Marvel Studios is bringing one of its biggest films back to theaters, and this isn’t a simple rerun. Avengers: Endgame returns to cinemas nationwide on September 25, 2026, under the retitled banner Avengers: Endgame Encore, and the timing has nothing to do with nostalgia for its own sake. This re-release lands exactly twelve weeks before Avengers: Doomsday hits theaters on December 18, 2026, and Marvel built the whole event around that countdown.

Endgame first hit theaters on April 26, 2019, closing out the Infinity Saga and grossing nearly $2.8 billion worldwide, a number that made it the second-highest-grossing film of all time and set the record for the biggest opening weekend ever with $1.2 billion globally. Directed by Joe and Anthony Russo, the film became the emotional finish line for over a decade of interconnected Marvel storytelling, and it’s held that cultural weight ever since, regularly topping fan rankings of the best entries in the franchise.

What makes Encore different from a standard theatrical rerelease is the new material attached to it. Marvel confirmed the cut includes a custom introduction, additional footage, and a new end tag, all exclusive to the theatrical run, with the extended content reserved specifically for IMAX and Disney’s newly launched Infinity Vision premium format. Ticket buyers also get an exclusive first look at Avengers: Doomsday, a preview that’s only available through the Encore presentation and nowhere else. That’s a deliberate structure: Marvel isn’t just reselling old footage, it’s using Endgame to physically funnel audiences back into theaters ahead of its next tentpole.

The connective tissue here is the Russo brothers, who directed Endgame in 2019 and are back behind the camera for Doomsday, alongside the return of Robert Downey Jr., who spent over a decade playing Tony Stark and now steps into the franchise again as Doctor Doom. That casting alone has kept Marvel’s fanbase talking since the announcement, and Encore gives Downey’s old character one more theatrical send-off right as his new one gets ready to take center stage. Seven years after the Avengers made their final stand, the big screen is calling them back one more time, and this round comes with a preview of what happens next.

Apple TV+ has a premiere date circled for one of its most talked-about fall bets: Brothers, the new comedy starring longtime real-life friends Matthew McConaughey and Woody Harrelson, drops its first two episodes on September 23, with the remaining six rolling out weekly through a November 4 finale. The series has been building buzz for months, but the last few weeks pushed it from “upcoming” to genuinely can’t-miss, thanks to a freshly released trailer, new poster art, and cast details that finally confirmed just how personal this project is for its two leads.

The show has actually been in the works for years. Apple TV+ first ordered it back in March 2023, with McConaughey and Harrelson signed on to star and executive produce alongside creators Lee Eisenberg and David West Read, who also worked together on Little America and Schitt’s Creek-adjacent projects. Casting news trickled out gradually, with Holland Taylor, Natalie Martinez, and Brittany Ishibashi joining in February 2025, and director Jason Winer coming aboard to helm multiple episodes. Along the way, the project’s production arm shifted from Skydance Television to Paramount Television Studios following the 2025 Skydance-Paramount merger, though Apple TV+ remained the home for the show throughout. Since Brothers hasn’t aired a single episode yet, there’s no audience or critical data to point to — what’s driving interest right now is entirely anticipation, built on a premise nobody expected: a real theory McConaughey and Harrelson have floated for years that they might actually share a father.

That premise is the engine behind the current wave of attention. The fictionalized version has Harrelson’s daughter’s wedding collapsing, sending his family to stay with McConaughey’s at his Texas ranch, where Ma Mac, played by Holland Taylor, accidentally reveals the decades-old secret that sets the whole season in motion. Trade outlets picked up the story fast once the trailer landed in mid-June, and coverage has only intensified as the premiere date approached, with several outlets already floating Brothers as an early contender for next year’s Emmy conversation — not a bad position for a show that hasn’t premiered a single frame.

Much of that early confidence traces back to the two names above the title. McConaughey is an Academy Award winner, and Harrelson has three Oscar nominations of his own, for The People vs. Larry Flynt, The Messenger, and Three Billboards Outside Ebbing, Missouri. Eisenberg serves as showrunner, with Trent O’Donnell directing the pilot and several additional episodes, giving the series a steady hand behind a premise that leans heavily on the real chemistry between its two stars. Whether that chemistry translates into a genuine hit or just a fun curiosity, Brothers arrives September 23 with more built-in goodwill than most new comedies ever get, and that’s worth watching play out one Wednesday at a time.

After decades commanding action franchises and signature blockbusters, Tom Cruise is about to step into territory he’s rarely touched: auteur-driven black comedy. Digger, his first project alongside Oscar-winning Mexican filmmaker Alejandro González Iñárritu, arrives in theaters this fall, carrying a rare mix of artistic prestige, studio-level scale, and genuine curiosity about what Cruise can deliver outside his comfort zone.

Here’s what’s confirmed so far — and what’s still up in the air.

Digger has already moved through every core stage of production. The project formally began development in March 2024, advanced to production that December with filming at Pinewood Studios in the UK, and entered post-production in December 2025. By July 2026, the film had reached completed status, with only its release date left to arrive. The shoot itself, based in the UK, ran for roughly six months. Iñárritu confirmed the film was captured in VistaVision, the large-format process also recently used by Paul Thomas Anderson — a sign of the technical care and visual ambition behind the production.

As for the story, without giving anything away, Warner Bros. has kept the logline deliberately cryptic: Cruise plays the most powerful man in the world, embarking on a frantic mission to prove he’s humanity’s savior before the disaster he unleashed destroys everything. It’s billed as a satirical black comedy, with Warner itself describing the tone as “a comedy of catastrophic proportions” — the pitch chosen to sell a film that blends absurdist humor with an apocalyptic backdrop. Analysts who’ve pored over the promotional material speculate the plot follows an influential man convinced he can fix the world, whose ideas spiral out of control and turn his mission into chaos. Worth stressing: that reading comes from trade press interpretation of trailers and posters, not an official full synopsis — the studio is still keeping the plot details close to the vest.

The creative team is stacked, typical of a prestige international production. Alejandro G. Iñárritu directs and shares screenwriting credit with Alexander Dinelaris, Nicolás Giacobone, and Sabina Berman — the first two also “Birdman” writers — on a script originally written in 2023. The film is produced by Iñárritu, Tom Cruise, and Mary Parent, under Legendary Pictures alongside Cruise’s TC Productions and M Productions. Cinematography comes from Emmanuel Lubezki, with editing by Stephen Mirrione and Conor O’Neill. Confirmed cast, alongside Cruise in the title role of Digger Rockwell, includes Jesse Plemons, Sandra Hüller, Riz Ahmed, Sophie Wilde, Emma D’Arcy, Robert John Burke, Burn Gorman, Michael Stuhlbarg, and John Goodman. Distribution in the US and UK falls to Warner Bros. Pictures. This marks Cruise’s first collaboration with Iñárritu, and it’s not a recent one: according to the director, the idea for the film began taking shape shortly after “The Revenant” (2015), taking about seven years to actually reach the actor.

On budget, it’s worth separating official figures from industry estimates. The number most widely cited — passed along by a Warner Bros. representative to entertainment industry journalist Matt Belloni — is $125 million. Belloni himself, however, reported being skeptical of that figure, saying he’d heard the real cost was significantly higher. In other words: $125 million is the most-repeated press estimate, but it shouldn’t be treated as a final, officially locked-in number from the studio. Still, for comparison, that figure sits below the budgets of the action tentpoles that defined Cruise’s last decade, like the recent “Mission: Impossible” chapters — suggesting that Digger, despite its starry cast and studio backing, operates on a budget scale closer to a prestige drama than an action tentpole. Using the 2.5x multiplier commonly applied by industry analysts to estimate a film’s break-even point, Digger would need to gross roughly $312 million worldwide to turn a profit — a speculative industry calculation, not an officially stated studio target.

For a while, speculation swirled that Digger might launch at a major festival like Venice or Cannes, a plausible move given Iñárritu’s history with those events. Behind-the-scenes reports, however, indicate Warner Bros. decided to skip the fall festival circuit altogether, opting instead for a direct release backed by an aggressive global IMAX marketing push. That’s a piece of trade reporting, not a detailed official statement from the studio. Even so, the film will get its moment of glamour: Digger‘s world premiere will take place as the Royal Film Performance, a longstanding British charity event, on September 22. The theatrical release date, meanwhile, is one of the few fully confirmed and stable facts about the project: October 2, 2026, simultaneously in the US and UK, with no indication of a change so far.

The buzz around Digger runs on two tracks: artistic and commercial. On the artistic side — and this is awards-analyst speculation, not settled fact — there’s talk that the film could land Cruise his first Best Actor Oscar nomination, a category where he’s been nominated twice before, for “Born on the Fourth of July” and “Jerry Maguire,” without a win. The Iñárritu comparison is unavoidable: the director already guided Leonardo DiCaprio to the statuette in “The Revenant,” and repeating that feat with Cruise would be a symbolic milestone for both. On the commercial side, the stakes are just as real. Cruise’s previous release, the latest “Mission: Impossible” installment, underperformed franchise expectations despite grossing nearly $600 million worldwide — a result seen as below the series’ historical standard. That puts Digger in the position of having to reaffirm Cruise’s box-office pull outside the action genre. One thing worth flagging from trade coverage: the film’s first trailer had a modest initial reception on video platforms, sparking discussion about the challenge of marketing an absurdist satire led by an actor historically associated with action. That’s an observation from the early weeks of the rollout — not a box-office prediction, which will only be known after release.

What makes this project especially compelling is the contrast it represents. After a decade devoted almost entirely to franchise filmmaking — powered by the success of “Top Gun: Maverick” and successive “Mission: Impossible” chapters — Cruise is stepping into character-actor territory here, something he hasn’t done since donning prosthetics to play studio executive Les Grossman in “Tropic Thunder” (2008). Behind-the-scenes accounts describe Cruise’s physical and performative transformation for the role as striking. The actor himself has referred to the film, in recent public appearances, as one of the high points of his four-decade-plus career — a line that, like any promotional-campaign soundbite, is worth taking with the usual grain of salt.

Digger also needs to be read within a bigger picture. It’s Cruise’s first film since he signed a deal in late 2024 to develop and produce theatrical films with Warner Bros. Discovery — his first project with the studio since “Edge of Tomorrow,” released a decade earlier. The move reinforces a thesis Cruise has publicly championed for years: that going to the movies requires events big enough to justify leaving the house. By balancing action franchises with a high-profile detour into auteur cinema, Cruise broadens his portfolio without abandoning his long-standing commitment to big theatrical releases made for the big screen rather than streaming.

With post-production wrapped, the October date confirmed, and the gala premiere already set for late September in the UK, Digger now enters the most visible phase of its journey: the release campaign. In the coming weeks, expect a growing wave of promotional material — new trailers, interviews, and public appearances from Cruise and Iñárritu — along with the first critical reactions after the premiere. What remains uncertain is exactly what will make the difference: whether audiences will respond to seeing Tom Cruise in a register so far removed from what’s defined his recent career, and whether the film can convert curiosity into solid box-office performance. Until then, what’s certain is a rare pairing of talent on both sides of the camera — and the expectation, not yet backed by any concrete result, that this combination could become one of the most talked-about moments of Hollywood’s fall calendar.