
Ruth Gemmell as Lady Violet Bridgerton, Adjoa Andoh as Lady Danbury, Golda Rosheuvel as Queen Charlotte
Liam Daniel/Netflix
The long-rumored expansion of the Bridgerton universe is a reality: Netflix has greenlighted an untitled spinoff chronicling the early life of a young Lady Violet and her romance with Viscount Edmund Bridgerton. The widowed Bridgerton family matriarch is played on the mothership series by Ruth Gemmell.
Like Queen Charlotte: A Bridgerton Story, the Violet prequel will be a limited series from franchise producer Shondaland. It has Shonda Rhimes writing, executive producing and co-showrunning with her Queen Charlotte collaborator Nicholas Nardini. This is the first time the Grey’s Anatomy creator has written a show since she created and executive produce Queen Charlotte.
Rhimes wrote all episodes of the 2023 limited series except one, which was penned by Nardini who also co-wrote another with Rhimes.
While Queen Charlotte was an original creation based on characters from the Bridgerton novels by Julia Quinn, there is a source material for the Young Violet series in the form of Violet In Bloom, a short novella by Quinn which tells the love story of Violet and Edmund.
Queen Charlotte director/executive producer Tom Verica is back in the same capacity for the new limited series. Shondaland’s Betsy Beers also executive produces.
Talk about another Bridgerton prequel limited series started shortly after the successful May 2023 launch of Queen Charlotte, which briefly cracked Netflix’s Most Popular English series list. Queen Charlotte featured the older versions of Charlotte (Golda Rosheuvel), Lady Danbury (Adjoa Andoh) and Violet (Gemmell) from Bridgerton, making the other two prime suspects to headline their own prequel.

Ruth Gemmell as Lady Violet Bridgerton, Adjoa Andoh as Lady Danbury, Golda Rosheuvel as Queen Charlotte
Liam Daniel/Netflix
Verica told Deadline in January that existing Bridgerton characters are getting the Queen Charlotte treatment with more spinoffs in development.
Since Queen Charlotte followed Lady Danbury’s romances alongside Charlotte’s marriage as the Queen’s confidante proved to be unlucky in love, Violet emerged as the most likely character to get her own spinoff.
After lengthy development, the project started picking up momentum several months ago, with speculation growing that it would be the first series greenlighted under the new long-term overall deal Rhimes signed with Netflix in August.
Expanding the Bridgerton universe is a key part of Netflix’s Shondaland relationship as it has become a lucrative enterprise generating a lot of revenue from areas beyond streaming, including consumer products and live experiences. On Netflix, Seasons 1 and 3 remain on the Most Popular list, ranking #7 and #10, with Season 5, which shifts the spotlight to the introverted Francesca Bridgerton (Hannah Dodd) and Michaela Stirling (Masali Baduza), currently in production in London.
Underscoring Netflix’s commitment to the franchise, the streamer built a special studio for Shondland to film it in the UK.
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Rwanda’s film industry is taking a big new step, with Marie-Clementine Dusabejambo’s debut feature Ben’Imana having been selected as the East African country’s first-ever submission for the best international feature film Oscar at the the 99th Academy Awards in 2027.
The film, which premiered at Cannes, explores the pursuit of justice and reconciliation for survivors of genocide.
“Rwandan women confront national wounds and family secrets in a searing drama,” THR‘s review highlighted. “Through the character’s complex and often tense relationships with her teenage daughter, her sister and her mother, as well as with other women in her village, Dusabejambo has crafted a story that’s both emblematic and achingly specific.”
“The selection marks a historic moment for Rwandan cinema, with Ben’Imana becoming the first film ever officially submitted by Rwanda for the Academy Awards,” highlighted Alexander, the newly launched film distribution arm of film producer Cameron Lamb, which recently acquired all rights in English-speaking territories to the film.
Ben’Imana premiered in the Un Certain Regard section at Cannes, marking the first time a film from Rwanda screened in the venerable fest’s official selection. It ended up winning both the Caméra d’Or for best first feature and the FIPRESCI Prize.
The film the celebrated its North American premiere at the Toronto International Film Festival and will gets its U.K. premiere at the 70th BFI London Film Festival on Oct. 12. Ben’Imana will gets its theatrical release in the U.K. in February 2027, followed by a U.S. release in March. mk2 is handling world sales.
Ben’Imana stars Isabelle Kabano, Clémentine U. Nyirinkindi and Kesia Kelly Nishimwe. Dusabejambo wrote the script in collaboration with Delphine Agut. The cinematographer is Mostafa El Kashef, with editing by Nadia Ben Rachid. The film features an original score by Rwandan singer-songwriter Igor Mabano.
The majority co-production between Rwanda and Gabon, and minority co-production with France, Norway, and Côte d’Ivoire, was shot entirely on location in Rwanda with a primarily Rwandan crew.
Kigali-based Dusabejambo is a self-taught filmmaker who took her first steps in cinema as part of a collective of young filmmakers in her neighborhood. In 2010, she won a scriptwriters’ competition of the Tribeca Film Institute, which led to her first short, Lyiza, which premiered at Tribeca in 2011. She also worked as an archivist on the documentary series Why We Hate?, directed by Sam Pollard and Geeta Gandbhir and executive-produced by Steven Spielberg and Alex Gibney, and as assistant director on Faces We Lost by Piotr Cieplak. Her other short films, A Place for Myself and Icyasha, have screened at international festivals.
The Academy of Motion Picture Arts and Sciences will unveil the 15 films on the best international feature film shortlist on Dec. 15. The five nominees will be announced Jan. 21, 2027. The 99th Academy Awards ceremony will take place on March 14, 2027.
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When Joe Manganiello collapsed in pain on the set of Six in Wilmington, North Carolina, in 2016, the 39-year-old was at the apex of his career. He had made his name as Alcide, the sensitive and impossibly ripped werewolf in HBO’s True Blood, which led to the meaty role of Big Dick Richie in Steven Soderbergh’s critically acclaimed Magic Mike movies. People magazine had named him “Hollywood’s Hottest Bachelor” in 2014 and a year later, he wed Modern Family star Sofia Vergara. He was on the cusp of the A-list when a mysterious ailment cut him down. For weeks an autoimmune disease doctors couldn’t explain had been attacking his thyroid and ravaging his intestines. Now he could no longer endure the excruciating pain.

BLOODLINES: A Memoir, by Joe Manganiello
Simon & Schuster
During his extended stay in the hospital, the man who had come this close to being case as the next Superman, whose abs had made Arnold Schwarzenegger envious, withered from a hulking 235 pounds to 176, “a weight I hadn’t been since middle school,” he writes in his new memoir. Then came what he would recall as “The Night in Hell”: “Rectal blood sprayed out, turning the bathroom floor into a crimson pool, staining the walls, the sink, and tile grout bright red.” The next day he was rushed into surgery. “My entire large intestine had turned to pus and was about to explode. Had they not cut me open that morning, it would have ruptured, and I would have died immediately of sepsis.”
Vergara, as his next of kin, “made the brutal but lifesaving decision to allow my entire large intestine to be removed and a hole to be cut into my abdomen to divert my small intestine” into an ostomy bag he would have to wear for an unknown amount of time.
As Manganiello was just beginning to recover, weaning himself with difficulty from a heavy regimen of painkillers that had tested his sobriety, his agent called with the news that Ben Affleck wanted to discuss a role in the new Batman movie. Concealing his condition, adrenaline masking his pain, Manganiello powered through a meeting with Affleck, offered him the role of Deathstroke, the main villain in the Batman movie Affleck was writing, directing and starring in. In an excerpt from his memoir, Bloodlines (out October 13 from Avid Reader Press), Manganiello recounts how the offer gave him the motivation to begin clawing his way back to health — even as his marriage was beginning to fall apart.
Listen to Manganiello read the below passage in a clip from the Bloodlines audiobook.
She’d watched me transform from the strongest man she’d ever known to a skeleton who could barely move on his own. She had been preparing for me to die and was clearly, deeply traumatized by her fear of my impending abandonment via death.
“I just got offered the biggest role of my life,” I said.
“Are you insane?” she shouted at me. “You can’t do this movie!”
She wasn’t entirely wrong. There was a Gremlin in the control room of my body that had locked the door so no one could stop it and was madly flipping the control switches. It was against all odds that I was still breathing. My doctors were scrambling to find out which medication designed for rheumatoid arthritis and other conditions that I didn’t specifically have would mitigate my symptoms. They were unsuccessfully trying to solve one part of a many part problem, pumping me full of these drugs, one after the other, all of which had horrific side effects. Sofia had every reason to say what she did, but the way I saw it, I had one job now: to prepare for this role. It was just the carrot I needed dangled in front of me, the one that would lead me out of this nightmare that had become my life. I needed to believe, even if it turned out to be a delusion, that one year from now I could handle the rigors of shooting a superhero movie for six months.
This would be my trial by fire. The operation had left me with scars: the long one below my belly button that looked like I’d been split open with a survival knife, plus two smaller ones on the right side of my abdomen where the catheters had been inserted. They were very fresh, and while they might raise eyebrows if they were seen, they were nothing compared to the golf ballsized hole the doctors had drilled through my stomach wall to pull out the end of my fleshy, pink small intestine that was now covered by a large plastic ostomy bag.
Adjusting to life without a large intestine was like waking up in someone else’s body. Without the storage capacity of a colon, within minutes of eating anything, my body would immediately output waste through the stoma. There was no real way to feel when it was going to start or stop. Sometimes it began thirty minutes after eating, some-times sooner. Since I was trying to gain all that weight back, eating steadily all day long, my digestive system worked around the clock, which meant I changed bags constantly and got no rest, even over-night.
I had the routine down though. I’d take an adhesive putty, work a piece of it in my fingers until it was pliable and sticky, and spread it in a circle around the protruding hole. I’d then adhere a plastic ring to the putty, making sure it was airtight, before snapping an ostomy bag to the ring. When applied perfectly, the stoma emptied directly into the bag and didn’t leak.
To make matters more complicated, I’d always been a stomach sleeper. My whole life I’d slept face down, with a pillow under my chest and my arms splayed out above my head. I was now forced to sleep on my left side only because of how the bag sagged and hung once it started filling up. Lying on my back was out of the question because at that angle, the stoma fired straight up like a geyser and compromised the adhesive seal, causing it to leak down my abdomen.
This had resulted in several nervous breakdowns during my first few weeks back home. I’d wake up in the middle of the night gasping for air, lying in a puddle of sweat, my hair drenched. I’d reach down to discover that the bag was leaking through my pajamas and quietly get out of bed to dispose of the waste, hoping I didn’t wake Sofia. Because I couldn’t control the output, I would often have no other choice but to stand in the shower, lean against the wall, and close my eyes until my body ran out of sludge. The complete loss of muscle mass in my lats and back, as well as the rest of my body, compounded my sleep issues.
Having muscle mass was like having pillows attached to my skeleton: Not only did it make lying down more comfortable, it held my spine in place. Since I’d lost so much of it and was sleeping in unnatural positions, I began to have neck and spinal problems. And since my body was suffering from all manner of internal and external inflammation, I’d wake up at night shivering cold in a pool of sweat. I learned to lay towels down beneath me and change them out each time I woke up.
Sofia couldn’t bring herself to congratulate me on landing the biggest role of my career. She’d just watched me die and come back to life through the marvel of modern science, and I think during my illness part of her had begun to adapt to the traumatic thought of living her life without me. Now here I was packing to leave her for an unbelievably high-stakes job that I was in no shape to take. Hard as it was for her to understand, I needed it to survive. The role contained the shred of hope that I might get my life back in some capacity, and I had to believe it was possible.
My job was simple: Be a warrior. When I looked into my eyes in the mirror, there was no fear, just determination. In them, I saw a gaze like Clint Eastwood’s when he played the Man with No Name in Sergio Leone’s Dollars Trilogy or Dirty Harry. That look that told other men that he’d pull the trigger with no hesitation or remorse, the look that always made them back down. I was not afraid to die anymore; death already knew who I was, and that look was in my eyes now. I had fought my illness with every fiber of my being—and then fought some more. I had discovered extra gears within me. I’d gain the weight back, get my digestive system reconnected, lose the bag, and get back to my life. The role was my destiny. I had been removed from one set because of my health, but it wouldn’t happen again.
I hated the pity I saw in Sofia’s eyes when she looked at me now. When we first met, she looked up at me with such pride; I would have gone to war and taken over the world for that look. Now all I could see reflected back at me was this sick, pitiful patient. I was determined to see Sofia’s eyes flicker for me the way they used to once again—even if it killed me.

Joe Manganiello and Sofía Vergara attend The 22nd Annual Screen Actors Guild Awards at The Shrine Auditorium on January 30, 2016 in Los Angeles, California.
Getty Images
I boarded my flight to Heathrow and tried my best to sleep on my side in the pod. I had my blanket pulled up and was starting to doze when I reached down and felt moisture. There was a fucking leak in my ostomy bag, and shit had started to soak my underwear. I got up, carefully holding my shirt away from my body, praying none of the waste got on it, leaving a stain that would smell for the entire flight. I got my backpack from the overhead full of my supplies: a spare ring, the putty, a waste bag to hold the used bag, a fresh ostomy bag, and clean underwear. I’d learned pretty quickly that it was wise to keep clean underwear on hand at all times. I got to the bathroom, peeled my shirt off carefully, and started swapping out the bag. As I removed it, the stoma shot like a cannon, spraying onto the mirror and counter. With lightning reflexes, I grabbed a wad of tissues and plugged it, slowing the flow for the time being. I emptied the full bag into the toilet, then folded it up and put it into the waste bag. While the tissues stuffed into my stoma soaked through, I got the pieces ready and did my best to attach the new bag. Once it was secure, I cleaned the bathroom using the hand soap and paper towels. By the time I was done, I was sweating from the stress and embarrassment even though I was alone in the middle of the night with most of my fellow passengers asleep. Once I had things under control, I changed my underwear, which thankfully was the only article of clothing compromised. Then I took a deep breath and looked in the mirror. “You’re a tough son of a bitch,” I said. “You’re a bad dude. I love you.” I nodded silently to myself in affirmation, then headed back to my seat to try to sleep. I was going to need it.
I got to my hotel the next morning and had the entire day to get settled. I thought long and hard about how to get through the fitting. I planned to stop eating in the late afternoon and not eat again until after it was over, giving me about eighteen hours to allow my digestive system to clear. I knew the suits DC used for their superheroes were three to four layers, starting with a skintight spandex bodysuit, a second layer of heavier latex material, a layer of armor, and sometimes another layer over that. I had to be absolutely sure nothing would come out in the bag while I wore the suit because under that degree of compression it would probably explode. I was appropriately empty by morning when I met with the wardrobe staff. They handed me the tight spandex base layer and just stood there. This was not unusual for a fitting, but I couldn’t undress for an audience without revealing my scars and the bag. I acted demure, which, given their expressions, clearly seemed a little curious coming from Alcide the naked werewolf and Big Dick Richie the stripper. I smiled, shrugged my shoulders, and held up the spandex, as if to say, “Are you all just going to stand there?” They snapped to attention, embarrassed, and filed out. I took off my sweatpants, which I’d gotten used to wearing exclusively because it was impossible to wear jeans or pants with stiff waistbands due to the location of the ostomy bag. I confirmed that it was still empty—so far, so good—then I slipped into the bodysuit and called everyone back in. They helped me into the next layer, made of thick, heavy, contoured latex, and began strapping shiny chrome armor on me. They tried a number of different knee pieces, arm pieces, you name it, to replicate Deathstroke’s look in the video game. Once we settled on the configuration, the pieces would be painted the character’s trademark navy blue and orange.
The fitting went as smoothly as could be, but apparently that wasn’t the end of the day’s journey. They informed me that they also needed to create a full 3D body scan image of me using 256 cameras mounted around a podium. The scan would be used to make a replica mannequin of my body, which they’d use like a dress form to tailor and fit my suit over the next month before we shot my scene. There was just one problem: “We noticed you’re wearing black underwear,” one of them said. “The cameras don’t like black, so we found these for you.” They handed me a pair of tiny bright blue briefs sized for a man much smaller than me with, shall we say, a very different personal style from my own. I stared at them and began to panic. There was no way in hell that little thing would fit me, let alone hide the bag.
From BLOODLINES: A Memoir by Joe Manganiello. Copyright © 2026. Reprinted by permission of Avid Reader Press, an Imprint of Simon & Schuster, Inc. Printed by permission.
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Skydance CEO David Ellison said the merger of Paramount and Warner Bros. Discovery is the solution to media companies that “didn’t pivot fast enough” when big tech moved into their space starting a decade ago.
“We can talk a lot about the owner-operator entrepreneurial culture of Silicon Valley versus the culture of Hollywood. That candidly put the businesses in this position. This transaction is the solution to those mistakes 10 years ago. Big tech took platform technology pushed into media,” he said in an an interview with CNBC Thursday before executives of merged company now called simply Skydance rang the opening bell on the New York Stock Exchange.
“People are still there for the content. They’re there for the stories. They’re there for the news they love, the sports they love, the stories they love. We have assembled an unmatched portfolio of intellectual property, sports, and news assets, and then we are building a product and tech organization that can compete with anybody coming out of Silicon Valley. That is going to enable us to push back, and … to pivot.”
Streaming is the key as Paramount joins HBO Max, vaunting Skydance to a top player in DTC.
“We have incredible room to run here in the States domestically. These services are still nascent internationally, so we have a tremendous amount of room to grow in the international business. Our FAST business is growing rapidly, both in terms of engagement and market share. And … we are investing more in content than any of our peers. Like, just talk about the scale of it: 30 movies a year, over 180 series.
This accelerates streaming growth by years as a standalone company, and you get to that inflection point very, very quickly to where the growth businesses of studios and streams, no, but outpaced linear decline.”
Skydance is unifying ad sales across the platforms and product and tech teams are at work doing the same with the backend tech stacks. “This accelerates streaming growth by years as a standalone company, and you get to that inflection point very, very quickly to where the growth businesses of studios and streaming outpaces linear declines.”
The merger of Paramount and WBD closed on Tuesday.
More to come
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