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“Industry” has been renewed for Season 5 at HBO, which will be the show’s final season.

The series, created by Mickey Down and Konrad Kay, is set to air its Season 4 finale on March 1 one hour earlier than usual at 8 p.m. ET/PT on HBO and HBO Max.

“We’re privileged to have joined the small, esteemed club of dramas that have run for five seasons on HBO,” Down and Kay said in a statement. “This March marks a decade since we first began to conceive of the world of ‘Industry’ and it exists because of the unwavering faith and vision of our partners and former partners at HBO — Casey, Frannie, Kara, Cela, Sam, Kathleen, and Max. Without Jane Tranter’s imagination and belief, the show would simply be a dead idea in a drawer somewhere. She — alongside her partners at Bad Wolf — has been our guiding light and fiercest champion. We’d also like to thank the BBC for their partnership.”

“For some time now we have been thinking about how best to end the show on an unparalleled high,” the pair continued. “Unlike some of our characters, we know when to leave a party. We’d like to thank our evangelical fan base, especially those who have watched from day one. Finally: we owe everything to our crew and the best cast on TV for making our writing live. The characters will live on because of their world class performances. Seeing the HBO ident in front of our work will never stop being a thrill. It remains the best place to make television, and we look forward to continuing our collaboration well into the future.”

Per HBO, “Industry” Season 4 has been averaging 1.7 million viewers per episode across U.S. platforms, roughly 30% ahead of where Season 3 was at the same point. The fourth season’s cast includes: Myha’la, Marisa Abela, Kit Harington, Ken Leung, Max Minghella, Miriam Petche, Sagar Radia, Toheeb Jimoh, Charlie Heaton, Amy James-Kelly, Roger Barclay, Andrew Havill, Kiernan Shipka, Kal Penn, Jack Farthing, Stephen Campbell Moore, Claire Forlani, and Edward Holcroft.

“For four seasons, ‘Industry’ has thrilled us while examining power, money, politics, and class. Under Mickey and Konrad’s ambitious and singular vision, it has solidified itself as an important contemporary, genre-bending drama in HBO’s lineup that keeps viewers on the edge of their seat week after week,” said Francesca Orsi, executive vice president of HBO Programming and head of HBO Drama Series and Films. “It is gratifying that viewers and critics have recognized season four as bigger and more thrilling than ever, buoyed by career defining performances from our magnificent cast. Alongside the amazing team under executive producer Jane Tranter at Bad Wolf and executive producer Kathleen McCaffrey at Little Gems, we are so proud we can announce the fifth season of this terrific show, which Mickey and Konrad have decided will take us to the end of ‘Industry’s’ story.”

The official description of Season 4 states, “At the top of their game and living the lives they set out to have as Pierpoint grads, Harper (Myha’la) and Yasmin (Abela) are drawn into a high stakes, globetrotting cat-and-mouse game when a splashy fintech darling bursts onto the London scene. As Yasmin navigates her relationship with tech founder Sir Henry Muck (Harington) and Harper is pulled into the orbit of enigmatic executive Whitney Halberstram (Minghella), their twisted friendship begins to warp and ignite under the pressure of money, power, and the desire to be on top.”

“Industry” is created, written, and executive produced by Down & Kay. The series is a Bad Wolf Production for HBO/BBC and is executive produced by Jane Tranter, Kate Crowther, and Ryan Rasmussen for Bad Wolf; Kathleen McCaffrey for Little Gems; and Rebecca Ferguson for BBC. Directors this season include Down & Kay, Michelle Savill, and Luke Snellin. Writers include Down, Kay, and Joseph Charlton.

“When we first pitched the idea for ‘Industry’ to HBO, Casey and I believed this might be ‘the little engine that could’. Over 10 years later, ‘Industry’ has more than proven this to be true,” said Tranter, executive producer, CEO, and founder of Bad Wolf. “Mickey and Konrad have magnificently matured a raw, brilliant idea into a bold and uncompromising drama series passionately appreciated by both critics and its fiercely loyal fanbase. It has been loved onto the screen by the ferocious talent of MK, the exceptional executives at HBO and the world-class production team in Wolf Studios Wales, where Bad Wolf has filmed every season. Watching Mickey and Konrad and our extraordinary and beloved cast grow over the seasons continues to be a huge privilege. And now to see ‘Industry’ take its place among HBO’s most distinguished long-running drama series is to the great credit of them all.”

IX to Five, a new joint venture “built to supercharge the business of women’s sports,” is launching from David Levy and Chris Weil’s global sports marketing agency Horizon Sports & Experiences and popular women’s sports media company TOGETHXR.

Described as an offering “created in response to a clear and growing demand for authentic and engaging women’s sports content,” per the two companies, IX to Five “will focus on creating, developing, and commercializing women’s sports content through premium storytelling, unique intellectual properties, signature live experiences, and high-value brand partnerships.”

IX to Five will launch with a programming slate featuring talent including StudBudz, professional basketball players Courtney Williams and Natisha Hiedeman, and Lily Shimbashi, founder of Sportsish, known for her fresh perspectives on sports and pop culture, with additional content offerings to be announced later this year.

New joint venture IX to Five marks the second collaboration between TOGETHXR and HS&E, which preciously partnered in December at the annual early season basketball showcase Women’s Champions Classic. At the HS&E co-produced event at the Barclays Center, which was anchored by the University of Connecticut and featured Top 25 basketball teams, TOGETHXR recorded podcasts and additional content.

“Women’s sports is a high-growth, big ROI business. We’re excited to team up with TOGETHXR, the leader in women’s sports media, to deepen our commitment and redefine the commercial and consumer opportunities in the category,” Horizon Sports & Experiences co-CEO and founder David Levy. “IX to Five was born out of the industry’s need for infrastructure and a year-round strategy to turn unprecedented momentum into sustained media and commercial impact. We are creating a scalable platform, which complements HS&E’s premium programming, for brands to invest in a more meaningful, authentic way and for fans to have more opportunities to engage with the athletes and content shaping culture.

“Women’s sports doesn’t need more moments — it needs infrastructure that turns momentum into careers, culture, and commerce,” TOGETHXR executive chair Nancy Dubuc said. “TOGETHXR has helped move the space from ‘after hours’ attention to always-on storytelling, and this partnership with David and Horizon Sports & Experiences accelerates that shift — building a platform where athletes, creators, and brands grow together year-round.”

Mubi has released the trailer for “Teenage Sex and Death at Camp Miasma,” a gruesome meta-take on the slasher genre of yore. The film, starring Hannah Einbinder and Gillian Anderson, is set for theatrical release via the distributor on August 7. 

Dubbed a “new kind of horror remake,” the trailer gives fans a peek into the highly stylized world created by director Jane Schoenbrun; “If it get’s too real,” Anderson’s voiceover says, “you can always turn it off.” Spooky!

The film is set to follow a young director (Einbinder) enthusiastic about resurrecting the Camp Miasma slash franchise after “years of slapdash sequels and waning fandom,” the official logline reads. “But when she visits the original movie’s star, a now-reclusive actress shrouded in mystery, the two women fall into a blood-soaked world of desire, fear and delirium.”

The film is the third from Schoenbrun, who wrote and directed “We’re All Going to the World’s Fair” in 2021 and “I Saw the TV Glow” in 2024. 

In addition to Einbinder and Anderson, the film’s cast includes Amanda Fix, Arthur Conti, Eva Victor, Zach Cherry, Sarah Sherman, Patrick Fischler, Dylan Baker, Jasmin Savoy Brown, Quintessa Swindell, Kevin McDonald and Jack Haven. 

Before she made her horror debut, Einbinder starred as Ava Daniels, a comedy writer, in four seasons of the hit Max Original series “Hacks.” In 2025, she won her first Emmy, for outstanding supporting actress in a comedy series, for the role. Best known for her roles in “The X-Files” and “Sex Education,” Gillian Anderson most recently appeared on Netflix’s “The Abandons.”

Mubi financed while Plan B produced. “Teenage Sex and Death at Camp Miasma” will be released in North America, Latin America, U.K., Ireland, Germany, Austria, Benelux, Spain, Italy, Turkey, India, Australia and New Zealand.

Watch the trailer below.

Ukrainian filmmaker Sergei Loznitsa will be the Special Guest at the 57th edition of documentary film festival Visions du Réel, which runs April 17-26 in Nyon, Switzerland.

Loznitsa will conduct a masterclass on April 18, and present a selected retrospective of his documentary work.

Emilie Bujès, artistic director of Visions du Réel, said Loznitsa was “a master of contemporary montage cinema.”

She added, “His work notably includes the meticulous re-examination of archives highlighting state violence and the stutter of history, as the images’ subtext is revealed with force and perseverance.

“In both his documentary and fiction works, Sergei Loznitsa retraces decisive moments in 20th-century history and questions the structures of power and memory through cinema of great rigor and precision.”

Among the films screening are three that look at the political situation in Ukraine over recent decades.

In “Maidan” (2014), which was made in just four months and then presented in a special screening at Cannes, Loznitsa chronicles the demonstrations that triggered the Ukrainian Revolution.

Also playing is “Donbass” (2018), whose script was based on amateur videos found on YouTube. The filmmaker depicts the takeover of the Donbass region by Russian-speaking militias who entered into conflict with the Ukrainian army.

In “The Invasion” (2024), Loznitsa continues his Ukrainian chronicles with a film about his country’s struggle against the Russian invasion. Filmed over a period of two years, the film depicts the lives of civilians across the Ukrainian territory and captures the population’s resilience in the face of the Russian war of aggression.

Also screening is “Austerlitz” (2016), which examines the trivialization of Holocaust memory and uses lingering black-and-white static shots to capture tourists visiting a former concentration camp turned memorial.

Other films question “the processes that shape the creation of post-communist collective memory,” the festival said. “Blockade” (2005) was assembled solely from footage shot during the Siege of Leningrad, which ran from Sept. 8, 1941 to Jan. 27, 1944, and leaves the war off-screen, focusing on the day-to-day survival of the population. “The Event” (2015) revisits the August 1991 coup in Moscow. “Babi Yar. Context” (2021) unfolds without narration, recounting the largest massacre of Jews in World War II, which took place near Kyiv. The film was awarded L’Œil d’or’s Special Jury Prize at Cannes.

When Ghostface returns to the big screen, the knife-wielding masked murderer is primed to make a box office killing. “Scream 7,” the latest installment in the long-running horror franchise, is tracking a scary-good debut of $45 million to $50 million in North America. Those estimates would deliver a series-best kickoff, underscoring Paramount and Spyglass’ success in reviving a property that only 10 years ago was deader than one of the notorious slasher’s many victims.

Yet the journey back to theaters has been tumultuous, with a dramatic firing and high-profile cast and creative exits that required a major revamp of the script — and prompted a vocal backlash from fans.

In late 2023, Melissa Barrera, the star of 2022’s “Scream” reboot and 2023’s “Scream VI,” was fired from the seventh installment by Spyglass over social media messages the production company deemed antisemitic. After war broke out in Gaza that year, Barrera reshared a post accusing Israel of “genocide and ethnic cleansing” as well as a magazine article alleging the Israeli government was distorting “the Holocaust to boost the Israeli arms industry.”

Shortly after Barrera’s axing, her on-screen sister Jenna Ortega, whose profile has skyrocketed since she and Barrera joined the “Scream” team, announced she wouldn’t return for “Scream 7.” She cited scheduling conflicts with her hit Netflix series “Wednesday.” Amid the turmoil, the film’s original director, Christopher Landon, left the project because he was getting death threats over Barrera’s firing, even though he didn’t make the decision to boot her.

At a creative crossroads, “Scream” producers turned to franchise veteran Kevin Williamson to take over directing duties on the seventh film. He and Guy Busick, a writer on the prior two installments, co-wrote the screenplay — which needed a serious retooling given the exits of Ortega and Barrera, whose characters were the protagonists of “Scream VI” in lieu of Neve Campbell’s resilient heroine Sidney Prescott. Sources peg the cost of the rewrite at roughly $500,000, which they say isn’t a major expenditure for a franchise of this size.

With the sixth film, Paramount executives were concerned about making a “Scream” movie without Campbell, who didn’t return over a salary dispute. However, the studio’s say in the matter was limited because Spyglass had the final ruling on creative decisions. Any fears were quelled when “Scream VI” earned $161 million at the global box office, the biggest haul since the first two installments.

Without the red-hot Ortega on board for the sequel, though, Paramount and Spyglass knew they needed a killer marketing hook. Spyglass chief Gary Barber is known as one of Hollywood’s toughest dealmakers, but this time around, Campbell had more leverage to return. The actor was able to secure a nearly $7 million deal, a hefty raise and a major salary for the horror genre. Courteney Cox, who has appeared in every “Scream” film since the original 1996 slasher, was awarded a $2 million payday.

“Neve Campbell is to ‘Scream’ what Jamie Lee Curtis is for the ‘Halloween’ franchise,” says Shawn Robbins, director of movie analytics at Fandango and founder of Box Office Theory. “She’s a big draw, especially for older generations who grew up with the original films.”

Paramount and Spyglass are banking on nostalgia, as well as the enduring popularity of horror, to propel the slasher series to new box office heights. (The studio is tempering expectations by projecting a debut closer to $40 million; meanwhile, rivals and independent tracking services are predicting the initial figure could exceed $50 million.) That’s because production costs on “Scream 7” began to balloon as the film was delayed a year. The seventh chapter carries a $45 million budget, up from the sixth film’s $35 million price tag. One source notes that inflation, which has impacted everything from set construction to travel expenses, is partly responsible for the bigger budget.

“Initially there was thought that the momentum from the two previous films could be lost. And there’s certainly a section of the audience that’s upset about who is not coming back,” says Robbins. “But now the pendulum is swinging. This is driving a lot of interest about how certain characters are coming back.”

And this likely won’t be Ghostface’s final reign of terror. Insiders suggest plans are already in place for the killer’s lethal return in an eighth film. Tell the survivors to hide their families.

The chair of the U.K.’s parliamentary culture committee has written to the BBC to demand answers over the broadcast of the n-word during the BAFTAs on Sunday night.

“I am writing regarding the BBC’s coverage of the BAFTA film awards on Sunday,” the head of the committee, Caroline Dinenage wrote to outgoing BBC director general Tim Davie. “As you know, the BBC’s broadcast included a racial slur made as a result of involuntary tics by a person with Tourette syndrome. I am seeking an explanation as to how the slur came to be broadcast in spite of a two-hour time delay.”

“We have previously raised concerns with you about circumstances in which the BBC has allowed deeply offensive language to be aired, notably the broadcasting of antisemitic language during the BBC’s coverage of last year’s Glastonbury festival. This latest incident raises questions about the extent to which lessons have been learned and about the controls and systems you have in place to prevent such incidents.”

Dinenage has asked Davie to answer a number of questions over the incident, including “What specific systems do you have in place to prevent the broadcasting of such language? Why did these systems fail in this case?” She also asked whether the broadcaster had learned any lessons from “previous incidents, including Glastonbury.”

In response, a BBC spokesperson said: “The BBC has been reviewing what happened at BAFTA on Sunday evening. This was a serious mistake and the Director-General has instructed the Executive Complaints Unit (ECU) to complete a fast-tracked investigation and provide a full response to complainants.”

The BBC has been widely criticized for not censoring a Tourette’s campaigner inadvertently shouting the n-word during the BAFTA Film Awards on Sunday night despite a two-hour delay between the ceremony and the broadcast.

John Davidson, who has experienced tics and uncontrolled outbursts involving cursing since the age of 12, shouted the n-word when Michael B. Jordan and Delroy Lindo took to the stage to present the award for best visual effects.

The ceremony took place two hours before the broadcast, in part to allow for controversial statements to be edited out. A reference to “Free Palestine” during one acceptance speech did not make it into the broadcast on BBC One.

However the n-word slur can clearly be heard during a pause in Jordan and Lindo’s introduction to the nominees for best visual effects. The slur was still present on the BBC’s streaming service iPlayer on Monday morning.

Sources told Variety the n-word was not cut from the broadcast because production team Penny Lane, who were in an editing truck, “do not hear” the shouting. However, this claim has been contradicted by execs from Warner Bros., who were in attendance to support BAFTA-nominated film “Sinners,” who said they raised the issue about broadcasting immediately with BAFTA.

Davidson had a number of uncontrolled outbursts during the first half of the ceremony, shouting “shut the fuck up” and “fuck you” a number of times before reportedly removing himself midway through.
“Sinners” production designer Hannah Bleacher indicated that she had heard the n-word three times during the night, including once directed at her, in a statement on X, which she posted after the ceremony.

During the ceremony a source told Variety that Davidson was an invited guest and stressed that under no circumstances would he be removed or asked to leave.

While there has been sympathy for Davidson, some anger has been directed at both BAFTA and the BBC for failing to censor or remove the Tourette’s campaigner’s outburst from the broadcast.

In a statement given to BBC News, a spokesperson for the BBC said: “Some viewers may have heard strong and offensive language during the Bafta Film Awards 2026. This arose from involuntary verbal tics associated with Tourette’s syndrome, and was not intentional. We apologise for any offence caused by the language heard.”

Last summer the BBC broke its own editorial guidelines by broadcasting harmful and antisemitic statements made by a performer at Glastonbury who went on a tirade abut a former record label boss he described as a “fucking Zionist” and “bald-headed cunt” and led the crowd in chanting “death to the IDF.”

Despite the BBC staff being aware of there being a “high risk” of antisemitic statements and having the option to cut the live broadcast, it went out in full.

BBC chair Samir Shah later called it “unquestionably an error of judgement.”

The latest controversy could not come at a worse time for the BBC, which is currently having its Royal Charter — the authority under which it is governed — reviewed. Part of that review will include funding options. The corporation is currently funded largely via a de facto tax called a license fee, which is required from anyone who watches any form of iPlayer or live TV on any platform or device. Currently the license fee is £174.50 for watching live TV in color. Conviction results in a court fine of up to £1,000 and non-payment of the fine can result in jail time.

The BBC is also embroiled in a multimillion-dollar lawsuit with President Donald Trump after the broadcaster was found to have doctored one of his speeches in a documentary about the Jan. 6 insurrection. The furore led to both Davie and the BBC’s head of news Deborah Turness resigning. Trump is suing the corporation in Florida.