https://www.hollywoodpressreleases.com/press-releases/ Thu, 15 Oct 2026 11:45:58 +0000 MyBB https://www.hollywoodpressreleases.com/press-releases/thread-27.html Fri, 09 Oct 2026 08:09:36 +0000 yezi8899]]> https://www.hollywoodpressreleases.com/press-releases/thread-27.html Jaya Slot has quickly emerged as a leading option for the region’s gaming community.
What sets the platform apart from its competitors? First, its extensive game library features over 800 slot titles from top global developers including Pragmatic Play, Microgaming, and Habanero, so there is something to match every preference, from nostalgic classic fruit slots to high-stakes progressive jackpots that regularly pay out six-figure sums to lucky players. The onboarding process is also remarkably streamlined: new users can complete sign-up and verification in less than two minutes, with no unnecessary hoops to jump through before they can start playing.
The platform also supports a wide range of local banking options, from popular regional e-wallets and standard bank transfers to crypto payments for users who prefer more anonymous transactions. Most withdrawal requests are processed in under 24 hours, a huge upgrade from the industry average of 3 to 5 business days. It also offers robust responsible gaming tools, including customizable deposit limits, session timers, and self-exclusion options to help players keep their hobby fun and balanced. 24/7 live chat support is available to resolve any issues, from deposit questions to game glitches, in under five minutes on average.
Whether you are looking to play a few quick rounds during a work break or chase big jackpot wins over the weekend, Jaya Slot delivers a seamless experience on both desktop and mobile browsers, with no clunky required app downloads to slow you down.]]> Jaya Slot has quickly emerged as a leading option for the region’s gaming community.
What sets the platform apart from its competitors? First, its extensive game library features over 800 slot titles from top global developers including Pragmatic Play, Microgaming, and Habanero, so there is something to match every preference, from nostalgic classic fruit slots to high-stakes progressive jackpots that regularly pay out six-figure sums to lucky players. The onboarding process is also remarkably streamlined: new users can complete sign-up and verification in less than two minutes, with no unnecessary hoops to jump through before they can start playing.
The platform also supports a wide range of local banking options, from popular regional e-wallets and standard bank transfers to crypto payments for users who prefer more anonymous transactions. Most withdrawal requests are processed in under 24 hours, a huge upgrade from the industry average of 3 to 5 business days. It also offers robust responsible gaming tools, including customizable deposit limits, session timers, and self-exclusion options to help players keep their hobby fun and balanced. 24/7 live chat support is available to resolve any issues, from deposit questions to game glitches, in under five minutes on average.
Whether you are looking to play a few quick rounds during a work break or chase big jackpot wins over the weekend, Jaya Slot delivers a seamless experience on both desktop and mobile browsers, with no clunky required app downloads to slow you down.]]> https://www.hollywoodpressreleases.com/press-releases/thread-26.html Fri, 09 Oct 2026 07:03:33 +0000 yezi8899]]> https://www.hollywoodpressreleases.com/press-releases/thread-26.html 其实想要解决海外玩国服游戏的网络问题并不难，选对专业的回国加速器游戏服务就能搞定。我身边不少留美的朋友都在用这款加速工具，它的国内节点全部采用BGP多线接入，不管你身处北美、欧洲还是东南亚，都能自动匹配最近的最优线路，大部分国服热门游戏的延迟都能稳定在50ms以内，基本和国内玩的体验没差。
除了游戏加速之外，它还支持国内主流视频平台、音乐平台的解锁加速，追剧、听版权歌、看国内赛事直播都能用，不用同时装好几个加速工具占内存。而且操作非常简单，下载安装后一键就能启动加速，不需要复杂的配置，新手也能快速上手，全程没有弹窗广告打扰，也不会限制带宽，开着后台打语音也不会卡顿。
如果你也常常因为海外网络限制玩不了国服，不妨试试这款专业的回国加速器游戏工具，不用再被高延迟、锁区的问题困扰，随时随地都能和国内的好友开黑联机。]]> 其实想要解决海外玩国服游戏的网络问题并不难，选对专业的回国加速器游戏服务就能搞定。我身边不少留美的朋友都在用这款加速工具，它的国内节点全部采用BGP多线接入，不管你身处北美、欧洲还是东南亚，都能自动匹配最近的最优线路，大部分国服热门游戏的延迟都能稳定在50ms以内，基本和国内玩的体验没差。
除了游戏加速之外，它还支持国内主流视频平台、音乐平台的解锁加速，追剧、听版权歌、看国内赛事直播都能用，不用同时装好几个加速工具占内存。而且操作非常简单，下载安装后一键就能启动加速，不需要复杂的配置，新手也能快速上手，全程没有弹窗广告打扰，也不会限制带宽，开着后台打语音也不会卡顿。
如果你也常常因为海外网络限制玩不了国服，不妨试试这款专业的回国加速器游戏工具，不用再被高延迟、锁区的问题困扰，随时随地都能和国内的好友开黑联机。]]> https://www.hollywoodpressreleases.com/press-releases/thread-24.html Sat, 26 Sep 2026 07:45:14 +0000 glico]]> https://www.hollywoodpressreleases.com/press-releases/thread-24.html ARC Raiders BluePrints may assume extra ammunition automatically solves the weapon's weaknesses, but sustained fire only matters when it changes an enemy's position, timing, or access to cover. Used without a clear purpose, the larger magazine becomes an expensive drain on ammunition and recovery supplies.

What the Amplified Rattler Actually Changes

The Rattler's upgraded identity comes from combining incendiary rounds with extended capacity rather than simply increasing damage. A 64-round magazine gives you enough reserve to maintain pressure through a longer exchange, especially around objectives, doorways, and narrow routes where enemies cannot rotate freely. The important threshold is not the full magazine; it is the number of controlled bursts required to make an opponent move.

Incendiary ammunition also changes how cover functions. An enemy who remains behind the same crate may avoid immediate damage, yet continued fire can make that position increasingly difficult to hold. This is most valuable when your squad already controls a second angle. Without another source of pressure, burning ammunition into cover creates noise and attention without producing a meaningful advantage.

1) Use the first burst to test movement, then commit ammunition only after confirming enemy presence.

2) Keep enough reserve for the exit route instead of spending every round during the opening exchange.

3) Upgrade the weapon only after your regular supply route supports repeated incendiary deployments.

Build Around Movement, Not Blind Suppression

The strongest Rattler setup pairs pressure with mobility. Carry equipment that lets you change elevation, cross an exposed lane, or reach a fresh angle immediately after forcing movement. The practical sequence is simple: pressure the position, watch for the escape, rotate before the enemy settles, and attack from the new line. This turns the magazine into a tool for creating decisions rather than a substitute for accurate aim.

Players who prefer quick single-target eliminations may find the weapon inefficient during short encounters. The Rattler needs time and repeated contact to show its value, so it performs better when enemies are defending predictable routes or protecting valuable objectives. Against a target that disappears after one sighting, firing continuously usually offers poor resource efficiency and increases the chance of a third party joining the fight.

Farming and Resource Management

Do not build your entire loadout around the Amplified branch before confirming that your farming loop can replace ammunition consistently. Early progression is the worst time to spend rare materials on a weapon that you cannot field regularly. Test the Rattler across several runs, track how many magazines each successful extraction consumes, and compare that cost with the value of the encounters it wins.

Farm compact routes with reliable ammunition and healing drops before scheduling high-risk objective runs.
Store incendiary reserves for contested areas rather than routine fights against isolated targets.
Review extraction results after each session and adjust your carried ammunition to actual usage.

The Research Workstation also changes long-term planning. Since Amplified configurations are intended as fifth-tier branches, rushing one unlock can delay broader equipment improvements that provide more consistent value. Prioritize the Rattler when your squad already has dependable recovery tools, mobility options, and a secondary weapon for finishing exposed enemies.

Who Should Use It

This version suits players who enjoy controlling space, denying comfortable cover, and shaping the route an enemy must take. It is especially effective for coordinated teams that can call movement immediately and punish a retreating target. Solo players can still benefit, but they must be more selective because the weapon's pressure window is harder to convert without a teammate holding the next angle.

The key mistake is judging the Rattler by ammunition count alone. Its real value appears when every burst supports a positional objective: forcing a retreat, protecting a revive, delaying an approach, or opening a rotation. Players who want a sustained-pressure weapon and can fund its ammunition will gain a distinct tactical option through cheap ARC Raiders BluePrints.]]> ARC Raiders BluePrints may assume extra ammunition automatically solves the weapon's weaknesses, but sustained fire only matters when it changes an enemy's position, timing, or access to cover. Used without a clear purpose, the larger magazine becomes an expensive drain on ammunition and recovery supplies.

What the Amplified Rattler Actually Changes

The Rattler's upgraded identity comes from combining incendiary rounds with extended capacity rather than simply increasing damage. A 64-round magazine gives you enough reserve to maintain pressure through a longer exchange, especially around objectives, doorways, and narrow routes where enemies cannot rotate freely. The important threshold is not the full magazine; it is the number of controlled bursts required to make an opponent move.

Incendiary ammunition also changes how cover functions. An enemy who remains behind the same crate may avoid immediate damage, yet continued fire can make that position increasingly difficult to hold. This is most valuable when your squad already controls a second angle. Without another source of pressure, burning ammunition into cover creates noise and attention without producing a meaningful advantage.

1) Use the first burst to test movement, then commit ammunition only after confirming enemy presence.

2) Keep enough reserve for the exit route instead of spending every round during the opening exchange.

3) Upgrade the weapon only after your regular supply route supports repeated incendiary deployments.

Build Around Movement, Not Blind Suppression

The strongest Rattler setup pairs pressure with mobility. Carry equipment that lets you change elevation, cross an exposed lane, or reach a fresh angle immediately after forcing movement. The practical sequence is simple: pressure the position, watch for the escape, rotate before the enemy settles, and attack from the new line. This turns the magazine into a tool for creating decisions rather than a substitute for accurate aim.

Players who prefer quick single-target eliminations may find the weapon inefficient during short encounters. The Rattler needs time and repeated contact to show its value, so it performs better when enemies are defending predictable routes or protecting valuable objectives. Against a target that disappears after one sighting, firing continuously usually offers poor resource efficiency and increases the chance of a third party joining the fight.

Farming and Resource Management

Do not build your entire loadout around the Amplified branch before confirming that your farming loop can replace ammunition consistently. Early progression is the worst time to spend rare materials on a weapon that you cannot field regularly. Test the Rattler across several runs, track how many magazines each successful extraction consumes, and compare that cost with the value of the encounters it wins.

Farm compact routes with reliable ammunition and healing drops before scheduling high-risk objective runs.
Store incendiary reserves for contested areas rather than routine fights against isolated targets.
Review extraction results after each session and adjust your carried ammunition to actual usage.

The Research Workstation also changes long-term planning. Since Amplified configurations are intended as fifth-tier branches, rushing one unlock can delay broader equipment improvements that provide more consistent value. Prioritize the Rattler when your squad already has dependable recovery tools, mobility options, and a secondary weapon for finishing exposed enemies.

Who Should Use It

This version suits players who enjoy controlling space, denying comfortable cover, and shaping the route an enemy must take. It is especially effective for coordinated teams that can call movement immediately and punish a retreating target. Solo players can still benefit, but they must be more selective because the weapon's pressure window is harder to convert without a teammate holding the next angle.

The key mistake is judging the Rattler by ammunition count alone. Its real value appears when every burst supports a positional objective: forcing a retreat, protecting a revive, delaying an approach, or opening a rotation. Players who want a sustained-pressure weapon and can fund its ammunition will gain a distinct tactical option through cheap ARC Raiders BluePrints.]]> https://www.hollywoodpressreleases.com/press-releases/thread-23.html Sat, 26 Sep 2026 07:30:55 +0000 glico]]> https://www.hollywoodpressreleases.com/press-releases/thread-23.html Diablo 4 gear, the useful question is not whether one hit looks stronger; it is whether your key skills are ready more often across a full run.

Judge the Full Route, Not One Fight

In-Geom is a one-handed Legacy Unique whose appeal, as described here, comes from cooldown value tied to elite kills. That makes a stationary boss a poor test: a long single-target fight does not reproduce the repeated elite encounters that give the weapon its farming role.

Use the same character and a comparable dungeon route for several runs with your normal sword, then repeat with In-Geom. Compare average completion time, pauses between packs, and whether your main offensive cooldown is ready when the next fight begins. One lucky run can flatter either setup, so look for a pattern rather than a personal best.

◆ Track the skill that actually limits your clear speed, not every cooldown on the bar.

◆ Note how often you enter an elite fight waiting for that skill.

◆ Keep the route and play style as consistent as possible between tests.

This turns a vague impression into a practical decision. If your damage skill is available more often and the run finishes faster, the sword is helping where it matters. If only a defensive skill resets sooner, the benefit may be real but irrelevant to your farming pace.

Elite Density Sets the Weapon's Value

The weapon needs encounters close enough together to support a steady chain. Long empty corridors, detours, and pauses can break that rhythm. A route with tightly connected elite groups may therefore suit In-Geom better than a route that looks rewarding on paper but leaves you travelling between fights.

After a pack falls, move toward the next encounter instead of standing still to reorganize. Use mobility when it helps, but do not spend a key skill just to cross an empty stretch if that leaves you short at the next elite. The aim is to arrive ready, not merely to move quickly.

◆ Choose routes with frequent encounters when testing the weapon.

◆ Spend important cooldowns decisively when a strong pack is in reach.

◆ Avoid adding needless pauses between fights.

There is a limit to this approach: no route can create elite density that is not there. If the activity has long gaps or your build already has excellent cooldown availability, In-Geom may add little to the actual run.

Keep a Separate Setup for Bosses

A weapon can be excellent for clearing and still lose ground in a long boss encounter. If the value you gain depends on killing elites, that benefit may not carry over to a fight without the same sequence of kills. That is a role distinction, not a reason to force one weapon into every activity.

Keep your usual weapon available for bosses if it supports stronger sustained damage or preserves an important multiplier. Before switching, check what you give up as well as what In-Geom adds. A cooldown benefit is not automatically worth losing a major source of damage.

Decide by Consistency

Keep In-Geom in your farming loadout when repeated runs show better pace through elite-heavy content and your key skills line up more reliably with new packs. Set it aside when sparse encounters, already-short cooldowns, or lost damage outweigh that tempo. If you still need to fill a gear gap, buy Diablo 4 Items only after deciding which stats your build actually needs. Treat In-Geom as a specialized tool: test it across several runs, keep the setup that performs consistently, and switch weapons when the activity changes.]]> Diablo 4 gear, the useful question is not whether one hit looks stronger; it is whether your key skills are ready more often across a full run.

Judge the Full Route, Not One Fight

In-Geom is a one-handed Legacy Unique whose appeal, as described here, comes from cooldown value tied to elite kills. That makes a stationary boss a poor test: a long single-target fight does not reproduce the repeated elite encounters that give the weapon its farming role.

Use the same character and a comparable dungeon route for several runs with your normal sword, then repeat with In-Geom. Compare average completion time, pauses between packs, and whether your main offensive cooldown is ready when the next fight begins. One lucky run can flatter either setup, so look for a pattern rather than a personal best.

◆ Track the skill that actually limits your clear speed, not every cooldown on the bar.

◆ Note how often you enter an elite fight waiting for that skill.

◆ Keep the route and play style as consistent as possible between tests.

This turns a vague impression into a practical decision. If your damage skill is available more often and the run finishes faster, the sword is helping where it matters. If only a defensive skill resets sooner, the benefit may be real but irrelevant to your farming pace.

Elite Density Sets the Weapon's Value

The weapon needs encounters close enough together to support a steady chain. Long empty corridors, detours, and pauses can break that rhythm. A route with tightly connected elite groups may therefore suit In-Geom better than a route that looks rewarding on paper but leaves you travelling between fights.

After a pack falls, move toward the next encounter instead of standing still to reorganize. Use mobility when it helps, but do not spend a key skill just to cross an empty stretch if that leaves you short at the next elite. The aim is to arrive ready, not merely to move quickly.

◆ Choose routes with frequent encounters when testing the weapon.

◆ Spend important cooldowns decisively when a strong pack is in reach.

◆ Avoid adding needless pauses between fights.

There is a limit to this approach: no route can create elite density that is not there. If the activity has long gaps or your build already has excellent cooldown availability, In-Geom may add little to the actual run.

Keep a Separate Setup for Bosses

A weapon can be excellent for clearing and still lose ground in a long boss encounter. If the value you gain depends on killing elites, that benefit may not carry over to a fight without the same sequence of kills. That is a role distinction, not a reason to force one weapon into every activity.

Keep your usual weapon available for bosses if it supports stronger sustained damage or preserves an important multiplier. Before switching, check what you give up as well as what In-Geom adds. A cooldown benefit is not automatically worth losing a major source of damage.

Decide by Consistency

Keep In-Geom in your farming loadout when repeated runs show better pace through elite-heavy content and your key skills line up more reliably with new packs. Set it aside when sparse encounters, already-short cooldowns, or lost damage outweigh that tempo. If you still need to fill a gear gap, buy Diablo 4 Items only after deciding which stats your build actually needs. Treat In-Geom as a specialized tool: test it across several runs, keep the setup that performs consistently, and switch weapons when the activity changes.]]> https://www.hollywoodpressreleases.com/press-releases/thread-22.html Sat, 26 Sep 2026 06:43:09 +0000 glico]]> https://www.hollywoodpressreleases.com/press-releases/thread-22.html Path of Exile 2 Currency, compare the full loadout first rather than paying for a nominal skill-level increase that your setup barely uses.

Judge the core by damage uptime, not its label

Jiquani's Soul Core of Munitions adds +1 to Grenade Skill Gems, while Automation supports Totem Skills, Malediction supports Curse Skills, Targeting supports Mark Skills, and Rallying supports Warcry Skill Gems. The other variants listed for this system cover Strike, Nova, Slam, Hazard, Plant, Wind, and Storm skills. The practical question is whether the boosted family accounts for a meaningful share of your real DPS during a typical encounter. A Grenade build that spends most of a boss window laying traps or moving may gain less than its character sheet suggests; a setup that repeatedly lands its main Grenade during that window can convert the extra level into reliable damage.

That distinction also helps separate a genuine upgrade from an attractive socket. Track how many attacks or casts you land during a boss's vulnerable phase, then consider the time lost to animation lock and repositioning. If a core improves the skill you use only between cooldowns, its benefit may have low uptime. If it improves the skill that starts your burst window and clears incoming packs, the same bonus can affect both boss damage and routine progression. Core limits matter, too: the supplied item details specify one core and a level 50 requirement, so treat the choice as a focused weapon decision, not a bonus you can stack across slots.

Keep the weapon's job intact

Do not discard strong weapon stats just to fit a matching skill-family bonus. Start with a suitable base and the properties the build actually needs, such as physical or elemental damage for an attack setup, or relevant casting support where applicable. Then compare candidate weapons with the core included. For a Strike character, Severing is the family match; Quaking suits Slam setups, and Thundering supports Storm Skills. The correct match can beat a modest raw-stat edge, but it cannot automatically rescue a weapon whose core damage or other essential modifiers fall behind.

This is especially useful when moving from a leveling weapon into an endgame rare. Instead of rebuilding every part of the character at once, test the new weapon against the old one in the same map or boss encounter. Watch clear speed, the number of skill uses needed to finish a sturdy enemy, and whether you can keep damage up while avoiding attacks. Packs that scatter, rush into melee, or interrupt a slow setup can expose weak uptime; mobile bosses can do the same if your boosted skill needs a long commitment. Better damage mitigation or crowd control elsewhere may be more valuable than squeezing out a level when survival keeps cutting your attack time short.

A specialization choice, not a universal upgrade

Jiquani Soul Cores work best for players who already know which skill family defines their build and can preserve a weapon's core performance while adding the matching bonus. They are less compelling for mixed setups, builds whose damage is spread across unrelated families, or characters still changing their main skill during progression. Before committing, check the level requirement, the one-core limit, weapon stats, and actual damage uptime in the content you play. If an endgame purchase would complete a clear upgrade, compare it with other gear needs first; cheap POE 2 Divine Orbs may fit that plan, but the core only pays off when the weapon and build already work together.]]> Path of Exile 2 Currency, compare the full loadout first rather than paying for a nominal skill-level increase that your setup barely uses.

Judge the core by damage uptime, not its label

Jiquani's Soul Core of Munitions adds +1 to Grenade Skill Gems, while Automation supports Totem Skills, Malediction supports Curse Skills, Targeting supports Mark Skills, and Rallying supports Warcry Skill Gems. The other variants listed for this system cover Strike, Nova, Slam, Hazard, Plant, Wind, and Storm skills. The practical question is whether the boosted family accounts for a meaningful share of your real DPS during a typical encounter. A Grenade build that spends most of a boss window laying traps or moving may gain less than its character sheet suggests; a setup that repeatedly lands its main Grenade during that window can convert the extra level into reliable damage.

That distinction also helps separate a genuine upgrade from an attractive socket. Track how many attacks or casts you land during a boss's vulnerable phase, then consider the time lost to animation lock and repositioning. If a core improves the skill you use only between cooldowns, its benefit may have low uptime. If it improves the skill that starts your burst window and clears incoming packs, the same bonus can affect both boss damage and routine progression. Core limits matter, too: the supplied item details specify one core and a level 50 requirement, so treat the choice as a focused weapon decision, not a bonus you can stack across slots.

Keep the weapon's job intact

Do not discard strong weapon stats just to fit a matching skill-family bonus. Start with a suitable base and the properties the build actually needs, such as physical or elemental damage for an attack setup, or relevant casting support where applicable. Then compare candidate weapons with the core included. For a Strike character, Severing is the family match; Quaking suits Slam setups, and Thundering supports Storm Skills. The correct match can beat a modest raw-stat edge, but it cannot automatically rescue a weapon whose core damage or other essential modifiers fall behind.

This is especially useful when moving from a leveling weapon into an endgame rare. Instead of rebuilding every part of the character at once, test the new weapon against the old one in the same map or boss encounter. Watch clear speed, the number of skill uses needed to finish a sturdy enemy, and whether you can keep damage up while avoiding attacks. Packs that scatter, rush into melee, or interrupt a slow setup can expose weak uptime; mobile bosses can do the same if your boosted skill needs a long commitment. Better damage mitigation or crowd control elsewhere may be more valuable than squeezing out a level when survival keeps cutting your attack time short.

A specialization choice, not a universal upgrade

Jiquani Soul Cores work best for players who already know which skill family defines their build and can preserve a weapon's core performance while adding the matching bonus. They are less compelling for mixed setups, builds whose damage is spread across unrelated families, or characters still changing their main skill during progression. Before committing, check the level requirement, the one-core limit, weapon stats, and actual damage uptime in the content you play. If an endgame purchase would complete a clear upgrade, compare it with other gear needs first; cheap POE 2 Divine Orbs may fit that plan, but the core only pays off when the weapon and build already work together.]]> https://www.hollywoodpressreleases.com/press-releases/thread-15.html Sat, 31 Jan 2026 05:07:18 +0000 Hollywood Press Releases]]> https://www.hollywoodpressreleases.com/press-releases/thread-15.html By Rebecca Rubin

Steven Spielberg has lined up his next feature film, which will be released in 2026.

Universal Pictures is backing the movie, which will open in theaters on May 15, 2026. It’s unclear what the untitled project — which the studio described as a “new original event film” — is about, though Variety previously reported that Spielberg is working on a UFO story.

David Koepp, whose previous work with the filmmaker includes “Jurassic Park,” “War of the Worlds” and “Indiana Jones and the Kingdom of the Crystal Skull,” is writing the script from a story by Spielberg. Kristie Macosko Krieger will produce the film.

Spielberg, who does not need much of an introduction, is Hollywood’s most commercially successful filmmaker, having helmed blockbusters like “Jaws” and “E.T.,” on top of the “Indiana Jones” and “Jurassic Park” franchises. He’s also a three-time Oscar winner for “Schindler’s List” and “Saving Private Ryan.”

He most recently directed “The Fabelmans” for Universal. Inspired by Spielberg’s own upbringing, the story followed a film-obsessed teenager growing up in Arizona and Northern California. Though “The Fabelmans” received several Oscar nominations, it struggled at the box office, earning just $45 million worldwide.

Spielberg’s film before that, 2021’s “West Side Story,” also hit the wrong notes at the box office with $76 million globally against its $100 million budget. The musical adaptation hit the big screen as COVID was surging, which didn’t help, but post-pandemic moviegoing habits haven’t been kind to films aimed at older audiences.

As movie theaters crawl toward a comeback, Spielberg will perhaps reclaim his crown as the king of summer blockbusters.

https://variety.com/2024/film/news/steve...236014435/]]> By Rebecca Rubin

Steven Spielberg has lined up his next feature film, which will be released in 2026.

Universal Pictures is backing the movie, which will open in theaters on May 15, 2026. It’s unclear what the untitled project — which the studio described as a “new original event film” — is about, though Variety previously reported that Spielberg is working on a UFO story.

David Koepp, whose previous work with the filmmaker includes “Jurassic Park,” “War of the Worlds” and “Indiana Jones and the Kingdom of the Crystal Skull,” is writing the script from a story by Spielberg. Kristie Macosko Krieger will produce the film.

Spielberg, who does not need much of an introduction, is Hollywood’s most commercially successful filmmaker, having helmed blockbusters like “Jaws” and “E.T.,” on top of the “Indiana Jones” and “Jurassic Park” franchises. He’s also a three-time Oscar winner for “Schindler’s List” and “Saving Private Ryan.”

He most recently directed “The Fabelmans” for Universal. Inspired by Spielberg’s own upbringing, the story followed a film-obsessed teenager growing up in Arizona and Northern California. Though “The Fabelmans” received several Oscar nominations, it struggled at the box office, earning just $45 million worldwide.

Spielberg’s film before that, 2021’s “West Side Story,” also hit the wrong notes at the box office with $76 million globally against its $100 million budget. The musical adaptation hit the big screen as COVID was surging, which didn’t help, but post-pandemic moviegoing habits haven’t been kind to films aimed at older audiences.

As movie theaters crawl toward a comeback, Spielberg will perhaps reclaim his crown as the king of summer blockbusters.

https://variety.com/2024/film/news/steve...236014435/]]> https://www.hollywoodpressreleases.com/press-releases/thread-14.html Sat, 31 Jan 2026 04:20:10 +0000 Hollywood Press Releases]]> https://www.hollywoodpressreleases.com/press-releases/thread-14.html By Andreas Wiseman
January 23, 2026 3:29am

Iron Lung, the buzzed-about low-budget sci-fi horror from YouTuber Markiplier, is adding to its international release plan.

Piece of Magic Entertainment is now aboard to release from Jan 30 in Germany, Austria, Poland, the Netherlands, Belgium, Luxembourg, Czechia, Slovakia, Denmark, Sweden, Norway, Finland, Iceland, Estonia, Latvia, and Lithuania. As previously announced, the U.S., UK, Australia and Canada will also release on the same date.

Piece Of Magic was also an international partner on Taylor Swift film The Official Release Party of a Showgirl.

As my colleague Anthony D’Alessandro recently reported, Markiplier is self-distributing in the U.S. where the film could be on course to take a stunning $9M-10M on debut, despite a minimal P&A spend and a grassroots campaign that has harnessed the subject’s millions of social followers. After initially being lined up for just a handful of cinemas, the movie is expected to open on 2,000+ screens due to demand. Pre-sales are reported to stand at $5M+.

Iron Lung was produced, written, and directed by Markiplier who also stars. Based on the breakout indie horror game of the same name by David Szymanski, the story unfolds in a post-apocalyptic future following ‘The Quiet Rapture’, an event that causes stars and habitable planets to vanish. The synopsis continued: “A desperate attempt to explore an ocean of blood on a desolate moon unfolds when a convicted individual is sealed inside a decaying submarine nicknamed the Iron Lung — a descent into dread that becomes as psychological as it is physical”. Co-starring are Caroline Rose Kaplan, Troy Baker, Elsie Lovelock.

https://deadline.com/2026/01/markiplier-...236694309/]]> By Andreas Wiseman
January 23, 2026 3:29am

Iron Lung, the buzzed-about low-budget sci-fi horror from YouTuber Markiplier, is adding to its international release plan.

Piece of Magic Entertainment is now aboard to release from Jan 30 in Germany, Austria, Poland, the Netherlands, Belgium, Luxembourg, Czechia, Slovakia, Denmark, Sweden, Norway, Finland, Iceland, Estonia, Latvia, and Lithuania. As previously announced, the U.S., UK, Australia and Canada will also release on the same date.

Piece Of Magic was also an international partner on Taylor Swift film The Official Release Party of a Showgirl.

As my colleague Anthony D’Alessandro recently reported, Markiplier is self-distributing in the U.S. where the film could be on course to take a stunning $9M-10M on debut, despite a minimal P&A spend and a grassroots campaign that has harnessed the subject’s millions of social followers. After initially being lined up for just a handful of cinemas, the movie is expected to open on 2,000+ screens due to demand. Pre-sales are reported to stand at $5M+.

Iron Lung was produced, written, and directed by Markiplier who also stars. Based on the breakout indie horror game of the same name by David Szymanski, the story unfolds in a post-apocalyptic future following ‘The Quiet Rapture’, an event that causes stars and habitable planets to vanish. The synopsis continued: “A desperate attempt to explore an ocean of blood on a desolate moon unfolds when a convicted individual is sealed inside a decaying submarine nicknamed the Iron Lung — a descent into dread that becomes as psychological as it is physical”. Co-starring are Caroline Rose Kaplan, Troy Baker, Elsie Lovelock.

https://deadline.com/2026/01/markiplier-...236694309/]]> https://www.hollywoodpressreleases.com/press-releases/thread-13.html Sat, 31 Jan 2026 04:17:55 +0000 Hollywood Press Releases]]> https://www.hollywoodpressreleases.com/press-releases/thread-13.html Markiplier’s low-budget indie horror adaptation ‘Iron Lung’ will open January 30 on more than 2,500 screens and shows are already selling out. Here’s why audience is the new infrastructure.
By Dana Harris-Bridson
January 14, 2026 10:00 am

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.

“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

Related Stories
"Iron Lung"
‘Iron Lung’ Review: Markiplier’s Slow Burn Video Game Adaptation Offers a Fascinating, Flawed Experiment
MERCY, the movie, stars Chris Pratt sitting in a chair
Oh ‘Mercy’ — A Cold Spell Froze Out the Box Office This Weekend, but It Can Get Worse
Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.


“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.


Exhibitors Didn’t Think This Was Possible, Either
Mark’s manager, Ben Curtis, approached film-buying veteran Bill Herting’s Centurion to handle the theater bookings. Bill’s been in the exhibition business for a half century; he was a buyer for majors like General Cinema and Cineplex-Odeon and has operated his own service company for the last 30 years. Today, he sounds a little stunned by what Markiplier created.

“I hope it’s a glimpse of the future because there’s some magic pixie dust going on here,” Herting said. “And I don’t think it’s just a one-off.”

It took a while for Markiplier to convince Herting that was the case.

“I hope he doesn’t think I’m throwing shade on him about this, but when I first started talking to him he was like, ‘Yeah, we’ll start in three theaters and we’ll see how it goes from there.” And I was trying to be like, ‘This is not ego. I’m so sorry to say this, but I have an audience of millions. It would be insultingly low — not to me, to them — to be like three.’”

As Herting spoke with theater owners, he realized Markiplier was right. Many knew who he was, or had employees who did.

“That’s when Bill started really understanding where I was coming from,” Markiplier said. “I was like, ‘I really do have an audience and I’ve seen them in person. They exist, I swear.'”

In a week, the theater count grew from 60 to 600. From there, it kept climbing.

“Trailer goes up Friday [December 5],” said Sam Herting, Bill’s son and partner in Centurion. “Friday night, [bookings] are really starting to roll in. Saturday, I’m just booking theaters all day until one or two in the morning. And then it kept up.”

Markiplier pinned the trailer at the top of his channel with a message: “The final trailer for the Iron Lung movie. Only in theaters January 30, 2026. Reserve your ticket now https://ironlung.com.” That points to a landing page built by Mark’s wife, Amy Fishbach, with an interactive map showing where the film would play.  (Locations are marked by Mark’s screaming face.)

However, fans didn’t just check the map. They called theaters. And called and called. So much that theaters complained.

“One of the big circuits said, ‘Could you do me a favor? Could you tell [Mark’s] fans to stop calling the theaters? You got to turn those bots off,’” said Bill. “It wasn’t bots.”

At this writing, the count stands around 2,511 theaters in the U.S. and Canada, with hundreds more in Australia, New Zealand, and the U.K. Sam said the final figure in North America could be 2,800 by opening day.

“We figured this would be concentrated in the bigger cities,” Bill said. “Uh-uh…  We’re getting calls from South America, France, Spain, Norway, Sweden. Germany.”

Added Sam, “It’s one thing to have a lot of followers. But loyalty of the followers is another thing. Mark’s fans are just so ride-or-die for him.”

Bill put it more bluntly. “The loyalty. The loyalty. The loyalty,” he said. “That’s the differentiator.”

What Actually Drove the Explosion
There’s been no paid media campaign or ad buy. Mark did the marketing by doing what he does — or as he said, “boiling that spring.”

For the last two years he’s been mentioning the project, sharing progress, and letting anticipation build. Then he cut the first trailer: 10 million views. Second trailer: 10 million views.

However, this isn’t virality; the success is relational. As Sam pointed out, a lot of creators have tried theatrical.

“We’ve seen some YouTubers try theatrically and the results haven’t been quite there yet compared to this,” he said. “It’s one thing to have a lot of followers, but loyalty of the followers is another thing.”

Bill (carefully) compared Markiplier’s theatrical cause-and-effect to “Taylor Swift: The Eras Tour.” “I’ll call it Swiftian a little bit… something I think our industry desperately needs,” he said. “No one can get around the marketing bug. It’s plaguing the little guys, it’s plaguing the big guys.”

What This Does Not Solve
To be clear, most filmmakers are not Markiplier with 38 million subscribers, a decade of audience trust, and the experience of touring and selling tickets directly to fans.

His model does not fix financing for filmmakers without audience, marketing costs for unknown projects, discoverability for first-time directors, or the structural inequities in visibility.

Even Mark doesn’t think independence is always the answer. “If I can build a good relationship with a studio that respects creative control, that’s the kind of relationship I want to build.” (To dream the impossible dream.)

What This Opens Up
From a structural perspective, Mark did this:

• He earned their trust over time.
  
• He built an audience first.
  
• He invited them into the process.
  
• He gave them tools to act.
  

The happy ending isn’t about distribution, but demand. Mark didn’t persuade theaters; his audience did. To me, that suggests the new flex isn’t filmmakers who can evade gatekeepers; it’s the filmmakers who can offer proof.

Centurion really didn’t have to sell “Iron Lung.” They only had to make it available with no strings attached, which left exhibitors more inclined to take a shot. “We were very open about it,” Bill said. “‘No rules. Just put it on sale the Thursday night before. If it doesn’t work, no harm, no foul.’ Exhibitors like to hear that.”

However, once theaters began to sell out, the FOMO kicked in. “Film buyers have extreme FOMO,” Bill said. “If something’s popping, they got to jump on it.”

What Filmmakers Can Learn
Markiplier’s version of marketing was years of producing in public. “The repetition of that is what got me to this point,” he said.

Not every filmmaker should be a YouTuber, but Markiplier’s experience reveals some new laws of gravity.

Audience can’t be an afterthought.
Process can be part of the story.
Visibility is built long before release.
Trust compounds.
“Iron Lung” isn’t a blueprint, but it signals that audience is the new leverage. Creator loyalty can rival, or even beat, distributor scale.

I don’t expect that Hollywood will morph into a motley crew of DIY distributors. I do believe that audience is the new infrastructure because it represents power and if you don’t have it, someone else does.

Some films will move through studios, others via creators, or communities, or brands. Lower budgets may the new black (they look good on everybody), but the winners will be the work that has people waiting.


https://youtu.be/IaEtA56pd_w
https://www.indiewire.com/news/analysis/...235172987/]]> Markiplier’s low-budget indie horror adaptation ‘Iron Lung’ will open January 30 on more than 2,500 screens and shows are already selling out. Here’s why audience is the new infrastructure.
By Dana Harris-Bridson
January 14, 2026 10:00 am

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.

“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.

Have you heard about “Iron Lung”? A low-budget adaptation of an indie horror game, booked to open on more than 2,500 screens January 30, with showings sold out weeks in advance?

Probably not. “Iron Lung” is a self-distributed movie from a first-time feature filmmaker. No paid marketing campaign. The people who do know about it (and who pressured theaters to book it) are his audience. And in this story, they’re the only ones who really matter.

The filmmaker is Markiplier. If you know him, you really know him. If you don’t, here’s the short version:

Mark Fischbach (known online as Markiplier) has about 38 million YouTube subscribers. He’s been building that audience for more than a decade, making gaming videos, comedy, and increasingly ambitious narrative projects. He tours. He has a clothing brand, Cloak. He made large-scale interactive series for YouTube Originals. He writes, directs, edits, produces, finances, and stars in much of his own work.

And now he’s opening a feature film in wide theatrical release, through his own production and distribution company, Markiplier Studios, by essentially turning his audience into the distribution engine.

This story is not “any filmmaker can do this”; they can’t. But it is a story about what happens when audience, authorship, and access collapse into one person, and what that reveals about the real bottlenecks in film.

Related Stories
"Iron Lung"
‘Iron Lung’ Review: Markiplier’s Slow Burn Video Game Adaptation Offers a Fascinating, Flawed Experiment
MERCY, the movie, stars Chris Pratt sitting in a chair
Oh ‘Mercy’ — A Cold Spell Froze Out the Box Office This Weekend, but It Can Get Worse
Mark as the Starting Point
Markiplier is not a YouTuber who decided to dabble in film; he’s been moving toward longer-form storytelling for years. Similarly, his audience didn’t show up for “Iron Lung” because he suddenly asked them to; they’ve been watching him level up in public for more than a decade.

“My whole channel [is] mostly the narrative journey of me as a creative just building skills,” he said. “What my audience really like is the evolution of the craft. I am getting better at this over time and they can see that journey.”

After approaching the game’s creator, David Szymanski, Markiplier began developing “Iron Lung” in late 2022; the 35-day SAG low-budget shoot was in spring 2023. That’s a long pause between postproduction and debut, but Markiplier did almost everything himself.


“I don’t think that I made it any more efficient,” he said. “[But] the skills I’ve built in the past few years of doing this dwarfed the entirety of my time on YouTube.”

Mark talked to distributors, but the offers didn’t align with what he believed his audience could deliver. “I know that I’ve sold to them before,” he said. “I’ve gone on tour and I’ve sold out theaters, so I know that I can get people to show up. I was like, ‘Yeah, I can bet on myself for this one.’”

That’s where Centurion Film Service enters the story.


Exhibitors Didn’t Think This Was Possible, Either
Mark’s manager, Ben Curtis, approached film-buying veteran Bill Herting’s Centurion to handle the theater bookings. Bill’s been in the exhibition business for a half century; he was a buyer for majors like General Cinema and Cineplex-Odeon and has operated his own service company for the last 30 years. Today, he sounds a little stunned by what Markiplier created.

“I hope it’s a glimpse of the future because there’s some magic pixie dust going on here,” Herting said. “And I don’t think it’s just a one-off.”

It took a while for Markiplier to convince Herting that was the case.

“I hope he doesn’t think I’m throwing shade on him about this, but when I first started talking to him he was like, ‘Yeah, we’ll start in three theaters and we’ll see how it goes from there.” And I was trying to be like, ‘This is not ego. I’m so sorry to say this, but I have an audience of millions. It would be insultingly low — not to me, to them — to be like three.’”

As Herting spoke with theater owners, he realized Markiplier was right. Many knew who he was, or had employees who did.

“That’s when Bill started really understanding where I was coming from,” Markiplier said. “I was like, ‘I really do have an audience and I’ve seen them in person. They exist, I swear.'”

In a week, the theater count grew from 60 to 600. From there, it kept climbing.

“Trailer goes up Friday [December 5],” said Sam Herting, Bill’s son and partner in Centurion. “Friday night, [bookings] are really starting to roll in. Saturday, I’m just booking theaters all day until one or two in the morning. And then it kept up.”

Markiplier pinned the trailer at the top of his channel with a message: “The final trailer for the Iron Lung movie. Only in theaters January 30, 2026. Reserve your ticket now https://ironlung.com.” That points to a landing page built by Mark’s wife, Amy Fishbach, with an interactive map showing where the film would play.  (Locations are marked by Mark’s screaming face.)

However, fans didn’t just check the map. They called theaters. And called and called. So much that theaters complained.

“One of the big circuits said, ‘Could you do me a favor? Could you tell [Mark’s] fans to stop calling the theaters? You got to turn those bots off,’” said Bill. “It wasn’t bots.”

At this writing, the count stands around 2,511 theaters in the U.S. and Canada, with hundreds more in Australia, New Zealand, and the U.K. Sam said the final figure in North America could be 2,800 by opening day.

“We figured this would be concentrated in the bigger cities,” Bill said. “Uh-uh…  We’re getting calls from South America, France, Spain, Norway, Sweden. Germany.”

Added Sam, “It’s one thing to have a lot of followers. But loyalty of the followers is another thing. Mark’s fans are just so ride-or-die for him.”

Bill put it more bluntly. “The loyalty. The loyalty. The loyalty,” he said. “That’s the differentiator.”

What Actually Drove the Explosion
There’s been no paid media campaign or ad buy. Mark did the marketing by doing what he does — or as he said, “boiling that spring.”

For the last two years he’s been mentioning the project, sharing progress, and letting anticipation build. Then he cut the first trailer: 10 million views. Second trailer: 10 million views.

However, this isn’t virality; the success is relational. As Sam pointed out, a lot of creators have tried theatrical.

“We’ve seen some YouTubers try theatrically and the results haven’t been quite there yet compared to this,” he said. “It’s one thing to have a lot of followers, but loyalty of the followers is another thing.”

Bill (carefully) compared Markiplier’s theatrical cause-and-effect to “Taylor Swift: The Eras Tour.” “I’ll call it Swiftian a little bit… something I think our industry desperately needs,” he said. “No one can get around the marketing bug. It’s plaguing the little guys, it’s plaguing the big guys.”

What This Does Not Solve
To be clear, most filmmakers are not Markiplier with 38 million subscribers, a decade of audience trust, and the experience of touring and selling tickets directly to fans.

His model does not fix financing for filmmakers without audience, marketing costs for unknown projects, discoverability for first-time directors, or the structural inequities in visibility.

Even Mark doesn’t think independence is always the answer. “If I can build a good relationship with a studio that respects creative control, that’s the kind of relationship I want to build.” (To dream the impossible dream.)

What This Opens Up
From a structural perspective, Mark did this:

• He earned their trust over time.
  
• He built an audience first.
  
• He invited them into the process.
  
• He gave them tools to act.
  

The happy ending isn’t about distribution, but demand. Mark didn’t persuade theaters; his audience did. To me, that suggests the new flex isn’t filmmakers who can evade gatekeepers; it’s the filmmakers who can offer proof.

Centurion really didn’t have to sell “Iron Lung.” They only had to make it available with no strings attached, which left exhibitors more inclined to take a shot. “We were very open about it,” Bill said. “‘No rules. Just put it on sale the Thursday night before. If it doesn’t work, no harm, no foul.’ Exhibitors like to hear that.”

However, once theaters began to sell out, the FOMO kicked in. “Film buyers have extreme FOMO,” Bill said. “If something’s popping, they got to jump on it.”

What Filmmakers Can Learn
Markiplier’s version of marketing was years of producing in public. “The repetition of that is what got me to this point,” he said.

Not every filmmaker should be a YouTuber, but Markiplier’s experience reveals some new laws of gravity.

Audience can’t be an afterthought.
Process can be part of the story.
Visibility is built long before release.
Trust compounds.
“Iron Lung” isn’t a blueprint, but it signals that audience is the new leverage. Creator loyalty can rival, or even beat, distributor scale.

I don’t expect that Hollywood will morph into a motley crew of DIY distributors. I do believe that audience is the new infrastructure because it represents power and if you don’t have it, someone else does.

Some films will move through studios, others via creators, or communities, or brands. Lower budgets may the new black (they look good on everybody), but the winners will be the work that has people waiting.


https://youtu.be/IaEtA56pd_w
https://www.indiewire.com/news/analysis/...235172987/]]> https://www.hollywoodpressreleases.com/press-releases/thread-10.html Fri, 02 Jan 2026 14:11:48 +0000 Hollywood Press Releases]]> https://www.hollywoodpressreleases.com/press-releases/thread-10.html By Patrick Reilly
Published Jan. 2, 2026
Updated Jan. 2, 2026, 6:37 a.m. ET

Victoria Jones, the late daughter of Hollywood legend Tommy Lee Jones, was initially believed to have been drunk when she was found lying unresponsive on the ground at a San Francisco Hotel New Year’s Day, according to a report.

Jones, 34, was found on the 14th floor of the ritzy Fairmont hotel by a guest who thought she had was passed out from drinking and alerted hotel staff, a source told the Daily Mail.

Staffers immediately began CPR and called for an ambulance — but paramedics declared her dead at the scene when they arrived.

Police arrived at the Fairmont San Francisco hotel around 3:14 a.m. on Thursday after a report of a medical emergency, according to the San Francisco Police Department.

There was no signs of foul play and no drug paraphernalia was found at the scene, the source told the Daily Mail. There was also no indication her death was a suicide.

The Medical Examiner will determine the cause of her death, cops said.

It’s still not clear if she was a guest at the hotel or how she wound up on the 14th floor.

Jones was the daughter of “No Country for Old Men” actor and his first wife, Kimberlea Cloughley.

Jones, who appeared on screen with her father when she was younger, was arrested at least three times in the past year, according to records obtained by The Post.

In April, she was busted in Napa County for obstructing a peace officer, being under the influence of a controlled substance, and possession of a narcotic controlled substance, court documents show.

Then in May she was arrested in Santa Cruz County and in June back in Napa County she was busted on domestic battery and domestic violence/elder abuse charges and was later released on bail.

Jones pleaded not guilty in both cases out of Napa County, according to court records.]]> By Patrick Reilly
Published Jan. 2, 2026
Updated Jan. 2, 2026, 6:37 a.m. ET

Victoria Jones, the late daughter of Hollywood legend Tommy Lee Jones, was initially believed to have been drunk when she was found lying unresponsive on the ground at a San Francisco Hotel New Year’s Day, according to a report.

Jones, 34, was found on the 14th floor of the ritzy Fairmont hotel by a guest who thought she had was passed out from drinking and alerted hotel staff, a source told the Daily Mail.

Staffers immediately began CPR and called for an ambulance — but paramedics declared her dead at the scene when they arrived.

Police arrived at the Fairmont San Francisco hotel around 3:14 a.m. on Thursday after a report of a medical emergency, according to the San Francisco Police Department.

There was no signs of foul play and no drug paraphernalia was found at the scene, the source told the Daily Mail. There was also no indication her death was a suicide.

The Medical Examiner will determine the cause of her death, cops said.

It’s still not clear if she was a guest at the hotel or how she wound up on the 14th floor.

Jones was the daughter of “No Country for Old Men” actor and his first wife, Kimberlea Cloughley.

Jones, who appeared on screen with her father when she was younger, was arrested at least three times in the past year, according to records obtained by The Post.

In April, she was busted in Napa County for obstructing a peace officer, being under the influence of a controlled substance, and possession of a narcotic controlled substance, court documents show.

Then in May she was arrested in Santa Cruz County and in June back in Napa County she was busted on domestic battery and domestic violence/elder abuse charges and was later released on bail.

Jones pleaded not guilty in both cases out of Napa County, according to court records.]]> https://www.hollywoodpressreleases.com/press-releases/thread-9.html Fri, 02 Jan 2026 14:05:56 +0000 Hollywood Press Releases]]> https://www.hollywoodpressreleases.com/press-releases/thread-9.html By MARJORIE HERNANDEZ, US WEST COAST NEWS EDITOR and SAMEER SURI, US SENIOR SHOWBUSINESS REPORTER and MELISSA KOENIG, US REPORTER
Published: 00:01 EST, 2 January 2026 | Updated: 08:32 EST, 2 January 2026

The daughter of Hollywood icon Tommy Lee Jones was found dead by a guest at an upscale San Francisco hotel early on New Year's Day.

Victoria Jones, 34, was lying on the ground of the 14th floor of the Fairmont hotel in San Francisco when a guest who thought she might be drunk alerted hotel staff, a source told the Daily Mail.

The staffers quickly realized Victoria was unresponsive and immediately started CPR and called for an ambulance.

The daughter of Hollywood icon Tommy Lee Jones was found dead by a guest at an upscale San Francisco hotel early on New Year's Day.

Victoria Jones, 34, was lying on the ground of the 14th floor of the Fairmont hotel in San Francisco when a guest who thought she might be drunk alerted hotel staff, a source told the Daily Mail.

The staffers quickly realized Victoria was unresponsive and immediately started CPR and called for an ambulance.

By 2002, she made her movie debut with a small part in her father's picture Men in Black II.

She would go on to appear in a handful of acting projects as a child, including a 2005 episode of One Tree Hill and a role that same year the Western picture The Three Burials of Melquiades Estrada, which was directed by her father.

Although she has not acted onscreen since her role as a cheerleader on One Tree Hill, she has attended the occasional red carpet alongside Jones as an adult.

In 2017, she posed proudly at his side at the ArcLight Hollywood for the premiere of his movie Just Getting Started, also starring Morgan Freeman and Rene Russo.

She also made an appearance with her father in October 2017 at the opening of that year's Tokyo International Film Festival, where he was serving as president of the international competition jury.

After directing his daughter in The Three Burials of Melquiades, Jones showered praise on Victoria in an interview promoting the film.

'She’s a good actress, has her SAG card, speaks impeccable Spanish,' he said. 'When she was a baby, I told Leticia, her nurse, to speak to her in Spanish.'

He also related a charming anecdote about having to acclimatize his then 14-year-old daughter to the rigors of working on a Hollywood movie set.

'She had to get up at 5am for her part. One morning, she wouldn’t get out of bed. I said: "Honey, this is work." But she wouldn’t budge,' he told the New Yorker.

'So I fired her. Then, without telling me, the production staff went over and woke her and rushed her out to the set just in time,' he recalled.

Victoria is survived by Jones, Cloughley and her brother, Austin. 

The Daily Mail has contacted Tommy Lee Jones's representatives for comment, as well as the Fairmont San Francisco and the San Francisco Police Department.]]> By MARJORIE HERNANDEZ, US WEST COAST NEWS EDITOR and SAMEER SURI, US SENIOR SHOWBUSINESS REPORTER and MELISSA KOENIG, US REPORTER
Published: 00:01 EST, 2 January 2026 | Updated: 08:32 EST, 2 January 2026

The daughter of Hollywood icon Tommy Lee Jones was found dead by a guest at an upscale San Francisco hotel early on New Year's Day.

Victoria Jones, 34, was lying on the ground of the 14th floor of the Fairmont hotel in San Francisco when a guest who thought she might be drunk alerted hotel staff, a source told the Daily Mail.

The staffers quickly realized Victoria was unresponsive and immediately started CPR and called for an ambulance.

The daughter of Hollywood icon Tommy Lee Jones was found dead by a guest at an upscale San Francisco hotel early on New Year's Day.

Victoria Jones, 34, was lying on the ground of the 14th floor of the Fairmont hotel in San Francisco when a guest who thought she might be drunk alerted hotel staff, a source told the Daily Mail.

The staffers quickly realized Victoria was unresponsive and immediately started CPR and called for an ambulance.

By 2002, she made her movie debut with a small part in her father's picture Men in Black II.

She would go on to appear in a handful of acting projects as a child, including a 2005 episode of One Tree Hill and a role that same year the Western picture The Three Burials of Melquiades Estrada, which was directed by her father.

Although she has not acted onscreen since her role as a cheerleader on One Tree Hill, she has attended the occasional red carpet alongside Jones as an adult.

In 2017, she posed proudly at his side at the ArcLight Hollywood for the premiere of his movie Just Getting Started, also starring Morgan Freeman and Rene Russo.

She also made an appearance with her father in October 2017 at the opening of that year's Tokyo International Film Festival, where he was serving as president of the international competition jury.

After directing his daughter in The Three Burials of Melquiades, Jones showered praise on Victoria in an interview promoting the film.

'She’s a good actress, has her SAG card, speaks impeccable Spanish,' he said. 'When she was a baby, I told Leticia, her nurse, to speak to her in Spanish.'

He also related a charming anecdote about having to acclimatize his then 14-year-old daughter to the rigors of working on a Hollywood movie set.

'She had to get up at 5am for her part. One morning, she wouldn’t get out of bed. I said: "Honey, this is work." But she wouldn’t budge,' he told the New Yorker.

'So I fired her. Then, without telling me, the production staff went over and woke her and rushed her out to the set just in time,' he recalled.

Victoria is survived by Jones, Cloughley and her brother, Austin. 

The Daily Mail has contacted Tommy Lee Jones's representatives for comment, as well as the Fairmont San Francisco and the San Francisco Police Department.]]>