Tag: Entertainment – Variety

Science-fiction thriller “Hope” maintained its powerful grip on the top spot at the South Korean box office during the weekend of Jul. 24–26.

According to data from KOBIS, the tracking service operated by the Korean Film Council, the big-budget film generated $5.5 million from 767,366 admissions over the three-day window, securing a commanding 66.8% share of total market revenue.

Directed by Na Hong-Jin, the film features an ensemble cast led by Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Michael Fassbender, and Alicia Vikander. The narrative chronicles the desperate struggle for survival in a secluded harbor town after residents discover a mysterious alien entity on their outskirts. Following its record-setting opening frame, the local tentpole has now accumulated a gross of $25.3 million from 3,415,707 total viewers.

“Minions & Monsters” was in second place, pulling in $793,103 from 117,916 admissions over the weekend. The film has lifted its cumulative total to $3.9 million from 562,965 total ticket buyers since its Jul. 15 debut.

Disney’s live-action musical adaptation “Moana” took third place in its third weekend of release, collecting $593,187 from 87,033 admissions. The Pacific island adventure has reached an overall haul of $6.6 million from 909,270 admissions.

“Toy Story 5” took fourth place, bringing in $376,522 from 53,975 ticket buyers. The animation is now nearing the $20 million mark in South Korea, boasting a local cumulative total of $19.8 million from 2,837,123 viewers since its mid-June launch.

Faith-based animated production “David” claimed fifth place, adding $302,409 from 46,493 admissions over the frame. The biblical story of the shepherd boy turned king has pushed its local cume to $1.4 million from 220,351 viewers.

Local psychological thriller “The Eyes” placed sixth, generating $269,004 from 37,141 admissions. Directed by Yeom Ji-ho and starring Shin Min-ah and Kim Nam-hee, the Korean remake of the Spanish thriller “Julia’s Eyes” has a gross of $10.6 million from 1,511,619 ticket buyers.

Japanese anime feature “Dream Animals The Movie” debuted in seventh place, drawing $92,720 from 15,300 admissions over its opening weekend. Directed by Hitoshi Takekiyo and based on Ginbis’s popular long-selling animal biscuit brand, the animated adventure follows the colorful biscuit characters on a fantasy journey. Including previews, the title has earned $148,892 from 24,404 viewers.

Josh Safdie’s table tennis comedy-drama “Marty Supreme,” starring Timothée Chalamet and Gwyneth Paltrow, took eighth place with a weekend gross of $37,623, bringing its total local cume to $923,581.

Showbox’s action-horror hit “Colony,” directed by Yeon Sang-ho and starring Jun Ji-hyun, Koo Kyo-hwan, and Ji Chang-wook, took ninth place with $27,867, lifting its lifetime haul to $42.6 million from 5,949,979 total admissions since its May 21 rollout.

Rounding out the top 10 was thehorror feature “Hokum,” which opened to $22,398 from 3,322 admissions over the frame. Since its Jul. 22 launch, the film has collected $50,203 from 7,972 viewers.

The overall market collective gross for the weekend was $8.2 million, plummeting from last week’s $17.1 million.

SPOILER ALERT: This article contains spoilers for Season 3, Episode 3 of “House of the Dragon,” now streaming on HBO Max.

Daeron Targaryen (Benjamin Evan Ainsworth) is growing up: On this week’s episode of “House of the Dragon” Season 3, the youngest (and least blonde) child of Alicent Hightower (Olivia Cooke) and Viserys Targaryen (Paddy Considine) experienced his very first assassination attempt!

While sharing a meal with his cousin/keeper Ormund Hightower (James Norton) and his uncle Gwayne Hightower (Freddie Fox) in Tumbleton, a group of Baratheons tried to kill the young prince seemingly on the orders of his half-sister, Queen Rhaynera Targaryen (Emma D’Arcy). The attack was unsuccessful, as Gwayne jumped to his nephew’s rescue in time, which only resulted in a couple of deaths and Ormund projectile vomiting at the smell.

But the latest deadly move between the “Blacks” (who currently hold the Iron Throne through Rhaynera) and the “Greens” (who are splintered off into multiple factions) will have a profound effect on Daeron heading into the final two episodes of “House of the Dragon” Season 3.

“I think shock is a big part of that scene in general,” Ainsworth tells Variety. “This is an escalation he wouldn’t have ever expected. There’s also this idea of the power dynamics between him and Ormund leveling out and clashing in a way. ‘Bold’ Jon Roxton there has very much been a man who’s followed Ormund’s orders, and it’s the first time I’m trying to stop him, and Ormund’s ordering him to do something. So there’s something about that which is stepping up this dynamic within this group amidst the chaos of everything.”

Daeron holds back Ser Jon Roxton (Joplin Sibtain) when he attempts to dive into the situation and stop Gwayne, before Ormund realizes Gwayne has sussed out the assassination plan before it’s begun. And that little bit of leadership from Daeron, combined with his disgust with Ormund’s handling of the situation, could fuel how Daeron continues to respond to Ormund’s attempts to make him the new king.

“He’s trying to take more ownership of the situation, but also that’s over the bedrock of just shock and tension and a frustration, too, with Ormund and the way that he’s almost debilitated by his senses,” Ainsworth says. “And he’s throwing up right next to me. And there’s an absurdity to that scene, which Daeron is feeling just in the shock of it in itself. Let alone the dead bodies everywhere.”

It’s Gwayne’s arrival in Tumbleton after he’s left Fabien Frankel’s Ser Criston Cole (RIP) that has Daeron really thinking through what role he needs to play in this ongoing war.

“It’s exactly that. The verb ‘thrust’ feels correct because it’s almost a violent thing,” Ainsworth says. “He’s suddenly within the chaos, and so I don’t think he’s had much time to think about it or to process it, which is why there’s so much tension inside of him and in this desperation he has with Gwayne. In the scene he has with Gwayne, he’s almost forced to think of the idea of becoming king, just what would that mean? Would that mean space between him and Ormund?”

After weeks of buildup, it’s clear after this week’s assassination attempt that “House of the Dragon” Season 3 is about to feature a confrontation between the Blacks and the Greens in Tumbleton. Would Daeron, who takes to fencing in the courtyard after his brush with death, be capable of joining the fight if it comes to that? After all, he is known as “Daeron the Daring” in George R.R. Martin’s “House of the Dragon” source material, “Fire & Blood.”

“I think he would be. Whether he’s ready, I think that’s something he’s questioning himself,” Ainsworth says. “It’s the reason he goes out to spar after that assassination scene. There’s an element of getting away from the stresses of things and focusing on something that he enjoys, something that he’s good at. But he’s also proving to himself that he can protect himself if something like that happens again. And he knows Ormund and Gwayne are watching him, too. So I don’t want to spoil anything either way.”

Read more from Variety’s interview with Ainsworth below.

How do you view Daeron’s relationship with his uncle Gwayne in comparison to what we’ve seen between him and Ormund? Gwayne is the first other member of the family we’ve seen Daeron interact with since we met the character.

There’s a growing tension and growing stakes within Tumbleton this season. And this episode feels like the power dynamics are really pushing and grating against each other within Ormund and Daeron’s relationship. And Gwayne is a figure in his life who is more of a brotherly uncle, someone he can speak with, can connect with, and doesn’t have to cover himself up or conceal anything in any way with. It’s very much a breath of fresh air and needed; confiding away from Ormund’s chaos and manipulation.

I think this version of Daeron was always the center, and then when it’s with Ormund, I felt it was just more so covering up and containing, and he was thinking more about every choice, everything he says. Whereas with Gwayne, it’s much more instinctual. There’s a safety he feels with Gwayne that just isn’t there because of how dangerous Ormund can be and this kind of twisted feeling of needing Ormund’s affection, as well. Being the perfect squire, being the perfect version of Daeron around him, and there’s a part of that which has made him a more balanced person. He’s been away from the sour politics of King’s Landing, his brothers, his half-sister. It’s all kind of crazy, and he’s managed to live away from that. But I think this season poses a completely different prospect because he’s thrust in the middle of the chaos.

Have you seen the fan theories that Ormund not only dyed the fake Daeron’s hair blonde, but that he’s actually been dyeing the real Daeron’s hair a Hightower color for years because Ormund hates the Targaryens?

I have seen that. Do you know what, it’s funny because it wouldn’t be too far-fetched for Ormund to think of something like that. He seriously is the type of guy to do that. It’s been so cool to see all of the audience reception and theories and the excitement that people have for the character in the show is beyond me.

There’s an element to it where it wasn’t explicitly said when we were on set either way. So there’s a world in which that could be happening, but I don’t know. I think there’s something quite nice about him having his mother’s hair, there’s this connection he feels. He hasn’t seen his mother in years, but he’s made an ideal image of what his mother might be in the hope of some kind of other future for him. So the hair being the same, and the green colors, and the picking of his nails, things like that — I think it’s quite nice to draw that link between Alicent and Daeron.

We’ve only seen Daeron with his dragon Tessarion once because Ormund keeps the dragon locked away. Do you think his relationship with his dragon is different from his siblings who don’t have to keep their dragons locked up?

I think he has a really good relationship with Tessarion. She’s been his constant throughout his time in Old Town, a friend who’s always been there for him. Gwayne comes and goes. As we see in this season, he’s returning after a long time away. But Tessarion’s always there and there’s a love and a deep appreciation that goes both ways with them. And it’s something that I think keeps him hopeful about his Targaryen side, because we’ve seen the rhetoric that Ormund has against the Targaryens. He thinks that their blood is tainted and it’s an obscenity to have dragons. Yet [Daemon’s] relationship with Tessarion is what I think is keeping him balanced and not just a pawn for Ormund’s use.

I know all the cast members decide their own ways they want to approach the character based strictly on the scripts or also George R.R. Martin’s books. Are you a “Fire & Blood” reader or not?

I’ve read from Aegon’s conquest to [the plot of] Season 3, because I wanted to know what has happened, because he’s grown up in Old Town under the Faith of the Seven. I feel like he would have a base understanding of those concepts and I wanted to be able to bring that into the character. And he would have learned about the history. But I also quite like giving room for this character to grow.

I’m aware of “Daeron the Daring” and where this character goes, and the reputations he has within the books. But I think it’s quite cool to try and explore those reputations within the show and within the scripts as well, these morally gray characters and the interpersonal relationships so brilliantly written and well acted by James Norton and Freddie Fox and to get to share that with them has been awesome.

This smell thing is a real problem for Ormund. Do you think Daeron has used that at all to his advantage throughout his childhood?

Oh, I think it’s definitely something he’s been aware of throughout his childhood, but I don’t think he’d then do anything about it or manipulate. I think, if anything, his involvement with Ormund’s senses would be to try and help. I imagined him putting together pomanders for him, because it’s those things to please him in order to almost save his own ass, as well.

There’s a scene in this episode that cuts off after Daeron asks Gwayne if he saw his mother, Alicent, when he was last in King’s Landing. Was there more to this scene? Did Gwayne have an answer for him?

I don’t know exactly what was said, but I remember talking with Freddie and there is a moment at the end of that scene, which I don’t think made the cut, but where he comes to me, he puts his arm around my shoulder and then we go off. That’s the screenplay version, at least anyway. I think there’s something about, even if he is going back to Old Town, there’s still a sensitivity there. And they have a deep respect for each other. I think their dynamic is one to look out for, and one that means a lot to Daeron.

This interview has been edited and condensed.

Who says toys are outdated? Disney and Pixar‘s “Toy Story 5,” which grapples with the reality that kids would rather play with tech than dolls, has surpassed $1 billion globally and now ranks as the highest-grossing release of the year.

The film has earned $448 million domestically and $573 million internationally for a global tally of $1.022 billion. It’s the third movie of the year to cross the coveted milestone, following “The Super Mario Galaxy Movie ($1.001 billion) and “Michael” ($1.001 billion). Meanwhile “The Odyssey,” which has earned $639.6 million after just two weekends of release, is primed to be the fourth film to notch $1 billion. And that’s before “Spider-Man: Brand New Day,” a sequel to 2021’s juggernaut “No Way Home,” opens on July 31.

This year is tracking to produce the most billion-dollar blockbusters since the pandemic upended the box office in 2020. In 2019, nine movies — including “Avengers: Endgame,” “The Lion King,” “Aladdin,” “Joker,” “Spider-Man: Far From Home” and “Captain Marvel” — earned over $1 billion. The following year, plagued with months of COVID-related theater closures, not a single film crossed the billion-dollar mark. There was just one in 2021 (“Spider-Man: No Way Home”), three in 2022 (“Avatar: The Way of Water,” “Top Gun: Maverick” and “Jurassic World Dominion”), two in 2023 (“Barbie” and “The Super Mario Bros. Movie”), three in 2024 (“Inside Out 2,” “Deadpool & Wolverine” and “Moana 2”) and three in 2025 (“Zootopia 2,” “Avatar: Fire and Ash” and “Lilo & Stitch”).

In the coming days, “Toy Story 5” will register as the highest-grossing installment in the beloved franchise, overtaking 2019’s “Toy Story 4” ($1.07 billion). It’s the third “Toy Story” sequel to cross $1 billion after 2010’s “Toy Story 3” ($1.06 billion).

Directed by Pixar veteran Andrew Stanton, the fifth installment follows Woody (Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack) and the gang of anthropomorphic toys as their owner Bonnie becomes addicted to her new favorite gadget, a kiddie smart tablet known as Lilypad. “Toy Story 5” opened in mid-June to $160 million, marking the biggest debut of the year as well as the best start in the series. With glowing reviews, positive word-of-mouth and general goodwill toward the 31-year-old property, “Toy Story 5” remained the de facto choice for family audiences through the busy summer season. It didn’t hurt that Taylor Swift, whose wedding to Travis Kelce was among the buzziest news of the summer, wrote a new song, “I Knew It, I Knew You,” for the soundtrack.

Amid the outsized success of “Toy Story 5,” Pixar Animation Studios was hit last week by layoffs at Disney. Although animated sequels have majorly rebounded at the box office, original fare remains challenged. Pixar’s other 2026 release was this spring’s new adventure “Hoppers,” the story of an animal-loving student who transfers her mind into a robotic beaver so she can talk to other critters. Despite a strong opening weekend, “Hoppers” didn’t have the staying power to match the box office heights of prior Pixar greats.

Diehard Marvel fans packed into San Diego Comic Con’s massive Hall H Saturday night, some even camping out for more than 30 hours. But as the 40-minute panel wrapped up with just two surprise announcements — a Ghost Rider movie starring Ryan Gosling and “Black Panther 3” — it’s hard not to feel like, “Is that it?”

After a 30-minute delay, the panel got underway with Marvel Studios chief Kevin Feige acknowledging writer and producer Stephen Wacker’s new role as Marvel Comics editor-in-chief. He then rolled out a trailer for the “Avengers: Endgame” re-release, dubbed “Endgame Encore,” which will have an exclusive sneak peek at “Doomsday.” But fans were hungry for new announcements, not a re-edited trailer for a movie they’ve likely seen multiple times (and no doubt will see again).

Gosling and director Shawn Levy re-teaming for a Ghost Rider movie was a surprise, albeit one that the actor has been attracted to for years. The announcement capped off an extended bit with “Happy Sad Confused” host Josh Horowitz, who recalled all the times he’s asked Gosling about the long-rumored movie in interviews. Unless fans have been glued to every MCU rumor, Gosling’s introduction from Horowitz didn’t track well on stage. After Marvel’s “Blade” movie never fully materialized, it’s hard not to take an “I’ll believe it when I see it” stance on the “Ghost Rider” — despite the fact that “Deadpool and Wolverine” director Shawn Levy is already locked in.

The other awkward moment from Marvel’s panel came during an confusing Deadpool cameo. As the sprawling “Doomsday” cast joined the stage, a very recognizable voice called out from the sea of fans. Deadpool, clad in his gray X-Force costume, appeared in the crowd — but never removed his mask to show who was underneath. It certainly sounded like Ryan Reynolds begging for a role in the movie, but it wasn’t clear if Reynolds himself was in the suit. Joe and Anthony Russo joked that production had wrapped on “Doomsday” but then…that was it. While it’s been highly speculated that Deadpool may cameo in both “Doomsday” and 2027’s “Secret Wars,” Feige skipped the opportunity to confirm Reynolds’ return to the MCU.

Instead, Feige and the Russos moved straight into showing an exclusive trailer for “Doomsday,” which featured more backstory for Downey’s villain, but also some recycled footage from the last teaser. We learn more about Doom’s complicated history with the Fantastic Four and his seemingly tortured past, but much of the plot is still shrouded. The most exciting moment came when Doom resurrected a fleet of giant Sentinel robots — robotic villains from the “X-Men” universe — to battle the heroes.

The panel ended with another long-rumored announcement, Ryan Coogler’s “Black Panther 3,” but with a major surprise: “Alien: Romulus” actor David Jonsson is taking over the title role. He’ll play T’Challa II, the son of the late Chadwick Boseman’s hero, in what will no doubt be another emotional film for Coogler and the Wakanda crew. Jonsson is an exciting young actor on the rise and was excellent in last year’s adaptation of Stephen King’s “The Long Walk.” It will be impossible to fill Boseman’s shoes, but Jonsson stands to be one of the major pieces in the next era of Marvel.

So far, “Ghost Rider” and “Black Panther 3,” both slated for 2028, are the only movies in Marvel’s next phase after “Doomsday” and “Secret Wars.” Fans have long expected — and Feige has stated that — the X-Men to help steer the MCU’s future, but there wasn’t a single X-announcement on stage Saturday. Several of Fox’s “X-Men” stars are returning for “Doomsday,” but there was no indication if they’ll be back for “Secret Wars” or beyond. Rumors about the next cast of X-Men have swirled online, but at the panel, all the focus was on “Doomsday” — not whatever may come next.

Maybe expectations were set too high. Last time Marvel attended Comic Con was in 2024, when the studio made the bombshell reveal that Robert Downey Jr., the actor who carried the MCU on his back for over a decade, would return as its next major villain: Doctor Doom. That announcement nearly blew the roof off of Hall H, but nothing matched that intensity this year. Seeing the crowd of fans dressed in Doom costumes was fun for a few seconds, but watching everyone crowd together for a selfie — and not getting more information on “Doomsday” — was not.

Luckily, Disney has its D23 event in just three weeks, where more news will surely come. However, Comic-Con has usually been a film-centric event, where D23 has more TV shows. Everyone expects “Doomsday” to be a much-needed hit for the MCU later this year, but can it ascend to the two billion-dollar heights of “Endgame”? And how will it fare against Warner Bros.’ “Dune: Part 3,” which is hitting theaters the same day on Dec. 18? As the “Dunesday” showdown approaches, Marvel needs every bit of hype it can get to pave the way for its future, and Comic-Con could’ve used a few more major announcements to cement it as a must-see cultural event.

PBS SoCal (KOCE and KCET) was the big winner Saturday night at the L.A. Area Emmy Awards, landing eight — including for live events-programming, entertainment, crime/social issues and arts. Univision’s KMEX was next, with seven, followed by Telemundo’s KVEA with six.

KVEA once again won the newscast Emmys for daily daytime (11 a.m. to 7 p.m.) and daily evening (7 p.m. to 12 a.m.). Last year, KVEA won all three — also picking up daily morning (4 a.m. to 11 a.m.). But this year, KABC/ABC7 won that morning newscast Emmy.

The 2026 Los Angeles Area Emmy Awards were held Saturday at the Skirball Cultural Center in Los Angeles, hosted by KABC entertainment reporter George Pennacchio. KABC’s David Ono received the 2026 Los Angeles Area Emmy Governors Award, “recognizing his more than three decades of broadcasting and his passion for in-depth storytelling.” Ono’s KABC co-anchor, Jovana Lara, presented him the honor.

Bob Bain and Bob Bain Productions produced the ceremony, while Greg Taylor and Brian DeCloux are the Los Angeles Area Governors. Categories included Live and Breaking News Coverage, Crime and Social Issues, Culture and History, the Arts, Health and Science, Human Interest, Music, Sports and the Environment.

Beyond PBS SoCal, KMEX and KVEA, other outlet winners included KABC/ABC7 (four), KNBC/NBC4 (four), Spectrum News 1 (two), Spectrum SportsNet (two), LA36 (one), Spectrum SportsNet LA (one) and USC football (one).

As for this year’s nominee totals, PBS SoCal landed 29 nominations; KABC/ABC7 received 21, Univision outlet KMEX received 20, Telemundo’s KVEA had 18, KNBC/NBC4 landed 15 and Spectrum News 1 had 10.

For the station newscast awards, every TV station that submits is eligible. This year’s eligibility period was for the 2025 calendar year, which means many of the news categories winners focused on the devastating wildfires that ripped through the region last January.

Here are this year’s winners (see all nominees here):

STATION AWARDS

Station awards do not have nominations; rather, all entrants are candidates for the Emmy statuette.

Regularly Scheduled Daily Morning Newscast: 4:00am-11:00am

“Eyewitness News at 6am” (ABC7)

---

Regularly Scheduled Daily Daytime Newscast: 11:00am-4:00pm

“Noticiero Telemundo 52 Al Mediodía” (KVEA)

---

Regularly Scheduled Daily Evening Newscast: 4:00pm-12:00am

“Noticiero Telemundo 52 A las 11pm” (KVEA)

---

NEWS AND PROGRAMMING

L.A. Local Color

“Hispanic Heritage Month – Candelas Guitars” (Spectrum News 1)

---

Independent Programming

No nominations

---

Education/Information

“For Dear Life: Art, Medicine & Disability (PST ART)” (PBS SoCal)
Angela Boisvert, Producer
Nic Cha Kim, Executive Producer
Tamara Gould, Executive Producer
Matt Pappas, Director of Photography
Suzanne Méjean Pinney, Editor
Robert McDonnell, Supervising Producer

---

Crime/Social Issues

“Aging in America: Survive or Thrive” (PBS SoCal)
Neil Steinberg, Director, Executive Producer
Mark Jonathan Harris, Producer
Steve Purcell, Co-Producer, Editor
Karin Hayes, Co-Producer
Martin Sheen, Host
Michelle Merker, Producer

---

Arts

“Aretha! with Sheléa and the Pacific Symphony” (PBS SoCal)
Maura Daly Phinney, Executive Producer
Andy Trimlett, Producer
Steve Purcell, Director
Keena Levert, Associate Producer
Sheléa Melody McDonald, On-Camera Talent

---

Culture/History

“Somos de Aquí” (KMEX-TV)
William Negrón, Executive Producer
Julio Octavio Valdez, Anchor
Carlos Leonardo Gonzalez, Camera
Juan Ramirez, Editor
Marco A. Flores, Executive Producer

---

Informational Series (more than 50% remote)

“Tu Voz LA” (KMEX-TV)

---

Informational Series (more than 50% studio)

“Al Punto California” (KMEX-TV)

---

Entertainment

“Color in Motion: Chromatic Explorations of Cinema (PST ART)” (PBS SoCal)
Jaime Morgan Muñoz, Producer
Nic Cha Kim, Producer
Angela Boisvert, Executive Producer
Tamara Gould, Executive Producer
Matt Bass, Director of Photography
Ben Boyd, Editor
Robert McDonnell, Supervising Producer

---

Music Composition

“Art & Science Collide” (PBS SoCal)
Dan Deacon, Composer

---

News Series

“Black Heritage: Altadena Roots And Resilience” (NBC4)

---

Sports Special

“竜巻 – The Story of Nomomania” (Spectrum SportsNet LA)
Aaron Minderhout, Producer
Greg Taylor, Executive Producer
Erick Vazquez, Producer
Cary Osborne, Associate Producer
Logan Montane, Camera
Matthew Blum, Camera
Joseph Forquer, Camera
Brandon Cervantes, Camera
Margie Carson, Camera

---

Sports Series – Programming

“Backstage: Lakers” (Spectrum SportsNet)

---

Live Sports Coverage

“Nuestra Copa, Nuestra Pasión” (KVEA)

---

Sports Feature

“After the Fire (Backstage Dodgers)” (Spectrum SportsNet)

---

Sports Tease

“Shohei Ohtani: Baseball’s Solar Eclipse” (Spectrum News 1)
Taylor Schaub, Producer

---

Live Special Events – Programming

“66th Annual LA County Holiday Celebration” (PBS SoCal)
Taylor Comen, Executive Producer
Letitia Fernandez Ivins, Executive Producer
Michelle Merker, Producer
Jennifer Chang, Writer
Cristina Lucio, Associate Producer
Patrick Traylor, Associate Producer
Madeleine Ciano, Associate Producer
Aloe Blacc, Host
Maya Jupiter, Host

---

Live Special Events – News

“ABC7 Presents the 40th Annual Kingdom Day Parade” (ABC7)

---

Feature Segment

“Indispensables, Pero Invisibles: Manos que Reconstruyen (Al Punto California)” (KMEX-TV)
Arturo Quezada, Camera, Editor, Producer
Dina Rodriguez, Producer

---

Information Segment

“Combating Climate Change with Trees (Earth Focus)” (PBS SoCal)
Daniel H. Birman, Director of Photography, Executive Producer, Producer, Writer, Director
Megan E. Chao, Editor, Executive Producer, Producer
Angela Boisvert, Executive Producer
Tamara Gould, Executive Producer
Clarissa Guy, Producer
Jaime Morgan Muñoz, Producer
Susy Garciasalas Barkley, Producer
Jason Janocko, Director of Photography
Erik C. Andersen, Editor
Robert McDonnell, Senior Supervising Producer

---

Live Coverage of an Unscheduled News Event

“Breaking News: SoCal Firestorms” (ABC7)

---

Entertainment News Story

“Bob’s Brush with Fame” (NBC4 News at 5) (NBC4)
Michael Brownlee, Producer, Reporter, Writer

---

Business/Consumer News Story

“Ausentismo en los Campos de Cultivo” (Noticiero Telemundo 52 a las 6pm) (KVEA)
Enrique Chiabra, Producer, Reporter
Luis Enrique Rivera, Producer
Manuel Pineda, Camera
Yolimar Aquino, Editor
Yansily Reyes, Editor

---

Crime/Social Issues News Story

“Infierno en Adelanto” (Noticias 34 6pm) (KMEX-TV)
Candela Martinez, Reporter, Writer

---

Art/Cultural/Historical News Story

“L.A. Cumbia” (Noticias 34 6pm) (KMEX-TV)
Arturo Quezada, Camera, Editor, Producer
Dina Rodriguez, Producer
Alvaro Corzo Virviescas, Co-Producer

---

Environment News Story

“Cryo-Rescue: Race to Preserve Life” (NBC4 News at 5pm) (NBC4)
Enrique Roman, Camera
Annette Arreola, Reporter

---

Health/Science News Story

“Inteligencia Artificial y la Ciencia Del Cambio Climático” (Noticias 34 6pm) (KMEX-TV)
Gabriela Teissier, Producer, Reporter, Writer
Andres Fernando Pruna, Camera, Editor, Producer

---

Human Interest News Story

“KVEA Repartidor de fresas detenido” (Noticias Telemundo 52 A las 6pm) (KVEA)
Enrique Chiabra, Anchor

---

Investigative News Story

“SoCal Firestorms 6 months later: Palisades Fire Investigation” (Eyewitness News at 5pm) (ABC7)

---

Sports News Story

“La Huella Del Fútbol” (Noticiero Telemundo 52 A las 5:30pm) (KVEA)
Alejandro Navarro, Anchor

---

Short Promo – Sports

“War Time” (USC Football)
Eric Michael, Camera, Director, Executive Producer
Sanay Saboo, Director, Editor, Producer
Luke Cuellar, Graphic Designer
Mic Ferrante, Editor
Michael Malara, Editor
Geo Robinson, Editor
Ezekiel Wagner, Editor
Zahir Martin, Editor
Douson Yuan, Editor
George Tyler He􀆯ley, Editor
Radmen Niven, Associate Producer
Cody Worsham, Associate Producer

---

Short Promo – News

“NBC4: Picking Up the Pieces” (NBC4)

---

Short Promo – Programming

“Climate & Environment (PBS SoCal)” (PBS SoCal)
Olivia Cox, Editor, Producer

---

Public Service Announcement

“Emergency Lights? Pull to the Right” (LA36)
Vance Kotrla, Director, Producer, Writer

If you went back to November 2023 and told “Coyote vs. Acme” director Dave Green that his Looney Toons legal comedy would make its debut at San Diego Comic-Con, he probably wouldn’t believe it. Of course, that’s largely because that’s when Green learned the film had been shelved by Warner Bros. Discovery as a tax write off.

“For three years, I was lucky enough to make a movie about Wile E. Coyote, the most persistent, passionate, and resilient character of all time,” Green posted on X at the time after receiving the “devastating” news. “But in the spirit of Wile E. Coyote, resilience and persistence win the day.”

And win the day they did. Ketchup Entertainment ultimately rescued the film and set it for theatrical release on Aug. 28. “Coyote vs. Acme” — an animated/live-action hybrid about Wile E. Coyote taking on the Acme Corporation for intentionally releasing defective products — will get its first public screening on Saturday night at Comic-Con.

“I’ve waited so long to see their reaction. I feel like the years, to me, have [all led] up to tonight,” said Lana Condor, who stars in the film alongside Will Forte, John Cena and a bunch of Looney Tunes like Roadrunner, Tweety and Bugs Bunny. “I want so badly for them to love it, and I think they will. I’m so confident in that.”

The most enduring image of the campaign to save “Coyote vs. Acme” was a lone protester dressed as Wile E. Coyote, holding a picket sign that read “Release Me” outside Warner Bros. Studios in the pouring rain.

“We did a call to action, ‘Where are you? Reveal yourselves, we would love to invite you!’” Condor said. But Green confirmed the lone wolf never stepped forward. Still, the anonymous whistleblower’s legacy lives on as the “Coyote vs. Acme” team built one of his masks for last year’s Comic-Con panel.

“We figured out how his costume was built, and it was made out of paper!” Green said excitedly.

“Coyote vs. Acme” is heading to theaters while Warner Bros. is enduring yet another change of direction — this time, the impending merger with Paramount Skydance, which has many people in the industry on edge.

But while the wider implications of the Warner-Paramount merger remain to be seen (especially after the merger’s delay), for tonight, the entire “Coyote vs. Acme” cast and crew have much to celebrate.

“So many people stood up for a film they didn’t even see … which is exactly Wile’s entire journey throughout our entire film!” Condor said. “The reason that it’s going to come out at all, I firmly believe, is because of the fans. That was really incredible to experience. That’s why tonight, we’re so excited to screen it for the first time because this is what you fought for. I’m so confident that the fight was for a good reason.”

The film’s script was penned by “May December” scribe Samy Burch from a story by James Gunn and Jeremy Slater. It is based on a 1990 New Yorker article by Ian Frazier.

Watch the full conversation with Variety‘s Angelique Jackson below.