Season 4 will kick off as Colter’s search for a teenage boy’s missing father leads him to a dangerous criminal operation at the Port of Los Angeles, per the official logline for the season opener.

Get all the details on “Tracker” below.

When does “Tracker” Season 4 premiere?

The fourth season debuts Sunday, Oct. 4 at 9:30 p.m. ET/9 p.m. PT on CBS.

What time do new episodes air?

The Season 4 premiere airs at 9:30 p.m. ET/9 p.m. PT, but future episodes air at 9 p.m. ET/PT on CBS.

Where are the episodes streaming?

“Tracker” is available to stream on Paramount+, but how soon you can stream it depends on your subscription tier.

Paramount+ premium plan subscribers can watch “Tracker” live and on demand immediately as the episode drops on CBS, but Paramount+ essential subscribers will have to wait until the day after the episode airs, so in this case, on Monday.

When are new episodes coming out?

New episodes of “Tracker” drop Sundays on CBS.

Here’s the release schedule so far:

• Season 4 Episode 1: “Safe Harbor” — Oct. 4
• Season 4 Episode 2: “Switchback” — Oct. 11
• Season 4 Episode 1: “Original Parts” — Oct. 18

Has “Tracker” been renewed for Season 5?

Not yet, but the series has been a hit for CBS year after year, so its odds are looking good.

Who stars in “Tracker?”

In addition to Hartley, “Tracker” stars Fiona Rene as Renee Green and Chris Lee as Randy.

The post ‘Tracker’ Release Schedule: When Do New Episodes Air? appeared first on TheWrap.

During a special meeting called by the city commission of Livingston, Mont. on Saturday, a motion to suspend the production’s permit was passed after hearing concerns about the shoot’s disruption to local businesses and its failure to communicate street closures, fire engine bookings and other processes to the community.

At the end of the meeting, a commission chair member introduced “a motion to immediately temporarily suspend Bonfire Pawn Shop, LLC’s permit while seeking legal opinion from the city attorney in a timely manner to amend, suspend or revoke the permit to come back to the commission, not after 5 p.m. on Oct. 5.”

“It is crystal clear that Livingston residents and businesses were not adequately informed in advance about the street closures and the disruptive nature of the filming activity that took place in the neighborhoods with the city-permitted filming,” a citizen said during the meeting, adding that clients of the town’s food resource center faced “intimidation” from “production company security personnel, that looked very much like paramilitary.”

Filming on “Pawn Shop” had been scheduled to conclude in Livingston on Oct. 10, per reports. The Daily Wire did not immediately respond to a request for comment regarding the permit suspension and prospective plans to continue production.

In a statement released Thursday, the Livingston Food Resource Center wrote that its attendance hit an eight-week low during filming.

“Since filming began across the street from our building, road closures and armed security guards have increased the barriers to accessing food. Our clients deserve to feel unequivocally safe accessing this essential resource,” the statement reads. “We were not notified of the plans to film. The LFRC learned how filming would affect our mission only when staff called the city to inquire, and there was no part of the permit process that allowed us to object or advocate for our clients, as the permit had already been issued and filming was due to start that week.”

“Pawn Shop” has also drawn local protests while shooting, with signage and social media posts calling out the story’s “pro-ICE” slant and the production’s failure to alert local residents of filming.

The Bulwark obtained a leaked script of the film, reporting that the film’s story kicks off when an ICE agent shoots and kills “a fat blue-hair” woman wearing a “covid mask,” after she fatally strikes another agent with her car. The ICE agent then takes shelter from a mob of activists in a local pawn shop.

The post Daily Wire’s ICE Agent Thriller Ordered to Suspend Filming as City Reviews ‘Disruptive’ Production appeared first on TheWrap.

“Verity” accounts for the vast majority of that as it earned $15 million from 3,510 locations on opening day and is headed for a $33 million opening weekend while Warner Bros./Legendary’s “Digger,” the final film before Paramount acquires the 103-year-old studio, is falling to a $7.5 million opening after grossing just $3.4 million from 3,321 locations, including Imax support.

Starring Anne Hathaway and Dakota Johnson and produced on a reported $40 million budget, “Verity” will turn a modest theatrical profit for Amazon MGM and should likely get plenty of streaming attention on Prime Video.

But it is also likely to be a frontloaded title that won’t provide as much market support through October as hoped as it has earned a C+ on CinemaScore and Rotten Tomatoes scores of 34% critics and 69% audience. For a good number of fans of Colleen Hoover’s book who made up the early CinemaScore audience, “Verity” doesn’t seem to have the creepy, steamy thrills of its source material.

For “Digger,” the box office outlook is even worse given that the film has a budget of at least $125 million, with some reports putting it at $160 million or higher. A film that has Oscar hopes for lead star Tom Cruise, known over the past decade and a half for his box office performance, will instead become his lowest opening weekend since the 2007 film “Lions for Lambs,” a war drama he starred in alongside Robert Redford and Meryl Streep and which opened to $6.7 million.

Directed by Alejandro Inarritu, “Digger” has firmly divided critics and audiences alike, earning a C+ on CinemaScore and earning Rotten Tomatoes scores of 51% critics and 71% audience. Its reception is similar to a high-profile bomb from Warner’s new owners, Paramount’s “Babylon,” which only made $65.2 million worldwide but gained a cult following among some hardcore movie lovers.

With its wild performances and dramatic set design, “Digger” might also attain cult status in the years ahead. But it is set to end Warner’s run as its own studio as a pricey misfire.

Among holdovers, Sony’s “Resident Evil” is looking better in its third weekend with $12.5 million to bring its domestic total to $125 million. Paramount’s “Heart of the Beast,” which faces an uphill climb to profitability, is getting decent holds so far with an $11 million second weekend after a $20 million opening to bring its domestic total to $38.3 million, though it will need overseas help to recoup its $80 million production spend before marketing costs.

A24’s “Primetime” dropped 56% from its $19 million opening to $8 million in its second weekend for a domestic total of $34 million against a $15 million budget. Finally, Universal/DreamWorks’ “Forgotten Island” fell 50% from a poor $13 million opening weekend, leaving the film with a $6.6 million second weekend and an anemic $23 million domestic total against an $80 million budget.

The post ‘Verity’ Leads Box Office With $33 Million Opening While ‘Digger’ Sinks to $7.5 Million appeared first on TheWrap.

It came in the morning from Skydance CEO David Ellison confirming what they had read online the previous night in an anonymous report: that they would not be joining the new merged Warner-Paramount studio. That their upcoming slate of a half-dozen releases, including “Batman 2” and “Gremlins 3,” would be handled by someone else. And that their services were no longer needed. 

It was certainly an inelegant way to handle the exit of two studio chiefs who had ushered Warner Bros to glory at the Academy Awards earlier this year, with the triumph of “One Battle After Another” winning Best Picture and Michael B. Jordan taking Best Actor for critical darling “Sinners,” capped off by a standout 2025 at the box office. 

All day the internet was feeding on the unconfirmed (until now) report of their exit by Puck, with Paramount (now renamed Skydance) declining to comment. The executives were left dangling in the news cycle, increasingly angry at the slight. 

Ellison called each of the executives, separately, to inform them in a tense exchange. According to knowledgeable individuals, he told them that the merged companies have a ton of debt and needed to restructure in order to meet those obligations. That, of course, is no secret to anyone. The combined entity is expected to carry around $80 billion in total debt. 

They were not offered a production deal. Their film slates will be handled for the moment by their deputies, Jesse Ehrman and Mike Ireland, who are currently the Presidents of Production. Josh Greenstein and Dana Goldberg are co-chairs of Paramount Pictures and expected to lead the merged film studios. 

Both De Luca and Abdy were livid at the way their exit was handled, according to individuals with knowledge of their reaction. Abdy was particularly offended and told the mogul with some bitterness: “Good luck to you. I left you 39 movies.” 

Warner’s go-forward film slate is packed with likely blockbusters, including “The Lord of the Rings: The Hunt for Gollum,” “The Batman Part II,” “Gremlins 3” and “A Minecraft Movie Squared.”

Under De Luca and Abdy, Warner Bros. had a spectacular year in 2025, with two films nominated for Best Picture at the Academy Awards and Paul Thomas Anderson’s “One Battle After Another” ultimately winning the top prize, and multiple box office hits, including “A Minecraft Movie.” 

But 2026 has been much tougher with movies like “The Bride!” and “The End of Oak Street” failing to motivate audiences. The reported decision comes ahead of an expected underwhelming domestic opening weekend for the Tom Cruise-led film, “Digger,” which is predicted to bring in $12 million to $15 million. Update: the film opened on Friday to just $3.4 million and is now looking to hit just $7.5 million in its opening.

Abdy and De Luca had no comment for this story. Paramount/ Skydance declined to comment. 

The executives’ last day is expected to be when the two companies complete their merger on Tuesday. 

The post David Ellison Finally Calls Mike De Luca and Pam Abdy to Inform Them of Exit They Read About in the Press | Exclusive appeared first on TheWrap.

Warner Bros. TV, CBS Studios and Paramount Television Studios will now fall under his jurisdiction. Cheeks currently serves as chair of TV Media at Paramount, reporting to CEO David Ellison.

Cheeks already oversees CBS Studios, along with network CBS and cable operations like BET, Nickelodeon and Comedy Central, among others. Under the restructuring, Warner Bros. Television chairman and CEO Channing Dungey and Paramount Television’s president Matt Thunell are expected to both stay on and report to Cheeks, along with CBS Studios president David Stapf.

A Paramount spokesperons declined to comment to TheWrap.

This move could lend itself to future consolidation. Warner Bros. TV is historically the largest independent TV studio, but it has rolled back its production on broadcast hits, leaving that to the networks to produce in house. It remains unclear whether or not that would change as the company integrates itself with CBS.

CBS Studios is known for producing network shows like the “NCIS” and “Fire Country” franchises as well as “Matlock” and “Ghosts.” WBTV recent hits include “The Pitt,” “Ted Lasso” and the breakout debuts of “Rooster” and “Stuart Fails To Save the Universe.”

Paramount TV currently produces the entire Taylor Sheridan universe for Paramount+. Shows include “Reacher,” “Neagley” and “Lioness.”

This follows a similar executive structure as the newly formed Skydance has on the movie studio side. Warner Bros. and Paramount Pictures both fall under Josh Greenstein and Dana Goldberg as Skydance’s movie studios. And with Cindy Holland out at Paramount as of Tuesday, the space is open for Casey Bloys to run both HBO Max and Paramount+ on the streaming side.

The post Skydance Lumps Paramount-Warner Bros. TV Studios Under George Cheeks appeared first on TheWrap.

The founder said the once-taboo format is drawing interest from traditional entertainment players who see the revenues coming in. At TheGrill 2026, Shimoni joined Mansa co-founders David Oyelowo and Nate Parker and aTwist CEO and founder Jana Winograde to discuss how the microdrama boom is opening new avenues for talent, experimentation and investment as Hollywood’s traditional pipelines contract.

Oyelowo and Parker co-founded their streaming platform Mansa to platform Black creative voices. Within the last year, that expansion has included an increased investment into vertical storytelling. 

The multi-hyphenates came from the traditional entertainment ecosystem — Oyelowo known for starring in films like “Selma” and “Queen of Katwe,” Parker for directing and starring in “The Birth of a Nation” — but realized they could do more for marginalized voices in the lower-budget space. 

“It was about embracing a process that we had been forced into just by being filmmakers of color,” Parker, co-founder and CEO of Mansa, said onstage at the DGA Theater. “Not everyone can make a film for $5 million, $10 million, $20 million, so the idea of having to make something that is good, fast and cheap is constantly the Rubik’s Cube that we had to solve.”

Mansa’s verticals range from production budgets of $100,000 to $250,000. These productions allow for more iteration and testing in real time. Oyelowo said that audiences have been supportive of their experimentation, too. 

“There’s a lot of malleability. You can really test the market,” Oyelowo said. “You can really test the audience, and they will go along with you because they’re enjoying even that process of you testing what it is that they’re gravitating towards, without it being the thing that’s going to tank your business.”

For Shortical’s Guy Shimoni, that iteration has included a greater investment in AI. The company is set to release a feature-length AI film “Inevitable” later this month. Shortical is set to do $100 million in revenue by the end of the year. Shimoni says that is in large part because of the scale they are able to create by using AI filmmaking tools. 

“Our business has doubled ever since we started rolling out AI content. We’re able to do more genres. We have superheroes going on,” he told me at TheGrill. “Ever since we started rolling out our AI content, we’ve been able to double down on serialized content, and we are now doing longer series, not 60 minutes any more.”

Shortical has a microdrama series in the works with James Franco. As their business grows, Shimoni said that this is not the only interest he has gotten from the traditional players. 

“I think 18 months ago when we started talking about short form content, mobile streaming, microdramas, no one wanted to hear about it. It was a taboo,” he said. “Now everyone is knocking on our door and looking for ways because they see the revenues coming in.”

He imagines that this trend will continue with AI content in the years to come as the industry eases its frustrations with the technology. 

aTwist co-founder and CEO Jana Winograde was previously a television executive for decades of her career. The professional pivot to microdramas was largely because of the growing opportunity in the space. 

The company has established a slew of traditional entertainment partnerships even before they officially launched in early September. Winograde and her partners are using a traditional entertainment playbook to hook audiences on serialized content. 

Winograde in particular was heartened by the microdramas industry’s ability to platform emerging talent. While they have partnerships with some traditional celebrities, including a family series with Mario Lopez and a musical microseries produced and directed by Jesse Tyler Ferguson, the platform largely uses vertical stars or highlights unknown talent on-screen. 

“As Nate has said, there are so many amazing actors in this space that do not have the opportunity to work right now that we have had the opportunity to work with, and it’s been amazing. It’s not just actors; it’s directors, it’s writers,” Winograde said. 

“It just doesn’t seem that there are the same opportunities for people who are unbelievably talented to get their break, and we’re really proud to be giving people that opportunity.”

For Mansa, they wanted to platform emerging talent, too, but also fill a gap in the market for Black storytelling. 

“One of the reasons we started Mansa is to continue to populate the pipeline with people who look like us, with diverse stories from around the world,” Oyelowo said. “You see contraction in every part of the industry and what microdramas present is a fiscally responsible, possible and plausible way to put people to work to cultivate talent.”

The post Microdrama Platform Founders Say Hollywood Has Come Knocking as Traditional Pipelines Shrink appeared first on TheWrap.

“Rogue One” filmmaker Gareth Edwards, who was previously attached to direct, left the project citing creative differences.

“Rebirth” garnered $869 million globally last year and a script to the follow-up film has already been written by David Koepp. Stars Scarlett Johansson, Mahershala Ali and Jonathan Bailey are expected to return. A search for a new director is underway.

According to an insider, the Jurassic franchise has always evolved with different filmmakers and cast, being led by five different core groups of actors/directors over seven movies to date.  What has remained consistent are the core architects of Steven and Frank and Jurassic delivering audiences the wonder and terror of dinosaurs in our modern world.  Those elements will sustain.  

In his review of “Rebirth,” TheWrap’s Bill Bria wrote: “Rebirth” has a curious origin story, as it arrives a mere three years after the last entry in the series, “Jurassic World Dominion,” which was heavily marketed as, well, the last entry. Yet David Koepp’s script was deemed so crackerjack that “Rebirth” was fast tracked into production, and is now releasing just a year and change after it was first announced. While some thought this meant that the resulting movie would end up being a rushed mess, “Rebirth” proves that both Edwards and Koepp are excellent craftsmen, as it’s a delightfully thrilling summer movie adventure. It’s rather slight, and doesn’t provide any sort of bold new direction for the franchise, but as far as cinematic cheeseburgers go, it’s a tasty one. 

TheInSneider first reported the news.

Universal had no comment.

More to come…

The post Next ‘Jurassic World’ Movie Eyes J.A. Bayona to Replace Gareth Edwards as Director appeared first on TheWrap.

Apollo Global Management Inc., Bank of America and Citigroup provided the initial debt financing for the acquisition. Per the outlet, they sold approximately $30 billion in investment-grade debt, $12.4 billion in junk bonds and $9.46 billion in loans in just a week.

The update comes after Bloomberg reported that investors faced more than $100 million in paper losses after the combined company’s bonds started trading on Thursday, which led to the banks facing a flood of angry complaints from money managers.

Skydance Chief Financial Officer Dennis Cinelli dismissed the selloff as “one-day choppiness in the market,” telling Bloomberg it entered “not for a one-day trade, but to execute a transformative transaction to create a next-generation entertainment and technology company.” Citigroup’s Leon Kalvaria, chairman of the institutional clients group, added that the financing “turned out incredibly well in a choppy market.”

Representatives for, Bank of America, Apollo and Citigroup declined to comment, while Skydance did not immediately return TheWrap’s request for comment.

The debt sale comes as the merger is slated to close on Oct. 6, with the combined company expected to carry around $80 billion in debt.

The combined company, which has been named Skydance, will begin trading on the NYSE on Oct. 6 under the ticker symbol SKYD. The company will distribute warrants to purchase shares on Oct. 13.

While the deal isn’t officially closed, David Ellison has already started shaking up the combined company’s leadership team, tapping HBO CEO Casey Bloys to run Paramount+ and HBO Max, with Paramount Streaming head Cindy Holland exiting on Tuesday. The company also recruited Mattel CEO Ynon Kreiz to serve as co-CEO of the combined company.

The post Paramount-Warner Bros. Merger: Wall Street Banks Wrap Up $52 Billion Debt Sale appeared first on TheWrap.

Kramer, who previously co-ran CAA’s Media Finance division for nearly a decade, joined Black Bear in July 2025 as president of domestic distribution, helping set up the company’s infrastructure for releasing high-profile films. During that time, Black Bear has distributed such films as “Christy,” “Tuner” and “The Rivals of Amziah King” domestically. Kramer will remain through the upcoming Black Bear release of “Wicker,” starring Olivia Colman and Alexander Skarsgård, which is set to hit theaters on Oct. 23.

“It is with a grateful and heavy heart I depart the great team at Black Bear,” Kramer said in a statement. ”I remain a forever fan, deeply excited and hopeful for the company’s bright future.”

More films are slated for domestic release by Black Bear through 2028. These include the meta action comedy “Jason Statham Stole My Bike” and the Laika-backed Taylor Jenkins Reid adaptation “Atmosphere” (both of which Black Bear helped produce). Guy Ritchie’s “Wife & Dog,” starring Benedict Cumberbatch, Rosamund Pike and Anthony Hopkins, is also set for domestic distribution by Black Bear, with a release date of Feb. 19, 2027.

“Ben has been hugely valuable in helping Black Bear stand up a powerful domestic operation,” said Black Bear CEO Teddy Schwarzman in a statement. “I’m proud of the work we’ve done in recruiting exceptional talent to head our theatrical distribution, marketing and publicity departments, and equally important, developing an enviable post-theatrical infrastructure. The pieces are now in place for the next phase of Black Bear’s growth, and I’d like to thank Ben for his time and investment in Black Bear.”

Under Schwarzman’s leadership, alongside partner Michael Heimler and Black Bear International partner and president John Friedberg, the company has assembled a team to sustain its domestic distribution operation, including David Spitz (head of U.S. theatrical distribution), Bianca Parkes (head of domestic marketing), Heather Phillips (head of domestic publicity), Katie Anderson (EVP of acquisitions) and Dan Cohen (head of television distribution).

The post Black Bear Head of US Distribution Benjamin Kramer to Exit appeared first on TheWrap.

The buzziest move of all may be Disney’s decision to give Netflix a three-month promotional window to stream the first two seasons of Disney+’s “Percy Jackson and the Olympians” in conjunction with the show’s Season 3 premiere on Nov. 20. The fantasy series’ first two seasons will be available to stream on Netflix starting on Oct. 4.

Additionally, all five “Ice Age” films are set to begin streaming on Netflix on Oct. 4 as part of a separate, three-month streaming window leading into the theatrical release of “Ice Age: Boiling Point” on Feb. 5, 2027. Every season of ABC series “Will Trent” and “Shifting Gears” will also arrive on Netflix on Nov. 3 and Dec. 1, respectively. Both shows’ arrivals on Netflix come just a few months ahead of the premieres of their new seasons early next year.

Furthermore, all three seasons of the Justin Hartley-led “Tracker” will now be available to stream on Netflix outside of the U.S. for a multi-year term.

Disney is also bringing a number of non-franchised Walt Disney Animation Studios and Pixar titles to Netflix starting early next year, including “Soul,” “Elio” and “Raya and the Last Dragon.” Other, legacy shows owned by Disney, such as “Felicity,” “Revenge,” “Army Wives,” “Fresh Off the Boat” and “This Is Us,” are heading to the streamer as well.

Notably, all of the titles listed above will remain available to stream on Disney+ and Hulu, with Netflix serving as an additive, secondary streaming platform for the selected shows and movies. Disney-owned titles that are already streaming on Netflix, like “Grey’s Anatomy,” “Arrested Development,” “Scandal” and “Black-ish,” will also continue to be available on the platform.

The new licensing deal furthers Disney’s ongoing effort to prioritize its companywide, Disney+-first approach of emphasizing the streaming exclusivity of most of its library titles, while still entering into select third-party licensing agreements. In this case, many of the shows and movies being licensed to Netflix have been made available to the streamer in the hopes of growing their audiences ahead of their upcoming seasons and sequels.

The post ‘Percy Jackson’ and More Disney Titles Start Streaming on Netflix in Huge Licensing Deal appeared first on TheWrap.