‘Spider-Man: Across the Spider-Verse’ Slings Back Into Box Office Top Spot While ‘The Flash’ Drops 

This image released by Sony Pictures Animation shows Miles Morales as Spider-Man, voiced by Shameik Moore, in a scene from Columbia Pictures and Sony Pictures Animation's "Spider-Man: Across the Spider-Verse." (Sony Pictures Animation via AP)
This image released by Sony Pictures Animation shows Miles Morales as Spider-Man, voiced by Shameik Moore, in a scene from Columbia Pictures and Sony Pictures Animation's "Spider-Man: Across the Spider-Verse." (Sony Pictures Animation via AP)
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‘Spider-Man: Across the Spider-Verse’ Slings Back Into Box Office Top Spot While ‘The Flash’ Drops 

This image released by Sony Pictures Animation shows Miles Morales as Spider-Man, voiced by Shameik Moore, in a scene from Columbia Pictures and Sony Pictures Animation's "Spider-Man: Across the Spider-Verse." (Sony Pictures Animation via AP)
This image released by Sony Pictures Animation shows Miles Morales as Spider-Man, voiced by Shameik Moore, in a scene from Columbia Pictures and Sony Pictures Animation's "Spider-Man: Across the Spider-Verse." (Sony Pictures Animation via AP)

“Spider-Man: Across the Spider-Verse” slung its webs back atop the box office ranks while “The Flash” saw a drop faster than the film’s speedy character.

The Spidey animated sequel — starring Shameik Moore as the teenage webslinger Miles Morales — reclaimed the No. 1 spot in its fourth week in North American theaters, scoring $19.3 million. The latest number helped the Sony film reach $317.1 million domestically and an impressive $560.3 million worldwide.

“For a film like this to crawl and spin a web back into the No. 1 spot is very rare,” said Paul Dergarabedian, the senior media analyst for Comscore. “It’s a testament to the quality of the movie. This is a very competitive and crowded summer movie marketplace. And yet ‘Spider-Man: Across the Spider-Verse’ has distinguished itself as one of the biggest movies this summer season.”

“Spider-Verse” beat out “Elemental,” which took second place for the second week in a row with an estimated $18.5 million. The film held on to the spot after experiencing Pixar’s worst three-day opening last week.

No other film had such a dramatic drop than “The Flash” with $15.2 million for the big-budget offering. The second-week output for the DC and Warner Bros superhero film, starring Ezra Miller, fell off by 72% after opening with a subpar $55 million.

So far, the numbers “The Flash” have accumulated haven’t measured up for a movie with a $200 million production budget. Some are crediting the film’s struggles to Miller’s off-screen behavior that has included arrests and misconduct. The actor has apologized and sought mental health treatment.

“Sometimes it’s not the opening weekend that tells the whole story — particularly with ‘Elemental,” Dergarabedian said. “It’s more about the challenges that can sometimes face a movie like ‘The Flash’ that are multifaceted, and it’s very difficult to overcome.”

“The Flash” barely edged out “No Hard Feelings,” starring Jennifer Lawrence and Andrew Barth Feldman. The Sony R-rated comedy, which opened in fourth place with $15.1 million, tells a story about a teen’s parents who hired a woman (Lawrence) to date and boost his confidence.

With “Spider-Verse” and “No Hard Feelings,” Dergarabedian said Sony should be pleased about the turnout for both films.

“Transformers: Rise of the Beasts” came in fifth place with $11.6 million in its third week with a total $122.9 million. It placed ahead of Wes Anderson’s “Asteroid City,” which did better than expected with $9 million.

In seventh, “The Little Mermaid” pulled in $8.6 million to bring its total to more than $270 million.

Dergarabedian said he expects a good draw for “Indiana Jones and the Dial of Destiny,” which opens June 30.

“No matter what the reviews are. I know the reviews have been mixed. But the summer movie fan who wants to go to the movie theater, you can’t sit this one out,” he said. “It’s really going to be the audience who will decide the ultimate success of this film.”



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.