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24 Movies We Can’t Wait to See in 2024: From ‘Mean Girls’ to ‘Dune’ on December 27, 2023 at 11:57 pm Us Weekly

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Thanks for a memorable summer, Barbenheimer. You deserved a better and more coherent movie, Captain Marvel and Ant-Man. That title alone was a win, Cocaine Bear.

But the turn of the calendar means it’s time to get excited about a fresh slate of movies. And despite all those stop-and-start productions and delayed releases due to the respective writers and actors strikes — Quentin Tarantino’s final theatrical project got pushed to 2025 — Hollywood is still primed to churn out a slew of would-be blockbusters in 2024.

Is there a surefire let’s-go-now winner in the bunch? Not really, unless Ryan Gosling’s popularity from Barbie spills into an adaptation of a 1981-86 TV action series.

But there’s beauty in variety.

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As usual, say hello again to characters you know and love. Deadpool, Furiosa, Beetlejuice, Mufasa, Joker, the Ghostbusters and Timothée Chalamet’s young Dune hero who fights in the sand all return for new adventures. (FWIW, we’ve been promised an Elle Woods revival since, like, 2018, but that may be asking for too much.)

Our big-screen year will be bookended by new versions of two popular Broadway musicals, thanks to Mean Girls and Wicked. Just remember that Regina George is also wicked and Elphaba can totally be a mean girl.

Those are just the familiar titles. Ryan Reynolds, Zendaya, Emily Blunt, Kirsten Dunst, Pedro Pascal and Millie Bobby Brown star in original fare. These movies could all flail and fail, but give the actors credit for at least trying something new — not to mention its no-longer-striking screenwriters.

There’s more! The Sundance Film Festival in January is poised to deliver its 40th round of indie favorites featuring the likes of Kristen Stewart, Sebastian Stan, Aubrey Plaza and Jesse Eisenberg. Meanwhile, the festivals in the fall will unveil all those provocative and polarizing Oscar frontrunners determined to test your bladder strength.

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So let’s get the festivities started. Here are 24 movies to unwrap in 2024. Please pull a Nicole Kidman and get to the cineplex to check ’em out.

‘Mean Girls’

The story: You know it by now! Cady Heron (Angourie Rice) has just arrived at a new high school. After scheming with the school’s misfits, she gives it her all to fit in with Regina George (Reneé Rapp) and her clique known as The Plastics. Disastrous results ensue.

Be excited because … In this version, much of the dialogue and plot occur through catchy songs from the Tony-nominated 2018 Broadway musical, like “It Roars” and “Meet the Plastics.” The cast is a host of stage and screen Gen Z favorites, while Jon Hamm, Jenna Fischer and Busy Philipps take the adult roles. And Tina Fey, who once again wrote the screenplay, reprises her role as Ms. Norbury. She still doesn’t push drugs. (In theaters, January 12)

Christopher Briney plays Aaron in ‘Mean Girls.’ Jojo Whilden/Paramount

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‘Argylle’

The story: Elly (Bryce Dallas Howard) is a happily reclusive best-selling author of novels centering around a secret agent named Argylle (Henry Cavill). But after Elly and her beloved cat, Alfie — snug in an argyle backpack — meet actual spy Aiden (Sam Rockwell) on a train, they get embroiled in a dangerous mission.

Be excited because … It’s part-spy comedy, part-nail-biting espionage thriller and all frenetic fun. The film is also directed by Matthew Vaughn of the kooky Kingsman franchise and features A-list scene-stealers Catherine O’Hara, Samuel L. Jackson, John Cena and Ariana DeBose. Plus, the cat is cute! (In theaters, February 2)

Henry Cavill, Dua Lipa and John Cena in ‘Argylle.’ Peter Mountain/Universal Pictures; Apple Original Films; and Marv

‘It Ends with Us’

The story: Following college graduation, Lily (Blake Lively) moves to a new city and falls in love with a neurosurgeon named Ryle (Justin Baldoni). That’s Act I. Then an ex (Brandon Sklenar) returns and turns her world upside down.

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Be excited because … Colleen Hoover’s novel was the top-selling print book of 2022 and loitered on The New York Times Best Seller List for more than 90 weeks. She’s wisely aged up her main character to make the love triangle more palatable. Let’s see it and weep. (In theaters, February 9)

‘Lisa Frankenstein’

The story: Like most of her high-school peers, Lisa (Kathryn Newton) feels deeply understood. If only she could find someone who could relate to her! Enter a cute guy (Cole Sprouse) who happens to be a seemingly long-dead corpse. She resurrects him, and the two embark on a journey of killing and joy.

Be excited because … This edgy coming-of-rage love story thriller — that pun is admittedly cribbed from the studio’s press release — is the work of Oscar-winning writer Diablo Cody (Juno, Young Adult, Jennifer’s Body). That clever title alone, a play off the neon and unicorn-drenched Lisa Frank artwork, is impressive. (In theaters, February 9)

‘Bob Marley: One Love’

The story: This biopic explores the life and times of reggae king Bob Marley (Kingsley Ben-Adir). Memorable moments include an assassination attempt against him in 1976 and his historic performance at the One Love Peace Concert in Jamaica in 1978. (Marley died in 1981 from cancer at just 36.)

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Be excited because … We’re long overdue for a real glimpse at the man who provided so much wonderful music and made us feel alright. (Aside from the title, he also sang the classics “Jamming,” “No Woman No Cry” and “Redemption Song.”) The British Ben-Adir, one of the Kens in Barbie, has also seamlessly portrayed Malcolm X and Barack Obama. (In theaters, February 14)

Related: Actors Who Portrayed Real People in Movies and TV Shows

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Art imitating life. Leonardo DiCaprio, Meryl Streep, Sarah Paulson and more stars made their marks playing real people in movies and TV shows. Many won awards for their onscreen depictions of both beloved and controversial figures throughout history. The American Horror Story actress earned an Emmy for her portrayal of famous prosecutor Marcia Clark in […]

‘Drive-Away Dolls’

The story: To recover from a breakup with her girlfriend, free-spirited Jamie (Margaret Qualley) convinces her tightly wound bestie Marian (Geraldine Viswanathan) to get out of town and head to Tallahassee, Florida. Their odyssey of self-discovery goes awry when they inadvertently cross paths with a group of inept criminals. (Pedro Pascal plays one of them.)

Be excited because … This is sooo not your typical road-trip comedy. Directed and co-written by Fargo and No Country for Old Men Oscar winner Joel Coen (who scripted the pic with his wife, Tricia Cooke), it’s actually a quirky little queer caper infused with both slapstick and raunchy NSFW humor. Coen has said he envisions it as a trilogy. (In theaters, February 23)

‘Dune: Part Two’

The story: Ready for war? Chosen One Paul Atreides (Timothée Chalamet) and his mother (Rebecca Ferguson) were last seen as refugees in the desert of Arrakis after their family was massacred. Now he unites with Chani (Zendaya) and the Fremen, hell-bent on revenge against the conspirators responsible for the murderers.

Be excited because … In 2021, Dune checked all the boxes in that it was well-reviewed, grossed $402 million and earned 10 Oscar nominations (including best picture). With the dense exposition making way for action, the second half — which includes newbies Florence Pugh as a princess daughter and Austin Butler as a sinister Harkonnen prince — has the potential for even bigger windfall. (In theaters, March 1)

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Timothee Chalamet in ‘Dune.’ Courtesy of Warner Bros. Pictures

‘Damsel’

The story: A dutiful damsel (Millie Bobby Brown) agrees to marry a handsome prince, only to learn it’s a trap. Her future in-laws only recruited her as a sacrifice to repay an ancient debt. She soon gets thrown into a cave with a fire-breathing dragon.

Be excited because … With Stranger Things about to end, here’s a change to see Brown expand her horizons in a fantasy adventure. Angela Bassett and Robin Wright add some gravitas in supporting roles. (Netflix, March 8)

‘Arthur the King’

The story: Just before the start of the Adventure Racing World Championship in Central America, an endurance athlete (Mark Wahlberg) gives one of his carb-fueling meatballs to a stray dog. The scrappy little pooch then dutifully follows the team for six days and hundreds of miles to earn the name “Arthur the King.”

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Be excited … It’s a heartwarming true story involving a cute dog! Yes, please. Just forget the fact that IRL, the athlete was Swedish. (In theaters, March 22)

‘Ghostbusters: Frozen Empire’

The story: Picking up after the events of 2021’s Ghostbusters: Afterlife, this sequel drops Egon Spengler’s grandkids, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), in a familiar haunt: New York City. That’s where two generations of Ghostbusters join forces to fight you-know-whats to save the world from an ice age.

Be excited because … Forty years (!!!) after the original Ghostbusters, there’s still life in this fun and freaky franchise. Don’t pretend you’re not excited to see old-schoolers Bill Murray, Dan Aykroyd, Ernie Hudson and Annie Potts mix it up in the famous downtown NYC firehouse with the new kids. (In theaters, March 29)

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Related: Winter TV Preview 2024: Inside Must-Watch New and Returning Shows

With both the WGA and SAG-AFTRA strikes coming to an end, the winter TV schedule is overflowing with highly anticipated premieres and returns — but some shows are still delayed, and others will have shortened seasons. Fans of Abbott Elementary looking forward to more episodes of the sitcom will be in for a bit of […]

‘Mickey 17’

The story: An eponymous “expendable” employee is sent on a human expedition to colonize an ice world. When one iteration of the expendable dies, a new body is regenerated with most of the previous employee’s memories intact. Robert Pattinson plays Mickey, the potentially doomed expendable in the film, which is adapted from Edward Ashton‘s 2022 novel of the same name.

Be excited because … Pattinson takes on his (potentially) most demanding acting challenge yet in a high-concept sci-fi thriller from masterful Parasite and Snowpiercer writer-director Bong Joon-ho. (He’s tasked with playing at least two versions of Mickey.) One note: This may get pushed to later in the year because of release schedule domino effects from the WGA and SAG-AFTRA strikes. (In theaters, March 29)

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‘Civil War’

The story: A journalist (Kirsten Dunst) tries to survive a future in which 19 states have seceded from the Union. Meanwhile, the three-term president of the United States (Nick Offerman) has ordered domestic air strikes.

Be excited because … So, did you ever see Ex Machina? Annihilation? Both thought-provoking thrillers were written and directed by Alex Garland. He goes for the ultimate hat trick. Hopefully it just won’t hit too close to home. (In theaters, April 26)

‘Challengers’

The story: As teens, hotheaded prodigy Tashi Duncan (Zendaya) gets caught up in a flirtation with fellow tennis stars Art (Mike Faist) and Patrick (Josh O’Connor). As adults, their complex dynamic becomes a racket when the two guys and rivals face off in a pro “challenger” match and find themselves once again butting heads over Tashi.

Be excited because … Um, pardon the excessive amount of tennis puns, but what’s not to love here? We’re talking about three ace actors in a romance from the director of Call Me by Your Name. Originally slated to open the 2023 Venice International Film Festival but pushed because of the strikes, this could very well be a grand slam. (In theaters, April 26)

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‘The Fall Guy’

The story: Ryan Gosling is Colt Seavers, a battle-scarred stuntman who left the business for mental and physical reasons. He’s drawn back into the mayhem when the star of a studio movie directed by his ex Jody (Emily Blunt) goes missing. She asks for his help, and away they go.

Be excited because … As The Equalizer franchise already proved, an ’80s TV relic can still offer ’00s intrigue and good times. And after an award-worthy comic turn in Barbie, Gosling now gets to play a working-class action hero who can dropkick both the villains and the proper punchline. Let’s do this. (In theaters, May 3)

Ryan Gosling and Emily Blunt in ‘The Fall Guy.’ Universal Pictures

‘Back to Black’

The story: Amy Winehouse (Industry’s Marisa Abela) goes from demure British jazz singer-songwriter to Grammy-winning superstar. But despite extraordinary talent, she can’t conquer her demons.

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Be excited because … Alas, we know how this biopic will end. But the superstar had an extraordinary ride en route to her tragic demise at age 27. Certainly much time will be devoted to her groundbreaking Grammy-winning album that gives the film its title. (In theaters, May 10)

‘IF’

The story: I.F. stands for Imaginary Friends. A young girl (Cailey Fleming) develops the ability to see them all, most of which were created by children when they were young and then mentally discarded. Some of these creatures end up turning to the dark side. A character played by Ryan Reynolds tries to restore order.

Be excited because … This hybrid of live-action and CGI was written and directed by one John Krasinski, who presented a first look at the film back in March and said he attempted to make an original film that would stand among timeless greats like E.T. the Extra-Terrestrial and Willy Wonka & the Chocolate Factory. That’s a high bar, but an original film also featuring the talents of Steve Carell, Matt Damon, Emily Blunt, Phoebe Waller-Bridge, Sam Rockwell, Maya Rudolph and Jon Stewart could lead to magic. (In theaters, May 17)

Ryan Reynolds and Cailey Fleming star in ‘IF.’ Jonny Cournoyer/Paramount Pictures’

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‘Furiosa: A Mad Max Saga’

The story: Who was Furiosa before she became a bald bad girl? Someone who looks just like Anya Taylor-Joy. Picking up 45 years after the world collapsed, young Furiosa is taken from her family and falls into the hands of a group of villainous bikers. She must persevere as tyrant Immortan Joe (Chris Hemsworth) fights for dominance.

Be excited because … Mad Max: Fury Road not only revived the dated post-apocalyptic saga in 2015, but it’s generally regarded as one of the best action films ever. This prequel, also directed by the legendary George Miller, promises to deliver even more extended exhilarating sequences. (In theaters, May 24)

Chris Hemsworth in Furiosa. JASIN BOLAND/Warner Bros. Pictures

‘The Garfield Movie’

The story: Everyone’s favorite Monday-hating, lasagna-loving indoor cat Garfield (voiced by Chris Pratt) goes on an outdoor adventure.

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Be excited because … This has got to be better than the 2004 iteration, right? Plus, the cast of the goofy comedy — which includes the voices of Samuel L. Jackson, Hannah Waddingham and Bowen Yang — will keep the kids entertained during Memorial Day weekend. (In theaters, May 24)

‘Ballerina’

The story: An assassin trained as a member of the Ruska Roman organization uses her killer skills to get blood-soaked revenge on the hitmen who murdered her family. If that sentence sounds familiar, it’s because this is a John Wick spinoff featuring the same criminal underworld.

Be excited because … Again, this is a John Wick spinoff. That means stylish, wall-to-wall butt-kicking akin to the four installments in the original franchise. And though a new protagonist is in action hero mode, regulars Keanu Reeves, Ian McShane and the late, great Lance Reddick all appear — presumably for assistance. And maybe even to shed light on Wick’s past? (In theaters, June 7)

‘Deadpool 3’

The story: Go back to a universe before Wolverine (Hugh Jackman) died in Logan. He encounters loudmouth superhero Deadpool (Ryan Reynolds), and the two try to defeat a common enemy. Various social media geeks (said with love) have speculated about the details, but the official M.O. is still a secret.

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Be excited because … Who even goes to a Deadpool flick for a nuanced plot? The appeal lies in the scrappy titular character’s quippy — and often NSFW — sense of humor. (And the random cameos, of course.) His reluctant team-up with frenemy Wolverine should make for a fun-filled X-travaganza. (In theaters, July 26)

Related: Everything to Know About ‘Deadpool 3’

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Deadpool 3 will reunite Ryan Reynolds and Hugh Jackman for the first time since 2009’s Wolverine: Origins. Reynolds revealed in September 2022 that his real-life pal would join the movie via a comedic announcement video. “Hey Hugh, you want to play Wolverine one more time?” Reynolds asked Jackman in the clip, to which he replied, […]

‘Beetlejuice 2’

The story: It’s showtime! Director Tim Burton hasn’t divulged much about his ridiculously long-awaited follow-up. How about some casting news? Michael Keaton (obviously) returns as the ghostly zebra-suit-wearing troublemaker; Winona Ryder and Catherine O’Hara reprise their roles as well. Wednesday’s Jenna Ortega plays Ryder’s daughter and Willem Dafoe is a B-list action star who became a cop in the hereafter.

Be excited because … A sequel in the works since 1988 is finally seeing the light of day-o. Even if it’s just 20 percent as amusing and quirky as the cult-classic original — and with that cool cast, how could it not?! — everyone will be in good spirits. (In theaters, September 6)

‘Joker: Folie à Deux’

The story: The Joker (Joaquin Phoenix) gets caught up in a bad romance with his equally unhinged counterpart Harley Quinn (Lady Gaga). FYI, “folie à deux” refers to an identical or similar mental disorder affecting two or more individuals.

Be excited because … Honestly? Forget the general anticipation surrounding a smash, Oscar-winning film with deep comic-book roots and an impressive cast. This entry automatically falls into the “must-see ASAP” category because it’s a musical. A musical! With Lady Gaga and the actor who did his own vocals as Johnny Cash in Walk the Line! How inspired. (In theaters, October 4)

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‘Wicked: Part One’

The story: Years before Dorothy Gale landed in Oz, green-skinned Elphaba (Cynthia Erivo) befriended popular girl Galinda (Ariana Grande) at school. The musical follows their evolution from mutually unhappy roommates to unlikely pals to political enemies as The Wizard promotes Galinda to a Good Witch. The two also fall for the same party boy (Jonathan Bailey).

Be excited because … Fans of the Broadway musical have been ready to watch these witches defy gravity on the big screen for 20 years. Judging from the drip-drip-drip of leaked information — Michelle Yeoh plays The Wizard’s manipulative advisor Madam Morrible! — director Jon Chu (Crazy Rich Asians) will make this one sparkle like ruby slippers. (In theaters, November 27)

‘Mufasa’

The story: Unclear. Some outlets have defined this live-action movie-musical as a prequel about Simba’s dad; a 2023 industry-only teaser depicted Rafiki (John Kani) relaying The Lion King’s backstory to “Hakuna Matata” duo Timon (Billy Eichner) and Pumbaa (Seth Rogen). So perhaps it shifts between past and present?

Be excited because … Admittedly, the 2019 CGI recreation of the 1994 Disney classic was middling at best. But these are still beloved characters, and Barry Jenkins (Moonlight) directs. Thanks to an original screenplay, there’s no source material to use as a comparison. Just note that Aaron Pierre now voices the noble prince of the African Pride Lands — not James Earl Jones. (In theaters, December 20)

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Thanks for a memorable summer, Barbenheimer. You deserved a better and more coherent movie, Captain Marvel and Ant-Man. That title alone was a win, Cocaine Bear. But the turn of the calendar means it’s time to get excited about a fresh slate of movies. And despite all those stop-and-start productions and delayed releases due to 

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Entertainment

How a 22-Person Film Crew Each Walked Away With $300,000

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In the spring of 2020, with Hollywood shut down and most film workers suddenly out of a job, Zendaya made a movie in a single house with a crew of 22. The film was Malcolm & Marie. What happened to that crew afterward is the part worth paying attention to — and it’s quietly become a blueprint indie filmmakers are borrowing five years later.

Instead of paying everyone the standard flat day rate and sending them home, Zendaya structured the production so the crew owned a piece of it. They received “points” — a share of the film’s revenue.

When Malcolm & Marie sold to Netflix for roughly $30 million, those points turned into real money. Because one point typically equals 1%, a single point on that sale was worth around $300,000.

For a crew used to being paid by the day, that’s a life-changing number.

The Math That Makes It Click

The reason points are so powerful is that their value scales with the film, not with your hours on set:

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  • At $30 million in revenue, 1% equals $300,000
  • At $50 million, 1% equals $500,000
  • At $100 million, 1% equals $1 million

Now hold that against traditional indie crew pay, which runs roughly $300 to $800 per day. A 20-day shoot totals somewhere between $6,000 and $16,000 — full stop, no upside, no matter how well the film does. The points model flips the entire logic: you stop getting paid for time and start getting paid for success.

This Isn’t New — It’s Just Newly Accessible

Backend deals are how the biggest names in Hollywood get rich. Robert Downey Jr. reportedly earned tens of millions from his Avengers: Endgame backend; Keanu Reeves made a fortune off The Matrix through profit participation. The leverage to demand that kind of deal has always belonged to A-list stars.

What changed with Malcolm & Marie is who got a seat at the table. Zendaya didn’t reserve the points for herself and a couple of producers — she extended them to the crew, the people she described as laying the tracks and doing the heavy lifting. That’s the shift indie filmmakers are now studying: ownership as something you share down the call sheet, not hoard at the top.

Why Indie Filmmakers Should Care

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Independent films usually run on budgets between $50,000 and $500,000, where labor can eat up 40% to 60% of total costs. That creates a permanent squeeze: how do you attract genuinely skilled people without torching the budget before you’ve shot a frame?

Equity is the pressure valve. Offering ownership instead of higher upfront pay lets you reduce immediate production costs, attract more experienced collaborators, and — maybe most importantly — build a team that actually wants the film to win.

How to Apply It to Your Own Project

You don’t need a $30 million Netflix sale for this to work. Say your budget is $250,000 and your revenue goal is $500,000, making 1% worth $5,000. Instead of stretching cash thin across every line item, you might offer 1% to a cinematographer, 1% to an editor, and 1–2% to a producer. You preserve cash during production and hand your key people a real reason to overdeliver.

Ownership Changes How People Show Up

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A stake rewires behavior. People who own a piece of the outcome stay sharper on set, pitch in on marketing and promotion without being asked, and stay invested long after wrap. That last part matters more than it sounds — a crew that’s financially tied to the film becomes part of its distribution engine, not just its production.

Read the Fine Print

Equity is not a salary, and it’s honest to say so. Malcolm & Marie worked because it sold to Netflix at a high price — that’s the upside scenario, not a guarantee. If a project underperforms, points can be worth little or nothing. So if you use this model, do it cleanly: define revenue participation explicitly in contracts, spell out recoupment structures so everyone knows who gets paid and in what order, and offer partial upfront payment where you can to balance the risk. The whole thing runs on trust, and trust runs on transparency.

The Bigger Picture

What Zendaya pulled off with a 22-person crew in one house pointed to something larger about how creative work gets valued. In an industry where funding is the hardest wall to climb, ownership has become its own currency. You may not control access to millions in financing — but you fully control how value gets shared on your set. And that, more often than not, is the difference between a film that stalls in development and one that actually gets made.

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Independent Film’s New Reality: 10 Brutal Truths You Have to Face in 2026

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If you are still approaching independent film like it’s 2015, you are going to get crushed. The landscape that once rewarded a scrappy feature and a couple of festival laurels has become a crowded, algorithm‑driven marketplace where attention is the rarest currency. Recent industry analysis on “inflection points” for 2026 all say the same thing: the business model for independent film has changed, whether you like it or not.

1. You’re Competing With Everything

Your film is no longer just competing with other indie features. It is fighting for attention against TikTok clips, prestige series, and endless back catalog on every streaming platform. That means “pretty good” is invisible. You either have a sharp, specific audience and a clean logline, or you disappear into the scroll.

2. Festivals Are Not a Distribution Plan

A festival premiere and a few Q&As can help with credibility, but they are not a business strategy. Without a parallel plan—email list, community building, partnerships, and a clear path to paid viewers—you come home with a laurel and no deal. Even festival‑aligned organizations now frame their “don’t miss indies” coverage as part of a broader visibility and audience strategy, not a finish line.

3. The Middle Is Collapsing

Industry voices are blunt about it: micro‑budget genre films and clearly branded auteur work still find lanes, but the soft, mid‑budget drama with no hook is almost impossible to monetize. If your film cannot be pitched in one or two sentences to a specific audience, it will struggle regardless of how “good” it is.

4. You Are a Small Business, Not a Starving Artist

The indie filmmakers who will survive 2026 are treating their careers like businesses. Guides focused on creating a “film business turnaround” talk about lifetime value, repeat customers, multiple revenue streams, and audience retention—not just finishing one feature. Your filmography is a product line, not a lottery ticket.

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5. SAG Is a Competitive Advantage

SAG actors and union rules are not your enemy; they are a way to level up. SAGindie and SAG‑AFTRA low‑budget agreements exist to help genuine independents hire professional talent and present themselves as serious, compliant productions. Understanding those tools gives you access to stronger cast, better reputations, and more credible pitches.

6. Streaming Is Not a Golden Ticket

Streaming is no longer the dream “one deal solves everything” outcome. The deals are leaner, the competition is brutal, and many filmmakers now make more by going direct‑to‑fan through TVOD, memberships, or niche platforms than by chasing a low‑MG all‑rights license. You need to know why you want a streamer—brand value, audience reach, or pure revenue—and plan accordingly.

7. Format Matters Less Than Relationship

Audiences care more about access than whether your project is a feature, series, or hybrid. If you give them a reason to show up repeatedly, they will follow you across formats. If you do not, a 90‑minute feature is just one more piece of content in an endless feed.elliotgrove.

8. Marketing Starts at Concept

Marketing is not something you “figure out later.” The most effective 2026 indies build their hook at the idea stage—title, poster, and logline are treated as core creative decisions, not afterthoughts. If you cannot imagine the trailer, one‑sheet, and social teaser while you are still outlining, that is a red flag.

9. Community Is Your Real Safety Net

Filmmakers who plug into networks, reading lists, and producer education hubs are adapting the fastest. They are not reinventing the wheel alone; they are leveraging shared knowledge, updated contracts, and peer feedback to make smarter decisions project by project.

10. Accepting Reality Is Your Edge

Here is the real brutal truth: if you can accept all of this, you gain an edge. Most of the field is still clinging to old myths about discovery, “overnight” success, and festival miracles. If you are willing to treat your indie career as a living, evolving business—grounded in current data and audience behavior—2026 might be the moment where “truly independent” stops meaning powerless and starts meaning in control.

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Ozempic Era: Beauty, Lizard Venom, Big Pharma

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The film industry is entering a new body era, and this time, the co-star is a syringe.

GLP-1 drugs like Ozempic, Wegovy, and Mounjaro have moved from diabetes clinics into casting conversations, red carpets, and agency strategy. In the United States, roughly 1 in 8 adults report having used a GLP-1 drug, with about 6 to 12 percent actively using one today. Globally, usage has surged from approximately 4 million people in 2020 to around 30 million by 2026.

This is no longer a niche health trend. It is a structural shift—one that is reshaping how bodies are constructed, perceived, and rewarded on screen.

At a clinical level, the appeal is clear. In major obesity trials, semaglutide has produced average weight loss of 15 to 17 percent of total body weight over 68 to 104 weeks, with some regimens approaching 19 to 21 percent for sustained users. In an industry built on transformation, those numbers carry real influence.

But rapid transformation leaves a visible trace. The phenomenon often called “Ozempic face”—hollowed cheeks, looser skin, a subtly aged appearance—reflects how quickly fat loss can outpace the skin’s ability to adjust.

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For filmmakers, this is not just aesthetic—it is cinematic. Performance lives in the face. Micro-expressions, softness, and facial volume shape how emotion reads on camera. A performer may reach an “ideal” body while losing something less measurable but equally important on screen.

Beneath this cultural shift lies an origin story that feels almost written for film.

In the 1990s, researchers studying the Gila monster isolated a peptide in its venom called exendin-4, which mimicked a human hormone involved in blood sugar regulation but lasted significantly longer in the body. That discovery led to early GLP-1 drugs such as exenatide, used by millions of patients worldwide, and eventually to semaglutide.

By mid-2025, semaglutide-based drugs (including Ozempic and Wegovy) generated approximately $16 to $17 billion in just six months, making it one of the highest-grossing drug classes globally. Analysts project the broader incretin market could reach $200 billion annually by 2030.

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Inside those numbers is a more complex human story.

The benefits are well documented: improved blood sugar control, significant weight loss, and reduced cardiovascular risk. But as use expands, so does scrutiny. Researchers and regulators are tracking side effects ranging from severe gastrointestinal issues and gastroparesis to gallbladder disease and pancreatitis, as well as rarer concerns such as vision complications and potential neurological signals.

At the same time, adoption continues to accelerate. J.P. Morgan projects roughly 10 million Americans on GLP-1 drugs by 2025, rising toward 25 to 30 million by 2030. At that scale, usage becomes ambient—part of everyday life across industries, including film and television.

And yet the marketing tells a different story. Pharmaceutical campaigns rely on cinematic language—aspirational visuals, controlled lighting, emotional transformation arcs—while legally required risk disclosures recede into fine print.

For independent filmmakers, this moment opens several narrative lanes.

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There is the body: performers navigating an industry where a once-niche diabetes drug has become a quiet career tool.

There is the machine: a pharmaceutical ecosystem where a single drug category generates tens of billions annually, rivaling major entertainment sectors.

And there is the myth: a culture increasingly turning to a hormone-based intervention—derived from venom biology—rather than addressing systemic issues like food access, stress, and inequality.

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Technology intensifies all of it. Ultra-high-resolution cameras and HDR workflows capture every detail—skin texture, volume shifts, micro-expressions. As more on-screen talent uses the same class of drugs, a new visual baseline begins to form, often without audiences realizing why.

There is also a clear economic divide. GLP-1 drugs can cost $800 to $1,000 or more per month without insurance in the United States, and coverage remains inconsistent. Rising demand has led to shortages and a parallel market of compounded or unregulated alternatives.

The gap between who can access consistent, medically supervised treatment and who cannot is becoming part of the story itself.

For cinema, the imagery is already there: the Sonoran desert, a Gila monster, laboratory research, pharmaceutical earnings calls, red carpets, and transformation narratives.

A compound derived from venom becomes a global product that reshapes not only bodies, but expectations.

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Perhaps the most uncomfortable layer is the industry’s own role. Casting preferences, transformation culture, and unspoken aesthetic standards reinforce a pharmacological look without ever naming it.

No one explicitly instructs performers to take these drugs. The system simply rewards the results.

This is not a distant trend. It is a present-tense shift.

The numbers are rising. The images are changing. The influence is expanding.

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The question is whether independent cinema will define this moment while it is still unfolding—or whether the story will once again be shaped by the industries profiting most from it.

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