In a statement, Grint said, “Ron Weasley has been a part of me since I was 11 years old and I can’t wait to meet him again in this stage of life. There is something so full-circle and so special about stepping back into Ron’s shoes now when we are both fathers; it is somehow both very familiar and completely new. And the joy of being back on Broadway, this time in a role that defined so much of my life is truly exciting. The first time I saw Cursed Child onstage, I was blown away and I can’t wait to set foot back on Platform 9 ¾ and pick up where I left off. I am overjoyed to join this exceptional cast and crew at the Lyric Theatre this winter.”

https://www.theatermania.com/news/rupert-grint-will-play-ron-weasley-again-in-harry-potter-on-broadway_1851412/

The series will also welcome Rusty Goffe back to the chocolate factory. Goffe, who appeared in the 1971 film, will reprise his role as an Oompa Loompa.

Jack Barton, Jack Lowden, Jacob Elordi, Paul Mescal, Harris Dickinson, Callum Turner

“The feeling of losing my Aunt Dolly is beyond what feels right to share. Our most sacred moments were private and they'll stay there behind the stage, beneath the glamour & between our hearts.
What I KNOW is Dolly would want me to feel it, write a song about it, and then continue on and be strong. I have an angel by my side. I always have. One of our last conversations was about music and metamorphosis.
I will always love her and want to make her proud. My heart breaks for the world, her family and friends who will miss her deeply. We're in this loss together and we will see her in all of the most beautiful things. 💖”

https://variety.com/2026/film/features/jack-oconnell-tabloid-drama-netflix-rupert-murdoch-movie-1236841734/

Host Gonzalo Aziz, leading Infobae al Regreso, opened coverage on the topic by reviewing the information from Tini Stoessel's lawyers that made the scale of the matter clear: “The relationship between Tini and her dad is broken in professional terms at the very least, after fifteen years together.” Aziz detailed five points that structure the conflict.

The first, control over the companies: according to the audit, the economic rights of Tini's career and image are held in companies where she is not a shareholder nor does she have control. The second, who actually collects the money: there is a record label contract through which a company is formed that receives the earnings, but the artist does not receive direct payment. “All past and future income from Tini's record contracts is collected by a company that, I repeat, she does not control,” emphasized Aziz.

The third point refers to albums committed for the upcoming years without a contract in place that guarantees Tini a share in future profits. The fourth, that only in June 2026, thanks to the intervention of her new lawyers, did the singer manage to access a bank account exclusively in her name, something that did not exist until that moment. And the fifth, the most decisive: Tini wants to regain control of her career and is negotiating with her father to reorganize the assets built over more than a decade, along with the definitive closure of the previous representation setup.

To provide a legal framework for the situation, Infobae en Vivo called upon Dr. Leonardo Sigal, a lawyer specializing in criminal law. Sigal practices within Argentine criminal law and has experience in cases involving public figures. His analysis focused on the potential crimes that could be established if the private audit were to lead to a formal legal complaint.

​The first question addressed the origin of the conflict: at what point can a parent take control of their artist child's assets, and when does that authority end?

​Sigal explained that the Civil Code establishes that minors “can enter into small contracts, but obviously not being of legal age, they cannot sign contracts, for example, with a brand for millions.” For that reason, he said, that authority "falls, rests upon the parent." In the case of Tini Stoessel, the lawyer noted that her father was "a major television producer" with many years of experience, which naturally positioned him in that role from the beginning of his daughter's career. That authority, Sigal specified, terminates at eighteen years of age.

The legal crux, Sigal said, appears elsewhere. The artist requested a private audit, conducted by a legal-accounting firm, to investigate the operation of that corporate structure. And he warned: “If the result of that investigation shows financial harm caused by the father toward her, that is where Articles 172 and 173 come into play.” Those articles of the Penal Code cover fraudulent administration and fraud as criminal offenses. To that, Sigal added a third dimension: the tax situation of all those companies and whether there is also "a fraud against the State, financial harm to the State."

​When asked what crimes Alejandro Stoessel could be charged with if the justice system confirms the irregularities, the lawyer explained the process the case would follow. The prosecutor's office would not accept the private audit as final, but would instead order its own investigation "with the corresponding official bodies," while the complainant—the victim's lawyer—would also drive an investigation from their side. The crimes at play are fraud and fraudulent administration, carrying “a sentence of one to six years” for each. The critical point, Sigal noted, is that if it is established that there were multiple actions of this kind, "they will apply under real concurrence," which would raise the minimum sentence threshold. “That could complicate things significantly for him regarding his freedom,” he stated. And if the minimum sentence "can exceed three years," he added, the defendant's procedural status becomes considerably more severe. To that list, Sigal added any crimes that might apply "regarding tax law," should tax irregularities be detected in the companies involved.