Fox 21 and Hulu have teamed for a television series based on
Hitman, the global best-selling video game from IO Interactive. A pilot script will be written by Derek Kolstad, creator of the
John Wick action film series, who wrote the first film and scripted the third one that will be released in 2019.
Kolstad will be an executive producer along with Adrian Askarieh and Chuck Gordon. The project will be overseen at Fox 21 by Bert Salke, Jane Francis, Gloria Fan and Kira Innes, and at Hulu by Jordan Helman. The hope is for
Hitman to become a flagship series.
Hitman has sold more than 25 million copies since being launched in 2000. It centers on Agent 47, a meticulous and lethal assassin with a mysterious backstory. The character has been the subject of two films released by Fox — 2007’s
Hitman and 2015’s
Hitman: Agent 47 — and the intention here is to hew closely to the mythology of the perennially popular video game. The latest game is simply called
Hitman, and it sold 7 million copies. Two more
Hitman games are in development at IO Interactive.
Lanterns is stepping into the spotlight as one of the DCU’s most ambitious projects, and the past week has delivered the clearest picture yet of what James Gunn’s cosmic detective drama is becoming. With major reveals at San Diego Comic-Con, a full trailer drop, and new confirmations about cast, villains, and tone, the series has transformed from a mystery-shrouded production into a fully realized cornerstone of
Gods and Monsters. HBO’s upcoming
Lanterns series is officially positioned as a prestige crime thriller with cosmic stakes, blending the grounded tension of
True Detective with the mythic scale of the Green Lantern Corps. The show follows veteran Lantern Hal Jordan (
Kyle Chandler) and newcomer John Stewart (
Aaron Pierre) as they investigate a murder in the American heartland—one that quietly spirals into an interstellar conspiracy. At SDCC 2026, fans got their first real look at the show’s tone and scope. The trailer, which premiered during the panel, confirmed a TV‑MA rating and showcased a moody, atmospheric world where Lanterns operate more like detectives than superheroes. The footage highlighted the uneasy partnership between Jordan and Stewart, the eerie rural setting, and the creeping sense that something far larger is unfolding just out of sight. The biggest surprise came from the villains. While Sinestro (
Ulrich Thomsen) appears in the series, he’s not the primary antagonist—at least not yet. Instead, Season 1 centers on the Manhunters, ancient robotic enforcers who have infiltrated Earth. One clip showed Hal interrogating a possible Manhunter disguised as a human, revealing that these machines carry nuclear‑level payloads and are quietly preparing for something catastrophic. The SDCC panel also featured a crowd‑pleasing cameo from
Nathan Fillion, who introduced a new clip of his irreverent Guy Gardner, continuing the character’s thread from
Superman (2025). Meanwhile,
Laura Linney was confirmed to play one of the Guardians of the Universe, adding gravitas to the cosmic side of the story. Behind the scenes, the creative team is stacked: showrunner
Chris Mundy (
Ozark), alongside
Damon Lindelof and
Tom King, with
James Gunn and
Peter Safran executive‑producing. Directors
James Hawes,
Stephen Williams,
Geeta Vasant Patel, and
Alik Sakharov round out a lineup built for prestige television. With its August 16, 2026 premiere on HBO and HBO Max,
Lanterns is shaping up to be the DCU’s most grounded yet mythologically rich project—one that not only redefines the Green Lantern mythos but also sets up major cosmic threads for the films to come, including John Stewart’s confirmed appearance in
Man of Tomorrow.
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There’s a running joke on the internet about how many movies are about trying to get
Matt Damon home. The answer is four and Hollywood has spent over an estimated $600 million on this premise but they’ve made good money doing it. The real question is why are so many people interested in seeing him try to get home? In 1998 he was the titular Ryan in
Saving Private Ryan and while it only opened for $30 million, it made $482 million worldwide over its theatrical run. In 2014 audiences flocked to
Interstellar with a $47 million domestic opening and $764 million worldwide run. And just a year later he was stranded again in
The Martian and the film opened for $54 million and made $630 million in theaters. This weekend
Christopher Nolan is rolling out his epic adaptation of
The Odyssey and in the lead role of a Greek soldier trying to get home to his wife he decided to work again with Damon… and other stars like
Robert Pattinson,
Anne Hathaway,
Zendaya and
Tom Holland to name a few. And the new film is looking to open at almost what all three films opened for combined. The film is expected to open for $120 million domestically making it the highest opener of 2026, but it’s doing just as well internationally and is expected to have a worldwide opening of $257 million, surpassing Nolan’s previous best with
The Dark Knight Rises. Looks like Odysseus is going to beat Batman… maybe Nolan and Damon should team up one more time in a movie about Batman trying to get back to the Batcave. I mean, it's obvious people would go see it.
The pandemic affected most everyone in one way or another, but for actor
Kyle Chandler it left him in a unique state of mind. The
Friday Night Lights actor wouldn’t call it a depression or anxiety or even an agoraphobic reaction but rather a “strange haze in the air” that “kind of shook me up” and left him in ruminations. What got him out of it is his upcoming role as former test pilot and intergalactic space cop Hal Jordan in the upcoming HBO series
Lanterns. Chandler talks about taking on the DC Franchise as "The old man upstairs said, 'Hey, I'm gonna give you a gift.' He threw me a bone, and I chewed that thing all the way through. Before I went out, I decided I'm gonna have fun. Damn the torpedoes." The veteran actor is paired with rising star
Aaron Pierre as John Stewart in a prestige crime thriller likened to the hit HBO series
True Detective. While the series has a cosmic origin, the approach to this first season at least is much more grounded as Jordan comes to investigate a murder in a small, midwestern town and brings along the new recruit forced upon him by his bosses, the Guardians. Stewart is the first recruit selected by the Guardians where all the other Green Lanterns were selected by the rings after the previous owner dies. Jordan doesn’t respond well to his new partner and that animosity carries over into their investigation. The series will take place in two timelines set ten years apart with the investigation starting in 2016 and then we see what is happening now. The series premieres on August 16th and while a second season has not been green lit yet, writer
Christopher Cantwell (
Halt and Catch Fire) has been hired to work on scripts for season two… so DC Studios and HBO must like what they’ve seen.
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Long before
Lin Manuel Miranda took the Founding Fathers to Broadway with the Tony Award Winning
Hamilton, the likes of
Thomas Jefferson,
John Adams and
Benjamin Franklin sang about the birth of the United States of America and the musical led to an amazing musical called
1776. With this being the 250th anniversary of the signing of the Declaration of Independence, now would be a good time to watch this classic film that’s available on streaming services like Hulu and Tubi. The film adapts the celebrated musical by
Peter Stone with an all-star cast that includes
William Daniels (
Boy Meets World),
Ken Howard (
The White Shadow),
Howard de Silva (
The Great Gatsby) and
Blythe Danner (
Meet the Parents). The film focuses on the days leading up to the Continental Congress debating and eventually declaring independence and gives us look at the chaos that existed leading up to the birth of the nation. While dealing with a serious topic, the film is laced with humorous moments and unforgettable songs while showing just how difficult it really was to get the thirteen colonies to agree and how different parts of the country had different priorities. Not too unlike the way the country is now. 1776 is entertaining and sneakily educational and I watch if every July 4th… which I’m doing as I type this article.
With
Supergirl underperforming at the box office there is a rush to point fingers… as often happens when it comes to big studios like DC, Marvel and Star Wars. Will there be similar handwringing with the latest
Minions film coming in about $17 million below it’s expected opening… probably not. But
The Hollywood Reporter has exclusive details about what happened with the
Milly Alcock project that seems to pit director
Craig Gillespie against
James Gunn and the studio. The criticism of the film varies with complaints about the editing, the musical choices, the depth of character for the villain to the changes from the source material. The new report focuses on a few of those and talks about the test screenings happening back in March of this year. Gillespie was given free reign on his film until test audiences had their say and the best the film was able to do was score in the 60s. This led to the studio getting involved and creating their own cut of the film. Gunn brought in
Guardians of the Galaxy editor
Fred Raskin to re-edit and
Jeremy Slater of
Godzilla X Kong to work with screenwriter
Anna Nogueira on a few new scenes. Then Gillespie’s original cut, edited by
Tatiana S. Riegel from
Cruella, and the new cut were both shown to audiences to see which would faire better. Neither film stood out too much with the studio version scoring about two points more than Gillespie’s. While the director’s cut came in about 11 minutes longer and scored higher on the villain and the music, two things complained about in reviews, the overall score favored the studio cut and it was chosen to be the theatrical release. Though reports don’t say what the specific scores were, it does say the highest score reached among all the testing was only 70 out of 100. While this may sound like a behind-the-scenes struggle and signs of studio interference, things like this happen all the time in Hollywood with the goal of putting out the best film possible and had the film had a higher opening, this probably wouldn’t be news at all. An on-line movement is now building to have the “director’s cut” released even though a handful of people claim to have been in the audience for the Gillespie cut and claims that the film isn’t that different than what was released to theaters. Perhaps the deleted scenes will be included on the Blu-ray release.
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DC Studios and Warner Bros. Animation used this week’s Annecy International Animation Film Festival to signal a broader push into animation, unveiling three new series built around some of DC’s most recognizable characters. The slate includes
Absolute Batman,
Joker: Laugh Riot, and
Krypto, each aimed at a different corner of the superhero audience. The boldest announcement may be
Joker: Laugh Riot, described as DC Studios’ first anime series. Produced with Sola Entertainment and directed by Yasuhiro Aoki, the show imagines a Gotham where Batman has been murdered and the Joker hunts for the killer who robbed him of his greatest obsession. That premise turns the usual Batman-Joker dynamic inside out, pushing the Clown Prince of Crime into uneasy detective territory.
Absolute Batman adapts the recent comic by Scott Snyder and Nick Dragotta, reimagining Bruce Wayne as a working-class hero rather than a billionaire crimefighter. Snyder is expected to serve as executive producer and showrunner, while Dragotta will produce. The series’ “no manor, no money” approach positions Batman as a more grounded figure facing wealth, power, and corruption from the outside. Rounding out the lineup is
Krypto, a children’s animated series centered on Superman’s loyal super-dog. Developed by C.H. Greenblatt, the project gives DC a lighter, family-friendly entry alongside the darker Batman and Joker titles. Together, the announcements show DC Studios treating animation not as a side lane but as a flexible creative engine. From anime to kid-focused comedy to a radical Batman reinvention, the Annecy slate suggests DC is betting that familiar icons can still feel new when placed in unexpected formats and tones.
How well is Supergirl going to do in theaters? It’s really hard to say, especially if you are reading on-line takes. Since the tickets were made available for presale, the opening projections have moved all over the place with initial thoughts being between $40 - $50 million, then after a few really positive days it jumped to $60 - $75 and has bounced higher and lower to where now they’re saying $50 - $60. The film is set to open against a popular Toy Story 5 that will be on its second week and likely to stay at the top of the box office if it has an average second week drop. Bottom line the expert seem to be having a hard time locking in on this one. What about critics’ thoughts? The film was screened for reviewers and while originally embargoed until next week, the studio lifted the embargo for reactions a week early and now you can see what they thought. Not their full reviews, but their short initial reactions and if you look online most sites are claiming they’re “mixed”… unless you go into the comments and read them yourself. Even sites like Deadline are saying that yet of the reactions they list, the positives outnumber the negatives three or four to one. There is consistent praise for Milly Alcock, Jason Momoa, the action and the heart of the film. The villain is often called bland and the pacing gets called out, but to call it mixed is a stretch. The problem is that like everything in life, film coverage has become political. Sites use negative headlines to get attention and with DC Studios particularly you have a split fan base between what is happening now and those that prefer the previous films… which means that narrative gets created to further their own cause. The truth is, Supergirl will struggle a bit with a film like Toy Story 5 going against it, the character is not popular on her own and is a derivative of a bigger character and in a lot of ways, the previous incarnations, while entertaining, did nothing to make the character stand on her own. Regardless of how it does, there will be a narrative claiming success and another claiming failure. The only way to judge the truth is to see the movie yourself and decide… but that’s really how we judge all movies isn’t it?
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We’re just weeks away from the release of the first
Supergirl movie in over 40 years and with ticket presales well underway, experts are making their projects on opening weekend. After the initial sales started happening, most sites were predicting anywhere from $45 to $55 million domestically, but after a few days of higher-than-expected numbers, some sites have adjusted up to as high as $60 to $77 million. This would put the
Milly Alcock lead film right in line with the last few Marvel Studios films (except
Deadpool and Wolverine). While there has been some debate,
Deadline claims the film’s budget is $175 million and the breakeven point would be around $315 million. Other sites claim it’s as high as $425 million globally to call it a success. Only DC Studios and its co-heads
James Gunn and
Peter Safran know what would make this film a success for them, but with trying to rebuild a franchise that had been pretty much run into the ground with underperforming films like
The Flash,
Aquaman 2 and
Shazam 2, having a film that makes most of its money back and is a critical and audience success could be more valuable. Coming off the success of last year’s Superman film, DC is hoping that
Craig Gillespie’s vision will continue to excite fans and keep building the new DCU to higher and higher heights. The success of this film and this universe may be driven more on word-of-mouth than box office numbers and the studio appear to be confident enough in the film that they have already had media screenings over two weeks before the film’s release. Yes, there is still an embargo so they can have those reviews come out closer to when the film is in theaters, but you can probably tell the way the project is being covered whether or not it was well received.
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A new rumor is shaking up what fans are expecting from
The Batman Part 2. On the same day that writer/director
Matt Reeves posted that filming had begun, insider
Jeff Schnieder posted about how everything we knew about
Sebastian Stan’s role in the project was wrong. Sites had been reporting that Stan would be playing Harvey Dent/Two-Face and while that had never been confirmed by Reeves or DC Studios, people took comments from Stan as confirmation such as how he would be playing, “multiple roles” as a hint at him playing the split-personality of the Batman villain. But the new report claims that Stan is not Dent but rather the serial killer Victor Zsasz and actor
Bryan Tyree Henry would be playing Dent. Other insiders have some out since and claim to have collaborating information. Zsasz is an interesting character, a killer who notches a mark on his skin for every kill. He’s been portrayed in live action a couple of times including on
Gotham and in the
Birds of Prey movie but has never been the main focus of a story. This would match up to Reeves saying that the film would be exploring a story never done in film before. It doesn’t really match up to Stan’s comment about “multiple roles” or reports that he was already working with make-up to figure out the look. Reeves is not confined by what is in the comics so he could make major changes to characters, even to the point of making Zsasz a divergent personality of Harvey Dent that manifested prior to the acid attack causing Two-Face to emerge. It’s also possible that Schneider’s information is slightly off and instead of playing the serial killer, Stan could be playing Charles Victor Szasz who is also known as Victor Sage or The Question. How’s that for a twist? The bottom line here is that Schnieder is hearing this from an insider, and it has not been confirmed by any official source and I wouldn’t put it past film studios to start leaking false information to protect a movie that is just starting to film. I think this one stays in the, “take with a grain of salt” category and we wait to find out more.
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DC Studios and their co-head
James Gunn have talked about a lot of potential series and films with some of them being mentioned and then sort of forgotten about. One of those seemed to be
Paradise Lost, a Wonder Woman prequel series showing life on Themyscira before the birth of Diana. Though after its initial mention, the project hadn’t been talked about in a while and someone asked Gunn its fate. Gunn insisted the project was still in the works and now we are seeing some possible confirmation. Back in 2024, two names were attached as writers on the series
Kira Snyder and
Janet Lin and now, according to the WGA website, both are set to work on
Paradise Lost for 2027-2028. Snyder is known for writing and producing on
The Handmaid’s Tale and
The 100 while Lin has credits on
Bridgerton,
Cursed, and
Bones. There has been talks recently about trying to fast track a new
Wonder Woman film and while there is no confirmation, rumors persist that the character may debut in
Man of Tomorrow, so seeing Paradise Lost finally moving forward would make a lot of sense.
