How has “nanobubbler” not been trending on here all week? Or did I just miss it while watching the Knicks win the NBA Finals? politico.com/news/2026/06/12…

AMC really is getting good at the limited-time beverage tie-in. Also, an Aviation Gin cocktail for DISCLOSURE DAY is a clever way for Ryan Reynolds to make money from a movie he is not actually in.

This is why projectionists deserve their own end credits.

The U.S. Department of Justice has reportedly cleared Paramount Skydance’s $110 billion acquisition of Warner Bros. Discovery. The most consequential Hollywood studio consolidation since Disney acquired Twentieth Century Fox in 2019. For filmmakers and cinema operators, the question now becomes less “Will this happen?” and more “What will the combined company actually deliver theatrically?” David Ellison has promised 30 films a year and a 45-day exclusive theatrical window. Theater owners will now be watching to see whether that commitment survives integration, debt pressure and the inevitable post-merger reshuffling. celluloidjunkie.com/digest/d…

I meant to share this when it published, but Cannes always takes a little time to process. My read on the 2026 edition: the films were there, the buzz was thinner, and the market felt like it was searching for its next operating model. #Cannes2026 still did what Cannes does by planting seeds. The question is what kind of industry will be there to harvest them later. celluloidjunkie.com/2026/05/…

That time when the director of one of the most critically acclaimed and creative films of the year thoughtfully answered questions about domestic and international release strategies. Points!

I mean… of course the popcorn goes in the belly of the horse. Ridiculous? Absolutely. On brand? Completely. Will people buy it, photograph it and turn it into free marketing for THE ODYSSEY? Almost certainly.

How do theatrical release strategies and cinema marketing work together in an attention economy? Join us for CJ Cinema Summit 114: Windows, Marketing and the Fight for Attention, featuring Charlotte Jones of Omdia, Carla Boyd of Cineworld International and David Cameron of Vue Entertainment. We’ll look at the latest data on theatrical windows and audience behavior, then turn to the practical challenge of reaching moviegoers in a world of endless scroll. Topics include release patterns, digital platforms, creators, audience insights and how cinemas, studios and platforms can work together to turn attention into admissions. 🗓 Wednesday, 10 June 2026 ⏰ 9:00 am LA - 5:00 pm London - 6:00 pm Europe Register Here - bit.ly/CJCS114

PRIMARY TRUST is playing at the Mark Taper Forum and it's one of the best plays I’ve seen in Los Angeles in a long time. Eboni Booth’s Pulitzer Prize-winning story may be small in scale but it's enormous in feeling... a beautifully constructed piece about loneliness, kindness, friendship and the quiet ways people can save each other simply by paying attention. Petey McGee is outstanding in the lead, James Urbaniak is terrific, and Marsha Ginsberg’s miniature-town set felt unique and gives the whole production a theatrical sense of place. Tight story. Beautifully told. Adeptly acted... It also absolutely made me want a mai tai.

Even if California’s extended vote-counting process is lawful, procedural and designed to ensure every eligible ballot is counted, it still creates weeks-long uncertainty in an age filled with partisan suspicion. This doesn’t mean delays are evidence of fraud. However, it does mean common or benign irregularities can quickly stoke well-entrenched theories of intentional malice. So, this federal scrutiny was entirely predictable. Whether it produces anything meaningful is another question. latimes.com/california/story…

Netflix may finally be saying the quiet part out loud. After spending part of its Warner Bros. pursuit reassuring the industry about its intention for future theatrical releases, Netflix’s current message to filmmakers sounds much narrower: theatrical is acceptable when it serves Netflix’s strategy, but not when it is central to the filmmaker’s. While this isn't surprising... it is clarifying. nytimes.com/2026/06/04/busin…

If you are curious to know what each of THE ODYSSEY formats will look like, you can switch between them while watching the trailer on the movie's website: odysseymovie.com/explore-for…

I want to be like all the cook kids and get in on the trend of everyone posting their @Fandango and @AMCTheatres ticket que.

What we really want to know is... will it shoot 15-perf 70mm film stock?

This is a genuinely helpful reminder. Most moviegoers are not going to know the difference between 5-perf 70mm and 15-perf IMAX 70mm unless it is explained clearly. For THE ODYSSEY, the distinction may not be recognized when people start buying tickets, but it could matter a lot once they actually get to the movie theater.

Could this be a model for historic single screen movie theatres? They really can't compete with multiplexes in most instances, but maybe they can become something multiplexes can't replicate. Just a thought. celluloidjunkie.com/digest/n…

You could totally own @letterboxd! (Well... sort of.) deadline.com/2026/05/letterb…