The Running Man-Double Feature

1987 1:41 Arnold Schwarzenegger, Maria Conchita Alonso, Yaphet Kotto

In a future dystopian America, a wrongfully accused and convicted policeman gets his shot at freedom when he’s forced to participate in a TV game show where convicts called Runners must battle killers for their freedom.

By 2017 the economic system has collapsed. (ours I feel did when 9-11 happened, and has gotten worse in the 2020s.)

Arnold ‘s character Richards refuses to fire on Un-armed civilians just trying to get

Read more: The Running Man-Double Feature

food. He’s called the ‘Butcher of Bakersfield” when he’s trying to get his collar taken off.

OMG one of the game show hosts from back in the day is in this just can’t think of the name or which and looking at the IMDB cast Richard Dawson but I have yet to find a game show however he’s been in Fantasy Island, Love Boat and all those lovely classic 60s-70s TV series, AH! Family Feud then I see WWE Wrestler Jesse “The Body” Ventura as well, which pops up as some exercise guru.

Time to play one weird game of hockey and OH WOW that is an AWESOME hockey stick! And at least Richards is resourceful..that looked like something out of AEW.

I’m not sure if all 1980’s movies had some cheese from a slice to wheel size, but there is one forgettable pun in this

They paint their own story, in a sense framing Richards showing him doing what he was told to do, instead of what he actually did.

While I appreciate the grittiness and practical effects for whatever there are in this; and while I don’t recall hearing how it did way back when I was in grade school I’m not really sure if this would have done well or not for the time. It also shows at least one reason to destroy ALL A.I.! What reason is that? If I have to tell you then I’m not giving you the idea, and assisting any criminals reading this. (There’s already too many criminals currently making it, and using it and ways I can see it being used )

I wasn’t really into the movie and I am hoping the upcoming movie will be better, faster paced. (Do I like action that makes you breathe like you just ran a Marathon? Yes that’s what action is, slow ‘action’ movies are not action. Even street Fights move at a fast pace so seriously

C-

Alamo Draft House Clip show

Strangest Stephen King movies

Children of the corn
Cats eye
The mangler
Creepshow 2
1408
Maximum overdrive
Sleepwalkers
The rage:Carrie 2
A return to Salem’s lot
The lawnmower man

B/w cartoon of an airplane race

Edgar wright’s top 5 car chases

The driver 1978
Mad max fury road 2015
The blues brothers 1980
Bullitt 1968
The French connection 1971

Some Korean (?) game competition show climbing a soapy ‘slope’

Death race 2000 trailer

Stephen king ad ‘you know what scares me” ad to check out your local library

Rollerballichael cera Pillsbury dough commercial

Trailer for Arnold’s Running Man
Family feud (w/Steve harvey) clips YouTube/vicberger

2025

Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera, William H. Macy, Emilia Jones,

Edgar Wright (BABY DRIVER) adapts the over-the-top Stephen King classic set

One man’s run for freedom begins.
In a future ruled by spectacle, one man
dares to challenge the game that kills for ratings.

🏃‍♂️⚡🎯🔥💀
Be one of the first to see Glen Powell in The Running Man!
In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.Don’t miss Edgar Wright’s take on the over-the-top Stephen King classic.

The killer futuristic hide and seek game show zeros in on the original 1982 source by Richard Bachman aka Stephen King. While the ‘Arnie’ movie confined the game to a subterranean set, there is a game show set hosted by the flamboyant Colman Domingo (Fear the Walking Dead) who also pulls strings int he background. Josh Brolin plays the show’s producer Dan Killian.

While I read an article that mentioned the original “only had the one setting”, making it sound like its some tiny budget movie, there is more than one setting that he and others move through in the original when the game gets going. The contestant Ben Richards is moving through a range of Environments and needs to survive 30 days in this wild.

The novel is set in the ‘near-future’ Which for us is now ! Its set in 2025 as a dystopian nightmare. This new version with Glen Powell’s Ben Richards (unlike Arnold’s one man army) will be a desperate fugitive using his wits to stay alive so hopefully a lot of action and skin of your teeth escapes…and .so. Much. Running…..

Msg from Ben richards to turn your 🤬 phones off.

( I copied and pasted my notes into post, sorry for any typos or autocorrect screwing something up)

Daughter sick funny cough whooping
Physical and psycho test (“you are angriest man to ever…”

Put in teams of 3

While the other 2 party richards gets his meeting with producer played by Josh Brolin

Network and ‘new money’ (which has Arnold’s face oIt)
3 rules
Hunters

Moosh boosh colman domingo
The ride part is faster

Leaves most of what left for him

Will h Macy plays molly where you want to go for ids and survival

I spotted Powell’s dog brisket on the train
Mail drones

Hello towel!!!!
Htf did the guy find him!?!?

Dude sends him to Derry Maine …are we gonna see Pennywise and it’s about time they show Laughlin

Dressed as a priest the hick sees through the disguise.

Beautiful house, and nicely bo now trapped

Called’ the initiator’
Liberty springs? From book or other story?

Freevee. Lol

🏃‍♂️ The Running Man: 🆕 $17M domestic opening, $28.2M global debut, $110M budget. Glen Powell’s first stumble since achieving movie star status as Edgar Wright’s dystopian reboot fell below tracking, unable to escape its R-rating limitations. 35% of international territories have yet to open (including China, Korea, and Brazil).

Glen Powell and Edgar Wright take a novel approach to The Running Man in first look (exclusive)
Glen Powell on how Tom Cruise made sure he ‘survived’ grueling The Running Man shoot

croll down for an Article from Entertainment Weekly (included as reference)

The following is an article from Entertainment Weekly all rites belong to them and the writer I take no credit just including for reference as I know they eventually clear out old articles.

Stephen King reveals his thoughts on the big ending change in The Running Man (exclusive)

The dystopian thriller, which is based on King’s 1982 novel of the same name, is now playing in theaters.

By 

Lauren Huff

November 14, 2025 12:00 p.m. ET

1Comment2

Glen Powell stars in Paramount Pictures’ The Running Man’.Credit: Ross Ferguson/Paramount Pictures

This article contains spoilers for The Running Man.

The Running Man film is an incredibly faithful adaptation of Stephen King‘s 1982 novel of the same name — until it isn’t.

Both book and film are high-octane dystopian thrillers set in a future, alternate version of America. They both follow Ben Richards (played by Glen Powell in the film), an out-of-work father in desperate need of money for his sick child’s treatment, who joins a murderous game show — The Running Man — in which contestants are pursued by “hunters” hired to take them out.

The rules of the game, Ben’s journey, the people he meets along the way, and the things he learns about the corrupt and morally bankrupt society in which he lives remain mostly unchanged from page to screen. But the film’s final act is where things differ.

Glen Powell runs for his life as Ben Richards in ‘The Running Man’.Ross Ferguson/Paramount

Ahead of the film’s release this weekend, Entertainment Weekly reached out to King to get his thoughts on the big change. “I like the ending of Edgar’s version of The Running Man very much,” he said. “Can’t say too much — spoilers — but I think readers of the novel will be satisfied because they get to have it both ways. If you see what I mean, and I’m betting you do.”

Now, with the movie out in theaters, we can break down what the horror maestro was hinting at.

In the book, which King wrote under the pseudonym Richard Bachman, Ben carjacks a wealthy woman named Amelia (played by Emilia Jones), taking her hostage and getting the press’s attention in the process. Together, they head to an airport, where he bluffs his way past the media, police, and lead hunter Evan McCone (Lee Pace), onto a plane, by pretending he has a powerful bomb hidden in Amelia’s bag.

With McCone and Amelia on board, he continues the ruse, directing the plane to fly low over highly populated cities so it won’t be shot down by a defense missile. The head of the game show network, Killian (Josh Brolin), calls Ben and tells him that he knows he’s bluffing — the plane has x-ray tech that shows he’s not actually carrying an explosive. He then attempts to bargain with Ben, now the show’s most successful contestant, by offering him McCone’s job.

Inside Glen Powell’s action-packed turn as ‘The Running Man’ — and why he’s happy ‘chasing the danger’

Glen Powell on how Tom Cruise made sure he ‘survived’ grueling ‘The Running Man’ shoot

When Ben refuses, Killian tells him that his wife and child are dead, murdered 10 days earlier by intruders. Irate and with nothing left to lose, Ben accepts the offer before killing McCone and the flight crew and forcing Amelia to parachute to safety. Mortally wounded after his fight with McCone, Ben uses his remaining strength to program the plane to fly directly into the network building where it all started, killing Killian and himself in the process. The novel ends simply: “The explosion was tremendous, lighting up the night like the wrath of God, and it rained fire twenty blocks away.”

However, in the film, the plane never reaches the building. It’s shot down before it gets there, and the network announces that Ben died in the crash. But some of his fans aren’t so convinced, including one amateur sleuth, who argues that Ben could have used an escape pod feature on the plane.

We then see Ben’s wife and daughter alive and well in a grocery store, where a masked man — later revealed to be Ben — has paid for their groceries. The family shares a sweet reunion before Ben, now a full-on vigilante, heads to the Running Man set where his journey began. At the head of an angry mob, he walks into the studio and confronts Killian, ultimately shooting him in front of the cameras as the crowd tears apart the set.

Stephen King and Edgar Wright finally meet.Edgar Wright/Instagram

Though wildly different than the book, King was on board with the change from the beginning. According to the film’s director and co-writer, Edgar Wright, the acclaimed horror writer was sent the script before the film’s production began. “Stephen King read the screenplay before we started filming, and so I was kind of most nervous about what he would think, but he loved it,” Wright told EW of the script.

Get your daily dose of entertainment news, celebrity updates, and what to watch with our EW Dispatch newsletter.

King was similarly pleased with the finished product as a whole. “He watched the film recently, and one thing he said that I really liked, he said, ‘It’s much more faithful to the book, but different enough to keep it exciting for me,'” Wright says. “I thought that that was the best answer, is that it’s more faithful to the book than the previous adaptation [the 1987 film starring Arnold Schwarzenegger], but it does have changes and twists. So I think like Ben Richards, you want to keep readers of the book on the back foot as well.”

Mission accomplished, we’d say.

N3ws and Notes July

NBC cancels ‘Grosse Pointe Garden Society’ after S1. 

📺 2025 Emmy nominations are here… Network scorecard… 🏆 Emmy Noms 2025: The Streaming Wars HBO/Max: 142 (‘The Penguin’: 24, ‘The White Lotus’: 23)Disney total: 137 (across ABC, FX, Hulu, Disney+, etc.)Netflix: 120 (‘Adolescence’: 13, ‘Monsters’: 11)Apple TV+: 79 (beat most traditional networks)Prime Video: 12 (rough showing this year) Check out the full list of nominations here. 👈👀 Looking ahead… The 77th Emmy Awards air Sept. 14 on CBS with comedian Nate Bargatze hosting. The Nomination Leaderboard The top tier reveals a streaming landscape where traditional boundaries have completely dissolved: 27 – Severance (Apple TV+) – The workplace dystopia. 24 – The Penguin (HBO) – Batman’s universe. 23 – The White Lotus (HBO) – Mike White’s luxury resort satire. 23 – The Studio (Apple TV+) – The new comedy that mocks Hollywood. 16 – The Last of Us (HBO) – The mushroom zombie apocalypse. 14 – Andor (Disney+) – Star Wars finally delivers. 14 – Hacks (HBO Max) – The veteran comedy proves staying power. Pee-wee Herman’s iconic red bicycle to be permanently displayed at the Alamo trib.al/p6hWGlf

Little House on the Prairie: Reboot Series in Production, Seven Join New Netflix Show Wednesday: Season Three Renewal Announced Ahead of Second Season Premiere on Netflix Callum Vinson joins Peacock’s ‘Friday the 13th’ prequel series ‘Crystal Lake’ as a young Jason Voorhees. (more)

🚫A $3B contract dispute is holding ‘South Park’ hostage. ‘South Park’ creators Trey Parker and Matt Stone believe they had a handshake deal with Paramount for a massive 10-year overall deal worth $3B, but incoming owner Skydance is exercising veto power over the arrangement during the merger approval process. The dispute has already caused the show to vanish from international Paramount+ streaming, delayed the new season premiere, and prompted furious fans to cancel subscriptions while trading tips on Reddit for workarounds. Parker and Stone have hired aggressive litigator Bryan Freedman to fight back. At the heart of the conflict: Skydance wants to slash the deal from 10 years to 5 amid concerns about cash reserves, while Parker and Stone maintain they had a legitimate agreement that’s being improperly interfered with. 🖕 South Park’s $1.5B Middle Finger to Trump Interesting timing. Trey Parker and Matt Stone just inked a $1.5 billion streaming deal with Paramount on Monday, then dropped a nuclear bomb on Wednesday with a season premiere showing naked President Trump in bed with Satan. The White House is absolutely losing its mind, and Parker’s response at Comic-Con was peak South Park: “We’re terribly sorry.” Deadline@DEADLINE ‘South Park’ creators Trey Parker and Matt Stone kept it short and sweet with their deadpan response to the reaction over last night’s very topical Season 27 premiere | #SDCC 2025 The Numbers Are Staggering The five-year Paramount+ deal breaks down to $300 million annually just for streaming rights: $1.5 billion total for global streaming over five years 50 new episodes guaranteed through the deal Previous seasons moving to Paramount+ for the first time in the U.S. Deal preserves South Park’s status as one of the world’s most valuable TV franchises The White House Meltdown, Trump’s team went absolutely ballistic over the premiere, with spokesperson Taylor Rogers calling South Park “a fourth-rate show” that “hasn’t been relevant for over 20 years.” But here’s the kicker: the episode also torched Paramount’s $16 million Trump settlement, with Jesus literally telling South Park residents: “You guys saw what happened to CBS? Do you really want to end up like Colbert?” Parker revealed at Comic-Con that Paramount tried to censor the episode: “They said, ‘OK, but we’re gonna blur the penis,’ and I said, ‘No you’re not gonna blur the penis.'” Translation: Even with $1.5 billion on the line, these guys bow to nobody.

🎭 Sean Astin is running for SAG-AFTRA president. ‘The Lord of the Rings’ star, whose mother, Patty Duke, led the Screen Actors Guild in the 1980s, is teaming up with Michelle Hurd (running for secretary-treasurer) and Joely Fisher (running for LA Local president) on “The Coalition 2025” slate. Current president Fran Drescher, who steered the union through 2023’s brutal 118-day strike, reportedly isn’t seeking reelection. Meanwhile, Fisher’s stepping down from her current national secretary-treasurer role to focus on local LA leadership, citing the “downturn in local Los Angeles production” since the strikes wrapped. The group isn’t running unopposed: SAG-AFTRA New England’s Chuck Slavin is running for president with Peter Antico, and potentially others. Whoever wins inherits some tough challenges: upcoming contract negotiations in 2026, evolving AI protections, and shrinking job opportunities for 160,000 members as production continues fleeing California.

📽️ Alamo Drafthouse founder Tim League is taking movie nights private. League’s new venture, Metro Private Cinema, opens in NYC’s Chelsea this fall with 20 theaters seating 4-20 people each, complete with gourmet meals, dedicated attendants, and curated film selections. A four-person room runs $200 for four hours, plus $100 per person for food—and since screenings are private, audiences can talk, text, or even belt out show tunes without getting the stink eye (cinema purists everywhere just felt a disturbance in the force). It’s just one example in the industry’s broader effort to revitalize the movie-going experience in the era of streaming. While some chains are building entertainment hubs with restaurants, pickleball courts, and bowling alleys, League’s betting on his vision of ultra-intimate luxury that transforms movie nights into exclusive experiences you’d host for your closest friends.

Billion-dollar alert: Disney’s live-action ‘Lilo & Stitch’ has officially crossed the $1B mark at the global box office, becoming 2025’s first Hollywood film to hit the milestone. It’s Disney’s fourth billion-dollar film in just 13 months, joining ‘Moana 2,’ ‘Deadpool & Wolverine,’ and ‘Inside Out 2’ in the exclusive club.

• 🚲 Pee-wee Herman’s iconic red bicycle displayed at Alamo.
• 📺 “Ted Lasso” Season 4 teaser drops from Apple.
• 🤖 “Blade Runner 2049” used real projections for Joi’s holograp.
• 🎬 “Keeper” teaser drops from “Longlegs” director Osgood Perkins.
• 📝 Christopher Nolan scripts available for free download and study.
• 👗 Anne Hathaway teases “Devil Wears Prada 2” in production.
• 🎵 Uma Thurman hated Pulp Fiction’s twist song, Tarantino: “trust me.”

🤖 A new bill wants to put AI companies on the hook for using creators’ work. Senators Josh Hawley and Richard Blumenthal introduced bipartisan legislation that would ban AI companies from training their models on copyrighted works or personal data without explicit consent, giving creators the power to sue for unauthorized use. This comes on the heels of a court ruling last month that gave AI companies broad legal cover to train on copyrighted material under fair use doctrine, essentially letting them buy a single book and upload its entire contents to their training database rather than negotiating expensive licensing deals with publishers. This bill would hit the brakes on that, forcing AI companies to pony up and pay for the creative work they’re currently getting for free.

Liam Neeson has made a PSA to get people to see ‘THE NAKED GUN’ to save theatrical comedies.

“For the price of one movie ticket, you can help rescue a comedy and, in the process, get to share a smile and a laugh”

(Source: @Fandango) pic.twitter.com/WleoGGJXXV

— DiscussingFilm (@DiscussingFilm) July 22, 2025

🪓 Blumhouse laid off six staffers across film, television and casting last week, including junior-level executives and support staff. The cuts come two weeks after ‘M3GAN 2.0’ flopped at the box office, though none of the fired employees actually worked on the film.

Film Development 🗒️ “Tom Holland is supposedly close to signing on as the new James Bond” A ‘Legend of Zelda’ movie has cast Bo Bragason as Zelda and Benjamin Evan Ainsworth as Link in the live-action film, releasing May 2027. (more) Diego Luna will star opposite Taylor Kitsch in hostage thriller ‘Eleven Days,’ directed by Peter Landesman. (more) Millie Bobby Brown and Gabriel LaBelle will star in Netflix rom-com ‘Just Picture It.’ (more) Netflix is developing a live-action series based on ‘Captain Planet and the Planeteers,’ with Tara Hernandez set to write and produce. (most) Barbie is getting a theatrical animated film from Illumination and Mattel, her first after decades of straight-to-video releases. (more) Neon boards Chloe Domont’s legal thriller ‘A Place in Hell,’ starring Michelle Williams, Daisy Edgar-Jones, and Andrew Scott. (more) Viola Davis and Yahya Abdul-Mateen II will star in and produce a reimagining of ‘House of Games’ at Amazon MGM Studios. (more) Cynthia Erivo and Michael Bay team up to adapt sci-fi thriller ‘Saturation Point’ for Universal, with script by Minnie Schedeen. (more) Bill Burr is developing a Fox sitcom titled ‘Earthquake,’ based on the life of comedian Nathaniel “Earthquake” Stroman. (more) Penn Badgley and Meghann Fahy will star in Amazon MGM rom-com ‘You Deserve Each Other,’ directed by Marc Silverstein and Abby Kohn. (more) David Dastmalchian will play villain M. Bison in Legendary’s live-action ‘Street Fighter,’ directed by Kitao Sakurai. (more) Taika Waititi is set to direct a new ‘Judge Dredd’ movie, with Drew Pearce writing the script in a hot package now hitting studios. (more) Ryan Gosling and Will Ferrell will star in the action comedy ‘Tough Guys,’ about two henchmen who go rogue, for Amazon MGM Studios. (more) Lili Reinhart and Tom Bateman will star in rom-com ‘The Love Hypothesis,’ based on Ali Hazelwood’s bestselling novel for Amazon MGM. (more) Netflix has acquired Matt Lawton’s rom-com spec script, ‘I Don’t Know Who You Are Anymore.’ (more) Jack Lowden will star in an Apple TV+ drama based on the ‘Berlin Noir’ novels, with Tom Shankland directing and Playtone producing. (more) Amazon MGM is rebooting ‘Basic Instinct’ with original screenwriter Joe Eszterhas penning a new take for United Artists. (more) Road House 2’loses director Guy Ritchie ahead of its September production start, with Jake Gyllenhaal still set to return. (more) Vanessa Hudgens stars in ‘Quiet Storm,’ a ’60s-set thriller. (more) ‘Eleven Days’ casts Taylor Kitsch as a Texas prison chief in Peter Landesman’s indie hostage thriller. (more) Greta Lee will direct and write ‘The Eyes Are the Best Part’ for Searchlight, adapting Monika Kim’s hit horror novel. (more) ‘Night at the Museum’is getting a reimagining at 20th Century Studios, with Tripper Clancy set to write an all-new story. (more) ‘Last Days’ from ‘Fast & Furious’ director Justin Lin lands at Vertical, with an October 24 theatrical release. (more) The Odyssey’ recasts Cosmo Jarvis with Logan Marshall-Green due to scheduling conflicts ahead of Christopher Nolan’s shoot. (more) Chris Pratt will return to voice the lasagna-loving cat in a sequel to ‘The Garfield Movie.’ (more) Jon M. Chu will direct a live-action ‘Hot Wheels’ movie for Mattel, Warner Bros., and Bad Robot following his ‘Wicked’ success. (more) Theo Rossi will make his feature directorial debut with action-heist film ‘Shell Game,’ which he also co-wrote and will produce. (more) ‘The Thomas Crown Affair’remake adds Kenneth Branagh and Lily Gladstone alongside star-director Michael B. Jordan. (more) 🏁 Vin Diesel wants Paul Walker’s Brian O’Conner back for “Fast 11” finale: CGI resurrection or recast? 👠 Original “Devil Wears Prada” cast (Streep, Hathaway, Blunt, Tucci) officially returning for sequel. ‘Eruption’ from Michael Crichton and James Patterson is being adapted by Kaz and Ryan Firpo for Sony, following its bestseller debut. (more) ‘Fantasy Camp’ comedy pitch lands at United Artists, with Nate Bargatze set to star and produce the basketball-themed film. (more) Andrew Garfield will star in Luca Guadagnino’s AI-themed comedy-drama ‘Artificial’ at Amazon MGM, joined by Cooper Koch and Yura Borisov. (more) ‘Alpha Gang’ adds Chris Pine, Lily-Rose Depp, Kelvin Harrison Jr., and Doona Bae to its cast as the Zellner Brothers’ alien comedy wraps production. (more) Legendary has cast Vidyut Jammwal as Dhalsim in its live-action ‘Street Fighter’ movie. (more) Amazon MGM and Hasbro are developing a live-action ‘My Little Pony’ movie, the franchise’s first non-animated feature. (more) ‘Practical Magic 2’ begins filming with Dianne Wiest and Stockard Channing returning, and new cast including Lee Pace and Maisie Williams. (more) A ‘Ghost Eaters’ adaptation is in the works at Screen Gems with Maggie Levin set to write and direct, and Scott Derrickson producing. (more) Elegance Bratton is in talks to direct an Arthur Ashe biopic with Skydance Sports joining as producer. (more) Amazon MGM has set ‘Verity’ starring Anne Hathaway and Dakota Johnson for theatrical release on October 2, 2026. (more) 🔨 “Oldboy” sequel reportedly in development – follows original Park Chan-wook film, not 2013 remake (iconic scene above^). 💊 “23 Movies Brought to You Mostly By Cocaine“ list reveals drug-fueled ’70s/’80s Hollywood comedy productions. 🎬 Brad Pitt and Eric Bana made $50/$100 betting deal for accidental hits during no-stunt-double duel scene, for Troy. 📺 Jennifer Aniston stars in Apple TV+ series inspired by Jennette McCurdy’s “I’m Glad My Mom Died” memoir. 🏃 Glen Powell’s viral morning routine with Ashton Hall promotes “The Running Man” trailer launch. 🎩 First “Cat in the Hat” animated trailer drops starring Bill Hader – theaters February 27, 2026. 🟢 Pixar’s longest-running gag continues: Mike Wazowski gets blocked in every “Monsters Inc.” poster and promotional material. BoulderLight Pictures and Divide/Conquer are teaming on a new ‘Amityville’ movie, with ‘Deadstream’ duo Joseph and Vanessa Winter set to direct. (more) Ariana Grande and Josh Gad will voice characters in ‘Oh, the Places You’ll Go!’, Warner Bros.’ animated take on the Dr. Seuss classic. (more) Eva Longoria will direct and produce ‘Anita de Monte Laughs Last’ for Searchlight Pictures, adapting Xochitl Gonzalez’s bestselling novel. (more) Harris Dickinson’s ‘Urchin’ (winner of Cannes’ Best Performance prize) has been acquired by 1-2 Special for North American release this fall. (more) David Mikalson lands an A24 deal to direct ‘The Goblin,’ his viral buddy comedy script likened to ‘Ted’ meets ‘E.T.’ (more) Aaron Taylor-Johnson will star in Robert Eggers’ ‘Werwulf,’ with Lily-Rose Depp in talks to join the ‘Nosferatu’ reunion. (more) TV Development 📺 Jack Henry Robbins is developing the Hulu comedy series ‘Nepo Baby,’ based on his viral character and infamous family ties. (more) Made Up Stories is adapting ‘The Soulmate,’ Sally Hepworth’s thriller novel, into a TV series with Imogen Banks and Asher Keddie. (more) Business🤝 Kathleen Remington is exiting CAA to launch a new literary management company after 20+ years as a top screenwriter agent. (more) NBCUniversal wrapped its 2025-26 upfronts with record ad volume, driven by live sports like the Olympics, Super Bowl, and FIFA World Cup. (more) Dakota Johnson & Ro Donnelly have signed a first-look TV deal with Sony Pictures Television for their banner, TeaTime Pictures. (more) Other News 🚨 Nielsen’s monthly Gauge report showed broadcast TV fell below a 20% share of total TV viewing time for the first time ever. (more) 🎬 “Coyote vs Acme” officially releases 2026 after Ketchup Entertainment purchased shelved Warner Bros film for $50M. Finn Little will reprise his role as Carter in the ‘Yellowstone’ spinoff centered on Beth and Rip for Paramount+. (more) Jeffrey Dean Morgan and Jay Duplass have joined Prime Video’s YA series ‘Sterling Point,’ created by Megan Park. (more) ⚡ First look at Dominic McLaughlin as Harry Potter in new HBO series as filming officially begins. Netflix orders a live-action ‘Assassin’s Creed’ series from Roberto Patino and David Wiener, based on the hit video game franchise. (more) Samuel L. Jackson will star in ‘NOLA King,’ a ‘Tulsa King’ spinoff greenlit at Paramount+ and set to debut after his character’s intro in S3. (more) FX has ordered limited series ‘Cry Wolf,’ starring Olivia Colman and Brie Larson as women entangled in a high-stakes abuse allegation. (more) ‘The Walking Dead: Dead City’is renewed for S3 with a new show runner. (more)

GOLU@_molu___

DARK humour 😭

GOLU@_molu___ DARK humour 😭   6:17 AM • Jul 10, 2025 82.1K Likes   6.6K Retweets

🔥 Stranger Things S5 Drops Official Teaser The Netflix show’s final season trailer arrives with demons, tornados and flamethrowers. Stranger Things 5 | Official Teaser | Netflix Objectively, you should not be excited about the return of Stranger Things. Over the years, the Netflix smash has come to represent everything bloated about television’s streaming era – a show that began as fun piece of fluff and morphed into a mythology-heavy marathon that takes years to produce and hours to consume. What started as a one-and-done collection of 1980s film references became something else entirely when success demanded expansion. The Duffer brothers found themselves pulling an entire mythology out of thin air, creating a bloated universe full of bottle episodes about punky young superheroes and self-indulgent installments that grind on for hours. And because the episodes were so gargantuan, they took years to make. This is why you shouldn’t be excited about Stranger Things. Whatever happened in the last batch has long since receded from memory, and rewatching feels less like television and more like a Man v Food challenge. The Most Trailer Ever Made And yet the first trailer for the final episodes has dropped and damn it if I’m not suddenly really excited about it. What happens in the trailer? It’s hard to say. Joe Keery turns a wheel in a van. Lights flicker ominously. There are flamethrowers and lightning storms, four-legged monsters prowling through kitchens like Jurassic Park raptors, machine guns and fast cars, crying and flying and Vecna throwing a burning tornado at the sky …all accompanied by Deep Purple’s thunderous “Child in Time.” Does it make sense? Not really. Is it overloaded with mythology and superfluous characters that demand a diagram to track? Almost certainly. But could I feel my heart start to race as it unfolded? Absolutely. The Stranger Things trailer isn’t the best trailer I’ve ever seen, but it might qualify as the most trailer I’ve ever seen – and sometimes that does the trick. The Spectacle Machine More than anything, it reinforces the direction Stranger Things has been heading for nine years. There will be not a single atom of subtlety in these episodes. Any nuance will be forced out by a powerhouse of spectacle. Things will explode. There will be CGI by the gallon. Characters will operate exclusively in emotional red zones. For better or worse, you will end this series exhausted. However, there is one small hint that – despite the heavy metal frenzy that whirls around it – Stranger Things knows how it will stick the landing. The Heart Beneath the Chaos It comes in the form of a snatch of dialogue between Hopper and Eleven. It isn’t much (“Let’s end this, kid”) but it’s a sign the key relationship of the entire series is back on track. Despite all the excess – the monsters, the nostalgia – Stranger Things was always a show about parenthood. It’s the story of a man who finds a weird little girl with nowhere to go, who helps him rebuild himself after experiencing devastating bereavement. Any time it has leant into the found-family dynamic between Hopper and Eleven, Stranger Things has found an emotional wallop that cannot be overwhelmed by the whiz-bang chicanery surrounding it. This is where Stranger Things began and where it must end.

STATISTIC 📉 Writers are facing fewer jobs than ever…

The Writers Guild West’s 2024 report, released on Friday to members, reveals a troubling paradox: writers’ earnings are up but jobs keep disappearing. Some numbers:

Total earnings rose 12.7% to $1.5B (recovering from 2023’s strike-hit $1.3B)Only 5,228 writers reported income in 2024 vs. 6,910 in pre-strike 2022—a devastating 24.3% decline over two yearsTV and streaming jobs got hit hardest: down 28.5% total since 2022, including an 11% drop in 2024 aloneFilm work was a little more resilient, but still dropped 16% from pre-strike levels

The takeaway: Fewer writers are working now than even in pre-strike 2022, suggesting this isn’t temporary recovery but permanent downsizing.

🇩🇰 Denmark thinks your face is special (legally)…

Impersonator Miles Fisher (left) and deepfake Tom Cruise (right) (Source – Chris Ume)

Denmark could become the first European country to legally recognize that your face, voice, and body belong to you, and only you. The Danish government announced plans to amend copyright law, giving people the right to control AI-generated deepfakes of themselves. Here’s what the legislation covers:

Everyone gets copyright protection over their physical appearance and voiceTech companies must remove unauthorized deepfake content or face “severe fines”Any realistic digital imitation needs explicit permissionVictims can seek damages for violationsParodies and satire remain protected

Reality check: Skeptics question how Denmark could actually enforce these rules, especially against international tech platforms and content creators operating outside Danish jurisdiction.

The US has its own version in the works: the NO FAKES Act, which aims to give Americans federal IP rights over their voice and visual likeness. The bipartisan bill is currently sitting in committee, still in early legislative stages.

Speaking of timing, just two weeks ago, UK actors union Equity released an open letter signed by prominent performers urging progress on AI protections for performers. The letter claimed “thousands of performers” have been “digitally scanned on set without their informed consent” and gathered nearly 1,500 signatures, showing this isn’t just theoretical—it’s happening now on UK productions.

Looking ahead… Denmark will vote on the legislation in the fall before using its upcoming EU presidency (each country rotates as president every six months) to push similar legislation across Europe. If successful, this could accelerate similar efforts in the US, especially as American talent unions push for stronger digital protection clauses.

💸 HBO just changed how it pays its talent. The premium network ditched its decades-old “net profits” system (notorious for making it nearly impossible for talent to earn backend money even on hits) and replaced it with a new bonus structure tied to clear metrics like viewership thresholds, Emmy wins, and show renewals. While HBO previously made up for those stingy backends by cutting massive overall deals (think eight-figure paydays for ‘The Last of Us’ creator Craig Mazin), the new system codifies exactly how much talent can earn from success. HBO isn’t alone: Disney, Amazon, Apple, and even Netflix are all moving to their own versions of performance-based compensation models. It’s yet another clear sign that Peak TV’s free-spending era is over, as debt-laden studios pivot from “pay everyone like they’re making the next ‘Game of Thrones’” to “prove it’s a hit first, then we’ll talk.”

🦸‍♂️ Warner Bros. and DC have something to celebrate…

‘Superman’ director James Gunn

After years of stumbling in the superhero sandbox, DC Studios finally has a genuine win. James Gunn’s ‘Superman’ exceeded expectation with its $122M domestic debut, proving there’s still life in the cape-and-tights game.

The rescue mission: When Warner Bros. tapped James Gunn and Peter Safran to co-lead DC Studios in late 2022, they were calling in the cleanup crew. CEO David Zaslav decided to emulate Disney-Marvel by creating a separate studio with dedicated leadership. Gunn, fresh off his Marvel success with the ‘Guardians of the Galaxy’ trilogy, was tasked with fixing an entire cinematic universe running on fumes.

DC’s recent track record was brutal: Since 2019’s ‘Shazam!’, a string of disappointments—‘Wonder Woman 1984,’ ‘The Flash,’ ‘Black Adam’—left the brand damaged. The previous Zack Snyder-era’s dark, brooding tone alienated general audiences, and with broader superhero fatigue affecting even Marvel, launching a ‘Superman’ reboot seemed risky.

This weekend’s vindication…

Best opening ever for a first ‘Superman’ installmentWarner Bros.’ second $100M+ opener this year (after ‘A Minecraft Movie’)Strong premium format performance (47% of business)A- CinemaScore and 93% audience rating suggest audiences were hungry for earnest superhero storytellingSolid demographic spread, suggesting broad appeal

Looking ahead… ‘Superman’s’ success validates Warner Bros.’ expensive gamble on Gunn’s vision. With ‘Supergirl’ already in the can for June 2026 and ‘Clayface’ in pre-production, DC Studios is taking a “slow and steady” approach that’s the antithesis of their previous spray-and-pray strategy.

“[It’s] all part of a bold 10-year plan. The DC visionis clear, the momentum is real, and I couldn’t be more excited for what’s ahead.”

🏈 The sports doc goldmine is drying up…Netflix’s ‘Drive to Survive’ (Source: Tudum)The sports documentary industry, which seemed like a goldmine after Netflix’s ‘Drive to Survive’ (2019) and ‘The Last Dance’ (2020), is rapidly consolidating. The initial success triggered a tidal wave of copycat projects, but what was once a thriving ecosystem for independent producers is becoming a game only the biggest players can afford.The market’s now cooling fast. Last year, U.S. series orders for sports content nosedived from 104 in the first half of 2024 to just 64 in the second half—a brutal 38% drop that outpaces the broader industry downturn.How it’s playing out for independent producers…Major sports leagues are bringing production in-house: The Premier League and Kansas City Chiefs are launching their own studios, capturing the revenue and control that used to go to outside producers. Manchester City made their own behind-the-scenes doc, posted it on YouTube, and got 1.3M views.Archive footage costs are skyrocketing: One minute of English Football League content now costs £10,000 ($13,500), pricing out smaller producers.Access is tightening: The biggest stars and stories that streamers want are increasingly controlled by leagues and teams directly.Streamers are getting pickier: After a period of over-saturation, limited slots now go to mega-budget projects about global superstars that independents often can’t access.”At the moment, it’s not an easy part of the industry to be involved in. The halcyon days of sports docs around four or five years ago are over.” —Simon Lazenby, Sky Sports F1 presenter and producerIt’s an unexpected reality check for a genre that was thought to be recession-proof. They had built-in passionate audiences, clear narrative arcs, and global appeal—everything streamers craved.Looking ahead… Independent producers are adapting by focusing on lesser-known athletes, using co-productions and tax credits, and hunting for stories that major leagues haven’t prioritized yet. But the fundamental economics have changed—the era of easy access to major sports stories is ending.

🦸‍♂️ Kevin Feige calls BS on superhero fatigue… Marvel Studios President Kevin Feige Marvel Studios President Kevin Feige isn’t buying the “superhero fatigue” narrative that’s been swirling around Hollywood. Just look at DC’s ‘Superman’ hitting $407M globally, he says: “It’s clearly not superhero fatigue.” In a candid interview ahead of ‘Fantastic Four’s’ release this weekend, Feige admits Marvel created its own problems by flooding the market with content. But he’s got a game plan to fix it: Supply, not demand, was the problem: Marvel produced 50 hours of content from 2008-2019. After 2019’s ‘Avengers: Endgame’ that jumped to 127 hours in six years. “For the first time ever, quantity trumped quality,” Feige admits. Quality and standalone focus: Marvel’s focusing on better, self-contained stories that newcomers can jump into without watching previous films or shows. The goal: eliminate the “homework” feeling that hurt films like ‘Thunderbolts*’ ($382M globally) where “nobody knew that title and many characters were from shows.” Budget engineering: Marvel’s slashed budgets by roughly a third from 2022-2023 levels. Marvel studied Gareth Edwards’ ‘The Creator’ which looked like a $200M blockbuster but only cost $80M. Feige’s team met with Edwards’ crew to learn efficiency tactics. Production location shifts: The next ‘Avengers’ films are shooting at London’s Pinewood Studios—a decision made years ago when stage space was scarce during the streaming boom. Feige says future projects will likely target Georgia and New York for competitive incentives, but probably not California despite the state’s new $750M tax credit. Looking ahead… Marvel’s capping films at 2-3 annually (some years just one) while slashing TV to a single live-action show per year. This weekend’s ‘Fantastic Four’ will be another test for Marvel’s standalone storyline and quality-over-quantity theory. Early reviews are calling it “one of the best things Marvel has ever made,” setting up a crucial demand test, especially after DC’s ‘Superman’ proved audiences are still hungry for superhero content.

⚰️ Universal’s Failed Dark Universe Revival

Sometimes the most spectacular failures are the ones that never actually happened. Universal’s Dark Universe—their audacious attempt to turn classic monsters into the next Marvel Cinematic Universe—died so quickly that most fans never realized how close we came to witnessing either a masterpiece or a magnificent disaster of unprecedented proportions.

That infamous 2017 cast photo wasn’t just marketing material—it was a prophecy written in Photoshop. The image featured Tom Cruise, Russell Crowe, Sofia Boutella, Johnny Depp, and Javier Bardem, but none of these A-listers were actually in the same room together. It was the perfect metaphor for a universe that existed only in spreadsheets and studio executives’ fever dreams.

The photo represented something far more ambitious than anyone realized at the time. Universal planned to reboot Frankenstein, Bride of Frankenstein, Dracula, Creature from the Black Lagoon, Phantom of the Opera, and Hunchback of Notre Dame, creating an interconnected web of gothic horror that would span decades.

The Mummy – Official Trailer (HD)

What We Almost Witnessed

The scope of Universal’s vision makes the MCU look quaint by comparison. Beyond the obvious tentpoles, the Dark Universe would have fundamentally redefined how audiences experienced horror:

Johnny Depp’s Invisible Man would have been the franchise’s wildcard entry. Ed Solomon of Men in Black was set to pen the script, positioning the character within the shared universe. Imagine Depp’s eccentric energy channeled into a character who could literally disappear—the meta-commentary writes itself.Angelina Jolie’s Bride of Frankenstein represented the crown jewel of the franchise. Bill Condon signed on to direct with a Valentine’s Day 2019 release date, with the original script beginning in the 1870s and transitioning to the Bride re-awakening in the present day. This wasn’t just another monster movie—it was positioned as a feminist reimagining of one of cinema’s most iconic female characters.The Russell Crowe Strategy proved Universal understood the assignment from day one. Crowe’s Jekyll would likely have been the Dark Universe’s equivalent of Nick Fury, the man who would bring all disparate franchises together as the leader of Prodigium. Unlike Marvel’s gradual world-building, Universal was engineering their nexus character from the first film.Javier Bardem’s Frankenstein’s Monster would have anchored the franchise’s emotional core. Bardem was featured in the cast photo alongside the other leads, confirming his central role in the universe. The pairing with Jolie’s Bride promised a love story spanning centuries—Titanic with reanimated corpses.The Channing Tatum Van Helsing represented the franchise’s action-hero pivot. Tom Cruise was initially set to play Van Helsing before moving to The Mummy, with Tatum being eyed for the role by 2017. This casting choice signals how Universal planned to balance horror with blockbuster sensibilities.

Channing Tatum as Van Helsing in the Dark Universe? – SDCC 2017

The Precision Behind the Madness

Universal’s strategy contained sophisticated elements that Marvel hadn’t attempted. The studio was creating a horror-action hybrid that would have redefined both genres simultaneously.

Director Alex Kurtzman explained the underlying appeal: “audiences would be enamored with and even relate to the darker sensibilities of figures like Dracula and The Wolfman, especially compared to the perfect physicality and heroics of traditional superheroes”. This wasn’t just monster movies—it was an exploration of what heroism looks like when your protagonists are literally cursed.

The ambitious scope becomes clear when examining Kurtzman’s casting wishlist: “I’d love to bring Michael Fassbender in. I’d love to bring Jennifer Lawrence in. I’d love to see Charlize Theron in there, Angelina Jolie”. Universal wasn’t just making monster movies—they were assembling the most expensive therapy session in Hollywood history.

The Mummy — How to Fumble a Cinematic Universe | Anatomy of a Failure

The $410 Million Funeral

With a worldwide box office haul of $410 million, The Mummy was a failure at the box office and solidified the Dark Universe as a shared cinematic franchise that should not have happened. But the numbers don’t capture the cultural impact of what died with that failure.

Tom Cruise’s unprecedented creative control became the franchise’s fatal flaw. Cruise wielded “nearly complete creative oversight” and was said to have felt like the “real director,” handling action sequences and “micro-managing” when Kurtzman struggled with the scope. This wasn’t collaboration—it was a hostile takeover disguised as star power.

The domino effect proved swift and merciless. Shortly before filming began in October 2017, production on The Bride of Frankenstein was delayed, clearly in direct response to The Mummy’s critical and box office failure. By 2019, the entire Dark Universe was officially declared dead.

In the end, Universal’s Dark Universe succeeded in the most unexpected way possible: by becoming itself a cautionary tale worthy of its own monster movie franchise.

🎬 Subscription fatigue meets short attention span…

Simon-Kucher’s recent Global Streaming Study 2025 hit 12,000 users across 11 countries and uncovered something streaming execs probably don’t want to hear: their customers are getting restless.

88% of users are consuming the same or more streaming content compared to 2024—basically, everyone’s still glued to their screensBut 42% think they’re spending way too much on streaming platforms35% are planning to ditch at least one service within the next year48% of those considering cancellations would stick around if cheaper, ad-supported options were available37% globally say TikTok, Instagram, and YouTube are eating into time they used to spend binge-watching Netflix and friends

The takeaway: People want all the content but none of the cost, and they’re increasingly cool with trading premium series for 60-second TikTok videos. It’s subscription fatigue meets short-form attention spans—a perfect storm for streaming giants to weather.

🏃 Edgar Wright’s ‘Running Man’ Remake

THE RUNNING MAN | Official Trailer (2025)

Sometimes the most dangerous projects are the ones that demand surgical reconstruction. For Edgar Wright, tackling The Running Man isn’t about honoring Schwarzenegger’s ’80s cheese-fest. It’s about excavating Stephen King’s prophetic nightmare and translating it through pure visual storytelling. When Wright describes his process as waiting until stories “haunt you,” Running Man represents his most haunted project yet. King’s 1982 novel predicted our media-saturated hellscape with terrifying accuracy, but the original film buried that prescience under muscle-bound spectacle and one-liners. Wright’s insight is characteristically sophisticated: audiences are finally ready for the story King actually wrote, not the action movie Hollywood thought they wanted. The Running Man (1987) Trailer #1 | Arnold Schwarzenegger, Maria Conchita Alonso, Richard Dawson The Visual Grammar Revolution Wright’s Running Man strategy builds directly from his core philosophy: “I’m trying to tell the story visually… most screenwriting books focus on dialogue, but film is fundamentally a visual medium.” For a story about media manipulation, this becomes the perfect scalpel. The genius emerges in Wright’s understanding that King’s novel is about perception versus reality—the exact thematic territory Wright mastered in Last Night in Soho. But where Soho used dreams and memory, Running Man will weaponize television itself as the unreliable narrator. Expect Wright’s signature playlist-driven approach to revolutionize the deadly game show format. “Having the playlist before we put pen to paper changes everything,” he revealed about his process. For Running Man, this means chase sequences choreographed like Baby Driver’s car ballets, but with the existential dread of The World’s End. The Tetris Pass Philosophy Wright’s obsessive editing style—what he calls playing “f*cking Tetris” with every line and cut—promises to transform King’s relentless pacing into pure cinematic momentum. “The edit is the final draft,” Wright insists, and Running Man’s life-or-death stakes demand that level of precision. His “surgical bits of dialogue” approach will likely strip away exposition in favor of visual storytelling. Don’t expect characters explaining the dystopia—expect Wright to show how entertainment becomes oppression through his trademark visual comedy turned nightmare. The real masterstroke? Wright’s ability to find emotional anchors in genre chaos. “The genre only works if you care about the people going through it,” he observed. Running Man won’t just be about surviving the game—it’ll be about maintaining humanity while the cameras roll. Wright spent decades perfecting the balance between technical virtuosity and emotional truth. Now he’s applying that surgical precision to King’s most media-savvy prophecy. The result promises to be Wright’s most politically urgent film disguised as his most entertaining thriller. Read / listen to our interview with Edgar Wright here.

America’s got a new AI action plan… (Source: White House) The Trump administration just rolled out America’s AI Action Plan—a hefty 28-page blueprint with 90+ policy actions designed to cement U.S. dominance in artificial intelligence. While the plan wasn’t aimed at Hollywood, the entertainment industry is paying close attention to one key issue: copyright. President Trump made his stance crystal clear: requiring AI companies to pay for copyrighted content used in training is simply “not doable.” His reasoning: “You can’t be expected to have a successful AI program when every single article, book or whatever you’ve studied, you’re expected to pay for. We appreciate that, but you just can’t do that because it’s not doable.”   President Donald Trump at Wednesday’s AI Summit The plan document itself doesn’t address copyright protections, but President Trump’s public stance effectively backs the tech industry’s “fair use” argument despite ongoing lawsuits from studios like Disney and NBCUniversal against AI firms. Hollywood’s major unions are pushing back hard. The Human Artistry Campaign—representing SAG-AFTRA, DGA, WGA, and IATSE—says “taking creators’ works without consent or payment degrades the incentive to create.” The coalition wants a licensing system like ASCAP or BMI, where AI companies would pay royalties to creators. The bigger picture: The plan aims to accelerate AI innovation and beat China in the tech race. Supporters argue this could spark breakthrough advances in medicine, manufacturing, and scientific research. But while tech advocates see this as essential progress, Hollywood faces questions about job security and industry disruption, especially as the administration shows its priorities favor AI development over creator rights. Looking ahead… The plan’s 90+ actions are designed to be implemented over the next year. Meanwhile, the Supreme Court may ultimately decide whether AI training constitutes “fair use” as ongoing lawsuits work their way through the courts

🤖 Netflix just ran its first official AI experiment on actual viewers. The streaming giant used generative AI to create a building collapse scene in its Argentinian sci-fi series ‘El Eternauta,’ which dropped earlier this year. The use of the tech helped complete the visual effects 10 times faster than traditional methods, while enabling scenes that would have otherwise hit the cutting room floor due to budget constraints. Co-CEO Ted Sarandos revealed the milestone last week, noting that without AI tools, “the cost just wouldn’t have been feasible for a show in that budget.” While Sarandos was careful to frame this as “real people doing real work with better tools” rather than job replacement, it’s Netflix’s public beta test for weaving AI into premium content production. It’s a win for Netflix, but it’s the exact scenario that has had creatives anxious about the implementation of the technology in the industry.

📉 The late-night numbers don’t lie… ‘The Late Show with Stephen Colbert’ In the wake of CBS canceling Stephen Colbert’s ‘Late Show,’ observers continue to speculate whether the decision was political or financial as the network claims. But as more financial details surface, the bigger question is: are we watching late-night TV collapse? Some numbers: Late-night ad revenue plummeted from $439M in 2018 to roughly $220M in 2024, while Colbert’s ad revenue collapsed from $75.7M in 2022 to just $57.7M in 2024. The show loses $40M+ annually with production costs exceeding $100M per season, despite leading ratings for nine straight seasons. Colbert earns roughly $15-20M annually, meaning even significant pay cuts couldn’t close a $40M+ loss gap. Unlike scripted shows, topical late-night content has no syndication or streaming value after it airs. Younger demographics are fleeing to podcasts and TikTok, leaving late-night shows with aging viewership that advertisers value less. Networks have been retreating for a while. NBC reduced Fallon to four nights per week and axed Meyers’ live band. Meanwhile, CBS abandoned its 12:35 AM slot entirely after James Corden’s departure. What it means: CBS might be the first network to pull the plug, but other networks are facing the same brutal math. The late-night model that worked for decades simply doesn’t add up anymore.

Heres MY 2 cents so to speak (I’m guessing however we should call it our quarter due to inflation) any way… Colbert is the BORING lame not to mention political Late night show. Fallon is the fun one and Kimmel is a backseat to Fallon. (I love the games he does and its so silly. In will admit I usually only watch a late show when someone I actually like is on, usually actors as Gods forbid if Kimmel puts on a musician I’ve heard of let alone someone from the rock or metal genre. I think I need Up mostly watching when a Marvel movie comes out!.