Adam Sandler’s Netflix announcement sends fans into a spin

Adam Sandler has confirmed production is underway on a hugely-anticipated movie, and has hinted at a possible Travis Kelce cameo.

This news is what we call a hole-in-one.

Netflix announced on Monday, local time, that Happy Gilmore 2 has officially kicked off production, sharing a picture of Happy’s (Adam Sandler) signature Boston Bruins jersey in a social media post.

Sandler took to Instagram to break the news with the same picture, captioning the post, “It ain’t over. The way I see it … we’ve only just begun.”

Adam Sandler shared a photo of Happy Gilmore's jersey on social media.

The sequel to Happy Gilmore was officially confirmed by the streaming giant back in May, though the film had been teased by Christopher McDonald and Drew Barrymore ahead of Netflix’s announcement.

According to The Hollywood Reporter, Sandler is reported to be joining forces with Tim Herlihy to write the script, and Kyle Newacheck (Workaholics, Game Over, Man!, Murder Mystery) is reportedly attached to direct.

Sandler starred in the first Happy Gilmore in 1996.

Sandler also hinted at a Travis Kelce cameo while stopping by The Tonight Show in August, saying that they “have a nice something for Travis” and that the Kansas City Chiefs tight end is “gonna come by”.

“He’s a very nice guy,” Sandler added. “You guys would love him in real life. What a big, handsome guy. Funny and cool as hell. He’s a stud and he’s so funny.”

Sandler hinted at Travis Kelce’s involvement in the film. Picture: Timothy A. Clary/AFP

According to Deadline, Sandler has hinted at pro golfers making appearances in the movie, as well.

The actor and comedian’s latest stand-up special, Adam Sandler: Love You, began streaming on Netflix last month, and was directed by his Uncut Gems collaborator, Josh Safdie.

Meanwhile Sandler revealed toIndieWire that Safdie’s brother and former directorial partner, Benny Safdie, has “a juicy part” in Happy Gilmore 2.

This story originally appeared on Decider and was reproduced with permission