Hollywood
Katie Holmes to make directorial debut with ‘All We Had’
MUMBAI: Katie Holmes is all set to add the directorial feather to her cap. She is going to make her directorial debut with the upcoming film All We Had, to be adapted from the Annie Weatherwax novel with the same name.
The 35-year-old actress will not only direct the movie – she will also star in the movie along with co-producing it. Holmes will produce the movie with co-founder New York’s Tribeca Film Festival of Jane Rosenthal, actor Robert De Niro, and vice-president of production and development at Tribeca Productions Berry Welsh. The Fault in Our Stars director Josh Boone will pen the script.
The book which debuted in August is about a mother and daughter living on the edge of poverty, who finds an unlikely home amid the quirky residents of small town America. Holmes will be playing the mother while the actress playing the daughter is still unknown.
“Katie has such a clear vision for the book’s irreverent, original mother-daughter relationship. Her passion for the material, along with Josh Boone’s ability to tell stories grounded in the comedy and drama of every day, will truly bring these characters to life,” said Rosenthal was quoted as saying in a media statement.
Holmes found fame with the 1990s television series Dawson’s Creek, and has recently appeared in the film like Miss Meadows and Days and Nights. The actress married the Mission Impossible series actor Tom Cruise in 2006, the couple divorced in 2012, they have a daughter named Suri.
Hollywood
Paramount seeks FCC nod for foreign-backed $110 billion WBD deal
Gulf funds back merger as foreign stake nears 50 per cent, control stays with Ellison
NEW YORK: Paramount Global has approached the Federal Communications Commission seeking approval for foreign investments tied to its proposed $110 billion acquisition of Warner Bros. Discovery, marking another key step in one of the biggest media deals in recent years.
According to regulatory filings made public this week, the investment backing the deal includes major Gulf sovereign funds such as the Public Investment Fund, the Qatar Investment Authority and L’imad Holding Company. Together, foreign investors are expected to hold just under 50 per cent of Paramount’s equity once the transaction is complete.
Despite the sizeable international backing, Paramount has made it clear that voting control will remain with the family of chief executive David Ellison, ensuring the company stays firmly under US control as required by broadcasting rules.
A company spokesperson described the FCC filing as routine for transactions involving foreign capital and stressed that it does not impact the closing of the deal. Under US law, any significant foreign ownership in broadcast licence holders must undergo regulatory review.
The merger itself has already cleared a major hurdle, with Warner Bros. Discovery shareholders approving the deal on 23 April. The transaction values the company at $31 per share, a 147 per cent premium to its earlier trading price, reflecting strong strategic intent behind the tie-up.
If completed, the combined entity will bring together a vast portfolio including Warner Bros. film studios, HBO Max, and networks such as CNN, TNT and Discovery Channel. The deal is currently expected to close in the third quarter of 2026.
However, scrutiny is intensifying. The US Department of Justice has issued subpoenas seeking details on the merger’s potential impact on cinema competition, streaming services and content licensing. Reviews are also anticipated in international markets, including the United Kingdom.
There is also a financial safety net built into the agreement. If regulators ultimately block the deal, Paramount would face a $7 billion break-up fee. Additionally, the company has taken on $2.8 billion in obligations previously owed by Warner Bros. Discovery to Netflix following an earlier terminated arrangement.
Paramount maintains that easing foreign ownership barriers will unlock fresh capital and strengthen its ability to compete in a rapidly evolving media landscape. For now, the spotlight remains on regulators, whose decision will determine whether this global media consolidation moves from script to screen.
