Sydney Sweeney
Severs Business Ties With Ex-Fiance Jonathan Davino

Published
February 23, 2026
12:35 PM PST

A little more than a week into its theatrical run, the movie Good Luck, Have Fun, Don’t Die‘s box-office fate seems to have been sealed. It’s going to need a miracle to bounce back from its current state, having recouped only one-fourth of its reported production budget. The sci-fi time-travel film probably has only another couple of million dollars left in it, which certainly won’t be enough for it to break even at the box office. Good Luck, Have Fun, Don’t Die marks the return of director Gore Verbinski after a decade; his last film was the psychological horror movie A Cure for Wellness, another commercial underperformer that failed to recover its budget. A Cure for Wellness was a soft comeback itself, after Verbinski was thrown in director jail following the critical and commercial drubbing of The Lone Ranger.

With little reason to celebrate so far, Verbinski can take pride in minor victories. For instance, Good Luck, Have Fun, Don’t Die has outgrossed fellow time travel film Safety Not Guaranteed, which marked the directorial debut of Colin Trevorrow, who’d go on to direct Jurassic World and Jurassic World Dominion. Safety Not Guaranteed starred Mark Duplass, Jake Johnson, and Aubrey Plaza in the lead roles, and like Good Luck, Have Fun, Don’t Die, it earned positive reviews. Verbinski’s film currently holds a “Certified Fresh” 84% score on the aggregator website Rotten Tomatoes, where the critics’ consensus reads, “A gleeful high-concept comedy with a serious message at its core, Good Luck, Have Fun, Don’t Die lets Sam Rockwell rip with thrilling results while marking a very welcome return of director Gore Verbinski in peak form.”

Here’s the Time Travel Comedy that ‘Good Luck, Have Fun, Don’t Die’ Is Trailing By a Huge Margin

The film has grossed around $6.5 million so far against a reported budget of $20 million. For context, this is roughly one-tenth of the $65 million that time-travel comedy Hot Tub Time Machine grossed globally in 2010. Starring John Cusack, Rob Corddry, Craig Robinson, Clark Duke, Lizzy Caplan, and Chevy Chase, the movie earned mixed reviews. It’s currently sitting at a 64% score on Rotten Tomatoes, where the consensus reads, “Its flagrantly silly script — and immensely likable cast — make up for most of its flaws.” The movie inspired a sequel, which crashed with just $13 million at the box office and earned poor reviews. You can watch Good Luck, Have Fun, Don’t Die in theaters. Stay tuned to Collider for more updates.

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Release Date

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February 13, 2026

Runtime

134 Minutes

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Director

Gore Verbinski

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Matthew Robinson

Producers

Erwin Stoff, Oly Obst, Robert Kulzer

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Before the 1960s gave way to the 1970s, sitcoms were generally seen as an escape from the turbulent reality of the decade. At a time of civil and international unrest, we had sitcoms such as The Andy Griffith Show still showing us what America was, wholesome and down-to-earth. But going into the 1970s, show creators could no longer showcase that Andy and Opie vibe in a truthful way. Social change was afoot, whether people liked it or not, and sitcoms of the decade began to reflect that change.

Whereas sitcoms of the ’50s and ’60s featured women who largely stayed at home and took care of the kids and the home, the ’70s featured a proud single woman putting her career first. Instead of the occasional African American, we had an entire Black family who showed suburban America that life in the inner cities at the time was no picnic. To punctuate how uncomfortable societal change was to those who were used to the peace and tranquility of the ’50s, the ’70s brought us a sitcom about a grumpy old man who longed for the “good old days.” Sitcoms of the ’70s aimed to be daring, a vehicle for how American society truly was, not what it once was; and that made some of the decade’s biggest shows truly timeless to this very day.

1

‘Happy Days’ (1974–1984)

Image via ABC

While sitcoms in the ’70s leaned hard into the social changes of the decade, there was a segment of the TV viewer who longed for the days sitcoms were sanitized. Enter Happy Days, created by Gary Marshall, Happy Days saw a market in giving viewers the scenes of a time that once was, when kids hung out at the diner and the coolest kid dressed and acted like Fonzie (Harry Winkler).

Happy Days fostered the ideal view of what the 1950s were all about, and it kick-started the ’50s nostalgia craze, and it certainly was more family-friendly than most sitcoms of the decade. With Happy Days winning over audiences with its unflinching nostalgia, it brought the apolitical, clean-cut sitcom back into vogue, which would become a staple of shows in the 1980s. Happy Days is timeless because it was a prime example of escapism TV, a bit rebellious, yet harmless.

2

‘The Mary Tyler Moore Show’ (1970–1977)

In the 1960s, Mary Tyler Moore was the lovable housewife on The Dick Van Dyke Show, fitting the common character trope for women in the ’50s and ’60s. While women did land starring roles in sitcoms, they were always the sidekick to the husband, and presenting to America that women cared more about taking care of the home than chasing a career. Then the calendar flipped to the ’70s, and Mary Tyler Moore was done being a housewife.

Premiering in 1970, The Mary Tyler Moore show presented a different kind of woman, one that was more career-focused than home-focused. The show redefined how women were portrayed on TV, tackling such issues as feminism, equal pay, and gay rights through fascinating characters rather than preaching to the audience. Not only that, but The Mary Tyler Moore Show was also the first successful workplace sitcom, in which the sitcom was mainly set within Mary Richard’s workplace, with her co-workers just as important to the show as Mary herself. In the end, The Mary Tyler Moore Show cemented its status as a timeless sitcom of the decade.

3

‘Sanford and Son’ (1972–1977)

Image via NBC

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In the 1970s, a major cultural shift was happening on the television landscape. Instead of the landscape being mainly white, television finally wised up to the fact that African Americans had stories that needed to be told as well. Enter the late Norman Lear, who, alongside Bud Yorkin, created Sanford and Son, the pioneering sitcom that focused on the working-class life of African Americans.

Starring comedian Red Foxx, the show followed a father and son who ran their own business in South Central Los Angeles. In some respects, Sanford and Son was the Black version of All in the Family, although it wasn’t nearly as bigoted as that famous show (more on this later). It was bold, brash, and unapologetic, and it also broke down barriers. It showed TV executives that African American leads could rake in Nielsen success. Sanford and Son wasn’t just a success in Black homes, it achieved something that few thought it could at the time, crossover success, thanks to its edgy comedy, mainly provided by Foxx. Sanford and Son‘s legacy is very much secured, a timeless sitcom that had a major impact on the sitcom genre as a whole.

4

‘WKRP in Cincinnati’ (1978–1982)

Image via CBS

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As soon as you read the title of this entry, you immediately thought of the iconic theme song, didn’t you? Of course, you did, and who could blame you if you’re humming it now. But WKRP in Cincinnati was a lot more influential beyond that famous theme song. The sitcom was iconic in its character-driven ensemble cast, and it further cemented the workplace sitcom as a major part of the genre’s base.

WKRP in Cincinnati was a timeless sitcom in the fact that it was a very real depiction of the radio business. I feel like a lot of readers may not know this, but the main plot followed the station as it transitioned from Top 40 to rock to lift sagging ratings, and the station’s DJs having to adapt to the change in formats, with hilarious results. Radio stations suddenly changing formats is a real thing, and WKRP in Cincinnati captured the struggle that comes with having to switch formats, especially as a small business. This was one of those sitcoms that actually got more popular in syndication, which makes it timeless thanks to its perfect blend of humor and workplace social commentary.

5

‘M*A*S*H’ (1972–1983)

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While the “dramedy” sitcom has become quite commonplace on television today, it was nuanced in the 1970s. Before M*A*S*H premiered in 1972, sitcoms followed a general script: introduce a problem the main protagonists had to solve, keep the audience laughing, and make sure everything was solved at the end of each episode. That all changed with M*A*S*H, which refused to follow the same sitcom tropes, and pioneered the dramedy, which blended the intense drama that comes with war, with traditional sitcom humor.

By molding serious subject matter with humor, it formed an whole new subgenre that would later become a staple within the sitcom genre. Make no mistake, M*A*S*H was very much aware of the social upheaval that was happening during the time. The sitcom reflected the anti-war sentiment of the decade, realistically showing the changing views of morality and conflict. As much as M*A*S*H had heavy dramatic moments, it certainly didn’t let you forget that it had comedy as well, creating a timeless classic that many sitcom fans will forever remember.

6

‘Good Times’ (1974–1979)

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With Sanford and Son breaking down the door for black-led sitcoms, Norman Lear went to work creating his next big hit surrounding the plight of an inner-city Black family. This time, he teamed up with Eric Monte to create one of the decade’s most timeless sitcoms, Good Times. While Sanford and Son provided edgy, rapid-fire jokes, Good Times was a family sitcom that, for the first time, featured a Black household that had two parents, the tough and caring James Evans (John Amos) and the loving but stern Florida Evan (Esther Rolle).

Despite their seemingly dire financial situation, the Evans proved that as long as you had fight and family, you could get through any challenge, and the Evans family certainly went through challenges. The sitcom was mirrored into what society was like for Black families, but it also made sure to show its resilience. And, we can’t talk about Good Times without mentioning J.J. Evans (Jimmy Walker), James and Florida’s eldest child who became the breakout star of the series with his trademark catchphrase “Dyn-o-mite!” Despite some iffy seasons after Amos left the series, Good Times is still an influential sitcom with a very, very catchy theme song. Oh, and for what it’s worth, that final lyric in the theme was “hanging in a chowline.” You’re welcome.

7

‘All in the Family’ (1971–1979)

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“Those were the days.” You can hear the theme song that the Bunkers were wishing for the “good old days” to come back after a decade of social change. Let’s be real for a second — a sitcom like All in the Family would be cancelled in a heartbeat, as modern audiences would probably be repulsed with the main protagonist being classified as a “lovable bigot.” But, what many modern audiences would miss is how Norman Lear, the show’s creator, used the Bunker family to tell raw, socially relevant storylines.

In a sense, All in the Family was the anti-Happy Days. There was no lighthearted escapism celebrating nostalgia. This was a show that broke taboos and showed, in an unflinching way, the struggle between an American culture that was changing and the older generation that was struggling to adapt to the changing times. All in the Family showed the sitcom world that it could tell relevant social commentary without the fluff, and still be humorous in the process. The ’70s sure were the days, weren’t they?

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All In The Family

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Release Date

1971 – 1979-00-00

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Showrunner

Norman Lear

Directors

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Norman Lear

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• 

  Carroll O’Connor

  Archie Bunker

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  Jean Stapleton

  Edith Bunker

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Plenty of shows took 2025 audiences by surprise. Alongside Jack Thorne and Stephen Graham‘s Adolescence stunning audiences into vital discourse and hit medical drama The Pitt outperforming most expectations, it was a Hulu political thriller that no one expected to be a post-apocalyptic sci-fi tale that is possibly the year’s biggest TV surprise. Paradise, a series that marked a reunion for This Is Us showrunner Dan Fogelman and star Sterling K. Brown, delivered eight unmissable episodes in 2025 and a quick second-season renewal.

After almost a year of waiting, that second season finally arrived today, with the first three episodes debuting at the same time on Hulu. “In season two, Xavier searches for Teri out in the world and learns how people survived the three years since The Day,” an official synopsis for Season 2 reveals. It continues, “Back in Paradise, the social fabric frays as the bunker deals with the aftermath of Season 1, and new secrets are uncovered about the city’s origins.”

Today, the embargo was lifted on official reviews of Paradise Season 2, revealing that critics are already confirming this to be no one-season wonder. On review aggregator Rotten Tomatoes, following the first 30 reviews, Paradise Season 2 boasts a near-perfect 90% score and is already “certified fresh.” Called a “cut-above” by one critic and “the best show of the year” by another, this impressive score is already a 4% increase on the four-time Primetime Emmy-nominated first season.

‘Paradise’ Season 2 is “Even Better” Than Season 1

Image via Hulu

Among the many critics praising Paradise Season 2 is Collider’s Meredith Loftus, who awarded it a 7/10 score in her official review. “Fogelman and Brown ambitiously bring Paradise to the next level with Season 2, and, by and large, they succeed,” Loftus wrote, adding, “Even with a heavier emphasis on life after the apocalypse, the show’s political thriller themes remain as timely as ever, and the stakes are elevated with twists that connect the season’s characters in surprising ways.” She concluded:

“Previously, Brown discussed a three-season plan for the series, and if things go according to plan, then Paradise Season 2 is a worthy middle chapter that stands strong while setting up an explosive Season 3.”

The first three episodes of Paradise Season 2 are available now on Hulu. Make sure to stay tuned to Collider for the latest updates.

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Release Date

January 26, 2025

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Network

Hulu

Showrunner

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Dan Fogelman

Directors

Gandja Monteiro

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Writers

Jason Wilborn

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By Brian Myers
| Published 11 seconds ago

Hollywood legend Denzel Washington has notched a great number of memorable films in his four decades as an actor. From his Oscar-winning performances in Glory (1989) and Training Day (2002) to his critically acclaimed roles in Fences (2016) and The Tragedy of MacBeth (2021), there’s arguably never been a more versatile star in the last two generations. But a largely passed-over film from Washington’s early days is Devil in a Blue Dress.

Devil in a Blue Dress follows WWII veteran Easy Rollins (Denzel Washington), a recently unemployed Los Angeles resident who is looking for some fast cash. He’s hired to find the missing lover of one of the city’s mayoral candidates, following leads that take him to some of the city’s seediest locations. Along the way, Rollins discovers the missing woman’s connections to organized crime, prompting him to reconnect with a dangerous person from his pre-war days.

The film slowly builds into a terrific entry in the neo-noir genre in which Rollins becomes caught in a murder plot and a political scandal. Devil in a Blue Dress successfully combines the ominous setting and complicated plotlines integral to a noir film while bringing in known performers like Denzel Washington for experienced touches.

Denzel Washington might have received praise at the time from critics, but the overall reception was a mixed bag. Those who evaluated Devil in a Blue Dress seemed to all be in agreement with the story’s tone and visual appeal but panned several of Washington’s co-stars.

The film wasn’t the box-office success TriStar Pictures had hoped for. It only brought in $22 million in global box office receipts against a $27 million production budget.

Devil in a Blue Dress has received a lot more love in the 30 years since its theatrical release. The Denzel Washington film has a solid 92% score across 118 critics on Rotten Tomatoes, along with 88/100 on Metacritic. Fans of noir and neo-noir have managed to find the film after its release on VHS (and later DVD) in the late 1990s, with physical media helping to build a solid fan base.

While Denzel Washington’s performance in Devil in a Blue Dress shouldn’t be overlooked, one aspect of the film that comes close to overshadowing the players on screen is the music. The eerie score by Elmer Bernstein perfects the tone, and the film’s soundtrack is one of the best of the decade. Featuring some of the greats of blues and jazz, the songs from the era in which the film was set brought to life the moods of the late and great Thelonious Monk, Duke Ellington, and Bull Moose Jackson.

Alongside Denzel Washington, Devil in a Blue Dress co-stars Tom Sizemore, Jennifer Beals, Maury Chaykin, and Don Cheadle. The film was also a vehicle for actor Carl Franklin to boost his career as a director. Franklin had previously been at the helm of the films Nowhere to Run and One False Move. Franklin is also credited with developing the screenplay from the 1990 Walter Mosley novel of the same name.

Devil in a Blue Dress was the brainchild of director Franklin, who had read and loved Mosely’s novel. The author loved the script that Franklin penned and agreed to serve as an associate producer of the film.

Influencer Bianca Dias has died days after undergoing a cosmetic surgery procedure.

The Brazilian content creator died on Thursday, February 19, according to her loved ones. Dias, who was known for documenting her experience as a model, most recently shared content from a vacation in London in December 2025. Those posts appeared to be her last activity on social media.

Dias’ friend Jeff Carlos took to Instagram to share news of her death, writing, “Death is nothing at all. Our bond has not been broken.”

Patrícia Ganden, who is also a social media creator, shared a tribute for Dias.

Related: Influencer Deaths of 2026: Bianca Dias and More Stars We’ve Lost This Year

Social media is paying tribute to many influencers who died in 2026. While recording a private New Year’s Eve livestream, Sergio Jiménez died at age 37. Spanish outlets El País and El Periódico reported that he was allegedly completing challenges, including consuming alcohol and cocaine in exchange for money. Days later, content creator Athira Auni […]

“I just know that we had beautiful moments, incredible conversations, may God comfort the family,” she wrote via Instagram after news broke of Dias’ death. “I will remember with much affection and pride of you.”

Dias’ pal Giovanna Borges confirmed that she had recently undergone cosmetic surgery and had initially been “in recovery” at home, adding, “She had a pulmonary clot, had 2 seizures, and when she arrived at the hospital, she was no longer alive.”

Borges continued: “I want to thank the countless messages, thank you all who took the time to worry and send messages, if you can pray for the family regardless of religion, I will be extremely grateful! 🤍.”

A wake was held for Dias on Friday, February 20, in São Paulo, Brazil.

Dias’ death comes after social media paid tribute to several influencers who have died in 2026. Earlier this month, Damiano Alberti died after a three-year battle with cancer.

“A part of us has flown away forever,” his family wrote via Instagram. “Damiano is free from everything he went through.” The statement continued, “Thank you for always supporting and respecting him; he loved his whole community and was proud of what he managed to build.”

Related: Influencer Deaths of 2025: Hailey Okula, Emilie Kiser’s Son and More

The online community honored the lives of several social media influencers who died in 2025. In April, nursing influencer Hailey Okula died at age 33 after giving birth to her first child. Her husband, Matthew Okula, confirmed that she died from an amniotic fluid embolism (AFE). Dr. Precious Barnes, DO, a family medicine physician specializing […]

Jéssica Daugirdas died one month prior at age 35 after being hospitalized with sepsis amid her colorectal cancer battle. “It is with deep sorrow that we announce the passing of Jessica,” her family wrote in a statement via Instagram. “God, in His infinite wisdom, has taken our warrior to be with Him, after she fought bravely until the end, with strength, faith and courage.”

The statement continued: “In this time of grief, we unite in prayer so that the Lord may comfort the hearts of all family and friends, and that the peace of Christ may sustain each one.”

That same month, Esther Thomas died after undergoing surgery.

“Greetings … We the family of Esther Thomas [A.K.A Sunshine] with pain in our heart we regret to announce the sudden demise of our beloved sister and daughter Esther Thomas who suddenly passed away on the 9th of January 2026 after an unsuccessful surgery,” read a statement shared via Thomas’ Instagram. “She had [a] fibroid and was operated on so she couldn’t make it so we are trying to put things in place so we could put her to rest.”

By Chris Snellgrove
| Published 1 hour ago

Recently, Marvel icon Chris Hemsworth appeared on Smartless, a podcast hosted by Jason Bateman, Sean Hayes, and Will Arnett. They talked about many topics, and the conversation inevitably shifted to Marvel movies. At this point, I honestly expected the Thor actor to do some shameless advertising about how good these films are, essentially turning his appearance into a PR stunt for the MCU.

To my surprise, though, he got very frank about his absolute worst Marvel movie: Thor: Love and Thunder. In looking back on this disappointing film, Hemsworth admitted that it was “kind of like a Monty Python sketch” and “we sort of took the piss probably a little too much.” Thor was once one of the most serious heroes in the MCU, and the actor admitted that Love and Thunder left the fandom asking a very blunt question about his godly warrior: “Why is he a goofball?”

A Fumbling Franchise Pivots

It would be one thing if Thor: Love and Thunder were the first Thor film to be very silly. However, that happened earlier in Thor: Ragnarok, an openly comedic film that was a very deliberate tonal shift for the entire franchise. Such a picot was considered necessary because the previous film, Thor: The Dark World, was a critical stinker that many fans consider the worst entry in the entire MCU.

Director Taika Waititi turned Thor: Ragnarok into a kind of cosmic road-trip buddy comedy, and the film became a critical and commercial hit. Chris Hemsworth noted that the movie offered “quite a twist” on what audiences were expecting, thanks in large part to “Taika’s tone.” He noted that the fandom found the movie “fun” specifically because of the pivot to comedy: “there was a huge…appreciation for the shift.”

Too Much Of A Good Thing

In retrospect, Hemsworth believes that Thor: Love and Thunder failed because it leaned too far into comedy, making it feel more “like a Monty Python sketch” than a traditional superhero film. He pointed out that there was “backlash” to returning director Taika Waititi’s humor, with audiences wondering why Thor had become such a “goofball.” This is quite fair, honestly: Ragnarok allowed Hemsworth to show off his considerable comedic chops, but in Love and Thunder, he went from cracking jokes to being a joke.

On paper, Waititi was just giving fans more of the zany humor that they appreciated so much in Ragnarok. But it’s genuinely hard to make a follow-up to a good comedy, which is why so many sequels (like Caddyshack II and Blues Brothers 2000) to hilarious movies are downright terrible. This sequel’s humor was far inferior to Ragnarok, and even when the comedy in Thor: Love and Thunder did work, it felt bizarrely out of place given the dark storylines driving the film.

Were We Supposed To Laugh Or Cry?

Thor: Love and Thunder had some broad comedy beats that fell flat, including those stupid screaming goats. But if you rewatch the movie, more of the jokes land than you likely remember. The essential problem with this movie was that the tonal shifts between comedic and dramatic moments were so severe that they gave you whiplash!

The Big Bad of the movie is motivated to kill all deities in the universe after his daughter starves to death, and he discovers the god he so fervently worships just doesn’t care. Meanwhile, Jane Foster is dying of cancer, and every time she transforms into Thor, it makes her cancer worse. But she is willing to court death itself to save the universe from Gorr, a self-proclaimed God Butcher seeking justice for the little girl he loved more than anything else.

These are intense plots, and they are that much more impactful because Christian Bale and Natalie Portman give such astounding performances. In another director’s hands, this would have been a recipe for a heartbreaking, dramatic film that takes more cues from the Jason Aaron Thor comics they are based on. But Taika Waititi tried to tug on our heartstrings and make us laugh all at once, resulting in a movie that was disjointed at its best and unhinged at its worst.

To Be Or Not To Be (Funny)

The first two Thor movies were downright Shakespearean, with Thor taking himself very seriously. The second two were comedic, with audiences generally preferring Ragnarok and hating Love and Thunder. In retrospect, these movies have a clear pattern: every other Thor film has been a stinker, but the odd-numbered ones are good.

Now, Marvel is at a crossroads and must decide whether to continue making Thor the class clown of the Avengers or return him to his more grounded roots. We’ll know what they’ve decided when Avengers: Doomsday finally hits theaters later this year. Here’s hoping that the MCU stops “taking the piss” (to borrow Hemsworth’s blunt Aussie slang) and helps fans start believing in this god once again.

Kandi Burruss on Divorce
Something Happened W/ Todd & I Said … I Can’t Do This!!!

Published
February 23, 2026
11:14 AM PST

Los Angeles, you’re cordially invited to the ceremony of the century! Collider is thrilled to partner with IMAX and Warner Bros. to offer our readers the opportunity to catch an advance screening of Academy Award-nominated writer and director Maggie Gyllenhaal’s The Bride! ahead of its official opening day. In addition to seeing the movie early, we’ll get to experience this highly anticipated take on the timeless classic the way it’s meant to be seen, in the wholly immersive IMAX format. Read on for more information on how you can enter for your chance to win free tickets.

Starring Academy Award nominee Jessie Buckley and Academy Award winner Christian Bale, The Bride! begins its bold tale in the 1930s, where a forlorn Frankenstein (Bale) has made his way to the streets of Chicago in search of a companion. He’s sought the help of the groundbreaking Dr. Euphronius (Annette Bening), a scientist capable of creating his counterpart. To do so, Frankenstein and Dr. Euphronius bring a murdered young woman back to life, reborn as The Bride (Buckley). Together, the pair set off on an unexpected journey of murder and possession as outlaw lovers. The film also stars Peter Sarsgaard, Academy Award nominee Jake Gyllenhaal, and Oscar winner Penélope Cruz.

Don’t Miss ‘The Bride!’ in IMAX

As part of the Filmed For IMAX program, Gyllenhaal worked closely with IMAX throughout filming, beginning with pre-production, to collaborate on bringing her vision to life in a fully immersive way. Together, they conducted camera tests and regrouped at IMAX headquarters to best utilize IMAX’s Expanded Aspect Ratios to support the storytelling of The Bride!. With Gyllenhaal’s careful eye, IMAX is crafted into the writer-director’s creative language, used specifically and technically to bolster the narrative.

In total, the film features 72 minutes of IMAX’s exclusive Expanded Aspect Ratio (EAR), coming to almost half of its runtime. Each frame of the movie is enhanced with IMAX’s Digital Media Remastering (DMR) technology for innovative detail and clarity. Additionally, The Bride! also features a sound mix optimized specifically for IMAX theaters to complement the electrifying industrial rock score that you can feel, amplifying the movie’s energy.

You can’t miss out on The Bride! in IMAX for the full experience. Select theaters, with Laser locations, will be treated to certain sequences that expand to IMAX’s towering 1.43:1 aspect ratio, providing the largest image area available in the world.

‘The Bride!’ IMAX Screening Details

Mark your calendars, Los Angeles! If you’re looking to experience The Bride! in stunning IMAX presentation, we guarantee this special screening event is one you won’t want to miss. Join us near LAX on Wednesday, March 4th, with the screening kicking off at 7:00 p.m.

How to Get ‘The Bride!’ IMAX Tickets

This special IMAX screening is expected to fill up fast, and seating is limited, so don’t wait to reserve your spot! For your chance to win free tickets to see The Bride! early in theaters in IMAX, hit this link to provide us with your email address. Be sure to claim your seats while they’re still available, and let us know if you plan to bring a guest. RSVP as soon as possible to secure your spot! Winners will be contacted in the days leading up to March 4th, and only confirmed RSVPs will be admitted.

The Bride! premieres in theaters and IMAX on March 6th. Be sure to check out Collider or more special event screenings.

Image via Warner Bros. Discovery

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March 6, 2026

Runtime

126 Minutes

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