Deal still under UK scrutiny with new investigation, and could face lawsuit from state attorneys general
Donald Trump’s Department of Justice has decided to approve the $111bn merger of Paramount Skydance, controlled by the Ellison family, and Warner Bros Discovery, the parent company of networks like CNN and HBO.
The deal was approved by the justice department’s anti-trust division after months of review, and despite the concerns of many people in the entertainment and media industries who believe it will hurt competition by reducing the number of film studios and – most likely – merging two news networks, Paramount’s CBS News and CNN.
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© Composite: The Hollywood Reporter via Getty Images, Zuffa LLC
© Composite: The Hollywood Reporter via Getty Images, Zuffa LLC
© Composite: The Hollywood Reporter via Getty Images, Zuffa LLC
Scooby, Scooby-Doo, where are you? Ah, you’re in Japan!
Over the past few years, Japan has become one of the world’s most popular destinations for international travelers, with everyone from overseas otaku to major celebrities putting it on their travel itineraries. And soon Japan will be adding a few more high-profile guests, with the announcement of a new Scooby-Doo animated series that’s not only set in Japan, but animated by a major anime studio.
Warner Bros. has unveiled Yokoso Scooby-Doo, a new series starring the famous mystery-solving pooch, describing the premise as:
“While visiting Japan on the ultimate foodie adventure, Scooby-Doo and Shaggy unwittingly unleash hundreds of mythical monsters that are causing trouble across the country. With the help of Scooby’s uncle, Daisuke-Doo, along with new friends, a magical girl Yume and gadget whiz Takumi, the group embarks on an all-new mystery filled with monster chasing and fun chaos.”
あのハンナ・バーベラの名作『弱虫クルッパー』こと『スクービー・ドゥ』が…日本にやって来た！？
— カートゥーン大好きトゥン子さん@海外アニメ紹介！ (@newofcartoon) May 18, 2026
しかも日本アニメっぽく！？
最新作『YOKOSO SCOOBY DOO！』は
アメリカ限定完全無料配信サービス
『tubi』にて配信決定
日本の妖怪からも逃げまくるシャギーとスクービーを見逃すな！ pic.twitter.com/MIXdfpL2RA
While Warner Bros. Animation is listed as the series’ producer, the company has announced that the visuals will come from OLM. Originally named Oriental Light and Magic, OLM is a Tokyo-based anime studio that was founded in 1990, and whose credits include work on Berserk, Inazuma Eleven, and Yo-kai Watch. They’re most famous, though, as the studio that’s been animating the Pokémon anime, all the way since its beginning in 1997. Yokoso Scooby-Doo will also be directed by Itsuro Kawasaki, director of the Pokémon Origins anime.
▼ Yokoso Scooby-Doo (meaning “Welcome, Scooby-Doo”) appears to be a reworking/retitling of the Go-Go Mystery Machine series that Warner Bros. originally announced in 2024.
2024年に発表された
—
日本を舞台にした「スクービードゥー」の新作「GO GO MYSTERY MACHINE」が
『YOKOSO SCOOBY DOO！』色々と変わって発表
しかも制作はワーナーと日本の「株式会社オー・エル・エム」(アニポケ作ってる会社)と共同
絵柄も何となく日本アニメっぽい pic.twitter.com/l4Ijqi3u1I
Looking at the preview visual for Yokoso Scooby-Doo (or maybe we should call it the “key art,” in keeping with anime industry jargon), the goofy-grin Shiba inu is, ostensibly, Scooby’s uncle, Daisuke-Doo. The series’ version of the Mystery Machine sports a cherry blossom design on its fascia-mounted spare tire cover (although in orange instead of sakura-pink), and the van even sports a yellow license plate of the type used by Japan’s kei jidosha class of sub-compact cars.
Yokoso Scooby-Doo will stream exclusively on Tubi in North America, while international distribution will be through Cartoon Network. Frank Welker and Matthew Lillard will reprise their roles as Scooby and Shaggy, respectively, and there’s been no word yet about a Japanese-language dub. There’s also no announced release date yet, but if you’re in the mood for anime takes on classic American cartoon characters right now, there’s the new Looney Tunes anime series to watch.
Source: Variety
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On December 8, 1980, John Lennon and Yoko Ono sat down to talk to a small crew from San Francisco’s KFRC radio station in their Dakota Building apartment in New York. It was the only radio interview they gave to promote their album Double Fantasy, released three weeks earlier. For two hours and 45 minutes they spoke calmly, optimistically and, in Lennon’s case, in an almost messianic voice, about life. That night, returning home, Lennon would be shot dead by Mark David Chapman. Given the circumstances, the interview could be viewed as prophetic, which is Steven Soderbergh’s angle in his documentary John Lennon: The Last Interview, presented at Cannes in a special session.
In 1938 Hollywood was still in its infancy. While cinema had long evolved from the point where most movies were simply filmed plays, the industry was just beginning to demonstrate what movies could do as a distinct art form.
A LIFE magazine story titled “Sound Stages of Hollywood Hum with Work on Movies for 1938” took a broad look at the state of the movie industry. One sign of how young cinema was is that LIFE began its article by explaining how sound stages had become necessary with the demise of the silent film era.
Sound stages…cover all the Hollywood movie lots. Ever since the advent of sound drove the movies indoors, these huge, sound-proof buildings have been the factories of the cinema industry. Covering more than an acre of ground, each stage is so big that within its walls can be re-enacted the sinking of the Titanic or Napoleon’s retreat from Moscow.
The theme that LIFE hammered in its story was the rise of big-budget pictures, which the magazine referred to as “million-dollar epics.” A million dollars is a lot, but also not that much for a movie budget, even taking inflation into account. For point of reference, a million dollars back then would be the equivalent of about $23 million in 2026. The most expensive blockbusters of today—such as the newer entries in the Star Wars and Jurassic Park franchises—cost around $500 million.
LIFE, perhaps sensing what the future would be, looked at this culture with disdain.
Hollywood’s most successful studios are headed by producing “geniuses” with a fondness for sending expeditions to the South Seas for “atmosphere” and junking $100,000 worth of film to shoot it in color. Surrounding them are equally temperamental directors, writers and actors. The only reason the movies ever get made at all is that beneath the batteries of geniuses are amazingly smooth-working studios.
While the text of the story had its snarky moments, the photographs by Margaret Bourke-White looked more lovingly at the magic of movie making. Her images include movie sets recreating lavish ballrooms or the streets of San Francisco circa 1859, and also showed appreciation to the prop master who kept a vast collection of smoking pipes to give directors plenty to choose from.
Bourke-White also took several photos from the set of the movie The Big Broadcast of 1938, which may be of interest to modern movie fans because of the way its ship models and lifeboats and icebergs call to mind one of the most extravagant and successful productions in the history of film—James Cameron’s 1997 movie Titanic.
The Big Broadcast of 1938 was the last in a series of variety show anthologies, and this edition featured a story about a race between two big boats, the Colossal and the Gigantic—two names which obviously reference the ship Titanic.
To compare The Big Broadcast of 1938 to the vast enterprise behind of the making of James Cameron’s movie is to appreciate how far cinema has evolved. And this isn’t a knock on the prop department’s work on The Big Business of 1938. Rather, it’s a recognition of what happens when one generation after another tries top those that came before—no matter what the cost.
The Warner Bros Studio lot in Burbank, California, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
On the Paramount Studios lot Ernst Lubitsch, with cigar in his mouth, directed Gary Cooper and Claudette Colbert in the 1938 romantic comedy “Bluebeard’s Eight Wife.”
Margaret Bourke-White/Life Picture Collection/Shutterstock
A movie set of the Paramount Studios lot, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
On the set of a movie at Paramount Studios, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This prop was being built for the musical comedy “The Big Broadcast of 1938” from Paramount Studios.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This prop was being built for the musical comedy “The Big Broadcast of 1938” from Paramount Studios.
Margaret Bourke-White/Life Picture Collection/Shutterstock
On the set of the movie “The Big Broadcast of 1938” from Paramount Studios.
Margaret Bourke-White/Life Picture Collection/Shutterstuck
A set for the oceanbound musical comedy “The Big Business of 1938” at Paramount Studios.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This iceberg prop was built for use in the Paramount Studios musical comedy “The Big Business of 1938.”
Margaret Bourke-White/Life Picture Collection/Shutterstock
Paramound prop master Charles J. Mccormick posed with a prop mosquito on his hand that he controlled with a hair held in his other hand; the mosquito was made for the 1937 comedy “Thrill of a Lifetime.”
Margaret Bourke-White/Life Picture Collection/Shutterstock
The Paramount Studios prop room included a wide selection of pipes, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This breakaway stick in the Paramount Studios prop department was held together with toothpicks and designed to break away on contact, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
Prop man R.B. Berscheid at work at Warner Bros. studio, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
Prop champagne bottles on the lot at Warner Bros., 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This puppet of actress Martha Raye was built for a publicity gag and then kept hanging around the Paramount props department, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
This prop street on the Paramount Ranch, 30 miles from Hollywood, was meant to replicate San Francisco circa 1859 for the 1937 movie “Wells Fargo.”
Margaret Bourke-White/Life Picture Collection/Shutterstock
A set on the Paramount Studios ranch, 30 minutes north of Hollywood, 1938.
Margaret Bourke-White/Life Picture Collection/Shutterstock
The post Visiting the Studio Lots of Early Hollywood appeared first on LIFE.
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