Türkiye’s Premier Film Festival Is Canceled Following Documentary Dispute

Türkiye’s oldest film festival has been canceled amid controversy surrounding a politically sensitive documentary about the aftermath of a 2016 coup attempt. (AFP)
Türkiye’s oldest film festival has been canceled amid controversy surrounding a politically sensitive documentary about the aftermath of a 2016 coup attempt. (AFP)
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Türkiye’s Premier Film Festival Is Canceled Following Documentary Dispute

Türkiye’s oldest film festival has been canceled amid controversy surrounding a politically sensitive documentary about the aftermath of a 2016 coup attempt. (AFP)
Türkiye’s oldest film festival has been canceled amid controversy surrounding a politically sensitive documentary about the aftermath of a 2016 coup attempt. (AFP)

Türkiye’s oldest film festival has been canceled amid controversy surrounding a politically sensitive documentary about the aftermath of a 2016 coup attempt.

Antalya Mayor Muhittin Bocek announced the cancellation of the city’s Golden Orange Film Festival on Friday night, a day after the Turkish Culture and Tourism Ministry withdrew its support for the event.

The ministry objected to the film “Kanun Hükmü” or “The Decree,” a documentary which focuses on the hardships of a teacher and a doctor who were dismissed from their jobs following an attempted coup in Türkiye on July 15, 2016.

“It is extremely sad that in such an important festival, the power of art is used to make propaganda for the FETO terrorist organization through the perception of victimhood,” the Culture Ministry said in a statement.

FETO is an acronym the Turkish government uses for a movement led by US-based cleric Fethullah Gulen, whom the government blames for the failed coup. Gulen denies any involvement. More than 130,000 alleged Gulen supporters in Türkiye were fired from their jobs under emergency decrees declared after the military uprising.

The ministry said that it would “not be part of the effort to discredit the epic struggle of our beloved nation on July 15 and to use art as an element of provocation.”

In a video posted on X, the platform formerly known as Twitter, Bocek, a member of Türkiye’s opposition party, blamed the festival’s administrators and artistic team for mishandling the controversy and not engaging in crisis management.

“Due to the mess created by their own hand,” the festival administration, artistic director and the entire artistic team were fired, he said.

“Nobody should doubt that I will not allow our festival to be used for anyone’s political agenda,” the mayor said.

Critics have alleged the post-coup terminations and arrests represented a general crackdown against anyone viewed as its opponents.

The documentary's director Nejla Demirci wrote on X Friday evening: “I am saddened to see, day by day, how negative attitudes have organized against a documentary film. I am baffled by the statements of ministers who have not seen the film,” she wrote, inviting all her critics to watch it.

Organizers had said they would remove “The Decree” from the film festival program. Festival director Ahmet Boyacioglu initially announced the film was removed from the national documentary category due to ongoing legal proceedings against one of the people featured.

But Demirci, said that was an excuse and “outright censorship.” Twenty members of the festival jury quit in protest at the film getting pulled. On Wednesday the producers and directors of 27 festival entries said they were withdrawing from the event.

The film was later reinstated to the program after it was discovered that the trial of the featured person had ended.

The festival, which has run since 1963 in the Mediterranean city of Antalya, is a highlight of the Turkish cultural calendar. This year it was scheduled to run Oct. 7-14.



Taylor Swift Sued for Trademark Infringement Over ‘Life of a Showgirl’

 Taylor Swift arrives at the IHeartRadio Music Awards on Thursday, March 26, 2026, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Taylor Swift arrives at the IHeartRadio Music Awards on Thursday, March 26, 2026, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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Taylor Swift Sued for Trademark Infringement Over ‘Life of a Showgirl’

 Taylor Swift arrives at the IHeartRadio Music Awards on Thursday, March 26, 2026, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Taylor Swift arrives at the IHeartRadio Music Awards on Thursday, March 26, 2026, at the Dolby Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

Pop megastar ‌Taylor Swift was sued by a Las Vegas performer on Monday who said Swift's latest hit album "The Life of a Showgirl" violates her trademark rights. Maren Wade said in the complaint that marketing for Swift's album threatened to "drown out" her long-running "Confessions of a Showgirl" stage show and asked the court to block Swift from creating confusion with her album title.

Spokespeople for Swift and her label Universal Music Group, also a defendant, ‌did not ‌immediately respond to a request for comment.

Wade's ‌attorney ⁠Jaymie Parkkinen said ⁠they "have great respect for Swift's talent and success, but trademark law exists to ensure that creators at all levels can protect what they've built."

"The Life of a Showgirl," Swift's 12th album, was released in October and shattered Spotify streaming records on its way to becoming ⁠the biggest-selling album of 2025.

Wade said ‌in the complaint that ‌she began writing her "Confessions of a Showgirl" column for ‌Las Vegas Weekly in 2014.

She said she has ‌since toured a stage show with the same name featuring "candid and often humorous accounts of the challenges and absurdities of a career in the entertainment industry, from getting stuck ‌inside a giant birthday cake to impersonating a Madonna impersonator."

The US Patent and Trademark ⁠Office rejected ⁠Swift's application last year for a federal "Life of a Showgirl" trademark covering "musical performances and live entertainment services," citing potential confusion with Wade's pre-existing "Confessions of a Showgirl" trademark.

Wade said in the complaint that Swift's continued use of the "Life of a Showgirl" name "drowns out" her trademark "until consumers begin to assume that the original is the imitation."

"What Plaintiff had built over twelve years, Defendants threatened to swallow in weeks," Wade said.

Wade requested a court order blocking Swift's use of her "Showgirl" brand and unspecified monetary damages.


‘Project Hail Mary’ Flies to $54.5 Million Second Weekend, Horror Reaches a Saturation Point

Ryan Gosling arrives for the premiere of “Project Hail Mary” at the Lincoln Center in New York City, US, March 18, 2026. (Reuters)
Ryan Gosling arrives for the premiere of “Project Hail Mary” at the Lincoln Center in New York City, US, March 18, 2026. (Reuters)
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‘Project Hail Mary’ Flies to $54.5 Million Second Weekend, Horror Reaches a Saturation Point

Ryan Gosling arrives for the premiere of “Project Hail Mary” at the Lincoln Center in New York City, US, March 18, 2026. (Reuters)
Ryan Gosling arrives for the premiere of “Project Hail Mary” at the Lincoln Center in New York City, US, March 18, 2026. (Reuters)

“Project Hail Mary” stayed aloft in its second weekend, holding strongly with $54.5 million, according to studio estimates Sunday, and adding to the long-term prospects of the year’s biggest hit thus far.

The Phil Lord and Chris Miller sci-fi adventure, starring Ryan Gosling, dipped only 32% after notching the best non-franchise opening weekend since 2023’s “Oppenheimer.” Amazon MGM’s yet, “Project Hail Mary” has grossed $300.8 million worldwide in two weeks.

“Project Hail Mary,” which cost nearly $200 million to produce, didn’t face any significant new competition and kept premium format screens largely to itself. Potentially the weekend's most watched movie, the KPop documentary “BTS: The Return,” went straight to streaming on Netflix.

But “Project Hail Mary” is on an enviable trajectory. Its second weekend hold was even better than that of “Oppenheimer,” which collected $46.7 million in its follow-up frame.

Meanwhile, the weekend’s top new release, “They Will Kill You,” debuted with a disappointing $5 million for Warner Bros. The gory R-rated horror film stars Zazie Beetz as a woman who applies to be a maid at an apartment complex where she’s to become a sacrificial offering.

While the result was far from catastrophic for a movie with a modest $20 million budget, it did suggest that theaters may have become oversaturated in horror. David A. Gross, who runs the movie consulting firm FranchiseRe, noted that there has been a new horror film released every weekend for the last 14 weekends.

That included last week’s “Ready or Not 2: Here I Come” ($16.3 million domestically so far) and a second horror-comedy that also debuted this weekend. IFC’s “Forbidden Fruits,” about a coven of witches who work at a Texas mall, debuted with $1.2 million in sales.

Despite the glut, Gross is forecasting horror films will account for about $2.1 billion in North American ticket revenue in 2026, down from $2.75 million last year. While horror remains popular with audiences and relatively cheap to produce, the genre may be approaching overkill.

Meanwhile, family movies continue to thrive. The Pixar original “Hoppers” remained in second place with $12.2 million in its fourth weekend. The Walt Disney Co. release has accumulated $297.6 million globally.

Next weekend, though, it will face stiff competition in Universal Pictures’ “The Super Mario Galaxy Movie.” It’s expected to have the biggest opening of 2026.


Disney Opens World of Frozen in Paris as New CEO Showcases the Empire That Made Him

 The new theme World of Frozen is pictured during its inauguration at Disneyland Paris in Marne-la-Vallee, east of Paris, Saturday, March 28. 2026. (AP)
The new theme World of Frozen is pictured during its inauguration at Disneyland Paris in Marne-la-Vallee, east of Paris, Saturday, March 28. 2026. (AP)
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Disney Opens World of Frozen in Paris as New CEO Showcases the Empire That Made Him

 The new theme World of Frozen is pictured during its inauguration at Disneyland Paris in Marne-la-Vallee, east of Paris, Saturday, March 28. 2026. (AP)
The new theme World of Frozen is pictured during its inauguration at Disneyland Paris in Marne-la-Vallee, east of Paris, Saturday, March 28. 2026. (AP)

A 118-foot mountain of ice rose over the suburban Paris countryside this weekend as Disney opened its Arendelle kingdom to the world — Elsa’s palace glowing at the summit, a “Frozen” Nordic fishing village below, and the company’s new CEO standing before a crowd of celebrities.

World of Frozen, an immersive land themed to the blockbuster animated franchise, opened Sunday as the centerpiece of a 2 billion euro ($2.18 billion) transformation at Disneyland Paris.

The transformation renames one of the two theme parks at the Disneyland Paris complex from Walt Disney Studios Park to Disney Adventure World. The inauguration drew Penélope Cruz, Naomi Campbell and Teyana Taylor.

It is the largest expansion in the 34-year history of Disneyland Paris, and one node in a roughly $60 billion global buildout of Disney’s parks, resorts and cruise lines.

It is also the first major international stage for Josh D’Amaro, who took over as Disney’s chief executive on March 18 — just 11 days before the French gates opened — after nearly three decades in the company’s theme parks division.

The parks-and-experiences business generated about 57% of the company’s $17.5 billion in segment operating income last year, the force that observers say propelled D’Amaro from parks chief to the corner office.

An Associated Press journalist accompanied D’Amaro on the “Frozen” ride Saturday night.

The carriage splashed through water to childlike cheers from riders and laughter from the new chief executive as they glided past singing Elsa in the dark. Some stepped off lightly wet.

“The Walt Disney Company was built on one man’s dream, and for more than 100 years we’ve shared that dream with the world,” D’Amaro told the inauguration crowd.

“Storytelling is fundamental to everything that we do, whether that’s on screen or stage, in our theme parks, on our cruise ships, or even at home.”

He called the opening “a transformational moment” and paid tribute to the creative team behind the land, including “Frozen” writer-director Jennifer Lee — all now at work on “Frozen 3.”

On Friday, D’Amaro had stood alongside Emmanuel Macron at the resort.

The French president used the visit to claim the park as a national economic asset, calling Disneyland Paris “the leading tourist destination in Europe” and describing it as “a genuine ecosystem of success.”

Macron said the latest expansion would create 1,000 additional direct jobs.

“Since the beginning, that’s 13 billion euros invested on this territory,” Macron said.

Disneyland Paris says the resort now employs more than 20,000 people, supports 70,000 direct, indirect and induced jobs, and has recorded more than 445 million visits since 1992 — accounting for 6.1% of France’s national tourism revenue.

Macron’s presence underscored a remarkable reversal.

When the park opened as Euro Disney in 1992, French intellectuals derided it as a “cultural Chernobyl.” Now a French president was standing in front of cameras calling it an engine of national prosperity.

It is no coincidence that “Frozen” and “Tangled” — the two stories anchoring Disney’s new lineup at its sole European resort — both trace their roots to European folklore.

“Frozen” draws loosely from “The Snow Queen”; the new Tangled family ride recalls the Brothers Grimm’s Rapunzel.

“Frozen, of course, has its roots in European storytelling,” said Michel den Dulk of Walt Disney Imagineering.

“It’s very loosely based on Hans Christian Andersen. So to have a northern European, charming wooden little village here in Disneyland Paris, where you can see your favorite Frozen characters — it just made sense.”

The land recreates Arendelle around a lagoon, its timber buildings painted in muted Scandinavian pastels, facades adorned with rosemaling, a traditional Norwegian decorative art.

At the center is Frozen Ever After, a boat ride featuring state-of-the-art animatronics and immersive projection effects.

Guests can meet Anna and Elsa inside Arendelle Castle, have a conversation with a responsive baby troll named Mossy who talks back, and watch a lagoon celebration called the Snow Flower Festival — featuring an original song.

A next-generation robotic Olaf roams the land.

Beyond World of Frozen, the rebranded park brings a vast new lake called Adventure Bay, a Tangled family ride, 15 new dining locations — including the posh Regal View Restaurant — and a nighttime spectacular called Disney Cascade of Lights featuring more than 380 drones.

A Lion King land, already under construction, will follow.

More than 90% of the second park’s offerings will have been redesigned since it opened in 2002, and Disney says the footprint will roughly double once the full transformation is complete.

Disney's streaming has swung from deep losses to profitability, but the parks remain the company’s most dependable earnings engine — and D’Amaro is the man who ran them.

“We continue to dream bigger and bring stories to life in brand new ways,” D’Amaro told the crowd.

Pyrotechnics lit up Arendelle Village.

The ice palace on the mountain turned blue.

And 34 years after Euro Disney became a punchline, a brand-new kingdom opened in the fields east of Paris — for the first time in forever.