Author: rb809rb

  • Rob Bonta Says It’s “Telling” Meta Settled With State AGs In The Midst Of Instagram Head Adam Mosseri’s Testimony & Before Mark Zuckerberg Took The Stand

    Rob Bonta Says It’s “Telling” Meta Settled With State AGs In The Midst Of Instagram Head Adam Mosseri’s Testimony & Before Mark Zuckerberg Took The Stand

    California Attorney General Rob Bonta took a victory lap following a proposed settlement of up to $17 billion for claims brought by 51 attorneys general against Meta, suggesting that the parent of Instagram and Facebook realized that a trial was not going well for their side.

    As Bonta went through details of the settlement, including remedies designed to limit mental health harms and social media addiction among children and teens, he told reporters, “It’s also telling that Meta settled midway through Instagram President Adam Mosseri‘s testimony and before CEO Mark Zuckerberg could take the stand.”

    The company was defending itself in a trial that started on Aug. 18 in California.

    On the stand on Tuesday, Mosseri at one point was questioned by prosecutors about a feature, called Take a Break, a pop-up message suggesting to young users that they the give the app a rest after a fixed period of use. An internal document showed that only 1.8% of teens actually used the feature. A blog post by Mosseri around when it was introduced said “more than 90%” of users of the feature kept it on. But, the state AGs noted, the executive did not indicate that a very small number of people actually used it in the first place.

    “The trial was not going well for Meta. Having Instagram President Adam Mosseri giving testimony as we settled, it was not random … I think they were dying to have him get off the stand. It was not going well for him,” Bonta said.

    The settlement agreement still has to be approved by a federal judge.

    It includes a set of new restrictions that Meta will place on social media for users under 18, including a default daily time limit of two hours that can only be lifted by a parent. Other defaults are designed to limit use overnight and during school hours, and a ban on displaying numbers of likes or reactions for users under 18.

    Bonta also talked of the next step in their litigation: TikTok.

    “As big as Meta is, it doesn’t stand alone,” Bonta said. “We’re continuing our fight across social media, including our litigation against TikTok, and we’ll continue to demand better from all parts of this industry through our ongoing work with the legislature.” Bonta and other state attorneys general filed the TikTok lawsuit in 2024.

    Bonta also vowed to defend SB 976, the Protecting Our Kids from Social Media Addiction Act, a new California law that is being challenged by tech giants on First Amendment grounds.

    Bonta said that, with the Meta settlement, his “hope and my belief is that we will see commitments across the industry.” In addition to TikTok, he called out Snap and YouTube.

    Bonta later said that although YouTube is not the “same in its model as Meta and TikTok,” there are “similar features and products that YouTube uses that are along the same lines that … are designed to create excessive compulsive use that lead to mental health harms, and most importantly that hurt our children, and can and should be changed.”

    He added, “I think this …constellation of solutions in terms in injunctive relief that we’ve delivered here that apply to Meta, I really think that YouTube and Snap and TikTok should be thinking very closely about them and their commitment to adopt the same.”

    Several of the changes Meta agreed too are partly contingent on other social media players signing on. For instance, a default daily time limit of two hours for users under 18 that can only be lifted by a parent, under the settlement, would drop to one hour If other social media platforms agree to similar terms.

    And a default nighttime block between midnight and 6 a.m. for users under 18 that can only be lifted by a parent would expand to cover 10 p.m. to 7 a.m. if other social media platforms follow.

    This case and others lodged against social media giants have been compared to transformative litigation against big tobacco companies in the 1990s. Asked if he agress, Bonta said: “I think there are some similarities. There are also some limits to those similarities … Regardless, this is a major moment to clean up an industry that has been hurting our kids.”
     
    “So, in the way that the impact of the solutions delivered in [big] tobacco were good for health, good for kids, good for Californians and Americans, this is similar … It’s similar in that fact that it’s a number of AGs banding together, asserting ourselves, exerting our authority, demanding better, requiring accountability, and enforcing the law and delivering results. It’s similar in that way that Congress hasn’t been delivering and has left a vacuum and a gap, so that the state AGs stepped in.”
     
    He added, “It deals with public health. Different issues, but public health issues broadly … But I think the most important thing to focus on here, whether it’s similar tobacco or not, is this is transformative. This is momentous. This is a major step forward in the ongoing quest and journey to make sure that our children are safe everywhere, including online.”

    The settlement involved attorneys general from 47 states, the District of Columbia and U.S. territories.

  • MemeToro vs AlphaPepe Tokenomics: Comparing Two Leading Crypto Presales in 2026

    MemeToro vs AlphaPepe Tokenomics: Comparing Two Leading Crypto Presales in 2026

    MemeToro and AlphaPepe are both attracting attention in the 2026 crypto presale market, but their strategies are different. MemeToro has reached Stage 6 at $0.00350 and is approaching $100,000 raised, while AlphaPepe has advanced to Stage 20 with more than $2.5 million raised from over 11,100 wallet holders.

    MemeToro is building an AI-powered $BNB Chain launchpad with automated security scanning, while AlphaPepe focuses on a broader ecosystem featuring rewards, rankings, referrals, and planned exchange access.

    Comparing their tokenomics and utility helps explain why both projects have gained attention among investors searching for the best crypto presale opportunities.

    MemeToro Focuses Token Utility on AI Launch Infrastructure

    MemeToro’s $MT token is connected to an ecosystem designed around AI-assisted memecoin creation and launch infrastructure. The project is currently in Stage 6, with the token priced at $0.00350 and fundraising nearing $100,000.

    Its defining feature is the AI-powered launchpad on $BNB Chain. The platform uses an AI agent to help identify trends and develop memecoin concepts, while its automated security scanner is designed to detect developer backdoors and honeypot-style mechanisms before deployment.

    This gives MemeToro a clear utility narrative within the AI crypto presale category. Rather than relying solely on community hype, the project is building a product around the process of creating and evaluating new meme tokens.

    For investors comparing a crypto presale with established meme assets, that infrastructure focus is an important distinction. The $MT narrative is tied directly to the platform’s future ecosystem.

    Here’s a video to watch if you prefer visuals over reading to discover everything about the MemeToro ecosystem.

    AlphaPepe Brings a Larger Presale Ecosystem

    AlphaPepe has already progressed considerably further through its fundraising cycle. The project has surpassed $2.5 million raised and has attracted more than 11,100 unique wallet holders.

    Its Stage 20 presale is priced between $0.02789 and $0.02817, while a 48-hour Bonus Drop gives buyers an opportunity to unlock additional ALPE tokens.

    AlphaPepe’s ecosystem includes several features designed around user engagement and participation. Its broader model includes rewards, rankings, referrals, marketplace activity, and planned exchange partnerships.

    Project updates also highlight upcoming trading partnerships with CEXs including Azbit and BiFinance. That gives AlphaPepe a strong listing and community-growth narrative alongside its presale.

    For readers following crypto presale news, the difference is straightforward. AlphaPepe emphasizes ecosystem engagement and market expansion, while MemeToro emphasizes AI-powered token creation and security infrastructure.

    Comparing the Two Presales for 2026

    The best way to compare the projects is to look at what each is attempting to build. MemeToro is positioning itself around AI and launch infrastructure, while AlphaPepe is building an ecosystem around community activity, rewards, rankings, referrals, and exchange access.

    Their current progress also differs considerably:

    • MemeToro: Stage 6 at $0.00350
    • AlphaPepe: Stage 20 at $0.02789–$0.02817
    • MemeToro: approaching $100,000 raised
    • AlphaPepe: more than $2.5 million raised
    • MemeToro: AI launchpad and security scanner
    • AlphaPepe: rewards, rankings, referrals and CEX roadmap

    That makes the comparison useful for investors researching the latest crypto presale market. MemeToro offers exposure to an AI-powered $BNB Chain launchpad, while AlphaPepe offers a broader community and rewards ecosystem.

    Both also fit into the expanding memecoin presale category, but their product narratives are distinct. MemeToro’s strongest differentiator is AI-driven infrastructure, while AlphaPepe’s strength is its established presale momentum and engagement-focused ecosystem.

    More Information on MemeToro ($MT) Presale Here:

    Website: https://memetoro.com/

    X: https://x.com/memetoro_mt

    Telegram: https://t.me/memetoro_mt

    YouTube: https://www.youtube.com/watch?v=gY0jgWy_DtA

  • “Delusional”: Joyce Beatty’s Attorneys React To Trump-Controlled Kennedy Center’s Warning Of Potential Demolition

    “Delusional”: Joyce Beatty’s Attorneys React To Trump-Controlled Kennedy Center’s Warning Of Potential Demolition

    A federal judge is holding a hearing on Thursday on another challenge to the Kennedy Center‘s plans to add Donald Trump‘s name to the complex.

    On Wednesday evening, attorneys for Rep. Joyce Beatty (D-OH) reacted to the most recent filing by the center, in which they suggested that the complex may have to be torn down if Trump’s name was not restored.

    Beatty’s attorney wrote, “In plain English, Defendants have not-so-subtly said: ‘What a nice Kennedy Center you have here. What a shame should something happen to it.’ This is a breathtaking assault on the rule of law. It is delusional. And it must stop.”

    The board of the Kennedy Center voted earlier this month to add “Renovated and Restored by President Donald J. Trump” to the front facade below the inscription, “The John F. Kennedy Memorial Center for the Performing Arts.” Once a $100 million threshold is met for an endowment, another inscription would be placed below that one to read, “Endowed by the Trump Kennedy Center Fund.”

    The board also voted to rename “the physical site and grounds upon which the center sits” as the “President Donald J. Trump Plaza.”

    Beatty claims that the addition of Trump’s name in those locations violates a judge’s order prohibiting a previous effort by the board to add POTUS’s to the name of the center.

    From December until June, the center was rebranded as the “Trump Kennedy Center.” On the front facade, the words, “The Donald J. Trump and” were placed above “The John F. Kennedy Memorial Center for the Performing Arts.” But a judge ruled that only Congress could approve such changes, not the Trump-controlled board. The POTUS designation was removed in June, and part of the front facade is now covered by a tarp.

    In a filing earlier this week, center attorneys wrote that “undisputed evidence demonstrates, that without the prominent recognition of The Trump Administration, and President Trump’s efforts, the donors will not contribute, and the Center will continue to be in a financial and structural death spiral.”

    They added that Trump has “marshalled a new donor base to finance an endowment for the Center. These efforts promise to raise hundreds of millions of dollars to fund desperately needed structural improvements, thereby making the Center physically and financially secure for generations to come and, perhaps most importantly, to make the Center structurally safe from collapse or calamity.”

    They added, “Without those efforts, the Center will deteriorate further into an unsafe, decrepit structure that will be required to be taken down, with a determination to follow on what to build on the site, such as a large outdoor amphitheater overlooking the Potomac River that has been proposed, by some, for many years. Such a replacement will fail to adequately honor President John F. Kennedy, but would be simpler and more economical to build, operate, and maintain.”

    Beatty’s legal team also wrote that the center was “actively misleading” the judge and the public in claiming that “‘undisputed evidence demonstrates’ that ‘the Center will continue to be in a financial and structural death spiral’ unless President Trump’s name is added to the building, and that ‘President Trump’s efforts promise to stem the Center’s tremendous financial losses.’” They pointed to a report in The Washington Post that, after the board’s vote to add Trump’s name to the center, ticket sales and donations collapsed.

    “This doublespeak is unconscionable,” Beatty’s legal team wrote. “Moreover, to the extent Defendants cannot fundraise, the solution is to ask Congress to appropriate needed funds and hire professional management with expertise in the performing arts to supplement appropriations as needed—not to violate the law on the ridiculous conceit that putting ‘Trump’ all over the place will open a spigot of contributions.”

    The center has not yet commented on the new filing. But in a statement earlier this week, the spokesperson said, “Center leadership remains committed to demonstrating, by all legal means, the soundness of the Board’s decision to recognize Chairman President Donald Trump’s unprecedented support for restoring and revitalizing America’s Cultural Center.”

    Beatty, an ex officio member of the Kennedy Center board, also denied that she gave her approval to the proposal to rename the grounds of the center for Trump. In its filing earlier this week, the center’s attorneys wrote that at the board meeting earlier this month, Beatty “explicitly stated that she had ‘no objection’ to one component of it—re-naming the Center’s grounds after President Trump to honor the work he is doing to save the Kennedy Center.”

    In a declaration to the court, Beatty wrote that at the board meeting, she “tried to explain that I was not categorically opposed to recognizing Trump in some very limited way, for example, inside the building or with a modest bench or plaza.”

    She wrote, “My stated willingness, in that moment, to consider a more limited alternative was a good-faith effort to steer the Board away from actions I strongly suspected to be unlawful. And as I made clear at the time, any willingness on my part was conditioned on the lawfulness of the final action.”

  • Donald Trump’s Latest Financial Disclosure Shows Significant Sales Of Netflix Securities; Disney, WBD And Comcast Transactions

    Donald Trump’s Latest Financial Disclosure Shows Significant Sales Of Netflix Securities; Disney, WBD And Comcast Transactions

    Donald Trump reported more than 1,000 purchases and sales of corporate securities in June, including those of Netflix, Warner Bros. Discovery, The Walt Disney Co. and Comcast.

    The White House has previously said that the president’s stock and bond portfolio is independently managed.

    According to the president’s latest financial report, released by the Office of Government Ethics, he sold between $50,001 and $100,000 of Netflix on June 12, another $500,001 to $1 million on June 18, between $15,001 and $50,000 on June 16, and between $50,001 and $100,000 on June 24. He bought between $1,001 and $15,000 on June 3, and between $1,001 and $15,000 on June 23.

    Per the filing, the president also purchased between $50,001 and $100,000 in The Walt Disney Co. on June 18, and between $1,001 and $15,000 on June 3. He purchased between $1,001 and $15,000 in Warner Bros. Discovery on June 16. The form also showed the sale of $1,001 to $15,000 in Comcast securities on June 16, $1,001 to $15,000 on June 23, $1,001 to $15,000 on June 3, and between $100,001 and $250,000 on June 24.

    The report also showed the sale of $100,001 to $250,000 shares of Amazon on June 12 and the sale of $100,001 to $250,000 on June 24. It showed the purchase of $15,001 to $50,000 of Amazon on June 15, the purchase of $1,001 to $15,000 on June 23, the purchase of $1,001 to $15,000 on June 3.

    The OGE report does not require specific amounts of sales or purchases, but ranges.

    A White House official did not immediately respond to a request for comment. But the administration has previously said that “all holdings are maintained in discretionary accounts and invested through computer-based model portfolios that automatically replicate recognized indexes, such as the Schwab 1000.”

    The official said that Trump does not have the ability to “direct, influence, or provide input regarding how the portfolio is invested or when investments are bought or sold.”

    Some of the companies have regulatory business before the Trump administration. The Justice Department approved Paramount’s proposed merger with Warner Bros. Discovery on June 12. Disney, meanwhile, is challenging the FCC over its order that it submit the licenses of its eight owned stations for early renewal. Disney filed a First Amendment lawsuit against the agency earlier this month.

  • iPhone 17 Is World’s Best-Selling Phone Again, Samsung S26 Ultra Enters Top 4

    iPhone 17 Is World’s Best-Selling Phone Again, Samsung S26 Ultra Enters Top 4

    While all the attention is on the next generation of iPhones Apple is about to unveil on Sept. 9, the company’s existing models continue to rule global sales.

    According to Counterpoint Research, the iPhone 17 was the world’s best-selling smartphone last quarter (Q2 2026), commanding 6% of global sales. Meanwhile, the iPhone 17 Pro Max and the iPhone 17 Pro came in second and third, respectively, to complete an all-Apple podium.

    The top three positions have now remained unchanged for two successive quarters. The same phones also led in Q4 2025, but the iPhone 17 Pro Max led that quarter, with the iPhone 17 coming in second.

    Per Counterpoint’s Q2 2026 report, Samsung’s Galaxy 26 Ultra is the best-selling Android phone globally, and it’s the first time an ultra-premium phone has led the June quarter. The next two best-selling Android phones are also from the same maker: the Galaxy A07 4G and the Galaxy 17 5G.

    Surprisingly, the top 10 list only features phones from Apple and Samsung. The iPhone 17e and the iPhone 16 are the two other Apple devices on the list, while Galaxy A17 4G and Galaxy S26 are the two other Samsung phones. Combined, the top 10 phones accounted for 26% of global smartphone sales last quarter.

    Recommended by Our Editors

    Share of World’s Top 10 Best-selling Smartphones

    (Credit: Counterpoint Research)

    For the iPhone 17e, support for MagSafe wireless charging and expanded storage from 128GB to 256GB at the same $599 price as the iPhone 16e played a crucial role in driving strong sales, Counterpoint says.

    The report arrives as Apple enters a new era. Tim Cook will step down as CEO on Sept. 1 and will be replaced by current hardware chief John Ternus. On Wednesday, Apple announced it is hosting an event on Sept. 9, where we expect Ternus to unveil the iPhone 18 Pro models and the company’s first-ever foldable iPhone.

    About Our Expert

  • In ‘Eklipse,’ a Teen Faces Silence and Rejection After His Father Gets “the Gay Disease” (Exclusive Clip)

    In ‘Eklipse,’ a Teen Faces Silence and Rejection After His Father Gets “the Gay Disease” (Exclusive Clip)

    Austrian filmmaker Manuel Wetscher has fictionalized autobiographical experiences in his feature film debut Eklipse, which will world premiere in the Horizons section of the 83rd edition of the Venice Film Festival on Sept. 5.

    The title, spelled with a “k” in both its German and English versions, means “eclipse,” signaling how the movie touches on what a solar eclipse does to our vision and understanding – it both brings darkness to Earth as the moon obscures people’s view of the sun, but it also briefly reveals things that otherwise remain hidden to the naked eye.

    Eklipse is inspired by Wetscher’s experience when details of the death of his father from AIDS back in the 1990s were kept from him. The film stars Moritz Hohlrieder as Tomy and Finley Brown as his best friend Chris. The two teenagers spend a summer at an alpine dairy farm in Austria, helping Tomy’s uncle, portrayed by Hannes Perkmann, with the milking and exploring the outdoors. But their time together is not just fun and games.

    “Tomy’s mother decides to continue keeping the real reason why his father is in hospital a secret from her son,” notes a synopsis for Eklipse. “When Chris learns that Tomy’s father is in hospital with ‘the gay disease,’ he becomes frightened – and Tomy is suddenly confronted with rejection and his own family’s silence.”

    Lenz Moretti, Lisa Schützenberger and Barbara Romaner also feature in the film that explores fears and taboos and how they can obscure important facts.

    Wetscher co-wrote the film with Bernhard Jarosch, with whom he also collaborated before on the short films Magma and Four Seasons, on which he was also a co-writer, as well as At Night When Mice Scream, in which Jarosch acted. Simone Hart is the cinematographer on Eklipse, while Anna Kirst edited the movie.

    Films Boutique is handling world sales on Eklipse. Its production companies are Austria’s Eutopiafilm and Italy’s Albolina Film.

    THR can today exclusively premiere a clip from the Venice-premiering movie that will take you back to the 1990s in the Alps. Get ready to meet Tomy and Chris. And get ready for a scene that will hopefully not leave your head spinning the same way that the Earth spins on its axis. Watch the exclusive clip from Eklipse right here.

  • ‘Nanny McPhee’ Musical From Emma Thompson Headed to the West End

    ‘Nanny McPhee’ Musical From Emma Thompson Headed to the West End

    Emma Thompson is bringing Nanny McPhee to the West End.

    The Oscar-winning actress has written a new musical stage adaptation around the character, set to open on London’s prestigious theater scene in the summer of 2027.

    Based on the Nanny McPhee films — in which Thompson played the magical, mischievous governess — as well as the Nurse Matilda character by Christianna Brand and Edward Ardizzone, the musical will follow the mysterious figure of Nanny McPhee as she arrives at the Brown family’s door and discovers a household in chaos. It’ll mark the first time the character has been depicted on the stage.

    The original 2005 film was written by Thompson, co-starring Colin Firth, Imelda Staunton, Kelly Macdonald, Angela Lansbury and Thomas Brodie-Sangster. Then came the 2010 sequel, which Thompson also wrote and led: Nanny McPhee and the Big Bang. They grossed a combined $216 million at the global box office.

    Thompson will be joined by singer-songwriter Gary Clark, providing the music, with original lyrics by both her and Clark. Katy Rudd is set to direct with set and costume designs by Tony-winning Rob Howell (Matilda the Musical) and choreography from Ellen Kane.

    “I’ve lived with Nanny McPhee for so long that to see her finally tread the boards is supremely exciting,” said Thompson, star of Sense and Sensibility, Harry Potter and more recently, Down Cemetery Road. “Theatre feels like her natural home — magic, music, mischief and a good dollop of danger can all happen right in front of you.”

    She continued: “Working with Gary Clark to create the musical heart that beats through the story has been an unforgettable journey of a lifetime. And I am thrilled and so proud that the brilliant Katy Rudd will be bringing it all to life with her inimitable witty wonderment. I can’t wait to introduce the all-new Nanny McPhee to audiences next summer.”

    Casting announcements will come in due course. Nanny McPhee is presented by Working Title Films and Universal Theatrical Group. Tim Bevan, Eric Fellner, Lindsay Doran, Emma Thompson, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley are producing for Working Title Films.

  • ‘Nanny McPhee’ Musical Written by Emma Thompson to Open in London Next Summer

    ‘Nanny McPhee’ Musical Written by Emma Thompson to Open in London Next Summer

    “Nanny McPhee” is coming to the West End.

    A new musical based on the character and penned by Emma Thompson — who starred in and wrote the screenplay for the beloved 2005 film and its sequel — is set to world premiere in London next summer.

    “When the mysterious figure of Nanny McPhee arrives at the Browns’ door she discovers a household in chaos; anarchic children who have driven away every Nanny before her, a desperate father, a donkey that is out of control, and a baby who will stop at nothing,” a synopsis for the musical reads. “Armed with her strange knobbly stick, exceedingly unorthodox methods and quite a lot of magic, Nanny McPhee begins to restore harmony. And as it turns out, the children aren’t the only family members who have lessons to learn.”

    Alongside Thompson, the “Nanny McPhee” musical will feature music from Gary Clark, frontman of the band Danny Wilson who wrote the music for the “Sing Street” musical and film, with the two collaborating on lyrics. Katy Rudd (“Ballet Shoes,” “The Ocean at the End of the Lane”) is set to direct, with set and costume designs from Tony and Olivier winner Rob Howell and choreography by Ellen Kane, both of whom worked on “Matilda the Musical.”

    “I’ve lived with Nanny McPhee for so long that to see her finally tread the boards is supremely exciting,” Thompson said in a statement. “Theater feels like her natural home — magic, music, mischief and a good dollop of danger can all happen right in front of you. Working with Gary Clark to create the musical heart that beats through the story has been an unforgettable journey of a lifetime. And I am thrilled and so proud that the brilliant Katy Rudd will be bringing it all to life with her inimitable witty wonderment. I can’t wait to introduce the all-new Nanny McPhee to audiences next summer.”

    The creative team also includes orchestrations by Tony and Olivier winner Simon Hale (“Spring Awakening,” “Girl From the North Country”) and music supervision by Nigel Lilley (“Follies,” “Next to Normal”), with music arrangements by the duo. Lighting is by Howard Hudson (“& Juliet,” “Starlight Express”), sound design by Olivier and Tony Award-winning Ian Dickinson for Autograph (“Company,” “Angels in America”), illusions by Chris Fisher (“Stranger Things: The First Shadow,” “Back to the Future: The Musical”), puppetry by Samuel Wyer (“Wolf Witch, Giant, Fairy” and “The Ocean at the End of the Lane”), projections by Tony and Olivier Award-winning Andrzej Goulding (“Life of Pi,” “& Juliet”) and casting by Natalie Gallacher CDG (for Pippa Aillon and Natalie Gallacher Casting). The show will be general managed by Playful Productions.

    The “Nanny McPhee” musical is presented by Working Title Films and Universal Theatrical Group and produced by Thompson, Tim Bevan, Eric Fellner, Lindsay Doran, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley for Working Title Films.

  • With All3Media Deal Closed, Patrick Holland to Run Combined Banijay U.K. as CEO and Executive Chair

    With All3Media Deal Closed, Patrick Holland to Run Combined Banijay U.K. as CEO and Executive Chair

    Patrick Holland has been officially tapped to continue running the now merged and expanded U.K. business of Banijay Entertainment as executive chairman and CEO of Banijay U.K. following the recent merger with All3Media, the company said on Thursday.

    Reporting to Banijay Entertainment CEO Marco Bassetti, Holland’s “strategic leadership responsibilities now span the majority of the combined U.K. portfolio, Banijay U.K., which in its entirety comprises around 40 creative labels,” the firm said. “Producing some of the country’s most-renowned new and returning titles, the business works with all major broadcasters, streamers and platforms and is responsible for over 2000 hours of content annually.”

    Holland joined Banijay U.K. in May 2022 from the BBC, where he was director, factual, arts & classical music, after serving as channel controller of BBC Two since 2017. He “has driven consecutive growth year-on-year, overseeing a slate of high-profile and award-winning productions,” the company highlighted. Recent series and film launches include Half Man (BBC/HBO), House of Guinness (Netflix), Peaky Blinders: The Immortal Man (Netflix) and Last One Laughing (Prime Video). Upcoming titles include All or Nothing (Prime Video), Beautiful Obsession (Prime Video), Netflix, Will You Marry Me? (Netflix) and Reputation (BBC).

    “During his tenure, Holland has strategically structured the U.K. group as the industry navigates seismic changes in demand, technology and funding, investing in talent, growing the streamer business and pushing into new growth areas,” Banijay said.

    Alongside M&A activity, including the acquisition of The Forge in 2023 and Garrison Drama in 2024, the scripted business has also grown organically.

    Bassetti on Thursday lauded the “expansive portfolio which continues to go from strength-to-strength, particularly with the injection of All3Media’s producers” in the U.K., adding: “We have no doubt we can maintain a healthy growth trajectory.”

    About Holland’s appointment, Bassetti said: “In continuing to bolster our collective of talent around the world, we have cemented a market-leading footing across much of our footprint. Having local experts at the helm of our regional portfolios was always a strategic priority, and in the U.K., we are pleased to confirm Patrick as our onward lead.”

    Said Holland: “Under the expert leadership of Jane Turton [who is now deputy CEO of Banijay Entertainment] and Sara Geater, All3 has grown to be a phenomenal creative and commercial force, and it’s a huge privilege to be asked to lead the combined business. Entrepreneurialism is baked into Banijay’s DNA, and the U.K. business has achieved its growth and creative success by innovation, collaboration and by backing talent to do their best work. The range and depth of phenomenal talent across All3 and Banijay U.K. is truly inspiring, and I’m excited to help unlock the vast potential of bringing these businesses together.”

  • Channel 5 Boss Ben Frow on Why He Would Never Have Commissioned a Sarah Everard Drama: ‘There Are Some Things I Just Wouldn’t Do’

    Channel 5 Boss Ben Frow on Why He Would Never Have Commissioned a Sarah Everard Drama: ‘There Are Some Things I Just Wouldn’t Do’

    Channel 5 boss Ben Frow said he would never have commissioned a drama about Sarah Everard for his network.

    Jeff Pope is penning a drama about the investigation into Everard’s 2021 murder for the BBC.

    Frow, chief content officer at Paramount-owned public service broadcaster 5, said that while he was sure Pope would do a “great job of it” and it’s “a very important story to tell” he would not have commissioned that story.

    Explaining his touchstones for commissioning, Frow said they consist of “would I watch it?” then “Is it more trouble than it’s worth?” and finally, “Why am I doing it?”

    “There are some things I just wouldn’t do,” he said, pointing to the Everard drama as one of them.

    While the BBC show will not dramatize Everard’s kidnap and murder by an off duty policeman during the Covid lockdowns, instead focusing on the investigation, the network has been criticized for selecting a male screenwriter to pen a drama about a murder that was viewed as deeply personal to women across the country and prompted protests at the time (even Catherine, the Duchess of Cambridge was spotted laying flowers at a memorial for Everard at the time).

    However Frow has not stayed away from controversial topics, including a drama about Huw Edwards, the BBC newsreader convicted for downloading images of child sexual abuse, and another about Madeleine McCann, the toddler who infamously disappeared in 2007 in Portugal during a family holiday. She has never been found.

    “The McCanns’ press guy… he was across the whole thing,” Frow said. “They didn’t want to take part in it, but they knew we were doing it.”

    Frow went on to say that contributor welfare and privacy is a much more important consideration today than it was ten years ago. “I think the big message that we embrace is that we have to have people on board, and we want to be able to tell their story, and we want to do it in a responsible way, and not in a sneery, jeery, horrible way,” he explained.

    Touching on a lawsuit filed recently by production company Blackbox Media against 5 over a shelved drama series, Frow said he couldn’t take in depth about the legal dispute but added: “What I can say is I can reiterate that we take contributor welfare very, very seriously, and if somebody calls and says, ‘I have a problem with that,’ we listen to them.”

    “And in some cases, that means that you just you decide that you can no longer do that program,” he continued. “And there are programs that I have written off because it turns out that somebody feels very strongly that we shouldn’t be doing it, or it’s been done in the wrong way. So it’s something to be very mindful of.”