Screenwriter David Koepp (Spider-Man, Jurassic Park, War of the Worlds) has succeeded in pulling off what several other top screenwriters had failed at: provide an Indiana Jones sequel that would satisfy the three principals -- George Lucas, Steven Spielberg, and Harrison Ford. The three confirmed on Monday that they plan to begin filming Koepp's script -- a title was not disclosed -- for the fourth Indiana Jones film in June, with a May 2008 target for worldwide release. The last Indiana Jones move, Indiana Jones and the Last Crusade, was released by Paramount in 1989. Spielberg told reporters, "We feel that the script was well worth the wait. We hope it delivers everything you'd expect from our history with Indiana Jones. ... George, Harrison and I are all very excited."

In a weekend that saw no new films offered in wide release, holdovers performed solidly. Night at the Museum remained the No. 1 movie at the box office, taking in $46.7 million over the four-day New Year's holiday. Sony's The Pursuit of Happyness remained in second place with $42.7 million, which put it over the $100-million mark (to $103.4 million). But the real sensation was produced by the Paramount/DreamWorks' musical Dreamgirls, which landed in third place with a four-day take of $18.7 million. It played, however, on just 852 screens, while Museum was screened at 3,768. And while Museum produced an impressive per-screen average of $12,394, Dreamgirls came away with a sensational per-screen average of $21,948. Also significantly improving performance was We Are Marshall, which performed poorly in its opening but which saw its take rise 19 percent over the holiday weekend. The film, which describes the aftermath of the 1971 plane crash that took the lives of a West Virginia university football team, has now earned $27.3 million after two weeks.

The top ten films over the four-day holiday weekend, according to estimates compiled by Media by Numbers: 1. Night at the Museum, $46.7 million; 2. The Pursuit of Happyness, $24.7 million; 3. Dreamgirls, $18.7 million; 4. Charlotte's Web, $15.5 million; 5. The Good Shepherd, $14.5 million; 6. Rocky, $13.7 million 7. Eragon, $10.5 million; 8. We Are Marshall, $10.2 million; 9. Happy Feet, $9.7 million; 10. The Holiday, $8.5 million.

It took Zhang Yimou's Curse of the Golden Flower just two weekends to become the biggest box-office hit in China for 2006. Daily Variety reported that the film earned $6.4 million in its second weekend, about half the $12.5 million it earned in its premier. Adding mid-week results, the film has thus far grossed a record $24.73 million, the trade publication said. China's Oscar entry for best foreign-language movie also performed well in the U.S., where it debuted midweek and went on to earn $859,000 by Sunday. It is playing in just 60 theaters. Meanwhile, Jackie Chan said on his website today (Tuesday) that he has launched a film company in China and intends to produce 10 films.

With lawyers for Bob Dylan moving forward with legal action against the producers of Factory Girl for the way he is depicted in the movie (the producers have changed his name and insist it is a composite character), the New York Post has published excerpts from a videotaped interview with Jonathan Sedgwick, whose sister Edie is the subject of the movie, confirming its claims about Dylan. (Sedgwick reportedly fell into deep depression and heavy drug use after the Dylan character dumped her.) On the tape, Jonathan Sedgwick says: "One day, she called me up, and she said, 'I've met someone.' She didn't tell me who it was, but, 'He's a folk singer. He's fabulously talented, and he's full of conviction' ... Later on, Edie explained to me it was Bob Dylan. She told me she was totally in love with him ... she also explained ... she lost a child which she claims was Bob Dylan's child. She had gotten into an insane asylum, and she was so wacked out on drugs that they aborted her because the child would've been just strung out. ... She said that was the saddest moment of her life."

O.J. Simpson will have the right to resell publication and TV rights to his book If I Did It before the end of the year, Time magazine reported Monday, citing a source close to Simpson, who also told the magazine that Simpson is seeking to have News Corp surrender the rights earlier than the original deal stipulates so that he can sell the book to European publishers. Meanwhile, Fred Goldman, father of Ron Goldman, one of Simpson's alleged victims, says that he is seeking to have News Corp turn the rights over to him, citing News Corp's earlier assertion that profits from the book would go to the victims' families. Goldman told Time: "If they want to be through with this, they should have no problem turning over those rights to us."

YouTube has failed to comply with an agreement it signed with Warner music to install a system that would prevent copyrighted music videos from being pirated, News Corp's Australian news site, News.com.au, reported Monday. According to the website, YouTube had agreed to install an "advanced content identification and royalty report system" under the terms of an agreement with Warner that allowed some of its music-video library and performer interviews to be posted on YouTube.

Court TV has been pulled from Echostar's DISH satellite system after the two companies were unable to reach a new contract agreement. Turner Broadcasting, the parent company of Court TV, issued a statement saying that Echostar was "unwilling to pay the standard industry rate for a popular network that is currently ranked in the Top 20. We are disappointed with their decision, and hope that we can reach resolution, but in the meantime, our cable operator partners and DirecTV are able to provide this network to Court TV fans." Echostar did not immediately comment.

Former Friends star Courteney Cox is getting revenge of sorts at the tabloids that have hounded her and her friends. In the new FX series Dirt, debuting tonight (Tuesday), Cox stars as the editor of two gossip magazines, one of them titled Drrt, the other, Now. She and husband David Arquette are also executive producers of the new series. New York Times TV critic Alessandra Stanley described the show as "a labor of love about hate: vigilante filmmaking that allows Hollywood stars to fire back at the pestering paparazzi who stalk them." Nevertheless, she writes, "Dirt takes a very shallow look at the shallowness of show business." Tom Shales concludes in the Washington Post: "As an artfully smirking piece of work, Dirt is both nasty and tasty -- a very guilty pleasure perhaps best spoken of in dark alleys. Or watched through a keyhole." David Kronke in the Los Angeles Daily News also has a generally favorable reaction to the series. "Dirt," he writes, "is filthy, but I mean that in an almost good way. Dirt is obsessed with bad behavior and has no qualms about depicting it as luridly as you're likely to see on television." Chicago Sun-Times TV critic Doug Elfman has mixed feelings about the series, writing that the show "gets the ingredients right (the tone, acting and pacing are swell), but the dialogue doesn't make it addicting enough to watch, and the editing could be slicker more often." Edward P. Smith writes in the Denver Post: "An inside look at the sleazy world of tabloids turns out to be as ham-handed and crude as the world it intends to expose." And David Bianculli in the New York Daily News puts his finger on what he believes is wrong with the show when he writes, "There's no one, really, to root for or care about, as everyone jockeys for position to survive, thrive and devour."