
Kelly Reilly as Beth Dutton and Cole Hauser as Rip Wheeler in ‘Dutton Ranch’
Emerson Miller/Paramount+.
A re-configured multi-million settlement of sorts between Village Roadshow & Warner Bros over The Matrix: Resurrections seems prophetic and very much of the matrix in its own special way.
With the once big league film co-financier paying out $57 million to the likely soon-to-be David Ellison-owned studio, the words of Matrix: Resurrections‘ Smith to Neo of “after all these years, to be going back to where it started,” really nails the legal tussling the past four years between WB and the now bankrupt VR.
Which is to say, you might want to pop that red pill now
Earlier this week, lawyers for Warner Bros Discovery pulled the plug on their own attempt to secure a previously awarded $125 million judgement from Village Roadshow. With that “without prejudice” (which means it could be resurrected) move in LA Superior Court, WBD attorneys revealed they had scored $57 million from the 2025 Chapter 11’d VR. That money was scheduled to be in WBD’s account within days – which has happened, I hear.
Warner Bros had no comment on the resolution, and lawyers for Village Roadshow did not respond to Deadline’s request Friday for comment. However, having all started when WB releasing the fourth film in the Wachowskis‘ franchise simultaneously in both theaters and on subscriber hungry streaming during the last gasps of the Covid-19 pandemic, things aren’t quite as blue pill or red pill as they seem.
For one thing, that $57 million is less a new figure in the dispute that went to court in the 2002 breach of contract lawsuit from Village Roadshow against the then Jason Kilar-run Warners, and more some updated accounting with an appeals court thrown in. For another thing, Village Roadshow now has a zero stake in Matrix: Resurrections – which is a long way from where things appeared to stand just a year ago.
Let’s jump back a bit, shall we?
Moved fairly quickly behind closed doors to arbitration, VR’s February 7, 2002 launched lawsuit seemed to shuffle off with the company actually found on the hook for the nearly $100 million in co-financing it never actually ponied up for the Lana Wachowski-helmed Resurrections. Under appeal, the portion of that $125 million that Village Roadshow would have been paying for 50% of Matrix: Resurrections was deemed an overreach. An appeals panel concluded Village Roadshow North America, who had long hit the skids financially, couldn’t be forced to purchase half of MR in the hopes of half of the waterfalled profits.
So they didn’t and they don’t have to pay for something they aren’t going to own any of ..A.K.A. – WB fully owns 100% of The Matrix: Resurrections now. The remaining sum, that $57 million, was reframed as damages.
Not that The Matrix isn’t still pretty valuable in many people’s eyes and spread sheets.
Despite the less than stellar returns and reviews for the cash-in vibed Matrix: Resurrections, Alcon Media Group was awarded derivative rights in November last year to the Matrix franchise and most of the other titles it snared from Village Roadshow Entertainment Group‘s film library in summer 2025. “Alcon looks forward to working collaboratively with Warner Bros, as we have for over a quarter-century, to partner in the exploitation of the derivative rights to these many great films across multiple platforms,” AMG bosses Andrew Kosove and Broderick Johnson asserted late last year.
All of which means, under a joint Paramount and WBD umbrella or via siloed studios or whatever, Groff’s Agent Smith also had it right in Matrix: Resurrections when he quipped “that’s the thing about stories …they never really end do they?”
Never in the matrix of Hollywood — IP, bottom line, or otherwise.
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Nearly two years after leaving Yellowstone in the rearview with the series finale of the Taylor Sheridan hit, Kelly Reilly is missing her onscreen brother.
The Dutton Ranch star, who reprises her role as Beth Dutton on the Paramount+ spin-off, recently shared her “wish” for a crossover with Luke Grimes‘ CBS spin-off Marshals, in which he returns as her brother, U.S. Marshal Kayce Dutton.
“I’m so proud of Luke, and we love him so much, and I miss him,” Reilly told People. “I wish we had a crossover. Maybe we will in the future.”
Premiering May 15 on Paramount+, Dutton Ranch sees Beth (Reilly) and husband Rip (Cole Hauser) risk it all as they relocate to South Texas, where they build their own future far away from Yellowstone, only to be met with a ruthless rival ranch.
Airing Sundays at 8pm ET/PT on CBS, Marshals follows Kayce (Grimes) as he’s recruited to an elite group of U.S. Marshals tasked with protecting Montana. With an early Season 2 renewal under its belt, the Season 1 finale is set for May 24.

Kelly Reilly as Beth Dutton and Cole Hauser as Rip Wheeler in ‘Dutton Ranch’
Emerson Miller/Paramount+.
Reilly and Grimes’ respective spin-offs come after Yellowstone ended its five-season run on Paramount Network in December 2024, having also spawned the prequel series 1883 and 1923.
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After four years, Matt Reeves and Robert Pattinson are finally returning to Gotham… or at least their version of it at Warner Bros. Studios Leavesden in Liverpool.
Returning to the directors chair for The Batman: Part II, Reeves teased some test shots of the Batmobile this week on social media, as well as a snowy winter setting that has fans on the edge of their seats for the long-awaited sequel.
“#SnowTires,” wrote Reeves on X with a bat emoji and photos of his video village monitor with shots of the Batmobile driving through snow.
The co-writer/director later shared another image of an explosion seen through the windshield. “Just over here having a little fun…” he wrote with the photo.
Reeves continued to engage with fans, reposting art from Tom King’s 2018 three-part Batman comics arc ‘Beast of Burden’, which includes the titular Dark Knight’s sidekick Dick Grayson in a tragic storyline.
“It’s time,” wrote one follower with an image of Batman in the snow from No. 57, ‘To Hunt the Beast’, which Reeves reposted with a heart emoji, despite James Gunn previously quelling speculation that Robin would appear in the sequel.
“My biggest fucking dream to see in live action is a bloody Batman in snow, I really hope this means its happening,” wrote another fan account, to which Reeves responded, “Indeed, it is.”
Gunn revealed last July that the script for The Batman: Part II was finished, following several delays. In August, a letter to Warner Bros. Discovery’s shareholders revealed that filming on the sequel would begin filming in the spring, ahead of an Oct. 1, 2027 theatrical release.
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In a battle of the genders, New Line’s video game adaptation Mortal Kombat II and 20th Century’s The Devil Wears Prada 2 are in a close race for No. 1 at the domestic box office.
The Mortal Kombat sequel, fueled by males, topped Friday with an opening-day gross of $17 million range, including $5.2 million in previews and special Imax sneaks. That puts it on course for a domestic opening in the $40 million to $41 million range; ditto for Prada 2, which came in second Friday with $9.8 million for a stellar domestic total of $111.6 million and well north of $300 million globally.
Heading into the weekend, some tracking services showed Mortal Kombat II opening to $45 million or more. New Line and parent company Warner Bros., however, had always predicted a far more conservative launch in the $35 million range to $40 million range for a worldwide bow anywhere between $65 million and $80 million. Males made up more than 75 percent of Friday’s audience, which bestowed the film with a B+ CinemaScore.
In 2021, the first Mortal Kombat debuted simultaneously in theaters and on HBO Max due to the ongoing pandemic. The violent-laced martial arts pic was a huge streaming hit; theatrically, it debuted to $23 million on its way to topping out at $42 million domestically and $84.4 million globally. Simon McQuoid returning to helm Mortal Kombat II from a script by Jeremy Slater and Karl Urban joining the franchise as fan favorite character Johnny Cage, a washed up ’90s action star called to take part in a tournament that will determine the fate of Earthrealm.
The victor of the weekend box office will all come down to Mother’s Day traffic. That would seem to give Prada 2 an advantage, since it’s fast on its way to becoming the biggest female-driven film since Warner Bros.’ Barbie in 2023 after kicking off the summer box office last weekend in high style. The sequel finished Friday with a global total north of the $326 million earned by the first film in its entire run.
And don’t forget about Lionsgate’s Michael Jackson biopic, which should earn a fantastic $35 million-plus in its third weekend for a projected domestic tally of $240 million and $570 million globally. On Friday, it overtook the $216.7 million earned by Bohemian Rhapsody to become the top-grossing music biopic of all time in North America, not adjusted for inflation. And in a second milestone of the day, it crossed $500 million worldwide.
Other new Mother’s Day offerings, in addition to Mortal Kombat II, include Amazon MGM’s The Sheep Detectives. The critically acclaimed film is headed for a fourth-place finish with a pleasing domestic opening of $14 million to $15 million after earning an A CinemaScore. The comedy-mystery follows a flock of talking sheep who are determined to solve the suspicious death of their beloved shepherd, played by Hugh Jackman, who read them detective novels on a regular basis despite having no idea they could understand him. Phil Lord and Christopher Miller, directors of 2026 box office hit Project Hail Mary, are among the film’s executive producers.
Paramount’s new concert film Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D), which James Cameron and the artist co-directed, is expected to round out the top five with a domestic opening of $8 million. The pic is coming in on the higher end of expectations (the same goes for Sheep Detectives). Cameron pioneered special 3D cameras designed to make moviegoers feel as if they were part of a live experience that he used when filming Eilish.
And thanks to the appeal of the crowded Mother’s Day marquee, domestic box office revenue is expected to be up more than 87 percent over the same frame last year.
More to come.
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