EXCLUSIVE: Paramount+ has greenlighted Fear Not, a six-part limited series starring and executive produced by Oscar winner Anne Hathaway (The Devil Wears Prada). It originally landed at the streamer in a competitive situation in early September, just a couple of weeks after Skydance's acquisition of Paramount Global was completed August 7. Trevor Noah Returns For Sixth & Final Time As Host Of Grammy Awards Written by Doran, Fear Not tells the story of prolific serial killer Stephen Morin — accused of more crimes than Ted Bundy — and the unlikely bond he formed with Margy Palm (Hathaway), the last woman he ever kidnapped. Morin's abduction of Palm, which started as a deadly captive situation, took an unlikely turn; one which included compassion, prayer, and profound courage. Palm's devotion to her faith and her insistence that Morin could be transformed, became the impetus of a relationship that lasted long after Palm was returned to safety — until Morin received the death penalty. For Doran, this marks the third green light in five months, joining pilot orders for Foster Dade at Hulu and How To Survive Without Me at HBO Max, both with Greg Berlanti. “At Paramount+, we are always looking for stories that captivate and entertain our audience, and this series will do exactly that,” Wiseman said. “By grounding this chilling true story in the lived experience of our protagonist, Anne is bringing a level of nuance and gravity to the screen that only a performer of her caliber can. We are thrilled to collaborate with Anne, Bash and the rest of this illustrious team and we can't wait for viewers to see what is sure to be an enthralling limited series.” Doran was brought in as a writer for the project, which was initially set up for script development at MGM Television's sibling Prime Video under the previous Amazon MGM Studios regime. After the streamer opted not to proceed with Fear Not, the package — now including a finished pilot script by Doran — was taken out. Like with many high-profile packages, I hear there was a clock on Paramount+ making a greenlight decision, which, in this case was at least in part driven by Hathaway's limited availability. It brings back together Holland and her former Netflix executive Peter Friedlander, who oversees MGM Television as Amazon MGM Studios' new Head of Global TV. Fear Not joins two other series orders by the new regime at Paramount+. That includes the October pickup of A24's legal drama Discretion starring Nicole Kidman and Elle Fanning, which Paramount+ won in bidding war. Both projects are female-driven thrillers, a priority genre for the streamer's new leadership as they are expanding the slate to compliment Sheridan's largely male-skewing series. Also in October, Paramount+ formally greenlighted 9/12, a six-episode limited series starring and executive produced by Jeremy Strong, which had been in the works at Skydance Television. As depicted in Miller's piece, Margy Palm, a religious Texas mother, was abducted by Stephen Morin outside of a Kmart while shopping for Christmas gifts on Dec. 11, 1981. She spent eight hours as Morin's hostage before convincing him to set her free by appealing to him through a discussion of her faith. This marks a rare series regular role for Hathaway who started her career as part of the main cast of the short-lived 1999-2000 Fox comedy-drama Get Real. Hathaway has been largely focused on movies since, winning an Oscar for Les Misérables. Her only other major TV series role over the past two and a half decades was a lead in the 2022 Apple TV limited series WeCrashed, which she also executive produced. Hathaway has several high-profile movies coming out in 2026, Mother Mary, The Devil Wears Prada 2, The Odyssey, Verity and Flowervale Street. She is repped by CAA, Entertainment 360, Sloane, Offer, Weber and Dern. Doran's movie Henry, financed by Studio Canal, starring Ralph Fiennes, will shoot in 2026. Doran is repped by UTA, Untitled Entertainment and Schreck Rose Dapello Adams Berlin & Dunham. Toluca Pictures is repped by CAA and Myman Greenspan Fineman Fox Rosenberg & Light. 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 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 and Sony Pictures Entertainment said Thursday that they have hammered out an industry-first $7 billion-plus worldwide Pay-1 licensing deal for the latter's movies, which will stream on the OTT service around the globe following their full theatrical and home entertainment windows. That's a significant jump in SPE's theatrical output value since its 2021 Netflix Pay-1 agreement. Sony movies will no longer be split up among myriad parties in their offshore pay-1 window. Netflix and Sony didn't provide financial terms on the deal. The new global pact isn't a shocker: Sony movies such as Anyone But You and It Ends With Us have continually been among Netflix's top 10 most-watched films in any given moment; not to mention the streamer had Sony Animation's KPop Demon Hunters as a first-run title on the service; that pic became the streamer's most watched movie at a half-billion views and also its first No. Word was that Sony was pursuing an offshore pay-1 deal with Amazon, but Netflix stepped up here in a major way; the deal is a continuation of the domestic and partial offshore pay-1 deal the streamer had with Sony, first hatched in 2022 at a value of $2.5 billion over five years. Netflix currently has Pay-1 rights to SPE's feature films in select territories including the U.S., Germany and across Southeast Asia. The new global Pay-1 arrangement will roll out gradually starting later this year as individual territory rights become available, with full global availability on Netflix in early 2029 and continuing through 2032. A bulk of that massive increase comes from international. As Netflix continues to move forward in its acquisition of Warner Bros' motion picture and TV studios as well as HBO Max, this new deal with Sony could serve as proof to government regulators that the streamer continues to license product from third parties. The Sony deal with Netflix is alongside Netflix and Universal's U.S. Pay-1B window deal (commencing in 2027) that was announced in October 2024. That was a renewal of the licensing deal for Universal, DreamWorks Animation and Illumination animated titles, as well as Uni and Focus' live-action titles following their run on Peacock post-theatrical and Premium VOD. That deal gives Netflix exclusive rights to Uni titles no later than eight months following their theatrical release, for what's a 10-month exclusive window on Netflix. “Our members all over the world love movies and giving them exclusive access to Sony's much loved films adds incredible value to their subscriptions,” said Lauren Smith, VP Licensing and Programming Strategy at Netflix. “Sony's impressive slate of iconic film franchises like Spider-Man: Across the Spider-Verse and originals like Anyone But You have been popular with our U.S. audience and now we're excited to expand that offering to our members all around the world.” “Our partnership with Netflix has always been incredibly valuable,” said Paul Littmann, EVP of Global Distribution, Sony Pictures Television. “This new Pay-1 deal takes that partnership to the next level and reinforces the enduring appeal of our theatrical releases to Netflix's global audience. It also further underscores the strength of our independence and unique ability to create meaningful opportunities that benefit our creative stakeholders, consumers, and world-class partners.” 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.

Harry Styles has announced his first new album in four years, Kiss All the Time. Disco, Occasionally., which is out March 6 via Columbia. is the fourth solo album of Styles' career. The record spans 12 songs in total and was produced by Kid Harpoon, who also co-wrote and produced 2022's Harry's House. That previous album churned out the massive hit “As It Was” as well as the singles “Daylight,” “Satellite,” “Music for a Sushi Restaurant,” and “Late Night Talking.” He also performed “As It Was” on a handful of awards shows, helped bid adieu to host James Corden on the final episode of his late-night TV series, and starred in the movie Don't Worry Darling. Once he wrapped up his tour, though, Styles largely retreated from the public eye. In 2024, Styles' longtime friend and One Direction bandmate Liam Payne died after falling from a third-floor hotel balcony in Buenos Aires. Styles penned an emotional tribute to Payne online, as did his fellow One Direction members. Read about “As It Was” at No. 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.

Harry Styles announced Thursday that he will be releasing his fourth record called “Kiss All The Time. Fans were convinced of Styles' return to music after a cryptic new website, webelongtogether.co, popped up on Jan. 12. Though it made no mention of Styles, fans deduced that the clip of a packed concert crowd featured on the website was from Styles' “Forever, Forever” music video that he dropped as a surprise on Dec. 27. Page Six exclusively reported on Jan. 12 that Styles landed his second Madison Square Garden residency and will return to the stage later this year. It's not yet clear how many shows he'll do at the iconic arena, but we're told he'll be there for a significant chunk of time. By clicking above you agree to the Terms of Use and Privacy Policy. In August and September 2022, Styles had a historic 15-night, sold-out residency as part of his “Love On Tour” series. Fans have eagerly been awaiting new music from Styles after he released “Harry's House” in 2022. “Harry's House” featured hits like “As It Was,” “Late Night Talking” and more. Meanwhile, Styles and Zoë Kravitz, 37, still appear to be going strong after being first linked together in August 2025 when they were snapped strolling through Rome together. They were again spotted in Rome ahead of Thanksgiving, holding hands during a walk.

At long last, Harry Styles has announced his musical comeback, revealing plans for a new album titled Kiss All the Time. As announced Thursday (Jan. 15), the pop star's fourth studio album will drop March 6. It features 12 tracks and was produced by Kid Harpoon, who has worked on all of Styles previous albums. He wears jeans, a T-shirt and funky glasses, while the LP's title is displayed in bright pink and blue lettering in the top right. Fans had been expecting word on the new music front for a few days leading up to the announcement, having discovered a mysterious website connected to Styles with the domain “WeBelongTogether.co” and featuring a copyright message at the bottom from Sony Music Entertainment. The site now displays a clock with “Kiss” displayed where 11 numbers should be and “Disco” in the 9 o'clock position. Weeks before the website's initial launch, Styles had seemingly randomly dropped a video of himself performing his “Forever, Forever” instrumental on piano at his final Love on Tour concert in Reggio Emilia, Italy, which ended with the written message, “We belong together.” Its lead single, “As It Was,” spent 15 weeks at No. The British musician's next album will mark his fourth full-length. Before Harry's House, Styles released his self-titled debut in 2017 and followed it up with sophomore effort Fine Line in 2019. 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.

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. Maggie Gyllenhaal‘s sophomore directorial effort, which reimagines “The Bride of Frankenstein” with a punk rock twist and an A-list cast that includes Jessie Buckley as the eponymous Bride and Christian Bale as Frankenstein's monster, was always destined to be one of the most anticipated films of the year. Then factor in an ensemble including Peter Sarsgaard, Annette Bening, Jake Gyllenhaal, and Penélope Cruz, and the fact that Warner Bros. seems to be on an unstoppable winning streak, and suddenly you have a can't-miss movie event on your hands. Related Stories Sundance Award Winner ‘Ricky' Finally Gets a Theatrical Release — and a Kickstarter Campaign to Help Reach More Audiences Guillermo del Toro's ‘Frankenstein' Is Returning to Theaters for One Week (Including Some 35mm Screenings) During a virtual press conference on Tuesday, January 13, Gyllenhaal explained how her vision for the film stemmed from the visceral impact that star Elsa Lanchester left on audiences in the 1935 film “The Bride of Frankenstein” despite having a relatively small amount of screen time. “Elsa Lanchester, the original Bride of Frankenstein, just has this impact. “What I thought was really interesting was here's this movie called The Bride of Frankenstein, which is really not in any way about The Bride of Frankenstein, and yet Elsa Lanchester makes this impact, even though she's in the movie for three minutes and doesn't speak. The director also explained that her film attempts to fill some of the narrative gaps in the original “Bride of Frankenstein,” namely what she sees as a lack of agency for the titular character. “In many iterations, Frankenstein is a monster of course, who does monstrous, awful things, but he's also beautiful, human, kind and so lonely. So his ask for a mate, which is part of the book, which is part of the mythology, is really understandable,” she said. And that's what this movie, I think, really gets into. Warner Bros. will release “The Bride” in theaters on Friday, March 6. 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.

A new documentary on Robert Christgau, The Last Critic, will premiere at SXSW Film Festival this March. Randy Newman, Boots Riley, and Village Voice writer-turned-novelist Colson Whitehead have signed up to tell the story of the self-appointed Dean of American Rock Critics. Naturally, having penned “I Killed Christgau With My Big Fucking Dick,” Sonic Youth's Thurston Moore also chips in to help immortalize his onetime foe. Matty Wishnow directed the doc, which features music from Newman, Yo la Tengo, the Feelies, and Gina Birch. A murderer's row of critics also contributed, including Greil Marcus, Ann Powers, Rob Sheffield, Amanda Petrusich, and Kelefa Sanneh. A synopsis on the film's Instagram page notes that Christgau, whose work “has inspired & infuriated readers for sixty years, is still at it in his eighties—grading records, interrogating commas & listening to absolutely everything (except metal & prog).” Its SXSW premiere will be in the Documentary Feature Competition. Revisit Pitchfork's interview with author Devon Powers about how Christgau and his Village Voice colleague Richard Goldstein helped create rock journalism: All rights reserved. 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.

Lyndsay Lamb could not be happier for her twin sister and HGTV co-star, Leslie Davis, who announced her surprise engagement on January 14, 2026. The news shocked fans who thought Davis was still married to her first husband, Jacob Davis, and didn't know she'd been dating someone else. Posts about the happy news from Davis and Lamb, who have starred in five seasons of “Unsellable Houses,” were flooded with comments from fans, both congratulating Davis and expressing how “confused” they were about her new status. Lamb kindly responded to a few without giving away too many details about her sister's personal life. They also have not shared any details about major family changes, like Davis' apparent divorce after two decades. In August 2021, Davis wrote in a blog post for Lamb & Co., the design and real estate company she owns with her sister, that she and Jacob were celebrating their 19th anniversary that year. The former couple shares three sons — Kyler, Cash, and Cole. That left many fans confused about the engagement. When someone wrote, “I need to get an update….” Lamb replied, “It's been almost two years so ya, a ton has happened ◡̈. When “Rock the Block” host Ty Pennington expressed how thrilled he was for Davis and Reidy, Lamb replied, “These two are great together!” Davis did not reply to comments on her engagement post from fans who expressed confusion, but hours after sharing the news, she put the post in her Instagram Stories, with a photo of her and Reidy after getting engaged, and wrote, “Thank you all so much for the love on our exciting news!” Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow

With a new series set in Westeros arriving on Sunday, George R.R. Martin has been doing his media rounds and facing—as he has for at least a decade—questions about his forthcoming books in the Song Of Ice And Fire series. We've known for a while that Martin is sick of being asked about this, but in a new interview in The Hollywood Reporter, the author offers some specifics about his ending for the novels. I don't see a happy ending for Tyrion. His whole arc has been tragic from the first. I was going to have Sansa die, but she's been so appealing in the show, maybe I'll let her live …” The show, which saw Martin cede more control to showrunners David Benioff and D.B. Weiss by the end of its run, did largely avoid killing its most consequential figures during episodes like “The Long Night,” which doesn't seem like something Martin would do. The series' divergence from his own plans for his ending is part of what has prevented sequel series, like the proposed one about Jon Snow, from happening; he doesn't want the stories to diverge further before he gets to put his stamp on the story's ending. Of course, it doesn't actually sound like Martin is any closer to finishing The Winds Of Winter than he was the other times this topic has come up. Given the slow pace of Martin's progress, some fans have speculated that a different author may ultimately be the one to finish out ASOIAF. (The profile references a moment in August when a fan asked him this directly because he's “not going to be around much longer,” to which Martin says, “I really didn't need that shit.”) This sounds out of the question. “If that happens, my work won't be finished,” he says about the event of his death. “It'll be like The Mystery of Edwin Drood.” But that's not something Martin wants, either. “I would hate that,” the author says when asked if he'd ever consider just giving up. “It would feel like a total failure to me. Recommended for You1Industry introduces new digs, and some familiar faces, in a propulsive premiere2George Clooney says there is no reason to be cruel to Paul Dano3There's never been a better time to get in on the guy who makes the world's longest films4The Pitt's Noah Wyle on how Dr. Robby meets his match in season 25The Wood Brothers return to A.V.

We use vendors that may also process your information to help provide our services. There's no shortage of acclaimed movies at film festivals that fail to find distribution. We remind people of just how many there are every season. But, as of late, the enterprising producers behind some of these titles have found more creative ways to get their movies out to the public. “Ricky,” director Rashad Frett's film that won the Sundance Directing Award at last year's Sundance, is going the self-distribution route and will be released theatrically on March 20, 2026, IndieWire can reveal exclusively. Related Stories Guillermo del Toro's ‘Frankenstein' Is Returning to Theaters for One Week (Including Some 35mm Screenings) When Kate Hudson Realized She ‘Hadn't Put Everything Out on the Table,' It Changed Her Career Forever IndieWire's review out of the festival called first-time director Frett a “major force” to watch. And though it attracted some distribution offers, Steelo Brim, a producer on “Ricky,” told IndieWire that none of the options were quite right. “None of them felt right or like they had our best interests at heart. “Ricky” stars Stephan James (“If Beale Street Could Talk”), Sheryl Lee Ralph (“Abbott Elementary”), and Titus Welliver, and it's a film about a 30-year-old ex-offender now navigating life after 15 years in incarceration. “This all-too-familiar premise might lend itself to melodrama, but ‘Ricky' emerges as a marvelously understated examination of one man's struggle to achieve stability,” IndieWire's review reads. Brim says that given the film's subject matter, “Ricky” has a very specific audience that needed to be targeted to inner cities and other at-risk communities, and it would be much more impactful there than at an art house theater in Oklahoma. In order to reach that group, the Kickstarter will give backers who donate tickets the chance to participate in virtual Q&As with Frett and Que Ayoung, receive signed posters, and will have their names added to the credits. Backers can also host private virtual screenings or provide access directly to other organizations, as well as buy out an entire theater for audiences who wouldn't otherwise get to see the film. “Ricky” is opening in New York, Philadelphia, Los Angeles, Oakland, Atlanta, Memphis, Houston, Kansas City, Detroit, Chicago, and other cities. James, at IndieWire's Sundance Studio last year, described why “Ricky” was so timely and important, especially for audiences who may be in a similar situation as his character. Ralph has a line in the film where she says ‘He's been out for 21 days, and he'll be lucky to make it to 30,'” James said. “And that line really hit home for me, because every day is a victory in itself. “This film resonates far beyond incarceration,” Frett added in a statement. “Whether someone has lived that experience or simply recognizes their own struggle in Ricky's journey, our goal is to spark real conversations about re-entry, resilience, and the human cost of starting over. At the same time, we want to shine a light on the state of independent filmmaking itself — an art form at risk in today's industry. The film is produced by Steelo Brim, DC Wade, Josh Peters, Pierre Coleman, Simon Taufique, and Mark Steele, in association with Ossetra Films. James and Bay Mills Studios are executive producers on the project. Blue Harbor Entertainment, which launched in 2023, is handling all U.S. rights for “Ricky.” We use vendors that may also process your information to help provide our services.

The couple's lawyer, Evan Spiegel, sent social media user Julie Theis a cease-and-desist claiming she “fabricated' her story about their marriage, per TMZ. Spiegel went on to demand that she “immediately” take down the videos in question, as well as stop posting that the Biebers are in an abusive relationship. If she doesn't, the couple would have no choice, “but to protect their rights and remedies against you.” The attorney concluded his letter by reminding Theis she “[acts] at [her] own peril” and to “govern [herself] accordingly.” By clicking above you agree to the Terms of Use and Privacy Policy. The TikTokker pointed out that her videos are “clearly opinion-based commentary about relationship dynamics and power.” In another clip, Theis mouthed along to the audio of the infamous fight between “Real Housewives of Orange County” stars Vicki Gunvalson and Tamra Judge, who scream about their opinions. To really send her message home, she then resurfaced a 2019 Instagram post written by the “Daisy” singer, where he admitted to using hard drugs from the age of 19 and “[abusing] all of [his] relationships,” becoming “resentful, disrespectful to women” and “angry.” In May 2025, he admitted via Instagram to telling his wife of almost eight years that she would never land the cover — however, she managed to prove him wrong. The Biebers' drama with Theis started when she alleged Hailey, 29, is a “tolerant codependent” wife who accepts “abuse” in her marriage in a video about relationships. “I know you guys who live on the internet are really bored, but I didn't repost any video speaking on my relationship,” she wrote via her Instagram Stories Saturday. The model and Justin — who are parents to son Jack Blues, 1 — have been married since 2018. However, they've been forced to continuously shut down split rumors that have run rampant over the years. The spokesperson also insisted that Justin and Hailey were in a good place after welcoming their son.

He arrives only to find his potential subject dead and the town awash in a catastrophic plague. In Pathologic 2, you also play as a doctor—a surgeon, returning to his hometown after years away at medical school. Though both these games start with similar premises, inhabiting their protagonists reveals just how different they are. In its wedding of mechanical complexity and narrative justification, Pathologic 3 undoes oft-touted binaries of story and play. Pathologic 3 (available on PC, PlayStation 5, and Xbox Series X|S) presents itself as a sequel, but it's better described as a parallel experience to its predecessors. Each offered a different perspective on the events at hand, and different mechanics to engage with it. Just as Rosencrantz and Guildenstern Are Dead offers a tilted view on the events of Hamlet, Pathologic gives three perspectives from which to chart its script. Due to a combination of budget constraints and slow sales, Pathologic 2 lacked multiple playthroughs. You could only play as Artemy (outside of a short DLC chapter called The Marble Nest); further playthroughs were going to be paid DLC. Thereby, Pathologic 3 is both sequel and fulfillment of that lost promise. If there is a Pathologic 4, I presume you will play as the Changeling. It is easy to understand each of these characters as clean opposing elements. The Changeling is a full mystic, an unsteady healer with powers she does not fully understand. The Bachelor is all rationality, a head full of facts and a bag full of tools to inscribe those facts upon the world. Yet, these clean inscriptions of body, mind, and spirit flatten all three. Ultimately, the Haruspex's split nature cannot last forever. Pathologic 2's unforgettable final choice enshrines him as either a chosen actor of the steppe or a medically trained surgeon forever. The Bachelor is also a split being, psychologically torn between mania and apathy. While the apparatus of medical care is more directly scientific in his hands, embodying the Bachelor is frightful and emotional. Kicking over a trash can will either grant the motivation to continue on or tip him into madness. You can regulate the Bachelor's emotional state with potions and medications, yet a heated conversation can fully alter his mood, no matter how many shots of morphine you take beforehand. This system creates the impression of moods needing to be harnessed. It is only a question of “when” and “how much.” The approach is still more scientific than Artemy's. Unlike Artemy, the Bachelor needs no food or water. This is not to say Pathologic 3 has no resource management, just that it is a little less fleshed out than in its predecessor. No one is scared of Artemy, and they'll attack him no matter what weapon he brandishes, but a doctor from the city like Daniil Dankovsky can disperse crowds with a gunshot in the air. It is the accumulation of details like this that makes Pathologic 3 feel so different from its predecessors—and that's before discussing its most dramatic change. In Pathologic 2, Artemy moved through linear time. For him, no death was permanent, even if every one narrowed his capabilities. In contrast, The Bachelor flits through both time and space. With some restrictions, he is able to travel between each of the game's 12 days. However, to fly from timeline to timeline costs “Amalgam,” a resource gained by smashing mirrors and achieving goals. As a trio of games, Pathologic knots together narrative and play, weaving them so that there is practically no distinction. For lack of a better term, these games are literary. They are florid and flowery, twisting their prose between the branches of an ever-growing tree. Yet they are also grueling, demanding a careful understanding of interlocked systems and a quick-handed pursuit of your goals. These games care about all the forms their rhetoric takes. Between the inertial force genre conventions and capitalistic pressure, it is hard to make games that feel this unified, this whole and considered, but Pathologic 3 is evidence that it's possible. Recommended for You1Industry introduces new digs, and some familiar faces, in a propulsive premiere2George Clooney says there is no reason to be cruel to Paul Dano3There's never been a better time to get in on the guy who makes the world's longest films4The Pitt's Noah Wyle on how Dr. Robby meets his match in season 25The Wood Brothers return to A.V.

Subscribe for full access to The Hollywood Reporter At the height of his reign, the 'Game of Thrones' author gets candid about his efforts to rule his expanding media empire, his buzzy new show 'A Knight of the Seven Kingdoms,' and the long-delayed saga he's still determined to finish — if he can. Martin confessed to having two worries that would define his future and forever change the world of fantasy entertainment. We were having breakfast in San Francisco before HBO's premiere event for Game of Thrones season five. Martin had been professionally writing sci-fi and fantasy fiction since his acclaimed debut novel, 1977's Dying of the Light, and had attempted a stint as a staff writer on TV shows in Los Angeles in the 1980s before launching his bestselling A Song of Ice and Fire novels, which served as the basis for Thrones. His books took high fantasy tropes and combined them with a tale inspired by the brutal, R-rated history of politics and warfare in medieval Europe. Sophie Turner Reveals Stunning First Look as Lara Croft in 'Tomb Raider' Reboot 'Euphoria' Sets Return Date, Drops High-Octane Trailer for Season 3 Along the way, Martin had become a celebrity figure with a distinctive look, with his bushy white beard, fisherman's cap, glasses and suspenders — like some 1920s steampunk Santa. Between bites of eggs Benedict, Martin said he couldn't believe he was being parodied on South Park and Saturday Night Live. In just a few short years, Martin had become the country's most recognizable author aside from Stephen King. It was an extraordinary accomplishment for the son of a New Jersey longshoreman who got his start by selling monster stories to schoolmates for a dime apiece. Martin told me his first concern was that HBO might never make another series based on the world of Thrones. Martin didn't want to be a one-hit wonder in Hollywood. He hoped his fantasy creation would evolve into a franchise that kept it alive for generations. Martin's second worry was one he'd had since 2011, when Thrones premiered and his last Ice and Fire novel, A Dance With Dragons, was published. He still needed to write two more books, The Winds of Winter and A Dream of Spring, to finish his saga, and the clock was ticking. “I have to finish the next book,” Martin fretted. “I sold Westeros to Warner Bros. in 2007,” he points out. The bar is located next to his Beastly Books bookstore, which is next to his Jean Cocteau Cinema movie theater, which is a stone's throw away from a train painted to look like a dragon offering day-trip adventures. Locals regularly stop Martin and thank him for all that he's done for the city (the author is estimated to be worth around $120 million, though he lives a rather humble lifestyle). In many ways, Martin looks the same as ever. But I feel OK. Maybe you should make that your headline: ‘George R.R. Martin's concern about the survival of his Westeros kingdom has proved groundless. Another prequel about to premiere, A Knight of the Seven Kingdoms, is based on Martin's Dunk and Egg novellas. There are multiple other Westeros-based tales in development at HBO, while a London West End stage play, The Iron Throne, will soon dramatize the story of King Robert's Rebellion. Martin's also launched popular ventures beyond his best-known franchise. He's an executive producer on AMC's acclaimed Navajo Tribal Police drama Dark Winds and collaborated on the hit fantasy game Elden Ring. Martin wanted to build an empire — and did. Yet “productive” is the last word any Thrones fan would use to describe him. But first, we discuss the new show, which has a scrappy, low-key vibe compared to GoT or Dragon. Across six episodes, the likable duo tangle with an array of powerful rival lords. “Dunk and Egg both face great Shakespearean jeopardy in Westeros, but there's a lot of humor and heart along the way, too,” says HBO drama programming head Francesca Orsi. “The show is meant to be a very different type,” says Martin, who serves as co-creator and exec producer. The show came about, Martin says, because HBO was looking for a project “where we could get the budget a little under control.” (Dragon costs about $20 million an episode, and the network previously shortened Dragon‘s second season to push an expensive battle sequence into season three.) “This doesn't have any dragons or big battles,” says Martin. When the project was announced two years ago, HBO's press release suggested the series would serve as Martin's return to screenwriting. “But then things happen and suddenly I have other priorities.” On Knight and Dragon, Martin initially convened a writing summit in Santa Fe to help figure out the series. “I bring the showrunner together with four or five writers that I know — some are TV writers, some are fantasy novelists — who really know the world and we assemble for a week,” he says. Parker called the summit “one of the most fun, creative weeks I've ever had in my whole career” and notes that while writing episodes, “George was there every step of the way. I think of him as a friend now.” With a production and scope that's quite modest compared to Thrones and Dragon, Parker admits to worrying about whether fans will embrace it (early reviews, at least, are quite positive, with our critic calling the show “smaller, smarter, funnier” than its predecessors. Season one is faithful to Martin's debut Dunk and Egg tale, The Hedge Knight, and season two, which already has been greenlit, will be based on his novella The Sworn Sword. There is, however, one potential problem for the show's future. “The big issue is that I have only written three novellas, and I have a lot more stories about Dunk and Egg in my fucking head,” Martin says, looking a bit shamefaced. “I've got to get them down on paper. I began writing two at various points in the past year. All of Martin's books, shows, events and businesses come with their own set of distractions, which get added to a pile and compete for his attention. Some involve working with writers on not-yet-announced potential Thrones projects. One previously reported idea is based on Dragon‘s seafaring character the Sea Snake. Another is based on King Aegon Targaryen's conquest of Westeros and is being developed by HBO as a possible drama series and by the Warner Bros. film team as a mammoth Dune-sized feature film. Martin long has resisted sequels to Thrones because the ending of his Ice and Fire books is not going to align with the show and he wants to avoid further canonizing Thrones‘ controversial ending — even though he hasn't written his own yet. “[The book's ending is] going to be significantly different,” Martin says. Martin figured Jon (played by Kit Harington in Thrones) would be the safest character for a sequel since he was exiled to north of the Wall in the series finale, and picking up his story wouldn't need to include revealing what happened to the other major characters down south. Harington, working with two writers from his drama series Gunpowder, was interested in mapping out a tale of Snow living alone as a broken man with PTSD. The story echoed, in some respects, Harington's personal struggles — entering rehab following an intense shooting experience on Thrones. (“I went through some mental health difficulties,” the actor has said. HBO found the “broken Jon Snow” idea too much of a bummer and eventually pushed it aside. Yet in recent days, sources say a new writer (Quoc Dang Tran from Drops of God) has come aboard to revive the sequel idea. While the story is still being fleshed out, one possibility is shifting the drama to the Mediterranean-like land of Essos and adding another hugely popular legacy character — Arya Stark (who was played by Maisie Williams in Thrones). No actors are yet on board, and signing Harington, in particular, would likely prove quite difficult. Just recently, the actor declared he doesn't “want to go anywhere near” Jon Snow again. Martin says he cannot confirm or comment on projects in development. None of the titles is as sensitive, however, as Martin discussing a show that everybody already knows about: House of the Dragon. Having interviewed Martin nearly a dozen times over the years, this quote always stuck with me because nearly all creatives have an ego — often massive ones — but they're rarely so forthright about it. Whereas Martin always comes across bluntly honest and unafraid to be vulnerable. He can also get a very frustrated at perceived rudeness or slights. Warner Bros. may legally own Westeros, but the world is still Martin's creation, and he understandably wants to feel respected and involved. Martin has made something else consistently clear: He believes book adaptations — not just his own — should be as faithful as possible. If another writer wants to make a major change to one of his brood — or remove one from a story altogether — he wants to know why, and the reason should make sense. Knight showrunner Parker says he suspects Martin leaning on HBO and showrunners to respect his vision is one reason “why these shows have done so well” and that the author has “been nothing but a benefit.” “In my very first meeting with George, before I officially had the job, I promised I wouldn't put anything in that he didn't want — but it's never come to that,” Parker says. It's always been a bit unclear precisely how much authority Martin has over his HBO projects (sometimes it seems fuzzy to Martin, as well). “It's worse than rocky,” Martin says, looking miserable. Without getting into spoilers, Martin's gripes about Dragon stem from disputes over changes to his book's characters that impact key plot points. And we were all through the first season. I would read early drafts of the scripts. When Ryan came to loggerheads with original Dragon co-showrunner Miguel Sapochnik, Ryan asked for Martin's support in their dispute, and got it (Sapochnik left the show after season one). “Then we got into season two, and he basically stopped listening to me,” Martin says. Other times, he would tell me, ‘Oh, OK, yeah, I'll think about that.' Finally, it got to a point where I was told by HBO that I should submit all my notes to them and they would give Ryan our combined notes.” One night in 2024, while the second season was airing, Martin wrote a blog post, “Beware the Butterflies,” which publicly revealed some of his gripes. When he woke the next morning, it was as if Martin had unleashed his own Red Wedding. “And 80 percent of it was praise, but that's not what people focused on.” Martin says he can't say anything beyond this. After Condal spoke, Martin detailed his many objections and allegedly declared, “This is not my story any longer.” I just have to keep marching forward for the sake of the crew, the cast, and for HBO, because that's my job … I can only hope that George and I can rediscover that harmony someday.” After their contentious Zoom call, HBO asked Martin to step back from Dragon altogether. A few months later, the author was brought back aboard. “I can't talk about it,” Martin says. “George and Ryan had a disagreement on the direction of season three,” an HBO insider says. “At that point, it was clear that the process and communication with them was broken and needed a reset. He likes communing with fellow creatives and meeting fans. He'll do book signings for hours, autographing a thousand copies. Martin notes fans are always exceedingly nice when he meets them in person. The WorldCon panel was taking audience questions when somebody asked Martin if he would let another writer finish The Winds of Winter because “you're not going to be around for much longer.” Even now, months later, the author looks rattled. “I really didn't need that shit,” he says. Martin recently has endured losing a wave of fellow novelists whom he counted as close friends. “Howard Waldrop, Gardner Dozois, Victor Milán, John J. Miller, Edward Bryant …” Martin lists. Last year, Martin sat down with one of his idols, Robert Redford, who was a fellow executive producer on Dark Winds. Redford came out of acting retirement to film a brief cameo in the show with Martin. “Which just seems so fucking weird,” Martin says. Martin's masterpiece is arguably A Storm of Swords. The book, published in 2000, was adapted into seasons three and four of Thrones. “I look back at that book too,” Martin admits. Martin says he has around 1,100 manuscript pages finished. He's also said the number for a while. He long has blamed the endless distractions that have come from shifting from a full-time author to a producer and celebrity. The roots of Ice and Fire extend back to Martin's childhood. When they mysteriously began dying off, he invented stories about how the turtles were feudal rivals who were secretly killing one another in sinister plots. Then when he worked on shows like Beauty and the Beast and a revival of The Twilight Zone, Martin chafed against the censorious, low-budget nature of '80s TV, decrying “bullshit changes, sheer cowardice, [producers] afraid of anything that was too strong [and] anything that anyone might be ‘offended' by.” He deliberately wrote Ice and Fire to be so sprawling and epic that it would be “unfilmable.” The result has sold more than 100 million copies. Today, Martin works on Winter at his old house, which serves as his office (he recently moved his primary residence to another Santa Fe property), typing away on a DOS computer that's not connected to the internet. If I'm not interrupted though, what happens — at least in the past — is sooner or later, I do get into it.” The fourth Ice and Fire book, A Feast for Crows, introduced several new characters and major storylines to an already highly intricate tale. Martin was soon switching perspectives between 21 rival viewpoint characters, each with their own dedicated series of chapters. (When Thrones reached the same narrative juncture, showrunners David Benioff and Dan Weiss decided to largely stick with characters who were already established — yet still famously struggled to pull off a final stretch that fans felt was satisfying). That was a prolific stretch, he says, resulting in many new chapters. But it took him away from his longtime partner, Parris McBride (they met in the 1970s and tied the knot in 2011), and even Martin's forced-isolation effort ran into creative troubles. I ask Martin if he's ever considered simply giving up on the book. “It would feel like a total failure to me. There is also no secret contingency plan for somebody else to take over if Martin gets struck by lightning. “If that happens, my work won't be finished,” he says. “It'll be like The Mystery of Edwin Drood” — referring to Charles Dickens' unfinished final novel. How much further does he have to go? Herbert had written many acclaimed novels, but all fans seemed to want was more Dune. Herbert's publisher had just offered him a modest advance for a story he wanted to write, or six times that number for another Dune novel. “He didn't like Dune anymore and he didn't want to write any more Dune books,” Martin says. I ask: Do you relate to how Herbert felt? Martin is waiting in front of his bookstore for a car that will take him home. When you walk into the store, the first several bookcases are full of Martin's published works — which is more than you probably realize, especially when you add the dozens of anthologies he's edited (like his popular Wildcards series). I wonder how he feels about being given a cane but don't ask. Martin's thoughts turn, unprompted, to the end of Ice and Fire. “I was going to kill more people,” he muses. They made it more of a happy ending. I don't see a happy ending for Tyrion. His whole arc has been tragic from the first. I was going to have Sansa die, but she's been so appealing in the show, maybe I'll let her live …” I have to write more Dunk and Egg. There's supposed to be another Fire and Blood book, too. It's been made clear to me that Winds is the priority, but … I don't know. Sign up for THR news straight to your inbox every day Send us a tip using our anonymous form.

Margo's Got Money Troubles stars Elle Fanning as a broke college dropout who finds success on OnlyFans. Outside of Apple's Margo's Got Money Troubles episodic offerings include AMC's The Audacity from Jonathan Glatzer. Cast: Keke Palmer, Naomi Ackie, Taylour Paige, Poppy Liu, Eiza González, LaKeith Stanfield, Will Poulter, Demi Moore (World Premiere) Mike & Nick & Nick & AliceDirector/Screenwriter: BenDavid Grabinski, Producers: Andrew Lazar, Richard Middleton, Vanessa HumphreyA hilarious, stylized, R-rated action-comedy about two gangsters and the woman they love trying to survive the most dangerous night of their lives. As if that wasn't enough, there's one wild ingredient added to the mix: a time machine. Cast: Vince Vaughn, James Marsden, Eiza González, Keith David, Jimmy Tatro, Stephen Root, Lewis Tan, Ben Schwartz, Emily Hampshire, Arturo Castro (World Premiere) Cast: Samara Weaving, Jason Segel, Timothy Olyphant, Juliette Lewis, Paul Guilfoyle, Keith Jardine (World Premiere) With four rival families hunting them, Grace must survive, protect her sister, and claim the High Seat that rules it all. Cast: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Néstor Carbonell, David Cronenberg, Elijah Wood (World Premiere) They Will Kill YouDirector: Kirill Sokolov, Producers: Andy Muschietti, Barbara Muschietti, Dan Kagan, Screenwriters: Kirill Sokolov, Alex LitvakA high-octane horror-action-comedy in which a woman must survive the night at the Virgil, a demonic cult's mysterious, twisted death-trap, before becoming their next offering in a uniquely brazen battle of epic kills and wickedly dark humor. Cast: Adi Madden Cabrera, McKenna Tuckett, Cherish Rodriguez, Niki Rahimi, Alexa Paige, Luseane Pasa, Star Herrmann, Alana Mei Kern, Gabe Root, Lucas Van Orden (World Premiere) Mallory's GhostDirector/Screenwriter: Arabella Oz, Producer: Claire SinofskyAn insecure young woman becomes convinced that she is being haunted by the ghost of her boyfriend's ex-lover and muse. Cast: Arabella Oz, Nick Canellakis, Anjelica Bosboom, Delphi Harrington, Shahjehan Khan, Evangeline Beasley (World Premiere) Plantman & Blondie: A Dress Up Gang FilmDirector: Robb Boardman, Producers: Mark Ankner, Robb Boardman, Cory Loykasek, Donny Divanian, Frankie Quinones, Jay Patumanoan, Adam Karm, Ben Wagner, Screenwriters: Robb Boardman, Cory Loykasek, Donny Divanian, Frankie QuinonesA lonely man escapes working from home when he meets Plantman…a mysterious man saving the neglected house plants of Los Angeles. Cast: Cory Loykasek, Donny Divanian, Frankie Quinones, Kate Berlant, Blake Anderson, Kirk Fox, Brent Weinbach, Jamar Neighbors, Christian Duguay, Kevin Camia (World Premiere) Cast: Britt Lower, Rhea Seehorn, Jamie Lee Curtis, Anna Baryshnikov, David Dastmalchian, Utkarsh Ambudkar, Mike Mitchell, Edward Torres, Alyssa Limperis, Inger Stratton (World Premiere) Cast: Lewis Pullman, Maya Hawke, Randall Park, Jake Shane, Kate Berlant, Amita Rao, Eric Rahill (World Premiere) Featuring Mandy Horvath, Julius John White aka ‘Whitey', Carel Verhoef, Sally Grayson (World Premiere) The Last CriticDirector: Matty Wishnow, Producers: Paul Lovelace, Ben WuRobert Christgau, The Dean of American Rock Critics, whose work has inspired & infuriated readers for sixty years, is still at it in his eighties—grading records, interrogating commas & listening to absolutely everything (except Metal & Prog). Featuring Robert Christgau, Carola Dibbell, Thurston Moore, Boots Riley, Randy Newman, Colson Whitehead, Ann Powers, Joe Levy, Amanda Petrusich, Greil Marcus (World Premiere) My NDADirectors: Juliane Dressner, Miriam Shor, Producers: Elizabeth Woodward, Hanna Gray Organschi, Juliane Dressner, Miriam ShorThree people bound by non-disclosure agreements face extreme personal risk to expose how a simple intellectual property contract is weaponized to silence, manipulate and control. #WhileBlackDirectors: Sidney Fussell, Jennifer Holness, Producers: Ann Shin, Mariam Bastani, Screenwriters: Ann Shin, Jennifer Holness, Sidney FussellDarnella Frazier, who filmed George Floyd's death, steps forward in this powerful documentary on viral videos that ignited global movements revealing the cost of going viral while Black: trolls, surveillance, and platforms that profit from pain. Cast: Juan Daniel García Treviño, Leslie Grace, Rubén Blades, Eddie Marsan, Rosario Dawson, Cheech Marin, Marvin Jones III, Carlos Carrasco, Dolores Heredia (World Premiere) He takes to bucket drumming on the streets for a way out, but can't stop screwing things up and drawing everyone else into his own feral shortcomings. New hire Pumpkin questions their sisterhood, forcing them to confront inner darkness or meet violent ends. Cast: Lola Tung, Victoria Pedretti, Lili Reinhart, Alexandra Shipp, Emma Chamberlain, Gabrielle Union (World Premiere) Pizza MovieDirectors/Screenwriters: Brian McElhaney, Nick Kocher, Producers: Jeremy Garelick, Will Phelps, Billy Rosenberg, Jason Zaro, Molle DeBartolo, Max A. ButlerA group of college students go downstairs to their dorm lobby to get a delivery pizza. 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Featuring Yves-Grégory Francois, Anderson Mojica, Erol Josué, Mambo Labelle Déese Botanica, Slash, Tom Savini, Tananarive Due, Zandashé Brown (World Premiere) Ceremony (Canada)Director/Producer: Banchi HanuseAt ramshackled Nuxalk Radio in Bella Coola, an inquiry into the vanished ooligan run unravels a buried history of erasure and ignites the quiet revolution of a Nation that refuses to disappear. Cast: Hailley Lauren, Kelsey Pribilski, Tinus Seaux, Danielle Evon Ploeger, Richard C. Jones (World Premiere) DragDirectors/Screenwriters: Raviv Ullman, Greg Yagolnitzer, Producers: Jake DeVito, Lucy DeVito, Danny DeVitoA routine robbery at a rural house turns into a nightmare for two amateur burglars when one of them throws out her back. Things spiral out of control as they try to escape before the homeowner returns. 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The woman who claimed a deeply personal connection to music legend Freddie Mercury as his secret daughter has died at 48, following a long and private battle with rare spinal cancer. Speaking to the Daily Mail, he said she left behind two sons, aged 9 and 7. “B is now with her beloved and loving father in the world of thoughts,” Thomas said. Bibi's story entered the public eye in 2025 with the release of Love, Freddie, a book by author and journalist Lesley-Ann Jones. Published in September 2025, the book was reportedly drawn from 17 volumes of personal journals that Bibi said Mercury gave her in 1991, shortly before his death. Mercury died later that year at age 45 from complications related to AIDS. In one of her final public reflections, Bibi spoke candidly about the emotional weight of growing up with her father's legacy. “I didn't want to share my Dad with the whole world,” she wrote, as per her emotional statement published by The Metro UK in August 2025. The claims prompted widespread debate and skepticism among those closest to Mercury, including members of his inner circle. Mercury's longtime companion and former fiancée, Mary Austin, publicly denied having any knowledge of a secret child. Austin also said Mercury never spoke about wanting to start a family and believed that his parents would have embraced a child had one existed. Despite the skepticism surrounding Bibi's claims, author Lesley-Ann Jones said her motivations were deeply personal rather than driven by publicity. “I am devastated by the loss of this woman who became my close friend,” Jones said, as reported by The Independent. Bibi also claimed Mercury referred to her affectionately as his “trésor,” French for treasure, and his “little froggie.” She also claimed that Queen songs, including “Bijou” and “Don't Try So Hard,” were written about her. In the days following her death, Bibi has been remembered by those closest to her as a devoted mother who carried a complex, deeply personal story tied to one of music's most iconic figures. He may have had s#x with a woman (Mary) but didn't produce any babies. Freddy was gay and didn't want any kids. Save my name, email, and website in this browser for the next time I comment. Go here and check the boxnext to EntertainmentNow

Ed Sheeran brought “Drive” to Jimmy Kimmel Live with a little help from his friends. It featured feature 17 tracks, including contributions from Sheeran, Doja Cat, Burna Boy, Raye, Tate McRae, Don Toliver, Madison Beer, Rosé, Tiësto, and Chris Stapleton. Sheeran teased his track ahead of the release, noting that he had “a lot of fun making” the song alongside Grohl and Mayer. “Play was an album that was made as a direct response to the darkest period of my life,” Sheeran shared in a statement. “Coming out of all of that I just wanted to create joy and technicolour, and explore cultures in the countries I was touring.” Kiefer Sutherland Allegedly Asked Uber Driver to Pull Over, Repeatedly, Before Arrest Nick Reiner's Ex-Lawyer Says ‘Something Happened' That Forced Him to Step Down Siblings Who Say Michael Jackson Molested Them Appear in Court to Fight Arbitration Unsettled Debts and Sugar Babies Create Chaos in ‘Euphoria' Season 3 Trailer Play marked the first installment in a new series of albums from Sheeran. The short film shows the singer walking through New York City in real time, playing his songs on subway cars and various spots around the city, and leaving a trail of stunned fans in his wake. Rolling Stone is a part of Penske Media Corporation.

Not only did Taylor perform her song “Hard Part” with Lucky Daye, but she also sat down with host Jimmy Fallon to discuss the Globes experience, including her co-star Leonardo DiCaprio‘s viral moment. Fallon played a clip of DiCaprio from the night, in which he was filmed animatedly speaking to someone about KPop Demon Hunters. The video has circulated wildly since Sunday and Taylor noted that some people, including herself, have assumed he was speaking to her. Now, KPop Demon Hunters won and my kids' favorite song is ‘Golden,' so I was really excited.” Because of that she assumed DiCaprio was caught on camera talking to her. “But then I watched it and they were doing, like, the lip-read thing,” she added. I knew exactly what K-Pop was because Chase [Infiniti] taught me. So I was like, ‘You can't be talking to me. She confirmed, “So, apparently, he had two KPop Demon Hunter conversations that night. So KPop Demon Hunters was just in his mouth all night… So I had a little friendly jealousy.” Ultimately, though, she said DiCaprio doesn't “even remember who he was talking to.” Kiefer Sutherland Allegedly Asked Uber Driver to Pull Over, Repeatedly, Before Arrest Nick Reiner's Ex-Lawyer Says ‘Something Happened' That Forced Him to Step Down Siblings Who Say Michael Jackson Molested Them Appear in Court to Fight Arbitration Unsettled Debts and Sugar Babies Create Chaos in ‘Euphoria' Season 3 Trailer Taylor joined forces with Lucky Daye to perform “Hard Part,” which appears on her Grammy-nominated album Escape Room. In a review, Rolling Stone called the LP “Taylor's most vulnerable work yet,” adding that it “chronicles the process of navigating grief, trauma, acceptance, and new beginnings.”

Previously released singles “Helicopter” and “Punk Rocky” are also on the album. Unfortunately, there aren't any featured artists listed, so the surprises will wait for special guests until release day. EXCLUSIVE @ONEQUINCE SHIRTHEADS VINYL AVAILABLE NOW,” Rocky wrote when revealing the track list with various posters and vinyl editions. Per a press release, the Harlem native has already sold over 130,000 units ahead of the project landing on DSPs. Pusha T, Three 6 Mafia and Hit-Boy showed Rocky love in his comment section. “Punk Rocky” arrived earlier in January, accompanied by a chaotic music video starring Winona Ryder, which was followed by “Helicopter.” According to a press release, Rocky showcases six alter-egos across the album. It's Rocky's first album since 2018's TESTING, which debuted at No. It's unclear if he plans to tour the album, but Rocky's booked to headline Governors Ball 2026 in New York City on June 7. 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.