The first new series set in the (animated) world of Avatar: The Last Airbender in more than a decade has a premiere date.
Paramount+ will debut Avatar: Seven Havens on Oct. 9, the streamer announced Thursday. The news came during a Comic-Con panel devoted to the feature film Avatar Aang: The Last Airbender, which premieres on Paramount+ (and a handful of theaters for awards qualification) this weekend.
Seven Havens, from Avatar creators Michael Dante DiMartino and Bryan Konietzko, is set well after the events of sequel series The Legend of Korra. The show centers on a young Earthbender who discovers she’s the new Avatar, but that “marks her as humanity’s destroyer, not its savior,” according to the show’s logline. “Hunted by both human and spirit enemies, she and her long-lost twin must uncover their mysterious origins and save the Seven Havens before civilization’s last strongholds collapse.”
Along with the premiere date announcement, Paramount+ also released a teaser for Avatar: Seven Havens. Watch it below.
Seven Havensscored a series order in February 2025. It will premiere 21-plus years after the debut of Avatar: The Last Airbender, which ran from 2005-08 on Nickelodeon (and later spawned a live-action adaptation at Netflix) and 12 years after the end of The Legend of Korra, which ran from 2012-14.
The show’s voice cast features Saheli Khan, Aishu Devan, Akshay Khanna, Major Curda, Sakina Jaffrey, Darren Barnet, Dianne Doan and Dee Bradley Baker.
Nickelodeon and its Avatar Studios are producing Seven Havens, which has a 26-episode order. DiMartino and Konietzko executive produce with Ethan Spaulding. Sehaj Sethi is co-EP.
A legal fight has broken out over the administration of Chadwick Boseman‘s estate, with his parents looking to remove his widow from her role overseeing its assets.
Boseman’s parents, Leroy and Carolyn, accuse Simone Ledward Boseman of violating a court order mandating the distribution of funds and mismanaging the company that holds Chadwick’s rights and prior works. The petition filed in California state court asks to hold her in contempt and issue an injunction barring her from exercising unilateral control over estate property.
Boseman died in August 2020 from colon cancer without a will. Under California law, his estate was divided equally between Ledward Boseman and his parents, who each got 25 percent.
According to the petition, funds haven’t been fully disbursed. Ledward Boseman “has still not distributed the estate, nor has she filed a petition for discharge,” states the filing, which notes that she continues to exercise “complete control” while shutting the actor’s family out of decisions involving assets they also own.
There’s roughly $3.8 million in the estate, including cash, retirement accounts, a long-term care insurance policy and Chadwick Boseman Inc., the company that holds rights connected to the actor’s name and intellectual property.
The petition accuses Ledward Boseman of failing to transfer some of those assets owed to the family while neglecting to account for residual payments from SAG-AFTRA and a previously undisclosed bank account. The $40,000 insurance policy belonging to Carolyn under a 2022 court order, for example, was never distributed.
Also involved in the dispute: Boseman’s image and intellectual property rights. Those rights are managed by Chadwick Boseman Inc., with Ledward Boseman and the actor’s parents each owning 50 percent. The petition claims that Ledward Boseman has kept other family members in the dark regarding the company’s operations and appointed herself as CEO without holding board meetings. She’s allegedly used her control over the estate and the firm to enter into contracts assigning Chadwick’s rights and prior works, including a deal with Words + Pictures Productions for a documentary about the actor’s life. Another agreement involves a contract for production of “Deep Azure,” written by Chadwick.
“By holding herself out as the sole authority over Decedent’s assets, she is defrauding anyone she contracts with and puts those agreements at risk of recission,” the petition filed on July 17 states. “Meanwhile, Petitioners are blocked from pursuing lucrative business opportunities that might benefit Decedent’s elderly parents. Her continued control over the estate also sows distrust among the beneficiaries and harms the well-being of Decedent’s aging parents.”
In addition to seeking her removal as administrator, Boseman’s parent request an order requiring Ledward Boseman, who didn’t respond to a request for comment, to produce a complete accounting for every transaction made since she was appointed administrator in 2020.
Isabel Davis has been appointed the new director of the BFI National Lottery Filmmaking Funds. She’ll take over from Mia Bays later this year.
Davis will be responsible for managing an annual fund of £20 million ($26.6m), which will go into cultivating a culturally vibrant, inclusive and original independent film sector here in the U.K. Among the features backed by Bays in the post were 2025’s Kneecap, My Father’s Shadow, and Two Black Boys in Paradise.
She’ll join the BFI in October for a five-year fixed term after eight years as executive director of Screen Scotland, where she has championed the Scottish screen industry and “been central to its transformation and growth.”
Davis replaces Bays, who has led the fund since 2021. Bays caught up with The Hollywood Reporter just this year about being in the riskiest job in British film.
“I’m honored to be stepping into this role at a time when this public funding is critical to building a successful future for U.K. film and the public value it represents,” said Davis. “It’s a challenging moment for U.K. independent film, economically and structurally. But audience appetite for great stories, and for the communal experience of cinema-going, is strikingly resurgent and our filmmaking talent continues to be among the world’s best. Enabling filmmakers to produce work that connects with a broad range of audiences across the U.K. — through ambition, inventiveness and heart — has to be at the core of our response. Daunting, yes, but exciting too.”
“My excitement is tempered only by sadness at leaving Scotland, which I’ve been lucky enough to call home for much of my adult life, including through the creative upswing of the past eight years,” she added. “Huge thanks to my Screen Scotland teammates, whose talent, hard work and good nature serve our industry, audiences and young people to such positive effect, and to our colleagues at Creative Scotland for their support.”
Davis’ appointment follows a rigorous interview process, which saw a wide range and diverse pool of candidates considered. To ensure independent voices from industry contributed to the decision, external panelists on the interviews included producers and BFI board members Elizabeth Karlsen and Hakan Kousetta, producer Nicky Bentham as co-chair of Pact’s Film Producers’ Group, while CEO Ben Roberts and deputy CEO Harriet Finney were among those representing the BFI.
The exec joins during an exciting year for the BFI Filmmaking Fund, with titles announced this week to world premiere at major upcoming festivals: Our Share of Sand (Shalini Adnani) at Venice and Stuffed (Theo Rhys) at Toronto International Film Festival. The Incomer (Louis Paxton) opens the Edinburgh International Film Festival (EIFF) next month alongside Extra Geography (dir. Molly Manners), which both previously premiered at Sundance, and Out There (Simon Ryninks) will get its world premiere in Edinburgh’s competition selection.
Elsewhere, I See Building Fall Like Lightning (Clio Barnard) premiered in Cannes and won the People’s Choice award in Directors’ Fortnight, and Animol, from Adolescence‘s Ashley Walters, earned its world premiere at the Berlinale and won the FIPRESCI prize for best film. Lady (Olive Nwosu) screened in Sundance and won the special jury award for acting ensemble, while Ish (Imran Perretta) is released on Friday in cinemas U.K.-wide.
François Arnaud has been tapped as a global brand ambassador for Under Armour, the athletic apparel brand announced Thursday.
The Heated Rivalry star’s first order of business as an ambassador is leading the brand’s For When It’s Hot campaign, which was released alongside the news. Under Armour had teased Arnaud’s involvement with the brand earlier over the last week on social media. Arnaud also wore the brand in character as Scott Hunter in Heated Rivalry,
“If you’d told the skinny awkward kid I used to be that one day I’d be an ambassador for a sportswear brand, I would’ve laughed,” Arnaud said in a release.
“What makes this moment feel so special is that it’s reminder that we don’t always end up where we expect, and growth can look very different from what we imagined,” he continued. “Grateful and honored to partner with Under Armour who were willing to meet me right where I want to be.”
The new campaign celebrates the brand’s HeatGear line. It launches this week, as the brand notes it’s historically the hottest week of the year in North America. In the accompanying campaign spot, the actor is shown shirtless and putting on his Under Armour gear as temperatures continue to rise. A nearby woman snaps photos and videos of Arnaud as he works out, ending the spot shirtless again and cheekily throwing his shirt at the camera.
Under Armour believes that Arnaud reflects a “forever athlete” mindset and someone who’s constantly pursuing improvement on and off the screen, according to a release. “What drew us to François was more than his obvious talent and looks, it was what he represents. The character he portrays ultimately finds his greatest success when he stops trying to fit someone else’s mold and embraces who he truly is, Under Armour’s chief communications offer Matt Dornic said in a release. “That’s a lesson that resonates deeply with us.”
The executive continued, “The best athletes perform with confidence, conviction and authenticity, and we believe the strongest brands do too. As Under Armour continues to evolve, we’re focused on being unmistakably ourselves, and François embodies that mindset in everything he does.”
When Crystal Methyd decided she was ready to return to the RuPaul’s Drag Race franchise for All Stars season 11, she wasn’t going to let the crown slip through her fingers a second time.
Crystal joined the Drag Race Hall of Fame on Friday, successfully winning season 11. But this wasn’t the first time she found success on the show; in 2020, Crystal made her franchise debut on season 12 of the mainstay series. That’s also the year the COVID-19 pandemic rocked the world. While her season of RuPaul’s Drag Race premiered in late February, most of the installment aired during the first major lockdown.
Crystal made it to the final three of season 12, where Jaida Essence Hall was ultimately crowned the show’s winner, over Zoom. It took her six years to say yes to return to RuPaul’s Drag Race post-season 12, although she’s rumored to have said no to the opportunity to compete on All Stars a few times.
It was worth the wait. Crystal won RuPaul’s Drag Race All Stars season 11 on Friday. “I was so excited to finally come back,” she tells The Hollywood Reporter, “but I definitely wanted to make sure I had some time to cook, because I knew those expectations [after season 12] were going to be high, and I really wanted to be able to meet them.”
All Stars season 11 was partly the right time for Crystal to compete for a second time because she wanted to make sure she had the full RuGirl experience (traveling for gigs, attending watch parties with fans, etc.) that she lost during the pandemic.
“I felt like I was playing catch-up after my season,” she says. “I didn’t get to travel around. I didn’t have all the club experiences that a normal cast member would get, so I just wanted to have time, make sure I got every experience that I wanted.”
Amid the growth of the Drag Race franchise, some have argued the schedule of airing one All Stars installment each year should be reduced to once every few years. Although there were six years between Crystal’s RuPaul’s Drag Race season 12 and All Stars season 11 appearances, she doesn’t think the franchise should slow down its release schedule.
“I don’t think that we should ever have any pause in Drag Race,” Crystal says. “I think more drag is good for everyone.”
Below, Crystal reflects on what the first few days of being a RuPaul’s Drag Race All Stars winner have been like, the behind-the-scenes differences she felt between season 12 and All Stars 11, why she doesn’t mind the show’s bracket format and what it means to be the first person of Mexican descent to win the mainstay series.
What have the last few days been like for you since winning All Stars?
It has been really, really fun and wild. I got to be in Vegas for the last episode, and then I had a few days off, so I was living up my Vegas fantasy, staying at the club till six a.m., partying with my girls Kylie [Sonique Love] and Jaida. It’s been great. I’ve been feeling all the love from the fans and my friends, so I’m on top of the world.
Watching the show back, you don’t know who wins; you film two outcomes. What did it feel like when you finally heard RuPaul call your name and crown you?
It was really wild, because I’ve been close to winning before, and I think on season 12, I didn’t even want to win until I knew it was a possibility. And then I got really, really close, and when I didn’t win, I was, like, so sad. I remember closing my computer with our Zoom finale and crying all my makeup off. So this time, I didn’t want to get my hopes up either way because, you know, the show is unpredictable. You never know what could happen. So for it to all become a reality, it still didn’t feel real that day we found out. I think it took a couple days to hit.
Crystal Methyd wins ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
You were so beloved on season 12, and your All Stars return was long awaited. Because of the expectations that fans had for you going into the show and the fact that you took time off, you didn’t jump right back into All Stars. Did you feel any pressure going into your return or were you more excited?
I was so excited to finally come back, but yeah, I definitely wanted to make sure I had some time to cook because I knew those expectations were going to be high, and I really wanted to be able to meet them. And then at the same time, I felt like I was playing catch-up after my season. Like, I didn’t get to travel around. I didn’t have all the club experiences that a normal cast member would get, so I just wanted to have time, make sure I got every experience that I wanted, and to have some experiences that maybe not everyone had. I was so excited that I got to be in Slay, the Tubi movie, and actually have these experiences on a set where it’s not reality television. I was ready, though, for All Stars 11. It was like, I can’t wait any longer. We put it off for far too long.
Season 12 was still the VH1 era of Drag Race. Now, Drag Race is in this MTV-Paramount era. Is there anything you noticed that was different behind the scenes from competing on the show in season 12 versus All Stars 11?
The stage was insane this year for All Stars. Like, the way that it was video screens and stuff. It just felt like everything had become bigger since I was there. I was like, I don’t know if I’ve just shrunk or what, but it was the set and everything; it was just bigger, bigger, bigger, and I just feel so happy that Drag Race does continue to grow every year.
This was the second year of the bracket format. The season 11 cast had seen a little bit of what the bracket format was like with season 10, so were you excited to take on the brackets, or were you like, “Maybe we should do a regular format season?”
I was excited to do it because my drag sister Daya Betty competed on All Stars 10, so I kind of had a vague understanding of how it worked. But again, after the merge for our season of All Stars 11, the rules changed, so it still felt really exciting. When we were there, it was like, oh, we still actually don’t know what to expect.
Crystal Methyd’s Butter runway on ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
Do you think, moving forward with All Stars, that they should continue the bracket format?
I do think that it’s nice to guarantee queens a certain amount of episodes because it’s so heartbreaking to make all these beautiful gowns and things and then not even have the opportunity to showcase them. So I think that is definitely a really big perk, and I think that the social game aspect also is kind of a fun twist, because, you know, I almost didn’t make the merge because of all of the crazy twists and turns. It definitely adds excitement.
There’s always a conversation amongst viewers who think that All Stars should start taking years off so that they can give queens more time to grow. What is your take on that as someone who did wait longer to return?
Ooh, I don’t think that we should ever have any pause in Drag Race. I think more drag is good for everyone. But for me, I just wanted to take time off because I wanted to be able to show. It’s hard to have a bunch of growth when it’s only been a year, you know. So you have to travel around, meet those connections, and make that money to be able to invest back into yourself.
Fans have pointed out now, with your track record on All Stars 11, you have one of the best track records across all of the Drag Race franchise. Did you know that? Do you pay attention to that chatter about track records?
I don’t really know. I feel like track records don’t matter to me. But, wow! Oh my God, honored! I’m honored.
What does it mean for you to know that you rank so high in terms of performances on the show?
I mean, I think it just makes me feel good for the fact that, like, I didn’t realize my first season that Ru wanted to build a connection with me. Like, you know, with him calling me El Debarge and joking with me. I think I was so starstruck the whole time. When he was around, I just kind of would smile and toss my hair; like, I didn’t know what else to say. So I was excited to come back for All Stars and be able to be prepared to banter with Ru, because she wants to have fun, she wants to joke around and play, and I felt like I was at the point where I was ready to play with Ru, and so I think that’s why I ended up with those wins. It’s like, she was having fun, and that’s why she was loving it.
One of those challenges that queens do get to banter with Ru is the Snatch Game. There was no Snatch Game this season. What was your take on that?
You know, I had a terrible Snatch Game my season, so I’m not, like, heartbroken about it. But I was wanting to have a little bit of a redemption there. I would have loved to take on another Snatch Game. So maybe we’ll just have to wait for All Winners 2.
Did you prepare somebody for Snatch Game? Did you have somebody ready that you were going to do, and can you share who?
I’ve prepared, like, ideas, just in case in the past. I’ve never fully committed to anything all the way, but I was thinking a historical figure like Martha Washington or something could work.
Crystal Methyd and Joey Jay on ‘RuPaul’s Drag Race All Stars’ season 11.
Paramount+
You are the first winner of the main U.S. iteration of RuPaul’s Drag Race of Mexican descent. What does that mean for you to win the title in the time that we are currently politically?
I think it’s perfect timing. I’m so glad that it’s happening now. I feel so honored to be able to represent for all the Mexicans out there. I just got to be in Mexico for Pride, and it was just so, so magical. I felt so much of the love, and I can’t wait to go back and bring them the crown, you know?
What do you hope is to come for your year as the reigning winner of RuPaul’s Drag Race All Stars?
Oh my gosh! Well, I’m just excited to continue doing the unhinged drag that I do and maxing it up even more. I actually just announced my one-woman show. So spring of 2027, a stage show, all me, dancers, puppets, all my ideas. It’s going to be crazy and magical, and I’m so excited to start working on it.
***
RuPaul’s Drag Race All Stars season 11 is streaming on Paramount+.
Almost exactly six years after NBCUniversal first launched Peacock, the streaming service reported its first ever profitable quarter.
Comcast reported its Q2 earnings early Thursday, with EBTIDA of $189 million, and subscribers growing to 48 million, driven by the NBA playoffs, FIFA World Cup, and Love Island.
Overall, Comcast’s content and experiences businesses reported revenue of $10.7 billion, up 22.9 percent from a year ago, and adjusted EBITA of $1.3 billion, up 7.1 percent.
Media revenue was $5.7 billion, up 25 percent, with adjusted EBITDA of $708 million. The FIFA World Cup, for which Telemundo had Spanish-language rights, brought in an astonishing $440 million in incremental revenue in the quarter, but the company would have been up regardless.
Driven by the Super Mario Galaxy Movie and Obsession, studios revenue soared 25 percent to $3 billion, with adjusted EBITDA of $202 million.
That said, Comcast warned that its theme parks business is experiencing softness, even with revenue rising 2.7 percent to $2.4 billion. Adjusted EBITDA was down 5.1 percent to $609 million.
“While we are seeing some near-term softness in Theme Parks, we remain confident in the long-term opportunity, supported by our world-class brands, attractive locations and proven ability to create attractions and experiences that drive real consumer demand,” Brian Roberts and Mike Cavanagh said in a statement.
Comcast is in the process of splitting itself in two, separating its Comcast cable and connectivity business, which will be led by CEO Michael Angelakis and its entertainment and content business, which will be led by Cavanagh.
Comcast overall is in the midst of a transition, led by its connectivity business, which has seen softness in an extremely competitive environment. Comcast as a whole reported revenue of $29.9 billion, down 1.2%, and adjusted EBITDA of $8.9 billion, down 13%. Comcast’s connectivity business is executing on its “strategic pivot,” the executives said, with results expected by next quarter,
Spanish-language media giant TelevisaUnivision reported a 29 percent U.S. advertising revenue drop and an 11 percent total U.S. revenue decline to $722 million in the second quarter when NBCUniversal’s Telemundo, its rival, featured the Spanish-language rights to the 2026 FIFA World Cup.
The U.S. ad results reflected “cyclical softness in our business from competitive sports programming,” the company said. “In Mexico, advertising revenue increased 23 percent to $353 million, driven by the FIFA World Cup.”
Total company revenue in the second quarter grew 10 percent to $1.3 billion, “driven by 53 percent growth in Mexico following a record-breaking FIFA World Cup performance that reached 675 million total viewers across linear and [streamer] ViX,” said TelevisaUnivision. But its operating Income dropped to $224 million from $241 million, while adjusted OIBDA of $388 million was down from $398 million in the year-ago period.
Total quarterly subscription and licensing revenue jumped 40 percent to $621 million, “driven by approximately $90 million in revenue attributable to sublicensing the FIFA World Cup rights in other Spanish-speaking Latin American countries, the expansion of ViX’s premium tier and higher linear distribution revenue,” the company said. “In the U.S., it grew 8 percent to $377 million, driven by growth in ViX’s premium tiers, the company’s partnership with Hulu Live TV and higher average rates. In Mexico, it grew 157 percent to $245 million, driven by strong content licensing revenue and growth in ViX’s premium tier.”
Operating expenses increased 16 percent, or 11 percent when excluding foreign exchange impacts, “mainly driven by sports costs associated with the FIFA World Cup,” the firm said. The higher expenses hit the bottom line.
“TelevisaUnivision delivered solid second-quarter financial results, driven by the record-breaking success of our FIFA World Cup coverage,” said Daniel Alegre, CEO of TelevisaUnivision. “The tournament reinforced why soccer is a cornerstone of our strategy and why we are the ‘home of soccer’ for Hispanics. Sports, together with our continued investments in live events and premium entertainment, ensure that we remain the destination for culturally relevant moments that matter.”
Concluded the CEO: “Combined with our unique connection to our audience and the importance of our platforms heading into the U.S. election cycle, this momentum positions us well to drive sustained profitability while creating even greater value for our audiences, advertisers, and partners.”
Christopher Nolan’s The Odyssey, shot entirely on Imax film cameras and seen by cinema-goers on Imax premium large format screens, helps explain the lift the film technologies company received from Hollywood’s premium screen gold rush with its second quarter financial results out on Thursday.
Imax had revenue of $102.8 million in the quarter, up 12 percent from $91.7 million in the year-ago period, while net income rose 30 percent to $15.9 million, compared to a year-earlier $12 million. The adjusted earnings per-share hit 43 cents, up 65 percent against a year-earlier 26 cents.
As Imax navigates a post-pandemic box office rebound for the Hollywood studios, the company’s main movie suppliers, the film technologies company is spearheading a push by major exhibitors into in-demand premium screens and movies shot with proprietary Imax cameras like The Odyssey.
And The Odyssey is proving as transformational for Imax on its giant screens as James Cameron’s Avatar franchise was in earlier business cycles, both in global audience and theatre network sales. That’s feeding through to Imax’s bottom line.
Second quarter content solutions revenues — or business from agreements with the major studios and filmmakers rose 2 percent to $35 million, while the latest quarter’s technology products and services revenues, or the proceeds from the sale, lease and maintenance of Imax’s theater systems network, rose 16 percent to $65 million.
Imax also has momentum in the current third quarter after The Odyssey delivered a record worldwide opening weekend for Imax at $52 million in box office and around 20 percent of the global first weekend ticket receipts.
“As we enter the second half of 2026, Christopher Nolan’s breathtaking The Odyssey — the first-ever full-length theatrical release filmed entirely with Imax film cameras — is emerging as a transformational event for Imax, as the purest and most complete expression yet of the power of our global platform,” Rich Gelfond, CEO of Imax, said in a statement that accompanied his latest financial results.
Can you be happily married while leading a double life? Especially if that double life involves another person? One way to explore that question is to watch Kate, the protagonist of Brave New Love, the new feature film from writer-director Maria Bäck (I Remember When I Die, Psychosis in Stockholm) that will world premiere on Aug. 9 in the international competition of the 79th edition of the Locarno Film Festival in Switzerland.
But be warned: things may get awkward at times.
After all, Kate, a hypnotherapist, lives happily with her husband, Orla, and their daughter, Athena. But she also shares a secret romantic relationship with another man, Andreas. “After years of secrecy, the fragile balance of her double life begins to unravel,” reads a synopsis. “As a role model to her daughter, she struggles to navigate her existential quest – a journey filled with body fluids, intimacy, Greek mythology, laughter, madness, and clumsiness.” In the process, Kate struggles to redefine love.
Kathrine Thorborg Johansen (Post Mortem: No One Dies in Skarnes) stars as Kate, Simon Sears (Shadow and Bone) is husband Orla, and Anders Danielsen Lie (Sentimental Value, Everybody Digs Bill Evans, The Worst Person in the World) portrays Andreas. Young Noemi Carbone Mannov plays Athena, and Angeliki Papoulia (Dogtooth, The Lobster) also features in the cast.
Produced by Anna-Maria Kantarius, Brave New Love features cinematography by Maria Von Hausswolff, with editing handled by Julius Krebs Damsbo. Reinvent Yellow is in charge of International sales.
“There are so many rules and inherited expectations attached to love,” Bäck says about the film. “I wanted to explore these often absurd ideas through wit and sensuality, and create a mirror for the loneliness and power of a heart set on fire.”
THR can now exclusively premiere a clip from Brave New Love that introduces you to Kate in a scene that is likely to take your breath away – and not necessarily in the way you may expect.
You might remember that Madonna, in her 1998 hit “Frozen,” sang: “Love is a bird; she needs to fly.” Well, the scene here fits in with that line – but again, not necessarily in the way you may expect. Watch the exclusive clip from Brave New Love right here.
The superstar comedian announced a unique new venture, Suite Rife On Deck, a comedy cruise featuring some of his stand-up pals on board for a four-night voyage setting sail from Miami with a stop in Grand Turk from Feb. 10-14, 2027. The cruise will take place on MSC Poesia.
The comedy cruise has already booked performances from Craig Robinson, Nate Jackson, Lukas Zelnick, Erik Griffin, Finesse Mitchell, Shapel Lacey, Ian Edwards, April Macie, Paul Elia, Martin Amini, David Lucas, Jackson McQueen, Clayton Thomas, Janet McNamara, Erica Rhodes, Cam Bertrand, Matt Lopes and Doug Key. But it won’t just be jokes on stage as there will be live music from Blake Whiten and DJ sets from Cosmo Baker, DJ Rock and DJ Spider.
“All right guys, I have been thinking about this for a very long time and it’s finally coming to life,” Rife said in a new video posted Tuesday on Instagram. He promised great comedians, great musicians, great people — only. “Only cool people, only good vibes.”
Rife also promised “infinite activities on this boat,” like a “welcome roast toast,” a swimsuit competition with prizes, a talent show with prizes, movie nights, an all-star comedians basketball game and more. Registration is now open with packages set to go on sale Tuesday, July 28. Added bonus: The first 500 cabins booked will include an onboard meet and greet and photo opportunity with Rife. The full schedule will be announced soon.
The voyage is mounted in partnership with experiential events and hospitality company 100x Hospitality with travel & production services provided by Cloud 9 Adventures. “Suite Rife On Deck is about creating an experience that goes far beyond a comedy show, giving fans the opportunity to spend four unforgettable days immersed in Matt’s world. We’re excited to partner with Matt and Cloud 9 Adventures to bring people together through comedy, connection, and a truly unique vacation experience,” offered 100x Hospitality CEO Dan Berkowitz.
Up next, Rife will star opposite Owen Wilson in the R-rated comedy, Rolling Loud, that hits theaters on Oct. 2. He will also costar Julia Garner in Netflix’s limited series, The Altruists, which is based on the collapse of the FTX crypto currency exchange
