movies
Paramount Hit With Antitrust Lawsuit By Consumers Seeking To Stop WBD Merger
Some of the most powerful state attorneys general in the nation just got eclipsed by five regular citizens in a move to put the brakes on Paramount‘s merger with Warner Bros Discovery.
“The April 23, 2026, stockholder vote materially changed the posture of the proposed acquisition,” says a wide-ranging antitrust filed Thursday in California federal court by five pay-TV and streaming services subscribers. “Before that vote, the transaction remained contingent on Warner Bros. Discovery stockholder approval. After that vote, a major closing condition had been satisfied, and the threatened injury to Plaintiffs became substantially more imminent because the remaining barriers to consummation were principally regulatory and closing-condition barriers rather than stockholder approval.”
In a graph-filled and David Ellison name-checking 46-page complaint suit filed Thursday in U.S. District Court (read it here), Pamela Faust, Len Marazzo, Lisa McCarthy, Deborah Rubinsohn and Gary Talewsky aim to do what California’s Rob Bonta, New York’s Letitia James and other AGs and most of the Democratic Party have only been talking about up to now: to stop the $111 billion multi-studio merger that has been greenlighted thus far by the Trump administration.
And that puts CNN, a longtime thorn in MAGA’s paw, right at the center of this.
“By placing CNN and other news assets under Paramount’s control as part of a broader consolidation strategy,” the complaint states, “Paramount’s proposed acquisition of Warner Bros. Discovery would reduce the number of independent owners capable of sustaining national television news operations at scale and weaken competitive constraints that protect editorial rivalry, investigative resources, and viewpoint diversity.”
In that vein, the five plaintiffs — who also are looking to unravel last year’s Paramount acquisition of Skydance — are going right to the math.
“If Paramount acquires Warner Bros. Discovery, Paramount and Warner Bros. would combine into a single firm with approximately 23.6% market share, making the combined Paramount/Warner Bros. entity the largest studio shown in the chart,” the complaint reads. “The post-merger top four studios would be Paramount/Warner Bros. at approximately 23.6%, Disney at approximately 21.4%, Universal at approximately 20.2%, and Sony/Columbia at approximately 11.1%, for a combined top-four share of approximately 76.3%. The proposed transaction, therefore, would not merely combine two studios; it would increase top-four concentration by approximately 10.2 percentage points and eliminate Paramount as an independent studio competitor.”
Surely lining up as the first of what could be many legal efforts to block the mega-deal, Thursday’s suit was quickly rejected out of hand by Paramount Skydance itself.
“We are aware of the private action filed today in federal district court and are confident that it is without merit,” a company spokesperson told Deadline. “The combination of Paramount and WBD will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice.”
Of course, that’s not how Faust, Marazzo, McCarthy, Rubinsohn and Talewsky interpret it.
“Plaintiffs are threatened with imminent loss or injury if the proposed acquisition of Warner Bros. Discovery by Paramount is consummated,” the lawsuit states. “These injuries include increased prices, diminished consumer choice, reduced output and quality of entertainment and news programming, less consumer choice, and degradation of non-price dimensions of competition in national news, including credibility, editorial independence, investigative vigor, output, and viewpoint diversity.”
MORE TO COME
Erik Pedersen contributed to this report.
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movies
‘One Night Only’ Director Understands “Sex Purge” Comparisons
While One Night Only is intended as a romantic-comedy, there are some obvious dystopian undertones that audiences can’t ignore.
Director Will Gluck recently addressed online comparisons between the Purge franchise and his new Universal rom-com, which is now in theaters, about two New Yorkers (Monica Barbaro and Callum Turner) who meet on the one night a year premarital sex is legal.
“I am very aware of the online discourse about this world and this movie being the ‘sex Purge,’ and rightfully so,” he told SlashFilm. “But I don’t want this movie to be about that. And I know I get some blowback going, ‘How could you make a movie about this not being about that?’ Because I love exploring characters and situations.
Gluck added, “Whenever us humans get put in situations, no matter how or why the situation happens, we still have to be humans and get through the day. And that’s what interests me. So we didn’t want it to overwhelm. We wanted to explain it. We didn’t want to take a side. We wanted to show both sides, but we wanted it to be about these two people going through this crazy night.”
With five movies and a TV series expanding on the universe since The Purge premiered in 2013, the Blumhouse franchise is set in an alternate reality where all crime, including murder, is legal one night a year for 12 hours.

In a similarly dystopian fascist universe, albeit with a much lighter mood, One Night Only follows recently dumped pizzeria owner Owen (Turner) and singer Allie (Barbaro) meet on the one night of the year premarital sex is legal under the United States’ “chastity mandate.”
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movies
HBO’s ‘Monsters Of God’ Chronicles Lizard People, Reptile Wranglers
HBO’s new documentary series Monsters of God abounds with colorful creatures – and those are just the humans.
The five-parter from Tiger King co-director Eric Goode features reptile dealers with a fondness for creepy crawlies and a loose connection to ethical and legal mores. There’s Tom Crutchfield, who loves women with the ardor of Pepé Le Pew but spends most of his time not in pursuit of the ladies but of exotic snakes, lizards, alligators, turtles and whatnot. His arch rival: Hank Molt (aptly named, given that snakes molt), a man who pioneered the shady trade of importing rare and often endangered reptiles to the United States (HBO calls it a “billion-dollar criminal enterprise.”).

Another key Monsters of God character: Anson Wong, a Malaysian “exporter” (to use a polite term) perhaps as cold-blooded as the creatures he rounds up and dispatches around the world. His nickname – “the Pablo Escobar of reptiles.”
The template for the series is supplied by the 2008 book The Lizard King: The True Crimes and Passions of the World’s Greatest Reptile Smugglers, written by Bryan Christy. The author, who appears in the series and serves as a consulting producer, took part in a panel discussion of Monsters of God Thursday night after HBO screened episode 1 at Vidiots in Los Angeles. He praised Goode and fellow producers for wrangling the reptilian importers, typically a wary group.

“I know what it took to run these people down, to get people to say ‘yes’ to you coming in their place,” Christy told the moderator, the actor Jason Segel. “And with a camera. I just had a pencil… It’s amazing what they brought together. And they’re celebrating the animals in a way that I hope gets people to care more about this sort of maligned species.”
Goode needed no persuading about the beauty of animals like New Caledonian geckos, African bush vipers, Caribbean rock iguanas, and similar Cyclura. He’s been an avid collector since childhood.

“I have a confession to make,” he said at the Q&A, alluding to his collecting urge. “I’ve been an addict for over 50 years and now I’m still not sober, sorry to say.”
The challenge of convincing reptile dealers to appear on camera became evident during the panel discussion, which included Crutchfield and Mike Van Nostrand, both Florida men who have served time behind bars for their activities (in 2022, Van Nostrand was convicted in a scheme to smuggle “illegally-harvested Florida turtles out of the United States and into China, Japan, and other places,” per the Department of Justice).
“I didn’t like the Tiger King,” Van Nostrand stated flatly. “Eric was a little tricky one.”
For his part, Crutchfield called Tiger King “one of the weirdest movies I’ve ever seen.”

Along with Tiger King, Goode also directed the 2024 HBO documentary series Chimp Crazy about people obsessed with raising chimpanzees as essentially human children. At the Q&A, he addressed contrasts between Tiger King, Chimp Crazy, and Monsters of God.
“Right now, a lot of people are thinking I’m trying to take down the reptile world,” Goode said of Monsters of God. “Yes, I didn’t like people keeping chimpanzees in Chimp Crazy. I wanted laws changed so you couldn’t do that. I didn’t want people having 200 tigers in their backyard [in Tiger King]. Reptiles are different. It’s nuanced. And as Mike [Van Nostrand] says, if people were breeding more reptiles that may take pressure off of the poachers. And so there’s a lot of gray in this story and it’s not painting anyone with one brush. Law enforcement made a lot of mistakes. We’ve made mistakes. The zoos made big mistakes and we’re all complicit.”

Zoos are complicit, the series makes clear, by paying dealers like Molt and Crutchfield to supply them with exotic reptiles knowing full well the wranglers were violating U.S. and international law. Federal officials with the U.S. Fish and Wildlife Service don’t seem to come off much better, to judge from episode 1. Nobody’s motives seem 100 percent pure in Monsters of God, self-assessments notwithstanding.
“What I really want people to get out of my complete performance from the very beginning to the end,” Crutchfield asserted at the Q&A, “is my great passion and my great love, and more importantly, my great respect for all of these monsters of God that you’re going to see.”
Van Nostrand chimed in sardonically, “Are you saying money had nothing to do with it?”
“So far,” Crutchfield replied.
Fresh episodes of Monsters of God will debut on HBO the next four Thursdays, and stream on HBO Max. Audiences may get hooked, mirroring the obsessional quality of true lizard people. Jason Segel, for one, pronounced himself a fan of the series.
“At times it feels like Goodfellas. It feels like Scarface sometimes,” Segel enthused at the Q&A. “I watched every episode over two days and was mesmerized. I can’t wait for all of you guys to see it.”
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movies
Rachel Reid Appears To Dismiss ‘Heated Rivalry’ Season 2 Casting Backlash
As Heated Rivalry hits the ice for another season with some new teammates, there’s bound to be some opinions about the casting choices for the book series’ beloved characters.
Following the news that Justice Smith and Charlie Gillespie have been cast in Season 2, author Rachel Reid appeared to respond to negative online reactions to the news that the actors will portray Harris Drover and Troy Barrett, respectively, the couple from Role Model, the fifth book in her bestselling Game Changer series.
“Thinking about all the people last summer who told me the casting for llya and Shane was wrong and bad…” wrote Reid on her Instagram Story with a side-eye selfie.
Based on the second book in the series, Season 1 of Heated Rivalry became an overnight hit largely due to Connor Storrie and Hudson Williams’ steamy performances as Ilya Rozanov and Shane Hollander, launching the actors’ profiles in Hollywood as well.
On Friday, Deadline reported that Smith and Gillespie have been cast as leads in Season 2 of the Crave Original, which is set to premiere in spring 2027. Production began on the sophomore season in Canada earlier this week.

In the Role Model book, Troy Barrett is a hockey player on Ilya’s team with a history of bullying, while Harris Drover is the team’s cheerful social media manager.
“Rachel Reid has given us two beautifully layered characters in Harris and Troy who you can’t help but root for,” said series creator Jacob Tierney and fellow executive producer Brendan Brady. “From the start of the casting process, we knew we were looking for actors who could create something truly special together and bring that same depth and heart to the screen. Justice and Charlie do exactly that. They immediately connected with the vulnerability and resilience at the core of these characters, bringing an instinctive understanding of who Harris and Troy are.”
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