The incident was the latest security issue for Harry, the younger son of King Charles, following his relocation to Britain from California with his American wife Meghan Markle and two children, Prince Archie, 7, and Princess Lilibet, 5, last month.

The family have sought to keep the location of their new home and the children’s school private. The children have already changed schools after heavy traffic on the route to the original location caused concerns for their security team.

A spokesperson for Harry and Meghan said photographers had walked the perimeter of the new school before stopping to look in the grounds and monitor the children there.

Princess Diana’s brother, eyewitness to history, sparks royal ruckus

“The decision by photographers to conduct themselves in this way around a school is extraordinarily reckless,” the spokesperson said in a statement.

While the British press have been broadly respectful of the family’s privacy since they moved back, the couple’s spokesperson said “certain European paparazzi appear unwilling to respect the privacy of children at school”.

Harry, 42, has long blamed the press for the 1997 death of his mother, Princess Diana, who was killed when the car she was in crashed as the driver sped away from chasing paparazzi. He is fiercely protective of his family’s privacy, comparing press treatment of Meghan to that suffered by his mother.

The couple, who stepped down from royal duties in 2020 and became private citizens, have their own security team but want the British government to provide their family with automatic police protection, as is the case for other senior members of the royal family.

‘Revenge dress’ shows Princess Diana’s lasting appeal amid royal family war of words

Harry’s brother, Prince William, the heir to the throne, has had similar experiences with European paparazzi and has in the past won privacy cases against French magazines for publishing photographs of his family while not on official duties.

The brothers, who were once close, have been estranged since Harry stepped down and published a book detailing the breakdown of the relationship and gave several interviews which criticised the royal family.

The man, identified as Beran A, was sentenced in May to 15 years in prison. He has been in custody since his arrest in August 2024.

An episode of the series, which first aired in December 2025, showed his parents’ home in a town an hour’s drive from Vienna for a matter of seconds but did not name him.

“He doesn’t live there. He hasn’t lived there for two years,” Judge Nicole Baczak ruled, adding that there was no prospect of him living there again in the near future.

Baczak added that the fact his name had been widely reported in the news media did not matter, and home addresses in general do not deserve the highest level of legal protection.

Beran A did not attend the one-hour trial. His lawyer Ulrike Zeller said he would appeal.

Taylor Swift lands top trophy at MTV’s Video Music Awards

The show is available to stream in Europe on Disney+, but the segment showing the address was removed in May.

A lawyer for Disney, Georg Kresbach, told the court Beran A’s parents had each been paid €3,000 ($3,400) in compensation for their home being shown in the series in a separate settlement.

He was found guilty in May of various, mainly terrorism-related offences, including trying but failing to illegally buy weapons including a machinegun and hand grenade, and following instructions in an Islamic State video entitled “Make a bomb in the kitchen of your mom” to produce a small amount of the explosive triacetone triperoxide.

Ngxokolo ‌said he wanted the show to highlight South Africa’s diversity, beauty, and business successes.

“That’s the Africa that we all want to live in, where the economy thrives, where the crimes become less, ​where politically it’s less corrupt — that’s the Africa that we’re trying to showcase ​here,” Ngxokolo told journalists after the show in the gilded rooms of ⁠the residence of the South African ambassador to France.

Maxhosa Africa clothes are produced ​at two knitting factories the brand owns in Johannesburg and in East London, in the ​Eastern Cape province where the wool used for its knitwear is also sourced. Ngxokolo said he aims to boost the country’s textile industry and show it can produce high-quality luxury goods.

Taylor Swift lands top trophy at MTV’s Video Music Awards

On a catwalk ​of woven straw mats models paraded outfits that echoed the pan-African theme. One featured ​multi-coloured knitted labels with the names of African countries, a motif also worn by South African musician ‌and ⁠rapper Sjava, whose singing provided the soundtrack to the show.

Women wore brightly patterned bra tops with wavy hems, paired with flowing midi skirts, or matching geometric-patterned knit ensembles of pleated skirts and button-down shirts in lilac and grey. Some sported glasses by Kenyan ​artist Cyrus Kabiru, who ​creates eyewear from waste.

Menswear ⁠ranged from the formal, like a blue and red double-breasted suit in a checkerboard knit covered in beaded symbols, to more ​casual streetwear looks of baggy shorts and polo shirts in bright ​diamond patterns.

While ⁠Maxhosa’s geometric patterns evoke traditional Xhosa beadwork, Ngxokolo said his inspirations also included Missoni, Gucci, and Louis Vuitton.

Ngxokolo had been planning to bring other African designers to Paris with him, ⁠but ​said he didn’t have the resources.

“I feel honoured to ​be represented, I’ve been fighting to sit at the table for 16 years now,” he said. “We feel that ​we are still underrepresented as the African continent.”

The event held at the start of Paris ​Fashion Week featured models Kendall Jenner and ​Heidi Klum, actors Andie MacDowell and Philippine ⁠Leroy-Beaulieu, as well as US Olympic skier ​Lindsey Vonn and Italian Paralympian Beatrice Vio, sashaying down ​a catwalk against the backdrop of a lit-up Eiffel Tower.

Dion, who is in Paris for a series of concerts, was ​a L’Oreal Paris brand ambassador in 2019.

L’Oreal ​Paris is L’Oreal group’s biggest brand, used by about 600 ‌million ⁠consumers, according to the company, and was the biggest contributor to its growth in the first half of the year.

Madonna, Sabrina Carpenter and Lisa win at MTV’s Video Music Awards

That was largely thanks to new ​haircare products that ​are growing ⁠four times faster than the market, said Laetitia Toupet, the brand’s global ​president, as well as make-up like ​its ⁠best-selling Infallible 3-second setting spray.

“While we are increasingly adopting codes to elevate the brand and make it ⁠more ​luxurious, we always remain close ​to women around the world,” Toupet told Reuters ahead of ​the event.

“Bring Your Love” from Madonna and Carpenter earned the VMA collaboration award at the show in downtown Los Angeles. The pair had opened the ceremony with a high-energy performance of the song to the cheering crowd.

Madonna, the night’s top nominee, said she enjoyed working with Carpenter because their work styles complemented each other.

“When I show up late, she shows up early,” Madonna said, adding that both share the old-school habit of writing lyrics on pieces of paper.

“It’s been wonderful working with you, and I love this song,” she added. Lisa, a member of the group Blackpink, won the VMA for best pop video for her solo effort “Dream.”

Sporting a black outfit with large white fringe sleeves, she spoke through tears as she thanked her fans, known as Lillies.

“I wouldn’t be here without you guys,” she said as she held the VMA Moon Person trophy.

Taylor Swift lands top trophy at MTV’s Video Music Awards

“Thank you so much for your love and support.” Taylor Swift was in attendance and was set to be awarded the inaugural MTV VMA Artist Director Honors.

Swift has directed videos for many of her hits including “The Fate of Ophelia” and “All Too Well,” plus the new single “Patient Zero,” which was scheduled to debut during the VMAs telecast. Swift, Madonna and Carpenter were all competing for the ceremony’s top honor of video of the year.

Madonna was nominated for “Confessions II - The Film,“ Carpenter for “Tears” and Swift for “Ophelia.”

Winners in the top categories are selected by fan votes. The ceremony was broadcast live on CBS and MTV and streamed on Paramount+.

“Ophelia” was the first single off Swift’s 2025 “The Life of a Showgirl” album. As she accepted the VMA honor, she praised Parton as “the ultimate showgirl.”

“I think ​that we were all very lucky to share this planet with Dolly Parton ​for a time,” Swift said on stage in downtown Los Angeles.

Parton, ⁠an award-winning country singer, songwriter and businesswoman, died in August at the age of ​80.

Earlier, Swift was awarded the inaugural MTV VMA Artist Director Honors. She has written ​and directed 18 videos over her career including one for her new single “Patient Zero,” which she debuted during the ceremony.

“The main reason I love writing and directing music videos so much is ​because you, the fans, make it so much, so much fun,” Swift said. “You ​actually care about what we’re making.”

The VMAs were broadcast live on CBS and MTV and streamed ‌on ⁠Paramount+.

Winners in the top categories are selected by fan votes.

In other awards, Madonna was named artist of the year and her duet with Carpenter, “Bring Your Love,” was crowned best collaboration.

Madonna said she enjoyed working with Carpenter because their work styles complemented ​one another.

“When I show ​up late, she ⁠shows up early,” Madonna said, adding that both share the old-school habit of writing lyrics on pieces of paper. “It’s been wonderful ​working with you, and I love this song,” she said.

Lisa, ​a member ⁠of the group Blackpink, won the VMA for best pop video for her solo effort “Dream.” Sporting a black outfit with large white fringe sleeves, she spoke through tears as ⁠she ​thanked her fans, known as Lillies.

“I wouldn’t be ​here without you guys,” she said as she held the VMA Moon Person trophy. “Thank you so much for ​your love and support.”

In August 2023, a cable car carrying eight people – six of them schoolboys on their way to class – snapped two of its three supporting cables and hung for 14 hours, 900 feet above a ravine in Battagram. It wasn’t just Pakistan watching the incident unfold – it was the world.

Like many, filmmaker Mohammed Ali Naqvi watched it live, but from a different vantage point: as material. “By the time nightfall happened, and things looked really bleak, in the most unlikeliest of fashions, the boys, one by one, began to become rescued,” he said in our interview. “So I was convinced by that time, by the end of it: this is a movie.”

Hanging by a Wire is, by any measure, one of the more commercially ambitious releases a Pakistani story has had in years – and getting there involved a set of creative, ethical, and financial decisions that Naqvi walked me through in detail.

“This is a Hollywood ending”

Naqvi’s instinct that the rescue was cinematic, rather than journalistic, came from the story’s structure as much as its stakes. “It was such a Pakistani story to me,” he says, “because you have these different people in these different factions, and they don’t necessarily all get along…they all had to put their differences aside, all join hands, and ultimately they all had a hand in saving these kids. And that’s very much a Hollywood ending.”

Naqvi spoke of the community’s response in the moment: “They didn’t call the police. They started putting their own stories on social media and trying to get the word out… and it worked.”

Crucially, much of the film’s most striking footage – including the widely shared drone shots of the boys suspended in the cable car – isn’t reconstruction at all. “Many people think, when I was showing that to them, that that was recreations,” Naqvi says. “That’s not recreation. That’s actual real footage.”

It came from a jewellery shop owner in the community, Faisal Mumtaz, who happened to be a drone enthusiast and fed footage to the world as the crisis unfolded, alongside Ek Rahgeer, who Naqvi highlighted when speaking of the archival footage at his disposal, a citizen-journalist and YouTuber who covered a lot of the ground and the rescue operation.

Not a “purist documentary”

Naqvi is explicit that the thriller framing was not incidental to the film’s commercial prospects, though he resists the idea that it was purely a market calculation either. “If I was being honest to what the story and subject was, it intrinsically lended itself to that,” he says. “Otherwise, why would so many people all over the world be glued to it?”

What he’s more pointed about is what the framing let him avoid. “What I didn’t want to do was make just another story that’s centred around trauma victimhood,” he says. “I deliberately chose the Hollywood lens, because that to me was an act of subversion. When you take Pakistanis and frame them as action heroes rather than victims, that is an act of subversion… that burden of explanation, making ourselves legible, and continuously explaining context – that is a disservice to us.”

He points to one detail he chose not to explain: the district police chief who appears in the film, a woman in a hijab, whose presence he leaves unremarked. “I don’t actually tell you anything more about it… Otherwise, that burden of explanation, making ourselves legible, and to continuously explain context, that is a disservice to us. And I deliberately did not want to do that… It is taking away our agency and dignity as humans.”

That choice, he acknowledges, cost him some critical goodwill: “I think maybe that might have been some of the pushback or criticism I did get – that I didn’t make the film that some critics wanted me to make, which is a film that was more traditional, purist documentary that went into problems and discussions of infrastructure, of class hierarchy. That’s a documentary. That’s definitely not the film I wanted to make,” he asserted. “I’m not going to do a social justice poverty porn for you.”

On whether working with a major studio forced any compromise on that vision, Naqvi says he was largely shielded – partly by the nature of the deal, and partly, in his telling, by the team around him. “I’ve been really blessed that I’ve never had to really compromise,” he remarked, crediting his producing partner Bilal Sami and a slate of supportive executive producers. He also notes a structural point: “This is a documentary, and it’s still a bigger-budget documentary, but it’s not like a fiction budget, where maybe more controls might come into play.”

What the reconstructions actually are

Naqvi says the reconstructions were confined mainly to the overnight rescue-camp footage, where less archive material existed, and were built as “coverage” around what he calls his “hero A” footage – real material – rather than replacing it. “All the recreations were done using the actual subjects themselves,” he says. “Number one, they’re not just telling me about their memory of what happened that day; they’re showing me.”

They were filmed in November 2025 – roughly two years after the incident – in a studio, using a built cable car set “one foot off the ground” and only after what Naqvi describes as sustained relationship building rather than a single consent conversation. “I would not have done any of the reconstructions or anything like that without their consent and without their comfort,” he says.

Asked whether any of the boys pushed back on how a scene was staged, he says the direction largely came from them: “I think they adjusted their own blocking and everything themselves. If anything, I took my lead from them… your job is to really just listen.” The sessions were done, he added, “in witness of their parents.”

And on the question of trauma, he explicitly rejects a Western therapeutic framework as the right intervention. “To impose therapy from a Western construct would actually be doing them a disservice,” he states, describing the community as patriarchal and conservative, where outside intervention around emotional wellbeing “they would kind of interpret as weakness.”

On compensation, Naqvi draws a firm line dictated by documentary ethics rather than choice: “you do have to adhere to some journalistic precedent – you can’t actually pay them for a performance,” he says, since that would compromise the reality of their testimony. There is no profit participation for the boys or other subjects. Instead, the production has funnelled support through a Seattle-based nonprofit, One Good Act, formed by Pakistani-American diaspora professionals, which is raising money for the boys’ higher education, business grants for rescue workers and survivors, a small medical dispensary for the village, and – longer-term, contingent on government cooperation – a feasibility study for a safe, permanent bridge or cable car to replace the one in the film.

The financing chain

The path from a self-funded development process to a Universal-backed theatrical release ran through several distinct stages. Naqvi financed the earliest work himself, alongside Bilal Sami, a Lahore-based filmmaker who came on as producing partner “from the get-go,” and Khalid Waseem, his longtime ground producer based in Rawalpindi. The first outside support came in 2024 from Concordia Studios, through a fellowship for filmmakers “from marginalised backgrounds,” which funded Naqvi’s initial filming and the “sizzle” reel used to court financiers.

Principal photography began in March 2025. Two months later, at Cannes Docs Week, Naqvi’s team previewed footage to buyers at the American Pavilion – “We had half our funding already in place; We needed to get the remaining gap financing,” he says. That preview is what connected the project to Universal: “They really loved how I chose to make an action film. It happens to be a documentary, but really it’s an action film.”

What success looks like

Asked how he’ll measure whether the film succeeded, Naqvi put the advocacy outcomes first. “If we are somehow in some small way able to impact the lives of these boys, these rescuers, then I think that would make me happy.” Beyond that, he points to a specific and slightly unusual marker of crossover appeal: “This is one of the few films that I have ever made that my parents or my aunties and uncles would watch, actually, and be interested in watching. That, to me, is a huge success.”

His larger claim is about genre range rather than any single film’s box office. “Pakistani cinema can be more than just hard-hitting rough news,” he proclaims. “We should make horror films, we should make comedies… we should be afforded that too.”

He named a cohort of filmmakers he sees already pushing in that direction: Saim Sadiq’s Joyland, Sarmad Khoosat’s Lali, Usman Riaz’s animated The Glassworker, Seemab Gul’s Ghost School and Sandstorm, and Mehreen Jabbar’s long career in diaspora romantic comedy – while pointing to a structural obstacle bigger than any one filmmaker’s ambition: regional politics affecting whether South Asian content gets carried on global streaming platforms at all.

“It’s not just censorship in the region… if we had a more vibrant audience and numbers, for a global streamer to take us more seriously, then we can at least begin… taking some of those regional powers to task.”

Hanging by a Wire is expected to be on streamers on Paramount Plus on October 28th, all across North America, UK, Australia, France, Germany, and a few other places. And then, Pakistan and the wider Middle East toward the end of the year.

The filing, dated September 21, escalates an ongoing copyright dispute between the companies. Zee alleges JioStar is guilty of “wilful disobedience” because it continued using Zee’s music and songs in programmes broadcast on its platforms despite a court order barring such use.

JioStar, formed from the $8.5 billion merger of Reliance and Disney’s Indian media assets in 2024, declined to comment. Zee did not immediately respond to requests for comment.

The copyright case was heard on Friday. A source aware of the details of Friday’s court hearing told Reuters the Delhi High Court asked JioStar for a response to Zee’s latest allegations and the case will be heard next in December.

The lawsuit began in April when Zee sought $3 million in damages, citing 50 alleged copyright violations involving content from its music division.

In May, the Delhi High Court ordered JioStar not to “use, publish, broadcast, stream, upload” any of Zee’s licensed works.

JioStar’s lawyers have previously told the court the alleged infringements were “unintentional” and “purely residual in nature”. The company said in May that it had removed a substantial volume of Zee content following the expiry of licensing agreements.

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In its latest filing, Zee cited six instances between May and July that it said showed the continued use of its copyrighted works by JioStar.

JioStar is “illegally and actively exploiting” the works, Zee said in the filing.

The case is one of several copyright disputes highlighting increasing competition over content rights as India’s streaming and broadcasting market consolidates.

JioStar, backed by billionaire Mukesh Ambani, is India’s largest media and entertainment company. Zee, one of India’s oldest broadcasters, is a smaller rival.

The Disney-Reliance joint venture has also previously launched a legal battle against Zee, alleging the unauthorised broadcast of popular Bollywood movies at a time when JioStar held the rights to the content.

In what Gucci called “The store show”, models walked through a series of neutral tone retail-inspired rooms, a setting the brand said offered a glimpse of how Demna’s aesthetic could shape Gucci stores in the future.

The show, Demna’s third, presented men’s and women’s collections sequentially.

Former Balenciaga’s Demna was appointed Gucci’s creative director in March 2025, effective from July, taking over the creative helm of the Kering-owned label after the departure of Sabato De Sarno.

“Gucci moves easily between aristocracy and pop culture, Florence and Hollywood, good taste and bad taste (whatever that means), heritage and mass desire, belonging and rebellion, and the interplay between the two”, Demna said.

Gucci’s new ‘Made in China’ sneaker models break with Italian tradition

Sales at Gucci fell 3% in the second quarter, less than expected, as strong US demand for its new handbags partly offset weaker spending elsewhere, suggesting the group’s turnaround efforts may be gaining traction.

Reuters reported this week that Gucci has begun selling new luxury sneaker models labelled “Made in China”, in a break with its Italian manufacturing tradition. Some industry watchers say could undermine the brand’s high-end image as it races to win back middle-class shoppers.

Milan Fashion Week, which opened on Tuesday with Prada’s show, runs through Sunday. The schedule still includes presentations from Dolce & Gabbana, Bottega Veneta and Giorgio Armani.

Based on Colleen Hoover’s bestselling novel, the film follows struggling writer Lowen Ashleigh, played by Johnson, who is hired to complete a series of books for renowned author Verity Crawford after an accident leaves her unable to write.

The assignment draws Lowen into the Crawford family’s secluded estate, where she uncovers what appears to be Verity’s autobiographical manuscript.

As its unsettling secrets unfold, the line between truth and deception begins to blur.

“It’s so thrilling, it’s so sexy,” Johnson said. “You are constantly trying to figure out what the truth is and who the good people are and who the bad people are.

It’s kind of a lot like life.“ The adaptation is the latest of Hoover’s novels to reach the big screen, following the attention generated by Justin Baldoni’s “It Ends With Us”.

Directed by actor-turned-filmmaker Michael Showalter, the film stars Academy Award winner Anne Hathaway as Verity and Josh Hartnett as her husband, Jeremy.

“The Big Sick” director said he was captivated by the darkly seductive allure Hoover created.

“It felt like this very glamorous, hypnotic, inviting world that I wanted to lose myself into, but also very scary and suspenseful,” he said. For Hartnett, the film’s refusal to provide straightforward answers drew him to the project.

“What I love about this story is that it’s kind of a choose-your-own-adventure about who is the villain,” the “Oppenheimer” actor said, adding that many modern films “spoon-feed” audiences conclusions. He said he hopes the film’s open-ended nature will spark debate among cinemagoers.

“I want to hear lots of arguments. I want to see people throwing popcorn in other people’s faces,” he joked.

Hartnett said he was “mesmerised” watching Hathaway and Johnson portray their characters.

“These two are just right up there with all the very best in our industry,” he said.

“This whole film exists on their two faces.”

For Johnson, “Verity’s” dark themes have only increased her appetite for villainous roles.

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“I would love to be a villain. It’s so fun to play a crazy person,” the “Fifty Shades of Grey” actor told Reuters. Showalter said Hoover remained closely involved throughout the filmmaking process and even makes a cameo appearance.

While the movie remains largely faithful to the novel, the director acknowledged it leans further into erotic themes.

“We are sexual creatures and this story explores that,” he said. More broadly, Showalter said he wanted to make a mainstream film that trusted audiences to engage with uncomfortable ideas.

“We can handle things that don’t feel everyday,” he said.

“I think that’s important…in commercial film and Hollywood film, to take on difficult subject matter.”

“Verity” begins its global cinematic rollout on September 30.

A music video for “Patient Zero” is set to debut on Sunday during MTV’s Video Music Awards, where Swift will be honored with the inaugural artist director trophy.

Actors Colin Farrell and Dakota Johnson play roles in the video.

“If you’re sick of him, I’ve got you. I was patient zero,” Swift sings in the track. Other new songs included “Cleveland!,” a reference to the hometown of Swift’s husband, Kansas City Chiefs player Travis Kelce.

“My baby likes what he likes,” she sings.

Madonna tops Taylor Swift in nominations for MTV’s Video Music Awards

“He already took me to Cleveland.” The pair married in July after a three-year romance.

“Showgirl” broke several records when it was released in October 2025. It became the first album in history in which each of its 12 songs landed in the Billboard top 12 simultaneously.

Its first week set a sales record for the modern music era, based on album sales and streams.

Swift said she wrote the new tracks when she went to Sweden to celebrate the success of “Showgirl” with producers Max Martin and Shellback.

The move highlights the challenge facing Gucci designer Demna, who must create innovative products while keeping costs under control to attract so-called aspirational shoppers, the bulk of luxury consumers who are more price-sensitive than the super-rich.

Demna will present his latest collection at a Milan runway show on Friday. His success is crucial for parent Kering and CEO Luca de Meo, who took over last year to lead a turnaround but has seen an early share price bounce fall flat this year.

Gucci, Kering’s flagship brand, has seen sales halve over the past three years, squeezing margins and forcing the group to close dozens of stores.

In a move reminiscent of his tenure at Balenciaga, Demna has created a futuristic sneaker model called Drip. The shoe is labelled as “Made in China”, according to Gucci’s website. Reuters also observed Drip models displayed in a Gucci store in Paris carrying the same label.

In a statement, Gucci said that Italy would “always be at the heart of Gucci’s manufacturing model and identity” but that it had decided to work with the Chinese manufacturer just as it had worked with Swiss and Japanese suppliers for products like watches and eyewear in the past.

“The partner selected offered the technological know-how and capabilities most appropriate for achieving the performance and quality standards we were seeking,” it added.

There were no broader plans to move Gucci production outside Italy, a Gucci spokesperson said.

Demna’s first sneaker for Gucci

The Drip sneaker, described on Gucci’s website as “Demna’s first sneaker for Gucci”, went on sale last month as part of the designer’s Primavera collection.

Retailing at around €800 in Europe and $1,000 in the United States, it is cheaper than many other Gucci shoes, though still firmly in the luxury category. The laceless design is made from nylon, canvas or suede.

The Drip is a break from Gucci’s more traditional white leather laced Ace sneakers, and its sock-like shape is reminiscent of Demna’s chunky sneaker designs at Balenciaga which were a streetwear hit in the late 2010s.

A second slip-on sneaker model, made of leather, from the same Primavera collection is also labelled as “Made in China”, the Gucci website shows. The brand spokesperson said that model was produced in China for similar technical reasons linked to the shoe’s design.

All other Gucci shoes carrying a country-of-origin label on the website are made in Italy.

China is a global hub for sneaker production and its manufacturers have earned strong reputations among mass-market and premium brands. Some analysts say that in Gucci’s case, however, breaking with “Made in Italy” could spark a backlash.

“We think this creates a potential tension between provenance and the luxury positioning Gucci is seeking to reclaim,” Berenberg analysts said in a note.

Simon Whitehouse, a Milan-based luxury business consultant, was more blunt. “Made in China is not a good look,” he said.

Two Kering sources told Reuters the brand has also begun cutting prices on a select number of products, including in China, as part of efforts to regain market share.

Barclays analyst Carole Madjo said the price cuts surprised some investors, who are now paying increased attention to any further moves that could affect Gucci’s image with shoppers.

“Some people are wondering: should we keep buying Gucci if the price is coming down?” she said. “Having Chinese-made products could fuel the debate around the brand’s price value equation.”

The loan launch comes days after Paramount settled litigation with a California-led group of states and the Writers Guild of America over its $110 billion deal for Warner Bros Discovery, clearing final domestic hurdles for an acquisition that could reshape Hollywood.

Paramount is seeking to raise the $7.5 billion incremental term B facility, subject to market and other conditions.

The company also intends to raise about $44.4 billion of additional secured debt, in addition to the proposed term loan and previously announced financings.

US clears Paramount’s $111bn Warner Bros. takeover

Paramount said it would use the proceeds, along with cash on hand and prior equity financing, to fund the Warner Bros Discovery purchase and repay some of its existing debt.

The combined company is expected to have about $80 billion in debt after the deal closes.

Paramount agreed to increase U.S. film production and establish an editorial-independence board for CBS and CNN, avoiding a forced sale of assets including CNN and its film franchises.

The Saudi National Day, celebrated on September 23, marks the 1932 unification of the Kingdom of Saudi Arabia.

Glowing tribute has been paid to the enduring bond between Pakistan and Saudi Arabia in the song released by the military’s media wing on Wednesday.

Featuring a beautiful melody, the new Inter-Services Public Relations (ISPR) song conveys a message of friendship and fraternal ties between Pakistan and Saudi Arabia in both Urdu and Arabic languages.

It also highlights the long lasting friendship between Pakistan and Saudi Arabia, their fraternal relations and Makkah Joint Defence Agreement.

The melody of “Ek Doojay Kay Dil-o-Jaan” embodies the message of Pakistan-Saudi friendship, a commitment to peace, and shared values.

The new song is a testament to strong fraternal bond extending from the land of Pakistan to the holy land of Saudi Arabia.

Pakistan-Saudi Arabia relations are characterized by strong historical, fraternal, and strategic ties, evolving significantly in recent years. Saudi Arabia has provided substantial economic support, including renewing $3 billion deposits and offering petroleum products. A notable shift from traditional aid to investment is underway, with Saudi Arabia planning to invest $5 billion in Pakistan, including about $1 billion in the Reko Diq mining project. Discussions also include augmenting investments to $10 billion and increasing deposits to $5 billion.

A landmark mutual defence pact was signed in September 2025, formalizing and deepening security cooperation. This commitment was underscored in March 2026, when Pakistan affirmed it would aid Saudi Arabia “no matter what, no matter when” amid regional tensions, and later sent fighter jets and military forces to the Kingdom under the defence pact in April 2026. Both nations regularly discuss regional peace, stability, and enhance cooperation across trade, energy, and defence sectors.

“He’s the kind of character that says ​things that some people think, some people can’t imagine thinking,” the Hollywood star told Reuters. “I’ve ‌never read a character like it. I’ve never read a film like this.”

The release of “Digger” was celebrated with a royal premiere attended by Britain’s Prince William and Princess Kate, after what actor Sandra Huller described as nearly 10 years of work by Oscar-winning ​director Alejandro G. Inarritu.

The film has generated much anticipation since a trailer showed Cruise transformed into eccentric ​oil tycoon Digger Rockwell with grey hair, facial prosthetics and a padded bodysuit.

Cruise said ⁠this transformation was far from the most demanding aspect of the role, pointing instead to a 10-minute monologue ​filmed in a single take.

“Anatomy of a Fall” star Huller said it was “remarkable” watching Cruise’s performance. “It feels like all ​the things that he has learned in 46 years of acting have come into this character,” she added.

In the film, Rockwell inadvertently triggers an ecological disaster that pushes the world to the brink of nuclear war before scrambling to save the planet. But ​the filmmakers have revealed little else about the story, fuelling speculation about the plot and rumours it could be ​a musical, which Cruise has dismissed.

Princess Diana’s brother, eyewitness to history, sparks royal ruckus

“If you experience the film without knowing anything about it, it’s much better than if you (knew) ‌before,” ⁠Huller said, adding that the secrecy was not intended to create intrigue for its own sake.

While Cruise described the story as an exploration of “power and greed…responsibility and irresponsibility”, Australian actor Sophie Wilde said it also carried a message about art being “a vessel for catharsis.”

Inarritu, whose previous credits include “Birdman” and “The Revenant”, compared the process of making “Digger” to painting, ​saying every frame was carefully ​crafted to immerse audiences ⁠in the world of the film.

For Emma D’Arcy, that attention to detail made working with the Mexican filmmaker feel like being part of an orchestra led by a ​conductor. “With ‘Digger’, musicality was really, really important…it’s a comedy, and so rhythm is kind of ​key.”

“Call Me ⁠by Your Name” star Michael Stuhlbarg recalled scenes constantly evolving during filming, with new dialogue, alternative versions and unexpected additions emerging from one day to the next.

The actor joked that so much unusual material was shot that he hopes one ⁠day ​a DVD with additional footage from the production may be released.

“There ​was a lot of fun to be had,” he said.

“Digger” will begin its global cinematic rollout on September 30, and will be released in ​cinemas in the United States and the United Kingdom on October 2.

Charles Spencer, who delivered a much-lauded eulogy at the 1997 funeral of his sister, has sparked global headlines with a book that accuses the then-Prince of Wales of sounding like a “lottery winner” in the hours after her death.

Buckingham Palace ​hit back immediately, saying the king was “mindful that the pain of fraternal grief can cloud reason, judgment and memory”, ​as it sought to prevent the king from being dragged back into one of the royal ⁠family’s most damaging periods.

Top of the charts

The book, “Swan Song: Diana, My Sister”, was released in Britain on Tuesday, where allegations contained ​in pre-released excerpts have dominated newspaper front pages for almost a week, helping send it straight to the top of the ​bestseller list on Amazon.

Outside a central London bookshop, Chris Imafidon, 71, said he bought a copy after being intrigued by some of the allegations, which he did not see as credible.

“There’s a desire for one to be protective of your sister,” he said.

For others, Diana, one of the most ​photographed women in the world, remains an icon, and the appeal of the “People’s Princess” endures 29 years after she died ​in a car crash.

Princess Diana’s brother, eyewitness to history, sparks royal ruckus

“I just hope to hear more about her life with her family, growing up, and with her children,” said Mary Scheible, ‌69.

Spencer ⁠said he wrote the book to set the record straight and because it was his duty “as an eyewitness to history”.

He said in the book that he spoke to Charles shortly after Diana’s death was confirmed. “Unlike my other callers, who were stunned, barely able to articulate their condolences and offers of help, he sounded giddily elated – like a lottery winner, I remember thinking at the ​time,” he wrote, according to pre-released ​excerpts.

“Looking back now, I ⁠suspect the prince’s first reaction must have been to think more of how this event might free him to marry the woman he loved, rather than appreciating the loss of one he ​did not.”

Diana was just 20 when she married the heir-to-the-throne Prince Charles in 1981, a ​fairytale wedding watched ⁠around the world. They had two children, William and Harry, but the relationship soon soured and, following years of briefing against one another in the media, they finally divorced in 1996.

That was a year after Diana told the BBC that “there were three of us in ⁠this marriage, ​so it was a bit crowded” in reference to Charles’ relationship with ​Camilla Parker Bowles, whom he married in 2005.

Spencer describes his book as an intimate, loving and honest portrait of his sister, who he said became a ​global icon overnight.

While friction over soaring Chinese exports of high-profile items such as cars and batteries forms the backdrop ‌to this week’s presidential summit, the boom in the non-strategic beauty sector underlines China’s manufacturing prowess.

“This market is growing,” said Joe Wu, an exporter in the central city of Xuchang, known as China’s wig capital, who expects his sales to grow 40% this year, driven heavily by US buyers drawn through the apps TikTok and Instagram.

China’s US exports of hair products rose ​12.4% year-on-year to $1.3 billion in the first half of 2026, customs data shows, with shipments on track to beat 2025’s full-year figure of $2.3 billion.

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It ​is one of the fastest growing export categories alongside more conventional ones, such as computer parts, scooters or plastic goods.

While ⁠there is no customs data for artificial nails, which are categorised as plastic products, producers say business is booming.

Zhang Da, the owner of a 200-worker press-on nail ​factory in the eastern county of Donghai, says exports climbed to 70% of total revenue this year from 20% late in 2025, with US sales making up ​a large chunk.

A problem for the world?

The trend demonstrates that Beijing occupies “a unique historical position” in using scale and product upgrades to dominate global markets in both advanced and lower value-added goods, said Dan Wang, the China director of Eurasia Group.

“It is not just competing with the industrial products of one or two countries, it is competing with all industrial products globally,” ​Wang said, a scenario that presented a problem for other countries, rather than China.

“It is going to be very difficult to see China’s advantage replaced for ​many years to come.”

Chinese exporters of beauty accessories have capitalised on the proliferation of influencers and celebrities on social media who frequently change wigs and manicures.

To do so, Chinese manufacturing ‌centres have ⁠relied on labour forces that would be hard to replicate elsewhere — in Xuchang alone, for example, about 300,000 of a population of 4.4 million work in the hair industry, state media said.

Donghai, a county of 1 million people in the eastern city of Lianyungang, had nearly 25,000 press-on nail businesses.

Wu, in Xuchang, said its producers can outcompete rivals in places like Southeast Asia through efficiencies gained from large output capacity.

They mostly outsource the labour-intensive process of tying individual hair strands to laces used in ​wigs to North Korea, while sourcing some ​of the hair domestically from rural ⁠areas.

“The hair industry is just like any other sector - it relies on economies of scale, coupled with upstream and downstream supply chain integration,” Wu added.

Tiktok sales

Hair products took 17 of the top 20 spots in TikTok sales revenue rankings for US ​fashion accessories in August, according to data analytics platform Fast Moss. The top-selling item was a glueless, pre-bleached straight-hair ​wig.

Ranked seventh was a ⁠men’s bracelet with Bible verses, in 13th place was a hand-sized stitching device, and 20th was a pair of sunglasses.

Another hair product seller from Xuchang, who only gave his surname, Tian, said his US sales rose 10% to 15% over last year.

“Customers there really value personalisation,” Tian said, citing a feature that lets him charge higher prices ⁠for lower ​volumes.

US clients account for a monthly revenue stream of $10,000, said a TikTok livestreamer from a nail ​shop in Donghai who sought anonymity.

Producers are unfazed by any prospects of further U.S. trade curbs, saying US demand is strong and supply cannot easily scale up outside China.

“Tariffs have an impact, but ​they are not the decisive factor,” Wu added.

His previous bestsellers include “Killers of the King” and “To Catch a King” and, while those two works focused on the 17th century, some might say his latest book is along the same lines.

“Swan Song: Diana, My Sister” will be published on Tuesday, and is his take on his sister’s life and her unhappy marriage to the now King Charles. In pre-released excerpts, Spencer claims Charles was “giddily elated” in the aftermath of Diana’s death in 1997, reopening a painful episode for the royal family.

Spencer, 62, said he wrote the book because it was his duty “as an eyewitness to history”, but his version of events has been rejected by Buckingham Palace in unusually strong terms.

“The pain of fraternal grief can cloud reason, affect judgment and colour memory,” it said, in a statement that added to the publicity surrounding the book.

‘Revenge dress’ shows Princess Diana’s lasting appeal amid royal family war of words

Godson to Queen Elizabeth

Spencer was born into a British aristocratic family, with close links to the royal family. The late Queen Elizabeth was his godmother.

He was 17 when his 20-year-old sister, fast becoming the most photographed woman in the world, married the then-Prince Charles in a fairytale wedding in 1981. Spencer told CNN in an interview some years later how at the time he was more interested in “exams and playing my sports at school” than the global event.

The wider world, however, was fascinated by the young couple, who went on to have two sons, William in 1982 and Harry two years later. But behind the scenes, the relationship unravelled.

“I didn’t fully understand actually how very difficult things were for her at times,” Spencer told Good Morning America in an interview before the book was released.

“That’s one of my regrets. I wish I could have done more to help her.”

By the early 1990s, Diana’s unhappiness was making headlines across the world, and she and Charles were using the media to brief against each other. They divorced in 1996.

A year later, she was killed, aged 36, in a Paris car accident as she was pursued by photographers. Spencer used a much-lauded eulogy at her funeral to tell an estimated 2 billion people watching around the world that her “particular brand of magic” meant she would “never be extinguished from our minds”.

New Princess Diana documentary promises her own words

His words were applauded by the tens of thousands of people who listened on loudspeakers in the streets of London, but some of his comments about how Diana’s goodness was “threatening” and how her “blood family” would need to protect her sons, made uncomfortable listening for the royal family.

‘Astonishingly provocative’

Whatever goodwill between the two families remained after Diana’s death will likely have been lost after Spencer’s new allegations about King Charles, which have reignited talk about one of the most damaging periods in the royal family’s modern history.

He writes that Charles said of Diana “we’ll forget her soon enough”, before shouting at Spencer for suggesting the then 15-year-old William and 12-year-old Harry, should not be expected to walk behind her coffin at the funeral.

Spencer, who has seven children from three different wives and married his fourth wife earlier this year, hit back at Buckingham Palace’s questioning of his memory.

“It was astonishingly provocative and below the belt because it was essentially trying to say I’d lied without the King being able to deny what I’d said,” he told the Daily Mail.

After studying history at the University of Oxford in the early 1980s, Spencer worked for US broadcaster NBC News for a decade, presenting lifestyle and travel programmes.

He inherited the family’s 30-bedroom ancestral mansion in central England in 1992, when his father died, and started writing history books in the late 1990s, one of which was shortlisted for an award and many of which were top sellers.

His publishing career has helped pay for the restoration of the Althorp estate, which has been in his family for five centuries and where Diana is buried.

In 2024, he published a memoir, “A Very Private School”, that detailed his experience of sexual abuse, neglect and isolation while at boarding school as a child.

“When looking at the wreckage of my first and second marriages, I learned early in therapy that being sent away to boarding school at eight years of age meant that I had next to no understanding of intimacy,” he writes in that book.

Paramount, which is run by David Ellison, whose ultra-wealthy family has ties to US President Donald Trump, won a bidding war against Netflix in February for control of a stable of assets that includes Warner Bros. Pictures, CNN and the HBO Max streaming service.

READ ALSO: Paramount will not close its Warner Bros deal before July 22 amid Oregon probe

The Trump administration approved the deal, one of the largest media mergers in years, in June without demanding a change to its business, before 12 US states sued to block the transaction.

The Sony-distributed movie is directed by Zach Cregger and stars Austin Abrams, who plays a medical courier battling mutant creatures to deliver a package to a remote hospital.

“Resident Evil” displaced last week’s top performer, Warner Bros’ “Practical Magic 2,” a long-awaited sequel starring Sandra Bullock and Nicole Kidman, into a distant second place.

The story of the modern-day witches, who face a curse that sees any man they fall in love with doomed to an early death, took $12.2 million after last weekend knocking Sony’s “Spider-Man” from its weeks-long perch at the top.

Spidey took another $6.5 million this weekend, bringing its total take in the United States and Canada to $944.5 million. It was followed by another of 2026’s strongest performers, “The Odyssey,” which took $4.9 million.

For the second consecutive weekend, “Coyote vs Acme” took fifth place, with Will Forte and an animated Wile E. Coyote snaring another $4.5 million for Falling Forward Films.

Rounding out the top 10 were:

“The Runner” ($3.2 million)

“Daniel and the Fiery Furnace” ($3.1 million)

“Transformers: The Movie” ($3.1 million)

“The Weight” ($2.3 million)

“Buddy” ($1.9 million)

The singer, who had previously maintained an apolitical stance, broke his silence on the Israeli-Palestinian conflict in his first show since the controversy involving US rapper Macklemore.

“What is happening in Gaza is catastrophic and unjustifiable and disproportionate,” Sheeran said in Philadelphia.

“Our hearts have been broken by the scale of devastation and loss of civilians’ lives, children’s lives, and the systemic injustice we’re seeing unfold in the West Bank cannot be overlooked.”

Macklemore had declared “Free Palestine” at a New Jersey concert this month, drawing backlash from owners of US stadiums hosting future dates of Sheeran’s Loop Tour.

The British artist, 35, has denied being behind the decision to remove the rapper, instead blaming the tour promoter.

Four supporting acts subsequently walked out on the “Shape of You” singer, issuing public statements citing their support for Palestinians.

“I’ve had to take and make difficult decisions, and I am making mistakes, and I’m so so sorry,” an emotional Sheeran told his audience, who responded with cheers.

As the show was coming to an end, Sheeran said that this week had been the “hardest of my life” and that he had been afraid people would “throw things” at him.

Thanking the audience for their support, he called this show the “best night” of his life and shed some tears.

Sheeran had been accused by critics of failing to stand up to the stadium owners – led by billionaire businessman Robert Kraft – and was targeted by boycott calls.

The singer said he was “deeply worried” about the idea of venues pre-approving the content of performances.

“This happens in so many places that I perform around the world, but it should never happen in the free world.”

Boycott

A few dozen pro-Palestinian protesters rallied peacefully outside Lincoln Financial Field ahead of the concert, waving Palestinian flags and chanting “Free, free Palestine.”

Some of the fans streaming into the stadium said they had hesitated about coming due to the controversy, but ultimately decided to attend and enjoy the music.

“He could have easily walked away from all of this, and he stood up, and he spoke up,” said one fan after the show.

But others like Brandon Ateke changed their plans.

The 18-year-old Brown University student accused Sheeran of “complicity” with Kraft and others in silencing Macklemore.

“I decided to not attend the concert and instead attend the protest to bring light to the genocide going on in Gaza today,” he told AFP.

The stadium was close to capacity, despite an uptake in ticket resales this week and a sharp drop in prices.

On Saturday, a pro-Palestinian group urged artists, fans and crew members to stay away from Sheeran’s concerts.

“We now extend our call for boycotting Ed Sheeran’s entire world tour, including the upcoming Latin American dates, and the as-yet-unannounced European leg,” the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) said.

Solo

Sheeran started his show Saturday night alone on stage, without an opening act.

He later brought on five musicians who he said had learned his songs in three days, thanking them for joining him “in a week when no one wants to stand on stage with me.”

The groups that quit the tour included Sheeran’s backing band as well as performer Finneas, who rose to fame collaborating with his pop superstar sister Billie Eilish.

Since Israel invaded Gaza in October 2023, the toll on Palestinians and the wider issue of Palestinian rights have emerged as a rallying cry in the entertainment industry.

From the Oscars to the Emmys, top music awards ceremonies and European film festivals, the Gaza war has frequently pushed its way onto the agenda.

The massive Israeli offensive in Gaza has killed more than 73,800 people, according to the Gaza health ministry, which is under Hamas authority and whose figures are considered reliable by the United Nations.

On Saturday, Gaza authorities said the latest Israeli fire had killed at least four people, including a 10-year-old girl.

The dress became a symbol of the rancour between Charles and Diana during the public breakdown of their marriage in the early 1990s, when she made a public appearance in the off-the-shoulder black silk number soon after Charles admitted his infidelity.

This week scrutiny of their troubled relationship has resurfaced thanks to extracts published in a forthcoming book by Diana’s brother, Charles Spencer, who accuses the king of being “giddily elated” in the immediate aftermath of her death.

Buckingham Palace have hit back at the claims, suggesting that the author’s memory had been affected by his loss.

A daring dress

The dress was unveiled in Sotheby’s, its first stop on a world tour that will take it to Hong Kong, Geneva and New York, underlining Diana’s enduring and global allure.

It will be auctioned at its last stop in December, with a guide price of between $150,000 and $300,000.

New Princess Diana documentary promises her own words

Her appearance in it in 1994 was widely seen as a show of strength as the public feasted on details of the royal couple’s separation - an interest which has come back strongly this week.

Humiliated by her husband’s affair with Camilla, whom he went on to marry in 2005, Diana opted for an outfit which she’d had in her wardrobe for years but had previously seen as too daring.

“We can imagine it’s a night where she had to decide — whether I go and what do I wear?” Morgane Halimi, Global Head of Handbags and Fashion at Sotheby’s, told Reuters.

“So she decided to wear something that would make her look the most beautiful, the most powerful,” Halimi added.

“It’s about being self-assured, being empowered, and not only the negative part of the revenge, but really this is my life and I stand up for myself.”

Princess Diana enters Paris waxwork museum in ‘revenge dress’

‘Her story will never die’

As crowds came in to see it on Friday, Spencer’s claims dominated newspaper front pages, airwaves and pub talk in Britain, showing the challenge faced by the 77-year-old king who will never quite shrug off his role in a toxic marriage blamed for damaging the hugely popular Diana.

“Everybody liked her, so her story will never die,” Merete Lund Jensen, a 54-year-old paediatric nurse told Reuters.

As well as her sense of style, Diana was known for the easy affection she showed when meeting homeless people, children in hospital or AIDS patients, a natural warmth which contrasted with the more formal approach of King Charles.

Diana was 36 when she was killed in 1997 in a car crash in Paris, leaving Princes William and Harry, then aged 15 and 12, without a mother. She and Charles had finalised their divorce a year earlier.

At the time, Diana’s death plunged the monarchy into crisis. The stiff upper lip shown by the royal family was so at odds with the outpouring of grief across the country, that it caused widespread public anger, forcing the institution to change tack and begin to show emotion expected by the public.

But the allegations from Spencer that the king was “giddily elated” over her death have been rejected in unusually strong terms from Buckingham Palace.

Spencer’s claims come at a tricky time for the king, who continues treatment for cancer, while trying to repair the relationship with his semi-estranged son Harry, and navigate the fallout from the arrest of his younger brother Andrew Mountbatten-Windsor.

The book, which is being serialised in the Daily Mail and will be published on Tuesday, claims Charles said about Diana “we’ll forget her soon enough”.

Her brother writes: “Unlike my other callers, who were stunned, barely able to articulate their condolences and offers of help, he sounded giddily elated – like a lottery winner, I remember thinking at the time.”

A Buckingham Palace spokesperson said on Wednesday: “While we do not comment on books as a matter of principle, His Majesty is mindful that the pain of fraternal grief can cloud reason, affect judgment and colour memory in ways others do not recognise, even many years after such a loss.”

Royal commentator Afua Hagan said that Buckingham Palace’s reaction showed that 29 years after Diana’s death the royal family continued to be out of touch with how well-loved she continues to be.

“I do think it was quite cold, quite aloof, and that kind of harks back to what people said about the royal family in those days after Princess Diana died. It’s definitely not a good look,” she told Reuters.

“By increasing the prize amount, we uphold the long-term significance of the Nobel Prize and ensure that the financial part of the prize retains its value over time,” Hanna Stjarne, executive director of the Nobel Foundation, said in a statement.

Winners of this year’s prizes in physics, chemistry, peacemaking, literature, economics and medicine or physiology will be announced between October 5 and October 12, marking the 125th anniversary of the first awards.

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Established in the will of Swedish 19th century businessman Alfred Nobel, the inventor of dynamite, the first awards in 1901 were for 150,782 crowns per category, according to the foundation.

The retailer, one of the biggest names on the UK high street, will celebrate 100 years in ​fashion with womenswear and menswear collections inspired by the M&S archive.

Under Stuart Machin, ​CEO since 2022, M&S has focused on re-establishing its value, quality and ⁠style credentials to boost its appeal to a younger fashion-focused shopper.

It is also revamping its ​supply chain, while investing in stores and strengthening its data and digital capability.

With an aim ​to make M&S a truly omnichannel retailer, Machin is targeting a doubling in the fashion, home and beauty (FH&B) division’s online sales over the long term from about £1.4 billion ($1.9 billion) in 2024/25.

He also wants ​to increase online’s share of total FH&B sales from about 34% to 50% in the ​medium term.

In contrast to the host of top global designers and brands also showing at the event, ‌M&S’ ⁠57 runway looks will be available to shoppers immediately following the show online and in 10 flagship stores across the UK and Ireland. Half of the collection is priced under £50.

Collection built on M&S heritage

“This is a collection built on our heritage but brought bang up ​to date,” Machin said.

“From ​our tan leather ⁠borg jacket inspired by a heritage St Michael design to our black tuxedo suit and crisp white shirt like the ones worn ​by Christy Turlington for M&S in the ’90s.”

Netflix’s ‘Monsters’ explores Lizzie Borden mystery in first female-focused season

The show will be streamed ​later on Friday ⁠on M&S’s website and on European partner Zalando’s website.

In May, M&S forecast a return to profit growth this year after it slumped 24% in 2025/26, hit by a disruptive cyberattack that dented sales ⁠and ​margins. It will publish half year results on November ​4.

Shares in M&S are up 11% so far this year, helped by stellar growth in food sales.

“It’s a very new chapter for the show,” the American actor said in an interview, adding that anthology creators Ryan Murphy and Ian Brennan were passionate about exploring the story of a ​woman accused of murder.

The series dramatizes high-profile homicide cases in American history, with each season ​focusing on a different killer. Previous installments included the stories of Jeffrey Dahmer, Ed ⁠Gein and Lyle and Erik Menendez.

“Monster: The Lizzie Borden Story,” which begins streaming on Thursday, ​follows Borden, who was tried and acquitted of the 1892 ax murders of her father, Andrew Borden, played ​by Charlie Hunnam, and her stepmother, Abby Borden, played by Rebecca Hall.

The case became embedded in American culture through a folk rhyme and countless portrayals across music, radio, film, theater and television. Yet much about what happened inside the Borden ​home remains unknown.

Canadian director Nelson explores family’s Alzheimer’s journey in animated dark comedy “Tangles”

“I knew that she was this sort of almost mythological figure in American history, ​and I knew the nursery rhyme,” said Hall, an English actor.

“I didn’t know that she wasn’t convicted. I didn’t know ‌that ⁠there was all this mystery around the details of what happened, but she’s this kind of like folkloric figure almost,” she said.

For director Max Winkler, those unanswered questions offered an opportunity to explore the limitations placed on women in the 1890s.

“You’re essentially treated like a piece of property, and your ​best role is to ​get married off and ⁠have as many kids as possible,” Winkler said.

“Lizzie can’t get married off. She can’t find someone to take her”.

He said the perceived frustration and disappointment ​surrounding Lizzie’s place in society became a way to examine “female rage” and ​what can ⁠drive people toward violence when they fail to fit the expected mold.

Winkler wants audiences to understand that the show does not assume anyone is born evil.

“As you get to learn more about people and what ⁠the pressure ​cooker is that leads people to snap, anyone can ​kill anyone,” he said.

“It just is what are you willing to kill for, or what leaves you no choice, and this ​show is no different. It’s just the killers look different.”

The hand-drawn, black-and-white animated film is Nelson’s feature debut and an adaptation of Canadian cartoonist Sarah Leavitt’s graphic-novel memoir “Tangles: A Story About Alzheimer’s, My Mother and Me.” The film ​screened at the Toronto International Film Festival after its Cannes premiere.

Nelson said in an interview she first came ​across Leavitt’s memoir about 16 years ago, when dementia was affecting her own family, and ⁠the story gave her “permission to laugh” during a difficult period in her life.

Told through the eyes of Leavitt’s character, ​the film follows her and her family as they struggle to adjust to a new reality. In the film, Leavitt ​is building a life of her own, with a budding career and a new relationship, when her mother’s Alzheimer’s diagnosis upends her world.

“I got kind of stuck on it. I couldn’t let it go at that point,” Nelson told Reuters. “I was determined to try to ​turn it into a film and share the kind of cathartic experience that I got from reading the story.”

Dark ​comedy as storytelling tool

Nelson turned to dark comedy as a storytelling tool to reflect the reality that humor and heartbreak often coexist ‌even ⁠in life’s darkest moments, making the genre well-suited to exploring the complexities of dementia and family dynamics.

“You can have moments that are really sad and dark and earnest, and you don’t have to have a joke in there … but we can also have moments of humor,” she said. “And sometimes those are happening at the same time, and that’s, I ​think, the sweet spot of ​dark comedy.”

‘Sense and Sensibility’ stars champion sisterhood in new Austen adaptation

For Nelson, animation was ⁠a natural fit because it allowed filmmakers to go “inside the character’s psyche.” In the film, Leavitt, an artist, works through her emotions in her artwork, giving viewers a window ​into her inner world.

Star-studded voice cast

The voice cast includes Abbi Jacobson, Julia Louis-Dreyfus, Bryan ​Cranston and Seth ⁠Rogen.

Unlike in many animated productions, some actors recorded together in the same room, allowing for improvisation and helping create natural family dynamics.

“I think it always makes the performance better,” said Jacobson, who voices Leavitt.

Jacobson, whose grandmother had Alzheimer’s, said the subject ⁠matter gave ​her “more pressure in a good way to make sure that I did ​this story justice.”

Nelson said she hoped caregivers, whether family members or professionals, would see their own lives reflected in the film and feel less ​alone.

“It’s a love letter to caregivers,” she said.

Director Georgia Oakley echoed this sentiment at the world premiere on Tuesday.

“In the book … Elinor’s character is a sense character, Marianne is a sensibility, and Marianne kind of gets judged by the society and she has to learn from Elinor,” she said.

“Whereas in our version ​it’s so much more symbiotic and it’s about the two sisters learning from each other.”

Oakley’s latest adaptation, ​written by screenwriter Diana Reid, comes more than three decades after Emma Thompson’s Oscar-winning take on ⁠the Austen classic.

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The film follows sisters Elinor and Marianne Dashwood, played by “Normal People’s” Edgar-Jones and “Hanna” star Esme Creed-Miles. ​While pursuing their own romantic interests, the sisters’ contrasting views on love repeatedly put their relationship to the test.

Oakley said ​the lead actors both brought elements of themselves to their roles. “Esme is just such a sort of singular person, which is kind of how I read Marianne when I first read the book,” she said. “And Daisy similarly has so much poise and she’s so conscientious … she ​was number one on our call sheet and she really led the film.”

Bodhi Rae Breathnach, 15, whose breakout role ​came in “Hamnet”, plays the sisters’ younger sibling, Margaret. An only child, Breathnach said the bond between Edgar-Jones and Creed-Miles extended off screen, ‌making ⁠them feel like the sisters she never had.

“I’m really grateful that, out of all the people I could have had to be my two sisters, that I had those two, because it really was like I had siblings,” she said.

Norwegian actor Herbert Nordrum, who plays Colonel Brandon, one of the Dashwood sisters’ suitors, also felt that sense of camaraderie. “The Worst ​Person in the World” star ​described joining the production - ⁠his first experience on the set of a British period drama - as both surreal and welcoming.

“(It) felt like I was dropped in…your national football team and everyone was passing me ​the ball without it being weird,” he said.

For “Harry Potter” star Fiona Shaw, another Jane ​Austen adaptation offered ⁠a chance to revisit an author whose understanding of human nature keeps drawing her back. Shaw, who appeared in the 1995 adaptation of “Persuasion” and will also feature in the upcoming “Pride and Prejudice” Netflix series, said Austen’s work remains relevant today.

“(Austen) just ⁠gets us, ​you know? She’s both forgiving and unforgiving, and she’s also celebrating ​life,” Shaw said.

“In the end, that’s what we want literature to do…we’re all full of faults, but we are full of life, and that’s what ​she does.”

“Sense and Sensibility” will start its global cinematic rollout on September 23.

Kardashian, who had testified that she ​thought she was going to die during the ​ordeal, had sought the symbolic amount from some of ⁠those convicted in May 2025 over the heist in ​a civil damages case, according to a lawyer for ​the hotel’s receptionist - another plaintiff.

The robbers, often referred to in France as the “Grandpa Robbers” because of their advanced ages, wore ski masks and ​were disguised as police officers. The robbery was, at ​the time it occurred, France’s largest in 20 years. Most of ‌the ⁠jewels were never recovered, including the engagement ring given to her by then-husband, rapper Kanye West (now known as Ye).

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The hotel receptionist had sought €500,000 in damages, and was awarded about €110,000, ​his lawyer said.

Kardashian’s ​Paris lawyers ⁠did not respond to a request for comment.

Kardashian in court in 2025 told Aomar ​Ait Khedache, the mastermind of the robbery and ​then ⁠aged 69, that she forgave him, but that doing so did not take away the trauma of the events. He ⁠was ​jailed for three years, and seven ​others were convicted for crimes linked to the heist.

“Hugo Boss is ​exceptionally well positioned, with two strong brands, ​a unique ​global footprint and significant ‌untapped ⁠potential,” Murray said in a statement.

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The company also ​said ​Robert ⁠Palmer would join the ​supervisory board, ​subject ⁠to appointment by the local ⁠court.

The film premiered at the Toronto International ‌Film Festival last week, becoming the first Japanese title to open the festival’s competitive Platform section.

Set in the aftermath of World War Two, when an estimated 120,000 children were left orphaned, “Children Untold” follows Kotoko, a ​12-year-old girl who loses her family and disguises herself as a boy to ​survive on Tokyo’s streets.

Meanwhile, her former schoolteacher, struggling to survive herself ⁠and forced into prostitution for occupying troops, sets out to find Kotoko.

Though the term “war orphan” ​often evokes the image of a boy, Nishikawa wanted to focus on girls whose stories ​have largely gone untold. “There must have been just as many girls orphaned by the war,” Nishikawa said in an interview. “I wanted to examine how they survived and how their lives unfolded.”

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“War does not end when the ​fighting stops,” she said. “Even after it is over, people continue to fight different battles ​in their lives. I wanted today’s children to understand that.”

When she began developing the film in 2020, Nishikawa ‌feared ⁠the theme might feel too distant for modern audiences. But wars in Ukraine, Gaza and Iran have made it more relevant than she expected.

“Rather than my film reflecting today’s world, the world itself has moved closer to what I portrayed in the film,” she said.

Against a ​backdrop of global conflicts, ​Nishikawa said there ⁠were growing signs that Japan’s pacifist principles, upheld for the past 80 years, were beginning to erode.

As a filmmaker from Hiroshima, where the legacy ​of war feels especially immediate and personal, Nishikawa described depicting war ​as “heavy.” But she ⁠stressed the need to revisit Japan’s past mistakes, including how people were swayed by propaganda, drawn into war and failed to take responsibility for its consequences.

The next challenge, she said, was ⁠engaging people ​who felt the subject had already been discussed enough.

“A ​new generation of creators, not only in Japan but around the world, needs to find ways to carry these ​stories forward,“ she said.