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The End of the Tour

The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's gr... Read all The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.' The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'

James Ponsoldt
Donald Margulies
David Lipsky
Jason Segel
Jesse Eisenberg
Anna Chlumsky
108 User reviews
192 Critic reviews
82 Metascore
4 wins & 18 nominations

David Foster Wallace

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(as Jennifer Holman)
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Trivia The song heard on the soundtrack when the film ends is "The Big Ship" by Brian Eno , one of David Foster Wallace 's favorite songs. It was also used for the climax of Me and Earl and the Dying Girl (2015) , another film that premiered at the 2015 Sundance Film Festival.
Goofs In regards to the scene where Mrs. Gunderson gives Mr. Wallace and Mr. Lipsky a car tour of Minneapolis sites: The Mary Tyler Moore statue on Nicollet Mall in Minneapolis, was not given to the City by TV Land until 2002. Also, it is not legal for cars to drive down Nicollet Mall.

David Foster Wallace : It may be in the old days what was known as a spiritual crisis: feeling as though every axiom in your life turned out to be false... and there was actually nothing. And that you were nothing. And that it's all a delusion and you're so much better than everybody 'cause you can see how this is just a delusion, and you're so much worse because you can't fucking function.

Crazy credits Halfway through the closing credits, there is an extra scene told from the perspective of David Foster Wallace as Lipsky goes to the bathroom to wash out the chewing tobacco. It shows what Wallace did while he was in the bathroom: he speaks privately into the tape recorder.
Connections Featured in The Tonight Show Starring Jimmy Fallon: Jason Segel/Amy Sedaris/Alessia Cara (2015)
Soundtracks Sunlight Bathed The Golden Glow Written by Lawrence and Maurice Deebank Performed by Felt Courtesy of Cherry Red Records

Technical specs

Runtime 1 hour 46 minutes
Dolby Digital

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Review: ‘The End of the Tour’ Offers a Tale of Two Davids

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By A.O. Scott

July 30, 2015

“There’s an unhappy paradox about literary biographies,” David Foster Wallace observed in The New York Times Book Review in 2004, in reference to “Borges: A Life.” Readers who pick up such books, drawn by their admiration for a writer’s work, are likely to find themselves distracted and disappointed by a welter of iffy theories and picayune data. In the case of Borges, Wallace argued, “the stories so completely transcend their motive cause that the biographical facts become, in the deepest and most literal way, irrelevant.”

The same can be said of Wallace himself, and, for that matter, of just about any author worth reading. The work is everything; the life is trivia. And since I’m about to praise a movie about David Foster Wallace that claims fidelity to at least some of the facts of his life, I should perhaps identify myself as a devoted nonconsumer of literary biographies, an avowed biopic skeptic and, unless someone offers me a lot of money to write one, a habitual avoider of celebrity profiles. So by all rights I should hate “ The End of the Tour ,” James Ponsoldt’s new film, a portrait of the writer that has its origins in a (never-published) magazine profile. In fact, I love it.

Some of the people closest to Wallace, who committed suicide in 2008, have condemned the movie sight unseen, and friends of his who did see it ( one of them also a friend of mine) have found fault with both its details and its overall design. As an ardent , ambivalent reader of Wallace’s prose and a complete stranger to him personally, I can only respect such objections. But the movie, in my view, disarms them — not because it offers an especially loving or lifelike picture of its subject but rather because David Foster Wallace is not really its subject at all. “The End of the Tour” is at once an exercise in post-postmodern literary mythmaking and an unsparing demolition of the contemporary mythology of the writer. It’s ultimately a movie — one of the most rigorous and thoughtful I’ve seen — about the ethical and existential traps our fame-crazed culture sets for the talented and the mediocre alike.

Anatomy of a Scene | ‘End of the Tour’

The director james ponsoldt discusses a sequence from his film “the end of the tour,” featuring jesse eisenberg and jason segel and opening july 31..

There are two Davids in the movie, which takes place in 1996. Both of them are writers. One is Wallace (Jason Segel), whose third book of fiction, the 1,079-page dystopian tennis-rehab epic “Infinite Jest,” has just been published to hyperbolic acclaim . The other is David Lipsky (Jesse Eisenberg), whose own recently released novel, “The Art Fair,” has met with polite indifference. An early scene finds him on his couch reading “Infinite Jest” while his girlfriend, Sarah (Anna Chlumsky), is curled up with the season’s other fictional blockbuster, the anonymously published political roman à clef “Primary Colors.” (Oh, the ’90s. Sorry you missed all the fun, kids. Kind of sorry I didn’t.)

David L., a new, probationary hire at Rolling Stone magazine, convinces his skeptical editor (Ron Livingston) that David F.W. is worthy of a feature article, and so finds himself in Bloomington, Ill., in the middle of winter. (Wallace taught for many years at Illinois State University.) The plan is that the reporter will accompany the novelist to Minneapolis, the last stop on his book tour. He does, and that’s pretty much the plot of the movie.

Mr. Ponsoldt, whose earlier features include “The Spectacular Now” and “Smashed,” would much rather observe two people in aimless conversation than usher them through the tollbooths of narrative convention. And conversation, including the uncomfortable silences that punctuate it, is pretty much the entire substance of “The End of the Tour.” Yes, there’s a fair amount of smoking and junk-food eating, an excursion to the Mall of America and a multiplex showing of “ Broken Arrow ” (with John Travolta taking a missile to the gut), but Mr. Ponsoldt and the screenwriter, the playwright Donald Margulies, allow words to speak louder than actions.

Many of the words are Wallace’s own, uttered into Mr. Lipsky’s tape recorder in 1996 and transcribed, 14 years later, for publication in a book called “ Although of Course You End Up Becoming Yourself .” Funny, intriguing and revealing as this talk may be, it does not have anything like the status of Wallace’s writing. The film not only acknowledges this distinction, but it also insists on it. In his would-be profiler’s company, occasionally glancing at the menacing red light of the predigital tape recorder, Wallace is by turns cagey and candid, witty and earnest, but he is always aware, at times painfully, that he is playing the role of a writer in someone else’s fantasy. Actually writing is something he does when no one else is around.

Mr. Segel’s performance, whether it captures the true Wallace or not, is sharp and sensitive, in no small part because it’s modest and appropriately evasive. The essential David Wallace is precisely what the film reminds us we can’t see, even as David Lipsky wants desperately to track him down and display him to the readers of Rolling Stone. Wallace is caught in a familiar set of contradictions. He wants attention but craves solitude. He’s willing to collaborate with the machinery of publicity even as he worries about the phoniness of it all. He’s ambitious and eager to protect himself from the consequences of his ambition. In short, he’s a famous writer.

Movie Review: ‘The End of the Tour’

The times critic a.o. scott reviews “the end of tour.”.

As such he is, for his short-term companion, both alpha dog and prey, an object of envy as well as admiration, a meal ticket and an imaginary friend. The film poses the question “Who is the real David Foster Wallace?” as a feint. He is its premise, its axiom, its great white whale. The more relevant question, the moral problem on which the movie turns, is “who is David Lipsky?”

In real life, David Lipsky might be a great guy, but on screen he is played by Mr. Eisenberg, which means that his genetic material is at least 25 percent weasel. Wallace at one point playfully describes himself as “pleasantly unpleasant.” Lipsky is unpleasantly pleasant, which is much worse. Twitchy and ingratiating, he wants to be a tough journalist and a pal. He desperately wants Wallace to regard him as a peer and can hardly contain his jealousy. He berates Sarah after she chats with Wallace on the phone and falls into a defensive snit after Wallace accuses him of flirting with Betsy (Mickey Sumner), a poet who had known Wallace in graduate school.

His awfulness is, to some degree, structural. A profile writer, especially in the company of another writer, is a false friend who dreams of being a secret sharer. Lipsky’s assignment is to pry, distort and betray, to use Wallace’s words and the details of his existence as material for his own dubious project. Wallace knows this and acquiesces to it — “you agreed to the interview” is Lipsky’s fallback when his subject gets prickly — and generally handles himself with grace and forbearance.

You may find yourself wishing that he didn’t have to, which is to say wishing that “The End of the Tour” didn’t exist even as you hang on its every word and revel in its rough, vernacular beauty. In an ideal world, we would all sit at home reading “Infinite Jest” and then go out to eat hamburgers, argue about philosophy and watch cheesy action blockbusters. There would be no pseudo-authoritative biographies or prying, preening magazine profiles to complicate our pleasures, and ambitious actors would not dare to impersonate beloved novelists. But the world we live in is plagued by all of those things. There will always be films about writers and writing, and this one is just about as good as it gets.

“The End of the Tour” is rated R (Under 17 requires accompanying parent or adult guardian). Language. So much language.

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Directed by James Ponsoldt (" The Spectacular Now "), "The End of the Tour" might fit well on a double bill with " Amadeus ," another film about a genius and a lesser artist who basks in his aura. Of course, the setting is very different, and the stakes are much lower—"Tour" is a fictionalized account of the week-and-a-half that Rolling Stone writer David Lipsky spent following the late David Foster Wallace as he toured to promote his doorstop-sized masterpiece "Infinite Jest"—but it's still the story of a competent but unremarkable creative person observing brilliance up close, feeding on it, reveling in it and resenting it.

It is also certainly one of cinema's finest explorations of an incredibly specific dynamic—that of the cultural giant and the reporter who fantasizes about one day being as great as his subject, and in the same field. What it definitely isn't is a biography of David Foster Wallace, much less a celebration of his work and worldview. Whether that proves a deal breaker, a bonus, or a non-factor for viewers will depend on what they want out of this movie.

"The End of the Tour" is not really about Wallace ( Jason Segel ), although he's the other major character. It starts with Lipsky ( Jesse Eisenberg ) expressing amazement (but really jealousy) over a rave review of "Infinite Jest" in New York magazine, a moment that sparks his obsession with Wallace. It ultimately leaves us thinking about Lipsky's feelings and career trajectory, and whether he feels any guilt about using his brief association with Wallace to further his own career as a writer of books. At this point in his life, Lipsky has had just one volume published, a novel that few people bought and fewer read; after some hesitation, he foists it on Wallace while visiting him at the University of Illinois during a punishingly icy winter.

The screenplay by Donald Margulies spends most of its time and energy observing a dance. One dancer is Lipsky. He only got Rolling Stone to pay for his rock-star style profile of a novelist by agreeing to ask Wallace about the rumors that he uses heroin, and his motivations for doing the story are, to put it mildly, less than noble. The other dancer is Wallace. His fiction and nonfiction were partly concerned with the meaning of the word "authenticity," and how the social rituals and technology and economic structure of modern life created false intimacies that Wallace was determined to reject.

Theirs is a complex relationship, brief as it is. The most fascinating thing about it is how each side of it seems to be happening in a different storytelling genre.

Wallace's side of the story is something along the lines of a light drama, perhaps even a romance, about somebody who's been burned over and over and has withdrawn from nearly all relationships save for a handful that he feels he can trust and believe in. Although the small part of the world that cares about writers' private lives thinks of Wallace as a bit of a recluse and perhaps a bit mysterious, it's immediately clear that he's just selective and self-protecting. It's the story of a man learning to trust again (in a love story, it would be "to love again") while worrying that he's going to get burned one more time. Lipsky isn't a Wallace-level intellect, he is very smart, and a good listener, and excellent at getting subjects to open up, even though his demeanor is presumptuous. He doesn't approach Wallace with the appropriate humility. He instead comes at him from the point-of-view of a writer who believes that he is Wallace's potential equal—somebody as profound as Wallace but not as accomplished or famous, for now. Wallace seems to buy this. Why? Maybe because he's a teacher, and at least a few of his students have real talent, and he doesn't want his ego or insecurity to rule out the possibility that he might cross paths with an artist. Or maybe he's just a decent, optimistic guy.

Lipsky's side of the story often feels like the story of of a con man, or a regular person who uses other people without realizing that's what he's doing. If this were a romantic drama, Lipsky might be a drug user who swears he's gotten clean, or a recovering alcoholic who's not as far along in the process as he claims to be, or a serial cheater who wants everyone to think he's reformed and can be monogamous even though he's constitutionally incapable of that. We keep waiting for the other shoe to drop—for Wallace, who genuinely likes Lipsky even though he's observant enough to spot all the warning signs immediately, to realize that Lipsky cannot have a real friendship with him, and that in general it is a bad idea for a subject to think that he can have that kind of relationship with a reporter.

Any journalist who's been profiling famous people for any length of time will recognize the dynamic depicted here by Ponsoldt, Eisenberg and Jason Segel, and the honest ones will be made uncomfortable by it. There is something vampiric about features like the one that Lipsky has been assigned to write. There are also elements of theatricality. As Wallace observes early on, the subject is expected to give a performance of sorts, imitating the person he'd like to be perceived as being. The reporter in turn playacts casual curiosity, and tries to push past the facade and find something real, maybe uncomfortable, best of all revelatory.

Segel and Eisenberg, who as movie stars have been in Wallace's position many times, have an intuitive understanding of how this relationship works, and they illuminate it in the moment, with specificity and clarity. Segel doesn't really look or sound like Wallace (not that that matters; Anthony Hopkins didn't look or sound like Nixon in " Nixon " but was extraordinary) and I didn't necessarily buy him as somebody who could write like Wallace, but he's so smart and genuine and peculiar that we believe he is capable of Wallace's extreme sensitivity and delicate observations—a major accomplishment. Eisenberg is the true star of the movie—an actor of extraordinary originality and also bravery, insofar as he never seems to trouble himself with whether people will hate his characters. He's a great listener but also a rather scary one. His characters often seem to be scrutinizing other characters the way a snake might scrutinize a field mouse. There are many moments in "The End of the Tour" when we dislike Lipsky. There are a few moments where we might find him sickening.

Is this a story that will fascinate an audience beyond editors, critics, reporters, novelists, and people who care about the problems of such people? I have no idea, though it seems unlikely; the film's incredible specificity would seem to mitigate against being discovered and championed by a wide audience, despite Segel and Eisenberg's presence in the cast. Did the film necessarily need to have David Foster Wallace as one of its two main characters? That's a thornier question. We rarely hear any of his prose read aloud (Lipsky reads a passage of "Jest" to his girlfriend, but that's about it) and there is nothing in the film besides some of Wallace's dialogue to indicate that the movie has any interest in illuminating Wallace's fiction, or the obsessions that he worked into them.

It is very much an Amadeus and Salieri story, and if you are familiar with Amadeus, and the barest outlines of Wallace's life, and the fact that this is based on a nonfiction book by the writer David Lipsky, you know how the story must end: with Lipsky gaining a greater measure of fame via his brief association with Wallace and not being quite sure how to feel about it. The best thing you could say about "The End of the Tour" is that it could've been about any two creative people. That's also the worst thing you could say about it.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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The End of the Tour (2015)

Rated R for language including some sexual references

106 minutes

Jason Segel as David Foster Wallace

Jesse Eisenberg as David Lipsky

Anna Chlumsky as Sarah

Mamie Gummer

Joan Cusack as Patty

Ron Livingston as David Lipsky's Editor

Mickey Sumner as Betsy

James Ponsoldt
Donald Margulies

Director of Photography

Original music composer.

Danny Elfman

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The End of the Tour

Where to watch.

Rent The End of the Tour on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video, Apple TV.

What to Know

Brilliantly performed and smartly unconventional, The End of the Tour pays fitting tribute to a singular talent while offering profoundly poignant observations on the human condition.

Audience Reviews

Cast & crew.

James Ponsoldt

Jesse Eisenberg

David Lipsky

Jason Segel

David Foster Wallace

Becky Ann Baker

Anna Chlumsky

Joan Cusack

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Movie news & guides, this movie is featured in the following articles., critics reviews.

The End of the Tour Is More Than Just a David Foster Wallace Eulogy

An instance of the personal and the universal colliding.

It is easy for a film to slip through the cracks in terms of appreciation when it is next to A24 ’s back catalog of productions, and one of the finest examples of this is James Ponsoldt ’s 2015 film, The End of the Tour . While released to critical acclaim, with the two lead performances from Jesse Eisenberg and Jason Segel garnering particular attention, the film remains lesser mentioned among the cultish A24 devotees and film-watchers alike, a phenomenon that can perhaps be, unfairly, attributed to its subject.

Based on David Lipsky 's book Although of Course You End Up Becoming Yourself , the film recounts what is essentially a five-day-long interview-come-bonding session that took place when Lipsky (then a Rolling Stone journalist) attempted to write a profile on David Foster Wallace shortly after the release of his massively acclaimed novel Infinite Jest . Despite this encounter actually resulting in something that is organically akin to a version of Before Sunrise without the romance - with its extended philosophical discussions and musings on life - the film may seem off-putting for those unfamiliar with Wallace's writing. However, while it may sound like a film that caters to a particular strand of those "in the know," it is rather a life-encompassing affair with broad appeal, proving again that the best marker for good non-fiction is whether it can appeal to both those with prior awareness of its subject and those without.

RELATED: 19 Outstanding Dramatic Performances from Comedic Actors

With Infinite Jest and its fans having become something of a parody of "hip" literary culture, the film makes sure to abstain from any such cliquish sentiment, shunning literary namedropping and the like for discussions on the most universal themes such as success, ambition, depression, and loneliness. Testament to this is how, going in, the film seems to assume complete ignorance regarding its primary subjects. The opening scene immediately sets up the context of Lipsky's book, as we see Lipsky (Eisenberg) reacting to the news of David Foster Wallace's death, after which the film almost surreptitiously enters into flashback. Again, though, the viewer is guided along all the way, being placed into the same world as the younger Lipsky as he first discovers Infinite Jest after hearing about the hype from literary reviews and peers. This is, immediately, a perfect example of the way in which the film subtly provides the backdrop for what ensues without it ever leaving viewers behind or feeling like it is begrudgingly spoonfeeding them the backstory.

What follows from here as Lipsky convinces his editor to let him interview Wallace on the last legs of his book tour is not just one of film's finest examples of the interview process, but a highly thought-provoking discussion on the nature of life. Far from making unexplained connections to his work, the film instead often acts as something of a primer for Wallace's writing, cleverly interweaving and relaying issues from his essays, fiction writing, and personal life - of TV addiction, alcohol abuse, and rural isolation - within its dialogue. In one scene, for example, after struggling to explain his inner struggles with alcohol abuse and suicidal thoughts, Wallace even briefly recaps a section from Infinite Jest, making these connections transparent. He asks Lipsky if he remembers the moment in the book when a character describes depression and suicide in relation to jumping from a burning building, repeating her notion that it isn't that the jump suddenly doesn't appear frightening, but rather that the alternative of staying in the building seems impossible. Although very poignant, it may not be that this example is the film's discussion at its most universal, or at least one might hope not. However, it is the best example of why the film shouldn't appear fan-specific, in that it makes use of the novel's material in a way that doesn't ostracise those who haven't read it.

More broad though is the clever way in which the film uses the duality of its two characters. As another of the prevalent ways in which the film captures the variety of the viewership it deserves, Lipsky's and Wallace's characters seem to speak to those on both ends of the spectrum in terms of ambition, aspirations, and careers. One of Wallace's prior concerns in the film is his newfound fame and success, the fear he feels at potentially enjoying it, and his wariness of how it might negatively affect him. Lipsky, conversely, is constantly envious of the acclaim that he is notably not receiving for his own debut novel, about which no one seems to care. This duality of the characters despising both the unachieved status of their goals and the lack of fulfillment at their success ensures that the film remains infinitely relatable, not just pretentiously lauding its hero, but instead appealing to the ever-changing pride and disappointment that everyone has, at some point, felt in their own lives.

This duality of characters capturing the film's broad appeal is perhaps best seen in one of the final scenes of the film. As Lipsky is departing, he decides that he has built up the courage to give Wallace a copy of his book for him to read. Wallace's tender gratitude - played brilliantly by Segel - quickly subsides to mild frustration as Lipsky mentions how he chose his own cover art, a privilege that Wallace fails to mention he didn't have for Infinite Jest . Even without knowing this fact, in this moment lies a perfect summary of the amusing dynamic the film has built up, whereby the two are paradoxically jealous of each other, as well as being a nice parting in-joke for those aware of Wallace's enduring hatred of the cover art that his publishers chose for his book.

The moment is a perfect endpoint and an enduring example of the fun and dramatic structure present in a film that could so easily have been (and may appear to be to those who haven't seen it) a self-indulgent piece about two men talking pretentiously at each other. Instead, more than anything, this film is a terrific example of a road movie at its most enjoyable, ultimately producing a dialogue-heavy but fast-paced story about a blossoming friendship, and the heartbreaking way it concluded. If too, the topics still seem somewhat highbrow, it is worth noting that there are also countless easy-going discussions on how Wallace loves his dogs too much, or how he unabashedly enjoys fast food, trashy TV, and action films. Whether it is these everyday appreciations of such modest topics that Wallace so effectively articulates, or rather the deeper, soul-wrenching discussions on self-consciousness and loneliness that you choose to engage with most, The End of the Tour remains a deeply relatable character study that can be enjoyed by anyone, fan of its fairly niche literary subject or not.

A neat summary can be made through how, largely, it can be said that the film's universality speaks to Wallace's own desire to remain an everyman in the face of his talent, something which Lipsky rebuffs in the film by stating that people crack open a 1000-page book because the author is brilliant, not relatable. It seems fitting, then, that this film succeeds in proving that the two seemingly conflicting traits can be shown to coincide so nicely by presenting such a universally appealing, yet thoughtful, road movie.

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‘The End of the Tour’

Jason Segel wowed critics last year when he ditched the schtick to dig deep into the complex pathos of one of America’s greatest writers, David Foster Wallace. The End of the Tour is a emotional look at the Infinite Jest author’s life and legacy.

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The End of the Tour (2015)

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Amazon Prime Video Review 2024

Bilal Zouheir

What it's about.

A hot summer night, around 2 a.m. You're outside talking with a close friend about life, happiness, and the human condition. That quality and depth of conversation, which you reach at best a couple of times a year is present throughout the 106 minutes of The End of the Tour.

In the case of this movie, you become the witness of five days of conversation spent between two fine writers: the once-in-a-generation American author David Foster Wallace and best-selling Rolling Stone journalist David Lipsky, as they travel the US during the 1996 publicity tour for the former's magnum opus, Infinite Jest. Twelve years later Wallace will commit suicide.

Like a good podcast, the James-Ponsoldt-directed road movie makes you feel being part of a deeply personal conversation of the kind you would have with a long-time friend. At times, it can feel like eavesdropping on a genius at work. This effect is helped along by a flawless Jason Segal, who delivers an award-worthy performance as DFW. The fierce intelligence exuded by Jesse Eisenberg as David Lipsky is also nothing short of amazing. As they stuff their faces with junk food, their conversation is insightful, immediate, and unpretentiously relevant, making The End of the Tour a rare and important film.

I love Jesse Eisenberg in everything he does, but dislike Jason Segel and his character. It seems slow moving, and I wished I felt differently. I did watch it through though, but it becomes easily forgettable for me.

Absolutely loved this movie. A friend of mine had recommended infinite jest by DFW years ago and the book was a random placement in my life I couldn’t quite reconcile with the low vocabulary level I held. Seeing this sent me on a DFW binge of YouTube and I can’t wait to start the book finally that I’ve had sitting around. It gives perspective to the inner workings of his mind and intentions he has to write and lends a minimal method to his madness. Very thought provoking and gratifying.

The movie is very bland. It doesn’t have a very clear conflict and it seems to glide over parts I wish it focused more on. But I have to say that the ending was very enjoyable. I would recommend you watch the entire movie even just for the ending.

Just really well done… Thought it would be too boring for me, but each conversation kept me reflecting about some aspect of life that doesn’t garner enough thought in my days.

This really was like 106 minutes of those conversations you have at 2 AM in the morning with your close friends. Deep meaningful ones, about life and meaning.

Ana Japaridze

Amazing! One of the best movies I’ve seen lately. Each conversation is heartfelt and a masterpiece in itself. I feel like I will remember the scenes for a really long time, definitely due to how real it feels and how much sympathy and understanding I, as a viewer, feel towards the characters. AND the acting is superb!

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The End of the Tour

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Taylor Swift's Eras Tour extended movie finally has a streaming home (but not on Netflix)

By reed gaudens | feb 8, 2024, 10:28 am est.

INGLEWOOD, CALIFORNIA - AUGUST 09: EDITORIAL USE ONLY. Taylor Swift performs onstage during "Taylor Swift | The Eras Tour" at SoFi Stadium on August 09, 2023 in Inglewood, California. (Photo by Kevin Winter/TAS23/Getty Images for TAS Rights Management)

It’s been a long time coming, but Taylor Swift’s blockbuster Eras Tour has now become a blockbuster in the traditional sense. As a treat to her fans around the world at the end of 2023, the Taylor Swift Eras Tour movie hit the big screen in November and headed to on-demand streaming in December. But now in March 2024, the Eras Tour movie will have an official streaming home.

Swift first began the sprawling record-breaking trek in March 2023 in Glendale, Arizona, and completed the first North American leg of the successful tour in August 27 in Mexico City. She finished the 2023 leg of the tour in South America in November before hopping across the pond in 2024 and concluding in Canada in November 2024. When it’s all said and done, she will have played almost 150 shows.

The three-hour runtime of the Eras Tour takes fans on a journey through Taylor Swift’s 10-album catalog of music and has been celebrated with two surprise songs each show, Taylor’s Version album release announcements, and all kinds of special moments to scream about. Now, we can relive it all again at the movies . But will the concert movie be on Netflix?

Where to watch the Taylor Swift Eras Tour movie

Unfortunately, Taylor Swift: The Eras Tour concert film won’t be making its premiere on Netflix. While the Grammy-winning superstar’s previous concert film, Taylor Swift’s Reputation Stadium Tour, was previously available on Netflix alongside her Miss Americana documentary, The Eras Tour won't be coming to Netflix. Rather, Swift announced the concert film will be on Disney+ beginning March 15, 2024 .

The new cut of the film, which is aptly dubbed Taylor Swift: The Eras Tour (Taylor's Version), will contain all of the songs featured in the previous cut released on-demand as well as five additional songs, including her No. 1 hit single "Cardigan" from her album Folklore . The other four songs to be added to the film are expected to be "Death By a Thousand Cuts" from Lover, "Maroon" from Midnights, "You Are In Love" from 1989, and "I Can See You" from Speak Now (Taylor's Version) . These were the other songs performed during the acoustic "surprise song" set at the two additional Los Angeles shows that were filmed for the movie.

On Nov. 27, 2023, Swift announced on her social media accounts that an extended version of The Eras Tour movie would be released for on-demand streaming on her birthday, Wednesday, Dec. 13 in the United States, Canada, and other territories. The extended version includes the songs “Wildest Dreams” from 1989, “The Archer" from Lover, and “Long Live" from Speak Now . The streaming release in December will be for rent , not purchase, on Apple TV, Vudu, Prime Video, Xfinity, Google Play, and YouTube.

The Taylor Swift Eras Tour movie previously released in AMC and Cinemark theaters beginning on Friday, Oct. 13, 2023. According to Deadline, the film first played on the following dates: Oct. 13-15, Oct. 19-22 , Oct. 26-29, Oct. 31 and Nov. 2-5. Fittingly the tickets were priced at $13.13 (child) and $19.89 (adult) — if you know, you know. The film later had a wider release around the world and has made over $250 million worldwide .

Watch the trailer for the Eras Tour concert movie below!

Will you be watching the Eras Tour on Disney+ in March 2024?

Purple Hearts 2, Enola Holmes 3, and 7 Netflix movie sequels that should happen. dark. Next

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The Biggest Questions About WWE’s Massive Deal With Netflix

‘Raw’ is coming to streaming. There’s plenty to sort out in the meantime.

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On the morning that the Oscar nominations were announced, the biggest news coming out of the entertainment industry somehow wasn’t Greta Gerwig’s snub or American Fiction ’s surprising haul of five nods. It also wasn’t the announcement that Dwayne “The Rock” Johnson is joining the board of directors at TKO Group (which consists of UFC and WWE). No, the biggest news is that starting in January 2025, WWE’s flagship series, Raw, will be moving to Netflix.

The deal, reportedly valued at $5 billion over a 10-year period, will not only make Netflix the home for Raw in the U.S., Canada, Latin America, and the U.K.—outside the U.S., Netflix will also be the home of SmackDown , NXT , and WWE’s premium live events, including mainstays like WrestleMania, Royal Rumble, and SummerSlam. The announcement finalizes the fates of all three of WWE’s weekly series in the U.S.— SmackDown is heading to the USA Network in October 2024, and NXT will make its CW debut the same month—and comes on the heels of rumors from earlier this January that both Amazon and Warner Bros. Discovery were also entertaining the idea of getting into the wrestling business. All of this may come as a surprise to those who haven’t been keeping up with WWE’s heavy interest in selling off its rights , but even if you’ve been paying attention, the idea that Raw will be showing up alongside Stranger Things , Squid Game , and Bridgerton is a lot to swallow. (Meanwhile, the announcement helped the TKO stock rise 18.1 percent, to $91.40 a share , on Tuesday morning, which, unfortunately, is news you can no longer use.)

As we wait for more details on this massive deal—and, you know, the 11 months before we can actually cue up WWE on Netflix on a Monday night—these are the biggest questions to ponder.

What will happen to Raw in Q4 of 2024?

WWE’s current deal has Raw airing on the USA Network until October 2024 . For those who don’t know how a calendar works, that means WWE’s flagship show will seemingly be without a home for the last three months of this year, which is also the time when WWE will be building up to its final PLE of the year, November’s Survivor Series. But what does that mean for WWE at the end of the year? It may have a few options.

As WWE’s deal with Peacock isn’t set to expire until 2026 , there could be the option of running two months of Raw solely on Peacock, which isn’t a foreign concept considering the service has aired everything from WWE’s weekly talk show The Bump to its recent 2024 preview special to this coming weekend’s Royal Rumble. Most fans subscribe to Peacock to watch WWE’s PLEs anyway, so this might be the most seamless option. WWE is also sitting at more than 99 million subscribers on YouTube at the moment; The Bump also airs there, as do its post-PLE press conferences. But who knows: Maybe WWE is working on something specific to mark the first time in the history of Raw that it won’t be airing on linear TV. (There’s also the option for WWE and NBCUniversal to extend their deal to continue airing Raw on the USA Network until January 2025. Considering their history and the fact that SmackDown will be starting its USA run at that time, this option would work in USA’s favor.)

I joked that WWE could put Raw on the (free) CW app , but barring that, the need to pay for an additional streaming service to watch Raw will be one of the biggest changes in all of this. In the past, if you (or your parents!) paid for a particular TV package, you were guaranteed new WWE content every Monday night. If you’re not paying for Netflix in January 2025, you’re gonna be SOL. Whatever WWE chooses, this stretch when Raw isn’t airing on USA will be the most important time to put over getting a Netflix subscription to watch Raw , the same way Triple H got the price of the WWE Network over with the WWE crowd .

Will Raw on Netflix continue to be a three-hour show?

Watching Raw on Monday nights can be a mixed bag, and a lot of that comes down to the length of the show. It’s been 11 (!) years since Raw added a third hour, completely astounding the healthy contingent who felt that two hours was already enough. Over the course of this decade-plus, the show has run the gamut: Some nights, you may have a great opening match, a great main event, and the appearance of someone like CM Punk to spar with Cody Rhodes. (Sidebar: This segment from Raw this week was destined to be Tuesday’s top story before Ted Sarandos and Co. finalized their offer.) Other weeks? Your significant other would rustle you from a slumber at 10:12 p.m., wondering whether you just want to call it a night.

Will Raw on Netflix need a third hour? It depends on what that third hour will be used for or, more importantly, how it’s being looked at now. If the only reason WWE added an hour was to increase ad revenue while airing on a linear network, it may no longer be necessary. Netflix has also historically been driven by its algorithms —surely it’ll take a data-driven approach to determine Raw ’s ideal length.

Would Netflix force WWE to tighten up the running time if the algorithm says a two-hour Raw is preferred? For $5 billion, WWE would probably be willing to make Raw 30 minutes long if Netflix thought that’d work better. All jokes aside, one has to wonder how involved Netflix will be with WWE’s product. Netflix has been known to give creators freedom—but only as long as they deliver eyeballs.

What is the future of WWE’s massive library?

Where WWE goes, its library of classic pay-per-views, episodes of Raw , documentaries, and archival footage from defunct wrestling federations like World Class Championship Wrestling goes with it. Part of this Netflix deal points to that fact, at least for international members of the WWE Universe: Netflix will be where most WWE content resides, effectively doing away with the WWE Network, which continued to operate overseas long after it was shut down in the States. That’s a huge yet unavoidable change for those who don’t subscribe to Netflix.

Take that thought a step further, though. As mentioned earlier, WWE’s deal with Peacock lasts until 2026, meaning that Peacock will remain WWE’s main home for PLEs and legacy content for the foreseeable future. The question, then, is what happens after 2026. With the gears already in motion to make Netflix the destination for WWE overseas, it’s only logical to assume that the two companies will want to do the same in the U.S. WWE has a lot to offer a streamer: a deep library of endlessly rewatchable content to get lost in. Plus, before its move to Peacock, WWE worked to remove racist content from its archives , which would allow for a smooth transition from one provider to another, if need be.

All of this leads to one question I had even before this WWE deal …

What is Peacock’s future?

It’s safe to say that Peacock is now on the clock and must figure out a plan in the event that WWE departs in 2026. For viewers who bought Peacock only to watch new WWE PLEs and weren’t converted by series like Bel-Air or Twisted Metal , there may be no reason to stick with the service if WWE jumps ship. Despite some success—Peacock has the English Premier League, and it did just set some records broadcasting its first NFL wild-card playoff game—Peacock has lived near the bottom of our Streaming Wars ranking ever since it was launched in August 2022. Losing that WWE tab on the Peacock homepage would be devastating for a streamer that already needs a lot of help.

There’s plenty of time to avoid this fate, but it’ll require NBCUniversal to do one of two things, and both of them will be expensive. Either Peacock needs to figure out how to afford keeping WWE PLEs on its streamer exclusively, or it needs to start investing in other top-tier streaming content. Of course, if NBCUniversal could afford to spend more money, it probably would’ve just outbid Netflix.

Is this just the beginning for Netflix?

In the larger content acquisition game, the live sports licensing race has turned out to be the battle we expected it to be . There was a time when the reported $200 million to $250 million a year WWE makes from its Peacock deal was unheard of, but as the landscape has changed, live sports have become more valuable than ever. Amazon already paid big bucks for its 11-year Thursday Night Football deal with the NFL, and that netted it only 16 Thursday night games in the 2023-24 season! Peacock paid $110 million for that one wild-card game! WWE is a well-oiled machine, guaranteed to produce hours of content every week. This isn’t Netflix’s first foray into the livestreaming space , but it’s certainly its biggest so far.

Last fall, The New York Times reported that the NBA could be looking to double the $24 billion that’s being paid between Disney and WBD to air games across their channels. Will Disney and WBD be willing—or able—to foot the bill? If not, will Netflix step up to the table? What’s happening in the wrestling world today could easily be a precursor for what happens across the sports landscape in the years to come.

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Farewell to favorites: movies and shows leaving Netflix December 2023

Published: Dec. 25, 2023, 9:00 a.m.

Over 30 films and TV shows are saying goodbye to Netflix at the end of this month. Getty Images

Toniann DiCostanzo | [email protected]

STATEN ISLAND, N.Y -- December brings chilly weather, festive gift-giving, holiday cheer — and, of course, the monthly Netflix purge! Cinematic Blend unveils the official list of movies and TV shows bidding farewell to Netflix at the end of the month.

As we bid farewell to another year, Netflix is set to part ways with some iconic movies that have graced our screens. Among the departing titles are the thrilling Jaws movies, the action-packed Mission: Impossible series, the timeless classic Scarface, and more titles we know and love.

The first film to leave Netflix was on Dec. 21, the animated musical comedy prequel ‘Sing 2′ (2021) — Runtime: One hour and 50 minutes; Rotten Tomatoes rating : 72%; Rated PG

Adding to the changes, the beloved comedy show ‘Kath and K im’ from the early 2000s said goodbye to Netflix on Dec. 27. All four seasons along with their 20th-anniversary special season (2022), ‘Da Kath & Kim Code’ (2005), and their movie Kath & Kimderella (2012). Following closely, ‘The Adventures of Puss in Boots’ Seasons 1 through 6 will also have their farewell moment bow on Dec. 28.

Taylor Swift’s ‘Reputation Stadium Tour’ concert film took its final bow on Dec. 30. Besides winning Woman of the Year and dominating headlines, this original Netflix film is now gone for good nearly five years after it was released.

There is a total of 27 movies leaving Netflix on Dec. 31.

‘8 Mile′ (2002) — Runtime: One hour and 50 minutes; Rotten Tomatoes rating : 75%; Rated R

This early 2000s drama film stars Eminem as Jimmy Smith Jr., a struggling young rapper from Detroit trying to make a name for himself in the competitive world of hip-hop. The movie follows his journey as he navigates personal and professional challenges, culminating in a climactic rap battle that becomes a turning point in his pursuit of success.

‘American Beauty′ (1999) — Runtime: Two hours and two minutes; Rotten Tomatoes rating : 87%; Rated R

“American Beauty” is a 1999 comedy-drama film directed by Sam Mendes, exploring the dissatisfaction and disillusionment of suburban life. The movie follows Lester Burnham, played by Kevin Spacey, as he undergoes a midlife crisis, leading to a series of events that unravel the facade of normalcy in his seemingly perfect suburban family.

‘Anchorman: The Legend of Ron Burgundy’ (2004) — Runtime: One hour and thirty-five minutes; Rotten Tomatoes rating : 66%; Rated PG-13

This film introduces us to the clumsy and egotistical news anchor Ron Burgundy in the 1970s, navigating the competitive world of broadcast journalism with humor and satire. In the 2013 sequel, “Anchorman 2: The Legend Continues,” (2013) Ron and his news team adapt to the changing landscape of 24-hour news in the 1980s, continuing the humor of the original while exploring the challenges of a new era in journalism.

‘Casper’ (1995) — Runtime: One hour and forty minutes; Rotten Tomatoes rating : 52%; Rated PG

Netflix is saying goodbye to the friendly ghost in the family fantasy film Casper. This iconic movie revolves around Casper, who befriends a young girl, Kat, (Christina Ricci), and her father in a haunted mansion. The film blends comedy and heartwarming moments as Casper and Kat navigate the challenges of friendship and the supernatural.

In “Crank” (2006), Jason Statham stars as Chev Chelios, a hitman who must keep his adrenaline pumping to stay alive after being poisoned. The adrenaline-fueled action continues in “Crank 2: High Voltage,” (2009) where Chev faces a new set of challenges, including a stolen heart that he must reclaim to survive, leading to a relentless and high-octane pursuit in this adrenaline-charged sequel.

‘Friends with Benefits’ (2011) — Runtime: One hour and forty-nine minutes; Rotten Tomatoes rating : 69%; Rated R

This rom-com starring Justin Timberlake and Mila Kunis proves that when it comes to love, trying to keep things simple is as tricky as updating your relationship status on social media — lots of laughs, a few complications, and the reminder that, in the end, there’s no denying a genuine connection.

‘Get Him To The Greek’ (2010) — Runtime: One hour and forty-eight minutes; Rotten Tomatoes rating : 72%; Rated R

This comedy movie follows a record company intern (Jonah Hill) tasked with escorting an unpredictable and eccentric rock star (Russell Brand) to a concert at the Greek Theatre, leading to a wild and hilarious journey filled with unexpected adventures.

‘Gladiator’ (2000) — Runtime: Two hours and thirty-four minutes; Rotten Tomatoes rating : 80%; Rated R

The film follows Maximus Decimus Meridius, a betrayed general played by Russell Crowe, who seeks revenge against the corrupt Roman emperor Commodus, portrayed by Joaquin Phoenix. Filled with intense action, compelling characters, and stunning visuals this renowned film explores themes of honor and justice in ancient Rome.

The iconic Jaws movie series directed by Steven Spielberg introduced the suspenseful world of shark-infested waters. The original film set the standard for the thriller genre.

The sequel ‘Jaws 2′ (1978) continues the harrowing legacy of Amity Island, where Chief Brody, once again portrayed by Roy Scheider, confronts a new wave of terror when a great white shark returns to terrorize the coastal community.

Fans couldn’t get enough of the Jaws series as ‘Jaws 3′ (1983) took the terror to new heights as the franchise explores the dangers lurking in a SeaWorld park. This 3D film delivers thrills and chills as the Brody family faces *another* deadly encounter with a colossal shark.

The final movie ‘Jaws: The Revenge’ (1987) stars the Brody family haunted by the vengeful legacy of the great white shark. As Chief Brody’s widow takes center stage, the film explores her pursuit of vengeance against the relentless predator, delivering suspense and action with a touch of the supernatural. As the films leave Netflix, they leave behind a legacy of suspense, terror, and the enduring fear of the deep blue sea.

‘Kung Fu Panda’ (2008) — Runtime: One hour and thirty-one minutes; Rotten Tomatoes rating : 87%; Rated PG

The animated comedy film features Jack Black as the clumsy panda named Po, who aspires to become a kung fu master. After being chosen as the dragon warrior to fulfill a prophecy, Po is on a mission to save his valley from the villainous snow leopard Tai Lung, blending humor, heart, and martial arts action.

‘Lost In Translation’ (2003) — Runtime: One hour and forty-two minutes; Rotten Tomatoes rating : 95%; Rated R

This moving drama stars Bill Murray and Scarlett Johansson as two lonely individuals in a Tokyo hotel, forming a deep connection as they navigate the complexities of life, relationships, and the challenges of being strangers in a foreign land.

‘Love Actually’ (2003) — Runtime: Two hours and fifteen minutes; Rotten Tomatoes rating : 64%; Rated R

Even with the holidays rolling around this romantic ensemble comedy-drama will leave Netflix for good. Set during the Christmas season, the film weaves together multiple love stories involving a diverse cast of characters, including Hugh Grant, Keira Knightley, Colin Firth, and Emma Thompson. With humor, heart, and a touch of holiday magic, “Love Actually” explores the various facets of love, from romantic relationships to familial bonds, making it a beloved festive classic.

‘Mission: Impossible’ (1996) — Runtime: One hour and fifty minutes; Rotten Tomatoes rating : 66%; Rated PG-13

As the month passes by, Netflix also bids adieu to the legendary “Mission: Impossible” film series, symbolizing the end of an era in the realm of thrilling espionage movies. From its inception with “Mission: Impossible” (1996) to its subsequent sequels - “Mission: Impossible II,” (2000) “Mission: Impossible III,” (2006) and “Mission: Impossible - Ghost Protocol” (2011) - the franchise has been synonymous with heart-pounding action, intricate plots, and Tom Cruise’s charismatic portrayal of Ethan Hunt.

‘Role Models’ (2008) — Runtime: One hour and thirty-nine minutes; Rotten Tomatoes rating : 77%; Rated R

This comedy film stars Paul Rudd and Seann William Scott as two energy drink salesmen forced to mentor troubled youth as a part of a community service sentence. The movie humorously explores the challenges of responsibility and friendship as the two characters navigate their unconventional journey to becoming positive influences offering a mix of laughs and unexpected life lessons.

‘Runaway Bride’ (1999) — Runtime: One hour and fifty-six minutes; Rotten Tomatoes rating : 46%; Rated PG

Directed by Garry Marshall, the romantic comedy film starring Julia Roberts and Richard Gere tells the story of a woman who has left several grooms at the altar and a newspaper columnist (Gere) who comes to her small town to write a story about her. As they spend time together, their relationship evolves, exploring themes of self-discovery and the true meaning of love.

‘Saving Private Ryan’ (1998) — Runtime: Two hours and forty-nine minutes; Rotten Tomatoes rating : 94%; Rated R

This well-known war epic was directed by Steven Spielberg. The film follows Captain John Miller, played by Tom Hanks, and his squad as they embark on a dangerous mission to find and bring home Private James Francis Ryan, portrayed by Matt Damon, during World War II. Renowned for its intense and realistic portrayal of the D-Day invasion, the movie explores themes of sacrifice, courage, and the human cost of war.

‘Scarface’ (1983) — Runtime: Two hours and fifty minutes; Rotten Tomatoes rating : 94%; Rated R

This 80s crime drama directed by Brian De Palma, stars Al Pacino as Tony Montana, a Cuban immigrant who rises to power in the Miami drug trade. The film chronicles Tony’s ruthless pursuit of the American Dream, descending into a world of violence, corruption, and moral decay. As the film prepares to leave the streaming platform, its exit is destined to be as memorable as Tony Montana’s rise to power.

‘The Wolf of Wall Street’ (2013) — Runtime: Two hours and fifty-nine minutes; Rotten Tomatoes rating : 80%; Rated R

And last but certainly not least, this Martin Scorsese darkly comedic drama film stars Leonardo DiCaprio as Jordan Belfort. The film chronicles the true story of Belfort’s excessive lifestyle, financial deceit, and ultimate downfall, delivering a gripping portrayal of greed, self-indulgence, and the consequences of unchecked ambition.

Now is the perfect time to indulge in your favorite movies and shows before they bid farewell to the streaming platform. Whether it’s relentless action, heartwarming endeavors, or captivating narratives, seize the opportunity to enjoy these cinematic gems before the calendar turns!

12 Great Movies Departing Netflix at the End of April 2024

Final call on all these movies that will be expiring just before we head into May.

Picture: Warner Bros. Pictures

One of the things about Netflix you may have gotten used to by now is the fact that content regularly comes and goes from the platform. Below, we’ll be taking a look at all the great movies that are set to depart by the time April 2024 comes to an end.

Here, you can find our ongoing list of all the movies and series set to depart the streamer throughout May 2024 . We’ve got you covered for all the remaining titles, leaving in April 2024 here .

As a quick note, we list titles for the actual day of removal. If you want to watch any movie leaving on May 1st, your last full day to watch will be April 30th.

Elvis (2022)

Leaving Netflix: May 1st, 2024

Elvis , added to Netflix on New Year’s Eve , is one of the many reasonably recent Warner Bros. Pictures movies to have made its way onto Netflix.

Austin Butler went all out for his role as the legendary rock and roll icon Elvis Presley. So much so that it changed the way Butler talks in real life to this day. Elvis has all the hallmarks of a Baz Luhrmann production, so if you’re a Moulin Rouge and The Great Gatsby fan, you’ll be head over heels for this Elvis biopic.

As a surprise to me, the film only featured in the US top 10s for three days before dropping out suggesting many may have missed it.

Joker (2019)

12 Great Movies Departing Netflix At The End Of April 2024 Joker

Picture: Joker (2019) – Warner Bros.

Sticking with another somewhat recent Warner Bros. Pictures movie, one of the last remaining DC movies following all the other departures will be leaving at the end of the month .

The Joker took the world by storm in 2019, which led to Joaquin Phoenix winning a well-deserved Academy Award for his role as Gotham’s crown prince of crime. Its sequel arrives later this year, so it wouldn’t be surprising if we were to see the return of Joker to the Netflix library soon.

King Kong (2005)

12 Great Movies Departing Netflix At The End Of April 2024 King Kong

Picture: King Kong – Universal Pictures

Immediately after directing the overwhelmingly successful Lord of the Rings trilogy, Peter Jackson took a shot at remaking the beloved tale of the world’s largest ape. King Kong is an underrated modern classic with an all-star cast and outstanding production.

Mamma Mia! (2008)

12 Great Movies Departing Netflix At The End Of April 2024 Mamma Mia

Picture: Mamma Mia! – Universal Pictures

From Broadway to the big screen, one thing has never changed: the world’s love for the music of ABBA. Featuring a star-filled ensemble, Mamma Mia is super entertaining and can be enjoyed by the entire family.

It’s not just the first movie set to leave Netflix, either. The 2018 follow-up, Here We Go Again , is also set for departure on the same day.

Silver Linings Playbook (2012)

12 Great Movies Departing Netflix At The End Of April 2024 Silver Linings Playbook

Picture: Silver Linings Playbook – Lantern Entertainment

Speed-running her way to becoming an Academy Award winner, the early 2010s saw the unprecedented rise of actress Jennifer Lawrence, who made a name for herself in movies such as X-Men: First Class and The Hunger Games . Thanks to her fantastic chemistry with Bradley Cooper and her performance in Silver Linings Playbook , she became an Academy Award winner at the tender age of 22.

Warrior (2011)

12 Great Movies Departing Netflix At The End Of April 2024 Warrior

Picture: Warrior – Lionsgate Film

Warrior undeservedly flopped at the box office, but in the years since its release in theatres, it has amassed a sizeable audience who appreciate Gavin O’Connor’s vision of two brothers going to war in the mixed martial arts ring.

Whiplash (2014)

12 Great Movies Departing Netflix At The End Of April 2024 Whiplash

Picture: Whiplash – Bold Films

Very few films can make you feel as anxious or unnerved as Whiplash . Stellar performances from J.K. Simmons and Miles Teller will leave you hanging on the edge of your seat with every drumbeat and every word spoken.

Be warned, however, given the movie hails from Sony Pictures, you’ll only be able to rewatch or experience this Damien Chazelle classic on a premium tier of Netflix .

Jurassic Park Trilogy (1993-2001)

12 Great Movies Departing Netflix At The End Of April 2024 Jurassic Park Trilogy

Picture: Jurassic Park – Universal Pictures

We’ve grouping up a trilogy here for our next picks. The Jurassic Park trilogy often comes and goes on Netflix, and while we’re always happy to see it return, we’re also always sad to see it leave. But there’s no need to worry, as it’ll be back before you know it.

Dumb & Dumber (1994)

12 Great Movies Departing Netflix At The End Of April 2024 Dumb And Dumber

Pictures: Dumb and Dumber – New Line Cinema

In one of the best buddy comedies of the ’90s, Jim Carrey and Jeff Daniels gave incredibly dumb and funny iconic performances as Lloyd and Harry. If there’s a bucket list of comedy movies, then Dumb and Dumber should be on that list.

Erin Brockovich (2000)

12 Great Movies Departing Netflix At The End Of April 2024 Erin Brockovich

Picture: Erin Brockovich – Universal Pictures

After dominating the decade with various romantic comedies and dramas, the end of it culminated in a well-deserved Academy Award for Best Actress for Julia Roberts’s role as the title character Erin Brockovich.

What movies will you be sad to see leave Netflix? Let us know in the comments below!

Jacob joined What's on Netflix in 2018 as a fulltime writer having worked in numerous other industries until that point. Jacob covers all things Netflix whether that's TV or movies but specializes in covering new anime and K-dramas. Resides in Norwich in the United Kingdom.

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Ellen DeGeneres Speaks Out About 'Getting Kicked Out of Show Business' on Stand-Up Tour

The comedian's special will air on Netflix in the fall.

Ellen Degeneres discussed being "kicked out of show business" on the first night of the Ellen’s Last Stand…Up Tour in West Hollywood Wednesday.

"What else can I tell you?," Degeneres joked, as reported by Rolling Stone 's Krystie Lee Yandoli. "Oh yeah, I got kicked out of show business. There's no mean people in show business."

"The 'be kind' girl wasn't kind," she continued. "I became this one-dimensional character who gave stuff away and danced up steps. Do you know how hard it is to dance up steps? Would a mean person dance up steps? Had I ended my show by saying, 'Go fuck yourself,' people would've been pleasantly surprised."

Ellen announced in May 2021 that she was bringing her daytime talk show to an end after nearly two decades. The announcement was made after Warner Media conducted an investigation into employees' allegations of racism, sexual misconduct and intimidation from higher-ups, but the host and comedian publicly dismissed suspicions that the accusations played a part in her decision.

Degeneres confessed she spent a lot of time figuring how she wanted to address her fall from grace and what exactly she wanted to say. "Honestly, I'm making jokes about what happened to me but it was devastating, really," she said. "I just hated the way the show ended. I love that show so much and I just hated that the last time people would see me is that way."

Degeneres said her colleagues were like her family, but she admitted to being an immature boss who "didn’t know how to be a boss."

"I didn't go to business school. I went to Charlie's Chuckle Hutt," she joked. "The show was called Ellen and everybody was wearing T-shirts that said 'Ellen' and there were buildings on the Warner Brothers lot that said 'Ellen,' but I don’t know that that meant I should be in charge."

Degeneres spoke about her emotional struggle dealing with the bell curve of her career where she was cast aside after coming out on her sitcom in the 1990s before becoming popular once more with her talk show and falling out of favor once more.

"It’s been such a toll on my ego and my self-esteem," she confessed. "There's such extremes in this business, people either love you and idolize you or they hate you, and those people somehow are louder."

She added, "For those of you keeping score, this is the second time I've been kicked out of show business…Eventually they’re going to kick me out for a third time because I’m mean, old, and gay.”

Ellen’s Last Stand…Up Tour will air as a special in the fall for Netflix.

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Ellen DeGeneres Addresses ‘Getting Kicked Out of Show Business’ on Her New Comedy Tour: ‘It’s Been a Toll on My Ego’

By Krystie Lee Yandoli

Krystie Lee Yandoli

As she strode onto the famed comedy stage of the Largo at the Coronet Theater in the heart of West Hollywood on Wednesday night, Ellen DeGeneres was a woman in command. A sold-out crowd of about 200 fans burst into roaring applause, eager to see the comedian turned talk-show host return to her comedy roots on the first night of her Ellen’s Last Stand…Up Tour . And she didn’t disappoint. Dressed in a simple, black long-sleeved shirt, white pants, and sneakers, DeGeneres addressed the elephant in the room with her first words.

“I used to say that I didn’t care what other people thought of me and I realized…I said that at the height of my popularity,” DeGeneres said, prompting the audience to erupt in laughter. “It is such a waste of time to worry about what other people think…Right now I’m hoping you’re thinking, ‘This is marvelous, I’m so happy to be here.’ But you could be thinking, ‘Let’s see how this goes.’”

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Her Wednesday night set — culled from material DeGeneres said she’s been working on for about six months, including in a handful of performances — kicked off with a recap of what she’s been up to since her talk-show ended: gardening, a lot of sweatpants-wearing, and collecting chickens as pets. She joked that as someone who once hosted a daily show, she appreciates the plight of the chicken who has to lay an egg every day. Still, most of the routine found her grappling with having become Public Enemy No. 1 — a whiplash turn from her once-firm reputation as the happy-go-lucky talk-show host who ended each episode telling her audience to “be kind to one another.”

“What else can I tell you?” she mused, mock-reflecting on her recent past before adding sarcastically, “Oh yeah, I got kicked out of show business. There’s no mean people in show business.”

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“I didn’t go to business school. I went to Charlie’s Chuckle Hutt,” DeGeneres joked. “The show was called Ellen and everybody was wearing T-shirts that said ‘Ellen’ and there were buildings on the Warner Brothers lot that said ‘Ellen,’ but I don’t know that that meant I should be in charge.”

She chalked up some of the vitriol she faced at the time to sexism, noting that “there are consequences” for not following the pre-existing rules and gender roles. Referencing the cancellation of her eponymous sitcom in the 1990s after she’d announced to the world that she was gay, she added wryly, “For those of you keeping score, this is the second time I’ve been kicked out of show business…Eventually they’re going to kick me out for a third time because I’m mean, old, and gay.”

The demise of her talk show seems especially painful for DeGeneres since, as she described in her set, it had been her way back to being embraced after her Nineties exile. “I’m giving stuff away…and I danced, then I was mean and they didn’t like me again,” she said. “It’s been such a toll on my ego and my self-esteem. There’s such extremes in this business, people either love you and idolize you or they hate you, and those people somehow are louder.”

As a 66-year-old woman, DeGeneres said she’s also grown increasingly aware of the aging process both physically and mentally. She finds herself thinking about existential subjects like time and the universe, and said her doctor recently told her she has osteoporosis and arthritis. Plus, she joked, now she’s at a point in her life where she’s obsessing over Wheel of Fortune .

Bringing up chickens as another metaphor for women and gender roles, DeGeneres made her point with “one last chicken joke,” as she put it. “Why did the chicken cross the road? Because she wanted to and you wouldn’t ask a rooster that.”

At the conclusion of her set, the crowd gave DeGeneres a standing ovation, prompting her to return to the stage for a candid conversation with the audience. DeGeneres called on people one by one as they asked questions and shared messages of gratitude. One same-sex couple said they had gotten married earlier that day and asked for marital advice. (DeGeneres’ wife of 16 years, Portia de Rossi, briefly made an appearance onstage during the Q&A, at fans’ request; DeGeneres explained that the last few years had been very tough on de Rossi as well, saying, “We were both just laying low for a while.”) One woman thanked DeGeneres for her original Netflix comedy special (2018’s Relatable ) because it made her mom laugh when she was diagnosed with cancer. Another woman expressed her thanks to DeGeneres for participating in her autistic daughter’s bat mitzvah. One person who said they’d been inspired by DeGeneres’ positivity asked if she used dancing as a means of escape during her recent tough period.

“No. It’s hard to dance when you’re crying,” DeGeneres replied. “But I am dancing now.”

DeGeneres flashed another moment of sensitivity and bewilderment when a fan asked if her first go-round with public scrutiny after coming out prepared her for the next one, when The Ellen DeGeneres Show collapsed.

“This was a whole different thing,” she replied. “This was like, ‘What is going on?’ It was so hurtful. I couldn’t gain perspective. I couldn’t do anything to make myself understand that it wasn’t personal… I just thought, ‘Well this is not the way I wanted to end my career, but this is the way it’s ending.’”

DeGeneres added that it took her a long time to figure out what she wanted to say on the topic and how she wanted to say it.

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Citing the self-help book The Four Agreements: A Practical Guide to Personal Freedom , DeGeneres explained that she’s made her peace with the fact that everyone has their own reasons for making certain choices and “they have to live with their stuff.”

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Ellen DeGeneres Tackles Her Talk Show Ending in Controversy on Stand-Up Tour: ‘This Is Not the Way I Wanted to End My Career’

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Ellen DeGeneres returned to the comedy stage Wednesday night for the first set of her “Ellen’s Last Stand…Up Tour,” taking significant time to address controversy around her talk show that began with an internal investigation of poor working conditions on the show as reported in Buzzfeed .

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Since the talk show’s conclusion, DeGeneres has kept a much lower profile. “Ellen’s Last Stand…Up Tour” represents her biggest entry into the public eye after two years, with shows planned through the coming months.

“For those of you keeping score, this is the second time I’ve been kicked out of show business. …Eventually they’re going to kick me out for a third time because I’m mean, old and gay,” DeGeneres told the crowd Wednesday night, referencing how her ’90s sitcom “Ellen” was cancelled after she publicly came out as gay. “It’s been such a toll on my ego and my self-esteem. There’s such extremes in this business, people either love you and idolize you or they hate you, and those people somehow are louder.”

A representative for DeGeneres did not immediately respond for comment.

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The End of the Tour (2015)
The End of the Tour: Directed by James Ponsoldt. With Jesse Eisenberg, Jason Segel, Anna Chlumsky, Mamie Gummer. The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'
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Movie Review: ‘The End of the Tour’

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The End of the Tour

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