Bailey confirmed the decision in a statement shared on social media and reported by multiple outlets. He wrote that Ariana Grande was “one of my dearest friends” and that his support for her was “unwavering.” Bailey also described director Marianne Elliott as “one of my longest collaborators and friends.”

“After much consideration, I have decided to also step back from Sunday in the Park with George,” Bailey said. He called the musical a “brilliant, introspective” work and said it had been “a real passion project” for him.

Bailey said he felt “incredibly lucky” to have shared in the production’s journey with its creative team. He added that the story explores “the deep connection between George and Dot” and expressed anticipation about what the replacement performers would create in the roles.

Grande’s Earlier Exit

Grande announced in August that she was stepping back from the production as part of a wider decision to take a break from public-facing work after completing her current tour. Her representative cited what Grande described as “endless, ongoing public scrutiny.”

Grande had been scheduled to appear opposite Bailey in the production at London’s Barbican Centre in summer 2027. The musical was expected to mark Grande’s return to the stage in a major theatrical role after her appearance as Glinda in the Wicked films.

Following Grande’s withdrawal, Empire Street Productions said the production would proceed as planned and that her role would be recast. The company said it understood Grande’s decision and offered her its support.

The production’s position changed after Bailey’s departure was announced on September 1. An Empire Street Productions representative told the Press Association that Bailey had informed producers he had also decided to step back after Grande’s withdrawal.

Production Plans

Empire Street Productions said work on the production was continuing. The company said casting discussions were “actively under way” and that the creative team was reshaping the production around a new company while preserving the ambition and artistic integrity of Sondheim and Lapine’s musical.

Variety reported that a representative for Empire Street Productions confirmed the show would continue at the Barbican Centre in London. The production’s official website says tickets are expected to go on sale in autumn 2026.

The Barbican’s event listing identifies the planned musical as a production directed by Elliott. The venue previously said its theatre team was continuing preparations for a summer 2027 opening.

No replacement actors for George or Dot had been announced in the reports available on September 1. Empire Street Productions said further casting and production details would be announced later.

The Musical and Its Creative Team

Sunday in the Park With George has music and lyrics by Stephen Sondheim and a book by James Lapine. The musical takes inspiration from Georges Seurat’s painting A Sunday Afternoon on the Island of La Grande Jatte.

The work follows the fictional artist George and his relationship with Dot, who serves as a model and companion, before extending its focus to later generations of the characters’ families. The musical won the 1985 Pulitzer Prize for Drama.

The planned revival was to reunite Bailey and Grande after their roles as Fiyero and Glinda in the Wicked film adaptations. Elliott was set to direct, with Tom Scutt responsible for the design.

Elliott previously directed Bailey in the West End revival of Sondheim’s Company. The director’s involvement in the new production remains part of the announced creative plans.

Bailey’s withdrawal leaves the revival without either of the two performers originally announced as its central leads. The producers have not announced whether the revised production will retain the previously planned staging, design or schedule beyond their statement that work is continuing toward the Barbican engagement.

The immediate next step is the casting of a new company for the musical. Until those announcements are made, the identities of the performers who will play George and Dot, and any resulting changes to the production, remain unconfirmed.

The reported production window comes from a new listing in Production Weekly, an industry publication that tracks film and television production information. The listing represents a significant update for the project because filming had previously been expected to begin in Hungary during 2025.

Gay Times also reported that there had been no substantial public updates on Rapture after the earlier announcement of its principal cast and proposed Hungarian shoot. Gayety described the October listing as the clearest indication yet that the production may be moving forward, while noting that the project had apparently been delayed.

The October schedule should be treated as a reported production target rather than confirmation that cameras have begun rolling. The reports do not identify a specific first day of filming, and no official production announcement confirming the start date has been cited.

A plague-era story

Rapture is set in Yorkshire in 1348, during the arrival of the Black Death in the British Isles. The story centres on 10 monks living at the remote Lansley Abbey, whose isolated religious community is disrupted when a messenger arrives carrying news of a spreading illness.

The messenger is reportedly showing signs of infection, and the disease begins as a haemorrhagic fever before transforming victims into “revenants,” or undead creatures. As outsiders seek refuge at the abbey, the monks must decide whether to admit people who may be sick or close the gates to protect the monastery and the knowledge held inside it.

The resulting conflict reportedly involves betrayal, violence and the breakdown of the community’s established order. The film has been described by its coverage as queer body horror, medieval zombie horror and an “undead romance.”

Director and writer Jordan Tannahill has said that the narrative will focus on “the deep, passionate relationship between these two young monks who have grown up together.” The identities of the actors who will play the two monks have not been announced.

The cast and creative team

Connor, Poulter and Ríos were announced as the film’s central cast. Connor is known for Heartstopper, Poulter has appeared in Midsommar, and Ríos is known for Élite.

The film will mark Tannahill’s feature directorial debut. Tannahill is a Canadian playwright and director who has described Rapture as a “juicy” and “terrifying” project.

Elevation Pictures, 2AM and Brookstreet Pictures are attached as production companies. Eli Arenson, identified in the reports as the cinematographer of Lamb, is attached as director of photography.

The reported casting reunites Connor and Poulter after their appearances together in Alex Garland’s Warfare. Ríos has also appeared in the queer film Strange Way of Life.

Distribution and release

IFC and Shudder have acquired United States distribution rights to Rapture. True Brit is attached to the United Kingdom release.

No official release date has been announced. Gayety reported that audiences should probably not expect the film before 2027 at the earliest, although that timing is not an announced release date.

The reported October filming target therefore provides an updated production expectation, but not a confirmed premiere timetable. Until the producers or distributors issue a formal statement, the start date, final filming locations and release schedule remain subject to change.

Drayton, a comedian and actor who was previously married to television presenter Alan Carr, has described the experience in an interview with The Sun and in posts shared on his Instagram account .

Sussex Police confirmed to The Sun that it was aware of the allegation and had “engaged with the informant.” PinkNews reported that officers later interviewed Drayton and that the force was investigating.

The police confirmation establishes that Drayton made a report and that contact took place, but it does not establish the identity of the person responsible or whether a criminal offence has been proved.

How the contact began

According to PinkNews, Drayton said on 24 June that an account contacted him and sent him one of his own intimate images.

He said the image was one he had sent to another person on Grindr.

The sender allegedly threatened to make the image public unless Drayton paid money.

The Sun reported that the demand was for $5,000 in cryptocurrency or iTunes gift vouchers, while its headline and article also described the amount as approximately £4,000.

The different currency descriptions reflect the newspaper’s reporting of the alleged messages and should not be treated as an independently verified payment record.

Drayton told The Sun that the person behind the messages appeared to use several WhatsApp accounts.

The accounts reportedly used profile images of men whom Drayton described as attractive, shirtless or presenting themselves as potential contacts.

Drayton said he believed someone may have used a second phone to photograph images that were intended to disappear after being viewed on Grindr.

That account is Drayton’s stated belief and has not been confirmed by Sussex Police in the reporting reviewed for this article.

Drayton’s response

Drayton initially appeared to treat the messages lightly, posting a video captioned “Don’t send nudes kids!” with the hashtag “funny,” according to PinkNews.

He said he was later advised to report the threats to police.

On 5 August, he shared what he described as a third threat on Instagram and included the images and messages in an attempt to raise awareness of the alleged conduct.

“I have nothing to hide and am posting this to raise awareness on how this goes on,” Drayton wrote in the post, according to PinkNews.

He also wrote that he had no intention of paying and had instead tried to obtain as much information as possible.

Drayton later told The Sun that receiving the images caused an immediate physical reaction.

“When I first got a message and those pictures, my blood ran cold, it’s like your nervous system goes into high alert,” he said.

Drayton said he was concerned by the possibility that people were monitoring him, while acknowledging that his public Instagram account made information about him accessible.

He told the alleged blackmailer to “feel free” to publish the images.

Police involvement and wider context

The account reported by the three publications concerns an allegation, and no arrest, charge or conviction has been reported in the available coverage.

Sussex Police’s statement, as reported by The Sun, did not provide details about the suspected sender, the alleged communications or the status of any forensic investigation.

The reporting therefore supports the narrower finding that Drayton says he received threats involving intimate images, reported the matter to police and spoke publicly about it.

The case also illustrates the risks faced by people using dating platforms when private sexual images are copied, retained or used to make threats.

The sources reviewed do not establish whether the alleged sender obtained the images through a technical breach, by photographing them with another device or through another method.

Drayton’s public profile

Drayton was married to Carr from 2018 until 2022, after the pair had been together for 13 years, according to PinkNews and The Sun.

The couple’s previous relationship is relevant to the story because it explains why the allegation has received public attention, but neither Carr nor his representatives was identified in the reports as a participant in the alleged blackmail.

Drayton has also recently released a memoir titled Ride – Or Die Trying.

His decision to discuss the allegation publicly followed several posts documenting the contact and his decision not to make the demanded payment.

As of the latest reports, Sussex Police had confirmed awareness of the allegation and engagement with Drayton, while the identity of the alleged blackmailer and the ultimate outcome of the investigation remained unreported.

Speaking with Entertainment Weekly in a conversation connected to his latest film, The Uprising, Garfield reflected on comments he made more than a decade ago about changing Spider-Man’s romantic and sexual identity.

“It was an exercise in rebellion that I felt passionate about,” Garfield said, according to Entertainment Weekly. “I just still believe that anyone can be in that suit.”

The actor connected that view to the superhero’s broad cultural reach. “That’s the point of why it’s such a kind of universally beloved character,” Garfield said. “You don’t see skin color, you don’t see gender, you don’t see sexuality. Anyone can project themselves into that suit.”

Garfield’s remarks did not announce a new Spider-Man film, a change in Marvel or Sony’s plans, or a confirmed LGBTQ storyline.

The 2013 Conversation

Garfield first attracted widespread attention for this idea while promoting The Amazing Spider-Man 2.

In that earlier discussion, he proposed that Peter Parker could explore his sexuality and asked why Spider-Man could not be gay or attracted to men.

Garfield also suggested that Mary Jane Watson, commonly known as MJ, could be reimagined as a male character. He named Michael B. Jordan as an actor he admired and imagined him playing a male version of MJ.

The proposal was not developed into a film storyline. No released live-action Spider-Man film featuring Garfield has portrayed Peter Parker as gay or bisexual.

Garfield’s earlier comments were presented as a creative suggestion rather than an announcement that the character’s established identity would change. Reporting at the time described him as acknowledging that such a decision would ultimately belong to the studio and filmmakers.

Representation Beyond Peter Parker

Although Peter Parker has not been portrayed as gay or bisexual in a live-action feature film, Marvel Comics has introduced other Spider-Man variants with LGBTQ identities.

One such character is Web-Weaver, the alternate-universe identity of Cooper Coen. Web-Weaver first appeared in *Edge of Spider-Verse* #5, published in 2022, and has been described as Marvel Comics’ first gay male Spider-Man character.

The distinction between Peter Parker and other Spider-people is significant because the Spider-Verse concept includes multiple characters who share versions of the Spider-Man identity without being the same individual.

Garfield’s argument focuses specifically on the possibility of allowing the person behind the familiar mask to have a different sexual orientation or gender identity from the version most commonly depicted. His wording emphasizes audience identification rather than claiming that Peter Parker has already been established as LGBTQ in the films.

Why the Comments Have Resurfaced

The renewed attention follows a broader online discussion of Garfield’s original proposal and the continuing question of whether a major superhero franchise will place an LGBTQ character at the center of a Spider-Man story.

Recent coverage has revisited Garfield’s suggestion that Peter Parker could explore bisexuality and that MJ could be a man, while distinguishing those historical comments from his current statement about inclusion.

Garfield’s latest remarks are therefore best understood as a reaffirmation of a creative and representational position, not as evidence that Sony Pictures or Marvel Studios has approved a gay Spider-Man project.

For LGBTQ audiences, the significance of the discussion lies in who is imagined as capable of inhabiting an iconic heroic role. Garfield said he favored “a place where everyone is being honoured and everyone is being included,” framing the proposal as an argument for broad access to a character whose identity has been repeatedly reinterpreted across comics and screen adaptations.

As of September 1, 2026, Garfield remains publicly supportive of the possibility, while no specific film or television production has been announced to realize it.

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.