What do a comedian, a fashion entrepreneur, a podcast star, a pair of celebrity chefs, and a room full of creators have in common? At Chronicle‘s “Emerging Icons at Tribeca” celebration, they all found themselves under the same roof.

Held during Tribeca Festival‘s 25th anniversary festivities, the event brought together a collection of personalities whose careers likely wouldn’t have existed in the same way a decade ago. Some built audiences through comedy sketches. Others through podcasts, social media, fashion brands or food content. Together, they represented a new generation of influence that is reshaping the entertainment business.

Among those attending were comedian Delaney Rowe, media personality Tinx, creator and interviewer Davis Burleson, fashion entrepreneur Jessica Wang and celebrity chefs Clinton Kelly and Michael Symon, stars of “Chewed Up.” While their backgrounds differ, they all share one thing: direct connections with audiences who follow them across multiple platforms.

That’s part of what made the gathering feel different from a traditional Hollywood event.

The Red Carpet Reflected Entertainment’s Changing Landscape

The event’s guest list was not the only thing signaling a shift in entertainment, but the fashion reflected it, too. Guests arrived in everything from sleek black eveningwear to bold, fashion-forward statement looks, creating an atmosphere that felt somewhere between a Hollywood premiere, creator summit, and fashion event.

Unlike traditional red carpets centered solely around actors or studio-backed celebrities, Chronicle’s gathering highlighted personalities who built influence across industries. Some arrived as creators-turned-entrepreneurs, while others balanced careers spanning television, fashion, podcasting, food media and brand partnerships.

The result was a crowd that looked less like old Hollywood and more like a snapshot of where entertainment is headed.

How The Creator Economy Is Reshaping Celebrity

The lines separating celebrities, entrepreneurs and creators have become increasingly blurred. Today’s most recognizable personalities aren’t necessarily discovered through television networks or movie studios. Many build audiences independently before expanding into podcasts, live events, products, books, television projects and businesses of their own.

That evolution is exactly why Chronicle has become a growing name in creator circles. Founded by Aaron Sisto, Scott Greenberg and Ollie Lewis, the company works at the intersection of technology, media and audience growth, helping creators and brands better understand how people engage with content online.

Throughout the evening, conversations weren’t centered solely on movies or television. Guests discussed brand launches, content strategies, audience trends and emerging opportunities across digital media. It reflected an industry where influence increasingly travels between platforms rather than living on just one.

Speaking about the growing role of AI in Hollywood, Chronicle co-founder and CEO Aaron Sisto pushed back on the idea that technology alone will replace traditional storytelling.

“I hear a lot of folks in San Francisco talking about AI as a way to disrupt traditional Hollywood,” Sisto explained. “That’s sort of the mentality up here – the idea that the next Pixar is going to be completely AI automated top to bottom. But after being in this world, investing in it and seeing the technology, I don’t buy it.”

Instead, Sisto argued the entertainment industry’s biggest problem is not necessarily creating content, but getting it in front of the right people. “Content isn’t actually the pain point or the bottleneck,” he said. “It’s marketing and distribution.”

According to Sisto, audiences no longer live exclusively inside traditional studio ecosystems, making discoverability one of the biggest shifts in modern media. “Audiences now live in completely different places,” he explained. “They live on these social platforms that the studios don’t control, and because of that, the studios are no longer the gatekeepers. The platforms and algorithms are.”

Why The Future Of Entertainment May Already Be Here

In many ways, the recent event felt less like a party and more like a glimpse into where entertainment is headed. The creators in attendance aren’t waiting for gatekeepers to decide who gets a platform. They’ve already built their own.

And if the crowd at Chronicle’s Tribeca gathering was any indication, the next chapter of entertainment may belong to people who started with nothing more than a camera, an idea, and an internet connection.

By TeeJay Small
| Updated 30 seconds ago

If you’ve got your finger on the pulse of the latest comedy outings, you’ve probably already seen trailers for Focker-In-Law. The film, which stars Ben Stiller, Robert De Niro, and Ariana Grande, is the fourth entrant into the Meet The Parents franchise, which launched all the way back in the year 2000. The original Meet The Parents is an iconic comedy which still holds up to this day, and the 2004 follow-up Meet The Fockers is a fun, quirky film that has some solid moments. 

Unfortunately, the fun sort of stopped in 2010 when Stiller and De Niro reunited for a third time with Little Fockers. This movie is a pale replica of its predecessors, offering little more than a tepid retread of jokes that were funnier the first time around. Despite the film being a bit of a slog, and Ben Stiller literally assuring fans that they don’t need to rewatch the trilogy to understand the upcoming sequel (he even claims that he doesn’t stand by the third film, per X), I decided to revisit Little Fockers on Netflix.

Move Along, Nothing To See Here!

I recall catching Little Fockers in theaters with my family upon release, and thinking little of it. In the years since, I’ve basically forgotten the entire plot, other than the fact that Gaylord ‘Greg’ Focker (Stiller) and his wife Pam now have children. In the movie, the Fockers are preparing a fifth birthday bash for their twins, when De Niro’s domineering Jack Byrnes drops in for a surprise visit.

Operating in his capacity as a hard-ass father-in-law, as well as a CIA retiree, Jack continually gives Greg a hard time. Jack has never approved of Greg, though extenuating circumstances have forced his hand in anointing him the new family patriarch and the arbiter of the coveted “circle of trust.” This is set in motion because Jack’s other daughter is in the process of getting a divorce, thus ousting the son-in-law that Jack actually enjoys.

Unfortunately, this passing of the torch is interrupted by a series of contrived, awkward situations that mistakenly lead Jack and others to believe Greg is unfaithful. If the plot sounds bare bones, that’s because it exists primarily to be a joke delivery system. If the jokes sound bare bones, it’s because the writers didn’t care about this movie at all when they were working on it.

Disappointing Lack Of Little Fockers

The primary source of comedy in this film stems from the fact that Focker sounds a lot like the F-bomb. If that joke blows your mind, you’ll probably be rolling on the floor by the time the film cuts to credits. If not, you’ll probably be half asleep by the fifth time Robert De Niro drops terms like “The god-Focker” and pauses for raucous applause. There are a few solid comedic beats on occasion, but it really feels like the script could have benefited from an extra draft or two.

If this film has anything going for it, it’s the stacked cast of side characters. Notable performers include Owen Wilson, Dustin Hoffman, Barbara Streisand, and Jessica Alba, but numerous top-notch comedians appear in small bit parts as well. Kevin Hart, Rob Huebel, John DiMaggio, Jordan Peele, and Nick Kroll comprise a few faces that wouldn’t have stood out in 2010, but make for a real DiCaprio-pointing-at-the-TV moment today.

At the end of the day, Little Fockers really doesn’t hold up. As it turns out, that Ben Stiller tweet and the 10 percent Rotten Tomatoes score really weren’t lying to me. This is a minor gripe, but I take umbrage with the fact that the movie doesn’t even focus on the kids all that much. For a film literally titled Little Fockers, I’d expect to see more of those little Fockers running around.

I guess I’m happy that I panned for any flecks of comedy gold within this sludge, if only to ensure that I won’t miss a beat when I queue up to see this comedic team remake the same comedy for the fourth time this November. Even still, you’d be better off brushing up on the first two films and letting your imagination fill in the blanks if and when you watch Focker-In-Law. At least Ariana Grande’s front-and-center billing on the poster implies that the new film will actually deliver on its title.

Little Fockers is currently streaming on Netflix, just in case you’re not willing to take my word for it. The first two films are on there as well, for those interested in turning a trilogy watch-through into a drinking game. Take a shot every time you hear De Niro drop Greg’s name in a silly way, and call it “getting Focked up.”

For years, Idris Elba was one of the most popular names floated as a potential James Bond. However, the actor is once again distancing himself from the speculation, insisting that he isn’t going to play the iconic British spy, nor was he ever in the running to do so, despite multiple reports to the contrary.

Amazon MGM Studios recently started setting up auditions for the role, and weighed in on what he believes the future of the James Bond franchise should and shouldn’t be.

In an interview with British GQ, Idris Elba doubled down on his previous statements and set the record straight about speculations that he’s in the running to be the next James Bond. “It was never legit. It was always just a rumour,” the actor said, adding that he always thought the possibility of him stepping into the iconic role was “not a realistic thing.”

The rumor began sometime in 2008, after Barack Obama’s historic presidential election victory. Daniel Craig told reporters during a press conference for “Quantum of Solace, “If we can have a Black U.S. president, we can have a Black James Bond.” While Craig didn’t specifically mention Elba by name, he was at the top of his career at that time.

“I think, in realistic terms, some markets just don’t go for that. Bond is big all over the world. And [audiences] won’t [all] go for a Black male, and African male, playing Bond. That’s not what they like in their culture. Period,” Elba explained.

The Actor Doesn’t Want A ‘Woke’ James Bond

Elba also opined that there’s no need to change James Bond, saying that the character is “so unrealistic.”

“A hint of reality is good, but let’s not try and make it woke. I think you’ve got to be pure to what it is: escapism. Don’t try and answer the world’s taste. Just be Bond,” he added.

Since 1962, six actors have played James Bond, the latest being Craig, who stepped into the role in 2006. Despite starring in five Bond films, Craig has repeatedly expressed how he wanted out of the role, and even once said he’d “rather break this glass and slash my wrists” in 2015.

Craig’s last Bond movie was in 2021’s “No Time to Die.”

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Rumors Were Fueled Over The Years

Speculation about Elba was further fueled in late 2014 when an email from Sony Pictures Entertainment Chairman Amy Pascal was leaked. In it, she reportedly wrote, “Idris should be the next Bond.”

In a Reddit AMA that same year, one user asked Elba whether he’d take the James Bond role if it was offered to him, to which the actor responded, “Yes, if it was offered to me, absolutely.”

Elba further fueled the fire in 2018 when he tweeted, “My name’s Elba, Idris Elba.” Hours later, however, he told his followers, “Don’t believe the HYPE.” The tweet has since been deleted.

Idris Elba Has Repeatedly Refuted The Speculations

This isn’t the first time Elba shut down James Bond rumors. As previously reported by The Blast, the 53-year-old “The Wire” actor said he was in no way in the running to be James Bond. He said he was never an option, ever, and the studio will be going for a younger actor. “I wish them all the luck of the world, I can’t wait — it’s going to be amazing,” he said.

In 2023, Elba touched on the topic on the “SmartLess” podcast, saying that while he felt “complimented” by the rumors at first, he was later turned off by the idea because of the public’s reaction. While some liked the idea, others took issue with the possibility that James Bond might be played by a Black man.

“Those that weren’t happy about the idea made the whole thing disgusting and off-putting, because it became about race. It became about nonsense, and I got the brunt of it,” Elba shared.

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The Next James Bond

Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan, and Daniel Craig were the six mainline actors who portrayed James Bond on the big screen.

In Mid-May, Amazon MGM Studios announced that it had begun auditioning actors for the next James Bond, but didn’t provide any other details. “While we don’t plan to comment on specific details during the casting process, we’re excited to share more news with 007 fans as soon as the time is right,” they stated.

By Steven Nelson
| Published 1 hour ago

Delving into the shadowy world of online identity, Cam made waves on Netflix in 2018 as a psychological horror thriller that fuses modern technology’s allure with the age-old dangers of doppelgangers and obsession. 

Directed by Daniel Goldhaber, with a script by former webcam model Isa Mazzei, the movie taps into the eerie facets of the digital age, offering a chilling look at how easily our online personas can be ripped from our control.

For those seeking a heart-pounding ride that also pushes them to reflect on the implications of life in a digitized world, Cam beckons with its siren call. Dive into a tale where the line between reality and the virtual realm blurs with every click.

Cam Girls Gonna Cam

Set in the competitive world of cam girls, Cam introduces us to Alice, known online as “Lola.” Portrayed by Madeline Brewer, Alice is an ambitious cam girl seeking to break into the top ranks on her streaming platform, FreeGirlsLive. Every day, she stages creative shows, some intense and others downright bizarre, to climb the leaderboard, pushing the boundaries of her performances to attract more viewers and tips.

However, her relentless pursuit to rank higher takes a nightmarish turn when she unexpectedly finds herself locked out of her account. That’s puzzling enough, but the real shock comes when she realizes “Lola” is still online, streaming away. Only, it isn’t Alice behind Lola’s sessions anymore. A mysterious doppelganger, identical in appearance and mirroring her previous shows perfectly, has taken over her channel.

Desperate to reclaim her identity, Alice dives deep into the underworld of the camming industry. She encounters other models, shady figures, and obsessive fans as she tries to uncover the truth behind her digital twin.

Throughout her journey, Cam intelligently weaves themes of identity theft, the personal cost of online fame, and the dangers of exposing oneself in the vast, anonymous terrain of the internet.

Supporting Alice’s story is an array of characters, including her mother, Lynne (Melora Walters), and younger brother, Jordan (Devin Druid). There’s also Tinker (Patch Darragh), an obsessed fan who might know more than he lets on. Together, these characters enhance the layered narrative of Cam, reflecting different facets of Alice’s life as it spirals out of control.

Cam Started As An Idea For A Documentary

The intriguing narrative of Cam finds its origins not in the realm of fiction, but from real-life experiences. Before it was a psychological thriller, the idea for the film emerged from the actual experiences of its screenwriter, Isa Mazzei.

Mazzei herself was a former cam girl and initially considered making a documentary about the world of online camming based on her personal experiences. The realm of camming, with its blurred lines between the digital and the real, personal and public, seemed ripe for exploration.

The industry’s nuances, combined with its vast audience yet marginal mainstream understanding, made it a subject of potential intrigue for viewers.

However, as Mazzei collaborated with director Daniel Goldhaber (a close friend from college), the duo felt that a fictional narrative could dive deeper into the emotional and psychological experiences of a cam girl, particularly the dissociation and identity challenges one might face. 

By shifting gears from a documentary to a thriller, they hoped to capture a broader audience and convey the complexities and perils of the camming world more viscerally. This decision gave birth to Cam, a movie that, while fictional, carries the genuine imprint of Mazzei’s lived experiences, adding an extra layer of authenticity to its story.

Cam is more than just a standard psychological thriller; it’s a riveting exploration of identity, digital duality, and the lengths one might go to reclaim a stolen life in the age of the internet. While some might brush it off as another by-the-numbers suspense flick, the film is a testament to the very real challenges and threats that individuals face in the online world.

Drawing inspiration from real-life experiences, it serves as a cautionary tale, reminding viewers of the fragile balance between our digital personas and our real selves.  If you’re in the mood for a film that seamlessly blends suspense with societal reflection, you can stream Cam for free on director Daniel Goldhaber’s website for free as of this writing.

Sean “Diddy” Combs is facing yet another legal challenge as a new lawsuit adds to the growing list of allegations surrounding the music mogul.

The latest filing comes while Combs remains behind bars and continues efforts to overturn his federal conviction.

With another accuser stepping forward, renewed attention is being placed on both past claims and ongoing investigations.

A man identified in court documents as John Doe has filed a lawsuit accusing Diddy of sexually assaulting him when he was a minor.

According to the complaint obtained by the Daily Mail, the alleged incident took place in 2007 after the then-child actor attended a networking event in the Hollywood Hills.

The lawsuit claims Diddy invited him to a private conversation about potential career opportunities. During the meeting, the accuser alleges that the rapper engaged in inappropriate conduct before an alleged sexual encounter took place.

The man claims he expressed discomfort before the alleged act occurred. According to the filing, Diddy later told him he would “keep him in mind for possible opportunities” before leaving him alone.

The claimant says he departed the event shortly afterward.

Diddy’s legal team has strongly denied the accusations.

Responding to the lawsuit, Diddy representative Juda Engelmayer told the Daily Mail, “The allegations from this so-called nameless child actor are false and ridiculous. He’s just another hater in a long list of people trying to get in on the money gravy train encouraged by personal injury lawyers.”

Engelmayer continued, “Mr Combs has never sexually assaulted anyone – and that includes any child! These allegations will be disproved like all the rest.”

California Investigation Continues To Draw Attention

The new lawsuit comes as Diddy faces scrutiny from California authorities.

Earlier this month, the Los Angeles County District Attorney’s Office confirmed that investigators had submitted information related to another alleged victim for review.

According to officials, both the Los Angeles Police Department and the Los Angeles County Sheriff’s Department presented separate findings connected to allegations made against Combs.

The matter remains under review, and prosecutors have not announced whether additional charges will be pursued.

The ongoing review has become another major legal hurdle for the rapper as he continues to fight multiple allegations in various jurisdictions.

Diddy Linked To Separate Claims From Publicist Jonathan Hay

Another figure connected to Diddy’s legal troubles is celebrity publicist Jonathan Hay.

Hay filed a lawsuit against the rapper last year, alleging sexual battery stemming from incidents he claims occurred in 2020 and 2021.

According to court filings, Hay alleged that one encounter took place while he was involved in a remix project connected to the legacy of Christopher Wallace, better known as The Notorious B.I.G.

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Hay claims Combs later brought him to a warehouse containing memorabilia connected to Wallace. The lawsuit alleges inappropriate conduct occurred during that meeting and during a second encounter in March 2021.

Hay has said the alleged incidents had a devastating impact on his mental health.

CJ Wallace, the son of The Notorious B.I.G., was also named in the lawsuit. Wallace has denied the allegations and filed a defamation lawsuit against Hay. Hay has denied Wallace’s claims.

Jonathan Hay Speaks Out About Pursuing Accountability

As legal proceedings continue, Hay has publicly discussed his reasons for pursuing action.

In a statement to the Daily Mail on June 1, he described himself as a “survivor” of Diddy and said that “having my painful experiences heard and validated by the LAPD and the Los Angeles County District Attorney’s Office is an undeniable turning point.”

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He added, “This progress marks a significant victory in my fight for total accountability.”

Hay continued, “I am certain that justice will be achieved and that full responsibility will be enforced.”

According to reports, Hay first contacted an attorney about his claims in 2023. He later filed his lawsuit after other allegations against Diddy became public.

Hay told CNN he had been reluctant to come forward at first and described himself as “terrified” about speaking publicly.

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Diddy Continues Fight As Prison Sentence Looms

The latest allegations come during a turbulent period for Diddy.

Last year, he was convicted on two counts of transportation for the purposes of prostitution. However, he was acquitted of racketeering conspiracy and sex trafficking charges.

The music executive was later sentenced to four years in prison, with credit for time already served, followed by five years of supervised release. He is currently expected to be released in February 2028.

Meanwhile, Hay has made clear what outcome he hopes to see regarding the California investigation.

Speaking to CNN, he said, “I’m hoping that when [Diddy] gets out of jail that he is taken straight to jail in California, or to go through the court proceedings in California, and that he spends the rest of his life in jail.”

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With a new lawsuit now added to a growing list of legal battles, Diddy remains at the center of ongoing controversy as courts, investigators, and accusers continue to pursue claims against the once-dominant music mogul.

By Douglas Helm
| Published 9 seconds ago

Chris Evans may be best known as Captain America in the MCU, but amidst his MCU tenure, he starred in a dark, post-apocalyptic thriller in 2013. That thriller was Snowpiercer, which also happens to be the English-language debut of South Korean director Bong Joon-Ho. The director and MCU star make a great combo in this film, which is now available to stream on Tubi.

Snowpiercer is adapted from the graphic novel Le Transperceneige by Jacques Lob, Benjamin Legrand, and Jean-Marc Rochette with a screenplay co-written by Bong Joon-Ho and Kelly Masterson. The film takes place aboard the titular train, where the last of humanity lives after a climate disaster leaves the world completely frozen. The train is separated by class, with the lower class living toward the back of the train and the elites living near the front.

A Solid Entry Point To Bong Joon-Ho’s Work

Snowpiercer follows Chris Evans‘ character, Curtis Everett, who leads a rebellion against the elite class that fights their way to the front of the train. Along with Evans, the film stars Song Kang-ho, Tilda Swinton, Jamie Bell, Octavia Spencer, Go Ah-sung, John Hurt, and Ed Harris. Interestingly, the film holds the claim of one of the most expensive South Korean productions ever, with a budget of $40 million.

Director Bong Joon-Ho would explore classism in a more grounded way in his incredible Oscar-winning film Parasite in 2019, but Snowpiercer is a great introduction to the filmmaker’s catalog that allows him to really make the most of a high budget and explore a more action-oriented style thriller.

As you might expect, the film was critically acclaimed and did fairly well at the box office, bringing in around $86.7 million worldwide. While Chris Evans is still in action mode in this film, he does get to flex his dramatic muscles more than usual with a more dour character than he typically plays.

Snowpiercer does a lot of things right and makes for a highly entertaining watch. While people may be tired of post-apocalyptic worlds, the setting of this film manages to stand apart thanks to its unique world-building. In the capable hands of Bong Joon-Ho, it certainly stands out from other sci-fi films of its ilk, and it keeps you on the edge of your seat throughout.

Bong Joon-Ho Vs. Harvey Weinstein

While most studios would be content to let Bong Joon-Ho do whatever he wants, the director actually had to butt heads a few times with Harvey Weinstein after The Weinstein Company acquired the US distribution rights for Snowpiercer. The wide release of the film was initially delayed by Weinstein himself after he tried to get up to 25 minutes of scenes cut from the film, asking for more action and less dialogue.

A memorable scene involving a fish being gutted was one that Weinstein was particularly keen to cut, but Bong Joon-Ho hilariously lied that his father was a fisherman and the scene was in tribute to him to get Weinstein to keep it in.

Weinstein’s cut of Snowpiercer was eventually screened to a test audience, who hated it, which prompted Weinstein to ask for more cuts. However, Bong Joon-Ho’s original cut was test-screened later to much better reviews, which prompted a grassroots campaign to get his version released to US audiences.

The campaign, created by cinema activist Denise Heard-Bashur and supported by Tilda Swinton and John Hurt, was successful, and the uncut version would eventually get a wide release.

Le Transperceneige Vs. Snowpiercer

While the graphic novel that Snowpiercer is based on is well worth the read on its own, fans of it should not go in expecting a faithful adaptation of the novel. The setting is the same, but Bong Joon-Ho made the call to rewrite the story rather than trying to fit the long narrative of the graphic novel into the movie.

Of course, not everything has to be a 1:1 adaptation of the source material, and in the case of this film, it seems like it was the smart move to make it its own thing rather than adapt something that wouldn’t work as a film.

So, if you’re in the mood for a sci-fi thriller from one of the most interesting directors working today, then Snowpiercer should be the perfect film for you. Make sure to check it out on Tubi.

Stranger Things has been nothing short of a phenomenon since it launched a decade ago. But even considering the fact the television series has apparently come to an end, the story has been continuing in lots of different formats. A good story never truly ends, it just keeps going. But one part of the story has hit the buffers.

The critically acclaimed Stranger Things: The First Shadow has extended for a final time in both London’s West End and on Broadway. The production will complete its run at the Phoenix Theatre in London on December 27, 2026, and at the Marquis Theatre on Broadway on January 3, 2027. The show follows a young Henry Creel, soon to become the ultimate villain Vecna, who tormented our teenage heroes in Seasons 4 and 5.

The show will have run for over three years in London, after opening to five-star reviews in 2023. It went on to win Olivier Awards for Best Entertainment and Best Set Design, along with Critics’ Circle Awards for Best Set Design and Most Promising Newcomer, and the WhatsOnStage Award for Best New Play. On Broadway, the production became the most Tony Award-winning play of 2025, taking home four awards, including Best Scenic Design of a Play, Best Lighting Design of a Play, Best Sound Design of a Play, and a Special Tony Award for Illusions and Technical Effects.

‘Stranger Things: The First Shadow’ is a Sensation

Across the West End and Broadway, nearly 1.6 million tickets have been sold, with the production playing more than 1,500 total performances. The show also marked Netflix’s first move into theatre, making it a major test case for how a streaming franchise could be expanded on stage without simply feeling like a live-action bonus episode.

Stranger Things creators and creative producers Matt Duffer and Ross Duffer reflected on the show’s success, saying:

“When the legendary Stephen Daldry first came to us with the idea of making a Stranger Things play, we were stunned — both by the fact that Stephen wanted to do this, and that he believed it could work. And boy, did it work. We remain awed by what Stephen, Kate Trefry, Justin Martin, and all the brilliant behind-the-scenes wizards were able to pull off: cinematic theater unlike anything else out there. Their incredible work drew audiences from all over — a majority of whom had never even been to a Broadway show before. We’d also like to give a standing ovation to the incredibly gifted actors who stepped into these roles — including the Tony-nominated Louis McCartney — and to the fans, who made each and every performance so memorable.”

Written by Kate Trefry, from an original story by the Duffer Brothers, Jack Thorne, and Trefry, Stranger Things: The First Shadow is set before the events of the Netflix series and digs deeper into the story of Henry Creel. Trefry added:

“While writing Stranger Things, we always knew there was more to the story of Henry Creel, but never imagined we would have the chance to tell it all. Being given the opportunity to dive deeper into this world through the medium of live theater has been the thrill of a lifetime, and I am still in awe of what our incredible cast and crew was able to achieve. It has been a magical, terrifying ride, and to share the communal experience of every laugh, tear, and scare with your audience is every writer’s dream. Thank you to everyone who made this dream come true.”

The production is directed by Stephen Daldry, with co-director Justin Martin. The creative team includes set designer Miriam Buether, costume designer Brigitte Reiffenstuel, lighting designer Jon Clark, sound designer Paul Arditti, composer D.J. Walde, illusions and visual effects designers Jamie Harrison and Chris Fisher, and video design and visual effects by 59 Studio.

Stranger Things: The First Shadow runs at the Phoenix Theatre in London until December 27, 2026, and at the Marquis Theatre on Broadway until January 3, 2027.

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Release Date

2016 – 2025-00-00

Network

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Netflix

Directors

Matt Duffer, Ross Duffer, Andrew Stanton, Frank Darabont, Nimród Antal, Uta Briesewitz

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Writers

Kate Trefry, Jessie Nickson-Lopez, Jessica Mecklenburg, Alison Tatlock

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Hugh Laurie issued an apology to a British journalist after responding to her criticism of his famed series House.

“I’m sorry if people have been having a go at you because of my tweet. Not at all the plan,” Laurie, 66, shared in an X post on Monday, June 8. “I was very slightly drunk and already upset about something that had nothing to do with you.”

He continued, “If it’s any comfort, I got it in the neck too. I’m a thin-skinned t***, apparently, even though it wasn’t my skin. I was sticking up for the writers who I adored.”

Laurie admitted that he made a mistake by naming several historical figures in his initial social media posts.

“Obviously I shouldn’t have cited Bach/Kahlo/Moore — asking for trouble — and would have done better to go for the 10,000 blues songs written around the same 12 bar chord structure,” he concluded. “I’ve listened to most of them and will keep doing so. Because we love what we love.”

The social media drama began on Saturday, June 6, when journalist Janet Murray told followers that she had started House, which initially ran for eight seasons from 2004 to 2012.

“Same narrative every episode: Patient has mysterious illness. Hugh Laurie (House) gets diagnosis wrong. Patient nearly dies,” her critique read. “Hugh Laurie gets diagnosis wrong again. Gets threatened with being fired. Patient nearly dies again.”

She concluded, “Hugh Laurie has last minute leftfield idea. Gets diagnosis right. Doesn’t get fired. Eight seasons of this?”

Laurie responded on Sunday, June 7, thanking Murray for her “critique” of the show with a rather snarky retort.

“We actually tried a couple of episodes where House (Hugh Laurie) (please put the brackets in the right place) gets it right [the] first time, but they were only 6 minutes long. NBC weren’t happy,” he wrote. “Then we tried some where House never gets it right and the patient dies. The audience wasn’t happy.”

He added, “One could apply your trenchant analysis to other art forms: JS Bach wrote 30 Goldberg variations on the same chord structure; Frida Kahlo painted 50 portraits of herself; Henry Moore, what??”

Laurie explained that the show was “variations on a theme” when concluding his message.

“If all you see is hospital, medical blah blah, then it wasn’t meant for you,” he said. “Nonetheless, I look forward to your first novel!”

Murray later tagged Laurie in a social media post sharing a recently published article titled, “What I Learnt From My Online Fight With Hugh Laurie,” which prompted his apology.

Murray joked that “it’s all been rather fun” to go back and forth with the actor and his fans, but she also hoped that he would read her article.

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“Because while his witty riposte was genuinely amusing, one point I make in the piece is that it was shared with his 1.2 million followers on X. I have around 38,000,” she explained. “That creates something of an imbalance — particularly given that the responses to my original post were overwhelmingly warm-hearted and affectionate towards the show.”

Murray noted that she’s gotten “some fairly horrific trolling” from House fans, who are “even more abusive than trans activists,” she wrote.

“I have enough experience of the media to take it on the chin, as the saying goes,” Murray concluded. “But someone without my background might have found the experience far more distressing.”