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For Auction: Marilyn’s Clothes, Thor’s Hammer, Cap’s Shield

This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
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For Auction: Marilyn’s Clothes, Thor’s Hammer, Cap’s Shield

This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)
This combination photo shows Marilyn Monroe on the set of "Something's Got To Give," in Los Angeles in April 1962, left, and a custom-made pale pink silk blouse worn by Monroe in "Let’s Make Love." The items is one of many pieces of Hollywood memorabilia up for action July 15 through July 17 at Julien’s Auctions. (AP Photo, left, Julien's Auctions via AP)

It may not be that Marilyn Monroe dress, but several gowns she donned for “Gentlemen Prefer Blondes” and “There’s No Business Like Show Business” are going up for auction this summer along with 1,400 other pieces of Hollywood history.

Over three days in July, Turner Classic Movies and Julien’s Auctions are teaming up to auction off items like Captain America’s shield from “Captain America: The First Avenger,” a two-piece Givenchy ensemble worn by Audrey Hepburn as Holly Golightly in “Breakfast at Tiffany’s” and Jules Winnfield’s “bad mother (expletive)″ wallet from “Pulp Fiction,” the organizations said Tuesday.

One of the six original Stormtrooper helmets from “Star Wars: A New Hope” is among the items being auctioned off. The helmet was used during the Tunisia shoot and later restored by Star Wars expert Gino Sabatino. A variety of props used in the Harry Potter films, like Draco Malfoy’s “Nimbus 2001” broomstick and Voldemort’s Elder Wand, are also up for bidding, as is the hammer used by Chris Hemsworth in “Thor: The Dark World.”

There will be special collections from the estates of James Garner, Robert Stack and Doris Day, as well as legendary editor Anne V. Coates’ marked scripts, including a never-before-seen glimpse into her Oscar-winning decision-making on David Lean’s “Lawrence of Arabia.” Other Coates items include her lined scripts for “The Elephant Man” and “Out of Sight.”

“Our fans crave a tangible connection to their passion and now they can satisfy that desire with these iconic costumes and unique memorabilia from the movies we air on TCM,” said TCM’s general manager Pola Changnon.

One of the biggest ticket items is a yacht once owned by JP Getty that was used in the exterior scenes of the film “Pal Joey,” starring Frank Sinatra, Rita Hayworth and Kim Novak. There are also costume jewelry options worn by Monroe, Hayworth, Judy Garland, Olivia de Havilland and Barbara Stanwyck from Joseff of Hollywood.

“Today marks an exciting milestone for Julien’s Auctions as our new collaboration with TCM will bring our world class collection of important Hollywood artifacts and our premium auctions to new heights and build on our reputation as the leading auction house to the stars,” said Martin Nolan, Executive Director of Julien’s Auctions.

The auction will run July 15 through July 17 at Julien’s Actions in Beverly Hills.

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Entertainment

Lionel Richie Takes a Break from Performing after Heart Procedure

Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
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Lionel Richie Takes a Break from Performing after Heart Procedure

Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Lionel Richie is taking a break from touring as he recovers from a heart procedure, a representative for the singer confirmed in a statement to The Associated Press on Wednesday.

Richie underwent a common procedure for atrial fibrillation, or A-fib, and the “doctor said everything went perfectly,” it read. “Lionel is doing great but will take some time off and will be back on stage soon.”

A-fib is a quivering or irregular heartbeat that is a worrisome stage-setter for blood clots, stroke and heart failure. Some researchers believe more than 10 million Americans have it — most of them older.

The 77-year-old singer also postponed two concerts earlier this year, in June, after falling ill. And in August, reports of Richie checking himself into a hospital after a performance in St. Louis made the rounds online.

Richie was scheduled to perform with Earth, Wind & Fire Saturday in San Francisco, Sept. 30 in Chicago and Oct. 3 in Columbus, Ohio.

According to his website, he is currently scheduled to launch his “King of Hearts” residency shows at Las Vegas’ the Wynn in October and November.

The Oscar and four-time Grammy Award-winning Richie launched his career with The Commodores before becoming a successful solo artist. In addition to his well-known hits like “Hello,” Richie co-wrote the iconic charity single “We Are the World” with Michael Jackson and has sold over 100 million records.

He is also a judge on “American Idol.”

Entertainment

Paramount Wins Warner Bros Takeover After Settling States, Union Lawsuits

The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
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Paramount Wins Warner Bros Takeover After Settling States, Union Lawsuits

The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)

Paramount Skydance emerged victorious on Monday from a legal battle over its $110 billion acquisition of Warner Bros Discovery after settling with a California-led group of US states and a Hollywood writers union, paving the way for one of the largest media mergers in history.

The settlement marks a major win for Paramount CEO David Ellison, who battled the states for months to finalize a deal that would dramatically concentrate power across Hollywood's film, TV, streaming and news businesses.

Paramount agreed to abide by temporary film quotas and a news oversight committee, avoiding a forced sale of cable assets such as CNN or any of its lucrative film franchises.

The settlement delighted Warner Bros shareholders, but drew criticism from opponents of the merger who say it will hurt Hollywood jobs. Shares ‌of Paramount pared ‌back earlier gains on Monday, while Warner Bros Discovery surged more than 10%.

The Writers ‌Guild ⁠of America settled ⁠its parallel case against Paramount, while saying it still believes the deal will damage the industry. The states' settlement forced the union to "contend with the reality of forging ahead alone, with no backing from government enforcers" in a complex case that would have cost millions of dollars.

California Attorney General Rob Bonta called the settlement "a strong antitrust outcome."

"More production, more choice, and guardrails that keep this industry competitive. I don't think these two companies should merge, but that's not something that we are focused on with our resolution here," he said at a press conference in Los Angeles.

Paramount ⁠promised in the state settlement to bring more film production to the US — ‌spending at least $300 million more each year in domestic production — and adhere ‌to US theatrical release quotas for five years.

The company will produce 30 movies in each of the first two years ‌of the deal, and 32 movies in each of the following three years, Bonta said. Each year, ‌at least four of those films must be independent films and at least 20% must be blockbusters. If it falls below that threshold, it will pay $30 million per film, most of it into funds to support workers.

Paramount also promised not to raise rates on theater operators for three years.

Under the settlement terms, Paramount will establish a news editorial independence board to ensure independence ‌at the CBS and CNN networks.

Reuters first reported on Friday that Paramount and the states could settle as soon as the weekend.

Ellison thanked the states and ⁠California Governor Gavin Newsom for ⁠his support throughout the process.

"Our goal has always been to build a stronger Hollywood — one with more stories told, greater choice for consumers and stronger competition," he said in a statement.

While Trump administration regulators cleared the deal, a coalition of 12 state attorneys general, led by California's Bonta, sued in July to block the merger, arguing it would reduce competition and create a media behemoth with the power to raise prices in movies and television.

The Writers Guild also sued to stop the deal, arguing it would decrease pay and worsen working conditions for film and TV writers.

The companies said earlier this year the merger will mean $6 billion in savings, through moves including cost cuts that would likely affect jobs across Hollywood as well as in the CNN and CBS newsrooms. The combined company is expected to hold $80 billion in debt.

The settlement helps Paramount avoid a $7 million-a-day "ticking fee" it would have owed Warner shareholders for each day the deal does not close past September 30.

Antitrust regulators in other jurisdictions globally, including the European Union and Britain, have already cleared the deal.

Entertainment

'Resident Evil' Tops Box Office with Franchise Best Debut of $60 Million

Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
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'Resident Evil' Tops Box Office with Franchise Best Debut of $60 Million

Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files

Zach Cregger’s “Resident Evil” gave the North American box office a shot in the arm in its first weekend in theaters. The Sony Pictures release earned $60 million in ticket sales from 3,684 locations in the US and Canada, according to studio estimates Sunday.

That’s a best for the video game inspired franchise, of which there have been seven prior movies dating back to 2002, and for the filmmaker behind “Weapons” and “Barbarian.”

It’s also more than most of the previous films made in their entire domestic runs. The only exception is “Resident Evil: Afterlife,” which was released in 2010 and netted out with $60.1 million, not accounting for inflation.

Cregger’s “Resident Evil” stars Austin Abrams (who also played a pivotal role in “Weapons”) as a medical courier whose last job of the night finds him battling infected creatures in Raccoon City. Reviews were overwhelmingly positive; it currently boasts a 95% on Rotten Tomatoes.

The audience was primarily male (66%) and under 35 (75%), according to PostTrak exit polls, and gave it a B+ CinemaScore. Cregger’s previous films have defied a lot of box office logic when it comes to horror movies, whose earnings tend to be front-loaded and drop sharply after the first weekend.

“Barbarian” grossed over $46 million on a budget under $5 million. “Weapons” made $270 million on a $38 million budget.

“Zach Cregger is a household name in the world of horror,” said Paul Dergarabedian, the head of marketplace trends for Rentrak. “There are certain directors who become the star of the movie.”

“Resident Evil” cost a reported $75 million to produce, which does not include marketing and promotion expenses. Internationally, it earned $48.3 million, bringing its global launch to $108.3 million.

“Zach Cregger plus big franchise equals big bucks,” The Associated Press quoted Dergarabedian as saying. “And he made it feel fresh and new.”

According to Rentrak, horror movies this year, including hits like “Obsession” and “Backrooms,” have generated over $1.1 billion at the domestic box office.

Second place went to “Practical Magic 2,” which fell about 59% from its lackluster opening weekend with $12.2 million from 4,163 theaters in North America. An additional $7 million from international showings brings its running global total to $76.8 million.

“Spider-Man: Brand New Day” landed in third place with $6.5 million in its eighth weekend, pushing its domestic total to $944.5 million. “The Odyssey,” in its 10th weekend in theaters, added another $4.9 million to take fourth place. “Coyote vs. Acme” rounded out the top five with $4.5 million.

One notable limited release was “The History of Concrete,” a documentary from comedian John Wilson, which earned $90,000 from one screen (the IFC Center in New York). The only film to make more in a single weekend at that venue was “Parasite,” which made $119,407.