The new schedule brings the theatrical release forward from November 6 and moves the streaming date forward from December 4.

The change creates a 47-day period between the film’s U.S. theatrical opening and its streaming release.

Variety described the 47-day period as the widest theatrical commitment Netflix has given one of its titles to date.

Netflix’s announcement said the December 2 streaming premiere applies to the United States and Canada, while the film will also receive a Canadian theatrical presence through its selection for the Toronto International Film Festival’s Special Presentations section.

The release decision places La Bola Negra in cinemas during the early part of the 2026–27 awards season, a period when distributors commonly seek theatrical exposure for films they hope will attract industry attention.

A Film by Los Javis

Calvo and Ambrossi are collectively known as Los Javis.

The pair are Spanish actors, writers, directors and producers whose previous television work includes Paquita Salas, Veneno and La Mesías.

La Bola Negra is their first feature film to compete at the Cannes Film Festival.

The film premiered in competition at Cannes in May 2026, where Calvo and Ambrossi received the Best Director award jointly with Paweł Pawlikowski for Fatherland.

The Cannes recognition gave the film an international profile before Netflix revised its North American release strategy.

The cast includes Penélope Cruz, Glenn Close, Lola Dueñas, Miguel Bernardeau, Carlos González, Milo Quifes and the musician known as Guitarricadelafuente.

Netflix characterizes the film as a drama about desire, pain and inheritance connecting the lives of three men across Spain from the 1930s to the present day.

Queer History Across Three Periods

The narrative is structured around three timelines set in 1932, 1937 and 2017.

The three stories are connected by a lost manuscript associated with Federico García Lorca and titled La Bola Negra.

The Cannes festival described the film as being adapted from Alberto Conejero’s play La Piedra Oscura.

Reviews have identified the film’s subject matter as gay Spanish history, literary memory and relationships shaped by secrecy and social repression.

The film therefore places queer lives and relationships at the center of a historical drama spanning several generations.

That focus is consistent with the directors’ established body of work, which includes Veneno, a series about transgender Spanish television personality Cristina Ortiz Rodríguez, known as La Veneno.

Release Dates Outside North America

The U.S. and Canadian release plan is separate from the film’s Spanish theatrical rollout.

Los 40 reported that La Bola Negra is scheduled to open in Spanish cinemas on September 25, 2026.

The same report said Movistar Plus+ will handle the film’s later availability in Spain rather than Netflix.

The film is also scheduled for release in France on December 16, 2026, according to published release information.

Netflix’s official announcement specifically confirmed the December 2 streaming date for the United States and Canada.

Why the 47-Day Window Matters

Netflix’s decision gives La Bola Negra a longer exclusive theatrical period than the company’s previously announced schedule.

The earlier plan called for a November 6 theatrical opening followed by a December 4 streaming release, a substantially shorter interval.

The revised plan allows the film to remain in theaters through the opening weeks of November before reaching Netflix subscribers on December 2.

The longer run may also make the film more accessible to audiences who prefer to see a major queer Spanish-language production in cinemas, although Netflix has not characterized the change as an accessibility initiative.

Netflix’s announcement presents the release as a theatrical and streaming launch rather than an exclusively digital premiere.

The distribution model also reflects the film’s international path: a Cannes competition premiere, a Spanish theatrical release, North American cinemas, a Toronto festival presentation and subsequent streaming availability.

As of September 1, La Bola Negra is scheduled to reach Spanish cinemas on September 25, U.S. theaters on October 16, Netflix in the United States and Canada on December 2, and French cinemas on December 16.

The announcement makes the film one of Netflix’s most prominent Spanish-language theatrical releases of 2026, while its subject remains rooted in queer history, memory and representation.

The incident occurred on Saturday, August 29, as Gibson was introduced for a question-and-answer session at the convention.

Footage circulated online shows the actor walking onto the stage behind an interpreter who was signing for members of the audience.

The video shows Gibson briefly turning toward the audience and making rapid hand movements of his own before approaching moderator Liam Crowley and taking his seat.

Several news organizations described the gestures as appearing to mock or imitate the interpreter, while noting that the short video does not establish what Gibson intended.

The clip reportedly lasts only a few seconds, making the sequence difficult to interpret independently of the surrounding context.

The event took place at Fan Expo Canada in Toronto, where Gibson participated in a career-focused retrospective discussion.

Gibson’s Apology

In a statement reported by multiple outlets, Gibson called the behavior “spontaneous thoughtless idiocy.”

“Sometimes when you get pushed out on a stage in a spotlight your mind is all over the place, and sometimes spontaneous thoughtless idiocy is displayed,” Gibson said.

“There was no intended maliciousness attached, and I certainly apologize to anyone who was upset by it,” he added.

The statement acknowledged the public reaction but did not identify the interpreter or describe any direct conversation with the interpreter after the appearance.

Gibson’s apology was reported after the footage drew criticism on social-media platforms and was republished by entertainment and news outlets.

The available reports do not indicate that Gibson used an audible slur or explicitly stated that he intended to ridicule the interpreter.

Accordingly, the confirmed facts are that Gibson made the gestures, viewers interpreted them as mocking, the footage prompted criticism, and Gibson later apologized while denying malicious intent.

Why the Moment Drew Criticism

American Sign Language is a complete language with its own linguistic structure, rather than a set of improvised gestures or a word-for-word visual form of spoken English.

The National Association of the Deaf describes ASL as central to American Deaf culture and advocates for its recognition, use and preservation.

At public events, interpreters provide communication access for Deaf and hard-of-hearing attendees who use sign language.

The Canadian Association of the Deaf has said that communication access should be provided through qualified professional sign-language interpreters and intervenors.

The organization also identifies American Sign Language and Langue des signes québécoise as languages used by Deaf people in Canada.

That context made the footage especially sensitive to viewers who saw the gestures as reducing a recognized language and accessibility service to a joke.

The reports reviewed for this article do not document a public response from a national Deaf organization or from the interpreter involved.

The Broader Response

The episode generated criticism from social-media users who accused Gibson of making fun of the interpreter and showing disrespect toward Deaf people.

Some reports used the word “allegedly” or “seemingly” because the footage captures a brief gesture without an accompanying explanation of Gibson’s state of mind.

Other reports stated more directly that Gibson mocked the interpreter, reflecting the interpretation adopted by those outlets after reviewing the video.

No report reviewed for this article indicates that Fan Expo Canada canceled Gibson’s appearance, removed him from the event or announced disciplinary action.

No report reviewed for this article indicates that Gibson’s apology included a financial contribution, a formal meeting with Deaf advocates or a commitment to accessibility education.

The immediate public record therefore centers on the video, the criticism it prompted and Gibson’s explanation and apology.

The controversy also illustrates why descriptions of sign-language incidents require care: an observer can report visible movements and their public reception, but cannot establish private intent from a short clip alone.

As of September 1, Gibson had publicly apologized and said there was no malicious intent behind the conduct shown in the video.

The incident remains a matter of public criticism rather than a reported legal finding or official determination about the interpreter’s treatment.

Sept. 4

“By Any Means” (Paramount, in theaters): Yahya Abdul-Mateen II and Mark Wahlberg star in Elegance Bratton’s 1960s-set crime thriller based on a true story.

“Mayday” (Apple TV, streaming): A Cold War buddy comedy about a pilot (Ryan Reynolds) shot down in Soviet territory who’s rescued by a former KGB man (Kenneth Branagh).

“Onslaught” (A24, in theaters): Adam Wingard directs this thriller about an Army sniper ( Adria Arjona ) protecting her daughter from a rogue squad of genetically engineered super soldiers.

“Tom & Jerry: Forbidden Compass” (Viva Kids, in theaters): The cat and mouse duo travel through time.

“Barbara Forever” (Strang Releasing, in theaters): A biopic documentary on the pioneering lesbian avant-garde filmmaker Barbara Hammer.

Sept. 9

“Hope” (Neon, in theaters): Acclaimed South Korean filmmaker Na Hong-jin returns with a sprawling sci-fi film that pairs Korean stars (Hwang Jung-min, Zo In-sung, and Jung Ho-yeon) with Hollywood ones (Taylor Russell, Alicia Vikander, Michael Fassbender).

“Tyler Perry's Why Did I Get Married Again?” (Netflix, streaming): The three couples of writer-director Tyler Perry's 2007 film “Why Did I Get Married?” reunite in this sequel.

Sept. 11

“Don’t Look Back in Anger” (Walt Disney Co., in theaters): A backstage documentary on the comeback tour of the British rock band Oasis.

“The Uprising” (Focus Features, in theaters): Director Paul Greengrass’ latest stars Andrew Garfield as a 14th-century farmer who becomes an unlikely leader of a rebellion against King Richard II.

“Runner” (Angel Studios, in theaters): A thriller about a medical courier transporting a liver across Australia while under attack from a ruthless cartel. With Alan Ritchson and Owen Wilson.

“Practical Magic 2” (Warner Bros., in theaters): Sandra Bullock, Nicole Kidman and Dianne Wiest return in this sequel to the 1998 original about a family of witches.

Sept. 18

“Knife: The Attempted Murder of Salman Rushdie” (Abramorama, in theaters): Alex Gibney’s documentary portrait of author Salman Rushdie in the aftermath of the 2022 knife attack.

“Resident Evil” (Sony Pictures, in theaters): Zach Cregger (“Barbarian,” “Weapons”) directs this latest adaptation of the horror video game, starring Austin Abrams.

“Shaun the Sheep: The Beast of Mossy Bottom” (Gkids, in theaters): The third feature in the “Shaun the Sheep” series is set around Halloween and Shaun turning into a mad scientist.

“The Weight” (Vertical, in theaters): A 1930s-set thriller about a band of prisoners (led by Ethan Hawke) tasked with transporting gold through the Oregon wilderness. With Russell Crowe.

“Bad Apples” (Paramount Pictures, in theaters): Saoirse Ronan stars as a U.K. schoolteacher who goes to extremes to deal with a misbehaving student.

“The History of Concrete” (Magnolia Pictures, in theaters): New York documentarian John Wilson takes a wry look at the ubiquity of concrete.

“The Musical” (Blue Harbor Entertainment, in theaters): A frustrated playwright and middle school theater teacher discovers that his ex-girlfriend has started dating his nemesis. With Will Brill, Gillian Jacobs and Rob Lowe.

“Tiny Fugitives” (Inaugural Entertainment): Johnny Knoxville stars as a camp counselor for a pack of rebellious 12-year-olds determined to remain at summer camp forever.

Sept. 23

“The Love Hypothesis” (Prime Video, streaming): A romantic comedy starring Lili Reinhart as a PhD candidate who, to prove she’s moved on to her crush, fakes a romance with an intimidating professor.

Sept. 25

“Primetime” (A24, in theaters): In 2006, “To Catch a Predator” host Chris Hansen (Robert Pattinson) sets out to make television history. Directed by Lance Oppenheim.

“Charlie Harper” (Row K, in theaters): Emilia Jones and Nick Robinson star as a couple in this romance.

“Forgotten Island” (Universal, in theaters): A DreamWorks Animation feature about two best friends who stumble on a mysterious portal.

“Ha-Chan, Shake Your Booty!” (Sony Pictures Classics, in theaters): Haru (Rinko Kikuchi) is active in the Tokyo ballroom dance scene. After a tragedy, she develops an infatuation with a new instructor.

“Heart of the Beast” (Paramount Pictures, in theaters): A survival thriller from director David Ayer (“Fury,” “The Beekeeper”) about a former Army Special Forces soldier (Brad Pitt) and his retired combat dog whose plane crashes in the Alaskan wilderness.

“The Stunt Driver” (Independent Film Company, in theaters): A based-on-a-true-story film about Canada’s Ken Carter (Jay Baruchel), a world champion stunt driver plotting a mile-long jump across the St. Lawrence River.

“The Incomer” (Sumerian Pictures, in theaters): A modern folk tale set on a Scottish isle, where siblings Isla and Sandy (Gayle Rankin, Grant O’Rourke) are to be relocated by a local government official (Domhnall Gleeson).

“Your Mother Your Mother Your Mother” (Amazon MGM, in theaters): Mahershala Ali stars as a devout hitman on a journey across Houston to protect his children following the death of his wife.

“Unabomber” (Netflix, streaming): Jacob Tremblay plays Ted Kaczynski in this drama about the Harvard prodigy's transformation into the Unabomber. With Russell Crowe.

OCTOBER MOVIE RELEASES

Oct. 2

“Digger” (Warner Bros., in theaters): Alejandro G. Iñárritu directs Tom Cruise as Digger Rockwell, the most powerful man in the world who’s out to prove he can save humanity after a disaster he’s unleashed.

“Verity” (Amazon MGM, in theaters): A psychological thriller adapted from Colleen Hoover’s novel, starring Anne Hathaway, Dakota Johnson and Josh Hartnett.

“The Last First: Winter K2” (Apple TV, streaming): Amir Bar-Lev’s documentary on the deadly 2021 winter expedition to summit K2.

“Beware Boiúna” (Lionsgate, in theaters): In the Amazon, a medical mission spirals into a fight for survival when Boiúna, a colossal ancient predator, awakens.

“Atonement” (Kino Lorber, in theaters): Reed Van Dyk directs this based-on-a-true-story drama about a troubled Marine seeking reconciliation with the survivors of a family affected by a 2003 raid in Iraq. Starring Boyd Holbrook, Hiam Abbass and Kenneth Branagh.

Oct. 7

“Love of Your Life” (Amazon MGM, in theaters): Rachel Morrison directs this heartbreaking drama starring Margaret Qualley as a Boston nurse who falls for a guy (Gabriel Basso) and they marry. But tragedy intrudes when the pandemic begins.

Oct. 9

“The Social Reckoning” (Sony, in theaters): Aaron Sorkin writes and directs a follow-up to 2010’s “The Social Network,” with Jeremy Strong as Mark Zuckerberg. Mikey Madison stars as Frances Haugen, the young Facebook engineer who blew the whistle on the social network’s algorithms.

“Misty Green” (A24, in theaters): Years after her Hollywood breakthrough, a talented actor (Rosalind Eleazar) whose career has stalled fights for her second act. Written and directed by Chris Rock.

“Other Mommy” (Universal, in theaters): Jessica Chastain plays dual roles as the mother of an 8-year-old girl and “Other Mommy,” a threatening presence that emerges out of her closet.

“Big Girls Don’t Cry” (Blue Fox Entertainment, in theaters): A coming-of-age drama by filmmaker Paloma Schneideman about a 14-year-old during a transformative summer.

“Fjord” (Neon, in theaters): Romanian filmmaker Cristian Mungiu’s social drama, the Palme d’Or winner at the Cannes Film Festival, stars Sebastian Stan and Renate Reinsve as the parents of a family who have moved from Romania to Norway and soon find their religious lifestyle chafes against the progressive community.

“Matchbox: The Movie” (Apple TV, streaming): An action-adventure film based on the Mattel miniature car toys, led by John Cena.

“Tenzing” (Apple TV, in theaters): A tale about Tenzing Norgay (Genden Phuntsok), the mountain climber and head Sherpa who, with Edmund Hillary (Tom Hiddleston), became the first to summit Mount Everest.

“Angel and the Badman” (Angel Studios, in theaters): A remake of the 1947 John Wayne Western starring Zachary Levi, Tommy Lee Jones and Neal McDonough.

Oct. 12

“Free Leonard Peltier” (Netflix, streaming): Documentarians Jesse Short Bull and David France revisit the American Indian Movement of the 1970s and the arrest of Leonard Peltier after a shootout on the Pine Ridge Indian Reservation.

Oct. 16

“Sense and Sensibility” (Focus Features, in theaters): The latest Jane Austen adaptation, from director Georgia Oakley and featuring a cast including Daisy Edgar-Jones, Esmé Creed-Miles and George MacKay.

“Street Fighter” (Paramount Pictures, in theaters): A 1990s-set adaptation of the video game, directed by Kitao Sakurai and featuring a cast led by Andrew Koji and Noah Centineo.

“Whalefall” (20th Century Studios, in theaters): A survival thriller about a scuba diver (Austin Abrams) who’s swallowed whole by a sperm whale.

“La Bola Negra” (Netflix, in theaters): Javier Ambrossi and Javier Calvo’s film is set in 1932, 1937 and 2017, telling the interconnected story of three gay men through Spanish history.

“Once Upon a Time in Harlem” (Neon, in theaters): David Greaves, son of the filmmaker William Greaves, completes the documentary his father shot in 1972 when he convened luminaries of the Harlem Renaissance at Duke Ellington’s townhouse.

“Musk” (Bleecker Street, in theaters): Alex Gibney’s four-hour documentary on Elon Musk.

Oct. 21

“One in a Million” (PBS, streaming): Over the course of a decade, Itab Azzam and Jack MacInnes follow Israa, who is 11 when filming begins, and her family in Syria as they prepare to cross the Aegean Sea to reach Europe.

Oct. 23

“Wildwood” (Fathom, in theaters): A sprawling stop-motion animated film from Laika, adapted from the book by Colin Meloy, is about a girl whose baby brother is kidnapped by crows and flown into a magical forest.

“Ali G: Who Iz I?” (Amazon MGM, in theaters): Sacha Baron Cohen returns as one of his original characters in a new feature film. Baron Cohen also directed.

“Klara and the Sun” (Sony Pictures, in theaters): Taika Waititi’s adaptation of Kazuo Ishiguro’s novel is about a brokenhearted family who is helped by Klara, an Artificial Friend. With Amy Adams, Natasha Lyonne and Jenna Ortega.

“Clayface” (Warner Bros., in theaters): The latest DC Studios release is a horror thriller about an up-and-coming actor whose face is disfigured by a gangster. Tom Rhys Harries stars as Matt Hagen/Clayface.

“Fatherland” (Mubi, in theaters): Polish filmmaker Paweł Pawlikowski (“Ida,” “Cold War”) directs this postwar drama about German writer Thomas Mann (Hanns Zischler) and his daughter (Sandra Hüller) crossing between Soviet- and American-controlled Germany.

“The Only Living Pickpocket in New York” (Sony Pictures Classics, in theaters): John Turturro stars as Harry, an old-school New York hustler whose pickpocket ways are growing obsolete in a digital world.

“Possible Love” (Netflix, in theaters; streams Nov. 6): Korean filmmaker Lee Chang-dong follows up his acclaimed 2018 film “Burning” with this drama about four strangers whose paths cross by chance.

“A Talent for Murder” (Bleecker Street and LD Entertainment, in theaters): Helen Mirren plays the thriller writer Patricia Highsmith in Anton Corbijn’s film about a young man (Alden Ehrenreich) trying to convince her to write another Tom Ripley novel.

“Wicker” (Black Bear, in theaters): Olivia Colman stars as a fisherwoman in a small village who commissions the local basket maker (Peter Dinklage) to weave her a husband. The result (played by Alexander Skarsgård) turns out surprisingly well.

Oct. 30

“Mosquito Bowl” (Netflix, in theaters): Peter Berg directs this adaptation of Buzz Bissinger's bestseller about four college football stars who enlist in the Marines after the attack on Pearl Harbor. With Nicholas Galitzine, Bill Skarsgård, Ray Nicholson and Tom Francis.

“The Mongoose” (Samuel Goldwyn Films, in theaters): Liam Neeson stars as a war hero on a getaway mission in this car chase movie.

“Gentle Monster” (Netflix, in theaters): Filmmaker Marie Kreutzer’s film is about a woman (Léa Seydoux) whose life unravels after her husband is arrested for possessing child sexual abuse material.

“Queen at Sea” (Greenwich Entertainment, in theaters): In Lance Hammer’s film, Juliette Binoche plays a woman whose mother has dementia. After an incident, her stepfather is arrested.

“Stiletto” (The Horror Section, in theaters): In this Eli Roth-produced horror film, a serial killer stalks exotic dancers.

“Everest: The Other Side” (National Geographic, in theaters): Filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin (“Free Solo”) pursue their dream to climb and ski the North Face of Everest.

NOVEMBER MOVIE RELEASES

Nov. 6

“Club Kid” (A24, in theaters): Jordan Firstman writes, directs and stars in this comedy about a hard-partying New York club promoter who finds out he has a 10-year-old son (Reggie Absolom).

“Wild Horse Nine” (Searchlight, in theaters): Writer-director Martin McDonagh’s latest is a 1970s dark comedy about two CIA agents (John Malkovich, Sam Rockwell) on a mission on Easter Island.

“Godzilla Minus Zero” (GKids, in theaters): Director Takashi Yamazaki follows up 2023’s Oscar-winning “Godzilla Minus One” with a sequel set in the aftermath of World War II.

“Ramayana” (Sony, in theaters): An Indian action epic inspired by the Hindu legend of Rama.

“The Cat in the Hat” (Warner Bros., in theaters): The latest animated adaptation of Dr. Seuss’ beloved children’s book features Bill Hader as the voice of the Cat.

“Drummer Boy” (Angel Studios, in theaters): A historical action musical about two brothers on opposite sides of the American Revolution.

“Archangel” (Sony, in theaters): A former Special Forces soldier living off the grid protects his Wyoming neighbors from an encroaching asset management company.

“Soul Patrol” (Kino Lorber, in theaters): J.M. Harper's documentary is about the Vietnam War’s first Black special ops team.

Nov. 13

“Ebenezer: A Christmas Carol” (Paramount Pictures, in theaters): A new Charles Dickens adaptation, starring Johnny Depp as Scrooge and directed by horror filmmaker Ti West.

“How to Rob a Bank” (Amazon MGM, in theaters): A crime thriller from filmmaker David Leitch about a crew of bank robbers who document their heists with social media. Starring Nicholas Hoult, Zoë Kravitz and Christian Slater.

“Victorian Psycho” (Bleecker Street, in theaters): Maika Monroe stars as an eccentric governess for a wealthy family in Victorian times.

“I Play Rocky” (Amazon MGM, in theaters): Anthony Ippolito stars as a young Sylvester Stallone in this film about the making of 1976’s “Rocky,” from director Peter Farrelly.

“Paper Tiger” (Neon, in theaters): James Gray’s Queens-set drama stars Adam Driver and Miles Teller as brothers who get in over their heads in a scheme involving the Gowanus Canal and the Russian mafia.

Nov. 18

“Madden” (Prime Video, streaming): Filmmaker David O. Russell dramatizes the life of football legend John Madden, with Nicolas Cage as Madden and Christian Bale as Al Davis.

Nov. 20

“The Hunger Games: Sunrise on the Reaping” (Lionsgate, in theaters): A sequel to 2023’s prequel, “The Ballad of Songbirds & Snakes,” the latest “Hunger Games” chapter continues the adventures of Haymitch Abernathy (Joseph Zada). With Jesse Plemons, Ralph Fiennes, Glenn Close and others.

“Josephine” (Sumerian Pictures, in theaters): Filmmaker Beth de Araújo's intense drama is told largely from the perspective of 8-year-old Josephine (Mason Reeves), who witnesses a sexual assault in a park. With Channing Tatum and Gemma Chan as her parents.

“Minotaur” (Mubi, in theaters): Russian filmmaker Andrey Zvyagintsev’s latest is about a Russian businessman who discovers his wife is cheating on him. At the same time, he’s tasked with conscripting workers into the Russian army for the invasion of Ukraine.

“Elsinore” (Focus, in theaters): Andrew Scott stars as Ian Charleson, an actor preparing to play Hamlet at London’s National Theatre while ill with AIDS.

“Steps” (Netflix, streaming): An animated riff on “Cinderella,” about her stepsister, Lilith (Ali Wong), who accidentally transforms her other stepsister, Margot ( Stephanie Hsu ), into a frog. With Amanda Seyfried as Cinderella and Bette Midler as the Fairy Godmother.

Nov. 25

“Meet the Parents 4: Focker In-Law” (Paramount Pictures, in theaters): Sixteen years after the last movie in the comedy series, the Fockers return with Ariana Grande as the bride-to-be. Starring Ben Stiller and Robert De Niro.

“Hexed” (Disney, in theaters): A Disney Animation feature about an unconventional teenage girl (Hailee Steinfeld) who discovers secret magic abilities and other family mysteries with her mother (Rashida Jones).

“All of a Sudden” (Neon, in theaters): Japanese filmmaker Ryûsuke Hamaguchi’s sprawling intimate drama is about a relationship between two women (Virginie Efira, Tao Okamoto) in Paris and an elderly care facility trying to implement a caregiving approach called “Humanitude.”

“Hershey” (Angel Studios, in theaters): The origin story of the Hershey Chocolate Company, with Finn Wittrock as Milton S. Hershey and Alexandra Daddario as Catherine Hershey.

“The Further Mis-Adventures Of Cliff Booth” (Netflix, in theaters): David Fincher directs this spinoff from “Once Upon a Time … In Hollywood,” scripted by Quentin Tarantino, with Brad Pitt reprising his stuntman role.

“Way of the Warrior Kid” (Apple TV, streaming): A bullied 11-year-old (Jude Hill) learns to find his inner warrior over one summer with the help of his Navy SEAL uncle Jake (Chris Pratt).

“Back then, Facebook was a way to keep in touch with people you went to high school with. It’s something much different now,” Sorkin says. “‘The Social Network’ was about the invention of Facebook. ‘Social Reckoning’ is about what it’s become and, in particular, Facebook’s role in the rise of extremism and divisiveness.”

“The Social Reckoning,” which Sony Pictures will release Oct. 9, is one of the most timely movies arriving in theaters this fall. Last week, Sony debuted the film’s trailer the same day that Meta, Facebook’s parent company, agreed to pay up to $18 billion in penalties over claims its platform endangered children.

“The Social Reckoning” is poised to further scrutinize the social media behemoth at a time when Zuckerberg is under greater pressure than ever over the role Facebook plays in contemporary life and politics.

“When you see this movie, No. 1, I want you to be entertained,” Sorkin said in a recent exclusive interview with The Associated Press while doing the final mix on the film. “No. 2, you should be alarmed when you see the movie. I think people will be.”

Tech moguls are getting their close-up this fall

“The Social Reckoning” is one of several films this fall that will take aim at the tech moguls who have helped remake American life. Alex Gibney will unveil his four-hour documentary on Elon Musk, “Musk,” on Oct. 16. Luca Guadagnino’s “Artificial” dramatizes the saga of Sam Altman, the OpenAI chief executive.

But “The Social Reckoning,” which Sorkin wrote and directed, is sure to cause a stir given not just its subject but the legacy of “The Social Network.” Often cited as among the best American movies of the century, the film — directed by David Fincher and written by Sorkin — did much to examine and mythologize the origins of Facebook. It is, Sorkin acknowledges, a lot to live up to.

“To tell you the truth, I was hesitant,” Sorkin said. “I recognize the shadow that ‘The Social Network’ casts. But I think what’s going to happen is, 10 minutes into the movie, you’ll have forgotten about that and be invested in this.”

For the 65-year-old Sorkin, “The Social Reckoning” isn’t a sequel. It’s centered on the same figure, Zuckerberg, but captures him and his company at a dramatically different stage.

“It’s as if Henry Hill showed up in ‘Casino,’” says Sorkin, alluding to the “Goodfellas” protagonist.

Sorkin began contemplating “The Social Reckoning” around 2019, the same time he wrote an op-ed in The New York Times addressed to Zuckerberg. It alleged Facebook — which had just announced it was no longer going to fact-check political ads — was responsible for “crazy lies pumped into the water supply that corrupt the most important decisions we make together.” Zuckerberg responded by quoting Sorkin’s own dialogue from “The American President” about free speech.

“I read this, and I thought: it’s just impossible that Mark and the people around Mark don’t know the difference between an unpopular opinion and a lie,” Sorkin says. “And that kind of stayed with me.”

Sorkin has since said he blames Facebook for the Capitol riot on Jan. 6, 2021. Eventually, he was coaxed by Sony chief Tom Rothman and agent Ari Emanuel to wade back into one of his most beloved films.

“I said at the beginning I didn’t want to write ‘Jaws 2.’ I didn’t want to return and fail,” says Sorkin. “Then I met Frances Haugen and I met Jeff Horwitz and I started thinking more about it. I realized there was a terrific story and the only reason not to do it is being scared. And that’s just not a good enough reason.”

“The Social Reckoning” stars Mikey Madison as Haugen, a former data scientist at Facebook who became a whistleblower in 2021 and testified before Congress that Facebook was tuning its algorithm to put profit before public safety. Jeremy Allen White plays Wall Street Journal reporter Jeff Horwitz, a former Associated Press journalist. Jeremy Strong, not Jesse Eisenberg, plays Zuckerberg.

Zuckerberg and Meta have yet to say anything publicly about “The Social Reckoning.” The company declined to comment for this article.

In prepping “The Social Network,” Sorkin and producer Scott Rudin reached out to the company in an attempt to gain their cooperation. But after a lunch meeting, Facebook declined to participate — a blessing, Sorkin later realized. The script, Sorkin has said, “was vetted to within an inch of its life by a team of studio lawyers.” A similar process has followed on “The Social Reckoning.”

“I would have been happy to speak to him. I’ve never met Mark. I don’t know him at all,” Sorkin says. “And I don’t pretend to have any insight into how his mind works, only the results of how his mind works, and then I kind of reverse engineer it.”

Jeremy Strong takes over for Jesse Eisenberg

Sorkin initially reached out to Eisenberg about reprising the role of Zuckerberg. Before telling Eisenberg, or anyone else, of his plans, Sorkin spent two years researching and writing the screenplay.

“I didn’t know that Jesse simply did not want to play Mark Zuckerberg ever again,” Sorkin explains. “I talked to him a lot over a three-day weekend. He was clear that he loves ‘The Social Network,’ he loves how it launched his career, and he just doesn’t like being conflated with Mark Zuckerberg. I was just really lucky that Jeremy Strong had said, ‘Hey, listen, if for some reason Jesse doesn’t want to do it.’”

“It’s replacing Joe DiMaggio with Mickey Mantle,” he adds.

Strong’s performance, Sorkin says, “is a sight to see.” While the writer-director was happy to have no direct contact with Zuckerberg, Strong emailed the Facebook co-founder.

“Mark had no greater defender than Jeremy Strong, believe me,” Sorkin says. “Every night I’d get emails from him defending Mark. On the day we were shooting Jeremy’s last scene, as soon as we were done, he ran up to me and for the first time spoke in his own voice. He had only been using Mark’s voice. He came up to me and said, ‘If I had been playing Jeff, I’d have been defending Jeff.’ It was very important to him that I know that he didn’t mean any of that.”

When “The Social Network” came out, it included a postscript note that was meant to be a shock to audiences — that Facebook then had 500 million users. It now has some 3 billion. According to a study by Pew Research, 38% of Americans get their news from Facebook.

“I have a lot of empathy for wanting to build something, wanting to create something,” Sorkin says. “He has the kind of mind that can invent an entirely new social structure — one that he does feel comfortable in because he can sit at his keyboard. And it’s one that a lot of people feel a lot more comfortable in. There’s someone they can be at their keyboard that they can’t in not-digital life.”

The album is Bareilles’ seventh studio release and contains 14 songs with a total running time of approximately 58 minutes.

The release represents a return to recording for Bareilles after a seven-year gap between studio albums.

In an interview promoted by iHeartRadio, Bareilles said her “experience with grief over the last six years” shaped the record.

The album’s title refers to the emotional experience explored throughout the project, including loss, death, transition and change.

Songs and Collaborators

The track list includes “Home,” “Just a Kid,” “Still Crying,” “A Love Story,” “Hands Off My Body,” “Ladies in a Line,” “Heartland,” “Capsize Me,” “Nervous Breakdown,” “Idiot Heart,” “Say Leave,” “Salt Then Sour Then Sweet,” “Forever” and “Wind Is the Weather.”

“Salt Then Sour Then Sweet” features Brandi Carlile.

Bareilles introduced “Home” as the album’s lead single when she first announced the project in June.

“Still Crying” was released July 31, while “Just a Kid” arrived on the album’s release date.

Variety’s review described the album as dealing primarily with “loss and death,” while characterizing the finished work as emotionally bittersweet.

The review noted that the record addresses difficult subjects rather than minimizing them.

The Companion Documentary

The album is accompanied by Sara Bareilles: Good Grief, a documentary directed by Josh Alexander.

The film follows Bareilles and her band during the making of the album, documenting a recording process that took place over several days in 2025.

The documentary premiered at the 2026 Tribeca Festival in New York.

Following the Tribeca screening, Bareilles performed with her band and debuted some of the new music.

The documentary is scheduled to open in theaters on September 2, five days after the album’s release.

The theatrical launch is planned for New York, Los Angeles, Chicago, Miami and more than 35 other U.S. cities.

The film presents the creation of the album from inside the recording room and includes conversations, false starts and creative decisions made during the sessions.

Grief, Bereavement and Public Conversation

Bareilles has presented Good Grief as a project centered on confronting difficult experiences rather than avoiding them.

The album and documentary use songwriting and recording as ways to examine loss and the process of moving through major personal changes.

In an iHeartRadio interview, Bareilles discussed the album, its documentary and the tour being launched alongside it.

iHeartRadio also scheduled a 15-minute special titled iHeartRadio One-on-One Exclusive with Sara Bareilles: Celebrating the Release of Good Grief for August 28.

The special was announced for broadcast at 7 p.m. local time on participating Hot AC stations.

The Fall Tour

Bareilles is supporting the album with the Good Grief Tour, a North American concert run scheduled to begin in Boston on September 9.

The announced itinerary includes performances in cities such as Toronto, New York, Philadelphia, Chicago, Denver, Los Angeles and Seattle.

The tour is scheduled to continue through October.

The album, documentary and tour therefore form a coordinated release cycle: the record became available August 28, the film is scheduled to reach theaters September 2, and the live performances begin September 9.

For Bareilles, Good Grief marks the return of a studio-recording career after a seven-year interval and extends the project into film, broadcast programming and live performance.

HYBE x Geffen Records announced Laforteza’s absence in a statement released on Sunday, August 30, just before the tour’s European leg was due to begin.

“Sophia is focusing on her well-being, and the company remains fully committed to providing her with all the support and resources needed,” the label said in the statement.

The statement did not provide a diagnosis or a more specific medical explanation for Laforteza’s absence.

The label asked fans, known within the group’s fandom as EYEKONS, for “warm understanding” and said the health and long-term well-being of its artists remained its highest priority.

Route and Schedule

The European portion of THE WILDWORLD TOUR is scheduled to open in Dublin, Ireland, on September 1.

The announced itinerary includes performances in London on September 3, Manchester on September 6, Paris on September 9, Amsterdam on September 11, Cologne on September 13, Antwerp on September 15 and Copenhagen on September 17.

The run includes eight cities over 17 days, according to published tour information.

Laforteza’s absence means KATSEYE is expected to perform these dates without one of its six members.

The announcement specifically applies to the United Kingdom and European dates running from September 1 through September 17.

The label did not announce a change to the group’s later tour plans in the statement reported on August 30.

Earlier Hiatus

Laforteza first announced a temporary step back from KATSEYE activities on August 7, citing her mental health and wellness.

HYBE and Geffen said at that time that Laforteza had been receiving support and had consulted medical professionals.

The companies said she had been advised to take extended rest and continue receiving care to support her recovery.

The August 7 announcement also said Laforteza’s condition would be reassessed in September.

In her message to fans, Laforteza wrote that making the decision had not been easy and that she was learning that health had to come first.

She also wrote that she needed to care for her mind and body in order to continue doing what she loved for the long term.

Impact on KATSEYE

Laforteza’s withdrawal followed an earlier hiatus by fellow member Manon Bannerman, who stepped away from the group in February 2026.

The two absences temporarily reduced KATSEYE’s active lineup from six members to four.

The members continuing group activities are Daniela Avanzini, Lara Raj, Megan Skiendiel and Yoonchae Jeung.

KATSEYE proceeded with its scheduled promotional activity for the group’s third EP, WILD, which was released on August 14.

The group also continued its public rollout around KATSEYE: WILD HEARTS, a concert film and documentary project released in theaters internationally in August.

Reuters reported that the group was preparing to tour while temporarily operating without two members.

What Has Been Confirmed

The company’s August 30 statement confirms that Laforteza will not participate in the United Kingdom and European portion of THE WILDWORLD TOUR.

It also confirms that her current focus is her well-being and that HYBE x Geffen Records says it will continue providing support and resources.

The statement does not establish when Laforteza will return to performances or whether she will participate in later tour dates.

The company previously said that her condition would be reviewed in September, but it did not attach a return date to that review.

KATSEYE’s European shows are therefore scheduled to proceed with Daniela, Lara, Megan and Yoonchae while Laforteza remains away from group performances.

Pyle appeared in an episode of the program’s “The Group Chat” format alongside Katz, musician King Princess and television producer Norman Baker. Netflix lists the installment as “The Group Chat with Norman Baker, King Princess & Missi Pyle,” with a running time of 46 minutes.

The discussion centered on dating, including Pyle’s difficulty meeting potential partners and her experience using dating applications. Pyle said she was single and interested in dating, while also saying that she was not currently dating.

“I’m single, so I’m ready to get it on,” Pyle said during the conversation, according to LGBTQ Nation.

Pyle also said that she did not know how to meet people outside dating applications and described situations in which people recognized her on those platforms. She said that people sometimes questioned why she was using a dating app, while she explained that she did not think of herself as particularly famous.

Pyle’s Comments on Gender and Relationships

King Princess asked Pyle whether she was “cool with whatever gender.” Pyle responded, “Yeah, I am.”

King Princess then called Pyle a “bisexual diva,” according to both PinkNews and LGBTQ Nation. The reports said Pyle did not apply a specific label to her own sexual orientation during the exchange.

Pyle later described her relationship history and current outlook by saying, “I would say that I’ve been mostly in heterosexual relationships, but I have had others, and I think now that I get older, I’m just sort of like, I’m looking for a person. Well, persons.”

PinkNews reported that Pyle said she was open to a younger girlfriend and potentially to polyamory. King Princess responded to the polyamory suggestion as part of the program’s lighthearted exchange, saying, “No, that’s too many people. I think poly’s too many people.”

The coverage has characterized the appearance as Pyle coming out as queer, although the quoted exchange itself records Pyle affirming openness to partners of any gender rather than announcing a specific identity label.

The Program’s Release

Netflix’s official listing identifies Shut Up Evan as a 2026 series and includes the Pyle, King Princess and Baker group-chat episode among its installments. Netflix describes the program as a pop-culture podcast hosted by Katz, featuring a rotating panel in “The Group Chat” and one-on-one conversations in “Deep in the DMs With….”

PinkNews reported on Aug. 28 that the episode was streaming on Netflix. The official Netflix listing provides the episode’s title and confirms its availability within the series.

Pyle’s Screen Career

Pyle is an actor and singer whose screen credits include Galaxy Quest and Dodgeball: A True Underdog Story, according to recent coverage of her appearance. LGBTQ Nation also identified her work in Josie and the Pussycats, Big Fish, Soul Plane, Anchorman: The Legend of Ron Burgundy and Charlie and the Chocolate Factory.

LGBTQ Nation reported that Pyle appeared in the 1999 gay romantic comedy Trick early in her film career and later played Laliari in Galaxy Quest. The publication also reported that she is part of the country-music duo Smith & Pyle.

Recent reporting has additionally linked Pyle to Sterling Point and to a cameo in Stop! That! Train!.

Pyle’s remarks on Shut Up Evan were presented as part of a broader conversation about dating, visibility and the challenges of meeting people while having a public career. The available reporting supports describing Pyle as having publicly discussed attraction and dating across genders, while avoiding assigning her a label that she did not explicitly use in the conversation.

Kutryk’s identity had remained private while the property drew attention from viewers and fans of the series. In an interview with HGTV, he described the property as “just my little home,” rather than a large or imposing estate.

The home has three bedrooms and three bathrooms and is surrounded by trees on the waterfront. It was designed by Toronto architect Trevor McIvor, whose connection to the production helped a location scout reach Kutryk.

A larger production than expected

Kutryk said producers initially told him Heated Rivalry had a “very small budget” and offered him “almost nothing” to use the property. He agreed, but said he nearly changed his mind when black sport-utility vehicles and production equipment began arriving at the cottage.

Crew members indicated where portable toilets and an outdoor kitchen would be placed, prompting Kutryk to realize that the shoot would involve more people and equipment than he had anticipated. He estimated that approximately 45 people were involved in the filming, which he said may be small by film-production standards but did not feel small to him.

Kutryk said the producers assured him that filming would take place over two weekdays, when he would not normally be using the property. He ultimately allowed the production to proceed and was not present during the shoot.

What viewers saw

Kutryk said the production changed very little inside the home. He said most of the furniture and other possessions shown on screen belonged to him.

The production removed artwork because displaying it could have required payments to the artists whose work appeared on screen. A mattress was also replaced for a bedroom scene involving Shane and Ilya.

Kutryk said he learned more about the intimate nature of the series after listening to the audiobook on which it was based, Rachel Reid’s hockey romance novel. He said the book’s explicit content made him wonder what the production would film and show, but he ultimately accepted that the producers would make their own creative decisions.

Heated Rivalry is a sports-romance television series produced for Canadian broadcaster Crave and HBO Max. Its central relationship follows two male hockey players whose private romantic relationship develops alongside their professional careers.

The Season 2 decision

Kutryk said the production contacted him about using the cottage again for Season 2. “I did a little bit of soul searching about allowing them to come back,” he told HGTV.

He said he understood that the production needed the location but did not want to exploit its position during negotiations. When the production asked how much he wanted, Kutryk first mentioned that a table had been scratched and then named what he called a “very reasonable price.”

According to Kutryk, the producers were shocked and appreciative of the amount. He said he did not require them to replace the table. The exact payment and the cost of any repair were not disclosed in the published interview.

Variety and Deadline separately reported Kutryk’s comments about weighing the Season 2 decision and his continuing reluctance to treat the property primarily as a commercial asset.

Privacy versus public interest

Kutryk said the cottage was built as a retreat from everyday life. “I’m a private guy,” he said. “This is my retreat. I built this to get away from the world, so I don’t know how much longer I’ll continue to share it.”

His comments place the Season 2 agreement within a broader question about how long a private residence can remain connected to a widely watched television series. Kutryk said he would assess future demand after Season 2 airs rather than committing publicly to an indefinite arrangement.

The cottage had already become part of the show’s commercial afterlife after being offered as a vacation rental through Airbnb. Airbnb collaborated with the property owner, while Jayne’s Luxury Rentals helped manage bookings. The rental arrangement expanded from an initial proposal involving four weekends in May to a period extending through the summer and into the fall.

Kutryk said the rental arrangement was “an offer too good to refuse,” but the amount was not published. He also said he expected to use the property again in winter, a season he associates with activities including ice fishing and snowshoeing.

What happens next

The immediate development is that the real-life cottage will appear in the production’s second season after Kutryk agreed to its return. His comments do not establish how prominently the property will feature in the season or whether it will remain available for vacation rentals afterward.

For now, Kutryk’s position is conditional rather than permanent: he has permitted another production visit, while reserving the right to reconsider future filming and rentals. “We’ll see after Season 2 airs what demand is like,” he said.

Benton plays Z, a Los Angeles-based writer who has recently lost her job as a professor. The role gives Benton the film’s central perspective as Z confronts professional uncertainty, creative ambitions and questions about what kind of future she wants to build.

The film marks a major feature-film showcase for Benton, who is known for her work in The Gilded Age and onstage in productions including Hamilton and Natasha, Pierre & the Great Comet of 1812. In Dreams in Nightmares, she is part of an ensemble centered on queer Black friendship rather than a conventional romance or individual coming-of-age story.

The Journey Across the Midwest

The story begins after Z loses her teaching job and travels from Los Angeles to New York to spend time with her friends Tasha and Lauren. Tasha, played by Sasha Compère, has also recently lost work in consulting, while Lauren, played by Dezi Bing, is a poet.

The three friends then drive west toward Iowa City in search of Kel, an artist played by Mars Storm Rucker. Kel has stopped responding to the group’s messages and calls, prompting the friends to travel beyond their familiar surroundings to check on them.

The road trip takes the group through places including Pittsburgh and Kansas City. Along the way, they attend a queer poetry slam, stop at Black-owned restaurants and confront tensions involving Kel’s former relationship and family.

The film also places the friends’ relationships within the realities of traveling through areas where they may not feel equally safe or welcome. Their caution is balanced by moments of humor, intimacy and mutual support as they negotiate disagreements and differing ideas about work, responsibility and freedom.

Ford’s Focus on Queer Black Friendship

Ford’s second feature follows Test Pattern, a 2019 drama that examined the aftermath of sexual assault and the failures of health-care and law-enforcement systems affecting Black women. In Dreams in Nightmares, Ford shifts toward a warmer and more expansive comedy-drama while maintaining attention to the physical and emotional well-being of Black characters.

The film follows four queer Black friends in their mid-30s. That focus gives the story room to present queer characters through ordinary forms of closeness, conflict and care rather than treating their identities as the film’s only source of drama.

Z’s relationship with her boyfriend in Los Angeles is described as a mutually supportive polyamorous relationship. The film also explores Kel’s estrangement from conservative parents who have not accepted their child’s queer identity.

Benton’s Z and the Meaning of the Title

Z is repeatedly drawn into visions of a mysterious landscape, including a desert setting and a door surrounded by darkness. The imagery becomes connected to her uncertainty about whether to continue pursuing teaching or finally write the book she has been planning.

The Los Angeles Times described Z as a creative-writing professor whose recurring dream helps place her on a journey after she loses her university job. The newspaper listed the film’s running time as two hours and eight minutes and reported that its Los Angeles engagement began at AMC Burbank Town Center 8 and Laemmle Glendale.

RogerEbert.com characterized the film as the story of three Black queer friends traveling to find a missing fourth friend, with Benton playing Z. The review described the film as complex and rewarding, while identifying the friendship at its center as a key element of its impact.

Critical Reception and Distribution

National Public Radio called the movie a warm, sprawling comedy-drama about close friends at a turning point in their lives. The review emphasized the group’s sense of solidarity and the performers’ ability to make the characters feel distinct rather than reducing them to fixed types.

The Los Angeles Times published its review ahead of the film’s Los Angeles opening on August 28. The Hollywood Reporter published a feature on August 11 that described Benton’s character as the focal point of the film and noted that Z had been laid off from an adjunct-teaching position at a Los Angeles arts college.

The film’s theatrical rollout is designed to expand beyond its initial New York and Los Angeles engagements. BroadwayWorld reported that the movie was scheduled to expand nationwide on September 4, with theaters selected as part of a community-focused strategy intended to reach young Black audiences.

That distribution approach places Dreams in Nightmares within a broader conversation about how independent films can reach audiences whose communities and experiences are central to the work. As the film expands, Benton’s performance as Z provides its commercial and critical campaign with a recognizable lead while Ford’s direction keeps the ensemble’s friendship at the center.