I thought it would be fun to get Bill Hader and Seth Meyers together to talk about 'Barry' and 'Late Night.' Turns it out WAS fun, and evolved into an hourlong chat about 'SNL' memories, 'Doc Now' and much more.
https://t.co/12mIvnVBXi
What's as iconic as Al Pacino + Robert De Niro? Christian Bale + Leonardo DiCaprio.
They're in for Michael Mann's 'Heat 2,' TheWrap can exclusively report. Filming starts in November with a $170 million budget and action bigger than the original.
https://t.co/4kPrJUpSnp
Where does DC go after 'Supergirl' crashed at the box office?
The film launched to just $38 million domestically this weekend, failing to entice Gen Z women — its target audience — to show up. 65% of the audience was over 25, and 59% was male.
A WB insider said the studio is "disappointed" with the film's performance, adding the character "didn't connect."
But with a Paramount merger looming, does 'Clayface' now become a make-or-break movie for DC leaders James Gunn and Peter Safran?
@elmayimbe and @adamchitwood report:
https://t.co/jqhZzLO7dV
Why did Universal build a theme park in Texas? @adamchitwood traveled to (an extremely hot) Frisco to find out.
Universal Kids Resort is the company's first-ever regional theme park, meant to serve as a gateway to Universal's larger parks on the coasts.
It's also their first park that caters entirely to young children.
Have a look inside this new strategic move for Universal's increasingly lucrative theme parks division.
https://t.co/3t5a9ZtiEu
When Netflix moved Greta Gerwig's 'Narnia' to 2027, there was a push by the team behind Brad Bird's animated 'Ray Gunn' to get their movie into the Thanksgiving IMAX slot.
Netflix chose David Fincher's Cliff Booth movie instead.
@DrewTailored has the exclusive inside story on the desire to get 'Ray Gunn' in theaters, and why — as Netflix dips its toe further into theatrical — animated movies aren't making the cut.
https://t.co/aDwja9h2TJ
🚨TheWrap is hiring an experienced weekend news editor for its LA newsroom 🚨
-At least 3-5 years experience working in a fast-paced newsroom
-Top-notch line-editing and copyediting skills
-Topical knowledge in news media, politics and current events
This is a full-time position that is currently in a hybrid work-from-home model requiring two days per week in TheWrap’s LA office.
Apply here: https://t.co/1Njp6p95XY
As some studios shutter or outsource their home video units, Lionsgate launched a boutique Blu-ray label, churning out special editions with bespoke features and artwork. Why?
The decline of Blu-ray sales slowed dramatically in 2025 thanks to collectors and Gen Z's embrace of "the new vinyl," marking the perfect moment for a still-risky gamble.
From @DrewTailored, this is the story of how Lionsgate Limited got started, how the company picks which titles to spotlight and how, despite the odds, it remains a profitable unit.
https://t.co/AmsTzOt8pw
Does the success of #Backrooms and #Obsession signal a new era for Hollywood?
Are auteurs like Curry Barker and Kane Parsons coming up the same way Scorsese and Coppola did in the '60s and '70s?
TheWrap's executive editor Adam Chitwood is breaking down what the massive box office haul for these horror projects means for the film industry going forward.
Went long on this monumental box office weekend with Jeremy Fuster -- why 'Backrooms' and 'Obsession' hit, why their success stories are not the same, the staggering Gen Z moviegoing stats and what this means for Hollywood going forward. https://t.co/Mwdp0dYuHa
#Backrooms and #Obsession, two films from Gen Z directors, will go down in history as a pivotal change for the film industry.
Twenty-year-old Kane Parsons became the youngest director ever to top the box office with “Backrooms,” while 26-year-old Curry Barker’s “Obsession” continues to defy box office gravity.
So, what does it mean when creator-driven hits can compete with a $165 million-budgeted Star Wars movie?
Read the full analysis by @adamchitwood and @jeremyfuster: https://t.co/eO7D83OLub
If I may- in my estimation- #WidowsBay may very well be the best streaming series in a long time… and hands down one of the most mesmerizing acts of narrative prestidigitation in Horror.
I'm beyond thrilled — and honestly a bit surprised — to have won this year's Mirror Award for Best Reporting on the Future of Late Night alongside my esteemed colleague and fellow late night nerd Kayla Cobb (@KaylCobb).
Proud of this story. https://t.co/gdtaaYaQDx
Netflix has had hit after hit for a specific kind of movie.
'The Rip,' 'War Machine,' 'Thrash,' 'Apex'make
All big viewership wins. All action thrillers. And it's not an accident, it's a conscious strategy to "fill gaps" in the theatrical marketplace. To make the kinds of movies Hollywood doesn't anymore.
Here's @DrewTailored's inside story of how the streamer brought back the R-rated blockbuster.
https://t.co/aZH0VYr4Vg
Beyond proud and thrilled to see TheWrap earn 21 SoCal Journalism Awards nominations -- a great showcase of terrific work across the board from our mighty team. https://t.co/sOwKIL9HcB
NEW: I ran around Washington and braved the Grindr line to bring you how some in the town are feeling ahead of Trump’s speech tonight.
“I’m more worried that he’s going to Red Wedding the Washington Hilton,” @jonfavs quipped to me.
https://t.co/KcRCogy1oi
SCOOP: I got internal photos/videos of McClatchy's Claude-powered "content scaling agent" tool roiling its newsrooms. It's an AI product executives made because "we need more stories and we need more inventory," and journalists "defiant" about using it "will fall behind." 1/6