Judge orders pause on Paramount-Warner merger after challenge from 12 states

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$81bn merger halted for at least two weeks after US states sued to block deal, saying it would ‘extinguish competition’ A federal judge on Monday ordered Paramount and Warner Bros Discovery to halt their $81bn merger for at least two weeks, allowing states that are challenging the deal more time to see their case through in court. Twelve states, led by California , sued to block Paramount’s pending buyout of Warner last week – alleging that such a combination would “extinguish competition” in Hollywood and lead to fewer choices for consumers, particularly moviegoers and cable customers across the US. Continue reading... from Film | The Guardian https://ift.tt/M580hcA via IFTTT
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The Hand That Rocks the Cradle review – serviceable 90s thriller remake

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There are some smart updates to the psycho-nanny hit, but without the searing presence of Rebecca De Mornay, this one is unlikely to stick around for quite so long

The yuppie-in-peril thriller, a multiplex mainstay throughout the late 80s and early 90s, tried to expose the vulnerabilities of our day-to-day, suggesting that danger could emerge from anyone and anywhere. It could be a co-worker (The Temp, Disclosure), a spouse (Sleeping With the Enemy, Dream Lover), a lover (Fatal Attraction, Don’t Talk to Strangers), a lodger (Pacific Heights, Single White Female), a parent (Mother’s Boys, Benefit of the Doubt), even a child (The Good Son, The Crush), a subgenre that insisted we maintain militant in spaces we’d assumed were safe.

One of the era’s most creepily effective examples was Curtis Hanson’s The Hand That Rocks the Cradle, because it played on a specifically awful fear for parents – that the person you’d entrusted to protect your child had a nefarious agenda. Rebecca De Mornay’s vengeful nanny became one of the more indelible villains of the 90s, the horror of an attractive, childless, blond woman wreaking havoc in suburbia striking fear into the hearts of settled cinemagoers across the world (it made $140m globally, a number that would be closer to $320m with inflation today). As the industry continues to plunder that decade (with everything from Buffy to Clueless to Urban Legend soon returning), it makes business sense to rock the cradle once again.

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