Film and screened at Cannes. The first feature from future Oscar nominee Todd Haynes established him as a fearless voice in independent cinema. We use vendors that may also process your information to help provide our services.

David Ellison calls Netflix's $82.7 billion deal value an "inferior proposal" and tells Warners shareholders that his coalition (which includes Middle Eastern sovereign wealth funds) promises $18 billion more in cash. David Ellison says his Paramount is going on the offensive, launching a $108.4 billion hostile offer “backed by my family” along with RedBird Capital and multiple wealth funds to take over all of Warner Bros. He described Netflix's $82.7 billion deal as an “inferior proposal” and said that Warners' decision to split the company is an unsound move. In the deal agreed to with Netflix co-chiefs Ted Sarandos and Greg Peters, Warner Bros., HBO and HBO Max will go to the streaming giant while WBD's embattled cable networks division (TNT, CNN, HGTV, the Food Network and Discovery) will be spun out as a separately traded company. Trump Hosts Kennedy Center Honors, Recognizing Sylvester Stallone, Kiss and Others: "Billions and Billions of People Have Watched Them Over the Years" Discovery's board of directors replied that it “will carefully review and consider Paramount Skydance's offer” and will advise shareholders within ten days of any decisions. Paramount's team expressed frustration multiple times in an investor call on Monday, saying that they felt they had been frozen out of the conversation with Zaslav's Warner Bros. crew as the deal talks went in to its final days in early December. The Paramount tender offer is for $30 per share, all in cash, a contrast to Netflix's offer, which is a $27.75 mix of cash and some stock, with shareholders also getting a stake in the linear TV spinout. Netflix is also only buying WBD's streaming and studios business, while Paramount is pursuing the whole company, making for a complicated comparison, depending on how you value the linear TV business. (China-based entertainment giant Tencent was also a part of an earlier Paramount offer for Warners, but the company made changes in response to concerns from the WBD board, including removing Tencent from the consortium, and with Affinity and the sovereign wealth funds agreeing “to forgo any governance rights – including board representation – associated with their non-voting equity investments.”) The result will likely be a public, extended campaign from Paramount, Warner Bros. and Netflix to make their case. “WBD shareholders deserve an opportunity to consider our superior all-cash offer for their shares in the entire company,” Ellison said. We believe the WBD Board of Directors is pursuing an inferior proposal which exposes shareholders to a mix of cash and stock, an uncertain future trading value of the Global Networks linear cable business and a challenging regulatory approval process.” To that end, Paramount launched a website called “StrongerHollywood,” which outlines the company's offer and throws shade on Netflix's deal, with Ellison arguing that a takeover by his company will be better for the industry. The Ellison team also sees $6 billion in cost-saving synergies between a combined Warner Bros. The Oracle heir, who's produced Mission: Impossible entries and blockbuster Top Gun: Maverick, is only months removed from closing an $8 billion deal in August to merge his Skydance Media with the owner of Paramount Pictures, CBS, MTV and Paramount+. “We believe our offer will create a stronger Hollywood,” Ellison wrote. We believe they will benefit from the enhanced competition, higher content spend and theatrical release output, and a greater number of movies in theaters as a result of our proposed transaction.” Up next may be a war of words to convince shareholders, Wall Street, Hollywood stakeholders and government regulators who may be the best suitor for Warner Bros. Upon inking a deal on Dec. 5, Warners chief David Zaslav, in line to receive hundreds of millions of dollars if the deal closes, called the choice based on “the realities of an industry undergoing generational change – in how stories are financed, produced, distributed, and discovered.” “This deal is pro-consumer, pro-innovation, pro-worker, it's pro-creator, it's pro-growth,” said Sarandos, with counterpart Peters adding that there'll be “more jobs created across the entire entertainment industry.” Netflix, in an effort it code named “Project Noble,” secured $59 billion in financing from a consortium of banks to assemble the deal.Those may be the revealing quotes as Netflix girds for what may be emerging opposition research-style lines — Paramount already has a dossier with a long list of them — that it's taking out a major studio buyer, possibly decimating the theatrical window over time and becoming a subscription streaming monopoly with massive market share. Similarly, Netflix's co-chief Peters heaped praise on the HBO brand but didn't say outright that HBO Max will continue on as a stand-alone service. Hollywood labor, too, has come out against the Netflix deal, although that's not to say that the guilds would be for a Paramount offer either. Theater owners group Cinema United called it “an unprecedented threat” and its European equivalent UNIC says it “fails in every regard.” But SAG-AFTRA, which also has a Netflix deal to air the Actor Awards, appeared to withhold judgment, saying the buy “must result in more creation and more production, not less.” And the Christopher Nolan-led Directors Guild just said the deal raises “significant concerns.” Sign up for THR news straight to your inbox every day

After nearly three decades making television shows whose fantastical charm and lush design won him a devoted following, Bryan Fuller has written and directed his first feature film. Their world of monsters real, imagined, and in-between is both ornate and mysterious; a bit like John Wick for the Roald Dahl crowd. Yes, Dust Bunny, despite its R rating, is a film for the brave kids; referencing gory PG-13 studio releases like M3GAN, Fuller told The A.V. Club that the MPA applies a stricter hand to independent films. But that doesn't mean that enterprising young cinephiles shouldn't stay up late sneaking this one in once it hits streaming. In our chat with the filmmaker, Fuller discusses his intended audience, the film's origins as a TV project, and all the problems one needs to solve as an indie filmmaker. Club: Dust Bunny began as an Amazing Stories idea. Bryan Fuller: One of the things about Amazing Stories is that it was Apple's first television. There was a sensitivity, a feeling of “we've gotta get this right.” And also at that time, so much of Apple's brand was for families. These are going to be stories that are going to be playing in Apple stores, so there was a fear of anything that might have too much of a bite to it. There was a preciousness about how to bring that into the Apple brand that has certainly become more lax over the years now that Apple has found its identity as a platform. Parents aren't always their best selves with the first child. I'm surprised someone thought that Dust Bunny had too much bite. BF: There's something very Looney Tunes about the violence in Dust Bunny and there's not a lot of blood. It's about a 10-year-old girl who hires a hitman to kill the monster under her bed, and the story is from her point of view for most of the narrative. We've gotten into a situation with parenting and how we treat children in our modern context that has forgotten that the parents of these kids are often products of '80s storytelling that didn't coddle or prevent children from having a little friction in their lives—having a little opportunity to be scared, which could be armor-building for real-life terrors. Those of us who built up that armor through our moviegoing experience have an easier time navigating adult thematics. If we remove those resistors and all of the things that provide friction, you're holding off the inevitable. Then you have adults who are easily traumatized. Now you have a generation where a vocal percentage are scandalized by everything they see in TV and movies. You want media that trusts young people, and Dust Bunny does that really well with, like you said, a very subjective story centered around a little girl played by Sophie Sloan. We had a wonderful casting director named Margery Simkin, and she cast a very wide net with this film. We had something like 9,000 submissions for this role. And Sophie has a very thick Scottish brogue. Mads Mikkelsen also has a very thick accent. Our fear was that if we cast both of them, nobody would be able to understand anything anyone was saying. He said, “Don't mess with her accent, it's so charming and she's so authentic.” His worry was that if you give her the additional challenge of doing an accent on top of a performance, we'd lose some of that authenticity. But Sophie, on her own accord, watched TikTok videos for two weeks and taught herself a perfect flat American accent, and handily won the role. I want to see all those instructional TikToks and the version of this movie where it's two people totally unable to understand each other. BF: We get a taste of that with [Mads'] “Aurora” pronunciation. Did you have that gag written before he got involved? BF: No, when Mads first read the script, he was like, “I love the script, but you'll have to change her name. I can't pronounce it.” And I was like, “No, no, we'll make it a bit!” But then, as we were making the movie, he was pronouncing it fine. Even if people are sort of familiar with his work, if they're not watching stuff like Riders Of Justice, they might not realize that he's hilarious. BF: Not only Riders Of Justice, but so many of his collaborations with Anders Thomas Jensen, whether it's The Green Butchers or Men & Chicken, there are these fantastic movies for Mads—who is usually, in films for American audiences, the heavy; Le Chiffre in Casino Royale, villains in Indiana Jones [And The Dial Of Destiny] and the Marvel universe. But some of his best work is playing the fool in these fantastic Jensen movies. Men & Chicken has one of my favorite performances of his, so much so that that's why there are so many chicken references with his character in Dust Bunny. It could've easily just been a part of the overall aesthetic. She was talking about the scene where Mads and Sophie are wrapping up a dead body, and she was like, “I don't know about this scene, it's so dark. Maybe you should do something cute with the suitcases, like make them into pandas or something that takes the edge off a bit.” And I said, “That's a great idea.” When we got to designing the props, I said, “We need panda-shaped suitcases.” It was all about yes-anding my production designer. What were you saturating yourself with before making this movie? I was raised Catholic, and one of the coolest things about being raised Catholic was Sister Janet Meade and “The Lord's Prayer” à la rock ‘n' roll. For the aesthetic, we talked a lot about the Jean-Pierre Jeunet/Marc Caro collaborations, and even something like John Boorman's Point Blank. That film had such aggressive stylization to it and was a Crayola-box film noir that had such wonderful use of color that never really interfered with what Lee Marvin was doing, but gave us a heightened sense of a world that was allowed to have a click in its heel. It had the feeling of a romp that allowed you to not take everything so seriously, and have fun first. The Lee Marvin pull makes me realize how close he and Mads' performance styles can be. Two actors who can be hulking and physical but so quiet that they can get under your skin. Were they your safety nets on this film? It was incredible to be a first-time director and to have that level of championing from such experienced actors who'd worked with a wide variety of directors. The hallway fight scene, Mads and I choreographed in an afternoon. Sometimes when you wanted less of something you got more of it, because there was just a disconnect. Mads is very humble about so many things, but he had more stunt experience than anyone on that set, with everything that he's done in his career—including cock-and-ball-torturing Daniel Craig in Casino Royale. It's got such fun, cartoonish blocking and choreography that you just don't see in modern action. BF: The hardest thing about some of these moments is where you're putting the camera, what are your setups, and how many you get. I knew it had to be light on its feet and have a little whimsy. I remember telling the stunt guys we needed sliders on ropes, and that they'd be kicking themselves out and pulling themselves back in. We had a wonderful gaffer and grip department. We only had a technocrane a couple of days—and most of my shots needed a crane—so every morning [our key grip] would come up to me when he arrived and he'd ask, “How long do you need the crane today?” And I'd say, “60 feet?” Which he'd convert into meters, of course, and then built it by strapping scaffolding together with belts. Taking it back to Amblin films, Dust Bunny is absolutely a film that kids should go see with their cool parents, so I imagine the R-rating was a blow. BF: We all set out to make a children's movie, one with an object lesson about listening to children and believing their experience even if the facts may seem outrageous or unreal. So it was a surprise to all of us that we got an R-rating. A lot of folks were like, “This is fine, we'll be fine” because it makes it cooler for a lot of the audience members. I want kids to have the experience of going to this movie and seeing something I would've seen as a kid in the '80s that blew my mind with the danger that it represented—something outside the norm of children's fare that we see so much of now, that is a little toothless and defanged. But sitting next to them during different screenings, both of them turned to me at points in the film and whispered, “This is why we got the R-rating.” So, parental discretion is advised, but I want kids to see this movie. I want kids to have the experience of being their own champions and being their own heroes. That's what we get to see [in Dust Bunny]. 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Next March's annual fundraiser will also feature sets from Chvches, Elbow and the Joy Formidable, among others. The spring 2026 gigs will kick of on March 23 with sets from Elbow and MRCY, followed by a night of comedy featuring some of the goth rock vocalist's favorite funny people, Maisie Adam, Bridget Christie, Jack Dee, Andy Hamilton, Dom Jolly and others. Donald Trump Says He's Hosting Kennedy Center Honors Recognizing Gloria Gaynor, KISS & Others Taylor Swift's 'The Life of a Showgirl' Returns to No. Dave Grohl's Daughter Violet Drops Debut Solo Tracks 'THUM' & 'Applefish': 'They're Finally Yours' On March 28, Garbage will topline with a rare stripped set from Placebo as part of that band's 30th anniversary career celebration next year. The week will cap off on March 29 with headliners Wolf Alice and support from singer Nilüfer Yanya. Smith took over as curator of the popular fundraising charity series this year, replacing longtime patron and curator Roger Daltrey of The Who. “Teenage Cancer Trust does absolutely amazing work, and l am very proud they asked me to be ‘Cureator' of their March 2026 concerts at the RAH,” said Smith in a statement. These will be very special events; every band, both headliners and special guests, and every comedian too, is either legendary or at the top of their game… indeed in most cases, they are both! Next year's shows will take place at the Royal Albert Hall, with tickets going on sale on Friday (Dec. 12) at 9 a.m.; click here for more ticketing information. A daily briefing on what matters in the music industry A daily briefing on what matters in the music industry

Five members of the film's cast picked up nominations — Leonardo DiCaprio, Chase Infiniti, Teyana Taylor, Sean Penn, and Benicio Del Toro — while Radiohead's Jonny Greenwood notched a Best Original Score nod, too. The other big film nominees this year were Joachim Trier's Sentimental Value (eight), Ryan Coogler's Sinners (seven), and Chloé Zhao's Hamnet (six). All four members of Sentimental Value's core cast scored nominations: Renate Reinsve, Stellan Skarsgård, Elle Fanning, and Inga Ibsdotter Lilleaas. Michael B. Jordan picked up a Best Actor in a Motion Picture — Drama nod for his turn in Sinners, and Hamnet's two leads, Paul Mescal and Jessie Buckley, were nominated for their performances, too. Over in television, The White Lotus led all nominees with six, including Best Television Series — Drama, and acting nods for Season Three stars Carrie Coon, Walton Goggins, Jason Isaacs, Parker Posey, and Aimee Lou Wood. Best Motion Picture — Musical or ComedyBlue MoonBugoniaMarty SupremeNo Other ChoiceNouvelle VagueOne Battle After Another Best Performance by a Female Actor in a Motion Picture — Musical or ComedyRose Byrne, If I Had Legs I'd Kick YouCynthia Erivo, Wicked: For GoodKate Hudson, Song Sung BlueChase Infiniti, One Battle After AnotherAmanda Seyfried, The Testament of Ann LeeEmma Stone, Bugonia Best Performance by a Male Actor in a Supporting Role — Motion PictureBenicio Del Toro, One Battle After AnotherJacob Elordi, FrankensteinPaul Mescal, HamnetSean Penn, One Battle After AnotherAdam Sandler, Jay KellyStellan Skarsgård, Sentimental Value Best Performance by a Female Actor in a Supporting Role — Motion PictureEmily Blunt, The Smashing MachineElle Fanning, Sentimental ValueAriana Grande, Wicked: For GoodInga Ibsdotter Lilleaas, Sentimental ValueAmy Madigan, WeaponsTeyana Taylor, One Battle After Another Best Director — Motion PicturePaul Thomas Anderson, One Battle After AnotherRyan Coogler, SinnersGuillermo Del Toro, FrankensteinJafar Panahi, It Was Just an AccidentJoachim Trier, Sentimental ValueChloé Zhao, Hamnet Best Original Score — Motion PictureAlexandre Desplat, FrankensteinLudwig Göransson, SinnersJonny Greenwood, One Battle After AnotherKangding Ray, SirātMax Richter, HamnetHans Zimmer, F1 Best Motion Picture, Non-English LanguageIt Was Just an AccidentNo Other ChoiceThe Secret AgentSentimental ValueSirātThe Voice of Hind Rajab Best Motion Picture, AnimatedArcoDemon Slayer: Kimetsu no Yaiba Infinity CastleElioKPop Demon HuntersLittle Amélie or the Character of RainZootopia 2 Best Television Series — Musical or ComedyAbbott ElementaryThe BearHacksNobody Wants ThisOnly Murders in the BuildingThe Studio Best Performance by a Female Actor in a TV Show — Musical or ComedyKristen Bell, Nobody Wants ThisAyo Edeberi, The BearSelena Gomez, Only Murders in the BuildingNatasha Lyonne, Poker FaceJenna Ortega, WednesdayJean Smart, Hacks Best Performance by a Female Actor in a TV Show — Limited Series, Anthology Series, or Motion Picture Made for TelevisionClaire Danes, The Beast in MeRashida Jones, Black MirrorAmanda Seyfried, Long Bright RiverSarah Snook, All Her FaultMichelle Williams, Dying for SexRobin Wright, The Girlfriend

Maureen McCormick reunited with one of her “Brady Bunch” brothers for a special reason. McCormick and Knight played siblings Marcia and Peter Brady on the classic sitcom, which aired from 1969 to 1974 on ABC. They've reunited with fellow castmates Barry Williams (Greg), Eve Plumb (Jan), Mike Lookinland (Bobby) and Susan Olsen (Cindy) in the past, but this mini reunion was for a cause close to McCormick's heart. McCormick has a brother named Denny who was born with intellectual disabilities. The latter organization is “dedicated to establishing a global volunteer movement that creates opportunities for one-to-one friendships, integrated employment, leadership development, inclusive living, and family support for people with intellectual and developmental disabilities,” per the Best Buddies website. On Dec. 7, McCormick, 69, shared a series of Instagram photos from the 2025 Best Buddies Celebrity Bowling Event at Pinz Bowling Center in Studio City, California. McCormick posed with Knight, supermodel Cindy Crawford, and several of their best buddies. “I am so thankful for all the best buddies in my life! In 2019, McCormick reunited with all of her “Brady Bunch” siblings for a renovation of the original “Brady Bunch” house. In September 2025, McCormick returned to the famous house with a special group of friends. “I was back for a charity event,” McCormick told People magazine earlier this year. Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow

Cynthia Erivo is looking back on her time as Elphaba in “Wicked: For Good” with gratitude, insight, and emotion. In the emotional ending, Elphaba fakes her own death by vanishing through a trap door. She later reappears, walking into the sunset with her love interest, Fiyero (played by Jonathan Bailey), who had been transformed into a straw figure as part of a protective spell. Before leaving Oz, Elphaba entrusts her magical book, the Grimmerie, to Glinda (Ariana Grande), who steps fully into her role as a leader. The two friends reconcile with a final reprise of “For Good.” Elphaba's poignant farewell is underscored by the lyric, “Just look at me / Not with your eyes, with theirs.” “And I love between the lines when you can say something in a phrase, but so much more is going on.” Erivo elaborated on the depth behind Elphaba's request. And you have to be okay with that as well because that's the only way we can move forward.” In addition to discussing the finale, Erivo shared a personal takeaway from her time as Elphaba during an interview with USA Today.“That things aren't always as they seem, that what you see isn't always what you get, and that you can expect people to grow and change for better or for worse. She described the experience of filming back-to-back movies as “a long ride” and said she has been deeply moved by the audience response.“I've been really overwhelmed by just how supportive people have been and the dialogues that have been started because of it and conversations that have come up and how passionate everyone's been and the difference in all of that,” she added. Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow