Category Archives: Television

Marvel Television’s Wonder Man gets its first Official Trailer

He was born to play this role, but the spotlight reveals everything.

We’ve got the first trailer for Marvel Television‘s Wonder Man, which gives us a tease of a rather self-aware series that pokes fun of the superhero genre.

Yahya Abdul-Mateen II plays the title character of Simon Williams who in the comics becomes Wonder Man. He’s no stranger to comic films, having play Black Manta in the Aquaman movies for DC and was Cal Abar in the Watchmen television series. Ben Kingsley returns as Trevor Slattery. That character debuted in Marvel Studio’s Iron Man 3 in 2013 and returned in multi Marvel projects like the All Hail the King one-shot and most recently in 2021’s Shang-Chi and the Legend of the Ten Rings.

Wonder Man, an 8-episode series, premieres January 27 at 6PM PT only on Disney+.

SHIBOYUGI: Playing Death Games to Put Food on the Table to stream worldwide alongside Japanese TV broadcast

Winner of the Excellence Award at the 18th MF Bunko J Light Novel Newcomer Awards and ranked #1 in the “New Works” category of Kono Light Novel ga Sugoi! 2024 (published by TAKARAJIMASHA), SHIBOYUGI: Playing Death Games to Put Food on the Table will become available on select streaming services, alongside its Japanese television broadcast.

  • Worldwide: Netflix
  • North America, Central America, South America, Europe, Africa, Oceania, the Middle East, Indian subcontinent: Crunchyroll
  • CIS: Amediateka / Crunchyroll
  • Asia (Pan-Asian): iQIYI/MUSE (YouTube)
  • Asia (by Territory)
  • Korea: Aniplus/Laftel
  • Taiwan: Twitch / MOD&Hami Video / MyVideo / FriDay / 巴哈姆特動畫瘋 / LiTV&Ofiii / LineTV / catchplay / Renta! / CNS bbTV
  • Hong Kong: 巴哈姆特動畫瘋
  • Indonesia: Transvision / catchplay
  • Singapore: catchplay
  • Thailand: True Visions / Bilibili

This is a story from a certain twisted world.

Girls known as Players are thrown into games where death is always within reach.

Those who survive are rewarded with prize money, but no amount of preparation can guarantee survival.

This is how people live in this world.

There are those who exist for no other reason than to endure it.

Player Name: Yuki

Occupation: Professional death-game player.

Today, as always, she earns her living by playing death games to put food on the table.

Tiny Onion Kicks Off a Slate of Adult Animation with The Woods and Brings Casey Gonzalez on as Director of Multimedia

The Woods

Led by CEO James Tynion IV, Tiny Onion is kicking off the production house’s robust adult animation slate with an adaptation of Tynion’s The Woods, based on the award-winning comic book series published by BOOM! Studios. The acclaimed sci-fi horror comics were co-created by Tynion and artist Michael Dialynas. To launch the animation slate, Tiny Onion is bringing aboard Casey Gonzalez as Director of Multimedia to oversee development for the company’s animated projects.

GLAAD Media Award-winning comic book series which debuted in 2014, The Woods tells the story of an ordinary high school in suburban Milwaukee, WI, which is suddenly transported into the midst of an alien forest in an uncharted corner of the universe. With no sign of why they were taken there, or what threats lurk in the dark woods surrounding their school, the story follows a group of students determined to figure out how to survive, and more importantly, how to get home. Tiny Onion has optioned the property from BOOM! Studios. The animated series will see Tynion and Dialynas executive producing for Tiny Onion. Stephen Christy and Mette Norkjaer will executive produce the series for BOOM! Studios.

The Woods will be Gonzalez’s first project as Director of Multimedia at Tiny Onion since joining the team in December. Previous to Tiny Onion, she spent a decade working alongside animation industry legend Fred Seibert (Adventure Time, Bee and Puppycat) as his VP of Development at FredFilms, where she developed original cartoons, including the viral short The Summoning, which is being adapted into a three book series for Oni Press. 

Casey Gonzalez

Gonzalez began her career in publishing, editing bestselling graphic novels for First Second and helping launch the acclaimed Science Comics series while shepherding New York Times bestselling titles such as Eisner Award winner Battling Boy, Hugo Award nominated book The Divine, and Green Book Award winner Coral Reefs. She later transitioned into the role of Head Writer and Producer at Frederator, where she launched the popular anime vertical Get in the Robot, and subsequently at Crunchyroll, the world’s largest anime streaming service. At Tiny Onion, Gonzalez looks forward to uniting her love of comics with her experience shaping top tier shows.

The Woods is a part of an expanding adult animation slate that also includes an animated adaptation of Tynion’s Image Comics horror sci-fi series W0RLDTR33 in development at Netflix. Co-created by Fernando Blanco and colored by multi Eisner Award-winning colorist Jordie Belliare, W0RLDTR33 tells the story of a dark evil within the internet that may destroy humanity. Tynion and Blanco will serve as Executive Producers on the series with Ashley Cardiff (Fear The Walking Dead) set as Showrunner and Executive Producer. Sean Buckelew of Green Street Pictures (Common Side Effects, Scavenger’s Reign) will also serve as Executive Producer and the team has just brought on Guillaume Dousse of Æsten studio (Splinter Cell: Deathwatch, Flee) to lead visual development and art direction for the series.

W0RLDTR33

Additionally, Tiny Onion is developing an adult animated comedy series The Tipsy Dragon with production company Irony Point. The series is being developed by Daniel Powell (Ugly Americans). RJ Fried, Mike Leech, and Zach Smilovitz (Our Cartoon President) are attached to write and help produce. An original concept from Tynion, The Tipsy Dragon is set in a tavern in a world where the age of heroes and legends is long past—and its barkeep and patrons couldn’t care less about their supposed role in an ancient battle between good and evil just outside their doorstep. 

Tynion and BOOM! Studios are also teaming up with iconic horror production company Blumhouse for an adult animated television series and a live-action feature film based on Tynion and Werther Dell’Edera’s record breaking, award-winning, and global best-selling series Something is Killing the Children. Set in a world where children can see monsters, but adults cannot, Something is Killing the Children tells the story of Erica Slaughter, a monster hunter from a mysterious organization more concerned with keeping the secret of monsters from the world than saving their victims. The animated series will be adapted and executive produced by Tynion, with Dell’Edera serving as Co-Executive Producer and visual development consultant. Stephen Christy will executive produce the series for BOOM! Studios, with Mette Norkjaer and Adam Yoelin serving as Co-Executive Producer.

Tiny Onion is backed by a seed investment from Lyrical Media, the Los Angeles and New York-based company that develops, produces, and finances unique stories across multi-media formats, including film, television, video games, and graphic novels. It was recently announced that Lyrical Media has launched Lyrical Animation to tap into global demand for adult animation, with an emphasis on animated features. Lyrical Animation is headed by seasoned Animation industry veterans Jacob Robinson, Daniel Dominguez, and Brad Graeber, and has many projects in development including an adaptation of the video game Death Stranding. Tiny Onion will be working closely with Lyrical Animation on its animation slate.

Warner Bros. Discovery’s Board Rejects Paramount’s Offer and says it’s “Inferior” to Netflix’s Deal

Warner Bros. Discovery

The board of Warner Bros. Discovery has rejected Paramount Skydance‘s offer of $108 billion to take over the company and instead reiterated its support of Netflix‘s deal.

That doesn’t mean the deal is done. Paramount has said it will make its case to the shareholders offering them $30 a share, higher than Netflix’s and it still could up its offer as well.

Netflix has offered $27.75 a share for Warner Bros. studios, HBO, and HBO Max, just a part of Warner Bros. Discovery. So, while Paramount’s offer might seem higher on paper, it is for the entire company while Netflix’s is just “half” of it. The plan currently is to continue to split Warner Bros. Discovery into two companies with Discovery Global comprising the company’s TV networks which Netflix would not be acquiring.

The Warner Bros. Discovery board stated:

(it) has unanimously determined that the tender offer launched by Paramount Skydance (‘PSKY’) on December 8, 2025, is not in the best interests of WBD and its shareholders and does not meet the criteria of a ‘Superior Proposal’ under the terms of WBD’s merger agreement with Netflix announced on December 5, 2025.

The terms of the Netflix merger are superior. The PSKY offer provides inadequate value and imposes numerous, significant risks and costs on WBD.

Interestingly, the board says that while the Paramount deal has said that it has “full backstop” from the Ellison family, it does not, stating shareholders are being “misled.”

The board also calls into question Paramount’s projections in in “cost synergies.”

The board is recommending shareholders reject Paramount’s offer.

You can read Warner Bros. Discovery’s letter to shareholders below:

Dear Fellow Shareholders,

As your Board of Directors, we are committed to acting in your best interest. In this spirit, in October, we launched a public review of strategic alternatives to maximize shareholder value. This followed three separate proposals from Paramount Skydance (“PSKY”), as well as interest from multiple other parties.

That thorough process, overseen by the Board with the assistance of independent financial and legal advisors, as well as our management team, led to the company entering into a merger agreement with Netflix on December 4, with the substantial benefits to WBD shareholders described below. Having failed to submit the best proposal for you, our shareholders, PSKY launched an offer nearly identical to its most recently rejected proposal.

As a Board, we have now conducted another review and determined that PSKY’s tender offer remains inferior to the Netflix merger. The Board continues to unanimously recommend the Netflix merger, and that you reject the PSKY offer and not tender your shares.

Below, and in more detail in our 14D-9 filing, we highlight the many reasons for the Board’s determination. None of these reasons will be a surprise to PSKY given our clear, and oft- repeated, feedback on their six prior proposals.

The terms of the Netflix merger are superior. The PSKY offer provides inadequate value and imposes numerous, significant risks and costs on WBD.

The value we have secured for shareholders through the Netflix merger is extraordinary by any measure.

Our agreement with Netflix gives WBD shareholders $23.25 in cash, plus $4.50 in shares of Netflix common stock (based on a collar range of $97.91 – $119.67 in the Netflix stock price at the Ume of closing), plus the additional value of the shares of Discovery Global and the opportunity to participate in future potential upside following Discovery Global’s separation from WBD. The entire Board is confident in our recommendation that Netflix represents the best value-creating path for shareholders.

PSKY has consistently misled WBD shareholders that its proposed transaction has a “full backstop” from the Ellison family. It does not, and never has.

PSKY’s most recent proposal includes a $40.65 billion equity commitment, for which there is no Ellison family commitment of any kind. Instead, they propose that you rely on an unknown and opaque revocable trust for the certainty of this crucial deal funding. Despite having been told repeatedly by WBD how important a full and unconditional financing commitment from the Ellison family was – and despite their own ample resources, as well as multiple assurances by PSKY during our strategic review process that such a commitment was forthcoming – the Ellison family has chosen not to backstop the PSKY offer.

And a revocable trust is no replacement for a secured commitment by a controlling stockholder. The assets and liabilities of the trust are not publicly disclosed and are subject to change. As the name indicates, revocable trusts typically have provisions allowing for assets to be moved at any time. And the documents provided by PSKY for this conditional commitment contain gaps, loopholes and limitations that put you, our shareholders, and our company at risk.

Amplifying the concerns about the credibility of the equity commitment being offered by PSKY, the revocable trust and PSKY have agreed that the trust’s liability for damages, even in the case of a willful breach, would be capped at 7% of its commitment ($2.8 billion on a $108.4 billion transaction). Of course, the damage to WBD and its stockholders were the trust or PSKY to breach their obligations to close a transaction would likely be many multiples of this amount.

WBD’s merger agreement with Netflix is a binding agreement with enforceable commitments, with no need for any equity financing and robust debt commitments. The Netflix merger is fully backed by a public company with a market cap in excess of $400 billion with an investment grade balance sheet. The debt financing for the PSKY bid relies on an unsecure revocable trust commitment as well as the credit worthiness of a $15 billion market cap company with a credit rating at or only a notch above “junk” status from the two leading rating agencies. The financial condition and creditworthiness of PSKY, which, if its proposed transaction were to close, would have a high gross leverage ratio of 6.8x 2026E debt to EBITDA with virtually no current free cash flow generation before synergies, raise substantial risks for its acquisition of WBD. Such debt levels reflect a risky capital structure that is vulnerable to even potentially small changes in the PSKY or WBD business between signing and closing.

Additionally, PSKY contemplates $9 billion in synergies from the mergers of Paramount/Skydance and their offer for WBD. These targets are both ambitious from an operational perspective and would make Hollywood weaker, not stronger.

The Board’s review was full, transparent and competitive – establishing a level playing field that fostered a rigorous and fair process.

The Board repeatedly engaged with all parties, including extensive engagement with PSKY and its advisors over the course of nearly three months. We held dozens of calls and meetings with its principals and advisors including four in-person meetings and meals between David Zaslav and David and/or Larry Ellison and provided multiple opportunities for PSKY to offer a proposal that was superior to those of the other bidders, which PSKY never did.

After each bid, we informed PSKY of the material deficiencies and offered potential solutions. Despite this feedback, PSKY has never submitted a proposal that is superior to the Netflix merger agreement.

Despite PSKY’s media statements to the contrary, the Board does not believe there is a material difference in regulatory risk between the PSKY offer and the Netflix merger.

The Board carefully considered the federal, state, and international regulatory risks for both the Netflix merger and the PSKY offer with its regulatory advisors. The Board believes that each transaction is capable of obtaining the necessary U.S. and foreign regulatory approvals and that any difference between the respective regulatory risk levels is not material. The Board also notes that Netflix has agreed to a record-setting regulatory termination cash fee of $5.8 billion, significantly higher than PSKY’s $5 billion break fee.

The PSKY offer is illusory.

The offer can be terminated or amended by PSKY at any time prior to its completion; it is not the same thing as a binding merger agreement. The first paragraph of the offer states it is “subject to the conditions set forth in this offer to purchase (as it may be amended or supplemented from time to time)” and continues on the next page, “we reserve the right to amend the Offer in any respect (including amending the Offer Price)”. In addition, the offer is not capable of being completed by its current expiration date, due to the need for, among other things, global regulatory approvals, which PSKY indicates may take 12-18 months. Nothing in this structure offers WBD shareholders any deal certainty.

The PSKY offer provides an untenable degree of risk and potential downside for WBD shareholders.

There will be additional costs associated with PSKY’s offer that could impact shareholders.

When considering the PSKY offer at this juncture, it is important to note that its acceptance could incur significant additional costs to shareholders – all of which PSKY has ignored in their communications. WBD would have to pay Netflix a $2.8 billion termination fee, which PSKY has not offered to reimburse. In addition, WBD would incur approximately $1.5 billion in financing costs if we do not complete our planned debt exchange as agreed to with certain of our debtholders, which would not be permitted by the PSKY offer. This additional $4.3 billion in potential costs represents approximately $1.66 per share to be borne by WBD shareholders if the offer does not close.

We look forward to moving ahead with our combination with Netflix and delivering the compelling and certain value it will create for shareholders. We urge you to carefully read the 14D-9 filed with the SEC this morning and available on our website, which more fully details the strategic review process and the Board’s reasons for its recommendation to you.

Sincerely,

The Warner Bros. Discovery Board of Directors

HBO’s “Coming in 2026” Gives a First Look at Lanterns

HBO loves to put out compilation teasers of what’s coming soon to the platform and channel and it often gives us a first look at anticipation shows. In this case, we get our first look at Lanterns, the upcoming show from DC Studios based on Green Lantern.

The show stars Kyle Chandler as Hal Jordan and Aaron Pierre as John Stewart and will feature Nathan Fillion returning as Guy Gardner after his debut in Superman and Ulrich Thomsen as Sinestro.

Netflix is facing a Class Action Lawsuit Over its Warner Bros. Deal

Netflix

The Netflix purchase of Warner Bros. is far from a done deal with regulatory hurdles needing to be passed, a hostile takeover attempt, and now a consumer lawsuit.

A proposed class action lawsuit was filed on Monday by a subscribe of Warner Bros.’s HBO Max who says the proposed deal threatens to reduce competition. This has been a concern raised by many over the bid which would have the top streaming service purchasing the third largest. The lawsuit states:

Netflix has demonstrated repeated willingness to raise subscription prices even while facing competition from full-scale rivals such as WBD.

US federal antitrust laws allow consumers to sue over mergers and acquisitions.

Netflix said in a statement:

We believe this suit is meritless and is merely an attempt by the plaintiffs’ bar to leverage all the attention on the deal.

Netflix’s proposal to purchase Warner Bros. was announced on Monday followed by a hostile bid by rival Paramount Sundance.

Paramount Skydance Launches a Hostile Bid for Warner Bros. Discovery

Warner Bros.

The move was telegraphed with their press releases when the deal between Netflix and Warner Bros. Discovery was announced, Paramount Skydance has launched a last-ditch effort to win out.

On Friday, a deal was announced where Netflix would purchase the Warner Bros. part of Warner Bros. Discovery for about $82.7 billion. Netflix would purchase the Warner Bros. film and television studios, HBO, and HBO Max. That leaves out Warner Bros. Discovery’s cable television properties which currently would be spun out into their own company.

Paramount is offering $30 a share, about $2.25 more per share than Netflix’s offer. That deal includes financing from Affinity Partners, the investment firm run by Jared Kushner, President Trump’s son-on-law as well as multiple Middle Eastern government-run investment funds, as well as the Ellison family.

Paramount’s argument is that they would be purchasing all of Warner Bros. Discovery, while Netflix would be just purchasing part of it. It also argues the deal is in the “best interest of the creative community, movie theaters, and consumers.” There is concern of Netflix, the top streaming platform purchasing HBO Max, the third largest, and merging the two.

But, if Paramount Skydance succeeding, it would have its own consumer/antitrust issues as they would consolidate television and have a greater market share than Walt Disney Co.

There’s further concerns that the Ellisons have imposed a more conservative bent over their recent purchases including the appointment of conservative management over CBS News.

The x-factor in the deal is how much President Trump’s government weighs in on the deal. There are concerns from the creative community as well as on behalf of consumers that the Netflix purchase would have a negative effect. Add in that Paramount Skydance, and its owners the Ellisons are close with the Trump administration. There is the possibility that “the fix is in” and the government could oppose Netflix’s plan to throw the deal to the Ellisons by default, especially if Trump’s son-in-law is part of it.

The Last of Us and Andor Pick up Golden Globes Acting Nods

Golden Globes

The nominees for this year’s Golden Globes has been released and it’s an interesting mix of releases with few connected to the comic book world. But, still, Bella Ramsey received a nomination for “Best female actor – drama” for The Last of Us and Diego Luna received a nomination for “Best male actor – drama” for Andor. We’ll be cheering on K-Pop Demon Hunters and Sinners when the Golden Globes are presented on January 11.

Check out the full list of nominees below:

Film categories

Best film – drama

  • Frankenstein
  • Hamnet
  • It Was Just an Accident
  • The Secret Agent
  • Sentimental Value
  • Sinners

Best film – musical or comedy

  • Blue Moon
  • Bugonia
  • Marty Supreme
  • No Other Choice
  • Nouvelle Vague
  • One Battle After Another

Best non-English language film

  • It Was Just an Accident
  • No Other Choice
  • The Secret Agent
  • Sentimental Value
  • Sirât
  • The Voice of Hind Rajab

Best animated film

  • Arco
  • Demon Slayer: Kimetsu no Yaiba Infinity Castle
  • Elio
  • KPop Demon Hunters
  • Little Amélie or the Character of Rain
  • Zootopia 2

Best female actor – drama

  • Jessie Buckley – Hamnet
  • Jennifer Lawrence – Die, My Love
  • Renate Reinsve – Sentimental Value
  • Julia Roberts – After the Hunt
  • Tessa Thompson – Hedda
  • Eva Victor – Sorry, Baby

Best male actor – drama

  • Joel Edgerton – Train Dreams
  • Oscar Isaac – Frankenstein
  • Dwayne Johnson – The Smashing Machine
  • Michael B Jordan – Sinners
  • Wagner Moura – The Secret Agent
  • Jeremy Allen White – Springsteen: Deliver Me From Nowhere

Best female actor – musical or comedy

  • Rose Byrne – If I Had Legs I’d Kick You
  • Cynthia Erivo – Wicked: For Good
  • Kate Hudson – Song Sung Blue
  • Chase Infiniti – One Battle After Another
  • Amanda Seyfried – The Testament of Ann Lee
  • Emma Stone – Bugonia

Best male actor – musical or comedy

  • Timothée Chalamet – Marty Supreme
  • George Clooney – Jay Kelly
  • Leonardo DiCaprio – One Battle After Another
  • Ethan Hawke – Blue Moon
  • Lee Byung-Hun – No Other Choice
  • Jesse Plemons – Bugonia

Best supporting female actor

  • Emily Blunt – The Smashing Machine
  • Elle Fanning – Sentimental Value
  • Ariana Grande – Wicked: For Good
  • Inga Ibsdotter Lilleaas – Sentimental Value
  • Amy Madigan – Weapons
  • Teyana Taylor – One Battle After Another

Best supporting male actor

  • Benicio Del Toro – One Battle After Another
  • Jacob Elordi – Frankenstein
  • Paul Mescal – Hamnet
  • Sean Penn – One Battle After Another
  • Adam Sandler – Jay Kelly
  • Stellan Skarsgård – Sentimental Value

Cinematic and box office achievement

  • Avatar: Fire and Ash
  • F1
  • KPop Demon Hunters
  • Mission: Impossible – The Final Reckoning
  • Sinners
  • Weapons
  • Wicked: For Good
  • Zootopia 2

Best director

  • Paul Thomas Anderson – One Battle After Another
  • Ryan Coogler – Sinners
  • Guillermo del Toro – Frankenstein
  • Jafar Panahi – It Was Just an Accident
  • Joachim Trier – Sentimental Value
  • Chloe Zhao – Hamnet

Best screenplay

  • Paul Thomas Anderson – One Battle After Another
  • Ronald Bronstein, Josh Safdie – Marty Supreme
  • Ryan Coogler – Sinners
  • Jafar Panahi – It Was Just an Accident
  • Eskil Vogt, Joachim Trier – Sentimental Value
  • Chloé Zhao, Maggie O’Farrell – Hamnet

Best original song

  • Miley Cyrus, Andrew Wyatt, Mark Ronson, Simon Franglen – Avatar: Fire and Ash; Dream as One
  • Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo, Park Hong Jun, Kim Eun-jae (EJAE), Mark Sonnenblick – KPop Demon Hunters; Golden
  • Raphael Saadiq, Ludwig Göransson – Sinners; I Lied to You
  • Stephen Schwartz – Wicked: For Good; No Place Like Home
  • Stephen Schwartz – Wicked: For Good; The Girl in the Bubble
  • Nick Cave, Bryce Dessner – Train Dreams; Train Dreams

Best original score

  • Alexandre Desplat – Frankenstein
  • Ludwig Göransson – Sinners
  • Jonny Greenwood – One Battle After Another
  • Kanding Ray – Sirāt
  • Max Richter – Hamnet
  • Hans Zimmer – F1

TV & podcast categories

Best series – drama

  • The Diplomat
  • The Pitt
  • Pluribus
  • Severance
  • Slow Horses
  • The White Lotus

Best series – comedy or musical

  • Abbott Elementary
  • The Bear
  • Hacks
  • Nobody Wants This
  • Only Murders in the Building
  • The Studio

Best limited series

  • Adolescence
  • All Her Fault
  • The Beast In Me
  • Black Mirror
  • Dying for Sex
  • The Girlfriend

Best female actor – drama

  • Kathy Bates – Matlock
  • Britt Lower – Severance
  • Helen Mirren – Mobland
  • Bella Ramsey – The Last of Us
  • Keri Russell – The Diplomat
  • Rhea Seehorn – Pluribus

Best male actor – drama

  • Sterling K Brown – Paradise
  • Diego Luna – Andor
  • Gary Oldman – Slow Horses
  • Mark Ruffalo – Task
  • Adam Scott – Severance
  • Noah Wyle – The Pitt

Best female actor – comedy or musical

  • Kristen Bell – Nobody Wants This
  • Ayo Edebiri – The Bear
  • Selena Gomez – Only Murders in the Building
  • Natasha Lyonne – Poker Face
  • Jenna Ortega – Wednesday
  • Jean Smart – Hacks

Best male actor – comedy or musical

  • Adam Brody – Nobody Wants This
  • Steve Martin – Only Murders in the Building
  • Glen Powell – Chad Powers
  • Seth Rogen – The Studio
  • Martin Short – Only Murders in the Building
  • Jeremy Allen White – The Bear

Best female actor – limited series

  • Claire Danes – The Beast in Me
  • Rashida Jones – Black Mirror
  • Amanda Seyfried – Long Bright River
  • Sarah Snook – All Her Fault
  • Michelle Williams – Dying for Sex
  • Robin Wright – The Girlfriend

Best male actor – limited series

  • Jacob Elordi – The Narrow Road to the Deep North
  • Paul Giamatti – Black Mirror
  • Stephen Graham – Adolescence
  • Charlie Hunnam – Monster: The Ed Gein Story
  • Jude Law – Black Rabbit
  • Matthew Rhys – The Beast in Me

Best supporting female actor

  • Carrie Coon – The White Lotus
  • Erin Doherty – Adolescence
  • Hannah Einbinder – Hacks
  • Catherine O’Hara – The Studio
  • Parker Posey – The White Lotus
  • Aimee-Lou Wood – The White Lotus

Best supporting male actor

  • Owen Cooper – Adolescence
  • Billy Crudup – The Morning Show
  • Walton Goggins – The White Lotus
  • Jason Isaacs – The White Lotus
  • Tramell Tillman – Severance
  • Ashley Walters – Adolescence

Best stand-up comedy performance

  • Bill Maher – Is Anyone Else Seeing This?
  • Brett Goldstein – The Second Best Night of Your Life
  • Kevin Hart – Acting My Age
  • Kumail Nanjiani – Night Thoughts
  • Ricky Gervais – Mortality
  • Sarah Silverman – Sarah Silverman: PostMortem

Best podcast

  • Armchair Expert with Dax Shepard
  • Call Her Daddy
  • Good Hang with Amy Poehler
  • The Mel Robbins Podcast
  • SmartLess
  • Up First from NPR

The Beauty premieres January 2026

The Beauty Vol. 1

The Beauty, the comic series turned television show, has its premiere date, which is Wednesday, January 21, 2026 on both FX and Hulu. The first three episodes will launch starting at 9pm ET/PT. The following eight episodes will be released weekly each Wednesday at the same time with a pair of episodes airing back-to-back in the show’s final two weeks.

The Ryan Murphy television show is based on the comic by Jeremy Haun and Jason A. Hurley. It was originally released by Image Comics and a new volume is being released by Ignition Press who also released a new collection of the original volume.

In The Beauty, the world of high fashion turns dark when international supermodels begin dying in gruesome and mysterious ways. FBI Agents Cooper Madsen (Evan Peters) and Jordan Bennett (Rebecca Hall) are sent to Paris to uncover the truth. As they delve deeper into the case, they uncover a sexually transmitted virus that transforms ordinary people into visions of physical perfection, but with terrifying consequences. Their path leads them directly into the crosshairs of The Corporation (Ashton Kutcher), a shadowy tech billionaire who has secretly engineered a miracle drug dubbed ‘The Beauty,’ who will do anything to protect his trillion-dollar empire—including unleashing his lethal enforcer, The Assassin (Anthony Ramos). As the epidemic spreads, Jeremy (Jeremy Pope), a desperate outsider, is caught in the chaos, searching for purpose as the agents race across Paris, Venice, Rome, and New York to stop a threat that could alter the future of humanity. The Beauty is a global thriller that asks: what would you sacrifice for perfection?

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