Movies
Ben Stiller’s Red Hour Films and Rivulet Entertainment Serve Up Hilarious Pickleball Antics in ‘The Dink’
“The Dink” is a sports comedy film about a washed-up tennis pro, blending humor and pickleball, featuring Jake Johnson, Mary Steenburgen, and Ed Harris, directed by Josh Greenbaum.
The world of sports comedies is about to get a spirited, new addition with “The Dink,” an upcoming film brought to life by the dynamic collaboration of Ben Stiller’s Red Hour Films and Rivulet Entertainment. Set to delight audiences with its unique take on the rising phenomenon of pickleball, this movie promises a blend of humor, charm, and unexpected athletic feats. With cameras rolling this November in Los Angeles, “The Dink” is positioning itself as a must-watch production.
Star-studded Cast and Creative Powerhouses
Headlining the movie is an impressive ensemble cast featuring Jake Johnson as the central character—a once-promising tennis pro who’s down on his luck. Joining him are the talented Mary Steenburgen and the venerable Ed Harris, whose roles are eagerly anticipated by fans. Adding to the film’s allure, Ben Stiller and former tennis champion Andy Roddick will make key supporting appearances, showcasing an intriguing fusion of comedy and sports expertise.
In the director’s chair, we find Josh Greenbaum, known for his work on MGM’s upcoming “Spaceballs” sequel and “Will & Harper.” Greenbaum will breathe life into an original screenplay penned by Sean Clements, who has previously written for popular shows such as “Workaholics” and “Kevin Can F**k Himself.” This creative amalgamation promises a script teeming with witty dialogue and engaging narrative arcs.
Plot Teaser
The storyline trails the journey of Jake Johnson’s character, a washed-up tennis professional, as he endeavors to salvage a club on the brink of collapse. As he seeks to reclaim his dignity and win his father’s respect, he must confront a lifelong aversion by engaging in a sport he vowed never to play—pickleball. This narrative promises both laughter and heart as it explores themes of redemption, familial bonds, and the eccentric world of pickleball.
Production and Industry Acclaim
Ben Stiller and John Lesher are at the helm, producing through the Red Hour Films banner, while Rivulet’s Rob Paris and Mike Witherill join as producers. Jake Johnson steps up as a producer, too, adding another layer to his involvement in the project. This venture follows the successful collaboration between Stiller and Rivulet on “Nutcrackers,” which premiered at the Toronto International Film Festival as the opening night feature and later sold to Hulu in a competitive acquisition.
Rivulet Entertainment is fully financing this film, with the company’s senior strategic advisor, Rick Steele, serving as Executive Producer alongside Sean Clements and Greenbaum. Known for its diverse portfolio, Rivulet’s engagement in “The Dink” underscores their commitment to pushing boundaries in entertainment.
About Rivulet Entertainment
Rivulet Entertainment Inc. continues to establish its presence in the entertainment sector through innovative production, distribution, and marketing strategies across films, television series, and music projects. Born from the acquisition of Rivulet Media’s assets, the company seizes opportunities at the forefront of creative development, all the way through to postproduction and distribution.
As anticipation for “The Dink” builds, audiences can look forward to a spirited comedy that celebrates the quirks and camaraderie of pickleball. With its stellar cast, gifted creators, and compelling narrative, “The Dink” is poised to serve up laughter and charm in abundance. Keep your paddles ready for this exciting release!
For more information on The Dink
Rivulet Entertainment Inc:
https://www.rivuletentertainment.com
SOURCE Rivulet Entertainment Inc
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awards and contests
The Largest AI Film Competition Is a Snapshot of Where AI Filmmaking Is Headed
Higgsfield released results from its largest AI filmmaking competition: nearly 8,800 submissions from 139 countries and $500,000 in prizes—highlighting a fast-growing, global, creator-led filmmaking ecosystem.
A year ago, “AI film” still sounded like a niche experiment—cool demos, rough edges, and lots of debate about whether it could ever look truly cinematic. Higgsfield’s latest competition results suggest we’ve crossed into a new phase: AI filmmaking is becoming a real, global production lane, driven by independent creators working outside traditional studio systems.
According to the company, its AI Film Competition drew nearly 8,800 submissions from 139 countries, with a $500,000 cash prize pool distributed to independent filmmakers. Beyond the winners, the dataset reads like a market signal: generative tools are lowering the cost of entry for high-end visuals, and the talent pipeline is no longer geographically locked to legacy production hubs.
A global creator map is replacing the old studio map
One of the most telling takeaways is where the work is coming from. Higgsfield reports the largest volume of entries came from:
- India (1,805)
- United States (1,041)
- Germany (278)
- France (230)
- Italy (228)
- Brazil (212)
- United Kingdom (196)
Historically, cinematic action and high-end VFX were concentrated in a handful of established centers—places with the budgets, infrastructure, and specialized crews to pull off complex sequences. Higgsfield’s results point to a different reality: subscription-based, production-grade AI tools are reducing geographic barriers, enabling creators across Latin America, Southeast Asia, and Eastern Europe to compete in the same visual arena.
Higgsfield CEO Alex Mashrabov framed it as a creator inflection point, arguing that the scale of participation signals the next breakout franchise “can come from anywhere on Earth.” Whether or not you buy the blockbuster prediction, the underlying shift is hard to ignore: global access is now a feature of the production model.
The judging criteria hints at what matters next
Another important detail: the prize pool wasn’t awarded for “best render” alone. Higgsfield says the jury—made up of both traditional production veterans and AI-native creators—prioritized storytelling and directorial intent over technical polish.
That’s a meaningful signal for where AI filmmaking is headed. As tools improve, the baseline for visual quality rises. What differentiates creators isn’t just the ability to generate a shot—it’s the ability to direct one: pacing, tone, character, and clarity of vision.
The jury included names and studios spanning both worlds, such as Secret Level (founded by Emmy-winning filmmaker Jason Zada), Buralqy, concept artist Jama Jurabaev, and PJ Ace of Genre.ai—who called it “the best-looking AI film contest” they’ve seen.
Decentralized production is no longer theoretical
The Grand Prize winner is also a case study in how AI changes collaboration. 1st Place ($150,000) went to Muhannad Nassar (Detroit) and Simon Meyer (Germany) for “GRANDMA vs WASP.” The pair reportedly never met in person, instead using an asynchronous workflow across time zones with Higgsfield’s Cinema Studio.
That’s not just a fun anecdote—it’s a preview of a parallel production ecosystem where teams form around taste and capability rather than geography. If the toolchain is centralized in the cloud, the “studio” becomes a workflow, not a building.
Winners show two pathways: new creators and experienced pros
The rest of the top placements reflect how broad the adoption curve is becoming:
- 2nd Place ($100,000): Nikolay Shestak for “CUPID,” using Higgsfield to execute concepts that would normally be budget-prohibitive. He plans to apply the prize toward an independent superhero film.
- 3rd Place ($50,000): Brothers Ash and Aram Gevorkyan for “SCRATCH,” created in five days. Ash noted audiences mistook it for a studio-backed theatrical release and asked for a link to the “full movie.”
What’s emerging is a two-lane future: newcomers using AI to enter filmmaking for the first time, and established creatives using it to expand what they can produce independently.
Money is starting to loop back into production
Higgsfield also highlights something that looks a lot like early-stage industry deal flow: one top winner is reportedly reinvesting prize money back into the platform to produce a feature-length film, and the project has already attracted involvement from a major Hollywood figure.
That matters because it suggests AI-generated work isn’t staying in a separate “AI corner.” It’s beginning to intersect with the traditional financing-and-distribution ecosystem—especially when the output looks cinematic enough to be taken seriously.
The market is growing—and the infrastructure is consolidating
The competition results land in a market that’s expanding quickly. Citing Grand View Research, Higgsfield notes the global AI video generator market was estimated at $788.5 million in 2025 and is projected to reach $3.44 billion by 2033 (a 20.3% CAGR).
Higgsfield is positioning itself as an all-in-one workflow layer, combining its own models with third-party options (including OpenAI’s Sora and Google’s Veo, among others) so creators can choose the best model per task without rebuilding pipelines. The company says it serves 20 million+ users who have generated 50 million+ videos, and it reports a most recent valuation of $1.3 billion.
What to watch for next
If you’re tracking where AI filmmaking is going, this competition offers a few clear “watch points”:
- More global breakout creators as the cost of cinematic visuals continues to fall
- Decentralized teams forming around projects, not locations
- A shift from “can it look good?” to “can you direct it?” as quality becomes more accessible
- Traditional industry crossover as AI-native projects attract recognizable partners
Want to see the winning films and action scenes? Higgsfield has them here: https://higgsfield.ai/contests/make-your-action-scene
Source: Higgsfield press release distributed via PRNewswire (March 18, 2026).
Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
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Entertainment
One More Christmas Begins Production as Great American Media Unveils 2026 Holiday Original
Great American Media has announced One More Christmas, a new original holiday film starring Candace Cameron Bure and Jonathan Scarfe, now in production for Great American Christmas 2026. The film adds another early title to the network’s seasonal lineup as it heads into its sixth year of Christmas programming built around faith, family, hope, and redemption.
In the film, Bure plays Anna, a woman who has been divorced from James Campbell, played by Scarfe, for five years. The former couple reunites over Christmas after their daughter invites the family to a Smoky Mountain cabin to meet her serious boyfriend. What starts as an uneasy holiday gathering shifts when a major ice storm traps Anna and James together, forcing them to revisit the past and consider whether their story is really over.
Why It Stands Out
The setup gives One More Christmas a built-in second-chance romance angle, but the family dynamic may be what gives it the most emotional pull. Great American Media is clearly leaning into the kind of heartfelt, values-driven storytelling its audience expects, while continuing to build Candace Cameron Bure’s presence across its holiday slate.
Bure is also serving as an executive producer on the film. Great American Media said she will star in two original movies for the 2026 season and executive produce another holiday feature still to be announced. Bill Abbott, President and CEO of Great American Media, said Bure continues to help define the tone and quality of the network’s Christmas programming.
Creative Team
One More Christmas is executive produced by Candace Cameron Bure, Jeffery Brooks, Ford Englerth, and Tim Owens for CandyRock Entertainment, with Eric Jarboe and Holly Hines executive producing for Happy Accidents. The screenplay is written by Taylor Kalupa and Masey McLain.
CandyRock Entertainment, Bure’s joint venture with Ford Englerth and Jeffery Brooks, has produced and distributed more than 40 television and film projects focused on family-friendly entertainment.
What to Watch For
As Great American Media continues to expand its holiday lineup, One More Christmas looks positioned as one of the network’s early attention-grabbers for 2026. Between Bure’s ongoing creative role, Scarfe’s addition, and the familiar mix of Christmas setting and emotional reconciliation, the film fits squarely within the network’s brand while giving viewers a story built around family tension, weather-forced closeness, and possible renewal.
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Entertainment
Disclosure Day: Why Spielberg’s New UFO Film Has My Attention
The upcoming movie “Disclosure Day,” directed by Steven Spielberg and written by David Koepp, is highly anticipated for its exploration of sci-fi themes involving UFOs and aliens. Scheduled for a June 12, 2026 release, it features a strong cast, including Emily Blunt, and is expected to deliver a blend of wonder and emotion, reminiscent of Spielberg’s iconic films.
If there is one upcoming movie I am genuinely excited about, it is Disclosure Day. As someone who has been fascinated by science fiction, aliens, UFOs, and space since I was a little kid, this one feels like it is landing right in my wheelhouse. Add Steven Spielberg to the mix, and it becomes even more personal. Spielberg’s work helped shape the way a lot of us look at wonder, fear, and the unknown. For me, films like Close Encounters of the Third Kind, E.T., Jaws, and Duel were not just movies. They were experiences.
That is why Disclosure Day already feels like one of the most intriguing releases on the 2026 calendar. Directed by Spielberg and written by David Koepp from a story by Spielberg, the film brings together a strong cast that includes Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, Colman Domingo, and Wyatt Russell. Blunt is reportedly playing a Kansas City TV meteorologist, which immediately adds an interesting angle for a story tied to mystery and possible extraterrestrial themes.
What makes this project especially exciting is the creative team behind it. Spielberg returning to UFO territory is enough to get longtime sci-fi fans paying attention, and Koepp’s involvement adds another layer of anticipation. The film was first reported in April 2024 as Spielberg’s next project, with Universal Pictures later confirmed as distributor. Production took place from February through May 2025, with filming in New York, New Jersey, and Atlanta under the working title Non-View.
The supporting details only make it more interesting. John Williams is set to compose the score, marking yet another collaboration with Spielberg. That alone gives the film a sense of event-level importance. Williams and Spielberg have created some of the most unforgettable moments in movie history together, and for a film centered on mystery and awe, that musical partnership matters.
Right now, Disclosure Day is scheduled to hit theaters in the United States on June 12, 2026, with an IMAX release planned as well. It was originally dated for May 15, 2026, but the move to June only builds the summer blockbuster feel around it. Based on everything we know so far, this looks like a film that could blend spectacle, emotion, and that classic Spielberg sense of wonder.
From my perspective, this is exactly the kind of movie I want to follow closely. I have always been drawn to stories about what might be out there, what we do not understand yet, and how ordinary people react when the impossible suddenly feels real. Spielberg has explored those ideas before in ways that stay with you, and I am curious to see how Disclosure Day adds to that legacy.
I will be keeping an eye on this one and updating readers as more information comes out, from trailers and story details to cast insights and release coverage, all the way up to premiere day. For sci-fi fans, UFO believers, and anyone who still feels that pull of the unknown, this is a movie worth watching.
Related Links
- Official Website
- Disclosure Day at IMDb
- Disclosure Day at Box Office Mojo
- Disclosure Day at Rotten Tomatoes
Source Links
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Looking for an entertainment experience that transcends the ordinary? Look no further than STM Daily News Blog’s vibrant Entertainment section. Immerse yourself in the captivating world of indie films, streaming and podcasts, movie reviews, music, expos, venues, and theme and amusement parks. Discover hidden cinematic gems, binge-worthy series and addictive podcasts, gain insights into the latest releases with our movie reviews, explore the latest trends in music, dive into the vibrant atmosphere of expos, and embark on thrilling adventures in breathtaking venues and theme parks. Join us at STM Entertainment and let your entertainment journey begin! https://stmdailynews.com/category/entertainment/
