Category: Entertainment

  • Mary Kate Golding, ‘The Marvelous Mrs. Maisel’ Set Decorator, Dies at 34 in Fatal Stabbing

    Mary Kate Golding, ‘The Marvelous Mrs. Maisel’ Set Decorator, Dies at 34 in Fatal Stabbing

    Mary Kate Golding, The Marvelous Mrs. Maisel set decorator, has died after being found fatally stabbed. She was 34.

    Golding was found dead on Tuesday in her Astoria, Queens, apartment, having suffered a fatal stab wound on her back, an NYPD spokesperson told People.

    Police were called to her residence after midnight, and hours later at roughly 6:39 a.m., the police responded to a call of “an unconscious person in the vicinity of Astoria Park South and Shore Boulevard.” That person was Golding’s husband, Joseph Azzaretto, with the police telling People they believe the deaths were a “possible murder-suicide.”

    Golding and Azzaretto’s 11-month old son was found at their residence unharmed.

    The Hollywood Reporter has reached out to the NYPD for comment.

    Golding is credited as the set decorator for the first six season one episodes of The Marvelous Mrs. Maisel. According to her Facebook, she graduated from New York University in 2015.

    She has worked on a plethora of other television shows, including Gotham (2019); The Undoing (2020); The Flight Attendant (2020); season one of Harlem; the 2021 Marvel series Hawkeye; two 2024 episodes of Mr. and Mrs. Smith; Goosebumps (2025); and the Netflix documentary Gone Girls: The Long Island Serial Killer.

    On the film side, she served as part of the art department on the 2022 rom-com Marry Me, which starred Jennifer Lopez and Owen Wilson. She is also credited as an assistant set director on Sean Durkin’s forthcoming feature Deep Cuts, starring Drew Starkey and Cailee Spaeny.

    Years ago, Azzaretto’s younger brother, Nicholas Azzaretto, shot and killed his father at their Pennsylvania family home when he was 20. Nicholas pled guilty to involuntary manslaughter in November 2021, and was sentenced to 10 years of probatin.

  • ‘Stuart Fails to Save the Universe’ Co-Creator Bill Prady Explains the Science Behind the Show’s Multiverse

    ‘Stuart Fails to Save the Universe’ Co-Creator Bill Prady Explains the Science Behind the Show’s Multiverse

    SPOILER ALERT: This story contains spoilers from the series premiere of “Stuart Fails to Save the Universe,” now streaming on HBO Max.

    HBO Max’s “Stuart Fails to Save the Universe” opens in a post-apocalyptic Pasadena, an alternative world where zombie hands poke out of the ground, giant moths terrorize, random tears in reality serve as vacuum portals to unknown parts of the galaxy and survivors barter with their last remaining canned goods.

    About the only thing still operating is the comic book shop run by Stuart Bloom (played by Kevin Sussman), where the gang on “The Big Bang Theory” would sometimes hang out. But even that store is no longer normal, as geeky fights among patrons quickly turn deadly. It’s not a great place, so when another Stuart from a different dimension arrives, so begins our main character’s quest to save the universe.

    According to Alt Stuart, it was “The Big Bang Theory” characters Leonard, Sheldon and Howard who built a quantum interference device that caused reality to be altered. Regular Stuart and Bert (Brian Posehn) embark on a quest to find the device at Cal Tech — and along the way, reconnect with Denise (Lauren Lapkus) and discover that Kripke (John Ross Bowie) has turned into an evil gang leader controlling much of the San Gabriel Valley. They also find Raj (Kunal Nayyar), who’s been imprisoned by Kripke for quite some time and is looking to help them fix the device.

    They’re all captured, but Bert uses his geology expertise to create bombs with rocks and water — and they make it to the device. All is saved, until Kripke kills Raj — and the device then activates, taking Stuart, Bert and Kripke to another universe.

    So how much of the show’s multiverse can be explained by science? Sussman credits co-creator Bill Prady with having a handle on where the science works. “There’s a bunch of quantum physics involved in the show, and Bill is an expert on quantum physics theory,” Sussman says. “You can get away with a lot because at the end of the day, it is theory. It’s popular theory, but it’s legit. So I would ask him a question like, ‘how can my character be here and be there at the same time?’ And I had an epiphany at one point when I realized, oh wait, so it’s not just parallel universes — it’s parallel universes with a little time travel mixed in!”

    Sussman says there were points while filming the show where it would help to understand the quantum physics theory behind what was happening in a particular scene.

    “I look forward to people on Reddit trying to dissect what’s happening because I know that all of it can be argued,” he adds. “I would try to poke holes in it on set, and Bill always walked me through. ‘No, see, the reason why this does make sense is A, B and C.’”

    Prady explains that the device that Leonard, Sheldon and Howard built seems to have shifted the primary characters to a universe with a separate, distinct history that has an apocalyptic event that occurs sometime after “The Big Bang Theory” and before we meet them.

    “The Einsteinian issue that time is a fourth dimension comes into play here,” he says. “Because when the device malfunctions, it alters reality, but it creates a new past as well. So when we meet them in the first episode, the apocalypse is some years ago, and that’s a result of the alteration. Both the past and present and the future are altered from what they should have been.”

    So then the question is, when the characters move between universes, does the universe they left still exist, or is it being restructured?

    “That is ambiguous, and they don’t know, and we don’t know,” he says. For example — now that Kripke has killed Raj, that doesn’t seem good right? But in Episode 2, he will point out that either the universe they just left doesn’t exist anymore, in which case he didn’t kill Raj because that Raj never existed, or that they’re we are dealing with an infinite number of universes, and so he just killed one Raj out of an infinite number, which is pretty minor.

    But “the branching theory of multiverses states essentially that every quantum event that could go one way also could go the other, and at that point there’s a branch, both universes exist side by side… The theory is that the universe branches at every decision point, so there’s a rapidly growing, infinite number of universes. That gets into the very annoying realization that some infinities are bigger than other infinities, which is mathematically true and conceptually uncomfortable. But it would state that from the point of the Big Bang, the number of infinite parallel universes increases with every moment that the universe ticks by. So that was kind of the science and pseudoscience that sort of lays this out.”

    Prady jokingly adds: “How useless is that?”

    But it’s a reminder that “Stuart Fails to Save the Universe” may be science-fiction, but it’s still grounded in some ways.

    “When I was teaching at USC, and somebody had a project that involved fantasy elements, I’d say, the most important rule in writing fantasy is that the rules you create for your fantasy have to be as real as the laws of physics. They have to be consistent, and they always have to be the same,” he says.

    Prady uses “Bewitched” as an example, with its arbitrary rule that only the witch who casts the spell can remove it. “It’s based on nothing, but it keeps every ‘Bewitched’ episode from being three minutes long,” he says. “Because without that rule, Endora would give Darrin donkey ears, and Samantha would remove them, and we’d be done. Now, can your universe be raggedy around the edges? 100%. And that’s ‘Doctor Who.’ The rules are there, but sometimes they don’t quite work out, and the Doctor will explain.”

    In the case of multiverses, the parameters of what we think of as the “multiverse” has been cemented in pop culture by Marvel films, “Rick and Morty,” “Dark Matter” and more. “I think the reason that you wind up with multiverses with similar stories is that the notion that multiverses exist mathematically. Things like string theory and stuff touch on that. So you can build off of what has sort of percolated through the general consciousness.”

    Prady notes that not all of it makes sense, and he’s proud of the fact that the characters will acknowledge that.

    “A guy online did a scientific analysis of what must be happening in this, and where he explains all the various scientific multiverse theories that we are clearly drawing from,” Prady says. “It was thick, thick science. It does state that there’s an infinite number of multiverses. So clearly, we should send that article to HBO Max and say, ‘look, there’s a scientific basis for additional seasons!’”

  • Creepy Twins, Religious Fanaticism and a Loaded Gun Collide in Tense Chamber Drama ‘Godhead’ — Fantasia

    Creepy Twins, Religious Fanaticism and a Loaded Gun Collide in Tense Chamber Drama ‘Godhead’ — Fantasia

    Mark H. Rapaport’s new film “Godhead” is a master-class in ratcheting up tension. Shot in black-and-white with camerawork that makes the audience feel like a voyeur uncovering perverse secrets, the film blends faith, sex, lies and discomfort into an unknowable dance between its leads.

    The premise begins simply: A rural Catholic priest (Al Warren) is visited by two bizarre twins (Sarah Coffey and Kimball Farley), who look like an unholy blend of Die Antwoord, Grimes and overcooked ravers. They believe they are part of a prophecy and need the priest’s help to fulfill it. They also have a gun. And the priest has a young boy (Luke Speakman) that he seems to keep captive indoors …

    To say more would ruin the film’s twists and turns, which were met enthusiastically at its world premiere screenings at Montreal’s genre-focused Fantasia Festival this week.

    Rapaport, whose well-received 2023 debut feature “Hippo” also premiered at Fantasia, spoke with Variety about his choice to do another film in black and white, how “Godhead” takes aim at crooked authority figures and leaving the audience with challenging questions.

    What inspired you to develop this story?

    I always find that in life I come up against authority figures in a way that feels unfair. I often am too nice to people, and I think I have a little bit of second-born’s gullibility. As I grow up and hopefully become a dad, I’m trying to shed that. I think in this movie, I was able to put a finger on that feeling of being aware of the hypocrite or the manipulator. From childhood until adulthood, you have your religious figures, you have your family, you have your bosses. I’m always a very trusting person, and so I found that there’s real horror in that. This movie, although framed as a Hitchcockian thriller of sorts, is really a canvas for me to explore those frustrations.

    With a film like this that has a twisty plot, how are you able to balance disseminating information to the audience without overexplaining and giving them easy answers?

    It’s a tough tightrope to walk. I hope I’m able to do that successfully by staying with the characters first and being able to feel with them, and writing the script from their intentions and their heart, and not letting the plot of a horror film take over the greater emotional core. Of course, we do go there and go to dark places and twist and turn, but I try to always bring it back to the characters. I always can do better finding that humanity.

    There are plenty of dark moments in this film. How did you determine how bleak versus hopeful you ultimately wanted your work to be?

    It’s funny, there was another version of the ending where it was a massive, obvious F-you to all of these evil characters. I was talking to Al Warren, who plays the priest beautifully and with so much real emotion, and he got me thinking about the end beat. Without spoiling it, he said, “Let’s think about where this could go if you, as the director, practiced forgiveness,” and I found that in doing that I actually ended up with a much more horrifying ending than had I brought the hammer down on his character. I think there’s an eeriness to forgiveness as well, in that the ultimate manipulation is forgiving your manipulator. I wouldn’t mind if the audience felt maybe characters made the wrong decision at the end. That just keeps the question going, because the movie at its core is a question for the audience, less than an answer. In my old version, I tried to provide the answer, and it just wasn’t satisfying. So it was a real exercise in reeling back that sword that the director wields. That’s where we ended up.

    What was the creative choice to shoot in black and white instead of color?

    It was my instinct off the bat just because my first film was in black and white and it was such a fun, beautiful little film. People loved the black and white. It felt like a different world. And so it started as a, “Well, if it’s not broke, don’t fix it.” My brain was thinking in black and white. But of course, you need the narrative to deserve black and white. As I started to write the script, I just couldn’t see it any other way. I was very much into Robert Eggers’ “The Lighthouse.” He makes a ton of great movies, but this three-hander … I wanted to place us in some sort of timeless world. It felt black and white was an effective way to do that.

    In addition to the beauty of the shadows and the moodiness that it’s able to convey, there’s how it relates to the themes of good and evil, right and wrong, truth and untruth. I had a full-circle moment in writing the script where there’s a gray area that I put in there, because, even though it’s in black and white, it potentially concludes on a gray area, which to me is the most horrifying area of all. We all want to know: Are we black or white? Are we right or wrong? When I was able to think of it as a spectrum and not just black and white, it opened up a whole new visual language for me.

    Alief is representing “Godhead” for worldwide sales as it searches for distribution.

    Watch the “Godhead” teaser trailer below.

  • Indian Epic ‘Ramayana’ Lands at Sony

    Indian Epic ‘Ramayana’ Lands at Sony

    Sony is bringing the story of the Ramayana to the world, with the studio landing global rights to the adaptation of the epic poem. That excludes India, where Ramayana producer Prime Focus Studios will release the film telling one of humanity’s oldest stories.

    The news, and the film’s trailer, were revealed Thursday at San Diego Comic-Con. The epic poem centers on Rama, a prince who spends years in exile and whose wife, Sita, is kidnapped by the demon king Ravana.

    Nitesh Tiwari directs the project, which stars Ranbir Kapoor, Yash and Sai Pallavi.

    Prime Focus Studios’ Namit Malhotra produces and is known as the founder of the visual effects company DNEG, which has worked on Christopher Nolan’s The Odyssey, Interstellar and Tenet as well as all three of Denis Villeneuve’s Dune movies.

    The Ramayana will be released in multiple languages across the world, including an English-language version, with the producers saying the intention since conception has been for it to reach a global audience.

    The film boasts music from Oscar winners Hans Zimmer and A.R. Rahman; action choreography by Terry Notary and Guy Norris and production design by Ramsey Avery and Ravi Bansal.

    “For generations, the Ramayana has inspired people through its timeless humanity and enduring values. Our ambition has always been to honor that legacy while creating a cinematic experience worthy of audiences everywhere,” said Malhotra in a statement.

    Notably, the news comes as Nolan’s The Odyssey, a retelling of the greek epic, has been tearing up the global box office, marking Nolan’s biggest global debut and passing $300 million worldwide since its release a week ago.

  • New ‘Avatar’ Animated Series at Paramount+ Lands Fall Premiere Date, Releases Teaser

    New ‘Avatar’ Animated Series at Paramount+ Lands Fall Premiere Date, Releases Teaser

    The first new series set in the (animated) world of Avatar: The Last Airbender in more than a decade has a premiere date.

    Paramount+ will debut Avatar: Seven Havens on Oct. 9, the streamer announced Thursday. The news came during a Comic-Con panel devoted to the feature film Avatar Aang: The Last Airbender, which premieres on Paramount+ (and a handful of theaters for awards qualification) this weekend.

    Seven Havens, from Avatar creators Michael Dante DiMartino and Bryan Konietzko, is set well after the events of sequel series The Legend of Korra. The show centers on a young Earthbender who discovers she’s the new Avatar, but that “marks her as humanity’s destroyer, not its savior,” according to the show’s logline. “Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization’s last strongholds collapse.”

    Along with the premiere date announcement, Paramount+ also released a teaser for Avatar: Seven Havens. Watch it below.

    Seven Havens scored a series order in February 2025. It will premiere 21-plus years after the debut of Avatar: The Last Airbender, which ran from 2005-08 on Nickelodeon (and later spawned a live-action adaptation at Netflix) and 12 years after the end of The Legend of Korra, which ran from 2012-14.

    The show’s voice cast features Saheli Khan, Aishu Devan, Akshay Khanna, Major Curda, Sakina Jaffrey, Darren Barnet, Dianne Doan and Dee Bradley Baker.

    Nickelodeon and its Avatar Studios are producing Seven Havens, which has a 26-episode order. DiMartino and Konietzko executive produce with Ethan Spaulding. Sehaj Sethi is co-EP. 

  • Chadwick Boseman Estate Battle Breaks Out Between His Parents and Widow Over Assets

    Chadwick Boseman Estate Battle Breaks Out Between His Parents and Widow Over Assets

    A legal fight has broken out over the administration of Chadwick Boseman‘s estate, with his parents looking to remove his widow from her role overseeing its assets.

    Boseman’s parents, Leroy and Carolyn, accuse Simone Ledward Boseman of violating a court order mandating the distribution of funds and mismanaging the company that holds Chadwick’s rights and prior works. The petition filed in California state court asks to hold her in contempt and issue an injunction barring her from exercising unilateral control over estate property.

    Boseman died in August 2020 from colon cancer without a will. Under California law, his estate was divided equally between Ledward Boseman and his parents, who each got 25 percent.

    According to the petition, funds haven’t been fully disbursed. Ledward Boseman “has still not distributed the estate, nor has she filed a petition for discharge,” states the filing, which notes that she continues to exercise “complete control” while shutting the actor’s family out of decisions involving assets they also own.

    There’s roughly $3.8 million in the estate, including cash, retirement accounts, a long-term care insurance policy and Chadwick Boseman Inc., the company that holds rights connected to the actor’s name and intellectual property.

    The petition accuses Ledward Boseman of failing to transfer some of those assets owed to the family while neglecting to account for residual payments from SAG-AFTRA and a previously undisclosed bank account. The $40,000 insurance policy belonging to Carolyn under a 2022 court order, for example, was never distributed.

    Also involved in the dispute: Boseman’s image and intellectual property rights. Those rights are managed by Chadwick Boseman Inc., with Ledward Boseman and the actor’s parents each owning 50 percent. The petition claims that Ledward Boseman has kept other family members in the dark regarding the company’s operations and appointed herself as CEO without holding board meetings. She’s allegedly used her control over the estate and the firm to enter into contracts assigning Chadwick’s rights and prior works, including a deal with Words + Pictures Productions for a documentary about the actor’s life. Another agreement involves a contract for production of “Deep Azure,” written by Chadwick.

    “By holding herself out as the sole authority over Decedent’s assets, she is defrauding anyone she contracts with and puts those agreements at risk of recission,” the petition filed on July 17 states. “Meanwhile, Petitioners are blocked from pursuing lucrative business opportunities that might benefit Decedent’s elderly parents. Her continued control over the estate also sows distrust among the beneficiaries and harms the well-being of Decedent’s aging parents.”

    In addition to seeking her removal as administrator, Boseman’s parent request an order requiring Ledward Boseman, who didn’t respond to a request for comment, to produce a complete accounting for every transaction made since she was appointed administrator in 2020.

  • Beach Boys Call Off Remainder of Summer Concerts ‘to Recharge’ Before Resuming in Fall

    Beach Boys Call Off Remainder of Summer Concerts ‘to Recharge’ Before Resuming in Fall

    The Beach Boys‘ endless summer has run into a hitch. The touring version of the group, led by sole remaining original member Mike Love, has called off six weeks’ worth of concerts scheduled for this summer, amounting to nearly 30 dates, citing the need to “recharge” before hitting the road again in the fall.

    The cancellations and postponements cover the concerts that the band had scheduled from Thursday night, when they were to have played at Wolf Trap in Virginia, through Sept. 3, when they were scheduled to perform at the Colorado State Fair. The group — which for years has maintained one of the most active touring schedules of any name-brand act on the road — is now slated to resume its touring schedule on Sept. 24.

    A message on Love’s Instagram page appeared alongside an illustration with the emblem “Gone Surfing.” It read: “Playing for you is the highlight of our summer every year — especially as we celebrate the 250th anniversary of the United States while saluting the 60th Anniversary of ‘Pet Sounds.’ We’ve been having a blast out there, and to keep the good vibrations going strong, we’ll be taking a short break to recharge before getting back on the road in September. All tickets for postponed performances (July 23 through September 3) will be honored following our return in late September. Please contact your local box office for additional information and questions. Thanks for your love — we can’t wait to see you back out there for a September to Remember… We look forward to continuing our Endless Summer with you.”

    The refreshed schedule on Love’s page shows 11 concerts slated for this fall or next year. Four of those were already on the group’s itinerary, while the other seven are rescheduled dates for shows that are being postponed. It’s not clear whether the nearly 20 other dates that are being called off in the summer schedule will also be rescheduled for a later date or not.

    The Beach Boys have been touring with Love as the only remnant of the classic lineup since the retirement earlier this year of Bruce Johnston. 

    Another original member, Al Jardine, continues on the road leading his own group, billed as “Al Jardine and the Pet Sounds Band,” also playing the music of the Beach Boys. Jardine’s group has been booked to fill in for one of the appearances that Love’s crew called off, at the Oregon State Fair in Salem on Aug. 29.

    The touring Beach Boys played a three-night stand at the Hollywood Bowl earlier this month, for the venue’s annual Independence Day fireworks spectacular. The shows went over well, although, even as he still took the lion’s share of lead vocals, Love, 85, was a less robust presence on stage than he has been on other recent tours, leading some to wonder if the demanding tour schedule had been taking a toll. Emcee/ringleader duties in the shows were mostly split between frequent guest star John Stamos and Love’s son, Christian Love (who sings lead on numbers formerly sung by the late Carl Wilson).

    The Beach Boys’ revised touring schedule:

    9.24 @ The Big E – The Big E Arena in West Springfield, MA
    9.25 @ The Sounds of Summer Concert Series in Quakertown, PA
    9.27 @ Alabama Theatre in North Myrtle Beach, SC
    10.9 @ Grossinger Motors Arena in Bloomington, IL
    10.10 @ PNC Pavilion at Riverbend in Cincinnati, OH
    10.11 @ Ryman Auditorium in Nashville, TN
    10.19 @ Grey Eagle Resort & Casino – Grey Eagle Event Centre in Calgary, AB
    11.11 @ Walt Disney World Resort, Florida – Epcot, America Gardens Theatre in Orlando, FL
    11.12 @ Walt Disney World Resort, Florida – Epcot, America Gardens Theatre in Orlando, FL
    11.13 @ Hard Rock Hotel & Casino – Bristol in Bristol, VA
    5.8.27 @ River Cree Resort and Casino – Entertainment Centre in Enoch, AB

    Affected shows taken off the itinerary:

    7/23 – Wolf Trap, Vienna, VA
    7/24 – Bethel Woods Center for the Arts, Bethel, NY
    7/25 – Lancaster, PA American Music Theatre
    7/26 – Univest Performance Center, Quakertown, PA
    7/30-31 – Niagara Falls, ON OLG Stage at Fallsview Casino
    8/1 – Schenectady, NY M&T Bank Event Center
    8/2 – Northwell at Jones Beach Theater, Wantagh, NY
    8/6 – Grand Rapids, MI Frederik Meijer Gardens
    8/7 – Indiana State Fair
    8/8 – Bristol, VA Hard Rock Hotel & Casino
    8/9 – Nashville, TN Ryman Auditorium
    8/12 – PNC Pavilion, Cincinnati, OH
    8/13 – Bloomington, IL Grossinger Motors Arena
    8/14 – Aurora, IL RiverEdge Park
    8/15 – Rochester Hills, MI Meadow Brook Amphitheatre
    8/16 – West Allis, WI Wisconsin State Fair
    8/19 – Waupaca, WI Indian Crossing Casino
    8/21 – Shooting Star Casino, Mahnomen, MN
    8/23 – River Cree Resort and Casino, Enoch, AB, Canada
    8/24 – Grey Eagle Event Centre, Calgary, Canada
    8/26 – Pocatello, ID Portneuf Health Trust Amphitheatre
    8/27 – Nampa, ID Ford Idaho Center Amphitheater
    8/28 – Lewiston, ID Clearwater River Casino Event Center
    8/29 – Oregon State Fair, Salem, OR
    8/30 – Redmond, WA Marymoor Park
    8/31 – Alaska State Fair, Palmer, AK
    9/2 – Rendezvous Event Center, Winter Park, CO
    9/3 – Colorado State Fair, Pueblo, CO

  • ‘Avatar: Seven Havens’ Sets 2026 Release Date at Paramount+, Drops Apocalyptic First Teaser

    ‘Avatar: Seven Havens’ Sets 2026 Release Date at Paramount+, Drops Apocalyptic First Teaser

    “Avatar: Seven Havens” has an official premiere date at Paramount+. And what a date it is.

    The new entry in the “Avatar” franchise will debut on Oct. 9 on the streaming service. That date should stick out to fans, as it was originally the date set for the premiere of the movie “Avatar Aang: The Last Airbender,” before that release was moved up to July 25 after the movie leaked online earlier this year.

    And unlike past “Avatar” shows, which released weekly and had time between seasons, all 26 episodes of “Seven Havens” (divided into two “books” as with the past shows) will debut all at once as a binge release.

    Paramount has also released the first teaser trailer for the show, which can be seen below.

    Per the official logline, the new show “centers around a young Earthbender who discovers she’s the new Avatar after Korra in a world shattered by a devastating cataclysm. In this dangerous era, that title marks her as humanity’s destroyer, not its savior. Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization’s last strongholds collapse.”

    It stars Saheli Khan as Pavi, Aishu Devan as Nisha, Akshay Khanna as Karthik, Major Curda as Jae, Sakina Jaffrey as Agam, Darren Barnet as Daemin, Dianne Doan as Zi, and Dee Bradley Baker as Geet and Ruhi.

    “Avatar: Seven Havens” is created by franchise masterminds Michael Dante DiMartino and Bryan Konietzko, who also serve as executive producers via Avatar Studios. Ethan Spaulding is an executive producer as well, with Sehaj Sethi as co-executive producer. Nickelodeon and Avatar Studios produce.

    “Avatar Aang: The Last Airbender” is set to debut with a special screening at San Diego Comic-Con on July 24 before its streaming release the next day. The film is also playing a one-week awards qualifying run in theaters in New York and Los Angeles in lieu of the full theatrical release it was originally supposed to get.

    “Avatar: The Last Airbender” premiered on Nickelodeon in 2005 and ran for three seasons. It is widely regarded as one of the greatest animated series of all time, and was followed by sequel series “The Legend of Korra,” which premiered in 2012 and ran for four seasons.

  • Indian Epic ‘Ramayana’ Lands at Sony Pictures for International Distribution

    Indian Epic ‘Ramayana’ Lands at Sony Pictures for International Distribution

    Sony Pictures has signed on as international distributor for “Ramayana,” the two-part Indian mythological epic directed by Nitesh Tiwari and produced by Namit Malhotra‘s Prime Focus Studios, covering all territories outside India.

    Indian distribution will be handled by media personality Karan Johar’s Dharma Productions.

    The story follows the exiled prince Rama and his wife Sita, whose abduction by the demon king Ravana sets in motion an epic war between the forces of righteousness and evil.

    The film stars Ranbir Kapoor as Rama, Yash as Ravana and Sai Pallavi as Sita. Designed for audiences across cultures, it will be released in multiple languages, including an English-language version.

    Score duties fall to Oscar-winning composers Hans Zimmer and A.R. Rahman. The production also features action choreography by Terry Notary and Guy Norris, and production design by Ramsey Avery and Ravi Bansal.

    Visual effects are being delivered by DNEG – the eight-time Academy Award-winning studio also led by Malhotra – whose credits include the “Dune” trilogy, “Blade Runner 2049,” “Interstellar,” “Inception” and “The Odyssey.”

    Prime Focus Studios previously co-produced “The Garfield Movie” with Alcon Entertainment for Sony Pictures, a title that has taken in more than $257 million worldwide.

    “For generations, the ‘Ramayana’ has inspired people through its timeless humanity and enduring values. Our ambition has always been to honor that legacy while creating a cinematic experience worthy of audiences everywhere. Through DNEG, we have spent decades helping filmmakers realize some of the world’s most ambitious cinematic visions. With Prime Focus Studios, we are now bringing that same commitment to storytelling to one of the world’s greatest epics. Collaborating with Sony Pictures gives ‘Ramayana’ an extraordinary opportunity to connect with international audiences and introduce this timeless story to moviegoers around the world,” Malhotra said.

    The film is due to release in November, during the Diwali holiday frame.

    Prime Focus Studios is also currently in production on “Animal Friends,” a live-action/animation hybrid with Legendary Entertainment and Ryan Reynolds’ Maximum Effort production company, and “The Angry Birds Movie 3” for Paramount Pictures.

  • Isabel Davis Appointed Director of the BFI Filmmaking Fund

    Isabel Davis Appointed Director of the BFI Filmmaking Fund

    Isabel Davis has been appointed the new director of the BFI National Lottery Filmmaking Funds. She’ll take over from Mia Bays later this year.

    Davis will be responsible for managing an annual fund of £20 million ($26.6m), which will go into cultivating a culturally vibrant, inclusive and original independent film sector here in the U.K. Among the features backed by Bays in the post were 2025’s Kneecap, My Father’s Shadow, and Two Black Boys in Paradise.

    She’ll join the BFI in October for a five-year fixed term after eight years as executive director of Screen Scotland, where she has championed the Scottish screen industry and “been central to its transformation and growth.”

    Davis replaces Bays, who has led the fund since 2021. Bays caught up with The Hollywood Reporter just this year about being in the riskiest job in British film.

    “I’m honored to be stepping into this role at a time when this public funding is critical to building a successful future for U.K. film and the public value it represents,” said Davis. “It’s a challenging moment for U.K. independent film, economically and structurally. But audience appetite for great stories, and for the communal experience of cinema-going, is strikingly resurgent and our filmmaking talent continues to be among the world’s best. Enabling filmmakers to produce work that connects with a broad range of audiences across the U.K. — through ambition, inventiveness and heart — has to be at the core of our response. Daunting, yes, but exciting too.”

    “My excitement is tempered only by sadness at leaving Scotland, which I’ve been lucky enough to call home for much of my adult life, including through the creative upswing of the past eight years,” she added. “Huge thanks to my Screen Scotland teammates, whose talent, hard work and good nature serve our industry, audiences and young people to such positive effect, and to our colleagues at Creative Scotland for their support.”

    Davis’ appointment follows a rigorous interview process, which saw a wide range and diverse pool of candidates considered. To ensure independent voices from industry contributed to the decision, external panelists on the interviews included producers and BFI board members Elizabeth Karlsen and Hakan Kousetta, producer Nicky Bentham as co-chair of Pact’s Film Producers’ Group, while CEO Ben Roberts and deputy CEO Harriet Finney were among those representing the BFI.

    The exec joins during an exciting year for the BFI Filmmaking Fund, with titles announced this week to world premiere at major upcoming festivals: Our Share of Sand (Shalini Adnani) at Venice and Stuffed (Theo Rhys) at Toronto International Film Festival. The Incomer (Louis Paxton) opens the Edinburgh International Film Festival (EIFF) next month alongside Extra Geography (dir. Molly Manners), which both previously premiered at Sundance, and Out There (Simon Ryninks) will get its world premiere in Edinburgh’s competition selection.

    Elsewhere, I See Building Fall Like Lightning (Clio Barnard) premiered in Cannes and won the People’s Choice award in Directors’ Fortnight, and Animol, from Adolescence‘s Ashley Walters, earned its world premiere at the Berlinale and won the FIPRESCI prize for best film. Lady (Olive Nwosu) screened in Sundance and won the special jury award for acting ensemble, while Ish (Imran Perretta) is released on Friday in cinemas U.K.-wide.