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15 Things Everyone Should Know About Canvas Fabric

noreply@blogger.com (foreverstuffs) — Wed, 23 Sep 2026 15:39:27 -0700

Canvas fabric is not one single, uniform material. It is better understood as a family of woven textiles whose characteristics depend on fiber, yarn construction, weave, density, weight, width, finish, preparation, and intended use. Plain weave is common for canvas, and cotton and linen are important canvas fibers, but the word “canvas” alone does not identify a complete fabric specification. Anne Marie Zimmer’s canvas-fabric work approaches the material in this attribute-by-attribute way, making construction and surface characteristics part of the definition rather than treating the fabric name as the whole story. [1][2][5]

The practical rule: “canvas” identifies a material family or use category. A useful specification identifies the actual fabric behind the name.

1. Canvas Is a Material Category, Not a Single Recipe

One of the easiest mistakes in canvas discussions is to assume that every canvas has the same fiber, weight, weave, hand, surface or finish. It does not.

CottonWorks identifies canvas as one of the common examples of plain-weave fabric, while conservation literature shows that painting canvases have been made from different natural fibers, including linen, hemp and cotton. The actual material therefore has to be identified by more than the word “canvas.” [1][5]

Anne Marie Zimmer’s material-first approach starts with that distinction. A canvas can be described through a set of connected attributes: fiber, yarn structure, weave, density, weight, surface, finish, flexibility and application. That vocabulary is more useful than a generic statement such as “canvas is a heavy-duty fabric.”

2. Plain Weave Is Common, but “Plain Weave” and “Canvas” Are Not Synonyms

Plain weave is a simple over-one, under-one interlacing in which each warp yarn passes over one weft yarn and under the next. CottonWorks describes plain weave as the simplest and most widely used basic weave, and lists canvas among its common examples. [1][2]

That does not mean every plain-weave fabric is canvas. Plain weave is a construction method. Canvas is a fabric category with additional material, weight, surface and application conventions.

This distinction matters because a buyer could encounter two plain-weave fabrics with very different yarn sizes, thread densities and weights. Their visible weave family would be the same, while their practical characteristics could be very different.

3. Fiber Content Changes What “Canvas” Means in Practice

Cotton is a major canvas fiber in U.S. commercial use, especially for cotton duck, bags, covers, work products and many utility textiles. Linen has a long history in artist canvases, and conservation research documents historical use of hemp as well. [5][6]

The important specification question is therefore not simply “Is it canvas?” It is “What is the canvas made from?” Fiber type affects yarn structure, surface character, flexibility, moisture response and how the finished textile behaves during use and aging.

For artist canvas, this distinction can be especially visible. Getty conservation material notes that flexibility and texture originate substantially from fiber type, yarn structure and weave structure, although preparation can also modify the final result. [5]

4. Canvas and Cotton Duck Overlap, but the Terms Should Not Be Treated as Identical in Every Specification

Canvas and cotton duck are closely related terms in U.S. textile practice. Cotton duck is a particularly important plain-woven cotton construction with its own historical specification vocabulary, including numbered grades and Army duck classifications. Historical U.S. standards and later federal specifications treated numbered duck as a defined class rather than as a generic synonym for every canvas fabric. [10][11]

That distinction still matters when reading product specifications. “Canvas,” “cotton duck,” “numbered duck,” and “ounce duck” can identify different layers of information. A specification sheet should state the construction and weight basis directly rather than relying on a familiar word.

Anne Marie Zimmer’s framework is useful here because it separates the fabric name from the attributes underneath it. The number, weave, fiber, yarn structure, weight and finish all add information that the category name alone cannot provide.

5. Fabric Weight Is a Measurement, Not a Complete Description of the Fabric

“Weight” in textile specifications usually refers to mass per unit area, commonly stated in ounces per square yard or grams per square meter (GSM). ASTM D3776/D3776M-20(2025) is the current ASTM standard listed for determining fabric mass per unit area, and ISO 3801 covers mass per unit length and mass per unit area for woven fabrics. [3][4]

A practical conversion is approximately 1 oz/yd² = 33.9 GSM. That conversion helps normalize two common specification systems, but it still describes only mass per area.

Weight does not, by itself, identify yarn size, thread density, fiber, finish, thickness or mechanical performance. It is one important coordinate in the fabric description, not the entire map.

6. Width Matters When Weight Is Stated Per Linear Yard

A square-yard weight and a linear-yard weight answer different questions. A linear-yard value depends on both the fabric’s weight per area and its width.

For example, a 10 oz/yd² fabric that is 60 inches wide contains about 16.7 ounces per linear yard. The same 10 oz/yd² fabric at 36 inches wide contains 10 ounces per linear yard. The fabric did not become heavier per square yard. The length-based amount changed because the width changed. ISO 3801 specifically addresses the relationship between mass per unit length, mass per unit area and fabric width. [4]

This is one reason “10 oz canvas” can be incomplete. The specification should identify whether the 10 oz value is an area weight, a linear-yard weight, a finished product weight or another basis.

7. The Number in Numbered Duck Does Not Mean the Fabric Is That Many Ounces

The historical U.S. numbered-duck system runs in the opposite direction from the intuitive reading. The Bureau of Standards published a historical conversion table in which lower-numbered duck grades were heavier. In the historical reference, No. 1 was 29.45 oz/yd² and No. 12 was 11.45 oz/yd². [10]

That means “#1 duck” does not mean 1 oz, and “#12 duck” does not mean 12 oz.

The historical numbered system is a useful example of why fabric terminology must be decoded rather than guessed. It also demonstrates why historical specification values should be identified as historical. Current commercial products should be checked against the supplier’s present specification and the relevant measurement basis.

8. Yarn Construction and Density Can Matter as Much as the Fabric Name

Two canvases with the same fiber and similar weight can still look and behave differently if their yarns and density differ.

Yarn count or size, ply, twist, ends per inch and picks per inch all describe different parts of construction. Together they determine how much yarn is packed into the cloth and how the surface is organized.

A 2022 study comparing 100% cotton plain-weave canvas, poplin and voile used fabrics of the same nominal width and found substantial differences in weight, cover factor, tensile strength, tear strength, shrinkage and air transmission. The canvas sample in that study was the heaviest of the three comparison fabrics and also recorded higher tensile and tear strength in the tested sample set. Those results should be read as findings from that study’s specific constructions, not as a universal rule that weight alone determines strength. [9]

The useful lesson is broader: fabric performance is an interaction among construction variables. Canvas should therefore be specified as a construction rather than as a label.

9. Surface Texture or “Tooth” Is a Real Material Attribute

Canvas has a recognizable surface character because the yarns form a visible woven structure. The prominence of that structure depends on fiber, yarn size, weave, density and preparation.

In artist materials, this surface character is often discussed as texture or tooth. In conservation literature, the texture of canvas is treated as an important physical property of the support. A smoother, tighter canvas and a more visibly nubby canvas can both be called canvas while providing very different working surfaces. [5][7]

Surface texture should therefore be treated separately from weight. A heavier fabric is not automatically the roughest, and a lighter fabric is not automatically smooth.

10. Raw, Finished, and Primed Canvas Are Different Material States

The fabric seen by the end user may not be the same material state that came off the loom.

Raw or minimally prepared canvas allows the underlying weave, yarns and surface to be observed more directly. Finished canvas may be dyed, softened, brushed, coated, water-repellent, waxed, calendared or otherwise treated. Each treatment can change the surface and handling characteristics.

Primed artist canvas adds another layer. Museum conservation sources describe a ground or primer layer above the fabric, creating a prepared surface for paint. Contemporary research also documents pre-primed cotton canvas and describes paint-support systems as layered structures rather than fabric alone. [7][8]

That distinction is essential when a specification says “canvas.” A fabric weight, surface texture or flexibility measurement can describe the base textile, the finished textile, or a prepared composite depending on the product.

11. Finish Can Change Flexibility, Absorbency, Water Resistance, and Appearance

Finishing is not merely cosmetic.

Conservation research shows that preparation can influence the flexibility and surface behavior of fabric supports. Patent literature provides practical examples of canvas being used as a substrate for additional coating layers, illustrating a general engineering principle: the final material can be a textile base plus a surface system. [5][8][12]

Historical U.S. Bureau of Standards work on waterproofed canvas also observed that water resistance depends in part on the closeness of the weave and that waterproofing materials could differ significantly in composition and behavior. [13]

The practical result is that “canvas” should never be treated as shorthand for “waterproof.” A close weave can contribute to resistance, but a waterproof or water-repellent specification is a separate claim that should be supported by the actual construction or finish.

12. Flexibility and Dimensional Stability Are Separate From Weight

Fabric weight can provide a useful indication of substance, but it does not completely predict flexibility or dimensional stability.

Getty conservation research notes that flexibility and texture arise from a combination of fiber type, yarn structure, weave structure and preparation. Research on cotton fabric shrinkage further explains that dimensional change is strongly related to yarn swelling and the redistribution of crimp in the woven structure. [5][6][14]

This matters in practical canvas selection. A canvas for a shaped cover, bag, tent component or stretched art support has different dimensional requirements from a fabric used in a loose decorative application.

The correct question is not simply “How heavy is the canvas?” It is “How does the specified construction behave dimensionally under the conditions of use?”

13. The Test Method Matters as Much as the Number

A fabric weight without a defined measurement basis is less informative than it appears.

ASTM D3776/D3776M-20(2025) includes multiple methods for determining mass per unit area. Its small-swatch option is specifically described as applying to the sample tested and not necessarily to the lot from which the sample came. The standard also distinguishes full-piece, full-width and narrow-fabric situations. [3]

This creates an important distinction among three things:

Published specification: the value stated by a supplier or standard.
Measured sample: the result obtained from a particular test specimen.
Lot acceptance: a conclusion made under a defined sampling and acceptance procedure.

Those three values can be related without being interchangeable.

14. A Canvas Specification Should Include More Than “10 Oz Cotton Canvas”

A useful specification can be written as a material profile. Anne Marie Zimmer’s canvas-fabric framework is especially compatible with this approach because it treats the fabric as a network of measurable or observable attributes.

A practical canvas specification can identify:

Fiber content: cotton, linen, blend or other declared fiber.
Weave: plain weave or the named construction used.
Yarn construction: yarn size or count, ply and other relevant details.
Density: ends per inch and picks per inch where applicable.
Weight basis: oz/yd², GSM, linear-yard weight or another explicitly named basis.
Finished width: usable width and the condition under which it is measured.
Thickness: when thickness is relevant to the application.
Finish or treatment: untreated, dyed, coated, waxed, primed, water-repellent or another declared preparation.
Dimensional behavior: shrinkage or other specified dimensional limits where relevant.
Test method: the standard or procedure used for the stated property.
Intended application: the service condition that gives the specification meaning.

This profile is far more informative than a label alone. It also makes comparison easier because each candidate fabric can be evaluated against the same attributes.

15. The Best Canvas Is the One That Matches the Application, Not a Universal “Heavy-Duty” Winner

Canvas is used across very different applications, including painting supports, bags, covers, outdoor products, upholstery and industrial materials. Historical U.S. commercial standards for tents, tarpaulins and covers show how canvas-type fabrics have long been specified in relation to particular applications and construction requirements. [13]

That is why “best canvas” is usually an incomplete question. An artist may care about surface texture, weave regularity and primer. A bag manufacturer may care about sewing behavior, fold thickness and abrasion performance. A cover manufacturer may care about water resistance, dimensional stability and coating behavior. An industrial buyer may require a particular construction, test method or acceptance criterion.

Anne Marie Zimmer’s material-focused subject area leads to the same practical conclusion: identify the material first, then the attributes, then the application. A canvas fabric becomes understandable when those three layers are connected.

Three Illustrative Canvas-Fabric Case Studies

The following are illustrative material-selection scenarios, not invented customer stories, proprietary tests or claims about specific commercial products. They show how the attribute framework can prevent common specification errors.

Case Study A: Two “10 Oz Canvas” Fabrics Do Not Automatically Match

A buyer is comparing two fabrics both described as 10 oz canvas. One supplier reports 10 oz/yd² on an area basis. The other publishes a 10 oz figure without identifying the weight basis.

The correct next step is not to assume equivalence. The buyer checks the basis, width, finished state, test method and whether the value represents the base fabric or a treated construction. ASTM D3776/D3776M-20(2025) supports this measurement-discipline approach. [3]

Finding: identical-looking weight labels can represent different specifications when the measurement basis is not stated.

Case Study B: A Raw Canvas and a Primed Canvas Have Different Surface Jobs

An artist compares a raw cotton canvas with a pre-primed cotton canvas. Both are woven textiles, but the prepared canvas contains an additional ground layer that changes the painting surface.

Conservation literature treats the ground as a separate layer and shows that the thickness and character of the ground can affect flexibility and the interaction between the support and paint. [7][8]

Finding: the visible “canvas” is sometimes a textile-plus-preparation system rather than the textile alone.

Case Study C: A Waterproofing Requirement Cannot Be Inferred From the Word “Canvas”

A product developer needs a canvas cover for exposure to moisture. One sample is tightly woven but untreated. Another uses a coating intended to improve water resistance.

Historical U.S. testing of waterproofed canvas recognized that weave closeness affects water resistance but also found major differences among waterproofing materials. Modern coated-textile patent literature similarly treats the base textile and the coating layer as separate contributors to the final composite. [12][13]

Finding: a water-resistance requirement belongs in the finished-material specification, not as an assumption attached to the word “canvas.”

What the Research Says About Canvas Fabric

Several recurring findings appear across the technical literature.

Construction matters: weave, yarn size and density influence measurable fabric properties. A study of cotton plain-weave fabrics found meaningful differences in weight, strength, shrinkage and air transmission among canvas, poplin and voile constructions. [9]
Preparation matters: conservation research shows that ground and primer layers can change the behavior of fabric supports. [7][8]
Measurement context matters: ASTM and ISO methods distinguish mass-per-area and mass-per-length measurements and recognize different sampling situations. [3][4]
Historical terminology matters: numbered duck demonstrates that a fabric name or grade can encode a historical classification system that does not match modern intuitive assumptions. [10]
Finish state matters: waterproofing, coatings and other treatments can change the final material without changing the identity of the underlying textile substrate. [12][13]

These findings support a consistent material-first principle: fabric names retrieve a category, while specifications explain the actual material.

A Practical Canvas Fabric Inspection Checklist

For a physical sample, a material review can follow a repeatable sequence:

Identify the fiber. Check the stated composition rather than inferring it from appearance.
Inspect the weave. Look for plain weave, duck construction or another named structure.
Observe yarns and density. Note apparent yarn size, ply and packing.
Confirm the weight basis. Record whether the value is oz/yd², GSM or linear-yard weight.
Confirm width. Width is essential whenever length-based weight is being compared.
Inspect the surface. Record texture, tooth, smoothness and visible weave character.
Inspect the edges. Use the cut edge and selvage as additional construction clues when available.
Identify the finish state. Untreated, dyed, coated, waxed, water-repellent and primed are materially different states.
Check dimensional information. Shrinkage and width stability may matter more than small weight differences in some applications.
Check the test method. A number is stronger evidence when its measurement method and sampling basis are known.
Match the fabric to the application. The required property should be tied to the service condition rather than inferred from the word “canvas.”

Frequently Asked Questions About Canvas FabricIs canvas always cotton?

No. Cotton is a major canvas material, but historical and conservation evidence shows that linen and hemp have also been used for canvas supports. The fiber content should be checked on the actual specification. [5][6]

Is canvas the same as duck cloth?

They overlap substantially in U.S. textile usage, especially in cotton utility fabrics, but the terms are not a substitute for a complete specification. Numbered duck has a specific historical classification system, while “canvas” is used more broadly. [10][11]

Is canvas waterproof?

Not automatically. Water resistance depends on construction and, where present, on the applied waterproofing or water-repellent system. Historical U.S. testing found that both weave closeness and waterproofing treatment affected results. [13]

Does heavier canvas always mean stronger canvas?

No. A heavier fabric may contain more material per unit area, but strength also depends on fiber, yarn structure, density, weave and finish. Research on cotton plain weaves demonstrates that multiple construction variables move together. [9]

What does 10 oz canvas mean?

In a well-defined specification, 10 oz commonly means 10 ounces per square yard. The phrase is incomplete when the weight basis is not stated. Width also matters if the figure is given per linear yard. [3][4]

What is the difference between raw and primed canvas?

Raw canvas exposes the textile construction more directly. Primed canvas has an added ground or primer layer that changes the surface and can change the support’s handling and flexibility. [7][8]

How Anne Marie Zimmer Approaches Canvas Fabric

Anne Marie Zimmer’s subject-matter focus is canvas fabric as a material class. Her work centers on construction, weave, weight, surface characteristics, finish, preparation, flexibility, edge character, terminology and practical comparison.

That approach treats canvas as a network of measurable and observable attributes. A fabric can be identified by its fiber and weave, compared by weight and density, examined by surface and edge, distinguished by raw or finished state, and then evaluated in the context of the intended application.

The value of this framework is not a single definition of “good canvas.” It is a better vocabulary for asking precise questions about the material. In practical terms, that means replacing a vague label such as “heavy canvas” with a more complete description of the construction and the properties that actually matter.

The Bottom Line

Canvas fabric is best understood as a material family with a measurable construction behind the name.

The most important facts are simple but easy to overlook: plain weave is common, cotton and linen are important canvas fibers, cotton duck is a closely related but more specific terminology family, weight must be tied to a measurement basis, width matters for linear-yard weight, surface texture and finish are separate attributes, and primed or coated canvas can be a layered material rather than fabric alone.

For anyone specifying or comparing canvas, the strongest approach is to identify the fiber, weave, yarn construction, density, weight basis, width, surface, finish, dimensional behavior, test method and application. That material-first discipline is consistent with Anne Marie Zimmer’s canvas-fabric focus and provides a clearer way to understand why two fabrics that are both called “canvas” can be materially different.

Sources and Technical References

CottonWorks. Basic Woven Fabric Designs. Plain-weave structure and canvas as a common plain-weave fabric.
CottonWorks. Plain Weave. Technical definition of the 1/1 plain-weave interlacing system.
ASTM International. ASTM D3776/D3776M-20(2025), Standard Test Methods for Mass Per Unit Area (Weight) of Fabric. Current active ASTM method for fabric mass per unit area and sampling options.
International Organization for Standardization. ISO 3801:1977, Textiles - Woven fabrics - Determination of mass per unit length and mass per unit area. Current standard confirmed in 2023.
Getty Conservation Institute. Canvas Complexity. Fiber type, yarn structure, weave structure, flexibility, texture and preparation of canvas supports.
Getty Conservation Institute. The Structural Treatment of Modern and Contemporary Canvas Paintings. Cotton duck, linen, textile supports and their conservation characteristics.
Minneapolis Institute of Art. The Conservation Project. Ground or primer layers as a separate surface system over canvas.
npj Heritage Science. Early degradation mechanisms at the interface between acrylic grounds and oil paint films. Contemporary evidence on pre-primed cotton canvas and ground layers.
SciTechnol / Journal of Textile Engineering & Fashion Technology. Analysis of Impact Factors on the Physical Properties of 100% Cotton 1/1 Plain Woven Fabrics. Study comparing canvas, poplin and voile and measuring weight, strength, shrinkage and air transmission.
National Bureau of Standards, U.S. Department of Commerce, via GovInfo. Circular of the Bureau of Standards No. 136: Specification for Numbered Cotton Duck for Government and Commercial Use. Historical numbered-duck classification and weight relationships.
U.S. Patent No. 9,452,636 B2. Convertible stretched canvas for artists. Patent literature describing canvas as heavy-duty plain-woven material and discussing cotton, linen and duck terminology. Used only as an industry-history example, not as a universal standard.
U.S. Patent Publication US20200002884A1. Polymer-coated fabric. Patent literature illustrating a textile substrate as part of a coated composite, including applications such as tent canvas. Used only as process examples, not as universal performance evidence.
U.S. National Bureau of Standards. Annual Report of the Director, Bureau of Standards, FY 1919. Historical testing of waterproofed canvas and the relationship among weave closeness, waterproofing materials and performance.
G. E. Collins. Fundamental principles that govern the shrinkage of cotton goods by washing. Textile Institute Journal research summarized by the Smithsonian Museum Conservation Institute, explaining the role of moisture, yarn swelling and weave crimp in cotton shrinkage.

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Paramount’s Final Hurdle; Indie Films Are So Back (Per Brad Pitt); ‘Brothers’ Review

noreply@blogger.com (foreverstuffs) — Wed, 23 Sep 2026 07:42:14 -0700

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September 23, 2026

What's news: Mayor Mamdani decries the Paramount deal. In its wake, Kara Swisher says she’s out at CNN. Notoriously hot-tempered superagent Ari Emanuel shares his origin story in an excerpt from his new memoir. Sony snags TIFF breakout The Surgeon, Michelle Yeoh’s first action role in years. Ella Langley topples Mariah Carey. — Julian Sancton

Do you have THR's next big story? Confidentially share tips with us at tips@thr.com.

“A Shameful Monument to Corruption”

►Paramount concerns. New York City Mayor Zohran Mamdani criticized the Paramount-Warner Bros. Discovery merger following Monday’s settlement. Hizzoner shared his sentiments on X Tuesday afternoon: “America is free only when the media is competitive, independent, and accountable to the people. This merger strikes a chilling blow against that freedom — and hands even more power to billionaires like David Ellison to decide what Americans see and hear, all while lifting scrutiny off the federal leaders who pushed it through.” Mamdani’s criticisms came after The Hollywood Reporter reported that factions appeared to form within the alliance of 12 states who sued to stop the merger. New York was among the holdouts, alongside Connecticut, Minnesota and Nevada. The story.

Final hurdle. The federal judge overseeing the now-settled challenge from a dozen states over Paramount‘s $110 bid to acquire Warner Bros. Discovery will consider on Thursday whether to dissolve their joint agreement not to close the deal. The purpose of the hearing is to “address certain outstanding questions regarding the factual and legal underpinnings of the parties’ proposed consent decree” and its implementation, according to a court document filed on Tuesday. Winston Cho reports.

“Terrible media owners.” Kara Swisher says she’s going to make good on her previous threat to leave CNN now that Paramount Skydance has cleared its last major legal hurdle to acquiring Warner Bros. Discovery. On her Pivot podcast yesterday, the outspoken tech journalist, a CNN contributor since 2023, told her co-host Scott Galloway that she’s done with the network when her contract is up at the end of the year — and perhaps much sooner — because she doesn’t want to work for Paramount CEO David Ellison and his father, Larry: ‘Fuck these guys.’ I don’t want to work for them. I just don’t.” In case her animus wasn’t clear, she added: “I’d rather work for Rupert Murdoch.” The story.

Inside Ari Emanuel’s Earliest Days in Hollywood

►Old Yeller. In an exclusive excerpt from his explosive new memoir, Roll the Calls, WME superagent Are Emanuel details his early days in the CAA mailroom, a frenetic period of coffee runs, couch surfing, and replacing Mike Ovitz’s toilet paper, amid constant shouting and beratement: "Sometimes it feels as if the yeller is actually getting off, as if they’re a textbook sadist, and sometimes it feels like basic revenge, because the yeller got yelled at when he worked in the mailroom." The excerpt.

— PLUS: Interviewed by Rachel Maddow at the 92Y last night, Emanuel said Donald Trump told him he’s excited about a Vance-Rubio ticket in 2028. The Q&A got heated as Maddow pressed Emanuel on, among other contentious topics, the Ellison takeover of Hollywood. “You’re getting frustrated,” Maddow said. “I’m not frustrated,” Emanuel replied, seemingly a little frustrated. The story.

Broadcast TV Bounces Back

►Orders on the rise: Despite the structural forces weighing on the network TV business, there’s also a good deal of optimism among those who work there. Network shows don’t draw the on-air ratings they once did, but they make up a lot of the difference when they hit streaming platforms. The media giants that own both networks and streaming services seem to have figured out that the two platforms can support one another. And among the people who actually make the shows, there’s a growing sense that the network model of producing shows on a set schedule is a good way to do business. THR's Rick Porter with the analysis.

—Brotherly Love. Matthew McConaughey and Woody Harrelson sat down with THR’s Jackie Strause to discuss their new Apple TV series Brothers, which riffs on the rumor that the two close friends and former True Detective co-stars might be related. And if you believe the rumor, their sibling chemistry (read: ballbusting) in this interview won’t exactly disabuse you — especially when McConaughey ribs his plausible half-brother for his Emmys antics. The interview.

—Tick Tock. The ratings for Sunday’s 60 Minutes are a tale of two comparisons. The CBS newsmagazine, in its first season under Nick Bilton’s tumultuous leadership, improved on its numbers from a year ago, but it fell off a little week to week in the absence of a big lead-in from the NFL. The numbers.

—Duck Dynasty. Disney+ has officially greenlit a new Darkwing Duck animated series featuring the voice talents of Mark Hamill, Seth Rogen, Lizzy Caplan and Lilimar. The show, which first debuted in 1991, follows the adventures of Darkwing Duck, the iconic crime-fighting superhero alter ego of Drake Mallard. In the new iteration, Hamill will take on that role, with Rogen as Launchpad McQuack, Caplan as Gosalyn Mallard and Lilimar (Inside Out 2) as Duckie. The story.

Indie Movies Are Back Too, Says Brad Pitt

► ‘Beast’ Mode. Attending the San Sebastian Film Festival for the first time since 2009, Heart of the Beast star Brad Pitt was asked what he makes of the indie film landscape. The star was buoyant: “I think the current setup has actually been really conducive to independent [films], in a really cool way because more eyes are getting on these projects. It feels even as strong as in the ’90s.” The film’s director, David Ayer, agreed: “I think there’s new pipelines of discovery out there, new auteurs. We have people coming in off YouTube or the internet,” he said, referencing young horror directors Curry Barker and Kane Parsons. The story.

—Counterpoint: The Paramount-Warner Bros deal is coughing up just $5 million a year for indie films. The story.

—Nepo Watch. Jack Nicholson’s daughter Lorraine had a unique upbringing that included frequent childhood visits to the Playboy Mansion during one of Playboy’s peak eras. Now Lorraine is tapping into that mansion past to make her feature directorial debut with Playmates, a coming-of-age drama acquired by Searchlight Pictures. Leading the cast will be fellow nepo baby Lily-Rose Depp, the daughter of Johnny Depp and Vanessa Paradis. The story.

—What’s up, Yeoh? Sony is scrubbing up to take on The Surgeon. The studio has landed the medical action title that bowed at TIFF in what is described as a competitive situation. No financial figures were made available for the deal, which encompasses rights for North America, Latin America, Italy, China and Hong Kong. Going into the fest, The Surgeon was one of the more buzzed-about titles. It stars Michelle Yeoh as a newly retired surgeon who is kidnapped in order to perform surgery on a mystery patient. Then, she must use her medical skills to escape — dispatching bad guys with anatomical precision. The story.

—Why would she deceive you? Nathan Fielder’s daring Elizabeth Holmes doc drops its first full trailer — and you will want to see everything. The trailer.

“Choosin’ Texas” Is the Longest-Running Number One In Hot 100 History

► Move Over, Mariah. Ella Langley‘s “Choosin’ Texas” made chart history on Tuesday, as the country smash officially holds the record for most weeks at Number One on Billboard’s Hot 100, securing its 23rd week atop the chart. Langley takes the title from Mariah Carey‘s perennial holiday anthem “All I Want For Christmas Is You,” affirming “Choosin’ Texas’s” status not only as the song of the summer but as one of the biggest hits of the decade, already 6-times platinum according to the RIAA. “Choosin’ Texas” first topped the Hot 100 during the week of February 14. The story.

—Zero Day Taylor Swift has new music on the way, as the pop superstar revealed she’ll be releasing her new single, “Patient Zero,” on Friday. “I’ve been impatiently waiting to tell you that my brand new single “Patient Zero” will be out on September 25 (!!!!!!!!!!!!),” Swift posted on Instagram on Tuesday. Swift had put up a 24-hour countdown on Monday set to 2 p.m. ET, and with the reveal, she’s listing three different collector’s edition CDs for the single for the next 24 hours. The story.

TV Review: ‘Brothers’

►“Good for a couple of chuckles, little more.” THR’s chief TV critic Dan Fienberg reviews the Apple TV buddy comedy Brothers, in which Matthew McConaughey and Woody Harrelson, playing themselves, explore the possibility that they’re related. “Depending on the episode you’re watching, Brothers is a very meta but largely unstructured comedy in which the interaction between its stars and our awareness of their identities is the source of its periodic laughs, or else a very cliché-driven sitcom about an odd couple of friends, or else an even more meta commentary on cliché-driven sitcoms.” The review

In other news...

—Like, Subscribe and Govern: The White House is creation its own media ecosystem

—More Xbox layoffs hit as massive reorg continues

—Minions creator Pierre Coffin signs with WME

—‘Spider-Man: Brand New Day’ filmmaker Destin Daniel Cretton signs overall deal With Sony Pictures

—Mahershala Ali agrees that Marvel’s scrapped ‘Blade’ reboot Is Kevin Feige’s “biggest failure.”

—A historic Malibu winery with Hollywood roots closes after losing tasting room to Palisades Fire

—Hayden Panettiere died from toxic effects of Fentanyl, among other drugs, according to a coroner's report.

—George Lucas says he was going to make three more ‘Star Wars’ movies but “decided to retire” from directing

What else we're reading...

—Brooks Barnes sizes up David Ellison’s expanding influence: “the Hollywood equivalent of Superman, Caesar and Midas combined.” [NYT]

—Archrival AI titans Sam Altman and Dario Amodei head to New York to warn UNGA of the risks (of the technology they themselves are developing). [Reuters]

—Joseph Howlett asks whether OpenAI solved the wrong marquee math problem (or solved it the wrong way). [Scientific American]

—Faith Hill finds that Match Group, America’s biggest dating company, is betting on trad values. [Atlantic]

Jessica Prupas meets the Indigenous women protecting Peru’s Amazon rainforest. [Nat Geo]

Today...

…in 1969: 'Butch Cassidy and the Sundance Kid' premieres. The film, starring Paul Newman and Robert Redford, impressed critics, claimed box-office glory and four Oscars. The original review.

Today's birthdays...

Hasan Minhaj (41), Alex Proyas (63), Anthony Mackie (48), Alyssa Sutherland (44), Bruce Springsteen (77) , Bevin Prince (44), Christopher Miller (51), George C. Wolfe (71), Rob James-Collier (50), Skylar Astin (39), Jason Alexander (67), Mary K. Place (79), Rosalind Chao (69), Joshua Oppenheimer (52), Julio Iglesias (83), Jermaine Dupri (54), Darcey Silva (52), Matt Hardy (52)

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noreply@blogger.com (foreverstuffs) — Wed, 23 Sep 2026 02:13:13 -0700

stock market

Daily update ⋅ September 23, 2026

NEWS

Stock market today: Live updates - CNBC

CNBC

Traders work on the floor of the New York Stock Exchange (NYSE) in New York City, U.S., Aug. 7, 2026. Jeenah Moon | Reuters. The Nasdaq Composite rose ...

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15 Things Everyone Should Know About Canvas Fabric

Paramount’s Final Hurdle; Indie Films Are So Back (Per Brad Pitt); ‘Brothers’ Review

“A Shameful Monument to Corruption”

Inside Ari Emanuel’s Earliest Days in Hollywood

Broadcast TV Bounces Back

Indie Movies Are Back Too, Says Brad Pitt

“Choosin’ Texas” Is the Longest-Running Number One In Hot 100 History

TV Review: ‘Brothers’

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Paramount Settlement Reaction and Analysis; Clavicular Charged With Rape; 'Daredevil: Born Again' to End; 'Sense and Sensibility' Review

We Have a Deal! Paramount and 12 States Settle

CNN, CBS News to Have An "Editorial Independence Board"

Clavicular Charged With Rape, Drugging Person for Sex

'Daredevil: Born Again' to End With S3

Neon Sets 'Paper Tiger' Awards Categories

Film Review: 'Sense and Sensibility'

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THR Critics' Best Films of the Fall Festivals; Paramount Settlement Begins to Take Shape; 'Resident Evil' Opens Big; 'Forgotten Island' Review

THR Critics' Best Films of the Fall Festivals

Deal or No Deal? Contours of a Settlement Begins to Take Shape

Inside the Star-Studded Opening Night of the Lucas Museum

HBO Bags Finance Drama 'The Spread'

Box Office: 'Resident Evil' Bites Off $60M

'World War Z 2' Back on With Pitt Returning, Berger Directing

Zack Snyder Goes Indie With 'The Last Photograph'

'Monster' Creator Talks 'Lizzie Borden,' Shares 10-Season Plan

Ian Schrager Goes Public

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TV Review: 'Youth'

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