Tag: Entertainment-Variety

Indian animation giant Toonz Media Group has launched MyToonz, a dedicated FAST channel now live on LG Electronics smart TVs in India, with ambitions to take the service worldwide over the coming years.

The channel, built on technology from Amagi, goes out initially to LG smart TV owners across India before Toonz moves to bring it to Southeast Asian markets – Malaysia, Singapore and the Philippines are among the first targets – with North America, Europe and the Middle East to follow.

“As viewing habits evolve, content creators must evolve with them. MyToonz is our strategic response to the connected TV revolution, combining storytelling excellence with smart distribution. This launch signals our intent to lead in the FAST space and shape the future of children’s entertainment distribution,” said Viswanath Rao of Toonz Media Group.

The channel draws on a library built up over more than 25 years of animation production at Toonz’s Thiruvananthapuram base, where the studio turns out upwards of 10,000 minutes of content annually. Titles on the service include “Gummy Bear and Friends,” “Zoonicorn,” “Darwin & Newts,” “Tenali Raman” and “Hanuman,” spanning both internationally developed properties and India-rooted programming.

Amagi, which handles the technical backbone of the service, brings to the partnership a platform used by broadcasters and streaming operators across dozens of countries. Its co-founder and CTO, Srividhya Srinivasan, said the deal married Toonz’s content credentials with infrastructure designed to support large-scale streaming operations. “As demand for curated family programming continues to grow, IP-based delivery is essential to building sustainable FAST businesses,” she said.

For LG India, MyToonz slots into an existing portfolio of free channels available to its smart TV users. “With the addition of MyToonz, our kids’ genre becomes even stronger,” said Brian Jung, director of media entertainment solution at LG Electronics India, describing the content as in keeping with the company’s goal of offering free, quality programming to households.

Bruce Springsteen has said that his 2026 “Land of Hope and Dreams” tour with the E Street Band will be political, and he was not exaggerating.

On the tour’s opening night in Minneapolis, after starting the show with a cover of Motown singer Edwin Starr’s fiery 1970 hit “War,” his comments were largely things he’s said before, at the “No Kings” in the city rally last weekend and elsewhere over the past year.

But mid-show, after the livestream of the show’s first two songs had ended, he let loose. Some of the comments in the speech he’s made before, including the familiar “This is happening now” refrain, but not all of them, and it’s likely that he’ll continue ramping up his war of words with the president often before the tour wraps just after Memorial Day Weekend — in Washington, D.C.

“We are living through some very dark times,” he began. “Our American values that have sustained us for 250 years are being challenged as never before. We’ve got our young men and women’s lives at risk In an unconstitutional and illegal war.

“This is happening now.

“There are immigrants being held in detention centers around the country and being deported without due process of law to alien countries and foreign gulags.

“This is happening now.

“Our Justice Department has completely abdicated its independence, and our Attorney General Pam Bondi takes her marching orders straight from a corrupt White House.

“She prosecutes our president’s perceived enemies, covers up for his misdeeds.

“And protects his powerful friends.

“This is happening now.

“The richest men in America have abandoned the world’s poorest children through death and disease, through their dismantling of U.S. aid.

“This is happening now.

“We are abandoning NATO and the world order that’s kept us safe and at global peace for 80 years.

“This is happening now.

“We threaten our neighbors and our allies whose sons and daughters have fought alongside us in American wars with the predatory annexation of their land.

“This is happening now.

“Our museums are being told to whitewash American history of any unpleasant or inconvenient facts like the full history of the brutality of slavery. You want to talk about snowflakes? We have a president who can’t handle the truth.

“This is happening now.

“While working Americans struggle, our president and his family enrich themselves by billions of dollars training on the people’s office in corruption unmatched in American history.

“This is happening now.

“This White House is destroying the American ideal and our reputation around the world.

“To many we are no longer looked upon as an often imperfect but strong defender of democracy standing for the global good, we are no longer the land of the free and the home of the brave.

“We are now to many America the reckless, unpredictable, predatory rogue nation. That is this administration’s and this president’s legacy.

“This is happening now.

“Honesty, honor, humility, compassion, thoughtfulness, morality, true strength, and decency. Don’t let anybody tell you that these things don’t matter anymore.

“They do.

“They are at the heart of the kind of men and women we are, the kind of citizens we are, the kind of country we’ll be leaving to our children.

“So many of our elected leaders have failed us that this American tragedy can only be stopped by the American people.

“So join us and let’s fight for the America that we love.

“Are you with us?”

Springsteen repeated the last line several times.

In an interview prior to the tour kicking off, Springsteen said in an interview with the Minneapolis Star-News that he was well-prepared for negative feedback from the right over the political nature of the tour and anything he might say during the course of it.

“My job is very simple: I do what I want to do, I say what I want to say, and then people get to say what they want to say about it.… I don’t worry about if you’re going to lose this part of your audience,” he told the newspaper. “I’ve always had a feeling about the position we play culturally, and I’m still deeply committed to that idea of the band. The blowback is just part of it. I’m ready for all that.”

He added, ““don’t know of another time when the country has been as critically challenged and our basic ideas and values as critically challenged as they are right now,. I’d have to go back to 1968 when I was 18 years old to another moment when it felt like the country was so on edge and like it felt there was simply so much at stake as far as who we are and the country we want to be and the people we want to be. It’s a critical, critical moment.”

Minneapolis became a flash point for American outrage after local residents Renée Nicole Macklin Good and Alex Pretty were shot to death by ICE agents during protests. Springsteen references Good’s death in “Streets of Minneapolis,” the anti-ICE protest song he released on Jan. 28.

Springsteen first publicly performed “Streets of Minneapolis” at a “Defend Minnesota” benefit concert in the city Jan. 30, where he performed at the famed First Avenue club alongside organizer Tom Morello, who is participating in the new tour as a guest guitarist. He returned to the area to sing it over the weekend at a massive “No Kings” rally in St. Paul on Saturday, three days prior to the tour kickoff.

Variety will have a full review of the Minneapolis tour kickoff on Wednesday.

Of course, Springsteen and Trump have exchanged combative comments well prior to the ICE shootings in January. In May 2025, the rocker opened an overseas tour in Manchester with a show that included a speech referring to a “corrupt, incompetent and treasonous administration … taking sadistic pleasure in the pain that they inflict on loyal American workers… They are abandoning our great allies and siding with dictators against those struggling for their freedom.” Springsteen offered a variation on that speech every night on the tour.

In return, Trump called Springsteen “highly overrated … not a talented guy – just a pushy, obnoxious JERK.”

The Palm Springs International ShortFest will return from June 23-29 for the 32nd annual showcase of short-form cinema.

Last year, the fest programmed the Oscar-winning live action short “The Singers,” Oscar-nominated live action short “Jane Austen’s Period Drama,” Oscar-nominated documentary short “The Devil Is Busy” and the Oscar-nominated animated shorts “Forevergreen” and “Retirement Plan.”

Awards and cash prizes worth $25,000, including five Academy Award-qualifying awards, will be announced on June 28, with the Best of the Fest program screening on the final day, June 29.

Tuesday, March 31

Whoopi Goldberg Joins Animated Feature “Captain Zero: The Movie” as Executive Producer

Whoopi Goldberg has joined the producing team of “Captain Zero: The Movie,” an upcoming animated feature from Cutting Edge Animation. Goldberg will serve as executive producer alongside longtime collaborator Tom Leonardis under their One Ho Productions banner.

“Captain Zero” is a 2D animated action-drama that follows Haitian American teenager Xerxes Hughes as he “navigates life as a student, son, and friend while secretly living as a superhero – battling a dangerous cyber stalker and confronting the living embodiment of his own depression.”

The film features an ensemble voice cast including Keith David (“President Curtis”), Zolee Griggs (“Wu-Tang: An American Saga”), Gary LeRoi Gray (“The Fairly OddParents”), Angelica Ross (“American Horror Story”), and Z Cher-Aimé, with additional casting to be announced.

“Captain Zero: The Movie” expands on the material introduced in the animated short “Captain Zero: Into the Abyss Part II,” which was released in June 2025.

“When I first heard about this project, I loved the theme of getting to a better place,” said Goldberg. “It is about not falling into an abyss of sadness and isolation and reminds us that we are not alone, and that whatever is happening, we can get through it. That resonated deeply with me, so I was thrilled to get involved.”

The producing team also includes Ross, Troy Pryor, Coty Galloway, and Cher-Aimé, who also wrote the feature, alongside Andre Engco. The film is currently in development.

Global Sales Launched for Art World Documentary “The Hammer”

Global sales have been launched on “The Hammer,” a documentary of the life and career of legendary auctioneer Simon de Pury. Sales will be handled by executive producer Catherine Quantschnigg. 

Directed by Simon Wallon, “The Hammer” will give audiences a rare glimpse into de Pury’s life, focusing on his journey from managing private collections to leading auction houses like Sotheby’s. The film features contemporary artists including Marina Abramović, Jeff Koons and Chloe Wise. 

“Simon de Pury has long been a singular figure in the art world, but this film reveals the man behind the myth. In these uncertain and unstable times, art remains a powerful unifier and ‘The Hammer’ offers both insight and entertainment. We’re excited to introduce the film to international buyers,” said Quantschnigg in a statement. 

“The Hammer” is co-financed and co-produced by Aleksey Ageyev, Simon Wallon of Kiss & Kill, Julia and Victoria Zayceva of Forma Pro (Latvia), Asya Nikolaeva of On a Whim Films, Mike and Tanya Ovcharenko of Lazy Mike Gallery, David Unger of Artist International Group and Daniel Braun of Submarine Entertainment, alongside Black Square Magazine. 

Monday, March 30

Film Independent Unveils 2026 Screenwriting Lab Fellows, Awards $25,000 Climate Grant

Film Independent has named seven fellows for its 2026 Screenwriting Lab, with the annual program set to launch April 6, the organization announced Monday.

Selected writers Andrés Pérez-Duarte, Emma He, Maddie McCann, Sam Osborn, Rammy Park, Alissa Torvinen and Alejandra Vasquez will take part in the intensive lab, now in its 27th year, which focuses on developing fiction feature screenplays through individualized mentorship and workshops.

“We’re so excited to support this outstanding cohort of writers who approach their work with nuance and creativity,” said Dea Vazquez, associate director of fiction programs.

Creative advisors for the 2026 lab include Linda Yvette Chávez, Phil Hay, Javier Fuentes-León, Matt Manfredi and Robin Swicord, alongside a roster of guest speakers. Among them is HIKARI, who previously developed her debut feature in the lab, following in the footsteps of alumni like Chloé Zhao and Andrew Ahn.

In addition, Torvinen has been awarded the second annual Climate Entertainment Development Grant, a $25,000 prize presented in partnership with Plot Shift Media. The grant supports Torvinen’s feature “Extinction of the Badger Duck,” a project centered on the rediscovery of a mythic bird and the frenzy it sparks.

The Screenwriting Lab has served as a launching pad for notable indie projects, including recent festival titles and award-winning features. The program is part of Film Independent’s broader Artist Development initiatives, which aim to support emerging filmmakers through labs, mentorship and grants.

Film Independent produces the annual Film Independent Spirit Awards and has spent more than four decades championing independent storytelling.

SPOILER ALERT: This article contains spoilers from Season 4, Episode 13 of “Will Trent,” titled “Did I Screw This Up?”

This week’s episode of “Will Trent” puts Amanda (Sonja Sohn) in unfamiliar territory. Normally the bedrock of the GBI, Amanda finds herself in hot water when it is revealed that she loaned her gun to Casey (Janina Gavankar), only for Casey to use it to shoot her violent ex-husband after he broke into her home.

Will (Ramon Rodriguez) and Faith (Iantha Richardson) are on the case, but they are confronted with the fact that the reality of the case may not line up with Amanda’s description.

In a pivotal scene, Faith and Amanda sit in Faith’s kitchen, with Faith forcing Amanda to confront the possibility that Casey might not be completely honest with her.

“I think when Faith is working with Amanda, she has a history that she sometimes covers up for the sake of professionalism, but oftentimes it bubbles out,” Richardson told Variety. Richardson went on to say that the episode felt like a “full circle moment,” given that Faith was herself involved with bank robber Malcolm earlier in the season.

“I love the fact that we could both, character-wise, connect on our imperfections,” she said. “I think oftentimes black women, especially in the cop space, there’s a lot of perfectionism that happens. For Faith to dial in on the fact that she and Amanda have this commonality, that we both fell in love and we let it get in the way of the one thing that we do best. I thought it was just such a beautifully written, smart scene that allowed us to connect in such a beautiful way.”

Richardson contrasted that interaction with Faith’s dealings with Will. She and Will don’t have that type of familial bond, but they have each other’s backs as partners every single day.

“Although they try to be there for each other in certain moments, there’s something that just won’t let the other fully crumble in the other’s presence,” she said. “But they’re always there for each other. It’s a really beautiful, complex dynamic with two complex characters.”

The end of the episode also sees Faith make a fateful decision regarding Malcolm. Faith has been hanging onto letters that Malcolm has written her from prison, but has yet to read them. Finally, she decides to throw them in the trash and shred them rather than read them. Richardson said the decision came down to removing the “rose colored glasses” Faith had for Malcolm.

“She is very smart and practical person,” Richardson said. “I think the choice to take the glasses off is very aligned with her core values and who she is and who she knows herself to be. She’s not going to be in a relationship with an ex-con when he gets out. That’s just not…who she is. I think she’s aware that, ‘Okay this happened. I made a mistake, and that’s okay. Let’s not let it linger.’”

Jessie Jones, a TV actress who became a succesful playwright with “Dearly Departed” and the Jones Hope Wooten Comedies, died March 20 in Washington, D.C. after a long illness.

Her friend and writing partner Jamie Wooten announced her death.

Throughout the ’80s, ’90s and beyond, Jones had guest appearances in shows including “Night Court,” “Newhart,” “Designing Women,” “Murphy Brown,” where she played Betty Hooley, “Who’s the Boss,” “Perfect Strangers,” “”Grace Under Fire” and “Melrose Place.” She also appeared in TV movies including “The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom,” “Everybody’s Baby: The Rescue of Baby Jessica,” (where she starred alongside Patty Duke and Beau Bridges), and the oft-shown “Wife, Mother, Murderer.”

She also wrote episodes of the Warner Bros. sitcom “For Your Love” and installments of the children’s series “Teacher’s Pet,” starring Nathan Lane.

As Jones wound down her acting career, she became a successful playwright and co-created the Off-Broadway Southern funeral comedy “Dearly Departed,” which went on to be performed by theater companies across the country. She also co-wrote the screenplay for Fox Searchlight’s film adaptation “Kingdom Come” with Whoopi Goldberg and LL Cool J.

She formed a writing partnership with her friends Nicholas Hope and Jamie Wooten, and they went on to create Southern-flavored comedies such as “The Sweet Delilah Swim Club,” “The Red Velvet Cake War,” “Christmas Belles,” “The Savannah Sipping Society and 26 other titles, published by Concord Theatricals. The Jones Hope Wooten Comedies have been widely produced and translated into many languages. Her partner Wooten said she was the most-produced female American playwright.

She is survived by her sisters, a brother-in-law, a niece and nephews, and by her friend and writing partner Wooten.

Donations may be made to Planned Parenthood.

Lee Jung-hyo, whose credits include “Crash Landing on You,” “Doona!” and “The Price of Confession,” will direct Korean romance series “Long Vacation” for Netflix.

The series is written by Jung Hyun-jung, a romance writer with credits including “I Need Romance,” “Lovestruck in the City,” “Romance Is a Bonus Book,” and “Discovery of Love.”

“Long Vacation” will follow “Demon 3375, a powerful being who has lived for centuries without ever understanding love, and Deul-pan, a sharp, highly capable hotel room attendant whose everyday life is anything but easy. When the two keep crossing paths at a seaside hotel, an unexpected relationship begins to shake everything Demon 3375 thought he knew,” according to a synopsis provided by Netflix.

Choo Young-woo plays Demon 3375, opposite Lee Se-young as Deul-pan. Choo Young-woo is known for “Oasis,” “The Trauma Code: Heroes on Call” and “Even if This Love Disappears from the World Tonight.” Lee Se-young’s credits include “Man Who Sets the Table,” “Bring It On, Ghost” and “Flower Crew: Joseon Marriage Agency.”

Netflix’s current Korean romance slate includes acclaimed filmmaker Lee Chang-dong’s return to directing after eight years with “Possible Love.” The film follows two married couples leading different lives whose worlds collide, starring Jeon Do-yeon, Sul Kyung-gu, Zo In-sung and Cho Yeo-jeong.

The romance category also includes “Can This Love Be Translated?,” starring Kim Seon-ho and Go Youn-jung, “No Tail to Tell” featuring Kim Hye-yoon and Lomon, “Our Sticky Love” with Jung Hae-in and Ha Young, “Take Charge of My Heart” starring Kim Young-kwang and Chae Soo-bin, and “Sold Out On You” with Ahn Hyo-seop and Chae Won-bin.

Cinematographer Greig Fraser counts “The Batman,” “Dune” and “Rogue One” among his credits. But his latest film, “Project Hail Mary,” is what he calls his “most challenging film I’ve ever done, by far.”

“Project Hail Mary” is based on Andy Weir’s book of the same name and directed by  Phil Lord and Chris Miller. Ryan Gosling stars as Ryland Grace, a science teacher and former molecular biologist who is recruited by the government to help save the Earth from dying. Ryland then unwittingly finds himself on an interstellar mission that includes meeting an alien, Rocky.

The film shatters stereotypical visuals of space, veering away from cold and desaturated colors, and using warmer tones such as orange.

In one scene, as Grace walks through the tunnel to first meet Rocky, Fraser explains that the tunnel itself went through an evolution. “We had to discover what this thing was,” he says, referring to xenonite, which is the material the story says it was made from. “The sun has to come through it, but that provided a couple of challenges because this tunnel was 70 feet long.

Speaking with Variety for Inside the Frame via Zoom from London where he’s shooting The Beatles biopic movies with Sam Mendes, Fraser discussed one of his biggest challenges: How was he going to light the tunnel? “In the past, what people have done to move light is they put a light on a frame and moved it over a window or through something, but we had to have the entire tunnel being hit by the sun.”

“The tunnel had a bit of scariness to it at the beginning. It had to feel a little bit like he was going into a well,” he says. Fraser says he took a lot of inspiration from deep-sea submersible footage where they’re in pitch black, and they’re diving into the darkness, lit purely by the lights from the ship or from a headlamp.

Fraser and his team ended up building lighting rigs using old tungsten lights — a lot of them. “We physically couldn’t get enough LEDs to do that. They’re all old school tungsten lights, and we pixel-mapped them, so it meant that the sun can rotate around in any sort of configuration that we want.”

As for the multi-colored flare that appears throughout, Fraser reveals, “I found this beautiful filter online, on Amazon. It’s a rainbow filter, and it causes these beautiful rainbow streaks to the highlights, and that became a theme throughout the film.”

Once he had figured out how he would light the sun and the tunnel, Fraser also toyed with the idea of “changing the lenses to squeeze vertically rather than horizontally.” He explains, “What we did is we shot with an Alexa 65, which is already a wide screen sensor, but we squeezed it the other way. We squeezed it so that it went taller, for our film, it seemed perfect, because what it meant is that all the flares went vertically rather than horizontally.”

Everything required a close collaboration with the film’s production designer, Charlie Wood. “We worked closely with Charlie to make sure that the finish on the inside of the tunnel allowed enough light through, but not so much light through that it made it look transparent. It was a really fine balance. We did a lot of testing, because too much black finish means that you don’t see light through it, and not enough black finish means that it looks like plastic.”

As for his camera choice, Fraser knew the film was going to have an Imax release. “We looked very carefully at the options of shooting with an Imax camera and shooting different formats,” he says. His visual references were “films from the ’70s and ‘80s. I kept using ‘Solaris,’ ‘Alien,’ ‘2001: A Space Odyssey’ as a visual reference for how the film should look.”

It was agreed that Lord and Miller wanted an analog patina. “I think it comes from us growing up with films like ‘E.T: The Extra-Terrestrial’ and ‘Close Encounters of the Third Kind,’ where there is definitely a lack of digital clarity to what the images are with those films. So we needed to do the same thing here, because it just felt more human to be more analog.”

He adds that the Alexa 65 turned out to be the perfect camera because “If we shoot Imax, we’ve got three-minute rolls. It’s loud, which might be OK, and if Ryan’s in a helmet, we might be able to get rid of the sounds, but it won’t give us the film that we’re after if we use those particular devices.”

Once Fraser was set on his camera, there were still challenges to overcome. Rocky could only be front-lit; Rocky couldn’t emanate any light; it all had to come from the sun.

“If you talk to any DP, you’ll know that is what we have, we wake up in cold sweats,” he jokes. “Added to that, not only do we light this character with the front light, we light a character with a front light with no face, that looks like a rock, that looks like a spider.”

As adorable as audiences have found Rocky, Fraser had no skin tone or facial personality to work with. He said, “The challenges were compounded. It was front lighting a rock with no face that emoted just through puppetry.” Fraser concludes, “It wasn’t just a challenge. It was a challenge on a challenge, on top of a challenge, under a challenge, through a challenge.”

Veteran comic actor Joel McHale took a big swing this year, with a film role that showcased some incredible versatility. He played a doting dad, undercover lover, authority figure and action star all in one. He didn’t get any laughs, and that was the point.

Maybe one thing is funny about this showcase from McHale: it happened in “Scream 7.” Yes, it was the sixth sequel in Wes Craven’s iconic horror franchise (which just crossed $200 million in global box office) that unwittingly gave us this dynamic performance. It was a bit part that most actors couldn’t make a meal of, and it proves that the former host of “The Soup” has quietly been building momentum as a screen presence. Hear me out.

McHale stars as Mark Evans, sheriff of the sleepy town in which we find “Scream” queen Sydney Prescott (Neve Campbell) and her family trying to survive yet another attack from the ghost face killer of her past. Mark is Sydney’s husband and father to her kids, including teenage Tatum (co-lead Isabel May).

Admittedly, his first moments on screen conjure disbelief. “Is that Joel McHale?” one wonders of the man whose primary screen uniform is from his long-running Fox sitcom “Animal Control.” It would initially appear that “Scream 7” director Kevin Williamson’s casting of McHale signifies a “direction” for the character – another hapless funny guy who leads the innocent into danger, or perhaps could be ghost face himself (all due respect to the OG inept cop of “Scream,” David Arquette).

But the resulting performance is quite the opposite. McHale’s first challenge is establishing a viable marriage with Campbell’s Sydney, and the actors find a low-key sexual chemistry as a middle-aged pair stealing intimate moments between school drop off and knife attacks. Next, McHale navigates a heated argument between Sydney and their eldest daughter – on the surface about the borrowing of an iconic leather jacket (from “Scream 2”), but broadly about how Sydney’s secrecy over her past has poisoned trust with Tatum. McHale nails the role of mediator and doesn’t sacrifice any dignity in the process.

Finally, and perhaps most the most left-field choice in the “Scream” canon, McHale’s Mark Evans is excessively competent. He’s got good instincts as a cop (like, “Hey babe, don’t run into that house where the killer is hiding” kind of instincts). He’s an active listener and doesn’t rush to judgment. He makes peace and doesn’t want to kill his wife or child. He can throw a punch and survive a few slashes to the gut. He fills out his cop uniform (important!). In sum, as one notable industry horror fan told me after last month’s “Scream 7” premiere on the Paramount lot, “he actually believes the women around him” when they, I don’t know, sense imminent death.

This is not a common trope for “Scream.” The men of this world fall tend to fall into two categories: matinee idols who are secret serial killers or duds, and frustrated virgins (bordering on incels) who miss the plot and catch a knife to the skull. That McHale can represent a voice of reason and still fall prey to the superhuman antics of ghost face is a breath of fresh air. It’s also a swerve from the bitter snark we’re used to seeing from him, and a welcome new perspective from his notable works like “Community” and “Ted.”

While McHale’s “imposter syndrome” forbids him from entirely agreeing with my premise, he does say that this work – coupled with his intense cameos on recent seasons of “The Bear” – have been rewarding.

“I still can’t believe that people want to point a camera at me and hit record. When I got to Hollywood 25 years ago, my hope was to do all of this,” McHale said during a recent Variety chat. “I started on ‘The Soup,’ and thought that if Greg Kinnear could turn the same opportunity into an Oscar nomination for ‘As Good As It Gets,’ then I at least have a People’s Choice Award nomination in me.”

He credits his chemistry with Campbell as a the reason for his “Scream 7” success.

“Every scene with her is fireworks. It felt similar to working with Jeremy Allen White, being there with somebody who can hit the ball back harder and faster,” McHale said. The part of Mark was offered to him weeks before production began, and McHale approached his own teenage son to see if it was the right fit.

He remembers his son saying,“ What are you an idiot? You might be relevant again if you take that job.” Audiences at home can discover if young McHale was correct, as “Scream 7” is now available for rental on wide VOD platforms.