With the start of Season 3, Daredevil: Born Again may get another creative reset through a time jump. Despite a significant drop in viewership, the Disney+ MCU series is still expected to return in 2027. Speaking to ScreenRant, Brad Winderbaum, Marvel’s head of streaming, television, and animation, said Season 3 will take place “a year or so” after the Season 2 finale.
In a forceful public rebuke, Creative Artists Agency (CAA) has formally rejected OpenAI’s newly unveiled video-generation tool, Sora 2, warning that its adoption poses “serious and harmful risks” to the intellectual property of artists, performers, writers, and other creative professionals.
ABC’s Jimmy Kimmel Live! has revived its recurring “Drag Queen Storytime” segment where a drag performer in a dress and make up sits with a group of children to read them excerpts from conservative books and mock them. This time, performer Trixie Mattel, a biological male dressed as a woman, read excerpts from Under Siege: My Family’s Fight to Save Our Nation, a newly released memoir by Eric Trump, to a group of children on national television.
The Bari Weiss era at CBS News has officially begun — and she isn’t wasting time making her mark. In her first decisive act as editor-in-chief, Weiss has removed Claudia Milne, the head of Standards and Practices, signaling a long-overdue course correction for a network that’s been struggling to find its credibility amid years of ideological drift.
According to a rumor from Nexus Point, Danielle Deadwyler is supposedly in talks with Black Panther director Ryan Coogler regarding a potential role in his upcoming The X-Files reboot. Staying true to the original format, the new series will feature two main investigators, one male and one female, with Deadwyler portraying the latter.
How’s this for a shocking twist? M. Night Shyamalan has partnered with Mattel Studios to produce a Magic 8 Ball TV show. In a post on Instagram, the director shared a picture of the cover page for a pilot script written by Brad Falchuk with the caption, “Been working on this for a couple years… Who’s in?”
Snoop Dogg’s latest move is raising eyebrows across the entertainment world. Only weeks after his candid criticism of Disney and Pixar’s Lightyear for depicting same-sex parents, Snoop Dogg has joined forces with GLAAD to promote PRIDE-centric content through his animated children’s show Doggyland.
If you listen to the Hollywood access media this week, you’d think Superman has taken flight in streaming ratings. Headlines are praising its debut on HBO Max, highlighting how the reboot soared to #4 on Nielsen’s Top 10 Movies chart during its first three days of release.
Netflix has found its next modern audience “reinterpretation,” and this time it’s taking aim at one of the most famous revenge stories ever written. The streaming service has green-lit The Countess of Monte Cristo—a re-imagined version of Alexandre Dumas’s The Count of Monte Cristo that replaces the novel’s male lead with a woman and reframes the narrative as a tale of female empowerment.
BlueSky, the platform often marketed as a “friendlier” alternative to X, is currently melting down in a rage. Users there have spent the past several days unleashing a torrent of abuse toward actress Keira Knightley — not because she said anything hateful or controversial, but because she dared to suggest that people with different opinions should learn to live together.
Yes, really.
The creators behind KPop Demon Hunters have publicly rejected the idea of a live‑action remake, citing the story’s tone, visual flexibility, and pacing as better suited to animation. Co‑directors and writers Maggie Kang and Chris Appelhans addressed the matter in recent interviews.
On this week’s episode of The View, co-host Joy Behar once again took aim at Republicans — this time accusing them of being too afraid to face the show’s panel.
When Stranger Things launched in 2016, Netflix didn’t just debut a hit show—it built an identity. The streaming giant became synonymous with cinematic television, binge culture, and the illusion that creative freedom could thrive in an algorithmic world. But now, nearly a decade later, that illusion is fracturing.
As Variety revealed in its comprehensive feature on the Stranger Things final season, the Duffer Brothers wanted one last, monumental gesture for the fans—a theatrical release of the show’s finale. They imagined millions of viewers sharing the end of Hawkins together on the big screen, hearing that iconic synth theme echo through theaters across the world.
But Netflix said no.