Netflix Greek Mythology Reimagining ‘Kaos’ Finds Its Medusa In ‘Entourage’ Star Debi Mazar

Season five of Netflix’s Cobra Kai premieres this weekend and the cast stepped out for a red carpet event this week!

Netflix has greenlit a Japanese drama series about the last ninjas to remain in modern times.

K.J. Yossman Netflix has snapped up “The Anthrax Attacks” from BBC Studios, a feature-length doc about the 2001 anthrax threat that paralyzed the U.S. in the wake of 9/11 and sparked one of the largest FBI investigations in history. The doc will star Marvel’s Clark Gregg (“Agents of S.H.I.E.L.D”) in scripted scenes recreating some of the events that took place. Oscar-nominated Dan Krauss (“Extremis”) will direct the doc, which is set to premiere globally on Thursday, Sept. 8. It is produced by BBC Studios’ science unit. One week after 9/11 the U.S. suffered one of its worst ever biological attacks, resulting in the deaths of five people, while at least 17 more were injured.

Two-time Oscar-nominated director Dan Krauss is creating a Netflix documentary on the 2001 U.S. anthrax attacks featuring Agents of S.H.I.E.L.D star Clark Gregg performing scripted monologues. Scroll down for the trailer.

Joe Otterson TV Reporter Eiza González has joined Diego Luna and Gael García Bernal in the Hulu limited series “La Máquina.” The Spanish-language series was picked up at Hulu in July. Per the official logline, “‘La Máquina’ follows an aging boxer (García Bernal) whose crafty manager (Luna) secures him one last shot at a title. But to make it to fight night, they must navigate a mysterious underworld force.” González will star as Irasema. Her character descriptions says she is “an aspiring sports journalist who approaches boxing as more of an art form. She’s the ex-wife of Esteban (García Bernal), who she still deeply cares for, and mother to their two children. She’s known Esteban and Andy (Luna) since they were teenagers.”

EXCLUSIVE: We are hearing from sources that Cattywumpus, the Gore Verbinski-directed animated movie about outer space felines, will be getting shopped around town to other studios.

EXCLUSIVE: Emma Roberts (Madame Web) will exec produce and star in Space Cadet, a new rom-com from Stampede Ventures, which enters production this month. Also now aboard the film from writer-director Liz W. Garcia (The Lifeguard) is Prime Video, which will distribute it internationally.

Gene Maddaus Senior Media Writer SAG-AFTRA members have voted overwhelmingly to approve a new contract with Netflix that allows actors more freedom to work on shows on other platforms. The union announced that 89.03% voted in favor of the agreement, which is expected to cover the next four years. The union had been focused on addressing “exclusivity,” under which TV actors have generally been blocked from working on other shows during hiatus periods. Under the new agreement, Netflix will have to designate a three-month period after each season — “a conflict-free window” — during which actors will be allowed to work on any show they want.

has started to look unsustainable, and it was widely reported in June that the days of blank cheques had come to an end. Do the streamer’s offerings at Venice this year represent that era’s last, loopy hurrah? White Noise, which opened the 78th edition of the festival this evening, certainly has a “last days of Rome” feel about it.

Venice Film Festival got off to a quieter start on Wednesday night with the premiere of “White Noise.” Noah Baumbach’s Netflix-backed adaptation of the Don DeLillo novel starring Adam Driver and Greta Gerwig was met with a tepid 150-second standing ovation, a short smattering of applause on the Lido.“White Noise,” which is set in the ‘80s, features an array of Easter Eggs for movies of the era from “Back to the Future” to “E.T.” Some of these references might have gone over the head of the Venice crowd. The film, which was met with mixed reviews, is a twisty, talky family drama about the despair of a married couple (played by Adam Driver and Greta Gerwig) facing their own mortality.

Brian Steinberg Senior TV Editor Netflix, eager to spark better relationships with Madison Avenue after years of avoiding them, has lured two senior executives away from Snap to do so. The streaming giant has hired Jeremi Gorman, Snap’s chief business officer, and Peter Naylor, its vice president of sales, to start making outreach to top advertisers in a bid to launch an ad-supported tier for subscribers who may be looking for new value propositions amid a roiling stock market and as competition for broadband-savvy consumers has grown more intense. “Jeremi’s deep experience in running ad businesses and Peter’s background in leading ad sales teams together will be key as we expand membership options for consumers through a new ad-supported offering,” said Greg Peters, Netflix’s chief operating officer, in a statement.

Gene Maddaus Senior Media Writer A producer behind the hit Netflix series “Narcos” has filed a lawsuit claiming he is owed more than $1 million in unpaid profits on the show. José Padilha sued fellow producer Eric Newman, claiming that Newman has breached an agreement to split all profits on the show 50-50. The complaint alleges that Newman and his company have received “several millions of dollars in revenues arising from or connected with ‘Narcos’ that have not been reported to Plaintiffs.” The suit seeks to recoup 50% of all unreported revenues, as well as punitive damages. Newman has a longstanding relationship with Netflix. He is currently producing “Rebel Moon,” the streamer’s mega-budget sci-fi epic from director Zack Snyder. In addition to “Narcos,” his other Netflix projects include “Bright,” with Will Smith, and “Hemlock Grove,” which was the second show the streamer ever produced.

Rebecca Rubin Film and Media Reporter Noah Baumbach’s black comedy “White Noise,” Alejandro Iñárritu’s “Bardo (Or False Chronicle of a Handful of Truths)” and Lindsay Lohan’s romantic comedy “Falling for Christmas” will debut on Netflix this fall. On Tuesday, the streamer announced the release dates for those films — and plenty more — including “Roald Dahl’s Matilda the Musical,” “The Swimmers” and “Mr. Harrigan’s Phone.” Some of those titles, like “Bardo” and “White Noise,” will have limited theatrical runs before debuting on Netflix, while others, such as “Falling for Christmas,” will land directly on the streaming service. “Bardo” will debut on Dec. 16 following its world premiere at Venice Film Festival. Prior to landing on the streamer, it’ll play in movie theaters in Mexico starting on Oct. 27, as well as select North American theaters on Nov. 4. Described as a “nostalgic comedy,” the film stars Daniel Giménez Cacho follows a renowned Mexican journalist and a documentary filmmaker who returns to his native country at an existential crossroads.

EXCLUSIVE: Timewasters creator Daniel Lawrence Taylor has boarded Netflix Greek mythology reimagining Kaos.

Andy Garcia, Catherine O’Hara, Jay Duplass, Brian d’Arcy James and Chloe Coleman are attached to join Emily Blunt and Chris Evans in the cast of “The Pain Hustlers,” director David Yates’ feature film for Netflix.Production on “The Pain Hustlers” kicked off this month. The project is described as a “hilarious, dramatic and wild journey to the corrupt heart of the American dream” in the vein of Adam McKay’s “The Big Short.” The film follows Blunt as a blue-collar woman who, upon losing her job struggling to raise her daughter, takes a position at a failing pharmaceutical start-up, only to get involved in a dangerous racketeering scheme.Yates, best known for the final “Harry Potter” and all of the “Fantastic Beasts” films, is directing “The Pain Hustlers” from a script by Wells Tower (“Everything Ravaged, Everything Burned”).

Rebecca Rubin Film and Media Reporter Catherine O’Hara, Jay Duplass and Andy Garcia will join the cast of “The Pain Hustlers,” teaming up with Emily Blunt and Chris Evans in the Netflix movie. Brian d’Arcy James (“Spotlight,” “West Side Story”) and Chloe Coleman (“My Spy,” “Marry Me”) are rounding out the ensemble. David Yates, best known for directing several “Harry Potter” movies, is helming “The Pain Hustlers,” which is said to be tonally similar to American Dream-esque crime dramas like “The Big Short,” “American Hustle” and “The Wolf of Wall Street.” According to the official logline, the film follows an unemployed “blue-collar woman struggling to raise her daughter [who] takes a job at a failing pharmaceutical start-up, only to get involved in a dangerous racketeering scheme.”

Todd Spangler NY Digital Editor Netflix is looking at a price point as low as $7 per month for its forthcoming ad-supported streaming plan, set to bow in early 2023, according to a new report — less than half its standard two-stream HD package without advertising, which costs $15.49/month in the U.S. The streamer is considering pricing the ad plan at $7-$9 per month, with an advertising load of four minutes per hour, Bloomberg reported, citing anonymous sources. An ad-supported version of Disney+ is set to debut in December at $7.99/month, also with four minutes of ads per hour. Asked to comment, Netflix said the Bloomberg report is “speculation at this point” and that the company hasn’t finalized decisions about pricing or other details for the advertising plan. “We are still in the early days of deciding how to launch a lower priced, ad-supported tier and no decisions have been made,” a spokesperson said.

Viewers are getting their first look at Noah Baumbach’s latest project, “White Noise”.

EXCLUSIVE: After a very eventful summer that included the blockbuster phenomenon Top Gun: Maverick,  Miles Teller looks to have found his next event pic and is reuniting with a familiar friend for it. Sources tell Deadline, Teller is in final negotiations to star in Skydance’s upcoming film, The Gorge, with Scott Derrickson directing the pic, which is based on spec script by The Tomorrow War scribe Zach Dean. Skydance produced Top Gun: Maverick, which starred Tom Cruise and Teller and which just passed the $1.4 billion global box-office milestone.

Now that we are in August, with fall on the immediate horizon, we know what that means: It’s time for prestige pictures from renowned and acclaimed directors to take hold of the moviegoing consciousness. With the honor of having its world premiere as the opening film for the Venice International Film Festival on August 31st, as well as opening the New York Film Festival on September 30th, the new film from writer-director Noah Baumbach can safely fill that bill.