ScreamWire Daily

MBC Studios is rolling a Saudi-focused slate led by high-end horror Traveller’s Hell, a theatrical MENA release this year; Traveller’s Hell adapts best-seller by Osamah Almuslim and boards director Hana Al Omair; MBC plans further Almuslim adaptations including Spider’s Web (production targeted Q4 2026) and a Khawf-based fantasy series, signaling continued Saudi investment in local genre IP and mid-budget, regionally-tailored theatrical strategy after a costly Desert Warrior miss.

Lionsgate confirms active work on a Michael sequel, repeats the 25–30% already-shot figure and positions the franchise as a material contributor to studio box office and profit growth after Michael and The Housemaid boosted motion picture revenues.

Dario Argento and Rome-based Mattia's Film announced a three-picture thriller slate at the Marché du Film Fantastic Pavilion with Neo Art handling international sales; first film Flesh of My Flesh is shooting near Rome, second (The Girl with Crystal Eyes) slated to begin production autumn 2026, and third (The Black Velvet Mask) scheduled for 2027 across multiple European territories and languages.

Guneet Monga Kapoor is pivoting into women-led genre franchises and gaming as producer and founder of Women in Film India; she has a Jio Studios deal, is financing a Tamil-language film outright, has a Sept. 11 release Udta Teer co-produced with Dharma, and says three films (including a slasher and a natural-disaster picture) will go into production within a year while other genre projects sit in deal-closing stages.

MBC Studios greenlit high-end Saudi horror Travellers' Hell, adapting Osamah Almuslim's bestseller with Hana Al Omair directing and a theatrical MENA release set for this year; MBC also plans another Almuslim adaptation, Spider's Web, with production slated for Q4 2026, marking expanded Saudi investment in local genre features.

Prime Video’s Life Is Strange series adds Owen Teague, Tom Cullen, Leisha Hailey and Raúl Castillo to the cast, joining leads Maisy Stella and Tatum Grace Hopkins; casting fills key ensemble roles and sharpens the show’s sellability to international buyers and genre audiences ahead of production.

Lionsgate; studio confirms active progress on a Michael Jackson follow-up with roughly 25–30% of sequel material already shot after reworking the original third act; original film grossed over $713M worldwide and studio is in discussions about creative options and director availability.

Dario Argento; announced a new horror trilogy titled Flesh of My Flesh with himself producing; trilogy centers on intersecting maternal narratives and signals veteran auteur activity returning to production after festival recognition.

Producer Steven Schneider (Spooky Pictures) boards Henry Chaisson’s debut horror Recluse as executive producer ahead of its world premiere in Tribeca’s Escape From Tribeca strand; Blue Finch Films is handling world sales, positioning the title for festival-driven buyer interest.

Netflix is developing a remake of Steve McQueen’s The Getaway with Philip Barantini attached to direct and Peter Craig scripting; project positioned as a gritty crime thriller with casting and release strategy (theatrical vs. streaming) undecided and production delayed by Barantini’s existing commitments.

Bong Joon-ho; first feature-length animation Ally aims for production wrap in H1 2027; CJ ENM, Pench K‑Content Investment Fund and Pathé co-invest/distribute with Barunson E&A producing; large multinational team across 12 countries and co-writer Yoo Jae-sun attached.

Bill Lawrence’s Doozer Productions has optioned Steven Rowley’s book Take Me With You with Warner Bros. Television attached to develop a seriocomic pilot; Lawrence is EP with no writer or network yet attached.

Kelli Berglund cast as series regular Cheyenne in Hulu’s Prison Break reboot, replacing Priscilla Delgado from the pilot; showruns Elgin James with 20th Television producing and exec producers including Dawn Olmstead, Paul Scheuring and Neal Moritz attached.

Gary Dauberman is developing Rest Stop with writer Nat Cassidy; project signals Dauberman continuing to expand his producing/writing horror slate and creates a new IP pipeline likely targeting streamer or genre festival sales.

Rebecca Hall, Gael García Bernal, Noomi Rapace and Beanie Feldstein board Maria Martínez Bayona’s first feature The End Of It; produced by Elation Pictures, Fasten Films and Eye Eye Pictures with development support from BBC Film and iFeatures; Bankside Films handles international sales (ex‑Latin America) and WME Independent represents North America.

Warner Bros; Tom Holland/Christopher Storer/David Heyman–voiced Lincoln Highway adaptation is in development limbo after the studio deprioritized the project; stalled status raises packaging and production risk for a high-profile literary adaptation.

Jaume Collet-Serra is directing a Cliffhanger reboot starring Pierce Brosnan and Lily James with Neon/Decal set to handle distribution; multiple production companies including Row K and producers Neal Moritz and Toby Jaffee are attached, indicating a broad financier/packaging approach for a summer release.

Lionsgate confirmed a Michael sequel is being developed; executives say the follow-up could be non-linear, will cover later chapters of Jackson’s life and catalogue, and could cut costs by incorporating previously filmed material estimated at 25–30% of the sequel.

Lionsgate confirmed a Michael sequel is in active development; studio executives say the project could repurpose cut material from the first film (estimated 25–30% of footage) and will pursue narrative options across Jackson’s later catalog and career.

Leos Carax boards Jenna Ortega as lead on Lily May B; auteur feature slated to begin shooting early 2027, signaling Ortega's push into art-house cinema beyond her horror track record.

Elli Films confirms UK one‑night Q&A theatrical dates for Marianna Dean’s time‑loop sci‑fi Voidance following its European premiere; digital release windows set for late May across UK/Ireland (May 25), US/Canada (May 26) and Australia/NZ (May 27).

Mad Cave Entertainment greenlights Lazarus Order from Sloane Morgan Siegel, Benjamin J. Stockham, and Juan Doe; series premise centers on a religious order of plague doctors fighting monsters, positioning a fresh genre IP with potential for adaptation and licensing.

20th Century Studios has locked Radio Silence to direct and produce a major feature adaptation of the Choose Your Own Adventure franchise with Tom Bissell writing; the move is the first big theatrical take on the gamebook IP and plays to Radio Silence’s success reviving genre tentpoles.

Lionsgate reported a swing to $70M net profit for the quarter as The Housemaid grossed nearly $400M worldwide and became Starz’s top pay-one title, prompting the studio to schedule sequel The Housemaid’s Secret for Dec. 17, 2027 and cite stronger ancillary performance.

Sony Pictures’ Skeletons adds Kyle Gallner opposite Brie Larson with JT Mollner directing and J.J. Abrams producing via Bad Robot; FilmNation’s Infrared is financing, worldwide rights were picked up at the European Film Market, and the script originates from Brian Duffield adapting a Philip Fracassi story—package signals a mid/upper-tier studio-backed creature-horror production.

Paramount has acquired screen rights to adapt Connie, Adriana Trigiani’s authorized follow-up to The Godfather, and will develop a female‑POV Corleone feature to coincide with the book's 2027 release; Coppola is unlikely to be involved and the move marks the first cinematic expansion of the franchise since 1990.

Prison Break reboot will base production in Los Angeles after securing $18.9M in California tax credits; 20th Television/Hulu plan a 63-day shoot with projected spend of $53.2M, employing roughly 175 cast and 225 crew, shifting main production from its pilot shoot in West Virginia to Radford Studio Center.

Kerry Washington signed to star and EP Hulu's adaptation of Wendy Walker's What Remains with McG directing and Chris Luccy developing; 20th Television and Kapital Entertainment producing, reinforcing Hulu's star-led thriller development slate.

After the Michael biopic grossed over $715M worldwide, Lionsgate is moving forward with a sequel in development; studio is capitalizing on blockbuster biopic returns though details and timeline remain unannounced.

Yeon Sang-ho’s zombie thriller Colony opened in South Korea with 199,768 admissions on opening day—the biggest opening-day of the year and ahead of The Devil Wears Prada 2; Well Go USA secured US theatrical rights with an August 28, 2026 release, indicating strong international market momentum for Korean genre titles.

Los Angeles mayor Karen Bass is campaigning on production retention measures and crew-friendly policies after installing an industry council and issuing executive orders to cut red tape; Bass celebrates support from Hollywood unions and backs uncapping California’s film & TV tax credit while advocating for a new federal film incentive, framing municipal leadership as a counter to runaway production exodus.

Film financiers at the American Pavilion in Cannes argue the product has shifted from films to ongoing audience relationships; panels stressed subscription/engagement metrics over box-office-only valuations and signaled changing underwriting criteria for projects and slates going forward.

Netflix has taken U.S. rights to Romain Gavras’ English-language eco-satire Sacrifice starring Anya Taylor‑Joy and Chris Evans; multiple international buyers already closed in Cannes and Rocket Science handled sales, with theatrical corridors expected for overseas distributors ahead of a late-summer/fall stateside release.

Radio Silence will helm 20th Century Studios' Choose Your Own Adventure adaptation with Tom Bissell scripting; studio is adapting the interactive Bantam book series into a potential franchise blending adventure and horror.

European film bodies are calling for EU antitrust scrutiny of the proposed Warner Bros.-Paramount deal, raising potential regulatory headwinds that could reshape studio consolidation and rights/windows structures in the European market if investigations proceed.

Frontières is partnering with TIFFCOM to launch a Tokyo gap‑financing program at the Tokyo Gap Financing Market this October; the curated showcase will target international horror/sci‑fi/fantasy/action/animation projects seeking up to 40% gap financing, with submissions open May 22–July 21 and one‑to‑one meetings with producers, financiers and platforms.

Netflix hired Gabriella Carriere as Director of Content Programming Strategy & Operations for Spain, Italy and France from Fremantle, signaling strengthened regional commissioning and strategy in three key European markets under Netflix EMEA’s content programming leadership.

Pre-production starts next week on Sean Byrne’s thriller The Mannequin; Lili Reinhart and Melissa Leo lead a Canadian–Australian co‑production produced by Page 12/Triptych with Studiocanal’s Sixth Dimension handling worldwide sales and theatrical in multiple European territories, IFC holds U.S. rights and Elevation Pictures Canada.

Low-budget horror Obsession topped the domestic box office on Monday with $2.9M on a reported $750K budget, marking the smallest-budget film to lead in 17 years and signaling strong word-of-mouth upside and high ROI for micro-budget horror.

Athletes James Harden and Carmelo Anthony are deploying AI-native studios to create owned short-form IP and anime-style content directly to fans, demonstrating a fast, low-cost route to test IP and challenging Hollywood's traditional gatekeeping for character-driven franchises.

Paramount+; Scream 7 debuts on Paramount+ in US/Canada May 28 following a $214M global theatrical run; service bundles franchise library and behind-the-scenes extras to strengthen horror catalog and retention ahead of summer.

More than 40 advocacy organizations including GLAAD, HRC and PFLAG filed comments with the FCC opposing a proposal to require warning labels specifically for programming with LGBTQ characters/themes; the coalition warns the move would be discriminatory, set a dangerous precedent, and cedes parental‑content decisions to regulators.

Estonia is pushing to triple its film industry in five years with two new soundstage complexes and a raised cash rebate now at 40%; government backing, LEED Gold–targeted facilities, and a production-friendly regulatory stance position Estonia as a growing Nordic-Baltic production hub for big international shoots.

Xavier Becerra proposes a California Content Performance Disclosure requirement to force streamers to share standardized viewership/performance data with creators and crew and suggests tying disclosure to tax-credit or permitting incentives; he also proposes a California Entertainment Summit to produce binding action plans on job loss and production leakage.

NEON and ROW K are in distribution talks for festival titles, indicating active acquisitive positioning ahead of summer releases; IMAX is exploring a potential sale of its large-format exhibition business, a move that could reshape premium-theatrical infrastruture and buyer appetite for spectacle-driven genre titles.

Sofa DGTL will launch 16 ad-supported FAST channels on YouTube across Brazil, Latin America, the U.S. and Portugal starting around Rio2C 2026; channel slate includes genre-targeted feeds such as Adrenalina Pura TV – Halloween (horror, thriller, true crime), Cinépolis Channel for U.S. Hispanics, and partnerships with Cinépolis and Porta dos Fundos; channels will use Dynamic Ad Insertion to monetize and aim to pull ad dollars from free-to-air broadcasters.

Showrunners at TheWrap’s industry breakfast pushed back on AI replacing writers and shared tactics for avoiding sophomore slumps; panel highlighted rising genre blends on streaming with Katie Dippold calling horror-comedy’s tonal tightrope a production pressure point.

BIFAN opens its NAFF Project Market with a full genre-focused lineup that assembles directors and projects that played Sundance and Cannes; programming signals growing international cross-pollination for Asia-Pacific genre projects and fresh marketing opportunities for producers seeking sales and co-pro partners in 2026.

IMAX is in preliminary discussions to gauge interest in a potential sale, sparking a >10% stock jump; company positions itself as a strategic theatrical asset globally amid strong box-office contribution from blockbuster tentpoles and expansion into India.

Amazon MGM Studios' Tom Clancy feature Tom Clancy’s Jack Ryan: Ghost War filmed key sequences in Dubai with Dubai Media Council and Dubai Film Development Committee support; production used landmark locations and local infrastructure, underscoring Dubai's push to court big-studio shoots and streamline permitting for international tentpoles.

CRTC updated consumer premises equipment (CPE) rules and eliminated the previously mandated PNI framework; regulatory change alters how Canadian distributors and broadcasters manage customer equipment and could affect carriage, billing and regional platform compliance for streaming and linear services.

CRTC sets a revised Canadian Programming Expenditures framework; companies with >=$25M Canadian broadcasting revenue face a 25% CPE requirement while online streaming services get a 15% floor; large players (>=$100M) must dedicate funds to French/OLMC programming and contribute 1.55% of audiovisual revenues to a new Services of Exceptional Importance Fund, with discoverability reporting and a three-year review cadence.

Deadline adds a true-crime panel to its Reality TV Summit at SXSW London on June 2 featuring Emilia Fox, criminologist David Wilson, producer Felicity Morris and Sky commissioner Bruce Fletcher; session signals continued platform interest in premium true-crime unscripted and commissioning focus from UK broadcasters.

UK government will cut VAT on children’s cinema tickets from 20% to 5% between June 25 and September 2; exhibitors and bodies including Picturehouse, Watershed and the BFI welcome the move but note short notice, operational questions, and calls for longer-term relief.

Early summer box-office trends show franchise and auteur titles (Marvel, Nolan, Spielberg) driving robust pre-Memorial Day returns, suggesting a potential rebound to 2019-level seasonal grosses and creating stronger exhibition leverage for wide-release genre tentpoles.

CJ ENM flagged quarter-by-quarter revenue mix pressure from advertising even as studios and streaming investments drive content-production growth; investor guidance underscores global licensing and platform strategy as core drivers for monetizing K-content.

Raven Banner Entertainment boarded Tyler Savage’s Oddities for sales representation; the acquisition arms the title with an established genre sales agent ahead of festival runs and international buyer outreach.

BOOM! Studios is reprinting three classic Clive Barker Hellraiser comics; move reinforces legacy IP monetization strategy and creates fresh tie-in publishing ahead of potential screen adaptations or merch windows.

Make Believe launches an AI media lab led by Ben Relles with Reid Hoffman as an investor; studio-grade real‑time video avatars and interactive-video tools are being built for conversational experiences and the company already has a development deal with A+E Networks’ History Channel; positions interactive AI video as a potential new format that could change creator-to-audience product and licensing opportunities.

Quiver Distribution acquired North American digital rights to Pavan Moodi's Middle Life; Vertigo Releasing picked up Nirvanna for the U.K. and Ireland; additional regional deals closed with Big Time Decent, Elevation and VVS Films indicating continued boutique distributor activity for indie titles.

Tubi reported 97M monthly active users and 10B annual streaming hours, driven by younger, multicultural viewers and a growing slate of 300+ originals where nearly 25% of viewers watch Tubi Originals; the metrics bolster ad-supported VOD's scale and position Tubi as a viable free-window outlet for genre and indie films targeting Gen Z/millennial audiences.

MUBI has selected Bitmovin as its cloud VOD encoding partner; Bitmovin will replace MUBI’s legacy on‑premises encoder with a managed cloud service supporting 3‑pass encoding, UHD and a multi‑codec strategy (AVC, HEVC, AV1) plus HDR; signals MUBI is prioritising AV1/HDR optimisation and modernising its streaming infrastructure.

BBC has commissioned a multi-season Poirot TV adaptation; Benji Walters boards as writer with filming set to start in Liverpool and northwest England this summer; network won rights via competitive bid and plans at least three seasons with release beginning H2 2027.

CAA and Finch & Partners hosted a Future of Film symposium at Cannes gathering top filmmakers and studio execs to debate theatrical windows, AI, financing and attention economy; the event signals agency-led efforts to shape festival-to-market strategies and to export the format to other cultural gatherings.

Spotify is pivoting into AI-driven content generation and personalized, AI-created podcasts and audio products as part of a plan to reach 1 billion users by 2030; the company will expand add-on subscriptions, invest in AI R&D and may allocate capital to M&A to grow audiobooks and AI-produced audio offerings.

Mike Richards is CEO of The Daily Wire following Caleb Robinson’s resignation; Richards signals audience-first programming and confirms Jonathan Majors is attached to a sequel to The Daily Wire’s Run Hide Fight, underscoring the outlet’s continued pivot into subscription video and in-house film production.

Fremantle inks a YouTube content partnership with PBS Distribution and acquires a stake in Craft Films to boost digital-first distribution and creator-led channels; move signals traditional broadcasters shifting investment into ad-supported digital distribution and boutique production partners.

Prem Gill will depart Creative BC in June; the exit creates a vacancy at the provincial screen agency that could affect local incentive administration and project approvals until a successor is named.

Bell Media is repositioning Crave as an all-day platform by adding live sports, news hubs and a slate of video podcasts (English and French) to increase daily engagement and reduce churn; move signals streamer diversification beyond purely on-demand film/TV to live and audio-visual formats in Canada.

Elástica Films sets an October 2026 Spanish release for Cannes competition title La Bola Negra; Movistar Plus+ is an original producer, Le Pacte holds French distribution rights and Goodfellas is handling international sales after the Cannes premiere.

Clio Barnard’s I See Buildings Fall Like Lightning wins Directors’ Fortnight People’s Choice Award and a €7,500 bursary; Curzon holds UK distribution and Charades handles world sales, signaling market interest post-Cannes.

Spooky Pictures exec Steven Schneider boarded Henry Chaisson’s sound-driven horror Recluse as EP with Blue Finch Films handling world sales; the film world premieres in Tribeca’s Escape From Tribeca strand, positioning it for festival-driven sales and boutique-distributor pickup given Schneider/Roy Lee’s low-budget genre label track record.

Cannes Marché du Film closed with high‑value acquisitions: Netflix paid roughly $5M for French animation In Waves and A24 paid $17M for Jordan Firstman’s Club Kid, while Amazon picked up Mimi Cave’s Pumping Black; Warner Bros’ Clockworks is in late talks for Park Chan‑wook’s The Brigands of Rattlecreek, underscoring aggressive festival buying and streamer/studio competition.

Che Guevara: The Last Companions — a documentary from Pentacle Productions directed by Christophe Dimitri Réveille — premiered at Cannes after a 22-year production process that relied on locating surviving guerrillas and securing additional financing to support animation sequences; film frames archival gaps with animation and includes interviews with both allies and opponents, positioning it for international festival and specialist documentary sales.

Lukas Dhont’s Cannes Competition entry Coward will be distributed in Benelux by Lumière and in France by Diaphana, with MUBI acquiring rights across major European territories plus Latin America, Australia and New Zealand, underscoring MUBI’s continued strategy of securing auteur festival titles for broad international SVOD windows.

Italian Global Series Festival (IGS) is expanding its second edition July 3–11 in Rimini and Riccione; jury presidents include Nicholas Meyer (limited series), Marti Noxon (drama) and Bruno Gouery (comedy), and the festival is positioning itself as a market-facing rival to established TV festivals with free public programming and industry outreach to boost Italian TV exports.

Sarah Arnold’s debut Too Many Beasts won the Europa Cinemas Label at Directors’ Fortnight, unlocking Europa Cinemas exhibition support and promotional incentives to extend European theatrical runs and improve exhibitor uptake for the genre-blending title.

The President’s Cake; micro-grant and mixed institutional financing built an aggressively independent production shot in Iraq with local non-professional cast; film won Cannes Caméra d’Or and Audience Award, boosting festival profile and marketability after Sundance Labs development.

La Gradiva won Critics’ Week Grand Prix at Cannes and secured U.S. distribution via 1-2-Special; the debut feature from Marine Atlan arrives with Cannes buzz that enhances its commercial prospects for a summer art-house release.

Portland Horror Film Festival set its 11th edition for June 3–7, 2026 with in-person and virtual programs; lineup signals continued regional festival demand for indie scare fare and provides a market venue for North American genre filmmakers seeking visibility and potential buyers.

New York Asian Film Festival will open with Yeon Sang-ho’s Colony; the selection underscores continued U.S. festival demand for high-profile Asian genre auteurs and creates a market premiere platform for international buyers.

Film at Lincoln Center rolls out its 25th Open Roads: New Italian Cinema showcase May 28–June 4 with 15 features, nine North American premieres and filmmaker appearances, signaling continued US programming demand for contemporary Italian titles and potential North American sales opportunities.

The Match Factory has sold Oliver Laxe's Cannes Jury Prize winner Sirat to multiple international territories following its festival run; festival prize drove market momentum and territory deals ahead of wider rollout.

Skybound and Hasbro are releasing a deluxe hardcover collection of G.I. JOE: A Real American Hero Book 1 collecting issues #301–310 with Larry Hama and art by Chris Mooneyham and Paul Pelletier; SRP set at $49.99 and dual release windows for comic shops and wide booksellers/digital platforms target April–May 2026 retail cycles.

Bleeker Street closed U.S. distribution rights to Victorian Psycho after A24 departed the project; premiered to strong Cannes response and will release this Autumn; Warwick cast includes Maika Monroe, Jason Isaacs, Ruth Wilson and Thomasin McKenzie, signalling an upscale festival-to-theatrical play for a literary-adaptation gothic horror-comedy.

Amazon MGM and Sony Pictures Television rolled out the first trailer for Vought Rising, a 1950s-set The Boys prequel starring and produced by Jensen Ackles that charts Soldier Boy’s origin and names Paul Grellong as showrunner; the series is produced with Point Grey, Original Film and a wide EP roster and is slated for a 2027 release, signaling Amazon’s continued expansion of the Vought Cinematic Universe.

Ryan Spindell and Cullen Bunn are attached to adapt Scott Hampton’s graphic novel The Upturned Stone into a feature; Spindell will write and direct from a screenplay by Bunn, signaling a genre-forward graphic-novel-to-film play with known horror creators attached and IP readying for development.

Peacock sets June 26 premiere for Blumhouse-produced R-rated thriller Strung; Malcolm D. Lee directs from an Alan McElroy script with Tyler Perry producing under Peachtree & Vine and a starry cast led by Chloe Bailey.

First image released of Charlie Heaton as Charles Shelby; new Peaky Blinders era is filming in and around Digbeth Loc Studios (Birmingham) with two six-episode seasons commissioned for BBC iPlayer/BBC One (U.K.) and Netflix internationally; production backed by West Midlands Combined Authority and produced by Kudos/Garrison Drama.

A24 wrapped production on Dev Patel’s revenge-action thriller The Peasant, marking A24’s first production shot in India; Patel co-wrote and directed, A24 holds global rights and the project shot across Maharashtra, Madhya Pradesh, Himachal Pradesh and Rajasthan.

The Mandalorian and Grogu opened with $12M in previews and is projected $80M–$100M over the Memorial Day weekend; film’s $165M production budget sets expectations below historic Star Wars openings and risks being the lowest-ever Star Wars launch if it underperforms; studio-wide context: Paramount’s horror Passenger made $1.1M in previews and Focus’s indie horror Obsession posted a muscular $17.2M opening weekend, signaling strong marketplace appetite for counter-programming genre titles.

Lionsgate sets March 26, 2027 wide release for supernatural revenge thriller Day Drinker starring Johnny Depp, Madelyn Cline and Penélope Cruz; Marc Webb directs, Zach Dean wrote, Thunder Road/IN.2/Nostromo produce and 30West exec-produces.

193 (Legendary-backed sales arm) inked multiple international pre-sales at Cannes; Park Chan-wook’s revenge Western The Brigands of Rattlecreek pre-sold to Sun Distribution (Latin America) and Leone Film Group (Italy) with Clockworks/Warners in talks for domestic; high-profile cast includes Matthew McConaughey, Austin Butler, Pedro Pascal and Tang Wei.

Cliffhanger reboot is moving toward a new U.S. distributor with Neon’s Decal label in pole position; Row K would remain involved after its eight-figure acquisition last year, and the domestic release window may slide to Q1 2027.

Hulu ordered a three-part true-crime series Hunting Whitey Bulger narrated and EP'd by Ben Affleck; Zackary Canepari directs and Tom Forman’s Terminal B TV produces with Affleck's Artists Equity attached, adding a high-profile storyteller and proven production partner to Hulu’s true-crime slate.

Paramount Pictures’ horror Passenger, directed by André Øvredal and produced by Walter Hamada, wrapped location shooting across Washington state and is positioned as an R-rated wide theatrical release this week; the production leveraged regional locales and local community relations during filming.

Neon pre-bought global distribution on Clarissa at Cannes; Chuko and Arie Esiri's film is the second Nigerian title ever at Cannes and the brothers position the pic as an arthouse alternative to Nollywood; Neon’s backing signals growing international appetite and export pathways for Nigerian auteur cinema.

Milly Alcock will reprise Kara Zor-El after Supergirl for James Gunn's Superman: Man of Tomorrow; DC Studios and Warner Bros. are integrating Supergirl as a recurring franchise character, underlining DCU's shared-universe casting strategy.

Three-year theatrical distribution pact gives Studiocanal a structured South African pipeline via Sun Africa Group; slate includes titles from genre label 6th Dimension plus upcoming local co-productions and Anthony Maras’ thriller Pressure, strengthening European studio theatrical presence and co-production leverage in Africa.

Peacock to premiere Malcolm D. Lee’s Blumhouse-backed psychological thriller Strung on June 26 following its opening-night slot at the American Black Film Festival; Tyler Perry, Jason Blum and Tim Palen serve as producers on the Peachtree & Vine/Blackmaled co-production.

Creative team behind Marvel’s The Vision reunites for Six of Us; new brutal noir thriller announced with returning creative package, signalling talent teams from MCU-adjacent TV are packaging original genre theatrical/streaming projects.

AMC lists Christopher Nolan’s The Odyssey at a 2h52m runtime; the $250M production will use new IMAX cameras with Hoyte van Hoytema as cinematographer and is scheduled for a July 17 wide theatrical release.

Jenna Ortega officially attached to star in Leos Carax's post-apocalyptic Lily May B with filming scheduled for early 2027; signals Ortega's strategic move away from franchise horror toward auteur-driven features.

Warner Bros.’ Oscar-winning horror Sinners is getting an official Halloween Horror Nights haunted house at Universal Orlando and Universal Studios Hollywood this fall; the Universal partnership extends the franchise’s brand merchandising and experiential revenue streams and reflects theme-park demand for recent high-profile original horror IP.

Damon Lindelof developed a post-Skywalker Rey feature for Lucasfilm with Sharmeen Obaid-Chinoy attached to direct and Justin Britt-Gibson collaborating; Lucasfilm later dismissed Lindelof after two years, leaving a high-profile creative exit and signaling continued franchise reluctance to pursue riskier auteur-driven reinventions.

M. Night Shyamalan says Remain is testing as the highest-performing film of his career; co-created with Nicholas Sparks, filmed in Rhode Island with Jake Gyllenhaal and Phoebe Dynevor, and scheduled for February 5, 2027 release, signalling Warner Bros. confidence in a prestige genre launch.

Netflix commissions a Candle True Stories docuseries re-examining the Michael Jackson verdict, launching amid Lionsgate’s Michael biopic box-office surge; platform is doubling down on true-crime celebrity IP to capture zeitgeist-driven viewership.

Netflix drama fronted by David Fincher, Brad Pitt and Quentin Tarantino boards the IMAX-exclusive Thanksgiving release window vacated by Narnia; signals Netflix is prioritizing premium theatrical/IMAX placements for prestige films to preserve event-release visibility during holiday box-office windows.

Warner Bros. Discovery announced HBO Max’s June 2026 lineup, highlighting House of the Dragon Season 3 and an A24 film slate pickup including How to Make a Killing, Pillion, and Undertone; programming choices signal Max’s continued licensing relationships with A24 and a push of prestige and franchise content into the SVOD window.

CJ ENM is staging an industry-targeted London screening for TVING Original The Legend of Kitchen Soldier as part of a wider European distribution push; event supports buyer engagement after strong domestic launch and complements existing windows on Rakuten Viki and HBO Max in APAC.

Sadie Soverall is eyed to lead Brady Corbet’s sprawling The Origin of the World alongside Cate Blanchett, Michael Fassbender and Selena Gomez with a September shoot locked; Corbet’s four-hour, genre-defying film remains a high-profile ensemble production to watch.

HBO Max has set a platform premiere date for undertone and will add the title to its streaming slate; the scheduling move clarifies the distributor window and availability for the film's SVOD launch.

Creative 7 and AI-forward producer Utopai Studios form a development partnership to build sports and entertainment IP with an AI-driven production emphasis; signals a continued push by talent-led companies into IP creation and tech-enabled content pipelines.