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MEERY CHRISTMAS…
AND HAPPY ABBEY
HOME ENT “THE LIFEBLOOD” OF FILM… FULL BASE WRAP-UP REPORT… …OUTLOOK IS GOOD… …AS INDUSTRY CONTINUES TO CHANGE BASE ADDS NEW MEMBERS… …COMMENT ON NEWBIES CHRISTMAS MESSAGE FROM BASE CHIEF… …AND ORGANISATION’S CO-CHAIR PHYSICAL MEDIA PRESS COVERAGE CONTINUES LETTERBOXD OPENS VIDEO STORE NETFLIX BACKED FRANKENSTEIN TO GET DISC RELEASE? CRITERION UNVEILS FIRST TITLES FOR 2026 PARTISAN RELEASED… …AND LONG WALK CONTINUES MARCH LOST WORLD REVEALED TOHO ACQUIRES ANIME LTD HMV OPENS MORE… …AND HEADS TO AMSTERDAM SPOTTED OUT AND ABOUT
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TRAILERS OF THE WEEK 
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It was a good week for… Downton Abbey The Grand Finale, finishing off the franchise in style with the biggest week one for physical media in three years…
It was a bad week for… Did you see those mad queues and near-riots for the Marty Supreme clothing drop in London? Fair play to A24 (and Entertainment) for the marketing, but blimey…
We have been watching… It’s A Wonderful Life for starters, as well as the fantastic Indicator box set Columbia Noir #7 – Made In Britain, and the Cure film (see below) See what we’ve been watching here…
Before we get started, just a note to wish our readers and subscribers a very merry Christmas and a happy and prosperous New Year. Thanks to everyone who's supported us in 2025 – The Raygun's 15th year – with advertising, emails, invitations to screenings, premieres and more, and just with kind words and nice emails. Thanks especially to everyone who sent messages during our different health crises this year. It's been a tough one, but your support has been invaluable during ill health. The Raygun relies on your support, thank you and remember you can help keep us running here on Ko-fi
The year is ending with a bang, as we’re happy to report that Downton Abbey The Grand Finale, released on December 15 through Spirit under its ongoing pact with Universal which sees the former handling all the studio’s new releases and catalogue titles across physical formats, has enjoyed an aristocratic first week on sale. The Raygun understands it not only became the biggest week one new release title of 2025 on physical media before the full seven days was even out, but it also becomes the bestselling week one disc release of the past three years; an admirable feat particularly given the potential for franchise fatigue. It’s ongoing success further highlights what a boon Downton Abbey has been to the market over the past 15 years in a history that spans six series and three feature films. The Grand Finale also gave Universal titles a one and two in the physical media charts, with Wicked sitting behind the latest adventures from Downton Abbey. The release also marked the first anniversary of Spirit’s deal with Universal, which kicked off in January 2025 and has seen a raft of successes, including the aforementioned Wicked and Bridget Jones Mad About The Boy. It is set to continue into 2026, with the likes of Him, Black Phone 2, Gabby’s Dollhouse and Bugonia all dated for the first six weeks of the year, as well as more catalogue hits with titles such as Field of Dreams and The Blues Brother due on 4K and in special editions. And there’s also current box office behemoth Wicked For Good set to land at some stage too.
With a refreshing success of original stories in 2025 across home entertainment and theatrical, adding to the ongoing stream of franchise material and sequels, the year ended in a mood of renewed optimism at the annual BASE and DEGI Annual Wrap-up and Industry Outlook held at PR agency Freuds offices in the heart of London last week. The home entertainment industry was further buoyed by the words of uber-producer Eric Fellner, one of the driving forces behind homegrown production powerhouse Working Title, who told the audience, in conversation with BASE chief Liz Bales, that home entertainment was “the lifeblood” of the film business and its physical and latterly digital successes were crucial to its continued success. Many of the speakers pointed to original storytelling, with titles such as Sinner and Conclave performing strongly on home ent and the box office success of The Long Walk and I Swear (the former was out on assorted formats last week, the latter between Christmas and New Year) as bringing further cheer, adding to traditionally strong categories. Sequels and franchises are still dominant, with an enviable slate in 2026, while Warner, already adept at driving new potential franchises – Barbie chief among them – has added another string to its bow with the Minecraft Movie in 2025. Those unexpected breakouts have buoyed an industry already enjoying notable family successes – Oz-based musical sequel Wicked For Good has already earned half its predecessor’s box office haul in its first two weekends on release, taking more than £32 million (it’s now at more than £42 million) – and added a feel good factor to the proceedings. As Lionsgate’s EVP, head of motion picture group and BASE co-chair Marie-Claire Benson noted, the UK home entertainment market – worth £5.1 billion in 2024 – is continuing its upwards trajectory and all the numbers suggest that it is set to rise again when year-end figures for 2025 are issued in the new year. Benson also praised the spirit of the industry and its willingness to “share knowledge and expertise to drive the industry forward”. She continued: “As co-chair of BASE, I'm incredibly proud of this community and the way we work together to strengthen the whole industry. With changeable times ahead, it's never felt more important to come together to tackle the challenges head on, build momentum that we've created and to continue delivering to audiences the stories they love and the escape that they need.”
The BASE and DEGI Annual Wrap Up and Industry Outlook gave a look at the current state of the market, highlighting stats such as Universal’s Rob Spink outlined some of the trends. Global box office was up for the second year in a row; much of the ongoing growth in video was driven by SVOD; the decline in global physical media sales was slowing and flattening, while digital was still strong; TV on digital had slowed, and some territories, such as France, were seeing growth also slow, while others, including Poland, were soaring. The biggest growth in digital film was coming from library – anything over than six months – and premium. And while conversion rates had slowed at an international level, Wicked’s success as one of the biggest converting titles ever showed the potential. Spink, Sony’s Amy Moriarty and BASE’s Yasmin Nevard then discussed the ongoing insights work of BASE and sister organisation DEGI and how it is expanding further, highlighting the increasingly close industry-wide collaboration and sharing of information.
The BASE and DEGI Annual Wrap-up and Industry Outlook also heard from the Creative Industries Independent Standards Authority CEO Jen Smith, who spoke more about the organisation, which aims to “uphold and improve standards of behaviour across the creative industries and to prevent and tackle all forms of bullying and harassment, including bullying and harassment of a discriminatory nature”. There were also words from Louise Kean-Wood, head of communications, marketing and partnerships at BASE, who outlined ongoing work from the organisation such as Mega Movie Weekend, a concept now spreading beyond the UK, and Moments Worth Paying For. Next up was Studiocanal’s head of marketing for home ent Chris Sharp in discussion with Maven Screen’s Celine Rattray and Fulwell Entertainment’s Gabe Turner, who discussed the importance of original IP in film and TV (again, the success of Warner this year was praised, with the hope it would “motivate the industry” into pushing for original IP). BASE’s head of audience engagement Sylvia Dick, alongside Sony’s director of tech Andrew Livingstone, outlined the current anti-piracy efforts in 2025, including an update on the Moments Worth Paying For campaign in 2025, (with four separate ads reminding consumers of the importance of watching content legally, in cinemas, taking in Karate Kid, Superman, How To Train Your Dragon and Marching Powder, all doing “extremely well” in targeting 16-34 year old males and parents of young children), as well as the changing nature of piracy, which is now shifting to mobile phones via social media, rather than stick and device usage. Sylvia Dick also updated on the Go Big And Go Home initiative, still in the early stages, which see Amazon and Odeon joining forces to offer cinema-goers money off Prime Video titles, and the success of the scheme. BASE’s James Gallagher discussed the current state of the digital retail sector with Sky Store’s Cécile Huet and Peter Ohman from Nordics online retailer SF Anytime. BASE’s Yasmin Nevard returned to the stage to discuss the industry from younger members’ perspectives, alongside Curzon’s Marco Augelli and Lionsgate’s Imogen Dodds. This was fascinating (especially for older heads such as ourselves), as it discussed, among other things, AI and how it could be useful in the workspace. The event ended with the annual wrapping of distributor-donated toys and goodies for Sedulo Christmas Toy Appeal.
Also with BASE and the Annual Wrap Up took place just after the organisation announced a quartet of new members, with distributor Vertigo Releasing, which last time around announced a new boutique premium physical media imprint Visions Home Video; insights specialist GfK; supply chain experts at Vubiquity; and authoring and subtitling company WLP Vision. Comment on the new members of the trade association came from all four. GfK global director multimedia Tanja Eisen said: “We are thrilled to announce that we are now part of the Base family. This marks an exciting milestone in our commitment to delivering an exceptional service that empowers our clients to advance their business. For decades, we have partnered closely with the home entertainment industry, providing innovative perspectives and new opportunities for growth. By joining forces with the BASE community, we are confident elevating this mission even further and create lasting value for the industry.” Vertigo head of operations and physical sales Andrew Dillon said: “Vertigo Releasing is proud to join BASE, a prestigious organisation at the forefront of screen entertainment. We look forward to collaborating with our fellow members to advance and strengthen our industry together.” Sonia Hunt, SVP, worldwide marketing and communications for Vubiquity Sonia Hunt said: “Joining BASE at this moment feels exactly right for Vubiquity. We’re excited to collaborate more closely with the community, share our expertise across content services, and help drive the continued growth of Home Entertainment into 2026.” WLP Vision Cheryl Grant said: “We are delighted to be joining the BASE community after having worked with so many of its members over the past 10 years and look forward to sharing insights and innovations together as the home entertainment industry continues to go from strength to strength.”
More on the new members at BASE came from BASE and DEGI chief executive Liz Bales who said: “Welcoming this diverse group of new members underscores the increasing strategic importance of Home Entertainment to the screen sector and reflects the contribution and growth opportunities in the international territories. As global OTT revenues are set to hit $150 billion through 2026, collaboration across shared objectives is providing valued insight and engagement for our members in what is otherwise a highly competitive space.” BASE co-chair and EVP and head of the motion picture group at Lionsgate UK, Marie-Claire Benson added: “Welcoming this group of new members really shows how much momentum and confidence there is in Home Entertainment right now. Each organisation brings something different, whether that’s insight, distribution know-how, production experience or creative talent, and together they add real strength to the collaborative spirit at the heart of the BASE community. We’re excited to support them and champion their work as we head into what’s shaping up to be a bold and ambitious 2026.”
And the same newsletter had further comment on 2025 and a look ahead to the coming year from co-chair and Lionsgate EVP Marie-Claire Benson, who said: “Taking time to reflect at the end of another busy year, it struck me that the BASE and DEGI community feels stronger than ever. With the ongoing and vital support of our long-standing members, and the addition of a raft of new and exciting organisations joining us, we can face 2026 with bold ambition and great expectations for what we can achieve, together. At the BASE and DEGI Annual Wrap Up and Industry Outlook in December, beautifully hosted by new BASE member Freuds, we were fortunate to host a fireside conversation with Eric Fellner of Working Title, a giant of our industry, in front of 100 industry colleagues. Eric made an important point: with change comes opportunity. For the UK and international entertainment community, the changes keep coming, and the opportunities present themselves to be embraced, for the benefit of audiences everywhere. Sometimes it’s easy to forget that we are not only entertainment industry colleagues but hopeful, excited, expectant audience members ourselves. On that note, I wish you peace, joy, and enjoyment of entertainment in all its forms this Christmas with the ones that you love. I look forward to sharing time, thought and energy with you all in 2026.”
We’ve been tracking the rise in publications writing about the return of physical media both in print and online in recent weeks and months, as increasingly august publications write about the phenomenon. It continued this week with no less a publication than the Washington Post (owned by Amazon supremo Jeff Bezos no less), which discussed it here. The piece noted: “Since the 2010s, streaming has dominated media consumption, and with that, sales of DVDs and CDs have sunk. And yet discs are still circulating in retail, and in some cases, demand is reviving — particularly from collectors. Discogs, an online marketplace for physical music where users can also catalogue their personal collections, saw CD purchases increase 8 per cent so far this year over last year. The trend is driven by Gen Z looking for the novelty of ‘vintage’ media on discs as well as collectors and millennials itching to ditch their pricey streaming services, experts say. They also want to exercise true ownership of their media and better support the artists they love. And it can be cheaper to buy a physical DVD for $3 to $5 than to buy or rent the digital version. Some buyers hope their collections will also grow in value.” We’ve noticed this first hand, as our 22-year-old has been picking up assorted titles from the likes of Fopp this year.
The Washington Post piece further noted the importance of having physical media on your shelves at home. “Collecting can be more than the hope of a future fortune,” it continued. “Rather, it’s a manifestation of the owner’s ‘relationship to cultural taste,’ said Ted Striphas, chair of the department of media studies at the University of Colorado at Boulder. ‘Being able to physically display media artifacts tells people something about who you are and your identity,’ he said. ‘And that just does not translate into the world of streaming.’ These forces have motivated Alliance Entertainment to stay in the business. The wholesaler and distributor of physical and streaming media saw many peers shutter and ‘give up,’ said chairman Bruce Ogilvie. ‘We never felt physical media would go away,’ he added. Alliance is focused instead on serving the niche audiences still looking to buy CDs and DVDs. And they’re going where the customers are, such as Amazon, Temu and eBay. Although the big box chains Alliance works with — like Target, Walmart and Best Buy — have either shrunk or eliminated their in-store selection, shoppers can still find CDs and DVDs on their websites. Thrift and record stores and niche online marketplaces can be even more popular among ardent collectors.”
Meanwhile, Letterboxd, our favourite site and app of recent years (https://letterboxd.com/theraygun/) and a proponent of physical media, has also been talking about shiny discs, giving tips to its younger members about how to show off their DVD and Blu-ray collections on the social media film platform over here. Letterboxd has also launched its own streaming offering, Letterboxd Video Store, which offers up rentals and ties in with the ongoing fetishisation of VHS, video rental stores and more that we’re even charting here for some time. Initially opening with seven films, it has almost doubled its offering with a season of French New Wave titles curated by Richard Linklater. You can see its titles here on what it has dubbed its shelves. It has Unreleased Gems, festival titles and titles that failed to find a home through other distribution channels, as well as Lost and Found for older titles. Prices for rentals range from £1.99 to £15.99. Like MUBI in its early days, titles under the Unreleased Gems banner will stay on the service for a limited time. CEO and co-founder Matthew Buchanan told US film trade magazine Hollywood Reporter: “Our thought process was simple: is there a way to build upon that mission and passion, by providing films themselves, in a way that is not being done elsewhere? The selection process is directly tied to specific films our members are asking for — via watchlists, ratings, reviews and so on. This has inevitably leant to a focus on films that are undiscovered, unavailable and overlooked — with exclusivity being a bonus — but most of all, films that are sought after by the community. Video Store is curated not because we believe in limiting film discovery — in fact it’s the opposite: we want every film to receive the support it deserves, in any way we can, so we are starting off with a relatively small set of titles. It’s very intentional programming. But like everything else at Letterboxd, it will shift according to where our community leads us. [The Unreleased Gems] shelf was a response to the sheer number of incredible films out there, that for whatever reason, have yet to be more widely distributed, but that we know our community is keen to champion. They are purposefully on the service for a limited time. It is a temporary, controlled environment where films can earn revenue and, we hope, demonstrate audience demand before they go on to find wider acclaim. We see endless opportunities for Letterboxd Video Store. For now, though, it’s important that we focus on what we have set out to do: surface the films our members want to see, and work with fantastic filmmakers, sales agents and distributors to achieve that.” More on this in the coming months.
Back to physical media, and while F1 recently became the first Apple-backed feature films to get a physical media release (a feat that neither Martin Scorsese or Ridley Scott achieved with Killers Of the Flower Moon and Napoleon respectively, both backed by the tech giant), fully Netflix backed films are, generally, not likely to turn up on Blu-ray or DVD; the streamer is reluctant to allow them to be released on a shiny disc. Boss Ted Sarandos always makes it clear that the best place to watch Netflix titles is on Netflix (which makes his pronouncements about protecting Warner’s theatrical windows if the deal goes ahead all the more intriguing). It seems as if, however, Netflix might make an exception when it comes to Guillermo del Toro, the director currently making films and TV for Netflix. The director, whose recent productions from animated outing Pinocchio, horror anthology series Cabinet Of Curiosities and Frankenstein have all been back by Netflix, responded to one user on Twitter who said “I would love to see the deleted convent scene in Frankenstein, the costume designs for it are gorgeous” with a comment promising a physical release, noting: “It will be included in the physical media release.” It’s a simple sentence, but one that fans of Blu-ray will be delighted to hear.
Many speculated that if del Toro’s Frankenstein ends up as a physical release, it will appear on the Criterion imprint and, in a carefully constructed link by us, the pioneering label has unveiled its product for the early part of 2026, released in the UK via Spirit. Spirit’s John Partridge, aka JP, said: “Criterion kicks off the new year with a typically eclectic mix of unmissable cinema classics remastered on 4k UHD for the first time. On January 12, Jim Jarmusch’s black and white revisionist western Dead Man sees Johnny Depp on a spiritual journey accompanied by both an outcast wanderer and an incredible Neil Young score. Yi Yi is Taiwanese director Edward Yang’s most extraordinary film – it’s a year in the life of a Taipei family that is somehow both sprawlingly epic and intimately touching. A week later we have two very different films releasing – John Huston’s elegiac The Dead stars daughter Angelica in the story of an Irish family based on a short by James Joyce and Captain Blood, a crowd-pleasing, rip-roaring Errol Flynn-starring swashbuckler sat in the more than capable hands of the astounding director Michael Curtiz.”
On to February’s Criterion titles and JP continued: “It may be the shortest month of the year, but Criterion is packing a lot of releases into February, including the slightly delayed release of Nineties hip-hop, non-stop fun-fest House Party, featuring the hugely likeable Kid’n’Play. Elsewhere, the long awaited 4k UHD release of Kiss of the Spider Woman gives fans the perfect excuse to rewatch Raul Julia and Willian Hurt’s stellar performances before the musical version with J Lo releases later this year. Both out on the second week of the month. A week later is Birth, in which an always remarkable Nicole Kidman grapples with the idea that a 10 year old boy is the reincarnation of her dead husband. The month closes with a welcome Blu-ray release of Mike Leigh’s Life is Sweet, funny, melancholic, delightful and with a cast (Jim Broadbent, Timothy Spall, Alison Steadman, Jane Horrocks) that look so young it might make you feel old.”
Last week saw a double from Lionsgate in the shape of The Strangers Chapter 2 and one of our favourites from 2025, The Long Walk. The latter, a Stephen King adaptation, has turned up in lots of year-end lists from those in the know, such as genre expert, critic and writer Kim Newman, and, as Total Film noted in its year-end review: “There are movies that make you tear up a little, movies that have you sobbing long after you leave the theatre, and then there's Francis Lawrence and JT Mollner's 2025 live-action adaptation of Stephen King's dystopian sci-fi thriller The Long Walk. The film, which stars a lovable ensemble cast of mostly hopeless misfits, is book-accurate right up until it flips the original ending – turning a rather selfish story on its head by putting love at the forefront and rendering it not only better than the book, but one of the best Stephen King adaptations ever made… and the saddest movie of 2025.”
Also just released on physical formats after a one night only outing at cinemas around the UK is Show Of A Lost World, a live concert performance from legendary rockers The Cure. The gig was recorded in 2024 at east London’s Troxy, a relatively intimate gig for a band who normally play stadiums, and marked the release of the similarly titled Songs From A Lost World, their first studio album for more than 15 years. It’s a mammoth affair, probably the longest film we’ve seen this year (The Brutalist aside), featuring 31 songs in all. It kicks off with the entire new album played in full, in order, followed by a trawl through their lengthy career, with all the hits and more, as well as a selection from early album Seventeen Seconds, which was marking its 45th anniversary. It’s engaging throughout and while music on Blu-ray is not the force it once was, it’s a fine release. Don’t just take our word for it, however, here’s music mag Mojo on the film. Its review said: “Like most concert films, The Show Of A Lost World is primarily an indulgence for the core congregation, but as The Cure continue to prove, theirs is a very broad church indeed. ‘We’ve run out of time,’ grins Robert Smith, prior to a farewell Boys Don’t Cry. ‘I mean, just for tonight.’ He’s promised to retire in 2029, the year of his 70th birthday. Don’t bet against several more final curtains before then, and maybe even thereafter.”
With the Warner and Netflix still bubbling away – Paramount having thrown its hat in the ring to buy the studio since the last newsletter – one other deal may have escaped your attention, but the manga and Japanese specialist Anime Ltd has been acquired by Japanese giant Toho as part of its plans to establish a foothold in the UK and Europe. Toho, the studio forever associated with Godzilla and home of the recent superlative monster flick Godzilla Monster One, has bought the independent, itself acquired by German-based film distributor Plaion back in 2022. Toho is setting up a London-based European office for its Toho Global operation, with Anime Ltd giving it a route into the UK and territories such as France for theatrical distribution, home video and streaming for anime titles and more, while a strategic partnership with Plaion as part of the deal will enable it to move into other European territories such as Germany. Anime Ltd founder Andrew Partridge will be part of the leadership team of Toho Global in Europe, which will, film trade site Deadline noted, work across “theatrical distribution, TV/streaming, home video, merchandise, and games for anime and select live-action IP”. It comes as anime continues to grow across the whole of Europe, the market increasing by more than 10 per cent a year.
Comment on the Toho Global and Anime Ltd deal came from Koji Ueda, president and representative director at Toho Global, who said: “This move accelerates the timeline to realize the ‘Toho Vision 2032 Group Management Strategy’ by giving Toho an immediate pan-European distribution capability as well as access to Plaion Pictures’ highly additive infrastructure for merchandise operations. We look forward to working together with our new team members and partners to bring amazing content to fans in the UK, France and across the continent. Partridge added: “Both myself and the team have long loved working together on Toho properties, as evident from making Godzilla Minus One, the best Japanese live-action box office hit of all time in the UK. We look forward to becoming part of the Toho family and working closer and more collaboratively with its group companies to expand the interest of anime across our territories. I look forward to continuing to work with Anime Limited both during the transition and from my new role at Toho’s European regional headquarters.” Plaion MD Stefan Kapelari noted: “Anime Ltd is exceptionally well positioned in the anime market. The sale to Toho creates entirely new growth opportunities for Anime Ltd. in the UK and France through strong synergies across content, distribution, and marketing. We would like to thank Andrew Partridge and the entire Anime Ltd. team for their dedication and outstanding collaboration over the past four years, and we wish them every success in this forward-looking new constellation.”
 The new issue of Film Stories, the UK's weightiest film magazine, with home entertainment contributions from The Raygun's very own Tim Murray, the publication's physical media correspondent, is out now. Click above to get hold of a copy, with Blu-ray reviews, features and loads, loads more… More information here and to ensure your physical releases are covered, get in touch with us at the usual address…
Retailer hmv, fresh from its recent BASE wins (see last newsletter), has signalled it is opening its second store in the Netherlands, following a spate of recent openings and reopening. A month ago, the retailer announced plans for a trio of new stores in Peterborough, Cork and The Hague; the Cork store its third in Ireland, the latter its first Dutch outlet. It was continuing its march into Europe, which now takes in Ireland, Belgium and the Netherlands. At the time, Phil Halliday, md at hmv and Fopp, said: “We’re constantly striving to create new homes for communities of fans to come together and share their love of music and popular culture. That’s why we are so thrilled that, after five years of working on a deal, we are finally able to open a new store in Peterborough and meet the strong public demand. We are also set to open our first store in The Netherlands and a third store in Ireland before the end of the year, in The Hague and Cork respectively. We plan to continue focusing on opening stores in Ireland and across mainland Europe as our main targets for expansion, where it currently makes more sense to do so from a business point of view. We always aim to bring ranges that can’t be found anywhere else under one roof. We’re confident that we can continue to bring something new to shoppers across the UK and Europe and hope that fans will share our excitement when we open the doors of our three new stores.”
And this week hmv has announced its plans to open another Dutch outlet, this time in Amsterdam. It will, the retailer said, offer not just a deeper range of vinyl and CDs and a dedicated K-Pop area, but a “larger selection of films and collectors’ box sets on 4K and Blu-Ray, and double the range of t-shirts, collectables and books”. Halliday said: “We’re constantly striving to create new community hubs for fans to come together and share their love of music and pop culture. The shop will cater to a range of interests, stocking all genres of music from K-Pop to Heavy Metal, the best film and TV shows around, as well as a great selection of fiction, non-fiction and graphic novels. We’re confident that we’ll bring something new to Kalverstraat and we can’t wait to open the doors next year.”
 SPOTTED OUT AND ABOUT
With the new film The SpongeBob Movie: Search for SquarePants out in cinemas, Paramount Pictures UK has partnered with growing burger chain Fat Hippo to launch a limited edition menu featuring SpongeBob-themed burgers and fries. It launches on December 26 across the Fat Hippo chain and as part of a SpongeBob’s Patty Shack menu on Deliveroo. There are 700 free burgers up for grabs too, as anyone who can show they’ve been to see The SpongeBob Movie can get one of 50 free available at each location (first come, first served). To mark the launch, The Raygun, our teenage correspondent and a bunch of influencers gathered in Fat Hippo’s Soho outpost to sample the wares and have a crack at creating our own SpongeBob snacks. It was a cracking afternoon, thanks to our pals at Strike Media for the invitation.
 The Raygun, is 15 years old and continues to report on the home entertainment industry and its ever-changing face. To ensure we can continue to bring you the latest news, opinion and analysis from a business we love and care passionately about, you can support our independent journalism by donating to us via Ko-fi… Thank you.
TRAILERS OF THE WEEK
Due through Vertigo…
From Lionsgate, this looks tough but ace…
New Spielberg…
We’ve already put money on “Nolan hits a Homer run: headlines
THE OBLIGATORY GDPR BIT
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