Takeaways:

• Netflix’s Christmas Day NFL debut drew record-breaking viewership, with an average of 24 million U.S. viewers for two games.
• Beyoncé’s halftime performance during the Ravens-Texans game peaked at 27 million viewers.
• The event marked Netflix’s successful entry into live sports broadcasting, reaching audiences in over 200 countries.
• The NFL’s partnership with Netflix aims to expand football’s global appeal while leveraging Netflix’s platform to attract casual and international fans.
• Netflix’s smooth execution of the live event signals its growing focus on live sports and ad-supported tiers.

Netflix made a game-changing debut into live sports broadcasting on Christmas Day with its first-ever NFL event, “NFL Christmas Gameday Live.” The nine-hour telecast, featuring two marquee matchups and star-studded entertainment, averaged 24 million U.S. viewers, rivaling traditional broadcast networks. The global reach extended to subscribers in over 200 countries, showcasing the streamer’s ability to deliver high-impact live content.

A Star-Studded Affair with NFL Action

The event kicked off with the Kansas City Chiefs taking on the Pittsburgh Steelers, followed by the Baltimore Ravens facing the Houston Texans. Both games achieved impressive viewership, with the Ravens-Texans game peaking at 27 million viewers during a halftime performance by global superstar Beyoncé. The Houston native performed tracks from her “Cowboy Carter” album, captivating audiences and adding a cultural highlight to the day.

Mariah Carey also graced the event, opening the first game with her iconic holiday anthem, “All I Want for Christmas Is You.” These musical performances were part of Netflix’s strategy to attract casual viewers and amplify the holiday experience.

Breaking Records and Setting Standards

According to Nielsen data, the Ravens-Texans game averaged 24.3 million viewers, while the Chiefs-Steelers game brought in 24.1 million. These figures rival the high-end viewership of traditional networks like CBS, Fox, and ESPN during peak NFL matchups. Netflix’s telecast extended beyond the games with pregame shows, halftime coverage, and post-game analysis, keeping audiences engaged for the full day.

Bela Bajaria, Netflix’s Chief Content Officer, expressed her enthusiasm, stating, “Bringing our members this record-breaking day of two NFL games was the best Christmas gift we could have delivered. We’re thankful for our partnership with the NFL, our incredible on-air talent, and unforgettable performances by Beyoncé and Mariah Carey.”

Global Reach and Fan Engagement

At its peak, one-third of Netflix’s global subscribers tuned into the telecast. The event showcased trailers and promotional content for upcoming releases like Adam Sandler’s “Happy Gilmore 2” and the highly anticipated Season 2 of “Squid Game,” further enriching the viewer experience.

Hans Schroeder, NFL’s Executive Vice President of Media Distribution, lauded the event’s success, noting, “Fans in all 50 states and over 200 countries watched some of the league’s brightest stars along with a dazzling performance by Beyoncé. It was a historic day for the NFL.”

Competition and Expansion in Live Sports

The NBA, a longtime Christmas Day staple, also reported its best viewership in five years, averaging 5.25 million viewers across its five games. The Lakers-Warriors game led the pack, peaking at 8.2 million viewers. Despite the NBA’s dominance, the NFL’s growing presence on Christmas Day signifies increasing competition for holiday sports viewership.

Netflix’s partnership with the NFL is part of a three-year deal worth $150 million, securing live game rights through 2026. This collaboration aligns with the NFL’s strategy to grow its international fan base and Netflix’s efforts to diversify its content offerings. The league has invested heavily in global outreach, hosting regular-season games in cities like London, Munich, and Mexico City to make American football more accessible.

Seamless Execution and Future Prospects

Netflix’s live coverage, produced in collaboration with CBS Sports and NFL Network, delivered a flawless technical performance. This success bodes well for the streamer’s ambitions in live sports, particularly as it seeks to attract advertisers to its ad-supported tier. The global reach and high-end audience profile of Netflix provide the NFL with a unique platform to engage fans worldwide.

The Bigger Picture

As Netflix continues to evolve, its foray into live sports represents a significant milestone. The platform’s ability to seamlessly blend entertainment and sports could redefine how audiences experience live events. For the NFL, partnering with Netflix offers an unparalleled opportunity to expand its global footprint, engaging both die-hard fans and newcomers alike.

Takeaways:

• Sony Pictures’ Marvel movies like “Madame Web” and “Kraven the Hunter” faced poor box office performances despite not being poorly received by audiences.
• Sony CEO Tony Vinciquerra suggests critical reception from the press significantly impacted the films’ success.
• Sony plans to reassess its approach to Spider-Man universe movies while continuing its partnership with Disney’s Marvel Studios for future Spider-Man projects.

Sony Faces Challenges with Marvel Universe Films Sony Pictures’ recent Marvel Universe entries, including Madame Web and Kraven the Hunter, have struggled to meet expectations at the box office. Sony CEO Tony Vinciquerra recently addressed these challenges in an interview with the Los Angeles Times, attributing their underperformance to critical backlash rather than the films’ quality.

“Kraven the Hunter is probably the worst launch we’ve had in my tenure,” Vinciquerra said. The film opened on December 13 with a dismal $11 million domestic debut, marking the lowest opening for a Sony Marvel movie. Its global earnings currently stand at $43 million, making it a significant disappointment in the superhero genre.

Critical Reception vs. Audience Perception Vinciquerra noted that Madame Web also fell short at the box office, earning $100 million worldwide. He blamed much of the film’s struggles on harsh criticism from the press.

“Madame Web was crucified by critics despite doing well on streaming platforms like Netflix,” he explained. “These are not bad films. Critics just decided to destroy them, and that’s a pattern we’ve seen with Kraven and even Venom: The Last Dance.”

While Venom: The Last Dance underwhelmed compared to its predecessors, it still garnered a loyal audience, showcasing a disconnect between critics and viewers. Vinciquerra’s remarks highlight a recurring issue: Sony’s Marvel movies have faced consistently negative reviews despite some fan appreciation.

The “Snake-Bitten” Franchise The negative reception of Sony’s Marvel films isn’t new. Films like Morbius suffered from both critical and creative shortcomings, even though it managed to gross $167.4 million globally, reportedly turning a profit. However, Vinciquerra believes that the Spider-Man universe’s association with bad reviews has created a bias.

“If we release another film, it’ll be destroyed regardless of its quality,” he said, describing the franchise as “snake-bitten.”

Reassessing Sony’s Strategy Looking ahead, Vinciquerra hinted at a more selective approach to expanding the Spider-Man universe. Sony is evaluating which characters warrant standalone films, aiming to avoid creative and financial missteps. This strategic pivot may also involve greater collaboration with Disney’s Marvel Studios, which has seen immense success with its Spider-Man trilogy starring Tom Holland.

Sony and Disney are currently developing a fourth Spider-Man movie, reaffirming their commitment to the character’s blockbuster potential. While Sony’s recent projects have struggled, their partnership with Marvel Studios could help realign the Spider-Man universe’s trajectory.

What This Means for Aspiring Filmmakers and Actors For entertainment professionals, Sony’s challenges serve as a reminder of the complex interplay between creative vision, critical reception, and audience engagement. Understanding these dynamics is crucial for those looking to make their mark in the industry. Whether you’re an actor auditioning for superhero roles or a filmmaker developing franchise content, balancing artistic integrity with marketability is essential.

Takeaways:

• A New York judge ruled that Jane Doe, who accused Jay-Z and Sean “Diddy” Combs of sexual assault, can remain anonymous for now.
• The judge criticized Jay-Z’s legal team for “wasting judicial resources” and using inflammatory language.
• The case involves allegations of a 2000 incident when Jane Doe claims she was 13 years old.
• The court denied Jay-Z’s request to dismiss the case despite inconsistencies highlighted by his legal team.

In a high-profile legal battle involving entertainment moguls Jay-Z (Shawn Carter) and Sean “Diddy” Combs, a New York judge has ruled that their accuser can remain anonymous “at least for now.” The decision comes as the court navigates through a series of contentious filings and counterclaims.

Judge Criticizes Jay-Z’s Legal Team

Judge Analisa Torres, who presides over the case, condemned Jay-Z’s legal team for their approach. “The relentless filing of combative motions containing inflammatory language and ad hominem attacks [on the accuser’s lawyer, Tony Buzbee] is inappropriate, a waste of judicial resources, and a tactic unlikely to benefit [Jay-Z],” Torres stated in a court order obtained by Variety.

Since joining the case, Jay-Z’s attorney, Alex Spiro, has filed multiple motions targeting the accuser’s attorney. These include personal attacks, such as calling Buzbee a “1-800 lawyer” who is “in the pursuit of money and fame.”

Accusations and Allegations

Jane Doe filed her initial lawsuit against Combs in October 2023 and later included Jay-Z’s name in December. According to her claims, the incident occurred in 2000 at an afterparty for the MTV Music Video Awards, when she was only 13 years old.

Carter’s legal team moved to dismiss the case, citing an NBC News report that highlighted inconsistencies in Jane Doe’s allegations. The report pointed out several “outright impossibilities” in her story. However, the judge denied the motion to dismiss, leaving the case to proceed.

Heated Legal Battles

The ongoing case has led to a series of additional lawsuits and counterclaims. Tony Buzbee, representing Jane Doe, accused Jay-Z’s entertainment company, Roc Nation, of employing “shadowy operatives” to bribe his former clients into filing “frivolous” complaints against him. In turn, Jay-Z has sued Buzbee for defamation.

Despite the legal team’s efforts to discredit Buzbee and his client, Jane Doe’s anonymity has been upheld at this stage. However, she may be required to reveal her identity as the litigation progresses.

Jay-Z Responds

Jay-Z has publicly denied the allegations in a strongly worded letter to Buzbee. “You have made a terrible error in judgment thinking that all ‘celebrities’ are the same,” Carter wrote. “I’m not from your moral world. We don’t play these types of games. We have very strict codes and honor. We protect children; you seem to exploit people for personal gain.”

Meanwhile, Sean “Diddy” Combs, another central figure in the case, has been held in a Brooklyn jail since September 2023 and awaits trial scheduled for May 2024.

Looking Ahead

This case has sparked widespread interest, not only because of the high-profile individuals involved but also due to the serious nature of the allegations. As legal battles continue on multiple fronts, the entertainment industry and the public are closely watching for updates.

The entertainment industry is often viewed as a treasure trove of wealth and fame, but for first-time directors, the reality can be far from glamorous. Tim Miller, the director of the 2016 smash hit “Deadpool,” recently shared insights into his financial experience while working on the film. Despite the movie’s massive box office success, Miller’s earnings tell a different story.

Breaking Down Miller’s Payday

In an interview with Collider, Miller revealed that he was paid $225,000 for directing “Deadpool,” a film that grossed $782 million worldwide. While this figure might seem substantial, Miller explained that it covered two years of work, making it far less lucrative when broken down.

“You guys might not know, but it’s not really a profitable thing to be a first-time director in Hollywood,” Miller shared. “I’ll tell you exactly—I got $225,000 to direct ‘Deadpool.’ I know it sounds like a lot of money, but for two years of work, that’s not a ton of money.”

The Agent’s Perspective

Even Miller’s agent highlighted the financial disparity. “My agent said: ‘Dude, you make more on an episode of ‘The Walking Dead’!’” Miller recounted, underscoring the surprising pay gap between directing a blockbuster film and episodic television.

Missing Out on Merchandising Revenue

One of Miller’s biggest regrets is the lack of a merchandising deal in his “Deadpool” contract. “Every time I walk down the aisles at Comic-Con and see all these Deadpool figurines, I think they wouldn’t be here if we hadn’t made that film,” Miller said. “Then, my second thought is, I wish my director deals had a piece of the merchandising so that I could get some money from all of that.”

Merchandising revenue often accounts for a significant portion of a film’s profitability. For a franchise like “Deadpool,” which has spawned countless figurines, apparel, and collectibles, this omission is particularly notable.

A Career Milestone Despite Challenges

Despite the financial limitations, Miller remains grateful for the opportunity. At 50 years old, “Deadpool” marked his directorial debut, fulfilling a lifelong dream. “I really thought I wasn’t going to get a chance to direct a movie even though I’d wanted to my whole life,” he admitted.

Miller’s experience also sheds light on the misconception that Hollywood directors always earn millions. “I think a lot of people think that everyone’s getting paid millions and millions in Hollywood,” he said. “It’s just not the case, not always.”

The Franchise’s Continued Success

Following Miller’s departure, the “Deadpool” franchise continued its upward trajectory. David Leitch directed “Deadpool 2” in 2018, which earned $785 million globally, while Shawn Levy helmed “Deadpool & Wolverine,” the franchise’s highest-grossing installment, bringing in $1.3 billion worldwide. Meanwhile, Miller directed “Terminator: Dark Fate” and contributed to the success of Paramount’s “Sonic the Hedgehog” franchise.

Lessons for Aspiring Filmmakers

Tim Miller’s journey with “Deadpool” offers valuable lessons for those entering the film industry:

• Negotiate smartly: Consider long-term benefits, such as merchandising rights, when finalizing contracts.
• Be prepared for financial surprises: Initial projects may not yield massive earnings, even for blockbuster successes.
• Focus on the bigger picture: For Miller, directing “Deadpool” was about achieving a lifelong dream, even if the immediate financial rewards were modest.

Where to Watch “Deadpool”

For fans eager to revisit the “Deadpool” saga, the franchise is available for streaming in its entirety on Disney+. Whether you’re watching for entertainment or inspiration, Miller’s story adds an extra layer of appreciation for the work behind the scenes.

Takeaways:

• CBS dominates in total viewers, driven by Super Bowl LVIII.
• NBC claims the 18-49 age group with the Paris Olympics.
• Telemundo’s unprecedented growth shakes up Spanish-language TV.
• Digital subchannels see explosive growth, highlighting niche opportunities.
• Declines hit spin-off channels, kids’ networks, and underperforming startups.

The State of Television in 2024 As 2024 draws to a close, traditional television is still finding ways to thrive despite the streaming boom. CBS led in total viewers, with NBC claiming victory among the key 18-49 demographic. Live sports played a crucial role in sustaining viewership, with the Super Bowl and Paris Olympics driving significant gains.

Meanwhile, Spanish-language networks experienced notable shifts. Telemundo saw a 12% increase, tying CBS for the year’s biggest jump among broadcast networks. On the other hand, cable networks faced more challenges, with several seeing double-digit declines.

Winners of 2024

Broadcast Networks Shine

• CBS: Secured its position as the most-watched network, thanks to Super Bowl LVIII and breakout shows like Matlock.
• NBC: Achieved a strong year with the Paris Olympics and hit series like Happy’s Place.
• ABC: Despite a minor 1% decline, the network held steady, supported by expanded Monday Night Football coverage.

Telemundo’s Breakthrough

Telemundo surged by 12%, becoming the first Spanish-language network to claim primetime dominance (excluding special events). The growth puts pressure on long-time leader Univision.

Digital Subchannels Boom

Obscure networks saw tremendous growth, proving the potential of niche content:

• Justice Central: Up 508%, thanks to court shows and classics like Matlock.
• American Crimes: A 460% increase fueled by NBCU’s true-crime library.
• TBD TV: An 80% rise, transitioning to comedy reruns like SNL and Key & Peele.
• Dabl: Gained 38% after switching to a comedy-focused lineup featuring UPN-era classics.

News Networks Benefit from Election Year

• Fox News: Achieved a 30% increase, ranking as the fifth most-watched network overall.
• MSNBC: Grew by 4% and held its position in the top 10.
• CNN: Experienced a 20% rise, moving up to the 15th spot.

Big Ten Network

With the addition of powerhouse teams like USC and UCLA, the Big Ten Network saw a 25% boost in viewership.

Losers of 2024

Cable Spin-Off Channels Struggle

Secondary networks faced significant declines as audiences gravitated toward streaming:

• VH1: Down 38%, marking one of its worst years.
• FXX: Dropped 29% due to reduced original content.
• Cooking Channel: Declined by 31%, as niche cooking content migrated online.

Kids and Teen Networks Decline

Linear TV continues to lose younger audiences to platforms like YouTube and TikTok:

• Nickelodeon: Viewership dropped 31%.
• Disney Jr.: Suffered a 37% decline.

Underperforming Startups

New ventures struggled to gain traction:

• Merit Street: Dr. Phil’s new channel failed to resonate with viewers.
• Scripps News: Despite winning a News Emmy, the channel ceased operations in November.

Key Trends and Insights

Live Sports Dominate

Sports remain the backbone of traditional TV’s success. Networks with access to marquee events like the Super Bowl and Olympics outperformed their peers.

Niche Content Gains Momentum

Digital subchannels and niche networks highlight the growing appetite for targeted programming. From comedy reruns to true crime, these channels are finding loyal audiences despite operating on smaller scales.

Streaming Challenges Traditional TV

Streaming’s continued rise reshapes viewing habits, particularly among younger audiences. Networks must innovate to retain relevance in this shifting landscape.

The Top 5 Most-Watched Networks in 2024 (Total Viewers)

1. CBS: 5.05M (+12%)
2. NBC: 4.99M (+10%)
3. ABC: 3.86M (-1%)
4. Fox: 2.84M (-15%)
5. Fox News: 2.47M (+30%)

The Top 5 Networks for Adults 18-49

1. NBC: 987K (+6%)
2. CBS: 832K (+23%)
3. ABC: 792K (-1%)
4. Fox: 777K (-22%)
5. ESPN: 623K (-6%)

Takeaways:

• Get a detailed breakdown of new and returning characters in Squid Game Season 2.
• Discover backstories and motivations behind the key players.
• Learn how these characters shape the new season’s gripping storyline.

The highly anticipated second season of Squid Game is here, bringing with it a fresh wave of tension, intrigue, and unforgettable characters. With 456 players re-entering the deadly competition, keeping track of who’s who can be challenging. This guide spotlights the most significant new and returning characters in Season 2, helping you follow the action-packed drama.

Returning Characters

Seong Gi-hun / Player 456 (Lee Jung-jae)

As the sole survivor of the first games, Gi-hun returns with a mission: to uncover the individuals behind the sinister competition and take them down. Haunted by trauma and grief, he’s spent the past three years using his winnings to investigate the games’ origins.

In-ho / The Front Man (Lee Byung-hun)

The enigmatic leader of the games is back. Once a winner himself, In-ho now oversees the pink-masked guards. This season, he surprises everyone by entering the games as Player 001 under the alias Young-il, aiming to teach Gi-hun a powerful lesson.

Recruiter (Gong Yoo)

Known for his slap-and-invite approach, the recruiter is back to lure new participants into the deadly games. His presence signals more heartbreak and desperation among the players.

Jun-ho (Wi Ha-jun)

After surviving being shot and falling off a cliff in Season 1, Jun-ho is alive and working as a traffic cop. His unresolved tension with his brother, In-ho, sets the stage for potential confrontations.

New Characters

Kang No-eul (Park Gyu-young)

A defector from North Korea, No-eul works as a pink guard to find her missing daughter. Her dual role as a guard and secret ally to select players introduces a complex layer of tension.

Lee Myung-gi / Player 333 (Yim Si-wan)

A disgraced cryptocurrency influencer, Myung-gi joins the games after losing everything. His fall from grace adds a modern twist to the show’s commentary on financial desperation.

Jun-hee / Player 222 (Jo Yu-ri)

Pregnant and determined, Jun-hee’s involvement in the games is tied to her estranged lover, Myung-gi. Her resilience and secret pregnancy promise to add emotional depth to the season.

Dae-ho / Player 388 (Kang Ha-neul)

A young military veteran, Dae-ho quickly bonds with Gi-hun’s group, showcasing loyalty and strategic prowess.

Cho Hyun-ju / Player 120 (Park Sung-hoon)

A transgender woman hoping to fund her transition, Hyun-ju’s story highlights marginalized voices. Though the casting choice has sparked conversations, her narrative brings essential representation to the forefront.

Park Yong-sik / Player 007 (Yang Dong-geun) and Jang Geum-ja / Player 149 (Kang Ae-sim)

This mother-son duo enters the games unknowingly, each hoping to clear their debts. Their discovery of one another inside the competition adds a poignant dynamic.

Thanos / Player 230 (Choi Seung-hyun)

Played by real-life rapper T.O.P., Thanos is a charismatic yet deeply indebted participant, driven by a cryptocurrency crash.

Gyung-seok / Player 246 (Lee Jin-uk)

A caricaturist trying to save his sick daughter, Gyung-seok’s backstory connects with No-eul, creating emotional stakes as the games progress.

Hye-won / Player 196 (Song Ji-woo)

Another victim of bad cryptocurrency advice, Hye-won’s journey reflects the season’s recurring theme of financial ruin.

Seon-nyeo / Player 044 (Chae Kook-hee)

A shaman whose cryptic prophecies unnerves other players. Seon-nyeo’s eccentricity provides both comic relief and eerie foreshadowing.

Themes and Expectations

Season 2 of Squid Game builds upon its predecessor by exploring themes of trust, betrayal, and survival, all underpinned by biting social commentary. The introduction of diverse characters with unique motivations ensures this season remains as captivating as the first.

As the entertainment world ushers in 2025, Max is starting the year strong with a packed lineup of fresh films, original series, and beloved fan favorites. From buzzworthy A24 premieres to exciting Max Originals, January offers something for everyone.

Whether you’re into blockbuster hits, timeless classics, or fresh new content, here’s what you can look forward to streaming on Max this month.

Highlights for January 2025

A24 Premieres
The acclaimed studio’s latest films are arriving on Max this month, including The Front Room, Look Into My Eyes, and A Different Man.

New Max Originals
Exclusive series making their debut or returning include The Pitt, Mermicorno: Starfall, Isadora Moon (Season 1A), and Harley Quinn (Season 5).

Fan-Favorite Films and Classics
Rediscover iconic movies such as Fast & Furious (2009), Mrs. Doubtfire (1993), Rebel Without a Cause (1955), and Silver Linings Playbook (2012).

Complete Schedule of New Releases

January 1
Kick off the new year with a mix of iconic films, fresh series, and special programming. Highlights include A Star is Born (1937), Blue Velvet (1986), Crazy Rich Asians (2018), Jason Bourne (2016), Mad Max (1980), and Teen Wolf (1985).

January 2-15
This mid-month stretch introduces compelling originals and returning series. Notable releases include Isadora Moon, Season 1A (January 2), The Front Room (January 3), Craig of the Creek, Season 6B (January 5), and Harley Quinn, Season 5 (January 16).

January 16-31
The month ends on a high note with more exciting additions. Key releases include A Different Man (January 17), Mermicorno: Starfall (January 30), The Other Side (January 30), and The Eastern Gate (January 31).

Why You Should Watch
Max’s January lineup is packed with variety, from blockbuster favorites to groundbreaking originals. Highlights include It Follows, Call Me by Your Name, and compelling originals like Sons of Ecstasy and The Curious Case of Natalia Grace: The Final Chapter.

Don’t Miss Out
Stay tuned throughout January for more updates, as new titles may be added or release dates adjusted. Make the most of the new year by diving into the fresh content on Max starting January 1, 2025.

Christopher Nolan, the acclaimed director of cinematic masterpieces like Inception and Oppenheimer, has named Ridley Scott’s Gladiator II as the standout film of 2024. Despite being immersed in developing his own upcoming project with Universal, Nolan took the time to share his admiration for Scott’s sequel as part of Variety’s annual list of directors’ favorite films of the year. In his glowing appraisal, Nolan detailed the qualities that elevate Gladiator II to the status of a modern classic.

From the outset, Nolan commended Scott’s unparalleled ability to balance the demands of a sequel while honoring the legacy of the original film. “Like the best long-awaited sequels, Gladiator II must be a remake and sequel in one,” Nolan remarked. “It’s testament to Scott’s brilliance that he manages to balance the individual pathos of the original with the expansionist demands of the sequel’s central theme, bringing a lifetime of experience in controlling tone.”

While Gladiator II has faced criticism for historical inaccuracies, Nolan staunchly defended Scott’s creative choices. “Scott knows we’re not there for insights into Roman culture; we’re there to see our own dark desires at a comfortable remove,” he stated. “But he’s far too experienced a director to get caught making parallels with our time. He lets the world of Gladiator II speak for itself, once again showing us who we are simply by inviting us to enjoy the crazy inflationary ride.”

One particularly bold creative choice Nolan highlighted was the inclusion of sharks in the Colosseum scenes—a decision that has sparked debates among audiences. Defending the spectacle, Nolan commented, “Why are there sharks in the Colosseum? Because we demand them, and Scott masterfully gives them to us. As he reveals how the games are used to manipulate public opinion, we can’t help but see shadows of our own public arena projected onto the sand.”

Nolan’s admiration extended to Scott’s innovative approach to action and cinematography in Gladiator II. He praised Scott’s use of a multi-camera mise-en-scène that creates visually arresting and coherent action sequences. “Scott raises the game with the staging of his action—his incredible, hyper-observant, multi-camera mise-en-scène (so different from the original) masterfully wrestles the action into clear and jaw-dropping sequence after sequence,” Nolan observed. “The effect is not just to entertain, but to drive us towards awareness of the movie’s themes. Few filmmakers have ever worked so invisibly on multiple levels.”

Reflecting on Scott’s illustrious career, Nolan drew comparisons between Gladiator II and other iconic works in the director’s filmography. “In films from Blade Runner to Thelma & Louise to Gladiator II, the visual density of Scott’s art serves as a foil for his underlying thematic clarity,” Nolan noted.

With its compelling storytelling, groundbreaking visuals, and thought-provoking themes, Gladiator II has clearly made a lasting impression on one of Hollywood’s most celebrated directors. As Nolan’s endorsement highlights, Ridley Scott continues to push the boundaries of filmmaking, solidifying his place as one of the industry’s most visionary creators.

Kim Kardashian has gifted her fans an early holiday surprise with her rendition of the classic holiday tune “Santa Baby.” The cover, produced by her brother-in-law and Blink-182 drummer Travis Barker, is paired with a captivating music video directed by renowned visual artist Nadia Lee Cohen.

Set in a retro-inspired home, the video showcases Kim embodying a vintage aesthetic with a blonde wig and a minimalist nude Skims ensemble. Her sultry vocals softly echo through the surreal scenes, accompanied by a lo-fi, glitchy video style that evokes the charm of an old digital camera.

The video’s setting is anything but ordinary, featuring a series of bizarre and absurd moments. From two men in an intense brawl to a catatonic woman decorating a Christmas tree, and even a group indulging in a game of naked Twister, the scenes challenge traditional holiday visuals. The video reaches its peak with a nativity scene featuring a live donkey and a surprise cameo by Macaulay Culkin, the iconic star of the Christmas classic Home Alone.

Nadia Lee Cohen’s signature style shines through the project, blending Americana nostalgia with unsettling, hyper-stylized visuals. Known for her collaborations with Kim on Skims campaigns and high-fashion magazine shoots, Cohen brings her unique perspective to the festive yet eerie video.

Fans can watch Kim Kardashian’s “Santa Baby” cover and its unforgettable visual treatment above, offering a fresh take on holiday cheer with a hint of avant-garde flair.

Jenny Slate, a prominent figure in Hollywood, has come forward to strongly support her It Ends With Us co-star Blake Lively, following Lively’s allegations of sexual harassment and retaliation against the film’s director and co-star, Justin Baldoni.

“As Blake Lively’s castmate and friend, I voice my support as she takes action against those reported to have planned and carried out an attack on her reputation,” Slate said in a statement to Today.com on Monday. “Blake is a leader, loyal friend, and a trusted source of emotional support for me and so many who know and love her.”

Slate further expressed her dismay over the situation, stating, “What has been revealed about the attack on Blake is terribly dark, disturbing, and wholly threatening. I commend my friend, I admire her bravery, and I stand by her side.”

In the upcoming film, Slate portrays Allysa, the sister of Baldoni’s character and Lively’s sister-in-law, adding a layer of complexity to the unfolding events.

Slate joins a growing list of Hollywood allies, including A-listers, It Ends With Us studio Sony, and SAG-AFTRA, who have publicly backed Lively. The controversy has sent shockwaves through the industry, with many expressing their solidarity with Lively and denouncing the alleged behavior of Baldoni and his associates.

Late last week, Lively filed a graphic complaint with California’s Civil Rights Department. The document, which included detailed text messages, was filed against Baldoni, his company Wayfarer Studios, co-founder James Heath, and others. While the complaint stops short of being a formal lawsuit, it is widely seen as a precursor to legal action in court.

The allegations include sexual harassment, retaliation, and an orchestrated social media campaign to tarnish Lively’s reputation. The fallout has been swift: Baldoni was abruptly dropped by his agency, WME, on December 21. WME also represents Lively’s husband, actor Ryan Reynolds.

Baldoni’s attorney, Bryan Freedman, has denied the allegations, asserting his client’s innocence. However, the backlash against Baldoni continues to escalate. The Vital Voices Global Partnership, a nonprofit organization dedicated to empowering women leaders, rescinded an award previously given to Baldoni. Additionally, Liz Plank, co-host of Baldoni’s Man Enough podcast, announced her departure from the show on Monday in light of the serious allegations.

The unfolding events surrounding It Ends With Us underscore the growing industry-wide efforts to hold individuals accountable and create safer, more respectful work environments. As the situation develops, many in Hollywood and beyond are rallying behind Lively, applauding her courage in speaking out.

The controversy surrounding Justin Baldoni has taken a dramatic new turn. The actor and filmmaker, who has been mired in allegations of harassment, retaliation, and a media smear campaign against his It Ends With Us co-star Blake Lively, now faces a defamation lawsuit filed by Stephanie Jones, founder of his former PR agency, Jonesworks.

Jones alleges that Baldoni, along with his Wayfarer Studios and publicists Melissa Nathan and Jennifer Abel, engaged in defamation, breach of contract, and other violations. The lawsuit, filed on Christmas Eve, accuses the defendants of conspiring to launch a smear campaign against Lively while simultaneously sabotaging Jones’ reputation and business.

Allegations of Betrayal and Conspiracy

According to the complaint, Abel and Nathan, once trusted colleagues at Jonesworks, secretly coordinated with Baldoni and Wayfarer Studios to undermine Jones. The suit claims the PR team used the controversy surrounding It Ends With Us as a pretext to sever ties with Jones and pin blame for the alleged smear campaign on her.

“Defendants Abel and Nathan secretly conspired for months to publicly and privately attack Jones and Jonesworks, to breach multiple contracts and induce contractual breaches, and to steal clients and business prospects,” the lawsuit states.

Jones further asserts that Abel’s departure from Jonesworks in July 2023 to establish her own firm, RWA Communications, was marred by unethical practices. Abel allegedly took Baldoni, Wayfarer Studios, and other high-profile clients with her, all while continuing to badmouth Jones within the industry.

Tensions Escalate with Leaked Text Messages

The lawsuit includes alleged incriminating text messages between the defendants, portraying a toxic working relationship. In one text, Abel reportedly described Baldoni as “pompous” and dismissed his concerns, while another message allegedly criticized Nathan, a collaborator in the crisis PR effort.

The texts, which were forensically extracted from company devices, form a key part of Jones’ case. She denies any involvement in the smear campaign against Lively and alleges that Abel and Nathan have falsely tried to implicate her as retaliation for their own actions becoming public.

A Growing Scandal

This lawsuit is the latest development in a scandal that has sent shockwaves through Hollywood. Lively has accused Baldoni and his PR team of attempting to destroy her reputation following her allegations of harassment on the It Ends With Us set. The backlash against Baldoni has been severe, with Hollywood power players distancing themselves from him. His talent agency, WME, dropped him earlier this month, further isolating him in the industry.

Sources close to the situation suggest that more lawsuits may follow, including one from Lively herself. The actress has garnered widespread support from industry peers and advocacy groups for her courage in speaking out.

Fallout and Industry Reactions

Jones’ lawsuit appears to be both an effort to distance herself from the ongoing controversy and to hold her former colleagues accountable. She is seeking unspecified damages and court orders to address the alleged misconduct. Meanwhile, Baldoni, Nathan, and Abel have yet to publicly comment on the lawsuit.

As Hollywood watches this legal drama unfold, the implications for all parties involved are significant. The It Ends With Us scandal continues to highlight the cutthroat nature of the entertainment and PR industries, with reputations and careers hanging in the balance.

Stay tuned as this story develops—more legal battles and revelations are almost certain to follow.

The groundbreaking adult animated series Creature Commandos has been renewed for a second season on Max, marking a major milestone for the evolving DC Universe. Created by DC Studios co-chairman James Gunn, the show is the first release under the new DC Universe continuity and has already made waves in its debut season.

Premiering December 5, the seven-episode first season introduces audiences to a unique team of monsters tasked with high-risk missions. Now, just midway through its initial run, the series has secured a second season, solidifying its place as a foundational element of the revamped DC slate.

The Vision Behind the Series
James Gunn, who also serves as co-chairman of DC Studios alongside Peter Safran, is the creative force behind Creature Commandos. The show is produced by DC Studios and Warner Bros. Animation, with Dean Lorey (Harley Quinn) as the showrunner. Gunn, who penned all seven episodes of the first season, expressed his excitement about the renewal.

“We’re thrilled to team up with Max for another season of Creature Commandos mayhem,” Gunn and Safran shared in a joint statement. “Max continues to exceed expectations, from Peacemaker to The Penguin and now Creature Commandos. We’re proud to call Max our home.”

A Star-Studded Voice Cast
Creature Commandos boasts an impressive voice cast, including Viola Davis as Amanda Waller, reprising her role from The Suicide Squad and Peacemaker. The ensemble also features Steve Agee, Maria Bakalova, Anya Chalotra, Zoe Chao, Frank Grillo, Sean Gunn, David Harbour, Alan Tudyk, and Indira Varma.

The series follows a secretive squad of imprisoned monsters, including werewolves and vampires, recruited for high-stakes missions too dangerous for ordinary humans. This blend of action, humor, and heart has captured the imaginations of fans worldwide.

Industry Praise and Creative Leadership
Amy Gravitt, EVP of comedy programming for HBO and Max, celebrated the show’s renewal:
“Only James Gunn could create such a wild band of misfit monsters that tug at your heartstrings and make you root for them. We couldn’t be more delighted to continue this adventure.”

Peter Girardi, EVP of alternative programming at Warner Bros. Animation, highlighted the fan response:
“Thanks to James’s brilliant imagination and our talented artists, fans have fallen in love with this new family of heroes. We’re excited to keep the ride going with even more monsters!”

What’s Next for the DC Universe?
Creature Commandos serves as the inaugural piece of a new interconnected DC Universe. This continuity will continue with the release of Superman: Legacy in theaters next summer, while series like The Penguin will remain under DC Studios’ “Elseworlds” designation, existing outside the primary storyline.

Gunn’s dedication to Creature Commandos reflects his passion for storytelling and his commitment to building a cohesive, engaging DC Universe. As he balances his role as DC Studios co-chair and director of the upcoming Superman movie, fans can expect more thrilling developments from this new era of DC storytelling.

Key Takeaways for Fans

• Creature Commandos has been renewed for Season 2 on Max.
• The series features a star-studded voice cast and introduces a team of misfit monsters.
• Created by James Gunn, it’s the first project in the new DC Universe.
• Season 1 is currently streaming, with new episodes dropping weekly.

Stay tuned for more updates on Creature Commandos and other exciting DC projects!

Netflix has delivered a surprise holiday treat for Adam Sandler fans by unveiling the first trailer for Happy Gilmore 2, the highly anticipated sequel to the beloved 1996 sports comedy. Released during the NFL Christmas Gameday live event, the trailer rekindles excitement for a film nearly three decades in the making. Watch the trailer here.

The sequel brings back Adam Sandler in the role of Happy Gilmore, the fiery hockey-player-turned-golfer who became a pop culture icon. Joining him are original cast members Christopher McDonald as rival Shooter McGavin, Julie Bowen as Virginia Venit, Dennis Dugan, Allen Covert, and Ben Stiller. Stiller’s return as Hal L is especially notable, tying into his crossover appearance from Sandler’s 2020 film Hubie Halloween.

In Happy Gilmore 2, Sandler’s character steps into a senior golf tour, reigniting his competitive spirit. The storyline, first teased by Sandler in 2022, promises the same offbeat humor and heartfelt moments that made the original a classic. Additionally, the sequel marks Sandler’s 13th collaboration with writing partner Tim Herlihy, with input from former SNL writer Tina Fey.

The ensemble cast is further bolstered by exciting new additions, including superstar Bad Bunny, actress Margaret Qualley (The Substance), Sandler’s frequent collaborator Nick Swardson, and actor-director Benny Safdie, known for his work on Sandler’s critically acclaimed Uncut Gems. Fans can also look forward to cameos from rapper Eminem, NFL star Travis Kelce, and TV host Dan Patrick.

Netflix’s extended partnership with Sandler’s Happy Madison Productions has yielded multiple successful projects since 2014, including Murder Mystery, which was the streamer’s most-watched movie of 2019. The continuation of this deal ensures more unique collaborations like Happy Gilmore 2 in the future.

While the release date has yet to be confirmed, the trailer hints at a 2025 premiere, leaving fans eagerly awaiting Happy Gilmore’s next adventure on the green. Stay tuned for more updates!

The upcoming Sonic the Hedgehog 3 promises to be the most ambitious entry in the franchise, bringing together an impressive cast and diving deeper into fan-favorite characters. Director Jeff Fowler recently spoke with The Hollywood Reporter to share insights about Jim Carrey’s expanded role, Keanu Reeves’s portrayal of Shadow, and what’s next for the Sonic cinematic universe.

Jim Carrey’s Return and “Artistic Consultant” Credit

Fans were unsure if Jim Carrey, who plays the iconic Dr. Ivo Robotnik, would return for the third film after he hinted at retirement during the promotion of Sonic 2. However, Fowler never doubted Carrey’s commitment to the character.

“I never bought that for a second,” Fowler said. “Jim has too much fun playing Robotnik. If we dangled a really great new idea for him, I knew he’d come back.”

To entice Carrey, Fowler and his team delivered a script printed in gold ink, fulfilling a humorous condition Carrey had jokingly mentioned. The move paid off, with Carrey embracing not just one, but two roles in the film—playing both Robotnik and his grandfather, Gerald Robotnik.

Carrey’s involvement in Sonic 3 went beyond acting. His contributions to character design, improvisational dialogue, and overall creative decisions earned him an “artistic consultant” credit. “We didn’t want Gerald to feel like just Jim Carrey with a gray mustache,” Fowler explained. “Jim’s collaboration with our makeup designer, Mark Coulier, brought Gerald to life in a truly unique way.”

Keanu Reeves Brings Shadow to Life

One of the biggest revelations in Sonic 2 was the introduction of Shadow the Hedgehog in the mid-credits scene. In Sonic 3, Shadow takes center stage, voiced by Keanu Reeves. Fowler shared how Reeves’s history with darker, complex characters made him a natural fit for Shadow.

“Shadow’s backstory has real depth and complexity, which made Keanu such a great fit,” Fowler said. “His motorcycle-riding, edgy personality aligns perfectly with Shadow’s vibe, and Keanu really saw the potential in the character.”

Fowler also noted the personal connection he has with Shadow, having worked on the character during his early career as an animator for Sega’s Shadow the Hedgehog game in 2005. “It’s surreal to be introducing Shadow on the big screen after animating him 20 years ago,” he said.

Alyla Browne Joins the Cast

Alyla Browne, who gained attention for her role in Furiosa, plays a key figure in Shadow’s story. Fowler praised Browne’s ability to deliver a believable performance despite acting alongside CGI characters. “She’s incredibly talented and brought so much to the role,” he said.

Looking Ahead: Sonic’s Expanding Universe

As the Sonic franchise grows, so does its character roster. Fowler teased the introduction of more beloved characters in Sonic 3 and hinted at a potential fourth film.

“With over 30 years of characters in the Sonic library, it’s exciting to tease new faces at the end of each film,” Fowler said. “Bringing in new characters pushes the story in fresh directions. But right now, our focus is on making Sonic 3 a success. We’ll see where things go from there.”

A Tribute to Visual Effects and Fan Engagement

Fowler also reflected on the franchise’s visual effects evolution. “The scope of this third movie is so much bigger,” he said. “We’ve pushed the VFX to new heights, and fans are going to love how Shadow looks.”

He credited the fanbase for their impact on the series, especially after the original Sonic design for the first film was revised following fan feedback. “That moment created a relationship with our audience that we’ll always cherish,” Fowler said. “It’s part of our story no matter how many of these films we make.”

Conclusion

The Sonic the Hedgehog franchise has transformed into one of Paramount’s most beloved properties, and with Sonic 3, Jeff Fowler aims to deliver an experience that honors its legacy while paving the way for the future. From Jim Carrey’s dynamic portrayal to Keanu Reeves’s layered Shadow, fans have much to look forward to when the film hits theaters.

The Queen of Music, Beyoncé, delivered a show-stopping performance during Netflix’s first-ever Christmas Day Halftime Show, captivating audiences alongside Post Malone, Shaboozey, and her daughter, Blue Ivy Carter. Featuring tracks from her groundbreaking country album Cowboy Carter, the performance turned heads and set a new standard for holiday entertainment.

While the Houston Texans faced off against the Baltimore Ravens at NRG Stadium, the real buzz centered around the #BeyonceBowl—a dazzling halftime spectacle that might rival the Super Bowl in cultural significance.

A Cinematic Start

The performance kicked off with a visually stunning pretaped segment: Beyoncé, clad in a white cowboy hat, sang “16 Carriages” while riding a majestic white horse. This marked her first live performance of any track from Cowboy Carter, setting an emotional tone for the night. Rising country stars Tanner Adell, Tiera Kennedy, Reyna Roberts, and Brittney Spencer joined her for a heartfelt rendition of The Beatles’ “Blackbird,” showcasing harmonies reminiscent of Beyoncé’s girl group roots.

Electrifying the Stadium

As the live portion began, Beyoncé emerged in a glittering white leotard and matching chaps, delivering a high-energy performance of “Ya Ya,” her Grammy-nominated hit for Best Americana Performance. With dozens of dancers and musicians creating a stadium-wide spectacle, fans were reminded of the iconic #Beychella vibes from her 2018 Coachella performance.

Shaboozey joined her for a spirited rendition of “Spaghetti,” followed by Post Malone’s entrance for their collaborative track “Levi’s Jeans.” With a denim-covered truck as their backdrop, the duo’s chemistry lit up the stage. A standout moment came when Blue Ivy Carter danced beside her mom during the chart-topping hit “Texas Hold ‘Em,” drawing roaring cheers from the audience.

“I’m so honored to be in Texas right now,” Beyoncé shared with the crowd. “It’s only right we do ‘Texas Hold ‘Em’ in Texas for the first time.”

Cementing a New Tradition

Beyoncé’s performance didn’t just entertain—it may have launched a new pop culture tradition. With its star power and perfect timing during Grammy voting season, the Christmas Day Halftime Show could become as coveted as the Super Bowl’s halftime slot. As the leading Grammy nominee this year with ten nods, including all four country categories, Beyoncé’s appearance was nothing short of strategic brilliance.

A Grand Finale

To cap off the night, Beyoncé delivered a soulful cover of Dolly Parton’s “Jolene” while cruising the field in a car. Her finale was nothing short of celestial as she ascended above the stage, embodying her iconic status.

“Merry Christmas! God bless y’all,” she told the exhilarated crowd. “Thank you so much!”

Netflix’s Christmas Day Halftime Show proved to be a spectacular success, thanks to Beyoncé’s unmatched talent and star-studded guest lineup. With its dazzling debut, this event has set a high bar for future holiday programming—and cemented Beyoncé’s reign as the ultimate performer.