Did BLACKPINK’s Lisa secretly marry Frederic Arnault?

NBCUniversal has snapped up the rights to adapt the hit reality show The Traitors for Brazil and Mexico, marking its first format deals in Latin America. This means local versions of the backstabbing, cloak-and-dagger competition—already a global sensation—will soon hit screens in both countries, produced by NBCU’s Latin American division.

Editor’s Note: Reality TV fans in Brazil and Mexico are in for a treat—The Traitors is coming to their shores with local twists. For the industry, it’s a sign of the show’s explosive appeal and NBCU’s push to capitalize on its success in emerging markets. More drama, more betrayals, and (likely) more memes are on the way.

The beloved animated sequel How to Train Your Dragon is still soaring high in South Korea, clinching the top box office spot for the third weekend in a row. It pulled in $1.5 million, adding to a solid $9.4 million total haul so far. Meanwhile, fresh faces like Elio and 28 Years Later made strong debuts, shaking up the competition but not quite dethroning the dragon.

Editor’s Note: This isn’t just about a kids' movie staying popular—it’s a sign of how enduring franchises can keep drawing crowds even as new films try to grab attention. For the Korean box office, it’s a healthy mix of loyalty to familiar stories and excitement for fresh releases, which bodes well for theaters still bouncing back post-pandemic.

Indian filmmakers are clashing with the Central Board of Film Certification (CBFC) over what many see as arbitrary censorship. Recent examples include demands to change the protagonist’s name in Janaki V/S State of Kerala and edits to Sitaare Zameen Par for political messaging. Critics argue these moves stifle creativity, while others defend them as necessary safeguards. With more films tackling sensitive topics, the debate over artistic freedom versus regulation is heating up.

Editor’s Note: This isn’t just about a few cuts—it’s a growing tension over who gets to decide what stories can be told. If filmmakers feel muzzled, it could chill bold storytelling or push creators toward self-censorship. For audiences, it raises questions: Are we seeing the full picture, or just the one the board approves?

Zhang Ziyi’s big comeback in She’s Got No Name, a period drama directed by Peter Chan, crushed it at the Chinese box office last weekend, pulling in $24.1 million right out of the gate. The film marks her first major role in years and reunites her with Chan, whose track record adds extra buzz.

Editor’s Note: This isn’t just another box office win—it’s a signal that star power and strong storytelling still draw crowds, even in a tough market. For fans, it’s a long-awaited return for Zhang Ziyi, and for the industry, it’s proof that well-crafted dramas can compete with flashy blockbusters.

Helen Serafinowicz, the writer behind hit BBC sitcom Motherland, has taken a quirky detour into theatrical storytelling with a new, over-the-top play inspired by a local Liverpool legend—Wayne and Coleen Rooney’s marriage. Described as a "sub-Game of Thrones epic," the production is part playful satire, part hometown homage. The article wonders if the real-life Rooneys will show up to see their saga dramatized on stage.

Editor’s Note: This isn’t just a cheeky take on celebrity culture—it’s a nod to how pop culture and local pride can collide in unexpected ways. Serafinowicz’s return to Liverpool (sparked by Eurovision’s buzz) adds a layer of hometown revival to the story, making it as much about creative homecomings as it is about poking fun at fame. For theatergoers and football fans alike, it’s a reminder that even modern legends can become fodder for the stage.