Tag: HollywoodReporter

  • Zack Snyder’s ‘The Last Photograph’ to World Premiere at Toronto Film Festival

    Zack Snyder’s ‘The Last Photograph’ to World Premiere at Toronto Film Festival

    Zack Snyder s going from the epic world of DC superheroes to the Toronto Film Festival with a special event screening for his passion project The Last Photograph.

    His jungle-set indie will have a first look at TIFF as an acquisition title as no studio and streamer has yet nabbed the rights to the title. The Last Photograph will debut before fest-goers and possibly buyers on Sunday, Sept. 12, in the John Bassett Theater, a theater in the Metro Toronto Convention Centre, the Front Street venue for the festival’s inaugural official content market.

    The long-in-the-works picture from Snyder sidesteps the zombies, superheroes and starships that made him one of Hollywood’s biggest filmmakers. Starring Stuart Martin and Fra Free, The Last Photograph follows an ex-DEA agent seeking revenge in a South American jungle where dangerous terrain and inner demons combine for drama.

    A 2025 synopsis from the producers issued as production got underway described Snyder’s film as: “An ex-DEA operative must return to the mountains of South America in an effort to find his missing niece and nephew, following the brutal murders of their diplomat parents. Enlisting the help of a washed-up junkie war photographer, the only person to have seen the face of the killers, he sets out, determined to find the children and the truth, but soon learns he must also face the ghosts of his past. Their journey into the unknown takes them further and further away from civilization, bringing into question everything they believe, while slowly eroding the distinction between real and surreal.”

    Both Martin and Free starred in Snyder’s Rebel Moon movies. Snyder originated The Last Photograph based on his own story and had been developing the war drama since the mid-2000s, after the success of 300.

    In the early 2010s, Christian Bale and Sean Penn were attached to star in the long-in-development project, before Snyder took a detour into his DC movies. Longtime colleague Kurt Johnstad and Snyder wrote the script for The Last Photograph after their work together on 300 and Rebel Moon.

  • Randy Quaid Slams Tom Cruise Over Anne Hathaway ‘Days of Thunder 2’ Role: “Anne Isn’t Sexy”

    Randy Quaid Slams Tom Cruise Over Anne Hathaway ‘Days of Thunder 2’ Role: “Anne Isn’t Sexy”

    There are hot takes, bad takes… and then there is this.

    On the heels of Tom Cruise announcing a Days of Thunder sequel — which will return Cruise as NASCAR driver Cole Trickle — Cruise’s former co-star Randy Quaid crudely blasted the action movie icon for picking Oscar winner Anne Hathaway as his co-lead.

    In the 1990 original, Quaid played a race team owner who recruits Cole into NASCAR, while Nicole Kidman played a neurosurgeon who becomes Cole’s love interest. In the upcoming Paramount movie, Hathaway will play a team owner and engineer.

    “We need Nicole back,” wrote Quaid on X. “Don’t be a pussy, @TomCruise. You need the original girl. It’s not personal; it’s filmmaking. Anne isn’t sexy, because and if you haven’t noticed, she’s pregnant.”

    The actor — who has 1.2 million followers and whose feed is full of MAGA-related content — continued: “If I were in control of production, a real sequel worth watching for DAYS OF THUNDER would be seeing Tom and Nicole together on screen again. We don’t need a new girl; we need a new race car! … Anne Hathaway is a leftist, woke, horrible choice for DAYS OF THUNDER NASCAR audience who are MAGA. The sexy older chick for Tom in this film needs to be Nicole. That’s the casting that would sell the idea. It’s interesting because when we made the first one there was also a rush to get it out; editors slept in the cutting room on shifts. This is a weird thing, like they want it to come out and tank.”

    Several of Quaid’s followers defended Hathaway, while another noted, “I find it more than a bit performative that you simultaneously argue conservatives in Hollywood should not lose out on work because of their politics but those on the Left should.”

    Hathaway is fresh off two blockbusters with The Devil Wears Prada 2 and The Odyssey. She next stars in the title role in Verity, based on Colleen Hoover’s bestselling novel.

    Quaid’s comments came after the actor posting a video suggesting that he would be a part of the sequel. In the video, he’s driving a car and declared, “Tom Cruise just called me! We’re making Days of Thunder 2!”

    Paramount had no immediate comment.

    Jonathan Levine will direct the new Thunder, with Will Staples writing the screenplay. Cruise, Jerry Bruckheimer and Tommy Harper are producing. The sequel will be filmed for Imax and released June 2, 2028.

    Below are Cruise and Hathaway announcing the film and Quaid’s video.

  • In ‘Love Is the Monster,’ Paulina García Is a Granny Facing Impossible Choices (Exclusive TIFF Trailer)

    In ‘Love Is the Monster,’ Paulina García Is a Granny Facing Impossible Choices (Exclusive TIFF Trailer)

    Love Is the Monster (Amor es el Monstruo). Costa Rican writer-director Neto Villalobos Brenes (All About the Feathers, Helmet Heads) has picked a title for his latest film that will make you sit up straight, deal with questions swirling through your head, or both. The chilling dystopian thriller, starring Paulina García (Gloria) and teeming with fear and inequality, will world premiere in the Toronto International Film Festival’s (TIFF) Centerpiece strand on Sept. 15. 

    Filmed in Costa Rica’s South Pacific region, Love Is a Monster features Chilean star García as a grandmother determined to make the most of the time she has left with her six-year-old granddaughter. After her daughter cuts off all contact, she has to earn her trust back, only for tragedy to strike: the girl gets kidnapped for ransom. What is the grandmother willing to do to protect the ones she loves?

    “She is forced to make choices she never imagined, pushing love, loyalty and survival into increasingly tense territory,” notes a synopsis of the movie that explores family, love, age and class inequality.

    Love Is the Monster sees Villalobos Brenes return to Toronto, where his two previous features also debuted.

    “A few years ago, I lost the person I loved most, my mother,” says Villalobos Brenes in explaining his sharp turn from two comedies to a dark, genre-infused cinematic ride. “As everyday life became more difficult for her, she found in her granddaughter the strength to keep fighting. That experience sparked the question at the heart of this film: how far would you go to protect the person you love most?”

    ‘Love Is the Monster,’ courtesy of Bendita Film Sales

    Love Is the Monster also stars Natalia Regidor, Gloriana Vargas and Ericka Reikendorf. Written by Villalobos Brenes and Diego van der Laat, the film features cinematography by Nicolás Wong Díaz and editing by Yibrán Asuad and Villalobos Brenes. Bendita Film Sales is handling world sales.

    García, who won the Silver Bear for best actress at the Berlin International Film Festival for her performance in Gloria, shares: “I don’t think love really has limits. You only discover that when you’re put to the test and find yourself doing things you never imagined you were capable of. When a child is involved, that feeling becomes even stronger. You’re willing to do absolutely anything to protect them.”

    THR can now exclusively premiere the poster for the film right here.

    Now, if you finally want to see a video teaser, we got you covered, too. Here is the exclusive premiere of the trailer for Love Is the Monster. Whenever you are ready, buckle up and take a deep breath!

  • Lone Democrat on the FCC Wants to Keep Fighting

    Lone Democrat on the FCC Wants to Keep Fighting

    As the lone Democratic commissioner at the Federal Communications Commission, Anna Gomez has been in the unique position of speaking out on some of the agency’s biggest decisions and even publicly urging Disney to fight back against the FCC. 

    She’s been unabashed about condemning agency decisions she sees as violations of First Amendment rights and what she views as the FCC’s directed targeting of critics of the Trump administration. And while she doesn’t exactly relish having to speak out against her own agency, Gomez says she’d like to keep going in the role. 

    “I’d love to be reconfirmed, and I have supporters in the Senate, which I’m very grateful for, and appreciate very much,” Gomez tells The Hollywood Reporter.

    “​​I think it’s important that we maintain somebody that pushes back against this administration’s overreaches,” she adds.

    As it stands, Gomez’s term ended at the end of June, and the commissioner is currently in a carryover period that could last until the end of 2027, unless another commissioner is nominated and confirmed by the Senate before then. The commission has operated as a bipartisan agency, with the law stating that the maximum number of FCC commissioners from the same political party is three, but it remains unclear what the future makeup could look like.

    A former telecommunications lawyer, with a career that includes several government posts including positions at the FCC, Gomez was appointed as FCC commissioner under President Biden in 2023. She has remained in place as President Trump appointed his pick, Republican Brendan Carr, to head up the agency, with Republican Olivia Trusty named as another commissioner in 2025. The commission is typically made up of five members, though can operate with a quorum of three. Gomez notes that she would like to return to having a full slate. 

    Earlier this month, Trump nominated FCC chairman Carr’s senior counsel, Danielle Thumann, a Republican, to serve a five-year term as an agency commissioner. However, she has yet to be confirmed, and the President has yet to weigh in on whether he would appoint another commissioner to reach five members, whether they would be a Democrat or whether he would support a renomination of Gomez. 

    Throughout her term, Gomez has pushed back on topics like the FCC decision to approve the Paramount-Skydance merger (which was approved 2-1 over her dissension), which included having the company eliminate its DEI programs and put controls on newsroom decisions at CBS. 

    Last spring, Gomez launched a nationwide First Amendment tour, in which she traveled the country to raise awareness about “the FCC’s actions in support of this administration,” which she saw as threatening newsroom and broadcasters rights.

    And recently, she’s been particularly outspoken about the FCC’s decision to call Disney’s broadcast licenses for early renewal. The agency said the action was related to Disney’s DEI policies, but it came after the administration had called for the FCC to take action against late night host Jimmy Kimmel over a joke he made on his program.

    “The FCC is once again targeting an administration critic by mob rule. Let’s not pretend this FCC hasn’t already made up its mind. All they want is for their pro-censorship partisan allies to nod in agreement. My message to Disney: Don’t flinch. Fight,” Gomez wrote in a particularly fiery social media post in May, after the FCC also began challenging The View, owned by Disney. 

    As for what kind of workplace environment this creates, Gomez says the commissioners, perhaps surprisingly, largely get along. 

    “One thing that I don’t think people realize is that I actually work very well, and I work hard at maintaining a relationship with my colleagues, and because of that relationship, I am able to bring a lot of good outcomes for consumers. And in most of what we do, the majority of actions that have come before the commission, I have actually supported,” Gomez said, listing the crackdowns on robocalls and scams as one example. 

    The big exception, of course, is when it comes to what she sees as agency overreach in violation of the First Amendment rights, a topic that she continues to passionately speak out about, to the degree that she recently praised Disney for suing the FCC.

    “I’ve been talking for almost two years about the need to push back and to protect the free press and free expression, and I’m hoping that I played no small part in ensuring that Disney did stand up and sue the FCC about this retaliation from this administration and this pressure campaign,” Gomez said.

    It was particularly critical for Disney to stand up to the agency, she said, because if it did not do so it would put pressure on others, and particularly smaller broadcasters, to capitulate. 

    As for how her position on Disney and the FCC goes over with her colleagues, Gomez is more circumspect. 

    “I don’t talk about my private conversations with my colleagues, but I will say, when I talk about this, I talk about the importance of upholding the First Amendment, which is really a bipartisan belief, and I try to keep it out of the personal realm,” Gomez said. 

    A spokesperson for the FCC did not respond to a request for comment. Carr previously said in a hearing that even if a broadcaster is critical of Trump, “any broadcaster that complies with the public interest standard is not in any risk at all.” However, when pressed on whether he would commit to not retaliating against those broadcasters, he said “there is no First Amendment right to an FCC license.”  In the hearing, Carr also said the FCC was “not formally an independent agency” and would not directly answer whether or not President Trump was his boss.

    Unlike many of the administration’s outspoken critics, Gomez says she has been relatively spared from backlash so far and has also received a degree of bipartisan support, including from conservative think tanks, as well as from former chairs of the FCC and Republican senators including Sen. Ted Cruz (R-TX), who spoke out against the FCC’s decision to launch its early review of Disney‘s broadcast TV licenses after Jimmy Kimmel made his “expectant widow” joke.

    “It is not government’s job to censor speech, and I do not believe the FCC should operate as the speech police,” Cruz told Punchbowl News in April. 

    And, as she noted, Senate Democrats are making a particular push for her reconfirmation, as well as a return to a five-person commission with a bipartisan makeup.

    “The FCC’s job is to protect consumers and promote innovation in the communications sector. It can’t do this job unless it’s fully staffed, including by members of the minority party. Anna Gomez has fought for consumers and against censorship and should be renominated to the FCC,” Sen. Maria Cantwell (D-Wash) said in a statement sent to THR, a ranking member of the Senate Committee on Commerce, Science, and Transportation, which oversees the FCC.

    Sen. Ben Ray Luján (D-NM) similarly expressed support for Gomez’s renomination, calling her “a strong voice pushing back against political interference.”

    Gomez initial nomination was also seen as pivotal as she was named to the position after the FCC had been in a 2-2 partisan deadlock for the majority of Biden’s presidency, which made it difficult to take on administration priorities like net neutrality. Biden’s prior nominee, Gigi Sohn, withdrew herself after a years-long fight for confirmation, but Gomez, who held prior positions including deputy assistant secretary of the National Telecommunications and Information Administration and senior advisor at the State Department’s Bureau of Cyberspace and Digital Policy, was confirmed 55-43 about six months after her nomination.

    As it stands with this FCC commission, Gomez says she is beginning to see the broader effects of the agency’s decision-making, as she has been hearing from broadcasters who admit to being afraid to report on certain topic areas, for fear of running afoul of the administration and possibly facing consequences.

    “I get asked all the time, “Is it safe for me to report on X? And my response to them is always the fact that you’re asking me that question is the problem because it is not for the FCC to make your editorial decisions,” she said. 

    In calling for early license renewals of Disney and others, Gomez also warns that this action “devalues the licenses themselves,” which causes greater uncertainty for broadcasters around licenses and could lead to a broader economic issue. 

    Outside of her role speaking out against what she sees as First Amendment violations, Gomez said she finds the job of commissioner enjoyable. 

    “It really is a very satisfying job because when your lodestar is to ensure consumers are the beneficiaries of everything we do, it brings you a lot of satisfaction when you’re able to do things and achieve outcomes that are in fact pro-consumer, pro-competition,” Gomez said. 

    And while she says she’s not someone who “enjoys dissenting for the sake of dissenting,” she said she’s committed to continuing to do so in the remainder of her term, and if nominated again.

    “I just think it’s so important to our democracy. This is a moment in time where I feel I have to do this, whether I enjoy it or not,” she said.

  • ‘Pokémon: Wild Card’ Movie Announced for 2027; Teaser Released

    ‘Pokémon: Wild Card’ Movie Announced for 2027; Teaser Released

    A new Pokémon movie is headed to the big screen.

    Pokémon: Wild Card was announced Sunday night during the closing ceremony of the 2026 Pokémon World Championships, which took place in San Francisco.  

    “For the first time in seven years, a new Pokémon movie is on its way,” the Pokémon Company president and CEO Tsunekazu Ishihara said at the event, according to IGN. Ishihara added that the main character is a Pokémon trading-card game player who is “battling and striving to be a champion.”

    A teaser for the upcoming animated feature film also was unveiled, which revealed that the movie will be released in 2027; actually, it says “coming 2027 and beyond,” hinting more is to come. In the teaser, viewers get a glimpse of the player, who’s dressed in a yellow hoodie à la Mimikyu.

    Katsuhiko Kitada is directing the film, with character designs by Akemi Hayashi. Story Inc. is producing while CloverWorks is handling the animation for Pokémon: Wild Card.

    The last Pokémon movie, Pokémon the Movie: Secrets of the Jungle, was released in 2020 in Japan and the following year in the U.S.

    Meanwhile, 2027 also will see the debut of a Pokémon series, The Misadventures of Sirfetch’d and Pichu, on Disney+ and DisneyXD.

    Watch the teaser for Pokémon: Wild Card  below.

  • Finneas O’Connell and Claudia Sulewski Are Married

    Finneas O’Connell and Claudia Sulewski Are Married

    Finneas O’Connell and Claudia Sulewski have officially tied the knot!

    O’Connell, a musician, producer and Billie Eilish‘s brother, and Sulewski, a YouTuber, actress and founder of Cyklar skincare, got married on Saturday in Montecito, California, surrounded by family and friends, according to Vogue.

    The Grammy and Oscar winner knew something was special about Sulewski from the moment they first met on a dating app in 2018. He previously told BuzzFeed that he wrote his song “Claudia” on the first night they spent together. The singer also wrote his 2022 song “Mona Lisa, Mona Lisa” about Sulewski.

    After years together, they got engaged in September 2025 when O’Connell popped the big question during a romantic sunset proposal. “Forever and ever 9.22,” the pair captioned a joint Instagram post at the time.

    Last year, during an appearance on The Tonight Show Starring Jimmy Fallon, O’Connell opened up about the proposal and the challenge of keeping it a secret from Sulewski.

    “I’m very relieved that it happened,” he said. “I feel like it really taught me that I’m not cut out to rob banks or steal cars or something because I was keeping a joyous, happy secret for several weeks, and it ate me alive.”

    Neither O’Connell nor Sulewski has personally shared details about their big day yet, but Vogue reported Sulewski wore four looks throughout her wedding weekend, all designed by Oscar de la Renta, including one for the rehearsal dinner, another for the ceremony, a third look for the reception and the last one for the afterparty.

  • Brutally Honest Emmy Ballot: “‘DTF St. Louis’ Should’ve Been Called ‘WTF St. Louis,’” ‘Widow’s Bay’ Is “Far and Away the Best” Comedy on TV

    Brutally Honest Emmy Ballot: “‘DTF St. Louis’ Should’ve Been Called ‘WTF St. Louis,’” ‘Widow’s Bay’ Is “Far and Away the Best” Comedy on TV

    Per longstanding annual tradition, The Hollywood Reporter granted anonymity to a member of the TV Academy — this year a male Emmy-winning member of the organization’s producers peer group — in return for candor about why he made the choices that he did on his Emmys ballot.

    We share “Brutally Honest Ballots” not because the views of any single member are representative of the views of all 27,000 members; obviously, they are not. Rather, we believe that they can offer interesting and valuable insight into the sorts of things that are on voters’ minds as they decide what and whom to support.

    Unlike many of the other outlets that have shamelessly ripped off this feature without acknowledgment, THR waits until voting has closed before sharing any ballots and views.

    The 78th Primetime Emmy Awards will take place on Sept. 14, and will be preceded by the Creative Arts Emmy Awards on Sept. 5 and 6. Follow THR.com for complete coverage.

    * * *

    BEST DRAMA SERIES

    I skipped The Gilded Age — I’d rather prep for a colonoscopy than watch another period drama. I also did not watch A Knight of the Seven Kingdoms — I’m completely Throne’d out. Your Friends and Neighbors, a dumb show about entitled people who I don’t care about, got nominated over Industry — what the fuck? I’m a fan of Vince Gilligan, but there’s a sort of arrogance to Apple TV shows, including Pluribus, where they’re like, “We don’t really care if you watch. We don’t need to grab you in the first episode.” For a couple of episodes I was like, “Is this show ever going to fucking get going?” And then I bailed. Slow Horses has had better seasons. Task is in the wrong category [more on this later]. I really liked Paradise — I could watch Sterling K. Brown read the phone book, and Shailene Woodley was a great addition. I loved this season of The Diplomat, and as a West Wing fan it was pretty great seeing Allison [Janney] and Brad [Whitford] back together. But The Pitt is the best show on television, made by people who have been working at such a high level for so long that they’ve forgotten more about how to make great TV than most people will ever know. There isn’t a bad piece of casting, or acting, or writing, or directing. And the fact that the show comes back after six months? Some shows go away for years between seasons and when they come back they’ve lost all of their momentum — The Old Man, for instance — but these guys are already well into season three. Just please don’t kill off Noah Wyle!

    My vote: The Pitt (HBO Max)

    BEST COMEDY SERIES

    I’ve had it with The Bear. It’s not a comedy, it’s never been a comedy, it’s a terrific drama — although I didn’t love the way it ended — and it should be in the drama category. Only Murders in the Building is a big yawn for me. Margo’s Got Money Troubles? I watched one-and-a-half episodes, didn’t get it. I don’t love the stereotypes of Nobody Wants This — it leans into a bit of caricature for both Jews and Gentiles, and that makes me uncomfortable in the world that we’re living in now. I’ve loved Abbott Elementary and Shrinking, but these weren’t their best seasons. Enough of Hacks. This was an easy decision: Widow’s Bay is far and away the best. It came out of nowhere, and it had me from the first episode — it’s funny and clever, and I loved that, like The Pitt, it was put out in the old style of one episode a week, with everyone talking about it the next day and looking forward to the next one. Hiro Murai is probably the best director in television right now.

    My vote Widow’s Bay (Apple TV)

    BEST LIMITED OR ANTHOLOGY SERIES

    Two shows should’ve been nominated in this category that weren’t: I don’t understand how Death by Lightning got overlooked, and I think Task [nominated for best drama series] belongs in this category — it was created as a limited series, it aired as a limited series, and then they decided, “Well, maybe we’ll do another season and have it overlap with Mare of Easttown,” but the reality is that this show ended. If Beef is a limited series — and it is, with a mediocre installment this season — then Task is a limited series. I had a problem with Love Story, just as I did with Winning Time: if you take living people, turn them into characters, and then disparage them, you should be sent to an island and never allowed to make television again. I hated what they did to Kareem Abdul-Jabbar and Jerry West with Winning Time, and what Love Story did to Daryl Hannah was inexcusable. DTF St. Louis should’ve been called WTF St. Louis — Jason Bateman is lovely, but the show is terrible. Who are you supposed to be rooting for? Sarah Snook was great in All Her Fault, but I grew bored with the way the story was told. I voted for The Beast in Me because the performances were all strong and there were some good scares and twists in it.

    My vote The Beast in Me (Netflix)

    BEST MOVIE

    This category is not “television movie” anymore, just “movie,” which is as close as we’re going to get to them acknowledging that it’s no longer about MOWs [Movies of the Week] and, for the most part, is now just filled with movies that weren’t good enough to get a theatrical release — what a fucking joke. I never heard anything about Miss You, Love You or People We Meet on Vacation, so I didn’t watch them. I refused to watch Tom Clancy’s Jack Ryan — first of all, enough of Jack Ryan, and second, I hate Amazon, I don’t buy Amazon products and Jeff Bezos should stay the fuck out of our business. I could only get through half of Heads of State. But Remarkably Bright Creatures is the kind of television movie — not movie — that used to win: a small, quiet story, told beautifully, with wonderful actors. Sally Field is amazing in it, Lewis Pullman is a star, and the melding of puppetry, live and visual effects with that octopus was pretty amazing.

    My vote Remarkably Bright Creatures (Netflix)

    BEST VARIETY SERIES

    I think it’s a stupid rule change [to now ask voters to select “yes” or “no” beside each nominee in this category to indicate if it is worthy of a win, and then award statuettes to any/all nominees that garner 90 percent “yes” votes; if none do, then the single highest-tallying nominee will be declared the winner]. Colbert and Kimmel are both an easy “yes” for me because I think our industry needs to speak up and defend First Amendment rights — what happened to Colbert and Kimmel is inexcusable. “Yes” also to Oliver — it’s a great show and I always vote for him. “Yes” to The Daily Show because of Jon Stewart, whose night [Stewart hosts Monday nights] is appointment television. And I’m sorry, but “no” for Saturday Night Live — it wasn’t a good season, the new people weren’t great, and the old people are getting a bit stale.

    My vote “Yes” for The Daily Show (Comedy Central), The Late Show With Stephen Colbert (CBS), Jimmy Kimmel Live! (ABC) and Last Week Tonight With John Oliver (HBO)

  • Naya Rivera and Ryan Dorsey’s 10-Year-Old Son, Josey, Lands First Film Role

    Naya Rivera and Ryan Dorsey’s 10-Year-Old Son, Josey, Lands First Film Role


    Naya Rivera and Ryan Dorsey’s son is set to make his feature film debut.

    Josey Dorsey, 10, has landed a role in writer-director Evan Coury’s The Burning Valley, according to IMDB.com.  Ryan Dorsey also is listed among the cast, meaning the father-son duo could share some screen time in the younger Dorsey’s film debut.

    Coury told Pittsburgh’s Tribune Review that the movie “is about a steelworker who loses his job when the mill announces a shutdown. It sets him on a journey as he wanders through his Rust Belt town.”

    The movie also mark’s Coury’s directorial debut. He has a couple of acting credits, according to IMDB, including the 2015 short film Adopted and the 2022 film Dear Zoe, which stars Sadie Sink.

    The Burning Valley began filming in August in locations around the Pennsylvania area where Coury grew up, including Brackenridge and Arnold. “My hope is to encapsulate the history of our region through one guy’s personal experience,” Coury said.

    Other cast listed includes Tyler Miles, J.B. Brown, Joseph Ducar, Whip Hubley, Patrick Jordan, Sam Lothard, Joseph Mazza and Sheila McKenna.

    The Hollywood Reporter has reached out to a rep listed for Josey for additional information.

    According to KTVB, Josey landed a role in a local theater production of Seussical Jr. in West Virginia in 2024, when he was 8. According to People, Josey and his dad moved from Los Angeles to West Virginia  in 2023.

    Ryan Dorsey’s credits include Yellowstone, Ray Donovan, Justified and Palm Royale.

    Josey’s mom, Naya Rivera, was known for her role in Glee. She died in a drowning accident in 2020 on a boating outing with Josey, who was then 4-years-old, in Lake Piru in Ventura County, California.

    She and Ryan wed in 2014 and were married for two years before divorcing.

  • Harry Styles Jokes About Taylor Swift’s Wedding During Madison Square Garden Concert

    Harry Styles Jokes About Taylor Swift’s Wedding During Madison Square Garden Concert

    Harry Styles cracked a joke about Taylor Swift‘s Madison Square Garden wedding during his Saturday night show at the venue.

    At the end of his show, the “As It Was” singer noted that the location was home to the New York Knicks, who won this year’s NBA championship, their first since 1973.

    “We’re at Madison Square Garden, home of the world champion New York Knicks!” Styles said. “And they also do weddings.”

    The two reportedly dated from 2012 to 2013, with many fans speculating that her 2014 record 1989 was inspired by Styles — specifically the track “Style.”

    The nuptials were all the talk this summer, including Styles’ potential attendance. He had a show at Wembley Stadium in London the night of the ceremony, though Styles’ fiancé Zoë Kravitz was present for Swift’s July Madison Square Garden.

    People reported in April that the “Watermelon Sugar” singer and Blink Twice director were engaged in April after she was spotted sporting a large sparkler on her ring finger.

    The Grammy winner married NFL star Travis Kelce on July 3 at the Garden, in a secret yet star-studded ceremony. Adam Sandler notably officiated the ceremony, while guests included their celebrity friends, including the likes of Kravitz, Selena Gomez, Jack Antonoff, Bradley Cooper, Lena Dunham and Dakota Johnson, among many others.

    Styles began his 30-show run at Madison Square Garden on Wednesday. The residency serves as the sole set of United States stops on his Together, Together tour. During night one, the singer paid tribute to Dolly Parton by playing her hit 1974 song “I Will Always Love You.”

  • Where to Watch the 2026 U.S. Open Tennis Tournament Online

    Where to Watch the 2026 U.S. Open Tennis Tournament Online

    If you purchase an independently reviewed product or service through a link on our website, The Hollywood Reporter may receive an affiliate commission.

    While the 2026 U.S. Open officially kicked off on Aug. 23, the much-anticipated main singles draws begin on Sunday, Aug. 30. Live coverage will air across ESPN, ESPN2 and ABC, all three of which can be livestreamed via DirecTV (with a five-day free trial), Fubo (with a one-day free trial), Sling and Hulu + Live TV. Additionally, ESPN Unlimited will carry tournament coverage, however the streamer does not offer a free trial period.

    The fourth and final Grand Slam tennis tournament of the season concludes with the women’s singles final on Sept. 12 on ESPN and the men’s singles final on Sept. 13 on ABC.

    At a Glance: How to Watch U.S. Open Tennis Championships 2026

    • When: Singles tournament begins Sunday, Aug. 23; concludes with women’s final on Sept. 12 and men’s final on Sept. 13
    • Channels: ESPN, ESPN2, ABC, ESPN Deportes (Spanish)
    • Stream online: DirecTV, Fubo, Sling, Hulu + Live TV, ESPN Unlimited

    Shop full Ralph Lauren 2026 US Open Collection online at Nordstrom.

    Where to Watch U.S. Open Tennis 2026: Dates, Channels

    The main singles tournament begins on Sunday, Aug. 30 at 9 a.m. PT/12 p.m. ET. The U.S. Open concludes with the women’s singles final on Sept. 12 at 1 p.m. PT/4 p.m. ET, and the men’s singles final on Sept. 13 at 11 a.m. PT/2 p.m. ET. Live coverage will air across ESPN, ESPN2 and ABC with Spanish-language coverage on ESPN Deportes. The women’s final will be broadcast on ESPN and ESPN Deportes, while the men’s final will be broadcast on ABC and ESPN Deportes. A more detailed schedule and channel guide is listed below.

    Where to Stream U.S. Open Tennis 2026 Live Online

    Since matches air across ABC, ESPN and ESPN2, they’ll also be available to watch live on any live TV streaming service that carries said networks, namely DirecTV (with a five-day free trial), Fubo (with a five-day free trial), Sling and Hulu + Live TV.

    More on each live TV streaming option — and their new subscriber discounts — below.

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

    ABC, ESPN and ESPN2 are included in any of DirecTV’s signature packages: Entertainment, Choice, Ultimate and Premier. Plus, DirecTV offers a five-day free trial for its streaming service, meaning new subscribers can tune in to five days of matches at no cost.

    Learn more about each plan option, including how to build your own channel lineup (starting at just $19.99 per month), at directv.com.

    Fubo

    One-day free trial; packages from $64.99 per month ($54.99 for first month)

    ABC, ESPN and ESPN2 are also available to stream with a subscription to Fubo, which offers a one-day free trial for new subscribers. After the trial, plans start at $54.99 for the first month and $64.99 monthly thereafter.

    Plans from $4.99 per day or $19.99 per month

    ESPN and ESPN2 are included in Sling’s budget-friendly Essentials plan, from $19.99 per month; Sling’s Orange plan, from $45.99 per month or $4.99 per day; and Sling’s Orange & Blue plan, from $60.99 per month. In select markets, ABC is also included in the Orange & Blue plan — visit Sling.com to check station availability.

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

    Watch ABC, ESPN and ESPN2 with Hulu + Live TV, which offers a three-day free trial. Subscriptions come bundled with Disney+ and ESPN+, and start at $89.99 per month.

    U.S. Open Tennis 2026 Schedule, Broadcast Guide

    The main singles tournament begins on Sunday, Aug. 30 at 9 a.m. PT/12 p.m. ET. The tournament concludes on Sept. 13. See below for a more detailed schedule with key dates for the 2026 singles matches.

    • Aug. 30-Sept. 1: singles first round (ESPN, ESPN2, ABC, ESPN Deportes)
    • Sept. 2-3: singles second round (ESPN, ESPN2, ESPN Deportes)
    • Sept. 4-5: singles third round (ESPN, ESPN2, ESPN Deportes)
    • Sept. 6-7: singles round of 16 (ESPN, ABC, ESPN Deportes)
    • Sept. 8-9: singles quarterfinals (ESPN, ESPN Deportes)
    • Sept. 10: women’s singles semifinals, 4 p.m. PT/7 p.m. ET (ESPN, ESPN Deportes)
    • Sept. 11: men’s singles semifinals, 12 p.m. PT/3 p.m. ET and 4 p.m. PT/7 p.m. ET (ESPN, ESPN Deportes)
    • Sept. 12: women’s singles final, 1 p.m. PT/4 p.m. ET (ESPN, ESPN Deportes)
    • Sept. 13: men’s singles final, 11 a.m. PT/2 p.m. ET (ABC, ESPN Deportes)