Ateez to kick off new world tour in January - The Korea Herald

Promotional poster for ATEEZ’s 2027 world tour, “ZERO TO ALL” / Courtesy of KQ EntertainmentK-pop group ATEEZ will return to the global stage in 2027 with a world tour spanning Asia, Europe and the Americas, extending its momentum ahead of a new album scheduled for release next month. KQ Entertainment announced the tour, titled “2027 ATEEZ WORLD TOUR ‘ZERO TO ALL,’” on its official social media accounts on Saturday, unveiling a poster outlining the initial schedule. The tour will open with three concerts in Incheon from Jan. 22-24, before moving to Tokyo on Feb. 2 and 3 and Kobe on Feb. 13 and 14. ATEEZ will then travel to Europe in April, North America from July to August and South America in September, with additional dates and cities expected to be announced. The tour’s name reverses “All to Zero,” a phrase from the group’s debut album, “TREASURE EP.1: All to Zero,” released after ATEEZ debuted in 2018. The title reflects the group’s journey of continued challenges and growth since its debut, while raising expectations for new music and performances on the upcoming tour.

Marvel Studios’ release of Avengers: Endgame: Encore was a shrewd gambit for a few reasons: It put the studio’s most successful film back in conversation right after the juggernaut success of Spider-Man: Brand New Day; it tided die-hards over with new footage ahead of December’s Avengers: Doomsday; and, perhaps most importantly, it raked in an additional $138 million for the film, reinstating its position as the worldwide box office champion over James Cameron’s Avatar. Cameron, who certainly doesn’t spend his precious time fretting about such matters as lifetime financial grosses and being the best in the world at stuff, recently expressed his congratulations to Marvel for once again overtaking his 2009 sci-fi film. “You are one of the people,” the director wrote (per The Wrap) in a composite image from Avatar, with Iron Man at the center of a welcoming Na’vi tribe. “Congratulations to Marvel and the #1 Avengers: Endgame: Encore for bringing moviegoers to the cinemas! – Jim Cameron.”

John Alexander Greer III, age 44, passed away suddenly on October 12, 2026. Born in Fredericton, New Brunswick to John Alexander Greer II, Shelley Ann Greer, ( Stewart Allan), John lived his life devoted to caring for those he loved. Above all, John’s greatest joy was being a father to his sons, Jonathan and Nathaniel. He was a hero to his brothers, Jobi James and Jermey Dale Greer, and a loving partner to his fiancée, Samantha Vernon. Possessing a heart of gold, John brought warmth to everyone around him and found his ultimate freedom riding his motorcycles on the open road. He is reunited in rest with his late grandparents, Fred and Gladys Ramsey, and John Greer I and Shirley Gould

TikTok has banned the entire Musk film account, citing political content that violates its policies. The move, which comes just as the Alex Gibney’s investigation into Elon Musk expands to more than 470 screens across North America, raises concerns about Big Tech suppression that the very film seeks to expose. Distributor Bleecker Street was informed Friday afternoon a “permanent suspension” was coming. The entire page disappeared from TikTok’s platform shortly after. The film company had been planning to spend ad money to boost certain posts; that will no longer happen. A spokesperson for the distributor confirmed that TikTok reps had informed them of the suspension and noted “disappointment” in the timing. After grossing $70,000 in four theaters in New York and Los Angeles in its first weekend of release, Musk is now playing in dozens of cities this weekend. The spokesperson said the company is in the process of appealing the move; even a reversal, however, could still prove costly if it doesn’t come during a weekend window when many people are likely to see the film.

If the streaming age of corporate consolidation and disposable TV has taught us anything, it's not to get too attached to any show, regardless of how great it is. A landscape that treats series as bingeable content doesn't always have the patience for slow thematic development, subtle character writing, or weird stylistic swings. It's never been uncommon for truly great shows to fail because of clashes between the network and the creative team, a failure to market the story correctly, simple time-slot mismanagement, or some infuriating combination of all three. Modern versions of these same problems still persist, though in the context of a more prestigious streaming landscape. These programs can command blockbuster budgets and rely on the schedules of A-list talent, all while facing cancellation decisions driven by often inscrutable performance metrics.