Hollywood’s latest experiment is an AI “actress” named Tilly Norwood — hyped as the first digital starlet who could rival human talent. But beyond the headlines, her résumé is a two-minute sketch with six words of dialogue. AI has a future in film, especially in VFX, but right now Tilly looks less like a breakthrough and more like a pitch designed to impress investors.
Warner Bros. Legacy Reduced to becoming Hollywood’s Cheapest Whore
Warner Bros. used to be the crown jewel of Hollywood. Now it’s a pawn, up for sale yet again—this time to Paramount Skydance, backed by Larry Ellison’s bottomless fortune. David Zaslav swore he’d turned things around after years of chaos, and 2025 has been one of Warner’s best theatrical years in a decade. But instead of a comeback, it’s just another sales pitch. Warner Bros. isn’t a studio anymore. It’s an asset.
The Wizard of Oz at the Sphere Could Pass $1 Billion
The Wizard of Oz is pulling in $2 million a day at Las Vegas’s Sphere, turning an 86-year-old movie into the year’s most profitable “blockbuster.” With $200 tickets, 16K screens, and 4D effects, it’s less film revival than spectacle—and it may reshape how Hollywood thinks about the big screen.
James Gunn Gave Us Superman. It’s Time to Give Us Closure.
Superman’s box office win marks a new beginning for DC Studios, but it’s also the perfect moment to right some old wrongs. The Ayer Cut, the Schumacher Cut, and Batgirl are all finished or nearly done — and fans deserve to see them. In a world where audiences are used to getting burned, offering closure would be a rare and powerful move.
This Is Why Inflation-Adjusted Box Office Is a Joke
Everyone loves to say Gone with the Wind is still the box office king—if you "adjust for inflation." But here’s the truth: that argument falls apart the second you look at how movies are actually released, watched, and monetized. Inflation doesn’t make numbers more accurate. It just makes them easier to manipulate. This post breaks down why it’s a myth that needs to die.
As Long As Spielberg Works, There’s Hope for Cinema
Steven Spielberg says he’ll never retire, and I believe him. At 78, the man is still creating, still evolving, and still inspiring generations of storytellers. As long as he’s directing, a part of Hollywood’s soul remains intact—and I hope he never stops.
Spielberg Won’t Retire, Superman Feels Off, and Villeneuve Gets Dragged | HWAD 06.29.25
It’s another loaded episode of Hollywood After Dark, and this one’s got range—from living legends refusing to quit to billion-dollar franchises fumbling their tone. Here’s a breakdown of everything we covered in the June 29th episode: Mark Hamill’s Luke Skywalker Headcanon Hits HardNearly eight years after The Last Jedi, Mark Hamill is still having to … Continue reading Spielberg Won’t Retire, Superman Feels Off, and Villeneuve Gets Dragged | HWAD 06.29.25
Akira Collapses, Batman Rises, Bond Gets Dune’d, Bay Reloads, and Cameron Fires at Nolan | HWAD 06.28.25
On today’s episode of Hollywood After Dark, we break down the end of Taika Waititi’s Akira, the return of Michael Bay to Transformers, Villeneuve joining Bond, Batman’s sequel script, and Cameron calling out Nolan’s Oppenheimer.
WB Loses Akira Rights After 22 Years of Doing Nothing
Taika Waititi’s live-action Akira is officially dead. Warner Bros. lost the rights after over two decades of development hell, and the project has reverted to Kodansha. But maybe—just maybe—that’s the best thing that could’ve happened.
What Jon Voight Doesn’t Understand About the Real Crisis in Moviegoing
Jon Voight has a plan to “save” Hollywood by keeping productions on American soil—but while politicians obsess over tariffs and tax breaks, the real issue is playing out in overpriced, underwhelming movie theaters across the country. If Hollywood wants to matter again, it needs to stop chasing whales and start fixing the moviegoing experience for the rest of us.
Hollywood After Dark 