Category: Entertainment

  • How High Will Netflix Go in the Hunt for Warner Bros?

    How High Will Netflix Go in the Hunt for Warner Bros?

    How high will Netflix go? That used to be a question discussed all over Wall Street regarding the streaming giant’s stock price. But as of late, it has been the focus of a debate about whether the global streamer was ready to outbid David Ellison’s Paramount for Warner Bros. Discovery, should the latter’s board deem Paramount’s sweetened takeover bid as superior to Netflix’s most recent offer.

    Wall Street analysts agree that the deep-pocketed Netflix could handily trump Paramount without creating financial headaches for its management team. Instead, the real question is whether it is willing to do so, and what the stock fallout beyond a recent pullback related to deal-related and other investor concerns would look like, along with the impact on Netflix management’s strategic narrative for what has so far been a pure-play streamer.

    Netflix’s stock had closed at $103.22 on Dec. 4, the day before the initial WBD-Netflix deal announcement, falling 24 percent to $78.04 as of the close of Tuesday.

    WBD is reviewing the latest Paramount offer, while Netflix’s co-CEO Ted Sarandos has signaled both financial discipline and optimism about getting a deal done and over the regulatory finish line. So where do Wall Street experts stand on the bidding war right now?

    Bernstein analyst Laurent Yoon characterized the state of play this way: “If the [Paramount] offer is high enough to nudge a response from Netflix – and the revised terms (e.g. financing guarantees) meet expectations, or the offer is rich enough for WBD to assume some risks – the next logical question is: What is Netflix’s next move, and how high is its ceiling?” He added: “Netflix has the balance sheet capacity and free cash flow growth to push well into the $30s if it chooses to, but that doesn’t mean it should.”

    The Bernstein expert cited three angles to consider: debt leverage, stock price, and the CEO factor.

    The first is really a non-issue, according to Yoon: “Netflix’s balance sheet and expected future cash flow can support a (much) higher bid,” he wrote. “A price north of $30 per share would push Netflix leverage into the mid-3x range on 2027 EBITDA but would fall below 3x on 2028 EBITDA – the metric we believe matters more, given the likely timing of deal closing if it were to proceed. We do not believe the transaction would jeopardize Netflix’s investment-grade rating, but even if it did, we see limited practical impact as Netflix has no near-term need to issue new debt, and leverage would quickly normalize, supported by growing EBITDA and free cash flow.”

    In case you are wondering what the mention of Netflix’s investment-grade debt rating means, the key thing to know is that this indicates a low default risk, allowing the company to borrow money at lower interest rates and with more favorable terms compared to companies with a so-called “junk” rating. 

    Yoon similarly sees no real issues relating to the stock price. “Perhaps the more relevant ceiling is where the deal becomes dilutive to Netflix shares,” he highlighted. “Assuming $1.5 billion of synergies in 2028 (50 percent of the $2-3 billion operating expense savings Netflix has proposed), the company could justify a bid well into the $30s. Additional synergies would only expand that headroom, providing further equity upside in the long run.”

    But what about the CEO factor? “Ultimately, decisions are made by people, not spreadsheets. Numbers matter, but they vary, driven by information asymmetry and what management chooses to believe,” Yoon emphasized. “While the ‘math’ supports Netflix going materially higher, that does not mean it should. Netflix has built a reputation for disciplined capital allocation – a point management has emphasized repeatedly.”

    Concluded the Bernstein analyst: “If the price tag no longer makes sense for Netflix, and if this deal is likely to hinder Paramount-WBD to invest aggressively in growth near-term, walking away remains a perfectly rational outcome. Netflix can raise its offer beyond Paramount’s latest $31 per share if necessary and still create value for shareholders (if multiple is not penalized further from the deal). Netflix’s ability to bid higher depends on its certainty of achieving synergies.”

    MoffettNathanson analyst Robert Fishman has been discussing how much “discipline” Netflix will show in the hunt for WBD. “Analyzing the deal math for Netflix, our base case scenario sees no [financial] accretion beyond $30 per share,” he wrote in a recent report focused on that topic. In fact, “beyond $30 per share and using our current pro forma forecasts, the deal would start to be modestly dilutive to 2028 earnings per share,” he highlighted. “Any increase in the bid is likely to weigh further on Netflix’s already substantially depressed [stock market] valuation.”

    However, that recently depressed stock price may help investors to some degree, Fishman concluded. His takeaway: “With Netflix’s stock at current depressed levels, investors should win either way. We see longer-term benefits of owning Warner Bros.’ assets not properly reflected at these levels. But if Netflix walked away from the deal, the company’s core fundamental drivers of subscriber and advertising growth plus pricing power should rebuild investor confidence that WBD was truly ‘nice to have’ and not a ‘must have’.”

    Richard Greenfield, analyst at LightShed Partners, suggested Paramount could well still walk away with the WBD business if it practices patience. “Given our belief that Netflix would move at least 10 percent higher, the only way for Paramount to be the winning bid is to significantly increase the dollar value of its bid,” he wrote in a Feb. 17 report before Paramount submitted its sweetened offer. “In our view, $30 is already likely overpaying for WBD,” he warned in the report entitled “Maverick, Don’t Do It: Ellison’s Warner Bros. Gamble Is a Mission He Should Abandon (For Now…).”

    Greenfield’s suggestion: “Paramount should simply allow Netflix to be the winning bidder and wait six months for Discovery Global to spin out from WBD. Then Paramount will be able to acquire Discovery Global for a dramatically lower price … assuming DG trades as poorly as Paramount believes it will. While you might question why Paramount would still buy the DG assets, we continue to believe it needs them to help take costs out of Paramount’s troubled cable network portfolio and leverage the combined linear cable network cash flows to delever. Remember, for all the challenges facing Discovery Global’s cable networks, they are far better positioned than Paramount’s cable networks.”

    And the rest of WBD could return to the auction block if regulators indeed block Netflix’s acquisition. “Paramount appears 100 percent confident that the WBD/Netflix deal will be blocked by regulators in the U.S. and in every major territory around the world,” the LightShed analyst wrote. “Given Ellison’s repeated public statements that his current plan for Paramount following the Skydance transaction does not require a WBD acquisition, why not simply wait for the Netflix deal to fail? If Paramount walks away today, it will have a far stronger balance sheet, be able to invest aggressively in content, be able to focus on executing its existing plan for Skydance/Paramount, buy Discovery Global for far less than its implied value inside WBD today, and then be able to acquire the Warner Bros. studio and HBO assets for far less once the Netflix deal is abandoned due to regulatory problems.”

  • MEP Capital Takes Majority Stake in BondIt Media, Launches $100 Million Credit Facility (EXCLUSIVE)

    MEP Capital Takes Majority Stake in BondIt Media, Launches $100 Million Credit Facility (EXCLUSIVE)

    MEP Capital Management, a New York-based private investment firm focused exclusively on the media and entertainment industry, has closed a majority stake acquisition in BondIt Media Capital, the independent film and television financier.

    The deal comes alongside a fresh $100 million credit facility that will underpin both BondIt’s existing lending business and its push into new areas including live entertainment, sports, and the creator economy.

    BondIt co-founders Matthew Helderman, who serves as CEO, and Luke Taylor, COO, will remain at the helm. MEP will contribute capital markets expertise and institutional support as the enlarged platform seeks to grow both at home and abroad.

    “BondIt has earned real trust in the independent film and television ecosystem by being consistent and pragmatic while building a track record of prudent underwriting across market cycles,” said Andrew Kotliar of MEP Capital. “With this growth equity investment and a new credit facility, BondIt’s core business is expected to scale rapidly while selectively expanding into adjacent opportunities across media and entertainment assets.”

    Helderman and Taylor said in a joint statement: “We built BondIt to be a reliable partner to creators – one that understands the realities of production, distribution, and execution. MEP shares our long-term view and bring complementary strengths that will help us expand capacity, grow internationally, and explore new opportunities with the same disciplined approach that has defined BondIt from the start.”

    The infusion of capital is designed to allow BondIt to pursue bigger, more complex deals – among them bonded productions and higher-budget TV series – without stepping back from the independent community that has been central to its business since its founding in 2013.

    Recent BondIt credits include “Embassy,” the television series starring Anna Kendrick and J.K. Simmons; “Vanished,” the Amazon MGM+ original with Kaley Cuoco and Sam Claflin; and the 2025 Elements Music & Arts Festival, headlined by deadmau5, Illenium, and Pretty Lights.

    The acquisition also opens the door to collaboration between three complementary platforms: BondIt, its sister company Buffalo 8 – home to a library of over 400 film and TV titles and more than 1,000 music scores and soundtracks – and MEP’s distribution affiliate West Side Pictures, whose holdings run to approximately 10,000 film and television titles. Together, the companies aim to offer independent creators a broader suite of financing and distribution solutions.

    Going forward, BondIt’s priorities include growing its core lending capacity, moving into bonded films and premium television, deepening its international footprint, and selectively branching into adjacent verticals where MEP has existing experience, among them music, live events, video games, YouTube, and sports media. Further acquisitions that complement the platform’s focus are also under consideration.

    The deal follows Accord Financial Corp.’s previously announced exit from BondIt, which stemmed from its 2017 investment in the company.

    Since its founding, BondIt has put more than $500 million to work across upwards of 450 film, television, and media projects. Its track record includes Oscar-nominated “Loving Vincent,” Emmy-winning “Street Gang: How We Got to Sesame Street” for HBO, Roland Emmerich’s war epic “Midway,” Kevin Smith’s “Clerks III,” and horror phenomenon “Terrifier 3.” Productions backed by the company have collectively taken in more than $1 billion at the global box office.

  • Duffer Brothers’ New Netflix Series ‘The Boroughs’ Reveals First-Look Images, Release Date

    Duffer Brothers’ New Netflix Series ‘The Boroughs’ Reveals First-Look Images, Release Date

    Netflix have teased the first images from their upcoming mystery series “The Boroughs.”

    Exec produced by “Stranger Things” creators the Duffer Brothers, the 8-part series stars Alfred Molina, Geena Davis, Alfre Woodard, Denis O’Hare, Clarke Peters and Bill Pullman as a retirement community who uncover a dark secret after a grieving newcomer (Molina) joins their midst.

    Molina plays Sam Cooper, who is experiencing something of an existential crisis after recently losing his wife.

    The series, which was created by Jeffrey Addiss and Will Matthews (“The Lord of the Rings: The War of the Rohirrim”), will drop on May 21.

    The Duffer Brothers and Hilary Leavitt exec produce for Upside Down Pictures.

    Ben Taylor directs multiple episodes. He is also an EP. Augustine Frizzell and Kyle Patrick Alvarez also direct.

    “From the beginning, we knew we wanted The Boroughs to feel equal parts scary, mysterious, exciting and emotional. The challenge was to create a world that could hold all of these different tones at once. Which is why it was so fun to work with the Duffer Brothers – the masters of balancing heart and horror,” said Addiss and Matthews.

    “According to some very unofficial napkin math, our stars bring something like 350 years of craft to The Boroughs. We knew they would be great. We didn’t expect them to be so fun. They can make you laugh or cry with just a look. Makes it whole lot easier on us writers.”

    The Duffer Brothers said: “For years, we’ve wondered why no one has made a film like Ron Howard’s wonderful ‘Cocoon’ since, well, ‘Cocoon.’ Then, out of nowhere, Jeff and Will emailed us an idea for ‘The Boroughs:’ a story about retirees and monsters. They were adamant that — unlike so many stories about older characters — this wouldn’t treat aging as a punchline. Instead, it would treat its characters as real people facing real challenges… along with a few supernatural ones. It was exactly the show we’d been dreaming of.”

    “While the characters are a little older than the kids in ‘Stranger Things’ (they ride golf carts instead of bikes), the spirit is very much the same. At its core, this is a story about belonging and growing up — no matter your age — filled with adventure, wonder, comedy, scares, and tears. And most importantly, you’re going to fall in love with these characters.”

  • Digital Brand Architects Promotes Five in Talent Division, Including ‘The Home Edit’ Manager Alix Frank to EVP (EXCLUSIVE)

    Digital Brand Architects Promotes Five in Talent Division, Including ‘The Home Edit’ Manager Alix Frank to EVP (EXCLUSIVE)

    Digital Brand Architects has promoted five team members across its talent division based in Los Angeles and New York, including “The Home Edit” talent manager Alix Frank.

    Frank, who reps Clea Shearer and Joanna Teplin of “The Home Edit,” has been upped to executive vice president of talent at the Raina Penchansky-led company. Additionally, Ali Wald and Haley Walsh have been elevated to vice presidents of talent, while Sasha Mixon and Sophie Fox have been named directors of talent.

    Originally from Seattle, Washington, Frank relocated to Los Angeles in 2014 to join the company, where she led its expansion into the food and home space. She oversees a team of talent managers while personally representing a diverse roster of talent and New York Times bestselling authors, including The Home Edit, Dani Klarić, Olivia Tiedemann, Marco Zamora, and Lissie Mackintosh, among others. She has played a central role in building globally recognized brands, and campaigns, notably partnering DBA with South Beach Wine & Food Festival to launch FoodieCon, the festival’s first influencer-driven event. In 2018, she worked closely on the launch of DBA’s podcast network, Dear Media, advising on cross platform collaborations and growth in the audio space.

    Wald is now a vice president of talent at Digital Brand Architects. Her clients include Wishbone Kitchen, Brian Can’t Stop Eating, Brocc Your Body, The Grill Dads, Miles Chamley-Watson and Jov Khan among others. Wald has become known for her ability to bridge the divide between digital and traditional media, securing transformative deals in publishing, television, streaming, and podcasting that have helped cement her clients as household names.

    Also newly appointed vice president, Walsh reps a roster of creators, including beauty phenomenon Mikayla Nogueira, DJ Xandra Pohl, Bran Flakezz, Chelsea Parke, and others. She specializes in identifying emerging talent and nurturing long‑term success through thoughtful mentorship and tailored brand strategy, including co‑collaborations with Ole Henriksen, Glow Recipe, and ELF Cosmetics.

    Now a director of talent, Dweck is recognized for identifying breakout talent early, including Brigette & Danielle Pheloung, Kira Kirby, and Gia Duddy. In 2025, Sasha supported the execution of a seven-figure partnership with Microsoft Copilot while continuing to drive performance and portfolio growth across her talent roster. Her work includes securing ongoing collaborations with brands such as L’Oréal, Maybelline, Wella, Amazon, and Victoria’s Secret.

    Fox, also a new director of talent at DBA, has spent six years at the company creating client relationships with brands across Amazon, Sephora, L’Oreal and the P&G portfolios. Fox was featured in Business Insider’s 20 most influential TikTok talent managers and agents helping creators build businesses.

    “These promotions and strategic hires underscore our long-term vision for DBA – building a team that’s as ambitious and forward-thinking as the creators we represent,” DBA president Vanessa Flaherty said. “By cultivating talent from within and thoughtfully expanding our leadership, we’re positioned not only to support growth, but to define the next phase of the creator economy.”

  • Ali Velshi to Pick Up MS NOW Election-Night Duties Previously Held by Steve Kornacki

    Ali Velshi to Pick Up MS NOW Election-Night Duties Previously Held by Steve Kornacki

    Ali Velshi is about to enter a club with very exclusive membership.

    When TV-news outlets contemplate how best to explain the results of the nation’s big elections to viewers, one key element is always an interactive board that shows polling and voting results in the most granular detail. The person assigned to that duty each year becomes an important part of the evening’s proceeding.

    At MS NOW, Velshi will pick up duties previously held by Steve Kornacki, and which are matched elsewhere by John King at CNN and Bill Hemmer at Fox News Channel. Kornacki left MS NOW last year as the network, once known as MSNBC, was preparing for a split from NBCUniversal. MS NOW, CNBC and other cable networks are now part of a separate company known as Versant ,and Kornacki opted to stick with NBC News and NBC Sports, where he often interprets data about football and horse racing.

    “I’ve had the privilege of learning from Ali for the last twenty-plus years in various newsrooms. One of his many gifts is his unique ability to take complex data and make it digestible,” said Rebecca Kutler, president of MS NOW, in a statement. “Ali will guide our audience through the real-time information that will determine the outcomes of the midterm and presidential elections. I’m thrilled Ali will bring his understanding of public opinion and voters to our election coverage in the years ahead.” 

    Velshi, a veteran of the cable-news wars, joined MS NOW in 2016 after stints at CNN and Al-Jazeera America. Since that time, he has led his own weekend program, teamed up with Stephanie Ruhle and served as a fill-in host for the network’s primetime shows. He has also traveled around the world, reporting from Ukraine and across Central and Eastern Europe, among other locales.

    “On big political nights, the numbers tell the story of participation, power, and choice. Voters decide elections, and the data lets us watch those decisions take shape in real time,” said Velshi, in a statement. “I’m grateful for the opportunity to guide viewers through primaries, election nights, and major political moments with context, transparency, and a focus on the facts.”

  • Valerie Bertinelli Launches Subscription Direct-to-Fan Platform ‘Valerie’s Place,’ Including New Episodes of ‘Home Cooking’ (EXCLUSIVE)

    Valerie Bertinelli Launches Subscription Direct-to-Fan Platform ‘Valerie’s Place,’ Including New Episodes of ‘Home Cooking’ (EXCLUSIVE)

    Former Food Network star Valerie Bertinelli launched her own direct-to-fan platform, “Valerie’s Place,” Wednesday, a subscription service powered by new tech company Visible Things.

    Bertinelli’s Valerie’s Place offering, which his now live as a website and will debut as an app in the coming weeks, features “a curated library of fan-favorite content, including new episodes of “Valerie’s Home Cooking,” as well as new original programming, podcasts and live streams. The content is offered through a tiered subscription beginning at $2 per month.

    “Valerie’s Place is my digital home and that’s why it’s my place. It’s where everything I do lives, and where I get to explore everything I want to do next,” Bertinelli, who exited Food Network in January 2024, told Variety. “Beyond ‘Valerie’s Home Cooking’ and fan favorites, we’re launching brand-new original programming, including shows, live streams, podcasts, merchandise, and members-only content. I’m especially excited for my book club and podcast ‘Getting Naked’ launching this spring. It’s completely me, but also something totally new.”

    Valerie’s Place is the first product to debut from Visible Things, a company focused on enabling “traditional stars, digitally native creators, and brands to move beyond algorithm-dependent platforms to build direct, monetizable relationships with their most devoted audiences.”

    Founded by “American Idol” and “Little People, Big World” producer Billy Cooper, who serves as CEO, chief content officer Andrew Greenberger, and chief operating officer Willis Robertson, Visible Things aims to “significantly reduce the time, cost, and engineering lift traditionally required to build a custom DTC platform from scratch.”

    “For decades, talent has been asked to build audiences on platforms they don’t own, with business models that can change overnight. Visible Things was built to give celebrities and creators the infrastructure to power their own businesses and take back control of their libraries, their community, and their fan relationships,” said co-founders Cooper, Greenberger and Robertson in a joint statement. “Valerie immediately understood that shift. She’s not just launching an app, she’s redefining how a modern celebrity connects with and serves her Superfans.”

    Visible Things, which also serves as a production partner on the original programming created specifically for Valerie’s Place, has an advisory board that includes Boardwalk Pictures Founder and CEO Andrew Fried, former WME board member Mark Itkin, Voldex Head of Franchise Katelynn Duffel Heil, and new AMS Capital’s managing partner Freddy Boom.

    Visible Things will be launching more direct-to-fan platforms from talent and brands soon. The company is repped by WME.

    “For a long time, I felt like I had to stay in just one lane,” Bertinelli said. “With Visible Things powering my platform, I finally have a seat at the table and I own the table. I’m no longer put in one box. I have full creative freedom to make and share the content I actually want to create. And it’s not just my seat, my fans have one too. I worked closely with the team at Visible Things to build Valerie’s Place because it allows me to bring everything – my shows, podcasts, live experiences, and merchandise – together in one place, directly with my audience. This isn’t just another streaming service. It’s my own platform, online and in an app, where I truly own my content and my relationship with my fans. This is about more than uploading shows. It’s about creating a fully connected digital home that reflects who I am and how I want to engage with my community. There isn’t another platform that brings content, commerce, and community together this way. What is most important, is the level of ownership and creative freedom I now have and that means everything to me.”

    See below for a list of shows that will be available on Valerie’s Place at launch and additional shows to come.

    Reheated: Valerie’s Home Cooking: Valerie and her longtime culinary producer Sophie Clark revisit favorite recipes and fan-favorite episodes from Valerie’s Home Cooking and give them a fresh twist. Along the way, they break the fourth wall, share behind-the-scenes stories, and show how cooking shows are really made, all while creating something new (and delicious).

    Now Val’s Cooking: An all-new stand-and-stir cooking show with Valerie making recipes she’s never filmed before. From brand-new dishes to favorites inspired by her cookbook Indulge, this is classic Val – relaxed, joyful, and all about food you’ll actually want to cook.

    Now We’re Cooking: This is cooking together, in real time. Valerie goes live and invites VP Preferred and VP VIP members to cook along with her, comment, ask questions, and share the experience just like friends gathered in the same kitchen.

    Meals for One: Sometimes you’re just cooking for yourself, and that deserves just as much care as cooking for family and friends. In Meals for One, Valerie makes simple, satisfying meals for one, focusing on comfort, ease, and recipes that don’t leave you with a fridge full of leftovers. Real food, real life, no scaling required.

    Content coming post-launch throughout the Spring:

    Getting Naked: The Podcast: An all-new podcast with Valerie and special guests, featuring candid conversations about life, growth, creativity, and showing up as your real self. Thoughtful, funny, and heartfelt; the kind of talks that stay with you long after they end.

    Superfan Supper Club: Valerie cooks LIVE, but this time, select VP VIP members join her on camera. While others watch and cook along, a few lucky superfans get to interact with Val face-to-face, ask questions, and be part of the show itself.

    Val’s Book Club: Every other month, Valerie and her community pick a book to read and discuss together in a live virtual book club. VP Preferred and VP VIP members can watch and comment, while select VP VIP members join Valerie on screen for an intimate, honest conversation…starting with her new book, Getting Naked.

  • Metallica Announce Las Vegas Sphere Residency, With ‘No Repeat Weekends’

    Metallica Announce Las Vegas Sphere Residency, With ‘No Repeat Weekends’

    As expected, Metallica has announced that the band will debut its “Life Burns Faster” residency at Sphere in Las Vegas later this year.

    The eight-show run will take place on October 1 and 3, 15 and 17, 22 and 24, and 29 and 31, 2026 — and will continue the “No Repeat Weekend” tradition that began with the 2023 kick-off of the band’s M72 World Tour, with no songs repeated on each Thursday and Saturday throughout the course of the run.

    Two-night “No Repeat Weekend” tickets and single-night tickets will go on sale March 6th at 10 a.m. PT.

    According to the announcement, the band’s Sphere residency “will see live staples and surprises spanning the Metallica catalog enhanced by the venue’s immersive technologies that will allow fans to experience the sound and fury of the band’s live performance in new experiential dimensions.

    “Whether you’ve seen Metallica from the upper reaches of a stadium or arena, at an intimate club or theater gig or from the famed Snake Pit surrounded by the 360-degree M72 stage, Sphere’s technology, including the world’s highest resolution LED display that wraps up, over and around the audience; Sphere Immersive Sound, which delivers audio with unmatched clarity and precision to every guest; and multi-sensory 4D technology, will present a wholly unique and entirely new Metallica experience for all who attend — including [bandmembers] James, Lars, Kirk and Robert.”

    Metallica co-founder/drummer Lars Ulrich commented, “About 12 seconds into the opening night of  Sphere with U2 back in ‘23, I thought ‘We have to do this, it’s completely uncharted territory!’ This residency gives us another chance to reinvent how we interact with our fans in a live setting. We are beyond excited to share this with the world in six months time, and way fuckin’ psyched to go next level!”

    Metallica “Life Burns Faster at Sphere” is produced by Live Nation and presented by inKind. 

  • Charter Names New COO Ahead of Megamerger

    Charter Names New COO Ahead of Megamerger

    Charter Communications has tapped turnaround specialist Nick Jeffery as its next chief operating officer. He’ll start in the role on Sept. 1.

    Jeffery will lead marketing and sales and field operations as the cable and internet giant looks to bolster its customer service and Spectrum product offerings across Charter’s U.S. footprint. “Nick’s leadership, growth mindset and operational expertise combined with his proven ability to improve customer service across residential, mobile, and B2B markets make him the ideal person to help accelerate Spectrum’s next phase of growth,” Chris Winfrey, Charter president and CEO, said in a statement on Wednesday.

    Jeffery joins Charter from Frontier Communications, where he served as president and CEO since 2021 and led the company out of a bankruptcy proceedings, and before that held the CEO post and led another corporate turnaround at Vodafone UK.

    “He successfully reinvented the consumer and business services reputation of both Frontier and Vodafone by systematically strengthening the customer experience and implementing innovative go-to-market strategies that delivered significant revenue, profitability and customer growth. His experience will be a real asset to our company, and I welcome Nick to the team as we continue to position Spectrum as America’s most reliable and affordable connectivity provider,” Winfrey added.

    Charter has worked to narrow its video and internet subscriber losses while adding to its mobile line customer base as the U.S. TV market remains intensely competitive. The company added video customers in its recent fourth quarter after introducing new pricing and bundled packages in Sept. 2024 amid competition from YouTube and other streaming-era rivals.

    “I am honored to join a connectivity leader at such an exciting moment in its evolution. Spectrum has winning assets with its fully deployed converged network, industry leading video strategy and meaningful investments in network and customer service operations that provide a foundation for further growth. I look forward to partnering with this talented executive team to continue to improve the customer experience, operational performance, and growth across the business,” Jeffery said in his own statement.

    In May 2025, Charter unveiled a $34.5 billion deal with Cox Communications to combine their businesses and create a cable TV giant with greater scale in broadband Internet connectivity and video to take on tech giants in the video and advertising spaces. The transaction is expected to be completed in mid-2026 as Charter works to get regulatory approvals.

  • Is the Berlin Film Festival About to Oust Its Leader?

    Is the Berlin Film Festival About to Oust Its Leader?

    Berlin Film Festival director Tricia Tuttle had a difficult 76th edition of the Berlinale. And now, a German media report suggests she may be on the way out.

    A festival representative didn’t comment on Tuttle’s future on Wednesday. The Berlin fest director has so far overseen two editions of a five-year contract.

    But Bild, Germany’s largest tabloid newspaper, reported on Wednesday that the German minister of state for culture, Wolfram Weimer, has called an extraordinary meeting of the supervisory board of the Kulturveranstaltungen des Bundes in Berlin, or KBB, for Thursday. The KBB is the organization responsible for the management of the Berlinale. 

    The festival rep shared a statement that confirmed this meeting would take place on “Thursday morning.” The statement also detailed: “The meeting will include a discussion on the future direction of the Berlinale. We will not comment on any further speculation.”

    The Berlinale 2026 was marred by controversy upon controversy. At various press conferences, filmmakers were asked targeted political questions, often with little or no connection to the movies being discussed. Critics called out filmmakers and stars for not being vocal enough, particularly on the war in Gaza.

    Eventually, 81 Berlinale alumni, including Tilda Swinton, Javier Bardem, Tatiana Maslany, and Adam McKay, signed an open letter, suggesting that the Berlinale was “censoring artists who oppose Israel’s ongoing genocide against Palestinians in Gaza and the German state’s key role in enabling it.” Tuttle, the former director of the London Film Festival, said that was not the case, describing the fest as a space for filmmakers to discuss political or other issues as they see fit.

    Then followed a German political backlash against pro-Palestinian speeches at the closing ceremony on Saturday. Syrian-Palestinian director Abdallah Al-Khatib, winner of the Berlin Perspectives section for his drama Chronicles of a Siege, said the current German government was one of the “partners in the genocide in Gaza by Israel” and added that “the long-awaited day is coming, and when people ask you what happened, tell them: Palestine remembers.”

    The Bild report suggested that this was the reason for Thursday’s meeting. The comments had prompted German environment minister Carsten Schneider to leave the gala in protest. In a statement, a rep for the minister said Schneider “considers these statements unacceptable and therefore left the event during the speech.”

  • ‘The Cage’ Stars Sheridan Smith and Michael Socha in a Thriller That ‘Throws the Crime Genre on Its Head’ (EXCLUSIVE)

    ‘The Cage’ Stars Sheridan Smith and Michael Socha in a Thriller That ‘Throws the Crime Genre on Its Head’ (EXCLUSIVE)

    These days, any drama with the U.K.’s Sheridan Smith raises expectations, especially if her role is written by Tony Schumacher, creator of “The Responder.”

    Winner of a BAFTA TV Award for “Mrs Biggs” (2013) and TV Choice Award for “Cilla” (2015), Smith was also the star of last year’s “I Fought the Law.” “No one does this kind of drama better than Sheridan Smith. Ordinary women in extraordinary circumstances are what she does, and few do it better,” said The Guardian in a review. 

    Smith is also a master of mixed emotion reaction, such as resolution and vulnerability. She’s likely to show both in “The Cage,” which reteams Schumacher with Fremantle and unites him with Ed Guiney and Andrew Lowe’s high-flying and creator-friendly Element Pictures, a Fremantle company. 

    Commissioned by Director of BBC drama Lindsay Salt for BBCiPlayer and BBC One with global sales handled by Fremantle, “The Cage” is shaping up as one the big unveils at Fremantle’s Feb. 27 showcase at the London TV Screenings

    Chosen by Variety as one of the Screenings’ Hot Picks, it also now has new first look images, shared in exclusivity with Variety

    Smith stars opposite Michael Socha (“The Gallows Pole,” “Showtrial”) another striking actor discovered and cast like “Adolescence” star Stephen Graham in “This is England” by Shane Meadows. 

    In “The Cage,” Smith and Socha play Leanne and Matty, a single mum and compulsive gambler who skim cash from the safe of their Liverpool Casino, soon with the mob and police  closing down

    Expect a taut crime drama – “high-stakes and high-energy,” says Fremantle – which will stand out from the pack by its nuanced performances, a story of “two unforgettable characters” as Fremantle puts it, and its heart, through it mix of crime thriller and family drama: Leanne, a single mother, turns to her amateur heists to avoid losing her family flat, Mattie to get some money to his daughter as child maintenance, despite his chronic gambling. “One final heist becomes their last chance for escape – because in ‘The Cage,’ everyone’s gambling,” the series’ synopsis ends. 

    Majority owned by Fremantle from 2022, Element Pictures is behind Yorgos Lanthimos’ four-time Oscar winner “Poor Things,” as well as multiple Lenny Abrahamson titles such as “Room,” a best actress Academy Award winner for Brie Larson and his major TV hit “Normal People.”

    “The Cage” is directed by Al Mackay (“Kidnapped,” “Without Sin”) and shot in and around Liverpool and Merseyside in the U.K. 

    Hilary Martin serves as executive producer for Fremantle, with Aird, Guiney and Lowe for Element Pictures, alongside Schumacher and Smith. Lucy Richer is the executive producer for the BBC, with Clare Shepherd as producer. 

    In the build-up to Fremantle’s Friday showcase, Aird, Element Pictures head of TV, and Fremantle’s Rebecca Dundon, SVP, head of scripted content, talked to Variety about what marks “The Cage” apart in an age where buyers are looking for crime dramas more than any other program type but want series that bring something fresh to the table.

    Michael Socha in ‘The Cage’ 2025 THE CAGE © Element Pictures/BBC/Photographer James Stack

    James Stack

    When “The Cage” was announced, you are quoted, Chris, as saying “Tony writes characters from the heart that break your heart.” Is that connected to what you add: That “The Cage” is “a crime show” but also “a show about family”?

    Chris Aird: That’s exactly what Tony does. This show is hopefully an exciting crime story with the stakes of crime stories. People are breaking the law and cutting across other people’s interests. What marks Tony’s writing out, however, is that you really feel why these people are forced into doing what they do and their very real problems in their lives. Leanne is very worried that she’s going to lose the [family] flat; Mattie is a terrible addict and forever in hock to his moneylender.

    Rebecca Dundon: Tony and Element have created amazing flawed underdog characters that are instantly likeable and charismatic. “The Cage” is a crime heist thriller with great characters who aren’t evil people, just trying to survive and make a better life. In the world today, people are often looking for their own escape, to get themselves out of these situations and you really are instantly with them. But this is all wrapped up in a propulsive, twisty-turny surprising show that really throws the crime genre on its head by giving you characters that you want to win, despite being on the other side of the law.

    And this is what drew you to the story?

    Dundon: Definitely. From an international perspective, it’s so important that you have characters that surprise and stories that feel fresh in genres that work. Crime is going to continue be a bedrock for many platforms, many buyers. It’s what most people enjoy. But we never want to offer something that someone’s seen before. Tony’s writing and this show will surprise audiences and bring new audiences to the crime genre, because it’s got heart, levity and high stakes. 

    You have two of the finest performers in British TV. How was the casting process?

    Dundon: They’re magnetic. That’s the best word for them. They pull and push against one another throughout the series and draw the audience in. What the team have done so well with casting here is that they’ve really made sure that the chemistry between those protagonists is paramount. You have to be able to have that banter between them, the ability to champion one another as well when they feel like they’ve lost everything.

    Liverpool has a large presence in the series but I wonder if this isn’t only as a setting but in terms of actors having a confidence in the authenticity of their performance, of hitting the right beats because Tony, from Liverpool, would tell them if they didn’t. Could you comment?

    Aird: That’s interesting and I think you’re right. Everyone who is involved in this show, from Tony downwards, were really invested in making a show partly about Liverpool and about that kind of slightly intangible thing, but you know it when you feel it. Both Sheridan and Michael also really keyed into it. It is about humanity. It’s about vulnerability. It’s about also warmth and humor in the face of adversity. It’s all these things. Interestingly, neither Sheridan nor Michael are actually from Liverpool, but Sheridan does a very, very good Scouse accent. They’re both from the north of England. And they both said they tap into that.

    As actors, they are very good at small physical details….

    Aird: Yes, what’s great about this show is we can keep it feeling real and authentic, because actually we don’t need huge, high concept things to happen because it is about that character response to the real. How would you really cope with being up against one of the city’s most dangerous gangsters? How would that actually feel? Rather than a pat kind of genre way of approaching it, you really understand the hot water that they get themselves into because they both feel so real.

    Dundon: Touching on authenticity, Liverpool is authentic, real but with a really exciting colour palette that feels unusual and that we haven’t seen on screen. It just opens the whole world up, which we feel is going to make a real difference internationally, because it’s Liverpool like we haven’t seen before. Director Al Mackay has done an incredible job in creating that intimacy of performance, but with this beautiful kind of backdrop.

    Aird: Al and Árni Filippusson, our DP, made a decision really early on that they wanted to light up this world and use a kind of directional light. And we shot this in Spring last year and it literally didn’t rain for four months: The whole show is suffused in bright, warm sunlight.

    More people are talking about the value of authenticity than they used to. I wonder if that’s a reaction to the large amount of non-authenticity in the world….

    Aird: That’s really interesting. I’d say that we’re crying out for human connection not mediated by little boxes on screens. And I think that a show like ‘The Cage’ is all about human connection. It’s about the people you work with, the people you live with, your family. I would hope that this is the kind of show that people might watch together as well. I think we are crying out for that at the moment: that authenticity of character as well as a cracking good story too. 

    How does the show fit into your production strategies?

    Dundon: With regards to Fremantle’s distribution arm, we’re always looking for strong crime series, commercial dramas that are going to cut through, make noise, surprise us but be in a familiar genre that people enjoy, that they want to sit down with their partners, that can speak to a number of different platforms and buyers, whether that’s the public broadcasters whom we absolutely adore or the streamers. “The Cage” is that in spades. 

    Working with great, great creatives is also part of both your strategies…

    Dundon: For us, it’s absolutely a bonus for us that it’s an Element show and have Tony come back after the success of “The Responder,” a huge international hit for us. Buyers are actively following what he’s going to do next because they love his tone of voice, and the fact that he’s bringing it to life in a surprising way and in a very different way to what we’ve seen him do before is a real honor for us.

    Aird: You’re absolutely right. “The Cage” fits into Element’s strategy which is to support the very best creative voices in the business, whether they’re filmmakers or screenwriters. We’re always trying to do that. On the film side, we work with the likes of Yorgos Lanthimos and Lenny Abrahamson and Joanna Hogg. Now on the TV side as well, we’re hoping to expand on that.

    Chris Aird, Element Pictures, Rebecca Dundon, Fremantle