PlayStation’s highly anticipated “Wolverine” video game will launch on Sept. 15.
The titular character, Logan/Wolverine, will be played by Liam McIntyre. Per the studio, the game “intends to deliver the ultimate Wolverine fantasy, with fast, fluid, and ferocious combat; exhilarating, action-packed set pieces, and a gripping story that taps into the core tenets of one of the most compelling comic book characters of all-time.”
“Wolverine” was developed by Sony Interactive Entertainment’s Insomniac Games in partnership with Marvel Games and released its first trailer during PlayStation’s “State of Play” presentation in September 2025.
“We aim to deliver the ultimate Wolverine fantasy built on Insomniac staples like fast, fluid, and ferocious combat; exhilarating, action-packed set pieces; robust accessibility features; and a gripping story that taps into the core tenets of one of the most compelling comic book characters of all-time,” Insomniac Games senior community manager Aaron Jason Espinoza said in a PlayStation blog post first announcing the game. “We’re breaking new ground with Wolverine, yes, but our penchant for telling stories about heroes overcoming colossal odds is as strong as ever. We’re eager to explore Logan’s story with you and tap into his signature spin on heroism, which is much darker and more brutal than you might expect from Insomniac.”
AMC Theatres CEO Adam Aron on Tuesday gave an update to investors on his recovery from a minor stroke on Nov. 17 of last year during a visit to London.
“Just before Thanksgiving, during a business trip to London, I suffered a minor stroke. Fortunately for me, I got immediate care at a superb London hospital run by the United Kingdom’s National Health Service,” Aron told analysts on a conference call about his stay at the National Hospital for Neurology and Neurological Sciences, a public hospital in London known for its stroke care.
“It was envisioned that I would have a speedy and full recovery,” Aron added in prepared remarks on the call following the release on Monday of the company’s fourth quarter and full-year 2025 financial results. “There was no cognition problem at the time of the stroke, no issue with reasoning or logic or decision making or memory.”
Aron said he lost his ability to speak for a “day or so,” and that was followed by speech therapy. “That was 14 weeks ago. You can hear for yourselves my voice today. My voice is back. I am delighted to report to you all that I am in fighting shape and fully ready to do battle,” he added as he continues to serve as chairman, CEO and president of AMC.
At the time of his minor stroke, AMC in a statement said: “Fortunately, there are no indications of loss of cognitive brain function related to Mr. Aron’s ability to process complex information, his memory or his written communications, which are all normal and undiminished. His only meaningful limitation was an initial slurring of his speech. He immediately commenced speech therapy, and has already seen a remarkable recovery in the quality and tenor of his voice. He expects to make a speedy and full recovery.”
A release date hasn’t been set but SPC is eyeing a theatrical debut in the fall.
Written and directed by Noah Segan, “Pickpocket” follows Harry (Turturro), a veteran of the craft who struggles to keep up with the changing times — phones are trackable, wallets rarely have cash and guns are hiding in plain sight. When a theft goes awry, Harry embarks on a high-stakes race against time through the Big Apple. Giancarlo Esposito, Tatiana Maslany, Steve Buscemi, Karina Arroyave, Victoria Moroles, Will Price and Jamie Lee Curtis round out the cast.
“Noah Segan’s ‘The Only Living Pickpocket’ is one of the great New York movies ever featuring John Turturro in the finest performance of his career, and it’s a glorious entertainment,” Sony Pictures Classics said in a statement. “It will be a big hit this fall with audiences everywhere.”
In Variety’s review, critic Tomris Laffly shared a similar sentiment and praised “The Only Living Pickpocket in New York” as an “unapologetically local love letter to the Big Apple and its less-illustrious denizens that New York deserves.” She added that “Pickpocket’ feels like a new, minor-key New York classic.”
This is Sony Pictures Classics’ third acquisition out of this year’s Sundance following the crowd-pleasing love story “Ha-Chan, Shake Your Booty” and drama “Bedford Park.”
Segan is best known for working with Rian Johnson on such films as “Looper,” “Brick” and the “Knives Out” trilogy. His last directorial effort was 2022’s “Blood Relatives,” a horror comedy about Jewish vampires. “Pickpocket” was produced by Johnson’s T-Street Productions, which backed a prior Sundance darling in Chloe Domont’s psychological thriller “Fair Play,” which sold to Netflix for a staggering $20 million in 2023.
Segan called Sony Pictures Classics co-presidents Michael Barker and Tom Bernard “legends in their own right” and thanked them for “iconically supporting the sort of sincerity and care we’ve put into the film.”
“As a multi-generational New Yorker, capturing the soul and energy of our city was a requirement for ‘The Only Living Pickpocket in New York.’ No one embodies that vibe more than John Turturro,” Segan said in a statement. “Working alongside his legendary friends and colleagues like Steve Buscemi and Giancarlo Esposito, actors who have defined New York Cinema throughout their careers, gave us the authenticity that New York demands. Alongside our crew, we managed to make discoveries in our own backyard, through fellowship and shared history. It is a great honor to partner with Sony Pictures Classics in bringing the movie to audiences.”
[This story contains spoilers from the three-episode premiere of Paradise season two.]
If the first season of Paradise was a post-apocalyptic survival drama — albeit, a twisty one — the second season of Dan Fogelman‘s hit Hulu series starring Sterling K. Brown is about something even bigger — and less tangible.
“This season is about: Do you believe that things happen for a reason, or is it chance? It’s a big, emotional question. It’s almost a religious question; a philosophical question. What do you believe?” executive producer and writer John Hoberg tells The Hollywood Reporter about the newly released second season of Paradise.
Fogelman, who famously created This Is Us, set out to make Paradise with a clear three-season vision, one that had a beginning, middle and an end. Hoberg, who has previously detailed the end-of-the-world research that went into Paradise, says they stuck to that vision. Now that the second season has released its first three episodes, viewers see that the series has traveled outside of the survival city bunker called Paradise that was the main backdrop of season one and is exploring the remnants of the world above after a nuclear fallout — not only to follow protagonist Xavier (Brown) in his search for the wife who he thought had died, but also to introduce new characters, played by Shailene Woodley and Thomas Doherty, and show how everyone else outside of the bunker has been surviving.
Below, Hoberg details to The Hollywood Reporter what Fogelman and team are setting out to do with season two, while hinting at some big looming questions that will be raised ahead and revealing that they have already plotted out almost all of season three (while they await for an official renewal) that will close out this story. They also promise to answer the biggest question already raised: Who is Alex?
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Creator Dan Fogelman said he had a very clear three-season vision for this show from the start. So when you all returned to the writers room for season two, how much was laid out for you, and what was trickiest to figure out?
I was one of the people who was in [on the show] really early. It was me and [writer/co-executive producer] Scott Weinger with Dan [Fogelman] and Jess [Rosenthal, executive producer]. This was before we even gathered the [writers] room and Dan was trying to decide where it was going to go. That’s where we formulated the three-season idea and what those seasons would be. We knew we were in the bunker season one, and we knew we were going out and Xavier [Sterling K. Brown] was going to look for his wife [in season two]. We also knew that we were headed for a collision of two different worlds. So when you have that beginning and you know where you’re swimming to, you know the high points. We probably knew what the midpoint of season [two] was and the final thing [of the season]. There was a lot of debate over, “When will Xavier get to Atlanta [where wife Terri is believed to be]? What’s going to happen along the way? How long do we want to be on the road?” Those are the things we really started to figure out.
You knew you would release three episodes with launch. Why did you want to structure the first three episodes this way, and kick off season two by introducing new characters Annie (Woodley) and Link (Doherty) before catching back up with Xavier and returning to the bunker?
The big debate was, “Do we do what we felt was the right, but more gutsy, move of starting with the Shailene episode, where you don’t see Xavier until the last second?” That was the big discussion. We knew we wanted that episode. We knew we wanted to give the audience a chance to experience what the last day out in the world was like — not with the president and all the protected people [as was shown in season one], but what it was like for an everyday person when the world ended.
Everything except for that episode is through Xavier’s emotional experience. He’s driving the entire show. So we knew we needed to put him through it when he finds those kids [in season two] to say, Here’s the new world you’re in. This is a different reality than he had experienced before [in the bunker]. The rules are different. We knew we wanted that, and we also knew we wanted to check in on the bunker.
There was discussion of, “Do we flip [episodes] one and two? Do we flip episodes two and three?” Because they could flip. Ultimately we landed on this format, and decided that it was the best path to invest you in the world you’re about to get into and then be like, “Oh, that’s right. Xavier’s there.”
Newcomers Shailene Woodley as Annie with Thomas Doherty as Link in season two.
Disney/Ser Baffo
There are mysterious nose bleeds and what I’m referring to as memory flashes in these first episodes. What did you call these unexplainable acts in the room?
We call them flashbacks. I’ve become a believer that we all walk around and our memories give us this ability to transport us to a different time. That’s what our characters are doing. Xavier, when he’s in and out after what’s happened to him when he’s in the plane crash, is flashing to Terry [Enuka Okuma]. In his experience, he’s with Terry. So what we try to do is find these flashbacks that are informing you about the character, but also taking you back and forth through time in the character’s experience.
Already this season seems to be moving from a post-apocalyptic survival drama into a sci-fi story that will raise even bigger questions about what we believe. What were some of the conversations you had in the room about these questions you wanted to pose, and how you would gradually raise them throughout the season?
This season is about: Do you believe that things happen for a reason, or is it chance? It’s a big, emotional question. It’s almost a religious question; a philosophical question. What do you believe? We want the audience to think about, What do these nosebleeds mean? Is that a coincidence? Is it not? That’s really important for us, especially in these first three episodes. Where do you land on what’s going on? Is your Spidey sense going up a little bit? It might not. You might be right for it not to, and you might be right for it going up.
Do you feel like the genre of the show changes this season?
The weird thing is that the genre I have in my head for this show is a Western. Xavier is a Western hero. He is that person with an uncompromising goal. He has a set of values he won’t compromise. So even if the genre is shifting one way or another, the anchor to the entire show is him. We’re testing him. Every episode, we’re going to test him on his moral and personal codes to see if he is going to crack. So even if it the show blends into different things, he holds it together.
We meet Shailene Woodley’s new character Annie at Graceland. We got her survival backstory there, and that’s where she takes Xavier in. I know you all do a ton of research, so why did you chose Graceland as a key location for season two?
A big thing we read up on was really depressing. There are people who I call disastereologists. People who focus on: “What will human beings do in the event of something like this?” One of the things we discovered is what most apocalyptic shows show: the mean-men-with-guns thing. That’s very real. There’s this thing they call “the killing years.” It’s two years when it is ugly and people are fighting for resources, and things are what we have seen in a lot of these shows. But then there is this thought that, at year three, the people who survive are the ones who work together, and gather resources together and can kind of figure things out.
So we started researching that. “What’s a place you might be able to wait out those dangerous two years? Where could this woman be? A bank vault, or another type of shelter?” And then we really let the character lead, and we got into this idea of a woman fighting agoraphobia. Someone [in the room] brought up that they had a friend who was fighting agoraphobia who ended up becoming a tour guide at the Getty Museum, and it was this release because there was a script. We started building with that, and Dan suggested Graceland as being an incredible way to show the end of the world. Throughout the whole season, you’re going to find Americana left behind or repurposed. Gracelan set that theme of how we used to use things versus how people might use them in this kind of world.
The big question viewers are asking after these first three episodes is, who the hell is Alex?
Good! I want people to ask, who the hell is Alex? The one thing with this show is that we answer questions. That’s really important. That was important to Dan from the beginning. We’ll pose questions and we will answer them, and bring up new questions. So if you’re wondering if you will find out who Alex is, you will find out who Alex is.
SInatra (Julianne Nicholson, left) survived the season one finale attack on her life by Jane (Nicole Brydon Bloom).
Disney/Gilles Mingasson
Dan had confirmed Sinatra [Julianne Nicholson] would come back in season two alive, but that it would be different for her. When she wakes up, she’s knocked down a peg. She has to fight to get back in charge, and we see her addressing her own humanity. What story are you telling with Sinatra this season?
Sinatra is up to something much bigger. Is it nefarious? Is it good? Who knows? But she is driven and. Hopefully it makes you question like all the extremes she’s gone to in trying to protect the bunker. But it seems like she’s trying to protect something bigger than the bunker. And that’s what her goal is — her life’s goal is something other than just the bunker. That’s what we’re going to learn about her.
You brought back James Marsden’s President Cal and John Beavers’ Billy through flashbacks. Was that important to keep them among the cast, and will you find a way to do that again if you come back for season three?
Yes. The great thing if you’re an actor on a Dan Fogelman show is you kind of never disappear. You may die, but that doesn’t matter, because there are so many flashbacks. The story is informed in the past, and this collection of people have roles they have to play. They’re very interconnected, and that’s something that will continue — the interconnectedness of life.
Each season two episode is focused on a character’s backstory. Was that something you set out to do more of this season? Did you debate who would get that treatment, and were there people left out?
Yes, there are people left out from getting their flashbacks. In season three, which we’re already breaking — we’re breaking episode seven right now and we know where it ends [with eight]; we know what episode eight is. Everybody gets their due. I will say that. But there’s only so much real estate and the story really dictates. I personally want to know more about Robinson’s [Krys Marshall] backstory, and we’ll get that, along with other characters. Everyone will have a moment, but it’s when they come to significance in the grander story when we made those decisions.
Since you are breaking season three and you know how it ends, does that mean you remain set on three seasons and there won’t be a fourth season of Paradise? The ending is plotted out?
We know what the end is, and it’s an end that would make it very difficult to make a season four come afterward.
What would you say the second season is building to, and how would you say it sets up your vision for season three?
It is setting up that there’s a lot of things going on in two different places. And if I were a viewer, I would wonder if those two different things might come together at some point.
The Warner Bros. Discovery board of directors announced Tuesday that a revised bid from Paramount Skydance of $31 per share could “reasonably be expected” to lead to a “superior proposal” in its potential acquisition deal with Netflix.
Per a press release issued by the David Zaslav-led company, WBD’s board “has not made a determination” as to whether the revised proposal is “superior” to the merger agreement in place with Netflix, and WBD “will engage further” with Paramount to determine if a “company superior proposal” — a term defined within the language of its existing Netflix pact — can be reached. If the board finds such a deal has been received, Warner Bros. Discovery says Netflix will “have four business days after such determination to negotiate with WBD and to propose any revisions to the Netflix transaction.”
The Netflix deal, which includes buying Warner Bros. and HBO Max, is valued at nearly $83 billion. Paramount most recently fielded a $108 billion offer for the entirety of WBD, including its cable channels.
As it stands, Warner Bros. Discovery’s Netflix agreement remains in effect, and the WBD board says it is continuing to recommend in favor of that deal, which is up for a vote on March 20. Warner Bros. Discovery emphasized that there’s “no assurance” that the board will find the transaction superior to the Netflix merger, or “that any definitive agreement or transaction” will come from further discussions with Paramount.
The new Paramount bid will include an increased purchase price of $31 per WBD share, plus a daily ticking fee of 25 cents per quarter beginning after Sept. 30, as well as a $7 billion regulatory termination fee payable by Paramount Skydance if the deal does not close due to regulatory matters, and payment of the $2.8 billion termination fee that Warner Bros. Discovery would be required to pay to Netflix to terminate their existing merger agreement.
Additionally, Paramount’s new proposal would include contribution of additional funding to “the extent needed to support the solvency certificate” required by Paramount Skydance’s lending banks, and a “company material adverse effect” definition that excludes the performance of WBD’s linear networks business.
A representative for Netflix declined Variety‘s request for comment Tuesday.
Monday wrapped a busy seven-day period in which the WBD board sought Netflix’s blessing to engage in discussions with Paramount to “seek clarity” on its “best and final offer.” WBD asked Paramount Skydance “to clarify your proposal, which we understand will include a WBD per share price higher than $31” in a letter from Warner Bros. Discovery CEO Zaslav and board chairman Samuel Di Piazza Jr. to Paramount’s board.
You can stop holding your breath for a Madame Web 2.
Or a Kraven the Hunter 2…
Or a Morbius 2…
Yet the Spider-Man extended universe isn’t dead, either.
Sony Pictures chairman and CEO Tom Rothman confirms the studio is planning a “fresh reboot” to the Spider-Man extended universe after the franchise’s string of box office disappointments (aside from the trio of Venom films, which performed well).
Rothman was asked by Matt Belloni on The Town podcast, “Where are we in the Spider-Man franchise? Not the animated Spider-Verse. Is the larger Spider-Verse dead?”
“No,” replied Rothman.
“Are you going to go back to those at some point?”
“Yes,” Rothman confirmed.
“But it’ll be a fresh reboot?”
“Yes.”
“New people?”
“Yes, yes.”
The executive added that “scarcity has value … you got to make the audience miss you.”
Rothman also confirmed a 2021 report for the first time that Spider-Man: No Way Home was banned in China due to the film’s climax taking place at the Statue of Liberty.
The executive pointed out the film made $1.9 billion globally, which “pisses me off to have to say this.”
“You say, ‘$1.9 billion, what’s wrong with [saying] 2?’ Well, it didn’t get into China, but in my mind [the film’s box office is] over 2 [billion] because I know what we would have done in China.”
“They just said, ‘Small thing, no problem, just cut out the Statue of Liberty’ — which is where the climax is. That was their request. Also, I really didn’t look forward to sitting in front of Congress telling them why I cut the Statue of Liberty out at the request of the Chinese Communist Party.”
Of course, given the sheer amount of screen time that takes place at the iconic New York landmark, cutting out the statue would have been pretty much impossible.
Sony reportedly courted China heavily for Spider-Man: No Way Home, even releasing a Chinese poster amid hopes it would be the first Marvel Phase 4 film to clear censorship approvals. The prior film, Far From Home, made $200 million in China.
Rothman was also asked about his relationship with Marvel boss Kevin Feige, and opined, “They’re two people about whom I would say this — and maybe more if I think about it — but never bet against Jim Cameron and never bet against Kevin Feige.”
The live-action Spider-Man universe movies were plagued by both poor reviews and weak box office. Launched with 2018’s hit Venom, which set a high-water mark for the franchise with $856 million globally, the efforts included 2022’s Morbius ($162 million globally), 2024’s Madame Web ($100 million globally) and 2024’s Kraven the Hunter (an abysmal $60 million globally against an estimated production budget of more than $100 million).
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Donald Trump‘s 2026 State of the Union address, the first of his second term in office, will be take place on Tuesday, Feb. 24, at 6 p.m. PT/9 p.m. ET. Since the speech will be broadcast live on most major networks and cable news channels (ABC, CBS, NBC, FOX, CNN, MSNBC, Fox News, C-SPAN and PBS), it can also be livestreamed via TV streaming services that carry those networks, including DirecTV (with a five-day free trial period), Fubo (with a five-day free trial period), Sling and Hulu + Live TV.
Dozens of Democratic lawmakers will be boycotting Tuesday’s speech, instead joining the “People’s State of the Union” counter-rally on the National Mall.
State of the Union 2026: Air Date and Time, Where to Watch Online
Trump is set to address a joint session of Congress during the 2026 State of the Union on Tuesday, Feb. 24, at 6 p.m. PT/9 p.m. ET. The speech will be broadcast live on most major networks and cable news channels, including ABC, CBS, NBC, FOX, CNN, MSNBC, Fox News, C-SPAN and PBS.
A growing number of Democrats have announced they will not be attending Tuesday’s address as a form of protest, instead joining the “People’s State of the Union” counter-rally. The Hollywood Reporter will provide new information as it comes in.
Paramount has upped its offer for Warner Bros. Discovery to $31 a share, above its previous offer of $30 per share.
Warner Bros. Discovery said the board has not yet made a determination as to whether the offer is superior to Netflix’s but says it could reasonably be expected” to lead to a “company superior proposal.” Netflix has offered $27.75 per share for the company’s streaming and film assets.
The revised proposal from Paramount includes an increased purchase price of $31.00 per WBD share in cash, plus a daily ticking fee payable to shareholders equal to $0.25 per quarter beginning after Sept. 30, 2026, as well as a $7 billion regulatory termination in the event the transaction does not close due to regulatory matters. Paramount has also agreed to pay the $2.8 billion termination fee that WBD would be required to pay to Netflix to terminate the existing merger agreement.
The ticking fee schedule was originally slated to start Dec. 31, and the $7 billion fee is also a new addition.
If the WBD board determines that Paramount’s offer is a “Company Superior Proposal,” Netflix will have four business days to negotiate with WBD and to propose any revisions to its bid.
Paramount has been launching hostile takeover bid directly with shareholders in its effort to undo the previously agreed $82.7 billion Netflix deal. That deal was first unveiled in December and amended into an all-cash bid in late January. Warner Bros. board members had given Paramount a deadline of early this week for a revised best and final bid.
Earlier this morning, Warner Bros. had said its board, along with financial and legal advisors were reviewing Paramount’s latest new offer, but did not reveal exact details of the bid.
The Walt Disney Co.’s top communications executive is leaving the company.
Kristina Schake, the senior executive VP and chief communications officer of Disney, will exit the company at the end of March. Schakejoined Disney in in 2022.
The executive, who signed a new long-term deal with Disney a few months ago (alongside essentially all top Disney executives that had reported to outgoing CEO Bob Iger), will exit at the end of March, shortly after Iger officially steps aside.
Josh D’Amaro will succeed Iger as CEO and Dana Walden will be elevated to president and chief creative officer in connection with Disney’s annual meeting on March 18. The company will announce Schake’s successor at a later date.
“Kristina is an accomplished and respected communications leader, and Disney has been fortunate to have her expertise and insight during a dynamic period that has demanded strategic clarity and judgment,” said Iger in a statement. “Kristina is a skilled strategist, a trusted advisor, and an admired leader whose positive impact on Disney will be lasting. She strengthened how the company aligns communications with business and strategic priorities, ensuring critical stakeholder audiences are engaged with discipline and purpose. I am grateful for her partnership and friendship, her counsel, and her innumerable contributions.”
“I am so thankful to have had the opportunity to serve The Walt Disney Company during such a pivotal chapter in its history,” added Schake. “The company I joined in 2022 was in a vastly different place from where it is today, both reputationally and from a business perspective, and I am proud of the work our worldwide communications team has done to support Bob as he has put Disney on a steady course for growth for the next generation of leaders. With that mission now successfully completed, I’m looking forward to my next challenge. Working alongside Bob, his management team, and so many exceptional communications professionals has been a privilege I will carry with me forever, and I leave with tremendous respect for this institution and great confidence in Disney’s future under Josh D’Amaro and Dana Walden.”
Iger and Schake also sent memos to staff about the change Tuesday. You can read them below.
Iger’s memo:
Dear Fellow Employees and Cast Members,
I’m writing to share that Kristina Schake, Senior Executive Vice President and Chief Communications Officer, will be departing The Walt Disney Company after March 18, coinciding with the end of my tenure as Chief Executive Officer.
Since joining Disney in 2022, Kristina has been an accomplished and respected leader and trusted advisor throughout a period of significant change for our company and our industry. Disney has been fortunate to have her expertise and wisdom during the most consequential moments over the past four years.
Beyond her strategic expertise, Kristina has built and strengthened Disney’s outstanding global communications function into the world-class organization it is today, positioning it as a critical partner to our businesses and leaders. I am personally grateful for Kristina’s partnership and friendship, and for the lasting impact she has made at Disney. Please join me in thanking her for her leadership and wishing her the very best in her next chapter. We will share more information about future communications leadership in due course.
Sincerely,
Bob
Schake’s memo:
Team,
I wanted to write to you directly and simply say thank you. Working alongside this outstanding communications team has been one of the great privileges of my career.
The past four years have been among the most consequential in our company’s history, and I could not be more proud of how you showed up for every moment. You brought clarity, creativity, and thoughtful strategy to the work, helping to communicate and advance Bob’s strategic priorities in ways that employees, investors, reporters, and consumers could understand and believe in.
As Disney begins its next chapter, the company is fortunate to have outstanding leaders in Josh and Dana guiding the way. I am excited to see the stories you will help tell and the impact you will continue to have as that chapter unfolds. This team’s talent, care, and creativity are exactly what this moment calls for, and I know you will shape what comes next in remarkable ways.
Monkey D. Luffy and his pirate crew are sailing into more uncharted territories: movie theaters.
Netflix will bring the first two episodes of “One Piece” Season 2 to select cinemas on March 10, tied to its streaming release date. The theatrical screenings will take place in the U.S., Canada and Japan, with the North American showings starting at 6 p.m. local time.
Tickets will go on sale Thursday, Feb. 26, at 8 a.m. PT / 11 a.m. ET. Participating U.S. theaters include AMC, Regal, Cinemark, Alamo and Cineplex, with additional theaters in Canada and Japan.
In Season 2, “Luffy (Iñaki Godoy), Zoro (Mackenyu), Nami (Emily Rudd), Usopp (Jacob Romero), and Sanji (Taz Skylar) travel to the Grand Line, a legendary stretch of sea where danger and wonder await at every turn. There, they’ll visit bizarre islands, recruit more allies, and battle formidable new foes as they search for the world’s greatest treasure,” the logline teases.
“One Piece” marks the second streaming series that Netflix has brought to movie theaters, after it packed cinemas with “Stranger Things” on New Year’s. The series finale made more than $25 million at the box office, with more than 1.1 million ticket vouchers sold. AMC made $15 million from food and drink sales alone.
Godoy, Mackenyu, Rudd, Romero, Skylar and Charithra Chandran star in the live-action adaptation of the beloved anime. Additional cast members include Anton David Jeftha, Brendan Sean Murray, Callum Kerr, Camrus Johnson, Clive Russell, Daniel Lasker, David Dastmalchian, James Hiroyuki Liao, Jazzara Jaslyn, Joe Manganiello, Julia Rehwald, Katey Sagal, Lera Abova, Mark Harelik, Mark Penwill, Mikaela Hoover, Rigo Sanchez, Rob Colletti, Sendhil Ramamurthy, Sophia Anne Caruso, Ty Keogh, Werner Coetser and Yonda Thomas.
Matt Owens and Joe Tracz are the co-showrunners, executive producers and writers of “One Piece” Season 2. Other executive producers include Eiichiro Oda, Marty Adelstein and Becky Clements through Tomorrow Studios, Tetsu Fujimura, Chris Symes, and Steven Maeda.
