Tag: Entertainment-Variety

James Cameron’s return to Pandora with “Avatar: Fire & Ash” meant big business for Imax. Revenue at the exhibition technology company climbed 35% to $125.2 million for the fourth quarter of 2025, compared to $92.7 million in the year-ago period. The company said that the third “Avatar” film, which Cameron urged moviegoers to see in Imax, drove record box office for the quarter, contributing $112 million in ticket sales to become Imax’s highest grossing Hollywood film.

However, net income for the quarter shrank 64% to $2.5 million, down from $6.9 million in the same period in 2024. Imax also reported adjusted earnings per-share of 58 cents, compared to the 27 cents per-share it logged a year earlier. Included in the results is $22 million of one-time charges, including $15 million for the repurchase of over 99% of convertible notes due 2026.

Movie theaters have struggled to regain their popularity since COVID shut down the sector more than five years ago. Yet Imax has continued to draw crowds with filmmakers like Cameron, Christopher Nolan and Denis Villeneuve all using the company’s cameras to shoot their blockbusters. Looking ahead, Imax said it is targeting a record $1.4 billion in global box office in 2026, citing Nolan’s “The Odyssey” and Villeneuve’s “Dune: Part Three,” both of which were filmed using the company’s technology, as big draws. The company also predicted that upcoming releases such as “The Mandalorian and Grogu” and “Project Hail Mary” will play well on its screens.

“We believe we are far from our peak, but rather, in a period of evolution and growth,” Imax chief Richard Gelfond told analysts on an earnings call. “With superior immersive technology and unmatched scale, Imax is the premiere global platform for blockbuster content. And blockbuster content continues to grow in importance across the ecosystem. The world’s greatest filmmakers, studios, even streamers — are leaning into blockbuster theatrical releases, as drivers of IP and value throughout the chain. As this trend accelerates, Imax becomes an increasingly valuable player. We’re the only game in town with a global platform, content portfolio and well-recognized brand.”

Martin Short has postponed his comedy tour with Steve Martin following the death of his daughter.

Katherine Short, whom Short adopted with his late wife, Nancy Dolman, died Monday. She was 42. She died of a self-inflicted gunshot wound, according to the Los Angeles coroner. 

All February dates for “The Best of Steve Martin & Martin Short” have been postponed, and it’s unclear when the tour will resume. Short and Martin’s show was scheduled to commence on Friday at Milwaukee’s Miller High Life Theatre, with another stop on Saturday at the Orpheum Theatre in Minneapolis. A message on the Milwaukee venue’s website reads, “Due to unforeseen circumstances, Steve Martin & Martin Short’s show, originally scheduled for Friday, February 27th in Milwaukee, has been postponed. Tickets will be honored for a future rescheduled date.” The Orpheum website shares a similar message.

The duo has tour dates set through December; their next stop at Washington, D.C.’s Dar Constitution Hall on March 13 does not currently have a delay notice.

Short and Dolman, who died of ovarian cancer in 2010, also shared two sons, Henry and Oliver. Katherine graduated from New York University with a bachelor’s degree in psychology and gender sexuality studies in 2006, then earned her master’s in social work at USC. She worked at UCLA’s Resnick Neuropsychiatric Hospital before going into private practice, according to People magazine.

“It is with profound grief that we confirm the passing of Katherine Hartley Short,” Martin Short’s rep said on Monday in a statement. “The Short family is devastated by this loss, and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

James Cameron’s return to Pandora with “Avatar: Fire & Ash” meant big business for Imax. Revenue at the exhibition technology company climbed 35% to $125.2 million for the fourth quarter of 2025, compared to $92.7 million in the year-ago period. The company said that the third “Avatar” film, which Cameron urged moviegoers to see in Imax, drove record box office for the quarter, contributing $112 million in ticket sales to become Imax’s highest grossing Hollywood film.

However, net income for the quarter shrank 64% to $2.5 million, down from $6.9 million in the same period in 2024. Imax also reported adjusted earnings per-share of 58 cents, compared to the 27 cents per-share it logged a year earlier. Included in the results is $22 million of one-time charges, including $15 million for the repurchase of over 99% of convertible notes due 2026.

Movie theaters have struggled to regain their popularity since COVID shut down the sector more than five years ago. Yet Imax has continued to draw crowds with filmmakers like Cameron, Christopher Nolan and Denis Villeneuve all using the company’s cameras to shoot their blockbusters. Looking ahead, Imax said it is targeting a record $1.4 billion in global box office in 2026, citing Nolan’s “The Odyssey” and Villeneuve’s “Dune: Part Three,” both of which were filmed using the company’s technology, as big draws. The company also predicted that upcoming releases such as “The Mandalorian and Grogu” and “Project Hail Mary” will play well on its screens.

“We believe we are far from our peak, but rather, in a period of evolution and growth,” Imax chief Richard Gelfond told analysts on an earnings call. “With superior immersive technology and unmatched scale, Imax is the premiere global platform for blockbuster content. And blockbuster content continues to grow in importance across the ecosystem. The world’s greatest filmmakers, studios, even streamers — are leaning into blockbuster theatrical releases, as drivers of IP and value throughout the chain. As this trend accelerates, Imax becomes an increasingly valuable player. We’re the only game in town with a global platform, content portfolio and well-recognized brand.”

TKO wrapped 2025 on a strong note, allowing the sports entertainment heavyweight to achieve the higher end of the full-year financial guidance that it gave to Wall Street last year.

For full year 2025, TKO delivered revenue of $4.73 billion and adjusted earnings before interest, taxes, depreciation and amortization of $1.58 billion. That was a notch over the $4.72 billion in revenue that TKO predicted earlier in the year as the maximum end of its guidance. The EBITDA number came in on the nose for the top of its EBITDA range.

Fourth quarter earnings for UFC and WWE came in at $1 billion with adjusted EBITDA of $281.2 million, up in both measures over Q4 2024.

In March, TKO plans to start another $1 billion stock buyback program, after purchasing the same amount through the course of 2025. More than 60% of TKO shares are held by its controlling shareholders at Silver Lake and Endeavor.

“TKO’s 2025 results reflect meaningful momentum across both UFC and WWE,” said Ariel Emanuel,
executive chair and CEO of TKO. “Having concluded our second full year since forming TKO, we are
extremely well positioned with long-term media rights agreements in place and operational strength across the business. We intend to initiate the next phase of our capital return program, underpinning our
commitment to deliver long-term, sustainable value for shareholders.”

TKO results have been buoyed by demand for UFC and WWE content from media outlets as well as sponsorship, event ticket and merchandise sales. The MMA league and the dean of pro wrestling leagues both enjoy the kind of rabid fandom that marshals for live events and thrives in online communities and the creator economy digital eco-system. TKO is also expanding into the sweet science through its pact with Zuffa Boxing.

“2025 was a milestone year, underscoring the durability of our premium IP through record-setting live
events and transformational global partnerships,” said Mark Shapiro, president and COO of TKO. “The
successful launch of Zuffa Boxing last month sets the table for even further long term value creation. With growing revenue, expanding margins, and an increasingly global fan base, TKO is a high-quality
execution story with multiple avenues for outperformance.”

More to come

Uma Thurman is back in killer form. Prime Video released the first trailer for “Pretty Lethal,” a survival action-thriller in which a group of elite ballerinas must fight their way out of a remote inn run by Thurman’s unhinged former dance prodigy.

The film follows five dancers — played by Maddie Ziegler (“My Old Ass”), Lana Condor (“To All the Boys I’ve Loved Before “), Iris Apatow (“This Is 40”), Avantika (“Mean Girls”) and Millicent Simmonds (“A Quiet Place”) — traveling to a prestigious competition when their bus breaks down in a remote forest. Stranded and out of options, they seek shelter at a roadside inn run by Devora Kasimer.

The trailer wastes little time getting to the carnage. Kasimer’s welcome is unsettling from the start — gracious on the surface but clearly off. The inn grows more sinister by the minute, and it becomes apparent the dancers have walked into something they may not walk out of. As the threat turns violent, the group — still barely on speaking terms — are forced to set aside their rivalries and fight back together. The ballerinas draw on their physical training to fight back, using footwork, flexibility and, in one memorable moment, a pointe shoe — to survive.

Director Vicky Jewson, who previously helmed “The Witcher: Blood Origin,” describes the film as a genre mash-up that moves between horror, comedy and action. The film is written by Kate Freund and produced by Kelly McCormick, whose credits include “Bullet Train” and “Violent Night.”

“Pretty Lethal” premieres at SXSW on March 13 before streaming globally on Prime Video March 25.

Watch the trailer below.

David J. North has signed an overall deal with CBS Studios, Variety has learned.

North is the co-creator, executive producer, and showrunner on “NCIS: Origins,” which is currently airing its second season and has already been renewed for a third season. North will continue on as showrunner for Season 3 under his new deal. His fellow co-creator and current co-showrunner, Gina Lucita Monreal, will depart the series at the end of Season 2 as previously reported.

Under his new overall deal, North will create, develop, and produce projects for both broadcast and streaming. “NCIS: Origins” returns from winter hiatus on March 3.

North got his start in TV as support staff on the very first season of “NCIS.” He eventually rose to the rank of writer and producer before departing the show to work on other series like “Rizzoli & Isles,” “Scorpion,” and “NCIS: Los Angeles.” He returned to “NCIS” in the show’s 14th season, becoming an executive producer and co-showrunner. He remained with the show through its 21st season before moving on to “NCIS: Origins.”

North is repped by Manage-Ment and the Law Office of David Tenzer

“NCIS: Origins” follows the adventures of a young Leroy Jethro Gibbs, who was played by Mark Harmon in the mothership series and is played by Austin Stowell in the prequel. The cast also includes Mariel Molino, Kyle Schmid, Tyla Abercrumbie, Diany Rodriguez, and Caleb Foote. North, Monreal, Mark Harmon and Sean Harmon are all executive producers on the series, with CBS Studios producing.

With negotiations heating up over Netflix’s bid for Warner Discovery, the streamer’s co-CEO Ted Sarandos plans to visit the White House for meetings on Thursday.

Sarandos is sure to discuss President Trump’s recent demand that Netflix fire board member Susan Rice. However, it’s not clear whether Sarandos will actually be meeting with Trump at the White House, according to Politico.

On Saturday, Trump posted on Truth Social that Netflix should “immediately” fire former UN ambassador and board member Rice or “pay the consequences.” Sarandos responded in an interview, “This is a business deal. It’s not a political deal.”

While Netflix is working to finalize a deal to acquire Warner Bros. Discovery’s studios and streaming businesses for $83 billion, Paramount Skydance recently increased its offer to $31 a share.

WBD’s board “will engage further” with Paramount to determine if a “company superior proposal” — a term defined within the language of its existing Netflix pact — can be reached. Netflix will have four business days to propose revisions to its deal if the WBD board finds Paramount Skydance’s offer to be superior.

Meanwhile, Paramount CEO David Ellison attended Tuesday’s State of the Union address as a guest of Republican Senator Lindsey Graham.

The Department of Justice Antitrust division is currently assessing Netflix’s market power and dealmaking, while Sarandos told Variety recently that he has been working hard to combat the perception that Netflix has an outsized share of the market.

“Most of the work that we’ve been doing is un-ringing the bells of a misinformation campaign. What is our market share? I mean, the market share is very clear. Nielsen publishes the market share constantly, called The Gauge, and it shows that we are 9% of the business. And if you put HBO together with us, we’re 10% of the business. And it certainly is nowhere near monopoly, which folks have been batting around the last couple of days, which is 50-70% market share. It’s insane,” Sarandos said Friday.

Netflix had no comment.