California is doubling down on its efforts to keep Hollywood productions local. Governor Gavin Newsom just signed a law expanding the state’s film and TV tax credit program, which dangles financial incentives to stop studios from fleeing to cheaper states like Georgia or New Mexico. After nine months of debate, the boost is official—meaning more cash for productions that shoot in California, ideally saving jobs and boosting the local economy.

Editor’s Note: This isn’t just about blockbuster budgets—it’s a jobs play. For years, California’s high costs have driven productions elsewhere, taking crew paychecks and local business revenue with them. The state’s betting that sweetening the deal will keep cameras rolling at home. Whether it works depends on if studios bite, but for now, it’s a win for Hollywood’s hometown pride.

The official trailer for She Rides Shotgun, a high-octane action thriller starring Taron Egerton, has just dropped. Based on Jordan Harper’s Edgar Award-winning novel, the film follows Egerton as Nate, a freshly released ex-con who’s thrust back into danger. The tense snippet of dialogue hints at a gritty, protective dynamic—likely between Nate and a younger companion—with plenty of explosive action in store. Directed by Nick Rowland and hitting theaters this August, it’s shaping up to be a summer must-watch for thriller fans.

Editor’s Note: Trailers like this give us a taste of what’s coming to the big screen, and She Rides Shotgun looks like it’ll deliver the kind of adrenaline-pumping, character-driven action that’s been missing lately. With Egerton’s star power and a solid source novel, it could be one of the standout thrillers of the summer—worth keeping an eye on if you love tense, high-stakes storytelling.

Sarah Snook’s one-woman Broadway adaptation of The Picture of Dorian Gray has officially made back its $8 million investment, a rare and impressive feat for a solo show. The high-tech production, which closed on June 29, also shattered box office records in its final week, capping off a buzzy run for the Succession star’s theatrical debut.

Editor’s Note: Solo shows are a tough sell on Broadway—expensive to stage and reliant on a single performer’s stamina and star power. Snook’s success here isn’t just a win for her; it’s proof that bold, tech-driven storytelling (and a killer performance) can still draw crowds in an increasingly risk-averse industry. For theater fans, it’s a hopeful sign that innovation pays off.

ABC is gearing up for its next wave of shows, and the buzz is building. The network just greenlit RJ Decker, a new crime drama starring Scott Speedman, and there’s chatter about a Rookie spinoff and a Scrubs reboot inching closer to reality. It’s all part of ABC’s strategy to roll out fresh content outside the usual fall lineup, aiming to keep viewers hooked year-round.

Editor’s Note: If you’re a fan of ABC’s lineup—or just love seeing familiar faces and franchises return—this is your heads-up. Networks are constantly juggling new ideas and revivals, and ABC’s moves here signal they’re betting big on crime dramas and nostalgia. For viewers, it could mean more options (and maybe a few pleasant surprises) in the next year or two.

The long-awaited sequel to The Devil Wears Prada is officially happening, and fans of the original can breathe easy—the core cast is back. Meryl Streep, Emily Blunt, Anne Hathaway, and Stanley Tucci are all returning to reprise their iconic roles, though details about the plot are still under wraps.

Editor’s Note: This isn’t just another nostalgia cash-grab. The original Prada became a cultural touchstone, blending sharp workplace satire with fashion-world glamour. Getting the full cast back suggests the sequel might actually live up to the hype—or at least deliver another dose of Miranda Priestly’s withering one-liners. For fans, it’s a rare win in an era of half-hearted reboots.

A fresh indie drama titled Pretty Babies is rounding out its cast with some familiar faces—Ashley Benson, Emily Alyn Lind, Madelaine Petsch, and Sadie Stanley will take the lead roles. The film, written and directed by newcomer Tyler-Marie Evans, centers on two teenage girls who ditch their small-town lives for the glitter and grit of Hollywood. It’s a classic coming-of-age story with a female-driven twist, and production kicks off this summer.

Editor’s Note: Indie films often fly under the radar, but this one’s got star power and a relatable premise—dreamers chasing big-city fantasies. With a rising director and a cast that blends established names (Benson, Petsch) with up-and-comers (Lind, Stanley), it could be a breakout project. Plus, female-led stories about friendship and ambition always strike a chord, especially when they’re rooted in real-world struggles. Keep an eye on this one.

A crew member from The Bear spills the beans on the surprisingly intense behind-the-scenes effort to maintain Jeremy Allen White’s character Carmy’s signature messy curls in Season 4. The article hints at a memorable moment where Sydney (played by Ayo Edebiri) calls out the unspoken tension around Carmy’s hair—suggesting it’s become a symbolic (or literal) distraction in the chaotic kitchen.

Editor’s Note: For fans of The Bear, even the smallest details—like Carmy’s perpetually disheveled hair—carry weight. This playful behind-the-scenes tidbit highlights how the show’s authenticity extends to its characters’ looks, making it a fun (and oddly relatable) talking point. Plus, anything that gets Sydney dropping an exasperated one-liner is worth the buzz.

Little Fishy Films, known for Wish You Were Here, is diving into another book-to-film project—this time adapting Rochelle Weinstein’s novel What You Do To Me. They’re reuniting with producers Molly Conners and PhiPhen Pictures for the job. Weinstein, who also wrote This Is Not How It Ends, released What You Do To Me last October, and now it’s getting the Hollywood treatment.

Editor’s Note: Book lovers and movie buffs, take note—another page-turner is headed to the big screen. Little Fishy Films has a track record of turning emotional stories into films (like Julia Stiles’ Wish You Were Here), so this could mean a heartfelt adaptation in the works. For Weinstein fans, it’s a win; for the industry, it’s another sign that compelling books still fuel Hollywood’s creative engine.

A writer shares their fresh, unfiltered take on the pilot episode of The Bear, the hit FX series about a high-stakes Chicago sandwich shop. They dive into the chaotic energy, sharp dialogue (like the now-iconic "Why are you trying to put a T-shirt on an effin' hotdog?"), and why the show hooked them—or didn’t—right from the start.

Editor’s Note: The Bear has become a cultural phenomenon, blending kitchen chaos with emotional depth. First-time reactions like this help new viewers decide if the show’s frenetic pace and raw storytelling are their vibe—or if they’d rather skip the stress. Plus, it’s a fun peek into how the show lands when you’re not already invested.