Dwayne Johnson talks career pivot and Riyadh’s WrestleMania 43

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Updated 01 February 2026
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Dwayne Johnson talks career pivot and Riyadh’s WrestleMania 43

LOS ANGELES: No one expects an action icon to enter the awards conversation, yet that is exactly where Dwayne Johnson finds himself today, and it is not by accident but a deliberate creative risk.

For years, Johnson was boxed into a brand, the unstoppable action superstar built for big moments and even bigger box office returns. Now he is challenging that identity, and the industry is paying attention.

In “The Smashing Machine,” Johnson steps into unfamiliar territory with a dramatic role backed by A24 and helmed by filmmaker Benny Safdie. It is the kind of project he describes as intimidating, not because of scale, but what it demanded emotionally.

In a recent exclusive interview, Johnson said: “The films I’ve made in the past that I’ve loved, they didn’t scare me, and there wasn’t a fear involved.

“But with this, this was different because it was not only a very dramatic role in an arthouse film from an arthouse studio in A24 with an auteur director and Benny Safdie.

“But it was also represented for me, an opportunity to do something that I never thought I could do.”

That framing explains the shift. The film marks a clear pivot, a performance that favors vulnerability over spectacle and intention over comfort. It is not a role chosen to repeat what already works but because it is difficult.

Johnson has also been increasingly direct about the balance he wants to represent on screen. Strength, he argues, does not require emotional distance. Vulnerability is not the opposite of masculinity but part of it.

“And in my opinion, it’s okay to be masculine. It’s important to be anchored in who you are. But it’s also important to know that in the same room, masculinity and vulnerability can coexist and they can breathe the same air, and it’s OK to cry.”

That message resonates because it mirrors the career moment. For an actor who built his dominance through power and certainty, choosing a role rooted in emotion reads as a real creative leap.

The response has been immediate. Awards chatter has grown louder, and, following a glowing reception at the Venice Film Festival, his Oscar potential was widely buzzed about.

At the same time, Johnson’s global profile continues to intersect with Saudi Arabia at a historic moment for international sports entertainment.

The WWE has confirmed that WrestleMania 43 will be held in Riyadh in 2027, marking the first time the company’s flagship event takes place outside North America.

As one of wrestling’s most iconic figures, Johnson has publicly welcomed the move, underscoring the scale of the event and its global significance.

“Well, I could tell you that I’m excited for the brand of WrestleMania.

“I’m excited for The Kingdom because that is a big show. And I’m also excited not only for the brand, but I’m excited for our athletes, to be able to participate in an event like that. And that is a global event.”

What makes this moment especially striking is how many worlds Johnson now occupies at once.

He is redefining himself on screen while remaining a central figure in global popular culture, from cinema to live international spectacle. Few stars operate simultaneously at this level across such different arenas.


‘The Wrecking Crew’ — Jason Momoa and Dave Bautista head enjoyable romp

Updated 06 February 2026
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‘The Wrecking Crew’ — Jason Momoa and Dave Bautista head enjoyable romp

RIYADH: Angel Manuel Soto directs this odd-couple action-comedy with a confidence and flair that — along with the chemistry between its central performers and its better-than-you’d-ever-expect script — just about raises it above the slop swarming the streamers.

Jason Momoa and Dave Bautista play estranged half-brothers Jonny and James Halle. Both have the same father — a not-much-liked private detective called Walter who’s just been killed in a hit-and-run in Hawaii (where they were raised and where James, a Navy SEAL, still lives). Neither brother is particularly upset to hear the news of Walter’s death, but when Yakuza henchmen attack Jonny in his Oklahoma home (where he’s a maverick, heavy-drinking cop) demanding a package sent by Walter (a package he hasn’t yet received), he decides to return to Hawaii for the first time in years to attend the funeral and investigate further.

Jonny’s reunion with James is less than cordial, but he does meet James’ wife Leila and their kids for the first time. Leila is a child-psychologist — not afraid to call the brothers out on their emotional shortcomings, nor to try and help them fix their fractured fraternity.

The brothers’ investigation uncovers a plan to build a casino on Hawaiian home lands (an area held in trust for Native Hawaiians). The developer is the extremely wealthy Marcus Robichaux (played with gleeful pantomime-villain campness by Claes Bang), who — it turns out — had hired Walter to investigate his wife, who had hired Walter to investigate her husband.

Now our heroes know who they have to bring down, they’re into far more comfortable territory (both for the characters and, you suspect, the actors). Yep. Forget the dialogue, it’s action time.

Cue multiple scenes of high-octane mayhem expertly helmed by Soto in what’s essentially a slightly updated (emotional healing!) throwback to the dumb-but-fun action blockbusters of the Eighties and Nineties. The nostalgia isn’t hidden, either. The soundtrack starts with Guns N’ Roses and ends with Phil Collins. And there’s a shoutout to Jean-Claude Van Damme in between.

There’s a plot here too, but, honestly, who cares? Momoa and Bautista get to flex their considerable muscles, show off their ink, and make a few wisecracks. No one’s watching this for a clever twist, right? Watch it hoping for a couple hours of entertaining excitement and you’ll be well satisfied.