Category: Entertainment

  • Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    Donie O’Sullivan Says He’s Not Worried About Humanizing Extremists: “They’re Human”

    You’ve got to be either a saint or a masochist — maybe a little of both — to try to explain American partisans these days. Seek out figures on the far left or far right, after all, and you’ll get either criticism for snarking (from that side) or blowback for platforming (from the other side).

    Of course such work is essential at a moment when too many of us listen only to our allies. That’s where the sainthood comes in. 

    All of this forms the unique, admirable and I-still-wouldn’t-want-to-be-him professional role of Donie O’Sullivan, the Millennial CNN reporter who travels around the county earnestly-wryly talking to hardcore figures on all sides, who have a noticeable tendency to open up to him. (That recently included an hourlong Hasan Piker-focused special on the Democrats’ insurgent left and a shorter package this week on the Minnesota gubernatorial candidacy of MAGA hero Mike Lindell on the Trumpian right.) In a time of echo chambers, O’Sullivan is both anomaly and antidote. He’s also a legacy journalist in an influencer world, its own Rubik’s Cube.

    As an intense primary season comes down the homestretch — key races testing the far left and far right unfold both in Minnesota and Wisconsin Tuesday — O’Sullivan seems particularly well-positioned to document where he thinks the country is going. Not to mention describe what it’s like to hurl yourself into the spray with every segment. So The Hollywood Reporter hopped on a Zoom with the Ireland-born journalist to ask how he thinks America is doing, and what it’s doing to him. 

    You’ve covered extremism for a whole bunch of years now. How much more extreme is it in 2026?

    I have been covering the fringe for a long time, and what strikes me as we head into the midterms is what was considered fringe on the left and right is now often part of a prominent debate in both parties. On the right you see what Tucker Carlson and Marjorie Taylor Greene are doing, mounting an insurgency of their own. And you have that on the left too, which we’ve seen in some of the primary races. But I also think we have to be careful not to make a false equivalency between the parties. I often see Hasan Piker in the same breath as Nick Fuentes and people who do that aren’t taking the time to listen to either. A lot of speech on the far right is motivated by blatant antisemitism. Fuentes is saying Jews = bad. Endlessly. Unapologetically. If you listen to Piker he makes the point that ‘I’m not antisemitic I’m anti-Zionist.’ Some will argue the effect is the same. But I find fringes on the left really go to great lengths to try and separate Jews and Judaism from Israel. 

    Certainly both sides do seem to be capitalizing on the same sense of disaffection with government.

    That’s what’s so striking — the similarities. I spend a lot of time talking to people on the left and spend a lot of time on the manosphere and in both feel people like the system is not working and want to do something about it. A lot has been exacerbated by feeling alone and on social media; that’s something I feel very there-but-for-the-grace-of-God about too, by the way. We’re up against trillion-dollar industries of algorithms and so it’s easy to fall into rabbit holes, whether it’s a conspiracy theory or just outrage.

    You’ve seen that up close so many times — what’s an example of where that rabbit-holing really turned ugly, in your opinion?

    A lot of young people think that what Luigi Mangione is alleged to have done is not that bad. An innocent man was assassinated walking in the streets of New York, and so it can be hard to understand that. But we should talk to those young people and find out why they don’t think it’s bad. Don’t let being offended by someone’s opinion stop you from talking to them. Because their opinion is not going to change. And I’m personally not interested in changing anyone’s opinion. But I’m a believer in hearing things and sharing things. I even think that about January 6 — there was a lot of disillusion and disaffection. Vigilante justice is not what we should be dong of course. But we should listen to why people feel the need for it.

    Do you get how some people can see that as problematic? That there is a legitimizing effect when you have someone with outlandish theories or dangerous grievances on CNN?

    That’s one of the biggest question on my beat, the platforming. And there are certainly cases where we don’t want to just amplify. But the mainstream media is no longer the gatekeeper of information, which means that a Hasan Piker or a Tucker Carlson have millions of people listening to them already. And the question is whether we can be part of the conversation beyond soundbites or just sit it out and do a disservice to audiences. I’ll choose the conversation. We also have the resources to fact-check these spaces, and I think that gives us a responsibility to cover them.

    Do you think that makes a difference for all the people down the hole? Not rhetorical — genuinely asking.

    I’m overwhelmingly pessimistic. But I do see an opportunity where journalism can shine if we adapt. We did an episode on someone who went down the rabbit hole, a liberal woman in the Bay Area. And it started with concerns about vaccines and soon she got pulled into homophobia and transphobia and racism and antisemitism. All kinds of horrific things. And she came out of it, and realized so much of what she was thinking about vaccines was colored through this terrible lens. So I think it can happen.

    Your job is listening to people you don’t agree with. It’s not a role most people in this country seek out. What makes you do it?

    The thing I’m most interested in in the world is having those difficult conversations. That’s what’s going to get us out of the dark situation we’re in.

    You undertake this job at great risk to yourself. I know most journalists don’t want to be the story but the threats you get online are pretty eye-popping. Does it ever get easier? Do you still get scared?

    I like to think I’m calm about it but this is easier said than done. The first time the full Twitter mob is on you it’s very scary. There’s doxxing, among many other things. I’m definitely in a space now where I’m fine with it. I speak to young journalists sometimes and my advice is that hate on social media is just part of the job now. I wouldn’t suggest anyone getting this business if they want to do impactful reporting and think that won’t be there. Not just covering extremism — covering anything.

    Do any coping techniques help? Besides touching grass.

    [Laughing] That definitely helps. Just getting offline. But a lot of it is I keep a point of being in touch with a lot of the subjects of our stories. Not everybody is happy of course but I do hear a lot that I was fair to them and that helps a lot. I want to be fair to them even if they’re not always going to be fair to us.

    It does seem like a can’t-win situation — someone will always be mad. Which I know people say means you’re doing your job right but it also means that you’re doing your job unhappily?

    The stuff I get in the most trouble on the internet is the stuff that in a way is most important. With this episode on the insurgent left we spoke to Hasan Piker and we spoke to James Carville. Just a really big story. And of course part of the left attacked me for speaking to Piker at all, and then people attacked me for speaking to Carville at all. They’d even cut up clips so that it looked like we were only talking to them. But we worked really hard to give everyone a hearing. [Ed note: Piker, at least, was happy with the segment, telling his livestreaming audience as he watched the special, “Donie’s the man. The Irish guy. He’s very cool, in spite of the fact that he’s at CNN.”] And that’s something we should be doing more of, as a profession, giving everyone a hearing; that’s the job of a journalist. To get beyond the tables in New York and DC and the Acela car to hear what a lot of different people think. 

    One proof of that is Lindell. Not someone whose election conspiracy theories I or many of us agree with. And yet I came away from your segment kind of liking the guy, someone who has a great backstory as a former addict who pulled himself up by his bootstraps and genuinely seems affable. You can almost forget all the dangerous stuff he’s spouting to Donald Trump’s glee. But of course we shouldn’t forget that, especially as he stands a good chance today of becoming the Republican nominee for governor of Minnesota.

    Lindell is a very likable person and I do think unlike a lot of the MAGA guys who don’t believe the shit they’re saying he truly does believe what he’s saying. But is also doing a lot of dangerous and frankly dumb stuff. But the goal is to understand people. Someone on social media will say ‘why are you humanizing this person?’ To which my response is ’they’re human.’ And dehumanizations are the reason we’re in such bad shape today. I haven’t had the opportunity to interview Nick Fuentes one-on-one yet but from the unguarded moments I’ve seen he’s a terribly insecure, sad Gen Z person and we should show that.

    Is that the end goal then? Understanding not just the ideology but the humans behind it?

    I think the goal is helping us run a society. Our job as a country is to change the [feeling of disaffection] and give people a system of government that actually feels like it’s doing someone for them. That makes them become engaged instead of just cheering on violence. That’s what we’re trying to do on-air.

    And that makes them feel like the other side is not out to get them.

    Totally. You know, one thing that comes up a lot is the viewers who disagree with who I’m interviewing will say ‘you made someone look like a fool’ and then viewers who agree say ‘he sounds smart.’ Their reactions can  say a lot more about them than they do the subject.

    What about from the subjects themselves  — you say they feel you’re fair but you do challenge them in the moment and you certainly do in the voiceover later. Plus there’s the fact that you’re from CNN. Do you get a lot of pushback from them?

    I think a lot of people want to be heard and want to talk. I’ve interviewed supporters of election-denial claims who say ‘I don’t agree with you but thank you for having the conversation with me.’

    How do all your reporting excursions leave you feeling about our prospects as a functional society? Is there hope for reconciliation or not really? Do people want nuance?

    I think we’re in a bit of trouble. [Gives a knowing-bitter laugh].  But I think people do want nuance. You’ve seen that with the success of podcasters like Joe Rogan or Lex Fridman. People will listen to hours of a discussion. Rogan is so meta — he’ll go back to ancient civilizations and then even talk about alien civilizations. And so many other podcasts too. A lot of the conversations are dumb and uninformed, yes. But there’s still an appetite.

    But that’s a form of algorithmic engagement too, isn’t it, following one singular leader because he knows how to press the conspiracy-theory button or get us outraged?

    I think that’s right but what this interest also shows is that there’s a huge opportunity for journalists to have these longform conversations too. Because a news organization that comes in to take advantage of this [appetite] has also done their research and anticipated questions and is preparing for pushback.

    You’re more optimistic than I am that what people want is fact-based, clarity-minded journalism. It feels to me too often that it’s more attractive for people to get mad and reductive.

    That’s the challenge of a big outlet: how do we create stuff that’s compelling and gives the space to have these conversations and maybe even can go viral, but isn’t conspiracy theory or just tawdry. I don’t know that we can completely avoid all of that. But I think we can get closer. It’s all a question of quantity. We don’t do a story [on extremists] every single day, nor should we. But also when we discuss these things, let’s really discuss them.

    Give me a prediction on where this all goes, particularly on the left. Are we really witnessing a sea change? Or is this something that rhymes more with 2018, where there’s a Democratic insurgency midway through Trump’s term and then it dies down two years later when he’s gone from office.

    The big difference between now and 2018 is that the left has a massive independent media and infrastructure that keeps getting bigger. Pod Save America and Hasan Piker and everything in-between. The MAGA-verse has had this kind of scale for a decade, and look at what it did for them. Now the left has it. I think two years from now when we’re in the middle of presidential debates the effect will be huge. I don’t think it’s settling anytime soon.

  • Dave Matthews Band Announces 2026 Fall Tour Dates

    The Dave Matthews Band has announced its 2026 Fall Tour, which will kick off on November 4 at Kohl Center in Madison, WI. The U.S. headline run will include shows at Nashville’s Bridgestone Arena, United Center in Chicago, CFG Bank Arena in Baltimore, and Amica Mutual Pavilion in Providence, concluding with a two-night-stand at Madison Square Garden.

    General on-sale for tickets begins on Friday, August 21, at 10 AM (local venue time).

    The band will resume its summer tour on August 28 with the first of two shows at Fiddler’s Green in Greenwood Village, Colorado. The extensive outing will conclude with Dave Matthews Band’s traditional Labor Day weekend residency at the Gorge Amphitheater in George, WA. The supporting acts for the weekend will be Infinity Song and Stephen Wilson Jr. (Friday), Jonah Kagen and Watchhouse (Saturday) and Sierra Hull and Jesse Welles (Sunday).

    Named as a U.N. Environment Goodwill Ambassador in 2019, Dave Matthews Band has a long history of reducing its environmental footprint, going back to its first shows in 1991. This fall, the band will continue its partnership with Live Nation venues to further minimize the environmental footprint of its tour. 2026 marks the third year of the “On The Road To Zero Waste Tour,” which achieved a milestone of over 90% of fan-generated waste at Live Nation venues composted, recycled or donated in previous years. Dave Matthews Band will once again join forces with environmental nonprofit Reverb, celebrating 21 years of partnership focused on making the music industry more sustainable and fan-driven action more measurable.

    In 2026, Dave Matthews Band continues its long‑standing support of The Nature Conservancy’s global reforestation efforts. Seven years strong, this work is rooted in a simple belief that healthy forests help create a healthier planet. With this year’s tour, the band will have planted a total of 7 million trees by the end of 2026. These trees help rebuild critical forests that clean our air and water, provide habitat for wildlife, and support a more stable climate for future generations. Learn more about this work with The Nature Conservancy at dmbtrees.org.

    DAVE MATTHEWS BAND FALL 2026 U.S. TOUR DATES

    11/4               Madison, WI                        Kohl Center

    11/6               Nashville, TN                       Bridgestone Arena

    11/7               Chicago, IL                          United Center

    11/9               Providence, RI                     Amica Mutual Pavilion

    11/10             Baltimore, MD                     CFG Bank Arena

    11/12             New York, NY                      Madison Square Garden Arena

    11/13             New York, NY                      Madison Square Garden Arena

  • WNBA Trailblazer Sheryl Swoopes on How Roku’s ‘Gamechangers: Mother/Athlete’ Documentary Spotlights That Balancing Act

    WNBA Trailblazer Sheryl Swoopes on How Roku’s ‘Gamechangers: Mother/Athlete’ Documentary Spotlights That Balancing Act

    The Roku Originals documentary, “Gamechangers: Mother/Athlete,” made its world premiere at the 24th annual Martha’s Vineyard African American Film Festival (MVAAFF) on Sunday afternoon. The intimate film is part of Roku’s “Gamechangers” series and follows WNBA stars Sheryl Swoopes, Skylar Diggins-Smith, Bria Hartley, Natalie Achonwa and Allison Feaster as they reflect on the joys and challenges of navigating pregnancy, postpartum and motherhood as professional athletes. 

    “I think as viewers, as a public, we often see our athletes as heroes. They’re also human beings, and they’re dealing with a lot of the same day-to-day issues that we deal with,” director Christine Turner told me during a Q&A following the screening. As a storyteller and as a filmmaker generally, it’s always my hope and my goal to tell the stories of complex, multifaceted, multidimensional individuals. It’s important because everyone out there needs to see and understand that.”

    Swoopes, who was the first woman to sign on to play in the WNBA during its inaugural season in 1997, got pregnant just ahead of the league’s first year. In the documentary, she reflects on how terrified she was to share her pregnancy with her team and with the public.

    “There was a part of me that was like, ‘Everybody is counting on me. There’s no way I can get pregnant right now,’” Swoopes said. “At the same time, I have to say it wasn’t my plan, but it was done. And so that’s what I took from that. And listen, I just tried to do the best that I could do.”

    It’s been nearly 30 years since the WNBA was established — funded by the NBA. However, in “Gamechanges: Mother/Athlete,” Swoopes and the rest of the players discuss the lack of resources, particularly regarding their maternal welfare. For nearly three decades, it’s been up to these women to figure out their schedules, finances and everything in between during their pregnancies and thereafter with little guidance or support from the organization. The WNBA did not offer fully paid maternity leave until 2018.

    “I hope people come away with a greater appreciation of what Sheryl and so many other women in the league have done and gone through,” Turner said. “It’s incredibly hard, and it’s admirable and inspiring. I hope we get a better window into the issues women in the league and professional sports are facing. And then I hope that audiences can also just relate to something of themselves or their partner or their loved ones, their mothers or whatever.”

    Motherhood and career are always going to be a balancing act, but it certainly can be done. For Swoopes, it’s all about embracing everything that comes with it.

    “So many times, though, we get caught up in everything else going on around us that we don’t stop to concentrate and focus on ourselves mentally, physically, emotionally, all these things,” Swoopes said. “The first thing I would say is make sure you’re taking care of you before you take that next step. But the other part of that is, for myself, I didn’t plan. It just happened. And when it happened, I embraced it after I had to do all the other things. I would just say make sure you’re ready when it happens. And never question whether the decision you made was right or wrong. You live with that decision, and you make the most of it.”

    “Gamechangers: Mother/Athlete” will stream free on The Roku Channel this fall.

  • Spotify to Start Labeling AI Artists

    Spotify to Start Labeling AI Artists

    Spotify has announced a new feature intended to label AI artist profiles on the platform, one of the company’s most significant moves to date as the streamer looks to offer users more transparency about AI content on the service.

    “AI Personas,” as Spotify is calling the tool, will begin to roll out in mid-September, Spotify said on Tuesday, working as a badge that will appear on the mobile app on artist profiles, as well as in search and on track rows on playlists.

    “Listeners have been clear in telling us that they don’t like seeing an artist profile that seems human, only to find out that the persona is AI-generated,” the company said on Tuesday. “That’s why, starting mid-September, you’ll begin to see an AI Persona badge on some artist profiles. The badge signals to listeners that an artist’s identity may be AI-generated and does not represent a real person. Alongside artist profiles that self-disclose as AI Personas, we will also start applying badges to relevant profiles.”

    While the feature will roll out in September, starting today, artists have the option to disclose if their profile is an AI persona. Notably though, Spotify isn’t stopping at voluntary labeling, saying that “we hope artists will be transparent, so we are giving them the opportunity to disclose, but we won’t rely on self-disclosure alone.”

    The company said it would review and label artist profiles that meet a certain number of listeners and “whose public identity” on their profile “appears to represent photorealistic AI-generated identities.” Spotify’s AI personas badge will specify whether the artist self-identified as AI or if Spotify had to review itself. Artists who Spotify labels as AI will be given an opportunity to either self-disclose or appeal the determination.

    Spotify also said that users on the platform will be able to report artist profiles they believe may be AI as well, though the company didn’t give specifics on when that feature would roll out.

    The badge is specific to the artist profiles themselves, Spotify said, “not about how the music was made.” This seems to mean that if a recording artist’s profile reflects who they actually are, they won’t face any required labeling on their content, even if it’s an AI-generated song. Some of the AI acts who’ve generated headlines in the past several years though, like Xania Monet or Breaking Rust, may have their profiles labeled with the AI Persona badge.

    Spotify said that by default, it won’t include any artists labeled as AI Personas in its editorial or algorithmic recommendations.

    “While we believe all artists have creative choice in determining how they present themselves, Spotify’s programming is focused on elevating music from authentic artists building careers in music,” Spotify said.

    This isn’t Spotify’s first initiative with labeling AI content on the platform. Earlier this year, Spotify rolled out a beta on AI credits on songs, though the disclosures are dependent on if the artist chose to include the information.

    Spotify’s announcement comes as the music industry overall continues to explore how to handle AI music. Some services such as Bandcamp decided to outright ban AI music on the platform. Last month, a coalition led by the RIAA and IFPI had pushed streaming services to adopt labels for songs similar to how explicit music is currently labeled. The major record labels also called on the chart organizers around the globe to disqualify AI slop tracks from being included.

  • Ari Emanuel’s Mari Acquires Broadway and West End Theater Owner ATG Entertainment

    Ari Emanuel’s Mari Acquires Broadway and West End Theater Owner ATG Entertainment

    Ari Emanuel’s Mari has signed a deal to acquire Broadway and West End theater giant ATG Entertainment.

    The financial terms of the agreement, which sees Mari acquiring the theater owner from private equity firm Providence Equity were not disclosed, but the deal size has been pegged at $6 billion.

    This gives the live events company a larger foothold in the theater space, after it acquired ticketing company TodayTix in October 2025 shortly after Mari itself was launched. The transaction is still subject to regulatory approvals. But once closed, the plan is for ATG to continue under its existing brand and leadership and “retain its commitment to creative independence,” according to the release.

    The acquisition marks a major shakeup of the Broadway landscape, which rarely sees theaters change hands, as the historic Shubert Organization owns the majority of Broadway theaters, with 17 of the 41 total, and the long-standing Nederlander Organization owns nine. ATG is the third largest theater owner, with seven theaters, after it acquired a majority stake in Jujamcyn Theaters in 2023 (the last major big theater deal). Reports of a possible ATG deal surfaced in June.

    In addition to Broadway, where ATG also owns the Lyric Theatre, home to Harry Potter and the Cursed Child, the theater group has 10 theaters in the West End, including the Lyceum, home to long-running hit The Lion King and the Savoy Theatre, home to box office hit Paddington the Musical. In total, the company owns, operates or programs 70 venues across Britain, the U.S., Germany, Austria and Spain.

    The current Mari portfolio includes the tennis events, the Miami Open and Madrid Open, Frieze art fairs and car auction company Barrett Jackson. Emanuel is also CEO of TKO, home to the WWE and UFC, and executive chairman of WME Group.

    “I’ve spent my whole career in entertainment, and I started out in theater. I’ve seen the industry reinvent itself many times, but live has only grown more powerful. Nothing connects great talent with audiences more directly. ATG has built one of the world’s great theater businesses around that experience. This is a long-term bet on where live goes next,” Emanuel said.

    Providence Equity partners acquired a majority stake in ATG for about $500 million in 2013, from Exponent Private Equity.

    Sonia Friedman, a prominent West End and Broadway producer behind shows such as Paddington and Harry Potter and the Cursed Child and a producing partner of ATG Entertainment, praised the deal, saying the investment should help ensure the sustainability of the industry and bring in new artists.

    “As a producer, I have always believed in the power of live theatre to bring people together, challenge perspectives and create unforgettable shared experiences. Our industry has always needed partners prepared to think long term, invest with confidence and support creativity with real ambition. What I find compelling about MARI is its breadth of experience across live events and its respect for creative independence. That combination gives us the chance to champion bold new work, reach broader and more diverse audiences and strengthen the future of live theatre for generations to come,” Friedman said in the release.

  • Marina Signs With UTA in All Areas (EXCLUSIVE)

    British singer-songwriter and pop diva Marina (formerly Marina and the Diamonds) has signed with United Talent Agency for global representation in all areas, encompassing touring, media, filmed entertainment, brand partnerships, and more.

    The signing comes as the Welsh-Greek singer is slated to wrap her 40-plus-date “Princess of Power” tour, in support of the album of the same name, about which Variety wrote, “She’s maintained a steady presence over the years, but her new album, ‘Princess of Power,’ is something very different — a sound and image redefinition and revitalization that seems defined by a lyric from the title track that goes ‘I’ve been living life locked up in tower/ But now I’m blooming like a flower.’ The album is filled with deliciously pulsating electronic rhythms and hilarious and risque lyrics that contrast startlingly with her intentionally mannered, arch singing style, which can vault suddenly into a sky-scraping soprano.” The album marked her first release as an independent artist via her own label Queenie Records in partnership with BMG.

    The tour included dates at Radio City Music Hall in New York, the Greek Theatre in Los Angeles, Alexandra Palace in London, two shows at the Pepsi Center in Mexico City, as well as the Coachella, Lollapalooza, Austin City Limits, Outside Lands, Governors Ball, and Bonnaroo festivals. 

    Marina launched her career in 2009 and saw major chart success in the U.K., with 2012’s “Electra Heart” debuting at No. 1 and “Froot” and “Love + Fear” both making the top 10.

    Marina is represented by Janelle Lopez Genzink, Bianca Nour, and Merce Jessor at Volara Management.

  • Netflix Sets Premiere Date, Drops First Look for Raunchy Catholic School Psychodrama ‘The Body’

    Netflix Sets Premiere Date, Drops First Look for Raunchy Catholic School Psychodrama ‘The Body’

    Netflix has dropped the first look at its new teen psychodrama The Body, which is set to be released in November.

    The streamer dropped a slew of stills from the eight-episode show, which follows a dance troupe at a Catholic school. Quinn Shephard created the series, which she says is a love letter to ‘90s and Y2K teen movies like Carrie and Jennifer’s Body. Kristina Bogic, Sara Boustany, Geena Meszaros, Nnamdi Asomugha, Louisa Krause, Shirley Chen, Jackson Kelly, Sofia Wylie and The Traitors alum Gabby Windey star in the series.

    The Body’s logline reads, “After a dance-team initiation gone wrong, a group of badly behaved Catholic school girls begin having prophetic visions that set off mass hysteria in their town.”

    Shephard told Netflix’s Tudum that she’s “always been interested in the idea of girlhood as a religious experience.” She added, “This story is definitely my way of putting a playful spin on all the nightmares of my own teenage-dom. Tonally, I would describe the show as gritty camp. It’s a raunchy teen psychodrama with a dash of Catholic horror.”

    Kyra Pierce, Phallon Pierce, Marcel Ruiz, Orlando Norman, Ashley Madekwe, Motell Foster, Cale Ambrozic, Anna Tierney, Chloe Longname, Sarah Abbott, Emily Roman, Michela Luci, Bella Neuspiel, Julia Lowe and Christine Solomon round out the cast.

    “I was also a teen with an embarrassingly intense fixation on The Crucible and the Salem witch trials,” Shephard said. “It’s been very interesting to revisit that with the shading of our current political climate.”

    Shephard serves as showrunner and directed the first episode. Executive producers include Peter Chernin, Amy Israel and Josh Stern for North Road; Riley Keough, Gina Gammell and Sacha Ben Harroche for Felix Culpa; and Blair Breard.

    The Body drops on Netflix on Nov. 11. Take a peek at first-look photos below.

    Nnamdi Asomugha as Father Samuel Franklin and Sofia Wylie as Grace in episode 101 of ‘The Body.’

    Netflix

    Julia Lowe as Blair, Michela Luci as Amy, Sarah Abbot as Olivia, Shirley Chen as Maddie, Kristina Bogic as Anya, Sara Boustany as Elise, Bella Neuspiel as Katie, Emily Roman as Claire, Kyra Pierce as Bailey, Phallon Pierce as Brit and Gabby Windey as Coach Miller in episode 101 of ‘The Body.’

    Netflix

    Geena Meszaros as Lisbeth and Jackson Kelly as Leo in episode 101 of ‘The Body.’

    Netflix

    Marcel Ruiz as Tyler and Orlando Norman as Steven in episode 101 of ‘The Body.’

    Netflix

    Gabby Windey as Coach Miller and Kristina Bogic as Anya in episode 103 of ‘The Body.’

    Netflix

    Louisa Krause as Catherine in episode 104 of ‘The Body.’

    Netflix

    Kristina Bogic as Anya and Sara Boustany as Elise in episode 101 of ‘The Body.’

    Netflix

    Geena Meszaros as Lisbeth in episode 102 of ‘The Body.’

    Netflix

    Motell Gyn Foster as Michael Franklin and Nnamdi Asomugha as Father Samuel Franklin in episode 105 of ‘The Body.’

    Netflix

  • Netflix Teen Thriller ‘The Body’ Sets November Release Date, Drops First Look Photos (TV News Roundup)

    Netflix Teen Thriller ‘The Body’ Sets November Release Date, Drops First Look Photos (TV News Roundup)

    Netflix has officially set the release date for “The Body,” which draws inspiration from ‘90s and Y2K teen movies such as “Carrie” and “Jennifer’s Body.”

    Created by Quinn Shephard, a group of unholy Catholic school girls start to have prophecy-like visions that send their town into a panic after a dance-team initiation takes a turn for the worse. 

    The eight-episode series will release on the streaming platform Nov. 11 with Kristina Bogic (“Playing Gracie Darling”) as Anya Butler, Sara Boustany (“PEN15”) as Elise Zakaria, Geena Meszaros (“The Order”) as Lisbeth Anderson, Nnamdi Asomugha (“The Knife”) as Father Franklin, Louisa Krause (“King Kelly”) as Maddie Delaney, Jackson Kelly (“The Pitt”) as Leo Anderson and Sofia Wylie (“The Map That Leads To You”) as Grace Franklin. 

    Recurring cast members include Kyra Pierce, Phallon Pierce, Marcel Ruiz, Orlando Norman, Gabby Windey, Ashley Madekwe, Motell Foster, Cale Ambrozic, Anna Tierney, Chloe Longname, Sarah Abbott, Emily Roman, Michela Luci, Bella Neuspiel, Julia Lowe and Christine Solomon. 

    Shephard also serves as showrunner and director. Executive producing are Peter Chernin, Amy Israel and Josh Stern for North Road; Riley Keough, Gina Gammell and Sacha Ben Harroche for Felix Culpa; and Blair Breard.

    See first like photos below.

    Courtesy of Netflix

    Courtesy of Netflix

    Courtesy of Netflix

    Courtesy of Netflix

    CASTING

    Netflix has announced new additions to the cast of “The Sticks,” the official title for the hockey series created by Nick Naveda. 

    Series regulars include Scott Bakula (“Quantum Leap”) as Coach Brody Hansen, Logan Marshall-Green (“Marshals”) as Coach Sully and Alex MacIsaac (“The Social Reckoning”) as Emma Boone. 

    The newly announced recurring characters features Bryan Greenberg (“Emily in Paris”) as Cliff Barnes, Chelsea Field (“NCIS: New Orleans”) as Alice Hansen, Patrick Gallagher (“Big Sky”) as Principal Montgomery, Alison Araya (“Riverdale”) as Joan Garcia, Aman Smardon (“Allegiance”) as Kai Becker, Krista Bridges (“Narc”) as Frankie Ryder and Ben Cotton “(The Night Agent”) as Mr. Marchbanks. 

    After a tragedy rocks a small hockey town in Minnesota, “a grieving wife steps behind the bench of the team her husband built, guiding a found family of wounded young athletes through a season of loss, love and rivalry that will decide whether South Dorothy has anything left to believe in, and who will lead it into its next chapter,” per the series logline.

    “Sticks” will premiere on Netflix in 2027, with Naveda executive producing alongside showrunner Bridget Bedard and director Trey Edward Shults. Additional executive producers include Shawn Levy, Dan Levine and Robert Atwood for 21 Laps.

    The eight-episode series previously announced cast members Michelle Monaghan as Harper Sullivan, Emilie Bierre as Riley Sullivan, Shari Chase as Henry Sullivan, Josh MacQueen as Rhett Nelson, Costa D’Angelo as Owen Boone, Carter Shimp as Austin Ryder, Ethan Holder as Cooper Cunningham, Isaac Arellanes as Manny Rodriguez, Chloe Avakian as Izzy Miller, Caleb Baumann as Elu, River Codack as Tyler Walker, Angus Albinati as Jack McGrath and Callum Orchison as Derek Marchbanks. 

    See behind-the-scenes photos below. 

    Courtesy of Netflix 2026 ©

    Courtesy of Netflix 2026 ©

    Courtesy of Netflix 2026 ©

  • Ari Emanuel’s Mari Acquires ATG Entertainment, Theater Owner Behind ‘Wicked’ and ‘Harry Potter and the Cursed Child’ Productions

    Ari Emanuel’s Mari Acquires ATG Entertainment, Theater Owner Behind ‘Wicked’ and ‘Harry Potter and the Cursed Child’ Productions

    Mari, Ari Emanuel‘s new global events and experiences company, has agreed to acquire theater giant ATG Entertainment from Providence Equity Partners.

    ATG operates a total of 70 venues across the U.K., U.S., Germany and Spain, including 10 on London’s West End and seven on Broadway. Its theaters have hosted landmark productions including “Wicked,” “Harry Potter and the Cursed Child” and “The Lion King.”

    Though financial details of the deal were not disclosed, the Wall Street Journal reported that it’s worth $6 billion. The acquisition will be subject to regulatory approval and the two companies will operate independently until then.

    “I’ve spent my whole career in entertainment, and I started out in theater,” Emanuel said in a statement. “I’ve seen the industry reinvent itself many times, but live has only grown more powerful. Nothing connects great talent with audiences more directly. ATG has built one of the world’s great theater businesses around that experience. This is a long-term bet on where live goes next.”

    Added Melanie Smith, global CEO of ATG Entertainment: “Mari understands live entertainment and what matters most to ATG: our theaters, the people behind them and the relationships we have built with producers, artists and audiences. That makes Mari the right home for our next chapter. We look forward to this new era and thank Providence for their unwavering support over the past 13 years.”

    More to come…

  • The Best Student Discounts on Streaming Services, Subscriptions and Tech

    The Best Student Discounts on Streaming Services, Subscriptions and Tech

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    On top of the annual lineup of back-to-school sales — think Amazon, HP, Adidas and Best Buy — some of the very best student (and young adult) savings aren’t season-dependent. From 50 percent off Paramount+ plans to six free months of Amazon Prime, here are the top 10 college student, grad student and young adult discounts to snag while you still can.

    Best Streaming Services With Student Discounts

    Paramount+: Verify your student status for 50 percent off any Paramount+ plan for the first 12 months. Get the deal here, and see more of the best Paramount+ deals here.

    Peacock: The Peacock Young Adult Discount offers a 45 percent price drop ($5.99 per month $10.99 per month) for 12 months to users ages 18 to 24. After 12 months, the plan auto-renews at the then-current annual rate. See more of the best Peacock deals here.

    Amazon Prime Video: The Prime for Young Adults promo offers 18 to 24 year-olds and students six free months of Amazon Prime, which includes full access to Prime Video. After six months (unless cancelled), subscriptions will renew at half the standard monthly rate ($7.49 per month $14.99 per month).

    Hulu: Valid as long as you’re a college student, get Hulu (With Ads) for just $1.99 per month instead of $11.99 per month, a savings of 83 percent. See more of the best Hulu deals here and best Disney+ deals here.

    Best Subscriptions With Student Discounts

    Amazon Prime: The Prime for Young Adults promo offers 18 to 24 year-olds and students six free months of Amazon Prime. Following the free trial, subscriptions will auto-renew at $7.49 per month, half of the standard monthly rate for adults.

    DoorDash DashPass: DoorDash’s DashPass for Students offers the service’s cost-cutting membership for half the standard price ($4.99 per month or $48 per year $9.99 per month or $96 per year).

    Walmart+: College and grad students get 50 percent off Walmart+ ($6.47 per month or $49 per year $12.95 per month or $98 per year), which includes a choice of Peacock or Paramount+, travel deals and more.

    More of the Best Student Discounts

    Samsung: Samsung’s Education Offer Program, one of Samsung’s most popular Offer Programs, unlocks up to 30 percent off devices, which can be combined with public and seasonal offers.

    T-Mobile: On top of T-Mobile’s free iPhone and free Samsung Galaxy offers, the carrier has a host of exclusive savings for college and graduate students, including wireless plans from just $30 per month.

    Verizon: Eligible college and graduate students can claim savings on any Fios home internet plan and any unlimited mobile phone plan. These student discounts can be combined with Verizon’s Mobile and Home Discount, which allows customers to save even more when bundling services together.

    Related: T-Mobile Offering Free Samsung Galaxy Z Fold8, $1,900 Phone Seen Throughout Spider-Man: Brand New Day