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Category: Entertainment

  • ‘Mapogo: The Lion Throne’ Vertical Documentary Series Set at FlareFlow

    ‘Mapogo: The Lion Throne’ Vertical Documentary Series Set at FlareFlow

    COL Group‘s FlareFlow and Singapore-based Bomanbridge Media have teamed on one of the first premium vertical-format documentary series, a wildlife title set to go live on the platform across 200-plus countries in late Q3 2026.

    Unveiled at Owl&Co’s Vertical Media Summit in Los Angeles, “Mapogo: The Lion Throne” was shot over multiple years in South Africa’s Sabi Sands Game Reserve and tracks the ascent and collapse of the Mapogo Lion Coalition – a pride whose members, including Mr. T, Kinky Tail and Makulu, are believed to have killed more than 100 rival lions during their rule and have sustained devoted online followings long after their reign ended.

    Microdrama performer Sam Myerson will narrate the series. Myerson broke out with “Oops, I Married My Bestie’s Brother,” which accumulated 220 million views within 10 days of release on FlareFlow.

    “Narrating ‘Mapogo’ is an incredible opportunity to show how the core elements of a great microdrama are entirely universal,” Myerson said. “The same things that keep fans hooked on microdramas, like intense drama, high stakes, and shifting loyalties, are exactly what make these lions so fascinating. We are bringing that same fast-paced, gripping energy to a new documentary format of microdrama.”

    The project is positioned as the flagship title for FlareFlow’s Vertical 2.0 initiative, which aims to push the platform’s short-form mobile format beyond scripted content and into premium factual programming. FlareFlow currently carries around 5,200 series and counts 33 million registered users across more than 200 countries and territories, with content available in 14 languages.

    Timothy Oh, general manager of international business at COL Group and chief marketing officer of FlareFlow, said: “‘Mapogo: The Lion Throne’ is the perfect story to launch documentary as part of Vertical 2.0 because its emotional DNA already mirrors the very best premium scripted storytelling. This is one of wildlife’s most legendary true sagas, packed with all the betrayal, power, loss and suspense that vertical audiences connect with instinctively.”

    Bomanbridge, which is headquartered in Singapore with an additional office in London, brings a catalogue exceeding 5,700 hours across factual, wildlife, history, lifestyle and scripted genres. The company has recently broadened its footprint in premium natural history through the acquisition of U.K.-based distributor West One International – now rebranded as Bomanbridge West – and a production partnership with German natural history outfit Doclights.

    “The factual genre has always evolved alongside shifts in audience behavior and viewing technology,” said Sonia Fleck, CEO of Bomanbridge Media. “As viewing habits become increasingly mobile-native, we believe the next generation of factual storytelling must evolve alongside them.”

    COL Group is listed on the Shenzhen Stock Exchange’s ChiNext board and is among the earliest companies to develop the microdrama sector in both China and the U.S.

  • Quentin Tarantino Says Post-Pandemic Movies Are Riddled by “Flaws, Miscast Performers or Just Plain Stupid S***”

    Quentin Tarantino Says Post-Pandemic Movies Are Riddled by “Flaws, Miscast Performers or Just Plain Stupid S***”

    Quentin Tarantino is sharing his opinion on the new films coming out as of late, slamming them for the “just plain stupid shit [that] usually torpedoes every new movie coming out of the flavorless sausage factory that used to call itself Hollywood.”

    The Pulp Fiction director penned a new op-ed for Sight and Sound magazine, where he explained that since the pandemic, he can’t seem to find a new movie that he doesn’t “pick to death.”

    “Since the pandemic, for me anyway, it seems almost impossible for a new movie to come out that I don’t pick to death. Flaws, implausibilities, audience pandering, miscast performers or just plain stupid shit usually torpedoes every new movie coming out of the flavorless sausage factory that used to call itself Hollywood,” he wrote. “These days, the entire concept of what is a movie is more inclined to inspire contempt in me than generosity. Which is fair enough, because by comparison the movies of the last six years make the 80s seem like the 30s.”

    Tarantino cited a few films that he’s seen since the pandemic that he’s “liked,” still noting that none have really caught his eye — except for one.

    “I’ve seen movies I’ve liked since then — West Side Story (2021); Horizon: An American Saga — Chapter 1 & 2 (both 2024), a few others, but nothing that really held me in its grip and swept me away to the magical land of enjoyment that I used to visit and was the reason why I loved movies above all artforms,” Tarantino said. “These days I’d rather read a book.”

    The “suspenseful new movie” that self-admittedly grabbed the Oscar winner “and held me for its entire duration” was Joe Carnahan’s The Rip for Netflix, which stars Matt Damon and Ben Affleck.

    “The film is an exciting cop thriller with a novel premise that manages to deliver the goods in really clever ways,” Tarantino wrote of The Rip. “The whole package worked for me: Carnahan’s direction, the splendid cast, the look of the film (courtesy of cinematographer Juan Miguel Azpiroz) — but the real powerhouse component of this splendid collection is the sensational screenplay by Carnahan and Michael McGrale.”

    The Rip recently made headlines as Damon and Affleck’s production company is facing a defamation lawsuit from two Miami-Dade police officers who claimed the movie has caused them reputational damage because its content blends fictionalized details with facts from their real-life experiences.

    As for Tarantino, the director is in the midst of working on his first stage play, The Popinjay Cavalier, which will open on London’s West End in 2027. The show is described as “a rambunctious comedy of deception and disguise inspired by the grand swashbuckling epics of stage and screen.”

  • Comedy Mockumentary “Dave Vs. Hollywood” to Premiere at TCL Chinese Theatre in June During Dances with Films Festival – Film News in Brief

    Comedy Mockumentary “Dave Vs. Hollywood” to Premiere at TCL Chinese Theatre in June During Dances with Films Festival – Film News in Brief

    “Dave Vs. Hollywood,” a new comedy mockumentary from directors Brad Dickson and Daniel Katz, will have its World Premiere at the TCL Chinese Theatre on June 26 for the upcoming Dances With Films: Los Angeles festival.

    Per the official description, “Dave Vs. Hollywood” follows “a struggling actor (Preston Tyler Ward) who moves to Los Angeles without any connections or contacts. After fruitlessly pursuing the traditional route to success, paved with humiliations and indignities, he decides to try a subversive, ‘anything goes’ approach. Are there any depths to which Dave won’t sink in his effort to make it in Hollywood?”

    Vincent Spano, Chloe Paige Flowers, and Eric Roberts round out the cast, with Spano also serving as producer alongside Katz, Gregory Standifer, and Faustus McGreeves.

    Watch the trailer below:

    Wednesday, June 3

    ‘Teenage Sex and Death at Camp Miasma‘ Leads Mubi Fest Chicago Line-Up, Set for July

    Mubi Fest Chicago is returning July 10-12, headlined by a special screening of Jane Schoenbrun’s Cannes-winning “Teenage Sex and Death at Camp Miasma.”

    With screenings held at the Music Box Theatre, the Salt Shed and the Gene Siskel Film Center, this year’s theme is centered around “Better Together.”

    Additional screenings include a preview of “Rosebush Pruning” starring Elle Fanning, Riley Keough and Pamela Anderson, a live score performance of Kelly Reichardt’s “The Mastermind” with composer Rob Mazurek, and a scented screening of the acclaimed body horror hit “The Substance,” along with anniversary screenings of “Popstar: Never Stop Never Stopping” and “Ocean’s Eleven.”

    The Mubi Market will also return to the Salt Shed, bringing new and returning local businesses and an exclusive MUBI merch pop-up.

    Watch the official festival teaser below.

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    ‘Fractured,’ Psychological Thriller Starring Bruce Dern and Julia Ormond, Sets Dances With Films World Premiere

    “Fractured,” a psychological thriller led by Bruce Dern and Julia Ormond and directed by Mädchen Amick, is set to world premiere at the Dances With Films festival.

    The TCL Chinese Theatre screening will take place on Thursday, June 25 at 8:30pm as part of the festival’s 29th edition. Shot entirely in Los Angeles, the film follows a young woman (Elissa Shay) as her ex-boyfriend unexpectedly shows up, triggering childhood memories of her father’s (Dern) traumatic death.

    “’Fracture’ started as a question I needed to answer for myself — and bringing it to the Chinese Theatre, carried by this extraordinary cast and amazing crew, is proof that the stories we’re most afraid to tell are usually the ones most worth telling,” Shay said. “Thanks to Dances With Films for supporting independent film and inviting us to join their prestigious film festival.”

    The cast is rounded out by Anne Dudek, Christopher Redman, Igbal Theba, Jordan Belfi and Tom Franco. Producers include Iris Torres, Penny Edmiston and Chelsey Neders. Jenifer Westphal and Joe Plummer executive produce for Wavelength, along with Shay, Milan Chakraborty and Gayle Pillsbury.

    American Cinema Editors’ ACE Eddie Awards to Return in February 2027 

    The American Cinema Editors’ ACE Eddie Awards will take place on February 6, 2027 at UCLA’s Royce Hall in Los Angeles. The annual event honors outstanding editing in film, television, documentaries, shorts and digital content.

    Submissions for nominations will open on October 1 and end on December 7. Nomination ballots will be sent on December 21 and are due January 7. On January 14, nominations will be announced, with final ballots due on January 25. The eligibility period for all submissions runs from January 1 through December 31.

    “Editing is the invisible art that makes everything else possible, and the ACE Eddie Awards exist to make that work visible,” said ACE President Sabrina Plisco in a statement. “We are proud to bring our community together once again at UCLA’s Royce Hall to honor the editors whose art shapes every story we love.”

    Two Career Achievement awards will be presented, as well as the Golden Eddie Filmmaker of the Year honor. Honorary award recipients will be announced later this year.

    Monday, June 1

    The Academy Launches Global Award Recognizing Exceptional Movie Theaters Worldwide

    The Academy of Motion Picture Arts and Sciences has announced a new global award to celebrate moviegoing and the traditional theatrical experience. The Academy Marquee Theater List is designed to recognize the most remarkable movie theaters around the world and honor the best in exhibition, celebrating theaters that provide “exceptional audience experiences, preserve cinematic history and serve as cultural anchors in their communities.”

    50 theaters will be selected for the first Marquee Theater List in the spring of 2027, including 25 theaters from the United States and 25 international theaters. A committee of Academy members across all branches will select the movie theaters, which will be approved by the Academy’s Board of Governors.

    Eligible movie theaters must be brick-and-mortar theaters that operate year-round. A maximum of 10 theaters operated by the same theater chain or owner may be submitted in a single submission cycle.

    The evaluation criteria for the movie theaters is as follows: community engagement; visual and audio presentation; programming; diversity, inclusion and accessibility; historic significance and preservation; theater design, lighting and conditions; and concessions.

    The application is available now. For more information, visit Oscars.org.

    James Cameron’s Lightstorm Vision Acquires 3D Camera Manufacturer Stereotec

    Stereotec, a manufacturer of precision 3D camera rigs, has been acquired by James Cameron’s Lightstorm Vision, the world’s leading developer of integrated 3D production technology. Stereotec creates the equipment “used on some of the most ambitious stereoscopic productions of the past decade,” per the company. 

    Stereotec’s rigs captured “Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D),” Ang Lee’s “Gemini Man,” “Billy Lynn’s Long Halftime Walk,” the IR-3D rig on “Dune: Part Two” and other Immersive titles for Meta Quest and Apple Vision Pro. For its work in stereoscopic 3D, Stereotec has been awarded twelve Lumiere Awards from the Advanced Imaging Society. 

    “Florian (Dr Maier) and I share a vision for the 3D future, like brothers from another mother. We intend to manifest that vision together through rapid advancement in technology over the next few years. We are both innovators at heart, and take joy in pushing the tech to create beautiful, transformative 3D experiences. As stereoscopic 3D expands in all entertainment media, including sports, music, streaming, and movies, we will remain at the cutting edge and hold the lead as the go-to brand for highest quality and efficient production,” said Cameron in a statement.

  • Sharon Stone Reveals Physical Assault While Being Hit From Behind: “I Didn’t Know How I Got There”

    Sharon Stone Reveals Physical Assault While Being Hit From Behind: “I Didn’t Know How I Got There”

    Sharon Stone has revealed for the first time that she was physically assaulted years ago by an unnamed perpetrator, claiming that a doctor discovered evidence of a “felony” crime during a medical exam.

    During a wide-ranging interview on a new episode of The Person Who Believed in Me podcast hosted by CBS correspondent David Begnaud, Stone launched into the story after detailing how a cancer scare led to the demise of her marriage to newspaper editor Phil Bronstein.

    “I don’t know how much I can tell about this. I was hit from behind,” Stone said. “I didn’t really know until 10 years later what had happened to me because I woke up. I was unconscious on the floor. The two couches were sideways. The coffee table was all over the place. It was sort of upside down. Everything that had been on the coffee table was all over the floor and I didn’t know how I got there.”

    The veteran star said the dramatic scene was brought to her attention a decade later while visiting a doctor. “I went to a clinic because I was having a lot of problems with the back of my neck and my shoulders were so sore and I went to a neck and spine clinic in Marina Del Rey and they had given me propofol and they’d done a lot of X-rays of my front and back and all this stuff. They were going to do some kind of injections into what they thought was arthritis in my neck and shoulders, and they had done all these preliminary x-rays of my thoracic rib cage and my neck and my shoulders and my spine and the doctor came in and he’s like, ‘We’re not going to be able to do this surgery.’ I was like, ‘I don’t know what you’re talking about.’ And he’s like, ‘Your thoracic rib cage is all fractured and scarred back together. It’s clear that you were attacked and that what happened to you was a felony.’”

    Begnaud asked Stone who attacked her, though she declined to reveal a name. “I am not going to say publicly, but I am going to say that we did report and we did do everything,” she noted. “I had the opportunity to press charges, but because it had been a decade and because I’m a public figure, I decided not to.”

    Stone also said that while she believed she had enough “circumstantial evidence to make a case,” she also elected not to pursue charges because she “did not want that to be my legacy.” Begnaud also asked whether she believed it to be domestic violence and Stone said, “I’m not at liberty to say.”

    The reveal was just one of many anecdotes Stone shared with Begnaud while covering her career, the success of Basic Instinct, recovering from a brain hemorrhage and standing up to her abusive father. See the full episode below.

  • Steve Kroft Says ’60 Minutes’ Is ‘Disastrous’ Under Bari Weiss After Scott Pelley and More Fired: ‘This Is Journalistic Interference’

    Steve Kroft Says ’60 Minutes’ Is ‘Disastrous’ Under Bari Weiss After Scott Pelley and More Fired: ‘This Is Journalistic Interference’

    PBS NewsHour reporter Geoff Bennett teased an excerpt from his interview with Steve Croft, in which the “60 Minutes” legend said the direction of the historic news program under the leadership of CBS News boss Bari Weiss was “disastrous.”

    “This is journalistic interference,” Kroft said. “It makes no business sense whatsoever. It’s the highest rated news program on television, and it has been that way for more than 50 years. The audience was up about 9% last year. Why would you mess with that?”

    PBS NewsHour’s entire sitdown with Kroft airs on Wednesday at 4 p.m. PT.

    “60 Minutes” has been under intense scrutiny since Paramount-Skydance CEO David Ellison inserted Weiss as the new head of CBS News. Some have accused Weiss, who lacks experience in TV reporting, of trying to undermine one of the most revered sources of broadcast news with political bias. The drama came to a head in late May after longtime executive producer Tanya Simon and correspondents Cecilia Vega and Sharyn Alfonsi were fired, and former NYT technology columnist Nick Bilton was hired to run the show.

    Just days later, it was reported that “60 Minutes” veteran Scott Pelley lashed out at Bilton during a staff meeting, saying the new executive producer has “slender qualifications for this job.” He also went after Weiss, alleging that she is “murdering ‘60 Minutes’” with her changes.

    Late Tuesday, Bilton released a letter announcing that CBS leadership and Pelley failed to reach common ground, and that Pelley was released from “60 Minutes.”

    “Your antipathy to the future of the show has come through loud and clear,” Bilton wrote. “And I have heard you. I therefore write on behalf of CBS News to inform you that your employment with CBS is terminated effective immediately.”

    Hours later, Pelley fired back with a letter of his own, claiming that “incompetence and unprofessionalism” had “wreaked havoc” on “60 Minutes” for months.

  • TikTok Teams With Sundance Institute for Four-Week Microseries Writing Workshop

    TikTok Teams With Sundance Institute for Four-Week Microseries Writing Workshop

    TikTok and Sundance Institute want to see more creators writing and producing microdramas and other short-form scripted series.

    They’re launching a microseries writing program through Sundance Collab, Sundance Institute’s digital learning and community platform, to support “the next generation of creator-led short-form storytelling for digital audiences.”

    The four-week live online course, to run later this year, will focus on scriptwriting for microseries. The course is being designed to equip creators with the tools, frameworks and “industry guidance” to develop serialized, story-driven content. There will be a limited number of participants selected for the workshop, who will reflect “the broad reach of TikTok’s creator community,” per the companies.

    Applications are now open globally on the Sundance Collab website. Participants can apply on the site at this link through Wednesday, July 1.

    The companies announced the new partnership Wednesday at the Vertical Media Summit, produced by Owl & Co., the media research and consulting company led by Hernan Lopez.

    TikTok got into the microseries content business earlier this year: Issa Rae’s Hoorae Media inked a deal for the exclusive premiere of original microdrama “Screen Time” on TikTok and the PineDrama app. TikTok said the Sundance partnership reflects its “continued investment in microseries storytelling,” while aligning with Sundance Collab’s mission to support the discovery and development of independent artists and audiences.

    “TikTok has become a home for serialized storytelling, where original microseries find audiences faster and more authentically than ever before,” said Dawn Yang, head of entertainment partnerships at TikTok. “Following the success of ‘Screen Time,’ produced by Hoorae Digital, we’ve seen how powerful community-driven discovery can be in helping stories break through, and we’re excited to partner with Sundance Collab in continuing to champion original voices.”

    Patty West, director of Sundance Collab, added, “The microseries format is genuinely exciting to us because its constraints produce exactly the kind of creative pressure that generates the most original work. Partnering with TikTok allows us to bring this opportunity to writers around the world entirely for free, removing the barrier between curiosity and action. We want creators to see this format not as a lesser version of film or television, but as its own distinct craft that is wide open for new voices to define.”

  • Music Industry Moves: Mexico’s Intocable Partners With Primary Wave; Julia Jacklin Signs With 4AD

    Music Industry Moves: Mexico’s Intocable Partners With Primary Wave; Julia Jacklin Signs With 4AD

    Primary Wave Music has announced a partnership with the Grammy-winning Mexican outfit Intocable. Terms of the deal will see the publisher partner with the veteran group on their catalog of music, as well as name, image and likeness.

    Formed in the early 1990s, the group has sold more than 4 million albums, won two Grammys, sold out arenas throughout the Americas and is set to receive a star on the Hollywood Walk of Fame. Songs included in the deal are the hits “Fuerte No Soy,” “Mi Gusta Mi Vida,” “Sueña,” “Te Amo (Para Siempre),” “Si Me Duele, Que Duela,” and “Un Poquito Tuyo.”

    “We’re excited to partner with Primary Wave and begin this new chapter together,” said Ricky Muñoz. He continues, “Their vision, passion for music, and commitment to preserving artistic legacy make them the perfect team to help us continue expanding the reach of Intocable’s music for generations to come.”

    Intocable was represented in the deal by Jeremy Rosen, Oscar Carrasco (manager), Diana Zapata (catalog manager), and Alex Hartnett (lawyer).

    + Australian singer-songwriter Julia Jacklin has signed with 4AD, the company announced this week. Jacklin has won two ARIA Awards, toured with Mitski and Lana Del Rey, and played multiple festivals, from Glastonbury to Newport Folk to Primavera.

    In tandem with the announcement, Jacklin unveiled tour dates for North America and Europe, launching in October in San Diego and reaching into next year.

    + Merlin, the digital music licensing partner for the world’s top independent labels and distributors, has announced a series of senior promotions across its Partnerships division.

    Leading the promotions is Emma Robinson’s elevation to vice president of partnerships. She joined Merlin in 2018 from the communications agency Name PR.

    The company has also elevated Shannon Bradley to director of commercial partnerships in New York; Alice Moss and Daniele Yandel to directors of partnership operations in Berlin and New York, respectively; and Simon Marcel to manager of partnership operations in London.

    Charlie Lexton, CEO of Merlin said, “These promotions recognize a group of executives who have played an important role in strengthening Merlin’s partnerships and operational capabilities during a period of rapid change across the digital music landscape. As the digital ecosystem continues to evolve, from AI and social platforms through to new rights management challenges, investing in the people helping our members navigate that complexity remains a key priority for Merlin.”

    + United Talent Agency has signed country artist Josh Weathers for global representation in all areas. UTA will work to secure opportunities across live touring, media, filmed entertainment, brand partnerships, and more.

    The signing comes as Weathers is in the midst of his “Life Still Happens Tour,” which follows his latest project “Neon Never Fades,” released earlier this year. The singer is represented by Adam Hale at One Twenty One Management.

    + Hawaii-based singer, songwriter, guitarist, and surfer Hendrix Frankenreiter has signed with Severance Records in partnership with Big Loud Rock, launching the partnership with the single “Wanna Go.”

    “I’ve spent the last year working on a lot of new music, and ‘Wanna Go’ felt like the right song to start this next chapter,” shared Hendrix. “Getting to release it with Severance / Big Loud Rock has made it even more exciting.”

    “Every artist we sign to Severance has a distinct voice, and from the moment I saw Hendrix Frankenreiter perform at the Peppermint Club in LA, I knew his was unmistakable,” said Severance Records President Steve “Stevo” Robertson. Big Loud co-founder and president of Big Loud Rock Joey Moi added, “Hendrix is an undeniable talent who perfectly balances laid-back energy and sharp songwriting in his music.”

    + Creative production agency Killian + Company has named Shauna Alexander senior vice president of strategy and business development, the company announced this week.

    Alexander joins Killian + Company from her most recent role as VP of bizdev at Empire, where she led brand partnerships and experiential initiatives tied to the Super Bowl, NBA All-Star Weekend, and Grammy Week. Earlier, she held leadership roles at SoundCloud, the Fader and Moog.

    Founder Joe Killian says, “Shauna’s industry experience and entrepreneurial approach to brand strategy and storytelling make her the perfect extension to our dynamic team of creative marketers. We’re excited to see how we can continue to grow as an agency and expand our services with the knowledge, connections, and culture-driven lens that Shauna brings to the table.”

    + Sunita Kaur has been named President, Asia, for Universal Music Publishing Group, chairman & CEO Jody Gerson announced this week. Based in Singapore, Kaur will oversee the company’s operations across the continent and will report to Gerson. Previously, she was Executive-in-Residence at Singapore Management University and held senio roles at Twitch, Spotify, Facebook, Microsoft and Forbes.

    Gerson said, “Asia represents one of the most exciting and important regions for the future of music publishing, and I’m thrilled that an executive of Sunita’s experience and depth is joining UMPG to lead our continued growth in the region. She has a deep understanding of the evolving digital landscape and the opportunities it creates for songwriters, and her leadership and relationships across the region will be invaluable as we continue supporting and championing the next generation of songwriters.”

    UMPG COO Marc Cimino added, “Sunita brings to the company an exceptional combination of strategic insight, operational experience and deep relationships across the region. Her experience working across both music and technology gives her a valuable perspective on how our business is evolving, and she is exceptionally well positioned to lead this next phase of our work across Asia. I’m proud to welcome her to the UMPG leadership team.”

    + Warner Music has named Jean-Sebastien “Seb” Permal as senior VP of A&R, EMEA and Central Europe. In this newly-created role, Permal will lead all domestic frontline activity across the recently expanded Warner Music Central Europe and its domestic labels across Germany, Switzerland, Austria, the Netherlands and Belgium.

    Permal will also spearhead A&R strategy, artist discovery and signings, and strategic partnerships.

    Permal joins Warner Music from Sony Music, where he most recently served as VP of A&R for Continental Europe and Africa.  He reports to both Simon Robson, President, Warner Music EMEA, and Niels Walboomers, President, Warner Music Central Europe.

    Robson said, “Seb is a world-class A&R executive who pairs an intuitive ear for talent with a sophisticated grasp of the cultural nuances shaping today’s global market. With Seb’s leadership, we’re perfectly positioned to amplify our artists’ reach and connect them with audiences on a truly global scale.”

    + L.A.-based management and representation company the Familie has named Kenny Hamilton as senior VP of growth and strategy. Most recently, Hamilton led CSH Management Group, representing artists including Rotimi, Inayah, and Grammy-winning songwriter and recording artist Dixson, as well as tennis professional Taylor Townsend. Previously he worked as road and tour manager for global superstar Justin Bieber under the SB Projects umbrella, as well as roles at Beats Music and Apple Music.

    “Throughout his career, Kenny has consistently identified opportunities before the rest of the industry catches up,” said Familie founder-CEO Steve Astephen The. “He’s built meaningful relationships across music, entertainment, technology, sports, and culture, and brings a modern perspective on talent representation that aligns perfectly with where we’re headed as a company.”

  • Tom Holland Once Said Playing Spider-Man in His 30s Would Be Bad, but Now Reveals ‘I Could’ve Been Trying to Leverage Sony’ for a Better Deal: ‘A Strategy to Create Fear’

    Tom Holland Once Said Playing Spider-Man in His 30s Would Be Bad, but Now Reveals ‘I Could’ve Been Trying to Leverage Sony’ for a Better Deal: ‘A Strategy to Create Fear’

    Tom Holland made headlines in 2021 when he told GQ magazine that “if I’m playing Spider-Man after I’m 30, I’ve done something wrong.” Well, not only is Holland officially 30 right now but he’s also got a new “Spider-Man” movie, “Brand New Day,” opening in theaters July 31 and does not have any immediate plans to stop playing the web-slinger. So is Holland eating his words? Not exactly.

    “It’s funny, I saw that quote pop up somewhere recently and I kind of reeled, because I was trying to remember what I meant,” Holland recently told GQ magazine for the publication’s summer cover story on Christopher Nolan’s “The Odyssey” adaptation.

    “I think the point of it is that I would love to pass the baton on, and I haven’t achieved that yet,” the actor explained. “It’s definitely something that we talk about a lot at the studio. So maybe I need to change the quote to 37. I could also have been trying to leverage Sony and scare them into thinking I wasn’t going to do ‘Spider-Man 4’ now that I had a new deal on the horizon. So I don’t know what it could have been. It could’ve been part of a strategy to create fear.”

    Holland concluded, “I think the truth is that playing Spider-Man has been the joy of my life. I now kind of stand on the plinth of like, I’ll do it for as long as they’ll have me.”

    Over the years, Holland has played a main role in the workings of his ‘Spider-Man” movies. He called on Sony Pictures to delay the production of “Spider-Man: Brand New Day” so that he could act in Christopher Nolan’s “The Odyssey,” and he made a personal plea to Disney’s CEO Bob Iger in 2019 in which he cried over the phone while asking Disney and Sony to reach a new deal to keep his Spider-Man in the Marvel Cinematic Universe.

    “Tom reached out to folks who worked for me, ‘Could I please have Bob’s email address or phone number?’ Of course I’m very protected and they were very careful,” Iger said at the time. “I said, ‘Sure, have him contact me.’ And he did. We spoke. Basically he made a… he cried on the phone… it was clear that he cared so much and actually we care a lot about him. He’s a great Spider-Man. I actually felt for him, and it was clear that the fans wanted this to happen. So after I got off the phone with him I made a couple of phone calls to our team at Disney Studios and then I decided to call the head of Sony and I said, ‘We gotta figure out a way to get this done.’ For Tom and for the fans. And we did. That’s how it happened. He called me and I called them.”

    Head over to GQ magazine’s website to read “The Odyssey” summer cover story in its entirety.

  • Michelle Visage on Hopes of ‘RuPaul’s Drag Race’ Reclaiming Emmys Dominance and Why the RuPaul Biopic “Needs to Happen”

    With 18 mainstay seasons, the release of the 11th All Stars installment and the franchise’s first feature film on the way, there’s never been a busier time in the RuPaul’s Drag Race universe. 

    RuPaul’s Drag Race wrapped its 18th season in April, where Myki Meeks was crowned America’s Next Drag Superstar. It didn’t take much longer (three weeks, to be exact) before Paramount+ premiered the first two episodes of RuPaul’s Drag Race: All Stars, where 18 queens from the show’s past returned for a second shot at the crown. 

    To add to the franchise’s plate, World of Wonder, the Emmy-winning production company behind all things Drag Race, and Bleecker Street are gearing up for the June 12 release of Stop! That! Train!, the first film to hail from the show’s universe. The movie is led by RuPaul (of course) along with a pool of Drag Race alums. 

    But to celebrate the mainstay series’ 18th season, as Emmy voting is about to kick off, The Hollywood Reporter attended an FYC event hosted Sunday on the set of the series. As buzz around Stop! That! Train! continues to grow, THR asked Michelle Visage and RuPaul’s makeup artist David Petruschin (aka Drag Race season two runner-up Raven) about one film that’s bound to be made eventually: the RuPaul Charles biopic. 

    “Oh, I think that’s destiny. It needs to happen,” Visage, who serves as a judge and executive producer of RuPaul’s Drag Race, told THR. “We’ve talked about it for the past 30 years. It needs to happen.”

    Michelle Visage attends RuPaul’s Drag Race season 18 FYC Event.

    Jesse Grant/Getty Images for MTV

    When asked when the potential project could come out, Petruschin says, “I think it’s already been in the works. But as far as curating it and getting together, I don’t know. But yeah, that should happen.”

    Visage and Petruschin are shoe-ins to be featured in the film, as the Drag Race Down Under host has been a dear friend and collaborator of RuPaul’s since the ‘80s and the former Drag Race contestant became his makeup artist in 2017. 

    So who should play them in the biopic? Petruschin isn’t so sure yet, but knows “they’d have to have a fierce tan.” As for Visage, she’d like to portray herself, but if that’s not an option, she offers a few leading women as potential options.

    “I think about that a lot, and I feel like Reneé Rapp would be a good person to play me. Julia Garner could be a good me, even Miley Cyrus,” Visage says. “Depends on what age we’re going for here, kids.” 

    The “tougher cast,” Visage notes, will be pinpointing a performer to portray the Queen of Drag. Both Visage and Petruschin agree that either an actor or drag queen could take on the part of RuPaul, but the role should end up going to “whoever is good at the job.” 

    “I can’t remember who he said wanted to play her,” Petruschin teases. 

    Mia Starr, Kenya Pleaser, Myki Meeks, Discord Addams and Mandy Mango attend RuPaul’s Drag Race season 18 FYC Event.

    Jesse Grant/Getty Images for MTV

    The original RuPaul’s Drag Race series has long been a powerhouse at the Emmys, with a whopping 29 awards (and 79 noms) under its belt. The show was the resident reality competition program winner in recent years, before The Traitors began its dominance in 2024. 

    Visage says Drag Race snatching back that title with the upcoming Emmys cycle would be “a statement without saying it’s a statement.” 

    “I think it would be a championship in a way that voices are being heard without saying things. It’s a statement without saying it’s a statement, do you know what I mean?” Visage said of the show reclaiming its reality competition Emmys win. “Especially with what’s going on in the political climate. But, we are grateful just being in that class of people that we’re in; being nominated, being included, being thought of is truly an honor. We spread the love. We’re still celebratory, but if we did [win], it’s definitely a ‘We’re not going anywhere’ type of statement.” 

    The Traitors is RuPaul’s Drag Race‘s key competitor at the Emmys — RuPaul won the reality host award for eight consecutive years before Alan Cumming won the title in 2024, as did the main show in the reality competition category from 2018-2023 (with a one year break in 2022 when Lizzo’s Watch Out for the Big Grrrls won).

    Visage is very busy judging the main and All Stars iterations of Drag Race, also serving as a judge on the UK vs. the World spinoff and serving as host of Drag Race Down Under (and its upcoming spinoff Down Under vs The World). 

    But that doesn’t mean she’s entirely written off appearing on RuPaul’s Drag Race’s biggest awards competition. 

    “Would I ever do The Traitors? I would love to be a Traitor,” Visage says when asked if she’d partake in the Peacock show. “But I fear that, if I did, people would automatically assume that I was a Traitor. But then, I said, Lisa Rinna was a Traitor. Bob the Drag Queen was a Traitor. Boston Rob was a Traitor — and if they didn’t think he was a Traitor, then, um, you never know!”

    Michelle Visage, Myki Meeks, Nick Murray, Tom Campbell, Michael Jacob Kerber, Raven, Gus Dominguez, Jamie Martin, Natasha Marcelina, Jamal Sims and Jen Chu speak onstage during RuPaul’s Drag Race season 18 FYC Event.

    Jesse Grant/Getty Images for MTV

  • Sean “Diddy” Combs May Face Sex Assault Case as L.A. Prosecutors Review Publicist’s Claims

    Sean “Diddy” Combs May Face Sex Assault Case as L.A. Prosecutors Review Publicist’s Claims

    Imprisoned rap mogul Sean “Diddy” Combs could soon face additional legal jeopardy as he serves a 50-month prison sentence at a New Jersey federal facility, after the Los Angeles District Attorney’s Office confirmed it is reviewing sexual assault allegations made by a Hollywood publicist to authorities in Florida last year.

    On Tuesday, the office led by Nathan Hochman confirmed Combs is the subject of a probe in L.A. The investigation stems from allegations of sexual battery made by publicist Jonathan Hay, who filed a report in September 2025 in Largo, Florida, just before Combs’ sentencing and after his federal trial ended in a split verdict. The case was referred to L.A. authorities because the alleged incidents occurred there in 2020 and 2021. In September 2025, the L.A. County Sheriff’s Department said Hay’s accusations were being reviewed by its Special Victims Bureau.

    The two alleged incidents of sexual battery occurred during moments when Hay was alone with Combs while working on remix sessions involving Christopher Wallace, the late rapper Notorious B.I.G.’s son. Hay, present that day as part of a photo shoot, claims the 2020 incident involved Combs masturbating into a shirt belonging to the late Notorious B.I.G. Combs, he claims, “removed the shirt to uncover his penis and told Hay to come finish him off.” According to Hay’s account, Combs then ejaculated and threw the shirt at him.

    Hay alleged that in 2021, Combs forced him to perform oral sex. He stated that he had suicidal ideation after the incident.

    The L.A. County District Attorney’s Office said prosecutors are now evaluating evidence submitted by local investigators; no charging decision has been announced.

    Hay told CNN he had contemplated coming forward roughly 10 months before Combs’ girlfriend of a decade, singer Cassie Ventura, filed the civil case that eventually helped trigger last summer’s federal trial — and which Ventura settled for $20 million the day after it was filed.

    Hay’s allegations first surfaced in a civil suit filed anonymously in July against Combs, Wallace, and others, in which Hay claimed they “conspired” with the powerful mogul to “allow or assist in Combs’ ability to carry out” the alleged sexual battery. Wallace responded with a defamation suit against Hay, claiming Hay was upset that music recorded in 2020 was never released by the Notorious B.I.G.’s estate.

    Responding to the D.A.’s office decision this week, Hay said in a statement that he is pleased the case is moving forward.

    “Standing as a survivor of the actions involving Sean Diddy Combs and Christopher CJ Wallace, I view the validation of my accounts by the LAPD and the Los Angeles County District Attorney’s Office as a critical juncture,” he said. “This development represents a substantial advancement in my pursuit of complete accountability. Justice is prevailing.”

    Combs has denied the allegations in Hay’s suit and all other claims against him. In addition to this potential L.A. indictment, he faces roughly 70 civil complaints related to his alleged conduct over the years, most involving claims of drugging and sexual assault.

    Combs and Ventura, who have not been a couple for nearly a decade, are named together in one of those cases. Sex worker Clayton Howard, whom the couple allegedly hired, claims abuse by both Ventura and Combs. Howard alleges in his complaint that he impregnated Ventura during a drug-fueled encounter and contracted a sexually transmitted infection after participating in a “freak-off” with the couple.

    In a declaration requesting that Howard’s legal action be transferred from L.A. to New York, Ventura revealed she has left the country, stating: “I am not a resident of the State of California. I reside outside of the United States. I do not intend to move back to the United States.”

    Ventura has also filed a countersuit against Wallace, denying his claims.

    In July, a jury found Combs guilty of two federal counts of transportation to engage in prostitution; he was acquitted of the more serious charges of racketeering and sex trafficking. In October, he was sentenced to 50 months in prison, which he is serving in New Jersey while his attorneys appeal the case.