François Arnaud has been tapped as a global brand ambassador for Under Armour, the athletic apparel brand announced Thursday.
The Heated Rivalry star’s first order of business as an ambassador is leading the brand’s For When It’s Hot campaign, which was released alongside the news. Under Armour had teased Arnaud’s involvement with the brand earlier over the last week on social media. Arnaud also wore the brand in character as Scott Hunter in Heated Rivalry,
“If you’d told the skinny awkward kid I used to be that one day I’d be an ambassador for a sportswear brand, I would’ve laughed,” Arnaud said in a release.
“What makes this moment feel so special is that it’s reminder that we don’t always end up where we expect, and growth can look very different from what we imagined,” he continued. “Grateful and honored to partner with Under Armour who were willing to meet me right where I want to be.”
The new campaign celebrates the brand’s HeatGear line. It launches this week, as the brand notes it’s historically the hottest week of the year in North America. In the accompanying campaign spot, the actor is shown shirtless and putting on his Under Armour gear as temperatures continue to rise. A nearby woman snaps photos and videos of Arnaud as he works out, ending the spot shirtless again and cheekily throwing his shirt at the camera.
Under Armour believes that Arnaud reflects a “forever athlete” mindset and someone who’s constantly pursuing improvement on and off the screen, according to a release. “What drew us to François was more than his obvious talent and looks, it was what he represents. The character he portrays ultimately finds his greatest success when he stops trying to fit someone else’s mold and embraces who he truly is, Under Armour’s chief communications offer Matt Dornic said in a release. “That’s a lesson that resonates deeply with us.”
The executive continued, “The best athletes perform with confidence, conviction and authenticity, and we believe the strongest brands do too. As Under Armour continues to evolve, we’re focused on being unmistakably ourselves, and François embodies that mindset in everything he does.”
When Crystal Methyd decided she was ready to return to the RuPaul’s Drag Race franchise for All Stars season 11, she wasn’t going to let the crown slip through her fingers a second time.
Crystal joined the Drag Race Hall of Fame on Friday, successfully winning season 11. But this wasn’t the first time she found success on the show; in 2020, Crystal made her franchise debut on season 12 of the mainstay series. That’s also the year the COVID-19 pandemic rocked the world. While her season of RuPaul’s Drag Race premiered in late February, most of the installment aired during the first major lockdown.
Crystal made it to the final three of season 12, where Jaida Essence Hall was ultimately crowned the show’s winner, over Zoom. It took her six years to say yes to return to RuPaul’s Drag Race post-season 12, although she’s rumored to have said no to the opportunity to compete on All Stars a few times.
It was worth the wait. Crystal won RuPaul’s Drag Race All Stars season 11 on Friday. “I was so excited to finally come back,” she tells The Hollywood Reporter, “but I definitely wanted to make sure I had some time to cook, because I knew those expectations [after season 12] were going to be high, and I really wanted to be able to meet them.”
All Stars season 11 was partly the right time for Crystal to compete for a second time because she wanted to make sure she had the full RuGirl experience (traveling for gigs, attending watch parties with fans, etc.) that she lost during the pandemic.
“I felt like I was playing catch-up after my season,” she says. “I didn’t get to travel around. I didn’t have all the club experiences that a normal cast member would get, so I just wanted to have time, make sure I got every experience that I wanted.”
Amid the growth of the Drag Race franchise, some have argued the schedule of airing one All Stars installment each year should be reduced to once every few years. Although there were six years between Crystal’s RuPaul’s Drag Race season 12 and All Stars season 11 appearances, she doesn’t think the franchise should slow down its release schedule.
“I don’t think that we should ever have any pause in Drag Race,” Crystal says. “I think more drag is good for everyone.”
Below, Crystal reflects on what the first few days of being a RuPaul’s Drag Race All Stars winner have been like, the behind-the-scenes differences she felt between season 12 and All Stars 11, why she doesn’t mind the show’s bracket format and what it means to be the first person of Mexican descent to win the mainstay series.
What have the last few days been like for you since winning All Stars?
It has been really, really fun and wild. I got to be in Vegas for the last episode, and then I had a few days off, so I was living up my Vegas fantasy, staying at the club till six a.m., partying with my girls Kylie [Sonique Love] and Jaida. It’s been great. I’ve been feeling all the love from the fans and my friends, so I’m on top of the world.
Watching the show back, you don’t know who wins; you film two outcomes. What did it feel like when you finally heard RuPaul call your name and crown you?
It was really wild, because I’ve been close to winning before, and I think on season 12, I didn’t even want to win until I knew it was a possibility. And then I got really, really close, and when I didn’t win, I was, like, so sad. I remember closing my computer with our Zoom finale and crying all my makeup off. So this time, I didn’t want to get my hopes up either way because, you know, the show is unpredictable. You never know what could happen. So for it to all become a reality, it still didn’t feel real that day we found out. I think it took a couple days to hit.
Crystal Methyd wins ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
You were so beloved on season 12, and your All Stars return was long awaited. Because of the expectations that fans had for you going into the show and the fact that you took time off, you didn’t jump right back into All Stars. Did you feel any pressure going into your return or were you more excited?
I was so excited to finally come back, but yeah, I definitely wanted to make sure I had some time to cook because I knew those expectations were going to be high, and I really wanted to be able to meet them. And then at the same time, I felt like I was playing catch-up after my season. Like, I didn’t get to travel around. I didn’t have all the club experiences that a normal cast member would get, so I just wanted to have time, make sure I got every experience that I wanted, and to have some experiences that maybe not everyone had. I was so excited that I got to be in Slay, the Tubi movie, and actually have these experiences on a set where it’s not reality television. I was ready, though, for All Stars 11. It was like, I can’t wait any longer. We put it off for far too long.
Season 12 was still the VH1 era of Drag Race. Now, Drag Race is in this MTV-Paramount era. Is there anything you noticed that was different behind the scenes from competing on the show in season 12 versus All Stars 11?
The stage was insane this year for All Stars. Like, the way that it was video screens and stuff. It just felt like everything had become bigger since I was there. I was like, I don’t know if I’ve just shrunk or what, but it was the set and everything; it was just bigger, bigger, bigger, and I just feel so happy that Drag Race does continue to grow every year.
This was the second year of the bracket format. The season 11 cast had seen a little bit of what the bracket format was like with season 10, so were you excited to take on the brackets, or were you like, “Maybe we should do a regular format season?”
I was excited to do it because my drag sister Daya Betty competed on All Stars 10, so I kind of had a vague understanding of how it worked. But again, after the merge for our season of All Stars 11, the rules changed, so it still felt really exciting. When we were there, it was like, oh, we still actually don’t know what to expect.
Crystal Methyd’s Butter runway on ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
Do you think, moving forward with All Stars, that they should continue the bracket format?
I do think that it’s nice to guarantee queens a certain amount of episodes because it’s so heartbreaking to make all these beautiful gowns and things and then not even have the opportunity to showcase them. So I think that is definitely a really big perk, and I think that the social game aspect also is kind of a fun twist, because, you know, I almost didn’t make the merge because of all of the crazy twists and turns. It definitely adds excitement.
There’s always a conversation amongst viewers who think that All Stars should start taking years off so that they can give queens more time to grow. What is your take on that as someone who did wait longer to return?
Ooh, I don’t think that we should ever have any pause in Drag Race. I think more drag is good for everyone. But for me, I just wanted to take time off because I wanted to be able to show. It’s hard to have a bunch of growth when it’s only been a year, you know. So you have to travel around, meet those connections, and make that money to be able to invest back into yourself.
Fans have pointed out now, with your track record on All Stars 11, you have one of the best track records across all of the Drag Race franchise. Did you know that? Do you pay attention to that chatter about track records?
I don’t really know. I feel like track records don’t matter to me. But, wow! Oh my God, honored! I’m honored.
What does it mean for you to know that you rank so high in terms of performances on the show?
I mean, I think it just makes me feel good for the fact that, like, I didn’t realize my first season that Ru wanted to build a connection with me. Like, you know, with him calling me El Debarge and joking with me. I think I was so starstruck the whole time. When he was around, I just kind of would smile and toss my hair; like, I didn’t know what else to say. So I was excited to come back for All Stars and be able to be prepared to banter with Ru, because she wants to have fun, she wants to joke around and play, and I felt like I was at the point where I was ready to play with Ru, and so I think that’s why I ended up with those wins. It’s like, she was having fun, and that’s why she was loving it.
One of those challenges that queens do get to banter with Ru is the Snatch Game. There was no Snatch Game this season. What was your take on that?
You know, I had a terrible Snatch Game my season, so I’m not, like, heartbroken about it. But I was wanting to have a little bit of a redemption there. I would have loved to take on another Snatch Game. So maybe we’ll just have to wait for All Winners 2.
Did you prepare somebody for Snatch Game? Did you have somebody ready that you were going to do, and can you share who?
I’ve prepared, like, ideas, just in case in the past. I’ve never fully committed to anything all the way, but I was thinking a historical figure like Martha Washington or something could work.
Crystal Methyd and Joey Jay on ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
You are the first winner of the main U.S. iteration of RuPaul’s Drag Race of Mexican descent. What does that mean for you to win the title in the time that we are currently politically?
I think it’s perfect timing. I’m so glad that it’s happening now. I feel so honored to be able to represent for all the Mexicans out there. I just got to be in Mexico for Pride, and it was just so, so magical. I felt so much of the love, and I can’t wait to go back and bring them the crown, you know?
What do you hope is to come for your year as the reigning winner of RuPaul’s Drag Race All Stars?
Oh my gosh! Well, I’m just excited to continue doing the unhinged drag that I do and maxing it up even more. I actually just announced my one-woman show. So spring of 2027, a stage show, all me, dancers, puppets, all my ideas. It’s going to be crazy and magical, and I’m so excited to start working on it.
***
RuPaul’s Drag Race All Stars season 11 is streaming on Paramount+.
Rapper Yung Miami has signed with WME for worldwide representation in all areas. The South Florida rapper and former member of the City Girls will release her solo debut on the relaunched Uptown Records later this year. The album’s lead single, “Spend Dat,” topped the Billboard Rap Airplay charts and is currently at No. 17 on the Hot 100, and she performed it during the New York Knicks’ Championship Parade last month.
+ New York’s City Parks Foundation will honor SummerStage festival founder and executive producer Joe Killian and Alex Blavatnik, Vice Chairman of Access Industries and Director of the Blavatnik Archive, at its 2026 Dinner & Concert benefit fundraiser, taking place September 10 at the SummerStage venue at Rumsey Playfield in Central Park. Killian, who founded SummerStage and served as its executive producer from 1986 to 1993, will receive the SummerStage Icon Award, as the storied festival celebrates its milestone 40th anniversary this season, and Blavatnik will be honored with the 2026 City Parks Foundation Icon Award. The evening will also feature a performance by New Orleans’ Preservation Hall Jazz Band and others to be announced.
City Parks Foundation, through its Capital One City Parks Foundation SummerStage Festival, is one of the largest presenters of free arts and cultural programs in New York City parks, and serves nearly 300,000 New Yorkers each year through arts, education, sports and community building initiatives.
“As we celebrate SummerStage’s 40th anniversary this year, we are truly honored to be presenting our trailblazing festival founder Joe Killian with this year’s SummerStage Icon Award. Joe had a groundbreaking vision to bring free, world-class performing arts programming to New Yorkers, and we are so proud to be continuing his mission across the city to this day” said Heather Lubov, Executive Director of City Parks Foundation. “We are also equally excited to present Alex Blavatnik with the City Parks Foundation Icon Award and shine a spotlight on the longtime commitment and philanthropic support that he and his Foundation have provided to preserving cultural history and making it freely accessible to all – something we strongly believe in.”
+ Sony Music Publishing Nashville has signed Adam James to a global publishing deal. James has penned songs for Luke Combs, Dierks Bentley, Nate Smith and more. He recently contributed four songs on Cody Johnson’s CMA Album of the Year winner “Leather,” including “Whiskey Bent” featuring Jelly Roll. He also penned the “Knowing You” by Kenny Chesney, which was nominated for Song of the Year at the 2022 Academy of Country Music Awards.
James said, “I’m so grateful for this opportunity to be at Sony Music Publishing. The energy I feel from the team when I walk through the door every day is truly inspiring. I’m sincerely fired up to work with all y’all. It also makes me super happy to know my songs will be hanging out with Roger Miller’s and Dennis Linde’s on a massive cloud storage database somewhere. Dreams do come true!”
+ Traditional country artist Colton Dawson has signed with WME for global representation. The 19-year-old Arizona native recently signed with Warner Records Nashville and is managed by TKO Artist Management.
“Signing with WME is a huge milestone for me,” said Dawson. “I grew up loving country music and dreaming about playing these kinds of stages, so to now have a team that believes in what I’m building means the world. I’m ready to get out there and keep earning it every night.”
+ Universal Music Group has named Tseyin Foo has been appointed President of Global Supply Chain, reporting to Boyd Muir, Chief Operating Officer, and based in Los Angeles.
Foo will lead UMG’s global supply chain, strengthening the capabilities that underpin the company’s worldwide business across its ecosystem of digital partnerships and direct to consumer destinations, as well as physical formats, merchandise and other consumer products, according to the announcement. She joins UMG from Skechers, where she served as Head of Global Supply Chain Planning & Strategy. and previous held senior positions at VF Corporation, across Timberland, Vans and 7 For All Mankind.
“As we continue to create more opportunities for growth throughout the music ecosystem, it’s increasingly important that we operate as one global organization with greater speed, flexibility, and precision,” said Boyd Muir. “Tseyin brings a rare combination of strategic leadership, operational excellence, and technology expertise that will help us deliver greater impact at greater scale, driving even more value for artists, songwriters, labels and entrepreneurs around the world.”
+ Detroit-based producer and executive Justin “Jay” Norman, who most recently served as Global Director of Creative Strategy and Global Head of Music Marketing at Spotify, has left the streamer to lead Verse + Hook (V+H); the creative strategy, branding, and marketing consultancy he co-founded.
Co-founder Miso Brown steps in as Head of Brand Amplification, Partner Tierra Filhiol assumes the role of Head of Cultural Intelligence & Strategy, and Kyle Bernhardt will take on the position of Executive Director, Head of Creative. Rounding out the team, Chelsea V Huguley will manage Client Partnerships & Business Development as Director, Apryl Gordy joins as Director of People & Operations, and Joe Zimmer will serve as Director of Project Management. According to the announcement, Verse + Hook operates across five practice areas: Strategy, Brand + Creative, Production + Content, Experiential, and Music + Sync via its sync licensing arm, Soundry.
Wonder Project is expanding its investment in international scripted programming with three projects from the U.K. and Ireland. These include the “Leonard and Hungry Paul,” narrated by Julia Roberts, “You & Me,” executive produced by Russell T Davies and “Rewarding,” a new original commission with BBC Northern Ireland.
“The UK and Ireland have an incredible track record of developing distinctive voices and building shows that travel internationally without losing what makes them unique,” said Tristen Tuckfield, head of content acquisition at Wonder Project. “That’s exactly what we’re interested in — stories that are deeply rooted in a specific world but broadly relatable because of the people and relationships at their center.”
“Leonard and Hungry Paul” is the critically acclaimed Northern Irish series narrated by Oscar winner Roberts. Wonder has acquired exclusive U.S. streaming rights to the six-part series from Avalon, which will be branded as a Wonder Project Original. Based on the novel of the same name, the feel-good series follows two board-gaming friends in their thirties who meander through leafy suburban life finding solace in their quiet routines. Unexpected events prompt both men to meet a world that is suddenly wider and full of unfamiliar possibilities.
The series stars Alex Lawther, Laurie Kynaston and “Derry Girls” star Jamie-Lee O’Donnell, and premiered on BBC One Northern Ireland, BBC Two and BBC iPlayer to critical acclaim. “Leonard And Hungry Paul” is a Subotica production for BBC Northern Ireland in association with BBC Comedy, Fís Éireann / Screen Ireland and RTÉ, and a co-production with Avalon.
“Following its critical success in the UK and strong international sales, we’re thrilled to partner with Wonder Project to bring ‘Leonard and Hungry Paul’ to U.S. audiences and continue building the series’ momentum around the world,” said Adam Barth, SVP, scripted & digital distribution at Avalon.
Wonder has also secured exclusive U.S. premiere rights to “You & Me,” the three-part drama from “Happy Prince,” part of ITV Studios, executive produced Davies. Originally produced for ITVX, the series stars Harry Lawtey and Jessica Barden and explores love, loss and the possibility of finding happiness again after a profound tragedy. All three parts of “You & Me” will debut on Wonder on Aug 6.
Rounding out the slate is “Rewarding,” a new six-part comedy series commissioned by BBC Northern Ireland and Wonder Project with support from Northern Ireland Screen. Made by Conker Pictures, part of Banijay UK, the series is set on the frontlines of domiciliary care and follows the messy lives of support workers and their disabled and neurodivergent clients. Banijay Rights handles international distribution for the series.
“Rewarding” was originally developed as a short pilot episode as part of BBC Northern Ireland and Northern Ireland Screen’s Green Lit scheme — an initiative designed to support and showcase emerging talent in writing, directing, production and acting across Northern Ireland.
“We’re interested in creators who have a deep understanding of the worlds they’re writing about,” said Justin Rosenblatt, head of global TV at Wonder Project. “‘Rewarding’ comes from a place of genuine insight, and that’s what gives the series its humor, specificity and emotional honesty. It’s also what made this partnership with BBC NI such a natural fit. From the beginning, we shared the same creative instincts, vision and ambitions for the series.”
The series features disabled, neurodivergent and learning disabled talent in key roles and draws on Matthew McDevitt’s own experiences in the care system to bring authenticity and nuance to its portrayal of social care. Starring comedian Vittorio Angelone and Hannah McClean, “Rewarding” is expected to premiere on Wonder in late 2026.
“It’s wonderful to see ‘Leonard and Hungry Paul’ and ‘Rewarding,’ both commissioned by BBC Northern Ireland, reaching a wider international audience through Wonder Project,” said Eddie Doyle, head of content commissioning, BBC Northern Ireland.
Almost exactly six years after NBCUniversal first launched Peacock, the streaming service reported its first ever profitable quarter.
Comcast reported its Q2 earnings early Thursday, with EBTIDA of $189 million, and subscribers growing to 48 million, driven by the NBA playoffs, FIFA World Cup, and Love Island.
Overall, Comcast’s content and experiences businesses reported revenue of $10.7 billion, up 22.9 percent from a year ago, and adjusted EBITA of $1.3 billion, up 7.1 percent.
Media revenue was $5.7 billion, up 25 percent, with adjusted EBITDA of $708 million. The FIFA World Cup, for which Telemundo had Spanish-language rights, brought in an astonishing $440 million in incremental revenue in the quarter, but the company would have been up regardless.
Driven by the Super Mario Galaxy Movie and Obsession, studios revenue soared 25 percent to $3 billion, with adjusted EBITDA of $202 million.
That said, Comcast warned that its theme parks business is experiencing softness, even with revenue rising 2.7 percent to $2.4 billion. Adjusted EBITDA was down 5.1 percent to $609 million.
“While we are seeing some near-term softness in Theme Parks, we remain confident in the long-term opportunity, supported by our world-class brands, attractive locations and proven ability to create attractions and experiences that drive real consumer demand,” Brian Roberts and Mike Cavanagh said in a statement.
Comcast is in the process of splitting itself in two, separating its Comcast cable and connectivity business, which will be led by CEO Michael Angelakis and its entertainment and content business, which will be led by Cavanagh.
Comcast overall is in the midst of a transition, led by its connectivity business, which has seen softness in an extremely competitive environment. Comcast as a whole reported revenue of $29.9 billion, down 1.2%, and adjusted EBITDA of $8.9 billion, down 13%. Comcast’s connectivity business is executing on its “strategic pivot,” the executives said, with results expected by next quarter,
Spanish-language media giant TelevisaUnivision reported a 29 percent U.S. advertising revenue drop and an 11 percent total U.S. revenue decline to $722 million in the second quarter when NBCUniversal’s Telemundo, its rival, featured the Spanish-language rights to the 2026 FIFA World Cup.
The U.S. ad results reflected “cyclical softness in our business from competitive sports programming,” the company said. “In Mexico, advertising revenue increased 23 percent to $353 million, driven by the FIFA World Cup.”
Total company revenue in the second quarter grew 10 percent to $1.3 billion, “driven by 53 percent growth in Mexico following a record-breaking FIFA World Cup performance that reached 675 million total viewers across linear and [streamer] ViX,” said TelevisaUnivision. But its operating Income dropped to $224 million from $241 million, while adjusted OIBDA of $388 million was down from $398 million in the year-ago period.
Total quarterly subscription and licensing revenue jumped 40 percent to $621 million, “driven by approximately $90 million in revenue attributable to sublicensing the FIFA World Cup rights in other Spanish-speaking Latin American countries, the expansion of ViX’s premium tier and higher linear distribution revenue,” the company said. “In the U.S., it grew 8 percent to $377 million, driven by growth in ViX’s premium tiers, the company’s partnership with Hulu Live TV and higher average rates. In Mexico, it grew 157 percent to $245 million, driven by strong content licensing revenue and growth in ViX’s premium tier.”
Operating expenses increased 16 percent, or 11 percent when excluding foreign exchange impacts, “mainly driven by sports costs associated with the FIFA World Cup,” the firm said. The higher expenses hit the bottom line.
“TelevisaUnivision delivered solid second-quarter financial results, driven by the record-breaking success of our FIFA World Cup coverage,” said Daniel Alegre, CEO of TelevisaUnivision. “The tournament reinforced why soccer is a cornerstone of our strategy and why we are the ‘home of soccer’ for Hispanics. Sports, together with our continued investments in live events and premium entertainment, ensure that we remain the destination for culturally relevant moments that matter.”
Concluded the CEO: “Combined with our unique connection to our audience and the importance of our platforms heading into the U.S. election cycle, this momentum positions us well to drive sustained profitability while creating even greater value for our audiences, advertisers, and partners.”
Paradise City Sales has boarded worldwide sales on Iranian filmmaker Mohsen Gharaei’s latest feature, “Falling House” which is set to world premiere in the Horizons section at the Venice Film Festival.
“Falling House” marks his follow up to “Blockage,” a 2017 drama that portrayed contemporary Iranian society and won best film at Busan before going on to play at Rotterdam and Munich.
CAA Media Finance is handling U.S. rights, while Paradise City Sales represents international sales on “Falling House.”
The film follows a modest family on the outskirts of Tehran who faces the imminent destruction of their home as part of a vast redevelopment project. While Rashid, the father and a prison guard, is being accused of corruption, he discovers that his eldest daughter, Ensi, is secretly planning to leave Iran to become a model. As the bulldozers draw ever closer, the tensions within the household begin to rise.
“The most terrifying structures are the ones that no longer need a tyrant,” said Gharaei. “Their logic has already taken root in the minds of many. They become truly powerful the moment they are no longer recognized as violence. A prison no longer needs walls. It only needs people willing to call it home.”
Written by Mohsen Gharaei and Amir Mohammad Abdi, “Falling House” stars Laleh Marzban, Rima Raminfar, Farhad Aslani and Elena Khakbaz. The film is scored by critically acclaimed composer Max Richter (“Hamnet”), cinematography by Farshad Mohammadi, editing by Evelyn Rack (“Sound of Falling”) and Emad Khodabakhsh, and sound design by Oscar-nominated Ansgar Frerich (“Of Fathers and Sons”).
“Falling House” is produced by Milad Khosravi and Mohsen Gharaei for Seven Springs Pictures (“Divine Comedy”), Oscar-winning producer Odessa Rae for RaeFilm Studios (“The Voice of Hind Rajab”), and Daya Fernández, Amaury Nolasco and Alois Rubenbauer for 3SIX9 Studios. Basis Berlin Filmproduktion (“Of Fathers and Sons”) and Zentropa Germany (“King’s Land”) are co-producing, with Oscar-nominated producer Jon Kilik (“Babel,” “The Hunger Games”) serving as executive producer.
“‘Falling House’ carries a warning we have felt growing for years,” said Khosravi, who is producing for Seven Springs Pictures. He added that the idea for the film “was conceived long ago, and the screenplay was completed before the present madness in our country could have been imagined.” “Yet today the film feels painfully prophetic, reflecting the long-term suffering of ordinary people who have endured decades of oppression and now face the fear and uncertainty brought by the ongoing war,” he continued.
Rae at RaeFilm Studios pointed “Falling House” is not a film about politics, but rather a “film about people living under its weight.” “Every system eventually arrives at someone’s front door. Mohsen captures this with extraordinary restraint,” she added.
Jeanne Loriotti, sales executive at Paradise City Sales, said “Mohsen Gharaei has crafted a compelling, plot-driven story that combines a true sense of urgency with remarkably rich and layered characters.” She said the company was “struck by the film’s mounting tension, its emotional depth, and its remarkable performances, particularly from the female cast.” Mohsen Gharaei is represented by Seven Springs Pictures.
Paradise City Sales’ Venice slate also includes Andrea Pallaoro’s “The Echo Chamber” and Lili Horvát’s “My Notes on Mars,” opening Venice Days.
Christopher Nolan’s The Odyssey, shot entirely on Imax film cameras and seen by cinema-goers on Imax premium large format screens, helps explain the lift the film technologies company received from Hollywood’s premium screen gold rush with its second quarter financial results out on Thursday.
Imax had revenue of $102.8 million in the quarter, up 12 percent from $91.7 million in the year-ago period, while net income rose 30 percent to $15.9 million, compared to a year-earlier $12 million. The adjusted earnings per-share hit 43 cents, up 65 percent against a year-earlier 26 cents.
As Imax navigates a post-pandemic box office rebound for the Hollywood studios, the company’s main movie suppliers, the film technologies company is spearheading a push by major exhibitors into in-demand premium screens and movies shot with proprietary Imax cameras like The Odyssey.
And The Odyssey is proving as transformational for Imax on its giant screens as James Cameron’s Avatar franchise was in earlier business cycles, both in global audience and theatre network sales. That’s feeding through to Imax’s bottom line.
Second quarter content solutions revenues — or business from agreements with the major studios and filmmakers rose 2 percent to $35 million, while the latest quarter’s technology products and services revenues, or the proceeds from the sale, lease and maintenance of Imax’s theater systems network, rose 16 percent to $65 million.
Imax also has momentum in the current third quarter after The Odyssey delivered a record worldwide opening weekend for Imax at $52 million in box office and around 20 percent of the global first weekend ticket receipts.
“As we enter the second half of 2026, Christopher Nolan’s breathtaking The Odyssey — the first-ever full-length theatrical release filmed entirely with Imax film cameras — is emerging as a transformational event for Imax, as the purest and most complete expression yet of the power of our global platform,” Rich Gelfond, CEO of Imax, said in a statement that accompanied his latest financial results.
Fandango Sales has boarded international sales on “The Girl With the Leica,” directed by Alina Marazzi, just announced by the Venice Film Festival as the opening film of its Horizons section.
The film paints a portrait of pioneering photojournalist Gerda Taro, the German-Jewish war photographer, anti-fascist and artist whose legacy has long been overshadowed. Together with her partner, the Hungarian photographer André Friedmann, Taro created the fictional photographer “Robert Capa” — a pseudonym adopted by Friedmann designed to overcome growing political intolerance in Europe and appeal to the American market. As a result, many of the photographs long attributed to Capa were in fact taken by Taro. While covering the Spanish Civil War, she became the first female photojournalist to be killed on the battlefield.
“The Girl With the Leica” re-centers the story firmly on Taro herself — her work, her deeply held political beliefs, and the vibrant circle of admirers, artists and intellectuals drawn to her beauty, intelligence and independence.
The film is set in Paris on July 14, 1937. Taro spends her final day before returning to the Spanish front with Capa, and the close friends with whom she escaped Nazi Germany. As past and present intertwine, the defining moments of her life resurface: her political activism in Leipzig alongside her first love, her years of exile in Paris, her whirlwind romance with Capa, her discovery of photography, and her growing determination to use her Leica as a tool for resistance and freedom.
Raffaella Di Giulio, managing director, international sales and acquisitions for Fandango Sales, commented, “We are delighted to reunite with Vivo Film and to work for the first time with Alina. Through a beautiful and poetic blend of archival footage and fiction, she has crafted a stunning film that lets audiences rediscover a long-forgotten figure: Gerda Taro. We cannot wait to share her story with distributors and audiences alike.”
Producers Marta Donzelli and Gregorio Paonessa for Vivo Film and Jonas Dornbach for Komplizen Film added: “Gerda Taro’s story feels even more urgent and relevant today than when we first began developing the project years ago. Through her work, she fought for freedom and never lost sight of the political power of photography, especially in times of war. Alina Marazzi is one of the most distinctive voices in Italian cinema. With this film she takes a remarkable step into fiction while remaining deeply true to what has always defined her work: an exploration of women’s lives, a creative incorporation of archival material, and a constant dialogue between history and the present.”
The film features Emilia Schüle, Aaron Altaras, Luna Wedler, Lucas Englander and Thomas Schubert, along with Sebastian Schneider, Idan Weiss, Lia von Blarer, Hans-Christian Hegewald, Jeremy Mockridge and Joel Basman.
Schüle, who stars as Taro, is best known for playing the lead role in the Canal+ and BBC Series “Marie Antoinette” and TV roles including Netflix’s “Der Parfumeur” and ZDF’s popular “Ku’damm” series. Her film credits include recent Berlinale breakout “The Trial of Hein,” as well as German box-office hits “Wunderschön” and “Wunderschöner.”
“The Girl With the Leica” was lensed by Chilean-Danish cinematographer Manuel Alberto Claro, known for his Lars von Trier collaborations including “Melancholia” and “Nymphomaniac,” and integrates images shot by Taro as well as rarely seen archival material into the drama.
The film is freely adapted from Helena Janeczek’s novel “The Girl With the Leica” (2017), recognized in Italy with the Premio Strega — widely regarded as Italy’s most prestigious literary award. The novel also won the Premio Bagutta, one of Italy’s oldest and most prestigious literary prizes, before being translated into several languages, including English, German, French and Spanish, and published in 15 countries.
Marazzi is an acclaimed director working across documentary, fiction and theater, with women’s subjectivity and the imagery of memory at the heart of her work. Her films include “For One More Hour With You” (Un’ora sola ti vorrei), which received a Special Jury Mention at the 2002 Locarno Film Festival; “We Want Roses Too” (Vogliamo anche le rose), presented at Locarno and winner of the FOCAL Award in 2008; and “All About You” (Tutto parla di te), winner of the Tao Due – Caméra d’Or Award at the Rome Film Festival in 2012. She is also co-artistic director of the UnArchive Found Footage Fest.
The screenplay was written by Marazzi and Valia Santella, freely adapted from the novel by Janeczek.
“The Girl With the Leica” is an Italian-German co-production, produced by Marta Donzelli and Gregorio Paonessa for Italy’s Vivo Film with Rai Cinema, Jonas Dornbach, Janine Jackowski and Maren Ade for Germany’s Komplizen Film, in co-production with ZDF/ARTE, in association with Beatrice Bordone Bulgari for Eolo Film Productions, in co-production with Film i Väst and Zentropa Sweden, with the support of Eurimages – Council of Europe; MIC – Direzione Generale Cinema e Audiovisivo; with the contribution of PR FESR Piemonte 2021 – 2027 Bando Piemonte Film TV Fund; with the support of Film Commission Torino Piemonte; with the support of Avviso pubblico Lazio Cinema International (PR FESR Lazio 2021-2027); with the support of DFFF – Deutscher Filmförderfonds and MDM – Mitteldeutsche Medienförderung; with the support of Creative Europe Media.
The film will be distributed in Italy by BIM Distribuzione with a release date to be announced and released in Germany by Port au Prince.
The concert film “George Michael: The Faith Tour” has been acquired by Universal Pictures Content Group and Bleecker Street’s event cinema division Crosswalk.
Universal Pictures Content Group will release the film internationally, and Bleecker Street’s Crosswalk will release the film in North America.
Shot at the Palais Omnisports de Paris-Bercy during the European leg of the Faith Tour in 1988, the film features never-before-seen footage of Michael.
The concert film is directed by Michael’s longtime collaborators Andy Morahan (“Last Christmas”; “Faith”; “Careless Whisper”) and David Austin (George Michael “Freedom Uncut”, “George Michael at the Palais Garnier, Paris”). Screening with an opening original short film by Mary McCartney (“If These Walls Could Sing; “Mary McCartney Serves It Up!”) and produced by George Michael Entertainment and Globe Originals, in partnership with Mercury Studios, the film is slated for a late 2026 worldwide release in theaters in premium formats. In the U.S., Bleecker Street will partner with Imax on exclusive early access screenings.
“George Michael: The Faith Tour” transforms archival footage assembled from a 14-camera shoot captured on 35mm film over two nights, into a cinematic event and audio experience. The film opens with an original short, “Finding Faith,” which features voice-over from Michael during an unheard interview alongside unseen images captured by photographer Herb Ritts, and behind-the-scenes footage of the “Faith” music video.
The deal was negotiated by Helen Parker for Universal Pictures Content Group and Avy Eschenasy for Bleecker Street.
Parker said, “George at the height of the Faith tour was simply electrifying — there’s a magnetic force of charisma and connection with the audience that feels just as powerful today as it did then.” She added, “To see these performances brought to life on the big screen, in such a cinematic and immersive way, makes this incredibly special — particularly for those who were there or remember that moment so vividly. We also can’t wait for a whole new generation to experience just how extraordinary he was as a creative force, performer and musical auteur.”
Bleecker Street CEO Kent Sanderson said, “An icon of his generation and beyond, George Michael was at the height of his creative and cultural power during the Faith tour, a defining moment that was made for the big screen. Through beautifully restored archival footage and intimate, never-before-heard interviews, audiences will be given a front-row seat to a beloved artist at the peak of his impact.”
Hit singer Michael, the founding member of the duo Wham!, died at the age of 53 in 2016. The singer sold more than 100 million albums over a career spanning almost four decades.
“We are incredibly proud of ‘George Michael: The Faith Tour’ and the extraordinary craftsmanship that has gone into bringing this footage to life,” said Ken Danquah, Chief Finance & Commercial Officer, Mercury Studios. “We’re excited to be partnering with such world-class distributors as Universal Pictures Content Group and Crosswalk, whose proven track record and expertise in delivering immersive cinematic events make them the perfect partners to bring this film to audiences around the world.”
The London-born singer, whose real name was Georgios Kyriacos Panayiotou, formed Wham! in 1981 with school friend Andrew Ridgeley, and the pop duo went on to have a string of hits, including “Wake Me Up Before You Go-Go,” “Club Tropicana” and “Last Christmas.”
Michael and Ridgeley parted ways in 1986, and the former embarked on a solo career. His first album, “Faith,” sold more than 25 million copies, and won a Grammy.
“George was utterly unique, both as a man and an artist. Having had the great privilege of personally working closely with him and his team over the years, the opportunity to bring The Faith Tour to audiences through Globe Originals is an honor,” said Lucie Avery, general manager, Globe Originals. “Mercury Studios, working hand-in-hand with George Michael Entertainment, brought their unrivaled expertise and vision to this project from the outset. The result is a film that truly honors his timeless legacy.”
Alongside the theatrical release, George Michael Entertainment and Sony Music Entertainment will release “The Faith Tour”, an 18-track live album of previously unreleased recordings featuring hits from Michael’s Wham! and solo catalogs.
