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Sumber Berita Pop Culture Terkini - Komik. TV. Filem!

Kuala Lumpur
Joined September 2017
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Disebalik Tabir KELUANG MAN THE SERIES (2027)! 10 fakta yang didedahkan ketika set visit ke KELUANG MAN THE SERIES pada hari ke-27 produksi di Lembaga Getah Malaysia, Jalan Ampang: 1. Siri berlangsung 2 tahun selepas filem berakhir. 2. Tona siri lebih gelap daripada tona filem. 3. Penyakit mental Borhan lebih melarat selepas 2 tahun tidak menerima rawatan di Pusat Rawatan Mental Tumpoi. 4. Keluang Man lebih brutal dan ganas pada permulaan siri ini. 5. Dr Malini rasa bertanggungjawab ke atas situasi Borhan a.k.a. Keluang Man sekarang. 6. Hubungan adik beradik antara Dr Malini dengan Inspektor Sahab masih renggang pada permulaan siri ini. #KeluangManTheSeries
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Director Zach Cregger‘s “Resident Evil” has notched a notable box office milestone, climbing to $400 million in global ticket sales. His reboot of the ’90s zombie video game has earned $157.399 million in North America and $242.6 million overseas for a worldwide haul of exactly $400 million. It’s now the highest-grossing installment in the 24-year-old horror franchise, toppling 2016’s “Resident Evil: The Final Chapter” with $312 million globally. variety.com/2026/film/box-of…
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The opening of STAR TREK (2009) is one of the strongest blockbuster openings of the century. An entire timeline is rewritten through George Kirk’s sacrifice, giving the story its emotional foundation before James T. Kirk is even born. What a way to begin.
Besides the opening 10–15 minutes of SAVING PRIVATE RYAN, what’s the greatest 10–15 minutes in cinematic history? It doesn’t have to be an opening scene. It can be any stretch of a film that captures everything cinema is capable of, whether it’s drama, action, comedy, horror or something else entirely. Imagine showing an alien just 15 minutes of a movie to explain why humans love cinema. What sequence are you choosing?
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Mike Flanagan on Clayface: “It’s James Watkins’ movie.” He turned in a script he loved and never saw it again before Hossein Amini’s page-one rewrite. Flanagan isn’t disavowing it — but he’s not claiming it either. Meanwhile Gunn is taking bows for the CinemaScore. Patterns. For more, go check out our latest video. Link Below. youtu.be/nBbGvzxTAVs #DCU #Clayface #BoxOffice
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AVENGERS: DOOMSDAY has reportedly crossed $126.4 million in worldwide advance ticket sales, already surpassing the entire theatrical run of SUPERGIRL, which finished its global box-office run with $126.46 million. What’s particularly remarkable is that DOOMSDAY is still more than a month away from release. Its advance sales campaign began back in July, initially with premium-format screenings, generating $16.5 million in its first 24 hours alone. By September, Disney CFO Hugh Johnston had confirmed that domestic presales had already crossed $50 million. In October, tracking reports put worldwide presales above $100 million, before the figure climbed past $125 million. The film’s marketing campaign has been just as massive. Its first full trailer reportedly pulled in 503 million views in its first 24 hours, making it the second-biggest movie trailer launch ever, behind SPIDER-MAN: BRAND NEW DAY. Directed by Anthony and Joe Russo, DOOMSDAY brings Robert Downey Jr. back to the MCU, this time as Victor von Doom, alongside Chris Evans returning as Steve Rogers. The ensemble also includes Chris Hemsworth, Pedro Pascal, Vanessa Kirby, Florence Pugh, Tom Hiddleston, Patrick Stewart and Ian McKellen. The film arrives in cinemas on December 18, the same day as DUNE: PART THREE. Before either film has reached the big screen, the biggest box-office conversation of the holiday season is already taking shape. Whatever happens when tickets are counted after opening weekend, these advance sales numbers are an extraordinary sign of anticipation for Marvel’s next Avengers event.
‘AVENGERS: DOOMSDAY’ has reportedly surpassed $125M in advance ticket sales. On track to become one of the highest opening weekends of all time. (via @Forbes)
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People always blame Tony Stark or Star Lord for the Infinity Saga’s disasters, but look at the cosmic chain reaction Thor set off by invading Jotunheim in his very first movie. If young, arrogant Thor hadn't disobeyed Odin to start a war with the Frost Giants in Thor (2011), Loki never learns he’s adopted, never falls off the Bifrost straight into Thanos’s sanctuary, and never leads the 2012 Battle of New York (which gave Tony Stark the PTSD that led to Ultron!). Because Thor turned down the throne at the end of The Dark World, Loki ruled Asgard disguised as Odin for four years, leaving Nidavellir completely unprotected so Thanos could slaughter the Dwarves and forge the Infinity Gauntlet in secret! Even after unlocking his peak power with Stormbreaker, Thor wanted to gloat in Thanos’s face ("I told you, you'd die for that") instead of going for the head, directly allowing the Snap to wipe out half of all life in the universe. Tony broke Earth, Star Lord fumbled Titan, but Thor’s mistakes accidentally handed Thanos the Gauntlet and the Snap. #Marvel #MCU
With all that happened in the Infinity Saga, which single Avenger caused the greatest chain reaction of disasters?
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Paramount owned Twilight and just let the rights expire. The tiny studio that grabbed them turned a $37 million movie into a $3.3 billion franchise, then sold itself to Lionsgate in a deal where Lionsgate paid for most of it with cash already sitting in the studio's own bank account. Twilight sat in development at Paramount's MTV Films division for years. In April 2007 they let it go, and a small company called Summit picked up the rights. Summit's first five movies as a distributor had made $48.8 million combined in the US. They ran it lean. Four days before filming, Summit told director Catherine Hardwicke to cut $4 million from the budget or they'd pull the plug. She got it done for $37 million, and opening weekend brought in $69 million, more than those first five Summit movies made in their entire runs. This is where the money people come in. By early 2011 the first three movies had made about $1.8 billion. Summit's owners refinanced the company with a $750 million loan and paid out a special dividend of around $200 million. Then they went looking for a buyer while one Twilight movie was still left to release, because once that last movie came out, the studio would be a lot harder to sell. They wanted the deal done before then. Lionsgate bought it in January 2012 for $412.5 million. Only about $170 million of that was Lionsgate's own cash, new debt and stock, and the rest came out of Summit's accounts. Lionsgate also took on Summit's $500 million loan and had it paid off by October, four years early. Breaking Dawn Part 2 opened that November and made $829 million worldwide. Between that and The Hunger Games, Lionsgate crossed $1 billion at the US box office in a single year for the first time in its history. Run that back. Lionsgate put in about $170 million of its own, and the final movie alone grossed almost five times that. And the movie Netflix is calling the end of the story isn't the end of the money. Lionsgate's TV arm is making Midnight Sun with Netflix right now, an animated retelling of the first book from Edward's side, with production running through May 2027. Nineteen years after Paramount let it go, somebody is still cashing Twilight checks.
A life-changing ending. 📺: THE TWILIGHT SAGA: BREAKING DAWN
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Netflix used to rent Disney's movies for about $30 million a year. Today Netflix is worth about $100 billion more than Disney. Disney spent ten years selling its biggest rival the exact movies that got people to sign up. When Netflix started streaming in 2007, it was a free add-on to the DVD plan with about 1,000 titles. The $5.99 plan got you six hours of streaming a month. A lot of Hollywood thought it was a joke. As late as 2010, the CEO of Time Warner compared Netflix taking over to the Albanian army taking over the world. So in 2008 Starz, which held the TV rights to Disney and Sony movies, let Netflix stream them for around $30 million a year. They figured it was easy money from a few people watching on laptops. Then Netflix went from 9.4 million subscribers to 23 million in three years, with Toy Story 3 and Tangled sitting right on the home screen. Starz woke up in 2011. Netflix offered about $300 million to keep the deal going, ten times what it had been paying, and Starz still said no. Its own CEO later called the original deal terrible. Disney's answer was to cut out Starz and sign with Netflix directly. In December 2012 it made Netflix the exclusive pay-TV home for every new Disney, Pixar, Marvel and Lucasfilm movie starting in 2016, for a reported $300 million a year. Most people covering the deal thought Disney had fleeced Netflix. Michael Pachter at Wedbush said he wouldn't be surprised if Netflix never made $100 million in profit again. The whole company was worth about $5 billion back then. Netflix made $3.66 billion in profit last quarter. That's 36 years of Pachter's "never again" number in three months. Disney kept cashing those checks for a pretty simple reason. Renting out movies you already made is mostly profit, and it shows up right away. Building your own streaming app means years of losses and a stock that gets punished for it. So Disney took the easy money, and the whole time Netflix was using those movies to buy itself time. Time to start making its own shows, starting with House of Cards in 2013, and time to get a few hundred million people in the habit of opening Netflix first. By the time Iger pulled the movies in 2017 to launch Disney+, Netflix already had more than 100 million members. Then the bill showed up. Disney lost over $11 billion on streaming by 2023 trying to win back an audience it had basically helped Netflix build. You can see all of it in the chart. $100 a month into Disney roughly doubled, and that's with Disney owning Marvel and Star Wars the whole time. Netflix stock is down about half from its June 2025 high, and it's still worth around $290 billion. Disney sits at about $190 billion. And this year Netflix lost the bidding war for Warner Bros, and Paramount paid it a $2.8 billion breakup fee on the way out. That one check would've paid for the old Starz deal for 93 years.
If someone invested $100 a month in Netflix vs Disney since 2007
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Zach Cregger's RESIDENT EVIL movie is nearing $400 MILLION worldwide, and he's STILL complaining that fans wanted it to be more like the games. They were right to complain... But dude, take the fucking win. In a recent interview, Cregger complained that much of the conversation surrounding the movie focused on its relationship to the source material rather than the film itself. And look, I get it. But you adapted one of the biggest horror gaming franchises in the world. Of course people are going to have expectations. That's part of the deal when you take on an established IP. I enjoyed RESIDENT EVIL. Thought the first two acts were great, had some issues with the final act, and I'm looking forward to watching it again when it hits digital. The movie did well, audiences responded positively, and now it's moving into that next phase where people can revisit it, dissect it, and discover it at home. That's how movies work. But this seems to be a growing problem with filmmakers lately. James Gunn is constantly explaining and defending the DCU, and now Cregger is still bothered by the conversation around RESIDENT EVIL. I understand that these movies are personal to their creators, but at some point you've got to let audiences have their opinions without feeling the need to keep defending yourself. Because when you're constantly explaining why people should appreciate your work differently, it starts to feel like you're more concerned with controlling the conversation than celebrating what you actually accomplished. You made the movie. People watched it. They liked it. Some didn't. That's Hollywood. Take the win and move on to the next one.
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After Patrick Stewart's death, Marvel Studios president Kevin Feige made three decisions. No one realized that less than 6 hours after Patrick Stewart's death, Marvel Studios president Kevin Feige made three heartbreaking decisions. October 28, 2026, Patrick Stewart, best known for playing Professor X, passed away at his home in Los Angeles. He was 86. The news sent countless fans around the world into mourning. As one of his most important collaborators, Marvel Studios president Kevin Feige was among the first to respond. First, Feige released a heartfelt tribute on behalf of Marvel. He made it clear that Patrick brought Professor Charles Xavier to life in a truly unforgettable way. From the first X-Men movie in 2000 to the upcoming Avengers: Doomsday, he defined the character for generations of fans. Feige called him a one-of-a-kind collaborator. Working with him was an honor for Marvel. Second, following Patrick's passing, Doomsday became the final film he ever appeared in. Kevin wanted fans to be able to see his final performance in the film. He also decided to include a special moment at the end of the movie to honor him, giving audiences one final chance to say goodbye to him on screen. Finally, Feige also instructed the team to make sure Patrick's scenes in Doomsday remained intact and were presented with the utmost care. No post-production edits or changes should diminish this legendary actor's final appearance. His performance must be preserved in its fullest form so it can remain part of film history. May he rest in peace.
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CLAYFACE might end up being profitable, and DC Studios could STILL finish 2026 deep in the red. Both things can be true, and I'm amazed how many people don't seem to understand that. This Halloween weekend, CLAYFACE and YOU CAN SEE EVERYTHING are battling for No. 1, with the documentary currently holding a slight edge. CLAYFACE is looking at around $10 million in its second weekend, a drop of roughly 57%. Not great, not catastrophic. With a reported $40–44 million production budget, I think it'll eventually make some money. But how much? That's the real question. Because here's the problem. SUPERGIRL was a financial disaster. A $170 MILLION production budget against just $126 million worldwide, before we even start talking about marketing. That movie left a pretty massive hole in DC's 2026 theatrical finances, and CLAYFACE isn't going to magically fill it. Even if CLAYFACE eventually grosses $130 million worldwide, we're potentially talking about a modest financial win, not some massive payday for the studio. And that's what I think people are missing. A movie can be successful relative to its budget while the studio's overall theatrical slate is still losing money. By that measure, DC Studios is looking at a pretty rough 2026, regardless of how CLAYFACE finishes. I want CLAYFACE to succeed. I enjoyed the movie. But we need to stop treating every halfway decent box office result like it's proof that everything at DC Studios is going wonderfully. Making a little money on one movie doesn't erase losing a shitload on another. That's just math.
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The more I think about James Gunn's THE SUICIDE SQUAD canon podcast, the more I wonder if the intended audience wasn't really the fans. What if it was David Ellison? Think about it. Gunn just spent nearly an hour explaining which parts of a five-year-old movie are canon to the DCU. A movie he previously described as an "imperfect memory" is now apparently the FIRST canonical DCU film. Why now? Gunn says it's to celebrate DC Super-Villains Month, but this feels like an awful lot of effort to answer a question that wasn't exactly keeping people up at night. Then I started thinking about the Skydance takeover. Under David Zaslav, Gunn and Peter Safran were given considerable creative freedom to build their universe. Now they're answering to a new corporate leadership team headed by David Ellison, a guy who actually comes from film production and has a personal interest in where these franchises are going. Gunn has even acknowledged that Ellison wanted to know the secrets of the DCU and where the story was headed. So here's my theory. What if Ellison wants a clearer understanding of what he's actually inherited? What's canon? What's being carried over? What is Gunn building toward? Because Gunn and Safran might run DC Studios, but Ellison is ultimately one of the people signing off on their future. And if he decides something needs to change, that creative freedom only goes so far. Maybe I'm reading too much into it, but Gunn seemed oddly stiff during the podcast. It felt less like something he was excited to do and more like something he needed to get on the record. And I can't shake the feeling that this whole thing was less about explaining the DCU to fans and more about establishing what the DCU actually is for the guy who just bought the company. Because there's a big difference between telling fans to trust your vision and having to explain that vision to the guy who can change it.
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Probably one of the best SnyderVerse AI videos I’ve seen yet. Not perfect, but absolutely incredible for what it is. 🤯
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James Gunn was supposed to save DC. Instead, look at the mess. 1. His first DC film, The Suicide Squad, grossed just $168M worldwide against a reported $185M budget. 2.He announced his new DCU slate while Shazam! 2, Blue Beetle, Aquaman 2 and other DCEU projects were still awaiting release, creating uncertainty about the franchise's future. 3.Superman & Lois was ended partly because Warner Bros. didn't want competing Superman projects, according to the CW's president. 4.His Superman made $618M worldwide, failing to surpass Man of Steel's roughly $668M worldwide gross. 5.Supergirl grossed just $126M worldwide, while Clayface opened to weak numbers. 6.And now, years into the reboot, Gunn is launching podcasts to clarify what's canon and what's not. Hope @davidellison and @ParamountPics looking at this mess closely.
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Replying to @DavidAyerMovies
@DavidAyerMovies And they say The SnyderVerse isnt inspirational or had any cultural impact OBSESSION FANS have David and @JaredLeto performance to thank
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WARNER BROS is losing over $800M this year, including the two biggest bombs of the year: DIGGER ($250M+ loss) and SUPERGIRL ($150M loss).
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James Gunn talks about different DC Universes!
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All of us at Marvel Studios are deeply saddened by the passing of Sir Patrick Stewart. Sir Patrick brought Professor Charles Xavier to life with extraordinary grace, intelligence, and humanity, defining the character for generations of fans, from "X-Men" to "Logan" to "Avengers: Doomsday." He was a singular talent, a generous collaborator, and a true gentleman. Our hearts go out to his wife Sunny, his children, his friends, and the countless fans around the world whose lives he touched with his art.
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If after three years since the universe has started and after 6 (or 8?) projects already released you still have to make cheesy podcasts to explain what's canon and what's not (in a universe in which you have complete freedom) you have definitely failed as a creative & producer.
James Gunn has announced a podcast for ‘THE SUICIDE SQUAD’ where he will reveal what elements of the film are canon to the DCU.
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THE FIRST POSTER FOR THE HARRY POTTER TV SERIES HAS BEEN REVEALED Season 1 on HBO, December 25
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