The Industry, Williamsburg, NY (2026)

08/13/2026

The Brontë renaissance continues, with the BBC joining Working Title’s new TV adaptation of Charlotte Brontë’s Jane Eyre, with Emmy nominee Aimee Lou Wood (The White Lotus) tapped to take on the iconic title role.

Succession writer Miriam Battye is adapting the new take on the classic coming-of-age story, following Jane from her troubled childhood to her new life as a governess, where she encounters new challenges and unexpected love.

The broadcaster has a long history with the literary sisters, previously backing Cary Fukunaga’s 2011 Jane Eyre, starring Mia Wasikowska and Michael Fassbender, as well as several earlier BBC adaptations of Emily’s Wuthering Heights.

The series adaptation is expected to premiere on the BBC sometime next year, coinciding with the 180th anniversary of the original 1847 novel.

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08/13/2026

Oscar nominee Jacob Elordi is in talks to co-star opposite Scarlett Johansson in Ari Aster’s next A24 thriller Scapegoat.

From a reckless teenager in Saltburn (2023), to an abusive boyfriend in HBO’s Euphoria, to his transformative performance as a tragic monster in Guillermo del Toro’s Frankenstein (2025), Elordi has gone to some fascinating extremes without ever surrendering his control on screen. Ari Aster is possibly the best director to test that.

Frankenstein proved Elordi will sacrifice vanity for a role, disappearing into full-body prosthetics and a brutally grotesque physical performance, which suggests he won’t flinch from whatever subversive, traumatizing horror Scapegoat may ask of him.

A potential sequel to Aster’s 2025 satirical film Eddington, though many plot details are being speculated; nothing has been confirmed.

Scapegoat is projected to start shooting in November.

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08/13/2026

Where did all the A-list auteur directors go?

It was just announced that 4x Academy Award-winning director Alfonso Cuarón (Gravity, Roma, Children of Men) is co-writing and EPing a new series with Apple, Ascension.

We’ll get into the plot/cast, etc. But it’s startling and upsetting news.

Cuarón is one of the most talented cinema directors working today, but he hasn’t directed a feature in eight years. His last was the cinematically beautiful Roma (2018), which won the Oscar for Best Foreign Language Film.

For the past seven years, Cuarón has had an overall television deal with Apple, where his talents have been underutilized. His last project with the studio was the series Disclaimer starring Cate Blanchett.

At the time, Cuarón described it like:

“I don’t know how to direct TV, probably at this stage of my life it’s too late to learn. We approached this whole thing as a film… To shoot a film takes longer, and these were like seven films.”

I applaud Cuarón for taking on the challenge, and the show walked away with two Emmy nods (Best Cinematography, Best Actress), but there was something altogether unsatisfying about it. It was a mystery that was so emotionally sprawling that when it collapsed down in the final episodes, it became, in my opinion, cheesy.

So, with the announcement of his new show, I can’t help but wish he would return to cinema.

It’s the same feeling I have about David Fincher, a director whose work I love deeply. I feel Fincher has gotten trapped by the seductive nature of having full control at Netflix, which hampers him from getting his movies a proper theatrical release.

Cuarón’s new series does sound exciting and centers on a doc filmmaker (Caitríona Balfe) who discovers a 20th-century cult that makes her feel better until she learns of its wicked nature.

Hopefully that isn’t a coded cry for help.

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08/11/2026

After 6.5 months, The Gallerist, starring Natalie Portman, Jenna Ortega, and Zach Galifianakis, has been picked up. Roadside Attractions and Vertical came to the rescue as the film got mixed reviews out of Sundance.

For me, it’s a beautifully bombastic farce about what is real and unreal.

Through Cathy Yan’s (Dir: Dead Pigs, Birds of Prey) high-intensity cinema and frenzied, floating camera moves, the unreal comes from the wacky circumstances in which Portman and Ortega find themselves. But the real is more lacerating: a portrait of an artist subjugated by those who control her: the audiences who lap up cheap spectacle, the buyers, and the gallery heads who change and pervert her artistic vision.

During the Q&A, writer James Pedersen shared:

“I’m fascinated by violent crime and money laundering. And in a world where our art and our commerce are getting increasingly more extreme I thought why not put it in a literal setting and see how those things comedically interact with each other”

Portman summed it up best:

“As artists we’re taking something from our souls and it becomes a commodity and there’s a magic to that, and there’s a horror to that.”

This is a zany one, with Catherine Zeta-Jones, Da’Vine Joy Randolph, Charli xcx, and Sterling K. Brown also starring. Releasing December 4th.

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08/11/2026

Drag, which premiered at SXSW and is produced by Danny DeVito’s Jersey Films 2nd Avenue, now has an international sales rep. Blue Finch Films (Oddity, Redux Redux) will launch Drag at the TIFF market.

Synopsis:

Two burglars (Lucy DeVito and Lizzy Caplan) face disaster during a simple home heist when one suffers a back injury. As the clock ticks and pain sets in, their escape becomes increasingly chaotic.

Part of the genius of producing this film is keeping 95% of it in a single location. This elevates the entire premise, making it more hilarious, more claustrophobic, and more silly, accentuating the physical comedy.

Want the full scoop? I interviewed Danny DeVito and his kids for 45 minutes at SXSW. Enjoy!

Briarcliff is releasing in the US on Jan 29th.

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08/11/2026

Your worst Irish nightmare. Lionsgate is rebooting the comedy-horror cult classic Leprechaun with a script from Patrick Melton and Marcus Dunstan (Wri: The Collector).

The franchise has been one of horror’s most peculiar series, starting with Leprechaun (1993, trailer) starring Jennifer Aniston. The original film made $8.5M with a $900,000 budget, spawning seven more films over the course of three decades.

Lionsgate already had a stab at revitalizing the series with a more serious look with Leprechaun: Origins (2014), which wasn’t loved by the fans or the critics.

With studios turning their old horror IP into franchise-best performers like 2025’s Final Destination: Bloodlines ($317.9M WW) and 2023’s Evil Dead Rise ($147M WW), it seems like Lionsgate is attempting to have another go with the iconic Irish monster.

It will be crucial for Lionsgate to understand what made the original film so charming to its audiences – the ridiculous camp and personality of Leprechaun himself. Evil Dead Burn (2026) has only grossed $63.6M worldwide, showing that even recognizable horror IPs can struggle.

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08/03/2026

ITV reported a steady first half of 2026, with growth at ITVX helping offset continued challenges in traditional broadcast advertising.

$2.5bn H1 total group revenue

↑ 2%

$131M H1 ITV Studios adjusted EBITA

↓ 9%

New government restrictions on less healthy food advertising, introduced in October 2025, reduced potential advertising revenue by about $26M. Even so, total advertising revenue grew during H1.

Total advertising revenue rose 3% YoY to approximately $1.13bn, while digital advertising revenue increased 13%.

Thanks in large part to the Men’s FIFA World Cup, ITVX monthly active users rose 10% to 17.9M, while total streaming hours climbed 27%. ITVX now has more than 40M registered users.

$1.32bn H1 total revenue for Media & Entertainment

↑ 2%

This is the first set of half-year results released since ITV announced the sale of its Media & Entertainment arm to Comcast’s Sky, with the transaction’s official regulatory review now underway.

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08/03/2026

TIFF isn’t kicking off for another month and a half, but there’s a powerhouse lineup of keynotes forming:

Gary Oldman

Curry Barker (Dir: Obsession), Inde Navarrette (Actor: Obsession)

Robbie Brenner (Pres/CCO: Mattel, Prod: Barbie, Dallas Buyers Club)

Mike De Luca and Pam Abdy (Co-chairs/CEOs: Warner Bros. Motion Picture Group)

Lee Chang-dong (Dir: Netflix’s Possible Love)

Christine Vachon and Pamela Koffler (Co-founders: Killer Films)

TIFF runs Sept 10 - 20th.

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08/03/2026

Welcome to Marvel’s Mutant Saga. Samara Weaving (Ready or Not franchise) has been chosen to play mutant Emma Frost in Marvel’s upcoming X-Men film.

Emma Frost is a telepathic Mutant who was originally depicted as a supervillain going against the X-Men. Over the years, she has evolved into one of the most complex characters in the franchise and a key member of the X-Men. She was played by January Jones (Mad Men) in Matthew Vaughn’s X-Men: First Class (2011).

Emma Frost started out as a femme fatale supervillain in The Hellfire Club who later became a loyal mentor to her students and one of the most protective members of the X-Men family. She is a character with a cold “ice queen” facade, yet hides a deeply warm heart toward people she cares about. Samara Weaving has shown that she can do both sides of Frost’s personality. She was a seductive femme fatale killer who hid affection for her victim in the Netflix comedy The Babysitter franchise. And in our interview with Weaving, she’s got a very warm, bubbly persona.

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08/03/2026

Barbie 2 is in trouble. The Warner Bros. Discovery sequel to Barbie (2023, $1.45bn worldwide) has not been able to lock in deals with the talented quartet that led the first film:

Ryan Gosling

Margot Robbie

Director: Greta Gerwig

Co-Writer: Noah Baumbach

Gosling is asking for $20M + backend, which WBD has not agreed to.

There’s a ticking clock here as the sequel rights will revert to Mattel in December if no deal is signed. Currently, Mattel will get a percent of the gross profits of Barbie 2.

It’s kind of absurd that CEO David Zaslav is supposedly stalling this entire thing. He’s set to make up to $887M if the PSKY merger comes to completion, yet he’s holding out on Gosling, Robbie, and Gerwig.

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