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The U.S. men’s national hockey team made headlines over the weekend when it defeated Canada 2-1 in the gold medal final at the Winter Olympics, and now, Nike has dropped a new line of merch to commemorate the occasion.
The U.S. men’s win marked the first Olympic gold medal for an American hockey team since the now-legendary “Miracle on Ice” victory by the U.S. over their Soviet opponents in the 1980 Winter Olympics. That win of course, went on to inspire the 2004 film, “Miracle,” starring Kurt Russell.
Now, Nike has dropped a limited-edition line of apparel to celebrate the new Olympic champs, including New Jersey Devils forward Jack Hughes, who scored the overtime-winning goal over the Canadians in Milan.
NEW RELEASE
USA Hockey Nike 2026 Winter Olympics Gold Medal Roster Club Fleece Hoodie
The collection includes this officially-licensed hoodie features a “USA Gold” emblem on the front along with the USA Hockey shield and Nike logo. The back of the hoodie features the names and numbers of all the players on the men’s Olympic team.
The hoodie is Made in the USA from a cozy cotton blend with a regular fit. Choose from sizes small to 2XL.
NEW T-SHIRT
USA Hockey Nike 2026 Winter Olympics Gold Medal Core T-Shirt
Get the same gold medal-winning graphic on this unisex T-shirt, which is also Made in the USA from a 100% cotton material. The T-shirt also comes in navy, though unlike the hoodie, the back does not feature the roster names. Choose from sizes small to 2XL.
WOMEN’S HOCKEY PICK
USA Hockey Nike Unisex 2026 Winter Olympics Gold Medal Fleece Hoodie
Of course, the U.S. women’s hockey team also took home gold in Milan and Nike has released this white hoodie commemorating their win. The gold graphics on the front of the hoodie also include the “USA Gold” tagline only with the words “Women’s Olympic Champions” instead of “men’s.” You can get the same design in a white T-shirt here.
Nike says the pieces “honor the U.S. Hockey team’s historic win,” with new graphics “printed across the chest so you’ll never forget their triumphant efforts. Secure this celebratory piece today and relive the glory of the U.S. Hockey team’s golden moment for years to come.”
ALSO CONSIDER
USA Hockey Outerstuff 2026 Winter Olympics Heart of Gold T-Shirt
Looking for something a little different? Fanatics also has this unisex T-shirt from Outerstuff, which depicts the silhouette of a hockey player against the American flag. The Team USA Olympic logo also features prominently in the design.
JACK HUGHES MERCH
Jack Hughes USA Hockey 2026 Name & Number T-Shirt
And you can pick up an official Jack Hughes Team USA T-shirt, which celebrates the young hockey hero whose overtime goal lifted the the States to their first Olympic gold medal since Lake Placid. This one is an officially-licensed release from Nike.
LIMITED QUANTITIES
Jack Hughes Team USA Autographed 2026 Winter Olympics Gold Medal Winner Photograph
This photo measures 8 x 10 inches in size and includes an individually numbered hologram that can be verified online to certify authenticity
You can find more USA Hockey gold medal merch including autographed pucks, posters and other collectibles at Fanatics.com. One thing that may be harder to find: official Team USA Nike hockey jerseys, which sold out online in the days following the Americans’ big Olympic win.
AMC Theatres is offering a new perk to its loyalty program members: Customers who pay a monthly fee for A-List or Stubs Premiere will get priority access to the best seats in the house.
The program is expected to launch in 2026, the company’s chairman Adam Aron on Tuesday’s earnings call. This change comes three years after AMC tested (and then abandoned) Sightline at AMC, a ticket pricing initiative based on seat location within the auditorium.
“Later this year, AMC will introduce preferred premier seating, where we will block and reserve the best seats in the house in our theaters to be accessed first only by our A-List and our Stubs Premiere members — that’s the 2 VIP tiers within our Stubs program — at no added charge at AMC,” Aron said during the call. “We will assure the best seats in our auditoriums are held, at first anyway, for our best customers.”
In 2025, AMC raised the price of Stubs A-List to $27.99 per month in New York and California and $19.99 to $25.99 per month elsewhere in the country, depending on the state. That fee allows patrons to see up to four movies every week in any format. Premiere costs $17.99 a month.
“We think it will be a considerable consumer benefit that our most frequent guests will notice and greatly appreciate, further cementing their brand loyalty to AMC,” Aron added.
Earlier this week, AMC Theatres reported a 10% decline in attendance during the end of 2025 as the chain’s quarterly revenue dropped to $1.28 billion, down 1.4% from the year prior.
“AMC is exceptionally well positioned to capitalize on a recovering box office,” Aron said. “And as I have said many times before, the not-so-secret formula to a full box‑office recovery is straight forward, we need more great movies from our studio partners.”
Focusing on college basketball‘s perennial Cinderella team, sportsdocumentary feature Gonzaga: The Slipper Still Fits is set to debut as a Tubi Original on March 6, The Hollywood Reporter has exclusively learned. Director David Check’s feature marks the second project hailing from the FAST platform’s partnership with Teton Ridge Entertainment, following Tubi’s launch earlier this month of women’s college basketball documentary The Moment.
Gonzaga: The Slipper Still Fits centers on how head coach Mark Few turned the small college program into a national powerhouse that became a regular contender in the NCAA Division I men’s basketball tournament known as March Madness. The film includes interviews with such prominent figures as Few and Steve Kerr, along with Gonzaga alums John Stockton, Adam Morrison, Chet Holmgren, Andrew Nembhard, Jalen Suggs and Domantas Sabonis.
Thomas Tull produces the movie that hails from Teton Ridge Entertainment and Words and Pictures. Jillian Share, Josh Miller, Connor Schell, Jonathan Hock, Libby Geist, Alexa Conway and Angela T. O’Neal serve as executive producers. Negotiating the deal were Miller and Jessica McCourt for Teton Ridge Entertainment and Ian Nelson for Tubi. The trailer can be seen below.
“We’re thrilled to expand our partnership with Teton Ridge Entertainment with Gonzaga: The Slipper Still Fits,” says Tubi senior vp of content acquisitions and partnerships Sam Harowitz. “The Gonzaga story resonates beyond the court and has the power to shape culture, and we’re proud to bring Coach Few’s remarkable legacy to our audience with this compelling documentary.”
The film’s title references announcer Gus Johnson exclaiming, “The slipper still fits,” after a key win during Gonzaga’s 1999 March Madness run. The Bulldogs were the runner-up in the national championship games of 2017 and 2021.
Adds Teton Ridge Entertainment president Share, “At Teton Ridge Entertainment, we look for stories that reveal something bigger about who we are. We saw that in Gonzaga — a program built on grit, humility and an unshakable belief that where you come from doesn’t define where you end up. Working with Tubi, we’ve created a documentary that captures that spirit.”
Paramount Skydance leaders steered clear of any discussion of the company’s latest bid to acquire Warner Bros. Discovery as it unveiled fourth-quarter 2025 earnings report on Wednesday that reflected declines in the company’s core linear TV business but momentum for Paramount+ and other streaming platforms.
CEO David Ellison and Paramount president Jeff Shell fielded questions from Wall Street analysts about the company’s fourth quarter results, which marks the first full quarter that studio has been owned by Ellison.
Ellison said flatly that Paramount’s film slate “underperformed” in 2025. Ellison and Shell were pressed about the potential for the NFL to trigger its option to renegotiate its TV rights deals starting in 2029. And Ellison told analysts that he is bullish on streaming’s ad-supported FAST channel sector, and that Paramount eventually will invest “10x” in engineering talent as part of the revitalization plan for the studio.
Dennis Cinelli, Paramount’s newly appointed chief financial officer, addressed the 2026 projection for Paramount Pictures’ film business as having a down year overall compared to 2025 despite having more theatrical releases on deck. Paramount said it expects to have 16 theatrical releases this year, compared to eight in 2025.
“We do expect the actual revenue to decline. We’ve been very clear overall that we’re in a real rebuild phase of that business. As we execute that rebuild, we’ll see some of that come through in 2026, but mostly that will come through in future years. And so even with the actual revenue dropping down, we do expect better cost management as well as benefits from our licensing deals to drive studio profitability up,” Cinelli said.
Ellison’s Skydance Media took over Paramount Global last August. “We inherited a slate that has underperformed. We’re going to see significant improvement in the profitability of the film slate this year,” Ellison said.
Pressed for examples of how the new regime is executing its plan to use technological upgrades to drive operating improvements at the more than 100-year-old studio, Ellison pointed to changes already made but he indicated that there is much more to come.
“When you look at the engineers that we have at the company currently, you can expect us to kind of 10x the size of the headcount that we are basically investing towards this,” Ellison said. “We really want to be in a position where we can be a leader in the industry in terms of how this transformation is shaped.”
Ellison and Shell were grilled about the growth and profit forecasts for the Paramount+ streamer. Ellison also made a point of endorsing the company’s Pluto TV platform that serves up dozens of free ad-supported streaming television channels (aka FAST) around the world.
“I am a big believer in in the FAST space. When you really look globally, FAST is something that is only going to grow in importance. And when you look at the signs that are also really encouraging on Pluto is that we are seeing engagement grow,” Ellison said. “The headwind we’re facing is really monetization, and we’re doing several things to correct that. And while Pluto has always been a leader in the FAST space — it’s a profitable platform — but it was from our perspective under-invested in by the previous owners and managers, both in a content standpoint as well as from a product standpoint.”
As for the NFL, Shell projected confidence that Paramount’s CBS would remain a cornerstone of the league’s distribution strategy for games for many years to come. The NFL has the right to re-negotiate deals that were sealed in 2021 and stretch out through 2033. Shell pointed to the power of the regionalization that CBS allows for with NFL coverage on Sunday with its AFC package, much as Fox does with its NFC package for Sundays. If the NFL restarts the contract, the price is expected to be astronomical.
“We feel pretty confident we’re going to be in business with the NFL for a long time, and we have properly accounted for what we expect to be whatever impact of that negotiation in our kind of internal forecast going forward,” Shell said. “One of the unique things about our relationship with the NFL, and I would actually say it’s probably somewhere to Fox’s relationship with the NFL is the anchor of their flywheel and the anchor of their reach is really the reach of both CBS and Fox on Sunday afternoons. That reach, which has really helped contribute for both of our benefit to the success of the NFL, is by our vast array of both owned and operated stations, of which we have 28, and affiliates. It’s important that those games get regionalized, and that we aggregate that viewership and maximize the viewership in each market for the best game, both for us and Fox, and that accrues to the benefit of the NFL and to us and really maximizes the reach on any given Sunday.”
[This story contains spoilers from season two, episode five of Cross, “Climb.”]
For those who have read the more than 30 James Patterson books on homicide detective and forensic psychologist Alex Cross, Cross aficionados will know that one of the protagonist’s best friends — and eventual greatest enemy — was an FBI agent name Kyle Craig.
But in the Prime Video series Cross starring Aldis Hodge as the titular Cross, the Kyle Craig character is reimagined. Instead of a male archenemy, Kyle is gender-flipped into a competitive law enforcement agent named Kayla Craig, who is played by Alona Tal. She is still an FBI agent, but much has changed and for Tal, she wouldn’t have it any other way.
“When we first meet Kayla in season one, she’s there in the capacity of an assistant in the main storyline,” Tal tells The Hollywood Reporter of this new iteration of Craig (who first appeared in season one). “She’s someone who Cross finds as a good confidante and good part of the team to help support him in his journey to figure out who the killer is in season one. She provides invaluable help, access to information they don’t have and the ability to help him solve certain things because she has a lot of the same abilities that he does in the profiling world.
“Then in season two,” she continues, “I get a lot more runway to explore who Kayla was in her past, and a little bit more into the question of who she is now. She is extremely ambitious, extremely successful in her field. She is a woman who is very driven who very much understands that in order to achieve what she wants with her career, she has to put herself first. And she talks about it. She’s not in a relationship. She tried and it didn’t work. She understands sacrifices and is learning to understand the meaning of repercussions of choices.”
In season one, Craig did not want a relationship. She found her sexual release from being an FBI field agent by getting into bed with Cross’ pal, Det. John Sampson (Isaiah Mustafa). But in the third episode of season two, “Feed,” Cross and Craig, who have been longtime associates, begin seeing each other differently. In the episode, Cross, Sampson and Craig discovered a truckload of children being trafficked in Texas, while tracking the movements of a disciple-like follower of serial killer Luz (Jeanine Mason). Lincoln Esteban (Rene Moran) traveled down there to take photos at the rendezvous location when he was captured by Cross and his team.
After the arrest, Cross and Craig decided to go out to a local Western bar to have some “stress shots.” That’s when the two law enforcement officers drink and dance up a storm, and the tune of a slow country song strips away their inhibitions. The two passionately kiss on the dance floor, and end up drunk at Craig’s motel room door. She tells Cross goodnight, but leaves the door open. He accepts the unspoken invitation.
If you ask Hodge who has caught more feelings, he will wager on Alex Cross.
Alex Cross (Aldis Hodge).
Prime Video
“Cross, even if he is not fully aware, presumably is about to lose the love of his life,” Hodge told THR about the breakup with season one love interest Elle (Samantha Walkes). “He has to deal with that. He’s in a stage of grief. And with Kayla, there is obviously some familiarity and history. I think based off of the friendship, he felt safe enough to engage. It was a safe place for him to grieve and deal with what he was going through at the time. But, in the interim, his true love still rested with Elle.”
Cross creator, showrunner and writer Ben Watkins breaks down those heated moments between Cross and Kayla.
“From the writing perspective, we looked at it like we intentionally set up a chemistry between them, but a chemistry that was built out of appreciation of a shared obsession with getting inside the minds of killers and hunting down people,” says Watkins, who also plays FBI Assistant Director Roy McElhannon. “They have a shared appreciation of each other’s brilliance. And what we did in season two was set a situation up where that chemistry turns into something physical, and we were very specific about how that happens.”
Watkins points out that Cross is struggling about being on the outs with Elle, and also in the midst of a “high-stakes, very emotional and pressurized case, and a hunt for a killer,” he says. “In the aftermath of a chase and a shootout and rescuing some kids, that’s when they actually cross the line into something physical. We thought that was really important because it asked these questions about what happens when you’re in different emotional states, and what do you need and what do you cling to? And when it happens, is it real or is it something of the moment? It’s like a war-zone relationship.”
The new relationship, or fling, between Cross and Craig gets even messier as the season progresses. In this week’s fifth episode, viewers learned more of Craig’s backstory. Earlier in the season, Craig was tasked with discovering a person known as Mastermind who holds dark secrets about her that could derail her career and potentially send her to prison. This week, Craig’s serial killer C.I., Bobby Trey (Johnny Ray Gill), discovers video footage from years back of a lab experiment with a U.S. military soldier who was drugged and ends up killing himself. When the technician in the lab coat turns around to face the camera after the soldier dies, it appears to be Craig. Bobby Trey is about to end Craig’s life over the video footage, but she convinces him that the image is not her, and a deep fake created to frame her.
“That was so horrendous — that she knew about those experiments,” Tal adds. “She was involved, but she wasn’t involved, like the deepfakes are trying to make it seem. That’s them trying to frame her. And that’s what she’s trying to prove. There’s a bigger story here. There’s a bigger reveal later.”
Kayla Craig (Alona Tal).
Prime Video
Craig is in a precarious situation trying to uncover who is trying to frame her while these new feeling are developing between her and Cross. She’s just as strong-willed as Cross and wants to be in control, and have the lead on the case they are working on. But she can’t lean on Cross and tell him about her side issues.
In episode five, “Climb,” when Cross decides to meet with Luz privately against Craig’s wishes, Craig has a feeling that her new lover may be putting his life in danger. Her instincts are right, as Donnie tries to kill Cross. Yet Craig has Bobby Trey trail the detective and ultimately saves his life in the episode. But meeting with an alleged serial killer by himself without her is also grating on Craig’s nerves.
“It’s not safe, she doesn’t know enough,” says Tal. “And he is going around to take the lead, after she warned him not to do it. He can’t help himself, and she gets annoyed with that. She’s also conflicted because she trusts Alex, but doesn’t want to give him full rein because that goes against his ego.”
If Cross gets a third season, Tal believes there will be questions that need answering after the forthcoming finale.
“I was told by one of the writers [initially for this season], ‘You have no idea. Whatever you think you’re doing, you have no idea,’” Tal recalls. “What I hope to see is that there will be a reckoning and repercussions to what happens at the end of our season. When alliances change and choices are made, I would like to see that there has to be a series of consequences. I would like to know more about my character, and what this means in the world we live in.”
***
Cross is now streaming the first five episodes of season two on Prime Video.
SAG-AFTRA leaders are laying into Nexstar for conducting sweeping layoffs at local television stations across the country, saying the action demonstrates the dangers of media consolidation.
Local L.A. station KTLA, Chicago station WGN and WPIX in New York have all reportedly been impacted by the cuts. In L.A. alone, anchors Glen Walker and Lu Parker and meteorologist Mark Kriski have been swept up in round the layoffs, The Los Angeles Timesreported. SAG-AFTRA claims that eight union members have been laid off at Chicago’s WGN.
Leaders of the performers’ union, which represents local TV journalists, went on the offensive about the layoffs on Wednesday. “By laying off journalists across the country, Nexstar is eroding the resources and talent that local communities rely on for trusted news,” union president Sean Astin said in a statement on Wednesday. “These actions highlight the risks of media consolidation and underscore the urgent need for regulators and the company to prioritize the public interest and the professionals who serve it.”
The Hollywood Reporter has contacted Nexstar, the largest television station owner in the U.S., for comment.
Nexstar is currently in the process of attempting to consummate a $6.2 billion merger with rival station owner Tegna. With his remarks, Astin appears to be flagging regulators to consider the deal closely, even as Federal Communications Commission chairman Brendan Carr has previously signaled support for the transaction.
SAG-AFTRA, meanwhile, is presently negotiating several labor agreements with Nexstar stations. “At the table, Nexstar is pushing to gut severance pay and insert onerous provisions into the union contract that limit workers’ ability to freely negotiate the terms of their own employment,” SAG-AFTRA claimed in its press release.
The union’s chief negotiator vowed to get his members a good deal in those ongoing negotiations. “SAG-AFTRA will not stand by while the future of local news is put at risk,” said SAG-AFTRA national executive director Duncan Crabtree-Ireland. “We will continue to fight for strong agreements that protect journalists and the audiences who rely on them every single day.”
Kotb does not plan to rejoin the program full time, this person says, noting that Guthrie is expected to return to “Today” on her own timeline, even though her absence may continue for a significant period.
Guthrie has been absent from the show since the start of the month. Her mother, Nancy, has been missing since January 31.
Kotb, who left the program in early 2025, has remained under contract to NBC since that time. She has taken part in a podcast as well as NBC’s annual telecast of the Macy’s Thanksgiving Day Parade, while making occasional appearances on “Today” hours. Kotb was originally supposed to attend NBC’s Winter Olympics coverage in Italy along with Guthrie and other “Today” personnel, but those plans were scaled back after Nancy Guthrie disappeared.
Kotb’s decision to stay offers a viable solution for NBC and “Today” producers. She’s already affiliated with the show, and adding someone new to the mix during such a difficult moment could be ill advised The introduction of someone new to fill in more regularly for Guthrie — even on an interim basis — could alienate viewers, who have a years-long relationship with her and don’t want to see her treated poorly, particularly under duress.
When Kotb announced her decision to exit in 2024, she cited a desire to spend time with two young daughters. “I realized it was time for me to turn the page,” after a recent 60th birthday, she told colleagues on the program. She noted that she had children later in life and that “they deserve a bigger piece of my time pie that I have.”
Kotb had been at NBC News since 1998, when she joined as a correspondent for the “Dateline” newsmagazine. She arrived at NBC after logging years at CBS affiliates in Florida and Louisiana. But she gained a wider profile after joining a fourth hour of “Today” in 2007 that typically airs at 10 a.m. At first, Kotb was one of group of personnel assigned to the show, but within months was paired with Kathie Lee Gifford, a veteran of the syndicated ABC program “Live” who held her own for years opposite Regis Philbin.
Suddenly, Kotb was talking about her dating adventures with Gifford. being satirized on “Saturday Night Live” and sharing more of her personal life than than a journalist might expect. “It used to be you could host a morning show, even the 7, and not really reveal too much. And I think everything has changed now. I think now part of entering into this world, you have to reveal things. Because people expect so much more,” Kotb told Variety in 2014. “They don’t know whether to love you or not if you don’t share anything and sometimes you have to go beyond. I feel like I’ve gone beyond what I’m comfortable with.”
“Trump Deranged Robert De Niro [is] another sick and demented person with, I believe, an extremely Low IQ, who has absolutely no idea what he is doing or saying — some of which is seriously CRIMINAL!” Trump posted. “When I watched him break down in tears last night, much like a child would do, I realized that he may be even sicker than Crazy Rosie O’Donnell, who is right now in Ireland trying to figure out how to come back into our beautiful United States.”
“The only difference between De Niro and Rosie is that she is probably somewhat smarter than him, which isn’t saying much,” the president continued. “The good news is that America is now Bigger, Better, Richer, and Stronger than ever before, and it’s driving them absolutely crazy!”
Trump’s latest rant encouraged De Niro to get on a boat and leave the country with Reps. Ilhan Omar (D-MN) and Rashida Tlaib (D-MI), both of whom walked out of Trump’s State of the Union address before it was over and shouted at him in disapproval.
“When you watch Low IQ Ilhan Omar and Rashida Tlaib, as they screamed uncontrollably last night at the very elegant State of the Union, such an important and beautiful event, they had the bulging, bloodshot eyes of crazy people, LUNATICS, mentally deranged and sick who, frankly, look like they should be institutionalized,” Trump posted. “When people can behave like that, and knowing that they are Crooked and Corrupt Politicians, so bad for our Country, we should send them back from where they came — as fast as possible. They can only damage the United States of America, they can do nothing to help it.”
During his interview with Nicole Wallace, De Niro said Trump is “destroying” America, adding: “It’s sick, it’s fucked up. We have to save the country.”
“People have to resist, resist, resist, resist, resist. That’s the only way,” De Niro said. “There’s no magic. There’s no nothing – people are not going to go away, even if Trump dies for some reason by having an illness or something,” he said at one point. “Parts of that movement are still there, and that’s the scary part. It has to be neutralized by the people.”
In the video released by SNL, the 26-year-old is seated across from Marcello Hernández and Ashley Padilla when Hernández mentions how great Storrie’s Russian accent was in Heated Rivalry. “I actually do all kinds of accents,” Storrie bashfully tells the cast members, causing James Austin Johnson to challenge the actor to an accent duel.
Hernández and Padilla call out a slew of accents for Storrie and Johnson to showcase, with the Heated Rivalryactor trying out his German, French, “bad” Shakespeare, Shrek, and of course, Russian accents. “When you get to hell, tell them Rozanov sent you,” Storrie says in the trailer, a callback to his Heated Rivalry character, Russian hockey player Ilya Rozanov. The duel ends with Storrie excitedly claiming his victory and Johnson “dying” from the duel.
Storrie is set to make his SNL debut on Saturday (Feb. 28) alongside musical guest Mumford & Sons. The hosting gig, announced last month, is the latest in a long string of appearances for Storrie and his co-star Hudson Williams since the queer Canadian hockey drama took off at the end of 2025. Last month, Storrie, who has signed with CAA, and Williams served as torchbearers ahead of the 2026 Olympic Games and presented at the Golden Globes.
The actor has is in talks to join the ensemble cast of Molly Gordon and Allie Levitan’s A24 comedy Peaked. If the deal makes, Peaked will mark the first post-Heated Rivalry role for Storrie. Levitan is also a writer on SNL.
Heated Rivalry, hailing from Canadian streamer Crave and airing on HBO Max in the U.S., centers on a fictional hockey universe based on books by Rachel Reid. The show focuses on two rival professional players — Canada-born Shane Hollander (Williams) of the fictitious Montreal Metros and Russia-born Ilya Rozanov (Storrie) of the fictitious Boston Raiders — as they navigate a near-decade-long situationship-turned-relationship.
James Cameron’s return to Pandora with “Avatar: Fire & Ash” meant big business for Imax. Revenue at the exhibition technology company climbed 35% to $125.2 million for the fourth quarter of 2025, compared to $92.7 million in the year-ago period. The company said that the third “Avatar” film, which Cameron urged moviegoers to see in Imax, drove record box office for the quarter, contributing $112 million in ticket sales to become Imax’s highest grossing Hollywood film.
However, net income for the quarter shrank 64% to $2.5 million, down from $6.9 million in the same period in 2024. Imax also reported adjusted earnings per-share of 58 cents, compared to the 27 cents per-share it logged a year earlier. Included in the results is $22 million of one-time charges, including $15 million for the repurchase of over 99% of convertible notes due 2026.
Movie theaters have struggled to regain their popularity since COVID shut down the sector more than five years ago. Yet Imax has continued to draw crowds with filmmakers like Cameron, Christopher Nolan and Denis Villeneuve all using the company’s cameras to shoot their blockbusters. Looking ahead, Imax said it is targeting a record $1.4 billion in global box office in 2026, citing Nolan’s “The Odyssey” and Villeneuve’s “Dune: Part Three,” both of which were filmed using the company’s technology, as big draws. The company also predicted that upcoming releases such as “The Mandalorian and Grogu” and “Project Hail Mary” will play well on its screens.
“We believe we are far from our peak, but rather, in a period of evolution and growth,” Imax chief Richard Gelfond told analysts on an earnings call. “With superior immersive technology and unmatched scale, Imax is the premiere global platform for blockbuster content. And blockbuster content continues to grow in importance across the ecosystem. The world’s greatest filmmakers, studios, even streamers — are leaning into blockbuster theatrical releases, as drivers of IP and value throughout the chain. As this trend accelerates, Imax becomes an increasingly valuable player. We’re the only game in town with a global platform, content portfolio and well-recognized brand.”
