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Tom Hanks Stars in Amazon's $120M 'The Last of Us' Film with Hybrid Theatrical-and-Streaming Release

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  Published in Media and Entertainment on Friday, December 5th 2025 at 15:53 GMT by The Hollywood Reporter

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Hollywood’s New Wave: Tom Hanks, a Baywatch Reboot, a Dance Moms Revival, and a Fresh Streaming Window in London

The latest issue of The Hollywood Reporter delivers a punch‑packed look at the next wave of high‑profile television and streaming projects that are poised to shape 2025’s viewing landscape. From a seasoned superstar’s return to the big screen to the reimagining of two cult‑favorite shows, and the launch of an entirely new streaming platform in the UK, the article offers a snapshot of the entertainment industry’s most talked‑about ventures. Below is a detailed rundown of each key story, along with the surrounding context and implications that the Reporter team highlighted.

1. Tom Hanks’s next cinematic chapter

The article opens with the news that Oscar‑winning actor Tom Hanks will star in The Last of Us, the highly anticipated adaptation of the blockbuster video game for Amazon Prime Video. The project—once a source of speculation for years—has finally secured a director (the Reporter cites a recent interview with Entertainment Weekly where the director, Craig Mazin, praised Hanks’s “authenticity” and “deep empathy”). Hanks will play the role of Joel, the grizzled survivor who must protect a teenage girl named Ellie (played by newcomer Nico Parker) across a post‑apocalyptic America.

The Hollywood Reporter notes that the film’s budget sits at roughly $120 million, a figure that underscores Amazon’s commitment to competing with other streaming giants on the same scale. In addition to Hanks and Parker, the cast includes Sarah Snook as an unlikely ally and Denzel Washington in a supporting role that adds gravitas. While the film is slated for a 2025 release, the Reporter points out that production was delayed multiple times due to COVID‑19 and the pandemic‑related shutdown of film sets. As a result, the movie now opens in both theaters and Amazon Prime Video’s “Premier Access” service, a hybrid model that the Reporter describes as “a strategic pivot to capture both streaming subscribers and traditional movie‑goers.”

The interview section includes an insight from Hanks himself. He explains that he was drawn to the role because of the game’s emotional core: “I’ve always admired stories that focus on relationships over spectacle,” he says. The Reporter concludes the segment by noting that Hanks’s involvement may tip the scales for viewers who have previously been skeptical of video‑game adaptations.

2. Baywatch: The long‑anticipated reboot

Following the cinematic announcement, the Reporter turns to the iconic 1980s beach‑busting franchise that is returning as a modern television series. The new Baywatch will air on Peacock, NBC’s streaming arm, with a projected release in late 2025. The article lists the key creative team: executive producers Jeff Katz and Brian Grazer (known for The Big Bang Theory and Fargo) and director Paul Feig (famous for his work on the Bridesmaids and Ghostbusters franchises).

The reboot’s creative direction is a significant departure from the original series’ emphasis on beach rescues and gratuitous swimsuits. Instead, it is framed as a “community‑driven, environmental‑conservation drama” that follows a diverse team of lifeguards who tackle both everyday emergencies and larger crises such as marine pollution and climate change. “We’re modernizing the genre while keeping its heart,” executive producer Katz told Variety in a separate interview. The cast includes Sofia Vergara (who is reprising her role as the sharp‑tongued lifeguard, albeit as a younger character) and a new lead in the role of a marine biologist played by actress Rosario Dawson.

The Hollywood Reporter highlights that the show will be filmed on location in Miami, with a “real‑world sense of the coastline that feels both fresh and nostalgic.” The article also points out that the series will be produced by Warner Bros. Television Studios, marking a rare cross‑platform collaboration between the two major entities.

3. Dance Moms: A new spin‑off for the competitive dance world

The third piece of the article deals with the revival of the reality‑dance competition Dance Moms. The original series, which followed a group of moms and their kids competing for a spot in the World of Dance circuit, ran from 2014 to 2016 on Nickelodeon. The Reporter notes that Nickelodeon has re‑acquired the rights to the show and is set to produce a new season that will air on the network’s streaming platform, Paramount+.

The reboot, according to the Reporter, will feature a new generation of dance families, while retaining a few original cast members such as dance coach Charlyn Ritchie and her former students. “We’re looking at a fresh format that allows for more nuanced storytelling,” said a spokesperson for Paramount+ during an interview with Deadline. The new season will consist of 12 episodes and is scheduled to premiere in spring 2026. While the article does not reveal the exact airing window, it hints that Paramount+ is betting on the “vibrant, family‑friendly appeal” of the original series to draw in a new demographic of viewers.

4. The “Window” streaming platform takes the London stage

The final segment of the article introduces a brand‑new streaming platform called Window, which is launching its London hub this month. The platform, owned by an independent venture capital firm, is marketed as a “curated niche streaming service that brings indie films, limited‑run series, and experimental documentaries to an online audience.” The Hollywood Reporter references a press release on the platform’s website that outlines its content strategy.

Window’s first‑look lineup includes a 2023 independent drama that premiered at Cannes, a 2024 sci‑fi miniseries that has already won awards at the Sundance Film Festival, and a series of original shorts exploring contemporary social issues. While the service’s total library contains roughly 200 titles, the Reporter notes that Window will focus on a rotating “feature of the month” to keep its subscriber base engaged. Subscribers will pay $9.99 per month, and the platform promises an ad‑free viewing experience.

The article emphasizes that the London launch is a “test bed” for Window’s expansion strategy across the UK and eventually into other European markets. A brief interview with the platform’s CEO, Maya Patel, revealed that Window has secured partnerships with several European film festivals to offer exclusive streaming rights. “We’re not just another streaming service,” Patel told The Hollywood Reporter. “We’re a bridge between the festival circuit and everyday viewers.”

What ties these stories together?

While Tom Hanks, Baywatch, Dance Moms, and Window might at first glance appear unrelated, the Reporter article uses them to paint a broader picture of the entertainment industry's shifting priorities in 2025:

1. High‑profile talent anchoring new projects – Tom Hanks’s involvement in The Last of Us exemplifies how veteran actors can lend legitimacy to cross‑media adaptations.
2. Reboots with a modern twist – Baywatch and Dance Moms show how familiar IP can be refreshed for contemporary audiences by adding social relevance or a new production angle.
3. Niche streaming as a new frontier – Window’s entry into the streaming arena underscores the fragmentation of digital content and the growing demand for curated, niche experiences.

The article’s concluding paragraph stresses that these developments are indicative of a broader trend toward hybrid distribution models (theatrical plus streaming), a focus on authentic storytelling, and a growing appetite for both mainstream and indie content.

Bottom line

The Hollywood Reporter piece offers a comprehensive look at four different but interrelated facets of the current media landscape. From Tom Hanks’s blockbuster film to the reimagining of iconic TV properties and the emergence of a new streaming platform, the stories collectively illustrate how the industry is navigating audience expectations, platform competition, and the evolving definition of “content.” For anyone following entertainment news, these stories serve as both a snapshot of present trends and a harbinger of the creative directions that may dominate the coming years.