Disney appears to have once again screwed up Paramount’s hapless efforts to get another one of these damn Star Trek movies made, ace THR reports that director Matt Shakman—who’s reportedly in talks to take on the Fantastic Four movie for Disney’s Marvel Studios—has just dropped out of directing one of those Trek movies that the studio is constantly promising it’ll make but never, ever does.

Shakman, who picked up Emmy nominations in 2020 and 2021 for his work on The Great and WandaVisionrespectively, has been in the news lately, due to reports that he’s being courted to take over the also-pretty-endless efforts to make a Fantastic Four movie that isn’t baseline embarrassing for all involved. Prior to that, though, he’d signed on to direct the Star Trek movie that wasn’t the one Quentin Tarantino was gonna make (dead), or the one Noah Hawley was gonna make (also dead). Details about Shakman’s movie were also very wobbly, though, to the point that nobody can even say whether Chris Pine, Zachary Quinto, and Zoe Saldaña—who, you’d be forgiven for forgetting, used to make Star Trek movies together several years ago—were going to be in the cast.

The mildly hilarious thing about this bit of cross-studio apparent poaching, though, is that it’s not the first time it’s happened between these two companies: It’s hard not to see parallels here to the tug-of-war that surrounded Star Wars Trek rebooter JJ Abrams a few years back, after Paramount signed him to a first-look deal—and then had to watch as her ran off to make a Disney movie every time the studio opted to blow up his phone. (To be clear, Shakman isn’t under the same kind of agreement Abrams was, but the shared willingness to dump Star Trek to work for The Mouse is still amusing, at least to us.)

Shakman’s Fantastic Four plans are still in the “in talks” phase (although it’s hard not to note that clearing off this calendar like this seems like a promising sign). Meanwhile, Paramount hasn’t managed to get a Star Trek movie into theaters since beyond in 2016, even as the franchise has had a renaissance of sorts on the studio’s streaming service, Paramount+. The studio issued a statement this weekend to THRpraising Shakman’s talents:

Matt Shakman is an incredibly talented filmmaker, and we regret the timing didn’t align for him to direct our upcoming Star Trek film. We are grateful for his many contributions, are excited about the creative vision of this next chapter and look forward to bringing it to audiences all around the world.

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Of the open letter he sent to Olivia Wilde this week—discounting her assertion that he was “fired” from every movie Don’t Worry Darling—Shia LaBeouf mentions former romantic partner FKA Twigs only once. “My failings with Twigs are fundamental and real, but they are not the narrative that has been presented,” he wrote, presumably referring to a series of song that the British musician has made against him, suing him for “sexual battery, assault, and infliction of emotional distress” during the course of their relationship. “There is a time and a place to deal with such things,” LaBeouf wrote to Wilde, “And I am trying to navigate a nuanced situation with respect for her and the truth, hence my silence.”

In contrast, LaBeouf reportedly didn’t mention Twigs’ name at all during a new episode of Jon Bernthal’s podcast Real Ones tonight (apparently, the aforementioned “time and place” to break his “silence”), instead only referring to her as “that woman.” For example: “I hurt that woman,” he tells Bernthal during the interview, although he doesn’t appear to have addressed many of the specific addressed against him. (LaBeouf formally denied all of Twigs’ accusations against him in 2021when he filed a motion to have her case against him dismissed.) “And in the process of doing that, I hurt many other people,” he added, in a manner similar to comments he made in December 2020, asserting that he had been “abusive” both to himself, and others, “for years.” “And many other people before that woman. I was a pleasure-seeking, selfish, self-centered, dishonest, inconsiderate, fearful human being.”

As with the Wilde letter, LaBeouf—who admits in the interview to infidelity and not disclosing STDs to sexual partners—cites the birth of his daughter as a transformational moment for him. He goes on to call “that woman” a “saint” who “saved his life,” because “Had she not intervened in my life and not created the avenue for me to experience ego death, I’d either have a really mediocre existence or I’d be dead in full.” (LaBeouf also states, as he has elsewhere this week, that he considered killing himself after the became public. “I went and loaded up a gun and sat on my table.”)

LaBeouf—who’s currently starring in Abel Ferrara’s Padre Pio—noted how that “ego death” stemmed from his status as a member of “the tribe of the fuck-ups.” “I’m a very public sinner, a very fallible person in the public sphere, What I think now my purpose is, is to not do… The other examples that we’ve had of how to navigate something like this — which is to go after the woman, or try to win a court case, or get back into a fucking movie or like get back on at all.” (Padre Pio will debut this year in competition at the Venice International Film Festival.)

LaBeouf posits himself as he is now as a “billboard, for a principled way of living.” He also drew comparisons to Josh Brolin and Mel Gibson as actors who’ve been accused of domestic abuse in the past, and tried to chart a course through Hollywood in the aftermath. He also mentioned that he now has a “squad” of “60 dudes” who he has weekly Zoom meetings and bike rides with so that he can get feedback on his actions, “in real time.”

The two-hour interview is available on Bernthal’s Patreon. In a clip from the conversation made public on his InstagramBernthal (who starred with LaBeouf in 2014’s fury and then in 2019’s The Peanut Butter Falcon) weighs in himself, apparently attempting to chart his own response to the, saying, “I don’t know what it’s like to put my hands on a woman, or for a woman to say I put my hands on her.” He also says that his role as LaBeouf’s friend is to ensure that “you never do it again,” while also expressing support for him.

FKA Twigs made her against LaBeouf in 2020. they currently have an April 2023 court date set for the argument.

If you or someone you know is suffering from sexual abuse, contact the RAINN National Sexual Assault Hotline at 1-800-656-4673.

[via Variety]

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The biggest problem with Samaritan, a brand new superhero movie starring the one and only Sylvester Stallone, is a lack of identity. That’s oddly fitting since the movie itself is about a young boy trying to figure out the identity of a man who lives in his neighborhood. Is he the long-lost superhero Samaritan? Will the movie Samaritan ever figure out what it wants to be? The answers to those questions are “What do you think?” and “Not really.” But while Samaratin never quite coalesces into a fully formed movie, there’s enough there that fans of the genre and Stallone will be entertained.

Directed by Julius Avery (Overlord) and written by Bragi F. Schut (based on his own comic of the same name), Samaritan is a hodgepodge remix of several familiar films and ideas. It’s a movie you definitely feel like you’ve seen before, even if you haven’t. Case in point, three films Samaratin draws DNA from, and I personally thought about while watching it, were Terminator 2, unbreakableand The Dark Knight—which sounds much more promising and exciting than I mean it to, so let’s explain.

Everything starts with Sam. played by Euphoria’s Javon Walton, Sam is a young boy with a single mother (Dascha Polanco) who deals with bullies, economic hardship, peer pressure, and a belief that no one else has. Sam believes that a superhero named Samaritan, long believed to be dead, is not only alive, he’s a neighborhood garbage man named Joe Smith (Stallone). There’s some back and forth between the two but after Sam sees that Joe is in fact, the indestructible, bulletproof superhero he believes him to be (that’s the unbreakable part), the two develop an uneasy father/son relationship. that’s the Terminator 2 part

The Dark Knight part comes from the film’s setting: a decaying urban landscape called Granite City which is on the brink of chaos, something that an evil criminal named Cyrus (game of Thrones‘ Pilou Asbæk) is hoping to exploit. Cyrus uses the iconography of Samaritan’s dead brother and rival, the evil Nemesis, to unite the city in destruction and looting… for reasons that aren’t very well definited. That’s where the wheels start to come off. When Samaritan starts to act like it’s concerned with people battling rising rents, lower wages, and other social problems, it seems like it’s going to be about something of substance. And maybe because Christopher Nolan’s Batman movies are about villains using fear and intimidation to anger Gotham City and bring down the establishment, we assume that’s Cyrus’ motivation too. But he also might just want to be a superhero himself. The film never makes his intentions or motivations clear.

Where Samaritan does succeed is in that father-son, mentor-mentee relationship between Joe and Sam. Sam is a tough, trustworthy kid struggling to find out who he really is, and through his desire to uncover Joe’s identity, he may do just that. Plus, Joe’s reluctance and Sam’s insistence make for great tape and when Joe’s identity is revealed, Sam’s excitement is infection. Most of the credit there goes to Walton, who is wildly likable and charismatic in the lead. Stallone too is right in his wheelhouse as Joe, giving off a great blend of aw-shucks Rocky Balboa vibes mixed with intense, killer John Rambo vibes.

There’s also a very interesting, but unfortunately underbaked, mythology sprinkled into the movie that discusses the origins of Samaritan and Nemesis, their epic battles, and what may have come of them. It begins with a comic book-inspired opening (which is cool but feels like it’s from a different film) and culminates in a satisfying third-act reveal that’s meant to tie up some of the film’s many loose ends. In that aim, it’s sort of successful, but the answers are held off for so long that you can’t help but think balancing them more throughout the movie would have enriched the story and character building.

And yet, all of these elements, disjointed as they may be, are familiar and intriguing enough to keep you interested in what’s going to happen and what the movie will reveal. Some of that is through big action set pieces which are tailor-made for Stallone’s impressive but aging physique. Lots of throwing and smashing big objects, less fluid movement. The downside to that is the dynamic direction Avery exhibited with his last movie, Overlord, feels all but absent. You never quite feel the touch or vision of a director who had a clear intention with the film. Probably because the film itself never has a clear intention of what it wants to say. In the end, it says a lot of things but none of its messages or themes stick.

All that said, while Samaritan ends up being slightly disappointing and underwhelming, it’s not a total wash. The narrative built out of bits and pieces from other successful stories does a commendable job of building its own superhero world. But the fact that Samaritan doesn’t have decades of history to draw from ends up being rather obvious in how surface everything about it becomes. Ultimately, while I’m guessing we’ll never see another Samaratin film, it is a character and world that, in theory, did leave me wanting more. And that’s a minor success.

Samaritan was originally scheduled to be a theatrical release but now debuts exclusively on Prime Video on August 26.

Want more io9 news? Check out when to expect the latest Marvel and Star Wars releases, what’s next for the DC Universe on movie and TVand everything you need to know about House of the Dragon and Lord of the Rings: The Rings of Power.

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When Sylvester Stallone returned to his iconic role of Philly boxing underdog Rocky Balboa seven years ago in director Ryan Coogler’s rousing, beautifully crafted reboot creed, scoring a Best Supporting Actor Oscar nomination for his performance, it served as a reminder of certain movie stars’ magical ability to stay within a narrow range without sacrificing depth or complexity. Stepping into the position of mentor to Michael B. Jordan’s Adonis Creed, Stallone’s Rocky remained the lovable galoot we all fondly remember while conveying the heartbreaking toll exerted on the Italian Stallion by loss and fading health.

With the actor free from ringside duty following Creed II and looking to stay relevant in his late 70s, it’s perhaps inevitable that Stallone would venture beyond his niche, and leap into the commercially thriving realm of the superhero movie. One of the many strange things about Stallone’s new movie Samaritan, though, is that it’s not adapted from a comic book; writer Bragi F. Schut (Escape Room) penned the story as a screenplay first, and then created a graphic novel from it. The film opens with an animated, and strangely rushed, prologue zipping through the backstory of how masked hero Samaritan, blessed with near-invincible superhuman strength, was a savior to the citizens of Granite City until he and his supervillain twin brother Nemesis both perished in a fiery battle royale 25 years ago.

Cut to the present day, where pint-sized but scrappy 13-year-old Sam (Jovan “Wanna” Walton) is so hooked on Samaritan mythology that he doodles the superhero in his notebook during school. Sam lives in the inauthentically faux-gritty inner city of Granite City with his financially struggling nurse mother (Dascha Polanco) and finds himself unwisely drawn to money-making opportunities presented by Cyrus (Pilou Asbaek), a power-mad gang leader who worships Nemesis as a fallen idol. When a few of Cyrus’ territorial lackeys corner Sam with knives out, Sam’s hulking, reclusive, hoodie-clad garbageman neighbor Joe Smith (Stallone) unexpectedly comes to the kid’s rescue, tossing assailants around and bending their knife blades without breaking a sweat.

Disappointingly, this first demonstration of Joe’s extraordinary fighting abilities is one of only two extremely brief Stallone-centered action scenes offered up in the first two-thirds of the film. Instead, as Sam becomes convinced that Joe is actually a now-retired hero, Samaritan emerges as more of an intergenerational buddy movie. It’s not as if there’s no precedent for the “superhero as aging curmudgeon befriending a kid protégé” setup within the comic-book movie realm—James Mangold’s Wolverine solo movie logan successfully spun it into a hard-edged, character-driven genre entry. But Schut’s script takes a soft, sitcom-like approach to the growing bond between Sam and Joe, full of rampant cliches, unearned sentimentality, and lame wisecracks.

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Walton, though occasionally strenuous in his efforts, is a generally likable presence, while Stallone coasts on self-amused autopilot. As can be the case with projects he also produces, there are concessions to Stallone’s ego (after Sam injures his fist by punching Joe’s stomach in a sparring match, Joe’s retort is, “What were you thinking? You know I’m built like a tank!”), as well as bizarre actorly touches (Joe habitually scarfing down ice cream is at least explained as a way to cool down his body’s unique overheating tendency, but why he’s seen pouring apple juice into a bowl of Cheerios at one point instead of milk is anyone’s guess).

thigh Samaritan finally comes roaring to life in its final half hour, with a simultaneously bonkers and fairly clever plot twist, as well as a spectacular, extended climactic brawl in a multi-story warehouse that works overtime to compensate for the preceding hour and change’s meager lack of action. Director Julius Avery’s previous movie, the WWII-set, JJ Abrams-produced horror movie Overlordwhile superior and more consistently gripping, also didn’t fully embrace its B-movie wildness until the final half hour. He stages Joe’s dazzlingly choreographed attack on Cyrus’ gang with a verve that one wishes was more evident earlier, and Stallone becomes more energized in this final stretch too, snarling with badass conviction and tossing off the kind of one-liners commonly found in his ‘ 80s and ‘90s action vehicles (“Have a blast!” he quips after tossing a grenade at one baddie).

It’s both ironic and fitting that while Samaritan positions itself as fresh territory for the actor, it’s only entertaining once it belatedly refashions itself as a throwback to vintage Stallone fare.

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It’s hard not to root for a movie like Three Thousand Years Of Longing. George Miller has long been one of our more adventuresome and tonally varied filmmakers, so his take on romantic fantasy is a tantalizing proposition, and the writer-director (with co-writer Augusta Gore) certainly doesn’t disappoint with his latest in terms of idiosyncrasies and compelling aesthetics. The film is so distinctly and uniquely its own thing that it’s tempting to praise it on that basis alone, to consider it elevated for the simple virtue of simply being itself. thigh Three Thousand Years Of Longing unfortunately undercuts its own effectiveness as a singular piece, presenting less as a unified vision of an auteur director than a scattershot assemblage of motifs, philosophies, and themes in search of a spine to hold them together.

Tilda Swinton plays Alithea, a narratologist and literary scholar perfectly content with a life of solitude and academic study. While presenting at a literary conference in Istanbul, she discovers a beautiful bottle that she brings back to her hotel room, only to find a Djinn (Idris Elba) within. The Djinn insists that Alithea make three wishes for her heart’s greatest desires, but the allegedly contented scholar is not only bereft of sufficient desires, but wary of the possible consequences of her wishes. Her objections lead the Djinn to tell her stories of his long and varied life, exploring through dramatic flashbacks the ways that wishes did and did not improve the lives of his previous masters, as well as the impact those experiences had on the Djinn himself.

Those taken in by the frenetic tone of the film’s marketing may be surprised to find Three Thousand Years to be a fairly somber, mostly melancholy affair. Miller’s offbeat sense of humor is certainly ever-present, as is the filmmaker’s penchant for distinctive visual iconography—exemplified by surreal imagery grounded in Middle Eastern myth and history—but the film is mostly content to be a moody collection of vignettes. Existing somewhere between anthology and philosophy lecture, the Djinn’s narrated experiences are often reflective, sometimes devastating, and always tinged with a persistent attitude of sadness. In some ways, this is a strength, as the film inhabits this mythical space between straightforward narrative convention and metatextual analysis, commenting on itself even as adheres more to the structure of folkloric tradition than the modern conventions of cinematic act structure.

Yet it’s equally gutting to the film’s efforts to be so transparently self-reflexive, to be so committed to so many interweaving themes that it never coalesces into a film worthy of the arcs of its individual stories. The Djinn ruminates on the follies of a previous master’s misguided pursuit of happiness regardless of consequence, his own damned fate as an incorporeal ghost, and the love of a fiercely intelligent woman trapped by the prejudices of every time. Each story is compelling in its own right, but they don’t adequately convey the bittersweet sweep of the Djinn’s time among mortals, nor do they fully complement one another. The nature of empathy and love; the traditions of stories and why we tell them; the deconstruction of common myths of wish-making; the desperate need for interpersonal connection, even across an immortal eternity: these all are meditated upon by Alithea and the Djinn, but they never come to any satisfying conclusions through their rumination, no discernible purpose beyond the notion that these are conversations to be had.

This is in large part a failure of the framing narrative in which Alithea and the Djinn converse, which can at times stumble from story to story with stilted dialogue. And while Swinton and Elba are both delivering superb performances plumbing the depths of their respective characters, Swinton comes off significantly worse as a character driven by plotted necessity instead of observable motivation. This isn’t as much of a problem when she is primarily a sounding board for the Djinn’s autobiographical musings, but it comes into fairly stark relief when a sudden decision kicks off the film’s final act, wherein Alithea actively takes on the role of the Djinn’s new master with her first wish.

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It’s a contrivance that only foreshadows the remaining scenes’ stumbling attempts at romantic catharsis before falling across the finish line. Consequently, the film doesn’t feel like the culmination of two individuals growing into and from their relationship with one another, but a flimsy capper to an collection of short stories that are so desperate to be about so many things that it forgets that it takes two complete characters to make a love story.

Three Thousand Years Of Longing will certainly garner its share of fans, folks who are content to allow the film’s messages to wash over them like a series of fables delivered from the mouth of a loved one. But there’s no denying that the experience is a messy amalgamation, rife with seemingly unmotivated dalliances amid a structure that values ​​its central relationship much less than should be expected from an ostensible romance. Though you won’t regret seeing Three Thousand Years Of Longingit may leave you wishing that it lived up to its potential.

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it’s pretty much accepted wisdom at this point that those of us in the general public—at least, outside of the single test screening that reportedly helped seal the movie’s doom—are probably never going to see HBO Max’s shuttered Batgirl. For one thing, while the movie was reported as being 90 percent completed, or more, before Warner Bros. Discovery CEO David Zaslav pulled the plug on it a few weeks back, that’s not the same as “in a state where it can plausibly be released.” (Look to Zack Snyder’s Justice Leaguewhich required an extremely expensive finishing process and months of work before it could be unleashed to sate a baying public.) And second, any such release would screw up the main reason the company shuttered the movie in the first place: So they could write it off as a loss on their taxes. (Because god help them if this thing actually succeeded!)

Still, that doesn’t mean nobody‘s getting to see Leslie Grace’s take on Batgirl (or Michael Keaton’s return to the cape and cowl for the first time in decades): per THR, there are apparently “secret” screenings of footage from the movie being held on the Warner Bros. lot this week“for people who worked on the movie, both cast and crew, as well as representatives and executives.” Descriptions of the viewings of the uncompleted film refer to these as “funeral screenings,” which is, y’know, an absolute hell of a phrase.

It’s not clear how much of the film is being shown at these events—directors Adil El Arbi and Bilall Fallah had previously said that they don’t have access to their own footage at this point, so we don’t know what’s been assembled together. Whatever exists, though, is soon to be locked away, presumably so that Warner Bros. Discovery can convincingly tell the IRS that it won’t be profiting in any way from the film—the dream, of course, of any truly major artistic creator.

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Ahead of the long-awaited theatrical release of Avatar: The Way Of Water, James Cameron is offering you a refresher with the re-release of the original Avatar. The 2009 movie will make its way back into theaters starting on September 23, fit with a new trailer, a new promotional poster, and 4K remastering. Since the movie was very recently pulled from Disney+ in anticipation of the re-release, this may be the only way to bring back those 13-year-old memories of the movie.

Let’s review Avatarbecause all this writer remembers of the original is so, so, so much blue it made her tween eyes hurt. the original Avatar stars Sam Worthington, Zoe Saldaña, Stephen Lang, Michelle Rodriguez, and Sigourney Weaver. Worthington leads the feature as Jake Sully, an injured Marine who takes on a super secret and highly technologically advanced mission, which involves fusing himself with an “avatar” on the extrasolar moon called Pandora.

Once there, he bonds with the humanoid Na’vi population, in particular Saldaña’s Neytiri, with whom he has sex by mystically joining their long braids. He then takes on the new mission of defending the planet from the colonizing Resources Development Administration, which is mining Pandora’s resource unobtanium.

Of Avatar: The Way Of Waterwe’ll see the return of Worthington, Saldaña, Lang, and Weaver (in a new role), with new cast additions including Kate Winslet, Cliff Curtis, Edie Falco, Jemaine Clement, Michelle Yeoh, Oona Chaplin, CJ Jones, and Vin Diesel. Co-written by Josh Friedman, the events of the movie take place more than a decade after the first, with the RDA back to threaten the livelihood of Pandora once more.

Avatar will arrive in theaters on September 23, followed by Avatar: The Way Of Water on December 16.

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People who are so preoccupied with whether or not they could do something that they never stopped to think about whether they should do something are a cliché at this point, but only because really need to start spending more time thinking about whether or not they should do something. Case in point: Killer Klowns From Outer Space: The Gamewhich was just announced today.

Look: We love the Killer Klowns, with their tent spaceship and their gross clown weapons that they use to kill teenagers (as seen in the 1988 cult classic horror-comedy), but who asked for this? The Killer Klowns are scary. We are scared right now thinking about them. Clowns are supposed to be funny but these clowns are mean. Also, maybe more importantly, does Killer Klowns From Outer Space really have the cultural cachet to justify a video game?

Apparently so, because it’s getting one from Teravision Games, Good Shepherd Entertainment, and “the executive director of Friday The 13th: The Game” Like that Jason simulator, the Killer Klowns game is an asymmetrical online multiplayer game, which means it involves multiple teams of players who don’t necessarily have the same goal. Of Friday the 13thone player was Jason and everyone else was a camper, and in this it looks like several players will be Killer Klowns and everyone else will be a regular human trying to escape their rampage.

The game doesn’t have a release date yet, but the trailer says “the harvest begins early 2023.” And while we may have expressed some disbelief at Killer Klowns From Outer Space getting a video game, the movie has been enjoying a merchandising resurgence over the last few years. Clearly someone realized there’s some money to be made with that weird-ass movie, and we’re very happy for them.

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Leon Vitali, the actor who later became Stanley Kubrick’s right-hand man, died on Friday in Los Angeles, according to The Associated Press. He “passed away peacefully surrounded by loved ones,” including children Masha, Max, and Vera, his family told the outlet. He was 74 years old.

In a statement provided to the AP by Masha Vitali, his children said, “Leon was a special and lovely man driven by his curiosity, who spread love and warmth wherever he went. He will be remembered with love and be hugely missed by the many people he touched.”

Vitali began his career as a television actor in the UKappearing in series like The Fenn Street Gang and Notorious Woman in the 1970s. His most prominent role came in 1975 playing the role of Lord Bullingdon in Kubrick’s film Barry Lyndon opposite Ryan O’Neal.

Vitali’s work with Kubrick became the defining collaboration of his life. He largely retired from acting to work with the director behind the scenes for the rest of Kubrick’s career. He was credited in his next movie, The Shiningas “personal assistant to the director,” but he was involved in many aspects of the filmmaking, including casting–per the AP, he helped to cast Danny Lloyd as Danny Torrance and Louise and Lisa Burns as the creepy Grady twins. In Kubrick’s final movie, Eyes Wide ShutVitali stepped in front of the camera again to play Red Cloak.

The 2017 documentary filmworker, directed by Tony Zierra, shed light on the duo’s unusual relationship. Recalling his commitment to the famously demanding director, he shared (per IndieWire), “I’d work 14, 16 hour shifts, seven days a week. it wasn’t like that some of the time. It was just normal.”

Following Kubrick’s death, Vitali took on other acting roles, such as in 2013’s Romeo & Julietand collaborated with filmmaker Todd Field on his movies Little Children and In The Bedroom. Vitali also remained committed to Kubrick’s legacy and supervised the restoration of many of the director’s films. the official twitter account for Kubrick’s estate described Vitali as a “mainstay” of his films, writing, “Our thoughts are with his family and all that [knew] and loved him.”

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Earlier this month, Disney Chief Executive Officer Bob Chapek announced that come December, the Disney+ streaming service—launched with an aim to be the cheapest major streaming offering—will hike its monthly subscription price by $3, or more than 37%. Inflation strikes again—or is it a new corporate strategy emphasizing profitability over growth? Either way, the company is doing everything it can to distract you from the looming increase with a loaded September slate.

When is Disney+ Day in 2022?

Ostensibly the reason for this month’s stronger-than-usual content lineup is the return of Disney+ Day. The second annual marketing event disguised as a “celebration” is set for Sept. 8, when the service will add a whole bunch of new goodies including several new series, director Robert Zemeckis’s “live-action” remake of pinocchio starring Tom Hanks (as Geppetto, you weirdo), and the streaming premiere of Thor: Love & Thunder.

But that’s not all! Ten Sept. 21, Disney+ will drop the first season of the fourth weekly series in the Star Wars universe, Andor. The prequel-to-prequel Rogue Squadronstarring a Diego Luna, was originally returning slated to premiere in August before a last-minute delay.

If the pumpkin spice in the air wasn’t doing it for you, Disney+ is also turning the corner into spooky season with the premiere of the direct-to-streaming sequel Hocus Pocus 2the long-awaited followup to the 1993 beloved-for-some-reason original.

Here’s everything coming to Disney+ in September—including, should you care about such things, the exclusive premiere of season 31 of Dancing With the Stars (Sept. 19), which will no longer air on ABC.

Disney Plus series with new episodes premiering weekly in September 2022

• Dancing With the Stars, Season 31 (premieres Sept. 19)
• Star Wars: Andor (premieres Sept. 21)
• The Mighty Ducks: Game Changers, Season 2 (premieres Sept. 28)
• High School Musical: The Series
• She-Hulk: Attorney at Law

Movies and complete series/seasons coming to Disney Plus in September 2022

Arriving Sept. 2

• Al Davis vs. the NFL
• Dickie V
• Elway to Marino
• Nature Boy
• Run Ricky Run
• Siempre Fui Yo, Detrás de la historia — Disney+ Original special
• Small Potatoes: Who Killed the USFL?
• The Band That Wouldn’t Die
• The Two Bills
• Year of the Scab

Arriving Sept. 7

• Edge of the Unknown with Jimmy Chin (S1)
• Europe From Above (S3)
• Europe From Above (S4)
• Prime Survivor: Mighty Mekong (S1)
• Puppy Dog Pals (S5, 3 episodes)

Arriving Sept. 8

• Cars on the Road — Disney+ Original series premiere (all episodes streaming)
• Dancing with the Stars: The Pros’ Most Memorable Dances — Disney+ Original special
• Epic Adventures with Bertie Gregory — Disney+ Original series premiere (all episodes streaming)
• Growing Up — Disney+ Original series premiere (all episodes streaming)
• frozen (Sing-Along)
• Frozen 2 (Sing-Along)
• Marvel Studios Assembled: The Making of Thor—Love and Thunder
• Mickey Mouse Funhouse (S1, 5 episodes)
• Obi-Wan Kenobi: A Jedi’s Return
• pinocchio — Disney+ Original movie premiere
• remembering — Disney+ Original short film premiere
• Thor: Love and Thunder
• Tierra Incognita — Disney+ Original series premiere (all episodes streaming)
• Welcome to the Club (a new short from The Simpsons)

Arriving Sept. 9

Arriving Sept. 14

• First Alaskans (S1)
• In the Womb: Animal Babies (S1)
• Short Circuit (new episode) — Disney+ Original series

Arriving Sept. 16

• coco (Sing-Along)
• The Art of Racing in the Rain
• mija — Disney+ Original Documentary premiere

Arriving Sept. 21

• firebuds (S1, 12 episodes)
• Super/Natural — Disney+ Original series premiere (all episodes streaming)
• Wicked Tuna: Outer Banks (S8, 8 episodes)

Arriving Sept. 23

• Saving Giraffes: The Long Journey Home
• Spies in Disguise
• The Call of the Wild

Arriving Sept. 28

• Life Below Zero: Northern Territories (S2)
• Minnie’s Bow-Toons: Party Palace Pals (S2, 11 episodes)

Arriving Sept. 30

• Hocus Pocus 25th Anniversary Halloween Bash (Special)
• Hocus Pocus 2 — Disney+ Original movie premiere
• Under Wraps 2

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<p>The post What’s Coming to Disney Plus in September 2022 first appeared on harchi90.</p>