Category: Entertainment

  • BBC Greenlights Three New Dramas, Including Tudor-Set ‘1536,’ ‘Shy & Lola’ With Hayley Squires, Bel Powley

    The BBC has unveiled three new dramas coming to our screens in due course, including Shy & Lola with Hayley Squires and Bel Powley.

    Shy & Lola, a new six-part drama for BBC iPlayer and BBC One, is written by award-winning screenwriter and novelist Amanda Coe (Apple Tree Yard, The Trial of Christine Keeler) and produced by multi-BAFTA and Emmy award-winning Clerkenwell Films (Baby Reindeer, The Death of Bunny Munro, The End of the F***ing World), part of BBC Studios.

    The darkly comic story follows Shy and Lola, two very different women who are forced to become allies when a murder entangles them in the criminal underworld operating in Shy’s small coastal town in the North of England. Squires (The Night ManagerI, Daniel Blake) stars as Shy, a cleaner scraping by and dreaming of a new life in Portugal, with Powley (A Small Light, The Diary of a Teenage Girl) playing Lola, an ex-model-turned-grifter who arrives in town with trouble at her heels.

    Filming on the show, based on the French television drama Cheyenne and Lola, will begin this spring in and around the U.K. cities of Hull and Leeds.

    Also announced on Monday is D-Notice from writers and executive producers Adam Patterson and Declan Lawn. The six-part British political thriller is set in the world of investigative journalism. Patterson and Lawn are said to “have some experience of” the D-notice mechanism, which allows the government to advise journalists about national security. Now, they’ve come up with a drama that looks at how truth and power speak to one another. It is their third project for the BBC, following The Salisbury Poisonings and Blue Lights, and their first commission from production company Hot Sauce Pictures, backed by Sony Pictures Television.

    The BBC has also commissioned 1536, a new drama series for BBC iPlayer and BBC One, based on Ava Pickett’s play of the same name. The eight-part show written by Pickett from Drama Republic (Riot Women, One Day) is set in the heart of Tudor England against the backdrop of Anne Boleyn’s arrest and weaves royal scandal with rural struggle.

    1536 centers around Anna, Mariella, and Jane: three young women gossiping, arguing, and dreaming in an Essex village, desperately waiting for their lives to start. When the news reaches them that King Henry VIII has had his Queen, Anne Boleyn, arrested, the three of them never suspect that this act will change their lives forever.

    Pickett said: “1536 is something I am immensely proud of and I feel so lucky and privileged to have the chance to bring Anna, Jane and Mariella to a wider audience and to build out their lives even more. In a world where every decision made in the corridors of power ricochets through all of our lives, this story feels more relevant than ever. I’m so grateful to Lindsay Salt for being such a champion of it from the start.”

    Lindsay Salt, Director of BBC Drama, added: “From the moment we saw Ava’s play we knew that we had to have the TV version on the BBC. Visceral, funny, provocative, timely and full of courage, this is a piece of work like no other. Ava is an exceptional voice, so we feel very lucky to be working with her and the brilliant team at Drama Republic to bring three iconic female characters to the screen.”

    Executive producers are Jude Liknaitzky, Roanna Benn, Rebecca de Souza, Chloe Beeson and Pickett. The series was commissioned by Salt.

  • BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios CEO Tom Fussell and Zai Bennett, CEO and chief creative officer of BBC Studios Productions, discussed tariff talk by U.S. President Donald Trump, mega-consolidation, including the planned Netflix-Warner Bros. Discovery deal, the growth of the company’s U.S. streaming business, and the Bluey movie.

    They spoke to the press on the first day of the 50th annual BBC Studios Showcase in London. BBC Studios, the commercial arm of British broadcaster BBC, is known for such hit franchises as animated powerhouse Bluey, Netflix’s Baby Reindeer, legal drama The Split and its upcoming spin-off The Split Up, and such natural science hits as Walking With Dinosaurs, and it recently unveiled new shows to mark broadcaster and naturalist David Attenborough’s 100th birthday on May 8.

    “We have seen no impact” from Trump tariff talk, Fussell said when asked about any possible fallout, also lauding the continuing popularity of BBC News in the U.S. He didn’t discuss Trump’s lawsuit against BBC News, simply touting the resilience of the BBC brand and saying “we are not seeing any changes.”

    Asked about Netflix-WBD, he said “we are well diversified, and obviously, you can only control what you can control, so you focus on your priorities, and our priority is carrying the transformation and the growth in the areas we’ve got.” He emphasized though that “no doubt, … people have talked about challenging markets and the rest of it, and our view going forward is that the market growth is not going to be anything like what it had been in the [past] five years.”

    Continued Fussell: “And when you start seeing rumors upon rumors about takeovers and consolidation, that normally is testament to the fact there aren’t huge amounts of growth in the market, because everyone’s looking for … synergies. But we know what we’re doing. We know where we want to be investing in our global expansion of our studio.”

    In that context, he also highlighted that BBC Studios was “a growing business that’s transforming,” with revenue up 55.7 percent over the last four years.

    Following TV market challenges, Bennett on Monday suggested that “there are definitely green shoots of recovery,” sharing that “Paramount is back in the market, spending money,” among other things. But he reiterated that things are “definitely not” expected to return to the highs of the past five years but play out in a new normal range.

    Fussell suggested though that he felt the business would be “talking about striving again,” from scripted to unscripted and, vitally, kids programming.

    Mentioning the 2019 BBC Studios deal with what was then Discovery to take full control of UKTV’s entertainment channels, including Dave, Gold, and Drama, as well as a 2024 deal with ITV that gave the company full control of streamer BritBox International, Fussell also signaled that BBC Studios could also strike more acquisitions of its own. He said it would “carry on investing organically and maybe inorganically.”

    Bennett, who started his role in late 2024, similarly noted that BBC Studios Productions is seeing “solid organic growth and investment” and “looking for inorganic growth in some territories,” mentioning the rest of Europe, the Middle East and Africa as one possible region for deals.

    Fussell added that there “are opportunities for inorganic growth in streaming across the genres,” adding: “I think we have a right, as the home of British streaming, to grow that even further.” But he emphasized that “these opportunities take time,” concluding: “We are very judicious with how we spend that investment.”

    Fussell on Monday also touted the success of streaming services BritBox and BBC Select, which focuses on documentaries, in North America. “Last week was the fifth birthday of BBC Select, and BBC Select is now the third-largest factual SVOD in the States, and we’re really proud of that,” he said. He also touted the growth of BritBox and its launch of a premium tier.

    Among content trends, Bennett was asked about the growth of microdramas, saying that “we’re looking at that right now” and signaling the company could talk about this space more in the coming months. He added: “We’re certainly experimenting.”

    Questioned about audience and buyer appetite, he sees for escapist content versus programming dealing with the world’s cultural and political divisions, Bennett said BBC Studios Productions looks at market needs and is “leaning into specificity and Britishness” more than anything else.

    Current and old content favorites also drew reporter questions on Monday. Could motoring show Top Gear return to U.K. screens? Replied Bennett: “Never say never.”

    Of course, the upcoming Bluey: The Movie was also a talking point. Fussell shared that he just visited creator Joe Brumm in his studio in Brisbane, calling the experience “an absolute pleasure,” and saying that the work on the film was going well. But “I can’t say anything” more, he emphasized. And Bennett shared: “We’ve seen bits of it, and it looks amazing.”

  • Warner Bros. Discovery Posts Best-Ever Streaming Numbers for Olympic Winter Games as European Viewers Surge

    Warner Bros. Discovery Posts Best-Ever Streaming Numbers for Olympic Winter Games as European Viewers Surge

    Warner Bros. Discovery reported record-breaking streaming performance for the Milano-Cortina 2026 Olympic Winter Games, with the company posting triple-digit growth across its HBO Max and Discovery+ platforms compared to the Beijing 2022 Games.

    The return of the Olympic Winter Games to Europe, combined with what the company described as a highly innovative streaming experience, drove significant growth in viewership and engagement across WBD’s services.

    Total hours viewed on its streaming services grew 103% versus Beijing 2022, with three times as many subscribers (234% growth) tuning in via HBO Max and Discovery+. The milestone came quickly – total subscribers streaming Milano-Cortina content surpassed the entirety of Beijing 2022’s streaming audience within just the first three days of full competition (Feb. 6-8).

    Social video views on Eurosport’s European accounts and TNT Sports’ U.K. and Ireland accounts exceeded 4 billion, representing a 580% jump versus Beijing 2022.

    “The success we witnessed in the opening days has translated into an outstanding Olympic Winter Games for Warner Bros. Discovery with substantial streaming viewership and engagement growth in addition to highly robust linear audiences,” said Andrew Georgiou, president and managing director of WBD Sports Europe.

    A feature of this cycle was Olympics Multiview, a new offering that allowed streaming subscribers to watch up to four events simultaneously on a single screen with their choice of audio commentary. Roughly a third of users – 32% – made use of the feature. Viewers could also set personalized watch lists, receive gold medal alerts, track live action via timeline markers, and select from up to 21 commentary languages.

    The platforms carried all 246 live sessions across the 19-day competition window, which peaked at 11 concurrent events and featured 116 medal contests with 2,900 athletes competing. Triple-digit streaming growth was recorded individually in France, Germany and Italy on HBO Max, as well as in the U.K. on Discovery+.

    “Watching the Olympic Games on HBO Max and Discovery+ clearly resonated with audiences in the U.K. and Europe with three times as many people choosing to stream the Games with us compared to Beijing 2022,” Georgiou said. “Viewers being able to curate their own Olympics, selecting from all 116 live events and using innovative features such as our one-screen Multiview, drove significant increases in time spent by fans watching on our streaming services.”

    Linear performance also held strong, with WBD’s Eurosport (Europe) and TNT Sports (U.K. and Ireland) channels posting a 3% increase in total viewers versus Beijing 2022 – a reversal of the broader decline in linear TV consumption seen over the same period. Total linear hours viewed climbed 51% versus the prior Winter Games. Country-level linear gains on Eurosport included France (+47% hours viewed), Germany (+50%) and Poland (+32%), while TNT Sports in the U.K. and Ireland climbed 60% in hours viewed.

    Georgiou added: “This Olympics has set an incredibly strong foundation as we look to Los Angeles 2028 and the Olympic Winter Games returning to Europe again for French Alps 2030.”

  • BBC Greenlights Three New Dramas, Including Tudor-Set ‘1536,’ ‘Shy & Lola’ With Hayley Squires, Bel Powley

    The BBC has unveiled three new dramas coming to our screens in due course, including Shy & Lola with Hayley Squires and Bel Powley.

    Shy & Lola, a new six-part drama for BBC iPlayer and BBC One, is written by award-winning screenwriter and novelist Amanda Coe (Apple Tree Yard, The Trial of Christine Keeler) and produced by multi-BAFTA and Emmy award-winning Clerkenwell Films (Baby Reindeer, The Death of Bunny Munro, The End of the F***ing World), part of BBC Studios.

    The darkly comic story follows Shy and Lola, two very different women who are forced to become allies when a murder entangles them in the criminal underworld operating in Shy’s small coastal town in the North of England. Squires (The Night ManagerI, Daniel Blake) stars as Shy, a cleaner scraping by and dreaming of a new life in Portugal, with Powley (A Small Light, The Diary of a Teenage Girl) playing Lola, an ex-model-turned-grifter who arrives in town with trouble at her heels.

    Filming on the show, based on the French television drama Cheyenne and Lola, will begin this spring in and around the U.K. cities of Hull and Leeds.

    Also announced on Monday is D-Notice from writers and executive producers Adam Patterson and Declan Lawn. The six-part British political thriller is set in the world of investigative journalism. Patterson and Lawn are said to “have some experience of” the D-notice mechanism, which allows the government to advise journalists about national security. Now, they’ve come up with a drama that looks at how truth and power speak to one another. It is their third project for the BBC, following The Salisbury Poisonings and Blue Lights, and their first commission from production company Hot Sauce Pictures, backed by Sony Pictures Television.

    The BBC has also commissioned 1536, a new drama series for BBC iPlayer and BBC One, based on Ava Pickett’s play of the same name. The eight-part show written by Pickett from Drama Republic (Riot Women, One Day) is set in the heart of Tudor England against the backdrop of Anne Boleyn’s arrest and weaves royal scandal with rural struggle.

    1536 centers around Anna, Mariella, and Jane: three young women gossiping, arguing, and dreaming in an Essex village, desperately waiting for their lives to start. When the news reaches them that King Henry VIII has had his Queen, Anne Boleyn, arrested, the three of them never suspect that this act will change their lives forever.

    Pickett said: “1536 is something I am immensely proud of and I feel so lucky and privileged to have the chance to bring Anna, Jane and Mariella to a wider audience and to build out their lives even more. In a world where every decision made in the corridors of power ricochets through all of our lives, this story feels more relevant than ever. I’m so grateful to Lindsay Salt for being such a champion of it from the start.”

    Lindsay Salt, Director of BBC Drama, added: “From the moment we saw Ava’s play we knew that we had to have the TV version on the BBC. Visceral, funny, provocative, timely and full of courage, this is a piece of work like no other. Ava is an exceptional voice, so we feel very lucky to be working with her and the brilliant team at Drama Republic to bring three iconic female characters to the screen.”

    Executive producers are Jude Liknaitzky, Roanna Benn, Rebecca de Souza, Chloe Beeson and Pickett. The series was commissioned by Salt.

  • BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios Chiefs on Mega-Mergers, Own M&A, Trump Tariffs, U.S. Streaming Growth, and the ‘Bluey’ Movie

    BBC Studios CEO Tom Fussell and Zai Bennett, CEO and chief creative officer of BBC Studios Productions, discussed tariff talk by U.S. President Donald Trump, mega-consolidation, including the planned Netflix-Warner Bros. Discovery deal, the growth of the company’s U.S. streaming business, and the Bluey movie.

    They spoke to the press on the first day of the 50th annual BBC Studios Showcase in London. BBC Studios, the commercial arm of British broadcaster BBC, is known for such hit franchises as animated powerhouse Bluey, Netflix’s Baby Reindeer, legal drama The Split and its upcoming spin-off The Split Up, and such natural science hits as Walking With Dinosaurs, and it recently unveiled new shows to mark broadcaster and naturalist David Attenborough’s 100th birthday on May 8.

    “We have seen no impact” from Trump tariff talk, Fussell said when asked about any possible fallout, also lauding the continuing popularity of BBC News in the U.S. He didn’t discuss Trump’s lawsuit against BBC News, simply touting the resilience of the BBC brand and saying “we are not seeing any changes.”

    Asked about Netflix-WBD, he said “we are well diversified, and obviously, you can only control what you can control, so you focus on your priorities, and our priority is carrying the transformation and the growth in the areas we’ve got.” He emphasized though that “no doubt, … people have talked about challenging markets and the rest of it, and our view going forward is that the market growth is not going to be anything like what it had been in the [past] five years.”

    Continued Fussell: “And when you start seeing rumors upon rumors about takeovers and consolidation, that normally is testament to the fact there aren’t huge amounts of growth in the market, because everyone’s looking for … synergies. But we know what we’re doing. We know where we want to be investing in our global expansion of our studio.”

    In that context, he also highlighted that BBC Studios was “a growing business that’s transforming,” with revenue up 55.7 percent over the last four years.

    Following TV market challenges, Bennett on Monday suggested that “there are definitely green shoots of recovery,” sharing that “Paramount is back in the market, spending money,” among other things. But he reiterated that things are “definitely not” expected to return to the highs of the past five years but play out in a new normal range.

    Fussell suggested though that he felt the business would be “talking about striving again,” from scripted to unscripted and, vitally, kids programming.

    Mentioning the 2019 BBC Studios deal with what was then Discovery to take full control of UKTV’s entertainment channels, including Dave, Gold, and Drama, as well as a 2024 deal with ITV that gave the company full control of streamer BritBox International, Fussell also signaled that BBC Studios could also strike more acquisitions of its own. He said it would “carry on investing organically and maybe inorganically.”

    Bennett, who started his role in late 2024, similarly noted that BBC Studios Productions is seeing “solid organic growth and investment” and “looking for inorganic growth in some territories,” mentioning the rest of Europe, the Middle East and Africa as one possible region for deals.

    Fussell added that there “are opportunities for inorganic growth in streaming across the genres,” adding: “I think we have a right, as the home of British streaming, to grow that even further.” But he emphasized that “these opportunities take time,” concluding: “We are very judicious with how we spend that investment.”

    Fussell on Monday also touted the success of streaming services BritBox and BBC Select, which focuses on documentaries, in North America. “Last week was the fifth birthday of BBC Select, and BBC Select is now the third-largest factual SVOD in the States, and we’re really proud of that,” he said. He also touted the growth of BritBox and its launch of a premium tier.

    Among content trends, Bennett was asked about the growth of microdramas, saying that “we’re looking at that right now” and signaling the company could talk about this space more in the coming months. He added: “We’re certainly experimenting.”

    Questioned about audience and buyer appetite, he sees for escapist content versus programming dealing with the world’s cultural and political divisions, Bennett said BBC Studios Productions looks at market needs and is “leaning into specificity and Britishness” more than anything else.

    Current and old content favorites also drew reporter questions on Monday. Could motoring show Top Gear return to U.K. screens? Replied Bennett: “Never say never.”

    Of course, the upcoming Bluey: The Movie was also a talking point. Fussell shared that he just visited creator Joe Brumm in his studio in Brisbane, calling the experience “an absolute pleasure,” and saying that the work on the film was going well. But “I can’t say anything” more, he emphasized. And Bennett shared: “We’ve seen bits of it, and it looks amazing.”

  • Imax Posts $28 Million Chinese New Year Box Office, Down From Last Year’s High

    Imax Posts $28 Million Chinese New Year Box Office, Down From Last Year’s High

    Imax posted $28 million in box office over China’s latest Lunar New Year seven-day period, with the thriller Pegasus 3 leading the way with $24 million in tickets sales in its first week, the film technology company said on Monday.

    That compared with Imax nabbing a record high of $53 million in box office over China’s Lunar New Year period in Feb. 2025 on $36 million in ticket sales for the animated blockbuster Ne Zha 2. That also followed Imax posting a previous Chinese New Year box office record of $34 million in 2023.

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    Director Han Han’s Pegasus 3 marks the fourth collaboration between Imax and the Chinese filmmaker, and to date has taken in $373 million in overall box office in China. “Our continued success with the Chinese New Year holiday underscores the diverse global breadth of our content portfolio — and our unique ability to create opportunity and generate results throughout the year,” Imax CEO Richard Gelfond said in a statement on Monday.

    The latest Chinese New Year slate for Imax included Super Lion’s martial-arts actioner Blade of the Guardians earning $3.3 million, and Damai’s thriller Scare Out taking in another $500,000 across the holiday period. Imax and the Beijing film industry look to Lunar New Year holiday numbers as a bellwether for how box office in China may play out for the rest of the year.

    Pegasus 3 will receive an exclusive North American Imax release starting Feb. 23 in select giant screen locations, ahead of UK, Australia and New Zealand play for the thriller. Imax China is a subsidiary of Toronto-based Imax and its shares trade on the Hong Kong Stock Exchange.

  • ESPN Enlists Andy Roddick as Tennis Analyst

    ESPN Enlists Andy Roddick as Tennis Analyst

    Andy Roddick will join ESPN as a tennis commentator. 

    The former world No. 1 and 2003 US Open champion has signed a multiyear deal with the network to serve as an analyst for both match and studio coverage. He will join ESPN just prior to Wimbledon, which begins June 29, and will cover the tournament, as well as the U.S. Open.

    Roddick retired from professional tennis in 2012 after a 13-season career, in which he reached the finals of Wimbledon in 2004, 2005 and 2009 and the US Open in 2006. He won 32 ATP Tour singles titles, including five ATP Masters 1000 crowns and helped lead the United States to the 2007 Davis Cup title and was inducted into the Tennis Hall of Fame in 2017.  

    Roddick has been a temporary contributor to the Tennis Channel, and hosts a weekly podcast for the channel entitled, Served With Andy Roddick.  He previously cohosted Fox Sports Live on FOX Sports 1 and hosted a show on FOX Sports Radio with Bobby Bones, now host of The Bobby Bones Show.

    “We’re thrilled to welcome Andy to the team. ESPN has long led the way in delivering in-depth tennis analysis, and with several recent talent additions, we’ve further strengthened our coverage,” Linda Schulz, ESPN Vice President of Production, said. “Andy brings a distinctive, energetic, and highly relevant voice that will elevate both our studio and match coverage.”

    “Simply, I’m always just a massive fan of tennis. I’m very excited to join the ESPN tennis team and look forward to covering the two biggest tournaments in the world,” Roddick said.

  • Robert F. Kennedy Jr. Workout Videos Ranked From Least to Most Weird

    Robert F. Kennedy Jr. Workout Videos Ranked From Least to Most Weird


    As Secretary of Health and Human Services, Robert F. Kennedy Jr. is known for having the occasional terrific idea (let’s get rid of toxic food additives, let’s make people aware of the dangers of ultra-processed foods) and also having rather terrible ideas (let’s cut funding for vaccine research, let’s recommend vitamin A during a measles outbreak instead of the vax, let’s claim keto diets cure schizophrenia).

    RFK Jr. is also known for his very fit-looking physique. For a 72-year-old, the man looks great. He likes to show off his body during media events and on social media. Yet he seems incapable of doing workout videos without at least some undercurrent of oddness.

    So here are five of RFK Jr.’s workout videos, ranked from least to most weird.

    5. RFK Jr. Posts Work-Out Video Before Biden Debate (June, 2023)

    @robertfkennedyjrofficial

    Getting in shape for my debates with President Biden! As President, I will restore America as the global example of health & well-being. Not through pills or syringes, but through character and self-discipline. And I will continue to walk the walk and lead by example. Americans gained an average of 29 pounds during the Covid lockdowns. I will help turn this around by encouraging our citizens to exercise, eat well, and fortify their immune systems by removing harmful chemicals from our food. Conversely, we must never allow ourselves to succumb to fear. Fear disables both the immune system and the capacity for critical thought which is key to the survival of democracy. We will restore our health as we reunite our communities and rebuild our nation. So start doing your morning calisthenics everybody. Get yourself in shape for a Kennedy Presidency! p.s. And yes, I can do more than 10 pushups. That was my last set. #Kennedy24

    ♬ original sound – Robert F. Kennedy Jr

    Running as a third-party candidate at the time, RFK Jr. posted the above video saying he was getting ready to debate President Joe Biden (he didn’t end up qualifying for the debate stage). It’s not a particularly impressive workout, as it shows the man struggling to complete some push-ups (he says he was on his final set). This is also the video that introduced most Americans to RFK Jr.’s tendency to work out while wearing dad jeans. (A pet theory about why he doesn’t wear shorts in his videos: The man skips leg day.)

    4. The “Pete and Bobby Challenge” (August, 2025)

    RFK Jr. and 45-year-old Defense Secretary Pete Hegseth teamed up for a workout they called the “Pete and Bobby Challenge” — perform 50 pull-ups and 100 push-ups in any order you want within five minutes. Their video, filmed in “the bowels of the Pentagon,” has RFK Jr. once again exercising in jeans and now adding cowboy boots to make his workout look even less practical. Fitness experts chided that encouraging such intense stunts for the average person is “not recommended,” though that seems a bit petulant. But RFK Jr. and Hegseth’s push-up range of motion would be totally called out by any fitness trainer as you’re supposed to start in a high plank. Also, notice this workout doesn’t include any squats.

    3. Pull-ups at Reagan National Airport (December, 2025)

    RFK Jr. announced a $1 billion grant to “incentivize more family friendly resources in airport terminals” — including play spaces for children and mini-gyms (if there’s one thing every traveler wants, it’s to sit next to a person on a flight who just worked out). Still, one could see some good coming from this and, to help promote the initiative, RFK Jr. performed 20 pull-ups at Reagan National Airport.

    Two things can be true at once: Doing 20 pull-ups is impressive for anybody, and especially for a man RFK Jr.’s age, and also for anybody in our political class (34-year-old New York Mayor Zohran Mamdani couldn’t perform a single unassisted bench press of 135 pounds at a photo-op). But also, technically, as with the push-ups, these are not pull-ups — a pull-up is performed from a dead hang and your chin must clear the bar (this is still more than I can do, and probably more than you can, too, but we’re not posting workout videos to inspire a nation to use improper form).

    Exercising in slacks, a button-down shirt and a tie is strange, but is fitting for being in an airport, and still somehow less odd than jeans.

    2. “What I Do to Stay Healthy” (July 2024)

    Now we’re talking: Jumping from a helicopter to swim with a shark. This is the kind of content we want. Otherwise, this is a montage of RFK Jr. lifting weights, skiing, surfing and hiking. You can briefly see his legs during the surfing shot, and here’s a closer look, below. What do you think: Do those calves look neglected compared to his upper body?

    1. Working Out with Kid Rock (February, 2026)

    Filmed at Kid Rock’s highly enviable home gym and wet suite setup, this is a music video of RFK Jr. working out with the singer, taking a sauna and doing a cold plunge (points for going all the way under). Much has been made about the vaguely homoerotic frenetic fever dream quality of this montage, which seems one minute away from the duo snorting coke off toilet seats (Stephen Colbert dubbed the video “senior softcore”). Nothing here is more off-putting, however, than the prospect of drinking milk in a hot tub.

  • ‘Pachinko’ Stars Kim Minha, Noh Sang-hyun Reunite for Netflix Rom-Com ‘Messily Ever After’

    ‘Pachinko’ Stars Kim Minha, Noh Sang-hyun Reunite for Netflix Rom-Com ‘Messily Ever After’

    Netflix has kicked off production on “Messily Ever After” (working title), a new Korean romantic comedy film reuniting “Pachinko” stars Kim Minha and Noh Sang-hyun.

    The film follows Su-hyun and Hyun-tae, a couple whose decade-long relationship swings between deep affection and mutual exasperation. “Leaning into the emotional whiplash of a long-term relationship, ‘Messily Ever After’ explores what it really means to stay together after the honeymoon phase has long ended — capturing the messy mix of loyalty, irritation, desire, and doubt that comes with truly knowing someone. The film is expected to blend sharp, witty storytelling with a grounded look at modern relationships,” according to Netflix.

    Kim, known for her roles in “Pachinko,” “Typhoon Family” and “Way Back Love,” plays Su-hyun, a perfectionist curator who holds everything together professionally but finds herself unraveling when jealousy and love enter the picture. Noh Sang-hyun, also of “Pachinko” and “Love in the Big City,” plays Hyun-tae, a passionate installation artist who is unafraid to stand his ground. The casting reunites the two actors following their on-screen romance in “Pachinko,” this time as college sweethearts now a decade into their relationship.

    The film marks the feature directorial debut of Seo Jung-min. Production is handled by Bombaram Film — the studio behind the young adult romance “Love Untangled,” directed by Namkoong Sun, and the acclaimed drama “Kim Ji-young, Born 1982,” directed by Kim Do-yeong.

    “Messily Ever After” continues Netflix’s push to champion emerging filmmakers in Korean cinema, following titles including “Love Untangled,” “20th Century Girl” and “Lost in Starlight.”

    The title joins Netflix’s extensive Korean slate that was unveiled in January.

  • New ‘Assassin’s Creed’ Leadership Team Set at Ubisoft, Including ‘Black Flag,’ ‘Origins’ Alums

    New ‘Assassin’s Creed’ Leadership Team Set at Ubisoft, Including ‘Black Flag,’ ‘Origins’ Alums

    Ubisoft has set three executives as the new leaders of its iconic “Assassin’s Creed” video game franchise, including alums who oversaw work on beloved title “Assassin’s Creed IV: Black Flag.”

    Vantage Studios, the Ubisoft subsidiary that operates the “Assassin’s Creed,” “Rainbow Six Siege” and “Far Cry” franchises, has named Martin Schelling head of the “Assassin’s Creed” brand. With this new title, Schelling will be responsible for overall strategy and long-term vision of the brand. Most recently, Schelling served as Ubisoft’s chief production officer and oversaw development workflows across the company’s portfolio. Schelling previously had leadership roles on “Assassin’s Creed” titles including “Revelations,” “Black Flag,” “Origins” and “Valhalla.”

    Creative director on both “Assassin’s Creed Origins” and “Assassin’s Creed IV: Black Flag,” Jean Guesdon has been appointed head of content for the franchise. Guesdon will oversee the Ubisoft brand’s creative direction, support individual games and guide the future of “Assassin’s Creed” “while staying true to its core DNA.” A veteran designer at Ubisoft, Guesdon’s credits trace back to the original 2007 “Assassin’s Creed” game.

    François de Billy has been set as the brand’s head of production excellence, a title that Ubisoft’s Vantage Studios says is is meant to “strengthen production practices and execution across the brand.” François was production director on both “Assassin’s Creed: Valhalla” and “Assassin’s Creed: Origins.”

    The new trio will transition from their current roles over to the “Assassin’s Creed” leadership team in the coming weeks to work alongside Andrée-Anne Boisvert, producer for “Assassin’s Creed’s” cross-brand initiatives and head of technological excellence, and Lionel Hiller, vice president of brand and go-to-market strategy.

    These appointments come on the heels of great change across Ubisoft, which is in the process of dividing up all of its teams into five “creative houses,” one of them being Vantage Studios. This new model is being pioneered by Ubisoft CEO Yves Guillemot as part of the company’s latest restructuring of operations amid weak post-pandemic performance.