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Captain Zero: Into the Abyss Part II is an Animated Short Film about an amateur teen superhero who begins experiencing a series of blackouts which he discovers is caused by his Depression demon--A physical manifestation of all his deep seated insecurities. And now, in order to defeat this demon and stop the blackouts he must be willing to confront his worst nemesis-Himself.

On January 23rd Game Changer Wrestling presents The WRLD on GCW live on FITE straight from Hammerstein Ballroom at Manhattan Center in New York! The event features GCW World Championship Match where Jon Moxley faces off Homicide and the ROH World Title Match when Jonathan Gresham takes on Blake Christian.

Douglas McCann, a street-smart LA attorney, risks everything when conspiracy theorists draw him into the divisive O.J. Simpson saga in this satirical thriller.

"The Juice" is a live lifestyle audience talk show squeezing in a fast-paced mix of celebrity guests, pop culture headlines, food, fitness, fashion, beauty, health, and more! From meal makeovers to simple secrets to dropping a dress size and looking ten years younger, The Juice is a fun-filled hour that gives viewers the tools to transform their lives.

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A talk show filmed out of Nashville, TN by Producer/Director/Celebrity-Songwriter Erica "Ailawishes "Gillespie, where a group of women from three different states come together to share their opinions on various topics. The cast also includes two guys who are ready to share a males perspective.

Oliver Fellows, a failed city banker, is pursuing fulfillment on an old farm in Southern Portugal. He and his neighbor, Manel, face unprincipled enemies in a highly amusing quest to save their valley from exploitation.

In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.