Art & Entertainment
Veteran Stars Robert Clohessy and Robert Funaro Team Up for The Last Disco
Los Angeles, CA, May 01, 2021 –(PR.com)– InFuse Releasing recently acquired the domestic distribution rights, with a schedules release in Fall 2021. The Last Disco comes from writer, Joanne Tamburro, known for the films, “Just Like Joe and “Jesse” and producer Judy San Roman, of Reelhouse Productions known for, “The Brawler” and “Fair Market Value.”
The film stars a Robert Clohessy (The Wolf of Wall Street, Blue Bloods) and Robert Funaro (The Sopranos, The Irishman,) Matthew Pappadia (Just Like Joe), and featuring all original music by the Alessi Brothers and others.
Film takes place in 1979 when Disco is in its’ final days, but nobody at that time knew it, or wanted to believe it. They believed it would last forever, the music, the dancing, platform shoes, quiana shirts, and point dresses swirled, as the mirrored ball spun lights like stars on the walls. It was an escape from reality, from real life, a place to find love for a moment to last forever in a dance. Frank Rosario lived a very ordinary life, but when he stepped inside that Disco, he was special. One night, Frank believes that all of the answers to his problems will be solved when he wins the dance contest, a contest inspired by a hit movie, where every kid in America wanted to be the next John Travolta.
Frankie believes that in winning this contest, he will get back the only girl he truly loves. Disco explodes with action, a peek inside a time when couples danced together wearing all the glitz and glamour they can find at the nearest suburban shopping mall. To Frank and his friends, this is paradise. An escape from the real world of cheating lovers, unwanted pregnancy, jobs that lead nowhere, and dysfunctional families. Inside the Disco is where it all begins for them, but also where this magical time will soon be coming to an end. Nothing can truly last forever, just like the dance that stops when the music ends.
This compelling story will take you on a journey back to the days when free love could be found in a pill, a glass or on the lighted dance floor. But free love has its price to pay, and dreams end when a generation moves on to the next chapter. This is when Frank realizes that he will only dance with the one he truly loves.
Clohessy shares, “We all clowned around so much while making this movie, it didn’t even feel like acting. I played Funaro’s older and more successful brother. It was a hoot for sure.”
Funaro shares, “Working on this period piece brought back so many memories of the Disco era. I played the role of the club owner, and Bobby Clohessy’s Italian half-brother. It was fun working with him, we shared lots of laughs.”
Tamburro shares, “The goal is for audiences from any generation to walk into a theater or online platform, meet our characters, fall in love with this story and want to dance like it was 1979!”
***Anticipated The Last Disco debuts early Fall 2021.
Contact:
Judy San Roman
Executive Producer/ The Last Disco
516-435-5839, www.reelhouseproductions.com
**InFuse Releasing, Alhambra, CA – US distribution company releasing specializing in feature films and series on TV, DVD, and digitally trough platforms such as TubiTV, Prime, iTunes and beyond. URL/Channel: www.youtube.com/infusereleasing
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"The Mummy," the 2017 Tom Cruise action-horror film widely regarded as among the largest theatrical failures in his filmography, has emerged as one of Prime Video’s top-performing films, according to reports tracking the platform’s charts. One report placed the film at the 10th spot on Prime Video’s top movies list.
The film was meant to launch Universal’s "Dark Universe," a planned shared cinematic world built around the studio’s classic monster properties. That plan collapsed after "The Mummy" opened to poor reviews and underwhelming domestic box office, and no further Dark Universe films followed.
The streaming resurgence comes as Cruise’s own on-screen monster-movie history draws fresh attention: reports note the film is being rediscovered by viewers nearly a decade after its theatrical run, arriving on Prime Video after what one report described as an underwhelming box office performance at the time. Cruise starred as Nick Morton alongside Russell Crowe, Annabelle Wallis, and Sofia Boutella, who played the title character.
It isn’t clear what’s driving the renewed interest, whether algorithmic promotion, nostalgia, or simple curiosity about a film best remembered for its failed franchise ambitions. Prime Video has not issued a statement explaining the title’s chart position, and no viewership numbers have been made public.
The film’s climb echoes a broader pattern: other theatrical disappointments, including a 2020s Gerard Butler action film, have found similar second lives on streaming platforms long after their box office runs ended.
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Art & Entertainment
Netflix’s October 2026 Slate: ‘East of Eden’ Adaptation, Ben Affleck Thriller, ‘Diplomat’ Season 4
Balle Balle Radio™ Entertainment Desk
Netflix’s October 2026 lineup centers on a handful of high-profile originals: Florence Pugh leads the cast in this new adaptation of the classic Steinbeck novel, Ben Affleck and Gillian Anderson star in this political thriller, and "The Diplomat," an Emmy-nominated drama, returns for season four.
The month’s release calendar, detailed in an industry preview, spans more than twenty titles across scripted drama, documentary, anime, reality and international programming, reflecting Netflix’s now-standard approach of pairing a few marquee originals with a steady stream of licensed catalog titles and global-market series aimed at different audience segments.
The Steinbeck adaptation, a limited series titled "East of Eden," casts Pugh as Cathy Ames and arrives October 1 as one of the platform’s more literary bets of the fall. It lands alongside a wave of licensed films that same day, including "Ad Astra," "The Devil Wears Prada," "The Sixth Sense," "Pearl Harbor" and multiple seasons of "NCIS" — the kind of familiar-title bulk that typically pads a month’s new-content count alongside the originals.
October 9 brings "Animals," a political thriller starring Affleck and Anderson about a mayoral candidate and his wife drawn into dangerous territory after their son’s kidnapping, according to the preview and a trailer that has circulated separately. The same week, October 8, brings "Below," a six-episode supernatural thriller starring Josh Hartnett set in a coastal town terrorized by something in the water — a project Netflix has also been promoting through its own trailer release.
Tyler Perry returns October 2 with "Doing Life," a romantic drama starring Naomi Baker and Jay Reeves. It will be Perry’s eighth feature made for Netflix, following titles including "A Fall from Grace," "A Jazzman’s Blues" and "Mea Culpa," continuing a production relationship between Perry and the platform that dates back several years.
Keri Russell reprises her role in "The Diplomat" season four on October 15, continuing the well-received original series. Also on the documentary side: "Lorne," director Morgan Neville’s look at "Saturday Night Live" creator Lorne Michaels, featuring interviews with Tina Fey, Conan O’Brien, Maya Rudolph and Chris Rock, out October 5, and "Schumacher ’94 — The Birth of a Legend," chronicling Michael Schumacher’s 1994 Formula 1 title run, out October 2.
The rest of the slate leans international and genre-specific: a Korean fantasy-horror series ("Dead-End Job"), a German psychological thriller ("The Trap"), a Filipino horror-mystery ("Balaraw: Blood Island"), a Polish biographical drama about rock musician Jan Borysewicz ("Less of a Stranger"), and returning anime and reality titles including "Blue Box" season two and "Love Village" season three.
Netflix has not published an official release calendar for the month as of this writing; scheduling for later-October titles beyond October 15 was not detailed in the available preview.
Studio CarryOnHarry Perspective
Literary adaptations and prestige limited series represent a deliberate bet by streaming platforms that quality and cultural weight still matter to subscribers—that not everyone optimizes for quantity alone. This taps into a deeper hunger: the desire to feel like a viewing choice was *earned* rather than merely convenient, especially when a book like "East of Eden" carries decades of classroom authority and critical standing.
In practice, this strategy appears most valuable at moments of subscriber churn or price increases. A household genuinely torn between services may stay for a prestige drama they can discuss at work or defend to skeptical family members—"we’re watching the Steinbeck adaptation"—in ways a fourth reality dating show cannot match. Awards nominations amplify this effect: an Emmy or Golden Globe nomination becomes free marketing that whispers "this matters."
The constraint here is that prestige does not automatically translate to viewership at scale. A critically adored limited series may underperform the analytics of a mid-tier reality show, making it harder to justify the cost to shareholders. Netflix’s preview itself suggests these titles anchor a broader, more eclectic slate—they’re not the whole strategy, just the visible crown jewel.
The most useful way to interpret this may be not as Netflix suddenly becoming a literary platform, but as a company recognizing that different subscriber segments value different legitimacy markers. A Florence Pugh adaptation and a Tyler Perry romantic drama coexist because they’re solving different retention problems for different viewers.
From the Editor — Harry Johal
"That is part of the beauty of all literature. You discover that your longings are universal longings." — F. Scott Fitzgerald
I was scrolling through release schedules on my phone this morning—the kind of thing you do while your coffee cools—when I landed on Florence Pugh cast as Cathy Ames. "East of Eden" on Netflix in October. And Fitzgerald’s line came to mind: "You discover that your longings are universal longings."
It stopped me. Because what Netflix is really doing here, underneath all the slate announcements and subscriber retention math, is banking on exactly that discovery. They’re not just releasing a Steinbeck adaptation. They’re releasing permission—permission to sit with a story that millions of readers before you sat with, to feel what they felt, to ask the same questions about ambition and corruption and family that Steinbeck asked seventy years ago.
That’s the real hunger. Not for more content. For confirmation that what moves you isn’t private or small. That your longing to understand cruelty, or redemption, or the weight of a name—these aren’t quirks. They’re human. Universal.
A prestige adaptation doesn’t guarantee viewership. The analytics don’t always justify the cost. But it does something subtler: it reminds people that they’re not alone in what they want to watch, what they want to feel, what they want to *mean* by choosing one story over another. In a world that treats everything as convenience, that reminder matters more than most things Netflix will release that month. Maybe more than Netflix knows.
Read more People’s Choice stories on Studio CarryOnHarry. Reporting via Live News Vault.
Are you an author with a new release? We’re always looking for books to cover and authors to interview — tell us about yours here.
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