Tag: Entertainment-HollywoodReporter

Zach Cregger is reuniting with Warner Bros. Motion Picture Group’s New Line division for his next original feature.

Cregger, who directed last year’s acclaimed Oscar-winning horror hit Weapons for the company, has written, and will direct, The Flood, an original sci-fi thriller on which the studio is moving at full speed, scheduling an Aug. 11, 2028 release date.

The project reunites him with his Weapons producers Roy Lee and Miri Yoon of Vertigo Entertainment and interestingly has him working with avowed Cregger fan Steven Spielberg. The latter’s Amblin Entertainment is also producing Flood.

The announcement, by Warners’ Mike De Luca and Pam Abdy, came in the last few minutes of the studio’s presentation at CinemaCon in Las Vegas.

And while reveal and subsequent PR release was light on detail, including keeping the plot on a distant space station, it is known that the project was originally set up at Netflix. And the filmmaker’s previous projects have been modern-set horror thriller freakouts, this one is described as being very much in the science fiction mold.

“Zach is the rarest of filmmakers, fluent in every genre he touches, and we’re excited to continue our partnership” said New Line president Richard Brener in a statement.

Cregger stated, “I’m incredibly excited to continue my partnership with Mike, Pam, Richard, and the teams at Warner Bros. and New Line. They are true champions of bold creativity, united by a shared ambition to deliver unforgettable theatrical experiences for audiences. That’s the dream for any filmmaker.”

Weapons, which New Line/Warners won in a fierce bidding war, blew up last August’s box office, becoming an unexpected hit and sensation. It earned almost $270 million worldwide on a $38 million budget and introduced the character Aunt Gladys into the pop culture ecosphere.

Amy Madigan was recognized with an Academy Award for her role. A prequel is now in the works. Cregger won’t direct, but is co-writing with Zach Shields. A Sept. 8, 2028 release date has been set, making it a very Cregger-heavy 2028 for New Line.

Amongst Weapons‘ fans was Spielberg, who has been quietly working with Cregger for a while. In an interview with film magazine Empire, the filmmaking legend said Weapons was so good as a horror movie that it quelled his desire to make a movie in the genre.

“When I see a great horror film like Weapons, I don’t have an itch I need to scratch,” he said. “I see Weapons, and it doesn’t make me want to make a horror film that’s as scary or scarier than Weapons. It satisfies me so completely, it actually arrests my desire to someday make a really, really scary movie.”

Flood keeps Cregger in the New Line fold. Beyond Weapons, he was a producer on the division’s sci-fi thriller Companion, released in early 2025. His next feature, Resident Evil, based on the hit video game franchise, is coming from Sony in September and is already building buzz thanks to intense trailer previewed Monday at CinemaCon.

Dune: Part Three opens with no shortage of firepower, as the CinemaCon crowd learned Tuesday.

Timothée Chalamet, Zendaya, Jason Momoa and director Denis Villeneuve took the stage at the Las Vegas event to discuss the sequel. They then unveiled the first seven minutes from the highly anticipated film during Warner Bros.‘ presentation.

The footage featured Javier Bardem as Stilgar as he led his troops against a seemingly insurmountable enemy. The intense battle scenes featured an endless array of shots fired and plenty of actual fire.

After those seven minutes, additional footage included Chalamet’s Paul Atreides confronting Zendaya’s Chani in a tense moment.

“You’ve conquered the galaxy,” Momoa tells Chalamet in the new footage. “You’ve destroyed thousands of worlds.” This leads Chalamet to ask, “What are your thoughts on that?” to which Momoa replies, “I think you’re way beyond redemption.”

Later, Zendaya asks Chalamet, “How does it feel to be human like everyone else, Paul Atreides?”

In introducing the scenes, Villeneuve called the film a thriller and teased, “It’s more intense and definitely more emotional.”

Chalamet said of Paul, “He’s become his worst vision,” and the star teased his character “becoming an all-powerful emperor of the dark universe.”

Zendaya explained, “The years don’t seem to have been kind to anyone on Dune. It’s been an ungentle and unkind few years. There’s so much left to fight for.” She continued about Chani, “That youthful outlook is completely gone.”

Momoa acknowledged that his role in the film is much different from the last time viewers saw him, given that Duncan Idaho died in the first one, and Momoa is back as a clone: “I’m sent as a gift to Paul to see how he handles someone that he hasn’t seen and see how he takes that.”

Chalamet added, “It was deeply moving to be on a sci-fi trilogy on the scale of Lord of the Rings.”

For Zendaya, the footage represents the actress appearing in two days in a row of major releases teased at CinemaCon, with the Euphoria star also having shown up in Sony’s Spider-Man: Brand New Day footage.

The news comes a month after the first trailer dropped for the film, and limited seats for Imax 70mm screenings for the film quickly sold out.

Dune: Part Three stars Chalamet, Zendaya, Robert Pattinson, Javier Bardem, Florence Pugh, Taylor-Joy, Rebecca Ferguson and Momoa. The film takes place 17 years after Part Two and follows Emperor Paul Atreides as he struggles with the consequences of his holy war, trapped in a cycle of violence while facing conspiracies from the Bene Gesserit, Tleilaxu, and his wife, Irulan.

Warner Bros. and Legendary release Dune: Part Three on Dec. 18, which has been the source of plenty of eyebrow raising as Marvel’s Avengers: Doomsday is coming on the same date (an event that’s been dubbed “Dunesday”). Exhibitors are hoping to get an exclusive look at Dune‘s box office rival when Disney has its presentation on Thursday.

Thanks to the Super Bowl and Winter Olympics, NBCUniversal — with an assist from the recently spun off Versant — dethroned YouTube for the largest share of TV viewing in February.

Nielsen released both its monthly Gauge summary of viewing by platform and its Media Distributor Gauge for the reach of TV use by company on Tuesday. The stats were held back for several weeks due to some Nielsen clients pushing back on a change in how the ratings provider assembled its Gauge data.

Briefly: Nielsen was planning to supplement its data with that from a group called the Advertising Research Foundation that would likely have shown a dip in streaming’s share of total TV use. A number of clients balked at that idea, and in late March, Nielsen decided both to hold back on releasing the monthly numbers and not make any changes to its current Gauge methodology until the 2026-27 TV season, when it will more closely align with the company’s currency ratings products that are used to set ad rates across the industry.

“The Gauge and Media Distributor Gauge (MDG) do not reflect Nielsen’s currency TV ratings,” a note with the February release reads. “Nielsen is working on updates to The Gauge and MDG reports to better reflect and include currency enhancements for the Fall TV season, at which time Nielsen will provide additional back data to clients to assist in the transition.”

To those numbers for February: NBCUniversal and Versant combined for 13.1 percent of all TV use in the February reporting period (which covered Jan. 26-Feb. 22), with the Super Bowl and Olympics accounting for a huge portion of the spike from 8.5 percent in January (Nielsen reports the two companies together because NBCU sells ads for both.) NBCU had 10 percent on its own, while Versant accounted for 3.1 percent.

The combined total ended a year-long streak for YouTube at the top of the media distributor charts, despite YouTube’s share of all viewing rising a little in February (12.7 percent, up from 12.5 percent in January).

Streaming platforms had 48 percent of all viewing in February, with a big gain for NBCU’s Peacock accounting for much of the growth. Peacock had its highest monthly share in the five-year history of the Gauge, scoring 3 percent of all TV viewing thanks to the Super Bowl and Olympics. Aside from small upticks for YouTube, Disney (5 percent) and Tubi (2.2 percent), most streamers lost a bit of share compared to January.

Broadcast viewing edged up to 21.7 percent (from 21.5 percent) in February, again likely attributable to the Super Bowl and Olympics. Outside of those, CBS’ Grammy Awards telecast was the most watched program of the month. With the NFL and college football seasons over, cable took a step back to just 20 percent of all viewing, despite an overall increase in cable news viewing and big, winter games-fueled growth for USA Network.

The Gauge and Media Distributor Gauge numbers for February are below.

Merciful Mother Mary, deliver us from evil. Or from whatever this risibly self-serious metaphysical nonsense about performance and possession, creation and exorcism, aims to be. David Lowery is an adventurous director, alternating studio material like Pete’s Dragon, The Old Man & the Gun and Peter Pan & Wendy with pleasingly idiosyncratic projects like the poetic mood piece about time and loss, A Ghost Story, or the imaginative chivalric fantasy, The Green Knight. His new film belongs decidedly in the latter grouping, but it’s all style, no substance, despite lots of heat from Anne Hathaway and Michaela Coel in what’s essentially a two-hander.

As a global pop sensation whose stage costuming includes ornate halos that make her look like sexy religious iconography and clearly contribute to the cult-like devotion of her fans, Hathaway is a commanding avatar for music superstars from Taylor Swift and Beyoncé to Lady Gaga and Madonna. (Lowery has acknowledged the film of Swift’s Reputation stadium tour as a key inspiration for the concert scenes.) But it’s Coel, as Sam Anselm, a maverick British designer with the arch intensity of Gloria Swanson in Sunset Boulevard, who dominates the film, for better or worse. 

The heady visuals at times recall the films of Tarsem Singh, which means the strengths of Mother Mary are mostly aesthetic, from the elaborately staged performance interludes to ghostly, quasi-horror developments as the central pas de deux yields more secrets. 

Despite reams of dialogue that tends to be enigmatic if not downright opaque, the gothic melodrama is stretched too thin to have much grip. In its bias of effect over emotional complexity, the storytelling leans more toward music-video atmospherics than robust narrative. To that end, suitably trance-like original EDM songs by Jack Antonoff, Charli xcx and FKA twigs, alongside Daniel Hart’s score, are a vital component. But none of that does much to camouflage a core drama that’s pretentious and dull.

In ominous voiceover, Sam feels her bile rising as Hathaway’s Mary approaches after a decade-long estrangement. Sure enough, Mary shows up unannounced, bedraggled and strung-out — unlike the leggy goddess we see on stage — at the English countryside estate that serves as the designer’s atelier and home. The pop star needs a dress for a comeback show the following weekend, just days away, which Sam and her aloof assistant Hilda (Hunter Schafer, wasted) say can’t be done. 

But we all know how that goes. Sam tosses around lofty claims about her creative process — she describes her work as “the transubstantiation of feeling” — but soon she’s draping bits of fabric on Mary like a Project Runway contestant confounded by the challenge. 

It emerges that although visionary image-maker Sam built the look that made Mother Mary an object of worship to millions of fans, the singer unceremoniously dropped her 10 years ago with no explanation. Sam has not listened to her music since; she found that hating Mary was the only way to soothe her abandonment.

Coel bites into the acerbic bitterness of that history in their early exchanges, with a vein of malice in questions supposedly intended to reveal who Mary has become and hence what kind of dress will feel true to her. Sam refuses to hear the new song Mary plans to debut, but she does consent to watch the dance — without music — that the performer has worked out to accompany it. Hathaway hurls herself into that punishing sequence with violent physical force and emotional rawness.

Then come the ghosts. Without giving too much away, the long night they spend together takes on a hallucinatory quality as first Sam reveals a vision that appeared to her, beckoning her to follow, and then Mary confesses that the same vision entered her body and can only be released via a flesh-wound portal. Or something.

Lowery manifests that vision as a swirling tangle of red fabric that acquires an almost corporeal form, a mesmerizing jolt of color in the sumptuous darkness of DP Andrew Droz Palermo’s visuals (Rina Yang shot the concert scenes). But what it means beyond the obvious connotations of a tortured connection in the blood — encompassing creative collaboration as well as a personal, possibly even romantic, bond — is anyone’s guess. It’s no clearer even after some occult business in a chalk circle transports them back to a night in which Mary and a group of young women participated as Imogen (FKA twigs) physically summoned the spirit in a seance.

Given that Hathaway plays Mary not as an entitled diva but a tremulous mess, at risk of being consumed by her public image, the drama invests heavily in the possession and exorcism aspects. It must be said that Hathaway looks sensational in Bina Daigeler’s stage costumes, and while her vocals are electronically enhanced to death, the songs are convincing and catchy enough for her to pass for a legit music phenomenon.

Lowery is digging into the mystique of pop superstardom and the creative alchemy that makes it happen, the intimacy of inspiration and the enormity of communion with a massive audience. Some might be willing to find depth in his stylish, stylized but gossamer-thin depiction of a woman at the height of her performative powers struggling to bear the weight of her stage persona. I found it a bore — self-consciously cool but distancing and empty.

At least the dress (by Iris van Herpen, no less) is a knockout. No prizes for guessing the color.

Planet Earth, get ready for the madness that is Eurovision! A taste of Eurovision permeated the inaugural StreamTV Europe industry event in Lisbon, Portugal on Tuesday, courtesy of a session entitled: “The Original Song Contest: A Eurovision Case Study.”

Now, the U.S. is getting a free option to follow all the fun and the fury of the annual singing competition, courtesy of YouTube. Jurian Van Der Meer, commercial director of the European Broadcasting Union (EBU), who oversees all business and commercial activities related to the Eurovision Song Contest, broke the news during the panel that YouTube has struck a deal for the event, starting with this year’s 70th anniversary edition, taking place in Vienna, Austria. The deal covers the semifinals and final, which are also already available in the U.S. for Peacock subscribers.

So far, “we didn’t really have a strategy for distributing our content” longer-term, including the national selection processes, Van der Meer shared on the Lisbon stage. Now, the free U.S. YouTube livestream will change that. The semifinals take place May 12 and 14, followed by the final on May 16.

The exec told THR after the session that YouTube already streamed the song contest last year, but that was not widely known yet. YouTube’s deal covers the world, except for select markets where local broadcasters chose not to share the event with the streaming platform, including in the U.K. and Australia, he said.

On stage, Van der Meer on Tuesday also addressed this year’s latest Eurovision conflict around a controversy surrounding last year’s public vote in Israel and the inclusion of Israel amid the Gaza war. While the debate led to rule changes, five countries decided to boycott this year’s edition. They are Iceland, Ireland, the Netherlands, Slovenia, and Spain. These five have not sent representatives to this year’s Eurovision Song Contest, but two of them, namely the Netherlands and Iceland, will air the event.

“Politics does come in once in a while, unfortunately,” explained Van der Meer. “The music is what we will have [our] focus on. We welcome everybody, but we also understand and respect … that people are having certain views.”

Tuesday’s Eurovision panel, hosted by media universe cartographer Evan Shapiro, also featured Filipe Ligeiro, who works on the digital strategy of Festival da Canção, one of the longest-running television programs in Portugal and the country’s national selection for the Eurovision Song Contest, who shared: “Eurovision for us is a really good global platform,” he said, explaining that last year’s Portuguese Eurovision entry, the band NAPA, is now one of the country’s hottest muscial acts.

Yiğit Doğan Çelik, the chair and CEO of Merzigo Global, a media technology company focusing on the distribution and monetization of premium film, TV, and digital content across open video platforms, also touted the global opportunity for the song contest.

Van der Meer also highlighted the recent EBU deal with Voxovation, S2O Productions and Thailand’s Channel 3 for the inaugural Eurovision Song Contest Asia in Bangkok on Nov. 14. Shouldn’t that competition be called Asiavision, Shapiro asked? Acknowledged the executive: “There’s a little debate.”

Peacock has handed out a second-season order for The ‘Burbs, the series-length reboot of the 1989 cult classic starring Tom Hanks.

Set in present-day American suburbia, The ’Burbs follows a young couple who have reluctantly relocated to the husband’s childhood home. Their world is upended when a new neighbor moves in across the street, bringing old secrets of the cul-de-sac to light, and new deadly threats shatter the illusion of their quiet little neighborhood, according to a synopsis from the producers.

The rookie season of eight episodes for The ‘Burbs, which launched Feb. 8 on the same day as the Super Bowl, earned a top 10 debut over four weeks on Peacock.

“We’re so thrilled that audiences loved season one of The ’Burbs and are going to get to spend more time in Hinkley Hills with Keke and the rest of this incredible cast. A huge congratulations to all of the writers, producers and crew who updated the beloved original film and made something funny, warm and highly contemporary,” Lisa Katz, president, scripted content at NBC and Peacock, said Monday in a statement.

The series, created, written and executive produced by Celeste Hughey, sold to more than 100 territories internationally. The ensemble cast includes Jack Whitehall, Julia Duffy, Paula Pell, Mark Proksch and Kapil Talwalkar.   

The ‘Burbs has Palmer executive producing the series alongside Seth MacFarlane, Erica Huggins, Aimee Carlson, Dana Olsen, Nzingha Stewart, Brian Grazer, Kristen Zolner, Natalie Berkus and Rachel Shukert.  Universal Studio Group’s UCP produces the series.

The Rock & Roll Hall of Fame officially unveiled its 2026 class on Monday night, with Phil Collins, Oasis, Billy Idol, Wu-Tang Clan, Luther Vandross, Sade, Joy Division/New Order and Iron Maiden all named as inductees.

Ryan Seacrest and Lionel Richie revealed the inductees on the latest episode of American Idol for the show’s Rock Hall episode. Beyond the performer category, Queen Latifah, Graham Parsons, Celia Cruz Fela Kuti and MC Lyte will all be honored with the early influence award, while Linda Creed, Arif Mardin, Jimmy Miller and Rick Rubin will receive the musical excellence award.

Artists reach Rock Hall eligibility when their debut recording turns 25 years old. Collins, Vandross and Wu-Tang Clan are all getting into the hall on their first nominations. Collins was previously inducted with Genesis back in 2010 and is now joining the rarer group of two-time inductees. Idol and Sade got the nod on their second nominations, with Idol earning his first nomination last year, while Sade was previously nominated in 2024. Iron Maiden, Joy Division/New Order and Oasis are all getting in on their third nominations.

“Induction into the Rock & Roll Hall of Fame is music’s highest honor,” John Sykes, chairman of the Rock & Roll Hall of Fame, said in a statement. “We look forward to celebrating these remarkable artists at this year’s ceremony — it’s going to be an unforgettable night.”

Perhaps the biggest snub this year is Mariah Carey, who was denied once again on her third nomination after previously getting nominated in 2021 and 2023. Also denied entry this year are Lauryn Hill, Pink, The Black Crowes, Jeff Buckley, Melissa Etheridge and INXS.

Outside of the performers, Ed Sullivan will be posthumously honored with the Ahmet Ertegun award, which is reserved for non-performing industry figures for their influence on music. The longtime TV fixture’s Ed Sullivan Show had a profound impact on bringing music to the masses, hosting historic television music performances from Emany acts including Elvis Presley, the Rolling Stones and, most famously, the Beatles. Those three Beatles performances in 1964 launched Beatlemania and the broader British Invasion, inspiring countless young musicians from Billy Joel to Bruce Springsteen and Aerosmith to get into music themselves. It’s arguably the most important music television performance of all time.

The induction ceremony will tape on Nov. 14 at Peacock Theater in Los Angeles for the second year in a row, with the show then airing on ABC and Disney+ in December. The Rock Hall said the ceremony would return to Cleveland in 2027.

Less than a month after soccer star Jorginho Frello slammed a security guard he believed worked for Chappell Roan for “extremely aggressive” behavior towards his 11-year-old daughter, Frello is sharing that “new information” has changed his “understanding of parts of what happened” and that he now believes the situation to be “closed.”

On March 21, Frello said that while attending Lollapalooza Brazil, his 11-year-old daughter spotted the “artist she really admires, or used to admire,” tagging Roan twice in his initial Instagram Stories post, during breakfast at their hotel and walked past the artist’s table to make sure it was her.

Frello did not name which of his children he was referring to but his wife, Catherine Harding, shares an 11-year-old daughter, Ada, with Jude Law.

“She didn’t even approach her,” Frello wrote at the time. “She simply walked past the singer’s table, looked to confirm it was her, smiled, and went back to sit with her mum. She didn’t say anything, didn’t ask for anything.”

What happened next, Frello said, was “completely disproportionate” as a “large security guard” came over to their table and addressed his wife and daughter in an “extremely aggressive manner,” adding that his wife, “shouldn’t allow my daughter to ‘disrespect’ or ‘harass’ other people.”

Frello went on to criticize the artist after the incident left his daughter in tears.

“I’ve lived with football, public exposure, and well-known people for many years, and I understand very well what respect and boundaries are. What happened there was not that. It was just a child admiring someone,” he wrote. “It’s sad to see this kind of treatment coming from those who should understand the importance of fans. At the end of the day, they are the ones who build all of this. I sincerely hope this serves as a moment of reflection. No one should have to go through this, especially not a child.”

In closing, tagging Roan’s Instagram account, he wrote, “WITHOUT YOUR FANS, YOU WOULD BE NOTHING. AND TO THE FANS, SHE DOES NOT DESERVE YOUR AFFECTION.”

Roan responded to the incident the next day, insisting the guard was not her “personal security,” who she didn’t ask to confront the mother and daughter, and Roan said she didn’t even notice them.

“They did not come up to me. They weren’t doing anything. It’s unfair for security to just assume someone doesn’t have good intentions when they have no reason to believe, because there’s no action even taken,” she explained in a video. “I do not hate people who are fans of my music. I do not hate children. Like, that is crazy. I’m sorry to the mother and child that someone was assuming something that you would do something and that if you felt uncomfortable, that makes me really sad. You did not deserve that.

Now, while Frello maintains that “the situation did occur as it was originally described,” he indicates his response was driven more by his protective instinct as a father. His initial statement, he writes on his Instagram Stories on Monday, came about “in the heat of the moment, after hearing that my child and wife had been approached by an adult male security guard in an intimidating way … My priority is, and always will be, protecting my family, and that is exactly what I did.”

Saying the guard “has since confirmed publicly that he was representing another artist at the hotel at the time,” Frello adds it’s now clear that the guard wasn’t acting on Roan’s behalf.

Frello said the incident was a “misunderstanding” and he’s “glad to set the record straight.”

“It’s important to me that this is clarified fairly and accurately,” he said. “I regret the impact this situation has had on Chappell Roan, Catherine, Ada and our family.”

Frello also shared that Roan reached out to his wife “privately” and both sides’ teams “spoke directly.” The artist, he said was “understanding and sympathetic” and he says based on the conversations with Roan’s team, it “became clear that she had no knowledge of what took place at breakfast and had not asked anyone to approach them.”

In conclusion, he said he does “not support or encourage hate speech or online attacks from any side” and stressed the values of “respect, empathy and humility … As far as I am concerned, this matter is closed.”

ID’s latest limited series, Boy Band Confidential, is exposing the secret machinery behind the ’90s boy band boom via revealing interviews with NSYNC’s Lance Bass, Backstreet Boys’ AJ McLean and Boyz II Men’s Wanya Morris and Shawn Stockman. The four-part docuseries airs over two nights, April 13 and 14, from 9 p.m. to 11 p.m. PT/ET on ID, and can be livestreamed on any streaming service that carries the network, including DirecTV (with a five-day free trial), Philo (with a seven-day free trial), Sling and Hulu + Live TV.

At a Glance: How to Watch Boy Band Confidential

Following its Investigation Discovery premiere, the four-parter will be available to stream on-demand via HBO Max, which can be bundled with Disney+ and Hulu for the best bang for your buck. To stream HBO Max for free, opt for a subscription to one of DirecTV’s signature packages — Entertainment, Choice or Ultimate — which gives customers their first three months of HBO Max for free, along with Paramount+ Premium, STARZ, MGM+ and Cinemax (see here for more details on these premium add-ons). Plus, DirecTV offers a five-day free trial for any plan, meaning new members can stream Boy Band Confidential (and everything else the packages have to offer) at no cost during the trial period.

Where to Watch Boy Band Confidential: Air Date and Time, Where to Stream Online

Executive produced by NSYNC’s Joey Fatone, the four-part documentary series premieres over two nights, April 13 and 14, from 9 p.m. to 11 p.m. PT/ET on ID, which can be livestreamed via DirecTV (with a five-day free trial), Philo (with a seven-day free trial), Sling and Hulu + Live TV.

As mentioned, all four episodes will also be available to stream on-demand via HBO Max, which can be bundled with Disney+ and Hulu for the best deal. Additionally, to stream HBO Max for free, opt for a subscription to one of DirecTV’s signature packages — Entertainment, Choice or Ultimate — which gives customers their first three months of HBO Max for free, along with Paramount+ Premium, STARZ, MGM+ and Cinemax. See here for more details on these premium add-ons and sign up for a five-day free trial period here. Keep reading to learn more about each option.

DirecTV

Five-day free trial; packages from $19.99 per month

ID is included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate and Premier. Plus, DirecTV is offering a five-day free trial for its streaming service, meaning new subscribers can catch the doc series at no cost.

When signing up for any of these packages, customers can also add three months of HBO Max (along with Paramount+ Premium, STARZ, MGM+ and Cinemax) for free, which, as mentioned, will have Boy Band Confidential available to stream on-demand. See here for more details on these premium add-ons, which will be offered for three months at no cost during checkout.

Philo

Seven-day free trial; packages from $25 per month

Watch the ID channel on Philo, one of the most affordable cable alternatives. Following a seven-day free trial period, plans start at $25 per month with access to 70+ channels.

Sling

Half off first month for select plans

ID is included in Sling’s Blue Plan (40+ channels), starting at $45.99 per month.

For the best bang for your buck, opt for Sling’s Orange & Blue plan, which gives subscribers access to everything both plans have to offer, and starts at $60.99 per month. Visit Sling.com for the full channel breakdown of each package.

Hulu + Live TV

Three-day free trial; packages from $89.99 per month

Watch ID for free with a three-day trial to Hulu + Live TV, which comes bundled with Disney+ and ESPN+, and starts at $89.99 per month.