Category: Entertainment

  • ‘Superman’ Sequel ‘Man of Tomorrow’ Starts Filming as James Gunn Teases Brainiac, Lex Luthor in Jail

    ‘Superman’ Sequel ‘Man of Tomorrow’ Starts Filming as James Gunn Teases Brainiac, Lex Luthor in Jail

    It’s “Up, Up and Away!” for “Superman: Man of Tomorrow.”

    James Gunn has revealed the comic book sequel has started production, with the director sharing a photo from set of a chess board and Van Kull Prison badge for inmate A. Luthor (a.k.a. the villainous Lex Luthor), as well as a bag of Ruffles potato chips.

    David Corenswet is returning as the Man of Steel in “Superman: Man of Tomorrow,” written and directed by Gunn. In the sequel, Superman is forced to team up with his adversary Lex Luthor (Nicholas Hoult) as they work to defeat an even bigger threat: the super-intelligent antagonist Brainiac (Lars Eidinger).

    Adria Arjona recently joined the cast as Maxima, an alien queen who has been both an antagonist and a potential love interest for Superman in the comics. She’ll be joined by the ensemble of Rachel Brosnahan (who is Superman’s current beau Lois Lane), Skyler Gisondo (Jimmy Olsen), Sara Sampaio (Eve Teschmacher), Isabela Merced (Hawkgirl), Nathan Fillion (Guy Gardner), Edi Gathegi (Mister Terrific) and Aaron Pierre (John Stewart/Green Lantern).

    “Superman” relaunched the Warner Bros. owned DC Universe last summer, earning above $600 million at the global box office to stand as that year’s highest-grossing superhero adventure. “Man of Tomorrow” is scheduled to hit theaters on July 9, 2027. It’s currently one of two DC adaptations that year, including director Matt Reeves and star Robert Pattinson’s “The Batman Part II” on Oct. 1. Before the Last Son of Krypton makes his way back to the big screen, DC has two other comic book tentpoles in 2026, “Supergirl” in June and “Clayface” in October.

  • Eric Roberts Says Bob Fosse Made Him Spend the Night in the Real ‘Star 80’ Murder Apartment

    Eric Roberts Says Bob Fosse Made Him Spend the Night in the Real ‘Star 80’ Murder Apartment

    Eric Roberts still isn’t sure how he got through Star 80.

    Appearing on the latest episode of It Happened in Hollywood, the actor looked back on his experience making the 1983 film with director Bob Fosse — a process that was as methodical as it was, at times, deeply unsettling. One moment in particular has stayed with him.

    During production, Fosse insisted that Roberts spend the night in the actual apartment where Dorothy Stratten, the real-life Playboy Playmate of the Year from 1980, was murdered by her husband and manager, Paul Snider, the role Roberts was playing.

    “I didn’t want to go,” Roberts says on the podcast. “I told him, ‘I don’t want it.’ And he said, ‘No, you’re going to spend the night with it. Come on.’”

    The apartment, located off a busy highway, was noisy and impossible to ignore. Roberts says he didn’t sleep. The next day, he filmed one of the movie’s most difficult scenes.

    “That was Bob,” he says. “He wanted you to feel what it was.”

    Roberts’ path to Star 80 was far from straightforward. The year before production, he had been in a serious car accident that left him in a coma and caused lasting memory and coordination issues. At the time, he believed his acting career might be over. Then his manager passed him a script for Fosse’s next project, which had not yet widely circulated.

    “It didn’t grab me right away,” Roberts admits. “It felt very black and white. But it said ‘Bob Fosse’ on it, and that was enough.”

    He went in to audition, repeatedly. Roberts estimates he read for Fosse five or six times before getting a straightforward offer. “He never tipped his hand,” Roberts says. “Then one day he just asked if I wanted to make a movie. “

    Once cast, Roberts entered what he describes as an unusually immersive prep process.

    For roughly three months, Fosse walked him through key locations connected to the infamous true story, including the Vancouver Dairy Queen where Snider first met Stratten, her childhood home and the Playboy Mansion. Rehearsals were held in a church on Highland Avenue in Los Angeles, where Fosse taped out full set layouts on the floor.

    “He knew exactly what he was going to shoot,” Roberts says. “Every move, every piece of furniture, everything.” Fosse’s focus, Roberts adds, was on avoiding a one-dimensional portrayal of Snider.

    “He didn’t want a cartoon,” Roberts says. “He wanted someone real. And the truth is, people like that are all around us. “

    Later in the podcast, Roberts also shared a story from pre-production that he says he rarely tells.

    While staying at a motel with Fosse in West Los Angeles, he received a phone call that Fosse encouraged him to take. On the other end was the late director Peter Bogdanovich, also a former guest on It Happened in Hollywood, who had his own connection to Stratten.

    Bogdanovich had cast her in 1981’s They All Laughed, her leap into mainstream filmmaking, which had led to an affair between filmmaker and muse.

    The obsessive Snider hired a private investigator to follow Stratten. When he discovered she planned to divorce Snider and marry Bogdanovich, Snider murdered Stratten and killed himself. Bogdanovich is depicted in Star 80, renamed Aram Nicholas and played by Roger Rees.

    Adding the strange, sensational surreality of the real-life tragedy, on Dec. 30, 1988, the 49-year-old Bogdanovich married 20-year-old Louise Stratten, Dorothy’s younger sister, sparking a tabloid frenzy.

    “He asked me what I was getting paid, how I got the part,” Roberts recalls. “And then he suggested I leave the movie and that he might consider me for his version.”

    Bogdanovich was developing his own version of the murder, which became the memoir The Killing of the Unicorn, detailing the relationship between their love affair, the making of They All Laughed and her murder.

    Roberts describes Bodanovich’s tone as “condescending.” Meanwhile, Fosse, sitting nearby, urged him to keep the conversation going.

    “I just kept talking, Roberts says. “I told him I’d call him back. “

    He never did.

    When the call ended, Roberts says Fosse was “rolling on the floor laughing.”

    When Star 80 was released in November 1983, Roberts says the response from within the industry was notably muted.

    “They didn’t know how to react,” he says. “They were afraid to like it because it might say something negative about Hollywood. And they were afraid to hate it because it was a great film.”

    The movie received strong reviews but limited awards recognition. Roberts earned a Golden Globe nomination for best actor in a drama but was not nominated for an Oscar — something he acknowledges didn’t fully register until years later.

    “I didn’t even think about it at the time,” he says. “Then someone mentioned it, and I thought, ‘Oh. Maybe I should have been.’”

    Fosse died in 1987, four years after the film’s release, without directing another feature. Looking back, Roberts places Star 80 alongside All That Jazz as defining works.

    “Those are perfect movies,” he says. “Working with him, you realize real geniuses are rare. And they don’t work the way anyone else does.”

    You can listen to the full conversation on It Happened in Hollywood.

  • Brunello Cucinelli Takes His Brand to the Big Screen With North American Release of ‘The Gracious Visionary’

    At the start of the new documentary “Brunello: The Gracious Visionary,” Brunello Cucinelli strolls through his vineyards at night, illuminated by dozens of small, contained fires that protect the vines from frost. He’s a man in his 70s, walking with ease and confidence through his domain — a world he spent decades crafting, curating and restoring.

    Last Tuesday, the fashion designer strolled in a very different location. He walked down the star-studded red carpet, flanked by his family, at the New York City gala screening, an exclusive event and celebratory dinner in advance of his documentary’s North American distribution by Blue Fox Entertainment.

    Again, Brunello was a man at ease in his surroundings, pleased to share the docufilm about his life and philosophies. There’s more to the entrepreneur than the wild success of the pullover cashmere sweaters he crafted beginning in 1978. For decades, he has intentionally fashioned a company based on his brand of humanistic capitalism and human sustainability.

    It’s a compelling story both in real life and in the film. Director Giuseppi Tornatore combines documentary storytelling and re-created flashbacks in “Brunello: The Gracious Visionary.” Friends, family, peers and celebrities speak about Brunello’s achievements alongside the re-creations.

    “I wanted Giuseppe to undertake this project because he is a poet, and I believe that poets are the greatest human beings on earth,” Brunello tells Variety. “Ultimately, my dream was for this film to serve as a testament to what my life, what our life, has been: a legacy to leave behind for our children, our grandchildren and all those who will come after us.”

    As the docufilm shows, Brunello spent his early years among a loving family, but emerged from a poor, rural farm existence in Umbria, Italy. He met his future wife Federica when they were teens, and she became his entrée into the world of fashion. Becoming the “King of Cashmere” with his eye-catching, durable pullovers, he has over time expanded his reach in both garments and his approach to running his company. As a young man, he overheard his father complaining bitterly about being treated badly in his factory job, which became a “turning point in my life,” in which he decided to live, and work, for human dignity.

    Federica’s small hamlet of Solomeo became Cucinelli’s home base — not just for his company, but where he could settle down. Over the decades, he’s devoted much of his wealth to preserving an earthquake-damaged castle, turning it into his company headquarters; along with developing parks, renovating a church, building a theater and creating a library with over 500,000 titles.

    Bringing their story to life, one Federica calls a “true fairytale,” shows what the couple of 54 years has achieved together. “This was intended to be, in a sense, our own personal monument to life — partly because Brunello and I met when we were very young,” she tells Variety. “I never would have imagined that we would one day see the story of our lives turned into a film.”

    Meanwhile, the environment in Brunello’s company is less that of a factory and more a creative hive, where workers receive higher-than-average pay and craft their garments in natural light, then share communal meals. To Brunello, the business was never only about making money — it was about creating a livable job environment, where his ideas about treating workers humanely could play out in real time.

    And over the years, the business has become a true family affair. While Federica runs the Brunello and Federica Cucinelli Foundation, their daughters Carolina and Camilla are vice presidents, who know precisely how to share the Cucinelli brand with the next generation. For the NYC gala screening, Carolina wore a “very feminine dress” and paired it with a “non-biker jacket.” Camilla’s gala outfit was created with an eye toward representing the company. “The concept was to feature, for example, a tuxedo with color-blocking rather than a solid, single color,” she tells Variety. “I felt it would effectively embody our philosophy.”

    The family patriarch hopes the company will continue with its mission long after he is gone, ideally in his adopted village of Solomeo. “We feel a profound sense of responsibility toward the company and the people who work alongside us every day. This is also, in part, the reason behind our choice to remain in our village and to raise our families right here in Solomeo,” Carolina tells Variety. “We were instilled with the concept of work as a noble pursuit: one free of coercion yet driven by a great passion inherited from our parents. We have embraced this philosophy and are now weaving it into our daily work, with the hope of carrying this company and its values forward into the future.”

    Possibly the docufilm will be the key to inspiring those next generations, and to convince them to stay the course regarding Brunello’s humanistic philosophy and vision. “One may inherit ownership, but never the actual capacity for entrepreneurship,” he allows. “Yet they truly love it and this whole idea of being here together, with the grandchildren … it all possesses a certain charm, a certain poetry. And so, I wanted this film, both for my grandchildren and for my daughters, to serve as a small living testament: a record of what we have, and of how we have lived.”

    The gala screening, held one day after Blue Fox Entertainment announced the July 24 North American theatrical release date, was also a callback to the past. The first Cucinelli store opened in the United States in the West Village in 2006. Today, the family reveres New York City — and not just as a mecca for fashion. “New York is a city that gives us so much energy and inspiration,” says Carolina. “Every time we visit, we truly take so much back home with us.”

    Ultimately, the founder’s wish is that “Brunello: The Gracious Visionary” will take its rightful place alongside other major achievements — the library, the town restoration, his speech at the G20 Summit in 2021 in which he urged leaders to consider themselves the “temporary guardians of Creation.”

    Brunello, who’s namedropped in “The Devil Wears Prada 2” and inspired an entire storyline in “Emily in Paris,” says the message of his docufilm is not just for people who share his last name. As with many things he does, it’s a message to share with the world.

    “Replace fear with hope,” he urges those who view the film. “Have a dream. Look up at the sky. The stars will be your source of inspiration…. Do not feel pressured to make everything work perfectly right away. Pursue your dream throughout your life. That is what I would love most of all. Hold fast to this ideal and strive to live as if you were the pro tempore custodians of humanity. Yes, yes we can do it.”

    The docufilm, produced by Brunello Cucinelli S.p.A. and MasiFilm in collaboration with RAI Cinema, opened in Italy on Dec. 9 and garnered more than $1 million during its limited seven-day run.


    “Brunello: The Gracious Visionary” opens in theaters in U.S. and Canada on July 24.

  • ‘Practical Magic 2’ Trailer: Nicole Kidman and Sandra Bullock Return for Magical Sequel 28 Years After Original

    ‘Practical Magic 2’ Trailer: Nicole Kidman and Sandra Bullock Return for Magical Sequel 28 Years After Original

    Nicole Kidman and Sandra Bullock are back for more magic.

    Warner Bros. has released the trailer for “Practical Magic 2” after it was debuted last week to attendees at CinemaCon, the annual convention for movie theater owners in Las Vegas. It will arrive in theaters this fall on Sept. 11.

    Directed by Susanne Bier, the sequel “returns to a world steeped in moonlit mischief and powerful ancestral magic, as the Owens sisters must confront the dark curse that threatens to unravel their family once and for all in a must-see cinematic event of fun, magic and mayhem.”

    In addition to Kidman and Bullock back as Sally and Gilly Owens, the cast includes Joey King, Lee Pace, Maisie Williams, Xolo Maridueña and Solly McLeod. Stockard Channing and Dianne Wiest are also back as Frances and Jet Owens, Sally and Gilly’s aunts, after starring in the original 1998 film.

    In the sequel, Sally has adult daughters now starting lives of their own, while Gilly has settled into a cozy life with a black cat. It doesn’t take long for trouble to find them — Pace’s mystery character pulls the sisters from their quaint New England town on a dramatic assignment.

    Akiva Goldsman and Georgia Pritchett wrote the sequel, which is based on the 2021 novel “The Book of Magic” by Alice Hoffman, the fourth in her “Practical Magic” book series. Denise DiNovi, Bullock and Kidman produce. Andrew Kosove, Broderick Johnson, Donald Sabourin and Hoffman serve as executive producers.

    Watch the trailer below.

    More to come…

  • ‘The Pitt’ Star Shawn Hatosy to Narrate Quinn Original Audio Drama ‘Yes, Chef’ (Exclusive)

    ‘The Pitt’ Star Shawn Hatosy to Narrate Quinn Original Audio Drama ‘Yes, Chef’ (Exclusive)

    The Pitt star Shawn Hatosy is going from the ER to the kitchen.

    Hatosy will star in Yes, Chef, a two-episode immersive audio romance for audio erotica app Quinn, The Hollywood Reporter can exclusively announce. Yes, Chef marks the latest Quinn Original series, the app’s produced romances that “complement Quinn’s thriving erotica creator community.”

    In Yes, Chef, Hatosy stars as Grant Reilly, a “seasoned executive chef of North & Vine, a restaurant fighting to maintain its Michelin star in an industry that’s rapidly evolving. After a viral negative review threatens the restaurant’s legacy, Grant’s business partner brings in rising culinary star Iris Adams to shake things up and take North & Vine from ‘classic’ to ‘relevant.’ As Grant and Iris work side by side, their differences spark undeniable chemistry.”

    Narrated directly to the listener, who will represent the role of Iris, Yes, Chef “immerses audiences in an intoxicating forbidden romance set in the high-stakes world of fine dining.”

    Securing Hatosy as a narrator is sure to make app fans happy given he’s been a top choice among listeners.

    “Shawn is one of our most requested narrators ever,” Caroline Spiegel, founder and CEO of Quinn, said in a statement. “With Yes, Chef, most of the story takes place inside the chaos of a Michelin-star kitchen. We wanted to emulate the high-pressure settings that fans love seeing Shawn in, and we couldn’t be more excited to have him step into this world with us.”

    Grant is wrestling with his identity and what that means. That really resonated with me, because I’ve been there. Then things happened in my career — like The Pitt — that changed my trajectory,” Hatosy said in a statement. “Grant isn’t feeling like he has a lot of value outside of the kitchen, but he starts to see through Iris, through her youth and vitality and what she brings. And by listening to her, really paying attention to her, he grows.”

    When asked about why working with Quinn made sense, Hatosy said in a statement, “I did my research, and I saw what the philosophy was. That really got me to pay attention.”

    Described as being “made by women, for the world,” Quinn was designed to help listeners be a main character in their fantasy, with stories putting female pleasure at the forefront. The app has recruited Hollywood stars to narrate the steamy stories including Chris Briney, Andrew Scott, Manny Jacinto, Tom Blyth, Jamie Campbell Bower, Victoria Pedretti, Jesse Williams, Lucien Laviscount, Thomas Doherty, Katherine Moennig, Heated Rivarly stars Hudson Williams and Connor Storrie, Costa D’Angelo and Tyriq Withers.

    Quinn founder Spiegel — sister of Snapchat founder Evan Spiegel — launched the app in 2021 and began enlisting Hollywood talent last year to help share audio erotica that “felt approachable and not intimidating.”

    “At first, we weren’t even sure if people would do it or people would like it,” Spiegel told THR. But in an AI-driven age, stars are able to take control of their erotic output. “It’s actually kind of nice to be like, ‘OK, I’ll do this. I’ll do it my way with my creative vision for how I want this to be,’ ” Spiegel said. 

    “There’s a huge catalogue of intimate scenes I’ve done over 25 or 30 years, and audiences have been taking that material and creating content. I don’t have any control over that,” Hatosy said. “With Quinn, it gave me an opportunity to step into this space with intention, and help shape this kind of new media in a way where I can participate and feel like we’re building something meaningful together.”

    On The Pitt, Hatosy plays night shift attending physician Dr. Jack Abbot. In addition to serving as a sounding board for Noah Wyle’s Dr. Michael “Robby” Robinavitch, as the close friends have talked about their respective mental health struggles in key scenes over the past two seasons, Abbot has become a fan favorite for his memorable friendly interactions with Supriya Ganesh’s Dr. Samira Mohan, who, it was recently announced, will be leaving the hit HBO Max series after season two. Speaking to THR ahead of The Pitt season two finale, Hatosy said Abbot “definitely has feelings” for Dr. Mohan and that he’ll “miss her,” but hopefully the two will stay in touch.

    Hatosy also previously talked to THR about the fan interest in his character, including his shirtless scene in season two.

    “I try to never take any of it seriously,” he said. “Yes, that episode really blew up and it’s weird. Certainly, it creates these lines where things can get a little complicated, like if I’m out in public with my family. I don’t want to be the guy who isn’t taking the picture with the fans because I know that it means something to them. Especially when I’ve talked to fans who are really moved by the show, I’ve had people say they were struggling and then watched Abbot not jump [off the roof]. But then when it comes to me and my pasty, flabby back out in the world, yeah, it can get a little weird. I just try and enjoy it.”

    Hatosy is repped by Trademark Talent and Paradigm. 

    Episode one of Yes, Chef releases on the Quinn app on April 21 with episode two premiering April 24.

    Shawn Hatosy in Yes, Chef

    Quinn

    Hilary Lewis contributed to this report.

  • ‘Memory of Princess Mumbi,’ Set in a Retro-Futuristic Africa Recreated With AI, Scores Istanbul Film Festival Top Prize

    ‘Memory of Princess Mumbi,’ Set in a Retro-Futuristic Africa Recreated With AI, Scores Istanbul Film Festival Top Prize

    Swiss-Kenyan director Damien Hauser’s dystopian fable “Memory of Princess Mumbi,” set during 2093 in an imaginary Africa created with the use of artificial intelligence, scooped the Golden Tulip Award at the Istanbul Film Festival on Sunday.

    Set in the futuristic African country of Umata, “Memory of Princess Mumbi” is a playful meta-fiction that is part romance, part mockumentary and revolves around a love triangle between a film director named Kuve, an aspiring actress and a prince.

    The film’s Istanbul Film Festival victory marks the first time a feature made with AI has won the top award at a prominent film festival.

    In an interview with Variety, Hauser readily admitted he could have never made the film without using AI, even as he, paradoxically, set out to “make a movie that AI could never make.” “Memory of Princess Mumbi” launched last September from Venice’s independently-run Venice Days section before traveling widely, including to Toronto and Zurich.

    The Istanbul festival jury, headed by Scottish director David Mackenzie (“Fuze”), awarded the event’s special jury prize to Chinese arthouse darling Bi Gan’s six-part epic “Resurrection,” in which a movie monster drifts through China’s 100-year history. “Resurrection” previously won the 2025 Cannes Jury Special Prize.

    Istanbul’s best director honors went to French duo Romane Gueret and Lise Akoka’s coming-of-age drama “Summer Beats,” while the screenplay prize went to Austrian filmmaker Markus Schleinzer and his co-writer Alexander Brom for Sandra Hüller-starrer “Rose.” In this historical tragedy, Hüller plays a 17th-century woman living as a man.

    Turkish films took the acting honors. The best actress prize went to İnci Sefa Cingöz for her role as a tormented young woman in first-time director Pinar Yorgancioglu’s drama “Those Who Whistle After Dark” Kemal Burak Alper took actor honors for Nuri Cihan Özdoğan’s “Dead Dogs Don’t Bite,” which mixes social drama and gangland war film tropes. 

    The 45th Istanbul Film Festival, which ran April 9-19, marked a revamped edition of Turkey’s top film event and market. Artistic director Kerem Ayan has made the festival more global under a new format that mixes Turkish and international works in the main competition, while also driving local cinema by still having other sections dedicated solely to Turkish works.

    The festival, organized by the Istanbul Foundation for Culture and Arts (IKSV), also had a vibrant edition of its Meetings on the Bridge market component being relaunched under the new leadership of former Antalya Golden Orange Film Festival chief Başak Emre and Pınar Evrenosoğlu.

    And the winners are…

    GOLDEN TULIP COMPETITION

    Golden Tulip Best Film – “Memory of Princess Mumbi,” directed by Damien Hauser

    Special Jury Prize – “Resurrection,” directed by Bi Gan

    Best Director – Lise Akoka and Romane Gueret, “Ma frère” (“Summer Beats”)

    Best Screenplay – Markus Schleinzer and Alexander Brom, “Rose”

    Best Actress – İnci Sefa Cingöz, “Those Who Whistle After Dark”

    Best Actor – Kemal Burak Alper, “Dead Dogs Don’t Bite”

    Special Mention (to all animals in films) – “Hen,” directed by György Pálfi

    SHORT FILM COMPETITION

    Best Short Film – “Gravity,” directed by Dalya Keleş

    Special Mention – “Love and the Others,” directed by Sitera Değirmen

    NEW VISIONS

    Seyfi Teoman Best Film Prize – “32 Meters,” directed by Morteza Atabaki

    Best Cinematography – Ziya Demirel and Yusuf Tan Demirel for “The Greatest Funeral Hits”

    Best Editing – Morteza Atabaki for “32 Meters”

    Best Actress – Esra Dermancıoğlu for “The Greatest Funeral Hits”

    Best Actor – Burak Dakak for “About My Mom”

    Best Supporting Actress – Çağdaş Ekin Şişman for “The Greatest Funeral Hits”

    Best Supporting Actor – Özer Keçeci for “The Greatest Funeral Hits

    Best Art Direction – Elif Öner for “Dump of Untitled Pieces”

    Best Music – Efe Demiral for “Dump of Untitled Pieces

    INDEPENDENT AWARDS

    International Federation of Film Critics (FIPRESCI)

    Golden Tulip Competition – Best Film – “Rose of Nevada,” directed by Mark Jenkin

    Directors Association of Türkiye (FİLM-YÖN)

    Best Director (in memory of Osman Sınav) – Sunay Terzioğlu “Bonds, Roots and Passions”

    Association of Documentary Filmmakers in Türkiye (BSB)

    Documentary films from Türkiye – Best Documentary – “2m2,” directed by Volkan Üce

    Turkish Association of Film Critics (SİYAD)

    “Dump of Untitled Pieces,” directed by Melik Kuru

  • One of TV News’ Most Respected Consultants Says Format Is Breaking, Needs to Change Quickly

    One of TV News’ Most Respected Consultants Says Format Is Breaking, Needs to Change Quickly

     
    When it comes to TV news, winning viewers’ trust is out, and making them passionate about what they watch is in.

    A media consultancy that had a hand in creating the format that ultimately became “Good Morning America” is warning TV-news organizations that they need to blow up their old models as soon as possible, or risk saying “good night” to audiences and ratings.

    Magid, a media consultant that has worked for decades with TV networks and stations, believes local and national TV-news organizations need to start giving viewers more context, depth and emotional reassurance, rather than relying on breaking news and dozens of star anchors and correspondents.

    “We’ve fully arrived in the ‘context’ era, and we are completely out of the ‘breaking news’ era,” says Jaime Spencer, Magid’s chief operating officer, during a recent interiview. “It doesn’t mean that breaking news isn’t important. It’s an expectation. It’s just become a completely functional attribute that doesn’t drive brand loyalty or consumption.”

    Instead, the executive says, news broadcasters need to think about what will keep viewers they’ve already acquired watching for longer periods of time, rather than trying to get as many people to watch as possible. That means focusing more intently on new kinds of attributes.

    “The brands that are succeeding and the brands that will succeed are aligning around these sort of attributes of ‘insightful,’ ‘thoughtful,’ ‘reassuring,’ ‘timely,’ ‘calming,’ ‘innovative,’” he says. Words that have less relevance to viewers include “’balanced,’ ‘explanatory,’ ‘trustworthy,’ ‘essential,’ ‘substantive,’ ‘reliable,’ ‘confident,’ ‘accurate,’ ‘clear.’ I mean, some real tenets of journalism,” says Spencer.  “It’s not that they’re not important as fundamentals, but brands built around those things are going to be really unlikely to break through” in the future.

    Magid delivers its recommendations as TV-news grapples with some severe challenges. Advertisers remain wary of the format, worried that appearing alongside a vociferous anchor or a scene tied to news about war or climate change will turn off potential customers. Younger viewers, meanwhile, are turning more readily to digital venues like TikTok or YouTube and spending more time with influencers who don’t always have a formal journalism background or understand the ethics of newsgathering or reporting.

    Others say TV news retains its power. A new report from VAB, a trade organization that represents TV networks in discussions with Madison Avenue, says more people from key consumer niches — people between 35 and 54, people who make over $100,000 a year and adults who are employed full-time — are watching more TV news than they did last year. The report is based on the findings from a December 2025 survey of 2,319 U.S. adults. The report suggested these niches are more likely to go to TV news first over social media for breaking news coverage.

    Indeed, TV news is poised for a pick up. Consequential elections like the 2026 midterms are typically catalysts for broader viewing of news programs.

    Over the longer run, however, news organizations need to promote themselves as places to get more understanding and reassurance, says Spencer, not as backers of trustworthy, reliable information. “If you’re just looking to monetize and grow an audience, trustworthiness isn’t really a part of that anymore. In fact, those that are more confirming of my personal beliefs are more likely to get attention to get consumption, to have brand connection.”

    More major news outlets are working to create communities out of current viewers. Fox Nation, the streaming service backed by Fox News, spotlights lifestyle programming, documentaries, even stand-up comedy, along with the news programs from its flagship cable outlet. Versant’s MS NOW has unveiled plans to launch a new streaming service that aims to play to fans of its personalities and programming.

    In such a moment, Spencer says, viewers put more faith in individual anchors, influencers and creators than in news brands, and polarizing perspectives drive more passion from audiences. He points to examples such as Brian Tyler Cohen, a progressive political host, and MS NOW’s Rachel Maddow, as well as conservative host Dan Bongino and Fox News’ Sean Hannity.

    Just as digital influencers can gain massive audiences without well-appointed studios and dazzling visuals, so too can news outlets, Magid suggests. “There is no correlation between overhead costs and perceived quality,” he says, and traditional broadcasters can gain by emulating that model. Magid has begun recommending that local news organizations try to bet on one main “quarterback” rather than developing dozens of different news stars.

    And news outlets need to think about bringing in a devoted audience, rather than the largest. “The goal is to get one more of something, right? One more commercial break, one more minute of consumption, one more page view, one more episode of this seres.” says Spencer. “Creating that emotional connection and trying to hold you longer through that one thing is  likely a better path to monetization than to try to get more.” In a dikfferrt era, the idea was that :”if we have something for everyone, then surely everyone will come, right?” he asks. Today, he says. “It just doesn’t stand up.”

  • ESPN Pulls Boston Marathon Doc ‘Rachel, Breathe’; Director Frank Marshall Cites Rights Disagreement and Says Lawyers Told Him ‘Sign It Now or We Are Pulling the Show’

    ESPN Pulls Boston Marathon Doc ‘Rachel, Breathe’; Director Frank Marshall Cites Rights Disagreement and Says Lawyers Told Him ‘Sign It Now or We Are Pulling the Show’

    According to prolific director and producer Frank Marshall, ESPN pulled his new documentary “Rachel, Breathe” an hour before it was set to premiere due to a rights disagreement.

    “I’m sad to report that RACHEL, BREATHE, will not premiere on ESPN2 today,” he wrote on X on Sunday night. “After several days of negotiations that should have been very simple and were not about money, but rights, the ESPN lawyers stopped talking to us an hour before broadcast and said, ‘sign it now or we are pulling the show’. I’m extremely disappointed for Rachel and John and entire team that spent 2 years making this film about hope, love and friendship. We remain genuinely excited for the day this documentary reaches the world, it is simply not tonight. And just like Rachel, we remain resilient and the moment I know where and when the premiere is, you will hear from me. And thanks to Dick’s Sporting Goods for fighting the fight.”

    “Rachel, Breathe” tells the story of marathon runner Rachel Foster, who made headlines in 2023 for her athletic chievements after a major medical hardship. The official logline reads, “Five months after waking up from a coma no one expected her to emerge from, Rachel accomplished the unthinkable and completed the 2023 Boston Marathon. Despite the victory of that moment and feeling like she was on the path to a full recovery of her life as it was, new challenges arise. The film follows Rachel, now preparing to run the 2025 Boston Marathon as a reclamation of self, to prove that though her reality has changed, her essence remains the same. Interweaving Rachel’s journey to run Boston past and present, the film explores themes of loss, love, grit, friendship, redemption and transcendence.”

    ESPN did not immediately respond to Variety‘s request for comment.

  • FBI Director Kash Patel Files $250 Million Defamation Lawsuit Against the Atlantic, Which Calls Suit ‘Meritless’

    Kash Patel, the director of the FBI, filed a lawsuit against the Atlantic over a story alleging that he “has alarmed colleagues with episodes of excessive drinking and unexplained absences.” Patel’s suit seeks $250 million in damages.

    In a statement Monday, the Atlantic said: “We stand by our reporting on Kash Patel, and we will vigorously defend The Atlantic and our journalists against this meritless lawsuit.”

    “Kashyap P. Patel, the Director of the Federal Bureau of Investigation, brings this lawsuit to hold Defendants The Atlantic Monthly Group LLC and its staff writer, Sarah Fitzpatrick, accountable for a sweeping, malicious, and defamatory hit piece published on April 17, 2026,” the complaint reads. “Defendants are of course free to criticize the leadership of the FBI, but they crossed the legal line by publishing an article replete with false and obviously fabricated allegations designed to destroy Director Patel’s reputation and drive him from office.”

    A copy of Patel’s lawsuit, filed Monday in the U.S. District Court for the District of Columbia, is available at this link.

    The Atlantic, Patel asserts in the suit, “published the Article with actual malice, despite being expressly warned, hours before publication, that the central allegations were categorically false; despite having abundant publicly available information contradicting those allegations; despite obvious and fatal defects in their own sourcing; despite The Atlantic’s well-documented, long-running editorial animus toward Director Patel; despite a request for additional time to respond that Defendants refused to honor; and despite deliberately structuring the pre-publication process to avoid receiving information that would refute their narrative.”

    In the article, “The FBI Director Is MIA,” Fitzpatrick cited more than two dozen anonymous “witnesses” who, among other things, alleged that Patel had engaged in “bouts of excessive drinking” and “unexplained absences” that “often alarmed officials at the FBI and the Department of Justice.”

    “Several officials told me that Patel’s drinking has been a recurring source of concern across the government. They said that he is known to drink to the point of obvious intoxication,” Fitzpatrick reported in the Atlantic article. “Early in his tenure, meetings and briefings had to be rescheduled for later in the day as a result of his alcohol-fueled nights, six current and former officials and others familiar with Patel’s schedule told me.”

    Fitzpatrick’s piece also said that “on multiple occasions in the past year,” members of the FBI director’s security detail “had difficulty waking Patel because he was seemingly intoxicated, according to information supplied to Justice Department and White House officials.” In addition, according to the Atlantic article, “A request for ‘breaching equipment’ — normally used by SWAT and hostage-rescue teams to quickly gain entry into buildings — was made last year because Patel had been unreachable behind locked doors, according to multiple people familiar with the request.” The Atlantic story also said that “some of Patel’s colleagues at the FBI worry that his personal behavior has become a threat to public safety.”

  • Vatican to Host Private Screening of Scorsese-Produced Pope Documentary ‘Aldeas’

    Vatican to Host Private Screening of Scorsese-Produced Pope Documentary ‘Aldeas’

    Martin Scorsese, it’s fair to say, is team Pope.

    The Vatican on Monday announced it would be hosting a private screening of the Scorsese-produced documentary Aldeas, The Final Dream of Pope Francis, in Rome on April 21, to mark the one-year anniversary of Francis’ death.

    Aldeas is the community cinema project run by Pope Francis’ global educational movement Scholas Occurrentes which holds workshops around the world to help local communities create scripted short films celebrating “their unique identities, histories, and values.” The documentary follows the cinema initiative across Italy, Indonesia, and The Gambia, and includes a visit by Scorsese to his grandfather’s village in Sicily, where he works with local young people to make a film of their own. It includes Pope Francis’s last in-depth on-camera interview shortly before his death and several behind-the-scenes conversations between the Pope and the Oscar-winning director.

    “This film is a tribute to the Holy Father,” said Scorsese in a statement. “It honors his memory by embodying the spirit of his ministry and his dream of creating an ever more human culture. At this moment in history, I believe that is not only a dream, but a necessity.”

    The Vatican will hold a private screening of the film on Tuesday, April 21, a year after Pope Francis’ death, just steps from where he lived and died.

    On Monday, the Vatican unveiled several first-look images from the film (see below).

    The new film lands amid a weeks-long dispute between the current pontiff, Pope Leo XIV, and U.S. President Donald Trump over the U.S.-Israel war against Iran. After Leo called Trump’s threat that a “whole civilization will die” to be “truly unacceptable,” POTUS lashed out, posting on Truth Social that the first U.S.-born Pope was “WEAK on Crime, and terrible for Foreign Policy.” Trump also posted an AI-generated image of himself as a Jesus-like figure, which he later removed amid a backlash from American Christians.

    On the new episode of Last Week Tonight on Sunday, host John Oliver mocked Trump for taking on the leader of the Catholic Church, saying the President was “on a epic run of picking losing fights.”

    Vice President JD Vance, a Catholic convert, also weighed in, suggesting the Pope should be “careful when he talks about matters of theology.

    Over the weekend, the Pope, currently on a tour of Africa, said it was “not in my interest at all” to debate Trump about the Iran war, but that he would continue preaching the Gospel message of peace.

    Clare Tavernor and Johnny Shipley directed Aldeas, The Final Dream of Pope Francis, which was produced by Aldeas Scholas Films in association with Sikelia Productions and Massive Owl Productions. LBI Entertainment and Double Agent are handling sales of the film, with all proceeds to be reinvested in the Aldeas initiative.

    Aldeas, The Final Dream of Pope Francis.

    Aldeas Scholas Films

    Aldeas The Final Dream of Pope Francis.

    Aldeas Scholas Films