Tag: HollywoodReporter

Bigger-is-better studio merger logic goes back in Hollywood nearly as long as the industry has existed. So, too, do eyerolls about such consolidation. In 1933, for instance, comedy troupe the Marx Brothers unveiled the name of their production company, with a characteristic wink, as International Amalgamated Consolidated Affiliated World Wide Film Productions Company Incorporated, of North Dakota.

That name makes saying aloud “Paramount Skydance Warner Bros. Discovery” seem like almost like a breeze after the final ink is dry on David Ellison’s $111 billion merger. But, for this day and age, even five words — a mashup of two century-old studio names on each side of an upstart new media company, with a cable channel tacked on at the end — seem like too much.

That’s the dilemma facing Team Ellison: What does he name a company that just seemingly vacuumed up half of Hollywood? The title for what up until now has been deemed WarnerMount, which tellingly leads with the acquired studio, or ParaBros, which is more of a nod to the optics of the C-suite mix of the buyers, has yet to be unveiled and Paramount is staying mum, declining comment on the angle of this column.

But the name is no small thing. The decision will signal to both the industry and the Wall Street crowd what its new owner prioritizes. On a big picture scale, you could say it sets the strategic direction. Does Ellison want to look forward, rather than backward, given all of his talk about taking on tech giants in the attention economy? Or does his love of the entertainment industry, and big-budget moviemaking, nod to a nostalgic side?

And now, with a rules-of-the-road consent decree to abide by thanks to California attorney general Rob Bonta, he’s got to keep in mind the optics for that crew as well (You can’t look like a monopoly right after closing a deal where the primary complaint from critics is that the merger vaporizes another buyer from the landscape). And the titling will also tip to how Ellison’s own ego plays in to the process, too.

There’s tradition to think of. The Paramount Pictures name and script typeface conjures up Oscars’ best picture winners like The Godfather or Forrest Gump or Top Gun. That’s the reason why, after Shari Redstone re-merged her father Sumner’s Viacom and CBS empires, she rebranded the robotic and clunkily named ViacomCBS as Paramount Global, alongside christening its flagship streamer Paramount+ (and ditching that CBS All Access name). The Paramount name, Redstone believed, signaled quality and Classic Hollywood, and was a known commodity worldwide.

The same could be said about Warner Bros., home of Casablanca and Rebel Without a Cause and countless other classics (many of which we associate with Warners but are actually MGM features, like Wizard of Oz, thanks to Warners buying much of that library and playing those movies on rotation on the Turner Classic Movies channel). It’s the reason why the Warner name has stuck around despite countless mergers and acquisitions. It weathered a merger with then-publishing giant Time Inc and suffered the indignity having AOL take it over in what’s now regarded as the most disastrous media megadeal of all-time. In what probably should’ve been a tell, when AT&T acquired it in 2018, the telecom swallowed Time Warner whole and there was no trace of the Warner name.

Deemed immaterial to AT&T, a few years later it was spun out to David Zaslav’s cable giant, who — in arguably a nod to his ego — made sure that Discovery was represented in the Warner Bros. Discovery merger. That framing made it seem like Warner Bros. and Discovery were equals, when in reality the assets that were sought after (like the movie studio and HBO) were mostly all on the WB side. Zaslav’s team tried to nod to that Golden Age of Hollywood quality when nevertheless revealing a truly hideous logo in 2021 alongside a quote from The Maltese Falcon (“The stuff that dreams are made of”).

One clue as to how Ellison may look to go about the naming is what he did when his far-smaller Skydance Media (Est. 2006) merged with Paramount (Est. 1912). Remember, when Skydance first inked a deal nearly a year before closing on Paramount in August 2025 it initially redesigned the Paramount logo to look like the Skydance one.

That change ultimately didn’t take when the deal closed — why mess with a font synonymous with Hollywood? The Paramount script has been around nearly as long as the company existed. It’s been replicated on venues far from Los Angeles and has been the first thing that audiences have seen on countless titles in theaters (the Indiana Jones movies come to mind as far as how each first scene finds a way to play off the Paramount mountain). There’s an authenticity test here. That Skydance-ified Paramount logo looks just a bit off. Here’s the Paramount Pictures logo adorning the front gate of the Hollywood studio lot in 1920:

While formally the company is now titled Paramount Skydance (i.e. framed as a marriage of equals even though it’s really not), just take a look at the water tower on the lot to see how Ellison is really playing it. The tower has the iconic Paramount mountain, stars and script font with just a small disclaimer underneath that says “A Skydance Corporation.” Should we expect that for the Warner Bros. water tower in Burbank soon as well? It seems like a decent bet.

In that case, when the deal formally closes, presumably in early October, is Ellison ultimately going to unveil Skydance Corporation as the new name for his entire holding company that houses dozens of cable channels along with two movie studios and two major news brands? HBO, a Skydance Corporation. CNN, a Skydance Corporation. Paramount has been there before, too, when it was snapped up by manufacturing conglomerate Gulf and Western Industries in 1966 and got labeled “A Gulf + Western Company” underneath its logo. There’s some organizing logic there for synergy when labeling a far-flung empire of assets.

There’s a few problems with that. First, Skydance is the least iconic of all the names that Ellison has collected so far. Yes, it’s his own company that he boot-strapped and built himself (well, boot-strapped and built with financial help from his father, Oracle mogul Larry Ellison, who’s worth around $200 billion). But, optically, nothing says “I bought and ingested iconic studios and now they’re just tiles on a screen in my holding company” like wiping out the studio names from the parent company’s business card.

Second, this new company isn’t AT&T, which ultimately cared far more about the telecom side of things and was fine jettisoning Warner because it wasn’t a core part of its business. Movies and television shows are the name of the game for this merged company. So you’d guess, then, that you should put your best foot forward by leading with the most recognizable, blue-chip names.

Think back to all the handwringing and embarrassing reversals during the AT&T and Warner Bros. Discovery years as to whether the flagship streamer should be named Max or HBO Max. (It started off as HBO Max before turning in to Max and then going back to its original name HBO Max.) Ultimately, the C-suite led with the name that signaled quality to the widest set of possible consumers (even if execs privately fretted about diluting the good name of HBO with a streaming service featuring thousands of shows of varying quality).

In this instance, if Ellison does indeed name his holding company Skydance Corporation it may be the Max of all the options, even if it doesn’t tip his hat in favor of any particular studio aside from the one that he started himself. Right now, the company trades as PSKY on the Nasdaq, though it’s set to move to the New York Stock Exchange in early October. (The symbol, SKY, it should be noted, is already taken on the NYSE by a modular home manufacturing company.)

If including Skydance Corporation in the main part of the name is indeed the plan, maybe going the Marx Bros.’ “Amalgamated Consolidated Affiliated…” approach with the studio names would’ve been the better call, after all, to keep a piece of Hollywood history preserved.

Taylor Swift and Madonna dominated the 2026 MTV Video Music Awards, and they also offered some fun behind-the-scenes moments that TV viewers at home didn’t see during the live broadcast.

Below, see what they — and others — did when the cameras weren’t rolling on Sunday night.

Starstruck Over Madonna

Madonna not only ruled the night with her opening performance and several wins, but she also seemed to be the most popular photo opp. The star sat center front row during the show and was spotted in chats (and taking pics) with Taylor Swift, Julia Garner and Charli xcx after skipping the red carpet earlier in the night.

Where Were Bruno Mars and Kacey Musgraves?

Two of the night’s biggest performances — Bruno Mars and a Dolly Parton tribute from Kacey Musgraves — were pretaped and not performed live in the room, leading to some confusion. Many in the crowd rumbled and looked around for which stage the stars were singing on, only to eventually realize they were not in attendance. THR reached out to a rep find out where Mars taped his performance.

Taylor Swift’s Busy Night

Taylor Swift, the night’s big winner with video of the year along with her special artist directors honor, did not have a lot of time to sit and enjoy the show, as THR spotted her zipping around all night. Swift arrived on the red carpet about five minutes before the awards went live, closing things down as everyone else was already inside. She disappeared for the show’s first hour, then made her way to her seat just moments before Dakota Johnson presented her directors award (and the two stayed on stage, whispering and giggling as their “Patient Zero” video debuted on the big screen). She went away again, and then made a stealth return to her seat just before winning video of the year.

Taylor Swift enters the #VMAs during a commercial break, stopping to say hi to fans along the way pic.twitter.com/bRJMUZZBCW

— The Hollywood Reporter (@THR) September 28, 2026

Taylor Swift enters the #VMAs during a commercial break, stopping to say hi to fans along the way pic.twitter.com/bRJMUZZBCW

— The Hollywood Reporter (@THR) September 28, 2026

Off Campus Stars Enjoy a Fun Night

Off Campus fever took over the VMAs as stars Belmont Cameli and Ella Bright were on hand as presenters. Bright arrived earlier in the afternoon and then returned to the red carpet when Cameli arrived, as they posed for photos together — met with some screaming fans along the way. Inside the show, they were spotted on a side stage laughing and dancing around while Madonna gave an acceptance speech, just before they introduced Sienna Spiro’s performance.

Moonpeople Mascot Commit to the Role — Despite the Heat

Temps were high in downtown L.A. on Sunday afternoon, and even the Moonpeople were feeling it. Several of the VMAs Moonperson mascots were walking around the carpet in celebration, but it’s not exactly an airy costume, surrounded by puffy silver fabric. THR spotted one Moonperson — still masked and committed to the role — camped out behind the photo line along some AC vents, seeking a respite with some handlers before returning to the heat.

Gener8ion and Yung Leon Wow the Crowd

When Gener8ion and Yung Lean hit the stage to perform “Storm,” as the last performance of the night, they re-created the viral video featuring choreography by Damien Jalet. The audience loved it, giving it one of the biggest rounds of applause of the night, with many rising to their feet. Watch the performance below.

Lisa Gets a Hand

Lisa shook up the room with a rocking performance of her song “SaWaDiKa,” ending with her standing on top of a tuk-tuk with her dancers below. As the lights cut, the team helped Lisa down and they all celebrated the performance on stage as they made their way to the wings.

As a social tool, the Israeli documentary NAZA aims for change on two fronts: It hopes to energize a defund-the-IDF movement in the US. while swaying an electorate as it heads to the polls next month in Israel.

The success of the second goal — “to penetrate the walls of justification and silence in Israeli society,” as director Yuval Abraham put it — will play out in the coming weeks 6,000 miles from these shores as voters decide whether to return Benjamin Netanyahu to office. But it is the first aim that saw a key opening step this weekend as Abraham and his co-director Rachel Szor debuted their Guardian-produced movie in the U.S. with an enthusiastic (if hardly 25-minute-Venetian-ovation) screening at the New York Film Festival.

Abraham made clear that his purpose in bringing the film to New York as well as to release it theatrically across America beginning Oct. 9 was to change the political calculus.

“For us, [it’s] the main motivation,” he said from the Alice Tully Hall stage after the premiere Saturday night. “It’s not a coincidence the last line of text in the film is that these crimes are ongoing not just because our country is doing it but because your country is supporting and funding it,” he told the Manhattan audience as Szor and moderator-NYFF programming chief Dennis Lim approvingly looked on.

That the movie lands in a midterm season when U.S. aid to Israel has animated Congressional races from Michigan to Minnesota helps make NAZA the rarest of independent-film objects: a foreign-language documentary that injects itself right into the bloodstream of American electoral politics.

Of course, whether pieces like this will persuade undecideds (do they exist?) on the question of U.S. support for Israel or simply prompt a gotcha fingerpoint from two fiercely divided camps is a similarly open question. (A small but intense pro-Israel protest outside the theater and the rapt adoration inside it literalized the divide and suggested its intractability.)

At least for its run time at the festival, the film asked to be taken on its own journalistic terms. Centering on anonymized Hebrew-language interviews with two dozen IDF veterans of the Gaza war, NAZA lays out in uncommonly specific detail the various ways the Israeli army has prosecuted that war. The movie is both less than the controversy that surrounds it (AI surveillance and selection of targets will not shock anyone who follows the latest in technological warfare) while also lobbing a more explosive and enraging grenade than even some of the coverage around it suggests (descriptions of unquestioned human collateral damage, the “NAZA” Hebrew acronym of the title, and an admission from a soldier that he feels like a Nazi, to name two examples), though of course the inclusion of such moments will enrage opposing camps for very different reasons.

Surprisingly, one of the most charged choices Abraham and Szor make is to intersperse, between the rooftop confessions, drone shots of Israelis watching TV in their well-appointed high-rise apartments below — a juxtaposition that will further galvanize critics of Israel who see rampant privilege undergirding its actions while angering supporters of Israel who will see in this a cheap trick sensationalizing the routine goings-on of country at war. This is a film that, like so much else in culture these days, Rorschach-ifies our politics, only more so.

Abraham, who along with Szor directed the 2025 West Bank-themed Oscar winner No Other Land, built the film on his text-based reporting for The Guardian, Local Call and +972. He can be seen on the rooftops of Tel Aviv engaging his interview subjects, often coaxing out info and sometimes challenging them. (“And you didn’t feel any remorse about this?” is the kind of thing he might say.) Like many advocacy journalists, his goal is clearly to elicit grassroots American action, a theme he returned to several times as he spoke to the liberal NYFF audience.

Szor also was eager to say the film was aimed at the left in Israel.

“When you walk in Tel Aviv you feel all these crimes are happening and no one is speaking about it,” she said. “And Tel Aviv is a liberal place; a lot of people consider themselves leftist. But they don’t talk about it or they try to justify it.”

The center-left media in Israel has been receptive to the film’s message if at times also skeptical, as this Ha’aretz review suggests, objecting to a lack of precipitating context as well as realities about the fog of a guerilla war. The right has as a rule been far less interested; culture minister Miki Zohar, who has a history of threatening critical voices with the tools of the state, says he wants to revoke the citizenship of Abraham and Szor.

Such comments should be taken with a grain of salt given both a) the bombastic nature of Israeli politics and b) that he lacks the authority to do so, though the filmmakers are not taking other potential threats lightly.

“Netanyahu compared this film to a barrage of ballistic missiles. And you know what happens to people who shoot missiles — they kill them,” Abraham said at the screening.

For all their sharpness against the right, the filmmakers did not entirely negate the claims of those standing outside the theater. “You’ve probably seen the protesters out there with the video of Oct. 7 on the trucks,” Abraham brought up from the stage. “It’s important for me to say that [Oct. 7] is completely unjustified. But that doesn’t justify what you see in the film, the slaughter of so many civilians, the massacres at food sites.”

He added, “I don’t want to live in a world where rightful empathy of Israeli victims is weaponized to mean a lack of empathy to Palestinians and used by Bibi to justify the occupation and crimes in Gaza. … I don’t think we want to live in such a world. I think we should all refuse to play this zero-sum game,” he said.

Such comments have also earned Abraham over his short but impactful career criticism from the left for centering Israelis in his work — a sign to some that even liberal Israelis can’t win and, for those further on the right, proof that they shouldn’t even try.

The audience and Lim, at least, welcomed what Abraham and Szor had to say.

“I think we all knew this would be an important screening,” Lim said as he wound down the event, citing U.S. aid to Israel and its military actions in Iran.

“Thank you, Dennis. for inviting us,” Abraham replied. “The [U.S. military support] is one of the reasons we thought it was so important to see.”

The 2026 MTV Video Music Awards were handed out Sunday night, and the show was full of big moments. Read on to find out more.

Madonna Opens 2026 VMAs With Sabrina Carpenter and Charli XCX

Pop ruled the opening of the 2026 VMAs, as Madonna kicked off the show with a medley of “Bring Your Love” and “Danceteria Afterhours” alongside Sabrina Carpenter and Charli XCX minutes before K-pop star Lisa won the award for best pop for “Dream” ft. Kentaro Sakaguchi. Madonna began her performance of “Bring Your Love” spread-eagle atop a black grand piano as Carpenter played the keys below. The two soon abandoned the instrument in favor of hitting their choreographed steps. Madonna’s dancers then carried her onto a moving platform which soared across the stage as a choir dressed in veiled white nun habits sang the chorus of the hit song. The camera then gave way to a second megastar reveal as Charli XCX appeared onstage performing her and Madonna’s smash track, “Danceteria Afterhours,” in a set crafted after the restrooms in the legendary New York City nightclub after which the song is named. The scene was reminiscent of Madonna’s infamous 2003 MTV VMA performance in which she shared an onstage kiss with the two biggest pop stars of the time: Britney Spears and Christina Aguilera. Sunday’s performance marked Madonna’s first return to the VMAs since the iconic moment. Read more. — Brande Victorian

Raye Delivers Red-Hot Rendition of Hit “Where Is My Husband!”

Raye delivered a red-hot rendition of her hit song “Where is My Husband!” at the VMAs. The singer, dressed in all red, much like in the track’s music video, was surrounded by her backup singers for a lively performance of the song, which has taken over social media this past year. Sunday’s appearance marked her VMAs performance debut. Read more. — Nicole Fell

Kacey Musgraves Honors Dolly Parton

Kacey Musgraves paid tribute to Dolly Parton at the 2026 MTV Video Music Awards. Musgraves, who was nominated this year for best country for “Dry Spell,” performed one of Parton’s biggest hits, “I Will Always Love You.” Though the tribute aired onscreen at the Peacock Theater in Los Angeles, Musgraves wasn’t at the ceremony in person.Written and originally recorded by Parton in 1973, “I Will Always Love You” reached the top spot on the Billboard Hot Country Songs chart twice, once in 1974 and again in 1982. Musgraves previously paid tribute to Parton, who died Aug. 25 at age 80, during her Aug. 28 concert in Boston, where she performed her own song, “Rainbow” and a cover of Parton’s “Here You Come Again” in honor of the singer. Read more. — Mariel Turner

Nirvana Pays Homage to Kurt Cobain as Dave Grohl, Krist Novoselic and Pat Smear Accept Video Vanguard Award

Public Enemy frontman Chuck D celebrated Nirvana‘s musical legacy as he presented the ’90s grunge rock band with the Video Vanguard Award. “Nirvana never bent to the will of the mainstream; they always stayed true to their vision,” Chuck D stated onstage. “Their sound was loud, beautiful, daringly open. The lyrics were raw and deeply human. Their music videos defined an era. They were completely original and always fearless at a time when the status quo got to the point of being formulaic. Today, their influence can be heard in virtually every generation of artists who follow.” After a pretaped segment showing the group in its early days, reflecting on memorable music videos, Krist Novoselic and Dave Grohl accepted the award alongside Pat Smear, who smoked a cigarette onstage. “The ideas for those videos all grew out of the vision of one of the greatest artists of all time, Kurt Cobain,” Novoselic stated of the band’s lead singer and guitarist who died by suicide in 1994 at the age of 27. Read more. — Brande Victorian

Taylor Swift Debuts Music Video for New Single “Patient Zero”

Taylor Swift dropped the music video for her latest single “Patient Zero” during the VMAs. Swift premiered the video after accepting the inaugural artist director honor. It stars Swift, alongside Dakota Johnson and Colin Farrell — Johnson introduced Swift with the honor onstage. The music video features Johnson as Farrell’s current lover. It’s clear from the video it’s not a healthy relationship. Throughout the video Swift mirrors Johnson, as she sings about knowing what what the actress is going through because she was man’s “patient zero.” After an incident at an event, Farrell makes a comment to Johnson that he thought “she was different,” which leads the actress to ask who she’s different from. The video cuts to Swift living out exactly what Johnson’s been living through, revealing that Farrell poisoned Swift, leading to her death. The music video ends where it began, Johnson looking at a grave, only it’s now revealed that it’s Swift’s grave. The actress leaves a rose atop the gravestone for the woman. Read more. — Nicole Fell

Snoop Dogg Pokes Fun at Madonna in VMAs Monologue

Snoop Dogg knows how to wow a crowd, and the 2026 MTV Video Music Awards was no exception. The rapper hosted the ceremony at Los Angeles’ Peacock Theater, where he kicked off the festivities by poking fun at Madonna, who opened the show and took home multiple awards, and shared a special shoutout to his hometown of L.A. The 2026 VMAs is the first time the show has taken place in L.A. since 2017’s ceremony, which was hosted by Katy Perry at The Forum. “Madonna just killed it. Now, that is an icon. One thing I wanna say is, she ain’t a virgin no more,” Snoop said during his opening monologue. “Now, when they first asked me to host this award show, I said, ‘Is it gonna be in LA? No? Well, I’m busy.’ Then, they called me back and said, ‘Hold on, Mr. Dogg. It’s in L.A now.’ So, having this show hosted by me in my city means two things. One, tonight is gonna be the biggest party the VMAs has ever seen. And two, it wouldn’t be a Snoop Dogg party if I didn’t provide some of that special, sticky, icky, icky … that’s for every winner here tonight. Just the winners, though.” Read more. — Mariel Turner

Taylor Swift Extends Her VMA Record

Taylor Swift won the top prize of video of the year for “The Fate if Ophelia” at the 2026 Video Music Awards. The singer extended her record for the most wins in the video of the year category, having previously won for “Bad Blood,” “You Need to Calm Down,” “All Too Well: The Short Film,” “Anti-Hero” and “Fortnight.” Swift took to the stage at the Peacock Theater in Los Angeles to accept the award: “Thank you so much for giving this award to this video because I’m so proud of it. To the fans, thank you for voting on it. I just loved making this video because I wanted it to seem like one continuous shot, so I learned a lot about hiding cuts in places,” she said. “I want to thank everybody who helped me on this video shoot because — just the choreography, I love so much. Mandy Moore as my choreographer — set design, production design by Ethan Tobman. My editor, Chancler Haynes. My cinematographer on this video I’ve gotten to work with before, he’s one of the people who gave me the confidence to actually direct videos on my own. His name is Rodrigo Prieto. I want to thank him.” Read more. — Mariel Turner

Surprise Adam Lambert Performance Caps Hit-Filled George Michael Tribute

When Sombr, Raye and Teddy Swims were announced as paying tribute to George Michael timed to nearly 40 years since the release of his Faith album and ahead of a live Faith tour album and feature-length film being released later this year, it seemed like the VMAs segment honoring Michael, who died in 2016, would mostly consist of songs from Faith. But the musicians and surprise performer Adam Lambert, who hadn’t been announced as part of the performance before he walked out onstage Sunday night, went beyond the 1987 album, performing Michael’s Wham! hit “Careless Whisper” and even iconic later single “Freedom ’90,” also known for its supermodel-filled music video. Sombr took the stage, after an intro from Orville Peck, wearing Michael’s actual customized leather jacket from the Faith era, which Michael wore on the Faith tour and in a Diet Coke commercial, and performing “Faith” as he walked past video screens of Michael in that video. He later segued into another Faith hit, “Father Figure.” The performance moved over to Raye, who delivered a soulful rendition of Michael’s Aretha Franklin duet “I Knew You Were Waiting,” which wasn’t on Faith, complete with golden lighting, smoke and sepia-toned images of Michael. The camera then shifted to a saxophone player, performing the opening of “Careless Whisper,” which Teddy Swims performed from a platform surrounded by searchlights. Then Lambert strutted out from backstage to perform “Freedom,” for a triumphant finish. Read more. — Hilary Lewis

Lisa Debuts Thrilling First Televised Performance of “SaWaDiKa”

La Lalisa, la diva herself, graced the stage of the 2026 MTV Video Music Awards on Sunday night.
Tyla introduced the global pop star as she delivered the first performance of her new single “SaWaDiKa” during the award show. Lisa brought out a slew of dancers for a high-energy rendition of the song, which the singer released earlier this month. It’ll be on her upcoming EP, Press Play, set to be released in October. Lisa, whose real name is Lalisa Manobal, went into her performance with a win. The 29-year-old Blackpink member won the best pop category for her single “Dream” from her debut album Alter Ego. The song was also nominated in the best K-pop category, best editing and best cinematography. Lisa’s was also nominated again in the best K-pop category with Blackpink for their 2025 summer hit “Jump.” Read more. — Nicole Fell

Gener8ion and Yung Leon Wow the Crowd

Gener8ion and Yung Lean hit the stage to perform “Storm,” as the last performance of the night. For this, they re-created the viral video featuring choreography by Damien Jalet. The audience loved it, giving it one of the biggest rounds of applause of the night, with many rising to their feet. — Kimberly Nordyke

The 2026 VMAs, took place at the Peacock Theater in Los Angeles, aired live on CBS and MTV and stream on Paramount+ (Premium) in the U.S. It also will be available globally the next day on Paramount+ and MTV.

Saturday Night Live kicked off its 52nd season with NBA Finals MVP Jalen Brunson as its first host, and he had his starting lineup there to support him.

Brunson began his monologue by joking that his time winning the 2026 NBA championship this year with the New York Knicks may mirror his hosting stint.

“Tonight I’m gonna approach hosting in the same way I approach the Knicks finals game; so the first three quarters of the show are gonna be god awful. The last sketch is gonna be amazing,” he said. “This summer, I helped the Knicks win the NBA championship. By now, you’ve all heard me talk about it, but you haven’t heard me sing about it… And obviously I’m not going to.”

He also joked about being back in Madison Square Garden for the NBA season that’s about to start, where Taylor Swift and Travis Kelce got married this summer.

“The new season is just a couple of weeks away, and I gotta say, it’s gonna be pretty cool to be back at Madison Square Garden. Looking around like, wow, just a few months ago, this was the exact spot where Taylor and Travis got married,” he said. Brunson

The New York Knicks won the NBA championship in June, marking their first win since 1973. Brunson was awarded with the title of NBA Finals MVP after the dynamic season. To support his debut as an SNL host, the Knicks starting five, Karl-Anthony Towns, Josh Hart, OG Anunoby and Mikal Bridges, were all in attendance.

Brunson said he was going to take questions from the audience, to which the camera panned over to make way for his teammates. Towns kicked off a round of questions, asking, “Can you foul out of SNL?” Brunson responded, “No, I don’t think so.”

“I could be here, like, the whole show?” Towns added. Hart candidly asked the SNL host, “Is it true that you took a $113 million pay cut just to resign with the Knicks?”

Brunson said, “Yeah, that’s pretty true.” Hart asked an additional follow-up question: “Wow. So is that money, like, still up for grabs?”

The first cold open of the new season poked fun at New York City Mayor Zohran Mamdani and President Donald Trump’s bromance. Ramy Youssef portrayed Mamdani, while James Austin Johnson returned to dish out his impersonation of Trump.

Mamdani was told he had a guest, to which he responded, “What reckless lunatic would travel to see me in this kind of weather?”

“Your best friend!” Johnson’s Trump said. “I missed my day one. For some reason that no one can figure out, I really, really like you.” Youssef pointed out the El Niño impacting New York City, telling the faux president, “That’s very kind, but wouldn’t you rather be in D.C.? We’re in the middle of El Niño.”

“Oh, El Niño, we don’t like big stores, especially when they’re in Spanish,” Trump said. He went on to talk about his “crazy week”: “I kicked out the press and hung out with the president of China, Xi. And yeah, I went brunette. It’s fall!”

“There was this crazy AI stuff, too,” he continued. “I just had dinner with Sam Altman, Elon Musk, and Mark Zuckerberg, and it made me think, wow, RFK Jr.’s probably right about those vaccines.” Ashley Padilla also popped up briefly in the cold open as Natalie Harp, executive assistant to President Trump.

Towards the end of the cold open, Youssef’s Mamdani kept on insisting that he needed to get back to work. “Please let me stay here with you,” Johnson’s Trump said. “OK, only if you give us $21 billion for a housing project in Queens,” Mamdani said.

“Are you out of your mind?” Trump said, to which Mamdani offered, “What if I follow you back on Instagram?”

“It’s a done deal,” Johnson’s Trump concluded.

Jeremy Culhane reprised his Tucker Carlson impersonation during the Weekend Update segment, where he gave his opinions on this summer’s box office hits. Of Obsession, he joked, “The left’s idea of a horror movie; that a woman is forced to love a man. ‘Oh, no, help! I’m being chased by a heterosexual relationship!’”

As for Spider-Man: Brand New Day, Culhane’s Carlson said, “Everybody loves Spider-Man: Brand New Gender.” Colin Jost said, “That’s not what it’s called,” as Culhane’s Carlson continued, “Spider-They, Spider-Them, uses whatever bathroom it feels like.”

He also brought up Minions & Monsters, asserting that he was “not talking about the children’s film, I’m talking about the Trump cabinet. That’s right, I’ve turned on Trump, I’m so brave.”

The New York Knicks star and Katseye were the first host and musical guest pair of the new season, also notably making their SNL debuts. Next week, Dakota Johnson will host with Turnstile as the musical act.

Shane Gillis will host on Oct. 10 with musical guest Rosalia, while Obsession star Inde Navarrette makes her SNL hosting debut on the Halloween episode. She’ll be joined by Gracie Abrams.

If you need any proof of the potential for literary works from the Spanish-speaking world to be adapted for the screen, you need to look no further than YA bestseller author Mercedes Ron’s success with Prime Video and Banijay’s Pokeepsie Films production banner with the likes of the Fault trilogy and the recently launched Drawn Together.

Literary Works Pitch for Audiovisual Adaptation, a new initiative developed by Iberseries & Platino Industria in collaboration with the Federation of Publishers Guilds of Spain (FGEE) and featured at this year’s sixth edition in Madrid running Sept. 29-Oct. 2, looks to connect publishers and literary agencies with production companies, streamers, studios and TV networks to feed their search for new intellectual properties.

Following a call for submissions, organizers selected 14 works from Spain and Mexico and one each from Germany and Argentina. The stories come from different genres, times and settings.

Here is a look at the projects being pitched at Madrid:

Alguien como tú by Xavier Bosch
Agencia Literaria Antonia Kerrigan, Spain
The Catalan author’s novel centers on an intense, cross-border affair between a married woman from Barcelona and an art gallery owner from Paris, with the woman’s daughter later trying to piece together details of the clandestine romance.

Alka I. La mujer del infinito by Yaiza Nicolás
Yaiza Nicolás, Spain
The thriller-like adventure spanning three generations of women journeying through time revolves around a substance that prolongs youth and extends the boundaries of life.

Así en la tierra como debajo de la tierra by Ana Paula Maia
Scenic Rights, Spain
A penal colony in a remote spot in Brazil is in its waning days, and its warden unleashes a horror scenario: every full moon, a selection of inmates is released, only to be hunted down with weapons.

Cuando te atrevas a sentir by Tamara Molina
Agencia Literaria Antonia Kerrigan, Spain
Naila feels like a failure and has no clear goal in life. Bruno always succeeds and has a well-paying job that does not make him happy, but fears that quitting would make him a loser. But these two very different people may find comfort in each other.

Cuando vi a la muerte prestar su sombrero by Rodrigo Unda
Penguin Random House Grupo Editorial, Mexico
This fantasy novel follows The Fates, living in the shadows with one job: guiding human souls to the afterlife. But one day, one of them suffers an injury, and she begins to experience human feelings.

El sueño de las Mariposas by Cristina Atienza
Cristina Atienza, Spain
Mystery, history and memory collide by the sea in this novel about sisterhood. A woman’s interest in astrophysics and her defiance land her in confinement, with forced prayers and punishments.

Las esposas del régimen by Miguel Ángel San Juan
Alt Autores, Spain
A modern mystery intersects with a historical look at women resisting General Franco’s patriarchal dictatorship in this novel, which pays tribute to silenced generations and warns against the return of oppressive ideologies.

Masacre en el comedor by Ceferino Reato
Penguin Random House Grupo Editorial, Mexico
The journalist and political scientist investigates the deadliest guerrilla attack in 1970s Argentina, a Montoneros guerrilla group bombing at a Federal Police building during the country’s military dictatorship.

Mentira by Care Santos
Scenic Rights, Spain
Xenia has had a reputation for getting the best grades and dreams of studying medicine. But then her academic performance suffers when she falls in love online. But who is the mysterious person she falls for, and are they real?

Mi vida con él by Hilda Gadea
Silvina Estévez, Argentina
A film based on the memoirs of Hilda Gadea, the economist, intellectual, and activist who was Ernesto “Che” Guevara’s first wife, is already in the works.

Nocturnos by Laura Pérez
Alt Autores, Spain
The writer and artist’s graphic novel uses a series of dreamlike vignettes to explore the mysterious and magical world of the night. You may not be aware yet, but you may well know Pérez’s work – she was nominated for an Emmy Award for her work on the opening title design for Only Murders in the Building.

Too Match by Inma Benedito
Agencia Literaria Dos Passos, Spain
If you are looking for a contemporary story that has been described as a Madrid-style queer Sex and the City with less glamour, this one may be for you! This diary of failed dates is an ode to heartbreak.

Una belleza terrible by José Ovejero
Galaxia Gutenberg, Spain
This biographical novel dives into the life and times of Leon Trotsky confidant Raymond Molinier (1904–1994), a chameleon-like figure who dedicated his life to revolutionary ideals and the workers’ struggle.

Una casa llena de gente by Mariana Sández
MertinWitt Literary Agency, Germany
The debut novel explores family grief and trauma, generational friction, and memory through a narrative puzzle emerging from diaries and testimonies.

Una Madre by Alejandro Palomas
Scenic Rights, Spain
Set on New Year’s Eve in a Barcelona apartment, the story sees Amalia, 65, fulfill her dream of gathering her whole family for a holiday dinner. It is a night of family and laughter, but also, through flashbacks, old secrets and hidden tensions.

Vida y muerte del cartel de Medellín by Carlos Lehder
Penguin Random House Grupo Editorial, Mexico
If you loved Narcos, you may want to take a look at this one! After all, it is the memoir of a co-founder of the Medellín drug cartel in Colombia, detailing the criminal empire’s rise and fall.

Hot on the heels of his Golden Eye award ceremony on Saturday night, John Turturro entertained another crowd at a Zurich Film Festival masterclass on Sunday.

The Emmy-winning U.S. star has been recognized for his performance in Noah Segan’s The Only Living Pickpocket in New York, a project that is already garnering awards buzz. In the film, Turturro plays Harry, a seasoned pickpocket whose carefully controlled life is thrown into turmoil when a job goes wrong, setting off a tense chain of events that unfolds over the course of 36 hours.

In a career-spanning conversation with Deadline‘s Melanie Goodfellow — the actor’s shining Golden Eye trophy neatly nestled between them — Turturro discussed growing up in an immigrant household, his decades-long friendship with Spike Lee, and the transition from acting to filmmaking.

Turturro, who has steadily become one of the industry’s most formidable actors yet to put “Oscar nominee” on his resume, was asked about joining the best actor race this year with the Sundance success The Only Living Pickpocket in New York. “I never really have gone the whole hog with it,” he responded about the upcoming awards campaign. “But now I’m the lead in the film, so I’m going to support the film because I love the film.”

He explained that being pulled into awards conversations is “helpful to help you do the next thing.” Turturro continued: “Is it nice to be acknowledged? Great, but that’s not why you do it. […] Just because a film is really popular doesn’t mean it will have staying power, but it’s nice to be in the conversation. I don’t look upon myself as being a competitive person. I’m competitive with myself,” he added. “I want to get the most out of what I can do, but it’s not sports!”

However, he admitted to feeling surprised by the positive critic reaction out of Sundance. “Finally,” he thought, “I’m in something that people will see… My job is I like to try to improve, and I feel like being an actor is one of the few things you can improve in. You may not be able to run as fast as you did when you were younger, but I have a lot of life experience, and as you get older, you accumulate that, and you can distill things in a way that you couldn’t do when you were young, because you didn’t really experience all those things. And now I’ve experienced life, death, loss, being a parent, being married — what it is to really love someone versus falling in love. That’s a huge difference,” he giggled.

Turturro regaled attendees with stories about his impressive stage career. He naturally came on to two major TV performances of his in the last decade: HBO’s The Night Of and Apple’s Severance.

He coyly confirmed a return for his character, Irving Bailiff, in season three of the Emmy-winning Severance with Adam Scott. “Yeah,” he (eventually) told the room. “As long as they give me interesting things to do, then I’m interested.” He swiftly took the opportunity to gush over friend and colleague Christopher Walken, whose character, Burt Goodman, began a romance with Turturro’s Irving in season one. “‘Who’s going to be my love interest?’” Turturro asked before joining the show. “And they were like, ‘All these younger guys.’ I said, ‘Well no, I’ve worked with Chris Walken,’ and I said, ‘I want Chris, because I love Chris.’ And I don’t have to act that I love him because I love him.”

Though Walken “didn’t understand a lot of the show,” Turturro was able to guide him through their authentic, real-life friendship. “I said, ‘Don’t worry about it. You just look at me.’ We have so much fun because I directed him like three times, and we’ve acted, and we’ve worked together a lot. And he’s a wonderful theater actor, and people obviously think he plays only strange [characters] but he can do a lot of different things. He’s also very sensitive, but he has a childlike joy in his work, and when that happens, anything is possible.”

Turturro received a round of applause when discussing the HBO crime drama The Night Of, which ran for one season in 2016 and co-starred Riz Ahmed. It would later win five Emmys, and Turturro was nominated for his role as the eczema-stricken defense lawyer John Stone. “The Night Of is something I’m very proud of,” said Turturro on Sunday. “It was originally a BBC thing, which I actually never watched because I didn’t want to be influenced.”

He even confirmed that he actually wanted to do another season of it. “But they couldn’t agree on what the story would be,” revealed the actor. “But I loved doing it. It was one of those great experiences in my life.”

Turturro’s career spans four decades, having worked with acclaimed directors such as Spike Lee, the Coen brothers, Martin Scorsese, Robert Redford, Robert De Niro, Nanni Moretti and Pedro Almodóvar.

He first gained international recognition through his collaborations with Lee, appearing in Do the Right Thing and Jungle Fever. With Joel and Ethan Coen, he acted in Miller’s Crossing, Barton Fink, O Brother, Where Art Thou? and The Big Lebowksi, in which Turturro created the iconic Jesus Quintana. For his lead performance in Barton Fink, he won best actor at the 1991 Cannes Film Festival, an experience that Turturro reflected on at his Zurich masterclass. He even confessed to feeling like he lands “more normal” roles in Europe than across the Atlantic, and said he has turned down scripts “again and again” that involve his character being violent towards women.

At his Zurich Golden Eye ceremony Saturday night, Turturro collected the award and quoted Italian novelist Cesare Pavese. “[He] once said that the only great thing in life is to begin. I still consider myself a beginner in many ways,” said the star. “I’m very fortunate. I wanted to make a living doing something that interested me and to do interesting work — to share that with an audience, [and that] wouldn’t diminish their intelligence at the same time,” he laughed. “I consider this an encouragement to continue.”

Turturro joins 2026 Zurich honorees Julianne Moore and Tom Hiddleston. The 22nd edition runs Sept. 24-Oct. 4.

What can’t Julianne Moore do?

The U.S. actress accepted Zurich Film Festival‘s lifetime achievement honor, the Golden Icon Award, in perfect German on Friday night.

She was joined at the ceremony by Jesse Eisenberg, who directs her in his latest feature The Debut, a musical-comedy co-starring Paul Giamatti, which is screening at the 22nd edition in Switzerland this week.

Moore called upon her own childhood growing up in Europe while making her acceptance speech. “Thank you for this wonderful honor,” said a translated version of her words. “I know that I am in Switzerland right now, but as a teenager, I lived in Germany. And my teacher there told me that I could become an actress. Had I not moved to Europe with my parents, I would not have had this wonderful life. And I wouldn’t be here with you tonight to speak my bad German to you.”

On the carpet ahead of the presentation, the Oscar-winning actress beamed and said she was feeling “pretty good” about the prospect of receiving the prestigious Golden Icon. “And it’s really wonderful to be here with Jesse Eisenberg, who’s such a tremendous talent and has been an unbelievably wonderful creative partner,” she added. “He’s such a genius, so I’m just happy to be sharing this experience with him, and to be here with our movie. Every day was phenomenal. It really was. There’s actually a shot of me that Jesse said was so, so funny because I was making so many dumb faces. But I said, ‘That was just my dumb face!’ I was enjoying it so much.”

Eisenberg’s third directorial feature follows Mona Friedman (Moore), who is cast in a bit part at a small community theater and transforms from a shy, unassuming housewife into a zealous method actor willing to do anything to protect the artistic integrity of her marginal role — even if it means waging war against the show’s domineering director (Giamatti).

The filmmaker-actor-writer told reporters on the Zurich carpet on Friday: “Mona is me. When I was seven years old in New Jersey in 1990, I was a sad little kid, and then I joined a community theater and I found a home.” On the brilliance of Moore, who starred in Eisenberg’s directorial debut When You Finish Saving the World (2022), he said: “When I started writing it, it was only her, and if she did not want to do it, the movie would have not been made. There’s no one else on the planet, alive or dead or yet to be born, who could play [the role] as good as she [does].”

Among Moore’s best-known performances are Still Alice, for which she won the Academy Award, as well as The Hours and The Kids Are All Right. Recent credits include Apple TV’s Echo Valley, Pedro Almodóvar’s The Room Next Door and Netflix limited series Sirens. Next year, she will return to the stage to star in the title role of the Off-Broadway play Faydra.

Also on Friday night in Zurich, In Bruges and The Banshees of Inisherin filmmaker Martin McDonagh was given the fest’s A Tribute To… Award. The honor was in celebration of his most recent film, Wild Horse Nine, which is currently making its way around the festival circuit and already generating Oscar buzz, particularly for lead actor John Malkovich.

Set shortly before the 1973 military coup in Chile, Wild Horse Nine stars Malkovich and Sam Rockwell as Chris and Lee, longtime CIA partners stationed in Santiago who are dispatched to Easter Island by their bureau chief, MJ (Buscemi) to assist in the U.S.’s covert campaign to undermine the democratically elected Chilean government. Against the surreal backdrop of the island’s monumental Moai statues, the pair begin reckoning with their murky shared past.

“I love coming to Zurich, and it’s a tremendous honor,” said the British-Irish creative on the carpet ahead of his ceremony. “I’m excited. I know it’s a great, very cine-literate audience, so I hope they’ll like [Wild Horse Nine] as much as the other ones.”

He said about travelling to Easter Island: “I visited maybe 15 years ago, and was just struck by the beauty of the place, [and] also the mystery of the Moai heads, and I thought it could be almost a character in a film, and it’s turned out to be that way. I’d worked with Sam Rockwell obviously a bunch of times before, so that’s always a joy. But John Malkovich was new to me, and he’s just perfect for the part. He’s funny and he’s dangerous. And Steve Buscemi and Parker Posey were fantastic too.”

These aren’t the only awards Zurich is dishing out. Tom Hiddleston received the Golden Eye on Thursday night as the fest opened with his Everest drama, Tenzing, and John Turturro will also be given the same honor for his starring role in this year’s The Only Living Pickpocket in New York.

The 22nd Zurich Film Festival runs Sept. 24-Oct. 4.

Iberseries & Platino Industria’s sixth edition takes place in Madrid this week, and its jam-packed schedule includes the Thursday, Oct. 1 presentation of six series projects developed by seven screenwriters as part of a collaboration with Fundación SGAE, Spain’s primary collective management organization for intellectual property rights.

The series will be in focus during one of the pitching events that will showcase the projects to producers, buyers, investors and other audiovisual industry professionals. The event is designed as “an opportunity to foster the production, financing and international reach of new fiction projects, while reinforcing one of the objectives of Iberseries & Platino Industria: to facilitate connections between creative talent and the different players in the Ibero-American audiovisual industry,” the event organizers highlight.

Below, THR takes a closer look at the six series projects being pitched in Madrid.

La librera by Virginia Burgos (Seville) and Juan Sánchez (Madrid)
Synopsis: In the early 1990s, a woman opens the first LGBT bookstore in our country. Over several decades, the business becomes a refuge and a political backroom for an entire community. But the day comes when the neighborhood she helped build turns its back on her, leaving her no choice but to ask herself: “What do you do when nobody needs you anymore?”
Takeaways: An LGBT community force and pioneer faces the blues. Do you get the feeling that people will want to find out more about this woman and what is changing for her?

Avión by Miguel Cavadas (Vigo)
Synopsis: Avión is the village that embodies the utopia of Galician emigration: leaving poor and returning rich. In winter, it is yet another example of rural precarity and aging. In summer, it becomes a festival of money, ranchera music and Mexican flags. Its population quadruples, returning to celebrate, enjoy themselves and show off the transatlantic feat. A microcosm that is neither here nor there, but the coexistence of two worlds that have little or nothing to do with one another: community and individualism, past and present, Galicia’s lowest pensions and Mexico’s greatest fortunes. What happens when those two worlds collide?
Takeaways: Don’t expect a theme song like “Sur le Pont d’Avión (Avignon)” for this one – the show sounds much darker and more like a social clash drama that moves you to take a closer look at Galicia.

El capricho by Alberto Grondona
Synopsis: El capricho is a satirical historical comedy about three women vying for power at the 18th-century Spanish court: Queen María Luisa of Parma, the charismatic Duchess of Alba and the enlightened Duchess of Osuna. Their battles for influence, image and desire, in a Spain on the brink of collapse, are observed and narrated with fierce irony by Francisco de Goya, an uneasy witness who turns palace intrigue into a surprisingly contemporary mirror.
Takeaways: A female-led comedic Game of Thrones with Spanish fire and twists will surely turn heads – even if it may remind viewers of the end times.

Teléfonos fijos by Ángel Mirou
Synopsis: In the modest Recalde neighborhood of Bilbao, landline phones ring in the early hours, waking those who still have them installed in their homes. When they pick up, residents hear the voices of relatives, friends or acquaintances. The callers have only one thing in common: they are dead. Whether the calls are proof that something exists after death or an elaborate fraud based on cutting-edge technology, the lives of those involved will never be the same again.
Takeaways: I hear dead people. But in the age of tech scams and AI, can we trust my ears – or your eyes, for that matter!?

La edad menor by Roberto Osa
Synopsis: In a dystopian Madrid where children become the legal guardians of their parents, María confronts the system when her mother is admitted to La edad menor, an irreversible process of infantilization. While her brother is torn between his sister and power, a devastating secret will reveal that neither resistance nor sacrifice is enough to stop oblivion.
Takeaways: Power to the kids! You may look at politicians in your country and think this could actually work. But let’s be honest: there’s something that sounds worrisome, even sinister, about this synopsis. We’ll have to see what’s actually going on here.

Trueque by Pedro Pablo Picazo
Synopsis: Three families who are very close friends struggle daily with the teenagers at home. Each family has solutions for the others’ children. What if they swap them? What could possibly go wrong?
Takeaways: Forget Honey, I Shrunk the Kids! Here comes Honey, I Swapped the Kids.

Former To Catch a Predator host Chris Hansen was interviewed on his podcast Friday to give his unfiltered reaction to A24‘s unauthorized, dramatized film about parts of his life, Primetime, which he called overly dramatic, detached from reality, and a “fever dream” — while giving Robert Pattinson‘s performance a “D” grade.

Primetime, which opens Friday in the U.S., is set in 2006 and follows Pattinson’s fictionalized version of Hansen as the popular To Catch a Predator segment on NBC’s Dateline grows into its own primetime block on the network. On the show, Hansen blurred journalistic lines by working with law enforcement and the watchdog group Perverted Justice to intercept adult men as they arrived, unbeknownst to them, at a sting house to meet a minor they’d met online for sex. The men were typically arrested as a result. The series drew mixed reactions, with concerns about potential entrapment-law violations at the forefront of the criticism.

In a brief segment produced for his video podcast, Have a Seat with Chris Hansen, the former NBC News journalist is seen exiting a Times Square AMC after viewing the film for the first time at a Thursday night screening — his first look at the indie drama since its theatrical release. He’s then asked for his first reaction to the Lance Oppenheim-directed film.

“It’s hard for me to — obviously, I’m not a judge, because the character is based on me,” he said. “I think because the character is so detached from reality, from anything I’ve ever experienced then or now doing the investigations — I’m not sure what the point of it was.”

The rest of the podcast episode has Hansen discussing the film, its director and Pattinson’s portrayal of him with Fox News’ Jesse Watters. Hansen railed against the movie throughout.

Oppenheim has said he conceived Primetime after receiving a personalized Cameo video from the To Catch a Predator host. Hansen said on his podcast that he spoke to a mutual friend before seeing the film, and that Oppenheim told the friend it was “something to the effect of, ‘a love letter to Chris Hansen, and it gets a little weird in the storytelling.’”

Hansen also flagged inaccuracies in the fictionalized version of his life — including scenes involving Jeff Zucker and Stone Phillips that he insists never happened — and said absolutely nothing in the film was close to reality. He assured viewers he’s not the ratings-obsessed figure the script conjures. His biggest gripe, he said, is that the film portrays him as an aloof parent, which he says is far from how he relates to his kids. As for Pattinson’s take on Hansen circa 2006, Hansen had few kind words.

“He’s got work to do. I’m kind of the only guy that counts for this, right?” he said.

Days before seeing the movie, Hansen spoke with The Hollywood Reporter‘s Seth Abramovich about what he knew of the film. A24 hadn’t reached out to him or the production to explain the premise or ask for his input, he said.

“Based upon what I’ve seen in the trailer and my understanding of what’s been written about the film, they wanted to create something much darker and way more dramatic,” he said. “I think it’s an insult to the thousands of men and women who work hard every day to protect children from predators. They’ve turned something that is very positive, very challenging and not without risk into what is essentially a horror film.”

On Friday, after viewing Primetime, he doubled down with a direct swipe at Oppenheim.

“You have to question the motives of not coming forward and talking to me or anybody I’ve worked closely with over the years,” he said. “They didn’t want to hear that Chris Hansen is a good guy. They didn’t want to hear that this work is important. This director had a dark image of what he wanted to do. He wanted to create a horror-like film with interesting photography, and didn’t want to hear anything else.”

Hansen continues identifying and capturing potential child predators on Takedown with Chris Hansen. Earlier on Friday, Hansen’s TruBlu streaming network dropped the trailer for I’m Chris Hansen, a documentary centered around the host.