The Gunners sit fifth in the top-flight table heading into Friday night’s home encounter with Brighton. ...

The Swiss were voting Sunday on limiting immigration from the European Union, which, while not expected to pass, has sparked fears a shock "yes" could devastate relations with the bloc....

New York — After a historically bad first half of the year, the box office is suddenly booming. “Despicable Me 4,” the Illumination Animation sequel, led the way over the holiday weekend with $75 million in ticket sales Friday through Sunday and $122.6 million since opening Wednesday, according to studio estimates Sunday. The Independence Day holiday weekend haul for the Universal Pictures' release further extends the considerable box-office reign of the Minions, arguably the most bankable force in movies today. And it also kept a summer streak going for Hollywood. Though overall ticket sales were down more than 40% from levels prior to the COVID 19 pandemic, heading into the summer moviegoing season, theaters have lately seen a succession of hits. After Sony’s “Bad Boys: Ride or Die” outperformed expectations, Pixar’s “Inside Out 2” rapidly cleared $1 billion in ticket sales worldwide, making it the first release since “Barbie” to reach that mark. Last weekend, the Paramount prequel “A Quiet Place: Day One” also came in above expectations. With “Deadpool & Wolverine” tracking for a $160 million launch later this month, Hollywood’s summer is looking up. “If you look at the mood of the industry about eight weeks ago, very different than today,” says Paul Dergarabedian, senior media analyst for Comscore. “The song says what a difference a day makes. What a difference a month has made.” It helps to have the Minions at your disposal. Since first debuting in the 2010 original “Despicable Me,” each entry of the franchise — including two sequels and two “Minions” spinoffs — has seemingly guaranteed to gross around $1 billion. The four previous movies all made between $939 million (2022’s “Minions: Rise of Gru”) and $1.26 billion (2015’s “Minions”) globally. That run has helped give Illumination founder and chief executive Chris Meledandri one of the most enviable track records in Hollywood. “Despicable Me 4,” directed by Chris Renaud and Patrick Delage, returns the voice cast led by Steve Carell and Kristen Wiig and doubles down on more Minion mayhem. Reviews (54% fresh on Rotten Tomatoes) weren’t particularly good for the latest installment, which includes a witness protection plot and a group of Minions transformed into a superhero squadron. But in their 12-year run, little has slowed down the Minions. “This is one of the most beloved franchises, quite frankly, in the history of film, and certainly animation,” said Jim Orr, distribution chief for Universal. “Chris Meledandri and Illumination have their finger on the pulse of what families and audiences around the world want to see.” Family movies are powering the box office. “Despicable Me 4” performed strongly despite the still considerable drawing power of “Inside Out 2.” In its fourth weekend of release, the Pixar sequel added another $30 million domestically and $78.3 million overseas. “Inside Out 2,” with $1.22 billion in ticket sales thus far, is easily the year’s biggest hit and fast climbing up the all-time ranks for animated releases. It currently ranks as the No. 5 animated release worldwide. Instead of cannibalizing the opening weekend for “Despicable Me 4,” “Inside Out 2” may have helped get families back in the habit of heading to theaters. “What happened, I think, is the release calendar finally settled into a nice rhythm,” said Dergarabedian, referencing the jumbled movie schedule from last year’s strikes. “It’s all about momentum.” The continued strong sales for “Inside Out 2” were enough to put the film in second place for the domestic weekend. Last week’s top new film, “A Quiet Place: Day One,” slid to third with $21 million in its second weekend, with another $21.1 million from overseas theaters. That was a steep decrease of 60%, though the Paramount prequel has amassed $178.2 million worldwide in two weeks. The run of hits has caused some studios to boost their forecasts for the summer movie season. Heading into the most lucrative season at theaters, analysts were predicting a $3 billion summer, down from the more typical $4 billion mark. Now, closer to $3.4 billion appears likely. The weekend’s other top new release was Ti West’s “MaXXXine,” the third in a string of slasher films from A24 starring Mia Goth. In 2,450 locations, “MaXXXine” collected $6.7 million in ticket sales, a franchise best. The film, which follows “X” and “Pearl” (both released in 2022), stars Goth as a 1980s Hollywood starlet being hunted by a killer known as the Night Stalker. Angel Studios, which last year released the unexpected summer hit “Sound of Freedom,” struggled to find the same success with its latest Christian film, “Sound of Hope: The Story of Possum Trot.” It debuted with $3.2 million. Kevin Costner’s big-budget gamble, “Horizon: An American Saga,” didn’t do much to turn around its fortunes in its second weekend. The first chapter in what Costner hopes will be a four-part franchise – including a chapter two Warner Bros. will release in August – earned $5.5 million in its second weekend. The film, which cost more than $100 million to make, has grossed $22.2 million in two weeks. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 1. “Despicable Me 4,” $75 million. 2. “Inside Out 2,” $30 million. 3. “A Quiet Place Day One,” $21 million. 4. “MaXXXine,” $6.7 million. 5. “Bad Boys: Ride or Die,” $6.5 million. 6. “Horizon: An American Saga, Chapter 1,” $5.5 million. 7. “Sound of Hope: The Story of Possum Trot,” $3.2 million. 8. “Kaiki 2898,” $1.8 million. 9. “The Bikeriders,” $1.3 million. 10. “Kinds of Kindness,” $860,000. ...

MONTREAL — Powered by TikTok, the song Je te laisseai des mots by Quebecer Patrick Watson has become the first French-language song to surpass 1 billion listens on Spotify, the streaming platform announced Tuesday. "It's a dizzying number," Canadian singer-songwriter Patrick Watson posted on Facebook on Wednesday. "It's a huge number, almost impossible to comprehend." "I grew up in Montreal and am extremely proud that a French song has crossed the language barrier," continued Patrick Watson. The Quebec artist thus ranks ahead of other French-speaking artists with global influence, such as the Belgian Stromae or the Franco-Malian Aya Nakamura. Patrick Watson, represented by the Montreal independent label Secret City Records, composed this song almost 15 years ago, for the film Mothers and Daughters with Catherine Deneuve released in 2009. The piano-vocal song saw renewed interest in 2019 on YouTube in a video pairing the melody with archival footage. The melancholic anthem was then used to accompany scenes of everyday life in tens of thousands of videos on TikTok during the COVID-19 pandemic, with users adding melodrama to snippets of their everyday lives. Celebrities like Justin Bieber also helped make the song popular among a wide audience. "The modern pop song is now the soundtrack to people's home movies," Watson told the Canadian newspaper Globe and Mail in 2022, speaking of its viral popularity. "The modern hit is the song that makes your daily life more interesting and romantic" on social networks, he added. Je te laisserai des mots was the most-streamed French-language song worldwide on Spotify over the past 12 months, the platform announced in September, surpassing tracks like Stromae's Alors on danse. Patrick Watson's music has been featured in the popular American TV series Grey's Anatomy and The Walking Dead, and he and his eponymous band won the prestigious Canadian Polaris Music Prize in 2007.  ...

The pair worked together on eight films including the Oscar-winning Annie Hall and Manhattan. ...

Americans can learn answers to Earth science-related questions via the U.S. Geological Survey’s free online lecture series....

Exclusive: The experienced publisher defied the doubters when she launched ‘Cocoa Girl’ and ‘Cocoa Boy’, which have attracted more than a million readers. Now she wants to launch the UK’s first Black journalism school. She talks to Nadine White about overcoming ‘sabotage’, tackling a deep-rooted problem and inspiring the younger generation ...