Tag: Entertainment-HollywoodReporter

  • HBO Max and Paramount+ Will Become One Streamer

    HBO Max and Paramount+ Will Become One Streamer

    HBO Max and Paramount+ will combine into one direct-to-consumer (DTC) streaming service if and when Paramount Skydance’s acquisition of Warner Bros. Discovery is complete.

    “As we said, we do plan to put the two services together, which today gives us a little over 200 million direct to consumer subscribers,” Paramount CEO David Ellison said during a Monday investor call outlining his broader business plan. “We think that really positions us to compete with the leaders in the space. At Paramount, by the middle of this year, we’ll have completed the consolidation of our three services under one unified stack, and you can see us taking a similar approach to this platform going forward. And we think the combined offering, and given the amount of content and what we can do from the tech side, really will put us in a position to be able to compete with the most scaled players in DTC.”

    However, HBO as a brand will continue to “operate with independence,” Ellison said.

    Good call.

    “Casey[Bloys] and his team do absolutely a remarkable job at HBO,” Ellison continued. “And as we said, we do plan for that to be able to operate with independence, so that HBO can, candidly, do what it does incredibly well. Our viewpoint is HBO should stay HBO. They built a phenomenal brand. They are a leader in the space, and we just want them to continue doing more of it. But by bringing the platforms together, all of our content will be able to reach even a broader audience than we can do standalone.”

    Ellison’s personal fave HBO IP is Game of Thrones, which just feels so appropriate given the past year of his moguling.

    It was not a foregone conclusion that HBO Max and Paramount+ would merge into one, even after it became a foregone conclusion that Paramount Skydance and Warner Bros. Discovery would. There are pros and cons to the planned consolidation and to a path with continued separation, as I outlined here on Friday.

    In November, I asked Bloys if he was nervous about a future with HBO potentially under Ellison and Paramount. At the time, Netflix wasn’t even (publicly) in the game.

    “I had a town hall a couple weeks ago, and I said, ‘The only thing you can do in this process, and the best thing you can do, is just focus on your job, which is making the most impactful programming in whatever genre,’” Bloys replied. “It’s kind of a waste of energy, because I don’t know what’s going to happen.”

    “Now, that being said, I’m obviously very proud of what we’ve done at HBO and HBO Max. I would like to see that continue,” he continued. “We’ve all worked at HBO for a long time. I’m proud of our track record, but you have to go into these processes with an open mind. And a lot of it is out of our hands.”

    Also on the Monday morning conference call, Ellison committed to 45-day theatrical windows ahead of a PVOD run, itself before SVOD/AVOD. Paramount Skydance Warner Bros. Discovery (my name for it) will be formed under a $79 billion mountain of net debt.

  • Blackpink’s Jisoo Shares Love for Album ‘Deadline,’ Talks New Netflix K-Drama: “Blinks Will Love It”

    Blackpink’s Jisoo Shares Love for Album ‘Deadline,’ Talks New Netflix K-Drama: “Blinks Will Love It”

    Jisoo, the eldest member of K-pop supergroup Blackpink, is dishing on her excitement about the group’s long-awaited new album.

    Deadline, the group’s first multi-track release in over three years, was released on Friday. The five-track EP features the previously release single, “Jump,” which became a hit for the group over the summer. Deadline is led by the album’s lead single, “Go,” a catchy three-minute powerful anthem.

    “Blackpink’s 10th anniversary is this year,” Jisoo told The Hollywood Reporter during press for her new K-drama Boyfriend on Demand.

    “I’m so happy that we’re releasing another album with such great songs this year,” she continues. “We believe everyone will love our [new] music. I hope you enjoy it a lot.”

    The 31-year-old singer and actress, fresh off Blackpink’s Deadline world tour, is returning to television in a new Netflix K-drama, Boyfriend on Demand. Jisoo plays an “exhausted webtoon producer” who “escapes reality through a subscription-based virtual dating simulation program, where she gets to experience the dates of her dream” in the series.

    “Through this character, Mi-rae, I was able to show multiple sides of myself,” Jisoo tells THR. “I’m sure the Blinks (the group’s fanbase) will love it.”

    The synopsis continues, “Blending the relatable challenges of daily work life and a never-before-seen virtual reality dating subscription program, Boyfriend on Demand is a unique take on the romantic comedy series. Jisoo takes on the role of Seo Mi-rae, who longs for a second chance at love in virtual reality. Seo In-guk plays Park Kyeong-nam, Mi-rae’s colleague and rival webtoon producer.”

    In the time since their last group release, Blackpink, comprised of members Jisoo, Jennie, Lisa and Rosé, has found immense success for their respective solo endeavors. In addition to Boyfriend on Demand, Jisoo put out a solo album, Amortage, in February 2025, embarked on a solo Asia tour and recently starred in another series, Newtopia.

    Lisa, Jisoo, Jennie and Rosé for Blackpink’s latest album, ‘Deadline.’

    YG Entertainment

    Lisa made her acting debut on the hit HBO show, The White Lotus, and put out a solo album, Alter Ego, which she performed during her solo Coachella set last year. Jennie also performed a solo set at Coachella last year in support of her album, Ruby.

    Rosé found herself with an unstoppable top 40 hit in “Apt,” earning the singer three Grammy nominations and making her the first K-pop artist to score a general field nomination. She opened this year’s Grammy ceremony with a rocking rendition of the hit song. The 29-year-old described the possibility of that nomination “as a moment that proves to myself so many things” to herself during the singer’s THR cover story.

    The group reunited last year for the Deadline world tour, a prelude to this album. The ground-breaking group hit stops across the world, including two sold-out nights at SoFi Stadium in Los Angeles.

    Jisoo, whose show Boyfriend on Demand premieres March 6 on Netflix, has one final message for her beloved fans. “Please root for me,” she says. “I love you all.”

    Boyfriend on Demand streams globally on Netflix beginning March 6.

  • David Ellison Talks Warners Deal: “This Is Not About Consolidation, This Is About Reinventing the Business”

    David Ellison Talks Warners Deal: “This Is Not About Consolidation, This Is About Reinventing the Business”

    David Ellison wants to forge a modern media and entertainment empire, and Warner Bros. Discovery will become its centerpiece.

    The CEO of Paramount on Monday spoke for the first time about the $110 billion mega-deal, which will see the smaller company, backed by tens of billions from his father Larry Ellison and tens of billions in debt from a consortium of lenders, swallow the larger one.

    The result will be a behemoth, with two major film studios (Paramount and Warner Bros.) a jumble of TV studios, two major streaming services in HBO Max and Paramount+, and a stable of TV channels that will include CBS, TNT, CNN, MTV, Nickelodeon, HGTV and many more that will make it a formidable player in the declining but lucrative pay-TV business. It will be a major sports player, and will combine two TV news giants in CNN and CBS.

    Ellison outlined the deal as being about the future of the entertainment business:

    “By uniting our iconic studios complimentary streaming platforms with a global footprint, our cable and linear networks, and our world-class IP, we have the opportunity to help shape the future and build a next generation media and entertainment company. This has been our goal since day one,” Ellison said Monday. “This is not about consolidation, it’s about reinventing the business. We want to expand our reach and enhance our ability to create the world’s most compelling stories and experiences. And we’re incredibly excited about this transaction, and it will accelerate that ambition.”

    Hollywood has been wary of the deal (just as it was wary of Netflix’s deal) out of concern for jobs and production. Ellison sought to assuage at least some of those concerns Monday, reiterating that the company was not planning to pull back on film or TV production. And of particular note to the TV business, he promised continued support for HBO, telling analysts that “HBO should stay HBO” and praising Casey Bloys and his team:

    “HBO is a crown jewel in this business, having brought to life some of the most powerful stories told over generations,” Ellison said. “Under our ownership, it will continue to have the resources and independence to do what it does best. At the same time, we believe in licensing our content to other platforms and producing third party content in our television studios, and we are committed to growing our studios and the popular shows they create.”

    That being said, Ellison confirmed that once the deal closes, the plan is to combine HBO Max and Paramount+ into one major streaming platform.

    And he committed to 45 day theatrical windows, before sending films premium video on demand (PVOD), echoing commitments made by Netflix. Ellison, of course, is a fan of big theatrical films.

    “Franchises and big pieces of intellectual property are launched in theaters, period,” Ellison said Monday. “We really believe that movies should be seen in theaters, and we still believe it’s what that’s one of the most significant places that you can really create long term resident intellectual property.

    “Television is a completely different business in that regard,” he added. “You can obviously pierce the zeitgeist, and put huge hits up on the direct-to-consumer platforms. But when it comes to the DTC business, engagement is absolutely key to obviously, success there. So you have to look at what drives engagement.”

    But there will be financial impacts, and those remain a source of indigestion for the town. The company will have approximately $79 billion of net debt, Paramount chief strategy officer Andy Gordon told analysts on the call, and the company is targeting $6 billion in cost savings and 3X leverage within three years of closing.

    That will mean lots of jobs lost, though they took effort to say that the majority of the savings will not come from labor, and “we have no intention to pull back on on production,” as Ellison said.

    While the company may rationalize its real estate, Ellison and Gordon reiterated that they have no plans to sell any assets (no, not even cable channels) to try and deleverage.

    “Like at Paramount, believe in the assets we’re buying,” Gordon said.

    And it was hard to ignore one other thing missing from Monday’s Wall Street call: Jeff Shell, Paramount’s president, who is being investigated by an outside law firm in connection to a claim brought by a whistleblower who alleges that Shell shared confidential information with him related to the company’s UFC deal. The call was instead led by Ellison, Gordon, and Paramount’s CFO.

  • ‘Scary Movie 6’ Trailer Arrives Ahead of ‘Scream 7’

    ‘Scary Movie 6’ Trailer Arrives Ahead of ‘Scream 7’

    The first trailer for the sixth Scary Movie has been released, and its getting some perfect placement in cinemas: It’s playing ahead of Scream 7.

    The trailer (below) for the Wayans brothers’ project includes many familiar faces from the previous films, with Anna Faris and Regina Hall — who starred in the first four installments — returning alongside Marlon and Shawn Wayans.

    While the project has been widely called Scary Movie 6, the official title revealed today is simply Scary Movie. This makes sense as the new film is the first Scary Movie in 13 years, which also gives the latest entry plenty of fresh territory to mock. The trailer teases spoofs of Get Out, the Terrifier films, Megan, Wednesday, and, of course, the Scream franchise — which inspired the first film (along with the original I Know What You Did Last Summer). This might be the first time a film opens in theaters attached to a trailer for a another movie mocking its franchise.

    The trailer also seems to suggest the film will poke fun of politics and “woke” culture, with one character correcting another on their pronouns while being stabbed, and a tagline promising “every line will be crossed.”

    Scary Movie is directed by Michael Tiddes and written by Marlon, Shawn and Keenen Ivory Wayans, along with Rick Alvarez.

    The film co-stars Jon Abrahams, Lochlyn Munro, Cheri Oteri, Dave Sheridan, Damon Wayans Jr., Anthony Anderson and Chris Elliott.

    The first Scary Movie dropped in 2000 and was directed by Keenen Ivory Wayans. Several sequels quickly followed. After a seven year break, the release of the widely derided Scary Movie 5 effectively killed the franchise for more than a decade (while Scary Movie 3 is widely considered the franchise’s best).

    Scary Movie opens in theaters June 12.

  • Gwyneth Paltrow’s Business Partner Blasts Democrats Over Iran Strike Criticism

    Gwyneth Paltrow’s Business Partner Blasts Democrats Over Iran Strike Criticism

    Moj Mahdara, the co-founder of Gwyneth Paltrow‘s investment company Kinship Ventures, has sharply rebuked Democrats for failing to support Donald Trump’s war against Iran.

    Mahdara, an Iranian-American entrepreneur, former CEO of Beautycon as well as co-founder of the Iranian Diaspora Collective, appeared on CNN on Saturday to discuss the U.S. and Israel’s pre-emptive attacks on Iran, and ultimately successful “decapitation” airstrikes on the Islamic Republic’s leadership, including Ayatollah Ali Khamenei.

    Speaking to Dana Bash about what she felt was the lack of support from the Democrats for the military action, Mahdara said, “I think it is imperative the Democratic Party wake up and get past their dislike of President Trump and their feelings on international conflicts… This is about national security. This is about what’s possible in the Middle East. This about being a good partner to the Gulf states and what their aspirations are.”

    Mahdara then linked regime change in Iran to issues including Venezuela, the U.S.’s China policy, Ukraine and more. Describing themselves as a “huge” Democrat, Mahdara added that Americans “have to trust the Iranian people.” “We know this government better than anyone else. When you dismember and decapitate this regime, you are going to see a change in the Middle East, in Venezuela, in China, [and] in Ukraine,” Mahdara said.

    Mahdara believes that toppling the Islamic Republic will be “like ending the Soviet Union, [taking down] the Berlin Wall.” She concluded: “This is a transformational moment for humankind, for security, and, as an American, this is in our interest to complete it.”

    Opinion polls like the recent Reuters/Ipsos poll found that only roughly one in four Americans support war against Iran, and prominent Democrats such as New York Rep. Alexandria Ocasio-Cortez and New York Mayor Zohran Mamdani have also publicly slammed the military action.

    The entrepreneur and activist criticized Democrats for their lack of full support for Trump’s military action, adding, “I am a Democrat. I have been a huge Democrat. I am incredibly disappointed with my party. I do not see myself in them at this moment.”

  • Dish TV Owner EchoStar Loses 168,000 Pay-TV Subs in Fourth Quarter

    Dish TV Owner EchoStar Loses 168,000 Pay-TV Subs in Fourth Quarter

    Charlie Ergen’s EchoStar reported a net pay-TV subscriber drop of approximately 168,000 in the fourth quarter, compared to a decrease of approximately 253,000 in the year-ago period.

    The company ended the year 2025 with 7.00 million pay-TV subscribers, including 5.02 million Dish TV subscribers and 1.98 million Sling TV subscribers. The company lost 636,000 Dish TV subs in all of 2025, down from a loss of 785,000 in 2024. The firm also recorded a loss of 167,000 Sling TV subs in 2025, a swing from a 37,000 gain in 2024.

    The decrease in net Dish TV subscriber losses “primarily resulted from a lower Dish TV churn rate, partially offset by lower gross new Dish TV subscriber activations,” EchoStar said in a regulatory filing. “The change in net Sling TV subscribers was primarily related to lower Sling TV subscriber activations, partially offset by lower Sling TV subscriber disconnects in 2025 due to our emphasis on acquiring higher quality subscribers.” The filing added: “We continue to experience increased competition, including competition from other subscription video on-demand and live-linear OTT service providers, many of which are providers of our content and offer football and other seasonal sports programming direct to subscribers on an a la carte basis. For example, in August 2025, ESPN Unlimited and Fox One sports packages were launched.”

    Retail wireless subscribers decreased by approximately 9,000 in the fourth quarter, compared to an increase of 90,000 in the year-ago period. The company ended 2025 with 7.51 million retail wireless subscribers. And broadband subscribers dropped by approximately 44,000 in the fourth quarter, compared with a decrease of 59,000 in the fourth quarter of 2024. The company closed the quarter with 739,000 broadband subscribers.

    The company’s fourth-quarter loss of $1.2 billion compared with a year-ago profit of $335 million, as revenue declined from $4.0 billion to $3.8 billion. Operating income before depreciation and amortization had hit $397 million in the year-ago period, but swung to a $567 million loss in the latest quarter.

    EchoStar’s 2025 loss widened to $14.50 billion from $119.55 million in the year-ago period, “primarily attributable to non-cash asset impairments and other expenses totaling approximately $17.63 billion.” The net loss in 2024 was positively impacted by a noncash gain totaling approximately $689 million related to the firm’s debt exchange offer and the resulting debt extinguishment.

  • Jessie Buckley Dedicates Actor Award Win to ‘Hamnet’ Co-Star Emily Watson: “You’re the Realest of the Real”

    Jessie Buckley Dedicates Actor Award Win to ‘Hamnet’ Co-Star Emily Watson: “You’re the Realest of the Real”

    Jessie Buckley came out on top at the 2026 Actor Awards for outstanding performance by a female actor in a film, cementing the Hamnet star’s status as the Oscar frontrunner for best actress.

    It’s been a dominant run for the Irish native, as she came into Sunday night with major wins already from the Critics Choice Awards, Golden Globes and BAFTAs. With this win, recognizing her devastating turn as Agnes Shakespeare, coming from her peers in SAG-AFTRA, she’ll head into the Oscars in two weeks having effectively swept the precursor awards circuit — a feat that almost always translates to victory at the Academy Awards.

    Buckley spoke to being embraced by her peers as she began her speech, saying, “I have been categorically changed by so many people in this room and beyond. … What a way to spend a life.” But the bulk of her remarks were then dedicated to Emily Watson, her costar in Hamnet and an inspiration for her in forging her own career. She pointed to Watson from the stage and said, “You!”

    “I’d like to say a special thank you to my incredible friend and date tonight, Emily Watson,” Buckley continued. “Breaking the Waves made me say to myself, that’s what I want to do. … The best advice that you always give to me is to always go back to the well of just being human. Ground zero, babe. You’re the realest of the real.”

    Buckley’s strongest competition at the Actor Awards 2026 was thought to be Rose Byrne, whose intense performance in If I Had Legs I’d Kick You won her a slew of critics’ prizes, in addition to a Golden Globe and a Spirit Award. Byrne is also nominated at the Oscars, as are fellow Actor Award competitors Emma Stone (Bugonia) and Kate Hudson (Song Sung Blue); SAG-AFTRA’s final nominee in the category, One Battle After Another’s Chase Infiniti, was passed over by the Academy in favor of Sentimental Value’s Renate Reinsve. This was Buckley’s first-ever individual Actor Award nomination, as SAG-AFTRA ignored her ultimately Oscar-nominated turn in The Lost Daughter.

    Buckley is also nominated tonight as part of the Hamnet cast, and was previously cited for best ensemble for Women Talking. She’s the first Irish performer ever to win this category, and should she win the Oscar for best actress, will also be the first-ever Irish winner there.

  • Iranian Independent Filmmakers Association Supports “Targeted Actions” Against Government Officials in Wake of U.S. Military Operations

    Iranian Independent Filmmakers Association (IIFMA) has released a statement backing the “targeted actions against government officials and oppressive agents” following a joint military operation by the United States and Israel on Feb 28 in Iran that caused the death of Supreme Leader Ali Khamenei. The filmmakers’ group also called for the protection of the civilian population of Iran.

    “The Islamic regime in Iran, following the national uprising and tragic massacre of January 2025, has left its defenseless citizens with no option but to seek urgent humanitarian intervention from the international community,” reads the statement. The Iranian Independent Filmmakers Association was founded in 2022 following the Women, Life, Freedom movement, and claims to be made up of members of Iran’s disident filmmaking community.

    The statement continued: “In this context, the Iranian Independent Filmmakers Association (IIFMA) calls upon the international community to uphold Iran’s sovereignty and to prioritize the protection of tens of millions of citizens held hostage by the Islamic regime. We advocate for targeted actions against government officials and oppressive agents while avoiding harm to innocent civilians. It is essential to put an end to this archaic cycle of patriarchal violence.”

    The IIFMA statement comes after the U.S. and Israel began a surprise coordinated military operation in Iran on Feb 28 that has seen missile strikes in the capital, Tehran, and across the country continue into Sunday. In a message, President Donald Trump said the attacks were an attempt to wipe out Iran’s nuclear capabilities and to bring about regime change.

    The attacks also come after a crackdown by the Islamic Revolutionary Guard on anti-government protests on Jan 8 and Jan 9, which killed over an estimated 30,000 civilians. In addition to Khamenei, the head of Iran’s Revolutionary Guard was killed during the Feb 28 military operation.

    A retaliatory strike from the Islamic Republic has reportedly killed three American Army soldiers deployed in Kuwait. Counterattacks have also struck U.S. bases in Bahrain and the United Arab Emirates.

    Read the full statement from the IIFMA below.

    The Islamic regime in Iran, following the national uprising and tragic massacre of January 2025, has left its defenseless citizens with no option but to seek urgent humanitarian intervention from the international community. For decades, this regime has squandered national wealth on nuclear and military infrastructure while imposing harsh sanctions that have devastated the populace. Its recent cowardly attacks on neighboring countries reveal its weakening grasp on power.

    In this context, the Iranian Independent Filmmakers Association (IIFMA) calls upon the international community to uphold Iran’s sovereignty and to prioritize the protection of tens of millions of citizens held hostage by the Islamic regime. We advocate for targeted actions against government officials and oppressive agents while avoiding harm to innocent civilians. It is essential to put an end to this archaic cycle of patriarchal violence.

    IIFMA is particularly concerned for the lives of all prisoners, especially those involved in the ongoing Revolution. We are alarmed by the regime’s deceitful tactics, which may lead to a repeat of the Cinema Rex tragedy, where blame for civilian deaths is shifted onto foreign actors.

    In these challenging times, it is only through united resistance against theocracy that we can hope to end violence and forge a path toward lasting peace and freedom. True peace is not merely the absence of conflict; it is built upon the foundation of genuine liberty and dignity for all.

  • Box Office: ‘Scream 7’ Scares Up Record $64M U.S. Opening, $97M Globally for a Victorious Paramount

    Box Office: ‘Scream 7’ Scares Up Record $64M U.S. Opening, $97M Globally for a Victorious Paramount

    The good news continues for Paramount as Scream 7 blew past all expectations at the domestic box office, where the Spyglass Media pic opened to a franchise-best $64.1 million domestically and $33.1 million overseas for a global start of $97.2 million. In North America, it’s the biggest launch ever for a horror title going out in February and the biggest debut of 2025 so far, not adjusted for inflation.

    Friday’s haul of $28.8 million includes $7.8 million in Thursday previews, which began just as David Ellison’s Paramount-Skydance learned the path has been cleared for the company to buy Warner Bros. Discovery in a deal that has left Hollywood rocked to its core after Netflix stepped away. The merger — which would mark be the biggest leveraged buyout in history — is bittersweet for many since it will see the number of legacy Hollywood studios dwindle from five to four and result in massive layoffs across film, television and corporate operations.

    Back to Scream 7. The droves of moviegoers rushing to see the pic prove once again why many genre titles are generally review-proof. The pic — whose major coup was getting Neve Campbell to return after sitting out the last installment — currently sits at a series-worst 33 percent critics’ score on Rotten Tomatoes, but the RT audience score is a good-enough 78 percent (studios generally want to see 80 percent and above). And it earned a B- CinemaScore; its predecessors likewise earned some variation of a B, which is a high grade for a horror title.

    The demo breakdown couldn’t be better. The male split and females was relatively narrow, while the audience was notably diverse. Gen Zers of all ages and younger Millennials turned out in force.

    While Ellison’s hand-picked Paramount Pictures co-chairs Dana Goldberg and Josh Greenstein inherited the Spyglass project, they, along with newly installed marketing head Josh Goldstine, successfully carried it over the finish line. Spyglass fully produced the movie, with Paramount co-financing half of the net $45 million budget.

    Heading into the weekend, Paramount was forecasting a $40 million launch for the slasher pic, which would have still marked the best three-day launch of the year to date. Tracking was more bullish, with the National Research Group projecting $45 million. As of now, Scream VI, which launched to $44.4 million in March 2023, is the record-holder for the series’ top opener, not adjusted for inflation.

    Scream 7 has another secret weapon in its arsenal — it will be the first installment to play in Imax. It is also booked across all other premium formats. Combined, they are ponying up 40 percent of the grosses. Imax doesn’t generally turn over most of its footprint to a horror title, but the 2026 pipeline to date has been relatively sparse when it comes to event studio product.

    Kevin Williamson, who wrote the script for the original ScreamScream 2 and Scream 4, directs the seventh installment. The story follows Sidney (Campbell) as she returns to a small town with her daughter (Isabel May), only to soon cross paths with a new Ghostface killer. The girl is named Tatum, the same name as Rose McGowan’s character in the 1996’s Scream, who was murdered.

    A trailer released in October focused on Ghostface targeting Sidney and Tatum, with Sidney teaching her daughter the rules of surviving the brutal killer. Another ad played during the Super Bowl, underscoring how important the franchise is to the new regime at Paramount. In addition to Campbell, original star Courteney Cox returns as reporter Gale Weathers.

    While Campbell’s return marks a highly anticipated moment for fans, two stars of the revival films Scream (2022) and Scream VI will not be back. Melissa Barrera was fired from Scream 7 because of her social media posts about the Israel-Hamas war. Jenna Ortega had already left the film voluntarily before the firing, though it was not made public until after. Christopher Landon, who was set to direct the horror sequel, also exited amid intense fan backlash after Barrera’s firing, despite not being the one to fire the actress.

    Other franchise stars returning include David Arquette as Dewey Riley, completing the legacy trio alongside Sidney and Gale. Matthew Lillard, one of the original co-Ghostface killers, is coming back as Stu Macher, as well as Scott Foley, Scream 3‘s Ghostface Roman Bridger — Sidney’s half-brother. Siblings Chad and Mindy, played by Mason Gooding and Jasmin Savoy Brown, are also in Scream 7.

    Among holdovers, Sony Picture Animated’ GOAT looks to gross $11 million to $12 million for a second-place finish as it finally pulls safely ahead of Warner Bros.’ Wuthering Heights, which is aiming for $7 million to $8 million. (Both titles are in their third weekend.)

    After that, it is anybody’s guess where the next four movies will land, since they are all estimated to earn in the $3 million to $3.5 million range: the new concert doc Twenty Pilots: I Can’t Believe This is My Life, which is booked in more than 770 cinemas, including select Imax runs; Amazon MGM’s holdover Crime 101; Lionsgate’s I Can Only Imagine 2; and Baz Luhrmann‘s EPiC: Elvis Presley in Concert.

    From leading indie outfit Neon, Luhrmann’s pic is expanding nationwide this weekend after opening to a strong $3.3 million from 325 Imax runs a week ago. It is now playing in 1,608 locations, and received a coveted A+ CinemaScore from audiences on Friday after already earning glowing reviews. It opens four years after the filmmaker’s acclaimed biopic Elvis, starring Austin Butler, became the talk of the town.

    Feb. 25, 7:20 a.m.: Updated with revised estimates.

    This story was originally published Feb. 27 at 8:59 a.m.

  • ‘Real Housewives of Potomac’: Bravo Exec on Season 10’s Legal Scandals and What Really Happened With the Colorado Trip

    The Real Housewives of Potomac will put a cap on its 10th season Sunday night, though it was the offscreen activities orbiting the show that have clouded its discourse.

    Missing from the cast this year was Karen Huger, an original Housewife who joined during season one’s 2016 debut. She was absent because she was serving jail time tied to a DUI and DWI. And five days after RHOP season 10 premiered, Wendy Osefo and her husband were arrested and booked on 16 insurance fraud charges. 

    Legal scandals aside, Gizelle Bryant, Ashley Darby, Stacey Rusch and Keiarna Stewart, alongside Osefo, , whose arrest occurred after filming had wrapped. Alongside mainstay Karen’s truancy, season 10 also included new additions Tia Glover and Angel Massie. Monique Samuels, a former Potomac Housewife, also returned in the “friend of” role. 

    Potomac is one in Bravo’s repertoire bursting with hidden gem moments from the Real Housewives filmography. The series is not based amid the glitz and glamour of Beverly Hills or the hustle-heavy streets of New York City, which Joshua Brown, vice president of unscripted production NBCUniversal, cites may be a reason for RHOP’s underrated reputation. 

    “Obviously, Potomac, [Maryland,] is not a huge city. It’s not a metropolis. It’s a very well-to-do suburb,” he says. “We like to, as people have certain expectations, surprise them with how entertaining and fun the show is. …  It’s hard to compare when you just say the words Potomac versus New York or Atlanta. Those are gigantic cities, and we were sneaking up.” 

    It’s undeniable for Bravo fans not to take a look at RHOP nowadays, partly because of the legal attention circulating the series. It’s an unfortunate attraction, though as viewers tuned in to watch Karen’s awaited return in the final season 10 episode (plus the third part of the reunion, which airs Sunday) and Wendy’s addressing of her arrest, plenty of drama unfolded. 

    Freshman Housewife Angel delivered one of, if not the, most controversial group trips in Real Housewives lore. Inviting the women to her award-winning home in Colorado, the women were swiftly informed they were not staying in their friend’s house, but instead a separate house an hour away from her headquarters. Only Tia and Keiarna were invited to stay alongside Angel. 

    “I know that the women, or at least some of the women, genuinely thought they were going to all be staying at Angel’s house going into the trip,” Brown says. “They were genuinely surprised.” 

    Then havoc ensued. 

    After learning they weren’t staying together in one location as a cast, as Housewives typically do on trips, the running water in the guest home stopped working. And having to travel over an hour via car to meet up with Angel was an added layer of annoyance for the Potomac women. 

    The Housewives were outwardly angry with Angel for not providing suitable arrangements for their trip. But how did such a situation arise?  

    It’s understood that production typically foots part of the bill for Real Housewives’ trips, leaving the option for the women to cover additional expenses. Production’s involvement in paying for cast extravaganzas is something Monique brought up in a confessional interview during season 10. 

    “While the network covers certain expenses, it is our job as a host to be in line with production every step of the way,” Monique said in the interview clip while the cast was critiquing Angel’s accommodations. “I gave a list of activities, because why? My name’s on it,” she adding, referring to a trip she hosted in earlier seasons. 

    Brown declined to comment on production’s involvement with payment of Real Housewives trips. Though he notes that “the team really looked to her to help guide, in terms of activities and lodging,” which is what happens when a woman’s name is attached as the “leader” of said trip.  

    “Every year, not just on Potomac but Housewives in general, if someone is hosting the trip and ‘owning’ the trip, it’s really on them to take the lead in planning. We love when our cast members take ownership of a trip and really put their heart into it,” he explains. “Angel is from the area. She lives there. She has a house there. I know the team really looked to her to help guide, in terms of activities and lodging. She really took the lead on this trip, very much so particularly because she and her husband own a luxury travel company as well. The team really did organically rely on them for taking the lead.” 

    Aside from the Colorado controversy, most everyone in the cast seemed to be at odds with standout Stacey. After joining in season nine, this year served as her sophomore installment, a run that Vanity Fair recognized as part of their best performances of 2025 list. (She was the only Bravo-related talent featured on said list.) 

    The ethos of Stacey’s stint on RHOP being labeled a “performance” was posed as a question by Andy Cohen: “Stacey, do you consider what you do on the show to be a performance? One could say that is exactly what these ladies take issue with when it comes to you.” 

    But aren’t all Housewives, in some form or the other, performing on their respective shows? Sure, the show wasn’t conceptualized with hopes of Teresa Giudice flipping a table or Lisa Rinna smashing a wine glass on a table to solidify the franchise as an icon of the reality TV space, but it’s 2026 — there’s no need to deny the notion that Housewives are keen to put on a show for the cameras. 

    Brown, however, insists “it’s best if we don’t feel Housewives performing.” He adds, “I would say Bravo wants cast members where what you see on the screen is what you’re going to get in real life. If you met someone at BravoCon or on the street, I would hope they would feel like the same person that you see on screen.” 

    Addressing the elephant in the RHOP conversation, which the cast and Cohen get deep into in the reunion, the series’ passing legal controversies were an undeniable marker of season 10. Yes, it was a decade-marking year for the Potomac-based series, but it felt different with longtime leader Karen holding a champagne flute in the main title.

    “With an amazing cast member like Karen, she’s always missed. I can’t say that we weren’t thinking about her. We missed her, for sure,” the vp of unscripted production at NBCUniversal notes. “However, I think we also had so much other amazing story going on. And the other women stepped it up in her absence.” 

    Among the stories led by the cast were Ashley’s frowned upon hook-up with former Potomac Housewife Charrisse Jackson Jordan’s son (which didn’t happen on the installment but was merely brought up); Keiarna’s moving back in with her boyfriend Greg who, instead of popping the question like she wanted, gifts her a picture frame as a move-in gift; and Stacey’s recommitment to her ex-husband whom she just divorced. 

    Karen and Wendy’s mostly offscreen conflict drove intrigue for season 10. The former Housewife’s release from jail on Sept. 2 was filmed as the final episode of the installment, alongside a sit-down interview with Cohen. 

    After filming had seemingly wrapped following Karen’s bonus episode, news of the Osefos arrest broke. One week after said arrest, they filmed a short segment that was featured in part one of the reunion. 

    Karen’s reintroduction and Wendy’s commitment to appearances (be that at BravoCon 2025 and to film the season 10 reunion) have drawn in backlash. 

    “We’ve been really happy to see how [Karen’s] doing since being released from prison, and really support her on the journey,” Brown says of Karen’s appearance at the end of season 10. He declined to comment on whether or not she will be reinstated as a full-time cast member for a potential season 11, or any of the women’s status. “But I’m a big fan of Karen’s and big supporter, and I’m rooting for her always,” Brown adds.

    As for how his team navigated news of Wendy’s arrest, Brown says, “When something so kind of surprising and earth shattering happens with one of our series, we really put on our documentary hats and really just try and follow what’s really going on as best we can. We’re just following the events and what’s happening in real time, just like everyone else is as they’ve heard about it.” 

    Of her appearance on the reunion, where her charges were dissected and not shied away from the women to discuss, Brown notes, “I’ve always admired Wendy’s strength of character, and I continue to admire it. I think she is speaking her truth.” 

    With no confirmation on an 11th season, from an outside perspective, it appears the cast is rather disjointed. Brown acknowledges that this sentiment oftentimes arises “particularly at the end of seasons,” and he anticipates the ladies of Potomac will be able to regroup amid much divisive times. 

    “The women of Real Housewives of Potomac have an amazing ability always to come back together and to move forward when you think it’s not possible,” he asserts. “I’m optimistic for the future of this group. … Going into a second decade, I’m hoping we can graduate a level deeper with everyone’s stories, so that viewers can keep learning new incredible things about these women.”

    “But I would never bet against them. That’s all I can say,” Brown concludes. 

    Bravo’s The Real Housewives of Potomac three-part reunion concludes Sunday, March 1, at 8 p.m. Uncensored reunion episodes will be available to stream the next day on Peacock.