‘DWTS’ Week 8: Harry Shum Jr. Nabs Another Perfect Score as Jenna Dewan Joins the Club

 Following the dramatic double elimination that concluded last week's Horror Movie Night, the atmosphere was revitalized by a enchanting Disney-themed edition of "Dancing With the Stars," an event distinguished by two flawless performances that each garnered perfect scores.

Guest judge Cynthia Erivo appeared on a special Monday-night edition of the ballroom competition, a broadcast rescheduled from its customary Tuesday slot to accommodate Election Day.

The Disney-themed episode featured Harry Shum Jr.and Jenna Johnson, who delivered a Dick Van Dyke-inspired jazz routine set to a classic from *Mary Poppins*, earning them another flawless score.

They were not the only contenders to achieve a flawless score; Jenna Dewan and Val Chmerkovskiy also earned perfection for their quickstep rendition of "Beauty and the Beast." Nevertheless, it was Shum Jr.

and Johnson who successfully secured immunity for the following week's Grammys performance, an event featuring acts by Brandy, Monica, Maren Morris, and Sheryl Crow.

This week's introduction of team dances resulted in a marginal realignment of the leaderboard following the couples' performances; however, once fan votes were incorporated into the tally, Julia Stiles and Ezra Sosa were ultimately eliminated.

Following the medley, Amber Glenn and her partner Pasha Pashkov launched the evening's performances with a spirited quickstep set to "A Star Is Born" from the film *Hercules*.

In a notable departure from tradition, both dancers assumed the role of Hercules, with Glenn assuming the lead position—a dynamic that drew specific attention from judge Carrie Ann Inaba, who observed it may well mark the inaugural instance on *Dancing with the Stars* wherein a woman directed a male partner, executing the maneuver with commanding precision and authority.The judges lauded the performance as a whole; Erivo particularly highlighted the spectacle of their shared fortitude, describing it as "glorious to watch," while their sole criticism concerned a minor misstep committed by Glenn.

DWTS

Amber Glenn, alongside her dance partner Pasha Pashkov, appeared on the ABC broadcast of *Dancing With the Stars*.

Subsequently, Maura Higgins and her partner Mark Ballas executed a Jive set to "You Can Fly!

You Can Fly!You Can Fly!" from *Peter Pan*.Higgins encountered difficulties during rehearsals and received critiques from the judges concerning her elasticity and energy output, prompting Inaba to advise her to "take good care of yourself." Despite these challenges, the pair secured a score of eight from each judge.

DWTS

Maura Higgins and partner Mark Ballas on “Dancing With the Stars” (ABC)

Following a challenging week, Tatyana Ali and Jan Ravnik returned to the competition by interpreting the contemporary dance number "Easy As Life" from *Aida*, featuring a live performance by guest artist Heather Headley.

Channeling the emotional depth of the forbidden love ballad, the pair effectively recovered from their previous outing, prompting choreographer Inaba to remark that Ali's performance gave him chills.While Hough and Erivo offered constructive feedback to Ali concerning her extensions, noting that certain elements felt "under finished," Hough expressed his confidence in her ability to persist within the competition.

The performance earned Ali her first 9 of the season.

DWTS

Jan Ravnik and Tatyana Ali on “Dancing With the Stars” (ABC)

Capitalizing on the momentum of their flawless performance in the preceding episode, Shum Jr.

and Johnson presented a jazz rendition of "Supercalifragilisticexpialidocious" from *Mary Poppins*, featuring live accompaniment by guest artist Kyra Belle Johnson.While the pair engaged in their rehearsal regimen, they also had the opportunity to welcome a child dancer affiliated with the Make a Wish program.

Shum Jr.'s tribute to Dick Van Dyke garnered an exceptionally positive reception from the judges, with Hough noting that the late actor would undoubtedly have appreciated the performance.

Consequently, the duo achieved another flawless score, extending their winning streak to two consecutive weeks.

DWTS

Harry Shum Jr.

and Jenna Johnson on “Dancing With the Stars” (ABC)

Ezra Frech and Daniella Karagach ascended the stage to perform a samba rendition of "Under the Sea" from *The Little Mermaid*, joined by guest artist Michael James Scott.

Although the pair had initially agreed to forgo a samba given the inherent challenges posed by Frech's prosthetic leg and the demanding bounce required, Karagach remained steadfast in her conviction that the routine could be successfully executed.The judges were captivated by his fluid hip movements, and Erivo described the performance as "magic," noting how seamlessly the dancers adapted to the obstacles Frech's prosthetic introduced during the dance.

Inaba likewise commended Frech for his adept adoption of the acting direction, noting how he seamlessly embodied the character of Prince Eric.

DWTS

Ezra Frech and Daniella Karagach on “Dancing With the Stars” (ABC)

Following a fourth-place finish last week, Stiles and Sosa sought redemption by performing a Paso Doble set to "Satisfied" from the musical *Hamilton*.

Although Stiles encountered rib pain during rehearsals, she remained resolute in her determination to persevere through the discomfort.

And she did.

Bruno Tonioli lauded the rendition as a definitive Paso Doble, while Hough affirmed that the score would remain free of any 4s.

Furthermore, Stiles credited Sosa with providing the crucial assistance that enabled her to surmount the mountain.

DWTS

Julia Stiles and Ezra Sosa on “Dancing With the Stars” (ABC)

Subsequently, Dewan and Chmerkovskiy took the floor to execute a rapid Quickstep set to "Be Our Guest" from *Beauty and the Beast*, featuring guest performer Rodney Ingram.

Prior to the performance, Dewan sought counsel from her partner, Steve Kazee, during rehearsals; she was visibly moved by witnessing him dance.

The judges' reception of the performance was exceptionally positive, with Erivo lauding the split jump as "amazing" and Tonioli hailing the routine as the epitome of *Dancing With the Stars*, accolades that culminated in a perfect score for the pair.

DWTS

Val Chmerkovskiy and Jenna Dewan on “Dancing With the Stars” (ABC)

Bolstered by the accolade of being crowned the "king of contemporary" by Inaba the previous week, Connor Wood approached Disney Night with absolute confidence.

For this particular performance, he and Rylee Arnold prepared to dance a Waltz set to "I See the Light" from "Tangled," featuring guest artist Heather Headley.In anticipation of the number, Wood reached out to Milo Manheim, the actor who portrays Flynn Rider in the live-action adaptation of "Tangled," to collaborate with him.

Hough praised Wood's lower body mechanics, yet noted that further refinement of his frame was necessary, a sentiment echoed by Tonioli.

Erivo lauded Wood's dedication to narrative expression, while Tonioli described the bond between the dancers as profoundly authentic.Inaba urged Wood to assume a leadership role in their subsequent performance.

DWTS

Rylee Arnold and Connor Wood on “Dancing With the Stars” (ABC)

The group dances precipitated a significant reshuffling of the leaderboard standings.

host Alfonso Ribeiro, Ali and Jan Ravnik, Higgins and Ballas, Glenn and Pashkov, and Stiles and Sosa perform “Zoo” from “Zootopia 2,” while host Julianne Hough, Wood and Arnold, Frech and Karagach, Dewan and Chmerkovskiy and Shum Jr.

and Johnson perform “We’re All In This Together” from “High School Musical.”

The Slaytopia squad, colloquially referred to as the "Zoo," secured consecutive perfect marks, a feat subsequently mirrored by the Wildcats, who achieved another flawless score, thereby disrupting the established hierarchy.

Refer to the comprehensive leaderboard and associated scores provided below.

LEADERBOARD: Week 8

• Harry Shum Jr.
• & Jenna Johnson: 80
• 
  
• Jenna Dewan & Val Chmerkovskiy: 80
• 
  
• Ezra Frech & Daniella Karagach: 77
• 
  
• Connor Wood & Rylee Arnold: 72
• 
  
• Amber Glenn & Pasha Pashkov: 70
• 
  
• Julia Stiles & Ezra Sosa: 69
• 
  
• Tatyana Ali & Jan Ravnik: 69
• 
  
• Maura Higgins & Mark Ballas: 68

Operation Kabul Movie

Operation Kabul

Original title: Sárkányok Kabul felett

2025 | 1h 36m

Genre: War, Action

Director

Zsombor Dyga

Writer

Áron Horváth

Stars

Gábor Jászberényi

Blanka Mészáros

Klarissza Lakatos

Producer

Tamás Lajos

producer

Composer

Asher Goldschmidt

Cinematographer

Tamás Dobos

director of photography

Editors

Béla Barsi

Júlia Hack

Casting Director

Linda Zsombolyay

Production Designer

Cast & crew

User reviews

IMDbPro

Operation Kabul

Original title: Sárkányok Kabul felett

2025

1h 36m

IMDb RATING

YOUR RATING

POPULARITY

Operation Kabul (2025)

A Hungarian doctor's story intertwines with soldiers' sacrificial fight and desperate refugees' escape from a war-torn city. At the chaotic airport finale, Hungarian troops' courage and humanity determine life and death.

Play trailer1:54

3

A Hungarian doctor's story intertwines with soldiers' sacrificial fight and desperate refugees' escape from a war-torn city. At the chaotic airport finale, Hungarian troops' courage and humanity determine life and death.

Director

Zsombor Dyga

Writer

Áron Horváth

Stars

Gábor JászberényiBlanka MészárosKlarissza Lakatos

See production info at IMDbPro

4

User reviews

2

Critic reviews

Awards

1 win total

Videos

1

Trailer

Trailer 1:54

Trailer

3

Photos

22

View Poster

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+ 18View Poster

Top Cast

77

Gábor Jászberényi

Kerekes Bálint

Blanka Mészáros

Takács Eszter

Klarissza Lakatos

Fariha

Nóra Trokán

Nóra Trokán

Székely Zsuzsa - Zsu

Tamás Borovics

Herceg Péter alezredes

Dávid Hajmási

Petrov

Gusztáv Dietz

Berti

Zsombor Ertl

Flórián

Szilveszter Pálinkás

Szilveszter(as Pálinkás Szilveszter főhadnagy)

Marton Mathe

Marton Mathe

Erik(as Márton Máthé)

Adrian Samudovszky

Ahmed

Gábor Hegedűs

Hege

Ádám Egri

Ádám főtörzs

Harry Szovik

Harry Szovik

Alan

Loai Shaker

Dr. Fazal

András Stohl

Bodó ezredes

Anna Mészöly

Anna Mészöly

Szűcs Laura százados

Marco Lascari

Rashid

Director

Zsombor Dyga

Writer

Áron Horváth

Predator: Badlands

Balázs Hujber

Art Director

Máté Kovács

Release date

November 3, 2026 (United States)

Country of origin

Hungary

Production company

Language

Hungarian

Also known as

Dragons Over Kabul

Production company

Szupermodern Stúdió

‘You Can See Everything’ #1 in Third Week While ‘Resident Evil’ Hits $400 Million Globally Box Office Report

Although the domestic box office experienced a sluggish Halloween weekend, You Can See Everything maintained its cultural dominance and secured the premier position in its third week of release, generating $10.6 million.

In a closely contested race, it managed to narrowly surpass last week's leading title, Clayface, which earned $10.4 million.

In the interim, Zach Cregger's *Resident Evil* has reached a significant benchmark, accumulating $400 million in global box office revenue during the weekend.

As the third horror release of the current year—following *Obsession* and *Backrooms*—to secure a spot among the all-time top 20 worldwide box office hits, the video game adaptation now poses a credible threat of displacing *Backrooms* from the top ten on that prestigious list.For the definitive ranking of the top 20 horror films by worldwide gross, please refer to the linked analysis.

The following figures represent the domestic totals recorded during the weekend spanning October 30 to November 1, 2026:

• 1.
• You Can See Everything: $10.6 million
• 2.
• Clayface: $10.4 million
• 3.
• Wicker: $4.1 million
• 4.
• Street Fighter: $3.2 million
• 5.
• BTS's "Arirang" World Tour, broadcast live in São Paulo, generated substantial revenue, culminating in total earnings of $2.8 million.
• 6.
• Other Mommy: $2.5 million
• 7.
• Wildwood: $2.4 million
• 8.
• New York's sole surviving pickpocket has been identified, with the individual's illicit earnings amounting to a staggering $1.9 million.
• 9.
• Resident Evil: $1.9 million
• 10.
• Heart of the Beast: $1.6 million

Tokyo: ‘Diamond Diplomacy’ Doc Tracks the History of Baseball in Japan and Its Impact on U.S. Relations

By leveraging the shared fervor for baseball as a singular lens, Diamond Diplomacy meticulously traces the arc of 150 years in Japan-US relations, seamlessly integrating the chronicle of Japanese yakyu with profound examinations of history, geopolitics, and race.

Directed by Yuriko Gamo Romer, a Tokyo native who was raised in the United States, this documentary chronicles baseball's 1872 introduction to Japan by an American educator, its subsequent assimilation into the national school system, and the evolution of professional leagues that eventually facilitated the migration of Japanese athletes to major league circuits.

The narrative encompasses Babe Ruth's tours of Japan—an endeavor often credited, though perhaps hyperbolically, with averting war between the United States and Japan—as well as the sport's profound significance to Japanese-Americans, culminating in the unparalleled superstar status of Shohei Ohtani.

Romter remarked during a screening preceding the film's official debut at the Tokyo International Film Festival that Major League Baseball officials had credited him with impeccable timing, noting he captured the project precisely when Shohei Ohtani's ascent to prominence began.

"However, this was merely a coincidence," he clarified."I commenced my research into this subject twelve years ago, and the endeavor required years of both generating income and securing additional funding to bring the project to fruition."

Securing a $600,000 grant from the National Endowment for the Humanities, the project faced an abrupt financial collapse when more than half of those funds were rescinded in April 2025 due to the sudden implementation of drastic DOGE budget reductions.

The film's completion was subsequently made possible only through the intervention of former American diplomat Glen S.Fukushima, who provided a $300,000 contribution to bridge the funding gap.

Among the documentary's featured commentators is Robert Whiting, an author whose works significantly brought the distinct nuances of baseball in Japan to international attention.

As Whiting observes in the film, Japanese baseball predates judo; he further posits that the sport's development was profoundly shaped by perfectionist methodologies and obsessive mentalities borrowed from martial arts traditions.

Masanori "Mashi" Murakami holds the distinction of being the inaugural Japanese-born athlete to compete in Major League Baseball, a historic milestone in sports history.

Archival footage from Babe Ruth's 1934 tour captures the fervor of massive crowds gathered to witness an all-star American League squad competing alongside Japanese athletes, a display of camaraderie occurring just before escalating political frictions would ignite into full-scale war.

It is recounted that upon learning of the attack on Pearl Harbor, Ruth discarded all his Japanese memorabilia by throwing them from his apartment window.

In her earlier documentary, *Baseball Behind Barbed Wire*, Romer chronicled the resilience of Japanese-Americans who competed within the confines of World War II internment camps; she revisits these historical events in her latest film while also examining baseball's pivotal role as a shield against the prejudice that persisted in the postwar era.

Diamond Diplomacy further recounts the tours undertaken by Negro League teams to Japan, where the athletes frequently encountered treatment that surpassed the respect afforded to them domestically.

Their Japanese hosts extolled the players' respectfulness, humility, and sportsmanship, qualities they stood in stark contrast to the perceived arrogance often exhibited by visiting white teams.

Masanori "Mashi" Murakami, the pioneering Japanese Major League Baseball player who broke the age barrier at just 19, serves as the central figure of this film.

His historic debut with the San Francisco Giants occurred in September 1964 against the New York Mets at Shea Stadium, where he had the opportunity to play alongside baseball legends such as Willie Mays.

In the film, Murakami recounts his habit of whistling the melody of "Sukiyaki," a chart-topping sensation that also served as the opening selection for this year's Tokyo event, a practice he employed to soothe his nerves prior to competitions.

Following the screening, Murakami reflected that his aspiration to pursue a career in the United States stemmed not from an ambition to play in the major leagues, but rather from his profound affection for the cowboy drama *Rawhide*, which had become a monumental phenomenon in Japan.

Reflecting on an incident in San Francisco, Murakami, his voice trembling with emotion, recalled a moment that would test his resolve: an umpire's egregiously erroneous ruling on a pitch that was undeniably a strike.

Consumed by anger, he hurled the ball onto the ground, prompting a tense standoff between himself and the official.Yet, the following evening, while dining at a Japanese restaurant, the chef approached him, clasping his hand in a gesture of profound approval for his conduct.Initially bewildered by this display of admiration, Murakami soon realized the chef's sentiment was rooted in a post-war cultural imperative where Japanese individuals felt compelled to exhibit subservience toward Americans; thus, the chef expressed immense pride in witnessing Murakami assert his own dignity.

The documentary further examines American athletes who transitioned to Japanese professional leagues, highlighting the profound challenges faced by certain individuals as they adapted to grueling training protocols and divergent cultural norms.

Strand Releasing has acquired the North American distribution rights to *Diamond Diplomacy*, while Wondergenic has secured the rights for the Japanese market.

‘The Gilded Age’ Bosses Break Down Season 4 Premiere’s Messy Hookup and the Russells’ Tricky Road Ahead

As "The Gilded Age" resumes its saga of high-society tumult, the latest installment unfolds against a backdrop of a strategic matrimonial alliance, a catastrophic tropical cyclone, and the looming threat of financial and social ruin for several key figures.

The fourth season's premiere, titled "Ring the Bells," brought back the sprawling cast of this narrative set against the opulent backdrop of 1880s New York City, introducing numerous new dynamics and significant twists to prefigure the ensuing chaos.

This unfolding drama commenced with the wedding of Oscar van Rhijn (Blake Ritson) and Enid Winterton (née Turner) (Kelley Curran), an event that solidified their platonic alliance; through this union, he leveraged his social standing while she utilized her resources, enabling the pair to ascend the city's rigid hierarchy and dictate their own terms.

As co-showrunner Sonja Warfield explained to TheWrap, the production team prefers to commence episodes with expansive set pieces that reintroduce the entire ensemble, effectively recalibrating the narrative for the audience.

Leveraging the historical occurrence of a tropical storm coinciding with this period, they strategically employed this meteorological event to amplify both the dramatic tension and the overarching stakes of the storyline.

Consequently, the nuptials precipitated numerous strains that are certain to resonate throughout the season.

While the union appeared a prudent alignment for the newlyweds, grounded in their reciprocal embrace of one another's aspirations, the trajectory shifted when Oscar declined Enid's proposition to consummate their marriage with the explicit aim of securing an heir; this refusal signaled the initial fissures in their otherwise masterfully constructed scheme.Compounding this discord was the revelation that Agnes (Christine Baranski), the groom's mother, discovered her new daughter-in-law had formerly served as a lady's maid.

Series creator Julian Fellowes remarked to TheWrap that the narrative arc of Oscar and Enid serves as a poignant exemplar of the rigid constraints under which they lived—circumstances we are fortunately spared from.

He further expressed admiration for individuals possessing the fortitude to fundamentally reshape their own trajectories, asserting a defiant preference for a life they actively choose to embrace rather than one dictated by external forces.

The most surprising development of the finale involved Marian Brook, portrayed by Louisa Jacobson, and Larry Russell, played by Harry Richardson, the couple whose relationship had long oscillated between reconciliation and separation.

Although they seemed poised to definitively reunite, Marian's commitment was abruptly undermined by renewed anxieties regarding social propriety.

Following the conclusion of a somber reception held in the city center, Marian and Larry discovered themselves adrift after their carriage, compromised by the tempest, could no longer convey them home.

Consequently, they were compelled to seek shelter at a hotel, initially adhering to the rigid dictates of societal propriety by securing separate accommodations.Yet, the chasm between them bridged swiftly when Larry rapped upon Marian's door, and the estranged former fiancés resumed their union, consummating their relationship for the first time.Although the night bore the hallmarks of romance, Marian awoke the following dawn burdened by a profound sense of shame, acutely aware that, within the confines of high society, an unmarried woman's loss of virtue could precipitate the total forfeiture of her standing.

As Fellowes remarked, the production aimed to demonstrate that our ostensibly permissive society was not invariably so, emphasizing the value of recalling the perils that once confronted us, dangers which we are fortunate no longer face.

In the HBO series *The Gilded Age*, the characters of Harry Richardson and Louisa Jacobson are portrayed.

Warfield remarked that Louisa performs her duties with exceptional competence, noting that upon her return in the morning, the perspective shifts through the eyes of Ada (portrayed by Cynthia Nixon) and Agnes, who express relief that she chose to return via carriage alone.

They articulate their concern by stating, "It is fortunate you did not venture out with him; we could not even tolerate the faintest suggestion of impropriety arising from your being out with him," Warfield continued.

Amid the festivities of the wedding, both Ada and Agnes were informed that the New York Heritage Society had appointed Agnes to host President Grover Cleveland at their residence, a decision that inevitably sowed discord between the sisters, given that Ada would be compelled to underwrite the extravagance of the event.

Furthermore, it must be noted that the Van Rhijn household remains in pursuit of a new footman.

Warfield described the season as a volatile roller coaster, noting that the outcome of this particular dinner remains to be seen, while offering high praise for comedian Jim Gaffigan, who is set to assume the role of president later in the campaign.

Christine Baranski and Cynthia Nixon in The Gilded Age. (HBO)

According to Fellowes, Agnes and Ada are currently adapting to the restructuring of their power dynamics.

He further noted that Agnes's resilience depends on her being granted an autonomous domain for performance.

However, she cannot simply abdicate her influence entirely and recede into obscurity while Ada ascends to the throne; consequently, their relationship necessitates a dynamic interplay of negotiation as much as open confrontation.

They must meticulously recalibrate their respective roles within this shifting power structure.

Our previous encounter with George (Morgan Spector) and Bertha Russell (Carrie Coon) occurred across the street, depicting their divergent paths following a recent gunshot wound to George, which precipitated his decision to sever ties with his wife after she engineered the marriage of their daughter, Gladys (Taissa Farmiga), to the Duke of Buckingham (Ben Lamb).

The narrative resumed with the couple estranged.

George was grappling with President Cleveland's escalating advocacy for anti-monopoly legislation, a development that imperiled his commercial empire, even as he pursued the identity of the assailant who had shot him.Meanwhile, Bertha had traveled to England, where she attended to Gladys during the birth of her son; however, complications arising from the delivery rendered any future pregnancies impossible for Gladys.

Warfield and Fellowes observed that although the arrival of a grandchild would undoubtedly infuse the family with joy, the challenges lying ahead would prove arduous to navigate.

As Warfield observed, a formidable array of obstacles confronts the situation, pushing George's business to the precipice and leaving his marriage equally on the brink of collapse, while George himself endures significant suffering.

Fellowes emphasized that while George and Bertha remain inherently well-suited as a couple, it is imperative never to overlook the inevitable fluctuations inherent in any marriage.

Furthermore, we must not overlook the forthcoming nuptials of Peggy (Denée Benton) and Dr.

Kirkland (Jordan Donica), which are poised to unfold later in the season.As "The Gilded Age" embarks on its second installment, a wealth of narrative developments awaits, promising further engagement for viewers.

The series "The Gilded Age" is scheduled to broadcast on Sundays via HBO and HBO Max.

China Box Office: ‘Resident Evil’ Holds Top Spot for Fourth Straight Frame as 2014’s ‘John Wick’ Debuts in Third

 According to figures from Artisan Gateway, Constantin Film and Sony Pictures' horror reboot "Resident Evil" maintained its dominance at the box office in mainland China for a fourth successive weekend, securing the number one spot.During the October 30–November 1 reporting period, the film accumulated RMB28.5 million (approximately $4.3 million) in gross revenue.

Since its debut on October 5 within the Golden Week period, the video game adaptation has accumulated a total revenue of $71.3 million.

New Classics Pictures' crime procedural "Traces of Justice" secured its second-place position, generating $3.9 million during its fifth weekend.

This period investigation epic, helmed by Chen Sicheng (known for "Detective Chinatown") and co-written by Zhang Ji and Yan Zijie, has amassed a cumulative gross of $98.5 million since its October 1 release.Featuring Zhang Yi, Ma Li, and Chen Minghao in leading roles alongside guest performances from Karry Wang, Fan Chengcheng, and Chen Feiyu, the film spans multiple decades and chronicles an elite public security detective as he unravels intricate historical cases rooted in true events.

Lionsgate's action thriller *John Wick* secured the third spot in the rankings, generating $2.3 million during its three-day opening weekend, twelve years following its initial global launch in 2014.

The distribution rights were originally managed by China Film Group, which informed the film's initial rights holder, Huayi Bros., in 2014 that the movie's graphic violence rendered it unsuitable for the Chinese market; consequently, regulatory authorities formally rejected the film in 2015.Furthermore, Keanu Reeves' involvement was subsequently withdrawn from Chinese streaming services after his participation in a 2022 benefit concert organized by Tibet House U.S.While *John Wick: Chapter 4* and its spinoff *Ballerina* finally arrived in Chinese theaters in 2025, neither *Chapter 2* nor *Chapter 3* have yet been permitted for release in the country.

Beijing Joy Fun Pictures' family-oriented comedy "Mr.

& Mrs.Pardon" ascended to the fourth position, securing $2 million in box office revenue over the weekend and elevating its cumulative gross to $59 million.Directed by Shen Chunyang and penned by Ma Duo, this satirical feature brings together the real-life comedic duo of Shen Chunyang and Xiao Shenyang, alongside Jia Bing and Yu Yang, in the portrayal of a quarrelsome middle-aged couple compelled to confront the complexities of marriage and domestic discord following a physical exchange of bodies.

Dirty Monkeys' war comedy-drama, "Once Upon a Time in the Middle East," secured its position within the top five for its twelfth consecutive weekend at the box office, generating $900,000 in revenue.

Under the direction of Wen Muye, known for "Dying to Survive," and featuring an ensemble cast including Shen Teng, Jiang Qiming, Aarif Rahman, and Omar Sherif, this resilient summer blockbuster has accumulated a cumulative total of $356.9 million since its premiere on August 11.

Mainland China's weekend box office revenue plummeted to $18.2 million, reflecting the market's stagnation within a subdued post-holiday autumnal trajectory.

Cumulative figures for 2026 have now totaled $4.73 billion, representing a precipitous 29.0% decline when compared to the corresponding period in 2025.

Tovah Feldshuh Shuts Down ‘Nobody Wants This’ Cast Tension Rumors Amid Adam Brody “Free Palestine” Support

Regarding the production of *Nobody Wants This*, actress Tovah Feldshuh has firmly rejected reports suggesting escalating discord within the ensemble following remarks by Adam Brody expressing his support for "a free Palestine."

In her response to a Threads post by AzatTV alleging that tensions were emerging on the set of the Netflix series *Nobody Wants This*, she clarified that while profound differences of opinion exist, actual tensions are not rising.

She emphasized the necessity of distinguishing between these two concepts and assured that none of the discord would be brought to the set.

Feldshuh further remarked, "I derive profound satisfaction from filming [Nobody Wants This] and harbor the aspiration that our endeavor be selected for a fourth season."

In an interview with GQ, Brody stated unequivocally regarding the war in Gaza, "I stand by the position that this is a Genocide.

I also stand by the conviction that a free Palestine must be achieved." He further remarked, "While it is profoundly distressing that such an immense toll of death and suffering has been endured, the situation undeniably feels as though it has arrived at a breaking point that should have been acknowledged long ago."

Feldshuh, who portrays the mother of Brody's character Noah in the Netflix series, addressed the actor's remarks to The New York Post, stating, "To accuse the Jewish people of Genocide is wild." She further elaborated, "It is a tactic straight out of Hitler's playbook; you take the victim and invert their narrative to cast them as the perpetrator."

When questioned by the Post regarding whether accusations of Genocide carry greater weight when voiced by members of the Jewish community themselves, the actress affirmed that such statements indeed make a difference to the community.

Feldshuh asserted that the continued existence of the State of Israel is indispensable to the prosperity of both the democratic and free worlds.

He emphasized the reciprocal nature of this relationship, stating that while Israel undoubtedly requires the United States, the United States equally depends on Israel.

As stated to the outlet, Feldshuh remarked, "Whether in the role of Bina or Tovah, my vocation demands that I cherish the individuals working on set and extend kindness to them."

She further remarked, "Amidst the rising tide of global antisemitism, I feel profound honor and privilege in being cast as a Jewish matriarch; I am exhilarated and deeply proud, sentiments that shall endure unchanged."

Erin Foster, the creator of *Nobody Wants This*, has responded to Brody's remarks by describing the situation as complex on the *Not Skinny But Not Fat* podcast.

According to Foster, our working environment functions much like dining tables across the globe, serving as venues for spirited debate, thoughtful discussion, and constructive disagreement.

He noted that while he holds affection for Adam, their occasional discord is entirely acceptable.

She further remarked, "As the show's creator, my sole objective is to assure our Jewish audience that they are seen, heard, and that their sentiments are fully comprehended." She emphasized that the series has consistently functioned, and will perpetually function, as a tribute to Judaism, a purpose that drove its inception.

This commitment stems from the profound joy she experienced in embracing the Jewish faith and living as a Jewish individual.It is particularly vital to introduce such representation in the current global climate, where the depiction of Jewish people is virtually nonexistent.

Nevertheless, I acknowledge that others are entitled to divergent perspectives; I have merely articulated the genesis of this series and its underlying intent, as Foster concluded.