Clockwork is staying. The label, Warner Bros.’ bet on mid-budget and restored classics, won’t die with the merger. It’s moving to Skydance — the new name for the Paramount-Warner Bros. Union, and its first release lands in theatres this Friday. October 16. Ken Russell’s The Devils, restored in 4K, gets a theatrical run after decades of being banned, censored, and buried under controversy. Oliver Reed as Father Grandier. Vanessa Redgrave as Sister Jeanne. A priest accused of witchcraft, seduction, and heresy in 17th-century France. The film was deemed blasphemous when it premiered. Now, it’s getting a second chance. Not in a streaming vault, but on big screens. That’s the signal: Clockwork isn’t just surviving. It’s launching. And it’s doing so with a film that once couldn’t be shown in India. The irony isn’t lost on anyone. But here’s what matters: the label’s survival wasn’t guaranteed. Rumours swirled that Paramount might scrap it before it even launched. Others said De Luca and Abdy, the heads who built it, wanted it gone so they could take it independent. But Skydance sees it differently. They call it a “blooming rose.” Not a risk. A tool. One that helps them hit their target: 30 theatrical releases a year. So far, Clockwork’s slate looks like a mix of prestige and provocation. Sean Baker’s next film. Park Chan-Wook’s Western with McConaughey, Butler, Pascal, and Tang Wei. Sean Penn’s take on January 6. Jenna Ortega and Rose Byrne in Mary Bronstein’s Nasty. Noah Baumbach’s latest. All coming through a label that was never meant to be a blockbuster machine. It’s about legacy. About restoration. About giving films a second life. Even if that life starts in a theatre on a Thursday morning. What happens next? The real test begins when the lights go down on The Devils. If it plays well, Clockwork has a future. If not, the label may still live, but its purpose will be questioned. For now, it’s alive. And playing.