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Hollywood's most anticipated sequel arrived with all the authority of Miranda Priestly herself — and the numbers proved the fashion world still commands an audience. The Devil Wears Prada 2 opened to a stunning $77 million at the North American box office this weekend, claiming the top spot and signaling that star-driven, non-superhero storytelling remains a powerful force in contemporary cinema.

In second place, the Michael Jackson biopic Michael demonstrated extraordinary staying power, earning $54 million in its sophomore weekend and crossing $400 million globally — now standing at a formidable $423.9 million worldwide. Together, these two films marked one of the most culturally charged opening weekends of the season, suggesting audiences are hungry for stories rooted in legacy, identity, and the human experience of fame.

The Official Start of Hollywood's Summer Season

This weekend marked the ceremonial launch of Hollywood's summer movie season — an 18-week run through Labor Day that historically accounts for nearly 40 percent of annual domestic ticket sales. Notably, no Marvel tentpole led the charge this year, breaking with a long-standing tradition. Instead, two decidedly human-scale narratives — one about fashion and ambition, another about musical genius and controversy — anchored the season's opening statement.

The combined performance of these two films offered a compelling validation of mid-budget, star-driven filmmaking in a landscape often dominated by franchise IP. The Devil Wears Prada 2 alone outperformed last year's summer kickoff, the Marvel entry Thunderbolts, underscoring a shifting dynamic in audience taste and a renewed appetite for cinema grounded in character and cultural relevance.

Miranda Priestly Returns — and So Does Her Audience

20th Century Studios, a division of The Walt Disney Company, opened The Devil Wears Prada 2 across 4,150 North American locations, generating $77 million domestically and an additional $156.6 million internationally for a powerful global debut.

The sequel reunites Anne Hathaway as the now-seasoned Andy Sachs, once again navigating the orbit of Meryl Streep's inimitable Miranda Priestly at the fictional Runway magazine — this time set against a dramatically transformed media landscape. Critics offered mixed assessments, but audiences responded with unmistakable enthusiasm. According to PostTrak exit polls, women represented approximately 76 percent of ticket buyers, with 74 percent stating they would "definitely recommend" the film to friends — a metric that speaks directly to the sequel's emotional resonance and cultural timing.

The film carried a reported production budget of $100 million, a significant leap from the original's $35 million — a reflection, as director David Frankel candidly noted, of assembling one of cinema's most celebrated ensembles. Alongside Streep and Hathaway, the cast includes Emily Blunt and Stanley Tucci, all of whom embarked on a fashion-forward global press tour with stops in Tokyo, London, and New York.

Adding a layer of real-world glamour to the campaign, Vogue editor-in-chief Anna Wintour — widely regarded as the original inspiration for Miranda Priestly — lent her presence to the film's promotion, appearing with Hathaway at the Oscars and gracing a prestigious magazine cover alongside Streep. It was, in every sense, a cultural event dressed as a movie release.

Michael's $400 Million Milestone and the Power of Musical Legacy

Lionsgate's Michael, with international distribution handled by Universal Pictures, continued its remarkable run with a second-weekend gross of $54 million across 3,955 North American screens — a 44 percent decline from its opening, considered exceptionally strong for the biopic genre. Its cumulative worldwide total now stands at $423.9 million.

The film's performance is particularly striking given the complex conversation surrounding Michael Jackson's legacy. That audiences have turned out in such significant numbers reflects both the enduring cultural imprint of one of music's most iconic figures and the biopic genre's capacity to hold space for nuance and emotional complexity.

For context, Bohemian Rhapsody — the Queen biopic to which Michael is most frequently compared — experienced a sharper decline in its second weekend before finding its footing. Michael's trajectory suggests an even more durable run ahead. Lionsgate chairman Adam Fogelson captured the moment with characteristic confidence: "The conventional wisdom that a new giant movie can knock out a movie that has planted itself is constantly proven inaccurate."

The Broader Box Office Landscape

Beyond the weekend's two headline performers, the summer season's broader picture offers additional texture. The Super Mario Galaxy Movie earned $12.1 million in its fifth weekend, securing third place, while Project Hail Mary — now in its seventh weekend — generated $8.6 million, a testament to the film's sustained word-of-mouth appeal.

Among the weekend's new entries, Neon's horror offering Hokum, led by Adam Scott, debuted to $6.4 million. Andy Serkis' animated adaptation of Animal Farm earned $3.4 million despite critical resistance, and the survival thriller Deep Water, starring Aaron Eckhart and Ben Kingsley, opened to $2.2 million.

A Season Defined by Stories, Not Sequels to Sequels

The cumulative domestic box office for the year now sits approximately 14 percent above last year's pace, with roughly $2.8 billion in ticket sales recorded to date. For an industry in perpetual conversation about reinvention, these numbers carry meaning beyond the spreadsheet.

What this weekend ultimately affirmed is something The Influential has long believed: that culture, craftsmanship, and compelling human stories remain the most enduring currency in entertainment. Whether draped in haute couture or dressed in the mythology of a global pop icon, the films audiences choose to inhabit say something profound about the world they wish to understand — and the lives they aspire to live.

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Sony Reschedules the Release of Spider-Man: Beyond the Spider-Verse

Sony Pictures has confirmed a new release date for the highly anticipated Spider-Man: Beyond the Spider-Verse, the third entry in the studio’s groundbreaking animated trilogy. Originally slated for June 25, 2027, the film will now debut in theaters a week earlier on June 18, 2027.

A Strategic Summer Release

The updated date positions the film during a competitive summer box office window. It will open on the same day as Disney’s animated feature Gatto, and just one week after Universal Pictures’ How to Train Your Dragon 2. The new timing also coincides with Father’s Day weekend and the Juneteenth holiday, which could further boost turnout for family audiences.

High Expectations After Across the Spider-Verse

The sequel follows the massive success of Spider-Man: Across the Spider-Verse, released in 2023, which ended on a dramatic cliffhanger that left fans eagerly awaiting the conclusion. Since then, production delays have pushed back the release multiple times, but Sony’s latest announcement suggests the studio is confident in its updated timeline.

A Potentially Final Date

With several years still to go before release, fans hope this new schedule represents a firm commitment. After numerous postponements, the earlier launch is a welcome surprise for audiences who have been waiting nearly four years for the trilogy’s conclusion. If all goes to plan, Spider-Man: Beyond the Spider-Verse will swing into theaters worldwide on June 18, 2027.

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The DC Universe is moving into bold new territory as writer-director James Gunn has teased the first plot details for the upcoming Superman sequel, officially titled Man of Tomorrow. Production is slated to begin in April 2026, with the film already scheduled to hit theaters on July 9, 2027—just two years after the debut of the first installment.

A Surprising Team-Up

During his appearance on Howard Stern’s SiriusXM radio show, Gunn revealed that the story will center on an unexpected and uneasy alliance. According to the filmmaker, Man of Tomorrow will see Superman and Lex Luthor forced to work together against a far greater threat.

“This movie is as much a Lex film as it is a Superman film,” Gunn explained. “It’s more complicated than that, but the core of the story is about the two of them having to join forces. I loved working with Nicholas Hoult, and I relate to the character of Lex, sadly. I wanted to create something extraordinary between these two characters. I just love the script so much.”

Redefining Lex Luthor

Nicholas Hoult’s casting as Lex Luthor adds depth to the character, moving him beyond the traditional role of Superman’s adversary. Instead of a one-dimensional villain, Hoult’s Luthor is set to emerge as a co-protagonist, reshaping the dynamic of the DC Universe and setting the stage for a fresh narrative approach.

A New Era for the DC Universe

This creative twist signals Gunn’s intent to move past predictable superhero formulas. By reframing the Superman-Lex rivalry into a reluctant partnership, Man of Tomorrow aims to deliver a story that blends emotional complexity with blockbuster spectacle, redefining what fans can expect from the new DCU.

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Sony Pictures Entertainment has surprised anime fans with the announcement that Chainsaw Man – The Movie: Reze Arc will premiere in U.S. theaters earlier than planned. Originally scheduled for October 29, 2025, the highly anticipated film will now hit screens starting October 24, 2025.

A Landmark for Chainsaw Man

This marks the first theatrical release for the Chainsaw Man franchise, adapting the pivotal Reze Arc from Tatsuki Fujimoto’s manga. The story follows Denji, who, after fusing with his devil companion Pochita, fights as the relentless Chainsaw Man. His fragile new life takes a dramatic turn with the arrival of Reze, a mysterious figure who brings both romance and chaos.

Reze Arc: Love and Violence Collide

The Reze storyline pushes Denji into his most personal and devastating conflict yet. Torn between genuine affection and deadly deception, he faces enemies that blur the lines between hunter, devil, and betrayer. For fans, this arc stands out as one of the manga’s most emotional and action-driven chapters, making its big-screen debut all the more significant.

New Trailer and Recap Released

Alongside the release date shift, Sony unveiled a newly dubbed trailer for international audiences. A recap video has also been shared, helping viewers revisit key highlights from the 2022 TV anime before diving into the film. These previews set the stage for a theatrical run that promises both heart-wrenching storytelling and explosive action sequences.

The world we live in has seen changes in perception and social acceptance for those who wish to be themselves regardless of what anyone thinks; However, in many places ignorance and fear are still present, and through powerful storytelling, films like Arturo Montenegro´s “Everybody Changes” are challenging society to take a look in the mirror.


The film, which has received widespread critical acclaim, and prestigious awards becoming a winner at the Los Angeles Film Awards and Panama´s official selection for the Academy Awards® tells the story of Federico, a parent and human being that struggles with balance as he makes the decision to be true to his nature, regardless of the consequences.

We spoke with film director Arturo Montenegro, and this is what he had to say about “Everybody Changes”:

What makes this film so relevant for the times we’re currently living in?

A.M. - The film uncovered an even more taboo subject in society: the existence of diverse families. The real life of trans people in a world submerged in homophobia, the product of a crisis in freedom of thought. A society at the same time shaken by a recent wave of changes, often promoted by youth, where equality is a transversal principle to all its aspirations.

How did the project first catch your attention?

A.M.- It was sad to me see all the injustice against the trans persons in so many countries. I decided to do something about it. Speak out about discrimination but also about hope and possibilities.

What can audiences expect from a film that has sparked a new understanding around the geographical perception and acceptance inequality of important human lifestyle choices?

A.M.- We need to understand and respect deeply our minorities and their rights and fight for this.

The official trailer for “Everybody Changes” is available and you can watch it here.

In a world where meaningful human interaction has become increasingly scarce, where economic inequality hits record highs and many people are struggling with mental disorders ranging from anxiety and depression to more acute ailments, Joaquin Phoenix delivers the performance of a lifetime in Todd Phillips´ JOKER, a film that many have critiqued but few seem to have analyzed thoroughly.

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For diehard DC fans, the debate has been about which actor has portrayed the villain in a more virtuous way; For us there is no debate.

While Heath Ledger´s performance in The Dark Knight was certainly compelling (even earning the deceased actor a posthumous Academy Award) it hardly compares in range or depth to the work exhibited by Mr. Phoenix.

JOKER explores the troubled life of Arthur Fleck, a character so masterfully embodied by the lead actor, that while dark and gritty, it also becomes understandable, and even endearing.

Embattled by a society at the edge of collapse, lies, betrayal and broken dreams, this unique character struggles to maintain its sanity, while fighting against rejection and mental afflictions triggered by abuse.

The film is nothing short of a work of art, beautifully scored, exceptionally shot and edited and not as troubling as many critics have stated. While violence is in no way acceptable, this character piece does seem to make it understandable at times.

A few scenes in particular serve to illustrate Arthur Fleck´s descent into madness and use of violence as a last resort in a world that would not provide a helping hand, a kind word or an ounce of understanding to an emotionally vulnerable man at the edge of insanity.


While other big screen portrayals of the mythical DC anti-hero have certainly been memorable, Joaquin Phoenix manages to humanize the character to a point where one wishes to alleviate his physical, emotional and psychological pain much more than condemn his evil acts.

The virtuous performance by Mr. Phoenix sheds a light on humanity and a struggle faced by countless people in the world today, the struggle between good and evil in the midst of extremely harsh social and personal conditions, and while the lead character certainly doesn´t deserve to be praised for its choices, it does deserve to be understood as the film challenges us to look inside ourselves and ask if we wish to be part of the solution, or if we´re content with being part of the problem.

One fundamental takeaway would be that empathy, tolerance, humanity and love are the glue that holds our species together – without these virtues, the pain and suffering that brew inside the mind of countless individuals day after day, become a risk to society as a whole.

The film doesn´t glorify violence, like countless other films do. JOKER uses violence in a calculated and effective (though not condonable) manner to illustrate the backlash resulting from abuse, betrayal and indifference on an already unstable mind.


While Mr. Ledger´s performance was certainly noteworthy, it lacked humanity, portraying the Joker as a maniacal mass murderer who distinctly enjoyed inflicting pain upon others. Joaquin Phoenix and film director Todd Phillips have managed to create a completely believable, highly relatable and incredibly compelling version of this legendary character, one that sparks debate not for the cruelty of its nature, but rather for the nature of its cruelty.

And though some may see the damaged Fleck as a “tragic” character, Phoenix begs to differ.

“I was interested in the light of Arthur, for lack of a better word,” he said. “It wasn’t just the torment; it was his struggle to find happiness, to feel connected, to find the warmth and love—that’s the part of the character I was interested in and worth exploring.”

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If you or someone you know is struggling with mental disorder, there are resources at your disposal, violence towards yourself or others will never be the answer. Please visit the links below:

1.- www.7cups.com
2.- www.helpyourselfhelpothers.org
3.- www.adaa.org
4.- www.mhanational.org/im-looking-mental-health-help-myself

How One Movie Producer Learned that Entrepreneurship, Like Film, Is About More than Following the Script

When director, producer, and screenwriter Sanzhar Sultan set out to make a mobile app, he knew it would be a change in his creative process. What he didn’t realize was just how different that process would be – and how far it would take him as he learned.

Wotson, the movie review-based social media platform Sultan launched some nine months ago, has made waves among movie lovers and investors alike thanks to its unique concept and impressive organic growth. But what is now a full-fledged mobile app started as little more than a sense of frustration with the movie industry and an idea for how it could be better.

Long Nights

“Pretty early in my film career, and as an avid moviegoer, I became frustrated with the movie critic system, especially the binary Rotten Tomatoes rating.” explains Sultan. “It seemed like these aggregators, and some of the critics, would give people a reason to not see a movie, even if they might otherwise enjoy it. So many films are affected by this. And how is that good for business? How is that good for the film industry?”

Sultan wanted to find a better, more democratic model for movie recommendations, and he thought a social network might be the answer. After all, he reasoned, the best recommendations come from people we know – so why wasn’t there an Instagram for movie reviews?

Sultan started to work on his idea, cobbling together a basic design prototype to showcase his concept. After coming home from a day of shooting or working on a script, he’d spend the evening building wireframes, placing icons, and getting his vision down on a computer. The nights got longer and longer, and soon enough, he partnered with a cofounder, creative designer Emma Wernham, and together they built a fleshed-out prototype.

Together, the pair raised a modest amount of seed funding with their prototype. That’s when Sultan found Rootstrap – and when his approach to the entire project shifted.

Learning What Happens Behind the Scenes

“When we first raised money, we had some, but not enough to build,” recounts Sultan. “That’s why I feel like we lucked out when we found Rootstrap.”

Rootstrap is an LA-based development agency that takes a slightly different approach to app development, breaking the process into two separate phases: Discovery and Development. Development is when the coders actually build the app, but Discovery is structured as a standalone, pre-development product workshop aimed at clarifying the requirements and design of the product.

“We use this two-phase structure because it helps prevent product bloat and ensure that product owners are focusing on building the right features first,” explains Ben Lee, CRO of Rootstrap. “And for Sanzhar, I think it helped him get a better understanding of the app development process before diving into the full build.”

In Discovery, Sultan and Wernham worked with Ben and his team to comb over the concept they had, brainstorm new ideas for features and functionality, and shape that work into a finalized “development backlog”: a collection of all the features needed to build a full version of the app. That was all well and good – Sultan had spent plenty of time brainstorming on scripts and movies.

But once the project moved into development, Sultan’s history in the movie industry started to interfere.

“In movies, you work on a thing endlessly until it’s absolutely perfect, and I was coming at it from that mindset,” he says. After 10 weeks of development, they had a working v1.0, but it was far from complete. Coming from their background, Sultan and Wernham’s instinct was to keep working on it until it was perfect.

“But Ben would always say to me, ‘Sanzhar, with an app, you want to release, and you want to release often,’” Sultan explains. “That really helped me understand how different the process is – with a movie, once it’s out, it’s done. But with an app, the release is just the beginning.”

So against his instincts, Sultan and his team pushed the first version. And despite being unfinished, the response surprised them.

Building a Community

They didn’t run advertising on the initial release, instead opting to get family and friends to download and try the app. This meant there wasn’t a big rush of downloads on release day, which surprised no one. What did surprise them were the usage statistics.

“We had maybe a few dozen people join in the first few days,” says Sultan. “But their engagement was fascinating. Within hours there were hundreds of movie tags coming from those users – I think the average was around 30 tags per user within a day of downloading the app.”

If you’re not familiar with mobile apps, this is an impressive rate of engagement. And despite the fact that they ran no marketing or advertising, the app’s user base began to grow.

“I think that’s what made me really understand we were on to something,” Sultan explains.

But once again, Sultan has had to retrain himself to the process of app development as distinct from making movies.

“It’s really important not to drink your own Kool-Aid,” Sultan says. “So I’m always reminding myself to look at it objectively and keep searching for ways to improve it.”

And improve it they have. In the process, they’ve improved engagement, usability, and onboarded thousands of new users – again, all without running a concerted marketing or advertising campaign.

“This has honestly been one of the biggest lessons for me, that an app is never finished,” he explains. “We’ve probably launched 20 updates and new versions since first going live, and we’re still barely at the beginning of growing the platform.”

Moving Forward

Now, Sultan and his team are preparing to put a heavier focus on intentional, rapid expansion. Wotson is currently in the process of test marketing, which will help decide the strategies they’ll use to scale.

“We’re almost a year out from the release, and it feels like everything’s been building up to this,” he says. “It’s really exciting.”

It’s been a long journey, and Sultan has had to learn a lot along the way. But as different as an app and a movie may be, there are still some things that stay the same.

“The process is different, yes, but it’s funny – it still feels like a creative act,” he explains. “The way you go about making it, bringing it to life, that’s different. But it’s still your baby.”

Let’s overlook the too-cute title. Who Shot the Sheriff?, a new Netflix documentary centered around the 1976 assassination attempt on Bob Marley, is both a revelatory and tightly focused film and a provocative new way of looking at music—and at music documentaries. (The film is the first installment of Netflix’s new ReMastered series of once-a-month hour-long music documentaries centered around crimes or mysteries.)

Behind the Music this (thankfully) is not. By hanging his documentary on a singular, central event in Marley’s life—a still-unsolved crime—director Kief Davidson takes advantage of the sort of built-in tension often lacking in the got-together-made-it-big-discovered-drugs-broke-up story arc all too common in such films.

The story, for those unfamiliar (or those who haven’t read Marlon James’s masterful A Brief History of Seven Killings, which itself is centered around the shooting and, though fiction, paints a deeply convincing portrait of the Jamaica we see here): On December 3, 1976, two days before Marley was to perform at a massive, open-air concert for 80,000 people in Kingston, Jamaica—a concert put together by then–Prime Minister Michael Manley in an attempt to simmer down the political tensions and gang violence engulfing the country—Marley along with his wife, Rita, and manager, Don Taylor, were shot at Marley’s home on Hope Road in Kingston by a small group of unknown assailants. Marley’s wife and manager were seriously injured but made full recoveries, and though Marley himself was only grazed by bullets in his chest and arm, the message sent by the attack was profound: Stay out of politics.

The incident focused the attention of the entire country of Jamaica—already rapt with anticipation of Marley’s appearance at the Kingston concert—on the decision he now had to make: Cancel his appearance and let down virtually an entire nation, or go ahead with it and risk another assassination attempt. I won’t spill the beans here, other than to note that the documentary has all the players you’d want to hear from—most notably Edward Seaga, later Jamaica’s prime minister but in 1976 the bitter Jamaica Labor Party rival to Manley and his People’s National Party supporters. There’s also a mysterious blurred-out figure in the film who, along with some other notable voices, lends some credence to the oft-suspected notion that our own CIA may have had something to do with the attempt to bring down Marley.

Those looking for an excellent, exhaustive treatment of Marley’s entire life should still turn to the two-plus-hours-long Marley, Kevin Macdonald’s 2012 film. But for a brief history of a more tightly circumscribed time, place, and cast of characters, Who Shot the Sheriff? stands on its own. (Further episodes of Netflix’s ReMastered series will investigate the 2002 attempt on Run-D.M.C.’s Jam Master Jay’s life, the utterly ignominious last night of Sam Cooke’s life, and the undeniably transfixing mystery of what actually happened during—and the political firestorm kicked off by—Johnny Cash’s impromptu concert for Richard Nixon at the White House in 1972.)

Presented by T1



After almost losing faith in the horror genre last year after a slate of inconsistent, quickly forgettable movies came out, there seems to be light at the end of the tunnel for the genre´s diehard fans with “Look Away” the chilling new film by writer/director Assaf Bernstein.

The film premiered in theaters and on iTunes October 12 creating a wave of palpable adrenaline as audiences watched the story of Maria (played by India Eisley) a girl, who faces turmoil after her inner twin, named Ariam, manifests and participates in the effort to take control of her life.

“Look Away” brings this very visceral struggle to life in a shocking and compelling way making it highly relatable and an experience to be remembered.



Actor Jason Issacs (who plays Maria´s father, a successful plastic surgeon) puts it best “It´s that part of all of us that we live with all day every day where we think, finally, I can say this thing to that person, why don´t I just take that and smash it on his head.”

The film has stirred a multitude of reactions after Facebook blocked some of its content due to its sexually charged, tense and impactful nature.

Audiences have lined up outside theaters and quickly elevated “Look Away” within iTunes rankings, responding to the film´s incisive and somewhat deviant appeal which is sure to make it one of the year´s most corrosive thrillers.

So go ahead, press play…if you dare.

Avengers: Infinity War was labeled “the most ambitious crossover event in history,” though these other crossovers rival the Avengers’ lineup. In that huge Marvel Cinematic Universe blockbuster, the stars of the Guardians of the Galaxy joined forces with earth’s greatest defenders, the Avengers. However, there’s still one earthly Marvel hero the Guardians haven’t met: Deadpool.

But that could all change after Ryan Reynolds expressed his interest in having his Deadpool and Chris Pratt’s Star-Lord join forces on Sunday. After Guardians of the Galaxy director James Gunn expressed his love for Deadpool 2 via Twitter, Reynolds swept in to suggest the heroes of each film meet on screen.

Yesterday I finally saw @deadpoolmovie 2, which I loved, and also the brilliant #Revenge. Two completely different, fantastic films - cinema's alive! Thanks @DavidMLeitch @VancityReynolds @coraliefargeat @MatildaLutz for a great day at the movies.

— James Gunn (@JamesGunn) 27 de mayo de 2018

Thank you James! Crossover?

— Ryan Reynolds (@VancityReynolds) 27 de mayo de 2018

Gunn seems to be game. He responded to Reynolds' proposal with a simple “Yes, please.”

Yes, please.

— James Gunn (@JamesGunn) 27 de mayo de 2018

Sure, it’s just a couple tweets, but the idea isn’t so far-fetched that a crossover deal couldn’t be inked sometime in the future. If Disney can beat out Comcast for Fox, the home of Deadpool, the two cinematic universes could finally live under the same umbrella.

Of course, any sort of crossover would also be heavily dependent on the GOTG characters’ storylines in the MCU. Considering the crew of GOTG is looking a little [redacted] since they [redacted] in Infinity War. Still, Deadpool and Star-Lord teaming up would definitely be a crossover full of witty banter and hilarious, unconventional heroism. Only time will tell if this collaboration ever comes to fruition.

His work expands across continents and includes numerous projects and collaborations with household names such as: Snoop Dogg, Diddy, Kat de Luna, Hardwell, Timati, Dj Antoine, T-Pain, Jason Derulo, R City, and many other A-list stars.

As we sit down and begin talking, we can’t help but notice Gibson is wearing a two piece sweatsuit with the logo of his apparel brand MMA.

We enquire about the brand, its story and its future.

Una publicación compartida por MMA Apparel Co. (@mmashops) el Oct 18, 2017 at 11:01 PDT

Gibson is happy to share with us some revealing insights into what has grown to become a fully functional fashion label sought after by some of the world’s elite athletes and celebrities.

“Spending so much time working in the music industry I was able to quickly identify the style and preferences of the biggest artists on the planet, then I set out to create an apparel brand that would capture these qualities and make them come together in a perfect balance of class and power” explains Gibson.

POWER MOVE #BLACKSTAR #KONVICT #GPRODUCTION #MMA @timatiofficial @akon

Una publicación compartida por GIBSON KAGNI 🇸🇳🇺🇸🇨🇭 (@gproduction) el Jul 30, 2016 at 10:20 PDT

And that he did. Since inception less than 48 months ago, the brand has grown to boast large sales numbers in multiple countries while remaining independent and enjoying a cult like status amongst its followers as people know getting your hands on a piece of MMA apparel or one of its iconic hats is no easy task, that of course only adds fuel to the fire of what has already become a status symbol across many strong factions of the hip hop industry, its common to see megastars wearing MMA branded hats and clothing items and even featuring them on music videos.

“Everyone from Wizkid to Jason Derulo loves this stuff! I’m constantly getting personal requests for shipments from some of the most relevant people in today’s pop culture.” Gibson says.

This has effectively enabled MMA apparel to become a trendsetting force in today’s democratized fashion world, one that even has private investors and venture capital firms looking at it closely, although for now Gibson isn’t fixed on a particular option.

“Its very similar to music in that sense, if you keep doing great work consistently and supplying people with a product they love, growth and success are inevitable.” Shares Gibson, who is also a proud father and an avid soccer enthusiast.

Undoubtedly, a new movement is making waves and we can tell its only about to get bigger.

Follow Djibril Gibson Kagni and MMA Apparel for an inside look at the life of a successful international entrepreneur:

@gproduction / @mmashops

This will mark the second collaboration between Peña and Luna, as Luna previously cast Peña in his 2014 English language directorial debut “Cesar Chavez” as the civil rights leader who co-founded the United Farm Workers Union.

Peña also recently starred in the Marvel film “Ant Man” and will appear in its upcoming sequel, in addition to appearing in the Ridley Scott-directed film “The Martian.” He is also set to appear in the highly-anticipated film adaptation of “A Wrinkle in Time,” due out in March. Peña’s other notable roles include the Best Picture winner “Crash,” David O. Russell’s “American Hustle,” and Oliver Stone’s “World Trade Center.”

Luna recently starred in “Rogue One: A Star Wars Story” and the remake of “Flatliners.” He also starred in the critically-acclaimed film “Y Tu Mama Tambien” alongside Gael Garcia Bernal for director Alfonso Cuaron, and will next appear in Woody Allen’s “Rainy Day in New York” and “Berlin, I Love You.” His recent directorial effort “Mr. Pig” premiered at the 2016 Sundance Film Festival and starred Danny Glover and Maya Rudolph. That film and “Cesar Chavez” were produced by Canana, the production company that Luna founded with partners Garcia Bernal and Pablo Cruz in 2005.

Peña is repped by CAA, Managment 360 and attorney Rick Genow. Luna is repped by WME and Hirsch Wallerstein Hayum Matlof and Fishman.

Production on “Narcos” Season 4 recently began in Mexico City, with the new season shifting locations from Colombia to Mexico. It is set to premiere in 2018. “Narcos” is produced by Gaumont Television for Netflix. José Padilha, Eric Newman, Doug Miro and Carlo Bernard serve as executive producers.

What appealed to you about doing a swimwear line?
EMILY RATAJKOWSKI: I grew up in Encinitas, a beach town in San Diego. In the summers my routine was to wake up, throw on a bikini, drive to get a burrito, and spend the day at the beach. Everyone lived in their swimsuits—spent sunrise to sundown in them. I loved bikinis and collected, so it was always something I was interested in doing. I also went to UCLA for fine art, and having a career as a model in fashion made designing feel like a natural step for me.

What inspires your collection? I did spot a nod to Christie Brinkley, who wore a one-piece leopard print bathing suit similar to yours, on Inamorata's Instagram.
ER: I was super inspired by 1980s suits, I looked at pics from old Sports Illustrated's, but also Helmut Newton images and old tears from editorials circa the 1990s. I want to make suits that are flattering and hold you in where you feel they need you to, but are still cool and have a fashion edge.

I imagine your 16 million+ following on Instagram has translated into a booming business, no? What's the reaction been like from your fans?
ER: It's been insane! This project was completely self conceived and self funded—I drew the sketches, developed the prints and colors, I run the @Inamorata Instagram and produced our campaign with Olivia Malone. I even did my own hair and makeup for the shoot, ha! I think my fans really responded to the fact it was such a personal project.



How do you manage to take so many stunning Instagram photos? Is there a right way to take a picture? I've not quite mastered this art form yet...
ER: I've always loved photography and have been a visual person, so Instagram is the perfect platform for me. I'd say have fun with it, think of it as the front of your binder in middle school—make it cool and personal.

We got a chance to see you on screen in Gone Girl and We Are Your Friends, but we want more! Do you have any other roles in the works?
ER: Yes! I did three movies this year: Welcome Home with Aaron Paul, Lying and Stealing with Theo James, and I Feel Pretty with Amy Schumer, which comes out next summer.

I have to ask, since you've worked with some pretty high-profile Hollywood actors and actresses, what you make of all the disturbing stories coming out about sexual harassment?
ER: I think no woman has been surprised by these stories, in or out of the industry. I hope we learn to stop making women feel responsible for preventing sexual harassment and instead change the larger culture—starting with educating men and boys about power, gender, and what’s appropriate. I also hope we start to see more women in positions of power in Hollywood.
Where do you like to hang out, shop, and dine in Los Angeles?
ER: I love downtown and the east side. Grand Central market, Dodger's games, Alhambra or Monterey Park for dim sum, Proof Bakery for croissants, and Little Dom's in Los Feliz for dinner!

EmojiKon is the latest in a series of celebrity inspired emojis that have hit digital stores, starting with the now classic "Kimoji" by Kim Kardashian and going all the way to the surreal, like white rapper Lil Dicky who also released his own emoji, not nearly as relevant as others.

The cool thing about EmojiKon is that you can feel the star´s involvement in the creative process, some of them are emojis that we had been waiting for, like a barking Doberman or a huge golden yacht that calls for a boat party. Also, the Akon emojis look exactly like him, and who doesn´t want to send a face palm emoji featuring Mr. Lonely?




Other noteworthy releases include Ariana Grande´s Arimoji, which is great if you´re a 14 year old girl, and The Game´s emOGis in case you have a pressing need to send an inappropriate selfie emoji to your ex.

Out now! http://hyperurl.co/Emojikon

Una publicación compartida por Akon (@akon) el 1 de Dic de 2017 a la(s) 3:37 PST

Akon was recently spotted at Dj Khaled´s birthday bash in Los Angeles alongside Diddy, Fergie and other A-list stars and is set to release a new mixtape with his Kovict Kartel roster in a week.

If you wanna get your EmojiKon game on you can download the app here:

Selena Gomez took home the main honor of the evening with Billboard’s 2017 Woman of the Year. Gomez choked up as she dedicated the award to her friend Francia Raisa, who earlier this year donated a kidney to Gomez, who struggles with lupus.

“To be honest, I think Francia should be getting this award because she saved my life,” said Gomez on accepting the award. “Honestly, I couldn’t be more grateful for the position I’ve been given in my career from seven to 14 to now. I want people to know I respect the platform that I have so deeply, because I knew that I wanted to be part of something great and I wanted people to feel great.”

Mary J. Blige, who gave an incredible performance in this year’s Mudbound, won the Icon Award. She called the award a “huge responsibility,” explaining that, “when people look up to me, I want them to see my life and have it reflect theirs and understand that if I can make it through everything that I’ve made it through and still making it through, you can do it as well.”