Category: Movies/TV

As Super Bowl LX approaches on February 8, 2026, Hollywood’s usual Big Game marketing frenzy looks different this year. Some of the biggest names in film; Netflix, Apple Original Films, Sony, and Warner Bros. etc  are reportedly opting out of traditional Super Bowl advertising for their upcoming releases.

The move is striking because for decades, the Super Bowl has been the ultimate stage to debut movie trailers, with over 100 million viewers tuning in worldwide. Traditionally, a well-timed Big Game spot can spark massive social media buzz, drive trailer views, and generate early ticket sales. But this year, these studios are taking a different path.

Reports confirm that Netflix is skipping Super Bowl ad slots for its upcoming films, while Apple Original Films is also sitting out, favoring other promotional channels. Sony Pictures will not be buying movie ad space during the Big Game, and Warner Bros. is absent as well, despite its history of high-profile Super Bowl campaigns. Instead of spending millions on 30-second TV spots, these studios are focusing on digital-first marketing, using online trailers, social media campaigns, and targeted fan events to reach audiences without the massive price tag.

Not all studios are sitting on the sidelines. Disney, Universal, and Paramount are expected to lead the Super Bowl film marketing charge this year, with trailers for major blockbusters. Fans can anticipate promos for Toy Story 5, The Mandalorian & Grogu, and Super Mario Galaxy, among others. This split shows a strategic divide in Hollywood, with some studios viewing the Super Bowl as an essential launchpad while others are betting on digital-first campaigns and extended hype-building.

Several factors explain the shift. Skyrocketing costs make a 30-second Super Bowl ad increasingly expensive, with average prices hitting $8 million, not including production or talent fees. Digital platforms like YouTube and social media allow studios to reach their audiences more precisely. Meanwhile, many franchises are adopting strategies that favor sustained hype through social campaigns, trailers, and exclusive previews rather than relying on a single broadcast moment.

Even without Netflix, Apple, Sony, and Warner Bros. participating, the Super Bowl will still feature high-profile trailers and teasers. For studios that do advertise, the game remains a chance to set the tone for their biggest releases of the year. The takeaway is clear: Hollywood is experimenting with where, when, and how to reach audiences. The Super Bowl remains important, but it is no longer the automatic marketing must-have for every studio.

Nearly two decades after The Devil Wears Prada became a defining film about ambition, fashion, and power, the world finally got its first look at the highly anticipated sequel. The official trailer for The Devil Wears Prada 2 premiered during the 2026 GRAMMY Awards, turning the music industry’s biggest night into a global stage for cinema and signaling that this sequel is positioned as a cultural event rather than a simple continuation of the story.

The decision to debut the trailer during the GRAMMYs was more than a marketing move. The original film thrived at the intersection of fashion, celebrity, and cultural influence, and the sequel’s trailer release in this context highlights how the filmmakers are framing it as a conversation about relevance, legacy, and power in a modern, rapidly changing world. The trailer immediately made clear that the sequel is not just revisiting nostalgia; it is reflecting on what these characters and the world they inhabit have become.

The trailer confirms that the core cast is fully intact. Meryl Streep returns as the formidable Miranda Priestly, Anne Hathaway reprises her role as Andy Sachs, Emily Blunt is back as Emily Charlton, and Stanley Tucci returns as Nigel. Their presence cements the film as a direct continuation of the story rather than a reboot or spin-off. However, the dynamics have shifted. Whereas the original focused on a young assistant navigating the demands of a powerful editor, the sequel appears to explore a reversal of power and perspective. Runway magazine, once untouchable in its dominance, now faces a landscape shaped by declining traditional media, digital transformation, and a new set of challenges. Emily Charlton has evolved from a sharp-tongued assistant into a formidable executive with influence of her own, and Andy Sachs returns not as an outsider but as a seasoned professional who understands the inner workings of the industry she once aspired to join.

In addition to the returning cast, the sequel introduces new faces, including Kenneth Branagh, Lucy Liu, Justin Theroux, and Pauline Chalamet, suggesting a broader exploration of fashion, media, and corporate power beyond the walls of Runway. These characters, though still largely mysterious, hint at fresh tensions and alliances that could redefine the stakes of the story.

What makes this sequel particularly relevant is the timing. The world of fashion media has changed dramatically since 2006. Influence has shifted from editors and magazines to social media algorithms and global digital audiences. Authority is constantly being challenged by relevance. By revisiting these characters now, the film has the opportunity to explore not only personal growth but also how power, ambition, and culture intersect in an industry transformed by technology and shifting societal values.

The Devil Wears Prada 2 is scheduled for a theatrical release on May 1, 2026. Directed by David Frankel and written by Aline Brosh McKenna, the film promises to combine the sharp dialogue and character-driven storytelling that made the original a cultural touchstone with a contemporary lens on ambition and influence.

The trailer’s debut at the GRAMMYs makes one thing clear: this is not a film content to merely look back. By framing its characters as seasoned professionals navigating a new world rather than young assistants climbing a ladder, the sequel positions itself as a reflection on power, adaptation, and the pursuit of relevance in 2026. Miranda Priestly is back, Andy Sachs is back, Emily Charlton is back, and they all carry with them the weight of experience, ambition, and cultural authority. Whether the film fulfills its promise remains to be seen, but for now, the message is unmistakable: the world of The Devil Wears Prada has returned, sharper, smarter, and as stylish as ever.

The Nigerian film industry is at a crossroads and the recent online conversation involving Funke Akindele and Kunle Afolayan has unintentionally brought that reality into sharp focus.

While social media see the moment as a personal “saga,” between the film makers, the substance of the discussion has little to do with rivalry. Instead, it exposes a fundamental divide in Nollywood’s production and release ecosystem: the growing tension between cinema-led filmmaking and streaming-first distribution, particularly via platforms like Netflix.

Funke Akindele and Kunle Afolayan represent two of Nollywood’s most successful yet structurally different approaches to filmmaking.

Funke Akindele’s recent run has been defined by cinema dominance. Her projects are built to thrive in theatres, relying on strong opening weekends, repeat viewership, and sustained audience attention over several weeks. This cinema-first model places heavy emphasis on visibility, demanding relentless promotion to keep films culturally relevant and commercially viable during their theatrical lifespan.

Kunle Afolayan’s recent body of work, by contrast, has leaned more toward platform-backed production, particularly through Netflix. In this system, films are often greenlit with clearer financial parameters, predefined distribution agreements, and a primary focus on content value rather than box-office optics. Promotion exists, but it is rarely as intense or personal as what cinema releases now demand.

At the centre of the debate is the burden of promotion.

Kunle Afolayan’s comments about the exhaustion that comes with modern film marketing echo a growing sentiment among filmmakers. 

“It is draining. I want to make a film if you guarantee me that I don’t have to dance to sell that film”

“There’s no competition. I don’t want two billion in cinema, or even one billion, if I won’t make ten million from it.”

Cinema releases in Nigeria increasingly require creators to act not just as directors or producers, but as full-scale digital entertainers  constantly producing skits, trends, behind-the-scenes content, and viral moments to sustain public interest.

Funke Akindele’s indirect response reframes the issue entirely. Her message is simple: every filmmaker must choose what works for them. Cinema success, in her case, is inseparable from aggressive marketing, audience engagement, and cultural presence. It is not a burden, it is the business.

“If you can’t beat them or join them, create your own path. No allow jealousy burn you. The sky is so big for everybody to fly. Eyin Werey jojo!!!”

“I’m not the one hindering your progress. Ka rin ka po, yiyeye ni n ye ni.” 

“Go ahead and create alternative promotion or marketing strategies for promoting your business, or hire a company to handle it. You can do it! The opportunities are endless, and everyone has their own path. I’m focused on mine, and I have faith in God’s plan for me.” 

One reason this conversation resonates is because cinema and streaming measure success differently.

Cinema success is public and immediate: Ticket sales, Opening-weekend figures, Records broken and Audience turnout.

Streaming success is quieter and less transparent: Licensing value, Global reach, Completion rates and Long-term catalogue relevance.

Netflix productions do not need daily online performances from filmmakers to survive. Cinema films often do.

The Funke Akindele–Kunle Afolayan discourse highlights a larger shift happening across Nollywood. As streaming platforms reassess budgets and cinema costs continue to rise, filmmakers are being forced to make strategic choices earlier in the production process.

Neither path is wrong. But they are no longer the same road.

Nollywood is no longer unified by a single definition of success. The industry has matured into a space where cinema blockbusters and streaming originals coexist  sometimes uneasily under the same umbrella.

The current conversation is not about who is right or wrong. It is about what kind of industry Nollywood wants to be in the next decade.

The Funke Akindele–Kunle Afolayan moment matters because it captures Nollywood in transition. And how filmmakers respond to this divide may shape the future of Nigerian cinema more than any box-office record ever could.

Netflix’s Regency-era romance phenomenon Bridgerton returns with its fourth season, and fans are buzzing. With lavish ballrooms, new love stories, and unforgettable drama, Season 4 promises everything audiences love about the Ton plus some exciting surprises.

Netflix is rolling out Season 4 in two parts, giving fans plenty to anticipate:

• Part 1 premiered on January 29, 2026, featuring the first four episodes.
• Part 2 arrives on February 26, 2026, completing the season with the final four episodes.

Season 4 shifts focus to Benedict Bridgerton (Luke Thompson) and his romance with Sophie Baek (Yerin Ha). Inspired by Julia Quinn’s An Offer from a Gentleman, the season blends Regency romance with a classic Cinderella-style twist.

Sophie, a maid with secrets, navigates the glittering world of high society, while Benedict balances duty, desire, and family expectations. Meanwhile, the season explores class divides, forbidden love, and the complicated lives of the Ton’s elite; all against Netflix’s signature lavish set designs. 

• Returning favorites: Colin Bridgerton and Penelope continue their story as new parents, adding warmth and humor.
• New faces: Katie Leung as Lady Araminta Gun, Michelle Mao, and Isabella Wei bring fresh energy to the Ton’s social scene.
• Ensemble highlights: Season 4 balances returning cast members with newcomers, keeping the story fresh without losing its heart.

Behind the Scenes: Making the Ton Come Alive

The Masquerade Ball

One of Season 4’s most anticipated sequences is the masquerade ball, where Benedict and Sophie first meet. Netflix pulled out all the stops:

• 172 custom costumes and 160 wigs created for the scene.
• Set designers infused a “Midsummer Night’s Dream” vibe to capture romance and fantasy.

Luke Newton & Cast Insights

While Colin Bridgerton isn’t the romantic lead this season, Luke Newton shines behind the scenes. Interviews reveal:

• Newton is proud of Colin’s growth, now a supportive and grounded figure in the Ton.
• On set, the cast enjoys playful camaraderie, helping new members like Yerin Ha feel welcome.
• Fans can glimpse their chemistry and teamwork in behind-the-scenes videos released by Netflix.

Filming Highlights

• Cast members shared off-camera moments transitioning from Regency costumes to modern clothes, giving fans a peek behind the curtain.
• On-set humor, wardrobe mishaps, and shared celebrations reflect the strong bond among the ensemble cast. 

Bridgerton Season 4 delivers more than romance. It explores class, identity, and the human side of high society while keeping viewers invested in the personal growth of beloved characters.

With its lavish production, clever storylines, and behind-the-scenes charm, the season proves why Bridgerton remains Netflix’s most talked-about drama.

The Fast & Furious franchise is officially gearing up for its final lap. Universal Pictures and star Vin Diesel have confirmed that the next and last mainline installment will be titled Fast Forever, hitting theaters on March 17, 2028. Fans worldwide are already buzzing about what promises to be a cinematic finale that closes nearly three decades of high-octane action, family drama, and unforgettable moments.

Since the release of the original The Fast and the Furious in 2001, the franchise has grown from street racing stories into a global phenomenon. Over the years, it has delivered epic car chases, daring heists, and family-centered storytelling that has captured the hearts of millions.

Vin Diesel, who has been the face of the franchise, shared the announcement with a heartfelt tribute to the late Paul Walker, who played Brian O’Conner:

“No one said the road would be easy… but it’s ours… And a legacy… lasts forever.”

With Fast Forever, the series aims to honor its long-running storylines, characters, and fans one last time.

Fast Forever follows Fast X (2023), which ended on a cliffhanger, leaving fans eagerly awaiting the ultimate conclusion. Production has faced delays and rescheduling, but now the franchise has a confirmed title and release date, bringing the story full circle after 27 years.

From street races in Los Angeles to globe-spanning adventures, the franchise has constantly pushed the limits of action cinema. Fast Forever is expected to combine adrenaline-pumping stunts with emotional moments that honor the series’ history.

The franchise is known for breaking the rules of physics on the big screen. Expect nothing less in Fast Forever. Long-running character arcs, family dynamics, and the legacy of Brian O’Conner are likely to take center stage.

Fast Forever is more than just another action film; it’s the conclusion of a franchise that has influenced an entire generation of filmmakers and audiences. From its humble street racing beginnings to becoming a global action powerhouse, Fast & Furious has consistently delivered spectacle, heart, and a message about family that resonates beyond the screen.

March 17, 2028, is now marked on fans’ calendars as the day the final chapter races into theaters, promising a fitting and unforgettable farewell.

Fans of the BBC spy thriller The Night Manager finally have exciting news: the series is officially returning for a third season. Tom Hiddleston, who reprises his role as Jonathan Pine, confirmed the development during a guest appearance on This Morning, just days before the Season 2 finale on February 1, 2026.

The show, which returned after a ten-year hiatus, has been carefully plotted by its creators. Hiddleston revealed that the current season was designed as the first part of a 12-episode overarching story arc, ensuring that the narrative continues seamlessly into future seasons.

For fans worried about another long wait, Hiddleston reassured viewers that the gap between Seasons 2 and 3 will be far shorter than the decade-long pause between the first two seasons. While exact production dates or release timelines for Season 3 have not been announced, the confirmation signals that the spy saga is far from over.

The Night Manager originally gained acclaim for its gripping storytelling, intense performances, and high-stakes espionage. With Season 2 introducing new storylines and expanding the universe, Season 3 is expected to build on this momentum, further exploring Jonathan Pine’s dangerous missions and complex alliances.

As anticipation builds, fans are eager to see how the series will continue to adapt John le Carré’s spy fiction for modern audiences, maintaining the mix of suspense, intrigue, and sharp character drama that made the original so compelling.

With Hiddleston at the helm and the creative team committed to a multi-season arc, The Night Manager Season 3 promises to deliver the spy thriller fans have been waiting for; without a decade-long wait this time.

After years of speculation, production delays, and endless fan theories, HBO’s cultural phenomenon Euphoria is finally returning for Season 3, marking a new chapter for one of television’s most talked-about dramas.

Since debuting in 2019, Euphoria has grown beyond a teen drama into a defining show about addiction, identity, friendship, trauma, and the emotional chaos of growing up in the digital age. Now, with the upcoming season, the series moves its characters beyond high school and into a more uncertain adult world.

And from early details, Season 3 may be the show’s biggest transformation yet.

Fans have waited nearly four years since Season 2 aired in early 2022. Production delays, industry strikes, and scheduling conflicts slowed development, leaving viewers unsure when the show would return.

HBO has now confirmed that Euphoria Season 3 premieres in April 2026, ending one of the longest waits between seasons for a major TV drama in recent years.

The new season is expected to continue the show’s tradition of emotionally intense storytelling and cinematic visuals, elements that helped turn the series into a global pop-culture conversation.

One of the biggest changes coming in Season 3 is a major time jump, moving the story forward several years.

Instead of picking up immediately after Season 2’s events, the characters are now adults dealing with life beyond high school; careers, independence, broken friendships, unresolved trauma, and real-world consequences.

This shift allows the series to evolve alongside its audience, many of whom have also grown since the show first premiered.

For viewers, this means familiar characters facing unfamiliar challenges, with relationships likely to change in unexpected ways.

Most of the main cast members are returning, ensuring continuity for longtime fans.

Expected returning stars include:

• Zendaya as Rue Bennett
• Hunter Schafer as Jules Vaughn
• Sydney Sweeney as Cassie Howard
• Jacob Elordi as Nate Jacobs
• Alexa Demie as Maddy Perez
• Maude Apatow as Lexi Howard
• Colman Domingo as Ali Muhammed
• Eric Dane as Cal Jacobs
• Chloe Cherry as Faye

Several supporting characters are also expected back, while some roles may be reduced or absent due to storyline developments from Season 2.

Season 3 also expands its world with new characters, bringing in fresh energy and new story possibilities.

High-profile additions reportedly include musicians, film veterans, and unexpected celebrity names, signaling HBO’s intent to make the upcoming season feel larger and more ambitious.

New characters often reshape Euphoria’s social landscape, and Season 3 could introduce new alliances, conflicts, and emotional stakes.

Fans are particularly curious about whether Rue finds stability or falls deeper into chaos, a question central to the emotional core of the show.

With the long break between seasons, expectations are extremely high. Some viewers worry the gap may reduce momentum, while others believe the time jump could refresh the show and prevent it from repeating old storylines. Euphoria remains one of HBO’s most anticipated returning series, and its premiere will likely dominate online conversations once again.

Netflix is officially bringing one of anime’s most legendary franchises to global streaming audiences.

The platform has secured a deal to release the long-developing live-action Gundam movie, with Sydney Sweeney and Noah Centineo attached to star. The project, produced by Legendary Pictures in collaboration with Bandai Namco Filmworks, marks a major step forward for an adaptation fans have been waiting years to see.

With production now moving ahead, the announcement signals Netflix’s continued push into big-budget genre storytelling and global pop-culture franchises.

First launched in 1979, Mobile Suit Gundam helped redefine anime storytelling. Unlike traditional giant-robot shows focused purely on action, Gundam explored the political, emotional, and human consequences of war.

Over decades, the franchise has expanded into: Multiple anime series and films, Manga and novels, Video games and the globally popular Gunpla model kits.

Hollywood stars Sydney Sweeney and Noah Centineo are confirmed to lead the film, though character details remain under wraps.

The movie is being directed by Jim Mickle, known for character-driven genre projects, suggesting the adaptation may aim to balance spectacle with emotional storytelling.

Legendary Pictures is producing the film alongside Bandai Namco Filmworks, while Netflix will distribute it globally.

No release date has been announced yet, and filming timelines have not been confirmed.

While anime fans have long known Gundam, a Netflix release introduces the universe to millions of viewers who may never have watched the series.

Netflix continues to invest heavily in franchise-level productions capable of driving global conversation, following successes with anime adaptations and large-scale genre projects.

Hollywood studios are increasingly adapting anime properties, with mixed results. Successful projects like Netflix’s One Piece have shown it can work when handled with care.

Translating Gundam into live action won’t be easy. The franchise spans multiple timelines and story arcs, making it difficult to decide which direction the movie should take.

Early reactions online show cautious optimism.

Some fans are excited to see Gundam finally receive a large-scale Hollywood treatment, while others worry about whether the adaptation will respect the original material.

Still, anticipation remains high, especially with strong production backing and recognizable stars attached.

Sam Raimi’s latest thriller, Send Help, has debuted with a 94% critics’ score on Rotten Tomatoes, confirming it as the highest-rated film of his directing career. This surpasses his previous top-rated work, Spider-Man 2 (93%), with Drag Me to Hell (2009) close behind at 92%.

Based on verified Rotten Tomatoes critics’ scores:

• Send Help (2026) — 94%
• Spider-Man 2 (2004) — 93%
• Drag Me to Hell (2009) — 92%

The rating confirms Raimi’s continued ability to deliver films that resonate strongly with critics across genres.

Send Help has been widely praised for its blend of suspense, dark humor, and character-driven storytelling. Raimi’s signature visual energy and precise pacing are evident, showing that he continues to masterfully balance horror and thriller elements.

Critics note the film’s successful combination of tension, emotional stakes, and genre creativity, contributing to its record-breaking Rotten Tomatoes score.

Rotten Tomatoes reflects the percentage of critics who gave a positive review. Send Help’s 94% rating indicates broad critical approval, and cements its status as a high point in Raimi’s filmography.

The score may still adjust slightly as more reviews are added, but the rating is already confirmed as Raimi’s best-reviewed film.

With Send Help, Sam Raimi achieves a notable career milestone, surpassing Spider-Man 2 to reach his highest Rotten Tomatoes rating ever. The film demonstrates that, decades into his career, Raimi continues to create critically acclaimed, genre-defining cinema.

The 53rd Annual Saturn Awards have announced their 2026 nominations, spotlighting the year’s standout achievements in science fiction, fantasy, horror, superhero, action-adventure, and animation across both film and television.

This year’s list reflects a highly competitive awards season, with major franchise releases and prestige TV series dominating the conversation. Films like Avatar: Fire and Ash, Superman, and Mission: Impossible – The Final Reckoning lead the movie categories, while shows including Andor, Severance, The Last of Us, and Stranger Things anchor the television slate.

Notably, DC Studios recorded a strong showing with 13 total nominations, driven by Superman, Peacemaker, Creature Commandos, and Harley Quinn, highlighting the studio’s growing momentum across live-action and animated storytelling.

Below is the complete list of 2026 Saturn Awards nominations, ahead of the ceremony scheduled for March 8, 2026.

FILM CATEGORIES

Best Science Fiction Film

• Avatar: Fire and Ash
• Bugonia
• Jurassic World: Rebirth
• Predator: Badlands
• The Running Man
• Tron: Ares

Best Fantasy Film

• Freakier Friday
• Hamnet
• How to Train Your Dragon
• The Life of Chuck
• Lilo & Stitch
• Wicked: For Good

Best Horror Film

• 28 Years Later
• The Conjuring: Last Rites
• Final Destination: Bloodlines
• Frankenstein
• The Monkey
• Weapons

Best Thriller Film

• Highest 2 Lowest
• The Housemaid
• The Long Walk
• Marty Supreme
• Sinners
• Wake Up Dead Man: A Knives Out Mystery

Best Action / Adventure Film

• Ballerina
• F1: The Movie
• Mission: Impossible – The Final Reckoning
• Novocaine
• Now You See Me: Now You Don’t
• One Battle After Another

Best Film Adaptation (From Another Medium)

• Black Phone 2
• Captain America: Brave New World
• The Fantastic Four: First Steps
• A Minecraft Movie
• Superman
• Thunderbolts: The New Avengers

FILM PERFORMANCE CATEGORIES

Best Actor in a Film

• David Corenswet (Superman)
• Tom Cruise (Mission: Impossible – The Final Reckoning)
• Tom Hiddleston (The Life of Chuck)
• Oscar Isaac (Frankenstein)
• Michael B. Jordan (Sinners)
• Pedro Pascal (The Fantastic Four: First Steps)
• Sam Worthington (Avatar: Fire and Ash)

Best Actress in a Film

• Rachel Brosnahan (Superman)
• Cynthia Erivo (Wicked: For Good)
• Elle Fanning (Predator: Badlands)
• Julia Garner (Weapons)
• Vanessa Kirby (The Fantastic Four: First Steps)
• Zoe Saldaña (Avatar: Fire and Ash)
• Emma Stone (Bugonia)

Best Supporting Actor (Film)

• Jacob Elordi (Frankenstein)
• Edi Gathegi (Superman)
• Jeff Goldblum (Wicked: For Good)
• Stephen Lang (Avatar: Fire and Ash)
• Delroy Lindo (Sinners)
• Mads Mikkelsen (Dust Bunny)
• Ebon Moss-Bachrach (The Fantastic Four: First Steps)

Best Supporting Actress (Film)

• Oona Chaplin (Avatar: Fire and Ash)
• Mia Goth (Frankenstein)
• Ariana Grande (Wicked: For Good)
• Amy Madigan (Weapons)
• Hailee Steinfeld (Sinners)
• Florence Pugh (Thunderbolts: The New Avengers)
• Sigourney Weaver (Dust Bunny)

FILM TECHNICAL CATEGORIES

Best Director

• James Cameron (Avatar: Fire and Ash)
• Ryan Coogler (Sinners)
• Guillermo del Toro (Frankenstein)
• James Gunn (Superman)
• Christopher McQuarrie (Mission: Impossible – The Final Reckoning)
• Matt Shakman (The Fantastic Four: First Steps)
• Dan Trachtenberg (Predator: Badlands)

Best Visual / Special Effects

• Avatar: Fire and Ash
• The Fantastic Four: First Steps
• How to Train Your Dragon
• Mission: Impossible – The Final Reckoning
• Superman
• Wicked: For Good

TELEVISION CATEGORIES

Best Science Fiction Television Series

• Andor
• The Ark
• Foundation
• Severance
• Silo
• Star Trek: Strange New Worlds

Best Fantasy Television Series

• Anne Rice’s Mayfair Witches
• Ghosts
• The Librarians: The Next Chapter
• Outlander
• Stranger Things
• Wednesday

Best Horror Television Series

• Anne Rice’s Talamasca: The Secret Order
• The Institute
• It: Welcome to Derry
• The Last of Us
• The Walking Dead: Dead City
• Yellowjackets

Best Superhero Television Series

• Daredevil: Born Again
• Gen V
• Invincible
• Ironheart
• Peacemaker
• The Sandman

Best Animated Television Series

• Creature Commandos
• Harley Quinn
• Marvel Zombies
• Predator: Killer of Killers
• Star Wars: Tales of the Underworld
• Your Friendly Neighborhood Spider-Man
• Solo Leveling Season 2

TELEVISION PERFORMANCE CATEGORIES

Best Actor in a Television Series

• Sterling K. Brown (Paradise)
• John Cena (Peacemaker)
• Michael C. Hall (Dexter: Resurrection)
• Sam Heughan (Outlander)
• Diego Luna (Andor)
• Norman Reedus (The Walking Dead: Daryl Dixon)
• Adam Scott (Severance)

Best Actress in a Television Series

• Caitriona Balfe (Outlander)
• Millie Bobby Brown (Stranger Things)
• Sydney Chandler (Alien: Earth)
• Britt Lower (Severance)
• Melissa McBride (The Walking Dead: Daryl Dixon)
• Jenna Ortega (Wednesday)
• Rhea Seehorn (Pluribus)