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By Dawn Chmielewski LOS ANGELES (Reuters) -"Wicked: For Good" brought in $150 million in the U.S. and Canada in its opening weekend, setting a record for a film adaptation of a Broadway musical and ranking among the best performing musicals of all time, according to the studio. The second half of the big-screen adaptation of "Wicked," which reunites Cynthia Erivo's Elphaba with Ariana Grande's Glinda, posted the third best domestic opening weekend for a musical ever, behind Disney's 2019's photorealistic computer-generated version of "The Lion King" and its 2017 remake of "Beauty and the Beast," according to Universal Pictures and Comscore's box office tallies. "Wicked: For Good" also helped lift a moribund North American box office from a nine-week slump, where total ticket sales failed to reach $100 million, according to Comscore.  (Reporting by Dawn Chmielewski in Los Angeles; Editing by Bill Berkrot)

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By Dawn Chmielewski LOS ANGELES (Reuters) -"Wicked: For Good" brought in $150 million in the U.S. and Canada in its opening weekend, setting a record for a film adaptation of a Broadway musical and ranking among the best performing musicals of all time, according to the studio. The second half of the big-screen adaptation of "Wicked," which reunites Cynthia Erivo's Elphaba with Ariana Grande's Glinda, posted the third best domestic opening weekend for a musical ever, behind Disney's 2019's photorealistic computer-generated version of "The Lion King" and its 2017 remake of "Beauty and the Beast," according to Universal Pictures and Comscore's box office tallies. "Wicked: For Good" also helped lift a moribund North American box office from a nine-week slump, where total ticket sales failed to reach $100 million, according to Comscore.  (Reporting by Dawn Chmielewski in Los Angeles; Editing by Bill Berkrot)

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LOS ANGELES (Reuters) -"Wicked: For Good" brought in $150 million in the U.S. and Canada in its opening weekend, setting a record for a Broadway musical adaptation and ranking among the best performing musicals of all time, according to the studio. (Reporting by Dawn Chmielewski in Los Angeles; Editing by Bill Berkrot)

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DUBLIN (Reuters) -Irish fashion designer Paul Costelloe, personal designer to the late Princess Diana who became a fixture at London Fashion Week for four decades, has died aged 80, his family said in a statement on Saturday. Costelloe was appointed as Diana's personal designer in 1983, shortly after establishing his own label, Paul Costelloe Collections, and their collaboration continued until her death in a car crash in Paris in 1997. Costelloe, who led the development of all his collections from his studio in central London, was invited to show at the city's premier catwalk event in its inaugural year in 1984 and was there in September to present his latest spring-summer creations. Costelloe died peacefully surrounded by his wife and seven children in London following a short illness, the family said in the statement. Costelloe was born in Dublin in 1945, where he initially trained before moving to Paris' revered Chambre Syndicale de la Haute Couture and then to another fashion capital, Milan, where he was designer for the luxury department store La Rinascente. He spent some time in New York where he established his own label before settling in London, where his partnership with Princess Diana flourished. His collections today include womenswear, menswear, bags, homeware and jewellery. "Paul led a remarkable life as a leading figure in Irish, UK and international fashion and business for decades. He built a hugely successful business through incredible talent, discipline, and an unwavering commitment to quality," Ireland's Deputy Prime Minister Simon Harris said in a statement. "His was and is a quite remarkable Irish success story."  (Reporting by Padraic Halpin. Editing by Mark Potter and Toby Chopra)

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DUBLIN (Reuters) -Irish fashion designer Paul Costelloe, personal designer to the late Princess Diana who became a fixture at London Fashion Week for four decades, has died aged 80, his family said in a statement on Saturday quoted by local media. Costelloe was appointed as Diana's personal designer in 1983, shortly after establishing his own label, Paul Costelloe Collections, and their collaboration continued until her death in a car crash in Paris in 1997. Costelloe, who led the development of all his collections from his studio in central London, was invited to show at the city's premier catwalk event in its inaugural year in 1984 and was there in September to present his latest spring-summer creations. Costelloe died peacefully surrounded by his wife and seven children in London following a short illness, the family said in the statement quoted by local media. A spokesperson for Costelloe could not immediately be reached for comment. Costelloe was born in Dublin in 1945, where he initially trained before moving to Paris' revered Chambre Syndicale de la Haute Couture and then to another fashion capital, Milan, where he was designer for the luxury department store La Rinascente. He spent some time in New York where he established his own label before settling in London, where his partnership with Princess Diana flourished. His collections today include womenswear, menswear, bags, homeware and jewellery. "Paul led a remarkable life as a leading figure in Irish, UK and international fashion and business for decades. He built a hugely successful business through incredible talent, discipline, and an unwavering commitment to quality," Ireland's Deputy Prime Minister Simon Harris said in a statement. "His was and is a quite remarkable Irish success story." (Reporting by Padraic Halpin. Editing by Mark Potter)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

DUBLIN (Reuters) -Irish fashion designer Paul Costelloe, personal designer to the late Princess Diana who became a fixture at London Fashion Week for four decades, has died aged 80, his family said in a statement on Saturday quoted by local media. Costelloe was appointed as Diana's personal designer in 1983, shortly after establishing his own label, Paul Costelloe Collections, and their collaboration continued until her death in a car crash in Paris in 1997. Costelloe, who led the development of all his collections from his studio in central London, was invited to show at the city's premier catwalk event in its inaugural year in 1984 and was there in September to present his latest spring-summer creations. Costelloe died peacefully surrounded by his wife and seven children in London following a short illness, the family said in the statement quoted by local media. A spokesperson for Costelloe could not immediately be reached for comment. Costelloe was born in Dublin in 1945, where he initially trained before moving to Paris' revered Chambre Syndicale de la Haute Couture and then to another fashion capital, Milan, where he was designer for the luxury department store La Rinascente. He spent some time in New York where he established his own label before settling in London, where his partnership with Princess Diana flourished. His collections today include womenswear, menswear, bags, homeware and jewellery. "Paul led a remarkable life as a leading figure in Irish, UK and international fashion and business for decades. He built a hugely successful business through incredible talent, discipline, and an unwavering commitment to quality," Ireland's Deputy Prime Minister Simon Harris said in a statement. "His was and is a quite remarkable Irish success story." (Reporting by Padraic Halpin. Editing by Mark Potter)

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TAIPEI (Reuters) -A film about the early part of Taiwan's often brutal martial law era won best picture on Saturday in Taipei at the Golden Horse awards, the Chinese-speaking world's version of the Oscars. Free from the widespread censorship of China, Taiwan's Golden Horse awards typically attract a diverse selection of films from across the Chinese-speaking world. "A Foggy Tale" had led the nominations for the 62nd Golden Horse Awards with 11 nods, and won the top honour. Set during the start of Taiwan's 1949-1987 martial law era, which is referred to as the "White Terror", the movie follows a young girl who tries to reclaim the body of her executed brother. "Taiwan's democracy allows diverse national narratives to coexist, different viewpoints to be debated," Taiwan President Lai Ching-te, who saw the film at a cinema on Friday evening, wrote on his Facebook page. "As long as there is freedom, more great films will be born," he added. Meanwhile, best actress went to China's Fan Bingbing, playing a spiritual healer and exorcist in the Malaysia-set "Mother Bhumi" and directed by Malaysian Chong Keat Aun. Fan, who was not in Taiwan for the ceremony, offered her thanks for the award by telephone after Chong called her live from the stage. Fan disappeared from public view in 2018, prompting international speculation about her whereabouts, before Chinese authorities handed her an 883 million yuan ($124.25 million) fine for tax evasion months later. She returned to cinema in 2023 in "Green Night". China, which claims democratically governed Taiwan as its own territory, in 2019 blocked its movie industry from officially participating in the Golden Horse Awards, which take place annually in Taiwan. Beijing's move followed uproar in 2018 in China and among Chinese stars at the awards ceremony after Taiwanese director Fu Yue made comments in support of Taiwan's formal independence, a red line for Beijing. But Chinese films, generally either banned in their home country or with no hope of a public release there, have continued to enter the awards. ($1 = 7.1066 Chinese yuan renminbi) (Reporting by Yi-Chin Lee, Angie Teo and Ann Wang; Writing by Ben Blanchard; Editing by William Maclean)

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By Alicia Powell (Reuters) -Susan Powter, the fitness guru who dominated 1990s television with her "Stop the Insanity!" catchphrase, is making a comeback in a documentary that explores her fall from fame into bankruptcy. The film, which comes after Powter spent years in obscurity following lawsuits that left her bankrupt, seeks to reintroduce the '90s icon to a new generation while highlighting themes of financial ruin, female empowerment and food insecurity. "Absolutely nothing has changed and everything has changed, every single thing in my life has changed, nothing has changed on the surface. But real hope is there, real opportunity to work again. That's all I want to do," said Powter.     Once a household name, Powter's highly successful infomercial generated more than $100 million in sales, and she sold more than 10 million books and videos worldwide, in addition to hosting a nationally syndicated talk show.     However, Powter revealed that poor business deals and lawsuits with her business partners left her bankrupt and living in a roach-infested transient hotel in Las Vegas, where film director Zeberiah Newman discovered her.          After a conversation over ramen noodles, Powter agreed to share her story with both rage and shame, but not fear.     The 67-year-old declared the film wasn't just about her, but a story of societal reflection and human redemption. "We can take Susan Powter to the 99-cent store and hear and watch her struggle to find real food and sort (of) highlight this idea that a lot of people are in food deserts," Newman said.     While Powter is still driving for Uber Eats and living in a small apartment in Las Vegas, she said her refusal to be a victim and her rage are guiding her toward her second act.     The film is currently in theaters in both Los Angeles and New York and available for pre-order on Apple TV. (Reporting by Alicia Powell; Editing by Edmund Klamann)

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By Dawn Chmielewski and Chris Sanders (Reuters) -Paramount Skydance, Comcast and Netflix are bidding to buy Warner Bros Discovery, Reuters reported on Thursday, but each company's bid faces its own political and regulatory risks. Factors to watch include market share imbalances each bidder could bring, investors and public comments by U.S. President Donald Trump or his administration about each company. The White House could not immediately be reached for comment. Political Risk Paramount Skydance: Paramount may have the inside track because of its White House connections and the significant cash the world's second-richest person, Larry Ellison, can provide Warner Bros Discovery to close the deal. His son, Paramount CEO David Ellison, enjoys Trump's favor, which could help smooth regulatory hurdles. Democratic Senators Elizabeth Warren, Bernie Sanders and Richard Blumenthal worry approval of the deal could be tainted by political favoritism, citing Paramount Global's $16 million donation to Trump's Presidential Library. The payment, made prior to a merger with Skydance that placed Ellison at the media company's helm, settled a lawsuit Trump brought over edits to a "60 Minutes" interview. Still, if the bid includes foreign investors, the size of their potential stake could trigger a review by the Committee on Foreign Investment in the United States. The merging of Paramount's and Warner Bros' cable television networks could raise concerns about market concentration for the DOJ. Outside the U.S., regulators would also weigh in under foreign direct investment regimes, while European authorities would examine media plurality rules given the combination of CNN and CBS. Comcast: The Philadelphia‑based cable giant faces a different political climate. Trump has repeatedly denigrated the company over its unit NBC's coverage of his second term in office, calling it "Concast," and criticized its Chairman Brian Roberts. That hostility could complicate the DOJ's posture, though any opposition would need to be grounded in law and competition concerns rather than White House preference. The DOJ sought to block AT&T's $85.4 billion acquisition of Time Warner, whose CNN attracted Trump's ire during his first term in the White House. A federal judge ultimately cleared a path for the deal in 2018. Netflix:  The streaming leader has its own potential political struggles. In October 2025, the Pentagon criticized "Boots," a series about a gay Marine, according to the Hollywood Reporter. "We will not compromise our standards to satisfy an ideological agenda, unlike Netflix whose leadership consistently produces and feeds woke garbage to their audience and children," a Defense Department representative said. Even before the bids were in, Republican Senator Roger Marshall and Representative Darrell Issa warned that allowing Netflix to take over the company would hand it the content rights of HBO Max and Warner Bros, which they said could raise prices and decrease choice for consumers. Market dominance, however, is in the eye of the beholder. YouTube accounts for more television viewing in the U.S. than its closest rival, Netflix, according to Nielsen. Competition and Antitrust Risk Given past practice, the Justice Department would likely have antitrust oversight of any deal. Warner Bros Discovery does not hold broadcast TV assets and as a result, Federal Communications Commission Chair Brendan Carr would likely not have jurisdiction. Paramount Skydance: A merger with Warner Bros Discovery would unite two major Hollywood studios, two streaming platforms (HBO Max and Paramount+) and two news operations (CNN and CBS). Exhibitors are likely to worry about the number of films reaching theaters, with Comscore estimating the combined entity would control 32% of the U.S. and Canadian box office, based on 2025 revenue. The creative community may also face reduced employment options if there are fewer movies or if, for example, CBS News and CNN were combined. Sports rights concentration — CBS and TNT under one roof — could potentially raise prices for consumers. Comcast: Combining Universal Pictures with Warner Bros Studios would create an even larger theatrical powerhouse, accounting for more than 43% of the North American box office, according to Comscore. That level of market share could alarm regulators and exhibitors, raising questions about diminished opportunities for filmmakers and talent. The DOJ would need to assess whether such consolidation harms competition in theatrical distribution. During Trump's first term, the DOJ approved a similarly sized deal – Walt Disney's acquisition of 21st Century Fox, which brought together two film studios that at the time represented a combined 38% of the domestic box office, according to Comscore. Netflix: The streaming leader's bid would not affect theatrical releases but would reshape the subscription video market. (Netflix will continue to distribute movies into theaters, a source familiar with the matter said, confirming a Bloomberg report). Adding HBO Max's 128 million subscribers to Netflix’s more than 300 million would create a formidable player. Regulators may ask whether such scale limits consumer choice, though the market definition is contested: YouTube, TikTok and other platforms command significant viewing time. The DOJ would need to decide whether Netflix's dominance constitutes a threat to competition or simply reflects evolving consumer habits. (Reporting by Dawn Chmielewski in Los Angeles and Chris Sanders in Washington; Editing by Richard Chang)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)

By Dawn Chmielewski and Chris Sanders (Reuters) -Paramount Skydance, Comcast and Netflix are bidding to buy Warner Bros Discovery, Reuters reported on Thursday, but each company's bid faces its own political and regulatory risks. Factors to watch include market share imbalances each bidder could bring, investors and public comments by U.S. President Donald Trump or his administration about each company. The White House could not immediately be reached for comment. Political Risk Paramount Skydance: Paramount may have the inside track because of its White House connections and the significant cash the world's second-richest person, Larry Ellison, can provide Warner Bros Discovery to close the deal. His son, Paramount CEO David Ellison, enjoys Trump's favor, which could help smooth regulatory hurdles. Democratic Senators Elizabeth Warren, Bernie Sanders and Richard Blumenthal worry approval of the deal could be tainted by political favoritism, citing Paramount Global's $16 million donation to Trump's Presidential Library. The payment, made prior to a merger with Skydance that placed Ellison at the media company's helm, settled a lawsuit Trump brought over edits to a "60 Minutes" interview. Still, if the bid includes foreign investors, the size of their potential stake could trigger a review by the Committee on Foreign Investment in the United States. The merging of Paramount's and Warner Bros' cable television networks could raise concerns about market concentration for the DOJ. Outside the U.S., regulators would also weigh in under foreign direct investment regimes, while European authorities would examine media plurality rules given the combination of CNN and CBS. Comcast: The Philadelphia‑based cable giant faces a different political climate. Trump has repeatedly denigrated the company over its unit NBC's coverage of his second term in office, calling it "Concast," and criticized its Chairman Brian Roberts. That hostility could complicate the DOJ's posture, though any opposition would need to be grounded in law and competition concerns rather than White House preference. The DOJ sought to block AT&T's $85.4 billion acquisition of Time Warner, whose CNN attracted Trump's ire during his first term in the White House. A federal judge ultimately cleared a path for the deal in 2018. Netflix:  The streaming leader has its own potential political struggles. In October 2025, the Pentagon criticized "Boots," a series about a gay Marine, according to the Hollywood Reporter. "We will not compromise our standards to satisfy an ideological agenda, unlike Netflix whose leadership consistently produces and feeds woke garbage to their audience and children," a Defense Department representative said. Even before the bids were in, Republican Senator Roger Marshall and Representative Darrell Issa warned that allowing Netflix to take over the company would hand it the content rights of HBO Max and Warner Bros, which they said could raise prices and decrease choice for consumers. Market dominance, however, is in the eye of the beholder. YouTube accounts for more television viewing in the U.S. than its closest rival, Netflix, according to Nielsen. Competition and Antitrust Risk Given past practice, the Justice Department would likely have antitrust oversight of any deal. Warner Bros Discovery does not hold broadcast TV assets and as a result, Federal Communications Commission Chair Brendan Carr would likely not have jurisdiction. Paramount Skydance: A merger with Warner Bros Discovery would unite two major Hollywood studios, two streaming platforms (HBO Max and Paramount+) and two news operations (CNN and CBS). Exhibitors are likely to worry about the number of films reaching theaters, with Comscore estimating the combined entity would control 32% of the U.S. and Canadian box office, based on 2025 revenue. The creative community may also face reduced employment options if there are fewer movies or if, for example, CBS News and CNN were combined. Sports rights concentration — CBS and TNT under one roof — could potentially raise prices for consumers. Comcast: Combining Universal Pictures with Warner Bros Studios would create an even larger theatrical powerhouse, accounting for more than 43% of the North American box office, according to Comscore. That level of market share could alarm regulators and exhibitors, raising questions about diminished opportunities for filmmakers and talent. The DOJ would need to assess whether such consolidation harms competition in theatrical distribution. During Trump's first term, the DOJ approved a similarly sized deal – Walt Disney's acquisition of 21st Century Fox, which brought together two film studios that at the time represented a combined 38% of the domestic box office, according to Comscore. Netflix: The streaming leader's bid would not affect theatrical releases but would reshape the subscription video market. (Netflix will continue to distribute movies into theaters, a source familiar with the matter said, confirming a Bloomberg report). Adding HBO Max's 128 million subscribers to Netflix’s more than 300 million would create a formidable player. Regulators may ask whether such scale limits consumer choice, though the market definition is contested: YouTube, TikTok and other platforms command significant viewing time. The DOJ would need to decide whether Netflix's dominance constitutes a threat to competition or simply reflects evolving consumer habits. (Reporting by Dawn Chmielewski in Los Angeles and Chris Sanders in Washington; Editing by Richard Chang)

(The article has been published through a syndicated feed. Except for the headline, the content has been published verbatim. Liability lies with original publisher.)