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Deal to create a streaming and sports powerhouse will be scrutinised by Competition and Markets Authority The UK competition watchdog has opened an investigation into Paramount Skydance’s $110bn (£82bn) takeover of Warner Bros Discovery (WBD). The deal will create a media powerhouse controlling assets including the Paramount and HBO Max streaming services, Channel 5 and TNT Sports, which broadcasts Champions League, Premier League and the Olympics, the Hollywood studios behind franchises including Superman, Batman and Top Gun, as well as HBO, home to shows including Game of Thrones, The White Lotus and Succession. Continue reading...

The Guardian World

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UK government to pay £1.3bn to help fund Universal Studios theme park in Bedfordshire

Chancellor hails deal saying it will create tens of thousands of jobs in the construction, hospitality, creative and technology sectors Business live – latest update British taxpayers will provide £1.3bn in funding to help the Hollywood studio giant Universal build its first theme park in Europe. Comcast, the US media company that owns NBC Universal and Sky, had been considering a number of countries in which to build its first European theme park. Continue reading...

The Guardian Culture

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Masters of the Universe review – Amazon’s He-Man adventure is a weak big-budget misfire

A laboured attempt to resurrect toy IP very few people still care about is a $200m-budgeted waste of everyone’s time It’s not just that He-Man himself is from the 80s that gives 2026’s Masters of the Universe such an aggressive throwback vibe. It’s that trying to assemble a film around the haphazard mythology of a toy and dusting off IP that precious few still care about feels like something Hollywood has slowly been doing a bit less of, especially on a scale such as this. This year, hits have relied on either properties that audiences do have passion for (Scream, Michael Jackson, Mario, The Devil Wears Prada) or, radically, original ideas (Obsession, Backrooms, Goat, Hoppers). We haven’t endured an Underworld sequel or a Tarzan reboot since 2016, a Terminator film since 2019, a Dolittle reboot since 2020 or a GI Joe spin-off since 2021. Mattel might then have struck gold with Greta Gerwig’s Barbie in 2023, but that was both an unconventional, auteur-led one-off and based on a product millions were still buying on the regular (the year before release, the brand made more than $1.4bn). Various directors, from John Woo to Jon M Chu, have been loosely attached to a He-Man movie over the years and various studios, from Sony to Netflix, have tried (the latter streamer having spent a reported $30m on a failed attempt) but, as with many long-gestating projects in Hollywood, those involved forgot to remember Jeff Goldblum’s evergreen Jurassic Park line: “So preoccupied with whether or not they could that they didn’t stop to think if they should.” Continue reading...

The Guardian World

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Blake Lively and Justin Baldoni return to court a month after reaching settlement

Lively’s legal team are suing her It Ends with Us co-star for legal fees and damages, reigniting a years-long court battle Attorneys for US actor Blake Likely were back in front of a New York judge on Monday to demand legal fees and damages from It Ends with Us co-star Justin Baldoni, after a settlement was reached last month in their years-long legal battle. The 38-year-old actor’s legal team argued that the defamation lawsuit brought against her by Baldoni and his production company, Wayfarer Studios, was a retaliatory move prohibited by California law. Continue reading...

The Guardian Culture

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I couldn’t understand my mother’s dementia – until a character from Rivals showed me the way

When my mum was diagnosed with Alzheimer’s, one remark in Jilly Cooper’s romp made me realise how much my happiness is tied to her wellbeing As a longtime Jilly Cooper fan, I lapped up the TV adaptation of Rivals. There were so many fantastic moments: Maud O’Hara arriving at her own party dressed up to the nines, riding on a camel; David Tennant, as TV mogul Tony Baddingham, smashing up the Corinium Studios set when his arch enemy Rupert Campbell-Black scores a key point in their rivalry. My most memorable scene, however, had nothing to do with shoulder pads and parties. First, some backstory. My mother was diagnosed with Alzheimer’s disease in January 2025, though for the previous few months it had become clear to me that she had some form of dementia. It came on fast, triggered by a bowel illness. Suddenly she sounded confused on the phone, though it was hard to tell even this because she stopped calling so often. She and I had been accustomed to speaking daily, phoning just to chat, check a recipe, gossip – but now she stopped initiating those calls. Her WhatsApp messaging became so erratic on a family group chat that my cousin offered to go round after work to check Mum’s phone for a virus. Continue reading...

The Guardian World

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‘I felt my humanity was bastardised’: Cynthia Erivo says reaction to Ariana Grande red carpet incident rooted in racism

Wicked co-star said reactions to the incident, which included suggestions she was Grande’s ‘bodyguard’, reflect an insidious view of Black women Wicked star Cynthia Erivo has said that reactions to the incident at the Singapore premiere of Wicked: For Good, in which she stepped in to fend off a red-carpet invader who grabbed co-star Ariana Grande, revealed “the insidious nature of how we view Black women” and put her off campaigning for Oscars. In an interview with Variety, Erivo said that she and Grande were “terrified” when Johnson Wen jumped a barrier at Universal Studios Singapore and rushed towards them. “Nobody moved. Nobody moved. So I moved because my brain went, ‘Get him away! Get him out of here!’ … And what people couldn’t see is that he wouldn’t let go [of Grande]. He wouldn’t let go. So I just kept pushing at him to get him off.” Continue reading...

Little glitz and underperforming auteurs: how Cannes 2026 went – and who will win

As this year’s Cannes ordinaire draws to a close, our chief critic examines what went wrong and predicts the who’ll take home the prizes – including the fabled Braddies The 2026 Cannes film festival comes to an end with an uneasy consensus that this has very much not been a vintage year. It’s a Cannes ordinaire. There has even been some dark muttering from older veterans about comparing 2026 to the dreaded 2003 Cannes, the year of Vincent Gallo’s epically embarrassing erotic road movie The Brown Bunny. Was the Cannes cocktail missing one vital ingredient … the sparkle of Hollywood? Well, the glitzy Hollywood films of previous years, like Mission: Impossible or Elvis, all tended to be out of competition. Their presence or absence wouldn’t make any difference to the glittering prizes at the end. But there’s no doubt about it. A really big A-lister studio picture wouldn’t have come amiss in the official selection somewhere. Are the studios really so scared of snarky Cannes reviews spoiling their big movies’ PR gameplan? Are they really petrified of Rotten Tomatoes and its fatuous and meaningless percentage score? Maybe. Continue reading...

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