TV & MOVIES
Jewell R. Powell’s Holiday Film Launches Dual Distribution Strategy Targeting Congregations and Multiplexes
Balle Balle Radio™ Entertainment Desk
Jewell R. Powell’s second feature, A Christmas Journey, arrives in select theaters on November 7, 2026, with Impact Nations Entertainment simultaneously opening church and campus screenings that extend through year-end, plus a streaming release.
This faith-based reimagining of the Dickens classic follows Hannah, whose supernatural dreams help her confront unresolved trauma and move toward forgiveness, healing and renewed faith. It premiered in July 2026 to a sold-out screening, according to the announcement.
The theatrical run opens with 3 p.m. screenings on November 7 in Hyattsville, Maryland; Newark, Delaware; Greenville and Charlotte, North Carolina; Orlando; Detroit; Arlington, Virginia; and Mays Landing, New Jersey, with a Reading, Pennsylvania screening following November 8. Additional dates are being planned for Dallas, Los Angeles, Philadelphia and Memphis. Streaming begins November 27 and continues through December 31.
Beyond the theatrical tour, Impact Nations Entertainment is opening the film to churches, women’s ministries and campuses that want to host their own screenings, complete with an optional discussion guide and, scheduling permitting, a live Q&A with Powell. The model capitalizes on a seasonal reality: churches already draw congregations together during this time of year. "This gives them something they can watch together and then actually talk about," Powell said in the announcement.
The cast includes Aaron D. Spears, known for The Bold and the Beautiful and Being Mary Jane, and Charmin Noel Lee, who has appeared in The Chi and Just Mercy, along with Christian film veterans Sharonne Lanier and Michael J. Patterson. The film introduces C’yana Denby in the lead role of Hannah.
Powell spent more than 30 years in federal acquisition, including a stint as a contracting officer at U.S. Postal Service headquarters, and continues to work as a contractor in that field. She’s also a licensed and ordained minister who leads Brides Arise, a movement centered on Revelation 19:7. She began making films in 2021.
Her debut feature, Unfailing Love, a modern retelling of the biblical book of Hosea, has picked up more than 15 festival honors, including the Audience Choice Award at the International Christian Film and Music Festival and Best American Film at the 2026 Cannes Film Awards. Impact Nations Entertainment, which she founded, currently has two completed features, with seven more films and two series in development, and also produces work from other Christian filmmakers.
Studio CarryOnHarry will be watching how the church-screening model performs against the traditional theatrical dates — a faith-market film that can fill sanctuaries as easily as multiplexes is a distribution story as much as a movie one.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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Balle Balle Radio™ Entertainment Desk
Ramesh Taurani’s production company is reportedly negotiating with Aamir Khan, Sidharth Malhotra, and Tiger Shroff to star in a Race franchise reboot, per multiple entertainment trade outlets.
Tips Films, Taurani’s banner, released the original Race in 2008, followed by Race 2 (2013) and Race 3 (2018) — built around a formula of double-crosses, family betrayal and glossy action set in exotic locations. The franchise has cycled through different lead casts across its three installments, and a reboot with three prominent male stars would mark its most ambitious ensemble yet.
Multiple entertainment outlets have separately reported the same trio of names in connection with the project, though none have detailed a script, director or timeline. Nothing has been finalized publicly, and no studio or release window has been attached to the reboot at this stage.
For Studio CarryOnHarry, the notable thing here isn’t the reboot itself — franchise revivals are a Bollywood staple — but the casting logic. Aamir Khan rarely commits to ensemble action films, and pairing him with Malhotra and Shroff, both known for the genre, would be a significant departure from his recent output if it comes together.
Studio CarryOnHarry Perspective
The Race franchise has never relied on the same lead twice—a deliberate strategy that kept it feeling fresh even as the formula stayed consistent. Each installment swapped out its cast entirely, treating stars as interchangeable vehicles for the same machine of betrayal and exotic globetrotting. A reboot with three A-listers sharing the screen would break that pattern fundamentally, raising the question of whether the franchise can sustain itself through star power alone or whether it’s already exhausted what the formula can deliver.
In practice, this matters because audience fatigue with a concept often masquerades as casting fatigue. Fans don’t typically walk into a Race film expecting character arcs or emotional stakes—they come for the premise. But after three films mining the same well of double-crosses and family schemes, even a star-studded reboot risks feeling like a repetition rather than a reinvention. The casting choice becomes a band-aid solution to a structural problem.
What remains unaddressed is whether Taurani’s team has actually rethought the story DNA of Race itself, or simply upgraded the marquee names. The reports mention negotiations and names but offer no hint of a script refresh, tonal shift, or thematic evolution—which is precisely what a fourth film would need to justify its existence rather than feel like a cash grab.
The most useful way to judge this venture may be not by who’s cast, but by whether the filmmakers are willing to break the very formula that made Race recognizable in the first place. Without that willingness, the announcement of any star is just noise.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
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The third installment of Netflix’s "Monster" anthology, "Monster: The Lizzie Borden Story," comes to the platform featuring Ella Beatty as the protagonist as the 19th-century murder suspect.
Like other Netflix original series, the show follows the platform’s standard global release pattern: episodes go live simultaneously worldwide at 12:00 a.m. Pacific Time, which staggers across other time zones. That translates to 3:00 a.m. Eastern, 8:00 a.m. in London, and later that same morning across continental Europe and Asia, per the streamer’s usual rollout schedule.
The series is the latest entry in Ryan Murphy’s "Monster" franchise for Netflix, which previously dramatized the cases of Jeffrey Dahmer and the Menendez brothers under the same anthology banner. Each season has paired a true-crime subject with a fresh cast and creative team while keeping the "Monster" title as the connective thread.
Lizzie Borden was tried and acquitted in 1893 for the ax murders of her father and stepmother in Fall River, Massachusetts, a case that has remained a fixture of American true-crime lore for more than a century despite never being definitively solved. That unresolved quality has made it a recurring subject for dramatizations and documentaries long before this Netflix adaptation.
Studio CarryOnHarry will be watching whether the Borden season can match the audience pull of the Dahmer and Menendez installments, given how much more contested and thinly documented this case is compared to those two.
Studio CarryOnHarry Perspective
Casting decisions in true-crime drama carry weight beyond the role itself—they shape how audiences approach a character, and they signal what a network believes about an actor’s ability to carry a major project. Ella Beatty’s selection to front a Ryan Murphy production suggests Netflix and the creative team see her as capable of holding audience attention through a morally ambiguous, historically contested figure—no small ask.
In practical terms, casting often determines whether a lesser-known historical case gains cultural momentum or fades. Beatty’s profile will influence whether viewers come expecting a sympathetic portrait, a psychological study, or an open verdict. Her previous work and public presence become the lens through which millions first encounter Lizzie Borden, shaping water-cooler conversations and social media debate in ways the source material alone would not.
What remains unexamined here is whether Beatty’s casting reflects genuine creative vision or reflects Netflix’s confidence in the actor herself. A strong performance can elevate a script; it can also paper over uneven writing. The article doesn’t yet tell us which scenario applies, or how reviewers and audiences will actually respond to her interpretation.
The most useful takeaway may be to watch not just the show’s reception, but what this casting says about Netflix’s evolving appetite for true-crime subjects that lack the lurid certainty of Dahmer or Menendez. Sometimes the actor matters as much as the case.
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