Another spyware maker caught distributing fake Android snooping apps
Jamie Lee Curtis’ MURDER, SHE WROTE Delays Release to February 2028
The long-running crime series Murder, She Wrote is getting its own modern-day reboot. Although the show might fall slightly outside of my generation, it’s a classic for the ’80s and ’90s kids out there. What’s not to love about a charismatic writer/detective who uncovers crime in the murder capital of the country? Jamie Lee Curtis confirmed in an interview with Entertainment Tonight over the summer that she would star in the upcoming project. Now, Universal Pictures reveals when the film hits the silver screen. Murder, She Wrote opens in theaters on February 4, 2028, which is a delay from its original December 22, 2027 release date. CBS/Sony Pictures
Curtis steps into the shoes of tenacious crime writer and amateur sleuth Jessica Fletcher. The character is famously played by Angela Lansbury in the original series, which ran from 1984 to 1996. Universal Pictures picks up the big screen reboot, with Pitch Perfect director Jason Moore at the wheel. There aren’t many details out yet about what the story will be like, but I’m sure little nuggets will follow soon.
Curtis dropped the news of her involvement last July during a red carpet interview for Freakier Friday. “We’re a minute away. But very excited. Very excited,” she told Entertainment Tonight. “But I’m tamping down my enthusiasm until we start shooting. I have a couple other things to hustle and then I’ll get to enjoy that work.”
RELATED ARTICLE
Jamie Lee Curtis Will Star in MURDER, SHE WROTE Reboot FilmWe are a minute away, indeed. The slated release date for this project is nearly two years away. The film likely moved its release date to not compete with blockbusters such as Avengers: Secret Wars and The Lord of the Rings: Hunt for Gollum, both of which hit theaters in December 2027.
DisneyMoore brings Amy Pascal, Phil Lord, and Christopher Miller on board to produce the reboot for the beloved crime drama. Pascal, Lord, and Miller most recently collaborated on Project Hail Mary, a spectacular film that’s currently dominating theaters everywhere. Curtis definitely fits the bill for a top-notch sleuth, and we can wait to see more.
Once again, Murder, She Wrote opens in theaters on February 4, 2028.
Originally published on March 26, 2026.
The post Jamie Lee Curtis’ MURDER, SHE WROTE Delays Release to February 2028 appeared first on Nerdist.
Tim Cook is stepping down. What happens to Apple now?
Uber CTO Praveen Neppalli Naga joins stacked StrictlyVC SF lineup for April 30 event
Jon Favreau Admits He Tried to Stop Tony’s Death in ENDGAME
The MCU as we know it owes a very large debt to director Jon Favreau. The actor/director turned Robert Downey, Jr.’s version of Tony Stark into a household name with the first Iron Man movie back in 2008, which launched the MCU. Perhaps because of his attachment to the character of Tony Stark, we’ve now learned that Favreau was very against the character’s death in Avengers: Endgame. So much so, that he begged Endgame directors, the Russo Brothers, not to go through with it. But in hindsight, he now admits he was wrong. Via Variety, here’s what he told Jimmy Kimmel about his strong reservations about Iron Man’s noble sacrifice:
I called the Russos. I was like, ‘I don’t know about — I don’t think people — I don’t know if people are going to like — I don’t know! I think it’s going to really impact people because there they were kids that grew up with that character. But I have to tell you, it was handled so well by them. And Gwyneth [Paltrow] and Robert [Downey Jr.] did such a wonderful job acting, and I think it added a poignancy to it. I think they did a wonderful job. I was wrong. I was wrong. I was choked up! Even though it’s a movie, those characters have been part of my life for so long.
Marvel StudiosTony’s death in Endgame gave the movie the right dose of gravitas, elevating it above the average blockbuster. Because of Tony’s beloved status, the loss felt massive. So we’re glad Favreau can see that now. But also, we get it. After all, Iron Man catapulted Jon Favreau to A-list director status, and he returned to direct Iron Man 2.
He didn’t direct the third film, but he continued to play Happy Hogan in the MCU Spider-Man films. And he came back as Happy as recently as Deadpool & Wolverine. So his connection to the world Iron Man opened up for him is strong. But while Tony Stark (at least the one from the Sacred Timeline) may remain dead, Robert Downey, Jr. will return soon as Doctor Doom. In the Multiverse, no one is ever really gone. They’re just on a break.
The post Jon Favreau Admits He Tried to Stop Tony’s Death in ENDGAME appeared first on Nerdist.
Nothing introduces an AI-powered dictation tool
DeepSeek previews new AI model that ‘closes the gap’ with frontier models
In another wild turn for AI chips, Meta signs deal for millions of Amazon AI CPUs
Porsche is adding an all-electric Cayenne coupe to its lineup
Stream THE VAMPIRE LESTAT’s Cover of ‘Dancing with Myself’
Ever since The Vampire Lestat’s cover of Billy Idol’s “Dancing with Myself” released into the world in the incredible trailer for The Vampire Lestat, The Vampire Lestat’s loyal fans, the Fledglings, have been absolutely CLAMORING for the full version of the cover. And now, we are happy to announce that you can indeed stream The Vampire Lestat’s version of “Dancing with Myself” via all of the rock star’s artist profile pages. And yes, it is worth your four minutes. Excuse you if you even questioned that. And even if you have heard many versions of “Dancing with Myself” before, you’ve never heard The Vampire Lestat‘s version, honey. And it is a rocking good time.AMC
The Vampire Lestat himself couldn’t be reached for any type of comment about this song today. Perhaps he has grown tired of hurling insults at Daniel Hart. But we bet if we could get a quote from him about his cover of “Dancing with Myself, Lestat would say, “This is just a joyful homage to an icon, darling.” He probably wouldn’t get into how desperately lonely he himself is and how, even though he’s constantly adored, he feels like he’s dancing with himself. Could it also be a certain other Vampire’s pointed disinterest that has got Lestat down? “Never,” Lestat might declare. But we know he wishes Louis would say nice things about his music.
We, ourselves, are obsessed with The Vampire Lestat’s cover of “Dancing with Myself.” It just puts us in a good mood. It makes us want to dance. And we love the juxtaposition of that with the angst behind the music. True Lestat. Listening to this rock ‘n roll cover of “Dancing with Myself” is like revving up a really fast car and zooming off. We literally feel the wind in our hair. And we love when the beat breaks down toward the end.
Do yourself a favor and press play, like with all of The Vampire Lestat‘s music, you won’t regret.
RELATED ARTICLE
The Vampire Lestat SLAYS with Second Single, ‘All Fall Down’The Vampire Lestat debuts on Sunday, June 7, on AMC and AMC+. The synopsis for the season shares, “In the new rock and roll centric season, the Vampire Lestat goes on an electric multi-city tour while being haunted by “muses” from his wild and rebellious past. As his band’s popularity and star power rises, so does Lestat’s influence over vampires and humans alike, leaving others to contend with Lestat’s power in the face of the Great Conversion, an unnatural surge in the vampire population. In addition to Reid, The Vampire Lestat stars Jacob Anderson, Assad Zaman, Eric Bogosian, Delainey Hayles and Jennifer Ehle and is executive produced by award-winning producer Mark Johnson, creator, writer and showrunner Rolin Jones, Hannah Moscovitch, along with Christopher Rice and the late Anne Rice.“
The post Stream THE VAMPIRE LESTAT’s Cover of ‘Dancing with Myself’ appeared first on Nerdist.
Bob Iger rejoins Thrive Capital as advisor after Disney exit
Authorities arrest special forces soldier who allegedly made $400K on Polymarket bet involving Maduro operation
Redwood Materials loses COO amid layoffs, restructuring
These are the countries moving to ban social media for children
Bret Taylor’s Sierra buys YC-backed AI startup Fragment
Instagram tests a new ‘Instants’ app for sharing disappearing photos
The Minds Behind THE LOST BOYS Talk Musical ’80s Vampires
One of the most iconic vampire movies of the ’80s, and of the most iconic ’80s movies, period, is Joel Schumacher’s The Lost Boys. The perfect blend of horror, comedy, and hair product, the film also had a killer soundtrack, emblematic of the MTV era. So it makes sense that forty years later, it would find new life as a musical on Broadway. The stage adaptation comes from two-time Tony-winning director Michael Arden (Maybe Happy Ending) and the equally Tony-winning set designer Dane Laffrey (Parade), who have been working together since their college days. Nerdist got the chance to chat with both creatives on the eve of The Lost Boys‘ big Broadway premiere. Matthew Murphy
NERDIST: Michael, you have an incredible resume for directing theater, and you just recently won a Tony. You probably could have done anything as your next project. So, given the infamous track record of vampire musicals in the past thirty years or so, what made you say, “I’m gonna be the one to do it right!”
MICHAEL ARDEN: I think it was just about the tone of the thing. It’s got something for everybody. I mean, it never takes itself too seriously. It has gothic themes, but it also has high comedy. And ultimately, it’s about a family and young people searching for belonging more so than about vampirism. So I thought that could be something that really sang. We’ll see if we can escape the curse!
What’s your relationship with the original 1987 Joel Schumacher movie? And was there a particular scene that stood out to you in the film that made you say, “I see this as a musical?” Or was it the whole thing?
DANE LAFFREY: Fascinatingly, neither of us had seen it when we were approached about it, and we had missed it. It was just not a film that either of us had seen. So, I think we confronted it first, not as “Oh, we’ve known and loved this for years and years.” It was more about, well, “What could this be? Does this have the inherent ingredients that could lend itself to successfully existing in this form?”
Matthew MurphyBecause I think what’s important with any of the conversations about the movie-to-musical pipeline is not just can we successfully present a version of this film, but can we actually elevate this material? Can the musicalization of it become greater than the sum of its parts somehow? Because otherwise, I think just go watch the movie. It’s a great and beloved film, and I think we wanted to investigate how it could be elevated, made to feel timeless and relevant. And the film is 40 years old at this point. But it felt like it had all of the potential. It was ripe with potential for all the reasons Michael just said.
Every Broadway show has a breakout song. So, in both your opinions, which one do you see as being that for Lost Boys?
ARDEN: Oh my gosh. I think there are so many. I mean, we’re talking about my favorite band’s music, so that’s a hard one for me. But I would say “Belong to Someone” is an incredible tune that I think will be around for a really long time. I think “Superpower” is an incredible anthem. I think “Wild” is an amazing song. And I think “If We Make It Through the Night” is an amazing song, and “Now Forever” is classic musical theater. I don’t know. Those are a few of my faves, but it’s hard. Yeah, it’s an embarrassment of riches. It’s been really interesting in this process to be confronted with so much good music as we’ve streamlined the show, making it tighter, better, and shorter. And it’s been interesting because there were no stinkers, just good stuff, which is a significant problem to have.
Matthew MurphyThe original The Lost Boys is both horror and comedy. How did you strike that balance for a totally different avenue of telling this particular story?
ARDEN: I think it’s just about walking that tightrope. You have to play both very honestly. Great humor is played with incredible seriousness, you know what I mean? As horror has to have the same musicality as comedy in some ways. So it’s always making sure that one doesn’t outweigh the other, so that it’s like a good rollercoaster is only good when you do the drop, because you do the climb. So it feels a little like a rollercoaster ride. When do we need to surprise? Horror is about surprise, but so is comedy. So in many ways, they abide by the same rules.
You have a former Elphaba in Shoshana Bean as family matriarch Lucy Emerson. What did having her pedigree in the cast bring to this production for you?
ARDEN: Well, Shoshana has been a friend for a really long time, and somebody who I’ve also just adored on stage and in concert. And to have her be a part of this as the matriarch of this family is just a real treat for me. Having known her when we were at the age to play the ingenues, and now to see her take on this role, and to lead a company with such grace, and to command the stage as she does. There’s no better match of voice and music. It’s really exciting. And I’m really excited for people to see her be funny, and also do incredibly complex, dramatic work. And then also sing as nobody else can. World-class.
The Lost Boys MusicalThe titular Lost Boys and the Santa Carla kids are largely unknowns. Was it important for you to have fresh faces in these roles? Or did it just work out that way while casting these parts?
ARDEN: For me, I thought with this, the show wanted to be the star, but also, this was hopefully a show that could make stars. And so really the only thing that we were looking for was the best, most talented people for the role. That was our guiding principle throughout casting. And we took a long time to cast the show, and I think we found the perfect group of people. They’re not only incredibly talented, but also wonderful human beings and generous. Hopefully, there’ll be household names soon. It’s like I hope people are going to leave discovering the actor, but remembering the character because of what they’re doing, which is the greatest compliment I can give them.
The Santa Carla Boardwalk is almost a character in the film. How did you translate that within the limitations of a stage production?
LAFFREY: I mean, I think it’s an enormous challenge for sure. Not only because, as you say, but it’s super iconic, and it’s sweeping and huge. But also because the production is not solely set there. It is a mode that the space needs to be able to take on. And I think what we’ve had to do is to just handle it with the greatest degree of specificity that we could. So the sort of fewest number of details communicating the most information, and the most visual bang for the buck spatially. So we conjure the boardwalk in the same way we do any of the other things. With elements that redefine a larger container.
Matthew MurphyThe biggest change that I can gather for your version is that the Lost Boys are a rock band and not a biker gang. Was that one of the first ideas you had when translating the film to the stage?
ARDEN: Well, they’re both. They’re both a rock group and a biker gang. Yeah, actually, it was one of our first ideas. I mean, it’s like what’s a way in a musical for vampires to cast their spell? And it seemed like obviously singing, which they sing both in choral ways, but they are also a rock band. And so we have these musicians, actors, singers, stuntmen, and flyers who play these parts. We just thought that that could be an extension of the musical metaphor, that we could use music as a storytelling, a diegetic storytelling device in this. And I think it’s pretty fun. I mean, who doesn’t want the Lost Boys to be their favorite band? What’s hotter than a rockstar?
When it came to designing the show, how did you keep it looking authentically ‘80s, as opposed to an ’80s-themed, Spirit Halloween party?”
ARDEN: I think it’s the same with the tone of both the horror and the comedy. It’s about honesty without fetishism. Yeah. It’s not like fetishizing the ’80s or making fun of the ’80s. It’s showing its most authentic and sexy version.
RELATED ARTICLE
Counting Down the Top 12 Modern Vampire FilmsLAFFREY: And a lot of the work is about a layering of periods that we find ourselves in 1987, but that boardwalk was built at the turn of the century and has been added to. But there’s some extraordinary research from the 30s and 40s of what that place looked like, and then what it looked like when the film was shot, and also what it looks like now and how that has happened. And that’s been something we’ve been very interested in. And there’s not a lot that we’re doing in terms of the environment that feels like on the head 80s.
Matthew MurphyI read that the Sam Emerson character is perhaps queer in this version. Obviously, in the movie, he has that sexy Rob Lowe poster in his room. So you didn’t pull that out of thin air. Was that the genesis of Sam possibly being gay in your version?
ARDEN: I wouldn’t necessarily say that Sam Emerson is queer. He examines what the word “queer” means in the show, and looks at how that word has been used throughout the decades. And so he has a line in “Superpower,” which will be a spoiler: “Mom smiles, but doesn’t get me/Michael can’t protect me/but maybe I can be a hero here/make it cool to be queer.” Because his mom says, “Well, everybody here is a little bit queer, aren’t they?” And he picks that up in terms of being able to put things together, and his idiosyncrasies are actually what saves the day. And so it’s kind of a celebration of queerness that hopefully resonates with a modern audience on a different level than it would to somebody in 1987. And who knows? Sam might have grown up to be queer, but that’s not really what our show is about.
Speaking of queer themes, in the movie, there’s definite sexual tension between Michael and David. It almost feels like the character of Star is just there to “No Homo” the vibes. How did you give Star more agency and characterization for the stage version?
Matthew MurphyARDEN: We wanted to make sure we knew where she was coming from and what her dilemma was, trapped between two worlds. Also, giving voice to women of that time, and anyone now, who has felt trapped. She has a song called “War” where she dissects that. And we wanted to give her an integral part in saving the day because — spoiler alert — the women save the day as much as the men. And that was really important to us, especially when half our writing team is female. Also, Alan Frog, one of the Frog Brothers, is played by an incredible actor named Jennifer Duka, who wants to join the army and uses her last name, Alan. So we wanted to open up the idea of brotherhood as not just specifically for boys, but about a shared interest in a common direction.
What’s been your most unexpected joy in bringing The Lost Boys to life on stage in this way?
ARDEN: For me, it’s been seeing eight-year-olds and 80-year-olds attend, and both be delighted. And I love asking people, “Oh, do you have a favorite character?” And they’re all different. I think the fact that it’s such a diverse audience and they’re all having a blast together is exactly what I hoped to make, and that everyone has someone to identify with. That’s why we go to the theater. So we can see ourselves, and that so many different people can come, so that families can come see this, so that you can be obsessed with the movie and have vampire teeth installed, and come and love it. And you can also be a mom who just wants a fun time out with your kids. Because the more people we can get to come to the theater, I think the more we can hopefully create empathy in the world.
The Lost Boys MusicalFinally, to whichever one of you dares to answer: does the iconic sexy, shirtless, oiled-up saxophone guy get a nod in the stage production?
LAFFREY: More than a nod! [laughs]
AREDEN: Get ready. There was certainly baby oil in the budget.
—
The Lost Boys musical is now playing at the Palace Theater on Broadway. You can purchase tickets at the show’s official website.
The post The Minds Behind THE LOST BOYS Talk Musical ’80s Vampires appeared first on Nerdist.
HOKUM Is a Delightfully Chilly Haunted Hotel Flick (Review)
In his previous two movies—2020’s Caveat and 2024’s Oddity—Irish filmmaker Damian McCarthy has proved himself horror’s biggest proponent of cursed objects and haunted places. His dark fairy tale-style of storytelling weaves together oddball characters, shady criminal mysteries, supernatural comeuppance, and big, bulgy eyeballs. I, for one, love all this stuff. McCarthy’s new movie, Hokum, takes and refines all of these elements, with a clearly bigger scale which includes a Hollywood star, Adam Scott. The result has more shine but no less macabre, ghostly fun.
NEONBoth Caveat and Oddity took place in houses, each with their own vibe of creepiness. Hokum moves the action to a rural hotel which is both bigger and more ornate than you’d expect and rundown and behind the times. It has the feel of a smaller Irish Overlook Hotel, but one with people actually there. McCarthy’s horrors are at once familiar and inexplicable, common yet unknowable, and always a mix of the eldritch and the everyday. And boy, let me tell you, Hokum has some absolute top-tier, A-level scare moments.
In Hokum, Scott plays a horror writer named Ohm Bauman. He’s a fairly miserable man who lives alone and is a dick to everyone. When he hits a bit of a wall with his latest book, he decides to travel to Ireland to spread his parents’ ashes at the very hotel at which they spent their honeymoon. Bauman “endears” himself to members of the staff, especially bartender Fiona (Florence Ordesh), and meets the drug-using drifter Jerry (David Wilmot) who lives in a campervan out in the woods.
The hotel, however, has more than few secrets. The owner and management have locked and chained the honeymoon suite, owing to their belief that the ghost of a witch haunts it. You get things like that in Irish folklore. Some, like Jerry, fully believe in such tales. When members of the hotel staff start disappearing, Bauman and Jerry decide they need to get inside the honeymoon suite and face whatever dark nightmares might reside.
NEONHokum is, first and foremost, a blast. I had such a good time, even as I was tensing up and jumping at the various scares. McCarthy does a terrific job of keeping the audience on their toes in terms of what kind of scare will hit them next. Hit plots are often a bit too twisty for their own good, and that is true here, but the main throughline, coupled with the gorgeously grim setting and variety of scary stuff, makes up for any narrative bagginess. That really is my major complaint, and luckily, it doesn’t spoil the movie.
Adam Scott is one of my favorite actors working today. Through roles in Parks and Rec and Severance, he’s a hero I feel I can always root for. But let us not forget what a perfect asshole he can play, as he did for so many years earlier in his career. He brings a lot of that to play Ohm Bauman, especially in the first half. Just an absolute piece of crap to most of the people he meets. But, naturally, as the movie goes on and we spend more time with him, we get a small window into why he is the way he is.
Hokum once again exemplifies McCarthy’s ability to create mood and atmosphere through the geography of the setting. The hotel feels lived-in, each room and corridor has its own distinct look. The honeymoon suite is basically a haunted house within a haunted house. I have to wonder if McCarthy had a particular place in mind when writing the script and tried to replicate it with the set. Or, did he tailor the scares to the set once it was built? Either way, it’s such a triumph. One specific scare is one of the best I’ve seen in years. McCarthy always gives us at least one banger per movie, and he sure did it here.
NEONI love it when a voice in horror grows without changing their ethos. Getting NEON on board, plus a Hollywood star, doesn’t make Hokum any less Irish or any less weird. Ghosts, witches, and an effed-up, bug-eyed donkey man. I loved it all. Like the best haunted houses, this one gives you plenty of chills while you can’t help smiling.
⭐ (4 of 5)
Kyle Anderson is the Senior Editor for Nerdist. He hosts the weekly pop culture deep-dive podcast Laser Focus. You can find his film and TV reviews here. Follow him on Letterboxd.
The post HOKUM Is a Delightfully Chilly Haunted Hotel Flick (Review) appeared first on Nerdist.