competition

Tech scion David Ellison for months projected confidence that his blockbuster Hollywood merger was on a glide path to completion.

His media company Paramount Skydance’s pitch early this year was that its proposed $111-billion acquisition of rival Warner Bros. Discovery could easily clear regulatory hurdles — unlike Netflix’s competing bid.

Ellison has heavyweights in his corner: his billionaire father Larry Ellison, co-founder of software giant Oracle, is bankrolling the deal, and President Trump is eager for the Ellison family to own CNN and other Warner assets, including HBO and the Burbank film and TV studios behind “Batman,” Harry Potter, Wile E. Coyote, and “The Pitt.”

“We could technically close [the deal] tomorrow,” Ellison told business new channel CNBC during a March interview. “There is nothing in this transaction that trips anything that would create cause for concern.”

But Paramount made a dramatic retreat Friday after two weeks of legal setbacks. The firm had been aiming to close the deal by September but agreed to table its takeover — perhaps until next spring — to allow a fiercer than expected challenge from California Atty. General Rob Bonta and 11 other Democrat state attorneys general to advance to trial before an Oakland-based federal judge.

The state prosecutors allege Paramount’s proposed merger with Warner Bros. violates a century-old antitrust law by giving the combined company too much heft in theatrical movie distribution and cable television.

The delay could saddle Paramount, the smallest of the major media companies, with substantial legal fees and hundreds of millions of dollars in added deal costs. In February, Paramount offered Warner investors a sweetener, so-called “ticking fees,” to win the auction.

Those fees, which begin accruing in October, will cost Paramount an extra $7 million a day — until the purchase is finalized. And if Paramount fails to close the merger, it would owe Warner Bros. Discovery a $7-billion breakup fee.

“Anyone who thinks they know how this deal ends should think again,” Forrester Research analyst Mike Proulx said in a statement. “This deal may still close or it may not. … The path to either outcome just got longer, messier, and likely more expensive.”

Paramount now must strengthen its case for a high-stakes trial while fortifying Paramount’s existing businesses and holding together a coalition of financiers, which includes the royal families of Saudi Arabia, Abu Dhabi and Qatar which jointly agreed to contribute $24 billion for equity stakes in the combined company.

Paramount reversed course after U.S. District Judge Araceli Martínez-Olguín dealt the company a blow on Monday when she temporarily blocked Paramount from finalizing the acquisition until mid-August. Looming was a key Aug. 3 hearing for the judge to determine whether the moratorium should be extended.

Paramount was concerned the judge would block the deal for the foreseeable future.

“They saw the writing on the wall,” Bonta said in an interview.

Columbia Law School business professor Eric Talley added: “This doesn’t constitute Paramount Skydance coming out and waving a big white flag — but it is a small white flag of surrender.”

Paramount, in a statement, said heading straight to trial would prove advantageous.

“This is the fastest and clearest way to prove that this transaction is good for competition, good for consumers, and good for creators,” Paramount said. “We look forward to proving our case at trial.”

Last week, the Writers Guild of America separately filed a lawsuit seeking to stop the merger, alleging that writers would encounter less work and lower pay should Paramount buy Warner Bros.

Now the merger won’t close until after a resolution in the litigation or by June 1, 2027, whichever date comes first.

“This is what we’ve been asking for from the start,” Bonta said. “We just wanted the court to have sufficient time to review our case without the threat of the companies merging.”

Ellison, through a Paramount spokesperson, declined an interview request.

The delay brings a different set of challenges, Talley said, including pushing the date of the takeover until after November’s pivotal mid-term elections when control of Congress might change hands.

“That itself could be disruptive,” Talley said. “Suppose we get a flip of the House of Representatives or the Senate, then we may see testimony in Congress.”

Prominent Democrats, including Sens. Cory Booker (D-N.J.), Elizabeth Warren (D-Mass.) and Adam Schiff (D-Burbank) have expressed alarm over the potential consolidation, which would shrink the number of legacy film studios and bring CNN in addition to CBS News under Ellison control.

Attempts to get Ellison to testify in Congress have fallen short. The Paramount chief declined an invitation to appear before the Senate Judiciary Subcommittee on Antitrust, Competition Policy and Consumer Rights in February, as well as a subsequent request from Booker to appear during an April spotlight hearing.

“To what extent was the rush to get the deal done related to the midterms, and what press coverage was going to look like in the upcoming election season?” Talley asked. “CNN is not a huge money-making asset but it is a prominent asset of Warner Brothers Discovery.”

On Friday night, Trump extolled his friendship with the Ellison family during the White House Correspondents Assn. dinner while also criticizing prominent CNN anchors.

David Ellison is “going to make, I think, fantastic changes and keep some of the great stuff going,” Trump said.

CBS News has been roiled since shortly after the Ellisons acquired Paramount in August, and installed Bari Weiss as editor in chief of CBS News. She has overseen a series of controversial moves, including shaking up the evening news and sacking several “60 Minutes” correspondents.

Paramount scored one victory: the European Commission gave its blessing for the merger to go forward in the European countries it represents. The company now has gained clearances from more than 60 jurisdictions, including from the U.S. Justice Department, which found the merger would likely boost competition — not harm it.

Now, Paramount’s biggest obstacle is winning the case against Bonta and the other state attorneys general.

The states plan to request a trial in 2027, after the two sides conduct months of discovery to prepare their cases.

“We want to take depositions of employees. We want to take depositions of customers and competitors in these marketplaces that are impacted [and] we want documents,” Bonta said.

“We want to depose their experts and probe and test their experts’ opinions,” he said. “That all takes time.”

Bonta and the other state attorneys sidestepped the political landscape in making their lawsuit arguments.

“This is just a straight-up meat-and-potatoes antitrust case,” Bonta said. “The main point here is that antitrust enforcement is important because monopolies that lessen competition hurt everyday people.

“Once we have a trial, we’re going to win,” Bonta said. “So we think and we hope there will never be a merger.”

Paramount Skydance has agreed to delay its purchase of Warner Bros. Discovery to as late as next June as David Ellison’s media company mounts its defense to the antitrust challenge brought by California Atty. Gen. Rob Bonta and his coalition of 11 other state attorneys general.

The major concession comes as Paramount was facing an Aug. 3 hearing to try to convince U.S. District Judge Araceli Martínez-Olguín that its proposed $111-billion deal — which would reshape Hollywood with the combination of two historic studios — would not violate U.S. antitrust laws.

The judge appeared to be leaning toward the arguments of the state attorneys general, who have alleged the proposed union of two big film studios and television networks including HBO, CBS, CNN, Comedy Central, Nickelodeon and TBS, runs afoul of the 112-year-old Clayton Antitrust Act.

In a stipulation filed Friday, Paramount agreed to hold off on closing its blockbuster purchase until after the states’ antitrust case can be decided in a trial before the Oakland-based judge or by June 1, 2027, whichever date comes first.

The move came after Martínez-Olguín issued a temporary restraining order earlier in the week — requested by Bonta and the others — which paused the deal until next month’s preliminary injunction hearing when she was set to decide whether a lengthy moratorium should be imposed.

Privately, Paramount officials were worried they might lose that round before Martínez-Olguín, so, during negotiations with the states, Paramount stipulated that it would not close the deal on its preferred timetable.

Paramount had wanted to finalize the takeover this month — or at least have it wrapped up by Sept. 30.

In a statement, Bonta celebrated the delay as “great news for audiences, movie theaters, and the many people who write, build, and create the art, news, and entertainment so many of us enjoy.”

“Our argument against this illegal merger is straightforward: When too few corporations have too much power in markets central to American life, it makes things more expensive, and it makes things worse,” Bonta said.

Now, Paramount will incur added deal costs and significant legal fees as it prepares the case for a full-blown trial. Paramount, in a statement, framed the delay as “a significant win” for the company.

“The result is exactly what we have sought from the outset: a direct path to a trial based on the evidence,” a Paramount spokesperson said in a statement. “This is the fastest and clearest way to prove that this transaction is good for competition, good for consumers, and good for creators, a conclusion dozens of competition authorities around the world have already reached. We look forward to proving our case at trial.”

On Wednesday, the European Commission gave its blessing, allowing the Paramount-Warner merger to move forward in European countries. More than 40 jurisdictions have given their consent. The U.S. Justice Department last month signed off — an approval that had been expected because of President Trump’s desire to see the Ellison family own CNN.

Paramount shares slipped on the news, falling 3.3% to $8.21 — marking the year’s lowest trading day. Warner’s stock gains since Monday’s restraining order ruling were suddenly erased. Warner shares finished at $25.77 — 17% lower than Paramount’s deal offer.

Now Paramount will have to pay Warner Bros. Discovery investors more than the $31 a share it previously promised.

In a show of confidence earlier this year, the company boasted it would quickly secure the necessary regulatory approvals to finalize the Warner purchase by late September. As an added incentive to win over investors, the company said it would pay so-called “ticking fees” should the deal encounter snags.

Those fees of $.25 a share per quarter begin Oct. 1, adding about $650 million to the pricetag each quarter until close. If Paramount is unable to close the deal by June 1, it would owe Warner Bros. Discovery a $7 billion breakup fee.

Larry Ellison, co-founder of software giant Oracle, is bankrolling his son’s ambitions to acquire a second major entertainment company in less than a year. The Ellison family acquired the smaller Paramount in August.

The Democratic state attorneys general, including from New York, New Mexico, Nevada, Colorado, Oregon and Washington, filed their lawsuit nearly two weeks ago.

The state attorneys general have alleged the deal would harm competition in three markets: films released widely (in more than 3,000 theaters); potential blockbuster films; and a concentration of cable TV channels.

Paramount insists that streaming marketshare be included in the market definition because a combined Paramount+ and HBO Max would still trail industry leaders, Netflix, YouTube, Amazon Prime and Disney+.

“Plaintiffs’ market definitions bear no relationship to the realities of today’s marketplace and cannot withstand scrutiny,” Paramount’s spokesperson said.

In her order earlier this week, Martínez-Olguín wrote that the plaintiff states presented “compelling evidence” that the merged company could wield too much control in theatrical distribution.

Friday’s agreement came after Martínez-Olguín on Thursday extended the restraining order for another 14 days — until Aug. 17 — in recognition the two sides needed time to hash out their scheduling requests. In addition, the Writers Guild of America has filed its own antitrust lawsuit, and the judge agreed to allow that case to move forward with the states’ case.

The Aug. 3 preliminary injunction hearing will be canceled as the two sides prepare for a trial.

“We are eager to continue to make our case in court …to ensure this unlawful merger never sees the light of day,” Bonta said.

The months-long delay is expected to affect Warner Bros. Discovery Chief Executive David Zaslav’s proposed $887-million exit package.

As part of a pact earlier this year, Warner board members agreed to cover Zaslav’s expected $335 million in tax obligations tied to his enormous payout, according to regulatory filings. However, Warner is not on the hook to cover Zaslav’s tax bill should the deal extend into 2027.

The merger has faced stiff resistance in Hollywood and beyond. More than 5,000 entertainment industry workers have signed an open letter calling on Bonta to block the merger.

Britain’s culture minister has also signaled that she may open a full inquiry into the proposed media consolidation, which could also bring other delays.

“This victory in putting the merger on hold belongs to the people who refused to treat the merger as inevitable,” Norm Eisen, a former ambassador and Obama White House ethics lawyer who is helping lead the #BlocktheMerger campaign.

“Artists, journalists, filmmakers, and consumer advocates spoke out despite the risk of retaliation, more than 5,500 people signed our open letter,” Eisen said in a statement. “This collective resistance is turning the tide.”

Paramount Skydance has notched a needed win as it continues to pursue its $111-billion deal to buy Warner Bros. Discovery.

On Wednesday, the European Commission gave its consent, allowing tech scion David Ellison’s industry-reshaping merger to move forward in the countries that make up the European Union.

Europe joins 64 other regulatory entities that have either approved the deal or chosen not to challenge it, Paramount said in a statement.

“These clearances recognize that the combination of Paramount and WBD will enhance consumer choice and enable a creative-first company to invest in more projects and bring stories to audiences worldwide,” Paramount said. “It will create a scaled media and entertainment company capable of competing with the tech companies that have come to dominate the industry.”

European regulators added just one condition: Paramount must end a partnership with Universal Pictures to share distribution of movies in Europe. Beyond that, regulators concluded that even with the proposed Paramount-Warner consolidation there were enough producers to avoid competitive harms.

“The Commission found that, at film production level, enough film studios remain as competitors,” the European Commission said in a statement. “These include other major US studios like Disney, NBC Universal … and Sony, along with smaller US studios such as Amazon MGM, A24 and Lionsgate, as well as European studios.”

But the merger would result in a “high concentration” of film distribution, the commission said, so Paramount would have 13 months to end its joint venture, United International Pictures, which distributes Paramount and Universal films to cinema owners in Europe.

Paramount must not “directly or indirectly … enter into any agreement or understanding with Universal to jointly co-distribute films” in the European countries for 10 years, the commission said.

Despite early concerns about potential dominance in the children’s television market, Paramount will not be required to divest Cartoon Network, a Warner asset, because of its ownership of Nickelodeon.

“The Commission found that streaming platforms offering children’s content will continue to act as a competitive constraint on the merged entity’s TV channels,” the agency said.

The European Commission joins regulators in Australia, Brazil, Canada, China, Saudi Arabia, Serbia and South Africa that have found the deal would not crush competition in their respective markets. Britain’s Competition and Markets Authority is still investigating the merger’s impacts.

Paramount secured the approval of the U.S. Justice Department last month. The company was hoping to close its blockbuster acquisition of Warner Bros., which owns HBO, CNN and the Burbank studios behind such popular characters as Batman, Superman, Harry Potter, Scooby-Doo, by the end of September to avoid a larger payout to Warner Bros. Discovery shareholders.

The European Commission’s approval came two days after Ellison’s firm was dealt a substantial setback.

A federal judge in Oakland on Monday issued a temporary restraining order preventing Paramount from finalizing the acquisition for at least 14 days as that antitrust case heats up. The decision came after 12 state attorneys general, led by California Atty. Gen. Rob Bonta, filed a lawsuit last week alleging the merger would violate U.S. antitrust rules.

District Judge Araceli Martínez-Olguín scheduled an Aug. 3 hearing to determine whether a longer-term pause is warranted. The states are expected to seek a preliminary injunction, which would tie up Paramount’s merger for months.

Paramount, in its statement, noted the European Commission’s conclusions “directly refute key assumptions that underpin the state AGs’ complaint seeking to block the transaction,” including whether big-budget or blockbuster films should be considered a market.

Wednesday’s approval “marks another significant milestone in bringing Paramount and Warner Bros. Discovery together,” Makan Delrahim, Paramount’s chief legal officer said in the statement. “We appreciate the Commission’s constructive engagement and thorough analysis throughout its review.”

Deal critic Alvaro Bedoya, a former Federal Trade Commission member who is now a senior adviser at the American Economic Liberties Project, offered a conflicting view.

“This is not remotely over. The United States is not Europe,” Bedoya said in a statement.

The Writers Guild of America joined the legal fray last week by filing its own antitrust complaint against Paramount, alleging the proposed union of two of Hollywood’s biggest studios would lead to fewer jobs and lower pay for writers. The WGA is also seeking an injunction.

The 37-page lawsuit filed by the state attorneys general alleges that Paramount’s proposed takeover — the largest Hollywood deal in decades — would violate the U.S. Clayton Antitrust Act, a century-old law to prevent mergers that weaken competition and raise costs for consumers.

In her order granting the states’ request for a temporary restraining order, Martínez-Olguín wrote: “The Transaction would also be difficult, if not impossible, to unwind if permitted to proceed given the anticipated consolidation of operations, sharing of business-sensitive information, and potential termination or reassignment of employees.”

Paramount faces a potential $7 billion payment to Warner Bros. should the company fail to close the transaction by next summer.

California Atty. Gen. Rob Bonta and 11 other Democratic state attorneys general filed a lawsuit Monday to block Paramount Skydance’s proposed $111-billion takeover of Warner Bros. Discovery — a last-ditch effort to derail a deal that would transform Hollywood.

Tech scion David Ellison’s proposed merger has been hurtling toward the finish line after securing approvals from the U.S. Justice Department and numerous foreign governments. President Trump, an ally of Ellison’s billionaire father Larry Ellison, favors the deal. He is eager for a big shakeup at CNN, which is currently controlled by Warner Bros.

David Ellison now faces his biggest challenge yet as he attempts to build a new entertainment behemoth.

A Paramount representative did not immediately comment.

The suit, filed in federal court in San Francisco, alleges that the proposed merger would violate the U.S. Clayton Act, a century-old antitrust law to prevent mergers that weaken competition and increase costs for consumers.

“Consolidation here not only leads to higher prices — it also leads to fewer opportunities for important stories to come to life, and fewer ways for audiences to encounter stories, ideas, and perspectives beyond their own experiences,” Bonta said in a statement.

“California and our sister states are fighting for free and fair markets, not rigged markets,” he said.

California and the 11 other states, including New York, New Jersey, Washington and Colorado, allege the merger would devastate the theatrical film business by combining two historic film studio rivals. The Ellison family would control such storied franchises as Harry Potter, Bugs Bunny, Batman, “Top Gun” and “Game of Thrones.”

The proposed purchase also would unite two prominent news organizations — CNN and CBS News.

The states have asked Paramount to delay the closing of its Warner Bros. takeover until the litigation can be resolved.

If Paramount refuses, Bonta said the coalition would seek a temporary restraining order asking a judge to hold up the merger, a move that would cause costly delays and escalate legal expenses for Paramount in their quest to finalize the deal.

Larry Ellison, co-founder of software giant Oracle, is bankrolling his son’s ambitions to acquire a second major entertainment company in less than a year. The Ellison family acquired control of CBS-owner Paramount in August and, at the time, David Ellison touted the move of Paramount’s headquarters from New York’s Times Square to Hollywood.

Now, Paramount is reportedly threatening to leave California in the face of Bonta’s legal action.

If the merger goes through, Paramount would own four streaming services, including Warner’s HBO Max and the dominant U.S. cable TV channel owner with HBO, TBS, HGTV, Animal Planet, Food Network, Comedy Central and Nickelodeon.

The U.S. Justice Department last month approved the merger, saying the combination would likely bolster competition — not harm it. The agency’s decision had been expected because of Larry Ellison’s strong support of Trump.

In a show of confidence earlier this year, the Ellisons agreed to increase the payout to Warner investors should the regulatory approval process drag on. Those extra 25-cent-per-share payments begin with the October-December quarter, and would add more than $650 million in deal costs each quarter — giving David Ellison an increased incentive to quickly close the deal.

The proposed merger has sparked fears in Hollywood that it will bring thousands of job losses — similar to past consolidations, including Walt Disney Co.’s 2019 takeover of Fox entertainment properties.

Some theater owners, hard hit by the pandemic and production slowdowns, have expressed concerns the merger would lead to fewer films being made.

The new colossus would significantly dampen competition, Bonta and the other Democrat prosecutors argue. They pointed to the wide-release movie film distribution business, where Warner Bros. and Paramount control about 27% of the market.

After the merger just four companies — Paramount-Warner, Disney, NBCUniversal and Sony Pictures — would control 86% of the films that were widely released, Bonta said.

Paramount has said the deal will boost competition — not hamper it. Ellison has promised to continue releasing 30 films a year with a combined Warner Bros.-Paramount studio, roughly the current output of the two studios.

Ellison also vowed to protect the HBO brand.

Another concern is the licensing of basic cable TV channels, including CNN and HGTV, to pay-TV providers such as Charter’s Spectrum, DirecTV and Google’s YouTube TV. Warner Bros. is the second largest cable channel owner and Paramount is the third largest. Together their channels would represent about 27% of the market.

The typical threshold for antitrust concerns is at least 30% marketshare.

More than 5,000 entertainment industry workers, including Jane Fonda, Ben Stiller, Bryan Cranston, Javier Bardem, Lin-Manuel Miranda and Mark Ruffalo, signed an open letter calling on Bonta to block the merger.

Some have expressed concerns about marrying CNN and CBS News following months of turmoil at CBS News since David Ellison hired journalist Bari Weiss as CBS News editor in chief. Last month, Weiss orchestrated a dramatic shakeup at the iconic “60 Minutes” news program, with top executives and three well-known correspondents tossed out.

The Ellison family recently shed its movie theater chain, which it picked up as part of the Paramount acquisition, to clear the way for the Warner deal.

California Atty. Gen. Rob Bonta is leading an effort by state attorneys general to block Paramount’s proposed takeover of Warner Bros. Discovery.

(Paul Kuroda/For The Times)

The deal also faces opposition outside the U.S.
. The British culture minister in late June said she was weighing whether to intervene in the deal due to concerns about maintaining a competitive media market. Britain’s Competition and Markets Authority also has opened an investigation into Paramount’s proposed merger.

In April, a federal judge in Sacramento granted a request from Bonta and seven other attorneys general for a preliminary injunction, which freezes the merger of Nexstar Media Group, which owns KTLA-TV Channel 5, and Tegna. The deal was designed to create the nation’s largest TV outlet group .

A larger group of state attorneys general also won a New York jury verdict against Live Nation Entertainment and its subsidiary Ticketmaster. Jurors found that Live Nation had illegally monopolized the live concert industry.

Bonta also has an ongoing case against Amazon for price fixing, which the company denies.

Still, legal experts say the states may face an uphill climb to detrail the Paramount-Warner Bros. merger because the arrival of Netflix, Amazon and Apple dramatically shifted the landscape.

The tech giants, which introduced consumer-friendly streaming options, have lessened the influence of traditional companies like Paramount and Warner Bros.

Paramount’s deal would mark the third time Warner has changed hands in the last decade.

AT&T bought the company in 2018 and then sold it to the smaller Discovery four years later. That deal left Warner Bros. burdened by debt, leading to deep cost cuts and setting the stage for the Ellison takeover.

Dame Sarah Storey, Great Britain’s most-decorated Paralympian, has retired from international competition with immediate effect.

The 48-year-old cyclist has opted not to compete at Los Angeles 2028 to focus on helping improve Para-sport.

The 19-time Paralympic champion feels the sport has “stalled somewhat” since the London 2012 Games and that many areas “still need attention”.

“The years between each Games haven’t been utilised well enough to create the momentum that I and others hoped to see,” she said.

“I see this as a critical stage; there are many areas of Para-sport that still need attention, and that is something that has played a big part in my decision.

“I fully believe that I can have a greater impact off my bike, rather than chasing a 10th Games and possibly further titles.

“I’m excited to be part of a future where we inject the momentum that is needed to ensure the future is bright for all Para-athletes.”

Storey started her career as a swimmer and competed at four Games before switching to cycling, winning a total of 30 Paralympic medals across nine Games, including four golds at London 2012.

World Athletics president Lord Coe, who was chairman of London’s organising committee for the Olympic and Paralympic Games, said: “Para-sport was an enormously significant part of London 2012 and I remain extremely proud of what we were able to deliver.

“However, the issues that Dame Sarah raises upon her retirement resonate with me hugely – sport must continue to take those small but steady steps forward to ensure that what has gone before is not wasted.”

The British Paralympic Association has been approached for comment.

Skaters from Russia and Belarus banned “exclusively in the interests of the safety of participants and the integrity of the competitions” can return to world championships and Grand Prix events next season.

The International Skating Union said Tuesday that the ban triggered by Russia’s 2022 military invasion of Ukraine is over. But skaters and officials from Russia and Belarus may compete only as neutral athletes, meaning without their national symbols of flag and anthem.

The figure skaters, speed skaters and short track speed skaters will be allowed to participate as long as they have not supported the war in Ukraine. A neutral skater is not eligible if they are in active service with the armed forces or a national security agency of Russia or Belarus; have taken active part in military operations in the war against Ukraine; and-or have actively and publicly supported that war.

In announcing the decision, the ISU council described the ban as a “protective measure” and emphasized that “those measures were expressly stated not to be a sanction, disciplinary measure or ineligibility decision.”

The war in Ukraine is in its fifth year since the full-scale Russian invasion began in February 2022. According to Global Conflict Tracker, Russia occupies roughly 20% of Ukrainian territory and fighting persists with ongoing Russian missile and drone attacks on Ukrainian cities. Meanwhile, Ukraine has launched retaliatory drone strikes deep into Russian territory targeting energy and military infrastructure.

Nearly 56,000 civilians have died or been injured, while 3.7 million people are internally displaced. Through 2025, Ukraine had received about $188 billion in aid from the United States and $197 billion from the European Union.

“The ISU continues to condemn all armed conflict around the world,” the ISU said in a statement. “The ISU continues to provide financial support to Ukrainian skaters through various initiatives, including the ISU Development Program, contributions to the Ukrainian Skating Federation, and a support program for displaced skaters.”

The ISU council’s decision to lift the ban on Russian skaters took into account “developments across the Olympic Movement and the differing approaches of other International Federations.”

While acknowledging that the lifting of restrictions had given rise to occasional protests at competitions, the participation of neutral Russian and Belarusian athletes in 2025-2026 Olympic qualification events and at the 2026 Milan Cortina Olympic Winter Games were completed “without related incident.”

Russian figure skaters Adeliia Petrosian and Petr Gumennik were cleared to compete with neutral status in Milan and both finished sixth in their events. Viktoriia Safonova of Belarus also competed as a neutral athlete.

“Skaters should not be held responsible for the actions of their governments,” the ISU posted. “Safety remains the guiding consideration for any further easing. The ISU will continue to monitor conditions at ISU events and will relax restrictions further only when satisfied that no safety or integrity issues arise, and reserves the right to reintroduce or increase restrictive measures should such issues emerge.”

Neutral athletes could face difficulty obtaining entry visas from countries hosting ISU events. The 2027 figure skating, short track and speed skating world championships will be hosted by Finland, South Korea and China, respectively.

The International Olympic Committee was instrumental in the ISU decision, advising sports bodies to readmit athletes from Belarus on May 7 without vetting for neutral status.

FIFA’s inaugural U-15 World Cup in October has been opened to all of its member associates, paving way for Russia’s return.

A ‌Russian team may be allowed to participate ⁠in ⁠a FIFA event for the first time since Moscow’s 2022 invasion of Ukraine after ⁠football’s global authority said its inaugural U-15 World Cup and Festival, set to be ⁠held in Azerbaijan in October, is open to all FIFA member associations.

FIFA banned Russia from international competition in February 2022 after it invaded ‌Ukraine, but it lifted the suspension from the country’s U-17 boys’ and girls’ teams the next year.

However, Russian teams have remained absent from U-17 tournaments organised by FIFA and UEFA as several European countries, including Ukraine ⁠and England, continue to boycott ⁠Russia over its ongoing invasion of its neighbour.

“The first edition will be open to boys’ teams from all FIFA ⁠member associations, the second instalment in 2027 will feature girls’ ⁠teams only,” FIFA said on ⁠Wednesday about the U-15 World Cup and Festival.

“From 2028 onwards, all member associations will be invited to participate with ‌both their boys’ and girls’ U-15 teams in two separate competitions.”

The U-15 event will kick ‌off ‌on October 22 and conclude nine days later.

Boeing has decided not to pursue a bid for the U.S. Navy’s Undergraduate Jet Training System (UJTS) competition. The company had previously planned to submit a version of the T-7A Red Hawk being built now for the U.S. Air Force. The winning UJTS design will replace the Navy’s T-45 Goshawk jet trainers. The new trainers will become part of a future naval aviation training curriculum for prospective tactical jet pilots that no longer requires carrier qualifications or even simulated touch-and-go carrier landings at bases on land.

The Navy issued a formal request for proposals for UJTS in March. The service currently plans to acquire 216 new jet trainers to replace the just under 200 T-45s that are in its inventory today. With Boeing now out of the running, the Sierra Nevada Corporation (which has now partnered with Northrop Grumman and General Atomics) and a team led by Leonardo and Textron are the only known remaining competitors. Lockheed Martin, which had teamed with Korea Aerospace Industries (KAI), also dropped out back in April. Aviation Week and Breaking Defense were among the first to report on Boeing’s decision regarding UJTS.

“Boeing is focused on meeting our commitments, and we bid for programs where we believe we can provide the right solution tailored to our customers’ needs and requirements,” a Boeing spokesperson told TWZ. “After careful evaluation, we have determined the T-7A does not meet the U.S. Navy’s Undergraduate Jet Training System requirements.”

“We have therefore informed the Navy that we will not bid on the current RFP. We remain committed to delivering the T-7A as a modern, growth-oriented training solution for 4th, 5th and 6th generation pilots as requirements evolve,” they added. “We look forward to providing and sustaining both current and future capabilities for the Navy.”

Boeing says its decision on UJTS is tied to the General Electric F404 turbofan. The company has stressed that the F404 is a proven design with millions of flight hours on multiple platforms, including the T-7A, and is a clear example of a ready-to-field design. Still, Boeing’s view is that the UJTS engine qualification requirements would require additional long-cycle development work, and potentially limit its ability to meet the Navy’s initial operational capability target for the new jet trainers.

All this being said, it is still not entirely clear what the specific issues might be, given that the F404 is such a well-established design that has been and continues to be used on a variety of military aircraft. This includes several other land-based jet trainer designs beyond the T-7, like the Scaled Composites Model 400, which competed against the Red Hawk in the Air Force’s T-X competition, and the Turkish Aerospace Industries Hürjet.

Most notably, the F404 also powers the TF-50N that Lockheed Martin and KAI had put forward for UJTS. At the time of writing, neither Lockheed Martin nor KAI looks to have offered a detailed explanation for the decision to withdraw from the Navy jet trainer competition.

The T-7A has also suffered from various technical and other issues over the course of its development, which has led to significant delays in its entry into Air Force service. The service is now hoping to reach initial operational capability with the Red Hawk next year. Any potential for direct synergies in terms of support and sustainment between the Air Force and Navy jet trainer fleets is now off the table.

It is worth pointing out that the TF-50N and the T-7 are also both single-engine designs. The Beechcraft M-346N that Leonardo and Textron have put forward is powered by a pair of Honeywell F124 turbofans. Two Williams FJ44-4M turbofans power SNC’s Freedom Jet, which is also the only clean-sheet design in the running for UJTS. This may point to a general view of the UJTS requirements that make single-engine designs less attractive.

The Freedom Jet design is also tailored to meet now-axed requirements for UJTS to be able to perform carrier qualifications and simulated carrier touch-and-goes at base on land. The requirements for so-called Field Carrier Landing Practice (FCLP) training at facilities ashore have historically been structured specifically in a way that “simulates, as near as practicable, the conditions encountered during carrier landing operations,” according to the Navy.

F-18 Field Carrier Landing Practice (FCLP). Touch-and-Go Landing.

SNC says its choice to build an aircraft that can still perform these tasks is deliberate, and offers the Navy what could still be important capability and flexibility in the future, as you can read more about here.

The Navy’s decision to remove carrier qualifications and otherwise alter key aspects of the tactical jet aviator training pipeline has been and continues to be controversial. The service has argued that substantial investments in virtualized training and assisted carrier landing capabilities, such as Magic Carpet and its successors, have fundamentally changed the landscape when it comes to training future pilots for carrier-based operations.

Flight Ready: Magic Carpet

Flight Ready: Live, Virtual, Constructive

Earlier this month, the Navy also confirmed that it had raised the total cost ceiling for the prospective UJTS contract from approximately $1.8 billion to $2.7 billion.

“The Government updated the price cap to reflect a change in the program cost estimate due to new information received,” Naval Air Systems Command (NAVAIR) subsequently explained, according to Breaking Defense.

The substantial increase in the projected cost has raised its own questions about the outlook for the competition and the development program that is expected to follow. The Navy’s decisions to scale back its training requirements had previously been seen as opening the door to existing land-based jet trainer designs, or derivatives thereof, like the T-7 and the TF-50N. That, in turn, was viewed as a potential way for the service to help keep costs and risk low.

The Navy’s T-45 replacement plans have already been delayed multiple times, with the service originally planning to pick a winning design this year and to have the first example enter operational service in 2028. The goal now is to award a contract in the middle of next year.

The aging T-45 fleet has faced its own struggles, including a spate of reported hypoxia-like physiological episodes among pilots that led to the development of a new oxygen system. There have been several Goshawk crashes in recent years due to a variety of factors, with the most recent coming just last month. The pilots in that case thankfully survived.

For Boeing, the decision to drop out of the running for UJTS could also allow it to refocus resources to other priorities. The company is also notably one of two remaining competitors vying to build the sixth-generation F/A-XX carrier-based fighter for the Navy. Boeing is already heavily engaged now on work for the F-47 sixth-generation fighter for the Air Force.

When it comes to the UJTS competition, with Boeing having bowed out, the SNC-led and Leonardo/Textron teams are now facing off head-to-head.

Contact the author: joe@twz.com

The U.S. Justice Department has cleared the way for Paramount Skydance’s $111-billion purchase of Warner Bros. Discovery — a major milestone that moves David Ellison closer to his goal.

After a months-long review, Justice Department antitrust regulators on Friday concluded the combination would not violate federal anticompetition laws. Approval had been expected because President Trump — who has friendly ties with Ellison and his father, tech billionaire Larry Ellison — favors the deal.

The government stopped short of asking Paramount to make concessions or divestitures.

Buying Warner Bros. would allow Paramount — Hollywood’s smallest major company — to bulk up with such prestigious properties as HBO, CNN, HGTV and Food Network. Those would be combined with properties Paramount already owns, including CBS, Comedy Central, Nickelodeon and MTV.

The deal would put two historic film studios and two prominent news organizations under the same roof. It would give Paramount four streaming services, including HBO Max, and dozens of cable channels.

In its four-page closing statement, the Justice Department emphasized that career antitrust regulators — not political appointees — had performed a rigorous review, sifting through some two million documents the government received from dozens of sources, including third-party organizations.

They conducted meetings and deposed senior-level executives and other witnesses.

“These investigative efforts all led to the same conclusion: the film and television industry is highly dynamic, and the proposed transaction is not likely to harm competition or American consumers,” Justice Department regulators wrote in their summary.

Regulators zeroed in on three potential areas of concern. They looked at whether the merger would give Paramount too much power in the streaming video-on-demand market; the traditional linear television channel space; as well as in “studio development, production, or distribution of films for theatrical release,” the Justice Department said.

Competition in streaming would not be crimped, according to the regulators.

“To the contrary, the combined firm is likely to increase competition by offering consumers a more robust competitive alternative to the larger [streaming] offerings,” they wrote.

The antitrust division also found that theatrical distribution and opportunities for creators, including writers and actors, would not be harmed as long as the combined company maintained current production levels.

Ellison has promised to continue releasing 30 films a year with a combined Warner Bros.-Paramount studio. He also has said he would protect the HBO brand.

The proposed merger is controversial because many in Hollywood fear it will bring thousands of job losses, which was the result of past consolidations, including Walt Disney Co.’s 2019 takeover of Fox entertainment properties. More than 5,000 entertainment industry workers, including Jane Fonda, J.J. Abrams, Javier Bardem and Mark Ruffalo, have signed an open letter calling for the merger to be blocked.

There’s a political dimension as well. Paramount’s standing with the Trump administration (Paramount+ is set to televise Sunday’s UFC fight spectacle at the White House to celebrate Trump’s birthday as part of the company’s relationship with the UFC) has given left-leaning groups pause.

They worry about collapsing CNN and CBS News into one unit, particularly after all the turmoil that has ensued at CBS News since the Ellison family bought Paramount in August and installed Bari Weiss as CBS News editor in chief.

This month witnessed a dramatic shakeup at the iconic “60 Minutes,” with top executives and three well-known correspondents tossed out.

“We’ve already seen how far Paramount and the Ellison family are willing to go to diminish a once-proud network and news organization like CBS,” Craig Aaron, co-chief executive of the progressive group Free Press, said in a statement. His group fears the Ellisons would “do worse if they get their hands on Warner Bros., HBO, CNN and all the rest.”

Paramount, for its part, said it was grateful for “the Department of Justice’s thorough review of this transaction, as well as the work of the other agencies that have completed their reviews and provided clearance to date.”

“This deal is pro-competitive, resulting in a stronger company better positioned to compete against dominant technology platforms in an industry increasingly defined by intense competition for audiences, talent, technology, and investment,” Paramount said. “We remain focused on completing the transaction as soon as possible and delivering its benefits to consumers, creators, and the entertainment industry as a whole.”

Paramount wants to finalize its purchase by September.

With Friday’s victory, Paramount is staying on that timetable, but regulators in Europe and Britain have opened their own regulatory investigations and are expected to make their own determinations in the coming months.

Separately, California Atty. Gen. Rob Bonta and other state attorneys general have been scrutinizing the proposed merger, and are widely expected to file a lawsuit, perhaps as early as this month, to try to block it.

Paramount applied for Justice Department approval in December — more than two months before it edged out Netflix in the Warner sweepstakes.

In its statement, the Justice Department said it began its review last fall when it was clear Warner Bros. was in play. Regulators said they were familiar with Warner’s businesses, because the division had scrutinized four other mergers involving the company, dating back to the disastrous AOL-Time Warner merger in 2001.

Paramount’s deal would mark the third time Warner has changed hands in the last decade. AT&T bought the company in 2018 and then sold it to the smaller Discovery four years later. That deal left Warner Bros. burdened by debt, setting the stage for the Ellison takeover.

Justice Department approval could complicate efforts by Bonta and other state attorneys general to block the deal. Should Bonta or others sue, they would have to convince a judge that the nation’s top antitrust regulators failed to make a proper finding despite their lengthy review.

That may pose a high bar for the state officials, who are facing political pressure to stop the deal.

“State AGs must block this merger,” U.S. Sen. Elizabeth Warren (D-Mass.) said in a statement Friday, adding that the Justice Department’s approval was “terrible news for every American who doesn’t want Trump-aligned billionaires to control what they watch and how much they pay.”

The Justice Department said state attorney general offices had participated in its investigation, which allowed federal and state officials “to share information with each other and for the States to attend and participate in the [antitrust] Division’s depositions.”

Last month, David Ellison appeared before the regulators in a two-hour session.

Paramount’s Chief Legal Officer Makan Delrahim, who previously served as the nation’s top antitrust regulator during the first Trump administration, also was busy quarterbacking Paramount’s outreach with regulators.

Serena Williams has added another stop to her comeback tour: the Berlin Tennis Open.

Just a day after announcing her return to professional tennis, the 23-time Grand Slam singles champion has been added to the 16-team doubles field at Germany’s WTA 500 event.

“Every tournament I add to my schedule right now feels special, and Berlin is no exception,” Williams said in a statement shared by the event on Tuesday. “I’m excited to compete in front of the German fans and continue building momentum throughout the grass-court season.”

Williams is set to play in the doubles tournament at the HSBC Championships at London’s Queen’s Club, which kicks off June 8. On Thursday, 19-year-old Canadian rising star Victoria Mboko confirmed on Instagram that she’ll be Williams’ partner at the event. The Berlin Tennis Open will begin June 13 and Williams’ partner has yet to be named.

The 44-year old tennis great is returning to the sport after almost four years away from competition. She firmly denied rumors of her return on social media just last year.

Williams appeared to poke fun at her own turnaround with a short ad video posted to X on Thursday captioned “I changed my mind.”

Despite prior rumors, Williams’ sister Venus seemed just as surprised as everyone else that Serena was returning to the competitive circuit.

“I think she hits every now and then,” Venus Williams, who also still competes professionally, said during a recent interview at Roland-Garros. “I never see her on the court that often, so I don’t know when she’s been practicing, honestly.”

Despite not having seen her practice first-hand, Venus Williams is not worried about how Serena will play at the upcoming competitions.

“She’s, I think, a little bit of a natural,” she said with a laugh. “She has a pretty good record. She knows what she’s doing. She’s very tenacious. I’m not worried about how she’s going to play, even though I really haven’t seen her play. It’s so crazy.”

Weeks after Trump administration officials announced that management of NASA’s Jet Propulsion Laboratory would open to competitive bidding for the first time, questions remain as to why Caltech could lose control of the lab its researchers founded in 1936.

On one hand, observers note, high-profile delays and cost overruns on significant recent JPL projects earned sharp criticism from NASA even before the 2024 presidential election.

On the other, the second Trump administration’s record of squeezing scientific funding and attacking institutions in Democratic-led states make it difficult to consider any action as separate from the charged political atmosphere, analysts say.

“My first instinct is that this [competition] isn’t necessarily a bad thing. It’s not written in stone that Caltech must run JPL, and it wouldn’t be the worst thing to have some competition for running the place,” said Casey Dreier, chief of space policy at the nonprofit Planetary Society.

“That said, that requires this contract evaluation to be fair and unbiased, and this administration has no credibility in such things,” he added. “The responsibility is on NASA to earn the trust and ensure such an evaluation is open and free from political meddling. That’s almost impossible.”

JPL became part of NASA when the space agency was formed in 1958, and Caltech has been awarded the contract to run the institution outright ever since.

Its current 10-year contract with NASA, which is valued at up to $30 billion, runs through Sept. 30, 2028.

NASA Administrator Jared Isaacman announced the competition on May 22 as part of a slate of sweeping organizational changes at the space agency.

“When you step back, it is worth considering how many additional missions we could have undertaken with the resources lost to program cancellations and cost overruns over the years,” Isaacman wrote in a memo to staff. “That is the problem we must fix, so the American taxpayer and space-loving community can receive the highest scientific return on every dollar we spend at NASA.”

Allowing competition on the contract for JPL, the lone Federally Funded Research and Development Center (FFRDC) in NASA’s portfolio, was an effort to address cost-efficiency concerns, Isaacman wrote.

“This process will take several years, and I do not anticipate it having any impact on the projects underway or the location of the facilities,” he wrote. “It does, however, provide an opportunity to evaluate management costs, overhead burdens, and ideally find ways to get after the science faster and more affordably.”

In a joint statement, Caltech President Thomas F. Rosenbaum and JPL Director Dave Gallagher said that the competition was “no surprise” and that a team was already in place “to ensure we are positioned for success.”

In July, NASA’s Office of Procurement held an informational event for companies and institutions interested in the upcoming FFRDC contract.

The dozens of registered attendees included universities such as USC, Texas A&M and Georgia Tech; aerospace companies such as Boeing and Lockheed Martin; and nonprofit corporations like MITRE, which manages several FFRDCs, and Universities Space Research Assn., a university consortium founded by the National Academy of Sciences in 1969. (SpaceX, which has been awarded more than $13 billion in NASA contracts in the last decade, was not on the list.)

“Lockheed Martin has more than 50 years of deep space exploration success with JPL, supporting landmark missions to Jupiter, Venus, Saturn, Pluto, including nearly a dozen missions to Mars,” said Bob Behnken, vice president of exploration and technology strategy. “We look forward to building on that unmatched partnership in the years ahead. We are closely following NASA’s review and will continue to assess how we can best contribute to the agency’s mission.”

Other attendees contacted by The Times declined to discuss their involvement.

Isaacman indicated that JPL could come under scrutiny even before he took over NASA. The billionaire entrepreneur referenced high costs at the La Cañada Flintridge institution in a memo prepared in advance of his confirmation hearings on his priorities for the space agency.

“Contract structure: Very expensive,” Isaacman wrote of JPL in a table outlining organizational issues at each of NASA’s centers. “Must increase the output and ‘time-to-science’ KPI,” or key performance indicator.

The institution has recently suffered a number of high-profile management stumbles.

After the JPL-managed Psyche mission to a metal-rich asteroid failed to meet its 2022 launch date, NASA commissioned an independent review that said internal reorganizations and personnel changes created distracted and uninformed managers and burned-out, stretched-thin staffers.

After a 2023 independent review found there was “near zero probability” of the JPL-managed Mars Sample Return mission making its proposed 2028 launch date, and “no credible” way to bring rocks back from the Red Planet within the stated budget, Isaacman’s predecessor, Bill Nelson, put out a call for proposals to industry and all other NASA centers, forcing JPL to compete for its own project.

After Trump’s election, Nelson announced that the final decision would be in the next administration’s hands.

The White House pushed for massive cuts to NASA’s 2026 budget that Congress overturned, and has lobbied for similarly steep cuts again this year. JPL has instituted painful cost-cutting measures of its own, reducing staffing from roughly 6,500 employees in 2023 to 4,500 last year through layoffs and attrition.

Its struggles come at a point when NASA is enthusiastically embracing private industry. Last month the agency awarded several key contracts for its upcoming lunar missions to Jeff Bezos’ Blue Origin and other private companies.

Trump has also made no secret of his willingness to punish states that haven’t voted for him through job losses. In announcing his decision to move U.S. Space Command from Colorado to Alabama, Trump acknowledged that his loss in Colorado in three presidential elections played a part in the move.

It’s impossible to consider any decision on JPL’s future as separate from the administration’s track record of politically motivated decisions, Dreier said.

“At the heart of this is why? Why now? If this is not just some rank political attack on California, what do they hope to gain from this?” he said. “That deserves explanation, because the administration otherwise has no credibility here.”

After 10 days of crazed moviegoing at the Cannes Film Festival, Times film critic Amy Nicholson and Times film editor Joshua Rothkopf are all but spent. They leave with 10 recommendations (listed below in alphabetical order), including several titles you’ll be hearing about during awards season, but also, admittedly, more reservations than usual.

Amy Nicholson: There are worse ways to spend your life than watching four movies a day in the south of France. For a week and half, we ran in and out of the dark theaters, blinking at the shock of the sun and bickering about what we just saw with the highest concentration of film lovers anywhere — most of us jacked up on espresso or rosé. Yet, we’re flying home miffed that the movies themselves were mediocre. Cannes is meant to launch ambitious, prickly works by grandmasters and next-generation talents. This year, the programming looked like a party with an impressive invite list — Nicolas Winding Refn, Asghar Farhadi, Hirokazu Kore-eda — but upon arrival, all the guests felt like old acquaintances tapped out of anything interesting to say.

I’m being harsh. Cannes had good movies, too. But I needed this year’s Cannes to be great. Audiences trickling back into theaters deserve to see something fantastic. Instead, too many filmmakers took the crowd’s attention span for granted; even the strongest films in competition could delete a half-hour of dead air. Fittingly, the majority of my favorites came from Cannes’ kookier programming sections, Directors’ Fortnight and Un Certain Regard — and I suspect many of yours did, too, oui?

Joshua Rothkopf: I did find a handful of films from the main competition that impressed me, but point taken: Nobody is served if we can’t admit that this year’s edition was weaker than others. We could blame screenwriting or pacing (though paradoxically I was impressed by both the longest and the shortest movies in competition). Maybe it’s an overall lack of boldness. When a restored version of Ken Russell’s salacious 55-year-old “The Devils” eclipses virtually everything else shown at the festival, a certain timidity is hard to deny. There were too many “nice” films: perfectly respectable but not what I want Cannes to be.

Fortunately, we saw enough to sharpen up a list of favorites. Here’s what stirred us.

‘All of a Sudden’

I’m not convinced that the utopian vision of end-of-life care presented in Ryusuke Hamaguchi’s drama has a fighting chance in America, but we deserve the opportunity to grapple with its compassionate turns and have that discussion. The director of “Drive My Car” continues his process-centric exploration of workplace relationships in this quietly revelatory movie, one with a centerpiece conversation that merits comparison to the long walks of Richard Linklater’s “Before” movies. Virginie Efira and Tao Okamoto let a day’s stroll linger into profundity, the twilight dimming and human connection brewing in all its possibilities. Is it too late for them? It doesn’t need to be. — Joshua Rothkopf

‘The Beloved’

Esteban (Javier Bardem), a renowned bad boy Spanish filmmaker, returns to his homeland from New York to shoot a period picture in the desert. Off-screen, he’s gifted one of the four leading roles to his estranged daughter (Victoria Luengo), an aspiring actor who hasn’t seen her father in 13 years. Esteban failed as Emilia’s dad. Can he succeed as her director, especially when her big break packs this much pressure? Not likely, especially as Emilia has inherited his disastrous boozing habits. “The Beloved’s” actual director, Rodrigo Sorogoyen, unleashes his leads to become a tag team of destruction, each blaming the other for what’s going wrong on set. They’re both mired in clashing narratives of their relationship. Sorogoyen shows us the truth, as well as the visible frustrations of the film-within-a-film’s cast and crew that risk shutting down this too-passionate passion project. — Amy Nicholson

‘Bitter Christmas’

(Iglesias Mas / Sony Pictures Classics)

Pedro Almodóvar’s self-flagellating film about his artistic process has a Charlie Kaufman-lite structure that I’d rather let audiences discover on their own. In brief: Almodovar’s avatar, a filmmaker named Raúl (Leonardo Sbaraglia), gets dragged over the artistic coals by the dramatic female characters he’s been writing for decades, one of whom dares him to simply coast on his legacy. Too many veteran filmmakers in his year’s Cannes competition seem to have accepted that bargain, so when Raúl got to the end of a new script and decided it wasn’t up to his standards, I nearly shouted “Bravo!” Navel-gazing cinema about the creative process isn’t usually my bag, but Almodóvar doesn’t take his own misery that seriously, even inserting a manic pixie dream hunk, a male stripper-slash-firefighter played by Patrick Criado, for a little bump and grind. — Amy Nicholson

‘Clarissa’

It’s been 101 years since Virginia Woolf first published “Mrs Dalloway,” a novel about persnickety party hostess Clarissa Dalloway colliding with her former lovers, one male and one female. The plot seems simple, but every glare and sigh tells a whole story about modernization, capitulation, cynicism and violence. Twin brothers Arie and Chuko Esiri have transplanted the tale to present-day Nigeria and stacked the cast with Sophie Okonedo, Ayo Edebiri, Nikki Amuka-Bird, David Oyelowo and the staggeringly talented India Amarteifio as the diva in her captivating youth before she married a tedious oilman and started bullying the help. “Clarissa” makes several smart adjustments, swapping in a traumatized Boko Haram soldier for a shell-shocked veteran of the Great War, and cocking an eyebrow at the shiny new yoga studios and coffee shops littering Lagos’ once-lush waterfront. Better still, it’s sexy as heck — the flashbacks are one swimsuit party after another. — Amy Nicholson

‘Club Kid’

The one-sentence pitch of Jordan Firstman’s debut dramedy — a gay nightclub promoter sobers up when he discovers he has a 10-year-old boy — sounded as fun as snorting a line of aspartame. I stand corrected. “Club Kid” is a blast: a spicy, surprising and irreverent comedy that rarely peddles the audience anything artificially sweet. Firstman stars as Peter, a debauched millennial aging out of a New York scene that never cared about him as a person in the first place. His business partner Sophie (Cara Delevingne) is a horror; his selfish squatter-roommate Nicky (Eldar Isgandarov) is even worse and so hilarious I’d watch a spin-off sequel just about him. Peter’s shock son Arlo (Reggie Absolom) has a casual charm that pickpockets your heart, but it’s the script’s sour quips that will have you urging people to get past the treacly set-up and go see “Club Kid” themselves. — Amy Nicholson

‘The Diary of a Chambermaid’

Art punk Radu Jude’s latest satire is about a Romanian immigrant with a burlesque double life. By day, Gianina (Ana Dumitrașcu, fantastic) is the live-in housemaid of a daft Parisian family; by night, she’s an actress in a turn-of-the-20th century slapstick farce about a housemaid whose master suckles her patent leather boots. In neither world can she openly say what she thinks (although in her native tongue, she curses her employers and their young son plenty). Fast, crisp and snide, “The Diary of a Chambermaid” gives equal weight to the monotony and the absurdity of Gianina’s grind. And Jude isn’t above including a mocking slow-motion shot of a spoiled French boy totally whiffing a soccer kick. — Amy Nicholson

‘Fatherland’

The tension at the heart of Paweł Pawlikowski’s period piece, set in a ravaged, fallen Germany after the end of World War II, is one that goes unresolved. All that’s left are defensive denials, evasions of Nazi collaboration and the faint hope that something higher has survived. I could watch this kind of guilt-ridden post-apocalyptic movie for hours; instead, this lasts a scant 82 minutes. The conclusion, a wordless moment between father and daughter set to the strains of Bach played on a broken pipe organ, was the most devastating passage of the entire festival. “Fatherland” shows off Pawlikowski’s exquisite way with black-and-white evocations of European tragedy, but he’s never summed them up as poetically. — Joshua Rothkopf

‘Fjord’

People at the festival called this one complex; I found myself disagreeing. It’s actually a fairly straightforward story about a religious but mostly level-headed family flung into conflict with an overly sensitive branch of child protection services — and maybe with the whole of agnostic Norwegian progressivism. As reactionary as that sounds, I was totally rapt. Partly that’s due to a beautifully plotted courtroom scenario and the immersive performances of Sebastian Stan and Renate Reinsve, reuniting after “A Different Man,” as parents increasingly out of their depths. But mainly, I credit Romanian director Cristian Mungiu, who knows a good story when he sees one, crystallizing its potency with every camera choice. — Joshua Rothkopf

‘Minotaur’

The ice-chilled return of Russian filmmaker Andrey Zvyagintsev (after a multiyear battle with long COVID) is worth the wait: a condensation of everything he does well into something so purely distilled, it should come with a proof warning. The movie kicks off as a casual portrait of the vacant nouveau riche lifestyles of the mini-oligarchs: fancy dinners, divorces, bathroom gossip. Then it becomes an erotic thriller (it’s based on Claude Chabrol’s 1969 “The Unfaithful Wife,” as was Diane Lane’s “Unfaithful”). But the best comes last, as the situation gets fixed in broad daylight with breathtaking brutality. The war in Ukraine? Someone else’s problem. “Minotaur” takes on the whole of Putin’s dissociative society and puts its winners above the blackened clouds, looking down at the rest of us. — Joshua Rothkopf

‘Teenage Sex and Death at Camp Miasma’

I am growing to love Jane Schoenbrun’s exfoliation of ’80s horror obsessions, especially for the movie’s nonjudgmental embrace: Let these movies be free in all their “problematic” badness and let them work on you. The fact that “Teenage Sex” sometimes plays like a bottle episode of “Hacks” doesn’t hurt. Hannah Einbinder brings vulnerability to a project that needs her brand of self-excoriating fearlessness. Points, too, for not turning this into yet another celebration of some forgotten male director reclaimed as a genius. Rather, the opposite: It’s about an abused scream queen (Gillian Anderson, gamely campy), a liminal, wintry campground and the exhilaration of running in the woods in your pajamas. — Joshua Rothkopf

THE hot contender to win Eurovision has a steamy past, having posed topless for Playboy and appeared on Baywatch.

Glamorous violinist Linda Lampenius is the bookies’ favourite to win next week’s contest with singer Peter Parkkonen, representing Finland with their song Liekinheitin.

But she is no stranger to fame, as she has an illustrious career as one of the nation’s sexiest musicians.

Linda, now 56, posed on the cover of US magazine Playboy in 1998 and appeared topless while holding her instrument in photos inside the mag.

She was compared to Pamela Anderson because of her stunning figure and blonde hair, which led to an appearance on Baywatch.

Linda, who has also used the name Linda Brava, appeared in an episode playing a violinist named Ariana, but she later claimed to have refused to shoot certain scenes with David Hasselhoff, who played lifeguard Mitch Buchannon.

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She said the script included the pair giving each other massages before they “find themselves in a steam room sharing a hot kiss.”

But Linda recalled: “I said that I refused to do the scene and that Hasselhoff was also ‘too old’ for me.”

She also appeared on an episode of the British late-night show Eurotrash in the Nineties, where she was referred to as a “supermodel” and “the hottest thing to come out of Finland since the sauna.”

Reflecting on the TV show appearance and her previous work in 2018, Linda said it was a small part of her life which she still laughs about.

She wrote on Instagram: “These fashion shows and photo shoots were something I did for less than 20 days of my life!! (I’m just laughing about the fact that they called me ‘supermodel’).

“If you get stuck in a box and never dare to do anything funny and different, life will become boring. Eurotrash was a humorous TV show, like a comedy show.

“I come from a theatre family and all quirky stuff is normal. It doesn’t make me less of a classical violinist/artist.”

Linda and Pete will compete in the first Eurovision semi-final at 8pm on Tuesday on BBC One, with hopes of progressing to the 70th annual grand final on Saturday May 16.

The latest odds from William Hill give Finland odds of 5/4 to win the entire contest, just in front of Denmark and Greece which are both at 11/2.

If Linda does win, she will be the oldest person to ever do so.

Estonia’s Dave Benton currently holds the record after winning aged 50 for Estonia in 2001.

Meanwhile, the UK act Look Mum No Computer is 17th in the betting with odds of 80/1 to win with his song Eins, Zwei, Drei.