Austin Abrams in ‘Resident Evil‘
Sony
movies
CAPA Deputy DirectorTalks Sean Connery Doc, International Mission
EXCLUSIVE: A documentary promising unprecedented behind the scenes insight into the life of late Scottish star Sean Connery is in the works at Paris-based factual film and TV production company CAPA.
Titled Sean Connery, The Untold Story, it is being developed and directed by French journalist and TV presenter Stéphanie Renouvin, who is the French granddaughter of the James Bond star and his second wife, the French Moroccan painter Micheline Roquebrune.
It follows Renouvin’s 2022 mini-series Mme Sean Connery, which focused on her grandmother and was made primarily for a French audience.
Sean Connery, The Untold Story is one of the upcoming titles currently being developed by Sally Blake, the newly appointed Deputy Director of CAPA, which is part of the Studio TFI group.
“We developed it here. It’s a coproduction with Canal Plus and Sky has come onboard in the UK,” says Blake, also citing London-based Embankment and Glasgow-based Boy 313 as coproducers.
Blake, who was appointed to her new role in early September, will work closely with CAPA MD Patrice Lorton, with a mission to “internationalize” the company’s activities and specific goals to connect it with new territories and sources of funding.
She says upcoming Sean Connery documentary ticks the box of appealing to the company’s home audience in France as well as having wider international.
“Sean Connery is definitely universal while Stéphanie’s connection to the subject gives it a good anchor in France. That’s a perfect example of something that can speak across audiences,” she says, talking to Deadline just days after the announcement of her appointment.
Career highlights & international mission
The Canadian French documentary veteran has been working as a producer with CAPA since 2017, both directly and under the CAPA label, Films à Cinq, the Paris-based factual content production banner she created with Martin de la Fouchardière.
Documentary feature credits across her 20-year career include Su Rynard’s 2015 work The Messenger, exploring environmental threats to songbirds around the world, which she co-wrote, produced and edited. It premiered at Canada’s Hot Docs festival and was then acquired by Kino Lorber for the U.S.
Under the CAPA umbrella, she was a producer on Ron Chapman’s Revival69: The Concert That Rocked the World, as well as Anastasia Trofimova’s Russians at War, which world premiered at the Venice Film Festival in 2024.
More recent credits include the 2025 natural history two-parter 13 Hours to Survive, about how sea creatures tackle the challenge of being left high and dry by the tide, which played on Arte and Blue Ant Studio’s Love Nature platform; 2025 six-part, docu-series Marie Antoinette Confidential, coproduced with Banijay Studios France for Canal Plus, and TV docu-movie Tardigrade, the Indestructible Animal, which she also co-wrote.
“I’ve been a producer with CAPA for a few years and was an independent producer previously, both in Canada and in France, so I have built up a big network for making international coproductions… the main reasons that they’ve given me this job is to push the international angle,” says Blake of her new role.
“CAPA is the largest documentary production company in France. It’s really well known, really well established and producing for all the platforms and all the channels,” she continues.
Blake cites true-crime series From Rock Star to Killer, about rock singer Bertrand Cantat, who killed his partner actress Marie Trintignant in 2003, and 2025 docu-drama November 13, Sonia’s Choice as examples of recent CAPA productions that have moved the dial in France.
“From a Rock Star to a Killer was a Netflix series which did really, really well. It was definitely in the top 10 of Netflix documentary series,” she says of the first title, which was released on the platform on March 2025.
The two-part November 13, Sonia’s Choice recounts the true story of a woman at the heart of the hunt for the culprits of the Paris terror attacks on November 13, 2015, who is now living in hiding.
It was broadcast in a primetime slot by state broadcaster France Télévisions on November 13, 2025, as part of its programming to mark the 10th anniversary of the attacks in which terrorists killed 130 people and injured many more across the French capital.
“It was really interesting because it was an innovative hybrid film.” Blake says of the docu-drama, directed by David André and starring Carima Amarouche in the titular role. “Docu-drama is definitively one of the interesting areas we want to do more in. They’re working really well right now.”
Blake believes strongly that the CAPA has the content, no-how and connections to expand its international footprint.
“I think that the quality of the CAPA programming is something that could travel even more than it does now, and that’s something that I really, really want to make happen,” she says, adding that working with international partners is also becoming a necessity.
“It’s something we all have to do right now when the industry is so difficult. We have to really, really look for those international partnerships and those ‘sneaky’ ways of financing things. You also need a sense of what’s out there, what the trends are, which is something I have, because I travel to all these markets quite a bit.”
Alongside Sean Connery, The Untold Story, other upcoming CAPA productions that Blake feels have strong international potential include Compost.
Being developed as a hybrid for the French market, it delves into the ecosystem and “drama” of a compost heap, exploring its inhabitants and the roles they play in breaking down human leftovers and garden refuse.
“I have a long-standing experience in science, the environment and the natural world and of course that’s something that lends itself to international,” says Blake, citing titles such as 13 Hours to Survive.
“I am currently working on a film, which is going to be primetime feature documentary for France Télévisions. The entire thing is going to be filmed in a compost heap… it will version and adapt very easily to other markets because composting, technically speaking, is something everyone can do,” she says.
“It’s literally about the drama that happens inside a compost heap. Imagine the wooden boxes at the end of gardens, you open them up and it’s absolutely fascinating. It’s like a jungle in there with these tiny, tiny creatures. In the French version, the compost heap is in the back garden of a fictional family to give a human side to it, but the natural history part of the film can travel anywhere.”
In the backdrop, Blake acknowledges it is a complex time for the documentary sector, with the genre making waves on the festival and awards circuit at the same as it faces funding squeezes.
“There have been different waves. There was a contraction of the North American documentary market a few years ago that seems to have settled in the sense we know where we’re at right now. But recently, we’re seeing more and more crisis within public broadcasters in Europe. We’re definitely feeling that in France, but I think that’s happening all over,” she says.
In spite of the challenges, Blake remains confident in the genre.
“People are always looking for keys to decrypt the world, and the world is just getting scarier and more confusing, so I think there’s always going to be an interest in documentary.”
>
Continue Reading
Although Paramount was one of several companies to roll back their DEI initiative when Trump was re-elected, Survivor continues to operate by it.
Host Jeff Probst recently noted that “nothing has changed” with how the reality competition series approaches diversity, equity and inclusion, noting that it was “one of the biggest positive changes ever” for the CBS show that launched in 2000.
“And if you watch our show, you know that we’re so diverse — and it’s not just skin color or ethnicity. It goes much deeper than that. It’s one of the biggest positive changes ever,” he told The New York Times. “Our stories are so much more interesting now because we have people from completely different walks of life.”
Probst continued, “I feel no pressure. No one ever says, can you count the numbers again? But Jesse Tannenbaum, who runs our casting team, knows: There’s no stopping, not because we’re told to do it. This is what we need. We need diversity. It’s for narrative. All those differences matter in the story when you throw people together and force them to rely on each other while conspiring against each other. The more diverse, the more interesting.”
In 2020, Paramount implemented a DEI initiative to make CBS and its other brands more inclusive, which the company rolled back last year amid the Trump administration’s attacks on such programs. Months later, Skydance pledged there would be no DEI policies under the Ellison’s reign as they sought the FCC’s approval of the merger.
Following its milestone 50th season, Probst returns to host Survivor for Season 51, airing Wednesdays at 8pm ET/PT on CBS and streaming live on Paramount+.
>
The MTV Video Music Awards are back tonight for the 42nd awards show, celebrating the best music videos of the year.
Hosted by 3x VMA winner Snoop Dogg, the ceremony broadcasts live on Sunday night from the Peacock Theater in Los Angeles, with performances from Madonna, Kacey Musgraves, Lisa, Sombr and more.
Madonna leads this year’s nominations with 13 categories, tying Lady Gaga’s 2010 record for most nominations in a year. She’s followed by Taylor Swift (11), Sabrina Carpenter (nine) and Ariana Grande (eight) in earning the most nominations.
Tonight’s awards show will honor Nirvana with the Video Vanguard Award, and Taylor Swift will receive the inaugural MTV VMA Artist Director Honors, with her “Patient Zero” music video from The Life of a Showgirl: The Encore making its world premiere during the simulcast.
This years MTV VMA performances will include tributes to Dolly Parton and George Michael, marking 40 years since his solo debut album Faith.
With all this and more expected for the 2026 MTV Video Music Awards, read on for how to watch or stream the awards show.
How Can I Watch The 2026 VMAs?
The 2026 VMAs will air live from on Sunday, Sept. 27 from 7:30-9:30pm ET/4:30-6:30pm PT on CBS, simulcast on MTV and streaming on Paramount+ (Premium) in the US. The show will be available globally the next day on Paramount+ and MTV.
Who Is Presenting At The 2026 VMAs?
The VMA presenters include some of this years nominees and winners of VMAs past, as well as a survivor, a superhero, a scream queen and a Saturday Night Live alum.
The lineup features Alex Warren, Belmont Cameli, Brandon Sklenar, Charli xcx, Ciara Miller, David Corenswet, Ella Bright, Isabel May, Jeff Probst, Rachel Dratch, Teyana Taylor, Troye Sivan and Tyla.
Who Is Performing At The 2026 VMAs?
Returning to the VMAs stage for her first performance there in 23 years, Madonna will open the awards show with some songs from Confessions II, presented by Spotify.
Following Dolly Parton’s death at age 80 last month, Kacey Musgraves will perform a tribute to the Queen of Country. Meanwhile, Raye, Sombr and Teddy Swims will team up for a tribute performance directed by Adam Blackstone, celebrating 40 years since the late George Michaels’ career-defining album Faith (1987).
Also performing at the 2026 MTV VMAs are Gener8ion & Yung Lean, Lisa, Shaboozey & Gunna and Sienna Spiro.
For more info, visit MTV.com.
>
What was old at the global box office this weekend was new as Disney/Marvel Studio’s Avengers Endgame: Encore led in an exceptional take for a re-release of $86M WW.
Beamed Andrew Cripps, Disney’s Global Boss of Distribution, “The success of the re-release reiterates that there’s a massive fanbase for this franchise, and the fact that it’s a seven-year old movie on Disney+, it’s an incredible opening.”
Close to 14% of Encore‘s cash came from Imax which made $13.7M off the superhero pic for $4M domestic and $9.7M abroad.
Yes, with a handful of minutes of extra footage of the Russo Brothers’ upcoming Avengers: Doomsday, Encore was an advertisement for that movie, but one which yielded more bucks to the overall Marvel Cinematic Universe with $35 billion global across 38 titles. After this weekend, the lifetime worldwide take for Avengers: Endgame moves to $2.885B behind Avatar‘s $2.92B and ahead of Spider-Man: Brand New Day‘s updated global tally of $2.495B.
With $26M stateside, that repped the third best start for a re-release behind 1997’s re-issue of Star Wars ($35.9M) and 2011’s The Lion King 3D ($30.2M).
Overseas with $60M, Encore was the second highest foreign debut for a re-release behind Titanic 3D in 2012 at current rates. That James Cameron movie at the height of the 3D crazy did $67M boosted by China.
Avengers: Endgame bowed to No. 1 in China ($13.5M), UK ($5.4M), Mexico ($4.2M), Italy ($2.6M), Brazil ($2.2M), Germany ($2M), Australia, and was the best non-local in Japan ($2.6M) and Spain ($1.7M). Disney estimates that Encore was the highest ever opening weekend for a MPA re-release in UK, Mexico and Brazil as well as Netherlands, Greece, S. Africa, Poland, Albania, Bosnia, Bulgaria, Croatia, Hungary, Israel, Kazakhstan, Macedonia, Romania, Saudi Arabia, Serbia, Slovakia, Slovenia, Turkey, Ukraine, UAE, India, Indonesia, Philippines, Hong Kong, Vietnam, Taiwan and all smaller Latin American territories.
Pic was second highest opening ever for a MPA title in Italy, Australia, Malaysia, New Zealand, Singapore and Argentina.
Other No. 1 openings were Austria, Belgium, Norway, Poland, Sweden, Switzerland, Bosnia, Croatia, Czechia, Jordan, Kyrgyzstan (non-local), Lebanon, Qatar, Romania, Serbia, Slovakia, Slovenia, Tajikistan, Turkey, Uzbekistan, Hong Kong, Malaysia, Singapore, India (non-local with $2.8M), Indonesia (non-local), Vietnam (non-local), Argentina and all smaller Latin American territories.
The Anthony and Joe Russo directed movie ranked second in Korea in the holiday period of Chuseok holidays (Sept. 24-27) that’s described as the country’s Thanksgiving by sources. The No. 1 pic in Korea was The Assassin in a box office weekend where three local films dominated the top 5.
France did $2.1M, but Paramount’s Heart of the Beast led there with a Brad Pitt wow factor, that David Ayer directed military vet and dog feature seeing $3.8M.
Second place worldwide is a fight between zombies and Pitt. Sony/Constantin’s Resident Evil posted a second frame of $50.3M, $27M of that coming from 65 overseas markets on 12,500+ screens. Cume abroad in both Sony and Constantin territories is $93M with an overall $196.5M WW.
UK, Mexico, and Australia each set franchise records in just the second weekend with market totals of $11.5M ($2.9M weekend), $9.0M ($2.2M weekend), and $5.4M ($1.7M weekend), respectively. France (Metropolitan) earned $1.8M (-39%) for a market take of $5.0M, and Germany (Constantin) grossed $1.5M (-40%) for a local cume of $4.5M cume. Next stops are China on Oct. 5 and Japan on Oct. 9 for the flesh eating beings.
Brad Pitt and Odin in ‘Heart of the Beast’
Paramount Pictures
Heart of the Beast barked up $50.1M WW with $30.1M abroad from 63 markets. As we told you, France was tops, but also New Zealand and this is the ultimate outdoors film for them ($454K including previews from 128 sites. Also big was United Arab Emirates where a lot of yank moviegoers are with $1M, No. 1 at 58 sites. Middle East grossed $2.6M on the pic.
Rest all including previews (except Argentina) were UK (No. 3, $2.7M at 559 locations), Mexico (No. 2, $2.4M), Australia (No. 3 with $1.6M at 307), Spain (No. 3, $1.5M at 326), Italy (No. 3 $1.2M at 370), Japan (No. 4, $1.2M at 344), Germany ($1M, No. 3 at 428 sites), Brazil (No. 4 $925K at 585 locations), Colombia (No. 2 $872K at 210), Netherlands (No. 3 $574K at 116 locations), Taiwan (No. 3 $419K at 90 sites), Poland (No. 3 grossing $407K at 178 locations), India (opened at #5 grossing $392K at 345 locations, Peru (No. 3 $304K at 108 locations), Ukraine (No. 1 $306K at 171 locations), Argentina (No. 3 $292K at 180 locations), Portugal (No. 1 $290K at 48 locations), Hong Kong (No. 4 $285K at 57), and Belgium (No. 3 grossing $276K at 80 locations).
A24’s Primetime with $19.1M stateside, had a limited launch abroad with $1.2M in France, Germany, Austria, India, Taiwan, Baltic’s and Iceland for an overall $20.3M WW. Of that France did $530K and Germany/Austria was $325K. What’s interesting is some distribution sources believe, at least stateside, that Heart of the Beast is going to have a fantastic multiple off that A- CinemaScore, while Primetime is front loaded with a B. I beg to differ as Primetime sells itself when you sit in theater, however, the truth will be in the numbers.
(from front) Raissa (Liza Soberano), Prince Mermahn (Kevin McCann), Raww (Dave Franco) and Jo (H.E.R.) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.
Universal’s second weekend foreign, first weekend in North America of DreamWorks Animation’s Forgotten Island did $18.4M WW ($5.6M foreign from 34 territories and $12.8M domestic).
Philippines led with No. 1 $1.5M this weekend at 280 locations, well above major tentpoles Super Mario Bros, Despicable Me 4, Zootopia 2 and Minions: The Rise of Gru. It’s the biggest opening of the year for a Universal title there ahead of Odyssey. Spain did $500K at 390 sites for a No. 5 rank. The film has received a strong 7.3 FilmAffinity Score, just below The Wild Robot (7.5) and above Inside Out 2 (7.1) and Puss In Boots: The Last Wish (7.0). Italy was also No. 5 bow with $500K at 372. Brazil did $400K, No. 6 at 682. That includes $190K in previews. Israel posted No. 1 with $300K at 70 sites in line with Trolls and above Spider-Man: Into the Spider-Verse, Puss In Boots: The Last Wish, Wish, Hoppers and The Wild Robot. Forgotten Island opens into Sukkot Holidays, which run from Sept. 25 to Oct. 3. Korea bowed to $219K at No. 10 at 550 sites, which includes $117K in previews. The film has received a strong CGV Egg score (96%). Sweden saw $150K at 132 in No. 5, an opening at this level is in line with Elio, Goat and Puss In Boots: The Last Wish. Australia held over with $737K in weekend 2 for a $1.8M cume. School holidays are taking place in 50% of the market, with the remaining 50% starting next Monday. Forgotten Island ranks No.4, as the top family film in the market, above Coyote vs. Acme (No.8), PAW Patrol (No.7) and Shaun the Sheep (No.10). Mexico added $300k in weekend dos to reach $1.4M cume. Forgotten Island ranks No.7 in the market.
>
Sports4 minutes ago
York Valkyrie hold out to beat Wigan Warriors 8-6 and win the Women’s Super League Grand Final at Brick Community Stadium | Rugby League News
Sports11 minutes ago
Nations League: Bruno Fernandes, Cody Gakpo and Patrick Dorgu injured on international duty
Sports17 minutes ago
Nations League: Craig Bellamy ‘hurting’ as Wales outclassed by Denmark
-
movies4 months agoSearch For Canadian TV Actor Stewart McLean Now Homicide Investigation
-
Fashion9 years agoThese ’90s fashion trends are making a comeback in 2017
-
Fashion9 years ago
According to Dior Couture, this taboo fashion accessory is back
-
Fashion9 years ago
Model Jocelyn Chew’s Instagram is the best vacation you’ve ever had
-
Fashion9 years ago
Emily Ratajkowski channels back-to-school style
-
Fashion9 years ago
9 Celebrities who have spoken out about being photoshopped
-
Anime4 months agoRurouni Kenshin: Hokkaido Arc Manga Takes 1-Issue Break – News
-
Anime3 months agoHIDIVE to Stream English Dubs for The World Is Dancing, The Forsaken Saintess and Her Foodie Roadtrip in Another World, The Dangers in My Heart: The Movie Anime – News