All articles tagged with #warner bros
Actor Noah Wyle discusses how The Pitt's ICE storyline was balanced with HBO, hints Season 3 will avoid a big time jump in favor of a weather-driven shift in cases, and weighs in on Paramount's acquisition of Warner Bros., calling it not good for labor even as he stays hopeful about Hollywood's adaptability. He also reflects on his career, the Walk of Fame honor, and his collaborative dynamic with Shawn Hatosy.
Director Melina Matsoukas will helm and produce Warner Bros.’ film adaptation of Octavia E. Butler’s dystopian novel Parable of the Sower, with Color Force producing alongside Matsoukas’s De La Revolucion and Butler’s estate, and a team including Inga Veronique and Jules Jackson overseeing the project.
J.J. Abrams’ Bad Robot is downsizing its operations and relocating to New York after more than 20 years in LA/Santa Monica, as a string of ambitious projects stall or get scrapped and the industry shifts away from long-term mega-pacts toward project-by-project deals; Abrams is signaling a move back to hands-on creating rather than mogul-level expansion.
Stephen Colbert will co-write a new Lord of the Rings film for Warner Bros., teaming with his son Peter McGee and Philippa Boyens on The Lord of the Rings: Shadow of the Past. The story follows Sam, Merry and Pippin fourteen years after Frodo’s death as they retrace the original journey, while Sam’s daughter Elanor uncovers a long-buried secret. Colbert, a longtime LOTR fan, will begin after The Late Show ends; the project is part of a two-film slate that includes The Hunt for Gollum (2027) directed by Andy Serkis, with Gandalf and Frodo reportedly teased for returns but not officially announced.
Stephen Colbert and his son are developing a new Lord of the Rings movie at Warner Bros., with Peter Jackson and Philippa Boyens shaping the script. The project, reportedly titled The Lord of the Rings: Shadows of the Past, would draw from unused chapters of The Fellowship of the Ring and be framed to stay faithful to both the books and Jackson’s films; it is planned for release in 2027.
Disney’s ABC canceled The Bachelorette season featuring Taylor Frankie Paul after a video surfaced showing her attacking her ex-partner amid domestic violence allegations, risking roughly $70 million after paying about $5 million per episode to Warner Bros. for nine episodes; the move raises questions about executive decision‑making and comes as investigations into a February incident continue, with production paused and no word on whether the season will air.
Deadline’s live Oscars 2026 coverage shows Frankenstein leading the crafts races for Netflix with Best Makeup & Hairstyling and Best Costume Design, while Cassandra Kulukundis wins Best Casting for One Battle After Another. Amy Madigan takes Best Supporting Actress for Weapons; KPop Demon Hunters wins Best Animated Feature and The Girl Who Cried Pearls wins Best Animated Short. The Live Action Short category ends in a tie between The Singers and Two People Exchanging Saliva. Netflix and Warner Bros are the night’s top distributors so far, with Sinners and One Battle After Another leading nominations (16 and 13 respectively); full winner list and galleries are forthcoming in Deadline’s Oscars live blog.
Mike De Luca and Pam Abdy—Warner Bros.’ co-chairs and co-CEOs—surged from near-fire to steering the studio to a record Oscar year, with two Best Picture frontrunners (Sinners and One Battle After Another), a string of box-office hits, and 30 nominations. Their journey—from MGM leadership and a firing at New Line to a contract renewal amid a Netflix/Paramount tug-of-war—centers on backing filmmakers like Paul Thomas Anderson, Ryan Coogler and Michael B. Jordan, championing ambitious, theatrically driven projects, and staying focused on the studio’s North Star: delivering exceptional films to theaters.
Paramount’s bid to buy Warner Bros. Discovery, backed by Gulf sovereign wealth funds and now supplemented by Tencent funding, faces mounting pressure as Iran’s conflict prompts Gulf countries to review investments; potential security reviews and shifting finance could derail the $111 billion deal and reflect broader strains on US media consolidation and international finance.
IndieWire analyzes Maggie Gyllenhaal’s The Bride!, a Frankenstein-inspired period piece, underperforming with about $7.3M domestic and $13.6M worldwide on an $80M budget, halting Warner Bros.' streak of No.1 openings and drawing mixed-to-negative reviews. The piece argues the box‑office flop shouldn’t derail bold, original bets, noting that WB remains willing to swing with riskier projects like Sinners and One Battle After Another as part of its future ambitions.
Deadline reports The Bride! opened to $13.6M worldwide ($7.3M domestic), a sharp flop for Warner Bros. After production costs around $80M and roughly $65M in marketing, industry estimates suggest the film could lose about $90M in its first cycle, despite an Oscar-season release and strong talent. The movie’s high-art, niche appeal and mixed reception limited its appeal, signaling a costly miss for the studio.
Paramount’s takeover of Warner Bros. Discovery prompts a real-estate rethink: the company plans to keep both historic lots operating in the near term, but it aims to consolidate operations around the Warner Bros. lot in Burbank and redevelop its Melrose Avenue site, including leasing space for offices, retail, and productions and potentially adding up to 1.9 million square feet, as it seeks to reduce redundancies and unlock long‑term value (with tourism potential) while HBO/Paramount productions continue.
Maggie Gyllenhaal says Warner Bros. pushed to tone down some sexually violent scenes in The Bride!, resulting in a slightly trimmed version after mall test screenings. She notes consent as a major issue for the Bride of Frankenstein-inspired film, argues the violence should be hard to watch, and says the movie is now in theaters with Jessie Buckley and Christian Bale.
Warner Bros. is moving ahead with a Game of Thrones feature film, with Beau Willimon reportedly penning an initial draft that could center on Aegon I the Conqueror; the project, first floated in 2024, remains uncertain amid corporate shakeups and a looming HBO Max-Paramount merger, with no official talent or release date attached yet.
Lee Isaac Chung has exited Warner Bros. and Margot Robbie’s Ocean’s prequel due to creative differences, in what Warner Bros. and LuckyChap call an amicable split. A new director is being sought, while Robbie remains attached as star and producer. The project, written by Carrie Solomon and based on characters created by George Clayton Johnson & Jack Golden Russell, continues in development amid broader studio changes related to Paramount’s merger.